Steel Hammer Music and Text by Julia Wolfe - Cal Performances
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Streaming Premiere – Thursday, May 6, 2021, 7pm
Steel Hammer
Music and Text by Julia Wolfe
featuring
Bang on a Can All-Stars
Robert Black, bass
Vicky Chow, piano and melodica
David Cossin, percussion
Arlen Hlusko, cello
Mark Stewart, electric guitar, banjo, mountain dulcimer, harmonica
Ken Thomson, clarinets and harmonica
with
Rebecca L. Hargrove, voice
Sonya Headlam, voice
Molly Netter, voice
Filmed exclusively for Cal Performances on location at
Art Factory, Paterson, NJ; Berlin, Germany; David’s Studio, NYC;
Hartford, CT; MASS MoCA, North Adams, MA
in March and April 2021.
The Cal Performances at Home Spring 2021 season
is dedicated to Gail and Dan Rubinfeld, leading supporters of Cal Performances
and the well-being of our artists for almost 30 years.
Major support provided by the U.S. Bank Foundation.
This performance is made possible, in part, by Patron Sponsor Françoise Stone.
Note: following its premiere, the video recording of this concert
will be available on demand through August 4, 2021.
1Steel Hammer
Music and Text by Julia Wolfe
Some Say
The States
Destiny
Mountain
Characteristics
Polly Ann
The Race
Winner
Lord Lord
Steel Hammer was commissioned by Bang on a Can
with generous support from Maria and Robert A. Skirnick and Carnegie Hall.
Steel Hammer Film Credits
Jeremy Robins, director, editor, and animator
Kharon Benson, camera operator
Hugo Faraco, camera operator
Clements Wronski, camera operator (Berlin)
Ras Dia, set operators coordinator
Emily Hart, archival researcher
Márion Talán Del Rosa, costume design
Theo Kogan, stylist
Steel Hammer Film Soundtrack Credits (2021)
Produced by David Cossin
David Bloom, music director
Recorded at the Bunker Studio, Brooklyn, NY and David’s Studio, New York, NY, March – April 2021
Engineered by Alex Conroy and David Cossin
Edited, mixed, and mastered by David Cossin
The Steel Hammer film soundtrack also includes previously recorded audio recorded at the
James L. Dolan Music Recording Studio at New York University, November 2011 & February 2012.
Produced, edited, mixed, and mastered by Damian leGassick
Engineered by Paul Geluso
Assisted by Brian A Bourque and Eric Xu
Kenny Savelson, executive director for Bang on a Can
Publisher:
Ricordi New York/Universal Music Corp. (ASCAP)
Special Thanks
Karl Larson, Sruly Lazaros, Tim McEvoy/MASS MoCA,
Allen Moon/David Lieberman Artist’s Representatives, Vince Peterson,
Andy Plovnick/The Bunker Studio, Zachary Ritter, Tim Thomas, Philippa Thompson
For More Information
Juliawolfemusic.com
Bangonacan.org
2PROGRAM NOTES
Peter Serling
Julia Wolfe
teel Hammer is a meditation on over 200 I drew upon the extreme variations of the
S versions of the “John Henry” ballad. The
various versions, based on hearsay, recol-
lection, and tall tales, reveal both the evolution
story, fragmenting and weaving the contradic-
tory versions of the ballad that have circulated
since the late 1800s into a new whole—at times
of the story, as well as the timeless tale of human meditating on single words or phrases—in
versus machine. Many of the facts are unclear: order to tell “the story of the story” and to em-
some say that Henry was from West Virginia; body the simultaneous diverse paths it traveled.
some say he was from South Carolina. Some To tell the tale, the Bang on a Can All-Stars have
have said that his fate was set before he picked up added a slew of instruments—mountain dul-
a hammer, that his woman’s name was Liza Jane cimer, wooden bones, banjo, harmonicas, and
or Polly Ann—that Polly drove steel just like a body percussion—to their usual line up, as well
man. But regardless of the details, John Henry, as a dynamic trio of three female voices.
wielding a steel hammer, faced the onslaught of —Julia Wolfe
the industrial age as his super-human strength is
challenged in a contest to out-dig an engine.
