Philharmonia Baroque Orchestra & Chorale: January 2017 Program Book

JANUARY 2017

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Historical Performance

Spring 2017

SFCM B AROQUE ENSEMBLE Corey Jamason and Elisabeth Reed directors Baroque Opera Handel: Atalanta Handel’s charming, pastoral opera Atalanta will be presented in a concert version by the Baroque Ensemble.

March 11 and 12 Baroque Concerto Competition Winners Baroque Ensemble Concerto Competition Winners are presented as well as Telemann’s joyful celebration of folk music in his Ouverture des nations anciens et modernes, known as Les Nations.

April 15 Historical Performance & Opera Program Collaboration Purcell: Dido and Aeneas (fully-staged production) April 28 and 30

FACULTY RECITAL Baroque Chamber Music Elizabeth Blumenstock baroque violin Elisabeth Reed baroque cello Corey Jamason harpsichord with Tekla Cunningham ’01 baroque violin March 2

MASTER CLASSES Sponsored by American Bach Soloists Tekla Cunningham ’01 baroque violin February 6 Steven Lehning violone March 13 Jeffrey Thomas conductor April 10

800.899.SFCM | sfcm.edu

Order Tickets Today

calperformances.org (510) 642-9988

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

This program is presented with gracious leadership support from David Low & Dominique Lahaussois, Mark Perry & Melanie Peña, and The Waverley Fund as well as...

WHAT’S INSIDE

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Message from the Board President and Interim Executive Director

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Board of Directors and Staff

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About the Music Director

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About the Orchestra

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About the Chorale

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HAYDN & MOZART Pre-concert Talk Preview

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Haydn & Mozart Program

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About Elizabeth Blumenstock

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Nic’s Picks

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The Players and Their Instruments

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Haydn & Mozart Program Notes

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Donor Acknowledgements 26 In Conversation with

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Gifts to the Annual Fund

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14 Cover image of Nic McGegan by Suzanne Karp

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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FROM the PRESIDENT and EXECUTIVE DIRECTOR

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elcome back to everyone for a New Year of concerts here at Philharmonia. We are proud to be presenting three more concerts this season, and we’re happy to have you join us. At the same time we’re busy putting together another exciting season for 2017-18.

We look forward to sharing details of that season with you later this spring.

We are glad to have been able to provide newly printed concert tickets to our subscribers to the two Berkeley concert series. These new tickets will make it much easier for patrons to locate their seats at our new venues at Berkeley’s First Presbyterian Church and the Lafayette-Orinda Presbyterian Church. We thank those subscribers for their patience this past fall while we made arrangements for these new concert locations.

I want to remind everyone that our final concert this season in April 2017 will be held in collaboration with Cal Performances at another location, Zellerbach Hall, on the campus of UC Berkeley. We are excited to be presenting the modern premiere of the original version of Rameau’s Le temple de la gloire. We’ll have further information about those concerts in April.

This month we are delighted to showcase one of our musicians, Elizabeth Blumenstock, performing one of Mozart’s early violin concertos in concerts led by our Music Director, Nicholas McGegan. Elizabeth has been familiar to our audiences for many years, and we are looking forward to featuring her as a soloist this month. Mozart wrote this concerto while still living with his parents and older sister at their home in Salzburg, before his move to Vienna. Listen for the “Turkish” episode in the final movement.

The concert will be rounded out by one of Haydn’s later symphonies along with another symphony by a lesser-known composer, Adalbert Gyrowetz. Gyrowetz, a contemporary of Mozart’s, and acquainted with both Mozart and Haydn, lived long into the 19th century, but continued to write music in the style of Haydn. We hope you’ll enjoy comparing the symphonies by these two composers, similar in many ways but different in so many others.

As always we welcome your comments and feedback.

Please feel free to introduce yourself to any of our Board members or staff and let us know what you have liked. I look forward to seeing you at upcoming events.

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elcome to this evening’s performance. I hope your holidays were both happy and restful. Here at Philharmonia, we have begun serious preparations for April’s performances of Jean-Philippe Rameau’s late opera Le temple de la gloire, to be performed in collaboration with the Centre de Musique Baroque Versailles and presented by Cal Performances at UC Berkeley’s Zellerbach Hall.

Maestro McGegan began rehearsals with the vocal soloists earlier this month in Paris; Costume Designer Marie Anne Chiment is working with tailors and seamstresses preparing costumes; the New York Baroque Dance Company is getting ready for its trip to the Bay Area; the Stage Director and Choreographer Director Catherine Turocy and Production Manager have been meeting with Philharmonia staff and Set Designer Scott Blake and Lighting Designer Pierre Dupouey, as well as the stage and technical crews at Zellerbach; a special project videographer, Christina Kellogg, has been hired; and Audio Engineer David Bowles is making preparations for the audio recordings, which will be released internationally as Philharmonia Baroque Productions tenth compact disc later in 2017.

In short: it’s an exciting time at PBO. If you have not done so, please plan to join with friends and attend one of the performances. Although Nic and the members of the Orchestra have performed operas in the past, this will be the first fully-staged production in our history.

The production will be supported by generous donors including The Waverley Fund, the National Endowment for the Arts, the Bernard Osher Foundation, and Philharmonia Vice President and Board member David Low and his wife Dominique Lahaussois, who issued a major challenge grant to the Board of Directors that was in turn very generously answered. With a budget over $1 million, Le temple de la gloire will be the largest single project in our history, and your support is most welcome.

Parker E. Monroe

Ross Armstrong

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

BOARD OF DIRECTORS and STAFF BOARD OF DIRECTORS

STAFF

Officers Ross Armstrong, President Kay Sprinkel Grace, Vice President David Low, Vice President Mark Perry, Vice President David Gross, Secretary Donna Williams, Treasurer

Artistic Nicholas McGegan, Music Director

The Waverley Fund

Conductor’s Podium Bruce Lamott, Chorale Director

Robert and Laura Cory

Chorale Director

Members Adam Arthur Bier Parker E. Monroe, ex-officio Martin Cohn Marie Bertillion Collins Nicolas Elsishans Al Garren* Charlotte Gaylord Peter Hibbard Steven John Brian Kincaid Martine Kraus Carlene Laughlin William Lokke Michael Marmor Fred Matteson Nicholas McGegan, ex-officio Rebecca Moyle Sondra Schlesinger Jason Snyder Paul Sugarman Douglas Tanner

Administrative Parker E. Monroe, Interim Executive Director David Challinor, Subscription & Patron Services Manager Myles K. Glancy, Director of Concert Production Lisa Grodin, Director of Education Naren Larson, Box Office Analyst & IT Manager Noelle R. Moss, Director of Development Murrey E. Nelson, Director of Leadership Gifts Jeffrey D. Phillips, Artistic Administrator Dianne Provenzano, Director of Marketing & Public Relations Arturo Rodriguez, Patron Services and Education Coordinator Heli Roiha, Bookkeeper Andrea Sáenz, Development & Events Manager William Skeen, Orchestra Librarian Paul Swatek, Director of Finance

*Emeritus

Concert Production David v.R. Bowles (Swineshead Productions), Audio Engineer Paolo Brooks, Stage Manager E. J. Chavez, Stage Equipment Coordinator Gabrielle Lochard, House Manager Thomas Malone, Keyboard Technician Phaedra Strecher, Program Book Designer Frank Wing, Concert Photographer

Past Board Presidents Paul Sugarman (2008-2012) Martin Cohn (2005-2008) Nancy Kivelson (2002-2005) Fred Matteson (2000-2002) Christine Pallatto (1999-2000) Sherry Bartolucci (1997-1999) Grace Hoagland (1995-1997) Richard D. Maltzman (1993-1995) Dexter B. Dawes (1991-1993) Ann W. Vander Ende (1989-1991) Marie Bertillion Collins (1988-1989) Henry Mayer (1984-1988) Peter Strykers, MD (1982-1984)

CONTACT US Philharmonia Baroque Orchestra & Chorale 414 Mason Street, Suite 606 San Francisco, CA 94102 (415) 252-1288 info@philharmonia.org | philharmonia.org facebook.com/philharmoniabaroque twitter.com/philharmoniabar

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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Nicholas McGegan Waverley Fund Music Director

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s he embarks on his fourth decade on the podium, Nicholas McGegan — long hailed as “one of the finest baroque conductors of his generation” (The Independent) and “an expert in 18th-century style” (The New Yorker) — is recognized for his probing and revelatory explorations of music of all periods. Last season marked his 30th year as music director of Philharmonia Baroque Orchestra & Chorale, and he is also Principal Guest Conductor of the Pasadena Symphony.

