JOANA CARNEIRO MUSIC DIRECTOR

Berkeley Symphony 17/18 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 15 Season Sponsors 16 Berkeley Sound Composer Fellows & Full@BAMPFA 18 Berkeley Symphony 17/18 Calendar 21 Tonight’s Program 23 Program Notes 37 About Music Director Joana Carneiro 39 Guest Artists & Composers 43 About Berkeley Symphony 44 Music in the Schools 47 Berkeley Symphony Legacy Society 49 Annual Membership Support 58 Broadcast Dates 61 Contact 62 Advertiser Index

Media Sponsor

Gertrude Allen • Annette Campbell-White & Ruedi Naumann-Etienne Official Wine Margaret Dorfman • Ann & Gordon Getty • Jill Grossman Sponsor Kathleen G. Henschel & John Dewes • Edith Jackson & Thomas W. Richardson Sarah Coade Mandell & Peter Mandell • Tricia Swift S. Shariq Yosufzai & Brian James

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 5 & 6, 2017 3 4 October 5 & 6, 2017 Message from the Music Director

Dear Friends,

Happy New Season 17/18!

I am delighted to be back in Berkeley after more

than a year. There are three beautiful reasons for photo by Rodrigo de Souza my hiatus. I am so grateful for all the support I received from the Berkeley Symphony musicians, members of the Board and Advisory Council, the staff, and from all of you throughout this special period of my family’s life.

Coming back to Berkeley means a great deal to me, especially being here tonight as we celebrate the life and work of one of the greatest composers of all time—John Adams, who has given so much to our orchestra and to our community. As we looked for a way to honor his 70th birthday year, John suggested that we perform his Fearful Symmetries, written almost 30 years ago. He also introduced us to two newly-discovered prodigies—the 30-year-old Australian composer, William Gardiner, currently living in Brooklyn, and the wonderful young cellist Tessa Seymour, a Berkeley native currently residing in London. John and his wife Debbie O’Grady felt very strongly about these two artists and, through their Pacific Harmony Foundation, they commissioned Mr. Gardiner to write a cello concerto for Ms. Seymour. It is that concerto that we are premiering this evening with deep gratitude to John and Debbie.

We open tonight’s concert with Beethoven’s first symphony, which was the first piece I ever conducted, more than twenty years ago. It was the moment I realized that conducting was not just a dream of mine, but could be a reality. It feels like the perfect piece to start the new season, which is, in many ways, a restart for me, now with an even deeper appreciation for what unites us tonight. To round out the program, we will perform Shostakovich’s Jazz Suite No. 1, written in the 1930s, a time when jazz was very popular in the Soviet Union.

I have dearly missed these musicians and it is an honor to share the stage with them once again. And I have dearly missed you—your kindness and commitment to our orchestra—the very reason why we make music.

With much love,

Joana Carneiro

October 5 & 6, 2017 5 6 October 5 & 6, 2017 Message from the Board President

t is my pleasure to extend to you a warm welcome to the I Opening Night of the 17/18 season. I am honored to be greeting you tonight as the new president of the Board of Directors of the Berkeley Symphony.

I want to express my appreciation and gratitude to my predecessor Tricia Swift for leading the Board to new heights with her boundless energy and her commitment to excellence over the past three years. She inspired us all to strive for the very best and we thank her for her extraordinary leadership. I am delighted that Tricia has agreed to continue to serve on the Executive Committee of the Board as Immediate Past President.

I first became acquainted with the Berkeley Symphony when I had the privilege to conduct the symphony playing Beethoven’s Fifth during a rehearsal in 2009. Not only was I impressed by the incredible talent and high level of professionalism exhibited by our musicians, it was also the first time I experienced first-hand the exquisite artistry of Maestra Joana Carneiro, who, along with Executive Director René Mandel, has established Berkeley Symphony as one of the most innovative and creative orchestras in the world.

I applaud the Orchestra’s commitment to new music and the frequency with which it commissions, premieres, and performs works by 21st century composers. And I am proud to be part of a community that annually supports the Symphony’s award-winning Music in the Schools program.

This season we celebrate new partnerships with two of the Bay Area’s most respected cultural landmarks—the San Francisco Conservatory of Music and the Berkeley Art Museum & Pacific Film Archive (BAMPFA). For the first time, tonight’s concert, as well as the concert on February 1, will be repeated at the SF Conservatory’s Hume Hall, making the music more accessible to our San Francisco neighbors. It is our desire to expand this partnership in the years ahead.

In a new collaboration with BAMPFA, Berkeley Symphony will curate three programs next spring at the Museum as part of BAMPFA’s innovative Full series. In addition to the Symphonic Series, the Orchestra continues its Chamber Series at the Piedmont Center, and of course, the ever-popular Family Concerts. There truly is something for everyone at Berkeley Symphony.

In closing, I want to thank you for being here tonight and I look forward to seeing you often in what will no doubt be a creative and magical season by the Berkeley Symphony in 17/18.

Until next time, S. Shariq Yosufzai

October 5 & 6, 2017 7 8 October 5 & 6, 2017 Message from the Executive Director

he beginning of a new season always brings fresh T excitement. This year, joy and anticipation fill all of us at Berkeley Symphony as we welcome Joana back to the podium. More than anything, we celebrate the

arrival of her three masterpieces into her family! photo by Marshall Berman

This season also marks the introduction of a new multifaceted initiative called Berkeley Sound. We are pleased to introduce the Berkeley Sound Composer Fellows, a trio of emerging composers from around the country to be mentored for the next two years by Berkeley Symphony’s Music Alive composer-in-residence, Anna Clyne. The composers will write and present new works at smaller-scale, unusual venues. The first program is already planned for April 29, 2018, as part of the Berkeley Art Museum and Pacific Film Archive’s (BAMPFA) Full series (see page 16 for more information about the composers). The March 31 and May 29, 2018, Full events are also Berkeley Sound performances, capturing the innovative, experimental, interdisciplinary spirit of Berkeley Sound that complements our Symphonic, Chamber, and Family concerts.

During the 17/18 season we also pay tribute to two of the Bay Area’s most acclaimed and revered composers. Tonight’s program includes John Adams’ inventive Fearful Symmetries; and in February the Orchestra performs Gordon Getty’s memorable cantata Joan and the Bells, inspired by the canonized Joan of Arc. Both of these concerts will be performed twice—the first night at Zellerbach Hall and the following night at Hume Hall at the San Francisco Conservatory of Music. Our October 5 season opener marks the world premiere of a new work by the young Australian composer William Gardiner; and on December 7 you will hear the West Coast premieres of recent works by Rene Orth and our own Anna Clyne. These new sounds are interspersed throughout the season with beloved works by Beethoven, Shostakovich, Rachmaninoff, Liszt, Fauré, and Berlioz. We end the season with Beethoven’s magnificent Symphony No. 9, Choral, and its life-affirming “Ode to Joy.”

The greatest affirmation throughout this powerful music comes from you, our supportive audience. Whether this is your first time attending one of our performances, or you are one of our treasured subscribers, I look forward to seeing you often during the months ahead.

