Green Music Center Apr 2019

WEILL HALL / SCHROEDER HALL APRIL/MAY 2019

W E I L L H A L L + L AW N

CATCH THE LINEUP APRIL 2019

ALREADY ANNOUNCED & ON SALE MICHAEL MCDONALD AND CHAKA KHAN SUNDAY, AUGUST 4, 2019 AT 7 P.M. TICKETS START AT $25

Our financial solutions have no hidden fees or agendas.

No partially obscured ones, either For 128 years, Exchange Bank has been helping clients make the most of their money. Our Trust & Investment Management team builds long-lasting relationships that deliver long-term financial success. Our goal-oriented approach ensures results on a timeline that works for you. And because we’re a fiduciary, not a broker, you can trust that your best interests are being served.

Call 707.524.3151 or visit exchangebank.com

Concerts Concerts Under Under the the Stars Stars Thursdays Thursdays

5:30pm - 8pm 5:30pm - 8pm

Village Court Village Court

May 30 May 30 June 13

PRIDE & JOY

June June 13 27 June 27 July 11

KALIMBA SLIM MAN

PRIDE & JOY KALIMBA

July 11 July 25 July 25 8 August August August 8 22 August 22 September 5 September 5 September 19 September 19 October 10 October 10

SLIM PETE MAN ESCOVEDO LATIN JAZZ ENSEMBLE PETE ESCOVEDO LATIN JAZZ ENSEMBLE WONDER BREAD 5 WONDER BREAD 5 FOREVERLAND FOREVERLAND LEGACY OF THE TEMPTATIONS LEGACY OF THE TEMPTATIONS KENNY METCALF AS ELTON KENNYJOHN METCALF AS ELTON JOHN UNAUTHORIZED ROLLING STONES UNAUTHORIZED ROLLING STONES MATT MAUSER’S TRIBUTE TO SINATRA MATT MAUSER’S TRIBUTE TO SINATRA

RESERVE A TABLE! As a convenience and with a generous RESERVE A TABLE! donation to the evening’s non-profit As a convenience andable withtoa reserve generous organization, you are one of donation to the evening’s non-profit our tables for seating up to six for $75 or organization, are$100. able to one of seating up to you ten for Allreserve reservations our subject tables for up to sixinformation, for $75 or are to seating availability.

For seating up to ten for $100. All reservations please call 707.545.3844. are subject to availability. For information, please call 707.545.3844.

Admission is FREE.

Admission is FREE.

A PREMIER ENTERTAINMENT EXPERIENCE A PREMIER ENTERTAINMENT EXPERIENCE

HIGHWAY 12 AT FARMERS LANE IN SANTA ROSA • COMPLIMENTARY PARKING • WWW.MVSHOPS.COM HIGHWAY 12 AT FARMERS LANE IN SANTA ROSA • COMPLIMENTARY PARKING • WWW.MVSHOPS.COM

TABLE OF CONTENTS 5

FROM THE PRESIDENT

6

CAMPUS CORNER

8

SPOTLIGHT: KRONOS QUARTET

10

MONTEREY JAZZ FESTIVAL ON TOUR 60TH ANNIVERSARY CELEBRATION

16

THE TALLIS SCHOLARS

22

TAIKOPROJECT

26

VILLALOBOS BROTHERS

28

GIL SHAHAM & AKIRA EGUCHI

36

KRONOS QUARTET WITH SPECIAL GUEST MAHSA VAHDAT

38

ANNUAL GIFTS

40

CORPORATE PARTNERS

42

DONOR SPOTLIGHT

43

CORPORATE SPOTLIGHT

44

BOARD AND STAFF

46

PHOTO GALLERY

48

PATRON INFORMATION

GMC.sonoma.edu

3

“We love the fact that First Republic treats us like members of a close-knit family.”

B ET Y E S A A R , Artist (left) A L I S O N S A A R , Artist (right)

(855) 886-4824 | firstrepublic.com | New York Stock Exchange symbol: FRC MEMBER FDIC AND EQUAL HOUSING LENDER

FROM THE PRESIDENT

Photo: Liz Lovi

WELCOME TO SONOMA STATE UNIVERSITY’S GREEN MUSIC CENTER! Whether you’re here to take in a jazz show in the intimate Schroeder Hall or to enjoy music from around the world in the stunning Weill Hall, I am grateful that you have decided to entrust us with a few hours of your time in exchange for entertainment, inspiration, and perhaps even the chance to learn something new.

This season and always, the Green Music Center is dedicated to bringing multiple communities to engage with us, and is showcasing a wide variety of incredible talent. This can be seen in the stellar artists who join us on their world tours to the vibrant student and faculty performers and ensembles who bring life to these two halls. From the incredible jazz talents of Cécile McLorin Salvant, Christian Sands, and the entire company of the Monterey Jazz Festival Tour, to the fiddling skills of musicians like the Villalobos Brothers, Anne Akiko Meyers, Joshua Bell, and Gil Shaham, the events this semester showcase the range of performers we are thrilled to present on our stages.

To our friends and fans, our students, donors, and advisory board members, I am humbled by each and every person who partners with us. Thank you for the countless ways you show your support for the arts and help to establish and enliven a culture of curiosity on our campus and in Sonoma County.

With gratitude,

Judy K. Sakaki University President

GMC.sonoma.edu

5

CAMPUS CORNER

April 18-27, the Sonoma State University (SSU) Department of Theatre Arts and Dance presents their Spring Dance Concert. Faculty Kristen Daley and Christine Cali invite renowned, professional guest artists from around the country to explore, inspire, collaborate and present new dance works featuring SSU student performers. Tickets are available now for their performances in Person Theatre – tickets.sonoma.edu.

Sonoma State University’s 2019 Commencement returns to the Green Music Center on May 18-19. Six individual school Commencement ceremonies will be held for both undergraduate and graduate students. The Green Music Center is thrilled to host and celebrate with the friends and family of the graduates and also honor the accomplishments of the many students who exemplify the commitment to education promoted here at Sonoma State University. Last year’s commencement brought roughly 14,000 visitors to the Green for 2,706 graduating students.

Upcoming Festivals and Community Outreach The Department of Music at the Green Music Center is the go-to host for music festivals and outreach programs that benefit thousands of musicians of all ages each year. For more info visit music.sonoma.edu.

April 12 April 13 June 19-23 June 24-28

CMEA* 6th California State Band and Orchestra Festival Seawolf Decision Day Sampler Concert Chanticleer in Sonoma 7th Annual Wind Band Conducting Symposium

CMEA* California Music Educators Association

6

Trusted. Experienced.

Willow Creek’s Wealth Management Team.

MANAGING NORTH BAY WEALTH SINCE 1984 Impartial fee only counsel from experienced advisors.

Please contact us for a complimentary conversation.

(707) 829-1146

willowcreekwealth.com

Spotlight on

Kro n os Q uartet In 2015, Kronos Quartet/ Kronos Performing Arts Association (KPAA), the San Franciscobased non-profit organization of the Kronos Quartet, launched Fifty for the Future: The Kronos Learning Repertoire, a string quartet commissioning, performance, education, and legacy project of unprecedented scope and potential impact. Drawing on more than forty years of collaboration with prominent and emerging composers from around the world, Kronos is commissioning a library of fifty works designed to guide young amateur and early-career professional string quartets in developing and honing the skills required for the performance of 21st-century repertoire.

Digital versions of the scores and parts, recordings, and other pedagogical materials for each work can be accessed on the Kronos website free of charge.

Joining KPAA as Lead Partner for the project is Carnegie Hall. An adventurous group of presenters, academic institutions, and other arts organizations will participate as Legacy Partners and Commissioning Partners, engaging in performances and educational programs that feature the musical works and related resources that are developed over the course of the project. The Green Music Center at Sonoma State University is proud to be among these partners, which also includes Cal Performances at UC Berkeley and Stanford Live. This partnership will bring music students from Sonoma State University and regional high schools to the Kronos studios in San Francisco for a coaching session with the quartet. These students will also perform two Fifty for the Future pieces prior to the Kronos Quartet’s concert in Weill Hall on Thursday, May 9, 2019.

8

The Need: “Why Fifty New Compositions?”

There is no shortage of string quartet repertoire or educational resources available to today’s young musicians who wish to specialize in the canon of works from Haydn through the mid-20th century. But there is no coordinated body of work devoted to the most contemporary approaches to the string quartet, designed expressly for the training of students and emerging professionals. Kronos’ Fifty for the Future project is a response to this need, providing young performers with the ability to immerse themselves in contemporary approaches to string quartet literature and performance and also to develop as players by working their way through the levels of complexity and difficulty within the repertoire.

This new set of resources will present string quartet music as a living art form, providing emerging musicians with both an indispensable library of learning materials as well as a blueprint for their own future collaborations with composers.

The Composers & Compositions Kronos’ Fifty for the Future works will be commissioned from an eclectic group of composers – 25 women and 25 men – representing the truly globe-spanning genres of string quartet literature in the early 21st century. The project compositions are intended to be approachable by musicians of a wide range of accomplishment, from youth ensembles to beginning professionals. Kronos/ KPAA has commissioned more than 850 works since it was formed in 1973, but Fifty for the Future represents the largest single artistic and educational project that it has undertaken.

A Unique Brand of Service With Solutions and Easy Access to it All ÂŽ

At Tri Counties Bank, our breadth of financial services, local banker expertise and personalized problem solving provides a unique brand of Service With Solutions.

With offices conveniently located throughout Northern and Central California, you’re never too far from a Tri Counties Bank branch. And with access to more than 32,000 nationwide surcharge-free ATMs, advanced online and mobile banking, and live banker support by phone seven days a week, you have easy access to it all.

PERSONAL BANKING SMALL BUSINESS BANKING COMMERCIAL BANKING

In Santa Rosa: Call (707) 522-5480 or visit us at 819 4th Street.

Additional branches located throughout Northern and Central California.

