Mountain View Cemetery Association, a historic Olmsted designed cemetery located in the foothills of Oakland and Piedmont, is pleased to announce the opening of Piedmont Funeral Services. We are now able to provide all funeral, cremation and celebratory services for our families and our community at our 223 acre historic location. For our families and friends, the single site combination of services makes the difficult process of making funeral arrangements a little easier. We’re able to provide every facet of service at our single location. We are also pleased to announce plans to open our new chapel and reception facility – the Water Pavilion in 2016. Situated between a landscaped garden and an expansive reflection pond, the Water Pavilion will be perfect for all celebrations and ceremonies. Features will include beautiful kitchen services, private and semi-private scalable rooms, garden and water views, sunlit spaces and artful details. The Water Pavilion is designed for you to create and fulfill your memorial service, wedding ceremony, lecture or other gatherings of friends and family. Soon, we will be accepting pre-planning arrangements. For more information, please telephone us at 510-658-2588 or visit us at mountainviewcemetery.org. Berkeley Symphony 2015/16 Season

5 Message from the Music Director 7 Message from the Board President 9 Message from the Executive Director 11 Board of Directors & Advisory Council 12 Orchestra 14 Season Sponsors 17 Producers’ Circle Sponsorship Gifts 19 Berkeley Symphony Legacy Society 21 Program 25 Program Notes 41 Music Director: Joana Carneiro 45 Artists’ Biographies 50 Berkeley Symphony 53 Music in the Schools 55 2015/16 Membership Benefits 57 Annual Membership Support 58 Broadcast Dates

Mountain View Cemetery Association, a historic Olmsted designed cemetery located in the foothills of 65 Contact Oakland and Piedmont, is pleased to announce the opening of Piedmont Funeral Services. We are now 66 Advertiser Index able to provide all funeral, cremation and celebratory services for our families and our community at our 223 acre historic location. For our families and friends, the single site combination of services makes the Media Sponsor difficult process of making funeral arrangements a little easier. We’re able to provide every facet of service at our single location. We are also pleased to announce plans to open our new chapel and reception facility – the Water Pavilion in 2016. Situated between a landscaped garden and an expansive reflection pond, the Water Pavilion will be perfect for all celebrations and ceremonies. Features will include beautiful kitchen Official Wine Sponsor services, private and semi-private scalable rooms, garden and water views, sunlit spaces and artful details. The Water Pavilion is designed for you to create and fulfill your memorial service, wedding ceremony, lecture or other gatherings of friends and family. Soon, we will be accepting pre-planning arrangements. For more information, please telephone us at 510-658-2588 or visit us at mountainviewcemetery.org. Presentation bouquets are graciously provided by Jutta’s Flowers, the official florist of Berkeley Symphony. Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras. No photographs or recordings of any part of tonight’s performance may be made without the written consent of the management of Berkeley Symphony. Program subject to change.

December 3, 2015 3 4 December 3, 2015 Message from the Music Director

Dear Friends,

Welcome to the second concert of our 15/16 season. I am quite certain that tonight’s concert will be memorable for many reasons. photo by Rodrigo de Souza

For most of us, it will be our first encounter with the bayan, a very unusual concertante instrument. Developed in Russia in the early 20th century and named after the 11th-century bard Boyan, the bayan is a type of chromatic button accordion. It has a much greater right-hand range than accordions with a piano keyboard—greater than five octaves! We are quite fortunate to have as our soloist tonight, Geir Draugsvoll, an internationally recognized bayan virtuoso.

Sofia Gubaidulina, whom I truly believe is one of the most important composers of our time, has been a champion of the bayan and wrote Fachwerk specifically for Mr. Draugsvoll. The work had its world premiere in Amsterdam in 2009 with the Trondheim Symphony. Tonight’s performance marks its U.S. premiere, and it is a true honor to present this work in Berkeley. To me, Fachwerk is a perfect balance of virtuosic writing, expressive writing, formal perfection (which can be easily connected to its title), spirituality, and somehow, an homage to the music of the past. This could be a way to describe Gubaidulina’s work in general, which I so much admire.

We open the concert with two late 16th-century works by Giovanni Gabrieli, featuring members of our spectacular brass section. Then the orchestra is again at the epicenter, as we conclude the evening with Mussorgsky’s magnificent Pictures at an Exhibition, orchestrated by Maurice Ravel. Ten movements of greatness, a journey through the works of Viktor Hartmann, themselves portraits of the artist’s travels. We are delighted to be your guide through this wonderful music.

As always, we thank you for your continued support and for always believing in us.

Warm regards,

Joana Carneiro

December 3, 2015 5 6 December 3, 2015 Message from the Board President

After our “Magical” opening night concert, we now proceed to “Mystical” and the opening of our senses to the sound of a new-to-most- of-us instrument—the bayan. I am sure that you share my excitement to hear the photo © Margaretta K. Mitchell Orchestra perform the United States premiere of Sofia Gubaidulina’s Fachwerk, featuring this intriguing instrument. With Gabrieli and Mussorsky, tonight’s program is right in keeping with YOUR Berkeley Symphony’s tradition and mission of mixing the old with the new.

Whether it’s familiar works or new musical experiences, the gifted musicians on stage love playing for you. And they particularly love playing for you when we have a full house! To that end, I encourage you to bring your friends and neighbors, a student or two, and children and grandchildren. We are extremely fortunate to have this internationally-recognized orchestra right in our back yard, as our own LOCAL symphony! Plus, there are no bridges to negotiate, much easier parking than across the Bay, and an opportunity to gather pre-performance with fellow music lovers at Café Zellerbach.

There is little that I love more than to see and greet young children at our concerts—they are our vital future. Our award-winning Music in the Schools program reaches out to over 4,600 school children in the Berkeley Unified School District each year! Help us introduce them to the magic and mystery of live symphonic music. Help us to build our audiences and keep YOUR musicians playing.

Your support and presence keep Berkeley Symphony energized and vibrant, continually pushing past new and exciting boundaries. Together we can ensure the vitality of live symphonic music for many generations to come. Thank you for being here!

Tricia Swift

December 3, 2015 7 8 December 3, 2015 Message from the Executive Director

Welcome!

We are so pleased that you have chosen to spend this evening with us and we are proud to be

introducing you to yet another U.S. premiere— photo by Marshall Berman Sofia Gubaidulina’s Fachwerk, with the incredible bayan soloist Geir Draugsvoll.

Fachwerk is the twenty-eighth U.S. premiere performed by Berkeley Symphony since 1980, a 35-year period during which the Orchestra also introduced 64 world premieres and 21 West Coast premieres. We continue our commitment to new works on our final concert of the season next May, when Joana and the Orchestra perform the West Coast premiere of Mark Grey’s Frankenstein Symphony, which we co-commissioned with the Atlanta Symphony.

Nearly half of the music performed by the Orchestra in the last 15 seasons was written by living or recently active composers. We are proud of Berkeley Symphony’s leadership in commissioning and performing new music, which has been acknowledged with the prestigious ASCAP Adventurous Programming Award in 10 of the past 12 seasons.

It is through the kind and generous contributions from our patrons that we have been able to premiere these inspiring new works and introduce you to the next generation of gifted composers and performers. We appreciate your past support and hope that we can continue to count on you to make evenings such as tonight possible.

As we enter this annual season of gift giving, we ask that you continue to support Berkeley Symphony at the highest giving level possible and ensure that this amazing Orchestra can be enjoyed by many generations to come!

I wish all of you a healthy, joyous and prosperous holiday season!

