Earplay 28/2:
(h)Earplay @ ODC!
I owe very, very much to Mozart.
— Arnold Schoenberg
Monday, March 18, 2013
ODC Theater
Welcome
Thanks for joining Earplay tonight for the second concert of our 28th season.
Tonight we proudly present the world premiere of Waiting, an Earplaycommissioned work by our own Peter Josheff, juxtaposed with the piece on
which it is based, Arnold Schoenberg's Ein Stelldichein. The concert also features
three west coast premieres, and we've added a performance of Elliott Carter's
Elegy in Carter’s memory. We’re delighted to have composers Joseff, Kuehn, and
Yao here to share their thoughts with us in a pre-concert discussion and at a
post-concert reception.
Earplay wants to continue to present vibrant performances of great new music,
but we cannot do it without your help. Please donate whatever you can: every
dollar really helps! We are thinking ahead to our 30th anniversary season with
plans for a commemorative book 30 for 30 honoring 30 members of our new
music community; see page 16 below for more information, then get on board
early with this exciting project.
Please share your passion for new music by bringing a friend or two to our next
concert on May 20th. Enjoy tonight’s concert!
Stephen Ness
President,
Earplay Board of Directors
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 check
to:
Earplay
560 29th Street
San Francisco, CA 94131-2239
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Board of Directors
Staff
Advisory Board
Terrie Baune, musician
representative
Bruce Bennett,
treasurer
Mary Chun
May Luke, secretary
Stephen Ness, president
Laura Rosenberg,
executive director
Rob Bailis, development
Renona Brown,
accountant
Ian Thomas, sound
recordist
Chen Yi
Richard Felciano
William Kraft
Kent Nagano
Wayne Peterson
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Monday, March 18, 2013 at 7:30 p.m.
ODC Theater
Earplay 28/2:
(h)Earplay @ ODC!
Earplayers
Tod Brody, flutes
Peter Josheff, clarinets
Terrie Baune, violin
Ellen Ruth Rose, viola
Thalia Moore, cello
Mary Chun, conductor
Guest Artists
Denis Harper, oboe
Daniela Mineva, piano
Brenda Tom, piano
Pre-concert talk at 6:45 p.m.
Bruce Christian Bennett, moderator with
Peter Josheff, Mikel Kuehn, and Yao Chen
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 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.
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Program
Elliott Carter
Elegy (1939/2007)
Thalia Moore, Daniela Mineva
Mikel Kuehn
Colored Shadows * (2012)
Ellen Ruth Rose
Tiffany Sevilla
Caprice * (1999)
Peter Josheff
Yao Chen
Sotto Voce * (2006/2008)
Tod Brody, Brenda Tom
INTERMISSION
Arnold Schoenberg
Ein Stelldichein (1905)
Denis Harper, Peter Josheff,
Terrie Baune, Thalia Moore,
Daniela Mineva
Peter Josheff
Waiting † ** (2013)
Denis Harper, Peter Josheff,
Terrie Baune, Thalia Moore,
Daniela Mineva
* West coast premiere
** World premiere
† Earplay commission
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Program Notes
Elegy (1939/2007) by Elliott Carter
for cello and piano
Elegy was originally composed for cello and piano in 1939 as a result of one of a
series of meetings between composers and performers arranged by the League
of Composers. One of the meetings was with a cellist and this led a number of
composers, including myself, to write pieces for this particular cellist to perform.
But I don’t think he ever included my piece in his repertory. In the intervening
years that original score has been misplaced or lost altogether. So when I was
asked in 2007 to make a new arrangement for cello and piano I referred to the
string quartet version.
— E. C.
Elliott Carter (1908-2012) began to be seriously interested
in music in high school and was encouraged at that time by
Charles Ives. He attended Harvard University where he
studied with Walter Piston, and later went to Paris where he
studied with Nadia Boulanger for three years. He then
returned to New York to devote his time to composing and
teaching.
With the explorations of tempo relationships and texture that characterize his
music, Carter is one of the prime innovators of 20th century music. Twice winner
of the Pulitzer Prize, Carter is internationally recognized as one of the leading
American voices of the classical music tradition.

