Joana Carneiro MUSIC DIRECTOR

13/14 SEASON

BerkeleySymphony_program_covers_FINAL.indd 2 8/5/13 3:47 PM

Berkeley Symphony 2013-14 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 31 Music Director: Joana Carneiro 37 Guest Artist 41 Berkeley Symphony 45 Music in the Schools 47 Under Construction 49 Broadcast Dates 57 Membership Support 65 Contact 66 Advertiser Index

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

Media Sponsor: Official Wine Sponsor:

Presentation bouquets are graciously provided by Jutta’s Flowers, the official florist of Berkeley Symphony. Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras. No photographs or recordings of any part of tonight’s performance may be made without the written consent of the management of Berkeley Symphony. Program subject to change.

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December 5, 2013 3 4 December 5, 2013 Message from the Music Director

Dear Friends,

It is wonderful to be back with you again and I am excited to share tonight’s program with you. Rarely do concert audiences get to an opportunity to experience musical influences spanning four centuries in one evening. But tonight we present just such an opportunity. Brett Dean’s Carlo provides us with the bookends, having been written in 1997, but photo by Rodrigo de Souza inspired by the late Renaissance madrigals of the Italian composer Carlo Gesualdo (1566-1613). I have been a huge fan of Dean’s work for many years and am delighted to introduce one of his best- known works to you.

Within our chronological bookends, we move forward to Haydn (1732-1809) and conclude with Brahms (1833-1897). The extent of influence that the music of Haydn had on Brahms is well documented and for that reason, we are delighted to present these great works within our 400-year musical journey.

We are most fortunate to have cellist Peter Wyrick with us tonight. A favorite with Bay Area audiences who recognize him from his first desk position at the San Francisco Symphony, Peter is a conductor’s dream. His consummate artistry is matched only by his warmth and generosity as a musical collaborator. I know you will enjoy his interpretation of Haydn’s Cello Concerto No. 1.

As 2014 draws near, I wish you all a peaceful and prosperous New Year. Thank you for being here tonight and for your most inspiring love for our music.

Warm regards,.

Joana Carneiro

December 5, 2013 5 6 December 5, 2013 Message from the Executive Director

Greetings! When programming contemporary music, we are equally committed to introducing the brilliant literature written within the last few photo by Marshall Berman decades as we are to commissioning new work. Tonight we are delighted to introduce you to the music of Brett Dean. Exactly 16 years ago tonight—on December 5, 1997—Carlo had its world premiere with the composer conducting the Australian Chamber Orchestra in New South Wales. What a fortuitous coincidence! I am particularly thrilled to be welcoming my personal friend and musical colleague, Peter Wyrick, as our soloist in the Haydn this evening. Peter and I have had the pleasure of performing together in orchestral as well as in chamber music settings, and will, in fact, be closing out the inaugural season of our Berkeley Symphony & Friends Chamber Music Series at the Piedmont Center for the Arts. If you haven’t already had the opportunity to attend one of these intimate chamber concerts, I hope you will join us for the remaining three Sundays, on January 19, March 16 and April 13 at 5pm. For all new music fans, you won’t want to miss our 2014 Under Construction New Music Series/Composers Program. In a new partnership with EarShot, we have expanded our reach nationally. After a highly competitive process with 168 applicants, the works of four composers have been selected to be developed and performed by the Orchestra on February 2 and May 4 at the Osher Studio in Berkeley. As always, I would like to personally thank each and every one of you who attend our concerts, give of your time and resources, and commit to being members of Berkeley Symphony’s ever growing family. From all of us at Berkeley Symphony, we wish you a joyful holiday season! Gratefully yours,

René Mandel, Executive Director

December 5, 2013 7 8 December 5, 2013 Board of Directors & Advisory Council

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

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

December 5, 2013 9 The Orchestra

Joana Carneiro, Music Director Sponsored by Helen and John Meyer Viola Sponsored by Earl O. Osborn Tiantian Lan Sponsored by Lisa and Jim Taylor Sponsored by Brian James and Shariq Yosufzai Principal Sponsored by Anonymous Ilana Matfis Kent Nagano, Conductor Laureate Assistant Principal Patrick Kroboth Violin I Marta Tobey Franklyn D’Antonio Concertmaster Keith Lawrence Matthew Szemela Angela Kratchmer Associate Concertmaster Peter Liepman Jiwon Evelyn Kwark Celeste McBride Assistant Concertmaster Daniel Stanley Eugene Chukhlov Alice Eastman Larisa Kopylovsky Clio Goldstein* Lisa Zadek Amanda Woo* Candy Sanderson Ilana Thomas Cello Quelani Penland Carol Rice Alexandra Lee* Principal John Bernstein Stephanie Lai Noah Terry Assistant Principal Sara Lee Isaac Melamed David Grote Nancy Bien Alan Shearer Wanda Warkentin Bert Thunstrom Jasper Hussong* Violin II Peter Bedrossian Karsten Windt Andy Ly Principal Ken Johnson Elizabeth Choi Daniel Mackay* Assistant Principal Jordan Price Lauren Avery Sponsored by Tricia Swift Joseph Maile Bass Christina Knuds0n Michel Taddei Sarah Wood Principal Rick Diamond Robert Ashley Ann Eastman Assistant Principal Kevin Harper Alden Cohen Kristen Kline Andrei Gorbatenko Chloe Mackay* David Sullivan Charles Zhou Ben Holston* Jeremy Erman Eugene Theriault Rose Marie Ginsburg Eric Price

10 December 5, 2013 Flute Trombone Emma Moon Thomas Hornig Principal Principal Sponsored by Marcos and Janet Maestre Sponsored by Kathleen G. Henschel Stacey Pelinka Matthew Striplen

Oboe Bass Trombone Deborah Shidler Kurt Patzner Principal Sponsored by Janet Tuba and Michael McCutcheon Jerry Olson Bennie Cottone Principal Clarinet Timpani Roman Fukshansky Principal Kevin Neuhoff Principal Diana Dorman Sampler/Keyboard Bassoon Steve Sanders Shawn Jones Principal Principal Ravinder Sehgal *Member of Young People’s Symphony Orchestra Horn Alex Camphouse Franklyn D’Antonio Principal Orchestra Manager Sponsored by Tom and Mary Reicher Joslyn D’Antonio Stuart Gronningen Co-Orchestra Manager Doug Hull Richard Hall Quelani Penland Tom Reicher Librarian

