Peninsula Symphony: Natasha Paremski Plays Prokofiev Oct 2022

Mitchell Sardou Klein

Welcome to the opening concert of the Peninsula Symphony’s 74th Season, “Music Forward”! After a couple years of cancelled concerts and a lot of reshuffling of events, we are finally returning to our normal concert schedule. Note please, however, that face masks are still required to attend our concerts.

We have a stellar line-up this season! Tonight’s concert features famed Russian pianist Natasha Paremski, playing the exciting Prokofiev Piano Concerto No. 2. Also on the program are Sergei Rachmaninoff’s Symphonic Dances, and Mendelssohn’s Overture for Winds!

In November, we join with the Stanford Symphonic Chorus to perform Brahms’ German Requiem at Stanford’s Bing Concert Hall.

In January, Caroline Campbell will perform a collection of classical and popular pieces, and the orchestra will perform Symphony No. 1 by Florence Price. Our March soloist is New York Philharmonic principal clarinetist Anthony McGill, performing works by Debussy and Weber, and the orchestra will play Mahler’s stunning Fifth Symphony!

May’s concert features two recent Klein Competition winners, Gabrielle Després and James Baik, playing the Brahms Double Concerto. And we cap off the season with Mussorgsky’s Pictures at an Exhibition (Orchestrated by Maurice Ravel).

Your support of the orchestra makes the programs we present possible. We encourage you to tell your friends about the Peninsula Symphony, and invite them to attend a concert with you! It is our hope, going into our 75th season next year, that the Peninsula community will embrace the Peninsula Symphony as its “Home Town” orchestra!

Support of this organization takes shape in many forms: subscription purchases, concert ticket purchases, tax-deductible donations, and volunteer hours. Or consider participating in our “Adopt-a-Musician” program! There are still some orchestral “orphans” left.

This is your orchestra! Please think about how you might be able to extend your support in addition to attending concerts. Join us in producing first-class symphonic performances for our community to enjoy!

Ron Miller, Co-chair, Peninsula Symphony Board of Directors

Welcome from PSO Board of Directors

Natasha Paremski Plays Prokofiev

October 21, 2022 / Capuchino Performing Arts Center, San Bruno

October 22, 2022 / Heritage Theatre, Campbell

Mitchell Sardou Klein / Music Director & Conductor Nathaniel Berman / Resident Conductor

Natasha Paremski / Piano

Felix Mendelssohn, Overture for Winds in C Major, Op.24

Nathaniel Berman, conducting

Sergei Prokofiev, Piano Concerto No.2

I. Andantino - Allegretto

II. Scherzo: Vivace

III. Intermezzo: Allegro moderato

IV. Finale: Allegro tempestoso

Natasha Paremski, piano - Intermission -

Sergei Rachmaninoff, Symphonic Dances

I. Non allegro

II. Andante con moto (Tempo di valse)

III. Lento assai - Allegro vivace

THE CONCERT IS SPONSORED BY John Givens in memory of Dorothy Givens Anonymous foundation & generous donor

This concert is made possible by the generous support from The David and Lucile Packard Foundation

PROGRAM NOTES

By Larry Laskowski

Isn’t It Romantic?

The famous 1932 song by Rodgers and Hart asks that interesting question: “Isn’t it romantic?” And what might that even mean?

In Romantic music the emphasis is on the individual’s viewpoint, often the virtuoso. The Classical balance that presented the ensemble as the main focus is disrupted. Now it’s personal. Lots of color, rubato and flexible tempi, new instrumentation, new textures. Old rules don’t matter so much. “It’s about me!”

Our program this evening presents three pieces that represent different points on the historical Romantic timeline.

Mendelssohn: Overture for Winds, Op. 24 (1826)

Felix Mendelssohn (1809-1847) straddled the transition from Classical tradition to Romantic expression.

Of course at that time Beethoven (even after his death in 1827) dominated the scene. Yet Mendelssohn created his own niche. A lovely sense of lyricism, contrasted with quick lightness and agility. The Op. 24 Overture for Winds is a lesser known piece that reflects his forward thinking.

First, a serious composition for winds is unusual. Mendelssohn took the military band to a new place.

