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Americansin ParisOakland Civic Orchestra presentsApril 30, 2023 at 4 PMFirst Presbyterian Church of OaklandMartha Stoddard, Artistic Director and Principal ConductorChristine Brandes, Associate Conductor

PLEASE SILENCE ALL CELL PHONES AND OTHER ELECTRONIC DEVICES BEFORE THE CONCERT BEGINS.THANK YOU!Renegade (2023)World Premiere - OCO Composer-in-Residence CommissionNiko Umar Durr (b. 1995)First Symphony (in One Movement), Op. 9 (1936)Samuel Barber (1910-1981)INTERMISSIONQuatre Chansons de Ronsard, Op.223 (1941)Darius Milhaud (1892-1974) Raquel Taylor, Soprano1. A une Fontaine (To a fountain) 2. A Cupidon (To Cupid)3. Tais-toi, Babillarde (Quiet, chattering swallow!)4. Dieu vous gard’ (God be with you)An American in Paris (1928)George Gershwin (1898-1937)Martha Stoddard, Artistic Director and ConductorChristine Brandes, Associate ConductorAmericans in Paris

Welcome to the final concert of our 30th Anniversary Season! It has been an exciting and productive year for us, with three dazzling world premieres, four wonderful soloists from within and beyond our ranks, and unprecedented growth in the orchestra and our audience. We are grateful for your presence and continued support of our artistic endeavors and we have some incredible music for you! I want to give a special shout out to Tim Erickson for providing thoroughly engaging program notes to guide you through the repertoire. Please take a minute to locate these in your booklet. As we come to the close of our season I also want to offer my heartfelt thanks to the amazing members of this orchestra, who remain steadfast, good humored and committed to our ambitious music-making, literally braving the storms to assemble, and to all of those who work behind the scenes to ensure and secure our future.And to our beloved audience please enjoy the concert and join us for a reception following the performance!  Martha Stoddard, Artistic Director and ConductorFrom the Podium

Niko Umar Durr is a composer-violinist based in Oakland, CA. Their first violin lessons began at age 6, and an almost rabid desire for compo-sition followed not long after lead to formal lessons at age 10 with local composer and pianist Molly Axtmann, in conjunction with an education at The Crowden School. Niko has had work performed by Left Coast Chamber Ensemble as well as various faculty and students associated with The Crowden School and Oakland School for the Arts. Niko was one of the inaugural students for the John Adams Young Composers Program at Crowden’s Community Music Center, through which they studied under Martha Stoddard as well as John Adams himself. During this time, Niko was also director of music for Harmonikos, a kind of composer/performer’s forum organized by fellow Crowden alumni. Niko has premiered several works in close collaboration with OCO, including Merritt Fanfare and Zephyr in Gemini, since becoming its Composer-in-Residence in 2021. About our Composer-in-Residence

About our SoloistRaquel Taylor was born and raised in the Bay Area where she studied vocal performance with Christine Brandes at San Francisco State University. She is excited to make her debut with the Oakland Civic Orchestra where she can continue her passion for working with community ensembles. Her recent performances include the role of Dalinda in Handel’s Ariodante at San Francisco State University and various choral roles withWest Edge Opera where she has sung for the past three seasons. Raquel also sang the title role in Donizetti’s Rita while at SFSU. She recently finished a three-month collaborative music residency at the San Francisco Museum of Modern Art. When not singing, Raquel enjoys cross-stitching and spending time with her partner and their cat, Ginger.

Quatre Chansons de Ronsard - Lyrics1. To a fountainListen to me, living fountain,from whom I oft have drunk,flat on my belly overlooking your bank, lazy in the cool breeze while the summer harvestsCeres’ unclad breast and the air whimpers beneath the beaten wheat. So may you always be in religion to all those who drink from you or who pasture their cattle on your green banks. So may nymphs forever dancearound you in the moonlit midnights.2. To CupidDay pushes night, and dark nightpushes gleaming daywith dark shades.Autumn follows Summerand the windsno longer rageafter the storm.But the love feverthat torments meburns in meforever unabated. I’m not the one you should have aimed at, God.Your arrow should havehad another target.Go after the lazyand amuse them,not me or thosewho love the Muse.? Four Songs of Ronsard?

