THE ILLUMINATORS PINTO-CORREIA | LUTOSŁAWSKI | RACHMANINOFF Thursday, February 7, 2013 | Zellerbach Hall, UC Berkeley

Berkeley Symphony 2012-13 Season

5 Message from the Music Director 7 Message from the Executive Director

9 Board of Directors & Advisory Council

10 Orchestra

13 Program

15 Program Notes

29 Music Director: Joana Carneiro

31 Guest Artists

43 Berkeley Symphony

47 Music in the Schools

49 Under Construction 51 Young People’s Symphony Orchestra 53 Contributed Support 66 Advertiser Index

Season Sponsors: Kathleen G. Henschel and

Official Wine Sponsor of Berkeley Symphony:

Presentation bouquets are graciously provided by Jutta’s Flowers, the official florist of Berkeley Symphony.

Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras. No photographs or recordings of any part of tonight’s performance may be made without the written consent of the management of Berkeley Symphony. Program subject to change.

Berkeley Symphony, 1942 University Ave., Ste. 207, Berkeley, CA 94704 510.841.2800 • Fax: 510.841.5422 E-mail: [email protected] Web site: www.berkeleysymphony.org To advertise: 510.652.3879

February 7, 2013 3 SAVE THE DATE Friday, May 10, 2013 The Claremont Hotel Berkeley Symphony’s Defi antly Original Benefi t Gala

Held at the historic Claremont Hotel, this year’s Gala promises to be an unforgettable event with new surprises and special guests!

The night includes an elegant wine and hors d’oeuvres reception, world class cuisine, live music and entertainment, and exciting silent and live auctions with a bevy of unique items available. Be sure to keep an eye out for the 2013 Auction catalog to be available online soon!

For more information, visit www.berkeleysymphony.org/support/ special-events.

4 February 7, 2013 Message from the Music Director

Dear Friends, Happy New Year!

May 2013 bring health, love and music to your lives.

One of the great personal delights of my tenure as Music Director of the Berkeley Symphony is to witness the deep openness and inter- est of our community when it comes to other cultures, namely my own. Last season, Portugal was present in Gabriela Lena Frank’s Biblical Women through the words of one of our greatest poets, José Tolentino de Mendonca.

Tonight, as we perform the third world premiere of the season, we introduce the music of Andreia Pinto-Correia, a young composer who is already creating a stir in the music world with pieces performed at Carnegie Hall and by the Minnesota Orchestra. Andreia’s musical imagery captures Portugal, and specifically Alfama, a medieval neighborhood in the heart of Lisbon (it is the oldest district of Lisbon), the birthplace of a very well known Portuguese song/genre, Fado.

Then, we celebrate the birthday of one of the most important composers of the last century, Witold Lutosławski, who would have turned 100 last month. Lutosławski appears on tonight’s program thanks to our Music Alive composer-in-residence Steven Stucky, and our esteemed soloist Lynn Harrell, a champion of the Lutoslawski Cello Concerto. What a wonderful combination; we are truly blessed.

We end this evening with Rachmaninoff’s Symphonic Dances, a piece born in the US and filled with great imagination and quotes from earlier works. As I write these words to you, I realize that the oldest piece in the program was written in 1940! It is just great to be in Berkeley; thank you for your trust.

My very best,

Joana Carneiro

February 7, 2013 5 6 February 7, 2013 Message from the Executive Director

Greetings from Berkeley Symphony

On behalf of Berkeley Symphony, I want to personally thank you for your support

and welcome you to the second half of our photo by Marshall Berman 2012-13 Season. As our audiences continue to grow each year, it is gratifying to see so many familiar faces mixed in with our new friends.

For our February concert, we are thrilled to welcome our dear friend Lynn Harrell to the stage. After witnessing his extraordi- nary performance career, spanning over 5 decades, we are humbled to be presenting him for the first time. For our March con- cert, you will be hearing the superb young tenor Noah Stewart. As a former San Fran- cisco Opera Adler Fellow, Noah has become an international sensation, capturing the hearts of audiences worldwide. We are extremely honored to be presenting Noah on our final concert of the season as soloist in Steven Stucky’s world premiere, The Stars and the Roses.

It is an honor to have Steven Stucky as our Music Alive composer-in-residence this season and to have commissioned his world premiere. Not only is Steven a Pulitzer Prize-winning composer, he is a dedicated educator and a true humanitarian. We are truly grateful to Steven for his involvement with Berkeley Symphony.

Stay tuned this spring for the announcement of our 2013-14 Season. I don’t want to divulge any surprises just yet, but be assured that we will continue on our defiantly’ original’ path to present musical experiences that will engage the mind and delight the senses.

With warm regards,

René Mandel, Executive Director

February 7, 2013 7 8 February 7, 2013 Board of Directors & Advisory Council

Board of Directors Advisory Council Executive Committee Marilyn Collier, Chair Thomas Z. Reicher, President Gertrude Allen Partner, Cooley LLP Michele Benson Janet Maestre, Vice President for Governance Judith Bloom Flute Instructor/Orchestra Member (Retired) Joy Carlin Janet McCutcheon, Vice President for Development Ron Choy McCutcheon Construction John Danielsen Stuart Gronningen, Vice President for Community Outreach Jennifer DeGolia Orchestra Member Carolyn Doelling Anita Eblé Kathleen G. Henschel, Treasurer Karen Faircloth Finance Manager, Chevron Corp (Retired) Gary Glaser Tricia Swift, Treasurer Reeve Gould Realtor, The Grubb Co. Lynne La Marca Heinrich René Mandel, Executive Director Buzz Hines Directors Sue Hone Susan Acquistapace Brian James Professor of Biology, Mills College Kenneth A. Johnson Norman Bookstein Todd Kerr Consultant Jeffrey S. Leiter James Donato Kim Marienthal Partner, Shearman & Sterling LLP Bennett Markel Bebe McRae Ellen L. Hahn Elizabeth O’Malley Community Leader Maria José Pereira Robert B. Hetler Helen Meyer Partner, PricewaterhouseCoopers (Retired) Christine Miller William Knuttel Deborah O’Grady Winemaker and Proprietor, William Knuttel Winery Marjorie Randell-Silver William McCoy Thomas Richardson Fundraiser, California Native Plant Society Linda Schacht Ed Osborn Jutta Singh Principal, Bingham, Osborn & Scarborough, LLC Lisa Taylor Kathy Canfield Shepard Alison Teeman President, Canfield Design Studios, Inc. Paul Templeton Deborah Shidler Anne Van Dyke Orchestra Member Yvette Vloeberghs Michel Taddei Shariq Yosufzai Orchestra Member Michael Yovino-Young

February 7, 2013 9 The Orchestra, February 7

Joana Carneiro, Music Director Violin II (continued) Sponsored by Helen and John Meyer Sarah Lee Sponsored by Earl O. Osborn Sponsored by Lisa and Jim Taylor Jeremy Erman Sponsored by S. Shariq Yosufzai and Brian James Rose Marie Ginsburg Kent Nagano, Conductor Laureate Viola Violin I Tiantian Lan Franklyn D’Antonio Principal Sponsored by James and Rhonda Donato Concertmaster Sponsored by Tricia Swift Ilana Matfis Assistant Principal Noah Strick Associate Concertmaster Darcy Rindt Sponsored by Ellen Hahn Patrick Kroboth Matthew Szemela Marta Tobey Assistant Concertmaster Peter Liepman Larisa Kopylovsky Daniel Stanley Candy Sanderson Alice Eastman Lisa Zadek Clio Goldstein* Daniel Lewin Member of Young People’s Symphony Orchestra Christina Knudson Celeste McBride* Member of Young People’s Symphony Orchestra Kristen Jones Annie Li Cello John Bernstein Stephanie Lai Acting Principal Noah Terry* Member of Young People’s Symphony Orchestra Isaac Melamed Kristen Kline Assistant Principal Rebecca Herman* Victoria Ehrlich Member of Young People’s Symphony Orchestra Carol Rice Alan Shearer Principal Bert Thunstrom Peter Bedrossian Joshua Herman* Violin II Member of Young People’s Symphony Orchestra Yasushi Ogura Krisanthy Desby Principal Jessica Blixt-Logan* Member of Young People’s Symphony Orchestra Elizabeth Choi Assistant Principal Jordan Price Karsten Windt Jasper Hussong* Member of Young People’s Symphony Orchestra Joseph Maile Lauren Avery Bass Virginia Baker Michel Taddei Principal Rick Diamond Sponsored by Janet & Michael McCutcheon Ann Eastman Robert Ashley Kevin Harper Assistant Principal Charles Zhou Jon Keigwin David Grote Karen Horner

10 February 7, 2013 Bass (continued) Trumpet Alden Cohen Cheonho Yoon Roger Paskett Principal Marcus Wong Owen Miyoshi Benjamin Holston* John Freeman Member of Young People’s Symphony Orchestra Trombone Flute Thomas Hornig Emma Moon Principal Principal Sponsored by Kathleen G. Henschel Sponsored by Marcos and Janet Maestre Craig McAmis Sarah Holzman Stacey Pelinka Bass Trombone Piccolo Kurt Patzner Stacey Pelinka Tuba Oboe Jerry Olson Deborah Shidler Principal Principal Bennie Cottone Timpani Sarah Rathke Kevin Neuhoff Principal English Horn Bennie Cottone Percussion Ward Spangler Clarinet Principal Roman Fukshansky Sponsored by Gail and Bob Hetler Principal Scott Bleaken Diana Dorman Mark Veregge Brenden Guy Timothy Dent Bass Clarinet Benjamin Ring* Member of Young People’s Symphony Orchestra Brenden Guy Alto Saxophone Harp David Henderson Wendy Tamis Principal Bassoon Carla Wilson Piano Principal Miles Graber Ravinder Sehgal Principal Erin Irvine Celesta Contrabassoon Marc Shapiro Erin Irvine

