PBO 21/22 Program Book-Feb

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FEB

RICHARD EGARR

MUSIC DIRECTOR

Elizabeth Watts

MAR 9–13 Skip Sempé

From Versailles to the English Court Music by LULLY, COUPERIN, MARAIS, ALBINONI, MUFFAT and PURCELL. Skip Sempé, conductor Marc Schachman, oboe Philharmonia Baroque Orchestra

TICKETS: philharmonia.org

90.3 FM San Francisco, Marin and Oakland 104.9 FM Silicon Valley and San Jose 89.9 FM Sonoma and Napa Streaming at kdfc.com and on apps

2021–2022

Handel’s Messiah S E A S O N

in Grace Cathedral JEFFREY THOMAS music director

WEDNESDAY ~ THURSDAY ~ FRIDAY DECEMBER 14, 15, 16, 2016 HAAS at 7:30QUARTET P.M. MARK PADMORE PAVEL Tenor

Veronika Jarůšková, violin Marek Zwiebel, violin Luosha Fang, viola Peter Jarůšek, cello

ETHAN IVERSON Piano

Wed Mar 16 | 7:30pm Herbst Theatre Songs of the Earth: Works by SCHUBERT, MAHLER, SCHUMAN, VAUGHAN WILLIAMS, AARON COPLAND, GABRIEL FAURÉ, BENJAMIN BRITTEN, HOLST, CHARLES IVES and others

Fri Mar 18 | 7:30pm Herbst Theatre HAYDN: Quartet in G Major, Op. 76, No. 1 MARTINŮ: Quartet No. 7, “Concerto da Camera”, H. 314 SCHUBERT: Quartet in G Major, D. 887

messiahingrace.org

415.392.2545

(415) 621-7900 SFPERFORMANCES.ORG

BRAVO! DLA Piper proudly supports DLA Piper proudly supports Philharmonia Baroque Philharmonia Baroque Orchestra Orchestra & & Chorale Chorale theirnew magnificent 2016/17 season. and during welcomes Music Director Richard Egarr.

555 Mission Street Suite 2400 | San Francisco, California | dlapiper.com

CONTENTS From the Board President and Executive Director....................................... 6 Board of Directors and Staff ............................. 7 About the Orchestra & Chorale ........................ 8 About Richard Egarr .........................................11

Mozart the Radical Overture............................................................. 12 In Memory: Dr. Fred K. Sondheimer................14 Program.............................................................. 15 About Elizabeth Watts.......................................16 Program Notes..................................................17 Texts & Translations..........................................22 The Players and their Instruments..................24 Gift of a New Organ..........................................26 Donor Recognition............................................27

Egarr

Cover image by Dennis Bolt © Philharmonia Baroque Orchestra & Chorale / © 2022 Philharmonia Baroque Productions. All Rights Reserved.

Richard

Elizabeth

From the President of the Board & Executive Director Dear Friends, Happy 2022! The new year can only get better and we are thrilled to see you back in the halls. While December and January presented all kinds of challenges, the latest setbacks also presented opportunities to keep moving forward.

Richard and the Orchestra returned from New York just a couple of weeks ago from a successful week of coaching and mentoring with The Juilliard School’s J415 ensemble and singers from the school’s Vocal Arts program. This marks the sixth year of our partnership with Juilliard’s Historical Performance division and it was a joy to see Richard and our Orchestra members working together. The week came to a shining close in a beautiful side-by-side performance with the Orchestra and Juilliard students, featuring highlights from Bach’s B Minor Mass at Alice Tully Hall at Lincoln Center. The excitement in the hall was palpable on a very cold and snowy night in New York City. We came back to the Bay Area where the Orchestra was joined by our wonderful Philharmonia Chorale and star guest artists from the UK for the full B Minor Mass in three stunning performances.

This week we jump into the classical era with some of Mozart’s most engaging and remarkable works. We’re thrilled to have absolute experts in this music as soloists, including British soprano Elizabeth Watts in her PBO debut, and our very own Music Director, Richard, on the fortepiano!

Among some of the ‘pivots’ was the rescheduling of our Gala.

Join us for our Spring Gala on April 4th when we finally toast Richard!

We want to thank the staff, musicians, board, and all of you—our beloved audience—for working with us, for your understanding and flexibility, and for knowing that live music matters and that we’ll continue to get through it together.

Wishing you a happy and healthy February, rragE

David and Courtney

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Board of Directors & Staff BOARD OF DIRECTORS Officers David Low, President Mark Perry, Vice President Doug Tanner, Vice President Didier LeGall, Vice President Nicolas Elsishans, Vice President David Gross, Secretary Charlotte Gaylord, Treasurer Members Courtney Beck Martin Cohn Marie Bertillion Collins Richard Egarr Kay Sprinkel Grace Peter Hibbard Candace Zander Kahn Anne Katz Michael Marmor Fred Matteson Rebecca Moyle Paul Sugarman Davóne Tines Past Board Presidents Kay Sprinkel Grace (2017–2019) Dr. Ross E. Armstrong (2011–2017) 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)

Richard Egarr, Music Director Nicholas McGegan, Music Director Laureate Administrative Staff Courtney Beck, Executive Director Jacob Dassa, Marketing Associate Myles K. Glancy, General Manager Lisa Grodin, Director of Education Tisa Hamdani, Office Coordinator Michael Imbimbo, Associate Director of Development Naren Larson, Director of Operations & Patron Services William Norris, Marketing Strategist Jeffrey D. Phillips, Director of Artistic Planning Heli Roiha, Bookkeeper William Skeen, Music Librarian Paul Swatek, Director of Finance Sean Waugh, Director of Artistic Strategy & Innovation Concert Production E.J. Chavez, Stage Equipment Coordinator Michael Demeyer, Audio Engineer Gabrielle Lochard, House Manager Arthur Omura, Keyboard Technician Kathy Rose, Stage Manager Phaedra Strecher, Program Book Designer Frank Wing, Concert Photographer

CONTACT US Philharmonia Baroque Orchestra & Chorale 414 Mason Street, Suite 400 | San Francisco, CA 94102 (415) 252-1288 | info@philharmonia.org | philharmonia.org

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About Philharmonia Baroque Orchestra & Chorale

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nder the musical direction of Richard Egarr in his second season as Music Director, Philharmonia Baroque Orchestra & Chorale (PBO) is recognized as “America’s leading historically informed ensemble” (The New York Times). Considered the most versatile ensemble of its kind, and performing on period instruments, PBO presents repertoire ranging from early Baroque to late Romantic, as well as new works and major operatic productions.

The ensemble engages audiences through its signature Bay Area series, national and international tours, recordings, commissions, and education programs. Having celebrated its 40th anniversary last year, PBO was founded

by Laurette Goldberg and led by Music Director Laureate Nicholas McGegan for the past 35 years. Philharmonia is the largest ensemble of its kind in the United States.