René Mandel

December 3, 2015 9 10 December 3, 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 John W. Dewes, Treasurer Thomas Z. Reicher, Secretary René Mandel, Executive Director

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

December 3, 2015 11 The Orchestra

Joana Carneiro Music Director Viola Sponsored by Brian James & Shariq Yosufzai Principal Sponsored by Helen & John Meyer Yi Zhou Sponsored by Marcia Muggli & Ed Osborn Addi Liu Assistant Principal Sponsored by Lisa & Jim Taylor Sponsored by Anonymous Patrick Kroboth Kent Nagano Conductor Laureate Daria D’Andrea Keith Lawrence Violin I Danny Sheu Franklyn D’Antonio Concertmaster Madeline Prager Jiwon Evelyn Kwark Associate Concertmaster Kristen Steiner Candy Sanderson Assistant Concertmaster Peter Liepman Ilana Thomas Carolyn Worthington

Genevieve Micheletti Cello Hee-Guen Song Carol Rice Principal Lisa Zadek Sponsored by Getrude Allen Stephanie Wu Assistant Principal Larisa Kopylovsky Nancy Bien Adrienne Sengpiehl Eric Gaenslen Shawyon Malek-Salehi Krisanthy Desby Ernest Yen Kenneth Johnson Annie Li Peter Bedrossian John Bernstein Margaret Moores Quelani Penland Bass Violin II Michel Taddei Principal Sponsored by East Bay Community Foundation Sarah Wood Principal Robert Ashley Assistant Principal Karsten Windt Assistant Principal James Coyne David Cheng Mark Wallace Daniel Lewin Carl Stanley Nicola Gruen Andrei Gorbatenko Rick Diamond Eric Price Ann Eastman Flute Kristen Kline Emma Moon Principal Kevin Harper Sponsored by Janet & Marcos Maestre Charles Zhou Leslie Chin Bert Thunstrom Piccolo Rose Marie Ginsburg Laurie Camphouse

12 December 3, 2015 Oboe Tuba Deborah Shidler Principal Jerry Olson Principal Sponsored by Jan & Michael McCutcheon Stardust Timpani Kevin Neuhoff Principal English Horn Percussion Bennie Cottone Ward Spangler Principal Clarinet Elizabeth Hall Dan Ferreira Principal Arthur Storch Diana Dorman Stan Muncy Benjamin Paysen Bass Clarinet James Pytko Harp Wendy Tamis Principal Alto Saxophone Randall Pratt David Henderson Celeste Bassoon Miles Graber Principal Shawn Jones Principal Sponsored by Tricia Swift Ravinder Sehgal Franklyn D’Antonio Co-Orchestra Manager Contrabassoon Erin Irvine Joslyn D’Antonio Co-Orchestra Manager

Horn Quelani Penland Alex Camphouse Principal Librarian

Eric Achen David Rodgers, Jr. Loren Tayerle Stage Manager Richard Hall Tom Reicher

Trumpet Ari Micich Principal Aaron Montoya David Burkhart

Trombone Thomas Hornig Principal Sponsored by Kathleen G. Henschel & John W. Dewes Craig Bryant

Bass Trombone Kurt Patzner

December 3, 2015 13 2015/16 Season Sponsors

Gertrude Allen

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

Kathleen G. Henschel & John W. Dewes

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

Brian James & Shariq Yosufzai

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

14 December 3, 2015 Ed Osborn & Marcia Muggli

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

Tricia Swift

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

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

December 3, 2015 15 2015/16 Season Sponsors (continued)

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

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We recognize that real estate is more than pricing, rates and getting to the closing table. It’s about full service and the support that anyone buying or selling something as precious as a home deserves.

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

16 December 3, 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, and Music in the Schools.

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

Producers’ Circle Sponsorship gifts of $2,500 and above received between Oct. 1, 2014 and Oct. 1, 2015. Thank you also to our Producers’ Circle supporters at all levels!

December 3, 2015 17 18 December 3, 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 Director William Quillen at 510.841.2800 x305 or [email protected].

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

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

December 3, 2015 19 20 December 3, 2015 Program II: Mystical

Thursday, December 3, 2015 at 8:00 pm Zellerbach Hall

Joana Carneiro conductor

Giovanni Gabrieli Canzon septimi et octavi toni Sonata pian e forte

Sofia Gubaidulina Fachwerk (U.S. Premiere) Geir Draugsvoll bayan

INTERMISSION

Modest Mussorgsky Pictures at an Exhibition (orch. Ravel)

Promenade I. The Gnome Promenade II. The Old Castle Promenade III. The Tuileries Gardens IV. Cattle Promenade V. Ballet of the Chickens in their Shells VI. Samuel Goldenberg and Schmüyle Promenade VII. The Marketplace at Limoges (The Great News)

program continues on page 23

December 3, 2015 21 22 December 3, 2015 VIII. Catacombae Sepulcrum romanum Con mortuis in lingua mortua IX. The Hut on Fowl’s Legs (Baba-Yaga) X. The Great Gate of Kiev

Tonight’s performance of Sofia Gubaidulina’s Fachwerk is made possible through the generous support of Margaret Dorfman & the Ralph I. Dorfman Family Fund and the Clarence E. Heller Charitable Foundation.

Mr. Draugsvoll is represented by Pro Arte International Management, www.proarte.no. His travel is partly supported by a grant from Music Norway (a program of Norway’s Foreign Ministry).

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

Concert Sponsor Tonight’s performance is made possible by the generous support of Janet & Marcos Maestre

December 3, 2015 23 24 December 3, 2015 Program Notes

Giovanni Gabrieli motets) and instrumental pieces (birthdate unknown–died 1612) displaying a range of adventurous composition in the Venetian polychoral Canzon septimi et octavi toni style of divided choirs (known as cori Sonata pian e forte spezzati); Gabrieli scores for textures of from 6 to 16 parts. This collection Born in the early to mid-1550s in Venice; was followed a few years after the died on August 12, 1612, in Venice. Gabrieli composer’s death by a second volume, published both the Canzon septimi et as well as the collection Canzone e octavi toni and the Sonata pian e forte Sonate. in 1597 as part of the influential collection The Italian city-state known by its Sacrae symphoniae, which includes vocal epithet La Serenissima (for the “Most as well as instrumental compositions. Serene Republic of Venice”) was a First performance: These works would flourishing center for music, in large have been performed during grand public part thanks to the hugely influential ceremonies at Saint Mark’s Basilica in work of Gabrieli. Active as both a Venice, where Giovanni Gabrieli served as composer and organist at the great organist and composer. The versions we hear Basilica di San Marco, Gabrieli had tonight are modern editions of the scores taken on his position there in 1585, that use contemporary equivalents for the a full century before the births of instruments that would have been used J.S. Bach and Handel. He was also in Gabrieli’s time. Duration: The Canzon continuing a family tradition, since septimi et octavi toni and the Sonata his uncle Andrea had also left his mark pian e forte last about 3 and 4 minutes, performing the same functions. respectively. During the High Renaissance Venice became the crucible for an exciting round the time that Shakespeare period of change in ideas about the is thought to have been writing The A function of music—ideas that reached Merchant of Venice—in the final years of a pinnacle in compositions specifically the sixteenth century—one of the most written for St. Mark’s. After Gabrieli’s influential publications in music history death, the younger Claudio Monteverdi, was actually issued in Venice (the new who had been pioneering the genre technology of printing enhanced its of opera, took over at St. Mark’s and impact): Gabrieli’s Sacrae symphoniae, ushered in a new era. which appeared in 1597. This large-scale anthology of “sacred symphonies” The conductor Robert King points encompassed both vocal (sacred to the connections between

December 3, 2015 25 26 December 3, 2015 ecclesiastical and secular ceremonies weight and register to further conjure in Gabrieli’s Venice, where music an illusion of space—comparable to became “inextricably bound up the development of dramatic visual with civic life, for state processions, perspective perfected by the Italian civic ceremonies and some forty Renaissance painters. main religious festivals each year The pairing of pieces on our demanded music to match the program exemplifies two standard splendor of the occasion.” instrumental genres from Gabrieli’s The stylistic signature of Venetian time. With the canzona, its etymology music perfected by Gabrieli involved even indicates a derivation from the partition of choirs of vocalists vocal music. The word is related to and/or instrumentalists into varied the French chanson—specifically, groups, which performed from instrumental arrangements of different locations within the vast unabashedly secular love songs— Byzantine-Gothic architecture though the canzona had evolved of San Marco. The result was a into a form of writing directly for revolutionary focus on the spatial- instruments. These were often acoustic characteristics of music, interludes used to accompany a development encouraged by the portions of the liturgy or a special remarkably reverberant setting. occasion. Meanwhile, the term Gabrieli’s legacy was passed on by “sonata” in this context indicates his German students (most notably, an instrumental piece “sounded”— Heinrich Schütz) and became sonata—in a sacred space. Eventually absorbed into the emerging language the sonata would move in the opposite of the early Baroque. direction (compared to the canzona): The two Gabrieli pieces we hear from ecclesiastical connotations to a showcase different aspects of his purely secular instrumental work. polychoral technique as applied The Canzon septimi et octavi toni to instruments alone (for two and (“Canzona in the seventh and eighth three choirs in this case). While the tones”), written for 12 parts divided instrumentalists were often used into three choirs, appears toward the to accompany the singers, Gabrieli end of the first collection of Sacrae also experimented with using them symphoniae from 1597. The “tones” independently, sometimes even in the title refer to modes (varying specifying the exact instrumentation ways of dividing up the scale) in he had in mind. In either case, the which the canzona is composed. antiphonal disposition of the musical Debate continues about the precise architecture results in a kind of early- significance of these modes, but music surround sound. Separating they are generally associated with and then combining his choirs the ancient system of ecclesiastical allowed Gabrieli to use instrumental modes of plainchant. This mixture of

