JOANA CARNEIRO MUSIC DIRECTOR

Berkeley Symphony 17/18 Season

5 Message from the Music Director 7 Message from the Board President 9 Message from the Executive Director 11 Board of Directors & Advisory Council 12 Orchestra 15 Season Sponsors 16 Berkeley Symphony Salutes Diana Dorman 17 Berkeley Symphony Salutes Jerry Olson 21 Tonight’s Program 23 Program Notes 35 About Music Director Joana Carneiro 37 Berkeley Symphony 17/18 Calendar 39 Guest Conductor Gemma New 43 Guest Artist & Composers 47 About Berkeley Symphony 50 Berkeley Sounds Composer Fellows & Full@BAMPFA 52 Music in the Schools 56 Berkeley Symphony Legacy Society 57 Annual Membership Support 66 Broadcast Dates 69 Contact 70 Advertiser Index

Media Sponsor

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

Presentation bouquets are graciously provided by Jutta’s Flowers, the official florist of Berkeley Symphony. Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras. No 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.

December 7, 2017 3 4 December 7, 2017 Message from the Music Director

hank you so much for the tremendously T warm reception upon my return to the podium in October to open the 17|18 season. It is with great pride that I call Berkeley one of my musical homes. photo by Rodrigo de Souza

I invite you to be visually and aurally inspired by tonight’s program, as the orchestra performs the West Coast premieres of two pieces written by very talented women. We open this concert with Chasing Light by Opera Philadelphia’s sixth Composer-in-Residence, Rene Orth. We are also delighted to feature a piece written by our very own Music Alive Composer-in-Residence, Anna Clyne. Drawing from the feelings and imagery evoked by five contrasting contemporary artworks from the Baltimore Museum of Art and the private collection of Rheda Becker and Robert Meyerhoff, Anna takes us on a multisensory journey in a musical vocabulary all her own.

Making his second appearance with Berkeley Symphony is Conrad Tao, a remarkable and gifted musician. Having had the privilege of sharing the stage with Conrad, I can attest to his ability to attack fiercely difficult pieces of music with the expert proficiency of a seasoned performer combined with the cutting-edge freshness of youth.

Tonight I leave you in the skilled hands of Gemma New, a fast-rising fellow conductor with an aptitude for guiding orchestras with “insightful interpretations and thrilling performances.” St. Louis Symphony Music Director David Robertson said of her performances, “New opened a clear line of deep communication with our musicians,” which, I am certain, will be communicated to the welcoming hearts and minds of the Berkeley Symphony audience.

Once again, thank you for your continued support. I look forward to seeing you again in February.

Kindest regards,

Joana Carneiro

December 7, 2017 5 6 December 7, 2017 Message from the Board President

he 2017-18 Berkeley Symphony Season is T off to a spectacular start. The triumphant return of our Music Director Joana Carneiro to the podium was marked by two amazing performances in Zellerbach Hall and Hume Hall at San Francisco Conservatory. Joshua Kosman of the San Francisco Chronicle described Joana’s return as having “exuberant results” and her partnership with the orchestra as an “artistic relationship that seems to grow deeper and more responsive after each season.” Jessica Balik, writing in the San Francisco Classical Voice, described the Hume Hall concert like “Athena springing fully formed from the head of Zeus.”

After such a critically-acclaimed start to the season, we are proud to have three talented women featured in tonight’s concert. Gemma New is a rising star much like our own music director and conductor. Our two composers Anna Clyne and Rene Orth are both having their West Coast premieres. We are also excited to have Conrad Tao returning to the Berkeley Symphony. A virtuoso pianist and composer, Conrad is also a virtuoso violinist who was featured in Forbes’ “30 under 30” list of Most Influential Musicians along with Lady Gaga when he was only 18.

This powerful combination of youth and diversity in tonight’s performance is what sets the Berkeley Symphony apart. From our very beginning we have nurtured talent, showcased virtuosity and delivered musical excellence. Tonight is emblematic of this history.

Thank you for being part of this amazing journey.

Until next time,

S. Shariq Yosufzai

December 7, 2017 7 8 December 7, 2017 Message from the Executive Director

elcome to the second concert of W our 17|18 season—a season which exemplifies the strong pull Berkeley has on us all: a return and a homecoming, a warmhearted visit, and a fresh welcome to photo by Marshall Berman the place we affectionately call home.

The first concert of our season saw the magnificent return of Music Director Joana Carneiro. The concert also greeted Tessa Seymour back to her hometown of Berkeley to delight the audience with her virtuosic talent while we celebrated the 70th birthday of our local hero, John Adams.

This evening we present yet another vivacious and youthful performer, Conrad Tao, in his second appearance with Berkeley Symphony on the Zellerbach stage. As is often the case when revisiting familiar territory, you may notice the slight changes or differences—variations on a familiar theme, if you will—from your last visit. Thus we may notice how Conrad’s brilliance has grown since his last visit to Berkeley as he dazzles us with Rachmaninoff’s Rhapsody on a Theme of Paganini and Liszt’s Totentanz.

We invite you to join us in welcoming composer Rene Orth and our own Music Alive Composer-in-Residence, Anna Clyne, to the family of new musical voices sharing their talents for the first time with the Berkeley audience, tonight under the masterful baton of guest conductor Gemma New.

Thank you for your continued support and for being a part of what keeps bringing us back to Berkeley, our musical home. I wish you happy holidays and look forward to seeing you again at our next musical gathering!

Warmly,

René Mandel

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10 December 7, 2017 Board of Directors & Advisory Council

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

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

December 7, 2017 11 The Orchestra

Joana Carneiro Music Director Viola Sponsored by S. Shariq Yosufzai & Brian James Tiantian Lan Principal Sponsored by Helen & John Meyer Sponsored by Lisa & Jim Taylor Alexander Volonts Assistant Principal Sponsored by Anonymous Patrick Kroboth Kent Nagano Conductor Laureate Ivo Bokulic Keith Lawrence Violin I Alexandra Leem Franklyn D’Antonio Concertmaster Matthew Oshida Matthew Szemela Associate Concertmaster Peter Liepman Emanuela Nikiforova Assistant Concertmaster Kristen Steiner Candace Sanderson

Lisa Zadek Cello Ilana Thomas Carol Rice Principal Shawyon Malek-Salehi Sponsored by Getrude Allen Junghee Lee Nancy Bien Assistant Principal Daniel Lewin Wanda Warkentin Ernest Yen Eric Gaenslen Jinny Bartley Kenneth Johnson John Bernstein Peter Bedrossian Bert Thunstrom Margaret Moores Sylvia Woodmansee Violin II Dan Flanagan Principal Bass Sponsored by Tricia Swift Michel Taddei Principal Hrafnhildur Atladottir Assistant Principal Robert Ashley Assistant Principal David Cheng Jon Keigwin George Hayes Alden F. Cohen Monika Gruber Aleksey Klyushnik Eldar Hudiyev Andrew de Stackelberg Rick Diamond Yuchen Liu Ann Eastman Kevin Harper Flute Kristen Kline Emma Moon Principal Charles Zhou Sponsored by Janet & Marcos Maestre Rose Marie Ginsburg Stacey Pelinka

12 December 7, 2017

Piccolo Trombone Laurie Camphouse Bruce Chrisp Principal Sponsored by Kathleen G. Henschel & John W. Dewes Oboe Kensey Chellis Laura Griffiths Principal Sponsored by Lisa & Jim Taylor Bass Trombone Stardust Will Baker

English Horn Tuba Bennie Cottone Peter Wahrhaftig Principal

Clarinet Timpani Michele Zukovsky Principal Kevin Neuhoff Principal Bruce Foster Percussion Bass Clarinet Ward Spangler Principal Jeannie Psomas Mark Veregge Timothy Dent Bassoon

Carla Wilson Principal Harp Ravinder Sehgal Wendy Tamis Principal

Contrabassoon Piano Erin Irvine Marc Shapiro Principal

Horn Alex Camphouse Principal Meredith Brown Wayne van Lieu Franklyn D’Antonio Co-Orchestra Manager Richard Hall Michael Shuldes Joslyn D’Antonio Co-Orchestra Manager

