Berkeley_Program Covers.pdf 2 9/18/18 6:49 PM

SYMPHONIC II BRITTEN & BERNSTEIN

01.31.19 | 8:00 PM

BENJAMIN BRITTEN Four Sea Interludes from Peter Grimes

HANNAH KENDALL Disillusioned Dreamer: (World Premiere)

LEONARD BERNSTEIN Symphony No. 2 for Piano and Orchestra, The Age of Anxiety

Jonathon Heyward Guest Conductor

Andrew Tyson Piano 18/19

Berkeley Symphony 18/19 Season

5 Message from the Board President 7 Message from the Executive & Artistic Director 9 Board of Directors & Advisory Council 11 Orchestra 15 Season Sponsors 17 Berkeley Sounds Composer Fellows 21 Tonight’s Program 25 Program Notes 41 Conductor Jonathon Heyward 43 Guest Artist & Composer 47 Berkeley Symphony Salutes Rose Marie Ginsburg 49 About Berkeley Symphony 52 Music in the Schools 55 Berkeley Symphony Legacy Society 57 Annual Membership Support 64 Broadcast Dates 69 Contact 70 Ad Index: Support Businesses That Support Us

Media Sponsor SEASON SPONSORS Official Wine Gertrude Allen • Laura & Paul Bennett • Margaret Dorfman • Ann & Gordon Sponsor Getty • Jill Grossman • Kathleen G. Henschel & John Dewes • Edith Jackson & Thomas W. Richardson • Sarah Coade Mandell & Peter Mandell • Rose Ray & Robert Kroll • Tricia Swift • S. Shariq Yosufzai & Brian James • Anonymous

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 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.

January 31, 2019 3 4 January 31, 2019 Message from the Board President

elcome to the second concert in WBerkeley Symphony’s 2018/19 Season. Our musicians, guest artists, and everyone involved in Berkeley Symphony’s production look forward to the great music you’ll be hearing tonight.

Our first concert of the season, Symphonic I: Higdon & Ravel, brought violinist Benjamin Beilman to our stage with Jennifer Higdon’s Violin Concerto. We also brought Berkeley Symphony’s Education Director, Ming Luke, to the podium for this set. A San Francisco Classical Voice writer, Jessica Balik, said in her review of the concert, “Luke led the Festive Overture with confidence and energy, thereby offering a convivial—and reassuring—start to Berkeley Symphony’s post- Carneiro era.” We agree with Balik, and continue to push for musical excellence and community relevance.

Tonight, we will be presenting three talented individuals to you. Jonathon Heyward, who, at age 23, was the first prize winner in 2015 of the 54th International Competition for Young Conductors of Besançon, takes the podium to lead the orchestra for the evening. Hannah Kendall, an up-and- coming composer, who won the Women of the Future Award for Arts and Culture in 2015, will be premiering her work Disillusioned Dreamer. We will also be featuring pianist Andrew Tyson, who is hailed by BBC Radio 3 as “a real poet of the piano” in Bernstein’s iconic second symphony.

The hardships and difficulties that minorities experience in our community are on the forefront of our hearts and minds. ’s Symphony No. 2, The Age of Anxiety, is a piece that was written in a time very similar to our own; one filled with injustice, persecution, and inequality. Kendall’s Disillusioned Dreamer pulls from Ralph Ellison’s groundbreaking novel Invisible Man. We encourage you to find hope for a brighter future tonight as we soothe our weary hearts with the magnificent healing power of music.

S. Shariq Yosufzai

January 31, 2019 5 RETHINKING HIGH SCHOOL Created by Teachers for Students

2727 College Ave. Berkeley 510.841.8489 MaybeckHS.org

6 January 31, 2019 Message from the Executive & Artistic Director

elcome! Tonight we are thrilled to celebrate the W musical brilliance of three young artists and to explore the intersection of music and literature.

It was our dear friend John Adams who first photo by Marshall Berman introduced me to our guest conductor, Jonathon Heyward. Just last year Jonathon was a recipient of the Dudamel Conducting Fellowship with the LA Philharmonic and made his debut at Disney Concert Hall with violin soloist Hilary Hahn in a performance the Los Angeles Times called “riveting.” It was Jonathon who then led me to our talented guest composer, Hannah Kendall, and the dazzling pianist Andrew Tyson. How fortunate we are to enjoy the formidable talents of these three young artists this evening!

All three of the compositions on tonight’s program were inspired by pieces of literature. We open the concert with ’s Four Sea Interludes from his opera Peter Grimes, adapted by the English writer Montagu Slater from the larger narrative poem of 1810 by George Crabbe (The Borough).

In a salute to Black History Month, Berkeley Symphony is honored to perform the world premiere of Hannah Kendall’s Disillusioned Dreamer, inspired by Ralph Ellison’s novel Invisible Man addressing the African American experience in the early twentieth century.

We end the program with Leonard Bernstein’s Symphony No. 2, The Age of Anxiety, a most relevant work in today’s political climate, based on W.H. Auden’s Pulitzer Prize-winning poem of the same name.

The program we enjoy this evening is a prelude to the Bay Area Book Festival on May 4-5 in Berkeley, when Berkeley Symphony will perform world premieres by our Berkeley Sounds Composer Fellows: Aiyana Braun, Ursula Kwong-Brown, and Peter Shin. This concert will be curated by Music Alive Composer-in-Residence, Anna Clyne. Each of these premieres is inspired by the work Bay Area writers.

With warmest wishes,

René Mandel

January 31, 2019 7 Thank you to Joana Carneiro for her adventurous artistic vision and leadership for nine seasons as our beloved Music Director and Conductor.

8 January 31, 2019 Board of Directors & Advisory Council

Board of Directors Executive Committee S. Shariq Yosufzai, President Kathleen G. Henschel, Vice President for Governance Sandra Floyd, Vice President for Development Gertrude Allen, Vice President for Community Engagement Paul Bennett, Vice President for Strategy John Dewes, Treasurer Brian James, Secretary Tricia Swift, Immediate Past President René Mandel, Executive and Artistic Director

Directors Advisory Council (continued) Susan Acquistapace Karen Faircloth William Knuttel Jill Grossman Janet Maestre Ellen L. Hahn Carrie McAlister Buzz & Lisa Hines Sandy McCoy Susan Hone Jan McCutcheon Jennifer Howard & Anthony J. Cascardi Thomas Z. Reicher Edith Jackson Thomas W. Richardson Kenneth A. Johnson & Nina Grove Deborah Shidler Todd Kerr Michel Taddei Jeffrey S. Leiter Peter Mandell & Sarah Coade Mandell Advisory Council Bennett Markel Jan McCutcheon, Co-Chair Bebe & Colin McRae Lisa Taylor, Co-Chair Helen & John Meyer Kathleen Crandall, Co-Chair Deborah O’Grady & John Adams Marilyn Collier, Chair Emerita Becky & Michael O’Malley Michele Benson Ed Osborn & Marcia Muggli Judith Bloom Marjorie Randell-Silver Norman Bookstein & Gillian Kuehner Kathy Canfield Shepard & John Shepard Joy Carlin Jutta Singh Ron & Susan Choy James Taylor Richard Collier Alison Teeman & Michael Yovino-Young Dianne Crosby Paul Templeton & Darrell Louie Charli & John Danielsen Anne & Craig Van Dyke Carolyn Doelling Yvette Vloeberghs

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10 January 31, 2019 The Orchestra

Joana Carneiro Music Director Emerita Viola

Kent Nagano Conductor Laureate Tiantian Lan Principal Ilana Matfis Assistant Principal Patrick Kroboth Violin I Ivo Bokulic Franklyn D’Antonio Concertmaster Alexander Volonts Matthew Szemela Associate Concertmaster Alessandra Aquilanti Emanuela Nikiforova Assistant Concertmaster Keith Lawrence Candace Sanderson Daria D'Andrea Lisa Zadek Kristen Steiner Stephanie Bibbo Dan Stanley Shawyon Malek-Salehi Junghee Lee Cello Ernest Yen Carol Rice Principal Frederick Chang Sponsored by Getrude Allen Annie Li Nancy Bien Assistant Principal John Bernstein Wanda Warkentin Bert Thunstrom Farley Pearce Kenneth Johnson Violin II Peter Bedrossian Daniel Flanagan Principal Jason Anderson Sponsored by Tricia Swift Margaret Moores Monika Gruber Assistant Principal Sylvia Woodmansee Hrafnhildur Atladottir Nicholas Carlin Daniel Lewin Thomas Yee Bass Erica Ward Michel Taddei Principal Rick Diamond Robert Ashley Assistant Principal Ann Eastman Alden F. Cohen Kevin Harper Aleksey Klyushnik Kristen Kline David Horn Charles Zhou Eric Price Quelani Penland continues on page 13

