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April 27, 2025Sunday • 4:00 PMValley Center for Performing ArtsOakland CAMartha Stoddard, Conductor/Music DirectorAndrew O’Donnell, Assistant ConductorOakland Civic Orchestra presents Message

PLEASE SILENCE ALL CELL PHONES AND OTHER ELECTRONIC DEVICES BEFORE THE CONCERT BEGINS.THANK YOU!Nocturne from “King Christian II Suite”, Op. 27 (1898)Jean Sibelius (1865-1957)Legend: Symphony-Concerto for Horn and Orchestra (Commission and World Premiere) (2025)Nikolaus Umar Durr (1995-present)Alex Strachan, HornINTERMISSIONScarlet Sculptures (2014, rev. 2019)Naomi Dodd (-present)Symphony No. 5 in Eb Major, Op. 82 (1915, rev.1919)Jean Sibelius (1865-1957)I. Tempo molto moderato - Allegro moderato - PrestoII. Andante mosso, quasi allegrettoIII. Allegro molto - Un pochettino largamenteMartha Stoddard, Conductor/Music DirectorAndrew O’Donnell, Assistant ConductorLegends

Welcome to Legends, our Season Finale. We have a wonderful program for you today. From Helsinki to New South Wales, and right back to Oakland, we have a rich musical oering to share. We are thrilled to present the latest work by our Composer-in-Residence, Niko Umar Durr. Today is the World Premiere of Legend: Symphony-Concerto for Horn and Orchestra featuring OCO Principal Horn, Alex Strachan. It is more than a solo concerto, it is a true tour de force for the entire orchestra with the horn leading the pack.In planning this concert, Niko and I spent considerable time discussing programmatic pairings that resonated with both of us. Originally we had planned to include Ravel’s Mother Goose Suite, but as the concerto evolved, Niko felt a stronger pull to the sound world of Sibelius and especially the Fifth Symphony, with its rich harmonies, ingenious orchestration and elusive formal structure. I was in full agreement! A personal favorite of mine, Sibelius’ genius is manifest in every detail of this extraordinary symphony and is a great companion for Niko’s latest masterpiece.From the elegiac horns’ opening to the subterranean swarming strings, fiddle tunes and the soaring swan theme of the finale, the profound logic and propulsive rhythm of the Sibelius 5 are stunning. The final bars are a legend in their own right. The Umar Durr concerto pairs perfectly with Sibelius, with its colorful and often brooding or-chestration, tender melodies and strong rhythmic drive, all woven into a compact single movement form. Scored for triple winds, full brass, a myriad of percussion, harp and strings, the orchestra is never idle! There are many rich interludes that demonstrate our composer’s deep understand-ing of color and instrumental combinations, along with some great rollicking tuttis and wild horn gymnastics! From there I looked for both contrast and cohesion, as well as continuing my penchant for presenting the unfamiliar. I discovered Naomi Dodd’s Scarlet Sculptures in 2023, when I was invited to conduct it at an Awesome Orchestra concert. It is a compact and colorful work by an exciting young Australian composer. I am sure we will hear more from her. We open the concert with the first movement of Sibelius’ King Christian II Suite, Nocturne. This suite is a compilation drawn from the incidental music of the same name. I was immediately struck by the Nocturne’s simplicity of form and pleasing melodies. It’s a quiet opener, a pleasant prelude to an intense musical journey. As always we are delighted to share our music with you and thank you for taking that journey with us and being part of the OCO Legend. – Martha Stoddard OCO Conductor/Music DirectorFrom the Podium

Alex Strachan, HornAbout Our Soloist Alex Strachan has been making music since he was 4, first on the violin and later, his life-long love, the horn. While at Johns Hopkins, he studied with Larry Williams of the Peabody Institute. Since moving to San Francisco and meeting his wife he’s returned to organized music and been with the Oakland Civic Orchestra ever since.Other ensembles Alex has performed with include Opus Oakland, Oak-land Brass, The San Francisco Philharmonic, The San Francisco Civic M2M, Awesöme Orchestra, The Palo Alto Philharmonic, The Symphony of the Poto-mac, The Peabody Wind Ensemble, and The Hopkins Symphony Orchestra & Wind Ensemble.Alex is also a designer and maker of horn mouthpieces with customers in-cluding players in the Met Opera, Hollywood movies, Broadway musicals, and the Detroit, Atlanta, Nashville, and Dallas symphonies.Alex also conducts the Sunset Community band bringing music to the Sunset neighborhood in San Francisco. Outside of music, he enjoys exploring the food scene with his wife and hanging out with his overly enthusiastic husky mix.

