MOZART magnified
OCTOBER 3–7, 2018
Winter Gala 2019
Anne Sofie von Otter
Caroline Shaw Honoring Mezzo-Soprano
Anne Sofie vonOtter and Pulitzer Prize-Winning Composer
Caroline Shaw Friday, March 1, 2019 Four Seasons Hotel San Francisco
Gala Chair Melanie Peña & Board Member Mark Perry cordially invite you to Philharmonia’s most exciting and important fundraising event of the year—the 2019 Annual Winter Gala & Auction! This year we honor star mezzo-soprano ANNE SOFIE VON OTTER and Pulitzer Prize-winning composer CAROLINE SHAW, who will join forces with Music Director Nicholas McGegan and members of the Orchestra for an evening of beautiful music, great food & wine, and festivities. The evening also includes: •
Silent auction featuring one-of-a-kind items
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Cocktail reception and an exquisite threecourse dinner
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Festive after-party with a robust scotch tasting and strolling desserts
For further information and tickets, please visit philharmonia.org/gala or call 415.252.1288, ext. 300.
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. P . I . H
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Handel’s Messiah
N O I T U in Grace Cathedral L REVO JEFFREY THOMAS 8 music director 8pm
v. 18 o N 0
Chamber Music Society of ~ THURSDAY ~ FRIDAY San WEDNESDAY Francisco
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DECEMBER 14, 15, 16, 2016 at 7:30 P.M.
Bringing to life great chamber music in intimate settings 2018-19 Season Illuminating Influence: Music of Mozart & Brahms
Endings and Beginnings
featuring Marcel Gemperli, viola
February 1st-3rd, 2019
September 14th & 15th, 2018 Beethoven the Phoenix October 12th-14th, 2018
featuring Stephen Prutsman, piano
atER ODC Thnecisco san fra
Afternoon Salon Fundraiser March 9th, 2019
In Search of Love
messiahingrace.org
featuring Meena Bhasin, viola, & Hannah Addario-Berry, cello
May 17th-19th, 2019
philharmonia.org/pbo-sessions (415) 621-7900
Learn more at chambermusicsocietysf.org
BRAVO! DLA Piper Piper DLA proudly supports supports proudly Philharmonia Baroque Philharmonia Baroque Orchestra Orchestra & & Chorale Chorale during their their magnificent season. during magnificent 2016/17 2018/19 season.
555 Mission Street Suite 2400 | San Francisco, California | dlapiper.com
CONTENTS Message from the Board President and Executive Director....................................... 6 Board of Directors and Staff............................. 7 History of Period Performance......................... 8 About Nicholas McGegan.................................. 9 About the Orchestra........................................ 10 About the Chorale and Director...................... 11 The Compleat Chorale..................................... 12 Tribute to Dan Offutt....................................... 14
MOZART
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Program............................................................. 15 About the Artists............................................... 18 Nic’s Picks.......................................................... 23 The Players and their Instruments................. 24 Program Notes................................................. 26 Texts.................................................................. 31 Glossary of Terms............................................ 35 PBO’s July Summer Tour.................................. 36 Donor Recognition .......................................... 41 Cover image by Dennis Bolt
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FROM the PRESIDENT and EXECUTIVE DIRECTOR Welcome to PBO’s 2018/19 Season of Transcendence! The new season is always the highlight of my year. This past July, I joined the Orchestra on tour for PBO performances at Yale’s Norfolk Chamber Music Festival and our debut at the Caramoor Festival. In addition to Telemann’s Tafelmusik and Handel’s Water Music, I was treated to a beautiful new composition by the young British composer GraceEvangeline Mason at Norfolk. The next day, we made our way to the Caramoor Festival just outside of New York City for a performance of Handel’s Atalanta with a star-studded cast. Both concerts were exceptional and in some of the most majestic settings. Beyond the music, it was a chance to get to know our PBO musicians, and I can tell you that their talent and enthusiasm is a real joy to behold both onstage and off. The real testament to how much PBO is loved is that they are joined by so many “groupies”— board members and friends from both coasts. I love hearing our band “on the road” and encourage you all to join us on tour. There’s nothing like it. But it is a pleasure to be home again—just in time to join good friends for another dynamic season. You’ll find me in the audience, just like you, enjoying every moment of transcendent music.
Kay Sprinkel Grace President Dear Friends, As Kay mentioned, our summer tour was a major success, and touring plays an increasingly significant role here at Philharmonia. It’s a great feeling to know how much audiences are excited for performances in points well beyond the Bay Area. For our friends around the country, I’m thrilled that we will bring PBO to many cities this year, including appearances at prestigious halls such as Segerstrom Hall in Orange County, the Granada Theatre in Santa Barbara, Alice Tully Hall at Lincoln Center in New York, and Walt Disney Concert Hall in Los Angeles. Please tell your friends in southern California and New York that PBO is coming, and we look forward to greeting them. We’ve expanded our footprint in thanks to all of you who make possible PBO’s unique brand of music-making. Thank you so much, and welcome to the 2018/19 Season of Transcendence!
Courtney Beck Executive Director
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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
BOARD of DIRECTORS & STAFF BOARD OF DIRECTORS
STAFF
Officers Kay Sprinkel Grace, President David Low, Vice President Mark Perry, Vice President David Gross, Secretary Nicolas Elsishans, Treasurer
Artistic Nicholas McGegan, Music Director The Waverley Fund Conductor’s Podium Bruce Lamott, Chorale Director Robert and Laura Cory Chorale Director Chair
Members Martin Cohn Marie Bertillion Collins Charlotte Gaylord Peter Hibbard Steven John Anne Katz Brian Kincaid Martine Kraus Didier LeGall William Lokke Michael Marmor Fred Matteson Rebecca Moyle Sondra Schlesinger Jason Snyder Paul Sugarman Douglas Tanner Courtney Beck, ex-officio Nicholas McGegan, ex-officio Past Board Presidents 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)
Administrative Courtney Beck, Executive Director Myles K. Glancy, Director of Concert Production Lisa Grodin, Director of Education Tisa Hamdani, Office Coordinator Naren Larson, Director of Patron Services & Marketing Analyst Nicole Lugtu, Manager of Major Gifts & Events Fermin Nasol, Senior Philanthropy Officer Jeffrey D. Phillips, Director of Artistic Planning Dianne Provenzano, Director of Marketing & Public Relations Heli Roiha, Bookkeeper Andrea Sáenz, Development & Events Manager William Skeen, Orchestra Librarian Paul Swatek, Director of Finance Concert Production David v.R. Bowles (Swineshead Productions), Audio Engineer E. J. Chavez, Stage Equipment Coordinator Nicole Hillis, House Manager Kevin Korth, Chorale Rehearsal Accompanist Hiro Matsuo, Stage Manager Arthur Omura, Keyboard Technician 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 facebook.com/philharmoniabaroque | twitter.com/philharmoniabar
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PBO’s Beginnings...
and its founder Laurette Goldberg BRUCE LAMOTT
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t is hardly imaginable that only two musical generations ago, the concept of an orchestra of period instruments was a radical and slightly countercultural concept. The seeds of Philharmonia were planted by early music enthusiasts in the redwoods of Cazadero Music Camp, nurtured by harpsichordist Laurette Goldberg and a visionary board, and bore fruit in the debut concert of “Philharmonia Baroque Orchestra of the West” on February 2, 1982, the first baroque orchestra in America. It was incubated in the nexus of musical artistry and scholarship on the Bay Area campuses of Berkeley and Stanford, infused by periodic visits by the “Amsterdam mafia” of Goldberg’s harpsichord teacher, Gustav Leonhardt and his associates from the Low Countries—then the center of what was then called “authentic” performance. The concept now known as “historically informed performance” (HIP)—aiming to be faithful to the stylistic characteristics of the musical era in which a work was originally conceived, using period instruments and the study of performance practices— was at odds with modern, “Intuitive” interpretations by traditionally trained orchestras. HIP conductors often led from the keyboard, a “performance practice” of the Baroque and Classic periods. Because of the scarcity of teachers of period instruments in America, the original
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Philharmonia players were accomplished performers on modern instruments who both studied with European teachers and fended for themselves with recalcitrant baroque oboes, valveless brass, and unmodified violins. In the early years, the orchestra had neither a conductor nor a roster of regular players. Enter Nicholas McGegan, then teaching at Washington University in St. Louis. From his first concert in February 1985, Nic has since achieved one of the longest tenures of any orchestra conductor, period or modern. He added choral music to the repertoire, first with the UC Berkeley Chamber Chorus, and, in 1995, inaugurated the all-professional Philharmonia Chorale. Nic also widened the horizons of the Baroque orchestra, extending the concepts of HIP performance to include the Classic Period of Haydn and Mozart, the early Romantics Beethoven, Schubert, Cherubini, and Mendelssohn— even Brahms, as well as commissioning newly written works for period instruments. The late Laurette Goldberg recounted in her oral history that, “We had to call it Philharmonia because Philharmonia was the name of the first orchestras that were founded by Corelli in the late 17th century. It was the name of the first orchestra in the United States...in Boston. It means love of music or harmony.” The legacy of Laurette Goldberg’s vision will extend far beyond PBO’s performances, recordings, tours, and commissions. The musicians of the Orchestra have become the teachers of the new generation of period performance. And consciousness of historically informed performance has entered the minds of modern instrumentalists, conductors, and composers as well.
PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
Nicholas McGegan
Waverley Fund Music Director Philharmonia Baroque Orchestra & Chorale As he embarks on his fifth decade on the podium, Nicholas McGegan—long hailed as “one of the finest baroque conductors of his generation” (London Independent) and “an expert in 18th-century style” (The New Yorker)— is recognized for his probing and revelatory explorations of music of all periods. The 2018/19 season marks his 33rd year as music director of Philharmonia Baroque Orchestra and Chorale and he is also Principal Guest Conductor of the Pasadena Symphony. Best known as a baroque and classical specialist, McGegan’s approach—intelligent, infused with joy and never dogmatic—has led to appearances with many of the world’s major orchestras. At home in opera houses, McGegan shone new light on close to twenty Handel operas as the Artistic Director and conductor at the Göttingen Handel Festival for 20 years (1991-2001) and the Mozart canon as Principal Guest Conductor at Scottish Opera in the 1990’s. At the same time, he was principal conductor of the Drottningholm Opera in Sweden. McGegan has established the San Franciscobased Philharmonia as one of the world’s leading period-performance ensembles, with notable appearances at Carnegie Hall, Lincoln Center, the London Proms, the Amsterdam Concertgebouw, and the International Handel Festival, Göttingen. One of their greatest successes was the recent fully-staged modernday premiere of Jean-Philippe Rameau’s 1745 opera-ballet Le Temple de la Gloire. McGegan’s prolific discography includes more than 100 releases spanning five decades. Having recorded over 50 albums of Handel, McGegan has explored the depths of the composer’s output with a dozen oratorios and close to twenty of his operas. Under its own label, Philharmonia Baroque Productions (PBP), Philharmonia has recently released almost a dozen acclaimed albums of Handel, Scarlatti,
Vivaldi, Brahms, Haydn, Beethoven, Alessandro Scarlatti, and the modern-day premiere of the original version of Rameau’s Le Temple de la Gloire. Since the 1980s, Nic has released more than 20 recordings with Hungary’s Capella Savaria on the Hungaroton label, including groundbreaking opera and oratorio recordings of repertoire by Handel, Monteverdi, Scarlatti, Telemann, Vivaldi, and a 2-CD set of the complete Mozart violin concerti. Born in England, Nicholas McGegan was educated at Cambridge and Oxford and taught at the Royal College of Music, London. He was made an Officer of the Most Excellent Order of the British Empire (OBE) in the Queen’s Birthday Honours for 2010 “for services to music overseas.” He was also awarded the Verdienstkreuz (am bande) from Niedersachsen (Germany) in 2011. In 2016 he was the Christoph Wolff Distinguished Visiting Scholar at Harvard and is a frequent visitor to Yale. Visit Nicholas McGegan on the web at nicholasmcgegan.com
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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
Photo by Suzanne Karp
Under the musical direction of Nicholas McGegan for over 32 years, Philharmonia Baroque Orchestra & Chorale (PBO) is recognized as America’s leading historicallyinformed ensemble. Using authentic instruments and stylistic conventions of the Baroque to early Romantic periods, the Orchestra engages audiences through performance, tours, recordings, commissions, and education of the highest standard. Founded in the Bay Area 37 years ago, the ensemble is the largest of its kind in the U.S. PBO’s musicians are among the best in the country and serve on the faculties of The Juilliard School, Harvard, and Stanford, among others. The Orchestra performs an annual subscription season in four venues throughout the Bay Area as well as its alternative concert series, PBO SESSIONS. In April 2017, PBO performed the modern day premiere of Rameau’s Le Temple de la Gloire. The fullystaged opera included an international cast of singers and dancers and celebrated sold-out audiences and critical acclaim from around the world. Each season welcomes eminent guest artists such as mezzo-soprano Susan Graham, countertenor Andreas Scholl, mezzo-soprano Anne Sofie von Otter, fortepianist Emanuel Ax, and maestro Richard Egarr. The Orchestra enjoys numerous collaborations, including a regular partnership with the Mark Morris Dance Group and tours regularly to venues such as Carnegie Hall, Lincoln Center, Walt Disney Concert Hall, Tanglewood, and Weill Hall at the Green Music Center. Among the most recorded orchestras in the world, PBO boasts a discography of over
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40 recordings and launched its own label on which it has released ten recordings, including a coveted archival performance of mezzo-soprano Lorraine Hunt Lieberson singing Berlioz’s Les nuits d’été, and received a GRAMMY® nomination for a recording of Haydn symphonies. The Orchestra recently released the world premiere recording of Rameau’s original 1745 version of Le Temple de la Gloire. In March 2015, Philharmonia launched its Jews & Music Initiative—a continuing exploration into early Jewish music of 17th century Italy, the significance of Jewish biblical heroes and heroines in Handel’s oratorios and operas, and Jewish musicians throughout the centuries. PBO’s New Music for Old Instruments initiative was launched in 2017 as an effort to commission and perform new works written expressly for period instruments. Past PBO commissions include To Hell and Back, by Guggenheim Fellow Jake Heggie and songs for Anne Sofie von Otter and Dominique Labelle by Pulitzer Prize-winning composer Caroline Shaw. Future seasons will bring new commissions by Matthew Aucoin, Mason Bates, and Caroline Shaw. To nurture the next generation of historicallyinformed performance, Philharmonia and The Juilliard School’s Historical Performance program partner to bring the star students of Juilliard415, the school’s acclaimed periodinstrument ensemble, to practice and perform alongside PBO’s seasoned professionals. Annual residencies include masterclasses, coaching, and a culminating side-by-side showcase of PBO mentors and J415 students.
PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
ABOUT BRUCE LAMOTT and the CHORALE Bruce Lamott has been Director of the Philharmonia Chorale since 1997 and also serves as Philharmonia’s Scholar-in-Residence. He first performed with the Orchestra in 1989 as continuo harpsichordist for Handel’s Giustino. In his 30-year tenure with the Carmel Bach Festival, he served as a harpsichordist, lecturer, choral director, and conductor of the Mission Candlelight Concerts. As the founding director of the Sacramento Symphony Chorus, he conducted annual choral concerts of major symphonic choral works and prepared the Symphony Chorus for their subscription seasons. Lamott received a bachelor’s degree from Lewis and Clark College, and an M.A. and Ph.D. in musicology from Stanford. His teaching career began on the musicology faculty at UC Davis, where he directed the Early Music Ensemble. He recently retired from San Francisco University High School, where he directed the choir and orchestra and taught Western Civilization for 36 years. As a professor of music history at the San Francisco Conservatory of Music since 2001, Dr. Lamott specializes in the vocal and instrumental repertoire of the 18th century. He teaches continuo-playing for the coach-accompanists in the San Francisco
Photo by Frank Wing
Opera’s Merola Opera Program and lectures for the Opera and Opera Guild’s education programs.
PHILHARMONIA CHORALE Critically acclaimed for its brilliant sound, robust energy, and sensitive delivery of the text, the Philharmonia Chorale was formed to provide a vocal complement whose fluency in the stylistic language of the Baroque period matched that of Philharmonia Baroque Orchestra. Founded in 1995 by John Butt, one of the world’s leading Bach scholars, the 24 members of the Chorale are professional singers with distinguished solo and ensemble careers. They appear in roles with regional opera companies and have been members and founders of some of the country’s premiere vocal ensembles. The Chorale’s repertoire has included over ten Handel oratorios, Bach’s St. John Passion and Christmas Oratorio, Mozart’s C Minor Mass Beethoven’s Mass in C, and the modern day premiere of Rameau’s Le Temple de la Gloire. The ensemble has appeared with Philharmonia Baroque Orchestra at Walt Disney Concert Hall, Lincoln Center, Carnegie Hall, and at Segerstrom Concert Hall. The Chorale appears on the Orchestra’s recordings of Arne’s Alfred, Scarlatti’s Cecilian Vespers, Beethoven’s Symphony No. 9, and Scarlatti’s La Gloria di Primavera.
Bruce Lamott
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THE COMPLEAT CHORALE SINGER BRUCE LAMOTT
P
hilharmonia’s recent addition of “& Chorale” to its moniker had more significance than a mere change of logo. It was rather a recognition that we expect the same synergy of technique, expression, and historically informed performance from our 24-voice professional vocal ensemble as we do our instrumentalists. The Chorale is specially selected for their ability to sing in a variety of styles and languages, to negotiate easily the sometimes tortuous passages of Baroque music, and above all, to convey the emotions and imagery so essential to the Baroque style. While listeners may be very discerning in judging the performance and preparation of a Baroque violinist, you may be less familiar with the principles and trade secrets that govern a singer in the Chorale.
Photo by John Hefti
Philharmonia Chorale
The music is not learned in rehearsal. The Chorale comes together to prepare a typical concert set within two weeks of the performance. A typical sequence of rehearsals is three with keyboard (two with me directing, followed by one with Nic), one working rehearsal with Orchestra, and a final dress rehearsal with soloists and Orchestra. Chorale rehearsals consist of roughly 95% attention to style, expression, nuance, and coordination; less than 5% to corrections of wrong notes and faulty tuning. One unique challenge for our singers—especially those with “perfect pitch”—is the shifting standard of pitch determined by historical sources and period instruments with fixed pitch such as the woodwinds. For example, for last spring’s Beethoven and the upcoming Mozart, the A is tuned to 430 cycles per second; for Handel it will be 415, or a half-step lower than the modern piano. Since precise tuning of the human voice requires physical changes in muscular sensation and resonance, Chorale singers must rehearse in the pitch standard of the concert. Our recent acquisition of a rehearsal keyboard synthesizer with infinitely variable pitch has made life much easier. Sing about something, not about singing. In memorable masterclasses by the Canadian mezzosoprano Catherine Robbin, she would repeat this mantra after each note-perfect and technically
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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
flawless performance that said nothing. Too many times I’ve heard auditions of “Rejoice greatly, O daughter of Zion” sung with the droopiness of a basset-hound by a singer more attentive to lifting her soft palate than in announcing the coming of the Messiah. Turn off the audio. You the listener should be able discern Descartes’ fundamental affects of “love, joy, desire, wonder, sorrow, and hate” from the faces and even physical stance of each singer. This runs counter to years of “Don’t stick out” admonitions by high school, college, and church choir directors. To be sure, ancient texts such as those of the Mass deserve a certain measure of solemnity, but if the composer goes to the trouble of differentiating the emotions of the text, the choir is obligated to communicate them visually as well as musically. Then turn off the video. Hand-in-hand with physical expression is clarity of diction. Though we print the texts of all choral works in the program, our hope is that, in English at least, you shouldn’t need them. This is not only a matter of putting the t’s and s’s together, but also of differentiating vowels, especially in German and English. Once again, a singer preoccupied with technique may resort to one-vowel-fits-all because it enhances their sound but it will not enhance their communication. While the mellifluous flow of Italian sometimes glides past them, aspirated consonants (t, k, p, h) and the release of voiced consonants (d, v, b) are essential to German and English. English especially requires the often-neglected glottal stop (as in “Hawai’i”) between vowels, especially for rhetorical emphasis. (Without it, we get the Wiz in “Who Wiz this King of Glory?”) The Chorale’s large Handel repertoire requires scrupulous attention to British English. Not only is Nic attentive to words
like “dahnse,” but also to the color of vowels, as in the pious Anglican “Gawd.” Even the pronunciation of Church Latin is subject to scrutiny. For example, in Bach’s Germanic Latin, the “g” in “Agnus Dei” is pronounced, in Scarlatti’s Italian, it would be elided (“ahn-yoose”) and the French would alter the “u” (“ahn-yüse”). Mozart’s Catholic Austria, however, was linguistically and religiously more inclined towards Italy than Germany, thereby excusing our Italianate Latin for his sacred works. Blend is created in the audition. The singers in the Chorale are chosen for compatible—not identical—vocal quality. To “blend” voices which, when left to their own devices, are incompatible in size and color, is akin to asking all singers to stand at a consistent height of five-foot-eight. The ubiquitous fluctuating pitch of vibrato that is basic to modern string and vocal pedagogy is limited to its use as an expressive ornament in Baroque music. While some Early Music vocal ensembles require adult women to emulate the straight-tone (and often nebulous hooty diction) of prepubescent boys, our ideal in the Chorale is to produce a free and flexible tone that locks in tune regardless of the gradation of vibrato required by the expression of the music.
Photo by Jeff Phillips
Bruce and the Chorale at rehearsal.
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Philharmonia Announces Major Gift to Support Juilliard Partnership & Projects Philharmonia is thrilled to announce a new gift of $500,000 from the estate of Daniel Edward Offutt III to support our burgeoning partnership with The Juilliard School’s Historical Performance program and other vital projects over the next few years. This gift was made possible and facilitated by longtime PBO subscriber, supporter, and board member, Sondra Schlesinger, to whom we are deeply grateful. Daniel Offutt was a generous and thoughtful man and PBO is the fortunate Sondra Schlesinger beneficiary of his kindness. Born in Oakland, Maryland (Garrett County) on August 4, 1931, Dan attended the Hun School and the Lawrenceville School, both in Princeton, New Jersey. He served in the army until 1956. He graduated from the University of Maryland and received an MBA from Columbia University in 1965. His career was as a stock trader, mostly for his own account, and last at EF Hutton & Co. from which he retired to move to Weston, Connecticut.
Daniel Offutt III
Dan had friends all over the world and for a very long time. Dan would have described himself as a “farmer,” but he was much more than that. Those who knew him would remember him as a tennis player, traveler, sailor, metal sculptor, wood worker, fixer of anything, collector of everything, lover of projects, stock market investor, and a good friend. Dan was particularly proud of his rowing experience at Henley, in England. A favorite expression of Dan’s was, “I’ve never met a successful pessimist.” Dan lived for the past 30 plus years in Weston, Connecticut in a house that he built. On the property were some of his sculptures, and one of his proudest possessions—a tobacco barn. Dan and friends disassembled the tobacco barn in upstate Connecticut, transported it to Weston, and then “raised the barn!” Daniel Edward Offutt, III, of Weston, Connecticut, died peacefully at Meadow Ridge Health.
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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
MOZART MOZART Litaniae Lauretanae BMV in D Major MOZART Exsultate, jubilate
Nicholas McGegan conductor
MOZART Mass No. 15 in C major, “Coronation�
Camille Ortiz soprano
Meg Bragle mezzo-soprano
James Reese tenor
Dashon Burton bassbaritone
Bruce Lamott director, Philharmonia Chorale
2018/2019 — 38th Season Nicholas McGegan, conductor Camille Ortiz, soprano Meg Bragle, mezzo-soprano James Reese, tenor Dashon Burton, bass-baritone Philharmonia Chorale, Bruce Lamott, director PROGRAM Wolfgang Amadeus Mozart (1756–1791) Litaniae Lauretanae BMV in D Major, K. 195 Kyrie Sancta Maria Salus Infirmorum Regina Angelorum Agnus Dei Camille Ortiz, soprano Meg Bragle, mezzo-soprano James Reese, tenor Dashon Burton, bass-baritone Mozart Exsultate, jubilate, K. 165 Exsultate Recitativo Tu Virginum Alleluja Camille Ortiz, soprano INTERMISSION
Length of performance is approximately one hour and forty 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 device before the performance begins.
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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
MOZART
Mozart Mass No. 15 in C Major, K. 317 “Coronation” Kyrie Gloria Credo Sanctus Benedictus Agnus Dei Camille Ortiz, soprano Meg Bragle, mezzo-soprano James Reese, tenor Dashon Burton, bass-baritone
Major support provided by Mark Perry & Melanie Peña October 5th sponsored by Christina & Kenneth Hecht in honor of Peter Winkelstein’s birthday October 7th sponsored by Elizabeth Mayer in memory of Henry Mayer
Performances Wednesday, October 3 7:30 PM
Thursday, October 4 8:00 PM
Friday, October 5 8:00 PM
Saturday, October 6 8:00 PM
Sunday, October 7 4:00 PM
Bing Concert Hall, Stanford
Renée and Henry Segerstrom Concert Hall, Costa Mesa
Herbst Theatre, San Francisco
First Congregational Church, Berkeley
First Congregational Church, Berkeley
Join Bruce Lamott for a Pre-concert Talk forty-five minutes prior to your concert for a lively discussion on Mozart and the Choirs of Salzburg.
