silver season opener - · pdf filenew century chamber orchestra 1 1. trees conserve energy in...

Silver Season OpenerSeptember 15-18, 2016

Credit: Marco Borggreve

NEW CENTURY CHAMBER ORCHESTRA 1

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Message from the Board President | 3Message from the Executive Director | 3New Century Chamber Orchestra 2016-2017 Festival | 4Silver Season Opener | 7The Orchestra | 8Program Notes | 9Music Director | 12History | 13Guest Artist | 14Program Announcement | 15Members of New Century | 16Recordings | 18Notes of Gratitude | 20Special Events | 24New Century Board of Directors and Staff | 25Ticket Information | 26

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M E S S A G E F R O M T H E B O A R D P R E S I D E N T & E X E C U T I V E D I R E C T O R

We l c o m e t o t h e opening concerts of New Century’s

25th Anniversary Season. We are thrilled to kick off our celebrations with the brilliant Israeli pianist, Inon Barnatan’s New Century debut. The New York Phi lharmonic’s

Artist-in-Association, and recent soloist with the San Francisco Symphony at Carnegie Hall, Barnatan is quickly establishing himself as one of the world’s leading interpreters of the piano repertoire. This week, Inon joins Music Director Nadja Salerno-Sonnenberg and our musicians in performances of Mozart’s Piano Concerto, No. 13 in C Major, K415.

Our Silver Anniversary Season also marks Nadja’s final performances as New Century’s Music Director. Don’t miss the opportunity to say farewell to Nadja in grand style during our inaugural week-long festival in May 2017, which features three concerts highlighting her extraordinary achievements as our artistic leader. Of the many highlights of the week, I’m sure you will not want to miss Nadja’s first New Century performance of Mendelssohn’s iconic Violin Concerto in E Minor (“Farewell to Nadja” May 18, 2017), and the original version of Gershwin’s Rhapsody in Blue with pianist Anne-Marie McDermott (“Silver Jubilee Celebration”, May 20, 2017). Festival passes are available now for these one-night-only celebratory events.

We continue our anniversary season in November with Guest Concertmaster, Yehudi Menuhin Prize-winner Ray Chen, who is enjoying an international career as a chamber musician and soloist; and in March, we reprise one of our most successful collaborations with the GRAMMY Award-winning vocal ensemble Chanticleer. I look forward to seeing you at all of our Silver Anniversary Celebrations.

Most sincerely,

Mark SalkindPresident

We are very proud to be celebrating 25 years of musical innovation and exploration in the Bay Area this season. A Silver Anniversary is a major milestone for a small arts organization, and many of you have been here with us from the very beginning. Thank you for believing in

New Century and contributing to our success by subscribing, bringing your friends and family to concerts, and through your generous contributions!

I invite all of you to share your New Century memories and experiences with me throughout this season. Many of you have come to me already with photographs, programs and materials from past years, and beautiful memories. As we continue to archive and compile materials for a formal history of our orchestra, these contributions would be incredibly valuable!

25 years ago, violinist Stuart Canin became the founding Music Director of the New Century Chamber Orchestra. This week, we honor Stuart’s immeasurable contribution to New Century, and the world of violin playing, by establishing the Stuart Canin Award. This award will be given annually to those who have made a significant impact on the arts in the Bay Area. The inaugural Stuart Canin Award luncheon on September 16 honors John & Paula Gambs for their generous support of the arts in the Bay Area, and the New Century Chamber Orchestra in particular. Please join us in thanking John & Paula for their unwavering leadership and support of the New Century Chamber Orchestra for the last 25 years.

Most sincerely,

Philip WilderExecutive Director


May 16, 2017 – Opening Night: New Century CreationsThe opening night of New Century’s 25th Anniversary Festival honors Nadja Salerno-Sonnenberg’s visionary founding and leadership of the Featured Composer program.

Program to include works by Clarice Assad, William Bolcom, Mark O’Connor, Ellen Taaffe Zwilich, Lera Auerbach, Michael Daugherty, Derek Bermel and Jennifer Higdon.

May 18, 2017 – Farewell to NadjaNew Century bids farewell to its beloved Music Director Nadja Salerno-Sonnenberg, in a concert featuring performances of two of her signature concerti: Mendelssohn’s Violin Concerto in E minor and Piazzolla’s Four Seasons of Buenos Aires.

May 20, 2017 – Silver Jubilee CelebrationJoin Nadja and New Century in our biggest concert event of the year as we celebrate 25 years of extraordinary music-making with an all-Gershwin extravaganza, featuring the seldom-heard jazz band version of Rhapsody in Blue.

3 Day Pass: 15% off single ticket prices with access to all 3 festival concerts.2 Day Pass: 10% off single ticket prices to any 2 festival concerts of your choice.

3 Day Pass 2 Day Pass Additional TicketsA seating $155 $110 $55B seating $125 $88 $44C seating $74 $52 $26

To order or for more information, visit ncco.org or call 415.357.1111

© Matthew Washburn

2016-2017 FESTIVAL

FESTIVAL PASSES NOW ON SALE!


THURSDAY, SEPTEMBER 15, 8PM, FIRST CONGREGATIONAL CHURCH, BERKELEY

FRIDAY, SEPTEMBER 16, 2PM, HERBST THEATRE, SAN FRANCISCO

SATURDAY, SEPTEMBER 17, 8PM, HERBST THEATRE, SAN FRANCISCO

SUNDAY, SEPTEMBER 18, 5PM, OSHER MARIN JCC, SAN RAFAEL

SILVER SEASON OPENERANTON WEBERN Langsamer Satz(1883-1945)(TRANSCRIBED BY GERARD SCHWARZ)

WOLFGANG AMADEUS MOZART Piano Concerto No. 13 in C major, K 415(1756-1791) I. Allegro II. Andante III. Allegro Inon Barnatan, Piano

I N T E R M I S S I O N

PHILIP GLASS Symphony No. 3 for String Orchestra(b. 1937) Movement I Movement II Movement III Movement IV

PETER HEIDRICH Happy Birthday Variations(b. 1935) I. Theme II. Variation I (after J.S. Bach) III. Variation II (after F. J. Haydn) IV. Variation III (after W. A. Mozart) V. Variation IV (after L. van Beethoven) VI. Variation V (after R. Schumann) VII. Variation VI (after J. Brahms) VIII. Variation VII (after R. Wagner) IX. Variation VIII (after A. Dvorák) X. Variation IX (after Max Reger) XI. Variation X (in the Viennese Style) XII. Variation XI (in the style of Film Music) XIII. Variation XII (in the style of Jazz) XIV. Variation XIII (in the style of Dance music) XV. Variation XIV (in Hungarian style)

Inon Barnatan’s appearance is made possible by a gift from Alan Benaroya.This concert is sponsored in-part by the Consulate General of Israel.