With all warmest wishes,

René Mandel

October 5 & 6, 2017 9 10 October 5 & 6, 2017 Board of Directors & Advisory Council

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

Directors Advisory Council (continued) Susan Acquistapace Anita Eblé Sandra Floyd Karen Faircloth William Knuttel Ellen L. Hahn Janet Maestre Bereket Haregot Peter Mandell Buzz & Lisa Hines Sandy McCoy Susan Hone Thomas Z. Reicher Jennifer Howard & Anthony J. Cascardi Thomas W. Richardson Edith Jackson Deborah Shidler Kenneth A. Johnson & Nina Grove Tricia Swift Todd Kerr Michel Taddei Jeffrey S. Leiter Bennett Markel Advisory Council Bebe & Colin McRae Jan McCutcheon, Co-Chair Helen & John Meyer Lisa Taylor, Co-Chair Deborah O’Grady & John Adams Marilyn Collier, Chair Emerita Becky & Michael O’Malley Michele Benson Ed Osborn & Marcia Muggli Judith Bloom Maria José Pereira Norman Bookstein Marjorie Randell-Silver & 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

October 5 & 6, 2017 11 The Orchestra

Joana Carneiro Music Director Viola Sponsored by S. Shariq Yosufzai & Brian James Tiantian Lan Principal Sponsored by Helen & John Meyer Sponsored by Lisa & Jim Taylor Ilana Matfis Assistant Principal Sponsored by Anonymous Patrick Kroboth Kent Nagano Conductor Laureate Ivo Bokulic Keith Lawrence Alexandra Leem Violin I Amy Apel Franklyn D’Antonio Concertmaster Kristen Steiner Matthew Szemela Associate Concertmaster Candace Sanderson Assistant Concertmaster Cello Ilana Thomas Carol Rice Principal Larisa Kopylovsky Sponsored by Getrude Allen Shawyon Malek-Salehi Stephanie Wu Assistant Principal Eldar Hudiyev Nancy Bien Ernest Yen Wanda Warkentin Annie Li Krisanthy Desby John Bernstein Kenneth Johnson Kristen Kline Margaret Moores Bert Thunstrom Jason Anderson

Violin II Bass Dan Flanagan Principal Michel Taddei Principal Sponsored by Tricia Swift Robert Ashley Assistant Principal Sarah Wood Assistant Principal Alden F. Cohen Karsten Windt Aleksey Klyushnik Monika Gruber Corey Chandler Daniel Lewin Eric Price Hui Lim Rick Diamond Flute/Piccolo Quelani Penland Emma Moon Principal Charles Zhou Sponsored by Janet & Marcos Maestre Rose Marie Ginsburg Laurie Camphouse

12 October 5 & 6, 2017 Oboe/English Horn Trombone (continued) Andrea Plesnarski Principal Craig McAmis Sponsored by Lisa & Jim Taylor

Stardust Bass Trombone Craig McAmis Clarinet Roman Fukshansky Principal Timpani Jeannie Psomas Kevin Neuhoff Principal

Bass Clarinet Percussion Jeannie Psomas Ward Spangler Principal Daniel Ferreira Victor Avdienko

Bassoon Harp Shawn Jones Principal Wendy Tamis Principal Ravinder Sehgal Hawaiian Guitar Contrabassoon David Phillips Shawn Jones Banjo Saxophone Dave MacNab Patrick Posey Principal Dave Henderson Piano Dale Wolford Marc Shapiro Principal Kevin Stewart Lori Lack

Horn Synthesizer Alex Camphouse Principal Marc Shapiro Loren Tayerle Sampler Trumpet Marja Mutru Scott Macomber Principal William Harvey John Freeman Franklyn D’Antonio Co-Orchestra Manager Trombone Joslyn D’Antonio Co-Orchestra Manager Thomas Hornig Principal Sponsored by Kathleen G. Henschel & John W. Dewes Quelani Penland Librarian Craig Bryant David Rodgers, Jr. Stage Manager

October 5 & 6, 2017 13 14 October 5 & 6, 2017 17/18 Season Sponsors

Berkeley Symphony extends its deep appreciation to the following companies and individuals whose generous support has made the 17/18 season possible:

Gertrude Allen

Annette Campbell-White & Ruedi Naumann-Etienne

Margaret Dorfman

Ann & Gordon Getty

Jill Grossman

Kathleen G. Henschel & John Dewes

Edith Jackson & Thomas W. Richardson

Sarah Coade Mandell & Peter Mandell

Tricia Swift

S. Shariq Yosufzai & Brian James

October 5 & 6, 2017 15 Berkeley Sound Composer Fellows

arlier this year, three emerging E composers were chosen from a national candidate pool to participate the inaugural Berkeley Sound Composer Fellows program. The new Fellows include Ursula Kwong-Brown of New York City; Aiyana Tedi Braun, currently a student at the Curtis Institute in Philadelphia; and Peter Shin of Kansas City. The composers will receive mentorship from Music Alive composer-in-residence Anna Clyne while developing two compositions to Ursula Kwong-Brown be performed by Berkeley Symphony.

In the first season (17/18), each participating composer will develop a new work for chamber ensemble, while in the second season (18/19), they will produce a new work for chamber orchestra. Each season culminates in a public reading session as part of the Berkeley Art Museum and Pacific Film Archive (BAMPFA) Full series, where the composers will have their music rehearsed, performed, and professionally recorded for personal, archival and non-commercial use. In addition to being mentored by Ms. Clyne, the Fellows will receive artistic and career guidance from the Symphony artistic staff, orchestra musicians, and renowned mentor-composers and industry professionals to further develop professional skills. The goal Aiyana Tedi Braun for participating composers is to

16 October 5 & 6, 2017 & Full@BAMPFA

develop a composition style that is deeply personal and artistically true, yet designed to enter the standard orchestra repertory.

Full@BAMPFA

In a new partnership with the UC Berkeley Art Museum and Pacific Film Archive, Berkeley Symphony will curate three of BAMPFA’s Full programs in spring 2018, on Saturday, March 31; Sunday, April 29; and Tuesday, May 29, Peter Shin each at 7p.

On full moon nights, BAMPFA presents new and experimental

music in the varied and dynamic Phorto byJavier Oddo architectural settings of the new downtown art museum and film archive. The Full program on Sunday, April 29 will showcase the premieres of works by Berkeley Sound Composer Fellows, emerging composers being mentored by composer-in-residence Anna Clyne, as part of her Berkeley residency. Program details for the series will be announced after the first of the year.

Full tickets will be available directly from BAMPFA starting mid-February, 2018.

Visit bampfa.org/full-symphony or call 510.642.0808 for more information and tickets. Anna Clyne

October 5 & 6, 2017 17 Berkeley Symphony 17|18 CALENDAR

SATURDAY, NOVEMBER 4, 10a & 11:30a SUNDAY, MARCH 11, 5p Longfellow Middle School – Piedmont Center for the Arts Berkeley CHAMBER SERIES FAMILY CONCERTS FROM BACH TO TOWER OF POWER SUNDAY, NOVEMBER 12, 5p Classical to contemporary Piedmont Center for arrangements the Arts CHAMBER SERIES SATURDAY, MARCH 31, 7p MOZART & BAMPFA - Berkeley SHOSTAKOVICH FULL@BAMPF Mozart I Shostakovich THURSDAY, APRIL 19, 8p THURSDAY, DECEMBER 7, 8p Zellerbach Hall – Berkeley Zellerbach Hall – Berkeley SYMPHONIC SERIES SYMPHONIC SERIES BEETHOVEN SYMPHONY CLYNE & RACHMANINOFF NO. 9, CHORAL Orth I Rachmaninoff I Clyne I Liszt SATURDAY, APRIL 28, 10a & 11:30a Longfellow Middle School – THURSDAY, FEBRUARY 1, 8p Berkeley Zellerbach Hall – Berkeley FAMILY CONCERTS FRIDAY, FEBRUARY 2, 8p San Francisco SUNDAY, APRIL 29, 7p Conservatory of Music BAMPFA – Berkeley SYMPHONIC SERIES FULL@BAMPFA GETTY & BERLIOZ Fauré I Getty I Berlioz SUNDAY, MAY 6, 5p Piedmont Center for the Arts SUNDAY, FEBRUARY 11, 5p CHAMBER SERIES Piedmont Center for Martinu & BRAHMS the Arts Martinu I Clarke I Brahms CHAMBER SERIES SIBELIUS & CHAUSSON TUESDAY, MAY 29, 7p Beethoven I Sibelius I BAMPFA – Berkeley Chausson FULL@BAMPFA

18 October 5 & 6, 2017 COLOR INSERT

LIMEWOOD

PRINTED SEPARATELY

October 5 & 6, 2017 19 COLOR INSERT

BELMONT VILLAGE

PRINTED SEPARATELY

20 October 5 & 6, 2017 Symphonic I: Adams & Shostakovich

Thursday, October 5, 2017 at 7p Zellerbach Hall, Berkeley Friday, October 6, 2017 at 8p Hume Hall, San Francisco Conservatory

Joana Carneiro conductor

Ludwig van Beethoven Symphony No. 1 in C major, Op. 21 Adagio molto—Allegro con brio Andante Cantabile con moto Menuetto—Allegro molto e vivace Adagio—Allegro molto e vivace

INTERMISSION

William Gardiner Cello Concerto (World Premiere*) A Drop Ritornello Tessa Seymour cello

Dmitri Shostakovich Jazz Suite No. 1

John Adams Fearful Symmetries

*The Gardiner Cello Concerto was commissioned by the Pacific Harmony Foundation.

