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SEASON FINALEOakland Civic Orchestra presentsMartha Stoddard, Artistic Director and Principal ConductorAndrew O’Donnell, Assistant Conductor essqqhqessqqwhesqwhqessqqwqessqqwhqessqqhqessqqwhqessqqwhqessqqwhqessqqwhqessqqwesqqwhqSunday, May 5 2024 at 4 PMLake Merritt United Methodist Church, Oakland

PLEASE SILENCE ALL CELL PHONES AND OTHER ELECTRONIC DEVICES BEFORE THE CONCERT BEGINS.THANK YOU!Fantasia on a Theme by Thomas Tallis (1910)Ralph Vaughan Williams (1872-1958)Concerto for Flute and Orchestra (2024)Cadence LiuCadence Liu, Composer and FlutistFirst MovementSecond MovementINTERMISSIONDivertimento from Baiser de la fée (The Fairy’s Kiss) (1928)Igor Stravinsky (1882-1971)I. SinfoniaII. Danses suissesIII. ScherzoIV. Pas de deux A. Adagio B. Variation C. CodaMusic for Symphony Orchestra (1950)Yasushi Akutagawa (1925-1989)Movement 1Movement 2Martha Stoddard, Artistic Director and Principal ConductorAndrew O’Donnell, Assistant ConductorLUMINOSITY

Welcome to Luminosity, the grand finale of our 31st season! Our program today is just shimmering with orchestral brilliance, opening with our lush string section performing Vaughan WIlliams’ transcendent Fantasia on a Theme by Thomas Tallis. With the fresh ink of the Flute Concerto by radiant young composer and flutist Cadence Liu, we are in uncharted territory, gaining a glimpse into the brilliant mind of a rising star.Stravinsky’s Divertimento from The Fairy’s Kiss offers the characteristic charm and wit of his neo-classical approach to adapting early piano works of Tchaikovsky. Colorful orchestration and intricate structure are applied affectionately, albeit it slightly irreverently, to this ballet setting of the tale of the Ice Maiden (and an aside: we last performed this piece 25 years ago and it is striking to see how far we have come since then).We close today’s program with the rousing Music for Symphony Orchestra by Yasushi Akutagawa, capably led by new Assistant Conductor Andrew O’Donnell. I guarantee that this unfamiliar piece will put a smile on your face.Throughout the season we have enjoyed an incredible gathering of wonderful musicians for the study and performance of captivating works. As we conclude our 31st season, I offer my deepest gratitude to the amazing members of this orchestra, who remain steadfast, good humored and devoted to our ambitious music-making, and to all of those who work behind the scenes to ensure and secure our future. vc Orchestra. I also thank you, our devoted audience family, for your continued support and interest.Save the dates and stay tuned for more details about our 2024-2025 Concert Season, when we feature Baritone Bradley Kynard and the much anticipated Horn Concerto by OCO’s Composer-in-Residence, Niko Umar Durr with our own Alex Strachan on Horn.Please enjoy today’s concert and join us for an outdoor reception following the performance! – Martha Stoddard, Artistic Director and Principal ConductorFrom the Podium

Cadence Liu is a high school senior from Foster City, California. She studies flute under Catherine Payne and composition under Arkadi Serper in the pre-college divi-sion of the San Francisco Conservatory of Music. She is a flutist of the San Francisco Symphony Youth Orchestra, and has been honored for her playing by the National Flute Association, YoungArts Foundation, and Tanglewood Institute. Her compo-sitions evoke song and dance to minister to listeners’ psychological needs and catalyze transcendent experiences. She particularly loves composing sacred vocal works, and seeks to bring the cathartic emotional exploration present in them to her instrumental music.About Our Guest Artist