T H E O R C H E S T R A

VIOLIN INadja Salerno-Sonnenberg, Music Director and Concertmaster

Dawn Harms, Associate Concertmaster

Iris StoneKaren Shinozaki SorRobin Mayforth

VIOLIN IIDeborah Tien Price, Acting Principal

Michael YokasHrabba AtladottirEvan PriceJory Fankuchen

VIOLACassandra Lynne Richburg, Acting Principal

Jenny DouglassLiz PriorMeredith Kufchak

CELLOSSusan Babini, PrincipalIsaac MelamedRobin BonnellRobert Howard

BASSAnthony Manzo, Principal

America’s leadingperiod-instrument ensemble is at it again...

Experience an epic journeycelebrating music's greatestcomposers, history's greatest heroesand mythology's greatest gods inthis luscious 2016/17 Season.

Don’t miss a moment.

Full-Scale Opera!

Tickets on sale now(415) 392-4400philharmonia.org


LANGSAMER SATZ (“SLOW MOVEMENT,” 1905)BY ANTON WEBERN (VIENNA, 1883 - MITTERSILL, NR. SALZBURG, 1945)

Teaching composition is a rather mysterious activity, not only to outsiders but to those involved in the process as well. Some great composers, Béla Bartók for instance, did not believe that writing music could be taught at all, and adamantly refused professorships in composition. His contemporary Arnold Schoenberg, on the other hand, was a passionate and committed teacher, and two of his many students, Alban Berg and Anton Webern, were among the handful of masters who defined the course of classical music in the 20th century.

One cannot hope for a better demonstration of what teaching can do than comparing Webern’s orchestral idyll Im Sommerwind, written in 1904 before Webern met Schoenberg, to the Langsamer Satz for string quartet composed only a year later. We will never know exactly what transpired during the lessons, but we do know what some of Schoenberg’s main pedagogical principles were. He always emphasized the need for a strong harmonic logic—that is, a powerful “pull” that carries the music from one harmony to the next with a sense of inevitability. He also stressed economy (the use of as few basic elements as possible) and diversity (combining and developing those elements in as many ways as possible). Webern’s slow movement shows how well the 21-year-old student had learned those lessons. (The work remained unperformed until 1962, when it was premiered at the first International Webern Festival held in Seattle, Washington. The arrangement for string orchestra was made in 1992 by Gerald Schwarz and first performed by the Seattle Symphony.)

In the words of Webern biographer Walter Kolneder, the assignment was “to write an eight-bar diatonic melody* with simple harmonies and to develop it into a movement, using clear and straightforward formal methods.” The beginning and the end of Webern’s theme are conventional enough, and the phrase has the classical length of eight bars. Yet it ends in a different key than the one in which it began, has an enormous span of almost three octaves, and lacks the half-cadence

in the middle, obscuring the classical symmetry of the phrase. Kolneder is right, of course, in that Webern used “clear and straightforward formal methods” as he works with this not-quite-familiar, not-quite-unfamiliar material. The composer dutifully contrasted this theme with a second one, after which the first theme returns basically unchanged. We may find similar formal structures in Brahms, who, eight years after his death, was still almost a contemporary composer in 1905. But Webern’s motivic development leads to a passionate climax that goes far beyond Brahms; it gives evidence of the young man’s admiration for Gustav Mahler, the most charismatic modern composer in the German-speaking lands. Another inspiration came from personal sources: Webern had fallen in love with his cousin Wilhelmine Mörtl, whom he eventually married, and a hiking trip they took together provided an important impulse for the work.

To put Webern’s early music into perspective, we must remember that in 1905, Mahler’s Sixth Symphony was still unperformed and his late music was still unwritten. Schoenberg himself had yet to make the epochal move towards atonality; he was composing in a late Romantic style, having recently finished his symphonic poem Pelleas und Melisande. The musical sensation of the year was Richard Strauss’s Salomé, premiered in Dresden on December 9.

* A diatonic melody is one that can be played on the white keys of the piano.

PIANO CONCERTO NO. 13 IN C MAJOR, K. 415 (1782-83)BY WOLFGANG AMADEUS MOZART (SALZBURG, 1756 – VIENNA, 1791)

The distance between Salzburg and Vienna is less than 200 miles, and these days you can drive it in about three hours. In Mozart’s time, however, the journey could take as long as six days by stagecoach, depending on the weather and the time of year. Once Mozart had left his native city and moved to the Imperial capital in 1781, he only managed a single visit home in the remaining ten years of his life; for him, the change of residence was a new beginning in every sense of the word.

P R O G R A M N O T E S


Trying to establish himself as a freelance composer in Vienna, Mozart began to concentrate on the composition of piano concertos, which he performed at special subscription concerts that he himself organized. In 1782/83 he composed three concertos, listed in the Köchel catalog under the numbers 413-415. He gave the following remarkable description of them in a letter written to his father on December 28, 1782:

[They are] a happy medium between what is too easy and too difficult; they are very brilliant, pleasing to the ear, and natural, without being vapid. There are passages here and there from which the connoisseurs alone can derive satisfaction, but these passages are written in such a way that the less learned cannot fail to be pleased, though without knowing why.

We know from the sketches that Mozart had originally planned a different slow movement for this concerto; the lyrical instrumental aria we have today replaced a more deeply tragic piece in C minor. All the more interesting that Mozart salvaged some of his ideas for that movement and inserted them into the final rondo, which is twice interrupted by this seemingly incongruous material. Mozart was fond of introducing such abrupt changes of tempo, key and meter in his concerto finales (there are examples in several of the violin and piano concertos); in the present work, however, he used the device in a particularly striking way.

