philharmonia baroque orchestra - october 2015 program book

NICHOLAS McGEGANWAVERLEY FUND MUSIC DIRECTOR

OCTOBER2015-2016

Island of SanityEnjoy a Classical

PHILHARMONIA BAROQUE ORCHESTRA 5

WHAT’S INSIDE

Messages from the President and Acting Executive Director 6

Board of Directors and Staff 7

About the Music Director 8

About the Orchestra 10

About the Chorale Director 11

Pre-Concert Talks Schedule 12

October 2015 Program 13

Program Notes 14

Guest Artist Biographies 17

The Players and Their Instruments 22

Campaign for the 21st Century 24

With Gratitude 27

Q&A with Steve John and Jason Snyder 34

Student Concerts Break the Mold 36

2015/2016 Education Programs 37

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

Island of SanityEnjoy a Classical

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6 PHILHARMONIA BAROQUE ORCHESTRA

For fans of early music in historically informed performances, these

are indeed “the best of times.” Until the 1970’s, most of us could only dream of attending a performance of Baroque opera in which the male roles were not transposed down an octave

for tenors and baritones. As if any of us would ever have wanted to hear Mozart’s Cherubino or Strauss’s Octavian sung by a baritone! The situation for purely instrumental music was only slightly better. Despite the wealth of material available, we despaired of ever hearing performances of the music from Rameau’s operas. We are fortunate now to be able to hear music by many composers who were just names in books only a few generations ago. And we can now listen to works by such better known composers as Bach, Haydn, Mozart, and Beethoven with new appreciation. Philharmonia was in the forefront in the 1980’s bringing this wonderful music to the attention of audiences, and listeners were amazed and delight-ed to hear some of these pieces for the first time. In addition, many familiar pieces by composers of the Baroque and Classical periods were presented in a way that made them sound more alive and vibrant after the heavy accumulated traditions of previous years had been removed.I have enjoyed many memorable performances by Philharmonia over the years. This year we are pleased to be able to offer an especially exciting number of programs during the upcoming 2015-16 season, in which we celebrate the orchestra’s 35th anniversary, the 30th anniversary of our music director, Nicholas McGegan, and the 20th anniver-sary of our chorale.These musicians have devoted their lives to their profession so that they may bring us performances whose quality cannot be matched anywhere. I want to recognize and thank them for all that they have brought to us during these past 35 seasons. I could not be more proud of the work they do.Presenting this special season has been made possible by the generous support we received from many of you during our recent successful fund raising campaign. You are all a part of what makes this orchestra so great. Thank you for your ongoing support, and enjoy the season!

Ross Armstrong Board President

It is with gratitude and pleasure that I welcome you to the 2015-16 season.

Together with the incred-ible celebration of Nic’s 30th anniversary as music director, we are also toasting the Orchestra’s 35th season and the 20th anniversary of the Philharmonia Chorale. It

is arguably the biggest season in Phiharmonia’s history! I know that many of you have been here since the Orchestra’s inception or when Nic be-gan his tenure, and I can only imagine your pride. Under Nic’s musical leadership, Philharmonia has grown from a regional orchestra to one with a significant international reputation. Our audience is growing throughout the Bay Area and points beyond through our extensive tours, recordings, and education programs. You demonstrated how much Philharmonia means to you and shared your passion by investing in the Campaign for the 21st Century. Because of you, we conclude this effort success-fully and look forward to a future that will allow Nic to carry out his vision. Beginning this season, you will notice that we’ve changed our program books and website. We hope these changes will improve your experience in the concert hall and at home, and that you will be able to share Philharmonia with your friends and family with greater ease. And I invite you to join us in February as we toast Nic, the Orchestra, and Chorale in a special Gala performance with mezzo-soprano Susan Graham and a Gala event at San Francisco’s City Hall. On behalf of the Board of Directors, thank for your being a part of the Philhamonia family.

Courtney Beck Acting Executive Director

FROM the PRESIDENT & EXECUTIVE DIRECTOR


BOARD OF DIRECTORS

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

Members Adam Arthur Bier Courtney Beck, ex-officioMartin Cohn Marie Bertillion Collins Nicolas Elsishans Al Garren* Charlotte Gaylord Katrine Gray Peter Hibbard Steven JohnBrian Kincaid Martine Kraus Carlene Laughlin William Lokke Michael Marmor Fred Matteson Nicholas McGegan, ex-officio Mark Perry Sondra Schlesinger Jason SnyderPaul Sugarman Douglas Tanner Christopher Wagner

*Emeritus

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

STAFF

Artistic Nicholas McGegan, Music Director The Waverley Fund Conductor’s PodiumBruce Lamott, Chorale Director Robert and Laura Cory Chorale Director

Administrative Courtney Beck, Acting Executive Director,

Robert A. Birman Executive Director Chair

David Challinor, Subscription & Patron Services Manager

Sally Galler, Patron Services & Office Coordinator

Myles K. Glancy, Production ManagerLisa Grodin, Director of Education Noelle R. Moss, Director of DevelopmentJeff Phillips, Artistic Administrator Dianne Provenzano, Director of Marketing &

Communications Heli Roiha, Bookkeeper Elizabeth Shribman, General ManagerWilliam Skeen, Orchestra Librarian Rachel Stone, Annual Fund &

Events ManagerPaul Swatek, Director of Finance

Concert Production J. Jeff Badger, House ManagerDavid v.R. Bowles (Swineshead Productions),

Audio EngineerPaolo Brooks, Stage ManagerE. J. Chavez, Stage Equipment CoordinatorThomas Malone, Keyboard TechnicianMicah Standley, Supertitles Operator

BOARD OF DIRECTORS AND STAFF

CONTACT USPhilharmonia Baroque Orchestra

414 Mason Street, Suite 606San Francisco, CA 94102

(415)[email protected]

philharmonia.orgfacebook.com/philharmoniabaroque

twitter.com/philharmoniabar


Celebrating his 30th season at the Philharmonia podium, Nicholas

McGegan — long hailed as “one of the finest baroque conductors of his generation” (London Independent) and “an expert in 18th-century style” (The New Yorker) — is increasingly recognized for his probing and revelatory explorations of music of all periods. He is Music Director of Philharmonia Baroque Orchestra, Principal Guest Conductor of the Pasadena Symphony and, beginning in 2014, Artist in Association with Australia’s Adelaide Symphony.

Through 30 years as its music director, McGegan has estab-lished the San Francisco-based Philharmonia Baroque Orches-tra and Philharmonia Chorale as one of the world’s leading period-performance ensem-bles, with notable appearances at Carnegie Hall, the London Proms, the Amsterdam Concert-gebouw, and the International Handel Festival, Göttingen where he was artistic director from 1991 to 2011. Throughout his career, McGegan has defined an approach to period style that sets the current standard: serious and intelligent, but never dogmatic. More recently, Philharmonia Ba-roque is branching out under his leadership. Calling the group’s recent recording of the Brahms Serenades “a truly treasurable disc,” James R. Oestreich in The New York Times made special

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

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

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

CELEBRATING 30 YEARS

Nicholas McGegan Waverley Fund Music Director


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

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

His discography of more than 100 releases includes the world premiere recording of Handel’s Susanna, which garnered both a Gramophone Award and a GRAMMY® nomination, and recent issues of that composer’s Solomon, Samson and Acis and Galatea (the little-known version adapted by Felix Mendelssohn). He is also credited with the first performance in modern times of Handel’s masterly but mislaid Gloria. Under its own label, Philharmonia Baroque Productions (PBP), Philharmonia Baroque Orchestra has recently released five acclaimed archival recordings in addition to the Brahms: Beethoven’s Symphonies 4 and 7, Berlioz’s Les Nuits d’été and selected Handel arias with the late Lorraine Hunt Lieberson; Haydn Symphonies No. 88, 101 and 104, nominated for a GRAMMY® Award; Vivaldi’s Four Seasons and other concerti with Elizabeth Blumenstock as violin

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

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

Born in England, Nicholas McGegan was educated at Cambridge and Oxford and taught at the Royal College of Music, London. He was made an Officer of the Most Excellent Order of the British Empire (OBE) in the Queen’s Birthday Honours for 2010 “for services to music overseas.” His awards also include the Halle Handel Prize; an honorary professorship at Georg-August University, Göt-tingen; the Order of Merit of the State of Lower Saxony (Germa-ny); the Medal of Honour of the City of Göttingen, an honorary doctorate from the San Francis-co Conservatory of Music, and an official Nicholas McGegan Day, declared by the Mayor of San Francisco in recognition of his distinguished work with Philharmonia.

What Nic’s friends are saying on his 30th anniversary…

“We’ve known Nic for more than 30 years as we had become friends when he was a visiting scholar at Washington University in St. Louis. As microbiologists we realized that his enthusiasm for music is infectious but the symptoms are pleasurable. We have been impressed and amazed by his knowledge of music and history….and we may be the only fans who have attended a concert where he sang.”

— Sondra and Milton Schlesinger

“We always have sat in the front row, and Nic would look at me to check my face to see how I liked it. If I was crying everything was ok. I’ve been just amazed how well he has conducted. So, I’ve always supported him.”

