13/14 Season

13/14 SEASON

BerkeleySymphony_program_covers_FINAL.indd 3 8/5/13 3:48 PM

Berkeley Symphony 2013-14 Season

5 Message from the Music Director 7 Message from the Executive Director 9 Board of Directors & Advisory Council 10 Orchestra 13 Producers’ Circle Sponsorship Gifts 15 Program 17 Program Notes 31 Music Director: Joana Carneiro 37 Guest Artists 41 Berkeley Symphony 45 Music in the Schools 47 Under Construction 49 Broadcast Dates 57 Membership Support 65 Contact 66 Advertiser Index

Season Sponsors: Kathleen G. Henschel, , Ed Osborn, and Brian James & Shariq Yosufzai

Media Sponsor: Official Wine Sponsor:

Presentation bouquets are graciously provided by Jutta’s Flowers, the official florist of Berkeley Symphony. Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras. No photographs or recordings of any part of tonight’s performance may be made without the written consent of the management of Berkeley Symphony. Program subject to change.

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February 6, 2014 3 4 February 6, 2014 Message from the Music Director

Dear Friends,

I hope the New Year is bringing you much joy, health and wonderful music.

Speaking of wonderful music, I am most excited about our program tonight and am incredibly proud to present our second commission of the season, a violin concerto by Samuel Adams. It

has been a joy to work with Sam and to photo by Rodrigo de Souza get to know his music more and more. He is bursting with talent and craft and his music consistently delivers—in the words of others—“a personal voice and keen imagination.” Anthony Marwood, an amazing violinist whom I met years ago, joins us as soloist. I was simply astonished at his playing when he championed another violin concerto, Thomas Adès’ Concentric Paths.

We start our concert with a piece that many hail as the very first symbol of neoclassicism (in music), the suite from Pulcinella by Igor Stravinsky. A beautiful homage to the music of the early eighteenth century, it borrows some musical material from the past and transforms it in the most imaginative ways of the modern Stravinsky.

We end the evening with—I am convinced—one of the most beautiful pieces ever written, Mendelssohn’s “Scottish Symphony.” Mendelssohn started writing this wonderful piece in 1829, at the young age of 20, and completed it years later (at the still very young age of 33). It makes sense then, to pay homage tonight to young genius, invention and respect for the great music of the past, now reinvented. After all, isn’t that what Berkeley Symphony is about?

I wish you a great night and am always so thankful for your support.

Joana Carneiro

February 6, 2014 5 6 February 6, 2014 Message from the Executive Director

Greetings in the New Year!

. . . and welcome to tonight’s performance. It is an exciting time for Berkeley Symphony and

our various creative partners. Last weekend, photo by Marshall Berman we had the opportunity to perform with the legendary Martha Graham Dance Company as part of our on-going partnership with Cal Performances. This past Sunday, in the first program of our 2014 Under Construction New Music Series, we inaugurated our newest collaboration with EarShot and the American Composers Orchestra, performing works by four emerging composers chosen from across the country. At the end of this month, we celebrate our long-established partnership with the Berkeley Unified School District at our annual Music in the Schools Luncheon. On March 16, we continue our most recent collaboration with the Piedmont Center for the Arts, presenting our next Berkeley Symphony & Friends chamber music concert. It is indeed gratifying to be such an integral part of the rich cultural fabric of our community.

Tonight we are thrilled to be able to share with you the world premiere of Sam Adams’ Violin Concerto, which Berkeley Symphony commissioned. As a direct result of the generous donations we receive from you, our loyal patrons, we are able to make evenings like this possible. With your help, we will continue to introduce the work of the next generation of composers. You play an important role in the continued success of Berkeley Symphony, and in that way, you are our most treasured creative partner.

As we enter into this new year, I want to reiterate how much your friendship and your commitment mean to Berkeley Symphony. On behalf of the musicians and our Board of Directors, I extend our gratitude and very best wishes throughout 2014.

René Mandel

February 6, 2014 7 8 February 6, 2014 Board of Directors & Advisory Council

Board of Directors Executive Committee Thomas Z. Reicher, President Janet Maestre, Vice President for Governance Janet McCutcheon, Vice President for Development Stuart Gronningen, Vice President for Community Engagement Ed Osborn, Treasurer Tricia Swift, Secretary René Mandel, Executive Director

Directors Advisory Council (continued) Susan Acquistapace Lynne LaMarca Heinrich & Dwight Jaffee Gertrude Allen Kathleen G. Henschel Norman Bookstein Buzz Hines James Donato Sue Hone Ellen L. Hahn Kenneth A. Johnson & Nina Grove Brian James Todd Kerr William Knuttel Jeffrey S. Leiter Sandy McCoy Bennett Markel Deborah Shidler Bebe & Colin McRae Michel Taddei Helen Meyer Adviso00ry Council Christine Miller Marilyn Collier, Chair Deborah O’Grady & John Adams Michele Benson Elisabeth & Michael O’Malley Frank & Roberta Bliss Maria José Pereira Judith Bloom Marjorie Randell-Silver Joy Carlin Thomas W. Richardson Ron Choy Linda Schacht & John Gage Richard Collier Kathy Canfield Shepard & John Shepard Diane Crosby Jutta Singh John Danielsen Jennifer DeGolia Lisa & James Taylor Carolyn Doelling Alison Teeman Anita Eblé Paul Templeton & Darrell Louie Karen Faircloth Anne & Craig Van Dyke Gary Glaser Yvette Vloeberghs Reeve Gould Shariq Yosufzai Bereket Haregot Michael Yovino-Young

February 6, 2014 9 The Orchestra

Joana Carneiro Music Director Violin II (continud) Sponsored by Helen and John Meyer Christina Knudson Sponsored by Earl O. Osborn Sponsored by Lisa and Jim Taylor Rick Diamond Sponsored by Brian James and Shariq Yosufzai Ann Eastman Sponsored by Anonymous Kristen Kline Kent Nagano Conductor Laureate Alexandra Lee* Violin I Viola Franklyn D’Antonio Concertmaster Tiantian Lan Principal Matthew Szemela Associate Concertmaster Ilana Matfis Assistant Principal Emanuela Nikiforova Assistant Concertmaster Darcy Rindt Candy Sanderson Patrick Kroboth Lisa Zadek Marta Tobey Ilana Thomas Amy Apel Thomas Yee Dan Stanley Shawyon Malek-Salehi Peter Liepman Kristen Steiner Celeste McBride Quelani Penland John Bernstein Cello Annie Li Carol Rice Principal Violin II Stephanie Lai Assistant Principal Daniel Flanagan Principal Isaac Melamed Karsten Windt Assistant Principal Eric Gaenslen David Cheng Wanda Warkentin Lauren Avery Ken Johnson Sponsored by Tricia Swift Peter Bedrossian Sarah Wood Jordan Price

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10 February 6, 2014 1940 Virginia Street, Berkeley • 510.849.4747 Bass Horn (continud) Michel Taddei Principal Richard Hall Alden Cohen Assistant Principal Tom Reicher David Horn Megan McDevitt Trumpet Andy Butler Cheonho Yoon Principal Ben Holston* Kale Cumings

Flute/Piccolo Trombone Emma Moon Principal Thomas Hornig Principal Sponsored by Marcos and Janet Maestre Sponsored by Kathleen G. Henschel Stacey Pelinka Timpani Oboe Kevin Neuhoff Principal Deborah Shidler Principal Sponsored by Janet Percussion and Michael McCutcheon Ward Spangler Principal Bennie Cottone Sponsored by Gail and Bob Hetler Clarinet Kevin Neuhoff Roman Fukshansky Principal Harp Diana Dorman Wendy Tamis Principal Bass Clarinet Roman Fukshansky Piano Bassoon Miles Graber Principal Carla Wilson Principal Member of Young People’s Symphony Orchestra Ravinder Sehgal *

Horn Franklyn D’Antonio Orchestra Manager Alex Camphouse Principal Joslyn D’Antonio Co-Orchestra Manager Sponsored by Tom and Mary Reicher Douglas Hull Quelani Penland Librarian David Goldklang Kevin Reinhardt Stage Manager

February 6, 2014 11 12 February 6, 2014 Producers’ Circle Sponsorship Gifts

We gratefully acknowledge the following individuals who have contributed to Berkeley Symphony’s Producers’ Circle Sponsorship Campaign in addition to their annual giving. Producers’ Campaign gifts directly support Berkeley Symphony’s artistic initiatives including commissions, premieres, and guest soloists.