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PBO’s musicians are leaders in historical performance and serve on the faculties of The Juilliard School, San Francisco Conservatory of Music, Harvard, and Stanford. It welcomes eminent guest artists including mezzosopranos Susan Graham and Anne Sofie von Otter, countertenors Anthony Roth Costanzo and Aryeh Nussbaum Cohen, violoncellist Steven Isserlis, and maestros Jonathan Cohen and Jeannette Sorrell. PBO enjoys longstanding artistic collaborations with The Juilliard School, the Mark Morris Dance Group, and the American Modern Opera Company (AMOC), and appears regularly at Disney Hall, Lincoln Center, Norfolk Chamber Festival and Tanglewood. In collaboration with Cal Performances in 2017, PBO produced a fully-staged period opera, Rameau’s Le Temple de la Gloire, and produced a fully-staged, reimagined production of Handel’s Aci, Galatea e Polifemo directed

by Christopher Alden and featuring countertenor Anthony Roth Costanzo, bassbaritone Davóne Tines, and soprano Lauren Snouffer in eight sold out performances in January 2020. “Aci” was named Best Operatic Performance in the Bay Area by San Francisco Classical Voice in 2020. PBO also co-produced “Aci” with National Sawdust in

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Brooklyn, Cath Brittan and Anthony Roth Costanzo in 2017.

Among the most recorded orchestras in the world, PBO boasts a discography of nearly 50 recordings, including a coveted archival performance of mezzostylistic language of the baroque soprano Lorraine Hunt direction of Richard Egarr matched that of Philharmonia Lieberson in Berlioz’s Les Nuits D’été, nder the musicalperiod since 2020, Philharmonia is recognized as Baroque Orchestra. Founded by John “America’s leading historically informed and a GRAMMY®-nominated recording ensemble” (The New York Times). Using authentic Butt, a baroque keyboardist and one of instruments and stylistic conventions from early of Haydn symphonies. The orchestra Baroque to late Romantic periods as well as thetheworld’s leading Bach scholars, the released the world premiere recording commissioned new works, orchestra engages audiences through its signature Bay Area series, Chorale led by Bruce Lamott from of the original version of Rameau’snational Le tours, recordings, commissions,was and education projects of the highest caliber. Founded 1997 toand2020.

In 2019, Handel’s Saul was Temple de la Gloire with the unedited 41 years ago by Laurette Goldberg led by Nicholas McGegan for 35 years, the ensemble is Best of the Bay’s “Best Choral libretto by Voltaire in 2018. In 2020,the largest of its kind innamed the United States.

by San Francisco PBO released three groundbreaking PBO’s musicians are Performance” leaders in historical performance and serve on the faculties of The Classical Voice. recordings: a full collection of Juilliard School, San Francisco Conservatory of Music, Harvard, and Stanford. PBO welcomes commissioned works by Pulitzer Prize Philharmonia is the only major winner Caroline Shaw, a selection orchestra in the United States with a of arias sung by rising star contralto permanent initiative dedicated to Jews & Avery Amereau, and Handel’s Saul with Music. The organization launched one of countertenor Aryeh Nussbaum Cohen. the most successful alternative concert

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Philharmonia was the first orchestra in the San Francisco Bay Area to commission Caroline Shaw. Shaw wrote three works for Anne Sofie von Otter and the Orchestra, as well as a major choral work. The first work premiered at LA’s Disney Hall; the third at Lincoln Center.

The award-winning Philharmonia Chorale is critically acclaimed for its brilliant sound, robust energy, and sensitive delivery of the text. Formed in 1995, the Chorale provides a vocal complement whose fluency in the

series in the country, “SESSIONS,” in 2015 with fully sold out performances, and launched “In the Office” in 2019 in partnership with the advertising agency Goodby, Silverstein & Partners.

During the pandemic, the organization has presented more than 100 virtual programs, including the popular Live from Amsterdam with Music Director Richard Egarr, and “What’s New and H.I.P.” with Tarik O’Regan and Richard Egarr, focused on notions surrounding new music.

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About Music Director Richard Egarr

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ichard Egarr brings a joyful sense of adventure and a keen, inquiring mind to all his music-making— whether conducting, directing from the keyboard, giving recitals, playing chamber music, or indeed talking about music at every opportunity. After a successful career as Music Director of the Academy of Ancient Music for 15 years, where he succeeded founding director Christopher Hogwood, he joins Philharmonia Baroque Orchestra & Chorale as Music Director. Richard also holds responsibilities as Principal Guest Conductor of Residentie Orkest The Hague and Artistic Partner at The Saint Paul Chamber Orchestra in Minnesota, after having served as Associate Artist with the Scottish Chamber Orchestra. As a conductor, Richard straddles the worlds of historicallyinformed and modern symphonic performance, making him an ideal fit for PBO’s parallel commitments to early and new music. Richard is already well-known to the musicians and patrons of PBO, having guest conducted the orchestra four times since 2012 in both regular season offerings and the PBO SESSIONS series. In addition to his conducting genius, he is a brilliant harpsichordist and is equally skilled on the organ and fortepiano.

Richard is a beloved teacher and has been on the faculty of The Juilliard School for eight years in their Historical Performance division, has conducted major symphonic orchestras such as London Symphony Orchestra, Lincoln Center Festival Orchestra, Seattle Symphony, and The Philadelphia Orchestra, and regularly gives solo harpsichord recitals at The Kennedy Center, Carnegie Hall, the Smithsonian, and elsewhere.

Born in Lincoln, England, Richard trained as a choirboy at York Minster, was organ scholar at Clare College Cambridge, and later studied with Gustav and Marie Leonhardt in Amsterdam, where he makes his home.

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Overture Pre-Concert Conversations Richard Egarr joins Alexandra Amati, Ph.D. 45 minutes before each concert for an engaging conversation about the program.

Dr. Amati is an Italian musicologist specializing in the Italian Renaissance, Italian opera, and Feminist criticism. She is Professor of Music at the University of San Francisco, and is now working on a book about the presentation and treatment of women in opera.

Performance at a Glance Peak Mozart In the year 1786, Mozart was on a roll—even by his inspired standards. The composer had been blessed with a perfect alignment of circumstances, a rare occurrence in Mozart’s short life.

The year before, the composer had settled into a large new apartment in Vienna at Domgasse 5, for which he purchased a brand new piano—the first such instrument he owned himself for domestic use. His music was proving increasingly commercially successful, and with good reason.

In 1786 the Viennese enjoyed Mozart’s most enduring opera, The Marriage of Figaro. That score was followed by his most fascinating piano concerto, No 24 in C minor. As if to reinforce the point, at the very end of the year he wrote the curiosity that is ‘Ch’io mi scordi di te?’—half opera, half piano concerto.

Mozart was settled, appreciated, and was more determined than ever to find ways of satisfying the public’s taste while rragE stretching the boundaries of his expressive capabilities. His works from the period dig deeper and deeper below surface entertainment to explore the human condition as he saw it.

They sought ever more fluent means of reflecting on what it is to live, love and laugh.

When Mozart’s creative adventurousness stretched beyond the taste of the conservative Viennese, Prague beckoned.

The first half of tonight’s concert features some of the composer’s most inspired music for the Austrian capital written in 1786. The second half includes his symphony for Prague written in the final days of that year, and a selfcontained aria penned in the city itself the following year.

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FEB 10–13

Richard Egarr

Elizabeth Watts

Mozart the Radical MOZART Concerto for Fortepiano No. 24 in C minor, K. 491 MOZART “Ch’io mi scordi di te? … Non temer, amato bene,” K. 505 MOZART “Bella mia fiamma, addio,” K. 528 MOZART Symphony No. 38 in D major, K. 504, Prague Richard Egarr, conductor and fortepiano Elizabeth Watts, soprano Philharmonia Baroque Orchestra

In Memory

Dr. Fred K. Sondheimer

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r. Fred K. Sondheimer passed away peacefully on Sunday, November 29, 2020, at the age of 88, surrounded by his beloved family at home in Berkeley, California. A Jewish refugee from Germany, Fred became a successful radiologist, and was a loving husband, father, and grandfather, baroque music patron, arts enthusiast, world traveler, tennis fan, political junkie, and friend to many.