Concerto for Flute and Orchestra (2024)Cadence LiuThe first movement of this concerto was my first large scale composition, while the second movement is my latest. During the nearly 3 year interim, my harmonic language has evolved, my love of rhythm intensified, and my artistic platform crys-talized. All of this is reflected in the music.The 1st movement owes its existence to June Bonacich, my first composition teacher, who discerned orchestral colors in the snatches of melody which I plunked out at the piano in 2021.She urged me to reimagine what was then a flute sonata into a concerto, and gifted me the opportunity to premiere it with the Community Women’s Orchestra. The movement is dominated by its opening 2-note motif, which shape shifts from bold declaration to pleading desolation to o-kilter dance and back again.After the premiere of the 1st movement last fall, Marty Stoddard oered me the opportunity to write a second movement for the Oakland Civic Orchestra. Over the next 6 months, Marty graciously lavished patience on me to give birth to this performance. The 2nd movement is an ecstatic dance, in which the rhythm propels listeners towards the divine light until they are briefly annihilated in it, before tum-bling to the ground in exhaustion. In this movement especially, there is very little virtuosity from the soloist. Instead, the soloist’s role is to reach ecstasy in public through the sounds of the orchestra, so that listeners may reach ecstasy in private through the guidance of the soloist.In writing this concerto, I have tried not to be beautiful for the sake of beauty, nor innovative for the sake of innovation, but rather to mete out just as much beau-ty and innovation best promotes your healing. Nevertheless, music is a self-admin-istered medicine. Therefore, to absorb the full benefits I urge you to move to the beat during rhythmic sections, and become very still during slow ones so as to feel hidden gears move within yourself. —Cadence LiuProgram Notes 1

Fantasia on a Theme by Thomas Tallis (1910)Ralph Vaughn Williams (1872-1958)The state of Christianity in 16th century England can easily be described as tumultuous— Queen Mary I had hundreds of Protestants burned at the stake, and her successor, Queen Elizabeth I, reversed the policy and murdered Catholics. These were treacherous times for church musicians, and Thomas Tallis lived at its epicenter. Though he clung to his Catholic faith throughout his life, he survived this bloody period of English history by adapting his music to the needs of the Crown. Highly favored by Elizabeth I, he was appointed chief composer of the Church of England I in 1575. Elizabeth I, wielding unimaginable power over the output of English composers, granted Tallis and one other composer, William Byrd, a 21-year monopoly on printing polyphonic music. To forbid all but two musicians in England to write music with harmony seems laughable today, but such was the extent of control over artists during the Tudor period. In 1567, Tallis wrote nine tunes for the Archbishop’s Psalter. The third found its way into English hymnody set to the words:When rising from the bed of death, O’erwhelmed with guilt and fear,I see my Maker face to face,O how shall I appear?More than 300 years later, it was this hymn that caught the attention of Ralph Vaughan Williams. Vaughan Williams was quite the English patriot and, in response to perceived modernist sensibilities overtaking English heritage, traveled the countryside to collect and preserve native folk music, much like Béla Bartók did in his native Hungary. During Vaughn Williams’s travels, he observed the centrality of Sunday church services to England’s musical life, but was underwhelmed by the quality of music being performed. “It ought no longer to be true anywhere,” he wrote, “that the most exalted moments of a church-goer’s week are associated with music that would not be tolerated in any place of secular entertainment.”In 1904, Vaughan Williams, although an avowed atheist, decided to give church singing an upgrade and compiled the definitive English hymnal. Sifting through thousands of melodies— hymns, folk songs, Tudor music, plainsong, and even writing a few of his own tunes, he arranged music for every occasion in the life of the church.Before his Fantasia begins, you will notice the unique configuration of musicians on stage— Vaughn Williams calls for double string orchestra with the addition of a string quartet. The first string orchestra is composed of the main body of strings, and the second string orchestra is made up of nine players who you can see standing behind the larger group. The leaders of the large orchestra also serve as the string quartet. These three ensembles are used to great eect in Vaughn Williams’s composition, and the antiphonal nature (music played alternately by two or more groups) of his Fantasia is in fact an homage to Thomas Tallis. Tallis, enjoying the unique luxury of writing polyphonic music, took the concept of polyphony to an extreme— some of his vocal compositions are made up of 40 separate parts! Program Notes 2

