30th AnniversaryCelebrationOctober 23, 2022First Presbyterian Church of OaklandMartha Stoddard, Artistic Director and Conductor1992 - 20221992 - 2022••𝄞••
PLEASE SILENCE ALL CELL PHONES AND OTHER ELECTRONIC DEVICES BEFORE THE CONCERT BEGINS.THANK YOU!Romance No.1 World Premiere Marty’s 25th Anniversary with OCO - CommissionAlexis AlrichConcerto for Trombone and Orchestra (1924)Launy Grøndahl (1886-1960)Max Walker, TromboneI. Moderato Assai: ma molto maestosoII. Quasi una Leggenda: Andante graveIII. Finale maestoso: rondoINTERMISSIONSymphony No. 2 - The Four Temperaments (1901-1902)Carl Nielsen (1865-1931)I. Allegro Collerico II. Allegro comodo e flemmaticoIII. Andante MelaconicoIV. Allegro Sanguinco - marzialeMartha Stoddard, Artistic Director and ConductorChristine Brandes, Associate ConductorOCO 30th Anniversary Celebration
Welcome to our 30th Anniversary Season and the celebration of my 25th year with the Oakland Civic Orchestra in the Heart of Oakland, for the Heart of Oakland. What an amaz-ing journey we have been on, from our humble beginnings in the Redwood Heights Communi-ty Center to our home in downtown Oakland today. Like ensembles around the globe, we are thrilled to be performing live music, and I am moved by the unprecedented growth in our orchestra in the midst of all the turmoil in our world. We continue to be in the heart of Oakland and we work hard to fulfill our mission for the heart of Oakland. We offer free and accessible concerts while supporting the work of living composers, take on ambitious orchestral projects and support aspiring conductors and soloists. This includes our guest composer today, Alexis Alrich, our Composer-in-Residence, Niko Umar Durr and our featured soloist, principal trombonist Max Walker.We all are nourished by the music we play, and by the support and loyalty of our audience. In turn, I hope our audience takes nourishment from us, as it is this symbiosis that renders value to our endeavors. Yet like most community-based ensembles, we face continual challenges keeping our doors open, and without ticket sales, we rely entirely on the generosity of our patrons and donors and what we can earn through grants and fundraising campaigns. We need your support now, more than ever. Please help us to live our mission, keep a roof over our heads, and keep the concerts free. Today’s Concert Today’s program began with my strong wish to do two things to open this season: •Learn a work by Carl Nielsen •Feature our wonderful principal trombonist, Max Walker in a concertoWelcome to the Oakland Civic Orchestra 30th AnniversaryFrom the Podium
The orchestra had a plan too, which was to commission a new work to celebrate my 25th Season. Secretly they reached out to my dear friend and colleague Alexis Alrich to compose a new work and she agreed. Was I surprised? Totally! My history with Alexis extends back many years and I am honored to be able to name her as colleague, collaborator and friend. We have performed other pieces of hers, including Bell and Drum Tower, Avenues and Fragile Forests: Cambodia. In Romance No.1 you will find unique elements that so easily unfold in her writing: sing-able, sweet melodies, energetic and colorful orchestration, and a confident rendering of clear musical form. We are thrilled to perform this world premiere for you today.Programming a concerto for trombonist Max Walker has been my intention for a long time. The sustained musical growth of our lower brass section during his tenure has been remarkable and in no small measure due to his exceptional leadership. The choice to perform the Grøndahl has proven to be an excellent one on all fronts. For those who are not versed in trombone concerto repertoire, the discovery of the expressive range of this instrument in the hands of our soloist will be revelatory. The concerto is rich in color and rhythmic vitality, and masterfully orchestrated; surprisingly, it is the only composition Launy Grøndahl is known for. He is better remembered as the conductor who first recorded Carl Nielsen’s Second Sympho-ny with the Danish Radio Symphony in1956.In exploring Nielsen, I discovered unfamiliar tone poems, overtures like the famed Helios and more. However, Symphony No. 2, The Four Temperaments, met all my requirements for Oakland Civic Orchestra in a compact 32-minute work. It includes the full complement of brass, uses timpani as a prominent voice, and has independent parts for a large wind section, embedded in brilliantly rich and vibrant string writing. It is in turn driving, and irascible, lyrical and lackadaisical, melancholy and delightfully cheerful. Nielsen indeed captured the Four Temperaments as conceived by the ancient Greek physicians in a profoundly original manner. – Martha Stoddard, Artistic Director and ConductorFrom the Podium