Tonight’s concert will be broadcast on KALW 91.7 FM on May 7, 2018 at 9p.

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 Ken Johnson & Nina Grove | Janet & Marcos Maestre Bennett Markel | Paul Templeton & Darrell Louie

October 5 & 6, 2017 21 Join CHANTICLEER An Orchestra of Voices for Their 40th Bay Area Season!

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A CHANTICLEER CHRISTMAS December 10-23, 2017 SAINTS ALIvE March 10-April 8, 2018 THEN ANd THERE, HERE ANd Now June 9-16, 2018

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22 October 5 & 6, 2017 Program Notes

Ludwig van Beethoven orchestras were founded has its (1770-1827) roots in this canon. While the reputations of many celebrated Symphony No. 1 in C major, composers ebb and flow within Op. 21 larger stylistic trends, Beethoven has long shaped the mainstream of Composed: 1799-1800. concert life through his symphonies. First performance: April 2, 1800, To get his works performed, in Vienna, with the composer Beethoven relied on private, conducting. ad hoc ensembles funded by Duration: approximately 30 minutes. aristocratic patrons or on Scored for 2 flutes, 2 oboes, freelance musicians gathered for 2 clarinets, 2 bassoons, 2 horns, concerts he himself organized to 2 trumpets, timpani, and strings. introduce his symphonies. The unprecedented technical demands Summary: of his symphonies actually helped to • Beethoven’s First Symphony create the institution of the modern assimilates what he learned from symphony orchestra as we know it, the music scene of the time. bringing the newly specialized role of conductor into the spotlight. Most • It begins to show Beethoven’s importantly, Beethoven’s cycle of innovative thinking about the nine symphonies encouraged new genre. So, the First is ultimately ways of thinking about what music his declaration of independence. was capable of expressing.

• A key to Beethoven’s originality The First Symphony is a kind of here is how he plays with summarizing portrait of a young, expectations. highly ambitious composer. • Never forget the humor in Beethoven moved to Vienna when Beethoven’s music! he was still in his early 20s (in 1792). That was just months after udwig van Beethoven’s Mozart had died, and Haydn—the L symphonies are more than internationally recognized master products of the orchestral tradition. composer of the era—was away They profoundly defined it—and on a lengthy sojourn in London, continue to do so. The credo of presenting the first set of his final musical values on which professional glorious batch of symphonies.

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24 October 5 & 6, 2017 Within this context, Beethoven, a Beethoven already plays a game transplant from distant Bonn in here with expectations. Usually the West, began to make his own such an opening gesture would contributions to the symphony. emphasize in no uncertain terms the main key of the adventure we’re Mozart and Haydn were by no embarking on. Instead, the opening means the only influences on measures delay the statement of Beethoven. He also took inspiration C major by taking a little harmonic from the adventurous C.P.E. Bach detour to increase the tension and (the most famous of Johann suspense. Quintessential Beethoven. Sebastian’s sons), as well as from His procedure throughout the first the stirring musical style developed movement involves similar ploys by composers responding to the to enhance the fine-tuned Classical French Revolution. principles of sonata form with fresh Like Brahms, Beethoven carefully energy. For example, Beethoven paved his way into the symphonic concludes the movement with an genre, even though as a teenager elongated coda section, this time in Bonn he had already tinkered doing exactly what those opening with writing a symphony. The bars had avoided by reaffirming occasion he chose to premiere the home key in an especially his First Symphony was his first satisfying way. major benefit concert in Vienna, The Andante unusually combines on April 2, 1800—an event in the sonority of timpani and which, symbolically enough, trumpet with lyrical winds and works by Mozart and Haydn were strings. The third movement might programmed alongside those of be labeled “Minuet,” but in fact the newcomer. it represents Beethoven’s first symphonic scherzo—music that The First Symphony has been deliberately plays with expectations. called “a fitting farewell to the Where is the beat? Where is the 18th century.” But farewells can accent going to fall? And it’s simultaneously serve as greetings. arguably the most overtly original While Beethoven uses the language movement of the First Symphony. of the Classical style perfected by Mozart and Haydn, we already Beethoven’s humor is another encounter characteristics that will defining element of his language become identifiably Beethovenian that too often gets overlooked. in his subsequent works. It comes to the fore in the fourth movement. The opening echoes What to listen for the playful detour of the First’s The First Symphony starts with beginning, as Beethoven presents a grand slow introduction, but step-by-step elongations of a simple

October 5 & 6, 2017 25 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

26 October 5 & 6, 2017 rising scale, as if pretending to O’Grady, who commissioned the show us the light bulb going off in a Cello Concerto through their Pacific composer’s head as a theme is put Harmony Foundation. together. But then the movement • The 20-minute Concerto, in takes off with high-spirited energy, two movements, was written and the tune goes in directions specifically for Berkeley native no one could have predicted. The Tessa Seymour. victorious resolution that ends the First underscores Beethoven’s • Gardiner’s new concerto evokes declaration of independence as a “something like the feeling of being symphonist. in an airplane and experiencing a momentary drop due to turbulence.”

• The composer was also stimulated by “the inherent drama of the William Gardiner (b. 1987) concerto medium—of an individual standing before a crowd.” Cello Concerto

Composed: 2017. onight’s program brings a T thrilling opportunity that should Tonight’s performance marks the feature regularly in the concert world premiere. experience. We get to encounter a Duration: approximately 20 brand-new composition as it makes minutes. its passage from a composer’s inspiration and a performer’s vital In addition to solo cello, scored choices as to how to give it voice— for 2 flutes (2nd doubling and is presented for the first time piccolo), oboe (doubling English to a live audience. horn), 2 clarinets (2nd doubling bass clarinet), 2 bassoons (1st An Australian composer of doubling contrabassoon), 2 horns, music for acoustic and electronic trumpet, 3 trombones, timpani, 2 instruments, William Gardiner percussionists, harp, and strings. studied music and law at the University of Sydney and Summary: subsequently graduated from the Yale School of Music, where • Australian composer William his composition teachers were Gardiner has been making a name David Lang, Martin Bresnick, and for his imaginative instrumental Aaron Jay Kernis. He has also been works and video opera. mentored in sound engineering • One of these caught the attention and electronic music composition of John Adams and Deborah by Ben Frost at the Greenhouse

