Joana Carneiro DIRECTOR

13/14 SEASON

BerkeleySymphony_program_covers_FINAL.indd 1 8/5/13 3:47 PM

Berkeley 2013-14 Season

5 Message from the Music Director 7 Message from the Executive Director 9 Board of Directors & Advisory Council 10 13 Program 15 Program Notes 29 Music Director: Joana Carneiro 33 Guest Artists 41 Berkeley Symphony 45 Music in the Schools 47 Under Construction 49 Broadcast Dates 51 Contributed Support 65 Contact 66 Advertiser Index

Season Sponsors: Kathleen G. Henschel, and Brian James & Shariq Yosufzai

Media Sponsor: Official Wine Sponsor:

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 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.

Cover Art: Tonight’s program cover, created by Stoller Design Group, was inspired by the original inscription on the score of Wagner’s Siegfried Idyll, which read: “Tribschen Idyll with Fidi-Birdsong and Orange Sunrise, presented as a symphonic birthday greeting to his Cosima by her Richard, 1870.” Their young son’s nickname was Fidi, and the couple privately marveled at the brilliantly glowing sunrise as it reflected off the orange wallpaper of their bedroom.

October 3, 2013 3 4 October 3, 2013 Message from the Music Director

Dear Friends, Welcome to Berkeley Symphony’s 13/14 season!

I am particularly excited about this season, as we explore the music of some of my favorite and are joined by four of the most exciting and gifted soloists. It has been very clear, especially in our

last season, that Berkeley Symphony photo by Rodrigo de Souza is continually looking ahead; and we are proud to work with some of the most relevant voices of our time.

We could not start the season in a better way. Ed Campion is a wonderful example of an artist, originally from Texas but now residing in our own city, who has devoted his life to the celebration of music, and more specifically to the relationship between sound and space. Speaking on behalf of Berkeley Symphony and Cal Performances, with whom we share this commission, we are thrilled to deliver the world premiere of Ossicles (Tiny Bones).

Wagner is certainly a of my predilection, as his operatic works have had a profound influence in my life. Tonight we relive the moment in which Wagner, almost 150 years ago, presented his wife with a musical gift to celebrate the birth of their son. Siegfried Idyll remains one of the most intimate symphonic poems ever written. We follow this with ’s stirring second , delivered by the amazing Alessio Bax, who has been turning heads around the world with his incredible musicianship. I can assure you . . . tonight will not be the last time you hear of Alessio!

I can’t wait for tonight’s performance, and for the nights to follow in the season ahead. Thank you for being here, and for your most inspiring love for our music.

Joana Carneiro

October 3, 2013 5 6 October 3, 2013 Message from the Executive Director

Greetings from Berkeley Symphony

There is much to celebrate as we begin the new season. I am particularly grateful for

the strong partnerships that make Berkeley photo by Marshall Berman Symphony what it is today. Tonight we honor our special relationship with Cal Performances, with whom we have collaborated on many musical endeavors throughout the years. The world premiere co-commission of Ed Campion’s Ossicles (Tiny Bones) on tonight’s program is a direct result of this successful partnership.

The most recent of our community partnerships is with the Piedmont Center for the Arts. On September 15 we launched the inaugural season of Berkeley Symphony & Friends, a new series presented on five Sundays throughout the year and co-produced by the Piedmont Center. Visit our website at berkeleysymphony.org for future dates, artists and repertoire.

Under Construction, our mentorship program for emerging composers, recently paired with EarShot: the National Orchestral Composition Discovery Network, and its partner organizations - the , League of American Orchestras, New Music USA and the American Composers Orchestra. This new partnership strengthens our role as the West Coast artistic incubator for emerging orchestral composers and broadens our reach to a new national level.

And finally, we celebrate our 21-year partnership with the Berkeley Unified School District and Berkeley Symphony’s award-winning Music in the Schools program, through which we provide comprehensive, hands-on and age-appropriate music curriculum to all eleven public elementary schools within the district.

But perhaps our most cherished partnership is with you, our loyal audience. We look forward to engaging you with our “Defiantly Original” programming and hope to see you often during the 13/14 Season.

With warm regards,

René Mandel, Executive Director

October 3, 2013 7 8 October 3, 2013 Board of Directors & Advisory Council

Board of Directors Executive Committee Thomas Z. Reicher, President Janet Maestre, Vice President for Governance Janet McCutcheon, Vice President for Development Stuart Gronningen, Vice President for Community Engagement Ed Osborn, Treasurer Tricia Swift, Secretary René Mandel, Executive Director

Directors Advisory Council (continued) Susan Acquistapace Lynne La Marca Heinrich Gertrude Allen Kathleen G. Henschel Norman Bookstein Buzz Hines James Donato Sue Hone Ellen L. Hahn Kenneth A. Johnson Brian James Todd Kerr William Knuttel Jeffrey S. Leiter Sandy McCoy Bennett Markel Deborah Shidler Bebe McRae Michel Taddei Maria José Pereira Helen Meyer Christine Miller Advisory Council Deborah O’Grady Marilyn Collier, Chair Marjorie Randell-Silver Michele Benson Thomas Richardson Judith Bloom Linda Schacht Joy Carlin Kathy Canfield Shepard Ron Choy Jutta Singh John Danielsen Lisa Taylor Jennifer DeGolia Alison Teeman Carolyn Doelling Paul Templeton Anita Eblé Anne Van Dyke Karen Faircloth Yvette Vloeberghs Gary Glaser Shariq Yosufzai Reeve Gould Michael Yovino-Young

October 3, 2013 9 The Orchestra, March 28

Joana Carneiro, Music Director Viola Sponsored by Helen and John Meyer Tiantian Lan Sponsored by Earl O. Osborn Principal Sponsored by Lisa and Jim Taylor Sponsored by Brian James and Shariq Yosufzai Ilana Matfis Sponsored by Anonymous Assistant Principal Kent Nagano, Conductor Laureate Darcy Rindt Patrick Kroboth Violin I Marta Tobey Franklyn D’Antonio Alice Eastman Concertmaster Keith Lawrence Evelyn Kwark Associate Concertmaster Celeste McBride* Matthew Szemela Amy Apel Assistant Concertmaster Clio Goldstein* Emanuela Nikiforova Amanda Woo* Larisa Kopylovsky Lisa Zadek Carol Rice Candy Sanderson Principal Brian Lee Sponsored by Janet and Michael McCutcheon Quelani Penland Stephanie Lai Annie Li Assistant Principal John Bernstein Isaac Melamed Sarah Lee Nancy Bien David Grote Eric Gaenslen Alan Shearer Ken Johnson Peter Bedrossian Violin II Jasper Hussong* Daniel Flanagan Jordan Price Principal Andy Lee* Elizabeth Choi Daniel MacKay* Assistant Principal Karsten Windt Lauren Avery Michel Taddei Sponsored by Tricia Swift Principal Matthew Oshida Alden Cohen Christina Knudson Assistant Principal Rick Diamond Karen Horner-Cullen Ann Eastman David Sullivan Kevin Harper Ben Holston* Kristen Kline Flute Charles Zhou Emma Moon Chloe MacKay* Principal Ernest Yen Sponsored by Marcos and Janet Maestre Rose Marie Ginsburg Stacey Pelinka

10 October 3, 2013 Oboe Bass Kyle Bruckmann Scott Thornton Principal Stardust Tuba Jerry Olson Clarinet Principal Roman Fukshansky Principal Kevin Neuhoff Diana Dorman Principal Bassoon Percussion Carla Wilson Ward Spangler Principal Principal Newton Kwan* Sponsored by Gail and Bob Hetler Scott Bleaken Horn Alex Camphouse Celesta Principal Nate Ben-Horin Sponsored by Tom and Mary Reicher Stuart Gronningen Doug Hull *Member of Young People’s Symphony Orchestra Tom Reicher

