THE REBELS MATTINGLY | LIGETI | SCHUMANN Thursday, December 6, 2012 | Zellerbach Hall, UC Berkeley
Berkeley Symphony 2012-13 Season
5 Message from the Music Director 7 Message from the Executive Director
9 Board of Directors & Advisory Council
10 Orchestra
13 Program
15 Program Notes
37 Music Director: Joana Carneiro
39 Guest Artists
43 Berkeley Symphony
47 Music in the Schools
49 Under Construction 51 Young People’s Symphony Orchestra 53 Contributed Support 66 Advertiser Index
Season Sponsors: Kathleen G. Henschel and
Official Wine Sponsor of Berkeley Symphony:
Presentation bouquets are graciously provided by Jutta’s Flowers, the Official Florist of Berkeley Symphony.
Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras. No photographs or recordings of any part of tonight’s performance may be made without the written consent of the management of Berkeley Symphony. All programs subject to change.
Berkeley Symphony, 1942 University Ave., Ste. 207, Berkeley, CA 94704 510.841.2800 • Fax: 510.841.5422 E-mail: [email protected] Web site: www.berkeleysymphony.org To Advertise: 510.652.3879
December 6, 2012 3 2012-13 Under Construction New Music Concerts
Andrew V. Ly Michael Nicholas Davide Verotta
Experience the making and transformation of new works by the 2012–13 Under Construction Composers. The concerts will feature compositions by Andrew V. Ly, Michael Nicholas, and Davide Verotta, as the Orchestra experiments with their presentation, live on stage for the first time. Each performance is followed by a Q&A session with the composers and Music Director Joana Carneiro, to explore the themes and ideas behind the works. Learn more about Under Construction on page 49 or at berkeleysymphony.org/uccp.
UPCOMING CONCERT Sunday, December 9, 2012, 7 pm at Crowden Music Center (1475 Rose Street, Berkeley)
4 December 6, 2012 Message from the Music Director
Dear friends,
Welcome to our second concert of the season. There is a reason that we titled this program “The Rebels.” The first half is very much about imagination in our times. I feel particu- larly honored to be premiering Dylan Mattingly’s Invisible Skyline. At 21, Dylan is already one of America’s most prom- ising composers and a familiar face to Berkeley audiences. John Adams describes him as “a hugely talented young composer who writes music of wild imagination and vigorous energy.” Pianist Shai Wosner is undeniably one of the best musicians I have ever worked with and I can’t wait for us to perform Ligeti’s Piano Concerto, described by the composer as his “most complex and technically demanding score.” You are in for a rare treat.
The second half of the program features one of my very favorite pieces, Schumann’s Symphony No. 2 in C Major, Op. 61. I am particularly drawn to Schumann’s work. I believe his piano and vocal scores are some of the most beautiful examples in the history of creation; when I listen to Schumann’s sym- phonies, I can’t help but identify with them, as well as recognize his great respect and love for the music written before him, most particularly that of J.S. Bach.
I am very proud of our beautiful programming and specifically that Berkeley Symphony continues to look ahead, celebrating the great composers of the future through our Mission to Commission!
Thank you for being part of our Berkeley Symphony family.
My very best,
Joana Carneiro
December 6, 2012 5 6 December 6, 2012 Message from the Executive Director
DEFIANTLY ORIGINAL. What better way to describe Berkeley Symphony!
Mention our name to most musicians,
conductors, soloists, agents and managers photo by Marshall Berman from North America to Europe and Asia, and they not only will know of us, but they will express their admiration and respect.
When Berkeley Symphony first approached Joana Carneiro about becoming our new Music Director, her mentor, Esa-Pekka Salonen—who had advised her to focus on securing a European post—told her that “Berkeley is a different story; I encourage you to wholeheartedly pursue this possibility.” And that is precisely what Joana has done. She has shared her heart and soul with us. Her passion, warmth and energy have trans- formed our sound and programming in ways that have caught the attention of all who experience our concerts. From the severest of critics to our most loyal fans, everyone agrees that something special is happening in Berkeley.
In an unprecedented move, we have commissioned and are presenting four world premieres this season—one on each of our four concerts. I hope you will join us for this exciting journey and bear witness to history in the making. (Remember…all music ever written was considered “new music” when it first premiered.) From Berkeley’s very own Paul Dresher and Dylan Mattingly to Lisbon native Andrea Pinto-Correia and Pulitzer Prize-winner Steven Stucky, you will discover unchartered territories that will delight your senses and expand your horizons.
I look forward to seeing you often in the season ahead.
With warm regards,
René Mandel
December 6, 2012 7 8 December 6, 2012 Board of Directors & Advisory Council
Board of Directors Advisory Council Executive Committee Marilyn Collier, Chair Thomas Z. Reicher, President Gertrude Allen Partner, Cooley LLP Michele Benson Janet Maestre, Vice President for Governance Judith Bloom Flute Instructor/Orchestra Member (Retired) Joy Carlin Janet McCutcheon, Vice President for Development Ron Choy McCutcheon Construction John Danielsen Stuart Gronningen, Vice President for Community Outreach Jennifer DeGolia Orchestra Member Carolyn Doelling Anita Eblé Kathleen G. Henschel, Treasurer Karen Faircloth Finance Manager, Chevron Corp (Retired) Gary Glaser Tricia Swift, Treasurer Reeve Gould Realtor, The Grubb Co. Lynne La Marca Heinrich René Mandel, Executive Director Buzz Hines Directors Sue Hone Susan Acquistapace Brian James Professor of Biology, Mills College Kenneth A. Johnson Norman Bookstein Todd Kerr Consultant Jeffrey S. Leiter James Donato Kim Marienthal Partner, Shearman & Sterling LLP Bennett Markel Bebe McRae Ellen L. Hahn Elizabeth O’Malley Community Leader Maria José Pereira Robert B. Hetler Helen Meyer Partner, PricewaterhouseCoopers (Retired) Christine Miller William Knuttel Deborah O’Grady Winemaker and Proprietor, William Knuttel Winery Marjorie Randell-Silver William McCoy Thomas Richardson Fundraiser, California Native Plant Society Linda Schacht Ed Osborn Jutta Singh Principal, Bingham, Osborn & Scarborough, LLC Lisa Taylor Kathy Canfield Shepard Alison Teeman President, Canfield Design Studios, Inc. Paul Templeton Deborah Shidler Anne Van Dyke Orchestra Member Yvette Vloeberghs Michel Taddei Shariq Yosufzai Orchestra Member Michael Yovino-Young
December 6, 2012 9 The Orchestra, December 6
Joana Carneiro, Music Director Viola Sponsored by John and Helen Meyer Tiantian Lan Sponsored by Earl O. Osborn Principal Sponsored by Lisa and Jim Taylor Sponsored by James and Rhonda Donato Sponsored by S. Shariq Yosufzai and Brian James Kent Nagano, Conductor Laureate Ilana Matfis Assistant Principal Violin I Darcy Rindt Franklyn D’Antonio Patrick Kroboth Concertmaster Marta Tobey Sponsored by Tricia Swift Deanna Said Emanuela Nikiforova Steven Ng Associate Concertmaster Sponsored by Ellen Hahn Peter Liepman Yasushi Ogura Clio Goldstein* Assistant Concertmaster Member of Young People’s Symphony Orchestra Larisa Kopylovsky Celeste McBride* Member of Young People’s Symphony Orchestra Candy Sanderson Lisa Zadek Cello Matthew Oshida Isaac Melamed Christina Knudson Principal Kristen Jones Krisanthy Desby Noah Terry* Assistant Principal Sponsored by David and Inez Boyle Member of Young People’s Symphony Orchestra Quelani Penland Wanda Warkentin John Bernstein Victoria Ehrlich Rebecca Herman* Peter Bedrossian Member of Young People’s Symphony Orchestra Ken Johnson Bert Thunstrom Joshua Herman* Member of Young People’s Symphony Orchestra Violin II Jasper Hussong* Daniel Flanagan Member of Young People’s Symphony Orchestra Principal Bass Elizabeth Choi Assistant Principal Michel Taddei Principal Karsten Windt Sponsored by Janet & Michael McCutcheon David Cheng Robert Ashley Joseph Maile Assistant Principal Lauren Avery Jon Keigwin Rick Diamond Karen Horner Ann Eastman Megan McDevitt Kevin Harper Roger Paskett Charles Zhou Marcus Wong Sarah Lee Benjamin Holston* Rose Marie Ginsburg Member of Young People’s Symphony Orchestra
10 December 6, 2012 Flute Trombone Emma Moon Thomas Hornig Principal Principal Sponsored by Marcos and Janet Maestre Sponsored by Kathleen G. Henschel Melanie Keller Bruce Chrisp
Piccolo Bass Trombone Emma Moon David Ridge
Oboe Timpani Deborah Shidler Kevin Neuhoff Principal Principal Bennie Cottone Percussion Clarinet Ward Spangler Principal Roman Fukshansky Sponsored by Gail and Bob Hetler Principal Kevin Neuhoff Diana Dorman Harp Bassoon Wendy Tamis Carla Wilson Principal Principal Ravinder Sehgal Piano Sarah Cahill Horn Principal Meredith Brown Principal Franklyn D’Antonio Sponsored by Tom and Mary Reicher Orchestra Manager Stuart Gronningen Joslyn D’Antonio Sponsored by Kathy Canfield Shepard and John Shepard Co-Orchestra Manager Trumpet Quelani Penland Cheonho Yoon Librarian Principal Kevin Reinhardt Kale Cumings Stage Manager
Judith L. Bloom, Certified Public Ac countant 510.798.8512 • [email protected]
December 6, 2012 11
I just love this orchestra! 12 December 6, 2012 December 6 Program
Berkeley Symphony dedicates tonight’s concert in memory of Alan Farley.