October 5 & 6, 2017 27 28 October 5 & 6, 2017 Studios in Reykjavik, Iceland and the photographer and video (where he worked with Frost and artist Deborah O’Grady together Valgeir Sigurdsson over a three- founded to support contemporary month period last year). Gardiner artists, commissioned Gardiner additionally has a deep affinity to write a concerto for the cellist with early music. His mother is a Tessa Seymour (a native of Berkeley harpsichordist and was a pioneer of currently based in London). early music in Australia in the 1970s, “I first discovered John Adams’ after a period of study with Ton music around the time I was Koopman in Amsterdam. beginning to compose, and it has Gardiner’s output includes works inspired me ever since,” recalls for symphony orchestra, chamber Gardiner, noting that he especially music, and early music ensembles, admires “the way [Adams] is able but it also frequently involves to combine an omnivorousness electronic media and amplified of musical taste with clarity and instruments. His work has been depth of expression. His works span performed at venues including a wider emotional gamut than is the Melbourne Recital Centre, usual, but never seem to lack focus, the Sydney Opera House, Yale intensity, or intentionality. He has a University’s Morse Recital Hall, gift of being able to take in a fuller National Sawdust in New York, and range of human experience, even REDCAT Los Angeles. ALL IS FOR touching on the garish or the brash, THE BEST, a video opera Gardiner somehow without sacrificing the co-created with Thomas Rawle, was underlying profundity and sincerity included by the Los Angeles-based at the core of his music.” opera company The Industry as Additional key influences include part of its 2017 “First Take” program. David Lang (his main compositional He was also selected as a winner of mentor) and fellow Bang on a Can the American Composers Forum co-founders Michael Gordon and National Composition Contest in Julia Wolfe. In 2014, Gardiner was 2015, resulting in a commission to invited to be a composition fellow write Chiaroscuro for the LA-based at the Bang on a Can Summer ensemble wild Up. Festival at the Massachusetts John Adams came to know of Museum of Contemporary Art. Gardiner’s work through hearing a Still other models include the recording of Chiaroscuro. Gardiner Italian composer Fausto Romitelli recalls receiving an e-mail from and Australia’s most celebrated Adams out of the blue, “which composer, Peter Sculthorpe. was something I never expected Gardiner also points to inspirations to happen in my life.” The Pacific in the world of electronic music, Harmony Foundation, which Adams in particular his mentorship with

October 5 & 6, 2017 29 the Australian musician Ben Frost Seymour. He provides the following and his studio partner Valgeir commentary on the work: Sigurðsson. “The two musical ideas that are Describing his musical style, at the heart of this concerto—a Gardiner says that “sonority” and fluttering figure that falls down “affect” are central to what he does and comes back up, and two notes as a composer. “Sometimes the idea separated by a great vertical is advanced that these qualities distance—evoke a sense of kinetic form part of the surface’’ of a work, energy that has, for me, emotional which can be separated from the resonance: something like the deep’ structure’ that lies feeling of being in an airplane and underneath and is even somehow experiencing a momentary drop due more important. I believe that I to turbulence. am doing my job right when the In writing the piece, I was also sonority or affect is completely stimulated by the inherent drama inseparable from the essence of the of the concerto medium—of an work.” individual standing before a crowd. The Cello Concerto is Gardiner’s I will be forever grateful to the first composition in the genre. commissioners of this piece, John He came to know Tessa Seymour Adams and Deborah O’Grady. John through a mutual friend, the Adams has himself written some guitarist Jiyeon “Jiji” Kim. As to of the most amazing concertos collaborating with the cellist while of all time, works that are not just writing the piece, he frequently impressive but profound.” consulted with Seymour by sending excerpts via e-mail. “I know Tessa’s playing well and I always felt a very strong confidence in her musicality. Through the whole process, I never Dmitri Shostakovich felt a shred of doubt that she is (1906-1975) capable of going wherever the music needs to go.” Jazz Suite No. 1

What to listen for Composed: 1934.

The Cello Concerto is cast in two First performance: March 24, 1934, movements, each about 10 minutes in Leningrad. and respectively titled “A Drop” Duration: approximately 8 minutes. and “Ritornello.” William Gardiner has dedicated the piece to its Scored for 3 saxophones (soprano, commissioners, John Adams and alto, and tenor), 2 trumpets, Deborah O’Grady, and to Tessa trombone, wood block, snare drum,

30 October 5 & 6, 2017 cymbals, glockenspiel, xylophone, He had come of age in the banjo, Hawaiian guitar, piano, immediate aftermath of the violin, and double bass. Bolshevik Revolution that took place exactly a century ago. All too briefly, Summary: a period of intense creative ferment • Dmitri Shostakovich emerged was allowed to flourish, inspiring at a very young age as a boldly such outpourings as the abstract adventurous composer. painting of Kasimir Malevich and the anti-naturalist, avant-garde • The Jazz Suite No. 1 from 1934 is a theater of Vsevolod Meyerhold (who product of his first decade since the would eventually become one of premiere of his First Symphony put Stalin’s countless victims—a fate him on the map. Shostakovich himself narrowly • While he’s often associated with escaped). somber, epic symphonies and Meyerhold was particularly emotionally wrenching string impressed by the young quartets, Shostakovich was Shostakovich’s First Symphony and keenly alert to currents in popular invited him to collaborate with his music and eagerly accepted a theater company. Shostakovich commission to write for a jazz band leaped at the chance to become in this piece. involved in a rush of new theatrical projects, as well as collaborations • The Jazz Suite No. 1 consists of taking advantage of the new art of three short movements—a waltz, a cinema, which remained an abiding polka, and a foxtrot—each scored love—and much-needed source with unique chamber ensemble of income during periods when he colors. was at odds with the Soviet culture police. (Because of his father’s early eethoven’s First Symphony death in 1922, he had helped support represents one of the most B the family by playing the piano to remarkable symphonic debuts accompany silent films.) in music history, but a strong contender is Dmitri Shostakovich’s All of these experiences fed into first contribution to the genre— the identity Shostakovich was arguably an even bolder declaration constructing as a composer of genius within its context. in this early period of relative Moreover, Shostakovich was a creative freedom. Significantly, teenager when he wrote it (while the experimental, avant-garde still a student at the Leningrad impulse went hand-in-hand with Conservatory). The premiere in his openness to music intended 1926 brought Shostakovich into the primarily for entertainment. In limelight. 1934 Shostakovich happily took

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32 October 5 & 6, 2017 on a commission to write for a John Adams (b. 1947) jazz band in his native Leningrad (St. Petersburg). He produced Fearful Symmetries a Second Suite in 1938, but that Composed: 1988. score disappeared during the Second World War and was only First performance: October 29, 1988, posthumously reconstructed in at Avery Fisher Hall, New York City, 2000. with the composer conducting the Orchestra of St Luke’s. 1934 was also the year that saw the premiere of Shostakovich’s opera Duration: approximately 25 minutes. Lady Macbeth of Mtsensk (based on Scored for 2 flutes (both doubling the story that was recently adapted piccolo), 2 oboes (2nd doubling to the film of the same name). English horn), 2 clarinets, bass Despite being a runaway success, clarinet, 4 saxophones, bassoon, Stalin’s extreme displeasure when 2 horns, 3 trumpets, 3 trombones, he visited a performance in 1936 led timpani, synthesizer, sampler, piano, to an official condemnation of the and strings. composer as “decadent.” Aesthetic choices literally became a matter of Summary: life and death. • Berkeley Symphony celebrates Bay What to listen for Area composer John Adams’ 70th The Jazz Suite No. 1 contains three birthday this year by performing one short movements. The first is of his vintage orchestral works from a catchy though moody waltz 1988. featuring the colors of trumpet, • Fearful Symmetries takes its title sax, and violin, sprinkled with from a poem by William Blake, glockenspiel in a contrasting middle section. The xylophone and banjo playing on ideas of musical make appearances in the second symmetry. movement, a polka, and the third • This music draws on the sound (“Foxtrot”) spotlights the sax, world Adams created for his debut Hawaiian guitar, and trombone, opera Nixon in China, which had with the glockenspiel again added to premiered the year before. the mix. • Fearful Symmetries seems to tease Shostakovich often makes use and poke fun at Minimalist gestures, of irony in his works in classical while at the same time celebrating genres, but the touch is lighter here, the exuberance of this style. hinting at a more overt humor than is typically associated with this • It’s a classic Adams sonic composer. landscape.