Colored Shadows (2012) by Mikel Kuehn
for viola and electronics
Colored Shadows was composed in the winter of 2012, inspired by hearing
several live performances given by violist John Graham (for whom the piece was
written). Captivated by his warm and supple sound and the way that he
caressed each phrase with his remarkable bow control, I marveled at the way he
was able to explore the nuances of his special instrument, which he has gotten to
know over a lifetime. This made me want to find a way to capture and resonate
these traits in a work crafted for him. The result, after working closely with
Graham, is a piece that explores the idea of “shadowing” the sounds that he
makes through his viola using live electroacoustics. (The electroacoustic music
is created in real-time from the sounds of the viola). Cast in nine interlinked
sections, four of these are controlled improvisations on each of the open strings.
The remaining five sections feature the same thematic material, although in
contrasting contexts. The premiere of this work was given by John Graham at
the 40th International Viola Congress (Eastman School of Music, Rochester, New
York) on June 2, 2012.
— M. K.
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The music of American composer Mikel Kuehn (b. 1967) has
been described as having “sensuous phrases ... producing an
effect of high abstraction turning into decadence” by New York
Times critic Paul Griffiths. Kuehn holds degrees in composition
from the Eastman School of Music (Ph.D., MA) and the University
of North Texas (BM). His music has received awards and honorable recognition
from ASCAP and BMI, the Chicago Symphony, Composers, Inc., the Copland
House, Eastman, the League of Composers/ISCM Composers' Competition, the
Salvatore Martirano Memorial Composition Contest, the Ohio Arts Council, and
the Luigi Russolo Competition (Italy).
Twice selected to represent the United States abroad (by ISCM and SEAMUS), in
both the acoustic and electroacoustic mediums, Kuehn's works have been
programmed on numerous concerts, conferences, and festivals internationally.
Kuehn is associate professor of composition at Bowling Green State University,
where he served as director of the MidAmerican Center for Contemporary Music
and the Bowling Green New Music Festival from 2007-2010. His music is
available on ACA Digital, Centaur (CDCM series), Errol (France), ICMA (Ireland),
MSR Classics, and New Focus (forthcoming) labels.

Caprice (1999) by Tiffany Sevilla
for clarinet
Caprice is a piece I composed while working with Shulamit Ran at the University
of Chicago. It is loosely based on her method exercises of “inversions" and
"perversions" — taking a simple (or not so simple) musical motive and
inverting, morphing, shrinking, stretching, and otherwise transforming it. The
piece occasionally uses the extended technique of multiphonics: it involves
special fingerings to obtain more than one pitch at a time on a normally
monophonic instrument.
— T. S.
Tiffany Sevilla received her bachelor and masters degrees in
her native state of California at the University of California at
Berkeley and the San Francisco Conservatory of Music,
respectively. Her composition teachers have included Andrew
Imbrie, Tristan Murail, Shulamit Ran, Mario Lavista, and Marta
Ptaszynska. Her music has been performed by the Lincoln Trio,
Pacifica String Quartet, eighth blackbird, Pinotage, CUBE, and the University of
Chicago Contemporary Chamber Players. She has had performances in as far
away places as Poland (Poznan’s Spring Festival) and France (Fontainebleau), as
well as in her home state through the Los Angeles Guitar Foundation of America
and with San Francisco’s opus 415. She finished her Ph.D. at the University of
Chicago in 2006. Until 2012, she had been teaching composition and studies in
electronic/computer music at Columbia College Chicago. She is currently living
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in Tianjin, China, where she is introducing her students to critical thinking and
20th Century western music.

Sotto Voce (2006/2008) by Yao Chen
for flute and piano
The title Sotto Voce (Italian) literally means “In soft tones, as not to be overly
heard; in an undertone.” Sotto voce is the voice that is not overly pronounced and
not overly heard, and it is an aural perception that only exists in comparison to
and in relationship with other voices. This inspires me. This piece
contextualizes sotto voce through a chain of shifting textures and diverse sonic
trajectories within a highly dramatic form. For any attentive listeners, Sotto Voce
can be captured in these relationships: the inter-supporting relationship
between flute and piano, the interdependent relationship between two hands of
the pianist, the inter-shadowing relationship between the flute sound and the
humming of the flutist, and the intertwining relationship between the harmonic
consonance and dissonance, and between diatonicism and chromaticism.
