Philharmonia Baroque Orchestra Program Nov/Dec 2015

NICHOLAS McGEGAN WAVERLEY FUND MUSIC DIRECTOR

NOVEMBER/DECEMBER

2015-2016

CELEBRATE WITH THE JOY OF LIVE MUSIC WITH THE

SFS CHORUS

ELENA URIOSTE

DEC 9–10

DEC 17–19

A Classic Christmas

Handel’s Messiah

Hear some of the most celebrated and beloved carols of all time. Violinist Elena Urioste—who the Washington Post says “plays with equal parts passion, sensuality, brains and humor”— joins the SF Symphony for exhilarating, timeless performances.

The Grammy Award-winning SF Symphony Chorus joins the SF Symphony for a performance of Handel’s famous work featuring the beloved “Hallelujah” chorus.

WITH THE SAN FRANCISCO SYMPHONY

WITH THE SAN FRANCISCO SYMPHONY CHORUS

Dec 19 supported by

sfsymphony.org/holiday 415-864-6000 holidays with the symphony sponsor Official Magazine Partner

Concerts at Davies Symphony Hall. Programs, artists, and prices subject to change.

Box Office Hours Mon–Fri 10am–6pm, Sat noon–6pm, Sun 2 hours prior to concerts Walk Up Grove Street between Van Ness Avenue and Franklin Street

Enjoy a Classical

Island of Sanity

WHAT’S INSIDE 10

Messages from the President and Acting Executive Director

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Board of Directors and Staff

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About the Music Director

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About the Orchestra

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About the Chorale Director

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November Pre-Concert Talk Schedule

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November 2015 Program

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Guest Artist Bio – Richard Egarr

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November Program Notes

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The Players and their Instruments (November) 24 December Pre-Concert Talk Schedule

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December 2015 Program

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Guest Artist Bio – Sherezade Panthaki

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Guest Artist Bio – Isaiah Bell

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December Program Notes

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Texts and Translations (December)

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The Players and their Instruments (December) 40 Philharmonia Chorale Members

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Scarlatti Donor Reception

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Donor Acknowledgements

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Q&A with Margaret Hegg

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Q&A with Ellen and Mike Turbow

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Education Update

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ON THE COVER: Nic McGegan as photographed by award-winning local photographer RJ Muna in September 2015. RJ’s work can be seen in galleries and on his website at rjmuna.com. Philharmonia Baroque Orchestra is grateful for his generous donation of time and talent for this shoot.

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FROM the PRESIDENT & EXECUTIVE DIRECTOR

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t’s hard to believe that we’re already approaching the end of 2015, and the halfway point of our 2015-16 anniversary season celebrating 35 years of Philharmonia Baroque Orchestra, 30 years with Nicholas McGegan as our Music Director, and 20 years of our own Philharmonia Baroque Chorale. We hope you enjoyed the highlights from earlier this year, including the music of the Bach cousins, the appearance of Rachel Podger, and our collaboration with the Adler Fellows from the San Francisco Opera Center in Rossini’s comic opera, La cambiale di matrimonio.

We were pleased to open our season this fall with the American premiere of Scarlatti’s La gloria di primavera, in performances whose quality could not be matched anywhere. We look forward as the year ends to bringing you these concerts of the Bach Brandenburg Concertos and a holiday program of works by Handel and Purcell. And the rest of our season will include further exciting events, with Kristian Bezuidenhout performing in an all-Mozart program, a gala concert featuring Susan Graham, and Mendelssohn’s great Symphony No. 2, the “Hymn of Praise,” in addition to other works.

All these great performances are made possible by the continued, ongoing help from you, our loyal audiences. We are able to present these wonderful musical experiences thanks to your generous support. As we approach Thanksgiving and the other holidays at the end of the year, we want to thank all of you once more, and to welcome you once again to the Philharmonia family.

All of us at Philharmonia wish each of you the very best in the coming year. We look forward to seeing you again, and to bringing you the sort of excitement that only live performances of music can give.

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he holiday season will soon be upon us — a time to reflect and express gratitude. We are grateful for the gift of music and to all those who make that music a central part of our lives.

To our music director, Nic McGegan, chorale director Bruce Lamott, and all of our musicians for the extraordinary music we cherish.

To our board of directors, a group of committed and passionate individuals who are generous with their time and resources because they believe PBO is vital today and to ensure its place in the future.

To our volunteers, who open their homes to house our musicians, stuff envelopes, pour wine, the list is endless.

And to our generous supporters. Thank you for your steadfast loyalty and friendship. We have reached this 35th season because of you. You have made Philharmonia the wonderful family that it is today - a place where musicians and audiences come together for a completely unique experience.

Together we will celebrate Nic’s 30th anniversary as our esteemed music director. I hope you will consider joining us in February for a Gala evening to toast Nic, the Orchestra, and all of you. It seems only appropriate to celebrate this momentous season at San Francisco’s City Hall.

I want to wish you a happy holiday season and look forward to sharing more music in 2016.

2015/2016 Season

UP NEXT… All Mozart February 5-7

With Kristian Bezuidenhout Mozart: Concerto for Fortepiano No. 23 in A major

Symphony No. 39 in E-flat major

Symphony No. 27 in G major

Explore Baroque Europe March 2-6

Arne: Overture to Purcell’s King Arthur Zelenka: Hipocondrie à 7 Concertanti Heinichen: Concerto in F major Tartini: Violin Concerto in D major Rameau: Suite from Les Fệtes de L’Hymen et de L’Amour

Beethoven & Mendelssohn April 27 – May 1

With Dominque Labelle and Thomas Cooley Beethoven: Leonore Overture No. 3, “Elegiac Song”, “Calm Sea & Prosperous Voyage” Mendelssohn: Symphony No. 2, Hymn of Praise

2015/2016 A Season to Celebrate

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BOARD OF DIRECTORS AND STAFF BOARD OF DIRECTORS

STAFF

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

Artistic Nicholas McGegan, Music Director

The Waverley Fund

Conductor’s Podium Bruce Lamott, Chorale Director

Robert and Laura Cory

Chorale Director

Members Adam Arthur Bier Courtney Beck, ex-officio Martin Cohn Marie Bertillion Collins Nicolas Elsishans Al Garren* Charlotte Gaylord Peter Hibbard Steven John Brian Kincaid Martine Kraus Carlene Laughlin William Lokke Michael Marmor Fred Matteson Nicholas McGegan, ex-officio Mark Perry Sondra Schlesinger Jason Snyder Paul Sugarman Douglas Tanner Christopher Wagner *Emeritus Past Board Presidents Paul Sugarman (2008-2012) Marcin Cohn (2005-2008) Nancy Kivelson (2002-2005) Fred Matteson (2000-2002) Christine Pallatto (1999-2000) Sherry Banolucci (1997-1999) Grace Hoagland (1995-1997) Richard D. Maltzman (1993-1995) Dexter B. Dawes (1991-1993) Ann W. Yander Ende (1989-1991) Marie Bertillion Collins (1988-1989) Henry Mayer (1984-1988) Peter Strykers, MD (1982-1984)

Administrative Courtney Beck, Acting Executive Director, Robert A. Birman Executive Director Chair David Challinor, Subscription & Patron Services Manager Sally Galler, Development Associate & IT Coordinator Myles K. Glancy, Production & Education Manager Lisa Grodin, Director of Education Noelle R. Moss, Director of Development Jeff Phillips, Artistic Administrator Dianne Provenzano, Director of Marketing & Communications Heli Roiha, Bookkeeper Elizabeth Shribman, General Manager William Skeen, Orchestra Librarian Paul Swatek, Director of Finance Concert Production David v.R. Bowles (Swineshead Productions), Audio Engineer Paolo Brooks, Stage Manager E. J. Chavez, Stage Equipment Coordinator Thomas Malone, Keyboard Technician

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

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This is the Messiah of the

season— as only Philharmonia Baroque can illuminate it.

HANDEL’S

essiah M with McGEGAN

December 19, 2015 at 7 pm

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First Congregational Church, Berkeley

Nicholas McGegan, conductor % Amanda Forsythe, soprano % Meg Bragle, mezzo-soprano Isaiah Bell, tenor % Philip Cutlip, baritone % Philharmonia Chorale - Bruce Lamott, director

Tickets start at $25 | Philharmonia.org | (415) 392-4400 Presented in partnership with Listener Supported KDFC Radio

CELEBRATING 30 YEARS

Nicholas McGegan Waverley Fund Music Director

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elebrating his 30th season at the Philharmonia 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 increasingly recognized for his probing and revelatory explorations of music of all periods. He is Music Director of Philharmonia Baroque Orchestra, Principal Guest Conductor of the Pasadena Symphony and, beginning in 2014, Artist in Association with Australia’s Adelaide Symphony.

Through 30 years as its music director, McGegan has established the San Francisco-based Philharmonia Baroque Orchestra and Philharmonia Chorale as one of the world’s leading period-performance ensembles, with notable appearances at Carnegie Hall, the London Proms, the Amsterdam Concertgebouw, and the International Handel Festival, Göttingen where he was artistic director from 1991 to 2011. Throughout his career, McGegan has defined an approach to period style that sets the current standard: serious and intelligent, but never dogmatic.

More recently, Philharmonia Baroque is branching out under his leadership. Calling the group’s recent recording of the Brahms Serenades “a truly treasurable disc,” James R. Oestreich in The New York Times made special

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note of the performance’s “energy and spirit.” The recording, said Voix des Arts, offers “evidence that ‘period’ instruments are in no way inhibited in terms of tonal amplitude and beauty. These are … exceptionally beautifully played performances.”

McGegan’s ability to engage players and audiences alike has made him a pioneer in broadening the reach of historically informed practice beyond the world of period ensembles to conventional symphonic forces. His guestconducting appearances with major orchestras — including the New York, Los Angeles, and Hong Kong Philharmonics; the Chicago, Milwaukee, St. Louis, Toronto and Sydney Symphonies; the Cleveland and the Philadelphia Orchestras; and the Northern Sinfonia and Scottish Chamber Orchestra —

PHILHARMONIA BAROQUE ORCHESTRA

often feature Baroque repertoire alongside Classical, Romantic, 20th-century and even brandnew works: Mendelssohn, Sibelius, Britten, Bach and Handel with the Utah Symphony; Poulenc and Mozart with the City of Birmingham Symphony Orchestra; Mahler and Mozart with the Pasadena Symphony Orchestra; and the premiere, in 2012, of Stephen Hough’s Missa Mirabilis with the Indianapolis Symphony Orchestra, paired with Haydn, Brahms and Mendelssohn. His position in Pasadena, effective with the 2013-14 season, provides the opportunity to conduct a wider range of his favorite repertoire, including Dvořák, Britten, Elgar, Mahler, Brahms and Wagner. In Adelaide he will lead composerdriven Festivals, beginning with two weeks devoted to Beethoven in 2014.

Active in opera as well as the concert hall, McGegan was principal conductor of Sweden’s perfectly preserved 18th-century Drottingholm Theater from 1993 to 1996. He has also been a frequent guest conductor with opera companies including Covent Garden, San Francisco, Santa Fe and Washington.

Mr. McGegan has enjoyed a long collaboration with groundbreaking choreographer Mark Morris, notably the premiere performances of Morris’s production of Rameau’s Platée at the Edinburgh Festival and L’Allegro at Ravinia and the Mostly Mozart Festival in New York. In 2014 Mr. McGegan rejoined the Mark Morris Dance Group, along with Philharmonia Baroque Orchestra and Chorale and renowned soloists for the premiere and touring performances of Mr. Morris’s new production of Handel’s Acis and Galatea in an arrangement

by Mozart.

His discography of more than 100 releases includes the world premiere recording of Handel’s Susanna, which garnered both a Gramophone Award and a GRAMMY® nomination, and recent issues of that composer’s Solomon, Samson and Acis and Galatea (the little-known version adapted by Felix Mendelssohn).

He is also credited with the first performance in modern times of Handel’s masterly but mislaid Gloria. Under its own label, Philharmonia Baroque Productions (PBP), Philharmonia Baroque Orchestra has recently released five acclaimed archival recordings in addition to the Brahms: Beethoven’s Symphonies 4 and 7, Berlioz’s Les Nuits d’été and selected Handel arias with the late Lorraine Hunt Lieberson; Haydn Symphonies No. 88, 101 and 104, nominated for a GRAMMY® Award; Vivaldi’s Four Seasons and other concerti with Elizabeth Blumenstock as violin

soloist; and Handel’s Atalanta with soprano Dominique Labelle in the title role.

Mr. McGegan is committed to the next generation of musicians, frequently conducting and coaching students in residencies and engagements at Yale University, the Juilliard School, Harvard University, the Colburn School, Aspen Music Festival and School, and the Music Academy of the West. In 2013 he delivered the commencement address and was awarded the honorary degree of Doctor of Music by the San Francisco Conservatory of Music.

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.” His awards also include the Halle Handel Prize; an honorary professorship at Georg-August University, Göttingen; the Order of Merit of the State of Lower Saxony (Germany); the Medal of Honour of the City of Göttingen, an honorary doctorate from the San Francisco Conservatory of Music, and an official Nicholas McGegan Day, declared by the Mayor of San Francisco in recognition of his distinguished work with Philharmonia.

