Eric Kujawsky, Music Director

THIRTEENTH SEASON 1997-1998

Charles Ives Symphony No.4(1874-1954) Kv. 39 (1909-16)

I. Prelude: MaestosoII. Comedy: Allegretto

III. Fugue: Andante moderato con motoIV. Finale: Very slowly-largo maestoso

Kristin Link, assistant conductor

Peninsula CantareJanice Gunderson, Director

INTERMISSION

Sergei Piano Concerto No. 3Rachmaninoff in D minor

(1873-1943) Op. 30 (1909)I. Allegro ma non tanto

II. Intermezzo, AdagioIII. Finale, Aile Breve

Thomas Hansen, piano

Sunday, February 22, 19983:00 P.M.Spangenberg TheatrePalo Alto, California

The Music Director Eric Kujawsky is the Music Director of Redwood Symphony,now in its thirteenth season, at Canada College in RedwoodCity. A native of LosAngeles, he began his conducting studiesat age fourteen and made his debut with a youth orchestra atnineteen. After completing his B.A. in music education andM.F.A. in conducting at UCLA, Kujawsky accepted a fellow-ship to study conducting at Stanford. Dr. Kujawsky foundedRedwood Symphony in 1985, immediately after he receivedhis D.M.A. He is now the Chairman of the Performing ArtsDepartment at James lick High School in San Jose, as well asan instructor at Canada College.

Dr. Kujawsky has performed at the Aspen Music Festival asa member of the Conducting Master Class; his teachersinclude Samuel Krachmalnick, Paul Vermel, and Andor Toth.He has guest conducted the Mesa Symphony in Arizona, theSan Francisco Gay Men's Chorus, the South Valley andDiablo Symphonies, and the UCLA Dance Company. He wasMusic Director for the 1991 Oakland Youth Symphony Sum-mer Program. Stage credits include Gilbert and Sullivan'sRuddigore and several musicals, including Sweeney Todd,Sunday in the Park with George (for which Dr. Kujawskyreceived the 1987 Bay Area Theater Critics' Circle Awardand the Hollywood DramaLogue Award for Music Direction),My Fair Lady, KissMe Kate, Cabaret, and Gentlemen PreferBlondes. Dr. Kujawsky considers the high points in his life tobe his marriage to Valerie Sarfaty and the birth of his son,Aaron Benjamin Sarfaty, in June of 1990.

The Orchestra Since 1985 Redwood Symphony's innovative programs haveincluded many major twentieth-century works by John Adams,Bart6k, Copland, Lutoslawski, Mahler, Shostakovich, andStravinsky, as well as the great classics of Mozart, Beethoven,and Brahms. This ambitious, contemporary programming hasdrawn a high number of volunteer professionals to RedwoodSymphony's ranks. In June of 1996, the orchestra made itsdebut in San Francisco's Davies Symphony Hall, performingwith the San Francisco Gay Men's Chorus. In addition, theorchestra has recorded two all-Stravinsky CDs on the Claritylabel-o rare and prestigious opportunity for an all-volunteerensemble.

Musicians interested in joining Redwood Symphony maycall Dr. Kujawsky at 650-366-6872.

A Reminder Please remember to disarm all watches and beepers prior tothe concert. We kindly ask patrons with small children to sitnear the back of the auditorium so they may take the childrento the lobby if they become noisy.

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The Soloist

Donations

We gratefullyacknowledge

these generouscontributions

One of the Bay Area's most dynamic and distinctive pianists,Thomas Hansen was born in Massachusetts where, at agefour, he began teaching himself piano. He holds a Bachelor ofMusic degree from the New England Conservatory and aMaster's from the University of Michigan. His principal teach-ers were Theodore Letlvin and Thomas LaRatta.

Mr. Hansen performed an all-liszt recital in the Netherlandson an 1866 Steinway which liszt himself often used forrecitals. He has recorded three programs for the Grand Pianotelevision show which appears on cable systems in over twohundred cities and towns.