1-800-922-8742 | TriCountiesBank.com Member FDIC

M O N T E R E Y J A Z Z F E S T I VA L O N TO U R 6 0TH AN N IVE R SARY C E L E B R AT I O N FEATURING CÉCILE MCLORIN SALVANT, BRIA SKONBERG, MELISSA ALDANA, CHRISTIAN SANDS, YASUSHI NAKAMURA, & JAMISON ROSS

THURSDAY, APRIL 4, 2019, AT 7:30 P.M. WEILL HALL ARTIST ROSTER Cécile McLorin Salvant, vocals Bria Skonberg, trumpet Melissa Aldana, tenor saxophone Christian Sands, piano, music director Yasushi Nakamura, bass Jamison Ross, drums Program to be announced from stage PROGRAM NOTES The MONTEREY JAZZ FESTIVAL, the longest continuously-running jazz festival in the world, is pleased to present its fifth national tour from March 15 – April 14, 2019, featuring some of the most critically-acclaimed, GRAMMY®-winning and GRAMMY®-nominated jazz artists of their generation, including three winners of the Thelonious Monk International Jazz Competition.

In addition to having three unique and talented vocalists on the tour, and an equal balance of men and women, the show will feature renditions of classic jazz standards, along with originals penned by the members. Each musician is an outstanding representative of the next generation of jazz artists and educators, each with a close relationship with Monterey that represent both its musical excellence and jazz education activities—core components of Monterey Jazz Festival’s mission statement.

This concert is supported in part by

10

WEILL Hall

GMC.sonoma.edu

11

M O N T E R E Y J A Z Z F E S T I VA L

To celebrate the Festival’s 60th Anniversary of its inception in 2018, Artistic Director Tim Jackson put together an all-star band that represented the future of jazz in a nationwide tour. Previous incarnations include a 50th anniversary tour in 2008, and additional national tours in 2010, 2013, and 2016, with a collective 163 performances to over 115,000 fans across the country.

BIOGRAPHIES One of the most acclaimed vocalists of her generation, CÉCILE MCLORIN SALVANT is the winner of the 2010 Thelonious Monk International Jazz Competition. Other honors include selection for Jazz Album of the Year by the DownBeat International Critics Poll and NPR, as well as Up-andComing Jazz Artist of the Year and Top Female Vocalist from the Jazz Journalists Association. Cecile grew up in a bilingual household in Miami and traveled to Aix-en-Provence to pursue a degree in French law while training as a classical and baroque singer before switching to jazz.

“If anyone can extend the lineage of the Big Three—Billie Holiday, Sarah Vaughan and Ella Fitzgerald—it is [her],” wrote the New York Times. Her last two Mack Avenue releases, For One to Love and Dreams and Daggers, each won Grammy Awards for Best Jazz Vocal Album. Her newest Mack Avenue release, The Window, an album of duets with the pianist Sullivan Fortner, was released on September 28, 2018. Rolling Stone describes Cécile as “...one of the greatest jazz singers of her generation, but that label sells her short.” Cécile made her Monterey Jazz Festival debut in 2014 and appeared again in 2016.

Canadian singer, trumpeter and songwriter BRIA SKONBERG has been described as one of the “most versatile and imposing musicians of her generation” by the Wall Street Journal, recognized as one of 25

12

WEILL Hall

for the Future by DownBeat Magazine, and cited as a millennial “shaking up the jazz world” by Vanity Fair. Signed to Sony Music Masterworks’ OKeh Records, Bria released her eponymous major label debut in 2016, winning a Canadian JUNO award and making the Top 5 on Billboard jazz charts. Her many accolades include Best Vocal and Best Trumpet awards from Hot House Jazz Magazine, Outstanding Jazz Artist at the New York Bistro Awards, and DownBeat’s Rising Star award. In addition to performing at jazz festivals around the world, Bria is an avid educator and supporter of public school opportunities, giving numerous workshops and concerts for students of all ages. Bria debuted at the Monterey Jazz Festival in 2016.

Tenor saxophonist MELISSA ALDANA was born in Santiago, Chile, and in 2013, she became the first female instrumentalist and the first South American ever to win the Thelonious Monk Competition. Aldana attended the Berklee College of Music, studying with George Garzone, Danilo Pérez and Patricia Zarate, while hitting the clubs with Greg Osby and George Coleman, among others. She is also a recipient of the Martin E. Segal Award from Jazz at Lincoln Center and a double recipient of the Altazor Award, Chile’s highly prestigious national arts prize. She has released four albums as a leader, including her latest, Back Home, on Concord. Melissa “… balances technical bravura with musical depth, a hallmark of her playing,” writes the Chicago Tribune. Melissa made her MJF debut in 2014.

Pianist CHRISTIAN SANDS is a five-time Grammy nominee. As a child in New Haven, Connecticut, he began music classes at age four, started playing professionally at the age of 10, and received his bachelor of arts and master’s degrees from the

enjoy exquisite food & drink

before the performance during intermission after the performance 707.664.4243 gmc.sonoma.edu/dining at the end of the gallery hallway

M O N T E R E Y J A Z Z F E S T I VA L

Manhattan School of Music. A protégé of Dr. Billy Taylor, Christian began a six-year association with bassist Christian McBride in 2009, touring jazz festivals and clubs worldwide. Sands has followed in Dr. Taylor’s footsteps by encouraging, inspiring and advocating for the preservation and history of jazz, teaching young people as well as adult audiences. In 2015, he started the Jazz Kids of Montmartre in Copenhagen, Denmark; he also teaches at Jazz in July, where he is an alumnus. His recent debut for Mack Avenue, Reach, “showcases his significant talents as an imaginative composer, a clever arranger and a skillful technician with a fluid style,” wrote DownBeat. His new Mack Avenue release, Facing Dragons, was released on September 21, 2018 and was reviewed by NPR as a “... crisply assured new album...that expresses new ideas without abandoning the old.”

Sands has performed several times at the Monterey Jazz Festival with Christian McBride, as was a featured performer in Geri Allen’s Erroll Garner Project at MJF58 in 2015.

Grammy-nominated drummer and vocalist JAMISON ROSS won the Thelonious Monk International Jazz Competition in 2012. A Jacksonville, Florida native, Jamison received his B.A. in Jazz Studies from Florida State University and his master’s from the University of New Orleans. He has toured internationally and recorded with a variety of esteemed jazz artists including Cécile McLorin Salvant, Jonathan Batiste, Dr. John, Jon Cleary, Christian McBride, and Carmen Lundy. His debut album, Jamison, was released on Concord Records and was nominated as for a Best Jazz Vocal Album Grammy in 2015. He released his latest album, All for One, in January 2018. Jamison’s “roots in jazz and gospel give him thrilling chops and unfailing feel,” writes NPR. Jamison made his MJF debut in 2016.

14

Bassist YASUSHI NAKAMURA is one of the most commanding voices on bass today. Born in Tokyo, Nakamura moved to Seattle, Washington, eventually receiving his bachelor’s degree in jazz performance from Berklee College of Music, and an artist diploma from the Juilliard School.

He has recorded or performed around the world with Wynton Marsalis, Wycliffe Gordon, Toshiko Akiyoshi, Hank Jones, Dave Douglas, and many others. As an educator, Nakamura has led master classes and summer intensive courses at Juilliard, The New School, Koyo Conservatory, Osaka Geidai, and Savannah Swing Central. Nakamura made his highly-anticipated album debut as leader in late 2016 with A Lifetime Treasure, followed by Hometown in 2017.

Nakamura first appeared at MJF in 2004.

ABOUT MONTEREY JAZZ FESTIVAL’S EDUCATION PROGRAMS World-renowned for its artistic excellence, sophisticated informality, and longstanding mission to create and support year-round jazz education and performance programs in local, regional, national, and international venues, Monterey Jazz Festival has stayed true to expanding live performances of jazz around the country since 2008 by presenting national tours that have reached over 100,000 fans in 135 shows across the United States and Canada.

The Monterey Jazz Festival has presented nearly every major jazz star—from Billie Holiday and Louis Armstrong to Esperanza Spalding and Trombone Shorty—since it was founded in 1958. Held every third full weekend in September on the Monterey County Fairgrounds, the Monterey Jazz Festival is a three-day celebration of music, commissioned jazz compositions, in-depth conversations with artists, panel discussions, workshops, exhibitions, clinics, and an international array of food, shopping, and festivities spread throughout 20 acres.

A nonprofit organization, Monterey Jazz Festival now budgets more than $500,000 annually for jazz education. Cutting-edge educational components include the Jazz in the Schools program; the Festival’s Summer Jazz Camp; the Instrument and Sheet Music Library; the Digital Education Music Project; the Monterey County High School All-Star Bands; the national Next Generation Jazz Orchestra; and the Next Generation Jazz Festival—which draws thousands of the most talented young musicians from across the country and around the world to Monterey each spring.

The Artist-In-Residence Program, a key component of Monterey Jazz Festival’s philosophy of bringing leading jazz performers to work with students throughout the year, includes their appearance at the Next Generation Jazz Festival, Summer Jazz Camp and the Monterey Jazz Festival, both in performance and instruction.

A leader in jazz education, the Festival has also presented the winning bands from its high school competition since 1971, and has showcased talented young musicians in its all-star student big band, the Next Generation Jazz Orchestra. Throughout the years, many legendary and influential artists—including Ray Brown, Ron Carter, Max Roach, Dizzy Gillespie, and Benny Golson—have mentored and performed with the all-star students, often premiering original works written for the band. Some of the alumni of the group include Ambrose Akinmusire, Joshua Redman, Patrice Rushen, Donny McCaslin, Ted Nash, Dave Koz, Eric Marienthal, Gordon Goodwin, Larry Grenadier, and Benny Green, to name a few.

The MJF on Tour 60th Anniversary Celebration is produced by Danny Melnick for Absolutely Live Entertainment (ALE), which also produced two previous MJF tours, in 2013 and 2016.

GMC.sonoma.edu

15

T H E TA L L I S S C H O L A R S FRIDAY, APRIL 5, 2019, AT 7:30 P.M. WEILL HALL ARTIST ROSTER Peter Phillips, director Amy Haworth, soprano Emma Walshe, soprano Charlotte Ashley, soprano Emily Atkinson, soprano Caroline Trevor, alto

David Gould, alto Steven Harrold, tenor Simon Wall, tenor Robert Macdonald, bass Simon Whiteley, bass

PROGRAM: Inspired by the Sistine Chapel Missa Assumpta est Maria (Kyrie)

Giovanni Pierluigi da Palestrina (1525-1594)

Regina caeli

Cristรณbal de Morales (1500-1553)

Missa Ecce ego Johannes (Gloria)

Giovanni Pierluigi da Palestrina

Quam pulchra es

Costanzo Festa (1495-1545)

Lamentations

Carpentras (1470-1548)

Missa Papae Marcelli (Credo)

Giovanni Pierluigi da Palestrina INTERMISSION

Miserere

Gregorio Allegri (1582-1652)

Missa Confitebor tibi domine (Sanctus & Benedictus)

Giovanni Pierluigi da Palestrina

Miserere Mei

Alexander Campkin (b. 1984)

Inter natos mulierum

Josquin des Prez (1450-1521)

Missa Brevis (Agnus)

Giovanni Pierluigi da Palestrina

This concert is supported in part by

16

GMC.sonoma.edu

17

T H E TA L L I S S C H O L A R S

PROGRAM NOTES The Sistine Chapel, the heart of the Vatican in Rome, is well-known for having bequeathed a treasure-trove of visual art to posterity.

