Berkeley_Program Covers.pdf 4 9/18/18 6:49 PM

SYMPHONIC IV CLYNE & STRAUSS

05.02.19 | 8:00 PM ZELLERBACH HALL

RICHARD WAGNER Overture to Tannhäuser

ANNA CLYNE This Midnight Hour

THOMAS ADÈS Dances from Powder Her Face

RICHARD STRAUSS Rosenkavalier Suite

Christian Reif Guest Conductor

ODC/DANCE

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 23 Program Notes 41 Conductor Christian Reif 43 Guest Artists 47 About Berkeley Symphony 50 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 California Symphony Orchestras. No recordings of any part of tonight’s performance may be made without the written consent of the management of Berkeley Symphony. Program subject to change.

May 2, 2019 3 4 May 2, 2019 Message from the Board President

s we celebrate the final concert of the 2018/19 ASeason with Symphonic IV: Clyne & Strauss, we have some celebratory changes coming to the future of Berkeley Symphony. We would like to thank each and every member of the audience who has supported this orchestra during this Music Director search. Through your attendance, donations, feedback, and support, we have found our next Music Director. In this season, we have had many great guest conductors, some new faces, and some familiar ones; all have been, and will be, outstanding artists that will continue to bring symphonic music to captivated audiences across the world. Please join us in extending a warm welcome to Joseph Young, our new Music Director.

Throughout this season, Berkeley Symphony has collaborated with such great musicians and other guest artists as Hannah Kendall, Benjamin Beilman, Andrew Tyson, and many more. Our most recent concert, Symphonic III: Dvorˇák & Ellington, brought Berkeley High Jazz Ensemble to our stage and many families to our seats. This program explored America’s sound, blending Jazz and Folk song through Dvorˇák’s Symphony No. 9 “From the New World” and Duke Ellington’s Black, Brown and Beige. Joshua Kosman of the San Francisco Chronicle said about the program, “Together, these works gave the audience plenty to listen to and chew on—thoughts about the nature of stylistic categories and about the outcome of blurring those boundaries.”

Tonight, we have the opportunity to experience the finale of one of Berkeley Symphony’s best seasons yet. We bring you a collaboration with ODC/Dance and our Music Alive Composer-in-Residence, Anna Clyne, to create a one of a kind event. Anna Clyne has been our Music Alive Composer-in-Residence for the last three seasons and it has been nothing short of incredible. From her compelling compositions to her incredible involvement in the community, she has made an unforgettable impact on Berkeley Symphony. As our professional relationship with Anna is coming to a close, we wish her the best in all her endeavors and hope that the world cherishes her just as we do.

Stay tuned for the great season ahead as we will announce the remarkable repertoire and dates very soon. In collaboration with Joseph Young, René Mandel, Executive & Artistic Director, has quite the treat in store for us all in Berkeley Symphony’s 49th year.

S. Shariq Yosufzai

May 2, 2019 5 Proud Supporter of the Berkeley Symphony

Visit us at HDRremodeling.com or give us a call at 510-845-6100

6 May 2, 2019 Message from the Executive & Artistic Director

elcome to this final concert of our 2018/19 season. WWhether you have been with us all season or are experiencing Berkeley Symphony for the first time, we appreciate your presence and are grateful for your support. We conclude this season with an operatic flourish and all the photo by Marshall Berman passion and drama that goes with it. As you may have heard, Berkeley Symphony recently named Joseph Young as our incoming Music Director, making him only the fourth music director in the Orchestra’s nearly 50-year history. Increasingly recognized as “one of the most gifted conductors of his generation,” Joseph impressed our musicians and our audience members alike when he conducted the Orchestra last January. I personally look forward to working with Maestro Young as Berkeley Symphony moves into this a new era. Tonight, we are delighted to welcome our friend Christian Reif back to the Zellerbach podium and are pleased to share the stage with guest dancers from San Francisco’s renowned ODC/ Dance, under the direction of K.T. Nelson. The dancers will add a choreographic dimension to the dances from Thomas Adès’ provocative opera Powder Her Face, as well as to Anna Clyne’s This Midnight Hour. But first, we open with a suite based on Georges Bizet’s beloved 1875 opera Carmen. This fiery suite contains some of his opera’s most familiar melodies compiled by his friend Ernest Guiraud after the composer’s death that same year. Tonight’s performance of Adès’ Dances from Powder Her Face holds special meaning for Berkeley Symphony, having given the US premiere of the concert version of this opera in 1997 before it was fully staged in New York, London and Chicago. Clyne’s seductive This Midnight Hour was inspired by the poems of Juan Ramón Jiménez and Charles Baudelaire. Its performance tonight marks the conclusion of Anna Clyne’s three-year tenure as Berkeley Symphony’s Music Alive Composer-in- Residence, supported by New Music USA and the League of American Orchestras. On behalf of the entire Berkeley Symphony community and the City of Berkeley, we are deeply grateful to Anna. It has been a profound experience being in her presence and performing her masterful works. Rounding out tonight’s program is the suite from Richard Strauss’ famed comic opera, Der Rosenkavalier, a tribute to love, intrigue and forbidden pleasures. It has been a rich and rewarding season as we continue to celebrate the past while exploring new musical ideas and introducing our Berkeley audiences to the artists of tomorrow. I look forward to seeing you again next season!

With warm wishes,

René Mandel

May 2, 2019 7 8 May 2, 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 Bennett Markel Advisory Council Bebe & Colin McRae Jan McCutcheon, Co-Chair Helen & John Meyer Lisa Taylor, Co-Chair Deborah O’Grady & John Adams Kathleen Crandall, Co-Chair Becky & Michael O’Malley Marilyn Collier, Chair Emerita Ed Osborn & Marcia Muggli Michele Benson 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

May 2, 2019 9 10 May 2, 2019 The Orchestra

Joana Carneiro Viola Music Director Emerita Tiantian Lan Principal Kent Nagano Ivo Bokulic Assistant Principal Conductor Laureate Patrick Kroboth Alessandra Aquilanti Violin I Matthew Oshida Franklyn D’Antonio Concertmaster Zhongkun Lu Matthew Szemela Associate Concertmaster Amy Apel Candace Sanderson Assistant Concertmaster Kristen Steiner Lisa Zadek Shawyon Malek-Salehi Cello Carol Rice Principal Hrafnhildur Atladottir Sponsored by Getrude Allen Ernest Yen Nancy Bien Assistant Principal Annie Li David Wishnia Bogum Kang Isaac Pastor-Chermak Rui Feng Peter Bedrossian Frederick Chang Nicholas Carlin John Bernstein Margaret Moores Bert Thunstrom Sylvia Woodmansee

Violin II Bass Daniel Flanagan Principal Jon Keigwin Principal Sponsored by Tricia Swift James Coyne Assistant Principal Monika Gruber Assistant Principal Stephanie Payne David Cheng Yuchen Liu Larisa Kopylovsky Michael Minor Daniel Lewin Hui Lim Flute Rick Diamond Dawn Walker Principal Sponsored by Janet Maestre Ann Eastman in memory of Marcos Maestre Karsten Windt Katrina Walter Kevin Harper Sarah Holzman Charles Zhou continues on page 13

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12 May 2, 2019 Piccolo Trumpet Sarah Holzman Scott Macomber Principal William Harvey Oboe Joseph Brown Deborah Shidler Principal Sponsored by Lisa & Jim Taylor Trombone Sarah Rathke Thomas Hornig Principal Bennie Cottone Sponsored by Kathleen G. Henschel & John W. Dewes Curtis Azevedo English Horn David Ridge Bennie Cottone Tuba Clarinet Forrest Byram Principal Bruce Foster Principal Timpani Roman Gerber Kevin Neuhoff Principal Lotte Leussink

Jeannie Psomas Percussion Karen Sremac Ward Spangler Principal Timothy Dent Bass Clarinet Victor Avdienko Jeannie Psomas Mckenzie Camp Bryce Leafman Bassoon David Granger Principal Harp Ravinder Sehgal Wendy Tamis Principal Kristopher King Constance Koo Yidan Yu Piano/Celeste Contrabassoon Marc Shapiro Principal Kristopher King

Horn Franklyn D’Antonio Co-Orchestra Manager Alex Camphouse Principal Alicia Telford Joslyn D’Antonio Co-Orchestra Manager Meredith Brown Erika Miras Quelani Penland Librarian Thomas Reicher David Rodgers, Jr. Stage Manager

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14 May 2, 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

Rose Ray & Robert Kroll

Tricia Swift

S. Shariq Yosufzai & Brian James

Anonymous

May 2, 2019 15 Are Your Investments in Tune with Your Goals and Values?