Best known as a baroque and classical specialist, McGegan’s approach — intelligent, infused with joy and never dogmatic — has led to appearances with many of the world’s major orchestras. At home in opera houses, McGegan shone new light on close to twenty Handel operas as the Artistic Director and conductor at the Göttingen Handel Festival for 20 years (1991-2001) and the Mozart canon as Principal Guest Conductor at Scottish Opera in the 1990s.

His 2016/17 appearances include the Los Angeles Philharmonic (his 20th anniversary at the Hollywood Bowl); two programs with Pasadena Symphony; Baltimore, St. Louis, and Toronto Symphonies; Calgary Philharmonic; Handel and Haydn Society; Aspen Music Festival; and the Cleveland Orchestra/Blossom Music Festival.

Highlights of Philharmonia Baroque Orchestra & Chorale’s season under McGegan include a fully-staged production of Rameau’s Le temple de la gloire, Handel’s oratorio Joshua, and programs with guest soloists Robert Levin (fortepiano) and Isabelle Faust (violin). In addition, McGegan and PBO revive Scarlatti’s La Gloria di Primavera at Tanglewood and appear at Yale’s Norfolk Chamber Music Festival. This fall at Harvard, McGegan will

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serve a residency as the Christoph Wolff Distinguished Visiting Scholar. He also conducts the all-Mozart semi-final round of the 2017 Van Cliburn Piano Competition.

Overseas, McGegan appears with Cappella Savaria at the Esterhazay Palace in Fertod, Bournemouth Symphony Orchestra, Scottish Chamber Orchestra, and the Royal Northern Sinfonia.

McGegan’s prodigious discography features nine releases on Philharmonia Baroque’s label, Philharmonia Baroque Productions (PBP) including the 2011 GRAMMY® Awardnominated recording of Haydn Symphonies nos. 88, 101, and 104. Their latest release features the first-ever recording of the newly rediscovered 300-year-old work La Gloria di Primavera by Alessandro Scarlatti, recorded live at the U.S. premiere. McGegan has also recorded extensively with Capella Savaria, most recently releasing albums of Haydn and Joseph Martin Kraus.

English-born Nicholas McGegan was educated at Cambridge and Oxford. He was made an Officer of the Most Excellent Order of the British Empire (OBE) “for services to music overseas.” Most recently, McGegan was invited to join the board of Early Music America. Other awards include the Halle Handel Prize; the Order of Merit of the State of Lower Saxony (Germany); the Medal of Honour of the City of Göttingen, and a declaration of Nicholas McGegan Day, by the Mayor of San Francisco, in recognition of his work with Philharmonia Baroque. In 2013, the San Francisco Conservatory of Music awarded him an honorary degree of Doctor of Music.

Visit Nicholas McGegan on the web at www.nicholasmcgegan.com.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

“Music Director Nicholas McGegan carried it all off splendidly, with rhythmic command and plenty of high-contrast effects.

The orchestra, chorus, and vocalists all seemed keenly attuned to the task…”

—Steven Winn, San Francisco Classical Voice

Photo by RJ Muna

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Photo by Suzanne Karp

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nder the musical direction of Nicholas McGegan for over 30 years, Philharmonia Baroque Orchestra & Chorale (PBO) is recognized as America’s leading historicallyinformed ensemble. Using authentic instruments and stylistic conventions of the Baroque to early-Romantic periods, the Orchestra engages audiences through performance, tours, recordings, commissions, and education of the highest standard. Founded in the Bay Area 35 years ago, the ensemble is the largest of its kind in the United States.

PBO’s musicians are among the best in the country and serve on the faculties of Juilliard and Harvard, among others. The Orchestra performs an annual subscription season in four venues throughout the Bay Area and has its own professional chorus, the Philharmonia Chorale. It welcomes eminent guest artists such as mezzo-soprano Susan Graham, countertenor David Daniels, mezzo-soprano Anne-Sofie von Otter, fortepianist Emanuel Ax, and maestro Richard Egarr. The Orchestra enjoys numerous collaborations, including a regular partnership with the Mark Morris Dance Group, and appears regularly at Carnegie Hall, Lincoln Center, Walt Disney Concert Hall, Tanglewood, Weill Hall at the Green Music Center, and Bing Concert Hall at Stanford University.

Among the most recorded orchestras in the world, PBO boasts a discography of 40 recordings and launched its own label on which it has released nine recordings, including a coveted archival performance of mezzo-soprano Lorraine Hunt Lieberson singing Berlioz’s Les nuits d’été, and received a GRAMMY® nomination for a recording of Haydn

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symphonies. The Orchestra recently released its modern North American premiere of Alessandro Scarlatti’s La Gloria di Primavera to coincide with its May 2016 tour. PBO commissioned its first work, a one-act opera, To Hell and Back, by acclaimed composer Jake Heggie, in 2006.

A second commissioned work, Red, Red Rose

by Pulitzer Prize-winning composer Caroline Shaw, had its world premiere at Walt Disney Concert Hall in May 2016. In 2014, the Orchestra launched a new alternative concert series – SESSIONS – aimed at new audiences that has become a regular sell-out in the Bay Area and will now become part of PBO’s touring schedule.

Philharmonia’s upcoming 2016-17 season includes a range of programs that showcase the Orchestra’s versatility, including the return of renowned keyboardist Robert Levin and violinist Rachel Podger; Handel’s epic masterpiece, Joshua; and PBO’s first-ever fullystaged opera, Rameau’s The Temple of Glory, in collaboration with Cal Performances, Centre de Musique Baroque de Versailles and the New York Baroque Dance Company. The Orchestra can also be heard regularly on the Bay Area’s Classical KDFC. PBO maintains a suite of highly-regarded education programs, including its In-School Programs and Student Concerts. These are complemented by the well-received Mobile Mentors program that focuses on ensemble coaching, and Master Classes at universities, and our new partnership with the Juilliard School focused on training emerging talent. Nearly 4,000 children and adults each year benefit from PBO’s education programs.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

ABOUT BRUCE LAMOTT and the CHORALE

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hilharmonia Chorale has been an integral part of the organization since 1995 and is now recognized by our new name — Philharmonia Baroque Orchestra & Chorale. This welcome change will be seen throughout the season and into the future.

Bruce Lamott has been Director of the Philharmonia Chorale since 1997 and also serves as Philharmonia’s Scholar-in-Residence.

He first performed with the Orchestra in 1989 as continuo harpsichordist for Handel’s Giustino. In his 30-year tenure with the Carmel Bach Festival, he served as a harpsichordist, lecturer, choral director, and conductor of the Mission Candlelight Concerts. As the founding director of the Sacramento Symphony Chorus, he conducted annual choral concerts of major symphonic choral works and prepared the Symphony Chorus for their subscription season.

Lamott received a bachelor’s degree from Lewis and Clark College, and an M.A. and Ph.D. in musicology from Stanford. His teaching career began on the musicology faculty at UC Davis, where he directed the Early Music Ensemble. He recently retired from San Francisco University High School, where he has directed the choir and orchestra and taught Western Civilization for 36 years. As a professor of music history at the San Francisco Conservatory of Music since 2001, Dr. Lamott specializes in the vocal and instrumental repertoire of the 18th century. He teaches continuo-playing for the coach-accompanists in the San Francisco Opera’s Merola Opera Program and lectures for the Opera and Opera Guild’s education programs.

Critically acclaimed for its brilliant sound, robust energy and sensitive delivery of the text, the Philharmonia Chorale was formed to provide a vocal complement whose fluency in the stylistic language of the Baroque period matched that of Philharmonia Baroque Orchestra.

Bruce Lamott Founded in 1991

by John Butt, a Baroque keyboardist and one of the world’s leading Bach scholars, the 24 members of the Chorale are professional singers with distinguished solo and ensemble experience. Chorale members appear regularly with organizations such as the San Francisco Symphony, Carmel Bach Festival, and American Bach Soloists, and are guest soloists with most of the area’s symphonic and choral organizations.

They appear in roles with regional opera companies and have been members and founders of some of the country’s premiere vocal ensembles, including Chanticleer, the Dale Warland Singers, and Theatre of Voices.

In its first decade, the Chorale’s repertoire included nine Handel oratorios, Bach’s St. John Passion and Christmas Oratorio, and Mozart’s C Minor Mass. The Chorale has appeared with Philharmonia Baroque Orchestra at Walt Disney Concert Hall in Los Angeles, at New York City’s Lincoln Center, and at Segerstrom Concert Hall in Orange Country.

The Chorale appears on the Orchestra’s recordings of Arne’s Alfred, Scarlatti’s Cecilian Vespers, and Beethoven’s Symphony No. 9.

