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First Presbyterian Church of OaklandSunday, October 29, 2023 at 4:00 PMMartha Stoddard, Artistic Director and Principal ConductorOakland Civic Orchestrapresentsfree but glad

PLEASE SILENCE ALL CELL PHONES AND OTHER ELECTRONIC DEVICES BEFORE THE CONCERT BEGINS.THANK YOU!Overture to Waverley, Op.1 (1827)Héctor Berlioz (1808-1869)Sea Pictures, Op.37 (1899)Edward Elgar (1857-1934) Shauna Fallihee, Mezzo-Soprano1. Sea Slumber Song 2. In Haven3. Sabbath Morning at Sea4. Where Corals Lie5. The SwimmerINTERMISSIONSymphony No.3, Op.90 (1883)Johannes Brahms (1833-1897)1. Allegro con brio2. Andante3. Poco allegretto4. Allegro - Un poco sostenutoMartha Stoddard, Artistic Director and Principal Conductorfree but glad

As we enter our 31st season I am proud to present our opening concert, Free But Glad! About the title: Brahms’ then good friend and mentor, Joseph Joachim, coined the phrase free but lonely, to which Brahms responded with Frei aber Froh, the now famous ascending F-Ab-F motto phrase of the Sym-phony No 3. While we may ponder what Johannes Brahms really felt, his deep relation-ship with the Schumanns and especially with Clara Schumann is now stuff of legend, as was his falling out with Joachim. Whatever conclusions we draw regarding Brahms’ personal life and happiness, there is no questioning the profound experience of playing his music. The Third Symphony is poignant, powerful and heart wrenching. It is meticulously crafted with this motto woven into the fabric and transformed throughout the work.In selecting companion pieces, I thought it fitting to open with something cheerful. The youthful Hector Berlioz’s Overture to Waverley, with its literary reference to Sir Walter Scott and colorful orchestration is perfect! We then move to something tender and dramatic, the poetic Sea Pictures of Edward Elgar, performed by popular Bay Area Mezzo-Soprano, Shauna Fallihee. These are wonderful orchestral settings of lush sea themed poems, perhaps summarized best in the line: “Joy, sea-swept, may fade to-day, Love alone will stay”.The Oakland Civic Orchestra is in its finest form. We are experiencing unprecedented growth musically and in community involvement. We are deeply grateful for our audience support and it is with great joy that we offer you this concert today. May you be swept away with the joy, beauty and love expressed in this music! – Martha Stoddard, Artistic Director and Principal Conductorfrom the podium

Martha Stoddard assumed the leadership of the Oakland Civic Orchestra in 1997 and begins her 26th season as Artistic Director this Fall of 2023. 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. Her recent appointments include Music Director for the Community Women’s Orchestra and Music Director for the Piedmont Chamber Orchestra. Previous positions include Conductor of the Holy Names University Community Orchestra, Resident Conductor for Enriching Lives Through Music, Program Director for the John Adams Young Composers Program at the Crowden Music Center and Director of Instrumental Music at Lick-Wilmerding High School. She is also an Associate Conductor of the San Francisco Composers Chamber Orchestra. In 2023, Ms. Stoddard was selected as a conducting fellow for the International Conductors Guild UCLA - Beethoven Workshop and the Pacific Northwest Conducting Institute.An award-winning composer and conductor, Ms. Stoddard is a strong advocate for living composers and has conducted premieres and commissions in multiple orchestras, recently featuring works by Alexis Alrich, Jessica Krash and Niko Umar Durr. In 2020 she was named as a finalist in the American Prize Competition for Conductors, Community Orchestra Division. Simultaneously the Oakland Civic Orchestra reached the final round of the Ernst Bacon Prize for the Performance of American Music, with Bruce Reiprich’s Lullaby, featuring Concertmaster Christina Owens Walton, violin, and Stoddard’s Waltz for the Fun of It. OCO also earned an Honorable Mention for the recording which included J.P. Johnson’s Harlem Symphony. 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. In 2024, Ms. Stoddard will present a Chamber Music Concert for the Glen-view Concert Series, joined by OCO Bassoonist Adam Williams and Clarinetist Marcelo Meira. When not studying or playing music, you will probably find Marty on a tennis court.about our conductor

