PBO 21/22 Program Book-March

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MAR

RICHARD EGARR

MUSIC DIRECTOR

Elizabeth Watts

PBO

22|23

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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

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(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.

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

From Versailles to the English Court Overture............................................................. 12 Program.............................................................. 14 About the Artists................................................16 Tribute to Marc Schachman.............................18 Program Notes..................................................20 The Players and their Instruments..................28 Donor Recognition............................................31

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

From the President of the Board & Executive Director Dear Friends, It’s hard to believe there are only two more concert sets left in the 21/22 season! But rest assured, we have lots of music over the summer and hope you’ll join us for concerts beyond the Bay Area.

We are delighted to welcome Skip Sempé, making his PBO conducting debut with this wonderful baroque program, which includes the Albinoni oboe concerto, played by PBO oboist Marc Schachman. As you’ll see in the program book, these March performances will mark the end of Marc’s distinguished 30-year career with Philharmonia. We are deeply grateful for Marc’s exceptional artistry and all that he brought to PBO over many years.

April brings a brand new staging of Handel’s Radamisto with a star cast and four performances that will light up the stage at Bing Concert Hall at Stanford University.

And if you’re a PBO subscriber and don’t feel like driving, hop on one of the complimentary buses from San Francisco or Berkeley—and enjoy a very comfortable luxury coach, a pre-concert talk and an optional gourmet boxed dinner. Leave the driving to us!

As we look to the 2022/23 season, check your mailboxes for your subscription renewal packet and re-up soon! It’s an exquisite season of music with so many new soloists making their debuts and the return of good friends we’ve been eagerly waiting to welcome back. Our staff will be in the lobby to help you with your subscription, and rest assured, the coveted tote bag is coming with beautiful art from the 22/23 season brochure. And if you don’t have a subscription, we’d love to help you create one.

Wishing you a very happy start to the spring season.

With our warmest thanks,

David and Courtney

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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 Francesco Muscolo, 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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4 PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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 Performance at a Glance Versailles versus Westminster The splendor of Louis XIV’S palace at Versailles is the stuff of legend. Truly an enchanted island, the palace was built and presided over by a monarch with huge spending power, a love of elaborate display and a fondness for dancing.

Louis was also an amateur musician and a decent harpsichordist. Underneath the walls of gold, the fire displays, the animal shows and the opulent pageants that characterized the Sun King’s little hunting lodge outside Paris, there was a serious musical operation whose influence stretched far beyond the confines of France.

If any single art form benefitted from the lavish piles of cash spent at Versailles, it was music. Music at Versailles was both a private and a public affair.

For every huge song and dance show staged at the palace’s bespoke opera house, there was an intimate harpsichord recital given in one of its private rooms.

Today’s concert steers a course between the sprawling and the compact—and then crosses the English channel.

London wanted in on the sort of action seen at Versailles. In 1660 the monarchy was restored in England after a period of exile in Europe. The Europhile Charles II, with one eye on Louis’s court, reintroduced music to Westminster.

The composer Henry Purcell was born into this regime and happily absorbed the fashionable musical influences from Europe. In so doing, Purcell breathed fresh life into English music-writing for the court and the church, but also for the stages of the newly reopened theatres.

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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

2021-2022 • 41st Season

From Versailles to the English Court Skip Sempé, conductor Marc Schachman, oboe Philharmonia Baroque Orchestra PROGRAM I

Jean-Baptiste Lully (1632–1687)

Ouverture from Atys

Suite from Les Plaisirs de L’Ile Enchantée Ouverture Première Entrée Marche des hautbois pour le Dieu Pan

et sa suite Rondeau pour les violons et les flûtes

allant à la table du Roi Air des Démons from Alceste Passacaille from Armide II Henry Purcell (1659–1695) Selections from The Fairy Queen, Z. 629 First Music: Prelude Hornpipe Second Music: Air Rondeau Sinfonia from My heart is inditing, Z. 30 Selections from The Fairy Queen, Z. 629 Second Act Tune: Air A Dance for the followers of Night A Fairies Dance Entry Dance Chaconne III Tomaso Albinoni (1671–1751) Concerto for Oboe in D minor, Op. 9, No. 2 Allegro e non presto—Adagio—Allegro

Marc Schachman, oboe 14

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

INTERMISSION IV Marin Marais (1656–1728) Selections from Alcione Ouverture Air pour les faunes et les driades H. Purcell Ode for Queen Mary’s Birthday, Z. 332 Sinfonia: Now does the glorious day appear Round O from Abdelazer, Z. 570

