Program - Symphony of the Redwoods

Symphony of the Redwoods
&
C EL EB R A T I N G 3 0 Y E AR S !
1983 – 2 01 3
2012–2013 Concert Season
2·
©Larry Wagner Photography
True Originals: 8 Musicians Making Beautiful Music for 30 Years
From Music Director and Conductor Allan Pollack j
This year marks an incredible milestone for the Symphony of the Redwoods: 30 seasons
of symphonic music presented right here on the north coast of California. Because of our
community’s continuing devotion to the Symphony, Fort Bragg can boast of being the
smallest town in America to have its own orchestra. Now, that’s amazing!
Seven of our musicians were original members of the first iteration of Symphony of
the Redwoods, then called The Redwood Chamber Orchestra (see excerpted history of the
original Symphony on page 19). In addition, Carolyn Steinbuck conducted during that
first season 29 years ago. These eight musicians have continued to perform and conduct
during the intervening years. They are (above, from the left) Marcia Sloane, Eric Van Dyke, Marcia Lotter,
Cordelia Shampanier, Loraine Duff, Carolyn Steinbuck, Daney Dawson, and Francis Rutherford. This exalted
group has given more to audiences than their music; they have spent countless hours working behind the
scenes helping to keep Symphony of the Redwoods up and running.
You, the audience, should also be recognized for your enduring loyal support. A modest community of
music-lovers, you have proven yourselves to be a group of wonderful, attentive listeners as well as generous
financial contributors.
May Symphony of the Redwoods endure for years to come, bringing music to this vibrant area, where the
arts reign supreme.
·3
Symphony of the Redwoods
Allan Pollack, Music Director and Conductor
Post Office Box 278, Fort Bragg, California 95437 | 707 964-0898
E-mail: [email protected] | www.symphonyoftheredwoods.org
Board of Directors
Symphony Staff
PRODUCTION STAFF
President
Jason Kirkman
Music Director
Allan Pollack
Website Design & Maintenance
Dave Mathews, KopiaWeb
Vice President
Eric Van Dyke
Manager
Kris Stuart
Program Design & Production
RevUp Creative Media
Secretary
Terry Knaus
Personnel Director/Librarian
Sandra Cosca
Treasurer
Tess Albin-Smith
Program Advertising Sales
Steven P. Worthen,
[email protected]
Symphony PROGRAMS
Photography
Larry Wagner Photo Art
Board Members
Tony Barlow
Irene Malone
Ken Simpkins
Lee Tepper
Bob Wheat
Orchestra Representative
Ken Cave
Children’s Concert
Tess Albin-Smith
OPUS Chamber Music Series
Sue Goodman and Kris Stuart
POPS Concert
Tess Albin-Smith
Printing
Beckman Printing - Tickets
Printing Plus - Programs
Postering
Tigerlily Jones
Technical Resources
Tony Tringale
Stage Manager
T White
Allan Pollack, Music Director and Conductor j
Allan Pollack has served as music director and conductor of
Symphony of the Redwoods for the past 24 years. He also
currently serves as artistic director for the Mendocino Music
Festival and served as artistic director/conductor for the Camellia
Symphony Orchestra in Sacramento for eight years.
Pollack received a Ph.D. in Composition from U.C. Berkeley
in 1984, and has since written several works for orchestra and
chamber ensemble. Among his compositions are The Spiral
Dance for chorus and orchestra, From the Song of Songs for
soprano and orchestra, Two Movements in Time for orchestra,
a Vibraphone Concerto, and A Summer Evening at the Boonville
Fair for orchestra. His jazz concerto for saxophone, Albion Song,
was recently premiered at the Mendocino Music Festival and
subsequently performed by the Camellia Symphony Orchestra.
Dr. Pollack has had an extensive teaching career in the
Bay Area, including a 35-year lectureship at U.C. Berkeley, and
4·
various appointments at the San
Francisco Conservatory of Music,
San Francisco State University,
and the San Francisco Community
Music Center. He taught clarinet
and saxophone out of his Berkeley
studio for decades. His work as
a clarinetist and saxophonist
embraced a myriad of styles, and
he played in many chamber groups,
orchestras and jazz bands. Some
say he still plays a mean jazz saxophone.
Pollack’s commitment to excellence has inspired musicians
and audiences alike, and through the years he has played a
significant role in developing and sustaining musical life on the
north coast.
ORCHESTRA MEMBERS j
Violin
Marcia Lotter,
Concertmaster
Joselyn Bartlett,
Principal 2nd Violin
Zoe Berna
Betty Bliss
Stephanie Costanza
Evan Craves
Karen Davy
Siena Duarte
Loraine Duff
Tammie Dyer
Holly Fagan
Mary Jerland
Beverly Karkruff
Alan Kendall
John Konigsmark
Dan Kristianson
Cindy Moyer
Pam Otsuka
Lisa Pratt
Vanessa Rashbrook
Cordelia Shampanier
Via Sharkey
Jonathan Sorbello
Betsy Taylor
Tamara Voyles
Van Vinikow
Cindy Weichel
Linda Welter
Viola
Jeff Ives, Principal
Sherry Hanson
Holly MacDonell
Paula Mulligan
Pam Otsuka
Cordelia Shampanier
Cello
Marcia Sloane, Principal
Sandra Cosca
Sue Goodman
Sally Hernandez
Rita Martinez
Tony Miksak
Francis Rutherford
Bass
Daney Dawson, Principal
Richard Chang
Mark Culbertson
Jack Palacios
Flute
Mindy Rosenfeld, Principal
Rebecca Ayres
Catherine Hall
Kathleen Reynolds
Oboe/ENGLISH HORN
Beth Aiken, Principal
Suzanne Eraldi
Virginia Ryder
Clarinet
Eric Van Dyke, Principal
Tony Barlow
Nathan Krakover
Ken Ward
Bassoon
Ann Hubbard, Principal
Eva Kidwell
Aaron Lopez
Julie Matteucci
Horn
Jan Bures, Principal
Paul Hadley
Randy Masselink
Jon Oldfather
Kathy O’Shea
Robin Varga
Trombone
Gene Dwyer, Principal
Roger Dixon
Ron Larson
Jacob Turner
Tuba
Ken Cave
Timpani and
Percussion
Tess Albin-Smith, Principal
Ken Burton
Bryce Estes
Jason Kirkman
Jim Nakayama
Gabe Yanez
piano/keyboards
Jason Kirkman
Barbara Faulkner
Jack Leung
Trumpet
Chris Jorgensen, Principal
G. Kaleo Larson
Gary Miller
Marcia Lotter, Concertmaster j
Marcia Lotter is a busy person who spends much of her time
on the road. She lives in Gualala but works two days a week in
Mendocino as a school psychologist. She won a seat in the Santa
Rosa Symphony in 1978 and has been making the 150-mile round
trip ever since. She co-hosts a weekly classical music program
on KZYX. Marcia has been concertmaster for Symphony of the
Redwoods for all 30 years of its existence and has been the
associate concertmaster of the Mendocino Music Festival since
its inception 26 years ago. With the chamber group Sonatina,
she plays for weddings and special events all over the county.
