Peninsula Symphony Violins of Hope Program Book 2022 by PeninsulaSymphony

MITCHELL SARDOU KLEIN MUSIC DIRECTOR & CONDUCTOR

Violins

Hope

APRIL 8 & 9, 2022

We were played by proud klezmers.

Table of Contents | April 8 & 9, 2022 5

VIOLINS OF HOPE PROGRAM

PROGRAM NOTES

VIOLINS OF HOPE: THE STORY

MUSIC DIRECTOR & CONDUCTOR

ASSISTANT CONDUCTOR

FEATURED ARTIST: CIHAT ASKIN

SEASON 74

PENINSULA SYMPHONY ORCHESTRA 2021/22

ADOPT-A-MUSICIAN

SUPPORTERS

BOARD, STAFF & VOLUNTEERS

SPONSORED BY

Katherine and Roy Bukstein The Arcadia Foundation

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VIOLINS OF HOPE April 8 & 9, 2022 / Heritage Theatre, Campbell MITCHELL SARDOU KLEIN Music Director / Conductor HOH CHEN Assistant Conductor CIHAT ASKIN Violin AVSHALOM WEINSTEIN Speaker

Cihat Askin, Avinu Malkeinu Cihat Askin, violin

Felix Mendelssohn, Violin Concerto, Op. 64 I. Allegro molto appassionato II. Andante III. Allegretto non troppo – Allegro molto vivace

Cihat Askin, violin

- Intermission Sergei Prokofiev, Overture on Jewish Themes, Op. 34

Hoh Chen, conducting

Ernest Bloch, Three Jewish Poems I. Danse (Poco animato) II. Rite (Calmo - Andante moderato) III. Cortége funèbre (Lento assai)

In association with

This program is made possible by the generous support from The Applied Materials Foundation The David and Lucile Packard Foundation SVCreates, in partnership with the County of Santa Clara

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Peninsula Symphony Orchestra April 2022 Maestro Mitchell Sardou Klein, Music Director & Conductor Tonight’s presentation of the inspiring Violins of Hope focuses on music that these extraordinary instruments might have played in pre-war Europe – music from four branches of the Jewish musical tradition: (1) the haunting ancient melodies that come directly from the synagogue; (2) the prominent place of Jewish musicians and composers in classical music; (3) the rich folk tradition of klezmer music; and (4) the emergence of a new compositional tradition at the beginning of the 20th Century that sought to capture something of the essence of the larger Jewish culture in major instrumental works. Cihat Askin’s Avinu Malkeinu (“Our Father, Our King”) is an evocative orchestration of a prayer that is chanted during the High Holy Days in synagogues throughout the world. Its history goes back more than two millennia to the leadership of Rabbi Akiva (died 135 CE). It is sung in a slow and poignant succession of melodies that are quoted quite literally in this imaginative and moving instrumental composition. Solo violin and cello introduce the first and second melodies, followed by larger statements from varying combinations of string, woodwind and brass instruments (embellished a bit with cantorial-sounding violin flourishes), ending in a hushed and reverent moment.

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PROGRAM NOTES

Felix Mendelssohn’s beloved Violin Concerto in E Minor, Op. 64 is his last orchestral work and one of the staples of the violin literature. It was written for his friend and colleague, the great violinist Ferdinand David, who was born in the same house where Mendelssohn had been born a year earlier and whose family, like Mendelssohn’s, was Jewish but later converted to Christianity. The prosperous Mendelssohn family brought the greatest musicians in Europe to their home for chamber music in which Felix and his talented sister Fanny participated (both of whom were prolific performer-composers even in their childhoods), as did David. The unforgettable opening melody of this concerto had been in Felix’s head at least since age 16, when he first used it in his magnificent Octet (perhaps the greatest wunderkind composition in musical history). It kept haunting him decades later, and in July of 1838 he wrote to David that it ”gives me no peace,” so he was planning to use it to anchor a new violin concerto for the following winter. By then, Mendelssohn was director of the Gewandhaus concerts in Leipzig and David was his concertmaster. The concerto took longer to complete than planned, but David was thrilled and inspired: “There is only one great concerto (for violin – meaning Beethoven’s), and now there will be two.” He was right. The resulting masterpiece was premiered by David at the Gewandhaus on March 13, 1845. The first movement begins with that rapturous and unforgettable melody:

A rather melancholy second theme is introduced by the woodwinds over an open G-string pedal played by the soloist. All of this develops in a brilliant and energetic structure that is in a fairly conventional sonata allegro form, but with one big surprise the written-out cadenza comes earlier than expected and introduces the recapitulation section of the movement, ultimately leading to a dazzling ending. But in another surprise, a single bassoon note remains sounding from the bluster of the final chords and leads into the second movement without a break. This Andante is contemplative but somehow also passionate (especially in the middle section), and full of magically lyrical melodies. Again, there is no pause in the music, and, after a short introduction, we find ourselves in a third movement (Allegretto non troppo) dominated by a musical language inhabited by one and only one composer in history – the sprightly world of the Mendelssohn scherzo, reminiscent of his incidental

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PROGRAM NOTES

music for A Midsummer Night’s Dream (also tracing back to his teenage years). Here the violin dances and frolics lightly and thrillingly over a joyous orchestral accompaniment.

This rondo movement alternates flighty pyrotechnics and sweet melody, finally weaving them together in a brilliant display of virtuosity and musicality. Sergei Prokofiev’s Overture on Jewish Themes, Op. 34a was originally written as a chamber work for clarinet, string quartet and piano during the composer’s stay in New York City in 1919. It was commissioned by a group called the Zimro Ensemble, sponsored by the Russian Zionist Organization. As such it was performed (with Prokofiev as pianist) several times in Carnegie Hall. It wasn’t until fifteen years later that Prokofiev revised it as a piece for orchestra with piano. The music here has its roots in klezmer, Jewish instrumental folk music for weddings and other celebrations that flourished in the shtetls of Europe for generations in the 19th and 20th Centuries. When immigrants brought this music to America, it merged with jazz and came to life anew. Revivals in the 1970s and in the 21st Century have insured klezmer’s place in the pantheon of great folk traditions. When he was commissioned to write the piece, Prokofiev was given a notebook of Jewish folksongs, but it is not clear that he quoted any of them literally in this piece. What he got just right is the klezmer-clarinet tune that forms the backbone of the piece and unfolds in increasingly urgent bursts of energy throughout the music, creating just the sort of ecstatic celebratory mood that a Jewish wedding dance provokes. Enjoy!! At the turn of the 20th Century, composers sought out folk traditions from many cultures as inspiration for their creative energies, developing the concept of ethnomusicology. Famously, Bela Bartok, Zoltan Kodaly, Bohuslav Martinu and others traveled to rural communities, especially in eastern Europe, to record the folk melodies that they feared were vanishing in the rush of modernity and urbanization brought on by the Industrial Revolution. A very few Jewish scholars also joined in this practice, and the young SwissAmerican composer Ernest Bloch sought out this tradition as he began to delve into his Jewish roots as a source of inspiration in the early nineteen-teens. This period of his eclectic compositional life produced masterworks like Schelomo (1916 - for cello and large orchestra) and the Israel Symphony (1912-16 – for orchestra and chorus). Three Jewish Poems, completed in 1913 and premiered by the Boston Symphony in 1917, is one of his first large-scale explicitly Jewish-influenced compositions.

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PROGRAM NOTES

Each of the three movements paints a vivid picture, with Bloch’s extraordinary gift for orchestration sculpting ear-catching moments of unmistakably and ineffably Jewish-sounding melodies and harmonies. Bloch’s other trademark is deft craftsmanship that allows him to develop and combine melodic fragments into larger units that evolve and form architectural units that hold the listener’s attention and build drama and symphonic grandeur. The first movement is titled “Dance.” Two melodies intertwine – the first is rather linear (heard at the beginning in the woodwinds), the second spinning out undulating triplet rhythms. One can imagine this movement as a ritual dance (with echoes of klezmer), building, waning and building anew, finally achieving an almost ecstatic fury in a climactic burst of orchestral color at the end. The second movement, titled “Rite,” seems to take us back to the ritual of the priestly observances of the First Temple in Solomon’s time in ancient Israel. Bloch wrote “This music is more emotional, but there is something solemn and distant.” The final section (“Cortege Funebre”) has (for me, at least) a devastating impact. As its slow, funereal march-melodies drive toward a series of cataclysmic orchestral screams, the orchestra becomes more relentless, desperate, and furious. It’s hard for a post-War listener not to sense a premonition of the Holocaust in this music. And yet, Bloch gives us a breath of hope at the end, after this succession of funeral marches, using several calm and distinctly cantorial-sounding melodies (which he later incorporated into his magnificent Sacred Service) to leave us in a more accepting and serene emotional realm. We should take note of the fact that Ernest Bloch became the most important Bay Area composer of his time in the last three decades of his life, serving as director of the fledgling San Francisco Conservatory, and later as Professor of Composition at UC Berkeley. Mitchell Sardou Klein