The opening section is unabashedly lyrical. The second section is fast, light, and virtuosic for wind instruments. It’s worth remembering that many of these instruments were at that time still developing. Mendelssohn (and others) were exploring what they could do. Mendelssohn single handedly created a sprightly texture that was fresh and new.

And let’s not forget internal orchestral dynamics. String sections have multiple players playing the same part. In the wind section, each player usually plays his own part. It’s chamber music in a way. And in this piece we get to hear the players in the wind section doing their own thing (no strings attached), playing some difficult passages, but also being together. There’s often a hidden communication within the wind section that the audience doesn’t see. When a wind player does well in a particular passage, other players will sometimes give a subtle thumbs up behind the music stand, or there’s the subdued foot shuffle, a kind of internal applause that is invisible to the audience but important to the players. Camaraderie at its best.

It’s not quite fully Romantic, but it’s getting there.

PROGRAM NOTES

Prokofiev: Piano Concerto #2 (1923)

Sergei Prokofiev (1891-1953) was a prominent Russian composer and pianist in the first half of the 20th century. He emigrated to America for a time, but eventually returned to Russia, where he died in 1953, the same day as Stalin’s death. He was a consummate pianist. Many claimed that there was nothing he couldn’t do at the keyboard, and this concerto supports that view. It is extremely difficult to play, some would say absurdly difficult. Indeed, a few of the great pianists of the 20th century admired the piece, but declined to perform it. It’s just too difficult, they said. So kudos to any pianist that would accept the challenge.

Lots of new colors, sounds, textures, and also innovations in how the piano interacts with the orchestra. But on the other hand, certain sounds recall traditional Romantic composers. It’s like looking at the Romantic tradition through a kaleidoscope and turning it a bit. Everything’s different, but certain Romantic traits shine through. The virtuoso, the glitter, the glamour, the surface beauty. The solo cadenzas are stupendous. Very difficult and very affecting. For the pianist there’s little time to rest. The piece requires relentless power and velocity, but also dexterity, flexibility, and graceful lightness at times. Quite the feat.

For the listener it’s a kind of musical and creative dream/nightmare. Always on the edge of rationality with glimpses into the abyss. There is a high level of dissonance, but we never quite lose the tonal gravity. We vaguely know where we are (as in a dream) but we are repeatedly dazzled along the way, also provoked and a little afraid. And can the performer actually pull this off? It’s a high wire act.

The first movement is a lyrical, beautiful, yet bleak Russian landscape. The cadenza is gigantic, impressive, and very challenging. The second movement has the solo piano in a kind of relentless perpetual motion that goes through the entire movement. Not easy to bring off. The third movement is a scherzo in a way, but with a certain dose of Russian sarcasm and cynicism and also plenty of new textures and sounds. The last movement is a tour de force for all involved.

Then we wake up and realize it was just a dream, albeit a thrilling one. We are supposed to feel lost at times, but then we find solid ground again. Virtuosic, colorful, innovative, evocative. What could be more Romantic and personal, and so thoroughly new?

PROGRAM

Rachmaninoff: Symphonic Dances (1940)

Sergei Rachmaninoff (1873-1943), born and trained in Russia, emigrated to the United States after the Russian Revolution in 1918. He lived the rest of his life in the West, and was perhaps the most sought after classical musician of his time. He divided his time between piano performances, conducting, and composing.

The Symphonic Dances is his last major composition. There is plenty of nostalgia for the old Russia, the Russia that no longer existed. But there’s also no shortage of inventiveness. His skill at orchestration is marvelous, and the combination of traditional Romanticism, folk elements, and even religious elements is remarkably affecting. Just the surface beauty is jewel like, and very sexy. Here is Rachmaninoff’s summary of his musical life and heritage, strikingly away from the piano, firmly in the composer’s realm. Not the virtuoso performer, but rather the virtuoso composer.

Rachmaninoff was connected with other Russian emigres, including the renowned pianist Vladimir Horowitz. They lived near each other in southern California for a time. Rachmaninoff wrote an early version of the Symphonic Dances, not fully orchestrated at that point. Rachmaninoff and Horowitz performed a two piano version at a private party in Beverly Hills. Can you imagine? Perhaps the 20th century’s two most celebrated pianists having fun playing a new work from manuscript? Oh, to be a fly on that wall!