December 3, 2015 27 P H

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28 December 3, 2015 modes in particular seems to connote a sense of festive jubilation. Gabrieli makes extensive use of echo and overlapping effects, thus anticipating the later Baroque concerto grosso style of solo textures interfacing with a larger ensemble). A change of meter provides contrast before an exultant summation of the opening material.

Another key innovation of Gabrieli was to publish indications of the intended music contrasts of soft and loud—hence the “pian e forte” of the Sonata pian e forte. These dynamic markings are reinforced by having the two choirs into which the instruments are divided play separately (piano) and then join together for a combined mass of sound (forte) in each of the Sonata’s sections.

Sofia Gubaidulina (b. 1931)

Fachwerk

Sofia Gubaidulina was born on October 24, 1931, in Chistopol in the Tatar Republic of the Soviet Union. In 1992 she resettled in Appen, a small village north of Hamburg. Gubaidulina composed Fachwerk in 2009 for the accordion virtuoso Geir Draugsvoll, the work’s dedicatee, who gave the world premiere on November 14, 2009, in Amsterdam, with Øyvind Gimse conducting the Trondheim Symphony. This performance by Berkeley Symphony is the U.S. premiere of Fachwerk.

In addition to solo bayan (classical Russian accordion) with microphone, Fachwerk is scored for timpani, triangle, suspended cymbals, tam-tam, bells, marimba, chimes, and strings. Duration: ca. 36 minutes.

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30 December 3, 2015 orn just a few years before Dmitri Church as an adult (formalizing a B Shostakovich’s ominous (first) fascination with religion that dated fall from grace and condemnation by back to her childhood). Her staunch Soviet authorities, Sofia Gubaidulina independence from State-prescribed came of age in a cultural context in aesthetics goes hand in hand with an which there was an inherent tension attitude of intense humility toward her between conformity and following mission as a composer. one’s artistic conscience. The stakes A profound love of specific musical were not merely abstract questions icons from the past—most crucially, about beauty but were dangerously J.S. Bach and Anton Webern—informs concrete. Gubaidulina’s artistic outlook, yet her Gubaidulina moreover developed own work sounds nothing like theirs. a perspective as an outsider. She Despite the elaborate theoretical grew up in the great crossroads city framework that underpins the formal of Kazan, the capital of the Tatar structures of many of her compositions, Republic (formerly part of the Soviet Gubaidulina trusts heavily in her Union), which is located on the Volga creative intuition. River, 450 miles east of Moscow. Her She is, as well, a woman composing own ethnic background—her father in the midst of what is still a male- was a Tatar while her mother was centered field. “I have no doubt that Russian—blends East and West. While women think and feel differently than Russian is her native language, she men,” says Gubaidulina, “but it is not resettled in Germany in the 1990s very important whether I am a woman and refers with the title of Fachwerk or a man. What matters is that I am to the German term for a type of myself and develop my own ideas architectural style characterized strictly toward the truth.” by partially exposed wooden Gubaidulina began composing at a very frameworks. early age and was already stirring up This mixed heritage sharpened controversy as a young student at the Gubaidulina’s artistic curiosity early Moscow Conservatory. Shostakovich on—a curiosity manifested by her was in fact on the jury that evaluated eagerness to explore new sonorities her work. His often-quoted that press beyond the traditional encouragement was that Gubaidulina patterns of Western ensembles, as we “continue on your mistaken path.” hear in tonight’s U.S. premiere of her Among her errors was an interest in concerto for bayan and an orchestra religious themes inspired both by of percussion and strings. her Russian Orthodox faith and by a Gubaidulina matured in the officially mystically oriented spirituality, which atheist culture of Communism, only would eventually blossom into one to convert to the Russian Orthodox of her most recognizable signatures.

December 3, 2015 31 SpEciAl hAnd-mAde chOcOlatES tO SurpriSE And inSpirE yOur tAStE budS

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32 December 3, 2015 Gubaidulina’s compositions have themselves, expressionist glissandi drawn on the writings of St. Francis abound, and the solo bayan—the of Assisi, T.S. Eliot’s Four Quartets, and, Russian version of the accordion, which in a major millennial commission, the uses buttons rather than a keyboard—is Passion according to St. John. Even the poised between multiple identities. ostensibly secular genre of the violin Gubaidulina elaborates on the concerto acquires a religious aspect in significance of the title she chose, her Bach- and Webern-inspired first writing that it “can be traced back to violin concerto, Offertorium (which my enthusiasm for the architectural propelled her to international fame style of timber framing. This is a highly under Gidon Kremer’s advocacy). specialized, unique style in which the “I understand religion’’ in the literal constructive elements of a building are meaning of the word,” Gubaidulina not hidden behind the building façade, has said, “as re-ligio,’’ that is to say but, on the contrary, are shown openly. the restoration of connections, the The constructive elements which are restoration of the legato’’ of life.” For indispensable for such a building, such her, composing music involves no less as wall struts, window and door latches than “the recomposition of spiritual and beam ceilings, form different kinds integrity.” Elsewhere she has declared: of geometrical patterns which become “It does not matter to me whether or an aesthetic phenomenon. And at times, not I am modern. What is important is a still more profound phenomenon the inner truth of my music.” shines through from behind this beauty, an essential, intrinsic phenomenon. For her, the raw, material reality of Thus one distinguishes, for example, musical facts—pulses, breaths, the between the strut types Swabian’ man,’ physical bodies of instruments and Swabian’ woman,’ wild’ man,’ and ’ their tunings—provides a mystic standing St Andrew’s cross.’” vehicle that can direct us toward the timeless transcendence of the spirit. The Norwegian accordion virtuoso Geir Gubaidulina’s skepticism regarding Draugsvoll asked Gubaidulina to write a the value of originality has led her, concerto for his instrument in the late paradoxically, to evolve into one of 1990s. While she had used the bayan in the authentically original voices of our several earlier works, such as Silenzio for era—albeit one tinged with an archaic bayan, violin, and cello (1991) and a later sense of music’s sacred function. version of In croce (for bayan and cello), Gubaidulina needed time to arrive at Many of Gubaidulina’s scores reveal a the conception she wanted for Fachwerk, relationship between conjuring unusual which she dedicates to Draugsvoll. sonic environments and her spiritual preoccupations. Characteristically, in “I imagined that one could also show Fachwerk instruments are stretched to something in music reminiscent of their limits, at times not sounding “like” [the Fachwerk architectural] style,

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34 December 3, 2015 i.e. compose in such a way that the cadencing moments of a variation construction of a certain instrument form.” Gubaidulina adds that “in would become visible and transformed one of the most important sections, into something of an aesthetic nature,” however, the succession of chords of writes the composer. “A musical the keyboard played in the chordal instrument does in fact exist which mode sounds simultaneously with its makes it possible to realize this idea. It melodic variant. And here, I could say is the bayan, on which one can switch without exaggeration that this section the keyboard from the melodic mode to was composed by the instrument itself.” the chordal mode.”