Anonymous (2) Gertrude Allen The Brownrigg-Thomson Family Marilyn & Richard Collier James & Rhonda Donato Ellen Hahn Kathleen G. Henschel Gail & Bob Hetler Buzz & Lisa Hines Ken Johnson & Nina Grove William & Robin Knuttel Janet & Marcos Maestre Janet & Michael McCutcheon Helen & John Meyer Linda & Stuart Nelson Ed Osborn Thomas & Mary Reicher Thomas W. Richardson Kathy Canfield Shepard & John Shepard Tricia Swift Lisa & James Taylor Brian James & Shariq Yosufzai

Producers’ Circle gifts of $2,500 and above received for the 2012-13 thru 2014-15 seasons are listed. Thank you also to our Producers’ Circle supporters at all levels!

February 6, 2014 13 14 February 6, 2014 Program

Thursday, February 6, 2014 at 8:00 pm Zellerbach Hall Joana Carneiro conductor

Igor Stravinsky Pulcinella Suite Sinfonia Serenata Scherzino - Allegretto - Andantino Tarantella Toccata Gavotta (con due variazioni) Vivo Minuetto - Finale

Samuel Adams Violin Concerto (World Premiere, commissioned by Berkeley Symphony) I. expo II. q=152 pause III. aria: patiently waiting for the past to come IV. coda, coda Anthony Marwood violin INTERMISSION Felix Mendelsson Symphony No. 3 in A minor, Op. 56, “Scottish” Andante con moto - Allegro un poco agitato Vivace non troppo Adagio Allegro vivacissimo - Allegro maestoso assai

Tonight’s performance will be broadcast on KALW 91.7 FM on May 19, 2014. Please switch off your cell phones, alarms, and other electronic devices during the concert. Thank you.

Concert Sponsors: Gertrude Allen in memory of Robert Allen Janet & Marcos Maestre Janet & Michael McCutcheon Guest Artist Sponsor: Chevron Commission Sponsors: The Brownrigg-Thomson Family Clarence E. Heller Charitable Foundation

Season Sponsors: Kathleen G. Henschel, , Ed Osborn, and Brian James & Shariq Yosufzai

February 6, 2014 15 16 February 6, 2014 Program Notes

Igor Stravinsky (1882-1971) originality. The true key to his innovative spirit was Stravinsky’s Pulcinella Suite continual defiance of expectations throughout his career. Rite became a Born on June 17, 1882, in Oranienbaum, sensation through its violent fantasy Russia; died on April 6, 1971, in New York of a primal Russian past; in his music City. Stravinsky composed the complete for the ballet Pulcinella, Stravinsky score for Pulcinella in 1919-20 for the demonstrated another way of Ballets Russes at the prompting of Serge using the past to create something Diaghilev. Two years after the complete startling in its novelty. His change ballet was premiered, Stravinsky of tack led to misguided accusations prepared a concert suite, which he revised of turning “reactionary” and, for the in 1949 and which has become a repertory more literal-minded, even called his piece. Stravinsky also published several credibility as a bona fide modernist chamber versions of this music (for violin into question. and for cello, respectively, with piano), titled Suite italienne. The term “neo-Classicism” has been much bandied about as a catch- First performance: The complete ballet all label for the creative phase Pulcinella premiered on May 15, 1920, in Stravinsky essentially launched Paris, with Ernest Ansermet conducting. with Pulcinella after the First World The concert suite was introduced on War. Like “Minimalism,” it’s a term December 22, 1922, with Pierre Monteux of very limited usefulness, one conducting the Boston Symphony that tends to steer listeners toward Orchestra. The Pulcinella Suite is preconceived notions, to focus on scored for 2 flutes (1 doubling piccolo), certain techniques as ends rather 2 oboes, 2 bassoons, 2 horns, trumpet, than means. And to the extent trombone, and strings, including a small that neo-Classicism suggests self- quintet of soloists (two violins, viola, conscious “imitation” (whether witty cello, and bass) as a quasi-concertino or ironic) of 18th-century styles, group set against the ripieno of the string Pulcinella is a downright misleading ensemble. Duration ca. 20 minutes. choice to point to as an example. Stravinsky doesn’t try to “pass” ith all the renewed attention as a Classicist born in the wrong W showered on The Rite of Spring century, nor is he merely dressing up to mark that work’s centenary last in quaintly old-fashioned drag. The year, it’s been easy to lose sight of composer pointed out that “I could the full extent of Igor Stravinsky’s not produce a forgery’’ of Pergolesi

February 6, 2014 17 18 February 6, 2014 because my motor habits are so feasible. Diaghilev had in the different . . . .” meantime discovered a successful formula by having sonatas by At the same time, Stravinsky’s Domenico Scarlatti arranged into reworking of pre-existing music a new ballet score for the 1917 written two centuries before him offering The Good-Humored Ladies. involves something more complex Hoping to win Stravinsky back as a than a process of transforming collaborator, Diaghilev proposed a these materials into his own (in similar approach using a collection any case elusive) style. Pulcinella of unpublished scores believed at exists between these identities, its the time to have been penned by the fascination residing in the continual Naples-based composer Giovanni shift between the 18th-century voice Pergolesi (1710-1736). and the modern gloss on it. Paul Griffiths neatly sums up the tension Stravinsky was no fan of the in his book on Stravinsky: the source Pergolesi compositions he already material was “neither so familiar knew (including Pergolesi’s greatest that Stravinsky’s contribution would hit for posterity, a setting of the be spotted at once as external, nor Stabat Mater), but the prospect so unfamiliar that dislocations won his enthusiasm after he spent would not be recognized . . . . [W]hat some time pondering the collection. it presents is not so much a work as a Decades later, it was established that way of hearing.” not even half of the source material had actually been composed by The project was initiated by Serge Pergolesi. The rest—in another Diaghilev, the impresario whose twist on the theme of “faking it”— Paris-based Ballets Russes had won had been falsely attributed after Stravinsky international fame a Pergolesi’s premature death, when decade earlier when their legendary his cultural stock soared. (The true collaboration began with The Firebird. identities of the other composers Rather ironically, in fact, Diaghilev include several Italians and even a had initially engaged his young find Dutchman.) to contribute some orchestrations of Chopin intended for Les Sylphides, Pulcinella’s story was meanwhile the ballet presented as part of the inspired by the golden age of Ballets Russes’ inaugural season in the commedia dell’arte, with its Paris. During the war, Stravinsky improvisatory plots revolving had resettled in Switzerland, and around an ensemble of stock the brand of lavish productions character types and variations with which the company had made on love intrigue and mistaken its name—including the enormous identity. The replacement for the orchestra such scores as Rite called problematic Vaslav Nijinsky, Léonide for—was no longer economically Massine concocted the scenario