Rachmaninoff didn’t hold back in the final orchestration. Lots of exotic sounds and textures. English horn is prominent, and of course the famous sensuous solo for alto saxophone. Wonderful perfume for a very elegant set of sophisticated dance experiences.

In the three movements, various dances are represented. For example, the waltz in the second movement. But it’s not just a waltz, it’s a very personal experience of a waltz. The traditional waltz rhythm comes and goes, often with solo winds added as a kind of personal commentary. It’s not so much a traditional waltz as it is an individual narrative of attending a dance. The nuances, the suggestions, the thoughts and feelings, the experience.

And the third movement quotes the dark and ominous Dies Irae (from the Requiem mass). This is not all fun and games. It’s also serious business. An intriguing mélange of sound, textures, religious, and cultural references. Welcome to Rachmaninoff’s musical world, summed up by him near the end of his life.

Of course by 1940 other strands of classical music had moved through new phases: atonality, neoclassicism, serial experiments, etc. Yet Rachmaninoff remained true to his Romantic lineage, albeit in innovative ways. And we get to experience that today.

Isn’t it romantic? Yes, and in fascinating and delightful ways.

MUSIC DIRECTOR

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 36 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 San Jose (formerly 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 co-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, New Zealand, Finland, Latvia, and Estonia.

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.

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 $35,000, 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

MUSIC

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.

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, Michael Thurber, 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.

RESIDENT CONDUCTOR

Nathaniel Berman Resident Conductor

Nathaniel Berman maintains an active presence as a performer and music educator in the San Francisco Bay Area. A faculty member at UC Santa Cruz since 2007, he is conductor of the UCSC Concert Choir and the UCSC Wind Ensemble and has appeared as guest conductor of the UCSC Orchestra and the University Opera Theater. Nathaniel has held the position of Music Director of the Santa Cruz County Youth Symphony since 2011 and has appeared as guest conductor of the Santa Cruz County Symphony in annual collaborative concerts with the Youth Symphony.

A strong advocate for new music, Nathaniel is Artistic Director of the San Franciscobased new music ensemble Ninth Planet (formerly Wild Rumpus), with whom he has led premieres of commissioned works by dozens of composers, and he appears as conductor of new music on Innova, Other Minds, and Pinna recordings. Nathaniel has appeared as guest conductor with Empyrean Ensemble at UC Davis in June of 2019, as well as leading the world premiere of The Pressure, by Brian Baumbusch, at San Francisco’s Other Minds Festival at Yerba Buena Center for the Arts Theater. In March of 2023, he will conduct the premier performance of Prospero’s Island, a new opera by Alan Shearer, at Herbst Theater in San Francisco.

Nathaniel has been a member of the professional new-music chorus Volti, where he also served as Assistant Conductor, and has sung with early music ensembles Pacific Collegium and Euouae. Originally a trumpet player, he now keeps up his brass chops playing euphonium in the Balkan brass band Inspector Gadje.

Nathaniel received his Master’s degree in conducting from UC Santa Cruz, where he studied with Nicole Paiement. He grew up playing duets with his dad, a jazz pianist and singer.

FEATURED

With her consistently striking and dynamic performances, pianist Natasha Paremski reveals astounding virtuosity and voracious interpretive abilities. She continues to generate excitement from all corners as she wins over audiences with her musical sensibility and powerful, flawless technique.

The 2019-20 season features returns to San Francisco Performances, and, among others, the Columbus, Colorado, North Carolina, and Santa Rosa Symphonies, in addition to debuts in South Africa and Colombia. November highlights the complete Rachmaninov Concerto cycle with Larry Loh conducting Symphoria.

Natasha is a regular return guest of many major orchestras, including Minnesota Orchestra, San Francisco Symphony, Grant Park Festival,

Natasha Paremski Winnipeg Symphony, Kitchener-Waterloo Symphony, Oregon Symphony, Elgin Symphony, Colorado Symphony, Buffalo Philharmonic, Virginia Symphony, and Royal Philharmonic Orchestra with whom she has performed every year since 2008 in venues such as Royal Albert Hall, Royal Festival Hall, and Cadogan Hall. She has performed with major orchestras in North America including Dallas Symphony Orchestra, Los Angeles Philharmonic Orchestra, San Diego Symphony, Toronto Symphony, Baltimore Symphony, Houston Symphony, NAC Orchestra in Ottawa, Nashville Symphony.