Trumpet Franklyn D’Antonio Cheonho Yoon Orchestra Manager Principal Graham Taylor Joslyn D’Antonio Co-Orchestra Manager Trombone Quelani Penland Thomas Hornig Librarian Principal Sponsored by Kathleen G. Henschel Kevin Reinhardt Craig Bryant Stage Manager

October 3, 2013 11 12 October 3, 2013 October 3 Program

Opening Night Thursday, October 3, 2013 at 7:00 pm Zellerbach Hall

Joana Carneiro conductor

Edmund Campion Ossicles (Tiny Bones) Malleus (Hammer) Incus (Anvil) Stapes (Stirrup) (World Premiere)*

Richard Wagner Siegfried Idyll

INTERMISSION

Sergei Rachmaninoff No. 2 in , Op. 18 I. Moderato II. Adagio sostenuto – Più animato – Adagio sostenuto III. Allegro scherzando

Alessio Bax piano

*Ossicles (Tiny Bones) was co-commissioned by Berkeley Symphony and Cal Performances.

Tonight’s performance will be broadcast on KALW 91.7 FM on May 5, 2014. Please be sure to switch off your cell phones, alarms, and other electronic devices during the concert. Thank you.

Tonight’s concert is made possible by the generous support of Margaret Dorfman (Edmund Campion commission), Ellen Hahn in memory of Roger Hahn, and Lisa & James Taylor

Season Sponsors: Kathleen G. Henschel, and Brian James & Shariq Yosufzai

October 3, 2013 13 14 October 3, 2013 Program Notes

Edmund Campion (b. 1957) being the 2012 commission from the Santa Rosa Symphony for a concerto Ossicles (Tiny Bones) for Kronos Quartet, orchestra and electronics. Born in , Texas, Edmund Campion is currently Professor of Music at Ossicles means tiny bones and UC Berkeley, where he also serves as refers to the Auditory Ossicles, the Co-Director at The Center for New three smallest bones in the human Music and AudioTechnologies (CNMAT). body. Attached to the eardrum is Ossicles (Tiny Bones) is in three the Malleus (hammer), followed by movements with an added lengthy the Incus (anvil), and the very tiny coda, and is scored for strings, brass Stapes (stirrup). The three bones are and percussion. Duration ca: 18 minutes fashioned into a mechanical lever that transmit soundwave energy The composer has provided the following into the inner-ear. This crude and comments: ancient transmission system helps risscrossing boundaries has empower the cochlea where sound is C always been a part of my dissected and relayed to the brain as way of making music. With its nerve impulses. Starting even before physical effects and yet bodiless we exit the womb, these three weird nature, music is carefully bound little bones vibrate in the center of and framed by society, politics, our heads until the day of our death. culture, as well as commercial and My piece is focused on the physical avant-garde interests. Holding firm aspect of sound, both cooked and to boundaries established over raw, noisy and clarified. There centuries of practice, the symphony are always narrative references, orchestra has nonetheless survived maybe the sound of trains passing large scale calls for restructuring or through the concert hall, but only abandonment by composers. The as a reminder of the wonder of orchestra is still with us, and groups sound and the miracle of cognition. like Berkeley Symphony continue In Ossicles, you might recognize to grapple with contradictions allusion to past music traditions. and offer invitations to cross This is not quoting nor homage, boundaries. I feel fortunate to have just occurrences of unlikely musical the chance to create new music for apparitions that emerge from this orchestra. Ossicles is my fourth an explored set of materials that piece for orchestra, the most recent have lost a need for boundaries.

October 3, 2013 15 16 October 3, 2013 This is a post-modern tendency, (1813-1883) something strongly present in all my music. It has led me to a long Siegfried Idyll relationship with ideas emerging Born on May 22, 1813, in , from the history of the grotesque or Germany; died on February 13, 1883, in grotto-esque. This word has a rich Venice, Italy. Wagner wrote the Siegfried and deep history and does not just Idyll in 1870, using themes from the mean gross or horrifying, but also recently completed Siegfried, the third of refers to the natural disillusionment his four Ring . Presented as a gift of types. Dissolving boundaries does for his second wife, Cosima, a daughter not mean abandoning discipline, of , the Siegfried Idyll is and the results can be the beautiful encoded with private messages but a emergence of unknown or hitherto work of “absolute music” (with no explicit forbidden combinations. New music. program) and, in its original form, features a luminous weave of chamber textures. To me, the sound of a musical note First performance: Christmas morning in and the sound of a waterfall are 1870 at the composer’s home in Tribschen both beautiful and complete, each on in Switzerland, with an occupying different regions of the ad hoc group of musicians led by Wagner. spectrum of physical nature. Western The piece was originally scored for 13 prioritized the note, (or possibly 15) players: flute, oboe, 2 and not surprisingly, the avant-garde clarinets, bassoon, 2 horns, trumpet, and prioritized noise and all the things strings (conceived as a small ensemble “not the note.” When I compose for for the home performance but expanded the orchestra, the subject is music, for string orchestra in the concert hall). not theatre, but still my subject Duration ca. 24 minutes. involves all things that are possible in sound, all sound. I value connection with the audience, and I hope s the man who conceived an epic my music can help reconnect the A mega- spread over four listener with both sides of this grand days and requiring its own theater continuum—from a single frequency to be built, Richard Wagner might to broadband noise. Sometimes it is be expected to know a thing or two about making an impression. But funny, apparently wrong, but this is it comes as a surprise to anyone OK, and it is OK as well to laugh at it or who clings to the old clichés about with it. With all tendencies occupying ponderous Wagnerian grandiosity the same space, this music can be in that his operas are filled with the same moment very dark and very moments of exquisite, achingly light. I try to let all things co-exist beautiful intimacy and chamber- side by side, just as in our real world. like textures. The whole “park and —© Edmund Campion bark” routine that became a nasty

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18 October 3, 2013 habit in the last century had at least beautiful lakeside villa in Tribschen in part to do with the demands of in central Switzerland (nowadays a projecting across larger spaces in half hour walk from the KKL concert performance. hall in Lucerne). With this tranquil setting as backdrop, Wagner The Siegfried Idyll represents one succeeded in returning to his Ring of the most tenderly personal project after a protracted delay and, impressions Wagner set out to make. in 1869, completed the third and On Christmas morning in 1870, it was final act of Siegfried. And Tribschen with this music that he serenaded was where his only son with Cosima the woman he had finally been was born, also in the summer of permitted to marry (or “aubaded,” if 1869. The birth of Siegfried Wagner, that verb existed, an aubade being named after the Ring’s young the dawn counterpart of the evening hero, heralded a new period of serenade). The ceremony had taken optimism and unwonted domestic place four months previously in one contentment for his restless father. of the churches in nearby Lucerne. Cosima Wagner was the daughter of All of these joyful associations— Wagner champion Franz Liszt and Wagner’s love of Cosima, Siegfried the former wife of Hans von Bülow, the opera and a fresh lease on life another Wagner champion who for the Ring, and Siegfried the baby conducted the premieres of Tristan boy—blend together in the single- und Isolde and Die Meistersinger— movement Siegfried Idyll. That’s the even though the composer and reigning image, at least. With a bit Cosima had become lovers. Her of gleeful malice, the controversial birthday actually fell on December German biographer Joachim 24, but as her sense of messianic Köhler typically throws water on entitlement fully matched that of this picture of domestic bliss and her new husband, Cosima (who suggests a secret hidden within the actually turned 33 that year) had secret: Wagner’s love here may also developed the habit of waiting a day be directed at the young “sphinx” so as to celebrate the grand event on Judith Gautier (to whose father Christmas. Baudelaire had dedicated Fleurs du mal), a recent visitor to Tribschen. The occasion was especially joyful in 1870. Wagner’s recent marriage at The composer’s initial title, inscribed last legitimized a relationship that on the autograph score, was had caused widespread scandal and “Tribschen Idyll with Fidi-Birdsong serious friction with his new patron, and Orange Sunrise, presented as King Ludwig. What’s more, Wagner’s a symphonic birthday greeting to chaotic life had in the past few years his Cosima by her Richard, 1870.” attained a reasonable equilibrium. The boy’s nickname was Fidi, and He had resettled the family into a the couple privately marveled at

