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

5 Message from the Music Director 7 Message from the Board President 9 Message from the Executive Director 11 Board of Directors & Advisory Council 12 Orchestra 14 Season Sponsors 17 Producers’ Circle Sponsorship Gifts 19 Berkeley Symphony Legacy Society 21 Program 23 Program Notes 37 Music Director: Joana Carneiro 41 Artists’ Biographies 46 Berkeley Symphony 49 Berkeley Symphony Salutes Marta Tobey 51 Music in the Schools 53 2015/16 Membership Benefits 55 Annual Membership Support 60 Broadcast Dates

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

February 4, 2016 3 4 February 4, 2016 Message from the Music Director

Dear Friends,

Happy New Year! May 2016 bring you an abundance of beauty, health and peace!

This is a particularly exciting year for Berkeley photo by Rodrigo de Souza Symphony as we continue to meet our goal of excellence in programming and performance.

We want each concert to be a unique experience. I believe our first concert of this new year is perfect in this sense, in that it delivers exciting, meaningful music of our time (Lutosławski’s Concerto for Orchestra) alongside one of the great landmarks in the history of musical creation (Beethoven’s “Emperor” Concerto). These extraordinary pieces, together with our wonderful musicians and a soloist that you will not forget, are ingredients for a great evening.

Indeed, Conrad Tao, with whom I have had the privilege of sharing the stage, is truly an inspiration. I’ve been told that he plays the violin as well as he plays piano, and he is a composer, too. Plus, he is only 21! I have only experienced Conrad as a pianist, but I can tell that he is an excellent musician and a joy to make music with.

Lutosławski’s Concerto for Orchestra, composed between 1950 and 1954, is widely considered to be the best example of the composer’s folkloristic style. Our friend Steve Stucky, a renowned Lutosławski expert, described this much-appreciated composer and his music in the best way possible: “Witold Lutosławski was . . . an artist worthy of comparison with Stravinsky, Bartók, Berg, Shostakovich, or Prokofiev. Like their music, his music embodies brilliant technique, vivid imagination, and largeness of human spirit.”

I am greatly looking forward to this evening and thank you once again for your continued support.

Much love,

Joana Carneiro

February 4, 2016 5 6 February 4, 2016 Message from the Board President

New Year Greetings!

With this concert, we progress from Magical to Mystical to MAJESTIC! We welcome the stunning young pianist Conrad Tao to photo © Margaretta K. Mitchell perform Beethoven’s much-loved “Emperor” Concerto, paired with Lutosławski’s luscious Concerto for Orchestra.

Without YOU, our loyal audience, we could not bring these important works and fine soloists to our stage. The Board of Directors is grateful for your support and your willingness to spread the word about Berkeley Symphony to your friends and colleagues. Your continued involvement is vital to Berkeley Symphony. Our community is enriched by both the main-stage performances and our Music in the Schools program, which reaches more than 4,600 children in the Berkeley Unified School District each year. Please mark your calendars now for our two major fundraising events: the Music in the Schools Luncheon on February 22 at the Bancroft Hotel and our fun-filled Benefit Gala on April 29 at the Craneway.

Also on the spring calendar are two more “Berkeley Symphony & Friends” chamber concerts on Sunday, February 21 and Sunday, April 10 at the Piedmont Center for the Arts. And the free “Family Concerts” on Saturday, April 23 at Malcolm X Elementary School are not to be missed! Bring the children in your family and the child in YOU!

Once again, THANK YOU, and let’s keep up the good work!

Tricia Swift

February 4, 2016 7 8 February 4, 2016 Message from the Executive Director

Greetings!

With each New Year and each new concert season, it is gratifying to see the impact that

Berkeley Symphony is making on the Bay Area’s photo by Marshall Berman rich cultural landscape. Called “the model of self- generating excellence” by the Financial Times, the accolades continue . . .

• In a poll conducted last fall by San Francisco Classical Voice, Berkeley Symphony was voted the #2 Orchestra in the Bay Area, just behind the San Francisco Symphony.

• For the first time in recent history, the Wall Street Journal sent its cultural reporter David Mermelstein to interview Joana and to review our December concert, garnering praise for both the Orchestra and Joana, for her “commitment to dynamic music making.”

• And just last month, the San Francisco Chronicle’s music critic Joshua Kosman selected our May premiere of Mark Grey’s Frankenstein Symphony as one of the top five “Classical Music Gems of 2016.”

It is an exciting time as Joana and I engage in frequent cross-Atlantic discussions, formulating the 2016/17 season, which will be unveiled at our final concert of the season on May 5. As always, we will be introducing you to some new music, as well as reacquainting you with the great masterworks of past centuries.

We wish you a joyful New Year and thank you for making Berkeley Symphony a priority in your life.

Warm regards,

René Mandel

February 4, 2016 9 10 February 4, 2016 Board of Directors & Advisory Council

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

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

February 4, 2016 11 The Orchestra

Joana Carneiro Music Director Violin II (continued) Sponsored by Brian James & Shariq Yosufzai Sponsored by Helen & John Meyer Kevin Harper Sponsored by Marcia Muggli & Ed Osborn Rose Marie Ginsburg Sponsored by Lisa & Jim Taylor Sponsored by Anonymous Viola Kent Nagano Conductor Laureate Tiantian Lan Principal

Violin I Ilana Matfis Assistant Principal Darcy Rindt Franklyn D’Antonio Concertmaster Patrick Kroboth Matthew Szemela Associate Concertmaster Keith Lawrence Emanuela Nikiforova Assistant Concertmaster Alexander Volonts Candace Sanderson Ivo Bokulic Larisa Kopylovsky Amy Apel Lisa Zadek Kristen Steiner Monika Gruber Dan Stanley Shawyon Malek-Salehi Cello Ernest Yen Carol Rice Principal Hee-Guen Song Sponsored by Getrude Allen John Bernstein Stephanie Wu Assistant Principal Annie Li Wanda Warkentin Quelani Penland Eric Gaenslen Charles Zhou Krisanthy Desby Bert Thunstrom Kenneth Johnson Peter Bedrossian Violin II Margaret Moores Sarah Wood Principal Jason Anderson Karsten Windt Assistant Principal Bass David Cheng Michel Taddei Principal Stephanie Bibbo Sponsored by East Bay Community Foundation Tess Varley Jon Keigwin Assistant Principal Genevieve Micheletti Alden Cohen Mark Neyshloss Aleksey Klyushnik Sergi Goldman-Hull James Coyne Rick Diamond Andy Butler Ann Eastman Eric Price Milica Grahovac Corey Chandler