These two “modes”—the horizontal or melodic, and the vertical or Modest Mussorgsky (1839-1881) harmonic, to use terms Gubaidulina employs elsewhere as musical and Pictures at an Exhibition even theological metaphors—indeed (orch. Ravel) generate all of the musical structure Born on March 21, 1839, in Karevo, Russia; and events that unfold in the course of died on March 26, 1881, in St. Petersburg. Fachwerk’s 36-minute span. Mussorgsky composed Pictures at an “In one and the same row of buttons,” Exhibition in a brief period in June 1874, explains Gubaidulina, “one has the inspired by a recent retrospective of the dynamics of a melodic line above works of his artist friend Viktor Hartmann. or below and, at the same time, the He wrote Pictures for solo piano, but stasis of chord sounds in the middle dozens of composers have tried their hand of the sound area at one’s disposal. In at translating it for full orchestra. The this structure, in principle, there is a most successful orchestration remains the dominant (the melodic line above), a version Ravel prepared in the 1920s. subdominant (the melodic line below) First performance: Serge Koussevitzky and a tonic (chords in the center of the conducted the Mussorgsky/Ravel Pictures system)—three aspects that determine in Paris on October 19, 1922, and also the essence of order in the universe.” conducted the U.S. premiere at Carnegie This conflation of a specific musical Hall. Ravel’s score calls for 2 piccolos, structure—for an instrument that 3 flutes, 3 oboes, English horn, 2 clarinets, could be replaced by no other—with a bass clarinet, alto saxophone, 2 bassoons, “cosmic” outlook is also characteristic contrabassoon, 4 horns, 3 trumpets, of Gubaidulina. She writes that 3 trombones, tuba, timpani, percussion this versatile aspect of the bayan, (snare drum, bass drum, crash cymbals, with its ability to shift between (or suspended cymbal, ratchet, slapstick, simultaneously inhabit) melodic triangle, tam-tam, xylophone, glockenspiel, and harmonic realms, is what she and chimes), celesta, 2 harps, and strings. has tried to show in Fachwerk “in the Duration: ca. 35 minutes.

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36 December 3, 2015 n his recent book Mussorgsky and life of its own as a solo work. His Circle, Stephen Walsh points I Nearly a half-century after the creation out that an agenda favoring program of Pictures at an Exhibition, Maurice music was advocated by Vladmir Ravel (on a commission from Sergei Stasov—the artistic father-figure who Koussevitzky) fashioned the orchestral advised the group of maverick Russian suite that quickly established itself as composers with whom the young one of the best-known works of the Modest Mussorgsky became associated— classical repertoire—indeed one of because “treating music as portraiture the most famous pieces of Russian or depiction or narrative freed it from music, orchestrated though it is by a the stereotyped requirements of classical Frenchman. It’s fascinating to listen to form and harmony and opened up new the original work for piano and then to vistas of musical sound and sense.” compare it to Ravel’s treatment, which But with Pictures at an Exhibition exploits a wide-ranging palette and Mussorgsky bypassed the “mediation many striking contrasts of sonority. In of words,” creating on one level “a a sense, Mussorgsky’s “translation” of realist work,” writes Walsh, whose the art of his friend to his own medium “primary subject is the composer has its analogue here: Ravel further visiting the exhibition” assembled in translates from the piano keyboard to 1874 as a memorial to the artist Viktor the full eloquence of the orchestra. Yet Alexandrovich Hartmann (1834-1873), neither version—whether for piano whom Stasov had introduced to his or orchestra—cancels out the other; circle. Mussorgsky was deeply affected both simply add to the richness of by the premature death of this close the work. With his legendary finesse friend and multi-faceted artist, whose and in a wonderful meeting of the work ranged from watercolors, oil minds, Ravel in fact furthers the paintings, and architectural sketches “conversation” that Mussorgsky has to costume designs. opened up in reflecting on the art of his friend. The shimmering, precise effects Hartmann was one of those rare Ravel commands are, in turn, often souls with whom the lonely composer compared with those of a painter— seemed able to express shared artistic bringing us full circle again. aspirations. The Hartmann retrospective of 1874 inspired Mussorgsky to translate Mussorgsky was an intensely his reactions into his own art. He visual person who was interested wrote a piano suite made of relatively in connections between the arts— short but interlocking vignettes, not so much in Wagner’s sense of a which he performed for friends at synthesis as in mutual explorations private gatherings, but it remained of similar themes. The retrospective unpublished until after his death. of Hartmann’s delectably quirky and Mussorgsky’s original score for piano varied works kindled a marvelous range has continued to have a powerful of musical responses to correspond

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38 December 3, 2015 to the artist’s peripatetic topics, which with a heavy, march-like tread in the bass. extend from the folklore of Russia to Ravel magnifies the effect via a solo tuba. places in France and medieval Italy. As the “Promenade” grows more wistful, Pictures at an Exhibition begins with a it introduces a highly varied mini-suite: bright, confident theme (“Promenade”). “Ballet of the Chickens in their Shells” Given to trumpets and then full brass by (from Hartmann’s costume designs) Ravel, this theme will recur periodically to is a scherzo-like, coloristic vignette. signal the spectator strolling through the Its quirky, mechanical pulsings make exhibition before stopping to linger with a perfect match for Ravel’s orchestral a particular artwork. Mussorgsky sets art, which tends to every detail— this confident, folk-like theme in shifting accent, grace note, chord spacing— meters to suggest the spectator’s uneven with engaging colorism. In “Samuel step—apparently a “self-portrait” of Goldenberg and Schmuÿle” (Stasov the heavy-set, lumbering composer titled this panel “Two Jews, One Rich, interpolated among the exhibit pieces. the Other Poor”), Mussorgsky conflates what were two separate pictures by “Gnomus” takes its cue from Hartmann’s Hartmann—portraits the composer drawing of a deformed gnome likely in fact owned—into characterizations meant as a design for a nutcracker. sharply contrasted by pitch and rhythmic Mussorgsky ingeniously emphasizes profile. The result is music that explores its halting limp with erratic, irregular “[the] psychology and relationship” of rhythms and muffled chords. Ravel adds the two figures, according to Michael a witty touch with a tongue-in-cheek Russ, an authority on Pictures. Ravel reference to Tchaikovsky (the sound of emphasizes these contrasts: the self- the celesta). The “Promenade” returns in important, wandering line in lower a more chorale-like idiom to lead us to strings for the rich Goldenberg is set “The Old Castle,” which is based on one against an insistent chatter high in the of Hartmann’s architectural watercolors trumpet, which depicts the desperate of an Italian castle. Its lilting meter has beggar Schmuÿle. At the end the two the nostalgic feel of an old ballad; Ravel’s are combined. There has been debate, ingenious touch is to give the voice of a reminiscent of controversies over “singing troubadour” appearing in the Wagner, as to whether Mussorgsky watercolor to a plaintive alto sax. intended an anti-Semitic caricature. A briefer but more-stately reprise The eminent musicologist Richard of the “Promenade” now takes us to Taruskin, for example, has written Paris and the decorous setting of the that “Mussorgsky was Russia’s most Tuileries gardens, where children conspicuously anti-Semitic composer.” have been playing but now engage Michael Russ, on the other hand, notes in a spat. Immediately afterward that despite expressions of anti-Semitism Mussorgsky depicts a big-wheeled “(expected of a Russian aristocrat) . . . oxcart (“Bydlo”—Polish for “cattle”) there is evidence of a genuine interest in

December 3, 2015 39 Jewish culture” in the composer’s work. The next image brutally intrudes. “The Hut on Fowl’s Legs,” based on A brisk pick-up in pace announces “The Hartmann’s design for a clock, alludes Marketplace at Limoges” a comical to a grotesque figure from Russian episode in which the townsfolk gossip — and—in a brief climax—argue over folklore the witch Baba-Yaga, who wares. At this point, Pictures undergoes grinds down the bones of her victims a dramatic shift in tone. The playful in a nightly ride. The music abounds chaos of the marketplace spills over with harsh percussive effects and into imposing, sepulchral chords deep unsettling harmonies. in the brass that lead us underground. Pictures concludes with a triumphant “Catacombae”—so-called for an expansion of the “Promenade” theme, image of the ancient catacombs in for which Ravel pulls out all the stops, Paris—introduces the theme of death, including pealing bells and a festive reminding us that Mussorgsky’s array of percussion. The celebratory initial impulse was to create a musical tone pays homage to Hartmann’s memorial for his friend. Deeply moving architectural design for a gate “in the old harmonies resound with an organ- Russian style” in Kiev (“The Great Gate like majesty in Ravel’s orchestration. of Kiev”). Though this gate was never Mussorgsky underlines the centrality built, Mussorgsky’s majestically pealing of this episode with his next variant on sonorities seal this enduring monument the “Promenade”—a minor-key version against ghostly strings called “cum to his friend, as the spectator at last mortuis in lingua morta” (“with those merges with the artwork he is admiring. who have died in the language of the —© Thomas May dead”). A ray of consoling hope seems Thomas May writes about the arts for a variety to shine in the final measures as the of international publications and blogs at texture brightens briefly. memeteria.com.