3TEXT
SOME SAY He was true
Some say he’s from He was false
some say he He was two hundred pounds
some say he’s from He was two twenty-five
some say He’s a worker
some say he Convict
say he Singer
he Thirty-five years
Twenty-two
THE STATES Fifty
Georgia Cotton picker
Tennessee Steel Driver (hammer, hammer, steel, steel)
Columbus, Ohio He was true
Kentucky He was false
Alabama He was six feet tall
New Jersey He was five foot one
Yew Pine Mountains He was tall
Mississippi He was small
Mountain He was small
West Virginia He was tall
South Carolina
POLLY ANN
DESTINY John Henry had a little woman
John Henry And her name was
was a little boy Polly Ann, Mary Ann, Julie Ann, Sary Ann,
sitting on his papa’s knee Sally Ann,
John Henry Martha Ann, Liza Ann, Lucy Ann,
was a little man Mary Magdelena, Magdelena
sitting on his mama’s knee John Henry had a little woman
a baby boy and she was all dressed in blue,
sitting on his daddy’s knee dressed in red,
John Henry red, blue, black
he said, “I‘m gonna be a steel drivin’ man.” John Henry’s woman said to him,
He picked up his hammer and a little piece “My darling Johnny, I’ve been true.”
of steel true to you, true to you
He said, “This hammer’s gonna be the death John Henry had a little woman
of me.” and her name was Ida Red,
and her name was Liza Jane,
MOUNTAIN and her name was Maggadee,
The mountain was so tall Polly Ann, Mary Ann, Julie Ann, Sary Ann,
John Henry was so small Sally Ann,
Martha Ann, Liza Ann, Lucy Ann,
CHARACTERISTICS Mary Magdelena, Magdelena
He was small Ida Red, Maggadee, Liza Jane,
He was tall Polly
He was black When John Henry he took sick to bed,
He was white then Polly drove steel just like a man.
4TEXT
THE RACE two nine pound hammers
The captain told John Henry two twenty pound hammers
“gonna bring that steam drill ‘round” sixteen pound hammer
John Henry told the captain hammer, hammer, hammer, hammer
“a man ain’t nothin’ but a man”
nothin’, nothin’, nothin’ WINNER
but a man, but a man The man who invented the steam drill,
John Henry on the right side he thought he was mighty fine.
the steam drill’s on the left John Henry sunk the steel fourteen feet,
right, left, right, left while the steam drill only made nine,
“Before I let your steam drill beat me down, Lord Lord,
I’ll hammer my fool self to death.”
nine pound hammer LORD LORD
ten pound hammer Lord Lord
twelve pound hammer This old hammer rings like silver
twenty pound hammer This old hammer shines like gold
ABOUT THE ARTISTS
Julia Wolfe, composer but also of the sweetness and passion of a way
Julia Wolfe’s music is distinguished by an intense of daily life now also lost. The music compels
physicality and a relentless power that pushes without overstatement. This is a major, pro-
performers to extremes and demands attention found work.”
from the audience. She draws inspiration from Upcoming and recent work includes Flower
folk, classical, and rock genres, bringing a mod- Power, a concerto for the Bang on a Can All-
ern sensibility to each while simultaneously tear- Stars co-commissioned by the Los Angeles
ing down the walls between them. Philharmonic and the Danish National Sym-
The 2019 world premiere of Fire in my mouth, phony; Oxygen for 12 flutes, commissioned by
a large-scale work for orchestra and women’s the National Flute Association and premiered
chorus, by the New York Philharmonic with The by 12 flute choirs (144 flutes); and a new large-
Crossing and the Young People’s Chorus of scale work, Her Story, for orchestra with the
New York City, received extensive acclaim— women’s chamber choir Lorelei, which will re-
one reviewer called the work “a monumental ceive multiple performances in the 2022–23
achievement in high musical drama, among the season with a consortium of five orchestras: the
most commandingly imaginative and emo- Nashville Symphony, Boston Symphony, San
tively potent works of any kind that I’ve ever ex- Francisco Symphony, Chicago Symphony, and
perienced” (The Nation Magazine). The work is National Symphony Orchestra.