Horn Franklyn D’Antonio Meredith Brown Orchestra Manager Principal Joslyn D’Antonio Sponsored by Tom and Mary Reicher Co-Orchestra Manager Loren Tayerle Sponsored by Kathy Canfield Shepard and John Shepard Quelani Penland Susan Vollmer Librarian Richard Hall Kevin Reinhardt Tom Reicher Stage Manager

February 7, 2013 11 12 February 7, 2013 February 7 Program

The Illuminators

Thursday, February 7, 2013 at 8:00 pm Zellerbach Hall

Joana Carneiro conductor

Andreia Pinto-Correia Alfama (World Premiere)*

Witold Lutosławski Concerto for Cello and Orchestra Lynn Harrell cello

INTERMISSION

Sergei Rachmaninoff Symphonic Dances, Op. 45 I. Non allegro II. Andante con moto (Tempo di valse) III. Lento assai – Allegro vivace – Lento assai. Come prima – Allegro vivace

*Alfama was co-comissioned by Berkeley Symphony and the Gulbenkian Foundation and is dedicated to Joana Carneiro.

Tonight’s concert is made possible by the generous support of Gray Cathrall, Janet and Marcos Maestre, and Ed Osborn.

The Andreia Pinto-Correia commission is made possible in part by a grant from the Fromm Music Foundation and by the generous support of Marilyn and Richard Collier.

Lynn Harrell’s performance this evening is made possible in part by Ken Johnson and Nina Grove and the William Knuttel Winery.

Tonight’s concert will be broadcast on KALW 91.7 FM on May 19, 2013.

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

February 7, 2013 13 14 February 7, 2013 Program Notes

Andreia Pinto-Correia (b. 1971) instruments arise from and sub- merge into the watery fabric. The Alfama different instrumental sections are layered on top of each other like the Born in Lisbon, Portugal, Andreia Pinto- strata that delineate Alfama’s vari- Correia began her musical studies in her ous historical periods. Sounds burst native country at the Academia de Ama- forth, echoed in different contexts dores de Música and at the Escola Luís and at various speeds. The work is Villas Boas, and is currently a teaching divided into two parts, the second fellow in composition at the New England section mirroring the initial state- Conservatory in Boston. Commissioned ment as the wayfarer eventually by Berkeley Symphony for the 2012-2013 rediscovers the entrance path to Season, Alfama is scored for 2 flutes, the magical neighborhood of piccolo, 3 oboes, 3 clarinets, 3 bassoons, Alfama. This work is dedicated to 4 horns, 3 trumpets, 3 trombones, tuba, Joana Carneiro. timpani, vibraphone (w/arco), xylophone, —© Andreia Pinto-Correia high cymbal (w/arco), wind chimes, temple blocks, glockenspiel, crotales (w/arco), tubular bells, cymbals, tam- tam, harp, piano, and strings. Duration ca. 10 minutes. Witold Lutosławski (1913-1994)

The composer has provided the following Concerto for Cello and comments: Orchestra

lfama is one of the oldest neigh- Witold Lutosławski was born on Janu- A borhoods in my native city of ary 25, 1913 in Warsaw, Poland (then Lisbon. In choosing this title I am governed as part of the Russian Empire) paying tribute to my roots. The name and died there on February 7, 1994. He is believed to be derived from the composed the Cello Concerto in 1970. word al-hamma or “baths” in Arabic, Working on a commission from the Royal and the area is known to be abun- Philharmonic Society of London and dant in underground fountains and the Calouste Gulbenkian Foundation, baths. Thus, the underlying string Lutosławski wrote the work for Mstislav section portrays the poetic idea of Rostropovich, to whom the score is a continual presence of water. Like dedicated and who was soloist for the wayfarers strolling through the laby- premiere on October 14, 1970 in London. rinthine streets of Alfama, individual Edward Downes conducted the Bour-

February 7, 2013 15 Four Mainstage Concerts “Under Construction” Concerts with Emerging Composers New Works Old Chestnuts Resident Artists Music in the Schools

16 February 7, 2013 nemouth Symphony Orchestra. In addition playing piano duo arrangements of to solo cello, the Concerto is scored for 3 music with his compatriot Andrzej flutes (flute 3 doubles piccolo), 3 oboes, 3 Panufnik in Warsaw cafés (the only clarinets (clarinet 3 doubles bass clarinet), form of music-making officially 3 bassoons (bassoon 3 doubles contrabas- tolerated by the Nazis). soon), 4 horns, 3 trumpets, 3 trombones, Later, under the artistic policies of tuba, timpani, xylophone, slapstick, tom- the Communists, Lutosławski’s First toms, vibraphone, small and suspended Symphony was deemed unaccept- cymbals, tam-tam, woodblock, bass drum, ably “formalist” and consequently field drum, tenor drum, chimes, tambou- banned. He was soon able to recoup rine, harp, celesta, piano, and strings. his reputation with the Concerto Duration ca. 25 minutes. for Orchestra of 1954, a landmark of postwar music which remains his or centuries, the effects of best-known composition. The latter censorship on classical music incorporated folk elements in a way F ˇ were relatively straightforward; that was more aligned with prevail- essentially a nuisance for opera ing cultural guidelines and man- composers, censors would demand aged to offer an ingenious display changes to librettos deemed politi- of Lutosławski’s expertise in formal cally or sexually subversive. But with design and orchestration. The Con- 20th-century brands of totalitarian- certo for Orchestra has also carved ism came an unprecedented level out a solid position in the sparsely of intrusion. Composers like Dmitri populated repertoire of postwar Shostakovich found that the musical concert staples. idiom employed in purely abstract Yet instead of settling into a comfort- works like symphonies and concertos able artistic status quo, Lutosławski could itself be labeled dangerously continued to challenge himself to heretical by the cultural police. develop in new and unpredictable Such experiences of a chokehold directions. In the later 1950s the on free expression early on only cultural climate in Poland (relative intensified the need to pursue an to that in other Eastern Bloc coun- original, idiosyncratic language for tries) was becoming at least superfi- a number of major composers who cially more amenable to “decadent” came of age around the middle of musical influences from the West. the century. Emerging as a composer Meanwhile, Lutosławski’s decidedly in 1930s Warsaw, Witold Lutosławski independent approach to newly endured both Nazi and Communist encountered techniques of serialism tyranny during an especially vulner- and other postwar developments able period of his career, just as he may have been kindled by his previ- was exploring his artistic voice. He ously frustrating experiences with got through the German occupation censorship. Rather like Ligeti, who

February 7, 2013 17 18 February 7, 2013 would soon go on to emigrate to unpredictable vertical alignment the West, Lutosławski nevertheless (the “counterpoint”) that differs managed to maintain an attitude of with each performance, encompass- healthy skepticism toward all brands ing potential rhythmic variabilities of orthodoxy—including those from that would be too complex to be the avant-garde. notated.

Another stylistic breakthrough came This technique plays off the opposi- with his string ensemble suite Funeral tion between control and chaos, Music from 1958. Yet, Lutosławski order and unpredictability. It is realized he had little affinity for the thus especially fitting for the over- highly rational systems of serialism. all concept of the Cello Concerto; He once observed that 20th-century Lutosławski described the work as music flowed from two sources: the centering around a “relationship Second Viennese School of Schoen- of conflict” which he saw as analo- berg et al. and the sensual exploi- gous in particular to the theater. tation of color and sonic texture But in contrast to the grand drama pioneered by Debussy. It was with of heroic individuality and dialogue the latter source that Lutosławski that defines so many Romantic con- clearly identified most closely. certos of the past, Lutosławski was interested in depicting a drama of An epiphany of another sort resulted alienation. from his first encounter with the music of John Cage. Hearing only The legendary Russian cellist an excerpt of Cage’s Piano Concerto Mstislav Rostropovich, the force in 1960, Lutosławski later remarked behind many significant concer- that “those few minutes were to tos for the instrument, inspired change my life decisively.” Eventually Lutosławski to take up the old- he evolved his own compositional fashioned, seemingly “anti-mod- practice employing chance meth- ernist” format of the concerto in ods. Used in the 1961 work Venetian a way that gave the composer’s Games, and dubbed “aleatory coun- imagination complete free rein; terpoint,” this would become one of Rostropovich’s formidable techni- Lutosławski’s signatures and figures cal command amplified the feeling prominently in the Cello Concerto. of freedom from limitations. The Aleatory counterpoint involves small cellist’s own negative experiences pockets of an otherwise precisely with Soviet authorities seemed controlled score in which pitches to be at least indirectly implied in and the sequence they follow are pre- Lutosławski’s lengthy description determined but individual lines are of the score, which refers to “inter- to be played in an improvisational, ventions” from the orchestra and ad libitum fashion, though within a “lamentation” from the cello. This in specified timeframe. The result is an turn has led to a temptation to hear

