Mountain View Cemetery Association, a historic Olmsted designed cemetery located in the foothills of Oakland and Piedmont, is pleased to announce the opening of Piedmont Funeral Services. We are now able to provide all funeral, cremation and celebratory services for our families and our community at our 223 acre historic location. For our families and friends, the single site combination of services makes the difficult process of making funeral arrangements a little easier. We’re able to provide every facet of service at our single location. We are also pleased to announce plans to open our new chapel and reception facility – the Water Pavilion in 2016. Situated between a landscaped garden and an expansive reflection pond, the Water Pavilion will be perfect for all celebrations and ceremonies. Features will include beautiful kitchen services, private and semi-private scalable rooms, garden and water views, sunlit spaces and artful details. The Water Pavilion is designed for you to create and fulfill your memorial service, wedding ceremony, lecture or other gatherings of friends and family. Soon, we will be accepting pre-planning arrangements. For more information, please telephone us at 510-658-2588 or visit us at mountainviewcemetery.org. Berkeley Symphony 2015/16 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 14 Season Sponsors 17 Producers’ Circle Sponsorship Gifts 19 Berkeley Symphony Legacy Society 21 Program 23 Program Notes 37 Music Director: Joana Carneiro 41 Artists’ Biographies 49 Berkeley Symphony 51 Music in the Schools 53 2016/17 Membership Benefits 55 Annual Membership Support 60 Broadcast Dates

Mountain View Cemetery Association, a historic Olmsted designed cemetery located in the foothills of 65 Contact Oakland and Piedmont, is pleased to announce the opening of Piedmont Funeral Services. We are now 66 Advertiser Index able to provide all funeral, cremation and celebratory services for our families and our community at our 223 acre historic location. For our families and friends, the single site combination of services makes the Media Sponsor difficult process of making funeral arrangements a little easier. We’re able to provide every facet of service at our single location. We are also pleased to announce plans to open our new chapel and reception facility – the Water Pavilion in 2016. Situated between a landscaped garden and an expansive reflection pond, the Water Pavilion will be perfect for all celebrations and ceremonies. Features will include beautiful kitchen Official Wine Sponsor services, private and semi-private scalable rooms, garden and water views, sunlit spaces and artful details. The Water Pavilion is designed for you to create and fulfill your memorial service, wedding ceremony, lecture or other gatherings of friends and family. Soon, we will be accepting pre-planning arrangements. For more information, please telephone us at 510-658-2588 or visit us at mountainviewcemetery.org. 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.

May 5, 2016 3 4 May 5, 2016 Message from the Music Director

Dear Friends,

It is with great pleasure that I welcome you to our final concert of the season. photo by Rodrigo de Souza

We are delighted to be partnering with the Atlanta Symphony Orchestra in commissioning Mark Grey’s Frankenstein Symphony. Mark, who is based in the Bay Area, was commissioned by the Théâtre Royal de la Monnaie in Brussels to write an opera by the same name, based on Mary Shelley’s famous novel. The opera will receive its premiere later this year. From his opera, Mark extracted thematic elements to create the dynamic symphony that you will hear this evening. Over the years, I have had the privilege of working with Mark in his capacity as a sound designer for various operatic productions and I am so pleased to conduct one of his works.

A few years ago I heard of a very gifted young violinist, Simone Porter, who was starting to turn heads in Los Angeles. She joins us tonight performing one of the best-known violin pieces of all time. Tchaikovsky’s concerto was written in 1878 and is a great example of virtuosity and beauty. It is a great pleasure to combine the three—Tchaikovsky, Porter and our own Berkeley Symphony—in what I am sure will be a most memorable season finale.

Thank you for being with us throughout another exciting year. I can’t wait to see you again in October!

Much love,

Joana Carneiro

May 5, 2016 5 6 May 5, 2016 Message from the Board President

Spring Greetings!

With this, our exciting “MONSTROUS” program, we conclude our 2015/16 season at Zellerbach Hall. But the activity at photo © Margaretta K. Mitchell Berkeley Symphony never stops. We continue to nurture the next generation of music lovers and ambassadors of the arts through our Music in the Schools program. After providing classroom instruction for nearly a quarter of a century in the local elementary schools, we have successfully grown into all three Berkeley public middle schools with one- on-one music instruction.

Our Berkeley Symphony & Friends chamber music series is thriving with full capacity audiences filling the Piedmont Center for the Arts at each of our concerts. We are excited to share our new season with you this evening. Be sure to pick up a copy of our 2016/17 season brochure at the tables in the lobby after tonight’s performance.

On behalf of the Board of Directors, I thank YOU, our eager and loyal audience, for your continued enthusiasm and support for Berkeley Symphony. I cannot say often enough that without you, we would not be here, bringing innovative and internationally acclaimed programs to the Berkeley-and-beyond community!

Tricia Swift

May 5, 2016 7 8 May 5, 2016 Message from the Executive Director

Greetings and Welcome!

Tonight’s concert marks the end of another successful Berkeley Symphony season in which

we introduced you to three new works—two West photo by Marshall Berman Coast premieres and one U.S. premiere. Mark Grey’s inventive Frankenstein Symphony, which you will hear this evening, is the second of our two West Coast premieres and is a piece that we co-commissioned with our colleagues at the Atlanta Symphony. Last fall we introduced you to Kaija Saariaho’s delightful Laterna Magica; and who can forget the U.S. premiere performance of Fachwerk by Sofia Gubaidulina with the amazing bayan player Geir Draugsvoll. He was only one of our four exquisite soloist this season, including tonight’s 2015 Avery Fisher Grant recipient, Simone Porter.

Please take note of the 2016/17 Season postcard inserted into your program tonight. We’ve planned another dynamic season of “you heard it here first” pieces, with a world premiere commission by our friend Paul Dresher; the west coast premiere of a piece by the Scottish composer James MacMillan, co-commissioned with the BBC Scottish Symphony and Pittsburgh Symphony; and the Bay Area premiere of Mason Bates’ Cello Concerto. Then we close next season with the epic Shostakovich Symphony No. 13, “Babi Yar” to commemorate the 75th anniversary of this infamous time in history. We hope that you will join us at all four performances and consider purchasing a season subscription.

All of this is made possible by your dedication to eclectic programming and your zeal for the unexpected. Thank you for being a vital part of our Berkeley Symphony family.

With deep gratitude,

René Mandel

May 5, 2016 9 10 May 5, 2016 Board of Directors & Advisory Council

Board of Directors Executive Committee Tricia Swift, President Kathleen G. Henschel, Vice President for Governance Jan McCutcheon, Vice President for Development Gertrude Allen, Vice President for Community Engagement John W. Dewes, Treasurer Thomas Z. Reicher, Secretary René Mandel, Executive Director

Directors Advisory Council (continued) Susan Acquistapace Gary Glaser & Christine Miller Ellen Hahn Reeve Gould Brian James Bereket Haregot William Knuttel Buzz & Lisa Hines Janet Maestre Susan Hone Peter Mandell Jennifer Howard & Anthony J. Cascardi Sandy McCoy Edith Jackson Ed Osborn Kenneth A. Johnson & Nina Grove Thomas W. Richardson Todd Kerr Deborah Shidler Jeffrey S. Leiter Michel Taddei Bennett Markel Advisory Council Bebe & Colin McRae Jan McCutcheon (Board), C0-Chair Helen & John Meyer Lisa Taylor, C0-Chair Deborah O’Grady & John Adams Marilyn Collier, Chair Emerita Becky & Michael O’Malley Michele Benson Maria José Pereira Judith Bloom Marjorie Randell-Silver Norman Bookstein & Gillian Kuehner Linda Schacht & John Gage Joy Carlin Kathy Canfield Shepard & John Shepard Ron & Susan Choy Jutta Singh Marilyn & Richard Collier Lisa & James Taylor Dianne Crosby Alison Teeman & Michael Yovino-Young Charli & John Danielsen Paul Templeton & Darrell Louie Carolyn Doelling Anne & Craig Van Dyke Anita Eblé Yvette Vloeberghs Karen Faircloth Shariq Yosufzai

May 5, 2016 11 The Orchestra

Joana Carneiro Music Director Viola Sponsored by Brian James & Shariq Yosufzai Jason Bonham Principal Sponsored by Helen & John Meyer Stephanie Ng Assistant Principal Sponsored by Marcia Muggli & Ed Osborn Sponsored by Lisa & Jim Taylor Patrick Kroboth Sponsored by Anonymous Keith Lawrence Kent Nagano Conductor Laureate Ivo Bokulic Addi Liu Steven Ng Violin I Danny Sheu Franklyn D’Antonio Concertmaster Amy Apel Cassandra Bequary Associate Concertmaster Kristen Steiner Matthew Szemela Assistant Concertmaster Cello Larisa Kopylovsky Carol Rice Principal Lisa Zadek Sponsored by Getrude Allen Tess Varley Shain Carrasco Assistant Principal Monika Gruber David Boyle Ernest Yen Dina Weinshelbaum Shawyon Malek-Salehi Farley Pearce Kenneth Johnson Brian Koh Peter Bedrossian John Bernstein Margaret Moores Annie Li Bert Thunstrom Bass Michel Taddei Principal Sponsored by East Bay Community Foundation Violin II James Coyne Assistant Principal Sarah Wood Principal David Horn Karsten Windt Assistant Principal Andrei Gorbatenko David Cheng Stephanie Payne Lauren Avery Atiba Starr Sponsored by Tricia Swift David Ryther Flute Emma Moon Principal Nicola Gruen Sponsored by Janet & Marcos Maestre Ilana Thomas Stacey Pelinka Milica Grahovac Piccolo Rick Diamond Stacey Pelinka Ann Eastman Oboe Kevin Harper Deborah Shidler Principal Charles Zhou Sponsored by Jan & Michael McCutcheon Rose Marie Ginsburg Andrea Plesnarski