Trumpet Kevin Reinhardt Stage Manager Cheonho Yoon Principal Joel Davel Kale Cumings Keyboard Tech

December 5, 2013 11 12 December 5, 2013 Program

Thursday, December 5, 2013 at 8:00 pm Zellerbach Hall

Joana Carneiro conductor

Brett Dean Carlo

Joseph Haydn Cello Concerto No. 1 in C major I. Moderato II. Adagio III. Allegro molto Peter Wyrick cello

INTERMISSION

Johannes Brahms Symphony No. 2 in D major, Op. 73 I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (quasi andantino) IV. Allegro con spirito

Tonight’s performance will be broadcast on KALW 91.7 FM on May 12, 2014.

Please be sure to switch off your cell phones, alarms, and other electronic devices during the concert. Thank you.

Concert Sponsors: Susan & Jim Acquistapace and Tricia Swift Guest Artist Sponsors: William & Robin Knuttel

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

December 5, 2013 13 14 December 5, 2013 Program Notes

Brett Dean (b. 1961) turned to composing. Over the past decade he has been commissioned Carlo by some of the highest-profile orchestras. This past October, for Born on October 23, 1961, in Brisbane, example, saw the U.S. premiere by Australia, Brett Dean currently divides the Los Angeles Philharmonic of a his time between his native country and large-scale oratorio, The Last Days of Berlin. He composed Carlo in 1997 on a Socrates. commission by the Australian Chamber Orchestra for the Huntington Festival In 2009 Dean won the ultra- and dedicated the score to that ensemble prestigious Grawemeyer Award for and its concertmaster, Richard Tognetti. composition (more or less the Nobel Combining music for strings with excerpts Prize of music) for The Lost Art of sampled from the work of Carlo Gesualdo, Letter Writing, a four-movement violin a tormented, pioneering composer of the concerto. Prompted by reflections late Renaissance, Carlo traces a “journey on how the internet era has turned between two different time zones.” letters into an endangered species, First performance: December 5, 1997, at the concerto casts the violin in “the Huntington Winery, Mudgee, New South alternate roles of both an author Wales, Australia, with the composer and a recipient of letters” that range conducting the Australian Chamber “from private love-letter to public Orchestra. Carlo is scored for 15 solo manifesto” (Dean). Such extra- strings (8 violins, 3 violas, 3 cellos, and musical frames are characteristic of 1 double bass), pre-recorded tape, and Dean, whose work shows the range of sampler. Duration ca. 21 minutes. a deeply curious mind. His passions for literature and the visual arts are Australian composer Brett Dean especially evident; some of them started his musical career performing have been generated by a dialogue the music of others and later took with the paintings of the artist up full-time composition. Indeed, Heather Betts, who is his wife. the duality and feedback between creation and re-creation distinctly The late Renaissance composer inform what is probably his best- Carlo Gesualdo (1566-1613), an Italian known work to date—Carlo. After a nobleman and Prince of Venosa, 14-year tenure as a violist with no is a figure as intriguing as any of less an ensemble than the Berlin the Borgias and, like that notorious Philharmonic—he moved from family, has inspired a good number Brisbane to Germany in 1984—Dean of art works in several disciplines.

December 5, 2013 15 16 December 5, 2013 Gesualdo’s scandalous and widely believe that with Carlo Gesualdo publicized murder of his first wife one shouldn’t try to separate his and her lover sounds like a Showtime music from his life and times. series ready to be made, but it’s his They are intrinsically interrelated. combination of brutal violence, The texts of his later madrigals, guilt, and avant-garde creativity that thought to be written by has especially fascinated modern Gesualdo himself, abound with artists. Aldous Huxley describes his references to love, death, guilt madrigals in The Doors of Perception, and self-pity. Combine this with his book detailing his experiences the fact that I’ve always found with psychoactive drugs; and Werner Gesualdo’s vocal works in any Herzog’s film essay from 1995, Death case to be one of music’s great for Five Voices is very much worth and most fascinating listening seeking out. experiences and you have the premise of my piece.” Gesualdo’s nefarious crime raises uncomfortable questions—certainly By an ironic twist, the “avant-garde” perennially relevant—about the mode of the prepared tape and relation between what an artist samples references the distant past creates and that artist’s personal while the traditionally acoustic behavior (think Wagner). Can—or sonority of the strings filters the should—these be entirely divorced? composer’s present-day reflections. Remarks Dean: Dean goes on to provide the following description of the work and the “Historians to the present relation between its historical and day still seem undecided as to contemporary layers: the true merits of Gesualdo the composer, unable to “Carlo starts with pure Gesualdo . . . From a tape, one hears the separate the characteristics opening chorale from Moro of his compositions, with their lasso, one of his most famous harmonic extremities and compositions, taken from surprises and their textural his Sixth Book of Madrigals. complexities, from the infamy of Following the tragically sinking Gesualdo the murderer. chromatic line of this opening, There are, no doubt, numerous a pre-recorded vocal collage contemporaries of his whose unfolds, the various quotes from music would be just as worthy the madrigal initially linking of the kind of attention now harmonically; then going their given to Gesualdo, composers own way, sometimes brighter such as Marenzio and Luzzaschi, and faster, at other points slower who didn’t fan the flame by and more solemn. Gradually the butchering their spouses. But I orchestra becomes involved in