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FEATURED ARTISTS CAMILLE ORTIZ SOPRANO
MOZART
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nternationally recognized for her compelling performances of baroque and concert repertoire, native Puerto Rican soprano Camille Ortiz is quickly establishing herself as a leading artist in standard operatic roles. Recent 2018 season appearances include Gilda in Rigoletto, Micaela in Carmen, Valencienne in The Merry Widow, Marguerite in Faust, Christine in The Phantom of the Opera, and Maria in West Side Story as the resident soprano with Gulfshore Opera in Naples, FL. Recent concert performances included appearances in Florence, Paris, Leipzig, and Syros, Greece, including Vivaldi’s Gloria with the International Festival of the Aegean. The fall sees a Houston debut as Poppea in Handel’s Agrippina with Ars Lyrica Houston. The 2017 season saw her appearance as a leading soprano soloist in the award-winning revival of Rameau’s Le Temple de la Gloire, a co-production of the Centre de Musique Baroque de Versailles and the San Francisco based Philharmonia Baroque Orchestra & Chorale conducted by Nicholas McGegan and directed by Catherine Turocy. Additional 2017 performances included Orchestra of New Spain’s Misa Flamenca, Mozart’s Coronation Mass in C Major for the International Festival of the Aegean in Syros, Greece and a full recital for the Dallas Bach Society titled “Coloratura Furiosa,” including works by Vivaldi, Rameau, Purcell, Bach and Handel.
Other performed roles include Antonia in Les Contes d’Hoffmann at UNT Opera, Lucia (Rape of Lucretia) at Manhattan School of Music, Blondchen (Die Entführung aus dem Serail) for the Martina Arroyo Role Learning Class, Oscar (Un Ballo in Maschera) for Martina Arroyo’s Prelude to Performance, Fire/Nightingale (L’enfant et les sortilèges) for Coópera: Project Opera of Manhattan, Susan Hoerschner (Clarence and Anita) for the Center of Contemporary Opera NY, Adina, Norina, and Musetta for Centro Studi Lirica in Italy, and Frasquita in Carmen with Dell’Arte Opera. Notable engagements include directing and performing for Opera Hispánica NY; soprano soloist with Zipoli Ensemble NY; appearing in venues such as the Sala Manuel de Falla in Granada, Spain under the tutelage of Teresa Berganza, the Carlos Chávez Hall of the Universidad Nacional Autónoma de Mexico, D.F., Avery Fischer Hall at the Lincoln Center, the Heckscher Theater at El Museo del Barrio, Steinway Hall NY, The Kaye Playhouse, the America’s Society, the Museum of the City of New York, as well as on national television broadcast network Telemundo and HBO live. Ms. Ortiz completed a DMA at University of North Texas, a Master’s degree at Manhattan School of Music, a Bachelor’s at Oral Roberts University where she double-majored in voice and violin, and is a graduate of the pre-college division of the Puerto Rico Conservatory. She is the winner of the Gerda Lissner Foundation 2008 Encouragement Award and a finalist in both the Liederkranz 2009 competition, lieder division, and the Sergei and Olga Koussevitzky 2010 Young Artists Competition. She is on the faculty of the Greek Opera Studio and is a clinician at Florida Gulf Coast University and Ave Maria University in Southwest Florida.
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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
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idely praised for her musical intelligence and “expressive virtuosity” (San Francisco Chronicle), Meg Bragle is quickly earning an international reputation as one of today’s most gifted mezzo-sopranos.
MEG BRAGLE MEZZO-SOPRANO
A frequent featured soloist with Sir John Eliot Gardiner and the English Baroque Soloists, she has made four recordings with the group, including Bach’s Easter and Ascension Oratorios— the vehicle for her BBC Proms debut—and the October 2015 release of Bach’s Mass in B Minor. As a gifted early music specialist, Ms. Bragle has sung in North America and Europe with the Philharmonia Baroque Orchestra & Chorale, Music of the Baroque, Orpheus Chamber Orchestra, the Orchestra of St. Luke’s, Orchestre Révolutionnaire et Romantique, Tafelmusik Baroque Orchestra, Orchestra of the Age of Enlightenment, Les Violons du Roy, Apollo’s Fire, and the Dunedin Consort. Ms. Bragle has appeared with many symphony orchestras in the US and Canada including the Houston (Beethoven’s Mass in C Minor), Indianapolis (Mozart’s Requiem), Milwaukee (Mozart’s Requiem), Cincinnati (Bach’s Mass in B Minor), Pacific (Handel’s Judas Maccabeus), and Colorado (Mendelssohn’s Elijah) Symphonies; the National Arts Center Orchestra (Messiah) and a series of concerts with the Calgary Philharmonic including Handel’s Messiah and Beethoven’s Symphony No. 9. Highlights of her 2017/18 season included a return to Netherlands Bach Society for a tour of Bach’s Christmas Oratorio and performances with Music of the Baroque (St. John Passion), Mercury Houston Orchestra (St. Matthew Passion), Arion Baroque Orchestra, and Tempesta di Mare. Other recent highlights include performances with the Winter Park and Carmel Bach Festivals, St. Paul Chamber Orchestra, Early Music Vancouver, multiple appearances as vocal soloist with New York City Ballet, and American Bach soloists. Her opera roles include Idamante in Idomeneo, Dido and the Sorceress in Purcell’s Dido and Aeneas, Dardano in Handel’s Amadigi, Amastre in Handel’s Serse, Speranza in Monteverdi’s L’Orfeo, Ippolita in Cavalli’s Elena, and Elpina in Vivaldi’s La Fida Ninfa. Ms. Bragle is an accomplished recording artist. In addition to those with the English Baroque Soloists, she has made several recordings with Apollo’s Fire: Mozart’s Requiem (Koch), Handel’s Dixit Dominus and Ode for the Birthday of Queen Anne (Avie), and Monteverdi’s Vespro della Beata Vergine (Avie), and L’Orfeo (Eclectra). Other recordings include Bach’s St. John Passion with Arion Baroque (ATMA Classique).
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FEATURED ARTISTS JAMES REESE TENOR
J
ames Reese is an avid ensemble, chamber, and solo musician whose singing has been praised for its “intensity and sensitivity...spirituality and eloquence.” (Chestnut Hill Local) James’ 2018-19 season sees debuts with the Calgary Philharmonic Orchestra, TENET Vocal Artists, Gallicantus, Bourbon Baroque Orchestra, and the Sun Valley Symphony, as well as return performances with Lyric Fest, Philadelphia’s Bach @ 7 series, and Bach Vespers @ Holy Trinity Lutheran NYC. In addition, James will appear with The Crossing, Santa Fe Desert Chorale, True Concord Voices and Orchestra, and Variant 6. Previously, James has appeared in concerts with Nicholas McGegan and Philharmonia Baroque Orchestra & Chorale; Masaaki Suzuki and Juilliard415; the American Classical Orchestra; and at the Ad Astra Music Festival. In May 2018, he made his Carnegie Hall solo debut in Bach’s B Minor Mass with the New York Choral Society, directed by David Hayes. Of that performance, the New York Classical Review wrote, “the high, easy tenor of James Reese...floated beautifully on its own over the long, gentle lines of the Benedictus.” In June 2018, he made his European debut with ensemble Seconda Prat!ca, in a recital with soprano Lucía Caihuela at Splendor Amsterdam. An advocate for new music, James is a founding member of Philadelphia vocal sextet Variant 6 (variantsix.com). He has premiered works by Ted Hearne, John Luther Adams, Judd Greenstein, Joel Puckett, Gabriel Jackson, and others. James sings frequently with leading American choruses, including The Crossing, Santa Fe Desert Chorale, Seraphic Fire, True Concord, and The Thirteen. He has recorded on the ECM, Innova, and Albany labels; including The Crossing’s release of Gavin Bryars’ The Fifth Century, which won a Grammy for Best Choral Performance in 2018. He also sang on 2016 GrammyNominated Bonhoeffer, released by the Crossing. James is a graduate of Northwestern University’s Bienen School of Music, where he studied with Kurt R. Hansen, Alan Darling, and Donald Nally. He is a recent graduate of Yale University’s Institute of Sacred Music, where he studied with James Taylor as part of the Yale Voxtet.
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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
P
raised for his “nobility and rich tone,” (The New York Times) and his “enormous, thrilling voice seemingly capable … [of] raising the dead;” (Wall Street Journal), bass-baritone Dashon Burton has established a vibrant career in opera, recital, and with orchestra. In key elements of his repertoire — Bach’s St. John and St. Matthew Passions and the B minor Mass, Mendelssohn’s Elijah, Beethoven 9, the Brahms Requiem, Handel’s Messiah, and Mozart’s Requiem – Dashon is a frequent guest with Philharmonia Baroque, the Handel and Haydn Society, Boston Baroque, and the symphony orchestras of Cincinnati, Cleveland, Indianapolis, Kansas City, and the Royal Stockholm Philharmonic. He is a regular guest with the Cleveland Orchestra and Franz Welser-Möst, appearing there in the Brahms and Mozart Requiems, Janacek’s Cunning Little Vixen and recently on tour in Europe and Japan in Beethoven’s Symphony No. 9. In June 2018 he opened the Grant Park Music Festival in Chicago’s Millennium Park singing Walton’s Belshazzar’s Feast.
DASHON BURTON BASS-BARITONE
Dashon’s 2018/19 season begins with his debut at the Salzburg Festival in Salomé. He sings Beethoven 9 with the National Arts Centre Orchestra and the Cincinnati Symphony, Dvořák’s Stabat Mater with the Houston Symphony, Mozart’s Coronation Mass with Philharmonia Baroque, and the Requiem with the Los Angeles Chamber Orchestra. He sings the role of Zebul in Handel’s Jeptha, the Verdi Requiem, Moussorgsky’s Songs and Dances of Death, and returns to the Cleveland Orchestra for a subscription week of Schubert’s Mass in E flat Major. With the contemporary vocal ensemble Roomful of Teeth, of which Dashon is an original member, he appears in Peter Sellars’ production of Claude Vivier’s Kopernikus, un ritual de mort in Paris. He appears in recital in Boston and wSan Francisco. Burton’s opera engagements include singing Sarastro in Die Zauberflöte in Dijon and Paris, and the role of Jupiter in Rameau’s Castor and Pollux with Les Talens Lyriques. He has toured Europe in the St. John Passion with Le Concert Lorraine, and in Italy with Maasaki Suzuki and the Yale Schola Cantorum in the St. Matthew Passion. Burton’s recording “Songs of Struggle and Redemption: We Shall Overcome” was singled out by the New York Times as “profoundly moving…a beautiful and lovable disc” in its My 2016 Classical Playlist. Dashon is a graduate of Oberlin College Conservatory of Music and holds a Masters’ degree from the Yale Institute of Sacred Music.
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THE PLAYERS and their 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
Maria Ionia Caswell
Katherine Kyme, concertmaster
Stephen Goist
Johann Gottlob Pfretzschner, Mittenwald, Germany, 1791 Egon & Joan von Kaschnitz Concertmaster Chair
Elizabeth Blumenstock †
Andrea Guarneri, Cremona, 1660; on loan from PBO Period Instrument Trust Susan B. Levy Chair
Jolianne von Einem
Rowland Ross, Guildford, England, 1979; after A. Stradivari
Lisa Grodin
Laurentius Storioni, Cremona, Italy, 1796
Tyler Lewis
Anonymous, Italy, c. 1800
Anonymous, Mittenwald, Germany, c. 1800 André Mehler, Leipzig, Germany, 2018; after Matteo Goffriller, Venice, Italy, 1720
Ellie Nishi
Aegidius Klotz, Mittenwald, Germany, 1790
VIOLONCELLO Phoebe Carrai *
Anonymous, Italy, c. 1690
Paul Hale
Joseph Grubaugh & Sigrun Seifert, Petaluma, California, 1988; after A. Stradivari Osher Cello Chair Endowment
Robert Howard
Carla Moore
Johann Georg Thir, Vienna, Austria, 1754
Anonymous, Venice, Italy, 1750 Zheng Cao Memorial Chair
Maxine Nemerovski
William Skeen
David Tecchler, Rome, Italy, 1733
Giovanni Grancino, Milan, Italy, 1725
Linda Quan
DOUBLE BASS
Jacob Stainer, Absam, Tyrol, 1655
Noah Strick
Celia Bridges, Cologne, Germany, 1988
Sara Usher
Desiderio Quercetani, Parma, Italy, 2001; after A. Stradivari
Anna Washburn
Anonymous, Tyrol, Italy, c. 1760
Lisa Weiss
Anonymous, London; after Testore
VIOLA Anthony Martin *
Aegidius Klotz, Mittenwald, Germany, 1790
Kristin Zoernig *
Joseph Wrent, Rotterdam, Holland, 1648
Anthony Manzo
Tom Wolf, 2007; after Carlo Fernando Landolfi, Tanegia, 1766
OBOE Gonzalo X. Ruiz *
H. A. Vas Dias, Decatur, Georgia, 1988; after C. A. Grenser, Dresden, Germany, c. 1780 Principal Oboe Chair In Memory of Clare Frieman Kivelson and Irene Valente Angstadt
Marc Schachman
Sand Dalton, Lopez Island, Washington, 1993; after Floth, c. 1800
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MOZART
BASSOON Danny Bond *
Peter de Koningh, Hall, Holland, 1985; after Grenser, Dresden, Germany, c. 1800
PHILHARMONIA CHORALE
HORN
R. J. Kelley *
M. A. Raoux, Paris, France, 1850
Paul Avril
Richard Seraphinoff, Bloomington, Indiana, 1998; after A. Halari, Paris, 1825
Philharmonia Baroque Orchestra & Chorale Community Endowed Fund for Choral Music
BRUCE LAMOTT, chorale director
Robert & Laura Cory Chorale Director Chair
TRUMPET
John Thiessen *
Rainer Egger, Basel, 2015; after Adam Bauer, Prague, c. 1811–1835
SOPRANO
ALTO
Jennifer Ashworth
Terry Alvord
Tonia d’Amelio
Daniel Cromeenes
Fred Holmgren, Massachusetts, 2005; after J. L. Ehe III, 1746
Radoslava Biancalana
Katherine McKee
Cheryl Cain
Susan Thampi
TROMBONE
Lisa May
Casie Walker
Christa Pfeiffer
Heidi Waterman
Barbara Rowland
Celeste Winant
Helene Zindarsian
Jacque Wilson
TENOR
BASS
Kevin Baum
Paul Boyce
Kevin Gibbs
Jeffrey Fields
Corey Head
Sepp Hammer
Michael Jankosky
Tom Hart
David Kurtenbach
James Monios
Fred Holmgren
Greg Ingles *
Adolf Egger, Switzerland, 2001; after Johann Joseph Schmied
Erik Schmalz
Rainer Egger, Basel, Switzerland, 2005; after Johann Joseph Schmied, 1778
Mack Ramsey
Ewald Meinl, Geretsried, Germany, 2005; after late 18th century originals
TIMPANI Kent Reed *
Ryan Matos
Jess G. Perry
Anonymous, England, c. 1840
Mark Mueller
Chad Runyon
ORGAN
Jonathan Smucker
Ian Walker
Hanneke van Proosdij * Gerrit C. Klop, Holland, 1990 * Principal † Principal 2nd Violin
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PROGRAM NOTES
O
ur understanding of the significance of Salzburg to Mozart’s musical development has been tainted by his correspondence and criticism of his birthplace while a headstrong and disgruntled employee. To hear him tell it, Salzburg was a provincial backwater governed by an arbitrary clerical tyrant who disrespected both his person and his music, until his final dismissal with a literal kick in the pants by the archbishop’s chamberlain in 1781.