Marc Roth, President of JMR Capital Management, Inc., is a longtime subscriber and supporter of Berkeley Symphony and Music in the Schools. Let Us Help You Achieve Your Goals.

44 Montgomery Street #3500, San Francisco, CA 94104 415.296.9065 [email protected] www.jmrcap.com

16 May 2, 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 New York City; 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

May 2, 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 on May 4, 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 May 2, 2019 COLOR INSERT

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20 May 2, 2019 Symphonic IV: Clyne & Strauss

Thursday, May 2, 2019, 8pm Zellerbach Hall, Berkeley

Christian Reif Conductor

Georges Bizet Carmen Suite No. 1 Prélude Aragonaise Intermezzo Séguedille Les Dragons d’Alcala Les Toréadors Thomas Adès Dances from Powder Her Face* Overture Waltz Finale with ODC/Dance

INTERMISSION Anna Clyne This Midnight Hour with ODC/Dance

Richard Strauss Suite from Der Rosenkavalier Prelude (Act I) Presentation of the Silver Rose (Act II) Baron Ochs’ Waltz (Act II) “Ist ein Traum” (Act III) Waltz (reprise)

*Used by arrangement with European American Music Distributors Company, U.S. and Canadian agent for Faber Music Ltd., London, publisher and copyright owner.

Today’s concert will be broadcast on KALW 91.7 FM on May 27, 2019, at 9pm. Please switch off your cell phones, alarms, and other electronic devices during the concert. Thank you. Concert Sponsors Today’s performance is made possible by the generous support of Susan & Jim Acquistapace • Paul Templeton & Darrell Louie Marcia Muggli & Ed Osborn • Dean Francis • Lisa & Jim Taylor

May 2, 2019 21 22 May 2, 2019 Program Notes

Georges Bizet combination of pieces that serve as interludes or preludes in their original Born October 25, 1838, in Paris; died context with instrumental versions of June 3, 1875, in Bougival, just outside vocal numbers from the opera. Paris

Carmen Suite No. 1 he history of opera is packed Composed: 1873-74 T with erstwhile successes that fell into oblivion soon after their First performance: Carmen opened on composers’ deaths. But Carmen March 3, 1875, in Paris; this Suite of illustrates a dramatic reversal of that extracts was arranged and published pattern and has made Georges Bizet posthumously, in 1882 a sort of patron saint of posthumous Duration: approximately 12 minutes success. It’s not accurate to describe Carmen’s premiere on March 3, 1875, These extracts from Carmen are scored as a total fiasco—it continued for for 2 flutes (2nd doubling piccolo), 2 a comparatively decent run—but oboes (2nd doubling English horn), the reaction was one overall of 2 clarinets, 2 bassoons, 4 horns, 2 disappointment and/or shock triggered trumpets, 3 trombones, timpani, by its unprecedented aspects. Bizet triangle, tambourine, snare drum, bass died exactly three months after drum, cymbals, castanets, harp, and the opening, only 36 years old. Like strings. Jonathan Larson in the 1990s, whose In sum: unexpected death prevented him from enjoying the tremendous acclaim • Carmen is now one of the most potent reaped by his musical Rent, the French and recognizable icons from classical composer would never know of the music and opera, yet its composer died unimaginably far-reaching “afterlife” before he could enjoy the success of his that Carmen has enjoyed—including creation. beyond the opera stage, as in these • Following Georges Bizet’s death—the concert excepts, let alone in popular composer died three months after culture. Carmen premiered—his colleagues Bizet had started out as a prodigy arranged and published excerpts composer, his gifts acknowledged from the opera into suites for concert by well-positioned supporters performance. like Offenbach and Gounod. But • The Suite No. 1 presents a he struggled to win over the fickle

May 2, 2019 23 ESTRO MA E H T M O R F

“What fascinates me about all four of these works is their strong sense of drama and their ability to transport us into a certain time and place. They all accomplish this primarily through dance music. Bizet evokes Spain through folk dances photo © Stefan Cohen and Flamenco rhythms; and Adès alludes to the 1930's with a deconstructed tango and Cabaret style. Anna Clyne’s folkloristic closing melody reminds me of Renaissance courtly dance, while Strauss employs various Waltzes that immediately transport us to Vienna.

The first half of the program celebrates two strong and proud women at the height of their powers. Popular, cunning, owning their sexuality, living with abandon, but who also threatened those around them and challenged societal norms. Their lives come to an abrupt halt: one is killed by a former lover in a jealous rage, the other condemned and publicly shamed.

The second half also focuses on experiences of women, but a bit more abstractly.”

24 May 2, 2019 Parisian public and found it difficult revived elsewhere. (Bizet’s original to navigate the maze of producers’ score followed the conventions of demands as well as public taste. contemporary opéra-comique—which, Bizet was also a victim of bad timing. despite the name, could involve The economic fallout from France’s tragedy—in its use of spoken dialogue.) humiliating defeat in the Franco- Bizet’s publisher also commissioned Prussian War and the ensuing Paris two concert suites of six pieces each, Commune of 1871 left its mark on the which combine instrumental interludes contemporary French spirit—just as with purely instrumental versions of Bizet was entering the prime years of several vocal numbers. his career. What to listen for He had banked on the heated story Conductors often reorder the pieces of the free-spirited young heroine comprising the suites (to imitate the and her fatally possessive lover. Its opera’s chronological ordering, for source was a novella published three example). As published, the Suite No. decades earlier by the French writer 1 begins with the part of the Prelude and archeologist Prosper Mérimée to Act I in which trembling strings (1803-1870), a polymath who harbored introduce darkly intone the ominous a special fascination for Spain and Fate motif. In the Aragonaise, Bizet Russia (he was an important translator presents one of several Spanish- of Russian literature into French). flavored dances laced throughout For all the opera’s associations with the opera. It serves as an interlude Spain, Mérimée’s Carmen may have between the third and fourth acts, drawn on a work he had translated right before the climactic bullfight from Russian: The Gypsies, Pushkin’s during which the disgraced soldier Don narrative poem from the mid-1820s. José—now turned stalker—confronts Another curious irony is the fact that his ex-lover Carmen. A bucolic, flute- Bizet himself never set foot in Seville, sweetened Intermezzo (which is the in and around which the opera is set. prelude to the third act) shifts the The opera’s tone of obsessive passion scene outside Seville to a remote and destructive jealousy has nothing place where Don José, now a fugitive, in common with the antics of the pursues Carmen. The Seguidilla is both wily barber Figaro, whose adventures a folksong-flavored aria and, in its unfold in the same Andalusian setting. original version as sung by Carmen, a After Bizet’s sudden, premature death, piece of performance art with dance in his associates determined to salvage which she initially seduces Don José. A the music in the face of Carmen’s slice of his life as a soldier is depicted poor future prospects onstage. His by the marching music of Les Dragons friend Ernest Guiraud (a native of d’Alcala. The Marche du Toréador is the New Orleans) composed recitatives musical emblem of José’s rival, the to increase Carmen’s potential to be bullfighter Don Escamillo. It appears

May 2, 2019 25 Well Orchestrated Travel whether simple or sublime

26 May 2, 2019 both in the Prelude to Act I and in the into a satire of our culture’s insatiable climactic murder scene. The festive appetite for sensationalism. cheer greeting the parading toreadors • Adès has made numerous concert evokes the public spaces in which suites of Powder Her Face, including Carmen’s tragedy plays out. this one of three sections highlighting the score’s prominent use of dance gestures. Thomas Adès