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18 December 5, 2013 this process, at first displacing First performance: We have no date for the taped quotes from Moro lasso the premiere of this work in Haydn’s with other Gesualdo motives, time; it would have taken place at the and eventually leading us to Esterházy Palace, where the composer altogether more 20th-century spent decades as music director, with realms of sound. Occasionally Haydn leading the small house ensemble the sampler or tape transport and its cellist as the soloist. After the us momentarily back into the modern-day rediscovery of the lost score, world of Gesualdo, only for the the Concerto was (re)premiered in Prague orchestra to embark on its own (the city where the score was found) interpretation and re-working on May 19, 1962, with Miloš Sádlo as of this material. Throughout the cello soloist and Charles Mackerras this journey between these two conducting the Czech Radio Symphony. different time-zones, Gesualdo’s In addition to solo cello, the score madrigals are eventually reduced calls for 2 oboes, 2 horns, and strings. to mere whisperings of his texts Duration ca. 25 minutes. and nervous breathing sounds. These eventually also grow in he symphonies and string dramatic intensity into what may quartets Joseph Haydn be seen as an orchestral echo of T composed throughout most of that fateful night in Naples on the his career are venerated as a 26th of October 1590.” cornerstone of Western music. —© Thomas May While he didn’t actually invent these genres, Haydn’s decades of experimentation and refinement developed both to an unprecedented Joseph Haydn (1732-1809) level of sophistication. The alluring blend of craft and expressive power Cello Concerto No. 1 Haydn concocted left its mark in C major above all on Beethoven—however recalcitrant a student the younger Born on March 31, 1732, in Rohrau, then composer had been—and was part of the Habsburg Empire; died on May deeply valued by such “latecomers” 31, 1809, in Vienna. Scholars speculate that as Brahms. (Listen to Haydn’s Haydn composed the Cello Concerto in C last symphony, No. 104—also in D major at some point between 1761 and 1765. major—after hearing the Brahms Though a founding father of the Classical Second again for a telling example style, Haydn wasn’t a pioneer of the of this line of influence.) concerto format per se, but this long-lost work, composed early in his career, quickly By comparison, Haydn’s output and became a cornerstone of the cello repertory influence in the concerto genre was after its rediscovery only a half century ago. quite modest. Unlike his younger

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20 December 5, 2013 friend Mozart, who made his living ensemble, with some of whom as a freelancer in Vienna as a Haydn developed close personal keyboard performer and thus had ties. (Like Gesualdo, another series incentive to invest his creativity into waiting to be filmed—a musicians’ his piano concertos, Haydn was not version of Downton Abbey.) One a virtuoso soloist. He was an active of these was the court cellist performer, to be sure. After starting (and friend) Joseph Franz Weigl. his life in music as a youngster There’s no phoning it in here: the in the forerunner of the Vienna sheer richness of invention in this Boys’ Choir, Haydn was certainly score suggests that Haydn must a proficient keyboard and string have had a wonderfully musical player, but his position handling personality in mind. Similarly, his musical affairs for the estate of the Trumpet Concerto (from much mega-rich Prince Esterházy enabled later, in 1796) was intended for him to concentrate on his work for the musician Anton Weidinger the house orchestra and hence on and broke new ground for that symphonies. instrument. Haydn also wrote the Moreover, the market for Second Cello Concerto in D major published concertos at the time for an Esterházy cellist, a later was much more limited than that arrival to the court orchestra named for symphonies or quartets. But Antonín Kraft. While quite a number there were occasions to write in of concertos once thought to be by this format. Along with reams Haydn were removed from his work of chamber music, Haydn wrote list as erroneous attributions, the several concertos for baryton Cello Concerto in C has made up for (all lost), a kind of cross between lost time since being re-introduced a bowed bass viol and a plucked a half-century ago, when the score lute; this was the instrument one parts unexpectedly turned up in a of his Esterházy bosses, Prince collection held at the Czech National Nikolaus, delighted in playing. As Library in Prague. his reputation spread across Europe, Haydn’s organization of the piece is Haydn was also commissioned by particularly interesting: he mingles King Ferdinand IV of Naples to come together vestiges of the late- up with a set of concertos for lira Baroque concerto idea from earlier organizzata, a hybrid hurdy-gurdy/ in the century with elements already organ. (What a regal sight those anticipating the High Classical style performances must have been!) of which Haydn was an instrumental Meanwhile, Haydn wrote some architect. The former is evidenced concertos specifically to pay tribute by a kind of writing based on the to the talents of various players alternation between ensemble and in the live-in Esterházy Palace solo passages, with a recurrent

December 5, 2013 21 theme threaded through the flow. The Classical style, which reaches its pinnacle as far as the concerto genre is concerned with Mozart and then Beethoven, calls for a confrontation of contrasting ideas that are dramatically juxtaposed. Well Orchestrated Travel The first movement essentially Chicago or Chichicastenango derives its material from the bright, expansive thematic idea we hear at the outset, which keeps coming back in a way not unlike what you’d find in Vivaldi’s concertos—hence the frequent description of this music as “monothematic” in character. The marvel is the wealth of variety Haydn manages to spin from it, redoubling the sense of discovery by parsing the theme and its subunits via the distinctive voice of the solo cello.

Haydn has his oboes and horns stay on the sidelines during the Adagio, in a pastoral F major, homing in on the strings’ sonority alone. There is ample display of the depth of his lyrical gift—a feature often overlooked in the midst of this composer’s febrile inventiveness. Notice how the cello enters on a sustained note just when it seems the ensemble is about to repeat the opening, only to detach itself from the others—this strategy is a staple idea encountered in many later canonical concertos, above all for strings, and Haydn repeats it in his finale. The technical challenges he asks of the soloist are especially striking here, with Haydn’s rapidfire tempo, fleet scales, and leaps

22 December 5, 2013 across the instrument’s register—a clever way of creating a trompe l’oreille effect of more than one soloist. Once again, Haydn ekes maximum mileage out of his irrepressible main theme without ever making it sound effortful—a compositional virtuosity to neatly match that of the performers. —© Thomas May

Johannes Brahms (1833-1897) Symphony No. 2 in D major, Op. 73

Born on May 7, 1833, in Hamburg, Germany; died on April 3, 1897, in Vienna. Brahms composed the second of his four symphonies in the summer of 1877. Brahms was famously a late-bloomer in writing symphonies, weighed down by the challenge of adding to a genre Beethoven had seemingly perfected. But his Second Symphony flowed quickly and readily, within a matter of months. Beneath its apparently “pastoral” surface, Brahms interweaves deeper layers of elegy and reflection. His reverence for the past proved to open yet another way toward being “defiantly original.”

First performance: December 30, 1877, in Vienna, with Hans Richter conducting. The Second Symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings. Duration ca. 45 minutes.