12 February 4, 2016 Flute Trombone Emma Moon Principal Thomas Hornig Principal Sponsored by Janet & Marcos Maestre Sponsored by Kathleen G. Henschel & John W. Dewes Stacey Pelinka Craig Bryant Laurie Camphouse Bruce Chrisp Piccolo Bass Trombone Stacey Pelinka Kurt Patzner Laurie Camphouse Tuba Oboe Jerry Olson Principal Deborah Shidler Principal Sponsored by Jan & Michael McCutcheon Stardust Timpani Bennie Cottone Kevin Neuhoff Principal

English Horn Percussion Bennie Cottone Ward Spangler Principal James Kassis Clarinet Allen Biggs Roman Fukshansky Principal Timothy Dent Diana Dorman Mark Veregge Steve Sanchez

Bass Clarinet Harp Steve Sanchez Wendy Tamis Principal Randall Pratt Bassoon Carla Wilson Principal Piano Ravinder Sehgal Miles Graber Principal Shawn Jones Sponsored by Tricia Swift

Contrabassoon Celeste Shawn Jones Marc Shapiro

Horn Meredith Brown Principal Douglas Hull Franklyn D’Antonio Richard Hall Co-Orchestra Manager Thomas Reicher Joslyn D’Antonio Co-Orchestra Manager Trumpet William Harvey Principal Quelani Penland Kale Cumings Librarian Ari Micich David Rodgers, Jr. John Freeman Stage Manager

February 4, 2016 13 2015/16 Season Sponsors

Gertrude Allen

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

Kathleen G. Henschel & John W. Dewes

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

Brian James & Shariq Yosufzai

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

14 February 4, 2016 Ed Osborn & Marcia Muggli

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

Tricia Swift

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

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

February 4, 2016 15 2015/16 Season Sponsors (continued)

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

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

16 February 4, 2016 Producers’ Circle Sponsorship Gifts

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

Anonymous (3) Peter Mandell & Sarah Coade Gertrude Allen Mandell Ronald & Susan Choy Jan & Michael McCutcheon Margaret Dorfman and the Ralph I. The Jill Grossman Family Charitable Dorfman Family Fund Fund Oz Erickson & Rina Alcalay Helen & John Meyer 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 December 1, 2014 and December 31, 2015. Thank you also to our Producers’ Circle supporters at all levels!

February 4, 2016 17 18 February 4, 2016 Berkeley Symphony Legacy Society

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

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

“Growing up in New York City, I was introduced to classical music through Leonard Bernstein’s Young People’s Concerts and my elementary school’s arts curriculum, which encouraged every third grader to play a string instrument. I briefly played the violin before switching to piano and even studied at the Mannes School of Music while in eighth grade. “When I moved to Berkeley in 1979, I joined the Friends of the Berkeley Symphony Orchestra, eventually serving as its President for a year. Berkeley Symphony quickly became part of my extended family, and my involvement as a volunteer, Board member, and Advisory Council member has now spanned 35 years. “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

February 4, 2016 19 20 February 4, 2016 Program III: Majestic

Thursday, February 4, 2016 at 8:00 pm Zellerbach Hall

Joana Carneiro conductor

Witold Lutosławski Concerto for Orchestra Intrada: Allegro maestoso Capriccio notturno e arioso: Vivace Passacaglia, toccata e corale: Andante con moto—Allegro giusto

INTERMISSION

Ludwig van Beethoven Piano Concerto No. 5 in E-flat major, “Emperor” Allegro Adagio un poco mosso Rondo: Allegro ma non troppo Conrad Tao piano

Tonight’s concert will be broadcast on KALW 91.7 FM on May 16, 2016. Please switch off your cell phones, alarms, and other electronic devices during the concert. Thank you.

Con cert Sponsor T onight’s performance is made possible by the generous support of

February 4, 2016 21 22 February 4, 2016 Program Notes

Witold Lutosławski (1913-1994) audiences, the Concerto earned a rare status as an acknowledged Concerto for Orchestra masterwork from the second half of the 20th century that actually got Born on January 25, 1913 in Warsaw, programmed with some frequency. Poland (then governed as part of the (The West Coast premiere, Russian Empire), where he died on incidentally, happened in the Bay ł February 7, 1994. Lutos awski composed Area—in May 1961, when Stanisław the Concerto for Orchestra between 1950 Skrowaczewski conducted the San and 1954 at the suggestion of Witold Francisco Symphony. Lutosławski Rowicki, to whom he dedicated the work. himself paid a visit to lead that orchestra in the Concerto three First performance: November 26, decades later, a few years before his 1954 with Rowicki leading the Warsaw death.) National Philharmonic Orchestra. Lutosławski scored the work for a large Ironically, the Concerto for orchestra consisting of 3 flutes (2nd Orchestra is something of an and 3rd doubling piccolo), 3 oboes (3rd anomaly and in fact stands doubling English horn), 3 clarinets, 3 apart within the larger context bassoons (3rd doubling contrabassoon), of Lutosławski’s oeuvre. Like 4 horns, 4 trumpets, 4 trombones, Beethoven, the Polish composer tuba, timpani, tom-toms, snare, tenor, lived through an era of revolutionary and bass drums, cymbals, tam-tam, political and social change, and tambourine, xylophone, chimes, celesta, his musical output can similarly be piano, 2 harps, and strings. Duration: partitioned into distinct periods. approximately 28 minutes. The son of Polish nationalist parents who belonged to the landed gentry, Lutosławski came of age during he Concerto for Orchestra is the transient years of independent T Witold Lutosławski’s best-known Poland following World War I. achievement and a milestone of His father had been among the the postwar European concert victims of the Bolshevik Revolution. repertory. Its instant success in Lutosławski revealed his remarkable 1954 won the composer favor in gift for music at a young age and his native Poland and recognition was profoundly influenced by his internationally. And in a period of discovery of the lavishly saturated widespread alienation between sound world of his older compatriot, contemporary composers and Karol Szymanowski. Lutosławski’s