BRUCE LAMOTT
However, as this program will prove, Salzburg was an incubator of his creativity while under the security of parental protection, particularly that of his father/ mentor/manager and superego Leopold, the court ViceKapellmeister. The principality of Salzburg was governed by an elected archbishop who ruled over both governmental and ecclesiastical domains as a reigning prince in the Holy Roman Empire of the German Nation and as archbishop Primas Germaniae, the highest ranking archbishop of the whole empire. While the child prodigy Wolfgang enjoyed the generous indulgence and patronage of Archbishop Sigismund von Schrattenbach, the adolescent and protoadult Mozart faced almost immediate conflict with his successor. The new archbishop, Hieronymus Count Colloredo, a Viennese blue-blood, brought with him the Enlightenment and anti-clerical reforms of Emperor Joseph II, , including the streamlining and simplification of church music, as you will hear in the opening and concluding works on this program. Mozart complains in a letter to the venerable Padre Martini, his mentor in Bologna, that “our church music is very different from that of Italy, since a Mass with the whole Kyrie, the Gloria, The Credo, the Epistle sonata, the Offertory or Motet, the Sanctus, and the Agnus Dei must not last longer than three-quarters of an hour.” Though Colloredo was an accomplished violinist who sometimes played chamber music with court musicians, it’s apparent that he preferred playing music rather than listening to it. LITANIAE LAURETANAE BMV in D Major, K. 195
Wolfgang Amadeus Mozart
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The Loretan Litanies of the Blessed Virgin Mary (Beatae Maria Virginis) are a sequence of prayers with choral responses. Though proper to no specific holiday, the litanies accompanied church processions for churches and monasteries--one of several practices curtailed by Colloredo. The title refers to the Basilica della Santa Casa in Loreto, Italy, believed to be site where angels relocated the Nazareth house of the Virgin Mary to save it from the Muslim reconquest of Palestine. The text was set numerous
PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
MOZART times by South German and Austrian composers, including Leopold Mozart, this being the second of two settings by Wolfgang. It was scored for the largest orchestra available to him—two oboes, two horns, with trombones doubling the lower three choral parts, strings (without violas), and organ continuo—likely for performance in the Salzburg Cathedral In May of 1774. Unlike the five movements of the typical Mass cycle, which are interspersed with readings, prayers, and other music such as motets pertinent to the occasion in the liturgical year, the five movements of the Litanies were performed in succession. In this setting the third movement, Salus infirmorum, becomes a slow introduction to the fourth, Regina Angelorum. Mozart’s Litanies are a sampler of the prevailing musical styles of the period, ranging from the antique “ecclesiastical” or “learned style,” in which overlapping voices enter in turn as in a round (canon) or fugue, to the “brilliant style” of the opera aria and concerto. Formally, the Kyrie, Sancta Maria, and Regina angelorum all show evidence of the three-part (A-B-A) sonata form, in which the middle section (development) of shorter phrases and changing keys (modulation) is framed by the initial melodic material (exposition) and its restatement at the end (recapitulation). This one-size-fits-all organization (comparable to the introduction-body-conclusion of the essay) can be heard in all three works on this program. Instead of the grand gesture that opens the Kyrie of the Coronation Mass, the Kyrie of the Litanies begins slowly and softly, with voices entering in “ecclesiastical” imitation, but rising in intensity to create an introduction to the Allegro which bursts forth in the “brilliant,” concerted style. The overlapping polyphonic lines thus give way to shorter, clearly delineated phrases. Both here and in the closing phrase of the Agnus Dei, Mozart underscores the literal meaning of both the Greek: eleison and its Latin equivalent miserere (have mercy) with unexpected plunges into hushed phrases of penitence.
Archbishop Sigismund von Schrattenbach
The complexity of the Kyrie contrasts with the gentle simplicity of the Sancta Maria. The tuneful soprano melody reveals the balanced phrases of the galant minuet, reflecting the maternal graciousness of the text.
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PROGRAM NOTES The sunny G major of the Sancta Maria is clouded by the Salus infirmorum in B minor, with deep choral chords underscored by restless dotted rhythms in the orchestra. This powerful movement with its Sturm und Drang, however, evaporates inconclusively and becomes an introduction to the brilliant fireworks ahead. Mozart sets the Regina Angelorum with the ebullience of an opera finale. Young Mozart’s penchant for gymnastic leaps to the extremities of the vocal range creates a tortuous tenor line that spans nearly two octaves, leading us to question this complaint four years later: “Salzburg is no place for my talent. In the first place, professional musicians there are not held in much consideration; and , second, one hears nothing, there is no theater, no opera, and even if they really wanted one, who is there to sing?” Did he write this for an extraordinary—now unknown—singer, or was he deliberately setting the bar too high? The same can be said about the solo soprano line in the concluding Agnus Dei. Mozart especially delights in the change of tone color between the registers of the soprano voice (sometimes called “head” and “chest” voice), writing a line that leaps down an octave to A below the treble staff, then up to G above it. The hushed closing of the Litany show Mozart’s careful reading of the penitential text, miserere nobis, as the choir descends chromatically as in a musical genuflection. EXSULTATE, JUBILATE, K. 165 Many listeners may not realize that this, the most oftenperformed of Mozart’s solo motets, was written for a castrato, the Italian virtuoso Venanzio Rauzzini. Leopold II
Young Mozart was very familiar with the castrato voice, which sang the heroic leading roles in the serious opera (opera seria) of the type he was composing for Milan. It’s clear that he considered their presence as evidence of musical sophistication, as he sarcastically quips in a letter: “As for the theater [in Salzburg], we are in a bad way for lack of singers. We have no castrati, and we shall never have them, because they insist on being handsomely paid; and generosity is not one of our faults.” No sacred work of Mozart better typifies the liturgical extravagance abhorred by Archbishop Colloredo than this three-movement solo motet with connecting recitatives. But it was written for Milan—beyond his jurisdiction—where
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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
MOZART Mozart had been commissioned by the Royal Ducal Theater to write Lucio Silla, in which Rauzzini was singing the role of Cecilio. In playful garbled German, the sixteen-year-old Wolfgang writes to his sister Nannerl: “I for have the primo a uomo [Rauzzini] motet compose which to tomorrow at Church the Theatine performed be will.” Its first performance on Sunday January 17, 1773 was presumably sung during Mass as a fifteen-minute musical interlude between the Epistle and Gospel reading or in lieu of the Offertory. In addition, the service would have included works not by Mozart: the five choral movements of the Mass of the day as well as other music (Introit, Gradual, etc.). Motet is a general term for such a work, applied to vocal music--choral or solo--performed somewhere within the liturgy of a church service that is often pertinent (therefore called the Proper) to the specific occasion of the liturgical calendar as opposed to the five-movement Ordinary cycle of Kyrie-Gloria-Credo-Sanctus/Benedictus-Agnus Dei, as in the Coronation Mass. The author of the psalm-like hymn of praise in the first movement and the prayer to the Virgin Mary in the second is unknown, but together with the concluding “Alleluia,” the text is sufficiently un-seasonal enough that it could be suitable for many festive occasions. Exsultate jubilate is essentially a three-movement “soprano concerto” accompanied by strings with horns and oboes, tailor-made for Raunzzini’s agile voice and wide range, with extended virtuosic running passages (coloraturas) in the outer movements. Just as leading operatic characters received a variety of arias to exploit both their technique and expressivity, the second movement is written in the sensitive (Empfindsamer) style. A lyrical melody inflected with expressive chromaticism soars over a gently throbbing bass, with two-note sigh figures in the strings depicting the sighing heart (unde suspirat cor) consoled by the Virgin.
Archbishop Hieronymus von Colloredo
Sonata form (A-B-A) is used in the first two movements, while the final Alleluia begins with a tuneful melody recurring in the pattern A-B-A-C-A, as the rondo-finale of a concerto. If the final repeated phrases seem familiar, it’s because they also appear at the end of Haydn’s famous Emperor’s Hymn, written in 1797, six years after his dear friend Mozart’s death.
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PROGRAM NOTES MASS IN C MAJOR, K. 317 “Coronation” The Mass in C Major is generally regarded as Mozart’s greatest complete Mass setting, one of fifteen he wrote in Salzburg. Those which he started in Vienna after leaving the employ of Archbishop Colloredo remained incomplete. Although his C-minor Mass (1782) and Requiem (1791) are indisputably his finest achievements in sacred music, both were left unfinished—the former for unknown reasons, and the latter, interrupted at first by the commission of the opera La clemenza di Tito for the coronation of Emperor Leopold II in Prague, and thereafter by his untimely death in 1791. It is likely that it was this coronation, whose festivities included a performance of the C Major Mass conducted by Salieri, that attached “Coronation” to its name. The Mass was first performed in the Salzburg Cathedral on Easter Sunday, April 4, 1779, composed in Mozart’s new capacity as salaried court organist for the archbishop. It is appropriately grand, with pairs of oboes, horns, trumpet, timpani, and three trombones doubling the alto, tenor, bass parts of the chorus. It is a masterpiece of concise and vigorous expression. Notably sparing of passages in the imitative “ecclesiastical style,” Mozart avoids writing time-consuming fugues where they traditionally occur, such as the Cum Sancto Spirito at the end of the Gloria. Original manuscript of Mozart’s Coronation Mass
Mozart’s recent visits to Mannheim had brought him in contact with one of the greatest orchestras in Europe. The Mannheimers were noted not only for their virtuoso wind players, but for emphatic dynamic contrasts of forte and piano. (Its crescendos were said to cause the audience to rise up in their seats.) The Mannheim style here is evident from the very first note, as the woodwinds, punctuated by trumpets and timpani, play forte/piano/crescendo, while the chorus declaims “Ky-(rie).” Mozart takes advantage of symmetries in the text to create variants of sonata form. The music of Gloria in excelsis is recapitulated in Quoniam tu solus, and the bustling Credo in unum Deum returns as Et resurrexit, framing a muted episode in minor that focuses the central mystery of faith, Et incarnatus est. The soprano solo in the Agnus Dei is an unmistakable precursor to the aria “Dove sono” from The Marriage of Figaro (1786). The composer creates an even larger symmetry when he concludes the movement (Dona nobis pacem) with the music of the opening Kyrie, but this time sung on the double. This certainly creates a theatrical finale, but also raises the possibility that His Excellency the Archbishop was looking at his watch.
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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
MOZART GLOSSARY OF TERMS BRUCE LAMOTT
aria: A song for solo voice, often with orchestral accompaniment, found in a larger work such an opera or mass. Arias have a poetic rhyming text, a regular beat, and repetitions that create a larger musical form.