the third in a series of compositions about the Wolfe has collaborated with theater artist
American worker: 2009’s Steel Hammer exam- Anna Deavere Smith; projection/scenic de-
ines the folk-hero John Henry, and the 2015 signer Jeff Sugg; filmmaker Bill Morrison; vi-
Pulitzer Prize-winning work Anthracite Fields, a sual artist Laurie Olinder; and directors
concert-length oratorio for chorus and instru- François Girard, Anne Bogart, and Anne
ments, draws on oral histories, interviews, Kauffman, among others. Her music has been
speeches, and more to honor the people who heard at venues throughout the world, includ-
persevered and endured in the Pennsylvania ing Carnegie Hall, the Brooklyn Academy of
Anthracite coal region. Mark Swed of the Los Music, Lincoln Center, Muziekgebouw (Neth-
Angeles Times wrote that Anthracite Fields “cap- erlands), the Southbank and Barbican centers
tures not only the sadness of hard lives lost… (UK), Settembre Musica (Italy), and Théâtre de
5ABOUT THE ARTISTS
la Ville (France.) Wolfe’s music has been ment with period instruments and new re-
recorded on Decca Gold, Naxos, Cantaloupe search in musicology.” She joins the Raritan
Music, Teldec, Sony Classical, and Universal. Players on the recently released recording In the
In addition to receiving the 2015 Pulitzer Prize Salon of Madame Brillon. Recent opera roles in-
in Music, Wolfe was a 2016 MacArthur Fellow. clude le Feu in Ravel’s L’enfant et les sortilèges,
She received the 2015 Herb Alpert Award in Fiordiligi in Mozart’s Così fan tutte, and the title
Music, and was named Musical America’s 2019 role in Delibes’ Lakmé. Other recent soloist per-
Composer of the Year. Julia Wolfe is co- formances include Beethoven’s Mass in C with
founder/co-artistic director of New York’s Bang Downtown Voices, Ellen Reid’s dreams of the
on a Can, and artistic director of NYU Stein- new world at the 2018 Prototype Festival, and
hardt Music Composition. Her music is pub- Orff ’s Carmina Burana with the West Village
lished by Ricordi New York (ASCAP). Chorale. Music-making during the Covid-19
pandemic has included several virtual recitals,
Rebecca L. Hargrove, voice and the premiere of a short opera film, How
Rebecca L. Hargrove is an actress and singer. They Broke Away, music and film direction by
She is a recent Grammy Award winner (Best Andy Teirstein. Headlam received her doctor-
Opera Album) for her participation in the en- ate in music arts from Rutgers University,
semble of the Metropolitan Opera’s Porgy and Mason Gross School of the Arts, where she has
Bess. She has also been featured in the compa- also worked as a part-time lecturer in the music
nies of Evita and Cabin in the Sky at New York department.
City Center. During the 2019–20 season, Har-
grove starred (title role) in the New York Times’ Molly Netter, voice
“Critic’s Pick” performances of Acquanetta at A versatile and joyous musician, Canadian-
Bard Summerscape; The Grey Land mono- American soprano Molly Netter enlivens com-
opera as The Mother at Roulette Intermedium plex and beautiful music, both old and new,
(album available on all streaming platforms); with “a natural warmth” (Los Angeles Times)
and as Yum-Yum in The Mikado with New York and “clear, beautiful tone and vivacious person-
Gilbert & Sullivan Players. Previous engage- ality” (New York Times). She can be heard on
ments include Two Wings: The Music of Black five Grammy-nominated albums since 2017
America in Migration with Jason Moran and and has performed as a soloist with ensembles
Alicia Hall-Moran at Carnegie Hall; In the such as the Chicago Symphony Orchestra, New
Parlour as Nellie Quander at the National Black World Symphony, the Boston Early Music
Theater; and a series of new plays at the Lucille Festival, Apollo’s Fire, the Smithsonian Chamber
Lortel Foundation. Follow her updates at Orchestra, Juilliard415, and Heartbeat Opera.
www.RebeccaLHargrove.com and on Insta- Netter has been a full-time member of the
gram @Rhargrov. Choir at Trinity Wall Street since 2015 and is an
active performer, curator, educator, and advo-
Sonya Headlam, voice cate of new music, regularly commissioning
Soprano Sonya Headlam is a soloist, chamber, new works by living composers. Recent collab-
and ensemble singer who performs a diverse orators include David Lang, Julia Wolfe, Amy
range of repertoire that ranges from the Beth Kirsten, Doug Balliett, Katherine Balch,
Baroque period to the 21st century. She is a Molly Joyce, and Jessica Meyer. Notable cham-
member of the Grammy-nominated Choir of ber performance highlights include inaugural
Trinity Wall Street, and performs regularly with casts of Pulitzer-winning operas Angel’s Bone
the Vocalis Consort, a group of musicians de- (Du Yun, 2015) and PRISM (Ellen Reid, 2017).
