Berkeley_Program Covers.pdf 3 9/18/18 6:49 PM
SYMPHONIC III DVOŘÁK & ELLINGTON
03.24.19 | 4:00 PM ZELLERBACH HALL
ANTONÍN DVOŘÁK Symphony No. 9, "From the New World"
SOFIA GUBAIDULINA Concerto for Symphony Orchestra and Jazz Band
DUKE ELLINGTON Black, Brown, and Beige
Christopher Rountree Guest Conductor
Berkeley High Jazz Ensemble and guests 18/19
Berkeley Symphony 18/19 Season
5 Message from the Board President 7 Message from the Executive & Artistic Director 9 Board of Directors & Advisory Council 11 Orchestra 15 Season Sponsors 17 Berkeley Sounds Composer Fellows 21 Tonight’s Program 23 Program Notes 41 Conductor Christopher Rountree 45 Guest Artists 47 About Berkeley Symphony 50 Music in the Schools 55 Berkeley Symphony Legacy Society 57 Annual Membership Support 64 Broadcast Dates 69 Contact 70 Ad Index: Support Businesses That Support Us
Media Sponsor SEASON SPONSORS Official Wine Gertrude Allen • Laura & Paul Bennett • Margaret Dorfman • Ann & Gordon Sponsor Getty • Jill Grossman • Kathleen G. Henschel & John Dewes • Edith Jackson & Thomas W. Richardson • Sarah Coade Mandell & Peter Mandell • Rose Ray & Robert Kroll • Tricia Swift • S. Shariq Yosufzai & Brian James • Anonymous
Presentation bouquets are graciously provided by Jutta’s Flowers, the official florist of Berkeley Symphony. Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras. No recordings of any part of tonight’s performance may be made without the written consent of the management of Berkeley Symphony. Program subject to change.
March 24, 2019 3 4 March 24, 2019 Message from the Board President
elcome to Berkeley Symphony’s Wthird concert of the 2018/19 season, Symphonic III: Dvorˇák and Ellington. This Sunday performance will be sure to jump start your week.
In our last concert, Symphonic II: Britten & Bernstein, we explored works inspired by literature and their social connotations. Hannah Kendall, a London-born composer, had her piece Disillusioned Dreamer premiered with the orchestra, exploring a famous novel by Ralph Ellison, Invisible Man. Also on the program was Bernstein’s Symphony No. 2 for piano and orchestra, The Age of Anxiety, inspired by W.H. Auden’s epic poem by the same title. On stage, Andrew Tyson, piano soloist, and Joseph Young, guest conductor, brought this piece to life. We were very fortunate that Young was able to step up to the podium, as our scheduled conductor, Jonathon Heyward, fell ill shortly before rehearsals were scheduled to begin. Joshua Kosman from SF Chronicle writes, “Young’s ability to tackle at short notice not only Kendall’s world premiere but also significant works by Britten and Bernstein was an impressive display. Certainly he seemed to have the delicacy and urgency of Kendall’s writing well in hand.”
For this evening’s program, we have partnered with the Berkeley High Jazz Ensemble, directed by Sarah Cline, to bring you a concert you won’t forget. Berkeley Symphony’s music education program, Music in the Schools, provides free and quality music education to all of the students in the Berkeley Unified School District. As we encourage the youth of our community to become involved in music as a lifelong passion, we strive to create a community that prioritizes music as a core part of its character.
Again, we hope you enjoy this evening’s performance of Dvorˇák’s Symphony No. 9 “From the New World”, Ellington’s Black, Brown and Beige, and Gubaidulina’s Concerto for Symphony Orchestra and Jazz Band.
S. Shariq Yosufzai
March 24, 2019 5 Proud Supporter of the Berkeley Symphony
Visit us at HDRremodeling.com or give us a call at 510-845-6100
6 March 24, 2019 Message from the Executive & Artistic Director
elcome to Berkeley Symphony’s first Sunday matinee W performance! We are honored to be joined onstage by our hometown heroes and Berkeley ambassadors, Berkeley High Jazz Ensemble.
Guest conductor Christopher Rountree takes the podium to photo by Marshall Berman lead us in this delightful afternoon adventure. We are grateful for his involvement in the community, embodying the unique spirit of Berkeley. Today’s program is inspired by American tradition and experience. You may be wondering how the music of Czech composer Antonín Dvorˇák and the Russian- born Sofia Gubaidulina fit into this theme. Dvorˇák’s Symphony No. 9 was written in 1892, one year after the composer arrived in America having been hired to run the National Conservatory in New York. Dvorˇák quickly discovered that the roots of American music were not European, they were African-American. Subtitled “From the New World,” the symphony has become one of the world’s most beloved orchestral works, transporting us back to our roots by taking inspiration from African spirituals and common folk songs of its time. The theme from the Largo section is very familiar to many of us as the spiritual Goin’ Home. In 1922, after the composer’s death, one of his students added words to this now familiar melody. From these African roots, there is a thread that brings us to the jazz music of today with Ellington’s Black, Brown and Beige. Rarely performed in its entirety, Black, Brown and Beige is an extended jazz work written by Duke Ellington for his first concert at Carnegie on January 23, 1943. Ellington introduced it at Carnegie Hall as “a parallel to the history of the Negro in America.” It remains Ellington’s longest and most ambitious composition. Our concert finale features the iconic Sofia Gubaidulina’s Concerto for Symphony Orchestra and Jazz Band. Composed in 1976, this work is a 10-minute funkadelic journey that will take us back to the unmistakable sounds from the late 60’s and early 70’s. Although born in Russia, Gubaidulina masterfully captures a period in the American narrative that we celebrate today. It is this thread that we trace back to the roots of tonight’s music that binds us together as a community. Our final concert of the season on Thursday, May 2 welcomes guest conductor Christian Reif. The program will feature Music Alive Composer-in-Residence Anna Clyne’s This Midnight Hour, as well as Thomas Adès’ Dances from Powder Her Face with guest artists from ODC/Dance. Bizet’s Carmen Suite No. 1 and Strauss’ Der Rosenkavalier Suite round out the program. With warmest wishes,
René Mandel
March 24, 2019 7 8 March 24, 2019 Board of Directors & Advisory Council
Board of Directors Executive Committee S. Shariq Yosufzai, President Kathleen G. Henschel, Vice President for Governance Sandra Floyd, Vice President for Development Gertrude Allen, Vice President for Community Engagement Paul Bennett, Vice President for Strategy John Dewes, Treasurer Brian James, Secretary Tricia Swift, Immediate Past President René Mandel, Executive and Artistic Director
Directors Advisory Council (continued) Susan Acquistapace Karen Faircloth William Knuttel Jill Grossman Janet Maestre Ellen L. Hahn Carrie McAlister Buzz & Lisa Hines Sandy McCoy Susan Hone Jan McCutcheon Jennifer Howard & Anthony J. Cascardi Thomas Z. Reicher Edith Jackson Thomas W. Richardson Kenneth A. Johnson & Nina Grove Deborah Shidler Todd Kerr Michel Taddei Jeffrey S. Leiter Bennett Markel Advisory Council Bebe & Colin McRae Jan McCutcheon, Co-Chair Helen & John Meyer Lisa Taylor, Co-Chair Deborah O’Grady & John Adams Kathleen Crandall, Co-Chair Becky & Michael O’Malley Marilyn Collier, Chair Emerita Ed Osborn & Marcia Muggli Michele Benson Judith Bloom Marjorie Randell-Silver Norman Bookstein & Gillian Kuehner Kathy Canfield Shepard & John Shepard Joy Carlin Jutta Singh Ron & Susan Choy James Taylor Richard Collier Alison Teeman & Michael Yovino-Young Dianne Crosby Paul Templeton & Darrell Louie Charli & John Danielsen Anne & Craig Van Dyke Carolyn Doelling Yvette Vloeberghs
March 24, 2019 9 10 March 24, 2019 The Orchestra
Joana Carneiro Music Director Emerita Viola (continued) Kent Nagano Conductor Laureate Keith Lawrence Christina Wong Violin I Kristine Venstrom Franklyn D’Antonio Concertmaster Kristen Steiner Matthew Szemela Associate Concertmaster Peter Liepman Emanuela Nikiforova Assistant Concertmaster Candace Sanderson Cello Shawyon Malek-Salehi Carol Rice Principal Ilana Thomas Sponsored by Getrude Allen Erica Ward Nancy Bien Assistant Principal Lyly Li Wanda Warkentin Annie Li Dina Weinshelbaum Frederick Chang Kenneth Johnson Kevin Chen Margaret Moores Bert Thunstrom Jason Anderson Sylvia Woodmansee Violin II Nicholas Carlin Daniel Flanagan Principal Sponsored by Tricia Swift Bass Stephanie Bibbo Assistant Principal Michel Taddei Principal David Cheng Larisa Kopylovsky Robert Ashley Assistant Principal Stephanie Payne Daniel Lewin Yuchen Liu Jinny Lee Patrick Klobas Ann Eastman Eric Price Kevin Harper Quelani Penland Charles Zhou Flute Emma Moon Principal Sponsored by Janet Maestre Viola in memory of Marcos Maestre Ilana Matfis Principal Stacey Pelinka Alexandra Leem Assistant Principal Laurie Seibold Alexander Volonts continues on page 13
March 24, 2019 11 RETHINKING HIGH SCHOOL Created by Teachers for Students
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12 March 24, 2019 Oboe Bass Trombone Deborah Shidler Principal Kurt Patzner Sponsored by Lisa & Jim Taylor Bennie Cottone Tuba Sarah Rathke Scott Choate Principal English Horn Bennie Cottone Timpani Kevin Neuhoff Principal Clarinet
Roman Fukshansky Principal Percussion Daniel Ferreira Ward Spangler Principal Jeannie Psomas Kevin Neuhoff James Kassis Bass Clarinet Jeannie Psomas Harp Bassoon Constance Koo Principal Carla Wilson Principal Anna Maria Mendieta Ravinder Sehgal Piano Contrabassoon Joan Cifarelli Principal Cynthia Hanson Electric Organ Horn Mary Chun Alex Camphouse Principal Caitlyn Smith Franklin Loren Tayerle Richard Hall Tom Reicher
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14 March 24, 2019 18/19 Season Sponsors
Berkeley Symphony extends its deep appreciation to the following companies and individuals whose generous support has made the 18/19 season possible:
Gertrude Allen
Laura & Paul Bennett
Margaret Dorfman
Ann & Gordon Getty
Jill Grossman
Kathleen G. Henschel & John Dewes
Edith Jackson & Thomas W. Richardson
Rose Ray & Robert Kroll
Tricia Swift
S. Shariq Yosufzai & Brian James
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March 24, 2019 15 Are Your Investments in Tune with Your Goals and Values?