— Peter Strykers, Founding Board

President


Lauded by the New York Times as “America’s leading period instrument ensemble” and celebrating it’s 35th season, Philharmonia

Baroque orchestra has been dedicated to authen-tic performances of Baroque, Classical and early Romantic music on original instruments since its inceptions in 1981. Under the leadership of Music Director Nicholas McGegan, Philharmonia was named Ensemble of the Year by Musical America in 2004. The Orchestra performs an annual subscription season in the San Francisco Bay Area and is regu-larly heard on tour in the United States and around the world. The Orchestra has its own professional chorus, the Philharmonia Chorale, under the leadership of Bruce Lamott. It welcomes eminent guest artists including mezzo-soprano Susan Graham, countertenor David Daniels, fortepianist Emanuel Ax, violinist Rachel Podger, and guest conductors such as Jordi Savall, Masaaki Suzuki, and Trevor Pinnock. Philharmonia’s recent U.S. tour appearances include Lincoln Center’s Mostly Mozart Festival, the Tanglewood Festival, the Ravinia Festival, the Great Performers series at Lincoln Center, the International Chamber Orchestra Festival in Min-nesota, Carnegie Hall in New York, the Festival del Sole in California’s Napa Valley, and Walt Disney Concert Hall in Los Angeles. Internationally, the Orchestra has performed at the BBC Proms in London, Snape Maltings, and the Concertgebouw in Amsterdam. Philharmonia appeared as the fea-tured orchestra at the International Handel Festival in Gottingen, Germany, in 1999, 2001, 2002 and 2005.The Orchestra has had numerous successful collaborations with celebrated composers and choreographers. In November 2006, to mark its 25th season and the 20th anniversary of Nicholas

McGegan’s tenure as music director, Philharmonia premiered its first commissioned work, a one -act opera by Jake Heggie with a libretto by Gene Scheer entitled To Hell and Back. ln collaboration with the Mark Morris Dance Group, Philharmonia gave the U.S. premieres of the highly acclaimed productions of G.F. Handel’s Acis and Galatea, Henry Purcell’s King Arthur, and Jean-Philippe Rameau’s ballet-opera Plaée. Philharmonia has also collaborated with many Bay Area performing arts groups, such as Alonzo King’s LINES Ballet, American Conservarory The-ater, San Francisco Girls Chorus, and Chanticleer. In 2011, Philharmonia launched its own recording label, Philharmonia Baroque Productions. Its first release was an archival performance of mezzo- soprano Lorraine Hunt Lieberson singing Berlioz’s Les Nuits d’ete and Handel arias. Subsequently, its recording of Haydn’s Symphonies No. 104 “London”, No. 88, and No. 101 “The Clock” was nominated for a GRAMMY® Award for Best Orchestral Performance. Recent releases include highlights from Handel’s Teseo and three Haydn symphonies, Nos. 57, 67, and 68. Prior to the launch of Philharmonia Baroque Productions, the Orchestra made 32 highly praised recordings for harmonia mundi, Reference Recordings, and BMG. Its recording of the Handel oratorio Susanna received a GRAMMY nomination and a 1991 Gramophone Magazine Award for the best Baroque vocal recording. Classical KDFC continues to broadcast unreleased Philharmonia concert recordings the second Sunday of every month from 8 - 9 PM. KDFC is the radio home of Philharmonia Baroque Orchestra.Philharmonia Baroque Orchestra was founded by harpsichordist and early music pioneer Laurette Goldberg.

ABOUT PHILHARMONIA BAROQUE ORCHESTRA


Bruce Lamott has been director of the Philharmonia Chorale since 1997 and is Philharmonia Baroque Orchestra’s current

Scholar-in-Residence. He first performed with the Orchestra in 1989 as continuo harpsichordist for Handel’s Giustino.Lamott was previously the director of choruses and conductor of the Mission Candlelight Concerts at the Carmel Bach Festival, where his 30-year tenure also included performing as a harpsichordist and presenting as a lecturer and education director. In eight seasons as choral director and assistant conductor of the Sacramento Symphony, he con-ducted annual choral concerts of major symphonic choral works, including both Bach Passion settings, Haydn’s The Seasons, and Stravinsky’s Symphony of Psalms, as well as preparing the symphony chorus for their subscription season.Lamott received a bachelor’s degree from Lewis and Clark College, and an M.A. and Ph.D. in musicology from Stanford, where he researched keyboard improvisation practices of the Baroque period. His teaching career began on the musicol-ogy faculty at UC Davis, where he also directed the Early Music Ensemble. He lives in San Francisco with his husband, Kip Cranna, dramaturg of the San Francisco Opera, and teaches music history

and conducts the choirs and chamber orchestra at San Francisco University High School. As a part-time professor of music history at the San Francis-co Conservatory of Music since 2001, he special-izes in the vocal and instrumental repertoire of the 18th century. In his opera-related activities, Lamott teaches continuo realization for San Francisco Opera’s Merola Opera Program and lectures for the Opera’s education program and Opera Guild.

ABOUT CHORALE DIRECTOR BRUCE LAMOTT

Nicholas McGegan’s 30th Anniversary Tour Dates

February 12, 2016 | Mondavi Center, Davis CAFebruary 14, 2016 | Green Music Center, Rohnert Park CAFebruary 16, 2016 | Krannert Center, Urbana ILMay 6, 2016 | Carnegie Hall, New York NY May 10, 2016 | Philharmonic Society, Orange County CAMay 11, 2016 | Walt Disney Concert Hall, Los Angeles CAMay 14, 2016 | Green Music Center, Rohnert Park CAMay 17, 2016 | Club musical de Québec, Canada May 18, 2016 | Montreal Arte Musica, Canada

If you would like to join us on tour, please contact Noelle Moss at (415) 252-1288 x 314 or [email protected]

Join us on Tour!


PRELUDESPRE-CONCERT TALKS

Philharmonia Baroque Orchestra is pleased to present Pre-Concert Talks. These informal discussions take place forty-five minutes before each concert performance. They are free to all ticket-holders and are designed to enrich the concert experience with thoughtful insights from Nic McGegan, guest art-ists, musicians, scholars and speakers from the world of classical music. We invite ticket-holders to join us for all Pre-Concert Talks throughout the season.

SCARLATTI’S THE GLORY OF SPRING

October 4, 6:45 pmFirst Congregational Church, BerkeleyMusicologist and Alessandro Scarlatti scholar Benedikt Poensgen will join Philharmonia Board President Ross Armstrong on stage to discuss his discovery of The Glory of Spring and the challenges and rewards involved in presenting this masterwork today.

October 7, 6:45 pmBing Concert Hall, Palo AltoRachael Myrow, KQED Silicon Valley correspondent, will chat with Nic about his 30th anniversary and the significance of performing The Glory of Spring during this milestone anniversary.

October 9, 7:15 pmHerbst Theatre, San FranciscoBill Lueth, president of listener-supported KDFC radio, will talk with Nic McGegan about his 30 year career at the Philharmonia podium, the return to Herbst Theatre and the historic debut of The Glory of Spring.

October 10, 7:15 pmFirst Congregational Church, BerkeleyBruce Lamott, Philharmonia Chorale Director and Scholar-in-Residence, will share insights about the history of Scarlatti’s lost masterpiece—why it was written and how it was forgotten—until today.


2015-2016 · 35TH SEASONNicholas McGegan, conductorSuzana Ograjenšek, sopranoDiana Moore, mezzo-soprano

Clint van der Linde, countertenorNicholas Phan, tenor

Douglas Williams, baritoneMembers of the Philharmonia Chorale

PROGRAMAlessandro Scarlatti (1660-1725)

La Gloria di Primavera

Parte Prima

INTERMISSION

Seconda Parte

Sunday, October 4, 7:30 PM First Congregational Church, Berkeley Wednesday, October 7, 7:30 PM Bing Concert Hall, Stanford Friday, October 9, 8:00 PM Herbst Theatre, San Francisco Saturday, October 10, 8:00 PM First Congregational Church, Berkeley

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

The Ross E. Armstrong Baroque Vocal Works Fund Nicolas Elsishans & Christopher Hayes - October 9

Paul & Susan Sugarman - October 10

The October 4 performance is dedicated to the memory of Jim Risley. The October 10 performance is dedicated to the memory of Dr. Jonas (Jay) K. Stern.

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.


A lot was riding on the shoulders of baby Archduke Leopold at his birth on April 13, 1716. He was the male heir so fervently

wished for by his father, Charles VI, Holy Roman Emperor, to continue the Hapsburg dynasty in Austria and prevent another brutal war of succession such as that just concluded over the throne of Spain. In 1700 his unfortunate rela-tive Charles II of Spain died heirless, and when Charles attempted to claim his kingdom, he pre-cipitated a costly war with France, known as the War of the Spanish Succession. Although he lost Spain to Philip of Anjou, grandson of Louis XIV, Charles VI received a consolation prize in the Treaty of Utrecht (1713) consisting of a package of the regions of Milan, Sardinia, the Austrian Netherlands, and the Kingdom of Naples. It was expedient therefore, for the Neapolitan Prince Gaetano d’Aragona and his culture-loving wife, Aurora Sanseverino, to host an opulent celebration in Naples honoring the newborn heir of their newly acquired sovereign. They commissioned their court composer, Alessandro Scarlatti, already Europe’s foremost composer of Italian serious opera (opera seria), to compose a grand serenata on a text by Aurora’s private secretary, the Abbate Nicolo Giovo. Scarcely a month passed between the noble birth and the premiere of this work, La Gloria di Primavera on May 19, 1716, a remarkable feat of musical production comparable to Handel’s 28-day composition of Messiah. The cast of superstars, the complex orchestration, and the scope of this composition all confirm that the Neapolitans spared no expense in producing this sumptuous work.While the genre of serenata (an extended multi-movement work written for one-off occa-sions such as marriages and birthdays) may be less familiar than opera seria, the forms are near-ly identical. Secco recitatives, accompanied only by harpsichord, lutes (theorbos), and cello, intro-duce most of the arias. Jove, however, appropri-ate to his station, sings recitative accompanied by the orchestra, providing a “halo” of harmony that underscores the profundity and significance of his character (just as Bach does for Jesus in the St. Matthew Passion). The arias themselves are cast in the form known as the da capo aria. Two sentences (A and B) are sung with considerable repetition of text,

with introductions and interludes (known as ritornellos) played by the orchestra. The notation da capo (literally, “from the top”) appears at the end of sentence B, instructing the performers to repeat the A section once more, creating a sym-metrical A-B-A form; this repetition also allows the performers the opportunity to improvise ornamental riffs on the original melody. La Gloria has but one duet (No. 48), but a number of cori (not choruses per se, but an ensemble of the principal characters sometimes supplemented by additional voices) articulate sections of the libretto. While the performance of some serenatas may have been stand-and-sing affairs much like oratorios, we know that the performance of La Gloria featured sumptuous sets and costumes by Christoforo Schor and probably one special effect with stage action. Jove would likely have descended from the stage rigging in a cloud machine, literally a deus ex machina. One could ask why the noble patrons—knowing that infant mortality among the inbred Haps-burgs was unusually high—might not have waited until the newborn emperor-elect was more than a month old to celebrate his birth in such an extravagant fashion. However, this work is as much a celebration of Austrian hegemony as it is