Photo by Frank Wing

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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The New Esterházy Quartet Lisa Weiss & Kati Kyme, violins; Anthony Martin, viola; William Skeen, cello

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th

Season

January • February • March in Berkeley • SF • Palo Alto for more information or to purchase our recordings please visit

www.newesterhazy.org

Joseph Haydn playing string quartets Anonymous, before 1790 From the Staats Museum, Vienna

Haydn & Mozart with Elizabeth Blumenstock GYROWETZ Symphony Op. 6, No. 3 MOZART Violin Concerto No. 5 “Turkish” HAYDN Symphony No. 91

PRELUDES

PRE-CONCERT TALKS Join us forty-five minutes prior to your concert for a lively and informative discussion about the concert.

HAYDN & MOZART JOHN PRESCOTT John Prescott holds an M.A. and Ph.D. in musicology from U.C. Berkeley. Dr. Prescott has written extensively on the music of Handel and has taught music courses at U.C. Berkeley and music theory at Crowden School in Berkeley. He was the musicologist for the San Francisco Elderhostel Arts and Humanities Program. He is a regularly featured scholar at Philharmonia.

THE TALK:

Engaging lecturer John Prescott examines the often interweaving styles of Mozart, Haydn, and their littleknown contemporary Adalbert Gyrowetz. Learn how each artist borrowed stylistic elements from one another, and how Haydn’s symphonic form became the exemplar of the Classical period.

Wednesday, January 25, 6:45 pm Bing Concert Hall, Stanford Friday, January 27, 7:15 pm Herbst Theatre, San Francisco Saturday, January 28, 7:15 pm First Presbyterian Church, Berkeley Sunday, January 29, 3:15 pm Lafayette-Orinda Presbyterian Church, Lafayette

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

HAYDN & MOZART Nicholas McGegan, conductor Elizabeth Blumenstock, violin

PROGRAM Adalbert Gyrowetz (1763-1850) Symphony in F major, Op. 6, No. 3

Allegro

Andante

Minuetto: Allegretto

Finale [Rondo]: Allegro vivace

Wolfgang Amadeus Mozart (1756–1791) Violin Concerto No. 5 in A major, K. 219 “Turkish”

Allegro aperto

Adagio

Rondeau – Tempo di minuetto Elizabeth Blumenstock, violin INTERMISSION Joseph Haydn (1732-1809) Symphony No. 91 in E-flat major

Largo – Allegro assai

Andante Minuet Vivace

Wednesday, January 25, 7:30 PM

Saturday, January 28, 8:00 PM

Friday, January 27, 8:00 PM

Sunday, January 29, 4:00 PM

Bing Concert Hall, Stanford

Herbst Theatre, San Francisco

First Presbyterian Church, Berkeley

Lafayette-Orinda Presbyterian Church, Lafayette

These performances are made possible in part by generous support from:

Mrs. Jonathan B. Gifford – January 25 The Grace and Laurance Hoagland Fund – January 25 Nicolas Elsishans & Christopher Hayes – January 27 Norman T. Larson – January 27 Paul & Susan Sugarman – January 29 Length of performance is approximately one hour and forty-five minutes.

Latecomers will be seated during suitable intervals in the program.

The use of cameras or recording devices of any kind is strictly prohibited.

Please turn off your digital alarm, cellular telephone or pager before the performance begins.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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FEATURED ARTIST ELIZABETH BLUMENSTOCK VIOLIN

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lizabeth Blumenstock is widely admired as a performer of interpretive eloquence and technical sparkle. A frequent soloist, concertmaster, and leader with American Bach Soloists, Philharmonia Baroque Orchestra & Chorale, and the Italian ensemble Il Complesso Barocco, she is also a member of several of California’s finest period instrument ensembles, including Musica Pacifica, Ensemble Mirable, the Arcadian Academy, and Trio Galanterie. She has appeared with period orchestras and chamber ensembles throughout the United States and abroad, and has performed for the Boston and Berkeley Early Music Festivals, Germany’s Goettingen Handelfestspiel, Los Angeles Opera, the Carmel Bach Festival, the Oulunsalo Soi festival in Finland, and the San Luis Obispo Mozart Festival, among many others. Ms. Blumenstock has recorded for Harmonia Mundi, Deutsche Grammophon, Virgin Classics, Dorian, BMG, Reference Recordings, Koch International, and Sono Luminus. She is instructor of baroque violin at the University of Southern California, teaches regularly at the International Baroque

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Elizabeth Blumenstock

Institute at Longy, has taught at the Austrian Baroque Academy, and has coached university Baroque ensembles at USC, Roosevelt University, the University of Virginia, and California Institute of the Arts.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

NIC’S PICKS CDS/RECORDINGS Contemporaries of Mozart Series — Gyrowetz: Symphonies* Matthias Bamhert, conductor London Mozart Players One of the very few collections of Gyrowetz symphonies that exist. This CD just happens to include the very symphony we’re performing for you today.

In the Haydn Catalogue, compiled

by Anthony van Hoboken, there are four original violin concertos, but only three of them have survived. These were composed by Haydn in his early years, during the first decade of his employment by the Esterházy family.

Mozart: 3 Violin Concertos (includes “Turkish”) Andrew Manze, violin The English Concert “Conspiratorial rapport between soloist and orchestra have never been bettered.”

— Gramophone

Philharmonia Baroque Orchestra — Haydn Symphonies*

DVDS In Search of Mozart* In Search of Haydn*

Nicholas McGegan, conductor Philharmonia has recorded two fabulous discs of Haydn Symphonies, one of which was awarded a GRAMMY nomination for Best Orchestral Performance. Each include three of Haydn’s many symphonies, of which there are over 100.

We may have more Haydn recordings to offer in the near future, so treat your ears with these Philharmonia Baroque Production favorites in the meantime!

Joseph Haydn: Violin Concertos* Nicholas McGegan, conductor Zsolt Kallo, violin Capella Savaria

Directed by Phil Grabsky Part of an excellent series of films by Phil Grabsky, the great British documentary film-maker.

A delightful and intelligent introduction to these composers in every way. (2 DVDs) * Available for purchase in the lobby at the PBO Boutique

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THE PLAYERS and THEIR INSTRUMENTS JANUARY 2017 Philharmonia’s musicians perform on historically accurate instruments. Below each player’s name is information about his or her instrument’s maker and origin.

VIOLIN

VIOLA

Katherine Kyme, concertmaster Johann Gottlob Pfretzschner, Mittenwald, Germany, 1791 Egon & Joan von Kaschnitz Concertmaster Chair

Lisa Grodin *

Elizabeth Blumenstock

Andrea Guarneri, Cremona, 1660; on loan from Philharmonia Baroque Orchestra Period Instrument Trust Susan B. Levy Chair

Jolianne von Einem

Rowland Ross, Guilford, England, 1979; after A. Stradivari

Tyler Lewis

Anonymous, Italy, c. 1800

Carla Moore

Johann Georg Thir, Vienna, Austria, 1754

Maxine Nemerovski

David Tecchler, Italy, 1733

Linda Quan

Jacob Stainer, Absam, Tyrol, 1655

Sandra Schwarz

Johannes Cuypers, The Hague, 1789

David Sego

Colin Nicholls, London, 1980; after Amati

Mathias Eberl (attrib.), Salzburg, Austria, 1680

David Daniel Bowes

Richard Duke, London, England, c. 1780

Maria Ionia Caswell

Anonymous, Mittenwald, Germany, c. 1800

Ellie Nishi

Aegidius Klotz, Mittenwald, Germany, 1790

VIOLONCELLO Tanya Tomkins *

Joseph Panormo, London, England, 1811

Paul Hale

Joseph Grubaugh & Sigrun Seifert, Petaluma, California, 1988; after A. Stradivari Osher Cello Chair Endowment

Robert Howard

Anonymous, Venice, Italy, 1750 Zheng Cao Memorial Chair

William Skeen

Giovanni Grancino, Milan, Italy, 1725

Noah Strick † Celia Bridges, Cologne, Germany, 1988

DOUBLE BASS

Lisa Weiss

Kristin Zoernig *

Gabrielle Wunsch

Tim Spears

Anonymous, London, England; after Testore Lorenzo Carcassi, Florence, Italy; 1765

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Joseph Wrent, Rotterdam, Holland, 1648

Anonymous, Germany

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

THE PLAYERS and THEIR INSTRUMENTS JANUARY 2017

FLUTE

BASSOON

Janet See

Andrew Schwartz * Guntram Wolf, Kronach, Germany, 2007; after Grenser

R. Tutz, Innsbruck, Austria, 1989; after H. Grenser, c. 1790

Stephanie Corwin

Guntram Wolf, Kronach, Germany, 2009; after Grenser

OBOE Gonzalo Ruiz * H. A. Vas Dias, Decatur, Georgia, 1988; after C. A. Grenser, Dresden, Germany, c. 1780 Principal Oboe Chair In Memory of Clare Frieman Kivelson and Irene Valente Angstadt Marc Schachman

Sand Dalton, Lopez Island, Washington, 1993; after Floth, c. 1800

HORN R. J. Kelley * M. A. Raoux, Paris, France, 1850 Paul Avril

Richard Seraphinoff, Bloomington, Indiana, 1998; after A. Halari, Paris, 1825

* Principal †Principal 2nd Violin

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GYROWETZ, MOZART, HAYDN BRUCE LAMOTT

fluency in German, Czech, Italian, French, and English coupled with a congenial and modest personality won him friendships with a “Who’s Who?” of noted musicians. Mozart performed one of his symphonies in a subscription concert in Vienna; nine-year-old Chopin made his debut playing one of his piano concertos in Warsaw.

