Earplay 28/1:
(h)Earplay @ ODC!
Art is sort of an experimental station
in which one tries out living
— John Cage
Monday, February 4, 2013
ODC Theater
Welcome!
Welcome to Earplay’s first concert of our 28th San Francisco season, our
first concert at ODC Theater. We’re thrilled to be performing in this
exciting venue, we’re very grateful to ODC for hosting us, and we’re
looking forward to closer collaborations with ODC in the future.
If you weren’t glued to the Super Bowl yesterday, you may have attended
our rehearsal at the San Francisco Community Music Center on Capp St.
We’ll keep you posted on future rehearsals. They’re a great opportunity
to get a behind-the-scenes view of amazing music-making.
Each concert this season presents a work by featured composer Arnold
Schoenberg in addition to contemporary works. Join us again at our
next concert on Monday, March 18, when we’ll perform Schoenberg’s Ein
Stelldichein and the world premiere of a new Earplay-commissioned
work by our own Peter Josheff based on it. The program also will
feature the west coast premieres of works by Yao Chen, Tiffany Sevilla,
and Mikel Kuehn — don’t miss it!
Check our website at earplay.org for more information about Earplay.
We’ve added an archive section earplay.org/archives with detailed
information about past concerts, composers, and performers. And
there’s more to come, stay tuned.
Earplay strongly believes in its mission of bringing you the finest music
of our time, but we can’t do it without your help. Please see the Join us!
section on page 16 and donate generously to keep the new music
coming! Every dollar helps, please give whatever you can afford. We
greatly appreciate your support and look forward to seeing you at each
concert this season.
Stephen Ness
President,
Earplay Board of Directors
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
Renona Brown,
accountant
Alicia Dunbar,
administrative assistant
Ian Thomas, sound
recordist
Chen Yi
Richard Felciano
William Kraft
Kent Nagano
Wayne Peterson
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Monday, February 4, 2013 at 7:30 p.m.
ODC Theater
Earplay 28/1:
(h)Earplay @ ODC!
Earplayers
Tod Brody, flutes
Peter Josheff, clarinets
Terrie Baune, violin
Ellen Ruth Rose, viola
Thalia Moore, cello
Mary Chun, conductor
Guest Artist
Daniela Mineva, piano
Pre-concert talk at 6:45 p.m.
Bruce Christian Bennett, moderator with
José-Luis Hurtado, Ken Ueno, and Michael Zbyszyński
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 Hewlitt 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.
Program
Shulamit Ran
East Wind (1987)
Tod Brody
Arnold Schoenberg
Chamber Symphony, Op. 9,
arr. Webern (1906/1923)
Tod Brody, Peter Josheff,
Terrie Baune, Thalia Moore,
Daniela Mineva, Mary Chun
INTERMISSION
José-Luis Hurtado
Intermezzo * (2011)
Daniela Mineva
Michael Zbyszyń ski
Daguerreotype (2002)
Thalia Moore
John Cage
Living Room Music (1940)
1.
2.
3.
To Begin
Story
The End
Peter Josheff, Terrie Baune,
Daniela Mineva, Mary Chun
Ken Ueno
12.12.12** (2012)
Tod Brody, Ellen Ruth Rose
* West coast premiere
** World premiere
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Program Notes
East Wind (1987) by Shulamit Ran
for solo flute
East Wind for solo flute was commissioned by the National Flute Association for
its annual Young Artists Competition, and was first performed by the six semifinalists at the l988 San Diego NFA Convention. The work’s opening motif is a
slightly varied treatment of the simplest of ideas – a single note which is then
encircled in a flourish-like gesture by its neighboring tones, consisting of a half
step above and whole step below. It is this varied treatment, though,
immediately conveying a hint of ecstasy and abandon, that imbues the motif
with its distinctness and recognizable quality, maintained throughout the
journey undertaken as the piece unfolds.
East Wind’s central image -- from within its ornamented, inflected, winding,
twisting, at times convoluted lines, a gentle melody gradually emerges...
The work is dedicated to the memory of Karen Monson, a writer, critic and
friend, who died in February 1988 at the age of 42, after the work was already
fully composed.