Born March 1, 1971, in London; he British composer Thomas currently resides in England T Adès started taking the music world by storm in the 1990s, but Dances from Powder Her Face he quickly proved he was no run- of-the-mill enfant terrible—today’s Composed: Powder Her Face was sensation, forgotten tomorrow. Adès composed in 1995; the Suite dates from (pronounced AH-diss) has gone on 2007; rev. 2018 to surpass the lofty expectations First performance: June 17, 2007, raised by his chamber opera Powder at the Aldeburgh Festival, Snape Her Face debuted in 1995. Indeed, his Maltings, Suffolk, UK, with Thomas successes with The Tempest (which Adès conducting the Philharmonia won the 2013 Best Opera Recording Orchestra Grammy) and The Exterminating Angel have confirmed Adès’ stature among Duration: approximately 12 minutes the most compelling opera composers The Dances are scored for 3 flutes today—a position he balances with his (3rd doubling piccolo), 3 oboes, prominence in the concert hall as both 3 clarinets (3rd doubling bass composer and conductor. The world clarinet), 2 bassoons (2nd doubling premiere in March of his Concerto for contrabassoon), 4 horns, 3 trumpets, Piano and Orchestra—in which he led 3 trombones, horn, timpani, 3 the Boston Symphony and soloist Kirill percussionists, harp, piano, and Gerstein—garnered rave reviews. strings. Powder Her Face, which sets a libretto by In sum: the novelist Philip Hensher, recounts the fall-from-grace tale of Margaret, • Powder Her Face is the debut opera Duchess of Argyll, whose death in 1993, from a composer now acknowledged at the age of 80, had brought her back to be a contemporary master of the into the news. She was the center of genre. a scandalous divorce trial in 1963 and • Adès takes his story from the real- became known as “the Dirty Duchess” life tabloid scandal of Margaret, in hypocritically titillating tabloid Duchess of Argyll, transforming it exposé pictures documenting her

May 2, 2019 27 FRO M T HE M

A E S T R

O

“Anna Clyne has created a wonderfully evocative tone

poem, which was influenced by two poems (by Jimenez

and Baudelaire) that explicitly express the sensual

experience of movement and dance.

photo © Stefan Cohen Clyne didn’t intend for there to be a specific story-line, but I personally feel a sense of narrative. Of course, listeners are encouraged to react to the music in their own way. Here are just some of the images that come to mind for me:

We’re flung into the action by something threatening and breathless—the heroine of Jimenez’s poem runs through the night. Why is she running? Is she being hunted or pursued? There are strange, terrifying noises. Are they external or internal? She seems lost. Briefly catching her breath, she’s on the run again. After an extreme encounter, we hear a melancholic waltz that is soaring and seemingly relieves her from some, but not all, of the struggles that weigh her down. The final folk-like woodwind melody, nostalgic and hopeful at the same time, feels like an acceptance of fate—instead of running, she walks steadily towards the inevitable.”

28 May 2, 2019 sexual adventurousness. Before her Adès takes delight in the fluid downfall, the Duchess had had it all; possibilities of his allusive musical she was even the inspiration behind language, contrasting a surreally Cole Porter’s song “You’re the Top.” twisted foxtrot with the swooping mockery of clarinets (playing a The opera’s occasionally sleazy leitmotif of derisive laughter). The aspects drew a lot of press of their musical focus moves in and out own, which turned out to be quite between the Duchess’ delusional but fitting for an opera satirizing our protective habit of living in the past culture’s insatiable appetite for and the sordid circumstances in which sensationalism. In the hands of she actually finds herself. Adès and Hensher, Powder Her Face became an ironic morality tale in the The Overture’s acerbically neon, spiky tradition of Kurt Weill and Bertolt strains are followed by the Waltz, Brecht, mixing a heady cocktail of which is drawn from one of the scenes sex, hypocrisy, class privilege, and the of sustained flashback that recalls the tabloid media. expensive wedding of the philandering Duke and Duchess. An alcohol-fueled A joint commission by the Aldeburgh waitress—in an opera buffa aside— Festival, the Philharmonia Orchestra, imagines herself trading places to and the Cleveland Orchestra, this Suite enjoy a life of luxury and sings an aria was premiered in 2007. Powder Her Face (“Fancy, fancy being rich”). The Waltz, was originally conceived for modest music of remarkable fantasy (tinged dimensions: a cast of three singers by the composer’s recent Tempest (in addition to the Duchess) who play score), translates this music into multiple roles and a 15-piece band hesitantly dancing, tipsy orchestral including accordion and sax, which colors. (Later in the program, Anna added to its piquant signature sound. Clyne’s This Midnight Hour and Strauss’ For the Suite, Adès reworked selections Suite from Der Rosenkavalier offer yet from his 1995 score using the full more perspectives on the waltz idea.) resources of a large orchestra—and thus clothing this music in a more The Finale returns to the acerbic complex array of colors. sonorities of the Overture, now rendered with even more caustic What to listen for distortions. The Duchess is booted The Overture establishes the opera’s out of the hotel but maintains an framework. It proceeds as a series of oddly alluring sense of dignity as flashbacks to a bygone era’s decadent her last attempt at seduction fails, glitz as well as to the notorious trial. while imagined “servants” (hotel These are recalled from the Duchess’ employees) remain on stage for degraded present state, living in a an epilogue to have the final say to hotel from which she is eventually taunting, obscenely lurching tango booted as unpaid bills accumulate. rhythms.

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30 May 2, 2019 Anna Clyne have come to experience Clyne’s commitment to collaborative Born March 9, 1980, in London; creativity in her artistic practice— currently resides in Brooklyn, New York and the innovative spirit this has This Midnight Hour fostered. Her music characteristically seeks out connections with the visual Composed: 2015 arts, poetry, and dance. Last fall, for First performance: November 13, 2015, example, the Symphony opened the with Enrique Mazzola conducting the season with Night Ferry, a milestone Orchestre national d’Île de France in in her orchestral work to date that Plaisir, France addresses issues of manic depression and its effects on creative artists. Duration: approximately 12 minutes Her process of composing involved a This Midnight Hour is scored for 2 flutes graphic score that included a multi- and piccolo, 2 oboes, 2 clarinets, panel painting she had made of 2 bassoons, 4 horns, 2 trumpets, images and textual fragments to guide 3 trombones, tuba, timpani, 2 her work on the music. percussionists, and strings. For this evening’s work, This Midnight Hour, Clyne revisits a score from 2015 In sum: together with ODC/Dance, whose • Anna Clyne completes her three-year Co-Artistic Director KT Nelson has tenure as Music Alive Composer-in- choreographed the music. Clyne’s Residence with Berkeley Symphony fascination with dance is a recurrent with this new collaboration with KT thread in her compositions. Other Nelson and ODC/Dance examples include the symphonic ballet RIFT and The Seamstress, a violin • This Midnight Hour was inspired by the concerto for Jennifer Koh, which Clyne nocturnal and musical imagery from composed as “an imaginary one-act two poems. ballet” inspired by a William Butler • Clyne juxtaposes slightly surreal Yeats poem. distortions of the waltz with thick The London-born Clyne has lived in textures and agitated rhythms, the United States since 2002, having evoking one of the poem’s images of studied at the University of Edinburgh music as “a naked woman running and the Manhattan School of Music, mad through the pure night.” where 2019 Pulitzer Prize winner Julia Wolfe became an important nna Clyne’s position as composer- mentor. Clyne’s music has been A in-residence through the Music featured at the BBC Proms, and her Alive program is coming to its end double violin concerto Prince of Clouds, after three seasons. In the process, which she wrote during her Chicago Berkeley Symphony audiences residency, was nominated for a Best

May 2, 2019 31 FRO M T HE M

A E S T R

O

“In Strauss’ Der Rosenkavalier we find a more humorous and positive

treatment of sexual energy and relationships. Women recognize

and make space for each other, as well as each other’s desires. The

photo © Kristen Lokan

Waltz, a dance that was intended to simultaneously contain and

encourage a frenzy of sexual release, takes on various levels of intimacy.