He was born Fritz Klaus Sondheimer in 1932 in Frankfurt, Germany, into a family known as leaders of industry. His father, Nathan Sondheimer, died on a business trip to the United States when Fritz was an infant. Fred’s mother, Dr. Anna Ettlinger, a physician in her native Germany, was able to leave Germany for Holland on the family’s advice in 1934, with Fritz and his older sister Marion. They arrived in New York in 1939, where they eventually were joined by extended family. Fritz Klaus became Fred Kenneth with his naturalization in 1944. Fred graduated from Brandeis University in 1953 and Tufts Medical School in 1957.

In 1959, he married San Francisco native Gwen Davis, with whom he had three children: Michele, Joshua, and Marc.

After Fred’s residencies in neuroradiology in Europe and Los Angeles, the family settled in Tiburon, where they built a home.

Dr. Sondheimer held academic and clinical positions at Mt. Zion hospital in San Francisco and was one of the founding members of the Western Neuroradiological Society, serving as its president in 1972. He later entered private practice, Advanced Radiologic Imaging, with several offices in the East Bay. After losing his home in Berkeley in the 1991 fire, he designed and built a stylish modern home nearby in the Berkeley hills. rragE

In 1999, he married Linda Northrup. The two traveled near and far and were season ticket holders to Philharmonia Baroque Orchestra on whose board Dr. Sondheimer served in the early years. Fred was instrumental in establishing a trust through the generosity of his aunt Susan Levy and the organization subsequently named the Susan B. Levy Violin Chair.

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2021-2022 • 41st Season

Mozart the Radical Richard Egarr, conductor and fortepiano Elizabeth Watts, soprano Philharmonia Baroque Orchestra PROGRAM Wolfgang Amadeus Mozart (1756–1791) Concerto for Fortepiano No. 24 in C minor, K. 491 Allegro Larghetto Allegretto Richard Egarr, fortepiano Mozart “Ch’io mi scordi di te? …

Non temer, amato bene”, K. 505 Elizabeth Watts, soprano Richard Egarr INTERMISSION Mozart “Bella mia fiamma, addio”, K. 528 Elizabeth Watts Mozart Symphony No. 38 in D Major, K. 504 “Prague” Adagio—Allegro Andante Finale (Presto) The Palo Alto concert is made possible with generous support from

Mrs. Jonathan B. Gifford The Berkeley Sunday concert dedicated to the memory of beloved patron and former PBO board member

Fred Sondheimer Length of performance is approximately two hours. 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 cellular telephone or other noisemaking devices before the performance begins.

Masks must be worn properly at all times.

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Elizabeth Watts soprano

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lizabeth was a chorister at Norwich Cathedral and studied archaeology at Sheffield University before studying singing at the Royal College of Music in London. She was awarded an Hon DMus by Sheffield in 2013 and became a Fellow of the RCM in 2017. She is a prolific recording artist, and her recordings include critically acclaimed discs of Lieder by Schubert and Strauss; Mozart arias with the Scottish Chamber Orchestra; works by Alessandro Scarlatti with The English Concert, and most recently, Handel Brockes Passion with the Academy of Ancient Music.

Highlights this season and beyond include recitals at the Wigmore Hall and Oxford Lieder Festival; Brahms Ein deutsches Requiem with Finnish Radio Symphony Orchestra and Nathalie Stutzmann; Mozart concert arias with Philharmonia Baroque Orchestra, Bach St Matthew Passion with Antwerp Symphony Orchestra and Mendelssohn Elijah with Orquesta Sinfónica de Galicia, all with Richard Egarr; a performance with live film of the Vaughan Williams Scott of the Antarctic score at the Barbican as well as a recording of the closely related Sinfonia Antarctica with BBC Symphony Orchestra under Martyn Brabbins; Poulenc Gloria with the Residentie Orkest and Jun Märkl; Mahler songs and Beethoven Symphony No 9 with Sir Andrew Davis and Mahler Symphony No 2 with Vasily Petrenko, both with the Royal Philharmonic Orchestra.

Recent concerts have included Mahler Symphony No 4 with the London Philharmonic Orchestra and Robin Ticciati at Glyndebourne and with the Netherlands Philharmonic Orchestra; appearances with The English Concert at Wigmore Hall and the Buxton Festival; recitals at the Edinburgh International Festival; Gluck Iphigénie en Tauride with Orquesta y Coro Nacionales de España with Nathalie Stutzmann; Elgar The Apostles with the LPO and Martyn Brabbins; Mendelssohn Elijah with the BBC Symphony Orchestra and Sakari Oramo; Britten Spring Symphony with the London Symphony Orchestra and Sir Simon Rattle; Rossini Petite messe solennelle with the LPO and Gustavo Gimeno; Vaughan Williams A Sea Symphony with both the Rundfunk-Sinfonieorchester Berlin and the Royal Stockholm Philharmonic Orchestra and Ligeti Le Grand Macabre with both the NDR Elbphilharmonie Orchester and Alan and the rragGilbert E LSO and Simon Rattle.

Opera roles have included Countess Le nozze di Figaro, Donna Elvira Don Giovanni and Fiordiligi Così fan tutte for Welsh National Opera, Almirena in Handel’s Rinaldo for Glyndebourne; Marzelline Fidelio for the Royal Opera House, Covent Garden; and most recently Countess Le nozze di Figaro for English National Opera.

Elizabeth won the 2007 Rosenblatt Recital Song Prize at the BBC Cardiff Singer of the World Competition as well as the 2006 Kathleen Ferrier Award. She is a former BBC Radio 3 New Generation Artist and was awarded a Borletti-Buitoni Trust Award in February 2011.

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Program Notes Wolfgang Amadeus Mozart (1756-1791) Concerto for Fortepiano No. 24 in C minor, K. 491 In 1781, Mozart went freelance. It wasn’t entirely planned. The composer had been fired by the Archbishop of Salzburg, dismissed with the ‘kick to my arse’ he so enjoyed recalling. Deep down, Mozart knew the change would do him good. He moved to Vienna, where his industry, talent and imagination carried him to success.

But so did a hugely popular and fastdeveloping piece of equipment: the piano.

As Handel had before him, Mozart cocked an ear towards the slipstream of public taste, and got wise to what his ‘customers’ wanted. What they wanted was piano music played by him. In 1784 alone, Mozart wrote six piano concertos to play at his own subscription concerts in Vienna. Ticket income was healthy, and for a time Mozart was cruising.

Then, in 1785, he changed gear. Over the next two years, Mozart significantly reduced his quantitative output of piano concertos but massively increased their depth, expression and architectural imagination in inverse proportion. His concerto numbered 20, written and performed in 1785, got the Viennese talking by dint of its predominating minor key (unusual at the time). All the while, Mozart was taking advantage of the instrument’s increasing capacity for expression and dynamic variance.

A year later in 1786, Mozart delivered something similar but without that concerto’s light relief. He unveiled a concerto in C minor that maintains its tragic mood right to the very end.