With one notable exception, it is rather less known for the musical treasures which it has nurtured for many centuries. In many cases this is due to the jealous guarding of the music by a series of Popes, who would not allow certain pieces to pass beyond the walls of the chapel. Such is the case, famously, of Gregorio Allegri’s Miserere, which acquired such a mystique through the Sistine Chapel’s monopoly that tracing its journey has become one of the most intriguing musical problems of our time.

Tonight’s programme allows us a privileged glimpse into the heyday of the Vatican of the high Renaissance. The power and prestige of the Papacy was at its apex, and before long the Council of Trent would spur liturgists and artists to the heights of the Counter-Reformation. In this spirit, the continuity in this programme is provided by that most prolific of polyphonists, Giovanni Pierluigi da Palestrina. Rather than choose just one setting of the Ordinary of the Mass, Peter Phillips has chosen individual movements from five different masses, forming a composite which shows the remarkable breadth and consistency of Palestrina’s style.

Many of the masses are in the so-called missa parodia or ‘parody mass’ form, meaning their music is based on a pre-existing work, usually a motet. Hence Missa Assumpta est Maria, which draws its material from a 6-voice motet for the Assumption of the Blessed Virgin Mary. The Credo comes from the famous Missa Papae Marcelli, supposedly written to prove that sacred music could be both beautiful and intelligible, after officials at the Council of Trent considered banning complex polyphony. Certainly the prevalence of syllabic declamation in this movement suggests a particular concern that the words be understood. The mighty Sanctus is from a mass based on the double-choir Confitebor Tibi, whilst the Agnus Dei is from the Missa brevis, 18

WEILL Hall

a mass which, despite its name, is not a great deal shorter than any of the others! Instead, in the second statement of this freely-composed movement, Palestrina adds a further voice to enrich the polyphony.

The patronage of the Papacy was keenly sought by Renaissance musicians. For a time, Spanish composers had an advantage due to a succession of Spanish Popes who held them in high esteem. Cristóbal de Morales was one such beneficiary, spending a considerably proportion of his life in the employ of the Capella Sistina. REGINA CAELI, a setting of the ancient hymn to Mary, could well have been first performed here.

A contemporary of Morales, Costanzo Festa was one of the first Italian polyphonic composers to achieve high renown. His sacred music would be a great influence on Palestrina, and his madrigals helped birth a new secular tradition. QUAM PULCHRA ES, a passage from the Song of Songs set for high voices, displays Festa’s gift for easy, flowing polyphony.

Like many others at the time, the composer Carpentras spent considerable energy securing patronage for his artistic activity.

Having been master of the papal chapel in 1514 for Pope Leo X, he made a swift exit after Leo was replaced by the rather less musical Adrian VI, only to return after a new Pope was elected a year later. Intriguingly – and foreshadowing the later corruption of Allegri’s music – he returned to the Sistine Chapel to find his music still being performed, but in ‘bastardised versions’, ‘so corrupted…that I scarcely recognized them’. He resolved to republish the works – dedicating the collection to the new Pope, Clement VII – which include many settings of the LAMENTATIONS OF JEREMIAH. It is no surprise that these were hugely popular at the time; passages of sonorous homophony vie in beauty with the austere Hebrew letters, which, following convention, are set to long, flowing melisma: ‘ritualised weeping in music’.

Of course, no piece of music in the history of the Sistine Chapel is more famous than

Innovation.

Grown locally.

As an SCP customer, you receive exclusive access to programs that make a difference in your life.

T H E TA L L I S S C H O L A R S

Allegri’s MISERERE. The Papacy wanted it that way – a secret composition of such beauty that it could not be allowed beyond the walls of the Vatican, it magnified their power and status. However, just as Carpentras’ music had been tweaked beyond his recognition, Allegri’s was to suffer the manipulations of every age which followed, leaving the version we have today, which would be all but unrecognizable to the composer.

A large part of this is due to the process of ornamentation with which the highly trained Papal singers would embellish their parts, leading to the now-obligatory high C. Regardless of its authenticity, this tortuous musical journey has left us with one of the most beautiful choral pieces of all time.

“I will always remember hearing Allegri’s Miserere for the first time. I was struck by the beauty of the music and the emotions that it conveyed. This was a recording of the Allegri by the Tallis Scholars, a recording which has remained close to my heart ever since. I was therefore thrilled to be commissioned by this choir to write a new setting of the same text.

The new piece reflects my emotional response to Allegri’s strikingly moving Miserere. Like the Allegri, it is scored for double choir. Two musical elements are contrasted: that of the main choir and a more lyrical section sung by the off-stage solo group. As these sections alternate, the piece gradually builds in intensity with suspension after suspension. The harmony is intensified as the first soprano soars to a high C, hitting the climax on the words ‘Libera me de sanguinibus’ (‘Deliver me from blood guiltless’).”

- Alexander Campkin

20

WEILL Hall

Many a famous composer would leave their mark – quite literally in this case – in the Sistine Chapel. The scrawl ‘JOSQUINJ’ on the wall testifies to the composer Josquin’s membership of the papal chapel, where he likely composed many works. Josquin’s considerable fame during and after his lifetime has led to the misattribution of many of his compositions. The authorship of the motet INTER NATOS MULIERUM is considered doubtful by scholars. All of its sources are posthumous and the style perhaps represents a slightly later composer, perhaps another musician associated with the Vatican. Nevertheless, its rich, full texture is distinctly satisfying. © James M. Potter, 2016

Sonoma’s Award-Winning Magazine 60# 26.7188 CV- 9.2188 PROOF POSITIVE

OUR LOCAL SPIRITS MAKERS P. 75

A YEAR IN THE LIFE HOMELESSNESS FROM THE INSIDE P. 108

TOP DOCTORS 2018

THE MEXI-MILE

IS YOURS ON THE LIST? P. 122

SANTA ROSA’S MEXICAN FOOD MECCA P.54

AFTER THE FIRE

H O W A R E W E D O I N G ? P. 3 7

SANTA ROSA RUGBY RULES

COOKING WITH SEAWEED P.60

UNDER THE SEA

The Heart of Wine Country

WINERIES: WINE + PLAY

A LIFE-CHANGING SPORTS CLUB P.94

FUN STUFF TO DO WHILE YOU SIP P.60

The Heart of Wine Country

The Heart of Wine Country

TA

PETALUMA’S ART-FILLED CHATEAU

HIDDEN TREASURE P.125

KE ME TO

BEST

Best Restaurants

Take Me to the River

Home Is Where the Harvest Is

Photography by Nicki Germaine

Embracing Our Sense of Place One Year After the Fires

RESTAURANTS 2018

S AV O R I N G S U M M E R O N THE RUSSIAN RIVER AND HONORING THOSE WHO PROTECT IT

ates, 89

For those times you need to talk to a doctor and don’t want to leave the comfort of your own home, now there’s eVisit, a new offering from St. Joseph Health Medical Group. eVisit will connect you with a primary care physician within 10-15 minutes by phone, email, or video conference to provide a diagnosis, treatment plan, and prescriptions for many common health conditions. With affordable consultations, including the same low co-pay as office visits for in-network patients, receiving quick and convenient health care has never been easier.

SEPT/OCT 2018

$5.95

$5.95

Get treated now at sjhh24-7.com or call (888) 995–4913

sonomamag.com

MAY/JUNE 2018

Great Places to Party for Good P. 146

JULY/AUG 2018

SEPT/OCT 2018

JULY/AUG 2018

BA R N R A ISING

MAY/JUNE 2018

$5.95

sonomamag.com

8/10/18 2:11 PM

STANDOUT CELEBRATIONS 4 LOCAL REAL WEDDINGS P. 95

RETHINKING POSSESSIONS AFTER THE FIRE P. 70

The Heart of Wine Country

The Heart of Wine Country

MAKERS MEET THE

CUSTOM BIKE BUILDERS

The Fire Issue

Meet the Makers

W I N E CO U N T RY ’ S

THE FIGHT OF OUR LIVES

Jeremy Sycip of SyCip Designs

WHAT HAPPENED AND WHAT’S NEXT JAN/FEB 2018

$5.95

MAR/APR 2018

JAN/FEB 2018

MAR/APR 2018

$5.95

sonomamag.com

sonomamag.com

Subscribe today and save 56% off the cover price $14.99 for one year of Sonoma magazine

Sonomamag.com/subscribe | 855.850.0991

TA I K O P R O J E C T Surrounding Suns

SATURDAY, APRIL 1 3, 2019, AT 7:30 P.M. WEILL HALL MEMBERS Liz Au Masato Baba Jen Baik Andrew Chen Courtney Deguchi Jenny Mimura

Blaine O’Brien Yumi Saito Doug Sakamoto Brian Yamagata Bryan Yamami

Masato Baba, Artistic Director Yumi Saito, Choreographer Bryan Yamami, Executive Director Scott LeGrand, Technical Director/Lighting Designer Glenn Suravech, Sound Consultant Sueko Oshimoto, Costume Designer

PROGRAM New Beginnings

Bryan Yamami and Masato Baba

Expanding

Masato Baba, Bryan Yamami, and Shoji Kameda

Tsuki E (To The Moon)

Masato Baba

Mute

Blaine O’Brien

Sky Boy

Masato Baba

Kaminari no Koe (Voice of Thunder)

Bryan Yamami INTERMISSION

Behind the Odaiko

Bryan Yamami

Shototsu (Collision)

Masato Baba

Many Sides

Masato Baba

Kidou (Orbit)

Masato Baba

Omiyage (Gift-giving)

Shoji Kameda conceived by Bryan Yamami

This concert is supported in part by

TAIKOPROJECT is sponsored by the Asano Taiko Co., Ltd.