40 December 3, 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 Berkeley Symphony, succeeding Kent Nagano and becoming only the third

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

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

December 3, 2015 41 2015-2016

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42 December 3, 2015 Royal Liverpool Philharmonic, opera conductor, Carneiro made Royal Philharmonic Orchestra, her Cincinnati Opera debut in 2011 Orchestre Philharmonique de conducting John Adams’ A Flowering Radio France, Ensemble Orchestral Tree, which she also debuted with the de Paris, Orchestra de Bretagne, Chicago Opera Theater and at La Cité Norrköping Symphony, Norrlands de la Musique in Paris. In the 2008- Opera Orchestra, Residentie Orkest/ 09 season, she served as assistant Hague, Prague Philharmonia, Malmo conductor to Esa-Pekka Salonen at the Symphony, National Orchestra of Paris Opera’s premiere of Adriana Mater Spain and the Orchestra Sinfonica by Kaija Saariaho and led critically- del Teatro la Fenice at the Venice acclaimed performances of Philippe Biennale, as well as the Hong Kong Boesmans’ Julie in Bolzano, Italy. Philharmonic, Macau Chamber As a finalist of the prestigious Orchestra and Beijing Orchestra 2002 Maazel-Vilar Conductor’s at the International Music Festival Competition at Carnegie Hall, of Macau. In the Americas, Carneiro was recognized by the jury she has led the Los Angeles for demonstrating a level of potential Philharmonic, Toronto Symphony, that holds great promise for her future St. Paul Chamber Orchestra, Detroit career. In 2003-04, she worked with Symphony, Colorado Symphony, Maestros Kurt Masur and Christoph Indianapolis Symphony, Los Angeles von Dohnányi and conducted the Chamber Orchestra, New World London Philharmonic Orchestra, Symphony and São Paulo State as one of the three conductors Symphony. chosen for London’s Allianz Cultural In 2010, Carneiro led performances Foundation International Conductors of Peter Sellars’ stagings of Academy. From 2002 to 2005, she Stravinsky’s Oedipus Rex and served as Assistant Conductor of Symphony of Psalms at the Sydney the L.A. Chamber Orchestra and as Festival, which won Australia’s Music Director of the Young Musicians Helpmann Award for Best Symphony Foundation Debut Orchestra of Los Orchestra Concert in 2010. She Angeles. From 2005 through 2008, she conducted a linked project at the was an American Symphony Orchestra New Zealand Festival in 2011, and as League Conducting Fellow at the Los a result was immediately invited to Angeles Philharmonic, where she work with the Sydney Symphony and worked closely with Esa-Pekka Salonen New Zealand Symphony orchestras and led several performances at Walt on subscription. In 2011, she led a Disney Concert Hall and the Hollywood ballet production of Romeo and Juliet Bowl. with Companhia Nacional de Bailado A native of Lisbon, she began her in Portugal. musical studies as a violist before Increasingly in demand as an receiving her conducting degree from

December 3, 2015 43 the Academia Nacional Superior Sebastian Bereau, Roberto Benzi and de Orquestra in Lisbon, where she Pascal Rophe. studied with Jean-Marc Burfin. Carneiro is the 2010 recipient of the Carneiro received her Masters degree Helen M. Thompson Award, conferred in orchestral conducting from by the League of American Orchestras Northwestern University as a student of Victor Yampolsky and Mallory to recognize and honor music Thompson, and pursued doctoral directors of exceptional promise. studies at the University of Michigan, In 2004, Carneiro was decorated where she studied with Kenneth by the President of the Portuguese Kiesler. She has participated in master Republic, Mr. Jorge Sampaio, with the classes with Gustav Meier, Michael Commendation of the Order of the Tilson Thomas, Larry Rachleff, Jean Infante Dom Henrique.

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44 December 3, 2015 Artists’ Biographies

including Edison Denisov and Alfred Schnittke), and by a deep-rooted belief in the mystical properties of music.

Her uncompromising dedication to a singular vision did not endear her to the Soviet musical establishment, but her music was championed in Russia by a number of devoted performers including Vladimir Tonkha, Friedrich Lips, Mark Photo by Bruno courtesy Caflisch, F. Hoffman-La Roche Ltd. Pekarsky, and Valery Popov. The determined advocacy of Gidon Kremer, Sophia Gubaidulina, dedicatée of Gubaidulina’s masterly violin concerto, Offertorium, helped bring composer the composer to international attention ofia Gubaidulina was born in in the early 1980s. Gubaidulina is the S Chistopol in the Tatar Republic author of symphonic and choral works, of the Soviet Union in 1931. After two cello concerti, a viola concerto, instruction in piano and composition four string quartets, a string trio, works at the Kazan Conservatory, she studied for percussion ensemble, and many composition with Nikolai Peiko at works for nonstandard instruments the Moscow Conservatory, pursuing and distinctive combinations of graduate studies there under Vissarion instruments. Her scores frequently Shebalin. Until 1992, she lived in explore unconventional techniques of Moscow. Since then, she has made her sound production. primary residence in Germany, outside Since 1985, when she was first allowed Hamburg. to travel to the West, Gubaidulina’s Gubaidulina’s compositional interests stature in the world of contemporary have been stimulated by the tactile music has skyrocketed. She has been the exploration and improvisation with recipient of prestigious commissions rare Russian, Caucasian, and Asian folk from the Berlin, Helsinki, and Holland and ritual instruments collected by the Festivals, the Library of Congress, the “Astreia” ensemble, of which she was Chicago Symphony Orchestra, the New a co-founder, by the rapid absorption York Philharmonic, and many other and personalization of contemporary organizations and ensembles. A major Western musical techniques (a triumph was the premiere in 2002 of the characteristic, too, of other Soviet monumental two-part cycle, Passion and composers of the post-Stalin generation Resurrection of Jesus Christ according to St.

December 3, 2015 45 Dining Guide

46 December 3, 2015 John, commissioned respectively by the a Plague (2005), jointly commissioned International Bachakademie Stuttgart by the Philadelphia Orchestra and the and the Norddeutschen Rundfunk, Pittsburgh Symphony Orchestra, and Hamburg. conducted in Philadelphia by Sir Simon Rattle and in Pittsburgh and New York Gubaidulina made her first visit to by Sir Andrew Davis; In Tempus Praesens, North America in 1987 as a guest of a violin concerto unveiled at the 2007 Louisville’s “Sound Celebration.” She has Lucerne Festival by Anne-Sophie Mutter returned many times since as a featured with the Berlin Philharmonic under the composer of festivals—Boston’s “Making baton of Rattle; and Glorious Percussion, a Music Together” (1988), Vancouver’s concerto for five solo percussionists and “New Music” (1991), Tanglewood orchestra premiered in 2008 by Gustavo (1997)—and for other performance Dudamel and the Gothenburg Symphony milestones. In May 2011, she was feted Orchestra. on the occasion of her 80th birthday in concerts presented by the California Gubaidulina is a member of the Institute of the Arts and the Los Angeles Akademie der Künste in Berlin and Philharmonic. From the retrospective the Freie Akademie der Künste in concert by Continuum (New York, 1989) Hamburg, of the Royal Music Academy to the world premieres of commissioned in Stockholm and of the German order works—Pro et Contra by the Louisville “Pour le mérite.” She has been the Orchestra (1989), String Quartet No. recipient of the Prix de Monaco (1987), 4 by the Kronos Quartet (New York, the Premio Franco Abbiato (1991), the 1994), Dancer on a Tightrope by Robert Heidelberger Künstlerinnenpreis (1991), Mann and Ursula Oppens (Washington, the Russian State Prize (1992), and the DC, 1994), the Viola Concerto by Yuri SpohrPreis (1995). Recent awards include Bashmet with the Chicago Symphony the prestigious Praemium Imperiale conducted by Kent Nagano (1997), Two in Japan (1998), the Sonning Prize in Paths (“A Dedication to Mary and Martha”) Denmark (1999), the Polar Music Prize for two solo violas and orchestra, by in Sweden (2002), the Living Composer the New York Philharmonic conducted Prize of the Cannes Classical Awards by Kurt Masur (1999), Light of the End (2003), and the Great Distinguished by the Boston Symphony Orchestra Service Cross of the Order of Merit under Masur (2003), and Pilgrims for with Star of the Federal Republic of violin, double bass, piano and two Germany (2009). In 2004, she was percussionists (2015) by Chicago’s elected as a foreign honorary member Contempo Ensemble—the accolades of of the American Academy of Arts and American critics have been ecstatic. Letters. She is the recipient of honorary doctorates from Yale University (2009) In January 2007, Gubaidulina was the and the University of Chicago (2011). first woman composer to be spotlighted by the BBC during its annual “composer Her music is now generously represented weekend” in London. Among her most on compact disc, and Gubaidulina has recent compositions are Feast During been honored twice with the coveted

