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SYMPHONICMASTERWORKSOctober 13, 2024Sunday • 3 PMMalonga Casquelourd Center for the ArtsOakland CAMartha Stoddard, Artistic Director and Principal ConductorAndrew O’Donnell, Assistant ConductorOakland Civic Orchestra presents

PLEASE SILENCE ALL CELL PHONES AND OTHER ELECTRONIC DEVICES BEFORE THE CONCERT BEGINS.THANK YOU!Overture No.1 in E minor, Op. 23 (1834)Louise Farrenc (1804-1875)String Quartet in G II. Andante moderato - arranged for string orchestra (1929)Florence Price (1887-1953)Symphony No.5 in E Minor (1888)Piotr Illych Tchaikovsky (1840-1893)I. Andante – Allegro con anima – molto tranquillo – Tempo I (allegro con anima)II. Andante cantabile – con alcuna licenzaIII. Valse – Allegro moderatoIV. Finale: Andante maestoso – Allegro vivace (alla breve) – Moderato assai e molto maestoso – Presto – Molto meno mossoMartha Stoddard, Artistic Director and Principal ConductorAndrew O’Donnell, Assistant ConductorSYMPHONIC MASTERWORKS

Welcome to the Malonga Casquelourd Center!The Oakland Civic Orchestra is thriving and we are thrilled to share our music with you in our first ever concert here. As we continue to explore venues in search of a permanent concert home, we truly hope you will let us know about your experience at Malonga. This is one of three venues we are exploring over the course of a year, and we’d love to hear from you.Today’s program brings us back to a work OCO first performed in 2010, Tchaikovsky’s iconic Fifth Symphony is a staple of the orchestral canon, with countless performances across the globe by orches-tras at every level. It offers tender, heart wrenching melodies, thunderous brass, soaring strings, and eloquent winds. It is playful, somber, regal and everything in between. Still, Tchaikovsky doubted its worth; prior to composing it, he had considered himself done writing music. Can you imagine if the work had never been written? I cannot.Truthfully, most composers experience this wrenching doubt, and simply must push through it. Some composers, such as Louise Farrenc and Florence Price faced other challenges as well. Female, and in Price’s case African American, they experienced gender and racial bias that limited opportunities to perform and hear their music. In the words of Fanny Mendelsson (Felix’s little sister): “If one never hears their work performed, how can they assess its worth?”As you will read, both Farrenc and Price were committed, gifted and accomplished composers whose works deserve a wider audience. We are proud to perform their music today and hope you will seek out additional works by these women to explore. OCO is committed to presenting performances of and by underrepresented artists and composers, while still delving deeply into the orchestra canon. We hope to strike a balance in cultivating the passion, skill and interest of our players and offering our audience high quality performance experiences.I invite you to join us for the rest of the season, as we present baritone Bradley Kynard singing Mahler, the California premiere of Ruth Gipps’ Symphony No. 2, Scarlet Sculptures by Australian rising star Naomi Dodd, and Legends, a new commission by our Composer-in-Residence, Niko Umar Durr, featuring Alex Strachan on horn and much more! For our Winter and Spring Concerts, we move to the beautiful Regents Theater at the Valley Center for the Performing Arts, where you will enjoy superior acoustics, comfortable raked seating plus free and abundant parking . – Martha Stoddard, Artistic Director and Principal ConductorFrom the Podium

