Earplay 29/1
music can never cease evolving
Music begins where poetry leaves off.
— George Crumb
Monday, February 10, 2014
ODC Theater
Welcome
Welcome to the first concert of Earplay’s 29th season, with a season-long
focus on the amazing music of George Crumb. We’re delighted to have
composers Ann Callaway and Dan Reiter join us tonight for a program
also including works by David Schiff and Tamar Diesendruck. We hope
you will meet the composers at the pre-concert discussion, and then join
composers, Earplayers, and board members at our post-concert
reception.
Earplay is delighted to introduce our wonderful new Executive Director,
Lori Zook. Former E.D. Laura Rosenberg moves onto our board, Earplay
co-founder Richard Festinger returns to the board too, and Wood Massi
joins us as Director of Education and Documentation. We’re all excited
about the energy and direction we receive from our new board
members. We also welcome a new Earplayer, pianist Brenda Tom.
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!
Enjoy tonight’s concert, and please join us again on March 31st for our
next concert. Spread the excitement - bring a friend!
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 and
documentation
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.
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Monday, February 10, 2014 at 7:30 p.m.
ODC Theater
Earplay 29/1
music begins where poetry leaves off
Earplayers
Tod Brody, flutes
Peter Josheff, clarinets
Terrie Baune, violin
Ellen Ruth Rose, viola
Thalia Moore, cello
Brenda Tom, piano
Mary Chun, conductor
Guest Artist
Karen Gottlieb, harp
Pre-concert talk at 6:45 p.m.:
Bruce Christian Bennett, moderator with
Ann Callaway and Dan Reiter
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
David Schiff
Joycesketch II (1981)
Ellen Ruth Rose
Ann Callaway
Memory Palace (2007)
Peter Josheff,
Thalia Moore,
Brenda Tom
Dan Reiter
Sonata for Flute and Harp
(1982)
Tod Brody,
Karen Gottlieb
INTERMISSION
George Crumb
Sonata for Solo Violoncello
(1955)
Thalia Moore
Tamar
Diesendruck
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On That Day (1991)
Terrie Baune,
Thalia Moore,
Brenda Tom,
Mary Chun
Program Notes
Joycesketch II (1981) by David Schiff
for viola
In the 1980s I began work on an opera based on stories by James
Joyce. To prepare myself for this project (which still awaits
completion) I composed three short Joycesketches for solo flute,
solo viola, and orchestra respectively. Joycesketch II for viola was
written for John Graham, who was then the violist with Speculum
Musicae and who had given the premiere of my Elegy for String
Quartet that won the League-ISCM National Composers
Competition. Joyce's works are filled with musical references
which at times seem to tell their own story. Joycesketch II collages
several types of Irish music--ballads, jigs and reels--as if they
were floating through the dreams of a sleeping fiddler.
— D. S.
Born in New York in 1945, David Schiff has
composed a wide range of music from operas to
jazz compositions and has also written books
about the music of Elliott Carter, George
Gershwin, and Duke Ellington. Among his best
known compositions are the opera Gimpel the
Fool, chamber works such as Scenes from
Adolescence and New York Nocturnes, orchestral
compositions Slow Dance, Stomp, Canzona, and Infernal, concertos
for timpani, clarinet and jazz violin, and jazz-oriented works such
as Shtik, Borscht Belt Follies, and Mountains/Rivers.
Schiff studied at Columbia University, Cambridge University, the
Manhattan School of Music and the Juilliard School. Since 1980 he
has taught music at Reed College, Portland, Oregon.