Program Notes 3The Fantasia begins with an atmospheric introduction, followed by two complete statements of Tallis’s theme. The work continues as an exploration of the theme, displaying a variety of compositional treatments— the two orchestras echo each other, the theme is fragmented and given to solo instruments, and a wide spectrum of textures and colors are layered over the theme. Vaughn Williams’s composition has one foot in the past and one in the future— at its premiere one critic wrote, “Throughout its course one is never quite sure whether one is listening to something very old or very new. …But that is just what makes this Fantasia so delightful to listen to; it cannot be assigned to a time or a school, but it is full of the visions which have haunted the seers of all times.”If you enjoyed this piece you should listen to:Ralph Vaughn Williams: A London Symphony Thomas Tallis: Spem in aliumDivertimento from Baiser de la fée (The Fairy’s Kiss) (1928)Igor Stravinsky (1882-1971)After the enormous fame generated from his three early ballets, The Firebird, Petrushka, and The Rite of Spring, Stravinsky (not unlike Vaughn Williams) turned to the past for inspiration. Stravinsky found himself looking for a new artistic perspective, and by 1920, he had adopted the neoclassical style, which his 1928 ballet The Fairy’s Kiss falls squarely within. Leonard Bernstein put it best when he said “[Stravinsky’s neoclassicism] is an encyclopedia of misalliances, [full of mismatched components that produce] indirection and obliquity, the indispensable mask of [the 20th century]— the objectified emotional statement delivered at a distance, from around the corner and perceived, so to speak, second-hand. Second hand? Stravinsky, that consummate original? Yes, second-hand; because the personal statement is made via quotes from the past, by alluding to the classics, by a limitless new eclecticism. This is the essence of Stravinsky’s neoclassicism: he is now the great eclectic, the Thieving Magpie, unashamedly borrowing and stealing from every musical museum. And this quasi-plagiaristic principle supported his compositional style over three long decades, in one way or another. It can be overt as in Pulcinella, which is based on actual pieces by Pergolesi, transformed by Stravinsky’s personal modernisms. Or in The Fairy’s Kiss, where the same machinations are wrought upon Tchaikovsky’s music.”Stravinsky himself writes, regarding the genesis of the ballet, “In 1928 Ida Rubinstein commissioned me to compose a full-length ballet. The 35th anniversary of Tchaikovsky’s death was 1928 — and the actual day was observed in Paris’ Russian churches — and I therefore conceived my compatriotic homage as an anniversary piece. I chose Andersen’s The Snow Maiden because it suggested an allegory of Tchaikovsky himself. The fairy’s kiss on the heel of the child is also the muse marking Tchaikovsky at his birth - though the muse did not claim him at his wedding, as she did the young man in the ballet, but at the height of his powers. My only precept in selecting the music was that none of the pieces should have been orchestrated by Tchaikovsky — i.e., my selection would have to come from piano