Mr. Hansen has earned enthusiastic critical and audienceacclaim for his performances across the country. Here in theBay Area, he has played with the Merced Symphony, thePalo Alto Philharmonic, the Master Sinfonia, the PeninsulaSymphony, the Kensington Symphony, and others. When hewas sixteen, the Boston Globe wrote that his performance"left no doubt about his fluency, and the cleanness and lack ofhokum in his lively playing were most commendable." A laterappearance with the Peninsula Symphony elicited this reviewfrom the San Mateo Times: "Hansen's playing was fresh,scintillating and lyrical ... a rich, dynamic, bravura perfor-mance." Mr. Hansen is currently on the faculty of the Collegeof Notre Dame in Belmont.

Redwood Symphony is a non-profit organization. All contribu-tions are tax-deductible and will be acknowledged in futureprograms. Donations will gladly be accepted in the lobby atintermission, or they can be sent to: Redwood Symphony,1031 Sixteenth Avenue, Redwood City, CA 94063.

Patron ($500 and above): IBM· Jewish Community Federation of SanFrancisco, The Peninsula, Marin and Sonoma Counties> Redwood CityCivic Cultural Commission· Robert and Mary Keitel· Marjorie 0' Malley• Janet Sloan and Peter Stahl· Ralph and Jonnie Stahl· David M. Jonesand Ann WalkerBenefactor ($100 to $499): Combined Health Appeal of Colilomio «

Mia and Michael Astor > Gerald and Donna Bishop· Margaret L. Elliot• Anne and Andrew Gobor > David L. Herzog· Deanna and AIKnickerbocker > William and Katherine Karbholz • Robert and AnnMarcus· Fred and Dorothy Normon > Karl and Alice Ruppenthal· Curtisand Barbara D. Smith· Daniel and Ann Swinehart· Barbara Zimmerand Kevin Mayer· Athene WalkerSustainer ($50 to $99): Michael and Ellen Maiman· Karlette Warnerand Ward M. Hoffman· Chalmers Smith· M. louise WadeSupporter (up to $49): Michael Bailey· leonel A. Breault· Elmo JoanBurwell· Virginia Ccrr > Selma Feinstein· Sondra and Frank Herman.Klaus Hilbert von Hagen· lucius W. Johnson, Jr.• Ruth Maguire.Ann Slaughter

Ken laxer, in-kind donation

Wilson, Sansini, Goodrich & Rosati, Professional Corporationfor use of their meeting rooms and facilities

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IvesSymphony No.4

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To try to give in words an impression of thefeeling of any music is [utile=one must hear themusic itself Let it suffice to say that lues's musiccontains endless shades of profundity and ecstasy,humor and sadness, commonness and exquisite-ness. -Henry Cowell, I933

Charles Edward Ives was born in Danbury, Connecticut in1874 and died in New York in 1954. Charles' father, GeorgeIves, was a well-respected brass-band leader, cornetist, musicteacher, and the youngest bandmaster in the Union Army dur-ing the civil war; his mother was a choir soloist of local promi-nence. Both were transcendentalists. According to family lore,Ralph Waldo Emerson was a guest in the Ives home beforeCharles' birth. Charles' father fostered in his son not only alove and curiosity for music, but also a fierce unconventional-ity in his approach to listening and composing. Charles wasexposed early in life to his father's original ideas about eartraining, poly tonality, microtones, acoustics, and spatial rela-tions in performance. Charles started composing at the age of12, and at 14 he was the youngest salaried church organist inthe state of Connecticut.

After graduation from Yale in 1898, he divided his timebetween working in the insurance field, composing, and play-ing the organ in various churches. Since the career of a com-poser was even less lucrative around the turn of the centurythan it is today, Ives devoted his regular working hours to theinsurance business he founded, Ives & Co. (later Ives &Myrick). It is quite amazing to think that Charles lves, theacclaimed "Founder of American Music," built and controlledthe leading insurance company in America at the time! It iseven more amazing to remember that Ives composed thegreat majority of his mature work in his "spare time"; usingevenings and weekends, with hours (or days) stolen awayfrom his insurance business. His compositions number in thehundreds!