about our soloistMezzo-Soprano Shauna Fallihee has the pleasure of serving Bay Area singers and audiences as a soloist, ensemble singer, and educator. Praised as an “extraordinary low soprano of richness and depth” (David Bratman, San Mateo Daily Journal), Shauna has been featured with numerous Bay Area ensembles including San Francisco Choral Society, Masterworks Chorale, San Francisco Composers Chamber Orchestra, Albany Chamber Orchestra, Berkeley Community Women’s Chorus, Open Opera, West Bay Opera and the Old St. Mary’s Cathedral Noontime Concert Series.As an ensemble singer, Shauna has performed with American Bach Soloists, Philharmonia Baroque, Cantata Collective, AVE (Artist’s Vocal Ensemble), San Francisco Renaissance Voices and joins the professional roster of San Francisco Symphony Chorus in 2023. Deeply dedicated to the performance of new music, Shauna has performed world premieres and contemporary works with Empyrean Ensemble, Facing West Shadow Theater, NothingSet Ensemble, Nevada City Composers Collective, Opus Project, Wild Rumpus, Ensemble Mik Nawooj, Stanford Laptop Orchestra and enjoyed a decade with new music chamber choir Volti. Shauna is the lead teacher for The Dailey Method, an alignment-focused exercise program. Her own multi-disciplinary program Embodied Singer integrates movement, myofascial release and meditation with vocal technique. She serves on the voice faculty of Las Positas College and since 2015 had been on faculty at Holy Names University, where she is a proud alum of the Vocal Pedagogy program.

program notes 1Overture to Waverley (H26, Op. 1, 1827)Héctor Berlioz (1803–1869). Many composers of this period were brought up in musical families. Not Héctor Berlioz. His father was a famous doctor (one of the first West-ern doctors to use acupuncture!), and wanted his son to follow the family profession. Young Berlioz even went to medical school in Paris from 1821 to 1824. But unlike so many impoverished future composers, he was well off and had a good allowance, so he went to the Opera and was trans-ported, ensorcelled by the music he heard. He found scores of Gluck’s operas and copied parts of them to figure out how they worked. By 1823, he knew he wanted to be a composer, and got a professor at the Conser-vatoire to take him on as a pupil.After graduating from medical school, he composed for a few years, then enrolled at the Conservatoire in 1826. His first public concert was in 1828, and included this overture.His music often defies easy categorization. Berlioz himself quipped in later life that it was a good thing he never learned to play the piano very well, so that he was saved from what he called “the tyranny of keyboard habits, so dangerous to thought, and [saved] from the lure of conventional harmonies.”From that, you can correctly infer that he was a man of passion and strong convictions. One more anecdote: on his fourth attempt, he won the prestigious Prix de Rome in 1830. With that fellowship, he went to Rome to study composition, leaving his beloved fiancée behind in Paris. Bad move. When he received the “Dear Héctor” letter breaking off the engagement, explaining that she was now going to marry someone else (and richer), he went AWOL from the program, found poisons and pistols, and headed for Paris to kill them both. And her mother.By the time he reached Nice, however, he had cooled off. He stayed there for a few weeks, wrote the King Lear overture, and returned to Rome.Now, to the music. Many of us (this annotator included) first learned about “overtures” as orchestral music that comes before a musical or an opera. Overtures for musicals often give the audience a preview of some of the songs to come; overtures for operas often sound like symphon-ic movements, perhaps in the spirit of the drama but not based on the upcoming tunes. Composers from Berlioz’s period also wrote “concert overtures,” which act very much like overtures to operas — except they don’t have an opera attached.And that’s what this one is. Today’s overture, Waverley, is the first of his five concert overtures. You can see that this is Opus One, so it must be early; in fact, it was the first piece he ever published as a standalone piece for orchestra, long before the Prix de Rome.The piece is inspired by Sir Walter Scott’s novel. Although this early