All of these works have narratives or texts that guide the arc of each piece. And even while there are no words spoken or sung in this concert, the characters, at any given moment, are clearly portrayed in the music.

Initially, while putting this concert together, I was not thinking about how to program a multifaceted representation of women in music. Rather, the starting point was the planned collaboration with ODC/Dance and Anna Clyne’s piece. I felt it striking when women emerged as a focal point. However, I have to admit to myself that, apart from Anna Clyne, all of the other composers and lyricists on this program are men. The joyful, ecstatic, humorous, brooding, sensual, seductive, proud, tender, violent, nostalgic, fatalistic views of women through music is presented through men’s eyes.

I look forward to seeking out and finding more material in which women represent themselves.”

32 May 2, 2019 Contemporary Classical Composition Le violon frémit comme un coeur qu’on afflige, Grammy Award in 2015. The position Un coeur tendre, qui hait le néant vaste et noir! at Berkeley is the latest in a series Le ciel est triste et beau comme un grand reposoir; of prestigious residencies for Clyne, Le soleil s’est noyé dans son sang qui se fige. including with the Chicago Symphony Un coeur tendre, qui hait le néant vaste et noir, (2012-15), the Orchestre national d’Île Du passé lumineux recueille tout vestige! de France (2014-16), from 2014-16; the Le soleil s’est noyé dans son sang qui se fige . . . Baltimore Symphony (2015-16), and Ton souvenir en moi luit comme un ostensoir! National Sawdust (2017-18). What to listen for Co-commissioned by the Orchestre In addition to the nocturnal images national d’Île de France and Seattle of the Jiménez and Baudelaire poems, Symphony, This Midnight Hour is Clyne notes the inspiration she found a single-movement work whose in the darker low string sounds of the relatively brief duration belies the Orchestre national d’Île de France when sense of event and encompassing she collaborated with that ensemble. It is phantasmagoria Clyne achieves in with this sonority that This Midnight Hour her score. Poetry again plays a key role in the piece’s inspiration: the begins. Without intending to suggest composer refers to two specific a specific programmatic narrative, poems, each containing powerful Clyne explains, the title is meant to nocturnal imagery. The first is by the evoke a “mysterious journey of a Nobel Prize-winning Juan Ramón woman, compressed into a single Jiménez (1881-1958): La musica;—mujer hour.” desnuda/corriendo loca por la noche pura! The poetic sources find their way (“Music;—a naked woman/running into Clyne’s music in various ways. mad through the pure night!”). The Baudelaire’s Valse mélancolique et second is one of the best-known langoureux vertige (“melancholy waltz poems from Charles Baudelaire’s and languid vertigo”) prompts a (1821-1867) Fleurs du Mal (“Flowers of “slightly warped version of a waltz,” Evil”), the highly musical Harmonie du Clyne says, using folklike melodic soir: material. At times, she manipulates

Voici venir les temps où vibrant sur sa tige her orchestration to make the Chaque fleur s’évapore ainsi qu’un encensoir; ensemble mimic the sound of an Les sons et les parfums tournent dans l’air du accordion via changes in the strings’ soir; tuning. Dividing up the large string Valse mélancolique et langoureux vertige! section into many-layered strands.

Chaque fleur s’évapore ainsi qu’un encensoir; Jiménez’ imagistic symbol of music Le violon frémit comme un coeur qu’on afflige; as a “mad woman” is depicted by Valse mélancolique et langoureux vertige! “fast, accelerating rhythms with Le ciel est triste et beau comme un grand dense textures in the orchestra.” reposoir. Overall, according to the composer,

May 2, 2019 33 SpEciAl hAnd-mAde chOcOlatES tO SurpriSE And inSpirE yOur tAStE budS

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34 May 2, 2019 the character of This Midnight Hour In sum: ranges from a “playful to more • Richard Strauss’ most popular ominous” soundscape and from opera, Der Rosenkavalier draws on the chamber music-like solo passages brilliant orchestral technique the to full ensemble writing. Thanks composer had perfected in his earlier to Clyne’s deft combination of tone poems. imagination and craft, the result is like watching a super-compressed • Der Rosenkavalier started out as a film—or like seeing a lifetime flashing heavily satirical comedy but evolved before a dying person’s eyes. The end into a character study of deep comes as a surprise, in the inner of psychological nuance with its focus on Brian De Palma. the aging Marschallin, who sacrifices the young man she loves to ensure his happiness with a rival.

Richard Strauss • The Suite from Der Rosenkavalier juxtaposes the score’s comedic spirit, Born on June 11, 1864, in Munich, epitomized by its signature waltzes, Germany; died on September 8, 1949, with the ecstatic and deeply moving in Garmisch-Partenkirchen, Germany music of its lovers in the process of realizing their feelings. Suite from Der Rosenkavalier

Composed: 1909-10 ith his sequence of tone poems First performance: The opera W in the last years of the 19th premiered on January 26, 1911; this century, Richard Strauss cut his teeth Suite was first performed on October in the art of musical storytelling. 5, 1944. Artur Rodzin´ski, who has Those scores helped pave the way for traditionally received credit for the his emergence as one of the leading opera composers of the 20th century. arrangement, conducted the New Strauss also had the advantage of York Philharmonic. working with the poet and dramatist Duration: approximately 22 minutes Hugo von Hofmannsthal (1874-1929), The Suite from Der Rosenkavalier is who had recently launched their legendary partnership by furnishing scored for 3 flutes (3rd doubling the libretto for Elektra, the (shockingly piccolo), 3 oboes (3rd doubling different) opera that immediately English horn), 2 clarinets and bass preceded Der Rosenkavalier. clarinet, 3 bassoons (3rd doubling contrabassoon), 4 horns, 3 trumpets, Set in an imagined mid-18th- 3 trombones, tuba, timpani, 2 century Vienna, Der Rosenkavalier percussionists, harp (2nd ad lib.), was originally conceived as a period celesta, and strings. comedy inspired by Verdi’s Falstaff as

May 2, 2019 35 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

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36 May 2, 2019 well as the comic spirit of Molière’s intuits will become her own rival. The satires, centering around the quest perceptive Marschallin has decided to of the oafish, self-centered Baron save Sophie from suffering the same von Ochs (a German name that fate that befell her at that age and is means exactly what it sounds like in eager to thwart Ochs’ scheme. English—and a personality with too Strauss wrote the score for Der many contemporary equivalents Rosenkavalier between 1909 and 1910, to list) to win the young Sophie von and the opera was premiered in Faninal as a trophy bride. Love is not January 1911. It made the already rich von Ochs’ goal, but rather Sophie’s and famous composer into an even fortune: she is attached to a sizable more wildly successful celebrity, dowry promised by her nouveau riche becoming a phenomenon well beyond father. But the Baron’s plans are foiled the opera house and generating an by the young Count Rofrano, known avalanche of “tie-in” merchandise. as Octavian and cast as a “trousers Der Rosenkavalier has also found a life role” ( i.e., for a female singer, like in the concert hall. Along with its Cherubino in Mozart’s The Marriage gestures of Mozartean homage, the of Figaro). Octavian falls in love with score draws on the orchestral mastery Sophie when he meets her as bearer Strauss had inherited from Wagner. of the “silver rose” to announce This aspect comes to the fore in the Ochs’ engagement, and his feelings purely instrumental suite we hear, the are at once reciprocated. In fine best known of numerous suites that comic fashion, the young Count then have been extracted from the score orchestrates a plot to unmask his over the years (most of which were not rival’s true character. arranged by the composer himself). But Octavian is at the same time Strauss’ own role in preparing this entangled in an affair with an particular suite is murky; around older woman, the Marschallin, an the time it was introduced in New aristocrat trapped in a loveless York, in 1944, he was fashioning a marriage. The Marschallin introduces different suite of his own drawn an entirely new dimension of pathos mostly from the opera’s waltzes. The and psychological nuance into the Polish conductor Artur Rodzin´ski, comedy and becomes its true central who led the Rosenkavalier Suite’s first character, revealing Strauss and performance, is usually cited as the Hofmannsthal’s desire to emulate the party responsible for actually splicing bittersweet emotional complexity it all together. In any case, Strauss of Mozart’s Figaro. In fact it is she likely consented to its publication the who arranges for Octavian to deliver following year. Ochs’ engagement token, thus What to listen for securing her lover’s first introduction to the younger woman she already The Suite opens with jubilant horns