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20 October 3, 2013 the brilliantly glowing sunrise as it the strings intone the main theme, reflected off the orange wallpaper of a warm in which their bedroom. Wagner had earlier associated with Cosima and subsequently In her diary, Cosima reported immortalized in the section of awakening to the strains of music the Siegfried duet that starts with she believed to be coming from a Brünnhilde’s “Ewig war ich, ewig dream. What she was hearing was bin ich” (“I was, I am, eternally the chamber ensemble her husband [yours]”). Also part of the motivic had put together to play on the fabric are a folk lullaby and other staircase. (Christmas proceeded Siegfried motifs, such as the with two more performances of birdsong from the Forest Murmurs what they sometimes referred to as scene in the second act, where “The Staircase Music.”) Created as Siegfried communes with nature, a kind of site-specific occasional and the hypnotic sleep motif composition, the piece also served signaling Brünnhilde in her slumber, as a private love letter. But in 1878, encircled by protecting fire. overshadowed by the crushing debts accumulated during the debut of the —© Thomas May Ring, Wagner was forced to publish the score to generate income, and he renamed it Siegfried Idyll.

This “symphonic birthday greeting” recycles musical ideas that would (1873-1943) become familiar from the third-act love duet between Siegfried and Piano Concerto No. 2 Brünnhilde in the penultimate Ring in C minor, Op. 18 opera. (At the time, of course, this had not yet been performed.) But in Born on , 1873, in Semyonovo, ; died on March 28, 1943, in this context the epic is replaced by Beverly Hills, California. Rachmaninoff the intimate. Wagner, the archpriest wrote his Second Piano Concerto between of music associated with drama and 1900 and 1901. The composition of this characters, here pens a wordless, concerto marked an important turning purely instrumental composition point for Rachmaninoff by restoring his that even loosely follows creative confidence. A finely constructed form, a relic of the old practice so score, the Second overflows with melodic beloved of Brahms and company richness and has become one of the best- but which had allegedly been loved piano in the literature. superseded by the Music of the First performance: November 9, 1901, Future. in , with Rachmaninoff as the Against a lullaby-like atmosphere, soloist and

October 3, 2013 21 the Moscow Philharmonic. In addition to solo piano, the score calls for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 , tuba, timpani, bass drum, cymbals and strings. Duration ca. 35 minutes.

Well Orchestrated Travel n the mid-1990s a rather or Chichicastenango I overhyped film titled Shine, said to be based on the true-life story of Australian , brought Rachmaninoff’s piano music to the attention of a wider public. The Third Piano Concerto emerges in the film as a character in its own right and is presented as a formidable beast that triggers the protagonist’s nervous breakdown. (Fans of classic films might recall that ’s version of Noël Coward’s makes sensitive use of the Second Piano Concerto, with as soloist.)

Ironically, it was through the medium of the piano concerto— and specifically the composition of the Second—that Rachmaninoff himself worked his way out of a long episode of debilitating depression triggered by the disastrous premiere of his First Symphony in 1897. Rachmaninoff’s attempts to regain his sense of confidence only backfired when he subsequently paid a couple of visits to the elderly , seeking advice from the sage. Then in full ascetic mode, the writer made no effort to hide his disdain for the vulnerable young composer’s music.

22 October 3, 2013 These setbacks had a traumatic effect on Rachmaninoff’s ability to forge ahead with new composition. He suffered from a lingering dry spell for the next several years, although he was able to remain musically active through conducting engagements and by solo performances as a pianist. Finally, in 1900, he was advised to seek out treatment from Dr. Nikolai Dahl, a pioneering hypnotherapist who also happened to be an accomplished musician. Dahl was especially sympathetic to his plight and, after several months of daily visits, Rachmaninoff experienced a breakthrough. A trip to the resort area of in the also had a restorative effect. In this getaway popular with artists, including Konstantin Stanislavsky and his Moscow Arts Theatre ensemble, Rachmaninoff received an inspiring compliment about his music from —a kind of antidote to his sour Tolstoyan encounter. By the summer new music was pouring out of him. The Second Concerto in particular dissolved his creative block; fittingly, he dedicated it to Dahl.

There’s another, albeit unverified, theory about Rachmaninoff’s cure—one the composer’s grandson suggested to the British-Australian pianist . Perhaps his frequent visits to Dahl were actually prompted by his attraction to the therapist’s daughter, and the Second Concerto was his vehicle

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24 October 3, 2013 to express these feelings. In any main themes. Surging and virtuosic, event, Rachmaninoff ended up the keyboard’s figurations add an marrying his first cousin, Natalia important component to the overall Satina, the year after the concerto tonal picture even when the soloist was premiered (a marriage which is not commanding attention. resulted in tension with the Russian Curiously, the piano is never Orthodox Church). entrusted with the first theme in its One way or another, “new musical entirety, though it does lay claim ideas began to stir within me,” to the second theme—another Rachmaninoff later recalled, wonderfully lyrical effusion—after “far more than I needed for my an excited transition passage. concerto.” He suffered one more Rachmaninoff made his name as crisis of confidence shortly before one of the superstars of the golden the premiere of the completed work, age of pianism, yet a key feature when a friend complained that the of this concerto is his ability to material of the first movement was combine the piano with other inadequately designed. But the instrumental textures, blending work scored a big success from the them to form new colors. At the start, saving the composer from a climactic reprise of the first theme relapse into paralyzing self-doubt. by the orchestra, the soloist bursts This ushered in a fertile period of into a rhythmically brittle sequence creativity, and the Second Concerto based on the four-note motif heard quickly established itself in the at the opening, now almost martial repertory. in its bravado. Against string tremolos and clarinet , The first movement introduces the horn is given its say with the some patterns that will be second theme (slowed down to encountered in the other two magical effect). movements as well, such as the use of a preludial gesture. Here In the first breaths of the Adagio, it takes the form of a brief but the orchestra gently changes gear atmospheric raising of the curtain toward E major (in the wake of the by the soloist, who tolls eight first movement’s C minor, the shift chords. The shifting harmonies of is enchanting). Rachmaninoff treats those chords gravitate toward the us to one of his most beguiling, home key of C minor, the piano a heart-tugging , sung by mock bell-ringer for this composer woodwinds; the soloist accompanies obsessed with the sonority of bells. with a subtly syncopated pattern of A four-note tag at the end serves triplets, eventually introducing its as a unifying motif, followed by version of the melody. Tchaikovsky, the orchestra’s entry with the first one of Rachmaninoff’s idols (and of the opening movement’s two another composer admired by