The Rebels Thursday, December 6, 2012 at 8:00 pm Zellerbach Hall Joana Carneiro conductor
Dylan Mattingly Invisible Skyline In Three Acts (World Premiere)
György Ligeti Concerto for Piano and Orchestra I. Vivace molto ritmico e preciso II. Lento e deserto III. Vivace cantabile IV. Allegro risoluto, molto ritmico V. Presto luminoso, fluido, costante, sempre molto ritmico
Shai Wosner, piano
INTERMISSION
Robert Schumann Symphony No. 2 in C Major, Op. 61 I. Sostenuto assai—Allegro, ma non troppo—Con fuoco II. Scherzo: Allegro vivace III. Adagio espressivo IV. Allegro molto vivace
The concert on December 6 is made possible by the generous support of William and Robin Knuttel, Thomas W. Richardson and Edith Jackson, and Lisa and James Taylor. The Dylan Mattingly commission is made possible in part by the East Bay Fund for Artists at the East Bay Community Foundation, the Zellerbach Family Foundation, and Buzz and Lisa Hines. Tonight’s concert will be broadcast on KALW 91.7 FM on February 3, 2013.
Please be sure to switch off your cell phones, alarms, and other electronic devices during the concert.
December 6, 2012 13 14 December 6, 2012 Program Notes
Dylan Mattingly (b. 1991) definite locality or definite creatures and is filled with the marvelous.” Invisible Skyline Invisible Skyline is a weird parade, Dylan Mattingly was born in Berkeley, a commemoration of the way we California and currently studies composi- immortalize our heroes, the way we tion at the Bard College Conservatory change people from bodies to stars. of Music. Invisible Skyline is commis- It rejoices in that unabated magic of sioned by Berkeley Symphony for the having given oneself over to fiction, 2012-2013 Season. Invisible Skyline a total acceptance of the suspen- is scored for two flutes, two oboes, two sion of disbelief—that beautiful clarinets, two bassoons, two horns, two unrelenting molding of your own trumpets, three trombones, 1 percus- heartbeats to such wild trajectories sionist (bass drum, kick bass drum, low across all forms of story—across tom, washboard, sandpaper blocks, and heroic epics and strange tales xylophone), harp, piano, and strings. It of exoticism; across Hollywood is divided into three Acts with only a brief protagonists and strangenesses, pause between them. Duration ca. 25 Charles Lindbergh and Amelia minutes. Earhart flying across the sky; across newspaper propaganda and sublim- The composer has provided the following inal folk tales, three minute songs of comments single clarion emotions, interrupted nvisible Skyline is a story about descriptions of odd encounters with I stories—a strange, sometimes strangers, thousand-year-old trans- hyperbolic dream of an imaginary lations; across the total innocence, kabuki play in three acts. A celebra- that unwritten narrative within the tion of our ability to believe things minutes before the beginning of that we know have never happened, a baseball game; across hundred- to feel our hearts beat faster and hour-long expanses of television slower to the more surreal pulses of containing enough time to discover our imagination. It is a fairy tale in universe-filling matrices of infor- retrospect, a somnambulant adven- mation about a nearly limitless bevy ture of an unconscious simplicity, of characters, through evaporating a märchen, or “wonder tale,” which memories of children’s books, sim- Stith Thompson once described as ple stories that turned to mysteries “a tale of some length involving a when crucial elements began to succession of motifs or episodes. It drop out of memory, or the imagi- moves in an unreal world without nary stories that settle like wet
December 6, 2012 15 Four Mainstage Concerts “Under Construction” Concerts with Emerging Composers New Works Old Chestnuts Resident Artists Music in the Schools
16 December 6, 2012 concrete in the distance, the ones Acceptance, stretching, (Tristan & that might never have existed at all. Isolde over the course of a life- time) Invisible Skyline is separated into three kaleidoscopic epiphanic ecstasy acts across twenty-five minutes, (The greatest illusion of all time) separated by a few beats of silence. —©2012 Dylan Mattingly Each act contains several emotion checkpoints, the map of which is as follows:
Act I Eyes close. György Ligeti (1923–2006) Pacific vastness, sometimes at night Concerto for Piano and it rains. Orchestra “I was young when I left home . . .” Curtain rises. György Ligeti was born at Dicsöszent- Dream Kabuki Theater márton, now Târnaˇveni, in Transylvania two-dimensional Medieval dream- (Hungary at that time, now Romania), on scapes May 28, 1923. He died in Vienna on June rainfall 12, 2006. The Piano Concerto was com- sporadic paradisiacal sputtering like missioned by Mario di Bonaventura for raindrops and revving his brother, Anthony, in 1973. The work Inhale. was not completed until much later. The original three-movement form of the work Act II was first performed on October 23, 1986, Nautical journey music in Graz, Austria, as part of the Steierischer Engine Herbst (Styrian Autumn) Festival. Solo- liftoff ist and conductor were, respectively, sometimes stranger birds can fly Anthony and Mario di Bonaventura, and “the moment I swept I was swept up the orchestra was composed of members in a terrible tremor. . .” of the Vienna Philharmonic Orchestra. Slow slow fall, machines begin to dis- The composer decided that the work assemble. needed to be expanded, and added move- Curtain drops. ments 4 and 5. The same soloist/conduc- Act III tor team gave the premiere of the new Eyes open. version in Vienna on February 29, 1988, (homecoming, gentle Homeric but this time with the ORF-Symphonieor- gamelan) chester (Symphony Orchestra of Radio Big Sur Austria). Scored for chamber orchestra, “. . . if you miss the train I’m on, count the work calls for flute (doubling piccolo), the days that I’m gone. oboe, clarinet (doubling alto ocarina in G), (you can hear that whistle blow 100 bassoon, horn, trumpet, trombone, strings miles)” (including soloist), and piano solo. One
December 6, 2012 17 18 December 6, 2012 or two percussionists are required, and brother did not. Once the war playing glockenspiel, xylophone, triangle, ended he continued his studies at 2 crotales, 2 suspended cymbals (small the Conservatory in Budapest. After and normal-sized), snare drum, tambou- graduation he went on to follow rine, 3 rototoms, 4 tom-toms, bass drum, the path blazed by his countryman, 4 wood blocks, 5 temple blocks, güiro, Béla Bartók, carrying out ethnologi- castanets, slapstick, whistle, siren whistle, cal research in the folk music of his slide whistle, flexatone, and chromatic native Transylvania, soon returning harmonica in C. Duration ca. 24 minutes. to teach and compose in Budapest. Ligeti’s early immersion in the folk music of Eastern Europe gave him an he great music essayist Michael early appreciation for micro-tonal Steinberg characterized György T tuning systems (tunings that don’t Ligeti as “a kind of Haydn for our follow the standard of equal temper- time: an exhilaratingly and jubilantly ament) and polyrhythms (multiple inventive artist whose profundity and simultaneous different rhythmic seriousness never weigh him down patterns), which found expression (nor us), an explorer, a humorist, a in his later work. composer who rejoices in the skills of performers, a master who wears his Under the Communist regime in the own virtuosity lightly and with grace.” late 40s, Ligeti’s work with folklore But surely the kinship runs deeper protected him from official censure; than temperament, and has its roots but after the brutal suppression of in geography? Both composers came the popular uprising in 1956, he and from off-the-grid neighborhoods his wife fled to the West, settling in in the wilds of East-Central Europe. Vienna (again, like Haydn before There one finds a rare concentra- him). He was eager to experiment tion of ethnic diversity: Slav, Magyar, with techniques such as twelve- Latin, German, and Gypsy cultures tone composition, but after having co-exist within a small area, providing endured two totalitarian regimes, a wealth of inspiration to impression- Nazi and Stalinist, he found himself able young musicians. faced with another rigid ideology: the Darmstadt-Cologne serialist Born into a Jewish-Hungarian enclave avant-garde. within the mostly Romanian region of Transylvania, Ligeti began his He resolved to pursue his own course. music training at an early age. During As Paul Griffiths writes in the New World War II, Hungary took the side Grove, 2nd edition, “his critical, con- of the Axis powers, and Ligeti’s fam- trary spirit was sharpened. Unlike ily was rounded up along with hun- many of his young colleagues in the dreds of thousands of other Jews and West, he was suspicious of system, deported to labor camps. György and rejoiced in the delightfulness and his mother survived, but his father evocativeness of sound, and steadily
