Mountain View Cemetery Association, a historic Olmsted designed cemetery located in the foothills of Oakland and Piedmont, is pleased to announce the opening of Piedmont Funeral Services. We are now able to provide all funeral, cremation and celebratory services for our families and our community at our 223 acre historic location. For our families and friends, the single site combination of services makes the difficult process of making funeral arrangements a little easier. We’re able to provide every facet of service at our single location. We are also pleased to announce plans to open our new chapel and reception facility – the Water Pavilion in 2016. Situated between a landscaped garden and an expansive reflection pond, the Water Pavilion will be perfect for all celebrations and ceremonies. Features will include beautiful kitchen services, private and semi-private scalable rooms, garden and water views, sunlit spaces and artful details. The Water Pavilion is designed for you to create and fulfill your memorial service, wedding ceremony, lecture or other gatherings of friends and family. Soon, we will be accepting pre-planning arrangements. For more information, please telephone us at 510-658-2588 or visit us at mountainviewcemetery.org. Berkeley 2014/15 Season

5 Message from the Music Director 7 Message from the Board President 9 Message from the Executive Director 11 Board of Directors & Advisory Council 12 14 Season Sponsors 17 Producers’ Circle Sponsorship Gifts 19 Berkeley Symphony Legacy Society 21 Program 23 Program Notes 35 Music Director: Joana Carneiro 41 Composer’s Biography 45 Berkeley Symphony 49 Music in the Schools 51 Under Construction New Music Program 55 Membership Support 60 Broadcast Dates 65 Contact 66 Advertiser Index Mountain View Cemetery Association, a historic Olmsted designed cemetery located in the foothills of Oakland and Piedmont, is pleased to announce the opening of Piedmont Funeral Services. We are now able to provide all funeral, cremation and celebratory services for our families and our community at our Media Sponsor 223 acre historic location. For our families and friends, the single site combination of services makes the difficult process of making funeral arrangements a little easier. We’re able to provide every facet of service at our single location. We are also pleased to announce plans to open our new chapel and reception facility – the Water Pavilion in 2016. Situated between a landscaped garden and an expansive reflection pond, the Official Wine Sponsor Water Pavilion will be perfect for all celebrations and ceremonies. Features will include beautiful kitchen services, private and semi-private scalable rooms, garden and water views, sunlit spaces and artful details.

The Water Pavilion is designed for you to create and fulfill your memorial service, wedding ceremony, lecture or other gatherings of friends and family. Soon, we will be accepting pre-planning arrangements. For more information, please telephone us at 510-658-2588 or visit us at mountainviewcemetery.org. 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 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.

January 15, 2015 3 4 January 15, 2015 Message from the Music Director

Dear Friends,

My warmest wishes for the New Year! I hope that 2015 brings us all health, peace, and many evenings of beautiful music. photo by Rodrigo de Souza

Tonight’s program holds a special place in my heart. When I was the newly appointed assistant conductor of the , my first subscription concert featured the two works you will hear tonight, Thomas Adès’ and Tchaikovsky’s “Pathétique” Symphony. Adès himself conducted Asyla, and it was thrilling to share the stage with one of the greatest musical artists of our time.

Composed in 1997, Asyla exemplifies Adès’ stunning talent and vivid musical imagination. The work’s title plays upon the meanings of the word asylum as either a sanctuary or a madhouse; listening to the piece, I am sure you will be delighted by Adès’ musical illustration of this double meaning.

The program’s second half features Tchaikovsky’s Symphony No. 6, “Pathétique.” While it is not clear whether or not Tchaikovsky liked the work’s subtitle, the symphony doubtlessly features some of his most passionate, expressive music. That Tchaikovsky was hesitant to divulge any possible program behind the work—and that he died so soon after its premiere—have added to the mysteries surrounding this incredible piece. The work features several extraordinary passages, from the cries of despair throughout the finale to the second movement’s famous 5/4 waltz.

I am always so thankful for your presence and support.

With my warmest wishes,.

Joana Carneiro

January 15, 2015 5 6 January 15, 2015 Message from the Board President

Growing Our Audience

In an age in which we are surrounded by prerecorded sounds—from the MP3s on our telephones or tablets to the piped-in music photo © Margaretta K. Mitchell in stores and cafes—live symphonic music is a precious experience. Live performance is exciting, ephemeral, and ALWAYS new and different. When the lights dim, we tune out the cacophony of the world and focus on the musicians’ messages for us. Joana raises her baton and initiates a dialogue between musicians and audience.

What was your first experience with this magical dialogue of live performance? I remember mine well. When I was 12 years old, my mother took me to Yale’s Woolsey Hall for a performance by the Yale-New Haven Symphony. While my mother loved the more familiar part of the program, I was electrified by the “other” half: Charles Ives’ Holidays Symphony, with its vitality, humor, and thrilling new sounds. Ives’ music has sustained me throughout my life, as has the ever-widening repertoire of symphonic music that I have listened to and explored. I am always amazed by hearing something new, even in familiar works.

Your musicians love playing for you. Your support keeps Berkeley Symphony energized, vibrant, and ready to explore new horizons. Please help introduce the joy of live music-making to more young people—children, grandchildren, students—by bringing them to a performance or sponsoring their tickets to a Berkeley Symphony concert. Together as a community we can ensure the vitality of live symphonic music for generations to come.

Tricia Swift President, Board of Directors

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8 January 15, 2015 Message from the Executive Director

Greetings and Happy New Year!

We gather this evening for a concert inspired in part by Joana’s experiences years ago at the

Los Angeles Philharmonic. This L.A. connection photo by Marshall Berman prompts me to reflect upon my own formative musical experiences there and, more broadly, the power of performance to transform lives.

When I was growing up in Los Angeles, my parents took me to hear the Philharmonic nearly every Sunday afternoon. I sat spellbound listening to the orchestra and the legendary conductors and soloists who appeared onstage, from Mehta and Giulini to Heifetz and Horowitz. In January 1971, I heard Pinchas Zukerman for the first time and I found my calling. A few weeks later, my father gave me a for my eighth birthday. At the time, I could have never imagined that, only six years later, I myself would appear as a soloist with the Philharmonic, under the baton of Calvin Simmons. Because of those Sunday concerts, music became a central part of my life.

The power of classical music is transformative and long-lasting. It is our mission at Berkeley Symphony to carry forward that which was so generously given to me and to scores of other children. From our Zellerbach Hall concerts and our award-winning Music in the Schools program to our chamber music series and Under Construction New Music Program, we are proud to do our part to help continue the tradition of classical music, sustaining and nurturing it for the audiences of tomorrow. I thank you for making this possible.

