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Presents "How Suite It Is" at Old First Concerts
Saturday, September 15th, 2007 at 8 pm

Old First Presbyterian Church
1751 Sacramento Street/Van Ness, San Francisco, CA 94109



Beeri Moalem is a violist, violinist, composer, teacher, writer. In addition to SFCCO, he plays with the San Francisco Chamber Orchestra, Monterey Symphony, and Fresno Symphony. He teaches orchestra at Terman School in Palo Alto, and is a critic for the San Francisco Classical Voice. His other interests include mountain biking, travel, green technology, and computer games.

Beeri Moalem

Desires    Program Notes

Clare Twohy is an active performer and composer in the Bay Area and an alumna of The Crowden School and a former violin student of Anne Crowden,. She holds a B.M. in violin performance from the San Francisco Conservatory of Music, where she studied violin with Camilla Wicks and composition with Elinor Armer. Clare is a long-standing member of the SFCCO, which performed her latest composition last November. Clare has attended summer festivals including the Music Academy of the West, Roundtop, and Bowdoin festivals. Currently, she has a private composition studio and is on the Musicianship faculty in the Preparatory division at the San Francisco Conservatory of Music.

Clare Twohy

Music for flute, clarinets, bassoon and strings  

John Beeman studied with Peter Fricker and William Bergsma at the University of Washington where he received his Master's degree. His first opera, The Great American Dinner Table was produced on National Public Radio. Orchestral works have been performed by the Fremont-Newark Philharmonic, Santa Rosa Symphony, and the Peninsula Symphony. The composer's second opera, Law Offices, premiered in San Francisco in 1996 and was performed again in 1998 on the steps of the San Mateo County Courthouse. Concerto for Electric Guitar and Orchestra was premiered in January 2001 by Paul Dresher, electric guitar. Mr. Beeman has attended the Ernest Bloch Composers' Symposium, the Bard Composer-Conductor program, the Oxford Summer Institutes, and the Oregon Bach Festival and has received awards through Meet the Composer, the American Music Center and ASCAP. Compositions have been performed by Ensemble Sorelle, the Mission Chamber Orchestra, the Ives Quartet, Fireworks Ensemble, the Oregon Repertory Singers and Schola Cantorum of San Francisco.

John Beeman

Free Form    Program Notes

Michael Cooke, Alto Saxophone

Lisa Scola Prosek is a graduate of Princeton University in Music Composition. Her teachers include Edward Cone, Milton Babbitt, Lukas Foss, and Gaetano Giani Luporini. Scola Prosek is the recipient of numerous grants, commissions and awards, including The NY Center for Contemporary Opera "Atelier" Award for The Lariat. Scola Prosek has composed and produced eight operas with librettos in Italian and English. In 2012, Daughter of the Red Tzar, written for acclaimed tenor John Duykers, premiered in San Francisco to capacity audiences, and is currently on the outreach season with Long Beach Opera. Lisa serves as General Manager and Director of the San Francisco Composers Chamber Orchestra, since 2001. Other awards have been from Theatre Bay Area, the LEF Foundation, The Argosy Contemporary Music Fund, Meet the Composer, the Hewlett Foundation, the American Composers Forum, The San Francisco Arts Commission, The Center for Cultural Innovation, The California Arts Council, the NEA and the Zellerbach Foundation.

Lisa Scola Prosek

Music from the Opera úTrap Doorî   Program Notes


David Graves has been writing a variety of musical works since the 1970s, including jazz, pop, electronic and neoclassical pieces for film, theater, studio recordings and orchestra. He has studied at the San Francisco Conservatory of Music and City College of San Francisco. In 2003 and 2005 David was a resident composer with the Djerassi Resident Artist Program where he was awarded the William and Flora Hewlett Foundation Fellowship. He was also a resident composer with the Berkeley Symphony for two consecutive seasons and wrote six pieces that were performed as a part of their Under Construction series. His large-scale ambient works have been installed in a redwood canyon (tree/sigh), The LAB (Deciduous), and the renowned San Francisco AudioBus (Human Street Textures). For many years, he has been the Coordinator for the San Francisco Composers Chamber Orchestra and has had pieces performed annually by that ensemble as well as the Irregular Resolutions composer collective. In the late 2000s he released albums with the prog-rock group ScienceNV, recorded a collection of pop vocal tunes, received grants from the American Composers Forum and Meet the Composer, was sound designer for Miss Julie at the Aurora Theater, and developed a collection of short video dreams (Living in the Village of My Dreams). More recently, he was sound designer for Mary Stuart at Shotgun Theater, performed as AmbientBlack at various venues, created soundscapes for the featurette Alien Worlds at the California Academy of Sciences, and installed Fog and Expectations in the backyard garden of Urban Bazaar.