February 4, 2016 23 24 February 4, 2016 own mastery of orchestration a challenge to listeners instead of was also rooted in the tradition of offering music as comfort food). Rimsky-Korsakov by way of one of The Concerto for Orchestra marked the latter’s students, who privately his triumph in adjusting to the taught the young Pole. explicit aesthetic demands of his Lutosławski graduated from the new context—though Lutosławski Warsaw Conservatory in the late later denied feeling “pressure” 1930s, with a double chokehold of to compose in a particular way, invasion and tyranny to endure right expressing his resentment of around the corner, just as he was program notes asserting he was emerging and beginning to establish forced to use folk material. The a voice of his own: first the Nazis work garnered critical and popular and then the Communist puppet approval along with official state state whose strings were controlled prizes. It also brought to a climax from Moscow. Lutosławski lived a distinct stylistic period in the through the German occupation composer’s career. A fittingly playing in Warsaw cafés—the only chance encounter in 1960 (over the form of live music-making tolerated radio) with John Cage’s philosophy under Nazi rule—as part of a piano of aleatory composition triggered duo with his friend Andrej Panufnik. a dramatic change in style as (Panufnik, himself a composer, Lutosławski became interested in made a thrilling escape from Poland juxtaposing chance elements with in 1954, the year the Concerto for tight organizational control. This Orchestra was premiered.) might also be seen as a return to the more avant-garde stance of his A rather different survival strategy earlier years—a stance which was was required under the new now possible thanks to the relative Communist regime. It was during “thaw” in cultural overseeing. the war that Lutosławski began sketching his First Symphony (a In the aftermath of the banned great deal of his other scores and First Symphony, Lutosławski began sketches having been lost in the to feel he had reached a dead devastating destruction of Warsaw). end anyway, and he responded This work received its fateful to this ostracism by changing his premiere in 1948 by which point the stylistic focus and writing “useful” guidelines of “Socialist realism” occasional pieces (such as easy formed the dogma to be followed pieces for piano and children’s by artists of any discipline. The songs). This new direction also authorities banned Lutosławski’s entailed exploring folk music, which modernist First Symphony as provided a newfound stimulus unacceptably “formalist” in its much as it had decades earlier language (in other words, posing for Béla Bartók. As it happened,

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26 February 4, 2016 Bartók, too, had written one of the 20th-century’s seminal concert works with his Concerto for Orchestra—a major late-career success dating from 1943.

Encouraged by the Warsaw National Philharmonic’s chief Witold Rowicki, Lutosławski took up the challenge of writing an orchestral work he initially envisioned as another “functional” piece. But the project became more ambitious, evolving over several years into the Concerto for Orchestra, with Bartók’s decade- old work as a clear model. In terms of structural thinking, for example, the piece makes prominent use of the ABA or “arch” form favored by the Hungarian, in which similar material, though treated from different perspectives, frames a contrasting section (itself often manipulating the initial material, but in heavily disguised form). The second movement, meanwhile, alludes on one level to the mysterious “night music” pioneered by Bartók as a special genre of its own.

Lutosławski later wrote that his series of smaller compositions “connected with Polish musical folklore” paved the way for the Concerto for Orchestra, noting, however, that “the use of folklore is different here from previous compositions. The folk motifs serve the author only as bricks’’ for building a large form which, considered on its own, has nothing in common with folklore. A colorful

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28 February 4, 2016 orchestration rich in various nevertheless—quite un-classically— combinations gives the orchestral locates its center of gravity in the ensemble the occasion for a third movement, a multipartite versatile display. The name concerto structure longer than the duration is justified by this fact.” of the first two movements combined. The work also references In contrast to the concerto as formal models from the Baroque— a metaphor for the individual the introductory Intrada (first struggling against or partnering movement) and the Passacaglia, with the collective—the model Toccata e Corale (third movement)— underlying the great solo concertos yet not in the Neoclassical sense of, of the 19th century—the (somewhat say, Stravinsky. Stucky notes that counterintuitive) idea of a concerto Lutosławski’s conception of these for orchestra, which combines forms here is only superficially aspects of the symphony and “neo-Baroque” and is actually the concerto, gained currency in closer to “postromantic” thinking. particular following the success of Bartók’s example. Just a few A sense of ominous urgency notable examples since then underlies the opening and closing include concertos by Elliott Carter, sections of the first movement, Michael Tippet, Joan Tower, Tan Dun, set in 9/8 meter with a relentlessly Christopher Rouse, and Jennifer repeated F-sharp beaten out Higdon. by the timpani (and, later, in the upper regions, sounded by The composer Steven Stucky, author silvery piccolo and celesta). The of a major study of Lutosławski in thematic material derives from the 1980s and himself the author of Polish folk sources from the a Pulitzer Prize-winning Concerto Warsaw region, but is treated to a for Orchestra, observes that in continual, kaleidoscopic process contrast to the First Symphony’s of transformation, turning with “youthful extravagance,” the each adjustment of Lutosławski’s concerto “reveals an artist in orchestral coloration. complete control of his powers” and Titled Capriccio notturno e arioso, the is “a synthesis of the experience middle movement likewise traces gained in folk miniatures . . . with an ABA form, the outer, scherzo-like aspects of the serious side of sections demanding extraordinary Lutosławski’s development, the side virtuosity and embedding a brass- largely hidden from the public since dominated section at a slower the first symphony.” pace that boils over in a powerful Cast in the three movements climax. Lutosławski uses stark normatively associated with a contrasts between soft and loud to concerto, Lutosławski’s work differentiate the sections as well.