12 May 5, 2016 English Horn Trombone Andrea Plesnarski Thomas Hornig Principal Sponsored by Kathleen G. Henschel & John W. Dewes Clarinet Craig Bryant Mark Brandenburg Principal Bass Trombone Jeannie Psomas Jason Borris Bass Clarinet Tuba Jeannie Psomas Jerry Olson Principal Bassoon Timpani Shawn Jones Principal Kevin Neuhoff Principal Ravinder Sehgal Cynthia Hanson Percussion Ward Spangler Principal Contrabassoon Lily Sevier Cynthia Hanson Mckenzie Camp

Horn Harp Principal Alex Camphouse Wendy Tamis Principal Monika Warchol Celesta Loren Tayerle Miles Graber Principal Richard Hall Michael Shuldes Franklyn D’Antonio Co-Orchestra Manager Trumpet Joslyn D’Antonio Co-Orchestra Manager Ari Micich Principal Leonard Ott Quelani Penland Librarian Aaron Montoya David Rodgers, Jr. Stage Manager

May 5, 2016 13 2015/16 Season Sponsors

Gertrude Allen

ertrude Allen has lived in Berkeley since graduating G from UC more than fifty years ago. She and her husband enjoyed Berkeley Promenade Orchestra— predecessor of Berkeley Symphony—at the UC Art Museum. They have been subscribers off and on ever since. After raising two children and a ten-year period working as a Policy Analyst in the Office of the President of UC, Gertrude has engaged in volunteer work as a docent at Strybing Arboretum, the Oakland Museum and now at the East Bay Regional Parks Botanic Garden in Tilden Park. She is concerned about the future of live music and wants to do all she can to pass it along to future generations.

Kathleen G. Henschel & John W. Dewes

athleen G. Henschel, formerly finance manager K at Chevron Corporation, joined Berkeley Symphony’s Board of Directors in 2004, and was President from 2006 to 2011. An active Bay Area philanthropist, she currently serves as Treasurer photo by juliecheshire.com of Chanticleer. John W. Dewes, formerly General Manager of Public Affairs at Chevron Corporation, is an active volunteer in Walnut Creek. He joined the Berkeley Symphony Board in 2015.

Brian James & Shariq Yosufzai

rian James is a member of Berkeley B Symphony’s Board of Directors. Shariq Yosufzai serves on the Advisory Council of Berkeley Symphony, the Board of Directors of the San Francisco Opera, and the Board of Trustees of Cal Performances, and is a past Chair of the Board of the California Chamber of Commerce. Brian and Shariq are Co-Chairs of the 2016 Berkeley Symphony Gala.

14 May 5, 2016 Ed Osborn & Marcia Muggli

arl D. Osborn (Ed), now retired, was a E founding partner of Bingham, Osborn & Scarborough (BOS), an investment management and financial planning firm based in San Francisco and Silicon Valley. He has been on the Board of Directors of Berkeley Symphony for four years and was formerly the chair of the Finance Committee. His wife, Marcia F. Muggli, has worked for Delta Airlines for over 40 years. When not enjoying the Bay Area (and especially Berkeley Symphony), Ed and Marcia spend part of the year at their second home on Cape Cod.

Tricia Swift

ricia Swift is a prominent Real Estate Broker in T Berkeley and the East Bay. She has been actively involved in music throughout her life. As a college student, she was a member of the Harvard University Memorial Church Choir, and she sang with the San photo © Margaretta K. Mitchell Francisco Symphony Chorus for twenty-four years before retiring from singing in 2010. She was also an original cast member of the inaugural production of the California Revels. She has been a member of Berkeley Symphony’s Board of Directors since 2009 and now serves as President.

cCutcheon Construction was M founded in 1980 with the vision of creating healthier homes, beautiful homes that endure, and homes that matter to their owners, to the community, and to the environment. Headquartered in Berkeley, the company renovates and builds new structures throughout Northern California, where it has grown its reputation as a leader in sustainable home-building practices by listening carefully to clients and responding to their deeper desires for healthier living.

May 5, 2016 15 2015/16 Season Sponsors (continued)

ince 1967 when Donald J. Grubb S founded The Grubb Company, our community has grown and evolved. The business of transacting real estate is different too, with more complexity, more agents and fewer independent real estate companies deeply connected to our community. What has not changed is that home buyers and sellers still seek expert real estate advice, skilled representation and support from a trusted local brand.

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ith more than 40 patents on W technology ranging from its Constellation digital acoustic system to premium loudspeakers, Meyer Sound provides solutions renowned for intelligibility and precision to restaurants, churches, sports arenas, cinemas, and stadium rock stages. An expert team of acousticians and engineers provide highly customized sound solutions in the classical world and Meyer Sound products are to support many of the world’s finest venues including Berkeley’s Zellerbach Hall, Amsterdam’s Concertgebouw, Vienna’s Musikverein and New York’s Appel Room at Jazz at Lincoln Center. Founded by Berkeley residents John and Helen Meyer in 1979, the Company is beloved by artists ranging from Celine Dion to Stevie Wonder to Metallica. The Company is a major force in the professional audio industry worldwide with more than 300 employees and all products are manufactured at the Berkeley headquarters.

16 May 5, 2016 Producers’ Circle Sponsorship Gifts

We gratefully acknowledge the following individuals who have contributed to Berkeley Symphony’s Producers’ Circle Sponsorship Campaign in addition to their annual giving. Producers’ Campaign gifts directly support Berkeley Symphony’s artistic initiatives, commissions, premieres, guest soloists, and Music in the Schools.

Anonymous (3) Janet & Marcos Maestre Gertrude Allen Peter Mandell & Sarah Coade Mandell Ronald & Susan Choy Jan & Michael McCutcheon Margaret Dorfman and the Ralph I. The Jill Grossman Family Charitable Dorfman Family Fund Fund Oz Erickson & Rina Alcalay Helen & John Meyer Ann & Gordon Getty Deborah O’Grady & John Adams Kathleen G. Henschel & John W. Ed Osborn & Marcia Muggli Dewes Tricia Swift Jennifer Howard & Anthony J. Cascardi Lisa & James Taylor Brian James & Shariq Yosufzai Paul Templeton & Darrell Louie Alexander Leff William Knuttel Winery

Producers’ Circle Sponsorship gifts of $2,500 and above received between April 1, 2015 and April 1, 2016. Thank you also to our Producers’ Circle supporters at all levels!

May 5, 2016 17 18 May 5, 2016 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 Development Director William Quillen 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

May 5, 2016 19 20 May 5, 2016 Program IV: Monstrous

Thursday, May 5, 2016 at 8:00 pm Zellerbach Hall

Joana Carneiro conductor

Mark Grey Frankenstein Symphony Genesis The Letter The Lab The Trial The Body Co-Commission with the Atlanta Symphony

INTERMISSION

Pyotr Ilyich Tchaikovsky Violin Concerto in D Major, Op. 35 Allegro moderato Canzonetta: Andante Finale: Allegro vivacissimo Simone Porter violin

Tonight’s concert will be broadcast on KALW 91.7 FM on May 23, 2016 at 9pm. Please switch off your cell phones, alarms, and other electronic devices during the concert. Thank you.

