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Message ictsqu!February 2, 2025Sunday • 4 PMValley Center for Performing ArtsOakland CAMartha Stoddard, Conductor/Music DirectorAndrew O’Donnell, Assistant ConductorOakland Civic Orchestra presents
PLEASE SILENCE ALL CELL PHONES AND OTHER ELECTRONIC DEVICES BEFORE THE CONCERT BEGINS.THANK YOU!Overture to Der Freischütz (1821)Carl Maria von Weber (1786-1826)Andrew O’Donnell, conductorVltava (e Moldau) (1866)Bedich Smetana (1824-1884)INTERMISSIONLieder eines fahrenden Gesellen (Songs of a Wayfarer) (1885, rev. 1896)Gustav Mahler (1860-1911)Sara Couden, ContraltoI. Wenn mein Schatz Hochzeit macht (When My Sweetheart is Married)II. Ging heut’ Morgen über’s Feld (I Walked Across the Field this Morning)III. Ich hab’ ein glühend Messer (I Have a Red-Hot Knife)Symphony No. 2 (1945) (in one movement)Ruth Gipps (1921-1999)Martha Stoddard, Conductor/Music DirectorAndrew O’Donnell, Assistant Conductorictsqu!
Welcome to the Valley Center for Performing Arts!Picturesque!Smetana and Mahler, plus the California premiere of the second symphony of 20th Century English composer Ruth Gipps. Our program also welcomes assis-tant conductor Andrew O’ Donnell to the podium for the rousing Overture to Der Freischütz by Carl Maria von Weber. We feature rising star Sara Couden, singing Mahler’s Songs of a Wayfarer, while the beloved strains of Smetana’s lush tone poem, Die Moldau, depict an enchanting river journey. Some persistent sleuthing unearthed the score and parts for Ruth Gipps’ 2nd Symphony, a more modern and equally colorful single-movement work that is still little known in the USA. Composed at the end of World War II, we hear the proverbial “march of time” in the opening bars, and later in the evocative march that suggests a military pro-Please mark your calendars for our Season Finale, Legends, and the world premiere of Legend by our Composer-in-Residence, Nikolaus Umar Durr. Com-posed for OCO principal horn, Alex Strachan, Umar Durr’s latest commission is a tour de force that utilizes a wide range of orchestral color. Also on the program is the vivid Scarlet Sculptures by Australian composer Naomi Dodd, whose fresh new compositional voice is garnering attention internationally. We close the season with the enigmatic and profound Symphony No. 5 by Jean Sibelius. Martha Stoddard, OCO Conductor/Music DirectorFrom the Podium
About Our Guest Artist: Sara Couden Praised for her “unusually rich and resonant voice” (Opera News), contralto Sara Couden is a premiere interpreter of operatic, concert, and song repertoire. Opera engagements for 2024 included Baba the Turk with Lakes Area Music Festival, as well as her San Francisco Opera debut as Rita in e Hand-maid’s Tale (and Serena Joy cover). Concerts include Beethoven’s 9th Symphony with the Seattle Symphony, Mass in B Minor with the Santa Cruz Symphony, Requiem with the Berkeley Community Chorus and Orchestra, and a concert of art songs and piano chamber music with Jenny Lin and Philip Setzer at the Manchester Music Festival. In 2023, Sara sang the roles of Ottavia in West Edge Opera’s L’incoronazione di Poppea, Catiscià in Il Ducato (the Lamplighters’ Re-naissance Italian setting of e Mikado), and Osmiro in Olimpia vendicata with Ars Minerva. She was the alto soloist in the Mozart Requiem with the Eureka Sympho-ny, Alma Mahler’s Five Songs with the California Symphony, and Handel’s Messiah with the Grand Rapids Symphony, Tucson Symphony, and at Duke University. Ms. Couden holds a MM in Opera from the San Francisco Conservatory of Music and an AD in Early Music, Chamber Music, and Oratorio from the Yale Institute of Sacred Music. She completed the Lindemann Young Artist Program at the Metropolitan Opera in 2017, and has been a fellow at the Marlboro Music Festival, Music@Menlo, Music Academy of the West, and the Institute for Young Dramatic Voices. Learn more about Sara at www.saracouden.net.Sara Couden, Contralto