David Graves

Life Is Like That     Program Notes



Dr. Mark Alburger (b. 1957, Upper Darby, PA) is a multiple-award-winning ASCAP composer of postminimal, postpopular, and postcomedic sensibilities. His compositions are generally assembled or gridded over pieces ranging from ancient and world music, to postmodern art and vernacular sources -- 174 opus numbers (, including 16 concertos, 20 operas, 9 symphonies, and the four-hours-and-counting opera-oratorio work-in-progress, The Bible. He is Music Director of San Francisco Composers Chamber Orchestra ( and San Francisco Cabaret Opera / Goat Hall Productions (, Editor-Publisher of 21st-Century Music Journal ( and, Instructor in Music Literature and Theory at Diablo Valley and St. Mary's Colleges, and Music Critic for Commuter Times. He studied at Swarthmore College (B.A.) with Gerald Levinson and Joan Panetti, Dominican University (M.A., Composition) with Jules Langert, Claremont Graduate University (Ph.D., Musicology) with Roland Jackson, and privately with Terry Riley. Alburger writes daily at and is in the fifth year of an 11-year project recording his complete works for New Music Publications and Recordings.

Mark Alburger

The Pied Piper Suite: Concertino for Orchestra   Program Notes

I. Air ("Into the Street")
II. Menuet ("You Should Have Heard")
III. Badinerie ("No Trifling")
IV. Pavanne ("Once More")
V. Rondeau ("The Wonderful Music")

Dr. Mark Alburger (b. 1957, Upper Darby, PA) is a multiple-award-winning ASCAP composer of postminimal, postpopular, and postcomedic sensibilities. His compositions are generally assembled or gridded over pieces ranging from ancient and world music, to postmodern art and vernacular sources -- 174 opus numbers (, including 16 concertos, 20 operas, 9 symphonies, and the four-hours-and-counting opera-oratorio work-in-progress, The Bible. He is Music Director of San Francisco Composers Chamber Orchestra ( and San Francisco Cabaret Opera / Goat Hall Productions (, Editor-Publisher of 21st-Century Music Journal ( and, Instructor in Music Literature and Theory at Diablo Valley and St. Mary's Colleges, and Music Critic for Commuter Times. He studied at Swarthmore College (B.A.) with Gerald Levinson and Joan Panetti, Dominican University (M.A., Composition) with Jules Langert, Claremont Graduate University (Ph.D., Musicology) with Roland Jackson, and privately with Terry Riley. Alburger writes daily at and is in the fifth year of an 11-year project recording his complete works for New Music Publications and Recordings.

Mark Alburger , spoken word

Dr. Erling Wold is a composer and man-about-town. He recently premiered two large works, his Missa Beati Notkeri Balbuli Sancti Galli Monachi in St Gallen, Switzerland, and his solo opera Mordake for tenor John Duykers as part of the San Francisco International Arts Festival. He is currently working on a personal autobiographical theater piece detailing his corruption and death with the help of James Bisso, which may never be finished, and just finished a more tractable violin sonata for the Denisova-Kornienko duo in Vienna. He is best known for his operas, including Sub Pontio Pilato, an historical fantasy on the death and remembrance of Pontius Pilate, a chamber opera based on William Burroughs' early autobiographical novel Queer, and his critically acclaimed work A Little Girl Dreams of Taking the Veil, based on the Max Ernst collage novel.

Erling Wold

Mordake Suite     Program Notes

Loren Jones began experimenting with composition as a child. He spent his early years dividing his time between film-making and music, and some of his film work was periodically broadcast on local San Francisco television. Eventually choosing to pursue music instead of film, Loren formed and was part of several bands performing and creating different genres of original music. To this point largely self-taught, in the 1980's Loren returned to serious study to acquire greater depth musical education in order be able to create the kind of music that he had always been the most passionate about. Loren has studied with Tom Constantine, Alexis Alrich and is currently working with David Conte at the San Francisco Conservatory of Music, where he is also a member of the chorus. 