SYMPHONY NO. 3 (1995)BY PHILIP GLASS (B. BALTIMORE, 1937)

There is still plenty of great music to be written in C major, and it doesn’t have to sound like Mozart either. Philip Glass, one of the defining figures of contemporary opera and concert music, has discovered a whole new way of using triads—those three-note chords on which all Western music has been based for centuries. During a stellar career that now spans more than half a century, Glass has explored a concept often called minimalism, in which sonorities, repeated multiple times, carry meaning in and of themselves, rather than being defined by goal-oriented harmonic progressions

as in earlier eras. A single rhythmic figure, a pulsation, or a short melodic fragment may likewise generate long stretches of music through repetition, variation and expansion—often to hypnotic effect.

Fifty years after Glass’s iconic and iconoclastic opera Einstein on the Beach, the composer has embraced such traditional genres as the symphony, concerto and string quartet, making significant contributions to each. His Third Symphony (he has written ten to date) is scored for nineteen solo strings, and consists of four movements, played without a pause. The work was commissioned by the conductor Dennis Russell Davies, one of Glass’s most dedicated champions, who premiered it in Germany with the Stuttgart Chamber Orchestra on February 5, 1995.

The opening movement combines the above-mentioned C-major chords with a characteristic scalar figure, with constant off-beat accents keeping the rhythmic momentum alive. Angular and robust, the second movement consists, for almost all of its duration, of regular eighth-notes grouped in irregular patterns; the instruments begin in unison and gradually diverge from one another until all nineteen players have their own individual parts. Then, surprisingly, the pulsation stops and the first viola introduces a singing melody, taken over by the other instruments.

Out of a combination of this melody with the earlier rhythmic pulsation, Glass fashioned a transition to the third movement, the longest of the four. Based on a slow alternation of a limited number of broken chords, this movement, which has been called the “emotional core” of the whole symphony, takes the form of a chaconne, that is, a set of variations on a single harmonic sequence. After an opening with low strings only (violas, cellos, basses), Glass brings in the violins, and adds an expansive violin solo to the broken chords—a melody that itself begins to grow, further enriching the already lush texture.

The last movement returns to the rhythmic style of the second, in a different realization of the same idea. Once again, we have some irregular eighth-note patterns, and a unison texture fanning out



to polyphony. But this time the music is more compact and more like a light-hearted dance tune, happily moving along until it is suddenly cut short by a few soft F-minor chords: in the final measures of the piece, the merrymaking gives way to a brief moment of reflection.

VARIATIONS ON HAPPY BIRTHDAYBY PETER HEIDRICH (B. HAMBURG, 1935)

How would Haydn, Mozart, Beethoven and other great composers have arranged Happy Birthday, had they known the Hill sisters’ immortal tune? We will never know, but Peter Heidrich ventured an educated guess—and it is a very well-educated one. The German violinist-composer, who knows all musical styles inside and out, takes us on a guided tour of music history that is as entertaining as it is illuminating.

Musicologists will tell you that Happy Birthday uses a stock pattern of classical music based on a simple chord progression: tonic-dominant-dominant-tonic, a sequence that was frequently used by all composers of the classic and romantic eras. Having identified the pattern, Heidrich had to find good examples from each composer that could be merged with Happy Birthday. Since the variations were originally intended for string quartet, Heidrich’s models come mostly from the quartet literature: Mozart’s “Dissonant,” Beethoven’s second “Razumovsky,” Dvorák’s “American,” and so on. The variations proceed from Haydn to Mozart, Beethoven, Brahms,

Schumann, and Dvorák, before crossing over into the popular realm, with a Johann Strauss-like polka and waltz, a Hollywood film-score version, followed by a ragtime, a tango, and, to top it all off, a Hungarian csárdás.

Heidrich’s model was a set of variations on the German children’s song Kommt ein Vogel geflogen (“A bird comes a-flying”) by the composer and choral conductor Siegfried Ochs (1858-1929), on another melody following a common harmonic pattern. Ochs’s work, which likewise treated its melody in the style of several great composers (including some to whom Heidrich would also pay homage) was so popular that even Ferruccio Busoni, the great pianist-composer and a champion of avant-garde music, couldn’t resist the temptation of adding five more variations to it as an “appendix.”

Among other adaptations of Happy Birthday in a modern classical style, we might mention Igor Stravinsky’s Greeting Prelude, written for Pierre Monteux’s 80th in 1955. John Williams contributed a modern variation in 1995, to honor Seiji Ozawa (60), Itzhak Perlman (50) and Yo-Yo Ma (40). But Heidrich was apparently the first composer to write a whole set of variations on the famous theme. Composed “on a whim” (according to Heidrich’s publisher), the work has been performed all over the world and recorded by several prominent ensembles.

Program notes by Peter Laki



M U S I C D I R E C T O R

NADJA SALERNO-SONNENBERGMUSIC DIRECTOR

One of the leading violinists of our time, Nadja Salerno-Sonnenberg is best known for her exhilarating performances, passionate interpretations, musical depth and unique charisma. A highly acclaimed soloist and recording artist, Nadja has also gained recognition in the orchestral arena. The 2016-2017 season marks Nadja’s final appearances as Music Director of New Century Chamber Orchestra after nine seasons. Nadja’s tenure with the orchestra has been hailed as a tremendous success by audiences and critics alike – “a marriage that works,” in her words, and renewing enthusiasm for “one of the most burnished and exciting ensembles in the Bay Area,” according to Rich Scheinin of the San Jose Mercury News.

A powerful and innovative presence on the recording scene, Nadja Salerno-Sonnenberg continues to enrich the collection of her record label NSS Music, which she started in 2005. The label’s roster of artists include pianist Anne-Marie McDermott, horn player John Cerminaro, pianist/composer Clarice Assad, Marin Alsop, the American String Quartet, the Colorado Symphony and Orquestra Sinfonica do Estado de Sao Paulo as well as the New Century Chamber Orchestra.