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30 February 4, 2016 Listen for the changes he wrings on Ludwig Van Beethoven the return of the opening section (1770-1827) (in particular, the mysterious percussion-focused ending), which Piano Concerto No. 5 in is never merely repeated. E-flat major, “Emperor”

The complex third movement opens Born on December 16, 1770, in Bonn, with the old-fashioned formal Germany (then part of the Holy Roman idea of a passacaglia (beginning Empire); died on March 26, 1827, in with the two harps and the double Vienna. Ludwig van Beethoven composed basses): a brief theme with (in the last of his five piano concertos this case, 12) variations unfolding between 1809 and 1811. against the theme’s continual First performance: November 28, 1811, in repetition (typically sounded in the Leipzig, with Friedrich Schneider as the bass). Lutos awski ranges across ł soloist and Johann Schulz conducting the orchestral choirs as a source the Gewandhaus Orchestra. In addition of variation while the folk-derived to solo piano, the Piano Concerto No. 5 is theme is played, over and over, scored for 2 flutes, 2 oboes, 2 clarinets, 2 18 times before he redirects the bassoons, 2 horns, 2 trumpets, timpani, music into a toccata (the Baroque and strings. Duration: approximately 40 label for a virtuoso-centered minutes. display with an improvisational flair). This in turn segues into a udwig van Beethoven’s relocation magnificently harmonized chorale, L to Vienna in 1792 happened, not first stated by the woodwinds. by chance, in a year of renewed Amid the thrilling, swirling revolutionary fervor. In his book toccata music, which returns in devoted to all the Beethoven the Concerto’s coda, a distinctive concertos, the musicologist Leon four-note motto emerges: D— Plantinga notes that during that E-flat—C—B, which alludes to summer, a few months before the the “signature” motif spelling composer’s move, “a more radical Shostakovich’s initials (and phase of the Revolution . . . ensued” famously used in his post- in Paris when the Commune of Paris Stalinist Tenth Symphony of 1948). decided to imprison the royal family. Shostakovich, too, had found a He writes: “But liberating’’ Prussian way to face official disapproval troops were already within the of his early work by adopting a French borders, and the clashes that more “popular” style—but one followed marked the beginning of the that made room for unexpected continuous wars in Europe that were gestures and emotional depth to form a sustained backdrop to most and complexity as well. of Beethoven’s life in Vienna” (from —© Thomas May 1792 to 1815).

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32 February 4, 2016 One great irony about his final piano composed music of sweeping—and, concerto, No. 5 in E-flat major, Op. yes, majestic—grandeur for this final 73, is that in English (and Italian concerto. Its outer movements, set and French, for that matter), it has in the composer’s signature key for long been known by the moniker evoking a larger-than-life, heroic “Emperor,” which in turn suggests posture of striving, pointedly draw on some sort of glorification of an assertively “militaristic” rhetoric Napoleonic arrogance, a counterpart within the larger scope of this to the often misconstrued profoundly inventive and influential Napoleonic associations of another score. Plantinga interprets this milestone work Beethoven wrote in musical symbolism as a reflection the key of E-flat major, the “Eroica” on the militarism around Beethoven. Symphony of 1805. “Emperor” (or The overbearing presence of armed Kaiser) was certainly not Beethoven’s conflict during this period “may nickname, nor did the work ever have reminded him (and now us) become known as such in German- of a generalized human struggle,” speaking lands. he writes—referring, again, to the The irony here is that Beethoven archetypal concerto metaphor of a composed Op. 73 at a crossroads struggle. So instead of glorifying any in his career (1809 to 1811) and was one figure, Op. 73’s “heroic gestures deeply immersed in its creation at pointed to a nobility of character the very moment when Napoleon’s required to prevail.” armies were bombarding Vienna This is one sense in which Op. 73 in the spring of 1809—and causing posits an intriguing counterpart to its the composer misery beyond the predecessor, the G major Concerto. general chaos and economic disorder Here, too, the soloist enters into the suffered by his fellow citizens. fray at the very start. But Beethoven Beethoven’s assessment of Napoleon stages a more complicated, more was rife with contradiction and theatrical entrée in the opening paradox and changed over the years, sequence of three orchestral but it seems safe to assume that as he chords, each of which blossoms sought refuge in his brother’s cellar into an exuberant solo cadenza, the on the Rauensteingasse, desperately entire passage serving as a kind of covering his ears with pillows so grandiose introduction to the launch as to stifle the sound of explosions of the first movement proper. The and prevent further damage to soloist projects an improvisatory- his already degraded hearing, an sounding fantasy that ranges from apotheosis of the Napoleonic spirit bold extroversion to lofty vision. must have been the last thing on his For the premiere, which took place mind. not in Vienna but in Leipzig to the And yet somehow Beethoven west, another pianist performed as

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34 February 4, 2016 the soloist—Beethoven’s deafness counterbalances the energetic having by this time progressed too exertions of the outer movements. far to allow him to continue playing (The shape of the principal melody that role, which he had reserved for near its end would be echoed by himself for the premieres of his four Leonard Bernstein in the most previous piano concertos. moving number he wrote for his West While the first movement itself Side Story score, “Somewhere.”) Yet contains elements of the “heroic” there are deep coherences within rhetoric Beethoven mastered in his the Concerto as a whole: The turn middle period, the actual texture to B major alludes to the tonal of the musical discourse alternates expansiveness of the first movement, between the two impulses already but the tonality now remains static introduced within this introductory while the piano’s exquisite filigree framing: a dynamic momentum is seems to revisit its earlier dreamy set against a more relaxed manner impulses in slow motion. of musing. It’s remarkable that only once, when the development But just as it seems about to end, section reaches its climax, does the Beethoven prepares one of his most impression of a genuine crisis emerge startling tonal transitions, from the (in terms uncannily similar to the Adagio’s distant B major back to famous stabbing chords heard at the home key of E-flat major for the the parallel structural moment of finale. The rondo takes off with a the “Eroica” Symphony): these in variant on a stereotypical “hunting” turn prepare the way for a glorious recapitulation of those abundant, theme, though Beethoven renders flowing opening cadenzas. this more aggressive through his propulsive rhythmic accents. Finally, In contrast, the Adagio, cast it is a theatrical gesture of sonorities in distant B major, elevates the that closes this great cycle of piano “Orphic” and lyrical effusions concertos, as Beethoven brings the of the middle movements of Beethoven’s first three concertos musical course to a near standstill. to a level of serene contemplation The timpani alone persist in the that already anticipates the rhythmic motto, but with a sparkling sustained meditations of his most cascade of scales, the soloist points abstract late-period compositions. a way out of the near-stasis, allowing Progressive deafness had by now the orchestra to have the final word. put an end to the composer’s career as a virtuoso performer, —© Thomas May and the sense of retreat from the Thomas May writes about the arts for a world’s cares suffuses the Adagio variety of international publications and with a veiled beauty that perfectly blogs at memeteria.com.