His music has been performed by his own chamber group, by the San Francisco Composers Chamber Orchestra, and by students and teachers from around the Bay Area. He has produced several recordings, worked in radio and film, including creating the sound track for an animated short which won a special Academy Award. His 2006 release, Woodward's Gardens, features two guitars, piano, flute, oboe, harp, and cello.  He was the recipient of a 2007 Meet the Composer Grant. His project, Dancing on the Brink of the World, a fourteen movement piece for chamber orchestra and period instruments, on the history of San Francisco, has been an ongoing part of the repertoire of the past three seasons of SFCCO concerts. 

Loren Jones

Dancing On the Brink of the World San Francisco - 1600 to The Present   Program Notes

 9.  Playland - 1920's
11. North Beach - 1950's
 8.  Earthquake and Fire - 1906

Alex Lu, piano
Enzo Garcia, accordion and saw

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Bruce Salvisberg
Harry Bernstein

Philip Freihofner

Clarinet (Bass Clarinet**)
Rachel Condry **

Bassoon (ContraBassoon**)
Michael Cooke
Michael Garvey
Lori Garvey**

French Horn
Cathleen Torres

Rob Wilkinson

Lisa Scola Prosek
Davide Verotta

David Graves
Erling Wold

Esther Lee

Victor Flaviani
Anne Szabla

Violin I
Monika Gruber
Clare Twohy

Violin II
Hande Erdem

Beeri Moalem

Farley Pearce
Beth Snellings

John Beeman



Composer and pianist Alexander Lu is a graduate of the Biola University Conservatory of Music in La Mirada, California, where he earned a B.M. in composition and a B.M. in piano performance. He has also studied composition at the Roehampton University in London and more recently, spent the summer of 2006 in the European American Musical Alliance composition program at the Ecole Normale de Musique, Paris. A versatile pianist, Alex has performed solo and with various choruses, jazz ensembles, classical chamber groups, and rock/pop bands in the Los Angeles and Bay Area. He has also been featured as pianist in various film scores. Alex's music has been performed by the San Francisco Conservatory Chorus, Pasadena Young Musicians Orchestra, South Bay Children's Choir, West Hollywood Chorale, among others. He is currently pursuing a masters degree in composition under David Conte at the San Francisco Conservatory of Music.

Enzo Garcia has been a professionally performing musician for 10 years. He is a singer and a songwriter who accompanies his voice with guitar, accordion, 5-string banjo, harmonica and saw. His abilities as an instrumentalist, sideman and solo performer allow for him to adeptly present his material as a soloist or a bandleader. Over the course of just a few years, San Francisco-based Enzo Garcia has released nine albums of original reworkings of traditional and original kid's songs, and leads a popular local family folk music show every Sunday morning, Breakfast with Enzo.

Desires is a one-movement piece for string orchestra. It was written in 2006-2007. It is basically in sonata-allegro, with a fast first theme and a slow second theme, with many transitory themes in between. As with practically all of my pieces, it breaks into a fugato towards the end: I can't resist.

Free Form (for alto sax and chamber orchestra) was composed in 2004. The concept of water was central to this composition. The piece begins in six-eight meter with a placid water scene. The alto sax plays a lyrical melody over a rolling accompaniment in the strings and horns. High-pitched splashes of percussion accentuate the cadences. The tranquil music gradually intensifies. Timpani punctuations lead the music into the next section. A rocklike accompaniment begins the Allegro. Peaceful water has been transformed into powerful waves. A jazzy sax melody soars above. Fragments of the tune are heard in the upper strings and horns as the music progresses. The Allegro grows intensifies then transforms into a softer, contrapuntal middle section. Bluesy, chromatic melodies are passed from alto sax through the orchestra. Finally, consonant clusters of sound are heard to return the music to the main theme. The original sax melody returns, but the string accompaniment is slightly altered, as a water scene might be different at another time. Shortly, this section leads into an energetic coda. The music rises, grows in complexity, then finally holds on a fortissimo chord. Free Form concludes dramatically with a rapid sax passage and loud accents in the orchestra.

Trap Door 'is a dream like story of an American soldier in Iraq, and the music contains fragments of contemporary American pop music, set as the opera opens. The two excerpts are from Lisa Prosek's upcoming opera "Trap Door" commissioned by The Lab and to be premiered in San Francisco in June 2008.