Credo: A statement of fundamental Christian beliefs first adopted by the Council of Nicaea in 325 CE, also known as the “Nicene Creed.” With some variants, these tenets are held in common by Roman Catholic, Protestant, and Orthodox faiths.
recitative: Prose sung in the rhythm of speech without repetition which “sets up” the aria to follow. It was originally developed for the delivery of dialogue in early opera.
Sanctus: The hymn sung by the angels (Cherubim and Seraphim) as they surround the Ark of the Covenant in the Temple in Jerusalem, according to a vision recorded by the prophet Isaiah.
Mass (cycle): The oldest—and for centuries, the longest—multi-movement musical composition in Western music, conceived as a whole and often united by a pervasive musical theme. First developed in the 14th century, this typically five-movement cycle uses the texts of the “Ordinary” chants of the Mass, i.e., ones that are sung (with some exceptions) in every celebration of the Mass, regardless of the occasion in the church calendar. Though Roman Catholic in origin, these texts are also found in the liturgies of Lutheran and Anglican sects of Protestantism.
Agnus Dei: A threefold prayer of penitence addressed to Jesus, metaphorically the sacrificial Lamb of God.
Kyrie: A threefold prayer of penitence, the only Greek words in the otherwise Latin mass. Gloria: The song of the angels announcing the birth of Jesus, followed by praise, penitential prayers, and concluding with acclimations of the Holy Trinity: Father, Son (Jesus), and the Holy Spirit.
movement: a discrete section of a larger work, usually identified by its tempo indication (speed), and by its own internal form and melodic material. Modern audience decorum suppresses applause between movements, but historically audiences not only applauded but often demanded the repetition (“encore!”) of movements. K. 195: The chronological numbering system of the works of Mozart, first begun in the thematic catalog compiled in 1862 by Ludwig Ritter von Köchel. [Amaze your friends with this inexplicable parlor trick: Take any K. number above 100, divide by 25, and add 10 = Mozart’s age at the time of composition. Example: K. 195/25 = 7.8 + 10 = 17.8. Mozart was 18 in May 1774 when he wrote the Litanies, K. 195.]
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NIC’S PICKS RECORDINGS MOZART: Exsultate, jubilate! * (Carolyn Sampson, The King’s Consort, Robert King) Hyperion, 2005 MOZART: Exsultate, jubilate / 7 Arias * (Felicity Lott, London Mozart Players, Jane Glover) Regis, 2013 MOZART: Coronation Mass; Exsultate Jubilate; Vesperae solennes * (Barbara Bonney, Catherine Wyn Rogers, Jamie MacDougall, Stephen Gadd, The English Concert & Choir, Trevor Pinnock). Archiv, 1994
MOZART: Coronation Mass; Vesperae solennes (Joan Rodgers, Elisabeth von Magnus, Josef Protschika, Laszlo Polgar, Arnold Schönberg Choir, Choralschola der Weiner Hofburgkapelle, Concentus Musicus Wien, Nikolaus Harnoncourt) Rhino Warner Classics, 1989
DVDs Mozart’s Sister * (René Féret) Music Box Films, 2012
Mozart and His Circle: A Biographical Dictionary * Peter Clive; Yale, 1991 This includes information about Archbishop Colloredo of Salzburg as well as many other figures in Mozart’s life.
BOOKS Mozart: The Early Years, 1756–1781 * Stanley Sadie; Norton, 2005 “This is a comprehensive, authoritative, but very readable account of Mozart’s musical upbringing and life before he arrived in Vienna. Stanley Sadie was the principal editor of Groves Dictionary of Music. I knew him well and admire his work on Mozart and Handel enormously.”—Nic *Items available at the Lobby Boutique.
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Venanzio Rauzzini in Britain: Castrato, Composer, and Cultural Leader Paul F. Rice; University of Rochester Press, 2015 “Mozart wrote Exultate Jubilate specially for the castrato soprano Rauzzini. The singer later moved to England where he composed operas and led the musical life of the fashionable city of Bath.”—Nic
PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
TEXTS and TRANSLATIONS
MOZART
MOZART: Litaniae Lauretanae BMV in D Major, K. 195 (Litanies of Loreto (or Loretan Litanies) of the Blessed Virgin Mary) KYRIE Kyrie eleison. Christe eleison. Kyrie eleison. Christe audi nos. Christe exaudi nos. Pater de caelis, Deus, miserere nobis. Fili Redemptor mundi Deus, miserere nobis. Spiritus Sancte Deus, miserere nobis. Sancta Trinitas, unus Deus, miserere nobis. SANCTA MARIA Sancta Maria, ora pro nobis.
KYRIE Lord, have mercy on us. Christ, have mercy on us. Lord, have mercy on us. Christ, hear us. Christ, answer us. God the Father of heaven, Have mercy on us. God the Son, Redeemer of the world, Have mercy on us. God the Holy Spirit, Have mercy on us. Holy Trinity, one God, Have mercy on us. SANCTA MARIA Holy Mary, Pray for us.
Sancta Dei Genetrix, Sancta Virgo virginum, ora pro nobis.
Holy Mother of God, Holy Virgin of virgins, Pray for us.
Mater Christi, Mater Divinae gratiae, ora pro nobis.
Mother of Christ, Mother of divine grace, Pray for us.
Mater purissima, Mater castissima, Mater inviolata, Mater intemerata, ora pro nobis.
Mother most pure, Mother most chaste, Mother inviolable, Mother undefiled, Pray for us.
Mater amabilis, Mater admirabilis, Mater creatoris, Mater salvatoris, ora pro nobis.
Mother most amiable, Mother most admirable, Mother of our Creator, Mother of our Savior, Pray for us.
Virgo prudentissima, ora pro nobis.
Virgin most prudent, Pray for us.
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TEXTS and TRANSLATIONS Virgo veneranda, ora pro nobis.
Virgin most venerable, Pray for us.
Virgo praedicanda, ora pro nobis.
Virgin most renowned, Pray for us.
Virgo potens, Virgo clemens, Virgo fidelis, ora pro nobis. Speculum justitiae, Sedes sapientiae, Causa nostrae laetitiae ora pro nobis.
Mirror of justice, Seat of wisdom, Cause of our joy, Pray for us.
Vas spirituale, Vas honorabile, Vas insigne devotionis, ora pro nobis.
Spiritual vessel, Vessel of honor, Vessel, sign of devotion, Pray for us.
Rosa mystica, ora pro nobis.
Mystical rose, Pray for us.
Turris Davidica, Turris eburnea, ora pro nobis.
Tower of David, Tower of ivory, Pray for us.
Domus aurea, Foederis arca, Janua caeli, Stella matutina, ora pro nobis.
House of gold, Ark of the covenant, Gate of heaven Morning star, Pray for us.
SALUS INFIRMORUM Salus infirmorum, ora pro nobis. Refugium peccatorum, ora pro nobis. Consolatrix afflictorum, Auxilium Christianorum ora pro nobis. REGINA ANGELORUM Regina angelorum, Regina patriarcharum, Regina prophetarum, ora pro nobis.
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Virgin most powerful, Virgin most merciful, Virgin most faithful, Pray for us.
SALUS INFIRMORUM Healer of the sick, Pray for us. Refuge of sinners, Pray for us. Comforter of the afflicted, Help of Christians, Pray for us. REGINA ANGELORUM Queen of Angels, Queen of Patriarchs, Queen of Prophets, Pray for us.
Regina Apostolorum, ora pro nobis.
Queen of Apostles, Pray for us.
Regina Martyrum, Regina Confessorum,
Queen of Martyrs, Queen of Confessors,
PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
ora pro nobis. Regina Virginum, ora pro nobis. Regina Sanctorum omnium, ora pro nobis.
Pray for us. Queen of Virgins, Pray for us. Queen of all Saints, Pray for us.
AGNUS DEI Agnus Dei, qui tollis peccata mundi, parce nobis Domine.
AGNUS DEI Lamb of God, who takes away the sins of the world, Spare us, O Lord.
Agnus Dei, qui tollis peccata mundi, exaudi nos Domine.
Lamb of God, who takes away the sins of the world, Hear us, O Lord.
Agnus Dei, qui tollis peccata mundi, miserere nobis.
Lamb of God, who takes away the sins of the world, Have mercy on us.
MOZART: Exsultate, jubilate, K. 165 (Rejoice, resound with joy) [author unknown] Exsultate, jubilate, o vos animae beatae, dulcia cantica canendo, cantui vestro respondendo, psallant aethera cum me. Fulget amica dies, jam fugere et nubila et procellae; exorta est justis inexspectata quies. Undique obscura regnabat nox, surgite tandem laeti qui timuistis adhuc, et jucundi aurorae fortunatae frondes dextera plena et lilia date. Tu virginum corona, tu nobis pacem dona, tu consolare affectus, unde suspirat cor. Alleluja, alleluja!
Rejoice, resound with joy, O you blessed souls, Singing sweet songs, In response to your singing, Let the heavens sing forth with me. The friendly day shines forth, Now both clouds and storms have fled, For the righteous there has arisen An unexpected calm. Dark night reigned everywhere [before]; Arise, happy at last, You who feared till now, And joyful for this lucky dawn, Give garlands and lilies with full right hand. You, o crown of virgins, Grant us peace, Console our feelings, From which our hearts sing. Alleluia, alleluia!
MOZART: Mass No. 15 in C Major, K. 317 “Coronation� [traditional Mass text] KYRIE Kyrie eleison. Christe eleison. Kyrie eleison. GLORIA Gloria in excelsis Deo.
KYRIE Lord, have mercy upon us. Christ, have mercy upon us. Lord, have mercy upon us. GLORIA Glory be to God on high.
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TEXTS and TRANSLATIONS Et in terra pax hominibus bonae voluntatis. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex caelestis, Deus Pater omnipotens. Domine Fili unigenite Jesu Christe. et propter nostram salutem descendit de caelis. Et incarnatus est de Spiritu Sancto ex Maria Virgine: Et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est. Et resurrexit tertia die, secundum scripturas. Et ascendit in caelum: sedet ad dexteram Patris. Et iterum venturus est cum gloria judicare vivos et mortuos: Cujus regni non erit finis. Et in Spiritum sanctum Dominum et vivificantem: Qui ex Patri, Filioque procedit. Qui cum Patre, et Filio simul adoratur et conglorificatur: Qui locutus est per Prophetas. Et unum sanctum, catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et expecto resurrectionem mortuorum et vitam venturi saeculi. Amen. SANCTUS Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis. BENEDICTUS Benedictus qui venit in nomine Domini. Hosanna in excelsis.
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And on earth peace to men of good will. We praise Thee. We bless Thee. We worship Thee. We glorify Thee. We give thanks to Thee For Thy great glory. O Lord God, heavenly King, God the Father almighty. O Lord, the only begotten Son, Jesus Christ. And for our salvation Came down from heaven. And was incarnate by the Holy Spirit Of the Virgin Mary: And was made man. And was crucified also for us Under Pontius Pilate, Suffered and was buried. And the third day He rose again According to the scriptures. And ascended into heaven, And sits at the right hand of the Father. And He shall come again with glory To judge the living and the dead: Whose kingdom shall have no end. And I believe in the Holy Spirit, Lord and giver of life: Who proceeds from the Father and Son. Who with the Father and Son together Is worshipped and glorified: Who spoke by the Prophets. And in one holy, catholic And apostolic church. I acknowledge one baptism For the remission of sins. And I look for the resurrection of the dead And the life of the world to come. Amen. SANCTUS Holy, holy, holy, Lord God of hosts. Heaven and earth are full of Thy glory. Hosanna in the highest. BENEDICTUS Blessed is He Who comes in the name of the Lord. Hosanna in the highest.
AGNUS DEI Agnus Dei, qui tollis peccata mundi, miserere nobis.
AGNUS DEI Lamb of God who takes away the sins of the world, Have mercy on us.
Agnus Dei, qui tollis peccata mundi, miserere nobis.
Lamb of God who takes away the sins of the world, Have mercy on us.
Agnus Dei, qui tollis peccata mundi, dona nobis pacem.
Lamb of God who takes away the sins of the world, Grant us peace.
PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
cantata collective presents
Free Bach Concerts! November 25, 2018 The Dialogue Cantatas, BWV 57 and BWV 58 with Sherezade Panthaki, soprano and Paul Max Tipton, baritone February 24, 2019 BWV 36 and BWV 124 with Tonia D’Amelio, soprano, Heidi Waterman, alto, David Kurtenbach, tenor, and Sepp Hammer, bass
March 17, 2019 BWV 125 and BWV 78 with Pacific Boychoir, Andrew Brown, Director, Robin Bier, alto and Michael Jankosky, tenor April 28, 2019 BWV 62 and BWV 72 with Christine Brandes, soprano, William Sauerland, alto, Kyle Stegall, tenor, and Nikolas Nackley, bass
All concerts at 5pm
St. Mary Magdalen Church • 2005 Berryman, Berkeley
cantata collective
Marc Schachman • Kati Kyme • Lisa Weiss • Anthony Martin • William Skeen
www.cantatacollective.org
PBO’S JULY 2018 SUMMER TOUR
PBO rehearsing at Caramoor
Philharmonia hit the road this summer, bringing our style of historically-informed performance to the east coast. The tour began with a warm welcome at the farm of Board Vice President David Low and Dominique Lahaussois in Norfolk, Connecticut.