February 4, 2016 35 to a dv ertise in the berkeley symphony program

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36 February 4, 2016 Music Director: Joana Carneiro

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

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

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

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38 February 4, 2016 Royal Liverpool Philharmonic, opera conductor, Carneiro made Royal Philharmonic Orchestra, her Cincinnati Opera debut in 2011 Orchestre Philharmonique de conducting John Adams’ A Flowering Radio France, Ensemble Orchestral Tree, which she also debuted with the de Paris, Orchestra de Bretagne, Chicago Opera Theater and at La Cité Norrköping Symphony, Norrlands de la Musique in Paris. In the 2008- Opera Orchestra, Residentie Orkest/ 09 season, she served as assistant Hague, Prague Philharmonia, Malmo conductor to Esa-Pekka Salonen at the Symphony, National Orchestra of Paris Opera’s premiere of Adriana Mater Spain and the Orchestra Sinfonica by Kaija Saariaho and led critically- del Teatro la Fenice at the Venice acclaimed performances of Philippe Biennale, as well as the Hong Kong Boesmans’ Julie in Bolzano, Italy. Philharmonic, Macau Chamber As a finalist of the prestigious Orchestra and Beijing Orchestra 2002 Maazel-Vilar Conductor’s at the International Music Festival Competition at Carnegie Hall, of Macau. In the Americas, Carneiro was recognized by the jury she has led the Los Angeles for demonstrating a level of potential Philharmonic, Toronto Symphony, that holds great promise for her future St. Paul Chamber Orchestra, Detroit career. In 2003-04, she worked with Symphony, Colorado Symphony, Maestros Kurt Masur and Christoph Indianapolis Symphony, Los Angeles von Dohnányi and conducted the Chamber Orchestra, New World London Philharmonic Orchestra, Symphony and São Paulo State as one of the three conductors Symphony. chosen for London’s Allianz Cultural In 2010, Carneiro led performances Foundation International Conductors of Peter Sellars’ stagings of Academy. From 2002 to 2005, she Stravinsky’s Oedipus Rex and served as Assistant Conductor of Symphony of Psalms at the Sydney the L.A. Chamber Orchestra and as Festival, which won Australia’s Music Director of the Young Musicians Helpmann Award for Best Symphony Foundation Debut Orchestra of Los Orchestra Concert in 2010. She Angeles. From 2005 through 2008, 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

February 4, 2016 39 the Academia Nacional Superior Sebastian Bereau, Roberto Benzi and de Orquestra in Lisbon, where she Pascal Rophe. studied with Jean-Marc Burfin. Carneiro is the 2010 recipient of the Carneiro received her Masters degree Helen M. Thompson Award, conferred in orchestral conducting from by the League of American Orchestras Northwestern University as a student of Victor Yampolsky and Mallory to recognize and honor music Thompson, and pursued doctoral directors of exceptional promise. studies at the University of Michigan, In 2004, Carneiro was decorated where she studied with Kenneth by the President of the Portuguese Kiesler. She has participated in master Republic, Mr. Jorge Sampaio, with the classes with Gustav Meier, Michael Commendation of the Order of the Tilson Thomas, Larry Rachleff, Jean Infante Dom Henrique.

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40 February 4, 2016 Artists’ Biographies

After the war, the Stalinist regime banned his First Symphony (1941- 47) as formalist’,’ but he continued to compose and in 1958 his Musique Funèbre, in memory of Bartók, established his international reputation. His own personal Photo courtesy and W. Pniewski L. Kowalski aleatoric technique whereby the performers have freedom within certain controlled parameters was first demonstrated in his Jeux Venitiens (1961) and is to be found in almost all the later music. Over the years, Witold Lutosławski was frequently inspired by particular ensembles and artists including the London Sinfonietta, Sir Peter Pears, Heinz and Ursula Holliger, Dietrich Fischer- Witold Lutosławski, Dieskau, Mstislav Rostropovich and composer Anne-Sophie Mutter. His Symphony No. 4 was commissioned by the Los itold Lutos awski was ł Angeles Philharmonic Orchestra indisputably one of the W and received its world premiere in major composers of the twentieth February 1993 under the baton of century. Born in Warsaw in 1913, the composer. A powerful work, it he showed prodigious musical and reflected his increasing concern with intellectual talent from an early age. expansive melody. Among many His composition studies in Warsaw international prizes awarded to this ended at a politically difficult time most modest man were the UNESCO for Poland so his plans for further Prize (1959 & 1968), the French order study in Paris were replaced by of Commandeur des Arts et des a period which included military Lettres (1982); Grawemeyer Award training, imprisonment by the (1985); Royal Philharmonic Society Germans and escape back to Warsaw, Gold Medal (1986); in the last year where he and his compatriot Andrzej of his life, the Swedish Polar Music Panufnik played in cafés their own Prize and the Inamori Foundation compositions and transcriptions. Prize, Kyoto, for his outstanding