Life Is Like That was written specifically for the San Francisco Composers Chamber Orchestra, its standard instrumentation plus a synthesizer. The performance is scheduled for September 15, 2007. Click on the SFCCO link for information about other pieces scheduled for that concert, as well as directions. This will be my fourth autumn concert in a row with SFCCO, on the occasion of SFCCO's fifth anniversary. I'm very excited about the piece, which was written over the course of 2006 and tweaked in the past year. Several metaphors were developed from clichés into music ... Life Is Like That uses a 5+4/4 motif, which weaves into an uncertain rhythm that is vaguely familiar. Harmonies, at times both consonant and dissonant, elide throughout the piece; one chord passes into another, almost unnoticed. Moments of apparent clarity are interrupted by childish pranks and surprises. And it ends with a question mark.

The Pied Piper Suite Concertino for Orchestra (after the poem by Robert Browning) was composed as a commission from the Diablo Valley Philharmonic to be premiered in March 2006,. The work was extracted from the composer's 23rd opera, The Pied Piper of Hamelin,commissioned by Harriet March Page for San Francisco Cabaret Opera's Fresh Voices VI (May 2006). The six selections are derived from the overture and five scenes of W.A. Mozart's Cosi fan tutti, with additional infestations from Philip Glass's Glassworks and Songs from Liquid Days, George Gershwin's Porgy and Bess, Claude Debussy's Prelude to the Afternoon of a Faun, Alban Berg's Wozzeck, Igor Stravinsky's The Rake's Progress, Maurice Ravel's Pavanne for a Dead Princess, Giacomo Puccini's La Boheme, Modest Mussorgsky's Pictures at an Exhibition, 12-bar blues, and vaudeville shuffle. The work is styled as both a baroque suite -- with titles after J.S. Bach and Ravel -- and as a concertino, where various instrumental groups are given prominence, ideally including four flutes (including piccolo, plus alto and bass flute) that characterize the Piper's magic. The Ouverture is an abbreviated sonata-allegro, the Air a three-part collision of found musics, the Menuet an abruptly cut-off Minuet and Trio, the Badinerie a locrian-lydian boogie, the Pavanne a minor retrograde of Ravel, and the Rondeau a St. Vitus Dance Rondo of 13 motives and themes.

Mordake Suite appropriates a few themes from one of my current works in progress, an opera consisting of three intertwined stories. The first is about Edward Mordake, a young Victorian aristocrat and his 'devil twin,' a man tormented by a voice coming from a woman's face on the back of his head. Unable to integrate these two parts of himself, he destroys himself and his family. In the second, a present-day James Ives has achieved his dream to star in a film; however, the director wants him to play the role as Madame Starr—the burlesque drag act that made Ives famous—and not as himself. In the third, a geneticist of the future faces a difficult question: to take a final step that would integrate us all into a perfect homogeneity, removing all our monsters, all our differences. These three threads weave together through the metaphor of the mythological chimera, a union of lion, serpent and goat, a perfect metaphor for today, the uneasy unity of our culture, strengthened and troubled in equal amounts by its diversity. The libretto for the work was written by Douglas Kearney, a poet and playwright from Los Angeles. In the sections tonight, we hear a bit of the libretto in recorded form, sung by Diana Pray and, at the beginning, a small fragment of Antonio Scotti singing Pagliacci as Edward Mordake listens. The piece will premiere next spring in the San Francisco International Arts Festival with John Duykers in the solo role. Additional performers: Antonio Scotti, tenor (recorded), Diana Pray, soprano (recorded)

Dancing on the Brink of the World: San Francisco - 1600 to The Present, a 14 Movement piece on the history of San Francisco - 1600 to the Present. Seven other movements have been performed in previous SFCCO concerts. This piece was made possible by a Creative Connections Award from Meet The Composer.

9. Playland - 1920’s

As early as 1884, there was a roller coaster at Ocean Beach, but Playland-at-the-Beach really began in 1928. At the entrance to Playland, “Laughing Sal” was the mechanical laughing lunatic who greeted visitors to the Crazy House, later called the Fun House. It housed the worlds greatest mirror maze, saved from the Midwinter Exposition. High above the moving sidewalks, shooting air holes, and staggering staircases, loomed a 200-foot, six lane slide of polished hardwood, the largest indoor slide in the world. There was a great Roller Coaster, a scary Haunted House dark ride, a Diving Bell, Bumper Cars, many other rides, and hundreds of concessions and minor amusements. A carnival atmosphere prevailed in this cousin of Coney Island. At night, the place glowed with thousands of glittering lights, creating a "fairy-like effect." In the 1960’s it began to run down, and developed a rather sleazy ominous atmosphere, however, it still retained much of the magic and joy of an earlier era. Sadly, Playland was torn down in 1972 and replaced by condominiums. The sounds of Ocean Beach and Laughing Sal begin this movement. Laughing Sal and many of Playland’s original player pianos and other wonderful curios can still be experienced at the Musee Mecanique at Fisherman's Wharf.