December 6, 2012 19 20 December 6, 2012 reintroduced—though in quite new in a later interview that he was not ways, guided by an exact ear—things entirely satisfied with the result, and that serial orthodoxy had refused, decided to add two more movements. such as simple harmonies, ostinatos This expanded, five-movement ver- and palpable melodies.” Indeed, the sion was finished in early 1988 and style that earned him his first interna- received its premiere a month later tional recognition (partially through with the same team of conductor and exposure in the films of Stanley soloist. Kubrick) in the late 50s and 60s was The opening movement plunges his own fusion of serial techniques us directly into the action. Pianist, with what he called “micro-polyph- strings, and percussion are on differ- ony”: the dense piling up of layers of ent metric wavelengths, and proceed melody whose rhythms align only on to diverge from each other over time. the microscopic level. Each metric layer repeats a different Not only did Ligeti reject systems fixed rhythmic pattern (a talea, from of composition, but throughout his Western medieval music), which pre- career he continued to explore new vents the layers from ever synching musical styles and remained open to up, but continually generates new fresh influences. Later, his fascination combinations, like a kaleidoscope. with complex layered rhythms led him This glittering complexity recalls the to investigate the idigenous music of works for player piano by Conlon Central Africa starting around 1980. Nancarrow—works so tortuous that His landmark books of Études for Piano no human could possibly master (1985, 1994, 2001) contain the fruit of them—but the overall effect should his integration of African polyphony be, according to the composer, of an and rhythmic practice into his own aircraft “lifting off . . . . The rhythmic style, along with mathematically events, too complex to be perceived inspired principles of fractals and in detail, hang in a suspended state.” chaos theory. The slow second movement recalls The same influences inform his Piano the “night music” style of Bartók, Concerto. The work was commissioned which he used to evoke the atmo- around 1970 by conductor Mario di sphere of summer nights in the Bonaventura for his brother, Anthony. country. Isolated clusters of notes or Ligeti began sketching the concerto seemingly random melodic gestures in consultation with the brothers in conjure the memory of insect, frog, the early 70s, but did not begin work- or wild animal sounds, and long-held ing in earnest until 1985. The original quiet notes suggest the stillness of three-movement form of the work the nocturnal air. What night music was completed the next year. The does not generally include is a clear Brothers di Bonaventura gave the pre- melody in the traditional sense; miere in Graz in 1986; Ligeti reported Bartók devised this style partly to
December 6, 2012 21 PHOTOGRAPH LIFE’S BEST MENTSMO reflect the rhapsodic nature of Eastern European folk songs in a slow tempo. In Ligeti’s example, the melodic fore- ground consists of an intricate canon,
Y in which a chromatic theme is played in one voice, then taken up by the oth-
�� ers. The movement builds to an eerie 510 655-4920 510 intensity, punctuated by a slap on the keyboard with the palms of the hands, a siren whistle, slide whistle, and oca-
©2012 Margaretta K. Mitchell rinas. After the excitement dies down, the last word goes to the harmonica. WWW.MARGARETTAMITCHELL.COM The third movement (the original finale) has something of the air of a traditional virtuoso perpetuum mobile. We are a frame shop The piano is the one keeping up the dedicated to the perpetual motion, and the orchestra preservation and provides backup in the form of strati- protection of yo ur prints, fied rhythmic ostinatos. Ligeti con- photographs, posters, sidered the fourth movement to be drawings, needlework, paintings and objects. the core of the work. Here is none of the near-incessant restlessness of the We use the finest archival materials: first three movements. We hear short • Mats made of either cotton rag or alpha cellulose which is acid melodic fragments separated by and lignin free. gaps. For the first time, there is some- • Cotton rag mount boards behind thing like conversational give-and- artwork. take between soloist and orchestra. • Foamcore backing which absorbs acids from environmental gases. Underlying the whole is a structure • Acrylic glazing products which inspired by fractal geometry, as the protect artwork from damage composer explains: from glass breakage. • Acrylic and glass products which Without our realizing it at the filter out 98% of ultraviolet light, beginning, a complex, gradually protecting artwork from fading and degradation. emerging talea-like rhythmic • Hinging or other mounting order secretly governs . . . All techniques which are re versible the motivic figures resemble and cause no harm to artwork. previous motivic figures, without literally repeating any such figure, Established 1974 while the total structure is also 510.524.3422 self-similar. . . . This great self- 1645 Hopkins, Berkeley similar maelstrom goes back—very indirectly—to musical associations
22 December 6, 2012 that originated through the Robert Schumann (1810–1856) computer representations of the Julia- or Mandelbrot-sets . . . Symphony No. 2 in C Major, Op. 61 With the Finale we return to the whirl- ing, buzzing activity of the opening Robert Schumann was born on June 8, movements. A touching counterpoint 1810 in Zwickau, in Saxony, approximately is provided by a mordant tune that equidistant from the great German cul- has more than a whiff of the nightclub tural centers of Weimar, Leipzig, and about it; on its final appearance, Ligeti Dresden. He died on July 29, 1856, in an instructs the brass to play “menac- insane asylum in Endinich near Bonn, in ingly, brutally, but jazzy.’”’ A duet the Rhineland. Schumann composed the between xylophone and piano capped Symphony “No. 2” in Dresden. (It is in fact off by a single blow to the wood block the third symphony in order of composi- bring the work to a close. tion; the work now known as the fourth symphony was written soon after the first In the liner notes to an early recording in 1841, but was not published until after of the work, Ligeti characterized the Schumann revised it a decade later.) He concerto as a statement of his artistic sketched the work between December 12 credo: and December 28, 1845. Fleshing out the . . . my independence both from score took a little longer, requiring ten the criteria of the traditional days in February 1846, a week in May, avant-garde and from those of and five weeks in September and October. fashionable post--modernism. The The work was completed only on October musical illusions so important to 19, less than three weeks before its pre- me are not pursued as an end in miere. The symphony was first performed themselves, but rather form the at a subscription concert of the Leipzig foundation of my aesthetic con- Gewandhaus Orchestra on November 5, siderations. I favor musical forms 1846, conducted by Felix Mendelssohn. that are less process-like and are Schumann devoted several weeks in Octo- more object-like. Music as frozen ber and November of 1846 and again in time, as an object in an imagi- June and July of 1847 to “correcting” the nary space that is evoked in our score. Publication (in score and parts) fol- imaginations through music itself. lowed a year later, by Friedrich Whistling Music as a structure that, despite of Leipzig. The work is scored for pairs its unfolding in the flux of time, is each of flutes, oboes, clarinets, bassoons, still synchronistically conceivable, trumpets, and horns; 3 trombones, tim- simultaneously present in all its pani, and strings. Duration ca. 38 minutes. moments. To hold on to time, to suspend its disappearance, to con- fine it in the present moment, this ental illness had plagued Rob- is my primary goal in composition. M ert Schumann throughout most —©2012 Victor Gavenda of his adult life, but the summer of
December 6, 2012 23 1844 brought the first hints of the severe mental and physical break- down that was to come. Months later, Schumann began a slow recu- peration. In January 1845 he started to give lessons in counterpoint to his 26-year-old wife, Clara (already a famous pianist). Together, they studied the works of Bach, and they each wrote a series of fugues, including a set on the name B-A-C- H (in German musical notation, B = our B-flat and H = B natural). The exercise was to leave its mark on the C Major Symphony. By the sum- mer of 1845, he had recovered suf- ficiently to return to composition, but unfortunately the labor seems to have brought on another debili- tating attack.
In the autumn of 1845, Schumann’s spirits revived, and he took on an even more ambitious project, a new symphony. Beginning in December, sketching the work went quickly, but completing the score dragged out through most of the follow- ing year. This was due partly to the demands of other projects, but also Merrell Clarks to the sporadic return of his mental Since Frye Boots Sperry and physical ailments. Rockport Uggs 1961 Keen Moccasins Mendelssohn conducted the pre- Dr. Martens Clogs miere of the work on November Timberland Dansko 5, 1846. The audience gave the symphony a lukewarm reception. Having heard the symphony in performance, Schumann decided to put the work on a diet. A second FOOTWEAR performance, this time of a sleeker version of the piece, elicited a more enthusiastic reaction.
24 December 6, 2012 Indeed, during the 19th century, it was the most highly esteemed of Schumann’s symphonies. UC Berkeley “Everyone’s talking about Talavera.” Professor Anthony Newcomb sur- —San Francisco Chronicle veyed a century and a half of changing attitudes toward Schumann’s C Major Symphony in a landmark article, “Once More Between Absolute and Handmade Program Music: Schumann’s Second Sinks, Tile, Garden Symphony.”* Schumann’s contempo- & Ta bleware ... and more raries tended to interpret the work 1801 University (at Grant), Berkeley not as a formal structure (as modern Open Mon-Sat 10-6, Sun 12-6 writers often do), but as a depiction 510-665-6038 www.TalaveraCeramics.com of an unfolding series of ideas or emotions—as a story.
The critics of Schumann’s time noted that this kind of symphony resembled a novel, in which a character develops over time and evolves in response to his or her experiences, feelings, and Out-of-Print & actions. In the end, the character’s personality may change drastically— Rare Books on the Arts yet because we’ve witnessed all of the stages of the metamorphosis, 3032 Claremont Avenue the change is not incongruous. It is Berkeley (510) 655-3413 a similar process of transformation, [email protected] worked out in musical themes, that provides the thread—the story—that holds Schumann’s second symphony together.
The first movement of the symphony begins with a slow introduction. A simple fanfare motive is sounded by the brass: a quotation from the open- ing of Haydn’s last symphony (No. 104, from 1795). This fanfare recurs later in this movement and again at crucial moments in the second and fourth
*Published in the journal 19th Century Music, vol. VII, No. 3 (April 3, 1984).
December 6, 2012 25 Why your whole family should go to UC Berkeley
At the UC Eye Center in Berkeley, good vision is a family affair. From kids 6 to 9 months old to mature grandparents, we have everything it takes for complete examinations, a vast Eyewear Center for glasses and contact lenses, and the latest in Wavefront laser surgery . Please see us soon!