Ives drew upon an enormous body of then-contemporarysocial music: church hymns, patriotic marches, ragtime tunes,and college songs, using these as thematic and raw materialsfor his works. Around 1895, Ives also began using experimen-tal compositional techniques and materials in his music. Theseincluded multiple ensembles playing simultaneously in differ-ent keys, tone-clusters, polyrhythms and polyharmonies,abrupt melodic dissonance, atonality, rapid metric change,and vernacular jazz rhythms. These compositional materialsand techniques became fundamental trademarks of his maturestyle. It is interesting to remember that Ives was composingwith many of these musical devices long before he would hearthe music of Schoenberg or Stravinsky, or any of the other so-called early twentieth-century 'moderns.' Sadly, it was not untilafter Ives (allegedly) stopped composing in 1926 that contem-

While the official dates acknowledged for {ves's Symphony No 4 are given as 1909-1916, theComedy movement was worked on until 1923, and the Fugue movement was originally composedfor the FirstString Quartet (1896). Ives removed this section from the quartet.

2 The composer and musicologist Henry Cowell published the score to this movement in his NewMusic Quarterly in 1929.

porary audiences recognized him as a major American composer. lves's was awardedthe Pulitzer Prize in 1947 for his acclaimed Third Symphony.

In 1927, Ives described his defining vision for his 4th symphony in this way: 1

"The symphony ... consists of four movements - a prelude, a majesticfugue, a third movement in comedy vein, and a finale of transcenden-tal spiritual content. {lves later inverted the order of the second andthird movements.] The aesthetic program of the work is ... the search-ing question of What? and Why? which the spirit of man asks life. Thisis particularly the sense of the prelude. The three succeeding move-ments are the diverse answers .... The fugue ... is an expression of thereaction of life into formalism and ritualism. The succeeding movement... is not a scherzo ... it is a comedy in the sense that Hawthorn'sCelestial Railroad is a comedy."

In his Memos, Ives further commented on the finale, "The last movement (which seemsto me the best, compared with the other movements, or for that matter with any otherthing I've done) ... covers a good many years ... In a way [it) is an apotheosis of thepreceding content, in terms that have something to do with the reality of existence andits religious experience." For Ives, his Symphony NO.4 was "a work of universalreligion."

Ives completed the majority of the symphony by 1916, except for the Comedy move-ment, , which he worked on as late as 1923.

2While Eugene Goosens would conduct

both the Prelude and Comedy movements at Town Hall in 1927 (at that time titledSymphony for Orchestra and Pianos), Ives would not live to see a complete perfor-mance of this work. The much anticipated and celebrated premiere occurred in NewYork City in 1965 with the American Symphony Orchestra conducted by LeopoldStokowski. Symphony No.4 is considered to be Ives's greatest work and the culmina-tion of his musical life.

Although not a lengthy work (about 30 minutes), the Ives 4th requires extraordinaryforces, including an augmented orchestra, three pianos (one tuned in quarter-tones),organ, an elaborate percussion battery, and mixed chorus. This array of performersmust negotiate a host of daunting rhythmic and textural complexities unprecedented inany symphonic composition up to lves's time, and rarely equaled since. Ives usedportions and even whole bodies of his earlier pieces-some fourteen in all, in his Sym-phony NO.4. The compositional techniques themselves represent a stylistic synthesis oflves's most far-reaching and arresting musical ideas, developed over two decades ofexperimentation. Ives forms densely layered textures by superimposing two, three, andeven four separate ensembles, centered on different tonalities and proceeding in differ-ent meters and tempi, constantly shifting in and out of synchronization. This poly tonaland polyrhythmic tapestry is made from intricate webs of contrapuntal lines, moving inopposing rhythmic patterns and often at different dynamic levels. The individualmelodic lines are frequently derived from a familiar mix of hymn tunes and popularand patriotic songs (over thirty have been identified in the work). As the melodic ele-ments undergo structural transformations, they skitter, in dream-like fashion, back andforth across the threshold of perceptibility-now distinct, now fading into inaudibility.

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Prelude: Maestoso, shaped as an introduction and hymn, begins with a propheticbass line answered by withering string harmonies and the peal of a bugle call. As withhis 1906 miniature, The Unanswered Question, Ives again looks at the heroic questand the eternal questions of life. Ives stretches the sound space of the stage to includethe quiet whispers of strings and harp in fragments from the hymn tune, "Nearer MyGod To Thee." The hymn continues independently throughout the movement, onlyrevealed during near-silent openings in the texture. A solo cello intones "Sweet By AndBy," and begins the hymn section of this first movement as the choir enters with theEpiphany hymn Watchman:

Watchman, tell us of the nightWhat the signs of promise are:Traveller, o'er yon mountain's heightSee that Glory-beaming star!