Trumpet Quelani Penland William Harvey Principal Librarian

Kale Cumings David Rodgers, Jr. John Freeman Stage Manager

December 7, 2017 13 14 December 7, 2017 17/18 Season Sponsors

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

Gertrude Allen

Annette Campbell-White & Ruedi Naumann-Etienne

Margaret Dorfman

Ann & Gordon Getty

Jill Grossman

Kathleen G. Henschel & John Dewes

Edith Jackson & Thomas W. Richardson

Sarah Coade Mandell & Peter Mandell

Tricia Swift

S. Shariq Yosufzai & Brian James

December 7, 2017 15 Berkeley Symphony Salutes Diana Dorman

college, Diana played in the Modesto Band in the summer, which was conducted by Frank Mancini who had

photo by Martha Olson played clarinet for John Philip Souza and founded the Modesto Symphony. Summer jobs included cutting fruit at the Ceres Dehydrator and working the graveyard college shift at Swansons Foods making turkey potpies. She attended Modesto Junior College and S. F. State University where she studied with Philip Fath, Donald Carroll, Paul Renzi, William Corbett Jones and Lazlo Varga, earning a BM in erkeley Symphony pays tribute Education and an MA in Performance. tonight to Diana Dorman, who B She continued studies with Rosario recently retired after 41 seasons Mazzeo, chamber music at the S.F. with the Berkeley Symphony. Diana Conservatory and participated in the joined the Berkeley Symphony as Aspen Music Festival and Sommer principal clarinet in 1976 when it was Musikwochen in Trogen, Switzerland the Berkeley Promenade Orchestra coached by John Adams. conducted by Thomas Rarick and continued playing in the Berkeley Diana also performs with the S.F. Symphony under Kent Nagano and Opera Center Orchestra, formerly Joana Carneiro until retiring in 2017. Western Opera Theatre (14 national She was also the orchestra contractor tours), Lamplighters Music Theatre, from 1999 to 2008. and Pocket Opera and has also performed with S.F. Opera including In those 41 years, she played in many the video recording of R. Strauss’ memorable concerts, some with Capriccio. guest conductors, composers and soloists, and was a soloist in the 1981 Diana has taught privately in Berkeley performance of Olivier Messiaen’s The and at the Community Music Center Transfiguration of Our Lord Jesus Christ at in S.F. and is on the adjunct faculty at Davies Hall. Dominican University in San Rafael.

Diana grew up in Ceres, California Berkeley Symphony thanks Diana and started the clarinet in the fourth for her many years of service and grade. From junior high through junior dedication to the Orchestra.

16 December 7, 2017 Berkeley Symphony Salutes Jerry Olson

things for me to play. Then he asked for a few changes and I played again. He said, Okay,’ you’re our new tuba photo by Deb Cutler player.’ It took about 15 minutes.”

In those 32 years with the orchestra, Jerry had many memorable moments. Jerry also played with Fremont Symphony and several other groups but says the Berkeley Symphony was unique. “In my early tenure, there was very little, if any, standard repertoire being programmed. Every set was something brand new, at least to me. So many premieres! One that comes to mind was the acoustic’’ premiere of Moonscapes by Wendy Carlos.”

Jerry grew up near Cleveland, OH and graduated from the University of fter 32 seasons with Berkeley Cincinnati with a BSEE. He switched A Symphony, we bid a fond to tuba in the middle school after farewell to long-time tubist Jerry an unsuccessful beginning on the Olson who retired from the orchestra trombone. He comments it went last year. something like, “You wanna’ try the Jerry’s first contact with Berkeley tuba? You couldn’t do any worse.” As Symphony was playing fourth it turned out, it was a good fit for him. trombone on A Zappa Affair in 1984. Years later he revisited the trombone Bob Sherwin, the orchestra’s tubist at and discovered that he could play that time, told Jerry he was going to much better than he had previously. leave the orchestra at the end of that “It’s all about the breathing” - which season so Jerry decided to seize the playing tuba had forced him to learn. opportunity. He says of the audition He moved to the Bay Area in 1974 process, “I just showed up at the BSO and although he worked for 14 years offices in Emeryville with a stack of in Silicon Valley during the day, he excerpt books. Kent Nagano took spent most of his evenings playing me to an office and picked out a few in various groups around the region.

December 7, 2017 17 Jerry studied with Tony Clements, original orchestration calls for 2 then Principal Tuba of the San Jose tubas among many other additional Symphony. Jerry moved to Cheney, instruments. At the first rehearsal, WA in 1989 with his wife and infant Kent quickly discovered that, not son to pursue what he calls “a only was the orchestration changed, slightly saner lifestyle.” There, he but the meters of the score itself quickly got involved with Spokane had been greatly altered. If you’re Public Radio and has been their Chief at all familiar with the original, Engineer for some 25 years. While you’ll know that “The Rite” has the condensed rehearsal schedule of very complex meters of 5/8, 11/16, Berkeley Symphony made it possible 7/8, and 3/16 for example that are for Jerry to live in another state and constantly changing to help give the still perform with the orchestra, he work its characteristic excitement. does note that traveling with a tuba This re-orchestration attempted can be inconvenient. to smooth out some of the bumps In addition to the Berkeley by moving bar lines and changing Symphony, Jerry has performed meter markings. This made our parts regularly with Fremont Symphony, totally incompatible with Kent’s Menlo Brass Quintet, Bay Bones, score. The librarian was immediately San Jose Wind Symphony, San dispatched to obtain the standard- Jose Municipal Band, and San Jose edition parts. I don’t remember Tuba Quartet while living in the from where they got them but by the Bay Area. He continues to perform next rehearsal, we were presented with Spokane Brassworks Quintet, with the standard parts. One Spokane Piston and Rotary Club (a problem, of course, was now I had to tuba/euphonium quartet), Spokane attempt to integrate both tuba parts British Brass Band, and Gonzaga into a combined part. The condensed University Wind Symphony. rehearsal format made it impractical to engage a second tuba…and there Reflecting on a memorable was still the space issue. In many experience with Berkeley Symphony places, the two tuba parts “nest” and Music Director Kent Nagano, together, where one tuba plays part Jerry says “One memorable set was of a phrase and the other picks up when we played Stravinsky’s The where the first one left off, often Rite of Spring while still performing with a wide pitch change. Needless at the First Congregational to say, I was busy, especially in the Church. Due to the small size of Sacrificial Dance at the end of the the venue and, perhaps, wanting piece.” to limit the number of players on the payroll, Berkeley Symphony Berkeley Symphony thanks Jerry obtained an edition with reduced for his many years of service and orchestration. For example, the dedication to the Orchestra.

18 December 7, 2017 COLOR INSERT

LIMEWOOD

PRINTED SEPARATELY

December 7, 2017 19 COLOR INSERT

BELMONT VILLAGE

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20 December 7, 2017 Symphonic II: Clyne & Rachmaninoff

Thursday, December 7, 2017 at 8p Zellerbach Hall, Berkeley

Gemma New guest conductor

Rene Orth Chasing Light (West Coast Premiere)

Sergei Rachmaninoff Rhapsody on a Theme of Paganini, Op. 43 Conrad Tao piano

INTERMISSION

Anna Clyne Abstractions Music Alive (West Coast Premiere) Composer-in-Residence* Marble Moon Auguries Seascape River Three

Franz Liszt Totentanz Conrad Tao piano

*The Residency of Anna Clyne is made possible through Music Alive, a residency program of the League of American Orchestras and New Music USA. This national program is designed to provide orchestras with resources and tools to support their work with composers and new music, capitalizing on the power of composers and their creativity to build new paths for orchestras to heighten their relevancy and deepen their relationships with their communities. Major funding for Music Alive comes from The Andrew W. Mellon Foundation, with additional support from The Aaron Copland Fund for Music, The Amphion Foundation, The ASCAP Foundation Bart Howard Fund, the Francis Goelet Charitable Lead Trusts, and the National Endowment for the Arts.

Tonight’s concert will be broadcast on KALW 91.7 FM on May 14, 2018 at 9p. Please switch off your cell phones, alarms, and other electronic devices during the concert. Thank you.