Call (510)642-2020 to schedule an appointment. Op en to the public 7 days a we ek. Free parking with appointments. Visit us at www.CalEyeCare .org Proud to be part of the Berkeley Symphony family
26 December 6, 2012 movements, helping to unify the original form to remind us of how far symphony thematically on a super- we’ve come. ficial level. However, the fanfare In a break with convention, motto also plays a more fundamen- Schumann places the Scherzo imme- tal role: hardly a “tune” itself, this diately after the first movement, simple gesture serves as the germ trading places with the slow move- from which much of the melodic ment (Beethoven did the same in his content of the rest of the symphony 9th symphony) and casts it in duple develops. Often the end results of rather than triple meter. The Scherzo this development bear no obvious is ripe with nervous energy and rarely relationship to the original motive, comes to rest, intensifying the atmo- but because we have heard the indi- sphere of agitation already present in vidual steps of the process, we sense the first movement. the relationship. This Scherzo has two Trios, and they We are actually presented with two themes here, one the confident, dia- could not be more different in char- tonic (plain vanilla harmony) brass acter. The first is playful, with wood- fanfare (motive A), the other a low, winds in spiky triplets (perhaps a slithery chromatic (exotic notes, nod to the traditional Scherzo triple not in the key) line in the strings (B). meter) juxtaposed with elegant lines The latter will also be transformed for the strings. The second Trio dra- through the course of the symphony, matically interrupts the frantic activ- and its progeny come to the fore in ity of the Scherzo: for a moment, a the second and third movements. serene mood prevails as the strings play in hymn-like, note-against-note The salient features of A that will counterpoint. The winds enter, and be exploited by Schumann are the Schumann employs more elaborate bold upward leap and the jagged contrapuntal techniques, weaving dotted rhythm of that leap. As the the melodic motive B-A-C-H into movement progresses, a number of the fabric of the passage. But, this melodic ideas arise from combina- moment of peace and tranquility tions of A and B. As Newcomb points cannot last; the Scherzo soon barges out, the use of themes marked by in, breaking the spell. As the move- irregular phrases and harmonic ment swirls to a close, the brass fan- rhythms but that were developed fare (A) rings out once again, as if to from the square and stately motives try to restore sanity to the proceed- we heard at the start of the move- ings, but to no avail. ment produces the “atmosphere of internal uneasiness and struggle” The heartfelt slow movement is suf- that characterize the movement. As fused with despair. The angular prin- the movement comes to a close, the cipal melody is characterized by wide brass fanfare (A) is heard again in its leaps and dissonant intervals. With
December 6, 2012 27 2727 College Avenue Berkeley � 510.841.8489 A vibrant community dedicated to excellence in learning where all forms of diversity flourish amid mutual respect, support and responsibility. OPEN HOUSE: January12th, 3-5pm www.maybeckhs.org
Explore the world of fine furniture
Quality Furniture & superior service. Since 1989
2585 Shattuck Avenue, Berkeley (510) 486-1090 www.vikingtrader.com
28 December 6, 2012 those leaps and its chromaticism, the hear the poignant theme from the theme bears the marks of its lineage slow movement, into which the fan- as a descendant of both motives A fare (A) intrudes. Alas, as before, we and B. As in the second movement, find no resolution. a ray of hope is provided by a con- After a moment of silence, a new trapuntal episode: a tip-toeing bass theme in the remote key of A-flat line supports a syncopated melody begins to take shape in the winds: in the clarinets and first violins in the transformed version of C. Before antique High Baroque style (a refer- it can get very far, the struggle begins ence to the scene of the Two Armed again, but soon the new theme Men in Mozart’s The Magic Flute). But asserts itself, first in the minor mode, the clouds descend again, and the then in the major. The music comes movement ends in a mood of utter to a halt, poised for the recapitula- resignation. tion, or return of the opening themes. A boisterous outburst shatters that Instead we hear something differ- mood—the celebration of the vic- ent: yet another version of the “new” tory over despair has begun. But theme. why? This is a point that has both- ered many commentators: where is As we have seen, this theme evolved the progression from darkness into from a fragment of the opening ges- light? But as Newcomb explains, this ture, and to use it here represents a is another example of transforma- radical re-thinking of the function tion, applied on a larger scale. The of recapitulation. Schumann has jolly start to this movement leads us not only transformed the theme, to expect a bubbly, Haydnish finale, but transformed the musical form but Schumann will transform it into of the movement as well. This trans- a weightier Beethovenish finale at formation also provides us with a the same time that he transforms more satisfactory resolution of the the opening flourish into a serene, large-scale emotional trauma of the majestic melody. symphony, for instead of a juxtaposi- tion of despair and joy (at the start That opening gesture starts with an of the finale) we have a progres- upward-sweeping scale and ends sion through a series of emotions to with a few longer accented notes triumph, encapsulated in a melody (C). The development section, too, expressive of “serene confidence” opens with this gesture, but this (to quote Professor Newcomb). time C (the line of accented notes) is extended. Eventually, Schumann Schumann’s symphony contains a begins to transform C into a melody, dense network of interlocking refer- smoothing out its contour. But not so ences, which work at multiple levels fast! We revisit the angst we passed of meaning. This “final theme” is through earlier in the symphony: we not merely the product of thematic
December 6, 2012 29 30 December 6, 2012 transformation; it is also a quotation is wracked by physical and mental from Beethoven’s song cycle An die afflictions which cause him anxiety ferne Geliebte (To the Distant Beloved), and despair. He struggles to overcome specifically from the final song in the these difficulties, and is aided by his set: “Take, then, these songs, that I to awareness of his musical heritage you, beloved, sang . . .” It is significant and by his studies of counterpoint as that Schumann also used the same exemplified by the works of J. S. Bach. quotation once before, in his Phanta- Having endured this redemptive expe- sie for piano, Op. 17 (also in C major), rience (perhaps equivalent to a trial another major work that he wrote by fire and water, as in The Magic Flute) after emerging from a long period of Schumann is now worthy to stand in illness. the company of Haydn, Mozart, and If we were to transcribe the “story” Beethoven, the great triumvirate of of this symphony into words, it might the German symphonic tradition. be something like this: Schumann —©2012 Victor Gavenda
Alan Farley (1936-2012) Alan Farley was born in Idaho in 1936 and grew up in Seattle and Los Angeles. He attended Cali-
fornia Institute of Technology as a mathemat- photo by Fred Lipschultz ics undergrad, and went on to pursue graduate degrees at the University of Michigan and the University of California, Berkeley. He served as Chairman of the Mathematics Department at Morehouse College in Atlanta from 1964– 1969. He was also a faculty member at Merritt College. As a music aficionado, Farley served as guide and head guide to the Boston Symphony Orchestra’s Berkshire Music Festival during the summers of 1958–1960. He was also once Richard Pryor’s road manager. As a radio lover, Alan was a volunteer and staff member at KPFA. He transitioned to KALW in 1975, where he was founding host and producer of “Book Talk,” “My Favorite Things,” “Open Air,” and “Explorations in Music.” Until his passing, he was host for the KALW broadcast of Berkeley Symphony concerts. He also led the Orchestra’s pre-concert talks. Over the years, he interviewed countless Berkeley Symphony artists and composers, most recently Music Director Joana Carneiro, cellist Johannes Moser, and pianist Sarah Cahill. He will be greatly missed by the entire Berkeley Symphony community.
December 6, 2012 31 32 December 6, 2012 2012-13 Season Under Construction Concert I Crowden Music Center Sunday, December 9, 2012 Andrew V. Ly Lair Michael Nicholas The Wraith Davide Verotta Ultramarinus (Ceruleus) The Illuminators Zellerbach Hall Thursday, February 7, 2013 Andreia Pinto-Correia Alfama (World Premiere) Lutosławski Cello Concerto; Lynn Harrell, cello Rachmaninoff Symphonic Dances The Idealists Zellerbach Hall Thursday, March 28, 2013 Steven Stucky The Stars and the Roses (World Premiere); Noah Stewart, tenor Bruckner Symphony No. 4 Find us on Plus Family Concerts! For details or tickets, visit www.berkeleysymphony.org or call (510) 841-2800 x1.
December 6, 2012 33 34 December 6, 2012 December 6, 2012 35 • Sewer • Water Heater Replacements & Tankless: Repair & Drain Cleaning & Installation • Water Conserving • Gas & Water Leak Fixtures Detection
RESPONSIVE • PROFESSIONAL • GUARANTEED
3333 Martin Luther King Jr. Way, Berkeley, CA 94704 510.843.6904 • LICENSE #414359 [email protected]
unettes L du Monde A Gallery of Fine Eyewear From Around The World by Dr. Philip Schletter, O.D.
1799e Fourth St., Berkeley (510) 559-8181
CONTACTS | RX FILLED | EXAMINATIONS | ORTHOKERATOLOGY
36 December 6, 2012 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 working today. In January 2009 she was named Music Director of Berkeley Sym- phony, succeeding Kent Nagano and becoming only the third music director in the 40-year history of the orchestra. She currently serves as official guest conductor of the Gulbenkian Orchestra in Lisbon, Portugal.
2012-13 marks Carneiro’s fourth season as Music Director of Berkeley Sym- phony, where she has been recognized for leading the orchestra’s acclaimed initiative in focusing on composers and new works. Her critically acclaimed partnership with the Orchestra will continue for an additional five years the globe. Following her highly suc- through the 2016–17 Season. With a cessful debuts with the Gothenburg world-premiere commission planned and Gävle symphony orchestras last for each subscription program, Car- season, she returns to Sweden in 2012-13 neiro’s 2012-13 concerts with Berkeley to guest conduct both orchestras again, combine new works from Paul Dresher, as well as the Norrköping Symphony, Dylan Mattingly, Andreia Pinto-Correia and to make debuts with the Swedish and Steven Stucky, alongside master- Radio Orchestra, Malmö Symphony works such as Beethoven’s Symphony and Norrlands Opera Orchestra. She No. 7, Bruckner’s Symphony No. 4, makes her German debut conducting Rachmaninoff’s Symphonic Dances and the Aachen Symphony, and her Neth- Schumann’s Symphony No. 2. She also erlands debut with the Residentie Ork- leads Jessica Rivera and the San Fran- est, conducts the Euskadi Orchestra of cisco Girls Chorus with members of the Spain, and goes to Asia for her Hong Orchestra in the world premiere of an Kong Philharmonic debut. She also oratorio by Gabriela Lena Frank. returns to the Indianapolis Symphony Carneiro’s growing guest-conducting in concerts with Thomas Hampson on career continues to take her all around a Mahler/Schumann program.
December 6, 2012 37 Increasingly in demand as an opera BOOK DESIGN conductor, Carneiro made her Cincin- PACKAGING DESIGN nati Opera debut in July 2011 conducting ADVERTISING John Adams’ A Flowering Tree, which she also debuted with the Chicago Opera George Mattingly Design Theater and at La Cité de la Musique in Paris. In 2010, she led performances of Peter Sellars’s stagings of Stravinsky’s Oedipus Rex and Symphony of Psalms www.mattinglydesign.com at the Sydney Festival, which won [email protected] Australia’s Helpmann Award for Best 510.525.2098 Symphony Orchestra Concert in 2010.
