Issuu

MUSIC DIRECTOR

OCT

RICHARD EGARR

You’re Invited to the

Gala

2022

FRIDAY, FEBRUARY 4, 2022 San Francisco War Memorial Join us for an evening to support PBO’s artistic and education programs. Cocktail Party

Bryan Education Studio, Wilsey Center For Opera

Formal Dinner

The Green Room, San Francisco War Memorial

Performance

Herbst Theatre, San Francisco War Memorial

After Party

Bryan Education Studio, Wilsey Center For Opera

THIS is Richard

Gala Chair Melanie Peña and Board Vice President Mark Perry cordially invite you to an evening of celebration as we finally honor Music Director Richard Egarr’s first in-person season with Bach’s glorious Mass in B Minor! Don’t miss the spectacle of Richard, the Orchestra, and Chorale joining forces with star soloists and members of the esteemed Juilliard415 for a night of unforgettable music, dining, toasts, and togetherness!

For information and tickets, please visit philharmonia.org/gala or call 415-295-1900 Mary Bevan

Iestyn Davies Mary Bevan

M B

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE James Gilchrist

Roderick Williams

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

2021-22 SEASON

2021–2022

Handel’s Messiah S E A S O N

in Grace Cathedral JEFFREY THOMAS music director

WEDNESDAY ~ FRIDAY JAN DOVER ~ THURSDAY CASTALIAN GOLDA DECEMBER 14, 15, 16, 2016 at 7:30 P.M. LISIECKI QUARTET with QUARTET SCHULTZ Soprano Piano DAVÓNE Wed Nov 17 TINES 7:30pm Fri Jan 21 Wed Oct 27 7:30pm Herbst Theatre

Poems of the Night Chopin Études and Nocturnes

Bass--Baritone

Herbst Theatre

Tue Nov 9 7:30pm Herbst Theatre

Works by Mendelssohn, Ligeti and Sibelius

7:30pm Herbst Theatre Songs by Clara Schumann, Emilie Mayer, Libby Larsen, Nadia Boulanger and Kathleen Tagg

messiahingrace.org

415.392.2545

Works by Zemlinksy, Barber, Shaw and Brahms

(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 Richard Egarr............................................ 8 About the Orchestra & Chorale.......................10

Schumann’s Reawakened Masterpieces Overture............................................................. 12 Program.............................................................. 14 About Shunske Sato..........................................16 Program Notes..................................................18 The Players and their Instruments..................24 PBO’s 2021 Virtual Gala....................................26 Artistic Partners + Scholars..............................30 PBO’s July 2021 New York Tour........................32 Donor Recognition............................................35

From the President of the Board & Executive Director Dear Friends, This is a remarkable moment in time. We last produced a program book for our February concert set in 2020, when Richard led the Orchestra as Music Director Designate. What we didn’t know is that we wouldn’t produce another concert or program book for 19 months, but here we are and never happier to see Richard and all of you. It is impossible to adequately express our gratitude and appreciation for all that Richard enabled us to accomplish the past year and a half. Many of you have told us that in spite of the closures, you feel like you’ve gotten to know him—in his kitchen and in sacred and secular spaces in Amsterdam, and Richard has told us that he feels that he knows you too. With 113 virtual events behind us, each one a reminder of PBO’s unique place in the classical music landscape. As we return to live performance this season, you’ll see the full expression of Richard’s artistic vision realized through the beautiful sounds of the Orchestra, the Philharmonia Chorale and numerous guest artists from around the world. From Schumann, to Lully, to the B Minor Mass, a new work by Australian composer Paul Stanhope, and a big operatic finish with Handel’s Radamisto, the season showcases the versatility of period instruments and what it means to be an historically-informed ensemble. And we’re very excited to bring back SESSIONS, Jews & Music and the launch of many new initiatives to come, that reflect the breadth of a baroque ensemble in the 21st century. And while we’ve already introduced Davóne Tines as Creative Partner and Tarik O’Regan as Composer in Residence, you’ll be hearing a lot more from them in the live space and I know they look forward to hearing your perspectives. The classical music world has arrived at a crucial inflection point and we hope that we can meet the future head on and with thoughtful dialogue on the work ahead of us. We will continue to push boundaries while staying true to our core focus and look forward to being together as we all make our way back to live music. We would like to thank the PBO Board of Directors, our staff, and all of you for standing by Philharmonia. With our warmest gratitude, David and Courtney

David Low Board President 6

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Courtney Beck Executive Director

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 Martin Cohn Marie Bertillion Collins Kay Sprinkel Grace Peter Hibbard Anne Katz Brian Kincaid Michael Marmor Fred Matteson Rebecca Moyle Paul Sugarman Richard Egarr, ex-officio Courtney Beck, ex-officio Davóne Tines, ex-officio 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, Development & Marketing Manager 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 Tal Skloot (Tritone Media), Videographer & Livestream Director 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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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

About Music Director Richard Egarr

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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About Philharmonia Baroque Orchestra & Chorale

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.

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’s Le national 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

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. 2021-22 SEASON

Overture Performance at a Glance From Darkness to Light: Schumann’s Struggle Robert Schumann’s forceful imagination, his inquisitive mind, his passion for literature and his music of rare and distinctive poetry all exerted an influence on European creativity for decades. Schumann’s work and attitude helped shape the minds of a generation of composers, chief among them Johannes Brahms. No composer works in a vacuum. Schumann himself needed inspiration, and found plenty of it in the music of his forbear Johann Sebastian Bach. Bach didn’t just help Schumann the composer technically; his music provided solace for a man sinking rapidly in the mire of mental illness. Schumann’s prolific mind may have been his greatest asset, but it was also his biggest source of emotional torture. Our concert starts with one of Bach’s most tantalizing, moving and mysterious works—a piece of pure, theoretical music interrupted by the reality of everyday life (or rather, death). It ends with a symphony by Schumann that couldn’t have been written without Bach’s posthumous help.