The longest tenure of Gyrowetz’s career was as Second Kapellmeister of the Court Theatre in Vienna from 1804 to 1831, where his contract required him to create one opera and one ballet annually.

Adalbert Gyrowetz

Gyrowetz: Symphony in F major, Op. 6 No. 3

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dalbert Gyrowetz (or in his native Czech, Vojtěch Jírovec) was born in the year when seven-year-old Mozart was entertaining the courts of Europe (1763), and died in the year when Wagner’s Lohengrin premiered (1850).

Protégé of Mozart, promoter of Haydn, pallbearer for Beethoven, acquaintance of Chopin, and chosen orator of the Mozart commemoration of 1841, he was a veritable Zelig of music history. His misfortune was outliving his musical style: his prolific oeuvre of 40 symphonies, 50 string quartets, 30 operas, 40 ballets, and 19 masses drifted into obscurity even in his own lifetime.

Born in Budweis, Bohemia, Gyrowetz gravitated to Vienna when he was eighteen years old and there entered the circle of Mozart, Haydn, Dittersdorf, and Beethoven’s teacher Albrechtsberger. He made musical connections with leading composers and nobility in Naples, Rome, Paris, and London, and his

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His F Major Symphony was one of six modeled on Joseph Haydn, written in 1783 when he was twenty. The symphonies were commissioned by Count Franz von Fünfkirchen who, in addition to promoting his musical career, employed him as his secretary in Brno, Moravia. The young composer’s assimilation of the elder composer’s style was so convincing that an English publisher later passed off one of his symphonies under the name of Haydn. And, having settled in London after fleeing the French Revolution, Gyrowetz introduced Haydn to English society, who in turn introduced him to English audiences by including one of his symphonies in the famous Salomon Concerts in Hanover Square.

Scored for two oboes, bassoon, two horns, and strings, tonight’s symphony opens with a breezy waltz. The distribution of orchestral forces is typical of the early Classical Era, with the melody concentrated in the first violins, the violas doubling the cello and bass an octave higher, and the sustained winds filling out the harmonies. The development section of this sonata form has a few Haydn-esque surprises: startling key changes, a few descents into minor Sturm und Drang (storm and stress), and Haydn’s signature grand pauses. The cadence theme includes a chirpy Lombard rhythm (short-long, aka “Scottish snap”), and the serene ending jolts to attention with the final two chords.

The Andante second movement, in D minor, is bolder and more profound. An emphatic unison statement alternates with a harmonically unstable subsequent phrase. Interspersed with a cantabile [singing] melody, staccato triplets and turbulence create a rising scene of almost

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

PROGRAM NOTES operatic intensity.

The jaunty Minuet indulges in some rhythmically disrupting hemiolas [the displacement of accents from 1 2 3 | 1 2 3 to 1 2 1 | 2 1 2] reinforced by the woodwinds and basses. A grand pause follows after eight measures, as if to recalibrate the meter and put the accents back in order. The Trio features the oboe doubling the first violins in a tune so simple that we could sing along on the repeat.

This guileless quality continues into the Rondo finale, where paired horns and a sustained drone in the bass add a bucolic element with the sounds of the hunt and the drone of the shepherd’s bagpipe. The comic timing of Haydn is invoked once more with dead-end pauses articulating the sections of the rondo form.

As late as 1846, Gyrowetz wore a wig to hear Jenny Lind in concert. His musical fashion was similarly out of date as the tempests of Romanticism swept away his elegant Classical style. He would outlive Mozart, Haydn, Beethoven, Schubert, Chopin, and Mendelssohn.

Forgotten and no longer performed, he wrote his autobiography saying, “What a peculiar feeling it is to remain alive and yet realize that one is already spiritually dead.”

Mozart: Violin Concerto No. 5 in A Major, K. 219 (“Turkish”)

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lthough Mozart wrote twenty piano concertos throughout his life, his five concertos for solo violin and orchestra were all written in his early career in his birthplace of Salzburg, a prince-bishopric of the Holy Roman Empire ruled by prince-archbishops who employed Wolfgang’s father Leopold as a violinist in their court orchestra. The “Turkish” concerto was written in 1777, with the 21-yearold composer’s clever wit evident throughout.

The opening theme begins quite unremarkably with a “Mannheim rocket” arpeggio rising out of shimmering strings. Convention then dictates that the solo violin should either announce itself with a flourish or by restating the opening theme. But in this concerto the soloist enters with a plaintive adagio riff only vaguely reminiscent of the theme to the accompaniment of undulating violins in the style of Mozart’s operatic breezes. It sounds as if they are playing the wrong movement! However, order is soon restored, the soloist capitulates

Wolfgang Amadeus Mozart to a soloistic version of the orchestra’s original rocket theme, and the movement proceeds appropriately.

Murmuring undulations similar to those heard in the opening Adagio accompany the cantabile melody of the second movement.

The accompaniment also underscores the melodic line with the rhetorical figure called suspirans [breathing] in which the melody is broken into gentle two-note offbeat sighs alternating with the steady pulse of the bass line.

[Ms. Blumenstock has chosen to play cadenzas in these performances that were composed by Maestro McGegan.]

The courtly minuet had been the signature dance of European nobility since the reign of the French King Louis XIV (1647-1715), but although it is standard issue as the penultimate movement in a four-movement Classical symphony, it is unusual in a concerto finale. Mozart is setting us up with this archetypical minuet, with its sighing “feminine cadences” [a term from less gendersensitive times for phrases ending on weak beats], and delicate grace-notes. The wispy A major ending in 3/4 time is jolted into an “exotic” Allegro in A minor, first with an episode in the improvisatory style of Gypsy violinists, then with

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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PROGRAM NOTES a harmonically static, percussive march (in 2/4) with strongly accented downbeats. Absent the Turkish percussion instruments of bass drum, cymbals, and triangle, the cellos and basses play col legno [with the wood], beating out the accents with the wood of their bows. This Turkish-Hungarian episode [D] is framed by the minuet [A] in the overall form of the rondo: A-BA-C-A |D |A-B-A, but it is so disproportionately long and discrete that the return to the minuet gives the overall impression of hearing a minuetand-trio rather than a mere episode in a rondo.

The nickname “Turkish” for this concerto comes from this brash interruption of an otherwise genteel minuet. By the time Mozart composed this concerto, nearly a century had passed since Ottoman Turks besieged the city of Vienna in 1683, and “turkism” had become a fashion statement, not a mortal threat.

Recent scholarship suggests that this alla turca concerto might just as well be described as alla ongarese [Hungarian-Gypsy], as the two styles are often indistinguishable. Bence Szabolcsi identifies the source of the Viennese alla turca style in a wedding dance, the törkörös, danced by Hungarian villagers dressed in pseudo-Turkish costumes to musical parodies of Turkish melodies. Rather than imitating the elite Janissary bands of the Ottoman military as previously thought, Mozart may likely have been writing a parody of a parody.

Haydn: Symphony No. 91 in E-flat Major

I

t is hard to imagine that Haydn’s congenial Symphony No. 91 was first performed in the Salle des Gardes of the Tuileries Palace just months before the Revolution forced King Louis XVI, Marie Antoinette, and their children to leave Versailles and take up residence there under house arrest in October 1789. Though Haydn was still in service to the noble Esterházy family in Vienna, his reputation had become international.

A handsome young military officer, ClaudeFrançois-Marie Rigolet, comte d’Ogny, had previously commissioned seven symphonies from Haydn (Nos. 82-89) on behalf of the Concerts de la Loge Olympique in Paris, and asked for three more (Nos. 90-92) in 1788-89. The 65-piece orchestra of this elite Masonic society was larger than Haydn’s own orchestra at Esterháza (and Philharmonia, for that matter), and included some

22

Joseph Haydn

of France’s best musicians as well as talented amateurs. As an almanac from 1786 notes, “The meetings [of the Loge] strike one by their éclat and brilliance. They are remarkable above all for the tone of grandeur, decency, and politeness that reigns there.”