3. Quiet, chattering swallow!Quiet, chattering swallow,or if I get my hands on you I’ll tear the feathers from your wingor cut out your tongue. In the morning, your endless cacklingmakes my head turn. You can sing all day, all evening, all night in my chimney if you want, but in the morning don’t wake me upwhen I’m dozing with my Cassandra in my arms.4. God be with youGod be with you, faithful messengersof Spring, swallows, hoopoes, cuckoos, little nightingales, turtledoves and wild birds who make the greenwood lively with a hundred sorts of warbles.God be with you, lovely daisies,beautiful roses, pretty little flowers,and you buds, once known as the blood of Ajax and Narcissus. And you thyme, anise, wild cherry. Welcome back. God be with you, multi-coloured troop of butterflies sucking the sweet grasses of the field, and you, new swarm of bees kissing the yellow and red flowers. A hundred thousand times I saluteyour sweet return. Oh, how I love this seasonand the sweet cackling on the banks after the winds and stormsthat have kept me shut in the house!

Program Notes 1Niko Umar Durr (b. 1995) • Renegade (2023)Renegade is a term here meant to define a party held in an unconventional, usu-ally illegal location, such as some underpass or, in this case, an otherwise inaccessi-ble beach. High School is a transformative time for everyone. For me it meant leaving the structured conservatory-like atmosphere of Crowden for the “real world” as it were. Prior to this I had very little exposure to hip-hop music, let alone parties where people would unironically play some. I would tag along with friends to said parties, and became exposed to (among other things) hip-hop, particularly that of the west coast variety. Around this same time I remember finishing up my time playing violin with Young People’s Symphony Orchestra (YPSO) and one of the last pieces I played with them was Maurice Ravel’s apocalyptic La Valse. I distinctly remember losing myself in the relentless ¾ meter as a player, the same way I would lose myself in the strict 4 meter that encapsulated most hip-hop and trap music as a partygoer.Once I started going to Berklee College of Music in late 2013, I would learn how to produce music on Reason, a DAW (Digital Audio Workstation), culminat-ing in my piece for violin, piano, and electronics: Toward The Sea, an early version of Renegade. A “Ratchet Symphony” soon became a joke among my peers both in Boston and Oakland, and like any ironic joke, aspects of it would soon become very much unironic considerations, especially the older I grow and the more varying types of music influence my own writing. Renegade begins in a spatial mist, inspired by one particular evening in Daly City, where night (and therefore, deep fog) had already set in. I was headed toward the sea (zing!), where the fog would become more dense, and the party was on a beach which was only accessible by climbing down a cli. I arrived late, so the party was in full swing by then, music blasting o a speaker powered by a generator some brave idiots had hoisted down the aforementioned cli face. To prepare for this piece’s orchestration I studied La Valse as well as the first 15 minutes of Stravinsky’s Rite. For its melodic and rhythmic aspects I turned to hood classics like Mac Dre’s Thizzle Dance and Lil Jon & the East Side Boyz & Ying Yang Twins’ Get Low as prominent influences for the overall vibe. This piece is a love note to these songs and others like them. I would like to acknowledge the African-American artists and musicians who created and popularized the genre and stylings I have used in my own work pre-sented here. This piece would not be so without the work and dedication of these artists. — N. Umar Durr

Samuel Barber (1910–1981) • First Symphony (in One Movement), Op. 9 (1936)Most of us know Samuel Barber for his immortal Adagio for Strings, the gorgeous, rich, quintessentially American expression of grief and longing. We love it partly because it sits well in the ear: it does not revel in dissonance or violent rhythms; it’s lyrical, it’s something you can sing. And that is fundamentally Barber, a singer himself, who, as a composer, wrote a great deal for voice. And although this symphony will demand more of your ears than the Adagio, the same principle applies: even though modernist composers in 1936 were looking at often relentlessly dissonant and atonal alternatives to traditional music, Barber was an unabashed neo-romantic. He believed in tonal harmonies and beautiful melodies, and he stuck to his principles even as some of his contemporaries derided him as a conservative. One biographer remarks that, far from being a conservative, he was a conservator, a maverick in his time preserving the best of the old in remarkable, brilliant new ways.Samuel Barber grew up in a successful, cultured Pennsylvania family and showed great interest in music from an early age. They supported his music but had hopes of an all-American boy. In response to this, he wrote this letter to his mother at age nine, which says a lot:Dear Mother: I have written this to tell you my worrying secret. Now don’t cry when you read it because it is neither yours nor my fault. I suppose I will have to tell it now without any nonsense. To begin with I was not meant to be an athlet [sic]. I was meant to be a composer, and will be I’m sure. I’ll ask you one more thing.—Don’t ask me to try to forget this unpleasant thing and go play football.—Please—Sometimes I’ve been worrying about this so much that it makes me mad (not very).At 14, he joined the youth artist program at the Curtis Institute in Philadelphia, where we would continue working and studying piano, voice, and composition for the next 10 years. There he met his life partner, Gian Carlo Menotti (who also became a Pulitzer-winning composer, perhaps most famously, of the Christmas opera Amahl and the Night Visitors). After they graduated from Curtis, Barber won the Rome Prize, which paid for further studies in that city. The two men went to Europe, and it was there that Barber wrote his first symphony at age 26, completing it at the Anabel Taylor Foundation at Roquebrune in the French Alps.Although the reaction to the 1936 Rome premiere was mixed (some listeners expected an American work to have more jazz in it—like Gershwin!), the next year it was first symphonic work by an American ever to be performed at the Salzburg festival, and it was soon programmed by American orchestras.So, to the music.Program Notes 2