February 4, 2016 41 Dining Guide

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

42 February 4, 2016 contribution to contemporary a Gilmore Young Artist, an honor European music; and, posthumously, awarded every two years highlighting the International Music Award for the most promising American pianists best large-scale composition for of the new generation. In May of 2012, the Fourth Symphony. Lutosławski’s he was awarded the prestigious Avery contribution to the musical world was Fisher Career Grant. enormous and his loss in February During the 2015/16 season, Tao 1994, at the age of 81, will continue to performs with the Philadelphia be deeply felt. Chamber Orchestra, Pittsburgh Symphony Orchestra, Cincinnati Symphony, Dallas Symphony Orchestra, Buffalo Philharmonic, Pacific Symphony, Brazilian Symphony, and Calgary Philharmonic,

Photo by Brantley Gutierrez among others; he also performs recitals in Europe and throughout the United States with repertoire ranging from Bach to Frederic Rzewski to Rachmaninoff to Julia Wolfe. Past notable symphonic engagements have included the San Francisco Symphony, Baltimore Symphony, Toronto Symphony, St. Louis Symphony, Detroit Symphony, Conrad Tao, piano National Arts Centre Orchestra, Indianapolis Symphony, and Nashville onrad Tao has appeared Symphony. Tao maintains a close worldwide as a pianist and C relationship with the Aspen Music composer, and has been dubbed a Festival, and has appeared at the Sun musician of “probing intellect and Valley Summer Symphony, Brevard open-hearted vision” by The New Music Center, Ravinia Festival, and York Times, a “thoughtful and mature Mostly Mozart Festival. composer” by NPR, and “ferociously talented” by TimeOut New York. In June In June of 2013, Tao kicked off the of 2011, the White House Commission inaugural UNPLAY Festival at the on Presidential Scholars and the powerHouse Arena in Brooklyn, which Department of Education named Tao he curated and produced. The festival, a Presidential Scholar in the Arts, designated a “critics’ pick” by TimeOut and the National Foundation for New York and hailed by The New York Advancement in the Arts awarded Times for its “clever organization” and him a YoungArts gold medal in music. “endlessly engaging” performances, Later that year, Tao was named featured Conrad with guest artists

February 4, 2016 43 Dining Guide

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44 February 4, 2016 performing a wide variety of In the 2013/14 season, while serving new works. Across three nights as the Dallas Symphony Orchestra’s encompassing electroacoustic music, artist-in-residence, Tao premiered performance art, youth ensembles, his orchestral composition, The world and much more, UNPLAY explored the is very different now. Commissioned in fleeting ephemera of the Internet, the observance of the 50th anniversary possibility of a 21st-century canon, of the assassination of President John and music’s role in social activism and F. Kennedy, the work was described critique. That month, Tao, a Warner by The New York Times as “shapely Classics recording artist, also released and powerful.” Most recently, the Voyages, his first full-length for the Chamber Orchestra of Philadelphia label, declared a “spiky debut” by The commissioned a new work for New Yorker’s Alex Ross. Of the album, piano, orchestra, and electronics, NPR wrote: “Tao proves himself to be An Adjustment, which received its a musician of deep intellectual and premiere in September 2015 with emotional means—as the thoughtful Tao at the piano. The Philadelphia programming on this album . . . Inquirer declared the piece abundant proclaims.” His next album, Pictures, in “compositional magic,” a “most which slots works by David Lang, imaginative [integration of] spiritual Toru Takemitsu, Elliott Carter, and post-Romanticism and ’90s club Tao himself, alongside Mussorgsky’s music.” familiar and beloved Pictures at an Tao was born in Urbana, Illinois, Exhibition, was released last fall. in 1994. He has studied piano with Tao’s career as composer has garnered Emilio del Rosario in Chicago and eight consecutive ASCAP Morton Yoheved Kaplinsky in New York, Gould Young Composer Awards and and composition with Christopher the Carlos Surinach Prize from BMI. Theofanidis.

February 4, 2016 45 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.

46 February 4, 2016 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.

February 4, 2016 47 48 February 4, 2016 Berkeley Symphony Salutes Marta Tobey

Marta assumed the role of orchestra librarian with some trepidation in 1994 and kept it for ten years. Every year there were four subscription concerts, a couple

Photo by Robin Kempster of Under Construction concerts, school programs, and the occasional pops concert in Tahoe to prepare. Highlights included premieres of two large works by David Sheinfeld and the Manzanar oratorio, commissioned from three composers, all requiring heroic efforts down to the wire to provide materials. She enjoyed getting to know the players and their needs, such as extra parts to accommodate percussion choreography. And she worked educating composers, many working with an orchestra for the first time, to get the best possible performances of their work.

In 1998 Marta began ten years of managing Kent Nagano’s personal erkeley Symphony pays tribute library, the scores he used for conducting Btonight to Marta Tobey, who recently orchestras and operas around the world. retired after forty seasons in the viola This work involved much shipping and a section and many years of music few panicked international phone calls, librarian work. Marta has played in but unfortunately, no travel to venues orchestras all her life, starting with the more exotic than Los Angeles. California Youth Symphony and its Japan Since leaving Berkeley Symphony, Marta tour in 1963. She played in the Oberlin remains active as a chamber musician Orchestra as a math major and then San and looks forward to seeing her old Jose Symphony and West Bay Opera colleagues at the symphony concerts. during her short career as a computer She misses the thrill of performing in programmer. Moving to Berkeley in 1975, a large and talented orchestra, but not she joined old friends from CYS in the the exhaustion that comes from the Berkeley Promenade Orchestra under concentrated rehearsal schedules. And Thomas Rarick. She earned an MA in she doesn’t miss the stress of being a linguistics at Cal, missing half a season music librarian. to study Mandarin in Taiwan. Since then, only childbirth, tendinitis, and breast Berkeley Symphony thanks Marta for her cancer surgery kept her off the Berkeley many years of service and dedication to Symphony stage. the Orchestra.

February 4, 2016 49 50 February 4, 2016 Music in the Schools

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

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

February 4, 2016 51 52 February 4, 2016 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.