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12 January 31, 2019 Flute Trombone Emma Moon Principal Thomas Hornig Principal Sponsored by Janet Maestre Sponsored by Kathleen G. Henschel & John W. Dewes in memory of Marcos Maestre Craig Bryant Stacey Pelinka

Bass Trombone Piccolo Kurt Patzner Laurie Seibold

Oboe Tuba Deborah Shidler Principal Scott Choate Principal Sponsored by Lisa & Jim Taylor

Stardust Doherty Timpani Kevin Neuhoff Principal English Horn Bennie Cottone Percussion Clarinet Ward Spangler Principal Roman Fukshansky Principal Victor Audienko Bruce Foster Mark Veregge Bryce Leafman Bass Clarinet Jeannie Psomas Harp Wendy Tamis Principal Bassoon Melody Stein Carla Wilson Principal Ravinder Sehgal Piano/Celeste Marc Shapiro Principal Contrabassoon Shawn Jones

Horn Alex Camphouse Principal Caitlyn Smith Franklin Franklyn D’Antonio Loren Tayerle Co-Orchestra Manager Richard Hall Joslyn D’Antonio Tom Reicher Co-Orchestra Manager

Trumpet Quelani Penland John Freeman Principal Librarian Kale Cumings David Rodgers, Jr. Owen Miyoshi Stage Manager

January 31, 2019 13 14 January 31, 2019 18/19 Season Sponsors

Berkeley Symphony extends its deep appreciation to the following companies and individuals whose generous support has made the 18/19 season possible:

Gertrude Allen

Laura & Paul Bennett

Margaret Dorfman

Ann & Gordon Getty

Jill Grossman

Kathleen G. Henschel & John Dewes

Edith Jackson & Thomas W. Richardson

Sarah Coade Mandell & Peter Mandell

Rose Ray & Robert Kroll

Tricia Swift

S. Shariq Yosufzai & Brian James

Anonymous

January 31, 2019 15 16 January 31, 2019 Berkeley Sounds Composer Fellows

Anna Clyne, René Mandel, Peter Shin, Ursula Kwong-Brown, and Aiyana Tedi Braun.

n summer 2017, three emerging the Fellows receive artistic and I composers were chosen from career guidance from the Symphony a national candidate pool to artistic staff, orchestra musicians, participate in the inaugural and renowned mentor-composers Berkeley Sounds Composer Fellows and industry professionals. The goal program: Ursula Kwong-Brown of for participating composers is to ; Aiyana Tedi Braun, develop a composition style that is currently a student at the Curtis deeply personal and artistically true, Institute in Philadelphia; and yet designed to enter the standard Peter Shin of Kansas City. Through orchestra repertory. the two-season fellowship, the 2017/18 Season Fellowship Highlights composers are mentored by Music Alive Composer-in-Residence • Mentorship sessions with Anna Anna Clyne while developing Clyne, John Adams, Joana Carneiro, compositions to be performed by Berkeley Symphony principal Berkeley Symphony. In addition, musicians and artistic staff

January 31, 2019 17 • Development of new works for Peter Shin, and Ursula Kwong- chamber ensemble inspired by Brown were matched with artwork on display at BAMPFA dance by Berkeley Ballet Theater (Berkeley Art Museum & Pacific choreographers Laura O’Malley, Film Archive) Keon Saghari, and Vanessa Thiessen • Radio interview with DJ Velvet Einstein on KALX What’s Next: 2018/19 Season • Full: Pairs on March 31 at Fellowship Activities BAMPFA: Compositions by Berkeley • Development of new works for Sounds Composer Fellows were chamber orchestra based on poetry paired with pieces written by written by living Bay Area poets their mentors: Aiyana Braun with Jennifer Higdon; Ursula Kwong- • World premieres of chamber Brown with Myra Melford; Peter orchestra pieces to be performed Shin with Ted Hearne; and Anna in partnership with the Bay Area Clyne with Julia Wolfe Book Festival in Berkeley in May 2019 • Full: Symphony and Ballet on April 29 at BAMPFA: World • Additional performances of these premieres of chamber ensemble works on Berkeley Symphony’s pieces written by Aiyana Braun, spring Family Concerts photo by Dave Weiland

18 January 31, 2019 COLOR INSERT

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BERKELEY CITY CLUB

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ALBERT NAHMAN

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20 January 31, 2019 Symphonic II: Britten & Bernstein

Thursday, January 31, 2019 at 8pm Zellerbach Hall, Berkeley

Jonathon Heyward Conductor

Benjamin Britten Four Sea Interludes from Peter Grimes, Op. 33a

I. Dawn II. Sunday Morning III. Moonlight IV. Storm

Hannah Kendall Disillusioned Dreamer (World Premiere Commission)

INTERMISSION

Leonard Bernstein Symphony No. 2 for Piano and Orchestra, The Age of Anxiety

Andrew Tyson piano

I. Part One a) The Prologue: Lento moderato

b) The Seven Ages: Variations 1–7

1. L’istesso tempo 2. Poco più mosso 3. Largamente, ma mosso 4. Più mosso 5. Agitato 6. Poco meno mosso 7. L’istesso tempo

program continues on page 23

January 31, 2019 21 22 January 31, 2019 Leonard Bernstein Symphony No. 2 continued

c) The Seven Stages: Variations 8–14 1. Molto moderato, ma movendo 2. Più mosso (Tempo di Valse) 3. Più mosso 4. L’istesso tempo 5. Poco più vivace 6. L’istesso tempo 7. Poco più vivace

II. Part Two a) The Dirge: Largo b) The Masque: Extremely Fast c) The Epilogue: Adagio; Andante; Con moto

Tonight’s concert will be broadcast on KALW 91.7 FM on May 13, 2019, 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 Natasha Beery & William B. McCoy Kathleen Crandall & Lori Gitter & family Sandra & Kit E. Floyd

January 31, 2019 23 24 January 31, 2019 Program Notes

Benjamin Britten intensified feelings of alienation in his own life. Born November 22, 1913, in Lowestoft, England; died • Through Britten’s brilliantly December 4, 1975, in Aldeburgh, imaginative orchestration, Four Sea England Interludes not only serve to anchor the opera’s coastal setting but serve Four Sea Interludes from as multilayered commentaries on Peter Grimes, Op. 33a the issues it explores.

Composed: Britten composed the opera, Peter Grimes, from which Four ensitivity to literature and Sea Interludes are drawn between S theater was an indispensable 1944 and 1945. factor in the formation of Benjamin Britten—a factor that First performance: November 1948, made opera his natural element. with conducting The premiere in 1945 of his first the large-scale opera Peter Grimes (the Duration: c. 16 minutes source of Four Sea Interludes) in fact marked a watershed not just in Scored for 2 flutes (doubling the young composer’s career but piccolo), 2 oboes, 2 clarinets (2nd for postwar opera overall. Britten doubling E-flat clarinet), 2 bassoons went on to establish himself as and contrabassoon, 4 horns, one of the most significant opera piccolo trumpet and 2 trumpets, composers of the 20th century, 3 trombones, tuba, timpani, including operatic treatments of percussion, harp, and strings. the work of such literary giants as Shakespeare, Henry James, Herman In sum: Melville, and Thomas Mann. He • Benjamin Britten’s sensitivity to also experimented with the format, literature helped him become one of producing chamber operas for the leading composers of opera in small, flexible groups as well as for the 20th century’s second half. the new medium of television.

• Four Sea Interludes is extracted As a young prodigy composer, from his breakthrough 1945 opera Britten became part of the circle Peter Grimes, which depicts “the around fellow Englishman W.H. individual against the crowd.” Auden—who features in the Britten’s position as a gay pacifist final work on our program—and

January 31, 2019 25 ESTRO MA E H T M O R F

“Throughout the program, the theme is literature and how it inspires these three composers. We start off with Benjamin Britten’s Four Sea Interludes, which is a piece of great landscape and really picturesque ideas, colors, and textures that kind of really truly depict the coast of the UK.”