Program Notes 3Although it’s called the symphony in one movement, it sounds like four traditional symphonic movements in a single, 20-minute piece. Leonard Slatkin, the conductor, said that Barber “condensed the entire canon of symphonic history into a remarkable piece of music.”The first part, about eight minutes long, has three principal themes, of which the first is strong and angular, and will reappear throughout the work. Much of this whole section acts as the exposition in a traditional symphony. We get some development, and even some fugal sections, leading to the second part, in a brisk “six” pattern—the change will be obvious!—which serves as this symphony’s scherzo. The third part is the slow movement, which begins with a lyrical, extended oboe solo over rocking strings and builds dramatically. The dark and foreboding finale is a passacaglia—a set of variations over an unchanging bass pattern. Cellos and basses carry this line for much of the movement, yet another variation on the opening theme. Listen for what Barber layers atop this foundation and how it changes, gradually building to a relentlessly dark ending.Brahms fans: his fourth and darkest symphony also ends with a passacaglia (or a chaconne, depending whom you ask) in e minor. Is this a conscious reference, fifty years later? Could easily be.Now, where does this all sit in relation to that famous Adagio? The symphony was finished February 24, 1936. That summer, Sam and Gian Carlo rented a chalet in Austria for the summer, and Sam decided it was time to write a string quartet. This would be Opus 11, the second movement of which became the famous Adagio. In September, Barber wrote to a friend back at Curtis (the cellist of the Curtis quartet) that he had just finished the second movement and that “it is a knockout.” Have you ever wondered if composers know when they write something great? Apparently, sometimes they do.Darius Milhaud (1892–1974) • Quatre Chansons de Ronsard, Op. 223 (1941)Darius Milhaud was a member of “Les Six,” a group of six composers of the early twentieth century who were extremely influential—including to both Barber and Gershwin. They lived and worked in Paris during and after World War I. When the second World War was looming, Milhaud—who was Jewish—decamped to the United States, and joined the faculty of Mills College in 1940. This was part of what made Mills a center for modern music at the time.Milhaud wrote these four short songs for and dedicated them to Lily Pons, a famous soprano of the era. Our soprano, Raquel Taylor, is accompanied by a chamber orchestra with the unusual requirement that the second clarinetist also play saxophone in the second and fourth songs. The singer’s tessitura is con-sistently, demandingly high. The poems are by Pierre de Ronsard (1524–1585), a Renaissance French poet, who has been set by many, many composers from his time though to the present day.