Nadja Salerno-Sonnenberg’s exceptional artistry is paired with great musical intelligence which, along with her unique personality, have served her well in numerous environments – on camera, in a commercial for Signet Bank, hosting a

Backstage/Live from Lincoln Center program for PBS, appearing in the PBS/BBC series The Mind, even talking to Big Bird on Sesame Street. She was the subject of the 2000 Academy Award-nominated film, Speaking in Strings, which premiered at the Sundance Film Festival. Released in theaters nationwide and subsequently premiered on HBO’s Signatures channel in 1999, this intensely personal documentary on her life is available on VHS and DVD through New Video. The CD of music from the film was released in 1999 by Angel/EMI. Ms. Salerno-Sonnenberg appeared on ABC’s primetime comedy Dharma & Greg in 2001, and she has also been interviewed and profiled on CBS’ 60 Minutes, 60 Minutes II, and Sunday Morning; CNN’s Newsstand ; NBC’s National News and Newsstand ; NBC’s National News and The Tonight Show with Johnny Carson; A&E’s Artist of the Week with Elliot Forrest ; Bravo’s Arts & Minds and The Art of Influence ; PBS’ Live from Lincoln Center, The Charlie Rose Show, and City Arts. On the publishing front, Nadja: On My Way, her autobiography written for children discussing her experiences as a young musician building a career, was published by Crown Books in 1989.

An American citizen, Ms. Salerno-Sonnenberg was born in Rome and emigrated to the United States at the age of eight to study at The Curtis Institute of Music. After continuing on to study with Dorothy DeLay at The Juilliard School, Ms. Salerno-Sonnenberg’s professional career began in 1981 when she won the Walter W. Naumburg International Violin Competition. In 1983 she was recognized with an Avery Fisher Career Grant, and in 1988 was Ovations Debut Recording Artist of the Year. In 1999 she was honored with the prestigious Avery Fisher Prize, awarded to instrumentalists who have demonstrated “outstanding achievement and excellence in music.” In May of that same year, Ms. Salerno-Sonnenberg was awarded an honorary Master of Musical Arts from the New Mexico State University, the first honorary degree the University has ever awarded.

For more information on Ms. Salerno-Sonnenberg, please visit:

www.nadjasalernosonnenberg.comwww.nssmusic.com


H I S T O R Y

NEW CENTURY CHAMBER ORCHESTRAThe New Century Chamber Orchestra, one of only a handful of conductorless ensembles in the world, was founded in 1992. The 19-member string ensemble includes San Francisco Bay Area musicians and those who travel from across the U.S. and Europe to perform together. Musical decisions are made collaboratively, resulting in an enhanced level of commitment from the musicians to concerts of remarkable precision, passion, and power. World-renowned violin soloist, chamber musician and recording artist Nadja Salerno-Sonnenberg leads from the concertmaster chair. She joined the ensemble as music director and concertmaster in January 2008 succeeding previous music directors Krista Bennion Feeney (1999-2006) and Stuart Canin (1992-1999). Her appointment brought New Century “a new sense of vitality and determination, as well as an audacious swagger that is an unmistakable fingerprint of its leader,” according to Gramophone magazine.

In addition to performing classic pieces of chamber orchestra repertoire, New Century commissions important new works, breathes new life into rarely heard jewels of the past, and performs world premieres. Through the Featured Composer program, the orchestra commissions composers to write new works, with the goals of expanding chamber orchestra repertoire and providing audiences with a deeper understanding of today’s living composers. The orchestra provides insight into the breadth of the Featured Composer’s work by performing a variety of pieces by the composer throughout the season.

Salerno-Sonnenberg and New Century have made three successful national tours together. The 2011 performances in the Midwest, East Coast, and Southern California garnered record-breaking audiences and national critical acclaim. In January and February 2013, New Century followed with a highly successful eight-state national tour, the

largest and most ambitious artistic undertaking in the organization’s history. In addition to touring efforts, New Century’s national footprint has also continued to grow with a rapidly increasing national radio presence. The ensemble has been broadcast over 30 times on American Public Media’s Performance Today, with each broadcast heard on 260 radio stations across the country.

The orchestra has released seven compact discs. The most recent, From A to Z: 21st Century Concertos, is a compilation of four of New Century’s live world premiere performances of its newly commissioned works, with Salerno-Sonnenberg as soloist in music by William Bolcom, Ellen Taaffe Zwilich, Clarice Assad and Michael Daugherty. It was released in May 2014 on the NSS Music label.

Two additional albums, LIVE: Barber, Strauss, Mahler, released in November 2010, and Together, released in August 2009, were also recorded with Salerno-Sonnenberg and released on the NSS Music label. The Orchestra’s first concert DVD, On Our Way, was released in May 2012, and weaves together documentary footage and a live tour concert from a February 2011 performance at the Broad Stage in Santa Monica. The DVD was filmed by Paola di Florio, director of the 1999 Academy Award-nominated film Speaking in Strings.

Other recordings include a 1996 collaborative project with Kent Nagano and Berkeley Symphony Orchestra featuring the work of 20th century Swiss composer Frank Martin, and Written With the Heart’s Blood, a 1997 Grammy Award finalist, both on the New Albion label. In 1998 the orchestra recorded and released works of Argentine composers Alberto Williams and Alberto Ginastera on the d’Note label, and, in 2004, the orchestra recorded and released Oculus, a CD of Kurt Rohde’s compositions on the Mondovibe label. All of the recordings have been distributed both internationally and in the United States.


G U E S T A R T I S T

INON BARNATANPIANO

Celebrated for his poetic sensibility, probing intellect, and consummate artistry, Israeli pianist Inon Barnatan is embarking on his third and final season as the inaugural Artist-in-Association of the New York Philharmonic, appearing as soloist in subscription concerts, taking part in regular chamber performances, and acting as ambassador for the orchestra.