Pre-Concert Conversations with Richard and Tarik

Join Composer in Residence Tarik O’Regan and Richard Egarr 45 minutes before each concert for fun and informative discussions on the works, performing on period instruments, and more about Richard’s vision for PBO.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

OCT 14-17

Shunske Sato Richard Egarr

Schumann’s Reawakened Masterpieces BACH Fuga a 3 Soggetto, “Unfinished Fugue” from The Art of Fugue SCHUMANN Concerto for Violin in D minor SCHUMANN Symphony No. 2 in C Major, Op. 61 Richard Egarr, conductor Shunske Sato, violin

2021-2022 • 41st Season

Schumann’s Reawakened Masterpieces Richard Egarr, conductor Shunske Sato, violin Philharmonia Baroque Orchestra

PROGRAM Johann Sebastian Bach (1685–1750) Fuga a 3 Soggetti, “Unfinished Fugue” from The Art of Fugue, BWV 1080 Robert Schumann (1810–1856) Concerto for Violin in D minor, WoO 23 In kräftigem, nicht zu schnellem Tempo Langsam Lebhaft, doch nicht so schnell

Shunske Sato, violin

INTERMISSION

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

R. Schumann Symphony No. 2 in C Major, Op. 61 Sostenuto assai — Allegro, ma non troppo Scherzo: Allegro vivace Adagio espressivo Allegro molto vivace

These performances are made possible with generous support from

The Bernard Osher Foundation

Thursday, October 14, 8:00 PM

Herbst Theatre, San Francisco

Friday, October 15, 7:30 PM

Bing Concert Hall, Stanford University

Saturday, October 16, 8:00 PM

First Congregational Church, Berkeley

Sunday, October 17, 4:00 PM

First Congregational Church, Berkeley

Length of performance is approximately one hour and forty-five minutes. Latecomers will be seated during suitable intervals in the program. The use of cameras or recording devices of any kind is strictly prohibited. Please turn off your cellular telephone or other noisemaking devices before the performance begins. Masks must be worn properly at all times.

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Shunske Sato violin

Shunske Sato is a violinist known for his distinctive and engaging performances on both modern and historical instruments. Equally in demand as concertmaster, chamber musician, soloist and teacher, the diversity of his activities reflect his versatile and resourceful nature. Resident of the Netherlands, Shunske assumes the double role of artistic leader and concertmaster of the Netherlands Bach Society, and as concertmaster of Concerto Köln, is often invited as a guest concertmaster for ensembles such as the Freiburger Barockorchester.” Since 2013 he has been a faculty member of the Amsterdam Conservatory, where he teaches violin in the context of historical performance practice of eras ranging from baroque to early 20th-century. He has performed as soloist with American and European orchestras such as the Deutsche Oper Berlin, Bavarian Radio Philharmonic, Orchestre Philharmonique de Radio France and National Symphony Orchestra, as well as with orchestras in Japan such as the NHK Philharmonic and Osaka Century Orchestra. Shunske has recorded violin concertos by Haydn and Mozart with Orchestra Libera Classica under the baton of Hidemi Suzuki, and in 2011 gave the first performance of Paganini’s second violin concerto on historical instruments with the Academy of Ancient Music. His discography is extensive and most notably includes works for solo violin by Bach, Telemann, Paganini and Eugène Ysaÿe. In the roles of both soloist and concertmaster Shunske has worked with numerous conductors, including Ivor Bolton, Richard Egarr, Christopher Hogwood, and Kent Nagano. In 2010 Shunske was awarded Second Prize and the Audience Prize at the 17th International Johann Sebastian Bach Competition in Leipzig. He also won the Young Concert Artists award at the age of 12, the youngest ever to date. Born in Tokyo, Shunske immigrated to the US at the age of four. He studied at The Juilliard School in New York, Conservatoire National de Région in Paris and Hochschule für Musik und Theather in Munich. His teachers include Chin Kim, Dorothy DeLay, Masao Kawasaki, Gérard Poulet, Eiichi Chijiiwa and Mary Utiger.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

“

Shunske Sato, in his words: I started playing violin at the age of two (it’s true, my parents told me so). Be it through the violin, radio, records, my mother’s piano playing or her intriguing penchant for Edith Piaf and Russian folksongs, music was never absent. My father, an economist, is a music enthusiast who often knows Bach cantatas by their BWV number, and symphonies by Carl Nielsen. Things got tricky in my teens: I began spending lots of time away from school playing concerts, and my grades at school were impressively low (except for French and Maths). Giving up on school, I often spent my weekdays at my favorite bookstore instead and read about history, computer programming and linguistics, and composed string quartets. Saturdays always came as a relief: classes and lessons at The Juilliard School in New York, where I hung out with my “real” friends. Music has literally shown me the world. Japan and the USA for the first 19 years of my life: from there it was France and Germany to study, before settling in The Netherlands. Along the way I learned about baroque music, cooking and how not to burn your house down (it nearly happened), languages, beer and wine, and beauty. I still don’t know how to drive a car. My other obsessions: good food, pre-1940 recordings, interior design, and musicological books so nerdy that even my loving wife (a musician herself) won’t come anywhere near them. My 5-year old daughter is my guru: she reminds me every day of what the important things in life are.

”

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Program Notes Johann Sebastian Bach (1685-1750) Fuga a 3 Soggetti, “Unfinished Fugue” from The Art of Fugue, BWV 1080 Johann Sebastian Bach’s intellectual development of harmony laid the foundations for centuries of subsequent music, from Mozart to ABBA. In particular, Bach mastered counterpoint – the braiding of different but complementary musical voices. The highest manifestation of counterpoint is fugue: the introduction and subsequent discussion of a single theme, at staggered intervals and different pitches, by otherwise independent voices. Those voices might be individual instruments or the autonomous fingers of a keyboard player. Bach didn’t specify which instrument (or instruments) should relay his culminating contrapuntal manifesto, The Art of Fugue. In this collection, started at as early as 1742 but assembled later into a fully comprehensive set, the composer sought to create a unified but diverse encyclopaedia of fugal techniques. He did so mostly using the same melody or ‘fugue subject’, based on a simple D minor chord. As always, Bach’s rigorous logic led to music both exuberant and profound. Two fugues by Bach bear strong associations with the Art of Fugue set and were published with it, even if a cast-iron link with the composer’s overall project cannot be verified. The most famous is this fugue, which doesn’t ostensibly use the D minor fugue subject. Many musicians have noticed, however, that its three themes could easily be combined with that subject. More tantalising is that Bach apparently died while committing this music to the page. Shortly after we hear the emergence of theme based on the motto associated with the name Bach (B flat, A, C, B natural), the music tails off. ‘At the point where the composer introduces the name BACH in the countersubject to this fugue,’ reads a note on the manuscript, in the handwriting of Bach’s son Carl Philipp Emanuel, ‘the composer died.’