A passionate chamber musician, Natasha is a regular recital partner of Grammy winning cellist Zuill Bailey, with whom she has recorded a number of CDs. Their Britten album on Telarc debuted at No. 1 on the Billboard Classical Chart, remaining there for a number of weeks, in addition to being featured on The New York Times Playlist. She has been a guest of many chamber music festivals such as Jeffrey Kahane’s Green Music Center ChamberFest, the Lockenhaus, Toronto, Sitka Summer Music, and Cape Cod Chamber Music festivals to name a few.

Natasha was awarded several prestigious prizes at a very young age, including the Gilmore Young Artists prize in 2006 at the age of eighteen, the Prix Montblanc in 2007, the Orpheum Stiftung Prize in Switzerland. In September 2010, she was awarded the Classical Recording Foundation’s Young Artist of the Year. Her first recital album was released in 2011 to great acclaim, topping the Billboard Classical Charts, and was re-released on the Steinway & Sons label in September 2016 featuring Islamey recorded on Steinway’s revolutionary new Spirio technology. In 2012 she recorded Tchaikovsky’s Piano Concerto No. 1 and Rachmaninoff’s Paganini Rhapsody with Royal Philharmonic Orchestra and Fabien Gabel on the orchestra’s label distributed by Naxos.

She has toured extensively in Europe with such orchestras as Bournemouth Symphony Orchestra, Vienna’s Tonkünstler Orchester, Royal Scottish National Orchestra, Orchestre de Bretagne, the Orchestre de Nancy, Royal Liverpool Philharmonic Orchestra, Tonhalle Orchester in Zurich, Moscow Philharmonic, under the direction of conductors including Thomas Dausgaard, Peter Oundjian, Andres Orozco-Estrada, Jeffrey Kahane, James Gaffigan, JoAnn Falletta, Fabien Gabel, Rossen Milanov and Andrew Litton. In addition, she has toured with Gidon Kremer and the Kremerata Baltica in Latvia, Benelux, the United Kingdom and Austria as well as appearances with National Taiwan Symphony Orchestra in Taipei.

Natasha has given recitals at the Auditorium du Louvre in Paris, Wigmore Hall, Schloss Elmau, Mecklenburg-Vorpommern Festival, Verbier Festival, Seattle’s Meany Hall, Kansas City’s Harriman Jewell Series, Santa Fe’s Lensic Theater, Ludwigshafen BASF Series, Teatro Colon in Buenos Aires, Tokyo’s Musashino Performing Arts Center and on the Rising Stars Series of Gilmore and Ravinia Festivals.

With a strong focus on new music, Natasha’s growing repertoire reflects an artistic maturity beyond her years. In the 2010-11 season, she played the world premiere of a sonata written for her by Gabriel Kahane, which was also included in her solo album.

Natasha continues to extend her performance activity and range beyond the traditional concert hall. In December 2008, she was the featured pianist in choreographer Benjamin Millepied’s Danses Concertantes at New York’s Joyce Theater. She was featured in a major two-part film for BBC Television on the life and work of Tchaikovsky, shot on location in St. Petersburg, performing excerpts from Tchaikovsky’s First Piano Concerto and other works. In the winter of 2007, Natasha participated along with Simon Keenlyside in the filming of Twin Spirits, a project starring Sting and Trudie Styler that explores the music and writing of Robert and Clara Schumann, which was released on DVD. She has performed in the project live several times with the co-creators in New York and the U.K., directed by John Caird, the original director/adaptor of the musical Les Misérables.

Natasha began her piano studies at the age of four with Nina Malikova at Moscow’s Andreyev School of Music. She then studied at San Francisco Conservatory of Music before moving to New York to study with Pavlina Dokovska at Mannes College of Music, from which she graduated in 2007. Natasha made her professional debut at age nine with El Camino Youth Symphony in California. At the age of fifteen she debuted with Los Angeles Philharmonic and recorded two discs with Moscow Philharmonic Orchestra.

Born in Moscow, Natasha moved to the United States at the age of eight becoming a U.S. citizen shortly thereafter, and is now based in New York.