Con cert Sponsor T onight’s performance is made possible by the generous support of Annette Campbell-White & Ruedi Naumann-Etienne

May 5, 2016 21 22 May 5, 2016 Program Notes

Mark Grey (b. 1967) Shelley’s iconic novel became the source for his longest work to date, Frankenstein Symphony the grand opera Frankenstein (about 2 hours and 15 minutes), which was Mark Grey was born on January 1, commissioned by the Théâtre Royal 1967 in Evanston, Illinois and resides de la Monnaie in Brussels, where it in Petaluma, CA. Grey composed will receive its premiere. Frankenstein Symphony in 2015 on a co-commission from the Atlanta Grey was asked by Robert Spano of Symphony and Berkeley Symphony. the Atlanta Symphony to fashion an orchestral suite from the opera. First performance: February 25, 2016, In recent years Grey has received with Robert Spano conducting the other commissions from the ASO, Atlanta Symphony Orchestra. Grey has - hsha- scored the work for piccolo, flute, 2 oboes, including his fanfare A (2011) English horn, clarinet in B-flat, bass and the orchestral version of clarinet, 2 bassoons, contrabassoon, Atash Sorushan (Fire Angels), a work 4 horns, 3 trumpets, 3 trombones, tuba, originally written to commemorate timpani, bass drum, vibraphone, claves, the 10th anniversary of the large tamtam, suspended cymbal, September 11 terrorist attacks. crash cymbals, triangle, glockenspiel, The orchestral Frankenstein project xylophone, high and medium woodblocks, appealed to Joana Carneiro and small anvil, large floor tom, maracas, Berkeley Symphony as well, who snare drum, castanets, celesta, harp, became co-commissioners. With and strings. Duration: approximately this concert, Berkeley Symphony 35 minutes. is performing the work of Grey, a Bay Area native, for the first time. nonymously published in 1818, Along with his career as a composer, A Frankenstein; or, The Modern Grey is an acclaimed sound designer Prometheus by Mary Wollstonecraft closely associated with John Shelley (1797-1851) continues to Adams. He met Adams in 1991 and cast its spell two centuries later, has designed the electronic sound fascinating and appalling us for the premieres of all of Adams’ through its masterful treatment of stage works since then, as well as themes that remain disturbingly his “plugged” concert works that pertinent. It’s not hard to fathom require this technology (such as the why this material would appeal to Pulitzer Prize-winning Transmigration a composer. For Mark Grey, Mary of Souls). Grey has additionally been

May 5, 2016 23 24 May 5, 2016 a resident sound designer for the Grey opted for a symphonic model Metropolitan Opera and Chicago rather than a “grab-bag” suite, Lyric Opera. the latter being an assemblage often put together posthumously “For me the connection between from pre-existing material, as in composing and the world of sound various suites of Wagner’s operas design is tightly woven,” explains constructed for the concert hall. Grey. “I live fully surrounded by a “My idea was to develop the vocal sonic environment no matter what music in this new context and the project is. The expansion of to create the emotions around sound design is a focus for me— the melodic lines. Symphony’’ not just in the opera house but implies more organicism in the also for orchestral sound designs.” way the pieces are linked together, Grey also works frequently in the the relationships of melodic and theater, and his music has been harmonic and rhythmic material.” widely performed across America, in Europe, and in Australia. Frankenstein Symphony comprises five movements. These do not The Frankenstein Symphony is, follow the chronological order of unusually, being heard before the the opera, but they do explore “the opera itself. But the work is not a heart of what this opera is”—which typical concert suite of extracts Grey defines as “a triangle between from a larger opera score. “The Victor, the Creature, and his beloved transfer from stage representation Elizabeth.” He adds that in his opera, to a purely symphonic concert his intention has been “to get more can be awkward,” Grey observes. closely into the heartbeat of what “Quite often the orchestration is this novel is: not just the socio- thin when there’s a voice to allow political side, but the human side. the singer to resonate in the hall. The Creature pulls Victor into the The orchestra becomes more surreal, while Elizabeth pulls him accompanimental, unlike in the back to the reality of home.” parts written specifically for that idiom (the overture, for example). I decided to take a different Mark Grey has provided the approach and adapt the vocal lines following description: to various instruments.” The result was not a “direct translation” of the Frankenstein Symphony, written vocal music to instruments, but in five movements, is inspired an exploration of varied colors in by two works: Mary Shelley’s which “I tried to really meld what novel Frankenstein; or, The Modern was originally vocal music with the Prometheus, and my grand opera textual accompaniment and create Frankenstein written for La Monnaie/ one solid identity.” De Munt, to premiere at Théâtre

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26 May 5, 2016 Royal de la Monnaie in Brussels. novel, it opens (and closes) in the Arctic when a nearly dead Victor The music for the symphony is drawn Frankenstein drifts up to Robert from five opera scenes; Genesis, The Walton’s ship locked in polar Letter, The Lab, The Trial, and The Body. ice. As Victor is nursed back to 2016 marks the 200-year anniversary consciousness he tells an horrific of the novel’s conception when, tale of creating a beast, its demand during an unusually stormy summer for a mate, its rejection and rage in Geneva, the Shelleys, Byron, and turning to revenge, and Victor’s others created horror stories to help ultimate pursuit north to kill the pass the time. monster.

The philosophy behind the Genesis opens the opera with the Symphony is built on the foundation reanimation and awakening of the of the Frankenstein story and its Creature. In The Letter, Elizabeth, relevance to modern day life—the fiancée of Victor, in a lonely moment gap between inventive science and insists he return home so they can transformative science, the fracture become husband and wife. But between our ability to invent and Victor is preoccupied in The Lab our inability to understand that creating a mate for the Creature, every invention requires from us a which he never finishes. Through parallel moral or emotional response constant rejection because of its and developmental period. The hideous looks, the Creature begins divisions between creation and a killing spree where William, the social transformation are nothing younger brother of Victor, is the first new. Often, we invent but take no victim and au pair Justine is framed responsibility for the consequences for the murder. During The Trial, of our inventions. Justine is found guilty and hanged. Our stage adaptation navigates new The Body is a classic operatic moment twists through this old tale. We open that finds Victor singing an aria over the opera some 400 years later with Elizabeth’s dead body—the Creature Walton and scientists finding the previously warned Victor that if he “Creature” locked in a block of ice. It did not create a mate, he would kill is thawed, reanimated, and, regaining his new wife on their wedding night. life, takes us back through the In the novel, Victor dies onboard storyline, setting many similar scenes Walton’s ship from exhaustion, and to those in the novel. the Creature, who has been tailing Each of the symphonic movements him the whole time, declares defeat represents a key moment in the and heads farther north to create a opera and our adaptation from funeral pyre, seemingly ending its book to stage. Originally in Shelley’s wretched life.

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28 May 5, 2016 The Cooperative Cleaning Company Frankenstein Texts Berkeley, CA I. Genesis hate each other. Owned & operated by Sarah and Mike Neil CHORUS: Will she not abhor his equal? Titan! To thee the strife was given from Frankenstein Opera, Between the suffering and the will, Júlia Canosa i Serra, 2016 Which torture where they cannot kill; IV. The Trial And the inexorable Heaven, JUSTINE: And the deaf tyranny of Fate, I never confessed to murder! The ruling principle of Hate, Walking all night I heard a wolf, Which for its pleasure doth create circling around me. The things it may annihilate. Ice rain fell like pebbles, from Prometheus, by George and lightning with evil flames Gordon (Lord) Byron. 1816 charred a nearby tree. William nowhere near. II. The Letter Deadened by thunders, I fell asleep, ELIZABETH: woke up to the smell of charring Victor! Write to me. woods.

With your silence I see a Fiend in CHORUS: everyone. In my dreams I heard We have our past, we’ll have our a faceless man singing future. from the burning tree. This will be our memory. from Frankenstein Opera, Write to me, and come back. Júlia Canosa i Serra, 2016 For almost 30 years, East from Frankenstein Opera, Bay residents have counted Júlia Canosa i Serra, 2016 on CCC to maintain inviting, V. The Body clean, and orderly homes in VICTOR: which to live and entertain. III. The Lab Their employees are real Lifeless, inanimate employees, not contractors, VICTOR: The murderous mark of my creature and receive compensation Will she have a sense of self, will she & benefits above the industry have a future? Still on your neck! average. Insured and No breath on your lips. bonded, CCC is the choice Demanding a past? of discerning clients. He has sworn to quit the land of Can I behold this and live? 510-845-0003 men, but she has not! from Frankenstein Opera, CooperativeCleaning.com She might refuse to hide. They might Júlia Canosa i Serra, 2016

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30 May 5, 2016 Pyotr Ilyich Tchaikovsky and scorned professional (1840-1893) training, Tchaikovsky attended the conservatory and began to Concerto for Violin in D prepare his career methodically. major, Op. 35 But all his careful planning could not have prepared the composer for Born on May 7, 1840, in Votkinsk, the events of 1877 and the turmoil Russia; died on November 6, 1893, in St. they would cause. Petersburg, Russia. One of the handsome bachelor’s Tchaikovsky composed the Violin Concerto most ill-fated decisions had been in 1878. First performance: December 4, his attempt to offset gossip about 1881, in Vienna, with Adolph Brodsky as his sexuality through a smokescreen the soloist and Hans Richter conducting. marriage to a lovesick former In addition to solo violin, Tchaikovsky’s student, Antonina Miliukova. Soon Violin Concerto calls for 2 flutes, after the wedding, Tchaikovsky 2 oboes, 2 clarinets, 2 bassoons, abandoned his bride and fled to a 4 horns, 2 trumpets, timpani, and temporary exile in western Europe. strings. Duration: 38 minutes. There he at last experienced a period chaikovsky wrote his only violin of relative emotional calm while T concerto within less than a month sojourning in the Swiss town of in the spring of 1878 while abroad Clarens on the north side of Lake in Switzerland. Though the violinist Geneva. Tchaikovsky composed the for whom it was intended originally Violin Concerto during the following rejected it, the Concerto’s irresistible spring in a whirlwind of inspiration blend of lyricism, epic breadth, and that seemed to underscore his sense festive energy has made it one of the of recovery from what the composer composer’s most beloved scores and described to his brother as his “brief a cornerstone of the violin repertory. insanity.”