Dominique Lahaussois, Steve Goldman, and Board Vice President David Low
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This marked PBO’s fourth appearance at Yale’s Norfolk Chamber Music Festival where Music Director Nicholas McGegan and the Orchestra presented Telemann’s Tafelmusik and Handel’s exuberant Water Music as the featured ensemble at the Yale School of Music’s festival gala. The Orchestra also performed the Water Musicinspired piece “River” by young composer GraceEvangeline Mason, who
PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
joined us on tour from the UK. The inspired program also featured bass-baritone Davóne Tines with sopranos Amy Freston and Sherezade Panthaki who brought vibrant energy to this celebration at the historic Music Shed. PBO then made its debut at the Caramoor Summer Music Festival in Katonah, New York. Audiences were treated to Handel’s pastoral romance Atalanta with Tines, Freston and Panthaki alongside mezzo-soprano Cécile van de Sant, tenor Isaiah Bell, and baritone Philip Cutlip. In spite of heat, humidity, and rain, the Orchestra and soloists enthralled audiences with the first Baroque opera performance as part of a new series at Caramoor.
CARAMOOR
Applause after Handel’s Atalanta
We were delighted to be joined by so many friends and board members including Board President Kay Sprinkel Grace, Marie Collins, Didier LeGall, Carol and Doug Tanner, Nancy and Richard Heath, Steve Goldman and Melanie Love, Lily Remoundos, and Carlene Laughlin. Chorale Director and Scholar-inResidence Bruce Lamott also shared musical insights over intimate dinners and cocktail gatherings. We are also grateful to Catherine Gevers and John Fernandez for welcoming the orchestra into their Norfolk home and for a terrific barbeque.
Sopranos Sherezade Panthaki and Amy Freston with mezzosoprano Cécile van de Sant
Mezzo-soprano Cécile van de Sant and tenor Isaiah Bell
We extend our deepest thanks to official tour sponsors David Low and Dominique Lahaussois who took great care of our artists and friends. Additional support was provided by The Waverley Fund and Mark Perry & Melanie Peña. Photos by Jeff Phillips and Myles K. Glancy
PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
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NORFOLK
Soprano Sherezade Panthaki and mezzo-soprano Cécile van de Sant
Oboist Marc Schachman, Nancy Heath, Music Director Nicholas McGegan, Rick Heath
Composer Grace-Evangeline Mason with Music Director Nicholas McGegan
Tenor Isaiah Bell and bassist Kristin Zoernig
PBO rehearsing in Norfolk
Pierre-Alexander Low, Jonathan Harris, Music Director Nicholas McGegan, and William Remoundos
Music Director Nicholas McGegan and PBO Musicians
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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
Vice President David Low and Nicholas McGegan welcome guests to the farm
Chorale Director and Scholarin-Residence Bruce Lamott and composer Grace-Evangeline Mason
Board Member Marie Collins and Anthony Martin PBO performing at Norfolk Musicians and friends at the farm
Rehearsal at the historic Music Shed in Norfolk Board Member Martine Kraus, Board President Kay Sprinkel Grace, Dominique Lahaussois, Carol Tanner, Melanie Love, Executive Director Courtney Beck
Jeff Phillips, Myles K. Glancy, Board President Kay Sprinkel Grace, Board Member Didier LeGall, and Chorale Director Bruce Lamott
Board Vice President David Low, David v.R. Bowles, Jonathan Harris, Board Member Doug Tanner, Board Member Didier LeGall, Steve Goldman
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Photo credit: Frank Wing
JOIN THE PHILHARMONIA FAMILY! Your annual gift to PBO makes our music possible and opens doors to artistic access, private performances, and invitation-only receptions with our beloved musicians and guest artists. Join us on a journey of musical discovery!
FRIENDS OF PHILHARMONIA MEMBERSHIP BENEFITS CAMERATA $75 to $149 • Invitation to one Open Rehearsal $100 to $199 *NEW Level! • Donor-only flash sales throughout the season • PBO-branded exclusive window decal $200 to $399 • Exclusive Season Highlights CD • Acknowledgment in the season opening/ closing program books $400 to $649 • Season-long recognition in Philharmonia’s program books • 15% discount on all Philharmonia merchandise & CDs • Invitation for two (2) to an exclusive conversation & small bites with PBO’s Artistic Team $650 to $999 • Invitation for two (2) to a Premium Open Rehearsal with wine, hors d’oeuvres, and opportunity to mingle with Orchestra/ Chorale members & guest artists • Special PBO-branded lapel pin to wear at concerts, recognizing your valued support $1,000 to $1,599 *NEW Level! • Invitation for two (2) to an additional Premium Open Rehearsal with wine, hors d’oeuvres, and opportunity to mingle with Orchestra/Chorale members & guest artists • Two (2) complimentary tickets to share with friends (best available) COGNOSCENTI $1,600 to $3,000 • Invitation for two (2) PBO’s exclusive annual Cognoscenti Luncheon featuring a seated lunch, private concert and season sneak
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preview led by Nicholas McGegan • Invitation for two (2) to a lively musical history exploration & small bites with Chorale Director/Scholar-in-Residence Bruce Lamott • Subscription renewal & seating upgrade priority AMATI $3,000 to $5,499 • Invitation to Philharmonia’s exclusive Amati Concert including strolling supper, private concert, dessert, and mingling with guest artists at a unique venue • Sponsor a PBO musician for the season: prominent recognition at all concerts where your musician appears, plus special champagne toast with your musician at a Premium Open Rehearsal • Invitation to join Philharmonia on tour including invitations to all private events and activities, and opportunity to travel with the Orchestra ARCANGELI $5,500 to $11,499 • Invitation to a private party with guest artists • Invitation for two to Munch n’ Muse, an intimate lunch and conversation with Music Director and/or Chorale Director/Scholar-inResidence (space is limited) GUARNERI $11,500 to $14,999 • Sponsorship or dedication of a single season concert: Recognition from the stage, venue signage and in program books, exclusive access to artists and conductor, pre-concert dinner with PBO staff or board members, signed CDs and photo opportunities CRISTOFORI $15,000 to $24,999 • Festival pass to attend all dress rehearsals
PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
CAMPAIGN for the 21st CENTURY DONORS
Philharmonia gratefully acknowledges the extraordinary generosity of lead contributors to its second major campaign in the years 2010 – 2015. $1,000,000+ The Waverley Fund Nicholas McGegan Conductor’s Podium $500,000—$999,999 Anonymous (1) Dr. Ross E. Armstrong, Dr. Ross E. Armstrong Baroque Vocal Works Fund $250,000—$499,999 Zheng Cao Memorial Cello Chair Dr. Al Garren, Dr. Al Garren Violin Chair $100,000—$249,999 Kay Sprinkel Grace, Education & Innovation Circle David Low & Dominique Lahaussois, Touring Circle Drs. Jane & Michael Marmor, Michael F. and Jane B. Marmor Principal Clarinet Chair Elizabeth Anderson Mayer Chris McCrum & Elizabeth Velarde, Chorale Circle Mark Perry & Melanie Peña/Bill & Lee Perry, Education & Innovation Circle Susan & Paul Sugarman Family Philanthropic Fund, Guest Artists Circle Egon & Joan von Kaschnitz, Egon and Joan von Kaschnitz Concertmaster Chair $50,000—$99,999 Linda Brewer Kathleen & Martin Cohn, Touring Circle Nicolas Elsishans & Christopher Hayes Kate & David Gross Mrs. Jonathan B. Gifford Norman T. Larson Roy Levin & Jan Thomson Carol & Doug Tanner, Touring Circle
$25,000—$49,999 Quincy Bragg & Sarah Fitzgerald The Estate of Donald E. Casey The Estate of Philip J. Eisenberg Susan LeRoy & Michael Stewart Fred Matteson & Anne Davidson Barr Sondra & Milton Schlesinger Linda & Paul Swatek Donna M. Williams, Touring Circle $10,000—$24,999 Bonnie & Jim Bell Carol & Peter Berkenkotter Elizabeth, Kay & Mike Buckley Marie Bertillion Collins & Leonard Collins The Gray Family Foundation Nancy & Richard Heath Grace & Laurance Hoagland Margaret & Edmond Kavounas, Recording & Media Circle Kit & Hayne Leland William Lokke Betty & Jack Schafer William Quackenbush The Estate of Shirley Sarvis
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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)
Gillian Kuehner & Norman Bookstein
The Estate of Dr. Ross E. Armstrong
The Estate of Elmira Lake
Corey & Tim Benjamin
The Estate of Norman T. Larson
The Robert A. Birman
Clifford Leventhal
Executive Director Chair Linda Brewer
The Estate of Susan B. Levy William Lokke
Donald Buhman & Wray Humphrey William Bush
Dr. Terri McGinnis The Estate of Mrs. A. P. Morse
The Estate of Donald E. Casey The Estate of Marie Mendenhall Cleasby Kathleen & Martin Cohn Hon. Marie Bertillion Collins & Leonard Collins Steven A.R. Edwards The Phillip M. Eisenberg Trust Nicolas Elsishans & Christopher Hayes Dr. Harvey & Deana Freedman The Estate of Alper 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
Barbara & Nigel Renton Maxine & James Risley The Estate of Maxine Rosston The Estate of Shirley Sarvis Adrienne & Theodore Savetnick Sondra & Milton Schlesinger The Estate of Carol Seitz Ross Smith Robert Speer & John Wong Linda & Paul Swatek Claudine Torfs Anita L. Velazquez Lawrence K. Wallace & Portia H. Leet Mr. Theodore Weber, Jr. The Estate of Michael J. Weller
Kathy & Bill Korbholz
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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 donor to the endowment.