This concerto’s music is emphatically repetitious and anxiously chromatic, and also more ready to devolve its textures down into instrumental groups. It touches upon all twelve notes of the chromatic scale within the first eleven bars of its exposition (there are 88 more still to

come). The unusual three-in-a-bar gait, the leaps through awkward ‘seventh’ intervals and the nervous energy all look beyond Classicism’s principles of symmetry and perfection towards something more personal, more Romantic.

There is balm (the E flat major Larghetto) and there is humour (the two majorkey diversions among the finale’s set of variations on a sinister dance). There is also a new status for woodwind instruments: in the Larghetto, piano and winds seem to hang on each others words while in the final movement theme and variations, the woodwinds take on the second variation. Otherwise, there can be little doubt that Mozart’s vision for the piano concerto as more than an entertainment has come to full fruition here.

The score calls for Mozart’s biggest orchestra yet in a concerto (oboes and clarinets). It carries with it a feeling of grandeur fuelled by defiance, laying groundwork for Beethoven’s concertos and maybe even putting him on to the particular qualities of the key of C minor.

The musicologist Wolfgang Rehm has referred to the concerto’s ‘veiled tragedy, suppressed sorrow and ominous tension’.

‘Ch’io mi scordi di te?’ ...

Non temer, amato bene”, K. 505 In the final days of 1786, Mozart was moved to write something deeply personal.

Nancy Storace, the singer who had created the part of Susanna in his opera The Marriage of Figaro months earlier, announced her departure for London. In bidding her a musical farewell, Mozart turned to a valedictory text he’d already used for the opera Idomeneo, and set it as an aria ‘for Mlle Storace and me’.

The Recitative and Aria Ch’io mi scordi di te? is rather more than both those things. It is effectively an exceptional hybrid of piano

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Program Notes concerto and aria in which pianist and singer are bound in a heartfelt, intimate exchange. There has long been speculation that Mozart wanted more from Storace than good friendship.

His aria—words and music—would appear to confess as much. The music starts out full of tenderness, the shapely vocal line alternating with commentary and decoration from the piano, which occasionally joins it in duet. But Mozart soon draws us into a multi-shaded drama in which voice and piano (and orchestra) are inseparably intertwined.

‘Bella mia fiamma, addio’ K. 528 Mozart produced quite a few stand-alone arias throughout his career. They were often written for insertion into operas by other composers, or as test pieces with which the younger, more inexperienced Mozart flexed his dramatic muscles.

This example, like its predecessor heard earlier tonight, had a more personal genesis. While his opera Don Giovanni was rehearsed and premiered in Prague in the Autumn of 1787, Mozart stayed with his friend the composer František Xaver Dušek on the outskirts of the city. Dušek’s wife, the soprano Josepha Hambacher, cajoled Mozart into writing this aria for her before he took his leave of their villa, reportedly locking him in a garden pavilion until he had done so.

Mozart, always up for a caper, got his revenge. He is alleged to have warned Josepha that she could only take possession of the aria if she could perform it faultlessly at first sight. Not too serious a problem for an experienced singer – until Mozart lined Josepha’s aria with technical traps. One passage in particular finds its way to extraordinary harmonic complexity that was surely designed to challenge a sight-reader (and tease Josepha)—listen out for it on the words ‘Quest’affanno,

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questo passo è terribile per me.’

The text allowed Mozart this depth of expression. It was borrowed from a libretto

by Michele Sarcone already used by one of the composer’s contemporaries (an old method), and recounts an episode from the Proserpina myth in which Titano, commanded to die and leave his beloved, takes his leave for the last time with extreme anguish. It drew intensity and pathos from Mozart. Even when imprisoned in a greenhouse by a friend playing a prank, the composer’s dramatic powers are formidable.

Symphony No 38 in D major K. 504 “Prague” Mozart didn’t just have a good time with the Dušeks; he adored Prague and the city apparently adored him back. The Bohemian capital furnished Mozart with lucrative commissions and welcomed the fruits of those commissions with open arms—offering Mozart all the unqualified admiration and success he’d started to find elusive in Vienna. ‘My Praguers understand me,’ Mozart is reported to have said of his audiences in the city.

The composer’s so-called ‘Prague’ symphony has come to represent that mutual fertility, warmth and joy. It actually pre-dates the success of Don Giovanni, and was written in December 1786—at the same time as the piano concerto heard earlier tonight – as a gift to the city as Mozart travelled there to view its production of The Marriage of Figaro.

Early in 1787 the symphony was given its first performance at the Prague National Theatre.

Mozart returned the respect offered him

by Prague’s audiences with an intelligent, profound and witty symphony. Famously lacking a minuet—the most undemanding of symphonic movements—it opens with a statuesque, D-minor gravity that seems to foreshadow Don Giovanni (the opera’s

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Program Notes music might well have been brewing inside Mozart already). This pregnant, straining opening material, which is not heard explicitly again, soon gives way to music of thrilling momentum in which the orchestra is nudged onto new paths by a keen oboe.

What follows is music of complex, intimate argument that once again appears to credit the citizens of Prague with keen ears.

Mozart plunges his orchestra into a deep discussion of musical ideas, and a forwardlooking symphonic debate emerges rivalled only in Mozart’s output by the later Jupiter symphony. There is contrast and effervescence on the surface, while a consistent undercurrent appears to root the music in place.

The rigorous conversation extends to the slow movement. This is a serene exercise for woodwind, horns and strings that possibly owes its text-like pace to the Prague opera swimming around in Mozart’s head. The nimble theme that opens the compelling finale (actually a quote from Figaro) introduces a rhythmic motif that dominates the movement in various adapted forms—by turns sumptuous and perky—while also providing the basis of a witty and spirited conclusion. Mozart pushes the harmonic envelope in this movement with even more exploration of chromatics and dissonance and the most multi-layered web of voices a symphonic structure had yet been forced to sustain.

But he also ensures the symphonic circle is formally closed: listen carefully for a subtle recycling of the bass arpeggios that underpinned the symphony’s imposing opening.

Prague, Music and Mozart Prague was an international city long before San Francisco, London or Berlin.

Situated in a position of vital strategic importance on the River Vltava, it fell under the influence and rule of a succession of foreign regimes, most famously the Habsburg dynasty. The Habsburgs established dominance in Prague in the 1600s, when it was capital of the area known as Bohemia.

Initially, music had a rough ride under the Habsburgs. On their watch Prague became a provincial rather than imperial capital, leading to an exodus of aristocrats to Vienna (musicians and artist quickly followed). Into the 17th and 18th centuries music did flourish, but it was far from native: imported styles and talents reflecting the traditions of other countries came to dominate musical life.

One of those influences was Italian— specifically Italian opera. It grew in popularity among Prague’s aristocrats through the Baroque and into the Classical periods. Without an operatic tradition of its own, Prague once again looked elsewhere for influence and an injection of talent.

In 1782 Prague staged Mozart’s German language opera Die Entführung aus dem Serail and, four years later, the Italian-sung The Marriage of Figaro. Both went down a treat, and the composer was invited to Prague to view the latter production.

Once there he conducted the symphony written for the city performed tonight. So impressed was the impresario Pasquale Bondini with Mozart that he commissioned an opera from the composer to be completed that same year: Don Giovanni.

Andrew Mellor © 2022

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Glossary of Terms ARPEGGIO A series of notes, played separately but in ascending or descending order, that when sounded simultaneously would form a chord with a specific harmonic function.

Arpeggios are sometimes referred to as ‘broken chords.’