A message for Nic on his 30th anniversary…

“For nearly 30 years, we have been subscribers. PBO concerts are one of the highlights of our lives. We look forward every season to the wonderful selections you choose and the fine artistry of the musicians.” A favorite memory is when my husband was working part time at the Mayo Clinic in Rochester, Minnesota, we would drive to the Twin Cities for culture! We were so pleasantly surprised to be able to attend the St. Paul Chamber Orchestra conducted by YOU. It was fun to see you in another environment and dispute with the Minnesotans that you were OUR conductor, not theirs.

Thank you for the joy you bring into our lives. May you have many more productive years with PBO.” – Harvey and Deana Freedman

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ABOUT PHILHARMONIA BAROQUE ORCHESTRA

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auded by the New York Times as “America’s leading period instrument ensemble” and celebrating its 35th season, Philharmonia Baroque orchestra has been dedicated to authentic performances of Baroque, Classical and early Romantic music on original instruments since its inceptions in 1981. Under the leadership of Music Director Nicholas McGegan, Philharmonia was named Ensemble of the Year by Musical America in 2004.

The Orchestra performs an annual subscription season in the San Francisco Bay Area and is regularly heard on tour in the United States and around the world. The Orchestra has its own professional chorus, the Philharmonia Chorale, under the leadership of Bruce Lamott. It welcomes eminent guest artists including mezzo-soprano Susan Graham, countertenor David Daniels, fortepianist Emanuel Ax, violinist Rachel Podger, and guest conductors such as Jordi Savall, Masaaki Suzuki, and Trevor Pinnock.

Philharmonia’s recent U.S. tour appearances include Lincoln Center’s Mostly Mozart Festival, the Tanglewood Festival, the Ravinia Festival, the Great Performers series at Lincoln Center, the International Chamber Orchestra Festival in Minnesota, Carnegie Hall in New York, the Festival del Sole in California’s Napa Valley, and Walt Disney Concert Hall in Los Angeles. Internationally, the Orchestra has performed at the BBC Proms in London, Snape Maltings, and the Concertgebouw in Amsterdam. Philharmonia appeared as the featured orchestra at the International Handel Festival in Gottingen, Germany, in 1999, 2001, 2002 and 2005.

The Orchestra has had numerous successful collaborations with celebrated composers and choreographers. In November 2006, to mark its 25th season and the 20th anniversary of Nicholas

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McGegan’s tenure as music director, Philharmonia premiered its first commissioned work, a one­-act opera by Jake Heggie with a libretto by Gene Scheer entitled To Hell and Back. ln collaboration with the Mark Morris Dance Group, Philharmonia gave the U.S. premieres of the highly acclaimed productions of G.F. Handel’s Acis and Galatea, Henry Purcell’s King Arthur, and Jean-Philippe Rameau’s ballet-opera Plaée.

Philharmonia has also collaborated with many Bay Area performing arts groups, such as Alonzo King’s LINES Ballet, American Conservarory Theater, San Francisco Girls Chorus, and Chanticleer.

In 2011, Philharmonia launched its own recording label, Philharmonia Baroque Productions. Its first release was an archival performance of mezzosoprano Lorraine Hunt Lieberson singing Berlioz’s Les Nuits d’ete and Handel arias. Subsequently, its recording of Haydn’s Symphonies No. 104 “London”, No. 88, and No. 101 “The Clock” was nominated for a GRAMMY® Award for Best Orchestral Performance. Recent releases include highlights from Handel’s Teseo and three Haydn symphonies, Nos. 57, 67, and 68.

Prior to the launch of Philharmonia Baroque Productions, the Orchestra made 32 highly praised recordings for harmonia mundi, Reference Recordings, and BMG. Its recording of the Handel oratorio Susanna received a GRAMMY nomination and a 1991 Gramophone Magazine Award for the best Baroque vocal recording.

Classical KDFC continues to broadcast unreleased Philharmonia concert recordings the second Sunday of every month from 8 - 9 PM. KDFC is the radio home of Philharmonia Baroque Orchestra.

Philharmonia Baroque Orchestra was founded by harpsichordist and early music pioneer Laurette Goldberg.

ABOUT CHORALE DIRECTOR BRUCE LAMOTT

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ruce Lamott has been director of the Philharmonia Chorale since 1997 and is Philharmonia Baroque Orchestra’s current Scholar-in-Residence. He first performed with the Orchestra in 1989 as continuo harpsichordist for Handel’s Giustino.

Lamott was previously the director of choruses and conductor of the Mission Candlelight Concerts at the Carmel Bach Festival, where his 30-year tenure also included performing as a harpsichordist and presenting as a lecturer and education director.

In eight seasons as choral director and assistant conductor of the Sacramento Symphony, he conducted annual choral concerts of major symphonic choral works, including both Bach Passion settings, Haydn’s The Seasons, and Stravinsky’s Symphony of Psalms, as well as preparing the symphony chorus for their subscription season.

Lamott received a bachelor’s degree from Lewis and Clark College, and an M.A. and Ph.D. in musicology from Stanford, where he researched keyboard improvisation practices of the Baroque period. His teaching career began on the musicology faculty at UC Davis, where he also directed the Early Music Ensemble. He lives in San Francisco with his husband, Kip Cranna, dramaturg of the San Francisco Opera, and teaches music history and conducts the choirs and chamber orchestra at San Francisco University High School. As a part-

time professor of music history at the San Francisco Conservatory of Music since 2001, he specializes in the vocal and instrumental repertoire of the 18th century. In his opera-related activities, Lamott teaches continuo realization for San Francisco Opera’s Merola Opera Program and lectures for the Opera’s education program and Opera Guild.

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BACH’S BRANDENBURGS with Richard Egarr November 12-15 The Brandenburg Concertos are Bach’s most popular examples of instrumental music.

But did you know that the Royal Margrave to whom they were dedicated never heard them performed in his own lifetime? It was only 100 years later that these pieces were rediscovered, and began to be recognized as the finest orchestral music of the Baroque period.

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PRELUDES

PRE-CONCERT TALKS Philharmonia Baroque Orchestra is pleased to present Preludes, lively and informal pre-concert talks forty-five minutes before each concert. They are free to all ticket-holders and are designed to enrich the concert experience with thoughtful insights from Nic McGegan, guest artists, musicians, scholars and speakers from the world of classical music. We invite ticket-holders to join us for all Preludes pre-concert talks throughout the season.

BACH’S BRANDENBURGS November 12, 7:15 p.m. – Herbst Theatre, San Francisco

November 14, 7:15 p.m. – First Congregational Church, Berkeley November 15, 3:15 p.m. – First Congregational Church, Berkeley

JOHN PRESCOTT Join John Prescott before our San Francisco and Berkeley concerts where he will illuminate the beauty and complexities behind Bach’s Brandenburg Concertos. John holds an M.A. and Ph.D. in musicology from U.C. Berkeley. Dr. Prescott has written extensively on the music of Handel and has taught music courses at U.C. Berkeley and music theory at Crowden School in Berkeley.

He was the musicologist for the San Francisco Elderhostel Arts and Humanities Program. He is a regularly featured scholar at Philharmonia.

November 13, 6:45 p.m. – Bing Concert Hall, Palo Alto

LOREN SCHOENBERG Hear Loren Schoenberg, jazz musician, critic and artistic director of the National Jazz Museum in Harlem. He will join Richard Egarr to talk about the influence of Bach on the jazz world and the significance of Bach and jazz in the 21st century.

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2015-2016 · 35TH SEASON Richard Egarr, conductor

PROGRAM Johann Sebastian Bach (1685-1750) Brandenburg Concerto No. 1 in F major, BWV 1046 [Allegro] Adagio Allegro Menuetto - Trio I Polacca - Trio II Katherine Kyme, violino piccolo Marc Schachman, oboe Gonzalo Ruiz, oboe

Michael DuPree, oboe R. J. Kelley, horn Paul Avril, horn Bach Brandenburg Concerto No. 3 in G major, BWV 1048 [Allegro] Adagio Allegro INTERMISSION

The November concerts are made possible by generous support from

Gladyne K. Mitchell

Richard Egarr’s appearance is made possible in part by Nicholas Elsishans and Christopher Hayes.

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Bach Brandenburg Concerto No. 5 in D major, BWV 1050 Allegro Affetuoso Allegro Janet See, flute

Lisa Weiss, violin

Richard Egarr, harpsichord Bach Brandenburg Concerto No. 4 in G major, BWV 1049 Allegro Andante Presto Elizabeth Blumenstock, violin

Hanneke van Proosdij, recorder Andrew Levy, recorder

Thursday, November 12, 8:00 PM

Herbst Theatre, San Francisco

Friday, November 13, 7:30 PM

Bing Concert Hall, Stanford

Saturday, November 14, 8:00 PM

First Congregational Church, Berkeley

Sunday, November 15, 4:00 PM

First Congregational Church, Berkeley

Length of performance is one hour and fifty minutes.

Latecomers will be seated during suitable intervals in the program.

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

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

The November concerts are made possible by generous support from

Gladyne K. Mitchell

Richard Egarr’s appearance is made possible in part by Nicholas Elsishans and Christopher Hayes.

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GUEST ARTIST RICHARD EGARR CONDUCTOR AND KEYBOARD ”Everything sounds newly minted,bursting with vitality” —BBC Music Magazine

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ichard Egarr brings a joyful sense of adventure and a keen, enquiring mind to all his music-making—whether conducting, directing from the keyboard, giving solo recitals, playing chamber-music, and indeed talking about music at every opportunity Music Director of the Academy of Ancient Music since 2006, Egarr is also Principal Guest Conductor of The Hague Philharmonic and Associate Artist of the Scottish Chamber Orchestra. He has a flourishing career as a guest conductor with orchestras ranging from Boston’s Handel and Haydn Society to the London Symphony, Royal Concert gebouw and Philadelphia orchestras.

Early in his tenure with AAM Egarr established the Choir of the AAM, and operas/ oratorios lie at the heart of his repertoire; current plans with the AAM include a Monteverdi opera cycle at the Barbican Centre where they are an Associate Ensemble. He made his Glyndebourne debut in 2007 conducting a staged version of St Matthew Passion. Egarr is a lasting inspiration to young musicians, maintaining regular relationships at the Amsterdam Conservatoire, Britten Pears Foundation, and the Netherlands Opera Academy (Laclemenza di Tito, Lenozzedi Figaro and Rossini’s II Signor Bruschino).

Heisa Visiting Artist at the Juilliard School in New York.

Egarr continues to play solo recitals across the world—in 2015 at the Edinburgh International Festival and at Carnegie Hall, where his programme includes Bach ’English’ Suites and Handel ’Great’ Suites, as featured on his two latest releases for Harmonia Mundi. These are notable additions to an impressive discography, which includes the Goldberg Variations and Well-Tempered Clavier, Mozart fantasias and rondos, and

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Richard Egarr

the complete harpsichord works of Louis Couperin, besides many award­-winning duo recordings with Andrew Manze. His growing list of recordings with the Academy of Ancient Music includes seven Handel discs (2007 Gramophone Award, 2009 MIDEM and Edison awards), and most recently JS Bach’s St Matthew Passion, released on the AAM’s own Iabel in March 2015.

Egarr trained as a choirboy at York Minster, at Chetham’s School of Music in Manchester, and as organ scholar at Clare College Cambridge.

His studies with Gustav and Marie Leonhardt further inspired his work in the field of historical performance.

Richard Egarr is represented by lntermusica.

PROGRAM NOTES for BRANDENBURG CONCERTOS 1,3,5,4 BRUCE LAMOTT J.S. Bach seemed to have a thing about sixes: six suites for solo violin, three sets of six suites for harpsichord, six sonatas for solo cello, and Six Concerts avec plusieurs Instruments [Six Concertos with Diverse Instruments] compiled for the Margrave of Brandenburg, now known as the “Brandenburg Concertos.” Six was the number preferred by music publishers, possibly indicating Bach’s intention to publish these works, though only the keyboard Partitas (Clavierübung Part I) were printed in his lifetime.

Unlike the other sets of six—consistent in style and format within the genre—the Brandenburgs are distinguished by their dis-similarity.

Their individual differences in instrumentation, length, national styles, number of movements, and compositional techniques even stretch the concept of concerto (or concerto grosso, as works with multiple soloists are known) to its outer limits. These works illustrate the ambiguity inherent in the derivation of the term concerto from the word concertare, for in Latin, the verb concertare means “to dispute or contend,” while its Italian definition is “to agree, arrange, or draw together.”

The backstory of these works is well-known. In 1719, when Bach went to Berlin to pay for a new harpsichord for the court of his patron, Prince Leopold of Anhalt-Cöthen, he played before Christian Ludwig, Margrave of Brandenburg. As Bach relates the story in his dedicatory preface, the Margrave, having heard him play, “deigned to honor me with the command to send Your Highness some pieces of my composition.” It’s quite unlikely that the Margrave was expecting to receive six concertos that would have challenged the most accomplished of court orchestras, having only heard Bach playing the harpsichord.

Whether Bach was just being obsequious or angling for a new position with a musical resumé (as he did later with the Missa portion of the B Minor Mass), he concludes his dedication, written in his best schoolboy French, with I beg Your Royal Highness very humbly… to be assured that nothing is so close to my heart as the wish that I may be employed on occasions more worthy of Your Royal Highness and of Your Highness’s service—I, who without an equal in

J.S. Bach zeal, am, Sire, Your Royal Highness’s most humble and obedient servant —Jean Sebastien Bach.