The performance aims for a mysterious, colorful and dramatic exploration in
expressions, dynamics and melodic gestures. In addition, with a possibility of
special performing environment as well the players’ interest and ability, the
performance can be executed within a delicate theatrical staging design. The
extramusical elements can be carried out through stage lighting, costumes, and
physical movements of the players. The goal is to effectively create a visual sotto
voce to correspond with the sonic Sotto Voce.
Sotto Voce was originally commissioned by the A. N. and Pearl G. Barnett
Foundation, written for its 2006 - 2007 flute competition.
— Y. C.
The music of Yao Chen (b. 1976) strikes audiences with its
innovative ways of bringing together the traditions of Chinese
and Western music and its poetic telling of the composer's
innermost thoughts. His perceptions on musical time, timbre,
intonation, pulsation, and expression are always at frontiers:
between the old and the new, between the East and the West, between irrational
mysticism and rational logic. While devoting himself mainly to the field of
contemporary art music, Yao also experiments with other genres, writing music
for films and theatre productions. Cross-cultural and cross-disciplinary
concepts permeate his creative inspiration and compositional output, presenting
his understanding of the value of new music in enlivening global contemporary
cultures. These aesthetic pursuits and values have been realized within his
recent works, such as Two Poems for orchestra, Jun for pipa and double bass,
Yearning for zheng and double bass, and the instrumental theatre piece
Paramita.
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In recent years, Yao’s music has received recognition in many distinguished
international arenas. Yao has shared his music with audiences at many music
festivals and by orchestras throughout the world.
Yao embarked on his lifelong musical journey in the People's Republic of China.
He received rigorous training in composition & and music theory at the
prestigious Xinghai Conservatory of Music in Guangzhou and Central
Conservatory of Music in Beijing. He holds a Ph.D degree in composition from
the University of Chicago. He lectured at the University of Chicago Music
Department and at the University of Illinois at Urbana-Champaign School of
Music. He currently serves as Assistant Professor in Composition at the Illinois
State University School of Music.

Ein Stelldichein by Arnold Schoenberg (1905)
for oboe, clarinet, violin, cello, and piano
Among the dozens of musical fragments left by Arnold Schoenberg there are
only a couple longer than Ein Stelldichein (A Rendezvous) of 1905, which was
retrieved from the musical effects left at the composer’s death. Austrian
composer and conductor Friedrich Cerha supplemented the score and
conducted its world premiere in Vienna in 1966. It uses a chamber orchestra
consisting primarily of the same instruments Schoenberg later used for Pierrot
Lunaire, but without the voice.
Jan Maegaard defines a fragment as a piece of music “that starts at the beginning
and is worked out in detail but not concluded. A large number of fragments
contain only the first five to twenty measures of a composition,” but Ein
Stelldichein contains ninety measures of a slow section plus about half that many
of an incomplete, faster second section. Earplay will perform the opening
seventy-seven measures of the piece, the part Schoenberg completed in full.
The piece reflects some of the composer’s most characteristic techniques of this
period — continuous melodic development, harmonic chromaticism, and the
move toward atonality. His language here is tinged with the whole-tone scale
that appealed to so many other composers of this period. It represents a step
toward Schoenberg’s First Chamber Symphony, opus 9, which followed in 1906
and may be the reason he lost interest in completing Ein Stelldichein. (Earplay
performed the Chamber Symphony earlier this year.)
The work draws inspiration from a poem of the same name (see below) written
about ten years earlier by the German poet Richard Dehmel (1863-1920), who
also inspired Schoenberg’s better-known earlier work Verklärte Nacht
(Transfigured Night). Although Schoenberg admired Dehmel, he did not wish to
collaborate with him as much as to react to his words. In a letter to the poet in
1912, regarding an oratorio the composer was contemplating, Schoenberg said,
“If you should think it possible, it would be not merely superfluous but actually a
mistake to write the text with any thought of the music in mind. For a work by
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Dehmel is something that I — being in such profound sympathy with every word
— can set to music just as it stands.” So this is program music but in the sense
that it reflects the mood of Dehmel’s poem and not a story or narrative.