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24 December 5, 2013 ome composers, like Mozart or with his mission—with how music S George Gershwin, seem to have in his era should relate not only been born in exactly the right era to to the legacy of Beethoven but to match their creative temperament. that of the past in general. Brahms Others don’t fit in so easily, contended with a widespread feeling experiencing a more self-conscious— among many of his fellow Romantics even detached—relationship to that the symphony represented a their historical context. It’s to the dead end and that the future lay in latter group that Johannes Brahms “descriptive” program music or in undeniably belongs. His stature as the revolutionary music drama being one of the greatest of all composers forged by Wagner. hasn’t kept him from being one of the Brahms was also an avid researcher most misunderstood as well. As both into the emerging field of “early a musician and an individual, Brahms music,” collecting manuscripts of was fraught with contradictions. the old masters. But his veneration Diffident yet enormously ambitious, of the past coexisted with a driving the starry-eyed youth who impressed Robert Schumann as the new ambition. Schumann, after all, had generation’s saving genius was in recognized his early piano sonatas many ways a late bloomer, maturing as “veiled symphonies.” The young over decades into the fatherly, genius from northern Germany patriarchal figure so familiar from his was determined to breathe new later photographs. life into the symphony, but it took a lengthy struggle to produce his And Brahms was pigeonholed by First Symphony. At last, in 1876— his enemies as the quintessential ironically, just a few months after the conservative out of step with world premiere of the complete Ring contemporary musical currents, cycle—Brahms was ready to reveal only to be later reappraised as a the fruit of his labors to a skeptical “progressive” composer. That’s how public. The First triumphed, and Arnold Schoenberg characterized that success reinforced a newfound Brahms, referring to the confidence in the now-middle-aged experimental, innovative attitude he composer. In striking contrast to brought to his use of old-fashioned the First, he completed his Second forms. In recent decades, Brahms has Symphony with astonishing speed— reemerged as uniquely appealing, all told, within a period of about five an antidote for an era given to months in 1877. Even more, its overall postmodern ennui and somehow character sounds light years removed convinced that there’s nothing new from the dramatic tension and epic to be said. scope of its predecessor. The Second The symphonic genre brings into immediately suggested comparisons focus Brahms’s crucial struggle with the relaxed lyricism of

December 5, 2013 25 26 December 5, 2013 Beethoven’s Sixth (Pastoral) according to Brinkmann (who has Symphony, as if deliberately following devoted an entire book to Late Idyll— up on the echoes of the Beethoven to exploring this less-understood Fifth which are contained in Brahms’s aspect). In his analysis, the entire maiden symphonic voyage. work can be bisected into two halves: the pastoral innocence evoked in But that’s only part of the story. the opening measures is questioned A disproportionate focus on “the by “melancholic” doubts in the first Beethoven problem” long tended two movements, while the final to obscure the uniquely Brahmsian two present a “serene” picture that aspects of this work—and, even attempts to transcend the elegiac more so, of the First Symphony. undercurrents that have gone before. In some ways, as Brahms scholar Reinhold Brinkmann argues, it’s the In any case, the Second Symphony Second rather than the First that is a model of Brahms’s method represents the true “breakthrough” of developing his musical ideas work for Brahms. Now that he had organically, from the most successfully “competed” with the economical musical “seeds.” One specter of Beethoven, Brahms could of these occurs in the opening dwell with less pressure on what he measures, deep in the cellos and wanted to say in this genre, leading to basses: the half-step circling around a remarkable sound world blending the tonic (D-C-sharp-D), from which serenity, playfulness, and passion. Brahms spins out a good deal of his Something of this “liberated” quality thematic material. The first minute can also be found in a companion or so conveys the impression of work from the following year, the an introduction before the “real” Violin Concerto, which happens to be movement takes off but in fact in the same tonality (D major) and already contains the movement’s which was also conceived in the same main thematic ideas—along with its magical get-away spot where Brahms basic emotional contrast between vacationed in southern Austria. the “pastoral” (woodwinds and horns) and the “melancholic” (those Another identifiably Brahmsian disturbing rumblings from the thumbprint here is a subtle timpani and the interruptions by undercurrent of melancholy. This adds tuba and trombones). This emotional an intriguing emotional layer to the polarity fuels the development. more readily recognized “pastoral” qualities of the Second Symphony. The Symphony’s elegiac layer is most Brahms himself joked that the explicitly foregrounded in the lengthy published version should be “printed Adagio. Brahms heightens internal with a black border,” like a funeral contrasts by shifting the meter and announcement. But there may be incorporating sudden eruptions something more than a joke here, of dense counterpoint. A more

December 5, 2013 27 28 December 5, 2013 playful version of the “pastoral” idea it with an entirely new character. In emerges in the third movement, a a gloriously extended coda, Brahms leisurely Allegretto twice interrupted seems to cast away any vestiges of by Presto interludes. doubt—about the genre, about his place in history, about the power of The first three movements all end music itself. Rhythmic excitement quietly, setting the stage for the is intensified by a brightening of giddy high spirits of the finale— the orchestral texture. The brass, where another figure from the past, no longer ruminative, herald a Haydn, gets a nod. That three-note deliriously joyful final rush that motif from the very beginning turns chases away all hints of melancholy. out to drive the main theme here, but its exuberant momentum colors —© Thomas May

The Kensington Symphony Orchestra to perform under the direction of Geoffrey Gallegos February 2, 2014 at 2:00 El Cerrito High School Performing Arts Theater An afternoon of classical music with featured guests from Germany cellist Rebecca Rust and bassoonist Friedrich Edelmann $10.00 at the door 510.524.9468 elcerritogauchos.net/archiving/archiving-project

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30 December 5, 2013 Music Director: Joana Carneiro