While decency and politeness certainly characterize Symphony No. 91, it runs a little short on grandeur, for although they were available to him in the Loge’s orchestra, it is the last of Haydn’s 104 symphonies without trumpets and timpani. The symphony germinates from the simplest of musical materials: the interval of a third (do-mi, or any three adjacent white notes on the piano, for example). These thirds can be stacked atop one another, as heard in the introductory Largo, or filled in with the two or three chromatic notes in between them, creating the smooth rising or falling chromatic lines which follow after the brief prelude. The opening of the Allegro assai is a demonstration of “contrary motion” in two parts: the violins rise by half-steps while the violas, cellos, and basses descend, widening the gap between them. Then the parts switch places (called “invertible counterpoint”) drawing the two lines back together again in

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

PROGRAM NOTES two concise, symmetrical phrases. This Jacob’s ladder of rising and falling chromatic lines continues throughout the movement, relieved at times by a staccato clockwork of unison lines and the flurry of triplets that end each section.

French court dances went international during the eighteenth century, and Haydn’s Parisian audience would have recognized a gavotte, with its two short upbeats, in the theme of the second movement, Andante. The cleanly divided symmetrical phrases further enhance the dancelike quality of the melody, which becomes the theme for a brief set of variations. A sudden momentary disruption of the key adds irony to the theme, which ends with Haydn’s penchant for juxtaposing the softest phrase (pianissimo) with the loudest (fortissimo). A bassoon solo carries the first variation, accompanied by a filigree of violins and a hint of imitation in the bass line. Though the second variation is in minor, it lacks pathos and ends with a delicate trio for flute and the two violin sections.

The blustering final variation pits the simple theme against vigorous activity in the cellos and basses. Most surprising is the whimsical

skipping passage in the violins (reminiscent of Dvorak’s “Humoresque”) before the movement evaporates.

The Minuet is a sturdy affair, with violins leaping in chords (triple stops) alternating with cascading triplets. The trio is an Austrian Ländler, a rustic precursor to the waltz, with plucked strings (pizzicato) providing the “oom-pahs” while the bassoon doubles the naïve violin melody.

The vivacious Finale is “decency and politeness” itself, a memorable tune with a minimum of interference or complexity. Haydn gets a lot of mileage out of the six notes of the first phrase, crafting a whole development section out of the interplay of the two-note idea that ends it. Though he gives the opening phrase some imitative (contrapuntal) treatment, he never loses the ebullience of the movement in contrapuntal complexity. The ominous rumblings of the French Revolution and the imminent disgrace of Haydn’s onetime Austrian princess now become Queen of France, Marie Antoinette, are nowhere to be found in this charming work, written for a threatened elite society.

BRAVO! BRAVO!

DLA Piper proudly supports DLA Piper DLA Piper Philharmonia Baroque Orchestra proudly supports proudly supports and congratulates Nic McGegan Philharmonia Baroque Orchestra & Chorale Philharmonia Baroque Orchestra on his 30th anniversary. during their magnificent 2016/17 season. and congratulates Nic McGegan on his 30th anniversary.

555 Mission Street Suite 2400 | San Francisco, California | dlapiper.com 555 Mission Street Suite 2400 | San Francisco, California | dlapiper.com PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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WinterGala

20 17

new music for old instruments

with Dominique Labelle Friday, March 10, 2017 6:30pm – midnight St. Regis Hotel 125 Third Street, San Francisco, CA This year’s gala will showcase PBO’s latest initiative “New Music for Old Instruments” and honor acclaimed soprano Dominique Labelle for her extraordinary artistic contributions. PBO Music Director Nic McGegan will lead members of the Orchestra and Ms. Labelle who will perform the world premiere of a piece by Pulitzer Prize winning composer Caroline Shaw.

the evening also includes:

• Silent auction showcasing one-of-a-kind items • •

and cocktail reception An exquisite three-course dinner and student musician performance A premium Scotch tasting following dinner

All funds raised help bring PBO’s unique brand of music to concert halls and classrooms in San Francisco, Berkeley, Stanford and points beyond.

to purchase tickets or for more information:

Please visit www.philharmonia.org/annual-gala or contact Andrea Sáenz at asaenz@philharmonia.org or (415) 252-1288 ext 300

Philharmonia is proud to raise a glass in honor of

Official Wine Sponsor for the 2016-17 season

CAMPAIGN for the 21st CENTURY DONORS

Philharmonia Baroque Orchestra & Chorale gratefully acknowledges the lead contributors listed below whose extraordinary and generous commitments will pave the way for a strong and innovative future.

$1,000,000+ The Waverley Fund Nicholas McGegan Conductor’s Podium $500,000—$999,999 Anonymous (1) Ross Armstrong, Ross E. Armstrong Baroque Vocal Works Fund $250,000—$499,999 Zheng Cao Memorial Cello Chair Dr. Al Garren, Dr. Al Garren Violin Chair $100,000—$249,999 Kay Sprinkel Grace, Education & Innovation Circle David Low & Dominique Lahaussois, Touring Circle Drs. Jane & Michael Marmor, Michael F. and Jane B. Marmor Principal Clarinet Chair Elizabeth Anderson Mayer Chris McCrum & Elizabeth Velarde, Chorale Circle Mark Perry & Melanie Peña/Bill & Lee Perry, Education & Innovation Circle Susan & Paul Sugarman Family Philanthropic Fund, Guest Artists Circle Egon & Joan von Kaschnitz, Egon and Joan von Kaschnitz Concertmaster Chair $50,000—$99,999 Linda Brewer Kathleen & Martin Cohn, Touring Circle Nicolas Elsishans & Christopher Hayes Kate & David Gross Mrs. Jonathan B. Gifford Norman T. Larson Roy Levin & Jan Thomson Carol & Doug Tanner, Touring Circle $25,000—$49,999 Quincy Bragg & Sarah Fitzgerald The Estate of Donald E. Casey The Estate of Philip J. Eisenberg Susan LeRoy & Michael Stewart Fred Matteson & Anne Davidson Barr Sondra & Milton Schlesinger Linda & Paul Swatek Donna M. Williams, Touring Circle

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$10,000—$24,999 Bonnie & Jim Bell Carol & Peter Berkenkotter Elizabeth, Kay & Mike Buckley Marie Bertillion Collins & Leonard Collins The Gray Family Foundation Nancy & Richard Heath The Grace and Laurance Hoagland Fund Margaret & Edmond Kavounas, Recording & Media Circle Kit & Hayne Leland William Lokke Betty & Jack Schafer William Quackenbush The Estate of Shirley Sarvis $5,000—$9,999 The Rev’d Richard Fabian Charlotte Gaylord & Barrie Cowan Lynn Gotchall Brian M. Kincaid & Elizabeth C. Theil Carlene Laughlin Ellen & Barry Levine Katherine & Bridger Mitchell Janet & Bill Nicholls Judith & Stuart Offer Mary & David Phillips Ellen & Mike Turbow Chris Mele-Wagner Wendy and Mason Willrich Gifts recognized above represent commitments in excess of $5,000 to the Campaign for the 21st Century from August 1, 2010 through September 30, 2015.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Early Music America has provided scholarships, grants, and financial assistance to musicians for the past 30 years. In addition to our outreach programs, EMA publishes a highly-regarded quarterly magazine, maintains a community-driven, informational website and international events calendar promoting our members’ concerts, workshops, and festivals. We are also proud to be at the forefront of fostering emerging historical performance professionals through our competitions and Young Performers Festival.

Join today!

Experience the benefits of an EMA membership.

Use the code EMAPHIL20 to receive 20% off new memberships.

earlymusicamerica.org

BUILDING PHILHARMONIA’S FUTURE ENDOWED FUNDS AND NAMED CHAIRS

Contributing to the Endowment Fund or naming a chair creates a legacy that will preserve the unique sound of Philharmonia for generations to come. Philharmonia Baroque Orchestra & Chorale gratefully recognizes the following named chairs and donors to the endowment.

NAMED CHAIRS The Waverley Fund Conductor’s Podium* Egon & Joan von Kaschnitz Concertmaster Chair*

Michael F. and Jane B. Marmor Principal Clarinet Chair*

Zheng Cao Memorial Cello Chair

Clare Frieman Kivelson and Irene Valente Angstadt Memorial Principal Oboe Chair Susan B. Levy Violin Chair

Osher Cello Chair Endowment*

THE PHILHARMONIA CHORALE ENDOWMENT FUND* Anonymous ENDOWMENT SUPPORTERS Susan & Paul Sugarman* Donna Williams* * Denotes endowed chairs or funds, or donors to the general endowment, with commitments through the Campaign for the 21st Century.