Our Guest PerformersMax Walker has been a member of the Oakland Civic Orchestra since 2015, and has been playing trombone since picking the instrument for fourth grade band. Playing in the Young People’s Symphony Orchestra in high school kindled a life-long love of orchestral music and powerful low brass sections, and he studied with Tom Hornig at UC Santa Cruz while earning degrees in History and Anthropology.In addition to playing principal trombone in OCO, Max has played with a number of local groups including the Contra Costa Wind Symphony, Diablo Symphony, Holy Names University Orchestra, Awesöme Orchestra, Oakland Brass, and The Trapeze Brass Quintet. Throughout the years, he has also dabbled in the guitar, violin, and Balinese Gamelan music. His day job is as a fundraiser for Oakland-based nonprot YR Media (formerly Youth Radio), and he is an avid cyclist and cook. Max lives in Oakland with his partner Anna.Alexis Alrich began composing music along with early piano lessons. Her studies continued at the New England Conservatory of Music, California Institute of the Arts, and with Lou Harrison at Mills College in California.Lou Harrison was a key mentor, and her music is also inuenced by West Coast Minimalism, Asian music and Western classical and folk music. Her compositional style is tonal and melodic, using energetic rhythms and colorful timbres to weave a musical narrative.Her piece Bell and Drum Tower was selected by the Awesöme Orchestra to be performed for their fall fundraising concert on October 23, 2022. Ms. Alrich was commissioned by pianist Lynn Schugren to write a one-movement piano concerto named Sierra Rhapsody, to be performed in 2023. Her Marimba Concerto was performed by Evelyn Glennie and the City Chamber Orchestra of Hong Kong and released on a Naxos CD in January 2021. Musical America described it as “…a textbook performance of an engaging work chock full of musical incident.”She was a composer-in-residence for the San Francisco Choral Artists for the 2019-2020 season and composed three pieces, Pedacitos de Cielo, The Railway Train and Psalm 104.She has received numerous grants and commissions from the American Composers Forum, ensembles and individuals, most recently Onward for solo marimba and Voice of the Forest for solo piano. The Orphic Ensemble has taken her percussion quartet, Muse of Fire, on tour to Austria and the U.S.Ms. Alrich’s music is published by Alto Publications in Bristol, England.www.alexisalrichcomposer.com
Opus OaklandOPUS OAKLANDwas created in October of 2016 by members ofOakland Civic Orchestra, to provide small ensemble performance opportunities with fellow friends and music lovers in a casual, inti-mate atmosphere. Here are photos of a recent gathering amongst the redwoods. Photos provided by Carol DeArment.
Martha Stoddard assumed the leadership of the Oak-land Civic Orchestra in 1997 and has guided the orchestra through a major transformation over the past two decades. Praised for her clarity, generosity, and vision, she continues to lead the orchestra through the unfolding challenges facing our wider community, while continually striving for artistic excellence. Stoddard is a strong advocate for living composers and has conducted many premieres and commissions in multiple orchestras, most recently featuring works by Jessica Krash and Niko Umar Durr. In 2019 she was named a semi-nalist in the American Prize Competition for Conductors, Community Orchestra Division, and advanced as a nalist in July of 2020. Simultaneously she brought the orchestra into the nal round of the Ernst Bacon Prize for the Performance of American Music for their performance of Bruce Reiprich’s Lullaby featuring Christina Owens Walton, violin; J.P. Johnson’s Harlem Symphony; and her own Waltz for the Fun of It.After a lengthy search spanning the course of the pandemic, Marty was recently named Conductor of the Holy Names University Community Orchestra and commenced with her duties in July 2022 at the same time she was appointed Music Director for the Oakland-based Community Women’s Orchestra. She took the reins as conductor for the newly-formed Piedmont Chamber Orchestra in 2019, and held the position of Res-ident Conductor for Enriching Lives Through Music from 2017-2019. From 2012-2014 she served as Program Director for the John Adams Young Composers Program at the Crowden Music Center and has frequently appeared as Associate Conductor of the San Francisco Composer’s Chamber Orchestra, conducting new works by local composers. Stoddard retired from Lick-Wilmerding High School in 2021 after serving for thirty years as Director of Instrumental Music and the Chair of the Performing Arts and is happily lling up her time with more music and more tennis.Following a distinguished international singing career during which she was acclaimed for her radiant, crystalline voice and superb mu-sicianship 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.A 2021-22 fellow of the Dallas Opera Hart Institute for Women Conductors and currently the Associate Conductor of the Oakland Civic Orchestra, Ms. Brandes has led productions of Gluck’s Orfeo et Eurydice and Handel’s Giulio Cesare with West Edge Opera as well as Haydn’s Armida and Rameau’s La Sympathie with Victory Hall Opera in Charlottesville, Virginia. She returns to Victory Hall Opera in March 2023 for an innovative collaboration and reimagining of Gluck’s Orfeo with an ensemble of singers and deaf actors. In December of 2022, Ms. Brandes makes her debut with the Virginia Symphony, conducting Handel’s Messiah for the rst time!Chris is also the director of the UC Berkeley University Baroque Ensemble.To read more about Ms. Brandes please visit: christine-brandesAbout Our Conductors
