Earplay 29/3
music can never cease evolving
Originality really means
being true to one’s self.
— George Crumb
Monday, May 19, 2014
ODC Theater
Welcome
Welcome to the final concert of Earplay’s 2014 ODC season. We’re delighted to
have composers Vera Ivanova, John MacCallum, and Reynold Tharp with us
tonight. The program also includes a work by George Crumb, our featured
composer for this season. We hope you will meet the composers at the preconcert discussion. After the concert, please join the composers, Earplayers, and
board members at our post-concert reception in the lobby, where we’ll share our
exciting plans for our upcoming 30th anniversary season.
Tonight you will hear the winner of the 2013 Earplay Donald Aird Composers
Competition, Vera Ivanova’s Three Studies in Uneven Meters. Our annual
competition is open to composers of any age and nationality. We received
entries from 25 countries and 25 US states this year, and we’ll perform the prize
winner next season.
Earplay wants to continue to present vibrant performances of great new music
for another 29 years, but we need your help to make it happen. Please donate
whatever you can at our website earplay.org: every dollar really helps!
Enjoy tonight’s concert, and please join us again next season for more amazing
music.
Stephen Ness
President,
Earplay Board of Directors
Board of Directors
Staff
Terrie Baune, musician representative
Bruce Bennett, treasurer
Mary Chun, conductor and artistic
coordinator
Richard Festinger
May Luke, secretary
R. Wood Massi, director of education
Stephen Ness, president
Laura Rosenberg
Lori Zook, executive director
Renona Brown, accountant
Yunzhe Ma, intern
Ian Thomas, sound recordist
Advisory Board
Chen Yi
Richard Felciano
William Kraft
Kent Nagano
Wayne Peterson
Cover image: George Crumb, Makrokosmos, Vol. I, No. 2 Spiral Galaxy, Aquarius, p
19, Edition C. F. Peters, 1974. By kind permission of C. F. Peters Corp.
2
Monday, May 19, 2014 at 7:30 p.m.
ODC Theater
Earplay 29/3
originality really means
being true to one’s self
Earplayers
Tod Brody, flutes
Peter Josheff, clarinets
Terrie Baune, violin
Ellen Ruth Rose, viola
Thalia Moore, cello
Brenda Tom, piano
Mary Chun, conductor
Guest Artists
Christy Dana, whistler
John MacCallum, electronics
Karen Rosenak, piano
Pre-concert talk at 6:45 p.m.:
Bruce Christian Bennett, moderator with
Vera Ivanova, John MacCallum, and Reynold Tharp
Please power down your cellphone before the performance (do not just silence
it!). No photography, videography, or sound recording is permitted. Programs
are subject to change without notice.
Earplay’s season is made possible through generous funding from the Aaron
Copland Fund for Music, the Alice M. Ditson Fund of Columbia University, the
Ann and Gordon Getty Foundation, the William and Flora Hewlett Foundation,
the San Francisco Foundation Fund for Artists, San Francisco Grants for the Arts,
the Thomas J. White and Leslie Scalapino Fund of the Ayco Foundation, the
Zellerbach Family Foundation, and generous donors like you.
3
Program
John MacCallum
Hyphos (2014)
Tod Brody
Peter Josheff
Ellen Ruth Rose
John MacCallum
World premiere / Earplay commission
George Crumb
Eleven Echoes of Autumn, 1965
(1966)
Tod Brody
Peter Josheff
Terrie Baune
Karen Rosenak
Christy Dana
INTERMISSION
Vera Ivanova
Three Studies in Uneven Meters
(2011)
1. BartoKagel
2. Canon à la Piazzolla
3. Scriabinesque
Brenda Tom
2013 Earplay Donald Aird Composers
Competition winner
Reynold Tharp
Piano Trio (2014)
Terrie Baune
Thalia Moore
Karen Rosenak
World premiere / Earplay commission
4
Program Notes
Hyphos (2014) by John MacCallum
for alto flute, bass clarinet, viola, and electronics
World premiere / Earplay commission
Text means Tissue; but whereas hitherto we have always
taken this tissue as a product, a ready-made veil, behind
which lies, more or less hidden, meaning (truth), we are
now emphasizing, in the tissue, the generative idea that the
text is made, is worked out in a perpetual interweaving; lost
in this tissue—this texture—the subject unmakes himself,
like a spider dissolving in the constructive secretions of its
web. Were we fond of neologisms, we might define the
theory of the text as an hyphology (hyphos is the tissue and
the spider’s web). —Roland Barthes, The Pleasure of the Text
Hyphos is a texture, a textile, consisting of many threads of
time woven together in a counterpoint of continuously
fluctuating tempos. Although the musicians begin together,
they quickly diverge from the tempo they share. This tempo,
however, remains latent throughout the piece, becoming
manifest for brief and fleeting moments when the threads of
the different musical parts intertwine in just the right way to
reveal its rhythms. The musicians may choose to use clicktracks to help them remain situated in time with respect to
the other performers and computer, however, the piece may
also be played without the aid of click-tracks. In the latter
case, the way in which the various musical threads become
entangled is, to a certain extent, variable and the resulting
web gradually unmakes its creator.
This work makes use of new software developed by the
composer at the Center for New Music and Audio
Technologies (CNMAT) at UC Berkeley. This software builds
on previous work by Matthew Wright as well as numerous
5
others and has been used extensively in recent works by
Edmund Campion including Auditory Fiction, Small
Wonder, and The Last Internal Combustion Engine.
— J. MacC.
Composer John MacCallum is based in
Oakland, CA. From 2008–2011, he held a
position as Musical Applications
Programmer at the Center for New Music
and Audio Technologies (CNMAT). While
there, he designed a number of software
tools, including one useful for composing and performing
music with multiple, independent, smoothly varying
tempos. This work resulted in his composition Aberration
(2010) for percussion trio, the recording of which was
supported by a grant from the American Composer’s Forum,
and The Delicate Texture of Time (2012-13) for eight
players, commissioned by the Eco Ensemble with a grant
from the Mellon Foundation. In addition to his interest in
polytemporal music, MacCallum’s compositional work is
heavily reliant on technology both as a compositional tool
and as an integral aspect of the performance of a piece. His
works often employ carefully constrained algorithms that
are allowed to evolve differently and yet predictably each
time they are performed.
MacCallum holds degrees from the University of California,
Berkeley (Ph.D. in Music Composition), McGill University
(M.M. in Composition), and the University of the Pacific
(B.M. in Composition/Theory). In 2007, while working on
his doctorate, John was awarded a FACE (French American
Cultural Exchange) Fellowship to work at the Centre
International de Récherche Musicale (CIRM) and to study
composition and electronic music with Michel Pascal at the
Conservatoire de Nice and the Université de Nice Sophia
Antipolis.
6
Eleven Echoes of Autumn, 1965 (1966)
by George Crumb
for violin, alto flute, clarinet, and piano
Eleven Echoes of Autumn, 1965 was composed during the spring of
1966 for the Aeolian Chamber Players (on commission from
Bowdoin College). The eleven pieces constituting the work are
performed without interruption:
Eco 1. Fantastico
Eco 2. Languidamente, quasi lontano ("hauntingly")
Eco 3. Prestissimo
Eco 4. Con bravura
Eco 5. Cadenza I (for Alto Flute)
Eco 6. Cadenza II (for Violin)
Eco 7. Cadenza III (for Clarinet)
Eco 8. Feroce, violento
Eco 9. Serenamente, quasi lontano ("hauntingly")
Eco 10. Senza misura ("gently undulating")
Eco 11. Adagio ("like a prayer")
Each of the echi exploits certain timbral possibilities of the
instruments. For example, eco 1 (for piano alone) is based
entirely on the 5th partial harmonic, eco 2 on violin harmonics in
combination with 7th partial harmonics produced on the piano
(by drawing a piece of hard rubber along the strings). A delicate
aura of sympathetic vibrations emerges in echi 3 and 4, produced
in the latter case by alto flute and clarinet playing into the piano
strings. At the conclusion of the work the violinist achieves
a mournful, fragile timbre by playing with the bow hair
completely slack.
The most important generative element of Eleven Echoes is the
"bell motif" – a quintuplet figure based on the whole-tone interval
– which is heard at the beginning of the work. This diatonic figure
appears in a variety of rhythmic guises, and frequently in a highly
chromatic context.
Each of the eleven pieces has its own expressive character, at
times overlaid by quasi-obbligato music of contrasting character,
7
e.g., the "wind music" of the alto flute and clarinet in eco 2 or the
"distant mandolin music" of the violin in eco 3. The larger
expressive curve of the work is arch-like: a gradual growth of
intensity to a climactic point (eco 8) followed by a gradual
collapse.
Although Eleven Echoes has certain programmatic implications
for the composer, it is enough for the listener to infer the
significance of the motto-quote from Federico Garcia Lorca:
"... y los arcos rotos donde sufre eI tiempo" ("... and the broken
arches where time suffers"). These words are softly intoned as a
preface to each of the three cadenzas (echi 5-7) and the image
"broken arches" is represented visually in the notation of the
music which underlies the cadenzas.
— G. C.
The mysterious and introverted works of
George Crumb have achieved worldwide
distribution and acclaim shared by few
composers. He was born in 1929 in West
Virginia, where the sounds of the hills created a
kind of auditory memory that came to influence
his music. “An echoing quality, or an interest in
very long sounds, haunting sounds, sounds that don't want to die;
this is all part of an inherited acoustic.” [GC]
Crumb’s father, like his grandparents, was a professional
musician and music copyist in the small city where they lived; his
mother was a cellist. While still a young man, George followed his
father’s path as a free-lance musician. Perhaps the fact that his
work involved copying music as his father had is significant given
the later development of Crumb’s unusually beautiful scores.
In college he studied closely with Ross Lee Finney, and eventually
received his doctorate at the University of Michigan. Crumb has
pursued a long career as a music professor, mostly at the
University of Pennsylvania. He has received many honors,
including the Pulitzer Prize and a Grammy. He credits a diverse
array of composers, including Mahler, Debussy, Ives, Bartok,
Varese, and Webern, with influencing his work. Other major
8
influences have been medieval music and philosophy, cosmic
contemplations, numerology, and humanism.
Crumb’s music incorporates programmatic, symbolic, mystical,
and theatrical elements, as well as sophisticated musical
allusions. He has often used the poetry of Garcia Lorca. His
scores have contained musical staves shaped like a peace sign and
a spiral, direct quotations of the music of other composers, and a
use of poetic instructional language that is also crystal clear.
Perhaps the most central element of his approach has been a
haunting exploitation of sound color, extending the traditional
palette while emphasizing texture, timbre, and line. His works
sometimes use extended techniques to evoke a wild surreal
soundscape, but more often their quiet dynamics and resonant,
slow sounds engender a feeling of sublimity. Demanding
virtuosity from the performers, he encourages the display of their
musical personalities.
In recent years, Crumb has explored American folk songs with a
series of seven American Songbooks, many inspired by and
dedicated to his daughter, Ann Crumb, a Grammy-winning
Broadway performer.
— R. W. M.