A native of Lisbon, Carneiro began her musical studies as a violist before receiving her conducting degree from the Academia Nacional Superior de Orquestra in Lisbon. She received her Master’s degree in orchestral conduct- ing from Northwestern University as a student of Victor Yampolsky and Mallory Thompson, and pursued doc- toral studies at the University of Michi- gan, where she studied with Kenneth Kiesler. Prior to her Berkeley Symphony appointment, she served as Assistant Conductor with the Los Angeles Phil- harmonic from 2005 to 2008, where she worked closely with Esa-Pekka Salonen and led performances at Walt Disney Concert Hall and the Hollywood Bowl.
Carneiro is the 2010 recipient of the Helen M. Thompson Award, conferred by the League of American Orchestras to recognize and honor music direc- tors of exceptional promise. In March 2004, Carneiro was decorated by the President of the Portuguese Republic, Mr. Jorge Sampaio, with the Commen- dation of the Order of the Infante Dom Henrique.
38 December 6, 2012 Guest Artists
Dylan Mattingly, composer
native of Berkeley, California, ADylan Mattingly began playing cello when he was five years old and writing music at the age of seven. He currently studies composition at the Bard College Conservatory of Music with George Tsontakis, Joan Tower, John Halle, and Kyle Gann, and is mentored by John Adams in Berkeley. His music has been performed in San Francisco, Sydney, Berlin, NewYork, London, and many other cities around the world.
Called “visionary magic” by Susan Scheid, Mattingly’s work has been particularly influenced by Thomas Adès, John Adams, Olivier Messiaen, Joni Mitchell, Bob Dylan, and the old cal, a Bay Area new music ensemble American blues and folk field record- whose young members play only ings of the Lomaxes. A performer and music written in their lifetimes, and improviser inside (and outside) many he is now the co-artistic director and varied forms of music from classical co-founder of Contemporaneous, a to folk, rock, jazz, and epic freeform New York-based ensemble of young improvisations with violinists Alex musicians, “dedicated to performing Fager, Finnegan Shanahan, and Eli the most exciting music of the pres- Wirtschafter, Mattingly draws not ent moment.” Mattingly performs only from his artistic surroundings, frequently as a cellist, bassist, pianist, but from the landscapes themselves. guitarist, and percussionist. Contem- Deeply influenced by literature, poraneous has just released an album Mattingly is a Classics major at Bard on INNOVA Records, entitled “Stream College, and his music is informed of Stars—Music of Dylan Mattingly.” by the poems of Homer and the complex metrical schemes of choral Among the performers who have tragedy. For two years he was the co- played his music are Berkeley Sym- director of Formerly Known as Classi- phony, the Del Sol String Quartet,
December 6, 2012 39 Contemporaneous, Formerly Known premiere on August 11, 2012, at the as Classical, Soovin Kim, Ignat Sol- Santa Cruz Civic Auditorium. Upcom- zhenitsyn, Sarah Cahill, Geoffrey ing premieres include a new work for Burleson, Mary Rowell, Other Minds, the Del Sol String Quartet entitled Gone, Symphony Parnassus, and the Da Gone, Gone, to be premiered on Decem- Capo Players. Mattingly was a final- ber 7th, 2012, as well as a setting of the ist in Orpheus Chamber Orchestra’s choruses of Euripides’ The Bakkhae, uti- “Project 440,” a crowdsourcing com- lizing the original Ancient Greek meter missioning project sponsored by and tuning systems for a large produc- WQXR. His recent work, I Was a Stranger, tion of the play in spring 2013. In addi- commissioned by John Adams and tion to composing, Mattingly is also an Deborah O’Grady for the Cabrillo avid painter, poet, and pitcher for Bard Festival Orchestra, received its world College’s first ever baseball team.
intellectual curiosity. Mr. Wosner’s virtuosity and perceptiveness have made him a favorite among audi- ences and critics, who have praised photo by Marco Borggreve him for his “keen musical mind and deep musical soul” (NPR’s All Things Considered) and for exemplifying a “remarkable blend of the intellectual, physical and even devilish sides of performance” (Chicago Sun Times).
Mr. Wosner’s 2012-13 season begins with a seven-city tour throughout Germany and Belgium in November. He will perform a Schubert recital at the Kennedy Center in May, and will be a featured performer with the Shai Wosner, pianist Pittsburgh Symphony, the India- ianist Shai Wosner has attracted napolis Symphony, and Berkeley P international recognition for his Symphony. Mr. Wosner will appear exceptional artistry, musical integrity, in recital with violinist Jennifer Koh and creative insight. His performances at the Philadelphia Kimmel Center in of a broad-range of repertoire from January followed by performances Beethoven and Mozart to Schoenberg with Ms. Koh in Virginia, Arizona and and Ligeti, as well as music by his Georgia. contemporaries, communicate his Mr. Wosner recently made his highly imaginative programming and his acclaimed debut with the Chicago
40 December 6, 2012 Symphony Orchestra and was invited to return later that year to perform with the orchestra at Ravinia. He has appeared with numerous major orchestras in North America, including the Los Angeles Philharmonic at the Hollywood Bowl, the Orpheus Cham- ber Orchestra, and the symphony orchestras of Atlanta, Baltimore, Cleveland, Dallas, Indianapolis, Milwaukee, Philadelphia, and San Francisco. In Europe, he has appeared with the Staatskapelle Berlin, Gothen- burg Symphony, Barcelona Symphony, and the Frankfurt Radio Symphony, completed a residency as a BBC New among others. In 2006, he debuted Generation Artist, during which with the Vienna Philharmonic Orches- he played frequently with the BBC tra in Salzburg, during the 250th orchestras, including appearances anniversary celebrations of Mozart’s conducting Mozart concertos from birth. He has worked with conduc- the keyboard with the BBC Scottish tors such as Daniel Barenboim, Zubin Symphony Orchestra. He also returned Mehta and Leonard Slatkin. to the BBC Scottish Symphony in Wosner is widely sought after by col- both subscription concerts and per- leagues for his versatility and spirit of formances at the Proms with Donald partnership. As a chamber musician, Runnicles. he has collaborated with numerous Mr. Wosner’s debut recording, released esteemed artists including Pinchas by Onyx in the fall of 2010, juxtaposes Zukerman, Lynn Harrell, Ralph Kir- shbaum, Christian Tetzlaff and Cho- works by Brahms and Schoenberg and Liang Lin. He is a former member of was called “inventively conceived and the Lincoln Center’s Chamber Music impressive” by The New York Times. His Society Two and performs regularly second solo album featuring works by at various chamber music festivals, Schubert was released by Onyx in the including Chamber Music Northwest in fall of 2011. Portland, the Santa Fe Chamber Music Born in Israel, Mr. Wosner enjoyed a Festival, and the Jerusalem Chamber broad musical education from a very Music Festival. He has also toured as a early age, studying piano with Eman- soloist with Daniel Barenboim’s West- uel Krasovsky. He later studied at The Eastern Divan Orchestra. Juilliard School with Emanuel Ax. Mr. Mr. Wosner is the recipient of an Avery Wosner now resides in New York City Fisher Career Grant and he recently with his wife and daughter.
December 6, 2012 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
Rick & Ann’s We offer a variety Rick & Ann’s of home-style for Dinner: Berkeley’s entrees using best kept secret! local ingredients. Rick & Ann’s 2922 Domingo Avenue is open for Berkeley dinner Tuesday 510-649-8538 through Sunday. Restaurant www.RickAndAnns.com
BEC’S BAR AND BISTRO A Place 2271 Shattuck Ave., Berkeley To Enjoy, (510) 641-1790 To Meet, To Dine Dinner served from 5pm to 11pm 3-Course Dinner for $25 Open table reservation
42 December 6, 2012 Berkeley Symphony
ailed as “the Bay Area’s most age-appropriate music curriculum Hadventurous orchestra” by the to more than 4,000 local elementary Contra Costa Times, Berkeley Symphony students each year. has established a reputation for pre- Berkeley Symphony was founded senting major new works for orchestra in 1969 as the Berkeley Promenade alongside fresh interpretations of the Orchestra by Thomas Rarick, a pro- classical European repertoire. It has tégé of the great English Maestro Sir been recognized with an Adventurous Adrian Boult. Reflecting the spirit of Programming Award from the Ameri- the times, the orchestra performed in can Society of Composers, Authors street dress and at unusual locations and Publishers (ASCAP) in eight of such as the University Art Museum. the past ten seasons. Under its second Music Director, The Orchestra performs four main- Kent Nagano, who took the post in stage concerts a year in Zellerbach 1978, the Orchestra charted a new Hall on the UC Berkeley campus, and course with innovative program- supports local composers through ming that included rarely performed its Under Construction New Music 20th-century scores. In 1981, the Series/Composers Program. A com- internationally renowned French munity leader in music education, the composer Olivier Messiaen journeyed Orchestra partners with the Berkeley to Berkeley to assist with the prepa- Unified School District to produce the rations of his imposing oratorio The award-winning Music in the Schools Transfiguration of Our Lord Jesus Christ, program, providing comprehensive, and the Orchestra gave a sold-out
December 6, 2012 43 Dining Guide
Beers $2.75 after 4 pm Our house wine (stone cellar) for $2.75 with meal after 4 pm “Gluten-free” 1600 Shattuck Ave Berkeley (510) 705-1836 Crepes! 5600 College Ave Oakland (510) 658-2026 Redbridge Open daily 7:30am–11pm (midnight Fri & sat) “gluten-free” Beer www.crepevine.com
beguiling retreat from A reality. Modern day Samurai from Berkeley and 1830 Fourth Street, Berkeley 510-841-8783 beyond, dressed in jeans Lunch: Monday - Saturday 11:30 - 3 pm to suits to avant-garde finery have discovered Dinner: Monday - Thursday 5:30 - 9:00 pm Friday & Saturday 5:30 - 9:30 pm O Chamé.
