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Six concerts, Sundays at 2pm

OCT 23 Music by Rimsky-Korsakov, Tsintsadze, and Shostakovich

MAR 19 Music by Schubert, Prokofiev, and Brahms

JAN 29 Music by Schumann, Mahler, and Beethoven

APR 30 Music by Martinů, Britten, and Dvořák

FEB 19 Music by Ravel, Gaubert, and Brahms

MAY 28 Music by Barber, Harrison, Goosens, and Poulenc


Inaugural Partner


Official Airline

415-864-6000 Concerts at Davies Symphony Hall unless otherwise noted. 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 and Franklin


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Third biennial edition

October 20–24, 2016

A cutting-edge initiative dedicated to the art of classical music criticism, the Stephen and Cynthia Rubin Institute for Music Criticism brings together distinguished music journalists, renowned musicians, and aspiring young writers, combining the wisdom and insight of today’s highly esteemed critics, the artistry and daring of acclaimed musicians, and the energy and promise of tomorrow’s music journalists.

2016 Rubin Institute Highlights PERFORMANCES



Alex Ross, New Yorker Anne Midgette, Washington Post Heidi Waleson, Wall Street Journal John Rockwell, writer and arts critic Joshua Kosman, San Francisco Chronicle Tim Page, professor, University of Southern California Stephen Rubin, Rubin Institute benefactor, president and publisher of Henry Holt & Co.

San Francisco Symphony San Francisco Opera Philharmonia Baroque Orchestra International Contemporary Ensemble UC Berkeley The Juilliard School Oberlin Conservatory of Music Yale School of Music San Francisco Conservatory of Music

$11,000 in total cash prizes to the student demonstrating outstanding promise in music criticism and to an audience member who submits the best review of a concert performed during the Institute. The Rubin Institute for Music Criticism, the Rubin Prize in Music Criticism, and the Everyone’s a Critic Audience Review Prize are made possible by the generosity of Stephen Rubin, president and publisher of Henry Holt & Co.

Visit for details and the full calendar of events.


WHAT’S INSIDE Message from the Board President


Board of Directors and Staff


About the Music Director


About the Orchestra


About the Chorale


Farewell, Courtney


Meet the Lamberts



ALL BEETHOVEN Pre-concert Talk Preview


All Beethoven Program


About Robert Levin


The Players and Their Instruments


All Beethoven Program Notes


PBO On Tour



VIVALDI & BACH Pre-concert Talk Preview


Vivaldi & Bach Program


About Rachel Podger


The Players and Their Instruments


Vivaldi & Bach Program Notes



Donor Acknowledgements 42 In Conversation with Martin Cohn


In Conversation with Barbara Tanaka


Gifts to the Annual Fund



PBO’s 2016-17 Education Outlook 55

Cover image of Nic McGegan by Suzanne Karp





ast February during our gala at San Francisco’s City Hall, Nicholas McGegan and Susan Graham performed a concert of celebratory works by Handel at a concert in a very warm Herbst Theatre. After her first number, Graham removed her jacket and returned to the stage, remarking, “It’s only going to get better.” She was rapturously received for her remaining solos. “It’s only going to get better” could be Philharmonia’s new motto. After an absolutely thrilling anniversary season last year, we are looking forward to bringing you another exciting series in 2016-17, beginning with these concerts in October and November. While we don’t actually have a new motto, we do have a new name. Some of you will remember that when we gave our first concerts in 1981-82, the orchestra was called “Philharmonia Baroque Orchestra of the West.” After a few years, the name was shortened to “Philharmonia Baroque Orchestra.” Just over twenty years ago we formed our own professional chorale to perform with the orchestra, and we began to operate as “Philharmonia Baroque Orchestra & Chorale.” We have now taken steps to make this name change official on all our printed material and other communications. Soon you will see our new name, “Philharmonia Baroque Orchestra & Chorale,” on everything you receive from us. We are proud of our chorale and are happy to recognize them, along with with our wonderful orchestra. Please join me in congratulating our chorale and thanking them for the contributions they make to each of our seasons. We are delighted, this year, to have Robert Levin return to play Beethoven’s third concerto for fortepiano with us. This is the only one of Beethoven’s concertos Philharmonia has not previously performed. With these performances we will have completed the presentation of all of Beethoven’s symphonies and concertos. Nic


and the Orchestra will finish the concerts with the lovely “Pastoral” sixth symphony. In November, we are looking forward to the return of virtuoso violinist Rachel Podger who will lead the orchestra and soloists in a program of works by two of the Baroque era’s most popular composers, Vivaldi and Bach, along with pieces by some of their contemporaries. We look forward to the opportunity to showcase the talents of our musicians in these concerts. There will be further events to look forward to as the season unfolds, including our first ever performance of Handel’s heroic oratorio Joshua in December. The season concludes with a collaboration with Cal Performances presenting a fully-staged performance of Rameau’s opera, Le Temple de la Gloire. This will be the first time this work has been performed in its original version, long thought to have been lost, since 1745. We are fortunate that a single surviving copy was discovered in the Hargrove Music Library at UC Berkeley, allowing us to present this important work, with music by Rameau and a text by Voltaire, in its original form. As we begin our season, we are sorry to announce the departure of our Executive Director, Courtney Beck. Courtney has worked with Philharmonia for many years, serving as our Executive Director during this past anniversary season. She has done a phenomenal job, and all of us are grateful for her contributions. We were fortunate this summer to have selected Parker Monroe to serve as our Interim Executive Director. Parker has been a part of the Bay Area music scene for many years, and we are very pleased that he has agreed to work with us at Philharmonia. Please join me in thanking Courtney and in welcoming Parker to Philharmonia.

Ross Armstrong, President




Officers Ross Armstrong, President Kay Sprinkel Grace, Vice President David Low, Vice President Mark Perry, 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 Parker Monroe, 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 Christopher Mele-Wagner Sondra Schlesinger Jason Snyder Paul Sugarman Douglas Tanner

Administrative Parker Monroe, Interim Executive Director David Challinor, Subscription & Patron Services Manager Myles K. Glancy, Director of Concert Production Lisa Grodin, Director of Education Noelle R. Moss, Director of Development Jeff Phillips, Artistic Administrator Dianne Provenzano, Director of Marketing & Public Relations Arturo Rodriguez, Patron Services and Education Coordinator Heli Roiha, Bookkeeper William Skeen, Orchestra Librarian Paul Swatek, Director of Finance

*Emeritus Past Board Presidents Paul Sugarman (2008-2012) Martin Cohn (2005-2008) Nancy Kivelson (2002-2005) Fred Matteson (2000-2002) Christine Pallatto (1999-2000) Sherry Bartolucci (1997-1999) Grace Hoagland (1995-1997) Richard D. Maltzman (1993-1995) Dexter B. Dawes (1991-1993) Ann W. Vander Ende (1989-1991) Marie Bertillion Collins (1988-1989) Henry Mayer (1984-1988) Peter Strykers, MD (1982-1984)

Concert Production David v.R. Bowles (Swineshead Productions), Audio Engineer Paolo Brooks, Stage Manager E. J. Chavez, Stage Equipment Coordinator Gabrielle Lochard, House Manager Thomas Malone, Keyboard Technician Phaedra Strecher, Program Book Designer Frank Wing, Concert Photographer Tom Winter, Fortepiano Technician

CONTACT US Philharmonia Baroque Orchestra & Chorale 414 Mason Street, Suite 606 San Francisco, CA 94102 (415) 252-1288



Nicholas McGegan Waverley Fund Music Director


s he embarks on his fourth decade on the podium, Nicholas McGegan — long hailed as “one of the finest baroque conductors of his generation” (The Independent) and “an expert in 18th-century style” (The New Yorker) — is recognized for his probing and revelatory explorations of music of all periods. Last season marked his 30th year as music director of Philharmonia Baroque Orchestra & Chorale and he is also Principal Guest Conductor of the Pasadena Symphony. Best known as a baroque and classical specialist, McGegan’s approach — intelligent, infused with joy and never dogmatic — has led to appearances with many of the world’s major orchestras. At home in opera houses, McGegan shone new light on close to twenty Handel operas as the Artistic Director and conductor at the Göttingen Handel Festival for 20 years (1991-2001) and the Mozart canon as Principal Guest Conductor at Scottish Opera in the 1990s.

His 16/17 appearances include the Los Angeles Philharmonic (his 20th anniversary at the Hollywood Bowl); two programs with Pasadena Symphony; Baltimore, St. Louis, and Toronto Symphonies; Calgary Philharmonic; Handel and Haydn Society; Aspen Music Festival; and the Cleveland Orchestra/Blossom Music Festival. Highlights of Philharmonia Baroque Orchestra & Chorale’s season under McGegan include a fully-staged production of Rameau’s Le Temple de la Gloire, Handel’s oratorio Joshua, and programs with guest soloists Robert Levin (fortepiano) and Isabelle Faust (violin). In addition, McGegan and PBO revive Scarlatti’s La Gloria di Primavera at Tanglewood and appear at Yale’s Norfolk Chamber Music Festival. This fall at Harvard, McGegan will


serve a residency as the Christoph Wolff Distinguished Visiting Scholar. He also conducts the all-Mozart semi-final round of the 2017 Van Cliburn Piano Competition. Overseas, McGegan appears with Cappella Savaria at the Esterhazay Palace in Fertod, Bournemouth Symphony Orchestra, Scottish Chamber Orchestra, and the Royal Northern Sinfonia. McGegan’s prodigious discography features nine releases on Philharmonia Baroque’s label, Philharmonia Baroque Productions (PBP) including the 2011 GRAMMY® Awardnominated recording of Haydn Symphonies nos. 88, 101, and 104. Their latest release features the first-ever recording of the newly rediscovered 300-year-old work La Gloria di Primavera by Alessandro Scarlatti, recorded live at the U.S. premiere. McGegan has also recorded extensively with Capella Savaria, most recently releasing albums of Haydn and Joseph Martin Kraus. English-born Nicholas McGegan was educated at Cambridge and Oxford. He was made an Officer of the Most Excellent Order of the British Empire (OBE) “for services to music overseas.” Most recently, McGegan was invited to join the board of Early Music America. Other awards include the Halle Handel Prize; the Order of Merit of the State of Lower Saxony (Germany); the Medal of Honour of the City of Göttingen, and a declaration of Nicholas McGegan Day, by the Mayor of San Francisco in recognition of his work with Philharmonia Baroque. In 2013, the San Francisco Conservatory of Music awarded him an honorary degree of Doctor of Music. Visit Nicholas McGegan on the web at


“McGegan, a consummate master of the style, led a performance that was at once tender and vivacious, brisk and rhythmically free.” — San Francisco Chronicle

Photo by RJ Muna





nder the musical direction of Nicholas McGegan for 30 years, Philharmonia Baroque Orchestra & Chorale (PBO) is recognized as America’s leading historicallyinformed ensemble. Using authentic instruments and stylistic conventions of the Baroque to early-Romantic periods, the Orchestra engages audiences through performance, tours, recordings, commissions, and education of the highest standard. Founded in the Bay Area 35 years ago, the ensemble is the largest of its kind in the United States. PBO’s musicians are among the best in the country and serve on the faculties of Juilliard and Harvard, among others. The Orchestra performs an annual subscription season in four venues throughout the Bay Area and has its own professional chorus, the Philharmonia Chorale. It welcomes eminent guest artists such as mezzo-soprano Susan Graham, countertenor David Daniels, mezzo-soprano Anne-Sofie von Otter, fortepianist Emanuel Ax, and maestro Richard Egarr. The Orchestra enjoys numerous collaborations, including a regular partnership with the Mark Morris Dance Group, and appears regularly at Carnegie Hall, Lincoln Center, Walt Disney Concert Hall, Tanglewood, Weill Hall at the Green Music Center, and Bing Concert Hall at Stanford University. Among the most recorded orchestras in the world, PBO boasts a discography of 40 recordings and launched its own label on which it has released nine recordings, including a coveted archival performance of mezzo-soprano Lorraine Hunt Lieberson singing Berlioz’s Les nuits d’ete, and received a GRAMMY® nomination for a recording of Haydn


symphonies. The Orchestra just released its modern North American premiere of Alessandro Scarlatti’s La Gloria di Primavera to coincide with its May 2016 tour. PBO commissioned its first work, a one-act opera, To Hell and Back, by acclaimed composer Jake Heggie, in 2002. A second commissioned work, Red, Red Rose by Pulitzer Prize-winning composer Caroline Shaw, had its world premiere at Walt Disney Concert Hall in May 2016. In 2014, the Orchestra launched a new alternative concert series – SESSIONS – aimed at new audiences that has become a regular sell-out in the Bay Area and will now become part of PBO’s touring schedule. Philharmonia’s upcoming 2016-17 season includes a range of programs that showcase the Orchestra’s versatility, including the debut of international star violinist Isabelle Faust; the return of renowned keyboardist Robert Levin and violinist Rachel Podger; Handel’s epic masterpiece, Joshua; and PBO’s first-ever fullystaged opera, Rameau’s The Temple of Glory, in collaboration with Cal Performances, Centre de musique baroque de Versailles and the New York Baroque Dance Company. The Orchestra can also be heard regularly on the Bay Area’s Classical KDFC. PBO maintains a suite of highly-regarded education programs, including its In-School Programs and Student Concerts. These are complemented by the well-received Mobile Mentors program that focuses on ensemble coaching, and Master Classes at universities, and our new partnership with the Juilliard School focused on training emerging talent. Nearly 4,000 children and adults each year benefit from PBO’s education programs.