Three Studies in Uneven Meters (2011)
by Vera Ivanova
1. BartoKagel
2. Canon à la Piazzolla
3. Scriabinesque
for solo piano
2013 Earplay Donald Aird Composers Competition winner
Vera Ivanova's Three Studies in Uneven Meters were
composed in the Spring of 2011. This set of etudes is
dedicated to several 20th-century composers, who
influenced her music in the past and whose compositional
techniques are referenced in these three pieces.
9
The first study (BartoKagel, and a little bit of Stravinsky)
joins together personalities of three composers: Béla Bartók,
Mauricio Kagel, and Igor Stravinsky. All three composers
were influenced by Eastern European and Russian folk
music and, in their own turn, influenced each other's music
(Stravinsky influenced Bartók, and Bartók influenced Kagel).
Second in this set is Canon à la Piazzolla, descending canon
with all voices sustained. The theme of this canon is in the
time signature of 5/16 and is reminiscent of some
irregularities in the rhythmic pattern of a tango. The canon
builds up as the voices are added and sustained, creating an
accumulative effect that destroys the originally recognizable
melodic motif.
The last study (Scriabinesque, fleeting cycles) explores the
harmonic world of Alexander Scriabin, restricted to its own
rules of horizontal and vertical sonorities. Even though this
study does not reproduce Scriabin's harmonies, it makes use
of interval "cycles" (chain of repeated intervals of the same
type). Due to the sameness of interval cycles, the harmonic
and vertical sonorities in this piece are locked (or "fixed")
and thus reference some of Scriabin's etudes.
– V. I.
Vera Ivanova graduated from the Moscow
Conservatory (Honours Diploma), Guildhall
School of Music and Drama in London (MM
with distinction), and the Eastman School of
Music (Ph.D. in Composition). Her works
have been performed in Russia, Europe, and
the U.S.A. After teaching as Assistant
Professor of Theory and Composition at the Setnor School of
Music of Syracuse University (NY), she was appointed as
Assistant Professor of Music in the College of Performing
10
Arts at Chapman University (Orange, CA).
Dr. Ivanova is a recipient of the Sproull Fellowship at
Eastman, the Gwyn Ellis Bequest Scholarship at Guildhall
School, Moscow Culture Committee and American Composers
Forum Subito grants, Honourable mention at the 28th
Bourges Electro-Acoustic Competition, 3rd Prize at the 8th
International Mozart Competition, 1st Prize in Category "A"
at International Contest of Acousmatic Compositions
Métamorphoses 2004 (Belgium), the ASCAP Morton Gould
Young Composers Award, the André Chevillion-Yvonne
Bonnaud Composition Prize at the 8th International Piano
Competition at Orléans (France), and the Special Award
from Yvar Mikhashoff Trust for New Music. She is also a
winner of the 2013 Athena Festival Chamber Competition and
the 2013 Earplay Donald Aird Composers Competition.
Her music is available in print from Universal Edition and
Theodore Front Music Literature, Inc., SCI Journal of Music
Scores (vol. 45), on CDs from Ablaze Records (Millennial
Masters series, Vol. 2), Quartz Music, Ltd., PARMA
Recordings (SCI CD series, No. 27), Musiques & Recherches
(Métamorphoses 2004), Centaur Records (CRC 3056), and
on her website at www.veraivanova.com.