PROGRAM NOTES for ALESSANDRO SCARLATTI,LA GLORIA DI PRIMAVERA

BRUCE LAMOTT

Alessandro Scarlatti


a birthday tribute. We may never know which of the Hapsburg nobility, if any, were in attendance at its only performances in Naples, or what dis-patch the royal family may have received about it, but it seems likely that Prince Gaetano and Aurora stood to gain favor with their new rulers in Vienna. Unfortunately, the life of this extraordinary work runs parallel to that of its dedicatee. Just months after the premiere, on November 4, the cele-brated infant died. Eventually, upon the death of his father, this would cause his younger sister, Maria Theresa, to have to defend her right to the imperial throne against the whole of continental Europe in another bloody war, the War of the Austrian Succession. The first audience of La Gloria was so taken by it that after its premiere on May 19, 1716, it had to be performed twice again, a rare occurrence for such occasional works. But thereafter, the work has been neither edited nor performed until now. The individual movements may be organized thematically into a series of scenes.Part IIntroduction and Nos. 1-11. Celebration of the Noble BirthNos. 12-19. Reflections on the Past (War) and Present (Peace)No. 20-21. Proposal of the Contest and the Invocation of JovePart IIIntroduction and Nos. 22-24. Further Invocation and Arrival of JoveNos. 25-30. In Praise of JoveNos. 31-40. The Contest of the SeasonsNos. 41-44. Resolution of the ContestNos. 45-56. Benedictions for the Future EmpireSynopsis. Part One. Receiving the joyful news of the newborn heir, each of the four seasons reflects on the significance of this noble birth to the Austrian (aka Holy Roman) Empire. Spring (Primavera), Summer (Estate), Autumn (Autunno), and Winter (Inverno) in turn sing a recitative and aria describing imperial symbols such as the eagle and the Danube, emblematic of what Spring describes as “we, the storied elect.” A second cycle of arias is introduced with recita-tives on a poetic juxtaposition of “then and now” (in Italian, or and già) contrasting the horrors of the recently ended War of the Spanish Succes-sion, personified by the Roman goddess of war

Bellona, with the pleasures and serenity of the ensuing peace, historically known as the Peace of Utrecht. However, when Spring audaciously claims higher honors than the rest owing to the date of the royal birth, the other seasons take exception, and all agree to invoke Jove to be their judge. Part Two. A solemn invocation greets the arrival of Jove, and Spring sums up for him the argu-ments of her rivals: of Summer for the child’s conception, Autumn for the fecundity of “the Imperial breast,” Winter for the growing strength in the womb, and Spring herself takes credit (again) for the child’s birth. Each season, in that order, then makes their claim by amplifying these themes with a recitative and aria, leaving Spring last up to win over the already biased Jove with a double play: an aria both evoking the song of a nightingale and sung in the seduc-tive rhythm of a siciliana. The predictable out-come is accepted by the other seasons without protest. The remainder of the work consists of benedictions from each season on the newborn and his role in the Empire, a return to the textual themes of the opening scene: a continuation of the Hapsburg line, immortality, and protection from threats against the Empire (specifically Ot-tomans, Thracians, Asians, and Anatolian Turks). Jove gets the final word, claiming the infant as his spiritual son, and all proclaim the return of a beautiful Age of Gold ( Ò bell’età d’oro). The musical richness of the piece reflects the virtuoso cast at Scarlatti’s disposal. The role of Primavera (Spring) was sung by the soprano cas-trato Matteo Sassano, nicknamed “the nightin-gale of Naples” (il rosignuolo di Napoli); whether his nightingale aria in Part Two was a response to this reputation or vice-versa remains uncer-tain. Estate (Summer) was sung by Margherita Durastanti, later to be known for her numerous roles as a leading lady (and leading man) in Handel’s operas at the London’s Royal Academy in the 1720’s. Whoever was cast in the bass role of Giove (Jove) must have been singer of excep-tional technique and extraordinary range, ex-ploited by Scarlatti with downward and upward leaps by as much as an octave and a half. As in opera seria, the roles are ranked in a hierarchy. The arias for the title role, Primavera (Spring), are the most numerous and multi-facet-ed, ranging from jaunty (No. 3) to virtuosic (No. 30) to poignant and affective (No. 52). Because this traditionally feminine role was being sung by a leading man (primo uomo), the role of Estate

PROGRAM NOTES


(Summer) is technically speaking the prima don-na. Though appearing in the score as “Soprano II” in the ensembles, her lines are consistently higher than Primavera and exploit Durasanti’s expressive coloratura (No. 5) and affective range from pathos (No. 15) to delight (No. 34). Au-tunno (Autumn) is a more dramatic role clearly written for a alto with an agile technique (No. 36), power (No. 50), and plangent expression (No. 17). While we might expect a blustery bass to be singing Inverno (Winter), Scarlatti cast the tenor Gaetano Borghi in the role, filling his arias with dramatically powerful coloraturas (No. 9, 19) sometimes extended to exhaustive lengths (No. 46). Though he appears only in Part II, Giove (Jove) is god of considerable personality, first singing in the pompous dotted rhythms of the French overture (No. 26) and making pronouncements in accompanied recitatives. His second aria (No. 32), however, is an intimate aria di cantabile in which his voice breaks with expressive sighs (suspirans). He becomes even less god-like in his scherzo-like final aria (No. 42), conveying a mood that is, well, downright jovial. The orchestral writing is colorful and varied. The imperial significance of the noble birth is announced in the Introduzione to Part I by a pair of trumpets followed by a flurry of string fanfares and passagework, juxtaposed with a trio of two oboes and bassoon in the style of a concerto grosso. This scoring recurs in the final movement (No. 54) with the addition of tutti and solo vocal lines. The single duet (No. 48) is given a singular scoring of five-part strings set in lines for unison violins, violas, two independent cello parts—each with its own lute and figured bass, and a third continuo group of harpsichord and bass. In contrast to the complexity of these movements, a simple two-line texture of both violin and oboe parts in unison against the bass engage in a witty dialogue with Jove’s syncopated vocal line (a style known as alla zoppa) (No. 42).A particular characteristic of Scarlatti’s vocal writ-ing often occurs in the arias. While the orchestral ritornellos are played by all of the instruments of the basso continuo section (cello, bassoon, bass, harpsichord, lute), when the voice enters the harpsichord and bass drop out, leaving the lowest sounding string part in either the cello or viola; such a passage, called a bassetto, creates a sense of string sonority floating under and around the vocal line, absent the depth of the bass and percussive harmony of the harpsi-chord.

Allusions to nature abound in this musical land-scape of imperial Austria. The Danube winds around the feet of the newborn archduke in Autumn’s first aria (no. 7). Leaping octaves depict rays of sunlight in Summer (No. 15), and flashes of descending scales (tiratas) and spiky arpeg-gios conjure Winter’s storm (No. 19). Gently cascading violins and divided violas accompany Autumn’s description of rivers set free from icy obstruction (No. 17), and Spring’s vocal acrobat-ics conjures the fury of a shipwreck tossed in a tempest (No. 30). Pastoral images are created by two oboes in Spring’s nightingale aria (No. 40) and the solo flute which twitters among whis-pering trees and grasses described by Summer (No. 54). A particularly appealing image is Scarlatti’s frequent use of a musical “topic” known as zefiro (zephyr), used to represent breezes, fountains, and streams through the undulation of parallel thirds or sixths in wavelike repetitions over a slowly moving bass (nos. 7, 11, 17, 54). This un-derscores the repeated theme of peace that has now come to the Empire. The opposite effect is created by bombilans, rapidly repeated notes in the trumpets and strings used for agitation, especially of military themes (No. 50). You are among the first audiences to hear the wonders of La Gloria di Primavera in nearly 300 years. Philharmonia’s subsequent recording of this work will make another significant contribu-tion to the known Scarlatti repertoire, just as we have done with his Vespers of St. Cecilia. This is not a peripheral work by some second-tier com-poser, but a major masterwork by a giant of the Baroque period at the top of his game. That Scarlatti could have created such an elaborate and substantive work without visiting it again in the nine years remaining before his death in 1725 attests to the fecundity of his talent. Had he been given the opportunity to repurpose his serenata for the nativity of the archduke into an oratorio on the nativity of Christ--as Handel would surely have done--the extraordinary music of La Gloria di Primavera might not have had to wait for Philharmonia to bring it once again to the attention of the public.Bruce LamottAuthor’s Note: I am indebted to the research of Prof. Benedikt Poensgen, both for his edition of the work and for his informative introduction to the details of its creation.

PROGRAM NOTES


NICHOLAS PHANTENOR

This season, American tenor Nicholas Phan performs the roles of Inverno in the Amer-ican premiere of Alessandro Scarlatti’s La

gloria di primavera with Philharmonia Baroque and Tamino in Mozart’s Magic Flute with Boston Baroque. He will also sing both the tenor arias and Evangelist on a tour of Bach’s St. John Passion with Apollo’s Fire and the Evangelist in Bach’s St. Matthew Passion with the Strasbourg Philharmonic. As Artistic Director of Collabora-tive Arts Institute of Chicago, he will both curate and perform in the organization’s fourth annual Collaborative Works Festival. Other highlights this season include solo recitals at the Library of Congress in Washington, DC and the Green Mu-sic Center in Sonoma; returns to the Dallas and Kansas City Symphonies; a return to Da Camera of Houston and his debut with the Chamber Music Society of Lincoln Center.