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48 December 3, 2015 Koussevitzky International Recording of Moscow Conservatory and St. Award. Major releases have appeared on Petersburg Mariinsky Concert Hall the DG, Chandos, Philips, Sony Classical, (Russia), London’s Queen Elisabeth Hall, BIS, Berlin Classics and Naxos labels. National Gallery of Art in Washington D.C., Lockenhaus Festival, Aldebourgh Gubaidulina’s music is published in Festival, Edinburgh Festival (Scotland), North America by G. Schirmer, Inc. Rheingau Festival, Konzerthaus Berlin and Musikhalle Hamburg (Germany); and with orchestras like the London Symphony Orchestra, Bergen Philharmonic Orchestra, Russian National Orchestra, Mariinsky Orchestra, Munich Philharmonic Orchestra, Kremerata Baltica, Amsterdam Sinfonietta, Norwegian Chamber Orchestra, Nederland Philharmonic Orchestra, Moscow Soloists, Gothenburg Symphony, Norwegian Radio Symphony Orchestra, Portuguese Chamber Orchestra and Kammerakademie Potsdam, just to name a few; and with conductors like Geir Draugsvoll, bayan Valery Gergiev, Vasily Petrenko, David Geringas, Yuri Bashmet, Joana Carneiro, eir Draugsvoll is internationally Andres Mustonen and Reinbert de recognized as one of the most G Leeuw. important performers on the classical accordion/bayan, causing headlines In 2011 his extensive discography on EMI, like “Breaking borders”, “Fantastic”, BIS, SIMAX, Delos, DaCapo and Marco “All hail the accordion” and “Musical Polo labels further expanded by the WP Sensation”. With a repertoire ranging CD recording of Gubaidulina’s Fachwerk, from Bach, Mozart, Grieg and dedicated to him. The recording and Stravinsky to contemporary classics like numerous concert performances of Gubaidulina, Hosokawa, Berio, Nörgaard this important creation by Gubaidulina and Piazzolla, he has performed all over have received euphoric international Europe and also toured China and Japan. reviews throughout. The leading German Through collaborations with many newspaper Die Zeit has named the composers, Geir Draugsvoll must be recording Best’ Album of the Year.’ characterized as a pioneer on his young Geir Draugsvoll (b. 1967) is Norwegian instrument, and he has world-premiered but now lives in Copenhagen where he a large number of works. is a professor at the Royal Academy of Draugsvoll has performed in great Music. He is represented by Pro Arte halls and at festivals like Great Hall International Management.

December 3, 2015 49 Berkeley Symphony photo by Dave Weiland

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

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

50 December 3, 2015 In 1981, the internationally renowned living composers, which include several French composer Olivier Messiaen prominent contemporary Bay Area journeyed to Berkeley to assist with the composers such as John Adams, Paul preparations of his imposing oratorio Dresher, and Gabriela Lena Frank. The Transfiguration of Our Lord Jesus Berkeley Symphony has introduced Bay Christ, and the Orchestra gave a sold- Area audiences to works by rising young out performance in San Francisco’s composers, many of whom have since Davies Symphony Hall. In 1984, achieved international prominence. Berkeley Symphony collaborated with Celebrated British composer George Frank Zappa in a critically acclaimed Benjamin, who subsequently became production featuring life-size puppets Composer-in-Residence at the San and moving stage sets, catapulting the Francisco Symphony, was first Orchestra onto the world stage. introduced to the Bay Area in 1987 when Berkeley Symphony entered a new era Berkeley Symphony performed his in January 2009, when Joana Carneiro compositions Jubilation and Ringed by the became the Orchestra’s third Music Flat Horizon; as was Thomas Adès, whose Director in its 40-year history. Under opera Powder Her Face was debuted by Carneiro, the Orchestra continues its the Orchestra in a concert version in 1997 tradition of presenting the cutting before it was fully staged in New York edge of classical music. Together, they City, London and Chicago. Visit are forging deeper relationships with www.berkeleysymphony.org.

December 3, 2015 51 52 December 3, 2015 Music in the Schools

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

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

December 3, 2015 53 54 December 3, 2015 2015/16 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 2015/16 season.

Friends Circle of Members Supporting Member: $100+ • Advance e-newsletter notice of discounts and special events. • Listing in season concert programs. Associate Member: $300+ (All of the above plus . . .) • Invitation for two to an open rehearsal of the orchestra. Principal Member: $750+ (All of the above plus . . .) • Invitation to select special events including post-concert receptions with Music Director Joana Carneiro, musicians, soloists and/or visiting composers. Symphony Circle of Members Concertmaster: $1,500+ (All of the above plus . . .) • Invitations to two exclusive Symphony Circle Salon Receptions hosted by Music Director Joana Carneiro. • Two free guest concert passes. Conductor: $2,500+ (All of the above plus . . .) • Invitations to all exclusive Symphony Circle Salon Receptions hosted by Music Director Joana Carneiro. • Invitation to an exclusive Musicians’ Dinner and “closed” rehearsal for you and guests. Sponsorship Circle of Members Founding Sponsors: $5,000+ (All of the above plus . . .) • VIP access to Berkeley Symphony intermission Sponsors’ Lounge at Zellerbach Hall. • Opportunities to be recognized as a concert sponsor, musician sponsor, or guest soloist sponsor. • Special “Sponsorship Dinner” opportunities with Music Director Joana Carneiro. • A total of four or more free concert guest passes.

December 3, 2015 55 56 December 3, 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 the defiantly original music to be heard, commissions world-class composers, and impacts the lives of thousands of children in hundreds of classrooms each year. Gifts received between October 1, 2014 and October 1, 2015

Sponsor Circle GIFTS Season Sponsors Founding Sponsors $50,000 and above $5,000 and above (continued) Brian James & Shariq Yosufzai Thomas & Mary Reicher Kathleen G. Henschel & John W. Dewes Paul Templeton & Darrell Louie Helen & John Meyer Conductor Level Season Sponsors $2,500 and above $25,000 and above Anonymous Gertrude Allen Dianne Crosby Jan & Michael McCutcheon Gloria Fujimoto Ed Osborn & Marcia Muggli Gary Glaser & Christine Miller Tricia Swift Buzz & Lisa Hines Executive Sponsors Ken Johnson & Nina Grove $10,000 and above Bebe & Colin McRae Anonymous (3) Jutta Singh Margaret Dorfman Ama Torrance & David Davies Alexander Leff Anne & Craig Van Dyke Janet & Marcos Maestre Concertmaster Level Peter Mandell & Sarah Coade Mandell Gifts of $1,500 or more Thomas W. Richardson & Edith Jackson Anonymous Lisa & James Taylor Sallie & Edward Arens Founding Sponsors Fred & Elizabeth Balderston $5,000 and above Michele Benson Anonymous (2) Judith Bloom Susan & Jim Acquistapace Ms. Carol Christ Natasha Beery & William B. McCoy Marilyn & Richard Collier Ronald & Susan Choy Richard Colton Sheila Duignan John & Charli Danielsen Oz Erickson & Rina Alcalay Anita Eblé Paula & John Gambs Karen Faircloth Ellen L. Hahn Dean Francis Jennifer Howard & Anthony J. Cascardi Mary & Stan Friedman Deborah O’Grady & John Adams Ann Fischer Hecht & Shawn Hecht