Piano Trio (2014) by Reynold Tharp
for violin, cello, and piano
World premiere / Earplay commission
My Piano Trio was written from December 2013 to March
2014 for Earplay. As in several other recent pieces of mine,
the overall shape and flow of the piece is hopefully clearly
articulated within a continuous single movement. Unlike
my other music, however, which typically bears
programmatic or poetic titles, in this instance I fell back on a
11
simple generic title. Nevertheless, the trio still relies on the
narrative and dramatic impulses that drive all my music,
and evocative or atmospheric qualities (to me, at least) are
hardly absent. In particular, I imagined the slowly changing
scales of the opening, with their uneasy rhythmic fluidity, as
the slow surging of ocean tides. These waves return in
different incarnations across the thirteen-minute span of
the piece, and are also gradually transformed into
contrasting ideas -- one faster and more rhythmically
driven, one playful with its bouncing echoes, and a last one
more darkly lyrical.
— R. T.
The music of Reynold Tharp has recently
been described as “tone painting at its most
adroit” evoked with “a prismatic palette”
(Financial Times), and “gorgeous…a sensuous
evocation of colors and atmospheres…. Not
content to write textures that are merely
interesting or surprising, Tharp concocts
sounds that are also ravishing and intoxicating” (San Francisco
Classical Voice). The New York Times called a recent piece “a
winner” and added, “Elegant, airy and weightless figurations for
an octet of strings, winds, brasses, piano and percussion were a
stylish and fitting homage to Ligeti. The music also made you
eager to hear more from Mr. Tharp….”
Tharp’s music has been performed in the U.S., Europe, and Asia
by groups such as the New Juilliard Ensemble, San Francisco
Contemporary Music Players, Minnesota Orchestra, Ensemble
Dal Niente, Boston Modern Orchestra Project club concerts,
Ensemble Diffraction, Orchestre Lyrique de Region AvignonProvence, and the Nieuw Ensemble. Recent highlights include
the Korean premiere of his music at the Sejong Chamber Hall in
Seoul and two new pieces, a large ensemble piece for the New
Juilliard Ensemble and a commissioned work for organ. In
2012, Albany Records released a CD by the Aletheia Duo of
music inspired by nature, which includes his piece Chaparral.
12
Tharp was born in Indiana and grew up in southern California.
After early training as a pianist, he studied composition and
history at Oberlin College and Conservatory and earned a Ph.D.
in composition at the University of California, Berkeley,
studying with Jorge Liderman, Richard Felciano, and Cindy
Cox. As recipient of Berkeley’s Ladd Fellowship he spent two
years in Paris studying composition with Philippe Leroux and
orchestration with Marc-André Dalbavie. Currently assistant
professor of composition and theory at the University of
Illinois, he has previously taught at Northwestern University
and San Francisco State University.