October 3, 2013 25 26 October 3, 2013 Chekhov), devised a strategy for as if Rachmaninoff is smuggling the his First Piano Concerto that serves emotional directness of his beloved as the model here and, even more Tchaikovsky into a new century. A elaborately, in Rach Three: the swooning earworm, this tune almost interpolation of a scherzo-like central begs to be detached—and was, as section, intruding like a dream, to fans of Frank Sinatra know well. There contrast with the lyrical framework follows a series of episodes, including enveloping it. A brief solo for the a brief, -like passage and a piano serves as transition back to the transformation of the moody second nostalgic principal melody. theme into a more grandiose garb for the entire ensemble, spiked with A short passage introduces the assertive piano chords. But its spell finale. This gives way to a splashy fades quickly and cedes to a fleet- mini- before the main theme fingered coda: Rachmaninoff brings announces itself. Disregarding the home the joy of restored creativity, precedent of the first movement, settles accounts in the major key, Rachmaninoff plays up the principle and seals it all with the rhythmic tag of contrast between themes. The first (long-short-short-long) that served one is tightly confined, yet volatile, as his signature. while the second encapsulates the concerto’s moody, elegiac lyricism, —© Thomas May

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28 October 3, 2013 Music Director: Joana Carneiro

oted for her vibrant performances Nin a wide diversity of musical styles, Joana Carneiro has attracted considerable attention as one of the

most outstanding young conductors photo by Rodrigo de Souza working today. In 2009, she was named Music Director of Berkeley Symphony, succeeding Kent Nagano and only the third music director in the 40-year history of the Orchestra. She also currently serves as official guest conductor of the , working with that orchestra at least four weeks every year.

2013-14 marks Carneiro’s fifth season as Music Director of Berkeley Symphony, where she has captivated audiences with her commanding stage presence and adventurous programming that has highlighted the works of several and the National Symphony prominent contemporary composers, Orchestra of Spain. including , Esa-Pekka Salonen and . The Last season, Carneiro conducted highly 2013-2014 Berkeley season features world successful returns to the Gothenburg, Gävle and Norrköping symphonies, premieres by Edmund Campion and and debuts with the Swedish Radio Samuel Carl Adams, as well as works Orchestra, Malmö Symphony, Norrlands by , and Esa- Opera Orchestra, Residentie Orkest/ Pekka Salonen. Hague, Aachen Symphony of Germany, Carneiro’s growing guest-conducting Euskadi Orchestra of Spain and Hong career continues to bring her all around Kong Philharmonic. She returned to the globe. In 2013-14, she makes debuts the Indianapolis Symphony in concerts with the Orchestre Philharmonique with on a Mahler/ de Radio France, Royal Schumann program and conducted Philharmonic and Florida Orchestra. a highly successful world premiere She returns to the Toronto, Gothenburg, of Santos, an oratorio by composer Gävle, Malmö, Sydney, New Zealand Gabriela Lena Frank and librettist Nilo

October 3, 2013 29 30 October 3, 2013 Cruz with the Girls Chorus, a ballet production of Romeo and Juliet soprano Jessica Rivera and mezzo- with Companhia Nacional de Bailado in soprano Rachel Calloway and members Portugal. of Berkeley Symphony. Increasingly in demand as an opera International highlights of previous conductor, Carneiro made her Cincinnati seasons include appearances with Opera debut in 2011 conducting John the Royal Liverpool Philharmonic Adams’ A Flowering Tree, which she also at London’s , Royal debuted with the Chicago Opera Theater Philharmonic Orchestra and Renée and at La Cité de la Musique in Paris. Fleming in the opening season of the In the 2008-09 season, she served U.A.E’s in Oman, as assistant conductor to Esa-Pekka Irish Chamber Orchestra, Ensemble Salonen at the Paris Opera’s premiere Orchestral de Paris, Orchestra de of Adriana Mater by Kaija Saariaho and Bretagne, Norrköping Symphony, led critically-acclaimed performances Prague Philharmonia and the Orchestra of Philippe Boesmans’s Julie in Bolzano, Sinfonica del Teatro la Fenice at the Italy. Venice Biennale, as well as the Macau Chamber Orchestra and Beijing As a finalist of the prestigious 2002 Orchestra at the International Music Maazel-Vilar Conductor’s Competition at Festival of Macau. In the Americas, she Carnegie Hall, Carneiro was recognized has led the Philharmonic, by the jury for demonstrating a level of Toronto Symphony, St. Paul Chamber potential that holds great promise for Orchestra, Detroit Symphony, Colorado her future career. In 2003-04, she worked Symphony, Indianapolis Symphony, Los with Maestros Kurt Masur and Christoph Angeles Chamber Orchestra, New World von Dohnányi and conducted the London Symphony, Grant Park Music Festival, Philharmonic Orchestra, as one of three School of Music, Puerto conductors chosen for London’s Allianz Rico Symphony and São Paulo State Cultural Foundation International Symphony. Conductors Academy. From 2002 to 2005, she served as Assistant Conductor In 2010, Carneiro led performances of of the L.A. Chamber Orchestra and as ’s stagings of Stravinsky’s Music Director of the Young Musicians Oedipus Rex and Symphony of Psalms Foundation Debut Orchestra of Los at the Sydney Festival, which won Angeles. From 2005 through 2008, she Australia’s Helpmann Award for Best was an American Symphony Orchestra Symphony Orchestra Concert in 2010. League Conducting Fellow at the Los She conducted a linked project at the Angeles Philharmonic, where she worked New Zealand Festival in 2011, and as closely with Esa-Pekka Salonen and led a result was immediately invited to several performances at Walt Disney work with the Sydney Symphony and Concert Hall and the . New Zealand Symphony Orchestras on subscription in 2013. In 2011, she led A native of Lisbon, she began her musical

October 3, 2013 31 studies as a violist before receiving her Gustav Meier, , conducting degree from the Academia Larry Rachleff, Jean Sebastian Bereau, Nacional Superior de Orquestra Roberto Benzi and Pascal Rophe. in Lisbon, where she studied with Carneiro is the 2010 recipient of the Jean-Marc Burfin. Carneiro received Helen M. Thompson Award, conferred her Masters degree in orchestral by the League of American Orchestras conducting from Northwestern to recognize and honor music University as a student of Victor directors of exceptional promise. Yampolsky and Mallory Thompson, In 2004, Carneiro was decorated and pursued doctoral studies at the by the President of the Portuguese University of Michigan, where she Republic, Mr. Jorge Sampaio, with the studied with Kenneth Kiesler. She has Commendation of the Order of the participated in master classes with Infante Dom Henrique.

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32 October 3, 2013 Guest Artists

Campion spent his formative years at in City where he studied with Mario Davidovsky, and in Paris, France photo by Kathleen Karn where he worked with Gérard Grisey. Closely associated with IRCAM in Paris between 1994-2000, Campion was commissioned to create several works including the full-scale ballet Playback, Nat-Sel, a meta- compositional environment for piano and computer; Losing Touch for vibraphone and electronics; and Corail for and interactive computer system.

Today, Edmund Campion’s works are heard in traditional and experimental concert halls worldwide. The famed Les Percussion des Strasbourg ensemble just released Wavelike and Edmund Campion, Diverse on their 50th anniversary composer CD set. Corail was performed by the Chicago Symphony’s and or over three decades, Pittsburgh Symphony’s new F Edmund Campion has created music series and was released imaginative and groundbreaking to critical acclaim on Susan works that explore relationships Fancher’s saxophone CD, In Two between sound and space, humans Worlds. A monograph CD by the and computers, musicians and San Francisco Contemporary audiences. His creations often Music Players with David Milnes is involve the careful mixing of available on Albany records. Other acoustic instruments with recent premieres include Auditory Fiction (2010), commissioned by electronic sounds and computer- Société Générale for Radio France, based hybrid instruments. and Small Wonder (The Butterfly Born in Dallas, Texas in 1957, Effect) (2012), commissioned by the

October 3, 2013 33 34 October 3, 2013 October 3, 2013 35 36 October 3, 2013 Foundation for the San Francisco Contemporary Music Players.