- S. R.
Shulamit Ran (b. 1949), a native of Israel, began setting
Hebrew poetry to music at the age of seven. By nine she was
studying composition and piano with some of Israel’s most
noted musicians, including composers Alexander Boskovich and
Paul Ben-Haim, and within a few years she was having her
works performed by professional musicians and orchestras. As the recipient of
scholarships from both the Mannes College of Music in New York and the
America Israel Cultural Foundation, Ran continued her composition studies in
the United States with Norman Dello-Joio. In 1973 she joined the faculty of
University of Chicago, where she is now the Andrew MacLeish Distinguished
Service Professor in the Department of Music. She lists her late colleague and
friend Ralph Shapey, with whom she also studied in 1977, as an important
mentor.
In addition to receiving the Pulitzer Prize in 1991, Ran has been awarded most
major honors given to composers in the U.S., including two fellowships from the
Guggenheim Foundation, grants and commissions from the Koussevitzky
Foundation at the Library of Congress, the National Endowment for the Arts, the
Fromm Music Foundation, Chamber Music America, the American Academy and
Institute for Arts and Letters, first prize in the Kennedy Center-Friedheim
Awards competition for orchestral music, and many more. Ran was the Paul
Fromm Composer in Residence at the American Academy in Rome, SeptemberDecember 2011.
Between 1990 and 1997 she was Composer-in-Residence with the Chicago
Symphony Orchestra, having been appointed for that position by Maestro Daniel
Barenboim as part of the Meet-The-Composer Orchestra Residencies Program.
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Between 1994 and 1997 she was also the fifth Brena and Lee Freeman Sr.
Composer-in-Residence with the Lyric Opera of Chicago, where her residency
culminated in the performance of her first opera, Between Two Worlds (The
Dybbuk).
Shulamit Ran is an elected member of the American Academy of Arts and
Letters, where she has recently completed a 3-year term as Vice President for
Music, and of the American Academy of Arts and Science. The recipient of five
honorary doctorates, her works are published by Theodore Presser Company
and by the Israeli Music Institute and recorded on more than a dozen different
labels.

Chamber Symphony, Op. 9 by Arnold Schoenberg
arranged by Anton von Webern (1906/1923)
for flute, clarinet, violin, cello, and piano
Schoenberg’s First Chamber Symphony, Op. 9, was completed in the summer of
1906 and was originally composed for 15 musicians. He later arranged the work
for full orchestra. This evening’s performance is of Anton Webern’s 1923
arrangement of the piece for “Pierrot” ensemble (flute, clarinet, violin, cello, and
piano). Webern’s arrangement is a searingly insightful rendering of a dense and
complex work.
The First Chamber Symphony represents both the culmination of Schoenberg’s
early tonal compositions and anticipates his post-tonal compositional technique
and aesthetic. It is a terse, intricately thematic work in a single movement with a
remarkably sophisticated formal design. Even though it is a single-movement
work, it can be heard to be in five distinct sections that move seamlessly from
one to the next: I Sonata-Allegro; II Scherzo; III Development; IV Adagio; V
Recapitulation and Finale. With this design, Schönberg integrates multimovement symphonic form into a single-movement sonata-allegro scheme. He
achieves this, quite ingeniously, through the tonal and thematic relationships of a
single movement sonata form, and the tempo relationships of a multi-movement
symphonic structure.
The piece, ostensibly in E major, opens with a with a short, slow introduction
that obscures the tonality of the piece by articulating a six-note chord built of
fourths (G, C, F, B-flat, E-flat, A-flat) that then resolves by step to an F major triad.
The Allegro then commences with an almost martial rising horn figure (scored
for cello in Webern’s arrangement) of fourths starting on D and ascending up to
an F. From this point the piece takes off through sharply articulated, rhythmically
aggressive dotted rhythms arpeggiating augmented triads, which provide an
almost breathless sense of constantly lunging forward as the principal themes of
the piece are subsequently articulated. While the work employs extended triadic,
whole-tone, and quartal harmonies—and though there are passages of
suspended tonality—Schoenberg inevitably resolves these sonorities, even if
only in the most fleeting fashion, to triads.