V

M. Marais

Chaconne from Alcione

H. Purcell

Ouverture in G minor, Z. 772

François Couperin (1668–1733) Air: Noblement from Concert dans le goût

théâtral André Campra (1660–1744) Premier air pour les Espagnols from

L’Europe Galante F. Couperin Selections from Concert dans le goût

théâtral Sarabande Loure: Pesamment Georg Muffat (1653–1704) Passacaglia from Sonata No. 5 in G Major,

Armonico Tributo

This concert is made possible with generous support from

Gladyne Kenderdine Mitchell

Wednesday, March 9, 7:30 PM Friday, March 11, 8:00 PM Saturday, March 12, 8:00 PM Sunday, March 13, 4:00 PM

First United Methodist Church, Palo Alto Herbst Theatre, San Francisco First Congregational Church, Berkeley First Congregational Church, Berkeley

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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Skip Sempé conductor

O

ver the last decades Skip Sempé has flourished as a harpsichordist, chamber musician, conductor, artistic director, teacher, coach, lecturer, scholar, and writer.

He is the founder of the ensembles Capriccio Stravagante, the Capriccio Stravagante Renaissance Orchestra and Capriccio Stravagante Les 24 Violons, and has served as the artistic director of the Paradizo label, the Piccola Accademia di Montisi, the Paris-based Terpsichore festival, and been an artist in residence at BOZAR in Brussels and at the Utrecht Early Music Festival.

Considered to be one of the last pioneers of the early music movement, Sempé has recovered and preserved a musical aesthetic and artistic mission that is slipping away. With over forty prizewinning recordings as a soloist and with Capriccio Stravagante, concerts worldwide, and a collection of thought-provoking essays, Memorandum XXI, he has revolutionized early music performance and challenged a dated, standardized ‘Baroque sound’.

Once a student of Gustav Leonhardt, Sempé is an original seeker with a rich imagination, a musical philosopher who thinks about historical performance practice and a persuasive essayist who expresses his individual ideas on artistic history with verve. Above all, he is a musician who beguiles and astounds with his magical-sensual store of previously unheard sounds. His superb sense of harpsichord touch, finely tuned ear for achieving variation in the instrument’s sonority, and spontaneous musical personality supported by virtuosic keyboard skills has made him a coveted ‘test pilot’ for some of the finest harpsichord makers of our time.

In 2006, he founded the Paradizo label, which has released many prizewinning recordings as well as Memorandum XXI, a collection of Skip Sempé’s essays on music and performance with five CDs. Sempé’s previous twenty recordings are all still available on the Deutsche Harmonia Mundi, Astrée, Alpha, Teldec and Mirare labels. He is regularly invited as a guest director, and has performed with Julien Martin, Josh Cheatham, Olivier Fortin, Pierre Hantaï, Sophie Gent, Doron Sherwin, Jordi Savall and the ensembles Collegium Vocale Gent, Pygmalion, Vox Luminis, Capella Cracoviensis, Chanticleer, Les Voix Humaines, the Studio de Musique Ancienne de Montréal, the Helsinki Baroque Orchestra and the Concert des Nations.

Sempé’s solo harpsichord and ensemble performances have inspired generations of young musicians. He has served on the international harpsichord juries of Brugge, Leipzig and Rouen, and also teaches extensively, including the annual masterclasses at the Villa Medici / Académie de France à Rome. Skip Sempé is a chevalier dans l’ordre des Arts et des Lettres.

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Marc Schachman oboe

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arc Schachman, a Berkeley native, attended Stanford University and the Juilliard School, where he was awarded the B.S, M.S. and the D.M.A degrees. A favorite with Philharmonia audiences, he has been a constant presence with the orchestra for thirty years in the golden era with Nicholas McGegan and can be heard on all PBO’s recordings.

One of the world’s leading performers on early oboes, Mr. Schachman is a founding member of some of America’s foremost period instrument chamber groups—The Aulos Ensemble (1973), The Amadeus Winds (1983), and The Helicon Winds (1994). In addition to Philharmonia, he has performed as principal oboist and soloist with virtually all of this country’s “original instrument” orchestras, including Handel and Haydn Society and Boston Baroque (Boston), The American Classical Orchestra (New York), and the Smithsonian Chamber Orchestra (Washington, D.C.).