February 6, 2014 19 20 February 6, 2014 and choreography for Pulcinella. patterns to rhythmic adjustments The trickster hero (danced by and unexpected harmonic feints. Massine), whose lengthy, beaklike It’s not simply a matter of splashing nose is his signature attribute, the canvas with “wrong notes” here flirts and survives the attacks of and there. The real substance of his jealous enemies, marrying Stravinsky’s gloss is to be found in his own sweetheart in the end. his orchestration. Though restricting His feigned “resurrection” is one himself to a chamber orchestra, obvious echo of the commedia spirit this is by no means a “period” of the earlier Petrushka, while the ensemble. Listen, for instance, to jump-cut effect between numbers the anachronistic special effects of in Stravinsky’s Pulcinella score (for harmonics or the jazzy attitude of example, between the gavotte the trombone and solo double bass and the penultimate Vivo section) in the Vivo section. similarly recalls something in Petrushka’s montage technique. Stravinsky described his innovation Pablo Picasso also belonged to the in “juxtaposing the timbres of the creative team, designing images of instruments which are the very Neapolitan streets and Vesuvius in foundation of the sound material.” the background in Cubist style. A color, he argues, has no value by itself but only “in relation to the For his concert suite, Stravinsky other colors which are placed next to removed the solo vocal arias and it . . . And that is what I have wanted cut a good half of the ballet score. to do in music, and what I look There is no clear-cut “illustration” of for first of all is the quality of the the action here. Rather, in its array sound.” of such 18th-century dance idioms as the swirling, perpetual-motion —© Thomas May tarantella or the minuet that leads to Thomas May writes about the arts and the suite’s rambunctious finale, the blogs at memeteria.com. score presents a musical analogy for the character “types” seen on the commedia stage. Stravinsky retains the original melodies and bass harmonies, to the point that, as he Samuel Adams (b. 1985) noted, “the remarkable thing about Pulcinella is not how much but how Violin Concerto little has been added or changed.” (World Premiere)

But in those telling little details, an Born in San Francisco, Samuel Adams extraordinary alchemy works its attended The Crowden School in Berkeley magic. These range from insertions and currently resides in Oakland. The that upset the predictably periodic Violin Concerto is in four movements

February 6, 2014 21 www.buyartworknow.com

22 February 6, 2014 and is scored for 2 flutes (both doubling The exterior of the piece is similar to piccolo), 2 oboes, 2 Bb clarinets (one many violin concertos. A dynamic doubling bass clarinet), 2 bassoons, between the soloist and the 2 horns, 2 trumpets (Bb and D), ensemble unfolds over its duration, trombone, percussion (vibraphone, it has cadenzas, and it requires a 4 metal bowls, brake drum, riveted high degree of virtuosity of the ride cymbal, snare drum, crotales, violinist. But to find relevance in almglocken, tam-tam, gong, sandpaper these tropes, I had to reconsider blocks, whip), harp, piano, and strings. their emotional profiles in my Duration ca: 26 minutes. own terms. Here, cadenzas, which typically signify confidence, reveal The composer has provided the following vulnerability. Recapitulations, which comments: typically signify comfort, reveal began work on this piece in a suspicion of making the same I June 2013 while at the Visby mistake twice. Sequences, which International Centre for Composers typically signify assurance, reveal in Sweden. I had what seemed like stubbornness. forever to write it: twenty hours The work is in two “acts,” each of of piercing sunlight each day for which contain two movements a nearly uninterrupted month. My played without pause. experience was inspired and, at times, ecstatic. Yet, all the while, I I expo is made from two contrasting was acutely aware of its transience materials: a set of translucent and became anxious—anxious triads played by the strings and about leaving an environment aggressive interjections by the solo where I could calmly go about my violin. The shape of the movement work; anxious about returning to my quickly departs from a conventional normal, complicated life; anxious subject/countersubject dialectic about seeing the sun a bit less. and proposes a completely different narrative. The movement So I composed and composed in is punctuated by several quiet and preference of sleep and left Sweden concise cadenzas. with a detailed and—so I thought— immutable plan of the whole work. II q=152 marks the tempo of this movement. Over its brief duration The next six months I spent undoing (c. 5 minutes) the solo violin is at its this mistake. It quickly became most virtuosic, gliding above the evident that a rigid approach was ensemble at intervals as wide as futile, allowing very little room for seven octaves. my intuition to play a role in making the music. The piece consequently III aria: patiently waiting for the past became one about reconsideration to come is made from fragments and letting go. of a baroque ritornello form.

February 6, 2014 23 After several statements of an unstable harmonic cycle, a failed recapitulation emerges.

IV coda, coda is less of a “movement,” and more of a series of question marks. The statements presented in the first movement Well Orchestrated Travel are reiterated above a texture Durango or Dubai that slips away like water. In the last moments of the work, the orchestra ascends and descends simultaneously, leaving the violin with only its open strings, oscillating. —© Samuel Adams

Felix Mendelssohn (1809-1847) Symphony No. 3 in A minor, Op. 56 “Scottish”

Born on February 3, 1809, in Hamburg, Germany; died on November 4, 1847, in Leipzig, Germany. Mendelssohn first conceived of writing his “Scottish” Symphony while traveling in Scotland in 1829, but over a dozen years passed before he finished his first version of the score in January 1842. Despite its numbering, the Symphony No. 3, dedicated to Queen Victoria, is actually the last of Mendelssohn’s five mature symphonies to be completed.

First performance: March 3, 1842, with the composer conducting the Leizpzig Gewandhaus Orchestra. The Symphony No. 3 is scored for 2 flutes, 2 oboes,

24 February 6, 2014 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. Duration ca. 43 minutes.

he year Felix Mendelssohn T entered his twenties, 1829, marked an artistic as well as a chronological turning point for a composer who had already revealed his genius as a child prodigy. His famous revival of Bach’s St. Matthew Passion that spring helped shore up Mendelssohn’s reputation as a leading and influential musical thinker. Several months afterward, always eager to enlarge his experience, the young composer embarked on an extensive “grand tour” throughout Europe. The first stage took him on a lengthy visit to Britain, where Mendelssohn stored up impressions on which he would draw for numerous future compositions, including two of his orchestral masterpieces: the concert overture known alternately as The Hebrides and the Third Symphony (“Scottish”).

After finishing up his engagements for the concert season in London, Mendelssohn undertook a walking tour of Scotland. As a contrast to the social whirlwind of the metropolis, Scotland’s awe- inspiring scenic beauty especially impressed him. Letters to his family back in Berlin recorded Mendelssohn’s reactions to the misty, forlorn seascape off Scotland’s west coast. His excursion there triggered a musical idea

February 6, 2014 25 26 February 6, 2014 that would form the kernel of the literary source in the manner of, Hebrides overture, a pioneering say, the Overture to a Midsummer work that helped pave a way toward Night’s Dream that Mendelssohn the quintessential Romantic genre had written at 17. Rather, the Third of the tone poem. Symphony integrates the evocative power of early Romanticism with Another spontaneous musical the composer’s mature admiration inspiration occurred during the for classical balance and internally composer’s trip to Edinburgh—this consistent musical design. time sparked not by nature but by the palpable sense of history Although Mendelssohn resorts that imbues Holyrood House, the to the familiar four-movement official monarchical palace. After design, these are played without paying a visit there, Mendelssohn interruption as a seamless noted down a melancholy musical whole. The extensive opening idea that would serve as the movement begins with a long atmospheric introduction to the slow introduction suffused with a Third Symphony. It remained mood of gloomy obsession: this is dormant, though, for a dozen years the musical idea that occurred to before he began grappling with the composer at Holyrood Palace, the composition. The “Scottish” and its dotted rhythm recurs in Symphony—Mendelssohn himself various guises later in the work. referred to the work as his “Scotch” The movement proper launches in Symphony—is actually his last, a spirit of restless agitation; after chronologically speaking, and thus another variant of the opening exemplifies his mature technical motif comes a second, singing mastery. theme foreshadowing Brahmsian melancholy. Mendelssohn adds a As with the Hebrides overture, remarkably eventful and stormy Mendelssohn left no explicit coda to shed new light on what has program for the “Scottish” gone before. Symphony, but his allusion to Mary Tudor is usually cited as a The compact Scherzo contains the subtext for at least some aspects most “Scottish”-sounding music of of the work (particularly the slow the score. Mendelssohn reiterated movement). Commentators have the signal dotted rhythm of the suggested that other impressions opening so as to evoke Scottish from the Scottish tour also play a folk and dance music, and the role, ranging from Celtic legend and diatonic simplicity of his tunes folklore to the Highland Games and likewise sounds folk-like. Curiously, the fiction of Sir Walter Scott. Yet when his friend Schumann first for all its Romantic associations, heard this music he raved about the music refers to no specific the Symphony’s marvelous Italian