With warmest regards,

René Mandel

January 15, 2015 9 10 January 15, 2015 Board of Directors & Advisory Council

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

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

January 15, 2015 11 The Orchestra

Joana Carneiro Music Director Sponsored by Brian James & Shariq Yosufzai Ilana Matfis Principal Sponsored by Helen & John Meyer Sponsored by Marcia Muggli & Ed Osborn Darcy Rindt Assistant Principal Sponsored by Lisa & Jim Taylor Patrick Kroboth Sponsored by Anonymous Marta Tobey Kent Nagano Conductor Laureate Keith Lawrence Violin I Clio Tilton Franklyn D’Antonio Concertmaster Amy Apel Noah Strick Associate Concertmaster Amanda Woo Cassandra Bequary Assistant Concertmaster Peter Liepman Matthew Szemela Michael Basili Candy Sanderson Dan Stanley Larisa Kopylovsky Kayla Reagan Douglas Kwon Sarah Wood Stephanie Bibbo Carol Rice Principal Sponsored by Getrude Allen Ernest Yen Stephanie Lai Assistant Principal Shawyon Malek-Salehi Wanda Warkentin Annie Li Eric Gaenslen John Bernstein Krisanthy Desby Alexandra Lee Shain Carrasco David Grote Kenneth Johnson Bert Thunstrom Peter Bedrossian Violin II Margaret Moores Dan Flanagan Principal Andy Ly Jiwon Evelyn Kwark Assistant Principal Bass Karsten Windt Michel Taddei Principal David Cheng Robert Ashley Assistant Principal Lauren Avery Sponsored by Tricia Swift Jon Keigwin Ilana Thomas Alden F. Cohen Matthew Oshida David Horn Genevieve Micheletti Ben Holston Rick Diamond Corey Chandler Ann Eastman Eric Price Kristen Kline Flute Luther Kuefner Emma Moon Principal Charles Zhou Sponsored by Janet & Marcos Maestre Rose Marie Ginsburg Stacey Pelinka

12 January 15, 2015 Flute (continud) Laurie Camphouse Scott Macomber Principal Kale Cumings Piccolo Ari Micich Stacey Pelinka Laurie Camphouse Piccolo Trumpet Ari Micich Bass Flute Laurie Camphouse Thomas Hornig Principal Sponsored by Kathleen G. Henschel & John W. Dewes Laura Griffiths Principal Craig Bryant Sponsored by Jan & Michael McCutcheon Bennie Cottone Bass Trombone Kyle Bruckmann Kurt Patzner

English Horn Bennie Cottone Jerry Olson Principal Kyle Bruckmann /Percussion Kevin Neuhoff Principal Kyle Bruckmann Percussion Ward Spangler Principal Roman Fukshansky Principal Victor Avdienko Mark Shannon Timothy Dent Jeff Anderle Benjamin Paysen Allen Biggs Mark Shannon Harp Wendy Tamis Principal Jeff Anderle /Celesta Miles Graber Principal Lori Lack Carla Wilson Principal Ravinder Sehgal Erin Irvine

Contrabassoon Franklyn D’Antonio Erin Irvine Co-Orchestra Manager

Horn Joslyn D’Antonio Alex Camphouse Principal Co-Orchestra Manager Sponsored by Thomas & Mary Reicher Quelani Penland Stuart Gronningen Librarian Loren Tayerle Richard Hall David Rodgers, Jr. Tom Reicher Stage Manager

January 15, 2015 13 2014-15 Season Sponsors

Tricia Swift

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

Kathleen G. Henschel & John W. Dewes

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

Brian James & Shariq Yosufzai

rian James is a member of the Board of B Directors of Berkeley Symphony and was Co-Chair of the Symphony’s 2014 Gala. Shariq Yosufzai serves on the Advisory Council of Berkeley Symphony, the Board of Directors of the San Francisco Opera, the Board of Trustees of Cal Performances, and is a past Chair of the Board of the California Chamber of Commerce.

14 January 15, 2015 cCutcheon Construction was M founded in 1980 with the vision of creating healthier homes, beautiful homes that endure, and homes that matter to their owners, to the community, and to the environment. Headquartered in Berkeley, the company renovates and builds new structures throughout Northern California, where it has grown its reputation as a leader in sustainable home-building practices by listening carefully to clients and responding to their deeper desires for healthier living.

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

or more than 135 years, Chevron has proudly F developed the energy that people and businesses depend on, helping to spur economic growth and improve the quality of life for communities worldwide. Everywhere we operate, we strive to build lasting partnerships that contribute to local economies—now and for generations to come. We work with our partners to strengthen communities by focusing on strategic social investments in health, education and economic development. Chevron is pleased to continue our partnership with the Berkeley Symphony to sponsor their 2014/2015 season.

January 15, 2015 15 16 January 15, 2015 Producers’ Circle Sponsorship Gifts

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

Anonymous (3)

Gertrude Allen

Ronald & Susan Choy

Margaret Dorfman

Oz Erickson & Rina Alcalay

Kathleen G. Henschel & John W. Dewes

Buzz & Lisa Hines

Brian James & Shariq Yosufzai

Janet & Marcos Maestre

Sarah Coade Mandell & Peter Mandell

Jan & Michael McCutcheon

Helen & John Meyer

Linda & Stuart Nelson

Deborah O’Grady & John Adams

Ed Osborn & Marcia Muggli

Thomas & Mary Reicher

Tricia Swift

Lisa & James Taylor

The Thomson Family

Kern & Marnie Wildenthal

William Knuttel Winery

Producers’ Circle Sponsorship gifts of $2,500 and above received between December 1, 2013 and December 1, 2014. Thank you also to our Producers’ Circle supporters at all levels!

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18 January 15, 2015 Berkeley Symphony Legacy Society

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

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

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

January 15, 2015 19 20 January 15, 2015 Program II: Sanctuary

Thursday, January 15, 2015 at 8:00 pm Zellerbach Hall

Joana Carneiro conductor

Thomas Adès Asyla I. II. III. Ecstasio IV.

INTERMISSION

Pyotr Ilyich Tchaikovsky Symphony No. 6 in B minor, Op. 74, (Pathétique)

Adagio — Allegro non troppo. Allegro con grazia Allegro molto vivace Finale: Adagio lamentoso — Andante

Tonight’s performance will be broadcast on KALW 91.7 FM on May 11, 2015. Please switch off your cell phones, alarms, and other electronic devices during the concert. Thank you.

Con cert Sponsors Tonight’s performance is made possible by the generous support of The Grubb Co. | Janet & Marcos Maestre | William Knuttel Winery