February 7, 2013 19 20 February 7, 2013 the work as a reductive narrative of trumpets blurt out the first of the political oppression: the “individual” interruptions (a role that is initially (solo cello) against the arbitrary confined to the brass). These brief, power of the state (the orchestra). violent fanfares—which are not But the “conflict” Lutosławski pres- subject to the conductor’s control— ents is to be experienced first and represent examples of Lutosławski’s foremost as a purely musical phe- aleatory counterpoint. The first, nomenon, following its own logic, introductory section paves the rather than as a simplistic political way for the varieties of interaction/ allegory. Literary connections have interruption that ensue in the rest also been adduced. In his fine book of the score. on the composer, Steven Stucky The cellist’s insouciant pizzicato observes that Rostropovich’s wife, marks the first of four episodes the soprano Galina Vishnevskaya, (together comprising the second saw the Cello Concerto as “the story section). The soloist interweaves of a 20th-century Don Quixote.” Yet in a relatively light-hearted, “scher- Lutosławski also cautioned that any zando” manner with the winds, kind of scenario he may have had strings, and percussion (all offering in mind while composing could be excellent instances of Lutosławski’s likened to a scaffold which should colorful feel for orchestration and be removed when the music is com- textural weight), while the aleatory pleted, ultimately insisting that the brass inject another brutal “inter- work “has [no] literary or extra- vention.” After the fourth episode, musical significance.” the cellist again briefly takes up its The Concerto unfolds in one unin- indifferent Ds but segues into the terrupted span comprising four third section, a moving cantilena parts. The first presents an arresting that is to be played “expressively and soliloquy by the cello alone, begin- sadly.” From this point to the end ning on an insistently repeated D (to of the work, notes Lutosławski, the be played “indifferently”). Eventu- cello becomes “serious.” A bit over ally this is interrupted by a sudden halfway through this section, one change of attitude (a plunge down- of the Concerto’s most mysteriously ward on a tremolo), which marks beautiful passages is heard as piano, the first in a pattern of oppositions harp, and celesta mixed with the recurring throughout the Concerto winds; the harmonic texture then on multiple levels. The cello replays intensifies, with the strings develop- this conflict—between the “indiffer- ing a cloudlike envelope for the solo- ent” D and a playful, frivolous series ist using neighboring quarter-tones. of increasingly bravura forays into The cello and strings later join in a expressiveness—for several minutes. fiercely determined, neo-Bartókian At the end of this quasi-cadenza, accelerando, and all hell breaks loose

February 7, 2013 21 PHOTOGRAPH LIFE’S BEST MENTSMO with the intervention of the brass. The entire orchestra gathers together in a jaggedly rhythmic flare-up that leads into the final section. Here the Y relationship between soloist and orchestra seems significantly dif- ��

510 655-4920 510 ferent: the cello now lacks “allies” as the conflict reaches its climactic point in a series of increasingly vio- lent exchanges and nerve-shatter- ©2012 Margaretta K. Mitchell ing pauses. Lutosławski’s coloristic orchestration plays remarkable sonic WWW.MARGARETTAMITCHELL.COM combinations against the cellist’s fevered, wide-ranging pleadings. At last the cello falls silent and the We are a frame shop full orchestra repeats the repeat- dedicated to the note rhythm of the opening, just preservation and before slamming into a nightmare protection of yo ur prints, nine-note chord with “all its force.” photographs, posters, drawings, needlework, But it’s not the end. A brief coda paintings and objects. described by the composer as a We use the finest archival materials: kind of “epilogue” allows the cello • Mats made of either cotton rag to again find a voice as its final or alpha cellulose which is acid phrases ascend to a high A; like and lignin free. the soliloquy’s monotonous D, • Cotton rag mount boards behind artwork. this is repeated, but with a new- • Foamcore backing which absorbs found expressive insistence. acids from environmental gases. —© Thomas May • Acrylic glazing products which protect artwork from damage from glass breakage. • Acrylic and glass products which filter out 98% of ultraviolet light, protecting artwork from fading and degradation. • Hinging or other mounting techniques which are re versible Sergei Rachmaninoff (1873-1943) and cause no harm to artwork. Symphonic Dances, Op. 45 Established 1974 Sergei Rachmaninoff was born on April 1, 510.524.3422 1873, in Semyonovo in western Russia and 1645 Hopkins, Berkeley died on March 28, 1943, in Beverly Hills, California. He composed the Symphonic

22 February 7, 2013 Dances in 1940 on his estate on the north permanent homesickness aggravated shore of Long Island. Eugene Ormandy, his creative paralysis—no matter how to whom the work is dedicated, led the closely the tall, thin, aristocratically Philadelphia Orchestra in the premiere on poised composer tried to replicate January 3, 1941. Rachmaninoff’s orchestral the atmosphere of his beloved pre- swan song, this symphonic suite takes a Revolutionary Russia on his estates in retrospective look over the composer’s Switzerland or in the United States. career. While its style is hauntingly spare Rachmaninoff’s compositional out- and pared-down, the score features some of put thus dwindled to just a handful Rachmaninoff’s most imaginative orches- of works in his final 25 years. The Sym- tral touches. Symphonic Dances calls phonic Dances, which draws on ideas for a large orchestra of piccolo, 2 flutes, 2 from his Russian days, is the very oboes, English horn, 2 clarinets, bass clari- last of these. net, alto saxophone, 2 bassoons, contrabas- As he was composing Symphonic soon, 4 horns, 3 trumpets, 3 trombones, Dances, Rachmaninoff conceived this tuba, timpani, snare drum, bass drum, music on several different planes in cymbals, triangle, tambourine, tam-tam, xylophone, glockenspiel, tubular bells, harp, terms of its genre and purpose. In its piano, and strings. Duration ca. 35 minutes. most familiar form, as the concert suite we hear, it represents a kind of unofficial Fourth Symphony (or ergei Rachmaninoff became a even Fifth, if you count the remark- S permanent—and unceasingly able choral symphony from 1913, homesick—exile from his native Russia The Bells, based on the writings of in the wake of the 1917 Revolution. Set- Edgar Allan Poe). Rachmaninoff also tling in the United States not only left simultaneously prepared a version him emotionally unmoored but forced for two pianos, which neatly sums up Rachmaninoff to readjust his musical his dual personalities as composer priorities out of financial necessity. and pianist. Meanwhile, another From his early years, he had pursued work—the Rhapsody on a Theme of the combined roles of performer Paganini—had recently found new (both conducting and concertizing success as a ballet choreographed by as a piano soloist) and composer (a Mikhail Fokine. Rachmaninoff subse- juggling act that Leonard Bernstein quently approached Fokine with the would later face, with increasing frus- idea of a new collaboration based on tration). But the loss of his Russian Symphonic Dances. The choreographer base of support forced Rachmaninoff was intrigued by this new project but to take up more concert engagements died in 1942 before the collabora- as a pianist to support his family. tion could proceed further. In more A brutal touring schedule often recent years, such choreographers as brought him to the point of exhaus- Peter Martins and Alexei Ratmansky tion. Even more, a condition of have created full-scale ballets based

February 7, 2013 23 on Rachmaninoff’s score. And—as the final movement makes clear— reflections on death also figure in the score, so that it may represent something of an informal Requiem as well.

An earlier title Rachmaninoff con- sidered was Fantastic Dances, and at one point he suggested a loose program by using times of day as titles for each of the work’s three movements (“Noon,” “Twilight,” and “Midnight”). He later abandoned those as unnecessary distractions and allowed only the conventional tempo indications to stand. Perhaps the titles were meant to suggest periods in his personal life. Events in Europe during the summer of 1940, when Rachmaninoff composed the work, may well have triggered a desire to reflect on the direction his life had been forced to take in a violent century. In some ways Sym- phonic Dances can be approached as a guarded retrospective survey of his past career; Rachmaninoff laces the score with self-quotations from a number of earlier works. Merrell Clarks Frye Boots Sperry Since A bleak, brief introductory passage Rockport Uggs 1961 hints at the pared-down character Keen Moccasins of Rachmaninoff’s late style. The Dr. Martens Clogs music soon takes on momentum Timberland Dansko and is driven by a potent and rest- less three-note rhythmic idea. Much of the movement’s drama is gener- ated from the contrast between this opening material and the folk FOOTWEAR song-like melody that is entrusted so unforgettably to the saxophone (the composer’s only use for this

24 February 7, 2013 instrument in his scores). The man- ner in which Rachmaninoff allows the opening theme to creep back into “Everyone’s talking about Talavera.” the scene and supplant this haunt- —San Francisco Chronicle ing interlude is magnificently staged. His predilection for bell-like sounds emerges in a colorful coda that brings the music to a gentle rest. Handmade The second movement unfolds as a Sinks, Tile, Garden & Ta bleware rueful waltz, its anxiousness inten- ... and more sified by repeated interruptions of 1801 University (at Grant), Berkeley momentum. Details are worried over Open Mon-Sat 10-6, Sun 12-6 510-665-6038 www.TalaveraCeramics.com in gorgeously detailed solo writing, like a quickly fragmenting dream the composer wants to preserve before it dissipates entirely. The final movement, longest of the three, alternates between extreme slow and fast tempos. Here Rachmaninoff recalls some of the spirit of the open- Out-of-Print & ing movement, but the atmosphere is decidedly more demonic. Rare Books on the Arts

Indeed, the famous medieval chant of Dies Irae from the Requiem Mass 3032 Claremont Avenue appears (in various slightly disguised Berkeley (510) 655-3413 forms) as one of the themes along- [email protected] side the main theme originating from Russian sacred chant. Aside from its obvious reference to death and judgment in this context, the Dies Irae had served in several other Rachmaninoff compositions as a kind of fatalistic (rather than necessarily morbid) leitmotif. Toward the end, though, Rachmaninoff introduces a more hopeful sacred melody taken from his luminous a cappella choral music, the All- Night Vigil. Its consoling presence robs the Dies Irae of its sting. —© Thomas May

February 7, 2013 25 Why your whole family should go to UC Berkeley

At the UC Eye Center in Berkeley, good vision is a family affair. From kids 6 to 9 months old to mature grandparents, we have everything it takes for complete examinations, a vast Eyewear Center for glasses and contact lenses, and the latest in Wavefront laser surgery . Please see us soon!