This summer Barnatan makes a host of high-profile festival appearances, including the Seattle, Santa Fe, Delft and Aspen Festivals, all capped by a solo recital marking his Mostly Mozart debut. In the 2016-17 season he debuts with the Leipzig Gewandhaus Orchestra under the baton of New York Philharmonic Music Director Alan Gilbert, the Chicago Symphony Orchestra under Jesús López-Cobos, the Baltimore Symphony under Vasily Petrenko, and the Seattle Symphony under Ludovic Morlot. He returns to the New York Philharmonic under Manfred Honeck, and

embarks on three tours: of the U.S. with the Academy of St Martin in the Fields, of Europe with his frequent recital partner Alisa Weilerstein, and of the U.S. again performing a trio program with Weilerstein and clarinetist Anthony McGill, including a concert at the Chamber Music Society of Lincoln Center. Other highlights include concerto performances in Japan, Hong Kong and Australia, the complete Beethoven concerto cycle in Marseille, and several concerts at London’s Wigmore Hall.

A recipient of both the Avery Fisher Career Grant and Lincoln Center’s Martin E. Segal Award, Barnatan has performed extensively with many of the world’s foremost orchestras, including those of Cleveland, Los Angeles, Philadelphia, and San Francisco; Deutsches Symphonie-Orchester Berlin; the Royal Stockholm Symphony Orchestra; and the Gulbenkian Orchestra of Lisbon. He has worked with such distinguished conductors as Gustavo Dudamel, Michael Tilson Thomas, James Gaffigan, Susanna Mälkki, Matthias Pintscher, Thomas Søndergård, David Robertson, Edo de Waart, Pinchas Zukerman, and Jaap van Zweden. Passionate about contemporary music, in recent seasons the pianist has premiered new pieces composed for him by Matthias Pintscher, Sebastian Currier and Avner Dorman.

“A born Schubertian” (Gramophone), Barnatan’s critically acclaimed discography includes Avie and Bridge recordings of the Austrian composer’s solo piano works, as well as Darknesse Visible, which scored a coveted place on the New York Times’ “Best of 2012” list. Last October the pianist released Rachmaninov & Chopin: Cello Sonatas on Decca Classics with Weilerstein, which earned rave reviews on both sides of the Atlantic.

© Marco Borggreve


P R O G R A M A N N O U N C E M E N T

SAN FRANCISCO WAR MEMORIAL AND PERFORMING ARTS CENTER

HERBST THEATRE

Owned and operated by the City and County of San Franciscothrough the Board of Trustees of the War Memorial of San Francisco

The Honorable Edwin M. Lee, Mayor

TRUSTEESThomas E. Horn, President

Nancy H. Bechtle, Vice-PresidentBelva Davis

Lt. Col. Wallace I. Levin CSMR (Ret.)Gorretti Lo Lui

Mrs. George R. MosconeMajGen J. Michael Myatt, USMC (Ret.)

Paul F. PelosiCharlotte Mailliard Shultz

Vaughn R. WalkerDiane B. Wilsey

Elizabeth Murray, Managing DirectorJennifer E. Norris, Assistant Managing Director

Page 2 of 2

SAN FRANCISCO WAR MEMORIAL AND PERFORMING ARTS CENTER

Short Term License AgreementAppendix D

FIRE EXIT DIAGRAM


M E M B E R S O F N E W C E N T U R Y

Dawn HarmsAssociate Concertmaster, ViolinSan Francisco, CAJoined NCCO in 1999

Anna KrugerPrincipal ViolaOakland, CAJoined NCCO in 2007

Deborah Tien PriceViolinMill Valley, CAJoined NCCO in 1999

Candace GuiraoPrincipal Second ViolinSan Francisco, CAJoined NCCO in 1993

Karen Shinozaki SorViolinRichmond, CAJoined NCCO in 1992

Michael YokasViolinBerlin, GermanyJoined NCCO in 2000

Robin MayforthViolinPacifica, CAJoined NCCO in 2001

Iris StoneViolinSan Francisco, CAJoined NCCO in 1995

Liza ZurlindenViolinSeattle, WAJoined NCCO in 2010


M E M B E R S O F N E W C E N T U R Y

Elizabeth PriorViolaSan Rafael, CAJoined NCCO in 2015

Michelle DjokicCelloPalo Alto, CAJoined NCCO in 2007

Cassandra Lynne RichburgViolaSacramento, CAJoined NCCO in 1992

Susan BabiniPrincipal CelloNew York, NYJoined NCCO in 2007

Isaac MelamedCelloWarm Springs, VAJoined NCCO in 2012

Jenny DouglassViolaMill Valley, CAJoined NCCO in 2009

Robin BonnellCelloBerkeley, CAJoined NCCO in 1999

Anthony ManzoPrincipal BassChevy Chase, MDJoined NCCO in 2006


R E C O R D I N G S

From A to Z: 21st Century ConcertosNSS Music, 2014With Nadja Salerno-SonnenbergWorks by Lera Auerbach, William Bolcolm, Michael Daugherty and Ellen Taaffe Zwilich.

LIVE: Barber, Strauss, MahlerNSS Music, 2010With Nadja Salerno-SonnenbergWorks by Richard Strauss, Gustav Mahler, and Samuel Barber.

On Our Way DVDNSS Music & Counterpoint Films, 2012With Nadja Salerno-SonnenbergWorks by Wolf, Piazzolla, Tchaikovsky, Schnittke, and Gershwin.

TogetherNSS Music, 2009With Nadja Salerno-SonnenbergWorks by Clarice Assad, Astor Piazzolla, and Béla Bartók


R E C O R D I N G S

Written with the Heart’s BloodNew Albion Records1997 Grammy Award Nomination Works by Dmitri Shostakovich

LIVENadja Salerno-Sonnenberg Anne-Marie McDermottWorks by Bach, Schubert, and Beethoven

Echoes of ArgentinaD’Note RecordsWorks by Alberto Ginastera and Alberto Williams

Concertos in D MajorNadja Salerno-SonnenbergColorado Symphony OrchestraWorks by Tchaikovsky and Assad

NSS Music Recordings:


CORPORATE, FOUNDATION, AND GOVERNMENT SUPPORTAutodeskBenevityThe Bernard Osher FoundationBloomberg Family Foundation, Inc.BMI Foundation Inc.Center for Learning in RetirementCity National BankClickmerit, LLCEMIKA FundGE FoundationGrants for the Arts (GFTA)Clarence E. Heller Charitable