NAMED CHAIRS The Waverley Fund Conductor’s Podium Egon & Joan von Kaschnitz Concertmaster Chair Michael F. and Jane B. Marmor Principal Clarinet Chair Zheng Cao Memorial Cello Chair Clare Frieman Kivelson and Irene Valente Angstadt Memorial Principal Oboe Chair Susan B. Levy Violin Chair Osher Cello Chair Endowment
THE PHILHARMONIA CHORALE ENDOWMENT FUND Anonymous
ENDOWMENT SUPPORTERS Susan & Paul Sugarman Donna Williams
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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
LIFETIME BENEFACTORS Philharmonia Baroque Orchestra & Chorale thanks the following visionary supporters whose cumulative giving totals $100,000 or more. Anonymous (2) Dr. Ross E. Armstrong Nicholas Bez Kathleen & Martin Cohn Richard Colburn Hon. Marie Bertillion Collins & Leonard Collins Laura & Robert Cory 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 The Marmor Foundation; Drs. Michael & Jane Marmor Frederick Matteson & Anne Davidson Barr
Elizabeth Anderson Mayer Elizabeth Velarde & Chris McCrum Gladyne K. Mitchell Holbrook T. Mitchell Mark Perry & Melanie PeĂąa 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
DR. ROSS E. ARMSTRONG MEMORIAL FUND DONORS Philharmonia gratefully acknowledges the generosity of our patrons who contributed to this special fund in support of our major artistic and education initiatives. Anonymous (10) Li-Hsia Wang & Henry Abrons Caroline Acker Frank Adams & Susan Bryan Paul Anderson Luz Argyriou Shirley Armitano Ms. Margaret S. Barbee Joanne Barnes Marcia & Richard Baugh Mrs. Mary Baxter Courtney Beck & Jonathan Harris Jeannie Berest Ruth Berger John Beviacqua Elinor Blake Linda Blum William Bonds Patricia Bradley Dave Braker James Brighton Lorie & David Brillinger George & Phyllis Brown Jared Brubaker Mary Jo & Bruce Byson Rick Callison
Marilyn & Kenneth Campbell Adrian Card & Peter Brodigan Craig Carper Mr. & Mrs. Roger L. Chretien Karl Christiansen Carol & Orlo Clark Robert Clark Patricia & Peter Coffin Ms. Sonja Cook Jerrold Cooper Michael Cooper Peter Crabtree & Barbara Ann Beno Janet Dafoe & Ronald Davis Ann & Loring Dales Mr. & Mrs. Walter Davies Helen Davis Margaret DeStaebler J.P. Richards Dillingham Evelyn Dilworth Jerome & Thao Dodson Lester Dropkin Arlene Dunn Mariko Eastman Charles Edens Mary Williams & Peter M. Elias
Daryl Schilling & Gretchen Elliott Jan & Ernst Epstein Viola and Jerald Evans Mary & Jurgen Exner Mary Falvey Vincent Fausone Flora & Robert Feldman Amy Fine Ann & James Funsten Bruce Garetz Charlotte Gaylord & Barrie Cowan Betty Gerard Mrs. Toby Gidal Jianne Gimian Carol B. Glanville Christine & Victor Gold Blechman Goldberg Family Fund Brenda Goldstein & David Shragai Michael Gordon Hilda Gould Kay Sprinkel Grace Bonnie & David Granahan William Greenberg Michael Greene
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DR. ROSS E. ARMSTRONG MEMORIAL FUND DONORS Ms. Dorothy D. Gregor John Hagopian David Halligan Carol Handelman Ulrike & Michael Hanley Kathie Hardy William L. Hartrick Richard E. Healey Catherine A. Hebert Valerie & Dr. Richard Herr Judith & Clifford Higgerson Richard Holden & Mary Artist Carol Hollenberg Joan & David Hollinger Carolyn Holm Harry Howe & Michèle Stone Thatcher & Olivia Hurd Betty Hutson Emilio Torres Inglis & Adrienne Inglis Beverly & Jay James Naomi Janowitz & Andrew Lazarus Lili Jensen Kai Johansen Ms. Jean A. Johnson Andrea Julian Sal Kadri Adela & Joel Karliner Nancy Hunt Kiesling Mr. Michael A. Kimbell Bob Klang Stanley Klezmer John Klopacz Mary Kneip Naphtali Knox Mr. John MacGregor & Mr. Kerry K. Ko Barbara Koerber Elaine Fischer Kohn & James Kohn Ms. Marcia Kolb Leslie Kurke May & Larry Lamoreux Mr. John Lee Lannon Leiman Kit & Hayne Leland Douglas Leslie David Lieberman & Carol Brownstein Ms. Leslie Lind Mr. & Mrs. Roy Little Carol Lokke William Lokke Dennis Loo Carolyn & David Lougee Martha & Arthur Luehrmann Janet Lynch
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Paul Magu Charles Martell Mr. George Martin Frederick Matteson & Anne Davidson Barr Alan Selsor & Marlon Maus William McCoy Sylvia Rose Margaret & Winton McKibben Kathleen & Mike McNamara Robert Meyers Evelyn Mickevicius Samuel Miller & Maude Pervere Kay Aoki Mitchell Ms. Margaretta K. Mitchell Mia & Robert Morrill Margaret Morrow Rebecca Moyle & Tyler Lange Kathleen Much & Stanley Peters Rolf Muller Rosalie Nelson Mr. Joseph Newell & Dr. Eric Collier John A. Newmeyer Kirstin Nichols Ruth Nott Georgia Heid & Mary Belle O’Brien Erika Odian Elizabeth and Michael O’Malley Barbara Paschke Kirk Patterson Mr. Robert G. Patton Karen & Mark Perlroth Mr. Trond Petersen & Ms. Mary Visher Jeff Phillips Lawrance Phillips Naomi & David Pockell Marcia & Robert Popper Michael Poremba & Anna Moniuszka Jan Willem Prak & Karen Burtness Prak Peter M. Ray Carlene & Bruce Reeves Nigel & Barbara Renton Carole & Talbot Richardson Anmarie Roache Mr. & Mrs. Ronald Romano Marion Ross Georgene & John Rostkowski Leslie & William Rupley Sally Katorski Sachs Andrea & Mario Sáenz June & Robert Safran Valerie & Peter Samson
PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
Pamela Sawyer & Margaret Rowland Marc Schachman Ellen Beilock & Sheldon Schaffer Randy Schekman Paul J. Schmidt Kary Schulman Erik Selvig Barbara Shaw Jade & Chris Simonson Alice Sklar Alice Smith James Snow Robert Speer & John Wong Pam Speich Joan Sperans Gayle & George Staehle Barbara Cohen & Richard M. Stanley Susan LeRoy Stewart & Michael Stewart William Sullivan Carol & Douglas Tanner Judith Tate Joseph & Donna Terdiman Kathleen Thompson Kirsten Thompson Robert Thompson John Tibbetts & Barbara Bernstein Mr. Chris Timossi Marta Tobey Millicent Tomkins Claudine Torfs Rebecca Tracy Jennifer Trainor Susan Tripp Mary van Voorhees Mr. Paul Veres Barbara Vukich Linda Walsh Maura FitzGerald & Tom Walsh Laura Waste James & Cheryl Weaver Evelyn Wegienka Louise & Daniel Weiler John & Marilyn Whitcher Gayle Wiesner Patricia Wilkinson Mary Anne & Hugh Winig Maylene Wong The Yaquian Family Gail & Peter Yessne Susan & David Young
New Esterhรกzy Quartet
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Our
th
Season
2018-2019 A Special Schubert Event
Winterreise
arranged for strings featuring baritone Paul Max Tipton November 30, December 1 & 2
Haydn & His Teachers
Fux, C.P.E. Bach, Haydn, & More! February 1 & 2
Not Your Basic B
b
Haydn, Beethoven, Brahms March 29, 30, 31
www.newesterhazy.org
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 extensive artistic and educational programs. Thank you for providing the Orchestra with the resources to bring its music to concert halls, classrooms and communities throughout the Bay Area and beyond. We are truly grateful to the following donors, whose gifts were received between July 1, 2017 and June 30, 2018.
CORPORATE, FOUNDATION & GOVERNMENT GRANTS
$100,000 & above
Grants for the Arts/San Francisco Hotel Tax Fund
$75,000 - $99,999
The William & Flora Hewlett Foundation
$25,000 - $74,999
Ann & Gordon Getty Foundation Clarence E. Heller Charitable Foundation The Bernard Osher Foundation
$10,000 - $24,999
Gaia Fund National Endowment for the Arts
$5,000 - $9,999
The Bob Ross Foundation The Koret Foundation E. Nakamichi Foundation
CORPORATE PARTNERS
WineWise, Hiram Simon and Brian Greenwood
MATCHING GIFTS
Bank of the West Chevron Humankind Matching Gift Program Salesforce, Inc.
PHILANTHROPY PARTNERS
BOS Foundation California Community Foundation East Bay Community Foundation Fidelity Investments Charitable Gift Fund Jewish Communal Fund Jewish Community Federation & Endowment Fund Jewish Community Foundation of the East Bay JP Morgan Chase Charitable Gift Fund Marin Community Foundation Morgan Stanley Charitable Gift Fund Ruppenthal Foundation for the Arts The San Francisco Foundation Silicon Valley Community Foundation Schwab Charitable Gift Fund T. Rowe Price Program for Charitable Giving TIAA Charitable Fund Vanguard Charitable Endowment Program
GIFTS IN KIND
Norman Bookstein DLA Piper Four Seasons Hotel Frank Wing Photography Goodby, Silverstein & Partners RJ Muna Photography WineWise, Hiram Simon & Brian Greenwood
We gratefully acknowledge the support we receive from:
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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
WITH GRATITUDE Founder’s Circle ($100,000+) The AAG Trust✢ The Estate of Dr. Ross E. Armstrong▲ Conductor’s Circle ($50,000-$99,999) Anonymous (1) David Low & Dominique Lahaussois♦ Gladyne Kenderdine Mitchell✢ Mark Perry & Melanie Peña The Waverley Fund▲ Stradivari ($25,000-$44,999) Grace & Laurance Hoagland✢ Cristofori ($15,000-$24,999) Nicolas Elsishans & Christopher Hayes Kay Sprinkel Grace✢ Kate & David Gross▲ Nancy & Richard Heath♦ Anne & Jeffrey Katz Brian M. Kincaid & Elizabeth C. Theil▲ David Morandi✢ Rebecca Moyle & Tyler Lange Sondra Schlesinger♦ Claudine Torfs✢ Guarneri ($10,000-$14,999) Carol & Peter Berkenkotter▲ Kathleen & Martin Cohn✢ Hon. Marie Bertillion Collins & Leonard Collins▲ Mrs. Jonathan B. Gifford✢ John & Joan Goddard, The Goddard Foundation▲ Christina & Kenneth Hecht▲
Lynn Gotchall♦ Margaret Hegg✢ Susanne Hering & John Phillips♦ Steve John & Jason Snyder Margaret & Edmond Kavounas♦ Sheila & Michael Lagios▲ Kit & Hayne Leland✢ Jack Levin The Marmor Foundation; Drs. Michael & Jane Marmor♦ Maxine Risley▲ Susan LeRoy Stewart & Michael Stewart✢ The Estate of Frances C. Strauss▲ Linda & Paul Swatek▲
Marie & Palmer Hotz▲ Martine Kraus William Lokke✢ Frederick Matteson & Anne Davidson Barr♦ Elizabeth Anderson Mayer▲ Michael Sack▲ Jean Shuler✢ Carol & Douglas Tanner♦ Donna Williams Arcangeli ($5,500-$9,999) Paola & Richard Kulp✢ The Estate of Elmira Lake✢ Didier LeGall Stephanie & Jim Marver Kathryn & Donley Parmentier✢ William Perry♦ , in memory of Leonilla Perry Betty & Jack Schafer▲ Paul and Susan Sugarman Family Philanthropic Fund♦ The TL Trust✢
Cognoscenti ($1,500-$2,999) Kendall & Claire Allphin Ari & Kristin Baron♦ Darla & Richard Bastoni♦ Bloom Jewish Music Foundation William Bush✢ Suzanne and Italo Calpestri, in memory of Dr. Ross E. Armstrong Richard Caplin, M.D✢ Kyra & Ken Carson♦ Annelle Clute✢ Glyde Cooper✢ Charles Crane♦ Corinne Cooley Derringer♦ The Rev’d Richard Fabian▲ Marta Falicov✢ The Estate of James Goodwin✢ Janet & Joseph Grodin▲ Joyce & Douglas Hamilton▲ Ian Hinchliffe & Marjorie Shapiro▲
Amati ($3,000-$5,499) Anonymous (3) Mary & Roger Ashley✢ Corey & Tim Benjamin✢ Adam Arthur Bier & Rachel Bier Lem Sarah FitzGerald & Quincy Bragg♦ Jean-Marc Frailong & Richard Halton♦ Charlotte Gaylord & Barrie Cowan♦ Edith Gladstone♦ The Estate of Rudolf & Nellie Glauser♦ Stephen H. Goldman Foundation ♦ - 10+ YEARS
|
✢ - 20+ YEARS
|
▲ - 30+ YEARS
PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