Program Notes 1Overture to Der Freischütz (1821)Carl Maria von Weber (1786-1826)life he was anything but. Straddling the Classical and Romantic eras, his impact on west-ern music cannot be understated. Weber found his artistic home in the theater- he was continually employed by theater and opera companies throughout Europe, and com-posed ten operas and a stream of incidental music for stage plays during his short life. with Der Freischütz, premiered in 1821. Der Freischützsimultaneously in London’s theaters. Its popularity rested on the opera’s classic confrontation between good and evil, good embodied in healthy peasant heroics and love, and evil represented by forces of darkness and deceit. While composing this opera, Weber notably looks backwards in time, to an era where Europeans believed in the power and presence of the supernatural. In writing an opera that dealt with a world of the past, one rooted in legends and myths, Weber sparked a new genre of opera which continues to inspire composers of the modern era. Der Freischütz-Max wants to be the best version of himself in preparation for his marriage to Agathe, but before their marriage, Cuno, Agathe’s father, declares that Max must win a marks-man competition to become his true heir. Max meets with Kaspar, another hunter, who owes his soul to the “Black Huntsman”, Samiel. Kaspar convinces Max to enter a pact of the seventh controlled by Samiel. As could be expected, the marksmanship trial ends in tragedy, with the seventh magic bullet killing Kaspar. Cuno demands an explanation for the behavior of the bullets, and Max is banished for using magic. Luckily for Max, his banishment is to last only one year, upon the conclusion of which he is permitted to marry his beloved Agathe. In the Overture to Der Freischütz, Weber uses the keys of C major and C minor to we in the world of good or evil? We later hear a melody from distant hunting horns, answered by ominous timpani and low strings. Like most composers of the time, Weber those of Max and Agathe. In the end C major is triumphant, ending with the sound of celebratory hunting horns.If you enjoyed this piece you should listen to:Carl Maria von Weber: Overture to OberonFelix Mendelssohn: “Hebrides” Overture – Andrew O’Donnell
Program Notes 2Vltava (e Moldau) (1866)e Bartered Bride, and the sym-phonic cycle of tone poems M’a Vlast (My Fatherland)1874-1879 (at the onset of his ensuing deafness) and dedicated to the City of Prague. Premiered there in 1822, M’a Vlast was hailed as the true representation of Czech national style.-beset with disappointment and loss as well as great accomplishments. He began his mu-sical studies on piano. Learning from his father, an amateur violinist, and was perform-ing in public by the age of six. His family moved several times and his early education was somewhat disrupted by these moves. Eventually he was sent to school in Prague to study at Prague’s Academic Grammar School. Being outcast and teased as a country boy, he started skipping school in favor of exploring the city and attending concerts. It was in music.continue his musical studies and met people who would have a lasting impact on his life, including Liszt, Berlioz and Emperor Ferdinand . He enjoyed a period of great musical being passed over a few times for solo work as a pianist, he became disenchanted with among his family and close friends, he returned to Prague. He would return once more to Sweden, but eventually settled back in Prague. He was appointed conductor of the in earnest, and completed what would become one of his most beloved and acclaimed work, M’a Vlast-ably caused by contracting syphilis. A large crowd mourned his death, joining in the fu-neral procession to his gravesite in the Vyšehrad Cemetery. Today the Czech Museum of Music in Prague contains a permanent memorial to Smetana’s life and work, the Smetana Museum, located in the Waterworks building on the banks of the Vltava river. Today’s tone poem, Vltava-bration. It depicts water nymphs and castles, the St. John’s Rapids, and its full breadth as it passes through Prague into the river Elbe. Murmuring strings and woodwinds suggest murky river undercurrents before we ever hear the primary theme. Finally the familiar, soaring melody takes center stage and the river journey is underway. More and more instruments join in as the river gathers force and depth, and full brass and percussion wedding is illustrated with a playful folk melody, featuring strings and woodwinds play-that features more murmuring woodwinds beneath a translucent chorale in the strings.