In his early years, the composer had Another catalyst, according to an ambivalent relationship with the biographer David Brown, was so-called “Mighty Five”—a group of purely musical: Tchaikovsky’s composers (including Mussorgsky recent discovery of Édouard Lalo’s and Rimsky-Korsakov) intent on violin-centric Symphonie espagnole creating an authentically Russian (much as his enthusiasm for Carmen, national musical style. Tchaikovsky which he encountered in 1876, left ended up following his own path by its mark on the Fourth Symphony). blending national Russian elements What Tchaikovsky admired in the with techniques and forms he learned Lalo piece, he wrote, was the focus from Western tradition. While the on “musical beauty” instead of the Mighty Five prized do-it-yourselfness routines of “established traditions.”

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32 May 5, 2016 As it happened, the young violinist who brought Lalo’s score to his attention, a recent student of Tchaikovsky named Iosif Kotek, BEST SELECTION & QUALITY provided a further impetus. Possibly a former lover, Kotek served as a TILE very practical muse by advising DESIGN YOUR TILE the composer on technical matters PROJECT IN OUR STORE about the solo part. To give maximal HANDMADE SINKS, GARDEN advantage to its prospects, however, & TABLEWARE, & MORE... Tchaikovsky dedicated the Concerto TALAVERA CERAMICS & TILE to celebrity violinist Leopold 1801 University (at Grant), Berkeley Open Mon-Sat 10-6, Sun 12-6 Auer. Though he later became the 510-665-6038 www.TalaveraCeramics.com Concerto’s eloquent advocate, Auer initially rejected the score as “unviolinistic” and declined to perform the premiere.

Despite Auer’s reservations, the Violin Concerto is carefully attuned to the solo violin’s expressive flexibility, ranging from elevated lyricism to rhythmic vivacity. In a sense, Tchaikovsky may have found relief in wearing the “mask” of the violin in the framework of a genre that could showcase his obvious gift for sustained melody. The music clearly steps back from the emotional turbulence and soul-searching attitude of the contemporaneous Fourth Symphony, though it exhibits an extroverted theatricality of its own.

Tchaikovsky integrates a considerable arsenal of technical challenges for the soloist with a juicy, unhurried lyricism that somehow also manages to touch on the epic. Although darker undercurrents occasionally intrude, the stereotype of the hyper-emotive,

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34 May 5, 2016 crisis-ridden Tchaikovsky takes a day!) for an earlier slow movement holiday; in its stead we encounter an Tchaikovsky intuited didn’t feel right almost Mediterranean gracefulness. for the piece. In this simple, light song, the soloist indeed seems to Beneath all the pyrotechnics, vocalize a gently muted, melancholy meanwhile, lies a wealth of inventive aria of pristine emotion. reimagining of the material. The first theme, for example, cleverly Because it’s directly linked, the emerges from what seems to be finale comes as even more of a a free-flight improvisation, while surprise, rapidly disrupting the all three themes in the exposition Canzonetta’s soulful spell. Here the play up various aspects of the ethereal soloist becomes an earthy solo instrument’s personality. Like fiddler, playing with blood-rushing abandon. In his notoriously vicious Mendelssohn in his earlier Violin review of the world premiere Concerto, Tchaikovsky positions his (given in Vienna, in the composer’s cadenza earlier than usual, at the absence), critic Eduard Hanslick had end of the development. Its music written disparagingly of the scene represents an intriguing synthesis of “vulgar and savage faces,” “crude of thematic splicing and “showy” curses,” and the smell of cheap booze technical hurdles. the finale conjured for him. Most As a contrast to the opening audiences, however, have been more Mediterranean character, the other than happy to be guests at this village two movements, remarks David party. Brown, seem suddenly to inject —© Thomas May the composer’s “Russian voice.” Thomas May writes about the arts The Canzonetta was actually a for a variety of international publications replacement (composed in a single and blogs at memeteria.com.

Looking ahead to the 2016/17 Season! If you haven’t already received your new season brochure in the mail, please pick up a free copy in the lobby before you leave tonight.

See you in October!

May 5, 2016 35 to a dv ertise in the berkeley symphony program

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36 May 5, 2016 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 photo by Rodrigo de Souza of the orchestra. She also currently 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 Sinfónica Portuguesa.

Carneiro’s growing guest-conducting career continues to develop very quickly. In 2014-15 she made her contemporary composers, including debut at the English National Opera John Adams, Esa-Pekka Salonen, Brett conducting the world stage premiere Dean, Kaija Saariaho and Gabriela of John Adams’ The Gospel According Lena Frank. She continues to be sought to the Other Mary. She also conducted after for contemporary programs, Adams’ A Flowering Tree at the and she will return to London in Gothenburg Opera, made debuts with spring 2016 to conduct Michel Van der the Orchestre National de Lyon and the Aa’s Book of Disquiet with the London Helsingborg Symphony, and returned Sinfonietta, and a production of La to the Gothenburg, Malmö, Gävle Passion de Simone at the Ojai Festival. and Swedish Radio symphonies. In Joana also works regularly with singer/ 2015-16 Joana undertakes her seventh song-writer Rufus Wainwright, and season as Music Director of Berkeley will conduct his orchestral program in Symphony, where she has captivated Lisbon and Hong Kong in 2015-16. audiences with her commanding stage presence and adventurous International recent and future programming that has highlighted highlights include appearances with the works of several prominent the Royal Stockholm Philharmonic,

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38 May 5, 2016 Royal Liverpool Philharmonic, opera conductor, Carneiro made Royal Philharmonic Orchestra, her Cincinnati Opera debut in 2011 Orchestre Philharmonique de conducting John Adams’ A Flowering Radio France, Ensemble Orchestral Tree, which she also debuted with the de Paris, Orchestra de Bretagne, Chicago Opera Theater and at La Cité Norrköping Symphony, Norrlands de la Musique in Paris. In the 2008- Opera Orchestra, Residentie Orkest/ 09 season, she served as assistant Hague, Prague Philharmonia, Malmo conductor to Esa-Pekka Salonen at the Symphony, National Orchestra of Paris Opera’s premiere of Adriana Mater Spain and the Orchestra Sinfonica by Kaija Saariaho and led critically- del Teatro la Fenice at the Venice acclaimed performances of Philippe Biennale, as well as the Hong Kong Boesmans’ Julie in Bolzano, Italy. Philharmonic, Macau Chamber As a finalist of the prestigious Orchestra and Beijing Orchestra 2002 Maazel-Vilar Conductor’s at the International Music Festival Competition at Carnegie Hall, of Macau. In the Americas, Carneiro was recognized by the jury she has led the Los Angeles for demonstrating a level of potential Philharmonic, Toronto Symphony, that holds great promise for her future St. Paul Chamber Orchestra, Detroit career. In 2003-04, she worked with Symphony, Colorado Symphony, Maestros Kurt Masur and Christoph Indianapolis Symphony, Los Angeles von Dohnányi and conducted the Chamber Orchestra, New World London Philharmonic Orchestra, Symphony and São Paulo State as one of the three conductors Symphony. chosen for London’s Allianz Cultural In 2010, Carneiro led performances Foundation International Conductors of Peter Sellars’ stagings of Academy. From 2002 to 2005, she Stravinsky’s Oedipus Rex and served as Assistant Conductor of Symphony of Psalms at the Sydney the L.A. Chamber Orchestra and as Festival, which won Australia’s Music Director of the Young Musicians Helpmann Award for Best Symphony Foundation Debut Orchestra of Los Orchestra Concert in 2010. She Angeles. From 2005 through 2008, conducted a linked project at the she was an American Symphony New Zealand Festival in 2011, and as Orchestra League Conducting Fellow a result was immediately invited to at the Los Angeles Philharmonic, work with the Sydney Symphony and where she worked closely with New Zealand Symphony orchestras Esa-Pekka Salonen and led several on subscription. In 2011, she led a performances at Walt Disney Concert ballet production of Romeo and Juliet Hall and the Hollywood Bowl. with Companhia Nacional de Bailado A native of Lisbon, she began her in Portugal. musical studies as a violist before Increasingly in demand as an receiving her conducting degree from

May 5, 2016 39 the Academia Nacional Superior Sebastian Bereau, Roberto Benzi and de Orquestra in Lisbon, where she Pascal Rophe. studied with Jean-Marc Burfin. Carneiro is the 2010 recipient of the Carneiro received her Masters degree Helen M. Thompson Award, conferred in orchestral conducting from by the League of American Orchestras Northwestern University as a student of Victor Yampolsky and Mallory to recognize and honor music Thompson, and pursued doctoral directors of exceptional promise. studies at the University of Michigan, In 2004, Carneiro was decorated where she studied with Kenneth by the President of the Portuguese Kiesler. She has participated in master Republic, Mr. Jorge Sampaio, with the classes with Gustav Meier, Michael Commendation of the Order of the Tilson Thomas, Larry Rachleff, Jean Infante Dom Henrique.