Music Director & Conductor

Mitchell Sardou Klein

Resident Conductor

Nathaniel Berman

Violin I

Debra Fong, Concertmaster

Shawyon Malek-Salehi, Acting Concertmaster

Maria Shim, Asst. Concertmaster (on leave)

Katharine Wahl, Asst. Concertmaster Kimberly Bonnett Peter Cheng

Daniel Cher Ann Edwards

Tara Iyer Sandra E. Larragoiti Jeffrey Lin Ryan Luo Girish Nanjundiah Matt Springer Judy Streger Karen Tsuei Sandy Wan Alexander Wang Tracy Wang

Violin II

Deborah Passanisi, Principal Brad Gibson, Assistant Principal Susanne Bohl

Christian Dinca Kevin Dong

Mariko Kikuchi

Jonathan Lim Vineet Mehta

Violin II (cont’d) Kristin Oro

Frank Rahn

Jshon Thomas David Williams Xinzhi Xue Hanna Yoshimoto Viola Elyse Ader, Principal Katherine Bukstein

Mark Fish Adam Green Elizabeth Ingber Andrew Lan Silvio Rocha Jerry Saliman Charlie Tian Renee Tostengard Jolynda Tresner Carolyn Worthington Derek Wu

Cello

Kirsten Shallenberg, Principal Abraham Aragundi

Sally Baack

Garth Cummings Kyle Foley Gail Hammler

Tetsu Ishihara Tomoko Ishihara

Annette Lewis Alice Ling

Susan Magrini

Ani Nashimoto Christian Selig Bass

Suesan Taylor, Principal Robert Crum

Nicholas Dalton David Herberg Rahul Iyer Bruce Moyer Grant Parker Andrew Salsbury Michael Tong

Jeff Wachtel

Flute

Kay Saito Shafi, Principal Kathryn Barnard

Yukoh Hammura

Patricia Harrell

Kristin Kunzelman Anne Wharton

Piccolo

Patricia Harrell

Oboe

Audrey Gore, Principal Dane Carlson, Acting Principal David Allen

Lianne Araki Joel Greene Peter Stahl English Horn Lianne Araki Dane Carlson

Clarinet Susan Macy, Principal Nick Cotter Nicole Galisatus Joan Hebert Ron Miller Jordan Selburn E-Flat Clarinet Nicole Galisatus

Basset Horn & Bass Clarinet Nick Cotter Ron Miller Bassoon Juliet Hamak, Principal Cullen Blaine John Givens Mia Stormer Jonathan Westerling

Contrabassoon Juliet Hamak Jonathan Westerling

Saxophone

Greg Chambers

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 Richard O. Leder Michael Pakaluk Laura Shea-Clarke

Trombone

David Allmon, Co-Principal Rami Hindiyeh, Co-Principal Todd Weinman

Bass Trombone

Todd Weinman, Principal Bryan Hardester Jason Hebert

Tuba

Johnathan Hsu, Principal Francis Upton IV Timpani Michael Jay Bresler, Principal Matt Springer

Percussion

Matthew Germano, Co-Principal Emily Hendricks, Co-Principal Paul Burdick Mikael Cheng Benedict Lim Michael MacAvoy Harp Dana Wallace, Principal Dan Levitan Kristin Lloyd

Piano/Keyboard/Celesta Thomas Hansen, Principal Larry Laskowski Derek Wu

Music Librarian Joel Greene

LIFETIME ADOPTED MUSICIANS

Mitchell Sardou Klein Conductor Paula Uccelli Deborah Passanisi Violin II Frank & Annette Rahn Dr. Lauren Speeth Violin II Elfenworks Foundation

MUSICIAN INSTRUMENT ADOPTED BY

Nathaniel Berman Resident Lily Tian & Victor Ge Conductor

Debra Fong Concertmaster Katherine & Roy Bukstein Lianne Araki Oboe Patricia L. Griffin Kathryn Barnard Flute/Piccolo Kenneth Shirriff Alan Bien Cello Margaret Yung Susanne Bohl Violin II Diana Lloyd Michael Bresler Timpani/ Celeste Everson Misfeldt Percussion

Beatrice Chau Violin II Gayle Flanagan Daniel Cher Violin I Monte Mansir & Susanne Stevens David Dufour Horn Hannelore Draper