FoundationThe William and Flora Hewlett

FoundationLarson Family FundMindful AssetsNational Endowment for the ArtsNew Music USAThe North Ridge FoundationRenaissance Charitable FundThe Richard and Emily Levin

FoundationSakana FoundationStellar SolutionsWilson Sonsini Goodrich &

Rosati FoundationWomen’s Philharmonic AdvocacyThe Zalec Familian and

Lilian Levinson Foundation

MESSIAH STRADIVARIUS CIRCLE($100,000+)Paula and John GambsGordon P. and Ann G. Getty

DEL GESU CIRCLE($50,000 - $99,999)Alan Benaroya

GUADAGNINI CIRCLE ($25,000 - $49,999)Ruth and William IsenbergMargaret and Edmond KavounasCaroline Wood

CREMONA CIRCLE ($10,000 - $24,999)Julie AllectaOwsley Brown IIIJerome and Thao DodsonMr. and Mrs. William FisherLucinda Lee Katz, Shira Lee Katz,

and David Lee KatzLarson Family FundParker Monroe and Teresa DarraghPamala and Robert PedrazziniMark Salkind and Miranda HellerCarolyn and Stephen Spitz

GUARNERIUS CIRCLE ($5,000 - $9,999)Christina and John AldereteKris and Eric BrewerWilliam GinchereauGinnie and Peter E. Haas, Jr.John and Elizabeth HarkinsPhoebe Wall HowardSusan Blake and Joel KaufmannKaren Smith-McCune and

Mike McCuneJaMel and Thomas PerkinsNadja Salerno-SonnenbergJean Fordis and Jerry VoightAnonymous (1)

STRADIVARIUS CIRCLE ($2,500 - $4,999)Elizabeth Brooks and Paul NagleRobert CarriganSuzette ClarkePat Sandoval and Jon KannegaardWilliam and Gretchen Kimball FundJoan and Jim KirsnerKate KnickerbockerMarty KrasneyLisa ParkAnn and Michael ParkerJudith and C. Gerron VartanPhilip Wilder

LEADERS($1,000 - $2,499)Patricia and Steve AndersonAndy BasnightPatrick BeaudanMarcia W. BeckPhyllis BlairIris ChanLaurence and Michèle CorashAdam DonovanMike GarlandElsie GeorgeJudith and Donald GrayAlana Zavett Green and

Steven GreenAnne Halsted and Wells WhitneyPeggy HeinemanRuth and Alfred HellerNancy and Jerre HitzMichèle Stone and Harry HoweRobert HsiSarah IngberDavid Lee KatzShira Lee KatzMatthew Reedy and Ray LapointeMarilyn and Richard LonerganLynn LuckowPaige Rogers and Rob MelroseBritt-Marie Ljung and Warren MillerSue and Warden Noble

Joy and Larry O RourkeJohn Park and Jennifer ChuNicholas PhanAnn and Bill ReganWarren SchneiderLisa SeischabEmmalyn ShawLinda and Roger SolowGladys ThacherJerry VurekPamela Wright

SUSTAINERS($500 - $999)Irvenia Waters and Jose AllenAnne and Lee AndersonJonathan AronsIrene and Robert BelknapCharlotte and David BiegelsenTom and Linda BiesheuvelVirginia CoeNathaniel CornellSuzanne and Steve CowanRob CunninghamKelny DenebeimJenny DouglassMary FalveyJackie and Art FletcherConnie FreemanDebbie Thal and Len GensburgJared GreenMary HardenEllis and Arlene HarmsErnest and Deveda LittauerSamuel Leffler and

Cynthia LivingstonJanet and Marcos MaestreMeg McCabeAnn and David MelamedBrandon MillerAngela and James MongilloDavid MountDavid ParkDr. Sem Hin and Katherine PhanMargaret Smith and Lloyd M. SmithTina Vindum and John CoghlanPeter McGrath and Han WangRuth Donig-White and

Robert WhiteAnonymous (1)

SUPPORTERS ($250 - $499)Dorian BikleSandra Carr and Jeri EcheverriaPaul ChristiansonEvelyn and Richard ClairJoseph CutcliffeDeborah DasovichStephen DavenportClaire Ferrari

The Board of Directors of New Century Chamber Orchestra wishes to extend its warmest thanks and gratitude to the generous, individuals, corporations, foundation, and government agencies listed here, who have made gifts during the past 12 months.

N O T E S O F G R A T I T U D E


Lisa Itaya and Roger FisherBruce FitchAlison Fleming and Mark ReinholdPatricia and Howard FongMary GriffinKathleen G. HenschelKathie Hillier and Bob BoenCurtis IngrahamMarilouise JacksonPhilip JelleyAida JonesCecilia KaiserJudi and Buz KanterTerri KwiatekSharlene LimRen MandelBarbara and Kim MarienthalAlan MarkleBeverly MartinPaula PretlowLeslie and Merle RabineNiall RocheLinda and Edward SeldenKate SheeranPat SinatraBonnie StilesVaheed Taheri and Leila BashiAlex TakaokaGary WatsonAnne Zavett and FamilyAnonymous (2)

SPONSORS/NEW CENTURY CLUB($100 - $249)Drs. Charlene Archibeque and

Robert MelnikoffPauline AdamsClarice AndersonPhyllis and Donald BaerJoan BalterEdward BennettBrian BergRobert BermanChristine BolingbrokeLaurel Brobst-GilbertRoberta BrokawW. Allen BurkeTerry CoddingtonEllen CourtienJim CrottyCelia CummingsCybele D’AmbrosioVirginia DebsKaren DeMelloPat DobbieMargaret DorfmanAmy DuxburyJudy EckartLisa EricsonKay and Jay EsteyAlexis FischoffMarcia FlanneryJon and Ellen FloreyAnn M. Darragh and David FordTia Miyamoto and Bryce GoekingDennis Hannigan

Evelyn HansonNancy and Nick HaritatosDawn HarmsHelen Louise Harper and

Mary CampbellRounscival Siegfried HarrisonElsa and Raymond HealdPatricia HellerKenneth HolfordEdna HomLeslie and Peter HornDavid IventoschGene JacobsonDonald JaveteAlice and Dale JohnsonAnn and John KadykRuth KahlJosie and Bill KaminDoris and Roger KetchamGeoffrey Gosling and