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40 May 5, 2016 Artists’ Biographies

La Monnaie | de Munt Opera to write an evening length grand opera to premiere during the spring

Courtesy of Mark Grey of 2016 in Brussels. The subject of the opera will be Mary Shelley’s Frankenstein—to commemorate the novel’s 200 year anniversary. A 35-minute symphonic version of the opera was co-commissioned by the Atlanta Symphony and Berkeley Symphony. The San Francisco Chronicle picked tonight’s performance of the Frankenstein Symphony as one of the top five classical music choices for 2016. Mark Grey, composer Later in 2016, a solo violin work for riginally from San Francisco, Mark Jennifer Koh will premiere at the New O Grey made his Carnegie Hall debut York Philharmonic’s Biennial. In 2013- as a composer with Kronos Quartet in 15, several other commissions were 2003. His solo, ensemble and orchestra awarded by The Atlanta Symphony music has been performed in many Orchestra and The Los Angeles venues such as the Sydney Opera Philharmonic, among others. House Concert Hall, Théâtre de la Ville During a two month period in the in Paris, Barbican Centre in London, spring of 2011, Mr. Grey received three Het Muziektheater in Amsterdam, world premieres in three of the world’s Carnegie Hall’s Zankel Hall, great concert halls. The first work was Philharmonie Hall in Warsaw, UNESCO for soprano Jessica Rivera and The Palacio de Bellas Artes in Mexico City, - MEME Ensemble, titled Ahsha- Sorushan Symphony Hall in Phoenix, Disney (Fire Angels), a Carnegie Hall, Cal Hall and Royce Hall in Los Angeles, Performances and Meet The Composer and Atlanta Symphony Hall, as well as co-commission, which premiered at at the Ravinia, Cabrillo, OtherMinds, Carnegie’s Zankel Hall. The libretto Perth International, Great Lakes and for this work was created by poet Spoleto festivals. Niloufar Talebi. The second work, Mr. Grey has been commissioned titled Mugunghwa (Rose of Sharon), for by The National Opera of Belgium violinist Jennifer Koh, The Los Angeles

May 5, 2016 41 Dining Guide

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

42 May 5, 2016 Master Chorale, and chamber Grey was listed in the The Los Angeles orchestra premiered at The Walt Times—Faces to Watch 2006, Classical Disney Concert Hall in Los Angeles. Music Section, by Mark Swed. Finally, Mr. Grey was commissioned Bertoia I and II, a two movement by The Atlanta Symphony Orchestra composition, was included as to write a fanfare for orchestra part of Kronos’ evening length celebrating Robert Spano’s Tenth program Visual Music, which has Anniversary as Music Director and been performed at Theatre de la Donald Runnicles’ Tenth Anniversary Ville (Paris), Sydney Opera House as Principal Guest Conductor. (Australia), Perth International Grey was The Phoenix Symphony’s Music Festival (Australia), Barbican Composer In Residence for its Centre (London), Het Muziktheater 2007/08 season. He composed a (Amsterdam), Carnegie Hall (New 70-minute oratorio, Enemy Slayer: A York City), Royce Hall (Los Angeles) Navajo Oratorio, for baritone, chorus and Yerba Buena Center for the Arts of 130 singers, and full orchestra, (San Francisco). which premiered in February 2008. The story of the oratorio was based During her 2005/2006 season, violin on a Navajo creation mythology prodigy Leila Josefowicz toured story. The residency was funded Grey’s San Andreas Suite for solo by Meet The Composer and ASOL’s unaccompanied violin as part of program Music Alive! In September her recital program. Performances 2007, a 10-minute full orchestra work have been worldwide, including was premiered during the residency Barbican Centre in London, Warsaw period, titled The Summons. The Philharmonic Hall, Carnegie Hall in oratorio was recorded for Naxos November 2005 and Ravinia Festival Records and released in March 2009. in the summer of 2006. As well, Enemy Slayer: A Navajo Oratorio has she recorded the recital program also been performed at the Colorado for Warner Classics, released April Music Festival in July 2008 and in 2005. In the summer of 2006, Salt Lake City in May 2009 with the Ms. Josefowicz premiered Grey’s Salt Lake Choral Artists. violin concerto titled Elevation at the Colorado Music Festival with Other recent commissions conductor Michael Christie, and then include works for The Los Angeles at the Cabrillo Music Festival with Philharmonic’s Minimalist Jukebox conductor Marin Alsop. Festival, Kronos Quartet, Colorado Music Festival Orchestra, Leila In April 2009, Molly Morkoski Josefowicz, Paul Dresher Ensemble, premiered a new solo piano work The California EARUnit, and Joan titled A Rax Dawn at Symphony Space Jeanrenaud (former Kronos Quartet in New York City. In August 2009, cellist). Areon Flutes premiered a new flute

May 5, 2016 43 Dining Guide

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44 May 5, 2016 quartet titled The Alluring Wave at the Association President and electro- 2009 U.S. National Flute Convention. acoustic music pioneer Allen Strange, along with composer Pablo Furman. In July 2005, Michael Christie premiered Two unique musical lifestyles began a new work for orchestra titled Pursuit. to develop in composition and The work was performed as part of the technical areas. While working as Colorado Music Festival. the first editorial intern at Keyboard Grey’s music can be heard on Naxos Magazine, publishing technical (Enemy Slayer), Joan Jeanrenaud’s materials and a monthly column debut CD Metamorphosis on New Albion from 1990 through 1996, he began to Records, NPR/Nonesuch Records/ receive several awards for his solo, Carnegie Hall radio series Creators chamber, orchestral and electronic at Carnegie, and Warner Classics compositions. (Josefowicz, San Andreas Suite).

After two decades as a sound designer, relationships have led Grey to work closely with such artists and organizations as John Adams, Steve Reich, Philip Glass, Terry Riley, Boosey & Hawkes Music Publishers, Peter Eotvos, Kronos Quartet, The Paul Dresher Ensemble, and many others.

Grey made history as the first sound designer for The New York Philharmonic at Avery Fisher Hall (On the Transmigration of Souls, 2002) and The Metropolitan Opera (Doctor Atomic, 2008, Nixon in China, 2011, Death of Klinghoffer, 2014, The Merry Widow, 2015, Bluebeard’s Castle/Iolanta, 2015, L’Amour de Loin, 2016). His sound design creations have been seen and heard throughout most major concert halls, HD simulcast theatres and opera houses worldwide.

During his attendance at the California State University at San Jose, both B.A. and M.A. degrees were awarded in Composition and Electro-Acoustic Music under the direction of former International Computer Music

May 5, 2016 45 46 May 5, 2016 Los Angeles Philharmonic, and with many renowned conductors, including Gustavo Dudamel, Yannick Nézet-Séguin, Nicolas McGegan, Ludovic Morlot, David Robertson, and

Photo by Jeff Fasano Photography Donald Runnicles. Ms. Porter made her professional solo debut at age 10 with the Seattle Symphony and her international debut with the Royal Philharmonic Orchestra at age 13. In March 2015, Simone Porter was named a recipient of an Avery Fisher Career Grant.

Ms. Porter’s 2015/16 season marks her Walt Disney Concert Hall debut with Gustavo Dudamel and the Los Angeles Philharmonic, and debuts with the Baltimore, Berkeley, Des Moines, Detroit, Hartford and Houston symphonies and with the Rochester Philharmonic and the Florida Orchestra. Ms. Porter also makes her Ravinia recital debut and is a featured Young Artist in Residence Simone Porter, violin with APM’s Performance Today.

iolinist Simone Porter has been In recent years, Ms. Porter has made V recognized as an emerging artist several acclaimed debuts including of impassioned energy, musical the Hollywood Bowl with the Los integrity, and vibrant sound. The Los Angeles Philharmonic and conductor Angeles Times, after referring to her Ludovic Morlot, the Philadelphia as a “future star,” wrote, “Let’s strike Orchestra with Yannick Nézet- the word future.’’ She sounds ready. Séguin, the Aspen Music Festival Now.” Her performances have been and conductor Thomas Søndergård, described as “bold” (The Seattle Times), and the Grand Teton Music Festival “virtuosic” (The Times, London), and Donald Runnicles. Previous and Ms. Porter herself has been engagements include an appearance praised as “a consummate chamber with the New York Philharmonic musician” (The Telegraph). At 19 years on their Young People’s Concerts of age, she has already appeared series and performances with the with the New York Philharmonic, symphony orchestras of Albany, the Philadelphia Orchestra, the Corpus Christi, Fort Worth, Nashville,