Mr. Phan has appeared with many of the lead-ing orchestras in North America and Europe, including the New York Philharmonic, Boston Symphony, Chicago Symphony, San Francisco Symphony, Los Angeles Philharmonic, Cleveland Orchestra, Philadelphia Orchestra, BBC Sym-phony, and the English Chamber Orchestra. He toured extensively throughout the major concert halls of Europe with Il Complesso Barocco and appeared with the Edinburgh, Ravinia, Rheingau, Tanglewood and Marlboro music festivals, and at the BBC Proms. In opera, he has appeared with the LA Opera, Houston Grand Opera, Seattle Opera, Glyndebourne Opera, Frankfurt Opera, and the Maggio Musicale in Florence. In recital, he has been presented by Carnegie Hall, the Metropolitan Museum of Art, the Philadel-phia Chamber Music Society, Boston’s Celebrity Series, and Atlanta’s Spivey Hall. He is also a founder and the Artistic Director of Collabora-tive Arts Institute of Chicago, an organization devoted to promoting the art song and vocal chamber music repertoire.

Mr. Phan’s most recent solo album, A Painted Tale was released on Avie Records in February of 2015. His previous solo album, Still Falls the Rain (Avie), was named one of the best classical recordings of 2012 by The New York Times. His growing discography also includes the Gram-my-nominated recording of Stravinsky’s Pulcinel-la with Pierre Boulez and the Chicago Symphony Orchestra (CSO Resound), his debut solo album, Winter Words (Avie), the opera L’Olimpiade with the Venice Baroque Orchestra (Naïve), and the world premiere recording of Elliott Carter’s orchestral song cycle, A Sunbeam’s Architecture (NMC).

GUEST ARTIST BIOGRAPHIESH

ENRY D

OM

BEY


DIANA MOOREMEZZO-SOPRANO

English mezzo-soprano Diana Moore is being

lauded on both sides of the Atlantic for her “emotional depth”

(The Guardian), “thrilling” technical bravura (Gramophone), and “rich, evocative sound” (San Francisco Chronicle). She enjoys a varied international career of opera, oratorio, and concert performances, and is a popular recitalist.Recent and upcoming engagements include Elgar’s The Dream of Gerontius at Royal Albert Hall; Scarlatti’s La gloria di primavera with Philharmonia Baroque Orchestra; the title role in Rinaldo at the National Theatre in Prague; and Mendelssohn’s Elijah at Barbican Centre.Because of her graceful stature she is in de-mand for many trouser roles, including the title character in Rinaldo (Göttingen International Handel Festival, Flanders Opera, VlaamseOper, the National Theatre in Prague, and Opera de Versailles); “Sesto” in Giulio Cesare (Göttingen); “Armindo” in Partenope with the Early Opera Company; and “Medoro” in Handel’s Orlando, a role she had toured with the Philharmonia Baroque Orchestra and Nicholas McGegan to the Ravinia Festival, Lincoln Center, and the Tan-glewood Festival. Other operatic roles include “Penelope” in Monteverdi’s Il Ritorno d’Ulisse for the Aldeburgh Festival and “Dido” in Dido and Aeneas for The Early Opera Company.Ms. Moore’s vocal quality and training place her firmly within the fine tradition of English mezzo-sopranos. She is known as a leading exponent of English song. For the centennial of Kathleen Ferrier’s birth, she devised the critically acclaimed A Celebration of Kathleen Ferri-er—Her Life, Letters & Music, which has been endorsed by the Kathleen Ferrier Society and presented at several major venues.Visit Diana Moore at www.dianamoore.co.uk | schwalbeandpartners.com/diana-moore-mezzo-soprano

SUZANA OGRAJENŠEKSOPRANO

Slovene soprano Suzana Ograjenšek was educated at

Universities of Ljubljana and Cambridge. She currently studies singing with Diane Forlano and Joy Mammen and has worked extensively in Baroque repertoire. In 2008 she sang at the Aix-en-Provence Festival in Purcell’s The Fairy Queen conducted by William Christie, and in the season 2009-2010 she made her operatic debut as Angel in Handel’s Jephtha at the Opéra National du Rhin in Strasbourg with Ivor Bolton and the Freiburger Barockorchester. In 2009-10 she was Valletto in Monteverdi’s L’incoronazione di Poppea with William Christie at Teatro Real in Madrid, and she reprised her role of Angel in Jephtha at the Opéra National du Bordeaux with Jane Glover. This was followed by the roles of Ninfa and Proserpina in Monteverdi’s Orfeo conducted by Ivor Bolton at Theater an der Wien in 2011-12.Other operatic roles include Romilda in Handel’s Xerxes, Messaggiera in Monteverdi’s Orfeo (both for the Fitzwilliam Chamber Opera), and the title role in Domenico Scarlatti’s La Dirindina. Concert engagements have featured work with Christo-pher Hogwood (Purcell odes) and Ivor Bolton (Handel’s L’Allegro at the Lufthansa Festival of Baroque Music) as well as appearances with the RTV Slovenia Symphony Orchestra, most recently in a concert of Mozart’s operatic arias. She took part in the Maribor – European Capital of Culture 2012, in Pergolesi’s Stabat Mater with Simon Dvoršak and the Orchestra of the House of Culture Celje. Recent concert work also in-cludes Bach’s B-Minor Mass, Handel’s Foundling Hospital Anthem, Ode for St Cecilia’s Day and Salve Regina, Vivaldi’s Gloria and motetto Nulla in mondo pax sincera, Haydn’s Nelson Mass, Vaughan Williams’ Serenade to Music and Dona nobis pacem, and Faure’s Requiem.Ms Ograjenšek is the founder of the Baroque En-semble La Falsirena. Their performances with the programme of Handel’s Arcadian continuo can-tatas at the Brežice Festival in 2007 were highly acclaimed. This concert tour also took them

GUEST ARTIST BIOGRAPHIES

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DOUGLAS WILLIAMSBASS-BARITONE

The gifted young bass-bari-tone Douglas

Williams” (The New York Times) combines a “for-

midable stage presence” (Seattle Times) with “a bass voice of splendid solidity” (Music Web International), making him one of the most appealing singing actors of his generation. He has collaborated with leading conductors including Nicholas McGegan, Helmut Rilling, Sir Neville Marriner, John Nelson, and Christoph Rousset, in such prestigious venues as Lincoln Center, the Kennedy Center, Stuttgart’s Mozart-Saal, and the Frankfurt Alte Oper.Douglas was highly acclaimed as “Polyphemus” in the world premiere Mark Morris Dance Group production of Handel’s Acis and Galatea, and he performs the role this fall with Boston Early Music Festival. A recording with the group will be released in 2015. Other recent appearances include “Laurence” in Grétry’s Le Magnifique with Opera Lafayette (recorded for Naxos) and “Aeneas” in Dido and Aeneas with the Boston Early Music Festival. His recording of Charpenti-er’s La Descente d’Orphée aux Enfers with BEMF won the 2015 Grammy Award for Best Opera Recording.Mr. Williams’ “superb sense of drama” (The New York Times) is as apparent on the concert stage as it is in opera. Concert highlights include a performance at Carnegie Hall with James Levine and the MET Chamber Ensemble of Charles Wuorinen’s It Happens Like This; Handel’s Mes-siah with the Detroit and Houston Symphony Orchestras; Beethoven’s Missa Solemnis with the Cathedral Choral Society; Elgar’s Dream of Gerontius with New Haven Symphony, and Bach’s St. John Passion with Les Talens Lyriques.His 2015-2016 season features performances and a new recording of Scarlatti’s La Gloria di primavera with conductor Nicholas McGegan and the Philharmonia Baroque Orchestra and a reprisal of his role of “Caronte” in Monteverdi’s Orfeo with the dance company Sasha Waltz & Guests in Berlin, Bergen, and Baden-Baden and Opera Lille in France.


the Handel House in London and other UK venues. In 2008, the Ensemble took part in the ‘Handel and the Divas’ exhibition at the Handel House in London with the programme of arias written for Handel’s diva Francesca Cuzzoni. In 2009 the trio performed at the London Handel Festival. Ms Ograjenšek’s chamber repertoire also features collaboration with the Fitzwilliam String Quartet, with whom she has performed both classical and contemporary repertoire. Notable is their appearance at the Brežice Festival in 2009 with a programme of Haydn’s English songs and Lieder in arrangements for soprano and string quartet.Discography includes the DVD of the Madrid production of Monteverdi’s Poppea with Les Arts Florissants on Virgin Classics, J.K. Dolar’s Miserere with the RTV Slovenia Symphony Orchestra on the RTV Slovenia record label, and Festival Brežice 2009 Highlights with The Fitzwilliam String Quartet featuring their live performance. Recording credits further include Arte TV France (Strasbourg Jephtha), Radio France (Aix The Fairy Queen, Poppea with Les Arts Florissants at Salle Pleyel), Radio Spain (Madrid Poppea); Radio Slovenia (concerts with the Radio Slovenia Symphony Orchestra), Television Slovenia (concerts with the Radio Slovenia Symphony Orchestra and Handel’s Italian cantatas with La Falsirena). In addition, she recently recorded a repertoire of Slovene songs and German Lieder by Slovene compos-er Risto Savin for the Radio Slovenia Archive. Ms Ograjenšek is a winner of the Williamson Prize for Musical Performance in Cambridge. She is editing Il pastor fido for the Hallische Händel-Ausgabe.Forthcoming engagements include Gluck’s Armide at the Nederlandse Opera under the baton of Ivor Bolton, and Monteverdi’s Il combattimento di Tancredi et Clorinda with Empyrean Ensemble at Mondavi Center and Montalvo Arts Center in California.