The manuscript was dated 24 March 1721, just months after Bach had returned home from a trip with his patron Leopold’s court to the spa at Carlsbad, only to find his wife, Maria Barbara, dead and buried. Widowed and left with four children, he may well have set his sights on relocating elsewhere free of such painful memories.

The Brandenburgs were a compilation of works, some of which were written in years at the ducal court in Weimar (1708-17). They can roughly be divided into two types: ensemble concertos, in which various players of the orchestra emerge from the tutti of the whole, and solo concertos, which clearly delineate the solo and tutti parts.

Nos. 1 and 3, are ensemble concertos, while Nos. 5 and 4 are of the soloistic type.

Each of the Brandenburgs is introduced with a ritornello (literally, “a returning thing”), a passage which anchors the movement as both the introduction and conclusion. More than providing an “intro” and “outro” (yes, that’s in the OED), the ritornello is the source of melodic modules that, in various configurations and juxtaposition, create the whole of the movement.

In general, Bach’s ritornellos are structured in the three-part form he learned from the study of Vivaldi: a thematic statement (Vordersatz, in the terminology of German theorists) in the tonic key, followed by a spinning-out of modulatory sequences (Fortspinnung) in closely-related

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PROGRAM NOTES keys, ending with brief concluding cadential passage that confirms the original key (Epilog).

While at first this might seem to be a formulaic recipe, Bach treats it with his characteristic inventiveness. Brandenburg No. 5, for example, opens with the shortest ritornello (8 measures) introducing the longest and most complex movement in the six concertos, while the ritornello of No. 4 is a lengthy 83 measures long.

Brandenburg No. 1 is clearly an “outdoor” concerto, possibly originally written as the sinfonia (overture) to the “Hunting Cantata,” (BWV 208), a secular work written for the birthday of hunting enthusiast, Duke Christian of Saxe-Weissenfels in 1713. Hunting was a popular pastime of the nobility, making this piece as suitable for a Margrave in Brandenburg as it was for a Duke in Saxony. The orchestra is divided into three “choirs,” suggesting the social hierarchy of musicians: the courtly Kapelle of strings, led by a soloist on the violino piccolo (as the name implies, a smaller violin tuned a minor third higher than the regular violin), the woodwind choir of three oboes and bassoon, played by the elite city band (Stadt-Pfeifer), and two French horns borrowed from the stables of the nobility.

Rather than blending with the other instruments, however, the two horns brashly gallop through the opening ritornello playing hunting-calls in rhythmically incompatible triplets, seemingly oblivious to the rest of the band.

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dissonances, especially created by the “blue note” in the opening of the theme. The ending is similarly disconcerting, as the final cadence is mysteriously interrupted by seemingly unrelated chords, a figure called abruptio.

The rollicking hunt motif of the first movement returns in the third, a “gigue/passepied” according to Bach scholar John Butt. There is more consistency in the tutti parts than before, and the solo violino piccolo comes to the fore with an animated interchange with the principal horn and oboe. Once again an abrupt passage, this time a two-measure Adagio, interrupts the momentum before the rollicking ritornello resumes.

These works illustrate the ambiguity inherent in the derivation of the term concerto from the word concertare, for in Latin, the verb concertare means “to dispute or contend,” while its Italian definition is “to agree, arrange, or draw together.

If the complex rhythms and competing choirs of the first movement exemplify the Latin meaning of concertare, “to contend,” the florid dialogue of oboe and violin in the plaintive Adagio suits the Italian definition, “to agree, to draw together,” as well. The melancholy of the movement is further enhanced by momentarily excruciating

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’

Brandenburg No. 1 ends with a suite of international dances: a French minuet with trio for two oboes and bassoon in the style of Lully, a placid Polish “polacca” over a pastoral bass drone with a surprising forte disruption, and a comparatively raucous German hunting trio for the horns accompanied by unison oboes.

While No. 1 has the greatest variety of instrumental color and diversity of movements, No. 3 has the greatest homogeneity: only strings and continuo, with two Italianate movements connected by an Adagio progression of two chords. Within that consistency, however, Bach demonstrates his facility with “invention,” deriving an entire movement from a single melodic figure. Called a corta, this figure of da-da-dum with dum twice as long as da-- is passed between nine parts: trios of violins, violas, and cellos in an animated exchange from high to low. Beginning as an upbeat or anapestic pattern like a bourée, it becomes a downbeat or dactylic pattern (dada-dum) when accompanying a virtuosic solo line which is passed between the six upper parts and climaxing with all three cellos in unison.

PROGRAM NOTES The final movement is the only concerto movement by Bach in a binary dance form: AA BB. Written in the rhythm of an Italian gigue (giga), it undulates in scale passages until reaching a harmonic plateau which accumulates the individual parts in a crescendo of vigorous arpeggios. The B section is more concerto-like, as the scalar undulations alternate with harmonically static freeze-frames of sustained chords accompanying brief solo episodes for the first violin and viola.

Brandenburg No. 5 is a historic landmark, the first concerto in which the harpsichord, previously the “utility harmonizer” of the basso continuo section, is elevated to the rank of soloist. Moreover, it begins as a first among equals, sharing the solo passages with solo violin and flute, shifting into rhythmic passing-gear midway through the first movement and leaving the other two soloists in the dust of swirling 32nd-notes. The wholly disproportionate solo senza stromenti (sometimes called a “cadenza”) concluding the first movement gives us a glimpse of Bach the virtuoso improviser. It has been suggested that this was a test-drive of the new harpsichord he purchased in Berlin; it may also have reminded the Margrave of Bach’s previous performance that fostered his request for additional compositions. Not only is this solo unusual for its 65-measure length but also for the framework of thematic material that bookends an extraordinary improvisatory passage of accumulating intensity. Bach dramatically de-escalates the tension in a rhythmic deceleration just as it reaches the breaking point; 32nd notes lengthen into triplets, which in turn lengthen to become the thematic conclusion of the solo, a decorous recovery after a flight of madness.

The second movement, a trio sonata, restores parity with the flute and violin soloists, with the right hand of the harpsichord contributing a third treble melody while the bass line returns to its continuo duties. The third movement is also more equitable in the distribution of solo material, a hybrid of a gigue-fugue and a ritornello form. The harpsichord has a brief solo episode in the manner of a two-part invention, and running passagework in double-time under the other instruments, though more in an effort to remain audible than for overt virtuosic display.

The concerto ends as it began, with the harpsichord returning to its continuo accompanist duties, sweeping out the fireplace after the ball.

Brandenburg No. 4, like No. 5, begins with apparent equality between the soloists, in this case, two recorders and solo violin. There is a charming delicacy to the sparsely punctuating accompaniment, allowing the recorder duet to carry on an Alphonse-and-Gaston exchange of lines until locking into parallel harmonies of thirds and sixths. Until the opening ritornello concludes in the 84th bar, the solo violin is relatively subdued, at times indistinguishable from the tutti violins and subordinate to the recorders. However, once in the clear, the violin demonstrates its superiority of compass, with wide-striding leaps arching from the bottom to the top of its range. After another ritornello, the recorders resume their dialogue without the violin. When they return to the ritornello, however, the violin enters with a flurry of dazzling 32ndnote passagework, not unlike the downshifting of the harpsichord in the first movement of No. 5. The recorders once again begin the charming ritornello, this time interrupted by triple- and double-stops in the violin. The movement ends with a literal repeat (a written-out da capo) of the opening 83-bar ritornello.

No. 4 is the only one of the six Brandenburgs in which all instruments play all three movements. The second movement , a brief Andante, restores balance between the solo parts with only brief echo passages for the soloists. It is based on the repetition of a two-note sighing figure over striding bass leaps. The final Presto is another hybrid of fugue-with-concerto, but unlike No. 5, it is written in the “learned style” of counterpoint with an alla breve time signature, not in a dance-rhythm. The severity of the fugue is relieved by the solo violin emerging from the texture, first with the continuous motion of the countersubject, then bursting into an unbridled flight of virtuosity, first with accelerated passagework , then with vigorous bariolage (which a violinist friend calls “the electric toothbrush”).

Similar to the deceleration of the harpsichord cadenza in No. 5, the violin then eases back into the fugal texture by returning to the slower countersubject, and the fugue resumes in all parts.

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Give the gift of ‘Philharmonia’ for the holidays!

Philharmonia Baroque Orchestra offers an extensive collection of highly-praised recordings.

Share your love of Philharmonia’s music with friends and family this season. “nobody does music of the Baroque or Classical eras better than McGegan and the period-instrument band Philharmonia Baroque.”

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Order online and use PromoCode: HOLIDAY2015

(This offer good through December 31, 2015.)

Shop in the lobby after tonight’s performance or order online at philharmonia.org/shop.

Most recordings also available on iTunes, Amazon, HDTracks and select record stores.

These selections and more.

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

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earlymusicamerica.org PHILHARMONIA BAROQUE ORCHESTRA

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THE PLAYERS and THEIR INSTRUMENTS NOVEMBER 2015 Philharmonia’s musicians perform on historically accurate instruments. Below each player’s name is information about his or her instrument’s maker and origin.

VIOLIN

VIOLA

Anthony Martin, concertmaster Thomas Oliver Croen, Walnut Creek, CA, 2005; after F. Gobetti, Venice, 1717 Egon & Joan von Kaschnitz Concertmaster Chair

David Daniel Bowes * Richard Duke, London, c. 1780

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

Ellie Nishi Anonymous, Germany, 18th Century

Jolianne von Einem † Rowland Ross, Guildford, England, 1979; after A. Stradivari Lisa Grodin Paulo Antonio Testore, Contrada, Larga di Milano, Italy, 1736 Katherine Kyme Carlo Antonio Testore, Milan, Italy, 1720 Carla Moore Johann Georg Thir, Vienna, Austria, 1754 Maxine Nemerovski Joseph Gaffino, Paris, France, 1769 Sandra Schwarz Rowland Ross, Portsmouth, England, 1987; after A. Stradivari Noah Strick Celia Bridges, Cologne, Germany, 1988 Lisa Weiss Anonymous, London; after Testore

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Maria Ionia Caswell Anonymous, Mittenwald, circa 1800

VIOLONCELLO Phoebe Carrai * Anonymous, Italy, c. 1690 Paul Hale Joseph Grubaugh & Sigrun Seifert, Petaluma, 1988; after A. Stradivari Osher Cello Chair Endowment Tanya Tomkins Lockley Hill, London, England, 1798 Zheng Cao Memorial Cello Chair

DOUBLE BASS Kristin Zoernig * Joseph Wrent, Rotterdam, Holland, 1648

FLUTE Janet See * Martin Wenner, Singen, Germany, 2012; after C. Palanca (ca 1740)

THE PLAYERS and THEIR INSTRUMENTS NOVEMBER 2015

OBOE

RECORDER

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

Hanneke van Proosdij * Peter van der Poel, Utrecht, Netherlands, 2005; after Stanesby Jr., 1725

Gonzalo Ruiz Joel Robinson, New York, 1990; after Saxon models, c. 1720 Michael DuPree H. A. Vas Dias, Decatur, Georgia, 1995; after T. Stanesby, England, c. 1700

BASSOON Danny Bond * Peter de Koningh, Hall, Holland, 1978; after Prudent, Paris, France, c. 1765

* Principal † Principal 2nd Violin

Andrew Levy Peter van der Poel, Utrecht, Netherlands, 2007; after Stanesby Jr., 1725

HORN R.J. Kelley * Richard Seraphinoff, Bloomington, Indiana, 2006; after Hoffmaster, England, c. 1740 Paul Avril Richard Seraphinoff, Bloomington, Indiana, 1997; after J. W. Haas, c. 1720

HARPSICHORD Richard Egarr John Phillips, Berkeley, 2010; after Johann Heinrich Gräbner, Dresden, 1722; generously lent by Peter & Cynthia Hibbard

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HAIL, BRIGHT CECILIA! December 2-6 Saint Cecilia is the patroness of musicians. It is written that as the musicians played at her wedding she “sang in her heart to the Lord.� When the time came for her marriage to be consummated, Cecilia told her husband, Valerian, that she had an angel of the Lord watching over her who would punish him if he dared to violate her virginity but who would love him if he could respect her maidenhood. When Valerian asked to see the angel, Cecilia replied that he would see the angel if he would go to be baptized by Pope Urbanus. After his baptism, he found an angel standing by the side of Cecilia, and crowning her with a chaplet of roses and lilies.

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PRELUDES

PRE-CONCERT TALKS Philharmonia Baroque Orchestra is pleased to present Preludes, lively and informal pre-concert talks forty-five minutes before each concert. They are free to all ticket-holders and are designed to enrich the concert experience with thoughtful insights from Nic McGegan, guest artists, musicians, scholars and speakers from the world of classical music. We invite ticket-holders to join us for all Preludes pre-concert talks throughout the season.

HAIL, BRIGHT CECILIA! December 2, 6:45 p.m. – First United Methodist Church, Palo Alto December 4, 7:15 p.m. – Herbst Theatre, San Francisco

December 5, 7:15 p.m. – First Congregational Church, Berkeley

December 6, 3:15 p.m. – First Congregational Church, Berkeley

BRUCE LAMOTT Choral Director Bruce Lamott will give listeners a behind-thescenes look at Purcell and Handel’s singers in the musical life of London. Unlike many of their Baroque contemporaries, their music needed little “revival” by the Early Music movement of the mid-20th century. They have been regarded both by their contemporaries and posterity as the twin peaks of English choral music, although it was performed under quite dissimilar circumstances.