May 5, 2016 47 Pasadena, Pacific, Seattle, Utah, Musical Prodigies, which aired in the and Reno Philharmonic. Ms. Porter United Kingdom in June 2009, and has performed recitals in Salt Lake a feature on Seattle’s Kiro 7 TV’s City and Los Angeles and had the quarterly magazine, In Color. honor of performing for the Dalai The recipient of numerous honors Lama at the opening ceremony of a and awards, Ms. Porter is a 2011 five-day symposium on compassion Davidson Fellow Laureate, an award in Seattle, Washington in 2008. given by the Davidson Institute for Internationally, Ms. Porter has Talent Development, which carries performed with the Simon Bolivar a $50,000 scholarship to further her Symphony Orchestra in Bogota, musical education. In 2009, she was Columbia with conductor Gustavo presented as an Emerging Young Dudamel; the Orquestra Sinfônica Artist by the Seattle Chamber Music Brasileira in Rio de Janeiro, Brasil; Society. the Costa Rica Youth Symphony; and the City Chamber Orchestra of Hong Raised in Seattle, Washington, Kong. She has also performed with Ms. Porter studied with Margaret the Royal Northern Sinfonia and the Pressley as a recipient of the Milton Keynes City Orchestra in the Dorothy Richard Starling United Kingdom. Scholarship. She currently studies with Jascha Heifetz Distinguished Ms. Porter is an avid chamber Chair Robert Lipsett at the Colburn musician, having most recently Conservatory of Music in Los collaborated with violinist James Angeles. Additional studies have Ehnes at a benefit concert in Zipper included the Aspen Music Festival, Hall in Los Angeles. Additionally, the International Holland Music she has appeared on the Colburn Sessions Summer Academy, Chamber Music Society Series at International Musicians Seminar Zipper Hall with violinists Arnold Prussia Cove, Indiana University’s Steinhardt and Scott St. John; on the Summer String Academy, and the South Bay Chamber Music Society Schlern International Music Festival with violist Paul Coletti; and at the in Italy. Miami International Piano Festival. Simone Porter plays on a 1745 J.B. Ms. Porter has been heard on the Guadagnini violin on generous loan renowned syndicated NPR radio from The Mandell Collection of program From the Top. She made her Southern California. Carnegie Hall debut on the Emmy Award-winning TV show From the Visit simoneporterviolin.com, Top: Live from Carnegie Hall. Other facebook.com/simoneporterviolin, TV appearances include the BBC and twitter.com/simoneportervln documentary The World’s Greatest to connect with Simone online.

48 May 5, 2016 Berkeley Symphony photo by Dave Weiland

he mission of Berkeley Symphony Zellerbach Hall. A national leader in T is to champion symphonic music music education, the Orchestra partners as a living art form, creating live with the Berkeley Unified School District performances and educational programs to produce the award-winning Music that engage the intellect, spark the in the Schools program, providing curiosity, and delight the spirit of comprehensive, age-appropriate music Berkeley and surrounding Bay Area curricula to more than 4,600 local communities. elementary and middle school students

Recognized nationally for its spirited each year. In association with the programming, Berkeley Symphony has Piedmont Center for the Arts, Berkeley established a reputation for presenting Symphony presents an annual chamber major new works for orchestra alongside music series at the Center called Berkeley fresh interpretations of the classical Symphony & Friends. European and American repertoire. It Berkeley Symphony was founded in 1969 has been honored with an Adventurous as the Berkeley Promenade Orchestra Programming Award from the American by Thomas Rarick, a protégé of the Society of Composers, Authors and great English Maestro Sir Adrian Boult. Publishers (ASCAP) in ten of the past Under its second Music Director, Kent twelve seasons. Nagano, who took the post in 1978, the Under the baton of Music Director Orchestra charted a new course with Joana Carneiro, the Orchestra performs innovative programming that included four main-stage concerts a year in rarely performed 20th-century scores.

May 5, 2016 49 In 1981, the internationally renowned living composers, which include several French composer Olivier Messiaen prominent contemporary Bay Area journeyed to Berkeley to assist with the composers such as John Adams, Paul preparations of his imposing oratorio Dresher, and Gabriela Lena Frank. The Transfiguration of Our Lord Jesus Berkeley Symphony has introduced Bay Christ, and the Orchestra gave a sold- Area audiences to works by rising young out performance in San Francisco’s composers, many of whom have since Davies Symphony Hall. In 1984, achieved international prominence. Berkeley Symphony collaborated with Celebrated British composer George Frank Zappa in a critically acclaimed Benjamin, who subsequently became production featuring life-size puppets Composer-in-Residence at the San and moving stage sets, catapulting the Francisco Symphony, was first Orchestra onto the world stage. introduced to the Bay Area in 1987 when Berkeley Symphony entered a new era Berkeley Symphony performed his in January 2009, when Joana Carneiro compositions Jubilation and Ringed by the became the Orchestra’s third Music Flat Horizon; as was Thomas Adès, whose Director in its 40-year history. Under opera Powder Her Face was debuted by Carneiro, the Orchestra continues its the Orchestra in a concert version in 1997 tradition of presenting the cutting before it was fully staged in New York edge of classical music. Together, they City, London and Chicago. Visit are forging deeper relationships with www.berkeleysymphony.org.

50 May 5, 2016 Music in the Schools

ore than 4,600 school children Meach year benefit from Berkeley Symphony’s Music in the Schools program:

• Over 200 In-Class Sessions are provided photo by Dave Weiland free of charge and include curriculum booklets with age-appropriate lessons addressing state standards for music education. • Over 150 Ensemble Coaching Sessions and Music in the Schools Sponsors master classes in area middle schools. (Gifts of $2,500 and above annually) • Eleven Meet the Symphony concerts are Anonymous (3) performed free of charge in elementary Gertrude Allen schools each fall. Mark & Cynthia Anderson • Six I’m a Performer concerts, also free Berkeley Public Schools Fund of charge, provide young musicians with Bernard E. and Alba Witkin Charitable an opportunity to rehearse and perform Foundation with Berkeley Symphony. The Bernard Osher Foundation • Four free Family Concerts provide an California Arts Council opportunity for the whole family to Ronald & Susan Choy experience a Berkeley Symphony Sheila Duignan concert together. East Bay Community Foundation The Grubb Co. All Music in the Schools programs are Ellen L. Hahn provided 100% free of charge to children Kathleen G. Henschel & John W. Dewes and their families. We are grateful to the Brian James & Shariq Yosufzai individuals and institutions listed on this McCutcheon Construction page whose financial contributions help Bebe & Colin McRae make Music in the Schools possible. But more Helen & John Meyer help is needed to fully fund the program . . . Music Performance Trust Fund Please join those making Music in the National Endowment for the Arts Thomas W. Richardson & Edith Jackson Schools a reality! Donate online and Tricia Swift designate your gift as “Restricted—Music Lisa & James Taylor in the Schools Program.” Or simply mail a Ama Torrance & David Davies contribution to: Berkeley Symphony, Music Union Bank Foundation in the Schools Fund, 1942 University Ave. U.S. Bank Foundation Suite #207, Berkeley, CA 94704 Anne & Craig Van Dyke www.berkeleysymphony.org/mits Thanks also to those giving up to $2,500 annually.

May 5, 2016 51 52 May 5, 2016 2016/17 Membership Benefits Ticket sales cover only a portion of concert expenses. And our Music in the Schools program— offered free of charge to thousands of children each year—is entirely Membership-driven! Your Membership makes Berkeley Symphony thrive, and provides many opportunities to make the most of your concert-going experience. Consider adding a Membership to your subscription—or increase your level of Membership in support of the 2016/17 season.

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 open rehearsal of the orchestra. Principal Member: $750+ (All of the above plus . . .) • Invitation to select special events including post-concert receptions with Music Director Joana Carneiro, musicians, soloists and/or visiting composers. Symphony Circle of Members Concertmaster: $1,500+ (All of the above plus . . .) • Invitations to two exclusive Symphony Circle Salon Receptions hosted by Music Director Joana Carneiro. • Two free guest concert passes. Conductor: $2,500+ (All of the above plus . . .) • Invitations to all exclusive Symphony Circle Salon Receptions hosted by Music Director Joana Carneiro. • Invitation to an exclusive Musicians’ Dinner and “closed” rehearsal for you and guests. Sponsorship Circle of Members Founding Sponsors: $5,000+ (All of the above plus . . .) • VIP access to Berkeley Symphony intermission Sponsors’ Lounge at Zellerbach Hall. • Opportunities to be recognized as a concert sponsor, musician sponsor, or guest soloist sponsor. • Special “Sponsorship Dinner” opportunities with Music Director Joana Carneiro. • A total of four or more free concert guest passes.