26 January 31, 2019 collaborated with the poet on bring about his self-destruction. his first opera, Paul Bunyan, and Britten sensed tremendous other works. Auden was a literary operatic potential in this mentor who molded the younger literary source. A story of “the composer’s sensibility and also individual against the crowd” is became a kind of guru, helping how he described the scenario him to come to terms with his (the librettist was the leftist sexuality. It was Auden’s example poet Montagu Slater), which that inspired Britten, together entailed “ironic overtones for our with his life partner, the tenor own situation.” That pertained Peter Pears, to emigrate on the both to the taboo subject of eve of the war in 1939 to the United his relationship with Pears States. In Britain, being gay and a (who created the role of the pacifist intensified the composer’s protagonist) and to his identity as sense of being marginalized. a conscientious objector.

But Britten’s homesickness was The composer was additionally awakened when an article by E.M. moved by the richly detailed local Forster prompted his discovery color of The Borough. Britten was of George Crabbe’s The Borough. determined to reconnect with his The events of this long narrative roots, and he and Pears ended their poem from 1810, written in the self-imposed exile, returning to form of letters, take place along what was now an England ravaged the East Anglian seacoast where by war. The opera includes six the composer had grown up. One orchestral interludes that gave of the characters depicted in Britten space to evoke the ever- the poem is the fisherman Peter present power of nature and the Grimes, who is accused by the sea as a character in its own right townsfolk of murdering his young in Peter Grimes. He extracted four of apprentices. Crabbe portrayed these to be performed as a stand- Grimes as a sadistic misanthrope, alone concert piece. In the opera, “untouched by pity.” Britten’s these interludes foreground the opera, in contrast, reimagines element of the sea setting and the ruthless bully as a movingly function as wordless commentaries ambiguous figure—a “tortured that might be compared to the idealist,” in the composer’s phrase, tragic Greek chorus. and, by extension, an outsider What to listen for set apart from the close-knit collective of the townspeople. The First Interlude (“Dawn”) Grimes’ outsize ambitions fatefully serves as the transition between combine with the hostility he the trial scene of the Prologue arouses from that community to (where Grimes is exonerated)

January 31, 2019 27 Manager: June McDaniels Music for Your Life 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

28 January 31, 2019 and the first act. Against the Hannah Kendall thin glint of sunlight breaking Born 1984 in London; currently through on high, menacing brass resides in New York City harmonies swell from below. This music returns to end the opera, Disillusioned Dreamer suggesting that nature’s eternal Composed: 2018 patterns are indifferent to the human suffering that has been First performance: This is the world premiere witnessed. The Second Interlude (“Sunday Morning”) prefaces Duration: c. 12 minutes the second act with extroverted, Scored for 2 flutes (both doubling brightly rhythmic tolling as the piccolo), 2 oboes, 2 clarinets, community gathers for worship. 2 bassoons (2nd doubling “Moonlight,” the Third Interlude contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, 2 (prelude to the final act), provides percussionists, harp, and strings. a counterpart to “Dawn.” A silvery rain of woodwind and percussion In sum: intermittently splashes, as • The young London-born Hannah yearning harmonies slowly Kendall, who has emerged as an throb with increasingly troubled eloquent new voice both in the intensity. Britten’s achievement concert hall and in the opera offers much more than house, is frequently inspired by picturesque “nature painting.” literary sources. The seascapes here function • Disillusioned Dreamer, a Berkeley as a screen onto which human Symphony commission, is emotions are projected. Thus Kendall’s musical response to the Fourth Interlude (“Storm”) a passage about awakening to doubles as scene-change music the reality of racism from Ralph for the opera’s first act and as Ellison’s landmark novel Invisible a metaphoric commentary on Man. Grimes’ inner psychic turmoil. • Kendall writes fluently for As a temporary refuge from the large orchestra in this work, storm—captured by the music’s using striking contrasts in thrashing violence—a sweeping timbre and gesture to pit the melodic arc interpolates a passing sense of an illusory dreamworld vision of peace. But its hope is against the newly awakened battered by the tempest’s savage state the unnamed Invisible Man final surge. experiences.

January 31, 2019 29 FRO M T HE M

A E S T R

O

“The next piece on the program is written by Hannah

Kendall who is an up-and-coming and fantastic British composer who has written Disillusioned

photo ©Paul Cressey Photography Dreamer. This will be a world premiere of this piece and at first glance of this fantastic work, I notice the incredible structure of sonic tones throughout, which plays on the timbre of what an orchestra actually can sound like. Underneath this kind of drawn strung out sonic sound is this really fantastic and upbeat underlying rhythm section that kind of reminds me a little bit of Stravinsky in how it keeps it going and keeps it’s pulse radiating. It should be a really exciting and fantastic world premiere.”

30 January 31, 2019 hen Berkeley Symphony mission is “to provide career W decided to include a brand- opportunities to young Black and new work for this program built Minority Ethnic (BME) classical around composers’ responses to musicians in the UK and Europe”), the written word, Hannah Kendall The Spark Catchers will receive its emerged as a natural choice to U.S. debut in June by the Seattle receive the commission. The young Symphony, with Jonathon Heyward artist, who was born in London to conducting. first-generation immigrants from Disillusioned Dreamer is another Guyana, has earned acclaim for a example of Kendall’s musical growing body of compositions that treatment of a source she are characteristically inspired by encountered in literature: here, poetic or other literary sources. a passage from Ralph Ellison’s The Indeed, her chamber opera Invisible Man (first published in its Knife of Dawn, which premiered entirely in 1952). Narrated by an in October 2016 in London, pays unnamed protagonist, Ellison’s homage to the real-life story landmark novel grapples with of Martin Carter (1927-1997), a issues of racism in American Guyanese poet and political activist society and black identity. made resistance to colonialism passage in question (from chapter a central theme. The libretto—by 12) describes the narrator being the Guyanese-born Canadian overcome “by a sense of alienation novelist Tessa McWatt—“touches and hostility” as he awakens to on the vulnerable aspects of a black an awareness that those around Caribbean man who is finding his him in the lobby of a Harlem identity through his poetry and his meeting house are “still caught up politics,” according to Kendall. in the illusions that had just been Even when her work does not boomeranged out of my head.” directly set a text, the composer They include “the younger crowd frequently finds stimuli for her for whom I now felt a contempt such as only a disillusioned musical imagination in the power dreamer feels for those still of words. She wrote the orchestral unaware that they dream . . .” piece The Spark Catchers in response to the poem of the same title by the Kendall notes that the vulnerability British writer Lemn Sissay (whose expressed here shares a similarity theme involves the 1888 strike with The Knife of Dawn. “Black male by London matchgirls protesting vulnerability—here, his realization inhumane working conditions). that his race renders him invisible Premiered at the BBC Proms in in society—is something that isn’t 2017 by the renowned Chineke! explored to a great extent in art or Orchestra (an ensemble whose in music. That’s why I was drawn to

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32 January 31, 2019 this source. This book changed my life Disillusioned Dreamer opens with and view on how things work and on gestures from the percussion that the reality of being black in society.” alternate with unsettling pauses, which together establish an The composer typically devotes a atmosphere “of being in suspense lot of time and care to choosing the and slightly restless. You don’t know right title for a new project. In fact, what is coming next,” according the title serves as the starting point, to the composer. “I usually have along with a graphic score, “because a very climactic point relatively whenever I am writing or sketching, it early on. Here, it conveys the idea has to go back to the title. It’s almost of being awakened— the Invisible as if the DNA structure of the piece is Man’s journey of coming out of that embedded in it.” dream.” While Kendall could have chosen A gesture of pulsation recurs “any combination of words” from with varying timbral colorations this passage about an awakening (harp, pizzicato strings doubled by experience, the phrase “disillusioned the woodwinds). “So much spins dreamer” stood out as especially around this pulsing, which keeps potent, since it marks “the moment the material rooted, like an idea that that the Invisible Man realizes that he is quite fixed—almost as though has himself been dreaming up to that the Invisible Man is mulling over point and has been awakened to the this new revelation he has had.” realities of being a minority.” Kendall Intricate woodwind figures evoke also incorporates phrases from the the dreamworld in contrast, while text as performance instructions. the use of high registers elicits what Kendall has already acquired Ellison describes as the “bright, impressive experience writing buzzing” environment around the narrator. “It’s a bit like when you for large orchestral ensembles. dream about people you know and “The sound of a full orchestra is so don’t know and can’t grasp what incredible,” she says. “I decided to use you’ve just dreamt about.” large forces for the instrumentation to bring across this idea of Kendall emphasizes that her pieces dreaming and being disillusioned are not tone poems or “specific by interweaving lines of intricate replications of a text.” Disillusioned material. The only way to make that Dreamer is not intended as a musical work logically is to have as many representation of what is being said. instruments as you can to make it Instead, the composer has taken “a fluid and transparent.” few aspects from the text and tried to express something new based What to listen for on what I was responding to at the Cast as a single movement, time.”