January 15, 2015 21 22 January 15, 2015 Program Notes

Thomas Adès (b. 1971) 1990s. After winning accolades in a BBC-sponsored piano competition Asyla, Op. 17 while in his teens (he continues to perform as a pianist and is also an Born on March 1, 1971, in London. active conductor), Adès determined Thomas Adès completed Asyla in to take up composition. He was still 1997 on a commission by the John in his mid-20s when he produced Feeney Charitable Trust for the City Asyla, a remarkable achievement of Birmingham Symphony Orchestra. in terms not only of its musical First performance: October 1, 1997, thought and structure but of its in Birmingham, England, with masterfully executed orchestration conducting the City of as well. Birmingham Symphony Orchestra. Asyla is scored for a large orchestra The colorful, distinctive, sure-footed of 2 piccolos, 3 flutes, bass flute, theatricality found in his two operas 3 , bass oboe, 2 English horns, to date, (1995) and 3 , bass clarinet, contrabass (2004), has won Adès clarinet, 3 , , an international following. (The 4 horns, piccolo trumpet, 3 , composer is currently at work 3 , tuba, timpani, percussion on a third opera, based on Luis (roto-toms, , pedal bass Buñuel’s film The Exterminating drum, finger drums, side drum, bell Angel, which is to be premiered plates, cowbells, tubular bells, Chinese in 2016 at the Salzburg Festival.) Adès’ orchestral music similarly cymbal, suspended cymbals, choke draws on his dramatic sensibility cymbal, hi-hat cymbal, crash cymbals, and flair for evoking memorable , large tin cans, geophone, atmospheres. Asyla, for example, tam-tam, water , gongs, ratchets, which was premiered in 1997 by washboard, sandpaper blocks, bag of the City of Birmingham Symphony metal cutlery, glockenspiel, crotales) Orchestra under one of his foremost grand piano, celesta, two upright early champions, Simon Rattle, pianos, harp, and strings. Duration: demonstrated a precocious stylistic 25 minutes. confidence. Here Adès wields a Mahler-sized orchestra to craft a homas Adès advanced with richly condensed symphony that T sensational speed to the includes a movement evoking a forefront of the new music scene night of London club raving and as a prodigy composer in the early excess.

January 15, 2015 23 2014-2015

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

24 January 15, 2015 A less self-assured artist might a relatively brief duration no well have buckled under the high- longer than that of a modest stakes pressure of this degree of Classical symphony. It speaks to international attention so early his confidence in the quality of this in his career—attention that music that, for his debut concert as was accompanied by the usual the newly appointed music director hyperbole of great expectations, as of the in 2002, Adès became routinely compared Rattle pointedly programmed Asyla to the young alongside Mahler’s Fifth Symphony, (understandably, to his increasing making explicit the Mahlerian annoyance and chagrin). ambition of Adès’ work and Particularly in the aftermath of technical facility. his sensational operatic debut, It all may sound like a recipe for Powder Her Face (1995), Adès faced hubris, yet again Adès impressed an unusual amount of attention savvy listeners even as he sought and scrutiny. This chamber opera, a voice of his own. Referring to an irreverent satire drawn from the the multiplicity implicit in the tabloid fall-from-grace scandal of Latin title Aysla (plural of “asylum”), the Duchess of Argyll (with shades Alex Ross writes that in this of a latter-day ), suggested score, Adès “dramatizes his that Adès could tap into a musical own struggle to define himself language of Nabokovian fluency. within and against modernity, This was a composer capable of seeking asylums’’ of one kind or delighting in the multifaceted another.” And the adventurous possibilities of his unpredictably spirit of Asyla continues to fascinate witty and allusive musical listeners nearly two decades into language. the piece’s existence.

Adès subsequently scored yet Adès’ title is typically evocative and another high-profile success ambiguous: an asylum can mean when Simon Rattle and the both a place of inviolable refuge and City of Birmingham Symphony an institution for the insane. Asyla commissioned Asyla, Op. 17. plays on this plurality of meaning (Adès, incidentally, uses the old- without devolving into a chaos of fashioned system of cataloguing too-muchness. The hyperactively his compositions according to firing synapses of Adès’ musical opus number.) This four-movement imagination ignite multiple symphonic score, which was simultaneous associations—a first heard in October 1997, calls riotous counterpoint of musical for a vast orchestral palette to references. Yet he is able to sustain explore its extraordinary range a deft structural logic across of emotional states—all within the piece. After an intriguingly

January 15, 2015 25 26 January 15, 2015 ritualistic call to attention issued “fantastic symphony” for the eve of by ringing cowbells, the first the millennium. movement traces a sprawling Following this musical “trip,” the theme (first heard in the horns) which hints of Baroque gravitas final movement pursues a more and Brucknerian grandeur. At the emotionally expansive labyrinth, same time, there’s no mistaking the with a resoundingly cavernous bass fidgety energy that is a hallmark of serving as the thread. Eventually Adès’ music. Just past the midpoint Asyla achieves a breakthrough in of the first movement, a frenzied the immense, shimmering spasm of gesture from the trumpets gives a chords of its final pages. foretaste of the madness to come in —© Thomas May the third movement (“Ecstasio”).

The ensuing slow movement alludes to the convention of musical lament (notice the inexorably descending line, a trope that embodies centuries of tradition). Included in the soundscapes is the intriguing sonority of a piano tuned a quarter- Pyotr Ilyich Tchaikovsky tone flat, while the dusky hues of (1840-1893) the bass oboe intone the principal melody. Symphony No. 6 in B

The hero then “swears off solitude,” minor, Op. 74 (Pathétique) as Alex Ross puts it, and “ventures Born on May 7, 1840, in Votkinsk, out on the town” in the frenetic Russia; died on November 6, 1893, in third movement. The most overtly St. Petersburg, Russia. Pyotr Ilyich “programmatic” music of Asyla, Tchaikovsky composed the last of his the third movement’s communal six in 1893 and died just ecstasies conjure a night of club nine days after he unveiled this mature raving and excess in the London of masterpiece. First performance: October the 1990s. “Ecstasio” suggests both 28, 1893, in St. Petersburg, with the a thrilling psycho-spiritual state and the pharmacological passport composer conducting. The Sixth to reach it: the drug Ecstasy. Dance Symphony is scored for 3 flutes (3rd beats accumulate in layers as doubling piccolo), 2 oboes, 2 clarinets, they weave in and out, creating a bass clarinet, 2 bassoons, 4 horns, 2 funhouse effect of shifting musical trumpets, 3 trombones, tuba, timpani, points of view. Here is a microcosm percussion (bass drum, cymbals, and of the simultaneous diffuseness tam-tam), and strings. Duration: 45 and coherence of Asyla overall—a minutes.

January 15, 2015 27 28 January 15, 2015 ithout exaggeration, to the existence of some extra- “WI have put my entire musical dimension by adopting soul into this symphony” wrote the provocative working subtitle Tchaikovsky of his final essay in “Program Symphony.” According the genre. Indeed, the emotional to one of the many legends that turbulence we discern in surround the work, Tchaikovsky’s Tchaikovsky’s mature masterpieces brother Modest suggested the often evokes a confessional French title Pathétique—which character—a “baring of the soul”— connotes “impassioned suffering” around which it can be tempting in its Russian context. The to construct an explanatory composer’s sudden death just a narrative. Quite possibly for that little over a week after he had led reason Tchaikovsky himself became the world premiere in October 1893 ambivalent about the issue of in St. Petersburg made that choice program music, whose validity seem uncannily well suited to the had after all been championed devastating psychological drama by his early mentors and the the Sixth encompasses. Russian nationalists as an antidote to the sterile “formalism” of The circumstances of Tchaikovsky’s Western music (a bias that makes death have further enshrouded Tchaikovsky’s critique of Wagner’s the Pathétique in mystery: was dramatic content as superfluous an accidental drink of cholera- even more intriguing). At the contaminated water what killed him, programmatic extreme stands or did the “scandal” of his same- the Fourth Symphony, for which sex affairs result in Tchaikovsky Tchaikovsky supplied an elaborate submitting to a kind of Socratic program centered on the idea of suicide to preserve a code of Fate, and the unnumbered Manfred “honor” among his associates Symphony of 1885, a treatment of (a sensationalist interpretation Lord Byron’s poetic drama and its that has generally been debunked Faustian hero. by now)? The debate about the Something more subtle happens potential “encoded” meaning of with the Symphony No. 6. For this this work—much like the debate work Tchaikovsky developed an surrounding Shostakovich and esoteric, “private,” unpublished his attitude toward Communist program and did without the control—rages on unresolved, recurrent cyclic themes of the ensuring that the Pathétique remains Fifth and Manfred Symphonies. At one of the most controversial works the same time, he drew attention in the symphonic repertoire.