October 5 & 6, 2017 33 ohn Adams’ 70th birthday this example. “It’s no accident John is the J past February has been the most choreographed contemporary occasion for a remarkable range composer, because his work is music of celebrations across the music of action as well as contemplation. world—including the conclusion The rhythmic impulse and physical to Berkeley Symphony’s season- motor under way in John’s music opening concert. Somehow, is another thing that lifts it from amid the constant demands for university-composed academic interviews and his obligations as a art music into a field of thought conductor, plus his involvement with and action in the world,” observes supporting emerging composers as the director Peter Sellars, Adams’ a committed musical citizen, Adams longtime collaborator. has managed to complete a major Fearful Symmetries dates from new work for the stage: the opera 1988 and the afterglow of Adams’ Girls of the Golden West, which will breakthrough debut opera, Nixon receive its world premiere at San in China, which premiered at Francisco Opera late next month. Houston Grand Opera in the fall of Such tireless creative energy has 1987. Indeed, the orchestral work its counterpart in the very sound shares some musical ideas with of Adams’ music: those euphoric the opera’s often-excerpted The pulsations of layered textures and Chairman Dances and might be seen tracks. Fearful Symmetries, vintage as a kind of “satellite work” orbiting 1980s composed when Adams was around that world. But instead of living in Rome as an American voices playing a role, in this case the Academy Fellow, is a marvelous “Nixon orchestra” clearly took center

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34 October 5 & 6, 2017 stage—which the composer defines impression of traveling through as “a kind of mutated big band, a sonic landscape, which is a way heavy on brass, winds, synthesizer, much of Adams’ instrumental and saxophones.” To this mix he music defines its formal shape. added “a keyboard sampler playing The composer likes to suggest an sampled percussion sounds, two analogy between musical and horns, and a bassoon.” geographical space. “The formal Adams has long since transcended idea with my music,” Adams says, the signature techniques associated “is that something appears on the with Minimalism. In fact, he was event horizon, and then it increases already doing so even in this period, in importance as it begins to the heyday of his association with dominate the screen, and then it the movement. The brashly insistent passes you and it’s gone. Meanwhile, patterns and assertive brass of several other events have arisen Fearful Symmetries almost seem to and are at various stages of moving tease and poke fun at Minimalist towards you.” gestures, while at the same time celebrating the exuberance of this Such landscapes, for Adams, open style. up into psychological dimensions. Fearful Symmetries not only evokes What to listen for a powerful physical response: as No description can surpass the music progresses, it seems to the composer’s own: Fearful open up spaces for the imagination Symmetries is “a seriously aerobic to wander. Crevasses hide beneath piece, a Pantagruel boogie with craggy heights, jagged edges rip at a thrusting, grinding beat that the comforting illusion of repeated governs at least two-thirds of its patterns. length.” Its hyperbolic treatment It’s a showcase for Adams’ dazzling of symmetrical, even-numbered skills as a sonic colorist. The phrase lengths (ironically signaled composer is rightfully proud of the by the title’s allusion to a phase from sound world he has fashioned in William Blake’s “The Tyger”: “What Fearful Symmetries: “What appeals immortal hand or eye/Dare frame thy fearful symmetry?”) verges on to me most about the piece is the exhilarating absurdity. Adams notes timbre. It mixes the weight and that these emphatic gestures in the bravura of a big band with the score make it “more closely allied to glittering, synthetic sheen of techno pop and Minimalist rock.” pop (samples and synthesizer) and the facility and finesse of a And there’s still another Adamsian symphony orchestra.” characteristic that makes Fearful Symmetries especially gripping: the —© Thomas May

October 5 & 6, 2017 35 Dining Guide

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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

36 October 5 & 6, 2017 About Music Director Joana Carneiro

oted for her vibrant N performances 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 orchestra. She also currently photo by Rodrigo de Souza 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 Sinfonica Portuguesa and Teatro São Carlos in Lisbon.

Carneiro’s growing guest-conducting career continues to develop very quickly. Recent and future highlights include engagements with the Aa’s Book of Disquiet with the London BBC Symphony, Royal Stockholm Sinfonietta. Joana also works Philharmonic, Swedish Radio regularly with singer/song-writer Symphony, Helsinki Philharmonic, Rufus Wainwright. RTE Symphony, Hong Kong Philharmonic and the Gothenburg Carneiro is the 2010 recipient of Symphony. She continues to be the Helen M. Thompson Award, sought after for contemporary conferred by the League of American programmes and in 2014/15 she made Orchestras to recognize and honor her debut at the English National music directors of exceptional Opera conducting the world stage promise. In 2004, Carneiro was premiere of John Adams’ The Gospel decorated by the President of the According to the Other Mary, and Portuguese Republic, Mr. Jorge recently she conducted a production Sampaio, with the Commendation of La Passion de Simone at the Ojai of the Order of the Infante Dom Festival and a production of Van der Henrique.

October 5 & 6, 2017 37 38 October 5 & 6, 2017 Guest Artist & Composers

Loops, Chamber Symphony, Doctor Atomic Symphony, Short Ride in a Fast Machine, and his Violin Concerto. His stage works, all in collaboration with

Phorto by Christine Allcino director Peter Sellars, include Nixon in China (1987), The Death of Klinghoffer (1991), El Niño (2000), Doctor Atomic (2005), A Flowering Tree (2006), and the Passion oratorio The Gospel According to the Other Mary (2012). His new opera, Girls of the Golden West, set during the 1850s California Gold Rush, will receive its world premiere at San Francisco Opera in November 2017.

Adams’ 70th birthday is feted around the world during the 2016-2017 season, with anniversary highlights including residencies with the Berliner Philharmoniker and Orchestre de John Adams, composer Lyon, and special programming focuses with the St. Louis Symphony, omposer, conductor, and creative New York Philharmonic, Los Angeles C thinker—John Adams occupies Philharmonic, San Francisco a unique position in the world of Symphony, Houston Opera, The American music. His works, both Barbican, Philharmonie de Paris, operatic and symphonic, stand and ZaterdagMatinee. out among contemporary classical Adams’ Violin Concerto won the compositions for their depth of 1993 Grawemeyer Award, and for expression, brilliance of sound, and composing On the Transmigration of the profoundly humanist nature of Souls, commissioned by the New York their themes. Philharmonic to commemorate the Works spanning more than three first anniversary of 9/11, he received decades have entered the repertoire the 2003 Pulitzer Prize for Music. He and are among the most performed has received honorary doctorates of all contemporary classical music, from Harvard, Yale, Northwestern among them Harmonielehre, Shaker University, Cambridge University, the

October 5 & 6, 2017 39 Juilliard School, and the University of London. A provocative writer, he is author of the highly-acclaimed autobiography Hallelujah Junction and is a contributor to the New York Times Book Review.