Pick up our latest CD tonight HAYDN Symphonies Nos. 57, 67 and 68 Nicholas McGegan, conductor Philharmonia Baroque Orchestra Also available at www.philharmonia.org, iTunes, Amazon, and HDTracks

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2015-2016 · 35TH SEASON Nicholas McGegan, conductor Sherezade Panthaki, soprano Isaiah Bell, tenor Philharmonia Chorale, Bruce Lamott, director

PROGRAM Henry Purcell (1659-1695) Te Deum and Jubilate in D, Z. 232 Angela Arnold, soprano Heidi Waterman, mezzo-soprano Clifton Massey, countertenor David Kurtenbach, tenor Chad Runyon, baritone Purcell Suite from Distressed Innocence, Z. 577

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

The Ross E. Armstrong Baroque Vocal Works Fund Norman T. Larson — December 4 28

PHILHARMONIA BAROQUE ORCHESTRA

George Frideric Handel Duet “Tra amplessi innocenti” from Cecilia, volgi un sguardo, HWV 89 Sherezade Panthaki, soprano Isaiah Bell, tenor

INTERMISSION

Handel Ode for St. Cecilia’s Day, HWV 76 Sherezade Panthaki, soprano Isaiah Bell, tenor Philharmonia Chorale, Bruce Lamott, director

Wednesday, December 2, 7:30 PM

First United Methodist Church, Palo Alto

Friday, December 4, 8:00 PM

Herbst Theatre, San Francisco

Saturday, December 5, 8:00 PM

First Congregational Church, Berkeley

Sunday, December 6, 4:00 PM

First Congregational Church, Berkeley

Length of performance is approximately two hours.

Latecomers will be seated during suitable intervals in the program.

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

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

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

The Ross E. Armstrong Baroque Vocal Works Fund Norman T. Larson — December 4 PHILHARMONIA BAROQUE ORCHESTRA

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GUEST ARTIST SHEREZADE PANTHAKI SOPRANO

S

herezade Panthaki’s international success has been fueled by superbly honed musicianship; “shimmering sensitivity” (Cleveland Plain Dealer), “astonishing coloratura with radiant top notes” (Calgary Herald); a vocal color “combining brilliance with a dark, plumlike tone” (The Wall Street Journal), and passionately informed interpretations, “mining deep emotion from the subtle shaping of the lines” (The New York Times). An acknowledged star in the early-music field, Ms. Panthaki has developed strong collaborations with many of the world’s leading interpreters including Nicholas McGegan, Simon Carrington, the late John Scott, Mark Morris, Matthew Halls, Nicholas Kraemer, and Masaaki Suzuki, with whom she made her New York Philharmonic debut in a program of Bach and Mendelssohn.

Highlights of her current and recent seasons include Handel’s Messiah with Bach Collegium Japan (Tokyo), National Symphony Orchestra (Kennedy Center, Washington D.C.), National Arts Center Orchestra (Ottawa, Canada), Calgary Symphony, and Nashville Symphony; Handel and Bach oratorios with the Philharmonia Baroque Orchestra in San Francisco; several productions with the Mark Morris Dance Group, including Handel’s L’allegro, il Penseroso ed il Moderato, Purcell’s Dido and Aeneas, and the title role of Galatea in the company’s premiere performances of Handel’s Acis and Galatea; Handel’s Saul with the Tafelmusik Baroque Orchestra in Toronto; Orff’s Carmina Burana with the Houston Symphony; Bach’s St. John Passion, St. Matthew Passion, and Brahms Requiem with the late John Scott and the Choir and Orchestra of St. Thomas Fifth Avenue, New York City; numerous Bach cantatas and Mozart Requiem with Music of the Baroque (Chicago); Handel’s Solomon with the Radio Kamer Filharmonie in Holland; Handel at Carnegie Hall with William Christie and the Yale Philharmonia; Bach’s Christmas Oratorio and solo cantatas with the Orchestra of St. Luke’s in New York city; Mozart’s Exsultate, jubilate and Requiem with the Washington Bach Consort (Washington D.C.);

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and solo concerts of Bach, Handel, and Vivaldi cantatas with the Rebel Baroque Orchestra. She is a frequent soloist with the most accomplished early music ensembles in New York, including the Choir and Orchestra of Trinity Church Wall Street (with whom she performed on a Grammy nominated recording).

Born and raised in India, Ms. Panthaki holds an Artist Diploma from the Yale School of Music and the Yale Institute of Sacred Music, where she won multiple awards, including the prestigious Phyllis Curtin Career Entry Prize, awarded to launch the career of a student who demonstrates exceptional promise and talent as an artist. She earned a Masters degree from the University of Illinois and a Bachelors degree from West Virginia Wesleyan College.

Ms. Panthaki is an active and passionate music educator, frequently called upon to present vocal masterclasses at Universities and Arts Schools across the United States. She teaches as an adjunct voice professor at Yale University.

GUEST ARTIST ISAIAH BELL TENOR

T

he New York Times described Canadian-American tenor Isaiah Bell’s portrayal of the Madwoman in Britten’s Curlew River as “a performance of haunting beauty, ideally depicting emotional distraction with ultimate economy and glowing vocal skill,” while in a recent performance of Mendelssohn’s Lobgesang with the Vancouver Symphony he was “stunning in his vocal subtlety and strength. Bell’s voice is so pure and full, with such a lovely ring…” (Vancouver Classical Music) Isaiah’s 2015/16 season includes singing his first Almaviva in The Barber of Seville at Opera Lyra Ottawa, the role of Lysander in A Midsummer Night’s Dream at l’Opéra-Théâtre de Metz Métropole in France, Strauss’s Elektra at l’Opéra de Montréal under Yannick Nézét-Séguin, Messiah with San Francisco’s Philharmonia Baroque and with St. Thomas Fifth Avenue in New York, and Handel’s Ode for St. Cecilia’s Day, also with the Philharmonia Baroque Orchestra conducted

by Nicholas McGegan. Additionally, he returns to Bethlehem for the Christmas Oratorio with the Bach Choir, and sings alongside the Mark Morris Dance Group in performances of Acis and Galatea at the International Festival of Arts and Ideas in New Haven.

In 2014/15, Isaiah sang Lechmere in Britten’s Owen Wingrave under Mark Wigglesworth at the Aldeburgh and Edinburgh Festivals, George Benjamin’s Written on Skin with the Toronto Symphony conducted by the composer, Damon in Handel’s Acis and Galatea at Lincoln Center with the Mark Morris Dance Group, and Mozart’s Requiem with the Colorado Symphony under Pinchas Zukerman. He appeared twice with Kent Nagano and l’Orchestre symphonique de Montréal, first in Berlioz’s Roméo et Juliette, and then for performances and a Decca recording of the Honegger/Ibert opera L’Aiglon.

In May 2015 he played the central role of Marlow in the American premiere of Tarik O’Regan’s Heart of Darkness at Opera Parallèle, a performance described by the San Francisco Chronicle as “sung with exquisite lyricism and an air of heroism”. More recent work includes

Bach’s Matthew Passion with Yannick NézétSéguin and l’Orchestre Métropolitain, a recital of German and English song for CBC Radio’s “In Concert,” a staged Messiah with Against the Grain Theatre, two discs of German Baroque cantatas with the Theatre of Early Music, and William Walton’s Façade with members of l’Orchestre symphonique de Montréal.

Isaiah received his formal musical training at the University of Victoria, and subsequently apprenticed in the Young Artist Program of Pacific Opera Victoria, Calgary Opera’s Emerging Artist Program, and l’Atelier lyrique de l’Opéra de Montréal. He has also trained at many summer programs in North America and abroad, including the Tanglewood Music Centre, Salzburg’s Universität Mozarteum, Edmonton’s Opera NUOVA, and the Baroque Oratorio Academy at the Victoria Conservatory of Music.

As a composer, Isaiah has written four operas – including the music and libretti for two operas for young audiences, commissioned by Opera NUOVA – as well as a number of song cycles and arrangements. He remains active in this field.

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PROGRAM NOTES for PURCELL and HANDEL BRUCE LAMOTT

Composing music about music has always been an opportunity for self-reflection and self-congratulation among its practitioners, and the celebration of music’s patron saint, St. Cecilia, has provided an occasion for composers from Purcell to Britten to celebrate their art. Never mind that her claim to fame as an organist arose from a mistranslation of a reference in the early medieval Acts of the Martyrs: “cantantibus organis illa in cordo suo sol domino decantabat” (while instruments were playing she was singing in her heart to God alone). The collective term for musical instruments, organis, was understandably mistaken for “organ,” and organists have claimed her as their own ever since. In 1584 she was made the patron saint of music and patroness of the Roman Confraternity of Santa Cecilia, one of the oldest musical societies in the world. In the 18th century, she was championed by Cecilian Leagues (Caecilian-Bündnisse) in Germany, and in 1870, Pope Pius IX invoked her name in the restoration of Gregorian chant and a cappella choral singing championed by the Council of Trent (the “Cecilian Movement”) against the excesses of symphonic and operatic church music.

Ever since the Restoration, the English have taken the lead in celebrating November 22, the feast day of the ‘”harmonious Saint,” and Henry Purcell’s Te Deum and Jubilate, was his third ode written for that occasion. Unlike Welcome to All the Pleasures (1683) and Hail! Bright Cecilia (1692), both commissioned by ‘The Musical Society’ and set to poetic texts by Nicholas Brady and Christopher Fishburn, respectively, the Te Deum and Jubilate were composed for the Chapel Royal using liturgical texts. Its first performance on 21 November 1695 at St. Bride’s Church in Fleet Street marked a milestone in the development of the English verse anthem, especially in the prominence of its use of orchestral accompaniment in church music. The composer and organist Thomas Tudway (c. 1650-1726) states that it was “ye first of its kind in England, of Te Deum, & Jubilate, accompanied with instrumental music,” a feature unusual enough to be a point of reference in St. Cecilia’s Day sermons for the next six years.

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George Frideric Handel It was to become the most popular of Purcell’s works in the 18th century, as Tudway attests: There is in this Te Deum such a glorious representation, of ye Heavenly Choirs, of cherubins, & Seraphins, falling down before ye Throne & singing Holy, Holy, Holy &c As hath not be Equall’d by any Foreigner, or Other… This most beautifull, & sublime representation, I dare challenge, all ye Orators, Poets, Painters &c of any Age whatsoever, to form so lively an Idea, of choirs of Angels singing, & paying their Adorations.

Whether or not Purcell had written this work in anticipation of the opening of Wren’s new St. Paul’s Cathedral, as Tudway claims, its festive opulence was to be heard there many times after its consecration in 1710. Purcell, however, never was to hear it there, as he died on St. Cecilia’s Eve, 21 November 1695. The signed and dated manuscript for this masterpiece now resides in the rare book collection of the Stanford Library.

The text of the Hymn of Thanksgiving, Te Deum laudamus, traditionally ascribed to St. Ambrose of Milan (c. 340-397), is poetic illuminated manuscript of imagery derived from the Apostles’

PROGRAM NOTES

A brilliant trumpet solo introduces one of the most joyous of psalms, Psalm 100, the Jubilate.

Here the solo and choral divisions are based on the parallel structure of the psalm verses themselves. It is a less pictorial text than the Te Deum, although the bass and alto duet describing everlasting mercy and enduring truth illustrate the text with everlasting counterpoint. The choral sections are more developed, including a four-part canon (“O go your way into His gates”) and a tightly complex “Glory be to the Father,” once again depicting a “world without end” with seemingly endless polyphonic imitation.

Henry Purcell Creed and the Book of Psalms. Purcell sets each phrase in the manner of the “verse anthem,” alternating soloists and chorus appropriate to the dramatis personae of the text. Isaiah’s vision of six-winged angels crying “Holy, Holy, Holy” around the throne of the Lord—a passage also found the Sanctus movement of the Mass—is vividly depicted by treble voices floating in parallel thirds between the exclamations of “Holy!” by the five-part choir. Alto, tenor, and bass soloists represent Apostles, Prophets, and Martyrs, respectively, praising the lord in elegant lilting phrases in the French style, answered by the chorus of “The Holy Church” in typical Anglican hymnbook style. “Vouchsafe, O Lord,” a penitential alto solo with its minor key, chromatic harmonies, and drooping melodic line. provides a moment of poignancy before the final D-major affirmation.

Purcell’s declamatory writing for the chorus becomes contrapuntally complex in overlapping passages suggesting temporal continuity (e.g., “day by day,“ “world without end”). Rising out of the bass line, “Thou art the King of Glory” accumulates the other four vocal parts rising up to the glorious climax, “O Christ.”

When Handel first presented his setting of another Dryden ode, Alexander’s Feast, or The Power of Music, on 25 February 1736 at Covent Garden, he needed to extend the two-part work to satisfy his opera-going audience’s expectations of a three-act evening. He added three concertos—one for “Harp, Lute, Lyrachord, and other Instruments,” another for oboes, bassoons and strings, and one of Handel’s celebrated novelty acts—an organ concerto played by the composer himself. Though the cast included the English soprano Cecilia Young and tenor John Beard, the principal role of Thaïs was sung by Handel’s loyal prima donna, the Italian soprano Anna Maria Strada del Pò, the only singer not to defect when the Opera of the Nobility decimated his roster of Italian stars in 1733. Adding to the variety show that was becoming Alexander’s Feast, Handel reworked an Italian solo cantata, Splenda l’alba in oriente, into a charming half-hour cantata for soprano and tenor, Cecilia, volgi un sguardo. It was, of course, a showcase for Strada, but also featured a Florentine lute-playing tenor from the band, Carlo Arrigoni (presumably the lutenist in the aforementioned concerto)—not John Beard, the tenor soloist for the rest of the program. The cantata celebrates the glories of Virtue with local allusions to the Britain and the Thames, and only passing mention of St. Cecilia. Its final and only duet is a frothy evocation of Virtue’s innocent embraces and untainted affection, a charming pairing of tenor and soprano for those diehard fans of Italian opera who may have been experiencing withdrawal symptoms in the midst of an evening of English oratorio.