hilharmonia Chorale has always been an integral part of the organization since 1995 and is now recognized in our new name – Philharmonia Baroque Orchestra & Chorale. This welcome change will be seen throughout the season and into the future. Bruce Lamott has been director of the Philharmonia Chorale since 1997 and also serves as Philharmonia’s Scholar-in-Residence. He first performed with the Orchestra in 1989 as continuo harpsichordist for Handel’s Giustino. In his 30-year tenure with the Carmel Bach Festival, he served as a harpsichordist, lecturer, choral director, and conductor of the Mission Candlelight Concerts. As the founding director of the Sacramento Symphony Chorus, he conducted annual choral concerts of major symphonic choral works and prepared the Symphony Chorus for their subscription season. Lamott received a bachelor’s degree from Lewis and Clark College, and an M.A. and Ph.D. in musicology from Stanford. His teaching career began on the musicology faculty at UC Davis, where he directed the Early Music Ensemble. He recently retired San Francisco University High School, where he has directed the choir and orchestra and taught Western Civilization for 36 years. As a professor of music history at the San Francisco Conservatory of Music since 2001, Dr. Lamott specializes in the vocal and instrumental repertoire of the 18th century. He teaches continuo-playing for the coach-accompanists in the San Francisco Opera’s Merola Opera Program and lectures for the Opera and Opera Guild’s

education programs. Critically acclaimed for its brilliant sound, robust energy and sensitive delivery of the text, the Philharmonia Chorale was formed to provide a vocal complement whose fluency in the stylistic language of the Baroque period matched Bruce Lamont that of Philharmonia Baroque Orchestra. Founded in 1991 by John Butt, a Baroque keyboardist and one of the world’s leading Bach scholars, the 24 members of the Chorale are professional singers with distinguished solo and ensemble experience. Chorale members appear regularly with organizations such as the San Francisco Symphony, Carmel Bach Festival, and American Bach Soloists, and are guest soloists with most of the area’s symphonic and choral organizations. They appear in roles with regional opera companies and have been members and founders of some of the country’s premiere vocal ensembles, including Chanticleer, the Dale Warland Singers, and Theatre of Voices. In its first decade, the Chorale’s repertoire included nine Handel oratorios, Bach’s St. John Passion and Christmas Oratorio, and Mozart’s C Minor Mass. The Chorale has appeared with Philharmonia Baroque Orchestra at Walt Disney Concert Hall in Los Angeles, at New York City’s Lincoln Center, and at Segerstrom Concert Hall in Orange Country. The Chorale appears on the Orchestra’s recordings of Arne’s Alfred, Scarlatti’s Cecilian Vespers, and Beethoven’s Symphony No. 9.

Photo by Frank Wing



2016/2017 SEASON

UP NEXT… HANDEL’S JOSHUA With Thomas Cooley as Joshua December 1-4 HANDEL Joshua

HAYDN & MOZART With Isabelle Faust

January 25-29 GYROWETZ Symphony Op. 6, No. 3 MOZART Violin Concerto No. 5 “Turkish” HAYDN Symphony No. 91

OPERATIC HEROES With Iestyn Davies and Jonathan Cohen

March 1-5 HANDEL Arias from Saul and Theodora HASSE Works from Didone Abbandonata ZELENKA Simphonie à 8 Concertanti in A minor ARNE “Vengeance, O come inspire me!” from Alfred CPE Bach: Symphony in E major GLUCK Arias and dances from Telemaco and Orfeo



EXECUTIVE DIRECTOR COURTNEY BECK SAYS GOODBYE TO PBO Dear Friends, It is with a heavy heart that I share my news. After ten years at Philharmonia Baroque Orchestra & Chorale, I have decided to leave this beloved organization. It is impossible to express how difficult it was to arrive at this decision, especially following a year of huge successes and a decade of unstoppable growth. Each of you has played a tremendous role in PBO’s success, and I can hardly begin to express my gratitude. Over the past decade, I have served as Director of Development and Campaign, Associate Executive Director and Executive Director. It has been a long and wonderful run. The unprecedented 15/16 season was a triumph for Philharmonia − producing subscription concerts that increasingly delighted our patrons and increasing subscription sales by 17%; overhauling the website and program books; producing a 30th anniversary Gala at City Hall, two major tours, a new commission, and a commemorative book. In my time at PBO, I launched and completed two major capital campaigns, and this year brought to critical completion the Campaign for the 21st Century, an $8 million effort that forever changed our business model and demonstrated that investment in artistic innovation is imperative. Your belief in PBO made these big dreams a reality. PBO is now operating within the framework of a five-year artistic and financial plan, touring and recording regularly, expanding its national and international footprint, and commissioning new works regularly. And our name − no longer a best kept secret − is synonymous with artistic excellence. I am very proud to have recruited so many of our board members and to witness

the success of our alternative concert series, SESSIONS. It’s been a busy ten years. I have been incredibly fortunate to work with such exceptional board presidents, hardworking board and staff members, musicians who love what they do, and supporters who would do anything to ensure that Philharmonia will be around for many years to come. PBO has truly arrived, and I can only hope that I am leaving the organization in a better place. The work has never been easy, but the rewards have been many. The best part of my job has been getting to know all of you. PBO has been my family for ten years and will continue to be my family as I sit in the concert hall and enjoy all that Nic, Bruce, the Orchestra and Chorale bring to each and every performance − pure joy. I am delighted that my friend and colleague Parker Monroe will join Philharmonia as its Interim Executive Director. Parker served as Executive Director of the New Century Chamber Orchestra for 18 years, and we are pleased to have him join the team during this transition. As for me, I have accepted a new position at KDFC where I will continue to be surrounded by classical music. I plan to remain deeply involved with Philharmonia for many years to come and will look forward to being a part of its very bright future. I am humbled and honored to have worked with such an extraordinary ensemble and to have met such kind, generous, and passionate supporters. Thank you for the gift of getting to know all of you. In friendship and with heartfelt gratitude,

Courtney Beck




The Lamberts continue a musical family tradition


lisabeth and Kevin Lambert both grew up in families where music was emphasized. Elisabeth studied the piano and the flute, and Kevin learned to play the piano and the trumpet. Kevin’s mother taught piano lessons in Pleasanton for thirty years, and Elisabeth and her sisters had a quartet growing up and would play together at weddings and funerals. So it’s safe to say, the Lamberts have a deep appreciation of music. “My parents always held three season tickets to the Utah Symphony and would take one of their children to each concert. I loved it when it was my turn to go with my parents,” says Elisabeth. The Lamberts were first introduced to Philharmonia Baroque Orchestra in 2002. Elisabeth wanted to thank her parents for coming to help at the birth of their daughter with tickets to PBO’s Messiah performed at the Lesher Center. “They thoroughly enjoyed the experience and raved about it. Their enthusiasm made me want to attend a concert. Although with small children it was hard for us to get away for an evening, Kevin and I enjoyed a few concerts throughout the years.” Once the children were old enough, Elisabeth and Kevin brought them to Philharmonia’s Family Concert in 2014 with cellist Steven Isserlis. “They enjoyed Mr. Isserlis’ sense of humor, being able to see the period instruments up close, and making music with the musicians. Since my oldest daughter was learning Vivaldi’s Concerto in A Minor, we returned for a couple of concerts together that featured the music of Vivaldi,” notes Elisabeth. Now with two children attending middle school this year and playing in the school orchestra, the Lamberts decided it was time to subscribe to a full PBO concert season and share wonderful evenings of music with their children in the same way that Elisabeth did with her own parents.


The Lambert Family (clockwise from top middle): Kevin, Elisabeth, Timothy (age 11), Robert (age 16), Nathan (age 4), Caroline (age 9) and Emily (age 13).

“I am looking forward to attending the All Beethoven concert with my son who plays the piano and did a report for school on Beethoven (Steven Isserlis’ book When Beethoven Threw the Stew was a great help!). Since my daughter and I enjoyed Rachel Podger so much in 2015, it will be memorable to hear her again together in November at Vivaldi & Bach. My husband and I are looking forward to experiencing Handel’s Joshua for the first time this December.” And that is just the beginning. We love the way the Lamberts share their love of music with their children. Please join us in welcoming the Lamberts to the PBO family. We hope you all enjoy the music.


ALL BEETHOVEN WITH ROBERT LEVIN Concerto for Fortepiano No. 3 Symphony No. 6 “Pastoral”




PRE-CONCERT TALKS Join us forty-five minutes prior to your concert for a lively and informative discussion about the concert.

ALL BEETHOVEN: OCTOBER 16-22 KATE VAN ORDEN Kate Van Orden (classical bassoon) studied modern bassoon at Sweelinck Conservatorium, Amsterdam, and early bassoons at the Koninklijk Conservatorium, The Hague, and began her career with European ensembles including Les Arts Florissants, La Chapelle Royale, and the Orchestra of the Renaissance. In America she has performed regularly with Tafelmusik and Philharmonia Baroque Orchestra & Chorale and made over sixty recordings. She is the Dwight P. Robinson, Jr. Professor of Music at Harvard University, and her most recent book, Materialities: Books, Readers, and the Chanson in Sixteenth-Century Europe (Oxford, 2015), just received the bi-annual book prize from the Society for Renaissance Studies.


Beethoven’s deafness, irascibility, and failed relationships (both Sunday, October 16, 3:15 p.m. First Congregational Church, Berkeley familial and romantic) have caused him to be portrayed as a

troubled genius, unkempt, brilliant, reclusive, so in touch with the transcendent realm of musical ideas that he had only one foot in the mundane reality inhabited by others. This talk, however, skirts that legacy to zoom in on Beethoven the performer, premiering Saturday, October 22, 7:15 p.m. his highly Mozartian Piano Concerto in C minor at the piano, First Congregational Church, Berkeley and Beethoven the crowd-pleasing composer, whose evocative “Pastoral” Symphony dipped into a long tradition of charming audiences with character pieces.

Wednesday, October 19, 6:45 pm Bing Concert Hall, Stanford

ANNE MIDGETTE Anne Midgette is an author and classical music critic for The Washington Post. A Yale graduate, she was for seven years a regular contributor of classical music and theater reviews to The New York Times. She has also written about music, the visual arts, dance, theater and film for The Wall Street Journal, Opera News, the Los Angeles Times, Town & Country, and many others. She is currently working on a historical novel about the woman who built pianos for Beethoven.

THE TALK: BEETHOVEN, THE PIANO, AND THE STREICHER DYNASTY Friday, October 21, 7:15 pm Herbst Theatre, San Francisco


Beethoven’s piano works were written at a time when the piano itself was emerging from a phase of development similar to that of the early personal computer: there were lots of different models floating around, and it was not immediately clear which ones would become dominant. In Beethoven’s lifelong exploration of different instruments, as the piano changed and grew, the name of the Streicher firm is a leitmotif: a manufacturer that helped develop the modern piano, that was bound to Beethoven by a close personal friendship − and that was run by a woman.


ALL BEETHOVEN Nicholas McGegan, conductor Robert Levin, fortepiano


Ludwig van Beethoven (1770­‑1827)

Concerto for Fortepiano No. 3 in C minor, Op. 37

Allegro con brio Largo

Rondo: Allegro—Presto

Robert Levin, fortepiano INTERMISSION


Symphony No. 6 in F major, Op. 68 “Pastoral”

Awakening of pleasant feelings upon arrival in the countryside: Allegro ma non troppo

Scene by the brook: Andante molto mosso

Thunderstorm: Allegro

Sunday, October 16, 4:00 PM

Wednesday, October 19, 7:30 PM

Saturday, October 22, 8:00 PM

Friday, October 21, 8:00 PM

Merry gathering of country folk: Allegro

Shepherd’s song; happy and grateful feelings after the storm: Allegretto

First Congregational Church, Berkeley Bing Concert Hall, Stanford

Herbst Theatre, San Francisco

First Congregational Church, Berkeley

These performances are made possible in part by generous support from: The E. Nakamichi Foundation Mark Perry & Melanie Peña – October 21 The October 16 performance is dedicated to the memory of Peter Strykers, PBO’s founding Board President. Length of performance is approximately one hour and forty-five minutes. Latecomers will be seated during suitable intervals in the program. The use of cameras or recording devices of any kind is strictly prohibited. Please turn off your digital alarm, cellular telephone or pager before the performance begins.