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16 March 24, 2019 Berkeley Sounds Composer Fellows
Anna Clyne, René Mandel, Peter Shin, Ursula Kwong-Brown, and Aiyana Tedi Braun.
n summer 2017, three emerging the Fellows receive artistic and I composers were chosen from career guidance from the Symphony a national candidate pool to artistic staff, orchestra musicians, participate in the inaugural and renowned mentor-composers Berkeley Sounds Composer Fellows and industry professionals. The goal program: Ursula Kwong-Brown of for participating composers is to New York City; Aiyana Tedi Braun, develop a composition style that is currently a student at the Curtis deeply personal and artistically true, Institute in Philadelphia; and yet designed to enter the standard Peter Shin of Kansas City. Through orchestra repertory. the two-season fellowship, the 2017/18 Season Fellowship Highlights composers are mentored by Music Alive Composer-in-Residence • Mentorship sessions with Anna Anna Clyne while developing Clyne, John Adams, Joana Carneiro, compositions to be performed by Berkeley Symphony principal Berkeley Symphony. In addition, musicians and artistic staff
March 24, 2019 17 • Development of new works for Peter Shin, and Ursula Kwong- chamber ensemble inspired by Brown were matched with artwork on display at BAMPFA dance by Berkeley Ballet Theater (Berkeley Art Museum & Pacific choreographers Laura O’Malley, Film Archive) Keon Saghari, and Vanessa Thiessen • Radio interview with DJ Velvet Einstein on KALX What’s Next: 2018/19 Season • Full: Pairs on March 31 at Fellowship Activities BAMPFA: Compositions by Berkeley • Development of new works for Sounds Composer Fellows were chamber orchestra based on poetry paired with pieces written by written by living Bay Area poets their mentors: Aiyana Braun with Jennifer Higdon; Ursula Kwong- • World premieres of chamber Brown with Myra Melford; Peter orchestra pieces to be performed Shin with Ted Hearne; and Anna in partnership with the Bay Area Clyne with Julia Wolfe Book Festival in Berkeley on May 4, 2019 • Full: Symphony and Ballet on April 29 at BAMPFA: World • Additional performances of these premieres of chamber ensemble works on Berkeley Symphony’s pieces written by Aiyana Braun, spring Family Concerts photo by Dave Weiland
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20 March 24, 2019 Symphonic III: Dvořák & Ellington
Sunday, March 24, 2019, 4pm Zellerbach Hall, Berkeley
Christopher Rountree Conductor
Antonín Dvorˇák Symphony No. 9 in E minor, Op. 95, "From the New World"
I. Adagio–Allegro molto II. Largo III. Scherzo. Molto vivace IV. Allegro con fuoco
INTERMISSION
Duke Ellington Black, Brown and Beige
with Berkeley High Jazz Ensemble
Sofia Gubaidulina Concerto for Symphony Orchestra and Jazz Band
with Berkeley High Jazz Ensemble
Today’s concert will be broadcast on KALW 91.7 FM on May 20, 2019, at 9pm.
Please switch off your cell phones, alarms, and other electronic devices
during the concert. Thank you.
Concert Sponsors Today’s performance is made possible by the generous support of Dianne Crosby & Scott Hamilton Paula & John Gambs • Jan McCutcheon Pat & Merrill Shanks • Tricia Swift
March 24, 2019 21 22 March 24, 2019 Program Notes
Antonín Dvorˇák sources, especially from the African- and Native-American Born September 8, 1841, in the sources that inspired the composer. village of Nelahozeves, just north of Prague; died May 1, 1904, in Prague • Half-hidden in the music of “From the New World” may also be Symphony No. 9 in E inspirations from Henry Wadsworth minor, Op. 95, “From the Longfellow’s epic poem of 1854, The New World” Song of Hiawatha.
Composed: 1893 ecember marked the 125th First performance: December 16, D anniversary of the world 1893, at Carnegie Hall in New York, premiere of the last of Antonín with Anton Seidel conducting the Dvorˇák’s symphonies: his Ninth, New York Philharmonic which he designated “From the New Duration: approximately 45 minutes World,” the epithet by which it has become known. The premiere, which Scored for 2 flutes (2nd doubling took place in then-new Carnegie piccolo), 2 oboes (2nd doubling Hall, was the beginning of a English horn), 2 clarinets, successful story that still continues: 2 bassoons, 4 horns, 2 trumpets, few other symphonies have 3 trombones, tuba, timpani, attained such universal popularity, triangle, cymbals, and strings. regularly appearing on orchestral programs every season. And, as you In sum: would expect from such a treasured • Composed during Czech composer cultural icon, a good deal of myth Dvorˇák’s stay in the United States, and mistaken assumptions continue where he headed a progressive new to surround it. conservatory in the early 1890s, the By the 1890s, Dvorˇák was one of “New World Symphony” has kept the most highly regarded living its place as one of the most beloved composers. Despite his deep-seated symphonies—which means there fear of traveling, he made the are quite a few myths attached to lengthy voyage to the New World the work as well. for a sojourn in the United States • One of the main controversies that lasted from 1892 to 1895 (with about the Symphony has to do one five-month interlude back with its actual relation to American home). Like Haydn’s late-life visits
March 24, 2019 23 ESTRO MA E H T M O R F
“When I think about the role of an orchestra in a community I always come back to the etymological definition of the words Symphony and Philharmonic. I think of Symphony like the genus’’ to Philharmonic’s species,’’ Symphony is the parallelogram to Philharmonic’s square—you get the idea. Symphony’s ancient definition revolves around the the’ joining of forces’ or “the coming together of disparate elements to create the whole’ where Philharmonic is a little more specifically the’ place where a community gathers to share music’ or the’ place for all music, the watering hole where we meet to drink in sound together.’ What I love about these definitions is their ability to communicate a hierarchy-less system where all sound, all musics, all musicians, the audience, the band on stage, everyone present is equal and in that equality: observing music’s transformative power together.”