His numerous recordings on historical oboes cover a wide variety of styles and genres, and include the Mozart Oboe Quartet and Bach Cantatas (Harmonia Mundi), the Mozart Oboe Concerto (Musicmasters/MHS), Concerti and Chamber Music of Bach, Handel, Telemann, Rameau, and Vivaldi with the Aulos Ensemble (Centaur/Musicmasters), Bach’s Brandenburg Concerti, Orchestral Suites, Magnificat and B Minor Mass (Telarc), wind music of Mozart and Beethoven (Naxos, Decca, Sony), and the Schumann Romances for oboe and piano (Helicon), which The New York Times described as “pure magic”. His solo recording of Venetian Oboe Concerti (Centaur) with the American Classical Orchestra includes the iconic Albinoni D minor concerto heard on tonight’s program. He has given workshops and master classes at the Juilliard School, Yale School of Music, the Curtis Institute of Music, San Francisco Conservatory and at colleges and universities throughout the U.S. Worldwide festival performances include Spoleto, Edinburgh, Goettingen, Perth, Tanglewood, Ravinia, Caramoor, and Mostly Mozart.

In 2017, Marc, with his wife the violinist Linda Quan, moved back to the Bay Area from New York and together with some of his closest colleagues in Philharmonia founded the Cantata Collective. The ensemble presents free concerts of Bach cantatas, an oboist’s dream repertoire, and has just released the first in an ongoing series of recordings on Centaur records.

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Tribute to Marc Schachman Tenured Oboist with PBO Retiring After 30 Years

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ith the March 2022 performances of the Albinoni D minor oboe concerto, Marc Schachman will retire from Philharmonia Baroque Orchestra following a distinguished 30-year tenure. Long known for his “heart-tuggingly eloquent” playing (San Francisco Chronicle), Marc was featured on many PBO recordings including Vivaldi for Diverse Instruments. He performed on countless PBO tours, including the 2016 tour to Walt Disney Concert Hall, Montreal, and Quebec City, where he played an obbligato solo with mezzo-soprano Anne Sofie von Otter in PBO’s first commissioned work from Caroline Shaw, “Red, Red Rose”, subsequently recorded for commercial release.

A longtime resident of New York, Marc and his wife, violinist Linda Quan, hosted memorable garden parties for the Orchestra when on tour at Lincoln Center. Marc was an active member of the Orchestra committee for many years and his kindness and compassion toward late and beloved Board President Ross Armstrong was felt through Marc’s beautiful private performances when Ross was ill. Marc and his wife Linda make their home in El Cerrito and we wish Marc our heartfelt gratitude and warm wishes as he moves forward.

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Marc on Albinoni

“I

n the early 70’s while a student at Juilliard, I spent summers playing at Festivals in Spoleto and Amalfi and generally bumming around Italy (remember ‘Europe on 5 dollars a day’...?!) At swimming pools and on jukeboxes in cafes a slow, hypnotic piece of classical music with an oboe solo frequently played—much to my surprise and amusement. Many years later, as my career veered into the world of the baroque and historical performance I made my reacquaintance with the slow movement of the Albinoni D minor concerto, Opus 9, #2. This piece has become iconic for oboists, and like Pachelbel’s famous canon, has an almost visceral appeal to audiences. In 2010, to accompany my recording of the concerto (The American Classical Orchestra, Centaur CRC 3108) I wrote in the liner notes: ‘Albinoni seems to favor melodic content and rhythmic interest over technical display. The slow movements represent him at his finest; written in the style of the Italian opera aria they perfectly capture the oboe’s plaintiveness while providing the performer abundant opportunity for improvised ornamentation. The Adagio of Opus 9, #2 is especially magical, with a texture of pulsating eight notes over which is heard a repeated arpeggiated figure in the 1st violins. Above this rich carpet, the oboe soars in a melody of haunting beauty. It is a movement that is not easily forgotten.

”

—Marc Schachman 2021-22 SEASON

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Program Notes Jean-Baptiste Lully (1632–1687) Jean-Baptiste Lully was born in Italy but became the most significant French musician of his age.

He arrived at the Court of Louis XIV in 1653 as a violinist in its orchestra. Two decades later, Lully had full control of that orchestra and with it, the best-resourced musical establishment in Europe.

That ‘control’ was quite literal. Lully was renowned for his sense of orchestral discipline, which laid the groundwork for the art of conducting but also sealed Lully’s fate: he died after smashing his foot with his own conducting staff and succumbing to infection.

Lully’s fine ensemble of 24 Violins (actually stringed instruments of five different registers) underpinned the long line of glorifying operas with obligatory dances that contributed to the aesthetic of court at Versailles.