Concert Sponsors Tonight’s performance is made possible by the generous support of Sandra & Kit Floyd | William Knuttel Kathleen Crandall & Lori Gitter | Dianne Crosby

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22 December 7, 2017 Program Notes

Rene Orth about seven years ago and was steered in the direction of writing Born 1985 in Dallas, Texas; currently for the dramatic voice and opera. resides in Philadelphia A graduate of the Curtis Institute, Chasing Light Orth began her term as resident composer at Opera Philadelphia in Composed: 2015 2016. After Washington National First performance: April 11, 2015, with Opera commissioned a chamber Kensho Watanabe conducting the opera in 2014, her opera Empty Curtis Symphony Orchestra the House (to a libretto by Mark Campbell) enjoyed a sold-out run Duration: approximately 4 minutes in 2016 at Curtis Opera Theatre. Scored for 2 flutes (2nd doubling Currently she is workshopping piccolo), 2 oboes, 2 clarinets, 2 another new chamber opera, titled bassoons, 4 horns, 3 trumpets, Machine, which is a collaboration 3 trombones, tuba, timpani, with the playwright (and HBO percussion, and strings. Girls writer) Jason Kim about an Asian-American scientist’s quest to In sum: become completely emotionless and “perfect.” • A composer-in-residence with Opera Philadelphia, Rene Orth has It was while she was still at been making her name primarily in Curtis and “super-stressed by big the world of new opera deadlines” as she was finishing her breakthrough Empty the House • Chasing Light fulfilled a chance to that Orth composed Chasing Light. write a short orchestral piece while “It began as a requirement and Orth was completing her studies offered the opportunity to write an at the Curtis Institute and is a brief orchestral piece at Curtis.” While concert opener that depicts the Orth sometimes uses electronics sensation of reaching the light at the and has even worked in audio end of the tunnel. engineering, for this concert opener she decided to write simply for ene Orth recalls that, after a standard acoustic orchestra to R period during which she “ran craft a piece “that would be fun for away from music” and planned everyone to play. The title refers to to study business and Chinese, the fact that I was trying to get to she started composing seriously the light at the end of the tunnel.”

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24 December 7, 2017 Orth says her inspirations range tuba, timpani, snare drum, triangle, freely across the centuries; among cymbals, bass drum, glockenspiel, living composers, she names Michel harp, and strings van der Aa and Kaija Saariaho as her biggest musical heroes. In sum:

In the composer’s words • One of Sergei Rachmaninoff’s most-popular works, Rhapsody on a “Sometimes in life we find ourselves Theme of Paganini was written during running a seemingly impossible his long period of exile from his race, just trying to get to that light native Russia. at the end of the tunnel. Deadlines, stress, and pressure combined • Though not a piano concerto as to create this sort of sensation such, Rhapsody is a sort of unofficial during my writing of Chasing Light. Piano Concerto No. 5. The majority of the piece depicts • Rachmaninoff uses the format that frantic experience with small of theme and variations to colorful glimpses of hope, but the reward effect, while also suggesting the comes near the end, when that outlines of a symphony. moment of relief and peace is finally achieved.” he Piano Concerto No. 4 is the T last numbered piano concerto by Sergei Rachmaninoff, but Sergei Rachmaninoff Rhapsody on a Theme of Paganini might be regarded as his unofficial Born April 1, 1873, in Semyonovo, Piano Concerto No. 5. He was Russia; died March 28, 1943, in Beverly Hills, California following a brutally exhausting schedule of touring to fund his Rhapsody on a Theme of family and his lifestyle in exile—one Paganini, Op. 43 explanation for the sharp decline in compositional activity post-1917, Composed: 1934 when Rachmaninoff left his native First performance: November Russia. Another factor was the 7, 1934, with Leopold Stokowski Russian’s condition of permanent conducting the Philadelphia homesickness. Rachmaninoff Orchestra sought to replicate the comfort and inspiration that had earlier Duration: approximately 24 minutes surrounded him at his beloved In addition to solo piano, scored Russian estate. In the early 1930s, for 2 flutes and piccolo, 2 oboes, an idyllic retreat in Switzerland was English horn, 2 clarinets, 2 bassoons, designed for his family—a refuge 4 horns, 2 trumpets, 3 trombones, where the Rachmaninoffs spent

December 7, 2017 25 Manager: June McDaniels Music for Your Life Realtors: Kathleen Crandall Cheryl Berger Mark Hardwicke Maya Hiersoux Sarah Torney Sucheta Dhupelia Jaima Roberts Proud supporter of the Berkeley Symphony Sunan Attanayake Christopher Anderson Victoria Tseng Berkeley Regional Office: 2095 Rose St. | 510.868.1400 Brenda Walker masonmcduffie.bhgre.com/berkeley-regional Teresita Monroe

26 December 7, 2017 summers until World War Two. Bach’s Goldberg Variations. A few years after he had composed Rhapsody, In the wake of the disappointing Rachmaninoff agreed to allow the reception of his Piano Concerto No. choreographer Mikhail Fokine to use 4 in 1927, the comforting atmosphere it in Paganini, a ballet interpretation at this Swiss villa rekindled a desire of this music. The scenario involves to compose, resulting in two large- Paganini (who is represented by the scale works in successive summers theme and the piano soloist) as an in the 1930s: the Rhapsody (composed artist who sells his soul to the devil in less than two months) and the “for perfection in his art and also for Third Symphony. Of these, only the a woman.” Rhapsody was immediately taken to heart by the public. The 16-bar theme A love interlude occurs in the “slow in A minor comes from the last of movement,” introduced by a dreamy Niccolò Paganini’s Twenty-Four cadenza and veering into distant Caprices for Solo Violin (published in keys. Rhapsody’s most-famous 1820). One of music’s great earworms, moment, Variation No. 18, is music it had been (and continues to be) of blissful Romanticism (an upside- used by numerous composers, down rearrangement of a phrase of including Schumann, Liszt, and the theme). Brahms. It doesn’t really matter whether Rachmaninoff proves that he, too, Rachmaninoff had this Paganini- has something original to say—even bargain-with-the-devil storyline in within the framework of a well- mind when he composed Rhapsody. known tune by another artist. His The idea may have been triggered by Rhapsody consists of twenty-four the fact that he had used a famous variations; the work as a whole melody as a counter-theme: the additionally suggests a variation on Dies irae (“Day of Wrath”) sequence the principle of variation. Rhapsody from the Requiem Mass, which since is structured in general along the the Middle Ages was associated lines of a standard piano concerto: with the Last Judgement and final a fast movement to start, then reckoning. Rachmaninoff was fond a slow middle movement, and a of this melody, for he used it in dramatically climactic finale. several works. The Dies irae is first heard in Variation 7, where its dire What to listen for associations mingle with scherzo- Rhapsody starts with a variation (on like mutations of the Paganini violins—Paganini’s instrument) theme. The tune comes back in full before the theme is officially stated. victory at the climax. But in Rhapsody, The theme itself, incidentally, is Rachmaninoff’s own creative spirit recognizable from its harmonic triumphs over this macabre symbol outline, not unlike the theme of of death.

December 7, 2017 27 28 December 7, 2017 Anna Clyne is unified by some aspects shared among the different artworks: Born March 9, 1980, in London; “limited color palettes, references to currently resides in New York City nature, and the capturing of time as Abstractions (West Coast a current that flows” Premiere) he London-born, Brooklyn- Composed: 2016 T based Anna Clyne has been First performance: May 7, 2016, making a notable impact on the with Marin Alsop conducting the new-music scene in recent years. Baltimore Symphony She first began notating her compositional ideas as early Duration: approximately 20 minutes as age 11 and went on to study at Scored for 3 flutes (3rd doubling the University of Edinburgh and piccolo), 2 oboes, English horn, 2 then at the Manhattan School clarinets, bass clarinet, 2 bassoons, of Music, where Julia Wolfe was double bassoon, 4 horns, 3 among her mentors. At the trumpets, 3 trombones, timpani, culmination of a prestigious percussion, harp, piano, and strings residency with the Chicago Symphony under Riccardo Muti In sum: (which lasted from 2010-15), her double violin concerto Prince • Anna Clyne is the Music Alive of Clouds was nominated for a Composer-in-Residence with the Best Contemporary Classical Berkeley Symphony through the Composition Grammy Award in 2018-2019 season 2015. Among her many awards, • Abstractions is a recent product of Clyne is the recipient of the 2016 Clyne’s residency with the Baltimore Hindemith Prize, a Charles Ives Symphony Orchestra Fellowship from the American Academy of Arts and Letters, and • Frequently inspired by her a grant from Opera America to interaction with other artistic develop her opera, Eva. The latter disciplines, Clyne drew on her will be workshopped in the spring of responses to five highly contrasting 2018 as part of the artist-led venue contemporary artworks for National Sawdust, where Clyne is Abstractions composer-in-residence. • Abstractions is a five-movement Last season Clyne completed suite, each movement of which residencies with L’Orchestre attempts to capture the feelings national d’Île-de-France and evoked by a particular painting. the Baltimore Symphony, during • While full of contrasts, Abstractions which she composed Abstractions.