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PRE-CONCERT TALK WATCH: Pre-Concert Talk with Maestro Klein Please refrain from playing the video during the concert

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VIOLINS OF HOPE Violins of Hope is a project of concerts based on a private collection of violins, violas and cellos all collected since the end of World War 2. All instruments belonged to Jews before and during the war. Many were donated by or bought from survivors; some arrived through family members and many simply carry Stars of David as a decoration and an identity tag declaring: We were played by proud klezmers. All instruments have a common denominator: they had to do with the war. To be more specific, they had to do with the holocaust - death or survival. And hope. All instruments were symbols of hope and a way to say: remember me, remember us. Life is good, celebrate it for those who perished, for those who survived. For all people. Violin-makers Amnon and Avshalom Weinstein, father and son, who work in Tel Aviv and Istanbul own this collection. They dedicate their expertise and endless love to ensure that those instruments, most of which were rather cheap and unsophisticated, get a new beautiful make-over. Not enough, they also get a fantastic sound worth of the best musicians and large music halls. The Nazis used music and especially violins to humiliate and degrade Jews in ghettos and camps. They confiscated many thousand instruments of Jews all over Europe. Our concerts are the ultimate answer to their plan to annihilate a people and their culture, to destroy human lives and freedom.

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VIOLINS OF HOPE

The sound of violins is often compared to the beauty of the human voice. When played with talent and spirit, It is known to reach out and touch hearts. This was the role of violins in the war – to touch hearts, kindle hope for better times and spread it around. Wherever there was music, there was hope. Our violins present the victory of the human spirit over evil and hatred. As many as 6,000,000 Jews were murdered in WW2, but their memory is not forgotten. It comes back to life with every concert and every act of love and celebration of the human spirit. Violins of Hope is not only a memorial to lost culture and people, it is also an educational act that reaches young students and adults wherever our concerts are performed. In recent years some of the best world celebrated orchestras held Violins of Hope concerts among which are the Berlin Philharmonic, the Cleveland Symphony and many others. Every concert brings together people of all faiths and backgrounds. Every project is accompanied by an extensive educational program. We visit schools and hold narrated concerts. We tell the history of some instruments – such as the violin which was thrown out of a cattle train on way from France to Auschwitz; the violin that was buried under the snow in Holland; the violin that saved lives of people who played in camp orchestra and survived. So many stories, so much history.

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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. 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

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MUSIC DIRECTOR & CONDUCTOR

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, 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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MUSIC DIRECTOR & 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. 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 ARTIST

CIHAT AŞKIN Violinist Cihat Aşkın is the international representative of Turkish Violin School, and serves as a cultural bridge between the eastern and western civilizations as a cultural ambassador. He has participated in numerous concerts, festivals, radio and TV broadcasts, conferences and workshops in four continents and 51 countries. He has shared the products of Turkish and universal music among the world’s leading artists on world stages. Apart from his performing career, as an educationalist, he has founded many education and art institutions in Turkey. Having had the opportunity to work with masters such as Ayhan Turan, Rodney Friend, Yfrah Neaman, Igor Oistrakh and Ruggierro Ricci, Aşkın has gained a renowned reputation as an international violin virtuoso, and been performing in concerts since the age of 11. After graduating from ITU Conservatoire, he completed his masters and doctorate degrees at Royal College of Music and City University in London. The winner of many national and international awards, Aşkın was honored with Rome Foyer des Artistes, The Kennedy Center - Gold Medal, Buenos Aires Medal of Honor, Istanbul Music Festival Honorary Award and the SCA Foundation Gold Medal. He is the founder of ITU Center for Advanced Studies in Music (MIAM), “Cihat Aşkın and Little Friends” (CALF), Aşkın Ensemble and Istanbul Chamber Orchestra. Apart from being a violinist as a composer, Aşkın has composed and arranged many miniature pieces and film scores. He is also a most sought after jury member in many national and international competitions. Aşkın has recorded Kreutzer 42 Etudes, Bach 6 Solo Sonatas and Partitas and many other notable works. His recordings have been published by Warner Classics, Meridien, CPO, Marco Polo and Naxos companies as well as Kalan Music.