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PROGRAM NOTES

November 1739 at Lincoln’s Inn Fields, the double bill was performed only once more, before St. Cecilia became a companion piece either to Acis and Galatea, or a substitute for Il Moderato between Milton’s L’Allegro and Il Penseroso to be performed by PBO with the Mark Morris Dance Group in March 2016.

Our entr’acte is a suite of dances taken from the incidental music to the tragedy Distressed Innocence, or the Prince of Persia (1691) by Elkanah Settle (1648-1724), City Poet of London and a public antagonist of John Dryden. The suite is one of over forty “stage-musics” Purcell composed in his final years. Though the music lacks the exoticism of the Persian subject, the melancholy C-minor harmonies of the Overture and Slow Aire underscore the distress of the principal characters, while the innocence of the G-major Aire and Minuett concluding the suite suggest a happy ending.

‘

Unlike the texts of his other English oratorios resulting from Handel’s collaboration with a number of librettists, the lyrics of St. Cecilia are Dryden’s verbatim, originally written for a musical setting by Giovanni Battista Draghi (1640-1708) in 1687, the heyday of English Cecilian festivals. Dryden‘s text, an amalgamation of Newtonian physics, Biblical apocalypse, and a young person’s guide to the baroque orchestra, begins with the “jarring atoms” of creation and concludes with the trumpet of the Last Judgment.

Purcell’s Te Deum, in design, and expression of the words, is, perhaps, superior to all others; but in grandeur and richness of accompaniment, nothing but national partiality can deny HANDEL the preference.

“Purcell’s Te Deum, in design, and expression of the words, is, perhaps, superior to all others; but in grandeur and richness of accompaniment, nothing but national partiality can deny HANDEL the preference.” So wrote Dr. Charles Burney (17261814), in weighing the merits of this evening’s featured composers from the next generation. Though Burney was probably comparing their settings of the Te Deum, his mention of “national partiality” not only reflects the parallel esteem in which these composers were held, but echoes, along with Tudway’s remark ,“…As hath not been Equall’d by any Foreigner,” the xenophobia of some in the English audience.

’

Handel picked up the mantle of Purcell, reviving the celebration of St. Cecilia’s Day, which had become dormant at the turn of the century. His setting of John Dryden’s ode, A Song for St. Cecilia’s Day (It wasn’t called “An Ode” until a decade after Handel’s death.) was also intended to supplement the two-part Alexander’s Feast, also on a text by Dryden. After their premieres on 22

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Like Messiah, Song for St. Cecilia’s Day was composed in record time, a mere 10 days.

And also, like Messiah, Handel relied on some pre-existing material to expedite the process. A newly-published series of harpsichord suites, Componamenti musicali,

by Gottlieb Muffat (1690-1770), the foremost keyboard player in Vienna, provided inspiration and a generous helping of material for Handel.

Far from Winton Dean’s disparaging accusation that the work was “redigested Muffat,” however, Handel ingeniously crafted new works from these sources in a manner uniquely his own.

The Overture, abounding in the stately dotted rhythms and scalar tiratas of the French overture; the ensuing fugue must have appealed to him especially, as he immediately repurposed it in

PROGRAM NOTES

the first movement of his Concerto Grosso, Op. 6 No. 5.

Handel wrote the soprano solos in St. Ceciia for Elisabeth Duparc (known as “La Francesina”).

Though first brought from France by Handel’s rival company, the Opera of the Nobility, she later became Handel’s go-to soprano for his new ventures in English oratorio, including St. Cecilia.

To be sure, she sang in Imeneo and Deidamia, the last gasps of Handel’s operatic career, but made her mark in the English oratorios Saul, Semele, Messiah, Belshazzar, and L’Allegro. The tenor soloist was John Beard, the Englishman whose association with Handel almost single-handedly elevated the status of the tenor voice to prominence in principal roles previously sung by castrati. Clearly he had dramatic ‘range,’ as he was also singing Macheath in The Beggar’s Opera in Drury Lane in the same period as his Handel oratorios. This flair for the dramatic would have served him well in the mysterious accompanied recitative depicting primordial chaos which opens the oratorio.

Unlike Purcell’s verse-anthem structure, Handel’s St. Cecilia is a series of relatively short, discrete movements. The arias, none written in the operatic da capo form, describe legendary musicians, their instruments, and the affects they elicit in the listener. Jubal’s lyre (“corded shell”) becomes a poignant cello obbligato, Cecilia’s organ a pious procession of harmonies, while Orpheus’s lyre (in contrast to Jubal’s) leads an impressionably gullible, “sequacious savage race” in a rustic, limping hornpipe (alla zoppa).

Individual instruments, save one, represent their anticipated character: the “soft, complaining

Flute,” the “warbling Lute,” the “Trumpet’s loud clangor.” However, instead of the hearts and flowers we might expect of them, the “sharp violins proclaim their jealous pangs and desperation.” There is frantic, furious indignation in their vigorous bowing, even though a coquettish trill figure (think Cleopatra) suggests the “fair disdainful dame” that drove us to such anguish.

Handel’s choruses are appropriately festive and literal to the text. Ascending and descending scales amusingly trace “the compass of the notes” in contrast with the manifestation of man in a burst of harmony (“diapason”). The final chorus (“As from the pow’r of sacred lays”) does not reflect a Lutheran chorale as some commentators claim, but the common liturgical practice of “lining out,” a hymn-singing tradition of calland-response in which a deacon or precentor sings a line repeated by the congregation. This was a practice brought to the New World by the Puritans for the singing of psalms, especially when hymnals were scarce.

The text of the final chorus alludes both to the Last Judgment and the “music of the spheres.”

Following the trumpet of the Last Judgment, St. Cecilia closes with a grand choral fugue with a typically Handelian attention span; once the four voice parts have entered, they soon devolve into block declamatory chords. Dryden concludes his ode with praise to the power of music until the end of time, and Handel depicts it with a tangle of intersecting lines coalescing into a single majestic harmony: “The Trumpet shall be heard on high,/ the dead shall live, the living die,/ and Music shall untune the sky.”

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TEXTS and TRANSLATIONS Te Deum and Jubilate in D, Z. 232 1. Te Deum We praise thee, O God: we acknowledge thee to be the Lord.

All the earth doth worship thee: the Father everlasting.

To thee all Angels cry aloud: the Heavens, and all the Powers therein.

To thee Cherubim and Seraphim: continually do cry, Holy, Holy, Holy: Lord God of Hosts; Heaven and earth are full of the Majesty: of thy glory.

The glorious company of the Apostles: praise thee.

The goodly fellowship of the Prophets: praise thee.

The noble army of Martyrs: praise thee.

The holy Church throughout all the world: doth acknowledge thee; The Father: of an infinite Majesty; Thine honourable, true: and only Son; Also the Holy Ghost: the Comforter.

Thou art the King of Glory: O Christ.

Thou art the everlasting Son: of the Father.

When thou tookest upon thee to deliver man: thou didst not abhor the Virgin’s womb.

When thou hadst overcome the sharpness of death: thou didst open the Kingdom of Heaven to all believers.

Thou sittest at the right hand of God: in the glory of the Father.

We believe that thou shalt come: to be our Judge.

We therefore pray thee, help thy servants: whom thou hast redeemed with thy precious blood.

Make them to be numbered with thy Saints: in glory everlasting.

O Lord, save thy people: and bless thine heritage.

Govern them: and lift them up for ever.

Day by day: we magnify thee; And we worship thy Name: ever world without end.

Vouchsafe, O Lord: to keep us this day without sin.

O Lord, have mercy upon us: have mercy upon us.

O Lord, let thy mercy lighten upon us: as our trust is in thee.

O Lord, in thee have I trusted: let me never be confounded.

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TEXTS and TRANSLATIONS 2. Jubilate (Psalm 100) O be joyful in the Lord, all ye lands: serve the Lord with gladness, and come before his presence with a song.

Be ye sure that the Lord he is God; it is he that hath made us, and not we ourselves; we are his people, and the sheep of his pasture.

O go your way into his gates with thanksgiving, and into his courts with praise; be thankful unto him, and speak good of his Name.

For the Lord is gracious, his mercy is everlasting; and his truth endureth from generation to generation.

Glory be to the Father, and to the Son: and to the Holy Ghost; As it was in the beginning, is now, and ever shall be: world without end. Amen.

Duet “Tra amplessi innocenti” from the cantata Cecilia, volgi un sguardo, HWV 89 Tra amplessi innocenti, tra armonici accenti, il core sol gode.

In innocent embraces, in harmonious words, the heart alone finds pleasure.

Un fervido affetto, sincero diletto, sol mertano lode.

Fervent emotion, sincere delight, only these are worth praise.

Tra amplessi innocenti...

In innocent embraces...

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TEXTS and TRANSLATIONS Ode for St. Cecilia’s Day, HWV 76 (text by Newburgh Hamilton) 1. OVERTURE 2. RECITATIVE Tenor From harmony, from heav’nly harmony, This universal frame began.

3. ACCOMPAGNATO Tenor When nature underneath a heap Of jarring atoms lay, And could not heave her head, The tuneful voice was heard from high: “Arise! Ye more than dead.”

Then cold, and hot, and moist and dry, In order to their stations leap, And music’s pow’r obey.

4. CHORUS From harmony, from heav’nly harmony, This universal frame began, From harmony to harmony, Through all the compass of the notes it ran, The diapason closing full in man.

5. AIR Soprano What passion cannot music raise and quell!

When Jubal struck the chorded shell, His list’ning brethren stood around, And wond’ring, on their faces fell, To worship that celestial sound.

Less than a god they thought there could not dwell Within the hollow of that shell, That spoke so sweetly and so well.

What passion cannot music raise and quell!

6. AIR (Tenor) and Chorus The trumpet’s loud clangor Excites us to arms, With shrill notes of anger, And mortal alarms.

The double, double, double beat Of the thund’ring drum Cries: “Hark! the foes come; Charge, charge! ‘Tis too late to retreat.”

7. MARCH

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TEXTS and TRANSLATION 8. AIR Soprano The soft complaining flute In dying notes discovers The woes of hopeless lovers, Whose dirge is whisper’d by the warbling lute.

9. AIR Tenor Sharp violins proclaim Their jealous pangs, and desperation, Fury, frantic indignation, Depths of pain, and height of passion, For the fair disdainful dame.

10. AIR Soprano But oh, what art can teach, What human voice can reach The sacred organ’s praise?

Notes inspiring holy love, Notes that wing their heav’nly ways To join the choirs above.

11. AIR Soprano Orpheus could lead the savage race, And trees, unrooted, left their place, Sequacious of the lyre.

12. ACCOMPAGNATO Soprano But bright Cecilia raised the wonder high’r: When to her organ, vocal breath was giv’n, An angel heard, and straight appear’d, Mistaking earth for Heav’n.

13. SOLO (Soprano) and Chorus As from the pow’r of sacred lays The spheres began to move, And sung the great Creator’s praise To all the bless’d above; So when the last and dreadful hour This crumbling pageant shall devour, The trumpet shall be heard on high, The dead shall live, the living die, And music shall untune the sky.

855-4sF-Bach (855-473-2224) www.sfbach.org tickets: $10–$35 (youth to 19 free)

Christmas by Candlelight Friday, December 4, 7:30 PM / Sunday, December 6, 4:00 PM Calvary Presbyterian Church, Fillmore & Jackson, SF Welcome the holiday season with our beloved traditional candlelight concert, with the ever-popular merry band The Whole Noyse and their bag of Renaissance instruments.

Contemplative, lush, mystical, jubilant: Bring your family for a journey of Christmas music from many periods and countries—from Bach chorales to American shape-note hymns, early motets to brand-new creations. Together with cornetti, sackbuts, and shawms, all can join in on the carols!

We will envelop you in music and candlelight for the unforgettable, moving experience that brings audiences to their feet year after year. this concert sells out quickly, so purchase your tickets early!

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THE PLAYERS and THEIR INSTRUMENTS DECEMBER 2015 Philharmonia’s musicians perform on historically accurate instruments. Below each player’s name is information about his or her instrument’s maker and origin.

VIOLIN

VIOLA

Carla Moore, concertmaster Johann Georg Thir, Vienna, Austria, 1754 Egon & Joan von Kaschnitz Concertmaster Chair

Maria Ionia Caswell * Anonymous, Mittenwald, circa 1800

Elizabeth Blumenstock Andrea Guarneri, Cremona, 1660; on loan from Philharmonia Baroque Orchestra Period Instrument Trust Susan B. Levy Chair Jolianne von Einem Rowland Ross, Guildford, England, 1979; after A. Stradivari Lisa Grodin † Paulo Antonio Testore, Contrada, Larga di Milano, Italy, 1736 Katherine Kyme Carlo Antonio Testore, Milan, Italy, 1720 Tyler Lewis Anonymous, Italy c. 1800 Anthony Martin Thomas Oliver Croen, Walnut Creek, CA, 2005; after F. Gobetti, Venice, 1717 Maxine Nemerovski Timothy Johnson, Bloomington, Indiana, 1999; after A. Stradivari Noah Strick Celia Bridges, Cologne, Germany, 1988 Lisa Weiss Anonymous, London; after Testore Anna Washburn Anonymous, Brescia, c. 1580 Gabrielle Wunsch Lorenzo Carcassi, Florence, Italy; 1765

David Daniel Bowes Richard Duke, London, c. 1780 Ellie Nishi Anonymous, Germany, 18th Century Aaron Westman Francis Beaulieu, Montreal, 2012, after Bros.