Ouverture from Atys Atys was Lully’s fourth opera, the tale of a love triangle in ancient Phrygia first seen in 1676 that became a favorite of Louis. It opens with a fine example of the particular form of overture Lully pioneered, and which became a model all over Europe under the label ‘French Overture’.

According to the established pattern, the opening section is stately, expressive and characterized by grand ‘dotted rhythms’. This followed by a lively second section in which various portions of the orchestra tear off with a tune at staggered intervals, forming a fugue.

Suite from Les plaisirs de l’île enchantée A distinctive feature of court life at Versailles was the multimedia celebratory party or fête—mostly presented in honor of Louis. The first of these, 20

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Program Notes staged in May 1664, was a week long spectacle including equestrian pursuits, aquariums, feasts, theatrical performances and visits from other monarchs—all of whom actively took part in the performances. Molière and Lully collaborated in the staging of the theatre pieces, which included an opera—ballet take on the story of Alcina and her magic island as told in Ariosto’s Orlando Furioso.

Passacaglia from Armide Lully’s most fruitful theatrical collaboration was with the librettist JeanPhilippe Quinault. He provided the composer with canny texts on mythological plots that allowed for dancing and chorus singing while still managing to fawn in front of Louis XIV, glorify the French nation and keep an audience hooked episodes of romance and adventure.

The partnership’s last and most successful tragédie en musique was the spectacle Armide, first performed at the Paris Opera in February 1686. It recounts an episode from Torquato Tasso’s popular epic poem Gerusalemme liberate, in which the title character falls in love with her sworn enemy, the crusader Rinaldo.

In the opera’s fifth act, Armide has Rinaldo entertained by a troupe who dance to this passacaglia – a piece that plays out over a looping bass line or ‘ostinato’. In this case, that looping ostinato is a simple pattern of four descending notes in a minor key, over which the composer presents as varied an array of textures and melodies as possible.

Henry Purcell (1659–1695) Like Lully himself, many of the new impulses that swept into music in the early 1600s came from Italy. Charles II even commandeered an Italian composer, Giovanni Battista Draghi, to work in the English capital.

Church music predominated in England at the time, and a young Henry Purcell was fast rising through the ranks of England’s most prestigious musical institution: the Chapel Royal. Purcell would become one of the major exponents of the Italian-influenced ‘verse anthem,’ in which a solo voice recounts verses of text between instrumental ritornellos.

After the opening of the theatres that came with the Restoration, London developed a thirst for plays, in particular plays with music. Purcell, having written a string of delectable sacred works for the Chapel Royal and 2021-22 SEASON

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Program Notes other palatial occasions, eventually turned his unique and superlative and talents towards the stage.

Ode for the Queen Mary’s Birthday, Z. 332 Sinfonia: Now Does the Glorious Day Appear Royal ‘odes’ were a feature of Restoration England: specially written works by a Westminster composer in celebration of New Year’s Day or a royal birthday. This example was written to celebrate the birthday of Queen Mary on 30 April 1689, and consciously referenced not just the grand style and formal structure of a French Overture, but also the resonance of the Versailles orchestra with an ‘added’ third violin part (these days, a viola).

Purcell may also have been saluting Muffat’s distinctive orchestral style.

Round O from Abdelazer In the last year of his life, Purcell wrote the tune that has arguably become his most popular. Working increasingly in the theatre, the composer was approached to write incidental music for the play Abdelazar by Aphra Behn, one of the first women in England to make a living exclusively from writing.

Among Purcell’s music was this Round or ‘Rondo’, which repeats a harmonic process much like a passacaglia or chaconne. Purcell’s opening tune, in the forthright key of D minor, forms the subject of Benjamin Britten’s A Young Person’s Guide to the Orchestra.

Sinfonia from My Heart is Inditing On 23 April 1685, James II was crowned King of England in Westminster Abbey. Both the Chapel Royal and choir of Westminster Abbey were on hand for the nine anthems that were performed at the opulent ceremony, as was the court ensemble of 24 Violins (modeled on that of Versailles).

Purcell, who was responsibly for constructing and then dismantling a temporary organ for the occasion, contributed the anthem to accompany the crowning of the Queen Mary, My Heart is Inditing. Its elaborate opening Sinfonia capitalized on the strength and sheen of the 24 Violins (which were tuned up for extra glisten), and the huge continuo group that had been assembled for the coronation. After 18 bars, the lower strings begin to sound in their actual low registers, bringing an extra spaciousness and grandeur to the music. The section in a dancing three-time preceded the entrance of the choirs.

