Join us at Davies Symphony Hall one hour before select concerts for a free pre-concert talk! Inside Music talks are designed to enhance your enjoyment of the concert by providing insights into the works on the program—bringing you “inside” the music.
The music experts who give these talks bring different viewpoints and approaches to their conversations about the music. Some might explore why a composer wrote a particular piece of music, examining its social and historical context. Others might look at how a piece of music is constructed, guiding listeners through recorded excerpts of the works being performed.
From our events calendar, just click on your upcoming concert to view whether the concert includes an Inside Music talk.
Alexandra Amati-Camperi holds a BA/MA in Slavic studies and philology from the Università degli Studi di Pisa (Italy), degrees in piano from the Conservatory of Music of Lucca (Italy), and an MA and a Ph.D. in musicology from Harvard University. She is Professor of Music in the Performing Arts department at the University of San Francisco.
Ms. Amati-Camperi has published books and papers on Renaissance, operatic, and gender-related topics. She is currently writing a book about the presentation and treatment of women in opera, tentatively titled Euridice: The Evolution of the Mythical and Musical Other. In addition to serving as a pre-concert lecturer for the San Francisco Symphony, she is a lecturer and program annotator for San Francisco Opera, the San Francisco Bach Choir, and other organizations.
Scott Foglesong is Chair of Musicianship and Music Theory at the San Francisco Conservatory of Music, where he has been a faculty member since 1978. Mr. Foglesong is on the faculty of the Fall Freshman Program at the University of California at Berkeley and the Fromm Institute for Lifelong Learning at USF. A Contributing Writer to the San Francisco Symphony’s program book, he also serves as Program Annotator for the California Symphony and the New Hampshire Music Festival, and he was previously program annotator for the Philharmonia Baroque Orchestra.
As a pianist, Mr. Foglesong has appeared with the Francesco Trio, Chanticleer, and members of the San Francisco Symphony. He was trained at the Peabody Conservatory, where he studied piano with Elizabeth Katzenellenbogen. At the San Francisco Conservatory, he studied piano with Nathan Schwartz, harpsichord with Laurette Goldberg, and theory with Sol Joseph and John Adams.
Ronald Gallman, the San Francisco Symphony’s Director of Education and Youth Orchestra, is a music educator who has written and lectured extensively on symphonic repertoire, chamber music, and opera. Gallman manages the San Francisco Symphony’s Inside Music talks and oversees the SFS’s extensive slate of education initiatives.
Peter Grunberg served as Head of Music Staff at San Francisco Opera from 1992 to 1999 and is currently Musical Assistant to Michael Tilson Thomas. He has appeared as a piano soloist with the San Francisco Symphony, performed at the Aix-en-Provence and Salzburg festivals, and collaborated in recital with such artists as Frederica von Stade, Thomas Hampson, and Joshua Bell. He has conducted at the Moscow Conservatory, Grand Théâtre de Genève, and the Pacific Music Festival. He was the principal collaborator on the Symphony's Keeping Score project, both as music editor for the documentaries and as music consultant for the website.
James M. Keller, the San Francisco Symphony's Program Annotator since 2000, also serves as Program Annotator of the New York Philharmonic, where in the 2008-09 season he was Leonard Bernstein Scholar-in-Residence. His book Chamber Music: A Listener's Guide was published by Oxford University Press in 2011 and is now also available as an e-book and in paperback.
His many articles include contributions to Leonard Bernstein at Work: His Final Years, 1984-1990 (Amadeus Press), Leonard Bernstein: American Original (HarperCollins), George Crumb and the Alchemy of Sound (Colorado College Music Press), and the Encyclopedia of New York City (Yale University Press). He was a staff writer-editor at The New Yorker for ten years, and he was honored with the ASCAP-Deems Taylor Award for his writing in Chamber Music magazine, which he serves as Contributing Editor. He is critic-at-large for The Santa Fe New Mexican, the oldest newspaper west of the Mississippi, and was curator of the exhibition Singing the Golden State, spotlighting historical popular music about California, which was on view throughout 2012 at the Society of California Pioneers in San Francisco before embarking on a statewide tour through 2014.
John R. Palmer completed his Ph.D. at UC Davis and has taught courses on the music of Wagner, Beethoven, Mahler, Mozart, and Verdi, as well as on popular music, cultural history, and writing. Mr. Palmer studied at the University of Vienna as the recipient of a Fulbright Fellowship and has since worked at the University of California at Berkeley, University of San Francisco, and San Francisco Opera. He is currently an Associate Professor in the Sonoma State University Department of Music.
Laura Stanfield Prichard teaches courses in music and art history for Northeastern University, is the musical director for the Winchester (MA) Cooperative Theater, and is a series editor for scores published by Musikproduktion Höflich in Munich, Germany. Educated at Yale University and the University of Illinois, she is a regular speaker and writer for the Chicago Symphony, Boston Baroque, Boston Ballet, Odyssey Opera (Boston), and the Berkshire Choral Festival, and she has lectured for the San Francisco Symphony and San Francisco Opera since 1997. Ms. Prichard sings regularly with the Tanglewood Festival Chorus, Boston Pops, and the Boston Symphony Orchestra, and she has conducted the Boston-based Sharing a New Song Chorus (in collaborative concert tours of South Africa and Vietnam) and the Yale Alumni Chorus (in Moscow and the Netherlands).
Her recent publications include articles in the New Grove Dictionary of American Music, Music Around the World, and the Encyclopedia of Latin Music. An alumna of the San Francisco Chamber Singers (Volti) and a former assistant conductor to Vance George for the SFS Chorus, she taught music and dance at California State University-East Bay and San Francisco State University from 1995 to 2003.
Alex Ross has been the music critic of The New Yorker since 1996. His first book, The Rest is Noise: Listening to the Twentieth Century, won a National Book Critics Circle Award and the Guardian First Book Award, and was a finalist for the Pulitzer Prize. His second book is the essay collection Listen to This. He is now at work on Wagnerism: Art in the Shadow of Music. He has received an Arts and Letters Award from the American Academy of Arts and Letters and a MacArthur Fellowship.
Elizabeth Seitz is currently the Music History Coordinator at the Boston Conservatory, where she has been teaching since 2005. She received her Ph.D. from Boston University. She specializes in music at the turn of the twentieth century, though she has presented scholarly papers on a wide variety of subjects, from Schubert to Bach to Tito Puente to MTV. She has been a frequent lecturer at the Boston Symphony Orchestra, Boston Lyric Opera, Museum of Fine Arts in Boston, Rockport Chamber Music, Tanglewood, Road Scholar, and the New York Philharmonic. Her first murder mystery, Dissertation Most Deadly was published in 2004 and she is currently working on the sequel, Murder Most Melodious.
We are available to assist you:
Phone: (415) 864-6000
In Person: Grove Street, between Van Ness and Franklin
Box Office Hours:
Mon - Fri: 10am–6pm
Sun: 2 hours prior to concerts
Davies Symphony Hall
201 Van Ness Avenue
San Francisco, CA 94102
Fax: (415) 554-0108