Finally the opening theme returns and is built upon, now with a richer orchestration before the journey through St. John’s Rapids. As the river accumulates its full breadth, tutti winds, brass, percussion and harp join in while strings arpeggiate furiously. Finally there is a sense of arrival, and a slow dispersal of energy and the journey concludes. Further reading and listening: To listen: M’a Vlast – Martha StoddardProgram Notes 3Lieder eines fahrenden Gesellen (Songs of a Wayfarer) (1885, rev. 1896)Gustav Mahler (1860-1911)These four songs—a “song cycle”—are often called “Songs of a Wayfarer,” but a better translation might be “Songs of a Journeyman.” At that time, after you completed an ap-prenticeship, you traveled—you were a journeyman—doing work as you could, until you found a place to settle down and be a master.Young Gustav, only 25 when he wrote these, was exactly that: a journeyman con-ductor, looking for his big break, taking a series of jobs that would support him. One of these was as an assistant, conducting opera (including his then-favorite, Der Freischütz) in Kassel, Germany. There he met his first love, a soprano, Johanna Richter. The relationship brought more pain than joy, so after the breakup, he wrote these four songs to bleed out his sadness.The first of these is a reflection on the beloved’s wedding day. She’s beautiful, the flowers are blue—yet amid the joy, I will retire to my pathetic little room.The second song is genuinely cheerful, a “happy wanderer” feeling. Until it’s not. The sun is out, the sky is blue, the birds are singing, the world is great! The flowers—also blue—are bloom-ing, but joy? It will never bloom for me.The third song gives us white-hot misery: my love is a burning dagger in my chest. I look to the sky and see her blond hair and blue (of course) eyes, and when I hear her tinkling laughter, I wish I were dead on the slab. Here, you’ll hear the German “O weh,” (oh woe), which is of course very close to “oy veh.” Not a coincidence: German and Yiddish have a great deal of overlap.The fourth and final song of this cycle brings some closure. My beloved’s blue eyes have sent me from warmth and home out into the dark. But I fall asleep under a Linden tree, and dreams give me quiet calm and acceptance.
Mahler finished these four songs in 1885, for voice and piano. We don’t know if they were ever performed in that version. We do know that in 1888—and several jobs after the breakup in Kassel—Mahler finished his First Symphony, which incorporates large parts of the second and fourth songs from this cycle. The symphony, of course, was orchestrated. But it was not until 1896 that these four songs—Lieder eines fahrenden Gesellen—officially premiered in an orchestrated version.What should you listen for? Let’s think a bit about how Mahler’s music differs from the earlier music of Brahms, Beethoven, and that crowd. Here is one big observation: Mahler is less constrained by traditions, spoken and un-. Here are two examples of how Mahler composes “outside the box”:First, for the older guys—Beethoven et al.—the whole orchestra generally gets louder and softer together: everybody is loud or everybody is quiet. Those composers knew what the orchestra sounded like at different volumes, and wrote accordingly. Mahler—who was an amazing conductor—understood the instruments and their sounds in microscopic detail, and had an aural imagination so refined that he could invent combinations that didn’t exist before. He wrote—in exhausting detail—what each player or section should do in order to create what he could hear in his head. A wild example: in the second, cheerful song, you will hear a passage for harp and bass clarinet, where the harp is loud and the song, you’ll hear the same pairing reversed, with the clarinet loud and the harp in support. You