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CLINT VAN DER LINDECOUNTER TENOR

Born in South Africa, Clint van der Linde started singing at the

Drakensburg Boys’ Choir School at age ten. As a boy soprano soloist he performed with most of the major orchestras in South Africa. In 1996 he was offered an Inter-national Scholarship to spend a year at Eton College, during which time he was also offered the Queen Mother Scholarship for a four-year degree at London’s Royal College of Music. In 1998 Clint won first prize in the Kathleen Ferrier Society Bursary for Young Singers. After complet-ing his degree in 2001, he was offered a Martin Harris Scholarship to complete his post-graduate diploma course. During his studies, Clint had master classes with Roger Vignoles, Sarah Walker, Michael Chance, James Bowman, and Anthony Rolfe Johnson. He has worked as soloist with major orchestras throughout the world, including Il Fondamen-to, the Hanover Band, the Israel Camerata, the King’s Consort, the London Handel Orchestra, Le Musiche Nove, the Orchestra of the Age of Enlightenment, the Royal Philharmonic Orches-tra, the Salzburg Camerata, and the Stuttgart Baroque Orchestra. Conductors with whom he

has appeared include Frieder Bernius, Gerard Korsten, Nicholas Kraemer, Sir Roger Norrington, Claudio Osele, Peter Schreier, and Jan Willem de Vriend. He has appeared in recital at the Kissing-er Sommer Festspiel and sung Pergolesi’s Stabat Mater with Christiane Oelze in Bad Reichenhall. At the RCM, Clint van der Linde's repertoire in-cluded Oberon in A Midsummer Night's Dream, and such Handel roles as the title characters in Flavio, Lotario, and Ottone, and Judas in Brockes Passion. He has repeated the role of Oberon at the Royal Danish Opera, and his operatic repertoire also included Fernando in Conti's Don Chisciotte in Sierra Morena with Musikwerkstatt Wien, Dardanus in Handel’s Amadigi di Gaula with Berlin’s Der Lautten Compageney, Narciso in Agrippina with the Combattimento Consort, and the Guardian of the Threshold in Die Frau ohne Schatten at La Monnaie. Clint made his Edinburgh International Festival debut singing the title role in Rinaldo with Bach Collegium Japan under the direction of Masaaki Suzuki. Other recent engagements include the ti-tle roles in Flavio and Tolomeo for English Touring Opera, Andronico in Tamerlano at the Gottingen Festival, a recording of Bach’s B Minor Mass with the Rodolfus Choir, the St. John Passion with Po-lyphony and the Academy of Ancient Music, and Bach cantatas with Le Concert Michel in Luxem-bourg, Messiah with the Bach Collegium Japan conducted by Masaaki Suzuki, and with the Mel-bourne Symphony Orchestra and Queensland Orchestra conducted by Stephen Layton.

Pick up our latest CD tonight

HAYDNSymphonies

Nos. 57, 67 and 68Nicholas McGegan, conductor

Philharmonia Baroque Orchestra

Also available at www.philharmonia.org, iTunes, Amazon, and HDTracks


Two Magnificent Oratorios

Two Magnificent Venues

Bach’s “Christmas Oratorio” in Saint Ignatius ChurchSaturday December 12 2015 7:30 pm

Handel’s Messiah in Grace CathedralWednesday December 16 2015 7:30 pmThursday December 17 2015 7:30 pmFriday December 18 2015 7:30 pm

Hélène Brunet soprano ~ Agnes Vojtko altoKyle Stegall tenor ~ Jesse Blumberg bassAmerican Bach Soloists & ChoirJeffrey Thomas conductor

americanbach.org (415) 621-7900


VIOLINLisa Weiss, concertmasterAnonymous, London; after TestoreEgon & Joan von Kaschnitz Concertmaster Chair

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

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

Lisa GrodinPaulo Antonio Testore, Contrada, Larga di Milano, Italy, 1736

Katherine Kyme †Carlo Antonio Testore, Milan, Italy, 1720

Tyler LewisTimothy Johnson, Hewitt, Texas, 2009; after A. Stradivari

Carla MooreJohann Georg Thir, Vienna, Austria, 1754

Maxine NemerovskiTimothy Johnson, Bloomington, Indiana, 1999; after A. Stradivari

Sandra SchwarzRowland Ross, Portsmouth, England, 1987; after A. Stradivari

Noah StrickCelia Bridges, Cologne, Germany, 1988

Gabrielle WunschLorenzo Carcassi, Florence, Italy; 1765

Alicia YangRichard Duke, London, 1762

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

Maria Ionia CaswellAnonymous, Mittenwald, c. 1800

Ellie NishiAnonymous, Germany, 18th Century

Aaron WestmanDmitry Badiarov, Brussels, Belgium, 2003

VIOLONCELLOWilliam Skeen *Anonymous, Northern Italy, c. 1680

Phoebe CarraiAnonymous, Italy, c. 1690Zheng Cao Memorial Cello Chair

Paul HaleJoseph Grubaugh & Sigrun Seifert, Petalu-ma, 1988; after A. StradivariOsher Cello Chair Endowment

Robert HowardAnonymous, Venice, 1750

DOUBLE BASSKristin Zoernig *Joseph Wrent, Rotterdam, Holland, 1648

Timothy SpearsAnonymous, Germany

FLUTE

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

THE PLAYERS and THEIR INSTRUMENTSOCTOBER 2015

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


OBOEMarc Schachman *H.A. Vas Dias, Decatur, Georgia, 2001; afterT. Stanesby, England, c. 1710Claire Frieman Kivelson and Irene ValenteAngstadt Memorial Principal Oboe Chair

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

Michael DuPreeH. A. Vas Dias, Decatur, Georgia, 1995; after T. Stanesby, England, c. 1700

Stephen BardJoel Robinson, New York, 2003; after Saxon models, c. 1720

BASSOONAndrew Schwartz *Guntram Wolf, Kronach, Germany, 2008

Kate van OrdenPeter de Koningh, Hall, Holland, 1978; after Prudent, Paris, France, c. 1760

TRUMPETJohn Thiessen *Rainer Egger, Basel, Switzerland, 2003; after Ehe, 1746

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

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

Daniel ZuluagaLars Jönsson, Dalarö, Sweden, 2003

HARPSICHORDHanneke van Proosdij *John Phillips, Berkeley, 1993; Italian harpsi-chord after 18th century Florentine proto-types; generously lent by John Phillips

Nicholas McGeganJohn Phillips, Berkeley, 1996; after Giusti, Italy, 17th century

* Principal† Principal 2nd Violin

PERFORMING MEMBERS of the PHILHARMONIA CHORALE

Heidi Waterman, soprano Jennifer Ashworth, soprano

Katherine McKee, alto David Kurtenbach, tenor

John Bischoff, bass

THE PLAYERS and THEIR INSTRUMENTSOCTOBER 2015


Dear Friends,I am delighted to let you know that, thanks to the exceptional gener-osity of subscribers and friends like you, Philharmonia has successfully completed its $8 million Campaign for the 21st Century.Thank you so much for making Philharmonia a priority in your life. It is an important priority in mine, too. As a member of the Philharmonia family for more than 30 years, I’ve been watching with joy as it has grown and become what it is today.Nic, Bruce, the Orchestra and the Chorale deliver incredible perfor-mances that move and delight us. Their unique combination of artist-ry, passion, innovation and creativity has resulted in our being named America’s leading period music ensemble. But that national reputa-tion and our growing international recognition have only happened because we knew how fortunate we were to have Philharmonia here in the Bay Area, and we invested in its future.This campaign has been, and will continue to be, transformative. The past five years have been remarkable ones that saw, among our other accomplishments:

• Eight highly-acclaimed recordings on our record label,• Partnerships with some of the world’s most sought-after artists,• Incredible collaborations with the Mark Morris Dance Group, Cal

Performances and San Francisco Opera’s Adler Fellows, and• Major tours to Lincoln Center, Tanglewood and the Norfolk Cham-

ber Festival, among others.While the Campaign is now over, it has launched the beginning of an amazing future.Your contributions and passion for Philharmonia made a difference in allowing for those artistic successes and will continue to shape and

support the Orchestra for years to come. As I’ve said before, no other musical or arts experience quite matches what Philharmonia has to offer – a connectedness to Nic and the musicians, and to the wonderful people who sit with us in the concert halls or come to our intimate events.This year, as we commemorate Nic’s three decades masterfully leading the Orchestra, please know that we are also celebrating you – our loyal friends – and the love and commitment you show to Philharmonia.Thank you again for joining me on this journey. We did this together.With my deep gratitude,

Kay Sprinkel Grace Chair, Campaign for the 21st Century

Campaign Committee: Ross Armstrong, Al Garren (emeritus), Peter Hibbard, Paul Sugarman

CAMPAIGN for the 21ST CENTURYPAVING THE WAY FOR A STRONG & INNOVATIVE FUTURE


$100,000 - $249,999Kay Sprinkel Grace,

Education & Innovation CircleDavid Low & Dominique Lahaussois,

Touring CircleDrs. Jane & Michael Marmor,

Michael F. and Jane B. Marmor Principal Clarinet Chair

Elizabeth Anderson MayerChris McCrum & Elizabeth Velarde,

Chorale CircleMark Perry & Melanie Peña/Bill & Lee Perry,

Education & Innovation CircleSusan & Paul Sugarman Family Philanthropic

Fund, Guest Artists CircleEgon & Joan von Kaschnitz, Egon and Joan von

Kaschnitz Concertmaster Chair

$50,000 - $99,999Linda BrewerKathleen & Martin Cohn, Touring CircleKate & David GrossMrs. Jonathan B. GiffordNorman T. LarsonRoy Levin & Jan ThomsonCarol & Doug Tanner, Touring Circle

$25,000 - $49,999Quincy Bragg & Sarah FitzgeraldThe Estate of Donald E. CaseyThe Estate of Philip J. EisenbergSusan LeRoy & Michael StewartFred Matteson & Anne Davidson BarrSondra & Milton SchlesingerLinda & Paul SwatekDonna M. Williams, Touring Circle

$10,000 - $24,999Bonnie & Jim BellCarol & Peter BerkenkotterElizabeth, Kay & Mike BuckleyMarie Bertillion Collins & Leonard CollinsThe Gray Family FoundationNancy & Richard HeathThe Grace and Laurance Hoagland FundMargaret & Edmond Kavounas,

Recording & Media CircleMartine Kraus Kit & Hayne LelandWilliam LokkeBetty & Jack SchaferWilliam QuackenbushThe Estate of Shirley SarvisPaul Wilson

CAMPAIGN for the 21st CENTURYDONORS

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

$1,000,000+The Waverley Fund

Nicholas McGegan Conductor’s Podium

$500,000 - $999,999Anonymous (1)