She also performs for school assemblies, mostly in the Bay Area,
with the Santa Rosa Symphony String Quintet, under the auspices
of Young Audiences, Inc.
Marcia was raised in the Pacific Northwest. She credits her
initial passion for classical music to the time she spent playing
in the Portland Junior Symphony as a student. She has studied
with many noted teachers, including Vilem Sokol, Andor Toth, and
Leonard Austria. She has had private students of her own since she
was 12 years old. Marcia especially
loves the variety of experiences she
has through playing the violin. She
has played in back-up orchestras for
Smokey Robinson, Judy Collins and
Johnny Mathis, and performed in a
chamber group for a birthday party at the Francis Ford Coppola
farmhouse.
She has published a book, titled Your Mendocino Wedding,
that she hopes will be helpful to brides traveling from outside
the area to get married in Mendocino.
·5
CELEBRATING 30 YEARS!
Fall Concert
Allan Pollack, conductor
Saturday, November 10, 2012 · 8:00pm
Sunday, November 11, 2012 · 2:00pm
45
Camille Saint-Saëns
Samson et Dalila Bacchanale
(arr. Miller/McAllister)
˘
Antonín DvorákSymphony
No. 8
I.
II.
III.
IV.
Allegro con brio
Adagio
Allegretto grazioso
Allegro ma non troppo
– Intermission –
Jazz, Tangos and Fiddling
Jeremy Cohen, violin
Eddie South, arr. Larry Dunlap
Black Gypsy
Gallo Ciego
Augustin Bardi,
arr. Jeremy Cohen
G.H. Matos Rodriguez,
arr. Jeremy Cohen
La Cumparsita
Jeremy Cohen
Al Colon
˘
Dvorák/Venuti,
arr. Greg Sudmeier
Arranged by Jeremy Cohen
Humoresque
Hot Fiddle Soup
Many Thanks to Our
Concert Sponsors
Classical Framing since 1977
Home decor
Gifts for Creative Inspiration
Soloist Sponsor
Charles and Olivia
Hasty
“If music be the food of love, play on; give me excess of it.”
—Twelfth Night x
116 LAUREL STREET, FORT BRAGG · 964-6464
6·
Please turn off cell phones and refrain from flash photography. We ask that you remove your
child from the hall if he/she is talking, crying, or creating a disturbance. Thank you.
PROGRAM NOTES j
Bacchanale from Samson et Dalila – Charles Camille Saint-Saëns
(1835–1921)
French composer Camille Saint-Saëns was perhaps the greatest child prodigy
who ever lived, even more so than Mozart. At the age of two, he was picking
out pieces on the piano. He had perfect pitch and total recall of anything he
read. He could read and write before he turned three years old. By the age of
five, he was deeply engrossed in analysis of Mozart’s opera Don Giovanni, from
the entire opera score. Saint-Saëns became an expert musicologist, music critic,
fine conductor, and virtuoso pianist and organist. He wrote poetry and plays,
studied astronomy, geology, and archaeology, and wrote scholarly scientific
papers. Unfortunately, he was also an extremely harsh critic of his fellow
composers and wrote scathing reviews which won him no friends. Saint-Saëns
was greatly influenced by Franz Liszt, who became his mentor and produced
the premiere performance of Samson et Dalila, which no French company would
touch. It became his only successful opera, even though other critics thought
it was not representative of his best work. It is based on the familiar story of
Samson and Delilah from the Book of Judges in the Old Testament. Samson, the
strongest man in the world, is betrayed by the beautiful Delilah. She discovers
that the secret of his strength is in his long hair and cuts it off when he is
asleep. The Bacchanale comes near the end of the opera in the third act, when
the priests dance a wild dance in preparation for a victory sacrifice to the gods.
After that, Samson prays for one last moment of superhuman strength and pulls
down the pillars of the temple onto the entire pagan horde. – Marcia Lotter
Symphony No. 8 in G Major, Op. 88 – Antonin Dvorák
ˇ (1841–1904)
ˇ was a sweet, easyUnlike composers such as Beethoven and Tchaikovsky, Dvorák
going, friendly person without a single obvious neurosis. He was born of rustic
peasant stock. His father was a butcher, and Antonin often helped in the shop.
But his musical genius was obvious from the beginning, and an uncle financed
his music education. Johannes Brahms especially promoted his music and made
ˇ had an inexhaustible wealth of
sure it was heard by the right people. Dvorák
melody, often crowned with patriotic fervor. Like Sibelius, he expressed great
love for his native land without quoting many actual ethnic songs. He was one
of the first musicians to appreciate the African-American and Native American
musical heritages of the U.S. and incorporate songs he heard in America into his
later compositions. His Eighth Symphony was written in 1890 in celebration of
ˇ intended
his election to the Prague Academy by Emperor Franz Joseph. Dvorák
it to be a pastoral symphony like Beethoven’s Sixth, a nostalgic trip through a
Bohemian countryside. It achieved instant success with audiences. Critics even
debated whether it should be considered a symphony at all, since it seemed
more like a rhapsody or tone poem to some. The work is full of peasant dances,
bird songs, tranquil reflections, and joyous celebrations. Czech audiences of
the time could doubtless picture the specific countryside and events in their
heads. But the music serves just as well in modern times to remind us all of
the joys of life. – Marcia Lotter
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Continued on page 8
·7
FALL CONCERT PROGRAM NOTES — Continued from page 7
Jazz, Tangos and Fiddling with Jeremy Cohen, violin
FBCA MUSIC SERIES
2012–2013 Season
Tanya Gabrielian, pianist
January 27, 2013
3pm, Preston Hall, Mendocino
The Peregrine Trio
March 17, 2013
3pm, Preston Hall, Mendocino
David Kadarauch, cellist
Carolyn Steinbuck, pianist
April 21, 2013
3pm, Preston Hall, Mendocino
Information: 937-1018
fbcamusicseries.com
Income Tax, Payroll & Bookkeeping Services
Kathleen Rzeplinski, E.A.
707-937-4109
[email protected]
11000 Wildwood Lane / P.O. Box 1163
Mendocino, CA 95460
8·
Jeremy Cohen is one of the most versatile violinists around. He can play jazz,
tango, bluegrass and classical. He can improvise, read and compose. He is also
an electric performer, and you will have a blast tonight listening to all the
different styles he brings to life with charm, wit and fire. Jeremy will show
you just how much fun an orchestra can be!
GUEST ARTIST JEREMY COHEN j
Jeremy Cohen’s electrifying
jazz violin performances have
earned him nationwide accolades.