Oakland Civic Orchestra celebrates 30 years of music-making Tap on a program to view
Oakland Civic Orchestra celebrates 30 years of music-making …with conductor Martha Stoddard for 25
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Program Notes 1Alexis Alrich • Romance No. 1 (World Premiere)This piece was written for Martha Stoddard and the Oakland Civic Orchestra with whom I have worked for many years. I wanted to use the full resources of the orchestra and make it exciting for the conductor and the players. I allowed the brass and percussion to go full throttle at times and gave individual players their moments in the sun. I am grateful for Marty’s helpful advice on the details of orchestration. Some synonyms for the word “romantic” in the dictionary are fanciful, dreamy and passionate, and those are the characteristics I had in mind. Since Ms. Stoddard is a utist, I featured the solo ute, which opens the piece and plays several soliloquys. The ute is a quiet interior voice which gets progressively more entranced as the piece goes on. The full orchestra is like the gathering of pas-sionate voices which sometimes can go silent only to rise up again. I limited the number of musical ideas in the composition to about three main ones, to give concentration and focus to the piece. After the ute initial statement, there is an agitato theme in 4/4 time featuring the rst violins. Next there is a theme played by the horn in 3/4 time that represents the romance in the title. The next musical idea, marked con moto or “with motion,” is a set of patterns, rhythmic and driving. The piece is constructed of these musical ideas in various keys and forms, and they are woven together and developed like the plot of a story. The “No. 1” in the title implies that this is my rst Romance, and I hope that many will follow. – Alexis AlrichLauny Grøndahl• Concerto for Trombone and Orchestra (1924) Launy Grøndahl (1886-1960) began his musical career as a violinist in the Orchestra of the Casino Theatre in Copenhagen at the age of thirteen. It was there that he encountered the excellent playing of the lower brass section, which led to his composing the concerto in 1924 for the orchestra’s principal trombonist, soloist Vilhelm Aarkrogh. Grøndahl was better known as a conductor having served for 31years as a resident conductor for Danish Radio Orchestra (now known as the Danish National Symphony Orchestra), the top-ranked orchestra in Denmark. It was with this orchestra that he conducted the first recording of Carl Nielsen’s Second Symphony. The concerto comprises three movements unified by common motific elements, by the warmth of the harmonic language, singing quality and virtuosity of the solo lines. I. Moderato Assai: Ma molto maestoso There is no formal introduction. The orchestra strikes a brisk F minor chord and the piece is off and running, with an ascending melodic sequence (theme 1) in the
trombone. The orchestra provides harmonic texture and color and brief moments of repose for the soloist. With the entrance of harplike figures in piano and soft strings there is an atmospheric shift for the arrival of the second theme area. The trombone hovers in the high register before passing off the melody to woodwinds and soft strings, supported by firm timpani strokes. The drama intensifies with terse dialogue between orchestra and soloist. The motif of the opening bars reappears in fragments that build up to a full restatement of the second theme, twice, and then a winding down for a brief recapitulation of theme one. II. Quasi una Leggenda: Andante grave (in the manner of a tall tale) The horn and bassoon open in unison with a dark brooding minor melody, accompanied by a descending pattern in the piano and low pizzicato strings. It is written in the unsettled meter of 7/8. The trombone develops a bluesy motif based on a rising minor third as more voices enter. What follows a pronounced arrival on a Bb major chord, leading to another atmospheric shift in the second theme. Muted trumpets, violas and piano create the texture for this first meditative passage in the altissimo range of the trombone, which ends with an ambiguous chord suspension and returns to the dark mood of the opening. This time the first theme is intensified with a fuller orchestration, more declamatory gestures and a brief cadenza that transports the music back into the meditative state of the second theme. The trombone’s final statement spans the entire range of the trombone, ending with a hushed cadence in Db Major.III. Finale maestoso: Rondo The finale recalls movement one, beginning with a short unison passage which races to a quick conclusion after just seven bars. A quirky rondo follows which features staccato off beat runs in the trombone and poly rhythmic cadences that are reminiscent of Rimsky-Korsakov in Cappricio Espagnol. The orchestra and soloist trade passages in a familiar concerto fashion; the orchestra interludes provide contrast and commentary. The middle section is marked by a quickening of the tempo and greater sense of urgency and authority, once again using the timpani strokes to organize the rhythmic structure. More and more low pitched orchestral unisons appear, recalling the brooding nature of movement two, but horns and trumpets interject with brief moments of sweet lyrical tunes, seemingly from a distance. A proper return to the rondo theme signals the looming conclusion, with an incessant increase in tempo and ascent in range, with the trombone now in the stratosphere, driving to a dramatic and bold conclusion. Program Notes 2