Nikolaus Umar Durr,OCO Composer-in-ResidenceAbout Our Composer-in-ResidenceNiko Umar Durr is a composer-violinist based in Oakland, CA. Their first violin lessons began at age 6, and an almost rabid desire for composition 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 Oak-land 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-Resi-dence in 2021.To listen to more of Niko’s work:OCO performs Nikolaus Umar Durr

Nocturne from “King Christian II Suite”, Op. 27 (1898)Jean Sibelius (1865-1957)The young Sibelius’s first foray into orchestral music was “incidental music”, essentially background music, for the Scandinavian historical play King Christian II. Imagine a time when there were no movies, no television, and certainly no Netflix, and the need for music to accompany stage plays becomes clear. Incidental music was a common product of 19th century composers, the most famous example being Mendelssohn’s incidental music to Shakespeare’s A Midsummer Night’s Dream. The play to which Sibelius set his music revolves around the ultimately fatal love aair between King Christian II, ruler of Nor-way, Sweden, and Denmark, and a Dutch commoner named Dyveke. Sibel-ius’s stage music is made up of seven movements- the Nocturne you will hear this afternoon acts as an interlude between the first and second acts of the play. While the Nocturne is part of an explicitly programmatic work, its position in between the action of the play sets it apart and allows our creative and expres-sive imaginations to run free. The only description we have from Sibelius are three simple words: “A love scene”. The piece begins with winds alone, undulating within a cold and searching texture, with brief glimpses of warmth and love. As the strings enter the music gains momentum, fluctuating between heartfelt and pained material—repre-sentative of outside forces working against true love. As the piece progresses, excitement builds and the love scene comes to a climax, only to end up exactly where it began.One particularly interesting quality of this music is the early glimpse we see into Sibelius’s harmonic, textural, and temporal orchestral language. As you enjoy his Fifth Symphony later this afternoon, see if you can relate what you hear to this short Nocturne—a remarkable amount of stylistic elements that define the Fifth Symphony are clearly under development in this early work by one of the most enigmatic and individual composers in music history. – Andrew O’DonnellIf you enjoyed this piece you should listen to:Mendelssohn: Overture to A Midsummer Night’s Dream Program Notes 1

Program Notes 2Legend: Symphony-Concerto for Horn and Orchestra (2025)Nikolaus Umar Durr (1995-present)Alex Strachan first asked me to write him a concerto sometime in late 2022, and I remember eagerly accepting the proposal, especially since, as a string player, it gave me the chance to write more for an instrument I was otherwise not very familiar with, despite having been in the middle of studying French Horn-heavy orchestral music at the time. As a lifelong string player, everything I know about writing for non-string instruments in general comes from studying the work of other composers as well as simply making the acquaintance of people who play whatever instrument I’m writing for, and the education I received from Alex in the process of writing this concerto is some-thing I’ll always be grateful for. Alex and I also both knew that we wanted the concerto to be cinematic but abstract enough where it could still be concert music untethered to a singular story. A few days after his proposal, a concept would present itself to me (as it did with my 2016 work, To Anacreon) via YouTube rabbit hole. I had clicked on a video summarizing the folklore motif of The Wild Hunt, “a ghostly hunter and phantom entourage pursuing an eternal phantasmal chase through the night. Frequently connected with the sound of howling wind and other such creepy nighttime noises, the Wild Hunt invisibly storms through the sky, hunting an ever-elusive prey and often doing very unpleasant things to anyone who doesn’t get out of their way fast enough.”* Most cultures have their own variation on how the Hunt presents itself, from the chaotic ghost tornado of the Scots-Irish Sluagh to the comparatively orderly processions of the demon-ic Hyakki Yagyō of Japan or the Nightmarchers of Hawaii, which I feel lends credence to the universality of this folklore motif. Thanks in no small part to my recent study of Wagner’s Ring Cycle, I was ultimately drawn to the Germanic iteration of the Wilde Jagd, imagining the orchestra as the souls of the dead mixed with various figures from German folklore and the solo Horn as Wotan (Odin), its leader. Keeping with the spirit of the Hunt, the concerto doesn’t depict any particular fairytale in any par-ticular order, but rather a collage of the characters and stories that the hunt represents, starting with the orderly procession and going on an epic journey from a noble but mysterious procession to a victorious blaze of glory as Spring returns and the spirits return to Valhalla. – Nikolaus Umar Durr*YouTube - Overly Sarcastic Productions: Halloween Special: The Wild HuntIf you enjoyed this piece you should listen to:Berg: Three Pieces for Orchestra