Watchman aught of joy or hope?Traveller, yes, it brings the day,Promised day of Israel.Dost thou see its beauteous ray?

As in the other movements, Prelude evaporates, the chorus chanting the final line ofWatchman, the piano and celesta rising the line into a question, and the sound windowof strings and harp barely whisper "Nearer My God To Thee."

Allegretto ("Comedy") In Comedy, Ives offers a "critique of urban life and material-ism mixed with affection and nostalgia." If the Prelude was a reflective, atmosphericcloud, posing the questions What? and Why?, the second movement is an orchestralphantasmagoria evocative of the images of lvess burgeoning industrial archetypearound the time of the First World War. While the Prelude underlined its message withspatial effects, adding an offstage group, Comedy pushes the limits of the concertstage to capture Ives's images of urban life: "all the ears could hold, and more, of thegreat throbbing, marching, dancing, hymning, ragtiming, holidaying, incorrigibly secu-lar city he knew from his bachelor years in New York."

Comedy is audacious, extravagant, and revolutionary even for Ives, possibly onlyrivaled by the Finale of this same work! The underlying hymn of the movement is thePilgrim tune "Sweet By and Bye," which is routed time and again by such brassy oppo-nents as "Marching Through Georgia," "Camptown Races," "Columbia, Gem of theSea, "Yankee Doodle," "Massa's in the Cold, Cold Ground," and more. Ives scoredsome thirty tunes, including hymns "ragged-up," patriotic songs, and bombasticmarches clashing in monolithic walls of sound. Indeed, the context of constant juxtapo-sition of march and hymn brings to the fore lves's musical trademarks: polyphonybetween groups, simultaneous use of keys and rhythms, and sonic collage. Thereare so many simultaneous musical activities running through this movement that Ivesnotates roles in the score for two (or more) conductors!

Andante Moderato ("Fugue") To the question of the Prelude, the Fugue offers theanswer of "conventional religion" and spiritual countenance. The image is of a NewEngland Church; Ives knew this setting intimately as he had been its organist for manyyears in his early life. Ives believed that since music is life, so a 'symphony should be aworld' in all its contradictions and curves. The juxtaposition and extreme contrast of thestormy and unrestrained Comedy is balanced here in the third movement with anapparent traditional fugue, finding order in religious focus. This was lves's way "to sayall he knew how to say, to fit in as much life, secular and spiritual, high and low, as heconceivably could."

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The fugue theme originates in the hymn "From Greenland's Icy Mountains." In thislyric, hymn-like movement of the symphony, Ives uses an attenuated ensemble ofstrings, winds, and horns in the manner of a Bach chorale prelude. The structure andharmony of the fugue are deceptive as Ives continually side steps conventional keystructure, resolutions, and voicings. The final result is an altered fugue subject, disso-nant and questioning, pulling the lyric Fugue into the maelstrom of the rest of the sym-phony, prefiguring the Finale. The third movement ends, returning to the original fuguetune, shadowed by the clarinet. A trombone renders the final statement, a fragment of"Joy to the World." Ives employed the Fugue to link the earthly and transcendentrealms of the Comedy and Finale.

Largo Maestoso ("Finale") Proceeding from the present, Comedy of modern secularlife, and the past, Fugue of formalized music and ritual, Ives used the Finale to repre-sent the future-eliciting the transcendent nature of music and the spirit. Finale beginsmeditatively with ethereal caressing in the percussion. The off-stage "Battery Unit" pro-vides an underlying pulse or 'music of the spheres' throughout the movement." A frag-ment of melody from "Nearer my God to Thee" emerges from the basses, continuingthe blurring of tonality and adding ever-uplifting shadows toward a "universal religionexpressed in music." The full orchestra, now divided into groups, adds masses of soundto the texture, "Nearer My God to Thee" being repeated under the layers. An abstractmarch slowly emerges over the descending bass-line, as the trumpets and horns playasans-measura rendition of the hymn. This march grows in urgency with the addition oftrombones, woodwinds, and basses in a climaxing free rhythmic and meterless conflu-ence: fragments of Dornance, contending with fragments of Missionary Chant.