The New Esterházy Quartet Lisa Weiss & Kati Kyme, violins; Anthony Martin, viola; William Skeen, cello

10 Join us for our



January • February • March in Berkeley • SF • Palo Alto for more information or to purchase our recordings please visit



ianist Robert Levin has been heard throughout the United States, Europe, Australia, and Asia, in recital, as soloist, and in chamber concerts. He has performed with the orchestras of Berlin, Birmingham, Boston, Chicago, Cleveland, Los Angeles, Montreal and Vienna with such conductors as Bernard Haitink, Sir Neville Marriner, Seiji Ozawa, Sir Simon Rattle, Esa-Pekka Salonen and Joseph Silverstein. On fortepiano he has appeared with the Academy of Ancient Music, Handel and Haydn Society, London Classical Players, Orchestra of the Age of Enlightenment and Orchestre Révolutionnaire et Romantique, with Sir John Eliot Gardiner, Christopher Hogwood, Sir Charles Mackerras, Nicholas McGegan and Sir Roger Norrington. He has performed frequently at such festivals as Sarasota, Tanglewood, Ravinia, Bremen, Lockenhaus, Verbier and the Mozartwoche in Salzburg. As a chamber musician, partners include Steven Isserlis, Kim Kashkashian and Ya-Fei Chuang. Robert Levin is renowned for his restoration of the Classical period practice of improvised embellishments and cadenzas; his Mozart and Beethoven performances have been hailed for their active mastery of the Classical musical language. He has made recordings for DG Archiv, CRI, Decca/Oiseau-Lyre, Deutsche Grammophon Yellow Label, ECM, New York Philomusica, Nonesuch, Philips, and SONY Classical. These include the complete Bach concertos with Helmuth Rilling as well as the English Suites and the Well-Tempered Clavier for Hänssler’s 172-CD Edition Bach-Akademie. Other recordings include a Beethoven concerto cycle with Sir John Eliot Gardiner and the Orchestre Révolutionnaire et Romantique for DG Archiv, a Mozart concerto cycle with Christopher Hogwood and the Academy of Ancient Music for Decca Oiseau-Lyre as well as the complete Beethoven cello and piano works for Hyperion with Steven Isserlis, which was named Gramophone Magazine’s ‘Recording of the Month’ in early 2014. Robert Levin studied piano with Louis Martin and composition with Stefan Wolpe in New York. He worked with Nadia Boulanger in Fontainebleau and Paris while still in high school, afterwards attending Harvard. Upon graduation he was invited by Rudolf Serkin to head the theory department of the Curtis Institute of Music, a post he left after five years to take up a professorship at the School of the Arts, SUNY Purchase, outside of New York City. In 1979 he was Resident Director of the Conservatoire Américain in Fontainebleau, France, at the request of Nadia Boulanger, and taught there

from 1979 to 1983. Between 1986 and 1993 he was professor of piano at the Staatliche Hochschule für Musik in Freiburg im Breisgau, Germany. President of the International Johann Sebastian Bach Competition and a member of the American Academy of Arts and Sciences. More recently, Robert Levin he has been Dwight P. Robinson, Jr. Professor of the Humanities at Harvard University and inducted as Honorary Member of the American Academy of Arts and Letters in 2016. In addition to his performing activities, Robert Levin is a noted theorist and Mozart scholar, and is the author of a number of articles and essays on Mozart. His completions of Mozart fragments are published by Bärenreiter, Breitkopf & Härtel, Hänssler, and Peters, and have been recorded and performed throughout the world. Levin’s cadenzas to the Mozart violin concertos have been recorded by Gidon Kremer with Nikolaus Harnoncourt and the Vienna Philharmonic for Deutsche Grammophon and published by Universal Edition. Henle has also issued his cadenzas to the flute, oboe and horn concertos and will publish his cadenzas to Beethoven’s violin concerto. His reconstruction of the Symphonie Concertante in Eflat major for four winds and orchestra, K.297B, was premièred by the Vienna Philharmonic Orchestra at the Mozartwoche in Salzburg, and has subsequently been performed worldwide. The first of four recordings of the work, by Philips, won the 1985 Grand Prix International du Disque. In August 1991 Robert Levin’s completion of Mozart’s Requiem was premièred by Helmuth Rilling at the European Music Festival in Stuttgart to a standing ovation. Published by Hänssler-Verlag, it has been performed worldwide and recorded numerous times. A Carnegie Hall commission to complete Mozart’s Mass in C minor, K. 427 was premiered in 2005. Future highlights include concerts with the Tokyo Metropolitan Symphony, Philharmonia Baroque Orchestra & Chorale and Kansas City Symphony orchestras. He continues his acclaimed collaboration with Steven Isserlis performing the complete Beethoven cello and piano music, as well as a new partnership with violinist Hilary Hahn.



THE PLAYERS and THEIR INSTRUMENTS OCTOBER 2016 Philharmonia’s musicians perform on historically accurate instruments. Below each player’s name is information about his or her instrument’s maker and origin. Robert Levin, fortepiano G. Hendrich Guggenberger, Naples, c. 1820



David Daniel Bowes * Pierre Charles Jacquot, Paris, France, 19th century

Katherine Kyme, concertmaster Johann Gottlob Pfretzschner, Mittenwald, Germany, 1791 Egon & Joan von Kaschnitz Concertmaster Chair Elizabeth Blumenstock Andrea Guarneri, Cremona, 1660; on loan from Philharmonia Baroque Orchestra Period Instrument Trust Susan B. Levy Chair Lisa Grodin Laurentius Storioni, Cremona, Italy, 1796 Tyler Lewis Anonymous, Italy, c. 1800 Carla Moore Johann Georg Thir, Vienna, Austria, 1754 Maxine Nemerovski Joseph Gaffino, Paris, France, 1769 Linda Quan Giovanni Battista Rogeri, Brescia, late 17th century Sandra Schwarz Johannes Cuypers, The Hague, 1789 David Sego Josephus Pauli, Linz, Austria, 1732 Noah Strick † Celia Bridges, Cologne, Germany, 1988 Sara Usher Desiderio Quercetani, Parma, Italy, 2001; after A. Stradivari Anna Washburn Anonymous, Tyrol, Italy, c. 1760 David Wilson Timothy Johnson, Hewitt, Texas, 2007; after A. Stradivari Gabrielle Wunsch Lorenzo Carcassi, Florence, Italy; 1765 Ondine Young Gagliano School, Italy, c. 1750


Maria Ionia Caswell Anonymous, Mittenwald, Germany, c. 1800

Daria D’Andrea Gregori Ferdinand Wenger, Germany, 1752 Ellie Nishi Aegidius Klotz, Mittenwald, Germany, 1790 Aaron Westman Francis Beaulieu, Montreal, Quebec, 2012; after Bros. Amati, Cremona, c. 1620

VIOLONCELLO Phoebe Carrai * Anonymous, Italy, c. 1690

Paul Hale Joseph Grubaugh & Sigrun Seifert, Petaluma, California, 1988; after A. Stradivari Osher Cello Chair Endowment Robert Howard Anonymous, Venice, Italy, 1750

Frédéric Rosselet Timothy Johnson, Bloomington, 1999; after N. Gagliano William Skeen Giovanni Grancino, Milan, Italy, 1725 Zheng Cao Memorial Chair

DOUBLE BASS Kristin Zoernig * Joseph Wrent, Rotterdam, Holland, 1648 Dave Horn Jay Haide, El Cerrito, California, 2009 Tim Spears Anonymous, Germany





Janet See * R. Tutz, Innsbruck, Austria, 1989; after H. Grenser, c. 1790

Andrew Schwartz * Guntram Wolf, Kronach, Germany, 2007; after Grenser

Lars Johannesson Roderick Cameron, Mendocino, California; after H. Grenser, c. 1790


Mindy Rosenfeld Roderick Cameron, Mendocino, California, 1997; after Triebert, Paris, France, c. 1825

Kate van Orden Peter de Koningh, Hall, Holland, 1985; after Grenser, Dresden, Germany, c. 1800

R. J. Kelley * M. A. Raoux, Paris, France, 1850

PICCOLO Lars Johannesson Roderick Cameron, Mendocino, California, 1995; after original models

Paul Avril Richard Seraphinoff, Bloomington, Indiana, 1998; after A. Halari, Paris, 1825


OBOE Marc Schachman * Sand Dalton, Lopez Island, Washington, 1993; after Floth, c. 1800 Principal Oboe Chair In Memory of Clare Frieman Kivelson and Irene Valente Angstadt Michael DuPree Sand Dalton, Lopez Island, Washington, 1985; after Floth, c. 1800

CLARINET Bryan Conger * Rudolf Tutz, Innsbruck, Austria; after H. Grenser, Dresden, Germany

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

John Thiessen * Rainer Egger, Basel, 2015; after Adam Bauer, Prague, c. 1811-1835

Fred Holmgren Fred Holmgren, Massachusetts, 2005; after J. L. Ehe III, 1746

TROMBONE Richard Clark * Geert Jan van der Heide, Putten, The Netherlands, 2015; after Johann Georg Eschenbach, Markneukirchen, Germany, 1796 Kenneth Finn Vega, Boston, Massachusetts, 1903

TIMPANI Kent Reed * Anonymous, England, c. 1840 * Principal †Principal 2nd Violin



PROGRAM NOTES for ALL BEETHOVEN BRUCE LAMOTT of the selections, even if the performance of the under-rehearsed forces did not rise to the occasion. Tonight’s Sixth Symphony (“Pastoral”) opened that legendary concert while the Fifth followed the intermission; this order may have been more than incidental, as they encompass the yin and yang of Beethoven’s stylistic transformation. The optimism and joie de vivre of the Sixth is set against the brooding psychological turmoil of the Fifth. Beethoven’s epigraph to the Sixth, “Pastoral Symphony, more an expression of feeling than painting,” is itself indicative of his changing aesthetic. Tone-painting, the literal representation of extramusical associations, was in full bloom in the Classic era, most notably in Haydn’s celebrated Creation and Seasons. But Beethoven’s epigraph, more feeling than painting, declares his intention to surpass mere representation, for he found that “All tone painting in instrumental music loses its value if pushed too far.” Ludwig van Beethoven Symphony No. 6 (“Pastoral”)


n music appreciation texts, Beethoven is usually given his own chapter, while Mozart and Haydn often share space in the Classic period, as do Bach and Handel in the Baroque. The music of Beethoven resists the designation of either “Classic” or “Romantic,” as these conventional stylistic characteristics dynamically coexist often within the same composition. Both works in this program come from his popular middle period, a time when he infuses and transforms the conventions of the previous style with a more personal reflection and dramatic expression brought on in part by his increasing deafness.

The famous four-hour all-Beethoven concert on December 22, 1808, at the Theater an der Wien featured the premieres of four major works: his Sixth and Fifth Symphonies—in that order, opening each half of the program, the Fourth Piano Concerto with the composer as soloist, and the Choral Fantasy; in addition were two movements from his C Major Mass, a concert aria, and piano extemporization by the composer. The staggering (to us) length, not uncommon in the period, is only exceeded by the staggering high quality


Nonetheless, there is tone-painting a’plenty in the Pastoral Symphony—bird calls, babbling brooks, peasant dances, and even a thunderstorm. The symphony opens with a drone, a musical signifier of country life since the Baroque period. Imitating the bagpipes or musettes played by peasants and shepherds, drones appear prominently in Vivaldi’s Four Seasons, the “Pifa” in Handel’s Messiah, and in Haydn’s Creation and string quartets. The harmonic simplicity and gentle dynamics of the opening

Vienna, The Prater (Waldmuller) 1849



into a single scene in which the final movement becomes a resolution of earlier conflict .