February 6, 2014 27 28 February 6, 2014 local color: a reminder, perhaps, perspective. Mendelssohn even of the subjective basis of musical asks for the Allegro to be played perception. with “warlike” intensity. R. Larry Todd, a leading authority on the Occupying the emotional center composer, remarks that the energy of the work, the Adagio develops of this music, “with its jagged two distinctive ideas: a poignant, dissonances and contrapuntal long-spanning melody (strings) strife, generalizes the topic of and a ceremonial march of dirge- conflict in Scottish history.” But like gravity. Regardless of whether then, in another extraordinary Mendelssohn intended to depict concluding section—a kind of a tonal portrait of Mary Stuart’s extended epilogue to be played in a secret love and her tragic fate, “majestic” manner—Mendelssohn his dexterity as an orchestrator turns from the minor to a confident, is to be particularly savored hymnlike melody in A major to here: note the serenade-like bring the “Scottish” Symphony to a pizzicato accompaniment and the stately and dignified close. afterthoughts spun by woodwinds. —© Thomas May In the wake of such intimate music, Thomas May writes about the arts and the finale opens up a more epic blogs at memeteria.com.

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February 6, 2014 29 30 February 6, 2014 Music Director: Joana Carneiro

oted for her vibrant perfor- Nmances in a wide diversity of musical styles, Joana Carneiro has attracted considerable attention as

one of the most outstanding young photo by Rodrigo de Souza conductors working today. In 2009, she was named Music Director of Berkeley Symphony, succeeding Kent Nagano and becoming only the third music director in the 40-year history of the Orchestra. She is the official guest conductor of the Gulbenkian Orchestra in her native Lisbon and was recently named principal conductor of the Portuguese National Symphony at the Teatro de São Carlos.

2013/14 marks Carneiro’s fifth season as Music Director of Berkeley Symphony, where she has captivated Philharmonique de Radio France, audiences with her commanding Royal Stockholm Philharmonic and stage presence and adventurous Florida Orchestra. She returns to the programming that has highlighted Toronto, Gothenburg, Gävle, Malmö, the works of several prominent Sydney, New Zealand symphonies contemporary composers, including and the National Symphony John Adams, Steven Stucky and Orchestra of Spain. Gabriela Lena Frank. The 2013/14 Last season, Carneiro conducted Berkeley season features world highly successful returns to the premieres by Edmund Campion and Gothenburg, Gävle and Norrköping Samuel Adams, as well as works by symphonies, and debuts with the Brett Dean, Kaija Saariaho and Esa- Swedish Radio Orchestra, Malmö Pekka Salonen. Symphony, Norrlands Opera Carneiro’s growing guest- Orchestra, Residentie Orkest/Hague, conducting career continues to take Aachen Symphony of Germany, her all around the globe. In 2013/14, Euskadi Orchestra of Spain and Hong she makes debuts with the Orchestre Kong Philharmonic. She returned

February 6, 2014 31 to the Indianapolis Symphony in which won Australia’s Helpmann concerts with Thomas Hampson on Award for Best Symphony Orchestra a Mahler/Schumann program and Concert in 2010. She conducted a conducted a highly successful world linked project at the New Zealand premiere of Santos, an oratorio by Festival in 2011, and as a result was composer Gabriela Lena Frank and immediately invited to work with librettist Nilo Cruz with the San the Sydney Symphony and New Francisco Girls Chorus, soprano Zealand Symphony Orchestras on Jessica Rivera and mezzo-soprano subscription in 2013. In 2011, she led a Rachel Calloway, and members of ballet production of Romeo and Juliet Berkeley Symphony. with Companhia Nacional de Bailado in Portugal. International highlights of previous seasons include appearances with Increasingly in demand as an the Royal Liverpool Philharmonic opera conductor, Carneiro made at London’s Royal Albert Hall, Royal her Cincinnati Opera debut in 2011 Philharmonic Orchestra and Renee conducting John Adams’ A Flowering Fleming in the opening season of the Tree, which she also debuted with the U.A.E’s Royal Opera House in Oman, Chicago Opera Theater and at La Cité Irish Chamber Orchestra, Ensemble de la Musique in Paris. In the 2008- Orchestral de Paris, Orchestra de 09 season, she served as assistant Bretagne, Norrköping Symphony, conductor to Esa-Pekka Salonen at Prague Philharmonia and the the Paris Opera’s premiere of Adriana Orchestra Sinfonica del Teatro la Mater by Kaija Saariaho and led Fenice at the Venice Biennale, as well critically-acclaimed performances of as the Macau Chamber Orchestra and Philippe Boesmans’s Julie in Bolzano, Beijing Orchestra at the International Italy. Music Festival of Macau. In the As a finalist of the prestigious Americas, she has led the Los Angeles 2002 Maazel-Vilar Conductor’s Philharmonic, Toronto Symphony, Competition at Carnegie Hall, St. Paul Chamber Orchestra, Detroit Carneiro was recognized by the Symphony, Colorado Symphony, jury for demonstrating a level of Indianapolis Symphony, Los Angeles potential that holds great promise Chamber Orchestra, New World for her future career. In 2003-04, she Symphony, Grant Park Music Festival, worked with Maestros Kurt Masur Manhattan School of Music, Puerto and Christoph von Dohnányi and Rico Symphony and São Paulo State conducted the London Philharmonic Symphony. Orchestra, as one of three conductors In 2010, Carneiro led performances chosen for London’s Allianz Cultural of Peter Sellars’s stagings of Foundation International Conductors Stravinsky’s Oedipus Rex and Symphony Academy. From 2002 to 2005, she of Psalms at the Sydney Festival, served as Assistant Conductor of the

32 February 6, 2014 L.A. Chamber Orchestra and as Music a student of Victor Yampolsky and Director of the Young Musicians Mallory Thompson, and pursued Foundation Debut Orchestra of Los doctoral studies at the University Angeles. From 2005 through 2008, of Michigan, where she studied with she was an American Symphony Kenneth Kiesler. She has participated Orchestra League Conducting Fellow in master classes with Gustav at the Los Angeles Philharmonic, Meier, Michael Tilson Thomas, Larry where she worked closely with Rachleff, Jean Sebastian Bereau, Esa-Pekka Salonen and led several Roberto Benzi and Pascal Rophe. performances at Walt Disney Concert Carneiro is the 2010 recipient of Hall and the Hollywood Bowl. the Helen M. Thompson Award, A native of Lisbon, she began her conferred by the League of American musical studies as a violist before Orchestras to recognize and honor receiving her conducting degree music directors of exceptional from the Academia Nacional promise. In 2004, Carneiro was Superior de Orquestra in Lisbon, decorated by the President of the where she studied with Jean-Marc Portuguese Republic, Mr. Jorge Burfin. Carneiro received her Masters Sampaio, with the Commendation degree in orchestral conducting of the Order of the Infante Dom from Northwestern University as Henrique.

February 6, 2014 33 34 February 6, 2014 February 6, 2014 35 36 February 6, 2014 Guest Artists

of Music), and pianist Emanuel Ax.