Leocadia KorzunTina KunCarol LangbortStephanie LeeCarole LeongNaomi and Marc LevensonAllan LichtenbergDavid LilienMary and Robert LinJane LurieHarvey LynchTony ManzoValerie MarshallRobert MatsuedaRobert MaxsonChristina McGillMarion McIntireA. Kirk McKenzieJohn MeyerCandace and Doss MillerGeraldine MorrisonKaty MotieyPhilip and Anne MurphyMr. & Mrs. Chip NielsenReggie and Lorraine NilesHerb OchitillDavid PerlmanLinda PolsbyCathy Frantz and Mike PotelPaula PretlowLynne RichburgBill and Erica RobertsSuzanne and Kenneth SackJay and Joyce SelbySuzanne and Patrick SheaAngela ShillaceMarlene SiminowMarilouise Jackson and

Donald SmartCharles SmithKaren Shinozaki SorMichael StearnsAnnie StenzelBonnie StilesJan StoeckeniusJJ Tien

Mayo TsuzukiRandy VogelGlen WolfAngela WoodJohn WynbeekAnonymous (3)

FRIENDS($1 - $99)Marjorie AckermanStewart ApplinDebra and Christopher ArmstrongSusan BabiniSusan BanksFaye BourretJill BowersShelagh BrodersenMary CampbellEmily and Stevan ChandlerGerda CohenAntoinette ConradMargareta EkbladDeborah EnglandJulia Erickson and Art RochsteinCharles GaryFred GertlerJo Rawlins GilbertJoanne GoldenAnne GomesJohn S. GravellJohn HillyerEdward HoganDeke HuntleyIra JacknisPhilip JelleyRobert and Kathleen KaiserRuth KarlenNancy and John LawrenceNaomi Janowitz and Andrew LazarusMardi LelandCatharine LewisMarian LewisAdrienne LieuGeorge MaderMarilyn McKennaDonald MillhauserGeraldine MorrisonJoan MurrayBetty and Herb NudelmanKate and Alex PopeStephanie and Delbert PrescottDiane RayBarbara RileyRich RubyDonald SanfordRonald SaxPatricia SimoniAlan SmithCherrill SpencerMadeline StovelRichard VandervoortGene WeinsteinGail Noah and Kenneth WitteMorris ZelditchZita and Eugene Zukowsky

N O T E S O F G R A T I T U D E


Julie AllectaAlan BenaroyaElizabeth BrooksOwsley Brown IIIRobert CarriganSuzette ClarkeJerome and Thao DodsonMr. and Mrs. William FisherPaula and John GambsGordon P. and Ann G. GettyWilliam GinchereauGinnie and Peter E. Haas, Jr.John and Elizabeth HarkinsPhoebe Wall HowardRuth and William Isenberg

Lucinda Lee Katz, Shira Lee Katz, and David Lee Katz

Susan Blake and Joel Kaufmann

Margaret and Edmond Kavounas

William and Gretchen Kimball Fund

Joan and Jim KirsnerKate KnickerbockerMarty KrasneyLarson Family FundKaren Smith-McCune and Mike McCune

Parker Monroe and Teresa Darragh

Elizabeth Brooks and Paul Nagle

Lisa ParkPamala and Robert PedrazziniJaMel and Thomas PerkinsNadja Salerno-SonnenbergMark Salkind and Miranda Heller

Carolyn and Stephen SpitzJudith and C. Gerron VartanJean Fordis and Jerry VoightPhilip WilderCaroline Wood

New Century extends its gratitude to the members of the Stradivarius Circle, which recognizes the generosity and leadership of our friends and patrons

who have made gifts of $2,500 or more in the past 12 months.

S T R A D I VA R I U S C I R C L E

N E W C E N T U R Y C L U B

This 2016-2017 season, join New Century’s new membership program while supporting your favorite Bay Area orchestra.

For only $150 (per household), New Century Club members will enjoy the following perks:

• A private invitation to our annual kick-off event in September • Four free Open Rehearsal tickets per season• Discount code of 50% for up to two concert tickets• New Century coffee mug (to use at home while you are listening to us on KDFC!)


IN HONORIn honor of Alana Zavett Green Marilyn and Richard Lonergan

In honor of Zev Green Alana and Steven Green, Dennis Zavett

In honor of Kathy Rosebrock’s Retirement Joanne Golden

In honor of Nadja Salerno-Sonnenberg Joan Balter and Caroline Wood

In honor of Philip Wilder Peter McGrath and Han Wang, Caroline Wood, Dr. Sem Hin and Katherine Phan

In honor of Caroline Wood’s birthday Lucinda Lee Katz

In honor of John and Paula Gambs René Mandel, Paula Pretlow

In honor of the Board of Directors Alana Zavett Green

In honor of Dawn Harms Ellis and Arlene Harms

IN MEMORIAMIn memory of David Ackerman Marjorie Ackerman

In memory of Mary Beth Alana Green

In memory of Norm Katz Evelyn and Richard Clair, Stacey Poland Hamburg and Edward Hamburg, Leslie and Peter Horn, Bill and Erica Roberts, and Irvenia Waters and Jose Allen

In memory of Gerald Gavzy Katherine Gavzy

In memory of Ruth Vurek Jerry Vurek

In memory of Earl Wood Angela Wood

In memory of William Holsman Gerda Cohen, Meryl and Mel Langbort, and Carol Langbort

In memory of Ralph Heineman Terri Kwiatek

In memory of Pauline Ginchereau William Ginchereau

The Board of Directors of New Century Chamber Orchestra wishes to extend its warmest thanks and gratitude to the generous individuals

listed below who have made tribute gifts during the past 12 months.