Program Notes 3Scarlet Sculptures (2019, rev. 2024)Naomi DoddScarlet Sculptures is a piece born from a desire to make the audience “feel” the music as well as hear it. Although it is probably the aspiration of most composers to have their music “move” their audience, I wanted to intentional-ly incorporate this element into my creative process. I believe it is crucial for the audience to connect to music personally and holistically, activating their inner emotions and experiences. I wanted to write a piece that held both fear and sorrow. To me this work unfolds as a story. When I was writing it, I could imagine visuals vividly. There are moments of calm, however these are often tainted with suspense. Moments of intense drama contrast with playfulness. Scarlet is a dramatic and intense colour. Likewise, the work creates dramatic and intense aural sculptures for the audience to experience - hence the name Scarlet Sculptures. I hope you enjoy it, and perhaps as you’re listening, think up your own story to accompany the music. – Naomi DoddAbout Naomi DoddEmotional connection with listeners through sensitive, passionate and in-spired music is at the heart of Naomi Dodd’s compositional practice. Her place in the Australian composition world is rapidly being established, with works having been commissioned by leading ensembles around the country. In 2024, Naomi holds the position of Melbourne Symphony Orchestra’s Young Com-poser in Residence for which she is writing 3 new works to be premiered by MSO this year. Naomi is also one of four composers selected to participate in the Tasmanian Symphony Orchestra’s Australian Composers’ School through-out 2024-2025. Naomi graduated from the Sydney Conservatorium of Music in 2019 with a Bachelor of Music Composition. Since graduating Naomi has had works commissioned and performed by many notable ensembles and artists such as Melbourne Symphony Orchestra, Omega Ensemble, Australian guitarists Matt Withers and Callum Henshaw, Ku-ring-gai Philharmonic Orchestra, Penrith Symphony Orchestra, Awesöme Orchestra Collective (San Francis-co), Northern Beaches Orchestra, Balmain Sinfonia, SCM Modern Music Ensemble and Geist String Quartet.Naomi’s belief that all people possess an innate potential for musical ap-preciation shapes her desire to create music that reaches and impacts all who listen. – Martha StoddardLearn more about Naomi and her work:Naomi Dodd, Composer