As if the window of providence has been suddenly thrown open, the march cadenceelides into the revelation of "Nearer My God to Thee" intoned by a wordless chorus.As with distant bells, the music fades into the ethers. The eternal question of the Pre-lude: Watchman, tell us of the night; finds its answer in Nearer My God To Thee as themusic finds its place in the universe.

-Steve Ruppenthal

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RachmaninoffPiano Concerto

No.3

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Sergei Rachmaninoff studied at the Moscow Conservatoryfrom 1885 to 1892 and won the gold medal for compositionupon graduation. In 1893 he was appointed professor ofpianoforte at an all girls school in Moscow, and in 1897 to1898 he directed the Private Opera. Early in 1897, the FirstSymphony in D minor was premiered. The poor public andcritical response plunged Rachmaninoff into a deep depres-sion. After the failure of the First Symphony, he refused to workfor several years and finally sought help from a hypnotist whorenewed his spirit and creative strength. Rachmaninoff wrotehis Piano Concerto NO.2 in C minor with new inspiration andpassion. The rich sensuous melodies, moods and romanticdrama had an overpowering impact on the audiences of theday, and Rachmaninoff was again thought of as a brilliantcomposer and pianist. The second piano concerto becameRachmaninoff's most celebrated composition and was perhapsthe most popular concerto of the 1900S. With this return tosuccess, Rachmaninoff married his cousin and sweetheart,Natalie Satina, and he began to make more extensive tours asa concert pianist and conductor. From 1904 to 1906 he wasthe conductor of the Bolshoi Theatre.

When his popularity encroached upon his creativity,Rachmaninoff resigned as conductor and in 1907 left Russiato live quietly in Dresden, Germany. During this time, he com-

. posed the Third Piano Concerto in D minor. Because of the11917 October Revolution, Rachmaninoff and his wife and two

daughters emigrated to America. He regularly performed newcompositions while he lived alternately between America andSwitzerland. Except for his fourth piano concerto which wasconsidered a failure, Rachmaninoff experienced prolessionolsuccess and went on to produce many of his finest worksincluding two sets of piano preludes, two piano sonatas, theSecond Symphony and the Symphonic Poems. Later in life heconcentrated on being a pianist rather than a conductor. Heattracted a great following both in Europe and America. After1935, his main home was in the United States, first in NewYork and then in Beverly Hills where he died, shortly afterbecoming an American citizen. .

The Third Piano Concerto has traditionally been less popu-lar than the Second Piano Concerto. It has been thought of asextremely difficult to play and has not been performed with asmuch frequency as the Second. The Third was written in a mat-ter of months and, as he admitted, it was a strain. The manu-script is dated September 23,1909 and noted as having anew style dated October 5th, which mostly referred to thecadenza in the first movement. Indeed there were two versionsfor the cadenza and Rachmaninoff himself usually preferredthe second style. In the autumn of 1909, he embarked on hisfirst tour of the United States, and in 1909 he premiered theThird Piano Concerto at a concert of the New York Symphony.During the nine day crossing from Russia, Rachmaninoff prac-ticed on a silent keyboard. The reviews were mixed. Some

AssistantConductor

ChoirDirector

critics said it was monotonous, too gushy and too full ofarpeggios. But because it was similar to the second concertowhich was enormously popular and because the third con-certo was, for the most part, liked by the public, it wasdeemed an overall success.

The first movement, the Allegro ma non troppo, opens witha two measure introduction by the orchestra. The piano enterswith the first theme, the strings enter with the second themeand there is an elaborate section which leads to a cadenzafor piano which is accompanied by the orchestra. The themesreturn and the movement ends quietly. In the second move-ment, Adagio, the melody is introduced by the woodwindsthen is repeated by the strings and the piano. The movementinvolves clarinet and bassoons with a waltz rhythm in thestrings and goes immediately into final movement, the Aliabreve, which features vigorous back and forth passagesbetween the orchestra and piano. The entire concerto evolvesfrom a simple opening D minor melody into a work of impres-sive thematic cross-references and spacious orchestration.