music and songs. I was already familiar with about half of the music I was to use; the other pieces were discoveries.”The musical result was a very lyrical score that baed many with its very sweetness and seemingly unabashed romanticism. Stravinsky himself later wrote that he could only vaguely remember which themes were Tchaikovsky’s and which were his. Tchaikovsky’s music was a mirror in which Stravinsky saw himself clearly, and The Fairy’s Kiss is a compound image of the two Russian masters, but one that tells us more about Stravinsky than Tchaikovsky. Over the years, the ballet underwent several prominent revisions and adaptations. One of the most lasting results from such eorts is the Divertimento, an orchestral suite comprised of music taken from the ballet. The Divertimento is four movements: Sinfonia, Danses suisses, Scherzo, and Pas de deux. The Sinfonia is taken from the introductory scene of the ballet, and portrays a disoriented mother lost with her child in a storm— the music begins in a classically Russian vein, interrupted by Stravinsky’s undeniably unique rhythmic and harmonic style. As in the Hans Christian Anderson tale, the fairy’s sprites steal the baby away from the mother— Stravinsky’s music excels at conveying this narrative. The next movement, Danses suisses, depicts the engagement party for the child, now a grown man. In the Dances suisses Stravinsky utilizes orchestrational color with captivating creativity. This movement also contains a deeply sarcastic waltz, perhaps evoking the absurdity of this engagement party. In the third movement, the fairy leads the young man to a mill where his betrothed is with her friends. This is a deeply humorous Scherzo, beginning with music that seems simultaneously fast and slow. The Scherzo proceeds with equal parts sarcasm and beauty, and contains a middle section that could be confused for Tchaikovsky by even the most astute listeners. The last movement, Pas de deux, is the lovers’ dance, in which we are treated to some of Stravinsky’s most gorgeous music. The suite ends with a coda that perfectly combines the ballet traditions codified by Tchaikovsky with Stravinsky’s unique tonal language. If you enjoyed this piece you should listen to:Igor Stravinsky: PetrushkaPyotr Ilyich Tchaikovsky: Swan LakeIgor Stravinsky: Apollon MusagèteMusic for Symphony Orchestra (1950)Yasushi Akutagawa (1925-1989)Japan’s history with western classical music is brief but incredibly fruitful. Japan was isolated for most of its existence, and it wasn’t until the 20th century that Japanese musicians traveled abroad to study. The famous Japanese musical figures of the early 20th century studied with compositional greats Igor Stravinsky, Maurice Ravel, Arnold Schoenberg, Alban Berg, and Paul Hindemith, to name a few. One generation later, Yasushi Akutagawa inherited this legacy and became one of Japan’s most successful composers. Yasushi Akutagawa‘s father was the famed Japanese writer Ryūnosuke Akutagawa. Ryūnosuke died when Yasushi was just two Program Notes 4

years old, but left his son his record collection which included Stravinsky’s Firebird and Petrushka, both of which would serve as inspiration for the young composer. Akutagawa began formal studies at the Tokyo University of the Arts in 1943, but his coursework was disturbed during the Second World War when students were conscripted into the Japanese military band. Yasushi finished his studies following the war, bringing with him an anity for Soviet music which he heard through radio broadcasts. Success came quickly with two early works: Trinita Sinfonica (1948) and Music for Symphony Orchestra in 1950. The latter won the 25th anniversary competition hosted by Nippon Hōsō Kyōkai (NHK), Japan’s national public broadcasting corporation, and drew the attention of American orchestras, including the NBC Symphony Orchestra. Music for Symphony Orchestra was crucial in establishing national and international acclaim for its composer. Youthful and bombastic, this composition is bursting with energy, reflecting the international influences of Akutagawa’s early years. Throughout, one can hear the voices of Russian composers Stravinsky, Prokofiev, and Shostakovich, whether absorbed through his teachers, his father’s records, or radio airwaves. In fact, the draw of Russian music was so strong for Akutagawa that he traveled to the USSR illegally in 1954, a period when the Soviet Union and Japan had no diplomatic ties. During his time in Moscow, Akutagawa met his idols Dmitri Shostakovich and Aram Khachaturian, and became the only Japanese composer to have his music published in the country.This two movement work is composed with remarkable proportions and clarity— the first movement begins with bassoons and cellos playing a repetitive rhythm that underscores a collage of melodies presented by dierent instrumental families. A lyrical slow section emerges, poignant and richly orchestrated. The movement ends with a return of the opening material, before a cymbal crash introduces the second movement. This boisterous and energetic finale is deeply influenced by the sarcastic styles of Shostakovich and Prokofiev, and ends with a compositionally dexterous convergence of duple and triple meter, full of excitement and celebration. In the late 1950s, Akutagawa branched o into a variety of genres, styles, and contexts. He experimented with new avant-garde techniques and was the first Japanese composer to create a piece of electronic music. In 1956, he became the founding music director of Shin Kokyo Gakudan (New Symphony Orchestra), an esteemed amateur orchestra that adopted Akutagawa’s principle that: music is for anyone and everyone.If you enjoyed this piece you should listen to:Shostakovich: Hypothetically Murdered SuiteShostakovich: Symphony No. 1Prokofiev: Symphony No. 5 —Andrew O’DonnellProgram Notes 5