44 December 6, 2012 performance in Davies Symphony premiered numerous new works. Hall. In 1984, Berkeley Symphony Recent orchestra-commissioned collaborated with Frank Zappa in works include Private Alleles (2011) a critically acclaimed production fea- by Enrico Chapela, Mantichora (2011) turing life-size puppets and moving by Du Yun, and Holy Sisters (2012) stage sets, catapulting the Orchestra by Gabriela Lena Frank. Other past onto the world stage. commissions include Manzanar: An American History (2005) by Naomi Berkeley Symphony has introduced Sekiya, Jean-Pascal Beintus and Bay Area audiences to works by David Benoit; Bitter Harvest (2005) upcoming young composers, many by Kurt Rohde and librettist of whom have since achieved interna- Amanda Moody; and a fanfare by tional prominence. Celebrated Brit- Rohde, commemorating Nagano’s ish composer George Benjamin, who 30 years as music director. subsequently became Composer-in- Residence at the San Francisco Sym- Berkeley Symphony entered a new phony, was first introduced to the Bay era in January 2009 as Joana Car- Area in 1987 when Berkeley Symphony neiro became the orchestra’s third Music Director in its 40-year his- performed his compositions Jubilation tory. Under Carneiro, the Orchestra and Ringed by the Flat Horizon; as was continues its tradition of presenting Thomas Adés, whose opera Powder Her the cutting edge of classical music. Face was debuted by the orchestra in Together, they are forging deeper a concert version in 1997 before it was relationships with living composers, fully staged in New York City, London which include several prominent and Chicago. contemporary Bay Area composers A champion of new music, Berkeley such as John Adams, Paul Dresher, Symphony has commissioned and and Gabriela Lena Frank.
www.buyartworknow.com
December 6, 2012 45 Dining Guide
One free glass Expires December 31, 2012 of house wine with the purchase of one full priced entree. (Cannot be redeemed in
conjunction with any other SYMPHONY offers or specials. Limit one glass with each coupon.)
46 December 6, 2012 Music in the Schools
or twenty years, Berkeley Symphony Fhas partnered with the Berkeley Unified School District and Berkeley Public Education Foundation to produce the award-winning Music in the Schools program, providing comprehensive, interactive and age- appropriate music curriculum to 4,000 elementary school students in Berkeley.
Honored by the League of American Orchestras as one of the top education programs in the country, the program is designed to meet national, state and local arts education standards and gives students the opportunity to actively participate in making music and develop skills that are essential for success.
This dynamic music education program includes teacher training, classroom FUNDERS visits by Berkeley Symphony musicians, Anonymous “Meet the Symphony” concerts to intro- Berkeley Public Education Foundation duce students to symphonic music, Berkeley Unified School District “I’m a Performer!” concerts featuring Berkeley Association of Realtors student performers, family concerts for The Bernard Osher Foundation all community members, and free/dis- California Arts Council counted tickets to Berkeley Symphony In Dulci Jubilo, Inc. concerts for students and their parents. Koret Foundation Mechanics Bank Website: berkeleysymphony.org/mits National Endowment for the Arts U.S. Bank “A great community resource. A Target Stores true gem in bridging the arts and Thomas J. Long Foundation bringing fine music development UC Berkeley’s Chancellor’s Community and appreciation to our school.” Partnership Fund —Marina Franco, Union Bank Foundation fourth-grade teacher Bernard E. & Alba Witkin Charitable Foundation
December 6, 2012 47 48 December 6, 2012 Under Construction New Music Series/ Composers Program
Joana Carneiro working with Under Construction composer Mark Ackerley.
stablished in 1993, Berkeley Symphony’s Under Construction New Music Series/ E Composers Program engages the community in contemporary music and pro- vides emerging composers a rare and invaluable opportunity to further develop their skills and gain practical experience writing for a professional orchestra.
Each selected composer will have the opportunity to workshop and complete one symphonic work to be presented at the Under Construction concerts. They will work closely with a program leader, and receive feedback and orchestration lessons from Music Director Joana Carneiro, orchestra members and guest com- posers. Each composer will also get a recording of the final performance for their personal use. In 2012-13, composers Steven Stucky and Paul Dresher will lead the program and provide a guiding hand.
The Under Construction 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 between the audience, the conductor, and the composer follows the playing of each new work. This interchange of ideas affords the audience members a greater understanding about the composers and their work.
Our composers chronicle their experiences and the growth of their pieces during the program. Check out the Under Construction blog at underconstructioncomposers. wordpress.com. Learn more about the program at berkeleysymphony.org/uccp.
Berkeley Symphony gratefully acknowledge the following Under Construction funders: Aaron Copland Fund, Margaret Dorfman, The Amphion Foundation
December 6, 2012 49 50 December 6, 2012 Young People’s Symphony Orchestra
he 2012-13 Season marks the third year of partnership between Berkeley TSymphony and the Young People’s Symphony Orchestra (YPSO), affording young musicians the rare opportunity to perform with a professional orches- tra. Each year, a number of YPSO players are featured alongside Berkeley Symphony musicians in all four Zellerbach Hall mainstage 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 75 years—and counting—YPSO has developed the musical talents and skills of students in the San Francisco Bay Area. Today, many YPSO alumni are internationally distinguished musicians and prominent community members.
YPSO’s mission is to guide young musicians to achieve excellence within an orchestral setting. It provides an educational environment that fosters accomplishment, serves as a cultural resource for the community, and builds future audience by instilling a passion for music. YPSO has performed in prestigious locations including Carnegie Hall, the Dean Lesher Regional Center for the Arts in Walnut Creek, San Francisco’s War Memorial Opera House, the Calvin Simmons Auditorium, the San Francisco Museum of Modern Art, and the International Kiwanis Convention, and has been broadcast live on KGO and KKHI Radio.
December 6, 2012 51 Golden St ate Senior Services A Family Business HighStandards Exceptional Caregiving Quality Focused Highly Individualized We model our service standards as we would want to be treated (510) 526-8883 www.goldenstateseniorservices.com
52 December 6, 2012 Contributed Support
Be a part of the Berkeley Symphony Family! As a Berkeley Symphony supporter, you develop a deeper connection to the music and artists and make it possible for the orchestra to present innovative concerts, world- class guest soloists, commissions and premieres, emerging composer development, and award-winning music education for all public elementary school children in Berkeley. Please consider becoming a part of this incredible community through one or more of the following ways: Individual Giving: Individual donations are crucial to our mission as a cutting-edge orchestra. They help underwrite our artistic and administrative fees and other basic infrastructure of our organization. Producer’s Campaign: New for the 2012-13 season, Producers support Berkeley Sym- phony’s artistic and educational goals by sponsoring our musicians and artists. These supporters have unique opportunities to become a part of the artistic processes they help make possible. Corporate Giving: Berkeley Symphony brings new meaning to the phrase “only in Berkeley” with its adventurous programming and unwavering commitment to music education. Our Corporate sponsors are recognized not only as partners to one of the City’s anchor cultural institutions, but also as supporters of the community. Planned Giving: Leave a lasting and meaningful impact on Berkeley Symphony’s pro- grams while fulfilling your future financial needs by remembering us in your estate plans. Support Music Education: Berkeley Symphony is proud to enter its twentieth year of partnership with the Berkeley Unified School District, providing music education to Berkeley public elementary students. Your contribution is instrumental to the con- tinuation and success of our Music in the Schools program. Advertising: Program advertising is a major way to support the vitality of Berkeley Symphony. Advertising in the concert programs demonstrates to the audience and the orchestra that our community cares about and is committed to the arts and culture in Berkeley. In return, our advertisers receive exposure to a large and captive audience, and acknowledgement on the Berkeley Symphony website. Volunteer: Volunteering is a great way to get involved “behind the scenes” with Berke- ley Symphony. We offer ongoing volunteer opportunities, including assisting with concerts and special events, as well as light administrative work in the office. For further information about giving opportunities, please call Marissa Phillips, Director of Development, at (510) 841-2800 x305 or visit www.berkeleysymphony.org/ support.
December 6, 2012 53 2012-13 Season Sponsors
Kathleen G. Henschel
athleen G. Henschel, formerly finance manager at Chevron Corporation, was photo by Marshall Berman K president of Berkeley Symphony Board of Directors from 2006 to 2011, and a member since 2004. An active Bay Area philanthropist, she also serves on the boards of Chanticleer and Music @ Menlo.
Meyer Sound
eyer Sound Laboratories manufactures pre- Mmium professional loudspeakers for sound reinforcement and fixed installation, digital audio systems for live sound, theatrical, and other entertainment applications, elec- troacoustic 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.
Broadcast Dates Relive Tonight’s Concert with KALW 91.7 FM
Berkeley Symphony and public radio station KALW 91.7 FM are pleased to pres- ent the broadcast of the Berkeley Symphony’s 2011–12 concert season. KALW will broadcast the season concerts from 4 to 6 pm on Sunday afternoons through- out the year. Special commentary by classical music host David Latulippe in conversation with selected guests will add to the excitement and insight of these programs. Broadcast dates: December 6, 2012 concert will be broadcast February 3, 2013 February 7, 2013 concert will be broadcast May 19, 2013 March 28, 2013 concert will be broadcast September 15, 2013 All concerts 4–6 pm Sundays on KALW 91.7 FM and streaming online at www.kalw.org.
54 December 6, 2012 2012-13 Season Donor Benefits Friends of Berkeley Symphony Get an insider’s scoop of Berkeley Symphony programs through open rehearsals, backstage tours, and special events. Supporting Member: $100+ Advance notice of discounts and events through Berkeley Symphony e-newsletters Acknowledgement in the concert program, celebrating your support. Associate Member: $300+ (All of the above plus) An invitation for two to attend exclusive Berkeley Symphony Open Rehearsal and Reception, where you will watch the orchestra prepare before the concert experience. Principal Member: $750+ (All of the above plus) Special invitation to attend various Berkeley Symphony events including post-concert receptions and an exclusive backstage tour.