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Memory Palace (2007) by Ann Callaway
for clarinet, cello, and piano
At 6:00 on an evening in May several years ago, I happened to be
standing on the ramparts of a castle overlooking the Main River
and the old town of Würzburg. I counted at least ten church
steeples in the town below, and it seemed as if the bells in each of
them started ringing on the hour. I had never heard such deep,
sonorous, booming bells.
The evening was beautiful, the air soft, and I felt steeped in the
centuries-old atmosphere of the castle. Later, on the flight home, I
found myself working on some sort of “musical artifact,” and
months later, it assumed the shape of a very long chorale tune, or
perhaps a pavane, more suited to something I might have written
if I had lived in the 1600’s. I used both the “pavane” and an
idealization of the deep throbbing church bells of Würzburg as
material for a theme and variations for clarinet, cello, and piano.
There is an old French tune naming various churches (how that
got into my Germanic fantasy, I can’t say) which suited my
purposes, as well as some more “literal” chiming made by
touching the nodes of strings in the contra-octave range of the
piano, while the corresponding keys of those strings are struck. It
is this effect that both opens and closes the piece.
— A. C.
The music of Ann Callaway ranges from a
sumptuously scored tone poem for soprano and
orchestra inspired by the structure of crystals to an
intimate setting of poems by Rilke for bass and
chamber ensemble. Her works have been
premiered by the Seattle and St. Louis Symphony Orchestras, the
New York New Music Ensemble, and organist Thomas Murray,
among many others. She is the recipient of a Guggenheim
Fellowship and has held residencies at the MacDowell Colony,
Yaddo, and the Leighton Artist Colony in Banff. Her chamber
opera Vladimir in Butterfly Country had its staged premiere last
November at Old First Church, San Francisco. Callaway’s music is
published by Subito Music Corp. Her website: annmcallaway.com.
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
Sonata for Flute and Harp (1982) by Dan Reiter
The Sonata for Flute and Harp, from 1982, is a blend of a
contemporary music tonality and the spirit and influence of folk
music from eastern Europe to east Asia. The sounds of violin and
cymbalom, sarod and tabla, shakuhachi and koto, are implied,
suggested, and twisted into a journey through the silk road of
another planet.
The piece opens with a single note, F sharp, which is surrounded
by notes of equal distance. This technique is also applied to the
harp, and is the basis for the piece as a whole. This piece was
written for Angela Koregelos, then the principal flutist with the
Oakland Symphony, for the price of one baklava.
— D. R.
Dan Reiter, born on June 17, 1957 in Brooklyn, is the
principal cellist of the Oakland East Bay Symphony, the
Fremont Symphony, and the Festival Opera Orchestra.
With these orchestras, he has performed the Schumann
cello concerto, Don Quixote, and Three meditations from
Mass by Leonard Bernstein. ln 2012, Dan received an lrvine grant
to write for the Oakland East Bay Symphony, and on May 3, 2OI3,
had the world premiere of his Mysterium.
ln 1980, his piece for three cellos, harp, and doumbeck received
critical acclaim in the Oakland Symphony's Sound Spectrum
series. During this period, he created music for clarinet, cello and
bass. One of these works, Reiter's Raga, was recast for clarinet,
viola and cello, and performed by Earplay on tour in California in
2006. Dan has played with Earplay as an extra since 1988.
Dan has studied Indian classical music with Ustad Ali Akbar Khan,
and is performer and arranger on two CDs with master Khan.
There is found much influence from Indian music in Dan's
compositions, mostly in his works for cello and harp, such as
Aubade and Windflow.
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ln the 1980's, Dan formed the Pacific Arts Trio, made up of flute,
cello, and harp. This trio performed and toured the western U.S.
for ten years. During this time, he created many arrangements
and composed Phantasie Trio and his Sonata for Flute and Harp.
ln 1998, Dan won an "IZZY" award for his composition and
performance of Raga Bach D minor for cello, percussion, and solo
dancer. ln 2006, Toccata and Fugue was premiered by the San
Francisco Composers Chamber Orchestra.
Other works by Reiter include Incantations, lda of the sun,
Khadish, Concerto a Tre, Prelude and Fugue, Prelude and Dance, ln
Memorium, Variations on Mirum si Laeteras, and Extension.