Composer in Residence with the Santa Rosa Symphony in 2012, photo by Lisa-Marie Mazzucco Campion was commissioned to create The Last Internal Combustion Engine, a new work for Kronos Quartet, electronics, and orchestra in celebration of the opening of the Green Music Center in Sonoma. San Francisco Chronicle’s Joshua Kosman called the work, “a vivid and richly imagined concerto.” In June of 2013, Campion created and performed music for the opera/art work The Alices, his third multi-media art Alessio Bax, piano collaboration with the celebrated ianist Alessio Bax is praised for new media artist Claudia Hart. The Pcreating “a ravishing listening Alices was premiered at the Chicago experience” with his lyrical playing, Arts Club and will be moving to New insightful interpretations, and dazzling York City for performances in 2014. facility. First Prize winner at the Leeds Last year, Campion was awarded and Hamamatsu international piano the Fellowship competitions—and a 2009 Avery Fisher given by the American Academy of Career Grant recipient—he has appeared Arts and Letters to a composer of as soloist with over 100 orchestras, exceptional gift. Other prizes and including the London and Royal honors include: the Rome Prize, Philharmonic orchestras, the Dallas and the Nadia Boulanger Award, the symphonies, the NHK Symphony Paul Fromm Award at Tanglewood, in Japan, the St. Petersburg Philharmonic a Award given by the with Yuri Temirkanov, and the City of American Academy of Arts and Birmingham Symphony Orchestra with Sir Letters, and a Fulbright scholarship . for study in France. During the 2013-14 season, Bax returns Edmund Campion is currently to the Dallas Symphony under Jaap van Professor of Music Composition at Zweden at Bravo! Vail and in Dallas, and UC Berkeley and Co-Director at the to the UK’s Southbank Sinfonia, with Center for New Music and Audio whom he recorded a pair of Mozart piano Technologies. (edmundcampion.com) concertos. He also appears with conductor (cnmat.berkeley.edu) Hannu Lintu in , the Los Angeles

October 3, 2013 37 PH LIFE’S BEST MOMENTS OTOGR APHY

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38 October 3, 2013 Chamber Orchestra under Hans Graf, Melodies (American Record Guide “Critics’ the Santa Barbara Chamber Orchestra, Choice 2011”), and Bach Transcribed; and and as concerto soloist at the Grant Park for Warner Classics, Baroque Reflections Music Festival in Chicago. Recipient of (Gramophone “Editor’s Choice”). He Lincoln Center’s 2013 Martin E. Segal performed Beethoven’s “Hammerklavier” Award and the 2013 Andrew Wolf Chamber Sonata for maestro in Music Award, he tours South America the PBS-TV documentary Barenboim on with violinist , and returns to Beethoven: Masterclass, available as a DVD Lincoln Center for Chamber Music Society box set on the EMI label. concerts, a Great Performers duo recital International festival appearances have with pianist Lucille Chung, and a solo recital in a new Chamber Music Society encompassed London’s International series—in addition to solo recitals in Piano Series (Queen Elizabeth Hall), Verbier Dallas and Tokyo. Bax and Chung also in Switzerland, ’s Aldeburgh perform together in Washington, DC, and and Bath festivals, and the Ruhr Klavier- in Hong Kong, Toronto, and on tour in Festival, Beethovenfest Bonn, and Schloss Canada. Elmau in Germany. He has performed recitals in major music halls around the Fall marks the release of a dance- world, in such cities as Rome, Madrid, themed duo disc with Chung, presenting Mexico City, Paris, London, Tel Aviv, Tokyo, Stravinsky’s original four-hand version Seoul, Hong Kong, and New York. of the ballet Petrouchka along with Brahms waltzes and Piazzolla tangos. At age 14, Bax graduated with top honors His acclaimed discography for Signum from the conservatory of his hometown, Classics includes Alessio Bax plays Mozart Bari, Italy, and after further studies in (Piano Concertos K. 491 and K. 595), Alessio Europe moved to the in 1994. Bax plays Brahms (Gramophone “Critic’s A Steinway artist, he resides in New York Choice”), Rachmaninov: and City with his wife, pianist Lucille Chung.

October 3, 2013 39 Dining Guide

40 October 3, 2013 Berkeley Symphony photo by Dave Weiland

ecognized nationally for its produce the award-winning Music R spirited programming, Berkeley in the Schools program, providing Symphony has established a reputa­ comprehensive, age-appropriate tion for presenting major new works music curricula to more than 4,000 for orchestra alongside fresh inter­ local elementary students each year. pretations of the classical European Berkeley Symphony was founded repertoire. It has been honored in 1969 as the Berkeley Promenade with an Adventurous Programming Orchestra by Thomas Rarick, a pro­ Award from the American Society of tégé of the great English Maestro Sir Composers, Authors and Publish­ers . Under its second Music (ASCAP) in nine of the past eleven Director, Kent Nagano, who took the seasons. post in 1978, the Orchestra charted a The Orchestra performs four main- new course with innovative program­ stage concerts a year in Zellerbach ming that included rarely performed Hall on the UC Berkeley campus, and 20th-century scores. In 1981, the supports local composers through internationally-renowned French its Under Construction New Music composer journeyed Series/Composers Program. A to Berkeley to assist with the prepa­ national leader in music education, rations of his imposing oratorio The the Orchestra partners with the Transfiguration of Our Lord Jesus Christ, Berkeley Unified School District to and the Orchestra gave a sold-out

October 3, 2013 41 Dining Guide

oulet is like DELICATESSEN a cafe set CATERING P up at your 1685 SHATTUCK grandmother’s house BERKELEY 510-845-5932 - after she’s taken a few cooking courses MON-FRI 10:30 - 8 PM and gotten hip to SAT 10:30 - 6 PM vegetarian food, etc. Poulet -S.F. Chronicle

P lan a Special Evening Out! Enjoy a fine meal at one of these local eateries before the next Berkeley Symphony concert on Thursday, December 5 at 8pm.

42 October 3, 2013 performance in San Francisco’s Adams, Paul Dresher, and Gabriela Davies Symphony Hall. In 1984, Lena Frank. Berkeley Symphony collaborated Berkeley Symphony has introduced with in a critically- Bay Area audiences to works by acclaimed production fea­turing upcoming young composers, many of life-size puppets and moving stage whom have since achieved interna­ sets, catapulting the Orchestra onto tional prominence. Celebrated Brit­ the world stage. ish composer George Benjamin, who Berkeley Symphony entered a new subsequently became Composer- era in January 2009 when Joana in-Residence at the San Francisco Car­neiro became the Orchestra’s Sym­phony, was first introduced third Music Director in its 40-year to the Bay Area in 1987 when his­tory. Under Carneiro, the Berkeley Symphony performed his Orchestra continues its tradition compositions Jubilation and Ringed by of presenting the cutting edge of the Flat Horizon; as was Thomas Adès, classical music. Together, they are whose opera Powder Her Face was forging deeper relationships with debuted by the Orchestra in a concert living composers, which include version in 1997 before it was fully several prominent contemporary staged in , London and Bay Area composers such as John Chicago.