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In this sense, the work anticipates his so-called atonal music. The persistent use
of the appoggiatura, the whole tone sonorities, chords constructed of fourths
rather than thirds, and temporally displaced resolutions inevitably point to his
subsequent harmonic language where these dissonances no longer need to
resolve. Likewise, the constant thematic and motivic development that is
intricately woven throughout the work paves the way for his chromatic music
where non-triadic harmonies are a necessary result of his counterpoint.
From start to finish, the First Chamber Symphony is a relentless and engaging
work, given a particular clarity in its intimacy with Webern’s arrangement. After
the brief, opaque introduction (and a bit of a respite with the Adagio) it is a
breathless drive up until the final fortississimo cadence in E major. Hold on to
your seats and enjoy the ride.
- B. B.
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 (who had studied at the Vienna Conservatory with Fuchs and
Bruckner).
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, Op. 4 for string sextet (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 19 thcentury 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
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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.

Intermezzo (2011) by José-Luis Hurtado
for prepared piano
Intermezzo is my homage to Romantic Mexican Composer Manuel M. Ponce and
his beautiful piano music. It was composed in 2011, commissioned by SCI and
ASCAP, and was premiered the following year at Marshall University by Alanna
Cushing.
- J.-L. Hurtado
The music of José-Luis Hurtado has been performed
worldwide by ensembles and soloists such as Boston Modern
Orchestra Project, Jack Quartet, International Contemporary
Ensemble, Talea Ensemble, Quatuor Molinari, Pierrot Lunaire
Ensemble Wien, Tony Arnold, Garth Knox, Le Nouvel Ensemble
Moderne and the Arditti Quartet, among others. He has been the recipient of the
Kompositionspreis der Stadt Wolkersdorf (Austria), the Harvard University
Green Prize for Excellence in Composition (USA), the Rodolfo Halffter IberoAmerican Composition Prize (Mexico), the Julián Carrillo Composition Prize
(Mexico), Regional Winner of the National SCI/ASCAP Composition Competition
(USA) and 2nd prize in the Troisieme Concours International de Composition du
Quatuor Molinari (Canada).
In addition to his compositional career, he is highly active as a pianist and music
advocate. He is the pianist of Nueva Música Dúo (contemporary violin & piano
duo), founding member of áltaVoz (Latin-American composers collaborative in
the U.S.), artistic director of Morelia Nueva Música (Mexican cycle of concerts
dedicated to the performance of contemporary music) and former director of
The Harvard Group for New Music .
Hurtado holds a Ph.D. from Harvard University where he studied under Mario
Davidovsky, Chaya Czernowin, Magnus Lindberg, Brian Ferneyhough, and
Helmut Lachenmann. He is currently Assistant Professor of Theory and
Composition at the University of New Mexico.

Daguerreotype (2002) by Michael Zbyszyński
for solo cello and electronics
The title Daguerreotype refers to one of the earliest photographic processes, first
published by Daguerre of Paris in 1839, in which an image is formed on a silver
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plate sensitized by iodine and then developed by exposure to the vapor of
mercury. I find portraits made with this process to be quite interesting,
inhabiting a middle ground between painted portraits and contemporary
photography. Because exposure times could be almost a minute, subjects hold
very serious, composed postures that are quite different than a candid snapshot.
Daguerreotypes are not fixed instants of time, but the result of a prolonged
meditation that seems to dig deeper than a superficial glance. This is
metaphorically related to composing music, especially composing a piece for a
specific performer who is also an improviser. Daguerreotype was composed in
collaboration with cellist Hugh Livingston who, like all contemporary
performers, has a specific vocabulary of techniques and expressive gestures. In
the early stages of the composition, we discussed the physical experience of
playing the cello - what was possible, what was challenging, what was rewarding
for the player, and so forth. Taking this material back to my studio, I found myself
engaging the qualitative difference between improvised and composed music
(both of which are present here), and the performer's role in bringing
spontaneity to a pre-composed piece. I played the role of photographer
composing a portrait of a cellist: my subject.