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30 January 15, 2015 PH As a recent example, in recently LIFE’S BEST MOMENTS published in-depth study of the OTOGR APHY .C OM work, Tchaikovsky’s Pathétique and Russian Culture, the musicologist EL L Marina Ritzarev offers another provocative argument: that MI TC H

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the conventional model of an 65 510 overriding personal, subjective AR ETTA lamentation clashes with the 5- 4 composer’s aesthetic and ethical .M ARG 92 0 sensibility and that the actual

“program” of the Sixth has to do WW W with a more traditional, religious sense of “Passion” (and com- passion) from European culture.

The extensive first movement immediately ushers us into a world of bleak despair that acquires crushing intensity. Tchaikovsky employs his orchestral mastery and technical acumen to give resilient shape to these passions. He manages in fact with relatively traditional orchestral forces: brass chorales evoke apocalypse while caressing memories are touched by delicately sprung woodwind solos. Tempestuous string scales possess a shattering, nervous energy we cannot soon forget. But the climaxes evade predictability: in the middle of the movement, it is an exaggerated silence (marked pppppp in the score for emphasis) that shocks even more than an explosion of sound.

Two inner movements of contrasting character turn out

January 15, 2015 31 32 January 15, 2015 to be interludes rather than long-range shifts of direction. The second movement’s flowing, dance-like charm is given a subtle displacement through the use of 5/4 meter (which manages to sound graceful rather than hobbled, though it gives the familiar pattern of the waltz an uneasy edge). In the third movement, Tchaikovsky presents a blazing but hollowly triumphant, brass-reinforced march that revels in aggressive, swaggering rhythms.

It’s often been pointed out that had Tchaikovsky simply switched the order of the final two movements, he would have preserved the optimistic, Beethovenian model of light winning out over darkness. Yet by reversing that model and ending with the nihilistic, dying fall of a “lamenting” Adagio (the same tempo with which the Symphony began), he introduces a radically new concept of the symphonic journey. (Mahler’s Ninth would adopt a similar strategy.) The valedictory plunge into silence from a sustained B minor chord deep in the strings sets the stage for a new century of bleak requiems. Tchaikovsky’s genius is to generate compassion among those who follow his journey into the psyche. —© Thomas May Thomas May, program annotator for Berkeley Symphony, writes about the arts and blogs at memeteria.com.

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34 January 15, 2015 Music Director: Joana Carneiro

oted for her vibrant N performances in a wide diversity of musical styles, Joana Carneiro has attracted considerable attention as one of the most outstanding young conductors working today. In 2009, she was named Music Director of the Berkeley Symphony, succeeding

Kent Nagano and becoming only photo by Rodrigo de Souza the third music director in the 40-year history of the orchestra. She also currently serves as official guest conductor of the Gulbenkian Orchestra, working there at least four weeks every year. In January 2014 she was appointed Principal Conductor of the Orquesta Sinfonica Portuguesa.

Carneiro’s growing guest- Symphony, where she has captivated conducting career continues to audiences with her commanding develop very quickly. In November stage presence and adventurous she made her debut at the English programming that has highlighted National Opera conducting the the works of several prominent world stage premiere of John contemporary composers, including Adams’ The Gospel According to John Adams, Esa-Pekka Salonen, the Other Mary. She also conducts Brett Dean, Kaija Saariaho and Adams’ A Flowering Tree at the Gabriela Lena Frank. Gothenburg Opera, makes debuts Last season, Carneiro conducted with the Orchestre National de Lyon highly successful returns to Toronto, and the Helsingborg Symphony, Gothenburg, Gävle, Malmö, Sydney, and returns to the Gothenburg, New Zealand symphonies and the Malmö, Gävle and Swedish Radio National Symphony Orchestra symphonies. of Spain, as well as debuts with Joana undertakes her sixth season the Orchestre Philharmonique de as Music Director of the Berkeley Radio France, Royal Stockholm

January 15, 2015 35 36 January 15, 2015 Philharmonic and Florida immediately invited to work with Orchestra. the Sydney Symphony and New Zealand Symphony orchestras International highlights of previous on subscription. In 2011, she led seasons include appearances with a ballet production of Romeo and the Royal Liverpool Philharmonic Juliet with Companhia Nacional de at London’s Royal Albert Hall, Bailado in Portugal. Royal Philharmonic Orchestra and Renée Fleming in the opening Increasingly in demand as an season of the U.A.E’s Royal opera conductor, Carneiro made Opera House in Oman, Ensemble her Cincinnati Opera debut in Orchestral de Paris, Orchestra de 2011 conducting John Adams’ Bretagne, Norrköping Symphony, A Flowering Tree, which she also Norrlands Opera Orchestra, debuted with the Chicago Opera Residentie Orkest/Hague, Prague Theater and at La Cité de la Musique Philharmonia, Euskadi Orchestra of in Paris. In the 2008-09 season, Spain and the Orchestra Sinfonica she served as assistant conductor del Teatro la Fenice at the Venice to Esa-Pekka Salonen at the Biennale, as well as the Hong Kong Paris Opera’s premiere of Adriana Philharmonic, Macau Chamber Mater by Kaija Saariaho and led Orchestra and Beijing Orchestra at critically-acclaimed performances the International Music Festival of of Philippe Boesmans’ Julie in Macau. Bolzano, Italy.

In the Americas, she has led the As a finalist of the prestigious Los Angeles Philharmonic, Toronto 2002 Maazel-Vilar Conductor’s Symphony, St. Paul Chamber Competition at Carnegie Hall, Orchestra, Detroit Symphony, Carneiro was recognized by the jury for demonstrating a level of Colorado Symphony, Indianapolis potential that holds great promise Symphony, Los Angeles Chamber for her future career. In 2003- Orchestra, New World Symphony 04, she worked with Maestros and São Paulo State Symphony. Kurt Masur and Christoph von In 2010, Carneiro led performances Dohnányi and conducted the of Peter Sellars’ stagings of London Philharmonic Orchestra, Stravinsky’s Oedipus Rex and as one of the three conductors Symphony of Psalms at the Sydney chosen for London’s Allianz Festival, which won Australia’s Cultural Foundation International Helpmann Award for Best Conductors Academy. From 2002 Symphony Orchestra Concert to 2005, she served as Assistant in 2010. She conducted a linked Conductor of the L.A. Chamber project at the New Zealand Orchestra and as Music Director of Festival in 2011, and as a result was the Young Musicians Foundation

January 15, 2015 37 38 January 15, 2015 Debut Orchestra of Los Angeles. Yampolsky and Mallory Thompson, From 2005 through 2008, she was and pursued doctoral studies at an American Symphony Orchestra the University of Michigan, where League Conducting Fellow at the she studied with Kenneth Kiesler. Los Angeles Philharmonic, where She has participated in master she worked closely with Esa- classes with Gustav Meier, Michael Pekka Salonen and led several Tilson Thomas, Larry Rachleff, Jean performances at Walt Disney Sebastian Bereau, Roberto Benzi Concert Hall and the Hollywood and Pascal Rophe. Bowl. Carneiro is the 2010 recipient of A native of Lisbon, she began her the Helen M. Thompson Award, musical studies as a violist before conferred by the League of American receiving her conducting degree Orchestras to recognize and honor from the Academia Nacional music directors of exceptional Superior de Orquestra in Lisbon, promise. In 2004, Carneiro was where she studied with Jean- decorated by the President of the Marc Burfin. Carneiro received Portuguese Republic, Mr. Jorge her Masters degree in orchestral Sampaio, with the Commendation conducting from Northwestern of the Order of the Infante Dom University as a student of Victor Henrique.