January 31, 2019 33 FRO M T HE M

A E S T R

O

“Leonard Bernstein’s Age of Anxiety is written as a second

symphony, but it’s more than a symphony, it’s really got a huge

virtuoso piano part which is going to be played by my dear friend

and colleague Andrew Tyson. We’ve worked together a lot and I’m photo ©Jeremy Ayres Fisher

so excited to be able to bring him to Berkeley.

Bernstein's [The] Age of Anxiety is based on W.H. Auden’s Age of Anxiety and, for the most part, has four characters. Throughout the piece you really understand the struggle and the kind of loneliness in the very beginning. Then the anxiety at the end of the first part kind of comes to this really big bursting climax and then we come back down at the beginning of the second part. And the very exciting part is in the middle of the second part, there’s a party between the four characters. And these four characters are depicted by the percussion, a solo bass, the solo piano— which will be played by Andrew—and also the harp and celesta. Within about two to three minutes, they have this incredibly intense interaction, which then comes to a climax and the whole orchestra plays a really gorgeous, beautiful, comforting finale.”

34 January 31, 2019 Leonard Bernstein • Bernstein also assigns a prominent role to solo piano, but he Leonard Bernstein: born August 25, did not consider The Age of Anxiety to 1918, in Lawrence, Massachusetts; be a piano concerto per se. died October 14, 1990, in New York City • The Age of Anxiety synthesizes an eclectic spectrum of musical styles, Symphony No. 2 for Piano ranging from lively jazz idioms to and Orchestra, The Age of twelve-tone austerity. Anxiety

Composed: 1947-48; revised in 1965 t was Leonard Bernstein who conducted the American First performance: April 8, I premiere of Peter Grimes—at 1949, with Serge Koussevitzky Tanglewood, in 1946. The year after conducting the Boston Symphony that, W.H. Auden—who had since and the composer as pianist become estranged from his former Duration: c. 35 minutes close friend Britten—published In addition to solo piano, scored a remarkable book-length poem for 2 flutes and piccolo, 2 oboes titled The Age of Anxiety: A Baroque and English horn, 2 clarinets Eclogue. An unsentimental, hard- and bass clarinet, 2 bassoons edged exploration of the modern and contrabassoon, 4 horns, 3 spiritual predicament (but trumpets, 3 trombones, tuba, paradoxically using an archaic timpani, percussion, celesta, 2 Anglo-Saxon meter), this poem harps (second optional), “pianino” immediately attracted Bernstein’s (upright piano), and strings. attention. Still working out how to balance his allegiances to “serious” In sum: music and the call of the Broadway • Leonard Bernstein, himself a stage, young Bernstein intended to talented writer, was drawn to follow Auden’s lead in composing W.H. Auden’s innovative long- “the record of our difficult and form poem The Age of Anxiety problematic search for faith.” as a powerful expression of Bernstein decided to respond contemporary alienation and to the poem in the form of an spiritual crisis. unconventional symphony • The poem served as the basis for orchestra and solo piano. for a wordless but highly eventful Commissioned by the Boston symphony—the second of Symphony, his Second Symphony Bernstein’s three works in this was written while the composer genre (each of which was inspired traveled widely during 1948 and by textual sources). 1949 (including a tour under

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36 January 31, 2019 wartime conditions in the newly he falls into mortal danger, tempted created state of ). Bernstein by guilt into a despair which tells him drew on some earlier material but that his isolation and abandonment also returned to the score years is [sic] irrevocable. It is impossible to later to revise it. He dedicated face such abandonment and live, but The Age of Anxiety to Serge as long as he gazes into the mirror he Koussevitzky, one of his most need not face it; he has at least his important mentors and a deeply mirror as an illusory companion.” influential father figure. Despite Auden’s poem, heavily allegorical and the prominent role of the solo Jungian, introduces three men and pianist, Bernstein insisted that his a woman who meet in a bar in New Second Symphony is “no concerto, York during wartime. (Hints of On the in the virtuosic sense.” Instead, Town: indeed, Bernstein’s longtime the piano soloist functions as an collaborator Jerome Robbins alter ego who combines aspects choreographed a ballet version of of the four individual characters the score in 1950.) They try to come delineated by Auden. to terms with feelings of loss deep in Some remarks by Bernstein and their innermost selves as they face Auden suggest a fascinating a fragmented, meaningless world. parallel with the issues of identity As in an Edward Hopper painting, and self-deception that Hannah their respective insecurities reinforce Kendall takes up in her new the loneliness each feels, even when Disillusioned Dreamer. Bernstein together. Attempts to escape through wrote: “The piano provides alcohol fuel the narrative with a an almost autobiographical sense of underlying despair. They are protagonist, set against an having, as Bernstein puts it, “the kind orchestral mirror in which he sees of good time which one hour later is himself, analytical, in the modern horrible.” ambience.” In notes for an essay What to listen for he was planning in the 1940s, Auden for his part mused on the Each of the six movements has image of the mirror, which plays an its own subtitle; the movements important role throughout The Age are also grouped into two larger of Anxiety: “Every child, as he wakes parts, each of roughly equal length. into life, finds a mirror underneath “The Prologue”’s duet of clarinets his pillow. Look in it he will and introduces an atmosphere of somber must, else he cannot know who reflection. At its close, the flute’s he is, a creature fallen from grace, descending figure—a key motif and this knowledge is a necessary throughout the work—leads us, in preliminary to salvation. Yet at the Bernstein’s words, “into the realm moment he looks into his mirror, of the unconscious” (made more

January 31, 2019 37 38 January 31, 2019 permeable by the copious drinking Part Two has three sections marked of the protagonists). by striking contrasts. The first, “The Dirge,” derives its main theme from Two sets of seven variations each a 12-tone row, which represents a follow. The first set (“The Seven vain search for authority. Its piano- Ages”) involves not a theme dominated middle section echoes per se but various fragments Stravinsky in neoclassical guise. of the material from The This eventually dissolves into “The Prologue presented in shifting Masque” (scored for just piano, configurations: piano solo, piano harp, celesta, and percussion), with the ensemble, and orchestra a full-blown jazz scherzo, where alone. The unstable rhythmic the quartet of characters try to energy of the fourth variation party before they fizzle out. It all introduces a strain of nervous ends in a ghostly disintegration. A humor that is part of The Age of four-note figure from the trumpet Anxiety’s soundscape. A haunting signals a return to sober reality reprise of The Prologue, expanded for “The Epilogue.” This motif of beyond the clarinets, occurs in the lingering hope (first sounded by seventh variation, before the piano the trumpet) blends with a reprise leads the descent further into the of the somber strains from “The unconscious. Prologue.” Bernstein later added a solo piano cadenza at this point, The second set of variations (“The following which the orchestra joins Seven Stages”) traces the collective in, transforming the hope motif into dream of the characters as they a passionate affirmation of life— search for meaning. Part One with all its anxieties. ends with emphatic but hollowly assertive music. —© 2019 Thomas May

Family Concerts

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.

Saturday, May 4, 10am & 11:30am Longfellow Middle School: 1500 Derby Street, Berkeley Free Admission—Donations Welcome

January 31, 2019 39 Dining Guide

oulet is like DELICATESSEN a cafe set CATERING P up at your 1685 SHATTUCK grandmother’s house BERKELEY 510-845-5932 - after she’s taken a few cooking courses MON-FRI 10 AM - 8 PM and gotten hip to SAT 10 AM - 7 PM vegetarian food, etc. -S.F. Chronicle Poulet POULETDELI.COM