December 7, 2017 29 Marin Alsop, who led its premiere, Sugimoto’s Caribbean Sea, Jamaica numbers among her champions (1980) and led the world premiere of her 4. River—inspired by Ellsworth Kelly’s concert piece Masquerade at the Last River II (2005) Night of the BBC Proms in 2013. The League of American Orchestras and 5. Three—inspired by Brice Marden’s New Music USA selected Clyne to 3 (1987-88) serve as the Music Alive Composer- In the composer’s words in-Residence with the Berkeley Symphony through the 2018-2019 Anna Clyne writes: “In drawing season. On December 9, Clyne’s new inspiration from these artworks, I orchestral work Beltane will receive have tried to capture the feelings its world premiere with the BBC or imagery that they evoke, the Scottish Symphony. concept of the work, or the process adopted by the artists. Such Like many in her generation examples are the filtered blues, of composers, Anna Clyne has and the contrast between light absorbed inspiration from falling on the earthy stone and the across the history of music. She mysterious moon, that characterize is moreover keenly involved VanDerBeek’s Marble Moon; the long in collaborations with other arching lines, compact energetic artistic disciplines, working marks and dense shifting forms of with an international array of a system on the verge of collapse choreographers, visual artists, in Mehretu’s Auguries; the serene and filmmakers, as well as other horizon with rippled water in musicians. Abstractions, for Sugimoto’s Seascape; the stark example, is a five-movement suite juxtaposition of the energetic black inspired by contemporary art that and white lines that enlarge Kelly’s captivated Clyne at the Baltimore brushstrokes in River II; and the lines, Museum of Art and in the private which, inspired by Asian calligraphy collection of Rheda Becker and and the structure of seashells, Robert Meyerhoff, to whom she appear to dance in Marden’s 3. pays tribute with this piece. Some common threads between Clyne singles out the specific works the artworks are their use of by movement as follows: limited color palettes, references to 1. Marble Moon—inspired by Sara nature, and the capturing of time VanDerBeek’s Marble Moon (2015) as a current that flows—distilling and preserving it so that we can 2. Auguries—inspired by Julie contemplate it as the viewer. I was Mehretu’s Auguries (2010) also attracted to the structures of 3. Seascape—inspired by Hiroshi these works—for example River II

30 December 7, 2017 and Auguries, which at first sight The Triumph of Death. Totentanz reflects could be seen as random, and even the medieval obsession with death chaotic, are in fact created within through a Romantic lens. a sense of order—they feel both • Totentanz can be approached as a dynamic and structural.” a small-scale piano concerto in one movement or a Lisztian symphonic poem.

Franz Liszt • Liszt uses the same Dies Born October 22, 1811, in Raiding, irae plainchant melody that Hungary; died July 31, 1886, in Rachmaninoff quotes in his Bayreuth, Germany Rhapsody. And, like Rhapsody, Totentanz takes the form of a theme Totentanz and variations.

Composed: 1838-1849; revised 1853 and 1859 before publishing the final he quest for extreme experience version in 1865. T that transcends ordinary life is regarded as a shared Romantic First performance: April 15, 1865, trait, but it motivated composers of with Hans von Bülow as the pianist the 19th century in an astonishing and J. Verhulst conducting variety of ways. Some, like Duration: approximately 16 minutes Franz Liszt, were driven to forge connections between music and In addition to solo piano, Totentanz the other arts in an attempt to is scored for piccolo, 2 flutes, 2 express the human condition as oboes, 2 clarinets, 2 bassoons, 2 fully as possible. In one sense, horns, 2 trumpets, 3 trombones, Anna Clyne’s project in Abstractions tuba, timpani, cymbals, triangle, might be viewed as a continuation tam-tam, and strings. of this impulse for 21st-century sensibilities. In sum: Literary sources—Goethe, Dante, • One of the most celebrated piano and contemporary poets, to virtuosos in music history, Franz name some names—inspired Liszt wrote a fiendishly difficult solo some of Liszt’s most innovative part for Totentanz (“Dance of Death”) compositions, but he was also and had already retired from his keenly sensitive to the visual arts— solo performing career by the time certainly much more so than, for the piece was premiered. example, his contemporary (and • Like Anna Clyne’s Abstractions, son-in-law), Richard Wagner. Totentanz was inspired by visual art: Totentanz (which means, literally, in this case, an Italian fresco titled “Dance of the Dead” but is often

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32 December 7, 2017 rendered as “Dance of Death”) offers performance that ruptures the a fascinating model for this visual illusion of smooth, effortless dimension in action. surfaces: “Embedded in virtuosity is this emotional charge and excitement One important stimulus for Totentanz of wondering whether or not this seems to have been Il Trinfo della is going to work; it’s not about Morte (“The Triumph of Death”), regurgitating a loaded page of black a large fresco from the mid-14th dots.” Tao says that what interests century (now known to be the work him in virtuosity is “the sonics of of Francesco Traini), which Liszt effort. Audible artifacts of effort can viewed in 1838 at the Camposanto be generative and surprising and cemetery in Pisa. It was badly beautiful as well.” damaged in the Second World War but remains impressive in its Liszt painstakingly crafted the details reconstructed version. of this score over a lengthy period The fresco depicts death’s before finally unveiling it to the omnipotence in a dramatic Last public. Indeed, by that point, he had Judgment-like scene and must have long since renounced his own career had special relevance for Liszt, a as a lionized piano soloist. The honor pious if unconventional Catholic. of premiering Totentanz fell to Liszt’s He associated the visual imagery student, Hans von Bülow, who was with Mozart’s Requiem and chose also one of the era’s most celebrated the same key (D minor) as well as conductors (and another son-in-law the Dies irae theme to convey a sense to Liszt, until his wife Cosima left von of the diabolical. Initially, Liszt was Bülow for Wagner). prompted to make sketches for a Another example of Romanticism’s work for solo piano. But the plan preoccupation with medieval took on a wholly different guise representations of death is famously in later decades as the composer found in Hector Berlioz’ Symphonie scaled up his ambition and wrote a fantastique of 1830. Liszt created a concerto-like piece for piano and widely admired piano transcription orchestra. that helped spread the fame of An anti-Liszt (and anti-Romantic) that work. In his finale, Berlioz had bias has tended to disparage ironically used the same Dies irae such compositions as Totentanz plainchant referred to in the note as little more than a vehicle for to Rachmaninoff’s Rhapsody (and “vulgar” showmanship of keyboard quoted by Stanley Kubrick in The virtuosity. Tonight’s piano soloist, Shining’s score) to evoke the terrifying Conrad Tao, expresses a fascination “Day of Wrath” of the apocalypse. with the misunderstood aspects Liszt also takes up this association of of virtuosity — of musical ideas in Totentanz.

December 7, 2017 33 What to listen for clarinet in Variation 4 segues into a fugue introduced by the While Liszt resorts to the old- soloist, leading to the most- fashioned formal plan of theme extensive variation, in which the and variations, his characteristic tendency to innovate can be orchestra magnifies the many- heard in the score’s spine-tingling voiced frenzy. A cadenza then opens harmonies and varieties of sound into a subset of variations on still painting. Liszt’s flair for high drama another theme—this one quoting is also apparent in the tension of an antique harmonic sequence the very opening, as the piano’s known as “La Folia” (i.e., “madness”) booming chords cut across the because of its obsessively catchy four-square rhythm of the Dies character. irae theme solemnly pronounced Liszt underscores its relation to the by low brass. The theme serves Dies irae tune. The emphatic horns as a musical symbol skin to the here symbolize the image of death skeletons in the series of woodcuts as a “hunter”; Liszt also seems to by Hans Holbein that have also been proposed as a visual inspiration have the scherzo of Beethoven’s behind the piece: Death as the Great Fifth Symphony in mind. Following Equalizer presides over a Chaucerian another fiery cadenza, Liszt gives procession of “types” suggested by death the last word with a blazing the variations, from heroic soldiers restatement of the Dies irae and a to prayerful contemplatives. chilling chromatic plunge downward, as if into the grave. The piano periodically takes over in solo passages. A brief duet with —© 2017 Thomas May PHOT LIFE’S BEST MOMENTS OG RAPHY

❖ ❖ Since 1922 510 655-4920 510 Mon-Sat 8am-7pm Sun 10am-5pm 3068 Claremont Ave, Berkeley (510) 652-2490 WWW.MARGARETTAMITCHELL.COM

34 December 7, 2017 About Music Director Joana Carneiro

oted for her vibrant N performances in a wide diversity of musical styles, Joana Carneiro has attracted considerable attention as one of the most outstanding young conductors working today. In 2009, she was named Music Director of Berkeley Symphony, succeeding Kent Nagano and becoming only the third music director in the 40-year history

of the orchestra. She also currently photo by Rodrigo de Souza serves as official guest conductor of the Gulbenkian Orchestra, working there at least four weeks every year. In January 2014 she was appointed Principal Conductor of the Orquesta Sinfonica Portuguesa and Teatro São Carlos in Lisbon.