January 15, 2015 39 Merrell Clarks Frye Boots Sperry Since Rockport Uggs 1961 Keen Moccasins Dr. Martens Clogs Timberland Dansko Since 1922

Mon-Sat 8am-7pm Sun 10am-5pm 3068 Claremont Ave, Berkeley (510) 652-2490 FOOTWEAR

40 January 15, 2015 Composer’s Biography

London 2008), and for mezzo-soprano, and orchestra (London Proms, photo by Brian Voice 2013).

Chamber works include the string quartets (1993) and The Four Quarters (2011), Piano Quintet (2001), and Lieux retrouvés for cello and piano (2010). Solo piano works include Darknesse Visible (1992), Traced Overhead (1996), and Three Mazurkas (2010). Choral works include The Fayrfax Carol (King’s College, Cambridge 1997), America: a Prophecy (New Thomas Adès York Philharmonic, 1999) and homas Adès was born January Writ (Temple Church, Tin London in 1971. His London 2000). compositions include two From 1999 to 2008 Adès operas, Powder Her Face was Artistic Director of the (Cheltenham Festival/Almeida Aldeburgh Festival. Theatre, London, 1995), and The Tempest (Royal Opera, Covent As a conductor he appears Garden, 2004). Other orchestral regularly with, among others, works include Asyla (CBSO, 1997), the Los Angeles Philharmonic, (Berlin Philharmonic and Boston Symphony, London Carnegie Hall, 2007), (New Symphony Orchestra, the Royal World Symphony, Miami 2011), Concertgebouw, Melbourne Concentric Paths and Sydney Symphonies, (Berliner Festspiele and London BBC Symphony, and City Proms, 2005), of Birmingham Symphony ( with moving Orchestra. As an opera image—LA Philharmonic and RFH conductor he has conducted

January 15, 2015 41 42 January 15, 2015 The Rake’s Progress at the Royal Opera, London and the Zürich Opera, and made his debut at A Family-owned Business the Metropolitan Opera in New Serving the Local Sports York conducting The Tempest. Community since 1957 He will conduct this production Open 7 Days a Week of The Tempest at the Vienna 1970 Mountain Blvd., Oakland Staatsoper in 2015 with the 510.339.9313 Vienna Philharmonic. www.MontclairSportsOakland.com

Future plans include Totentanz Proud to support Berkeley Symphony with the Boston and Chicago Symphonies and the Los Angeles and New York Philharmonics.

Recent piano engagements include solo recitals at Carnegie Hall (Stern Auditorium), New York and the Barbican in London, and concerto appearances with the New York Philharmonic.

Prizes include: Grawemeyer Award for Asyla (1999); Royal Philharmonic Society large- scale composition awards for Asyla, The Tempest and Tevot; Ernst von Siemens Composers’ prize for Arcadiana; British Composer Award for The Four Quarters; and Best Opera Grammy and Diapason d’or de l’année (Paris) for The Tempest. He coaches piano and chamber music annually at the International Musicians Seminar, Prussia Cove.

January 15, 2015 43 Dining Guide

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

44 January 15, 2015 Berkeley Symphony photo by Dave Weiland

ecognized nationally for its award-winning Music in the Schools Rspirited programming, Berkeley program, providing comprehensive, Symphony has established a reputation age-appropriate music curricula to more for presenting major new works for than 4,200 local elementary students orchestra alongside fresh interpretations each year. In association with the of the classical European and American Piedmont Center for the Arts, Berkeley repertoire. It has been honored with an Symphony presents an annual chamber Adventurous Programming Award from music series at the Center called Berkeley the American Society of Composers, Symphony & Friends. Authors and Publishers (ASCAP) in ten Berkeley Symphony was founded in 1969 of the past twelve seasons. as the Berkeley Promenade Orchestra Under the baton of Music Director by Thomas Rarick, a protégé of the Joana Carneiro, the Orchestra performs great English Maestro Sir Adrian Boult. four main-stage concerts a year in Under its second Music Director, Kent Zellerbach Hall, and supports emerging Nagano, who took the post in 1978, the symphonic composers through Orchestra charted a new course with its Under Construction New Music innovative programming that included Program, in partnership with EarShot. A rarely performed 20th-century scores. national leader in music education, the In 1981, the internationally-renowned Orchestra partners with the Berkeley French composer Olivier Messiaen Unified School District to produce the journeyed to Berkeley to assist with the

January 15, 2015 45 Dining Guide

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46 January 15, 2015 preparations of his imposing oratorio composers such as John Adams, Paul The Transfiguration of Our Lord Jesus Dresher, and Gabriela Lena Frank. Christ, and the Orchestra gave a sold- Berkeley Symphony has introduced Bay out performance in San Francisco’s Area audiences to works by upcoming Davies Symphony Hall. In 1984, young composers, many of whom Berkeley Symphony collaborated with have since achieved international Frank Zappa in a critically-acclaimed prominence. Celebrated British production featuring life-size puppets composer George Benjamin, who and moving stage sets, catapulting the subsequently became Composer- Orchestra onto the world stage. in-Residence at the San Francisco Berkeley Symphony entered a new era Symphony, was first introduced to in January 2009 when Joana Carneiro the Bay Area in 1987 when Berkeley became the Orchestra’s third Music Symphony performed his compositions Director in its 40-year history. Under Jubilation and Ringed by the Flat Horizon; Carneiro, the Orchestra continues its as was Thomas Adès, whose opera tradition of presenting the cutting Powder Her Face was debuted by the edge of classical music. Together, they Orchestra in a concert version in are forging deeper relationships with 1997 before it was fully staged in living composers, which include several New York City, London and Chicago. prominent contemporary Bay Area www.berkelysymphony.org