Ross Armstrong, Ross E. Armstrong Baroque Vocal Works Fund

$250,000 - $499,999Zheng Cao Memorial Cello Chair

Dr. Al Garren, Dr. Al Garren Violin Chair


$5,000 - $9,999Charlotte Gaylord &

Barrie CowanBrian M. Kincaid &

Elizabeth C. TheilCarlene LaughlinEllen & Barry LevineKatherine & Bridger MitchellJanet & Bill NichollsJudith & Stuart OfferMary & David PhillipsJohn & Carol TregenzaEllen & Mike TurbowChris Wagner

$2,500 - $4,999Anonymous (2)Adam Bier & Rachel LemFrank Adams & Susan BryanMary & Roger AshleyNancy & Clayton BavorGlyde CooperJacqueline DesoerViola & Jerald EvansEdith GladstoneSusan & David HudgesEmily Kenyon & David LipskyC.R. Gus Manning &

Rena KirkpatrickRod McChesneyAnne OliverHeather PrestonRobert Thompson in honor of

Ross ArmstrongMason and Wendy Willrich

$1,000 - $2,499Anonymous (1)Shirley ArmitanoTroy BarbeeBarbara BarkovichJanet & Chris BensickDonald Buhman &

Wray Humphrey

Barbara & Lawrence CahnAnnelle CluteDr. & Mrs. Stanley DavisJeanette & Peter DunckelMary & Jurgen ExnerJulie & Jim FulfordMs. Dorothy D. GregorRoberta & James HadleyAnn & Roy G. Hammonds, Jr.Margaret HeggDonna HeinleIan Hinchliffe &

Marjorie ShapiroMarguerite & Marc KaufmanNancy Hunt KieslingSusan Klee & David StolhoffKathy & Bill KorbholzCarol LokkeFrancis LundyKurt Mueller-VollmerJohn Phillips &

Susanne HeringFritzi & Edgar SchoenMelanie & Ronald WilenskyElinor & Bruce Wilner

$1 - $999Robert Alter & Carol CosmanLuz ArgyriouEric J. Keller &

Janice E. BohmanFraser BonnellNorman BrandDr. & Mrs. Geoffrey CollinsL. William CountrymanJanet Dafoe & Ronald DavisMr. & Mrs. Walter DaviesJean & Dexter DawesJames DeanJ.P. Richards DillinghamKathleen Dugan & Greg BellSusan K. FisherDiane & Charles Frankel

Jeanne & Frederick GabaliMargaret GarmsBetty GerardCarol B. GlanvilleElizabeth GreenbergNancy & Nicholas HaritatosRobert HartmanNaphtali KnoxPhyllis KochElaine Fischer-Kohn &

James KohnSusan Lea & Michael LamptonDavid Lieberman &

Carol BrownsteinClaire & Herbert LindenbergerAngela LittleDonald LorentsMargaret & Winton McKibbenRobert MessickBarbara MorganMia & Robert MorrillKathleen Much &

Stanley PetersKirk PattersonRoseanne & Ray PermanLynn PieronHelen & Dan QuinnCarole & Talbot RichardsonPam & Jim RobsonCarol & Joseph SalaisGeorge Sensabaugh, Jr.Martha SmithJohn SommerCarol & Noel StevensClaire TaylorThomas Tellefsen &

Myrna WaltonLouise & Daniel WeilerPeter WinkelsteinMr. & Mrs. John WooldridgeGifts recognized above rep-resent commitments to the Campaign for the 21st Century from August 1, 2010 through August 1, 2015.

CAMPAIGN for the 21st CENTURYDONORS


Egon & Joan von Kaschnitz Concertmaster Chair*

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

Zheng Cao Memorial Cello Chair

Clare Frieman Kivelson and Irene Valente Angstadt Memorial Principal Oboe

ChairSusan B. Levy Violin Chair

Osher Cello Chair Endowment*

BUILDING PHILHARMONIA’S FUTUREENDOWED FUNDS AND NAMED CHAIRS

Contributing to the Endowment Fund or naming a chair creates a legacy that will preserve the unique sound of Philharmonia for generations to come. Philharmonia Baroque Orchestra gratefully recogniz-es the following named chairs and donors to the endowment.

NAMED CHAIRSThe Waverley Fund Conductor’s Podium*

THE PHILHARMONIA CHORALE ENDOWMENT FUND*Anonymous

ENDOWMENT SUPPORTERS Susan & Paul Sugarman*

Donna Williams** Denotes endowed chairs or funds, or donors to the general endowment, with commitments between

August 1, 2010 and August 1, 2015 through the Campaign for the 21st Century.

LIFETIME BENEFACTORSPhilharmonia Baroque Orchestra thanks the following visionary supporters

whose cumulative giving to the Orchestra totals $100,000 or more.

Anonymous (2)Ross ArmstrongNicholas BazKathleen & Martin CohnRichard ColburnMarie Bertillion Collins &

Leonard CollinsLaura & Robert CoryAl GarrenMona GellerMrs. Jonathan B. GiffordJoan & John Goddard,

The Goddard FoundationKay Sprinkel Grace

Kate & David GrossChristine & Kenneth HechtThe Grace & Laurence

Hoagland FundMarie & Palmer HotzThe Kivelstadt Family TrustDavid Low &

Dominique LahaussoisNorman T. LarsonKit & Hayne LelandJohn B. Levy The Estate of Susan B. Levy, in

honor of Fred SondheimerFrederick Matteson &

Anne Davidson Barr

Elizabeth Anderson MayerChris McCrumb &

Elizabeth VelardeGladyne K. MitchellHolbrook T. MitchellMary Perry & Melanie PeñaSondra & Milton SchlesingerJane & Jack StuppinSusan & Paul SugarmanLinda & Paul SwatekCarol & Douglas TannerEgon & Joan von KaschnitzThe Waverley Fund


AnonymousRoss ArmstrongThe Robert A. Birman

Executive Director ChairNorman Bookstein &

Gillian Kuchner Don BuhmanLinda Brewer

William BushDavid ChallinorKathleen & Martin CohnSteven A. R. EdwardsKay Sprinkel GraceMargaret HeggNorman T. LarsonClifford Leventhal

William LokkeBarbara & Nigel RentonMaxine & James RisleyAdrienne & Ted SavetnickSondra & Milton SchlesingerClaudine Torfs

30 at 30

Join the Laurette Goldberg SocietyHONOR NIC’S 30TH ANNIVERSARY WITH YOUR GIFT FOR THE FUTURE

Help celebrate Music Director Nicholas McGegan’s 30th anniversary by leaving a gift to support Philharmonia for years to come. To honor Nic’s wonderful legacy, our goal is to add to our distinguished group of the Laurette Goldberg Society, 30 new members. Let’s make the future as bright as the present by naming Philharmonia in your estate plans.

New members of the Laurette Goldberg Society this season will receive:

• Prominent recognition in our concert program book (or remain anonymous)

• An invitation to Philharmonia’s exclusive, intimate Conductor’s Concert at Sweden-borgian Church in San Francisco on March 3, 2016. Evening includes supper and a candlelit performance.

Your support today will play a crucial role in sustaining Philharmonia’s high level of artistry and innovative programming for generations to come, while underscoring Nic’s artistic stamp on the Orchestra.

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

BUILDING PHILHARMONIA’S FUTURELAURETTE GOLDBERG SOCIETY

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

Philharmonia would also like to recognize the following estate gifts that have supported our work:

The Estate of Donald E. CaseyThe Estate of Marie Mendenhall Cleasby

The Estate of Eva & James GoodwinThe Phillip M. Eisenberg Trust

The Estate of Susan B. Levy

The Estate of Mrs. A. P. MorseThe Estate of Shirley Sarvis

The Estate of Carol SeitzThe Estate of Michael J. Weller


GIFTS TO THE ANNUAL FUNDPhiharmonia 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, 2014 and August 15, 2015.

CORPORATE, FOUNDATION & GOVERNMENT GRANTS $75,000 & AboveBloomberg Philanthropies Grants for the Arts/San

Francisco Hotel Tax FundThe William & Flora Hewlett

Foundation The Wallis Foundation

$25,000 - $74,999Ann & Gordon Getty

FoundationClarence E. Heller Charitable

FoundationThe Bernard Osher Foundation

$10,000 - $24,999The E. Nakamichi Foundation National Endowment

for the Arts

$5,000 - $9,999The Bob Ross FoundationFidelity Investments Charitable

Gift Fund Jewish Communal Fund

Jewish Community Foundation of the East Bay

The Wells Fargo Foundation $2,500 - $4,999Jewish Community

Endowment Fund Schwab Charitable Fund

Up to $2,500Chicago Community

Foundation First Republic Bank The San Francisco Foundation Silicon Valley Community

Foundation

CORPORATE PARTNERSBailard, Inc. Bell Investment Advisors

MATCHING GIFTSAdobe Systems IncorporatedAT&T FoundationBank of America Charitable

Foundation

Chevron Humankind Matching Gift Program

IBM CorporationMicrosoft Matching Gift

Program Vanguard Charitable

Endowment Program

GIFTS IN KIND St. Regis HotelBoisset Family EstatesClassic MaltsDLA PiperEbby St. Pierre Graphic DesignGoodby, Silverstein & PartnersKDFCNancy Mims, Deliberate

WhispersNorman BooksteinPanoramic InterestsSan Francisco Conservatory

of MusicTed Savetnick

We gratefully acknowledge the support we receive from:


WITH GRATITUDE

CONDUCTOR’S CIRCLE($50,000+)Anonymous (1)Ross E. ArmstrongGladyne K. MitchellThe Waverley Fund

STRADIVARI($25,000 - $49,999)Dominique Lahaussois &

David Low

CHRISTOFORI($15,000 - $24,999)Norman T. LarsonMark Perry & Melanie PeñaClaudine Torfs

GUARNERI($10,000 - $14,999)Bonnie & Jim BellNicolas Elsishans &

Christopher HayesAl GarrenMrs. Jonathan B. GiffordJohn & Joan Goddard,

The Goddard FoundationThe Grace & Laurance

Hoagland FundMarie & Palmer HotzEric LeveElizabeth Anderson MayerNicholas McGegan &