Program Notes 4Symphony No. 5 in E-flat Major, Op. 82 (1915, rev. 1919)Jean Sibelius (1865–1957)Germany, France, Russia, and Italy have whole stables of famous composers, and we often mark the progress of music according to the ideas in these countries. Other countries have a single main composer, a national musical icon. Hungary has Bartók. Norway has Grieg. And Finland has Sibelius.Johan Sibelius was born in 1865 in Hämeenlinna, Finland, which at that time was an autonomous Grand Duchy of the Russian Empire. The Tsars supported “Finnish pride” in order to reduce the influence of Sweden, which had ruled Finland for 500 years until the Russians took it in 1809. Part of that effort was to urge the Swed-ish-speaking people to learn the Finnish language.And so it was that little Janne started learning Finnish. By the time he was 11, he was able to enroll in the local Finnish Lyceum, where he proved to be a somewhat absent-minded pupil, though competent in math and botany. He loved nature, and when the family moved to the coast in the summers, he would take long walks; later in his life he thought of his outdoor summers as representing happiness and freedom, in contrast to home and school.He had tortuous piano lessons as a small child, his aunt hitting his knuckles when he made mistakes. When his uncle gave him a violin, he took to it immediately (and gratefully, we imagine). By age 15, he was playing his violin “from morning til night.” At 16, he started lessons seriously, and by age 22, studying at the Helsinki Music Institute, Sibelius (now going by Jean) was an accomplished player, performing parts of the Men-delssohn Violin Concerto. But it was not to be. A few years later, he wrote, “it was a very painful awakening when I had to admit that I had begun my training for the exacting career of a virtuoso too late.” Luckily for us, Sibelius decided to focus on composition.Meanwhile, increasingly strict control by the Tsars was turning Finnish pride into Finnish nationalism, and the young composer became a standard-bearer for a move-ment. His Kullervo (1892), an oratorio based on Finnish legends, and of course Finlandia (1899), helped to fuel the drive for independence. As he became more accomplished, the Finnish Senate even passed a resolution giving him an income for life, freeing him to fo-cus on his music. But even though he was a hero at home, his more romantic, apparently conservative musical style marginalized him in the compositional stratosphere when he was compared to innovators like Schoenberg, Debussy, or Stravinsky.Now we recognize his contributions. The Fifth Symphony is a brilliant and rewarding work, originally commissioned to celebrate his fiftieth birthday in 1915. At that time, it had the usual four movements, but Sibelius reworked it, combining the first two move-ments into one; today’s version dates from 1919.The overall structure of the first movement superficially resembles the traditional sonata form, in which the composer gives us contrasting themes and develops them. But it may be more accurate to say that Sibelius gives us parts of themes which then grow and interact according to what works rather than according to some pre-ordained sense of structure and key relationships. This organic, unorthodox approach makes sense from a composer who was both deeply reverent about nature and who stood apart from the European mainstream.The first movement begins with what Joshua Weilerstein (of the “Sticky Notes” podcast, worth listening to!) calls the “Once upon a time” theme, featuring a rising

Program Notes 5horn call. These notes are the seed for the entire symphony. That seed expands into an opening section, with additional bits of melody in counterpoint emerging organically, turning into themes of their own. We often hear these themes presented by winds in pairs, playing in parallel thirds. Longer notes create harmonies that slide chromatically from chord to chord. Strings sometimes sound almost subterranean, a murmuring, un-derground river nourishing everything going on up above, especially that original theme and its descendants.It all comes together in a thrilling climax, but we’re not done! The first movement finishes with a giant, gradual accelerando—right up to what may be the second-most-gutsy and surprising ending of a symphonic movement. The first-most-gutsiest? It’s coming.After all that excitement, the second movement begins as a study in calm. Again, we hear the theme in thirds, but this time seasoned with “leaning” notes called appoggiatu-ras. That is, instead of moving in parallel, one of the voices delays its motion, creating a brief sonic collision that then quickly resolves. This is a common and satisfying composi-tional technique. But Sibelius takes it quite far; in the harmony, consisting of long notes, you’ll hear correspondingly long appoggiaturas, typically a half-step below the root of the chord, resolving upwards—much later than we expect.The last movement starts blisteringly busy and fast, but gradually broadens into longer and longer ideas, featuring what Sibelius called his “swan hymn,” inspired by a flight of swans he saw on a walk. How do we hear that hymn? In the horns, in parallel thirds. Where do the notes come from? From the “Once upon a time” theme, altered and reimagined. We have connections upon connections, whole forests grown from a single seed. What else should you listen for? Besides enjoying the beautiful melodies and tone colors—Sibelius is a master of brass, and in this piece brass and woodwinds loom large—listen to how Sibelius uses time. Things will not “line up” as you expect them to: where the orchestra would usually come in all together, entrances are staggered. Chords will change in the strings before they change in the winds, creating tension and dissonance. And most strikingly, as the third movement ends, you’ll hear the gutsiest ending of all: six chords surrounded by carefully-designed, surprising, and seemingly uncountable time.For further information and listening: Sticky Notes: Classical Music Podcast - Sibelius Symphony No. 5How do you xxplain the final chords of Sibelius 5 - David BruceIf you enjoyed this piece you should listen to:Sibelius: Symphony No. 2 – Tim Erickson