Robert Schumann (1810-1856) Concerto for Violin in D minor, WoO 23 In the Spring of 1853, Robert Schumann saw the great virtuoso Joseph Joachim play Beethoven’s Violin Concerto. The performance made a deep impression on the composer and prompted him to write two works for violin and orchestra with

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Program Notes Joachim in mind. One was this violin concerto, started on 21 September 1853, finished on 1 October, and fully orchestrated two days later. Joachim, though, wasn’t too impressed with Schumann’s efforts, which is where an extraordinary story begins. The violinist acted to stop the concerto being published with the support of Brahms; neither believed the score worthy of Schumann’s name (a combination of Brahms’s cripplingly unrealistic perfectionism and Joachim’s lack of judgment). Joachim squirreled the score away in the Prussian State Library. Seven decades later, another violinist enters the picture. Jelly d’Aranyi was Joachim’s great niece, and a London violinist with a penchant for the supernatural. D’Aranyi claimed to have heard of the forgotten concerto’s existence when Schumann himself spoke to her from the grave during a Ouija Board session. D’Aranyi spread the word and before long the manuscript stashed by Joachim was hunted down. The concerto was given its belated premiere in Berlin, after which D’Aranyi, the BBC Symphony Orchestra and Sir Adrian Boult played the piece on 16 February 1938 in London. Eager to align themselves with the reputable figures of Brahms and Joachim, critics pointed to the work’s structural weaknesses. In a sense, they got to the bottom of it: the concerto’s relationship with traditional sonata form is uneasy and Schumann doesn’t always appear to develop his themes as a composer of his stature would have been expected to. They pointed, too, to a general lack of drama and a profusion of irritating repetition. The counterargument is that this is simply Schumann’s conscious late style: shorter lines, more distinctive gestures, greater asymmetry and, through them all, a general avoidance of sentimentality. These days, it’s easier to hear the Violin Concerto as ‘different’ rather than ‘sub-standard’. The musicologist Alfred Nieman has noted Schumann’s lack of interest in pitting clashing opposites against one another, as most Romantic concertos were wont to do. Instead, writes Nieman, Schumann’s themes should be heard ‘as if characters in a play, forming new alignments in varying scenes but seldom drastically changing their basic personalities.’ In his first movement, Schumann fashions a traditional opening structure that’s eclipsed by his very different-sounding themes. Two are presented by the orchestra before the soloist has played a note; towards the middle of the movement, Schumann appears to deconstruct one of them as the orchestra and soloist trade short chords and delicate arpeggios in a moment of curious fragility.

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Program Notes The theme of the slow movement is particularly touching (Brahms used it as the basis for another set of variations) not least when, towards the end of the movement, we hear it in a completely different light: shifted down a third and suddenly in a minor key. A short transition leads to the final movement, a cheerful Polonaise in which three themes are recalled no less than five times. All, however, is not jolly. At one point the music glances fleetingly over its shoulder, recalling the main musical idea of the slow movement in what seems to be a moment of sudden, chilling fear. Did Schumann sense what was coming his way?

Robert Schumann (1810-1856) Symphony No. 2 in C Major, Op. 61 Mental illness crippled Schumann for much of his later life. The composer started to experience bouts of serious depression at the end of the 1820s. He made his first attempt at suicide in 1833, jumping from the window of his fourth-floor apartment. In 1844, the composer’s mental and physical wellbeing fell into a tailspin. He periodically shied away from music entirely, claiming that simply to hear it ‘cut into my nerves with knives.’ Earlier that decade, Schumann’s wife Clara recalled, she would frequently wake to find her husband ‘swimming in tears’. By 1845, Schumann was trying desperately to restore order to his life and his mind, setting himself rigorous exercises in counterpoint and copying out scores by Bach and Schubert. As so often, both composers gave Schumann hope, leading him towards an intellectual challenge that he believed could haul him out of the abyss. In the midst of these counterpoint exercises, Schumann wrote to the composer Felix Mendelssohn. ‘Drums and trumpets in C have been blaring in my head,’ he reported; ‘I have no idea what will come of it.’ When a new symphony started to make its way from Schumann’s head onto paper in December 1845, the process proved more difficult than before (‘all writing is a severe strain on me,’ wrote Schumann to Mendelssohn). Still, the symphony that was taking shape did have a particularly prominent feature: drums and trumpets in the key of C—the key of Schubert’s own ‘Great’ Symphony No 9. Those instruments, and that key, brought defiant, joyous and even spiritual overtones to the symphony. When the work was first performed on 5 November 1846 in Leipzig, conducted by Mendelssohn and billed as Schumann’s Symphony No 2 (he had actually finished two symphonies before it), some critics 20

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Program Notes sensed a distinctly religious dimension to the work. Chorales float through three of the four movements and the motto that clearly emerges has a stately gait. Even more noteworthy is the development of thematic crossreferencing between movements and the channeling of four contrasting chapters into a single, unmistakable idea. That idea may not be a reflection of mental disorder, but it is certainly one of hard-won affirmation—musical and personal. A slow introduction spells out the symphonic motto: a fanfare traced by brass through a fog of strings. It will return at strategic points along the symphony’s journey, crowning the first three movements and bestowing a benediction on the fourth. The latter part of this introduction musters the dotted rhythms that power the development forward in the Allegro section. In the movement’s expanse, we might be hearing the residue of Schumann’s work on Schubert’s ‘Great’. If Schubert is there in between the notes, Bach is literally spelt out by them. The energy changes in the Scherzo. It contains two separate trio sections, the latter picking out the Bach ‘motto’ heard in the Art of Fugue (B flat, A, C , B natural) before inverting them as if to make the point. The motto returns at the last, as it does in the noble Adagio, a moment of deep reflection built on a wide-stepping melody. It drifts into the beginnings of a fugue, but is infused with too much serenity to want to work its own suggested counterpoint out. Schumann’s finale sees all those ideas transformed. Characteristic dotted rhythms return to give the music the exuberance of its antecedents, with even the slow movement’s melody weaving itself into a discourse on all that has been heard so far. Just when we expect the convergence of the materials (and the shift back to C major) to carry the symphony home, the music metamorphoses into something else entirely. The oboe quotes a melody from Schumann’s own Piano Fantasy, itself shaped by a line from Beethoven’s song cycle An die ferne Geliebte that marks the words ‘take, then, these songs of mine’. This is surely Schumann’s message to his wife Clara, the recipient of a flood of post-nuptial songs in the 1840s. From its haunting appearance, the theme beds into the music and is ultimately entwined with the fanfare motto, not so much restoring the music’s confidence as filing it with an entirely new optimism. In a letter to the composer Georg Dietrich Otten, Schumann was blunt. ‘I wrote the symphony…when I was unwell,’ he stated. ‘I feel that people are bound to notice this when they hear the work. I began to feel more myself when I wrote the

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Program Notes last movement, but it was only after I had completed the whole score that I felt any better. All the same it reminds me of a black period.’ Part of that black period involved a trip, with Clara, to the Saxon district of Maxen. Schumann was deeply into his conceptual preparation of the symphony at the time, and the couple found themselves staying next door to a hospital for the mentally ill. Schumann became overwhelmed with paranoia, sensing the inevitability of his demise and prophesizing that he would end his days in such an institution. His fears were well founded. He was committed to an asylum in 1854 and died there two years later.