Program Notes 3Carl Nielsen • Symphony No 2 - The Four Temperaments (1901-1902) The title of this symphony requires some explanation. The short version of the story is that Carl Nielsen (1865-1935) saw a comical picture on the wall of an inn where he was staying on the Danish island of Zealand. It depicted the Four Temperaments: Choleric, Phlegmatic Melancholy and Sanguine. On one hand he casually dismissed the picture, but yet could not put the images out of his mind and they later found their way into the four movements of the symphony. While the human conditions suggested by these drawings did provide a palette for developing his musical ideas, Nielsen still felt it was much more than a programmatic piece. It had not been his practice to compose program music; in fact he resisted it up until the time of the composition of this symphony. In retrospect the challenge to model a work after these four images caused Nielsen to change his outlook and inspired new musical ideas. Still the essence of music is abstract, and he held fast to that thinking, despite the clearly programmatic elements in this groundbreaking work. The musical forms and structures Nielsen used are conventional, but the harmonic language is unique to him, employing what he refers to as progressive tonality, and with themes and progressions that frequently use rising minor thirds and half-step shifts to traverse key centers. His method of working out musical materials was new too, and liberated to some extent by the programmatic themes he had chosen to explore.I . Allegro Collerico The first movement is in a sonata allegro form with no slow introduction. At the offset B minor is proclaimed forcefully as the key and the orchestra dives into the heart of the matter with fiery intensity. Strings deliver the motives of the first subject: rising thirds and rapid descending passage work, while winds, timpani and brass provide a rhythmic framework. Gradually all become more and more involved in the driving melodic lines and frenetic rhythm, with irascible interjections and unpredictable accents which defy musical expectation, finally building up to a release of tension at the offset of the second subject 65 bars in. This begins with a moment of repose in G major, heard first in the clarinet and then joined by other woodwinds and strings. But this is fleeting; the music is restless, abruptly introducing skittering soft passage work in strings and winds in a descending melodic sequence. Further thematic developments and interplay take the harmony farther away from the home key of B minor with motifs in fragmentation and racing passage work flying around the orchestra. There is even a short rather irregular fugue further along in the development section, introduced by the celli, and followed in sequence by upper strings. But soft brass and oboes interject here as well, and finally the combined brass and wind choir join to transform the first motif of the fugue subject into an ostinato pattern underneath the episodes of the fugue all of which refer back to the opening motif of the exposition. Thus the
composer creates another huge build-up that carries the orchestra through multiple points of arrival, first to G major through a swift shift to E flat minor, and then on to multiple episodes of primary melodies from the first and second themes heard earlier, traversing several key areas in succession. Finally a dramatic cadence plants us firmly back in the key of B minor for the recapitulation of the movement. But new treatments of thematic elements still abound in the working out of primary themes, and those irascible interjections appear again and again. Most notable are startling and halting prismatic effects between wind brass swells and strident strings. This all leads to an even more fiery coda in an accelerated tempo, ending with a series of loud, short syncopated chord strikes by the whole band, and most notably bass trombone tuba, and timpani. The overarching effect of this movement is emotionally palpable: hot blooded and unpredictably logical, or perhaps logically unpredictable! II. Allegro comodo e flemmatico …is something different entirely. In a simple triple meter with a short ABA form, this phlegmatic, ‘lazy’ movement invites us to relax, at first anyway. Following the introduction in the key of G by the lower strings, we hear a reference to the familiar rising minor third melody of movement 1 in the first violins. The horn picks up this tune and passes the motif to the clarinet and flute who change it a bit, adding more rising and falling scales. The whole formal episode repeats with subtle differences in the details: offset rhythms, a higher range of pitches and thickening texture. In the second (B) section of the piece, clarinets, bassoons and violas begin a hushed march of staccato quarter notes, with an unusual arpeggiated accompaniment provided by the celli. The horns enter with the march figure followed by a quiet trill. Other instruments follow suit, continuing with offset rhythmic