DOTTED RHYTHM A rhythmic feature straddling two notes, in which the first note steals half of the second note’s duration, thus shortening it. The label ‘dotted’ comes from the way the feature is notated—with a dot drawn next to the first note to indicate its duration should be increased by half.

In Baroque music, slow manifestations of dotted rhythms (often strung together) were used by composers to evoke grandeur—particularly in the genre known as the French Overture.

CHROMATICISM Music that uses ‘chromatic notes’: half notes, or ‘notes between the notes’—most obviously those represented by the black notes on a piano. In the Baroque and Classical eras, chromatic music was rare—used for phraseology, effect and harmonic tension. The bolder the composer, the more their music would tend towards chromaticism.

DISSONANCE A combination of notes that produces discord, not concord. In the Baroque and Classical ears, dissonance might be seen as a harmonic suspension suggesting a particular resolution. In later periods, it took on is own aesthetic value.

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SINFONIA The Italian word for ‘symphony’, often used in the Baroque and Classical eras to indicate a purely instrumental section or interlude in an otherwise bigger work involving other forces (voices, for example).

In the Baroque era, the word could be used to describe what we would understand as an Overture.

OVERTURE Orchestral or instrumental music that traditionally forms an introduction to an opera, ballet or play before the curtain is raised. An Overture may introduce melodies to be heard later in the opera, or simply set the mood or form an instrumental palette-cleanser. In the Baroque, an Overture might be referred to as a ‘Sinfonia’.

LIBRETTO The words to an opera or oratorio, usually written specifically for musical setting by a ‘librettist’.

FUGUE The braiding of a specified tune (or ‘fugue subject’) into an elaborate conversation by different instruments or melodic voices, who introduce the tune at staggered intervals and in different pitches.

PASSACAGLIA A piece of music controlled or rooted entirely by a looping bass line played underneath it, often by a single instrument.

CHACONNE Similar to a passacaglia, though controlled by a looping series of implied harmonies, rather than a fixed bass line.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

OSTINATO A repeating pattern—often built of a broken chord or ‘arpeggio’— that persists in the manner of a loop.

Often an ostinato will accompany a melody above it, but not always.

CANTILENA An Italian word implying lullaby; a song or piece of music with a smooth, song-like melody.

VERSE ANTHEM A form of sacred choral piece that emerged in England in the late 1600s, in which choral statements alternate with elaborate solos from individual singers. Verse anthems were accompanied by organ or stringed instruments.

CONCERTO GROSSO A particular form of multi-movement orchestral work that emerged in the Italian baroque.

In a Concerto Grosso, the soloists are also the ensemble, with individual members stepping out to play alone.

Exchange, conversation and sharing are vital components of the Concerto Grosso style.

RITORNELLO A phrase or melody that ‘returns’ as a refrain throughout a piece of baroque music—often during a concerto, where it is played by the ensemble and in order to contrast with the more intricate sound of the soloist(s).

TRAGÉDIE EN MUSIQUE A genre of French opera pioneered by JeanBaptiste Lully, usually following a plot from classical mythology. At the time of Louis XIV, performances would often include an allegorical prologue extolling the monarch’s virtues.

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Texts & Translations MOZART: “Ch’io mi scordi di te? … Non temer, amato bene,” K. 505 Ch’io mi scordi di te?

Che a lui mi doni puoi consigliarmi?

E puoi voler che in vita…

Ah no! Sarebbe il viver mio di morte assai peggior.

Venga la morte, intrepida l’attendo.

Ma, ch’io possa struggermi ad altra face, ad altr’oggetto donar gl’affetti miei, come tentarlo?

Ah, di dolor morrei!

You ask that I forget you?

You can advise me to give myself to him?

And this while yet I live?

Ah no! My life would be far worse than death!

Let death come, I await it fearlessly.

But how could I attempt to warm myself at another flame, to lavish my affections on another?

Ah! I should die of grief!

Non temer, amato bene, per te sempre il cor sarà.

Più non reggo a tante pene, l’alma mia mancando va.

Tu sospiri? O duol funesto!

Pensa almen, che istante è questo!

Non mi posso, oh Dio! spiegar.

Stelle barbare, stelle spietate, perchè mai tanto rigor?

Alme belle, che vedete le mie pene in tal momento, dite voi, s’egual tormento può soffrir un fido cor?

Fear nothing, my beloved, my heart will always be yours.

I can no longer suffer such distress, my spirit begins to fail me.

You sigh? O mournful sorrow!

Just think what a moment this is!

O God! I cannot express myself.

Barbarous stars, pitiless stars, why ever are you so stern?

Fair souls who see my sufferings at such a moment, tell me if a faithful heart can suffer such torment?

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Texts & Translations MOZART: “Bella mia fiamma, addio,” K. 528 Bella mia fiamma, addio!

Non piacque al cielo di renderci felici.

Ecco reciso, prima d’esser compito, quel purissimo nodo, che strinsero fra lor gl’animi nostri con il solo voler.

Vivi: Cedi al destin, cedi al dovere.

Della giurata fede la mia morte t’assolve.

A più degno consorte ... O pene! unita vivi più lieta e più felice vita.

Ricordati di me, ma non mai turbi d’un felice sposo la rara rimembranza il tuo riposo.

Light of my life, farewell!

Heaven did not intend our happiness.

Before the knot was tied, those pure strands were severed that bound our spirits in a single will.

Live: Yield to fate and to your duty.

My death absolves you from your promise.

O grief! United to a more worthy consort you will have a happier, more joyous life.

Remember me, but never let stray thoughts of an unhappy lover disturb your rest.

Regina, io vado ad ubbidirti Ah, tutto finisca il mio furor col morir mio.

Cerere, Alfeo, diletta sposa, addio!

Majesty, I go in obedience to your will...

Ah, let death put an end to my raving.

Ceres, Alpheus, beloved heart, farewell!

Resta, o cara, acerba morte mi separa Oh Dio..... da te!

Stay, dear heart, cruel death tears me away O God....from you!

Prendi cura di sua sorte, consolarla almen procura.

Look after her, comfort her at last.

Vado . . . ahi lasso!

Addio, addio per sempre.

Quest’affanno, questo passo è terribile per me.

Ah! Dov’è il tempio, dov’è l’ara?

Vieni, affretta la vendetta!

I go ... alas!

Farewell, farewell for evermore.

This anguish, this step is hard for me to bear.

Ah! Where is the temple, where is the altar?

Dear heart, farewell forever!

Questa vita così amara più soffribile non è!

A life as bitter as this can be borne no longer!

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Players & Instruments Philharmonia’s musicians perform on historically accurate instruments.

Below each player’s name is information about his or her instrument’s maker and origin.