40 January 31, 2019 Conductor: Jonathon Heyward

acclaim. In March 2018, he will premiere Wake: a new opera, which composer Giorgio Battistelli wrote for the Birmingham Opera Company (staging director: Graham Vick), photo by Jeremy Ayres Fischer and has been invited to conduct Porgy and Bess at the Spoleto Festival, USA, in 2020. Jonathon has been invited to conduct the St. Petersburg Symphony Orchestra, Basel Symphony Orchestra, Prague Symphony Orchestra, the Rotterdam Philharmonic Orchestra, Orchestre National des Pays de Loire, Orchestre de l’Opéra de Rouen, Orchestre de Chambre de Lausanne, Chineke! Orchestra, Orchestre National de Bordeaux-Aquitaine, the Philharmonie Zuidnederlandand, and the Symfonieorkest Vlaanderen. irst-prize winner in 2015 of the Jonathon was a recipient of the 54th International Competition F 2016/2017 Julius Rudel/Kurt Weill for Young Conductors of Besançon Conducting Fellowship and worked aged only 23, Jonathon Heyward on a production of Kurt Weill’s Lost was appointed in September in the Stars with the Los Angeles 2016 as Assistant Conductor Chamber Orchestra, funded by the at the Hallé Orchestra, which Kurt Weill Foundation. Jonathon has extended his contract for a Heyward studied cello before he third year. A 2017/2018 Dudamel took up conducting at the Boston Conducting Fellow, Jonathon made Conservatory under the guidance of his conducting debut with the Los Andrew Altenbach. He followed this Angeles Philharmonic Orchestra with postgraduate studies at the in December 2017, stepping in Royal Academy of Music, London, last minute for three concerts from where he graduated in June at the Walt Disney Concert Hall 2016. www.clbmanagement.co.uk/ with soloist Hilary Hahn, to great jonathon-heyward-conductor

January 31, 2019 41 Well Orchestrated Travel whether simple or sublime

SUNDAY, FEB 10, 5pm THURSDAY, MAY 2, 8pm CHAMBER Symphonic BEETHOVEN & BRAHMS CLYNE & STRAUSS Piedmont Zellerbach, Berkeley

SUNDAY, MAR 24, 4pm* SATURDAY, MAY 4, Symphonic 10am & 11:30am DVOŘÁK & ELLINGTON FAMILY CONCERTS Zellerbach, Berkeley Berkeley

SUNDAY, APRIL 14, 5pm *Note 4pm start time

CHAMBER SYMPHONIC at Zellerbach ANNA CLYNE PRESENTS Hall, Berkeley

Piedmont CHAMBER at Piedmont Center for the Arts

42 January 31, 2019 Guest Artist & Composer

Music Festival. Hannah’s works have also been broadcast on BBC Radio, including Composer of the Week in March 2015, and Hear and Now in photo Alexander © Chris October 2016. In 2015, Hannah won the Women of the Future Award for Arts and Culture. Recent projects include a one-man chamber opera, The Knife of Dawn, premiered at London’s Roundhouse in October 2016. Based on the Guyanese/ Caribbean political activist and poet Martin Carter, set to a new libretto by award-winning author Tessa McWatt, and directed by John Walton, it was described as being “dramatically intense and atmospheric, a powerful snapshot of a poet incarcerated in British Guyana” by The Stage. Also, The Spark Catchers, an orchestral piece for Chineke!, which was premiered at the Hannah Kendall, composer Royal Albert Hall on 30 August 2017 as part of the BBC Proms, described Described as “. . . intricately as “imaginatively intricate” by the and skillfully wrought” by The Financial Times. Works include Verdala Sunday Times, Hannah’s music has for London Sinfonietta, which attracted the attentions of some was premiered on July 21, 2018 at of the UK’s finest groups including BBC Proms, conducted by George London Philharmonic Orchestra, Benjamin. Bournemouth Symphony Orchestra, BBC Singers, and Philharmonia Born in London in 1984, Hannah went Orchestra, with performances at the on to graduate from the University Royal Festival Hall, Queen Elizabeth of Exeter with First Class Honours in Hall, Purcell Room, The Royal Opera Music, having studied composition House’s Linbury Studio Theatre, The with Joe Duddell. Hannah also Place, Westminster, Canterbury, completed a Masters in Advanced Gloucester and St Paul’s Cathedrals, Composition with Distinction from Westminster Abbey and Cheltenham the Royal College of Music studying

January 31, 2019 43 with Kenneth Hesketh and funded by by the Richard Thomas Foundation, the Arts and Humanities Research the work was premiered at the space Council, the Royal College of Music by Andrew Matthews-Owen and Study Award and the RVW Trust. expanded into a three-movement

Hannah is deeply committed to piece, On the Chequer’d Field Array’d contemporary culture as a whole that was performed by Andrew at the and often works collaboratively Purcell Room in May 2013. The work with artists from other art forms. was selected as a Premiere of the She has developed a fruitful creative Year by Magazine. relationship with poet Rick Holland, Hannah also has a Masters in Arts setting Fundamental for choir and Management, graduating from the brass quintet, described as being Royal Welsh College of Music and “a hugely accomplished work” Drama with Distinction. She has since by Music OMH and a number of enjoyed positions within the Music other poems from Rick’s recently- and Media Relations Departments at published collection Story the the Barbican Centre, Europe’s largest Flowers . Hannah also worked multi-arts venue. Currently, Hannah closely with choreographer Symeon Kyriakopoulos in creating also works part-time as a Director Labyrinthine, which was premiered at at London Music Masters, a charity The Place as part of the Resolution! that aims to enable opportunity, Festival in 2009. Most recently, diversity and excellence in classical Hannah joined forces with Gallery music, inspiring positive change for Libby Sellers in developing individuals and communities, and Middlegame for solo piano, which teaches on the Composition/General took inspiration from the Gallery’s Musicianship team at Junior Royal GAMES exhibition. Commissioned Academy of Music.

Andrew Tyson, piano the Haydn Philharmonic Orchestra, a performance of Chopin’s Piano ailed by BBC Radio 3 as “a real Concerto No. 2 with the Orchestra della poet of the piano,” Andrew Tyson H Svizzera italiana under the baton of is emerging as a distinctive and , as soloist with the important new musical voice. Kansas City Symphony and the Boise Andrew Tyson’s busy 2017-2018 Philharmonic, as well as recitals at the schedule takes him throughout Caramoor Center for Music and the the United States and Europe. Arts, the Miami International Piano Highlights this season include his Festival, and on the Gilmore Rising Vienna Konzerthaus debut with Stars Recital Series.

44 January 31, 2019 photo by Sophie Zhai

Recipient of a 2013 Avery Fisher awarded to the pianist chosen by Career Grant, Mr. Tyson is Laureate the orchestra and conductor Sir of the 2013 Queen Elisabeth Mark Elder. His initial engagement Competition and captured First Prize with the Hallé Orchestra was so at the 2015 Géza Anda Competition, acclaimed that it has led to an where he was also awarded the ongoing relationship and several performances with the orchestra. Mozart and Audience Prizes. He has appeared as soloist with the Mr. Tyson has performed at the Virtuosi Chamber Orchestra , the National with Vladamir Spivakov, with the Chopin Foundation, Lincoln Center’s National Orchestra of Belgium under Mostly Mozart Festival, the Brevard Marin Alsop, the Orchestra of St. Music Festival, the Isabella Stewart Luke’s, the Las Vegas Philharmonic, Gardner Museum, and the Morgan the North Carolina Symphony, Library and Museum. Abroad, he the Edmonton Symphony and the has performed at the Brussels Piano Louisville Orchestra. Festival, Beethoven Fest in Bonn, the Musée du Louvre in , the Palais Mr. Tyson is a Laureate at the des Beaux-Arts in Brussels, the 2012 Leeds International Piano Filharmonia Narodowa in , Competition, where he won the new the Sintra Festival in Portugal, and Terence Judd-Hallé Orchestra Prize, the Music Viva Festival in Australia.

January 31, 2019 45 In 2013, Mr. Tyson gave his New York Music Festival Competition. After recital debut in the Young Concert early studies with Dr. Thomas Otten Artists Series at Merkin Concert Hall of the University of North Carolina, and in Washington, DC debut at the he attended the Curtis Institute Kennedy Center’s Terrace Theater. of Music, where he worked with After winning the prestigious Leo B. Claude Frank. He later earned his Ruiz Memorial Recital, he performed Master’s degree and Artist Diploma at Carnegie’s Weil Recital Hall and at The with Robert NDR Hanover Concert Hall. As McDonald, where he won the Gina winner of the Young Concert Artists Bachauer Piano Competition and International Auditions in 2011, Mr. received the Arthur Rubinstein Tyson was awarded Young Concert Prize in Piano. Andrew Tyson’s two Artists’ Paul A. Fish Memorial Prize recital discs have been issued on and the John Browning Memorial the Alpha Classics label. His debut Prize. disc comprises the complete Chopin Mr. Tyson made his orchestral debut Preludes while his second album at the age of 15 with the Guilford released in 2017 features works by Symphony as winner of the Eastern Scriabin and Ravel.

46 January 31, 2019 Berkeley Symphony Salutes Rose Marie Ginsburg

her way. She was a student of Mira May who studied with Menhuin, Judith Poska who was a student of

photo Perkes © Maggie Carl Flesch, and Jim Shallenberger who is a founding member of the Kronos String Quartet and the SF Symphony, Opera, and Ballet orchestras.