Carneiro’s growing guest-conducting career continues to develop very Aa’s Book quickly. Recent and future highlights of Disquiet include engagements with the with the London Sinfonietta. Joana BBC Symphony, Royal Stockholm also works regularly with singer/ Philharmonic, Swedish Radio song-writer Rufus Wainwright. Symphony, Helsinki Philharmonic, RTE Symphony, Hong Kong Elsewhere Joana has previously Philharmonic and the Gothenburg conducted the Royal Liverpool Symphony. She continues to be Philharmonic, Royal Philharmonic sought after for contemporary Orchestra, Orchestre Philharmonique programmes and in 2014/15 she made de Radio France, Ensemble Orchestral her debut at the English National de Paris, Orchestra de Bretagne, Opera conducting the world stage Norrköping Symphony, Norrlands premiere of John Adams’ The Gospel Opera Orchestra, Residentie Orkest/ According to the Other Mary, and Hague, Prague Philharmonia, Malmo recently she conducted a production Symphony, National Orchestra of of La Passion de Simone at the Ojai Spain and the Orchestra Sinfonica Festival and a production of Van der del Teatro la Fenice at the Venice

December 7, 2017 35 Biennale, as well as the Hong Kong Assistant Conductor of the L.A. Philharmonic, Macau Chamber Chamber Orchestra and as Music Orchestra and Beijing Orchestra Director of the Young Musicians at the International Music Festival Foundation Debut Orchestra of Los of Macau. In the Americas, Angeles. From 2005 through 2008, she has led the Los Angeles she was an American Symphony Philharmonic, Toronto Symphony, Orchestra League Conducting Fellow St. Paul Chamber Orchestra, Detroit at the Los Angeles Philharmonic, Symphony, Colorado Symphony, where she worked closely with Indianapolis Symphony, Los Angeles Esa-Pekka Salonen and led several Chamber Orchestra, New World performances at Walt Disney Concert Symphony and São Paulo State Hall and the Hollywood Bowl. Symphony. A native of Lisbon, she began her In 2010, Carneiro led performances musical studies as a violist before of Peter Sellars’ stagings of receiving her conducting degree Stravinsky’s Oedipus Rex and from the Academia Nacional Symphony of Psalms at the Sydney Superior de Orquestra in Lisbon, Festival, which won Australia’s where she studied with Jean-Marc Helpmann Award for Best Symphony Burfin. Carneiro received her Masters Orchestra Concert in 2010. She degree in orchestral conducting conducted a linked project at the from Northwestern University as New Zealand Festival in 2011, and as a student of Victor Yampolsky and a result was immediately invited to Mallory Thompson, and pursued work with the Sydney Symphony and doctoral studies at the University New Zealand Symphony orchestras of Michigan, where she studied with on subscription. Kenneth Kiesler. She has participated in master classes with Gustav As a finalist of the prestigious Meier, Michael Tilson Thomas, Larry 2002 Maazel-Vilar Conductor’s Rachleff, Jean Sebastian Bereau, Competition at Carnegie Hall, Roberto Benzi and Pascal Rophe. Carneiro was recognized by the jury for demonstrating a level of Carneiro is the 2010 recipient of potential that holds great promise the Helen M. Thompson Award, for her future career. In 2003/04, conferred by the League of American she worked with Maestros Kurt Orchestras to recognize and honor Masur and Christoph von Dohnanyi music directors of exceptional and conducted the London promise. In 2004, Carneiro was Philharmonic Orchestra, as one of decorated by the President of the the three conductors chosen for Portuguese Republic, Mr. Jorge London’s Allianz Cultural Foundation Sampaio, with the Commendation International Conductors Academy. of the Order of the Infante Dom From 2002 to 2005, she served as Henrique.

36 December 7, 2017 Br e keLEY Symphony 17|18 CALENDAR

THURSDAY, FEBRUARY 1, 8p Zellerbach Hall – Berkeley FRIDAY, FEBRUARY 2, 8p San Francisco Conservatory of Music SYMPHONIC SERIES GETTY & BERLIOZ Fauré I Getty I Berlioz

SUNDAY, FEBRUARY 11, 5p Piedmont Center for the Arts CHAMBER SERIES SIBELIUS & CHAUSSON Beethoven I Sibelius I Chausson

SUNDAY, MARCH 11, 5p Piedmont Center for the Arts CHAMBER SERIES FROM BACH TO TOWER OF POWER Classical to contemporary arrangements

SATURDAY, MARCH 31, 7p BAMPFA - Berkeley FULL@BAMPFA

THURSDAY, APRIL 19, 8p Zellerbach Hall – Berkeley SYMPHONIC SERIES BEETHOVEN SYMPHONY NO. 9, CHORAL

SATURDAY, APRIL 28, 10a & 11:30a Longfellow Middle School – Berkeley FAMILY CONCERTS

SUNDAY, APRIL 29, 7p BAMPFA – Berkeley FULL@BAMPFA

SUNDAY, MAY 6, 5p Piedmont Center for the Arts CHAMBER SERIES Martinu & BRAHMS Martinu I Clarke I Brahms

TUESDAY, MAY 29, 7p BAMPFA – Berkeley FULL@BAMPFA

December 7, 2017 37 Dining Guide

Celebrating Our 35th Anniversary!

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

38 December 7, 2017 Guest Conductor: Gemma New

Symphony Orchestra. Maintaining a close relationship with the

photo by Roy Cox New Jersey Symphony Orchestra and Chamber Orchestra of San Antonio, New also enjoys guest engagements this season with the Malmö SymfoniOrkester in Malmö, Sweden, Orlando Philharmonic Orchestra, and the Manitoba Chamber Orchestra in Winnipeg, Canada.

Through creative programming and electric performances, New is committed to growing the artistic reach of the Hamilton Philharmonic Orchestra. In her first concert as Music Director, she launched a new Family Concert series, which merged the wonder of music, science, and Canadian culture through the combination of multimedia presentations and 21st century music. In the 2016- 17 Season, New explores a wide range of fresh repertoire with the HPO, introduces Hamilton audiences to international soloists, ought after for her insightful and highlights local theatrical S interpretations and dynamic and choral talent. Through her presence, New Zealand-born leadership and collaboration conductor Gemma New is with artistic staff, New brings Music Director for the Hamilton interdisciplinary orchestral Philharmonic Orchestra in performances to the mainstage and Ontario, Canada and Resident in outreach programming across Conductor for the St. Louis the region.

December 7, 2017 39 Join CHANTICLEER An Orchestra of Voices for Their 40th Bay Area Season!