LIFETIME BENEFACTORS Philharmonia Baroque Orchestra & Chorale thanks the following visionary supporters whose cumulative giving to the Orchestra totals $100,000 or more.

Anonymous (2)

Christine & Kenneth Hecht

Elizabeth Anderson Mayer

Ross Armstrong

The Grace & Laurence Hoagland Fund

Chris McCrumb & Elizabeth Velarde

Marie & Palmer Hotz

Gladyne K. Mitchell

The Kivelstadt Family Trust

Holbrook T. Mitchell

Norman T. Larson

Mary Perry & Melanie Peña

Kit & Hayne Leland

Maxine Rosston

Laura & Robert Cory

John B. Levy

Sondra & Milton Schlesinger

Al Garren

The Estate of Susan B. Levy, in honor of Fred Sondheimer

Jane & Jack Stuppin

Nicholas Bez Kathleen & Martin Cohn Richard Colburn Marie Bertillion Collins & Leonard Collins

Mona Geller Mrs. Jonathan B. Gifford Joan & John Goddard, The Goddard Foundation Kay Sprinkel Grace Kate & David Gross

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David Low & Dominique Lahaussois The Marmor Foundation, Drs. Michael and Jane Marmor Frederick Matteson & Anne Davidson Barr

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Susan & Paul Sugarman Linda & Paul Swatek Carol & Douglas Tanner Egon & Joan von Kaschnitz The Waverley Fund

BUILDING PHILHARMONIA’S FUTURE LAURETTE GOLDBERG SOCIETY

The Laurette Goldberg Society, named after the founder of Philharmonia Baroque Orchestra & Chorale, honors those individuals who have named the Orchestra in their estate plans.

Anonymous (3) Ross Armstrong Corey & Tim Benjamin The Robert A. Birman Executive Director Chair Norman Bookstein & Gillian Kuehner Don Buhman Linda Brewer William Bush David Challinor Kathleen & Martin Cohn

Marie Bertillion Collins & Leonard Collins Steven A. R. Edwards Nicolas Elsishans & Christopher Hayes Kay Sprinkel Grace Margaret Hegg Steve John & Jason Snyder Kathy & Bill Korbholz George Kovatch & Robert Wiskozil Norman T. Larson

Clifford Leventhal William Lokke Barbara & Nigel Renton Maxine & James Risley Adrienne & Ted Savetnick Sondra & Milton Schlesinger Barbara Silverberg Frances C. Strauss Linda & Paul Swatek Ann W. Vander Ende Claudine Torfs Theodore Weber

Philharmonia would also like to recognize the following estate gifts that have supported our work: The Estate of Donald E. Casey

The Estate of Mrs. A. P. Morse

The Estate of Marie Mendenhall Cleasby

The Estate of Maxine Rosston

The Phillip M. Eisenberg Trust

The Estate of Shirley Sarvis

The Estate of Eva & James Goodwin

The Estate of Carol Seitz

The Estate of Marie Kieraldo

The Estate of Michael J. Weller

The Estate of Susan B. Levy

Leave a Legacy to PBO Planning for the future is vital, not only for individuals but for organizations like PBO as well. Turn your passion for the Orchestra into a lasting legacy and help us make the future as bright as the present by naming PBO in your estate plans.

Estate gifts make it possible for PBO to: • enhance our regular season programming • introduce PBO to new audiences nationally and internationally, and • take necessary artistic risks.

Legacy giving is easy to set up and can even benefit you during your lifetime.

Help us today to ensure that the art of historically informed performance is available for many, many years to come.

For more information on making a legacy gift to PBO, please visit www.philharmonia.org/ legacy-giving. To be included in the Laurette Goldberg Society if you’ve already named Philharmonia in your estate plan or for help doing so, please contact Noelle R. Moss, Director of Development, at (415) 252-1288 ext 314 or nmoss@philharmonia.org.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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ALL BEETHOVEN

FRIENDS OF PHILHARMONIA RECEPTION

Keyboard Virtuosity and Arts Partnership Marks Beginning of PBO’s Season

P

hilharmonia launched its 2016-17 season with an incredible concert featuring keyboard virtuoso Robert Levin in an All Beethoven program. October 2016 also marked the second year of PBO’s partnership with the San Francisco Conservatory of Music and the Rubin Institute for Music Criticism. It was wonderful to hear Washington Post critic Anne Midgette’s pre-concert talk about the Streicher family of piano makers on October 21.

Immediately following the October 21 concert, a post-concert reception for Friends of Philharmonia members at the Arcangeli level and above, as well as special guests from the Rubin Institute and KDFC, was held in the Thomas E. Horn Bar & Lounge downstairs.

Lavish charcuterie and dessert nibbles greeted hungry patrons when they arrived. Attendees were joined by guest artist Robert Levin, Nic McGegan, and members of the Orchestra.

Together, the group lifted a glass of celebration in honor of an incredible arts partnership and the beginning of PBO’s 2016-17 season.

Guest Artist Robert Levin, KDFC President Bill Lueth and guests

Nic McGegan and Gladyne Mitchell

Fred Sondheimer and Richard & Paula Kulp

PBO Cellist Phoebe Carrai and Hiram Simon

Michael Sack and Kathy Cohn

Philharmonia donor events are designed to enhance the concert-going experience and bring the audience closer to the music. From exclusive access to rehearsals to intimate private concerts, membership in Friends of Philharmonia definitely has its benefits. For more information, contact Noelle R. Moss, Director of Development, at 415-252-1288 ext 314 or nmoss@philharmonia.org.

Philharmonia gratefully acknowledges the event’s co-sponsors: Classical KDFC and The Rubin Institute for Musical Criticism

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

GIFTS TO THE ANNUAL FUND Philharmonia expresses its warmest thanks to those individuals, foundations, corporations and government agencies whose loyal support of the Annual Fund makes possible our extensive artistic and educational programs. Thank you for providing the Orchestra with the resources to bring its music to concert halls, classrooms and communities throughout the Bay Area and beyond. We are very grateful to the following donors whose gifts were received between September 1, 2015 and November 30, 2016.

up to $4,999

CORPORATE, FOUNDATION & GOVERNMENT GRANTS

$100,000 & above

California Community Foundation Jewish Communal Fund Morgan Stanley GIFT Silicon Valley Community Foundation

$75,000 - $99,999

CORPORATE PARTNERS

Bloomberg Philanthropies Grants for the Arts/San Francisco Hotel Tax Fund The William & Flora Hewlett Foundation The Wallis Foundation

Bailard, Inc. Bell Investment Advisors

$25,000 - $74,999

Bailard, Inc. Fidelity Investments Charitable Gift Fund Ann & Gordon Getty Foundation The Bernard Osher Foundation

$10,000 - $24,999

Bank of America Charitable Gift Fund Bell Investment Advisors Gaia Fund National Endowment for the Arts Vanguard Charitable Endowment Program

$5,000 - $9,999

The Bob Ross Foundation E. Nakamichi Foundation Jewish Community Federation & Endowment Fund Jewish Community Foundation of the East Bay The San Francisco Foundation The Wells Fargo Foundation

MATCHING GIFTS

Adobe Systems Incorporated Chevron Humankind Matching Gift Program IBM Corporation Oracle Corporation

GIFTS IN KIND

Norman Bookstein Classic Malts DLA Piper Ebby St. Pierre Graphic Design Goodby, Silverstein & Partners KDFC Nancy Mims, Deliberate Whispers Panoramic Interests RJ Muna Photography St. Regis Hotel WineWise, Hiram Simon & Brian Greenwood

We gratefully acknowledge the support we receive from:

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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WITH GRATITUDE CONDUCTOR’S CIRCLE ($50,000+)

ARCANGELI ($5,500 - $9,999)

Anonymous (1)

Anonymous (1)

Ross E. Armstrong

Carol & Peter Berkenkotter▲

✢

Gladyne K. Mitchell✢

The Estate of Maxine Rosston♦ The Waverley Fund✢

Martin & Kathleen Cohn✢

Dominique Lahaussois & David Low

Kay Sprinkel Grace✢ Martine Kraus

Mark Perry & Melanie Peña

The Marmor Foundation; Drs. Michael & Jane Marmor♦ Frederick Matteson & Anne Davidson Barr♦