Nathaniel Echols Bassoon Juliet Hamak & George Yefchak 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 Juliet Hamak Bassoon John Givens Patricia Harrell Flute/Piccolo Krista & Jerry Terstiege Brian Holmes Horn Mary Gundelach Alice Ling Cello Alan Bien Susan Macy Clarinet Alan Kalman; Jacqui & Pieter Smith Sue Magrini Cello Monte Mansir & Susanne Stevens Mike Marmarou Trumpet Ronald Miller Vineet Mehta Violin II Sheree Kajiwara Ron Miller Clarinet David Cone Bruce Moyer Bass Margrit Rinderknecht & Richard Siemon/Suesan Taylor Frank Rahn Violin II Sheri Frumkin Kay Saito Shafi Flute/Piccolo Ronald Miller Jerry Saliman Viola Dorothy Saxe Kirsten Shallenberg Cello Jacqui & Pieter Smith

MUSICIAN INSTRUMENT ADOPTED BY

Matt Springer Violin I; Monte Mansir & Susanne Stevens Timpani

Judy Streger Violin I Alan & Spike Russell

Jshon Thomas Violin II Sheri & Michael Frumkin Michael Tong Bass Suesan Taylor

Renee Tostengard Violin I Juliet Hamak & George Yefchak

Jolynda Tresner Viola Brian 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

Would you like to adopt a musician? It is our goal to have the entire orchestra adopted as a special way of supporting us.

For information on this meaningful program, please reach out to Chelsea Chambers, Executive Director at chelsea@peninsulasymphony.org or (650) 941-5291 to learn more about this opportunity.

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 July 1, 2021 and September 30, 2022. If you see an error in this listing or would like more information on ways you can contribute to Peninsula Symphony, please reach out to Executive Director Chelsea Chambers by emailing chelsea@peninsulasymphony.org.

Risoluto ($50k +)

California Small Business Administration The David and Lucile Packard Foundation

Fortissimo ($10k - $24,999)

Katherine & Roy Bukstein

Mervyn L. Brenner Foundation Maria Shim & Nicholas Fox

Crescendo ($5k-$9,999)

Anonymous Applied Materials Arcadia Foundation John & Dorothy Givens Mary Gundelach Diana Lloyd in memory of Clifford Lloyd Monte Mansir & Susanne Stevens

Ronald S. Miller Deborah Passanisi Redwood City Arts Commission Shriners Hospitals Silicon Valley Creates Jacqueline Smith Paula Uccelli in memory of Pete Uccelli, and in honor of Sheri Frumkin

Presto ($2,500 - $4,999)

Anonymous

Anonymous Foundation Howard & Diane Crittenden Michael Marmarou Vineet Mehta Celeste Everson Misfeldt

Teri Quick in honor of Brad Gibson William & Diane Reuland Francis Upton IV

SUPPORTERS

Scherzo ($1,000-$2,499) Anonymous

Anonymous in honor of Sheri Frumkin

Susanne Bohl & Nikos Troullinos

Robert & Barbara Brandriff

Nathan Brookwood & Patricia Hendriks Dr. Samuel Chan & Rena Ling

Tom & Mary Cooper in memory of Mary Hom

Celest Maia Cron in memory of John Cron

Hannelore Draper Barbara Erickson

Gene Esswein Pamela Ferris Gayle Flanagan

Forsyth Leonard Fund

Sheri & Michael Frumkin in memory of Elsie Robertson

Victor Ge & Lily Tian Brad Gibson

Joel Greene

Herbert & Norma Grench

Juliet Hamak & George Yefchak in appreciation of Sheri Frumkin Patricia Harrell

Benjamin & Kaoru Hollin Intel Corporation

Richard Izmirian Alan Kalman

James Kleinrath & Melody Singleton

Atsushi Kurosawa

Bill & Linda Malmstrom Leslie & Kevin Marks Mary Marshall Nvidia

Prudential

Chris & Caroline Rackowski

Rita’s Rainbows in honor of Sheri Frumkin

Alan & Spike Russell Jerry & Ellen Saliman

Phillip & Sara Salsbury Kay Saito Shafi

Richard Siemon & Margrit Rinderknecht Lorraine Smith in memory of Elsie Robertson