Call (510)642-2020 to schedule an appointment. Op en to the public 7 days a we ek. Free parking with appointments. Visit us at www.CalEyeCare .org Proud to be part of the Berkeley Symphony family

26 February 7, 2013 2012–13 Season Finale

Thursday, March 28, 8pm THE IDEALISTS Zellerbach Hall, UC Berkeley Steven Stucky The Stars and the Roses (World Premiere) Noah Stewart, tenor Anton Bruckner Symphony No. 4 Find us on For tickets, call 510.841.2800. www.berkeleysymphony.org

February 7, 2013 27 2727 College Avenue Berkeley � 510.841.8489

A vibrant community dedicated to excellence in learning where all forms of diversity flourish amid mutual respect, support and responsibility. www.maybeckhs.org

Explore the world of fine furniture

Quality Furniture & superior service. Since 1989

2585 Shattuck Avenue, Berkeley (510) 486-1090 www.vikingtrader.com

28 February 7, 2013 Music Director: Joana Carneiro

oted for her vibrant performances Nin a wide diversity of musical styles, Joana Carneiro has attracted considerable attention as one of the most outstanding young conductors working today. In January 2009 she was named Music Director of Berkeley Sym- phony, succeeding Kent Nagano and becoming only the third music director in the 40-year history of the Orchestra. She currently serves as official guest conductor of the Gulbenkian Orchestra in Lisbon, Portugal.

2012-13 marks Carneiro’s fourth season as Music Director of Berkeley Sym- phony, where she has been recognized for leading the Orchestra’s acclaimed initiative in focusing on composers and new works. Her successful partnership with the Orchestra will continue for an additional five years through the the globe. Following her highly suc- 2016–17 Season. With a world-premiere cessful debuts with the Gothenburg commission planned for each subscrip- and Gävle symphony orchestras last tion program, Carneiro’s 2012-13 con- season, she returns to Sweden in 2012-13 certs with Berkeley combine new works to guest conduct both orchestras again, from Paul Dresher, Dylan Mattingly, as well as the Norrköping Symphony, Andreia Pinto-Correia and Steven and to make debuts with the Swedish Stucky, alongside masterworks such as Radio Orchestra, Malmö Symphony Beethoven’s Symphony No. 7, Bruck- and Norrlands Opera Orchestra. She ner’s Symphony No. 4, Rachmaninoff’s makes her German debut conducting Symphonic Dances and Schumann’s the Aachen Symphony, and her Neth- Symphony No. 2. She also leads Jes- erlands debut with the Residentie Ork- sica Rivera and the San Francisco Girls est, conducts the Euskadi Orchestra of Chorus with members of the Orchestra Spain, and goes to Asia for her Hong in the world premiere of an oratorio by Kong Philharmonic debut. She also Gabriela Lena Frank. returns to the Indianapolis Symphony Carneiro’s growing guest-conducting in concerts with Thomas Hampson on career continues to take her around a Mahler/Schumann program.

February 7, 2013 29 Increasingly in demand as an opera conductor, Carneiro made her Cincin- nati Opera debut in July 2011 conducting John Adams’ A Flowering Tree, which she also debuted with the Chicago Opera Theater and at La Cité de la Musique in Paris. In 2010, she led performances of Peter Sellars’s stagings of Stravinsky’s Oedipus Rex and Symphony of Psalms at the Sydney Festival, which won Australia’s Helpmann Award for Best Symphony Orchestra Concert in 2010.

A native of Lisbon, Carneiro began her musical studies as a violist before receiving her conducting degree from the Academia Nacional Superior de Orquestra in Lisbon. She received her Master’s degree in orchestral conduct- ing from Northwestern University as a student of Victor Yampolsky and Mallory Thompson, and pursued doc- toral studies at the University of Michi- gan, where she studied with Kenneth Kiesler. Prior to her Berkeley Symphony appointment, she served as Assistant Conductor with the Los Angeles Phil- harmonic from 2005 to 2008, where she worked closely with Esa-Pekka Salonen and led performances at Walt Disney Concert Hall and the Hollywood Bowl.

Carneiro is the 2010 recipient of the Helen M. Thompson Award, conferred by the League of American Orchestras to recognize and honor music direc- tors of exceptional promise. In March 2004, Carneiro was decorated by the President of the Portuguese Republic, Mr. Jorge Sampaio, with the Commen- dation of the Order of the Infante Dom Henrique.

30 February 7, 2013 Guest Artists

European premiere later in the sea- son at the Gulbenkian Foundation Grande Auditório also under conductor Joana Carneiro along photo by Daniel Blaufuks with European premieres of Pinto- Correia’s Elegia a Al-Mu’tamid and Xántara. Other highlights include Cantigas da Côrte, a new work com- missioned by the Boston Symphony Orchestra Brass Quintet to be pre- miered during Spring 2013, as well as the world premiere of Territories, an operatic work with libretto by Andreia Pinto-Correia, Betty Shamieh featuring soprano composer Haleh Abghari to be performed at he music of composer Andreia the Institute for Advanced Study in T Pinto-Correia is distinguished by Princeton. In addition, Olhos, espelho influences of Iberian folk and liter- e luz, an extended work for tenor ary traditions—in particular, by the soloist and woodwind ensemble incorporation of Arab-Andalusian with text by seventeenth-century poetic forms. Described by The New priest Padre António Vieira, and York Times as an “aural fabric” and commissioned by the University “mysterious, elegant, magical” by of Minnesota, will have its world premiere during the Fall of 2013. the New Music Box, her music was profiled in the prestigious literary Her past season included a commis- magazine Jornal de Letras, which pro- sion from the American Composers claimed that “the music of Andreia Orchestra premiered at Carnegie Pinto-Correia has been a major Hall, a premiere by the Minnesota contribution to the dissemination Symphony Orchestra as part of Portugal’s culture and language, of the 2012 Composer Institute, perhaps a contribution larger than a European premiere by the could ever be imagined.” Orquestra Metropolitana de Lisboa, as well as a composer-residency Ms. Pinto-Correia’s Alfama is a co- with the leading Portuguese cham- commissioned work by Berkeley ber orchestra OrchestrUtópica. Symphony and the Gulbenkian Foundation and will have its She is currently composing the

February 7, 2013 31 32 February 7, 2013 opera O Búfalo Mágico (Souba et Awards and honors include a le Yak), a Companhia Ópera do full fellowship from the Susan Castelo/Drumming GP co-commis- and Ford Schumann Center for sion with original story by Pascal Composition Studies-Aspen Music Sanvic and libretto by acclaimed Festival; Tanglewood Music Center West African writer Ondjaki, to be Fellowship; Gulbenkian Foundation premiered by a consortium of the- Fellowship/ European Network aters during the 2014 season. Other of Opera Academies; MacDowell premieres include Variações sobre Colony residency; Toru Takemitsu temas populares by the Borromeo Award by the Japan Society; String Quartet at the Institute for National Orchestral Network/Ear Advanced Study in Princeton; Cantos Shot/Memphis Symphony Orchestra e Danças, a commission by Grammy- Fellowship; Music and Madness Award nominee Derek Bermel, Festival/UC Davis Fellowship; premiered at the International Valparaiso Foundation residency Clarinetfest in Los Angeles; ...água (Spain); Berta and Edward C. Rose e sombra, a commission by Spanish Scholarship, Composers Conference virtuoso percussionist Miquel Fellowship, Orquestra do Algarve Bernat; and Azulejos performed by Fellowship, Sacatar Foundation the Aspen Contemporary Ensemble. Fellowship, Luso-American Foundation Scholarship, several Ms. Pinto-Correia has also received ASCAPLUS awards, and various NEC commissions from such notable Composition and Merit Awards, institutions and performers as among others. the European Union Presidency, Tanglewood Music Center/Boston Ms. Pinto-Correia has had the Symphony Orchestra Summer honor of collaborating with con- Festival, Gulbenkian Foundation, ductors such as Osmo Vänskä, Boston Symphony Orchestra Brass Stefan Asbury, David Loebel, Quintet, Minnesota University, Joshua Weilerstein, Mihhail Gerts, Dinosaur Annex Ensemble, John Page, Alexander Prior, Lior OrchestrUtópica, Drumming GP, Shambadal, and Cesário Costa. Avian Music Ensemble, Antena Other collaborations include New 2/RTP (Portugal’s National Fromm Players, Tanglewood Brass Broadcast), tuba virtuosos Sérgio Ensemble and Chamber Ensembles, Carolino (Soloist Oporto National Memphis Symphony Orchestra, Orchestra) and Anne Jelle Visser Dinosaur Annex Music Ensemble, (Soloist Opera of Zurich), Machina Avian Music Ensemble, BSO tuba Mundi, Duo Musagete, Festival do soloist Mike Roylance, soprano Haleh Teatro S. Luíz, Câmara Municipal Abghari, Composers Conference da Trofa, and Orquestra de Jazz de Chamber Ensemble, New England Matosinhos. continued on page 37

February 7, 2013 33 34 February 7, 2013 February 7, 2013 35 • Sewer • Water Heater Replacements & Tankless: Repair & Drain Cleaning & Installation • Water Conserving • Gas & Water Leak Fixtures Detection

RESPONSIVE • PROFESSIONAL • GUARANTEED

3333 Martin Luther King Jr. Way, Berkeley, CA 94704 510.843.6904 • LICENSE #414359 [email protected]

unettes L du Monde A Gallery of Fine Eyewear From Around The World by Dr. Philip Schletter, O.D.