“With their flawless pitch, great spirit and widespread musical curiosity, Chanticleer is America’s a capella pride and joy.” —ClassicsToday.com

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

Tickets available through City Box Office: 415-392-4400 Or www.chanticleer.org

40 December 7, 2017 As Resident Conductor for the Mendelssohn-Bartholdy Fellow, St. Louis Symphony, New leads where she studied Mendelssohn’s education, family, community, music with Kurt Masur and led the and Live at Powell Hall Leipziger Symphonieorchester performances, covers for Music in the historic Lindensaal of Director David Robertson and Markkleeberg. guest conductors, and serves as Music Director of the St. Louis Holding a strong interest in Symphony Youth Orchestra. She contemporary music, New made moves to the St. Louis Symphony her Carnegie Hall conducting from her successful time with the debut in 2013 when she lead New Jersey Symphony Orchestra works by John Adams and as its Associate Conductor. In Andrew Norman on the American recent seasons, New has guest Soundscapes series. She is conducted several orchestras, Founder of the Lunar Ensemble, including the Atlanta, Toledo, Long currently in its seventh season, Beach, and Miami Symphonies which recently performed as a in the USA, as well as the headliner for the National New Christchurch Symphony and Opus Music Gathering in Baltimore, Orchestras in New Zealand. Maryland. New has conducted several contemporary operas, A former Dudamel Conducting as well as assisted operas by Fellow with the Los Angeles Mozart, Verdi, and Ravel. With Philharmonic, New has led youth, the LA Phil, she has assisted for school, and community programs semi-staged productions of with the LA Phil, and assisted Cavalleria Rusticana, Pagliacci, Music Director Gustavo Dudamel, and Beethoven’s Missa Solemnis. Conductor Laureate Esa-Pekka This season, New leads a Wagner/ Salonen and other guest Arnauld arrangement of Tristan und conductors. Additional significant Isolde with the Chamber Orchestra experiences include a David A. of San Antonio. Karetsky Conducting Fellowship at the American Academy of New holds a Master of Music Conducting at the Aspen Music degree in orchestral conducting Festival, and an Ansbacher from the Peabody Institute in Fellowship, during which she Baltimore, where she studied with was selected by members of the Gustav Meier and Markand Thakar. Vienna Philharmonic to take up She graduated from the University residence at the Salzburg Music of Canterbury, New Zealand with Festival. New has also resided a Bachelor of Music (Honors) in in Leipzig, Germany as a Felix violin performance.

December 7, 2017 41 42 December 7, 2017 Guest Artist & Composers

Mead Composer-in-Residence for the Chicago Symphony Orchestra from 2010-2015. She also recently

Phorto by Javier Oddo served as Composer-in-Residence for the Baltimore Symphony Orchestra during the 2015-2016 season and for L’Orchestre national d’Île-de- France from 2014-2016. This season, Clyne was selected by the League of American Orchestras and New Music USA to serve as the Music Alive Composer-in-Residence with the Berkeley Symphony through the 2018-2019 season. She has been commissioned by such renowned organizations as American Composers Orchestra, BBC Radio 3, BBC Scottish Symphony, Carnegie Hall, Chicago Symphony Orchestra, Houston Ballet, London Sinfonietta, Los Angeles Philharmonic, Seattle Anna Clyne, composer Symphony, and the Southbank Centre, and her work has been ondon-born Anna Clyne is a championed by such world- L Grammy-nominated composer renowned conductors as Marin Alsop, of acoustic and electro-acoustic Pablo Heras-Casado, Riccardo Muti, music. Described as a “composer Leonard Slatkin, and Esa-Pekka of uncommon gifts and unusual Salonen. methods” in a New York Times profile Clyne was nominated for the and as “dazzlingly inventive” by 2015 Grammy Award for Best TimeOut New York, Clyne’s work Contemporary Classical Composition often includes collaborations with for her double violin concerto, Prince cutting-edge choreographers, visual of Clouds. She is also the recipient of artists, filmmakers, and musicians several prestigious awards including worldwide. the 2016 Hindemith Prize; a Charles Appointed by Music Director Ives Fellowship from the American Riccardo Muti, Clyne served as a Academy of Arts and Letters;

December 7, 2017 43 awards from Meet the Composer, Britten Sinfonia and soprano Julia the American Music Center, the Doyle; RIFT, a symphonic ballet in Foundation for Contemporary Arts, collaboration with choreographer and the Jerome Foundation; and Kitty McNamee for Marin Alsop and prizes from ASCAP and SEAMUS. She the Cabrillo Festival Orchestra; Pocket was nominated for the 2014 Times Book VIII for Roomful of Teeth; Threads Breakthrough Award (UK) and is & Traces for 100 cellos, commissioned the recipient of a grant from Opera by the Los Angeles Philharmonic and performed at Disney Hall; and America to develop a new opera, Eva. her violin concerto, The Seamstress, Recent highlights include the world performed by Jennifer Koh with premieres of Masquerade for the the Chicago Symphony Orchestra BBC Symphony Orchestra and at Orchestra Hall, and with the BBC Marin Alsop at the Last Night of Symphony Orchestra at the Barbican the Proms; This Lunar Beauty for the Center, London.

spikey, sometimes show-bizy, always dramatic, reflective, rarely predictable, and often electronic”

photo by AndrewBogard (Musical America). She currently serves as Opera Philadelphia’s 6th Composer in Residence.

Recent and upcoming projects include commissions from Seraph Brass, Festival d’Aix en Provence Académie, baritone Sean Michael Plumb, Composers and Schools in Concert, and the Women’s Sacred Music Project. She is a recipient of a 2016 OPERA America Discovery Grant, which will contribute to the development of a new opera, Machine, with librettist Jason Kim. An excerpt of the piece was most recently featured in OPERA America’s Rene Orth, composer 2017 New Works Showcase. Her most ene Orth is a composer originally recent chamber opera, Empty the R from Dallas, Texas. Her music House (librettist Mark Campbell), has been described as “whimsical, received its staged premiere with the

44 December 7, 2017 Curtis Opera Theater in a sold-out run on the Theory/Composition faculty in January 2016, and a portion was for Luzerne Music Center and held later selected as part of Fort Worth residencies at the artist colonies Opera’s FRONTIERS 2016 showcase. of Yaddo and Virginia Center for Creative Arts. Rene participated in In 2014, Rene was commissioned the Lake Champlain Music Festival by Washington National Opera/ (2013), Fresh Inc Festival (2013), and American Opera Initiative Program Atlantic Music Festival (2012) and for a chamber opera, An American has been a recipient of an American Man (librettist Jason Kim), which Composers Forum Subito grant premiered at the Kennedy Center. (2014) and a Kentucky Foundation Other previous commissions for Women Artist Enrichment Grant and performances from notable (2013). ensembles include the Curtis Symphony Orchestra, Louisville Rene is a recent graduate of the Curtis Orchestra, Dover Quartet, Aizuri Institute of Music, where she held Quartet, Rock School of Dance, the Edward B. Garrigues Fellowship. Philadelphia Fringe Festival Past teachers and mentors include and Pennsylvania Ballet. In the David Ludwig, Mikael Eliasen, Jennifer summer of 2015, Rene was invited Higdon, Richard Danielpour, Steve to participate in Festival d’Aix Rouse, and Brandon Goff. She earned en Provence’s Opera in Creation an M.M. in Music Composition at the “Reflection” Workshop and returned University of Louisville as a Moritz in 2016 as one of three composers von Bomhard Fellow and holds selected for the Festival’s Song and degrees from MediaTech Institute Creation Residency. She has served and Rhodes College.

Family Concerts Led by Ming Luke, these popular Saturday morning performances engage the entire family in a fun and interactive experience, guaranteed to spark a life-long interest in and passion for music.

Saturday, Apr. 28, 10am & 11:30am Longfellow Middle School: 1500 Derby Street, Berkeley Free Admission—Donations Welcome

December 7, 2017 45 photo by Brantley Gutierrez

Conrad Tao, piano Tao premiered his orchestral composition, The world is very different onrad Tao has appeared now. Commissioned in observance C worldwide as a pianist and of the 50th anniversary of the composer, and has been dubbed a assassination of President John F. musician of “probing intellect and Kennedy, the work was described by open-hearted vision” by the New the New York Times as “shapely and York Times, a “thoughtful and mature powerful.” In September 2015, the composer” by NPR, and “ferociously Chamber Orchestra of Philadelphia talented” by TimeOut New York. His premiered his piano concerto An accolades and awards include being Adjustment, with Tao at the piano. The a Presidential Scholar in the Arts, Philadelphia Inquirer declared the piece a YoungArts gold medal-winner in abundant in“compositional magic,” music, a Gilmore Young Artist, and a “most imaginative [integration of] an Avery Fisher Career Grant-winner. spiritual post-Romanticism and ’90s club music.” Tao’s career as composer has garnered eight consecutive ASCAP A Warner Classics recording artist, Morton Gould Young Composer Tao’s first two albums Voyages and Awards and the Carlos Surinach Prize Pictures have been praised by NPR, from BMI. In the 2013-14 season, The New York Times, The New Yorker’s while serving as the Dallas Symphony Alex Ross, and many more. For more Orchestra’s artist-in-residence, information, visit: conradtao.com.