May 5, 2016 53 2015-2016

FourFour MainstageMainstage ConcertsConcerts “Under Construction” Concerts with Emerging New Works Composers OldNew Chestnuts Works ResidentOld Chestnuts Artists Resident Artists MusicMusic in thethe SchoolsSchools

54 May 5, 2016 Annual Membership Support

Thank you to the following individuals for making the programs of Berkeley Symphony possible. A symphony is as strong as the community that supports it. 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 April 1, 2015 and April 1, 2016

Sonsorp Circle GIFTS Season Sponsors Founding Sponsors $50,000 and above $5,000 and above (continued) Brian James & Shariq Yosufzai Paula & John Gambs Kathleen G. Henschel & John W. Dewes Ellen L. Hahn Helen & John Meyer Jennifer Howard & Anthony J. Cascardi Season Sponsors Deborah O’Grady & John Adams $25,000 and above Thomas & Mary Reicher Gertrude Allen Paul Templeton & Darrell Louie Jan & Michael McCutcheon William Knuttel Winery Ed Osborn & Marcia Muggli Conductor Level Tricia Swift $2,500 and above Executive Sponsors Anonymous $10,000 and above Judith Bloom Anonymous (3) Dianne Crosby Margaret Dorfman and the Ralph I. Gloria Fujimoto Dorfman Family Fund Gary Glaser & Christine Miller Ann & Gordon Getty Buzz & Lisa Hines Alexander Leff Ken Johnson & Nina Grove Janet & Marcos Maestre Bebe & Colin McRae Peter Mandell & Sarah Coade Mandell Jutta Singh Thomas W. Richardson & Edith Jackson Alison Teeman & Michael Yovino-Young Lisa & James Taylor Ama Torrance & David Davies Founding Sponsors Anne & Craig Van Dyke $5,000 and above Anonymous (2) Concertmaster Level Susan & Jim Acquistapace Gifts of $1,500 or more Mark & Cynthia Anderson Anonymous Natasha Beery & William B. McCoy Sallie & Edward Arens Ronald & Susan Choy Fred & Elizabeth Balderston Sheila Duignan Michele Benson Oz Erickson & Rina Alcalay Norman A. Bookstein & Gillian Kuehner

May 5, 2016 55 56 May 5, 2016 Founding Sponsors The Leo J. & Celia Carlin Fund $1,500 and above (continued) René Mandel Marilyn & Richard Collier Lois & Gary Marcus Richard & Christine Colton Bennett Markel John & Charli Danielsen Patrick McCabe Anita Eblé Noel & Penny Nellis Karen Faircloth Michael & Becky O’Malley Dean Francis Ditsa & Alexander Pines Ann Fischer Hecht & Shawn Hecht Pat & Merrill Shanks Sue Hone & Jeffrey Leiter Kathy Canfield Shepard & John Shepard Fred Jacobson Ed Vine & Ellen Singer-Vine

F rIENDS of Berkeley Symphony GIFTS

Principal Level Patricia Vaughn Angell Valerie & Richard Herr $750 and above Angela Archie Susan & Jerry Herrick Anonymous Catherine Atcheson & Christian Mark & Lynne Humphrey Fritze Joel Altman Richard Hutson Kevin Bastian & Dolores Dalton Blume Capital Management Nancy Lehrkind Ms. Bonnie J. Bernhardt Deborah Born & Stephen Born Carrie McAlister Christel & Jurg Bieri Ms. Carol Christ Suzanne McCulloch George & Dorian Bikle Ann & Jack Eastman Winton & Margaret McKibben Bob & Ginny Blumberg Mary & Stan Friedman John McMahon & Nicole Chun Carl Blumenstein Daniel & Kate Funk Geraldine & Gary Morrison Stuart & Virginia Canin Shelly Gin & Don Lee Lucille & Arthur Poskanzer Gray Cathrall Lynne La Marca Heinrich William Quillen & Hedy Leiter Mark Chaitkin & Cecilia Storr Arthur & Martha Luehrmann Suzanne Riess Mary Claugus Jorge Mancheno Donald Riley & Carolyn Serrao Richard & Christine Colton Helen Marcus & David Robert Sinai & Susanna Williamson Joe & Sue Daly Schevill Betty Pigford Bruce Dodd Scott Sparling Marjorie Randolph Dennis & Sandy DeDomenico Matías Tarnopolsky & Birgit Hottenrott Rose Ray Nancy & Gordon Douglass Sheridan & Betsey Warrick Linda Schacht & John Gage Gini Erck & David Petta Nancy & Charles Wolfram Phyllis Brooks Schafer Karen Fagerstrom Gordon & Evie Wozniak Deborah Shidler & David Ednah Beth Friedman Burkhart Marianne & John Gerhart Katinka Wyle Michel Taddei Joan Glassey Jules Roman Tippett Evelyn & Gary Glenn Supporting Level Robert & Emily Warden Mr. Richard Granberg $100 and above Peggy Griffin Anonymous (3) Associate Level Bonnie & Sy Grossman Philip & Mary-Ellis Adams $300 and above Sophie Hahn & Eric Bjerkholt Marian K. Altman Anonymous (3) Alan Harper & Carol Baird Ms. Jane Anderson Jeannette Alexich Trish & Tony Hawthorne Jeffrey & Joan Angell

May 5, 2016 57 58 May 5, 2016 Supporting Level Marcia Flannery Andrew Lazarus & Naomi $100 and above (continued) Colette Ford Janowitz Nancy Austin Doris Fukawa & Marijan Pevec Lynanne Jacob & Lloyd Lee Shelly Gin & Don Lee Joan Balter Harriet Fukushima Laura Leff Ms. Emily H Benner Theresa Gabel & Timothy Elaine & David I. Berland Zumwalt Ira Lehn Sandra Bernard Julie Gardner Catherine Lloyd Thomas Mark Bosserman Isabelle Gerard Randi & Herb Long Cara Bradbury Ellen Gierson Catharine Lucas David Bradford Jeffrey Gilman & Carol Reif Steve Luppino Aimee Brown Rose Marie & Sam Ginsburg Kim & Barbara Marienthal Irene Bruenger & Bob Riksheim David Glenn Martha Mastracci Tammy Button Stuart Gold Ms. Jayne A. Matthews Stephanie G. & Allan L. Edward Gordon Alex Mazetis Cartwright Reeve Gould Suzanne & William McLean Mark Chaitkin & Cecilia Storr Mr. Richard Granberg Dan Meier Cindy Chang & Christopher Steven E. Greenberg Hudson Howard & Nancy Mel Janet Guggenheim Brian & Cindy Chase Jim Meredith Mr. Daniel T. Haddick Cindy Chase Mr. Robert Messick Ervin & Marian Hafter June Cheit Susan Messina Scott Hamilton Stanley Clark Cindy Michael Ms. Anne Hannah-Roy Murray & Betty Cohen Louise Miller & David John Harris Peterson Frederick & Joan Collignon Robert & Miriam Hawley Junichi & Sarah Miyazaki John Constable Noel Hayashi Yuri Miyazaki Dr. Lawrence R. Cotter Ann Fisher Hecht Eileen Murphy & Michael Franklyn & Joslyn D’Antonio William & Judith Hein Gray Jan Davis Sarah S. Hendrickson Ms. Ruth Okamoto Nagano Ms. Barbara Dengler Florence Hendrix John & Mary Lee Noonan Paula & James R. Diederich Maj-Britt Hilstrom Mary Lee & John Noonan Robert & Loretta Dorsett Robert & Margaret Hirst Ann M. O’Connor & Paul Dresher & Philippa Kelly Ed Cullen Darlene & Ira Holston Donna M. Duhe David & Barbara Parminter Sue Hone & Jeffrey Leiter Patricia Rose Duignan Michael & Andrea Pflaumer Ora & Kurt Huth Beth & Norman Edelstein Lawrance Phillips Russell & Penelope Rachel Eidbo Therese M. Pipe F.W. Irion Ilse Evans John Pires Russ Irwin Peter & Elizabeth Evans Evan Painter & Wendy Elaine Jackson Joe & Sara Evinger Polivka Joseph Jackson & Joann Jim Gleason & Deborah Quok Bennett Falk & Margaret Leskovar Moreland Lisa & Mark Rafael Irene & Kiyoshi Katsumoto David Favrot Elizabeth Raymer & Ragna Paul & Joanne Kelly Ms. Mary Ellen Fine Boynton David Kessler & Nancy Mennel Bruce Fitch—BHS Class of 1968 Barbara & Nigel Renton Ms. Sharon Korotkin (Member Berkeley High Erin & Mark Rhoades School Band) Samuel & Tamara Kushner Donald Riley & Carolyn Ms. Brenda Fitzpatrick Almon E Larsh, Jr Serrao

May 5, 2016 59 Broadcast Dates

Relive this season’s concerts on KALW 91.7 fm

KALW is proud to be Berkeley Symphony’s Season 2015/16 Media Sponsor

Mondays at 9pm in May 2016

Hosted by KALW’s David Latulippe

Program II: Dec. 3, 2015 will be broadcast on May 9

Program III: Feb. 4, 2016 will be broadcast on May 16

Program IV: May 5, 2016 will be broadcast on May 23

60 May 5, 2016 Supporting Level Jack Shoemaker Ms. Carol L. Tomlinson $100 and above (continued) Jessie Shohara Mr. Juan Ornelas & Mr. Brad Touchette Roisman Henel Llp Anne Shortall Marco Vangelisti Marc A. Roth David & Elizabeth Constance Ruben Silberman Randy & Ting Vogel Julianne H. Rumsey Ms. Wendy Simon David & Marvalee Wake Sheila Sabine Jutta Singh Kevin Wakelin Doug Sager Carl & Grace Smith Dorothy Walker Linda Schacht & John Carol & Anthony Somkin Sim Warkov Gage Sylvia Sorell & Daniel Kane David & Pennie Warren George Scharffenberger Anonymous Carolyn Webber Steven Scholl Margaret Sparks Dr. George & Bay Westlake Valerie Schwimmer Bruce & Susan Stangeland Sarah Holzman & Matt White Patricia Sellars Tia Stoller & Drew Detsch Nancy Wolfe Brenda M Shank Geoffrey S. Swift Mrs. Charlene M. Woodcock Brian Shiratsuki Frances & Ronald Tauber Sayoko S. Yokogawa

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. Recognition levels exclude fundraising event auction item purchases and purchases of base-level tickets to fundraising events. 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.