24 March 24, 2019 to England, the encounter proved this point, Dvorˇák had reached to be of great significance not only a moment in his career when it for Dvorˇák but for the fledgling proved to his advantage to have musical scene of the United States. a reprieve from “certain artistic Dvorˇák himself came back home pressures in Europe,” Beckerman profoundly influenced by the notes, referring to his being encounter, as the musicologist typecast as the successor to Michael B. Beckerman explores in Brahms—which is to say as an his book New Worlds of Dvorˇák. exponent of “absolute” music without an associated program. So how did the pre-eminent Czech composer of his day end Himself a minority within the up in America in the early 1890s? Austro-Hungarian Empire, the Antonín Dvorˇák had been invited Czech Dvorˇák shared in Jeanette to direct the newly established Thurber’s progressive vision National Conservatory of Music of music as a power to enable located in New York City’s Lower those without a voice. He was East Side. The Conservatory understandably sensitive to was the brainchild of the the spirit of what he considered philanthropist Jeannette Thurber, indigenous American folk music. whose millionaire husband had Soon after arriving in New York, he amassed a fortune from his observed that America possessed success in the grocery business. rich raw material in its own folk idioms, remarking that “the future Thurber’s ambitious dream was to music of this country must be foster an authentically American founded on what are called Negro art when Eurocentric cultural melodies.” values predominated—a typical choice for someone desiring a The mistaken belief that serious career in music was to inexperienced prospective head abroad for training. Thurber’s composers had to wait for Dvorˇák to light the way toward even progressive ideas extended to thinking about an authentic opening up the Conservatory to style in a benighted America is welcome and support women, one of several myths around this African-Americans, and other work that have taken hold. The minorities as students. musicologist Douglas Shadle, an Dvorˇák’s American sojourn yielded expert in the history of American tremendous artistic payoff and orchestral music, points out helped to further expand the that “American composers composer’s reputation (and his were wrestling with national fortune, since Thurber offered a identity long before Dvorˇák’s fabulously generous salary). By arrival.” Indeed, it was one of the
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Well Orchestrated Travel whether simple or sublime
26 March 24, 2019 composer’s black students at the from both literary works and the Conservatory, Harry Burleigh, composer’s own life as well. who exposed Dvorˇák to a range of What to listen for African-American spirituals. Dvorˇák’s gestures are concise At the same time, Dvorˇák and concentrated but also highly disclaimed quoting actual dramatic. Easily recognizable American melodies in this score from its upward-downward (whether from spirituals or direction, the main thematic idea ritual Native American music) heard on the horns comes back and pointed out that he wrote in each movement and generates “original themes” touched by additional themes (such as the the flavor peculiar to indigenous lovely pastoral one entrusted American elements but treated to the flute later in the first with all the “modern” resources movement). of symphonic writing. A telling example of how complex the Dvorˇák had long been intrigued issue became occurs in the Largo, by Henry Wadsworth Longfellow’s which contains the Symphony’s epic poem of 1854, The Song of best-known tune (played first by Hiawatha, and he remarked that English horn). It sounds so much the Largo grew from a sketch like a spiritual that one of Dvorˇák’s for an operatic treatment of students later penned lyrics to it the story (though that project (“Goin’ Home”), creating a version was never realized), adding that that itself then became known on the Scherzo had been inspired its own as a latter-day spiritual. by a scene “where the Indians And the famous flute tune in the dance.” Whatever the half-hidden first movement, which seems to programmatic elements, this is quote “Swing Low, Sweet Chariot,” music of deeply engaging beauty, is actually a cousin of the main framed by magical, “fairy-tale” theme. chords at the outset.
While the Symphony No. 9 is The Scherzo is propelled by a often discussed in terms of the rhythmic energy that brings stimulation from new American to mind Dvorˇák’s Bohemian surroundings—musical, social, homeland, while a rousing brass and scenic—as well as of fanfare launches the finale, where influences from Native- and material from the preceding African-American sources, movements reappears. Dvorˇák Dvorˇák’s characteristic Bohemian makes space for his richly melodic flavors also pervade the score. gift while at the same time shaping Scholars continue to ponder an urgent climax. The critic David evidence of hidden “subtexts” Hurwitz has described the ending
March 24, 2019 27 FRO M T HE M
A E S T R
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“So if our charge in a symphony is one of creating
space for this coming together and sharing of all music,
what a perfect thing it is to share it with musicians and
photo Muriel Hahn CC music lovers of all ages and all disciplines. Building a show and a partnership around jazz and around the brilliance of young musicians becomes integral, mandatory even, in achieving our goals. Having worked a bit the past month or so with Berkeley High Jazz musicians, I guess my big question is: do you know how lucky you are to have them up here? They are incredible. I’ve worked with thousands of high school students across the country over the last few decades and these players are en masse among the finest and fiercest players I’ve heard. The program that Sarah Cline has created at Berkeley is singular, important regionally and nationally. I can’t tell you how much joy it brings me to see young players succeeding with such brilliance. But it’s quite a lot.”
28 March 24, 2019 as a “tragic finale” and observes that the height of the Second World War. “even that very American-sounding • “A tone parallel to the history of the boogie-woogie bass line and last- American Negro,” is how Ellington minute turn to the major key can’t described the work, which also efface the sadness that lingers as the conveys a message of the struggles, final chord fades slowly and gently to spirituality, and creativity of African- triple piano.” Americans.
• Ellington wanted to push the language and art of jazz into new Duke Ellington territory, doing so here with an Edward Kennedy “Duke” Ellington: experiment in long form. Later born April 29, 1899, in Washington, rearrangements include the one D.C.; died May 24, 1974, in New York we hear, by Maurice Peress, which City is about one-third as long as the original. Black, Brown and Beige
Composed: 1943; symphonic ne of the indelible shaping forces orchestration made in 1970 by O of American music came of Maurice Peress age in the nation’s capital. Edward Kennedy Ellington spent part of his First performance (of the full work): childhood on Ward Place—just a bit January 23, 1943, at Carnegie Hall over a mile from the White House, (following a preview the day before at where his father worked gigs as a The High School in Westchester, New caterer. Both parents enjoyed playing York) the piano and gave their son artistic Duration: approximately 18 minutes encouragement from an early age.
Scored for 2 flutes and piccolo The nickname “Duke” dates back (doubling alto flute), 2 oboes, 2 to his early high school years, clarinets, bass clarinet (doubling when a friend, the composer later baritone saxophone), 2 bassoons, recalled, “felt that in order for contrabassoon, alto saxophone, me to be eligible for his constant 4 horns, 4 trumpets, 3 trombones, companionship I should have a tuba, timpani, drum set, 2 title.” By the time he began writing percussionists, jazz bass, harp, and his expansive orchestral works in strings. the 1940s, Ellington had long since proved his musical royalty as a In sum: bandleader, pianist, composer, and • Black, Brown and Beige was the musical pioneer, but he refused to first of Duke Ellington’s legendary rest on his laurels. Eager to break Carnegie Hall concerts, introduced at through formal and genre barriers,
March 24, 2019 29 Manager: June McDaniels Music for Your Life Realtors: Kathleen Crandall Cheryl Berger Mark Hardwicke Sarah Torney Priscilla Rice Glen Bell Wendy Louie Proud supporter of the Berkeley Symphony Brenda Walker Victoria Curtis Lela Logene Butler Berkeley Regional Office: 2095 Rose Street Norman Gee 510.868.1400 | www.bhgre.com Martha Park
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30 March 24, 2019 he experimented with more extended typescript documenting his ideas is compositions for concerts and part of the Duke Ellington Collection even branched out into the musical at the Smithsonian Institution. theater with his 1941 musical revue That project never materialized, but Jump for Joy, which opened to raves in Ellington later channeled some of its Los Angeles (though it never made it material into Black, Brown and Beige, to Broadway). which became the centerpiece of the first Carnegie concert in 1943, After Jump for Joy closed, Ellington marking the end of “Ellington Week began working on his most ambitious in New York” (a celebration of his composition to date, which has first two decades own the music become known as Black, Brown scene). and Beige. He introduced it at his legendary concert at Carnegie Hall While highly popular with the on January 23, 1943, inaugurating a standing-room-only audience, many relationship with that venue (where critics (who otherwise admired his the “New World Symphony” had music) didn’t know what to make been premiered in 1893). Over the of it and complained that Ellington next several years, Ellington would lacked a convincing sense of form give one major concert a season at over such a long stretch. Paul Bowles Carnegie in which he presented a (novelist and composer) worked new major long-form work bridging himself into a self-contradictory the gap between what was generally tangle by opining that, while classified as jazz and classical. Other “Ellington is the only jazz musician such works included New World whose programs have enough A-Comin’, Liberian Suite, Perfume Suite, musical interest to be judged by the and A Tonal Group. Later, Ellington same standards one applies to art produced such masterful works as music . . . the whole attempt to fuse Harlem (one of his personal favorites, jazz as a form with art music should written to fulfill a commission from be discouraged.” the NBC Symphony in 1950), ballet In any case, after another scores and incidental music, and, performance in Boston, Ellington at the culmination of his career, never performed the suite/tone his wonderful series of “sacred poem in its entirety, only individual concerts.” These visionary efforts sections. The moving “Come Sunday” had an enormous impact on the section, for example, became development of jazz and its role in a signature tune. The work has cultural life. had a rich afterlife in numerous Already in the 1930s, Ellington subsequent versions, such as the contemplated writing an opera on 1958 album with Mahalia Jackson, the history of the African-American Black, Brown and Beige, and other experience, to be named Boola. A rearrangements—including the
March 24, 2019 31 FRO M T HE M
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“Why Gubaidulina, Ellington, Dvorˇák: Why here? Why now?