Before joining Berkeley Symphony, Ginsburg performed with Sunnyvale Symphony, Richmond Symphony, Prometheus Symphony, Kensington Symphony, and Berkeley Community Chorus and Orchestra. Ginsburg has countless fond memories of the ose Marie Ginsburg is a woman music and people she encountered R of many talents—a successful in her many years performing with artist, a hard working medical office Berkeley Symphony. She reminisces worker, a proud mother, and, not about how close everyone is in least of all, an excellent violinist. Berkeley Symphony and has fond Berkeley Symphony pays tribute memories of the people she’s tonight to Rose Marie Ginsburg, performed with for so many years. a long time member of the violin “Janet Maestre and I were both section who recently retired from pregnant when we played in the the orchestra. Richmond Symphony in 1967. I would look over at her and we’d both laugh Ginsburg grew up in Earlimart, CA, a at our bellies while we were playing. small agriculture town near Delano, My son is now 51 as well as her CA. Her father was a cotton and daughter.” alfalfa farmer. She went to school in Delano and was the oldest of six “I remember when we performed children. Ginsburg’s interest in the the Frank Zappa Ballet with life violin started at a very young age sized puppets in 1984. He [Zappa] in elementary school where she had a huge body guard with him studied with Phyllis Magnuson and who was about 6’4” and had a white John Swanson. Her studies brought a suit on.” Memorable performances variety of talented violin instructors she also mentions are premieres

January 31, 2019 47 the orchestra performed of works high school at Delano High School by , John Adams, with my brother. Jutta was a German and Thomas Adès. “One time Kent High School exchange student.” Nagano forgot his dress shoes for While Ginsburg is enjoying her a concert and had to conduct in his retirement from Berkeley Symphony, socks. I believe he later conducted it doesn’t seem to mean she is in socks.” While she does have many decreasing her artistic activities. memories of performances with the In 1995, she went back to school to orchestra, her connection with the the California College of Arts and people of Berkeley Symphony also Crafts and earned her BFA in Textiles reaches beyond the concert hall. with distinction. Her artwork has “We used to have great parties after been featured in many museums our concerts. First they were in the and galleries; in fact, her artwork home of Barbara Hendrickson with titled “Edward Hopper” is on display her wonderful colorful paintings currently in Pence Gallery in Davis, and then in Judith Bloom’s house. It CA. “He has buttons for eyes that look wasn’t until later that receptions were like clocks and his tail is made of old held in Zellerbach [Hall].” She also telephone cables.” discovered that Jutta Singh of Jutta’s Flowers, Berkeley Symphony’s official Berkeley Symphony thanks Rose florist, had gone to the same school Marie for her many years of service in Delano. “She went to one year of and dedication to the Orchestra.

Edward Hopper

48 January 31, 2019 About Berkeley Symphony photo by Dave Weiland

erkeley Symphony is unique culturally diverse people and the B among Bay Area and American heady creative climate of their orchestras for its commitment home city. to innovation, community, and Thomas Rarick, a protégé of the excellence. Founded in 1971 in the great English maestro Sir Adrian intellectual and artistic nexus of Boult, founded the orchestra in 1971 Berkeley, California, the Orchestra as Berkeley Promenade Orchestra. is committed to premiering and Reflecting the spirit of the times, commissioning new music and musicians performed in street champions female composers, dress and at unusual locations sustained by the supportive musical such as the University Art Museum. environment of Berkeley, the East When Kent Nagano became the Bay, and the San Francisco Bay Area. music director of the orchestra in From the outset, the people behind 1978, he charted a new course by Berkeley Symphony’s culture and offering innovative programming programming were attuned to the that included rarely performed

January 31, 2019 49 photo by Dave Weiland

20th-century works and numerous In 2016, Berkeley Symphony premieres. The renamed Berkeley and composer Anna Clyne were Symphony Orchestra gained an awarded a Music Alive grant for a international reputation for its three-year composer residency, adventurous programming, and designed to immerse Clyne and became known for premiering the the Symphony in the creation of music of international composers new work, collaboration with other and showcasing young local Berkeley arts institutions, music talents. education, community outreach Berkeley Symphony entered a new and multidisciplinary activities. era in January 2009 when Joana Following Music Director Joana Carneiro became the Orchestra’s Carneiro’s decision to step down third Music Director in its 40-year from the position in 2018, Berkeley history. Under Carneiro, the Symphony named her Music Orchestra continued its tradition Director Emerita and formed a of presenting the cutting edge of committee to determine the future classical music for nine seasons. of artistic leadership.

50 January 31, 2019 January 31, 2019 51 Music in the Schools

Ming Luke, Education Director & Conductor

ore than 4,700 school Or simply mail your contribution to: M children benefit each year Berkeley Symphony, from Berkeley Symphony’s award- Music in the Schools Fund, winning Music in the Schools 1942 University Ave. Suite #207, program, which provides: Berkeley, CA 94704 berkeleysymphony.org/mits • Over 200 In-class Sessions led by Berkeley Symphony musicians, plus curriculum booklets with age Music in the Schools Sponsors appropriate lessons addressing (Gifts of $2,500 and above annually) state standards for music Gifts received between January 1, 2018 and education. January 31, 2019

• Over 65 Band and Orchestra $10,000 and above Sectionals, coaching sessions, Berkeley Public Schools Fund master classes, and adjudications California Arts Council Ann & Gordon Getty at all three BUSD middle schools. Kathleen G. Henschel & John W. Dewes • Eleven Meet the Symphony The Familian Levinson Foundation National Endowment for the Arts concerts in elementary schools Bernard E. & Alba Witkin Charitable each fall. Foundation S. Shariq Yosufzai & Brian James • Six I’m a Performer concerts giving young musicians the $5,000 and above Gertrude E. Allen opportunity to rehearse and Laura & Paul V. Bennett perform with Berkeley Symphony. Jefferson Han & Jennifer Banzaca Edith Jackson & Thomas W. Richardson All Music in the Schools Helen & John Meyer programming is 100% free of charge Music Performance Trust Fund for children and their families. We Rose Ray & Robert Kroll are grateful to the donors listed Ama Torrance & C.J. David Davies Music Performance Trust Fund on this page whose financial contributions support Music in the $2,500 and above Schools. Please join those making Susan & Ronald Choy Music in the Schools a reality! Kathleen Crandall & Lori Gitter Paul & John Gambs Donate online and designate Jan McCutcheon your gift as “Restricted—Music Lisa & James Taylor in the Schools Program.” Union Bank Foundation

52 January 31, 2019 COLOR INSERT

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PRINTED SEPARATELY 20th-century Modern Art Gallery & Auction Buying and Building Art Collections for 20 years Oakland, CA | 510.350.8875 | modartex.com

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54 January 31, 2019 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 Maggie Perkes at 510.841.2800 x304 or [email protected].

What Planned Giving Means

Planned gifts contribute to the future security of Berkeley Symphony. You can make a significant impact on Berkeley Symphony’s future financial health through a gift that costs nothing during your lifetime.

A planned gift offers the opportunity to include Berkeley Symphony as a part of your legacy and provides for substantial tax savings for donors. Leave a legacy of philanthropic support by making Berkeley Symphony a part of your estate planning.

Legacies Pledged Gertrude Allen Kenneth Johnson & Joan Balter Nina Grove Norman Bookstein & Jeffrey S. Leiter Gillian Kuehner Janet & Kathleen G. Henschel Marcos Maestre Bennett Markel Tricia Swift

Legacies Received Rochelle D. Ridgway Margaret Stuart E. Harry Weininger Graupner Lisa Taylor

January 31, 2019 55 SpEciAl hAnd-mAde chOcOlatES tO SurpriSE And inSpirE yOur tAStE budS

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

1964 university ave., berkeley 510.705.8800 bluesberkeley.com

56 January 31, 2019 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. The generosity of supporters like you allows us to take audiences on adventures that leave them with amazement, to support commissions of world-class composers, to present premieres, and to impact the lives of thousands of children in hundreds of classrooms each year.

Gifts received between January 1, 2018 and January 13, 2019.