Suesan & Barr Taylor in appreciation of Michael Tong

Jshon Thomas & Gary Carson Lily Tian & Victor Ge Jeffrey & Gwyn Wachtel Baird Whaley in memory of Mary Ann Whaley Anne Wharton David A. Williams & Hilary Benton in appreciation of Sheri Frumkin Y&H Soda Foundation

Vivace ($500-$999)

David & Michelle Allmon Anonymous in honor of Hanna Yoshimoto Anonymous in appreciation of Sue Macy Anonymous Kathryn Barnard & Kenneth Shirriff Alan Bien in appreciation of Alice Ling Paul & Melonie Brophy in honor of Alex Wang Chelsea & Gregory Chambers in appreciation of Sheri Frumkin & Jim Fung Daniel Cher Rebecca Coker David Cone

Al & Liz Dossa Jim Fung in appreciation of Joel Greene Dawn Grench in honor of Herb Grench Patricia L. Griffin

Roger & Elizabeth Hagman Karen & Ken Imatani Sheree Kajiwara Mitchell Sardou Klein & Patricia Whaley

James & Nancy Kyser Susan Magrini Michelle Oberman & Lawrence Marshall in honor of Maestro Mitch Klein

Vivace ($500-$999) - cont’d

Deb & Dan Ross in appreciation of Alan Russell

David Sacarelos & Yvette Lanza John & Christine Sanguinetti

Dorothy Saxe in honor of Jerry Saliman Anita Stewart & Kaj Rekola Todd Weinman Margaret Yung

Allegro ($250-$499)

Anonymous (4)

Anonymous in honor of George Weis and Colleen Vargas Andrew Au & Elizabeth Foley

Wate & Johanna Bakker

Richard & Nancy Baldwinson Janice Boelke

Michael & Adrienne Bresler David & Janet Cain

Louis Caputo

Sylvia & Fun Pang Chau Sharon Chortack Erika Crowley

Garth Cummings

Arnold & Trudy Duncan Google, Inc. Alice Graham David Greene

Ann & Salek Hamer in honor of Sheri and Michael Frumkin John Haugh

Kathie Hillier & Bob Boen

Joseph & Bette Hirsch in honor of David Anderson Ernst & Susan Hoyer Mela & Peter Hwang

Robert Izmirian & Suzanne Smith Douglas & Susan Jacobs Kevin Krave Kenneth Krieg & Carol Dolezal

Allegro ($250-$499) - cont’d Sandra & Brandon Martinez-Larragoiti William & Lucille Lee Marcia Leonhardt in honor of Judy Preves Anderson and David Anderson Susan Lin in honor of Sheri Frumkin Richard & Beverly Marconi

Linelle Marshall Kirt Minor in honor of Dane Carlson Pamela Moore Neil Panton Ken & Farrell Podgorsek in appreciation of Sheri Frumkin Bill & Sherrean Rundberg Jordan Torio Mary Urbach in honor of Sheri Frumkin Nina Weil

Dolce ($100-$249)

John & Barbara Adams Sue Alvarez

Thalia Anagnos Anonymous (2) Anonymous in memory of Harold and Marilyn Mindell Anonymous in appreciation of Kay Saito Shafi Anonymous in honor of Sheri Frumkin Apple Inc.

Michael & Merrie Asimow Jim Augustus & Nichole Edraos Barbara Barth Janet Bell

Suzanne Bell in appreciation of Danny Cher

Dick & Penny Bennett Rebecca Berger in honor of Jerry Saliman Jeanne Bertini Barbara Bogomilsky Andre & Marina Broido in appreciation of Sheri Frumkin Lina Broydo Juliette Bryson

Frank & Charlotte Cevasco Seema Cicerone in appreciation of Frank Rahn

Mary Elise Clarity

Charles & Claudia Clark Joseph Coha William Conlon Pamela Cook & Paul Gietzel in memory of Portia Leet Thomas Ehrlich

Suzanne & Allan Epstein Howard Feinberg David Fernandez & Lori Krauss

Melinda Fielding Reta Flavin Susanne Geller Tom Glenwright

Marguerite Gonzales Chris & Elke Groves Lisa L. Gruman in memory of Evelyn Holzman