May 2, 2019 37 38 May 2, 2019 evoking the teenage Octavian’s since the opera’s premiere, pedants passion for the Marschallin (who is have remarked that using waltzes approaching middle age). Alternately is “anachronistic” for a mid-18th- lush and heroic, the Prelude includes century milieu. But they never feel one of the most graphic depictions out of place in Strauss’ time-traveling of sex in the repertoire as the horns homage to the great music of the past, work to a climax, followed by an which extends to parodies of Wagner afterglow of leitmotifs that represent and, indeed, admiring nods to the the Marschallin and her reflections “waltz king” himself (no relation). on aging. Then we hear the music The Trio near the end is the epicenter from the scene that gives the opera of Der Rosenkavalier’s bittersweet its title (“The Knight of the Rose”), wisdom. Strauss ingeniously when Octavian undertakes his mission decelerates the waltz’s natural pace to present Baron Ochs’ silver rose for this glorious ensemble, in which to Sophie. (Fun fact: the Viennese the Marschallin, who had earlier tourist industry would have you been shown trying to stop time, believe this is an actual tradition, renounces her lover. Octavian and but it was a Symbolist invention of Sophie meanwhile marvel at their Hofmannsthal’s.) The youths fall in newfound love. After the Marschallin’s love to music of ecstatic, soaring graceful exit, the pair continue with rapture. a duet of simple, fairy-tale charm. Concluding the Suite is another comic A chaotic interlude ushers in the waltz danced by Ochs, which features lecher Ochs, who dances to one of some of Strauss’ most delirious the waltzes that are a signature of modulations. Der Rosenkavalier’s sound world. Ever —© 2019 Thomas May

May 2, 2019 39 Dining Guide

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40 May 2, 2019 Conductor: Christian Reif

featuring John Adams’ Grand Pianola Music.

In the 2018/19 season, Reif will conduct

photo by Tomas Loewy subscription concerts with the San Francisco Symphony and the St. Paul Chamber Orchestra. Additionally he will make debuts with the Hong Kong Philharmonic and Omaha Symphony and return to work with Berkeley Symphony and San Francisco Conservatory of Music. He will also conduct a production of Leoncavallo’s Pagliacci at Opera San Jose and a new chamber version of ne of the most promising John Adams’ El Niño with the American O conducting talents of his Modern Opera Company as part generation, German-born Christian the Metropolitan Museum of Art’s Reif is Resident Conductor of the San MetLiveArts series in New York. Francisco Symphony and Music Director Christian Reif studied with Alan Gilbert at of the San Francisco Symphony Youth the Juilliard School, where he completed Orchestra. He started in San Francisco in his Master of Music in Conducting in the 2016/17 season following two years 2014 and received the Charles Schiff in Miami as Conducting Fellow with the Conducting Award. Prior to that, he New World Symphony, working closely studied with Dennis Russell Davies at the with Michael Tilson Thomas. Mozarteum Salzburg, where he received In the 2017/18 season, Reif made a a diploma in 2012. He is winner of the highly praised subscription debut with 2015 German Operetta Prize, awarded the San Francisco Symphony and led by the German Music Council, and two concerts with the Orchestre National Kulturförderpreise awards given to de Lyon, Deutsche Staatsphilharmonie promising artists of the region who Rheinland-Pfalz, Brucknerorchester Linz promote cultural advancement in their and Berkeley Symphony. In Summer communities. He was a Conducting 2018, in addition to leading concerts Fellow at the Tanglewood Music Center with the Indianapolis Symphony and in the summers of 2015 and 2016. Reif at the Lakes Area Music Festival, he is a member of Germany’s Conductor’s made his Lincoln Center Mostly Mozart Forum (Dirigentenforum) and is one of Festival debut on a program with the the forum’s 2017/18 and 2018/19 featured International Contemporary Ensemble “Maestros of Tomorrow”.

May 2, 2019 41 42 May 2, 2019 Guest Artists

the Baltimore Symphony Orchestra during the 2015/16 season and for L’Orchestre national d’Île-de-France photo by Javier Oddo from 2014-2016. This season, Clyne is an Artist-in-Residence at National Sawdust. She was additionally selected by the League of American Orchestras and New Music USA to serve as the Music Alive Composer-in- Residence with Berkeley Symphony through the 2018/19 season.

Clyne has been commissioned by such renowned organizations as American Composers Orchestra, BBC Radio 3, BBC Scottish Symphony, Carnegie Hall, Chicago Symphony Orchestra, Anna Clyne, Music Alive Houston Ballet, London Sinfonietta, Composer-in-Residence Los Angeles Philharmonic, Seattle Symphony, and the Southbank Centre, ondon-born Anna Clyne is a and her work has been championed Grammy-nominated composer L by such world-renowned conductors of acoustic and electro-acoustic as Marin Alsop, Pablo Heras-Casado, music. Described as a “composer Riccardo Muti, Leonard Slatkin, and of uncommon gifts and unusual Esa-Pekka Salonen. methods” in a New York Times profile and as “dazzlingly inventive” by Time Clyne was nominated for the Out New York, Clyne’s work often 2015 Grammy Award for Best includes collaborations with cutting- Contemporary Classical Composition Prince edge choreographers, visual artists, for her double violin concerto, of Clouds. She is also the recipient of filmmakers, and musicians worldwide. several prestigious awards including Appointed by Music Director the 2016 Hindemith Prize; a Charles Riccardo Muti, Clyne served as a Ives Fellowship from the American Mead Composer-in-Residence for Academy of Arts and Letters; the Chicago Symphony Orchestra awards from Meet the Composer, from 2010-2015. She also recently the American Music Center, the served as Composer-in-Residence for Foundation for Contemporary Arts,

May 2, 2019 43 and the Jerome Foundation; and Boosey & Hawkes. Boosey.com/Clyne prizes from ASCAP and SEAMUS. She Reprinted by kind permission of was nominated for the 2014 Times Boosey & Hawkes. Breakthrough Award (UK) and is the recipient of a grant from Opera America to develop a new opera, Eva. The Residency of Anna Clyne is During the 2017/18 season, the BBC made possible through Music Alive, Scottish Symphony Orchestra and a residency program of the League Thomas Dausgaard perform the of American Orchestras and New world premiere of Clyne’s Beltane Music USA. This national program in Glasgow. Recent highlights is designed to provide orchestras include the premiere of her with resources and tools to support mandolin concerto for Avi Avital, Three Sisters, performed with the their work with composers and new Kremerata Baltica; Masqueradefor music, capitalizing on the power of the BBC Symphony Orchestra and composers and their creativity to build Marin Alsop at the Last Night of new paths for orchestras to heighten the Proms; This Lunar Beauty for the their relevancy and deepen their Britten Sinfonia and soprano Julia relationships with their communities. Doyle; RIFT, a symphonic ballet in Major funding for Music Alive collaboration with choreographer comes from The Andrew W. Mellon Kitty McNamee for Marin Alsop and Foundation, with additional support the Cabrillo Festival Orchestra; Pocket from The Aaron Copland Fund for Book VIII for Roomful of Teeth; and Music, The Amphion Foundation, The her violin concerto, The Seamstress, ASCAP Foundation Bart Howard Fund, performed by Jennifer Koh with the the Francis Goelet Charitable Lead Chicago Symphony Orchestra. Trusts, and the National Endowment Her music is published exclusively by for the Arts.

The ODC/Dance Company in San Francisco include Dance Downtown and the holiday production, he ODC/Dance Company The Velveteen Rabbit. Recent highlights T is widely recognized for its include appearances at the Brooklyn rigorous technique and numerous Academy of Music Next Wave Festival groundbreaking collaborations. in New York, MODAFE Festival in Seoul Comprised of nine world-class dancers, Korea, Zellerbach Hall in Berkeley, the company performs its imaginative Royce Hall at UCLA and in past years, repertory for more than 50,000 people standing-room-only engagements in annually. Two annual home seasons Europe, Russia, and Asia.