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JUNE 17 & 18

TESSA LARK AND MICHAEL THURBER

Bassist Michael Thurber (Royal Shakespeare Company, Late Show with Stephen Colbert) and violinist Tessa Lark (Winner, 2008 Klein Competition, Naumburg and Indianapolis Violin Competitions, Avery Fisher Career Grant) perform the World Premiere of Thurber’s “Invention for Violin, Bass and Orchestra” in a sparkling all-American evening of music by starcaliber American masters - Bernstein, Gershwin, William Schuman, and the great African-American composer Florence Price. FRI/ JUNE 17, 2022 - 8PM - SAN MATEO PERFORMING ARTS CENTER SAT/ JUNE 18, 2022 - 8PM - HERITAGE THEATRE, CAMPBELL

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PENINSULA SYMPHONY 16

74th

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ORCHESTRA 2021/22

Music Director & Conductor Mitchell Sardou Klein Assistant Conductor Hoh Chen Violin I Debra Fong, Concertmaster Maria Shim, Asst. Concertmaster (on leave) Katharine Wahl, Asst. Concertmaster Kimberly Bonnett Angelene McDaniel Boto Peter Cheng Daniel Cher Genevieve Coyle Ann Edwards Liana Isaacson Tara Iyer Sandra E. Larragoiti Jeffrey Lin Ryan Luo Girish Nanjundiah Daniel Sommermann Matt Springer Judy Streger Karen Tsuei Yuri Uchida Sandy Wan Alexander Wang

Violin II (cont’d) Kevin Dong Nadin El-Yabroudi Scott Huddas Mariko Kikuchi Yunjung Kim Jonathan Lim Vineet Mehta Kristin Oro Frank Rahn Jshon Thomas David Williams Hanna Yoshimoto Viola Elyse Ader, Principal Katherine Bukstein Adam Green Elizabeth Ingber Andrew Lan Mark McAuliffe Amanda Myers Jerry Saliman Charlie Tian Renee Tostengard Jolynda Tresner Carolyn Worthington Derek Wu

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 Kristin Kunzelman Kelsey Seymour Anne Wharton

ORCHESTRA 2021/22 Piccolo Patricia Harrell Oboe Audrey Gore, Principal David Allen, Acting 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

Contrabassoon Juliet Hamak Jonathan Westerling Saxophone Greg Chambers Phillip Cline Nick Cotter Ron Miller Jordan Selburn Linda Wilson Horn Brian W. Holmes, Co-Principal Randy Nickel, Co-Principal David Dufour Anna Newman Bob Satterford Paul Schneider Trumpet Mike Marmarou, Principal Guy Clark Robert Fitt Aaron Folmsbee Richard O. Leder Michael Pakaluk Laura Shea-Clarke Chris Wilhite

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, Principal Emily Hendricks, Co-Principal Benedict Lim Michael MacAvoy Harp Dana Wallace, Principal Kristin Lloyd Ricky Rasura Piano/Keyboard/Celesta Thomas Hansen, Principal Larry Laskowski Derek Wu 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 Noah Cort Bassoon John Givens 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 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

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ADOPT-A-MUSICIAN MUSICIAN

INSTRUMENT

ADOPTED BY

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

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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 March 25, 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 Pam Ferris 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 James Kleinrath & Melody Singleton Atsushi Kurosawa Los Altos Community Foundation Bill & Linda Malmstrom Leslie & Kevin Marks

PENINSULA SYMPHONY

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 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 James Kyser Susan Lin Susan Magrini

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SUPPORTERS Vivace ($500-$999) - cont’d

Allegro ($250-$499)

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

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

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SUPPORTERS

Allegro ($250-$499) - cont’d 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 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

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SUPPORTERS Dolce ($100-$249) - cont’d 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 Diane Merchant

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 David Swerdlove & Carol Winston Karl Talarico Emily Thomann Maureen Thrush Mary Urbach Frederick & Gretchen Wassem Linda Wilson June Wisecarver Raymond Wong Tim & Carolyn Worthington Arlene Zimmerman

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BOARD, STAFF & VOLUNTEERS

PENINSULA SYMPHONY BOARD OF DIRECTORS Alan Russell, Chair, Board of Directors Jshon Thomas, Secretary Susanne Bohl

Katherine Bukstein 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

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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

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