October 3, 2013 43 44 October 3, 2013 Music in the Schools

housands of K-3 school children Teach year benefit from Berkeley Symphony’s Music in the Schools

program: photo by Dave Weiland

• Over 200 In-class Sessions are provided free of charge and include curriculum booklets with age- appropriate lessons addressing state standards for music education.

• Eleven Meet the Symphony concerts are performed free of charge in elementary schools each fall.

• Six I’m a Performer concerts, also free Music in the Schools Sponsors of charge, provide young musicians Gifts of $1,000–$15,000 annually with an opportunity to rehearse and Anonymous perform with Berkeley Symphony. Berkeley Public Education Foundation

• Four low-cost Family Concerts Berkeley Unified School District provide an opportunity for the whole Berkeley Association of Realtors family to experience a Berkeley The Bernard Osher Foundation Symphony concert together. California Arts Council In Dulci Jubilo, Inc. We are grateful to the individuals Koret Foundation and institutions listed on this page Mechanics Bank that help make Music in the Schools Music Performance Fund possible. But more help is needed... National Endowment for the Arts Please join those making Music in the Michael & Elisabeth O’Malley Schools a reality! Donate online and Ellen Singer designate your gift as “Restricted— U.S. Bank Music in the Schools Program.” Target Stores Or simply mail a contribution to: Thomas J. Long Foundation Berkeley Symphony, Music in the Union Bank Foundation Schools Fund, 1942 University Ave. Bernard E. & Alba Witkin Charitable Suite #207, Berkeley, CA 94704 Foundation www.berkeleysymphony.org/mits Thanks also to those giving up to $1,000 annually.

October 3, 2013 45 46 October 3, 2013 Under Construction in partnership with EarShot photo by Dave Weiland

Mentor (left) and Joana Carneiro work with composer .

orking in collaboration with EarShot: the National Orchestral Composition WDiscovery Network, and its partner organizations—the American Composers Forum, League of American Orchestras, New Music USA and the American Composers Orchestra - Berkeley Symphony has expanded its Under Construction New Music Series/Composers Program. This new partnership continues the tradition of Berkeley Symphony as the West Coast artistic incubator for emerging orchestral composers and broadens its reach to a new national level. Three selected composers will participate in the mentorship program, writing a substantial symphonic work developed in open rehearsal–style concerts. Participating composers receive artistic and career guidance from Music Director Joana Carneiro and mentor composers Edmund Campion and , as well as from the orchestra musicians. The three composers for the 2014 Series will be announced soon and will present two concerts on February 2 and May 4 at Osher Studio in Berkeley. Established in 1993, the Under Construction New Music Series seeks to engage audiences in contemporary music and its making. The concerts are formatted to build upon each other; the Orchestra rehearses the work in progress and experiments with different musical passages at the first concert to enable the complete, polished piece to be performed at the second concert. Discussion among the audience, the conductor, and the composer follows the playing of each work. That interchange of ideas, along with the post-concert receptions, affords the audience members a greater understanding about the composers and their work. Funding for EarShot is made possible with the support of the Andrew W. Mellon Foundation and The Fund for Music.

October 3, 2013 47 2013-2014

Four Mainstage Concerts “Under Construction” Concerts with Emerging Composers New Works Old Chestnuts Resident Artists Music in the Schools

48 October 3, 2013 Broadcast Dates

Relive this season’s concerts on KALW 91.7 fm 4 Mondays at 9pm in May 2014 Hosted by KALW’s David Latulippe

Program I: Oct. 3, 2013 will be broadcast on May 5

Program II: Dec. 12, 2013 will be broadcast on May 12

KALW is proud to be Program III: Feb. 6, 2014 Berkeley Symphony’s will be broadcast on May 19 Season 13-14 Program IV: May 1, 2014 Media Sponsor will be broadcast on May 26

Young People’s Symphony Orchestra

erkeley Symphony continues its partnership with the Young B People’s Symphony Orchestra (YPSO), affording young musicians the rare opportunity to perform with a professional orchestra. Each year, a number of YPSO players are featured alongside Berkeley Symphony musicians in all four Zellerbach Hall concerts.

Founded in 1936 in Berkeley, Young People’s Symphony Orchestra is the oldest independent youth orchestra in California, and the second oldest in the nation. For over 75 years, YPSO has developed the musical talents and skills of students in the San Francisco Bay Area. Today, many YPSO alumni are internationally-recognized musicians and prominent community members.

October 3, 2013 49 Merrell Clarks Frye Boots Sperry Since Rockport Uggs 1961 Keen Moccasins Dr. Martens Clogs Timberland Dansko

FOOTWEAR

50 October 3, 2013 Become a Berkeley Symphony Member

It’s true. Symphony orchestras cannot exist on ticket sales alone. At Berkeley Symphony, charitable gifts are crucial in producing concerts at price ranges affordable to all, and educational programs at no charge for school children. If our Subscribers are the backbone of Berkeley Symphony, our contributing Members are the heart and soul. It takes us all to make the music soar.

Like subscription benefits, Membership, too, offers great rewards!

Pre- and post-concert receptions, special salon performances, open rehearsals, and opportunities to meet and talk with our musicians, with Music Director Joana Carneiro, and with guest artists and visiting composers are just some of the ways you can deepen your experience with the music and those who create it.

Best of all, your Membership gift strengthens Berkeley Symphony and our service to the community.

See page 55 for a complete list of Membership levels. If you are not yet a Member, please join me. Already a Member? Consider an investment in a deeper level of involvement. Use the envelope in this concert program book, or give online at www.berkeleysymphony.org.

Thank you for being a part of our success,

Tom Reicher President, Board of Directors

October 3, 2013 51 52 October 3, 2013 2013-14 Season Sponsors

Kathleen G. Henschel

athleen G. Henschel, formerly finance manager at Chevron Corporation, was president of

photo by Marshall Berman K Berkeley Symphony’s Board of Directors from 2006 to 2011, and a member from 2004 to 2013. An active Bay Area philanthropist, she also serves as board chair of Chanticleer.

Meyer Sound

eyer Sound Laboratories manufactures M premium professional loudspeakers for sound reinforcement and fixed installation; digital audio systems for live sound, theatrical, and other entertainment applications; electroacoustic architecture; acoustical prediction software; and electroacoustic measurement systems. An innovator for over 30 years, Meyer Sound creates wholly integrated systems designed for optimal performance and ease of use.

Brian James and Shariq Yosufzai PHOTO rian James is a member of the Board B of Directors of Berkeley Symphony TK and a Co–Chair of the Symphony’s 2014 Gala. Shariq Yosufzai serves on the Advisory Board of Berkeley Symphony, the Executive Committee of the Board of Directors of the San Francisco Opera and is a past Chair of the Board of the California Chamber of Commerce.

October 3, 2013 53 54 October 3, 2013 2013-14 Membership Benefits Beyond the benefits of subscription, Berkeley Symphony Memberships provide many benefits to make the most of your concert-going experience. Increase your level of membership for the 2013-14 season, or start a new membership today! Use the envelope provided inside this program book, or join online at www.berkeleysymphony.org. Membership contributions are tax deductible to the extent allowed by law.

Friends Circle of Members Supporting Member: $100+ • Advance e-newsletter notice of discounts and special events. • Listing in season concert programs. Associate Member: $300+ (All of the above plus . . .) • Invitation for two to an exclusive reception and open rehearsal of the orchestra. Principal Member: $750+ (All of the above plus) • VIP service for all your ticketing needs. • Invitation to select special events including post-concert receptions with the music director, musicians, soloist(s), and/or visiting composer(s).