photo © Rus Anson
Dvorˇák’s New World, Ellington’s Black, Brown and Beige and
Gubaidulina’s Concerto for Two Orchestras are three of my favorite
pieces ever. And while that doesn’t really pass muster as far as creating a thoughtful program goes, I believe starting from the love of a thing is a start. One of our big questions with the program is: where does jazz fit in the history of orchestral music? And what can jazz teach us?
We present Ellington’s epic masterpiece Black, Brown and Beige, squarely in the center of the history of American music, jazz and classica, with no separation between the two. The radical Sofia Gubaidulina’s hommage hommage to J.S. Bach—where she found funk stratified within the layers of her religious music—uses jazz to press the boundaries of the Iron Curtain. And with his New World Symphony we present Dvorˇák’s notion that the real foundation of any serious and original school of American composition would be formed on African American music. And though at our time in history we should, and do, look critically at Dvorˇák’s borrowing, he was a true radical activist in his era, introducig American music, in fact, to itself.”
32 March 24, 2019 one we hear, made in 1970 by The music begins majestically the conductor Maurice Peress with the outspoken theme “A (1930-2017), a former assistant Work Song,” presenting this to Leonard Bernstein. With the against varying backgrounds composer’s approval, Peress made and moods in the longest of the this “symphonic orchestration,” three sections. The signature conducting its premiere in Chicago solos that Ellington allotted to on July 5, 1970. his star players are preserved at several moments in Peress’ In Music Is My Mistress, the memoir treatment—here, in an extended he published the year before his trombone solo with plunger mute death, Ellington notes that all of that segues into “Brown,” the the proceeds from the Carnegie equivalent of a meditative slow concert went to the war effort movement. This is the spiritual (for the Russian relief fund). heart of the suite, the wistful “Come He describes Brown, Beige and Sunday” melody juxtaposed with Black as “a tone parallel to the contrasting interpolations of swing history of the American Negro,” and blues and leading to the solo opening with an exploration, in alto sax’s version of the spiritual. “Black,” of “the close relationship As an uptempo finale, “Beige” between the working songs and kaleidoscopically merges the spirituals.” “Brown” recognizes the “Working Song” theme with “Come contributions made by African- Sunday.” In whatever orchestral Americans to the country’s war dress or rearrangement it appears, struggles, and the final “Beige” Ellington’s musical imagination turns its gaze to the creativity never fails to stir and dazzle. and brilliance represented by contemporary Harlem.
What to listen for Sofia Gubaidulina
Peress’ suite condenses the Born October 24, 1931; currently original tone poem, which resides in Hamburg, Germany lasted about 50 minutes, into an 18-minute symphonic suite. Played Concerto for Symphony seamlessly, its three sections retain Orchestra and Jazz Band the titles that originally pertained Composed: 1976 to subsections of “Black”: “A Work Song,” Come Sunday,” and First performance: January 16, “Light” (in Peress’ score, these now 1978, with Alexander Mikhailov correspond to the three sections conducting the Symphonic Pops “Black,” “Brown,” and “Beige,” Orchestra of the State Radio and respectively). Television Network of the USSR
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34 March 24, 2019 Duration: approximately. 10 ofia Gubaidulina was born minutes S just a few years before Dmitri Shostakovich’s shattering fall from Scored for orchestra of 3 flutes, grace occurred in 1936, when he was 3 clarinets, 4 horns, 3 trumpets, 3 officially admonished by Soviet trombones, tuba, 3 percussionists, authorities for writing “decadent” piano, and strings; and jazz music. From that point on, even band of alto, tenor, and baritone though he was lauded as a war saxophones, 2 horns, 4 trumpets, 4 hero during the Second World War, trombones, 2 jazz percussionists, 2 Shostakovich had to continually harps, guitar, electric organ, bass skate on thin ice, negotiating a guitar, and 3 sopranos (amplified + balance between creative identity echo effect), along with tape (with and official acceptance—indeed, text by Afanasy Fet) survival itself.
In sum: The 1936 condemnation would • Advised by Shostakovich to reverberate for succeeding follow her own path, even if it composers under Soviet rule like Gubaidulina—though sometimes meant being officially “incorrect,” in subtler ways—because it set Sofia Gubaidulina developed into a pattern of tension between one of the boldest, most original conformity and following one’s voices of the 20th century and has artistic conscience. The stakes continued to be a potent creative weren’t just abstract questions about force up to the present. beauty: they could be dangerously, • Gubaidulina’s subversive musical tangibly concrete. tendencies put her at odds with Before she moved to Moscow, USSR authorities, and she had to Gubaidulina came of age in the great get by at an earlier stage in her crossroads city of Kazan on the career by writing film music and Volga River in the Tatar Republic (at other such one-off requests as the time part of the Soviet Union). this one for a “music hall”-style Her father was a Tatar while her entrainment. mother was Russian; her ethnic • The Concerto for Symphony background thus blends East and Orchestra and Jazz Band dates West. She matured in the officially from 1976 and contains surprises atheist culture of Communism, only even for those who know to convert to the Russian Orthodox Gubaidulina’s music in general. Church in 1970, thus formalizing The worlds of avant-garde a fascination with religion that experimentalism and a kind of dated back to her childhood. This jazz funk collide and intersect intensified her belief that the throughout the piece. composer’s calling involves no less
March 24, 2019 35 SpEciAl hAnd-mAde chOcOlatES tO SurpriSE And inSpirE yOur tAStE budS
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36 March 24, 2019 than to attempt “the recomposition specifically by her Russian Orthodox of spiritual integrity through the faith and in more general terms by composition of music.” a mystically oriented spirituality—a trait that eventually blossomed Sofia Gubaidulina’s perspective into one of her most recognizable as half-Slav, half-Tatar (with signatures. Even the presumably Russian as her native language) has secular genre of the violin concerto profoundly affected her attitude acquires a religious aspect in her of artistic curiosity and eagerness take on it in the work Offertorium, to explore new sonorities beyond which uses material from J.S. Bach the traditional core of Western to reflect on Christian concepts of ensembles. She began composing sacrifice. The work was written for at a very early age. Studies in Kazan and championed by the violinist were followed by a period at the Gidon Kremer, whose successful Moscow Conservatory, where, advocacy put the composer on the although she had been awarded a international map in the early 1980s. state fellowship, she already began After the breakup of the USSR, she to stir controversy. Shostakovich emigrated to the West and settled in himself served on the board that Germany. evaluated her work. He gave the After graduating from the young composer encouragement conservatory, Gubaidulina spent she would never forget: “Don’t be some working in an experimental afraid to be yourself. My wish for studio for electronic music in you is that you should continue on Moscow, but avant-garde trends your own, incorrect path.” were discouraged. Like many other Among Gubaidulina’s errors was an composers deemed “subversive” in interest in religious themes inspired the Soviet era, she faced opposition
Family Concerts
Led by Ming Luke, these popular Saturday morning performances engage the entire family in a fun and interactive experience, guaranteed to spark a life-long interest in and passion for music.