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

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

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

December 5, 2013 31 32 December 5, 2013 Nilo Cruz with the San Francisco Girls a ballet production of Romeo and Juliet Chorus, soprano Jessica Rivera, mezzo- with Companhia Nacional de Bailado in soprano Rachel Calloway, and members Portugal. of Berkeley Symphony. Increasingly in demand as an opera International highlights of previous conductor, Carneiro made her Cincinnati seasons include appearances with Opera debut in 2011 conducting John the Royal Liverpool Philharmonic Adams’ A Flowering Tree, which she also at London’s Royal Albert Hall, Royal debuted with the Chicago Opera Theater Philharmonic Orchestra and Renée and at La Cité de la Musique in Paris. Fleming in the opening season of the In the 2008-09 season, she served U.A.E’s Royal Opera House in Oman, as assistant conductor to Esa-Pekka Irish Chamber Orchestra, Ensemble Salonen at the Paris Opera’s premiere Orchestral de Paris, Orchestra de of Adriana Mater by Kaija Saariaho and Bretagne, Norrköping Symphony, led critically-acclaimed performances Prague Philharmonia and the Orchestra of Philippe Boesmans’s Julie in Bolzano, Sinfonica del Teatro la Fenice at the Italy. Venice Biennale, as well as the Macau Chamber Orchestra and Beijing As a finalist of the prestigious 2002 Orchestra at the International Music Maazel-Vilar Conductor’s Competition at Festival of Macau. In the Americas, she Carnegie Hall, Carneiro was recognized has led the Los Angeles Philharmonic, by the jury for demonstrating a level of Toronto Symphony, St. Paul Chamber potential that holds great promise for Orchestra, Detroit Symphony, Colorado her future career. In 2003-04, she worked Symphony, Indianapolis Symphony, Los with Maestros Kurt Masur and Christoph Angeles Chamber Orchestra, New World von Dohnányi and conducted the London Symphony, Grant Park Music Festival, Philharmonic Orchestra, as one of three Manhattan School of Music, Puerto conductors chosen for London’s Allianz Rico Symphony and São Paulo State Cultural Foundation International Symphony. Conductors Academy. From 2002 to 2005, she served as Assistant Conductor In 2010, Carneiro led performances of of the L.A. Chamber Orchestra and as Peter Sellars’s stagings of Stravinsky’s Music Director of the Young Musicians Oedipus Rex and Symphony of Psalms Foundation Debut Orchestra of Los at the Sydney Festival, which won Angeles. From 2005 through 2008, she Australia’s Helpmann Award for Best was an American Symphony Orchestra Symphony Orchestra Concert in 2010. League Conducting Fellow at the Los She conducted a linked project at the Angeles Philharmonic, where she worked New Zealand Festival in 2011, and as closely with Esa-Pekka Salonen and led a result was immediately invited to several performances at Walt Disney work with the Sydney Symphony and Concert Hall and the Hollywood Bowl. New Zealand Symphony Orchestras on subscription in 2013. In 2011, she led A native of Lisbon, she began her musical

December 5, 2013 33 34 December 5, 2013 December 5, 2013 35 studies as a violist before receiving her Gustav Meier, Michael Tilson Thomas, conducting degree from the Academia Larry Rachleff, Jean Sebastian Bereau, Nacional Superior de Orquestra Roberto Benzi and Pascal Rophe. in Lisbon, where she studied with Carneiro is the 2010 recipient of the Jean-Marc Burfin. Carneiro received Helen M. Thompson Award, conferred her Masters degree in orchestral by the League of American Orchestras conducting from Northwestern to recognize and honor music University as a student of Victor directors of exceptional promise. Yampolsky and Mallory Thompson, In 2004, Carneiro was decorated and pursued doctoral studies at the by the President of the Portuguese University of Michigan, where she Republic, Mr. Jorge Sampaio, with the studied with Kenneth Kiesler. She has Commendation of the Order of the participated in master classes with Infante Dom Henrique.

Helping Students Find Their Voice admiSSionS day Saturday, Dec. 7 ScHool TourS: 8:30-10am GradeS 5 - 8 Tuesdays & Thursdays arcHwayScHool.orG Individualized tours can be arranged

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36 December 5, 2013 Guest Artist

Since 1999 he has been the Associate Principal Cellist of the San Francisco Symphony. He has appeared as soloist with the Symphony numerous times, including performances of Leonard Bernstein’s Meditation, Haydn’s Sinfonia Concertante and Tan Dun’s “Crouching Tiger Hidden Dragon” Cello Concerto. He has performed as soloist with the Aspen Chamber Orchestra, the Queens Philharmonic, the American Chamber Orchestra, the Oklahoma Chamber Orchestra, the Kozponti Sinfonicus in Budapest, Hungary, and the Silicon Valley Orchestra.

As a chamber musician, Mr. Wyrick has enjoyed collaborating with Yo-Yo Ma, Joshua Bell, Jean Yves Thibaudet, Yefim Bronfman, Lynn Harrell, Jeremy Denk, Julia Fischer, and Edgar Peter Wyrick, cello Meyer, among others. Peter orn in New York to musician was a member of the acclaimed B parents, Peter Wyrick began Ridge String Quartet, whose his studies in Poughkeepsie, recording of the Dv0rˇák Piano New York and proceeded to The Quintets with pianist Rudolf Juilliard School at the age of Firkusny on the RCA label won the eight. He made his solo debut French Diapason d’Or and was at age 12 with the Hudson Valley nominated for the 1993 Grammy Philharmonic. Mr. Wyrick is active Award for Best Chamber Music as a soloist, chamber musician, Performance. He has participated teacher and orchestra musician. in Finland’s Helsinki Festival, the

December 5, 2013 37 PH LIFE’S BEST MOMENTS OTOGR APHY

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38 December 5, 2013 Spoleto Festival in Charleston, sonatas of Gabriel Fauré with SC and Spoleto, Italy, as well as pianist Earl Wild for dell’Arte the Bard, Vancouver Chamber Records, as well as performances Music West, La Jolla, Santa Fe, for the Stereophile and Arabesque Ruby Mountain, and Tahoe music labels. festivals. Peter Wyrick was one of the last Mr. Wyrick was the Principal students of Leonard Rose at The Cellist of the Mostly Mozart Juilliard School, and plays on a Orchestra at Lincoln Center and David Tecchler cello, on generous the Associate Principal of the loan from Jacques and Barbara New York City Opera Orchestra. Schlumberger, made in Rome His recordings include the cello circa 1724.