Sponsor Circle GIFTS

Season Sponsors Executive Sponsors $50,000 and above $10,000 and above (continued) Ann & Gordon Getty William Knuttel Kathleen G. Henschel & John W. Janet Maestre Dewes Jan McCutcheon Helen & John Meyer Rose Ray & Robert Edward Kroll S. Shariq Yosufzai & Brian Lisa & James Taylor James Tricia Swift

Season Sponsors Founding Sponsors $25,000 and above $5,000 and above Anonymous Susan & Jim Acquistapace Gertrude E. Allen Allison Baker Laura & Paul V. Bennett Natasha Beery & Sandy McCoy Sarah Coade Mandell & Peter Gray Cathrall Mandell Susan & Ronald Choy Margaret Dorfman Kathleen Crandall & Lori Gitter Jill Grossman Dianne Crosby Edith Jackson & Thomas W. Richardson Jr. Dean Francis Nina Grove & Ken Johnson Executive Sponsors Ellen Hahn $10,000 and above Jefferson Han & Jennifer Banzaca Anonymous Sue Hone & Jeffrey Leiter Sandra & Kit Floyd Marcia Muggli & Ed Osborn Paula & John Gambs Pat & Merrill Shanks

January 31, 2019 57 SPONSOR Circle GIFTS Concertmaster Level (continued) Gifts of $1,500 and above (continued) Ms. Carol Christ Founding Sponsors John & Charli Danielsen $5,000 and above (continued) Karen Faircloth Deborah O’Grady & John Adams Mary Friedman Sandra Silva & Gene Borstel Anna & Will Hoover Paul Templeton & Darrell Louie Jennifer Howard & Tony Cascardi Ama Torrance & C.J. David Davies Gillian Kuehner & Norman A. Bookstein Ellen Singer-Vine & Ed Vine Martha & Arthur Luehrmann Conductor Level Helen Marcus $2,500 and above Maryam Malek Anonymous René Mandel John Batelle Helen Marcus & David Williamson Marilyn & Richard Collier Bebe & Colin McRae Anne B. Corcos Penny & Noel Nellis Bridget O’Keefe Lisa & Buzz Hines Thomas & Mary Reicher Mark Lubin Harriet Simpson Bennett Markel Jutta Singh Michael & Becky O’Malley Anja Plowright Principal Level Marc Roth Gifts of $1,000 and above Deborah Shidler & David Burkhart Carol Baird & Alan Harper Alison Teeman & Michael Yovino- Ginny & Bob Blumberg Young Virginia & Stuart Canin Anne & Craig van Dyke Joy Carlin Marcy Wong & Donn Logan Christine & Richard Colton Dr. Charles M. Crane Concertmaster Level Mary & Stan Friedman Gifts of $1,500 and above Doris Fukawa & Marijan Pevec Anonymous Olivia & Chuck Hasty Sallie & Edward Arens Dr. Lucinda Lee Katz Michele Benson Shira Lee Katz Judith L. Bloom Melissa Gates & Robert Maryam Boghratian McKee Kathy Canfield Shepard & John Robin Laub Shepard Lois & Gary Marcus

58 January 31, 2019 Principal Level Ginny & William Schultz Gifts of $1,000 and above (continued) Michel Taddei Ditsa & Alexander Pines Jim Tibbs & Philip Anderson Dianna & Pooj Preena Patricia Yocom & Jerry Placken

Friends of Berkeley Symphony GIFTS

Assistant Principal Level Assistant Principal Level $750 and above $750 and above Joel Altman Carrie Shores Ms. Joan Balter Robert Sinai & Susanna Schevill Ms. Bonnie J. Bernhardt Wallace Smith Jurg & Christel Bieri Shelley Willig Ernie Brown Zeo & Terry Coddington Sara & Bill Cumbelich Associate Principal Level Ms. Mavis Delacroix $250 and above Carolyn Doelling Caroline Acquistapace Ann & Jack Eastman Patricia & Ronald Adler Cindy & Harry Eisenberg Mrs. Evelyn L. Apte. M.S.W. Allyson & Michael Ely Catherine Atcheson & Christian Fritze Jim Foley Mr. & Mrs. Frank Bliss Daniel & Kate Funk Theresa Gabel & Timothy Zumwalt Will Bartlett Sharon & Stuart Gronningen Laura & Scott Bovard Ms. Ann Fischer Hecht Jaimy Chadam Valerie V. & Richard Herr Nicole Chun & John McMahon Cecilia Hoover Bill Criswell Tineke Jacobsen Chris D’Ambra Todd Kerr Sue & Joe Daly Benjamin Kimmich Harold Davis Mr. & Mrs. William Knowland Paula & James R. Diederich John C. Lamar Dennis & Sandy De Domenico Nancy Lehrkind René Mandel Jessica Downs & David Stull Carrie McAlister Harry Eisenberg Patrick McCabe Susan K Fisher Lance & Dalia Nagel Mr. Michael Fried Barbara Persons Isabelle Gerard Eric Rudney Joan Glassey Linda Schacht & John Gage Victoria Grey

January 31, 2019 59 Friends of Berkeley Symphony GIFTS (continued)

Associate Principal Level $250 and above (continued) Peggy Griffin Bonnie & Sy Grossman D.J. Grubb Sophie Hahn & Eric Bjerkholt Jan Hale Jane Hammond Trish & Tony Hawthorne Lynne La Marca Heinrich Mark & Lynne Humphrey Fred Jacobson Tomer Kagen Milan Kaur Joanne Kelly Philippa Kelly & Paul Dresher Irene & Kiyoshi Katsumoto Kate Knickerbocker Friends of Shariq & Brian Alison Taylor Lange Jacqueline Leventhal Steve Luppino Rebecca Macieira-Kaufmann Mary Beth & Terry Mayo Howard Mel Gretta Mitchell & Sim Warcov Geraldine & Gary Morrison Dr. Steven Murray Jane Neilson Mary Lee Noonan Mr. Michael Pflaumer Milanendra Piterman Lucille & Arthur Poskanzer Suzanne Riess Linda Rosen

60 January 31, 2019 Associate Principal Level Associate Principal Level $250 and above (continued) $120 and above (continued) Sam Salkin Robert & Loretta Dorsett Ms. Phyllis Brooks Schafer Beth & Norman Edelstein Roger Schwenke Bennett Falk & Margaret Moreland Marta Tobey & Roger Ramey Ms. Mary Ellen Fine Nicholas Toth Ms. Brenda Fitzpatrick Li-Hsia Wang & Henry L. Ednah Beth Friedman Abrons Marianne & John Gerhart Emily & Robert Warden Elizabeth & Sheridan Warrick Heidi Goldstein Linda & Steven Wolan Anita Stapen & Richard Granberg Craig Wood Steven E. Greenberg Katinka Wyle Ervin & Marian Hafter William & Judith Hein Alan Stephens, Donna Hiraga- Associate Principal Level Stephens $120 and above Joanna Hirsch Philip & Mary-Ellis Adams Luise Hollowell Karthiga Anandan & Luckshman Parameswaran Phyllis Isaacson Mark & Cynthia Anderson Melanie Johnston Jason Anderson Michelle Jurika Laura Arechiga Rick St. John & Tamiko Katsumoto Barbara Armentrout Charlotte Buchen Khadra Christian Fritze & Catherine Paul Kuhn Atcheson Samuel and Tamara Kushner Lea Baechler Mr. James T. Leak Anna Bellomo & Joshua Bloom Eric Leimbach Elaine & David I. Berland Gordon Linden Dorian Bikle Jim Lovekin Ragna Boynton Susan Malick Julia R. Brown Michael Marks Suzanne & Italo Calpestri Mr. Michael T. Coonan Jayne A and James E Matthews Susan Crosby Alex & Nancy Mazetis Beth Crovitz Suzanne McCulloch Claire Day Suzanne & William McLean Margaret Dennis Cynthia Mei Ms. Jacqueline M. Divenyi Junichi & Sarah Miyazaki

January 31, 2019 61 Friends of Berkeley Steven Scholl Symphony GIFTS Donald A. Riley & Carolyn Serrao (continued) Sylvia Sorell & Daniel F. Kane Jr. Bruce & Susan Stangeland Associate Principal Level Deborah Van Nest $120 and above (continued) David & Pennie Warren Lisa Montano Dr. George & Bay Westlake Ms. Ruth Okamoto Nagano Ms. Jane White Kurt Peterson Jennifer Wolan Therese M. Pipe Mrs. Charlene M. Woodcock Madeline Prager Gordon & Evie Wozniak Carol J. Reif Fleur Yano Ms. Polly Rosenthal Angela & William Young

We thank all who contribute to Berkeley Symphony, including those giving up to $120 annually and those whose gifts have been received since press time. While every attempt has been made to assure accuracy in our list of supporters, omissions and misspellings may occur. Please call 510.841.2800 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 . . . Gifts received between January 1, 2018 and January 13, 2019.