Earplayers
“… One cannot resist the charm, energy and
allégresse that was displayed on the podium by
Mary Chun.” — Le Figaro, Paris
A fierce advocate of new work, Mary Chun
(conductor) has worked with many composers
such as John Adams, Olivier Messiaen, Libby Larsen, William
Kraft, and Tan Dun, to name a few. At the invitation of composer
John Adams, she conducted the Finnish chamber orchestra
Avanti! in the Paris, Hamburg and Montreal premiere
performances of his chamber opera Ceiling/Sky to critical acclaim.
Passionate about new lyric collaborations, she has music-directed
several world premieres including Libby Larsen’s most recent
opera, Every Man Jack; Mexican-American composer Guillermo
Galindo’s Decreation: Fight Cherries, a multi-media experimental
portrait of the brief life of the brilliant French philosopher,
Simone Weil; Carla Lucero’s Wuornos, the tragic true tale of the
notorious female serial killer; and Joseph Graves’ and Mort
Garson’s Revoco. Under her music direction, Earplay received a
Bay Area Theater Critics Circle nomination for Earplay’s
performances in the Aurora Theater production of Stravinsky’s
Soldier’s Tale. Other conducting engagements include opera tours
with the Kosice Opera throughout Germany, Switzerland and
13
Austria in addition to concerts in Belgium and the Czech Republic.
She has also been invited to conduct at the Hawaii Opera Theater,
the Lyric Opera of Cleveland, Opera Idaho, the Texas Shakespeare
Festival, Ballet San Joaquin, West Bay Opera, Pacific Repertory
Opera, Mendocino Music Festival, West Edge Opera and the
Cinnabar Opera Theater where she is Resident Music Director.
She makes her Chinese debut this spring as Music Director for the
Seven Ages production of Avenue Q in Beijing at the Haidian
Theater.