entrances that create a subtle sense of disequilibrium. The marching quarter notes seem to bark at each other until a pronounced fortissimo strike and roll of the timpani interrupts the conversation. Finally a sense of calm is restored and the instruments are more uniformly organized, winding their way calmly back to the A theme and the gentle conclusion of the movement, in echoed repetitions of the note G, with the contrabasses getting the last word.III. Andante Melaconico If key centers do suggest emotional states as some suggest, then perhaps Eb minor, with its six flats, is the key of melancholy. Is this real, deliberate? Perhaps, or maybe it is that we hear the rising minor third once again, placed in the context of a minor chord, and the general downward motion of the melodic shape that suggests sadness. Whatever it is, the mournful nature of the opening themes of this movement is striking.The introduction is slow, ponderous and emphatic with dramatic dynamic shifts. The second theme emerges with a plaintive cry in the oboe which becomes a motto phrase in the movement: the English horn takes it over, and the chromatic movement Program Notes 4
Program Notes 5on all sides imbeds in the tune delicate, tenuous texture passing the melody next to the first violin then the clarinet and second violin, in a carefully woven pattern of intricate harmonic shifts that builds up to a full orchestral rendering of this chromatic theme in the low voices with a rising figure quarter note figure and tremolo above. These elements shift back and forth, gradually dispelling tension and coming to rest with a repeated pattern in the horn and viola, which prepares the second theme’s arrival in the parallel key of Eb major. Here winds and strings toggle between two bar couplets, and become increasingly chromatic, moving from Eb major to B minor and gradually back to Eb minor via a series of chromatic sequences anchored by a strong presence of bass voices in a rhythmic ostinato that concludes with the timpani. The first theme (Eb minor) returns in fortissimo this time as though it did not quite get the point across at forte. The violins take up the plaintive theme this time, oboe and clarinet follow, while lower strings lay down the harmonic foundation with brief suggestive hints of the first theme. The low voices commandeer the theme again as instruments enter one layer at a time, for the final build up, reaching a thunderous peak in the key of D Major. What follows is a sequence of descending major chords with marked rhythmic proclamations in all the low voices. The orchestra is then gathered up for a tutti gesture of sheer energy and force, playing short accented figures gestures that finish the thought. All that remains is the dispersal of energy, and the calm aftermath of the sheer power unleashed in the climax of the movement. A gentle undulating ostinato in Bb minor closes the movement, a perfect fifth away from its origin. IV. Allegro Sanguinco - marzialeThis uptempo finale is deliriously cheerful and energetic, with a carefree spirit that bursts into the room without warning, seemingly oblivious to all the lament and angst that came before. Beginning in the key of D major (the relative major of B minor) the movement is a dizzying spectacle in which rapid dotted rhythms, and marching brass enter with a madcap dance that is the primary theme. It then runs through a series of wild variations featuring virtuosic violin scales whipping through the march-like figures of the winds and brass. At the end of the first episode, there is a brief sense of respite, with fleeting arpeggios in the flute and violin and a transition led by the solo voice of the timpani, which first boots everyone out of the sound but then calls them back. Following a second round of the dance spectacle, a more definitive sense of closure takes place, again pronounced by the timpani, who once again seems to get the last word. At the next crossroads, we are briefly pulled back into the melancholy memory, but with the melodic materials of the finale, in an intricate and private conversation between the string family. Out of the blue, the key shifts to C major for a short transition that collects and reignites the energy of the finale. The finale episode of this gregarious movement is the seamless transition into A major for a spirited 30-bar march. – Martha Stoddard
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 DocumentaryProgram Notes 6USEFUL LINKSLauny Grøndahl - WikipediaLauny Grøndahl - Concerto for Trombone and Orchestrahttps://en.wikipedia.org/wiki/Symphony_No._2_(Nielsen)https://www.bbc.co.uk/sounds/play/b017t0d0https://en.wikipedia.org/wiki/Four_temperaments
PLEASE JOIN US! FEB 12* PORTRAITS IN MUSIC Still: Darker America Bartok: Two Portraits Christina Walton, Violin solo Dvorak: Symphony No. 7 * Valley Center for the Performing Arts Regents Theater Holy Names University APRIL 30 AMERICANS IN PARIS Umar Durr: World Premiere - OCO Composer-in-Residence Commission Barber: Symphony No. 1 Milhaud: Quartre Chanson du Ronsard Raquel Taylor, Soprano Gershwin: An American in Paris Watch website for complete program details coming soon! www.oaklandcivicorchestra.comSAVE THE DATES! OCO 2022-2023 SEASONOCO Anniversary Season1992-2022The Celebration Continues!