In Honor of: In Memory of:

Gertrude Allen Dr. Marcos F. Maestre Rod Becker Gertrude E. Allen Margaret Dennis Jan McCutcheon Kathleen G. Henschel & John W. Dewes Marilyn & Richard Collier Marilyn & Richard Collier Elaine & David I. Berland Nina Grove & Ken Johnson

Janet Maestre Leslie & Joellen Piskitel Irene & Kiyoshi Katsumoto E. Jules Mandel Marilyn & Richard Collier Debbie and Ward Spangler Judith Bloom David J. Williamson Helen Marcus Tricia Swift Christine & Richard Colton C. Stephen Ray Margaretta K Mitchell Rose Ray & Robert Kroll

62 January 31, 2019 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 January 1, 2018 and January 13, 2019.

$50,000 and above $5,000 and above

Ann and Gordon Getty Anonymous Foundation

Jill Grossman Family Charitable $2,500 and above Fund Chevron

Meyer Sound Laboratories, McCutcheon Construction Inc. Music Performance Trust New Music U.S.A. Fund

William & Flora Hewlett Union Bank Foundation Foundation Wells Fargo

$25,000 and above Up to $2,500 Berkeley Public Schools Amazon Smile Fund CALI Program Clarence E. Heller Charitable Foundation C/O Leventhal/Kline Management Inc.

$10,000 and above GE Foundation Bernard Osher Foundation Matching Gifts Program California Arts Council

City of Berkeley Roche-Genentech

The Familian Levinson Thornwall Properties Foundation The Tides Foundation

The Grubb Co.

National Endowment for To Advertise in the the Arts Berkeley Symphony Program Call John McMullen Bernard E. & Alba Witkin 510.459.8264 Charitable Foundation

January 31, 2019 63 ANNUAL INSTITUTIONAL GIFTS Broadcast Dates (continued) Matching Gifts

Relive this season’s The following companies have concerts on matched their employees’ or retirees’ KALW 91.7 fm gifts to Berkeley Symphony. Please let us know if your company does the same by contacting Maggie Perkes at 510.841.2800 x304 or [email protected]. Abbott Fund Anchor Brewing Co Chevron Foundation Home Depot Johnson & Johnson KALW is proud to be Roche-Genentech Berkeley Symphony’s UBS Foundation USA Season 18/19 Media Sponsor

4 Mondays at 9pm in May 2019

Hosted by KALW’s David Latulippe

Program I: Oct. 4, 2018 Subscribe To will be broadcast on May 6 Our Newsletter Program II: Jan. 31, 2019 Join our mailing list to will be broadcast on May 13 receive the latest news and updates about future Program III: Mar. 24, 2019 performances. will be broadcast on May 20

Program IV: May 2, 2019 BerkeleySymphony.org/ will be broadcast on May 27 email-signup

64 January 31, 2019 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.

Ace Hotel Dyer Straits Wine Company LLC Ajanta Elevation 66 Brewing Co. Gertrude E. Allen Extreme Pizza Anchor Brewing Co Karen Faircloth Anonymous Galeto Association of California Symphony Google AdGrants Orchestras Ann and Gordon Getty Foundation Aurora Theatre Grace Street Catering Bancroft Hotel Jill Grossman Natasha Beery & Sandy McCoy Nina Grove & Ken Johnson Berkeley Repertory Theatre Hardesty Dwyer & Co. Berkeley Times Kathleen G. Henschel & John W. Berkeleyside Dewes Blue’s Chocolates Buzz & Lisa Hines California Symphony Susan Meadows Hone & Jeffrey S. Leiter Joy Carlin Hugh Groman Group Chef Lyell Cash Jutta’s Flowers and Gifts Chez Panisse Restaurant & Café Kermit Lynch Wine Merchant Claremont Club & Spa Todd Kerr Marilyn & Richard Collier William Knuttel Corso La Note Restaurant Cottage Grove Inn Lama Beans Kathleen Crandall & Lori Gitter Lawrence Berkeley National Decades of Fashion Laboratory Del Sol String Quartet Lawrence Hall of Science Diablo Ballet Richard C. Diamond Ming Luke Dr. Jennifer Doudna Lusu Cellars

January 31, 2019 65 66 January 31, 2019 IN-KIND GIFTS Tia Stoller & Drew Detsch (continued) Tricia Swift Malibu Farm Restaurant Michel Taddei René Mandel Lisa & James Taylor Mangia, Mangia Anne & Craig Van Dyke McCune Yvette Vloeberghs Jan McCutcheon Winewise Meyer Sound Laboratories, Inc. S. Shariq Yosufzai & Brian James Mueller Family Vineyards Angela & William Young Music in the Vineyards New World Symphony Oakland Symphony The Old Globe Peet’s Coffee Pelago Perle Maggie Perkes PSPrint Christian Reif Ruby Hill Winery Sam’s Social Club San Diego Symphony San Francisco Opera San Francisco Zoo Dr. Randy Schekman Kathy Canfield Shepard & John Shepard Deborah Shidler & David Burkhart Shotgun Players Mr. Hiram Simon The Speakeasy Star Grocery

January 31, 2019 67 BRING IN THIS AD TO RECEIVE A 1O% DISCOUNT ON ANY PURCHASE OF GIFTS AND FLOWERS

68 January 31, 2019 Administration & Creative Staff

René Mandel, Executive & Artistic Quelani Penland, Librarian Director David Rodgers, Jr., Stage Manager Jim Tibbs, Associate Executive Director Karen Kamberg Design, Graphic Sarah Thomas, Director of Operations Design

Maggie Perkes, Director of Dave Weiland, Photographer Advancement Elie Khadra, Videographer Kristen Steiner, Patron Services Manager Zach Miley, Recording Engineer

Cindy Michael, Finance Director Program Matt Doherty, Development Associate

Tiffany Fajardo, Patron Services Andreas Jones, Design & Production Associate Karen Kamberg Design, Cover Design

Franklyn D’Antonio, Co-Orchestra John McMullen, Advertising Sales Manager Thomas May, Program Notes Joslyn D’Antonio, Co-Orchestra Manager Calitho, Printing

Contact

find us on For tickets, call 510.841.2800 or visit berkeleysymphony.org.

Berkeley Symphony 510.841.2800 1942 University Avenue, Suite 207 [email protected] Berkeley, CA 94704 berkeleysymphony.org

January 31, 2019 69 Ad Index: Support Businesses That Support Us

FOR YOUR HOME FOR YOUR AESTHETICS A1 Sun, Inc., Solar Installation. . . page 28 Aurora Theatre Company. . . . . page 46 Albert Nahman Plumbing. . . . .page 20 Ellen Shershow Photography.. . . .page 12 Alward Construction ...... page 36 Expressions Gallery...... page 32 The Cooperative Cleaning Company . . . . Jutta’s Flowers...... page 68 ...... inside back cover Margaretta K. Mitchell Photograph. . . . McCutcheon Construction. . . . . page 54 ...... page 36 The Modern Art Exchange . . . . . page 53 FOR BUYING/SELLING YOUR HOME Storey Framing...... page 36 Better Homes and Gardens Real Estate...... page 28 FOR YOUR PALATE Coldwell Banker...... page 12 Blue’s Chocolates...... page 56 Compass...... page 14 Julia’s at Berkeley City Club. . . . page 20 The Grubb Co...... back cover La Mediterranée Cafe & Restaurant. . . . Thornwall Properties...... page 24 ...... page 40 Yovino-Young Inc...... page 32 La Note Restaurant Provençal. . .page 40 Poulet...... page 40 FOR YOUR CHILDREN Star Grocery...... page 36 The College Preparatory School. . page 42 Zaytoon Mediterranean Restaurant . . . . The Crowden School...... page 10 ...... page 28 Maybeck High School...... page 16 Pacific Boychoir Academy. . . . . page 16 FOR YOUR HEALTH Berkeley Optometry...... page 14 FOR YOUR FAMILY'S SECURITY Circles Counseling Center. . page 32 Belmont Village Senior Living...... page 19 Frank Bliss, State Farm ...... page 16 FOR GETTING THERE JMR Capital Management, Inc...... page 10 Bill’s Footwear...... page 32 Mountain View Cemetery...... Douglas Parking...... page 60 ...... inside front cover North Berkeley Investment Partners . . . Going Places ...... page 42 ...... page 53 Oceanworks...... page 12

Join our advertisers! Call John McMullen at 510.459.8264 to Advertise in the Berkeley Symphony Program.

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