Dehmel, an admirer of Nietzsche, was a controversial figure associated with the
end-of-the-century northern European aesthetics supported by artists such as
the Expressionists Edvard Munch and Ernst Kirchner and writers such as August
Strindberg, all of whom spent time in Berlin in the 1890s. The eroticism and
impiety of Dehmel’s poetry drew the ire of the German censors who threatened
him with imprisonment, but it also has drawn the admiration of composers who
have set his works to music, including Richard Strauss, Max Reger, Kurt Weill
and Alma Mahler-Werfel, in addition to Schoenberg.
In the same year that Schoenberg worked on Ein Stelldichein, he was busy
collaborating with other musicians to form the Union of Creative Composers;
later he helped form the Society for Private Musical Performances. In the latter
group, works were often performed more than once at the same concert. One
could perhaps draw a postmodern parallel to the performance on tonight’s
program of Peter Josheff’s Waiting, a radical rearrangement, or variation, of the
pitches of Ein Stelldichein in Josheff’s own voice.
— R. W. M.
Ein Stelldichein
Richard Dehmel
So war´s auch damals schon. So lautlos
verhing die dumpfe Luft das Land,
und unterm Dach der Trauerbuche
verfingen sich am Gartenrand
die Blütendünste des Holunders;
stumm nahm sie meine schwüle Hand,
stumm vor Glück.
Es war wie Grabgeruch... Ich bin nicht schuld!
Du blasses Licht da drüben im Geschwele,
was stehtst du wie ein Geist im Leichentuch —
lisch aus, du Mahnbild der gebrochenen Seele!
Was starrst du mich so gottesäugig an?
Ich brach sie nicht: sie tat es selbst! Was quäle
ich mich mit fremdem Unglück ab...
Das Land wird grau; die Nacht bringt keinen Funken,
die Weiden sehn im Nebel aus wie Rauch,
der schwere Himmel scheint ins Korn gesunken.
Still hängt das Laub am feuchten Strauch,
als hätten alle Blätter Gift getrunken;
so still liegt sie nun auch.
Ich wünsche mir den Tod.
A Rendezvous
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It was like this even then. The stifling air hung so silently over the earth, and under the
roof of the mourning beeches the scent of elder blooms got caught up at the garden's edge;
silently she took my moist hand, silent with happiness.
It was like the smell of the grave... I am not at fault! You pale shade over there in the mist,
how you stand like a shrouded ghost — fade out, you reminder of a broken soul! Why do
you stare at me with godlike eyes? I did not break her; she did it herself. Why do I torment
myself with others’ misfortune?
The ground becomes gray; the night brings no spark, in the fog the willows look like
smoke, the heavy sky seems to have sunken into the grain. The foliage hangs silently on
the wet shrubs as if the leaves had drunk poison; now she lies so motionless too. I wish for
my death.
— S. N.
Arnold Schoenberg (1874-1951) was born in Vienna, Austria
in 1874 into a middle-class Jewish family. In his youth, he played
cello and was passionate about Viennese musical culture. Though
he had no formal training in composition, according to his own
admission, he did receive tutoring in counterpoint from his close
friend and future brother-in-law Alexander von Zemlinsky.
In his earliest works, Schoenberg wrote in a sophisticated, almost hyperromantic style, a fusion of intricate Brahmsian thematicism and rich Wagnarian
chromaticism. From very early in his career, he was a controversial figure. His
tone poem Verklärte Nacht (1899), was dismissed from a composition contest by
the conservative judges of the Viennese musical establishment for having an
invalid chord (an inverted ninth chord), which we now understand to be simply
the result of his evolving countrapuntal techniques. Schoenberg’s compositional
technique of constant motivic development and variation would eventually lead
him to move beyond 19th-century tonality into a completely chromatic harmonic
language, referred to by his critics as atonality.
His works Op. 11 and on eschew traditional tonality for total chromaticism. He
would refer to this move in his substantial book on harmonic theory,
Harmonielehre (1922), as the emancipation of the dissonance—the notion that
those intervals that where previously considered dissonant are only more
remote consonances in the overtone series.