In addition to being a member of Earplay, Terrie
Baune (violin) is co-concertmaster of the
Oakland-East Bay Symphony, concertmaster of
the North State Symphony, and a former
member of the Empyrean Ensemble. Her
professional credits include concertmaster
positions with the Women’s Philharmonic,
Fresno Philharmonic, Santa Cruz County Symphony, and Rohnert
Park Symphony. A member of the National Symphony Orchestra
for four years, she also spent two years as a member of the
Auckland Philharmonia Orchestra of New Zealand, where she
toured and recorded for Radio New Zealand with the Gabrielli
Trio and performed with the New Zealand Symphony Orchestra.

Tod Brody (flutes) has enjoyed a long career as
a musician, teacher, and administrator. As a
flutist, Brody is well known to California
audiences as a chamber musician and orchestra
player, with a focus on contemporary music. As
flutist with Earplay, Empyrean Ensemble, Eco
Ensemble, and the San Francisco Contemporary
Music Players, he has performed many world premieres, and has
been extensively recorded. He is on the music faculty at the
University of California, Davis, where he teaches flute and
chamber music. In September, 2013, Brody was named the first
executive director of San Francisco's Opera Parallèle, which is
dedicated to developing and performing contemporary operas.
14
Peter Josheff (clarinets) is a founding member
of Sonic Harvest and of Earplay. He is also a
member of the San Francisco Contemporary
Music Players, the Empyrean Ensemble, and the
Eco Ensemble. He has performed with many
other groups, including the Paul Dresher
Ensemble, Melody of China, Composers Inc., and
sf Sound, and has appeared as a clarinetist on
numerous recordings, concert series and festivals, both nationally
and internationally.
His recent compositions include Europa & The Bull (2014), a
chamber oratorio premiered by The Sonic Harvest Players at UC
Santa Cruz in April 2014; The Cauldron: Six Poems by Carol
Vanderveer Hamilton (2013), commissioned and premiered by
tenor Brian Thorsett in January 2014; Waiting (2012),
commissioned and premiered by Earplay in March 2013; Sutro
Tower in the Fog (2011), commissioned, premiered and recorded
by The Bernal Hill Players; Nautical Man Nautical Man (2011), an
album of pop songs; Sextet (2010), Caught Between Two Worlds
(2009), Inferno (2006-2008), and Viola and Mallets (2007). His
work has been performed by Earplay, the Empyrean Ensemble,
the Bernal Hill Players, the Laurel Ensemble, San Francisco
Cabaret Opera, Sonic Harvest, and others.
Peter has worked extensively with young composers. Through
discussion and performance of their music he has brought his
unique perspective as a composer’s clarinetist to graduate and
undergraduate classes at UC Berkeley and Davis, Stanford
University, San Francisco State University, and Sacramento State
University, and for the American Composers Forum Composer in
the Schools Program. His workshop, Clarinet for Composers, has
been presented at the UC Davis Clarinet Festival and at an
American Composers Forum seminar in San Francisco.

15
A native of Washington D.C., Thalia Moore
(cello) began her cello studies with Robert
Hofmekler, and after only 5 years of study
appeared as soloist with the National
Symphony Orchestra of Washington at the
Kennedy Center Concert Hall. She attended the
Juilliard School of Music as a student of Lynn
Harrell. While at Juilliard, she was the recipient
of the Naumberg Scholarship and won first prize in the National
Arts and Letters String Competition. Ms. Moore has been
Associate Principal Cellist of the San Francisco Opera Orchestra
since 1982 and a member of the San Francisco Ballet Orchestra
since 1989. She has appeared as soloist at Avery Fisher Hall
(Lincoln Center), Carnegie Recital Hall, Kennedy Center Terrace
Theater, Herbst Theater, and the San Francisco Legion of
Honor. In 1999, she was named a Cowles Visiting Artist at
Grinnell College, Iowa, and in 1999 and 2001 won election to the
Board of Governors of the National Academy of Recording Arts
and Sciences. Moore has been a member of the Empyrean
ensemble since 1999 and has made recordings with the group of
works by Davidovsky, Niederberger, Bauer, and Rakowski. As a
member of Earplay, she has participated in numerous recordings
and premieres, including the American premiere of Imai’s La
Lutte Bleue for cello and electronics.