Nightingale movement instill the “pleasant feelings” of the composer, who once wrote, “What happiness I shall feel in wandering among groves and woods, and among trees, and plants, and rocks! No man on earth can love the country as I do.” Considering his encroaching deafness, it may be that Beethoven was preserving in musical terms the memories of the sounds he could no longer hear. The second movement, “Scene by the Brook,” is the most literal representation in the piece, with muted strings babbling in gentle triplets under a whimsical violin melody. Nic has chosen to perform a rarely performed alternative ending that Beethoven composed for this movement. Adding to the naturalism of the scene, Beethoven identifies the contributions of the nightingale (flute), quail (oboe), and cuckoo (clarinets) in the score. According to Anton Schindler, his friend (and unreliable biographer), the composer also included the song of the yellowhammer (or yellow bunting) as well in his musical aviary. The scherzo is a rollicking peasant dance in which the oboe, perhaps a little tipsy, enters on the wrong beat. Then a boisterous contredanse in 2/4 erupts instead of the customary B-section of the A-B-A form. This is the only one of Beethoven’s symphonies with an additional middle movement; and as he does in the Fifth, he withholds instruments for dramatic impact, this time saving the piccolo, trombones, and timpani to add power and brilliance to a thunderstorm. And just as he does in the Fifth, he melds the final movements

In the calm after the storm, the clarinets and horns exchange a yodel--once again over bucolic drones—which becomes the first phrase of a hymn of thanks notated by the composer in the score, “Herr, wir danken dir” (Lord, we thank thee). As human interaction became more problematic because of his deafness (as well as irascible personality), Beethoven found in nature not only solitude but spiritual renewal; the “happy and grateful feelings” of the final movement are reflected in his frequent diary entries praising the beauties of nature: “Does it not seem as though every tree said to me ‘Holy, holy!’. . . In such a wooded scene in the heights there is calm, calm in which to serve Him.” Concerto for Fortepiano No. 3 Unlike today’s piano virtuosos, whose preferences for Steinway, Bösendorfer, or Baldwin are choices between instruments of similar construction, Beethoven composed at a time when fortepianistic diversity was at an all-time high. Vienna, once called “Clavierland” by Mozart, was at the confluence of instrument types that differed not only in touch and sound, but in the basic mechanism of tone-production, called the action. A major concern was that of “escapement,” the means to prevent the rebound of a hammer, the largest of which weighed about one gram, and the restriking of the string. The Austro-Germans

Beethoven’s Broadwood




I saw almost nothing but empty leaves, at most on one page or another a few Egyptian hieroglyphs wholly unintelligible to me and scribbled down to serve as clues for him. He played nearly all of the solo part from memory since, as was so often the case, he had not had time [three years?] to put it all down on paper. He gave me a secret glance whenever he was at the end of one of the invisible passages, and my scarcely concealable anxiety not to miss the decisive moment amused him greatly, and he heartily laughed at it.

Beethoven 6, flute part Stein and Streicher used a “bouncing action” (Prellmechanik) with a shallow key dip and extremely light touch, while the French (Erard) and English builders (Broadwood), used a “pushing action” (Stossmechanik) with a heavier touch and louder tone. The latter is the one which survived the Darwinian evolution of piano actions, to the extinction of all others.

The opening theme of the concerto is a terse declaration of the key: a rising minor triad (do, mi, sol), a descending half-scale, and an emphatically repeated cadence figure of the sort to be expected at the end, not the beginning, of a piece. This triad provides a marker throughout the movement for tracking Beethoven’s ventures into remote keys. The first theme is all Romantic Sturm und Drang (storm and stress)—mood swings from minor to major and back, dynamic shifts, fragmentary phrases, and harmonic instability undermine the certainty of the opening phrase. The second thematic group, however, restores Classic composure with a tune in the sensitive style called Empfindsamkeit . The lyrical melody divides into clearly delineated phrases ending with sighing appoggiaturas resolving on weak beats (labeled with gender-insensitivity as a “feminine cadence”). The opening theme then returns, appropriately this time, at the conclusion of the orchestra’s exposition.

All of these builders provided Beethoven with their particular brand of fortepiano, and as his hearing deteriorated, he became increasingly partial to the Broadwood. Beethoven’s C Minor Concerto had a long gestation, and was the first of his piano concertos that is more Romantic than Classic in style. His intention was to perform it in his first public concert on April 2, 1800, but didn’t get around to finishing it until three years later, on April 5, 1803. Even then it had not made the transition brain to paper, as recounted in this page-turner’s nightmare:


Beethoven’s ear trumpets



The piano mollifies the opening theme with decorative scales and trills before dispensing with it altogether in favor of melody in the singing style. Indeed, for the rest of the movement Beethoven sets up a kind of Orpheus v. Furies dialogue between the lyrically inclined piano and the incisive interruptions of the orchestra; he will do this again in the slow movement of his next piano concerto. This takes advantage of the delicacy and fleetness of the Viennese fortepiano while maintaining the overall intensity of mood in the orchestra. Only in the fully notated cadenza does Beethoven allow the instrument to “thunder” as best it can; this dichotomy, of course, is lost in a performance on the modern piano. Piano and orchestra are in full accord in the serene second movement, introduced by a quasi-improvisatory solo on a sentimental melody in the style of Classical fantasia. The key of E major is surprising: three sharps instead of the antici-

pated three flats of C minor or its relative, E-flat major. It is dreamy and pensive throughout, without the mercurial mood swings and sudden dynamic outbursts that often make headphones so challenging when listening to Beethoven. The finale is a demonstration of what the late Wye Jamison Allanbrook calls the “secular commedia” of the late eighteenth century. Unlike the profound personal expression found in Beethoven the Romantic , this jaunty rondo presents a passing parade of musical topics, as found in the works of his mentor Joseph Haydn. Opening with a theme with offbeat accents hinting at “Turkism” (alla turca), the lineup includes skittish scales decorated with Lombard rhythms (shortlong, aka “Scotch snap”), fanfares, a clarinet melody (espressivo) in the elegant galant style, a fugato in the learned style of the Baroque period, and a surprising Presto coda in 6/8 which winds up the work like the finale of an opera buffa (comic opera).

NIC’S PICKS RECORDINGS: Piano Concerto No. 3 in C minor, Op. 37* You cannot go wrong with Robert Levin’s own recordings of all the Beethoven Piano Concertos, conducted by Sir John Eliot Gardiner. Brilliant performances on period instruments. Mr. Levin improvises cadenzas in the first four concertos, and the album also includes a terrific performance of the Choral Fantasy which was originally premièred in the same concert as the Pastoral Symphony. Symphony No. 6 in F major, Op. 68* There are of course many recordings on the market to suit practically every taste. Of the older versions I really like

the versions by Bruno Walter and Toscanini. Fine, more modern approaches are found in performances by Harnoncourt and Ivan Fischer. On period instruments Roget Norrington’s is a good one.

BOOKS: Books on Beethoven are like books on cooking: there are new ones each month! So I am going to restrict myself to just three: Performing Beethoven edited by Robin Stowell (Cambridge University Press) Beethoven’s Symphonies: An Artistic Vision* by Lewis Lockwood (Norton)

Beethoven: The Pastoral Symphony* by David Wyn Jones (Cambridge University Press)

DVDS: In Search of Beethoven*. Part of an excellent series of films by Phil Gabsky — an excellent introduction to the composer in every way. Also by Phil Grabsky is a film called Concerto: a Beethoven Journey with Lief Ove Andnes as the pianist. ____________________________ *A limited supply of these items will be available at the PBO Boutique in the lobby.



PBO SUMMER TOUR PBO’s summer touring adventure started in May with a sold out performance of La Gloria di Primavera at Carnegie Hall in New York. The New York Times said, “The tenor Mr. Phan, in particular, is becoming a star of the American early-music scene, a status that Philharmonia Baroque has long enjoyed.”

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Post-concert reception at the apartment of Merritt and Candy Lutz

That evening, Nic and guests were treated to a lovely post-concert reception at the home of Merritt and Candy Lutz.

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Next it was on to Southern California!

Segerstrom Concert Hall, Orange County

Shaw takes a Composer Caroline ert Hall nc bow at Disney Co


The Orchestra made an impressive appearance at Walt Disney Concert Hall where they were joined by Anne Sofie von Otter and Andreas Scholl for the premiere of Caroline Shaw’s Red, Red Rose. The program also included works by Handel, Purcell and Arvo Pärt.


The new program was then brought to Rohnert Park’s Green Music Center to give Bay Area audiences a chance to hear this brand new work.

Anne Sofie von Otter with Nic at the Green Music Center

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Palais Montcal City

From there, the crew was off to Canada where the program was performed to sold-out venues in Québec City and Montreal! Both Canadian performances received standing ovations, and the local reviews were phenomenal.

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Palais Montcalm, Québec City Anne Sofie von Otter and Andreas Scholl at Bourgie Hall

eal Bourgie Hall, Montr

Gonzalo Ruiz & Tatiana Daubek in Québec City

Maxine Nemerovski & Maria Caswell in Québec City



After a break in June and July, the Orchestra convened again in August for another reprisal of La Gloria at Ozawa Hall at the famed Tanglewood Music Festival in Lenox, Massachusetts.

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Tanya Tomkins meets baby Thiessen


Doug Williams rehearsin

Final bows at Tanglewood


at Tangle wood


Two days later they made their way to Connecticut to play a program of Handel and Shaw with Diana Moore in the Music Shed at the Norfolk Chamber Music Festival.

Diana and Doug arrive in Norfolk in style The Mus

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Elizabeth, Kate and Dan at the farm

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Andrew, Kati and Bill at the farm

Before the final concert, everyone enjoyed a relaxing BBQ at the beautiful farm of David Low and Dominique Lahaussois in Norfolk. What a wonderful way to wrap up an incredible summer tour. Thank you David and Dominique! David and Dominque

Diana and Nic at Norfolk

Nic and the crew



VIVALDI & BACH WITH RACHEL PODGER VERACINI: Overture No. 6 in G minor VIVALDI: Violin Concerto in D major “L’inquietudine” BACH: Double Concerto for Oboe and Violin TARTINI: Concerto for Violin in A major VIVALDI: Chamber Concerto in G minor BACH: Orchestral Suite No. 1




PRE-CONCERT TALKS Join us forty-five minutes prior to your concert for a lively and informative discussion about the concert.

VIVALDI & BACH: NOVEMBER 2–6 JOHN PRESCOTT John Prescott 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.


John Prescott will take us on a tour of these masterpieces of Baroque instrumental music. We will revel in the sparkle and variety of the Italian masters as well as Bach’s supreme perfection of the instrumental music of his time.

Wednesday, November 2, 6:45 pm First United Methodist, Palo Alto Friday, November 4, 7:15 pm Herbst Theatre, San Francisco Saturday, November 5, 7:15 p.m. First Congregational Church, Berkeley Sunday, November 6, 3:15 p.m. First Congregational Church, Berkeley



VIVALDI & BACH Rachel Podger, violin and leader Gonzalo X. Ruiz, oboe


Francesco Maria VERACINI (1690—1768)

Ouverture No. 6 in G minor





Antonio VIVALDI (1678—1741) Violin Concerto in D major, RV 234, L’inquietudine

Allegro molto



Rachel Podger, violin Johann Sebastian BACH (1685—1750)

Concerto for Violin and Oboe in C minor, BWV 1060




Rachel Podger, violin Gonzalo X. Ruiz, oboe INTERMISSION



Giuseppe TARTINI (1692—1770)

Concerto for Violin in A major, D. 96




Rachel Podger, violin


Chamber Concerto in G minor, RV 105





Orchestral Suite No. 1 in C major, BWV 1066



Gavotte I & II


Menuett I & II

BourrĂŠe I & II

Passepied I & II

Wednesday, November 2, 7:30 PM

Friday, November 4, 8:00 PM

Thursday, November 3, 7:30 PM Saturday, November 5, 8:00 PM Sunday, November 6, 4:00 PM

First United Methodist Church, Palo Alto

Bankhead Theater, Livermore

Herbst Theatre, San Francisco

First Congregational Church, Berkeley

First Congregational Church, Berkeley

The November concert set is made possible by generous support from:

Gladyne K. Mitchell 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.





ver the last two decades Rachel Podger has established herself as a leading interpreter of the Baroque and Classical music periods and has been described as “the queen of the baroque violin” (Sunday Times). In October 2015 Rachel was the first woman to be awarded the prestigious Royal Academy of Music/Kohn Foundation Bach Prize. She was educated in Germany and in England at the Guildhall School of Music and Drama, where she studied with David Takeno and Micaela Comberti. As a director and soloist, Rachel has enjoyed countless collaborations with musicians all over the world. Highlights include Jordi Savall, Masaaki Suzuki, The Academy of Ancient Music, Holland Baroque Society, Berwick Academy (USA), the Handel and Haydn Society (USA), Tafelmusik (Toronto), Berkeley Early Music (USA), Philharmonia Baroque Orchestra, European Union Baroque Orchestra, English Concert, and The Orchestra of the Age of Enlightenment. She has performed as a soloist at the Göttingen Handel Festival in Germany, the Izmir Festival in Turkey, Shakespeare’s Globe Theatre and Wigmore Hall. Rachel is currently collaborating and touring with Kristian Bezuidenhout in a programme of Bach, Mozart, and Beethoven. She is resident artist at Kings Place for their 2016 season titled Baroque Unwrapped.