44 May 2, 2019 photo by RJ Muna

Founded in 1971 by Artistic Director the ODC Theater. In 2005, ODC Brenda Way, ODC is known nationally expanded its campus to include the for entrepreneurial savvy and was the ODC Dance Commons, which houses first modern dance company in the ODC/Dance, ODC School, a Pilates United States to build a home facility, studio, and a Healthy Dancers’ Clinic.

family ballet in 1986, The Velveteen Rabbit. The production has become a holiday tradition in the Bay Area

photo by Eszther+David engaging generations of dance goers..

KT has been awarded the Isadora Duncan Dance Award four times: in 1987 for Outstanding Performance, in 1996 and 2012 for Outstanding Choreography, and in 2001 for Sustained Achievement. Her collaborators have included Bobby McFerrin, Geoff Hoyle, Amy Siewert, Na Hoon Park, Kate Weare, Zap KT NELSON (Choreographer) joined Mama, and Joan Jeanrenaud. Her ODC/Dance in 1976 and partners with work RingRounRozi, in collaboration Brenda Way in directing the ODC/ with French-Canadian composer Dance Company. KT choreographed Linda Bouchard, was selected to the Company’s first full-length be performed at the Tanzmesse

May 2, 2019 45 International Dance Festival, the recipient of an Isadora Duncan boulders and bones in collaboration Dance Award for her performance with Brenda Way was part of BAM’s in Two if by Sea, choreographed by Next Wave Festival, and her One Long Kimi Okada. Natasha is the Founder Breath collaboration with Na Hoon and Artistic Director of Concept Park was selected for the MODAFE o4. Through Co4, she directed, festival in Seoul, Korea. Path of choreographed, and danced in the Miracles, in collaboration with Volti film Take Your Time (2017), which Vocal Ensemble, is her third evening became an official selection of the Mill Valley Film Festival and the length work.. recipient of six awards including “Best Short” by the San Francisco Dance Film Festival, Red Rock Film Festival, and Valley Film Festival. She has been a member of ODC/ Dance since 2011. photo by Natasha Adorlee Johnson photo by Andrew Weeks

NATASHA ADORLEE JOHNSON is from Overland Park, Kansas and graduated from UC Berkeley with a BA in English. She has trained with American Ballet Theatre and was an JEREMY BANNON-NECHES was inaugural member of Alonzo King’s LINES Ballet training program. She born in Brooklyn, NY, and grew performs with the San Francisco up in Augusta, GA, where he Symphony, is a former member received his initial training at the of Robert Moses’ KIN, and was Augusta Ballet School. In 2005, he a guest artist with Kate Weare graduated with honors from the Company (New York). In 2018, North Carolina School of the Arts, Natasha received an Emmy for her where he performed leading roles work in the TV special Baseballet in The Nutcracker, Don Quixote, and 2: Into the Game, as a composer Lynn Tailor Corbett’s Lost and Found. and performer. In 2014 she was Jeremy then danced with Nevada

46 May 2, 2019 Ballet Theater, performing principal pleasure of dancing principal roles roles in George Balanchine’s Rubies as a company member with Dance and Serenade, Mathew Neenan’s Through Time, Hope Mohr Dance and At the Border, along with works by Garrett+Moulton Productions. Tegan Twyla Tharp, Val Caniparoli, James joined ODC/Dance in 2015. Canfield, and Frederick Ashton. Since moving to San Francisco in 2012, he has worked with Robert Moses’ KIN, Post:Ballet, Zhukov Dance, DawsonDanceSF, and Hope Mohr Dance. He joined ODC/Dance in 2015.

RACHEL FURST is from Baltimore, MD, where she trained at the Baltimore School for the Arts. She graduated summa cum laude with a B.F.A. in Dance and a minor in psychology from Alonzo King LINES Ballet B.F.A Program at TEGAN SCHWAB grew up in Miami, Dominican University of California. FL. She graduated summa cum In 2012, she was nominated for and laude from New World School of received the Dizzy Feet Foundation the Arts College, and earned a BFA Award. She has been a company in dance from the University of member of Amy Seiwert’s Imagery Florida. In Miami, Tegan began since 2012 where she felt her her professional career in 2005 dancing transformed under the as a dancer/puppeteer, with mentorship of Amy Seiwert. She choreographer Katherine Kramer has guested with Dawson Dance and the acclaimed marionette/ SF and performed as a guest artist visual artist Pablo Cano. After and company member with Smuin graduating in 2008, she moved Ballet. Rachel joined ODC/Dance in to San Francisco and has had the 2016.

May 2, 2019 47 JAMES GILMER of Pittsburgh, Pennsylvania was trained at Pittsburgh Ballet Theatre School and the Pittsburgh School for the Creative & Performing Arts. MIA J. CHONG grew up in San After graduating in 2011, he Francisco, California. She received joined Cincinnati Ballet’s Second scholarships and training from the Company and joined the main Kirov Academy of Ballet, the Ailey company the following season. School, Alonzo King LINES Ballet, James danced with the Cincinnati Hubbard Street Dance Chicago, Ballet for six seasons being Sidra Bell Dance New York, the promoted to Soloist in 2015, he School at Jacob’s Pillow, Tisch has performed works by Septime School of the Arts at New York Webre, Ohad Naharin, Val University and ODC School, where Caniparoli, George Balanchine, she trained for over a decade. Annabelle Lopez-Ochoa, Edwaard Mia has danced professionally Liang, Jennifer Archibald, Trey with Robert Moses’ KIN Dance McIntyre, Adam Hougland, Amy Company, Post:Ballet and Dance Seiwert, and Victoria Morgan Theatre of San Francisco. She was to name a few. He has also been nominated for Isadora Duncan a member of Amy Seiwert’s Dance Awards for Outstanding Imagery, performing with the Achievement in Individual company since the summer of Performance, as well as Company 2013. Looking to branch outside Performance. Mia joined ODC/ of the classical ballet realm, he Dance as an apprentice in 2016 and moved to San Francisco to join was promoted to company dancer ODC/Dance in August 2017. in 2018.

48 May 2, 2019 Jaime Garcia Castilla (Guest Artist) was born in Madrid, Spain, and studied at the Royal Conservatory of Professional Dance. He was named an apprentice with the San Francisco Ballet in 2001 and joined the Company as a member of the corps de ballet the following year. He was Jammie Walker (Guest Artist) promoted to soloist in 2006 and to began his dance training at principal dancer in 2008. He created Western Arkansas Ballet under the roles in Elo’s Double Evil; McGregor’s direction of Melissa Schoenfeld. Borderlands; Morris’ Beaux, Joyride, and He earned his BFA from the Sylvia; Page’s Guide to Strange Places; University of Oklahoma School of Possokhov’s Classical Symphony and Dance under the direction of Mary Fusion; and Wheeldon’s Within the Margaret Holt. Jammie performed Golden Hour. As a guest artist, Jaime with the Dayton Ballet for three performed at “Ballet Stars From San seasons, and toured throughout the Francisco,” the Lively Arts Foundation United States and internationally Gala in Fresno, California, in 2012, and with Jessica Lang Dance for four at the Pas de Deux Gala in Valladolid, seasons. Jammie has appeared as Spain, in 2011 and 2012. He danced a guest artist with Dance Grand Flames of Paris and “The Ocean and Two Moultrie as well as with Clawson Pearls” from The Humpbacked Horse in Dances. Osaka, Japan, in 2006.

Special thank-you to Samantha Test Cauthen

May 2, 2019 49 50 May 2, 2019 About Berkeley Symphony

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

May 2, 2019 51 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.