December 3, 2015 57 Broadcast Dates

Relive this season’s concerts on KALW 91.7 fm

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

4 Mondays at 8pm in May 2016

Hosted by KALW’s David Latulippe

Program I: Oct. 14, 2015 will be broadcast on May 2

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

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

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

58 December 3, 2015 Founding Sponsors Patrick McCabe $1,500 and above (continued) Noel & Penny Nellis Lynne La Marca Heinrich & Dwight Evelyn Nussenbaum & Fred Vogelstein Jaffee Michael & Becky O’Malley Sue Hone & Jeffrey Leiter Betty Pigford The Leo J. & Celia Carlin Fund Jorge Mancheno Pat & Merrill Shanks René Mandel Kathy Canfield Shepard & John Shepard Lois & Gary Marcus Alison Teeman & Michael Yovino-Young Bennett Markel Ed Vine & Ellen Singer-Vine

Friends of Berkeley Symphony GIFTS

Principal Level Christel & Jurg Bieri William Quillen & Hedy Leiter $750 and above Board of Berkeley Public Suzanne Riess Joel Altman Schools Fund Donald Riley & Carolyn Serrao Catherine Atcheson & Bob & Ginny Blumberg Constance Ruben Christian Fritze Carl Blumenstein Scott Sparling Blume Capital Management Stuart and Virginia Canin Sheridan & Betsey Warrick Deborah Born & Stephen Born Gray Cathrall Gordon & Evie Wozniak Mark Chaitkin & Cecilia Storr Richard Colton Katinka Wyle Bruce Dodd Cindy Chang & Christopher Ann & Jack Eastman Hudson Supporting Level Daniel & Kate Funk Richard & Christine Colton $100 and above Shelly & Don Lee Joe and Sue Daly Anonymous (3) Arthur & Martha Luehrmann Nancy & Gordon Douglass Rose Lynn Abesamis-Bell Kim & Barbara Marienthal Gini Erck & David Petta Philip & Mary-Ellis Adams Betty Pigford Karen Fagerstrom Karthiga Anandan Marjorie Randolph Ednah Beth Friedman Robert & Evelyn Apte Rose Ray Doris Fukawa & Marijan Pevec Nancy Austin Linda Schacht & John Gage Evelyn & Gary Glenn Joan Balter Phyllis Brooks Schafer Mr. Richard Granberg Kevin Bastian & Dolores Dalton Deborah Shidler & David Peggy Griffin William W. Beahrs Burkhart Bonnie & Sy Grossman Anna Bellomo & Joshua Bloom Anne Shortall Sophie Hahn & Eric Bjerkholt Elaine & David I. Berland Robert Sinai & Susanna John Harris Sandra Bernard Schevill Trish & Tony Hawthorne Thomas Mark Bosserman Michel Taddei Florence Hendrix Cara Bradbury Matías Tarnopolsky & Birgit Valerie & Richard Herr Aimee Brown Hottenrott Susan & Jerry Herrick Irene Bruenger & Bob Jules Roman Tippett Hilary Honore Riksheim Robert & Emily Warden Mark & Lynne Humphrey Tammy Button Nancy & Charles Wolfram Richard Hutson Ms. Mary Canavan Associate Level Russ Irwin Stephanie G. & Allan L. $300 and above Nancy Lehrkind Cartwright Anonymous (3) Helen Marcus & David Brian & Cindy Chase Dr. Henry L. Abrons & Dr. Williamson June Cheit Li-Hsia Wang John McMahon & Nicole Chun Murray & Betty Cohen Jeannette Alexich Geraldine & Gary Morrison Frederick & Joan Collignon Jeffrey & Joan Angell Ann M. O’Connor & Ed Cullen Zipporah & Dwight Collins Patricia Vaughn Angell Lucille & Arthur Poskanzer John Constable

December 3, 2015 59 Supporting Level Marianne & John Gerhart Ms. Sharon Korotkin $100 and above (continued) Jeffrey Gilman & Carol Reif Colleen Larkin Dr. Lawrence R. Cotter John H. Gilman Almon E Larsh, Jr Richard Curley Rose Marie & Sam Ginsburg Michele Lawrence Franklyn & Joslyn D’Antonio Joan Glassey Lynanne Jacob & Lloyd Lee Jan Davis David Glenn Laura Leff Tracy Dearman Stuart Gold Ira Lehn Dennis & Sandy De Domenico Judy Gonzalez-Massih Catherine Lloyd Mavis Delacroix Edward C. Gordon Catharine Lucas Ms. Barbara Dengler Reeve Gould Steve Luppino Paula & James R. Diederich Steven E. Greenberg Ms. Jayne A. Matthews Carolyn Doelling Mr. Daniel T. Haddick Alex Mazetis Robert & Loretta Dorsett Ervin & Marian Hafter Carrie McAlister Paul Dresher & Philippa Kelly Scott Hamilton Ms. Suzanne McCulloch Donna M. Duhe Ms. Anne Hannah-Roy Winton & Margaret McKibben Patricia Rose Duignan Robert & Miriam Hawley Suzanne & William McLean Beth & Norman Edelstein Noel Hayashi Dan Meier Rachel Eidbo William & Judith Hein Howard & Nancy Mel Ilse Evans Lyn Hejinian Peter & Elizabeth Evans Amelie C. Mel De Fontenay & Dr. & Mrs. Gene Hern John Stenzel Joe & Sara Evinger Maj-Britt Hilstrom Jim Meredith Bennett Falk & Margaret Robert & Margaret Hirst Moreland Mr. Robert Messick Sarah Holzman & Matt White David Favrot Susan Messina Ora & Kurt Huth Ms. Mary Ellen Fine Cindy Michael F.W. Irion Susan K. Fisher Louise Miller & David Elaine Jackson Peterson Ms. Brenda Fitzpatrick Junichi & Sarah Miyazaki Marcia Flannery Joseph Jackson & Joann Leskovar Yuri Miyazaki Colette Ford Fred Jacobson Prof. Linda Morris Harriet Fukushima Irene & Kiyoshi Katsumoto Ms. Ruth Okamoto Nagano Theresa Gabel & Timothy Zumwalt Paul & Joanne Kelly Ms. Anita Navon Dr. Robert John Garmston & Faye Keogh John & Mary Lee Noonan Arthur Costa Todd Kerr Mr. Daniel Peter O’Connor Isabelle Gerard David Kessler & Nancy Mennel Charlotte Oppenheim

60 December 3, 2015 David and Barbara Parminter Brenda M Shank Marco Vangelisti Lawrance Phillips Brian Shiratsuki Randy & Ting Vogel John Pires Jack Shoemaker Ursula Von Fluegge Leslie & Joellen Piskitel Jessie Shohara David & Marvalee Wake Evan Painter & Wendy David & Elizabeth Silberman Kevin Wakelin Polivka Ms. Wendy Simon Dorothy Walker Jim Gleason & Deborah Quok Carl & Grace Smith Ms. Helen Walker Lisa & Mark Rafael Carol & Anthony Somkin Sim Warkov Barbara & Nigel Renton Ms. Carla Soracco David & Pennie Warren Mr. & Mrs. Mark A. Rhoades Sylvia Sorell & Daniel Kane Carolyn Webber Terry Rillera Bruce & Susan Stangeland Karen Weinstein Roisman Henel LLP Tia Stoller & Drew Detsch Karen Wells & Jan Probst Julianne H. Rumsey Geoffrey S. Swift Dr. George & Bay Westlake George Scharffenberger Frances & Ronald Tauber June Wiley & Bruce McCubbrey Steven Scholl Monica Thyberg Linda & Steven Wolan Georgia Schreiber Ms. Carol L. Tomlinson Nancy Wolfe Valerie Schwimmer Mr. Juan Ornelas & Mr. Brad Mrs. Charlene M. Woodcock Margaret Seely Touchette Nicole Wrubel Patricia Sellars Linda van Drent Sayoko S. Yokogawa

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

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

In Memory of: In Honor of:

Virginia Baker Marilyn Collier Dr. Robert John Garmston & Arthur Costa Elaine & David I. Berland Jean Chapman Born Brian James Gertrude Allen Tracy Dearman Adrienne Austin-Shapiro & Arthur M. Donna Duhe Shapiro Janet Maestre Donald & Lucy Campbell Wendy Simon John Constable Louise Miller & David Peterson Peter Mandell & Yuri Miyazaki Sarah Coade Mandell David & Barbara Parminter Alexander Leff Margaret Roisman Ms. Carol Rosset Carol Seiberling Gifts received between Tricia Swift Sayoko S. Yokogawa October 1, 2014 and October 1, 2015. December 3, 2015 61 In-Kind Gifts Special thanks to these individuals and businesses whose generous donations of goods and services are crucial in helping Berkeley Symphony produce our concerts and education programs while keeping expenses as low as possible.