voted to sharing their passion for art song, and Netter was a featured curator/performer on
with the Raritan Players, an ensemble that “ex- Trinity Wall Street’s 2018 acclaimed Time’s
plores lost performance practices and repertoire Arrow Festival, programming an eclectic
of the 17th and 18th centuries through engage- evening of Barbara Strozzi paired with newly
6ABOUT THE ARTISTS
commissioned contemporary works. In 2020, scribed her recording of Michael Gordon’s
she began commissioning an entirely new Sonatra as “a milestone of composition, and
repertoire for self-accompanied singer and clav- Vicky Chow’s recording of it is a milestone of
icytherium, emphasizing the florid voice, early pianism.” Her album Surface Image, composed
music vocal techniques, and improvisation as a by Tristan Perich, was among the top ranked
bridge between style and genre. Netter holds a avant albums in the Rolling Stone magazine. As
bachelor’s degree in composition and contem- an artist frequently broadcasted on WNYC
porary voice from Oberlin Conservatory and radio, her recorded work can be found on the
an master’s in early music voice from the Yale Nonesuch, New Amsterdam, Tzadik, and Can-
Institute of Sacred Music. She is currently on taloupe Music labels. Interviews and articles
voice faculty at the Oberlin Baroque Perfor- featuring Chow have been published in the
mance Institute. www.mollynettervoice.com. Huffington Post, Gramophone, the New York
Times, and elsewhere. As an educator, she has
given master classes, seminars, and workshops
BANG ON A CAN ALL-STARS at the Juilliard School, Manhattan School of
Music, New England Conservatory, New York
Robert Black, bass University, Beijing Conservatory, Moscow State
Robert Black, a founding and current member Tchaikovsky Conservatory, Bard College, and
of the Bang on a Can All-Stars, tours the world Sydney Conservatorium of Music. Chow is on
creating unheard-of music for the double bass, faculty at the Bang on a Can Summer Festival at
collaborating with the most adventurous com- MASS MoCA in North Adams (MA) and has
posers, musicians, dancers, artists, actors, and also been on faculty at the Banff Centre for Arts
technophiles from all walks of life. Current and Creativity. She is also on the board of advi-
projects include First Fridays with Robert sors for Composers Now, and is a mentor for
Black—a monthly series of streamed solo bass the Juilliard School mentoring program. Chow
recitals; a 10-channel audio/video double bass is a Yamaha Artist. www.vickychow.com.
installation reflecting on the Anthropocene
with sound artists Brian House and Sue Huang, David Cossin, percussion
filmed at the Freshkills landfill in NYC; an out- David Cossin was born and raised in Queens
door environmental work for 24 basses with (NY) and studied classical percussion at the
composer Eve Beglarian, and commissions Manhattan School of Music. His interest in clas-
from Carman Moore, Joan Tower, Nick Dun- sical percussion, drum set, non-western hand
ston, Žibuolkė Martinaitytė, Krists Auznieks, drumming, composition, and improvisation
Jakhongir Shukurov, and Daniel Sabzghabaei. has led to performances across a broad spec-
Solo recordings include Possessed (Cantaloupe trum of musical and artistic forms. Cossin has
Records), Modern American Bass (New World recorded and performed internationally with
Records), The Bass Music of Christian Wolff and Steve Reich and Musicians, Philip Glass, Yo-Yo
Giacinto Scelsi (Mode Records), and State of the Ma, Meredith Monk, Tan Dun, Cecil Taylor,