Photos from our February 2, 2025 concert, thanks to Carol DeArment.Past Concert Memories

Martha Stoddard enjoys a multi-faceted musical career as conductor, com-poser and flutist. She assumed the leadership of the Oakland Civic Orchestra in 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. Originally trained as a flutist, she is principal flute for the Handel Opera Proj-ect and 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 Communi-ty Women’s Orchestra, Holy Names University Community Orchestra, San Francisco Composers’ Chamber Orchestra, and Enriching Lives Through Music. Marty also held the position of Program Director for the John Ad-ams 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 into the final round of the Ernst Bacon Prize for the Performance of American Music and in 2020 she was a finalist in the American Prize Competi-tion for Conductors, 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 Jurowski, and Michael Tilson Thomas, and has collaborated with pianist 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 Music Director Martha Stoddard, alongside this fabulous group of musicians!

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

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.comOCO Cello sectionrehearsing for ourApril 27th concert.Oakland Civic OrchestraHorse Hooves and HiccupsHorse Hooves and HiccupsOrchestra Music by Schumann, Weber and BeethovenSaturday, May 17, 2025 at 4:00 PMAlan Harvey Theater, Piedmont Performing Arts CenterPiedmont High School • 800 Magnolia AveMartha Stoddard, Music DirectorAndrew O’Donnell, Assistant ConductorFree Tickets at Eventbrite:Visit us at www.piedmontchamberorchestra.orgPIEDMONT CHAMBER ORCHESTRA presents

Today’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 1Amanda Mok, Concertmaster Priyanka Altman Kenzo EsquivelJudith GauriauMilica GrahovacJeremy MarleyLila McDonaldSara Mechanic †Nick NewtonMaureen ParkToshi TakeuchiHelen TamPhillip TrujilloPaula WhiteVIOLIN 2 Margaret Wu *†Veronica Oberholzer *Nikolaus Umar Durr *Jules ChoAmy GordonMichael HaganClaire HuangAidan Loewen †Maya MitchellAnn MoenNancy RagleLakisha WitzelSara Wood-KraftVIOLAThomas Chow *Felix ChowDorothy LeeGar Wei LeeAnne NesbetPiper ProlagoSara RuschéMatt Van PeltLaura (Lo) WeselyVIOLONCELLOChris Brann *Anne CadememosChristopher KarachaleDiane LouieBryce MendelsohnVirgil RhodiusStevie RoseMark SchirmerChris ShoemakerDaniel StricklandCONTRABASSCarol DeArment *Dave BrossardAmanda FenclHélène FoussardNancy Kaspar †Sandy SchniewindAaron StarrFLUTE Susanne Rublein *Darin TidwellDeborah YatesPICCOLODeborah YatesOBOERoger Raphael *Allison SchwartzWendy ShirakiENGLISH HORNWendy ShirakiCLARINETDanielle Napoleon *Tom BerkelmanBASS CLARINETSarah Knowles Hartglass **BASSOONAdam Williams *Elisabeth KelsonFRENCH HORNAlex Stepans *Mary ArcherDaniel Bao Alex StrachanAllyson WardTRUMPETRoger Dainer *Ronald CohenThomas DaSilvaTaylor O’HanlonTROMBONEMax Walker *Alexander BondBASS TROMBONEGeorge GaeblerTUBAFrancis Upton IVTIMPANI/PERCUSSIONSandra Hui *Nancy GeimerJenna LeeAnthony PegramNikolaus Umar DurrHARPGennaro Pocaro ***Section Leader** Guest Artist† On LeaveHorse Hooves and HiccupsHorse Hooves and Hiccups

and!PLEASE JOIN US! OCTOBER 19, 2025 FEBRUARY 15, 2026 MAY 3, 2026 Regents Theater • Valley Center for Performing ArtsSAVE THE DATES! OCO 2025-2026 SEASONJoin us for adventurous repertoire andextraordinary artistry.Watch our website for complete program detailsfor our season announcement in June!www.oaklandcivicorchestra.com