Sonata for Solo Violoncello by George Crumb (1955)
The twenty-five year old George Crumb composed his first
published work, the Sonata for Solo Violoncello, in Berlin in 1955
when he was there on a Fulbright Scholarship. Dr. Crumb has
characterized it as a “student work,” composed at a time when he
had not yet quite arrived at his own style. Nevertheless, the piece
demonstrates the composer’s ability to coax a great variety of
sound from the instruments for which he writes. Additionally, it
requires virtuosic skill, a recurring characteristic of Crumb’s
music. Thus it opens a broad avenue for performers to express
their individuality.
Crumb builds the structure of the piece by contrasts of plucked
and bowed subjects, chordal and melodic textures, and carefully
notated dynamics. The sonata is not in any particular key but
instead, as Edith Borroff observes, it is “tonally free, projecting a
series of pitch centers – not centripetal centers as in tonal
[progressions], but centers of activity . . . . The subject material is
rhythmically characterized and clearly shaped, so that elements
can be recognized in repetition, development and restatement,
even in altered forms. [The structure is] dependent upon process
but not on progression.”
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The sonata’s three movements are based on Baroque forms and
thus exemplify the neoclassicism so popular in the twentieth
century. The first is a free fantasia which opens with two
subjects: guitar-like plucked chords followed by a bowed short
note dropping to a long note. Crumb calls the latter a “Hungarian
motif;” its rhythm was inspired by the work of Béla Bartók whose
use of atonality and chromaticism also influenced the work. He
adds, “The tritonal relationship [the dissonant interval of three
whole tones] is there . . . the devil’s interval as they used to call it.”
Contrasts between these two opening ideas – each with its
characteristic performance style, rhythm and texture – form the
basis of the movement’s development. At the end the movement
fades away with a couple of pizzicato chords similar to those that
open the piece.
The second movement, a theme and variation form, opens with a
delicate theme exploiting a lilting subject deployed across a form
that repeats the first few measures before closing with a few
more measures of contrasting material. This is followed by three
variations the first two of which retain the AAB form of the
theme. The second variation uses plucking pizzicatos throughout
and the third a tremolo figure and a looser form. The movement
ends with a coda briefly repeating the opening material of the
theme before slowing and dying away.
The dramatic final movement is a free toccata opening slowly
before embarking on a fast perpetual motion of ascending and
descending arpeggiations of harmonically unrelated chords. The
steady flow is interrupted about halfway through by more lilting
rhythms before a return to the continuous motion that is the most
characteristic aspect of this toccata. Skillful contrasts of loud and
soft dynamics elucidate the structure.
All in all, this early piece by George Crumb validates his
declaration "I am optimistic about the future of music." He could
have been especially optimistic about the future of his own music.
— R. W. M.
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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
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
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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.

On That Day (1991) by Tamar Diesendruck
for violin, cello, and piano
On That Day was written more than half of my composing life ago.
My concerns were different then. It's strange to think of people
hearing it now as a representation of my work. I remain fond of
it, and am always glad to have it performed, and thank the players
of Earplay for their performance.
The longer I compose, the more I find program notes problematic.
I'm sure there are multiple paths through my pieces, and perhaps
other narratives as reasonable as my own to create verbal
coherence. If the listener prefers to avoid or ignore what follows
or simply to read it after hearing the piece in order to have an
experience based purely on sound, I understand and often do so
myself. For those who find notes useful and interesting, I am
happy to provide the original note as context for what you will
hear.
On That Day is the third in a group of five related pieces called
Theater of the Ear; each work in the group can also be heard
alone. The pieces follow very different designs and have very
different surfaces, but all are related to the story of the Tower of
Babel. In the group of pieces that make up Theater of the Ear, On
That Day provides a breather between thorny, dense,
kaleidoscopic works. However, On That Day is a tour de force
piece for the musicians: the players have completely equal voices
in an energetic, fast asymmetrical rhythmic grid of 21 beats. In
this dizzying canonic texture they weave their melodies in a joyful
11
spiral of sound until...
The biblical story provides the scenario:
Now the whole earth had one language and few words. ...
they said, "Come let us build ourselves a city, and a tower...
and make a name for ourselves, lest we be scattered..."
And the Lord came down to see the city and the tower...
and the Lord said, "Behold, they are one people, and they
have all one language; and this is only the beginning of
what they will do; and nothing that they propose to do will
now be impossible for them. Come, let us go down, and
there confuse their language, that they may not
understand one another's speech." So the Lord scattered
them abroad from there over the face of all the earth, and
they left off building the city.
On That Day was commissioned by the Stony Brook
Contemporary Chamber Players and premiered by the Stony
Brook Trio on the "Six American Premieres" concert in April l99l
at Merkin Concert Hall, New York City. It has had numerous
performances since then, and has been recorded by the Lions Gate
Trio on Centaur Records.
— T. D.
Tamar Diesendruck writes virtuosic chamber
music, orchestral, choral, wind ensemble, and
vocal works. Her music is often characterized as
having a wide range of expression. Works from
the 1990s found common ground between
disparate musical cultures, more recent works avoid references:
passages of guided freedom for players are incorporated to
produce complex webs and networks of sound. Fashioned from
layered fragments of intense individual “utterances” performed
simultaneously or bunches of small gestures that resemble each
other, varied musical spaces emerge, lines branch and wander,
eddies and currents form. Recent opportunities to work with
video have also prompted a new area of exploration, working with
field recordings.
12
Diesendruck's most recent work is ORIGIN STORY: Other Oceans,
Other Air (premiere, fall 2013) for piano trio, the first piece of a
larger project of works inspired by the processes of evolutionary
biology called Variant Scenarios. The second piece of the set is
scored for orchestral winds, percussion, piano and harp and has
been commissioned by a consortium of ensembles.
Diesendruck’s works have been performed by ensembles and
soloists throughout the United States and Europe, in the Middle
East and Asia; performers include the Pro Arte Quartet, Boston
Modern Orchestra Project, Escher Quartet, Eastman and New
England Conservatory Wind Ensembles, Firebird Ensemble,
Callithumpian Consort, Lions Gate Trio, Speculum Musicae, New
Millennium Ensemble, Dinosaur Annex, Phantom Arts Ensemble,
San Francisco Contemporary Music Players, New Century Players,
League of Composers-ISCM, The Crossing, Volti, Earplay, as well as
such soloists as pipa player Wu Man, violinist Carla Khilstedt, and
pianist Donald Berman. Works are recorded on the Centaur,
Bridge, and Stanley labels.
Her honors include a Guggenheim Fellowship, the Rome Prize,
commissions from the Fromm Music Foundation and the
Koussevitzky Music Foundation, and three awards from the
American Academy of Arts and Letters. She has enjoyed
productive residencies at MacDowell, Yaddo, Bellagio, Bogliasco,
Camargo, and other artist colonies. She earned her MA and PhD
from the University of California, Berkeley and her BA from
Brandeis University. Last year she was a Fellow at the Radcliffe
Institute of Advanced Study; currently she is on the faculty of the
Berklee College of Music.