The live sound of the cello is electronically processed throughout the piece. The
role of this processing is to act as an aural lens, focusing, refracting, and framing
aspects of the original cello sound. Dr. Livingston is a student of Chinese music,
which has inspired a plethora of pizzicato techniques -- various ways of plucking
the strings. The beginning section of my score features very specific ways and
places for the player to pluck, and the subtle differences between these are
enlarged by the electronic processing. For the most part, the electronics stay in
this role of augmenting the subject. However, there is a significant moment
around the half-way point where the electronic part presents a series of
variations on a motif played by the cellist and "remembered" by the computer
earlier in the piece. This allows space for the cellist to have an improvised duet
with her own reflection. In other improvisational sections, the technology also
acts like a photograph by assisting and shaping memory. Snapshots of previously
performed gestures are presented in a new context, as if viewing them from a
different angle.
- M. Z.
Michael Ferriell Zbyszyński is a composer, sound artist, and
performer in the field of contemporary electroacoustic music.
Playing flute, saxophones, clarinet, Yamaha WX-5, live electronics,
or things made from coffee cans and PVC, he has appeared with
Respectable Citizen, Brass Liberation Orchestra, Roscoe Mitchell,
Myra Melford, Frank Gratkowski, the Berkeley Symphony
Orchestra, the Merce Cunningham Dance Company, Capacitor Performance
Group, Frances-Marie Uitti, at the Other Minds Festival, the Oregon Bach Festival,
the Getty Center, and the Montréal Jazz Festival, and has been a resident fellow at
the Montalvo Arts Center. He holds a PhD in composition from the University of
California, Berkeley, studied at the Academy of Music in Cracow, Poland on a
Fulbright Grant, contributes to Make Magazine, is included in the Rhizome
Artbase and can be heard on the ARTSHIP recording label.
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
Living Room Music (1940) by John Cage
for ordinary household objects which can be found in a living room
1. To Begin
2. Story
3. The End
Cage composed Living Room Music in 1940 and dedicated it to his then-wife
Xenia (née Kashevaroff). The work consists of four movements for four
performers. Cage instructs the performers to use any household objects or
architectural elements as instruments, and provides examples such as
magazines, cardboard, books, the floor, the wooden frame of a window, and so
on. The first and the last movements are for the performer-chosen percussion
“instruments.” In the second movement, the performers speak or sing the music,
which consists of excerpts from Gertude Stein’s poem The World Is Round. The
third movement is optional, and it includes a melody played by one of the
performers on “any suitable instrument.” For this performance, Earplay will
be performing movements 1, 2 and 4, while leaving the optional third movement
to the imagination. Living Room Music is one of Cage’s earliest works that blurs
the boundary between music and event. Its use of objects found in a common
living environment as instruments anticipates his use of found objects and found
sounds in his subsequent work.
- B. B.
John Cage (1912-1992) was born in Los Angeles in 1912. He
studied with Richard Buhlig, Henry Cowell, Adolph Weiss and
Arnold Schoenberg. In 1938 Cage composed the first prepared
piano piece Bacchanale, for a dance by Sylvia Fort. In 1951 he
organized a group of musicians and engineers to make the first
music on magnetic tape. In 1952, at Black Mountain College, he
presented a theatrical event considered by many to have been the first
“happening.”
In 1949 Cage received a Guggenheim Fellowship and Award for the National
Academy of Arts and Letters for having extended the boundaries of music
through his work with percussion orchestra and his invention of the prepared
piano. He was elected to the American Academy of Arts in Sciences in 1978, and
to the American Academy of Arts and Letters in 1988. In 1982 the French Legion
d’Honneur made Cage a Commandeur de l’Ordre des Arts et des Lettres.
He was commissioned by a great many of the most important performing
organizations throughout the world, and maintained a very active schedule. It
would be extremely difficult to calculate, let alone critically evaluate, the
stimulating effect and ramifications that Cage’s work has had on 20th century
music and art, for it is clear that the musical developments of our time cannot be
understood without taking into account his music and ideas. His invention of the
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prepared piano and his work with percussion instruments led him to imagine
and explore many unique and fascinating ways of structuring the temporal
dimension of music. He is universally recognized as the initiator and leading
figure in the field of indeterminate composition by means of chance operations.