Although Milhaud is known for neoclassical, polytonal music—when more than one key is active at a time—these are each in one key, each one its own bit of joy, a musical hors d’oeuvre.1. A une fontaine: “To a fountain.” This is a waltz, a summer song in gratitude to a woodland fountain, for its cool waters, the babbling sound, the water that feeds the crops, and for the nymphs that play there in the moonlight.2. A Cupidon, ”To Cupid” in a slow 9/8, the soprano floats over and among closely-written chords. For those who might wonder: the high note just before the end is a D. In this song, summer is turning to fall, and day to night, and the poet tells Cupid that he would rather not have been struck by his arrow. Ah, the misery of lost love!3. Tais-toi, babillarde arondelle. “Quiet, chattering swallow!” The poet is complaining to a bird on the windowsill, basically saying, you can sing in the day and into the night, fine. But please, please, not so early in the morning. Let me sleep in! Meanwhile, the singer—who is also the poet, right?—imitates the bird. In this piece, our singer gets to show off her coloratura chops, as well as her ability, as the chattering bird and complaining poet, to get out a lot of words in a short time! And this time the high note is an E!4. Dieu vous gard’ “God be with you,” writes the poet, speaking in gratitude first to the birds, then the flowers, then the bees and butterflies that herald the return of Spring.George Gershwin (1898–1937) • An American in Paris, Op. 223 (1928)Gershwin was one of the most iconic and influential American composers of the twentieth century. We know him for many musicals, for wonderful songs such as “Someone to Watch over Me,” for the Concerto in F, for the deathless Rhapsody in Blue (so familiar to many of us who fly United Airlines), for the opera Porgy and Bess, and for this piece, An American in Paris. It’s easy to dismiss him as too popular, but don’t think that just because it’s jazzy and melodic that the music is unsophisticated. This is the proof positive that modern music does not have to be inaccessible. We have it all here: beautiful melodies, rich, complex harmonies, masterful orchestration, and deep attention to form. It’s also quintessentially, obviously American, with the way Gershwin infuses jazz and popular elements into the concert hall. Ravel, Schoenberg, and Stravinsky were all fans.George, born Jacob Gershwine in Brooklyn, grew up a normal kid, playing in the streets, getting into trouble. When he was ten, he heard a friend’s violin recital and was captivated by the music. When his parents bought big brother Ira a piano, it was Jacob that took it over and found himself a teacher.Program Notes 4

Program Notes 5The 1910s were a different era from today: many people had pianos that they played at home for entertainment, so they needed sheet music; but there were no recordings or radios to popularize songs, so to know what a song sounded like, stores would employ “song pluggers” to play whatever the sales person put in front of them. At age 15, George Gershwin, as he now called himself, became a song plugger as his very first job.He kept practicing and working and learning, producing piano rolls for the Aeolian company and starting to write and sell songs. His first big hit was “Swanee,” at age 21. He then started writing for the stage, collaborating on Broadway musicals. In 1924 he wrote and performed his first big work, Rhapsody in Blue for piano and orchestra, and this cemented his reputation as a serious composer.In 1926, he took a trip to Paris and wrote down the jaunty tune that opens An American in Paris, a “walking theme” that made him think of an expat strolling the Champs-Élysées. Two years later, he started working on the piece as a whole, writing much of it on yet another visit to the City of Light. His traveling companions remembered his going from shop to shop, collecting a multitude of Parisian taxi horns, from which he finally chose four.What should you listen for in the music itself? Taxi horns, of course, in the opening section, evoking the sounds of the Parisian street. Notice the walking theme and several others that follow, all of which may be at least vaguely familiar. Seven or eight minutes into the piece, the character changes and we get a familiar, bluesy melody that becomes the other main theme of the work; it will stay with us off and on until the very end.But also, especially in the opening section, notice just how much is going on. Paris is a busy place, and Gershwin layers sound on sound, theme on theme, to make the city come alive. If you know Stravinsky’s Rite of Spring—which was only 14 years old when this was written—you can hear that, even though this piece is more singable, the opening section has a lot of the same complexity and harmonic invention of that masterwork.Finally, notice the orchestration. Throughout the piece, you will hear solos for oboe, violin, English horn, and others, including bass clarinet and tuba. Then, besides the taxi horns, there is a large battery of percussion, including a xylophone and a celeste. Finally, in the winds, there are saxophones! Saxophones are uncommon in symphonic music, which is curious, as they are among the most expressive of instruments, able to create diverse sounds and easily bend pitches. But while they are uncommon in the typical orchestra, they are the backbone of a big band and a mainstay in jazz. So when the blues melody starts in the trumpet, listen for the saxes in accompaniment. Gershwin said that the blues theme might represent the New Yorker thinking of home, but then, as the Paris themes get folded in, the briefly-homesick visitor realizes, hey, I may miss home, but I’m in Paris—so he has a good time. We hope you do too. — Tim Erickson

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.comCheck 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 DocumentaryVisit our WebsitePlease drop by for an informal outdoor performanceClick on this link for a yer with more information ☛ Art FestOCO members will perform chamber music for winds, strings and brass onSaturday, May 20 between 1:00-2:30 PMStudio One Art Center • 365 45th St. Oaklandrt Festudio ne Art enteM