One of the more challenging aspects of Schoenberg’s music is not simply its
move from diatonicism to chromaticism, but also his rhythmic evolution from
common periodic phrase structures to aperiodic phrase structures as well as
overlapping polyphonic phrasing. One of his star students, Alban Berg, explores
this question in his 1924 essay, “Why is Schoenberg’s Music So Difficult to
Understand?” Berg contends that it is the constant development of the thematic
and motivic material that necessarily leads to these complex rhythmic
structures, and that music without much literal repetition and rhythmic
regularity is inevitably challenging to most adherents to Viennese Classicism,
and yet those willing to make the extra effort to engage this music will be richly
rewarded.
— B. B.
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
Waiting (2013) by Peter Josheff
for oboe, clarinet in Bb, violin, cello, and piano
Based on Ein Stelldichein by Arnold Schoenberg
Waiting was commissioned by Earplay. The request was to create a work to be
performed alongside Arnold Schoenberg’s Ein Stelldichein (1905), which would
share its instrumentation of oboe, clarinet, violin, cello and piano.
To write a piece of music in response to another — not an homage, not an
imitation, not a contrasting work, but simply one’s own music — is a strange and
wonderful challenge. The pitch material of Waiting is taken directly from
Schoenberg’s Ein Stelldichein. No pitch has been added or taken away, and all the
notes appear in the same order that they do in the Schoenberg. The only
exceptions are three A-flats that occur near the beginning of Waiting (measures
9-12). Although there is nothing to suggest it in the Schoenberg — Ein
Stelldichein has a key signature of three flats, and the surrounding area is
crawling with A-naturals — I found myself hearing A-flat major for a very brief
moment at the outset. I’m sure my decision to include these pitches influenced
the unfolding of the rest of the composition. But those A-flats are my only note
contributions.
There are aspects of Schoenberg’s language that reveal issues specific to the time
of its composition (the rhythm of course, but also the use of the whole-tone
scale, augmented triads, etc.). One such aspect is an E-flat major triad followed
by a half-diminished chord built on D. I had no idea what to do with this
progression and doubted whether I would be able to invent anything of my own
out of it. But as I played the passage over it began to resemble the in-and-out
breaths of harmonica playing (exhaling the major triad, inhaling the halfdiminished). It seemed humorous, which is strange, because the Schoenberg
passage is almost heartbreakingly tender. Eventually I found a way to integrate it
into my own harmonic world and am very happy with the outcome.
I also tried to maintain all of Schoenberg’s dissonances and their resolutions. As
I worked I began to discover that my basic method would be to peel away the
surface of the Schoenberg and expose its underlying harmonic continuity. The
composition of Waiting involved refashioning this harmonic material into
something I could recognize as my own.
Waiting is dedicated to the memory of my mother, Dorothy Cary, who died
December 18, 2012. I began studying Ein Stelldichein while living in my mother’s
Wisconsin home as her full-time caregiver during the summer of 2012.
Whenever there was time I would study Ein Stelldichein, reading the score
silently in the morning while my mother slept, and, occasionally, playing it on an
upright piano at a neighbor’s house. I began composing in earnest after
returning to California in early September.
The experience of staying with my mother lives deep within Waiting. One
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concrete example: I learned for the first time during this visit that my mother
played harmonica. She had bought herself a very fine chromatic harp and could
play tunes from her Irish heritage as well as the blues. What I came to see as
Schoenberg’s harmonica moment (see above) might well have been suggested by
my mother’s playing.
— P. J.
Peter Josheff’s recent compositions include Nautical Man
Nautical Man (2011); Sutro Tower in the Fog (2011),
commissioned, premiered, and recorded by the Bernal Hill
Players; Sextet (2010); Caught Between Two Worlds (2009),
both premiered by Sonic Harvest; Inferno (2008), a chamber
opera produced by San Francisco Cabaret Opera in 2009; Viola
and Mallets (2007), commissioned and premiered by the
Empyrean Ensemble; House and Garden Tales (2006), 3 Hands
(2003), and Diary (2002). 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.
For Peter’s biography as a clarinetist, see his Earplayers entry below.
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
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killers; 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 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 has
recently been named Resident Music Director. In April, she will conduct the U.S.
premiere of Italian composer Fabrizio Carlone’s Bonjour M. Gaugin with West
Edge Opera.