The Nazis and Schumann’s Violin Concerto ‘Never shall I forget the moment when my mother came in to us and said, with deep but suppressed emotion on her face, “I have just settled with Joachim and Johannes [Brahms] that the concerto is not to be published, not now, or at any time”’. So recalled Schumann’s youngest daughter Eugenie in an interview with The Times in 1938, a few days before the Violin Concerto’s UK premiere. Just one year before, Jelly d’Aranyi’s psychic gifts had led researchers to the Prussian State Library where the unknown Violin Concerto in Eugenie’s father’s hand lay. D’Aranyi’s original plan had been to perform the concerto in London in October 1937, but there was a problem. The Nazis had claimed ownership of the score and its copyright, citing its existence a state-controlled library. There appeared to be an impasse. But d’Aranyi and the conductor Sir Adrian Boult were determined. Diplomatic wheels were set in motion, which involved an act of remarkable appeasement given all-out war was just two years away. With the agreement that the violinist Georg Kulenkampff could present the world premiere of the piece in Berlin in late 1937, D’Aranyi and Boult got the London premiere and radio broadcast they wanted.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Glossary of Terms MOTTO A concise musical gesture— often a small tune or specific rhythm (or both)—that is returned to frequently over the course of a piece of music. It may come to represent a particular theme, event or character, or simply act as recurring musical anchor. SONATA FORM At its simplest, a musical structure in which a theme or tune is introduced, then discussed (varied, deconstructed or contradicted) and then reprised. Sonata Form emerged in the Classical period but had a strong influence on the course of the symphony later on, when the principles of ‘development’ and ‘reprise’ were expanded. 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.’ POLONAISE A dance with three steps, and therefore three beats to a bar. Its roots are in Poland but it enjoyed a long tradition in France. The Polonaise has a specific rhythmic feature, in which the second half of the second beat is sub-divided into two notes rather than one (think, ‘da dada da da da’).

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. CHORALE Typically a steady melody with a vertical, chord-based accompaniment, rather like a church hymn. The word can refer specifically to the ‘chorale’ tradition of Lutheran Europe, adopted by Bach, in which well-known hymn tunes were harmonized inventively but with a nod to tradition. In a broader context, the word can refer to any slow, stately, hymn-like music, vertically harmonized. SCHERZO Usually, a designated movement in a multi-movement work. In the nineteenth century, the Scherzo emerged as a lively, lighthearted and often short slice of merrymaking deployed for light relief during the course of a longer musical work. Later, Scherzos took on sardonic, ironic or even daemonic qualities and could to stand alone as self-contained works.

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

2021-22 SEASON

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 Carla Moore, concertmaster

Anonymous, Italy, 18th century Egon & Joan von Kaschnitz Concertmaster Chair

Karen Dekker

Charles François Gand (“Père”), Paris, early 19th century

Jolianne von Einem

Mathias Knilling, Mittenwald, 1835

Chloe Fedor

Nicolas Lambert, Paris, 1740

Lisa Grodin

Nicolas Lupot (facsim), Paris, France, ca. early-mid 19th century

Toma Iliev

Alban Himmer, Luby, Czeck Republic, 1911

Chloe Kim

Carlo Giuseppe Testore, Milano, 1707

Katherine Kyme †

Carlo Antonio Testore, 1720

Isabelle Seula Lee

Vladimir Yakimenko, St. Petersburg, Russia, 1991

Tyler Lewis

Jean-Baptiste Colin, Paris 1919

Manami Mizumoto

Eriberto Attili, Rome, 2010

Shelby Yamin

Sebastian Klotz, (Mittenwald) Germany, 1721

VIOLA Jessica Troy *

Guy Rabut, 2011; after Gasparo da Salo, Brescia

Maria Caswell

Anonymous, Mittenwald, Germany, ca. 1800

Stephen Goist

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

Gail Hernandez Rosa

Anonymous, Mirecourt, France, 1800

Ellie Nishi

Anonymous, Germany, 18th Century

Aaron Westman

Anonymous, Italy, School of Igino Sderci

VIOLONCELLO William Skeen *

Giovanni Grancino, Milan, 1709

Phoebe Carrai

Anonymous, Italy, c. 1690 Osher Cello Chair Endowment

Paul Hale

Zheng Cao Memorial Cello Chair

Morgan Little

Maxine Nemerovski

Raffaele Colace, Naples, Italy, 1900

“Antonio Casini”, “Moderna”, 1696; after Stradivari, Cremona ca. 17–

Chiara Stauffer

Caroline Nicolas

Martin Schleske, Munich, Germany, 2010

Anonymous, England, ca. 1880

Noah Strick

Ezra Seltzer

John Newton, Toronto, 1997; after Giuseppe Guarneri del Gesu, Cremona, 1731

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

Anna Washburn

Pierre Hel, Lille, 1927

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Players & Instruments Kate van Orden

DOUBLE BASS

Pieter de Koningh, Hall, The Netherlands, 1809; after J.H. Grenser

Wen Yang *

Anonymous, Germany, ca. 1870

Dave Horn

Calin Wultur “Panormo Model,” Reghin, Romania, 2008

Farley Pearce

Abraham Prescott, Concord, New Hampshire, 1830

Daniel Turkos

Anonymous, Bohemian, mid 19th century

FLUTE

HORN Todd Williams *

Eschenbach, Dresden, ca. 1880s-90s [for concerto] Rick Seraphinoff, Bloomington, Indiana, 2016; after Courtois, Paris, ca. 1820 [for symphony]

Alex Cook

Rick Seraphinoff, 2017; after M.A. Raoux, ca. 1820

TRUMPET John Thiessen *

Joe Monticello *

Johann Ziegler, Vienna, ca. 1830

Kathie Stewart

Martin Wenner, Singen, Germany, 2000; after Stephen Koch, Vienna, 1835

OBOE

Jerzy Krywalski, late 19th century

Kathryn Adduci

Heckel, Dresden, Germany, ca. 1880

TROMBONE Greg Ingles *

Marc Schachman *

Carl Kruspe, Erfurt, Germany, ca. 1870 Principal Oboe Chair in Memory of Clare Frieman Kivelson and Irene Valente Angstadt