FEB 12* PORTRAITS IN MUSIC Still: Darker America Bartok: Two Portraits Christina Walton, Violin solo Dvorak: Symphony No. 7 * Valley Center for the Performing Arts Regents Theater Holy Names University APRIL 30 AMERICANS IN PARIS Umar Durr: World Premiere - OCO Composer-in-Residence Commission Barber: Symphony No. 1 Milhaud: Quartre Chanson du Ronsard Raquel Taylor, Soprano Gershwin: An American in Paris Watch website for complete program details coming soon! www.oaklandcivicorchestra.comSAVE THE DATES! OCO 2022-2023 SEASONToday’s concert is brought to you by the Oakland Civic Orchestra Association and the Oakland Parks and Recreation Department and is performed by 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 PrincipalAnne Nesbet Helen Tam Maureen ParkPaula White Niko Umar DurrJeremy MarleyVIOLIN 2 Gar Wei Lee, PrincipalMargaret WuNancy RagleAmy GordonJules ChoDiane DobsonKatie WordenTram Le-NguyenLynn LaMichael HagenVIOLAThomas Chow, Principal Sara RuschéFelix Chow-KambitschLinda HsiehCody KimElizabeth ProctorDorothy LeeVIOLONCELLOVirgil Rhodius, PrincipalDiane LouieJohn SchroderShannon BowmanBryce MendelsohnHeidi WilliamsonChristopher KarachaleDiego Martinez MendiolaCONTRABASSCarol DeArment, PrincipalSandy SchniewindMackenzie ConklingFLUTE/ PICCOLOSusanne Rublein, PrincipalDarin TidwellDeborah YatesOBOERoger Raphael, PrincipalWendy Shiraki ENGLISH HORNWendy ShirakiCLARINETKile BeardDanielle NapoleonBASSOONAdam Williams, PrincipalElizabeth KelsonFRENCH HORNAlex Strachan, PrincipalAllyson WardAlex StepansDaniel BaoTRUMPETCindy Collins, PrincipalTom DaSilvaRoger DainerTROMBONEMax Walker, PrincipalJereld WingBASS TROMBONEGeorge GaeblerTUBAFrancis UptonTIMPANIMattijs van MaarenPERCUSSION Nancy GeimerPIANODebra Temple
Donate!The Oakland Civic Orchestra is excited to announce the Oakland Civic Orchestra Association (OCOA), our newly formed nonprot public benet corporation. OCOA is now able to accept tax de-ductible donations for the benet 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 LargeWendy Shiraki, At LargeAlex Strachan, At LargeMargaret Wu, At LargeAcknowledgementsTHANK YOU!Christine BrandesSusan WhiteNancy RagleKathleen SiedleckiNicola SkidmoreDorothy LeeVirgil RhodiusMargaret WuDaniel BaoAlex StepansWendy ShirakiRoger RaphaelOakland Parks and Recreation FoundationStudio One Art CenterFirst Presbyterian Church of Oakland Christina Walton - Librarian Carol DeArment - Video and photographyWendy Shiraki - Webmaster and graphics
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 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 email@example.com. TDD callers please dial (510) 615-5883.AnonymousPriyanka AltmanDaniel BaoChris BrandesNancy BushThomas ChowThomas DaSilvaCarol DeArmentAyako EnglishTim EricksonWilliam FinzerGeorge GaeblerLori GarveyNancy GeimerKeith GleasonVeronica GunnShannon HoustonNina HwangChristopher KarachaleLynn LaKate LauerDorothy LeeNellie LeeMalinda LennihanRusty LevisPamela LouieLennis LyonLila McDonaldJudith NortonDana OwensMaureen ParkElizabeth ProctorNancy RagleRoger RaphaelVirgil RhodiusSusanne RubleinJohn SchroderSteven SheeldWendy ShirakiNicola SkidmoreMartha StoddardAlex StrachanJudy StrachanHoward StrassnerMerna StrassnerDebra TempleFrancis UptonTimothy VollmerDeborah WalkerChristina WaltonAdam WilliamsAnna 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.