As a conductor, Adams appears with the world’s major orchestras in programs combining his own works with a wide variety of repertoire ranging from Beethoven and Mozart to Ives, Carter, Zappa, Glass, and Ellington. In recent seasons, he has conducted the William Gardiner, composer Berliner Philharmoniker, Royal illiam Gardiner is an emerging Concertgebouw Orchestra, W Australian composer of London Symphony Orchestra, music for acoustic and electronic Wiener Symphoniker, Los Angeles instruments. Born in 1987 in Philharmonic, and the orchestras Tamworth, New South Wales, of Seattle, Cincinnati, Atlanta, Australia, he currently resides in and Toronto. Adams is currently Brooklyn, New York. Creative Chair of the Los Angeles Mr. Gardiner’s output includes works Philharmonic. for symphony orchestra, chamber Recent recordings of his work include music, and early music ensembles, Scheherazade.2 with Josefowicz and but also frequently involves St. Louis Symphony on Nonesuch electronic media and amplified Records, the Deutsche Grammophon instruments. He brings an ear honed release of The Gospel According to in recording studios to his work, the Other Mary featuring the Los which has been performed at venues Angeles Philharmonic, City Noir including the Melbourne Recital and Saxophone Concerto with the Centre, the Sydney Opera House, Yale St. Louis Symphony, the Grammy University’s Morse Recital Hall, and Award-winning album featuring REDCAT Los Angeles. In September Harmonielehre and Short Ride in 2015, the LA-based ensemble wild Up a Fast Machine and the premiere premiered Chiaroscuro, commissioned recording of Absolute Jest paired with as part of the American Composers Grand Pianola Music, both with the Forum National Composition Contest, San Francisco Symphony, and the in which Gardiner was selected as one Nonesuch DVD of the Metropolitan of three winners. He is also a recipient Opera’s production of Nixon in China of the Presser Foundation Graduate conducted by the composer. Award (2013), a winner of the Albany

40 October 5 & 6, 2017 Symphony Orchestra’s Composer’ to 2006 and has since been performing Center Stage’ competition (2013), and in Europe, Asia and the US, both as was a 2014 fellow in composition at soloist and a chamber musician. the Bang on a Can Summer Festival Committed to a repertoire that cuts at Massachusetts MoCA. across genres and brings to life Gardiner’s work has been credited contemporary and established works as “absolutely stunning . . . a bright alike, she has collaborated with and beacon of things to come” (Adam premiered the works of Matthias Mills, Mess+Noise magazine) and Pintscher, Krzysztof Penderecki, John “emotional without emotions, and Adams, David Ludwig, and Richard utterly spellbinding” (Elizabeth Danielpour. Tessa is the recipient of, Hambleton, New Classic LA). among others, the Verbier Festival’s Anthony D’Amico (brainwashed. “Jean-Nicolas Firmenich” prize for com) attributes “a coherent vision cello, and was named a Jack Kent and a rare ability to incorporate Cooke Scholar in 2010. She is a regular outside influences seamlessly into it performer at the Verbier Festival, . . . classical music needs more new Napa Valley’s Festival del Sole and blood like this.” the Dresden Music Festival.

William Gardiner is a recent graduate Recent appearances include concerts of the Yale School of Music, where he at Washington DC’s Kennedy Center, was mentored by David Lang, Martin and the US premiere of Polish Bresnick and Aaron Jay Kernis. He composer Krzysztof Penderecki’s previously attended the University of Suite for Solo Cello at Carnegie Hall. Sydney, where he received degrees in Season performances were heard Arts and Law. on WHYY-TV, PBS, as well as NPR and WRTI radio, where she hosted, and appeared in, their program “Philadelphia Music Makers.” She has podcasted with “The Glass Sho,” and Next Big Thing Radio’s “Conversations,” appeared on Vice Munchies, and performed at TEDTalks.

Born in Berkeley in 1993, Tessa first started playing cello at the age of six. She joined the Curtis Institute of Music at age 16, where she studied Tessa Seymour, cello with Carter Brey and Peter Wiley until ellist Tessa Seymour made her her graduation in 2015. Tessa’s cello is C televised Carnegie Hall debut in the 1720 Testore “Camilla” of Milan.

October 5 & 6, 2017 41 Are Your Investments in Tune with Your Goals and Values?

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42 October 5 & 6, 2017 About Berkeley Symphony photo by Dave Weiland

erkeley Symphony is unique Thomas Rarick, a protégé of the B among American orchestras: great English maestro Sir Adrian founded in 1971 in the intellectual Boult, founded the orchestra in and artistic nexus of Berkeley, 1971 as the Berkeley Promenade California; led by the restlessly Orchestra. Reflecting the spirit of innovative Music Director Joana the times, musicians performed in Carneiro and Executive Director street dress and at unusual locations René Mandel, an actively performing such as the University Art Museum. When Kent Nagano became the violinist; committed to premiering music director of the orchestra in and commissioning new music and 1978, he charted a new course by champions of female composers; offering innovative programming and sustained by the supportive that included rarely performed musical environment of Berkeley, 20th-century works and numerous the East Bay, and the San Francisco premieres. The renamed Berkeley Bay Area. From the outset, the Symphony Orchestra gained an people behind Berkeley Symphony’s international reputation for its culture and programming were adventurous programming, and attuned to the culturally diverse became known for premiering the people and the heady creative music of international composers climate of their home city. and showcasing young local talents.

October 5 & 6, 2017 43 Music in the Schools

Ming Luke, Education Director & Conductor

ore than 4,600 schoolchildren Music in the Schools Sponsors M benefit each year from Berkeley Symphony’s award-winning Music in (Gifts of $2,500 and above annually) the Schools program in which: Gifts received between August 1, 2016 and • Over 200 In-class Sessions led by July 31, 2017 Berkeley Symphony musicians are $10,000 and above provided free of charge and include Gertrude E. Allen curriculum booklets with age- Anonymous appropriate lessons addressing state standards for music education. Berkeley Public Schools Fund Bernard E. & Alba Witkin Charitable • Eleven Meet the Symphony Foundation concerts are performed free of charge in elementary schools each fall. The Familian Levinson Foundation National Endowment for the Arts • Six I’m a Performer concerts, Thomas W. Richardson Jr. & also free of charge, provide young Edith Jackson musicians with an opportunity to rehearse and perform with Berkeley $5,000 and above Symphony. Mark & Cynthia Anderson • All Music in the Schools Laura & Paul V. Bennett programming is provided 100% free of California Arts Council charge for children and their families. Anonymous We are grateful to the individuals Kathleen G. Henschel & John W. Dewes and institutions listed on this page Helen & John Meyer whose financial contributions help Meyer Sound Laboratories, Inc. make Music in the Schools possible. Sarah Coade Mandell & Peter Mandell But more help is needed to fully fund S. Shariq Yosufzai & Brian James the program . . . Please join those making Music in the Schools a $2,500 and above reality! Donate online and designate Anonymous your gift as “Restricted—Music in the John & Michelle Battelle Schools Program.” Or simply mail a Ronald & Susan Choy contribution to: Berkeley Symphony, Music in the Schools Fund, Dean Francis 1942 University Ave. Suite #207, Mr. & Mrs. Robert Edward Kroll Berkeley, CA 94704 Music Performance Trust Fund berkeleysymphony.org/mits Tricia Swift

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46 October 5 & 6, 2017 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 Ian Harwood 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

October 5 & 6, 2017 47 48 October 5 & 6, 2017 Annual Membership Support

Thank you to the following individuals for making the programs of Berkeley Symphony possible. A symphony is a 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 commissions, to present premieres, and to impact the lives of thousands of children in hundreds of classrooms each year.

Gifts received between August 1, 2016 and July 31, 2017.