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
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(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 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.

In addition to being a member of Earplay, Terrie
Baune (violin) is co-concertmaster of the OaklandEast 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.

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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.
His 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
15
American Composers Forum seminar in San Francisco.

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,
16
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, 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 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.

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
17
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.
Guest Artist
Karen Gottlieb performs with the San Francisco
Symphony as second harpist. She has toured
extensively with them on their US, European, and
Asian tours, and she has also performed on their
many recordings and DVDs. Since 1992, she has
been a member of the SF Symphony-‘AIM’
ensembles, including 4 Sounds, Strings & Things, THAT! Group,
and Silver & Gold, Plus. She is also the harpist for the San
Francisco Contemporary Music Players and the Skywalker
Recording Symphony. She served as principal harpist with the
California Symphony for 20 years, until 2008, and she has subbed
with the SF Opera and SF Ballet orchestras.
Ms. Gottlieb received her Bachelors at University of Washington,
Seattle and her Masters in Performance from the Cleveland
Institute of Music. She teaches harp at SF State University, Mills
College, and privately. As a certified harp technician for Lyon &
Healy and Salvi Harps, Ms. Gottlieb maintains and repairs harps
locally, within the US, and abroad.

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George Crumb: Star-Child: A Parable, Desolato, Vox Clamans in
Deserto, Musica Mundana, first page of full score, as reproduced
in George Crumb: Profile of a Composer, ed. Don Gillespie. C. F.
Peters, 1986. By kind permission of C. F. Peters Corp.
19
Staff
Lori Zook (executive director) has worked at Quinn Associates, The Crucible,
and Oakland Opera Theater.
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
.

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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.

Special Thanks
Bruce Christian Bennett
Peter Josheff
Yunzhe Ma
R. Wood Massi
ODC Theater
C. F. Peters Corporation
Karen Rosenak
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Links
Earplay
Earplay archives
Earplay tickets
ODC
Ann Callaway
George Crumb
Tamar Diesendruck
David Schiff
earplay.org
earplay.org/archives
www.odcdance.org/buytickets
odcdance.org
annmcallaway.com
www.georgecrumb.net
http://www.radcliffe.harvard.edu/people/tamardiesendruck
www.davidschiffmusic.com

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
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
$100 +
Mark Applebaum
Herbert Bielawa
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:
Ann Calloway
Dr. Stuart M. Gold
Ellen Ruth Harrison
Florence Neuhoff
Wendy Niles
Sandra and Leonard Rosenberg
Kim Skokoe
William Specht
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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, Zoe Klein, Matt Lewis, Delayne Medoff,
Becky Robinson-Leviton, Ernie Trevino, Mark Hueske,
Eric Iverson
Client and Patron
Services Manager
Dan Rivard
Box Office Agents
Diana Broker, Sarah Pomarico, Joseph Hernandez
House Managers
Michelle Fletcher, Michelle Kinny, Mary Lachman,
Christi Welter, Alec White, Karla Quintero
Receptionists
Angela Mazziotta, Brittany Delany
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 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.
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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 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
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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: new work * †
George Crumb: Eleven Echoes of Autumn
Vera Ivanova: Three Studies in Uneven Meters ††
Reynold Tharp: new work * †
* World premiere
† Earplay commission
†† 2013 Aird prize
Earplay
560 29th Street
San Francisco, CA 94131
Email: earplay@earplay.org
Web: earplay.org