program notes 2work does not tell the story of the novel (an English nobleman joins the army and goes north to Scotland to fight the Jacobite rebellion, but ends up falling in love with a lass and switching sides), when Berlioz published the work, he included these two lines from the novel on the title page:Dreams of love and ladies’ charms/Give way to honour and to armsAnd these actually tell us what we are hearing. The overture is in two parts, the first lyrical and driven by romance, the second more energetic and martial. Listen to the long theme of the first part: it is not structured like a classical melody at all, but giving us a sense of the kinds of themes other romantic composers would be writing—decades later.Waverley does not include the lavish orchestrations he became so famous for (example: his Requiem calls for eight pairs of tympani for the Dies Irae), but the first edition of this piece foreshadows the scale of the orchestras he will write for, calling for “at least” 30 violins, 10 violas, 12 cellos, and 9 basses. And 4 bassoons. You will hear “thicker” chords in the lower registers than were customary for composers of that time.Sea Pictures (Op 37, 1899)Sir Edward Elgar (1857–1934).Edward Elgar’s most famous composition is probably the Pomp and Circumstance March No. 1, which we have all heard as graduates stride—or trudge—across a school stage. He is also justly renowned for the Enigma Variations (each variation allegedly a portrait of a different friend); concertos for violin and cello; two symphonies; and the enormous oratorio The Dream of Gerontius. Beyond those large works, he has left us many choral works and songs, and considerable chamber music.Five of the songs are here today: a song cycle, that is, a set of related songs, in this case for mezzo-soprano with orchestral accompaniment. The words for the songs come from five poems by different authors. They were originally written for soprano and piano, in a higher key, but Elgar reworked and orchestrated them for the great contralto Clara Butt, who premiered these songs at the 1899 Norfolk and Norwich festival. For this performance, she was dressed as a mermaid.The poems, of course, are about the sea—and the deep English rela-tionship with the sea—painting the sea as comforting, beautiful, symbolic, dangerous, and alluring. The songs are independent, although some the-matic material recurs. You may also hear (at least this annotator thinks he hears) an echo of Wagner’s prelude to Die Meistersinger in the third song; see if you agree!On the following pages are the texts for the five songs:

SEA PICTURES - lyrics1. Sea Slumber SongPoet:Roden NoelSea-birds are asleep,The world forgets to weep,Sea murmurs her soft slumber-songOn the shadowy sandOf this elfin land;“I, the Mother mild, Hush thee, O my child,Forget the voices wild!Isles in elfin lightDream, the rocks and caves,Lull’d by whispering waves,Veil their marbles bright.Foam glimmers faintly whiteUpon the shelly sandOf this elfin land;Sea-sound, like violins,To slumber woos and wins,I murmur my soft slumber-song,Leave woes, and wails, and sins,Ocean’s shadowy mightBreathes good night, Good night!”2. In HavenPoet:Caroline Alice Elgar (Edward’s wife)Closely let me hold thy hand, Storms are sweeping sea and land;Love alone will stand.Closely cling, for waves beat fast, Foam-flakes cloud the hurrying blast;Love alone will last.Kiss my lips, and softly say: Joy, sea-swept, may fade to-day;Love alone will stay.3. Sabbath Morning at SeaPoet:Elizabeth Barrett BrowningThe ship went on with solemn face; To meet the darkness on the deep, The solemn ship went onward.I bowed down weary in the place; For parting tears and present sleep Had weighed mine eyelids downward.The new sight, the new wondrous sight! The waters around me, turbulent, The skies, impassive o’er me,Calm in a moonless, sunless light, As glorified by even the intent Of holding the day glory!Love me, sweet friends, this Sabbath day. The sea sings round me while ye roll Afar the hymn, unaltered,And kneel, where once I knelt to pray, And bless me deeper in your soul Because your voice has faltered.And though this sabbath comes to me Without the stolèd minister, And chanting congregation,God’s Spirit shall give comfort. He Who brooded soft on waters drear, Creator on creation.He shall assist me to look higher,He shall assist me to look higher, Where keep the saints, with harp and song, An endless sabbath morning, An endless sabbath morning,And, on that sea commixed with fire,And that sea commixed with fire, Oft drop their eyelids raised too long To the full Godhead’s burning. The full Godhead’s burning.

