Joana Carneiro MUSIC DIRECTOR

13/14 SEASON

BerkeleySymphony_program_covers_FINAL.indd 4 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 13 Producers’ Circle Sponsorship Gifts 15 Berkeley Symphony Legacy Society 17 Program 19 Program Notes 37 Music Director: Joana Carneiro 43 Guest Artist & Composers’ Biographies 49 In Memoriam: Richard Reynolds 51 Berkeley Symphony 55 Music in the Schools 57 Under Construction 59 Broadcast Dates 67 Membership Support 73 Contact 74 Advertiser Index

Season Sponsors: Kathleen G. Henschel, Marcia Muggli & Ed Osborn, 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 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.

May 1, 2014 3 4 May 1, 2014 Message from the Music Director

Dear Friends,

I can’t believe it is the last concert of the season; what a wonderful year we have had here in Berkeley. I am still hearing echoes of our last commission, the beautiful concerto for violin by Sam Adams, and I hope you are too.

Tonight’s program could well be named

“the Finnish connection,” or “my” photo by Rodrigo de Souza Finnish connection. This is music that is truly dear to my heart. We start with a piece by my friend and mentor, Esa-Pekka Salonen—a piece that depicts , a “shadowy Greek character,” as Salonen describes her.

Then we are so very lucky to welcome one of today’s greatest operatic superstars, Kelley O’Connor, embodying Adriana, the heroine from ’s second opera Adriana Mater. The story could easily be told today, in a war-time setting, in which we experience the life of a strong-willed woman who becomes a mother under very trying circumstances and, with her son, years later, meets the person who caused her harm. It is tragic story, but also one of love and forgiveness.

And we end this season as I started my time with Berkeley Symphony in the fall of 2008—with Beethoven’s Symphony No. 5. I am particularly excited to conduct this particular piece again in Berkeley, as we truly see and hear the tremendous growth that this Orchestra has experienced over the past five years.

Thank you for being here tonight and for sharing this season of concerts with us. I look forward to seeing you in the fall as we launch our 14/15 season.

My very best,

Joana Carneiro

May 1, 2014 5 6 May 1, 2014 Message from the Executive Director

Greetings!

Thank you all for another great season! With your patronage and support, Berkeley

Symphony continues to grow and serve more photo by Marshall Berman of our Bay Area communities each year.

This year, we inaugurated our Berkeley Symphony & Friends chamber music series in partnership with the Piedmont Center for the Arts. These Sunday afternoon concerts, providing audiences with the opportunity to experience our Orchestra musicians and guest artists in an intimate setting, resume for a second season in September.

This year, our Under Construction new music program reached unprecedented heights. In partnership with EarShot, the national orchestral composition discovery network administered by the American Composers Orchestra, Under Construction drew 180 applicants from emerging composers nationwide.

This year, our Music in the Schools program served all 4,200 children free of charge in all eleven Berkeley Unified School District elementary schools. The school district has asked for additional programming in middle and high schools, and we are also in talks with neighboring communities about serving their schools. Where there is community will and the need for music education, Berkeley Symphony will be there with our hands-on classroom sessions, music curricula, in-school concerts, and opportunities for children to perform with our orchestra members.

Let’s celebrate all this with a rousing 2013/14 season finale! Then, if you don’t yet have one, please pick up a 2014/15 season brochure in the lobby.

Warmest regards,

René Mandel

May 1, 2014 7 8 May 1, 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 Ellen L. Hahn Sue Hone Brian James Kenneth A. Johnson & Nina Grove William Knuttel Todd Kerr Sandy McCoy Jeffrey S. Leiter Deborah Shidler Bennett Markel Michel Taddei Bebe & Colin McRae Helen Meyer Advisory Council Christine Miller Marilyn Collier, Chair Deborah O’Grady & John Adams Michele Benson Elisabeth & Michael O’Malley Frank & Roberta Bliss Judith Bloom Maria José Pereira Joy Carlin Marjorie Randell-Silver Ron Choy Thomas W. Richardson Richard Collier Linda Schacht & John Gage Diane Crosby Kathy Canfield Shepard & John Shepard John Danielsen Jutta Singh 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

May 1, 2014 9 The Orchestra

Joana Carneiro Music Director Viola Sponsored by Helen and John Meyer Ilana Matfis Principal Sponsored by Earl O. Osborn Sponsored by Lisa and Jim Taylor Lynne Richburg Assistant Principal Sponsored by Brian James and Shariq Yosufzai Patrick Kroboth Sponsored by Anonymous Marta Tobey Kent Nagano Conductor Laureate Steven Ng Celeste McBride Violin I Amy Apel Franklyn D’Antonio Concertmaster Alice Eastman Noah Strick Associate Concertmaster Clio Goldstein* Jiwon Evelyn Kwark Assistant Amanda Woo* Concertmaster Matthew Szemela Cello Larisa Kopylovsky Carol Rice Principal Candy Sanderson Stephanie Lai Assistant Principal Lisa Zadek Nancy Bien Ilana Thomas Victoria Ehrlich Kristen Jones Steiner Kelley Maulbetsch Noah Terry Ken Johnson Annie Li Peter Bedrossian Chloe Mackay* Andy Ly* John Bernstein Jordan Price Daniel Neyshloss* Jasper Hussong Bert Thunstrom Daniel Mackay* Violin II Bass Daniel Flanagan Principal Michel Taddei Principal Elizabeth Choi Assistant Principal Robert Ashley Assistant Principal Karsten Windt Megan McDevitt David Cheng David Horn Lauren Avery Sponsored by Tricia Swift David Sullivan Matthew Oshida Ben Holston* Rick Diamond Eugene Theriault Ann Eastman Corey Chandler Kevin Harper Flute Alexandra Lee* Emma Moon Principal Kristen Kline Sponsored by Marcos and Janet Maestre David Grote Laurie Camphouse Sarah Lee Leslie Chin* Rose Marie Ginsburg Maureen Sides*

10 May 1, 2014 Alto Flute Horn (continud) Laurie Camphouse Kathy Canfield Shepard Michael Shuldes Piccolo Tom Reicher Laurie Camphouse Melanie Keller Graham Taylor Principal Brad Hogarth Deborah Shidler Principal Owen Miyoshi Sponsored by Janet John Freeman and Michael McCutcheon Thomas Nugent Stardust Craig McAmis Principal Cicely Rhodin* Sponsored by Kathleen G. Henschel Daniel Gurevich* Craig Bryant

English Horn Bass Trombone Andrea Plesnarski Kurt Patzner

B-flat Roman Fukshansky Principal Jerry Olson Principal Diana Dorman Steve Sánchez Brenden Guy John Weeks Principal Micah Kim Percussion E-flat Clarinet Ward Spangler Principal Sponsored by Gail and Bob Hetler Steve Sánchez Norman Peck Mark Veregge Benjamin Paysen Daniel Ferreira Harp Wendy Tamis Principal David Granger Principal Ravinder Sehgal / Lawrence Rhodes Miles Graber Principal Erin Irvine Newton Kwan* Max Schugart* *Member of Young People’s Symphony Orchestra

Contrabassoon Erin Irvine Franklyn D’Antonio Orchestra Manager Horn Joslyn D’Antonio Co-Orchestra Manager Alex Camphouse Principal Sponsored by Tom and Mary Reicher Quelani Penland Librarian Stuart Gronningen David Rodgers Stage Manager

May 1, 2014 11 12 May 1, 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, guest soloists, Under Construction, and Music in the Schools.