Saturday, May 4, 10am & 11:30am Longfellow Middle School: 1500 Derby Street, Berkeley Free Admission—Donations Welcome
March 24, 2019 37 38 March 24, 2019 from official channels and found What to listen for an outlet composing film scores, Even those familiar with which gave her some leeway to play Gubaidulina’s music as it is usually with ideas and try out new sounds, encountered—even in series focused as well as in a trio devoted to on contemporary music—are in improvisational performance based for a shock with this piece. (One on folk musics of the Soviet Union. friend describes it as “the missing There were also one-of-a-kind link between Gil Evans and Björk, a projects like the one that resulted highbrow Lalo Schifrin.”) Gubaidulina in the Concerto for Symphony begins with a mournful theme from Orchestra and Jazz Band. Written in the bells, soon clouded by dense 1976, during a personally difficult harmonies, and all seems “as it should time in the composer’s career, the be” for an introspective, perhaps even piece originated as a request from grim, piece of experimental music. conductor Alexander Mikhailov, The volume grows and, as if we’ve who had launched “ballet on ice” suddenly been thrust into the wrong and wanted to enlist Gubaidulina to studio, the jazz band breaks out into write music for a “music hall” that a groove of its own, with electric would actually have official funding and bass guitars, tom tom beats, in Moscow, according to bographer and amplified vocalists glissandoing Michael Kurtz. He writes: “Such on wordless syllables (think funky theaters had been built in the Soviet 1960s/70s soundtracks). Union in the 1930s for productions of light music, dance shows, and These two worlds continue to collide circus acts—following the American and intersect, the saxes (possibly) model.” quoting a motif from Tristan und Isolde, the orchestra adding opaque, surreal Gubaidulina was asked to come up harmonies and rustling shivers from with something combining popular the strings. The temperature heats up and serious idioms. Her initial title into a frantic climax accentuated by was Concerto Grosso, alluding to the the gong. Bells and voices reiterate Baroque idea of a concerto in which the moody music from the opening, a smaller “band” plays off against a which grows more mysterious and larger ensemble. Mikhailov’s project once again, slowly, begins to intensify did not pan out, but the composer into a soundscape of wild trills and was fortunate that he was able to tremolos. This opens up into another perform and record it—and she climactic, more romantic, outpouring even got paid (a rarity at the time before Gubaidulina suddenly dims for Gubaidulina). Kurtz reports that down the volume, tapering into an icy it became a “popular ballet piece” B minor chord high in the flutes. that was choreographed in Moscow and Estonia. —© 2019 Thomas May.
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40 March 24, 2019 Conductor: Christopher Rountree
most renowned ensembles through new music’s most exciting works at the world’s greatest concert halls, photo © Rus Anson Rountree is the lynchpin between orchestral music and the future of performance.
Rountree is well-known for creating the renegade 24-piece ensemble Wild Up in 2010. The group’s eccentric mix of new music, pop and performance art quickly jumped from raucous DIY bar shows to being lauded as the vanguard for classical music by critics for The New York Times, The Los Angeles Times, The Wall Street Journal and public radio’s Performance Today. Now an institution in its own right, the success of Wild Up has led Rountree to collaborations with Björk, John Adams, David Lang, Scott Walker, and many of the planet’s greatest orchestras and ensembles.
onductor, music director, “I think of scenarios that will C curator, composer, and change people’s mind about orchestra founder Christopher something, then set them up, and Rountree has distinguished himself see what happens,” Rountree, 35, as one of classical music’s most says of his approach. “If I can forward-thinking innovators in imagine how a program will live in programming, conducting and a space and that thought makes me community building. Whether smile, then I’m ready to start.” presenting his beloved chamber Rountree’s vision is fully realized group Wild Up in a museum this year and next as he curates bathroom, or leading the country’s and conducts the Los Angeles
March 24, 2019 41 Philharmonic’s FLUXUS Festival, conducted Ted Hearne’s 21st the experimental music century masterwork Law of Mosaics component of the Phil’s 100th with the Chicago Symphony; season in collaboration with gave the world premiere of Missy the Getty Research Institute. Mazzoli’s opera about the death The 16-concert FLUXUS Festival of the American Dream, Proving unites icons of contemporary art Up, at Washington National with classical music for the first Opera; made multiple returns to time, placing Yoko Ono next to the San Francisco Symphony’s Ryoji Ikeda; La Monte Young next SoundBox series; conducted the to Steven Takasugi next to John world premiere of David Lang’s Cage. Ragnar Kjartansson’s Bliss, opera anatomy theater at LA Opera; an ecstatic 12-hour rendering of and premiered Annie Gosfield Mozart, stands next to Alison and Yuval Sharon’s magnum opus Knowles’ Make a Salad, performed War of the Worlds with Sigourney by 1,700 people. Lang’s crowd out Weaver, Los Angeles Mayor takes over a block in downtown Eric Garcetti and the LA Phil, L.A., as orchestra musicians simultaneously performed all over launch the watermelons of Ken downtown Los Angeles and at Friedman’s Sonata for Melons and Walt Disney Concert Hall. Gravity off the top of Walt Disney In the coming year Rountree Concert Hall. debuts with the Cincinnati As he’s become regarded as one of Symphony Orchestra, conducting the most exciting and iconoclastic John Adams’ The Dharma at Big conductors and programmers in Sur, and with Berkeley Symphony the field, Rountree’s inimitable conducting Sofia Gubaidulina’s style has taken him to revered rarely performed Concerto for concert halls the world over. In Symphony Orchestra and Jazz September 2018, Rountree debuted Band and Duke Ellington’s Black, with Martha Graham Dance Brown and Beige. He will also give Company and Opéra national de the New York premiere of Missy Paris, conducting Rite of Spring, Mazzoli’s Proving Up at Miller Samuel Barber’s Medea, and the Theater, and make his subscription Paris premiere of the Graham/ debut with the LA Phil leading Copland Appalachian Spring at Berio’s Sinfonia and John Cage’s Palais Garnier. Over the last couple Apartment House 1776 with Roomful of years, Rountree made his of Teeth. He takes Wild Up on Lincoln Center debut premiering tour with audience interactive Ashley Fure’s Pulitzer finalist programs celebrating local piece Bound to the Bow on the New communities and the intersection York Philharmonic’s Biennale; of art and social justice; premieres
42 March 24, 2019 new pieces by Julianna Barwick and experience watching whatever it is Andrew Greenwald at Walt Disney that the band is doing up there on Concert Hall; unveils Ascension, an stage, and their conversations when evening length program with Ted they leave the hall,” Rountree says. Hearne, George Lewis, Jen Hill and “Then I see the space the way I want Weston Olencki about religion, space it to be: the light, the air, the taste of and the Internet; makes his debut on the room. Then the band: I see all the the Ecstatic Music Festival with new challenges, fights and elation they’re work by William Brittelle and Zola going to have in rehearsal and I Jesus; plays a live radio show at the imagine the way that we’ll all feel ACE Hotel with Nadia Sirota, Andrew when the time is right and we make Norman and Caroline Shaw; curates that choice to walk on stage to start a joint program with LA Chamber the show.” Orchestra and Four Larks at Hauser & A seventh-generation California Wirth; and conducts a new program native descended from Santa Cruz called Eve with Martha Graham County sheriffs, Rountree lives in the Dance Company at The Soraya. Highland Park neighborhood of Los “I envision the audience first: their Angeles.
March 24, 2019 43 44 March 24, 2019 Guest Artists
Berkeley High wide jazz competitions and often earned a spot at the Monterey Jazz Ensemble Jazz Festival. Many Berkeley High r. Herb Wong brought jazz School Jazz students went on to D to the Berkeley elementary become professional musicians— and middle schools. He hired Peter Apfelbaum, Benny Green, professional jazz musicians to Steven Bernstein to name a few. teach Berkeley students. Dick With Phil Hardymon, the Berkeley Whitington and Phil Hardymon Jazz Program thus developed into a national model of instrumental were two of those teachers. When education. Phil Hardymon became the band director at Berkeley High School in Charles Hamilton took over 1975, he established the jazz band leadership of the Jazz Ensemble as the culmination for students in 1981. The band continued to who had gained the basics in their thrive and develop some of the elementary and middle schools. best musicians in the jazz world, Under Hardymon’s leadership, including Joshua Redman, Ambrose the band began winning state- Akinmusire, and Dave Ellis.