Program Notes 1String Quartet in G, II. Andante moderato- arranged for string orchestra (1929)Florence Price (1887-1953)In 2009, a couple began renovations on a dilapidated house they had purchased in the small Illinois community of St. Anne, about an hour south of Chicago. One room in the house was miraculously spared from decades of harsh weather, and in this room the couple discovered boxes upon boxes of handwritten sheet music, which bore the signature “Florence Price”. This house had been her summer home and artistic retreat, and the discovery of these manuscripts launched the previously neglected composer into widespread recognition as one of America’s most important musical figures.Florence Price was raised in Little Rock, Arkansas. Her father, Dr. James H. Smith, was a prosper-ous dentist and one of Little Rock’s most highly respected black men. Florence displayed remarkable musical talent from a young age, and in 1903, she began studies at the New England Conservatory of Music in Boston, one of the few conservatories that permitted black students to enroll. Price completed the four-year program in three years, and graduated with diplomas in both piano and organ, the only student to receive two degrees that year. After graduation, Price set aside her musical ambitions and returned to her parent’s home in Little Rock to teach. After her father died in 1910, her mother sold all of the family’s possessions and moved back to her hometown of Indianapolis, leaving Florence alone in Arkansas. She continued to teach at various schools in Little Rock while giving piano and organ recitals. She eventually married Thomas Jewel Price, started a family, and settled into a comfortable life in a predominantly Black neighborhood in Little Rock.But Florence’s drive to create music could not be extinguished. She spent the summers of 1926 and 1927 in Chicago where she studied composition at the Chicago Musical College. Meanwhile, racial tensions in Little Rock were rising, with increasing racist attacks and lynchings terrorizing black neigh-borhoods. Florence and her husband made the decision to relocate their family to Chicago in 1927– the cusp of the Black Chicago Renaissance.The Great Depression took its toll on the Price family− Florence’s husband, often without work, grew angry and abusive, and in 1930, Florence was granted a divorce and custody of their two daugh-ters. In 1931, Price began work on the composition that would change her life- her First Symphony in E Minor. She tirelessly worked on her Symphony while making ends meet accompanying silent films on the organ. Fate would soon intervene and her First Symphony, composed against all odds in a world full of prejudices against her, had come to the attention of Chicago Symphony Music Director Frederic Stock, and was to be given its premiere at the 1933 World’s Fair. The premiere was received with ex-citement and applause, albeit a lack of recognition towards the monumental event that had just taken place: this was the first performance of a large-scale composition by a Black woman composer given by a major American orchestra. Unfortunately, the original champion of her music, the German conductor Frederic Stock, would become unwelcome in Chicago as geopolitical tensions rose during the Second World War. Price’s music was mostly forgotten, and enthusiasm for her works today can only begin to make amends for the neglect her genius was subject to for so many decades. Florence Price was keenly aware of the challenges she would face as an artist. In a letter to the famed conductor and composer Serge Koussevitzky, she describes the diculties she faced outright: “I have two handicaps – those of sex and race. I am a woman; and I have Negro blood in my veins.” The work on today’s program is taken from an unfinished string quartet which Price composed in 1929 at age 42. It contains three distinct sections in a kind of palindrome form: slow-moder-ate-fast-moderate-slow. All three sections are bursting with Price’s unique voice and creative wit– the slow sections are reminiscent of a black spiritual, rich in four part harmony and incredibly heartfelt. The

Program Notes 2moderate sections play with elements of jazz harmony and explore the colors of pizzicato versus bowed notes in close juxtaposition. The fast section at the middle of this composition is full of levity and joy, interrupted by brief instances of potency.If you enjoyed this piece you should listen to:Florence Price - Symphony No. 1 in E MinorWilliam Grant Still - Afro-American SymphonyOverture No. 1 in E Minor, Op. 23 (1834)Louise Farrenc (1804-1875)Nearly a century before Florence Price, French composer Louise Farrenc was also forging her own musical path against institutionalized misogyny. Farrenc was born in Paris to a distinguished artistic family. Like Price, her musical talents were recognized at a young age. At fifteen, Farrenc broke a significant gender barrier by being accepted into the previously all male composition class at the Paris Conservatoire. She was, however, required to attend her composition courses privately, as the Conservatoire refused to allow men and women to sit in the same class. Just two years after entering the Conservatoire, she married the great flutist Aristide Farrenc. Louise established a remarkable career in Paris as a concert pianist and teacher. All the while she was diligently working on compositions of her own, ranging from solo piano works to full symphonies. Her compositions received praise, with her small ensemble compositions being the most popular during her lifetime. In 1842, Farrenc was appointed piano professor at the Paris Conservatoire, the only wom-an to hold a permanent professorship at the school during the entire 19th century. The overture you will hear today begins in the grand French Overture style with regal dotted rhythms and a sense of nobility. Soon the woodwinds take over for a moment of tenderness, interrupted by a stern version of the opening material. As the introduction comes to a close, the violins launch us into the main body of the overture, a fierce and fiery allegro agitato. Farrenc displays all of her compositional mastery in this overture, utilizing striking colors and dis-sonant harmonies, all while keeping her themes tidy and clear. She then allows these themes to devel-op, winding in and out of each other, often in unexpected ways. The amount of expressive variety in this overture is astounding, bouncing back and forth between shivering intensity and romantic lushness. Farrenc’s large-scale compositions, like this overture, were dicult to organize performances of and were received less enthusiastically than her smaller works. The 19th century music critic Fran-cois-Joseph Fetis, astutely wrote: Unfortunately, the genre of large scale instrumental music to which Madame Farrenc, by nature and formation, felt herself called involves performance resources which a composer can acquire for herself or himself only with enormous eort. Another factor here is the pub-lic, as a rule not a very knowledgeable one, whose only standard for measuring the quality of a work is the name of its author. If the composer is unknown, the audience remains un-receptive, and the publishers, especially in France, close their ears anyway when someone oers them a halfway decent work; they believe in success only for trinkets. Such were the obstacles that Madame Farrenc met along the way and which caused her to despair.Fortunately, much like Florence Price, renewed interest in Farrenc’s orchestral music has put her