Symphony Circle Enjoy behind-the-scenes access and intimate events with Berkeley Symphony artists including salons and dinners. Concertmaster: $1,500+ (All of the above plus) Invitation to attend exclusive Symphony Circle Soiree Receptions featuring a performance by the concert guest artist(s) and discussion with Music Director Joana Carneiro. Invitation to pre-concert Sponsors Dinners with others in the Berkeley Symphony family. Conductor: $2,500+ (All of the above plus) Invitation to the annual Musicians Dinner to meet the orchestra members and an exclusive Open Rehearsal, where you will watch the orchestra prepare before the concert experience.
Sponsor Circle Receive personalized recognition and participation in truly unique experiences for a deeper connection to the artistic vision of Berkeley Symphony. Associate Sponsor: $5,000 (All of the above plus) Your incredible generosity is celebrated with a wide array of benefits related to concert sponsorship, including VIP access to the Sponsor’s lounge at concert intermissions and tickets to a closed symphony rehearsal of your choice. Executive Sponsor: $10,000 (All of the above plus) Exclusive invitation to an intimate Sponsors Circle Dinner with Music Director Joana Carneiro. Season Sponsor: $25,000 (All of the above plus) Acknowledgement in the season brochure and concert program as a sponsor for the upcoming season, complete with a sponsor’s biography at your option. Recognition in media releases, thanking you for your visionary support. At this leadership level, you are invited to create the experience you want at Berkeley Symphony.
December 6, 2012 55 THE CHRISTMAS THE REVELS CELEST IAL One of the Bay Area’s Most Treasured FOOLS Annual Family Traditions Celebrate the Solstice with three Festive Fools and a whole village worth of song, dance, and seasonal merriment. December 7-9 & 14-16, 2012 Tickets $20-$55 Oakland Scottish RiteTheater californiarevels.org 510-452-8800
SAVE 10% ON ALL TICKETS. COUPON CODE: SYMPHONY 12
56 December 6, 2012 Producer’s Campaign
New for the 2012-13 season, support us by participating in the Producer’s Campaign. This unique artist sponsorship will connect you with those who make our concerts and educational programs possible. A Producer may sponsor (exclusively or shared) a Berkeley Symphony musician, one of our guest artists or composers, the Education Director, or even the Music Director. During the 2012-13 season, as a Producer you will “The Producer’s Campaign is a have unique opportunities to meet great and inclusive initiative of with the artists that you support and Berkeley Symphony. We were fortu- truly be a part of our artistic process. nate enough to meet Dylan Mattingly Many levels of sponsorships are at the 2012 Gala and we’re thrilled available. For more information, please contact Development Director to be able to support Dylan and the Marissa Phillips at 510-841-2800 x305 Orchestra in such a meaningful way.” or [email protected]. —Buzz and Lisa Hines
We would like to thank the following supporters of the Producer’s Campaign: Judith L. Bloom Norman A. Bookstein & Gillian Kuehner David and Inez Boyle Marilyn and Richard Collier James and Rhonda Donato Ellen Hahn Kathleen G. Henschel Gail and Bob Hetler Buzz & Lisa Hines Ken Johnson & Nina Grove “The Producer’s Campaign provides Marcos and Janet Maestre Kim and Barbara Marienthal us the perfect opportunity to rec- Janet & Michael McCutcheon ognize Joana’s inspired leadership, John and Helen Meyer to honor the artistry of Principal Earl O. Osborn Percussionist Ward Spangler, and to Tom and Mary Reicher support Berkeley Symphony’s unique Kathy Canfield Shepard and John Shepard blending of traditional classical Tricia Swift repertoire with contemporary Lisa and Jim Taylor composers, music, and instruments.” William Knuttel Winery —Gail and Bob Hetler S. Shariq Yosufzai and Brian James
December 6, 2012 57 Founded 1930 There are 125 locations worldwide great artists Management in every field. Leasing We invite you Valet Parking to call one of Shuttles ours! Consulting www.CaliforniaMoves.com When you have 1495 Shattuck Avenue parking management 510.486.1495 or special event needs, call the parking experts. We have been parking cars since 1930. BERKELEY OFFICE Locations as small as 20 spaces, as large as 1400 spaces
TO ADVERTISE 510.444.7412 I N T H E www.douglasparking.com BERKELEY SYMPHONY PROGRAM Corporate Office: 1721 Webster Street • Oakland • CA • 94612 C A L L Offices in: J O H N M C MULLEN Oakland • San Francisco • San Jose Walnut Creek • Las Vegas NV • Portland OR 510.652.3879 Athens, Greece
58 December 6, 2012 Annual Support
Your contributions enable Berkeley Symphony to continue its mission to present innovative programming, provide music education to all Berkeley elementary students, and create a community where learning and experiencing the art is accesible to all. We gratefully acknowledge the generosity of each individual who has contributed to Berkeley Symphony by way of Annual Fund contributions, Producer’s Campaign contributions, donations to Berkeley Symphony events and auction contributions.
Gifts received between August 1, 2011 and September 25, 2012
SPONSOR CIRCLE SYMPHONY CIRCLE
Gifts of $50,000 or more Gifts of $2,500 or more Kathleen G. Henschel Anonymous Helen & John Meyer Gertrude & Robert Allen Mark Attarha Gifts of $10,000 or more Michele Benson Anonymous (3) Judith L. Bloom James & Rhonda Donato Anita Eblé Gail & Bob Hetler Karen Faircloth William & Robin Knuttel Linda Schacht & John Gage Janet & Marcos Maestre John Harris Ed Osborn Buzz & Lisa Hines Thomas & Mary Reicher Kathy Canfield Shepard & John Shepard Kim & Barbara Marienthal Tricia Swift Bennett Markel & Karen Stella Lisa & James Taylor Paul Templeton & Darrell Louie Shariq Yosufzai & Brian James Anne & Craig van Dyke Gordon & Evie Wozniak Gifts of $5,000 or more Anonymous Gifts of $1,500 or more Susan & Jim Acquistapace Sallie & Edward Arens Norman A. Bookstein & Gillian Kuehner Judith Bloom Gray Cathrall David & Inez Boyle Marilyn & Richard Collier Phyllis Brooks Schafer John & Charli Danielsen Ronald & Susan Choy Jennifer Howard DeGolia Valerie & Richard Herr Margaret Dorfman David Hill Paula & John Gambs Sue Hone & Jeff Leiter Gary Glaser & Christine Miller Susan Hone Grubb Co. Jorge Mancheno Ellen Hahn René Mandel Robert & Gail Hetler Patrick McCabe Natasha Beery & William B. McCoy Amy & Eddie Orton Deborah O’Grady & John Adams Alison Teeman & Michael Yovino-Young Thomas W. Richardson Carol Jackson Upshaw
December 6, 2012 59 60 December 6, 2012 FRIENDS OF BERKELEY SYMPHONY
Gifts of $750 or more Gifts of $300 or more (continued) Gifts of $100 or more (continued) Joy & Jerome Carlin Penny & Noel Nellis Beth & Norman Edelstein Earl & June Cheit Ditsa & Alexander Pines Bennett Falk & Margaret Bruce & Joan Dodd Leslie & Joellen Piskitel Moreland Oz Erickson Leslie Plotkin Mr. Fred G. Fassett Stuart & Sharon Gronningen Mary Lu & Bob Schreiber Marcia Flannery Lynne L. Heinrich & Dwight Deborah Shidler & David Joseph Floren Jaffee Burkhart Collette Ford Lynne La Marca Heinrich & Shelton Shugar Ednah Beth Friedman Dwight Jaffee Robert Sinai & Susanna Doris Fukawa Ken Johnson & Nina Grove Schevill Harriet Fukushima Arthur & Martha Luehrmann Lisa St. Claire Isabelle Gerard Lois & Gary Marcus Michel Taddei John C. Gerhart Bebe & Colin McRae Gary & Susan Wendt-Bogear Jeffrey Gilman & Carol Reif Michael & Elisabeth O’Malley Nancy & Charles Wolfram Rose Marie & Sam Ginsburg Anthony & Patricia Caroline Wood Karen Glasser Theophilos David Goines Robert & Emily Warden Gifts of $100 or more Stuart Gold Mr. Jeffrey A. White Anonymous (5) Edward C. Gordon Jeannette Alexich Gifts of $300 or more Steven E. Greenberg Joel Altman Anonymous Arnold & Elaine Grossberg Patricia Vaughn Angell Patricia & Ronald Adler Ervin & Marian Hafter Robert & Evelyn Apte Donald & Margaret Alter Jane Hammond Mr. Jonathan Arons Fred & Elizabeth Balderston Alan Harper & Carol Baird Catherine Atcheson Christel Bieri William & Judith Hein Stephen Beck & Candice Mark & Roberta Hoffman Ms. Lauren Brown Adams Eggerss Richard Hutson William Buckingham Steven Beckendorf Russ Irwin Diane Budd Frances Berges Fred Jacobson Mr. Thomas Busse Ms. Bonnie J. Bernhardt Joana Carneiro Mr. Wayne J. Jensen John Beviacqua Richard Colton Irene & Kiyoshi Katsumoto George & Dorian Bikle Dianne Crosby E. Paul & Joanne P. Kelly Cara Bradbury Dennis & Sandy De Domenico Todd Kerr David Bradford Jack & Ann Eastman David & Nancy Kessler Robert J. Breuer Gini Erck & David Petta Robert Kroll & Rose Ray Helen Cagampang Daniel & Kate Funk Laurence & Jalyn Lang Mr. Stuart Canin Theresa Gabel & Timothy Cara Lankford Mark Chaitkin & Cecilia Storr Zumwalt Almon E Larsh, Jr Evelyn & Gary Glenn Murray & Betty Cohen Jenny Lee Bonnie & Sy Grossman Frederick & Joan Collignon Jim Lovekin Trish & Anthony W. Kristin Collins John Lowitz & Fran Krieger Hawthorne Dr. Lawrence R. Cotter Mr. George E. Mattingly Donald & Janet Helmholz Edward Cullen Alex Mazetis Hilary Honore Richard Curley Suzanne & William McLean Ora & Kurt Huth Barbara A. Dales Jim & Monique McNitt James Pennington Kent Joe & Sue Daly Howard & Nancy Mel Faye Keogh Dr. Marian C. Diamond Parker Monroe & Teresa Mischa Lorraine Paula & James R. Diederich Darragh Helen Marcus Paul Dresher & Philippa Kelly Gerry Morrison Maria José Pereira Ms. Tanya Drlik Marcia Muggli Peggy Radel & Joel Myerson Mr. Anthony Drummond Leslie Myers
December 6, 2012 61 Gifts of $100 or more (continued) Julianne H. Rumsey Geoffrey S. Swift Ms. Anita Navon Betty & Jack Schafer Matias Tarnopolsky & Birgit William Newton Susanna Schevill Hottenrott Ortun Niesar Steven Scholl Karen Teel Ann M. O’Connor & Ed Mary Lou Schreiber, Md Christopher Terry Cullen Carolyn Serrao Kathryn Thornburg Gaby Olander Brenda Shank Revan & Elsa Tranter Jonathan Omer-Man & Nan Jane Vandenburgh & Jack George & Madeleine Trilling Gefen Shoemaker Yvette Vloeberghs Stanley & Shirley Osher Anne Shortall Randy & Ting Vogel Therese M. Pipe Jutta Singh David & Marvalee Wake Myron Pollycove Carl & Grace Smith Sheridan & Betsey Warrick Randy Porter Johan & Gerda Snapper Alice Waters Lucille & Arthur Poskanzer Carol & Anthony Somkin Carolyn Webber Jo Ann & Buford Price Ms. Carla Soracco Dr. George & Bay Westlake George N. Queeley Sylvia Sorell & Daniel Jean M. Radford Kane Ann Wilkins Mark Rhoades Charlotte & Martin Karsten Windt Donald Riley & Carolyn Sproul Nancy & Sheldon Wolfe Serrao Bruce & Susan Stangeland Mrs. Charlene M. Woodcock Bill Rudiak Kyra Subbotin Mark G. Yatabe
We would like to thank all our donors, including those who have given under $100 and those whose recent gifts may not yet appear in these listings. All contributions are greatly appreciated. While every attempt has been made to assure accuracy in our donor list, omissions and misspellings may occur. Please advise the Symphony office at 510.841.2800 ext. 305 of any errors. We appreciate the opportunity to correct our records.