might not catch those as they fly past, but think about how independent the various instruments are, and listen for the textures that Mahler creates with the voice and the instruments. Second, if you look at any work by Mozart or Beethoven or even Brahms, it will almost always end in the key where it started. Yet in these four songs, none of them return. We might not even notice, but deep in our psychology, it means that in Mozart (say) there is a built-in satisfaction, an eternal recurrence in every piece, that you end where you began. Mahler, in contrast, allows for change: the listener gets a chance to evolve, to journey to a different place. This is deeply appropriate for songs about a Journeyman. And then marvel: this is babyDo you want the text and a translation? Click this link. – Tim Erickson
Program Notes 5Symphony No. 2 (1945)Ruth Gipps (1921-1999) had not yet written anything, that I was a composer. Not that I wanted to be a composer – that I was one. –Ruth GippsRuth Gipps was born in Bexhill-on-Sea in Sussex, United Kingdom and demon-outspoken and willful child, she won a composition prize at the age of 10, and publicly performed Beethoven’s Emperor Piano Concerto at age 15, entering the Royal College of Vaughan Williams, continued studies on piano and took up the oboe, ultimately pursu-ing a career both as performer and composer. -took a position as a lecturer in composition at Trinity College, then as professor of com-position at the Royal College of Music, where she succeeded her mentor, Gordon Jacob. She also worked as a choral director, but aspired to conduct and compose for orchestra. Weldon, conductor of the City of Birmingham Orchestra, where she was appointed principal oboe and English horn. She developed a close friendship with Weldon, and he became an advocate of her works. Professional conducting posts and performances of her works were harder to come by.In 1955, with funds from an inheritance that came to her husband, clarinetist Rob-ert Baker, Gipps was able to form the London Repertoire Orchestra, which she conduct-to readings of symphonic repertoire for the purpose of training young professional performing her own cantata, e Cat, alongside Beethoven’s Ninth Symphony. In 1961 she founded the London Chanticleer Orchestra which saw the debut performances of Iona Brown and Julian Lloyd Webber, and she later (1969) conducted a BBC Broadcast of her ird Symphony. mid-century musical trends in Great Britain. Her music is associated with the English pastoral school, tonal with a modern twist, lyrical and accessible, tracing the lineage of Vaughan Williams, Gustav Holst, Arnold Bax and William Walton. Gipps had a strong command of musical form and structure, and a refreshing approach to harmony and orchestration. But post-World War II saw the rise of serialism and the avantgarde, performance opportunities. At times described as cold and detached, one can only speculate as to her deeper emotional make-up. With a towering intellect and extraordinary musical ability, per-
Program Notes 6and a release of her complete symphonies is highly anticipated. Symphony No. 2 was composed in 1945 for a competition celebrating victory in World War II. It did not win the prize, but was later recorded by the BBC National Orchestra of -uel Barber and Jean Sibelius’ last symphony, it is about 22 minutes long and is a single movement, constructed in multiple sections. It is broadly framed in an ABA format with strong thematic materials that carry through and morph into new material. It has been described as a “personal essay about her life before the war, the outbreak of war and extended snare drum cadence (lasting over 3 minutes) which is quickly joined by a duo orchestra, one “troop” at a time, peaking with an orchestral tutti at full throttle, then on, and true to