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Program Notes Suite from The Fairy Queen The genre of the semi-opera, combining spoken with sung drama, was developed by Purcell who built on foundations laid by Matthew Locke and others. In 1692, Purcell planned an adaptation of Shakespeare’s A Midsummer Night’s Dream.

The result, The Fairy Queen, is many things: knockabout pantomime, heartfelt romance, and even, for Purcell biographer Maureen Duffy, a work of serious erotic art exploring a full range of sexual passion.

For Purcell and his colleagues, it was a major undertaking with a huge budget for scenery, costume and effects. The Fairy Queen’s music was lively, colorful and humorous; the air ‘If love’s a sweet passion’ became a popular song in Purcell’s day, whilst the muted strings, lack of continuo and harmonic adventurousness of the music reflecting nightfall in ‘See, even night herself is here’ established Purcell as a supreme conjurer of drama in music.

Tomaso Albinoni (1671–1751) Concerto for Oboe in D Minor, Op. 9 No.2 Tomaso Albinoni’s family wealth meant he was never forced to seek full-time employment at a royal court. Instead, the Venetian composer focused on developing a highly melodic musical style that brought him significant success in the opera house.

This song-like style and distinct gift for melody crept into non-operatic works from Albinoni’s pen, including his celebrated set of 9 oboe concertos labeled Opus 9 and published in Amsterdam in 1722. This was the first significant set of oboe concertos by any composer, and certainly the first to be published by an Italian.

The standout work from Opus 9 is this one. In between the energetic outer movements comes a ravishing Adagio in which the soloist drapes a long, cantilena-style melody over the repeated chords of an unchanging accompaniment. This long-breathed and eminently sing-able line—like the arpeggios that leap around the last movement, mimicking one another— has more than a hint of the operatic about it.

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Program Notes Marin Marais (1656–1728) Suite from Alcione Marin Marais was one of the great string players of his day and an aficionado of the viola da gamba (a forerunner of the modern cello).

Marais wrote operas as well as instrumental works, one of which, Alcione, is his masterpiece. It was first performed in February 1806 at the Académie Royale de Musique, where Marais was permanent conductor.

The opera’s immediate success was largely down to its instrumental music; this was the first French opera score to include a part for double bass. The story is based on the myth of Ceyx and Alcyone from Ovid’s Metamorphoses, which includes plenteous opportunities for musical colouring, most famously in a storm (‘The Tempest’) which the composer sets with bustling and blustery passages complemented by a wind machine.

Other parts of Alcione’s orchestral score were well worth excerpting too, which explains the existence of this suite. Also Included are dances for shepherds, shepherdesses, and sailors (if you think you recognize the latter, it became the popular carol, Masters in this Hall). The score also boasts a delightful Chaconne, which not unlike the passacaglia heard earlier weaves a series of variations over a looping series of harmonies.

François Couperin (1668–1733) Concert dans le goût théâtral François Couperin was a keyboard player and composer who ingratiated himself to Versailles as a visiting harpsichordist and composer. His legacy rests on his many exquisite books of harpsichord and organ music.

Included in his output is a series of pieces for unspecified instruments that sought to unite the French and Italian styles, Les Goûts-réunis (‘The Styles Reunited’).

Couperin gave private recitals for Louis XIV, in which he would often play extracts from Lully’s tragrédies lyriques of Lully. Book 8 of Les Goûtsréunis celebrates the world of theatre in an overt homage to Lully. The musicologist Peter Holman has argued that this book might originally have

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Program Notes been conceived as a ballet of four or five parts. If so, we can logically conclude that it might have been played by the 24 Violins. The set comprises an imposing ‘grand ritornello’ and a set of nine lively dance movements.

Georg Muffat (1653–1704) Passacaglia from Sonata No 5 in G Major, Armonico Tributo Like so many musicians before and after him, Georg Muffat found employment with the Archbishop of Salzburg. By the time he arrived there in 1678, Muffat had been heavily influenced by Lully, his former teacher.

The five Armonico Tributo sonatas, ensemble pieces that form pre-cursors to what we know as the Concerto Grosso, reveal the influence of both Lully and Corelli. Specifically from Lully, Muffat inherited a fondness for passacaglia form, and this example share much (including its key) with Lully’s passacaglia from the opera Armide. Muffat lays 25 variations over his looping bass line, creating a piece which salutes both the Italian and French traditions in its grace, virtuosity and beauty.

htebazilE

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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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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.