Bass (O.O. Discs). Black teaches at the Hartt Talujon Percussion Quartet, and the trio Real
School/University of Hartford, the Manhattan Quiet, as well as with Sting on his Symphonicity
School of Music, and the New Music on the world tour. Theater work includes Blue Man
Point Festival. Group, Mabou Mines, and projects with the di-
rector Peter Sellars. Cossin was featured as the
Vicky Chow, piano solo percussionist in Tan Dun’s award-winning
Chinese-Canadian pianist Vicky Chow has score to the film Crouching Tiger, Hidden
been described as “brilliant” (The New York Dragon. As a soloist, he has performed with or-
Times) and “one of our era’s most brilliant pi- chestras throughout the world including the
anists” (Pitchfork). She is currently the pianist Los Angeles Philharmonic and Orchestra
for Bang on a Can All-Stars. The New Yorker de- Radio France. His sonic installations have been
7ABOUT THE ARTISTS
presented in New York, Italy, and Germany, and toured with Simon since 1998. A founding
he is also an active producer, composer, and in- member of the Bang on a Can All-Stars and the
strument inventor, expanding the limits of tra- duo Polygraph Lounge with keyboard and
ditional percussion. Cossin teaches percussion theremin wizard Rob Schwimmer, Mark has
at the Aaron Copland School of Music and the also worked with Steve Reich, Sting, Anthony
Manhattan School of Music’s Contemporary Braxton, Bob Dylan, Wynton Marsalis, Mere-
Performance Program. dith Monk, Stevie Wonder, Phillip Glass, Bruce
Springsteen, Terry Riley, Ornette Coleman,
Arlen Hlusko, cello Edie Brickell, Don Byron, Joan Baez, Hugh
Internationally acclaimed Canadian cellist Arlen Masakela, Paul McCartney, Cecil Taylor, Bill
Hlusko is a dynamic, versatile young artist who Frisell, Jimmy Cliff, Charles Wourinen, the
has performed extensively as a soloist and Everly Brothers, Steve Gadd, Fred Frith, Alison
chamber musician across North America, Asia, Krauss, David Krakauer & Klezmer Madness,
and Europe. A laureate of numerous competi- Bobby McFerrin, David Byrne, James Taylor,
tions, a Grammy Award winner for her collab- The Roches, Aaron Neville, Bette Midler, and
oration with The Crossing, and a recent Marc Ribot. He is the inventor of the Whirly-
graduate of the Curtis Institute of Music, Copter, a bicycle-powered Pythagorean choir of
Hlusko is currently a member of Ensemble singing tubes and the Big Boing, a 24-foot sonic
Connect (the resident ensemble of Carnegie banquet table mbira that seats 30 children play-
Hall) and regularly performs with several en- ing 490 found objects, and he is a visiting
sembles based on the East Coast, including the lecturer in musical instrument design and per-
Bang on a Can All-Stars and Dolce Suono formance practice at MIT. Stewart is also a cu-
Ensemble. She has recently been featured per- rator at MASS MoCA of the immersive Gunnar
former with groups including the Los Angeles Schonbeck exhibit of musical instruments and
Philharmonic, BBC Concert Orchestra, and the co-founder of SoundstewArt, a company that
National Arts Centre Orchestra. Hlusko has designs immersive sound environments and
also been on the roster of preeminent summer community music-making experiences. He
festivals including Music from Angel Fire, lives in Brooklyn and North Adams, MA, play-
Tippet Rise, Spoleto USA, and Bay Chamber ing, singing, and writing popular music, semi-
Concerts. As a teacher, she has served on faculty popular music, and unpopular music, while
of Curtis Summerfest, the New York Philhar- designing instruments that everyone can play.