Gonzalo X. Ruiz

Robert Schopper, Leipzig, ca. 1890

Erik Schmalz

Robert Schopper, Leipzig, ca. 1900

Mack Ramsey

Kohlert, Bohemia, 1880

J.C. Penzel’s Nachf, Oscar Ullman, Leipzig, late 19th or early 20th century; after J.C. Penzel(Sattler), 1840s

CLARINET Thomas Carroll *

Jochen Seggelke, Bamberg, Germany, 2007; after Georg Ottensteiner, Munich, ca. 1860-1879 Michael F. and Jane B. Marmor Principal Clarinet Chair

Diane Heffner

Carl Kruspe Jr., Leipzig, early 20th century

TIMPANI Allen Biggs *

Anonymous, England, ca. 1847 * Principal † Principal 2nd Violin

BASSOON Andrew Schwartz *

Wilhelm Heckel, Wiesbaden, Germany, late 19th century

2021-22 SEASON

PBO’s Virtual Gala “Music is Essential” was a Rousing Success! On April 29th, Music Director Richard Egarr was joined by Creative Partner and Host Davóne Tines, the Orchestra, Chorale, and special guest artists for an evening of performances and heartfelt reflections from around the world, including mezzo-soprano Anne Sofie von Otter, soprano Mary Bevan, and baritone Roderick Williams OBE. The evening opened with stunning performances by the Orchestra of Pachelbel’s Canon and Gigue in D Major and Muffatt’s Passacaglia from Sonata No. 5 in G captured at Bing Concert Hall at Stanford University. Richard Egarr performed Debussy’s Petite Suite with pianist Alexandra Nepomnyashchaya from Amsterdam, the Chorale performed a stunning rendition of Heinrich Schütz’s “Selig sind die Toten”, and the event came to a beautiful close when Davóne Tines sang the finale—a stunning and contemplative work, “What Language to Speak”, that captures the ethos of our times

Official Gala Sponsors Mark Perry + Melanie Peña 26

by Composer in Residence Tarik O’Regan. Amazing musically-centered auction packages were a big hit, including a musical tour of Amsterdam with Music Director Richard Egarr, a Jews & Music dinner and scholarly evening with Scholar in Residence Francesco Spagnolo, and a private concert evening with PBO Orchestra member and cellist William Skeen. Philharmonia is deeply grateful to its longtime Gala Chair Melanie Peña, to our generous Official Gala Sponsors Mark Perry & Melanie Peña, VIP Pre-Party Sponsors David Low & Dominique Lahaussois, Corporate Sponsors JP Morgan and First Republic Bank and the Gala Committee. The Gala raised more than $230,000 to support PBO’s artistic innovation and education programs, and we thank all of you for making it happen!

VIP Pre-Party Sponsors David Low + Dominique Lahaussois

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Members of Philharmonia Chorale

Richard Egarr Roderick Williams OBE

Davóne Tines

Mary Bevan

Anne Sofie von Otter with guitarist Fabian Fredriksson

Members of the Orchestra

Alexandra Nepomnyashchaya & Richard Egarr

2021-22 SEASON

Music is Essential SPONSORS + SUPPORTERS Philharmonia Baroque Orchestra wishes to acknowledge the generosity of its sponsors and patrons: Official Gala Sponsors Mark Perry + Melanie Peña VIP Pre-Party Sponsors David Low + Dominique Lahaussois Music Director’s Circle Martin + Kathy Cohn Hon. Marie Bertillion + Leonard Collins Charlotte Gaylord + Barrie Cowan Kate + David Gross Peter + Cynthia Hibbard Grace + Laurance Hoagland Anne + Jeff Katz Rebecca Moyle + Tyler Lange Didier LeGall Fred + Anne Barr Matteson Carol + Doug Tanner Brian Kincaid + Elizabeth Theil Davóne Tines’ Leaders Circle Kay Sprinkel Grace Guarantor Courtney Beck + Jonathan Harris Candace Zander Kahn

Benefactor Marcia + Robert Popper Miranda Heller

Patron Sally Falkenhagen Robert Mison Karen + Peter Filice Teresita Norlin Roy Flores Bill Pesonen Kendy Genovese + Stuart Alexander Steve John + Jason Snyder Barbara Kosnar Paul + Susan Sugarman Robert Larson Donna Williams Corporate Partners

Steve John Jason Snyder Anne Katz 28

Gala Committee Melanie Peña, Chair Rebecca Moyle Robert Mison Rachael Myrow

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Music is Essential FUND-A-NEED SUPPORTERS Takeshi & Yoshiko Amemiya Robert Bruce Anderson Angela Arnold George R. Ashworth Barbara Barkovich Rick & Rickie Ann Baum Courtney Beck & Jonathan Harris Andrew Bridges & Rebecca Lyman Patricia & Richard Campbell Joan Cathcart Virginia Lee Chen Ora Citron Martin & Kathleen Cohn Marie & Leonard Collins Rosemary M. Corbin Patricia Cross Jacqueline Desoer Richard Fabian Sally & Craig Falkenhagen Teresa Filice Karen & Peter Filice Scott Bucey & Jennifer Finger Roy Flores Charlotte Gaylord & Barrie Cowan Stuart Alexander & Kendy Genovese Kay Sprinkel Grace Lisa Grodin & Adam Cohen Heather Hammer Cynthia & Peter Hibbard Grace & Laurance Hoagland Charles & Trish Hulley Constance Ikert Gary W. Jennings & John D. Poynter Steve John & Jason Snyder Candace Kahn Tim Kahn Elizabeth Kaplan Anne & Jeffrey Katz Julia Katz

Brian M. Kincaid & Elizabeth C. Theil Cindi King & Ron Wynn William Kinsolving Margot Knight Barbara Kosnar & Tom Goldman Lila Lahood Bruce Lamott & Kip Cranna Robert Larson Kristina Lee Didier LeGall Roy Levin & Jan Thomson Dominique Lahaussois & David Low Riley Maddox & Haley Tone Monica Martin & Buck Delventhal Frederick Matteson & Anne Davidson Barr Robert Mison Evan Moore Rebecca Moyle & Tyler Lange Mark Mueller Tes Norlin Mark Perry & Melanie Peña Robin Perry Marcia & Robert Popper Elizabeth Joyce & Steven Popper Diane Posnack Robin Reitzes Ruth Rosen Tom Scannell Susanna & Dave Singer Paul & Susan Sugarman Linda & Paul Swatek Carol & Douglas Tanner Lauren Tanner Susan & Jim Tighe Connie Turkington Marlene Veach Donna Williams Harriet Wolfe 2021-22 SEASON