4. Where Corals LiePoet:Richard GarnettThe deeps have music soft and low When winds awake the airy spray,It lures me on to go And see the land where corals lie.By mount and mead, by lawn and rill, When night is deep, [and moon] is high,That music seeks and finds me still, And tells me where the corals lie.Yes, press my eyelids close, ‘tis well, But far the rapid fancies flyThe rolling worlds of wave and shell, And all the lands where corals lie.Thy lips are like a [sunset] glow, Thy smile is like a morning sky,Yet leave me, leave me, let me go And see the land where corals lie.5. The SwimmerPoet:Adam Lindsay GordonWith short, sharp violent lights made vivid, To southward far as the sight can roam;Only the swirl of the surges livid, The seas that climb and the surfs that comb.Only the crag and the cliff to nor’ward,The rocks receding, and reefs flung forward,waifs wreck’d seaward and wasted shoreward, On shallows sheeted with flaming foam.A grim, gray coast and a seaboard ghastly, And shores trod seldom by feet of men --Where the batter’d hull and the broken mast lie, They have lain embedded these long years ten.Love! when we wandered here together,Hand in hand through the sparkling weather,From the heights and hollows of fern and heather, God surely loved us a little then.The skies were fairer, the shores were firmer -- The blue sea over the bright sand roll’d;Babble and prattle, and ripple and murmur, Sheen of silver and glamour of gold.[ ... ]So girt with tempest and winged with thunder,And clad with lightning and shod with sleet, And strong winds treading the swift waves underThe flying rollers with frothy feet. One gleam like a bloodshot sword-blade swims onThe sky-line, staining the green gulf crimson,A death stroke fiercely dealt by a dim sun, That strikes through his stormy winding-sheet.O, brave white horses! you gather and gallop, The storm sprite loosens the gusty reins;Now the stoutest ship were the frailest shallop In your hollow backs, on your high arch’d manes.I would ride as never man has riddenIn your sleepy, swirling surges hidden,To gulfs foreshadowed through strifes forbidden, Where no light wearies and no love wanes.

program notes 4Symphony No. 3 (1883) Johannes Brahms (1833–1897). In 1833, six years after Waverley, the Romantic period was well begun; classical music was in the rearview mirror. Beethoven and Schubert had died a few years previously; Mendelssohn and Chopin were famous young composers; Schumann, Liszt, and Wagner were bursting onto the musical scene. And in that year, Johannes Brahms was born.Today we tend to think of Brahms as the formidable, serious man with the beard, the older statesman with a foot still in the classical period, resisting the radical effusion that was to come. But in fact, he was the youngster in that crowd of romantics: curious, cautious, a little conser-vative, a chronic perfectionist. He constructed his daring innovations carefully rather than spilling his emotions across the page. He revered Beethoven, Mozart, and Bach, but across a wider gulf, and with more per-spective, than we might realize. His Symphony No. 1—sometimes called Beethoven’s 10th—premiered in 1876, more than 50 years after Beetho-ven’s ninth.We also think of Brahms as a great symphonist—and he was—yet the great bulk of his music is in songs, piano, and chamber works. He com-posed relatively few works for orchestra, but what works they are: four symphonies, two overtures, two serenades, a set of variations, and four concertos, all of which are still in the concert repertoire today.Which brings us to the Third Symphony (Op. 90), from 1883. The first movement opens with a theme from Robert Schumann, and continues with material that echoes Artist’s Life, a waltz by Brahms’ lifelong friend Johann Strauss II. The second theme, introduced by the clarinet, almost seems like a country dance tune. But Brahms brews great tension from those ingredients. From the second crashing chord, the piece bombards us with ambiguities: if this is really major, why is there so much minor? Does this piece have three beats to the measure or two? And where is the downbeat? The movement is a giant, a monument, a rhythmic and har-monic Everest.The two inner movements are more intimate, more like chamber works in their scope. The second movement has a quiet, idyllic feel. The third, well, the third movement of this symphony has one of the most heart-breaking melodies you will ever hear. If you’re at all sensitive, get a tissue.The fourth movement is the tempest, and brings back material from throughout the symphony. It also re-addresses the fundamental conflicts of the piece. It would be a mistake, however, to characterize the music, with its heroic second theme, as depicting a literal battle: Brahms wrote music to be music, not to tell a story. The conflict is real, however, and the reso-lution is deeply satisfying: themes are transformed, major wins out, and in what was at the time a breathtaking innovation, the symphony ends quietly.