22

GMC.sonoma.edu

23

TA I KO P R O J E C T

BIOGRAPHY TAIKOPROJECT was founded in 2000 in Los Angeles, California by a group of young, emerging taiko drummers. They were seeking to create a truly American style of taiko, blending traditional forms in which they were raised, with an innovative and fresh aesthetic approach to the Japanese drum. Over the past 19 years, they have garnered critical acclaim from all over the world and amassed an impressive resume.

TAIKOPROJECT first made waves when they became the first American taiko group to win the prestigious Tokyo International Taiko Contest in 2005, beating out all the Japanese taiko groups in attendance. That same year, they were cast in the Mitsubishi Eclipse commercial, the first and only national ad campaign to prominently feature taiko.

They followed that up with performances in some of America’s highest profile events, including the 2009 Academy Awards and the 2011 Grammy Awards. In 2012, TAIKOPROJECT performed for the televised National Cherry Blossom Parade in Washington, DC, the Fall X-Factor semi-finals, Syfy’s Face/Off, and was honored with the annual Visionary Award from East West Players.

In 2013, TAIKOPROJECT was featured in rock band 30 Seconds to Mars’ epic “Up in the Air” music video and appeared with the band on Conan, Jimmy Kimmel Live, and the iHeartRadio Music Festival. They have also garnered national recognition by receiving major arts grants from the National Endowment for the Arts, the MAPFund, and the Japan Foundation.

TAIKOPROJECT has performed and recorded with some of the world’s most well-known musical artists, including Stevie Wonder, Usher, Alicia Keys, A.R. Rahman, John Legend, rapper Xzibit, Kanye West, Sean Paul, producer Squeak E. Clean, as well as international stars such as Greek singer Antonis Remos, Persian singer Mansour, and DJ Tiesto.

TAIKOPROJECT’s recent collaborations include Chieko Kojima and Ryutaro Kaneko 24

of KODO, Grammy Award-winning Chicano rock band Quetzal, Kabuki expert David Furumoto, and shamisen virtuoso Sumie Kaneko.

MASATO BABA (Artistic Director) began playing and studying taiko at the age of six under his parents, jazz musician Russel Baba and taiko drummer Jeanne Mercer, who were among the first members of the San Francisco Taiko Dojo. He was also a member of the Kenny Endo Taiko Ensemble, an instructor and director of the Youth Group at Endo’s school, The Taiko Center of the Pacific, the On Ensemble, and a founding member of TAIKOPROJECT. Mastro Baba is recognized as one of the leading next-generation taiko and shinobue performers in the United States.

YUMI SAITO (Choreographer) began studying and performing Nihon Buyo (traditional Japanese dance) at the age of 3 under Mme. Hanayagi Rokumie. In 2002, under the training of Mme. Hanayagi Wakana, she earned her natori (stage name), Hanayagi Wakaseira, from the Hanayagi School in Tokyo, Japan. After furthering her studies, she returned to Japan in 2006 and earned her shihan (teaching degree). She began playing taiko in 2002 with the collegiate group, Jodaiko at UC Irvine, and joined TAIKOPROJECT in 2007.

BRYAN YAMAMI (Executive Director) founded TAIKOPROJECT in 2000 with the idea simply to create a modern American expression of taiko with the best next-generation taiko players. Bryan served as creative lead for the acclaimed 2005 Mitsubishi Eclipse commercial, for recording sessions for Nike and Target, and for the group’s appearances on the 2009 Academy Awards, the 2011 Grammy Awards, Conan, Jimmy Kimmel, and the Late Late Show. He has performed with John Legend, DJ Tiesto, rock band 30 Seconds to Mars, Sean Paul, Reggie Watts, and Stevie Wonder.

5 New Home Neighborhoods in Rohnert Park STARTING FROM THE HIGH $500,000s Thoughtfully crafted with small-town values in mind, University District is a community rooted in history, inspired by the distinct culture of Rohnert Park. And all with a lifestyle framed by comfort, convenience and a colorful host of possibilities—from the arts, fine dining, shopping and world-renowned wineries to nearby beaches, state parks and the Bay Area.

Prices, terms and features subject to change without notice. Homes shown do not represent actual homesites for sale. Models do not reflect racial preference. CA DRE license no. 01996804.

LiveUniversityDistrict.com

A MASTER-PLANNED COMMUNITY BY

VILLALOBOS BROTHERS SATURDAY, APRIL 20, 2019, AT 7:30 P.M. WEILL HALL

ARTIST ROSTER Alberto Villalobos Luis Villalobos Humberto Flores Ernesto Villalobos BIOGRAPHY The VILLALOBOS BROTHERS have been acclaimed as one of today’s leading Contemporary Mexican ensembles. Their original compositions and arrangements masterfully fuse and celebrate the richness of Mexican folk music with the intricate harmonies of jazz and classical music.

The ensemble’s virtuosic performances have delighted audiences throughout Latin America, India, Russia, Canada and in more than 30 states across the US. They have performed in historic venues and events including Carnegie Hall, Lincoln Center, the Latin Grammy Awards, Davies Symphony Hall, Montreal Jazz Festival, the Ford Theatre in Hollywood, the 60th Anniversary of the United Nations, the New Victory Theatre on Broadway, San Jose Jazz Fest, Celebrate Brooklyn, the 66th FIFA Congress in Mexico City, the Blue Note Jazz Festival and the Apollo Theatre.

In 2018, they joined forces with Arturo O’Farrill and the Afro Latin Jazz Orchestra for the “Fandango at the Wall” project. This ambitious undertaking, produced by Kabir Sehgal, united legendary international musicians for a live concert at the Tijuana-San Diego border wall which resulted in a live album and documentary film to be released this year.

The Villalobos Brothers recently premiered their Symphonic Project, performing sold-out concerts with both the San Francisco Symphony Orchestra and the Walla Walla Symphony.

26

The ensemble has collaborated with legendary musicians including Grammy winners Bruce Springsteen, Dolly Parton, Antonio Sanchez, Regina Carter, Eduardo Magallanes, Dan Zanes, Sierra Hull, and Ana Tijoux.

The Villalobos brothers are actively touring the United States, delivering a powerful message of love, brotherhood and social justice with brilliance, cadence and virtuosity.

Their new album “Somos� will be released this year.

GMC.sonoma.edu

27

G I L S H A H A M , VIOLIN & A K I R A E G U C H I , PIANO FRIDAY, APRIL 26, 2019, AT 7:30 P.M. WEILL HALL ARTIST ROSTER Gil Shaham, violin Akira Eguchi, piano PROGRAM Praeludium and Allegro (In the Style of Pugnani)

Fritz Kreisler (1875-1962)

The Singing Turk: Sonata #2 Sù la sponda O vous, que Mars rend invincible In Italia

Scott Wheeler (b. 1952)

Nigunim: Sonata No. 3 Adagio religioso Scherzo Adagio Presto

Avner Dorman (b.1975)

INTERMISSION Partita No. 3 in E Major, BWV 1006 Preludio Loure Gavotte en Rondeau Menuet I, Menuet II Bourrée Gigue

Johann Sebastian Bach (1685-1750)

Sonata in A Major Allegretto ben moderato Allegro molto Recitativo-Fantasia: Ben moderato Allegretto poco mosso

César Franck (1822-1890)

This concert is supported in part by

28

GMC.sonoma.edu

29

GIL SHAHAM & AKIRA EGUCHI

PROGRAM NOTES FRITZ KREISLER PRAELUDIUM AND ALLEGRO (IN THE STYLE OF PUGNANI) As violinist Fritz Kreisler’s career began to take off, he found himself in need of new pieces for his recital programs. A not-unskilled composer, Kreisler preferred to simply write new pieces himself rather than hunting for new repertoire. However, as Kreisler later put it, it would have been considered “impudent and tactless” for any musician, no matter how talented, to perform too many of their own compositions. The easiest solution, Kreisler reasoned, was to perform his own pieces anyway, publishing them as “transcriptions” of lost works by long-dead composers.

According to his wife Harriet, a New Yorkborn tobacco heiress, “Fritz sometimes got the names of the old masters to whom he ascribed his works by simply looking in Grove’s Dictionary of Music and Musicians.” He would then study their style before mimicking it in his own writing. He ultimately penned fourteen of these “forgeries,” ascribing them to both obscure and well-known composers including Antonio Vivaldi, Louis Couperin, and Gaetano Pugnani. To explain the existence of these hitherto undiscovered works, Kreisler claimed to have found the originals in a French monastery, a story Harriet would later gleefully admit was “pure bunk.”

Kreisler performed these falsely-attributed works on his recitals for over twenty years, and while he and Harriet continued adhering to the tale of the monastery, neither tried especially hard to conceal the deception.

Harriet would later tell a biographer, “Sometimes friends would come and ask, ‘What is Fritz doing?’ and I’d reply, ‘Oh, he’s composing Pugnani, or something.’” Kreisler himself made a point of performing these works alongside the compositions over which he claimed authorship, hoping someone might notice the similarities between them. Most critics and audiences, however, were fooled; one critic went so far as to chastise Kreisler for including his own “insignificant” works 30

alongside those of the “masters.”

The hoax at last came to light in the mid1930s, when a music critic for The New York Times began researching the origins of the Praeludium and Allegro by “Pugnani.” He wrote Kreisler, who was by then sixty years old, asking why the original was nowhere to be found. Realizing the jig was up, Kreisler quickly (and with a bit of relief, it seems) admitted to all of the forgeries. Most critics reacted to the news that they had been duped with good humor, Kreisler’s musicianship and character being generally unassailable. To those who took umbrage at the deception, Kreisler’s response was succinct: “The name changes, the value remains.”

Kreisler composed the work solely as a showpiece for the violin, with the piano functioning as mere accompaniment with next to no independence (as, indeed, much of the violin music of Pugnani’s day would have been). For the most part, the piano writing is simple and unfussy—virtually nothing but slow-moving block chords in the first half—to maintain focus on the violin. A slow introduction cedes to winding melodic passages. The opening material briefly returns before a final virtuosic section filled with difficult multiple stops, trills, and ceaseless streams of rapid passagework.

SCOTT WHEELER THE SINGING TURK: SONATA NO. 2 The following program note has been provided by the composer.

Larry Wolff’s book The Singing Turk, published in the fall of 2016, is that rare work by a non-musician that provides a new perspective on music. Larry is a European historian and the sort of opera buff who knows far more about opera than do most musicians.