Rachel records exclusively for Channel Classics with over 25 discs including the complete Mozart Sonatas. She has won numerous awards including two Baroque Instrumental Gramophone Awards for La Stravaganza (2003) and Biber Rosary Sonatas (2016), the Diapason d’Or de l’année in the Baroque Ensemble category for her recording of the La Cetra Vivaldi concertos with Holland Baroque (2012), a BBC Music Magazine Award in the instrumental category for Guardian Angel (2014), and multiple Diapasons d’Or. The complete Vivaldi L’Estro Armonico concertos (2015) with Brecon Baroque was Record of the Month for both BBC Music and Gramophone Magazines, won the concerto category of the 2016 BBC Music Magazine Award, was awarded a Diapason d’Or and was shortlisted for a Gramophone Award


Rachel Podger (2015). The latest recording, Bach Art of Fugue, with Brecon Baroque was released in September 2016. Upcoming recordings include C18 Italian (2017), Vivaldi Four Seasons (2017) and solo Bach (2018). Rachel is founder and Artistic Director of the Brecon Baroque Festival. She is a dedicated educator and holds an honorary position at both the Royal Academy of Music, where she holds the Micaela Comberti Chair for Baroque Violin (founded in 2008), and the Royal Welsh College of Music and Drama, where she holds the Jane Hodge Foundation International Chair in Baroque Violin. She is also a regular visitor of The Juilliard School in New York. Future engagements include international tours with The Orchestra of the Age of Enlightenment (Musica Viva, Australia), Philharmonia Baroque (USA); European tours with Kristian Bezuidenhout, Trondheim Barokk, Casa da Musica Porto, Fundación Juan March, and Martin Randall Travel; performances with Trevor Pinnock and Friends, Maggie Cole, Jane Rogers, BBC NOW, English Concert, and as well as recitals, concerts and workshops at Kings Place, Juilliard, Sheffield University and the Royal Academy of Music. Rachel Podger is managed worldwide by Percius. www.percius.




onzalo X. Ruiz has been a member of Philharmonia since 1990. Born in Argentina, he is one of the world’s most critically acclaimed baroque oboists, performing as principal and soloist with groups such as Ensemble Sonnerie, Boston Early Music Festival, The English Concert, Wiener Akademie and Orchestra of the Age of Enlightenment. On modern oboe he is principal oboe at the Carmel Bach Festival, a position he formerly held with New Century Chamber Orchestra and the Buenos Aires Philharmonic. Ruiz was a prizewinner at the Brugges Early Music Competition. His playing is featured on dozens of recordings, including the 2010 GRAMMY®-nominated recording of his own reconstructions of the orchestral suites and oboe concertos of J.S. Bach. His chamber group House of Time has its own concert series in Manhattan, now on its fourth season. In addition, his groundbreaking work in new music with American Baroque earned him the ASCAP Award for Adventurous Programming and the WQXR Record of the Year Award. He made his conducting debut at the age of twelve, and is now associate music director of Musica Angelica in Los Angeles. Ruiz was appointed to the faculty of The Juilliard School in 2009 and for many years prior taught

Gonzalo X. Ruiz at Oberlin Conservatory’s Baroque Performance Institute and the Longy School’s International Baroque Institute. His former students now fill most of the key oboe positions in baroque ensembles across the country. Ruiz is an acknowledged expert in historical reed design, and examples of his work are on permanent display at the Metropolitan Museum of Art. In his free time he enjoys cooking, playing guitar, and dancing tango.



THE PLAYERS and THEIR INSTRUMENTS NOVEMBER 2016 Philharmonia’s musicians perform on historically accurate instruments. Below each player’s name is information about his or her instrument’s maker and origin. Rachel Podger, violin Pesarinius, Genoa, 1739

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

VIOLA Ellie Nishi * Anonymous, Germany, 18th Century David Daniel Bowes Richard Duke, London, c. 1780

Maria Ionia Caswell Anonymous, Mittenwald, c. 1800

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


Lisa Grodin † Paulo Antonio Testore, Contrada, Larga di Milano, Italy, 1736

Paul Hale Joseph Grubaugh & Sigrun Seifert, Petaluma, 1988; after A. Stradivari Osher Cello Chair Endowment

Jolianne von Einem Rowland Ross, Guildford, England, 1979; after A. Stradivari

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

William Skeen * Anonymous, Northern Italy, c. 1680 Phoebe Carrai Anonymous, Italy, c. 1690 Zheng Cao Memorial Cello Chair

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

Maxine Nemerovski Timothy Johnson, Bloomington, Indiana, 1999; after A. Stradivari Linda Quan Jacob Stainer, Absam, Tyrol, 1655

Noah Strick Celia Bridges, Cologne, Germany, 1988






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 * John Phillips, Berkeley, 2010; after Johann Heinrich Gräbner, Dresden, 1722 [Generously lent by Peter & Cynthia Hibbard]

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



Katherine Heater Winold van der Putten, Finsterwolde, The Netherlands, 2004; after 18th century chest organ [Generously lent by Hanneke van Proosdij]

Andrew Schwartz * Guntram Wolf, Kronach, Germany, 2008

* Principal


† Principal 2nd Violin

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





t’s no coincidence that a Golden Age of virtuosic violin playing would accompany the Golden Age of violin making, centered in the Cremona workshop of Antonio Stradivari (1644-1737), whose instruments have eluded replication and analysis for three hundred years. The Italian masters on this program, Vivaldi and the succeeding generation of Veracini and Tartini, pressed the limits of violinistic technique to the limit, especially considering that their instruments were played without shoulder rests and other modifications that facilitated the later virtuosity of the nineteenth century. The only non-Italian on our program, J.S. Bach, was fluent in the stylistic language of these Italian contemporaries, and through his study of the scores of Vivaldi, became his most distinguished pupil via “distance education” centuries before the internet. VERACINI: Ouverture No. 6 in G minor Our program is bookended by two very different works entitled “overture,” reflecting the catchall nature of a term used to describe a multimovement work for instrumental ensemble. (An instrumental piece preceding an opera or oratorio—an “overture” in the modern sense—was then called a sinfonia.). Francesco Maria Veracini was a peripatetic virtuoso who performed throughout Europe, including his native Florence, London, Düsseldorf, Prague, Venice, and Dresden. The Overture in G Minor was one of six written in 1716 to win the attention of the Elector of Saxony, Friedrich Augustus. Veracini’s eventual post at the Friedrich’s court in Dresden earned the enmity of fellow musicians as his salary exceeded even that of the Kapellmeister, Johann David Heinichen; fearing for his life (so he said), he jumped out of a third-storey window, breaking his leg and thereby limping for the rest of his life. Veracini’s Overture No. 6 begins with a concerto grosso movement in which a trio of two oboes and bassoon alternates in dialogue with the strings. The lively Allegro is dominated by swirling triplets that cascade through the strings in the opening measures. Veracini gives the illusion of imitative fugal writing, but it is of the Alphonse-and-Gaston variety, in which the parts alternate rather than interrupt. The Largo is a


Francesco Maria Veracini gentle dialogue between the strings and the wind trio, while a continuous bass-line “walks” throughout the conversation. Veracini’s eccentric personality shows in the final movements. (The English music historian Dr. Burney described him as “one possessed of a capo pazzo,” i.e., a madman). The third movement begins conventionally enough, setting the listener up with what might be construed as the subject and countersubject of a fugue. The continuously stepwise movement in sighing pairs of appoggiaturas is interrupted by inexplicably prickly passages of staccato repeated notes, ending with an emphatic and almost obsessive repetition of the final cadence. Even more curious is the clumsy concluding minuet, played entirely in austere unison. VIVALDI: Violin Concerto in D major, RV 234, “L’inquietudine” For many listeners, Vivaldi’s Four Seasons (I Quattro Stagioni) is their entry-level introduction to his work. The musical representation of chirping birds, falling rain, slippery ice, thunderstorms, and even barking dogs resonates with our own observations of the natural world and provide a soundtrack for our imagination. Less familiar, however, are his representations of the inner world of the human psyche in solo violin concertos that portray rest, (Il riposo), suspicion (Il Sospetto), serenity (il piacere) and in this concert, turmoil and anxiety (L’inquietudine).



J.S. BACH: Concerto for Violin and Oboe in C minor, BWV 1060 Bach, like Handel, was an unapologetic recycler of previously composed material, a practice common in the Baroque period, His multiple responsibilities in Leipzig—church cantor, resident music teacher, and director of a municipal band—demanded an unending stream of vocal and instrumental compositions, many of them now lost. He must have brought an impressive portfolio of earlier works from his years in Weimar and Cöthen to Leipzig in 1723, and over two decades, he repurposed many of them for other instruments and functions.

Antonio Vivaldi The opening Allegro of L’inquietudine has an almost minimalist aesthetic of simple prolonged harmonies animated by vigorous repetition. There is an obsessive/compulsive element in the incessant rhythmic pulsations and asymmetrical phrase lengths interspersed with rueful solo digressions in minor. The form is terse and concise, ending as abruptly as it began. Instead of the flowing arioso style typical of Vivaldi’s slow movements, this Largo twitches with the dotted rhythms of the French overture connected by scalar passages (tirate) that swoop up and down between them. The soloist proposes a more lyrical melody in the gently rocking rhythm of a siciliana but is cut off after only three measures. The tempo may be slower, but the angst continues unabated.

This double concerto is derived from a “phantom concerto” for oboe and violin known to have existed but now lost except for a transcription for two harpsichords. The distinctly different ranges and musical idioms of the righthand parts of the two harpsichords clearly fit the violin and oboe, and string parts have been reconstructed from the rest of the material. The opening phrase of the first movement ends with an unaccompanied two-note echo that becomes a distinctive motive heard throughout the movement. The exchange of long-breathed melodies in the second movement confirms its origins in wind or stringed instruments, as the exquisitely sustained suspensions are decidedly unidiomatic for the instantly decaying sound of the harpsichord. The oboe and violin are equal in prominence but differentiated by what

The final Allegro is a catalogue of devices familiar from The Four Seasons. The soloist breaks the mounting tension of the incessantly jerky dotted rhythms with brilliant passagework accompanied by lunging figures in the continuo. The solo figuration nervously shifts from scales to arpeggios to wide leaps played in rapidfire alternation until the tutti interrupts with a passage of shimmering repeated notes (a figure called bombilans) similar to that which precedes the thunderstorm in his Summer (L’estate) concerto. There is no respite from the inner turmoil; only another one of Vivaldi’s psychoconcertos can relieve it. Johann Sebastian Bach



PROGRAM NOTES each does best: the violin does the heavy lifting when it comes to passagework in the outer movements, while the plangent oboe adds poignancy to the middle movement.

a textbook example of Italianate ornamentation. The Presto is a jolly dance, a lilting passepied with strings synched in parallel harmonies of thirds and sixths. The concerto concludes with a short binary (AABB) movement written in the symmetrically phrased galant style; two eightbar periods both divide into equal four-bar phrases. VIVALDI: Chamber Concerto in G minor, RV 105

Giuseppe Tartini TARTINI: Concerto for Violin in A major, D. 96 Tartini , a generation younger than Vivaldi, was as well-known as a pedagogue as he was a composer and virtuoso violinist. It is said that after hearing Veracini perform in Venice in 1716, Tartini became so dissatisfied with his own bowing that he sequestered himself away in Ancona until he could develop a new technique. He passed these ideas on to students from all over Europe at a violin school he founded in Padua. This “Paduan school” of virtuosic string playing influenced generations of composers and performers, including Luigi Boccherini. His A Major Violin Concerto is remarkable both in its inner and outer form. The opening Allegro is single-minded in its use of a martial tattoo (bump bada bump bump, or “shave and a haircut” without “two bits”) in nearly every phrase. The tutti strings tap out the incisive motive while the violin soloist decorates the figure and fills the rest at the end of the phrase with increasingly fleet passagework. A couple of episodes allow a respite of lyricism before the march resumes. The four movements, fast-slow-fast-slow, allow him not one but two opportunities for expressive arioso solo melodies over gently pulsing string harmonies. The Adagio is a catalog of decorative figures that wind around a simple underlying melody in


The primacy of the violin is indisputable in the works Antonio Vivaldi. Of his 500-plus concertos, nearly half were written for solo violin and strings and nearly all of the rest for various solo instruments or combinations with strings and the ubiquitous basso continuo of keyboard and/or theorbo and cello. A notable exception is this “chamber concerto” written for flauto (recorder), oboe, violin, bassoon, and continuo, in which the violin yields much of the spotlight to the winds. In the first movement, the bassoon takes off with a flurry of passagework contrasted with sighing appoggiaturas in the recorder and oboe. The violin contributes vivacity in sporadic scales and arpeggios that energize, but do not predominate. The brief Largo is a duet for recorder (oboe?) and bassoon. The bassoon once comes out of the gate running once again in the final movement, contrasted with the lilting siciliana rhythms of the other instruments. J. S. BACH: Orchestral Suite No. 1 in C major, BWV 1066 The popularity of Bach’s music for orchestral ensemble belies its paucity: six Brandenburg Concertos, twenty-odd solo concertos, and four orchestral suites are his only known surviving works other than the instrumental sinfonias that precede some of his cantatas. All of the orchestral suites date from his years in Leipzig, the earliest (No. 1) from around 1725 and the latest (No. 2) from 1738-39. Unlike the Brandenburgs, there was no specific patron or occasion for which they were written, but they were undoubtedly played in the weekly performances (twice weekly during the three yearly trade fairs) of the Collegium Musicum, an ensemble of professional and student musicians who met on Friday nights at Zimmermann’s


PROGRAM NOTES Coffee House, indoors in winter, al fresco in summer.

the minuet-and-trio (and later scherzo-and-trio) sequence of the Classic-era symphony.