Recent highlights include Drift and Providence, a work co-commissioned

photo by Bonnie Rae Mills by the San Francisco Symphony and New World Symphony that had its premiere under the baton of Michael Tilson Thomas, receiving immediate critical acclaim. In the spring of 2013, Adams was composer in residence at Spoleto Festival USA, where his String Quartet in Five Movements was premiered by St. Lawrence String Quartet. The work had further performances at Stanford’s new Bing Concert Hall in the Fall of 2013. In April 2013, his Tension Studies were Samuel Adams, presented as part of the Los Angeles composer Philharmonic Brooklyn Festival and, in the following November, were orn in 1985 in San Francisco, CA, released on post-classical duo The Samuel Adams is a composer of B Living Earth Show’s first full-length acoustic and electroacoustic music. album, High Art (Innova Recordings). His works, hailed as “wondrously alluring” (The San Francisco Chronicle), In the summer of 2014, Adams will “thoroughly ingenious” (The San participate as guest composer with Francisco Examiner) and “music of the National Youth Orchestra of The a composer with a personal voice United States of America (NYOUSA), and keen imagination” (The New York during which the fellows will perform Times), draw from his experiences in a new work under the direction of a diverse array of fields, including David Robertson as part of their noise and electronic music, jazz, coast-to-coast national tour. and field recording. He has received commissions from Carnegie Hall, Holding degrees from the Yale the San Francisco Symphony, School of Music (M.M.) and Stanford New World Symphony, ACJW (The University (B.A.), Adams currently Academy, a program of Carnegie lives and works in Oakland, Hall, Juilliard, and The Weill Institute California.

February 6, 2014 37 Merrell Clarks Frye Boots Sperry Since Rockport Uggs 1961 Keen Moccasins Dr. Martens Clogs Timberland Dansko

FOOTWEAR

38 February 6, 2014 relationship with Les Violons du Roy where he has been a guest the last two seasons and to which he returns to lead and play a program of Enesco, Dvorˇák, photo Ahlberg by Sussie and Suk in May 2014. He returns also to the St. Louis Symphony this season to lead an all-Mozart subscription week, and recently led a split week with the Vancouver Symphony featuring Mozart’s Violin Concerto No. 2, Rameau’s Suite from Dardanus and Haydn’s Symphony No. 44.

Anthony Marwood tours the U.S., Asia, and Europe with his recital partner Anthony Marwood, violin Alexander Madzar, including their 3-part ell established in Europe and recital series of the complete Brahms WAustralia as leader/soloist with the Violin Sonatas at Wigmore Hall, recorded Irish Chamber Orchestra, the Academy of on the Wigmore Hall Live label. With St. Martin in the Fields and the Australian Thomas Adès, Marwood toured the Chamber Orchestra, Anthony Marwood complete music of Stravinsky for piano is quickly developing a singular North and violin, recorded for Hyperion in 2010. American presence, both as a soloist and His most recent Hyperion recordings as a leader who directs from the violin. include the Schumann and Britten violin concerti with the BBC Scottish Thomas Adès wrote his violin concerto Symphony. Concentric Paths for Anthony Marwood, who premiered it in Berlin and at the BBC A remarkable highlight of Anthony Proms; he also played first performances Marwood’s career onstage was his in Paris, St. Petersburg and, stateside boundary bursting portrayal of the in Boston and Los Angeles with the title role in Stravinsky’s A Soldier’s Tale, composer conducting. They made a directed by Lawrence Evans. Touring much acclaimed recording of it together the U.K., his performance was named in 2010. Steve Mackey has also written one of the cultural highlights of the for Marwood, who performed Mackey’s year by The Daily Telegraph. Beautiful Passing Concerto with the St. Marwood was the sole violinist of the Louis Symphony and David Robertson, Florestan Trio during its 16-year span, who invited him to Sydney and Vienna and Artistic Director and leader of the last season for performances of the Irish Chamber Orchestra from 2006 to colorful, expressive work. Mackey wrote 2011. The Royal Philharmonic Society Four Iconoclastic Episodes (for violin, named him Instrumentalist of the Year electric guitar and orchestra) for in 2006. Through the generosity of Marwood. a syndicate of purchasers, he plays a Marwood has established an ongoing 1736 Carlo Bergonzi violin.

February 6, 2014 39 Dining Guide

oulet is like DELICATESSEN a cafe set CATERING P up at your 1685 SHATTUCK grandmother’s house BERKELEY 510-845-5932 - after she’s taken a few cooking courses MON-FRI 10:30 - 8 PM and gotten hip to SAT 10:30 - 6 PM vegetarian food, etc. Poulet -S.F. Chronicle

40 February 6, 2014 Berkeley Symphony photo by Dave Weiland

ecognized nationally for its produce the award-winning Music R spirited programming, Berkeley in the Schools program, providing Symphony has established a reputa comprehensive, age-appropriate tion for presenting major new works music curricula to more than 4,000 for orchestra alongside fresh inter local elementary students each year. pretations of the classical European Berkeley Symphony was founded repertoire. It has been honored in 1969 as the Berkeley Promenade with an Adventurous Programming Orchestra by Thomas Rarick, a pro Award from the American Society of tégé of the great English Maestro Sir Composers, Authors and Publishers Adrian Boult. Under its second Music (ASCAP) in nine of the past eleven Director, Kent Nagano, who took the seasons. post in 1978, the Orchestra charted a The Orchestra performs four main- new course with innovative program stage concerts a year in Zellerbach ming that included rarely performed Hall on the UC Berkeley campus, and 20th-century scores. In 1981, the supports local composers through internationally-renowned French its Under Construction New Music composer Olivier Messiaen journeyed Series/Composers Program. A to Berkeley to assist with the prepa national leader in music education, rations of his imposing oratorio The the Orchestra partners with the Transfiguration of Our Lord Jesus Christ, Berkeley Unified School District to and the Orchestra gave a sold-out

February 6, 2014 41 Dining Guide

Plan a Special Evening Out! Enjoy a fine meal at one of these local eateries before the next Berkeley Symphony concert on Thursday, December 5 at 8pm.

42 February 6, 2014 performance in San Francisco’s Adams, Paul Dresher, and Gabriela Davies Symphony Hall. In 1984, Lena Frank. Berkeley Symphony collaborated Berkeley Symphony has introduced with Frank Zappa in a critically- Bay Area audiences to works by acclaimed production featuring upcoming young composers, many of life-size puppets and moving stage whom have since achieved interna sets, catapulting the Orchestra onto tional prominence. Celebrated Brit the world stage. ish composer George Benjamin, who Berkeley Symphony entered a new subsequently became Composer- era in January 2009 when Joana in-Residence at the San Francisco Carneiro became the Orchestra’s Symphony, was first introduced third Music Director in its 40-year to the Bay Area in 1987 when history. Under Carneiro, the Berkeley Symphony performed his Orchestra continues its tradition compositions Jubilation and Ringed by of presenting the cutting edge of the Flat Horizon; as was Thomas Adès, classical music. Together, they are whose opera Powder Her Face was forging deeper relationships with debuted by the Orchestra in a concert living composers, which include version in 1997 before it was fully several prominent contemporary staged in New York City, London and Bay Area composers such as John Chicago.

February 6, 2014 43 2727 College Avenue Berkeley • 510.841.8489

A vibrant community dedicated to excellence in learning where all forms of diversity flourish amid mutual respect, support and responsibility. www.maybeckhs.org

44 February 6, 2014 Music in the Schools

ore than 4,200 elementary school Mchildren each year benefit from Berkeley Symphony’s Music in the Schools program: photo by Dave Weiland • Over 200 In-class Sessions are provided free of charge and include curriculum booklets with age-appropriate lessons addressing state standards for music education. • Eleven Meet the Symphony concerts are performed free of charge in elementary schools each fall. • Six I’m a Performer concerts, also free of Music in the Schools Sponsors charge, provide young musicians with an Gifts of $1,000–$15,000 annually opportunity to rehearse and perform with Anonymous (2) Berkeley Symphony. Susan & Jim Acquistapace • Four free Family Concerts provide an Berkeley Public Schools Fund opportunity for the whole family to Berkeley Unified School District experience a Berkeley Symphony concert Berkeley Association of Realtors together. The Bernard Osher Foundation California Arts Council All Music in the Schools programs are Annette Campbell-White provided 100% free of charge to children Richard Colton and their families. We are grateful to the Annette Campbell-White individuals and institutions listed on this In Dulci Jubilo, Inc. page whose financial contributions help Koret Foundation make Music in the Schools possible. But more Mechanics Bank help is needed to fully fund the program . . . Music Performance Trust Fund National Endowment for the Arts Please join those making Music in the Michael & Elisabeth O’Malley Schools a reality! Donate online and Ellen Singer designate your gift as “Restricted—Music Target Stores in the Schools Program.” Or simply mail a U.S. Bank contribution to: Berkeley Symphony, Music Thomas J. Long Foundation in the Schools Fund, 1942 University Ave. Union Bank Foundation Suite #207, Berkeley, CA 94704 Bernard E. & Alba Witkin Charitable Foundationn www.berkeleysymphony.org/mits Thanks also to those giving up to $1,000 annually.