form we once again hear themes that were introduced in the opening, beginning with the bass drum and timpani pulses. In this return we witness the strength of Gipps’ musical logic in tying together melodic gestures, themes, counterpoint and harmony, the essential material, in a broad idyllic sweep. Nothing lasts very long in this piece, but its eight episodes: Moderato, Allegro moderato, Andante, Tempo di Marcia, Adagio, Allegro moderato, Moderato and Allegro – Più mosso – Molto allargando,this work, like the Barber and Sibelius, creates a restrained approach to formal balance. -nently display the unique qualities of solo instruments. She draws particular attention to Gipps’ thorough command of her orchestral forces.Further reading and listening:Ruth GippsIn Search Of Ruth GippsSymphonies by Ruth Gipps, recommended by RODERIC DUNNETT – Martha Stoddard
Photos from our May 5, 2024 concert, thanks to Frank ChenPhoto from our October 13, 2024 concert, thanks to Carol DeArmentPast Concert Memories
Martha Stoddard enjoys a multi-faceted musical career as conductor, com-1997 and began her 27th season as Music Director in August 2024. Praised for her clarity, generosity and vision, she has guided the orchestra through a major transformation and continues to strive for artistic excellence and growth. Orig-Piedmont Chamber Players.In November 2024, Martha made her opera debut conducting Verdi’s La Traviata for Verismo Opera in Vallejo. She also leads the Piedmont Chamber Orchestra, now in their seventh season and is a frequent guest conductor of the Awesome Orchestra. Previous conducting posts include the Community Wom-en’s Orchestra, Holy Names University Community Orchestra, San Francisco also held the position of Program Director for the John Adams Young Composers Program at the Crowden Music Center. She was the Director of Instrumental Music at Lick-Wilmerding High School from 1991 - 2021, serving as Performing Arts Department Chair and JV Tennis Coach for several years. An award-winning composer and conductor, Marty is a strong advocate for living and women composers, having conducted many contemporary works, premieres and commissions. In 2019 she brought the Oakland Civic Orchestra -ductors, Community Orchestra Division. About Our Conductor/Music Director
About Our Assistant ConductorAndrew O’Donnell is a young conductor based in the East Bay. He previously served as Principal Clarinet of the San Francisco Ballet Orchestra, and is currently Lecturer of Clarinet at the University of California, Berkeley. Prior to relocating to the Bay Area, Andrew obtained degrees in Clarinet Performance from the Juilliard School and Rice University’s Shepherd School of Music, and frequently performed with the San Antonio and Baltimore Symphony Orchestras. While attending Rice University, he was awarded the prestigious Presser Graduate Music Award. As a clarinetist, Andrew has performed under notable conductors including Alan Gilbert, Gianandrea Noseda, Vladimir Emanuel Ax. An avid proponent of new music, Andrew has performed dozens of world premieres and has commissioned works by living composers for performances in Houston and New York City. Andrew is thrilled to be working with the Oakland Civic Orchestra, under the guidance of Artistic Director
OCO MerchandiseNow available - OCO Logo Merchandise at Redbubble! Enjoy choosing from a variety of items with the OCO Logo emblazened in black or white and donate to OCO at the same time! 20% of the price of each item goes to OCO. The link to the store is on our website at www.oaklandcivicorchestra.com and scroll to the bottom to “OCO Logo Merchandise” or visit TheOCOstore directly at Redbubble:TheOCOstore