VIOLIN

VIOLA

Elizabeth Blumenstock, concertmaster

Jessica Troy *

Andrea Guarneri, Cremona, 1660; on loan from Philharmonia Baroque Orchestra Period Instrument Trust Egon & Joan von Kaschnitz Concertmaster Chair

Karen Dekker

Leopold Widhalm, Germany, 1792

Jolianne von Einem

Mathias Knilling, Mittenwald, 1835

Lisa Grodin

Paulo Antonio Testore, Contrada, Larga di Milano, Italy, 1736

Chloe Kim

Timothy Johnson, Hewitt, Texas, 2006; after Andrea Guarneri, Cremona, Italy c. 1676

Cynthia Black

Jason Viseltear, 2010, Brescian-style

Maria Ionia Caswell

Anonymous, Mittenwald, Germany, c. 1800

Daria D’Andrea

Gregori Ferdinand Wenger, Germany, 1752

Stephen Goist †

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

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

Gail Hernandez Rosa

Katherine Kyme

Ellie Nishi

Carlo Antonio Testore, Milan, Italy, 1720

Tyler Lewis

Anonymous, Italy, c. 1800

Carla Moore †

Anonymous, Mirecourt, France, 1800 Anonymous, Germany, 18th Century

Aaron Westman

Francis Beaulieu, Montreal, Canada, 2012; after Bros. Amati, Cremona, ca. 1620

Johann Georg Thir, Vienna, Austria, 1754

Maxine Nemerovski

David Tecchler, Rome, Italy, 1733

Noah Strick

Celia Bridges, Cologne, Germany, 1988

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Elizabeth Watts

Players & Instruments

VIOLONCELLO

BASSOON

Phoebe Carrai bc

Andrew Schwartz *

Anonymous, Italy, c. 1690

Paul Hale

Guntram Wolf, Kronach, Germany, 2008; after J. H. Eichentopf

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

HARPSICHORD

Ezra Seltzer

John Phillips, Berkeley, 1993; Italian harpsichord after 18th century Florentine prototypes Generously lent by John Phillips

Jason Viseltear, New York, New York, 2010; after Giuseppe Giovanni Battista Guarneri, Cremona, 1697 Zheng Cao Memorial Cello Chair

VIOLA DA GAMBA

Hanneke van Proosdij bc

* Principal † Principal 2nd Violin/Viola bc Continuo

Morgan Little

Charlie Ogle, 2009

William Skeen

Anonymous, Northern Italy, ca. 1680

DOUBLE BASS Anthony Manzo bc

Tom Wolf, 2007; after Carlo Fernando Landolfi, Tanegia, 1766

OBOE Marc Schachman * [soloist]

H.A. Vas Dias, Decatur, Georgia, 2001; after T. Stanesby, England, c. 1710 Principal Oboe Chair in Memory of Clare Frieman Kivelson and Irene Valente Angstadt

Gonzalo X. Ruiz

Joel Robinson, New York, 1990; after Saxon models, c. 1720

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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

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 March 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:

We gratefully acknowledge support from: 9

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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 34

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 Tom & Ronnie Devitt 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 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 Arlene & David Holloway 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 Alice Nadler 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 36

Diana Quon John & Susan Richmond 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 Emily Sparks & Vincent Fogle 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

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Douglas B. Clarke & Sally Jo Rosenbusch-Clarke David Clay Joseph Coha 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

WITH GRATITUDE Stephen Kahl David Kalins Jonathan Kaner Elizabeth Kaplan 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

You’re Invited to the

Gala

2022

FRIDAY, APRIL 4, 2022

War Memorial Veterans Building, San Francisco

Join us for an evening to support PBO’s artistic and education programs.

Cocktail Party

Bryan Education Studio, Diane B. Wilsey Center For Opera

Formal Dinner The Green Room

Performance

Taube Atrium Theater, Diane B. Wilsey Center for Opera

After Party

Bryan Education Studio

THIS is Richard

Gala Chair Melanie Peña and Board Vice President Mark Perry cordially invite you to finally celebrate Music Director Richard Egarr on April 4th for a night that’s all about togetherness, celebration, music and just plain fun. The long-awaited evening will feature Metropolitan Opera and Broadway star countertenor Iestyn Davies, international violin sensation Rachel Podger, PBO Creative Partner Davóne Tines, and of course, Richard.

For information and tickets, please visit philharmonia.org/gala or call 415-745-2591 Mary Bevan

Iestyn Davies

Rachel Podger

Davóne Tines