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) is in the forefront of contemporary music
activity in northern California through his performances and
recordings with Earplay, the San Francisco Contemporary
Music Players, and the Empyrean Ensemble. He maintains an
active freelance career and teaches at the University of
California, Davis.

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.
For Peter’s biography as a composer, see his Program Notes entry above.

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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
Walter and Elsie 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 Ecoensemble,
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
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, MeiFang 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 for four
violas by Yu-Hui Chang and Laurie San Martin.
Rose holds an M.Mus. in viola performance from the Juilliard School, an artist
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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.
Guest Artists
The recital debut of Denis Harper (oboe) at Carnegie Hall's
Weill Recital Hall was met with great acclaim. The New York
Times stated "Mr Harper has a clean, tapered, and exquisitely
lovely tone... his phrasing is elegant and he can float a tune
with the best of them." A student of Laurence Thorstenberg
and Ralph Gomberg, both formerly of the Boston Symphony
Orchestra, he received a B.A. in Music from Yale University,
where he studied with Robert Bloom. Harper has frequently appeared as a
soloist, as in the West Coast premiere of Nicolas Verin's Miroirs deformants for
oboe and tape at UC Berkeley's Center for New Music and Audio Technologies.
He is Principal Oboe of the Modesto Symphony and a member of the Oakland
East Bay Symphony, where a recent performance of Berlioz's Symphonie
Fantastique prompted San Francisco Classical Voice to praise his "plangent
English horn [as] a notable pleasure."

A "vibrant and expressive performer who could steal the show
in every concert" — The New York Times
Daniela Mineva (piano) combines a unique approach to
standard repertory with dedication to performance of works by
living composers. A prizewinner in the 2007 Jean Francaix
Piano Competition, the 1998 Steinway International Piano Competition and the
"Music and the Earth" International Competition, she has performed with many
contemporary music ensembles. Currently on the faculty of Humboldt State
University, Dr. Mineva previously taught at the Eastman School of Music,
Concordia University-Chicago, University of North Texas, Hochstein School of
Music and the Blue Lake Fine Arts Camp. She holds Bachelor’s and Master’s
degrees in Piano Performance and Choral Conducting from the Sofia Music
Academy, as well as a Master of Music degree in Piano Performance and
Outstanding Graduate Diploma from the University of North Texas, an Artist
Certificate from Northwestern University and a Doctor of Musical Arts degree
and Performance Certificate from the Eastman School of Music. She was a
recipient of fellowships to the Tanglewood Music Festival, the Institute for
Contemporary Music in New York, the Liberace Foundation for Performing Arts,
Open Society, and the New Symphony Orchestra in Sofia, Bulgaria.

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Brenda Tom (piano) has performed as a soloist with the
San Francisco Chamber Orchestra, the California Symphony,
the Pittsburgh Ballet Orchestra, I Solisti di Oakland,
the Sacramento Symphony, the Fort Collins Symphony, the
Diablo Symphony, and the Sacramento 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
with Beatrice Beauregard and Mack McCray.
Staff
Laura Rosenberg (executive director) recently returned to her native Bay
Area after a 25 year absence, during which she served as director of production
for the Chamber Music Society of Lincoln Center, concert director of
Northwestern University, and co-founder and general director of the Hot Springs
Music Festival.
Ian D. Thomas (sound recordist) is a native of San Francisco. He currently
works in film as a sound designer and composer.
30 for 30
Earplay is turning 30! Help us celebrate by nominating new music champions!
Earplay will celebrate its upcoming 30th Anniversary by honoring 30 champions
of contemporary music in our community. We will publish a commemorative
book in hard copy and in electronic form called 30 for 30. Each page will profile
a leader in our community who has been transformed by a lasting relationship
with contemporary music, with a personal interview sharing thoughts and
stories about this powerful form.
Earplay seeks a sponsor for each page at $1,000, ensuring the organization’s
ability to continue bringing the finest concerts of the most extraordinary and
progressive music to you, our cherished Bay Area audience. To nominate a new
music lover in your circle or a community leader that you know has a passion for
this work to be profiled in our book, please contact us. You do not need to
commit to the sponsorship to make a nomination, though of course we welcome
the possibility. Earplay hopes you will reach out with your ideas of audience
members and music fanatics whom you would like to see celebrated for their
commitment to new music and to our community. Please contact
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rob@earplay.org for further information. We look forward to the opportunity to
this discuss this exciting new project with you.