The Singing Turk examines the popularity of Turkish characters in more than 100 European operas written and performed between the 1680s and the 1820s. Wolff’s book shows how the shifting nature of the threat of the Ottoman Empire caused telling shifts in the way these Singing Turks were portrayed in

the European operatic theatre. The book doesn’t belabor either the similarities or the differences with today’s relations between Europe and the Muslim lands to the east, but it’s certainly timely.

As a composer, I read this book in part as a window into music I didn’t know, even with composers with whom I was familiar. I found the music of these operas so enchanting that I decided to feature one Singing Turk in each movement of my violin sonata, and to borrow Larry’s title for the work as a whole.

The result is certainly far from the genre of the “operatic paraphrase,” like the still popular Carmen Fantasy of Sarasate, but it has passages of that sort of simple pleasure.

While the borrowings don’t guide the sonata, which has its own structure, the earlier music forms a subterranean vein that colors each movement in varying degrees.

The first movement, “Sù la sponda,” draws on Handel’s 1724 opera Tamerlano. The noble Turkish ruler Bajazet is imprisoned by the title character Tamerlane (also known historically as Timur). As he prepares to commit suicide, Bajazet sings to his beloved daughter, “On the banks of Lethe, wait for me there.” This movement of my sonata adopts some of the character’s tragic nobility; his aria is quoted most clearly at the end of the first half.

The second movement draws on the aria of Roxelana, from the 1761 The Three Sultanas, by librettist Charles Simon Favart and composer Paul-César Gibert. This aria was famously sung by Favart’s wife Marie, who accompanied herself on the harp. In the opera, Roxelana sings to the “invincible” warrior Suleiman the Magnificent to “defend yourself, if possible / From becoming the slave of two beautiful eyes.” The movement begins as a passacaglia, which then alternates with variations on the tender melody from the opera.

My third Singing Turk is the handsome prince Selim from Rossini’s comic opera Il Turco in Italia, in which Selim falls in love with the Italian Fiorilla. She flirtatiously sings,

“In Italy certainly one doesn’t make love like that.” Selim responds, “In Turkey certainly one doesn’t make love like that.” Rossini’s music makes it clear that they make love in exactly the same way. My musical response is to create a moto perpetuo for the violin, from which Rossini’s deliciously joyful duet emerges with increasing clarity and giddy violinistic virtuosity.

The Singing Turk was commissioned and premiered by Sharan Leventhal, my gifted friend and admired musical interpreter.

AVNER DORMAN NIGUNIM: VIOLIN SONATA NO. 3 In 2011, Gil Shaham and his sister, pianist Orli Shaham, commissioned Israeli-born composer Avner Dorman to compose a violin sonata for them. That April, the duo premiered Dorman’s Third Violin Sonata, Nigunim, at the 92nd Street Y, a Jewish cultural and community center in New York City’s Upper East Side which had co-commissioned the work. Dorman later adapted the chamber piece into a violin concerto (also premiered

by Shaham), which won him the 2018 Azrieli Prize for Jewish Music. This prize is granted biennially to a composer who has written the best new major work of Jewish Music.

The following program note has been provided by the composer: The Nigun is a fundamental musical concept of traditional Jewish music. According to Habbad literature, the Nigun serves as a universal language; it ascends beyond words and conveys a deeper spiritual message than words can; a Nigun sung in Yiddish will reach and affect someone who only speaks Arabic and vice versa. The Nigun may be short but since it begins and ends on the same pitch it may be repeated over and over. In this sense, the Nigun has no beginning and no end and is eternal. Nigunim (the plural of Nigun) may be secular or religious, fast or slow, and may be sung and played in a variety of social events and circumstances.

When the 92 Street Y and Orli and Gil Shaham approached me to write a new piece GMC.sonoma.edu

31

GIL SHAHAM & AKIRA EGUCHI

for their Jewish Melodies program, my first thought was to write a piece that would explore the music of the ten lost tribes (the Hebrew tribes that were exiled after the first temple was destroyed). Since we know very little about the whereabouts of these tribes, I decided to explore the music of various Jewish traditions from different parts of the world and how they relate to larger local musical traditions.

To my surprise, after researching Jewish music from different parts of the world, I found that there are some common musical elements to North African Jewish cantillations, Central Asian Jewish wedding songs, Klezmer music, and Ashkenazy prayers.

Though I did not use any existing Jewish melodies for Nigunim, the main modes and melodic gestures of the piece are drawn from these common elements. Moreover, different sections of the piece draw upon local non-Jewish musical traditions of each of these regions: for example, the second movement uses principles found in Georgian folk rhythms and harmonies, and the fourth is inspired by Macedonian dances.

JOHANN SEBASTIAN BACH PARTITA NO. 3 IN E MAJOR, BWV 1006 Johann Sebastian Bach, his wife Maria Barbara Bach (a second cousin), and their several children spent nearly a decade in the city of Weimar, where he served the court of Duke Ernest Augustus I. Though quite successful in this post, tensions built between the high-strung Bach and his employer. Bach attempted to resign from his position several times before the exasperated duke had him arrested and jailed for “obstinacy.” Upon release from his month-long imprisonment, Bach again submitted his resignation, which the duke, at last, accepted.

Very soon after, Bach and his family moved north to the city of Köthen, where he would remain for six years. Yet troubles of a different sort were to follow, as Maria Barbara died unexpectedly within a few 32

years of their arrival. Bach, who had been traveling at the time, learned of her death and burial only upon returning home weeks after the funeral. Less than two years later, the widowed Bach would marry Anna Magdalena Wilcke, a soprano sixteen years his junior.

It is during this tumultuous period that Bach composed his sonatas and partitas (three of each) for solo violin. In this context, “partita” is simply a synonym for a suite of dance pieces, typically written for a soloist. While Bach is today regarded primarily as a composer and keyboard virtuoso, he was in fact a skilled multi-instrumentalist known in his own lifetime for his proficiency on the violin.

The virtuosic spinning out of material from simple, repeated fragments imparts an air of improvisation to the lively prelude.

Of the three partitas in the set, this is the only one to open with such a movement.

Immediately following is a loure, a slower and highly-embellished version of a gigue.

In the third movement, the aptly-titled “Gavotte en rondeau,” a rustic gavotte alternatives with four episodes of contrasting material. In 1977, more than two centuries after Bach’s death, a recording of this movement was launched into space as part of the Voyager Golden Record project headed by Carl Sagan. This anthropological time capsule contains music from around the globe; Western audiences might recognize portions of Beethoven’s Fifth Symphony, Stravinsky’s Rite of Spring, and Chuck Berry’s hit song “Johnny B. Goode.”

The fourth movement consists of two contrasting menuets, each in two sections, which are traditionally played da capo with the end result Menuet I—Menuet II—Menuet I. The penultimate and shortest movement, a sunny bourrée, has its roots in French courtship dances.

As is typical in Baroque dance suites, the final movement is an up-tempo gigue. Its large melodic leaps and relatively simple, unaccompanied melody are both hallmarks

of the Italian (as opposed to the French) variety, which provides a playful end to the partita.

CÉSAR FRANCK SONATA IN A MAJOR Franck composed the Sonata in A major for Violin and Piano in the span of a few weeks in the summer of 1886. The sonata was intended as a wedding present to celebrate the marriage of the famous violinist Eugène Ysaÿe. Franck had first seen Ysaÿe perform nearly a decade earlier at the home of composer Henri Vieuxtemps, and the two men had shared a mutual admiration and affection since. Like Franck, Ysaÿe hailed from the city of Liège in present-day Belgium, but while Ysaÿe embraced his Belgian heritage, Franck proudly became naturalized as a French citizen (in no small part to secure a teaching position at the Paris Conservatory).

Unable to attend the wedding himself, Franck sent Charles Bordes, one of his students, in his stead. Bordes presented the Violin Sonata to Ysaÿe, who upon skimming the manuscript responded, “Nothing in the world could have done me greater honor or given me more pleasure than this gift. But it is not for me alone. It is for the whole world. My part will be to interpret it with all the art, at my command, and I shall be helped by the profound admiration I have for the work of César Franck, so far insufficiently recognized. Whenever I play this work I shall be thinking of this happy day, and the art and the affection which Franck has put in this music will spread its glow over our family life.”

Ysaÿe insisted on playing the sonata for his guests. Following the ceremony, Ysaÿe sight-read and performed the sonata with Bordes’s sister-in-law, the pianist Marie-Léontine Bordes-Pène. The duo would give the first public performance of the work later that year. The concert was held at a modern art museum in Brussels, with

the Violin Sonata one of the last pieces to be performed. By the time Ysaÿe and Bordes-Pène had finished the first movement the sun had set, plunging the salon into darkness. As the museum had banned artificial light, worried that it might damage the artwork, the pair were forced to play the remaining three movements from memory.

While the Violin Sonata was Franck’s first and only foray into the genre, he had experience playing them from a young age. As a boy, he and his younger brother Joseph had performed together at the insistence of their demanding father, César at the piano and Joseph on the violin.

The first three notes of the principal theme create a simple rising and falling gesture which permeates the entire sonata.

Lilting and tender, Franck originally wrote the theme to be played at an even slower tempo, but Ysaÿe’s more energetic interpretation convinced him otherwise. The music grows more impassioned, undulating like the gentle movement of breath, before ending with a gradual diminuendo and one last, longing sigh. A turbulent second movement follows, punctuated by solemn and reflective interludes. Long, arcing melodic lines throughout span nearly the full range of the violin.

The rhapsodic third movement shifts between introspective and emboldened.

Listen for the rising-falling gesture threaded among the improvisatory melodies of both instruments. The movement ends as it began, soft and withdrawn.

Piano initiates the fourth and final movement with a joyful canon. The wide intervals in the left hand of the piano, challenging to many players, posed no issues for Franck, whose large hands allowed him to navigate these broad spans with ease.

The violin spins out soaring melodies, many of which contain the rising-falling gesture which opened the sonata. After a stormy middle section, the opening material returns in a jubilant finish. ©Andrew McIntyre, 2019

GMC.sonoma.edu

33

GIL SHAHAM & AKIRA EGUCHI

Gil Shaham

BIOGRAPHIES GIL SHAHAM is one of the foremost violinists of our time: his flawless technique combined with his inimitable warmth and generosity of spirit has solidified his renown as an American master. The Grammy Award-winner, also named Musical America’s “Instrumentalist of the Year,” is sought after throughout the world for concerto appearances with leading orchestras and conductors, and regularly gives recitals and appears with ensembles on the world’s great concert stages and at the most prestigious festivals.