on a path towards receiving the recognition she has always deserved. If you enjoyed this piece you should listen to:Louise Farrenc - Symphony No. 3Louise Farrenc - Nonet in E-flat MajorSymphony No. 5 in E Minor, Op. 63 (1888)Pyotr Illych Tchaikovsky (1840-1893)In 1888, the 48 year old Tchaikovsky was experiencing widespread recognition and international fame. Earlier in the year he had embarked on a highly successful European tour, conducting his own works with some of the world’s finest orchestras. Tchaikovsky’s private life, however, tells a different story. His sister and niece were both seriously ill, and one of his closest friends, Nikolai Kondratyev, had recently died. This juxtaposition of artistic success and personal hardship was a thread that ran through most of Tchaikovsky’s life– it was impossible for him to escape the thought that his existence was a constant struggle against fate. After returning from his tour, Tchaikovsky set to work writing a new symphony, his first in ten years. While there is no published programmatic element to the symphony, there are hints at a program penned on his first sketches of the symphony: Introduction. Complete resignation before Fate, or, which is the same, before the inscrutable predes-tination of Providence. Allegro. (1) Murmurs of doubt, complaints, reproaches again XXX. (2) Shall I throw myself into the embraces of faith???One glaring question arises from Tchaikovsky’s brief description: that of the unnamed, mysterious “XXX”. Until quite recently music historians attributed this symbol to represent Tchaikovsky’s sup-posed gambling addiction, but new research tells a different story. It is now a historical certainty that Tchaikovsky was homosexual, a side of his life that both he and the Russian government worked tirelessly to hide. To be homosexual was absolutely forbidden in 19th century Russia, but the government, intent on sharing their country’s musical hero with the world, allowed Tchaikovsky to work and perform under the condition that his sexuality never be disclosed. The picture of Tchaikovsky as a man obsessed with fate comes into clearer picture with this knowl-edge– that of an artist expressing his most heartfelt, intimate sentiments, while being forced to hide the side of him that he was so explicitly drawing upon for his music. Ultimately, it was Tchaikovsky’s sexuality which brought his life to an end. Newly unearthed histori-cal documents account an emergency meeting held in the inner chambers of a St. Petersburg judge– the secret of Tchaikovsky’s sexuality was not being kept under wraps to the extent the Russian government had hoped, and it was decided that Tchaikovsky would be forced to commit suicide to preserve his repu-tation and Russia’s cultural standing. The meeting devolved into a screaming match, which Tchaikovsky rushed out of. The next day he fell ill and died, with his official cause of death being listed as cholera. Tchaikovsky was not only an outsider because of the great secret of his sexualiy– he was also quite an artistic conundrum. The late 19th century saw a divergence of Western European compositional styles and a freshly formed Russian school of composition. The former was the musical language of Mozart, Schumann, Brahms, and Wagner, the latter something else entirely. The Russian school of composition sought to find a musical language that was entirely unique, drawing primarily on Slavic folk songs and shying away from the harmonic complexity and thematic development prevalent in Western style compo-sitions. Tchaikovsky found himself at the intersection of these two schools of thought– he wrote in a Program Notes 3