-Mary Keitel-Snow

Kristin Turner Link is a transplanted midwesterner whomoved to California eight years ago. She holds degrees inMusic Education from the University of Wisconsin Madisonand the University of Michigan, with a focus on the teachingof strings. Her conducting teachers have included CatherineComet, Robert Fountain, Gustav Meyer and Paul Vermel.Kristin was a string teacher in the Quincy Public Schools inIllinois, conducted the Illinois Youth Chamber Orchestra, andwas assistant conductor and concert master of the QuincyCommunity Symphony. She has been a violinist in RedwoodSymphony for two years, and her husband is a bassist in thegroup.

Janice Gunderson was named Director of Peninsula Cantarein January 1997, after being the choir's accompanist since1987. She has been an active musician in the Bay Area,working as a director, pianist, and teacher. Since 1985 sheserved as Assistant Conductor for the Masterworks Choraleuntil Galen Marshall's retirement. She was Organist andChoir Director at the First Baptist Church of San Carlos,accompanist and the College of Notre Dame, and currentlyworks as Staff Accompanist at Canada College. She hasparticipated in the Festival of Masses with Robert Shaw andthe Cabrillo Music Festival with Dennis Russell Davies. Janicestudied at lewis & Clark College and holds a degree from theUniversity of Oregon with additional work at Cal StateHayward and San Jose State. Her professional affiliationsinclude the Music Teachers Association of California and theAmerican Choral Directors Association.

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Canada College

RedwoodSymphony

Staff

RedwoodSymphony

Board of Diredors

RedwoodSymphony

on the Internet

10

Redwood Symphony is proud to have been associated withCanada College since 1987. Canada's fine facilities andconvenient location have allowed the orchestra to drawmusicians from throughout the Bay Area.

College Administrative StaffMarie Rosenwasser, PresidentCarole Bogue-Feinour, Ph.D., Vice President of InstructionOlivia Martinez, Ed.D., Vice President of Student ServicesJohn B. Friesen, Dean of HumanitiesTerri Creswell, Public Information Officer

San Mateo County Community College DistridBoard of TrusteesKaren Schwarz, PresidentPatricia Miljanich, Vice President / ClerkThomas l. ConstantinoHelen HausmanRichard HoloberTre Gary, Student Trustee, 1997-98Earl P. Johnson, District Chancellor

Executive Director: Claudia HerzogMusic Director: Eric KujawskyAssistant Conductor: Kristin linkPublic Relations: Valerie SarfatyTreasurer: Richard SteinbergLobby Manager: Radhakrishna HariUshering / Snack Sales: Margaret and Michelle AndersonOrchestra Manager: Doug TommOrchestra Ticket Distribution: Diane HondaMarketing and Publicity: Patricia HarrellMailing list: Valerie SarfatyRecording: Bob PorterPrograms: George Yefchak

Peter Stahl, ChairmanGriffin DerryberryPatti HarrellEric KujawskyRobert Marcus, M.D.Valerie SarfatyAnn Yvonne WalkerClaudia Herzog, ex officioFred Norman, Member Emeritus

Please visit our world-wide web site athttp://www.redwoodsymphony.org.We welcome your e-mail atRedwoodSym@aol.com.Board Chairman Peter Stahl is at PStahl@aol.com.You can see ads for our CDs on the Clarity Records site athttp://www.audioweb.com/ad/ clarity.

P E N N 5 U L A C A N T A R EJanice Gunderson, Director

Soprano Alto TenorStephanie S. Ballies Kathleen Bond Dean BabcockNancy Brazil lois Drieslein larry BoerHelen Caplan Victoria Jayswal Max CapestanyShirley Fitzgerald Rosi Kurt Emery GordonValerie Flail Angela lude Joseph KresseMerrilee Gibson loriann Pearce Terry loarLizMcComb Robyn Peters

BassOu-Dan Peng Diane ReeveKathleen Roscher Brenda Siddall John Bramfill

Barbara Scoll Pamela Schwarz Bernard Buice

Ruth Sillon Carole Tillotson Ronald Clazie

Ruth Vines Paula Van Buskirk John Friesen

Debbie Walters Diana Wong Warren Gibson

Teresa Williams Nancy Ann Wydro Peter GundersonRonald HodgesMark loyDave PetersStephen PursellJack RunteJay Siedenburg

April 19, 1998Sunday, 3:00 P.M.