PBO’s Artistic Partners & Scholars Tarik O’Regan

Composer in Residence Uniquely focused on both the baroque and the brand new, Philharmonia Baroque Orchestra & Chorale announced the appointment of Tarik O’Regan as our first Composer in Residence in March of 2021. O’Regan’s music is described by the press as “exquisite and delicate,” “beautifully imagined” and he’s written for many of the world’s best-known orchestras—the Royal Philharmonic Orchestra, the Royal Opera House, Covent Garden and BBC Symphony Orchestra in his native UK, and the Australian Chamber Orchestra and Dutch National Ballet further afield. Closer to home, he is a Visiting Artist at Stanford University. Tarik’s vision for the residency ensures that new music isn’t just a bolt-on to our other activities but instead seeks to become a seamless integration between old and new music and builds up our reputation as an incubator for exciting new music. The residency will include three large-scale commissions of his own music: a concerto for oud and orchestra, a major operatic production, and a new piece for the Philharmonia Chorale. In addition to all of this, Tarik also plans to launch a shortform commissioning program, sourcing 10-20 new pieces of music lasting five minutes or less that will kickstart the availability of new repertoire for us and other historical performance ensembles—ensuring the impact of this appointment is felt not just in the Bay Area but countrywide and potentially further than that. O’Regan and Music Director Richard Egarr’s period performance talk show What’s New and H.I.P. with Tarik and Rick was a bright part of PBO’s 2020/21 virtual season, and will continue in the live space throughout the residency.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Davóne Tines Creative Partner

Philharmonia Baroque Orchestra & Chorale took another step into the future in May of 2021 with the appointment of bass-baritone Davóne Tines as the organization’s first Creative Partner. Tines, who recently starred in our production of The No One’s Rose and critically acclaimed run of Handel’s Aci, Galatea e Polifemo, plays an active role behind the scenes, working side-by-side with administrative staff, attending board, strategic planning, and governance meetings, curating new series, and engaging with PBO stakeholders at all levels of the organization to explore the role and meaning of an historically-informed ensemble in the 21st century. “Our current times find institutions at a critical juncture to either choose survival by meeting the present moment or perish at the hand of their own reluctance to change,” states Davóne. “PBO’s bravery and openness in inviting me to partner with them shows their desire to explore a cultural organization’s greater potential for transformation. By engaging with the totality of the organization—from performance and artistic output to board membership and strategic planning—I hope to unearth, invigorate, and make more legible the work in which PBO is already engaged, and help them to continue to evolve in the future. Together we will show that what might seem like an antiquated art form can resonate with the modern world.” Tines recently served as host of PBO’s 2021 virtual gala and will host the 2022 live gala. Among the many projects Davóne will present is his new online show, “The Ultimate Outcome,” a series of intersectional conversations with artists, administrators, and experts within and outside PBO to investigate the role of a 21st-century Baroque ensemble and how it fits and evolves into the landscape.

Francesco Spagnolo

Jews & Music Scholar in Residence Francesco Spagnolo is a multidisciplinary scholar focusing on Jewish studies, music, and digital media. At the University of California, Berkeley, he is the Curator of The Magnes Collection of Jewish Art and Life and an Associate Adjunct Professor in the Department of Music and the Center for Jewish Studies. He is also an affiliated faculty with the Berkeley Center for the Study of Religion, the Institute of European Studies, the Center for Middle Eastern Studies, and the Religious Diversity Cluster of the Haas Institute. Dr. Spagnolo is also a host for the cultural programs of Italian National Radio (RAI) in Rome, and the Scholar in Residence with Philharmonia Baroque Orchestra’s Jews & Music initiative in San Francisco.

2021-22 SEASON

PBO’s July 2021 New York Tour

hilharmonia embarked on its first tour in two years to New York this past July.” The tour began at Caramoor Summer Music Festival in Katonah, NY, where Music Director Richard Egarr made his first live appearance with the Orchestra since his appointment. This marked PBO’s second appearance at Caramoor.

udiences were treated to a stunning program of English works from the 17th century by Gibbons, Blow, Locke, Purcell, and Percy Grainger. Richard conducted the Orchestra from the harpsichord, joined by British soprano Rowan Pierce, who delivered dazzling renditions of rarely performed works while making her PBO debut.

PBO presented this same program a few days later when we made our debut at Naumburg Orchestral Concerts in Central Park, NYC. The audience, estimated to be about 1400 concertgoers, was filled with lovers of early music and historically-informed performance, and the buzzing excitement from both the musicians and audience was palpable. The performance was streamed live on NYC’S WQXR. We were thrilled to be joined by so many friends and board members, including David Low, Pierre-Alexander Low, Carol & Doug Tanner, Didier LeGall, Mark Morris, and Nancy Umanoff. The tour was a poignant reunion of the PBO family; friends were able to reconnect with each other over meals and gatherings. We extend our deepest thanks to tour culinary sponsor Susan Lawrence Catering in Chappaqua, NY for making this tour so deliciously memorable.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

2021-22 SEASON

Legacy LEAVE A

PHILHARMONIA

Help us ensure the future of the music we love.

istorically-informed performance preserves a thing of beauty and connects us with our common heritage through the centuries. We at Philharmonia take this stewardship very seriously, even as we strive to bring you joy along the way.

By designating PBO as a beneficiary in your estate plan, you enable us to take the necessary risks to forge our future. Your legacy gift creates the capacity to: • Tackle ambitious operatic projects like Handel’s Aci, Galatea e Polifemo • Explore new horizons with original commissions for period instruments • Expand our audience through tours and alternative programs like SESSIONS and Jews & Music • Invest in education programs that nurture the next generation of musicians and music lovers

For more information

on making a legacy gift, or to let us know about your plans, please visit philharmonia.org/legacy-giving or contact Michael Imbimbo at PHILHARMONIA BAROQUE ORCHESTRA & CHORALE mimbimbo@philharmonia.org

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

2021-22 SEASON

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 Paul Swatek Donna Williams

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 March 1, 2020 and September 1, 2021.