1799e Fourth St., Berkeley (510) 559-8181

CONTACTS | RX FILLED | EXAMINATIONS | ORTHOKERATOLOGY

36 February 7, 2013 Conservatory Symphony Orchestra, student of legendary jazz composer Woodwind Ensemble and Chamber Bob Brookmeyer. She has also worked Ensemble, oboist Amanda Hardy, privately with John Harbison, William percussionist George Nickson, and Bolcom, Augusta Read-Thomas, guitarist Jerome Mouffe. She has Colin Matthews, Christopher Rouse, collaborated with writers in a wide Matthias Pintscher, Aaron Jay Kernis, variety of genres including the late and Steven Stucky, and has taken mas- Matilde Rosa Araújo, Ondjaki, Betty ter classes with Elliott Carter, Mario Shamieh, and her father João David Davidovsky, Giorgio Battistelli, Fabio Pinto-Correia. Vacchi, and Lee Hyla, among others.

In addition to her composing, she She has been a member of ASCAP has been dedicated to teaching for since 2004 and her tuba music is pub- many years. Currently leading a lished by Editions BIM/The Brass Press composition seminar at the New (Switzerland). England Conservatory of Music, she has held positions as a faculty mem- ber and head of theory classes at the Escola Luís Villas Boas in Lisbon, as music tutor and assistant coordina- tor at the Berklee College of Music photo by Christian Steiner (where she won an Excellence in Teaching Award), and as a lecturer in conferences and masterclasses in Europe and the United States. She has also collaborated with her father at the Centro de Tradições Populares Portuguesas at the University of Lisbon, developing a catalogue of ethnomusicology field work.

Born in Lisbon, Portugal, Andreia Pinto-Correia began her musical studies in her native country at the Academia de Amadores de Música and at the Escola Luís Villas Boas, and is currently a teaching fellow in composition at the New England Lynn Harrell, cellist Conservatory in Boston, where ynn Harrell’s presence is felt she studied with Michael Gandolfi. L throughout the musical world. She received her Master of Music A consummate soloist, chamber degree from NEC, with Academic musician, recitalist, conductor and Honors in Jazz Composition as a teacher, his work throughout the

February 7, 2013 37 TO ADVERTISE I N T H E BERKELEY SYMPHONY PROGRAM C A L L

J O H N M C MULLEN 510.652.3879

38 February 7, 2013 Americas, Europe and Asia has and the Amelia Island Festival. placed him in the highest echelon On April 7, 1994, Lynn Harrell of today’s performing artists. appeared at the Vatican with the Mr. Harrell is a frequent guest of Royal Philharmonic in a concert many leading orchestras includ- dedicated to the memory of the six ing Boston, Chicago, New York, million Jews who perished in the Philadelphia, San Francisco, Holocaust. The audience for this his- Ottawa, Pittsburgh, and the toric event, which was the Vatican’s National Symphony. In Europe he first official commemoration of the partners with the orchestras of Holocaust, included Pope John Paul London, Munich, Berlin, Tonhalle II and the Chief Rabbi of Rome. That and Israel. He has also toured year Mr. Harrell also appeared live extensively to Australia and New at the Grammy Awards with Itzhak Zealand as well as the Far East, Perlman and Pinchas Zukerman, including Japan, Korea, Malaysia, performing an excerpt from their Taiwan and Hong Kong. In the sum- Grammy-nominated recording of mer of 1999 Mr. Harrell was fea- the complete Beethoven String Trios tured in a three-week “Lynn Harrell (Angel/EMI). Cello Festival” with the Hong Kong Highlights from an extensive dis- Philharmonic. He regularly collabo- cography of more than 30 record- rates with such noted conductors as ings include the complete Bach James Levine, Sir Neville Marriner, Cello Suites (London/Decca), the Kurt Masur, Zubin Mehta, André world-premiere recording of Victor Previn, Sir Simon Rattle, Leonard Herbert’s Cello Concerto No. 1 with Slatkin, Yuri Temirkanov, Michael the Academy of St. Martin in the Tilson Thomas and David Zinman. Fields led by Marriner (London/ Decca), the Walton Concerto with In recent seasons Mr. Harrell has Rattle and the City of Birmingham particularly enjoyed collaborat- Symphony Orchestra (EMI), ing with violinist Anne-Sophie and the Donald Erb Concerto Mutter and pianist André Previn. with Slatkin and the Saint Louis In January 2004 the trio appeared Symphony (New World). Together with the New York Philharmonic with Itzhak Perlman and Vladimir performing the Beethoven Triple Ashkenazy, Mr. Harrell was awarded Concerto with Maestro Masur two Grammy Awards—in 1981 for conducting. the Tchaikovsky Piano Trio and in An important part of Lynn Harrell’s 1987 for the complete Beethoven life is summer music festivals, Piano Trios (both Angel/EMI). A which include appearances at the recording of the Schubert Trios Verbier Festival in Switzerland, the with Mr. Ashkenazy and Pinchas Aspen and Grand Tetons festivals, Zukerman (London/Decca) was

February 7, 2013 39 2012-13 Under Construction New Music Concerts

Andrew V. Ly Michael Nicholas Davide Verotta

Experience the making and transformation of new works by the 2012–13 Under Construction Composers. The concerts will feature compositions by Andrew V. Ly, Michael Nicholas, and Davide Verotta, as the Orchestra experiments with their presentation, live on stage for the fi rst time. Each performance is followed by a Q&A session with the composers and Music Director Joana Carneiro, to explore the themes and ideas behind the works. Learn more about Under Construction on page 49 or at berkeleysymphony.org/uccp.

UPCOMING CONCERT Sunday, March 24, 2013, 7 pm at Crowden Music Center (1475 Rose Street, Berkeley)

40 February 7, 2013 released in February 2000. His program at the L.A. Philharmonic May 2000 recording with Kennedy, Institute. In 1993, he became head “Duos for Violin & Cello,” received of the Royal Academy in London, a unanimous critical acclaim (EMI). post he held through 1995. He has Most recently, Mr. Harrell recorded also given master classes at the Tchaikovsky’s Variations for Cello Verbier and Aspen festivals and in and Orchestra on a Rococo Theme, major metropolitan areas through- Shostakovich’s Cello Concerto out the world. Since the start of the No. 2, and Prokofiev’s Sinfonia 2002-03 academic year, Mr. Harrell Concertante with the Royal has taught cello at Rice University’s Liverpool Philharmonic, Gerard Shepherd School of Music. Schwarz conducting (Classico). Lynn Harrell was born in New York Lynn Harrell’s experience as an to musician parents. He began his educator is wide and varied. From musical studies in Dallas and pro- 1985-93 he held the International ceeded to The Juilliard School and Chair for Cello Studies at the Royal the Curtis Institute of Music. He is Academy in London. Concurrently, the recipient of numerous awards, from 1988-92, he was Artistic including the first Avery Fisher Director of the orchestra, cham- Award. He makes his home in Santa ber music and conductor training Monica.

February 7, 2013 41 Dining Guide

BEC’S BAR AND BISTRO A Place 2271 Shattuck Ave., Berkeley To Enjoy, (510) 641-1790 To Meet, To Dine Dinner served from 5pm to 11pm 3-Course Dinner for $25 Open table reservation

42 February 7, 2013 Berkeley Symphony

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

February 7, 2013 43 Dining Guide

beguiling retreat from A reality. Modern day Samurai from Berkeley and 1830 Fourth Street, Berkeley 510-841-8783 beyond, dressed in jeans Lunch: Monday - Saturday 11:30 - 3 pm to suits to avant-garde finery have discovered Dinner: Monday - Thursday 5:30 - 9:00 pm Friday & Saturday 5:30 - 9:30 pm O Chamé.