program notes 5What else to listen for. Composers create tension for the listener, and resolve it. We usually think of tension as coming from harmony or melo-dy, but this symphony gives us a wonderful chance to listen for Brahms’s brilliance in rhythmic design.Brahms also uses polyrhythms, for example, three beats in the same time as two. Find a partner and say “basketball, basketball, basketball…” repeatedly while they say “baseball, baseball, …” keeping your initial B’s are synchronized. This rhythmic pattern seems odd at first, but Brahms uses it so much that it soon sounds normal.Any three-versus-two pattern, either simultaneous or juxtaposed one after the other, is a source of tension and resolution. This is true through-out the symphony, but especially in the fourth movement, where the darker, minor initial theme is based on rhythms of 2 and 4, and the heroic, major contrasting theme is riddled with triple rhythms. Listen for how the dark melodic material eventually gets taken over by triple rhythms as part of the overall resolution of the piece.If you’re reading this before the concert… What is rhythmic design? Consider the first movement, with six beats to the measure. Traditionally, that means that the emphasis is on the first and fourth beats, like this: 1 2 3 4 5 6, 1 2 3 4 5 6. Say it out loud, with the emphasis; it will sound familiar, it makes sense. Syncopation means putting an emphasis on an unusual beat. If you keep putting the emphasis on the same unusual beat, the ear loses track of the downbeat. Much of the first movement slips into this pattern: 6 1 2 3 4 5 6 1 2 3 4 5. Say it aloud until it sinks in. This “dis-placed downbeat” creates an aural tension you may not even be aware of, but it gets resolved when the normal rhythm re-establishes itself.To get a better idea of what the players are going through, here is an exercise. Again, say 6 1 2 3 4 5 6 1 2 3 4 5, repeatedly, but this time clap gently on beats 1 and 4. For a real challenge, see if you can transition to 1 2 3 4 5 6 1 2 3 4 5 6, still clapping, without dropping a beat. Then transi-tion back.Another rhythmic design technique is hemiola: 1 2 3 4 5 6 1 2 3 4 5 6, that is, the six gets divided into 2 + 2 + 2 instead of 3 + 3. Many compos-ers use this occasionally, but Brahms uses it as part of his everyday palette. The opening “Schumann” theme is an extended hemiola that keeps the listener from being sure of the meter of the piece until the seventh bar. —Tim Erickson

OCO april 2023 concertTap program to viewMany thanks to Nina Strachan for the great photos!

OCO summer picnic 2023This early September picnic at Montclair Park was a great kick-off to the start of our 2023-2024 Season. Thanks to Dorothy Lee and to Shannon Bowman who also took these fun photos!

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! FEBRUARY 25 SYMPHONIC DANCE PARTY Doreen Carwithen: Bishop Rock Overture Joaquin Turina: Danzas Fantasticas Sergei Rachmaninoff: Symphonic Dances, Op.45 MAY 5 LUMINOSITY Vaughan Williams: Fantasia on a Theme by Thomas Tallis Yasushi Akutagawa: Music for Symphony Orchestra Igor Stravinsky: Divertimento from Le Baiser de la fée (The Fairy’s Kiss) Cadence Liu: Concerto for Flute and Orchestra Cadence Liu, Flute Watch our website for complete program details coming soon! www.oaklandcivicorchestra.comSAVE THE DATES! OCO 2023-2024 SEASONOCO 2023-2024 Season