monic, and Philadelphia Orchestra Teaching
Artists, and given master classes in the USA, Ken Thomson, clarinets and harmonica
Canada, and Germany. Committed to using her A staple of New York City’s contemporary
music to serve her community, Hlusko founded music and jazz communities, Ken Thomson is
her own interactive chamber music concert se- widely respected for his ability to blend a rich
ries, Philadelphia Performances for Autism, and variety of influences and styles into his own
is involved with several communities in Phila- musical language while maintaining a voice un-
delphia and New York City, including Carnegie mistakably his own. Thomson has a growing
Hall’s “Musical Connections” at Sing Sing catalog of music written for ensembles of dif-
Correctional Facility. arlenhlusko.com. fering sizes, and has toured with and released a
number of albums with groups that he has cre-
Mark Stewart, electric guitar, banjo, ated. His latest project combining the sounds of
mountain dulcimer, harmonica jazz and contemporary music, Sextet, has
Multi-instrumentalist, singer, song leader, com- toured across the US and Europe and selected
poser, and instrument designer Mark Stewart one of the top recordings of 2018 by websites
has been heard around the world, performing Second Inversion and AnEarful. Thomson re-
old and new music. As the music director for leased two albums with his previous project, a
Paul Simon's band, Stewart has recorded and five-piece group called Slow/Fast, that were
8ABOUT THE ARTISTS
praised by the New York Times for their “intri- residency program that uses music to bridge the
cate long-form compositions” and earned a gulf between young American musicians and
five-star review in All About Jazz. He has two young musicians from developing countries;
full-length CDs available of his chamber music cross-disciplinary collaborations and projects
compositions: 2013’s Thaw with the JACK with DJs, visual artists, choreographers, film-
Quartet and 2016’s Restless with cellist Ashley makers, and more. Each new program has
Bathgate and pianist Karl Larson. Thomson is evolved to answer specific challenges faced by
also active as a freelance clarinetist and saxo- today’s musicians, composers, and audiences,
phonist, performing with groups including the in order to make innovative music widely ac-
Bang on a Can All-Stars, Ensemble Signal, cessible and wildly received. Bang on a Can’s
International Contemporary Ensemble, and inventive and aggressive approach to program-
Novus. He is also on faculty on the Bang on a ming and presentation has created a large and
Can Summer Institute at MASS MoCA. vibrant international audience made up of peo-
Thomson is a D’Addario Woodwinds artist. ple of all ages who are rediscovering the value of
www.ktonline.net contemporary music. Bang on a Can has also
recently launched its new digital archive, CAN-
Bang on a Can LAND, an extensive archive of its recordings,
Founded in 1987 by composers Michael Gor- videos, posters, program books, and more.
don, David Lang, and Julia Wolfe, Bang on a Thirty-three years of collected music and asso-
Can has been creating an international com- ciated ephemera have been digitized and
munity dedicated to innovative music, wher- archived online and is publicly accessible in its
ever it is found, and has grown from a one-day entirety at www.canland.org.
New York-based marathon concert to a multi- For more information about Bang on a Can,
faceted performing arts organization with a please visit www.bangonacan.org.
broad range of year-round international activ-
ities. In addition to its festivals LOUD Weekend
at MASS MoCA and LONG PLAY, current Bang on a Can Board of Directors
projects include live.bangonacan.org, a digital Betto Arcos, Daniel Baldini, Jeffrey Bishop,
streaming platform launched during the Stephen Block, Jeffrey Calman, Michael Gor-
pandemic with an ongoing schedule of live- don, Lynette Jaffe, Alan Kifferstein, Michael
streamed concerts and world-premiere per- Kushner, David Lang, Lesley Lassiter, George
formances of new commissions; The People’s Lewis, Raulee Marcus, Elizabeth Murrell, Robert
Commissioning Fund, a membership program A. Skirnick, Jane Stewart, Sandra Tait, Julia
to commission emerging composers; the Bang Wolfe, Adam Wolfensohn.
on a Can All-Stars, who tour to major festivals
and concert venues around the world every Bang on a Can Staff
year; recording projects; the Bang on a Can Michael Gordon, artistic director
Summer Music Festival at MASS MoCA, a pro- David Lang, artistic director
fessional development program for young com- Julia Wolfe, artistic director
posers and performers led by today’s pioneers Kenny Savelson, executive director
of experimental music; Asphalt Orchestra, Tim Thomas, development director