Martha Stoddard enjoys a multi-faceted musical career as conductor, composer and flutist in the SF Bay Area. She assumed the leadership of the Oakland Civic Orchestra in 1997 and began her 26th season as Music Director in the Fall of 2023. Originally trained as a flutist, she is principal flute for the Handel Opera Project and Piedmont Chamber Players, and performs chamber music throughout the region. Ms. Stoddard also holds conducting positions with the Community Women’s Or-chestra and the Piedmont Chamber Orchestra, and is a regular guest conductor of the Awesome Orchestra. Previous conducting posts include the Holy Names Uni-versity Community Orchestra, San Francisco Composers’ Chamber Orchestra, and Resident Conductor for Enriching Lives Through Music. Ms. Stoddard served as Program Director for the John Adams Young Composers Program at the Crowden Music Center and was the Director of Instrumental Music at Lick-Wilmerding High School for 30 years, serving as Performing Arts Department Chair and JV Tennis coach for several years. In 2023, Ms. Stoddard was selected as a conducting fellow in professional workshops in Los Angeles and the Pacific North-west Conducting Institute.An award-winning composer and conductor, Ms. Stoddard 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 Competition for Conductors, Com-munity Orchestra Division.Her popular orchestral work, A Little Trip to Outer Space, enjoyed its South Bay premiere by the San Jose Youth Symphony Concert Orchestra in June 2023. Other recent performances include premieres of Alexis Alrich, Jessica Krash, Monica Chew and Niko Umar Durr as well as works by Naomi Dodd, Germaine Tailleferre, Grace Williams, Florence Price and Louise Farrenc. Recent speaking engagements include the Maestri Series Conducting Workshop in San Francisco, the Berkeley Piano Club and the national Tau Beta Sigma Annual Conference.About Our Music Director and Principal Conductor

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 making his Oakland Civic Orchestra debut, under the guidance of Artistic 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

PLEASE JOIN US! OCTOBER 13, 2024 FALL - SET 1 FEBRUARY 2, 2025 WINTER - SET 2 APRIL 27, 2025 SPRING - SET 3 JUNE 14, 2025 SUMMER OUTDOOR POPS Watch our website for complete program details! www.oaklandcivicorchestra.comSAVE THE DATES! OCO 2024-2025 SEASONfrom our February 25, 2024 concert, thanks to Carol DeArment