Classically-trained and a student
of Itzhak Perlman and Anne
Crowden, Cohen’s eclectic style
reflects his respect for a wide
range of violinists from Perlman
and Fritz Kreisler to Joe Venuti
and Eddie South.
Cohen has performed as
soloist with numerous orchestras
including the Virginia Symphony, the California Symphony and the Reno
Philharmonic. His recording credits include motion picture and television
soundtracks including The Dukes of Hazzard and Jane Fonda’s Dollmaker,
and as concertmaster on recordings with Linda Ronstadt, Ray Charles, Aaron
Neville, Howard Keel and Cleo Laine. He appeared on Carlos Santana’s Grammywinning CD Supernatural and the original Star Wars compilation CD with John
Williams. On the stage he was the solo violinist in Forever Tango and The Best
Little Whorehouse in Texas and has toured and recorded with the 2006 Grammy
winners, the Turtle Island String Quartet.
A faculty member of the Henry Mancini Institute (Los Angeles) since
1997 and The Jazz School (Berkeley) since 2004, Cohen also taught for six
years at the Stanford Jazz Workshop. In addition to those with Quartet San
Francisco, Jeremy has recorded two CDs of jazz standards with his ViolinJazz
quartet (violin, piano, bass, guitar). In 2004 he released “Jeremy Cohen and
Friends Celebrate Joe Venuti—100 Years,” his DVD tribute to the great jazz
violinist. Cohen’s orchestral arrangements have been featured by the San Jose
and San Francisco Chamber Orchestras, the Bay Area’s Peninsula Symphony, the
Reading (PA) Philharmonic, the Reno Philharmonic, and the Sun Valley (ID)
and Mendocino (CA) Music Festivals. The 2006–2007 San Francisco Symphony
season included two arrangements by Cohen.
·9
CELEBRATING 30 YEARS!
WINTER Concert
Allan Pollack, conductor
Saturday, February 2, 2013 · 8:00pm
Sunday, February 3, 2013 · 2:00pm
45
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Gioachino Rossini
La Scala di Seta Overture
Wolfgang Amadeus MozartConcerto for Clarinet and
Eric Kritz, clarinetOrchestra, K. 622
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I. Allegro
II. Adagio
III. Rondo: Allegro
– Intermission –
Ludwig van BeethovenSymphony No. 7
I.
II.
III.
IV.
Poco sostenuto – Vivace
Allegretto
Presto – Assai meno presto (trio)
Allegro con brio
Many Thanks to Our Concert Sponsor
North Coast
Brewing Company
Please turn off cell phones and refrain from flash photography. We ask that you remove
your child from the hall if he/she is talking, crying, or creating a disturbance. Thank you.
PROGRAM NOTES j
Overture to La Scala di Seta – Gioachino Rossini (1792–1868)
Music critic Ernest Newman once wrote of Rossini: “At the age of 37 Rossini
had written 37 operas, and 34 of these had been produced within the
space of 14 years. Not a bad record for a man who was regarded as one
of the laziest of mankind.”
Rossini was an overnight success, which surprised him as much as
10 ·
anyone. By the time he was 21, his clever remarks were being quoted at fancy
parties, and society buzzed with rumors of his latest conquests. All of this
was a welcome relief to Italian audiences, who were tired of the heavy, serious
operatic efforts of previous composers. Rossini’s operas were melodramatic and
fun, with sudden plot twists and surprise endings. No one went to sleep during
these productions. His music was so popular that court edicts were issued in
some places to keep people from humming and whistling the same tunes from
morning to night, day after day. La Scala di Seta (or The Silken Ladder) was
one of four farces that Rossini wrote. These are one-act, shorter works with
fewer performers and not much scenery in the background. The singers were
expected to improvise comical gestures and actions while they were singing,
in order to enhance the story. The plot concerns the beautiful Giulia, who
is secretly married to Dorvil, who comes up to her room every night on the
silken ladder. Giulia’s guardian wants her to marry someone else, but she is
able to resolve the situation by pairing the rejected suitor with a cousin, to
the satisfaction of all involved. The wonderful overture to this farce is often
performed independently and is a lively romp.
– Marcia Lotter
Carol Millsap, Agent
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Fort Bragg, CA 95437-5407
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Concerto for Clarinet and Orchestra in A Major, K. 622 –
Wolfgang Amadeus Mozart (1756–1791)
In the winter of 1791 Mozart was working hard, writing string quartets, operas,
a string quintet, and the Requiem. It was sometimes said that all this ceaseless
effort contributed to his death the following December. In this last year of his
life he also wrote his splendid Clarinet Concerto for virtuoso Anton Stadler.
It was originally intended as a concerto for basset horn, and the range of the
piece extended beyond what is possible for a clarinet. It is not altogether clear
what Mozart would have preferred in performance practice because he died
before it could be premiered. Notes that were too low for the clarinet were
simply raised an octave to be within the register. Both versions are used today,
although basset horns are not much in evidence in modern orchestras.
Mozart was an ardent member of the Masonic secret society. Influences
from that association are increasingly found in his later works, including the
Clarinet Concerto. There was a secret knock, for example, and that rhythmic
pattern can be heard in many of his later compositions. Mozart belonged to
the rationalist faction of the Masons, rather than one that was more occult.
They promoted humanism and the abolishment of a class structure. One can see
this idea in the operas, where even the lowly peasants can have nobility and
purity of thought and be important in the outcome of the plot. The purpose
of music in Masonic tradition was to encourage lofty thinking and unity of
effort, a philosophy much in evidence in this concerto. Rather than being a
showy example of personal accomplishment, the Clarinet Concerto interweaves
seamlessly with the orchestra and has no big cadenzas. It functions more
like chamber music, with the soloist being part of the greater good. The slow
middle movement is especially heartfelt and has been used in movies, such as
Out of Africa. It is one of Mozart’s best and most-beloved works, a gem in the
clarinet repertoire.
– Marcia Lotter
Continued on page 12
· 11
WINTER CONCERT PROGRAM NOTES — Continued from page 11
Symphony No. 7 in A Major, Op. 92 – Ludwig van Beethoven
(1770–1827)
Beethoven started work on this symphony in 1812. It was dedicated to Count
Moritz von Fries and premiered at the University of Vienna. The concert was
intended to honor disabled Austrian and Bavarian soldiers of the Battle of
Hanau. Beethoven was the conductor of his own works, and much was made of
the way he jumped around on the podium and made wild gestures. It was all a
big extravaganza and also included the Wellington’s Victory Overture and a soloist on a strange contraption called an “automatic trumpeter.” The concert was
extremely successful. The Allegretto movement of the Seventh Symphony was
repeated immediately, because the audience demanded it. The entire concert
was again performed some weeks later, and the producers charged a great deal
of money for the privilege of being there. The enormous profits made everyone
happy, including Beethoven. Unfortunately, Beethoven’s deafness was becoming a serious problem and interfered with his ability to conduct accurately.