February 6, 2014 45 46 February 6, 2014 Under Construction New Music Series photo by Dave Weiland

Mentors Paul Dresher and Steven Stucky (back to camera) offer advice to Andrew V. Ly.

erkeley Symphony’s 2014 Under Construction New Music Series/Composers BProgram will present new symphonic works by emerging composers Sivan Eldar, B.P. Herrington, Ruben Naeff and Nicholas Omiccioli. Selected for the program following a highly competitive national search, the four composers will each write a symphonic work to be developed, polished and recorded during two open rehearsal–style concerts, while receiving on-going guidance from Music Director Joana Carneiro, mentor composers Edmund Campion (UC Berkeley) and Robert Beaser (The Juilliard School), and members of the Orchestra. The second concert on May 4 will be held at the Osher Studio in Berkeley at 7pm. Established in 1993, the Under Construction New Music Series seeks to engage audiences in contemporary music and its making. The concerts are formatted to build upon each other. The Orchestra rehearses the work in progress and experiments with different musical passages at the first concert to enable the complete, polished piece to be performed at the second concert. Discussion among the audience, the conductor, and the composer follows the playing of each work. That interchange of ideas, along with the post-concert interactions, affords the audience members a greater understanding of the composers and their work. In a partnership with EarShot: the National Orchestral Composition Discovery Network, and its partner organizations—the American Composers Forum, League of American Orchestras, New Music USA and the American Composers Orchestra— Berkeley Symphony expands its role as the West Coast artistic incubator for emerging orchestra composers and broadens its reach to a new national level. Funding for EarShot is made possible with the support of the Andrew W. Mellon Foundation and The Aaron Copland Fund for Music. Berkeley Symphony thanks its 2013/14 Under Construction sponsor, Margaret Dorfman.

February 6, 2014 47 2013-2014

Four Mainstage Concerts “Under Construction” Concerts with Emerging Composers New Works Old Chestnuts Resident Artists Music in the Schools

48 February 6, 2014 Broadcast Dates

Relive this season’s concerts on KALW 91.7 fm 4 Mondays at 9pm in May 2014 Hosted by KALW’s David Latulippe

Program I: Oct. 3, 2013 will be broadcast on May 5

Program II: Dec. 5, 2013 will be broadcast on May 12

KALW is proud to be Program III: Feb. 6, 2014 Berkeley Symphony’s will be broadcast on May 19 Season 13-14 Program IV: May 1, 2014 Media Sponsor will be broadcast on May 26

In-Kind Gifts Special thanks to these individuals and businesses whose generous donations of goods and services are crucial in helping Berkeley Symphony produce our concerts and education programs while keeping expenses as low as possible.

Andreas Jones Graphic Design George & Marie Hecksher Susan & Jim Acquistapace Kathleen G. Henschel Berkeley Daily Planet Jutta’s Flowers Berkeley Times Karen Ames Consulting Marshall Berman Janet & Marcos Maestre Judith L. Bloom Rico Mandel Casa de Chocolates Janet & Michael McCutcheon Coracao Confections Bebe & Colin McRae Marilyn & Richard Collier Meyer Sound Laboratories, Inc. Jennifer Howard DeGolia Peet’s Coffee & Tea Rick Diamond Piedmont Post Douglas Parking Thomas Richardson & Extreme Pizza Edith Jackson Gloria Fujimoto Lisa & Jim Taylor Reeve Gould Anne & Craig Van Dyke Ellen Hahn Dave Weiland Photography John Harris William Knuttel Wines

February 6, 2014 49 Your Friendly, Neighborhood Piano Shop Plus Sheet Music, Ukuleles, Guitars, Percussion.

Mention this ad for 10% oFF 2416 San Pablo Avenue Berkeley, California 510 549 9755 [email protected] www.dcpianos.com PH LIFE’S BEST MOMENTS OTOGR APHY

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50 February 6, 2014 2013-14 Season Sponsors

Kathleen G. Henschel

athleen G. Henschel, formerly finance manager at Chevron Corporation, was president of

photo by Marshall Berman K Berkeley Symphony’s Board of Directors from 2006 to 2011, and a member from 2004 to 2013. An active Bay Area philanthropist, she also serves as board chair of Chanticleer.

Meyer Sound

eyer Sound Laboratories manufactures M premium professional loudspeakers for sound reinforcement and fixed installation; digital audio systems for live sound, theatrical, and other entertainment applications; electroacoustic architecture; acoustical prediction software; and electroacoustic measurement systems. An innovator for over 30 years, Meyer Sound creates wholly integrated systems designed for optimal performance and ease of use.

Brian James and Shariq Yosufzai PHOTO rian James is a member of the Board B of Directors of Berkeley Symphony TK and a Co–Chair of the Symphony’s 2014 Gala. Shariq Yosufzai serves on the Advisory Board of Berkeley Symphony, the Executive Committee of the Board of Directors of the San Francisco Opera and is a past Chair of the Board of the California Chamber of Commerce.

February 6, 2014 51 Discover 7 Remarkable Benefits of Raw Dark Chocolate 1. One of the highest antioxidant foods ever tested. 2. Polyphenols help protect your skin from harmful UV radiation. 3. Flavanols increase blood flow to the brain boosting memory and decreasing dementia. 4. Supports weight loss by boosting metabolism and reducing hunger. 5. Increases serotonin which decreases depression and boosts happiness. 6. Flavonols help prevent heart attacks & strokes by blocking free radicals, reducing inflammation and relaxing blood vessels. 7. One of the richest food sources of magnesium which helps build strong bones and supports healthy heart function.

Finally feel great about enjoying gooey & delicious dark chocolate treats. Available at the Berkeley Tues & Sat Farmers Markets and online at: www.FeelGreatChocolate.com Use promo code SYMPHONY for 15% OFF your first web order.

Coracao Confections is the Official Chocolatier for the Berkeley Symphony!

52 February 6, 2014 Become a Berkeley Symphony Member

It’s true. Symphony orchestras cannot exist on ticket sales alone. At Berkeley Symphony, charitable gifts are crucial in producing concerts at price ranges affordable to all, and educational programs at no charge for school children. If our Subscribers are the backbone of Berkeley Symphony, our contributing Members are the heart and soul. It takes us all to make the music soar.

Like subscription benefits, Membership, too, offers great rewards!

Pre- and post-concert receptions, special salon performances, open rehearsals, and opportunities to meet and talk with our musicians, with Music Director Joana Carneiro, and with guest artists and visiting composers are just some of the ways you can deepen your experience with the music and those who create it.

Best of all, your Membership gift strengthens Berkeley Symphony and our service to the community.

See page 55 for a complete list of Membership levels. If you are not yet a Member, please join me. Already a Member? Consider an investment in a deeper level of involvement. It’s easy to give online at www.berkeleysymphony.org.

Thank you for being a part of our success,

Tom Reicher President, Board of Directors

February 6, 2014 53 54 February 6, 2014 2013-14 Membership Benefits Beyond the benefits of subscription, Berkeley Symphony Memberships provide many benefits to make the most of your concert-going experience. Increase your level of membership for the 2013-14 season, or start a new membership today! It’s easy to join online at www.berkeleysymphony.org. Membership contributions are tax deductible to the extent allowed by law.

Friends Circle of Members Supporting Member: $100+ • Advance e-newsletter notice of discounts and special events. • Listing in season concert programs. Associate Member: $300+ (All of the above plus . . .) • Invitation for two to an exclusive reception and open rehearsal of the orchestra. • Berkeley Symphony Guest Passes to Zellerbach Hall concerts. Principal Member: $750+ (All of the above plus) • VIP service for all your ticketing needs. • Invitation to select special events including post-concert receptions with the music director, musicians, soloist, and/or visiting composer.