RICHARD EGARR, fortepiano

Janine Johnson and Paul Poletti, Berkeley, 1980’s; after Jean-Louis Dulcken, Munich, c. 1795 Generously lent by Tanya Tomkins and Eric Zivian

VIOLIN Katherine Kyme, concertmaster

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

Elizabeth Blumenstock

Noah Strick

Celia Bridges, Cologne, Germany, 1988

Shelby Yamin

Sebastian Klotz, (Mittenwald) Germany, 1721

VIOLA

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

Jessica Troy *

Jolianne von Einem

Anonymous, Mittenwald, Germany, c. 1800

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

Lisa Grodin

Laurentius Storioni, Cremona, Italy, 1796

Chloe Kim

Anonymous Anglo-Saxon make, Germany, late 19th century

Tyler Lewis

Anonymous, Italy, c. 1800

Anthony Martin

Thomas Oliver Croen, Walnut Creek, California, 2005; after F. Gobetti, Venice, Italy, 1717

Augusta McKay Lodge

Jason Viseltear, 2014; copy of a Guarneri del Gesù

Carla Moore †

Timothy Johnston, Hewitt, Texas, 2006; after Andrea Guarneri, 1676

Maria Ionia Caswell Stephen Goist

André Mehler, Leipzig, Germany, 2018; after Matteo Goffriller, Venice, Italy, 1720

Ellie Nishi

Aegidius Klotz, Mittenwald, Germany, 1790

VIOLONCELLO Phoebe Carrai *

Anonymous, Italy, c. 1690

Paul Hale

JDominik Zuchowicz, Ottawa, Canada, 1997; after Montagnana Osher Cello Chair Endowment

Ezra Seltzer

Johann Georg Thir, Vienna, Austria, 1754

Jason Viseltear, New York, 2010; after Giuseppe Giovanni Battista Guarneri, Cremona, 1697

Maxine Nemerovski

William Skeen

David Tecchler, Rome, Italy, 1733

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Giovanni Battista Grancino II, Milan, Italy, 1725 Zheng Cao Memorial Chair

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Players & Instruments DOUBLE BASS

BASSOON

Anthony Manzo *

Danny Bond *

Wen Yang

Andrew Schwartz

Carlo Antonio Tanegia(?), Milan, Italy 1766; restoration by Tom Wolf, 2007 Anonymous, Germany, ca. 1870

FLUTE Stephen Schultz *

Martin Wenner, Singen, Germany, 2011; after A. Grenser, c. 1790

Mindy Rosenfeld

Roderick Cameron, Mendocino, California, 1997; after J. H. Grenser, Dresden, Germany, c. 1790

OBOE Gonzalo X. Ruiz *

Peter de Koningh, Hall, Holland, 1985; after Grenser, Dresden, Germany, c. 1800 Guntram Wolf, Kronach, Germany, 2007; after Grenser

HORN Todd Williams *

Richard Seraphinoff, Bloomington, Indiana, 2019; after Antoine Halari, Paris, c. 1810

Alexandra Cook

Richard Seraphinoff, Bloomington, Indiana; after L. Uhlmann

TRUMPET

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

John Thiessen *

Marc Schachman

Rainer Egger, Basel, Switzerland, 2006; after L. Ehe, Nuremburg, Germany, 1748

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

CLARINET Thomas Carroll *

Thomas Carroll, Boston, 2021; after Theodor Lotz, Vienna, 1785 Michael F. and Jane B. Marmor Principal Clarinet Chair

Rainer Egger, Basel, 2015; after Adam Bauer, Prague, c. 1811–1835

Kathryn Adduci

TIMPANI Allen Biggs *

England, c. 1847 * Principal † Principal 2nd Violin

Diane Heffner

Daniel Bangham, Cambridge, England, 1993; after H. Grenser, Dresden, Germany, c. 1810

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Gift of a New Organ

Philharmonia is proud to have unveiled The Alper Garren Fund Organ for Music Director Richard Egarr this past December in Bach’s Christmas Oratorio.

This Hauptwerk double manual continuo organ was built in 2020 by Noorlander Orgels in Barneveld, Netherlands.

Featuring a wide variety of rragEthe organ historical sounds, adds essential and appropriate colors to the Orchestra in music ranging from the 17th century to the present.

Philharmonia is deeply grateful for this incredibly meaningful addition to the Orchestra, and looks forward to hearing it in future seasons!

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE htebazilE

drahciR

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 (2)

The Estate of Norman T. Larson

The Estate of Dr. Ross E. Armstrong

Clifford Leventhal

Corey & Tim Benjamin

The Estate of Susan B. Levy

Linda Brewer

William Lokke

Donald Buhman & Wray Humphrey

Dr. Terri McGinnis

William Bush

The Estate of Mrs. A. P. Morse

The Estate of Donald E. Casey

Mark Perry & Melanie Peña

The Estate of Marie Mendenhall Cleasby

Barbara & Nigel Renton

Kathleen & Martin Cohn

Maxine & James Risley

Hon. Marie Bertillion Collins &

The Estate of Maxine Rosston

Leonard Collins Steven A.R. Edwards The Phillip M. Eisenberg Trust Nicolas Elsishans & Christopher Hayes Dr. Harvey & Deana Freedman The Estate of Dr. Alper A. Garren The Estate of Rudolf & Nellie Glauser The Estate of Eva & James Goodwin Kay Sprinkel Grace Margaret Hegg Steve John & Jason Snyder The Estate of Marie Kieraldo

The Estate of Shirley Sarvis Adrienne & Theodore Savetnick Sondra & Milton Schlesinger The Estate of Carol Seitz Ross Smith Robert Speer & John Wong The Estate of Frances C. Strauss Linda & Paul Swatek Anita L. Velazquez Lawrence K. Wallace & Portia H. Leet The Estate of Theodore Weber, Jr. The Estate of Michael J. Weller

Kathy & Bill Korbholz Gillian Kuehner & Norman Bookstein The Estate of Elmira Lake

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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 Philharmonia Endowment

NAMED CHAIRS The Robert and Laura Cory Chorale Director Chair 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 Anonymous Susan & Paul Sugarman Linda & Paul Swatek Donna Williams

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

GIFTS TO THE ANNUAL FUND Philharmonia expresses its deepest appreciation to those individuals, foundations, corporations and government agencies, whose loyal support of the Annual Fund makes possible our artistic vision, innovation, and educational programs. Thank you for providing the resources to bring music to concert halls, classrooms and communities throughout the Bay Area and beyond. We are truly grateful to the following donors, whose gifts were received between January 1, 2021 and February 1, 2022.

CORPORATE, FOUNDATION & GOVERNMENT GRANTS $100,000 & ABOVE

Grants for the Arts/ San Francisco Hotel Tax Fund

$75,000 - $99,999

MATCHING GIFTS

AMAT Community Bank of the West Chevron Humankind Matching Gift Program Genentech Johnson&Johnson Salesforce, Inc.

The William & Flora Hewlett Foundation

$25,000 - $74,999

SPECIAL PANDEMIC SUPPORT

Ann & Gordon Getty Foundation The Koret Foundation The Bernard Osher Foundation

The Bernard Osher Foundation National Endowment for the Arts

$10,000 - $24,999

We gratefully acknowledge the support we receive from:

National Endowment for the Arts The Bob Ross Foundation

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We gratefully acknowledge the support we receive from:

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Philharmonia Baroque Orchestra & Chorale is supported in part by a grant from the National Endowment for the Arts in response to the COVID-19 pandemic 9

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WITH GRATITUDE FOUNDER’S CIRCLE ($1,000,000+) The Estate of Dr. Ross E. Armstrong The Estate of Norman T. Larson BENEFACTOR ($250,000-999,999) The Estate of Daniel E. Offutt III The Estate of Theodore S. Weber Jr

Kay Sprinkel Grace Nancy & Richard Heath Paola & Richard Kulp Didier LeGall Frederick Matteson & Anne Davidson Barr David Morandi Rebecca Moyle & Tyler Lange Michael Sack Paul and Susan Sugarman Family Philanthropic Fund GUARNERI ($11,500-14,999)

GUADAGNINI ($100,000-249,000)