46 December 7, 2017 About Berkeley Symphony photo by Dave Weiland

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

December 7, 2017 47 During the 30 years he served as orchestras and opera companies music director, Nagano established throughout the world. Under an international reputation as a Carneiro’s direction, the orchestra gifted interpreter of both operatic has maintained the highest and symphonic repertoire. Nagano standard of musical excellence stepped down from his post at as she continues to cultivate new Berkeley Symphony in 2008, after relationships and conduct the his 30th anniversary season. work of prominent contemporary In January 2009, Portuguese composers such as John Adams, conductor Joana Carneiro became Esa-Pekka Salonen, Brett Dean, the orchestra’s third Music Director Kaija Saariaho, Edmund Campion, in its 40-year history. Noted for Gabriela Lena Frank, Mason Bates, her vibrant performances in a wide Samuel Adams, Mark Grey, Paul diversity of musical styles, Carneiro Dresher, and James MacMillan, has attracted considerable attention among others, while showcasing as one of the most outstanding the classical masterworks. In 2017 young conductors working today. Berkeley Symphony received one of In addition to her role at Berkeley five Music Alive composer residency Symphony, Carneiro has a thriving program awards from New Music international conducting career, as USA and the League of American principal conductor of the Orquesta Orchestras and welcomed Anna Sinfonica Portuguesa, official Clyne for a three-season term as guest conductor of the Gulbenkian Music Alive composer-in-residence. Orchestra, and many other guest For more information, visit conducting engagements for berkeleysymphony.org.

48 December 7, 2017 December 7, 2017 49 Berkeley Sounds Composer Fellows

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

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

50 December 7, 2017 & Full@BAMPFA

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

Full@BAMPFA

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

On full moon nights, BAMPFA presents new and experimental

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

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

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

December 7, 2017 51 Music in the Schools

Ming Luke, Education Director & Conductor

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

52 December 7, 2017 COLOR INSERT

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December 7, 2017 53 COLOR INSERT

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54 December 7, 2017 Berkeley Symphony Legacy Society

Legacy giving will ensure that Berkeley Symphony’s music and education programs for children will continue to delight and inspire us for generations. Thank you to those who have made bequests to Berkeley Symphony as part of their estate planning. If you are interested in supporting our long-term future, please contact Ian Harwood at 510.841.2800 x305 or [email protected].

Legacy Society Member Lisa Taylor: In her own words . . .

“Growing up in New York City, I was introduced to classical music through Leonard Bernstein’s Young People’s Concerts and my elementary school’s arts curriculum, which encouraged every third grader to play a string instrument. I briefly played the violin before switching to piano and even studied at the Mannes School of Music while in eighth grade. “When I moved to Berkeley in 1979, I joined the Friends of the Berkeley Symphony Orchestra, eventually serving as its President for a year. Berkeley Symphony quickly became part of my extended family, and my involvement as a volunteer, Board member, and Advisory Council member has now spanned 35 years. Legacies Pledged “I greatly value the organization’s commitment Gertrude Allen to adventurous programming, its support of Joan Balter emerging composers, and its wonderful Music in the Schools program, which introduces a new Norman Bookstein & generation to the joys of listening to and making Gillian Kuehner music—an important legacy in which I am proud Kathleen G. Henschel to take part.” Kenneth Johnson & Nina Grove Jeffrey S. Leiter Legacies Received Janet & Marcos Maestre Bennett Markel Margaret Stuart E. Graupner Tricia Swift Rochelle D. Ridgway Lisa Taylor Harry Weininger

December 7, 2017 55 56 December 7, 2017 Annual Membership Support

Thank you to the following individuals for making the programs of Berkeley Symphony possible. A symphony is a strong as the community that supports it. The generosity of supporters like you allows us to take audiences on adventures that leave them with amazement, to support commissions of world-class commissions, to present premieres, and to impact the lives of thousands of children in hundreds of classrooms each year.

Gifts received between September 1, 2016 and November 10, 2017.

Sonsorp Circle GIFTS

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

December 7, 2017 57 SYMPHONY Circle GIFTS Marilyn & Richard Collier Founding Sponsors Charles M. Crane $5,000 and above (continued) Gloria Fujimoto Ken Johnson & Nina Grove Gary Glaser & Christine Miller Bennett Markel Kim & Barbara Marienthal Natasha Beery & Sandy McCoy Bebe & Colin McRae Jack & Rhonda Morris Michael & Becky O’Malley Pat & Merrill Shanks Anja Plowright Alison Teeman & Michael Yovino- Ed Vine & Ellen Singer-Vine Young Concertmaster Level Paul Templeton & Darrell Louie Gifts of $1,500 or more

Conductor Level Michele Benson $2,500 and above Judith L. Bloom

Anonymous Norman A. Bookstein & Gillian Kuehner John Batelle

58 December 7, 2017 Kathy Canfield Shepard & John René Mandel Shepard Helen Marcus & David Joy Carlin Williamson Patrick McCabe Ms. Carol Christ Noel & Penny Nellis John & Charli Danielsen Ditsa & Alexander Pines Karen Faircloth Thomas & Mary Reicher Colette Ford Marc A. Roth Sue Hone Jutta Singh Jennifer Howard & Tony Cascardi Michel Taddei Jeffrey S. Leiter Anne & Craig van Dyke

F rIENDS of Berkeley Symphony GIFTS

Principal Level Pooj & Dianna Preena Laura & Scott Bovard $750 and above Suzanne Riess Stuart & Virginia Canin Karthiga Anandan Deborah Shidler & David Zeo & Terry Coddington & Luckshman Burkhart Parameswaran Bill Criswell Robert Sinai & Susanna Jim Tibbs & Philip Sara & Bill Cumbelich Schevill Anderson Sue & Joe Daly Ama Torrance and David Anonymous Davies Dennis & Sandy De Allison Baker Domenico Marcy Wong & Donn Ms. Bonnie J. Bernhardt Logan Ms. Mavis Delacroix Richard & Christine Colton Carolyn Doelling Daniel & Kate Funk Associate Level Jack & Ann Eastman $300 and above Theresa Gabel & Timothy Anita Eblé Zumwalt Dr. Henry L. Abrons & Dr. Li-Hsia Wang Harry Eisenberg Connemara Fund Gini Erck & David Petta Patricia & Ronald Adler Nancy Lehrkind Christopher Flynn Joel Altman Arthur & Martha Jim Foley Luehrmann Anonymous Mr. Michael Fried Maryam Malek Sallie & Edward Arens Peggy Griffin Lois & Gary Marcus Mark Attarha & Nahid Nassiri Bonnie & Sy Grossman Robert McKee & Melissa Gates Ms. Joan Balter Scott Hamilton Howard & Nancy Mel Jurg & Christel Bieri Alan Harper & Carol Baird Lance & Dalia Nagel Bob & Ginny Blumberg Trish & Tony Hawthorne

December 7, 2017 59 60 December 7, 2017 Associate Level Supporting Level Ms. Mary Ellen Fine $300 and above (continued) $100 and above Mr. Bruce G Fitch Ms. Ann Fischer Hecht Caroline Acquistapace Ms. Brenda Fitzpatrick Lynne La Marca Heinrich Robert Allen Marcia Brooks Flannery Valerie & Richard Herr Anonymous Ednah Beth Friedman Cecilia Hoover Robert & Evelyn Apte Doris Fukawa & Marijan Mark & Lynne Humphrey Barbara Armentrout Pevec Tineke Jacobsen Ms. Sarah J. Armstrong Isabelle Gerard Fred Jacobson Fred & Elizabeth Balderston Jeffrey Gilman & Carol Reif Todd Kerr Carolyn & Richard Beahrs Judith A. & Alexander J. Glass Benjamin Kimmich Anna Bellomo & Joshua Joan Glassey Bloom Mr. & Mrs. William Knowland Stuart Gold John C. Lamar Harriet Berg Edward Gordon Jacqueline Leventhal Elaine & David I. Berland Michael Gorman & Deborah Mintz Carrie McAlister Sandra Bernard Steven E. Greenberg Ms. Karen Meryash Allison Binns Victoria Grey Geraldine & Gary Morrison Mr. & Mrs. Frank Bliss Stuart & Sharon Gronningen Barbara Persons Dr. Stephen Chapman Born Elaine Grossberg Milanendra Piterman David Bradford D.J. Grubb Erin & Mark Rhoades Steve Wasserman Jessie Guiton Ms. Polly Rosenthal Suzanne & Italo Calpestri Ervin & Marian Hafter Eric Rudney Susan & Bruce Carter William & Judith Hein Linda Schacht & John Gage Mark Chaitkin & Cecilia Storr Joanna Hirsch Ms. Phyllis Brooks Schafer Frederick & Joan Collignon Alex Hodgkinson Margaret Seely Dr. Lawrence R. Cotter Phyllis Isaacson Carrie Shores Chris D’Ambra Joseph Jackson & Joann Harriet Simpson Franklyn D’Antonio Leskovar Wallace Smith Harold Davis Carl Martin Jr Scott Sparling Jan Davis Michelle Jurika Renee Spooner Richard C. Diamond Joanne Kelly Marta Tobey & Roger Ramey Paula & James R. Diederich Elie Khadra Robert & Emily Warden Robert & Loretta Dorsett Kate Knuttel Sheridan & Elizabeth Beth & Norman Edelstein Penelope Kojima & Russell Warrick Hyzen Ilse & James Evans Linda & Steven Wolan Joshua Kroll Bennett Falk & Margaret Nancy & Charles Wolfram Moreland Sam & Tamara Kushner Katinka Wyle David Favrot Alison Taylor Lange Richard Finch Colleen Larkin