Highlights of recent years include the acclaimed recording and performances of J.S. Bach’s complete sonatas and partitas for solo violin. In the coming seasons in addition to championing these solo works he will join his long-time duo partner pianist, Akira Eguchi in recitals throughout North America, Europe, and Asia.

Appearances with orchestra regularly include the Berlin Philharmonic, Boston Symphony, Chicago Symphony, Israel Philharmonic, Los Angeles Philharmonic, New York Philharmonic, Orchestre de Paris, and San Francisco Symphony as well as multi-year residencies with the Orchestras of Montreal, 34

Stuttgart and Singapore. With orchestra, Mr. Shaham continues his exploration of “Violin Concertos of the 1930s,” including the works of Barber, Bartok, Berg, Korngold, Prokofiev, among many others.

Mr. Shaham has more than two dozen concerto and solo CDs to his name, earning multiple Grammys, a Grand Prix du Disque, Diapason d’Or, and Gramophone Editor’s Choice. Many of these recordings appear on Canary Classics, the label he founded in 2004. His CDs include 1930s Violin Concertos, Virtuoso Violin Works, Elgar’s Violin Concerto, Hebrew Melodies, The Butterfly Lovers and many more.

His most recent recording in the series 1930s Violin Concertos Vol. 2, including the Prokofiev’s Violin Concerto and Bartok’s Violin Concerto No. 2 was nominated for a Grammy Award.

Mr. Shaham was born in Champaign-Urbana, Illinois, in 1971. He moved with his parents to Israel, where he began violin studies with Samuel Bernstein of the Rubin Academy of Music at the age of 7, receiving annual scholarships from the America-Israel Cultural Foundation. In 1981, he made debuts with the Jerusalem Symphony and the Israel Philharmonic, and the following year, took the first prize in Israel’s Claremont Competition. He then became a scholarship student at Juilliard, and also studied at Columbia University.

Mr. Shaham was awarded an Avery Fisher Career Grant in 1990, and in 2008, received the coveted Avery Fisher Prize. In 2012, he was named “Instrumentalist of the Year” by Musical America. He plays the 1699 “Countess Polignac” Stradivarius, and lives in New York City with his wife, violinist Adele Anthony, and their three children.

Akira Eguchi

Since making his highly acclaimed New York recital debut at Alice Tully Hall in 1992, AKIRA EGUCHI has performed in the foremost music centers of the United States, Europe, and the Far East.

His appearances in the United States include Carnegie Hall, Avery Fisher Hall, Alice Tully Hall, the 92nd Street Y in New York City, and the Kennedy Center in Washington D.C. Also, he has performed at Musikverein in Vienna, Barbican Centre in London, Theatre des Champs-Elysees in Paris, Herkulessaal in Munich, Tonhalle in Zurich, and Concertgebouw at Amsterdam.

Distinguished for his performances for heads of State, Mr. Eguchi has played for President Clinton presented by Isaac Stern at the White House, and for the Emperor and Empress of Japan at Hamarikyu Ashahi Hall in Tokyo. Mr. Eguchi has been featured in numerous tours of the United States, France, England, Germany, Austria, Switzerland, Holland, Italy, Belgium, Poland, Slovenia, Ireland, Spain, Greece, Canada, Mexico, Guatemala, Korea, China, Taiwan, Hong Kong and Japan, encompassing recitals and concerts with many of those countries’ foremost ensembles. He is also known as a collaborative pianist for renowned violinists such as Gil Shaham, Anne Akiko Meyers, Akiko Suwanai, Kyoko Takezawa, Tamaki Kawakubo, and Reiko Watanabe amongst the others.

Currently 45 disks are available from Deutsche Grammophon, Philips, Denon, Marquis Classics, Victor, IDC, BMG, Kosei publishing, Canary/Vanguard, AVEX, Octavia, and NYS Classics, including 11 solo albums most of which have been selected as “The best newly released album of the

month” from Recording Arts Magazine. He has had the privilege of using the legendary instrument, New York Steinway model “CD75” (1912) which Maestro Horowitz played at his concerts in late ‘70th till ’83, currently owned by Takagi Klavier of Tokyo.

As an active composer, Mr. Eguchi’s arrangements of Gershwin Piano Selections were published from Zen-On publishing company, and the piano trio version of Faure’s “Après un rêve” was published from International Music Company.

Born in 1963 in Tokyo, Mr. Eguchi has received his Bachelor’s Degree in Composition from Tokyo National University of the Fine Arts and Music (renamed to Tokyo University of the Arts) and a Master’s Degree in Piano Performance from The Juilliard School. He has studied with Herbert Stessin, Samuel Sanders, Hitoshi Toyama, and Akiko Kanazawa for piano, and Shin Sato, Akira Kitamura, and Ichiro Mononobe for composition.

He was a faculty member at CUNY Brooklyn College till spring of 2011. Currently, he lives in New York and Tokyo, serving as an Associate Professor at Tokyo University of the Arts. He also teaches at Senzoku-Gakuen Music College in Japan as a guest professor.

GMC.sonoma.edu

35

KRO N OS Q UARTET With Special Guest M a h s a Va h d at

MUSIC FOR CHANGE: THE BANNED COUNTRIES

THURSDAY, MAY 9, 2019, AT 7:30 P.M. WEILL HALL KRONOS QUARTET David Harrington, violin John Sherba, violin Hank Dutt, viola Sunny Yang, cello Mahsa Vahdat, vocals Jim French, Lighting Designer Zack Miley, Audio Engineer PROGRAM Mugam Sayagi *

Franghiz Ali-Zadeh (b. 1947)

Zaghlala (Blurred vision caused by strong light hitting the eyes) **

Islam Chipsy (b. 1985) arr. Jacob Garchik

Wa Habibi (Beloved) +

Traditional arr. Stephen Prutsman

Tashweesh *

Ramallah Underground arr. Jacob Garchik

Ya Mun Dakhal Bahr Al-Hawa (Hey, Who Enters The Sea of Passion?) +

Fatimah Al-Zaelaeyah arr. Jacob Garchik

La Sidounak Sayyada Omar Souleyman (I’ll Prevent the Hunters from Hunting You) + (b. 1966) arr. Jacob Garchik Bia Ke Berem Ba Mazar +

Dooyo +

36

Traditional arr. Milad Yousufi Dur-Dur Band arr. Jacob Garchik

Escalay (Water Wheel) *

Hamza El Din (1929–2006) realized by Tohru Ueda

The Sun Rises + The Sun Rises Vanishing Lines My Ruthless Companion

Mahsa Vahdat (b. 1973) arr. Sahba Aminikia

Songs + Leyli’s Nightingales I Was Dead

Mahsa Vahdat arr. Atabak Elyasi

Interstitial music: Bass lines by Mamadou Kouyaté * Sound collages by David Harrington, Joel Tarman, and Nikolás McConnie-Saad *

This concert is supported in part by

* Written for Kronos / ** Composed for Fifty for the Future: The Kronos Learning Repertoire / + Arranged for Kronos

GMC.sonoma.edu

37

AN N UAL G I FTS

Leadership Circle $50,000 and above Anonymous Donald and Maureen Green Foundation Henry and Marilyn Hansel William and Flora Hewlett Foundation John and Karen Ryan Greg Sarris and the Federated Indians of Graton Rancheria Partner’s Circle $25,000 - $49,999 Connie Codding Susan and Bruce Dzieza Admiral James O. Ellis, Jr. and Dr. Elisabeth Paté-Cornell Exchange Bank - Santa Rosa Michael and Nancy Hall John and Nancy Lasseter Dr. H. Andréa Neves Irv and Coleen Rothenberg and Buckingham Wealth Strategies Sonoma Media Investments Victor and Karen Trione Director’s Circle $10,000 - $24,999 Stephen and Denise Adams Terry Atkinson and Kathy Taylor Basin Street Properties Henry Beaumont Dan and Anne Benedetti John Boland and James Carroll Anisya and Lynn Fritz Ann and Gordon Getty Foundation

38

Sandra Velasco Jordan Ms. Margaret McCarthy and Dr. Robert Worth Dr. Brian Schmidt Les and Judy Vadasz Bill and Pat White Producer’s Circle $5,000 - $9,999 Lawrence Broderick Terry and Joanne Dale Debbie DeDomenico and Charlie Martin Sarah Dove, in memory of Duane Dove Janice and Joel Hadary Nancy and Tony Lilly Dr. and Mrs. Earle Sweat Roselyne Chroman Swig Michael and Janet Verlander John and Teresa Votruba Presenter’s Circle $2,500 - $4,999 Abbey, Weitzenberg, Warren & Emery Gayle and Arnold Carston Mr. Mark A. Dierkhising and Ms. Karen Brodsky Pauline “Polly” Fisher Richard and Lehn Goetz Ernst and Gail Habicht Dr. and Mrs. Robert Hales Melanie and Perry Karsen Roger and Julie Klein, in Memory of Dorothy McCray Amy and Joel Levine Bill and Marian Mapes Suzy and Mike Marzalek Judith and Irwin Miller

Eric Norrbom and Dan Needham in memory of Yvonne Norrbom and Jim Miller Joan Ramsay Palmer Steps to a Brighter Smile, LLC Ms. Dorothy Thompson Kay Woods Benefactors $1,000 - $2,499 Michael and Paula Aja Mr. and Mrs. Lawrence V. Amaturo Anonymous (2) Mr. and Mrs. Stephen W. Bailey Timothy and Corey Benjamin Cynthia and Frederick Brinkmann Corrick and Norma Brown Karin and Richard Burger Mr. and Mrs. Paul Buzanski Dr. Jean B. Chan and Dr. Ken Ross Pamela and Timothy Chanter Kathy and Martin Cohn Tony Crabb and Barbara Grasseschi Dennis Cress and Te Smith Rocky Daniels and Deborah Trefz Jayne DeLawter and Kenneth Koppelman Tim and Kathy Dellinger Joan Withers Dinner Gordon J. Dow Joanne D. Dow Richard and Jane Drever Mark and Kathie Elcombe Mr. Russell W. and Dr. Claudette V. Engle Mary and Scott Farrar Sara Ferrandini Dr. and Mrs. Donald M. Friedrich Donald Gee

THANKS FOR YOUR SUPPORT! We thank our generous donors for your support. Your financial contributions provide our communities with the highest quality of programming and educational activities, making it possible to bring artists and audiences together on our stages and throughout our region.