The Grace & Laurance Hoagland Fund✢

The Estate of Marie Kieraldo✢ Norman T. Larson▲

David Morandi✢

Claudine Torfs♦

Donna Williams

Kate & David Gross

Brian M. Kincaid & Elizabeth C. Theil✢

Charles Crane♦

Elizabeth, Kay & Mike Buckley▲ Annelle Clute✢

Sondra & Milton Schlesinger

♦

Corinne Cooley Derringer♦ The Rev’d Richard Fabian▲

Marta Falicov✢

♦ - 10+ YEARS

Mr. & Mrs. Roger L. Chretien Catherine & D. Michael Enfield♦

Olga Conrad♦

Maxine Risley▲

Don & Joan Beerline♦

Kyra & Ken Carson♦

Corey & Tim Benjamin♦

Nicholas McGegan & David Bowles♦

Nancy & Clayton Bavor♦

Richard Caplin, M.D.✢

Mary & Roger Ashley✢

Elizabeth Anderson Mayer▲

Darla & Richard Bastoni♦

William Bush✢

Anonymous (3)

Eric Leve

Troy Barbee

Donald Buhman & Wray Humphrey

AMATI ($3,000 - $5,499)

Marie & Palmer Hotz▲

Paul Wilson▲

Adam Arthur Bier & Rachel Bier Lem

The TL Trust✢

✢

Linda & Paul Swatek▲

Ari & Kristin Baron♦

Carol & Douglas Tanner♦

John & Joan Goddard, The Goddard Foundation▲

Betty & Jack Schafer✢

Anonymous (1)

Paul and Susan Sugarman Family Philanthropic Fund♦

Nicolas Elsishans & Christopher Hayes

Howard Schachman♦

Leonilla & William Perry♦ Susan LeRoy Stewart & Michael Stewart✢

Bonnie & Jim Bell

Anne & Jeffrey Katz

COGNOSCENTI ($1,500 - $2,999)

Jade and Chris Simonson✢

GUARNERI ($10,000 - $14,999)

Dr. Bill Isenberg and Ruth Isenberg

Rebecca Moyle & Tyler Lange

Kathryn & Donley Parmentier✢

Jean Shuler✢

Christina & Kenneth Hecht▲

Christopher & Michael Mele-Wagner♦

William Lokke✢

Nancy & Richard Heath♦

Charlotte Gaylord & Barrie Cowan♦

Didier LeGall

Carlene Laughlin

Mrs. Jonathan B. Gifford✢

Al Garren✢

Margaret & Edmond Kavounas♦

Paola & Richard Kulp✢

CHRISTOFORI ($15,000 - $24,999)

Jean-Marc Frailong & Richard Halton♦ Lynn Gotchall♦

Marie Bertillion Collins & Leonard Collins▲

The Goodman Family Supporting Foundation of The Jewish Community Foundation of the East Bay♦

STRADIVARI ($25,000 - $44,999)

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Sarah FitzGerald & Quincy Bragg♦

The Estate of James Goodwin✢ Joyce & Douglas Hamilton✢

|

✢ - 20+ YEARS

|

▲ - 30+ YEARS

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

WITH GRATITUDE Margaret Hegg♦

Susanne Hering & John Phillips♦

CAMERATA ($650 - $1,499)

Maureen & David Kennedy♦

Ian Hinchliffe & Marjorie Shapiro✢

Anonymous (2)

Steve John & Jason Snyder

Marguerite & Marc Kaufman♦

Robert & Elaine Allen Family Foundation

Alice & Richard Kulka

Kendall & Claire Allphin

Adair & William Langston▲

R. Tyler Andersen & Diane Green✢

Ellen & Barry Levine♦

Barbara Barkovich✢

Walter Augusta & Robert Levy Memorial Fund♦

Janet & Chris Bensick▲

C.R. Gus Manning & Rena Kirkpatrick✢

Patricia Bradley▲

Sheila & Michael Lagios▲ Laura Leff

Christine & Jerry Baker✢

Angela Little▲

Mrs. Mary Baxter✢

Harvey Lynch

Joan Mansour

Rod McChesney

Willinda & Peter McCrea✢

Barbara & Thomas Metcalf♦ Mary Anne Miller & James Suekama✢ Tom Lee✢

Grace M. Parr

♦

Phillip Phythian & Ann Hardham✢ Adrienne & Theodore Savetnick♦

Reed & Barbara Schmidt✢ Ross Smith♦

Sylvia J. Spengler✢

Jonathan Stebbins & Jessica Donovan✢

Barbara & Gregory Tanaka✢ Muriel Waller♦

Mr. Theodore Weber, Jr.✢ Melanie & Ron Wilensky

Wendy & Mason Willrich✢ Elinor & Bruce Wilner✢

Jane & Warren Zuckert♦

Stephen Bischoff✢

Marlene Bollhoffer✢ Prudence Breitrose✢

Ann & Winslow Briggs✢

Melissa & Richard Bruins♦ Lynne Carr

George Cogan

Joan & Edward Conger♦

Margaret Conkey & Lester Rowntree♦

Barbara Koepsell♦ Bob Larson♦

Maribelle & Stephen Leavitt♦ Kit & Hayne Leland✢ Hollis Lenderking♦

Claire & Herbert Lindenberger✢ Carol Lokke✢

Martha & Arthur Luehrmann♦ Josephine Maxon♦ Hugh McLean✢

Richard Meiss & Peter Rudy✢ Theo & Lisa Melas-Kyriazi Helen & John Meyer

Neanna & Allan Miles✢

Katherine & Bridger Mitchell♦ Lisa Moresco & Gerry Agosta Tina & Stephen Morris♦ Kurt Mueller-Vollmer Jeanne Newman

Janet & Bill Nicholls✢

Glyde Cooper✢

Brenda & James Nirenstein✢

John Drago♦

Judith & Stuart Offer♦

Jessena Finn♦

Ray Perman✢

Rob & Barbara Grant

William Quackenbush♦

Janet & Joseph Grodin✢

William & Ray Riess✢

Georgia Heid & Mary Belle O’Brien✢

Michael Sack✢

The Ruth Crosby Fund♦

Ellie Nishi♦

Paul Feder & Freye Anderson✢

Eileen Peck

Margaret Garms♦

Heather Preston

Bill Gray & Kathy Hibbs

Maureen & Donald Querio♦

Ann & Roy G. Hammonds, Jr.✢

Anmarie Roache

Nina Hemenway & Chesley Herbert Alison & Peter Hill

Silvija & Roger Hoag✢

Susan & David Hodges♦ Susan & Ernst Hoyer Robert Jarman Sara Jotoku

Julie & Preston Sargent Fritzi Schoen♦ Scott Sochar♦

Marian & Abraham Sofaer John Sommer▲

Cheri & Burnie Sparks

Gayle & George Staehle✢

David Stein & Bill Stewart♦

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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WITH GRATITUDE Jo Ann Stewart & Judy Nelson✢

Patricia & Peter Coffin▲

Carol Handelman♦

Claire Taylor♦

Emily Gladstone Cole♦

Nancy & Nicholas Haritatos✢

Tricia Tanoury Marion Taylor

✢

Michael Colbruno♦

Ms. Mary H. Hardy

Michael Condie

Alan Harper & Carol Baird

▲

Joseph & Donna Terdiman✢

Lava Thomas & Peter Danzig♦ Robert Thompson

Ellen & Mike Turbow

✢

Jake Heggie

Jane Coulter♦

Margaret Heineman

L. William Countryman♦

Joan & David Hollinger

Peter Crabtree & Barbara Ann Beno✢

Dr. David L. White & Martha Truett✢

Robert Cronin▲

Cathe & Gavin Wright✢

Dorothy Dayton

Arlene & David Holloway✢ Leila & David Javitch

Peter & Jayne Davis

Andrea Julian✢

Lloyd Day

John & Marilyn Whitcher

Chrystal & James Kafka✢

Emily Kenyon & David Lipsky

Diane de Forest♦

Beverly Zellick▲

Sheila Keppel✢

Jacqueline Desoer

($350 - $649)

Robert Kidd & Joan Story

Jeanette & Peter Dunckel✢

Anonymous (2)