But perhaps the fact that Beethoven was also “disabled” was more acceptable in the context of patriotic, wounded soldiers. At any rate, the symphony
has always been a favorite. It is lovely and tuneful and has been used as the
background for ballets. This, of all Beethoven’s symphonies, has been called
“an apotheosis of the dance,” because there are so many dance-like melodies.
The finale, especially, is characterized by a jubilant peasant dance, celebrating
the joy of life and victory over the powers of darkness.
GUEST ARTIST ERIC KRITZ j
Eric Kritz attended the Manhattan School
of Music, where he studied clarinet with Peter
Simenauer and Charles Russo. While in high
school, he participated in an internship program
with the Philadelphia Orchestra, where he studied
with Anthony Gigliotti. He has performed with
the Mendocino Music Festival, the Santa Rosa
Symphony, the Napa Valley Symphony, the
Santa Rosa Symphonic Chorale, and the Marin
Symphony. He lives in Gualala with his wife and
two daughters.
12 ·
· 13
CELEBRATING 30 YEARS!
SPRING Concert
Allan Pollack, conductor
Saturday, April 6, 2013 · 8:00pm
Sunday, April 7, 2013 · 2:00pm
45
Nikolai Rimsky-Korsakov
Dance of the Buffoons
from Snegurochka
Johannes BrahmsSerenade No. 1 in D Major
I. Allegro molto (D major)
II. Scherzo. Allegro non troppo (D minor) – Trio.
Poco più moto (B flat major)
III. Adagio non troppo (B flat major)
IV. Menuetto I (G major) – Menuetto II (G minor)
V. Scherzo. Allegro (D major) – Trio
VI. Rondo. Allegro (D major)
– Intermission –
Robert Bruce, D.D.S.
Linda McDonell, R.D.H.
Gaylyn Curti, R.D.A.
Patty Garrison, Office Manager
Proud to support Symphony of the
Redwoods’ 28th Season
Piotr Ilyich TchaikovskyPiano Concerto No. 1
Elena Casanova, piano
I. Allegro non troppo e molto maestoso – Allegro con spirito
II. Andantino semplice – Prestissimo
III. Allegro con fuoco
Many Thanks to Our
Concert Sponsors
Soloist Sponsor
John and Kathryn
Hughes
Out of This World
Please turn off cell phones and refrain from flash photography. We ask that you remove your
child from the hall if he/she is talking, crying, or creating a disturbance. Thank you.
14 ·
PROGRAM NOTES j
Dance of the Buffoons from Snegurochka – Nikolai Rimsky-Korsakov
(1844–1908)
Rimsky-Korsakov had a very unorthodox beginning, for someone who would
become a famous Russian composition professor. He had been an uninspired
piano student as a child and preferred literature, especially poetry about the
sea. He fell in love with the ocean before he had ever seen it and signed himself
up for the Imperial Russian Navy at the age of 12. This meant that he was a
cadet, studying mathematics and navigation until he was old enough to go
out on a Navy vessel as a midshipman. He continued to study music, as well,
and found that long hours of relatively free time on a ship gave him plenty of
time to compose. Composer Balakirev met 18-year-old Rimsky-Korsakov and
saw real potential in the young man and kept encouraging his progress.
Rimsky-Korsakov orchestrated some material written by other composers
almost by instinct, without a lot of formal composition training. On the
strength of that ability, he was given a post as a professor of composition in
his late 20s. He said himself that he became his first serious pupil. He stayed
one lesson ahead of his students and learned the material properly for the first
time. He married a beautiful musician, who had better training than he did.
She was able to serve as his most important critic, confidante, and assistant
and was very valuable in making his career a success.
Rimsky-Korsakov always loved his Snow Maiden opera and spoke fondly
of the “magical” summer of 1880, when the opera seemed to appear almost
fully-formed in his mind. The libretto was based on a play of the same name
by Alexander Ostrovsky. The opera was premiered in 1882 and revised into its
final form in 1898. The story of The Snow Maiden (or Snegurochka in Russian)
revolves around the interactions of mythological characters, such as Wood
Sprite and Frost, with real people and some in-between beings, including the
Snow Maiden herself. The Dance of the Buffoons (or Tumblers or Clowns) comes
during the third of the four acts of the opera and is incidental instrumental
music between scenes, when the village people are entertaining themselves
with song and dance. It is sprightly, cheerful, and fast, and helps to maintain
the mood of a fairy tale, where anything can happen next.
Serenade No. 1 in D Major, Op. 11 – Johannes Brahms (1833–1897)
Johannes Brahms was lonely, but serene, when he wrote his First Serenade
in 1858. He had just received his first court appointment as piano teacher,
performer, and conductor at the princely Court of Detmold near Hanover in
present-day Germany. Music was a passion of the royal family, and they engaged
Brahms for an annual three-month position, which suited him very well. They
had their own court choir, including both people from the community and
many members of the court. Brahms had time to compose and to take long
walks in the dense forest around the complex. Brahms did not fit in very well
with the stiff royal court and did not make many friends. He admitted he had
sometimes forgotten to wear a tie for concerts, a gaff that would have horrified
the royals. Because of having so much solitary time for reflection, he came to
feel that the ideal person was calm in both ecstasy and sorrow. And the music
he wrote there reflects this introspection and resignation. At this point in his
Continued on page 16
· 15
Spring Concert Program Notes — Continued from page 15
career, he had written almost no orchestral music and was battling with the
composition of his first great piano concerto.
His First Serenade was originally written for eight solo instruments but
was orchestrated later on. It was influenced by his study of the composition
techniques of Haydn and Beethoven and is rather classical in nature, other
than his use of four horns in the orchestra. Wind parts are very prominent
in the piece, which features effects of fifes and bagpipes, among others. The
serenade form is traditionally sonorous and sweet, implying a pleasant, gentle
spirit. Brahms wrote his first serenade to be graceful, charming and full of
good humor. And the result was particularly useful as a stepping stone to the
great symphonies he was able to write later in his life.
Concerto No. 1 for Piano and Orchestra in B-flat minor, Op. 23 –
Piotr Ilych Tchaikovsky (1840–1893)
It took Tchaikovsky only about a month to compose this extremely successful
piano concerto. He began work on it in November of 1874 and had it finished
before Christmas. He was very excited about it and played it for colleagues
at the Moscow Conservatory to get their impressions and suggestions. His
“friends” said it was tawdry, unpianistic, and derivative, and had nothing good
to say about it, which naturally greatly hurt Tchaikovsky’s feelings. One of the
friends, Nicholas Rubinstein, offered to promote the work on the condition
that it was substantially revised, which Tchaikovsky refused to do. He turned,
instead, to Hans von Bulow, another pianistic luminary, who had acted as a
mentor to Tchaikovsky on previous occasions. Bulow was instantly entranced
with the concerto and said the ideas it contained were original, noble, and
powerful. Bulow performed it in Boston a year later, and American audiences
were also enraptured. Advertising for the concert proclaimed that Boston was
honored to give the first verdict for a major composer’s important piece which
had never been performed before. Audiences clamored for the final movement,
especially, to be repeated at the concerts and were wild for this fascinating
new work. Tchaikovsky was delighted by the positive response from overseas
and loved to rub salt in the wounds of his friends’ poor judgment.