T R I B U T E S

To give a contribution in someone’s name, visit ncco.org, call 415.357.1111, ext. 306, or mail a check to:

New Century Chamber Orchestra44 Page Street

San Francisco, CA 94102


S P E C I A L E V E N T S

First Annual Stuart Canin Award LuncheonSan Francisco: Friday, September 16th

Subscribers and Supporters Post-Concert Reception

San Rafael: Sunday, September 18th

Sustainers Luncheon with MusiciansSan Francisco: Wednesday, November 9th


Berkeley: Thursday, November 10th

Leaders Luncheon with Music DirectorSan Francisco: Wednesday, March 15th


Palo Alto: Friday, March 17th

For more information, please call 415.357.1111, ext. 306


BOARD OF DIRECTORSMark Salkind, PresidentLucinda Lee Katz, Vice PresidentCarolyn Spitz, TreasurerJerry Voight, Secretary

Alan Benaroya John GambsPaula GambsShira Lee KatzJoel Kaufmann Margaret KavounasSue LarsonCaroline Wood

ORCHESTRA REPRESENTATIVESJenny DouglassCandace GuiraoAnna KrugerKaren SorMichael Yokas

ADMINISTRATIVE & PRODUCTION STAFFPhilip Wilder, Executive DirectorEverett L. Doner, Director of OperationsRebekah Harkins, Director of DevelopmentBrenden Guy, Director of Marketing and Communications

Brian Bauman, Director of FinanceSarah Vardigans, Stage ManagerJulija Zibrat, Marketing Intern

CONSULTING STAFFDavid v. R. Bowles, Recording EngineerJPD Studio, Web Development and Design

NEW CENTURY BOARD OF DIRECTORS AND STAFF

New Century Chamber Orchestra44 Page Street, Suite 600, San Francisco, CA 94102

Phone 415.357.1111 Fax 415.357.1101

www.ncco.org

Want to see your ad in our program book? Contact Brenden Guy at 415.357.1111 x 305 or [email protected].


FESTIVAL PASSES3 Day Passes: 15% off single ticket prices with access to all 3 festival concerts.2 Day Passes: 10% off single ticket prices to any 2 festival concerts of your choice.

SINGLE TICKETS$61 A | $49 B | $29 C

There are three ways to purchase:1) Phone: Call City Box Office at 415.392.4400 (Mon-Fri 9am-5pm, Sat Noon-4pm)2) Online: Visit ncco.org3) At the door: Based on availability, beginning 45 minutes prior to each concert

Allow 1-2 weeks for delivery. For orders received less than one week prior to the concert, tickets will be held at Will Call.

CAN’T ATTEND A CONCERT?Ticket exchanges are welcome, but must take place prior to the original concert. Ticket exchanges are offered free of charge to all subscribers. All other patrons will be assessed a $2.75 service charge per ticket exchanged.

Tickets can be exchanged four ways. Always include your name and the new performance date:1) Mail: Send the tickets to 44 Page Street, Suite 600, San Francisco, CA 94102 at least three business days prior to the performance. 2) Fax: Send a copy of the ripped tickets to 415.357.1101 at least two business days prior to the performance. 3) Scan/Email: Send a copy of the ripped tickets to [email protected] by noon at least two business days prior to the performance. 4) Return the tickets to Will Call up to 30 minutes prior to the original performance in person.

If you can’t use or exchange your tickets, please pass them on to friends or return them as a tax-deductible donation. To donate tickets, please call 415.357.1111, ext. 4, up to noon the business day prior to the performance. A receipt will be mailed to you acknowledging the value of the tickets.

WILL CALL Will Call opens 45 minutes prior to each performance. Please arrive early to avoid long lines.

T I C K E T I N F O R M A T I O N


2 0 1 6 - 2 0 1 7 V E N U E S

SF OPEN REHEARSALSWednesdays at 10am

Diane B. Wilsey Center for Opera401 Van Ness Avenue, San Francisco, CA 94102

BERKELEYThursdays at 8pm

First Congregational Church2345 Channing Way, Berkeley, CA 94704-2201

PALO ALTOFridays at 8pm

First United Methodist Church625 Hamilton Avenue, Palo Alto, CA 94301

Oshman Family Jewish Community Center3921 Fabian Way, Palo Alto, CA 94303

SAN FRANCISCOSaturdays at 8pmHerbst Theatre

401 Van Ness Avenue, San Francisco, CA 94102

SAN RAFAELSundays at 5pm

Osher Marin Jewish Community Center200 N San Pedro Road, San Rafael, CA 94903


U P C O M I N G C O N C E R T S

Our concerts are made possible, in part, by Gordon P. and Ann G. Getty, and:

2016-2017 SEASONNOVEMBER 10-13, 2016Ray Chen, Guest Concertmaster

Winner of the Queen Elisabeth (2009) and Yehudi Menuhin Competitions (2008), Australian/Taiwanese violinist Ray Chen joins New Century as Guest Concertmaster leading a program of works by Mozart, Britten and Elgar.

MARCH 16-19, 2017 WITH CHANTICLEERNadja Salerno-Sonnenberg, Music Director & Concertmaster

Following the 2014 sellout collaboration, New Century welcomes the return of the Grammy Award-winning vocal ensemble Chanticleer, with a musical journey through Paris showcasing works by French composers Fauré and Satie and songwriters Edith Piaf and George Gershwin.

MAY 16, 2017The opening night of New Century’s 25th Anniversary Festival honors Nadja Salerno-Sonnenberg’s visionary founding and leadership of the Featured Composer program.

Program to include works by Clarice Assad, William Bolcom, Mark O’Connor, Ellen Taaffe Zwilich, Lera Auerbach, Michael Daugherty, Derek Bermel and Jennifer Higdon.

MAY 18, 2017New Century bids farewell to its beloved Music Director Nadja Salerno-Sonnenberg, in a concert featuring performances of two of her signature concerti: Mendelssohn’s Violin Concerto in E minor and Piazzolla’s Four Seasons of Buenos Aires.

Felix Mendelssohn: Symphony No. 10 in B minorFelix Mendelssohn: Violin Concerto in E Minor, Op. 64 (Arr. Tognetti)Astor Piazzolla: Four Seasons of Buenos Aires

MAY 20, 2017Join Nadja and New Century in our biggest concert event of the year as we celebrate 25 years of extraordinary music-making with an all-Gershwin extravaganza, featuring the seldom-heard jazz band version of Rhapsody in Blue.

Gershwin: American in Paris SuiteGershwin: Rhapsody in Blue (Original Version for Jazz Band)Gershwin: Selected songs

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