The Marmor Foundation; Drs. Michael & Jane Marmor

The AAG Trust The Waverley Fund

ARCANGELI ($5,500-11,499)

CONDUCTOR’S CIRCLE ($50,000-99,999)

Carol & Peter Berkenkotter John & Joan Goddard, The Goddard Foundation Holly Hartley Christina & Kenneth Hecht The TL Trust Jack Levin Elizabeth Anderson Mayer Erik Moga Evelyn Wegienka

Anonymous Grace & Laurance Hoagland David Low & Dominique Lahaussois Gladyne Kenderdine Mitchell Mark Perry & Melanie Peña STRADIVARI ($25,000-49,999) Hon. Marie Bertillion Collins & Leonard Collins Mrs. Jonathan B. Gifford Kate & David Gross Richard E. Healey Candace Zander Kahn Anne & Jeffrey Katz Brian M. Kincaid & Elizabeth C. Theil Carol & Douglas Tanner John A. Taylor & Mary Courtney Tall CRISTOFORI ($15,000-24,999) Kathleen & Martin Cohn Nicolas Elsishans & Christopher Hayes Charlotte Gaylord & Barrie Cowan 30

AMATI ($3,000-5,499) Anonymous Mary & Roger Ashley Corey & Tim Benjamin Linda Brewer Kyra & Ken Carson Marta Falicov Sarah Fitzgerald & Quincy Bragg Kim Maxwell Doug Miller Kathryn & Donley Parmentier Marcia & Robert Popper Betty & Jack Schafer Sylvia J. Spengler Linda & Paul Swatek Donna Williams Wendy & Mason Willrich

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

COGNOSCENTI ($1,600-2,999) Kendall & Claire Allphin Ari & Kristin Baron Janet & Chris Bensick Richard Caplin, M.D. Joan & Edward Conger Corinne Cooley Derringer Jerome & Thao Dodson Shirley George Blechman Goldberg Family Fund Lynn Gotchall Ian Hinchliffe & Marjorie Shapiro Lili Jensen Kathy & Bill Korbholz Sheila & Michael Lagios Kit & Hayne Leland Ellen & Barry Levine Martha & Arthur Luehrmann Riley Maddox & Haley Tone C.R. Gus Manning & Rena Kirkpatrick Joan Mansour Richard Meiss & Peter Rudy Janet & Bill Nicholls Brenda & James Nirenstein Phillip Phythian & Ann Hardham Lynn & Olivier Pieron William Quackenbush Maxine Risley Ruth Tobey Louise Adler Sampson Adrienne & Theodore Savetnick Lawrence & Grace Smith Susan LeRoy Stewart & Michael Stewart Mr. David Thompson John Tibbetts & Barbara Bernstein Cathe & Gavin Wright CAMERATA ($1,000-1,599) Linda E. Anderson Shirley Armitano Barbara Barkovich

WITH GRATITUDE Five Arts Foundation/ Helen Berggruen Roy Bergstrom Marlene Bollhoffer Prudence Breitrose Suzanne & Italo Calpestri Virginia Lee Chen Paul Chrzanowski Patricia Clemo & Robert Cooley Annelle Clute Glyde Cooper Peter & Jayne Davis Jacqueline Desoer Tom & Ronnie Devitt Fred & Dinna Eisenhart Sally & Craig Falkenhagen Margaret E. Garms Edith Gladstone Anonymous Ms. Dorothy D. Gregor Joyce & Douglas Hamilton Hank Hanig Margaret Hegg MacInnis-Heinle Trust A Mr. Frederick Hertz Susan & David Hodges Shelley & Solon Holstein Karen Ivy & James Ringland Maureen & David Kennedy The Ketcham Family Fund Thomas King Toby Langen Robert Larson Carlene Laughlin James Leak Tom Lee Harvey L. Lynch Victoria & James Merchant Carol & Ezra Mersey Neanna & Allan Miles Robert B. Mison Judith & Stuart Offer Jan Willem Prak & Karen Burtness Prak Mathew Quilter Ray & Bill Riess Janet Rodriguez Valerie & Peter Samson David A. Shapiro, M.D. & Sharon L. Wheatley Jean Shuler

Claire Taylor & Charles G. Schulz Martha Doerr Toppin Dr. David L. White & Martha Truett Ellen & Mike Turbow Analee Weaver John & Marilyn Whitcher David Wollenberg Susan & David Young Jane H. Zuckert CAMERATA ($650-999) Jane & Christopher Adams Anonymous Zachary Baker Laura Becker & Joel Parrott Judith & Kim Bishop Craig Bowman & Susan Schoenung George & Phyllis Brown Sandra Church Patricia & Peter Coffin Robert Cooley & Barbara Cooley Karel & Mark Detterman Jeanette & Peter Dunckel Viola & Jerald Evans Mary & Jurgen Exner Jessena Finn Karen Gabrielson Allen Hardy & Claudia Eckelmann Ms. Laura Hill Andrea Julian Chrystal & James Kafka Robert Meyers Ann Morales Stephen Pegors & Trista Berkovitz Helen & Dan Quinn David H. Reemer & M. Louise Rothman-Reemer Leslie & William Rupley Paul J. Schmidt Gayle & George Staehle James & Cheryl Weaver

CAMERATA ($400-649) Frank Adams & Susan Bryan Anonymous Brigid Barton & Orrin Robinson Marcia & Richard Baugh Rick & Rickie Ann Baum Mr. James Bays Patricia & Edwin Berkowitz Amy & Peter Bernstein Allen & Jacqueline Bertillion Nancy & Peter Bickel Adam Arthur Bier & Rachel Bier Lem Christel Bieri Mr. Robert Wilder Blue Linda Blum John Blum Melinda & Bob Buchanan Lynne Carr Roseanne Chambers Bernard Choden & Lois Scott Sheri & George Clyde Michael Condie Margaret Conkey Robert Cook & Blanca Haendler Jane Coulter Ms. Jacqueline Craig Charles Crane Robert Cronin & Anne Woodhouse Ann & Loring Dales Diane DeForest Susan & Harry Dennis Margaret DeStaebler Sheila Dillman Lynette Francis Ms. Judith Frankel Dr. Harvey & Deana Freedman Stuart Alexander & Kendy Genovese Jonathan Gifford Robert & Sally Goldman Dr. Anna Gonosova Patricia Granberg Robert J. Green Carol Handelman Alan Harper & Carol Baird 2021-22 SEASON

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WITH GRATITUDE Nina Hemenway & Chesley Herbert Natalie Henderson Marlies Hensel Mary-Lawrence Hicks Curt Hill Richard Holden & Mary Artist Carolyn Holm David Hyman Gary W. Jennings & John D. Poynter Sal Kadri Adela & Joel Karliner The Kenyon-Lipsky Charitable Fund Mary Kneip Elaine Fischer Kohn & James Kohn Ms. Marcia Kolb Alice & Richard Kulka Leslie Kurke David Lieberman & Carol Brownstein Carol & Hal Louchheim Carolyn & David Lougee Richard Martin Garth McCune Kathleen McGreevy Richard McKee Thea & Steve Merrill Barbara & Thomas Metcalf Evelyn Mickevicius Charles & Honor Morehouse Mia & Robert Morrill Margaret & Frank Morrow Frances & John Morse Julius Moshinsky & Suzanne Renne William Neilson Judy Nelson Jeanne Newman Georgia Heid & Mary Belle O’Brien Elizabeth & Michael O’Malley Pat & Larry Pagendarm Kirk Patterson Gerald W. Greer & J. Luis Perez Sandra & George Petty Steve Powell Diana Quon John & Susan Richmond 32