The Orchestral Suites, or ouvertures as Bach called them, are collections of French dances made popular at the court of Louis XIV at Versailles. But unlike Bach’s keyboard suites, whose basic sequence of the traditional allemande-courante-sarabande-gigue reflects the practice of his German contemporaries, they are composed of more currently popular dances, known collectively as galanterie.

Bach’s First Suite opens with the three-part form of the “French overture” developed by Louis XIV’s court composer, Jean-Baptiste Lully. A grand introduction and conclusion in a stately tempo with stodgy dotted rhythms frame a lively fugue in which Bach weds the French overture to the Italian concerto grosso A trio à la Lully of two oboes and bassoon break free of their roles doubling the strings to play independent solo episodes. The galanterie Bach selects are all cheerful in affect, including the only forlane in all of Bach’s works; he gives this gigue-like dance (described as “lusty and flirtatious”) a pastoral flavor with murmuring second violins and violas and a static drone in the bass.

In the First Suite, the gavotte, minuet, bourrée, and passepied are also paired with another of the same type, to be performed “alternativement,” I/II/I, or ABA. This practice continues in the later eighteenth century in

NIC’S PICKS RECORDINGS: Rachel’s programme is a most appealing bouquet of Baroque delights from Northern Italy and Germany. Veracini is the least known composer of the programme but there are some fine recordings of his music of which these are a small sample: Overtures recorded by Musica Antiqua Köln directed by Reinhard Goebel on the Brilliant label. Also another version of the Overtures played by L’Arte dell’Arco directed by Federico Guglielmo Rachel has recorded three albums of Vivaldi Violin Concertos (La Cetra*, La Stravaganza*, L’Estro Armonico*) on Channel Classics that are very fine indeed. There is a lovely recording of the Tartini Concerto on Naxos played by Ariadne Daskalakis

which also includes a super performance of the Concerto in D that Elizabeth Blumenstock played so beautifully last season.

his own Baroque Orchestra there.

Rachel has recorded the Bach Double concerto on Brecon Baroque: J. S. Bach Double & Triple Concertos*

The Chronicle of Anna Magdalena Bach is a film from the 1960’s featuring Gustav Leonhardt as the composer. It may be hard to find on DVD and it seems rather dated now but at the same time it’s compelling in many ways

There are many recordings of the Bach Orchestral Suites ranging from the stodgy to the frankly eccentric. Trevor Pinnock and Jordì Savall have both played Bach with PBO and also issued good recordings of the Suites.

BOOKS: The go-to biography is Johann Sebastian Bach, The Learned Musician* by Christoph Wolff. The Cambridge Companion to Bach* by John Butt is one of several excellent books by our former Chorale Director who now lives in Scotland and runs


In the Footsteps of Vivaldi* is a good DVD about the composer and Venice. For lovers of Mysteries on DVD there is the Inspector Vivaldi series set in Trieste; nothing to do with music of Vivaldi, apart from the name. Good fun though. _____________________________ *A limited supply of these items is available at the PBO Boutique in the lobby.




Philharmonia Baroque Orchestra & Chorale 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 Peña/Bill & Lee Perry, Education & Innovation Circle Susan & Paul Sugarman Family Philanthropic Fund, Guest Artists Circle Egon & Joan von Kaschnitz, Egon and Joan von Kaschnitz Concertmaster Chair $50,000—$99,999 Linda Brewer Kathleen & Martin Cohn, Touring Circle Nicolas Elsishans & Christopher Hayes Kate & David Gross Mrs. Jonathan B. Gifford Norman T. Larson Roy Levin & Jan Thomson Carol & Doug Tanner, Touring Circle $25,000—$49,999 Quincy Bragg & Sarah Fitzgerald The Estate of Donald E. Casey The Estate of Philip J. Eisenberg Susan LeRoy & Michael Stewart Fred Matteson & Anne Davidson Barr Sondra & Milton Schlesinger Linda & Paul Swatek Donna M. Williams, Touring Circle


$10,000—$24,999 Bonnie & Jim Bell Carol & Peter Berkenkotter Elizabeth, Kay & Mike Buckley Marie Bertillion Collins & Leonard Collins The Gray Family Foundation Nancy & Richard Heath 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 $5,000—$9,999 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 Mele-Wagner Wendy and Mason Willrich Gifts recognized above represent commitments in excess of $5,000 to the Campaign for the 21st Century from August 1, 2010 through September 30, 2015.


VOLUNTEER OPPORTUNITIES Support Philharmonia with your time! We are building a roster of volunteers who would be available for occasional office and/or event support. • OFFICE SUPPORT: Duties range from stuffing envelopes to filing to data entry • EVENT HELP: Duties range from pouring wine to guest check-in to spotting bids at our annual gala. Volunteers must be able to stand for a few hours at a time. If you are willing to make yourself available for brief, occasional stints to offer support at the office or donor events, you’d be doing Philharmonia a world of good! To sign up to volunteer, please contact Noelle R. Moss at or call (415) 252-1288 x314.

BRAVO! DLA Piper DLA Piper proudly supports proudly supports Philharmonia Baroque Orchestra Philharmonia Baroque Orchestra & Chorale and congratulates McGegan during their magnificentNic 2016/17 season. on his 30th anniversary.

555 Mission Street Suite 2400 | San Francisco, California | PHILHARMONIA BAROQUE ORCHESTRA & CHORALE



2017 Winter Gala Friday, March 10, 2017 6:30 p.m. – midnight

St. Regis Hotel, San Francisco Join us for Philharmonia Baroque Orchestra & Chorale’s most exciting and important fundraising event of the year: the 2017 Annual Winter Gala! This year’s gala will showcase “New Music for Old Instruments” and will feature the world premiere of a newly commissioned piece by Pulitzer Prize winning composer Caroline Shaw performed by a very special guest artist. PBO Music Director Nicholas McGegan will also speak to the importance of contemporary commissions for period instrument ensembles. The evening also includes: •

Silent auction showcasing one-of-a-kind items and cocktail reception

An exquisite three-course dinner and student musician performance

Festive Afterparty featuring a premium Scotch tasting and delectable dessert reception

This year’s event will be held in downtown San Francisco at the St. Regis Hotel and will support the Orchestra’s continued artistic and educational endeavors. To purchase tickets, please visit or contact Director of Development Noelle Moss at or 415-252-1288 x 314.




Contributing to the Endowment Fund or naming a chair creates a legacy that will preserve the unique sound of Philharmonia for generations to come. Philharmonia Baroque Orchestra & Chorale gratefully recognizes the following named chairs and donors to the 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 through the Campaign for the 21st Century.

LIFETIME BENEFACTORS Philharmonia Baroque Orchestra & Chorale thanks the following visionary supporters whose cumulative giving to the Orchestra totals $100,000 or more. Anonymous (2)

Christine & Kenneth Hecht

Elizabeth Anderson Mayer

Ross Armstrong

The Grace & Laurence Hoagland Fund

Chris McCrumb & Elizabeth Velarde

Marie & Palmer Hotz

Gladyne K. Mitchell

The Kivelstadt Family Trust

Holbrook T. Mitchell

Norman T. Larson

Mary Perry & Melanie Peña

Kit & Hayne Leland

Sondra & Milton Schlesinger

Laura & Robert Cory

John B. Levy

Jane & Jack Stuppin

Al Garren

The Estate of Susan B. Levy, in honor of Fred Sondheimer

Susan & Paul Sugarman

Nicholas Baz Kathleen & Martin Cohn Richard Colburn Marie Bertillion Collins & Leonard Collins

Mona Geller Mrs. Jonathan B. Gifford Joan & John Goddard, The Goddard Foundation Kay Sprinkel Grace Kate & David Gross

David Low & Dominique Lahaussois The Marmor Foundation, Drs. Michael and Jane Marmor

Linda & Paul Swatek Carol & Douglas Tanner Egon & Joan von Kaschnitz The Waverley Fund

Frederick Matteson & Anne Davidson Barr




The Laurette Goldberg Society, named after the founder of Philharmonia Baroque Orchestra & Chorale, honors those individuals who have named the Orchestra in their estate plans. Anonymous Ross Armstrong Corey & Tim Benjamin The Robert A. Birman Executive Director Chair Norman Bookstein & Gillian Kuehner Don Buhman Linda Brewer William Bush David Challinor

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

Kathleen & Martin Cohn Marie Bertillion Collins & Leonard Collins Steven A. R. Edwards Kay Sprinkel Grace Margaret Hegg Kathy & Bill Korbholz George Kovatch & Robert Wiskozil Norman T. Larson Clifford Leventhal

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 Maxine Rosston

The Phillip M. Eisenberg Trust

The Estate of Shirley Sarvis

The Estate of Eva & James Goodwin

The Estate of Carol Seitz

The Estate of Marie Kieraldo

The Estate of Michael J. Weller

The Estate of Susan B. Levy

Leave a Legacy to PBO Planning for the future is vital, not only for individuals but for organizations like PBO as well. Turn your passion for the Orchestra into a lasting legacy and help us make the future as bright as the present by leaving a legacy gift to PBO in your estate plan. Estate gifts make it possible for PBO to: • enhance our regular season programming • introduce PBO to new audiences nationally and internationally, and • take necessary artistic risks. Legacy giving is easy to set up and can even benefit you during your lifetime. For more information on making a legacy gift to PBO, please visit legacy-giving. To be included in the Laurette Goldberg Society if you’ve already named Philharmonia in your estate plan or need help doing so, please contact Noelle R. Moss, Director of Development, at (415) 252-1288 ext 314 or






This year, as Philharmonia continues to build on its many artistic successes, we are also committed to ensuring a stable financial future for the organization. We are delighted to announce that board member and past Board President, Martin Cohn, has agreed to champion the Laurette Goldberg Society – PBO’s special donor circle for those patrons who have included Orchestra in their estate plans – this year. We sat down with Martin recently to learn what prompted his involvement with PBO and why he and his wife Kathy decided to make a legacy gift to PBO.

Q: Martin, you’ve been

involved in PBO for over two decades and even served as Philharmonia’s Board Chair. What drew you to early music and keeps you engaged with the Orchestra over the years?

Martin Cohn

Martin: I was drawn

into the world of historically informed performance in college. I was curious how things sounded differently in the 17th and 18th centuries and that was when some of the first HIP recordings were issued with groups like the Schola Cantorum Basiliensis among others. While I’ve never loved early music to the exclusion of classical, romantic or modern music, it always spoke deeply to my soul and intellect.

What has kept me engaged with PBO over the years has been the incredible freshness and vitality of the performances under Nic. PBO always seems to perform music — no matter how old — as if it were just written.

Q: The scope of what PBO has taken on in recent

years is pretty incredible, from SESSIONS to increased touring and artistic collaborations to expanding our educational opportunities. Is there a favorite project of yours and why?

Martin: My favorite PBO ventures have been

the incredible collaborations with Mark Morris, easily the most musical of all choreographers. I have also been very taken with the PBO SESSIONS concerts. An attempt to engage a newer and younger audience has turned into reinvention of the concert format and all of us, even those who’ve been going for years, benefit.

Q: You and Kathy are also members of PBO’s

legacy circle, the Laurette Goldberg Society. Can you tell me why you personally decided to include PBO in your estate plan?

Martin: Kathy and I are proud to be members of the Laurette Goldberg Society. We included PBO in our estate plans because we want the organization to succeed after we are no longer able to participate. The funds will help create a healthy endowment, money that can protect an orchestra’s artistic planning and ambitions from the vagaries of the economy. Q: Why might others consider making a legacy gift to the Orchestra?