Thank you for making magical musical experiences possible right here at the Green Music Center.

To learn more about the benefits of supporting the Green Music Center, please contact Gail Chadwin, Annual and Foundation Giving Manager, at 707.664.3661 or chadwin@sonoma.edu.

Dan and Ann Gladding Drs. James and Michaela Glenn Mr. and Mrs. Louis Gonzalez Grant Street Enterprises LLC David Gray and Vrenae Sutphin Norman Greenbaum Dr. Michael Harmon Hashemian Family Fund Mr. John Hayes Lori Hercs Toby and Patt Herfindal Mike and Patty Hickey Bruce and Elizabeth Hoelter Ms. Kathy Horan Mr. Steven Isaacson Ms. Allison Keegan Gaye LeBaron Joyce Lopes Barbara and Jake Mackenzie Mr. Mark Matthews and Ms. Valerie J. Marshall Mr. and Mrs. William Meseroll Tim Muller and Family Barbara and Donald Niemann Cynthia and Bill Noonan Ms. Judith S. Peletz Frank Pope Thomas and Danni Randolph Riley and Pamela Rankin John and Susan Reed Todd Reed, PhD and Nancy Reed, PhD Dr. and Mrs. Alan Rubin Neil Rudolf and Susan Cluff Ms. Marlene Russell and Mr. Dennis Center Barbara and Gary Schepis Mr. Warren A. Schneider Mr. Mark Setterland Jeffrey and Karen Sommers

Gregory Sprehn Matthew and Polly Stone Larry Struck Carolyn Johnson and Rick Theis Drs. Karen Thompson and Bob Switky David and Alison Trezise Shawn and Mary Kay Tullock Mr. Andrew Turner and Mrs. Judith Turner Gregory Venegas Michael J. Waldorf Ms. Jennifer Walker Chuck and Ellen Wear Philip and Connie Woodward Phillip and Gail Wright Jacob and Debbie Yarrow

Donors $500 - $999 Anonymous Ms. Maya Balenz Richard and Rickie Ann Baum Dr. Eugene Belogorsky Ms. Allison W. Doolin and Mr. Timothy Doolin Paul and Hallie Downey Richard and Elaine Fohr Robert E. Hesse Dr. Patti M. Hiramoto and Mr. Wayne Komure Susan Kamensky Elad Levinson and Maryann Marks Marge and Thom Limbert Kate Ecker and John Mackie Mr. Michael R. Martin and Ms. Laura L. Holms Gerald and Lynn McIntyre Mr. Toru Mori

Lorna and Neil Myers Marv and MaryAnn Nickel Chuck and Kati Quibell Yvonne Schell Margaret and Hans Steuck Timothy Stevenson and David King Mr. and Mrs. Robert A. U’Ren Dr. Lisa Vollendorf and Mr. Scott Votey Kirt and Bev Zeigler BANJOS AND BOURBON BENEFIT EVENT Lead Underwriters Codding Foundation Admiral James O. Ellis Jr. and Dr. Elisabeth Paté-Cornell Hansel Auto Group Underwriters Basin Street Properties Henry Beaumont/PCD Inc. John Boland & James Carroll Donald & Maureen Green Foundation The Press Democrat Santa Rosa Symphony Listing Reflects donations made December 1, 2017–February 15, 2019

GMC.sonoma.edu

39

CORPORATE AND INSTITUTIONAL PARTNERS

Through their generous support, the partners listed below empower the Green Music Center to bring world-renowned artists to campus and support the range of educational and community offerings that are the cornerstone of our work. In reflection of your support, we offer effective activation strategies, meaningful recognition, and hospitality benefits. For more information on partnership opportunities, please contact Eric Singer at 707.664.3589 or eric.singer@sonoma.edu.

Presenting Sponsor

Media Sponsor

PREMIER WINE PARTNER

Official Timepiece

GOLD CIRCLE & ABOVE

SILVER CIRCLE Breathless Sparkling Wines Chandi Hospitality Group Clover Sonoma Exchange Bank Iron Horse Vineyards Lynmar Estate Martin Ray Winery Marmot Mountain LLC Benefactor Ballast Point Brewery Balletto Vineyards Coors Light Corona Hyatt Regency Santa Rosa Lagunitas Brewing Company Marimar Estate Vineyards & Winery

BRONZE CIRCLE Astro Motel Park Avenue Catering Freeman Vineyard & Winery St. Joseph Health The Gables Wine Country Inn Sally Tomatoes Kanzler Family Vineyards Seismic Brewing Company North Coast Brewing Co. Tri Counties Bank Oxford Suites Wilson Artisan Wineries

INSTITUTIONAL SUPPORTERS New England Foundation The William and Flora for the Arts Hewlett Foundation County of Sonoma, Community Investment Fund U.S. Bank Foundation Bertha and John Garabedian Charitable Foundation

The Andrew W. Mellon Foundation WESTAF | California Arts Council National Endowment for the Arts | Art Works CSU Entertainment Alliance

IN KIND PARTNERS AND CORPORATE ANNUAL FUND SUPPORTERS Altamont Beerworks Astro Motel Amaturo Sonoma Media Ballast Point Brewing Co. Barrel Brothers Brewing Bear Republic Brewing Company Black Kite Cellars Bohemian Creamery Breathless Sparkling Wines Brown Foreman Bump City Bakery Cartograph Wines Chandi Hospitality Group Chevoo Clover Ale House Cooperage Brewing Company Coors Corona Dierk’s Parkside Café DoubleTree by Hilton

40

Ethic Cider Fogbelt Brewing Company Foxcraft Cider Freeman Vineyard & Winery The Gables Wine Country Inn Halleck Vineyard HenHouse Brewing Company Horse & Plow Hyatt Regency Santa Rosa Iron Horse Vineyards Jeff Cohn Cellars Jimmy Johns Keegan & Coppin Co. Lagunitas Brewing Company Lynmar Estate Marimar Estate Vineyards & Winery Martin Ray Winery Mountain Mike’s North Coast Brewing Company Moonlight Brewing

Old Redwood Brewing Company Oxford Suites Plow Brewing The Press Democrat Ram’s Gate Winery Red Bird Bakery Redwood Curtain Brewing Redwood Empire Stereocasters Russian River Brewing Sally Tomatoes Seismic Brewing Co. Sonoma-Cutrer Vineyards Sonoma Media Investments 2 Tread Brewing Company Valley of the Moon Winery West & Wilder Wilson Artisan Wineries Wine Country Radio Yanni’s Sausages

© Churchill Heritage Limited

CLASSIQUE 5157

HISTORY IS STILL BEING WRITTEN ...

W I N STO N C H U R C H I L L ( 1874 - 1 965 ) I C O N I C B R E G U E T C L I E N T – W W W. B R E G U E T. C O M

DONOR SPOTLIGHT

PERRY & MELANIE KARSEN

ALL ALONG THE COASTLINE, WAVES DRAMATICALLY CRASH AGAINST THE CLIFFS. Fields with rows of vines in impeccable patterns prepare for the next harvest.

Along the Russian River, majestic redwoods are dense with fragrant shade. Picturesque pastures are dotted with cows, sheep, and goats. The distinctive red fruit of Pinot Noir is savored with locally made artisan cheeses. Creativity fills the air; offering a sensory feast for the soul. This is the splendor of Sonoma County.

Some of us have been in this glorious part of the world for generations, some of us only a few years. Perhaps you arrived here unexpectedly, or perhaps it was a conscious choice.

For Green Music Center donors, Melanie and Perry Karsen, living in Sonoma County had always been part of their long range plan. Having spent nearly twenty years on the east coast, working and raising their (now grown) two children, they were ready to embark on the next phase of their lives. Accustomed to living in an urban setting, moving to a rural one would mean significant change for the couple. With a life-long passion for art and music, connectivity to the arts and culture remained a high priority for both Melanie and Perry, as well as having convenient access to a performing arts venue where they could experience outstanding, varied artists. Much to their delight, they discovered Green Music Center.

42

“For us, having the opportunity to attend concerts in such extraordinary venues like Weill Hall and Schroeder Hall are among the many reasons we decided to spend this chapter of our life here in Sonoma County,” Melanie says of the Green Music Center. “Experiencing performances by superb artists such as Renee Fleming, Joan Baez, and Wynton Marsalis, among many others, right here in our community is just a tremendous gift.”

The Karsen’s are inspired by genres of music from all over the world, and they have personally sponsored the presentation of several artists, including jazz performers Brad Mehldau and Dianne Reeves.

“We love to acquaint ourselves with great performers and enjoy inviting friends to join us on the nights we sponsor,” Perry said. “It’s fun to be a part of this outstanding venue that we have come to cherish, right here in Sonoma County.”

Perry and Melanie moved to Sonoma County in 2015 and have since become active members of their community. In addition to supporting the Green Music Center, both have served as board members for local non-profit organizations such as the Sebastopol Center for the Arts and the Sonoma Land Trust.

Individuals like Perry and Melanie, as well as corporations and businesses, sponsor performances at the Green Music Center.

For more information on sponsoring a show this summer or in the 19/20 season, contact Director of Development, Marge Limbert, at marge.limbert@sonoma.edu or 707-664-3814.

CARTOGRAPH WINES IT STARTED WITH AN OFFER TO HELP. Serena Lourie and Alan Baker contacted the Green Music Center to ask if there was anything we needed, any way that their winery, Cartograph Wines, could help support the performing arts in their community. With a passion for music and an interest in building a strong partnership, they have become generous supporters, pouring in our Donor Lounges, and sponsoring concerts, all to benefit the Green Music Center’s mission to educate, connect, and inspire our communities.

Cartograph Wines is a joint venture and labor of love between Serena and Alan.

The symbol on their wine label is a visual marking of the journey that brought them together to make wine and the ideas that continue to propel their adventure. The Green Music Center is proud to be another point on their shared path.

Prior to embarking on a career in wine, Alan had an award winning career at Minnesota Public Radio. He came west in 2005 to explore his passion for the magical process of transforming grapes into great wine. Serena’s journey began with family meals in the countryside of France and wound its way through work in healthcare, tech, and San Francisco’s venture capital community.