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WITH GRATITUDE Emily Kenyon & David Lipsky Kathy & Bill Korbholz✢ Carlene Laughlin Tom Lee▲ Ellen & Barry Levine♦ Joan Mansour♦ Willinda & Peter McCrea✢ Richard Meiss & Peter Rudy✢ Tina & Stephen Morris♦ Janet & Bill Nicholls✢ Phillip Phythian & Ann Hardham✢ Helen & Dan Quinn✢ Catherine & Raymond Roberts▲ Louise Adler Sampson✢ Adrienne & Theodore Savetnick✢ Linda & William Schieber Jade & Chris Simonson✢ Sylvia J. Spengler✢ Jonathan Stebbins & Jessica Donovan✢ Mr. Theodore Weber, Jr✢ Wendy & Mason Willrich▲ Ms. Judith B. Workman Cathe & Gavin Wright✢ Jane H. Zuckert♦, in memory of Warren M. Zuckert Camerata ($650-$1,499) Anonymous (1) Frank Adams & Susan Bryan▲ Barbara Barkovich✢ Mrs. Mary Baxter✢ Janet & Chris Bensick▲ Five Arts Foundation/Helen Berggruen♦ Stephen Bischoff✢ Linda Blum Marlene Bollhoffer✢ Ann & Winslow Briggs✢ Melissa & Richard Bruins♦ Mr. & Mrs. Roger L. Chretien♦
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Joan & Edward Conger♦ Margaret Conkey & Lester Rowntree✢ The Ruth Crosby Fund✢ Peter & Jayne Davis Bob Dawson & Linda Nakell▲ Marvin Dennis Jacqueline Desoer Jerome & Thao Dodson♦ Fred & Dinna Eisenhart Margaret Garms♦ Bernice Greene▲ Ms. Dorothy D. Gregor Ann & Roy G. Hammonds, Jr✢ William L. Hartrick♦ Susan & David Hodges✢ Albert Hoffman▲ Arlene & David Holloway✢ Susan & Ernst Hoyer Robert W. Jarman Andrea Julian✢ Chrystal & James Kafka✢ Maureen & David Kennedy♦ Barbara Kosnar & Tom Goldman Lila LaHood Robert Larson♦ James Leak Mr. John Lee Hollis Lenderking♦ Claire & Herbert Lindenberger✢ Carol Lokke▲ Martha & Arthur Luehrmann♦ Mr. John McKnight▲ Neanna & Allan Miles✢ Julius Moshinsky & Suzanne Renne▲ Brenda & James Nirenstein✢ Ms. Eleanor Forrest Nishi♦, in memory of Marian & Shunji Nishi Judith & Stuart Offer♦ Kirk Patterson♦
PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
Stephen Pegors & Trista Berkovitz✢ Mary & David Phillips♦ William Quackenbush♦ Barbara Rauhala Nigel & Barbara Renton▲ Anmarie Roache Reed Schmidt✢ David A. Shapiro, M.D. & Sharon L. Wheatley Susanna & Dave Singer Marc Sinykin & Kevin Osinski Marian & Abraham Sofaer Gayle & George Staehle✢ Barbara Cohen & Richard M. Stanley Nancy Stanwood Tricia Tanoury Claire Taylor & Charles G. Schulz♦ Joseph & Donna Terdiman✢ Lava Thomas & Peter Danzig♦ Robert Thompson Ruth & Alan Tobey, Tobey Fund♦ Dr. David L. White & Martha Truett▲ Ellen & Mike Turbow✢ Ben & Beth Wegbreit♦ Camerata ($350-$649) Anonymous (4) R. Tyler Andersen & Diane Green✢ Mary Austin Leslie Avant♦ Zachary Baker♦ Troy Barbee Ellen & Gunther Barth✢ Marcia & Richard Baugh✢ Rick & Rickie Ann Baum Laura Becker & Joel Parrott✢ Christine A. Beckstrom Allen & Jacqueline Bertillion♦
WITH GRATITUDE Christel Bieri✢ Sheila Botein & David Oakes, M.D.♦ Craig Bowman & Susan Schoenung✢ Patricia Bradley▲ Prudence Breitrose✢ Donald Buhman & Wray Humphrey♦ Patricia & Richard Campbell✢ Dr. Bruce & Susan Carter✢ Dorothy & William Clemens✢ Patricia Clemo & Robert Cooley✢ Sheri & George Clyde▲ Patricia & Peter Coffin▲ Michael Condie▲ Mr. Hugh J. Coughlin Jane Coulter♦ Peter Crabtree & Barbara Ann Beno✢ Mary Cranston & Roger van Craeynest Janet Dafoe & Ronald Davis✢ Mr. & Mrs. Walter Davies✢ Dr. & Mrs. Stanley Davis♦ Dexter & Jean Dawes▲ Tom & Ronnie Devitt J.P. Richards Dillingham✢ Jeanette & Peter Dunckel▲ Michael & Allyson Ely Sylvia & Paul Emery▲ Jan & Ernst Epstein✢ Jacqueline & Christian P. Erdman▲ Mary & Jurgen Exner✢ David Favrot & Kathi BrownFavrot Mary Ellen Fine▲ Jennifer Finger & Scott Bucey Julie & Jim Fulford♦ Jeanne & Frederick Gabali✢ Bruce Garetz♦ Douglas Giancoli♦
Ellen Solomon Ginsberg & David Ginsberg Carol B. Glanville✢ Blechman Goldberg Family Fund♦ Dr. Anna Gonosova♦ Nancy & Nicholas Haritatos✢ Joan Herron Janet & Robert Hines Richard Holden & Mary Artist✢ Harry Howe & Michèle Stone, in memory of Dr. Ross E. Armstrong Lili Jensen♦ Adela & Joel Karliner✢ Julia Katz Mollie Katzen, in honor of Nicholas McGegan The Ketcham Family Fund▲ Nancy Hunt Kiesling♦ Dr. & Mrs. Kiraly♦ Susan Klee & David Stoloff▲ Mary Kneip The Estate of Phyllis Koch Barbara Koepsell✢ Sharon & Ron Krauss Rose Lavandero & Ted Kurtz Adelheid & Mark Levi✢ David Lieberman & Carol Brownstein▲ Carolyn & David Lougee✢ Harvey L. Lynch♦ MacInnis-Heinle Trust A♦ Joan & Roger Mann Josephine Maxon♦ Ashley McCumber & Craig Davina Garth McCune✢ Kathleen McGreevy▲ Richard McKee♦ Kurt Melchior Robert B. Mison Katherine & Bridger Mitchell✢ ♦ - 10+ YEARS
Charles & Honor Morehouse✢ Kathleen Much & Stanley Peters✢ Alice Nadler♦ Mr. Joseph Newell & Dr. Eric Collier Joan Norton✢ Georgia Heid & Mary Belle O’Brien✢ Elizabeth and Michael O’Malley✢ Pat & Larry Pagendarm✢ Mr. Robert G. Patton✢ Mr. Trond Petersen & Ms. Mary Visher Steven Peterson & Peter Jaret▲ Sandra & George Petty▲ Naomi & David Pockell✢ Anastasia Polakis Linda O. Polsby✢ Michael Poremba & Anna Moniuszka♦ Jan Willem Prak & Karen Burtness Prak Maureen & Donald Querio✢ Joan & Marty Ragno Angèle & Michael Rice James Ringland Kenneth Robin✢ Pam & Jim Robson♦ Heli Roiha & Terry McKelvey Valerie & Peter Samson♦ Gary Schilling Charlie Schlangen Paul J. Schmidt Peter Schrag & Patricia Ternahan♦ Louise Shalit✢ Susan Sherman Allene Sieling Stephen Smoliar & Linda Dembo Linda & Fred Sondheimer▲
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✢ - 20+ YEARS
|
▲ - 30+ YEARS
PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
51
WITH GRATITUDE Emily Sparks & Vincent Fogle✢ Robert Speer & John Wong♦ Barbara Tanaka✢ Michael F. Thompson Martha Doerr Toppin♦ Susan Tripp✢ Elizabeth Velarde✢ Maura FitzGerald & Tom Walsh▲ Linda Walsh✢ Bill & Judy Botsford Warren✢ Ann & Thomas Watrous✢ John & Marilyn Whitcher Melanie & Ron Wilensky Cari Williams & Richard Potter Frank Zepeda Camerata ($150-349) Anonymous (4) Li-Hsia Wang & Henry Abrons Jane & Christopher Adams▲ Matthew & Marcia Allen♦ Hon. Yoshiko & Takeshi Amemiya Linda E. Anderson▲ Paul Anderson Luz Argyriou♦ Joanne Barnes Henry V. McKeggie & Ellen L. Bastier Courtney Beck & Jonathan Harris♦ Dr. F. Ralph & Catherine Berberich▲ Linda Berti♦ Nancy & Peter Bickel▲ Judith & Kim Bishop✢ Irene Beardsley & Dan Bloomberg Ene & Laszlo Bonnyay♦ Caroline Bowker✢
52
Dave Braker✢ James Brighton George & Phyllis Brown✢ Deborah Brown✢ Melinda & Bob Buchanan♦ Belle Bulwinkle & Michael Dukes Rick Callison Craig Carper♦ Bernard Choden & Lois Scott✢ Sandra Church Carol & Orlo Clark✢ Kenneth Clark & Hasmig Seropian▲ Douglas B. Clarke & Sally Jo Rosenbusch-Clarke▲ Emily Gladstone Cole♦ Robert Cook & Blanca Haendler▲ Michael Cooper Carol Cosman & Robert Alter♦ L. William Countryman♦ Ms. Jacqueline Craig Eleanor Crary✢ Robert Cronin & Anne Woodhouse▲ Ann & Loring Dales▲ Linda Daniel✢ Diane de Forest♦ Dorothy & Peter Denning▲ Karel & Mark Detterman♦ Lester Dropkin▲ Arlene Dunn✢ Elizabeth & Norman Edelstein Charles Edens✢ Martha Edwards Steven A.R. Edwards▲ Viola and Jerald Evans✢ Mary Falvey♦ Janet Farbstein✢ Flora & Robert Feldman Amy Fine
PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
Ann & James Funsten✢ Hilda Gould Bonnie & David Granahan✢ Patricia Granberg▲ Elizabeth Greenberg▲ Michael Greene Andrew Griffin Rosalyn & Ernest Haberkern♦ Joe & Dorothy Hamilton Hank Hanig✢ Ulrike & Michael Hanley✢ Allen Hardy & Claudia Eckelmann✢ Alan Harper & Carol Baird Paul Harris Richard E. Healey Catherine A. Hebert Natalie Henderson Marcia & Howard Herman Valerie & Dr. Richard Herr▲ Judith & Clifford Higgerson♦ Laurence Hills Jane & Terry Hipolito✢ Joan & David Hollinger Carolyn Holm Shelley & Solon Holstein✢ Inge Horton✢ Mr. Leonard Hunter Thatcher & Olivia Hurd✢ Betty Hutson▲ LaVonne Jacobsen▲ Kai Johansen Sara Jotoku Sal Kadri Jonathan Kaner✢ Daniel Katz & Lauren Bruce Birthe & Jack Kirsch Stanley Klezmer✢ Barbara Koerber▲ Elaine Fischer Kohn & James Kohn Ms. Marcia Kolb Thomas Koster▲ Alice & Richard Kulka Leslie Kurke
WITH GRATITUDE Mr. & Mrs. Damon Kvamme✢ Sharon & Byron Lambie✢ May & Larry Lamoreux✢ Toby Langen Susan Lea & Michael Lampton▲ Angela & George Lebedeff Mr. Ray Lee Lannon Leiman♦ Clifford Leventhal Malcolm Litwiller Dale Loepp Doug Lonstein♦ Linda & Stephen Lowens▲ Janet Lynch Eugene Mannacio Paula March Charles Martell Monica Martin & Buck Delventhal Richard Martin Susan Mathews Margaret & Winton McKibben♦ Kathleen & Mike McNamara Samuel Miller & Maude Pervere David & Carrie Milnes Ms. Margaretta K. Mitchell Lisa Moore✢ Ann Morales Margaret Morrow Frances & John Morse♦ Rolf Muller✢ Anne & Philip J. Murphy♦ Rachael Myrow Marilyn & David Nasatir✢
Bari & Stephen Ness✢ Nichols Foundation, Inc.✢ Kirstin Nichols▲ Paula Nishibayashi & Craig Stewart Tes Norlin Stephanie Peek♦ Gerald W. Greer & J. Luis Perez♦ Katherine & Mark Perl♦ Robin Perry Andrea & Michael Pflaumer♦ Marcia & Robert Popper Sidney Putnam▲ Peter M. Ray✢ Patricia & John Rea✢ Carlene & Bruce Reeves✢ Nancy Reier Carole & Talbot Richardson♦ Scott Robinson▲ Mr. & Mrs. Ronald Romano✢ Mr. William Rosenthal Marion Ross Georgene & John Rostkowski▲ Nile Rowan & Gordon Peterson Leslie & William Rupley John L. Rutledge June & Robert Safran▲ Randy Schekman✢ Sara & John Schram✢ Esther Schroeder George Sensabaugh, Jr.✢ Anne Simons✢ Laurie Sizemore, in honor of Kay Sprinkel Grace
♦ - 10+ YEARS
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✢ - 20+ YEARS
|
Alice Sklar Linda Skory▲ Sherry & Judd Smith✢ Jean & Kenneth Smith♦ James Snow✢ Peter Stransky♦ Jo Ann Stewart & Judy Nelson✢ Blanche Germain Streeter♦ Sarah & Stephen Taber✢ Carol Takaki♦ John Thorpe & Raymond Lee Mr. Chris Timossi Stanislaus & Beatrice Ting, in honor of Matthew J. Ting Janis & Daniel Tuerk✢ Carl Van Os✢ Robert Visser♦ Barbara Vukich✢ Laura Waste Irene & James Watt▲ James & Cheryl Weaver✢ Samuel Weeks▲ Evelyn Wegienka♦ Louise & Daniel Weiler♦ Herta Weinstein▲ Mary Wildavsky♦ Avril & Kenneth Wilsher✢ Peter Winkelstein▲ Marjorie Yasueda & W. Dale Knutsen✢ Gail & Peter Yessne♦ Susan & David Young Sarah Young♦ John Zimmermann & Diana Graham✢ Janet & Stephen Zovickian♦
▲ - 30+ YEARS
PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
53
PBO PBO
2 18 18 19 19
PBO ontour tour PBOon Join Nicholas McGegan JoinPBO Nicholas and on theMcGegan road. and PBO on the road. For more information, Fortomore information, go philharmonia.org/tour go to philharmonia.org/tour
2018 2018
Renée and Henry Segerstrom Concert Hall, Philharmonic Society of OrangeConcert County Hall, Renée and Henry Segerstrom October 4, 2018Society | Costaof Mesa, CA County Philharmonic Orange MOZART MAGNIFIED October 4, 2018 | Costa Mesa, CA
2019 2019
MOZART MAGNIFIED
The Granada Theatre February 5, 2019 | Santa Barbara, CA The Granada Theatre VIENNESE PIVOT with Rachel Barton Pine February 5, 2019 | Santa Barbara, CA VIENNESE PIVOT withCenter Rachel Barton Pine Alice Tully Hall, Lincoln March 12, 2019 | New York, NY Alice Tully Lincoln ANNE SOFIEHall, VON OTTERCenter with Anthony Roth Costanzo March 12, 2019 | New York, NY ANNE SOFIE VON OTTER Anthony Roth Costanzo Walt Disney Concert Hall, Loswith Angeles Philharmonic April 10, 2019 | Los Angeles, CA Walt Disney Concert Hall, Los Angeles Philharmonic HANDEL’S SAUL April 10, 2019 | Los Angeles, CA