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Links
Earplay
Earplay archives
Earplay tickets
ODC
Mikel Kuehn
Yao Chen
earplay.org
earplay.org/archives
www.odcdance.org/buytickets
odcdance.org
mikelkuehn.com
yaochenmusic.com
Special Thanks
Masae Aitoku
Bruce Christian Bennett
Linda Hitchcock
Peter Josheff
Mikel Kuehn
R. Wood Massi
Stephen Ness
Kevin Neuhoff
Karen Rosenak
SF Community Music Center
Linda Schulte-Sasse
Michael Yano
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 +
Mary Chun
The Aaron Copland Fund for Music
May Luke
Bari & Stephen Ness
Laura Rosenberg
The San Francisco Foundation
The Thomas J. White & Leslie Scalapino
Fund for the AYCO Foundation
The Zellerbach Family Foundation
$500 +
Jane Bernstein & Robert Ellis
Raymond & Mary Chun
Ellen Ruth Rose
Karen Rosenak
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$100 +
Mark Applebaum
John & Mary Caris
Wayne & Winnie Chun
Patti Deuter
Margaret Dorfman
Violet & Dounglas Gong
Barbara Imbrie
Norman Ishimoto
Antoinette Kuhry & Thomas Haeuser
Susan Kwock
Wayne Peterson
Dr. Arthur & Joan Rose
Daniel Scharlin
Anne Steele
Olly & Elouise Wilson
Other generous donors:
Herbert Bielawa
Ann Marie Calloway
Ellinor Hagedorn
Wendy Niles
Sandra and Leonard Rosenberg
Chris Wong
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ODC Theater
ODC Theater staff:
Director
Operations Manager
Marketing Team
Technical Director
Master Electrician
House Technicians
Box Office Manager
Box Office Agent
House Managers
Receptionists
Christy Bolingbroke
Mark Erickson
Francis Aviani, Jenna Glass, Jerri Zhang
Jack Beuttler
Audrey Wright
Jason Dinneer, Joe Klein, Will McCandless, Del Medoff,
Andrew Patterson, Benji Strauss, Ernie Trevino
Dan Rivard
Diana Broker, David Galczynski, Susan Oak
Michelle Fletcher, Jeremy Jackson, Michelle Kinny,
Mary Lachman, Elizabeth McSurdy, Christi Welter
Angela Mazziotta, Rachel Machtinger
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 who’s 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 a week and your
first class is free.
Please visit www.odctheater.org for more information on ODC Theater and all its
programs.
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.
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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 28-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; and Thalia Moore, cello.
Individual donations are vital to Earplay’s success, and we greatly appreciate your
generosity! Visit our website earplay.org to make a 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
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Earplay 2013 Season in San Francisco
(h)Earplay @ ODC!
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 28/1
Monday, February 4, 2013
Art is sort of an experimental station
in which one tries out living
Shulamit Ran: East Wind
Arnold Schoenberg: Chamber Symphony, Op. 9
José-Luis Hurtado: Intermezzo ***
Michael Zbyszyński: Daguerreotype
John Cage: Living Room Music
Ken Ueno: 12.12.12 *
Earplay 28/2
Monday, March 18, 2013
I owe very, very much to Mozart
Yao Chen: Sotto Voce ***
Tiffany Sevilla: Caprice ***
Mikel Kuehn: Colored Shadows ***
Arnold Schoenberg: Ein Stelldichein
Peter Josheff: Waiting † *
Earplay 28/3
Monday, May 20, 2013
One must believe in one’s inspiration
Alexander Elliott Miller: Scrim ††
Ton-That Tiet: Metal, Terre, Eau **
Richard Festinger: kleinen doch emsigen † *
Patricia Alessandrini: Trio d’Aprés Schoenberg **
Arnold Schoenberg: String Trio, Op. 45
*World premiere
** US premiere
*** West coast premiere
† Earplay commission
†† 2012 Aird prizewinner
Earplay
560 29th Street
San Francisco, CA 94131
Email: earplay@earplay.org
Web: earplay.org