Symphony Circle of Members Concertmaster: $1,500+ (All of the above plus . . .) • Invitations to two exclusive Symphony Circle Salon Receptions featuring a performance by the concert guest soloist and discussion with Music Director Joana Carneiro. • Invitations to select post-concert meet-and-greet(s) with the music director, musicians, soloist, and/or visiting composer. Conductor: $2,500+ (All of the above plus . . .) • Invitations to ALL exclusive Symphony Circle Salon Receptions featuring a performance by the concert guest soloist and discussion with Music Director Joana Carneiro. • Invitation to an exclusive “closed” rehearsal and Musicians Dinner.

Sponsorship Circle of Members Founding Sponsors: $5,000 (All of the above plus . . .) • Invitations to ALL post-concert meet-and-greets with the music director, musicians, soloist(s), and/or visiting composer(s). • VIP access to Berkeley Symphony Sponsors’ Lounge before the concerts and at intermissions. • Recognition as Sponsor of a season concert, guest soloist, or commissioned composer. Executive Sponsors: $10,000 (All of the above plus . . .) • Photo with guest soloist or commissioned composer. • VIP parking vouchers for the season. • Exclusive invitation to an intimate Sponsors Circle Dinner with Music Director Joana Carneiro.

February 6, 2014 55 56 February 6, 2014 Annual Membership Support Thank you to the following individuals for making the programs of Berkeley Symphony possible. A symphony orchestra is as strong as the community that supports it. Thank you to the following individuals for making Berkeley Symphony very strong indeed. Your generosity allows the defiantly original music to be heard, commissions world-class composers, and impacts the lives of thousands of children in hundreds of classrooms each year. Gifts received between December 1, 2012 and January 6, 2014

Sonsorp Circle GIFTS Symphony Circle GIFTS Season Sponsors Conductor Level $50,000 and above $2,500 and above Kathleen G. Henschel Judith L. Bloom Helen & John Meyer Annette Campbell-White Season Sponsors Marilyn & Richard Collier $25,000 and above Dianne Crosby Gloria Fujimoto Ed Osborn John Harris Shariq Yosufzai & Brian James Ken Johnson & Nina Grove Executive Sponsors Paul Templeton & Darrell Louie $10,000 and above Bennett Markel & Karen Stella Anonymous (3) Patrick McCabe The Brownrigg-Thomson Family Joe & Carol Neil Peggy Dorfman Ellen Singer Janet & Marcos Maestre Anne & Craig van Dyke Janet & Michael McCutcheon Alison Teeman & Michael Yovino-Young Linda & Stuart Nelson Gordon & Evie Wozniak Thomas & Mary Reicher Concertmaster Level Tricia Swift Gifts of $1,500 or more Lisa & James Taylor Anonymous (2) Founding Sponsors Sallie & Edward Arens $5,000 and above Michele Benson Anonymous Mr. Frank Bliss Susan & Jim Acquistapace Gray Cathrall Gertrude & Robert Allen Brian Chase Norman A. Bookstein & Gillian Kuehner Ronald & Susan Choy Jennifer Howard DeGolia Ms. Carol Christ James & Rhonda Donato Ms. Dianne Crosby Oz Erickson John & Charli Danielsen Ann & Gordon Getty Joan & Bruce Dodd Ellen Hahn Jack & Ann Eastman Gail & Bob Hetler Anita Eblé Buzz & Lisa Hines Karen Faircloth William & Robin Knuttel Linda Schacht & John Gage Natasha Beery & William B. McCoy Steve Gallion & Pam Wolf Dr. Ruedi Naumann-Etienne Stuart & Sharon Gronningen Deborah O’Grady & John Adams Lynne LaMarca Heinrich & Thomas W. Richardson Dwight Jaffee

February 6, 2014 57 58 February 6, 2014 Concertmaster Level Penny & Noel Nellis Gifts of $1,500 or more (continued) Michael & Becky O’Malley Mrs. Iris Hagen Ratowsky in Honor of Sue Hone & Jeffrey Leiter Dr. Richard Ratowsky René Mandel Kathy Canfield Shepard & Lois & Gary Marcus John Shepard Gary Glaser & Christine Miller Ama Torrance & David Davies

F rIENDS of Berkeley Symphony GIFTS

Principal Level Faye Keogh Ms. Grace Chinn $750 and above Howard & Nancy Mel Paul Churchill Ms. Bonnie J. Bernhardt Peggy Radel & Joel Myerson Murray & Betty Cohen Phyllis Brooks Schafer Lance & Dalia Nagel Dr. Lawrence R. Cotter Joy & Jerome Carlin Maria José Pereira Joe & Sue Daly Earl & June Cheit Greg Phillips Robert David Richard Colton Anja Plowright Dennis & Sandy De Domenico Ditsa & Alexander Pines The Estate of Myron Pollycove Dr. Marian C. Diamond Marjorie Randolph Myron Pollycove Paula & James R. Diederich Karen Teel Lucille & Arthur Poskanzer Patrick D. Doherty Associate Level Donald Riley & Carolyn Serrao Robert & Loretta Dorsett $300 and above Pauline Robertson Mr. Anthony Drummond Anonymous (4) Dian Scott Beth & Norman Edelstein Patricia & Ronald Adler Deborah Shidler & Bennett Falk & Virginia Almeida David Burkhart Margaret Moreland Donald & Margaret Alter Anne Shortall Lynn Feintech & Joel Altman Robert Sinai & Anthony Bernhardt Karen Ames Susanna Schevill Ms. Mary Ellen Fine Patricia Vaughn Angell Carol & Anthony Somkin Susan Henderson Fisher Christel Bieri Scott Sparling Marcia Flannery George & Dorian Bikle Steven Stucky Patrick Flannery Susan Blake Robert & Emily Warden Marcine & Dean Francis Mr. & Mrs. Stuart Canin Gary & Susan Wendt-Bogear Ednah Beth Friedman Joana Carneiro Nancy & Sheldon Wolfe Harriet Fukushima Rosemary Cozzo Charles Wolfram Theresa Gabel & John Dewes Supporting Level Timothy Zumwalt Kevin Donahue $100 and above Isabelle Gerard Gini Erck & David Petta Anonymous (5) Marianne & John Gerhart Marcine & Dean Francis Henry L. Abrons Ron L. Gester Doris Fukawa Gertrude Allen Jeffrey Gilman & Carol Reif Daniel & Kate Funk Kelly Amis Rose Marie & Sam Ginsburg Evelyn & Gary Glenn Robert & Evelyn Apte David Goines Wendell Goddard Fred & Elizabeth Balderston Stuart M. Gold, MD Peggy Griffin Joan Balter Anne Golden Bonnie & Sy Grossman Kevin Bastian Edward C. Gordon Alan Harper & Carol Baird Sheldon & Joan Baumrind Phyllis Gottlieb Trish & Anthony W. Hawthorne William W. Beahrs Harold Graboske William & Judith Hein David I. Berland Mr. Richard Granberg Lyn Hejinian Terry Bloomsburgh Steven E. Greenberg Hilary Honore Cara Bradbury Arnold & Elaine Grossberg Ora & Kurt Huth David Bradford Ervin & Marian Hafter Richard Hutson Robert J. Breuer Jane Hammond Fred Jacobson Helen Cagampang Nicholas & Nancy Haritatos Irene & Kiyoshi Katsumoto Mark Chaitkin & Cecilia Storr William Hartrick