March 24, 2019 45 The Ensemble has performed in venues large and small. In 1997, they performed by invitation at the Montreux and North Sea Jazz Festivals. In the summer of 1999, the Ensemble toured Japan and began the 1999-2000 school year with an appearance at the Monterey Jazz Festival. Over the many years, numerous BHSJ students have won individual and Jazz Combo awards at Jazz festivals and have been awarded music scholarships to the best music schools in the nation. In both 2012 and 2013, the top BHS Jazz Combos won first place at the Next Generation Jazz Festival in Monterey earning them a slot at the Monterey Jazz Festival. In 2012 and in 2013, two different top BHS Jazz Combos were named High School Combo of the Year by Downbeat Magazine. In 2015 the top BHS Jazz top flight college music programs. Combo was invited to participate in During her time at Berkeley High, the Mingus Jazz Festival in New York she has led four tours to Cuba, City where they won the top combo collaborating with La Escuela award. Nacional de la Musica in Havana. Sarah is the founder of JazzGirls In 2011, Sarah Cline became the Day, an event that now is spreading Director of the Berkeley High Jazz to communities across the US that Program, beginning a new era in encourages young women to see a the history of jazz at Berkeley High place for themselves in the world School. of jazz. In addition to her teaching Berkeley High School Jazz Ensemble duties, Sarah is an in-demand is led by Sarah Cline who is in professional trombonist in the San her ninth year as Jazz Director at Francisco Bay Area in both jazz and Berkeley High School, a premier salsa bands. She has presented at jazz program known nationally the American Educational Research and internationally as an incubator Association Conference, the Jazz of talent and a citadel of swing. Education Network Conference, Her students regularly represent and the California All-State Music at high level festivals and get into Education Conference.
46 March 24, 2019 About Berkeley Symphony photo by Dave Weiland
erkeley Symphony is unique culturally diverse people and the B among Bay Area and American heady creative climate of their orchestras for its commitment home city. to innovation, community, and Thomas Rarick, a protégé of the excellence. Founded in 1971 in the great English maestro Sir Adrian intellectual and artistic nexus of Boult, founded the orchestra in 1971 Berkeley, California, the Orchestra as Berkeley Promenade Orchestra. is committed to premiering and Reflecting the spirit of the times, commissioning new music and musicians performed in street champions female composers, dress and at unusual locations sustained by the supportive musical such as the University Art Museum. environment of Berkeley, the East When Kent Nagano became the Bay, and the San Francisco Bay Area. music director of the orchestra in From the outset, the people behind 1978, he charted a new course by Berkeley Symphony’s culture and offering innovative programming programming were attuned to the that included rarely performed
March 24, 2019 47 photo by Dave Weiland
20th-century works and numerous In 2016, Berkeley Symphony premieres. The renamed Berkeley and composer Anna Clyne were Symphony Orchestra gained an awarded a Music Alive grant for a international reputation for its three-year composer residency, adventurous programming, and designed to immerse Clyne and became known for premiering the the Symphony in the creation of music of international composers new work, collaboration with other and showcasing young local Berkeley arts institutions, music talents. education, community outreach Berkeley Symphony entered a new and multidisciplinary activities. era in January 2009 when Joana Following Music Director Joana Carneiro became the Orchestra’s Carneiro’s decision to step down third Music Director in its 40-year from the position in 2018, Berkeley history. Under Carneiro, the Symphony named her Music Orchestra continued its tradition Director Emerita and formed a of presenting the cutting edge of committee to determine the future classical music for nine seasons. of artistic leadership.
48 March 24, 2019 Thank you to Joana Carneiro for her adventurous artistic vision and leadership for nine seasons as our beloved Music Director and Conductor.
March 24, 2019 49 Music in the Schools
Ming Luke, Education Director & Conductor
ore than 4,700 school Or simply mail your contribution to: M children benefit each year Berkeley Symphony, from Berkeley Symphony’s award- Music in the Schools Fund, winning Music in the Schools 1942 University Ave. Suite #207, program, which provides: Berkeley, CA 94704 berkeleysymphony.org/mits • Over 200 In-class Sessions led by Berkeley Symphony musicians, plus curriculum booklets with age Music in the Schools Sponsors appropriate lessons addressing (Gifts of $2,500 and above annually) state standards for music Gifts received between February 1, 2018 and education. March 5, 2019 • Over 65 Band and Orchestra $10,000 and above Sectionals, coaching sessions, Ann & Gordon Getty master classes, and adjudications Berkeley Public Schools Fund at all three BUSD middle schools. Bernard E. & Alba Witkin Charitable Foundation • Eleven Meet the Symphony California Arts Council concerts in elementary schools National Endowment for the Arts The Familian Levinson Foundation each fall. Rose Ray & Robert Kroll • Six I’m a Performer concerts S. Shariq Yosufzai & Brian James giving young musicians the $5,000 and above opportunity to rehearse and Laura & Paul V. Bennett perform with Berkeley Symphony. Jefferson Han & Jennifer Benzaca Kathleen G. Henschel & John W. Dewes All Music in the Schools Edith Jackson & Thomas W. Richardson Jr. programming is 100% free of charge Helen & John Meyer for children and their families. We Ama Torrance & C.J. David Davies Music Performance Trust Fund are grateful to the donors listed on this page whose financial $2,500 and above contributions support Music in the Gertrude Allen Schools. Please join those making Sallie & Edward Arens Music in the Schools a reality! Susan & Ronald Choy Paula & John Gambs Donate online and designate Jan McCutcheon your gift as “Restricted—Music Lisa & James Taylor in the Schools Program.” Union Bank Foundation
50 March 24, 2019 Music in the Schools Luncheon
he 11th Annual Music in the in-school music education programs T Schools (MITS) Luncheon, held that will build the symphony on February 11th, was a celebration audience of the future. From of the continued work toward kindergarten through high school, engaging the students of our students are given consistent access community and in honor of our to high quality music education excellent teachers in the Berkeley through passionate teachers, tuned Unified School District. Of these up instruments, and supportive teachers, Mary Dougherty was families. Through this annual chosen as our honoree for the luncheon, we are able to show our event. Ming Luke, our Education appreciation for the educators and Director, spoke of Mary as being to demonstrate the impact that the one of his favorite people. program has on our community to those who attend the luncheon. One of the aims of Berkeley Symphony is to provide free Students of the Berkeley High
March 24, 2019 51 School Band & Orchestra performed bringing many students joy through music during the wine reception music making. Our gratitude for the and represented the MITS program music teachers in our community is through their talents. These students immeasurable, as they are a keystone received access to professional part of cultivating well-rounded musicians through the in school students and the symphony audience concerts provided by the MITS of the future. program. Luke provided details at the luncheon about these in-school concerts and how it makes classical music more accessible to even the youngest student.
Shariq Yosufzai, Board President, presented the award to Dougherty at the event, honoring her as a valuable part of the BUSD team and in all of the ensembles in which she participates. Her impact on the music students of Berkeley schools is one that will continue into the future,
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54 March 24, 2019 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 Jim Tibbs at 510.841.2800 x305 or [email protected].
What Planned Giving Means
Planned gifts contribute to the future security of Berkeley Symphony. You can make a significant impact on Berkeley Symphony’s future financial health through a gift that costs nothing during your lifetime.
A planned gift offers the opportunity to include Berkeley Symphony as a part of your legacy and provides for substantial tax savings for donors. Leave a legacy of philanthropic support by making Berkeley Symphony a part of your estate planning.
Legacies Pledged Gertrude Allen Kenneth Johnson & Joan Balter Nina Grove Norman Bookstein & Jeffrey S. Leiter Gillian Kuehner Janet & Kathleen G. Henschel Marcos Maestre Bennett Markel Tricia Swift
Legacies Received Rochelle D. Ridgway Margaret Stuart E. Harry Weininger Graupner Lisa Taylor
March 24, 2019 55 SUNDAY, APRIL 14, 5pm SATURDAY, MAY 4, CHAMBER 10am & 11:30am ANNA CLYNE PRESENTS FAMILY CONCERTS Piedmont Berkeley
THURSDAY, MAY 2, 8pm SYMPHONIC at Symphonic Zellerbach Hall, Berkeley CLYNE & STRAUSS CHAMBER at Zellerbach, Berkeley Piedmont Center for the Arts
56 March 24, 2019 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. The generosity of supporters like you allows us to take audiences on adventures that leave them with amazement, to support commissions of world-class composers, to present premieres, and to impact the lives of thousands of children in hundreds of classrooms each year.
Gifts received between February 1, 2018 and March 5, 2019.