February 4, 2016 53 2015-2016

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

54 February 4, 2016 Annual Membership Support

Thank you to the following individuals for making the programs of Berkeley Symphony possible. A symphony is as strong as the community that supports it. Thank you to the following individuals for making Berkeley Symphony very strong indeed. Your generosity allows the defiantly original music to be heard, commissions world-class composers, and impacts the lives of thousands of children in hundreds of classrooms each year. Gifts received between December 1, 2014 and December 31, 2015

Sonsorp 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 Judith Bloom Jan & Michael McCutcheon Dianne Crosby Ed Osborn & Marcia Muggli Gloria Fujimoto Tricia Swift Gary Glaser & Christine Miller Executive Sponsors Buzz & Lisa Hines $10,000 and above Ken Johnson & Nina Grove Anonymous (3) Bebe & Colin McRae Margaret Dorfman and the Ralph I. Jutta Singh Dorfman Family Fund Alison Teeman & Michael Alexander Leff Yovino-Young Janet & Marcos Maestre Ama Torrance & David Davies Peter Mandell & Sarah Coade Mandell Anne & Craig Van Dyke Thomas W. Richardson & Edith Jackson Lisa & James Taylor Concertmaster Level Gifts of $1,500 or more Founding Sponsors Anonymous $5,000 and above Sallie & Edward Arens Anonymous (2) Fred & Elizabeth Balderston Susan & Jim Acquistapace Michele Benson Mark & Cynthia Anderson Ms. Carol Christ Natasha Beery & William B. McCoy Marilyn & Richard Collier Ronald & Susan Choy Richard & Christine 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

February 4, 2016 55 56 February 4, 2016 Founding Sponsors Patrick McCabe $1,500 and above (continued) Noel & Penny Nellis Lynne La Marca Heinrich and Dwight Evelyn Nussenbaum & Fred Vogelstein Jaffee Michael & Becky O’Malley Sue Hone & Jeffrey Leiter Betty Pigford Fred Jacobson & Mary Murtagh The Leo J. & Celia Carlin Fund Ditsa & Alexander Pines Jorge Mancheno Pat & Merrill Shanks René Mandel Kathy Canfield Shepard & John Lois & Gary Marcus Shepard Bennett Markel Ed Vine & Ellen Singer-Vine

F rIENDS of Berkeley Symphony GIFTS

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

February 4, 2016 57 58 February 4, 2016 Supporting Level Theresa Gabel & Timothy Ira Lehn $100 and above (continued) Zumwalt Catherine Lloyd Thomas Mark Bosserman Dr. Robert John Garmston & Catharine Lucas Arthur Costa Cara Bradbury Steve Luppino Isabelle Gerard Aimee Brown Kim & Barbara Marienthal Jeffrey Gilman & Carol Reif Irene Bruenger & Bob Ms. Jayne A. Matthews Riksheim John H. Gilman Alex Mazetis Rose Marie & Sam Ginsburg Ms. Mary Canavan Carrie McAlister Joan Glassey Stephanie G. & Allan L. Ms. Suzanne McCulloch Cartwright David Glenn Winton & Margaret Brian & Cindy Chase Stuart Gold McKibben June Cheit Judy Gonzalez-Massih Suzanne & William McLean Murray & Betty Cohen Edward C. Gordon Dan Meier Frederick & Joan Collignon Reeve Gould Howard & Nancy Mel Zipporah & Dwight Collins Steven E. Greenberg Amelie C. Mel De Fontenay & John Constable Mr. Daniel T. Haddick John Stenzel Dr. Lawrence R. Cotter Ervin & Marian Hafter Jim Meredith Richard Curley Scott Hamilton Mr. Robert Messick Susan Messina Franklyn & Joslyn D’Antonio Ms. Anne Hannah-Roy Cindy Michael Jan Davis Robert & Miriam Hawley Louise Miller & David Tracy Dearman Noel Hayashi Peterson Dennis & Sandy De Domenico William & Judith Hein Junichi & Sarah Miyazaki Mavis Delacroix Lyn Hejinian Yuri Miyazaki Ms. Barbara Dengler Florence Hendrix Prof. Linda Morris Paula & James R. Diederich Dr. & Mrs. Gene Hern Eileen Murphy & Michael Carolyn Doelling Maj-Britt Hilstrom Gray Robert & Loretta Dorsett Robert & Margaret Hirst Ms. Ruth Okamoto Nagano Paul Dresher & Philippa Kelly Darlene & Ira Holston Ms. Anita Navon Donna M. Duhe Sarah Holzman & Matt White John & Mary Lee Noonan Patricia Rose Duignan Ora & Kurt Huth Mr. Daniel Peter O’Connor Beth & Norman Edelstein F.W. Irion Charlotte Oppenheim Rachel Eidbo Elaine Jackson David and Barbara Ilse Evans Parminter Joseph Jackson & Joann Peter & Elizabeth Evans Leskovar Michael & Andrea Pflaumer Joe & Sara Evinger Irene & Kiyoshi Katsumoto Lawrance Phillips Bennett Falk & Margaret Paul & Joanne Kelly Therese M. Pipe Moreland Faye Keogh John Pires David Favrot Todd Kerr Leslie & Joellen Piskitel Ms. Mary Ellen Fine David Kessler & Nancy Mennel Evan Painter & Wendy Susan K. Fisher Polivka Ms. Sharon Korotkin Bruce Fitch—BHS Class of 1968 Jim Gleason & Deborah Quok Samuel & Tamara Kushner (Member Berkeley High Stephen & Wilma Rader School Band) Colleen Larkin Lisa & Mark Rafael Ms. Brenda Fitzpatrick Almon E Larsh, Jr Elizabeth Raymer & Ragna Marcia Flannery Michele Lawrence Boynton Colette Ford Lynanne Jacob & Lloyd Lee Barbara & Nigel Renton Harriet Fukushima Laura Leff Mr. & Mrs. Mark A. Rhoades