Nagano Campaign for the Future
We thank our supporters of the Nagano Campaign for the Future.
Anonymous, in honor of Harry Arthur & Martha Luehrmann Weininger Janet & Marcos Maestre Anonymous (2) Kim & Barbara Marienthal Ronald & Susan Choy Bennett Markel Richard & Marilyn Collier Janet & Michael McCutcheon Jennifer Howard DeGolia Helen & John Meyer Ruth & Burt Dorman Deborah O’Grady & John Adams Anita Eblé Linda Schacht & John Gage Sharon & Stuart Gronningen Merrill & Patricia Shanks Ellen & Roger Hahn Kathy Canfield Shepard & John Shepard Lynne LaMarca Heinrich & Dwight Jaffee Deborah Shidler Kathleen G. Henschel Tricia Swift Buzz & Lisa Hines Michel Taddei Kenneth Johnson & Nina Grove Lisa & Jim Taylor James Kleinmann & Lara Gilman The Weininger Family, in Honor William & Robin Knuttel of Harry Weininger
62 December 6, 2012 Berkeley Symphony Legacy Society
Thank you to those donors who have included Berkeley Symphony in their estate or life-income arrangements. If you are interested in including Berkeley Symphony in your planned giving, please contact Marissa Phillips, Director of Development, at 510.841.2800 ext. 305 or [email protected].
Kathleen G. Henschel Janet & Marcos Maestre Bennett Markel Jeffrey S. Leiter Lisa Taylor
Institutional Gifts
Berkeley Symphony expresses its deep appreciation to the following individuals, foundations, corporations, government agencies, and community organizations for their generous support of our artistic and educational programming. Gifts received between August 1, 2011 and September 25, 2012
Gifts of $50,000 or more Gifts of $5,000 or more (continued) New Music U.S.A. Zellerbach Family Foundation The William & Flora Hewlett Foundation Gifts of $2,500 or more Gifts of $25,000 or more Amphion Foundation The Creative Work Fund The Aaron Copland Fund for Music Meyer Sound Laboratories, Inc. Gifts of $1,000 or more Gifts of $10,000 or more Berkeley Association of Realtors Anonymous Center for Cultural Innovation Ann and Gordon Getty Foundation Target Stores Berkeley Public Education Foundation The Bernard Osher Foundation Gifts of $500 or more East Bay Community Foundation In Dulci Jubilo, Inc. Koret Foundation Mechanics Bank National Endowment for the Arts Tides Foundation Thomas J. Long Foundation UC Berkeley’s Chancellor’s Community Partnership Fund Matching Gifts Gifts of $5,000 or more The following companies California Arts Council have matched their employees’ City of Berkeley contributions to Berkeley Symphony. East Bay Community Foundation Please call us at 510.841.2800 x305 Union Bank of California to find out if your company U.S. Bank matches gifts. Wallis Foundation Bernard E. and Alba Witkin Charitable Anchor Brewing Co. Foundation Chevron
December 6, 2012 63 64 December 6, 2012 In-Kind Gifts
Berkeley Symphony would like to extend special thanks to the individuals and busi- nesses listed below whose generous donation of goods and services have helped to facilitate the production of our season concerts.
Andreas Jones Graphic Design Jutta’s Flowers Susan & Jim Acquistapace Karen Ames Consulting Marshall Berman Janet & Michael McCutcheon Judith L. Bloom Bebe & Colin McRae Casa de Chocolates Meyer Sound Laboratories, Inc. Marilyn & Richard Collier Peet’s Coffee & Tea Douglas Parking Thomas Richardson & Edith Jackson Extreme Pizza Lisa & Jim Taylor Reeve Gould Anne & Craig Van Dyke Kathleen G. Henschel Dave Weiland Photography John Harris William Knuttel Winery George & Marie Hecksher
Administration Contact
René Mandel, Executive Director Marissa Phillips, Director of Development Jenny Lee, Director of Communications Theresa Gabel, Director of Operations Ming Luke, Education Director & Conductor Karen Ames, Consulting/ Tickets available by phone, fax, Communications Consultant mail, e-mail, or online: Jessica Schultze, Marketing Associate Berkeley Symphony Aaron Woeste, Development Associate 1942 University Avenue, Suite 207, Thomas Busse, Controller Berkeley, CA 94704 Patrick Doherty, Development Intern 510.841.2800 Fax: 510.841.5422 Program [email protected] Thomas May, Program Annotator www.berkeleysymphony.org Victor Gavenda, Program Annotator Sign up online for our e-newsletter to Andreas Jones, Program Designer stay current on Berkeley Symphony and Joana Carneiro. Julie Giles, Program Cover Designer John McMullen, Advertising Sales California Lithographers, Program Printing find us on
December 6, 2012 65 Advertiser Index
Alameda Structural ...... page 18 Jutta’s Flowers ...... page 64 Albert Nahman Plumbing ...... page 36 La Mediterranée ...... page 44 Aur0ra Theatre ...... page 28 Lunettes du Monde ...... page 36 Bec’s Bar and Bistro ...... page 42 Mancheno Insurance Agency . . . pages 34-35 Berkeley Hat Company ...... page 32 Margaretta K. Mitchell Photography . .page 22 Berkeley Horticultural Nursery ...... page 52 Maybeck High School ...... page 28 Bill’s Men’s Shop ...... page 24 McCutcheon Construction ...... page 48 BuyArtworkNow.com ...... page 45 Mechanics Bank ...... page 24 The Christmas Revels ...... page 56 Meritage at the Claremontg ...... page 46 The Club at The Claremont ...... page 14 Mountain View Cemetery . . .inside back cover Casa de Chocolates ...... page 50 O Chamé ...... page 44 Coldwell Banker ...... page 58 Oceanworks ...... page 52 College Prep ...... page 41 Osher Life Long Learning ...... page 38 Crepevine Restaurant ...... page 44 Poulet ...... page 42 Crowden ...... page 32 R. Kassman Piano ...... page 32 Dining Guide ...... pages 42, 44, 46 Revival Bar & Kitchen ...... page 46 DoubleTree Hotel ...... page 60 Rick & Ann’s Restaurant ...... page 42 Douglas Parking ...... page 58 Scandinavian Designs ...... page 18 Frank Bliss, State Farm ...... page 18 Sotheby’s International Realty ...... page 12 George Mattingly Design ...... page 38 St. Paul’s Towers ...... inside front cover Going Places ...... page 25 Storey Framing ...... page 22 Golden State Senior Care ...... page 52 Talavera ...... page 25 Griffin Motorwerke ...... page 56 Thornwall Properties ...... page 20 The Grubb Co ...... back cover Tricia Swift, Realtor ...... page 16 Henry’s Gastropub...... page 16 Turtle Island Book Shop ...... page 25 Hotel Durant ...... page 30 UC Berkeley Optometry ...... page 26 Hudson Restaurant ...... page 46 Viking Trader ...... page 28 Judith L. Bloom, CPA ...... page 11 ...... Please Patronize Our Advertisers!
TO ADVERTISE IN THE BERKELEY SYMPHONY PROGRAM
CALL JOHN M C MULLEN 510.652.3879
66 December 6, 2012