52 May 2, 2019 COLOR INSERT

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54 May 2, 2019 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 • Over 200 In-class Sessions led berkeleysymphony.org/mits 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 education. Gifts received between March 1, 2018 and April 7, 2019 • Over 65 Band and Orchestra $10,000 and above Sectionals, coaching sessions, Ann & Gordon Getty master classes, and adjudications Berkeley Public Schools Fund at all three BUSD middle schools. Bernard E. & Alba Witkin Charitable Foundation • Eleven Meet the Symphony California Arts Council concerts in elementary schools National Endowment for the Arts each fall. The Familian Levinson Foundation Rose Ray & Robert Kroll • Six I’m a Performer concerts S. Shariq Yosufzai & Brian James giving young musicians the opportunity to rehearse and $5,000 and above Laura & Paul V. Bennett perform with Berkeley Symphony. Jefferson Han & Jennifer Benzaca All Music in the Schools Edith Jackson & Thomas W. Richardson Jr. programming is 100% free of charge Helen & John Meyer Music Performance Trust Fund for children and their families. We Ama Torrance & C.J. David Davies are grateful to the donors listed on this page whose financial $2,500 and above contributions support Music in the Gertrude Allen Schools. Please join those making Sallie & Edward Arens Susan & Ronald Choy Music in the Schools a reality! Paula & John Gambs Donate online and designate Jan McCutcheon your gift as “Restricted—Music Lisa & James Taylor in the Schools Program.” Union Bank Foundation

May 2, 2019 55 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 Jim Tibbs at 510.841.2800 x305 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

56 May 2, 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 March 1, 2018 and April 7, 2019.

Sponsor Circle GIFTS

Season Sponsors Founding Sponsors $50,000 and above $5,000 and above Ann & Gordon Getty Allison Baker Kathleen G. Henschel & John W. Natasha Beery & Sandy McCoy Dewes Susan & Ronald Choy Helen & John Meyer Ms. Dianne Crosby S. Shariq Yosufzai & Brian James Mr. Jeff Han Susan Meadows Hone & Jeffrey S. Season Sponsors Leiter $25,000 and above William Knuttel Anonymous Darrell Louie & Paul Templeton Gertrude E. Allen Sarah Coade Mandell and Peter Laura & Paul V. Bennett Mandell Ralph I Dorfman Family Fund Marcia Muggli & Ed Osborn Edith Jackson & Thomas W. Richardson Jr. Deborah O’Grady & John Adams Rose Ray & Robert Kroll Maggie L. Perkes Pat & Merrill Shanks Executive Sponsors Sandra Silva & Gene Borstel $10,000 and above Ama Torrance & C.J. David Davies Susan & Jim Acquistapace Kathleen Crandall & Lori Gitter Conductor Level Sandra & Kit Floyd $2,500 and above Janet & Marcos Maestre Anonymous Jan McCutcheon Sallie & Edward Arens Tricia Swift Marilyn & Richard Collier Lisa & James Taylor Anne B. Corcos

May 2, 2019 57 Family Concerts

Words bring music to life when the Berkeley Symphony presents the world premiere of four original musical compositions. Ursula Kwong-Brown, Aiyana Braun, Peter Shin, and Tristan Koster interpret musically the work of four poets, most local to the Bay Area.

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

58 May 2, 2019 SPONSOR Circle GIFTS Concertmaster Level (continued) Gifts of $1,500 and above (continued) Conductor Level Dr. Charles M. Crane $2,500 and above (continued) Charli & John Danielsen Dean Francis Karen Faircloth Paula & John Gambs Susan Meadows Hone & Jeffrey S. Ellen Hahn Leiter Lisa & Buzz Hines Fred Jacobson Mark Lubin Gillian Kuehner & Norman A. Bookstein Martha & Arthur Luehrmann Helen Marcus Bennett Markel Lois & Gary Marcus Ralph Mendelson Bebe & Colin McRae Deborah Shidler & David Burkhart Penny & Noel Nellis Harriet H. Simpson Bridget O’Keeffe Ellen Singer-Vine & Ed Vine Ditsa & Alexander Pines Alison Teeman & Michael Yovino- Mary & Thomas Reicher Young Marc A. Roth Michel Taddei Concertmaster Level Jim Tibbs & Philip Anderson Gifts of $1,500 and above Anne & Craig Van Dyke Judith L. Bloom Maryam Boghratian Principal Level Kathy Canfield Shepard & John Gifts of $1,000 and above Shepard Anonymous Christine & Richard Colton, in honor Carol Baird & Alan Harper of Tricia Swift Virginia & Stuart Canin Gray Cathrall Ms. Carol Christ Olivia & Chuck Hasty Reading This? Connemara Fund Dr. Lucinda Lee Katz That’s proof that this is Robin Laub a good place to advertise. Patrick R. McCabe Call (510) 459-8264. Michael McCutcheon Jane Neilson Perks! Free tickets, Patricia Yocom & Jerry Placken free ad design. Charles Scanlan Ginny & William Schultz Ms. Marcy Wong

May 2, 2019 59 Friends of Berkeley Symphony GIFTS

Assistant Principal Level Allyson & Michael Ely $750 and above Gini Erck & David Petta Ernie Brown Susan K Fisher Doris Fukawa & Marijan Pevec Ednah Beth Friedman Kate & Daniel Funk Theresa Gabel & Timothy Zumwalt Ms. Shira Lee Katz Sharon & Stuart Gronningen Susanna Schevill & Robert Sinai Peggy & Zachary Griffin Scott Sparling Bonnie Grossman Shelley Willig Jill Grossman Sophie Hahn & Eric Bjerkholt Jan Hale Associate Principal Level $250 and above Jane Hammond Shelley Altura Trish & Tony Hawthorne Cynthia & Mark Anderson Lynne La Marca Heinrich & Dwight Jaffee Anonymous Valerie & Richard Herr Mrs. Evelyn L. Apte Luise Hollowell Barbara Armentrout Mark & Lynne Humphrey Catherine Atcheson & Christian Fritze Phyllis Isaacson Ms. Joan Balter Milan Kaur Will Bartlett Joanne Kelly Michele Benson Philippa Kelly & Paul Dresher Ms. Bonnie J. Bernhardt Todd Kerr Mary Beth & Terry Mayo Kate Knickerbocker Christel & Jurg Bieri Paul Kuhn Adam Broner Cynthia Kuo Julia R. Brown Sylvia Lindsey Suzanne & Italo Calpestri Steve Luppino Jaimy Chadam Rebecca Macieira-Kaufmann Nicole Chun & John McMahon René Mandel Mr. Michael T. Coonan Kim & Barbara Marienthal Franklyn D’Antonio Alex & Nancy Mazetis Dennis & Sandy De Domenico Jim & Monique McNitt Ms. Mavis Delacroix Geraldine & Gary Morrison Paula & James R. Diederich Dr. Steven Murray Carolyn Doelling Mary Lee Noonan Jessica Downs and David Stull Kurt Peterson Ann & Jack Eastman Madeline Prager Cindy & Harry Eisenberg Suzanne Riess

60 May 2, 2019 Associate Principal Level Heidi Goldstein $120 and above (continued) Steven E. Greenberg Linda Rosen Ervin & Marian Hafter Marta Tobey & Roger Ramey Judith & William Hein Sam Salkin Donna Hiraga-Stephens & Alan Stephens Roger Samuelsen Russell Hyzen Helen Schulak Melanie Johnston Roger Schwenke Rick St. John & Tamiko Katsumoto Margaret Seely Todd Kerr Nicholas Toth Charlotte Buchen Khadra Dr. Li-Hsia Wang & Dr. Henry L. Abrons Eric Leimbach Emily & Robert Warden Jim Lovekin Pennie & David Warren Susan Malick Ms. Jane White Michael Marks Craig Wood Jayne A and James E Matthews Katinka Wyle Anonymous Brad & Jennifer McCullough Associate Principal Level Suzanne McCulloch $120 and above Suzanne & William McLean Mary-Ellis & Philip Adams Margaretta K Mitchell, in honor of Tricia Joel Altman Swift Ragna Boynton Junichi & Sarah Miyazaki Dr. William Brostoff Lisa Montano Ms. Grace Chinn Therese M. Pipe Zeo & Terry Coddington Lucille & Arthur Poskanzer Dr. Lawrence R. Cotter Ms. Polly Rosenthal Susan Crosby Steven Scholl Beth Crovitz Donald A. Riley & Carolyn Serrao Jan Davis Sylvia Sorell & Daniel Kane Claire Day Bruce & Susan Stangeland Ms. Jacqueline M. Divenyi Deborah Van Nest Beth & Norman Edelstein Sheridan & Elizabeth Warrick Bennett Falk & Margaret Moreland Mrs. Charlene M. Woodcock John & Tiffany Fenster Gordon & Evie Wozniak Marianne & John Gerhart Fleur Yano Joan Glassey 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.