February 4, 2016 59 Broadcast Dates

Relive this season’s concerts on KALW 91.7 fm

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

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

60 February 4, 2016 Supporting Level Ms. Wendy Simon David & Marvalee Wake $100 and above (continued) Carl & Grace Smith Kevin Wakelin Terry Rillera Carol & Anthony Somkin Dorothy Walker Roisman Henel LLP Ms. Carla Soracco Ms. Helen Walker Julianne H. Rumsey Sylvia Sorell & Daniel Kane Sim Warkov George Scharffenberger Bruce & Susan Stangeland David & Pennie Warren Steven Scholl Tia Stoller & Drew Detsch Carolyn Webber Georgia Schreiber Geoffrey S. Swift Karen Weinstein Valerie Schwimmer Frances & Ronald Tauber Karen Wells & Jan Probst Margaret Seely Monica Thyberg Dr. George & Bay Westlake Patricia Sellars Ms. Carol L. Tomlinson June Wiley & Bruce Brenda M Shank Mr. Juan Ornelas & Mr. Brad McCubbrey Brian Shiratsuki Touchette Linda & Steven Wolan Jack Shoemaker Linda van Drent Nancy Wolfe Jessie Shohara Marco Vangelisti Mrs. Charlene M. Woodcock David & Elizabeth Randy & Ting Vogel Nicole Wrubel Silberman Ursula Von Fluegge 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 Donald & Lucy Campbell Janet Maestre Kevin Bastian & Dolores Dalton John Constable Louise Miller & David Peterson Wendy Simon Yuri Miyazaki Peter Mandell & David & Barbara Parminter Sarah Coade Mandell Margaret Roisman Alexander Leff Ms. Carol Rosset Carol Seiberling Gifts received between Tricia Swift December 1, 2014 Sayoko S. Yokogawa and December 31, 2015

February 4, 2016 61 In-Kind Gifts Special thanks to these individuals and businesses whose generous donations of goods and services are crucial in helping Berkeley Symphony produce our concerts and education programs while keeping expenses as low as possible.

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 February 4, 2016 Annual Institutional Gifts

Berkeley Symphony is proud to recognize these corporations, foundations, community organizations and government programs. These institutions are supporting our communities through their commitment to Berkeley Symphony and the arts.

Gifts received between December 1, 2014 and December 31, 2015

$50,000 and above $2,500 and above (continued) The William & Flora Hewlett Foundation Union Bank Foundation U.S. Bank $25,000 and above Clarence E. Heller Charitable Up to $2,500 Foundation Anonymous The Grubb Co. Anchor Brewing Co. Meyer Sound Laboratories, Inc. Berkeley Association of Realtors Berkeley Bowl $10,000 and above 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 LaSalle Financial Services The National Endowment for the Arts Matching Gifts $5,000 and above The following companies have matched California Arts Council their employees’ or retirees’ gifts City of Berkeley to Berkeley Symphony. Please let East Bay Community Foundation us know if your company does the same by contacting William Quillen Wallis Foundation at 510.841.2800 x305 or wquillen@ $2,500 and above berkeleysymphony.org. Anonymous Anchor Brewing Co. American Composers Orchestra (Earshot) Chevron Corporation East Bay Music Fund Genentech Inc. Music Performance Trust Fund The Home Depot

February 4, 2016 63 BRING IN THIS AD TO RECEIVE A 1O% DISCOUNT ON ANY PURCHASE OF GIFTS AND FLOWERS

64 February 4, 2016 Administration Contact & Creative Staff Tickets available by phone, fax, René Mandel, Executive Director mail, e-mail, or online: William Quillen, Director of Development Berkeley Symphony Sarah Thomas, Director of Operations 1942 University Avenue, Suite 207, Noel Hayashi, Marketing Consultant Berkeley, CA 94704 Samantha Noll, Patron Services 510.841.2800 Fax: 510.841.5422 Manager [email protected] www.berkeleysymphony.org Mollie Budiansky, Development & Marketing Associate find us on Jared Winn-Taryor, Administrative Intern Kathryn Buder, Box Office 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

February 4, 2016 65 Advertiser Index

A1 Sun...... page 36 Jutta’s Flowers...... page 64 Ackerman’s Servicing Volvo. . . . . page 34 Kid Dynamo...... page 52

Albert Nahman Plumbing...... page 34 La Mediterranée...... page 44

Alward Construction...... page 26 La Note Restaurant Provençal. . . . page 42

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

...... inside back cover Mancheno Insurance Agency . . . . .page 27

Berkeley Horticultural Nursery. . . . page 17 Margaretta K. Mitchell ......

Berkeley Optometry...... page 16 Photography ...... page 26

Bill’s Footwear...... page 38 Maybeck High School...... page 32

BuyArtworkNow.com ...... page 40 McCutcheon Construction...... page 48

Café Clem ...... page 44 Montclair Sports...... page 32

Center for Natural Health Care. . . . .page 32 Mountain View Cemetery. . inside front cover

Chocolatier Blue...... page 30 National Geographic Expeditions . . page 56

Claremont Lobby Lounge & Bar. . . . page 42 Oceanworks...... page 38

The Club at The Claremont...... page 22 Pacific Union...... page 18

Coldwell Banker...... page 38 Piedmont Gardens ...... page 24

The College Preparatory School . . . page 36 Poulet...... page 42

The Cooperative Cleaning Company.. page 28 Savvy Rest ...... page 26

The Crowden School...... page 47 St. Paul’s Towers...... page 20

Dining Guide ...... pages 42, 44 Star Grocery...... page 32

DoubleTree Hotel...... page 58 Storey Framing...... page 36

Douglas Parking...... page 60 Talavera...... page 27

Eric Pomert, Film Editor...... page 32 Thornwall Properties...... page 18

Frank Bliss, State Farm...... page 10 Tricia Swift, Realtor...... page 54

Going Places ...... page 26 Wooden Window...... page 52

The Grubb Co...... back cover Yovino-Young Inc...... page 40

Judith L. Bloom, CPA...... page 45 ...... Please Patronize Our Advertisers!

to advertise in the berkeley symphony

program, call john mc mullen

510.652.3879

66 February 4, 2016