Arnold Schoenberg said of Cage that he was an “inventor – of genius.”
Cage is the author of numerous books, including Silence (1961), Notations
(1969), M (1973) and For the Birds (1981). His graphic works include Not
Wanting to Say Anything About Marcel (1969) and the Mushroom Book (1974).
In addition to being a renowned musician, Cage was a respected mycologist.
- B. B.

12.12.12 (2012) by Ken Ueno
for flute with a glissando head joint and viola
This piece is dedicated to Tod Brody and Earplay.
Much of my work is “person-specific” as well as “instrumentation-specific,”
which means that I derive structural aspects from considerations of the special
instrumental skills of the performers with whom I collaborate. I also spend a
considerable amount of time during the compositional process researching new
instrumental possibilities, often testing out possibilities myself on the
instruments. So, when Tod Brody came to present a flute demonstration for my
undergraduate composition class at UC Berkeley in the spring of 2012, I was
thrilled with what he showed us he could do with this glissando head joint! I
even made a YouTube video – you can see it here:
www.youtube.com/watch?v=Q_zXHpO8lf. As much of my music features the
use of multiphonics as the core of the harmonic discourse, I was especially
interested to hear the result when I asked Tod to try glissing with multiphonics –
Eureka! This was the creative catalyst for my piece!
The title reflects the date I completed the piece. Online, I discovered that it was
International Dodecaphonic Day, a time to reassess our relationship to the grand
legacies of the past, as well as our personal agons with them. It was also a day
some mistook as the date of the Mayan Apocalypse. I heard on NPR that there
was a spike in weddings that day. Whatever the case, the day highlighted, to me,
a human tendency to invest meaning into an abstract happenstance.
- K. U.
A Rome Prize and Berlin Prize recipient, composer/vocalist Ken
Ueno is currently an Associate Professor at UC Berkeley.
Ensembles and performers who have played Ken’s music include
Kim Kashkashian and Robyn Schulkowsky, Mayumi Miyata,
Teodoro Anzellotti, Wendy Richman, Greg Oakes, BMOP, Alarm
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Will Sound, SFCMP, the Nieuw Ensemble, and Frances-Marie Uitti. His music has
been performed at such venues as Lincoln Center, the Kennedy Center, the
Metropolitan Museum of Art, MusikTriennale Köln Festival, the Muziekgebouw,
Ars Musica, Warsaw Autumn, Other Minds, the Hopkins Center, Spoleto USA,
Steim, and at the Norfolk Music Festival. Ken’s piece Shiroi Ishi for the Hilliard
Ensemble has been featured in their repertoire for over ten years, with
performances at Queen Elizabeth Hall in England and the Vienna Konzerthaus,
and was aired on Italian national radio RAI 3. His work Pharmakon was
performed dozens of times nationally by Eighth Blackbird during their 20012003 seasons. A portrait concert of Ken’s was featured on MaerzMusik in Berlin
in 2011. As a vocalist, he specializes in extended techniques and has
collaborated in improvisations with Joey Baron, Robyn Schulkowsky, Joan
Jeanrenaud, Ikue Mori, Tim Feeney, and David Wessel amongst others. He
recently performed his vocal concerto with the Warsaw Philharmonic. Ken
holds a Ph.D. from Harvard University. A monograph CD of three orchestral
concertos was released on the Bmop/sound label. For more information, please
visit kenueno.com.
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 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, based on the alcohol-driven life of
American writer Jack London; 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 killers; and Joseph Graves’ and Mort
Garson’s Revoco, a controversial interpretation of the life of reformationist
Martin Luther. 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 the West Edge Opera.
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Mary also holds the distinction of being a member of the rarified circle of
professional ondes martenot players in the world. One of only two professional
American ondistes in the U.S., Mary concertizes on a concert instrument built for
her by the Martenot Atelier. Her ondes martenot is one of the last series of
instruments built before the closing of the Atelier in 1988.

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, teaches at the University of California,
Davis, and directs the San Francisco Bay Area Chapter of the
American Composers Forum.

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, the Eco Ensemble, and the Paul Dresher Ensemble.