Ellen Ruth Rose (viola) enjoys a varied career as
a soloist, ensemble musician and teacher with a
strong interest the music of our times. She is a
member of Eco Ensemble, Empyrean Ensemble,
and Earplay. She has worked extensively
throughout Europe with Frankfurt’s Ensemble Modern and the
Cologne experimental ensembles Musik Fabrik and Thürmchen
Ensemble and has performed as soloist with the West German
Radio Chorus, Empyrean Ensemble, Earplay, Thürmchen
Ensemble, the San Francisco Contemporary Music Players, Santa
Cruz New Music Works, at the San Francisco Other Minds and Ojai
Music festivals, and at Monday Evening Concerts in Los Angeles.
She has appeared on numerous recordings, including a CD of the
16
chamber music of German composer Caspar Johannes Walter —
featuring several pieces written for her — which won the German
Recording Critics new music prize in 1998.
Over the past several years she has collaborated with and
premiered works by numerous Northern California composers,
including Kurt Rohde, Edmund Campion, Aaron Einbond, John
MacCallum, Mauricio Rodriguez, Cindy Cox, Mei-Fang Lin, Robert
Coburn, and Linda Bouchard. In 2003 she created, organized and
directed Violafest!, a four-concert festival at UC Davis celebrating
the viola in solos and chamber music new and old, including
premieres of pieces by Yu-Hui Chang and Laurie San Martin.
Rose holds an M.Mus. in viola performance from the Juilliard
School, an artist diploma from the Northwest German Music
Academy in Detmold, Germany and a B.A. with honors in English
and American history and literature from Harvard University. Her
viola teachers have included Heidi Castleman, Nobuko Imai,
Marcus Thompson, and Karen Tuttle. She is on the instrumental
faculty at UC Davis and UC Berkeley and has taught at the
University of the Pacific, the Humboldt Chamber Music Workshop,
and the Sequoia Chamber Music Workshop.

Brenda Tom (piano) has performed as a soloist
with the SF Chamber Orchestra, the California
Symphony, the Pittsburgh Ballet Orchestra, I
Solisti di Oakland, the Sacramento Symphony,
the Fort Collins Symphony, the Diablo
Symphony, the Sacramento Ballet Orchestra,
and the San Francisco Ballet Orchestra. She has recorded with
PianoDisc, China Recording Company, Klavier Records, V’tae
Records, and IMG Media. She has served as principal pianist with
the Sacramento Symphony, Symphony of Silicon Valley, San Jose
Chamber Orchestra, Monterey Symphony, and Santa Cruz
Symphony, and has performed with the Sacramento Chamber
Music Association, MusicNow, Chamber Music/West, the Cabrillo
Festival, the Festival of New American Music, Music From Bear
Valley, and the Hidden Valley Music Festival. Ms. Tom graduated
from the San Francisco Conservatory of Music, where she studied
17
with Beatrice Beauregard and Mack McCray.
Guest Artists
Christy Dana (whistler) has whistled at the
finals of the 2013 International Whistling
Convention, on the faculty concert of the San
Francisco Early Music Recorder Workshop, and
at Yoshi’s with the Montclair Women’s Big Band.
She can also be heard whistling on the video
game The Sims 3 and on her jazz CD Merry-GoRound. Holding M.M. and D.M degrees in Music Theory and Brass
from Indiana University, she teaches musicianship and jazz
theory and performance at UC Berkeley, and has been active in
the Bay Area music scene as a trumpeter in jazz, orchestral, and
early music.

Karen Rosenak (piano) is an “almost native” of
the Bay Area. She was a founding
member/pianist of Bay Area new-music groups
Earplay and the Empyrean Ensemble. She
studied modern piano with Carlo Bussotti and
Nathan Schwartz, and credits Margaret Fabrizio
with introducing her to the fortepiano during
her graduate work in early music at Stanford
University. She has found the balance between old and new
music, and between old and new pianos, to be an ongoing, most
satisfying pursuit. Since 1990, she has been on the faculty at U.C.
Berkeley, where she teaches musicianship and contemporary
chamber music.

Special Thanks
Bruce Christian Bennett
Berkeley Arts Festival
CNMAT [UCB Center for New Music
and Audio Technologies]
Kitty Brody
18
George Crumb
Carla Lucero / Acad. of Art Univ.
John MacCallum
Yunzhe Ma
Muriel Maffre / SF MP+D
ODC Theater
C. F. Peters Corporation
Ellen Ruth Rose
Karen Rosenak

George Crumb: Eleven Echoes of Autumn, 1965, Eco 5 and Cadenza
I, p. 6, C. F. Peters, 1972. By kind permission of C. F. Peters Corp.