February 6, 2014 59 60 February 6, 2014 Supporting Level Bebe & Colin McRae Susan Thomakos $100 and above (continued) Susan Messina Julie Thorson Florence Hendrix Junichi & Sarah Miyazaki Alta Tingle Valerie & Richard Herr Gerry Morrison Renee Tissue Gail & Bob Hetler Ms. Anita Navon Ms. Carol L. Tomlinson Jason Hofmann Elizabeth Pigford Elsa & Revan Tranter Mr. Allen Holub Joellen & Leslie Piskitel Carol Jackson Upshaw Birgit Hottenrott Dr. Patrick M. Pralle Joy Valdez F.W. Irion Jo Ann & Buford Price Marco Vangelisti Paul & Joanne Kelly George N. Queeley Randy & Ting Vogel James Pennington Kent Stephen & Wilma Rader David & Marvalee Wake Todd Kerr Suzanne Riess Ann Walker & Jon Demeter Alexander Jihyun Koo Constance Ruben Dorothy Walker Robert Kroll & Rose Ray Julianne H. Rumsey Sheridan & Betsey Warrick Walter & Rosemarie Krovoza Susanna Schevill Alice Waters Almon E Larsh, Jr Steven Scholl Carolyn Webber Shelly & Don Lee Brenda Shank Elizabeth Weber Laurel Leichter Jack Shoemaker Dorothy Wechsler David Lipson Shelton Shugar Dr. Louis Weil Arthur & Martha Luehrmann David & Elizabeth Silberman Ms. Carolyn D. Weinberger Kim & Barbara Marienthal Johan & Gerda Snapper Dr. George & Bay Westlake Bill & Suzanne McLean Ms. Carla Soracco June Wiley Jim & Monique McNitt Sylvia Sorell & Daniel Kane Nancy & Charles Wolfram Donald & Susanne McQuade Frances & Ronald Tauber Mrs. Charlene M. Woodcock

We thank all who contribute to Berkeley Symphony, including those giving up to $100 annually and those whose gifts have been received since press time. While every attempt has been made to assure accuracy in our list of supporters, omissions and misspellings may occur. Please call 510.841.2800 x305 to report errors. We appreciate the opportunity to correct our records. Berkeley Symphony Legacy Society Thank you to those who have included Berkeley Symphony in their estate planning or life-income arrangements. If you are interested in supporting the long-term future of Berkeley Symphony, please contact General Manager Steve Gallion at 510.841.2800 x305 or [email protected].

Gertrude Allen Kathleen G. Henschel Janet & Marcos Maestre Norman Bookstein Jeffrey S. Leiter Bennett Markel & Gillian Kuehner Lisa Taylor Honor and Memorial Gifts Thank you for gifts made in honor or remembrance of the following individuals . . .

In Memory of: In Honor of: Jerry Carlin Mr. & Mrs. R. Collier Tricia Swift Judith L. Bloom David Berland Trish & Anthony W. Hawthorne Donna Hamilton Marilyn Collier Kim Marienthal and Ellie Hahn Patrick Flannery Susan Thomakos Susan & Bruce Carter J.F.K. Dr. Richard Ratowsky Ms. Carla Soracco Mrs. Iris Hagen Ratowsky

February 6, 2014 61 62 February 6, 2014 Annual Institutional Gifts

Berkeley Symphony is proud to recognize these corporations, foundations, community organizations and government programs. These institutions are supporting our communities through their commitment to Berkeley Symphony and the arts.

Gifts received between December 1, 2012 and January 6, 2014

$50,000 and above $1,000 and above William & Flora Hewlett Foundation Alameda County Art Commission Anchor Brewing Co. $25,000 and above Anonymous ASCAP—American Society Clarence E. Heller Charitable of Composers, Authors and Foundation Publishers The Creative Work Fund Sotheby’s International Realty Meyer Sound Laboratories, Inc. The Mechanics Bank Target Stores $10,000 and above Anonymous (2) Up to $1,000 Ann and Gordon Getty Foundation Berkeley Assoc. of Realtors Berkeley Public Schools Fund Chevron Corporation In Dulci Jubilo, Inc. National Endowment for the Arts Tides Foundation The Grubb Co. Thomas J. Long Foundation

$5,000 and above Anonymous Bernard E. and Alba Witkin Charitable Foundation California Arts Council Matching Gifts City of Berkeley The following companies have matched their employees’ or East Bay Community Foundation retirees’ gifts to Berkeley Symphony. Koret Foundation Please let us know if your company New Music U.S.A. does the same by contacting Steve Wallis Foundation Gallion at 510.841.2800 x305 or William Knuttel Winery [email protected]. U.S. Bank Abbott Fund $2,500 and above Anchor Brewing Company The Aaron Copland Fund for Music Chevron Corporation Fromm Foundation Genentech, Inc. Union Bank of California Home Depot

February 6, 2014 63 64 February 6, 2014 Administration Contact & Creative Staff

René Mandel, Executive Director Tickets available by phone, fax, mail, e-mail, or online: Steve Gallion, General Manager & Membership Director Berkeley Symphony 1942 University Avenue, Suite 207, Ming Luke, Education Director/ Berkeley, CA 94704 Conductor 510.841.2800 Fax: 510.841.5422 Theresa Gabel, Director of Operations [email protected] Noel Hayashi, Director of Marketing www.berkeleysymphony.org Jessica Sadler, Associate Director of find us on Marketing/Box Office Manager Cindy Hickox, Development & Marketing Associate Cynthia Mei, Grants Manager Karen Ames Communications, Press & Public Relations Yesenia Sanchez, Finance Direct0r Quelani Penland, Librarian Franklyn D’Antonio, Orchestra Manager Joslyn D’Antonio, Co-Orchestra Manager Kevin Reinhardt, Stage Manager Stoller Design Group, Graphic Design Dave Weiland, Photography Steve Flavin, Video Design Sid Kesav, Telemarketing Roya Clune, Intern David Fang, Intern

Program Andreas Jones, Design & Production Stoller Design Group, Cover Design John McMullen, Advertising Sales Thomas May, Program Notes Calitho, Printing

February 6, 2014 65 Advertiser Index

A1 Sun...... page 22 Hotel Durant ...... page 56 Albert Nahman Plumbing...... page 29 Judith L. Bloom, CPA...... page 11 Alward Construction...... page 22 Jutta’s Flowers...... page 64 American Bach Soloists...... page 43 La Mediterranée...... page 42 Ampersand Graphics...... page 30 Lunettes du Monde...... page 30 Archway School...... page 10 Mancheno Insurance Agency . . pages 34-35 Aurora Theatre...... page 24 Margaretta K. Mitchell Photography. . page 50 Bacheesos...... page 40 Maybeck High School...... page 44 Bayside Park...... page 28 McCutcheon Construction...... page 46 Berkeley Horticultural Nursery. . . . page 36 Mechanics Bank...... page 38 Berkeley Optometry...... page 54 Mountain View Cemetery. . inside back cover Bill’s Footwear...... page 38 Oceanworks...... page 25 BuyArtworkNow.com ...... page 22 Osher Life Long Learning...... page 50 Café Clem ...... page 42 Piedmont Gardens ...... page 18 The Club at The Claremont...... page 16 Poulet...... page 40 Coldwell Banker...... page 60 R. Kassman Pianos...... page 38 The College Preparatory School . . . page 44 Red Oak Realty...... page 58 Coracao Confections...... page 52 San Francisco Performances. . . . . page 28 Crowden ...... page 44 Scholar Share...... page 18 DC Pianos...... page 50 Sotheby’s International Realty...... Dining at the Claremont...... page 40 ...... inside front cover Dining Guide ...... pages 40, 42 St. Paul’s Towers...... page 14 DoubleTree Hotel...... page 62 Storey Framing...... page 44 Douglas Parking...... page 60 Talavera...... page 25 Frank Bliss, State Farm...... page 12 Thornwall Properties...... page 20 Going Places ...... page 24 Tricia Swift, Realtor...... page 48 Golden State Senior Care...... page 36 UC Berkeley Extension...... page 36 The Grubb Co...... back cover Wells Fargo...... page 16 Henry’s Gastropub...... page 26 ...... Please Patronize Our Advertisers!

to advertise in the berkeley symphony

program, call john mc mullen 510.652.3879

66 February 6, 2014