Anonymous (2) Gertrude Allen Judith Bloom Jennifer Howard DeGolia Margaret Dorfman Ellen Hahn Kathleen G. Henschel Buzz & Lisa Hines Ken Johnson & Nina Grove William & Robin Knuttel Janet & Marcos Maestre Janet & Michael McCutcheon Helen & John Meyer Linda & Stuart Nelson Marcia Muggli & Ed Osborn Thomas & Mary Reicher Thomas W. Richardson Tricia Swift Lisa & James Taylor The Thomson Family Brian James & Shariq Yosufzai

Producers’ Circle Sponsorship gifts of $2,500 and above received for the 2013-14 thru 2014-15 seasons are listed. Thank you also to our Producer’s Circle supporters at all levels!

May 1, 2014 13 14 May 1, 2014 Berkeley Symphony Legacy Society

Legacy giving will ensure that Berkeley Symphony’s music and education programs for children will continue to delight and inspire us for generations. Thank you to those who have made bequests to Berkeley Symphony as part of their estate planning. If you are interested in supporting our long-term future, please contact General Manager and Membership Director Steve Gallion at 510.841.2800 x305 or [email protected].

Legacy Society Member Gertrude Allen: In her own words . . .

“I grew up in a musical household. My family subscribed to the San Francisco Symphony and Opera, and I listened to the Metropolitan Opera every Saturday. I play the piano, and my daughter and son-in-law are both professional musicians playing flute and . “I started going to the Berkeley Promenade Orchestra* with my husband in the 1970s. We loved it. I have never been to a concert where my husband and I didn’t go “Wow!” Later, Janet Maestre asked us to become subscribers and that’s how we became long- term supporters. Berkeley Symphony is exceptional!”

Legacies Received Legacies Pledged Margaret Stuart E. Graupner Gertrude Allen Rochelle D. Ridgway Norman Bookstein & Gillian Kuehner Kathleen G. Henschel Jeffrey S. Leiter Janet & Marcos Maestre Bennett Markel Lisa Taylor

*Berkeley Symphony was founded in 1969 as the Berkeley Promenade Orchestra. The name was changed shortly after Kent Nagano’s tenure as music director began in 1978.

May 1, 2014 15 16 May 1, 2014 Program

Thursday, May 1, 2014 at 8:00 pm Zellerbach Hall

Joana Carneiro conductor

Esa-Pekka Salonen Nyx

Kaija Saariaho Adriana Songs Libretto by I. Jardin d’automne II. Je sens deux coeurs III. Rages IV. La vie retrouvée Kelley O’Connor mezzo-soprano INTERMISSION

Ludwig van Beethoven Symphony No. 5 in C minor, Op. 67 I. Allegro con brio II. Andante con moto III. Scherzo. Allegro IV. Allegro

Tonight’s performance will be broadcast on KALW 91.7 FM on May 26, 2014. Please switch off your cell phones, alarms, and other electronic devices during the concert. Thank you.

Concert Sponsors: Thomas & Mary Reicher City of Berkeley Anonymous Guest Artist Sponsor: Natasha Beery & William McCoy

Season Sponsors: Kathleen G. Henschel Marcia Muggli & Ed Osborn Brian James & Shariq Yosufzai

May 1, 2014 17 18 May 1, 2014 Program Notes

Esa-Pekka Salonen (born 1958) have seemed like a ball and chain before the emergence of today’s Nyx crop of brilliant musical Finns. The past several decades have seen an Born on June 30, 1958, in , extraordinary generation of creative Finland; currently resides in Los Angeles. thinkers liberating themselves and Esa-Pekka Salonen composed Nyx in staking out new territory. The result 2010 on a joint commission from Radio has turned the once-marginalized France, the Barbican Centre, Atlanta northern extremity of Europe into Symphony, Carnegie Hall, and the Finnish the acknowledged progenitor Broadcasting Company. He conducts the country of some of today’s most Finnish Radio Symphony Orchestra in a performance available on a Deutsche interesting composers. Grammophon release titled Out of Esa-Pekka Salonen and Kaija Nowhere (paired with the Grawemeyer Saariaho—who are separated in age Award-winning Violin Concerto he wrote by only six years—emerged from for Leila Josefowicz). similar backgrounds. Both were born First performance: February 19, 2011, with in Helsinki and attended the Sibelius the composer conducting the Orchestre Academy there. While a student at Philharmonique de Radio France at the the Academy, Salonen joined with Théâtre du Châtelet in . Nyx is yet another composer who would scored for piccolo, 3 flutes (3rd doubling go on to international acclaim, 2nd piccolo), 3 , English horn, 3 , to co-found an (3rd doubling E-flat clarinet), experimental collective Toimii (“it bass clarinet, 3 , , works”) and a new-music advocacy 4 horns, 3 , 3 , tuba, group they called Korvat Auki! (“Ears timpani, 3 percussionists, harp, celesta Open!”). And Salonen has stayed (doubling piano), and strings. Duration: true to that belief in music as an ca. 18 minutes. ear-opening experience that can transform our perceptions of the world. ention Finland to music lovers, M and Sibelius comes to mind Composing was the young with Pavlovian spontaneity. For Salonen’s chief focus: as he has Brahms, Beethoven was the looming pointed on over the years, he took giant whose shadow had to be up conducting so as to be able to acknowledged, but for gifted young ensure performances of his own Finnish composers, Sibelius must work. What he didn’t plan on was the

May 1, 2014 19 20 May 1, 2014 immensely successful conducting Nyx is the first composition Salonen career he would launch when he introduced since stepping down filled in for Michael Tilson Thomas from the podium at Disney Hall. at the last minute to conduct the Composed in 2010, it also marks Philharmonia Orchestra in Mahler’s a return to composing what he Third Symphony in 1983. That feat calls “pure orchestral music” (i.e., paved the way toward an important not concertante)—the first such relationship with the Philharmonia, work in his oeuvre since the much which in turn opened the door to briefer from 2005, a virtuoso his influential tenure with the Los study in gradually accelerated Angeles Philharmonic (with which tempo. he made his U.S. conducting debut in On one level, it’s easy to recognize 1984, when he was only 26). in Nyx a sort of summation of Like Leonard Bernstein, Salonen has the incredible abundance of had to contend with the frustrations technical knowledge about how of being highly gifted in several large orchestras function and areas at once. In his New Yorker produce their magic. But beyond profile marking the end of Salonen’s all the formidable technique, reign with the LA Philharmonic in Salonen homes in on the endlessly 2009, Alex Ross details how this fascinating beauty and appeal of Finn “with an avant-garde bent” late Romanticism (the presence of ended up becoming “a driving is keenly felt) and force in American music.” Ross also indeed of the great Sibelius himself, appraises the new Violin Concerto particularly in the coming-into- Salonen introduced during one of his being of this sound world from the valedictory programs (where he also opening music of the horns. Sibelius, happened to share the billing with after all, knew how to evoke a whole — Beethoven’s Fifth Symphony). “When universe with the orchestra just as did his Continental counterpart Salonen announced he was giving Mahler, who declared as much in a up the Los Angeles job,” writes Ross, famous conversation with Sibelius. “he said that he wanted to devote more time to composing, and the As in Sibelius’ tone poems, Salonen strength of his latest pieces suggests draws on mythological imagery— that he has not made a foolish choice in this case, the obscure, shadowy . . . Salonen the composer is more figure Nyx (Latin nox) from ancient openly expressive than Salonen the Greek cosmogony. We don’t have conductor.” Indeed, in 2012 the Violin many extant tales involving Nyx Concerto won one of the music directly, but she was associated with world’s most prestigious awards: the the very beginning of creation—a University of Louisville Grawemeyer child of the earth mother, Gaia, and Award for Music Composition. considered the mother of both Sleep

May 1, 2014 21 22 May 1, 2014 and Death. Observes Salonen: “She direction from my earlier orchestral is an extremely nebulous figure music. There are many very delicate altogether; we have no sense of her and light textures, chiaroscuro character or personality. It is this instead of details bathing in clear very quality that has long fascinated direct sunlight. I guess this is me and made me decide to name symptomatic of growing older as my new orchestral piece after her.” we realize there are no simple truths, His aim in Nyx is not to present a no pure blacks and whites but an musical portrayal of the mysterious endless variety of half shades.” goddess or to narrate some event about her. Still, he points out, “the almost constant flickering and rapid changing of textures and moods as Kaija Saariaho (born 1952) well as a certain elusive character of many musical gestures may well be Adriana Songs related to the subject.” Born on October 14, 1952, in Helsinki, In purely musical terms, Salonen Finland; currently resides in Paris. Kaija writes that Nyx differs from his Saariaho wrote Adriana Songs for other compositions employing the mezzo-soprano and orchestra on a joint principle of continuous variation commission from the Auftakt Festival, of certain materials. “Its themes the Alte Oper Frankfurt, the New and ideas essentially keep their York Philharmonic, and the Orchestra properties throughout the piece Sinfonica Nazionale della RAI. Adriana while the environment surrounding Songs draws on material from her opera them keeps changing constantly. Adriana Mater, which was premiered Mere whispers grow into roar; an in 2006. The texts are by Saariaho’s intimate line of the solo clarinet frequent collaborator, Amin Maalouf, and becomes a slowly breathing broad are taken from his libretto for Adriana melody of tutti strings at the end Mater. of the 18-minute arch of Nyx.” The challenge he set himself was “to First performance: September 17, 2006, write complex counterpoint for with the mezzo-soprano Patricia Bardon almost one hundred musicians as soloist and Marc Albrecht conducting playing tutti at full throttle without the Junge Deutsche Philharmonie. losing clarity of the different layers Adriana Songs is scored for 3 flutes and lines; something that Strauss (2nd doubling piccolo), 3 oboes, 3 and Mahler so perfectly mastered.” clarinets, bassoon, contrabassoon, 4 He continues: “I have always enjoyed horns, 4 trumpets, 3 trombones, tuba, the unrivaled dynamic range of timpani, 4 percussionists, harp, piano a large symphony orchestra, but (doubling celesta), and strings. Duration: Nyx seems to take a somewhat new ca. 20 minutes.

May 1, 2014 23 www.buyartworknow.com

24 May 1, 2014 driana Mater is the name of the offers an intriguing entrée into A second of Kaija Saariaho’s three Saariaho’s brand of music theater— operas to date (or four, if you count and into the unique perception of , the hybrid opera/ time and space that shapes her oratorio inspired by Simone Weil musical universe. It’s impossible that immediately followed Adriana to encounter her music without Mater). Her Finnish compatriot having your ears and mindfulness and fellow Sibelius Academy alum directed to the centrality of texture, Esa-Pekka Salonen—an ardent timbre, resonance of tones—even champion of her music—conducted to their relative weights. All of these the opera’s world premiere in 2006 parameters are so often lumped at the Opéra National de Paris, under the inadequate rubric of which together with Finnish National “color,” as if they entailed mere Opera had commissioned the surface decoration, or perhaps work. The production was directed the shadow of “the real thing” (i.e., by , as was the first melody, harmony, rhythm). Yet American staging, which took place in Saariaho’s sound world these at the Santa Fe Opera Festival in the acquire mesmerizing substance and summer of 2008. evocative power and even seem to Even in the unstaged context of press beyond our ordinary (linear) this evening’s performance, those perceptions of space and time. familiar with Sellars’ aesthetic Saariaho’s compositions at times might recognize a kindred spirit in hover about the listener like mobile Saariaho’s own theatrical sensibility. sculptures. Through the contexts Saariaho has collaborated closely she creates for them, sounds linger with Sellars since she launched with a ghostlike presence, creating her operatic career at the Salzburg an aura of unstable mirages. Festival in 2000 with the haunting Saariaho meticulously perfected L’amour de loin (Love from Afar), inspired her ear for luminous detail through by a 12th-century troubadour. years of experimental work in Former Berkeley Symphony music Paris at Pierre Boulez’s IRCAM director Kent Nagano has also Institute for musical research, played an important role in her that bastion of the European avant- operas. He conducted the Salzburg garde. Upon settling in Paris in premiere of L’amour de loin and in 2011 the early 1980s, Saariaho became his recording with the Deutsches closely associated with the French Symphonie-Orchester Berlin spectralists. Their focus is on music garnered the Grammy Award for as a process in which sonic textures Best Opera Recording. transform and evolve gradually Derived from the score for the two- over a compositional span. Like hour-long Adriana Mater, Adriana Songs other spectral composers, Saariaho

May 1, 2014 25 often uses electronic sources or “extensions” as part of a subtle blend with acoustic instruments, though she has also learned to create similar effects through purely acoustic means—as she does in Adriana Songs. Well Orchestrated Travel At the same time, Saariaho’s music Durango or Dubai theater works since the millennium have been rooted in traditional, indeed immemorial, themes of love, suffering, war, forgiveness. Adriana Mater is a timeless parable set amid the ruins of war. It takes up that most operatic of topics—the desire for revenge—but from a radically compassionate perspective, probing the power of maternal love to thwart the cycle of violence.

Like the composer, Saariaho’s long- term librettist Amin Maalouf is a voluntary emigré writer based in Paris. A native of Beirut whose first language is Arabic but who writes in French, Maalouf has grappled in his fiction with issues of uprooting and war. His libretto for Adriana Mater is set in an unnamed city in ruins as the result of a prolonged civil war; its blend of mythic resonance and gritty, modern detail echoes something of the fiction of J.M. Coetzee. After being brutally raped by a soldier, the lead character has borne and raised a son, Yonas. When the grown Yonas later discovers his father’s identity, he finds himself unable to carry out his intention of killing him to avenge his mother.

26 May 1, 2014 Adriana Songs consists of four movements, three of them featuring solo moments for Adriana. In the first, Jardin d’automne (“Autumn Garden”), the tremendous force unleashed in the orchestral introduction leads to her intensely expressive reflections in a private moment stolen away “when the eyes of the city close.” This is followed by the painful conflict Adriana feels within—Je sens deux coeurs (“I feel two hearts”)—as she contemplates her pregnancy and the identity of “this stranger inhabiting me” and what her child’s future will be—“Cain or Abel?” Toward the end of this deeply mysterious music, the mood becomes agitated and energetic before diminishing on a widely spanning sustained chord.

The music again becomes energetic in the purely instrumental third movement, Rages (“Madness”), in which tempestuous outbursts alternate with brief moments of calm, eventually culminating in an aggressive frenzy of furioso writing. Concluding the suite is La vie retrouvée (“Life regained”) from the end of the opera. Yonas’s choice triggers an epiphany of hard-won forgiveness for Adriana: “The murderer’s blood has been calmed by flowing near mine . . . We are not avenged, we are saved.” Throughout, Saariaho’s soundscape of shifting timbral weights builds an otherworldly sense of time in which inner and outer events coalesce in dreamlike ambiguity.

May 1, 2014 27 Adriana Songs Libretto by Amin Maalouf

I. Jardin d’automne I. Autumn Garden Quand les yeux de la cité se ferment When the eyes of the city close Je dévoile ma voix! I reveal my voice! Ma voix que j’ai cueillie The voice I gathered Dans un jardin d’automne In an autumn garden Puis couchée sous les pages d’un And pressed in the pages of a book; livre; The voice I brought back from my Ma voix que j’ai rapportée du pays country Entre mes draps couleur de soufre; Between my brimstone-coloured Ma voix que j’ai glissée dans mon sheets; corsage The voice I tucked into my bodice Sous les plis de mon coeur. Under the folds of my heart.

Quand les yeux de la cité se ferment When the eyes of the city close Je dévoile mon coeur! I reveal my heart! Mon coeur que j’ai cueillie The heart I gathered Dans un jardin d’automne In an autumn garden Puis couché sous les pages d’un livre; And pressed in the pages of a book; Mon coeur que j’ai rapporté du pays The heart I brought back from my Entre mes draps couleur de pierre; country Mon coeur que j’ai glissé dans mon Between my stone-coloured sheets; corsage The heart I tucked into my bodice Sous les plis de ma peau. Under the folds of my skin.

Quand les yeux de la cité se ferment When the eyes of the city close Je dévoile ma peau! I reveal my skin!

II. Je sens deux coeurs II. I Feel Two Hearts Non, je ne suis sûre de rien. No, I’m not sure of anything. Je sens seulement, je sens un coeur, I only feel, I feel a heart, Un deuxième coeur qui bat tout près A second heart beating close to du mien. mine. Qui est cet étranger qui m’habite? Who is this stranger inhabiting me? Un frère? Un autre moi-même? Un A brother? Another self? An ennemi? enemy?

28 May 1, 2014 Dans ses veines coulent deux sangs, In his veins two bloods flow—two deux sangs mêlés, mingled together: Le sang de la victime, et le sang du The blood of the victim and the blood bourreau. of the aggressor. Comment répandre l’un sans How can you spill one without répandre l’autre? spilling the other? Un jour, mon enfant naîtra, je le One day my child will be born. I’ll tiendrai dans mes bras, hold him in my arms, Je le prendrai contre mon sein pour le Feed him at my breast nourrir. Pourtant, ce jour-lâ, But that day, Oui, même ce jour-lâ, Yes, that day, Et j’en serai encore à me demander I’ll still be wondering, as I’m comme je me demande à cet wondering now, instant Comme je me demande à chaque As I wonder every moment, day and instant du jour et de la nuit night, Qui est cet être que je porte? Who is this creature I carry? Qui est cet être que je nourris? Who is this creature I feed? Pour me rassurer, je me dis parfois To comfort myself I sometimes think Que toutes les femmes depuis Ève That every woman, ever since Eve, Auraient pu se poset ces Might have asked herself the same questions, questions, Ces mêmes questions: The same questions: Qui est cet être que je porte? Who is it I carry? Qui est cet être que je nourris? Who is it I feed? Mon enfant sera-t-il Caïn, ou bien Which will my child turn out to be— Abel? Cain or Abel?

IV. La vie retrouvée IV. Life Regained Cet homme That man Méritait de mourir Deserved to die. Mais toi, mon fils, But you, my son, Tu ne méritais pas de tuer. Did not deserve to kill him. Depuis que tu es né, et avant même Ever since you were born, and even ta naissance, before that, Je me demande si tu serais un jour I’ve wondered if you were capable of capable de tuer. killing. Même quand tu étais au berceau, je Even when you were in your cradle I ne pouvais m’empêcher couldn’t help De surveiller tes cris, le fond de ton Weighing your cries, your regard, et tes gestes, expressions, your movements,

May 1, 2014 29 30 May 1, 2014 Il fallait que je sache I had to know Si le sang qui coule dans tes veines, If the blood that flows in your veins Est le celui du tueur, Is that of the killer, Ou bien le mien. Or mine. Quand, autour de moi, on Around me, people were anxious, s’inquiétait, on se méfiaif, suspicious, Mois, je m’efforçais de croire But I did my best to believe Que le sang était neuter et muet, That blood was neutral and silent, Que le sang ne décidait de rien, That blood determined nothing, Qu’il suffirait que je t’aime, que je That it was enough that I loved you, te parle, que je t’élève avec spoke to you, brought you up droiture, honorably, Pour que tu sois aimant, et réfléchi, For you to be loving, thoughtful and et droit. honorable yourself. Mais il y avait constamment en moi, But all the time, inside, Constamment, la torture du doute, I was tortured with doubt. Constamment, cette question, With the endless, unrelenting obsédante, têtue: question: Si un jour te tenant, une arme dans If one day you should find yourself, la main, weapon in hand, Devant un homme que tu hais, Before a man you hate, Devant un homme qui mérite le pire A man who deserves the harshest of châtiment, punishments, Ce jour-là, le frapperas-tu? Would you kill him? Ou bien feras-tu, au dernier moment, Or, at that moment, would you draw un pas en arrière? back?

Si tu ètais vraiment le fils de cet home, If you’d really been that man’s son Tu l’aurais tué, You’d have killed him. Aujourd’hui, j’ai enfin la réponse . . . So now at last I have my answer . . . Le sang du meurtrier s’est apaisé en The murderer’s blood has been côtoyant le mien. calmed by flowing near mine. Aujourd’hui, ma vie, que je croyais Today my life, which I thought was perdue. lost, Est enfin retrouvée, Is found again at last. Nous ne sommes pas vengés, mais We are not avenged, we are nous sommes sauvés. saved. Viens, approche-toi, entourne-moi Come close and put your arms de tes bras, around me. J’ai besoin de reposer ma tête un I need to rest my head for a moment instant sur une épaule d’homme. on a man’s shoulder. Amin Maalouf Amin Maalouf Translated by Barbara Bray

May 1, 2014 31 32 May 1, 2014 Ludwig van Beethoven artists, writers, and thinkers. (1770-1827) Conventional language no longer seemed adequate to describe Symphony No. 5 in C what was happening in this piece. minor, Op. 67 How to convey the overwhelming, often downright perplexing Born on December 16, 1770, in Bonn, experience it triggered in its early Germany (then part of the Holy Roman listeners? This was music that had Empire); died on March 26, 1827, to be interpreted. in Vienna. Ludwig van Beethoven composed his Fifth Symphony between As a dramatic model, the Fifth laid 1804 and 1808, while simultaneously out a template for the progression working on other compositions. from grim tragedy to light-flooded triumph—or toward a kind of sonic First performance: December 22, “enlightenment,” if you will. This 1808, in Vienna, with the composer happens in musical-harmonic conducting. The Symphony No. 5 terms by traversing a journey from is scored for 2 flutes and piccolo, 2 the opening in C minor, a key that oboes, 2 clarinets, 2 bassoons and held darkly passionate associations contrabassoon, 2 horns, 2 trumpets, for Beethoven, to the blaze of 3 trombones, timpani, and strings. C major, vigorously reinforced by Duration ca. 35 minutes. almost military-sounding brass and The mere phrase “Beethoven’s piccolo that concludes the work. The Fifth” seems to instantly conjure dramatic angle encompasses both the most iconic example of the the sense of crisis and the catharsis symphony in the history of the which is eventually achieved and genre. Yet the concert on which thus brings to mind comparisons it was first heard was hardly a with ancient Greek tragedy— triumph. The Fifth shared the bill another potential source suggested with Ludwig van Beethoven’s Sixth for the composer’s inspiration. Symphony, Fourth , In this reading (though less and several other works on an sensationally than in Schindler’s epically long but alarmingly under- bit about fate knocking at the door), rehearsed program in a wretchedly the image of inevitable destiny unheated hall in Vienna (shortly once again works its way into the before Christmas). The concert scenario. was meant to raise funds for the At the same time, the Fifth is 38-year-old composer. recognized as the quintessence Eventually, of course, the Fifth of “absolute music”—music that became the cornerstone of a develops its materials with an newly involving philosophy of internally consistent logic whose music that influenced other meaning is contained in the notes

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34 May 1, 2014 alone, without any reliance on coda to development-like length, external descriptions. introducing yet another new piece of thematic material. Beethoven’s Third Symphony, the Eroica, had itself been an The Andante takes the form of a unparalleled game changer, double set of variations. The serene claiming new dimensions for the and unusually elongated melody genre. But in contrast to the Eroica’s of the first could hardly contrast epic expanse and its implicit more starkly with the clipped, protagonist—the symphony as militaristic fanfare of the second. novel—the Fifth Symphony is To characterize the Fifth as staging a tightly coiled Greek tragedy, the “triumph” of joyful C major over cosmic and anonymous. Even the tragic C minor neglects the details. famously hard-won outburst of Along with the return of the spooky triumph toward which it steers in Scherzo sonorities in the very heart the final movement is beset with of the finale, “victorious” C major questioning: right in its center, the already appears on the scene in music suddenly falls back into the the Andante’s fanfares, and there’s pit of terrorizing doubt sounded something manically comic about by the Scherzo, overshadowing the the vigorously tail-chasing fugue victory. section in the third movement’s Trio. The short-short-short-long This soon gives way to some of the rhythmic motif that blasts across most Gothically chilling “special its landscape at the outset, with effects” orchestration in no clearing of the throat, is not the the literature. only source of the first movement’s The transition linking the finale is concentrated power. (And, by a tense passage through the fog the way, as Matthew Guerrieri in this symphony of heightened points out in The First Four Notes, tension. “The finale is no romantic his fascinating cultural history of triumph,’”’ writes commentator the Fifth, is the motif we all think Robert Simpson. “The antithesis we know really just those first four of scherzo and finale is an notes? Or is it perhaps those PLUS elemental phenomenon, and the chasm of silence between PLUS the finale has the last word only the repetition of the pattern on because it suggests a condition different degrees of the scale—a in which human power can thrive, total of eight notes?) Think for a not because the world of the minute of what does reside in the scherzo has ceased to exist.” music’s silences—as in the implied uptake of breath right before that Program Notes © Thomas May first note. Meanwhile, Beethoven Thomas May writes about the arts and the condenser here stretches the blogs at memeteria.com.

May 1, 2014 35 36 May 1, 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

May 1, 2014 37 38 May 1, 2014 May 1, 2014 39 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

40 May 1, 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 , 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.

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42 May 1, 2014 Guest Artist & Composers’ Biographies

Neruda Songs with the Gothenburg Symphony Orchestra and Joana Carneiro, and Beethoven’s Ninth Symphony with Alan Gilbert and the New York Philharmonic. Miss O’Connor joins Franz Welser-Möst and the Cleveland Orchestra for an international tour of Beethoven’s Mass in C, a work that also serves for her return to the San Francisco Symphony under the baton of Michael Tilson Thomas. She collaborates with Vladimir Jurowski for the first time in performances of Adams’ El Niño with the London Philharmonic Orchestra. The artist returns to the Atlanta Symphony Kelley O’Connor, Orchestra for Brahms’ Alto Rhapsody mezzo-soprano led by Donald Runnicles, as well as to the National Symphony Orchestra ossessing a voice of uncommon in performances of El amor brujo allure, musical sophistication P conducted by the venerable Spanish far beyond her years, and intuitive maestro, Rafael Frühbeck de Burgos. and innate dramatic artistry, the Grammy Award-winning Highlights of recent seasons include mezzo-soprano Kelley O’Connor performances of Ravel’s Shéhérazade has emerged as one of the most with Esa-Pekka Salonen and the compelling performers of her Philharmonia Orchestra at the generation. During the 2013-14 Edinburgh Festival, Bach’s St. Matthew season, the California native’s Passion with Robert Spano and the impressive calendar includes John Atlanta Symphony, Stravinsky’s Adams’ The Gospel According to the Les noces with David Robertson and Other Mary with Grant Gershon the St. Louis Symphony, Mahler’s conducting the Ravinia Festival “Resurrection” Symphony with Orchestra, the world premiere of John Donald Runnicles and the Atlanta Harbison’s Crossroads with the Saint Symphony, Elgar’s Sea Pictures and Paul Chamber Orchestra conducted Britten’s Spring Symphony with Edward by Edo de Waart, Peter Lieberson’s Gardner and the City of Birmingham

May 1, 2014 43 44 May 1, 2014 Symphony Orchestra, and Mozart’s be ranked as one of the leading Requiem with Louis Langrée and the composers of the late twentieth and Mostly Mozart Festival Orchestra, as early twenty first centuries. Born well as with Iván Fischer leading the Kaija Anneli Laakkonen, she began Orchestra of St. Luke’s at Carnegie studying visual arts at the University Hall. Miss O’Connor also debuts of Art and Design. She married roles as Suzuki in Madama Butterfly at Markku Veikko Ilmari Saariaho in Boston Lyric Opera, Ursule in Berlioz’s 1972, but the marriage was short Béatrice et Bénédict at Opera Boston, lived, ending the following year. The and Hippolyta in A Midsummer Night’s composer, however, retained her Dream at the Lyric Opera of Chicago married name. and Canadian Opera Company. In 1976, she began composition Her discography includes Lieberson’s studies at the Sibelius Academy Neruda Songs and Golijov’s Ainadamar with Paavo Heininen. She obtained with Robert Spano and the Atlanta a degree in composition from the Symphony as well as Beethoven’s academy in 1980, but continued Ninth Symphony with Franz Welser- studies there for another year. Möst and the Cleveland Orchestra for Afterward, she enrolled at the Deutsche Grammophon. Musikhochschule in Freiburg, Germany, to study with British www.kelleyoconnor.com composer Brian Ferneyhough and Germany’s Klaus Huber. She was awarded a diploma there in 1983. By this time, Saariaho was already turning out some of her earliest works. The most noted efforts from this period include Verblendungen for Orchestra and Tape (1982-1984) and the minimalist piece Vers le blanc (1982). This latter piece was composed with the use of a computer and software developed at the Paris-based I.R.C.A.M. (L’Institut de Recherche et Coordination), where she had begun extensive studies in 1982 in computer techniques as they relate Kaija Saariaho, composer to musical composition. Saariaho aija Saariaho is not only among had permanently relocated to K the most important Finnish Paris that same year. In 1984, she composers of her time, but must married Jean-Baptiste Barrière,

May 1, 2014 45 46 May 1, 2014 also a composer, and their marriage stature could rival that of almost produced two children. In the mid- any other composer of the day. This 1980s, Saariaho’s works began pre-eminence is evidenced by the garnering much attention and she numerous major performances received many prestigious awards, of her compositions, such as the such as the Kranichsteiner Prize in 1999 Kurt Masur-led New York 1986, the Prix Italia in 1988, and the Philharmonic premiere of her choral following year the Ars Electronica work Oltra mar, and the Salzburg for her works Stilleben (1987-1988) Festival premiere of her first opera, and Io (1986-1987). She also attracted L’amour de loin, in August 2000, which several impressive commissions, featured Upshaw and conductor Kent including one from the Lincoln Nagano. Saariaho continues to Center, which resulted in the chamber collect prizes, including the German work Nymphéa (1987), which was Kaske Prize and the Swedish Rolf premiered by the Kronos Quartet. Schock Prize, both in 2001. Many of By the early 1990s, her music was her works have been made available beginning to appear with greater on a variety of labels, including DG, frequency on the concert stage BIS, Finlandia, and Ondine. and with some regularity on record labels. Saariaho had become one of the few composers to write in a modern, though not particularly dissonant, style who has achieved a good measure of popularity. Further commissions came to her, including an important one from the Finnish National Ballet, for which she produced The Earth (1991). Many of her compositions have been written specifically for major artists or groups, as with the violin work she produced for Gidon Kremer, entitled Graal Théâtre (1994), and the song cycle Château de l’âme (1996) for Dawn Upshaw. A 1993 trip to Japan led to a commission from Kunitachi College for which Saariaho composed a Esa-Pekka Salonen, work for percussion and electronics, Six Japanese Gardens (1993-1995). The composer composer spent a year at the Sibelius lauded composer and world Academy teaching composition A renowned conductor, Esa-Pekka (1997-1998), at a time when her Salonen has a restless innovation

May 1, 2014 47 that marks him as one of the most Orchestra, which he also important artists in classical conducted, as well as a disc of music. Salonen is currently the his Piano Concerto and his works Principal Conductor and Artistic Helix and . A new album Advisor of the Philharmonia of one of Henri Dutilleux’s most Orchestra and Conductor Laureate important works recorded with for the Los Angeles Philharmonic, the Orchestre Philharmonique de where he was Music Director from Radio France in the presence of 1992 until 2009. the composer was released in 2013 on Deutsche Grammophon on the Trained in the austere world of composer’s 97th birthday. Also European modernism and enjoying that month, Sony completed a a close relationship with the sunny city of Los Angeles, Salonen recording project that began with composes works that move Salonen and the Los Angeles nearly freely between contemporary 30 years ago: a 2-disc set of the idioms, combining intricacy and orchestral works of Lutosławski, technical virtuosity with playful released in what would have been rhythmic and melodic innovations. the composer’s 100th year. In 2012, Three major retrospectives of he recorded a disc of Saariaho’s Salonen’s original work have Passion de Simone with the Finnish been heard by capacity audiences Radio Symphony Orchestra and and received critical acclaim: at Dawn Upshaw. 2012 saw the Festival Présences Paris in 2011; release of the first-ever recording at the Stockholm International of Shostakovich’s previously Composer Festival in 2004; and undiscovered opera prologue at Musica Nova, Helsinki, in 2003. Orango with the Los Angeles Salonen has completed several Philharmonic and the release of works for symphony orchestra, Out of Nowhere, a collection of his including Foreign Bodies (2001), Violin Concerto and Nyx, featuring (2002), and , Leila Josefowicz and the Finnish which received its world premiere Radio Symphony Orchestra. In at in 2009, a new collaboration with 2004. In 2007, Salonen conducted Signum was launched with the the New York Philharmonic in the release of a live recording of first performance of his Piano Schoenberg’s Gurrelieder; other Concerto, dedicated to Yefim recent recordings with the Bronfman, who also premiered it. Philharmonia on Signum include Berlioz’s Symphonie fantastique Salonen’s extensive recording and Mahler’s sixth and ninth career includes a CD of his symphonies. orchestral works performed by the Finnish Radio Symphony www.esapekkasalonen.com

48 May 1, 2014 In Memoriam: Richard Reynolds

ensemble started to prepare Mahler’s Fourth Symphony for their first concert: he was no longer only one of a dozen photo by Don Fisher players on a part but carried a part by himself. In Berkeley Symphony, as in the U of M orchestra, he played second horn, which is the lower of the two main horn parts. He enjoyed playing in the low register of the instrument and supporting the harmony from below.

Richard moved to San Francisco in 1972. 1943-2014 Having set his horn aside during grad school, he started to play again, and in the mid-seventies joined the Berkeley ichard claimed that he was “tricked” Promenade Orchestra (precursor of into playing the horn at the age R Berkeley Symphony) under Tom Rarick. of 12. Though he told the instrumental Around the same time (1976) Richard also teacher at his Detroit elementary school began playing with the Lamplighters, San that he wanted to play the trumpet, the Francisco’s popular Gilbert and Sullivan teacher (improbably named “Mr. Vroom”) repertory company. He played every G & S explained that his pronounced overbite operetta dozens, if not hundreds, of times. would force him to hold the trumpet at a downward angle, directing all his tone at In addition to his playing role, Richard the floor. Fortunately, Mr. Vroom alleged, served as a players’ representative on this angle was ideal for the French horn, Berkeley Symphony’s board for over a so Richard began lessons on the horn. decade and edited the program book In reality there was no problem with for many concerts. This function was Richard’s orthodontia; Mr. Vroom had closely related to Richard’s day job as resorted to subterfuge, because he communications director of Mother Jones needed horn players more than trumpet magazine in San Francisco. players. Richard was really passionate about espresso. He not only loved to drink it, But the die was cast. Richard stuck with but was quite an expert on the subject. the horn and never regretted it. He He wrote on coffee for the San Francisco played in nothing but bands throughout Chronicle, Fresh Cup (a coffee industry trade high school, but when he entered the journal), Gastronomica, and Salon.com. University of Michigan (majoring in English, not music) he auditioned for Richard is survived by his wife, Fran the orchestra. Revelation struck as the Haselsteiner.

May 1, 2014 49 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

50 May 1, 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

May 1, 2014 51 Dining Guide

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52 May 1, 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.

May 1, 2014 53 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. OPEN HOUSE May 28, 6-8pm www.maybeckhs.org

54 May 1, 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 Music in the Schools Sponsors performed free of charge in elementary Gifts of $1,000–$15,000 annually schools each fall. Anonymous (2) • Six I’m a Performer concerts, also free of Susan & Jim Acquistapace charge, provide young musicians with an Berkeley Public Schools Fund opportunity to rehearse and perform with Berkeley Unified School District Berkeley Symphony. Berkeley Association of Realtors The Bernard Osher Foundation • Four free Family Concerts provide an California Arts Council opportunity for the whole family to Annette Campbell-White experience a Berkeley Symphony concert Richard Colton together. East Bay Community Foundation Anne Hannah-Roy All Music in the Schools programs are Kathleen G. Henschel provided 100% free of charge to children In Dulci Jubilo, Inc. and their families. We are grateful to the Dorothy Kaplan individuals and institutions listed on this Jorge Mancheno Bebe & Colin McRae page whose financial contributions help Mechanics Bank make Music in the Schools possible. But more Music Performance Trust Fund help is needed to fully fund the program . . . National Endowment for the Arts Michael & Elisabeth O’Malley Please join those making Music in the Ellen Singer Schools a reality! Donate online and Target Stores designate your gift as “Restricted—Music Ama Torrance & David Davies 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 Foundation www.berkeleysymphony.org/mits Thanks also to those giving up to $1,000 annually.

May 1, 2014 55 56 May 1, 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 presents 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.

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58 May 1, 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 Marshall Berman Jutta’s Flowers Judith L. Bloom Karen Ames Consulting Casa de Chocolates Janet & Marcos Maestre Coracao Confections Rico Mandel Marilyn & Richard Collier Janet & Michael McCutcheon Jennifer Howard DeGolia Bebe & Colin McRae Rick C. Diamond Meyer Sound Laboratories, Inc. Douglas Parking Peet’s Coffee & Tea Extreme Pizza Thomas Richardson & Edith Jackson Gloria Fujimoto Lisa & Jim Taylor Reeve Gould Anne & Craig Van Dyke Ellen Hahn Dave Weiland Photography John Harris William Knuttel Winery

May 1, 2014 59 2013-2014

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

60 May 1, 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 currently serves as board chair of Chanticleer.

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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.

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62 May 1, 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

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64 May 1, 2014 2014-15 Membership Benefits Ticket sales cover only a portion of concert expenses. And our Music in the Schools program— offered free of charge to thousands of children each year—is entirely Membership driven! Your Membership makes Berkeley Symphony thrive, and provides many opportunities to make the most of your concert-going experience. Consider adding a Membership to your subscription—or increase your level of Membership in support of the 2014-15 season.

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. • Two concert guest passes. Principal Member: $750+ (All of the above plus . . .) • Invitation to select special events including post-concert receptions with the music director, musicians, soloists, and/or visiting composers.

Symphony Circle of Members Concertmaster: $1,500+ (All of the above plus . . .) • Invitations to two exclusive Symphony Circle Salon Receptions hosted by Joana Carneiro. • A total of four concert guest passes. Conductor: $2,500+ (All of the above plus . . .) • Invitations to all exclusive Symphony Circle Salon Receptions hosted by Joana Carneiro. • Invitation to an exclusive Musicians Dinner and “closed” rehearsal for you and guests. • A total of eight concert guest passes.

Sponsorship Circle of Members Founding Sponsors: $5,000, $10,000 and above (All of the above plus . . .) • VIP access to Berkeley Symphony intermission Sponsors’ Lounge. • Recognition as Sponsor of a season concert, guest soloist, commissioned composer, orchestra section chair, or the Under Construction or Music in the Schools programs. • Special “Sponsorship Dinner” opportunities with Music Director Joana Carneiro.

May 1, 2014 65 66 May 1, 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 March 26, 2013 and March 26, 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 Ronald & Susan Choy Season Sponsors Dianne Crosby $25,000 and above Jennifer Howard DeGolia Marcia Muggli & Ed Osborn Gloria Fujimoto Shariq Yosufzai & Brian James John Harris Executive Sponsors Ken Johnson & Nina Grove $10,000 and above Paul Templeton & Darrell Louie Anonymous (3) Bennett Markel & Karen Stella Peggy Dorfman Patrick McCabe Janet & Marcos Maestre Joe & Carol Neil Janet & Michael McCutcheon Ellen Singer Linda & Stuart Nelson Anne & Craig Van Dyke Thomas & Mary Reicher Alison Teeman & Michael Yovino-Young Tricia Swift Gordon & Evie Wozniak Lisa & James Taylor Concertmaster Level The Thomson Family Gifts of $1,500 or more Founding Sponsors Anonymous (2) $5,000 and above Sallie & Edward Arens Anonymous Michele Benson Susan & Jim Acquistapace Mr. Frank Bliss Gertrude Allen Norman A. Bookstein & Gillian Kuehner Oz Erickson Joy Carlin Ann & Gordon Getty Gray Cathrall Ellen Hahn Brian Chase Buzz & Lisa Hines Ms. Carol Christ William & Robin Knuttel Marilyn & Richard Collier Natasha Beery & William B. McCoy John & Charli Danielsen Dr. Ruedi Naumann-Etienne Joan & Bruce Dodd Deborah O’Grady & John Adams Jack & Ann Eastman Thomas W. Richardson Anita Eblé

May 1, 2014 67 Concertmaster Level Lois & Gary Marcus Gifts of $1,500 or more (continued) Gary Glaser & Christine Miller Karen Faircloth Penny & Noel Nellis Linda Schacht & John Gage Michael & Becky O’Malley Steve Gallion & Pam Wolf Iris Hagen Ratowsky in Honor of Dr. Stuart & Sharon Gronningen Richard Ratowski Lynne LaMarca Heinrich & Dwight Jaffee Kathy Canfield Shepard & John Sue Hone & Jeffrey Leiter Shepard René Mandel Ama Torrance & David Davies

F rIENDS of Berkeley Symphony GIFTS

Principal Level Bonnie & Sy Grossman Supporting Level $750 and above Alan Harper & Carol Baird $100 and above Phyllis Brooks Schafer Trish & Anthony W. Hawthorne Anonymous (4) Richard Colton Barbara Hendrickson Rose Lynn Abesamis-Bell Ms. Anne Hannah-Roy Valerie & Richard Herr Henry L. Abrons Fran Haselsteiner Hilary Honore Joel Altman Jorge Mancheno Ora & Kurt Huth Kelly Amis Bebe & Colin McRae Richard Hutson Patricia Vaughn Angell Marjorie Randolph Fred Jacobson Kim Anno Associate Level Faye Keogh Robert & Evelyn Apte $300 and above Todd Kerr Fred & Elizabeth Balderston Anonymous (4) Joann Lorber Joan Balter Patricia & Ronald Adler John Lowitz & Fran Krieger Kevin Bastian Donald & Margaret Alter Arthur & Martha Luehrmann Sheldon & Joan Baumrind Karen Ames Helen Marcus William W. Beahrs Ms. Bonnie J. Bernhardt Howard & Nancy Mel David I. Berland Christel Bieri Peggy Radel & Joel Myerson Terry Bloomsburgh George & Dorian Bikle Lance & Dalia Nagel Cara Bradbury Susan Blake Maria José Pereira David Bradford Robert J. Breuer Helen Cagampang Anja Plowright Mr. & Mrs. Stuart Canin Mark Chaitkin & Cecilia Storr The Estate of Myron Pollycove Joana Carneiro Earl & June Cheit Myron Pollycove Rosemary Cozzo Paul Churchill Lucille & Arthur Poskanzer John Dewes Murray & Betty Cohen Pauline Robertson Rick C. Diamond Sarah Cohen Dian Scott Kevin Donahue Richard Collier Deborah Shidler & David Gini Erck & David Petta Burkhart Dr. Lawrence R. Cotter Marcine & Dean Francis Anne Shortall Joe & Sue Daly Mary Friedman Robert Sinai & Susanna Robert David Doris Fukawa Schevill Mavis Delacroix Daniel & Kate Funk Carol & Anthony Somkin Dr. Marian C. Diamond Isabelle Gerard Scott Sparling Paula & James R. Diederich Evelyn & Gary Glenn Robert & Emily Warden Carolyn Doelling Wendell Goddard Gary & Susan Wendt-Bogear Patrick D. Doherty Peggy Griffin Charles Wolfram Mr. Anthony Drummond

68 May 1, 2014 Supporting Level Irene & Kiyoshi Katsumoto Steve Rodewald $100 and above (continued) Paul & Joanne Kelly Constance Ruben Beth & Norman Edelstein James Pennington Kent Julianne H. Rumsey Rebecca E. Erdiakoff Alexander Jihyun Koo Susanna Schevill Bennett Falk & Margaret Robert Kroll & Rose Ray Steven Scholl Moreland Almon E Larsh, Jr Brenda Shank Lynn Feintech & Anthony Shelly Gin Lee Jack Shoemaker Bernhardt Shelly & Don Lee Shelton Shugar Ms. Mary Ellen Fine Laurel Leichter David & Elizabeth Silberman Susan Henderson Fisher David Lipson Johan & Gerda Snapper Marcia Flannery René Mandel Ms. Carla Soracco Ednah Beth Friedman Kim & Barbara Marienthal Sylvia Sorell & Daniel Kane Harriet Fukushima Alicia Mayorga Frances & Ronald Tauber Theresa Gabel & Timothy Suzanne R McCulloch Zumwalt Julie Thorson Suzanne & William McLean Marianne & John Gerhart Renee Tissue Jim & Monique McNitt Jeffrey Gilman & Carol Reif Joy Valdez Donald & Susanne McQuade Rose Marie & Sam Ginsburg Marco Vangelisti Amelie C. Mel De Fontenay & Stuart Gold John Stenzel Randy & Ting Vogel Anne Golden Susan Messina David & Marvalee Wake Edward C. Gordon Junichi & Sarah Miyazaki Ann Walker & Jon Demeter Mr. Richard Granberg Gerry Morrison Dorothy Walker Steven E. Greenberg Ms. Anita Navon David & Pennie Warren Arnold & Elaine Grossberg Elizabeth Pigford Sheridan & Betsey Warrick Ervin & Marian Hafter Joellen & Leslie Piskitel Carolyn Webber Sophie Hahn & Eric Bjerkholt Jo Ann & Buford Price Elizabeth Weber Jane Hammond George N. Queeley Dorothy Wechsler William & Judith Hein Barbara Van Raalte Ms. Carolyn D. Weinberger Lyn Hejinian Kit Ratcliff Dr. George & Bay Westlake Florence Hendrix Erin Rhoades June Wiley Jason Hofmann Suzanne Riess Nancy & Sheldon Wolfe Birgit Hottenrott Donald Riley & Carolyn Serrao 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. Honor and Memorial Gifts Thank you for gifts made in honor or remembrance of the following individuals . . .

In Memory of: In Honor of: Mr. & Mrs. R. Collier Tricia Swift J.F.K. David Berland Trish & Anthony W. Hawthorne Ms. Carla Soracco Ellie Hahn Rabbi Jonathan Omer-man Jerry Carlin Susan & Bruce Carter Metivta Center for Contemplative Judith L. Bloom Judaism Kim Marienthal Susan & Bruce Carter

May 1, 2014 69 70 May 1, 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 March 26, 2013 and March 26, 2014

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

$5,000 and above Anonymous Bernard E. and Alba Witkin Charitable Matching Gifts Foundation The following companies have California Arts Council matched their employees’ or City of Berkeley retirees’ gifts to Berkeley Symphony. East Bay Community Foundation Please let us know if your company Music Performance Trust Fund does the same by contacting Steve Wallis Foundation Gallion at 510.841.2800 x305 or [email protected]. William Knuttel Winery 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

May 1, 2014 71 72 May 1, 2014 Administration Contact & Creative Staff Tickets available by phone, fax, René Mandel, Executive Director mail, e-mail, or online: Steve Gallion, General Manager & Berkeley Symphony Membership Director 1942 University Avenue, Suite 207, Ming Luke, Education Director/ Berkeley, CA 94704 Conductor 510.841.2800 Fax: 510.841.5422 [email protected] Theresa Gabel, Director of Operations www.berkeleysymphony.org Noel Hayashi, Director of Marketing Jessica Sadler, Associate Director of find us on Marketing/Box Office Manager Cindy Hickox, Development & Marketing Associate Karen Ames Communications, Press & Public Relations Cindy Bruneman, Finance Direct0r Quelani Penland, Librarian Franklyn D’Antonio, Orchestra Manager Joslyn D’Antonio, Co-Orchestra Manager David Rodgers, Stage Manager Stoller Design Group, Graphic Design Dave Weiland, Photography Steve Flavin, Video Design Sid Kesav, Telemarketing David Fang, Intern

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

May 1, 2014 73 Advertiser Index

A1 Sun...... page 30 Henry’s Gastropub...... page 32 Albert Nahman Plumbing...... page 34 Hotel Durant ...... page 14 Alward Construction...... page 24 Judith L. Bloom, CPA...... page 58 Ampersand Graphics...... page 36 Jutta’s Flowers...... page 72 Archway School...... page 58 La Mediterranée...... page 52 Aurora Theatre...... page 26 Lunettes du Monde...... page 36 Bacheesos...... page 50 Mancheno Insurance Agency . . pages 38-39 Bayside Park...... page 34 Margaretta K. Mitchell Photography. . page 58 Berkeley Horticultural Nursery. . . . page 30 Maybeck High School...... page 54 Berkeley Optometry...... page 46 McCutcheon Construction...... page 56 Bill’s Footwear...... page 42 Mechanics Bank...... page 42 BuyArtworkNow.com ...... page 24 Mountain View Cemetery. . inside back cover Café Clem ...... page 52 Oceanworks...... page 27 The Club at The Claremont...... page 18 Osher Life Long Learning...... page 62 Coldwell Banker...... page 66 Piedmont Gardens ...... page 18 The College Preparatory School . . . page 54 Poulet...... page 50 Coracao Confections...... page 64 R. Kassman ...... page 42 Crowden ...... page 54 Red Oak Realty...... page 44 Cypress String Quartet ...... page 41 Scholar Share...... page 20 DC Pianos...... page 62 Sotheby’s International Realty...... Dining at the Claremont...... page 50 ...... inside front cover Dining Guide ...... pages 50, 52 St. Paul’s Towers...... page 16 DoubleTree Hotel...... page 70 Storey Framing...... page 54 Douglas Parking...... page 66 Talavera...... page 27 Frank Bliss, State Farm...... page 12 Thornwall Properties...... page 22 Going Places ...... page 26 Tricia Swift, Realtor...... page 60 Golden State Senior Services. . . . . page 24 UC Berkeley Extension...... page 30 The Grubb Co...... back cover Wells Fargo...... page 16

to advertise in the berkeley symphony

program, call john mc mullen 510.652.3879

74 May 1, 2014