December 5, 2013 39 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

40 December 5, 2013 Berkeley Symphony photo by Dave Weiland

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

December 5, 2013 41 Dining Guide

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

42 December 5, 2013 performance in San Francisco’s Adams, Paul Dresher, and Gabriela Davies Symphony Hall. In 1984, Lena Frank. Berkeley Symphony collaborated Berkeley Symphony has introduced with Frank Zappa in a critically- Bay Area audiences to works by acclaimed production fea­turing upcoming young composers, many of life-size puppets and moving stage whom have since achieved interna­ sets, catapulting the Orchestra onto tional prominence. Celebrated Brit­ the world stage. ish composer George Benjamin, who Berkeley Symphony entered a new subsequently became Composer- era in January 2009 when Joana in-Residence at the San Francisco Car­neiro became the Orchestra’s Sym­phony, was first introduced third Music Director in its 40-year to the Bay Area in 1987 when his­tory. Under Carneiro, the Berkeley Symphony performed his Orchestra continues its tradition compositions Jubilation and Ringed by of presenting the cutting edge of the Flat Horizon; as was Thomas Adès, classical music. Together, they are whose opera Powder Her Face was forging deeper relationships with debuted by the Orchestra in a concert living composers, which include version in 1997 before it was fully several prominent contemporary staged in New York City, London and Bay Area composers such as John Chicago.

December 5, 2013 43 44 December 5, 2013 Music in the Schools

ore than 4,200 elementary school Mchildren each year benefit from Berkeley Symphony’s Music in the Schools program: photo by Dave Weiland • Over 200 In-class Sessions are provided free of charge and include curriculum booklets with age-appropriate lessons addressing state standards for music education. • Eleven Meet the Symphony concerts are performed free of charge in elementary schools each fall. • Six I’m a Performer concerts, also free of Music in the Schools Sponsors charge, provide young musicians with an Gifts of $1,000–$15,000 annually opportunity to rehearse and perform with Anonymous Berkeley Symphony. Susan & Jim Acquistapace • Four free Family Concerts provide an Berkeley Public Schools Fund opportunity for the whole family to Berkeley Unified School District experience a Berkeley Symphony concert Berkeley Association of Realtors together. The Bernard Osher Foundation All Music in the Schools programs are California Arts Council provided 100% free of charge to children Annette Campbell-White and their families. We are grateful to the In Dulci Jubilo, Inc. individuals and institutions listed on this Koret Foundation page whose financial contributions help Mechanics Bank make Music in the Schools possible. But more Music Performance Trust Fund help is needed to fully fund the program . . . National Endowment for the Arts Michael & Elisabeth O’Malley Please join those making Music in the Ellen Singer Schools a reality! Donate online and Target Stores designate your gift as “Restricted—Music U.S. Bank in the Schools Program.” Or simply mail a Thomas J. Long Foundation contribution to: Berkeley Symphony, Music Union Bank Foundation in the Schools Fund, 1942 University Ave. Bernard E. & Alba Witkin Charitable Suite #207, Berkeley, CA 94704 Foundation www.berkeleysymphony.org/mits Thanks also to those giving up to $1,000 annually.

December 5, 2013 45 46 December 5, 2013 Under Construction New Music Series photo by Dave Weiland

Mentors Paul Dresher and Steven Stucky (back to camera) offer advice to Andrew V. Ly.

erkeley Symphony’s 2014 Under Construction New Music Series/Composers BProgram will present new symphonic works by emerging composers Sivan Eldar, B.P. Herrington, Ruben Naeff and Nicholas Omiccioli. Selected for the program following a highly competitive national search, the four composers will each write a symphonic work to be developed, polished and recorded during two open rehearsal–style concerts, while receiving on-going guidance from Music Director Joana Carneiro, mentor composers Edmund Campion (UC Berkeley) and Robert Beaser (The Juilliard School), and members of the Orchestra. The concerts, on February 2 and May 4, will be held at the Osher Studio in Berkeley at 7pm. Established in 1993, the Under Construction New Music Series seeks to engage audiences in contemporary music and its making. The concerts are formatted to build upon each other. The Orchestra rehearses the work in progress and experiments with different musical passages at the first concert to enable the complete, polished piece to be performed at the second concert. Discussion among the audience, the conductor, and the composer follows the playing of each work. That interchange of ideas, along with the post-concert receptions, affords the audience members a greater understanding of the composer and their work. Working in collaboration with EarShot: the National Orchestral Composition Discovery Network, and its partner organizations—the American Composers Forum, League of American Orchestras, New Music USA and the American Composers Orchestra – Berkeley Symphony expands its role as the West Coast artistic incubator for emerging orchestra composers and broadens its reach to a new national level. Funding for EarShot is made possible with the support of the Andrew W. Mellon Foundation and The Aaron Copland Fund for Music. Berkeley Symphony thanks our 2013/14 Under Construction sponsor, Margaret Dorfman.

December 5, 2013 47 2013-2014

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

48 December 5, 2013 Broadcast Dates

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

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

Program II: Dec. 5, 2013 will be broadcast on May 12

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

Young People’s Symphony Orchestra

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

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

December 5, 2013 49 Merrell Clarks Frye Boots Sperry Since Rockport Uggs 1961 Keen Moccasins Dr. Martens Clogs Timberland Dansko

FOOTWEAR

50 December 5, 2013 2013-14 Season Sponsors

Kathleen G. Henschel

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

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

Meyer Sound

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

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

December 5, 2013 51 52 December 5, 2013 Become a Berkeley Symphony Member

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

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

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

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

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

Thank you for being a part of our success,

Tom Reicher President, Board of Directors

December 5, 2013 53 54 December 5, 2013 2013-14 Membership Benefits Beyond the benefits of subscription, Berkeley Symphony Memberships provide many benefits to make the most of your concert-going experience. Increase your level of membership for the 2013-14 season, or start a new membership today! Use the envelope provided inside this program book, or join online at www.berkeleysymphony.org. Membership contributions are tax deductible to the extent allowed by law.