Check out our own Documentary video and learn about our long history of building community and friendship around a love for playing music. Created by Carol DeArment, our bassist and videographer.Oakland Civic Orchestra DocumentaryCheck out the OCO website for season updates, future performances and more information on upcoming YouTube video uploads including selections from today’s concert event!www.oaklandcivicorchestra.com
Season FinaleJean Sibelius: Nocturne from King Christian Suite No. 2Naomi Dodd: Scarlet SculpturesNikolaus Umar Durr: Legends: Concerto for Horn and Orchestra (Commission and Premiere) Alex Strachan, HornJean Sibelius: Symphony No.5LegendsNikolaus Umar Durr,OCO Composer-in-ResidenceAlex Strachan, HornSunday, April 27, 2025 at 4 PMOakland Civic OrchestraValley Center for Performing Arts (at formerly Holy Names University)For tickets:EventbriteFor more information:www.oaklandcivicorchestra.com
Jean Sibelius: Nocturne from King Christian Suite No. 2Naomi Dodd: Scarlet SculpturesNikolaus Umar Durr: Legends: Concerto for Horn and Orchestra (Commission and Premiere) Alex Strachan, HornJean Sibelius: Symphony No.5Today’s concert is brought to you by the Oakland Civic Orchestra Association, the Oakland Parks and Recreation Department and members of the Oakland Civic Orchestra. The Oakland Civic Orchestra was founded in 1992 and is a volunteer community orchestra bringing together musicians of all ages and back-grounds to share in the joy and magic of music-making. For more information about joining the orchestra or about our current season, please visit our website at: https://www.oaklandcivicorchestra.com. You can also nd concert information and current news about the orchestra on Facebook. Search for the Oakland Civic Orchestra and “like” us today!MusiciansVIOLIN 1Christina Walton, Concertmaster Priyanka Altman, Asst Principal Amanda MokKenzo EsquivelLila McDonaldHelen TamPaula WhiteToshi TakuechiSara Mechanic Milica GrahovacShauna RevelliJudith GauriauRhea KothariVIOLIN 2 Margaret Wu, PrincipalAnne NesbetSusan WhiteJules ChoAmy GordonNancy RagleMichael HaganDiane DobsonKatie WordenMaya MitchellAnn MoenSara Wood-Kraft Claire HuangAidan LoewenVIOLAThomas Chow, PrincipalSara Rusché, Asst PrincipalMatt Van PeltFelix ChowRose MillerMary DoughertyCody KimGar Wei LeeDorothy LeeVIOLONCELLOChris Brann, PrincipalDaniel StricklandVirgil RhodiusDiane LouieBryce MendelsohnKate LauerChristopher KarachaleShannon BowmanCONTRABASSCarol DeArment, PrincipalSandy SchniewindNancy KasparAmanda FenclFLUTE/ PICCOLOSusanne Rublein*Darin TidwellDeborah YatesOBOERoger Raphael*Allison SchwartzWendy ShirakiENGLISH HORNWendy ShirakiCLARINETMarcelo MeiraDanielle NapoleonTom BerkelmanBASS CLARINETTom BerkelmanBASSOONAdam Williams*Will GormanFRENCH HORNAlex Strachan*Allyson WardAlex StepansDaniel BaoTRUMPETThomas daSilva*Roger DainerRonald CohenTROMBONEMax Walker*Alexander BondBASS TROMBONEGeorge GaeblerTUBAFrancis UptonTIMPANI/PERCUSSIONSandra Hui*Nancy Geimer*Anthony ApergamTim EricksonAndrew O’DonnellHARPKristin Lloyd***Section Leader** Guest Artist
PLEASE JOIN US! OCTOBER 19, 2025 FEBRUARY 15, 2026 MAY 3, 2026 Regents Theater • Valley Center for Performing Arts Watch our website for complete program details! www.oaklandcivicorchestra.comSAVE THE DATES! OCO 2025-2026 SEASONfrom our February 25, 2024 concert, thanks to Carol DeArment
Interested in becoming a member of the orchestra? Contact us through our website, see link below. Check out our websitePlease visit the Oakland Civic Orchestra’s website for the latest news on upcoming concerts and projects. You can also nd links to videos from our most recent performances and previous concerts.https://www.oaklandcivicorchestra.comSAVE THE DATES! OCO 2025-2026 SEASONfrom our February 25, 2024 concert, thanks to Carol DeArmentOakland Civic Orchestra AssociationBoard Members: Season 2024-2025Lila MacDonald, ChairCarol DeArment, SecretaryDaniel Bao, TreasurerChristopher Karachale, At