YOUR AD COULD BE HERE

CALL JOHN M C M U L L E N 510.652.3879

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

44 February 7, 2013 performance in Davies Symphony premiered numerous new works. Hall. In 1984, Berkeley Symphony Recent orchestra-commissioned collaborated with Frank Zappa in works include Private Alleles (2011) a critically-acclaimed production fea- by Enrico Chapela, Mantichora (2011) turing life-size puppets and moving by Du Yun, and Holy Sisters (2012) stage sets, catapulting the Orchestra by Gabriela Lena Frank. Other past onto the world stage. commissions include Manzanar: An American History (2005) by Naomi Berkeley Symphony has introduced Sekiya, Jean-Pascal Beintus and Bay Area audiences to works by David Benoit; Bitter Harvest (2005) upcoming young composers, many by Kurt Rohde and librettist of whom have since achieved interna- Amanda Moody; and a fanfare by tional prominence. Celebrated Brit- Rohde, commemorating Nagano’s ish composer George Benjamin, who 30 years as music director. subsequently became Composer-in- Residence at the San Francisco Sym- Berkeley Symphony entered a new phony, was first introduced to the Bay era in January 2009 as Joana Car- Area in 1987 when Berkeley Symphony neiro became the orchestra’s third Music Director in its 40-year his- performed his compositions Jubilation tory. Under Carneiro, the Orchestra and Ringed by the Flat Horizon; as was continues its tradition of presenting Thomas Adés, whose opera Powder Her the cutting edge of classical music. Face was debuted by the Orchestra in Together, they are forging deeper a concert version in 1997 before it was relationships with living composers, fully staged in New York City, London which include several prominent and Chicago. contemporary Bay Area composers A champion of new music, Berkeley such as John Adams, Paul Dresher, Symphony has commissioned and and Gabriela Lena Frank.

www.buyartworknow.com

February 7, 2013 45 Golden St ate Senior Services A Family Business HighStandards Exceptional Caregiving Quality Focused Highly Individualized We model our service standards as we would want to be treated (510) 526-8883 www.goldenstateseniorservices.com

46 February 7, 2013 Music in the Schools

or twenty years, Berkeley Symphony Fhas partnered with the Berkeley Unified School District and Berkeley Public Education Foundation to produce the award-winning Music in the Schools program, providing comprehensive, interactive and age- appropriate music curricula to 4,000 elementary school students in Berkeley.

Honored by the League of American Orchestras as one of the top education programs in the country, the program is designed to meet national, state and local arts education standards and gives students the opportunity to actively participate in making music and develop skills that are essential for success.

This dynamic music education program includes teacher training, classroom FUNDERS visits by Berkeley Symphony musicians, Anonymous “Meet the Symphony” concerts to intro- Berkeley Public Education Foundation duce students to symphonic music, Berkeley Unified School District “I’m a Performer!” concerts featuring Berkeley Association of Realtors student performers, family concerts for The Bernard Osher Foundation all community members, and free/dis- California Arts Council counted tickets to Berkeley Symphony In Dulci Jubilo, Inc. concerts for students and their parents. Koret Foundation Mechanics Bank Website: berkeleysymphony.org/mits National Endowment for the Arts U.S. Bank “A great community resource. A Target Stores true gem in bridging the arts and Thomas J. Long Foundation bringing fine music development UC Berkeley’s Chancellor’s Community and appreciation to our school.” Partnership Fund —Marina Franco, Union Bank Foundation fourth-grade teacher Bernard E. & Alba Witkin Charitable Foun- dation

February 7, 2013 47 48 February 7, 2013 Under Construction New Music Series/ Composers Program

Joana Carneiro working with Under Construction composer Mark Ackerley.

stablished in 1993, Berkeley Symphony’s Under Construction New Music Series/ E Composers Program engages the community in contemporary music and pro- vides emerging composers a rare and invaluable opportunity to further develop their skills and gain practical experience writing for a professional orchestra.

Each selected composer has the opportunity to workshop and complete one symphonic work to be presented at the Under Construction concerts. The composers work closely with a program leader, and receive feedback and orchestration lessons from Music Director Joana Carneiro, orchestra members and guest composers. Each composer also receives a recording of the final performance for their personal use. This season, composers Steven Stucky and Paul Dresher lead the program and provide a guiding hand.

The Under Construction concerts are formatted to build upon each other: the orchestra rehearses the work in progress and experiments with different musical passages at the first concert to enable the complete, polished piece to be performed at the second concert. Discussion between the audience, the conductor, and the composer follows the playing of each new work. This interchange of ideas affords the audience members a greater understanding of the composers and their work.

Our composers chronicle their experiences and the growth of their pieces during the program. Check out the Under Construction blog at underconstructioncomposers. wordpress.com. Learn more about the program at berkeleysymphony.org/uccp.

Berkeley Symphony gratefully acknowledges the following Under Construction funders: Aaron Copland Fund, Margaret Dorfman, The Amphion Foundation

February 7, 2013 49 50 February 7, 2013 Young People’s Symphony Orchestra

his season marks the third year of partnership between Berkeley T Symphony and the Young People’s Symphony Orchestra (YPSO), affording young musicians the rare opportunity to perform with a professional orches- tra. Each year, a number of YPSO players are featured alongside Berkeley Symphony musicians in all four Zellerbach Hall mainstage concerts.

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

YPSO’s mission is to guide young musicians to achieve excellence within an orchestral setting. It provides an educational environment that fosters accomplishment, serves as a cultural resource for the community, and builds future audience by instilling a passion for music. YPSO has performed in prestigious locations including Carnegie Hall, the Dean Lesher Regional Center for the Arts in Walnut Creek, San Francisco’s War Memorial Opera House, the Calvin Simmons Auditorium, the San Francisco Museum of Modern Art, and the International Kiwanis Convention, and has been broadcast live on KGO and KKHI Radio.

February 7, 2013 51 READ “Eye From the Aisle” THEATRE REVIEWS by John A. McMullen MFA, SFBATCC, ATCA, SDC Astute Informative Entertaining at www.BerkeleyDailyPlanet.com Arts & Entertainment Section

Judith L. Bloom, Certified Public Accountant 510.798.8512 • [email protected]

I just love this orchestra!

52 February 7, 2013 Contributed Support

Be a part of the Berkeley Symphony Family! As a Berkeley Symphony supporter, you develop a deeper connection to the music and artists and make it possible for the Orchestra to present innovative concerts, world- class guest soloists, commissions and premieres, emerging composer development, and award-winning music education for all public elementary school children in Berkeley. Please consider becoming a part of this incredible community through one or more of the following ways: Individual Giving: Individual donations are crucial to our mission as a cutting-edge orchestra. They help underwrite our artistic and administrative fees and other basic infrastructure of our organization. Producer’s Campaign: New for the 2012-13 season, Producers support Berkeley Sym- phony’s artistic and educational goals by sponsoring our musicians and artists. These supporters have unique opportunities to become a part of the artistic processes they help make possible. Corporate Giving: Berkeley Symphony brings new meaning to the phrase “only in Berkeley” with its adventurous programming and unwavering commitment to music education. Our Corporate sponsors are recognized not only as partners to one of the City’s anchor cultural institutions, but also as supporters of the community. Planned Giving: Leave a lasting and meaningful impact on Berkeley Symphony’s pro- grams while fulfilling your future financial needs by remembering us in your estate plans. Support Music Education: Berkeley Symphony is proud to enter its twentieth year of partnership with the Berkeley Unified School District, providing music education to Berkeley public elementary students. Your contribution is instrumental to the con- tinuation and success of our Music in the Schools program. Advertising: Program advertising is a major way to support the vitality of Berkeley Symphony. Advertising in the concert programs demonstrates to the audience and the Orchestra that our community cares about and is committed to the arts and culture in Berkeley. In return, our advertisers receive exposure to a large and captive audience, and acknowledgement on the Berkeley Symphony website. Volunteer: Volunteering is a great way to get involved “behind the scenes” with Berke- ley Symphony. We offer ongoing volunteer opportunities, including assisting with concerts and special events, as well as light administrative work in the office. For further information about giving opportunities, please call Marissa Phillips, Director of Development, at (510) 841-2800 x305 or visit www.berkeleysymphony.org/ support.

February 7, 2013 53 2012-13 Season Sponsors

Kathleen G. Henschel

athleen G. Henschel, formerly finance manager at Chevron Corporation, was photo by Marshall Berman K president of Berkeley Symphony Board of Directors from 2006 to 2011, and a member since 2004. An active Bay Area philanthropist, she also serves on the boards of Chanticleer and Music @ Menlo.

Meyer Sound

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

Broadcast Dates Relive Tonight’s Concert with KALW 91.7 FM

Berkeley Symphony and public radio station KALW 91.7 FM are pleased to pres- ent the broadcast of Berkeley Symphony’s 2012–13 concert season. KALW will broadcast the season concerts from 4 to 6 pm on Sunday afternoons through- out the year. Special commentary by classical music host David Latulippe in conversation with selected guests will add to the excitement and insight of these programs.

Broadcast dates: Tonight’s concert will be broadcast on May 19. The March 28 concert will be broadcast on September 15. All concerts 4–6 pm Sundays on KALW 91.7 FM and streaming online at www.kalw.org.

54 February 7, 2013 2012-13 Season Donor Benefits Friends of Berkeley Symphony Get an insider’s scoop of Berkeley Symphony programs through open rehearsals, backstage tours, and special events. Supporting Member: $100+ Advance notice of discounts and events through Berkeley Symphony e-newsletters. Acknowledgement in the concert program, celebrating your support. Associate Member: $300+ (All of the above plus) An invitation for two to attend an exclusive Berkeley Symphony Open Rehearsal and Reception, where you will watch the Orchestra prepare before the concert experience. Principal Member: $750+ (All of the above plus) Special invitation to attend various Berkeley Symphony events including post-concert receptions and an exclusive backstage tour.