SAVE THE DATES! OCO 2025-2026 SEASONOakland Civic Orchestra AssociationBoard Members: Season 2024-2025Lila McDonald, ChairCarol DeArment, SecretaryDaniel Bao, TreasurerChristopher Karachale, At LargePhillip Trujillo, At LargeWendy Shiraki, At LargeAlex Strachan, At LargeMargaret Wu, At LargeDeborah Yates, At LargeJoin us for adventurous repertoire andextraordinary artistry.Watch our website for complete program detailsfor our season announcement in June!www.oaklandcivicorchestra.comChristina Walton - LibrarianCarol DeArment - Videographer/Photographer Nikolaus Umar Durr - Composer-in-ResidenceDorothy Lee - Concert House and Hospitality Team Manager Andrew O’Donnell - Assistant Conductor, Program AnnotatorWendy Shiraki - Graphic designer/WebmasterAlex Stepans - Ticketing ManagerTim Erickson - Program AnnotatorOCO StaAcknowledgementsTHANK YOU!Chris BrownTom DreimanNancy Geimer Sadie HewittSandra HuiStudio One Art Center: Laura Plascencia Dezere RobinsonFirst Presbyterian Church of Oakland: Micheline La Mont Victor CarrilloValley Center for Performing Arts Daniel Cárdenas Luis GuerraMatt IngallsCody Kim Jenna LeeAnthony PegramKelsey SeymourCONCERT HOUSE AND HOSPITALITY TEAM:Dorothy LeeBret AndrewsNancy Geimerhieu huiLaura JungTyler KissingerJohn KraftMaia NewtonTomo TakeuchiMargaret Wu

Please Support Us!The Oakland Civic Orchestra Association (OCOA) is the Oakland Civic Orchestra’s recently formed nonprot public benet corporation. OCOA is pleased to accept tax deductible donations for the benet 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!

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.Friends$10 - $100Priyanka AltmanMary ArcherBeryl BakerBright FundsThomas ChowStephen FeierabendKerry FrancisNancy GeimerAmy GordonJonathan GordonLisa HanauerTyler HarrisonBaily HopkinsLinda HsiehRosemary JenckesLoretta KaneRobin KojimaWilliam LevisJohn MartinBambi MenesBarry MitchellAlli MorenoPiper ProlagoKenna RichardsAlicia RiveraChristine ShaHoward StrassnerMerna StrassnerDarin TidwellAllyson WardJueun YiConcert Patrons$101 - $499American Online Giving FoundationAnonymousNancy BushRoger DainerChristina de la CruzCarol DeArmentAyako EnglishTim Erickson Araxi GundelngerHanson Bridgett LLPElisabeth KelsonLynn LaKate LauerJeremy MarleyMaya MitchellDawn NakashimaDanielle NapoleonNick NewtonAnthony Pegram Susanne Rublein Martha StoddardJudy StrachanMax WalkerSusan WhiteMarisa & Benjamin WuVenue Sponsors$500 - $1999Charities Aid Foundationof AmericaRonald CohenRaewyn CummingsFidelity CharitableWilliam FinzerFriends of OaklandParks and RecreationWill GormanHelen KooDorothy LeeLila McDonaldJudith NortonNancy RagleSchwab CharitableWendy Shiraki Toshi TakeuchiDeborah WalkerAdam WilliamsMargaret WuConductor’s Circle$2000 - $4999Alameda Arts CommissionCindy CollinsNicolas GoldmanPeggy HeinemanNellie LeeAlex Strachan Fortissimo! $5K+ Christopher KarachaleA 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.