May 2, 2019 61 Honor and Memorial Gifts

Gifts received between March 1, 2018 and April 7, 2019.

Thank you for gifts made in honor or remembrance of the following individuals . . .

In Honor of:

Gertrude Allen Rod Becker

Debbie & Ward Spangler Judith Bloom

Tricia Swift Christine & Richard Colton Trish & Tony Hawthorne Margaretta K Mitchell

Yvette Vloeberghs Ralph Mendelson

In Memory of:

David J. Williamson Helen M. Marcus

Dr. Marcos F. Maestre Jan McCutcheon Marilyn & Richard Collier Leslie & Joellen Piskitel

62 May 2, 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 March 1, 2018 and April 7, 2019.

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

Jill Grossman Family Charitable McCutcheon Construction Fund Anonymous Meyer Sound Laboratories, Inc.

New Music U.S.A. $2,500 and above

William & Flora Hewlett Chevron Foundation HDR Remodeling

$25,000 and above Music Performance

Berkeley Public Schools Fund Trust Fund

Clarence E. Heller Charitable Union Bank Foundation

Foundation Wells Fargo

$10,000 and above Up to $2,500 Ann and Gordon Getty Amazon Smile Foundation CALI Program Bernard E. & Alba Witkin Charitable Foundation GE Foundation Matching Bernard Osher Foundation Gifts Program

California Arts Council Neiman Marcus

City of Berkeley Roche-Genentech

The Familian Levinson The Tides Foundation Foundation

Graybird Foundation

The Grubb Co.

National Endowment for the Arts

May 2, 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’ gifts to Berkeley Symphony. Please KALW 91.7 fm let us know if your company does the same by contacting Jim Tibbs at 510.841.2800 x305 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 will be broadcast on May 20 performances.

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

64 May 2, 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 Karen Faircloth Ajanta Galeto Gertrude E. Allen Ann and Gordon Getty Foundation Anchor Brewing Co GG Jill Grossman Association of California Symphony Google AdGrants Orchestras Grace Street Catering Aurora Theatre Nina Grove & Ken Johnson Bancroft Hotel Hardesty Dwyer & Co. Natasha Beery & Sandy McCoy Kathleen G. Henschel & John W. Dewes Berkeley Repertory Theatre Buzz & Lisa Hines Berkeley Times Susan Meadows Hone & Jeffrey S. Berkeleyside Leiter Blue’s Chocolates Hugh Groman Group California Symphony Joy Carlin Kathy Canfield Shepard & John Jutta’s Flowers and Gifts Shepard Kermit Lynch Wine Merchant Chef Lyell Cash Todd Kerr Chez Panisse Restaurant & Cafe William Knuttel Claremont Club & Spa La Note Restaurant Marilyn & Richard Collier Lama Beans Corso Lawrence Berkeley National Cottage Grove Inn Laboratory Kathleen Crandall & Lori Gitter Lawrence Hall of Science Decades of Fashion Los Angeles Philharmonic Del Sol String Quartet Ming Luke Diablo Ballet Lusu Cellars Richard C. Diamond Malibu Farm Restaurant Dr. Jennifer Doudna René Mandel Dyer Straits Wine Company LLC Mangia, Mangia Elevation 66 Brewing Co. McCune Extreme Pizza Jan & Michael McCutcheon

May 2, 2019 65 19/20

THURSDAY, OCT. 24, 2019, 7pm THURSDAY, MARCH 26, 2020, 8pm Symphonic I Symphonic III Beethoven & Wilson Gershwin & Zimmerman

THURSDAY, FEB. 6, 2020, 8pm THURSDAY, MAY 14, 2020, 8pm Symphonic II Symphonic IV Brahms & Dessner Prokofiev & Spiva

SYMPHONIC at Zellerbach Hall, Berkeley All dates and times subject to change. Chamber dates to be announced later this month.

66 May 2, 2019 In-Kind Gifts (continued) P H

M LIFE’S BEST MOMENTS O O

Meyer Sound Laboratories, Inc. T C . OG R L

Mueller Family Vineyards L E H A

Music in the Vineyards C P T I New World Symphony H M Y A

❖ Oakland Symphony T

T 5 E 1 0

Orton Entertainment R A

6 G

Peet’s Coffee 5 R 2 A - 8

Pelago M . 6 W Maggie L. Perkes 0 9 W

Perle W PSPrint Christian Reif Ruby Hill Winery Sam’s Social Club San Diego Symphony San Francisco Opera San Francisco Symphony San Francisco Zoo Dr. Randy Schekman Deborah Shidler & David Burkhart Shotgun Players Mr. Hiram Simon Star Grocery Tia Stoller & Drew Detsch Tricia Swift Michel Taddei Lisa & James Taylor The Old Globe The Speakeasy Anne & Craig Van Dyke Yvette Vloeberghs Winewise S. Shariq Yosufzai & Brian James Angela & William Young

May 2, 2019 67 BRING IN THIS AD TO RECEIVE A 1O% DISCOUNT ON ANY PURCHASE OF GIFTS AND FLOWERS

68 May 2, 2019 Administration & Creative Staff

René Mandel, Executive & Artistic Quelani Penland, Librarian Director David Rodgers, Jr., Stage Manager

Jim Tibbs, Associate Executive Director Dave Weiland, Photographer

Sarah Thomas, Director of Operations Elie Khadra, Videographer

Maggie Perkes, Director of Zach Miley, Recording Engineer Advancement

Tiffany Fajardo, Patron Services Program Manager Andreas Jones, Design & Production Cindy Michael, Finance Director 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

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

May 2, 2019 69 Ad Index: Support Businesses That Support Us

FOR YOUR HOME FOR YOUR AESTHETICS A1 Sun, Inc., Solar Installation. . . page 26 Aurora Theatre Company. . . . . page 42 Albert Nahman Plumbing. . . . .page 20 Ellen Shershow Photography.. . . page 30 Alward Construction ...... page 36 Expressions Gallery...... page 39 The Cooperative Cleaning Company . . . . Jutta’s Flowers...... page 68 ...... inside back cover Margaretta K. Mitchell Photograph. . . . HDR Remodeling ...... page 16 ...... page 67 McCutcheon Construction. . . . . page 54 The Modern Art Exchange . . . . . page 53 The ODC/Dance Company. . . . . page 42 FOR BUYING/SELLING YOUR HOME Storey Framing...... page 26 Better Homes and Gardens Real Estate...... page 36 FOR YOUR PALATE Coldwell Banker...... page 14 Blue’s Chocolates...... page 34 Compass...... page 22 The Grubb Co...... back cover Julia’s at Berkeley City Club. . . . page 20 Thornwall Properties...... page 14 La Mediterranée Cafe & Restaurant...... page 40 Yovino-Young Inc...... page 36 La Note Restaurant Provençal. . .page 40 Poulet...... page 40 FOR YOUR CHILDREN Star Grocery...... page 30 The College Preparatory School. . page 26 The Crowden School...... page 16 Zaytoon Mediterranean Restaurant ...... page 30 Maybeck High School...... page 12 Pacific Boychoir Academy. . . . . page 12 FOR YOUR HEALTH Berkeley Optometry...... page 38 FOR YOUR FAMILY’S SECURITY Earth Circles Counseling Center. . .page 14 Belmont Village Senior Living...... page 19 Frank Bliss, State Farm ...... page 18 FOR GETTING THERE JMR Capital Management, Inc...... page 16 Bill’s Footwear...... page 30 Mountain View Cemetery...... Douglas Parking...... page 62 ...... inside front cover North Berkeley Investment Partners . . . Going Places ...... page 26 ...... page 53 Oceanworks...... page 14

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

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