Symphony Circle of Members Concertmaster: $1,500+ (All of the above plus . . .) • Invitations to two exclusive Symphony Circle Salon Receptions featuring a performance by the concert guest soloist and discussion with Music Director Joana Carneiro. • Invitations to select post-concert meet-and-greet(s) with the music director, musicians, soloist(s), and/or visiting composer(s). Conductor: $2,500+ (All of the above plus . . .) • Invitations to ALL exclusive Symphony Circle Salon Receptions featuring a performance by the concert guest soloist and discussion with Music Director Joana Carneiro. • Invitation to an exclusive “closed” rehearsal for you and guests.

Sponsorship Circle of Members Founding Sponsors: $5,000 (All of the above plus . . .) • Invitations to ALL post-concert meet-and-greets with the music director, musicians, soloist(s), and/or visiting composer(s). • VIP access to Berkeley Symphony Sponsors’ Lounge before the concerts and at intermissions. • Recognition as Sponsor of a season concert, guest soloist, or commissioned composer. Executive Sponsors: $10,000 (All of the above plus . . .) • Photo with guest soloist or commissioned composer. • VIP parking vouchers for the season. • Exclusive invitation to an intimate Sponsors Circle Dinner with Music Director Joana Carneiro.

October 3, 2013 55 56 October 3, 2013 Annual Membership Support Thank you to the following individuals for making the programs of Berkeley Symphony possible. A symphony orchestra is as strong as the community that supports it. Thank you to the following individuals for making Berkeley Symphony very strong indeed. Your generosity allows the defiantly original music to be heard, commissions world-class composers, and impacts the lives of thousands of children in hundreds of classrooms each year.

Gifts received between September 1, 2012 and September 1, 2013

Sonsorp Circle GIFTS $2,500 and above Judith L. Bloom $50,000 and above Dianne Crosby Kathleen G. Henschel John & Charli Danielsen Helen & John Meyer Anita Eblé $25,000 and above John Harris Lisa & James Taylor Ken Johnson & Nina Grove Brian James & Shariq Yosufzai Bennett Markel & Karen Stella Gary Glaser & Christine Miller $10,000 and above Joe & Carol Neil Anonymous (2) Ellen Singer Janet & Michael McCutcheon Alison Teeman & Michael Yovino-Young Ed Osborn Paul Templeton & Darrell Louie Thomas & Mary Reicher Anne & Craig van Dyke Tricia Swift Gifts of $1,500 or more $ 5,000 and above Anonymous Anonymous Sallie & Edward Arens Susan & Jim Acquistapace Michele Benson Gertrude & Robert Allen Mr. Frank Bliss Natasha Beery & William B. McCoy Gray Cathrall Norman A. Bookstein & Gillian Kuehner Brian Chase Annette Campbell-White Ronald & Susan Choy Marilyn & Richard Collier Bruce & Joan Dodd Jennifer Howard DeGolia Karen Faircloth James & Rhonda Donato Steve Gallion & Pam Wolf Margaret Dorfman Stuart & Sharon Gronningen Oz Erickson Sue Hone & Jeffrey Leiter Ann & Gordon Getty René Mandel Ellen Hahn Kim & Barbara Marienthal Gail & Bob Hetler Patrick McCabe Buzz & Lisa Hines Penny & Noel Nellis William & Robin Knuttel Michael & Elisabeth O’Malley Janet & Marcos Maestre Mrs. Iris Hagen Ratowsky in Honor of Dr. Ruedi Naumann-Etienne Dr. Richard Ratowsky Deborah O’Grady & John Adams Kathy Canfield Shepard & John Thomas W. Richardson Shepard Sedge Thomson & Sylvia Brownrigg Deborah Shidler & David Burkhart Gordon & Evie Wozniak Ama Torrance & David Davies

October 3, 2013 57 58 October 3, 2013 F rIENDS of Berkeley Symphony GIFTS

$750 and above Robert Sinai & Susanna Isabelle Gerard Phyllis Brooks Schafer Schevill Marianne & John Gerhart Joy & Jerome Carlin Dian Scott Ron L. Gester Earl & June Cheit Jutta Singh Jeffrey Gilman & Carol Reif Richard Colton Carol & Anthony Somkin Rose Marie & Sam Ginsburg Jack & Ann Eastman Scott Sparling David Goines Lynne La Marca Heinrich & Steven Stucky Stuart M. Gold, Md Dwight Jaffee Michel Taddei Anne Golden Lois & Gary Marcus Goldstar Events Tickets Edward C. Gordon Bebe & Colin McRae Robert & Emily Warden Phyllis Gottlieb Ditsa & Alexander Pines Gary & Susan Wendt-Bogear Mr. Richard Granberg Marjorie Randolph Dr. George & Bay Westlake Steve Granholm Karen Teel Nancy & Sheldon Wolfe Steven E. Greenberg Nancy & Charles Wolfram Arnold & Elaine Grossberg $300 and above Ervin & Marian Hafter Anonymous $100 and above Jane Hammond Patricia & Ronald Adler Anonymous (4) Ms. Margot Harrison Virginia Almeida Joel Altman Trish & Anthony W. Karen Ames Donald & Margaret Alter Hawthorne Kelly Amis Mark Attarha William & Judith Hein Patricia Vaughn Angell Ms. Bonnie J. Bernhardt Lyn Hejinian Kevin Bastian Christel Bieri Florence Hendrix William W. Beahrs George & Dorian Bikle Valerie & Richard Herr Susan Blake In Honor of Mr. & Ms. R. Collier’s Anniversary Jason Hofmann Ms. Lauren Brown Adams Cara Bradbury Mr. Allen Holub Joana Carneiro David Bradford Birgit Hottenrott Rosemary Cozzo Helen Cagampang Gayle Hughes John Dewes Mr. Stuart Canin F.W. Irion Kevin Donahue Mark Chaitkin & Cecilia Storr Patricia Kates Gini Erck & David Petta Murray & Betty Cohen E. Paul & Joanne P. Kelly Dean Francis Sarah Cohen James Pennington Kent Doris Fukawa In honor of Marilyn Collier Todd Kerr Daniel & Kate Funk Dr. Lawrence R. Cotter Walter & Rosemarie Krovoza Evelyn & Gary Glenn Joe & Sue Daly Almon E Larsh, Jr Wendell Goddard Robert David Laurel Leichter & Michael Peggy Griffin Dennis & Sandy De Domenico Wilson Bonnie & Sy Grossman Dr. Marian C. Diamond David Lipson Alan Harper & Carol Baird Paula & James R. Diederich Arthur & Martha Luehrmann Ora & Kurt Huth Patrick D. Doherty Suzanne R. McCulloch Richard Hutson Mr. Anthony Drummond Bill & Suzanne McLean Fred Jacobson Beth & Norman Edelstein Jim & Monique McNitt Irene & Kiyoshi Katsumoto Bennett Falk & Margaret Amelie C. Mel De Fontenay Faye Keogh Moreland & John Stenzel Howard & Nancy Mel Lynn Feintech & Anthony Inspired by Jan McCutcheon, Peggy Radel & Joel Myerson Bernhardt Ellie Hahn, & Janet Maestre Lance & Dalia Nagel Ms. Mary Ellen Fine Gerry Morrison Maria José Pereira In Memory of Donna Hamilton Ms. Anita Navon Greg Phillips Ednah Beth Friedman Elizabeth Pigford Anja Plowright Gloria Fujimoto Joellen & Leslie Piskitel Myron Pollycove Harriet Fukushima Dr. Patrick M. Pralle Lucille & Arthur Theresa Gabel & Timothy Jo Ann & Buford Price Poskanzer Zumwalt George N. Queeley Pauline Robertson Linda Schacht & John Gage Donald Riley & Carolyn Serrao