Hillel Hachlili in memory of Ilan Hachlili David & Elisa Herberg

Steven Hibshman

Judy Hill

Marshall & Roberta Hollimon Brian Holmes & Jolynda Tresner Perry Hopkins Neil Hornor

Jennie Johnson

Marlys Jungroth

June Kagdis Jack & Ruth Kahoun

Seymour Kaufman

Sharon Krawetz

Paul & Jackie Kuckein Carole Kushnir

Pamela Lampkin & Robert Zipkin

Richard Leder & Cherrill Spencer in appreciation of Mitch Klein and team Alice Ling

Harvey Lynch

Joe & Mollie Marshall

Robert Martinengo Lori McBride Diane Merchant Patricia Meyer

Joann Miller Beth Morris Amanda Myers Margaret Nalbach Noni Naughton NAWBO Silicon Valley Randy & Janie Nickel Mary Ann Notz

Elizabeth Nyberg Diana & Steven Okamoto Anthony & Amy Oro Douglas & Mary Ellen Pense in honor of Elizabeth & Bob Yapp Sharon Peters Marilyn Reisen Cheryl & John Ritchie Elsie Robertson Stephen Rovno Heather Sanders Marian Schmidt Marvin & Ellen Schwartz Dana Scoby in memory of Robert and Jane Cheatham Noel Shirley in honor of Susan Shirley

Judy Siegel

Michael Sogard Ilene Sokoloff Jane Stahl

Ronald & Jane Stefani Laura Sternberg David Swerdlove & Carol Winston Karl Talarico

D. Brooke & Carolyn M. Taylor Maureen Thrush Frederick & Gretchen Wassem Barrie Wilber

June Wisecarver Raymond & Cecilia Wong Tim & Carolyn Worthington Arlene Zimmerman

Our 74th Season is filled with exceptionally gifted guest artists and classical masterworks in a series titled “Music Forward”. We are excited to present nationally and internationally recognized soloists to our audiences.

Our musicians and our patrons are ecstatic and grateful for the return to live performances in the concert halls. Our current board is comprised of community members with experience in the realms of finance, high tech, teaching, volunteer musicians and marketing. They are elected by the membership for up to three 3-year terms.

We are actively seeking new board members! This is a great way to live your best life while making a meaningful contribution to your community. The major requirement is a passion for classical symphonic music and a willingness to roll up your sleeves, as we are definitely a working board. We especially welcome diverse voices that can help our sym phony better reflect our community, and are always happy to find board members with expertise in financial management, law, HR, event planning, or educational/youth/virtual programming.

If you are interested in a board position or just want to learn more about what is involved, please message us - we’d love to talk to you more about these opportunities! Also, if you know someone outside our current community who has the right skills and might be interested, feel free to pass this notice on.

Chelsea Chambers, Executive Director - chelsea@peninsulasymphony.org

Peninsula Symphony is seeking board candidates!

BOARD, STAFF & VOLUNTEERS

PENINSULA SYMPHONY BOARD OF DIRECTORS

Ben Hollin, Co-Chair / Chair, Marketing Committee Ron Miller, Co-Chair / Chair, Education Committee Alan Russell, Vice Chair Randy Nickel, Secretary Katherine Bukstein, Chair, Diverisity, Equity, Inclusion Committee Daniel Cher

Barbara Erickson, Treasurer / Chair, Finance Committee Juliet Hamak, Orchestra Rep Alex Kurosawa

Diana Lloyd

Deborah Passanisi, Chair, Development Committee

Jshon Thomas, Chair, Governance Committee

PENINSULA SYMPHONY STAFF

Mitchell Sardou Klein, Music Director & Conductor Nathaniel Berman, Resident Conductor

Chelsea Chambers, Executive Director

Jim Fung, Director of Marketing & Digital Content Jenny Ugale, Development & Operations Associate

Faye Chapman, Bookkeeper Joel Greene, Music Librarian

Kristin Kunzelman, Stage Manager

Elizabeth Quivey, Stage Manager

Cara Burke, Office Volunteer Linda Dunn, Office Volunteer Katy Crain, Intern Heidi Hau, Piano Competition Coordinator Amelia Yee, Front of House & Volunteer Coordinator

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 / info@peninsulasymphony.org PeninsulaSymphony.org

Photo Credit: Audrey Daniel