January 15, 2015 47 2727 College Avenue Berkeley • 510.841.8489

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48 January 15, 2015 Music in the Schools

ore than 4,200 elementary school Mchildren each year benefit from Berkeley Symphony’s Music in the Schools program: photo by Dave Weiland • Over 200 In-Class Sessions are provided free of charge and include curriculum booklets with age-appropriate lessons addressing state standards for music education. • Eleven Meet the Symphony concerts are performed free of charge in elementary schools each fall. Music in the Schools Sponsors • Six I’m a Performer concerts, also free of (Gifts of $2,500 and above annually) charge, provide young musicians with an Anonymous (2) opportunity to rehearse and perform with Berkeley Public Schools Fund Berkeley Symphony. Bernard E. & Alba Witkin Charitable • Four free Family Concerts provide an Foundation opportunity for the whole family to The Bernard Osher Foundation experience a Berkeley Symphony concert California Arts Council together. Annette Campbell-White & Dr. Ruedi Naumann-Etienne All Music in the Schools programs are Ronald & Susan Choy provided 100% free of charge to children East Bay Community Foundation and their families. We are grateful to the Paula & John Gambs individuals and institutions listed on this Kathleen G. Henschel & John W. Dewes page whose financial contributions help Brian James & Shariq Yosufzai make Music in the Schools possible. But more John Karnay help is needed to fully fund the program . . . Helen & John Meyer Please join those making Music in the Music Performance Trust Fund Schools a reality! Donate online and National Endowment for the Arts designate your gift as “Restricted—Music Thomas J. Long Foundation in the Schools Program.” Or simply mail a Tricia Swift contribution to: Berkeley Symphony, Music U.S. Bank Foundation in the Schools Fund, 1942 University Ave. Union Bank Foundationn Suite #207, Berkeley, CA 94704 Thanks also to those giving up to www.berkeleysymphony.org/mits $2,500 annually.

January 15, 2015 49 50 January 15, 2015 Under Construction New Music Program photo by Dave Weiland

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

n partnership with EarShot, Berkeley Symphony’s 2015 Under Construction New Music IProgram will present new symphonic works by emerging composers from across the country. Selected for the program following a highly competitive national search, the composers each create a symphonic work to be developed, polished and recorded during a two-day residency at Osher Studio in Berkeley, while receiving on-going guidance from Music Director Joana Carneiro, mentor composers, and members of the Orchestra. The public is invited to view the creative process during two informal readings on Saturday, May 2, at 3pm and Sunday, May 3, at 7pm. The names of the selected composers will be announced in late January. 2015 marks the second year of a new partnership between Berkeley Symphony and EarShot: the National Orchestral Composition Discovery Network, and its partner organizations—the American Composers Forum, League of American Orchestras, New Music USA and the American Composers Orchestra. The collaboration enables Berkeley Symphony to expand its role as a West Coast artistic incubator for emerging orchestra composers and to broaden its reach. Established in 1993, the Under Construction New Music Program seeks to engage audiences in contemporary music and its creation. During the first reading, the Orchestra rehearses the work in progress, experimenting with different musical choices and giving the composers an opportunity to hear the work performed live. At the second reading, the compositions are finalized, polished and recorded. An open dialogue among the composers, the conductor, the musicians and audience members is encouraged. That interchange of ideas affords the audience a greater understanding of the creative process, the composers and their work. Funding for EarShot is made possible with the support of the Andrew W. Mellon Foundation and The Aaron Copland Fund for Music. Berkeley Symphony thanks its 2014/15 Under Construction sponsor, Margaret Dorfman.

January 15, 2015 51 52 January 15, 2015 2014/15 Membership Benefits Ticket sales cover only a portion of concert expenses. And our Music in the Schools program— offered free of charge to thousands of children each year—is entirely Membership-driven! Your Membership makes Berkeley Symphony thrive, and provides many opportunities to make the most of your concert-going experience. Consider adding a Membership to your subscription—or increase your level of Membership in support of the 2014/15 season.

Friends Circle of Members Supporting Member: $100+ • Advance e-newsletter notice of discounts and special events. • Listing in season concert programs. Associate Member: $300+ (All of the above plus . . .) • Invitation for two to an exclusive reception and open rehearsal of the Orchestra. • Two concert guest passes. Principal Member: $750+ (All of the above plus . . .) • Invitation to select special events including post-concert receptions with the music director, musicians, soloists, and/or visiting composers.

Symphony Circle of Members Concertmaster: $1,500+ (All of the above plus . . .) • Invitations to two exclusive Symphony Circle Salon Receptions hosted by Joana Carneiro. • A total of four concert guest passes. Conductor: $2,500+ (All of the above plus . . .) • Invitations to all exclusive Symphony Circle Salon Receptions hosted by Joana Carneiro. • Invitation to an exclusive Musicians Dinner and “closed” rehearsal for you and guests. • A total of eight concert guest passes.

Sponsorship Circle of Members Founding Sponsors: $5,000, $10,000 and above (All of the above plus . . .) • VIP access to Berkeley Symphony intermission Sponsors’ Lounge. • Recognition as Sponsor of a season concert, guest soloist, commissioned composer, orchestra section chair, or the Under Construction or Music in the Schools programs. • Special “Sponsorship Dinner” opportunities with Music Director Joana Carneiro.

January 15, 2015 53 to advertise in the berkeley symphony program

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54 January 15, 2015 Annual Membership Support

Thank you to the following individuals for making the programs of Berkeley Symphony possible. A symphony is as strong as the community that supports it. Thank you to the following individuals for making Berkeley Symphony very strong indeed. Your generosity allows adventurous music to be heard, commissions world-class composers, and impacts the lives of thousands of children in hundreds of classrooms each year.

Gifts received between December 1, 2013 and December 1, 2014

Sonsorp Circle GIFTS Season Sponsors Founding Sponsors $50,000 and above $5,000 and above (continued) Helen & John Meyer Annette Campbell-White & Dr. Ruedi Brian James & Shariq Yosufzai Naumann-Etienne Ronald & Susan Choy Season Sponsors Oz Erickson & Rina Alcalay $25,000 and above Kathleen G. Henschel Paula & John Gambs & John W. Dewes Ellen Hahn Jan & Michael McCutcheon Sarah Coade Mandell & Peter Mandell Tricia Swift Deborah O’Grady & John Adams Thomas & Mary Reicher Executive Sponsors $10,000 and above Thomas W. Richardson & Edith Jackson Anonymous (3) Alison Teeman & Michael Susan & Jim Acquistapace Yovino-Young Gertrude Allen Anne & Craig Van Dyke Jennifer Howard DeGolia Kern & Marnie Wildenthal Margaret Dorfman Janet & Marcos Maestre Symphony Circle GIFTS Linda & Stuart Nelson Conductor Level Ed Osborn & Marcia Muggli $2,500 and above Lisa & James Taylor Judith Bloom The Thomson Family Norman A. Bookstein & Gillian Kuehner Dianne Crosby Founding Sponsors $5,000 and above Anita Eblé Anonymous Gloria Fujimoto Natasha Beery & William B. McCoy Gary Glaser & Christine Miller

January 15, 2015 55 SpEciAl hAnd-mAde chOcOlatES tO SurpriSE And inSpirE yOur tAStE budS

1964 university ave., berkeley 510.705.8800 1809 Fourth Street, berkeley 510.665.9500 www.chocolatierblue.com