Sponsor Circle GIFTS
Season Sponsors Executive Sponsors $50,000 and above $10,000 and above (continued) Ann & Gordon Getty Susan Meadows Hone & Kathleen G. Henschel & John W. Jeffrey S. Leiter Dewes Janet Maestre Helen & John Meyer Jan McCutcheon S. Shariq Yosufzai & Brian Tricia Swift James Lisa & James Taylor
Season Sponsors Founding Sponsors $25,000 and above $5,000 and above Anonymous Allison Baker Gertrude E. Allen Natasha Beery & Sandy Laura & Paul V. Bennett McCoy Edith Jackson & Thomas W. Susan & Ronald Choy Richardson Jr. Diane Crosby & Scott Rose Ray & Robert Kroll Hamilton Margaret Dorfman Sandra & Kit Floyd Jefferson Han & Jennifer Executive Sponsors Banzaca $10,000 and above Sarah Coade Mandell & Peter Anonymous Mandell Susan & Jim Acquistapace Marcia Muggli & Ed Osborn Kathleen Crandall & Lori Gitter Deborah O’Grady & John Jill Grossman Adams William Knuttel Maggie Lou Perkes
March 24, 2019 57 SPONSOR Circle GIFTS Concertmaster Level (continued) Gifts of $1,500 and above (continued) Kathy Canfield Shepard & Founding Sponsors John Shepard $5,000 and above (continued) Richard & Christine Colton Pat & Merrill Shanks Dr. Charles M. Crane Sandra Silva & Gene Borstel John & Charli Danielsen Paul Templeton & Darrell Karen Faircloth Louie Susan Meadows Hone & Ama Torrance & C.J. Jeffrey S. Leiter David Davies Will & Anna Hoover Jennifer Howard & Tony Conductor Level Cascardi $2,500 and above Fred Jacobson & Mary Anonymous Murtagh Sallie & Edward Arens Gillian Kuehner & Norman Marilyn & Richard Collier A. Bookstein Anne B. Corcos René Mandel Dean Francis Lois & Gary Marcus Paula & John Gambs Bebe & Colin McRae Ellen Hahn Noel & Penny Nellis Buzz & Lisa Hines Bridget O’Keeffe Mark Lubin Michel Taddei Arthur & Martha Jim Tibbs & Philip Anderson Luehrmann Anne & Craig Van Dyke Bennett Markel Ralph Mendelson Principal Level Deborah Shidler & Gifts of $1,000 and above David Burkhart Anonymous Harriet H. Simpson Carol Baird & Alan Harper Tia Stoller & Drew Detsch Virginia & Stuart Canin Alison Teeman & Michael Gray Cathrall Yovino-Young Ms. Carol Christ Ed Vine & Ellen Singer-Vine Connemara Fund Angela & William Young Mary & Stan Friedman Doris Fukawa & Marijan Concertmaster Level Pevec Gifts of $1,500 and above Olivia & Chuck Hasty Judith L. Bloom Dr. Lucinda Lee Katz
58 March 24, 2019 Principal Level Marc A. Roth Gifts of $1,000 and above (continued) Charles Scanlan Robin Laub Susanna Schevill & Robert Helen Marcus Sinai Michael McCutcheon Ginny & William Schultz Jane Neilson Ms. Marcy Wong Ditsa & Alexander Pines Katinka Wyle Mary & Thomas Reicher Patricia Yocom & Jerry Placken
Friends of Berkeley Symphony GIFTS
Assistant Principal Level Associate Principal Level $750 and above $250 and above (continued) Maryam Boghratian Will Bartlett Ernie Brown Michele Benson Kate & Daniel Funk Ms. Bonnie J. Bernhardt Sophie Hahn & Eric Bjerkholt Christel & Jurg Bieri Valerie & Richard Herr Brandon Brodjeski & Steve Luppino Ms. Shira Lee Katz Adam Broner Patrick R. McCabe Julia R. Brown Scott Sparling Suzanne & Italo Calpestri Shelley Willig Jaimy Chadam Lance & Dalia Nagel Nicole Chun & John Barbara Persons McMahon Eric Rudney Mr. Michael T. Coonan Linda Schacht & John Gage Franklyn D’Antonio Sandy & Dennis De Domenico Associate Principal Level Ms. Mavis Delacroix $250 and above Richard C. Diamond Shelley Altura Paula & James R. Diederich Cynthia & Mark Anderson Carolyn Doelling Anonymous Jessica Downs & David Mrs. Evelyn L. Apte Stull Barbara Armentrout Ann & Jack Eastman Catherine Atcheson & Christian Fritze Harry & Cindy Eisenberg Ms. Joan Balter Allyson & Michael Ely
March 24, 2019 59 Friends of Berkeley Symphony GIFTS (continued)
Associate Principal Level $250 and above (continued) Gini Erck & David Petta Susan K Fisher Ednah Beth Friedman Theresa Gabel & Timothy Zumwalt Peggy & Zachary Griffin Sharon & Stuart Gronningen Bonnie Grossman Nina Grove & Ken Johnson Jan Hale Jane Hammond Trish & Tony Hawthorne Luise Hollowell Mark & Lynne Humphrey Russell Hyzen Phyllis Isaacson Milan Kaur Joanne & Paul Kelly Philippa Kelly & Paul Dresher Todd Kerr Kate Knickerbocker Paul Kuhn Lynne La Marca Heinrich & Dwight Jaffee Sylvia Lindsey Kim & Barbara Marienthal Rebecca Macieira-Kaufmann Mary Beth & Terry Mayo Nancy & Alex Mazetis Monique & Jim McNitt
60 March 24, 2019 Associate Principal Level Associate Principal Level $250 and above (continued) $120 and above (continued) Geraldine & Gary Ms. Grace Chinn Morrison Zeo & Terry Coddington Dr. Steven Murray Susan Crosby Mary Lee Noonan Beth Crovitz Kurt Peterson Jan Davis Madeline Prager Claire Day Suzanne Riess Ms. Jacqueline M. Divenyi Linda Rosen Dr. Jennifer Doudna Sam Salkin Beth & Norman Edelstein Roger Schwenke Tiffany & John Fenster Margaret Seely Ms. Mary Ellen Fine Marta Tobey & Roger Ramey Isabelle Gerard Nicholas Toth Marianne & John Gerhart Dr. Li-Hsia Wang & Dr. Henry Joan Glassey L. Abrons Heidi Goldstein Emily & Robert Warden Steven E. Greenberg Pennie & David Warren Marian & Ervin Hafter Elizabeth & Sheridan Judith & William Hein Warrick Melanie Johnston Ms. Jane White Irene & Kiyoshi Katsumoto Craig Wood Tamiko Katsumoto & Mrs. Charlene M. Rick St. John Woodcock Charlotte Buchen Khadra Eric Leimbach Associate Principal Level Jim Lovekin $120 and above Susan Malick Mary-Ellis & Philip Adams Michael Marks Joel Altman Jayne A & James E Karthiga Anandan & Matthews Luckshman Parameswaran Suzanne McCulloch Anonymous Suzanne & William Laura Arechiga McLean Lea Baechler Cynthia Mei Anna Bellomo & Joshua Bloom Margaretta K Mitchell Ragna Boynton Sarah & Junichi Miyazaki Dr. William Brostoff Lisa Montano
March 24, 2019 61 Friends of Berkeley Helen Schulak Symphony GIFTS Carolyn Serrao & Donald (continued) A. Riley Sylvia Sorell & Daniel Kane Associate Principal Level Donna Hiraga-Stephens $120 and above (continued) & Alan Stephens Margaret Moreland & Bennett Falk Susan & Bruce Strangeland Therese M. Pipe Deborah Van Nest Lucille & Arthur Poskanzer Jennifer Wolan Ms. Polly Rosenthal Linda & Steven Wolan Roger Samuelsen Evie & Gordon Wozniak Steven Scholl Fleur Yanoi
We thank all who contribute to Berkeley Symphony, including those giving up to $120 annually and those whose gifts have been received since press time. While every attempt has been made to assure accuracy in our list of supporters, omissions and misspellings may occur. Please call 510.841.2800 to report errors. We appreciate the opportunity to correct our records.
Honor and Memorial Gifts
Thank you for gifts made in honor or remembrance of the following individuals . . . Gifts received between February 1, 2018 and March 5, 2019.