Canada College

June 14, 1998Sunday, 3:00 P.M.

Canada College

March 14& 15,1998Masonic Auditorium

May 2,1998Herbst Pavilion

Upcoming Concerts

Opera in ConcertPuccini: La BohemeThe complete opera in a concert performance with supertitlesSkyline College Choir, Dr. Patricia Hennings, Director

Susan Freier, violinStephen Harrison, celloBeethoven: Overture to The Creatures of PrometheusBrahms: Concerto for Violin, Cello, and Orchestra

("Double Concerto")Prokofiev: Symphony NO.5

The Best of the Bestwith the San Francisco Gay Men's Chorus

Norway Day FestivalOpening Ceremonies

VALERIE J. SARFATY

ATTORNEY AT LAW

2000 BROADWAY STREET

REDWOOD CITY. CA 94063

TELEPHONE 6501368-8784FACSIMILE 6501368-8784

000 SYMPHOEric Kujawsky, Music DirectorKristin Link, Assistant Conductor

Cello HornTony Gabor * Rachel HarveyLynda Bloomquist Jim Millar LSteve D'Andrea L Mark Nakamura tTom Diskin Ariana PitchonJim Leatherman Sheila Snyder tCarolyn McBirney Priscilla Nunn AVictoria OwenLusijah RottJulian SchaferJanet SloanLiz Varnhagen

BassBrian Link *Steve AuerbachTed Harris LKen LaxerJeff RabyMary Keitel-SnowYong Bum Hong A

FluteMichelle Davis

piccoloPatricia Harrell tLynn Klauda tOboePeter StahlMaureen Stone tGeorge Yefchak tClarinetJoan HebertRobert Marcus t

Bass clarinetRichard Steinberg tBassoonDoug McCracken tRichard Palm tMia Stormer L

contrabassoon

R o wE

Violin IBirgitte Moyer

concertmasterHeather Katz

assistant concertmasterLoretta AmesFloyd CarterHarry ChomskyTruie ClemoBarbara lidKaren KenrickTommy KuoJoyce MalickCarla MoussaviGrace Reim LDave SilonDeborah SimonMyrna WestoverJohn Wholahan

Violin IIStuart Allen *Mia Astar

MARJORIE O'MALLEY CHAIR

Angie Breidenstine LCatherine HabigerClaudia HerzogDiane HondaJennifer Lawry

_Kristin LinkCarole NakamuraRoy Seto LCaren ShapiroRenee StockwellAnn WalkerDoris Wallis A

ViolaVivien D'Andrea *Peter Haas

acting principalAmy BohmanTanya BuxtonGriff DerryberryMargaret ElliottCarol FoltzJean GerdtsSteve Harvey LKatherine KiesslingDoug TommBarb Zimmer

"Distant Choir"George Yefchak, conductorTommy Kuo, violinAnn Walker, violinDoris Wallis, violinKaren Kenrick, violinRenee Stockwell, violinSuki Russack, harpLydia Derugin, harp

N Y

TrumpetGuy ClarkStephen Ruppenthal tDan Swinehart tFrank Davis ALarry Heck AEric Swisher A

TromboneCraig Whitwell LMatt Calvert * AChris Vincente ATodd Weinman A

bass tromboneKeith Meyer

bass trombone

TubaPeter Govorchin *PercussionLydia DeruginNancy GeimerVictor LeeMark NakamuraSuki RussackEthel SpratMaureen StoneDavid StorkDoug Wyatt

HarpSuki Russack *Lydia Derugin

Solo PianoJanice Gunderson * A

Four-Hand Piano / SynthesizerChing-Wen Chao ARandy Wurschmidt A

"Offstage Percussion Battery"Robert Marcus, conductorMark GoldsteinLea Anne BantsariDoug McCrackenDorothy Papo

• principal t principal in Ives t principal in Rachmaninoff L on leave A acting member