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

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

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

December 5, 2013 55 56 December 5, 2013 Annual Membership Support Thank you to the following individuals for making the programs of Berkeley Symphony possible. A symphony orchestra is as strong as the community that supports it. Thank you to the following individuals for making Berkeley Symphony very strong indeed. Your generosity allows the defiantly original music to be heard, commissions world-class composers, and impacts the lives of thousands of children in hundreds of classrooms each year.

Gifts received between October 1, 2012 and November 1, 2013

Sonsorp Circle GIFTS

$50,000 and above $2,500 and above (continued) Kathleen G. Henschel Dianne Crosby Helen & John Meyer Gloria Fujimoto John Harris $25,000 and above Ken Johnson & Nina Grove Thomas & Mary Reicher Bennett Markel & Karen Stella Shariq Yosufzai & Brian James Joe & Carol Neil $10,000 and above Ellen Singer Anonymous (3) Alison Teeman & Michael Yovino-Young Peggy Dorfman Paul Templeton & Darrell Louie Janet & Michael McCutcheon Gifts of $1,500 or more Ed Osborn Anonymous Tricia Swift Sallie & Edward Arens Lisa & James Taylor Michele Benson $5,000 and above Mr. Frank Bliss Susan & Jim Acquistapace Gray Cathrall Gertrude & Robert Allen Brian Chase Norman A. Bookstein & Gillian Kuehner Ronald & Susan Choy Jennifer Howard DeGolia Ms. Dianne Crosby James & Rhonda Donato John & Charli Danielsen Oz Erickson Bruce & Joan Dodd Ann & Gordon Getty Anita Eblé Ellen Hahn Karen Faircloth Gail & Bob Hetler Steve Gallion & Pam Wolf Buzz & Lisa Hines Stuart & Sharon Gronningen William & Robin Knuttel Sue Hone & Jeffrey Leiter Janet & Marcos Maestre René Mandel William McCoy & Natasha Beery Kim & Barbara Marienthal Dr. Ruedi Naumann-Etienne Patrick McCabe Deborah O’Grady & John Adams Gary Glaser & Christine Miller Thomas W. Richardson Penny & Noel Nellis Sedge Thomson & Sylvia Brownrigg Michael & Becky O’Malley Mrs. Iris Hagen Ratowsky in Honor of Gordon & Evie Wozniak Dr. Richard Ratowsky $2,500 and above Kathy Canfield Shepard & John Shepard Judith L. Bloom Deborah Shidler & David Burkhart Annette Campbell-White Ama Torrance & David Davies Marilyn & Richard Collier Anne & Craig van Dyke

December 5, 2013 57 58 December 5, 2013 F rIENDS of Berkeley Symphony GIFTS

$750 and above Myron Pollycove Zumwalt Phyllis Brooks Schafer Lucille & Arthur Poskanzer Isabelle Gerard Joy & Jerome Carlin Marjorie Randolph Marianne & John Gerhart Earl & June Cheit Pauline Robertson Ron L. Gester Richard Colton Dian Scott Jeffrey Gilman & Carol Reif Jack & Ann Eastman Robert Sinai & Susanna David Goines Lynne La Marca Heinrich & Schevill Stuart M. Gold, Md Dwight Jaffee Jutta Singh Anne Golden Lois & Gary Marcus Carol & Anthony Somkin Edward C. Gordon Bebe & Colin McRae Scott Sparling Phyllis Gottlieb Ditsa & Alexander Pines Steven Stucky Mr. Richard Granberg Karen Teel Goldstar Events Tickets Steve Granholm Gary & Susan Wendt-Bogear Robert & Emily Warden Steven E. Greenberg Dr. George & Bay Westlake Arnold & Elaine Grossberg $300 and above Nancy & Sheldon Wolfe Ervin & Marian Hafter Anonymous Nancy & Charles Wolfram Jane Hammond Patricia & Ronald Adler Ms. Margot Harrison Virginia Almeida $100 and above William & Judith Hein Donald & Margaret Alter Anonymous (6) Lyn Hejinian Mark Attarha Joel Altman Florence Hendrix Ms. Bonnie J. Bernhardt Karen Ames Valerie & Richard Herr Christel Bieri Kelly Amis Jason Hofmann George & Dorian Bikle Patricia Vaughn Angell Mr. Allen Holub Susan Blake Kevin Bastian Birgit Hottenrott Lauren & Steve Adams William W. Beahrs Gayle Hughes Mr. & Mrs. Stuart Canin In Honor of Mr. & Ms. R. Collier’s Anniversary F.W. Irion Joana Carneiro Terry Bloomsburgh Patricia Kates Rosemary Cozzo Cara Bradbury E. Paul & Joanne P. Kelly John Dewes David Bradford James Pennington Kent Kevin Donahue Helen Cagampang Todd Kerr Gini Erck & David Petta Mark Chaitkin & Cecilia Storr Alexander Jihyun Koo Dean Francis Paul Churchill Robert Kroll & Rose Ray Doris Fukawa Murray & Betty Cohen Walter & Rosemarie Krovoza Daniel & Kate Funk Sarah Cohen Almon E Larsh, Jr Steve Gallion & Pam Wolf Dr. Lawrence R. Cotter Shelly & Don Lee Evelyn & Gary Glenn Joe & Sue Daly Laurel Leichter & Michael Wendell Goddard Robert David Wilson Peggy Griffin Dennis & Sandy De Domenico David Lipson Bonnie & Sy Grossman Dr. Marian C. Diamond Arthur & Martha Luehrmann Alan Harper & Carol Baird Paula & James R. Diederich Kim & Barbara Marienthal Trish & Anthony W. Hawthorne Patrick D. Doherty Suzanne R. McCulloch Ora & Kurt Huth Mr. Anthony Drummond Bill & Suzanne McLean Richard Hutson Beth & Norman Edelstein Jim & Monique McNitt Fred Jacobson Bennett Falk & Margaret Donald & Susanne McQuade Irene & Kiyoshi Katsumoto Moreland Amelie C. Mel De Fontenay & Faye Keogh Lynn Feintech & Anthony John Stenzel Howard & Nancy Mel Bernhardt Inspired by Jan McCutcheon, Peggy Radel & Joel Myerson Ms. Mary Ellen Fine Ellie Hahn, & Janet Maestre Lance & Dalia Nagel In Memory of Donna Hamilton Junichi & Sarah Miyazaki Maria José Pereira Marcine & Dean Francis Gerry Morrison Greg Phillips Ednah Beth Friedman Ms. Anita Navon Anja Plowright Harriet Fukushima Michael & Elisabeth O’Malley The Estate of Myron Pollycove Theresa Gabel & Timothy Elizabeth Pigford

