YOU HAVE A VOICE

02.06.20 | 8 p.m. Zellerbach Hall 19/20 Bryce Dessner Voy a Dormir Kelley O’Connor Mezzo Soprano Mary Kouyoumdjian Become Who I Am San Francisco Girls Chorus Johannes Brahms Symphony No. 1 In C Minor

Berkeley Symphony 19/20 Season

5 Messages from the Music Director and the Board President 7 Board of Directors & Advisory Council 9 Orchestra 13 Season Sponsors 15 Ad Index: Support Businesses that Support Us 17 Tonight’s Program 19 Program Notes 33 Music Director Joseph Young 35 Composer Bios 39 Guest Artist Bios 45 Artistic Director René Mandel 47 About Berkeley Symphony 50 Music in the Schools 52 Invest in the Future of Berkeley Symphony 55 Annual Membership Support 61 Contact

Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras. No 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.

February 6, 2020 3 4 February 6, 2020 Message from the Music Director

little over three months ago, I made my first appearance as the Anew Music Director of Berkeley Symphony. Thanks to you, our dedicated audience, as well as the fabulous members of the Orches- tra, staff, board and volunteers, it was a truly magical evening. It photo by Jeff Roffman by photo is with great excitement and pride that I return to Berkeley to con- tinue on this new journey together. For tonight’s performance, I wanted to explore the theme of finding one’s voice, something that is perhaps even more essen- tial today than it ever has been. For centuries, music has served as a powerful vessel for self-expression that has the potential to elevate a single voice, idea, or commentary and impact change. One such voice will be heard in the Bay Area premiere of Voy a Dormir by Bryce Dessner, through the texts of 20th century Argentinian poet and femi- nist Alfonsina Storni which will be performed by my dear friend and highly sought-after mezzo-soprano, Kelley O’Connor. We are also thrilled to welcome one of the Bay Area’s most illustrious organizations, the GrAMMY® Award-winning San Francisco Girls Chorus, for the World Premiere string orchestra version of ryMa Kouyoumdjian’s power- ful Become Who I Am, a work that honors the anniversary of the 19th Amendment and Voting Rights Act. Finally, we will conclude the evening withBrahms’ epic Symphony No. 1, a celebrated masterwork and cornerstone of the repertoire, but one that took the composer almost twenty years to complete as he sought his own voice. —Joseph Young

Message from the Board President

lthough February is already upon us, I wanted to take a Amoment to wish you all a happy and prosperous New Year on behalf of everyone here at Berkeley Symphony. We are delighted to welcome you back for our first performance of 2020. Tonight’scon - cert marks the return of Music Director Joseph Young following a highly successful and critically acclaimed opening night debut last October. I’m sure you will agree that it was a fitting way to conclude a decade of some of the finest artistry in our history and provide a taste of what is to come under the leadership of Maestro Young. As we prepare to unveil our 50th anniversary season in the coming months, we enter a period of reflection on the past and optimism for a bright future ahead. The many accom- plishments and milestones throughout our history have only been possible through the unwavering support of our devoted community for which we are eternally grateful. With one of the finest conductors of our generation at the helm, we ook l ahead with great excitement to many more years of adventurous music-making together. Thank you for joining us for this evening’s performance. I look forward to connecting with many of you tonight and throughout the rest of our 2019-2020 season. —S. Shariq Yosufzai

February 6, 2020 5 6 February 6, 2020 Board of Directors & Advisory Council

Board of Directors Executive Committee S. Shariq Yosufzai, President Kathleen G. Henschel, Vice President for Governance Carrie McAlister, Vice President for Community Engagement Paul Bennett, Vice President for Strategy John Dewes, Treasurer Brian James, Secretary rené Mandel, Artistic Director Jim Tibbs, Executive Director

Board of Directors Advisory Council (continued) Susan Acquistapace Karen Faircloth Gertrude Allen Sandra & Kit E. Floyd William Knuttel Jill Grossman Janet Maestre Ellen L. Hahn Sandy McCoy Buzz & Lisa Hines Jan McCutcheon Jennifer Howard & Anthony J. Thomas Z. Reicher Cascardi Thomas W. Richardson Ken Johnson & Nina Grove Deborah Shidler Edith Jackson & Thomas W. Michel Taddei richardson Todd Kerr Advisory Council Jeffrey S. Leiter Bennett Markel Kathleen Crandall, co-chair Bebe & Colin McRae Lisa Taylor, co-chair Jan McCutcheon, co-chair Helen & John Meyer Becky & Michael O’Malley Deborah O’Grady & John Adams Marcia Muggli & Ed Osborn Michele Benson John Shepard & Kathy Canfield Judith L. Bloom Shepard Norman A. Bookstein & Gillian Kuehner Jutta Singh Joy Carlin James Taylor Susan & Ronald Choy Alison Teeman & Michael Marilyn & Richard Collier Yovino-Young Dianne Crosby & Scott Hamilton Paul Templeton & Darrell Louie John & Charli Danielsen Anne & Craig Van Dyke Carolyn Doelling Yvette Vloeberghs

February 6, 2020 7 RETHINKING HIGH SCHOOL Created by Teachers for Students

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8 February 6, 2020 The Orchestra

Violin I Viola Franklyn D’Antonio, Concertmaster Tiantian Lan, Principal Matthew Szemela, Clio Tilton, Assistant Principal Associate Concertmaster Ivo Bokulic Candace Sanderson, Patrick Kroboth Assistant Concertmaster Alexandra Leem Lisa Zadek Alessandra Aquilanti Nigel Armstrong Daria D'Andrea Shawyon Malek-Salehi rick Diamond Gabrielle Wunsch Amy Apel Daniel Lewin Peter Liepman Ernest Yen Annie Li Cello Fred Chang Carol Rice, Principal Sponsored by Getrude Allen Kevin Chen John Bernstein Isaac Pastor-Chermak, Assistant Principal Bert Thunstrom Stephanie Wu

Violin II Chloé Mendola Philip Santos, Principal Nancy Bien Sponsored by Tricia Swift Ken Johnson Ilana Thomas, Peter Bedrossian Assistant Principal Margaret Moores Karsten Windt Jason Anderson David Cheng Sylvia Woodmansee Larisa Kopylovsky Nicholas Carlin Christina Knudson Sergi Goldman-Hull Bass Ann Eastman Michel Taddei , Principal Kevin Harper robert Ashley, Gayle Tsern Strang Assistant Principal Quelani Penland Alden Cohen Charles Zhou continues on page 10

February 6, 2020 9 Bass (continued) Trombone Aleksey Klyushnik Thomas Hornig, Principal James Coyne Sponsored by Kathleen G. Henschel & John W. Dewes Dave Horn Craig Bryant

Flute Bass Trombone Stacey Pelinka, Principal Sponsored by Janet Maestre Dave ridge in memory of Marcos Maestre Tod Brody Timpani

Oboe Kevin Neuhoff, Principal Deborah Shidler, Principal Sponsored by Lisa Taylor Percussion Ryan Zwahlen Ward Spangler, Principal Timothy Dent Clarinet roman Fukshansky, Principal Harp Bruce Foster Wendy Tamis, Principal

Bassoon Piano Carolyn Lockhart, Principal ravinder Sehgal Marc Shapiro, Principal

Contrabassoon Shawn Jones

Horn Alex Camphouse, Principal Alicia Mastromonaco Alicia Telford richard Hall Thomas Reicher

Trumpet Brad Hogarth, Principal John Freeman

10 February 6, 2020 February 6, 2020 11 12 February 6, 2020 19/20 Season Sponsors

Berkeley Symphony extends its deep appreciation to the following companies and individuals whose generous support has made the 19/20 Season possible:

Gertrude Allen Laura & Paul Bennett Margaret Dorfman Ann & Gordon Getty Kathleen G. Henschel & John W. Dewes Edith Jackson & Thomas W. Richardson Rose Ray & Robert Kroll S. Shariq Yosufzai & Brian James Anonymous

Media Sponsor

Official Wine Sponsor

Presentation bouquets are graciously provided by Jutta’s Flowers, the official florist of Berkeley Symphony

February 6, 2020 13 Are Your Investments in Tune with Your Goals and Values?

Marc Roth, Partner at Atlas Capital Advisors LLC, is a longtime subscriber and supporter of Berkeley Symphony and Music in the Schools. Let Us Help You Achieve Your Goals.

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14 February 6, 2020 Ad Index: Support Businesses that Support Us

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16 February 6, 2020 Symphonic II: You Have a Voice Brahms | Dessner

Joseph Young Conductor

Thursday, February 6 at 8:00 p.m. Zellerbach Hall, U.C. Berkeley

Bryce Dessner Voy a Dormir Yo en fondo del mar Dulce Tortura Faro en la Noche Voy a Dormir Kelley O’Connor mezzo-soprano

Mary Kouyoumdjian Become Who I Am (world premiere of orchestra version) San Francisco Girls Chorus Valérie Sainte-Agathe, Artistic Director

INTERMISSION

Johannes Brahms Symphony No. 1 in C minor, Op. 68 I. Un poco sostenuto—Allegro II. Andante sostenuto III. Un poco allegretto e grazioso IV. Adagio—Più andante—Allegro non troppo, ma con brio—Più allegro

The previously announced world premiere commission by Chinese composer Xi Wang has been rescheduled for the 2021-2022 season.

Tonight’s concert will be broadcast on K ALW 91.7 FM on February 17, 2020, at 9:00 p.m.

Tonight’s performance is made possible by the generous support of Mark & Cynthia Anderson • Dianne Crosby & Scott Hamilton Paula & John Gambs • Tricia Swift •

Please switch off your cell phones, alarms, and other electronic devices during the concert. Thank you.

February 6, 2020 17 18 February 6, 2020 Program Notes

Bryce Dessner Storni had a Google Doodle dedicated to her in 2018 to mark her 126th birth- Born on April 23, 1976, in Cincinnati, day (May 29), which described her as “a Ohio; currently resides in Paris prolific Argentine writer and top literary Voy a Dormir journalist who was dedicated to women’s rights and gender equality.” Composed: 2018 In 1935, Storni sought treatment for First performance: February 15, 2018 breast cancer. The cancer returned Duration: c. 21 minutes three years later, and Storni committed Scored for 2 flutes (2nd doubling piccolo), suicide, drowning herself in the sea at oboe, English horn, 2 clarinets (2nd La Perla Beach. Despite heavy criticism doubling bass clarinet), 2 bassoons, 2 from Argentina’s male-dominated liter- horns, 2 trumpets, timpani, percussion, ary scene, Storni’s poem collectionLan - piano, harp, and strings. guidez (“Languor”) garnered the coun- • Bryce Dessner straddles the worlds try’s second National Literature Prize in of indie rock and contemporary 1920. classical as guitarist with the What to listen for band The National and a much- in-demand composer for leading Dessner has stated that he and mezzo- ensembles and films. soprano Kelley O’Connor, to whom he dedicated the score, were “deeply moved • Dessner wrote his orchestral song cycle Voy a Dormir (“I’m Going to by the beauty and power of Storni’s Sleep”) for mezzo-soprano Kelley words as well as the story of her life.” O’Connor based on four poems by The cycle comprises the following four Argentina’s pioneering Modernist poems from the poet’s oeuvre: “Yo en el poet and feminist Alfonsina Storni, fondo del Mar” (“Me at the Bottom of the Sea”), “Dulce Tortura (“Sweet Torture”), oy a Dormir (“I’m Going to Sleep”), “Faro en la Noche” (“Lighthouse in the V was co-commissioned by Carnegie Night”), and “Voy a Dormir” (“I’m Going Hall, the Orchestra of St. Luke’s, and Los to Sleep”). Angeles Chamber Orchestra. The texts Powerful water imagery frames are by Alfonsina Storni (1892-1938), an Argentine poet born to Swiss-Italian the cycle, culminating in the very last parents. This pioneering feminist and poem—and source of the cycle’s title— Modernist poet supported her family as that the 46-year-old Storni published a single mother through teaching and in La Nación before her death. That cir- journalism and was also involved in the- cumstance has led many to read it as a ater. public suicide note.

February 6, 2020 19 I. Yo en el fondo del mar Me at the bottom of the sea En el fondo del mar At the bottom of the sea hay una casa de cristal. there is a crystal house. A una avenida It flows de madréporas to an avenue da. of stony coral. Un gran pez de oro, Around five o’clock a las cinco, a great golden fish me viene a saludar. comes to greet me. Me trae To me it brings a red un rojo ramo bouquet of coral de flores de coral. flowers. Duermo en una cama I sleep in a bed un poco más azul a little bit bluer que el mar. than the sea. Un pulpo Through the crystal me hace guiños a squid a través del cristal. winks at me. En el bosque verde In the green wood que me circunda that surrounds me — din don... din dan — “din, don,” “din, dan” … se balancean y cantan sing and dance las sirenas the blue-green sirens de nácar verdemar. of mother-of-pearl. Y sobre mi cabeza And over my head, arden, en el crepúsculo, burning in the sunset, las erizadas puntas del mar. the spiny bristles of the sea.

II. Dulce Tortura Sweet Torture Polvo de oro en tus manos fue mi My melancholy was gold dust in your melancolía; hands; Sobre tus manos largas desparramé On your long hands I scattered mi vida; my life; Mis dulzuras quedaron a tus manos My sweetnesses remained clutched in prendidas; your hands; Ahora soy un ánfora de perfumes vacía. Now I am a vial of perfume, emptied. Cuánta dulce tortura quietamente suf- How much sweet torture quietly suf- rida, fered, Cuando, picado el alma de tristeza When, my soul wrested with shadowy sombría, sadness,

20 February 6, 2020 Sabedora de engaños, me pasada los She who knows the tricks, I passed the días days ¡Besando las dos manos que me ajaban kissing the two hands that stifled la vida! my life.

III. Faro en la Noche Lighthouse in the Night Esfera negra el cielo The sky a black sphere, y disco negro el mar. the sea a black disk. Abre en la costa, el faro, The lighthouse opens su abanico solar. its solar fan on the coast. A quién busca en la noche Spinning endlessly at night, que gira sin cesar? whom is it searching for Si en el pecho me busca when the mortal heart el corazón mortal. looks for me in the chest? Mire la roca negra Look at the black rock donde clavado está. where it is nailed down. Un cuervo pica siempre, A crow digs endlessly pero no sangra ya. but no longer bleeds.

IV. Voy a Dormir I’m Going to Sleep Dientes de flores, cofia de rocío, Teeth of petals, bonnet of dew, manos de hierbas, tú, nodriza fina, handfuls of herbs, oh sweet nursemaid, tenme prestas las sábanas terrosas turn the earthly sheets down for me y el edredón de musgos encardados. and prepare my quilt of carded moss. Voy a dormir, nodriza mía, acuéstame, I’m going to sleep, my nursemaid—lay me ponme una lámpara a la down; put a lamp on the nightstand for cabecera; me, una constelación; la que te or a constellation, whichever you like— guste; both todas son buenas; bájala un poquito. are fine; turn the lights down a bit. Déjame sola: oyes romper los brotes... Now leave me alone and hear the buds te acuna un pie celeste desde break...as you’re rocked by a heavenly arriba foot y un pájaro te traza unos compases from above, and a bird zigzags you a path para que olvides...Gracias. Ah, un so that you can forget...Thank you. encargo: Oh, a si él llama nuevamente por favor: if he calls again tell him not to teléfono insist, le dices que no insista, que he salido.. for I have gone away...

February 6, 2020 21 22 February 6, 2020 Mary Kouyoumdjian to gender inequality in the workplace, from historical views to culturally Born in 1983 and currently resides in Brooklyn, N.Y. imposed biases. I’m particularly inter- ested in the idea that an individual’s Become Who I Am level of confidence in their identity and (world premiere of orchestra version) abilities—or lack of confidence—can affect how they deal with gender- bar Composed: 2015 riers.” First performance: October 17, 2015, at St. Ann’s Warehouse in Brooklyn What to listen for Duration: 10 minutes Kouyoumdjian recorded interviews Scored for soprano and alto chorus, with members of the Brooklyn Youth string quartet, and audio playback Chorus (their ages ranging from 13 to 17). In these interviews, she asked the • Mary Kouyoumdjian is a first- generation Armenian-American volunteers “to share what they were composer who addresses such passionate about, when they felt most topics as the Armenian genocide confident and/or insecure, [as well and the Holocaust in multimedia as] to respond to a series of gender works that blend traditional ele- inequality statistics and to brainstorm ments with experimental sound- solutions to the disparity in numbers.” scapes. Their responses supplied material for the libretto written by Kouyoumdjian, • Combining material recorded from interviews with a chorus sung in real time, and for the piece’s of sopranos and altos and string prerecorded layer. quartet, Become Who I Am takes The composer notes that the words up the issue of gender inequality in the prerecorded backing track in the workplace. should be “clearly audible and compre- hensible” as well as cohesive with the performers. The string quartet players rom the individual voice of the poet as pioneering feminist— should be individually amplified, while F the chorus should be “lightly ampli- Alfonsina Storni died just 18 years after the 19th Amendment to thefied U.S. in the case that additional reverb Constitution was ratified—we moveis onneeded and to best control the mix.” to the collective voice of the San Fran- In Become Who I Am, as in other cisco Girls Chorus as they express the works, Kouyoumdjian is especially ongoing quest “to become who I am” drawn to the kind of interactive sto- in Mary Kouyoumdjian’s work of the rytelling in which, as she remarks, the same title. narrative “comes from the people who As Kouyoumdjian puts it: “There have actually experienced these sto- are many factors that can contribute ries themselves.”

February 6, 2020 23 Libretto and Transcription Thirteen, female. for Kouyoumdjian’s Fourteen, female. Become Who I Am Fifteen, female. Sixteen female, etc. Bold text denotes text sung by the chorus. Regular text denotes the transcrip- I guess I’m most passionate about tion of the track. Asian culture and Asian studies. I very much enjoy biology. Um, and sciences, particularly like microbiology. I am fourteen, and I am a female. I like science. Like earth science. Um, I’m seventeen years old, and I’m female. Um, I guess what I’m most passionate about is either visual art or Japanese. My age is sixteen, and um, I’m female. Yeah, I want to be a singer. I’m sixteen years old, and I’m a I’m most passionate about writing. I female. love writing. I’m fifteen years old, and I’m a male. I love to write music and sing. I also And I’m sixteen years old… do art. I’m almost fifteen. I’m fourteen. My Definitely music. birthday’s in two weeks, and I’m female. Yeah, sing. …and I’m a girl., etc. It’s a cross between music and art. Well just like, well there’s no other I guess I’m passionate about music, way to say fe- like it’s fema-, it just but I also really like literature and lan- sounds so like… guages. Didn’t you take the SAT today? It says The subject that I’m most passionate “gender.” about is humanities and the study of Female just sounds so like… “The civilizations and female” like “earthworm” as in… It just anthropology. sounds so scientific. Ok, I feel like my whole life I’ve been pre- anyway… paring to be a performer. Um, music, but I also really like Fourteen, female. education and science of the voice, and physics. Fifteen, female. I’m most passionate about music in Seventeen, female. general, I think. Sixteen, female. Well an obstacle in my way is that I Fifteen, female. have no idea what I want to be when I Fourteen, female. grow up, and I don’t think Sixteen, female. Fifteen, male. that that’s a bad thing, but you know I

24 February 6, 2020 have moments when I think, “that’s not really have much for outlets. OK.” When I think I’ve like put a lot of work into something, and I can like hear I’m most passionate! myself getting better. I’m most passionate about… I also really love! I hear myself get better. I also really love… This sounds so cliché: I feel like everything has a purpose. Like when I’m I probably feel at my most confident painting, I feel really calm when I’m around my family. and happy. The whole world just kind of stops. I feel confident when I’m with When I’m thinking about my own family, talents, I can get a little hard on myself. Confident when I’m with And I do get insecure, but friends, it’s like, as soon as I open my mouth I feel confident when I am right, and I start singing, I’m usually actually When I succeed, really surprised and really When I’m alone in my room, happy. Away from people’s opinions. Just being able to express myself in a way that I’m proud of, and in like the way that I speak, you know I think I feel very confident when I’m makes me feel like good and just singing. mature. I feel special. I get a lot of attention Well sometimes when I think about when I’m singing. the future it makes me feel a little Singing a song in a musical or a pro- scared, because those subjects duction that I got a big part in. don’t really feel like I could make a And I just feel so confident, because I feasible career out of them. have the whole chorus behind me, and I You feel like people are judging you. It know that no matter doesn’t feel very good. You feel like you what happens, they have my back. have to hold yourself back, and you can’t be like who you …When I have the whole chorus want to be. behind me. I’m most insecure when I’m around people that I don’t know or people who don’t understand me, or Singing makes me feel really alive, and I’m so glad that I have it as an outlet how I work, or you know, my humor. really, because I don’t I guess I feel insecure when I’m put-

February 6, 2020 25 ting out my artwork, when I’m putting it My GPA isn’t good enough. into the hands of someone I’m always comparing myself to the else, and seeing how their eyes see it. people who are doing better than I am. Probably when I’m like really proud How am I doing compared to people of something, because it’s hard to sort of who have been successful? share that. If you’ve There’s that side of me that’s like come to terms with what it is to you, scared to get up in front of people and you kind of want other people to have sing because of rejection. But that same response. like, when I’m with like my little cous- Your best isn’t good enough. You can ins and parents and stuff, I’m really not always do better. scared about anything, I think maybe like talking one-on-one because I know that those are like with some teachers at some points. Like people who are going to like, stick with my throat gets tight. me no matter what happens, I’m the most insecure when I don’t and tell me that my performance was know what I’m doing. amazing no matter what happens. If I leave the house like not having I want to just become who I am. had the time to pick out an outfit, do my hair, do my makeup. When they see me. When I go to school, and I have no I’m not good enough compared makeup on. to people better than me. When I am at school comparing I want to become who I am. myself to guys with better bodies than I have. [On average, women are paid 78% of If you’re a guy, you know: “He’s a great what men are paid for the same exact singer, that’s great.” But I think if you’re job. a girl it can be: “Oh Only half of the world’s working age well she’s a great singer, but she’s not women are in the labor force, compared that pretty.” to 77% of working age There always is competition anywhere men. you go. You’re kind of silently compet- Of the world’s largest 1,000 compa- ing. It’s there. It’s like nies, there are only 48 women CEO’s. the big elephant in the room, but no In U.S. orchestras, only 12% of their one actually wants to talk about it. programming consists of works by If someone were to be not a kind person. women. If they’re trying to break you, tell you In the top twenty music schools, only that you’re bad at something. 15% of composition faculty are women. Girls stereotypically dumb themselves In music, of the top 150 conductors, down. only five of them are women.]

26 February 6, 2020 They’re upsetting! part of it might be that only men They make me angry! are applying for the jobs. I’m not surprised! I think that if people try to get things I don’t agree! to change, we’ll eventually get there. They sadden me… Be more like men. Be more persistent. If it’s what you want, why do you give Something inside me just doesn’t up? If it’s what you understand the idea that like women are really really want, nothing should not equal to men. stop you. ‘Cause you have to take matters into Something inside me doesn’t your own hands as a woman. You can’t understand. really change the way that the people are thinking like now, you It’s incredible how far women have have to change the future generations come, but there still is so much more that are like gonna come work to be done. after us. The mindset of girls just needs to be Things maybe won’t be so different rewired, and put into terms that you unless we make them different. don’t need to apologize for In terms of how much talent you like not doing anything. We can do it. have? I don’t think it has any relation to I actually think a woman should do your gender. whatever she wants. It doesn’t matter what gender or race or gender we like. Fourteen, female. We’re all human. Fifteen, female. If I ever have children, I’ll teach them Seventeen, female. from a very young age that women are Sixteen, female. equal to men and should Fifteen, female. have the same opportunities. Fourteen, female. I mean part of me wants to like tell really young children, before they get to Sixteen, female. Fifteen, male. the age where this like Thirteen, female. separation happens, to like just go for Fourteen, female. it. Fifteen, female. Just go for it. I don’t know what else to say. Sixteen, female. I think part of it might be that the Seventeen, female. employers just want to hire men. But Fourteen, female.

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FOOTWEAR

28 February 6, 2020 Johannes Brahms tently affects contemporary thinking about the canon, the repertoire, and Born on May 7, 1833, in Hamburg, Ger- many; died on April 3, 1897, in Vienna the figures who have been enshrined in the pantheon of Western classical music. Symphony No. 1 This idea of individual genius held in C minor, Op. 68 special appeal for the romantics, in keeping with their drive to “tran- Composed: 1874-76 scend” material forces—including First performance: November 4, 1876, social reality and the reality of time in Karlsruhe, with Felix Otto Dessoff itself. conducting Yet the genius model showed an Estimated length: 45-50 minutes obvious negative side insofar as it Scored for 2 flutes, 2 oboes, 2 clarinets, inhibited creativity. Even Johannes 2 bassoons, contrabassoon, 4 horns, 2 Brahms, who bought into this way trumpets, 3 trombones, timpani, and of thinking about Beethoven whole- strings heartedly, suffered a version of the “impostor syndrome” that seems • The Brahms First reasserts the an inevitable result. The story of his untapped potential of the sym- First Symphony is the story of facing phony genre in the aftermath of that negativity and overcoming it—an Beethoven’s seemingly unsur- achievement that required a special passable legacy “genius” of its own. • Brahms had to fight a sense of Beethoven himself had postponed “impostor syndrome” to com- unveiling his First Symphony until plete his First Symphony—in after he had a chance to make his part, a consequence of the hero name in other genres. The legacy of worship of Beethoven that had Haydn (still very much alive) was a taken root formidable standard. Brahms’ first • Just as in Beethoven’s Ninth, sketches for his symphonic debut go the finale of Brahms’ First is theback to his 20s (in the 1850s). The longest movement, the center finished work received its premiere in of gravity—but its power comesthe fall of 1876—just months after the from a wordless narrative, using world premiere of Wagner’s complete instruments alone Ring cycle, another achievement long in the making. Even then, Brahms insisted on trying out the new score several more times before agreeing to he concept of individual musi- submit it to his publisher. Tcal “genius” became entangled in the concept of history that took root Wagner declared that Beethoven in the 19th century—and that persis- had led the symphony to a dead end

February 6, 2020 29 by creating, with the choral Ninth rounding them. The Andante blooms Symphony, something that could with the composer’s most lyrical writ- not be surpassed by instrumental ing and nuanced harmonic coloration. music alone. Brahms made his break- Brahms replaces the Beethovenian through in the genre by reasserting scherzo with something more relaxed, the expressive (and philosophical) in the form of a sunlit, pastoral inter- power of the purely instrumental lude. symphony. His First Symphony recy- All of this prepares the way for the cles the classical forms not as a dry, First Symphony’s center of gravity, abstract homage but as a flexible which lies in the final movement, the vehicle for the heightened emotional longest of the four. In parallel with content of a new era. the first movement, he introduces it In the first movement, for example, with slow, anticipatory music of great the timpani’s ominous pounding lays dramatic suggestiveness. Brahms out track for harmonies that stretch carefully stages the breakthrough and tear in opposite directions—all moment when horns call out in a sim- part of an extended slow introduc- ple C major tune. (He once explained tion to a movement and a symphony that he had heard a shepherd play this that out-Beethovens Beethoven in while traveling in Switzerland.) The its pursuit of thematic economy and change of soundscape is merely the unity. This kind of compositional first of a series of breakthroughs in method brings to mind Beethoven’s the finale. It leads the way to a noble Fifth Symphony in particular (which chorale in the strings that, ever since Brahms actually cites—listen for the the first performance, has not failed way he exploits the “Fate” motto). The to bring to mind Beethoven’s “Ode to Fifth served Brahms as a key model, Joy.” in terms of both musical process and Which is the point—Brahms here emotional trajectory. turns away from what Beethoven did at the corresponding moment in the Ninth. Just where we might have What to listen for expected the human voice to emerge, Brahms proves that the instrumental A formidably tragic tone is estab- symphony is not dead. The final pages lished at the outset. Brahms ham- resound, accordingly, with an exu- mers away at tight, concise motivic berant epiphany: everything hasnot ideas that he continually varies. At been said. the end of the first movement, a- sud den calm descends, unexpected and Program notes unresolved. ©2020 Thomas May

The two middle movements, writ- ten later than the first and last, offer a respite from the high drama sur-

30 February 6, 2020 Mark Your Calendars for THE 16TH ANNUAL BERKELEY SYMPHONY GALA

With Special Guests Joshua Bell & Larisa MartÍnez

Sunday May 3, 2020 at 4 p.m. Craneway Pavilion 1414 Harbour Way S, Richmond, CA

Honorary Chairs: Ann & Gordon Getty Gala Chairs: S. Shariq Yosufzai & Brian James

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32 October 24, 2019 Music Director Joseph Young

leto Festival Orchestra, Orquestra Sin- fónica do Porto Casa da Música, and the Orquesta Sinfonica y Coro de RTVE photo by Derek Blank Derek by photo (Madrid); among others in the U.S. and Europe. In his most recent role, Joseph served as the Assistant Conductor of the Atlanta Symphony, where he conducted more than 50 concerts per season Young also served as the Music Director of the Atlanta Symphony Youth Orchestra, where he was the driving force behind the ensemble’s artistic growth. Previous appointments have included resident Conductor of the Phoenix Symphony, and the League of American Orchestras Conducting Fellow with the Buffalo Phil- harmonic and Baltimore Symphony.

Joseph is a recipient of the 2015 Solti Foundation U.S. Career Assistance Award for young conductors, an award he also won in 2008 and 2014. In 2013, Joseph was a semi-finalist in the Gustav Mahler International Conducting Com- raised for his suavely adventur- petition (Bamberg, Germany). In 2011, P ous programing, Joseph Young he was one out of six conductors featured is increasingly recognized as “one of in the League of American Orchestras’ the most gifted conductors of his gen- prestigious Bruno Walter National Con - eration.” Joseph is Music Director of ductor Preview. Berkeley Symphony, Artistic Director Joseph completed graduate studies of Ensembles for the Peabody Conser- vatory, and Resident Conductor of thewith Gustav Meier and Markand Thakar National Youth Orchestra—USA at Carn- at the Peabody Conservatory in 2009, egie Hall. In recent years, he has made earning an artist’s diploma in conduct- appearances with the Saint Louis Sym- ing. He has been mentored by many phony, Buffalo Philharmonic, Colorado world-renowned conductors including Symphony, Detroit Symphony, Phoenix Jorma Panula, Robert Spano and Marin Symphony, Bamberger Symphoniker, Alsop with whom he continues to main- New World Symphony Orchestra, Spo- tain a close relationship.

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34 February 6, 2020 Composer Bios

and Matthew ritchie, among others. His work ‘ Murder Ballads,’ featured on eighth blackbird’s album Filament—an album he also produced and performs on—won the 2016 GrAMMY ® Award photo by Charlotte de Mezamat Charlotte by photo for Best Chamber Music/Small Ensem- ble Performance. In the fall of 2015 Dessner was tapped, along with ryuichi Sakamoto and Alva Noto, to compose music for Oscar Award-winning director Alejandro Iñárritu’s film, The Revenant, which received a 2016 Golden Globes nomination for Best Original Score and a 2017 GrAMMY® Awards nomination in the Best Score Soundtrack For Visual Bryce Dessner, composer Media category.

ryce Dessner is one of the most Aheym, commissioned in 2009 by Bsought-after composers of his gen- Kronos Quartet, was a breakthrough eration, with a rapidly expanding cata- score. It made its debut before an audi- log of works commissioned by leading ence of thousands in Brooklyn’s Pros- ensembles. Known to many as a guitar- pect Park, not far from Dessner’s home. ist with The National, he is also active as Since then, the ensemble has played the a curator—a vital force in the flourishing intense, anguished piece hundreds of realm of new creative music. times; it served as the centerpiece of a 2013 Kronos disc devoted to Dessner’s His orchestral, chamber, and vocal music on the Anti- label. St. Carolyn by compositions have been commissioned the Sea followed in 2014 on Deutsche by the Los Angeles Philharmonic, Grammophon, featuring the lyrical title Ensemble Intercontemporain, Metro- work and two other Dessner composi- politan Museum of Art (for the New York tions performed by the Copenhagen Philharmonic), Kronos Quartet, BAM Philharmonic under Andre de Ridder. Next Wave Festival, Barbican Centre, May 2015 marked the release on Brass- Edinburgh International Festival, Syd- land of Music for Wood and Strings, ney Festival, eighth blackbird, Sō Per- an album-length work performed by cussion, New York City Ballet, and many Sō Percussion on custom-built “Chord others. He has worked with some of the Sticks” that lend a shimmering, hammer world’s most creative and respected dulcimer-like quality. musicians and visual artists, including Philip Glass, Steve Reich, Johnny Green- Other recent notable projects include wood, Justin Peck, Hiroshi Sugimoto Quilting, a 17-minute score co-commis-

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36 February 6, 2020 sioned with the BBC Symphony Orches- sions for such organizations as the NY tra, premiered in May 2015 by the Los Philharmonic, Kronos Quartet, Carn- Angeles Philharmonic conducted by egie Hall, Metropolitan Museum of Art, - Gustavo Dudamel, and The Most Incred- Alarm Will Sound, International Con ible Thing, a ballet created by Dessner, temporary Ensemble [ICE], Brooklyn Youth Chorus, the American Compos- Justin Peck and Marcel Dzama, pre- ers Forum/JFund, Roomful of Teeth, miered in February 2016 by the New WQXR, REDSHIFT, Experiments in York City Ballet. Opera, the Nouveau Classical Project, Bryce Dessner’s music is published Music of remembrance, Friction Quar- by Chester Music Ltd. More info at tet, Ensemble Oktoplus, and the Los BryceDessner.com. Angeles New Music Ensemble. Her doc- umentary work was recently presented by the 2016 New York Philharmonic Biennial and has also been performed internationally at Carnegie Hall, Lincoln Center, New York’s Museum of Modern Art, the Barbican Centre, Cabrillo Fes- photo by Dominica Eriksen by photo tival, Millennium Park, Big Ears Festi- val, 21C Music Festival, and Cal Perfor- mances. Her residencies include those with Alarm Will Sound/The Mizzou International Composers Festival, Rou- lette/The Jerome Foundation, Montalvo Arts Center, and Exploring the Metrop- olis. Her music has been described as “eloquently scripted” and “emotionally wracking” by The New York Times and as “the most harrowing moments on Mary Kouyoumdjian, composer stage at any New York performance” by ary Kouyoumdjian is a composer New York Music Daily. In her work as a Mwith projects ranging from concert composer, orchestrator, and music edi- works to multimedia collaborations and tor for film, she has collaborated on a film scores. As a first generation Arme- diverse array of motion pictures includ- nian-American and having come from a ing orchestrating on the soundtracks to family directly affected by the Lebanese The Place Beyond the Pines (Focus Fea- Civil War and Armenian Genocide, she tures) and Demonic (Dimension Films). uses a sonic palette that draws on her Currently pursuing her Composi- heritage, interest in music as documen- tion D.M.A. as a Teaching Fellow at tary, and background in experimental Columbia University, Kouyoumdjian composition to progressively blend the studies primarily with Zosha Di Castri, old with the new. Georg Friedrich Haas, Fred Lerdahl, Kouyoumdjian has received commis- and George Lewis. She holds an M.A.

February 6, 2020 37 38 February 6, 2020 in Scoring for Film & Multimedia from jian is an educator, served as the found- New York University and a B.A. in Music ing Executive Director of contemporary Composition from the University of Cali- music ensemble Hotel Elefant, is a co- fornia, San Diego, where she studied founder of the annual new music confer- contemporary composition with Chaya ence New Music Gathering, and is a co- Czernowin, Steven Kazuo Takasugi, artistic director of Alaska’s new music and Chinary Ung; new music perfor- festival Wild Shore New Music. mance with Steven Schick; and modern jazz with Anthony Davis. Kouyoumd- More info at MaryKouyoumdjian.com.

Guest Artist Bios

son leading the Houston Symphony, Beethoven’s Missa Solemnis with Krzysztof Urbański and the India- napolis Symphony, and Korngold’s Abschiedslieder with Donald runnicles photo by Kristina Choe Jacinth Kristina by photo and the Atlanta Symphony Orchestra. Mahler’s Eighth Symphony brings Kelley O’Connor together with Robert Spano and the Atlanta Symphony and with the San Francisco Symphony for Michael Tilson Thomas’ final concerts as Music Director. John Adams wrote The Gospel According to the Other Mary for Kelley Kelley O’Connor, mezzo-soprano O’Connor and she has performed the work under the batons of John Adams, ossessing a voice of uncommon Pallure, musical sophistication far Gustavo Dudamel, Grant Gershon, Gia- nandrea Noseda, Sir Simon rattle, and beyond her years, and intuitive and David robertson. She has sung the com- innate dramatic artistry, the GrAMMY® El Niño with Vladimir Jurowski Award-winning mezzo-soprano Kelley poser’s and the London Philharmonic Orchestra O’Connor has emerged as one of the most and continues to be the eminent living compelling performers of her generation. interpreter of Lieberson’sNeruda Songs Highlights of the 2019-20 season having sung performances with Chris- include Peter Lieberson’s Neruda Songs toph Eschenbach and the National Sym- with the Philadelphia Orchestra under phony Orchestra, Bernard Haitink and the baton of Stéphane Denève, John the Chicago Symphony Orchestra, Rob- Adams’ El Niño with David robert- ert Spano and the Minnesota Orchestra,

February 6, 2020 39 and David Zinman and the Berliner Phil- phony Orchestra debut under Bramwell harmoniker and the Tonhalle-Orchester Tovey and “Jeremiah” Symphony with Zürich among many others. Franz Welser-Möst and the Cleveland Orchestra. Sought after by many of the most her- alded composers of the modern day, Kel- For her debut with the Atlanta Sym- ley O’Connor has given the world pre- phony in Osvaldo Golijov’sAinadamar, mieres of Joby Talbot’s A Sheen of Dew Kelley O’Connor joined Robert Spano ® on Flowers with the Britten Sinfonia for performances and a GrAMMY and Bryce Dessner’sVoy a Dormir with Award-winning Deutsche Grammo- robert Spano leading the Orchestra of phon recording. Her discography also St. Luke’s at Carnegie Hall. includes Mahler’s Third Symphony with Jaap van Zweden and the Dallas - Sym Recent performances include Mahler’s phony Orchestra, Lieberson’s Neruda Third Symphony with Andrés Orozco- Songs and Michael Kurth’s Everything Estrada and the Chicago Symphony Lasts Forever with robert Spano and Orchestra and Das Lied von der Erde the Atlanta Symphony, Adams’The Gos- with Louis Langrée and the Detroit pel According to the Other Mary with Symphony, Wagner’s Wesendonck Lie- Gustavo Dudamel and the Los Angeles der with Matthias Pintscher and the Philharmonic, and Beethoven’s Ninth Indianapolis Symphony Orchestra, Ber- Symphony with Franz Welser-Möst and nstein’s Songfest for her Boston Sym- the Cleveland Orchestra.

40 February 6, 2020 photo by Ben Tomlin by photo

Valérie Sainte-Agathe and the San Francisco Girls Chorus

San Francisco Girls Chorus June 2018 performances of Purcell’s Dido and Aeneas with Voices of Music tunning range, flexibility, drama, for the Berkeley Festival & Exhibition; and power are among the hall- S an April 2017 debut performance at the marks of the 41-year-old San FranciscoJohn F. Kennedy Center for the Perform- - Girls Chorus’ Premier Ensemble, recog ing Arts with The Knights forSHIFT: A nized as one of the world’s leading youthFestival of American Orchestras. SFGC vocal ensembles. Led by Artistic Direc- has also traveled the world as a musi- tor Valérie Sainte-Agathe, the Premier cal ambassador for San Francisco, with Ensemble has achieved an incomparable tours to the Nordic countries, Germany, sound that underscores the unique clar- Japan, China, South Korea, and Cuba, ity and force of impeccably trained tre- and performed for the 2009 inaugura- ble voices. tion of President Barack Obama. recent concert highlights include a Praised by Gramophone Magazine July 2019 tour to England and Franceas a “remarkable tapestry of teenage that featured six performances in Lon- voices,” SFGC has been a champion of don, Windsor, Cambridge, and Paris; the music of our time since its found- appearances on all three days of the ing, having commissioned more than 2019 KRONOS FESTIVAL; multiple per- three dozen works by leading composers formances of Stravinsky’sPersephone including Philip Glass, Richard Daniel- with Michael Tilson Thomas and the San pour, Aaron Jay Kernis, Gabriel Kahane, Francisco Symphony in September 2018; Augusta Read Thomas, and Chen Yi. In debut performances in February 2018 at February 2018, SFGC released its most Carnegie Hall alongside Philip Glass; recent album, Final Answer, on Philip

February 6, 2020 41 Subscribe to Our Newsletter

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42 February 6, 2020 Glass’ Orange Mountain Music label. The York Philharmonic’s NY PHIL BIEN- album features Kronos Quartet, includes NIAL festival at Lincoln Center. She also works by nine living composers, among collaborated with The Knights for the them Philip Glass, Aleksandra Vrebalov, SHIFT A Festival of American Orches- Lisa Bielawa, John Zorn, and Gabriel tras at the Kennedy Center in Washing- Kahane. The Premier Ensemble has ton, DC. After five years in the United been recipient of numerous music indus- States, her first recording as SFGC’s GrAMMY® try awards, including five Music Director, Final Answer, was Awards, four ASCAP/Chorus America released on Orange Mountain Music in Awards for Adventurous Programming, February 2018. Between 2014 and 2016, and the Margaret Hillis Award for Cho- she was assistant conductor for Lisa Biel- ral Excellence from Chorus America. awa’s made-for-TV opera, Vireo. During In addition to its Premier Ensemble, the 2018-2019 season, she served as Art- SFGC is renowned as a regional center ist in Residence for KRONOS FESTIVAL for choral music education and perfor- 2019 and performed with DJ Spooky mance for girls and young women ages conducting a multi-media, virtual real- 4-18. Hundreds of singers from 46 Bay ity piece entitled Quantopia: The Evolu- Area cities participate in this interna- tion of the Internet. She also served as tionally-recognized seven-level Chorus School, hailed as “a model in the country Choir Master with Taylor Mac, recipi- for training girls’ voices” by the Califor- ent of MacArthur Foundation’s “Genius nia Arts Council. Grant,” for the “Holiday Sauce” produc- tion at the Curran Theater. Valérie Sainte-Agathe, Artistic Director, has conducted the San Fran- Ms. Sainte-Agathe served as Music cisco Girls Chorus since 2013, includ- Director for the Young Singers program ing in performances with renowned of the Montpellier National Symphony artists such as Jon Nakamatsu, Debo- and Opera in France from 1998-2011. rah Voigt, Laurie Rubin, Philip Glass, In this capacity, she trained young sing- Aaron Jay Kernis, Gustavo Dudamel, ers for opera and symphony concerts and Michael Tilson Thomas. A strong and productions. She participated in believer in musical collaborations, she eight recordings with the Montpel- has performed with the New Century lier National Orchestra and The Radio Chamber Orchestra, Kronos Quar- France Festival. She is a recipient of tet, Magik*Magik Orchestra and Tenet Victoires de la Musique, and a two-time Ensemble. In February 2018 she made recipient of the Orphée d’Or award—for her Carnegie Hall debut with the Philip Jeanne d’Arc au bûcher and Glass Ensemble, conducting with Honegger’s L’Étranger. Ms. Sainte-Agathe Michael Riesman in Glass’Music with d’Indy’s Changing Parts. She also conducted The studied at the Montpellier Conservatory Photographer by Philip Glass in October in piano performance. She received her 2017. In June 2016, she conducted the bachelor’s degree in conducting and a Chorus alongside The Knights Orchestra Master in Management from Université and Brooklyn Youth Chorus for the New Paul Valery in Montpellier.

February 6, 2020 43 Since 1922

Mon-Sat 8am-7pm Sun 10am-5pm 3068 Claremont Ave, Berkeley (510) 652-2490

44 February 6, 2020 Artistic Director René Mandel

with Manuel Compinsky. At age 14, he performed as soloist with the Los Angeles Philharmonic, conducted by Calvin Simmons. He attended photo by Burgundy Visuals Burgundy by photo Indiana University, studying with Josef Gingold, after which he studied with Stuart Canin at UC Santa Bar- bara, where he earned his bachelor’s degree in music. At age 20, Mandel became a member of the Los Ange- les Chamber Orchestra under the direction of Gerard Schwartz, later becoming the ensemble’s principal second violin under Music Dirctor Iona Brown. Mandel was a founding member of the New Century Chamber Orchestra and was its principal second violin from 1993 to 2000. He later served on NCCO’s board and was co-chair of the music director search, which brought Nadja Salerno-Sonnenberg to the organization. In addition to the Los Angeles Philharmonic, Man- ené Mandel is currently Artistic del has been a soloist with the Los Director of Berkeley Symphony, R Angeles Chamber Orchestra, the San having previously served as Execu- Francisco Ballet Orchestra, the New tive Director, Orchestra Manager, Century Chamber Orchestra, and the and principal second violin in the Knoxville Symphony. As an orches- Orchestra. From 2009 to 2011, Man- tral violinist, he has performed and del held the position of Director of toured with the San Francisco Sym- Artistic Operations and Executive phony and the LA Philharmonic. An Producer at the Montréal Symphony active chamber musician, Mandel Orchestra under Music Director Kent has performed extensively through- Nagano. In addition to his adminis- out the United States and Europe. trative duties, he remains active as a In addition to his performing career, violinist throughout the Bay Area. Mandel was involved in the motion Mandel was born in Los Angeles, picture and television recording where he began his violin studies industry for more than 25. years

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46 February 6, 2020 About Berkeley Symphony photo by Burgundy Visuals Burgundy by photo

erkeley Symphony is unique among gained an international reputation for its BBay Area and American ochestras for adventurous programming and became its commitment to innovation, commu- known for premiering the music of inter- nity, and excellence. Founded in 1971 in thenational composers and showcasing young intellectual and artistic nexus of Berkeley, local talents. California, the Orchestra is committed After an extensive search, Joana Car- to premiering and commissioning new neiro was selected in January 2009 to be music and champions women composers, the Orchestra’s third Music Director in its sustained by the supportive musical envi- 40-year history. In 2016, Berkeley Sym- ronment of Berkeley, the East Bay, and the San Francisco Bay Area. From the outset, phony and composer Anna Clyne were awarded a Music Alive grant for a three- the people behind Berkeley Symphony’s year composer residency, designed to culture and programming were attuned to the culturally diverse people and the heady immerse Clyne and the Symphony in the creative climate of their home city. creation of new work, collaboration with other Berkeley arts institutions, music Thomas Rarick, a protégé of the great education, community outreach, and mul- English maestro Sir Adrian Boult, founded tidisciplinary activities. Maestra Carneiro the orchestra in 1971 as the Berkeley Prom- announced her intent to step down as enade Orchestra. Reflecting the spirit of Music Director at the end of the 2017-18 the times, musicians performed in street season after nine seasons at the Orches- dress and at unusual locations such as tra’s artistic helm. the University Art Museum. When Kent Nagano became Music Director of the Berkeley Symphony’s 2019-20 season Orchestra in 1978, he charted a new courseushers in a new era with the appointment by offering innovative programming thatof Joseph Young as the Orchestra’s Music included rarely performed 20th-century Director, following his highly successful works and numerous premieres. The and critically acclaimed debut appearance renamed Berkeley Symphony Orchestra as guest conductor in January 2019.

February 6, 2020 47 Music in the Schools

ounded in 1993 and run in partnership with the Berkeley Unified School District F (BUSD), Berkeley Symphony’s Music in the Schools program provides compre- hensive, age-appropriate music curricula to over 4,600 Berkeley public school students each year. Recognized by the League of American Orchestras as one of the country’s top music education programs, Music in the Schools (MITS) helps students fulfill the California Performing Arts Content Standards and provides new ways of approaching other subjects in the core curriculum. MITS programming is under the leadership of Education Director Ming Luke and is 100% free of charge for students and their families.

MUSIC IN THE SCHOOLS SPONSORS Gifts received between January 1, 2019 and January 7, 2020. $25,000 and above Berkeley Public Schools Fund Kathleen G. Henschel & John W. Dewes

$10,000 and above Bernard E. & Alba Witkin Charitable Foundation The Familian Levinson Foundation Ann & Gordon Getty National Endowment for the Arts S. Shariq Yosufzai & Brian James

$5,000 and above Anonymous (3) Mark & Cynthia Anderson Rose Ray & Robert Kroll Meyer Sound Laboratories, Inc. Edith Jackson & Thomas W. Richardson Jr. Ama Torrance & CJ David Davies

$2,500 and above Laura & Paul V. Bennett The Friendship Fund Will Hoover Jan McCutcheon Marc A. roth

48 February 6, 2020 photo by David Weiland David by photo

Family Concert II April 18, 2020, 10:30 a.m. in collaboration with the San Francisco Girls Chorus

Led by Ming Luke, these popular Saturday morning performances engage the entire family in a fun and interactive experience, guaranteed to spark a life-long interest in and passion for music. From toddlers to grandparents, there are always lots of heads bopping and toes tapping! This concert will feature a performance with the San Francisco Girls Chorus.

Join us after the performance for an instrument petting zoo with musicians from the orchestra. From strings to percussion, there’s a lot of fun to be had with Berkeley Symphony.

Free Admission — Donations Welcome Longfellow Middle School, 1500 Derby Street, Berkeley

February 6, 2020 49 photo by Burgundy Visuals Burgundy by photo

October 13, 2019: Berkeley Symphony Live on the Plaza gave several aspiring conductors the chance to join Joseph on the podium. photo by Burgundy Visuals Burgundy by photo

October 24, 2019: Music Director Joseph Young with Robert C. Brackins II, Oakland Symphony Music Director Michael Morgan, and guest artist Conrad Tao on opening night.

50 February 6, 2020 photo by Burgundy Visuals Burgundy by photo photo by Burgundy Visuals Burgundy by photo

October 24, 2019: Joseph Young’s debut was truly a night to remember as we welcomed return- ing audience favorite Conrad Tao as guest soloist.

February 6, 2020 51 Invest in the FUTURE of Berkeley Symphony

LegACY gIVINg helps to ensure that Berkeley Symphony’s music and education programs will continue to delight and inspire for generations to come. We are deeply grateful to those who have made bequests to Berkeley Symphony as part of their estate planning. If you are interested in support- ing our long-term future, please contact Jim Tibbs at 510.841.2800 x305 or [email protected].

Legacies Pledged: Gertrude Allen • Joan Balter • Norman Bookstein & Gillian Kuehner • Kathleen G. Henschel • Kenneth Johnson & Nina Grove • Jeffrey S. Leiter • Janet & Marcos Maestre • Tricia Swift • Lisa Taylor Legacies Received: Margaret Stuart E. Graupner • Susan Meadows Hone • Rochelle D. Ridgway • Harry Weininger

52 February 6, 2020 Proud Supporter of Berkeley Symphony

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February 6, 2020 53 54 February 6, 2020 Annual Membership Support

Thank you to the following individuals for making the programs of Berkeley Symphony possible. A symphony is as strong as the community that supports it.

Gifts received between January 1, 2019 and January 7, 2020. SPONSOR CIRCLE GIFTS

$100,000 and above Buzz & Lisa Hines Ann & Gordon Getty William Knuttel Maggie L. Perkes Natasha Beery & Sandy McCoy $50,000 and above John Adams & Deborah O’Grady Kathleen G. Henschel & John W. Dewes Marcia Muggli & Ed Osborn S. Shariq Yosufzai & Brian James Mark & Cynthia Anderson Pat & Merrill Shanks Tricia Swift $25,000 and above Alison Teeman & Michael Yovino-Young Anonymous Ama Torrance & CJ David Davies Gertrude E. Allen Laura & Paul V. Bennett Margaret Dorfman $2,500 and above Rose Ray & Robert Kroll Anonymous Edith Jackson & Thomas W. Richardson Jr. Sallie & Edward Arens Gillian Kuehner & Norman A. Bookstein Gray Cathrall $10,000 and above Dr. Charles M. Crane Anonymous Ellen Hahn Susan & Jim Acquistapace Will Hoover Sandra & Kit Floyd Nina Grove & Ken Johnson Jefferson Han & Jennifer Banzaca Jeffrey S. Leiter Paul Templeton & Darrell Louie Maryam Boghratian Janet Maestre ralph Mendelson Jan McCutcheon Marc A. roth Lisa & James Taylor Harriet H. Simpson Ed Vine & Ellen Singer-Vine $5,000 and above Anne & Craig Van Dyke Susan & Ronald Choy Kathleen Crandall & Lori Gitter $1,500 and above Dianne Crosby & Scott Hamilton Michele Benson Dean Francis Judith L. Bloom Paula & John Gambs Kathy Canfield Shepard & John Shepard

February 6, 2020 55 $1,500 and above (continued) $500 and above Richard & Christine Colton Ms. Bonnie J. Bernhardt Dr. Charles M. Crane Christel & Jurg Bieri John & Charli Danielsen Bob & Ginny Blumberg Karen Faircloth John Caner Gloria Fujimoto Anne Corcos Jeffrey S. Leiter Ms. Mavis Delacroix Jennifer Howard & Tony Cascardi Ann & Jack Eastman Maryam Boghratian Virginia Erck Helen M. Marcus Claudia R Fitch Carrie McAlister Mr. Michael Fried Bebe & Colin McRae Theresa Gabel & Timothy Zumwalt Fred Jacobson & Mary Murtagh Michael Gorman & Deborah Mintz Jane Neilson John Harris Ginny & William Schultz Trish and Tony Hawthorne Donald Woolhouse Lynne La Marca Heinrich Susan & Jerome Herrick Dixie Hersh FRIENDS OF BERKELEY SYMPHONY GIFTS Linda Schacht & John Gage Marta Tobey & Roger Ramey $750 and above Mrs. Elouise D Wilson Anonymous (2) Ms. Anna Bellomo $300 and above Julia r. Brown Anonymous Ms. Carol Christ Joel Altman Richard & Christine Colton Dorian Bikle Consuelo Crosby Joe & Sue Daly Franklyn & Joslyn D’Antonio Jim & Meg Foley Carolyn Doelling Daniel & Kate Funk Paul Dresher & Philippa Kelly Susan K Fisher Olivia & Chuck Hasty Valerie & Richard Herr Peggy & Zachary Griffin Matt Jennings Stuart & Sharon Gronningen Cary Koh Bonnie Grossman Sylvia Lindsey Sophie Hahn rené Mandel Yvette Hollingsworth Helen M. Marcus Mark & Lynne Humphrey Patrick R. McCabe richard Hutson Jane Neilson rick Irving Design Michael & Becky O’Malley Shawyon Malek-Salehi Thomas & Mary Reicher Jayne A and James E Matthews Robert Sinai & Susanna Schevill Alex & Nancy Mazetis Sylvia Sorell & Daniel Kane Mr. Mark Medress James Taylor Ms. Moana Newman

56 February 6, 2020 Leslie Plotkin Jim Lovekin Donald A. Riley & Carolyn Serrao Steve Luppino Linda rosen Terry & Mary Mayo Margaret Seely Suzanne McCulloch David & Pennie Warren Brad & Jennifer McCullough Evie and Gordon Wozniak Winton & Margaret McKibben Suzanne & William McLean $120 and above Amelie C. Mel De Fontenay & John Stenzel Junichi & Sarah Miyazaki Anonymous (3) Geraldine & Gary Morrison Philip & Mary-Ellis Adams Lance & Dalia Nagel Shelley Altura Mary Lee Noonan Barbara Armentrout Craig Oren Lori & Jack Arnold Therese M. Pipe Catherine Atcheson & Christian Fritze Gail Baugh Leslie & Joellen Piskitel Nancy reichert Ms. Joanne G. Bernstein Dr. William Brostoff Terry Rillera Mike rose Frederick & Joan Collignon roger Samuelsen John Collins Dr. Lawrence R. Cotter Steven Scholl Kevin Crilly Helen Schulak Beth Crovitz Valerie Schwimmer Jan Davis Jack Shoemaker Dennis & Sandy De Domenico Bruce & Susan Stangeland Paula & Jim Diederich Michel Taddei Beth & Norman Edelstein Laura Tibbs Milburn Bennett Falk & Margaret Moreland Victoria Tseng Ednah Beth Friedman Robert & Emily Warden Harriet Fukushima Dr. George & Bay Westlake Steven E. Greenberg Dawn Wilson Ervin & Marian Hafter Nancy Wolfe Jane Hammond Alan Harper & Carol Baird HONOR & MEMORIAL GIFTS Dr. Bede John Healey Florence Hendrix In memory of Susan Meadows Donna Hiraga-Stephens Hone Phyllis Isaacson Mr. & Mrs. Ron Bechamps Joanne Kelly Nancy & Jerry Falk Kevin Kelly George F. Farr Peter Krag Craig Oren Cynthia Kuo Mr. & Mrs. David Ruegg Tienne Lee Mitzi Sales Robert & Elizabeth Lindgren-Young Dorothy Walker

February 6, 2020 57 Honor & Memorial Gifts (continued) Bernard Osher Foundation City of Berkeley In memory of David J. Williamson The Familian Levinson Foundation Helen M. Marcus Jill Grossman Family Charitable Fund In memory of e. Paul Kelly National Endowment for the Arts Joanne Kelly $5,000 and above In honor of Yvette Vloeburghs Anonymous Ralph Mendelson Chevron The Grubb Co. In honor of Shariq Yosufzai and HDr remodeling Brian James Olivia & Chuck Hasty $2,500 and above In honor of Lisa Taylor The Friendship Fund Leslie Plotkin Union Bank Foundation

In honor of Kathleen g. Henschel Up to $2,500 & John W. Dewes Anonymous Janet Maestre Leo J. and Celia Carlin Fund AbbVie In honor of Kenneth Johnson Neiman Marcus Michael Gorman & Deborah Mintz Ackerman’s Servicing Volvos In honor of Tricia Swift The San Francisco Foundation Trish & Tony Hawthorne Greenhagen Charitable Fund McCutcheon Construction Amazon Smile INSTITUTIONAL GIVING

Berkeley Symphony is proud to recognize IN-KIND DONORS these corporations, foundations, commu- nity organizations, and government pro- Special thanks to these individuals and busi- nesses whose generous donations of goods grams. These institutions are supporting and services are crucial in helping Berkeley our communities through their commit- Symphony produce concerts and education ment to Berkeley Symphony and the arts. programs while keeping expenses as low as possible. $50,000 and above Meyer Sound Laboratories, Inc. Ace Hotel New Music U.S.A. Aurora Theatre Company Susan & Jim Acquistapace $25,000 and above Eric Asimov Berkeley Public Schools Fund Lori Aultman Berkeley Repertory Theatre $10,000 and above Blue’s Chocolates Bernard E. & Alba Witkin Charitable Natasha Beery & Sandy McCoy Foundation Paul & Laura Bennett

58 February 6, 2020 Judith L. Bloom Peet’s Coffee Cal Performances Caleb Peyton Chez Panisse roosevelt Hotel Comal Veronica rogers Marilyn & Richard Collier San Francisco Opera Kathleen Crandall & Lori Gitter San Francisco Symphony Edible Excursions Semifreddi’s Bakery Freight & Salvage Julie & Shelton Shugar Sandra & Kit Floyd Deborah Shidler Gather restaurant Bill Stewart & Matt Jennings Golden Gate Fields The Cheese Board Collective Ann & Gordon Getty Harris Guitar Foundation Lisa & James Taylor L. John Harris Jim Tibbs & Philip Anderson Volti San Francisco Historic New Orleans Tours Kathleen G. Henschel & John W. Dewes Yvette Vloeburghs Buzz & Lisa Hines William Knuttel Winery Italian Colors Restaurant S. Shariq Yosufzai & Brian James Kenneth Johnson & Nina Grove Angela & William Young Todd Kerr Joseph Young William Knuttel Alex Leff We thank all who contribute to Berkeley LucasFilm Ltd. Symphony, including those giving up Los Angeles Philharmonic to $120 annually and those whose gifts Jan McCutcheon have been received since press time. rené Mandel While every attempt has been made to Meyer Sound assure accuracy in our list of supporters, Mobius Trio omissions and misspellings may occur. Music@ Menlo Please call 510.841.2800 to report errors. Neiman Marcus Walnut Creek We appreciate the opportunity to correct Mitchel Newman our records.

Music for Your Life Manager: June McDaniels Realtors: Kathleen Crandall Cheryl Berger Mark Hardwicke Sarah Torney Priscilla Rice Glen Bell Wendy Louie Proud supporter of the Berkeley Symphony Brenda Walker Victoria Curtis Lela Logene Butler Berkeley Regional Office: 2095 Rose Street Norman Gee 510.868.1400 | www.bhgre.com Martha Park

February 6, 2020 59 30

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60 February 6, 2020 Administration & Creative Staff rené Mandel, Artistic Director Franklyn D’Antonio, Orchestra Manager Jim Tibbs, Executive Director Joslyn D’Antonio, Co-Orchestra Manager Isaac Bunch, Director of Operations David rodgers, Jr., Stage Manager Tiffany Fajardo, Patron Services Recording Engineer Manager Zach Miley, Kathleen Herald, Development Associate PROGRAM Finance Manager Kathy Paxson, Andreas Jones, Design & Production Brenden Guy, Marketing & John McMullen, Advertising Sales Communications Laili Gohartaj, Grant Portfolio Manager Thomas May, Program Notes Quelani Penland, Librarian Calitho, Printing

CONTACT find us on

Berkeley Symphony For tickets, call 510.841.2800, 1942 University Avenue, Suite 207 or email Berkeley, CA 94704 [email protected], 510.841.2800 or visit [email protected] tickets.berkeleysymphony.org. berkeleysymphony.org

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