Amati, Cremona, ca.1620

VIOLONCELLO Phoebe Carrai * Anonymous, Italy, c. 1690 Paul Hale Joseph Grubaugh & Sigrun Seifert, Petaluma, 1988; after A. Stradivari Osher Cello Chair Endowment Robert Howard Anonymous, Venice, 1750 William Skeen Anonymous, Northern Italy, ca. 1680 Zheng Cao Memorial Cello Chair

DOUBLE BASS Kristin Zoernig * Joseph Wrent, Rotterdam, Holland, 1648 Michael Minor Anonymous, Brescia, 17th Century

FLUTE Stephen Schultz * Martin Wenner, Singen, Germany, 2012; after C, Palanca, c. 1750

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PHILHARMONIA BAROQUE ORCHESTRA

THE PLAYERS and THEIR INSTRUMENTS DECEMBER 2015

OBOE

TIMPANI

Gonzalo Ruiz * Joel Robinson, New York, 1990; after Saxon models, c. 1720 Principal Oboe Chair In Memory of Clare Frieman Kivelson and Irene Valente Angstadt

Kent Reed * Pete Woods, Aldershot, England, 1996; after 18th-century continental, hand tuned

Marc Schachman H. A. Vas Dias, Decatur, Georgia, 2001; after T. Stanesby, England, c. 1710

BASSOON Danny Bond * Peter de Koningh, Hall, Holland, 1978; after Prudent, Paris, France, c. 1765

TRUMPET Kathryn Adduci * Rainer Egger, Basel, Switzerland, 2006; after L. Ehe, Nuremburg, Germany, 1748 Fred Holmgren Fred Holmgren, Massachusetts, 2005; after J. L. Ehe III, 1746

LUTE David Tayler * Andreas von Holst, Munich, Germany, 2004; after Magno Tieffenbrucker, Venice, Italy, 1610

HARPSICHORD Hanneke van Proosdij * John Phillips, Berkeley, 1996; after Giusti, Italy, 17th century; generously lent by Nicholas McGegan

ORGAN Hanneke van Proosdij * Gerrit C. Klop, Holland, 1991; generously lent by Gilbert Martinez and MusicSources * Principal † Principal 2nd Violin

PHILHARMONIA CHORALE: Bruce Lamott, Director SOPRANO Tonia d’Amelio • Jennifer Ashworth Angela Arnold • Cheryl Cain Pamela Sebastian • Helene Zindarsian

ALTO

Ruth Escher • Jean-Paul Jones Linda Liebschutz • Clifton Massey Heidi Waterman • Celeste Winant

TENOR

Thomas Busse • Kevin Gibbs Corey Head • David Kurtenbach Mark Mueller • Jonathan Smucker

BASS

John Bischoff • Paul Boyce Joshua Henderson • Daniel Pickens-Jones Chad Runyon • Ian Walker

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9

Season

2015-2016

CONCERTS IN

BERKELEY SAN FRANCISCO PALO ALTO

PLEASE PICK UP A BROCHURE IN THE LOBBY

www.newesterhazy.org

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PHILHARMONIA BAROQUE ORCHESTRA

SCARLATTI

FRIENDS OF PHILHARMONIA RECEPTION

A Celebratory Return to Herbst Theatre and Beginning of Nic’s 30th Anniversary Season October 9, 2015 marked Philharmonia’s inaugural concert in the newly renovated Herbst Auditorium.

Not only was a long-buried work from 300 years ago unveiled, so was the new Herbst Acoustic shell, which transformed the hall musically.

Immediately following the concert, a special post-concert reception for Friends of Philharmonia members at the Arcangeli level and above was held in the Thomas E. Horn Bar & Lounge downstairs.

Lavish charcuterie and dessert nibbles greeted hungry patrons when they arrived.

The assembled guests were joined by guest artists from the Scarlatti performance, the Philharmonia Orchestra and members of the Herbst Acoustic Advisory Committee. Together, the group lifted a glass of celebration in honor of the beginning of Nic’s 30th anniversary season, as well as the hard work and commitments that brought the Herbst Acoustic Shell to a resoundingly beautiful completion. ▲ Board President Ross Armstrong with violinist Carla Moore and violist Ellie Nishi.

The party continued past midnight with much laughter and festivity. Mingling with the musicians and hearing the highlights of the concert from their perspective was a special addition to the evening for our patrons. It was truly a wonderful start to an incredible season.

▲ PBO supporter Norm Larson and friends.

▲ Mezzo-soprano Diana Moore with Chorale Director Bruce Lamott and Kip Cranna.

Philharmonia Baroque donor events are designed to enhance the concert-going experience and bring the audience closer to the music. From exclusive access to rehearsals to intimate private concerts, membership in Friends of Philharmonia definitely has its benefits. For more information on Friends of Philharmonia, please visit or contact Noelle R. Moss, Director of Development, at 415-226-0995 or nmoss@philharmonia.org.

Philharmonia also gratefully acknowledges the sponsors of the October 2015 concert set: The Ross E. Armstrong Baroque Vocal Works Fund; Nicolas Elsishans & Christopher Hayes; Maxine Risley, in memory of Jim Risley; and Paul & Susan Sugarman.

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CAMPAIGN for the 21st CENTURY DONORS

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

$1,000,000+ The Waverley Fund Nicholas McGegan Conductor’s Podium $500,000 - $999,999 Anonymous (1) Ross Armstrong, Ross E. Armstrong Baroque Vocal Works Fund $250,000 - $499,999 Zheng Cao Memorial Cello Chair Dr. Al Garren, Dr. Al Garren Violin Chair $100,000 - $249,999 Kay Sprinkel Grace, Education & Innovation Circle David Low & Dominique Lahaussois, Touring Circle Drs. Jane & Michael Marmor, Michael F. and Jane B. Marmor Principal Clarinet Chair Elizabeth Anderson Mayer Chris McCrum & Elizabeth Velarde, Chorale Circle Mark Perry & Melanie Peùa/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

$10,000 - $24,999 Bonnie & Jim Bell Carol & Peter Berkenkotter Elizabeth, Kay & Mike Buckley Marie Bertillion Collins & Leonard Collins The Gray Family Foundation Nancy & Richard Heath The Grace and Laurance Hoagland Fund Margaret & Edmond Kavounas, Recording & Media Circle Kit & Hayne Leland William Lokke Betty & Jack Schafer William Quackenbush The Estate of Shirley Sarvis Paul Wilson

$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

$5,000 - $9,999 Linda Brewer Charlotte Gaylord & Barrie Cowan Lynn Gotchall Brian M. Kincaid & Elizabeth C. Theil Carlene Laughlin Ellen & Barry Levine Katherine & Bridger Mitchell Janet & Bill Nicholls Judith & Stuart Offer Mary & David Phillips Ellen & Mike Turbow Chris Wagner Wendy and Mason Willrich

$25,000 - $49,999 Quincy Bragg & Sarah Fitzgerald The Estate of Donald E. Casey The Estate of Philip J. Eisenberg Susan LeRoy & Michael Stewart Fred Matteson & Anne Davidson Barr Sondra & Milton Schlesinger Linda & Paul Swatek Donna M. Williams, Touring Circle

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PHILHARMONIA BAROQUE ORCHESTRA

CAMPAIGN for the 21st CENTURY DONORS

$2,500 - $4,999 Anonymous (2) Adam Bier & Rachel Lem Frank Adams & Susan Bryan Mary & Roger Ashley Nancy & Clayton Bavor Glyde Cooper Jacqueline Desoer Viola & Jerald Evans Edith Gladstone Susan & David Hodges Emily Kenyon & David Lipsky C.R. Gus Manning & Rena Kirkpatrick Rod McChesney Anne Oliver Heather Preston Susan LeRoy Stewart & Michael Stewart Robert Thompson, in honor of Ross Armstrong $1,000 - $2,499 Anonymous (1) Shirley Armitano Troy Barbee Barbara Barkovich Janet & Chris Bensick Marlene Bollhoffer Donald Buhman & Wray Humphrey Mary Belle Bulwinkle & Michael Dukes Barbara & Lawrence Cahn Annelle Clute Dr. & Mrs. Stanley Davis Jeanette & Peter Dunckel Mary & Jurgen Exner Julie & Jim Fulford Ms. Dorothy D. Gregor Roberta & James Hadley Joyce & Douglas Hamilton Ann & Roy G. Hammonds, Jr. Margaret Hegg Donna Heinle Ian Hinchliffe & Marjorie Shapiro Richard Holden & Mary Artist Marguerite & Marc Kaufman Nancy Hunt Kiesling Susan Klee & David Stolhoff Kathy & Bill Korbholz Carol Lokke Francis Lundy Kurt Mueller-Vollmer John Phillips & Susanne Hering Fritzi & Edgar Schoen Ross Smith

Martha Doerr Toppin Melanie & Ronald Wilensky Elinor & Bruce Wilner Sarah Young $1 - $999 Anonymous (1) Robert Alter & Carol Cosman Luz Argyriou Zachary Baker Johanna Baruch Marcia & Richard Baugh Christine A. Beckstrom Eric J. Keller & Janice E. Bohman Fraser Bonnell Norman Brand Ursula Braun Sandra Church Dr. & Mrs. Geoffrey Collins Jerold Cooper L. William Countryman Janet Dafoe & Ronald Davis Mr. & Mrs. Walter Davies Jean & Dexter Dawes James Dean Susan & Harry Dennis J.P. Richards Dillingham Kathleen Dugan & Greg Bell Elaine & Greg Dunlap David Favrot & Kathi Brown-Favrot Flora & Robert Feldman Lucy & Leroy Ferguson Susan K. Fisher Diane & Charles Frankel Ms. J.J. Fuerst Jeanne & Frederick Gabali Margaret Garms Betty Gerard Carol B. Glanville Patricia Granberg Lotus & John Grau Elizabeth Greenberg Nancy & Nicholas Haritatos Robert Hartman Arlene & David Holloway Nona Hungate Ms. Elizabeth O. Hutchins Sue Irvine Robert Jarman Andrea Julian Elizabeth Kaplan Adela & Joel Karliner Mindy Kershner Robert Kessler Stanley Klezmer Naphtali Knox

Phyllis Koch Elaine Fischer-Kohn & James Kohn Sharon & Byron Lambie Danine & James Langdell Susan Lea & Michael Lampton Helene Lecar David Lieberman & Carol Brownstein Claire & Herbert Lindenberger Angela Little Donald Lorents Thomas McElligott Richard McKee Margaret & Winton McKibben Robert Messick Barbara Morgan Mia & Robert Morrill Kathleen Much & Stanley Peters Marilyn & David Nasatir Kirstin Nichols Pat & Larry Pagendarm Kirk Patterson Roseanne & Ray Perman Lynn Pieron Maureen & Donald Querio Helen & Dan Quinn Carole & Talbot Richardson Pam & Jim Robson Michael Roeder June & Robert Safran Carol & Joseph Salais Valerie & Peter Samson George Sensabaugh, Jr. Allene Sieling Martha Smith Scott Sochar John Sommer Mr. Richard M. Stanley Carol & Noel Stevens Carol Takaki Claire Taylor Thomas Tellefsen & Myrna Walton Louis Weil Louise & Daniel Weiler Dr. David L. White & Martha Truett Gayle Wiesner Peter Winkelstein Mr. & Mrs. John Wooldridge Judith Yanover & Dr. Mark Yanover Gifts recognized above represent commitments to the Campaign for the 21st Century from August 1, 2010 through August 31, 2015.

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BUILDING PHILHARMONIA’S FUTURE LAURETTE GOLDBERG SOCIETY

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

Anonymous Ross Armstrong The Robert A. Birman Executive Director Chair Norman Bookstein & Gillian Kuehner Don Buhman Linda Brewer William Bush David Challinor

Kathleen & Martin Cohn Steven A. R. Edwards Kay Sprinkel Grace Margaret Hegg George Kovatch & Robert Wiskozil Norman T. Larson Clifford Leventhal William Lokke Barbara & Nigel Renton

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

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

The Estate of Mrs. A. P. Morse

The Estate of Marie Mendenhall Cleasby

The Estate of Shirley Sarvis

The Phillip M. Eisenberg Trust

The Estate of Carol Seitz

The Estate of Eva & James Goodwin

The Estate of Michael J. Weller

The Estate of Susan B. Levy

30 at 30

Join the Laurette Goldberg Society today AND USE THE PRESENT TO INVEST IN PHILHARMONIA’S FUTURE To honor Music Director Nicholas McGegan’s wonderful legacy and 30th anniversary, our goal is to add 30 new members to our distinguished planned giving circle, the Laurette Goldberg Society. Help us make the future as bright as the present by naming PBO in your estate plans.

