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Presents "Tales of the Wanderers"
Saturday, October 10, 2015 at 8 pm

Park Presidio United Methodist Church
4301 Geary Boulevard, San Francisco, CA



Martha Stoddard earned her Bachelor of Arts degree at Humboldt State University and Master of Music from San Francisco State University, where she studied flute, conducting, and composition. She was recently named Program Director of the John Adams Young Composers Program at the Crowden Music Center and has held the position of Artistic Director of the Oakland Civic Orchestra since 1997. Stoddard is Associate Conductor of the San Francisco Composers Chamber Orchestra and Director of Instrumental Music at Lick-Wilmerding High School. Other activities include engagements as Musical Director for Lisa Scola Prosek's Belfagor and Trap Door, John Bilotta's Trifles, Mark Alburger's Job: A Masque, and the Erling Wold / Davide Verotta / Scola Prosek / Stoddard Dieci Giorni, premiered in San Francisco in 2010. In October 2012, she conducted the premiere of Scola Prosek's The Daughter o the Red Tsar, featuring tenor John Duykers. A 2009 and 2010 recipient of AscapPlus Awards, her music has been performed in San Francisco through the American Composer’s Forum, by the Sierra Ensemble, Avenue Winds and in the UK by flutists Carla Rees and Lisa Bost. She has had performances by the San Francisco Choral Artists, Schwungvoll!, the Community Women’s Orchestra, Oakland Civic Orchestra, Womensing, Bakersfield Symphony New Directions Series, in the Trinity Chamber Concert Series and the New Music Forum Festival of Contemporary Music. Recent commissions include Points of Reference, Outbursts: an Homage to Brahms, Orchestral Suite for the Young of all Ages, and the Trio for Clarinet, Cello, and Piano.

Martha Stoddard

Horse      notes

Allan Crossman has written for many soloists and ensemble. The North/South Consonance (NYC) recording of Millennium Overture Dance received a GRAMMY nomination in 2003; Music for Human Choir (SATB) shared Top Honors at the Waging Peace through Singing Festival; North/South recently recorded his FLYER (cello and string orchestra, with soloist Nina Flyer); and a recent commission is the piano trio Icarus, for the New Pacific Trio (San Francisco).

One of his many theatre scores, The Log of the Skipper's Wife, was produced by the Royal Shakespeare Company at Stratford and the Kennedy Center, with Crossman's music drawn from Irish/English shanties and dances. His music is the soundtrack for the award-winning animated short, X man, by Christopher Hinton (National Film Board of Canada). His work has been supported by such organizations as Canada Council for the Arts, American Composers Forum, and Meet the Composer (NY). Professor Emeritus, Concordia University (Montreal), he has also taught at Wheaton College, the Pacific Conservatory, and is presently on the faculty of the San Francisco Conservatory of Music. His doctoral studies were with George Rochberg, George Crumb, and Hugo Weisgall at the University of Pennsylvania.

Allan Crossman

Impromptoodle    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

Sejong the Great, Op. 235    notes

I. Early Life (Going Away Through the Arirang Mountain Pass)
II. Achievements (Changbu-Taryeon Entertainer)
III. Literature (Chung-Sun-Gok Clear-High)
VI. Hangul Alphabet (Jindo Arirang Island)
V. Death (Milyang Eastern)
VI. Relations (Monggeumpo Harbor)
VII. Family (Parangsae Blue Bird)
VIII. Official Titles (Sae Taryeong Bird Song)
IX. Depictions (Sang-Rung-San Buddha Prayer)
X. Portrait (Sijo-Chang Courtesan)



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

Lucaria    notes

I. Overture
II. Barcarolle ("their ships are leaving...")

Dr. Michael A. Kimbell is composer-in-residence and principal clarinettist of the San Francisco Community Music Center Orchestra directed by Urs Leonhardt Steiner. He studied composition with Robert Palmer and Karel Husa at Cornell University where he received his D.M.A. in 1973. He has written works for orchestra, piano, chamber ensembles, chorus and theatre. His orchestral works, which were premiered by the CMC Orchestra, include Rondino Capriccioso, Kritik des Herzens (also performed by SFCCO), Taklamakán, Night Songs, and Arcadian Symphony (which was also performed by the Mission Chamber Orchestra and won the Southern Arizona Symphony Orchestra Competition in 1998).Kimbell's Poème for Violin and Harp has been performed in Austria and Germany and at the 2011 World Harp Congress in Vancouver.

Michael Kimbell

Golden Gate Barcarole     notes

Stardust is "an animist radical faerie composer living in the somewhat embattled and mythical sanctuary of San Francisco. Stardust is currently obsessed with True of Voice activities, including this season's True of Voice Finale, which follows the SFCCO performances of the True of Voice Overture and the True of Voice Entr'acte. Stardust's previous SFCCO offerings included A la recherche des danses perdues and Railway Sonata. Other works include chamber music and symphonic music prepared for encouraging musician friends at events such as the Humboldt Chamber Music Workshops and welcoming ensembles such as the Opus Project Orchestra, the Golden Gate Symphony, the San Francisco Lesbian and Gay Freedom Band, and of course the San Francisco Composers Chamber Orchestra." Stardust plays the oboe and the English horn.