December 5, 2013 59 60 December 5, 2013 $100 and above (continued) Anne Shortall Marco Vangelisti Joellen & Leslie Piskitel Shelton Shugar Randy & Ting Vogel Dr. Patrick M. Pralle David & Elizabeth Silberman David & Marvalee Wake Jo Ann & Buford Price Johan & Gerda Snapper Dorothy Walker George N. Queeley Sylvia Sorell & Daniel Kane Sheridan & Betsey Warrick Suzanne Riess In honor of Marilyn Collier Alice Waters Donald Riley & Carolyn Serrao Julie Thorson Carolyn Webber Constance Ruben Alta Tingle Elizabeth Weber Julianne H. Rumsey Renee Tissue Dr. Louis Weil Susanna Schevill Ms. Carol L. Tomlinson Ms. Carolyn D. Weinberger Steven Scholl Elsa & Revan Tranter June Wiley Brenda Shank Carol Jackson Upshaw Ms. Zoe Williams Jack Shoemaker Joy Valdez Mrs. Charlene M. Woodcock

We thank all who contribute to Berkeley Symphony, including those giving up to $100 annually and those whose gifts have been received since press time. While every attempt has been made to assure accuracy in our list of supporters, omissions and misspellings may occur. Please call 510.841.2800 x305 to report errors. We appreciate the opportunity to correct our records.

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

Norman Bookstein & Gillian Kuehner Jeffrey S. Leiter Bennett Markel Kathleen G. Henschel Janet & Marcos Maestre Lisa Taylor

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

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

December 5, 2013 61 62 December 5, 2013 Annual Institutional Gifts

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

Gifts received between October 1, 2012 and November 1, 2013

$50,000 and above $1,500 and above William & Flora Hewlett Foundation The Mechanics Bank

$25,000 and above $1,000 and above Clarence E. Heller Charitable Alameda County Art Foundation Commission The Creative Work Fund ASCAP—American Society Meyer Sound Laboratories, Inc. of Composers, Authors and Publishers $10,000 and above Anonymous (2) Up to $1,000 Ann and Gordon Getty Foundation Berkeley Assoc. of Realtors Berkeley Public Schools Fund Casa De Chocolates Chevron Corporation In Dulci Jubilo, Inc. Thomas J. Long Foundation Tides Foundation Bernard Osher Foundation National Endowment for the Arts

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

December 5, 2013 63 64 December 5, 2013 Administration Contact & Creative Staff Tickets available by phone, fax, René Mandel, Executive Director mail, e-mail, or online: Steve Gallion, General Manager & Berkeley Symphony Membership Director 1942 University Avenue, Suite 207, Ming Luke, Education Director/ Berkeley, CA 94704 Conductor 510.841.2800 Fax: 510.841.5422 Theresa Gabel, Director of Operations [email protected] www.berkeleysymphony.org Noel Hayashi, Director of Marketing Jessica Schultze-Sadler, Associate find us on Director of Marketing/Box Office Manager Cindy Hickox, Development & Marketing Associate Karen Ames Communications, Press & Public Relations Yesenia Sanchez, Finance Direct0r Quelani Penland, Librarian Franklyn D’Antonio, Orchestra Manager Joslyn D’Antonio, Co-Orchestra Manager Kevin Reinhardt, Stage Manager Stoller Design Group, Graphic Design Dave Weiland, Photography Steve Flavin, Video Design Sid Kesav, Telemarketing David Fang, Intern

Program Andreas Jones, Design & Production Stoller Design Group, Cover Design John McMullen, Advertising Sales Thomas May, Program Notes Calitho, Printing

December 5, 2013 65 Advertiser Index

A1 Sun...... page 20 Hotel Durant ...... page 16 Albert Nahman Plumbing...... page 30 Judith L. Bloom, CPA...... page 11 Alward Construction...... page 20 Jutta’s Flowers...... page 64 American Bach Soloists...... page 43 Kensington Symphony Orchestra . . page 29 Ampersand Graphics...... page 26 La Mediterranée...... page 42 Archway School...... page 36 Lunettes du Monde...... page 26 Aurora Theatre...... page 22 Mancheno Insurance Agency . . pages 34-35 Bacheesos...... page 40 Margaretta K. Mitchell Photography. page 38 Bayside Park...... page 30 Maybeck High School...... page 18 Berkeley Horticultural Nursery. . . . page 39 McCutcheon Construction...... page 46 Berkeley Optometry...... page 18 Mechanics Bank...... page 38 Bill’s Footwear...... page 50 Mountain View Cemetery. . inside back cover BuyArtworkNow.com ...... page 20 New Year’s Eve at the Claremont. . . page 40 Café Clem ...... page 42 Oceanworks...... page 23 Cal Performances ...... page 32 Osher Life Long Learning...... page 39 The Club at The Claremont...... page 14 Piedmont Gardens ...... page 56 Coldwell Banker...... page 60 Poulet...... page 40 The College Preparatory School . . . .page 18 R. Kassman Pianos...... page 50 Coracao Confections...... page 24 Red Oak Realty...... page 58 Crowden ...... page 18 Scholar Share...... page 44 DC Pianos...... page 38 Sotheby’s International Realty...... Dining Guide ...... pages 40, 42 ...... inside front cover DoubleTree Hotel...... page 62 St. Paul’s Towers...... page 12 Douglas Parking...... page 60 Storey Framing...... page 18 Frank Bliss, State Farm...... page 28 Talavera...... page 23 Going Places ...... page 22 Thornwall Properties...... page 16 Golden State Senior Care...... page 29 Tricia Swift, Realtor...... page 48 The Grubb Co...... back cover UC Berkeley Extension...... page 50 Henry’s Gastropub...... page 52 Wells Fargo...... page 54

to advertise in the berkeley symphony

program, call john mc mullen 510.652.3879

66 December 5, 2013