Oboist | Musician | Teacher
"A brilliant player of dazzling technical ability and musical inventiveness"
San Francisco Chronicle
"Elegant expression of the French school with fiery Russian temperament"
The Boston Globe
"There is no finer oboist"
SFCM Campus Expansion Plan
The San Francisco Conservatory of Music announces the expansion of its campus and the construction of the Ute and William K. Bowes, Jr. Center for Performing Arts (The Bowes Center) in San Francisco’s Civic Center. The $185 million performing arts center and residential tower will be located at 200 Van Ness Avenue and construction will begin in the summer of 2018. The opening of the new building is slated for the fall of 2020 when it will welcome its first class of residents to a facility that will transform students through the study of music at the highest level. The name of the building is in honor and recognition of a financial gift of $46.4 million from the William K. Bowes, Jr. Foundation, which is the largest single gift ever made to a conservatory or music school for a new facility. The existing SFCM building at 50 Oak Street will remain in active use through the construction of the new building and after it is completed.
San Francisco names Salonen
In a move that is astonishing much of the classical music world, the San Francisco Symphony (SFS) announced Wednesday that it has appointed Finnish composer and conductor Esa-Pekka Salonen as its next music director, beginning in September 2020. The 60-year-old Salonen is already a well-known and widely loved name in California and far beyond. From 1992 to 2009, he was the music director of the Los Angeles Philharmonic, which he nurtured into becoming one of the most visionary and exciting orchestras in the U.S., which he then led into an iconic, Frank Gehry-designed new home at the Walt Disney Concert Hall — a venue that cemented the orchestra's hopes of becoming "the band of the future."But over the past several years, Salonen has stepped away from much of his conducting work in order to focus more intently on composing his own music. (His output in his post-Los Angeles years includes a cello concerto written for Yo-Yo Ma.) The surprise of his San Francisco appointment is that many in the classical music business assumed that he wouldn't be interested in taking up any full-time conducting offers, even as his name has frequently appeared on critics' most-wanted lists as various prominent posts have opened up across the U.S. The San Francisco announcement also helps boost the argument that the West Coast is now the epicenter for exciting programming and artistic leadership for orchestral music in the U.S.