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

56 January 15, 2015 Conductor Level Concertmaster Level $2,500 and above (continued) Gifts of $1,500 or more (continued Stuart & Sharon Gronningen Ms. Carol Christ Buzz & Lisa Hines Marilyn & Richard Collier Sue Hone & Jeffrey Leiter John & Charli Danielsen Ken Johnson & Nina Grove Karen Faircloth John Karnay Lynne LaMarca Heinrich & Bennett Markel Dwight Jaffee Patrick McCabe Faye Keogh Kathy Canfield Shepard & John Shepard Jeffrey S. Leiter Jutta Singh Jorge Mancheno Paul Templeton & Darrell Louie René Mandel Gordon & Evie Wozniak Carrie McAlister Bebe & Colin McRae Concertmaster Level Gifts of $1,500 or more Noel & Penny Nellis Anonymous (2) Evelyn Nussenbaum & Fred Vogelstein Sallie & Edward Arens Linda Schacht & John Gage Michele Benson Ama Torrance & David Davies Joy Carlin Ed Vine & Ellen Singer-Vine Gray Cathrall Robert & Emily Warden

F rIENDS of Berkeley Symphony GIFTS

Principal Level Betty Pigford Catherine Atcheson $750 and above Ditsa & Alexander Pines Ms. Bonnie J. Bernhardt Patricia & Ronald Adler Marjorie Randolph Christel & Jurg Bieri Tony Cascardi Phyllis Brooks Schafer George & Dorian Bikle Richard Colton Deborah Shidler & David Mr. & Mrs. Stuart Canin Burkhart Bruce Dodd Nick Carlin Blume Capital Management Jack & Ann Eastman Earl & June Cheit Gini Erck & David Petta Mavis Delacroix Associate Level Dean Francis Rick C. Diamond $300 and above Ms. Anne Hannah-Roy Carolyn Doelling Anonymous (3) Fran Haselsteiner Mary Friedman Dr. Henry L. Abrons & Dr. Hilary Honore Li-hsia Wang Daniel & Kate Funk Mark & Lynne Humphrey Donald & Margaret Alter Steve Gallion & Pam Wolf Arthur & Martha Luehrmann Karen & Lawrence Ames Isabelle Gerard Lois & Gary Marcus Jeffrey & Joan Angell Evelyn & Gary Glenn Kim & Barbara Marienthal Patricia Vaughn Angell Peggy Griffin

January 15, 2015 57 Associate Level Nancy Austin Edward C. Gordon $300 and above (continued) Fred & Elizabeth Balderston Mr. Michael Gorman Bonnie & Sy Grossman Joan Balter Harold Graboske Sophie Hahn & Eric Kevin Bastian Mr. Richard Granberg Bjerkholt Sheldon & Joan Baumrind Steven E. Greenberg Alan Harper & Carol Baird William W. Beahrs Ervin & Marian Hafter Trish & Tony Hawthorne Elaine & David I. Berland Jane Hammond William & Judith Hein Bob & Ginny Blumberg Nicholas & Nancy Barbara Hendrickson Cara Bradbury Haritatos Valerie & Richard Herr Robert J. Breuer Lyn Hejinian Ora & Kurt Huth Helen Cagampang Florence Hendrix Richard Hutson Mark Chaitkin & Cecilia Storr Dr. & Mrs. Gene Hern Fred Jacobson Cindy Chang & Christopher Maj-Britt Hilstrom Irene & Kiyoshi Katsumoto Hudson Russ Irwin Todd Kerr Ms. Grace Chinn Joseph Jackson & Joann Shelly & Don Lee Murray & Betty Cohen Leskovar John Lowitz & Fran Krieger Sarah Cohen Richard Keldsen Helen Marcus Frederick & Joan Collignon Paul & Joanne Kelly Suzanne & William McLean Dr. Lawrence R. Cotter James and Phyllis Pennington Kent Howard & Nancy Mel Richard Curley Bahram Khadjenouri Gary & Gerry Morrison Joseph & Susan Daly Leora Lawton Lucille & Arthur Poskanzer Paula & James R. Diederich Andrew Lazarus & Naomi Suzanne Riess Paul Dresher & Philippa Kelly Janowitz Anne Shortall Beth & Norman Edelstein Laurel Leichter Shelton Shugar Rebecca E. Erdiakoff Allan Lichtenberg Robert Sinai & Susanna Bennett Falk & Margaret Schevill Moreland Steve Luppino Scott Sparling Lynn Feintech & Anthony James and Jayne Matthews Geoffrey S. Swift Bernhardt Alicia Mayorga Michel Taddei Ms. Mary Ellen Fine Alex Mazetis Dave Waugh Susan Henderson Fisher Nan Parks McCarthy Nancy & Charles Wolfram Susan K. Fisher Suzanne R McCulloch Marcia Flannery Winton & Margaret Ednah Beth Friedman McKibben Joan Frisch Jim & Monique McNitt Supporting Level Doris Fukawa & Marijan Amelie C. Mel De Fontenay & $100 and above Pevec John Stenzel Anonymous (5) Theresa Gabel & Timothy Susan Messina Rose Lynn Abesamis-Bell Zumwalt Louise Miller & David Joel Altman Jeffrey Gilman & Carol Reif Peterson Kim Anno Rose Marie & Sam Ginsburg Junichi & Sarah Miyazaki Robert & Evelyn Apte Stuart Gold Nancy & Robert Mueller

58 January 15, 2015 Lance & Dalia Nagel Terry Rillera Linda van Drent Ms. Anita Navon Constance Ruben Randy & Ting Vogel Joe & Carol Neil Mary Rudser Ursula von Fluegge Ann M. O’Connor & Ed Cullen Julianne H. Rumsey David & Marvalee Wake Lawrance Phillips Steven Scholl Ann Walker & Jon Demeter Leslie & Joellen Piskitel Valerie Schwimmer Dorothy Walker Evan Painter & Wendy Brenda M Shank Andrew Walmisley Polivka Jack Shoemaker & Jane David & Pennie Warren Jo Ann & Buford Price Vandenburgh Sheridan and Betsey Warrick George N. Queeley Carl & Grace Smith Carolyn Webber Barbara Van Raalte Drs. Johan & Gerda Snapper Dorothy Wechsler Kit Ratcliff Ms. Carla Soracco Dr. George & Bay Westlake Ms. Elizabeth Raymer Sylvia Sorell & Daniel Kane Karsten Windt Erin Rhoades Bruce & Susan Stangeland Nancy Wolfe Frances & Ronald Tauber Donald Riley & Carolyn Mrs. Charlene M. Woodcock Serrao Ms. Carol L. Tomlinson Lisa Zadek

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

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

In Honor of: In Memory of:

Marilyn Collier J.F.K. Elaine & David I. Berland Ms. Carla Soracco Mr. & Mrs. R. Collier Jerry Carlin David Berland Judith L. Bloom

Ellie Hahn Donna Hamilton Susan & Bruce Carter Patrick Flannery

Kim Marienthal Susan & Bruce Carter

Rabbi Jonathan Omer-man Metivta Center for Contemplative Judaism

Tricia Swift Trish & Anthony W. Hawthorne

January 15, 2015 59 Broadcast Dates

Relive this season’s concerts on KALW 91.7 fm

4 Mondays at 8pm in May 2015

Hosted by KALW’s David Latulippe

Program I: Oct. 2, 2014 will be broadcast on May 4

Program II: Jan. 15, 2015 will be broadcast on May 11 KALW is proud to be Program III: Feb. 26, 2015 Berkeley Symphony’s will be broadcast on May 18 Season 14-15 Media Sponsor Program IV: Apr. 30, 2015 will be broadcast on May 25

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60 January 15, 2015 In-Kind Gifts Special thanks to these individuals and businesses whose generous donations of goods and services are crucial in helping Berkeley Symphony produce our concerts and education programs while keeping expenses as low as possible.