He has performed with many other groups, including Melody of
China and sf Sound, and has appeared as a clarinetist on
numerous recordings, concert series and festivals, both
nationally and internationally.
Peter’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
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Harvest, and others. In March, Earplay will perform the world premiere of his
new work Waiting, commissioned by Earplay.
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.

Thalia Moore (cello) attended the Juilliard School of Music
as a scholarship student of Lynn Harrell and received her
bachelor’s and master’s degrees in 1979 and 1980. She has
been Associate Principal Cellist of the San Francisco Opera
Orchestra since 1982, and in 1989 she joined the cello section
of the San Francisco Ballet Orchestra.

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, the
professional new music ensemble at UC Berkeley, Empyrean
Ensemble, the flagship new music ensemble in residence at UC
Davis, and Earplay, the San Francisco-based contemporary
ensemble. She has worked extensively throughout Europe with Frankfurt’s
Ensemble Modern and the Cologne experimental ensembles Musik Fabrik and
Thürmchen Ensemble, appearing at the Cologne Triennial, Berlin Biennial,
Salzburg Zeitfluß, Brussels Ars Nova, Venice Biennial, Budapest Autumn and
Kuhmo (Finland) festivals 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 solos from the recently
published anthology The American Viola (JB Elkus & Son, 2003) and premieres of
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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
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 Artist
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 such
contemporary music ensembles as Speculum Musicae, OSSIA-Rochester, Twenty
One and the International Society for Pianists and Composers. Currently on the
faculty of Humboldt State Univeristy, 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. Born in
Bulgaria, Dr. Mineva began piano lessons with her mother at the age of five. 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.
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.
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Ian D. Thomas (sound recordist) is a native of San Francisco. He currently
works in film as a sound designer and composer.
Links
Earplay
Earplay archives
Earplay tickets
ODC Theater
SF Community Music Center
José-Luis Hurtado
Shulamit Ran
Ken Ueno
Michael Zbyszyński
earplay.org
earplay.org/archives
www.odcdance.org/buytickets
www.odctheater.org
sfcmc.org
www.joseluishurtado.net
shulamitran.com
www.kenueno.com
www.mikezed.com
Aird Competition
2013 Earplay Donald Aird Composers Competition
Deadline: March 31, 2013
Downloadable application: earplay.org/competitions
Earplay sponsors the annual Earplay Donald Aird Composers
Competition, open to composers of any nationality and any
age. Earplay performs the prizewinning piece and presents a
cash prize of $1,000 to the winning composer. The competition
honors the late composer and Earplay board member Donald
Aird.
Special Thanks
Bruce Christian Bennett
Linda Hitchcock
Peter Josheff
Stephen Ness
Karen Rosenak
Aislinn Scofield
Michael Yano
Michael Zbyszyński
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
16
560 29th Street
San Francisco, CA 94131-2239
or click on the Donate button at earplay.org to donate via PayPal.
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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 +
The William & Flora Hewlett
Foundation
San Francisco Grants for the Arts
$5,000 +
The Ann & Gordon Getty Foundation
$1,000 +
Mary Chun
The Aaron Copland Fund for Music
May Luke
Bari & Stephen Ness
Laura Rosenberg
The San Francisco Foundation
Thomas J. White & Leslie Scalapino
Fund for the AYCO Charitable
Foundation
The Zellerbach Family Foundation
$500 +
Jane Bernstein & Robert Ellis
Raymond & Mary Chun
Ellen Ruth Rose
Karen Rosenak
$100 +
Mark Applebaum
John & Mary Caris
Wayne & Winnie Chun
Patti Deuter
Margaret Dorfman
Violet & Douglas Gong
Barbara Imbrie
Norman Ishimoto
Antoinette Kuhry & Thomas Haeuser
Susan Kwock
Wayne Peterson
Dr. Arthur & Joan Rose
Daniel Scharlin
Anne Steele
Olly Wilson
Other fabulous donors:
Herbert Bielawa
Ann Marie Calloway
Ellinor Hagedorn
Wendy Niles
Sandra and Leonard Rosenberg
Chris Wong
Arnold Schoenberg playing ping pong in Hollywood, 1930s.
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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: new commissioned work †*
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