He utilized Russian themes, including the tune blind beggars sang on the
streets of Little Russia, a French children’s song he had whistled as a youth,
and a spirited Cossack dance in the last movement. The concerto has been
played by every virtuoso pianist ever since and is a staple of the standard
repertoire for piano.
16 ·
GUEST ARTIST ELENA CASANOVA j
Elena Casanova has lived in Mendocino
County for the past 14 years. She often performs
as a soloist with the Ukiah Symphony Orchestra
and has been a guest of Fort Bragg Center for
the Arts, Mendocino College, and Lake County
Symphony, among others.
She studied at the Alejandro Garcia Caturla
Music Conservatory in Havana, Cuba, the San
Francisco Conservatory of Music, Pacific Union
College, and she graduated with a Bachelor of
Music in Piano Performance from University of
Redlands (CA). Casanova studied with Robert
Bowman, Paul Glover, Annie Kim (a student of
Cuban pianist Jorge Bolet), Louanne Long, Maria
D. “Marilola” (Vasquez) Robles, Tom Turinia, Daniel Glover and Lynn Wheeler.
Music is the core of Casanova’s life. Her enthusiasm for the music of Cuba
led her to record a piano solo album released on the MSR Label in 2005. Her
album Recordando is a sampling of the Maestros of Cuban classical music. Her
concerto repertoire includes, Khachaturian’s Piano Concerto in D-flat Major
and Beethoven’s Piano Concerto No. 5, The Emperor. She can be seen on the
stage playing Latin jazz, rock, or tango as well as chamber music.
Casanova is a very active member of the community in Mendocino County.
She is president of the board of the Ukiah Community Concert Association
and donates her time and energy to promote non-profit organizations in her
community. She also enjoys teaching a handful of students that include her
children Adrian and Briana.
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· 17
MCDH
700 River Drive
Fort Brag, California
707-961-1234
Mendocino Coast District Hospital
Car i n g, He a l i n g
& Liv in g Wel l
Mendocino Coast Hospital
offers outpatient
Physical, Occupational,
and Speech Therapy
Physical Therapists (PT) are your ideal partners in health.
They are experts in the way the body moves. As highly
skilled health care professionals, PTs help you maintain
mobility and quality of life—often without surgery or
prescription medication. PTs can get you moving and
enjoying life again, using evidence-based treatments
that focus on restoring function, reducing pain, and
preventing injury.
If you have questions about
Physical Therapy and want to
find out if you would benefit
from Physical Therapy, please
contact Sarah Wagner, PT, DPT,
Manager of Rehabilitation at
MCDH at 707-961-4670, or
email: [email protected]
Most insurance plans cover
Physical Therapy.
18 ·
Why Choose Physical Therapy at MCDH?
On your first visit, a PT will evaluate your condition to determine when and why pain or dysfunction
occurs. Your PT, in collaboration with you and your
physician, will work to help you achieve a healthy, active lifestyle and can help you manage your health over
the long term.
Some of the Conditions Treated by Physical Therapy:
· Incontinence
· Back pain, posture, and
· Osteoporosis
arthritis
· Balance and dizziness, vertigo · Sports, dance, and musician’s
injuries
· Repetitive-use injuries
· Stroke/CVA
· Neuropathy
· Dislocations and joint laxity · Traumatic Brain Injury (TBI)
· Strength after surgery
· Fractures
· Difficulty walking
· Parkinson’s Disease
· Headaches
www.mcdh.org
ON THE FOUNDING of SYMPHONY OF THE REDWOODS j
Excerpted from “The Birth of Our Orchestra: An Informal History,” written by Tyler Lincoln, Music Director of the original Symphony of the Redwoods and published in the Symphony’s second season program, 1984–1985.
To be sure, the Mendocino Coast has seen a number of orchestras before). My joy at the arrival of a new instrument knew no bounds,
come and go, even in the seven years I’ve lived here. Grant as the day when Marcia came for the first time with her cello.
At the competition in August, I didn’t get past the first
Rudolph’s many choral productions, beginning with Carmina
Burana, were often accompanied by orchestras of various sizes round. Returning from a week spent with 30 talented young
and configurations. Renee Roatcap led the
well-named Pygmy Symphony for College
of the Redwoods. Bob Ayres had a small
orchestra affiliated with the college. There
was also Barbara Faulkner’s little orchestra
for The Beggar’s Opera. And, of course,
we have the Annual Messiah Sing-a-long
orchestra which turns up each December.
It was after the 1982 Messiah Sing-along that my own plans for an orchestra
crystallized in a conversation with Marcia
Sloane at a Susan Waterfall concert. Marcia
had just played in the Messiah, which had
been a positive musical experience under
Bay Area conductor Donald Aird’s direction.
As we talked it seemed the time was right Back Row L to R: Marcia Sloane*, Richard Herr, Bob Winn, Alan Levine, Loraine Duff*,
to make an orchestra, and we realized it Peggy Simlesness, Walter Green, Eric Van Dyke*, Susan Archuletta, Kevin Kelly, Daney
would take both of us to do it.
Dawson*, Bob Comer, and David Middleton. Middle row: Norbert Banse, Gail Lucas, Marcia
We decided to ask College of the Lotter*, Mary Schiro, Cordelia Shampanier, Eleanor Campbell, Judy Sinclair, Joe SchneiRedwoods to put the orchestra on the weiss. Front row: Tyler Lincoln, Francis Rutherford, Tenaya Middleton, David Sinclair, David
Archuletta (standing).
*Still playing with Symphony of the Redwoods.
schedule for Fall, 1983. That spring the
budget was tight and Dean Larry Kavanaugh
jokingly said as we sat down in his office, “Tell me about this pianists from all over the world I was tired and ready to let down.
preposterous idea of yours.” It was late to be adding another Fortunately Marcia had brought her immense energy into the
course to the schedule but with the support of Larry and Bob group, realizing, as she said, that the orchestra was happening
now, not some time in the future. She carried the weight of the
Winn we squeaked in.
There was little money in the budget for anything. Marcia orchestra for several weeks while I revived.
Between Marcia’s discovery of the San Francisco Public
and I had to split one salary. And the music department at the
Eureka campus had severed diplomatic relations because some Library and our own small handful of music we managed to put
borrowed orchestra parts had never returned. In fact, Marcia together the program for our debut in November. We were coached
informed me that we had nothing, except a very small handful by internationally-known violinist/conductor Jaap Schroeder,
which she had checked out. Yet we were sure we could get some thanks to Francis Rutherford.