from our May 5, 2024 concert, thanks to Frank ChenProgram Notes 4distinctly Russian style utilizing folk melodies and other various composition devices devised by the Russian school, but put these elements into the framework of traditional Western symphonic writing. Tchaikovsky’s completely unique synthesis of these styles explains why his compositions were so widely appreciated.The Fifth Symphony, like the Fourth and Sixth, draws upon Tchaikovsky’s obsession with fate. All four movements are linked by a common theme, first heard as a somber melody in the clarinets, which symbolizes the threatening power of fate. The initial presentation of the fate theme is followed by an omi-nous Allegro, always swinging back and forth between deeply emotive lyrical writing and more sweeping, dramatic passages. The first movement ends with a descent into the depths of the orchestra’s lowest instruments, playing in their lowest registers. Fate has taken its first victim.The second movement is like a dream, beginning where we left off with dark string sonorities, but optimism works its way into these string chords. A solo french horn enters with one of Tchaikovsky’s most profoundly expressive melodies. The movement develops like a fantasy, only to be suddenly interrupted by two outbursts the fate theme, finally settling with a peaceful close. For the third movement, Tchaikovsky replaces the traditional scherzo with a gorgeous waltz, always keen on highlighting his skills as Russia’s best ballet composer. Just as we think this waltz is coming to a close, the fate theme returns, impossible to ignore. The finale begins with a complete transformation of the fate theme. Now fate is presented in a major key and with an atmosphere of triumph. The movement turns into a fiery romp, with the transformed fate theme relentlessly present. This movement symbolizes the act of overcoming fate, much like Beethoven’s own fifth symphony. Against all odds, Tchaikovsky finds hope and triumph while staring fate head on. If you enjoyed this piece you should listen to:Tchaikovsky - Symphony No. 6Beethoven - Symphony No. 5 – Andrew O’Donnell

Martha Stoddard (Marty) enjoys a multi-faceted musical career as conductor, composer 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 artis-tic excellence and growth. Originally trained as a flutist, she is principal flute for the Handel Opera Project and Piedmont Chamber Players.In November, 2024, Marty will appear as guest conductor for Verdi’s La Traviata for Ver-ismo 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 Community Women’s Orchestra, Holy Names University Community Orches-tra, San Francisco Composers’ Chamber Orchestra, and Enriching Lives Through Music. Marty also held the position of Program Director for the John Adams 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. Marty was selected as a conducting fellow in professional workshops in Los Angeles in 2023, and at the Pacific Northwest Conducting Institute in 2023 and 2024.An award-winning composer and conductor, Marty is a strong advocate for living and women composers, having conducted many contemporary works, premieres and commis-sions. 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, Community Orchestra Division. Recent performances include premieres by 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.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 working with the Oakland Civic Orchestra, 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

Join Us for these Great PerformancesNaomi Dodd: Scarlet SculpturesNikolaus Umar Durr: Legends: Concerto for Horn and Orchestra (Commission and Premiere) Alex Strachan, HornJean Sibelius: Symphony No.5LEGENDSSunday, April 27, 20254:00 PMEURO-TALESSunday, February 2, 20254:00 PMCarl Maria von Weber: Overture to Der FreischutzGustav Mahler: Songs of a Wayfarer Bradley Kynard, BaritoneBedrich Smetana: Wallensteins LagerRuth Gipps: Symphony No.2Please join OCO at the Regents Theater located at the Valley Center for the Performing Arts (formerly Holy Names University) for these two exciting concerts! Bradley Kynard, BaritoneAlex Strachan, Horn