It was at Crushpad in San Francisco where Serena and Alan’s path converged. There they made their first wine together and forged their dream to create their own winery. They moved north to Healdsburg in 2008 toting enough wine to bottle 50 cases of Pinot Noir.

In a few short years they opened their own tasting room in downtown Healdsburg. Now celebrating their 10th anniversary, Alan is in charge of winemaking and grape growing, and Serena leads the tasting room experience and the growth of the business.

To learn more about sponsorship, contact Director of Corporate Partnerships, Eric Singer, at singere@sonoma.edu or call 707-664-3589.

GMC.sonoma.edu

43

Green Music Center B o a r d & S ta f f UNIVERSITY PRESIDENT

Green Music Center Staff

BOARD OF ADVISORS

Administration & Programming Jacob Yarrow, Executive Director Becky Cale, Executive Assistant & Board Relations Coordinator Caroline Neyman, Director of Artistic Administration

Judy K. Sakaki

Executive Committee

Henry Hansel, Chair Anne Benedetti, Vice Chair and Nominating Committee Chair Rebecca Green Birdsall, Secretary William C. White, Finance Committee Chair Margaret McCarthy, Member-at-large MEMBERS

John Boland Sonu Chandi Connie Codding Bruce Dzieza Mark Elcombe Joseph B. Flannery Mike Hall Sandra Velasco Jordan John Mackey H. Andréa Neves Irv Rothenberg John Ryan Greg Sarris Brian F. Schmidt John Webley Emeritus

Donald Green, Co-Chair Emeritus Ex Officio

Judy K. Sakaki, University President Jacob Yarrow, Executive Director Lisa Vollendorf, Provost & Executive Vice President for Academic Affairs Joyce Lopes, Vice President for Administration and Finance Laura Watt, Chair of the Faculty Carley Chatterley, Associated Students President

44

Development Marge Limbert, Senior Director of Development Eric Singer, Director of Corporate Partnerships Gail Chadwin, Annual and Foundation Giving Manager Production & Facilities Kamen Nikolov, Director of Production Operations Jerry Uhlig, Associate Director of Production Joseph McNiff, Stage Technician Anthony Melin, Front of House Audio David Montijo, Front of House Audio David Neubauer, Lighting Designer Madison Annala, Facilities Manager Marketing & Communications Andy Shepherd, Senior Marketing Manager Christine Jossey, Marketing & Communications Specialist Box Office Megan Christensen, University Box Office Manager Carly Davis, University Box Office Specialist Guest Services Lori Hercs, Director of Guest Services Andrew Cronomiz, House Manager Hospitality Kelley Kaslar, Director of Hospitality Talmadge Savage, Prelude Restaurant Manager Alison Schneider, Prelude Restaurant Assistant Manager Don Cortes, Executive Chef, Sonoma State University

screwless eyewear designed in Germany. available at sonoma eyeworks.

PRESIDENT Michael Zivyak CREATIVE DIRECTOR Ryan Mesheau PRODUCTION DIRECTOR Mark Flaviani ADVERTISING/ MARKETING Chief Revenue Officer Karleen Arnink-Pate Chief Digital Revenue Officer José C. del Castillo Research & Brand Director Kris Loberg Events & Sponsorship Manager Ginger Hopkins Specialty Content Manager Ken Jaggie Advertising Sales Managers And Directors Joanne Herrfeldt Robert Lee Rebecca Pate Steve Schneiderman Project Manager Jaime Foster

MARKETING CONSULTANTS John Borba Kerry Finnie Megan Godsil Teena Hanlon Janelle Hausladen Melissa Hosking Ken Jaggie Julia Joslyn Robert Manley Sandy Morales Rachel Pinkstaff Micaelyn Richmeier Alexa Williams

CLIENT SERVICES ASSISTANTS Olivia Basso Birgitte Kvendset Melissa Madrid Kymell Mitchell Laura Nunes LeeAnn Paul Candice Velasquez SONOMA MEDIA INVESTMENTS, LLC Managing Member Darius Anderson Chief Executive Officer Steve Falk Chief Operating Officer Bill Hooper Chief Financial Officer Stephen Daniels Chief Revenue Officer Karleen Arnink-Pate Chief Operations Officer Troy Niday President, Magazine Division Michael Zivyak

eyeworks

now you don’t have to go to san francisco for the best selection in fashion eyewear!

534 larkfield shopping center, santa rosa 707.578.2020 store hours mon-sat 9am – 6pm www.sonomaeyeworks.com RE

ADE

R S’ C H O IC E 20

GMC.sonoma.edu

18

45

PH OTO GALLE RY 1. Veronica Swift and the Benny Green Trio performing for two sold-out crowds in Schroeder Hall.

2. Joshua Bell poses with 13-year-old viola player Alanna Williams during his post show CD signing.

3. Christopher Rountree, conductor of Wild Up, holding rehearsal for Sonoma State University Music Students who performed with the ensemble at the end of the week.

4. Banda Magda performs in our new stage set-up, The Loft.

5. Wild Up performing Future Folk, music of Ancient India, Modern California and post-war New York.

1

2

4

46

5

Brennan Spark PhotographyŠ

3

DO YOU HAVE A PASSION FOR PEOPLE AND THE ARTS? The Green Music Center is seeking volunteers for Usher positions. For additional information, please visit gmc.sonoma.edu/about/volunteer.

Upcoming Info Sessions Thursday, April 18 from 5-6 PM Friday, May 3 from 5-6 PM RSVP for one of our informational events by contacting Andrew Cronomiz, House Manager via email (cronomia@sonoma.edu) or phone 707.664.3512

Silk Moon Shop Our Spring Inspirations …that make everyone feel good!

Silk• Fashionable, Moon clothing and scarves.

• Stylish, quality shoes from brands that you know and love.

CLOTHING | JEWELRY | SCARVES ACCESSORIES | SHOES 195 N Main Street, Sebastopol | 707.824.4300 Open Mon–Sun 10 to 6ish | silkmoon.org

G R E E N M U S I C C E N T E R PAT R O N I N F O R M AT I O N HALL AMENITIES • Indoor restrooms are located: on the first floor at the end of Dwight Courtyard Gallery, adjacent to Person Lobby; on the second floor at the north end of the hall.

• Drinking fountains are located in the foyer of the first and second floor restrooms.

• Elevator service for Weill Hall is located on the north end of Person Lobby for access to the Choral Circle and Balcony.

COAT CHECK/LOST & FOUND • Coat check is available in Person Lobby at no charge. For Lost and Found items, please visit Coat Check in the lobby while at the performance or call the House Manager at 707.664.3957.

Thereafter, call the SSU Seawolf Service Center at 707.664.2308.

DINING & BAR SERVICE • Prelude at the Green Music Center is a fine-dining restaurant located at the end of Dwight Courtyard Gallery. Prelude is open on most concerts nights before, during intermission, and after the performance. Reservations are strongly advised: 1.866.955.6040 ext. 2.

• Refreshment bars are located in Person Lobby, and are open prior to the performance and during intermission.

No food is allowed in the concert hall; drinks in Green Music Center tumblers are allowed.

FIRST AID SERVICES • First Aid services are available on-site.

Patrons requiring medical attention can speak to any member of the Guest Services staff.

SMOKING POLICY • Smoking, including electronic cigarettes and vaporizers, is not permitted anywhere on the Green Music Center grounds or the Sonoma State University campus.

EMERGENCY EXITS • In case of an emergency, please walk calmly to the lighted “Exit” sign nearest to your seat.

LATE SEATING • All concerts will begin promptly. Ushers will seat latecomers at appropriate intervals at the discretion of the performer. If you need to exit the hall following your arrival, please present your ticket to a ticket taker for exit scanning.

• Large-print / Braille programs: contact the Box Office two weeks prior to your concert date to request specialty programs. Pre-ordered programs may be retrieved from the service desk in Person Lobby.

• Sign language interpretation: contact the Box Office at least three weeks prior to your concert date.

FACILITY RENTALS • For more information on renting a space for your next event, please contact Conference and Event Services at 707.664.4091.

CHILDREN • A ticket is required for everyone entering the hall.

• Children under 2 are free.

STANDING • Standing is not permitted inside of Weill Hall for the duration of the performance.

PETS • With the exception of service animals, no pets are allowed on the Green Music Center grounds.

RECORDING DEVICES • The use of cameras, recording devices and other electronic equipment is strictly prohibited both inside and outside during all performances. Devices may be used prior to the show.

VOLUNTEERS • The GMC is accepting volunteer requests. For more information, visit gmc.sonoma.edu/about/volunteer.

PATRONS WITH DISABILITIES • Weill Hall has accessible seating for people with mobility limitations. Please notify us of any special needs at the time you purchase tickets.

• Assisted listening devices for the hearing-impaired are available at the coat check room in Person Lobby.

TICKET SALES • Our Box Office is happy to assist you with all your ticketing needs.

BOX OFFICE BUSINESS HOURS Monday – Friday, 10:00 am – 6:00 pm WALK-UP SALES Tickets may be purchased in-person at the Info & Tickets desk in the lobby of the SSU Student Center, Monday through Friday from 10 am until 6 pm.

The Green Music Center Box Office located in the courtyard of Weill Hall is open one hour prior to most performances.

PHONE: 1.707.664.4246 ONLINE: gmc.sonoma.edu EMAIL: tickets@sonoma.edu EMERGENCY MESSAGES: 707.664-3956 GENERAL INFORMATION: greenmusiccenter@sonoma.edu

48

What could possibly go wrong?

Our Urgent Care and After Hours centers are here to handle life’s little surprises.

From bumps and bruises to fevers and fractures, to those ideas that … “seemed good at the time.” Life is full of unexpected mishaps. Thankfully, St. Joseph Health is here to serve Sonoma County with seven Urgent Care and After Hours centers, open daily with no appointment needed.

Learn more at StJosephHealth.org/UC

Urgent Care and After Hours locations: Santa Rosa 510 Doyle Park Dr – After Hours Care 925 Corporate Center Pkwy, Ste A – Urgent Care Sebastopol 652 Petaluma Ave, Ste B – After Hours Care Rohnert Park 1450 Medical Center Dr – Urgent Care

Windsor 8911 Lakewood Dr, Ste 13 – After Hours Care 6580 Hembree Ln, Ste 270 – Urgent Care Petaluma 905 E. Washington St – After Hours Care