SAVE THE DATES! OCO 2023-2024 SEASONToday’s concert is brought to you by the Oakland Civic Orchestra Association, the Oakland Parks and Recre-ation Department and members of the Oakland Civic Orchestra. The Oakland Civic Orchestra was founded in 1992 and is a volunteer community orchestra bringing together musicians of all ages and backgrounds to share in the joy and magic of music-making. For more information about joining the orchestra or about our current season, please visit our website at: https://www.oaklandcivicorchestra.com. You can also nd concert information and current news about the orchestra on Facebook. Search for the Oakland Civic Orchestra and “like” us today!musiciansVIOLIN 1Christina Walton, Concertmaster Priyanka Altman, Asst PrincipalNiko Umar Durr Amanda MokLila McDonaldToshi TakeuchiPhillip TrujilloMaureen ParkAnne NesbetHelen TamNick NewtonJen LiJeremy MarleyAmalia MurrayVIOLIN 2 Margaret Wu, PrincipalPaula WhiteVeronica OberholzerMichael HagenNancy Ragle Amy GordonJules ChoKatie WordenSusan WhiteBaily HopkinsRose MillerDiane DobsonSara WoodkraftVIOLAThomas Chow, PrincipalSara Rusché, Asst PrincipalLinda HsiehFelix Chow-KambitschCody KimLo WeselyElizabeth ProctorGar Wei LeeDorothy LeeVIOLONCELLOVirgil Rhodius, PrincipalJohn Schroder, Asst PrincipalChris BrannDiego Martinez Mendiola Diane LouieShannon BowmanDaniel StricklandHeidi WilliamsonBryce MendelsohnKate LauerChristopher KarachaleCONTRABASSCarol DeArment, PrincipalSandy SchniewindNancy KasparAmanda FenziFLUTESusanne Rublein*Darin TidwellDeborah YatesPICCOLODeborah YatesOBOEFlora EspinozaRon KerstCLARINETMarcelo MeiraDanielle NapoleonTom BerkelmanAdam ThyrBASSOONAdam Williams*Elisabeth KelsonCONTRABASSOONZev CooperFRENCH HORNAlex Strachan*Alex StepansAllyson WardDaniel BaoTRUMPETCindy Collins*Roger DainerTom DaSilvaTROMBONEMax Walker*Jereld WingBASS TROMBONEGeorge GaeblerTUBAFrancis UptonTIMPANIRyan Gliha*Sandra HuiPERCUSSIONSandra HuiDiane LouieHARPSamantha Garvey-Mulgrew*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 MembersLila MacDonald, ChairCarol DeArment, SecretaryDaniel Bao, TreasurerChristopher Karachale, At LargePhillip Trujillo, At LargeWendy Shiraki, At LargeAlex Strachan, At LargeMargaret Wu, At LargeDeborah Yates, At LargeacknowledgementsTHANK YOU!Bret AndrewsPaul Bulkley-Logston Cindy CollinsTom DaSilvaRyan GlihaSerena LeDorothy LeeAndrew O’DonnellRoger RaphaelVirgil RhodiusAlex StepansAlex StrachanOakland Parks and Recreation FoundationStudio One Art CenterFirst Presbyterian Church of Oakland Christina Walton - Librarian Carol DeArment - Videographer/PhotographerWendy Shiraki - Graphic designer/WebmasterTim Erickson - Program Annotator

thank you donors!Title VI COMPLIANCE AGAINST DISCRIMINATION 43CFR 17.6(B) Federal and City of Oakland regulations strictly prohibit unlawful discrimination on the bases of race, color, gender, national origin, age, sexual orientation or AIDS and ARC. Any person who believes he or she has been discriminated against in any program, activity or facility operated by the City of Oakland Oce of Parks and Recreation should write to the Director of Parks and Recreation at 1520 Lakeside Drive, Oakland, CA 94612-4598, or call (510) 238-3092. INCLUSIVE STATEMENT: e City of Oakland Oce of Parks and Recreation (OPR) is fully committed to compliance with provisions of the Americans with Disabilities Act. Please direct all inquiries concerning program and disability accommodations to the OPR Inclusive Recreation Coordinator at (510) 615-5755 or smeans@oaklandnet.com. TDD callers please dial (510) 615-5883.AnonymousPriyanka AltmanDaniel BaoHaley BashShannon BowmanChris BrandesBright FundsHanna BuechiNancy BushJuliana ChoThomas ChowCindy CollinsAllan CrossmanRoger DainerThomas DaSilvaCarol DeArmentChristina de la CruzAyako EnglishTim EricksonStephen FeierabendWilliam FinzerGeorge GaeblerRobert GarciaLori GarveyNancy GeimerKeith GleasonAraxi GundelngerVeronica GunnBaily HopkinsShannon HoustonLinda HsiehChristopher KarachaleElisabeth KelsonAkiko KobayashiLynn LaKate LauerDorothy LeeNellie LeeMalinda LennihanRusty LevisAdrian LewisPamela LouieLennis LyonJeremy MarleyDiego Martinez MendiolaBambi MenesLila McDonaldGayle MillingtonJudith NortonDana OwensMaureen ParkPaypal Giving FundElizabeth ProctorNancy RagleRoger RaphaelPatrick ReardonVirgil RhodiusCarol RothsteinRascal RoubosPatricia RubleinSusanne RubleinArno & Toshiko SchniewindJohn SchroderSchwab CharitableChristine ShaSteven SheeldWendy ShirakiNicola SkidmoreMartha StoddardAlex StrachanJudy StrachanNina StrachanHoward StrassnerMerna StrassnerDebra TempleFrancis UptonTimothy VollmerDeborah 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.