11. North Beach - 1950’s

Along with Chinatown and the Barbary Coast, this was one of the original parts of San Francisco. For more than a century North Beach has been a predominantly Italian neighborhood. The Beatnik era of the 1950’s attracted poets and artists here from around the world. When I was a kid my parents would frequently take me out to dinner to one of their favorite Italian North Beach restaurants. I loved the narrow streets, the steep hills around Coit Tower, the Beat scene, and a girl who worked in an art store who looked like she was from the “Adams family”. When I grew up I wanted to be a Beatnik. Today, North Beach is still the Little Italy of the West Coast, as well as a home for Beatniks and Hipsters.

8. Earthquake and Fire - 1906

Just after 5:00 AM on April 18, 1906, San Francisco was devastated by a major earthquake, and then ravaged by a great fire that burned for four days. Over 3,000 people lost their lives. A quote from an Oakland paper read: “After darkness, thousands of the homeless were making their way with their blankets and scant provisions to Golden Gate Park and the beach to find shelter. Everybody in San Francisco is prepared to leave the city, for the belief is firm that San Francisco will be totally destroyed.” Culled from hundreds of photographs, life stories and letters written during this period, this movement was created during the earthquake’s one hundred year anniversary. The movement begins with the clock striking 5:00 AM, then uses percussion and effects to create the quake and it’s aftermath. Various themes are occasionally enhanced by the haunting qualities of a musical saw.

Mark Alburger Dr. Mark Alburger is the Music Director, Conductor and founder of the San Francisco Composers Chamber Orchestra. Mark is an eclectic American composer of postminimal, postpopular, and postcomedic sensibilities. He is the Music Director of Goat Hall Productions / San Francisco Cabaret Opera, Editor-Publisher of 21st-Century Music Journal, an award-winning ASCAP composer of concert music published by New Music, Instructor in Music Theory and Literature at Diablo Valley College, Music Critic for Commuter Times, author, musicologist, oboist, pianist, and recording artist.

Dr. Alburger studied oboe with Dorothy Freeman, and played in student orchestras in association with George Crumb and Richard Wernick. He studied composition and musicology with Gerald Levinson, Joan Panetti, and James Freeman at Swarthmore College (B.A.), Karl Kohn at Pomona College, Jules Langert at Dominican College (M.A.), Tom Flaherty and Roland Jackson at Claremont Graduate School (Ph.D.), and Terry Riley.
       Since 1987 he has lived in the San Francisco Bay Area, initially producing a great deal of vocal music with assembled texts, including the opera Mice and Men (1992), the crisis-madrigal collection L.A. Stories (1993), the rap sheet For My Brother For My Brother (1997), and the hieratic Passion According to Saint Matthew (1997).

Since 1997, Dr. Alburger has gridded and troped compositions upon pre-existent compositions ranging from world music and medieval sources to contemporaries such as George Crumb and Philip Glass. To date, he has written 16 concerti, 7 masses and oratorios, 12 preludes and fugues, 20 operas, 6 song cycles, 9 symphonies -- a total of 130 opus numbers and more than 800 individual pieces. He is presently at work on Waiting for Godot and Diabolic Variations.

John Kendall Bailey John Kendall Bailey is an Associate Conductor with the San Francisco Composers Chamber Orchestra and is Principal Conductor and Chorus Master of the Trinity Lyric Opera, Music Director and Conductor of Voices of Musica Sacra, and Artistic Director of the San Francisco Song Festival. In 1994, Mr. Bailey founded the Berkeley Lyric Opera and served as its Music Director and Conductor until 2001. Since then he has been a guest conductor with the Oakland East Bay Symphony, Oakland Youth Orchestra, and Oakland Ballet, and music director and conductor for productions with North Bay Opera, Mission City Opera, Goat Hall Productions, Solo Opera, the Crowden School and Dominican University. From 2002-2006 he was the Chorus Master of the Festival Opera of Walnut Creek. Mr. Bailey is also a composer, and his works have been performed and commissioned in the Bay Area and abroad.