Join us
Send email to earplay@earplay.org to join our mailing list. And please
consider supporting the cause of new music with a generous donation!
Mail your tax-deductible check to:
Earplay
560 29th Street
San Francisco, CA 94131-2239
or click on the Donate button at earplay.org to donate via PayPal.
Earplay is a 501(c)(3) nonprofit organization.
19

20
Staff
With nearly 30 years of administration experience, Lori Zook
(executive director) has worked with non-profit arts
organizations since 1991, and has held management level
positions – with an emphasis on fundraising – since 1998. Most
recently, she was a Development Manager at Quinn Associates, a
firm serving small to mid-sized non-profit organizations
throughout the Bay Area, where she assisted multiple clients with
grant writing, grants management, prospect research, and
strategic planning. While there, she raised millions of dollars for
her clients, which included presenters, music ensembles, dance
companies, arts education providers, and complex public-private
partnership organizations. She served as the executive director
of Oakland Opera Theater from 1998-2005, and during her
tenure, the company expanded its season, developed an
administrative infrastructure, experienced substantial audience
growth, and successfully began fundraising. She also co-founded
the company's venue, the Oakland Metro in 2001. Lori served on
the City of Oakland’s Cultural Affairs Commission from May 2006
through June 2010, and was Acting-Chair of that body from June
2007 through October 2009. Under her leadership, the
commission became participants in the Oakland Partnership and
the East Bay Cultural Corridor project, the latter involving a fourcity partnership to develop marketing strategies. She has served
on arts funding panels for the City of Oakland and the Arts
Council of Silicon Valley, and has been involved in several arts
initiatives, including ArtVote, Spokes of a Hub, and the
Illuminated Corridor.

Ian D. Thomas (sound recordist) is a native of San Francisco. He
currently works in film as a sound designer and composer. His
website is iandthomas.com.

21
Links
Earplay
Earplay archives
Earplay tickets
ODC
SF Comm. Music Center
SF Museum of Perf.+Design
George Crumb
Vera Ivanova
John MacCallum
Reynold Tharp
earplay.org
earplay.org/archives
www.odcdance.org/buytickets
odcdance.org
sfcmc.org
mpdsf.org
www.georgecrumb.net
www.veraivanova.com
john-maccallum.com
www.music.illinois.edu/faculty/reynold-tharp