Martin: Legacy gifts are for everyone who

cares about the future of a great orchestra and would like to see artistic continuity transcend their lifetimes. While family comes first, after you’ve provided for your loved ones, I hope that our audience will consider making PBO a beneficiary as well. Planned gifts are also not as restrictive as many people fear. There are many different ways to set them up and it’s surprisingly easy to arrange your estate plan for maximum benefit for your family, reduce tax liabilities and leave a musical legacy to PBO. I hope you’ll join Kathy and me in ensuring PBO’s future in this very special way. To learn more about supporting Philharmonia with your own planned gift, please join Martin and planned giving expert Jeff Woods at an intimate concert and estate planning discussion on Thursday, November 10 at the home of PBO board member Marie Collins. To find out more about this special event, please contact Noelle Moss, Director of Development at 415-252-1288, ext. 314 or



Corporate Matching Gifts Often companies will double — or even triple — their employees’ charitable contributions, increasing the impact of your gift. Some employers also match gifts made by retirees, spouses and board members. Your employer might offer this benefit! By taking advantage of the matching gift program at your workplace, you can multiply your contribution to PBO, perhaps move up into a different membership category with additional benefits and bring your even closer to the music you love. For more information, visit or contact Noelle R. Moss, Director of Development at 415-252-1288 ext 314.





Barbara Tanaka is a long-time friend of Philharmonia and shares her Berkeley subscription with her best friend, Roberta Kelly. Fortunately for PBO, she is also a Chevron employee and participates in their corporate matching gift program, an arrangement that multiplies the dollars donors are able to direct to the Orchestra and doubles our ability to produce the music and programs that you love. We talked to Barbara this summer about what PBO means to her and Roberta, and why she participates in Chevron’s corporate matching gift program.

Q: Tell me a little about

yourself and Roberta and your classical music background.

Barbara: We originally subscribed when PBO had concerts at the Lesher Theatre in Walnut Creek, when Nic would both direct Barbara Tanaka and play harpsichord and the males wore tuxes with tails. Roberta and I both enjoy baroque and classical music, as we both took many, many years of piano lessons. We met at work and have enjoyed sight-reading simple duets for two pianos at her house. Roberta’s mother was a piano teacher and Roberta’s original college major was piano (before she got married and switched to accounting). I continued piano lessons until college, when I switched to pipe organ. Playing the organ changed my “ear” so that I enjoy 13th, 17th and higher overtones that sounded dissonant when I only played piano. Roberta has since retired to Redding and continues to practice and play. I currently don’t have time to play, as I have 12-year old twins. Q: Do you remember your first concert? Barbara: I think our most memorable concert

was the first time we heard Marion Verbruggen play Vivaldi. Her instrumental mastery was awesome and her performance enjoyment was contagious. We’ve since heard her two more times and she has definitely met the high expectations engendered by that first performance. Although we originally didn’t appreciate the “vocal concerts” as much as the “orchestral concerts”,

once Roberta’s daughter became a voice major, we began to appreciate them more. I like how PBO has added some minimal staging/animation to enhance my understanding of the storyline, and we started checking out the “diva dresses” in preparation for the daughter’s senior recital.

Q: What surprises and interests you when you come to a PBO performance?

Barbara: The regular orchestra members may

not realize that we follow them individually. When we arrive, we check to see who is playing “first chair”, look for and watch individuals on each instrument during the performance. Over time, we’ve matched most musicians with their names. Sometimes we even notice when someone has a different instrument. A few years back when the horns were featured in a selection, at the intermission Roberta used her phone to Google how they were played, and we were amazed that the different notes were created by how the hand/fist was held in the bell. It gave us a real appreciation for the skill and artistry of the performers!

Q: Your generous gifts have been matched by

Chevron for a number of years -- what can you tell me about that process and why others might consider contacting their own companies about a match?

Barbara: My company matches my gifts to nonprofits up to $10,000, so I always take advantage of this funding. I contribute both through payroll donations and try to make an additional donation when I re-subscribe each year. It was easy to set up, and I love that fact that my donation goes twice as far towards supporting PBO!



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 June 1, 2015 and September 1, 2016.


Vanguard Charitable Endowment Program


$100,000 & Above

The Wells Fargo Foundation

Bloomberg Philanthropies


Chevron Humankind Matching Gift Program

Grants for the Arts/San Francisco Hotel Tax Fund $75,000—$99,999 The Wallis Foundation

The William & Flora Hewlett Foundation $25,000—$74,999

The Bob Ross Foundation

Adobe Systems Incorporated

IBM Corporation

E. Nakamichi Foundation

Oracle Corporation

Jewish Community Federation & Endowment Fund


Jewish Community Foundation of the East Bay The San Francisco Foundation

Norman Bookstein

Boisset Family Estates Classic Malts


DLA Piper

Fidelity Investments Charitable Gift Fund

Jewish Community Endowment Fund

Goodby, Silverstein & Partners

Ann & Gordon Getty Foundation

Up to $4,999

Bailard, Inc

The Bernard Osher Foundation

California Community Foundation

Jewish Communal Fund

$10,000—$24,999 Bank of America Charitable Gift Fund Bell Investment Advisors Gaia Fund National Endowment for the Arts

Morgan Stanley GIFT

Silicon Valley Community Foundation Wilmington Trust

Ebby St. Pierre Graphic Design KDFC

Nancy Mims, Deliberate Whispers Panoramic Interests

RJ Muna Photography St. Regis Hotel

WineWise, Hiram Simon & Brian Greenwood


Schwab Charitable Fund

Bailard, Inc. Bell Investment Advisors

We gratefully acknowledge the support we receive from:




ARCANGELI ($5,500−$9,999)

Ross E. Armstrong ✢

Carol & Peter Berkenkotter

Gladyne K. Mitchell ✢

Martin & Kathleen Cohn

The Estate of Maxine Rosston

Marie Bertillion Collins & Leonard Collins ▲

Anonymous (1)

Dominique Lahaussois & David Low

Kay Sprinkel Grace ✢

Mark Perry & Melanie Peña

William Lokke ✢ The Marmor Foundation; Drs. Michael & Jane Marmor ♦

The Grace & Laurance Hoagland Fund ✢

Frederick Matteson & Anne Davidson Barr ♦

Claudine Torfs ♦

David Morandi

GUARNERI ($10,000−$14,999) Bonnie & Jim Bell

Susan LeRoy Stewart & Michael Stewart ✢

Jade and Chris Simonson ✢

The Estate of Marie Kieraldo Brian M. Kincaid & Elizabeth C. Theil ✢ Elizabeth Anderson Mayer

Robert Thompson ▲

Anonymous (1) Troy Barbee

Ari & Kristin Baron

Paul and Susan Sugarman Family Philanthropic Fund ♦

Darla & Richard Bastoni ♦

Carol & Douglas Tanner ♦

Don & Joan Beerline ♦

The TL Trust

Nancy & Clayton Bavor ♦ Adam Arthur Bier & Rachel Bier Lem

Donna Williams

Eric Leve

Linda & Paul Swatek

COGNOSCENTI ($1,500−$2,999)

John & Joan Goddard, The Goddard Foundation ▲ Marie & Palmer Hotz

Betty & Jack Schafer ✢

Kathryn & Donley Parmentier ✢ Leonilla & William Perry

Howard Schachman ♦

Paul Wilson

Donald Buhman & Wray Humphrey

AMATI ($3,000−$5,499)

William Bush ✢

Nicholas McGegan & David Bowles ♦

Anonymous (1)

Maxine Risley

Corey & Tim Benjamin ♦

Kyra & Ken Carson ♦

Elizabeth, Kay & Mike Buckley

Ana & Roger Chretien

Sondra & Milton Schlesinger ♦ Jean Shuler ✢

Richard Caplin, M.D. ✢

Mary & Roger Ashley ✢

Christopher & Michael Mele-Wagner ♦

Rebecca Moyle & Tyler Lange

Nicolas Elsishans & Christopher Hayes

Charles Crane ♦

Annelle Clute ♦ Olga Conrad ♦ - 10+ YEARS


Dr. Bill Isenberg and Ruth Isenberg

Sheila & Michael Lagios

Carlene Laughlin

Nancy & Richard Heath ♦

Christina & Kenneth Hecht

Margaret & Edmond Kavounas

Paola & Richard Kulp ✢

Mrs. Jonathan B. Gifford ✢

Charlotte Gaylord & Barrie Cowan ♦

Anne & Jeffrey Katz

Martine Kraus

CHRISTOFORI ($15,000−$24,999)

Jean-Marc Frailong & Richard Halton ♦ Al Garren ✢

The Goodman Family, Supporting Foundation of The Jewish Community Foundation of the East Bay ♦

STRADIVARI ($25,000−$44,999)

Kate & David Gross

Sarah FitzGerald & Quincy Bragg ♦

Anonymous (1)

The Waverley Fund ✢

Norman T. Larson

Lynn Gotchall ♦

Corinne Cooley Derringer ♦

✢ - 20+ YEARS


▲ - 30+ YEARS



WITH GRATITUDE Catherine & D. Michael Enfield ♦

Mr. Theodore Weber, Jr ✢

Ann & Roy G. Hammonds, Jr. ✢

The Rev’d Richard Fabian

Melanie & Ron Wilensky

Georgia Heid & Mary Belle O’Brien ✢

Marta Falicov ✢

Wendy & Mason Willrich ✢

The Estate of James Goodwin

Elinor & Bruce Wilner ✢

Joyce & Douglas Hamilton ✢

Jane & Warren Zuckert ♦

Margaret Hegg ♦

CAMERATA ($650−$1,499)

Susanne Hering & John Phillips ♦ Ian Hinchliffe & Marjorie Shapiro ✢ Steve John & Jason Snyder Marguerite & Marc Kaufman Kathy & Bill Korbholz ✢

Susan & Ernst Hoyer

Robert & Elaine Allen Family Foundation

Robert Jarman Sara Jotoku

Kendall & Claire Allphin

Maureen & David Kennedy ♦

R. Tyler Andersen & Diane Green ✢

Barbara Koepsell ♦

Barbara Barkovich ✢

Janet & Chris Bensick

C.R. Gus Manning & Rena Kirkpatrick ✢ Joan Mansour Rod McChesney ✢

Alice & Richard Kulka Bob Larson ♦ Maribelle and Stephen Leavitt ♦ Kit & Hayne Leland ♦

Mrs. Mary Baxter ✢

Susie & Peter Lynn

Willinda & Peter McCrea

Anonymous (3)

Christine & Jerry Baker ✢

Ellen & Barry Levine ♦

Alison & Peter Hill Silvija & Roger Hoag ✢

Jonathan Arons & Claire Max ♦

Laura Leff Angela Little

Nina Hemenway & Chesley Herbert

Hollis Lenderking ♦

Stephen Bischoff ✢

Claire & Herbert Lindenberger ✢

Marlene Bollhoffer ✢

Carol Lokke ✢

Patricia Bradley

Martha & Arthur Luehrmann ♦

Prudence Breitrose

Josephine Maxon ♦

Barbara & Thomas Metcalf ♦

Ann & Winslow Briggs ✢

Hugh McLean ✢

Mary Anne Miller & James Suekama ✢

Melissa & Richard Bruins ♦

Richard Meiss & Peter Rudy ✢

Tom Lee ✢

Barbara & Lawrence Cahn ♦

Theo & Lisa Melas-Kyriazi

Lynne Carr

Helen & John Meyer

George Cogan

Neanna & Allan Miles ✢

Joan & Edward Conger ♦

Katherine & Bridger Mitchell ♦

Margaret Conkey & Lester Rowntree ♦

Lisa Moresco & Gerry Agosta

Harvey Lynch Grace M. Parr ♦ Phillip Phythian & Ann Hardham ✢ Louise Adler Sampson ✢ Adrienne & Theodore Savetnick ♦ Reed & Barbara Schmidt ✢ Ross Smith ♦ Sylvia J. Spengler ✢ Jonathan Stebbins & Jessica Donovan ✢ Barbara & Gregory Tanaka ✢ Muriel Waller ♦


Glyde Cooper ✢ The Ruth Crosby Fund ♦ John Drago ♦ Paul Feder & Freye Anderson ✢ Jessena Finn ♦ Margaret Garms ♦ Rob & Barbara Grant Bill Gray & Kathy Hibbs Janet & Joseph Grodin ✢


Tina & Stephen Morris ♦ Kurt Mueller-Vollmer Jeanne Newman Janet & Bill Nicholls ✢ Brenda & James Nirenstein ✢ Ellie Nishi ♦ Judith & Stuart Offer ♦ Eileen Peck Stephen Pegors & Trista Berkovitz ♦