For more information on leaving a legacy, or to be included in the Laurette Goldberg Society if you’ve already named Philharmonia in your estate plan, please contact Noelle R. Moss, Director of Development, at (415) 226-0995 or nmoss@philharmonia.org

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PHILHARMONIA BAROQUE ORCHESTRA

IN CONVERSATION …LEAVING A LEGACY MARGARET HEGG

Margaret Hegg has been a subscriber for over 20 years and her love for the Orchestra is evidence in her regular support of Philharmonia and through her membership in our planned giving circle, the Laurette Goldberg Society. A recent conversation with Margaret illuminated the source of her passion for classical music…and Philharmonia.

Q&A Q: Tell me a little about yourself and your connection to classical music.

Margaret: I credit my father with my learning

to love music. He loved classical and baroque and subscribed to the Pittsburgh Symphony.

Money was tight so our seats were way at the top of the second balcony of Syria Mosque, the symphony hall. Even though my father had a fear of heights, he would climb those steep stairs to our seats without fail to enjoy the concerts. On Saturday afternoons, after the morning’s chores were done, my father habitually played classical recordings and when he was listening to those, you didn’t dare try to talk to him, he was so immersed in the music. While I would say I didn’t really appreciate baroque and classical music when I was young, I was absorbing lots and those memories brought me to where I am today.

2. There is an intimacy to the experience because it’s a smaller group rather than a big orchestra.

Q: How did you discover Philharmonia?

Margaret: I don’t remember how I discovered

4. Often Nic chooses music I’ve never heard before so I am introduced to pieces new to me, as well as being able to enjoy old favorites.

Philharmonia it was so long ago. I just know I was hooked from the start. I love the acoustics at First Congregational Church in Berkeley and regularly sat on the right side in the front rows. Although everyone knows the acoustics are better if you are farther back, when I was seated there I could see the musicians’ faces, and Nic’s!! The joy on his face is such a pleasure to watch and such a treat.

Q: What do you feel sets the Philharmonia experience apart from other orchestras?

Margaret:

1. Every concert is a delight.

Margaret Hegg

3. I like the pre-concert talks!

Q: You’ve decided to include Philharmonia as a beneficiary of your estate. Why do you think it’s important to leave a legacy for Philharmonia?

Margaret: I have two children—and now three grandchildren. When my children were young I made a will and of course my kids topped the list as beneficiaries. But I wanted to do more, and decided to choose two organizations that made my life better, and I felt made the world a better place. Philharmonia was one of those two organizations.

►

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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 gratefully recognizes the following named chairs and donors to the endowment.

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

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

Clare Frieman Kivelson and Irene Valente Angstadt Memorial Principal Oboe Chair

Zheng Cao Memorial Cello Chair

Susan B. Levy Violin Chair

Osher Cello Chair Endowment*

THE PHILHARMONIA CHORALE ENDOWMENT FUND* Anonymous ENDOWMENT SUPPORTERS Susan & Paul Sugarman* Donna Williams* * Denotes endowed chairs or funds, or donors to the general endowment, with commitments between August 1, 2010 and August 31, 2015 through the Campaign for the 21st Century.

LIFETIME BENEFACTORS

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

Anonymous (2)

Kate & David Gross

Elizabeth Anderson Mayer

Ross Armstrong

Christine & Kenneth Hecht

Nicholas Baz

The Grace & Laurence Hoagland Fund

Chris McCrumb & Elizabeth Velarde

Kathleen & Martin Cohn Richard Colburn Marie Bertillion Collins & Leonard Collins Laura & Robert Cory Al Garren Mona Geller Mrs. Jonathan B. Gifford Joan & John Goddard, The Goddard Foundation Kay Sprinkel Grace

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Gladyne K. Mitchell

Marie & Palmer Hotz

Holbrook T. Mitchell

The Kivelstadt Family Trust

Mary Perry & Melanie Peña

David Low & Dominique Lahaussois

Sondra & Milton Schlesinger

Norman T. Larson Kit & Hayne Leland John B. Levy The Estate of Susan B. Levy, in honor of Fred Sondheimer Frederick Matteson & Anne Davidson Barr

PHILHARMONIA BAROQUE ORCHESTRA

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

IN CONVERSATION

WITH ELLEN & MIKE TURBOW Ellen and Mike Turbow are members of Philharmonia’s loyal and growing Peninsula audience and have been for many years. In light of their exceeding generous recent gift to the Campaign for the 21st Century and continued involved with the Orchestra, we recently sat down with Ellen to learn a bit about their background and passion for our organization.

Q&A

Q: Tell me a little about yourselves.

E&M: Mike is a retired oncologist, and I am a

retired attorney. Our son and daughter-in-law live in the East Bay with our two grandchildren, ages ten and seven. We were both raised in Los Angeles, but have lived in Palo Alto since 1972. Both of us are involved in several local non-profit organizations, as Board members and volunteers.

Q: When did classical music first come into your lives?

E&M: We both experienced classical music in our homes via LP recordings, but our first real concert experience was attending the Wednesday rehearsals of the San Francisco Symphony when we were Stanford undergraduates.

Q: How did you discover Philharmonia?

E&M: I can’t remember the details of our

decision to attend our first Philharmonia performance. I am very fond of Baroque music, and not having to travel to the City was a great incentive.

Q: What do you feel sets the Philharmonia experience apart from other orchestras?

E&M: What sets Philharmonia apart is the

obvious joy the musicians communicate in their music-making. Their camaraderie, their love of the music they play, and their respect and admiration for their conductor all combine to produce a most satisfying musical experience.

Mike and Ellen Turbow

Q: Tell me about Nic…what draws you to him as Music Director?

E&M: Nic’s exuberance is legendary, and

his enthusiasm is infectious. When he faces the audience to explain a piece of music or to indicate a program change or to apologize for something, one simply wants to give him a hug!

SHARE YOUR STORIES WITH US… If you’d like to tell us about your experiences with Philharmonia, please contact Noelle R. Moss at nmoss@philharmonia.org

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GIFTS TO THE ANNUAL FUND Philharmonia expresses its warmest thanks to those individuals, foundations, corporations and government agencies whose loyal support of the Annual Fund makes possible our extensive artistic and educational programs. Thank you for providing the Orchestra with the resources to bring its music to concert halls, classrooms and communities throughout the Bay Area and beyond. We are very grateful to the following donors whose gifts were received between August 1, 2014 and October 1, 2015.

CORPORATE, FOUNDATION & GOVERNMENT GRANTS

$5,000 - $9,999

$75,000 & Above

Fidelity Investments Charitable Gift Fund

Bloomberg Philanthropies

The Bob Ross Foundation

Grants for the Arts/San Francisco Hotel Tax Fund

Jewish Community Foundation of the East Bay

The William & Flora Hewlett Foundation

The Wells Fargo Foundation

The Wallis Foundation

Vanguard Charitable Endowment Program

$25,000 - $74,999

$2,500 - $4,999 Jewish Community Endowment Fund

Ann & Gordon Getty Foundation

Clarence E. Heller Charitable Foundation

Up to $2,500

MATCHING GIFTS AT&T Foundation Chevron Humankind Matching Gift Program Microsoft Matching Gift Program IBM Corporation

GIFTS IN KIND Norman Bookstein

Boisset Family Estates Classic Malts DLA Piper

Adobe Systems Incorporated

Ebby St. Pierre Graphic Design

The San Francisco Foundation

KDFC

E. Nakamichi Foundation

Silicon Valley Community Foundation

Panoramic Interests

National Endowment for the Arts

CORPORATE PARTNERS

The Bernard Osher Foundation $10,000 - $24,999 Bank of America Charitable Gift Fund

First Republic Bank

Goodby, Silverstein & Partners

Schwab Charitable Fund

Nancy Mims, Deliberate Whispers

Bailard, Inc.

RJ Muna

St. Regis Hotel

WineWise, Hiram Simon

Bell Investment Advisors

We gratefully acknowledge the support we receive from:

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PHILHARMONIA BAROQUE ORCHESTRA

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

Marie Bertillion Collins & Leonard Collins

Anonymous (1)

Olga Conrad

Ross E. Armstrong Gladyne K. Mitchell

Kay Sprinkel Grace The Gray Family

Betty & Jack Schafer Linda & Paul Swatek Robert Thompson Paul Wilson

The Waverley Fund

Brian M. Kincaid & Elizabeth C. Theil

$1,500 - $2,999

STRADIVARI ($25,000 - $49,999)

Martine Kraus

Kristin & Ari Baron

Dominique Lahaussois & David Low

William Lokke

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

Frederick Matteson & Anne Davidson Barr

Norman T. Larson Mark Perry & Melanie Peña Claudine Torfs

GUARNERI ($10,000 - $14,999) Bonnie & Jim Bell Nicolas Elsishans & Christopher Hayes Al Garren Mrs. Jonathan B. Gifford John & Joan Goddard, The Goddard Foundation The Grace & Laurance Hoagland Fund Marie & Palmer Hotz Eric Leve Elizabeth Anderson Mayer Nicholas McGegan & David Bowles Sondra & Milton Schlesinger

ARCANGELI ($5,500 - $9,999) Anonymous (2) Kathleen & Martin Cohn

Carlene Laughlin

Anonymous (2) Nancy & Clayton Bavor

The Marmor Foundation; Drs. Michael & Jane Marmor

David Morandi Kathryn & Donley Parmentier Leonilla & William Perry Jean Shuler Jade & Chris Simonson Susan LeRoy Stewart & Michael Stewart Paul & Susan Sugarman Family Philanthropic Fund Carol & Douglas Tanner The TL Trust

Joan & Don Beerline Phyllis & Andrew Berwick Adam Bier & Rachel Lem Donald Buhman & Wray Humphrey Richard Caplin, M.D. Kyra & Ken Carson Annelle Clute Corinne Derringer John Drago Jacqueline & Christian P. Erdman Fabian 1974 Irrevocable Trust Marta Falicov Lucy & Leroy Ferguson The Estate of James Goodwin

Donna Williams

Lynn Gotchall Ellen & Barry Levine

COGNOSCENTI ($3,000 - $5,499) Corey & Tim Benjamin Carol & Peter Berkenkotter Elizabeth, Kay & Mike Buckley Charlotte Gaylord & Barrie Cowan Christina & Kenneth Hecht Anne & Jeffrey Katz Richard & Paola Kulp

Janet & Joseph Grodin, in honor of Lisa Grodin Margaret Hegg Ian Hinchliffe & Marjorie Shapiro Marguerite & Marc Kaufman Margaret & Edmond Kavounas Emily Kenyon & David Lipsky Kathy & Bill Korbholz

James & Maxine Risley

Sheila & Michael Lagios

Howard Schachman, in memory of Ethel L. Schachman

Adair & William Langston

Charlotte & Larry Langdon

PHILHARMONIA BAROQUE ORCHESTRA

51

WITH GRATITUDE Kit & Hayne Leland

Jacqueline & Allen Bertillion

Beverly & Fritz Maytag

Angela Little

Marlene Bollhoffer

Rod McChesney

Susie & Peter Lynn

Gillian Kuehner & Norman Bookstein

Willinda & Peter McCrea

Joan & Roger Mann C.R. Gus Manning & Rena Kirkpatrick

Ann & Winslow Briggs Barbara & Lawrence Cahn

Josephine Maxon

Lynne Carr

Barbara Morgan

Dr. Bruce & Susan Carter, in honor of Paul & Susan Sugarman

Tom Lee & Ida Jean Newton Phillip Phythian & Ann Hardam Commissioner Dennis Richards & Andrew Connors Maxine Rosston Louise Adler Sampson Adrienne & Theodore Savetnick Barbara & Reed Schmidt Burnie Sparks Sylvia J. Spengler, in memory of Alan J. Bearden Christopher Wagner and Michael Mele Dr. David L. White & Martha Truett Mr. Theodore Weber, Jr. Wendy & Mason Willrich Elinor & Bruce Wilner Jane & Warren Zuckert

CAMERATA ($650 - $1,499) Anonymous (2)

Elizabeth & Park Chamberlain Michael Colbruno Edward Conger Glyde Cooper Charles Crane The Ruth Crosby Fund Jayne & Peter Davis Patricia Eastwood Viola & Jerald Evans Mary & Jurgen Exner Shirley & William George Joyce & Douglas Hamilton Nancy & Nicholas Haritatos Robert Hartman Nancy & Richard Heath Nina Hemenway & Chesley Herbert Susan & David Hodges Susan & Ernst Hoyer Robert Jarman

Herbert Abrams

Chrystal & James Kafka

Robert & Elaine Allen Family Foundation

Maureen & David Kennedy Barbara Koepsell

R. Tyler Andersen & Diane Green

Robert Larson

Mary & Roger Ashley Barbara Barkovich Darla & Richard Bastoni Mrs. Mary Baxter

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Maribelle & Stephen Leavitt Claire & Herbert Lindenberger Harvey Lynch Joan Mansour

PHILHARMONIA BAROQUE ORCHESTRA

Lisa & Theo Melas-Kyriazi Barbara & Thomas Metcalf Neanna & Allan Miles M.A. Miller Evan Moore Betty & Gordon Moore Rebecca Moyle & Tyler Lange Janet & Bill Nicholls Brenda & James Nirenstein Judith & Stuart Offer Anne Oliver Peter Pastreich & Jamie Whittington Stephen Pegors & Trista Berkovitz William Quackenbush Barbara & Nigel Renton Angèle & Michael Rice Catherine & Raymond Roberts Michael Sack Julie & Preston Sargent Linda & William Schieber Fritzi & Edgar Schoen Sara & John Schram Susanna & Dave Singer Steve John & Jason Snyder Scott Sochar Gayle & George Staehle Jonathan Stebbins & Jessica Donovan David Stein & Bill Stewart Sarah & Stephen Taber Barbara & Gregory Tanaka Claire Taylor Ellen & Mike Turbow