Susan & Jim Acquistapace La Sirena Andreas Jones Graphic Design Lama Bean Eric Asimov & Deborah Hofmann Landmark Vineyards Peter Asimov LaSalette Restaurant Aurora Theatre Company Los Angeles Opera Natasha Beery & Sandy McCoy Los Angeles Philharmonic Berkeley Repertory Theatre Rico Mandel Marshall Berman Peter Mandell & Sarah Coade Mandell Judith Bloom Bennett Markel George Boziwick Cain Vineyard & Winery Jan & Michael McCutcheon Cal Performances McCutcheon Construction Joy Carlin Meyer Sound Gray Cathrall—Piedmont Post Mueller Family Vineyards Chanticleer Munchery Ronald & Susan Choy Music@Menlo Marilyn & Richard Collier Music in the Vineyards Concannon Vineyard New Century Chamber Orchestra Cottage Grove Inn New World Symphony Franklyn D’Antonio Omni Hotels & Resorts Dave Weiland Photography Ed Osborn & Marcia Muggli D.C. Piano Company Philharmonia Baroque Rick C. Diamond Portuguese National Symphony di Rosa — Douglas Parking Marjorie Randell-Silver Copper Leaf Productions Dyer Vineyard Ann & Jack Eastman Thomas W. Richardson & Edith Jackson Anita Eblé Saga Musical Instruments Extreme Pizza San Francisco Opera Fisher Vineyards San Francisco Symphony FIVE Restaurant Linda Schacht & John Gage Kelly Fleming Kathy Canfield Shepard—Canfield Design Gloria Fujimoto Studios Steve Gallion & Pam Wolf John Shepard Gary Glaser & Christine Miller Deborah Shidler Green Music Center Hiram Simon Gulbenkian Museum Jutta Singh—Jutta’s Flowers Hayes Street Grill Tia Stoller—Stoller Design Group Kathleen G. Henschel & John W. Dewes Tricia Swift The Hess Collection Winery Lisa & James Taylor Robert Hirst Sue Hone Alison Teeman & Michael Yovino-Young Hotel Shattuck Plaza Anne & Craig Van Dyke Brian James & Shariq Yosufzai Viking River Cruises Philippa Kelly Yvette Vloeberghs Ken Johnson & Nina Grove William Knuttel Winery Todd Kerr—Berkeley Times Angela & William Young

62 December 3, 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 October 1, 2014 and October 1, 2015

$50,000 and above $2,500 and above (continued) The William & Flora Hewlett Foundation U.S. Bank

$25,000 and above Up to $2,500 Clarence E. Heller Charitable Anonymous Foundation Anchor Brewing Co. The Grubb Co. Berkeley Association of Realtors Meyer Sound Laboratories, Inc. Berkeley Bowl $10,000 and above Genentech, Inc. Ann and Gordon Getty Foundation Home Depot Foundation A.V. Thomas Produce Pixar Animation Studios Berkeley Public Schools Fund The Richard Shaklee Memorial Bernard E. and Alba Witkin Charitable Foundation Foundation The Rudolph and Lentilhon G. Von The Bernard Osher Foundation Fluegge Foundation, Inc. Chevron Thornwall Properties, Inc. The Jill Grossman Family Charitable Tides Foundation Fund The National Endowment for the Arts

$5,000 and above Matching Gifts California Arts Council The following companies have matched City of Berkeley their employees’ or retirees’ gifts East Bay Community Foundation to Berkeley Symphony. Please let Wallis Foundation us know if your company does the same by contacting William Quillen $2,500 and above at 510.841.2800 x305 or wquillen@ Anonymous berkeleysymphony.org. American Composers Orchestra Anchor Brewing Co. (Earshot) East Bay Music Fund Chevron Corporation Music Performance Trust Fund Genentech Inc. Union Bank Foundation The Home Depot

December 3, 2015 63 BRING IN THIS AD TO RECEIVE A 1O% DISCOUNT ON ANY PURCHASE OF GIFTS AND FLOWERS

64 December 3, 2015 Administration Contact & Creative Staff Tickets available by phone, fax, René Mandel, Executive Director mail, e-mail, or online: William Quillen, Director of Development Berkeley Symphony Sarah Thomas, Director of Operations 1942 University Avenue, Suite 207, Noel Hayashi, Marketing Consultant Berkeley, CA 94704 Jessica Betando, Associate Director of 510.841.2800 Fax: 510.841.5422 Marketing & Patron Services Manager [email protected] www.berkeleysymphony.org Mollie Budiansky, Development & Marketing Associate find us on Samantha Noll, Box Office Intern Jared Winn-Taryor, Administrative Intern Cindy Michael, Finance Director Jean Shirk, Public Relations Consultant James Taylor, Corporate Development Associate Franklyn D’Antonio, Co-Orchestra Manager Joslyn D’Antonio, Co-Orchestra Manager Quelani Penland, Librarian David Rodgers, Jr., Stage Manager Stoller Design Group, Graphic Design Dave Weiland, Photography Javier Acevedo, Video Design Bandwagon Media Services, Recording Engineer

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

December 3, 2015 65 Advertiser Index

A1 Sun...... page 17 Jutta’s Flowers...... page 64 Ackerman’s Servicing Volvo. . . . . page 36 Kid Dynamo...... page 52

Albert Nahman Plumbing...... page 36 La Mediterranée...... page 46

Alward Construction...... page 28 La Note Restaurant Provençal. . . . page 46

Bay Sotheby’s International Realty...... Lake Park...... page 14

...... inside back cover Mancheno Insurance Agency . . . . page 29

Berkeley Horticultural Nursery. . . .page 40 Margaretta K. Mitchell ......

Berkeley Optometry...... page 16 Photography ...... page 28

Bill’s Footwear...... page 38 Maybeck High School...... page 34

BuyArtworkNow.com ...... page 34 McCutcheon Construction...... page 24

Center for Natural Health Care. . . . page 44 Montclair Sports...... page 48

Chocolatier Blue...... page 32 Mountain View Cemetery. . inside front cover

The Club at The Claremont...... page 22 National Geographic Expeditions . . page 54

Coldwell Banker...... page 38 Oceanworks...... page 38

The College Preparatory School . . . .page 13 Pacific Union...... page 18

The Cooperative Cleaning Company.. page 30 Piedmont Gardens ...... page 26

The Crowden School...... page 52 Poulet...... page 48

Dining Guide ...... pages 46, 48 Savvy Rest ...... page 28

Dinner at the Claremont...... page 46 St. Paul’s Towers...... page 20

DoubleTree Hotel...... page 56 Star Grocery...... page 48

Douglas Parking...... page 58 Storey Framing...... page 34

Eric Pomert, Film Editor...... page 34 Talavera...... page 29

Frank Bliss, State Farm...... page 10 Thornwall Properties...... page 18

Going Places ...... page 28 Tricia Swift, Realtor...... page 42

The Grubb Co...... back cover Wooden Window...... page 51

Judith L. Bloom, CPA...... page 60 Yovino-Young Inc...... page 44

to advertise in the berkeley symphony

program, call john mc mullen

510.652.3879

66 December 3, 2015