Mr. Bailey also maintains a busy performance schedule as a bass-baritone, oboist, and pianist, and has performed with the San Francisco, Santa Rosa, Oakland East Bay, Berkeley, Redding, Napa, Sacramento, and Prometheus symphonies, American Bach Soloists, Philharmonia Baroque Orchestra, the Midsummer Mozart and West Marin music festivals, San Francisco Bach Choir, Coro Hispano de San Francisco, Pacific Mozart Ensemble, California Vocal Academy, San Francisco Concerto Orchestra, Masterworks Chorale of San Mateo, Baroque Arts Ensemble, San Francisco Korean Master Chorale, the Master Sinfonia, the Mark Morris and Merce Cunningham dance companies, Goat Hall Productions, Opera Piccola, the Berkeley, Golden Gate, and Oakland Lyric Opera companies, and many other groups. He has recorded for the Harmonia Mundi, Koch International, Pro Musica, Wildboar, Centaur, and Angelus Music labels.

Mr. Bailey has been a pre-performance lecturer for the Oakland East Bay Symphony and the San Francisco Opera, a critic for the San Francisco Classical Voice, a writer of real-time commentary for the Concert Companion, and has taught conducting at the University of California at Davis.

Michael CookeMichael Cooke is the Promotion & Fundraising Director of the San Francisco Composers Chamber Orchestra and a composer of jazz and classical music. This two-time Emmy and Louis Armstrong Jazz Award winner plays a variety of instruments: you can hear him on soprano, alto, and tenor saxophones, flute, soprano and bass clarinets, bassoon and percussion. A cum laude graduate with a music degree from the University of North Texas, he had many different areas of study; jazz, ethnomusicology, music history, theory and of course composition. In 1991 Michael began his professional orchestral career performing in many north Texas area symphonies. Michael has played in Europe, Mexico, and all over the United States. Cimarron Music Press began published many of Michael's compositions in 1994.

After relocating to the San Francisco Bay Area, he has been exploring new paths in improvised and composed music, mixing a variety of styles and techniques that draw upon the creative energy of a multicultural experience, both in and out of America. In 1999, Michael started a jazz label called Black Hat Records. The San Francisco Beacon describes Michael's music as "flowing out color and tone with a feeling I haven't heard in quite a while. Michael plays with such dimension and flavor that it sets (his) sound apart from the rest." Uncompromising, fiery, complex, passionate, and cathartic is how the All Music Guide labeled Michael's playing on Searching by Cooke Quartet, Statements by Michael Cooke and The Is by CKW Trio. His latest release, An Indefinite Suspension of The Possible, is an unusual mixture of woodwinds, trombone, cello, koto and percussion, creating a distinct synergy in improvised music that has previously been untapped.

Martha Stoddard, Associate Conductor earned her Bachelor of Arts degree at Humboldt State University and her Master of Music degree from San Francisco State University, where she studied flute, conducting and composition. She was named Program Director for the John Adams Young Composers Program at the Crowden Music Center in 2012 and has held the position of Artistic Director of the Oakland Civic Orchestra since 1997.She is Associate Conductor of the San Francisco Composers’ Chamber Orchestra and Director of Instrumental Music at Lick-Wilmerding High School. Martha Stoddard Her most recent commissions include today's premiere and her Trio for Clarinet,Cello and Piano for the 2009 San Francisco Chamber Wind Festival at the San Francisco Conservatory.  She has held the position of Artistic Director of the Oakland Civic Orchestra since 1997. Other recent conducting activities include engagements as Conductor for the John Adams Young Composers' Orchestration Workshops at the Crowden School, Musical Director for the operas Belfagor and Trap Door by Lisa Prosek, Guest Conductor for the San Francisco All City High School String Orchestra and the Santa Rosa Youth Symphony Summer Academy Orchestra. She has also served as an adjudicator for the San Francisco Conservatory of Music and Santa Cruz Youth Symphony Concerto Competitions.  Ms. Stoddard is founding member and director of ChamberMix, and is a featured performer on alto flute in John Bilotta's Shadow Tree (Capstone Records CPS-8787) and in John Thow's Cantico  (Palatino label #1001) Marika Kuzma, conductor, and as conductor for Janis Mercer's, Voices (Centuar Recordings, CPS 2951).