As we approached our debut concerts, there was a new spirit
music from somewhere.
That summer of 1983 I was accepted into the Casadesus in the group, a feeling that we were doing something great
International Piano Competition. In the finals I would be playing together. Finally the weekend of our concerts arrived. As Marcia
Mozart’s Piano Concerto in G, K.453 with orchestra. I needed a finished conducting the first piece at the Sea Ranch a delighted
positive experience with an orchestra before the competition so listener looked at me and said, “Surprisingly professional!” And
I borrowed the parts from the Santa Rosa Symphony and called as we played the last notes of the Mozart concerto in Fort Bragg
there was a spontaneous standing ovation. We had brought the
every musician I could think of.
Each rehearsal was a big event (I couldn’t sleep the night orchestra from being a dream to a reality.
· 19
OPUS Chamber Music Series j
Our 25th Season
The OPUS Chamber Music Concert Series was founded in 1988 by members of
Symphony of the Redwoods, to provide local and visiting musicians opportunities
for small-group performances.
January 13, 2013, 3:00pm
Mendocino Presbyterian Church Sanctuary
Mendocino Coast Brass Quintet
Chris Jorgensen, trumpet; Gary Miller, trumpet; Kathy O’Shea, French
horn; Gene Dwyer, trombone; Ken Cave, tuba
Traditional brass quintet music in a variety of styles. Featured pieces are Viktor
Ewald’s Quintet No. 1 and Ralph Vaughan-Williams’ English Folk Song Suite,
with additional pieces from Joplin, Ellington and Bach.
Concert Sponsors: Coast Hardware & Radio Shack, Fort Bragg Travel,
Gallery Bookshop, Mendo Litho, Rossi Building Materials, and Well House
West. All original supporters of Symphony of the Redwoods in 1983.
February 24, 2013, 3:00pm
Preston Hall, Mendocino
Mendocino Chamber Players
Tip Top Lounge
321 N.Franklin St.
Fort Bragg
964-5448
Marcia Lotter, violin; Tammie Dyer, violin; Jeff Ives, viola;
Joel Cohen, cello; Eric Van Dyke, clarinet
Concert Sponsors: Jason Kirkman and Carol Kawase
May 19, 2013, 3:00pm
Preston Hall, Mendocino
The Noyo Consort
Terri Beer
Proprietor
• Digital cameras
& accessories
• Instant passport photos
• Video transfer to DVD
• Binoculars
• Sheet music & books
• Complete line of musical
instruments &
accessories
20 ·
Philip Santos, violin; Don Benham, trombone; Jason Kirkman, piano
Grieg: Sonata No. 3 for violin and piano
Pugh: Concerto for trombone and orchestra
Sydeman: Sonata for violin and piano
Oliver: Tilden Trio for violin, trombone and piano
Concert Sponsor: Westport Hotel & Old Abalone Pub
j
We appreciate your support as audience members, volunteers, advertisers, and
contributors. Your tax-deductible donations to the Symphony of the Redwoods
may be specifically designated for the OPUS Chamber Music Concert Series.
A ticket-by-mail order form is available on the ticket page of the Symphony
Website. General and Senior admission is $20; Youth, under age 18, are admitted
free. Tickets can be purchased at the door before the concert, or beginning
two weeks before the concert at the following locations: Harvest Market and
Tangents in Fort Bragg, and Out of This World in Mendocino.
ANNUAL CHILDREN’S CONCERT j
Symphony Performs in the Schools
Symphony of the Redwoods performed its ninth annual Children’s Concert
for more than 2,000 local children in grades K–8 at Cotton Auditorium on
September 21, 2012.
This year, young dancers from the
Mendocino Ballet Company joined the
symphony for a riveting performance
of Delibes’s ballet Sylvia, with its familiar movement, Pizzicato. They also
presented a uniquely choreographed
production of Tubby the Tuba, complete with narrator and wonderful
costumes. Tubby featured tuba player
Forrest Byram, a professional musician from San Francisco and principal with
the Mendocino Music Festival orchestra.
Special thanks to Noyo Sunrise Soroptomist Club for sponsoring the dancers
from the Mendocino Ballet Company, and the Parents’ Clubs from Fort Bragg
schools and MUSE from Mendocino for sponsoring the concert. Contributions make it possible to provide children’s concerts and free admission to students for all Symphony concerts. Plans are already underway for next
year’s Children’s Concert. Anyone wishing to donate to our annual Children’s
Concert production may send their checks to Symphony of the Redwoods at
P.O. Box 278, Fort Bragg, CA 95437.
· 21
FAMILY HOLIDAY POPS CONCERT! j
Saturday, December 15
Festivities Begin at 6:00pm, Concert at 7:00pm
u
This is the not-to-be-missed holiday concert event of the year!
22 ·
©iStockphoto.com/NWphotoguy
This year, Symphony of the Redwoods POPS celebrates the holidays in style!
Our annual fundraiser has something for
the whole family: prizes and surprises,
a visit with Santa, your favorite holiday
music, and special guests In the Mix, the
Acafellas, Dan Fowler, Sine Nomine, and
Fort Bragg High School Choir directed by
Jenni Windsor!
Early bird tickets, before November 26,
are two Adults for $30; two Youth (to age
18) for $10. After November 27, ticket price
is Adults, $20 each; Youth (to age 18), $10
each. For advance tickets, phone 707-9640898, or order regular-priced tickets at
www.SymphonyoftheRedwoods.com.
Support Your Symphony j
For the past 30 years, Symphony of the Redwoods has presented
exciting and elegant classical music to the Mendocino Coast
community and its visitors. The Symphony relies upon community
support, both from volunteer labor and financial contributions.
If you love classical music and have any time and/or money
to spare, please consider helping us continue to bring excellent
performances of great music to the Mendocino Coast. Symphony
of the Redwoods is a 501(c)(3) nonprofit organization. Your
donation to the Symphony is fully tax-deductible to the extent
the law allows. Donations of any size are gratefully accepted.
Your name will be recognized on the “Donors” page in our
Season Program and on our Website. For information on benefits
of becoming a Symphony Sponsor, please phone our office at
707-964-0898.
If you have time to give, won’t you consider becoming a
Symphony volunteer? Let us know how you are willing to share
your time and talents to help Symphony of the Redwoods. Thank
you! Please fill out a Volunteer Card in the lobby, or phone
964-0898.
MANY THANKS TO OUR DONORS j
Note: Inclusion in a donor category is based on contributions received since the printing of last season’s program and
may differ from the annual donation amount.