SAVE THE DATES! OCO 2024-2025 SEASONfrom our February 25, 2024 concert, thanks to Carol DeArmentToday’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 1*Christina Walton, Concertmaster *Priyanka Altman, Asst Principal Amanda MokJen Yi**Lila McDonald**Niko Umar DurrPaula WhiteMilica GrahovacToshi TakeuchiMaureen ParkHelen TamPhillip TrujilloJeremy MarleySusan WhiteNick NewtonVIOLIN 2 **Margaret Wu, Principal**Anne NesbetMichael HagenVeronica OberholzerKatie WordenNancy Ragle Amy GordonLakisha WitzelJules ChoClaire HuangAnn MoenSara WoodkraftVIOLA*Thomas Chow, Principal**Sara Rusché, Asst Principal**Matt Van PeltLaura “Lo” WeselyGar Wei LeeFelix Chow-KambitschElizabeth ProctorDorothy LeeCody KimVIOLONCELLO*Chris Brann, Principal **Virgil Rhodius, Asst Principal**Diane LouieDaniel StricklandKate LauerBryce MendelsohnChristopher KarachaleDiego Martinez MendiolaShannon BowmanCONTRABASSCarol DeArment, Principal**Sandy SchniewindNancy KasparAmanda FenclHelene FoussardFLUTESusanne Rublein***Darin TidwellDeborah YatesPICCOLODarin TidwellDeborah YatesOBOERoger Raphael***Allison SchwartzENGLISH HORNWendy ShirakiCLARINETAdam ThyrPeter NormanAmar KhalsaBASS CLARINETAmar KhalsaBASSOONAdam Williams***Elisabeth KelsonWill GormanCONTRABASSOONZev CooperFRENCH HORNAlex StepansAllyson WardAlex Strachan***Daniel BaoTRUMPETRon Cohen*** Thomas DaSilvaTaylor O’HanlonTROMBONEMax Walker***Jereld WingBASS TROMBONEGeorge GaeblerTUBAFrancis UptonTIMPANIRyan GlihaSandra HuiPERCUSSION Ryan Gliha***Sandra HuiAndrea WangDiane LouiePIANOAmanda MokHARPSamantha Garvey Mulgrew*Vaughan Williams Quartet**Vaughan Williams Nonet***Section Leader

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/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!

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.comOakland Civic Orchestra AssociationBoard Members: Season 2023-2024Lila 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 Niko Umar Durr - Composer in Residence Andrew O’Donnell - Assistant Conductor, Program AnnotatorWendy Shiraki - Graphic designer/WebmasterAlex Stepans - Ticketing ManagerAlex Strachan - Assistant ConductorOCO StaAcknowledgementsTHANK YOU!June BonacichArkadi SerperKyle BeardDorothy Lee Nancy RagleRyan GlihaSandra HuiAndrea WangOakland Parks and Recreation FoundationStudio One Art CenterFirst Presbyterian Church of OaklandLake Merritt United Methodist Church, Ken SchoonOpus Oakland

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 AltmanAmerican Online Giving FoundationBeryl Baker Daniel BaoHaley BashShannon BowmanChris BrandesBright FundsHanna BuechiNancy BushCharities Aid Foundation of AmericaJuliana ChoThomas ChowRonald CohenCindy CollinsAllan CrossmanRaewyn CummingsRoger DainerThomas DaSilvaCarol DeArmentChristina de la CruzAyako EnglishTim EricksonStephen FeierabendFidelity CharitableWilliam FinzerGeorge GaeblerRobert GarciaLori GarveyNancy GeimerKeith GleasonNicholas GoldmanAraxi GundelngerVeronica GunnPeggy Heineman Baily HopkinsShannon HoustonLinda HsiehRosemary JenckesChristopher KarachaleElisabeth KelsonAkiko KobayashiHelen KooLynn LaKate LauerDorothy LeeNellie LeeMalinda LennihanRusty LevisWilliam LevisAdrian LewisPamela LouieLennis LyonJeremy MarleyDiego Martinez MendiolaBambi MenesLila McDonaldGayle MillingtonAlli MorenoDanielle NapoleonJudith NortonDana OwensMaureen ParkPaypal Giving FundElizabeth ProctorNancy RagleRoger RaphaelPatrick ReardonVirgil RhodiusKenna RichardsCarol RothsteinRascal RoubosPatricia RubleinSusanne RubleinArno & Toshiko SchniewindJohn SchroderSchwab CharitableChristine ShaSteven SheeldWendy ShirakiNicola SkidmoreMartha StoddardAlex StrachanJudy StrachanNina StrachanHoward StrassnerMerna StrassnerDebra TempleFrancis UptonTimothy VollmerDeborah WalkerMax WalkerChristina WaltonPatricia WegnerAdam WilliamsAnna WuMargaret WuDeborah YatesJueun YiA 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.