Robert Ripps & Steven Spector Christine Ritter Kenneth Robin Ms. Jo-Ann Rose Mr. Glen A. Roycroft Randy Schekman Reed Schmidt Anne Shortall Linda & Fred Sondheimer, MD Alan Sparer & Charlotte Fishman Karen Streicher Eleanor Swent Michael F. Thompson Marta Tobey Bill & Judy Botsford Warren Patricia Wilkinson PATRONS ($150-399) Anonymous Sandra Adams Mary & Tryg Ager Mr. Takeshi & Mrs. Yoshiko Amemiya Arthur Aron Marilyn Bardet Ellen & Gunther Barth Ms. Joyce E. Bartlett Linda Berti Stephen Bischoff Irene Beardsley & Dan Bloomberg Ms. Alison Boeckmann Ene & Laszlo Bonnyay Emily Brewer Ann & Steve Brick Carolyn Broadus Robert Bromfield Marda Buchholz Belle Bulwinkle & Michael Dukes Christa Burgoyne Patricia & Richard Campbell Dr. Bruce & Susan Carter Kenneth Clark & Hasmig Seropian Douglas B. Clarke & Sally Jo Rosenbusch-Clarke David Clay Joseph Coha

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Ms. Susan Cohen James Conmy L. William Countryman Dr. & Mrs. Stanley Davis Dexter & Jean Dawes Lisa Dearborn Dorothy & Peter Denning Ann Dewart John Dickerman Elizabeth & Norman Edelstein Charles Edens Mary Williams & Peter M. Elias Gretchen Elliott Maria Erdi Mary Falvey Brent Field Karen & Peter Filice James Fousekis Elliot Franks Bruce Garetz Pamela J. George Carol Ghinger James Glazier Mr. Karl Goldstein Beatrice & Paul Gomory Elizabeth Green-Sah Anne & Peter Griffes Erich & Joan Gruen Mr. James W. Haas Nicolas Hamatake Ann & Roy G. Hammonds, Jr. Ulrike & Michael Hanley Susan & Chuck Hanson Stefan Hastrup & Gary Schilling Henry Heetderks Daniel Hersh Philip Hicks Joan & David Hollinger Donna Horn Karen Houck Susan & Ernst Hoyer Hing On Hsu Phyllis Isaacson Leila & Daniel Javitch Harley Jensen Stephen Kahl David Kalins Jonathan Kaner Elizabeth Kaplan

WITH GRATITUDE Robert Kessler Mr. Michael A. Kimbell Carol & Howard Kirk Susan Klee & David Stoloff Barbara Koerber Thomas Koster Ileana Krumme May & Larry Lamoreux Rowen Leigh Lannon Leiman Malcolm Litwiller Howard Logan Mr. Kenneth Lum Mr. & Mrs. Michael Lyon Gail MacGowan Roger Mann Eugene Mannacio Charles Martell Willinda & Peter McCrea Sylvia Rose James Mcmurtry Steven Menzel Dieter Meyerhoff & Ursula Simonis Samuel Miller & Maude Pervere Anita Navon Bari & Stephen Ness John Newmeyer Gary Nielsen & Elizabeth Nielsen Ms. Helmtrud Nock George Norall

Alex Norton Ms. Susan Osova Nancy Ostrom Christine & Anthony Pagano Barbara Paschke Charles Pearson Helen Pellegrin & Peter Smith Karen & Mark Perlroth Michael Peskin Trond Petersen Anne Peterson & Tim Gasser Paula Polley Michael Poremba & Anna Moniuszka Peggy Radel & Joel Myerson Katalin Rader Patricia & John Rea Carlene & Bruce Reeves Glenn Reid Phyllis Rice Pam & Jim Robson Sharon Shepherd & Laird Rodet Mr. & Mrs. Ronald Romano Mr. William Rosenthal Jean Rowan Mr. & Mrs. Jay Ruskin June & Robert Safran Carl Schaper George Sensabaugh, Jr. Marcia Settel & David Gilson Brenda Shank Anne Simons

Linda Skory Blanche Germain Streeter Elizabeth Swarthout Carolyn Sweeney Carol Takaki Joseph & Donna Terdiman Rebecca Tracy Jennifer Trainor Elizabeth Tynan Stephen Van Meter John & Ann Varady Carlos Velez-Ibanez Robert Visser Ann & Thomas Watrous Yenny Webb Vargas Louise & Daniel Weiler David Weinstein Roy West Gayle Wiesner Mary Wildavsky Avril & Kenneth Wilsher Mary Anne & Hugh Winig William Wisniewski Fleur Yano Marjorie Yasueda & W. Dale Knutsen Gail & Peter Yessne Robina Young John Zimmermann & Diana Graham Janet & Stephen Zovickian

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LIFETIME BENEFACTORS

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

Anonymous (2) Ross E. Armstrong Nicholas Bez Kathleen & Martin Cohn Richard Colburn Hon. Marie Bertillion Collins & Leonard Collins Laura & Robert Cory Quincy Bragg & Sarah Fitzgerald Alper Garren Mona Geller Mrs. Jonathan B. Gifford John & Joan Goddard, The Goddard Foundation Kay Sprinkel Grace Kate & David Gross

Christina & Kenneth Hecht Grace & Laurance Hoagland Marie & Palmer Hotz Brian M. Kincaid & Elizabeth C. Theil The Kivelstadt Family Trust Norman T. Larson Kit & Hayne Leland John B. Levy The Estate of Susan B. Levy, in honor of Fred Sondheimer David Low & Dominique Lahaussois Didier LeGall The Marmor Foundation; Drs. Michael & Jane

Marmor Frederick Matteson & Anne Davidson Barr Elizabeth Anderson Mayer Gladyne K. Mitchell Holbrook T. Mitchell Mark Perry & Melanie Peña Maxine Rosston Sondra & Milton Schlesinger Jane & Jack Stuppin Paul and Susan Sugarman Family Philanthropic Fund Linda & Paul Swatek Carol & Douglas Tanner Claudine Torfs Joan & Egon von Kaschnitz The Waverley Fund

Join the Philharmonia Family!

Friends of Philharmonia make our music possible! Gifts to the Annual Fund support PBO’s performances, recordings, tours, educational programs, and so much more. Sustain the music you love and enjoy unique benefits by joining the Friends of Philharmonia today.

Visit philharmonia.org or call (415) 295-1288 to support PBO!

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Cantata Collective BACH FOR THE BAY

Presents Monday, March 21 • 7:00pm – Bach’s 337th birthday

First Congregational Church Berkeley, CA (2330 Durant Avenue) Cantata Collective, orchestra & chorus Nicholas McGegan, conductor Thomas Cooley, Evangelist Paul Max Tipton, Jesus Nola Richardson, soprano Aryeh Nussbaum Cohen, alto Derek Chester, tenor Harrison Hintzsche, bass

No composer ever expressed such aching sorrow, ever captured the agony of the crucifixion as did Johann Sebastian Bach. With emotional intimacy and dramatic power, Bach’s “Passion According to Saint John” is a musical monument that never fails to move its listener, particularly when conducted by Nicholas McGegan.

ORDER TODAY! 510-444-0802 • CantataCollective.org

Tickets sold through the courtesy of the Oakland Symphony

TICKETS START AT $35