Symphony Circle Enjoy behind-the-scenes access and intimate events with Berkeley Symphony artists, including salons and dinners. Concertmaster: $1,500+ (All of the above plus) Invitation to attend exclusive Symphony Circle Soirée Receptions featuring a performance by the concert guest artist(s) and discussion with Music Director Joana Carneiro. Invitation to pre-concert Sponsors Dinners with others in the Berkeley Symphony family. Conductor: $2,500+ (All of the above plus) Invitation to the annual Musicians Dinner to meet the orchestra members and an exclusive Open Rehearsal, where you will watch the Orchestra prepare before the concert experience.

Sponsor Circle Receive personalized recognition and participation in truly unique experiences for a deeper connection to the artistic vision of Berkeley Symphony. Associate Sponsor: $5,000 (All of the above plus) Your incredible generosity is celebrated with a wide array of benefits related to concert sponsorship, including VIP access to the Sponsor’s lounge at concert intermissions and tickets to a closed symphony rehearsal of your choice. Executive Sponsor: $10,000 (All of the above plus) Exclusive invitation to an intimate Sponsors Circle Dinner with Music Director Joana Carneiro. Season Sponsor: $25,000 (All of the above plus) Acknowledgement in the season brochure and concert program as a sponsor for the upcoming season, complete with a sponsor’s biography at your option. Recognition in media releases, thanking you for your visionary support. At this leadership level, you are invited to create the experience you want at Berkeley Symphony.

February 7, 2013 55 56 February 7, 2013 Producer’s Campaign

New for the 2012-13 season, support us by participating in the Producer’s Campaign. This unique artist sponsorship will connect you with those who make our concerts and educational programs possible. A Producer may sponsor (exclusively or shared) a Berkeley Symphony musician, one of our guest artists or composers, the Education Director, or even the Music Director. During the 2012-13 season, as a Producer you will have unique opportunities to meet “We are tremendously excited by with the artists that you support and Joana’s energy and talent and consider truly be a part of our artistic process. it an honor and privilege to support Many levels of sponsorships are her vision for Berkeley Symphony. available. For more information, Each season brings delightful surprises, please contact Development Director introducing us to new composers, Marissa Phillips at 510-841-2800 x305 innovative programming and capti- or [email protected]. vating soloists.”—Lisa and Jim Taylor.

“Berkeley Sym- We would like to thank the following supporters of the Producer’s Campaign: phony is a real Judith L. Bloom treasure: our own Norman A. Bookstein & Gillian Kuehner excellent sym- David and Inez Boyle phony conveniently Marilyn and Richard Collier in the heart of James and Rhonda Donato Berkeley. I always Ellen Hahn look forward to Kathleen G. Henschel Joana’s innova- Gail and Bob Hetler tive programming Buzz & Lisa Hines of main stage Ken Johnson & Nina Grove concerts, as well as ground-breaking Marcos and Janet Maestre new music at Under Construction, and Kim and Barbara Marienthal I attend as many Music in the Schools Janet & Michael McCutcheon programs as I can, where our musicians John and Helen Meyer Earl O. Osborn reach Berkeley’s school children with Tom and Mary Reicher fun and profound outreach. From Sir Kathy Canfield Shepard and John John Lubbock: Music’ is a moral law; it Shepard gives wings to the mind; a soul to the Tricia Swift universe; flight to imagination; a charm Lisa and Jim Taylor of sadness; a life to everything.’ Come William Knuttel Winery and join our adventures!”—Tricia Swift S. Shariq Yosufzai and Brian James

February 7, 2013 57 Founded 1930 There are 125 locations worldwide great artists Management in every field. Leasing We invite you Valet Parking to call one of Shuttles ours! Consulting www.CaliforniaMoves.com When you have 1495 Shattuck Avenue parking management 510.486.1495 or special event needs, call the parking experts. We have been parking cars since 1930. BERKELEY OFFICE Locations as small as 20 spaces, as large as 1400 spaces

TO ADVERTISE 510.444.7412 I N T H E www.douglasparking.com BERKELEY SYMPHONY PROGRAM Corporate Office: 1721 Webster Street • Oakland • CA • 94612 C A L L Offices in: J O H N M C MULLEN Oakland • San Francisco • San Jose Walnut Creek • Las Vegas NV • Portland OR 510.652.3879 Athens, Greece

58 February 7, 2013 Annual Support

Your contributions enable Berkeley Symphony to continue its mission to present innovative programming, provide music education to all Berkeley elementary students, and create a community where learning and experiencing the art is accesible to all. We gratefully acknowledge the generosity of each individual who has contributed to Berkeley Symphony by way of Annual Fund contributions, Producer’s Campaign contributions, donations to Berkeley Symphony events and auction contributions.

Gifts received between August 1, 2011 and January 2, 2013

SPONSOR CIRCLE SYMPHONY CIRCLE

Gifts of $50,000 or more Gifts of $2,500 or more Kathleen G. Henschel Anonymous Helen & John Meyer Gertrude & Robert Allen Gifts of $10,000 or more Mark Attarha Anonymous Michele Benson James & Rhonda Donato Judith L. Bloom Gail & Bob Hetler David & Inez Boyle William & Robin Knuttel Anita Eblé Janet & Marcos Maestre Karen Faircloth Jan & Michael McCutcheon Linda Schacht & John Gage McCutcheon Construction John Harris Ed Osborn Ken Johnson & Nina Grove Thomas & Mary Reicher Buzz & Lisa Hines Kathy Canfield Shepard & John Shepard Kim & Barbara Marienthal Tricia Swift Lisa & James Taylor Bennett Markel & Karen Stella Shariq Yosufzai & Brian James Alison Teeman & Michael Yovino-Young Gifts of $5,000 or more Paul Templeton & Darrell Louie Anonymous Anne & Craig Van Dyke Susan & Jim Acquistapace Gordon & Evie Wozniak Norman A. Bookstein & Gillian Kuehner Gray Cathrall Gifts of $1,500 or more Marilyn & Richard Collier Sallie & Edward Arens John & Charli Danielsen Phyllis Brooks Schafer Jennifer Howard DeGolia Ronald & Susan Choy Margaret Dorfman Valerie & Richard Herr Oz Erickson David Hill Paula & John Gambs Sue Hone & Jeff Leiter Gary Glaser & Christine Miller Grubb Co. Jorge Mancheno Ellen Hahn René Mandel Natasha Beery & William B. McCoy Patrick McCabe Deborah O’Grady & John Adams Amy & Eddie Orton Thomas W. Richardson Carol Jackson Upshaw

February 7, 2013 59 60 February 7, 2013 FRIENDS OF BERKELEY SYMPHONY

Gifts of $750 or more Lucille & Arthur Poskanzer Joe & Sue Daly Joy & Jerome Carlin Peggy Radel & Joel Myerson Dr. Marian C. Diamond Earl & June Cheit Marjorie Randolph Paula & James R. Diederich Bruce & Joan Dodd Mary Lu & Bob Schreiber Paul Dresher & Philippa Kelly Jack & Ann Eastman Deborah Shidler & David Tanya Drlik Stuart & Sharon Gronningen Burkhart Anthony Drummond Lynne La Marca Heinrich & Shelton Shugar Beth & Norman Edelstein Dwight Jaffee Robert Sinai & Susanna Bennett Falk & Margaret Arthur & Martha Luehrmann Schevill Moreland Lois & Gary Marcus Scott Sparling Fred G. Fassett Bebe & Colin McRae Lisa St. Claire Lynn Feintech & Anthony Michael & Elisabeth O’Malley Steven Stucky Bernhardt Ditsa & Alexander Pines Michel Taddei Marcia Flannery Anthony & Patricia Gary & Susan Wendt-Bogear Joseph Floren Theophilos Nancy & Charles Wolfram Collette Ford Robert & Emily Warden Caroline Wood Marcine & Dean Francis Jeffrey A. White Ednah Beth Friedman Gifts of $100 or more Doris Fukawa Gifts of $300 or more Anonymous (5) Harriet Fukushima Anonymous Anonymous in honor of Patricia & Ronald Adler Marilyn Collier Isabelle Gerard Donald & Margaret Alter Anonymous in honor of Mr. & John C. Gerhart Fred & Elizabeth Balderston Ms. R. Collier’s Anniversary Ron L. Gester Bonnie J. Bernhardt Anonymous in memory of Jeffrey Gilman & Carol Reif Christel Bieri Donna Hamilton Rose Marie & Sam Ginsburg Lauren Brown Adams Anonymous inspired by Jan Karen Glasser William Buckingham McCutcheon, Ellie Hahn, & David Goines Janet Maestre Diane Budd Stuart M. Gold, Md Jeannette Alexich Thomas Busse Edward C. Gordon Joel Altman Joana Carneiro Phyllis Gottlieb Karen Ames Richard Colton Steven E. Greenberg Patricia Vaughn Angell Dianne Crosby Arnold & Elaine Grossberg Robert & Evelyn Apte Virginia d’Almeida Ervin & Marian Hafter Jonathan Arons Dennis & Sandy De Domenico Jane Hammond Catherine Atcheson Gini Erck & David Petta Alan Harper & Carol Baird Daniel & Kate Funk Stephen Beck & Candice Eggerss Margot Harrison Theresa Gabel & Timothy William & Judith Hein Zumwalt Steven Beckendorf Lyn Hejinian Evelyn & Gary Glenn Frances Berges Mark & Roberta Hoffman Bonnie & Sy Grossman John Beviacqua Richard Hutson Trish & Anthony W. Hawthorne George & Dorian Bikle F.W. Irion Donald & Janet Helmholz Cara Bradbury Hilary Honore David Bradford Russ Irwin Ora & Kurt Huth Robert J. Breuer Fred Jacobson James Pennington Kent Helen Cagampang Wayne J. Jensen Faye Keogh Stuart Canin Irene & Kiyoshi Katsumoto Mischa Lorraine Mark Chaitkin & Cecilia Storr E. Paul & Joanne P. Kelly Howard & Nancy Mel Murray & Betty Cohen Todd Kerr Helen Marcus Frederick & Joan Collignon David & Nancy Kessler Penny & Noel Nellis Kristin Collins Robert Kroll & Rose Ray Maria José Pereira Dr. Lawrence R. Cotter Laurence & Jalyn Lang Greg Phillips Edward Cullen Cara Lankford Leslie & Joellen Piskitel Richard Curley Almon E Larsh, Jr Leslie Plotkin Barbara A. Dales Jenny Lee