WITH GRATITUDE Melanie & Ronald Wilensky

Mary Ellen Fine

Martha & Arthur Luehrmann

Cathe & Gavin Wrigh

Jennifer Finger

Francis Lundy

Jessena Finn

Stanley Mantell

Cami & Ed Forhan

Sally Marshall

Lynette Francis

Kathleen McGreevy

Perry Fry

Margaret McKinnon

Julie & Jim Fulford

Steven Menzel

Jeanne & Frederick Gabali

Helen & John Meyer

Jici Gao

Mr. William Miranda

Margaret Garms

Julius Moshinsky & Suzanne Renne

$350 - $649 Anonymous (2) Frank Adams & Susan Bryan John Anderson Shirley Armitano Mary Austin Carol Baird & Alan Harper Troy Barbee Janice & William Belmont Janet & Chris Bensick Christel Bieri Robin L. Brasso Prudence & Henry Breitrose Connie & John Buchanan Mary Belle Bulwinkle & Michael Dukes Dorothy & William Clemens, in memory of Ed White Patricia Clemo & Robert Cooley Sheri & George Clyde Patricia & Peter Coffin Carol J. Cohen Michael Condie Margaret Conkey Robert Cook & Blanca Haendler Jane Coulter Don Cuffel & Dennis Crawford Homer Dalbey Diane de Forest Susan & Harry Dennis Jacqueline Desoer J.P. Richards Dillingham Jeanette & Peter Dunckel Steven A.R. Edwards Sue Emmons

Beatrice & Paul Gomory Raymond Graf & Ann KenfieldGraf

Alice Nadler Jeanne Newman

Bernice Greene

Karen Nicholls

Mrs. Robert M. Greenhood

Victor Ninov

Andrew Griffin

Anders Norlin

Ann & R. Glenn Hammonds

Joan Norton, in memory of William Forkin

Carol Handelman

Grace M. Parr

John Harbaugh Georgia Heid & Mary Belle O’Brien

Kirk Patterson Terry Lynne Pedersen

Marcia & Howard Herman

Roseanne & Ray Perman

Nona Hungate

Sandra & George Petty

Sue Irvine

Naomi & David Pockell

Leila & David Javitch

Linda & Nelson Polsby

Julie & Patrick Kennedy

Rick Potter

Nancy Hunt Kiesling

Helen & Dan Quinn

Dr. & Mrs. Kiraly

Joan & Marty Ragno

Susan Klee & David Stoloff

Anne Paxton Rains

Iris & Hal Korol

Catherine & Raymond Roberts

Barbara Kosnar & Tom Goldman

Nancy Chappell Roberts

Sharon & Ron Krauss Richard & Alice Kulka Laura Leff

Kenneth Robin Donald Sanford Paul J. Schmidt

Carol Lokke

Kathy Canfield Shepard & John Shepard

Carol & Hal Louchheim

Dr. Dolores Shoback

Carolyn & David Lougee

Neal Shorstein

PHILHARMONIA BAROQUE ORCHESTRA

53

WITH GRATITUDE Allene Sieling

Thomas Tellefsen & Myrna Walton

Laurie Sizemore

Lava Thomas & Peter Danzig

John Sommer

Alan & Ruth Tobey, Tobey Fund

Linda & Fred Sondheimer

Noriko Tojo

Mr. Richard M. Stanley

Martha Doerr Toppin

Ms. Francoise Stone

Megan Johnson & Dy Tran

Susan & Michael Schwartz Alison JF Teeman & G. Michael Yovino-Young

Gayle & James Tunnell

Loekie & Johan Van Proosdij Maura FitzGerald & Tom Walsh Judy & Bill Botsford Warren Ann & Thomas Watrous Mary Wilson Kelly Woodward John Zimmermann & Diana Graham

Elizabeth & Norman van Patten

VOLUNTEER OPPORTUNITIES

BECOME A GUEST ARTIST HOST Do You….. …ever think about volunteering with Philharmonia Baroque Orchestra? ….want to make a significant contribution to our organization? …wish to connect personally with world-renowned guest artists and out-of-town orchestra members, perhaps over a home-cooked meal or coffee in the morning? …live in the east bay and have a spare bedroom?

Then you might make a wonderful

Guest Artist Host!

During each concert set, we ask local PBO supporters to graciously open their homes for a few days to host our visiting musicians who will share the stage with our Orchestra. This unique opportunity offers a chance to both connect with our visiting musicians in a personal way and positively impact our bottom line.

If you’d like to open your home and host our guest artists during the 2015/2016 season, please contact Myles K. Glancy at mglancy@philharmonia.org.

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PHILHARMONIA BAROQUE ORCHESTRA

WineWise is proud to raise a glass in honor of Nicholas McGegan’s 30th Anniversary & is delighted to serve as Philharmonia’s Official Wine Sponsor for the 2015-16 season

Nicholas McGegan 30th Anniversary Gala & Baroque Fireworks Concert with Susan Graham Thursday, February 11, 2016 5pm – midnight City Hall, 1 Carlton B. Goodlett Place San Francisco, CA Join us as Philharmonia honors Nic at the incomparable City Hall with a special gala dinner complete with a silent and live auction with one-of-a-kind items. After dinner, a special showcase concert featuring internationally-renowned mezzo-soprano Susan Graham will be held at Herbst Theatre. An exuberant Afterparty with a scotch tasting and dessert reception back at City Hall will follow the performance.

All funds raised support the continued success of the orchestra’s artistic and education programs.

To purchase tickets or for more information, please visit www.philharmonia.org/support-us/annual-gala or contact Sally Galler at sgaller@philharmonia.org or (415) 252-1288 x307

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PHILHARMONIA BAROQUE ORCHESTRA

PHILHARMONIA’S COMMITMENT TO EDUCATION Philharmonia is deeply committed to educating the next generation of musicians as well as youth and adults in the historical performance and practice. There are programs for everyone.

ARTIST TRAINING

FOR PRE-PROFESSIONAL STUDENTS • Juilliard415: PBO performs side-by-side with members of Juilliard’s principal period instrument ensemble.

• Masterclasses: PBO’s guest artists publicly coach San Francisco Conservatory of Music students on solo repertoire.

• PBO Performance Opportunity: San Francisco Conservatory of Music students perform with PBO for its Family Concert.

FOR ENSEMBLES IN SCHOOLS AND IN THE COMMUNITY • Mobile Mentors: Philharmonia coaches work with local school music ensembles on their repertoire.

• Community Chamber Music Workshop: Community chamber groups receive coachings and perform a mini-concert with PBO musicians.

CONCERT ACCESS

• Student Access Initiative: Free subscription concert tickets for participating students, parents, and teachers.

• Concert Access Partnership: Complimentary concert tickets for charitable organizations.

PBO IN THE COMMUNITY FOR STUDENTS & SCHOOLS

• Student Concerts: Performances with a multimedia visual component for students in grades 5 and up.

• In-School Programs: Small ensembles from the Orchestra give interactive performances in schools.

FOR ADULTS • Pre-concert Talks: Explore Philharmonia’s concert repertoire with musicologists and musicians.

• Lecture Demonstration Series: In adult living communities.

FOR FAMILIES • Family Concert: A concert for all ages with a side-by-side performance and an opportunity to meet musicians.

FOR ALL • Time Travel Through Music DVD: A lively exploration of period music with Nicholas McGegan and PBO.

PHILHARMONIA BAROQUE ORCHESTRA

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Baroque Fireworks with Susan Graham February 11, 2016 @ 8 pm Herbst Theatre, SF HANDEL Arias from Ariodante and Xerxes Water Music in D major Music for the Royal Fireworks Fireworks explode when Susan Graham joins Philharmonia for a celebration of Handel’s most beloved music in celebration of music director Nicholas McGegan’s 30th Anniversary with the orchestra.

SINGLE TICKETS NOW ON SALE! Call (415) 382-4400 or order online at philharmonia.org

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ENSEMBLE ALCATRAZ

Songs from medieval Iberia, including the seven Cantigas de Amigo of Martin Codax, selections from the Cantigas de Santa Maria of Alfonso X (El Sabio), inspired instrumental elaborations and more.

LES VIOLETTES

Moms rule! A concert highlighting aspects of motherhood in Baroque music. Works by Heinrich Biber, Henry Purcell and Jacob van Eyck, and featuring the secular cantate françoise “Médée” by Louis-Nicolas Clérambault.

THE FANTASTIC FIVE FLUTES

Performing rarely heard Boismortier compositions for five solo baroque flutes, as well as the popular London Trios by Joseph Haydn written in 1794. Featuring the flute section of Philharmonia: Janet See, Mindy Rosenfeld and Stephen Schultz.

Rhythmix Cultural Works  2513 Blanding Avenue, Alameda  (510) 865-5060 WWW.RHYTHMIX.ORG

BRAVO! DLA Piper proudly supports Philharmonia Baroque Orchestra and congratulates Nic McGegan on his 30th anniversary.

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

Join us on Tour!

And experience PBO on the road! See how audiences react to Nic and our musicians in other cities and extraordinary venues. Over the years, many patrons have joined us near and far and we encourage you to come along. Longtime friend and board member Marie Collins says, “There’s nothing like hearing the orchestra perform in other places.

You’ll experience incredible music and make new friends. I hosted a post-concert reception in New York last August and I met people I am still in touch with today.”

Call Noelle Moss at (415) 252-1288 x 314 or nmoss@philharmonia.org if you would like to join us on tour.

SUNDAY, DECEMBER 20, 2015 Weill Hall, Rohnert Park CA HANDEL Messiah

TUESDAY, MAY 10, 2016 Segerstrom Hall, Costa Mesa CA SCARLATTI Glory of Spring

Nicholas McGegan, conductor Amanda Forsythe, soprano Meg Bragle, mezzo-soprano Isaiah Bell, tenor Philip Cutlip, baritone Philharmonia Chorale, Bruce Lamott, director

Nicholas McGegan, conductor

WEDNESDAY, MAY 11, 2016 Walt Disney Concert Hall, Los Angeles CA HANDEL, VIVALDI, CORELLI & More Nicholas McGegan, conductor Anne Sofie von Otter, mezzo-soprano Andreas Scholl, countertenor

FRIDAY, FEBRUARY 12, 2016 Mondavi Center, Davis CA HANDEL program Nicholas McGegan, conductor Susan Graham, mezzo-soprano

SATURDAY, MAY 14, 2016 Weill Hall, Rohnert Park CA HANDEL, VIVALDI, CORELLI & More

SUNDAY, FEBRUARY 14, 2016 Weill Hall, Rohnert Park CA HANDEL program

Nicholas McGegan, conductor Anne Sofie von Otter, mezzo-soprano Andreas Scholl, countertenor

Nicholas McGegan, conductor Susan Graham, mezzo-soprano

TUESDAY, MAY 17, 2016 Club musical de Québec, Québec City Canada HANDEL, VIVALDI, CORELLI & More

TUESDAY, FEBRUARY 16, 2016 Krannert Center, Urbana IL HANDEL program Nicholas McGegan, conductor Susan Graham, mezzo-soprano

FRIDAY, MAY 6, 2016 Carnegie Hall, NY SCARLATTI Glory of Spring Nicholas McGegan, conductor

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PHILHARMONIA BAROQUE ORCHESTRA

Nicholas McGegan, conductor Anne Sofie von Otter, mezzo-soprano Andreas Scholl, countertenor

WEDNESDAY, MAY 18, 2016 Montreal Arte Musica, Montreal Canada HANDEL, VIVALDI, CORELLI & More Nicholas McGegan, conductor Anne Sofie von Otter, mezzo-soprano Andreas Scholl, countertenor

M A R I N BA ROQU E Daniel Canosa, Music Director

November 21, 2015 8:00 PM “And all in Friendly Consort Meet...”

Celebratory Music for the Utrecht Peace Treaties - 1713

By George Frideric Handel Ode for the Birthday of Queen Anne, HWV 74 Jubilate, HWV 279

brownpapertickets.com or 415.497.6634 First Presbyterian Church, San Anselmo marinbaroque@gmail.com marinbaroque.org

Bach’s Christmas Oratorio in St. Ignatius Church December 12 2015 at 7:30 p.m.

Handel’s Messiah in Grace Cathedral December 16 –18 at 7:30 p.m.

americanbach.org (415) 621-7900

HISTORICAL PERFORMANCE SERIES

BAROQUE ENSEMBLE

Corey Jamason and Elisabeth Reed directors

A Vivaldi Celebration

Handel’s Transformations

Purcell The Fairy Queen (concert version) March 12 and 13

Baroque Ensemble Concerto Competition Winners April 17

November 15 Concerti for violin, strings and orchestra including La caccia, Il favorito and Il madrigalesco

April 7 A concert of works that Handel recycled or borrowed when creating later masterpieces

FACULTY RECITAL Music of J.S. Bach, Biber and Corelli April 1 Corey Jamason harpsichord Elizabeth Blumenstock baroque violin with Margaret Faultless baroque violin

All performances free. Reservations required. | sfcm.edu/performances | 50 Oak Street, San Francisco |

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