December 7, 2017 61 SpEciAl hAnd-mAde chOcOlatES tO SurpriSE And inSpirE yOur tAStE budS

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

1964 university ave., berkeley 510.705.8800 bluesberkeley.com

62 December 7, 2017 Supporting Level Ms. Ruth Okamoto Nagano Lynn Signorelli $100 and above (continued) Joe & Carol Neil Sylvia Sorell & Daniel Kane Ms. Kristin C Lavelle Ms. Dianne Nicolini Bruce & Susan Stangeland Gordon Linden Jackie Osborne Tia Stoller & Drew Detsch Jim Lovekin & Iris Leslie & Joellen Piskitel Maria Tamburrino Tommelein Wendy Polivka & Evan Marianne Tanner Jonatan Malis Painter Frances & Ronald Tauber Chris Mammen Lucille & Arthur Poskanzer Monica Thyberg Patricia Markovich Kathryn Price Mr. David Hoyt Vanetten Andraya Martin Elizabeth Raymer & Ragna Randy & Ting Vogel James E. & Jayne A. Boynton Matthews Jonathan Allen Barbara & Nigel Renton Alex & Nancy Mazetis Sim Warcov & Gretta Donald A. Riley & Carolyn Mitchell June McDaniels Serrao Dr. George & Bay Westlake Winton & Margaret Terry Rillera McKibben June Wiley & Bruce Lawrence Rinder McCubbrey Suzanne & William McLean Ms. Helene T Roos Wendy Willrich Jim & Monique McNitt Linda Rosen Jen Wolan Junichi & Sarah Miyazaki Steven Scholl Nancy Wolfe Emma Moon Helen Schulak Mrs. Charlene M. Woodcock Paulette Muir Jack Shoemaker Gordon & Evie Wozniak Michael Gray & Eileen Murphy Jessie Shohara Nicole & Robert Wrubel

We thank all who contribute to Berkeley Symphony, including those giving up to $100 annually and those whose gifts have been received since press time. While every attempt has been made to assure accuracy in our list of supporters, omissions and misspellings may occur. Please call 510.841.2800 to report errors. We appreciate the opportunity to correct our records.

Honor and Memorial Gifts Thank you for gifts made in honor or remembrance of the following individuals . . .

In Honor of: Tricia Swift Marilyn & Richard Collier D.J. Grubb Elaine & David I. Berland Linda & Steven Wolan Jordan Price and Kyle Gabler Kathryn Price In Memory of: Thomas Richardson & Edith Jackson Jean Myer Radford Judith Bloom Barbara Myer Klein Gifts received between September 1, 2016 and November 10, 2017.

December 7, 2017 63 64 December 7, 2017 Annual Institutional Gifts

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

Gifts received between September 1, 2016 and November 10, 2017.

$50,000 and above $5,000 and above (continued) The William & Flora Hewlett Wallis Foundation Foundation Zellerbach Family Foundation Meyer Sound Laboratories, Inc. $2,500 and above New Music U.S.A. The Friendship Fund $25,000 and above Music Performance Trust Fund Clarence E. Heller Charitable Union Bank Foundation Foundation Up to $2,500 Jill Grossman Family Charitable Fund Ackerman Volvo Graybird Foundation Amazon Smile McCutcheon Construction Bay Area Rapid Transit $10,000 and above The Rudolph and Lentilhon G. von Ann and Gordon Getty Foundation Fluegge Foundation, Inc. Berkeley Public Schools Fund The Tides Foundation Bernard E & Alba Witkin Charitable Thornwall Properties Foundation Bernard Osher Foundation Chevron Corporation City of Berkeley Matching Gifts The Familian Levinson Foundation The following companies have The Grubb Co. matched their employees’ or retirees’ gifts to Berkeley Symphony. Please McCutcheon Construction let us know if your company does National Endowment for the Arts the same by contacting Ian Harwood at 510.841.2800 x305 or Pacific Harmony Foundation [email protected]. $5,000 and above Anchor Brewing Co. Anonymous Chevron Corporation California Arts Council Genentech, Inc. Rudney Associates Microsoft, Inc.

December 7, 2017 65 Broadcast Dates

Relive this season’s concerts on KALW 91.7 fm

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

4 Mondays at 9p in May 2018

Hosted by KALW’s David Latulippe

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

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

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

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

66 December 7, 2017 In-Kind Gifts Special thanks to these individuals and businesses whose generous donations of goods and services are crucial in helping Berkeley Symphony produce our concerts and education programs while keeping expenses as low as possible.

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

December 7, 2017 67 BRING IN THIS AD TO RECEIVE A 1O% DISCOUNT ON ANY PURCHASE OF GIFTS AND FLOWERS

68 December 7, 2017 Administration Contact & Creative Staff For tickets, call 510.841.2800 or René Mandel, Executive Director visit berkeleysymphony.org.

Ian Harwood, Associate Executive Berkeley Symphony Director 1942 University Avenue, Suite 207 Berkeley, CA 94704 Sarah Thomas, Director of Operations 510.841.2800 Maggie Perkes, Director of Audience [email protected] Development & Engagement find us on Samantha Noll, Patron Services Manager

Cindy Michael, Finance Director

Franklyn D’Antonio, Co-Orchestra Manager

Joslyn D’Antonio, Co-Orchestra Manager

Quelani Penland, Librarian

David Rodgers, Jr., Stage Manager

Stoller Design Group, Graphic Design

Dave Weiland, Photography

Elie Khadra, Videographer

Johnson Digital Audio, Recording Engineer

Program

Andreas Jones, Design & Production

Stoller Design Group, Cover Design

John McMullen, Advertising Sales

Thomas May, Program Notes

Calitho, Printing

December 7, 2017 69 Advertiser Index

A1 Sun...... page 26 JMR Capital Management, Inc. . . . . page 22

Ackerman’s Servicing Volvo. . . . . page 28 Jutta’s Flowers...... page 68

Albert Nahman Plumbing...... page 54 La Mediterranée...... page 38

Alward Construction...... page 48 La Note Restaurant Provençal. . . . page 38

Aurora Theatre Company...... page 60 Limewood Bar & Restaurant...... page 19

Berkeley City Club...... page 54 Margaretta K. Mitchell Photography. . page 34

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

Berkeley Optometry...... page 56 Maybeck High School...... page 24

Bill’s Footwear...... page 10 McCutcheon Construction...... page 53

Blue’s Chocolates...... page 62 Mountain View Cemetery. . inside front cover

Chanticleer...... page 40 National Geographic Expeditions . . page 64

The Christmas Revels...... page 60 Oceanworks...... page 32

Coldwell Banker...... page 10 Pacific Union...... page 18

The College Preparatory School . . . .page 32 Piedmont Gardens ...... page 16

The Cooperative Cleaning Company . . . . . Poulet...... page 38

...... inside back cover San Francisco Chamber Orchestra. . page 42

The Crowden School...... page 24 Star Grocery...... page 34

DHM Architecture...... page 22 Storey Framing...... page 32

Dining Guide ...... page 38 Talavera...... page 32

Douglas Parking...... page 66 Thornwall Properties...... page 14

Expressions Gallery ...... page 26 Tricia Swift, Realtor...... page 58

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

Going Places ...... page 10 Yovino-Young Inc...... page 10

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

to advertise in the berkeley symphony program,

call john mc mullen 510.459.8264

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