Li-Hsia Wang & Henry Abrons Household Frank Adams & Susan Bryan▲

Carol Cosman & Robert Alter♦ Paul Anderson

Gina Earle & Thomas Schmidt♦ Steven A.R. Edwards✢

Phyllis Koch

Bette & Bob Epstein

Iris and Hal Korol

Mary & Jurgen Exner♦

Barbara Kosnar & Tom Goldman

Danine & James Langdell✢

Jonathan Arons & Claire Max♦

David Favrot & Kathi Brown-Favrot

Zachary Baker♦

Jennifer Finger & Scott Bucey

Mary Austin

Marcia & Richard Baugh✢

Janice & William Belmont✢ Lise Perlman & Peter J. Benvenutti

Connie & John Buchanan✢

Patricia & Richard Campbell✢ Dorothy & William Clemens✢

Sheri & George Clyde✢

Suzanne & Stanley Mantell✢ Beverly & Fritz Maytag✢ Bruce McCoy♦

The Stephen and Margaret Gill Family Foundation

Kathleen McGreevy✢ Richard McKee

Jeanne & Tom Gnuse

Margaret McKinnon✢

Bernice Greene✢

Steven Menzel✢

Andrew Griffin

Julius Moshinsky & Suzanne Renne▲

Dr. Anna Gonosova♦

Mr. John McKnight✢

Ms. Dorothy D. Gregor

Robert Mison

BK Moran & Charles Haas

Dorothy & Rolf Muller♦

Forrest Hainline ♦ - 10+ YEARS

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Joan & Roger Mann Sally Marshall

Douglas Giancoli♦

Sheila Botein & David Oakes, M.D.♦

Carol & Hal Louchheim✢ Francis Lundy♦

Betty Gerard✢

Fraser Bonnell

Adelheid & Mark Levi✢

Carolyn & David Lougee✢

Dr. Harvey and Deana Freedman✢

Shirley & William George✢

Linda Blum

Patricia Clemo & Robert Cooley✢

Mr. & Mrs. Thomas Foote✢

Jici Gao

Christel Bieri♦

Dr. Bruce & Susan Carter✢

Clifford Leventhal

Mary Ellen Fine✢

Jeanne & Frederick Gabali✢

Helen Berggruen♦

Dr. & Mrs. Kiraly♦

Susan Klee & David Stoloff✢

Sylvia & Paul Emery✢

Janet Farbstein♦

Shirley Armitano

Nancy Hunt Kiesling♦

|

✢ - 20+ YEARS

Alice Nadler♦

|

▲ - 30+ YEARS

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

WITH GRATITUDE Laurie Nash

Pam & Jim Robson♦

Jennifer Trainor♦

Joan Norton✢

Paul J. Schmidt

Loekie & Johan Van Proosdij♦

Victor Ninov

James Rytuba

Mark Schoenrock & Claudia Fenelon

Peter Pastreich & Jamie Whittington Marion Peleo Robin Perry

Sandra and George Petty

✢

Bernard Peuto

Naomi & David Pockell♦ Nelson & Linda Polsby

✢

Helen & Dan Quinn✢

Nancy Chappell Roberts✢ Kenneth Robin

✢

Scott Robinson✢

Anne Warner & Charlotte Centeno

Allene Sieling

Ann & Thomas Watrous✢

Louise Shalit✢

Donna & Gerald Silverberg Laurie Sizemore

Linda & Fred Sondheimer

▲

Rosemary & Claude Stoller✢ Sarah & Stephen Taber✢

John Tibbetts & Barbara Bernstein♦ Ruth and Alan Tobey, Tobey Fund♦

Dr. Alan Bradley

Ida Jean Newton

Harold Dorell

Ethel L. Schachman

Robert Fink, M.D. William Forkin Ann Kadyk

Katharine McLean Barbara Morgan

Maura FitzGerald & Tom Walsh▲

Michael & Susan Schwartz✢

Philharmonia is honored to recognize those gifts made in memory of the following individuals:

Caroline Cox

Elizabeth Waller

Sara & John Schram✢

Kirk Patterson♦

Barbara Rauhala

Carl Van Os✢

Marian and Shunji Nishi Jay Stern

Peter Strykers

Egon von Kaschnitz

Bill & Judy Botsford Warren✢ Ben & Beth Wegbreit♦ Evelyn Wegienka♦ Randy White Mary Wilson

Sarah Young♦

Suzanne & Michael Ziegler♦ John Zimmermann & Diana Graham✢

Philharmonia is pleased to recognize those gifts made in honor of the following individuals: David Challinor Lisa Grodin

Nicholas McGegan Fred Sondheimer

Don Watson

Mary E. Wilson

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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BENEFITS OF MEMBERSHIP The benefits of becoming a supporting member of the PBO community are many. Besides the satisfaction of knowing you are supporting a great organization, your donation entitles you to a host of perks including recognition, gifts, special invitations, discounts and more. See the list below for donor levels and associated benefits.

CAMERATA $75 to $149

AMATI $3,000 to $5,499 (all of the above, plus)

• Advanced single ticket purchases to PBO’s regular concert season

•

• Invitation for two to attend an Open Rehearsal

$150 to $349 (all of the above, plus)

Invitation to Philharmonia’s exclusive Amati Concert (formerly known as the Conductor’s Concert) including supper, private concert, dessert & mingling with guest artists at a unique venue

• Exclusive “Season Highlights” CD

• Acknowledgment in the March 2017 program book*

$350 to $649 (all of the above, plus)

• Recognition in Philharmonia’s program book for one full-year season • 15% discount on Philharmonia merchandise and CDs

$650 to $1,499 (all of the above, plus)

• Invitation for two to attend the Premium Open Rehearsal. which includes a wine & hors d’oeuvres reception preceding the rehearsal

ARCANGELI $5,500 to $9,999 (all of the above, plus) • Invitation to a private post-concert party with guest artists

GUARNERI $10,000 to $24,999 (all of the above, plus) • Sponsorship or dedication of a single concert or artist during the season • Invitation to a backstage meet-and-greet with guest artists & conductor • Signed CDs by guest artists & conductor

COGNOSCENTI $1,500 to $2,999 (all of the above, plus) • Invitation for two to attend Philharmonia’s exclusive annual Cognoscenti Luncheon featuring a private concert and season sneak preview led by Nicholas McGegan

STRADIVARI $25,000 and above (all of the above, plus) • Formal salon dinner at the home of Music Director Nicholas McGegan For more information about benefits, please contact the Development Department at (415) 252-1288.

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

EDUCATION NEWS PBO Education Team Inspires Students with Two Meet-Ups this Fall

O

n Friday, November 4, students, teachers, and chaperones streamed into San Francisco’s Herbst Theatre for an extraordinary Student Concert: Musical Meet-Ups: Baroque Favorites With Rachel Podger. No ordinary concert, the “meet-up” inspired a true dialogue between performers and the audience, mirroring the musical rapport between the PBO musicians onstage. The Student Concert underscored the idea that conversation (whether musical or spoken) enriches our lives.

Podger and the Orchestra lit into Vivaldi’s “L’Inquietudine” solo violin concerto, and then performed concertos (musical conversations) for multiple soloists: movements from Violin the Double Concerto for violin and oboe by J.S. Bach, the Chamber Concerto in G Minor for recorder, violin, bassoon, and continuo by Vivaldi, and a jam session for the entire band in the form of Bach’s Suite No. 1 in C Major.

Each piece explored a different type of musical exchange between the players, and each was punctuated by conversations between audience members and musicians about the instruments and the music.

Robert Levin’s Masterclass

Musical Meet-Up: Baroque Favorites with Rachel Podger Prior to the Rachel Podger event, an entirely different meet-up took place during Guest Artist Robert Levin’s free, public masterclass hosted by the San Franscisco Conservatory of Music on October 20. Working with fortepiano students in front of a live audience, Levin drew the audience into the process of interpreting and communicating a composer’s musical ideas.

PBO is proud to have presented these educational events and hope that the students involved were able to glean useful information about the music, its structure and interpretation, as well as insightful performance tips from these two acclaimed performers.

Robert Levin’s Masterclass

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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Win a One Week Stay in Kauai Enter the Raffle and Support PBO’s Artistic & Education Programs Enter to win a one week stay in beautiful Kauai in a 2 bed/ 2 bath condo with sunset views. Situated in Princeville in Kauai’s scenic north shore, the condo offers westward views of Bali Hai and is near beaches, outstanding snorkeling, biking and other activities.

Subject to availability.

Tickets are $75.

Winner to be announced at the 2017 Winter Gala on March 10, 2017.

Enter at philharmonia.org/support-us/annual-gala/ or purchase raffle tickets at the PBO Boutique in the lobby.

A Weekend in Paris JEFFREY THOMAS MUSIC DIRECTOR

FEBRUARY 10–13 BELVEDERE BERKELEY SAN FRANCISCO DAVIS

Rameau: Suite from Dardanus Rebel: Les caractères de la danse Corrette: Laudate Dominum de coelis Mondonville: In Exitu Israel Marais: Suite from Sémélé

americanbach.org (415) 621-7900

Call Noelle R. Moss to learn more at 415.252.1288 x 314 or visit philharmonia.careasy.org

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE