Mountain View Cemetery Association, a historic Olmsted designed cemetery located in the foothills of Oakland and Piedmont, is pleased to announce the opening of Piedmont Funeral Services. We are now able to provide all funeral, cremation and celebratory services for our families and our community at our 223 acre historic location. For our families and friends, the single site combination of services makes the difficult process of making funeral arrangements a little easier. We’re able to provide every facet of service at our single location. We are also pleased to announce plans to open our new chapel and reception facility – the Water Pavilion in 2018. Situated between a landscaped garden and an expansive reflection pond, the Water Pavilion will be perfect for all celebrations and ceremonies. Features will include beautiful kitchen services, private and semi-private scalable rooms, garden and water views, sunlit spaces and artful details. The Water Pavilion is designed for you to create and fulfill your memorial service, wedding ceremony, lecture or other gatherings of friends and family. Soon, we will be accepting pre-planning arrangements. For more information, please telephone us at 510-658-2588 or visit us at mountainviewcemetery.org. Berkeley Symphony 2016/17 Season

5 Message from the Music Director 7 Message from the Board President 9 Message from the Executive Director 11 Board of Directors & Advisory Council 12 Orchestra 14 Season Sponsors 18 Berkeley Symphony Legacy Society 21 Program 25 Program Notes 39 Music Director: Joana Carneiro 43 Artists’ Biographies 51 Berkeley Symphony 55 Music in the Schools 57 2016/17 Membership Benefits 59 Annual Membership Support 66 Broadcast Dates

Mountain View Cemetery Association, a historic Olmsted designed cemetery located in the foothills of 69 Contact Oakland and Piedmont, is pleased to announce the opening of Piedmont Funeral Services. We are now 70 Advertiser Index able to provide all funeral, cremation and celebratory services for our families and our community at our 223 acre historic location. For our families and friends, the single site combination of services makes the Media Sponsor difficult process of making funeral arrangements a little easier. We’re able to provide every facet of service at our single location. We are also pleased to announce plans to open our new chapel and reception facility – the Water Pavilion in 2018. Situated between a landscaped garden and an expansive reflection pond, the Water Pavilion will be perfect for all celebrations and ceremonies. Features will include beautiful kitchen Official Wine Sponsor services, private and semi-private scalable rooms, garden and water views, sunlit spaces and artful details. Gertrude Allen | Kathleen G. Henschel & John W. Dewes The Water Pavilion is designed for you to create and fulfill your memorial service, wedding ceremony, Brian James & Shariq Yosufzai | Ed Osborn & Marcia Muggli Thomas Richardson & Edith Jackson | Tricia Swift lecture or other gatherings of friends and family. Soon, we will be accepting pre-planning arrangements. For more information, please telephone us at 510-658-2588 or visit us at mountainviewcemetery.org. Presentation bouquets are graciously provided by Jutta’s Flowers, the official florist of Berkeley Symphony. Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras. No photographs or recordings of any part of tonight’s performance may be made without the written consent of the management of Berkeley Symphony. Program subject to change.

October 13, 2016 3 4 October 13, 2016 Message from the Music Director

Dear Friends, I am delighted to welcome you to our 2016/17 season. We begin tonight with one of our own favorite composers, Paul Dresher, an iconic figure in our community and of our musical world. He has been photo by Rodrigo de Souza a long-time friend of Berkeley Symphony not only as a composer, but as a mentor to young composers and frequent host of our pre-concert lectures. It will be the third time we collaborate in my 8 years as Music Director of the Berkeley Symphony. You may remember the beautiful Cornucopia and the Concerto for Quadrachord and Orchestra Paul wrote and performed with us. Tonight’s performance of his newest composition, Crazy Eights & Fractured Symmetries, is one we have been waiting for with excitement.

Tonight’s concert includes music by two composers also associated with the United States of America: Korngold and Stravinsky. Before writing the violin concerto, Korngold was very well known as a film composer, but after the second world war he decided to concentrate more on music for the concert hall. In 1945, he wrote his violin concerto which has become his most famous composition, particularly as it was often performed as a repertoire piece by Jascha Heifetz, considered by many to be one of the most famous violinists of all time. Joining the Berkeley Symphony for the first time to perform this piece with us is the wonderful Philippe Quint. It will be a performance not soon forgotten!

The oldest piece in our program is Petrushka, a wonderful ballet about a complicated love story between three puppets. It was composed by Stravinsky in 1910 and includes the famous “Petrushka chord.” It is considered by Richard Taruskin, Berkeley’s famous musicologist of Russian music, to be where “Stravinsky at last became Stravinsky.” The piece was later revised in 1947, which is the version we will perform for you. Thank you for being with us for another exciting season. We’re forever grateful for your continued support and generosity. Berkeley Symphony belongs to you. You are the central reason our work continues to happen. Much love,

Joana Carneiro

October 13, 2016 5 6 October 13, 2016 Message from the Board President

A warm welcome to the 2016-2017 season and our Opening Night Concert, Romance. True to the Berkeley Symphony tradition, the program opens tonight with a newly-commissioned work by Paul photo © Margaretta K. Mitchell Dresher, internationally-active Bay Area composer! This is followed by the Korngold Violin Concerto, and concluding with Stravinsky’s Petrushka. Other new works and familiar pieces will follow in the next two concerts, and we will be ending the season with the blockbuster Shostakovich Babi Yar, complete with men’s chorus.

There are such exciting things to share with you as we embark on another season. Berkeley Symphony is working in partnership with Berkeley Public Schools to enhance and expand our reach with middle school students to bring more relevant and engaging learning experiences to those students who’ve begun their journey in music study! Stay tuned for exciting news as our Music in the Schools (MITS) program undergoes even more exciting evolution!

I look forward to meeting you in the lobby before and after tonight’s concert. “Curating an experience” is a part of the discussion right now among performing arts organizations. That experience can and often does extend beyond the concert hall. We are searching for ways to curate YOUR experience with Berkeley Symphony. You can help us! In the coming months, we will be talking with you, our patrons, subscribers, and donors to learn more about what the Berkeley Symphony experience is for YOU and what more you might like to see. In the meantime, enjoy your Berkeley Symphony. Let the music begin!

Tricia Swift

October 13, 2016 7 8 October 13, 2016 Message from the Executive Director

While so much seems to be changing in our world, Berkeley Symphony’s commitment to our mission to “engage the spirit, spark the curiosity, and delight the spirit” remains as true today as ever.

Berkeley exhibits a reputation for reinvention, bold photo by Marshall Berman action, generosity, and sincerity. We reflect that spirit in our programming by providing selections new and adventurous, with a look back at our classical roots and a feast for the senses now and well into the future. We are grateful that you are a part of this truly wonderful and supportive community of artists, supporters, and friends. It may be of interest to some to know that California, and more specifically, Los Angeles, has played a significant role in shaping the lives of each composer featured in our concert this evening. We open our season with a world commission premiere, Crazy Eights & Fractured Symmetries by Paul Dresher. Born in Los Angeles, Paul exempli- fies the spirit of the West Coast. Tonight’s piece, commissioned by Berkeley Symphony with major support from Margaret Dorfman, is the latest orchestra soundscape from this internationally active composer and friend of Berkeley Symphony. We are very excited to present the Korngold Violin Concerto. Erich Korngold wasn’t born in Los Angeles, but did spend the latter part of his life there. While his career reached the zenith of this fame in his early 20s, it was his Violin Concerto, written in 1945 that was most notable during his life in Los Angeles. We are delighted to have Philippe Quint join us to perform his Grammy© Award-nominated interpretation of the Korngold Violin Concerto. It was also around 1945 when Igor Stravinsky settled in West Hollywood and became a US citizen. Stravinsky was drawn to the growing cultural life of Los Angeles, espe- cially during World War II, when so many writers, musicians, composers, and con- ductors settled in the area. His revised version of Petrushka we present this evening, (originally composed in 1911) was written for slightly different instrumentation in Los Angeles, where he spent more of his life than in any other city in the world. It is with sincerest gratitude that I welcome you all to this evening’s opening concert of the season.

With warmest regards,

René Mandel

October 13, 2016 9 10 October 13, 2016 Board of Directors & Advisory Council

Board of Directors Executive Committee Tricia Swift, President Kathleen G. Henschel, Vice President for Governance Shariq Yosufzai, Vice President for Development Gertrude Allen, Vice President for Community Engagement Brian James, Secretary John Dewes, Treasurer René Mandel, Executive Director

Directors Advisory Council (continued) Susan Acquistapace Anita Eblé Ellen L. Hahn Karen Faircloth Thomas Z. Reicher Bereket Haregot William Knuttel Lynne LaMarca Heinrich & Dwight Jaffee Janet Maestre Buzz & Lisa Hines Peter Mandell Susan Hone Sandy McCoy Kenneth A. Johnson & Nina Grove Ed Osborn Todd Kerr Thomas W. Richardson Jeffrey S. Leiter Deborah Shidler Bennett Markel Michael Taddeii Bebe & Colin McRae Advisory Council Helen & John Meyer Jan McCutcheon, Co-Chair Deborah O’Grady & John Adams Lisa Taylor, Co-Chair Elisabeth & Michael O’Malley Marilyn Collier, Chair Emerita Maria José Pereira Michele Benson Marjorie Randell-Silver Frank & Roberta Bliss Edith Jackson Judith Bloom Linda Schacht Gage & John Gage Joy Carlin Ron & Susan Choy Kathy Canfield Shepard & John Shepard Marilyn & Richard Collier Jutta Singh Dianne Crosby Lisa & James Taylor Charli & John Danielsen Alison Teeman & Michael Yovino-Young Jennifer Howard Paul Templeton & Darrell Louie Carolyn Doelling Yvette Vloeberghs

October 13, 2016 11 The Orchestra

Joana Carneiro Music Director Viola (continued) Sponsored by Brian James & Shariq Yosufzai Elizabeth Prior Sponsored by Helen & John Meyer Sponsored by Marcia Muggli & Ed Osborn Patrick Kroboth Sponsored by Lisa & Jim Taylor Keith Lawrence Sponsored by Anonymous Alexander Volonts Kent Nagano Conductor Laureate Ivo Bokulic Amy Apel Violin I Kristen Steiner Franklyn D’Antonio Concertmaster Louis Berg-Arnold Matthew Szemela Associate Concertmaster Emanuela Nikiforova Assistant Concertmaster Cello Candace Sanderson Carol Rice Principal Sponsored by Getrude Allen Lisa Zadek Eric Gaenslen Assistant Principal Tess Varley Wanda Warkentin Daniel Lewin Shain Carrasco Aromi Park Kris Desby Ernest Yen David Boyle John Bernstein Kenneth Johnson Annie Li Margaret Moores Quelani Penland Jason Anderson Nancy Parra-Avila Sylvia Woodmansee Cristina Ruotolo Bert Thunstrom Bass Michel Taddei Principal Violin II Sponsored by East Bay Community Foundation Sarah Wood Principal Jon Keigwin Assistant Principal Sponsored by Tricia Swift Alden Cohen Karsten Windt Assistant Principal Aleksey Klyushnik Hee-Guen Song Sophie Roper Stephanie Bibbo Eric Price Mark Neyshloss Andrew de Stackelberg Rachel Noyes Erica Ward Flute Emma Moon Principal Rick Diamond Sponsored by Janet & Marcos Maestre Ann Eastman Stacey Pelinka Kevin Harper Laurie Camphouse Charles Zhou Oboe Kristen Kline Laura Griffiths Principal Viola Sponsored by Jan & Michael McCutcheon Ilana Matfis Principal Stardust Alexandra Leem Assistant Principal Bennie Cottone

12 October 13, 2016 English Horn Trombone Bennie Cottone Thomas Hornig Principal Sponsored by Kathleen G. Henschel & John W. Dewes Clarinet Craig Bryant Steve Sanchez Principal Kurt Patzner Diana Dorman Tuba Daniel Ferreira Jerry Olson Principal Bass Clarinet Timpani Daniel Ferreira Kevin Neuhoff Principal Bassoon Percussion Carla Wilson Principal Victor Avdienko Principal Ravinder Sehgal Joel Davel Erin Irvine James Kassis Contrabassoon Harp Erin Irvine Wendy Tamis Principal Horn Piano Alex Camphouse Principal Miles Graber Principal Caitlyn Smith Franklin Eric Achen Celeste Richard Hall Marc Shapiro Principal Michael Shuldes Franklyn D’Antonio Co-Orchestra Manager Trumpet Joslyn D’Antonio Co-Orchestra Manager Scott Macomber Principal Kale Cumings Quelani Penland Librarian John Freeman David Rodgers, Jr. Stage Manager

October 13, 2016 13 2016/17 Season Sponsors

Gertrude Allen

ertrude Allen has lived in Berkeley since graduating G from UC more than fifty years ago. She and her husband enjoyed Berkeley Promenade Orchestra— predecessor of Berkeley Symphony—at the UC Art Museum. They have been subscribers off and on ever since. After raising two children and a ten-year period working as a Policy Analyst in the Office of the President of UC, Gertrude has engaged in volunteer work as a docent at Strybing Arboretum, the Oakland Museum and now at the East Bay Regional Parks Botanic Garden in Tilden Park. She is concerned about the future of live music and wants to do all she can to pass it along to future generations.

Kathleen G. Henschel & John W. Dewes

athleen G. Henschel, formerly finance manager K at Chevron Corporation, joined Berkeley Symphony’s Board of Directors in 2004, and was President from 2006 to 2011. An active Bay Area philanthropist, she currently serves as Treasurer photo by juliecheshire.com of Chanticleer. John W. Dewes, formerly General Manager of Public Affairs at Chevron Corporation, is an active volunteer in Walnut Creek. He joined the Berkeley Symphony Board in 2015.

Brian James & Shariq Yosufzai

rian James is a member of Berkeley B Symphony’s Board of Directors. Shariq Yosufzai serves on the Advisory Council of Berkeley Symphony, the Board of Directors of the San Francisco Opera, and the Board of Trustees of Cal Performances, and is a past Chair of the Board of the California Chamber of Commerce.

14 October 13, 2016 Ed Osborn & Marcia Muggli

arl D. Osborn (Ed), now retired, was a E founding partner of Bingham, Osborn & Scarborough (BOS), an investment management and financial planning firm based in San Francisco and Silicon Valley. He has been on the Board of Directors of Berkeley Symphony for four years and was formerly the chair of the Finance Committee. His wife, Marcia F. Muggli, has worked for Delta Airlines for over 40 years. When not enjoying the Bay Area (and especially Berkeley Symphony), Ed and Marcia spend part of the year at their second home on Cape Cod.

Tricia Swift

ricia Swift is a prominent Real Estate Broker in T Berkeley and the East Bay. She has been actively involved in music throughout her life. As a college student, she was a member of the Harvard University Memorial Church Choir, and she sang with the San photo © Margaretta K. Mitchell Francisco Symphony Chorus for twenty-four years before retiring from singing in 2010. She was also an original cast member of the inaugural production of the California Revels. She has been a member of Berkeley Symphony’s Board of Directors since 2009 and now serves as President.

cCutcheon Construction was M founded in 1980 with the vision of creating healthier homes, beautiful homes that endure, and homes that matter to their owners, to the community, and to the environment. Headquartered in Berkeley, the company renovates and builds new structures throughout Northern California, where it has grown its reputation as a leader in sustainable home-building practices by listening carefully to clients and responding to their deeper desires for healthier living.

October 13, 2016 15 2016/17 Season Sponsors (continued)

ince 1967 when Donald J. Grubb S founded The Grubb Company, our community has grown and evolved. The business of transacting real estate is different too, with more complexity, more agents and fewer independent real estate companies deeply connected to our community. What has not changed is that home buyers and sellers still seek expert real estate advice, skilled representation and support from a trusted local brand.

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ith more than 40 patents on W technology ranging from its Constellation digital acoustic system to premium loudspeakers, Meyer Sound provides solutions renowned for intelligibility and precision to restaurants, churches, sports arenas, cinemas, and stadium rock stages. An expert team of acousticians and engineers provide highly customized sound solutions in the classical world and Meyer Sound products are to support many of the world’s finest venues including Berkeley’s Zellerbach Hall, Amsterdam’s Concertgebouw, Vienna’s Musikverein and New York’s Appel Room at Jazz at Lincoln Center. Founded by Berkeley residents John and Helen Meyer in 1979, the Company is beloved by artists ranging from Celine Dion to Stevie Wonder to Metallica. The Company is a major force in the professional audio industry worldwide with more than 300 employees and all products are manufactured at the Berkeley headquarters.

16 October 13, 2016 Dine in Style on the UC Berkeley Campus A short walk from Zellerbach, The Faculty Club is the perfect place for dinner before attending Berkeley Symphony! Dinner Mon.-Fri. 5-8:30pm Early Bird Special: Dinners are $15.95 (plus tax) from 5-6:30pm Patrons who are having dinner in the Kerr Dining Room may request a Kerr parking permit, for complimentary parking 5-10pm in the Bancroft Parking Structure. 510-540-5678 www.berkeleyfacultyclub.com An elegant place for weddings, corporate events, meetings & banquets.

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October 13, 2016 17 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 Cristine Kelly at 510.841.2800 x305 or [email protected].

Legacy Society Member Lisa Taylor: In her own words . . .

“Growing up in New York City, I was introduced to classical music through Leonard Bernstein’s Young People’s Concerts and my elementary school’s arts curriculum, which encouraged every third grader to play a string instrument. I briefly played the violin before switching to piano and even studied at the Mannes School of Music while in eighth grade. “When I moved to Berkeley in 1979, I joined the Friends of the Berkeley Symphony Orchestra, eventually serving as its President for a year. Berkeley Symphony quickly became part of my extended family, and my involvement as a volunteer, Board member, and Advisory Council member has now spanned 35 years. Legacies Pledged “I greatly value the organization’s commitment Gertrude Allen to adventurous programming, its support of Joan Balter emerging composers, and its wonderful Music in the Schools program, which introduces a new Norman Bookstein & generation to the joys of listening to and making Gillian Kuehner music—an important legacy in which I am proud Kathleen G. Henschel to take part.” Kenneth Johnson & Nina Grove Jeffrey S. Leiter Legacies Received Janet & Marcos Maestre Bennett Markel Margaret Stuart E. Graupner Tricia Swift Rochelle D. Ridgway Lisa Taylor Harry Weininger

18 October 13, 2016 CAL PERFORMANCES

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October 13, 2016 19 SCHARF INVESTMENTS

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20 October 13, 2016 Program I: Romance

Thursday, October 13, 2016 at 7:00 pm Zellerbach Hall

Edwin Outwater guest conductor

Paul Dresher Crazy Eights & Fractured Symmetry (World Premiere Commission)

Erich Korngold Violin Concerto I. Moderato nobile II. Romanze III. Allegro assai vivace

Philippe Quint violin

INTERMISSION

Igor Stravinsky Petrushka

Part I. The Shrovetide Fair I. Introduction (at the Shrovetide Fair) II. The Crowds III. The Charlatan’s Booth IV. Dance

Part II. Petrushka’s Cell I. Petrushka’s Cell

Part III. The Moor’s Room I. The Moor’s Room II. Dance of the Ballerina III. Waltz—The Ballerina & the Moor

program continues on page 23

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22 October 13, 2016 Part IV. The Shrovetide Fair (Evening) I. The Shrove-Tide Fair (Near evening) II. Dance of the Wet Nurses III. Dance of the Peasant and the Bear IV. Dance of the Gypsy Girls V. Dance of the Coachmen and Grooms VI. The Masqueraders VII. Conclusion (Petrushka’s Death)

Tonight’s performance of Paul Dresher’s Crazy Eights & Fractured Symmetries is made possible by the generous support of Margaret Dorfman.

Tonight’s concert will be broadcast on KALW 91.7 FM on May 1, 2017 at 9pm.

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

Concert Sponsors Tonight’s performance is made possible by the generous support of

Paul Templeton & Darrell Louie

Gertrude Allen | Kathleen G. Henschel & John W. Dewes Brian James & Shariq Yosufzai | Thomas Richardson & Edith Jackson Ed Osborn & Marcia Muggli | Tricia Swift

October 13, 2016 23 24 October 13, 2016 Program Notes

Paul Joseph Dresher (1951-) In 1984, he founded the Paul Dresher Ensemble, a flexible performance ensemble Crazy Eights & Fractured involved in a broad range of collaborations Symmetries in the dance and theater sphere as well as educational programs. A Guggenheim Born on January 8, 1951, in Los Angeles, Fellow, Dresher has received commissions California, Paul Dresher currently resides in from prestigious institutions and cutting- San Francisco, CA. Dresher composed Crazy edge organizations alike (including the Eights & Fractured Symmetries in 2016 Library of Congress, Kronos Quartet, San on a commission from Berkeley Symphony Francisco Symphony, California EAR Unit, and Margaret Dorfman. San Francisco Ballet, Walker Arts Center, among many others). First performance: Berkeley Symphony is giving the world premiere with this Paul Dresher has provided the following performance. Duration: approximately 15 commentary on his new work: minutes. The work is scored for piccolo, t’s a rare treat for me as a composer flute, 2 oboes, 2 clarinets (2nd doubling I to have an ongoing musical bass clarinet), bassoon, contrabassoon, 4 relationship with my hometown horns, 2 trumpets, trombone, timpani, 3 orchestra, particularly one with percussionists, and strings. such a long and illustrious legacy of adventurous programming, Paul Dresher identifies as a West Coast commissions and premieres. But this composer and with the maverick tradition is Berkeley, so perhaps I shouldn’t be exemplified by such figures as Harry surprised. Nonetheless, I’m honored Partch and Lou Harrison, whose creative to have this second commission work incorporated unconventional tuning from Joana Carneiro and Berkeley systems, unusual (and newly invented) Symphony in less than five years. instrumentation, and non-Western musical Less uncommonly, I write these traditions. After graduating from Berkeley, program notes while still in the midst Dresher continued his studies with Pauline of composing this new work. But with Oliveros, Roger Reynolds, and Bernard perhaps 90% of the work completed, Rands at the University of California, I know a great deal about the piece. San Diego and pursued his longstanding Whether or not a work of pure concert fascination with the music of Asia and music should require much to be said Africa by studying Ghanaian drumming, about it is another question entirely, Hindustani classical music, and Balinese one that I will sidestep for now and and Javanese musical traditions. instead share a bit of some aspects of

October 13, 2016 25 26 October 13, 2016 the work that were important to me in isn’t a lot I can say about those its making. aspects but I hope they provide a journey that engages the ear. The first half of Crazy Eights & Fractured Symmetries derives from harmonic foundation of the composition being based octatonic modes—symmetrical Erich Wolfgang Korngold eight-tone scales of alternating (1897-1957) whole and half steps. The second half of the title derives from the Violin Concerto manipulations and permutations of in D major, Op. 35 these modes, leading to a fracturing of Korngold was born on May 29, 1897, in the symmetries of the source scales. I Brünn (then part of the Austro-Hungarian find this breaking up of systematically Empire, currently Brno in the Czech derived materials to be a source of Republic); and died on November 29, 1957, great musical energy. in Los Angeles, California. He composed To my ear, octatonic scales (of which the Violin Concerto in the summer and fall there are three within any given of 1945. octave) offer a very effective balance First performance: February 15, 1947, with of familiar tonal consonance as Jascha Heifetz as the soloist and Vladimir well as—depending upon how one Golschmann conducting the St. Louis deploys them—tonal ambiguities Symphony. Duration: approximately 25 and dissonances common in fully minutes. In addition to solo violin, the chromatic music. And using techniques work is scored for 2 flutes (2nd doubling common in 12-tone/serial music piccolo), 2 oboes (2nd doubling English on these scales (such as combining horn), 2 clarinets, bass clarinet, 2 bassoons upper and lower tetrachords from two (2nd doubling contrabassoon), 4 horns, 2 different octatonic scales) gave me a trumpets, trombone, timpani, percussion, foundation of harmonic possibilities harp, celesta, and strings. that I believe gives the work its distinctive harmonic profile. prodigy comparable to Mozart Of course, the real life of a work A Mendelssohn, Erich Korngold resides in an ineffable combination was the son of Vienna’s leading of the systematic/rational with the music critic—which didn’t impede intuitive and unexpected. The focus him from starting to write his own on harmony described above is very music at the age of 8; he was only 13 much in the realm of the rational. It’s when his ballet Der Schneeman (“The what I can talk about. But the shape Snowman”) was given its premiere at of the work in all other aspects—time, the Vienna Opera. Gustav Mahler— dynamics, transitions, orchestration— not exactly a pushover in matters of is entirely in the latter realm. There musical judgment—was so impressed

October 13, 2016 27 Well Orchestrated Travel whether simple or sublime

28 October 13, 2016 that he recommended a mentor for Southern California. He happened the phenomenally gifted youngster. to be in Hollywood, working on his Decades later, long after Mahler’s score for The Adventures of Robin Hood death, Korngold would dedicate his starring Errol Flynn, when his Austrian Violin Concerto to that composer’s homeland was annexed by Hitler. still-living widow, Alma. Fortunately Korngold was able to arrange for his family to join him in He wrote scores in a lush, late- California. Until the end of the Second Romantic idiom alongside intimate World War, he kept his focus on writing chamber pieces, gaining admiration film scores for Warner Brothers. above all for his operas. In 1920, Korngold fever broke out with the But he longed to reclaim his position impending premiere of his first full- as a “serious” composer and would length opera, Die Tote Stadt (“The eventually abandon his film studio Dead City”)—memorably staged by work after Deception, the 1946 film San Francisco Opera in 2008—which starring Bette Davis (whose story line generated so much buzz that a fierce called for an actual cello concerto, bidding war was conducted over which Korngold expanded into a which opera house would have the concert piece in its own right). In the honor of giving the first production. summer of 1945, the Polish violinist Bronisław Huberman, founder of the Korngold’s career path took a Israel Philharmonic, encouraged dramatic turn in the 1930s, when Korngold to write the Violin Concerto. he explored the new opportunities Korngold mined melodies from a afforded by composing for the film handful of his film scores to craft a industry. In 1929, he had collaborated piece that he and Huberman hoped with theater legend Max Reinhard would be the vehicle for a successful on a high-profile adaptation of concert hall comeback. By that point, Die Fledermaus in Berlin. Reinhardt Korngold had been typecast as a talked Korngold into joining him “Hollywood composer.” His concert in Hollywood, where he wanted music meanwhile had gone out of his colleague to arrange Felix style and was regarded as passé. When Mendelssohn’s incidental score to A Jascha Heifetz began introducing Midsummer Night’s Dream for a new film the new Violin Concerto, one of the version of the play Reinhardt planned meanest quips appeared in The New to direct. (Film buffs will recall that York Sun, whose critic Irving Kolodin this is the Midsummer in which James sneered that the piece was “more corn Cagney plays Bottom and Mickey than gold.” But Korngold continued Rooney is a giddy-voiced Puck.) writing for the concert hall, even Korngold tried to have it all by leading producing a large-scale symphony a bi-continental existence, split he dedicated to the memory of F. D. between Old World Vienna and sunny Roosevelt.

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30 October 13, 2016 Ironically, even as he was enduring in avant-garde circles during the a sequence of rejections in his final postwar years was still permissible, decade, Korngold had already become after all, in the context of the movies. an important figure in American (Just as, paradoxically, commercial musical culture (though one without film scores were also introducing mass wide name recognition) thanks to audiences to some of the most up-to- the success of the films to which date musical styles.) An interlude he contributed—not to mention on embedded within this Romance his considerable influence on other apparently has no film origin but movie composers. In recent decades, represents a more purely “abstract” the quality of his film scores and his invention. “classical music” alike—particularly A romping finale serves as a satisfying the Violin Concerto and Die Tote Stadt— foil to the elevated lyricism of the has been positively reappraised. first two movements. Here, The Prince The Violin Concerto makes no and the Pauper makes a cameo as the pretensions to innovation. It source for the second theme. Korngold showcases Korngold’s high level of supplies a dashing, exuberant rondo craftsmanship, winning lyricism, and roundoff to the concerto, calling for confident orchestration. The soloist the greatest degree of virtuosity in joins the scene without introduction, the work—which he marries to the singing out a widely-spanning theme energetic sensibility of his adopted recycled from the film Another Dawn. country. (Korngold once said he had had “a Caruso” in mind when writing the Concerto.) Yearning and expansive, Igor Stravinsky (1882-1971) this music is followed by a virtuoso transition passage to another movie- Petrushka (1947 version) derived tune (the period film Juarez, which featured Bette Davis as the wife Stravinsky was born on June 17, 1882, in of the 19th-century puppet ruler of Oranienbaum, Russia; and died on April 6, Mexico, Maximilian I). 1971, in New York City. He wrote the score for the ballet Petrushka between the Styled as a “Romance,” the middle summer of 1910 and May 1911. In 1947 he movement also spotlights the violin’s published a revision with slightly reduced quintessential vocalism (drawing orchestration. on material from the Oscar-winning Anthony Adverse). From its soulful First performance: June 13, 1911, in Paris, eloquence we can almost sense with Pierre Monteux conducting; Monteux Korngold’s desire to resume his also led the first concert performance, frustrated opera career as well. The on March 1, 1914, in Paris. Duration: sort of unimpeded expression of approximately 34 minutes. The 1947 passion which became verboten revision is scored for 3 flutes (3rd doubling

October 13, 2016 31 32 October 13, 2016 piccolo), 2 oboes, English horn, 3 clarinets sprouting up. Stravinsky later recalled (3rd doubling bass clarinet), 2 bassoons, that he “dreamed a scene of pagan contrabassoon, 4 horns, 3 trumpets, 3 ritual in which a chosen sacrificial trombones, tuba, timpani, snare drum, bass virgin danced herself to death”—the drum, cymbals, tambourine, triangle, tam- future Rite of Spring. tam, xylophone, celesta, piano, harp, and But another revolutionary composition strings. was to precede it. After making some preliminary efforts in the summer of efore June 1910, Igor Stravinsky was 1910, Stravinsky put the monumental B simply one of several “promising” Rite aside to work on an interim young composers from Russia with project. Initially, he thought this would a knack for colorful writing he had be an “orchestral piece in which the learned firsthand from that master piano would play the most important of orchestration, Nikolai Rimsky- part.” In his autobiography, he details Korsakov. But this changed when the sequence whereby thoughts of a the impresario Serge Diaghilev took stand-alone work for the concert hall a chance on the ambitious fellow evolved into the ballet we now know Russian. Diaghilev commissioned as Petrushka (Pétrouchka in its French Stravinsky to write a fresh score for spelling). And, like Rite and other his fledgling Ballets Russes. Based masterpieces Stravinsky wrote for the in Paris, his company had been theater, the score would eventually creating a sensation by introducing find its way onto orchestral programs Western audiences to celebrities after all, developing a parallel life in the from the Russian Imperial Ballet— concert hall. including, for example, the dancer and The first music he wrote for this choreographer Michel Fokine and the interim project conjured the image legendary Vaslav Nijinsky (who was of an animated puppet. Stravinsky involved in a tempestuous love affair says it evoked for him the figure of with the Svengali-like Diaghilev). Petrushka (i.e., “little Peter”), a sort Stravinsky’s first full-length of trickster-jester figure—the Russian collaboration with Diahilev and folk tradition’s version of the Pulcinella the Ballets Russes gave the world character from commedia dell’arte The Firebird—a richly costumed (Punch is the English equivalent). This extravaganza based on old Russian music became part of the unhappy folklore—and was a triumph. Just puppet’s lament in the second scene turned twenty-eight, Stravinsky (“Petrushka’s Cell”). His signature is suddenly found himself the hottest star the double-key (“bitonal”) sound of of the international new-music scene. C major against F-sharp major (two Even before he’d finished composing clashing harmonies sounded together his scintillating Firebird music, the and known as “the Petrushka chord”). idea for a revolutionary new work was In classical harmony, the two keys are

October 13, 2016 33 Join CHANTICLEER An Orchestra of Voices for Their 39th Bay Area Season!

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34 October 13, 2016 as far apart as you can get; sounded at the same time, they create a striking, disorienting sonority that belongs to neither world. BEST SELECTION & QUALITY Diaghilev persuaded Stravinsky that TILE this “theme of the puppet’s sufferings” could be expanded into a new ballet for DESIGN YOUR TILE the coming season. The bitonal puppet PROJECT IN OUR STORE became a powerful musical symbol for HANDMADE SINKS, GARDEN & TABLEWARE, & MORE... the “between-ness” of a strange tale TALAVERA CERAMICS & TILE about the interplay between the human 1801 University (at Grant), Berkeley and the mechanical. While Stravinsky Open Mon-Sat 10-6, Sun 12-6 510-665-6038 www.TalaveraCeramics.com had been assigned the Firebird project with a ready-made plot, Petrushka’s story evolved from pre-existing music. Stravinsky and Diaghilev sketched a basic scenario, which was further refined by Alexandre Benois (the score’s dedicatee, an artist who also designed the ballet’s sets).

Together they concocted a “burlesque in four scenes” set in an innocent St. Petersburg of the early 19th century, during the revelry of Carnival celebrations. In the show within the show, Petrushka (the ballet’s only character to peep out from behind a rigid stereotype) suffers through a tragicomic romance with a Ballerina, who rejects him and flirts with a Moor in his impressively decked-out quarters. The jealous Petrushka steals in and disrupts the dancing pair, only to be beaten by the Moor and chased away. In the final scene the puppets escape from their theater as Petrushka flees the angry Moor, who deals him a fatal blow with his saber.

Stravinsky composed most of the score at his Swiss residence; a nostalgic

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36 October 13, 2016 Christmas trip to St. Petersburg fueled harmonies are among Stravinsky’s his inspiration. For the premiere in many references to vernacular Paris in 1911, Nijinsky danced the elements in the score. title character, with choreography A tension-building drum roll—used by Michel Fokine (who had also as a recurrent linking device between choreographed The Firebird). Diaghilev scenes—leads to Petrushka’s Room, engineered yet another multimedia where the puppet is by turns rebellious sensation to cap his season, and and sorrowful and is eventually Stravinsky’s music was again a hit. It beaten down by blasting trumpets. did generate controversy, but nothing Another drum roll brings us to the like the notorious riot sparked by the Moor’s Room, with its splashes of premiere of The Rite of Spring two years ever-varied orchestration divvied into later. small segments. A trumpet solo is Petrushka’s enduring popularity soon followed by a surreal waltz for flute, translated into several versions, trumpet, and bassoon: the Ballerina’s including shorter concert suites and dalliance with the Moor. a piano arrangement of selections. Stravinsky segues from the “make- In 1947, for both artistic and financial believe” puppet world back to the reasons (the old copyright had run out by then), Stravinsky published real-life crowd. As evening descends, the revised version we hear in varied groups of revelers begin to this performance, simplifying the dance: the Wet Nurses (to an old orchestration slightly and expanding Russian folk song), a Peasant and the piano part. Bear (easy to spot in a tuba solo), the Gypsy Girls, the Coachmen (with The Shrovetide Fair presents a collage- heavy accents that anticipate Rite), like sequence depicting the festive and the Masqueraders. Stravinsky was confusion of a Petersburg crowd; especially proud of the concluding multiple stimuli vie for attention. pages, after the puppets “escape,” Stravinsky continually varies the which illustrate Petrushka’s death picture with shifting rhythmic with woodwind shrieks and spooky patterns, orchestral close-ups, and tremolos. The magician reassures the asymmetrical shapes. His method crowd that the slain Petrushka was is comparable to the splicing and only a puppet. But Petrushka, golem- jump-cutting of what was then the like, reappears in his trickster guise newly emergent cinematic art. Street as a ghost, defiantly mocking the performers and vendors pass by departing crowd. before a magician (or con artist) calls for attention and (to a flute cadenza) —© Thomas May charms his puppets into life. They Thomas May writes about the arts for a perform to the accompaniment of variety of international publications and the Russian Dance, whose bright blogs at memeteria.com.

October 13, 2016 37 38 October 13, 2016 Music Director: Joana Carneiro

oted for her vibrant Nperformances in a wide diversity of musical styles, Joana Carneiro has attracted considerable attention as one of the most outstanding young 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 photo by Rodrigo de Souza orchestra. She also currently serves as official guest conductor of the Gulbenkian Orchestra, working there at least four weeks every year. In January 2014 she was appointed Principal Conductor of the Orquesta Sinfónica Portuguesa and Teatro Sao Carlos in Lisbon.

Carneiro’s growing guest-conducting career continues to develop very English National Opera conducting quickly. Recent and future highlights the world stage premiere of John include engagements with the Adams’s The Gospel According to Royal Stockholm Philharmonic, the Other Mary, and recently she Swedish Radio Symphony, conducted a production of La Passion Helsinki Philharmonic, Hong Kong de Simone at the Ojai Festival. Joana Philharmonic and the Gothenburg also works regularly with singer/song- Symphony, as well as a production writer Rufus Wainwright, conducting of Van der Aa’s Book of Disquiet with his orchestral programme in Lisbon the London Sinfonietta. In 2016/2017 and Hong Kong in 2015/16. she will make her debut with the San Elsewhere Joana has previously Francisco Symphony, at London’s conducted the Royal Liverpool Barbican with the Britten Sinfonia, Philharmonic, Royal Philharmonic and at Theater Bonn in Germany. Orchestra, Orchestre Philharmonique She continues to be sought after for de Radio France, Ensemble Orchestral contemporary programmes and in de Paris, Orchestra de Bretagne, 2014/15 she made her debut at the Norrköping Symphony, Norrlands

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40 October 13, 2016 Opera Orchestra, Residentie Orkest/ Academy. From 2002 to 2005, she Hague, Prague Philharmonia, Malmo served as Assistant Conductor of Symphony, National Orchestra of the L.A. Chamber Orchestra and as Spain and the Orchestra Sinfonica del Music Director of the Young Musicians Teatro la Fenice at the Venice Biennale, Foundation Debut Orchestra of Los as well as the Hong Kong Philharmonic, Angeles. From 2005 through 2008, Macau Chamber Orchestra and Beijing she was an American Symphony Orchestra at the International Music Orchestra League Conducting Fellow Festival of Macau. In the Americas, she at the Los Angeles Philharmonic, has led the Los Angeles Philharmonic, where she worked closely with Toronto Symphony, St. Paul Chamber Esa-Pekka Salonen and led several Orchestra, Detroit Symphony, performances at Walt Disney Concert Colorado Symphony, Indianapolis Hall and the Hollywood Bowl. Symphony, Los Angeles Chamber A native of Lisbon, she began her Orchestra, New World Symphony and musical studies as a violist before São Paulo State Symphony. receiving her conducting degree from In 2010, Carneiro led performances of the Academia Nacional Superior Peter Sellars’s stagings of Stravinsky’s de Orquestra in Lisbon, where she Oedipus Rex and Symphony of Psalms studied with Jean-Marc Burfin. at the Sydney Festival, which won Carneiro received her Masters degree Australia’s Helpmann Award for Best in orchestral conducting from Symphony Orchestra Concert in 2010. Northwestern University as a student She conducted a linked project at the of Victor Yampolsky and Mallory New Zealand Festival in 2011, and as Thompson, and pursued doctoral a result was immediately invited to studies at the University of Michigan, work with the Sydney Symphony and where she studied with Kenneth New Zealand Symphony orchestras on Kiesler. She has participated in master subscription. classes with Gustav Meier, Michael Tilson Thomas, Larry Rachleff, Jean As a finalist of the prestigious Sebastian Bereau, Roberto Benzi and 2002 Maazel-Vilar Conductor’s Pascal Rophe. Competition at Carnegie Hall, Carneiro was recognized by the jury Carneiro is the 2010 recipient of for demonstrating a level of potential the Helen M. Thompson Award, that holds great promise for her future conferred by the League of American career. In 2003/04, she worked with Orchestras to recognize and honor Maestros Kurt Masur and Christoph music directors of exceptional promise. von Dohnanyi and conducted the In 2004, Carneiro was decorated London Philharmonic Orchestra, by the President of the Portuguese as one of the three conductors Republic, Mr. Jorge Sampaio, with the chosen for London’s Allianz Cultural Commendation of the Order of the Foundation International Conductors Infante Dom Henrique.

October 13, 2016 41 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

42 October 13, 2016 Artists’ Biographies

Paul Dresher is an internationally active composer noted for his ability to integrate diverse musical influences into his own coherent and unique

Photo by Andre Constantini personal style. He pursues many forms of musical expression including experimental opera and music theater, chamber and orchestral composition, live instrumental electro-acoustic music performances, musical instrument invention, and scores for theater, dance, and film.

A recipient of a Guggenheim Fellowship for 2006/07, he has received commissions from the Paul Dresher, composer Library of Congress, Saint Paul Chamber Orchestra, Spoleto Festival aul Dresher exemplifies the spirit USA, the Kronos Quartet, the San of West Coast music both in the P Francisco Symphony, California richness of his sound world as well EAR Unit, Zeitgeist, San Francisco as the inventiveness of his mind. In Ballet, Walker Arts Center, Meet the the tradition of Harry Partch, Conlon Composer, Seattle Chamber Players, Nancarrow, Lou Harrison, and Bill Colvig, Present Music, San Francisco Chamber Paul has invented new instruments, Orchestra, Chamber Music America, both mechanical and electronic, each and the National Flute Association. of which has expanded his musical He has performed or had his works thinking. To that he adds a background performed throughout North America, in North Indian and Balinese traditions, Asia, and Europe at venues including all of which results in music of New York Philharmonic, Los Angeles exceptional individuality and beauty. Philharmonic, the Munich State Opera, He’s a maverick in the very best sense of London Sinfonietta, Alice Tully Hall at the world.—John Adams, Interview, 2004 Lincoln Center, Berkeley Symphony, [Paul Dresher has] an omnivorous the Festival d’Automne in Paris, the sensibility that combines rock’n’roll, Brooklyn Academy of Music’s Next minimalism, Indian music and ambient Wave Festival, CBC Vancouver Radio sounds into a pungent and wonderfully Orchestra, the Minnesota Opera, elusive hybrid. —Joshua Kosman, San Arts Summit Indonesia ’95 and Francisco Chronicle, 2004 Festival Interlink in Japan. Dresher

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44 October 13, 2016 has also worked extensively with many include Low, Close, Vast, a joint choreographers including Margaret commission from the Music and Jenkins, Brenda Way/ODC San Francisco, Architecture Departments at the Nancy Karp, Wendy Rogers, and Allyson University of Texas at Austin and a Green. collaboration with architects Michael Rotondi and Michael Benedikt that In Oct. 2012, conductor Joana Carneiro premiered at the Music and Architecture premiered Dresher’s Concerto for Conference at Austin in October, 2011; Quadrachord and Orchestra, a three the evening-length score for Light movement work featuring Dresher’s Moves (2011), a collaboration with invention Quadrachord, with Berkeley choreographer Margaret Jenkins, Symphony. The work was reprised in painter/video artist Naomie Kremer March 2013 by Steven Schick conducting and poet Michael Palmer; Two Entwined, the La Jolla Symphony. for pianist Sarah Cahill that premiered In December of 2009, Dresher performed at the Spoleto Festival in 2011; and Snow of his invented instrument work Glimpsed in June, a collaboration with playwright From Afar on two programs with the Los Charles Mee and director Chen Shi- Angeles Philharmonic in Disney Hall. In Zheng, commissioned by the American March of 2009 at Stanford University, Repertory Theatre. Dresher premiered Schick Machine, a music theater work performed on a set A major focus of Dresher’s work has been comprised entirely of invented musical the Paul Dresher Ensemble. Formed in instruments/sound sculptures and 1984, this group commissions, performs created in collaboration with writer/ and tours a diverse repertory of new director Rinde Eckert, percussionist/ chamber works from a wide range of performer Steven Schick and mechanical contemporary composers; it produces sound artist Matt Heckert. In April 2008, and tours new opera/music theater the San Francisco Ballet premiered productions; it collaborates with a broad Dresher’s orchestral score for Thread, range of dance and theater artists and his collaboration with choreographer organizations to create and perform Margaret Jenkins, commissioned for new work based in contemporary music; the Ballet’s 75th anniversary. In May and it mounts educational and family 2006, Dresher’s chamber solo chamber programs to bring its repertory to diverse opera The Tyrant, for tenor John Duykers audiences of all ages. and with a libretto by Jim Lewis, The Ensemble spent its first decade premiered in five performances at Opera creating collaboratively created Cleveland and has now been produced in experimental theater/opera productions nine cities in the US. In 2012, the Teatro involving Artistic Director Paul Dresher. Comunale di Bolzano (Italy) created an The best known is American Trilogy, entirely new production that received comprised of Slow Fire, Power Failure, and 5 performances and was broadcast live Pioneer. The American Trilogy has received nationally on RAI 3. over 200 performances worldwide. More Other recently completed projects recent productions of Dresher’s work

October 13, 2016 45 www.buyartworknow.com

46 October 13, 2016 include the collaboration with Rinde its ability to perform works that have Eckert on the invented instrument roots in diverse traditions including work Sound Stage (2001, commissioned classical music, rock & roll, jazz and by Zeitgeist and the Walker Art Center), world music. The Band is often joined and Schick Machine (2009) and The by noted soloists such as pianist- Tyrant (2005-6). composer Terry Riley, cellist Joan Jeanrenaud, violinist David Abel, and In 1993 the Ensemble began pianist Lisa Moore. The Ensemble commissioning, producing and has commissioned and/or premiered performing new opera and music works by such composers as John theater by other contemporary Adams, John Luther Adams, Samuel composers, staring with Rinde Eckert’s Adams, Mark Applebaum, Dan Becker, The Gardening of Thomas D. In 1995 it Eve Beglarian, Martin Bresnick, Ryan formed the core musical group for the Brown, Cindy Cox, Alvin Curran, world premiere and first tour of the Anthony Davis, Fred Frith, Mark Grey, John Adams/Peter Sellars/June Jordan Paul Hanson, Bun Ching Lam, David production I Was Looking At The Ceiling Lang, Keeril Makan, Steve Mackey, And Then I Saw The Sky. In 1998, working Ingram Marshall, James Mobberley, in collaboration with composer Steve Bruce Pennycook, Jack Perla, Gyan Mackey and librettist Rinde Eckert, Riley, Terry Riley, Roger Reynolds, the Ensemble produced the highly- Neil Rolnick, John Schott, Carl Stone, acclaimed solo opera Ravenshead, Lois Vierk and Randall Woolf. In 2014, a work honored by USA Today as with the support of Chamber Music the “Best Opera of ’98.” In 2000, in America, the EAB will premiere a collaboration with San Francisco’s commission from Sebastian Currier. ODC Theater, the Ensemble produced Erling Wold’s chamber opera A Little In 2009, Dresher formed a new Girl Dreams of Taking the Veil and in 2003, smaller ensemble, the Double Duo, again collaborating with ODC Theater, combining his invented instrument they produced Wold’s Sub Pontio Pilato. duo with percussionist Joel Davel and In the fall of 2005, the Ensemble the violin & piano duo comprised of premiered and for three years, toured long-time Ensemble violinist Karen Rinde Eckert’s music theater work Bentley Pollick and the original Bang Horizon. On A Can pianist Lisa Moore. In May of 2013, the Double Duo group completed In 1993, in order to meet the a four-city tour of Australia, during technological and expressive demands which time they were the Ensemble- of many contemporary composers, Mr. in-Residence at the Canberra Dresher formed The Electro-Acoustic International Music Festival. Band. Comprised of six musicians and a sound engineer, the band combines Born in Los Angeles in 1951, Dresher traditional acoustic instruments with received his B.A. in Music from U.C. the latest advances in live electronic Berkeley and his M.A. in Composition music technology, and is noted for from U.C. San Diego where he studied

October 13, 2016 47 with Robert Erickson, Roger Reynolds, Hindustani classical music with Nikhil Pauline Oliveros, and Bernard Rands. He Banerjee as well as Balinese and Javanese also studied intonation and instrument music. Recordings of his works are building with Lou Harrision. He has available on the Lovely Music, New World had a longtime interest in the music (with Ned Rothenberg), CRI, Music and of Asia and Africa, studying Ghanaian Arts, 0.0. Discs, BMG/Catalyst, MinMax, drumming with C.K. and Kobla Ladzekpo, Starkland, and New Albion labels.

solidified him as one of the foremost violinists of today.

Receiving several Grammy nominations for his two albums of Korngold and

Photo by Lisa Marie Mazzucco William Schuman Concertos, Mr. Quint is in constant demand worldwide appearing with major orchestras at venues ranging from the Gewandhaus in Leipzig to Carnegie Hall in New York.

Philippe Quint plays the magnificent 1708 “Ruby” Antonio Stradivari violin on loan to him through the generous efforts of The Stradivari Society.®

Highlights of the 2015/2016 season included performances with Colorado, Seattle & North Carolina Symphonies, Luzern’s Zaubersee Festival with pianist Marc-Andre Hamelin, and a first visit to Verbier Festival performing with Joshua Bell and Tabea Zimmerman among Philippe Quint, violin others. At the invitation of Maestro Vladimir auded by Daily Telegraph (UK) for Spivakov, Philippe opened the 28th his “searingly poetic lyricism,” L edition of Colmar Festival dedicated violinist Philippe Quint is carving to Jascha Heifetz with Tugan Sokhiev an unconventional path with his conducting the Orchestre National du impassioned musical desire for Capitole de Toulouse in a performance reimagining traditional works, of Korngold Violin Concerto. Earlier this rediscovering neglected repertoire to year he was part of the opening of Mary commissioning works by contemporary B. Galvin’s new hall in Chicago hosted by composers. His dedication to exploring Renee Fleming. different styles and genres with an award winning discography has Winner of the “Ambassador of Arts”

48 October 13, 2016 award in 2014, presented to Philippe by & Friends” at Carnegie’s Zankel Hall Brownstone and Gateway Organizations presented by the Russian American at the United Nations last March, his Foundation. The first benefit concert 2014/15 season highlights included took place at the New York Times Center debuts with Seattle Symphony with in 2014 and featured John Corigliano, Ludovic Morlot, Milwaukee Symphony Joshua Bell, Michael Bacon, J.Ralph and with Edo de Waart, Kansas Symphony Emily Bergl. with Michael Stern, Vancouver Along with Lou Diamond Phillips, Darren Symphony with James Gaffigan, and Criss and Lea Salonga, Philippe appeared returns to San Diego Symphony with at the Kennedy Center’s “After the Jahja Ling and Indianapolis Symphony Storm” Benefit Concert for Philippines with Krzysztof Urbanski. and debuted at the Hollywood Bowl as a Two new exciting recording releases part of a special “Joshua Bell & Friends” took place in the 2015/16 season: original concert. arrangements of Bach’s music by Constantly in demand worldwide, composer/pianist Matt Herskowitz titled Quint’s most recent appearances include Bach XXI which debuted at Lincoln Center performances with the orchestras of in February of 2016 and a recording of London, Los Angeles, Chicago, Detroit, both Glazunov & Khachaturian Violin Indianapolis, New Jersey, Minnesota, Concertos with Bochumer Sinfoniker Bournemouth, Houston, Weimar and Steven Sloane conducting for Staatskapelle, Royal Liverpool, China AvantiClassic label which received National, Orpheus, Berlin Komische “Album of the Week” by Norman Oper, Leipzig’s MDR at the Gewandhaus. Lebrecht’s Slipped Disc. He has performed under the batons of Mr. Quint’s 2013/14 season included Marin Alsop, Carl St. Clair, Daniel Hege, debuts with the London Philharmonic, Grant Llewellyn, Andrew Litton, Cristian Los Angeles Philharmonic, Rochester Macelaru, Kurt Masur, Jorge Mester, Edo Philharmonic, Phoenix Symphony, San de Waart, Jahja Ling, Krzysztof Urbanski, Antonio Symphony among others. His Ludovic Morlot, Marco Parisotto, Martin recording of the Tchaikovsky Violin Panteleev, Carlos Miguel Prieto, Tugan Concerto with the Sofia Philharmonic led Sokhiev, Klauspeter Seibel, Christopher by conductor Martin Panteleev, paired Seaman, Kenneth Schermerhorn, Steven with Anton Arensky’s String Quartet No. Sloane, Michael Stern, Bramwell Tovey, 2, Op. 35 (for violin, viola, and two cellos) and Martin Yates among many others. featuring cellists Claudio Bohorquez, Philippe Quint’s formidable discography Nicolas Altstaedt and violist Lily Francis includes a large variety of rediscovered was released in September 2014 on treasures along with popular works from AvantiClassic which “Gramophone” standard repertoire. In November 2013, described as “conspicuously persuasive, he released to critical acclaim Opera Breve dazzlingly assured” performance. CD with pianist Lily Maisky, a unique In the summer 2015 he hosted the collection of opera transcriptions for 2nd Annual Benefit “Philippe Quint violin and piano featuring both popular

October 13, 2016 49 and rare songs, on Avanticlassic. Romances with the Orquesta Sinfónica de Minería led by Carlos Miguel Prieto, An active chamber musician Philippe was released in 2012. Gramophone frequently collaborates with cellists described Quint’s performance as Alisa Weilerstein, Gary Hoffman, Carter Brey, Nicholas Altstaedt, “pure sound and refined expression. Claudio Bohorquez, Zuill Bailey and Jan An account well worth hearing.” Other Vogler, pianists William Wolfram, Inon critically acclaimed albums include Barnatan, Alon Goldstein, Marc-Andre the world premiere recording of John Hamelin, Simone Dinnerstein, Jeffrey Corigliano’s Red Violin Caprices, Ned Kahane, violists Nils Monkemeyer and Rorem’s Concerto, Miklos Rozsa’s Lily Francis as well as his esteemed violin Complete Works for Violin and Piano colleagues Joshua Bell, Cho-Liang Lin & with William Wolfram, Bernstein’s Vadim Gluzman. Philippe has appeared Serenade, and a unique compilation of at the Mostly Mozart, Verbier, Luzern, works by Paganini arranged by Fritz Caramoor, Colmar, Ravinia, Aspen, Kreisler, which BBC Music Magazine called Rome, Moritzburg, La Jolla, Lincoln “truly phenomenal.” Center and Chautauqua festivals and in recital and chamber performances Born in Leningrad, Soviet Union (now at the Kravis Center, UC Davis Presents, St. Petersburg, Russia), Philippe Quint National Gallery in Washington studied at Moscow’s Special Music and most recently at San Francisco School for the Gifted with the famed Performances with Composer/Pianist Russian violinist Andrei Korsakov, and Lera Auerbach. made his orchestral debut at the age of nine, performing Wieniawski’s Concerto Quint’s live performances and interviews have been broadcast on television by No. 2. After moving to the United States, CBS, CNN, ABC, BBC World News, NBC, he earned both Bachelor’s and Master’s Reuters, Bloomberg TV, as well as by degrees from Juilliard. His distinguished radio stations nationwide including pedagogues and mentors included NPR, WNYC and WQXR. His recordings Dorothy Delay, Cho-Liang Lin, Masao have received multiple “Editor’s Choice” Kawasaki, Isaac Stern, Itzhak Perlman, selections in Gramophone, The Strad, Arnold Steinhardt and Felix Galimir. Strings, and the Daily Telegraph. His The Chicago Tribune proclaimed, “Here is remarkable degree of lyricism, poetry a fiddle virtuoso whose many awards and impeccable virtuosity has gripped are fully justified by the brilliance of the eyes and ears of audiences in Asia, Australia, Latin America, Africa, his playing.” Among his many honors, Europe and the U.S. with what The Times Quint was the winner of the Juilliard (London) describes as his “bravura Competition and Career Grant Recipient technique, and unflagging energy.” of Salon de Virtuosi, Bagby and Clarisse Kampel Foundations. Quint’s first album for Avanticlassic, a recording of the Mendelssohn and For more information, visit: Bruch Violin Concertos and Beethoven’s www.philippequint.com

50 October 13, 2016 Berkeley Symphony photo by Dave Weiland

he mission of Berkeley Symphony Hall. A national leader in music T is to champion symphonic education, the Orchestra partners with music as a living art form, creating the Berkeley Unified School District live performances and educational to produce the award-winning Music programs that engage the intellect, in the Schools program, providing spark the curiosity, and delight the spirit comprehensive, age-appropriate music of Berkeley and surrounding Bay Area curricula to more than 4,600 local communities. elementary and middle school students

Recognized nationally for its spirited each year. In association with the programming, Berkeley Symphony has Piedmont Center for the Arts, Berkeley established a reputation for presenting Symphony presents an annual chamber major new works for orchestra music series at the Center called alongside fresh interpretations of Berkeley Symphony & Friends. the classical European and American Berkeley Symphony was founded repertoire. It has been honored with an in 1969 as the Berkeley Promenade Adventurous Programming Award from Orchestra by Thomas Rarick, a protégé the American Society of Composers, of the great English Maestro Sir Adrian Authors and Publishers (ASCAP) in Boult. Under its second Music Director, eleven of the past twelve seasons. Kent Nagano, who took the post in 1978, Under the baton of Music Director Joana the Orchestra charted a new course Carneiro, the Orchestra performs four with innovative programming that main-stage concerts a year in Zellerbach included rarely performed 20th-century

October 13, 2016 51 scores. In 1981, the internationally living composers, which include several renowned French composer Olivier prominent contemporary Bay Area Messiaen journeyed to Berkeley to assist composers such as John Adams, Paul with the preparations of his imposing Dresher, and Gabriela Lena Frank. oratorio The Transfiguration of Our Lord Berkeley Symphony has introduced Bay Jesus Christ, and the Orchestra gave a Area audiences to works by rising young sold-out performance in San Francisco’s composers, many of whom have since Davies Symphony Hall. In 1984, achieved international prominence. Berkeley Symphony collaborated with Celebrated British composer George Frank Zappa in a critically acclaimed Benjamin, who subsequently became production featuring life-size puppets Composer-in-Residence at the San and moving stage sets, catapulting the Francisco Symphony, was first Orchestra onto the world stage. introduced to the Bay Area in 1987 when Berkeley Symphony entered a new era Berkeley Symphony performed his in January 2009, when Joana Carneiro compositions Jubilation and Ringed by became the Orchestra’s third Music the Flat Horizon; as was Thomas Adès, Director in its 40-year history. Under whose opera Powder Her Face was debuted Carneiro, the Orchestra continues its by the Orchestra in a concert version in tradition of presenting the cutting 1997 before it was fully staged in New edge of classical music. Together, they York City, London and Chicago. Visit are forging deeper relationships with www.berkeleysymphony.org.

52 October 13, 2016 McCUTCHEON

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54 October 13, 2016 Music in the Schools

ore than 4,600 school children Meach year benefit from Berkeley Symphony’s Music in the Schools program:

• Over 200 In-Class Sessions are provided photo by Dave Weiland free of charge and include curriculum booklets with age-appropriate lessons addressing state standards for music education. Music in the Schools Sponsors • Over 150 Ensemble Coaching Sessions and (Gifts of $2,500 and above annually) master classes in area middle schools. Anonymous (3) Susan & Jim Acquistapace • Eleven Meet the Symphony concerts are Gertrude Allen performed free of charge in elementary Mark & Cynthia Anderson schools each fall. Sallie & Edward Arens Berkeley Public Schools Fund • Six I’m a Performer concerts, also free Bernard E. and Alba Witkin Charitable of charge, provide young musicians with Foundation an opportunity to rehearse and perform Bernard Osher Foundation with Berkeley Symphony. Judith L. Bloom California Arts Council • Four free Family Concerts provide an Ronald & Susan Choy opportunity for the whole family to Ann & Gordon Getty experience a Berkeley Symphony Jill Grossman concert together. Ellen Hahn Ann Fischer Hecht All Music in the Schools programs are Kathleen G. Henschel & John W. Dewes provided 100% free of charge to children Jennifer Howard & Tony Cascardi and their families. We are grateful to the Mr. & Mrs. Robert Edward Kroll Helen & John Meyer individuals and institutions listed on this Marcia Muggli & Ed Osborn page whose financial contributions help Music Performance Trust Fund make Music in the Schools possible. But more National Endowment for the Arts help is needed to fully fund the program . . . The Rudolph and Lentilhon G. Von Fluegge Foundation, Inc. Please join those making Music in the Dr. Ruedi Naumann-Etienne and Schools a reality! Donate online and Annette Campbell-White Betty Pigford designate your gift as “Restricted—Music Thomas W. Richardson & Edith Jackson in the Schools Program.” Or simply mail a Tricia Swift contribution to: Berkeley Symphony, Music Lisa & James Taylor in the Schools Fund, 1942 University Ave. Ama Torrance and David Davies Suite #207, Berkeley, CA 94704 Union Bank Foundation Shariq Yosufzai & Brian James www.berkeleysymphony.org/mits Thanks also to those giving up to $2,500 annually.

October 13, 2016 55 The Academy Uncommon Excellence of Thought and Character in a Vibrant School Community The Academy is an independent K-8 school with a 45-year legacy of academic rigor in a fun and nurturing environment: • Experienced, passionate teachers • Commitment to small class sizes • Highly-interactive instruction • Challenging curriculum Visit our website to learn more: www.theacademyschool.org

The Academy 2722 Benvenue Ave. Berkeley 510.549.0605

Manager: June McDaniels Music for Your Life Realtors: Kathleen Crandall Cheryl Berger Mark Hardwicke Maya Hiersoux Sarah Torney Sucheta Dhupelia Jaima Roberts Proud supporter of the Berkeley Symphony Sunan Attanayake Christopher Anderson Victoria Tseng Berkeley Regional Office: 2095 Rose St. | 510.868.1400 Brenda Walker masonmcduffie.bhgre.com/berkeley-regional Teresita Monroe

56 October 13, 2016 2016/17 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 2016/17 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 open rehearsal of the orchestra. Principal Member: $750+ (All of the above plus . . .) • Invitation to select special events including post-concert receptions with Music Director Joana Carneiro, 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 Music Director Joana Carneiro. • Two free guest concert passes. Conductor: $2,500+ (All of the above plus . . .) • Invitations to all exclusive Symphony Circle Salon Receptions hosted by Music Director Joana Carneiro. • Invitation to an exclusive Musicians’ Dinner and “closed” rehearsal for you and guests. Sponsorship Circle of Members Founding Sponsors: $5,000+ (All of the above plus . . .) • VIP access to Berkeley Symphony intermission Sponsors’ Lounge at Zellerbach Hall. • Opportunities to be recognized as a concert sponsor, musician sponsor, or guest soloist sponsor. • Special “Sponsorship Dinner” opportunities with Music Director Joana Carneiro. • A total of four or more free concert guest passes.

October 13, 2016 57 SpEciAl hAnd-mAde chOcOlatES tO SurpriSE And inSpirE yOur tAStE budS

1964 university ave., berkeley 510.705.8800 1809 Fourth Street, berkeley 510.665.9500 www.chocolatierblue.com

A special discount for those who tell us they learned about us at Berkeley Symphony

58 October 13, 2016 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. 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 September 1, 2015 and September 1, 2016

Sponsor Circle GIFTS Season Sponsors Executive Sponsors $50,000 and above $10,000 and above (continued) Ann & Gordon Getty Marcia Muggli & Ed Osborn Kathleen G. Henschel & John W. Dewes Lisa & James Taylor Shariq Yosufzai & Brian James Founding Sponsors Helen & John Meyer $5,000 and above Natasha Beery & Sandy McCoy Season Sponsors Ronald & Susan Choy $25,000 and above Oz Erickson & Rina Alcalay Anonymous (2) Dean Francis Thomas W. Richardson & Edith Jackson Paula & John Gambs Gertrude Allen Jill Grossman Jan & Michael McCutcheon Ellen L. Hahn Tricia Swift Jennifer Howard & Tony Carscardi Ditsa & Alexander Pines Executive Sponsors Mark & Cynthia Anderson $10,000 and above Paul Templeton & Darrell Louie Anonymous (2) Susan & Jim Acquistapace Margaret Dorfman and the Ralph I. SYMPHONY Circle GIFTS Dorfman Family Fund Conductor Level William Knuttel $2,500 and above Mr. & Mrs. Robert Edward Kroll Anonymous (2) Janet & Marcos Maestre Judith L. Bloom Sarah Coade Mandell and Peter Dianne Crosby Mandell Gloria Fujimoto Deborah O’Grady & John Adams Gary Glaser & Christine Miller

October 13, 2016 59 Conductor Level Deborah Shidler & David Burkhart $2,500 and above (continued) Kathy Canfield Shepard & John Shepard Ann Fischer Hecht & Shawn Hecht Joy Carlin Bennett Markel Brian & Cindy Chase Carrie McAlister Marilyn & Richard Collier Patrick McCabe John & Charli Danielsen Michael & Becky O’Malley Karen Faircloth Betty Pigford Tim Gallagher & Alexis Krivkovich Pat & Merrill Shanks Buzz & Lisa Hines Alison Teeman & Michael Yovino-Young Susan Hone & Jeffrey Leiter Ama Torrance and David Davies Fredric Jacobson & Mary Murtagh Ken Johnson & Nina Grove Concertmaster Level Gifts of $1,500 or more René Mandel Anonymous Lois & Gary Marcus Sallie & Edward Arens Bebe & Colin McRae Michele Benson Noel & Penny Nellis Norman A. Bookstein & Gillian Kuehner Ed Vine & Ellen Singer-Vine

60 October 13, 2016 Friends of Berkeley Symphony GIFTS

Principal Level Bruce Dodd Kevin Bastian & Dolores Dalton $750 and above Anita Eblé William W. Beahrs Anonymous Gini Erck & David Petta Emily H. Benner Ronald Adler Karen Fagerstrom Edward Bennett Phyllis Brooks Schafer Theresa Gabel & Timothy Elaine & David I. Berland Crystal & Craig Bryant Zumwalt Sandra Bernard Gray Cathrall Marianne & John Gerhart Elizabeth Raymer & Ragna Carol Christ Joan Glassey Boynton Richard & Christine Colton Stuart & Sharon Gronningen Cara Bradbury Sheila Duignan Bonnie & Sy Grossman David Bradford Jack & Ann Eastman Sophie Hahn & Eric Bjerkholt Tammy Button Mary & Stan Friedman Alan Harper & Carol Baird Cindy Chang & Christopher Hudson Doris Fukawa & Marijan Pevec Trish & Tony Hawthorne Stanley Clark Daniel & Kate Funk Susan & Jerry Herrick Zeo & Terry Coddington Olivia & Chuck Hasty Richard Hutson Frederick & Joan Collignon Lynne La Marca Heinrich Richard & Miki Keldsen Dr. Lawrence R. Cotter Jeffrey S. Leiter Andrew Lazarus & Naomi Janowitz Franklyn & Joslyn D’Antonio Arthur & Martha Luehrmann Helen Marcus & David Jan Davis Marjorie Randolph Williamson Robert & Loretta Dorsett Robert Sinai & Susanna Geraldine and Gary Morrison Beth & Norman Edelstein Schevill John & Mary Lee Noonan Rachel Eidbo Jutta Singh Simone Porter Ilse & James Evans Michel Taddei Thomas & Mary Reicher Bennett Falk & Margaret Anne & Craig Van Dyke Barbara & Nigel Renton Moreland Tony Schilling Mary Ellen Fine Associate Level John Skonberg Tom & Tallie Fishburne $300 and above Scott Sparling Bruce Fitch, BHS Class of 1968 Anonymous (3) (Member, Berkeley High Geoffrey S. Swift Angela Archie School Band) Marta Tobey Deborah & Eric Asimov Brenda Fitzpatrick Sheridan & Betsey Warrick Catherine Atcheson & Marcia Flannery Christian Fritze Nancy & Charles Wolfram Jeremy Fookes Fred & Elizabeth Balderston Ednah Beth Friedman Bonnie J. Bernhardt Supporting Level Julie Gardner Christel & Jurg Bieri $100 and above Isabelle Gerard George & Dorian Bikle Anonymous (3) Ellen Gierson Carl Blumenstein Jeannette Alexich Jeffrey Gilman & Carol Reif Stuart & Virginia Canin Joel Altman Stuart Gold Mark Chaitkin & Cecilia Storr Marian K. Altman Edward Gordon Mary Claugus Karthiga Anandan Harold Graboske Joe & Sue Daly Jane Anderson Steven E. Greenberg Dennis & Sandy De Domenico Nancy Austin Elaine Grossberg Lisa Delan Allison Baker Janet Guggenheim Elliott & Liz Deloach Joan Balter Ervin & Marian Hafter

October 13, 2016 61 62 October 13, 2016 Supporting Level Suzanne and William McLean Constance Ruben $100 and above (continued) Howard & Nancy Mel Julianne H. Rumsey Catherine A. Hebert Susan Messina Sheila Sabine William & Judith Hein Eileen Murphy & Michael Doug Sager Sarah S. Hendrickson Gray Linda Schacht & John Gage Florence Hendrix Ruth Okamoto Nagano George Scharffenberger Valerie & Richard Herr Anita Navon Brenda M. Shank Maj-Britt Hilstrom Dianne Nicolini James R. Shay & Steven F. Correll Darlene & Ira Holston John Nuechterlein Jack Shoemaker Russell & Penelope Michael & Andrea Pflaumer Jessie Shohara Phyllis Isaacson Lawrance Phillips Timothy Smallsreed Isaac Kaplan & Sandra Therese M. Pipe Kaplan Schwarcz Carl & Grace Smith Manuel & Connie Pires Irene & Kiyoshi Katsumoto Carla Soracco Leslie & Joellen Piskitel David Kessler & Nancy Sylvia Sorell & Daniel Kane Mennel Evan Painter & Wendy Polivka Margaret Sparks Brian Koh Lucille & Arthur Poskanzer Bruce & Susan Stangeland Sharon Korotkin Jo Ann & Buford Price David Stull Laura & Paul Kuhn Frances & Ronald Tauber Lisa and Mark Rafael Samuel & Tamara Kushner Randy & Ting Vogel Dr. & Mr. Megin Scully Reed Shelly Gin & Don Lee Minuth David & Marvalee Wake Catherine Lloyd Francoise Rees Sim Warkov Randi & Herb Long Erin & Mark Rhoades David & Pennie Warren Kim & Barbara Marienthal Suzanne Riess Gerald Weber Martha Mastracci Donald Riley & Carolyn Dr. George & Bay Westlake Alex Mazetis Serrao Nancy Wolfe Suzanne McCulloch Terry Rillera Charlene M. Woodcock Winton & Margaret McKibben Marc A. Roth Gordon & Evie Wozniak

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. Recognition levels exclude fundraising event auction item purchases and purchases of base-level tickets to fundraising events. 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 Honor of: Janet Maestre Kevin Bastian & Dolores Dalton Kenneth Johnson & Nina Grove Robin Bradley Shariq Yousefzi, Brian James and Tricia Swift Karena & Matt Fowler Victoria Grey Betty Pigford

Marilyn & Richard Collier Gifts received between September 1, 2015 Elaine & David I. Berland and September 1, 2016.

October 13, 2016 63 64 October 13, 2016 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 September 1, 2015 and September 1, 2016

$50,000 and above Up to $2,500 (continued) The William & Flora Hewlett Foundation Microsoft, Inc.

$25,000 and above Mu Phi Epsilon, Berkeley Alumni Berkeley Public Schools Fund Chapter Meyer Sound Laboratories, Inc. Soop

$10,000 and above Tides Foundation Ann and Gordon Getty Foundation A.V. Thomas Produce Matching Gifts Bernard E. and Alba Witkin Charitable Foundation The following companies have matched The Bernard Osher Foundation their employees’ or retirees’ gifts to Chevron Corporation Berkeley Symphony. Please let us know The Grubb Co. if your company does the same by LaSalle Financial Services contacting Cristine Kelly at 510.841.2800 x305 or [email protected]. The National Endowment for the Arts Anchor Brewing Co. $5,000 and above Chevron Corporation California Arts Council City of Berkeley Genentech, Inc. East Bay Community Foundation Microsoft, Inc. The Jill Grossman Family Charitable

Fund PH LIFE’S BEST MOMENTS

Union Bank Foundation OTOGR APHY

Wallis Foundation .C OM EL L $2,500 and above Music Performance Trust Fund MI TC H

Up to $2,500 ❖ ❖

Amazon Smile 65 510 Anchor Brewing Co. AR ETTA The Rudolph and Lentilhon G. Von Fluegge Foundation, Inc. 5- 4 .M ARG Epicurious Garden 92 0 Extreme Pizza WW W Genentech, Inc.

October 13, 2016 65 Broadcast Dates

Relive this season’s concerts on KALW 91.7 fm

KALW is proud to be Berkeley Symphony’s Season 2016/17 Media Sponsor

4 Mondays at 9pm in May 2017

Hosted by KALW’s David Latulippe

Program I: Oct. 13, 2016 will be broadcast on May 1

Program II: Dec. 8, 2016 will be broadcast on May 8

Program III: Jan. 26, 2017 will be broadcast on May 15

Program IV: May 4, 2017 will be broadcast on May 22

66 October 13, 2016 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.

Susan & Jim Acquistapace Lama Beans Café Ajanta LaSalette Restaurant A.V. Thomas Produce Alexander Leff Eric Asimov & Deborah Hofmann Jeffrey Leiter Peter Asimov Los Angeles Philharmonic Aurora Theatre Company René Mandel Natasha Beery & Sandy McCoy Peter Mandell & Sarah Coade Mandell Berkeley Repertory Theatre Rivers-Marie Wines Berkeley Symphony Richard Martin Bistro Liaison Jan & Michael McCutcheon George Boziwick Helen & John Meyer Cain Vineyards Mueller Family Vineyards Cal Performances Music@Menlo Kathy Canfield Shepard—Canfield Design Music in the Vineyards Studios Napa Valley Youth Symphony Chez Panisse Restaurant and Café National Geographic Unique Lodges Corison Winery New World Symphony Joy Carlin Mitchell Newman Club Cascadas de Baja Philharmonia Baroque Richard Collier Picante Restaurant Cottage Grove Inn Piedmont Piano Company (Jim Callahan) Carolyn Doelling Simone Porter Dyer Vineyards Portuguese National Symphony Jack & Ann Eastman Quivira Vineyards Anita Eblé Marjorie Randell-Silver—Copper Leaf Extreme Pizza Productions FIVE Restaurant San Francisco Opera Gary Glaser & Christine Miller San Francisco Symphony Anne & Matt Golden Linda Schacht & John Gage Gray Cathrall—Piedmont Post Saga Musical Instruments Green Music Center Deborah Shidler Gulbenkian Foundation Hiram Simon Kathleen G. Henschel & John W. Dewes Jutta Singh—Jutta’s Flowers Buzz & Lisa Hines Tia Stoller—Stoller Design Group Susan Hone Tricia Swift Brian James & Shariq Yosufzai Blair Tindall Jericho Canyon Vineyards Anne & Craig Van Dyke Kenneth Johnson & Nina Grove Yvette Vloeberghs Philippa Kelly The Wild Cat Education and Conservation Todd Kerr—Berkeley Times Fund Brian Koh Angela & William Young William Knuttel Michael Yovino-Young

October 13, 2016 67 BRING IN THIS AD TO RECEIVE A 1O% DISCOUNT ON ANY PURCHASE OF GIFTS AND FLOWERS

68 October 13, 2016 Administration Contact & Creative Staff Tickets available by phone, fax, René Mandel, Executive Director mail, e-mail, or online: Cristine Kelly, Interim Director of Berkeley Symphony Development 1942 University Avenue, Suite 207, Sarah Thomas, Director of Operations Berkeley, CA 94704 Andrew Leshovsky, Director of 510.841.2800 Fax: 510.841.5422 Marketing [email protected] www.berkeleysymphony.org Samantha Noll, Patron Services Manager find us on Mollie Budiansky, Development & Marketing Associate Cindy Michael, Finance Director Jean Shirk, Public Relations Consultant James Taylor, Corporate Development Associate Franklyn D’Antonio, Co-Orchestra Manager Workshops Joslyn D’Antonio, Co-Orchestra Manager Poetry Quelani Penland, Librarian Fiction David Rodgers, Jr., Stage Manager Memoir Stoller Design Group, Graphic Design 1600 Shattuck Ave, Dave Weiland, Photography Suite 216, Elie Khadra, Videographer Above Barney’s Johnson Digital Audio, Recording Engineer Manuscript Consulting Program College Andreas Jones, Design & Production Essay Stoller Design Group, Cover Design Writing John McMullen, Advertising Sales Thomas May, Program Notes Calitho, Printing

October 13, 2016 69 Advertiser Index

A1 Sun...... page 13 La Note Restaurant Provençal. . . . page 42 The Academy...... page 56 Left Margin Lit...... page 69 Ackerman’s Servicing Volvo. . . . . page 44 Mancheno Insurance Agency . . . . .page 35 Albert Nahman Plumbing...... page 30 Margaretta K. Mitchell ...... Alward Construction...... page 28 Photography ...... page 65 Aurora Theatre Company...... page 32 Marlene Simas, Realtor® ...... page 36 The Bay Grille at the DoubleTree Hotel. . . . Mason McDuffie...... page 56 ...... page 64 Maybeck High School...... page 44 Berkeley City Club...... page 17 McCutcheon Construction...... page 53 Berkeley Optometry...... page 26 Mountain View Cemetery. . inside front cover Bill’s Footwear...... page 40 Oceanworks...... page 56 BuyArtworkNow.com ...... page 46 Pacific Boychoir Academy...... page 60 Cal Performances ...... pages 19, 32 Pacific Union...... page 38 Chanticleer...... page 34 Piedmont Gardens ...... page 14 Chocolatier Blue...... page 58 Poulet...... page 42 The Claremont Club & Spa...... page 24 San Francisco ChamberOrchestra. . page 40 Coldwell Banker...... page 40 San Francisco Classical Voice. . . . . page 62 The College Preparatory School . . . page 46 Savvy Rest ...... page 28 The Cooperative Cleaning Company.. .page 22 Scharf Investments, LLC...... page 20 The Crowden School...... page 52 Star Grocery...... page 40 Dining Guide ...... page 42 Steve Deutsch Woodwinds...... page 28 Douglas Parking...... page 66 Storey Framing...... page 46 Eric Pomert, Film Editor...... page 46 Talavera...... page 35 The Faculy Club, UC Berkeley . . . . . page 17 Thornwall Properties...... page 18 Frank Bliss, State Farm...... page 10 Traverso Tree Service...... page 36 Going Places ...... page 28 Tricia Swift, Realtor. . . . . inside back cover The Grubb Co...... back cover Wooden Window...... page 30 Jutta’s Flowers...... page 68 Wells Fargo...... page 54 La Mediterranée...... page 42 Yovino-Young Inc...... page 36

to advertise in the berkeley symphony program, call john mc mullen 510.652.3879

70 October 13, 2016