February 7, 2013 61 Gifts of $100 or more (continued) Dr. Patrick M. Pralle Kyra Subbotin Laurel Leichter & Michael Wilson Jo Ann & Buford Price Geoffrey S. Swift Jim Lovekin George N. Queeley Matias Tarnopolsky & Birgit John Lowitz & Fran Krieger Jean M. Radford Hottenrott George E. Mattingly Mark Rhoades Karen Teel Christopher Terry Alex Mazetis Donald Riley & Carolyn Serrao Kathryn Thornburg Bill & Suzanne McLean Bill Rudiak Alta Tingle Jim & Monique McNitt Julianne H. Rumsey Betty & Jack Schafer Elsa & Revan Tranter Parker Monroe & Teresa Darragh Susanna Schevill George & Madeleine Trilling Gerry Morrison Steven Scholl Yvette Vloeberghs Marcia Muggli Mary Lou Schreiber, Md Randy & Ting Vogel Leslie Myers Carolyn Serrao David & Marvalee Wake Anita Navon Brenda Shank Dorothy Walker William Newton Jane Vandenburgh & Jack Li-Hsia Wang & Henry L. Ortun Niesar Shoemaker Abrons Ann M. O’Connor & Ed Cullen Anne Shortall Sheridan & Betsey Warrick Gaby Olander Jutta Singh Alice Waters Jonathan Omer-Man & Carl & Grace Smith Carolyn Webber Nan Gefen Johan & Gerda Snapper Dr. George & Bay Westlake Stanley & Shirley Osher Carol & Anthony Somkin Ann Wilkins Elizabeth Pigford Carla Soracco Karsten Windt Therese M. Pipe Sylvia Sorell & Daniel Kane Nancy & Sheldon Wolfe Myron Pollycove Charlotte & Martin Sproul Charlene M. Woodcock Randy Porter Bruce & Susan Stangeland Mark G. Yatabe

We would like to thank all our donors, including those who have given under $100 and those whose recent gifts may not yet appear in these listings. All contributions are greatly appreciated. While every attempt has been made to assure accuracy in our donor list, omissions and misspellings may occur. Please advise the Symphony office at 510.841.2800 ext. 305 of any errors. We appreciate the opportunity to correct our records. Nagano Campaign for the Future

We thank our supporters of the Nagano Campaign for the Future.

Anonymous, in honor of Harry Arthur & Martha Luehrmann Weininger Janet & Marcos Maestre Anonymous (2) Kim & Barbara Marienthal Ronald & Susan Choy Bennett Markel Richard & Marilyn Collier Janet & Michael McCutcheon Jennifer Howard DeGolia Helen & John Meyer Ruth & Burt Dorman Deborah O’Grady & John Adams Anita Eblé Linda Schacht & John Gage Sharon & Stuart Gronningen Merrill & Patricia Shanks Ellen & Roger Hahn Kathy Canfield Shepard & John Shepard Lynne LaMarca Heinrich & Dwight Jaffee Deborah Shidler Kathleen G. Henschel Tricia Swift Buzz & Lisa Hines Michel Taddei Kenneth Johnson & Nina Grove Lisa & Jim Taylor James Kleinmann & Lara Gilman The Weininger Family, in Honor William & Robin Knuttel of Harry Weininger

62 February 7, 2013 Berkeley Symphony Legacy Society

Thank you to those donors who have included Berkeley Symphony in their estate or life-income arrangements. If you are interested in including Berkeley Symphony in your planned giving, please contact Marissa Phillips, Director of Development, at 510.841.2800 ext. 305 or [email protected].

Kathleen G. Henschel Janet & Marcos Maestre Bennett Markel Jeffrey S. Leiter Lisa Taylor

Institutional Gifts

Berkeley Symphony expresses its deep appreciation to the following individuals, foundations, corporations, government agencies, and community organizations for their generous support of our artistic and educational programming. Gifts received between August 1, 2011 and January 2, 2013

Gifts of $50,000 or more Gifts of $5,000 or more (continued) New Music U.S.A. Bernard E. and Alba Witkin Charitable The William & Flora Hewlett Foundation Foundation Zellerbach Family Foundation Gifts of $25,000 or more The Creative Work Fund Gifts of $2,500 or more Amphion Foundation Meyer Sound Laboratories, Inc. Gifts of $1,000 or more Gifts of $10,000 or more Berkeley Association of Realtors Anonymous Center for Cultural Innovation Ann and Gordon Getty Foundation Target Stores Berkeley Public Education Foundation The Bernard Osher Foundation Gifts of $500 or more East Bay Community Foundation In Dulci Jubilo, Inc. Koret Foundation Mechanics Bank National Endowment for the Arts Tides Foundation Thomas J. Long Foundation UC Berkeley’s Chancellor’s Community Partnership Fund Matching Gifts The following companies have matched Gifts of $5,000 or more their employees’ contributions to The Aaron Copland Fund for Music Berkeley Symphony. Please call us at California Arts Council 510.841.2800 x305 to find out if your City of Berkeley company matches gifts. East Bay Community Foundation Union Bank of California Anchor Brewing Co. U.S. Bank Chevron Wallis Foundation Home Depot

February 7, 2013 63 64 February 7, 2013 In-Kind Gifts

Berkeley Symphony would like to extend special thanks to the individuals and busi- nesses listed below whose generous donation of goods and services have helped to facilitate the production of our season concerts.

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

Administration Contact

René Mandel, Executive Director Marissa Phillips, Director of Development Theresa Gabel, Director of Operations Ming Luke, Education Director & Conductor Noel Hayashi, Director of Marketing Tickets available by phone, fax, Karen Ames, Communications Consultant mail, e-mail, or online: Jessica Schultze, Marketing Associate Berkeley Symphony Aaron Woeste, Development Associate 1942 University Avenue, Suite 207, Thomas Busse, Controller Berkeley, CA 94704 Crystal Pascucci, Development Intern 510.841.2800 Fax: 510.841.5422 [email protected] Program www.berkeleysymphony.org Julie Giles, Cover Design Sign up online for our e-newsletter to Andreas Jones, Design & Production stay current on Berkeley Symphony John McMullen, Advertising Sales and Joana Carneiro. Thomas May, Program Notes California Lithographers, Printing find us on

February 7, 2013 65 Advertiser Index

Alameda Structural ...... page 18 La Mediterranée ...... page 42 Albert Nahman Plumbing ...... page 36 Lunettes du Monde ...... page 36 Aurora Theatre ...... page 28 Mancheno Insurance Agency . . . pages 34-35 Bec’s Bar and Bistro ...... page 42 Margaretta K. Mitchell Photography . .page 22 Berkeley Hat Company ...... page 52 Marshall Berman Sculpture ...... page 56 Berkeley Horticultural Nursery ...... page 46 Maybeck High School ...... page 28 Bill’s Footwear ...... page 24 McCutcheon Construction ...... page 48 BuyArtworkNow.com ...... page 45 Mechanics Bank ...... page 24 The Club at The Claremont ...... page 14 Meritage at the Claremont ...... page 42 Casa de Chocolates ...... page 50 Mountain View Cemetery . . .inside back cover Coldwell Banker ...... page 58 O Chamé ...... page 44 The College Preparatory School . . . . . page 30 Oceanworks ...... page 46 Crowden ...... page 38 Osher Life Long Learning ...... page 30 Dining Guide ...... pages 42, 44 Poulet ...... page 44 DoubleTree Hotel ...... page 60 R. Kassman Piano ...... page 38 Douglas Parking ...... page 58 Scandinavian Designs ...... page 18 Eva Ruland, Life Coach ...... page 52 Sotheby’s International Realty ...... page 12 Frank Bliss, State Farm ...... page 18 St. Paul’s Towers ...... inside front cover Going Places ...... page 25 Storey Framing ...... page 22 Golden State Senior Care ...... page 46 Talavera ...... page 25 Griffin Motorwerke ...... page 41 Thornwall Properties ...... page 20 The Grubb Co ...... back cover Tricia Swift, Realtor ...... page 16 Henry’s Gastropub...... page 16 Turtle Island Book Shop ...... page 25 Hotel Durant ...... page 32 UC Berkeley Optometry ...... page 26 Judith L. Bloom, CPA ...... page 52 Viking Trader ...... page 28 Jutta’s Flowers ...... page 64 ...... Please Patronize Our Advertisers!

TO ADVERTISE IN THE BERKELEY SYMPHONY PROGRAM

CALL JOHN M C MULLEN 510.652.3879

66 February 7, 2013