Conductor
Colleen Cleary
Charles and Olivia Hasty
Kathryn and John Hughes
Carol Kawase and Jason Kirkman
Lee Tepper and Dorine Real
Concertmaster
Zoe Berna
Loraine and Ray Duff
Sally Hernandez
Janet Morris
Carolyn Owen
Alice Walker
First Chair
Emory Smith and Norma Leah Andres
Betty Barber
Carole Barnes
Pat and Chuck Bidgood
James Bogue
Richard and Ilene Brown
Donna and Bill Burke
Robert and Susan Cimmiyotti
Robert Cutler
Andria Richey and Joseph Dalton
Grail Dawson
Anne Eaton-Kemp
Susan Larkin and James Ehlers
Howard Ennes
Oscar Erion
Julee and Tom Estes
Gary and Barbara Garcia
Sue and Richard Goodman
Buz and Pam Graham
Ruth Green
Claire Ellis and Chuck Greenberg
Eugenia and Richard Herr
Barbara Holmes
Maria Huber
Bill Mahon and Sharon Hunter
Louise Hussey
Charles and Nancy Jenkins
James and Cindy Johnson
Nancy Kleiber
Terry and Johanna Knaus
John and Nit Lemley
Sam and Babs Levine
Rod and Sally Lorimer
Marta MacKenzie
Frederick Martin
Jane Martinez
Hal Miller
Arthur and Jean Morley
Paula Mulligan
David and Jackie Newell
Richard and Brona O’Connor
Guy and Sarah Pacurar
Robert Smith and Diane Perry
Jane and Bruce Person
Elizabeth Petersen
Pete and Christina Rose
John and Christina Rossum
Norman and Joan Rudman
Bibi Sillem
Ken and Nancy Simpkins
Opal Sloane
Robert and Luanne Smiley
Sally Benson and Terry Surles
Paul and Ruth Tay
Frank Howard and Irene Thomas
Alfred and Loretta Thompson
Nicolas and Camille Tinling
Christine Rhodes
R. Anthony Wade
Karl and Marliss Waidhofer
Robin and Bob Wheat
Paul and Masako Young
John and Sue Zahniser
Notable Friend
Loren Amelang
Debbie Anderson
Nancy and Richard Banker
Ace Barash
Steve and Cecilia Beeman
Donald Bettencourt
Eileen Bohannon
Karen and Leonardo Bowers
Edwin and Theresa Branscomb
Bill and Julie Brazill
Martha Buck
Jan Bures
Chuck and Marion Bush
Debra DeGraw
Yvonne DeWitt
Malcolm and Marilyn Dunham
Jane Dutton
William and Bonnie Dyer
Dave Felthousen
Dr and Mrs William Follette
Shirley Freriks
Sandy Glickfeld
Peter D. Glusker
Steven Gray
Michael and Gayle Greene
Eric Gutnick and Mary Handelin
Tom Wodetski and Sharon Hansen
Thomas and Pamela Hudson
Bill and Gwen Jacobson
Steve Jordan
Continued on page 24
· 23
DONOR Thanks – Notable Friends continued
Joan and Paul Katzeff
Don and Shirley Kirkpatrick
Jean LaFountain
Marcia Lotter
Nancy Mantel
Nancy Meagher
Sheela Meyer
Keith and Deanna Middlesworth
Barbara Rice and Grant Miller
Marion (Danny) Nelson
Robert and Sandra Nimmons
Patricia O’Reilly
Don and Kathy O’Shea
Mary Anne Payne
Lyles and Geraldine Pember
Maureen McGettilin and Bob Pond
Marc and Deanna Schoen
Rosalie Scott
Veronica and Donald J. Sheffel, M.D.
Joe and Ruth Sparks
Patricia Marien and Jary Stavely
Liam and Jocelyn Sugrue
Grayson and Marilyn Taketa
Sunshine Taylor
Bruce and Joyce Taylor
Betsy Taylor
Leona Walden
Carol Ann Walton
Steve Watrous
Bryant and Penny Whittaker
Steven and Printha Worthen
Orah Young
Special Thanks j
To these businesses who have donated food and auction items.
A Cultured Affair
Alegria Oceanfront Inn
Barra of Mendocino
Beachcomber Motel
Bink Wines
Breggo Cellars
Brutocao Family Vineyards
Café One
Chance Creek Vineyards
Cirino’s
24 ·
Claudia Springs Winery
Covington Creek Veterinary Hospital
Cowlick’s Handmade Ice Cream
Costco
Craft Distillers
Down Home Foods
Dr. Robert Bruce, D.D.S.
Esterlina Vineyards
Evergreen Barn
Fensalden B&B Inn
flying noir chocolates
Fort Bragg Bakery
Frankie’s Pizza & Ice Cream Parlor
Frey Vineyards
Germain-Robin Distillery
Giuseppe Wines
Glenna Hunter Massage
Gloriana Musical Theatre
Goldeneye Winery
Graziano Family of Wines
Handley Cellars
Harvest Market
Headlands Coffee House
Highlight Gallery
Husch Vineyards
Karin Uphoff Massage
Ledford House
Lula Cellars
MacCallum House
McDowell Valley Vineyards
McNab Ridge Winery
Mendo Bistro
Mendo Mill & Lumber
Mendocino Bakery
Mendocino Bootcamp for Women
Mendocino Coast Animal Hospital
Mendocino Coast Botanical Gardens
Mendocino Coast Clinics
Mendocino Coast Hospital
Foundation
Mendocino Maples
Mendocino Market and Deli
Mendocino Music Festival
Mendocino Sea Salt & Seasoning Co.
Mendocino Theatre Company
Meyer Family Cellars
Special Thanks – Continued
Milano Family Winery
Moosse Café
Naughty Boy Vineyards
Navarro Vineyards
North Coast Brewing Co.
Out of This World
Pacific Preserves
Panache Gallery
Papa Bear’s Chocolate
Haus
Parducci Wine Cellars
Piaci Pub and Pizzeria
Purity Market
Redwood Health Club
Relish
Rivino
Roederer Estate
Rossi Building Materials
Safeway
Sallie Mac
Sandee’s Salon
Silver’s at the Wharf
Simaine Cellars
Simply Succulent
Skunk Train
Southern Exposure
Squared Art Productions
Stanford Inn, The Ravens
Restaurant and Catcha-Canoe
Terra Savia
Thanksgiving Coffee
Toulouse Vineyards and
Winery
Cesar Toxqui Cellars
Wagner Photo Art
Westport Hotel
Whale Watch Inn
Yorkville Cellars
Zappas Coffee and
Mendocino Cookie
Company
VERY SPECIAL THANKS j
To:
· Our ticket outlets: Harvest Market, Tangents and Out of
This World.
·Chef extraordinaire, Donna Marie Heagan for the feast
at the POPS Concert and to the incredible Georgia
Ann Gregory for her work organizing the POPS silent
auction.
·Steve & Cecelia Beeman and Dave Sorensen for their help
at the Skunk Classic Soccer Tournament barbeque.