David BowlesSondra & Milton Schlesinger

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

Marie Bertillion Collins & Leonard Collins

Olga ConradKay Sprinkel GraceThe Gray FamilyBrian M. Kincaid &

Elizabeth C. TheilMartine KrausCarlene LaughlinWilliam LokkeThe Marmor Foundation;

Drs. Michael & Jane MarmorFrederick Matteson & Anne

Davidson BarrDavid MorandiKathryn & Donley ParmentierLeonilla & William PerryJean ShulerJade & Chris SimonsonSusan LeRoy Stewart &

Michael StewartPaul & Susan Sugarman Family

Philanthropic FundCarol & Douglas TannerThe TL TrustDonna Williams

COGNOSCENTI($3,000 - $5,499)Corey & Tim BenjaminCarol & Peter BerkenkotterElizabeth, Kay & Mike BuckleyCharlotte Gaylord &

Barrie CowanChristina & Kenneth HechtAnne & Jeffrey KatzRichard & Paola KulpJames & Maxine RisleyHoward Schachman, in memory

of Ethel L. Schachman

Betty & Jack SchaferLinda & Paul SwatekRobert ThompsonPaul Wilson

$1,500 - $2,999Anonymous (2)Kristin & Ari BaronNancy & Clayton BavorJoan & Don BeerlinePhyllis & Andrew BerwickAdam Bier & Rachel LemDonald Buhman &

Wray HumphreyRichard Caplin, M.D.Kyra & Ken CarsonAnnelle CluteCorinne DerringerJohn DragoJacqueline &

Christian P. ErdmanFabian 1974 Irrevocable Trust Marta FalicovLucy & Leroy FergusonThe Estate of James GoodwinLynn GotchallEllen & Barry LevineSusie & Peter LynnJanet & Joseph Grodin, in

honor of Lisa GrodinMargaret HeggIan Hinchliffe &

Marjorie ShapiroMarguerite & Marc KaufmanMargaret & Edmond KavounasEmily Kenyon & David LipskyKathy & Bill KorbholzSheila & Michael LagiosCharlotte & Larry Langdon


WITH GRATITUDE

Adair & William LangstonKit & Hayne LelandAngela LittleJoan & Roger MannC.R. Gus Manning &

Rena KirkpatrickJosephine MaxonBarbara MorganTom Lee & Ida Jean NewtonPhillip Phythian & Ann HardamCommissioner Dennis Richards

& Andrew ConnorsMaxine RosstonLouise Adler SampsonAdrienne & Theodore SavetnickBarbara & Reed SchmidtBurnie SparksSylvia J. Spengler, in memory of

Alan J. BeardenChris WagnerDr. David L. White &

Martha TruettMr. Theodore Weber, Jr.Wendy & Mason Willrich Elinor & Bruce WilnerJane & Warren Zuckert

CAMERATA($650 - $1,499)Anonymous (2)Herbert AbramsRobert & Elaine Allen Family

FoundationR. Tyler Andersen &

Diane GreenMary & Roger AshleyBarbara BarkovichDarla & Richard BastoniMrs. Mary Baxter

Allen & Jacqueline BertillionMarlene BollhofferGillian Kuehner &

Norman BooksteinAnn & Winslow BriggsBarbara & Lawrence CahnLynne CarrDr. Bruce & Susan Carter, in

honor of Paul & Susan Sugarman

Elizabeth & Park ChamberlainMichael ColbrunoEdward CongerGlyde CooperCharles CraneThe Ruth Crosby FundJayne & Peter DavisPatricia EastwoodViola & Jerald EvansMary & Jurgen ExnerShirley & William GeorgeJoyce & Douglas HamiltonNancy & Nicholas HaritatosRobert HartmanNancy & Richard HeathNina Hemenway &

Chesley HerbertSusan & David HodgesSusan & Ernst HoyerRobert JarmanChrystal & James KafkaMaureen & David KennedyBarbara KoepsellRobert LarsonMaribelle & Stephen LeavittClifford LeventhalClaire & Herbert LindenbergerHarvey Lynch

Joan MansourBeverly & Fritz MaytagRod McChesneyWillinda & Peter McCreaLisa & Theo Melas-KyriaziBarbara & Thomas MetcalfNeanna & Allan MilesM.A. MillerEvan MooreBetty & Gordon MooreRebecca Moyle & Tyler LangeJanet & Bill NichollsBrenda & James NirensteinJudith & Stuart OfferAnne OliverPeter Pastreich &

Jamie WhittingtonStephen Pegors &

Trista BerkovitzWilliam QuackenbushAngèle & Michael RiceCatherine & Raymond RobertsMichael SackJulie & Preston SargentLinda & William SchieberFritzi & Edgar SchoenSara & John SchramSusanna & Dave SingerRoss SmithSteve John & Jason SnyderScott SocharGayle & George StaehleJonathan Stebbins &

Jessica DonovanDavid Stein & Bill StewartSarah & Stephen TaberBarbara & Gregory TanakaClaire Taylor


WITH GRATITUDE

Ellen & Mike TurbowMelanie & Ronald WilenskyDoris & Joseph WillinghamCathe & Gavin Wright

$350 - $649Anonymous (2)Frank Adams & Susan BryanCarol & Robert AlterFreye AndersonJohn AndersonShirley ArmitanoMary AustinTroy BarbeeJanice & William BelmontJanet & Chris BensickChristel BieriRobin L. BrassoPrudence & Henry BreitroseJennifer FingerConnie & John BuchananMary Belle Bulwinkle &

Michael DukesDorothy & William Clemens, in

memory of Ed WhitePatricia Clemo & Robert CooleySheri & George ClydePatricia & Peter CoffinCarol J. CohenMichael CondieMargaret ConkeyRobert Cook & Blanca HaendlerJane CoulterDon Cuffel & Dennis CrawfordHomer DalbeyDiane de ForestSusan & Harry DennisJacqueline Desoer

J.P. Richards DillinghamJeanette & Peter DunckelSteven A.R. EdwardsSue EmmonsMary Ellen FineJessena FinnCami & Ed ForhanLynette FrancisPerry FryJulie & Jim FulfordJeanne & Frederick GabaliJici GaoMargaret GarmsBeatrice & Paul GomoryRaymond Graf &

Ann Kenfield-GrafBernice GreeneMrs. Robert M. GreenhoodAndrew GriffinAnn & R. Glenn HammondsCarol HandelmanJohn HarbaughMarcia & Howard HermanNona HungateLeila & David JavitchPatrick & Julie KennedyNancy Hunt KieslingMary KimballDr. & Mrs. KiralySusan Klee & David StoloffIris & Hal KorolBarbara Kosnar &

Tom GoldmanSharon & Ron KraussRichard & Alice KulkaCarol LokkeCarol & Hal LouchheimCarolyn & David Lougee

Martha & Arthur LuehrmannFrancis LundyStanley MantellKathleen McGreevyMargaret McKinnonSteven MenzelHelen & John MeyerJulius Moshinsky &

Suzanne RenneAlice NadlerJeanne NewmanKaren NichollsVictor NinovAnders NorlinJoan Norton, in memory of

William Forkin Grace M. ParrKirk PattersonRoseanne & Ray PermanSandra & George PettyNaomi & David PockellLinda & Nelson PolsbyRick PotterHelen & Dan QuinnJoan & Marty RagnoAnne Paxton RainsCatherine & Raymond RobertsNancy Chappell RobertsKenneth RobinGerald RosensteinDonald SanfordPaul J. SchmidtKathy Canfield Shepard &

John ShepardDr. Dolores ShobackAllene SielingJohn SommerLinda & Fred Sondheimer


WITH GRATITUDE

Mr. Richard M. StanleyMs. Francoise StoneAlison JF Teeman &

G. Michael Yovino-YoungThomas Tellefsen &

Myrna WaltonLava Thomas & Peter DanzigAlan & Ruth Tobey, Tobey Fund

Noriko TojoMartha Doerr ToppinMegan Johnson & Dy TranGayle & James TunnellElizabeth & Norman van PattenLoekie & Johan Van ProosdijMaura FitzGerald & Tom Walsh

Judy & Bill Botsford WarrenAnn & Thomas WatrousMary WilsonKelly WoodwardJohn Zimmermann &

Diana Graham

VOLUNTEEROPPORTUNITIES

BECOME AGUEST ARTIST HOST

Do You…..…ever think about volunteering with Philharmonia Baroque Orchestra?

….want to make a significant contribution to our organization?

…wish to connect personally with world-renowned guest artists and out-of-town orchestra members, perhaps over a home-cooked meal or coffee in the morning?

…live in the east bay and have a spare bedroom?

Then you might make a wonderful

Guest Artist Host!

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

If you’d like to open your home and host our guest artists during the 2015/2016 season, please contact

Myles K. Glancy at [email protected].


Q: Tell me a little about yourselves.Steve: I grew up in a small town in Idaho. Educational pursuits led me to Utah where I met Jason and then we moved to San Francisco 20 years ago. I am a Principal at Korn/Ferry International where I specialize in legal recruiting. Jason and I also share a passion for great food and drink that inspired our writing partnership and the launch of our food blog www.yourfoodchoices.com.Jason: I started working quite young at my grandfather’s bakery in Utah. I put myself through the University of Utah (studying film and English) working at another bakery and bartending. After graduation Jason and I moved to San Francisco where I realized my true passion for food, wine, and eventually whiskey. We became brand ambassadors for the Classic Malts of Scotland in the early 2000’s and have been learning about, pouring, and discussing whiskey for the last fifteen years.

Q: What was your first experience with classical music?Steve: My first real exposure to classical music came in the form of choral music in high school. While my choir years are decidedly behind me, I’m awestruck by the extraordinary work of Phil-harmonia’s Choral Director, Bruce Lamott, and the talented musicians of the Chorale.Jason: Like most children of my generation, I spent countless hours watching Bugs Bunny, Daffy Duck, and the rest of the Looney Tunes. I’ll never forget the ‘The Rabbit (Barber) of Seville’ and ‘What’s Opera, Doc?’ Even though I had no idea I was actually listening to classical music or any idea who the composers were, Chuck Jones and Mel Blanc introduced me, along with mil-lions of other children, to these classical scores.