Martha Stoddard assumed the leadership of the Oakland Civic Orches-tra in 1997 and this season marks her 25th Anniversary as Artistic Director. Praised for her clarity, generosity and vision, she has guided the orchestra through a major transformation and continues to strive for artistic excel-lence and growth. Her recent appointments include Conductor of the Holy Names Univer-sity Community Orchestra, Music Director for the Community Women’s Or-chestra and Music Director for the Piedmont Chamber Orchestra. Previous positions include Resident Conductor for Enriching Lives Through Music, Program Director for the John Adams Young Composers Program at the Crowden Music Center and Director of Instrumental Music at Lick-Wilm-erding High School, where she worked for thirty years, serving also as Department Chair for the final six years.An award-winning composer and conductor, Ms. Stoddard is a strong advocate for living composers and has conducted many premieres and com-missions in multiple orchestras, recently featuring works by Alexis Alrich, Jessica Krash and Niko Umar Durr. In 2019 she brought the orchestra into the final round of the Ernst Bacon Prize for the Performance of American Music. In 2020 she was a finalist in the American Prize Competition for Conductors, Community Orchestra Division.Her popular orchestral work, A Little Trip to Outer Space, will enjoy its South Bay premiere by the San Jose Youth Symphony Concert Orchestra in June 2023. Also in 2023, Ms. Stoddard has been selected as a conduct-ing fellow in workshops in Los Angeles and Washington. In July, she will be a guest speaker at the Maestri Series Workshop with the San Francisco Philharmonic. In 2024, she will present a Chamber Music Concert for the Glenview Concert Series, joined by OCO Bassoonist Adam Williams and Clarinetist Marcelo Meira. When not studying or playing music, you will probably find Marty on a tennis court.About our Conductors

Following a distinguished international singing career during which she was acclaimed for her radiant, crystalline voice and superb musicianship across a broad repertoire, Christine Brandes takes to the podium as conductor and garners praise for performances in the opera house and on the symphony stage.Ms. Brandes was a 2021-2022 fellow of the Dallas Opera Hart Institute for Women Conductors and currently the Associate Conductor of the Oakland Civic Orchestra. She has led productions of Gluck’s Orfeo et Eurydice and Handel’s Giulio Cesare in Egitto with West Edge Opera as well as Haydn’s Armida, Rameau’s La Sympathie and most recently Orfeo and Erica, based on Gluck’s Orfeo interwoven with a play for deaf actors with Victory Hall Opera in Charlottesville, Virginia. Ms. Brandes is one of the conductors in June 2023 for the launch of the International Pride Orchestra in San Francisco. She makes her conducting debut at the Seattle Opera in the fall of 2023 with Handel’s Alcina.On the concert stage, Ms. Brandes made her debut with the San Francisco Chamber Orchestra in the fall of 2022 and her debut performances of Handel’s Messiah with the Virginia Symphony in December of 2022. She has also served as the cover conductor for Nicholas McGegan with the Oakland Symphony.As a singer, she has sung principal roles for the following opera companies: San Francisco, Seattle, Washington National, Houston Grand, Minnesota, New York City Opera, Philadelphia, Glimmerglass, Portland, among others.She has also sung with the following orchestras: Cleveland, Chicago, New York Philharmonic, Philadelphia, Los Angeles, San Francisco, Houston, Atlanta, Detroit, Seattle, Minnesota, National Symphony, with such distinguished conductors as Sir Simon Rattle, Pierre Boulez, Esa-Pekka Salonen, and Nicholas McGegan, among many others.To read more about Ms. Brandes please visit: christine-brandesPhoto: Henry Dombey

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OCO February 2023 ConcertThanks to Carol DeArment for the photos and videos of this amazing concert! To watch this performance visit us on YouTube: https://www.youtube.com/playlist?list=PLszw9l8nYWFzgXYi8WiDlb-1BloZgR7QiwTap on program to view

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Check 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

PLEASE JOIN US! SEASON HIGHLIGHTS Umar Durr: Concerto for Horn and Orchestra World Premiere • OCO Composer-in-Residence Commission Featuring Alex Strachan, horn Brahms: Symphony No. 3 Ravel: Mother Goose Suite Watch website for complete program details coming soon! www.oaklandcivicorchestra.comSAVE THE DATES! OCO 2023-2024 SEASONOCO 2023-2024 SeasonSave these dates! OCTOBER 29 • FEBRUARY 25 • MAY 5