Sponsor Circle GIFTS

Season Sponsors Paula & John Gambs $50,000 and above Jill Grossman Kathleen G. Henschel & John W. Dewes William Knuttel Ann & Gordon Getty Janet & Marcos Maestre Helen & John Meyer Marcia Muggli & Ed Osborn S. Shariq Yosufzai & Brian James Mr. & Mrs. Robert Edward Kroll Season Sponsors Lisa & James Taylor $25,000 and above Founding Sponsors Anonymous $5,000 and above Margaret Dorfman & the Ralph I. Susan & Jim Acquistapace Dorfman Family Fund Gertrude E. Allen Mark & Cynthia Anderson Jan & Michael McCutcheon Anonymous Annette Campbell-White & Ruedi Ronald & Susan Choy Naumann-Etienne Kathleen Crandall & Lori Gitter Sarah Coade Mandell & Peter Mandell Ms. Dianne Crosby Thomas W. Richardson Jr. & Edith Dean Francis Jackson Ellen Hahn Tricia Swift Buzz & Lisa Hines Ken Johnson & Nina Grove Executive Sponsors $10,000 and above Bennett Markel Anonymous Natasha Beery & Sandy McCoy Laura & Paul V. Bennett Jack Morris Sandra & Kit Floyd Deborah O’Grady & John Adams

October 5 & 6, 2017 49 50 October 5 & 6, 2017 SYMPHONY Circle GIFTS Concertmaster Level Founding Sponsors Gifts of $1,500 or more $5,000 and above (continued) Michele Benson Anja Plowright Norman A. Bookstein & Gillian Pat & Merrill Shanks Kuehner Alison Teeman & Michael Yovino-Young Kathy Canfield Shepard & John Paul Templeton & Darrell Louie Shepard Joy Carlin Conductor Level Ms. Carol Christ $2,500 and above John & Charli Danielsen Anonymous Karen Faircloth John Batelle Colette Ford Judith L. Bloom Jennifer Howard & Tony Gray Cathrall Cascardi Marilyn & Richard Collier Helen Marcus & David Charles M. Crane Williamson Gloria Fujimoto Patrick McCabe Gary Glaser & Christine Miller Noel & Penny Nellis Jeffrey S. Leiter Thomas & Mary Reicher Kim & Barbara Marienthal Marc A. Roth Bebe & Colin McRae Jutta Singh Michael & Becky O’Malley Anne & Craig van Dyke

Friends of Berkeley Symphony GIFTS

Principal Level Sue Hone & Jeffrey Leiter Deborah Shidler & David Burkhart $750 and above Connemara Fund Robert Sinai & Susanna Karthiga Anandan Nancy Lehrkind & Luckshman Schevill Parameswaran Arthur & Martha Michel Taddei Luehrmann Jim Tibbs & Philip Anderson Ama Torrance & David Maryam Malek Anonymous Davies Allison Baker René Mandel Ms. Bonnie J. Bernhardt Lois & Gary Marcus Associate Level Richard & Christine Colton Robert McKee & Melissa $300 and above Gates Anita Eblé Dr. Henry L. Abrons & Dr. Lance & Dalia Nagel Li-Hsia Wang Daniel & Kate Funk Pooj & Dianna Preena Patricia & Ronald Adler Theresa Gabel & Timothy Zumwalt Suzanne Riess Joel Altman

October 5 & 6, 2017 51 Merrell Clarks Frye Boots Sperry Since Rockport Uggs 1961 Keen Moccasins Dr. Martens Clogs Birkenstock Dansko

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52 October 5 & 6, 2017 Associate Level Howard & Nancy Mel Elizabeth Raymer & Ragna Boynton $300 and above (continued) Ms. Karen Meryash David Bradford Anonymous Geraldine & Gary Morrison Suzanne & Italo Calpestri Sallie & Edward Arens Barbara Persons Susan & Bruce Carter Mark Attarha & Nahid Ditsa & Alexander Pines Nassiri Mark Chaitkin & Cecilia Storr Milanendra Piterman Ms. Joan Balter Zeo & Terry Coddington Erin & Mark Rhoades Jurg & Christel Bieri Frederick & Joan Collignon Ms. Polly Rosenthal Stuart & Virginia Canin Dr. Lawrence R. Cotter Eric Rudney Bill Criswell Chris D’Ambra Linda Schacht & John Gage Sara & Bill Cumbelich Franklyn D’Antonio Ms. Phyllis Brooks Schafer Joe & Sue Daly Harold Davis Margaret Seely Dennis & Sandy De Jan Davis Carrie Shores Domenico Paula & James R. Diederich Wallace Smith Ms. Mavis Delacroix Robert & Loretta Dorsett Scott Sparling Carolyn Doelling Beth & Norman Edelstein Renee Spooner Jack & Ann Eastman Ilse & James Evans Marta Tobey & Roger Ramey Harry Eisenberg Bennett Falk & Margaret Robert & Emily Warden Gini Erck & David Petta Moreland Sheridan & Betsey Warrick Christopher Flynn David Favrot Linda & Steven Wolan Jim Foley Richard Finch Nancy & Charles Wolfram Mr. Michael Fried Ms. Mary Ellen Fine Katinka Wyle Peggy Griffin Mr. Bruce G. Fitch Bonnie & Sy Grossman Marcia Brooks Flannery Scott Hamilton Supporting Level Ednah Beth Friedman $100 and above Alan Harper & Carol Baird Doris Fukawa & Marijan Caroline Acquistapace Pevec Trish & Tony Hawthorne Robert Allen Isabelle Gerard Ms. Ann Fischer Hecht Anonymous Jeffrey Gilman & Carol Reif Lynne La Marca Heinrich Robert & Evelyn Apte Judith A. & Alexander J. Glass Valerie & Richard Herr Barbara Armentrout Joan Glassey Cecilia Hoover Ms. Sarah J. Armstrong Stuart Gold Mark & Lynne Humphrey Fred & Elizabeth Balderston Michael Gorman & Deborah Tineke Jacobsen Mintz Carolyn & Richard Beahrs Fred Jacobson Steven E. Greenberg Anna Bellomo & Joshua Todd Kerr Bloom Victoria Grey Benjamin Kimmich Harriet Berg Stuart & Sharon Gronningen Mr. & Mrs. William Knowland Elaine & David I. Berland Elaine Grossberg John C. Lamar Sandra Bernard D.J. Grubb Jacqueline Leventhal Allison Binns Jessie Guiton Marcy Wong & Donn Logan Mr. & Mrs. Frank Bliss Ervin & Marian Hafter Carrie McAlister Laura & Scott Bovard William & Judith Hein

October 5 & 6, 2017 53 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

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54 October 5 & 6, 2017 Supporting Level June McDaniels Helen Schulak $100 and above (continued) Winton & Margaret Jack Shoemaker McKibben Alex Hodgkinson Jessie Shohara Suzanne & William McLean Phyllis Isaacson Lynn Signorelli Jim & Monique McNitt Joseph Jackson & Joann Sylvia Sorell & Daniel Kane Leskovar Junichi & Sarah Miyazaki Bruce & Susan Stangeland Carl Martin Jr. Emma Moon Tia Stoller & Drew Detsch Elie Khadra Paulette Muir Maria Tamburrino Kate Knuttel Michael Gray & Eileen Frances & Ronald Tauber Penelope Kojima & Russell Murphy Hyzen Monica Thyberg Ms. Ruth Okamoto Nagano Joshua Kroll Randy & Ting Vogel Joe & Carol Neil Sam & Tamara Kushner Jonathan Allen Ms. Dianne Nicolini Alison Taylor Lange Sim Warcov & Gretta Leslie & Joellen Piskitel Mitchell Colleen Larkin Wendy Polivka & Evan Steve Wasserman Andrew Lazarus & Naomi Painter Janowitz Dr. George & Bay Westlake Lucille & Arthur Poskanzer Jim Lovekin & Iris June Wiley & Bruce Tommelein Kathryn Price McCubbrey Jonatan Malis Barbara & Nigel Renton Wendy Willrich Chris Mammen Donald A. Riley & Carolyn Jen Wolan Serrao Patricia Markovich Nancy Wolfe Terry Rillera Andraya Martin Mrs. Charlene M. Lawrence Rinder Woodcock James E. & Jayne A. Matthews Helene T. Roos Gordon & Evie Wozniak Alex & Nancy Mazetis Steven Scholl Nicole & Robert Wrubel

We thank all who contribute to Berkeley Symphony, including those giving up to $100 annually and those whose gifts have been received since press time. While every attempt has been made to assure accuracy in our list of supporters, omissions and misspellings may occur. Please call 510.841.2800 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: Tricia Swift Marilyn & Richard Collier D.J. Grubb Elaine & David I. Berland Linda & Steven Wolan Jordan Price and Kyle Gabler Kathryn Price In Memory of: Thomas Richardson & Edith Jackson Jean Myer Radford Judith Bloom Barbara Myer Klein Gifts received between August 1, 2016 and July 31, 2017.