Andreas Jones Graphic Design La Sirena

Eric Asimov & Deborah Hofmann Lama Bean

Aurora Theatre Company Landmark Vineyards

Berkeley Repertory Theatre LaSalette Restaurant Marshall Berman Los Angeles Opera Peter Bowes Los Angeles Philharmonic George Boziwick Rico Mandel Cain Vineyard & Winery Bennett Markel Cal Performances Jan & Michael McCutcheon Kathy Canfield—Canfield Design Studios Meyer Sound Joy Carlin Gray Cathrall—Piedmont Post Marcia Muggli & Ed Osborn Marilyn & Richard Collier Munchery Franklyn D’Antonio Music in the Vineyards Dave Weiland Photography New Century Chamber Orchestra

D.C. Piano Company New World Symphony

Rick C. Diamond Omni Hotels & Resorts di Rosa Philharmonia Baroque Douglas Parking Marjorie Randell-Silver—Copper Leaf Dyer Vineyard Productions

Extreme Pizza Inge Reist Fisher Vineyards Saga Musical Instruments Kelly Fleming San Francisco Opera Gloria Fujimoto San Francisco Symphony Steve Gallion & Pam Wolf John Shepard Gary Glaser & Christine Miller Deborah Shidler Green Music Center Jutta Singh Kathleen G. Henschel & John W. Dewes The Hess Collection Winery Tia Stoller—Stoller Design Group Brian James & Shariq Yosufzai Viking River Cruises Ken Johnson & Nina Grove William Knuttel Winery Todd Kerr—Berkeley Times Angela & William Young

January 15, 2015 61 62 January 15, 2015 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 December 1, 2013 and December 1, 2014

$50,000 and above $2,500 and above William & Flora Hewlett Foundation Anonymous The Aaron Copland Fund for Music $25,000 and above Union Bank Foundation Anonymous Chevron Corporation Up to $2,500 Meyer Sound Laboratories, Inc. Alameda County Art Commission Anchor Brewing Co. $10,000 and above ASCAP—American Society of Ann and Gordon Getty Foundation Composers, Authors and Publishers

Berkeley Public Schools Fund Berkeley Association of Realtors

The Bernard Osher Foundation Home Depot Foundation The Grubb Co. Metvita Center for Contemplative Judaism National Endowment for the Arts The Rudolph & Lentilhon G. von Fluegge The Thomas J. Long Foundation Foundation, Inc.

$5,000 and above American Composers Orchestra (Earshot) Matching Gifts Bernard E. and Alba Witkin The following companies have matched Charitable Foundation their employees’ or retirees’ gifts California Arts Council to Berkeley Symphony. Please let City of Berkeley us know if your company does the same by contacting William Quillen East Bay Community Foundation at 510.841.2800 x305 or wquillen@ Music Performance Trust Fund berkeleysymphony.org.

U.S. Bank Anchor Brewing Co. Wallis Foundation Chevron Corporation William Knuttel Winery The Home Depot

January 15, 2015 63 64 January 15, 2015 Administration Contact & Creative Staff Tickets available by phone, fax, René Mandel, Executive Director mail, e-mail, or online: Ming Luke, Education Director/ Berkeley Symphony Conductor 1942 University Avenue, Suite 207, Theresa Gabel, Director of Operations Berkeley, CA 94704 Noel Hayashi, Director of Marketing 510.841.2800 Fax: 510.841.5422 [email protected] Jessica Sadler, Associate Director of www.berkeleysymphony.org Marketing/Box Office Manager

William Quillen, Development Manager find us on Cindy Hickox, Development & Marketing Associate Steve Gallion, Development Consultant James Taylor, Corporate Development Associate Cindy Michael, Finance Director Brenden Guy, Press & Public Relations Franklyn D’Antonio, Co-Orchestra Manager Joslyn D’Antonio, Co-Orchestra Manager Quelani Penland, Librarian David Rodgers, Jr., Stage Manager Stoller Design Group, Graphic Design Dave Weiland, Photography Steve Flavin, Video Design Bandwagon Media Services, Recording Engineer

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

January 15, 2015 65 Advertiser Index

A1 Sun...... page 30 Judith L. Bloom, CPA...... page 54 ACT Catering ...... page 47 Jutta’s Flowers...... page 64 Albert Nahman Plumbing...... page18 Kid Dynamo...... page18 Alward Construction...... page 18 La Mediterranée...... page 46 Andrew Raskopf & David Gunderman,. . . . La Note Restaurant Provençal. . . . page 44 Real Estate Brokers. . . inside back cover Mancheno Insurance Agency . . . . .page 33 Archway School...... page 48 Margaretta K. Mitchell ...... Bebe McCrae, Realtor...... page 38 Photography ...... page 31 Berkeley Horticultural Nursery. . . .page 40 Maybeck High School...... page 48 Berkeley Optometry...... page 26 McCutcheon Construction...... page 50 Bill’s Footwear...... page 40 Mechanics Bank...... page 40 Bridgeway Service...... page 18 Montclair Sports...... page 43 Brunch at the Claremont ...... page 44 Mountain View Cemetery. . inside front cover BuyArtworkNow.com ...... page 18 Oceanworks...... page 31 Café Clem ...... page 46 Pacific Union...... page 16 Chocolatier Blue...... page 56 Piedmont Gardens ...... page 28 The Club at The Claremont...... page 20 Poulet...... page 44 Coldwell Banker...... page 34 The Renaissance International...... The College Preparatory School . . . page 48 School...... page 38 The Crowden School...... page 39 Savvy Rest ...... page 30 DC Pianos...... page 34 St. Paul’s Towers...... page 22 Dining Guide ...... pages 44, 46 Star Grocery...... page 40 DoubleTree Hotel...... page 62 Storey Framing...... page 43 Douglas Parking...... page 52 Talavera...... page 33 Frank Bliss, State Farm...... page 16 Thornwall Properties...... page 10 Going Places ...... page 34 Tricia Swift, Realtor...... page 24 The Grubb Co...... back cover Yovino-Young Inc...... page 30

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66 January 15, 2015 Andrew Raskopf & David Gunderman

East Bay Real Estate Leaders

With gratitude to our friends and clients for the successes of the last year: + The East Bay real estate leaders with 75 transactions and $65MM sold, per MLS + Ranked by the Wall Street Journal for the third year in a row as one of the top 250 teams in the nation (#56 in 2013) + Combined with our team of 13 real estate experts, well over $125MM sold

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David Gunderman CalBRE# 01313613 6211 La Salle Avenue [email protected] Oakland cell 510.205.4369 AndrewAndDavid.com

We are proud to support Berkeley Symphony and thank them for bringing such wonderful music to our community