SAVE THE DATES! OCO 2023-2024 SEASONToday’s concert is brought to you by the Oakland Civic Orchestra Association, the Oakland Parks and Recre-ation 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 backgrounds 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 PrincipalAmanda MokNiko Umar Durr Anne Nesbet Helen Tam Phillip TrujilloHarmony LeeMaureen ParkJeremy MarleyVIOLIN 2 Margaret Wu, PrincipalPaula WhiteVeronica OberholzerMichael HagenAmy GordonNancy Ragle Claire HuangTram Le-NguyenRose MIllerBaily HopkinsVIOLASara Rusché, Principal Felix Chow-KambitschCody KimElizabeth ProctorGar Wei LeeDorothy LeeVIOLONCELLOVirgil Rhodius, PrincipalDiego Martinez Mendiola Diane LouieDaniel StricklandJohn SchroderShannon BowmanCONTRABASSCarol DeArment, PrincipalSandy SchniewindMackenzie ConklingFLUTESusanne Rublein, PrincipalDarin TidwellDeborah YatesKelsey SeymourPICCOLODeborah YatesSusanne RubleinOBOERoger RaphaelFlora EspinozaWendy Shiraki ENGLISH HORNWendy ShirakiCLARINETMarcelo MeiraDanielle NapoleonAdam ThyrTom BerkelmanBASS CLARINETTom BerkelmanCarol WingBASSOONAdam Williams, PrincipalElizabeth KelsonCONTRABASSOONZev CooperALTO SAXOPHONEAdam ThyrTENOR SAXOPHONERobin Nzingah SmithBARITONE SAXOPHONECynthia MahFRENCH HORNAlex Strachan, PrincipalAllyson WardAlex StepansDaniel BaoTRUMPETCindy Collins, PrincipalTom DaSilvaRoger DainerTROMBONEMax Walker, PrincipalJereld WingBASS TROMBONEGeorge GaeblerTIMPANISandra HuiKate MangotichPERCUSSION Ryan GhilaNancy GeimerSandra HuiKate MangotichCarol WingDebra TempleKEYBOARDDebra TempleHARPSamantha Garvey-Mulgrew

Please Support Us!The Oakland Civic Orchestra is excited to announce the Oakland Civic Orchestra Association (OCOA), our newly formed nonprot public benet corporation. OCOA is now able to accept tax de-ductible donations for the benet of the orchestra. OCOA will support operational needs such as sheet music, 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 not only survives the current pandemic but 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/support.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!

Oakland Civic Orchestra AssociationBoard MembersLila MacDonald, ChairCarol DeArment, SecretaryDaniel Bao, TreasurerChristopher Karachale, At LargePhilip Trujillo, At LargeWendy Shiraki, At LargeAlex Strachan, At LargeMargaret Wu, At LargeDeborah Yates, At LargeAcknowledgementsTHANK YOU!Dorothy LeeRyan GhilaCody PutnamKyle BeardKelsey SeymourAlex StepansVirgil RhodiusSusan WhiteKathleen SiedleckiOakland Parks and Recreation FoundationStudio One Art CenterFirst Presbyterian Church of Oakland Christina Walton - Librarian Carol DeArment - Videographer/PhotographerWendy Shiraki - Graphic designer/WebmasterTim Erickson - Program Annotator

Thank You Donors!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 Oce 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 Oce 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.AnonymousPriyanka AltmanDaniel BaoHaley BashShannon BowmanChris BrandesNancy BushThomas ChowCindy CollinsAllan CrossmanRoger DainerThomas DaSilvaCarol DeArmentAyako EnglishTim EricksonStephen FeierabendWilliam FinzerGeorge GaeblerLori GarveyNancy GeimerKeith GleasonAraxi GundelngerVeronica GunnBaily HopkinsShannon HoustonChristopher KarachaleAkiko KobayashiLynn LaKate LauerDorothy LeeNellie LeeMalinda LennihanRusty LevisAdrian LewisPamela LouieLennis LyonDiego Martinez MendiolaLila McDonaldJudith NortonDana OwensMaureen ParkElizabeth ProctorNancy RagleRoger RaphaelVirgil RhodiusPatricia RubleinSusanne RubleinArno & Toshiko SchniewindJohn SchroderChristine ShaSteven SheeldWendy ShirakiNicola SkidmoreMartha StoddardAlex StrachanJudy StrachanNina StrachanHoward StrassnerMerna StrassnerDebra TempleFrancis UptonTimothy VollmerDeborah WalkerChristina WaltonPatricia WegnerAdam WilliamsAnna WuMargaret WuDeborah YatesA 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.