October 5 & 6, 2017 55 56 October 5 & 6, 2017 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 August 1, 2016 and July 31, 2017.

$50,000 and above $5,000 and above (continued) The William & Flora Hewlett Rudney Associates Foundation Wallis Foundation Meyer Sound Laboratories, Inc. Zellerbach Family Foundation

$25,000 and above $2,500 and above Clarence E. Heller Charitable Music Performance Trust Fund Foundation Up to $2,500 Jill Grossman Family Charitable Ackerman Volvo Fund Amazon Smile Graybird Foundation Bay Area Rapid Transit McCutcheon Construction The Rudolph and Lentilhon G. von New Music U.S.A. Fluegge Foundation, Inc. $10,000 and above Outsource Consulting Services, Inc. Ann and Gordon Getty The Tides Foundation Foundation Thornwall Properties Berkeley Public Schools Fund Bernard E & Alba Witkin Charitable Foundation Bernard Osher Foundation Matching Gifts Chevron Corporation The following companies have The Familian Levinson matched their employees’ or retirees’ Foundation gifts to Berkeley Symphony. Please let us know if your company does The Grubb Co. the same by contacting Ian National Endowment for the Arts Harwood at 510.841.2800 x305 or [email protected]. $5,000 and above Anchor Brewing Co. Anonymous Chevron Corporation California Arts Council Genentech, Inc. City of Berkeley Microsoft, Inc.

October 5 & 6, 2017 57 Broadcast Dates

Relive this season’s concerts on KALW 91.7 fm

KALW is proud to be Berkeley Symphony’s Season 17/18 Media Sponsor

4 Mondays at 9p in May 2018

Hosted by KALW’s David Latulippe

Program I: Oct. 5, 2017 will be broadcast on May 7

Program II: Dec. 7, 2017 will be broadcast on May 14

Program III: Feb. 1, 2018 will be broadcast on May 21

Program IV: April 19, 2018 will be broadcast on May 28

58 October 5 & 6, 2017 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 Richard Martin Susan & Jim Acquistapace Jan & Michael McCutcheon Ajanta Helen & John Meyer Anonymous Mueller Family Vineyards Eric Asimov & Deborah Hofmann Music@Menlo Aurora Theatre Company National Geographic Unique Lodges Bancroft Hotel New World Symphony Natasha Beery & Sandy McCoy Mitchell Newman Berkeley Repertory Theatre Outsource Consulting Services George Boziwick Terry Pensford Cal Performances Philharmonia Baroque John Callahan—Callahan Piano Service Quivira Vineyards Kathy Canfield Shepard—Canfield Design Marjorie Randell-Silver—Copperleaf Studios Productions Gray Cathrall Thomas Richardson & Edith Jackson Chanticleer Saha Restaurant Chez Panisse San Francisco Ballet Chocolatier Blue San Francisco Opera Claremont Club & Spa San Francisco Symphony Richard Collier Linda Schacht & John Gage Kathy Crandall & Lori Gitter Deborah Shidler Diablo Ballet Shotgun Players Dyer Vineyard Suzanne Siebert Leah Garchik Ann & Gordon Getty Hiram Simon Hans Fahden Vineyards Jutta Singh—Jutta’s Flowers Kathleen G. Henschel & John W. Dewes Tia Stoller—Stoller Design Group Buzz & Lisa Hines Tricia Swift Kenneth Johnson & Nina Grove Lisa & James Taylor Philippa Kelly Paul Templeton & Darrell Louie Todd Kerr Anne & Craig Van Dyke William Knuttel Yvette Vloeberghs Lama Beans Café Angela & William Young Alex Leff S. Shariq Yosufzai & Brian James Los Angeles Philharmonic Michael Yovino-Young

October 5 & 6, 2017 59 BRING IN THIS AD TO RECEIVE A 1O% DISCOUNT ON ANY PURCHASE OF GIFTS AND FLOWERS

60 October 5 & 6, 2017 Administration Contact & Creative Staff For tickets, call 510.841.2800 or René Mandel, Executive Director visit berkeleysymphony.org. Ian Harwood, Associate Executive Berkeley Symphony Director 1942 University Avenue, Suite 207 Sarah Thomas, Director of Operations Berkeley, CA 94704 Maggie Perkes, Director of Audience 510.841.2800 Development & Engagement [email protected] Samantha Noll, Patron Services find us on Manager Cindy Michael, Finance Director P H

Noel Hayashi, Marketing Consultant M LIFE’S BEST MOMENTS O O T C

Andrew Leshovsky, Marketing . OG R L

Consultant L E H A James Taylor, Corporate Development C P T I Associate H M Y A

❖ Franklyn D’Antonio, Co-Orchestra T

T 5 E Manager 1 0 R A

6

Joslyn D’Antonio, Co-Orchestra G 5 R 5

Manager A - 4 M . 9

Quelani Penland, Librarian W 2 0 W

David Rodgers, Jr., Stage Manager W Stoller Design Group, Graphic Design Dave Weiland, Photography Elie Khadra, Videographer Johnson Digital Audio, Recording Engineer

Program Since 1922 Andreas Jones, Design & Production Mon-Sat 8am-7pm Sun 10am-5pm Stoller Design Group, Cover Design John McMullen, Advertising Sales 3068 Claremont Ave, Berkeley Thomas May, Program Notes (510) 652-2490 Calitho, Printing

October 5 & 6, 2017 61 Advertiser Index

A1 Sun...... page 26 JMR Capital Management, Inc. . . . . page 42

Ackerman’s Servicing Volvo. . . . . page 28 Jutta’s Flowers...... page 60

Albert Nahman Plumbing...... page 46 La Mediterranée...... page 36

Alward Construction...... page 26 La Note Restaurant Provençal. . . . page 36

Aurora Theatre Company...... page 48 Limewood Bar & Restaurant...... page 19

Berkeley City Club...... page 46 Margaretta K. Mitchell Photography. . page 61

Belmont Village Senior Living . . . . page 20 Mason McDuffie...... page 26

Berkeley Optometry...... page 10 Maybeck High School...... page 24

Bill’s Footwear...... page 52 McCutcheon Construction...... page 45

Blue’s Chocolates...... page 54 Mountain View Cemetery. . inside front cover

BuyArtworkNow.com ...... page 34 National Geographic Expeditions . . page 56

Chanticleer...... page 22 Oceanworks...... page 32

The Christmas Revels...... page 50 Pacific Union...... page 16

Coldwell Banker...... page 52 Piedmont Gardens ...... page 14

The College Preparatory School . . . .page 32 Poulet...... page 36

The Cooperative Cleaning Company . . . . . San Francisco Chamber Orchestra. . page 38

...... inside back cover Star Grocery...... page 61

The Crowden School...... page 48 Storey Framing...... page 32

DHM Architecture...... page 42 Talavera...... page 32

Dining Guide ...... page 36 Thornwall Properties...... page 18

Douglas Parking...... page 58 Tricia Swift, Realtor...... page 24

Frank Bliss, State Farm...... page 14 Wooden Window...... page 28

Going Places ...... page 52 Yovino-Young Inc...... page 52

The Grubb Co...... back cover ...... Please Patronize Our Advertisers!

to advertise in the berkeley symphony program,

call john mc mullen 510.459.8264

62 October 5 & 6, 2017 The Cooperative Cleaning Company Berkeley, CA Owned & operated by Sarah and Mike Neil

For 30 years, East Bay residents have counted on CCC to maintain inviting, clean, and orderly homes in which to live and entertain. Their employees are real employees, not contractors, and receive compensation & benefits above the industry average. Insured and bonded, CCC is the choice of discerning clients. 510-845-0003 CooperativeCleaning.com