LargePhillip Trujillo, At LargeWendy Shiraki, At LargeAlex Strachan, At LargeMargaret Wu, At LargeDeborah Yates, At LargeChristina Walton - LibrarianCarol DeArment - Videographer/Photographer Nikolaus Umar Durr - Composer-in-Residence Andrew O’Donnell - Assistant ConductorWendy Shiraki - Graphic designer/WebmasterAlex Stepans - Ticketing ManagerAcknowledgementsTHANK YOU!Mary ArcherAnna EdwardsTim EricksonCody KimDorothy LeeWilliam LudtkeVictoria RoweAdam SternStudio One Art Center: Laura Plascencia Dezere RobinsonFirst Presbyterian Church of Oakland: Micheline La Mont Victor CarrilloUSHERS:Bret AndrewsNancy GeimerTyler Kissinger
Please Support Us!The Oakland Civic Orchestra Association (OCOA) is the Oakland Civic Orchestra’s recently formed nonprot public benet corporation. OCOA is pleased to accept tax deductible donations for the benet of the orchestra. OCOA will support operational needs such as sheet music, venue and instrument rentals, licensing fees and allow the orchestra to expand special projects such as commissioning original compositions. We would greatly appreciate your help to make sure the orchestra grows in its service to a community that needs music more than ever.If you have the PayPal app on your mobile device please scan the QR Code below to donate directly or check out our website Support page at:https://www.oaklandcivicorchestra.com/supportdonors.htmlWe also gladly accept checks and they can be made payable to:Oakland Civic Orchestra AssociationPlease mail to:OCOA – c/o Daniel Bao1106 Park Avenue, #5Alameda, CA 94501Thanks for your support of OCO!
Title VI COMPLIANCE AGAINST DISCRIMINATION 43CFR 17.6(B) Federal and City of Oakland regulations strictly prohibit unlawful discrimination on the bases of race, color, gender, national origin, age, sexual orientation or AIDS and ARC. Any person who believes he or she has been discriminated against in any program, activity or facility operated by the City of Oakland Oce of Parks and Recreation should write to the Director of Parks and Recreation at 1520 Lakeside Drive, Oakland, CA 94612-4598, or call (510) 238-3092. INCLUSIVE STATEMENT: e City of Oakland Oce of Parks and Recreation (OPR) is fully committed to compliance with provisions of the Americans with Disabilities Act. Please direct all inquiries concerning program and disability accommodations to the OPR Inclusive Recreation Coordinator at (510) 615-5755 or smeans@oaklandnet.com. TDD callers please dial (510) 615-5883.Friends$10 - $100Priyanka AltmanBeryl BakerNancy BushBright FundsThomas ChowTim EricksonStephen FeierabendKerry FrancisNancy GeimerAmy GordonJonathan GordonLisa HanauerTyler HarrisonBaily HopkinsLinda HsiehRosemary JenckesLoretta KaneLynn LaKate LauerWilliam LevisJohn MartinBambi MenesBarry MitchellAlli MorenoAnthony PegramPiper ProlagoKenna RichardsAlicia RiveraSusanne RubleinChristine ShaHoward StrassnerMerna StrassnerDarin TidwellAllyson WardMax WalkerJueun YiConcert Patrons$101 - $499American Online Giving FoundationAnonymousRonald CohenRaewyn CummingsRoger DainerChristina de la CruzCarol DeArmentAyako EnglishAraxi GundelngerElisabeth KelsonJeremy MarleyMaya MitchellDawn NakashimaDanielle NapoleonNick Newton Wendy ShirakiMartha StoddardJudy StrachanSusan WhiteMarisa & Benjamin WuVenue Sponsors$500 - $1999Charities Aid Foundationof AmericaRaewyn CummingsFidelity CharitableWilliam FinzerWill GormanHelen KooDorothy LeeNellie LeeJudith NortonNancy RagleSchwab CharitableAlex StrachanToshi TakeuchiDeborah WalkerAdam WilliamsMargaret WuConductor’s Circle$2000 - $4999Alameda Arts CommissionCindy CollinsNicolas GoldmanPeggy Heineman Christopher KarachaleFortissimo! $5K+ Your Name Here!A Big Thank You to our Generous Donors!To join our growing list of supporters please visit our OCO website or check out the PayPal page in this program.