Bang on a Can’s extreme street band that offers Philippa Thompson, project manager and
mobile performances re-contextualizing un- summer festival manager
usual music; Found Sound Nation, a new tech- Sruly Lazaros, producer
nology-based musical outreach program now Brian Petuch, accounts manager
partnering with the US State Department to Adam Cuthbert, licensing and store manager
create OneBeat, a revolutionary, post-political Jensen Artists, publicity
9ABOUT THE ARTISTS Bang on a Can’s 2021 programs are made pos- Arts Foundation, Jeremy Mindich & Amy sible with generous lead support from: Smith, Elizabeth Murrell & Gary Haney, Amphion Foundation, ASCAP and ASCAP National Endowment for the Arts, New Music Foundation, Atlantic Records, Daniel Baldini, USA, New York Community Trust, New York Stephen A. Block, Bishop Fund, Jeffrey Calman, State Council on the Arts (with the support of Charina Endowment Fund, City of New York Governor Andrew Cuomo and the New York Department of Cultural Affairs, Aaron Copland State Legislature), Fan Fox and Leslie R. Samuels Fund for Music, Gladys Krieble Delmas Foundation, Scopia Capital Management, Mat- Foundation, Alice M. Ditson Fund of Columbia thew Sirovich & Meredith Elson, Maria & University, Exploring the Arts, Howard Gilman Robert A. Skirnick, Jane & Dick Stewart, Sandra Foundation, Jaffe Family Foundation,, Alan Tait and Hal Foster, Trust for Mutual Under- Kifferstein & Joan Finkelstein, Michael Kushner, standing, Williamson Foundation for Music, Leslie Lassiter, Herb Leventer, MAP Fund, Adam Wolfensohn & Jennifer Small, and Raulee Marcus, MASS MoCA, Mid Atlantic Wolfensohn Family Foundation. 10
CREDITS
For Cal Performances at Home MARKETING AND COMMUNICATIONS
Tiffani Snow, Producer Jenny Reik, Director of Marketing and
Jeremy Little, Technical Director Communications
Jeremy Robins, Executive Video Producer Ron Foster-Smith, Associate Director
of Marketing
For Future Tense Media Mark Van Oss, Communications Editor
Jesse Yang, Creative Director Louisa Spier, Public Relations Manager
Cheryl Games, Web and Digital Marketing
Manager
For Cal Performances Jeanette Peach, Public Relations Senior Associate
EXECUTIVE OFFICE Elise Chen, Email Production Associate
Jeremy Geffen, Executive and Artistic Director Lynn Zummo, New Technology Coordinator
Kelly Brown, Executive Assistant to the Director Terri Washington, Social Media and Digital
Content Specialist
ADMINISTRATION
Andy Kraus, Director of Strategy and OPERATIONS
Administration Jeremy Little, Production Manager
Calvin Eng, Chief Financial Officer Alan Herro, Production Admin Manager
Rafael Soto, Finance Specialist Kevin Riggall, Head Carpenter
Marilyn Stanley, Finance Specialist Matt Norman, Head Electrician
Gawain Lavers, Applications Programmer Tom Craft, Audio/Video Department Head
Ingrid Williams, IT Support Analyst Jo Parks, Video Engineer
Sean Nittner, Systems Administrator Tiffani Snow, Event Manager
Ginarose Perino, Rental Business Manager
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Katy Tucker, Director of Artistic Planning
Robin Pomerance, Artistic Administrator STAGE CREW
Charles Clear, Senior Scene Technician
DEVELOPMENT David Ambrose, Senior Scene Technician
Taun Miller Wright, Chief Development Officer Jacob Heule, Senior Scene Technician
Elizabeth Meyer, Director of Institutional Giving Jorg Peter “Winter” Sichelschmidt,
Jennifer Sime, Associate Director of Senior Scene Technician
Development, Individual Giving Joseph Swails, Senior Scene Technician
Jamie McClave, Individual Giving Mark Mensch, Senior Scene Technician
and Special Events Officer Mathison Ott, Senior Scene Technician
Jocelyn Aptowitz, Major Gifts Associate Mike Bragg, Senior Scene Technician
Ricky Artis, Senior Scene Technician
EDUCATION AND COMMUNITY PROGRAMS Robert Haycock, Senior Scene Technician
Rica Anderson, Interim Director, Artistic Literacy
STUDENT MUSICAL ACTIVITIES
HUMAN RESOURCES Mark Sumner, Director, UC Choral Ensembles
Judy Hatch, Human Resources Director Bill Ganz, Associate Director,
Shan Whitney, Human Resources Generalist UC Choral Ensembles
Matthew Sadowski, Director of Bands/
Interim Department Manager
Ted Moore, Director, UC Jazz Ensembles
Brittney Nguyen, SMA Coordinator
11CREDITS
TICKET OFFICE Opening fanfare used by permission from Jordi
Liz Baqir, Ticket Services Manager Savall from his 2015 recording of Monteverdi's
Gordon Young, Assistant Ticket Office Manager L'Orfeo on Alia Vox.
Sherice Jones, Assistant Ticket Office Manager
Jeffrey Mason, Patron Services Associate Major support for the Cal Performances
Digital Classroom is provided by Wells Fargo.
Major support for Beyond the Stage is provided
by Bank of America.
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