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

Grants for the Arts/ San Francisco Hotel Tax Fund

MATCHING GIFTS

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

$75,000 - $99,999

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

We gratefully acknowledge the support we receive from:

We gratefully acknowledge support from: 9

9 9

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

2021-22 SEASON

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

GUADAGNINI ($100,000-249,000) The AAG Trust The Waverley Fund

CONDUCTOR’S CIRCLE ($50,000-99,999)

Anonymous Grace & Laurance Hoagland David Low & Dominique Lahaussois Gladyne Kenderdine Mitchell Mark Perry & Melanie Peña

Anne & Jeffrey Katz Brian M. Kincaid & Elizabeth C. Theil David Morandi Michael Sack

GUARNERI ($11,500-14,999)

Hon. Marie Bertillion Collins & Leonard Collins Martin & Kathleen Cohn Charlotte Gaylord & Barrie Cowan John & Joan Goddard, The Goddard Foundation Didier LeGall Frederick Matteson & Anne Davidson Barr Rebecca Moyle & Tyler Lange

ARCANGELI ($5,500-11,499)

STRADIVARI ($25,000-49,999)

Richard Healey/ One World Fund Paola & Richard Kulp John A. Taylor & Mary Courtney Tall Carol & Douglas Tanner

Carol & Peter Berkenkotter Sarah Fitzgerald & Quincy Bragg Kyra & Ken Carson The Estate of Marvin Dennis Holly Hartley Donna Heinle Roy Levin & Jan Thomson The Marmor Foundation; Drs. Michael & Jane Marmor Elizabeth A. Mayer Paul and Susan Sugarman Family Philanthropic Fund

CRISTOFORI ($15,000-24,999)

AMATI ($3,000-5,499)

Mrs. Jonathan B. Gifford Kay Sprinkel Grace Kate & David Gross Nicolas Elsishans & Christopher Hayes Nancy & Richard Heath Christina & Kenneth Hecht 38

Mary & Roger Ashley James Bays Corey & Tim Benjamin Naneen Karraker Janet & Bill Nicholls Maxine Risley Pamela & John Sebastian

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Sylvia Spengler Evelyn Wegienka Donna Williams Wendy & Mason Willrich

COGNOSCENTI ($1,600-2,999)

Kendall & Claire Allphin Kristin & Ari Baron Corinne Derringer Jacqueline Desoer The Rev’d Richard Fabian Shirley George The Estate of James Goodwin Patricia Lynn Gotchall Lili Jensen Gus Manning & Rena Kirkpatrick Kathy & Bill Korbholz Kit & Hayne Leland Ellen & Barry Levine Martha & Arthur Luehrmann Joan Mansour Richard Meiss Robert Mison Katherine & Bridger Mitchell Kathryn & Donley Parmentier Lynn & Olivier Pieron William Quackenbush Louise Sampson Adrienne & Ted Savetnick Reed Schmidt Craig T. Bowman & Susan Schoenung Ian Hinchliffe & Marjorie Shapiro Jean Shuler Lawrence & Grace Smith David Thompson Ruth & Alan Tobey Riley Maddox & Haley Tone Cathe & Gavin Wright

WITH GRATITUDE CAMERATA ($1,000-1,599)

Linda Anderson Alan Harper & Carol Baird Barbara Barkovich Janet & Chris (Jon) Bensick John Tibbetts & Barbara Bernstein Blechman Goldberg Family Fund Prudence Breitrose Melinda & Bob Buchanan Paul Chrzanowski Joan & Edward S. Conger Patricia Clemo & Robert Cooley Jayne & Peter Davis Thomas & Ronnie Devitt Allen Hardy & Claudia Eckelmann Dinna & Fred Eisenhart Deana & Harvey Freedman Edith Gladstone Joyce & Douglas Hamilton Sepp Hammer Margaret Hegg Kathryn Henkens Susan & David Hodges Shelley & Solon Holstein Toby Langen Robert Larson Carlene Laughlin James Leak Tom Lee John Lee William A. Lokke Harvey Lynch Victoria & James Merchant Carol & Ezra Mersey Neanna & Allan Miles Brenda & James Nirenstein Judith & Stuart Offer Kirk Patterson Jan & Karen Prak

Mathew Quilter William & Ray Riess Janet Rodriguez Marian & Abraham Sofaer Virginia Shuler Linda & Paul Swatek Charles G. Schulz and Claire Taylor Marie Tilson Tom Tompkins Martha D. Toppin Ellen & Mike Turbow Analee Weaver David A. Shapiro, M.D. & Sharon L. Wheatley Martha Truett & David White Peter Pastreich & Jamie Whittington Melanie & Ronald Wilensky

CAMERATA ($650-999)

Jane & Christopher Adams Stephen Pegors & Trista Berkovitz Judith & Kim Bishop S&ra Church Patricia & Peter Coffin Robert & Barbara Cooley Mark & Karel Detterman Jeanette & Peter Dunckel Karen Gabrielson Eva & Alex Glazer Bernice Greene Dorothy Gregor Robert Jarman Andrea Julian Chrystal & James Kafka Garth McCune Richard McKee Doug Miller Jeanne Newman Laura Becker & Joel Parrott

Marcia & Robert Popper Helen & Dan Quinn Anmarie Roache Leslie & William Rupley Donna & Gerald Silverberg Gayle & George Staehle

CAMERATA ($400-649)

Caroline Acker Shirley Armitano Richard Holden & Mary Artist Zachary Baker Five Arts Foundation/ Helen Berggruen Roy Bergstrom Patricia & Edwin Berkowitz Nancy & Peter Bickel Christel Bieri Linda Blum George & Phyllis Brown Frank Adams & Susan Bryan Lynne Carr Roseanne Chambers Annelle Clute Joseph Newell & Eric Collier Michael Condie Jane & Thomas Coulter Jacqueline Craig Charles Crane Diane Deforest Mary Belle Bulwinkle & Michael Dukes Mary & Jurgen Exner Mary Falvey Karen & Peter Filice Bright Funds Foundation Judith E. Frankel Bruce Garetz Marcia Settel & David Gilson Robert Rohr & Andrew Goldfarb Robert & Sally Goldman