Naomi Dodd: Scarlet SculpturesNikolaus Umar Durr: Legends: Concerto for Horn and Orchestra (Commission and Premiere) Alex Strachan, HornJean Sibelius: Symphony No.5Carl Maria von Weber: Overture to Der FreischutzGustav Mahler: Songs of a Wayfarer Bradley Kynard, BaritoneBedrich Smetana: Wallensteins LagerRuth Gipps: Symphony No.2Today’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 1Christina Walton, Concertmaster Priyanka Altman, Asst Principal Amanda MokKenzo EsquivelNiko Umar DurrLila McDonaldPaula WhiteMilica GrahovacSara MechanicHelen TamJeremy MarleyJudith GaurieuMaureen ParkNick NewtonShauna RevelliVIOLIN 2 Margaret Wu, PrincipalGar Wei LeeVeronica OberholzerAmy GordonSusan WhiteJules ChoPam JohannLakisha WitzelMichael HagenDiane DobsonKatie WordenMaya MitchellAnn MoenSara Wood-KraftVIOLAThomas Chow, PrincipalSara Rusché, Asst PrincipalMatt Van PeltLaura “Lo” WeselyMary DoughertyRose MillerCody KimPiper ProlagoDorothy LeeVIOLONCELLOChris Brann, Principal Virgil Rhodius, Asst PrincipalDiego Martinez MendiolaDaniel StricklandKate LauerBryce MendelsohnJohn SchroderDiane Louie Christopher KarachaleCONTRABASSCarol DeArment, PrincipalSandy SchniewindNancy KasparHelene FoussardDavid BrossardFLUTESusanne Rublein*Darin TidwellDeborah YatesPICCOLODeborah YatesOBOERoger Raphael*Wendy ShirakiCLARINETTom BerkelmanDanielle NapoleonBASSOONAdam Williams*Zev CooperFRENCH HORNAlex Strachan*Allyson WardAlex StepansDaniel BaoTRUMPETTaylor O’HanlonRoger DainerTROMBONEMax Walker*Alexander BondBASS TROMBONEGeorge GaeblerTUBAFrancis UptonTIMPANISandra Hui*Section Leader

PLEASE JOIN US! FEBRUARY 2, 2025 EURO-TALES APRIL 27, 2025 LEGENDS Regents Theater Valley Center for the Performing Arts 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

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.comSAVE THE DATES! OCO 2024-2025 SEASONfrom our February 25, 2024 concert, thanks to Carol DeArmentOakland Civic Orchestra AssociationBoard Members: Season 2024-2025Lila 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!Alexander Kahn Nina FlyerTom RoseKelsey SeymourSadie HewettJonah AndreattaTim EricksonOakland Parks and Recreation FoundationStudio One Art Center: Laura Plascencia Dezere Robinson Damone HodgesFirst Presbyterian Church of Oakland: Micheline La Mont Victor CarrilloSandra HuiGeorge GaeblerChristina WaltonNancy GeimerAidan LoewenEllie PennerTyler Kissinger

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 AltmanBeryl BakerNancy BushBright FundsThomas ChowTim EricksonStephen FeierabendKerry FrancisNancy GeimerJonathan GordonTyler HarrisonBaily HopkinsLinda HsiehRosemary JenckesLynn LaKate LauerWilliam LevisJohn MartinAlli MorenoKenna RichardsAlicia RiveraSusanne RubleinChristine ShaHoward StrassnerMerna StrassnerMax WalkerJueun YiConcert Patrons $101 - $499American Online Giving FoundationAnonymousRonald CohenRaewyn CummingsRoger DainerChristina de la CruzCarol DeArmentAyako EnglishAraxi GundelngerElisabeth KelsonJeremy MarleyDanielle Napoleon Wendy ShirakiMartha StoddardJudy StrachanVenue Sponsors $500 - $1999Charities Aid Foundation of AmericaFidelity CharitableWilliam FinzerHelen KooDorothy LeeNellie LeeJudith NortonNancy RagleSchwab CharitableAlex StrachanToshi TakeuchiDeborah WalkerAdam WilliamsMargaret WuConductor’s Circle $2000 - $4999Alameda Arts CommissionCindy CollinsNicolas GoldmanPeggy Heineman Christopher KarachaleFortissimo! $5K+ Your Name Here!A 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.