In Honor of: In Memory of:
Gertrude Allen E. Paul Kelly Rod Becker Joanne Kelly Dr. Marcos F. Maestre Debbie and Ward Spangler Jan McCutcheon Judith Bloom Marilyn & Richard Collier Nina Grove & Ken Johnson Tricia Swift Irene & Kiyoshi Katsumoto Christine & Richard Colton Leslie & Joellen Piskitel Trish & Tony Hawthorne Margaretta K Mitchell
Yvette Vloeberghs Ralph Mendelson
62 March 24, 2019 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 February 1, 2018 and March 5, 2019.
$50,000 and above $5,000 and above
Ann and Gordon Getty Anonymous Foundation Music Performance Trust Fund Jill Grossman Family Charitable Fund $2,500 and above
Meyer Sound Laboratories, Chevron Corporation Inc. The Friendship Fund New Music U.S.A. HDR Remodeling William & Flora Hewlett McCutcheon Construction Foundation Music Performance Trust $25,000 and above Fund
Berkeley Public Schools Union Bank Foundation Fund Wells Fargo National Endowment for the Arts Up to $2,500
Clarence E. Heller Charitable Amazon Smile Foundation Bay Area Rapid Transit
$10,000 and above C/O Leventhal/Kline Management Inc. Bernard Osher Foundation CALI Program California Arts Council Chevron City of Berkeley GE Foundation Matching The Familian Levinson Gifts Program Foundation Roche-Genentech The Grubb Co. The Tides Foundation Bernard E. & Alba Witkin Charitable Foundation Thornwall Properties
March 24, 2019 63 ANNUAL INSTITUTIONAL GIFTS Broadcast Dates (continued) Matching Gifts Relive this season’s The following companies have concerts on matched their employees’ or retirees’ gifts to Berkeley Symphony. Please KALW 91.7 fm let us know if your company does the same by contacting Jim Tibbs at 510.841.2800 x305 or [email protected]. Abbott Fund Anchor Brewing Co Chevron Foundation Home Depot Johnson & Johnson KALW is proud to be Roche-Genentech Berkeley Symphony’s UBS Foundation USA Season 18/19 Media Sponsor
4 Mondays at 9pm in May 2019
Hosted by KALW’s David Latulippe
Program I: Oct. 4, 2018 Subscribe To will be broadcast on May 6 Our Newsletter Program II: Jan. 31, 2019 Join our mailing list to will be broadcast on May 13 receive the latest news and updates about future Program III: Mar. 24, 2019 performances. will be broadcast on May 20
Program IV: May 2, 2019 BerkeleySymphony.org/ will be broadcast on May 27 email-signup
64 March 24, 2019 In-Kind Gifts
Special thanks to these individuals and businesses whose generous donations of goods and services are crucial in helping Berkeley Symphony produce our concerts and education programs while keeping expenses as low as possible.
Ace Hotel Elevation 66 Brewing Co. Ajanta Extreme Pizza Gertrude E. Allen Karen Faircloth Anchor Brewing Co Galeto Association of California Symphony Ann and Gordon Getty Foundation Orchestras Google AdGrants Aurora Theatre Grace Street Catering Bancroft Hotel Jill Grossman Natasha Beery & Sandy McCoy Nina Grove & Ken Johnson Berkeley Repertory Theatre Hardesty Dwyer & Co. Berkeley Symphony Kathleen G. Henschel & John W. Dewes Berkeley Times Buzz & Lisa Hines Berkeleyside Susan Meadows Hone & Jeffrey S. Blue’s Chocolates Leiter California Symphony Hugh Groman Group Kathy Canfield Shepard & John Jutta’s Flowers and Gifts Shepard Kermit Lynch Wine Merchant Joy Carlin William Knuttel Chef Lyell Cash La Note Restaurant Chez Panisse Restaurant & Cafe Lama Beans Claremont Club & Spa Lawrence Berkeley National Marilyn & Richard Collier Laboratory Corso Lawrence Hall of Science Cottage Grove Inn Los Angeles Philharmonic Kathleen Crandall & Lori Gitter Ming Luke Decades of Fashion Lusu Cellars Del Sol String Quartet Malibu Farm Restaurant Diablo Ballet René Mandel Richard C. Diamond Mangia, Mangia Dr. Jennifer Doudna McCune Dyer Straits Wine Company LLC Jan McCutcheon
March 24, 2019 65 66 March 24, 2019 Meyer Sound Laboratories, Inc. Mueller Family Vineyards Music in the Vineyards New World Symphony Oakland Symphony Orton Entertainment Peet’s Coffee Pelago Maggie Perkes Perle PSPrint Christian Reif Ruby Hill Winery Sam’s Social Club San Diego Symphony San Francisco Opera San Francisco Symphony San Francisco Zoo Dr. Randy Schekman Deborah Shidler & David Burkhart Shotgun Players Mr. Hiram Simon Star Grocery Tia Stoller & Drew Detsch Tricia Swift
Michel Taddei To Advertise Lisa & James Taylor in the The Old Globe Berkeley Symphony The Speakeasy Program Anne & Craig Van Dyke Yvette Vloeberghs Call John McMullen Winewise 510.459.8264 S. Shariq Yosufzai & Brian James Angela & William Young
March 24, 2019 67 BRING IN THIS AD TO RECEIVE A 1O% DISCOUNT ON ANY PURCHASE OF GIFTS AND FLOWERS
68 March 24, 2019 Administration & Creative Staff
René Mandel, Executive & Artistic Quelani Penland, Librarian Director David Rodgers, Jr., Stage Manager
Jim Tibbs, Associate Executive Director Dave Weiland, Photographer
Sarah Thomas, Director of Operations Elie Khadra, Videographer
Maggie Perkes, Director of Zach Miley, Recording Engineer Advancement
Tiffany Fajardo, Patron Services Program Manager Andreas Jones, Design & Production Cindy Michael, Finance Director Karen Kamberg Design, Cover Design Franklyn D’Antonio, Co-Orchestra John McMullen, Advertising Sales Manager Thomas May, Program Notes Joslyn D’Antonio, Co-Orchestra Manager Calitho, Printing
Contact find us on
Berkeley Symphony For tickets, call 510.841.2800, 1942 University Avenue, Suite 207 or email Berkeley, CA 94704 [email protected], 510.841.2800 or visit [email protected] tickets.berkeleysymphony.org. berkeleysymphony.org
March 24, 2019 69 Ad Index: Support Businesses That Support Us
FOR YOUR HOME FOR YOUR AESTHETICS A1 Sun, Inc., Solar Installation. . . page 34 Aurora Theatre Company. . . . . page 43 Albert Nahman Plumbing. . . . .page 20 Ellen Shershow Photography.. . . page 34 Alward Construction ...... page 30 Expressions Gallery...... page 56 The Cooperative Cleaning Company . . . . Jutta’s Flowers...... page 68 ...... inside back cover Margaretta K. Mitchell Photograph. . . . HDR Remodeling ...... page 16 ...... page 14 McCutcheon Construction. . . . . page 54 The Modern Art Exchange . . . . . page 53 Storey Framing...... page 34 FOR BUYING/SELLING YOUR HOME Better Homes and Gardens Real Estate...... page 30 FOR YOUR PALATE Coldwell Banker...... page 14 Blue’s Chocolates...... page 36 Compass...... page 22 Julia’s at Berkeley City Club. . . . page 20 The Grubb Co...... back cover La Mediterranée Cafe & Restaurant. . . . Thornwall Properties...... page 14 ...... page 40 Yovino-Young Inc...... page 30 La Note Restaurant Provençal. . .page 40 Poulet...... page 40 FOR YOUR CHILDREN Star Grocery...... page 14 The College Preparatory School. . page 26 Zaytoon Mediterranean Restaurant . . . . The Crowden School...... page 16 ...... page 26 Maybeck High School...... page 12 Pacific Boychoir Academy. . . . . page 12 FOR YOUR HEALTH Berkeley Optometry...... page 38 FOR YOUR FAMILY’S SECURITY Earth Circles Counseling Center. . page 26 Belmont Village Senior Living...... page 19 Frank Bliss, State Farm ...... page 18 FOR GETTING THERE JMR Capital Management, Inc...... page 16 Bill’s Footwear...... page 26 Mountain View Cemetery...... Douglas Parking...... page 60 ...... inside front cover Going Places ...... page 26 North Berkeley Investment Partners ...... page 53 Oceanworks...... page 14
Join our advertisers! Call John McMullen at 510.459.8264 to Advertise in the Berkeley Symphony Program.
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