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

In Memory of: In Honor of:

Virginia Baker Marilyn Collier Dr. Robert John Garmston & Arthur Costa Elaine & David I. Berland

Jean Chapman Born Brian James Gertrude Allen Tracy Dearman Adrienne Austin-Shapiro & Arthur M. Shapiro Donna Duhe Donald & Lucy Campbell Janet Maestre John Constable Kevin Bastian & Dolores Dalton Louise Miller & David Peterson Wendy Simon Yuri Miyazaki David & Barbara Parminter Peter Mandell Margaret Roisman Alexander Leff Ms. Carol Rosset Carol Seiberling Tricia Swift Gifts received between Sayoko S. Yokogawa April 1, 2015 and April 1, 2016

May 5, 2016 61 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.

A.V. Thomas Produce Philippa Kelly Susan & Jim Acquistapace Todd Kerr—Berkeley Times Ajanta Elie Khadra Andreas Jones Graphic Design Lama Beans Cafe Eric Asimov & Deborah Hofmann Landmark Vineyards Peter Asimov LaSalette Restaurant Assemble Restaurant Los Angeles Opera Aurora Theatre Company Los Angeles Philharmonic Natasha Beery & Sandy McCoy Darrell Louie Berkeley Repertory Theatre René Mandel Marshall Berman Peter Mandell & Sarah Coade Mandell Bistro Liaison Richard Martin Judith Bloom Jan & Michael McCutcheon George Boziwick McCutcheon Construction Cain Vineyard & Winery Meyer Sound Cal Performances Mueller Family Vineyards Joy Carlin Music@Menlo Gray Cathrall—Piedmont Post Music in the Vineyards Chanticleer New Century Chamber Orchestra Chez Panisse Restaurant & Café New World Symphony Chocolatier Blue Ed Osborn & Marcia Muggli Ronald & Susan Choy Philharmonia Baroque Club Cascadas de Baja Portuguese National Symphony Marilyn & Richard Collier Corison Winery Quivira Vineyards Cottage Grove Inn Marjorie Randell-Silver—Copper Leaf Productions Craneway Pavilion Thomas W. Richardson & Edith Jackson Franklyn D’Antonio Rivers-Marie Wines Dave Weiland Photography D.C. Piano Company Saga Musical Instruments Douglas Parking San Francisco Opera Ann & Jack Eastman San Francisco Symphony Anita Eblé Linda Schacht & John Gage Extreme Pizza Kathy Canfield Shepard—Canfield Design Fisher Vineyards Studios FIVE Restaurant John Shepard Kelly Fleming Deborah Shidler Gloria Fujimoto Hiram Simon Gary Glaser & Christine Miller Jutta Singh—Jutta’s Flowers Grace Street Catering Tia Stoller—Stoller Design Group Green Music Center Tricia Swift Gulbenkian Museum Lisa & James Taylor Kathleen G. Henschel & John W. Dewes Alison Teeman & Michael Yovino-Young The Hess Collection Winery Blair Tindall Sue Hone Anne & Craig Van Dyke Hotel Shattuck Plaza Yvette Vloeberghs Brian James & Shariq Yosufzai The Wild Cat Education & Conservation Fund Jericho Canyon Vineyards William Knuttel Winery Ken Johnson & Nina Grove Angela & William Young

62 May 5, 2016 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 April 1, 2015 and April 1, 2016

$50,000 and above $2,500 and above (continued) The William & Flora Hewlett Foundation Union Bank Foundation U.S. Bank $25,000 and above Clarence E. Heller Charitable Up to $2,500 Foundation Anonymous The Grubb Co. Anchor Brewing Co. Meyer Sound Laboratories, Inc. Berkeley Association of Realtors Berkeley Bowl $10,000 and above Epicurious Garden Ann and Gordon Getty Foundation Genentech, Inc. A.V. Thomas Produce Home Depot Foundation Berkeley Public Schools Fund Mu Phi Epsilon, Berkeley Alumni Chapter Bernard E. and Alba Witkin Charitable Pixar Animation Studios Foundation The Richard Shaklee Memorial The Bernard Osher Foundation Foundation Chevron The Rudolph and Lentilhon G. Von East Bay Community Foundation Fluegge Foundation, Inc. The Jill Grossman Family Charitable Soop Fund Tides Foundation LaSalle Financial Services The National Endowment for the Arts Matching Gifts $5,000 and above The following companies have matched California Arts Council their employees’ or retirees’ gifts City of Berkeley to Berkeley Symphony. Please let us know if your company does the Wallis Foundation same by contacting William Quillen at 510.841.2800 x305 or wquillen@ $2,500 and above berkeleysymphony.org. Anonymous Anchor Brewing Co. American Composers Orchestra (Earshot) Chevron Corporation East Bay Music Fund Genentech Inc. Music Performance Trust Fund The Home Depot

May 5, 2016 63 BRING IN THIS AD TO RECEIVE A 1O% DISCOUNT ON ANY PURCHASE OF GIFTS AND FLOWERS

64 May 5, 2016 Administration Contact & Creative Staff Tickets available by phone, fax, René Mandel, Executive Director mail, e-mail, or online: William Quillen, Director of Development Berkeley Symphony Cristine Kelly, Interim Director of 1942 University Avenue, Suite 207, Development Berkeley, CA 94704 Sarah Thomas, Director of Operations 510.841.2800 Fax: 510.841.5422 Noel Hayashi, Marketing Consultant [email protected] Samantha Noll, Patron Services www.berkeleysymphony.org Manager Mollie Budiansky, Development & find us on Marketing Associate Jared Winn-Taryor, Administrative Intern Vivian Stover, Administrative Intern Katy Buder, Box Office Intern Angela Yoon, Development Intern Cindy Michael, Finance Director Jean Shirk, Public Relations Consultant James Taylor, Corporate Development Associate 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 Javier Acevedo, Video Design Bandwagon Media Services, Recording Engineer

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

May 5, 2016 65 Advertiser Index

A1 Sun...... page 13 Jutta’s Flowers...... page 64 Ackerman’s Servicing Volvo...... page 52 Kid Dynamo...... page 52 Albert Nahman Plumbing...... page 30 La Mediterranée...... page 44 Alward Construction...... page 26 La Note Restaurant Provençal. . . . page 42 The Bay Grille at the DoubleTree Hotel. . . . Lake Park...... page 16 ...... page 58 Mancheno Insurance Agency . . . . .page 33 Bay Sotheby’s International Realty...... Margaretta K. Mitchell ...... inside back cover Photography ...... page 26 Berkeley Horticultural Nursery. . . . page 17 Marlene Simas, Realtor® ...... page 40 Berkeley Optometry...... page 24 Maybeck High School...... page 38 Bill’s Footwear...... page 38 McCutcheon Construction...... page 46 BuyArtworkNow.com ...... page 32 Montclair Sports...... page 32 Café Clem ...... page 44 Mountain View Cemetery. . inside front cover Center for Natural Health Care. . . . .page 32 National Geographic Expeditions . . page 56 Chocolatier Blue...... page 34 Oceanworks...... page 44 Claremont Lobby Lounge & Bar. . . . page 42 Pacific Union...... page 18 The Club at The Claremont...... page 22 Piedmont Gardens ...... page 14 Coldwell Banker...... page 38 Poulet...... page 42 The College Preparatory School . . . page 36 Savvy Rest ...... page 26 The Cooperative Cleaning Company.. page 28 St. Paul’s Towers...... page 20 The Crowden School...... page 50 Star Grocery...... page 38 Dining Guide ...... pages 42, 44 Storey Framing...... page 36 Douglas Parking...... page 60 Talavera...... page 33 Eric Pomert, Film Editor...... page 32 Thornwall Properties...... page 18 Frank Bliss, State Farm...... page 10 Tricia Swift, Realtor...... page 54 Going Places ...... page 26 Wooden Window...... page 30 The Grubb Co...... back cover Yovino-Young Inc...... page 40 Judith L. Bloom, CPA...... page 36 ...... Please Patronize Our Advertisers!

to advertise in the berkeley symphony

program, call john mc mullen

510.652.3879

66 May 5, 2016