·The staff and custodians of Fort Bragg Middle School
and Fort Bragg Unified School District for facilitating
the use of Cotton Auditorium.
·To Tony Tringale who brings light to our lives!
·Our fundraiser venues: the Veteran’s Hall, the Hughes’s
Llama Ranch, and Eagles Hall.
·The many families that house our traveling musicians.
·Annette Jarvie for her help composing press releases
and proofreading.
·The photographers who have contributed photos to this
program and other publicity: Larry Wagner, Nicholas
Wilson, Dave Mathews, Allan Droyan, and Mike Romo.
·To Stanley and Roseanne from Down Home Foods for
feeding the starving musicians at dress rehearsals.
·Symphony of the Redwoods Board of Directors for
their many, many hours of work at fundraisers and
meetings.
·Musicians in the orchestra for your hours of rehearsal
and travel time to bring us the gift of live, classical
music here on the coast.
·Steven P. Worthen, our incredible Ad Man, auctioneer,
Santa, and volunteer.
·Liz Petersen, for setting up and tuning the Symphony
in to the use of social media.
And to our Sponsors:
Concert Sponsors – Charles and Olivia Hasty, North Coast
Brewing Company, John and Kathryn Hughes
Soloist Sponsors – Edward Jones Investments, Out of
This World
POPS Holiday Concert – North Coast Brewing Company
OPUS Sponsors – Jason Kirkman and Carol Kawase; The
Wesport Hotel & Old Abalone Pub; the six advertisers
that have supported the Symphony since our beginning
in 1983: Coast Hardware & Radio Shack; Fort Bragg
Travel; Gallery Bookshop; Mendo Litho; Rossi Building
Materials; and Well House West.
Children’s Concert – Noyo Sunrise Soroptomists; MUSE;
and the Parents’ Clubs of the Fort Bragg K–8 Schools
Volunteers j
Thank you for your help at fundraisers, concerts, with baking, and office help. We couldn’t do it without you!
Sherry Ackerson
Doug Albin
Tess Albin-Smith
Nancy Atkinson
Tony Barlow
Joselyn Bartlett
Jo Beach
Michael Beck
Steve and Ceely Beeman
Jim Bogue
Ken Cave
Rick Childs
Sandy Cosca
Marion Crombie
Elvia Cuevas
Jim Culp
Joe Dalton
Gail and Garnish Daly
Ruth Dobberpuhl
Sandra Donato
Ray and Loraine Duff
Gene Dwyer
Dave and Laine Escola
Shelley Estes
Cathy Fantulin
Nancy Fereira
Naomi Feyer
Continued on page 26
· 25
Volunteers – Continued
Mark Forgea
Stefan Furrer
Sue Goodman
Kay Graves
Ellie Green
Jim Griswold
Nan Halstead
Mary Handelin
Mark and Lisa Hannon
Oasis Hasten
Donna Marie Heagan
Irene Heldstab
Linda Hendricks
Sally Hernandez
Marilyn Hobbs
Annette Jarvie
Trudy Jensen
Cindy Johnson
Dot Johnson
Beverly Karkruff
Carol Kawase
Guy and Lucy Kingsley
Jason Kirkman
Dana Kjeldsen
Lowell and Lynette Kline
Johanna Knaus
Terry Knaus
John Lew
Marcia Lotter
Bob Lounibus
Irene Malone
Les Mann
Patricia Marien
Rita Martinez
Sean McNaughton
Cathie Mellon
Stanley Miklose
Tony Miksak
Grant Miller
Paula Mulligan
Jackie Newell
Joe Odegaard
Earl Oliver
Don and Kathy O’Shea
Carolyn Owen
Steve Paul
Susan Pennebaker
Liz Petersen
Gayle Pinoli
Barbara Rice
Andria Richey
Mary Rogers
Christina Rossum
Iren Rothenberger
Francis Rutherford
Charlotte Saunders
Pat Scott
Cordelia Shampanier
Virginia Sharkey
Maryellan Sheppard
Eddie Shipley
Marli and Rick Shoop
Judy Siler
Ken and Nancy Simpkins
Marcia Sloane
Tanya Smart
Jerry Stavely
Betty Stechmeyer
Carolyn Steinbuck
Henrietta Steiniger
Sharon Tepper
Lee Tepper
Pat Tilley
Gay Tomlinson
Eric Van Dyke
Todd Walton
Lizette Weiss
Sally Werson
Robin and Bob Wheat
T White
Eileen Wolfe
Eldon and Joy Wolfe
Agnes Woolsey
Steve and Printha Worthen
– A Huge Thank You to this loyal group of 6 advertisers for supporting us for 30 Years! –
Gifts · Housewares · Women’s Clothing
G A Y L E
B O W M A N
311 North franklin street
fort bragg, california 95437
7 0 7 - 9 6 4 - 2 1 0 1
26 ·
Privacy. Dignity. Safety.
Assisted Living in the
Lodge at the Woods
Residents enjoy privacy and independent living in their own
apartments. Relatives enjoy knowing their family member is
safe and well cared for.
Friendly, caring staff serves three delicious home-style meals
a day with accommodation for dietary needs. An on-site
licensed nurse, emergency call system, and 24-hour assistance
provide peace of mind and security. Transportation to and
from appointments is included. Individualized attention is
given based on a complete personal assessment. Companionship with peers and stimulating activities both on- and off-site
help residents live life to the fullest. All this is surprisingly
affordable, and there is no community fee or security deposit
required!
The Lodge at The Woods. Committed to serving seniors.
To learn more about The Lodge at The Woods call 707 937-0294 or 800 469-6637
43300 Little River Airport Road, Little River, CA 95456 • www.ncphs.org
The Woods is owned and operated by Northern California Presbyterian Homes & Services, Inc. CA Lic. No 236800187
Equal Housing
Opportunity
NCPHS
NORTHERN CALIFORNIA
PRESBYTERIAN HOMES
& SERVICES
· 27
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Vis
of the Me
Symphony of the Redwoods is
thrilled to reprise our Visual
Violin fundraising project.
Three local artists have created
original works of art using a violin
as their canvas. This is a fantastic
opportunity to own a one-of-a-kind
piece of art that you will treasure for
years to come! Be sure to view the
violins in the lobby and purchase your
tickets for a chance to own of one of
these unique violins. Tickets are $10
each, three for $25, or eight for $50.
Tickets may also be purchased by calling
the Symphony at 707-964-0898. For
more information about the violins
and the artists, please visit our website,
SymphonyoftheRedwoods.org.
Be a winner! The more tickets
you buy, the better your chance of
winning the violin of your choice,
and you will be helping us continue
bringing wonderful, live music to the
Mendocino Coast.
The drawing for the violins will take place at our Spring
Concert in April.
Sev Ickes
“Fiddler on the Roof”
Sunshine Taylor
“Calla Concerto”
Suzy Marquess Long
“Picasso’s Mirror”