WITH GRATITUDE Roseanne & Ray Perman ✢

Janice & William Belmont ✢

Jennifer Finger & Scott Bucey

Heather Preston

Lise Perlman & Peter J. Benvenutti

Mr. & Mrs. Thomas Foote ✢

Helen Berggruen ♦

Julie & Jim Fulford ♦

William Quackenbush ♦ Maureen & Donald Querio ♦

Deana K. & Harvey Freedman ✢

Christel Bieri ♦

William & Ray Riess ✢

Jeanne & Frederick Gabali ✢

Linda Blum

Anmarie Roache

Jici Gao

Fraser Bonnell

Michael Sack ✢

Connie & John Buchanan ✢

Julie & Preston Sargent

Patricia & Richard Campbell ✢

Fritzi & Edgar Schoen ♦

Dr. Bruce & Susan Carter ✢

Sara & John Schram ✢

Dorothy & William Clemens ✢

Michael & Susan Schwartz ✢

Shirley & William George ✢ Betty Gerard ✢ Douglas Giancoli ♦ The Stephen and Margaret Gill Family Foundation Dr. Anna Gonosova ♦

Scott Sochar

Patricia Clemo & Robert Cooley ✢

Marian & Abraham Sofaer

Sheri & George Clyde ✢

Raymond Graf & Ann Kenfield-Graf ♦

John Sommer

Patricia & Peter Coffin

Bernice Greene ✢

Cheri & Burnie Sparks Gayle & George Staehle ✢ David Stein & Bill Stewart ♦

Ms. Dorothy D. Gregor

Emily Gladstone Cole ♦

Andrew Griffin

Michael Condie

BK Moran & Charles Haas

Marion Taylor ✢ Joseph & Donna Terdiman

Robert Cronin

Lava Thomas & Peter Danzig ♦ Ellen & Mike Turbow ✢

Alan Harper & Carol Baird

Jake Heggie

Lloyd Day

Margaret Heineman

Dorothy Dayton

Joan & David Hollinger Arlene & David Holloway ✢ Leila & David Javitch

Jacqueline Desoer Jeanette & Peter Dunckel ✢

Cathe & Gavin Wright ✢

Gina Earle & Thomas Schmidt ♦

Steven A.R. Edwards ✢


Sylvia & Paul Emery ✢

Anonymous (2)

Sue Emmons ♦

Frank Adams & Susan Bryan

Carol Cosman & Robert Alter ♦

Marcia & Richard Baugh ✢

Nancy & Nicholas Haritatos ✢

Susan & Harry Dennis ♦

John and Marilyn Whitcher

Zachary Baker ♦

Ms. Mary H. Hardy

Diane de Forest ♦

Dr. David L. White & Martha Truett ✢

Mary Austin

Carol Handelman ♦

Peter Crabtree & Barbara Ann Beno ✢

Claire Taylor ♦

Shirley Armitano

Forrest Hainline

Jane Coulter ♦

Tricia Tanoury

Beverly Zellick

Michael Colbruno ♦

Robert Cook & Blanca Haendler

Jo Ann Stewart & Judy Nelson ✢

Nancy Hunt Kiesling ♦ Dr. & Mrs. Kiraly ♦

Susan Klee & David Stoloff ✢

Janet Farbstein ♦

Phyllis Koch

David Favrot & Kathi Brown-Favrot

Iris and Hal Korol

Barbara Kosnar & Tom Goldman

Mary Ellen Fine ✢ ✢ - 20+ YEARS

Emily Kenyon & David Lipsky Robert Kidd & Joan Story

Mary & Jurgen Exner ♦


Chrystal & James Kafka ♦ Sheila Keppel ✢

Bette & Bob Epstein

♦ - 10+ YEARS

Andrea Julian ✢


▲ - 30+ YEARS



WITH GRATITUDE Danine & James Langdell ✢

Victor Ninov

Laurie Sizemore

Adelheid & Mark Levi ♦

Carol & Hal Louchheim ✢

Peter Pastreich & Jamie Whittington

Rosemary & Claude Stoller ✢

Francis Lundy ♦

Terry Lynne Pedersen ✢

Clifford Leventhal

Joan Norton ✢

Kirk Patterson ♦

Carolyn & David Lougee ✢

Marion Peleo

Linda & Fred Sondheimer Sarah & Stephen Taber ✢ John Tibbetts & Barbara Bernstein ♦

Robin Perry

Ruth and Alan Tobey, Tobey Fund ♦

Garth McCune ✢

Bernard Peuto

Carl Van Os ✢

Bruce McCoy ♦

Nelson & Linda Polsby ✢

Elizabeth Waller

Richard McKee

Barbara Rauhala

Mr. John McKnight ✢

Kenneth Robin ✢

Mr. William Miranda ✢

Pam & Jim Robson ♦

Julius Moshinsky & Suzanne Renne ▲

Paul J. Schmidt

Alice Nadler ♦

Louise Shalit ✢

Joan & Roger Mann

Suzanne & Stanley Mantell

Sally Marshall

Sandra and George Petty ✢

Jennifer Trainor ♦

Beverly and Fritz Maytag ✢

Naomi & David Pockell ♦

Loekie & Johan Van Proosdij

Kathleen McGreevy ✢

Helen & Dan Quinn ✢

Maura FitzGerald & Tom Walsh ▲

Margaret McKinnon ✢

Nancy Chappell Roberts ✢

Steven Menzel ✢

Scott Robinson ✢

Robert Mison

James Rytuba

Dorothy & Rolf Muller ♦

Mark Schoenrock & Claudia Fenelon

Laurie Nash

Katherine & John Shepard

Bill & Judy Botsford Warren ✢ Ann & Thomas Watrous ✢ Ben & Beth Wegbreit ♦ Evelyn Wegienka ♦ Randy White Mary Wilson

Sarah Young ♦

Suzanne & Michael Ziegler ♦ John Zimmermann & Diana Graham ✢

Donna & Gerald Silverberg

Philharmonia is honored to recognize those gifts made in memory of the following individuals:

Philharmonia is pleased to recognize those gifts made in honor of the following individuals:

Alan J. Bearden

Ida Jean Newton

Caroline Cox

Ethel L. Schachman

Lisa Grodin

Peter Strykers

Paul & Susan Sugarman

Dr. Alan Bradley Robert Fink, M.D. William Forkin Ann Kadyk

Katharine McLean Barbara Morgan

Marian and Shunji Nishi

Ross E. Armstrong

Jonas K. Stern

Nicholas McGegan

Egon von Kaschnitz Don Watson

IN MEMORIAM Philharmonia Baroque Orchestra & Chorale is deeply grateful to Sid Kesav whose work on our telefunding and telemarketing campaigns brought in hundreds of thousands of dollars over the last 15 years. Sid passed away in July 2016. His presence and skillful fundraising and subscription marketing will be sorely missed.




Lisa Grodin conducts the jam session at the 2016 Family Concert


BO’s Education Program has been a leading force in early music education since its inception in 1989, when the Orchestra launched the free “Sounds All Around” residency program in six participating schools. Today’s Education Program continues to enrich the cultural life of the Bay Area and far beyond. In the past six years alone, PBO’s Education Program has reached 31,000 students of all ages in a total of over 275 educational presentations. PBO’s skilled early music specialists—many of whom serve on the faculties of the most highly respected conservatories—offer specialized training to emerging artists and engage students of all ages in programs that will increase their appreciation and understanding of period instrument performance. Indeed, PBO’s musicians keep the Education Program on the cutting edge of contemporary scholarship and musical excellence. A few highlights of the 2016-17 Education Season include: guest artist Robert Levin who will lead a public masterclass at the San Francisco Conservatory of Music; music director Nicholas McGegan and a touring PBO ensemble who will work with students at Harvard University; guest artists Rachel Podger and Jonathan Cohen who will lead the full Orchestra in two specially designed Student Concerts; and so much more.

(For program applications and detailed information about the full season’s offerings, visit www.

UPCOMING 2016-17 SEASON OFFERINGS: Artist Training • Active Learning Presentations • Full Scale Performances Free Public Masterclass: Emerging artist gain one-on-one guidance and helpful critique from one of the world’s master musicians in front of a live audience. Guest Artist Robert Levin is slated to give a masterclass at San Francisco Conservatory at 7:30 p.m. in the Osher Salon on Thursday, October 20, 2016.

STUDENT CONCERTS featuring the full Orchestra Musical Meet-Ups: Baroque Favorites With Rachel Podger Friday, November 4, 2016 11:00 a.m. at Herbst Theatre in San Francisco. Soaring, virtuosic solos and breathtaking ensemble playing are in store as the incomparable Rachel Podger returns by popular



music that continue to excite today’s performers and audiences. (February 6, 13 & 14, 2017)

2016 Student Concert in Palo Alto. demand to lead PBO from her violin in a riveting program of solo violin concertos by Bach and Vivaldi. The Daring and Unexpected: Classics with Jonathan Cohen Friday, March 3, 2017 - 11:00 a.m. - Herbst Theatre, SF. In concert with PBO’s period woodwinds, strings, theorbo, and keyboard players, Jonathan Cohen will tease out the quirks and hijinks, the sublime and the unconventional aspects of composers Zelenka and CPE Bach.

IN-SCHOOL PROGRAMS featuring small ensembles from the Orchestra and Chorale Period Winds Play Historic Pop features a Beethoven-era wind quintet (flute, oboe, clarinet, horn, and bassoon). Students will be treated to the sounds of period crooks, slides, tubing, reeds, and just a few keys when this ensemble of early music experts performs tunes that have remained popular for over two centuries. This program is a must-see for school wind and jazz bands! (October 16-20, 2016) Melody and The Continuo Team: Jammin’ Baroque Style features a baroque style “combo” (violin, cello, and harpsichord). Students will discover just how continuo players (cello and harpsichord) work together when musicians peel back the many “layers” of harmonic and rhythmic foundation upon which the melody rides in baroque style music-in much the same way as the bass and rhythm instruments function in rock, jazz, fusion, and electronic music! (January 17-19, 2017)

Mixing it up Vocally: SATB and Continuo features a lively, dramatic quartet of vocalists representing the soprano, alto, tenor, and baritone sections of PBO’s all-star Chorale. Accompanied by continuo cello and harpsichord (performed by Chorale Director Bruce Lammot!), the singers will perform a variety of popular early repertoire, demonstrate what it takes to deliver ensemble singing at its best, and provide opportunities for the audience to sing along! (March 6-10, 2017)

MOBILE MENTORS Coaches for school orchestras & choruses Specialists from the Orchestra and Chorale coach instrumental or vocal ensembles, including school choruses preparing January auditions for the Junior Bach Festival in March 2017.


PBO reserves a limited number of complimentary tickets to each subscription concert for teachers, students of all ages, and (in the case of minors) parents who participate in our education programs.


PBO offers complimentary season concert tickets to charitable non-profit organizations in an effort to share our music with underserved individuals and families.


The series features lecture demonstrations by PBO instrumentalists, vocalists, and musicologists in adult living communities, community centers, and adult schools. Questions? Feel free to email our Director of Education Lisa Grodin at

Period Strings and Classical Genius features a classical style string quartet (two violins, viola, and cello). Celebrating the creative genius of diverse composers from Europe, Africa, Brazil, and the West Indies, the program traces some of the historic innovations in ensemble and orchestral



Juilliard coaching, November 2015.



Elizabeth Blumenstock baroque violin Elisabeth Reed viola da gamba Corey Jamason harpsichord with guest Tekla Cunningham baroque violin March 2


Sponsored by Philharmonia Baroque Orchestra October 20 Robert Levin fortepiano

Orchestra Concert Telemann “La Bizarre” Telemann “La Changeante” Vivaldi Concerti for Strings in C and A Major Handel Suite for Trumpet and Strings November 13 Handel Atalanta (concert version) March 11 and 12

Sponsored by American Bach Soloists February 3 Tekla Cunningham baroque violin March 13 Steven Lehning violone April 10 Jeffrey Thomas conductor

Baroque Ensemble Concerto competition winners and Telemann’s Les Nations April 15


Purcell Dido and Aeneas (Collaboration with SFCM opera department) April 28 and 30

Corey Jamason and Elisabeth Reed directors Mozart Arias Rarely heard treasures from early Mozart operas accompanied by SFCM fortepiano students November 6



The Role of Jews in Music

from 17th Century Italy to Handel and Beyond

Visit or call Noelle Moss at 415-252-1288 x 314. Sponsored in part by

Handel’s Messiah in Grace


December 14 –16 at 7:30 p.m. Hélène Brunet soprano • Emily Marvosh alto (debut) Derek Chester tenor • Mischa Bouvier baritone American Bach Choir • Jeffrey Thomas conductor (415) 621-7900

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.

Join today! Experience the benefits of an EMA membership. Use the code EMAPHIL20 to receive 20% off new memberships.



Profile for Philharmonia Baroque Orchestra

Philharmonia Baroque Orchestra & Chorale: Program Book October/November /2017  

View the October/November program book for Philharmonia Baroque Orchestra & Chorale's 2016/17 season.

Philharmonia Baroque Orchestra & Chorale: Program Book October/November /2017  

View the October/November program book for Philharmonia Baroque Orchestra & Chorale's 2016/17 season.