A la recherche des danses perdues (In Search of Lost Dances)     notes

I. Danse des fées distraites [Dance of the distracted faeries]
II. Danse de la Cour des Miracles [Dance of the Court of Miracles]
III. Danse des âmes tourmentées [Dance of the tormented souls]
VI. Danse des hiboux magiques [Dance of the magical owls]
V. Danse des escargots véloces [Dance of the rapid snails]
VI. Danse des papillons géants [Dance of the gigantic butterflies]
VII. Danse des feuilles tremblantes [Dance of the fluttering leaves]
VIII. Danse des ronds dans l'eau stagnante [Dance of the ripples in still water]
IX. Danse des grenouilles qui croassent [Dance of the croaking frogs]
X. Danse des libellules suspendues [Dance of the hovering dragonflies]
XI. Aléatoire [Free-for-all]

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Bruce Salvisberg
Harry Bernstein (Piccolo)

Stardust (English Horn)

Michael Kimbell

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

Tenor Sax
Michael Cooke

Michael Cox

Brian Holmes

Scott Sterling

Lisa Scola Prosek
Davide Verotta

Victor Flaviani
Anne Szabla
Cynthia Seagren

Violin I
Kristen Kline

Violin II
Corey Johnson

Nansamba Ssensalo

Ariella Hyman

John Beeman



Horse was commissioned by the Left Coast Chamber Ensemble for the inaugural season of their Intersection Workshop in 2013. The charge was to compose a short, fun, and accessible piece for skilled amateur players. This title reflects a fondness for repetitive rhythms of galloping horses, and the vantage point that sitting on a horse offers when stopping to study the terrain. Horse shares a close kinship with the orchestral piece, Gait Changes, premiered recently by the San Francisco Composers Chamber Orchestra.

This single movement Impromptoodle is a light and playful impromptu - ongoing variations on the popular Yankee Doodle Dandy. All instruments enter into the constant turnover of the tune and rampant counterpoint, including a full chorus in "squeeze horn" style.

Sejong the Great, Op. 235 (2015), was written for and is dedicated to The Sejong Cultural Society -- in appreciation for its introducing the composer to 10 wonderful Korean melodies, the pitches of which (altered only in movement II) have been gene-spliced into dynamic / rhythmic / timbral frameworks inspired by Pierre Boulez's Le Marteau sans Maitre. Each movement of Sejong has a differing instrumentation of two to five timbres with respect to seven possibilities (flute, clarinet, piano [augmented baroquely by bassoons in this performance], violin arco, violin pizz, cello arco, cello pizz), and additionally corresponds to subsections of the Wikipedia article on the titular Joseon-dynasty king (1397-1450). Overall textural result is a heterophonic sound-world in homage to 15th-century Korean court music. The form is a trilogy of trilogies, with coda: three trios of two pieces with direct repetitions, followed by one without -- i.e., movements 1-2 / 4-5 / 7-8 are repeated, with 3 / 6 / 9 respectively as through-composed / progressive-revelation- dissolution passacaglia / double (elaborated written-out-repeat). The tenth selection has two literal repeats, followed by a two-bar non-cyclic conclusion. Tempo markings are rather Erik Satiean, with the designations of I. and VI. combined in X. Other pitch-rhythmic configurations allude to Japan, sea chanty, Ludwig van Beethoven, swing, and minimalism.

Written in collaboration with the historians of the Fort Ross Conservancy, Lucaria is the story of the Russian, German, Mexican, and American occupation of the Fort Ross highlands, as experienced by a Pomo woman, Lucaria.

Golden Gate Barcaroleis a tone poem that paints a musical picture of the Golden Gate. Over a gentle, rhythmic ocean swell (hence the piece's title), the music suggests fog and mist, rocks and cliffs, hills and clouds, the great bridge and the city lights beyond. Individual instruments and sections of the orchestra are showcased throughout.

"Riffing off the renowned Marcel Proust novel, and conceived during summer 2015 at the Folleterre sanctuary in confabulation with real-life faeries, A la recherche des danses perdues (In Search of Lost Dances) is a fantastic imagination of somewhere once upon a time where distracted faeries could introduce a Court of Miracles, the refuge of twirling mendicants and magicians. It is the dances of tormented souls, magical owls, rapid snails, and gigantic butterflies who inhabit a mythical land just far enough from here to be there instead. Fluttering leaves and ripples in still water accompany croaking frogs and hovering dragonflies in this dreamscape of dance. Should you feel so moved, sit back, close your eyes, listen to the music, and let these lost dances flicker into your awareness."

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.

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).