2021-22 SEASON

WITH GRATITUDE Anna Gonosova Marie Graham John Zimmermann & Diana Graham Patricia Granberg Robert Green Carol Handelman Robert Cook & Blanca Haendler Nancy & Nick Haritatos Nina Hemenway & Chesley Herbert Frederick Hertz Curt Hill William R. Jackson & Jackie Holen Carolyn Holm Hing On Hsu David Hyman Joel & Adela Karliner Renate & James Kempf Mary Kneip Elaine Fischer-Kohn & James Kohn Thomas Koster Alice & Richard Kulka Emily Kenyon & David Lipsky Carol & Hal Louchheim Carolyn & David Lougee Richard Martin Kathleen McGreevy Ellen Michelson Charles & Honor Morehouse Margaret & Frank Morrow Jane & William Neilson Michael & Becky O’Malley Carl N. van Os Larry & Pat Pagendarm Trond Petersen S&ra & George Petty Steve Powell Gary W. Jennings & John D. Poynter

Donald & Maureen Querio M. Louise Rothman-Reemer & Davis Reemer Julius Moshinsky & Suzanne Renne Kenneth Robin Glen A. Roycroft Valerie & Peter Samson George Sensabaugh, Jr. Randy Schekman Gregg Schluntz Anne Shortall Mark Shrode Judy Nelson & Jo Ann Stewart Sarah & Stephen Taber James & Cheryl Weaver Diane & Howard Winer Robert Cronin & Anne Woodhouse David & Susan Young Janet & Stephen Zovickian

PATRONS ($150-399)

Li-Hsia Wang & Henry Abrons Anita Adams Hon. Yoshiko & Takeshi Amemiya Anonymous Jennifer & Jeff Apkarian Arthur Aron Jean Bader Marilyn Bardet Joyce E. Bartlett Marcia & Richard Baugh Rick & Rickie Ann Baum Dan Bloomberg & Irene Beardsley Robert Bellamy Madeleine Berke Linda Berti Stephen J. Bischoff

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Alison Boeckmann Laszlo Bonnyay Emily Brewer Ann & Steve Brick Carolyn Broadus Robert Bromfield Deborah Brown David Lieberman & Carol Brownstein Marda Buchholz Patricia & Richard Campbell Joe T. Athey & Carlo Carlucci Benevity Causes Mr. & Mrs. Roger L. Chretien Mr. John Christensen Carol & Orlo Clark Douglas B. Clarke & Sally Jo RosenbuschClarke Susan Cohen Steve Weiss & Rebecca Coker AMAT Community Margaret Conkey Bill Countryman Stanley Davis Lisa Dearborn Margaret Destaebler John Dickerman Sheila Dillman Jean Dowdall Gregory Dubinsky Norman & Elizabeth Edelstein Charles Edens Mary Williams & Peter Elias Gretchen Elliott Eric Essman Viola & Jerald Evans Robert & Flora Feldman Brent Field Tom Walsh & Maura Fitzgerald

WITH GRATITUDE James Fousekis Lynette Francis Anne Peterson & Tim Gasser Pamela J. George Rona Giffard James Glazier J. Luis Perez & Gerald Greer Peter & Anne Griffes Janet & Joseph Grodin Erich & Joan Gruen James W. Haas Nicolas Hamatake Ann & Roy G. Hammonds, Jr. Ulrike & Michael Hanley Henry Heetderks Ellen Heffelfinger Marlies Hensel Daniel Hersh Joan & David Hollinger Ernst & Susan Hoyer Phyllis Isaacson Leila & Daniel Javitch Alice M. Jennings Sal Kadri Stephen Kahl David Kalins Jonathan Kaner Rose Katz Robert Kessler Doris Ketcham Thomas King Carol & Howard Kirk Karen Klempka Marjorie Yasueda & W. Dale Knutsen Barbara Koerber Iris & Hal Korol Ileana Krumme Leslie Kurke Margaret M. Kvamme Rowen Leigh Adam Bier & Rachel Lem Clifford Leventhal

Malcolm Litwiller Dan & Emily Loeb Gail MacGowan Roger Mann Sylvia McDougall Steven Menzel Thea & Steve Merrill Stephen van Meter Evelyn Mickevicius Michael Poremba & Anna Moniuszka Ann Morales Mia & Robert Morrill Frances & John Morse Bari & Stephen Ness John Newmeyer Gary & Elizabeth Nielsen George Norall Ms. Susan Osova Nancy Ostrom Barbara Paschke Mark & Karen Perlroth Samuel Miller & Maude Pervere Michael Peskin Susan & Philip Pines Naomi & David Pockell Paula Polley Linda Polsby Elizabeth Joyce & Steven Popper Glenn Reid Robert Ripps Christine Ritter Jim & Pam Robson Ron & Jane Romano Ms. Jo-Ann Rose Georgene & John Rostkowski James Rytuba June & Robert Safran Elizabeth Green-Sah Stefan Hastrup & Gary Schilling Paul Schmidt

Bernard Choden & Lois Scott Kenneth Clark & Hasmig Seropian Marion Shapiro Sean Shopes Dieter Meyerhoff & Ursula Simonis Anne Simons Yoram Sorokin Anja Steinke Susan Klee & David Stoloff Karen Streicher Carolyn Sweeney Eleanor Swent Carol Takaki John Taylor Joseph & Donna Terdiman Peter Schrag & Patricia Ternahan Marta Tobey Rebecca Tracy Elizabeth Tynan Robert Visser Margaretta Mitchell & Seymour Warkov Thomas & Ann Watrous Mr. & Mrs. Thomas A. Weikert Roy West Gayle Wiesner Mary Wildavsky Avril & Kenneth Wilsher Hugh & Mary Anne Winig William Wisniewski Fleur Yano Peter & Gail Yessne

2021-22 SEASON

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!

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

MUSIC DIRECTOR

PBO is thrilled to finally welcome Music Director Richard Egarr!

oin us as Music Director Richard Egarr, the Orchestra, Chorale, Creative Partner Davóne Tines and Composer in Residence Tarik O’Regan come together for a radical season that shines a spotlight on PBO’s versatility—from Robert Schumann to Handel to Bach—there’s opera, dance, our popular SESSIONS and Jews & Music concerts, presented by artists who are changing the landscape.

This is PBO at its best. AUG 25–29 The No One’s Rose OCT 14–17 Schumann’s Reawakened Masterpieces NOV 10–14 Something Old, Something New, Something Mad DEC 9–12 Bach’s Christmas Oratorio FEB 2–5 Mass in B Minor FEB 4 THIS is Richard: Gala 2022 FEB 10–13 Mozart the Radical MAR 9–13 From Versailles to the English Court APR 20–24 Handel’s Radamisto NOV 11, MAR 10 Jews & Music

2021-22 SEASON FEB 17, APR 12 SESSIONS

philharmonia.org

RICHARD EGARR