Q: How did you discover Philharmonia Baroque Orchestra?Steve & Jason: We came to Philharmonia rather unusually in our roles as Brand Ambassa-dors for Diageo’s Single Malt Scotch portfolio. Diageo has been a long-time supporter of Philharmonia’s annual gala and we were asked to conduct a scotch tasting following the gala dinner several years ago. We had an opportunity to listen to the gala performances, and later at-tend a performance in Berkeley, and loved what we heard. It was sort of “love at first sight.” We’ve returned every year since.

Q: What is your favorite period instrument and why?Steve: While it’s hard to pick a single favorite instrument given the rich variety of sounds pro-duced by these magnificent pieces, I’m partial to the lute and, in particular, the ethereal sounds of the theorbo. Philharmonia’s David Taylor is a master and we’re so lucky to have him. It’s obvi-ous to anyone who has watched and heard him perform that he loves what he does.

IN CONVERSATIONWITH STEVE JOHN AND JASON SNYDER

Philharmonia Baroque Orchestra is its own unique family. Musicians and board, subscribers, donors and everyone who’s ever attended a concert, all become passionate advocates of the orchestra’s mission. Because of this shared passion, we thought we’d take this opportunity to get to know each other better. We sat down with long-time friends Steve John and Jason Snyder and here’s what we learned.

Steve John and Jason Snyder

►

Q A&


Jason: The violin would be my favorite in-strument. I played in grade school and enjoyed rehearsing but my parents and brothers found my off-tuned playing annoying and I eventually caved into family pressures and stopped playing in middle school. During performances I’m usu-ally watching the string section and marvel at the skills of the wonderful musicians.

Q: Can you tell me your favorite memory of Nic over the years?Steve: We first met Nic at the Philharmonia Gala where we were pouring whiskey. He was typically warm and welcoming. What we’ve seen

over the years is a man who connects with people quickly and easily. Someone who cares about his audience and his musicians and finds joy in whimsy. My favorite memories of Nic are all those little moments of connection where he catches someone’s eye and gives them a big smile. When I think of Nic, I think of playfulness.Jason: Over the years watching Nic conduct the orchestra has been an inspiration. I’m over-whelmed by his joyfulness with the musicians. He seems to be having the time of his life on the stage. My favorite concert was the final perfor-mance of the 2013-2014 season. The extraor-dinary female voices in that performance of Vivaldi’s Juditha triumphans was an inspiration.

IN CONVERSATIONWITH STEVE JOHN AND JASON SNYDER

◄

Don’t miss out on Philharmonia’s most exciting and important fundraising event of the year! On Thursday, February 11, 2016, Philharmonia Baroque Orchestra will celebrate the 30th anniversary of Waverley Fund Music Director Nicholas MeGegan with a special gala dinner at City Hall in San Francisco, followed by a special showcase concert with internationally-recognized mezzo-soprano Susan Graham.

The evening includes:• Cocktail party and delectable, seated dinner at

City Hall• Silent & live auction showcasing

one-of-a-kind items• Full concert at Herbst Theater featuring

mezzo-soprano Susan Graham• A special Afterparty and dessert reception at

City Hall

All funds raised support the continued success of the orchestra’s artistic and education programs.For information about the Gala, including tickets, please contact Annual Fund and Events Manager Rachel Stone at [email protected] or (415) 252-1288 x307.

Thursday, February 11, 2016 5:00 p.m. – midnight City Hall, 1 Carlton B. Goodlett Place San Francisco, CA

Nicholas McGegan

30th Anniversary Gala & Concert

SAVE THE

DATE!


As a new concert season begins, Philhar-monia’s 2015-16 Education Programs will also burst onto the scene. A gloriously

rich suite of presentations will serve over four thousand adults and young people in communi-ties throughout the Bay Area this year, and guess what? All of our programs are FREE to partic-ipating schools—making them a hot deal that is accessible to all students, regardless of their circumstances. The word is out, and applications to all of our free programs are available on the Orchestra’s website.The Student Concert and Matinee is our first of-fering this year. A full Orchestra performance with lively projected images, this event is designed as a field trip for children in grades 5-12. (The Student Concert is also popular among university, con-servatory, and adult learning program students, and occasionally a kindergarten class will steal the show.) Philharmonia has presented Student Concerts to school groups over many years, but our presen-tations are a far cry from some of the ho-hum, standard affairs that students must sometimes endure. There will be no “dead wood” or placidity in our Orchestra—no way! Anyone who has heard Philharmonia knows that the musician’s passion is palpable in every performance. That’s a given. Not everyone realizes that most of our Orchestra’s mu-sicians began their playing career in their school music program, and that our players are eager to “give back” to schools by performing for students. Philharmonia musicians love to show off the remarkable capabilities of our period instruments, impart the vivid history behind the music, and ensure that the audience has a rip-roaring good time in the process. That’s how we grow our “fan base,” and inspire students to follow our example.

Hopefully the next generation of Philharmonia mu-sicians and their student audiences will experience as much excitement about Philharmonia’s music as the Orchestra does today!

Philharmonia Baroque Orchestra’s 2015/2016 Education ProgramsStudent Concert and Matinee for students Bach and Egarr: Brainiacs and Brandenburgs November 12 & 13, 2015Join us for two free Student Concerts for students in grades 5-12 (older and younger students welcome.) The brilliant harpsichordist Richard Egarr will lead the Orchestra in an exhilarating exploration of J.S. Bach’s Brandenburg Concerts 3 and 5. The concert will illuminate for students the incredible genius behind these awesome compositions. This is a rare opportunity to learn

Student Concerts Break the Mold

Guest Artists Andreas Scholl (left) and Julian Wachner (right) explain some of the differences between operatic countertenors and castrati for a rapt audience during the 2014 Student Concert.

Natural horn player RJ Kelley hits the high notes for a rapt Student Concert audience.


about the symbolism and unique tonal colors that once flooded Bach’s brain. Dates: November 12, 2015 from 11 a.m. to 12 p.m. at Herbst Theatre in San Francisco and November 13, 2015 from 11 a.m. to 12 p.m. at the First Unitarian Methodist Church in Palo Alto.

Four In-School Programs for student groups of all agesPeriod Instrumentalists Play Historic Pop, November 16-20, 2015Students will thrill to the sounds of crooks, slides, tubing, reeds, and gut strings when a sextet of original instruments (oboe, violin, horn, viola, bassoon, and bass) performs tunes that have remained popular for over two centuries. Through historic anecdotes, instrument demonstrations, and through their passion for their work, Philhar-monia’s internationally respected teachers and performers will connect audiences to the colorful history behind the music.

Jammin’ Baroque Style: Melody and the Continuo Team, January 19-22, 2016Students will discover how continuo players (cello and harpsichord) work together to shape a harmonic and rhythmic foundation for the melody (violin) in a baroque ensemble—in much the same way that a bass and rhythm instruments function in rock, jazz, fusion, and electronic music. Orna-mentation and improvisation will be highlighted as creative stylistic elements, and students will have an opportunity to handle baroque style musical artifacts.

The Three Cellists: Leaders and Followers, February 3-5, 2016Unlike many orchestras, Philharmonia’s players serve in various roles as soloists, principal players, or section players--contributing to the Orchestra’s famously lively, agile group dynamic. Through both solo and ensemble demonstrations, the Orchestra’s three principal cellists (Phoebe Carrai, William Skeen, and Tanya Tompkins) will help stu-dents to identify (and ultimately to develop) skills that are essential to fabulous ensemble playing and teamwork.

Period Strings and Classical Genius, April 18-22, 2016Celebrating the creative genius of diverse com-posers (born in Europe, Africa, Brazil, and the West Indies), a string quartet from Philharmonia will introduce students to some of the historic innovations in ensemble and orchestra music that continue to excite today’s audiences. Students will

learn how the “inner voices” fill out a classical en-semble’s sound, how the instruments “converse,” and how classical composers have imaginatively built upon short motifs to create full-length master-pieces.

Family Concert: McGegan’s Musical Tour of Baroque Europe Saturday, March 5, 2015Philharmonia’s Music Director Nicholas McGegan and the full Orchestra will delight families with a cruise through Baroque Europe’s masterworks, culminating in the “Grand Finale” when the audi-ence can sing or play their own instruments with the Orchestra. The fun will continue with a “Musical Mingling” of Philharmonia musicians with the audience; experienced young players will have an opportunity to play a baroque keyboard, wind, or stringed instrument! Concert takes place at First Congregational Church in Berkeley.

Mobile Mentors ProgramIn collaboration with teachers, specialists from Philharmonia’s Orchestra or Chorale coach school ensembles on repertoire in progress. A Mentor might offer stylistic suggestions, provide historical context about the composers and compositions, demonstrate important elements of performance practice, give practical advice about ensemble performance, and offer a perspective about ca-reers in the field of music.Public Masterclasses led by Philharmonia’s Visiting Artists or Orchestra Members will be presented in collaboration with local universities and the San Francisco Conservatory of Music.Adult Lecture Series Philharmonia musicians give lecture demonstra-tions at institutions of higher learning, adult ESL programs, and in senior living facilities throughout the Bay Area by special arrangement. Philharmonia’s Student Access Initiative pro-vides complimentary subscription concert tickets for students enrolled in participating Bay Area schools. A responsible adult (for whom a ticket will be provided) must accompany students under the age of 18.The Concert Access Partnership provides compli-mentary subscription concert tickets for students enrolled in participating charitable organizations. Pre-Concert Lectures by preeminent musicologists are free of charge.For more information about Philharmonia’s Educa-tion Programs, please e-mail Director of Educa-tion Lisa Grodin at [email protected], or phone her at (415) 252-1288, x 916.

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

This is the Messiah of the season— as only Philharmonia Baroque can illuminate it.

MessiahHANDEL’S

with McGEGANDecember 19, 2015 at 7 pm % First Congregational Church, Berkeley

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

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philharmonia baroque orchestra - october 2015 program book

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