October 3, 2013 59 60 October 3, 2013 $100 and above (continued) Johan & Gerda Snapper David & Marvalee Wake Lawrence Rinder Sylvia Sorell & Daniel Kane Dorothy Walker Constance Ruben Julie Thorson Sim Warkov Julianne H. Rumsey Alta Tingle Sheridan & Betsey Warrick Betty & Jack Schafer Renee Tissue Alice Waters Steven Scholl Ms. Carol L. Tomlinson Carolyn Webber Brenda Shank Elsa & Revan Tranter Elizabeth Weber Jack Shoemaker Carol Jackson Upshaw Dr. Louis Weil Anne Shortall Joy Valdez Ms. Carolyn D. Weinberger Shelton Shugar Marco Vangelisti Ms. Zoe Williams David & Elizabeth Silberman Randy & Ting Vogel Mrs. Charlene M. Woodcock

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 x305 to report errors. We appreciate the opportunity to correct our records.

Berkeley Symphony Legacy Society Thank you to those who have included Berkeley Symphony in their estate planning or life-income arrangements. If you are interested in supporting the long-term future of Berkeley Symphony, please contact General Manager Steve Gallion at 510.841.2800 x305 or [email protected].

Kathleen G. Henschel Bennett Markel Jeffrey S. Leiter Janet & Marcos Maestre Lisa Taylor

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.

Andreas Jones Graphic Design Kathleen G. Henschel Susan & Jim Acquistapace Jutta’s Flowers Marshall Berman Karen Ames Consulting Judith L. Bloom Janet & Marcos Maestre Casa de Chocolates Rico Mandel Marilyn & Richard Collier Janet & Michael McCutcheon Jennifer Howard DeGolia Bebe & Colin McRae Rick Diamond Meyer Sound Laboratories, Inc. Douglas Parking Peet’s Coffee & Tea Extreme Pizza Thomas Richardson Gloria Fujimoto & Edith Jackson Reeve Gould Lisa & Jim Taylor Ellen Hahn Anne & Craig Van Dyke John Harris Dave Weiland Photography George & Marie Hecksher William Knuttel Winery

October 3, 2013 61 62 October 3, 2013 Annual Institutional Gifts

Berkeley Symphony is proud to recognize these corporations, foundations, community organizations and government programs. These institutions are supporting our communities through their commitment to Berkeley Symphony and the arts.

Gifts received between September 1, 2012 and September 1, 2013

$50,000 and above $1,500 and above William & Flora Hewlett Foundation The Mechanics Bank Target Stores $25,000 and above Clarence E. Heller Charitable $1,000 and above Foundation Alameda County Art Commission The Creative Work Fund Anchor Brewing Co Meyer Sound Laboratories, Inc. ASCAP - American Society of Composers, Authors and Publishers $10,000 and above Anonymous (2) Up to $1,000 Ann and Gordon Getty Foundation Berkeley Assoc. of Realtors Berkeley Public Education Foundation Casa De Chocolates Thomas J. Long Foundation Home Depot Foundation Bernard Osher Foundation In Dulci Jubilo, Inc. National Endowment for the Arts Tides Foundation

$5,000 and above The Aaron Copland Fund for Music Bernard E. and Alba Witkin Charitable Foundation California Arts Council Chevron Corporation City of Berkeley Matching Gifts East Bay Community Foundation Grubb Co. The following companies have matched their employees’ or Koret Foundation retirees’ gifts to Berkeley Symphony. Le Grand Rogers Please let us know if your company New Music U.S.A. does the same by contacting Steve Wallis Foundation Gallion at 510.841.2800, x305 or U.S. Bank [email protected]. Zellerbach Family Foundation Anchor Brewing Company $2,500 and above Chevron Corporation Fromm Foundation Genentech, Inc. Union Bank of California Home Depot

October 3, 2013 63 64 October 3, 2013 Administration Contact & Creative Staff Tickets available by phone, fax, René Mandel, Executive Director mail, e-mail, or online: Steve Gallion, General Manager Berkeley Symphony Ming Luke, Education Director/ 1942 University Avenue, Suite 207, Conductor Berkeley, CA 94704 510.841.2800 Fax: 510.841.5422 Theresa Gabel, Director of Operations [email protected] Noel Hayashi, Director of Marketing www.berkeleysymphony.org Jessica Schultze-Sadler, Associate Director of Marketing/Box Office find us on Manager Karen Ames Communications, Press & Public Relations Yesenia Sanchez, Finance Manager Quelani Penland, Librarian Franklyn D’Antonio, Orchestra Manager Joslyn D’Antonio, Co-Orchestra Manager Kevin Reinhardt, Stage Manager Stoller Design Group, Graphic Design Dave Weiland, Photography Steve Flavin, Video Design Sid Kesav, Telemarketing Cindy Hickox, Intern David Fang, Intern Music in the

Program schools Andreas Jones, Design & Production Celebrating 21 Years in Partnership with the Berkeley Unified School District Stoller Design Group, Cover Design Ming Luke, Education dirEctor John McMullen, Advertising Sales Thomas May, Program Notes Photo: Dave Weiland Calitho, Printing

October 3, 2013 65 Advertiser Index

A1 Sun...... page 20 Judith L. Bloom, CPA...... page 11 Albert Nahman Plumbing...... page 28 Jutta’s Flowers...... page 64 Alward Construction...... page 58 La Mediterranée...... page 40 Ampersand Graphics...... page 28 Lunettes du Monde...... page 27 Archway School...... page 32 Mancheno Insurance Agency . . pages 34-35 Aurora Theatre...... page 22 Margaretta K. Mitchell Photography. page 38 Bacheesos...... page 40 Maybeck High School...... page 18 Berkeley Horticultural Nursery. . . . page 58 McCutcheon Construction...... page 46 Berkeley Optometry...... page 18 Mechanics Bank...... page 38 Bill’s Footwear...... page 50 Meritage at the Claremont...... page 40 BuyArtworkNow.com ...... page 20 Mountain View Cemetery. . inside back cover The Club at The Claremont...... page 14 Oceanworks...... page 23 Cal Performances ...... page 30 Osher Life Long Learning...... page 58 Coldwell Banker...... page 60 Piedmont Gardens ...... page 56 The College Preparatory School . . . .page 18 Poulet...... page 42 Coracao Confections...... page 24 R. Kassman Piano ...... page 50 Crowden ...... page 18 Red Oak Realty...... page 52 Cypress String Quartet ...... page 43 Revival...... page 42 DC Piano ...... page 38 Scholar Share...... page 44 Dining Guide ...... pages 40, 42 Sotheby’s International Realty...... DoubleTree Hotel...... page 62 ...... inside front cover Douglas Parking...... page 60 St. Paul’s Towers...... page 12 Frank Bliss, State Farm...... page 26 Storey Framing...... page 18 Going Places ...... page 22 Talavera...... page 23 Golden State Senior Care...... page 20 Thornwall Properties...... page 16 The Grubb Co...... back cover Tricia Swift, Realtor...... page 48 Henry’s Gastropub...... page 36 UC Berkeley Extension...... page 50 Hotel Durant ...... page 16 Wells Fargo...... page 54

to advertise in the berkeley symphony program,

call john mc mullen 510.652.3879

66 October 3, 2013