Donors
Earplay sincerely thanks its donors for their generosity and for their continued
belief in the importance of the creation and performance of intriguing new
music. Please join us by giving whatever you can to support our cause, we can’t
do it without you!
$10,000 +
William & Flora Hewlett Foundation
San Francisco Grants for the Arts
$5,000 +
The Ann and Gordon Getty Foundation
$1,000 +
The Aaron Copland Fund for Music
The Alice M. Ditson Fund of Columbia
University
Richard Festinger
May Luke
Bari & Stephen Ness
Laura Rosenberg in honor of Lori Zook
Larry Russo
The San Francisco Foundation
The Thomas J. White & Leslie Scalapino
Fund for the AYCO Foundation
The Zellerbach Family Foundation
$500 +
Jane Bernstein & Robert Ellis
Mary Chun
Raymond Chun
22
$100 +
Mark Applebaum
Herbert Bielawa
Norman Bookstein
Elizabeth A. and William B. Carlin
Patti Deuter
Ellinor Hagedorn
Sally Kipper
Antoinette Kuhry & Thomas Haeuser
Susan Kwock
David Pereira
Wayne Peterson
Dr. Arthur & Joan Rose
in honor of Ellen Rose
William Schottstaedt
Olly & Elouise Wilson
Other generous donors:
Katherine Brody
Ann Calloway
Dr. Stuart M. Gold
Ellen Ruth Harrison
Florence Neuhoff
Wendy Niles
Sandra and Leonard Rosenberg
William Specht
Kim Stokoe
ODC Theater
ODC Theater staff:
Director
Christy Bolingbroke
Programming & Operations
Manager
Jeffrey Morris
Production Manager
David Coffman
Marketing Team
Francis Aviani, Julia Snippen, Jerri Zhang
House Technicians
Jason Dinneen, Mark Hueske, Eric Iverson, Zoe Klein,
Matt Lewis, Delayne Medoff,
Becky Robinson-Leviton, Ernie Trevino
Client and Patron
Services Manager
Dan Rivard
Box Office Agents
Diana Broker, Leah Gardner, Joseph Hernandez,
Sarah Pomarico
House Managers
Michelle Fletcher, Michelle Kinny, Mary Lachman,
Christi Welter, Alec White, Karla Quintero
Receptionists
Brittany Delany, Zachary Sharrin
Mission and impact:
ODC Theater exists to empower and develop innovative artists. It participates in the
creation of new works through commissioning, presenting, mentorship and space access; it
develops informed, engaged and committed audiences; and advocates for the performing
arts as an essential component to the economic and cultural development of our
community. The Theater is the site of over 150 performances a year involving nearly 1,000
local, regional, national and international artists.
Since 1976, ODC Theater has been the mobilizing force behind countless San Francisco
artists and the foothold for national and international touring artists seeking debut in the
Bay Area. Our Theater, founded by Brenda Way, then under the leadership of Rob Bailis for
nearly a decade, and currently under the direction of Christy Bolingbroke, has earned its
place as a cultural incubator by dedicating itself to creative change-makers, those leaders
who give our region its unmistakable definition and flare. Nationally known artists
Spaulding Gray, Diamanda Galas, Molissa Fenley, Bill T. Jones, Eiko & Koma, Ronald K.
Brown/EVIDENCE, Ban Rarra and Karole Armitage are among those whose first San
Francisco appearance occurred at ODC Theater.
ODC Theater is part of a two-building campus dedicated to supporting every stage of the
artistic lifecycle - conceptualization, creation, and performance. This includes our flagship
company – ODC Dance – and our School, in partnership with Rhythm and Motion Dance
Workout down the street at 351 Shotwell. Over 250 classes are offered weekly and your
first adult class is $5. For more information on ODC Theater and all its programs, please
visit www.odctheater.org.
Support:
ODC Theater is supported in part by the following foundations and agencies: Creative
Work Fund, The Wallace Alexander Gerbode Foundation, Grants for the Arts/San Francisco
Hotel Tax Fund, James Irvine Foundation, LEF Foundation, National Dance Project,
National Endowment for the Arts, San Francisco Foundation, San Francisco Arts
Commission, Walter & Elise Haas Fund, William & Flora Hewlett Foundation, the
Zellerbach Family Foundation and The Fleishhacker Foundation. ODC Theater is a proud
member of Association of Performing Arts Presenters, Chamber Music America, Dance
USA, Dancer’s Group, and Theater Bay Area.
23
About Earplay
Mission statement:
play nurtures new chamber music, linking audiences, performers, and
composers through concerts, commissions, and recordings of the finest
music of our time.
Founded in 1985 by a consortium of composers and musicians, Earplay is dedicated to the
performance of new chamber music. Earplay offers audiences a unique opportunity to
hear eloquent, vivid performances of some of today’s finest chamber music.
Earplay has performed over 400 works by more than 275 composers in its 29-year history,
including over 100 world premieres and more than 60 new works commissioned by the
ensemble. This season will reinforce Earplay’s unwavering track record of presenting
exceptional music in the 21st century.
Concerts feature the Earplayers, a group of artists who have developed a lyrical and
ferocious style. Mary Chun conducts the Earplayers, all outstanding Bay Area musicians:
Tod Brody, flute and piccolo; Peter Josheff, clarinet and bass clarinet; Terrie Baune, violin;
Ellen Ruth Rose, viola; Thalia Moore, cello; and Brenda Tom, piano.
Individual donations are vital to Earplay’s success, and we greatly appreciate your
generosity! Visit our website earplay.org to make a tax-deductible donation, or make a
donation tonight. Together we can keep the music coming!
Earplay
560 29th Street
San Francisco, CA 94131-2239
Email: earplay@earplay.org
Web: earplay.org
Earplay New Chamber Music
@EarplayinSF
24
Earplay’s 2014 Season in San Francisco:
music can never cease evolving
ODC Theater at 7:30 p.m.
Pre-concert talk at 6:45 p.m.
3153 17th Street (at Shotwell), San Francisco
Tickets: 415.863.9834 or www.odcdance.org/buytickets
Earplay 29/1
Monday, February 10, 2014
music begins where poetry leaves off
Tamar Diesendruck: On That Day
George Crumb: Sonata for Solo Cello
Dan Reiter: Sonata for Flute and Harp
David Schiff: Joycesketch II
Ann Callaway: Memory Palace
Earplay 29/2
Monday, March 31, 2014
rhythm most directly affects
our central nervous system
George Crumb: Four Nocturnes (Night Music II)
Nick Omiccioli: falling through infinity
Mark Winges: Local Colloquies * †
Jean Ahn: ADGC
Howard Hersh: Full Court Press
Earplay 29/3
Monday, May 19, 2014
originality means being true to one’s self
John MacCallum: Hyphos * †
George Crumb: Eleven Echoes of Autumn, 1965
Vera Ivanova: Three Studies in Uneven Meters ††
Reynold Tharp: Piano Trio * †
* World premiere
† Earplay commission
†† 2013 Aird prize
Earplay
560 29th Street
San Francisco, CA 94131
Email: earplay@earplay.org
Web: earplay.org
25