Saturday, November 10, 2018, 3pm Zellerbach Hall West-Eastern Divan Orchestra Daniel Barenboim, m usic director and conductor Kian Soltani, c ello Miriam Manasherov, v iola
PROGRAM Richard STRAUSS (1864– 1949) Don Quixote, Fantastic Variations on a eme of Knightly Character for Cello, Viola, and Orchestra, Op. 35 Introduction eme: Don Quixote, Knight of the Rueful Countenance; Sancho Panza Variation I: e Knight and the Squire Start on their Journey Variation II: e Victorious Battle Against the Host of the Great Emperor Alifanfaron Variation III: Colloquies of Knight and Squire Variation IV: e Adventure with the Penitents Variation V: e Knight’s Vigil Variation VI: e Meeting with Dulcinea Variation VII: e Ride rough the Air Variation VIII: e Journey to the Enchanted Park Variation IX: e Combat with Two Magicians Variation X: e Duel with the Knight of the White Moon Finale: e Death of Don Quixote Kian Soltani, c ello Miriam Manasherov, v iola INTERMISSION Peter Ilyich TCHAIKOVSKY (1840– 1893) Symphony No. 5 in E minor, Op. 64 Andante – Allegro con anima Andante cantabile con alcuna licenza Valse: Allegro moderato Finale: Andante maestoso – Allegro vivace
UBS is the Principal Partner of the West-Eastern Divan Orchestra.
This performance is made possible, in part, by Patron Sponsors Anne and Nick Germanacos, Lance and Dalia Nagel, Art Berliner and Marian Lever, and Françoise Stone. Additional support provided by generous donors to the Matías Tarnopolsky Fund for Cal Performances. Cal Performances’ 2018 –19 season is sponsored by Wells Fargo.
PROGRAM NOTES
Richard Strauss theme of the hero is announced by the solo Don Quixote , Fantastic Variations cello. Sancho Panza’s theme emerges first in the on a eme of Knightly Character bass clarinet, then in the tenor tuba; later, how - for Cello, Viola, and Orchestra, Op. 35 ever, it is given to the solo viola. Variation I. “e Knight and his Squire Start Don Quixote by Miguel de Cervantes (1547 – on eir Journey.” Inspired by the beautiful 1616) is not only among the earliest examples Dulcinea of Toboso, the Knight attacks some of the novel in world literature (1605), but also “monstrous giants,” who are nothing more than one of the most admired and widely enjoyed. windmills revolving in the breeze. e sails Cervantes sketched his hero thus: “rough knock him down and he is in a “very evil plight.” little sleep and much reading, he dried up his Variation II. “e Victorious Battle Against brains in such sort as he wholly lost his judg - the Host of the Great Emperor Alifanfaron.” ment.” ereupon, “He fell into one of the A huge army approaches in a swirling cloud of dust. It is only a great herd of sheep, but the strangest conceits that a madman ever stum - Knight’s tottering mind perceives the flashing bled on in this world…that he should become weapons of soldiery. He rushes into the charge, a knight-errant, and go throughout the world unmindful of Sancho’s warnings, and the muted with his horse and armor to seek adventures brass depicts the pitiful bleating of the animals. and practice in person all he had read was used e Knight is stoned by the shepherds, and he by knights of yore….” falls to the ground. Knights in shining armor were as much out Variation III. “Colloquies of Knight and of fashion in Cervantes’ day as covered wagons Squire.” Honor, glory, the Ideal Woman—these are the things that Don Quixote speaks on. and the Pony Express are in ours, but the nos - Sancho, the realist, holds forth for a more talgic, historical romance they represent is the comfortable life, but he is ordered to hold his source of much of the poignancy that Don tongue. Quixote elicits and that served as the emotional Variation IV. “e Adventure with the Peni - engine for Richard Strauss’ superb tone poem, tents.” Mistaking a band of pilgrims for robbers as well as for works by some 60 other com - and villains, Don Quixote attacks, only to re - posers, including Telemann, Purcell, Massenet, ceive a sound drubbing from them. e pil - and Falla. In his setting, Strauss chose to em - grims depart, intoning their churchly theme, and the senseless Knight revives to the great phasize the dramatic elements of the tale by delight of Sancho, who soon falls asleep. assigning a theme representing Quixote to the Variation V. “e Knight’s Vigil.” Don solo cello, and then varying the melody to de - Quixote spurns sleep. He will watch by his pict several episodes from the novel. Along for armor instead. Dulcinea, in answer to his the adventure, as well as much abuse from his prayers, comes to him in a vision, as the theme master, is Quixote’s witty, ironic, perceptive but of the Ideal Woman is heard in the horn. devoted servant, Sancho Panza, usually played Variation VI. “e Meeting with Dulcinea.” by solo viola, but also given to the tenor tuba Jestingly, Sancho points to a country wench as Dulcinea. Don Quixote then vows vengeance and the bass clarinet. against the wicked magician who has wrought Strauss’ tone poem portrays 10 of Quixote’s this transformation. exploits, described in a summary of the action Variation VII. “e Ride rough the Air.” that appeared in the two-piano version of the Blindfolded, Knight and squire sit astride a score: wooden horse, which—they have been in - formed—will carry them alo. eir themes Introduction: e elderly hero’s fancy teems surge upward and one hears the whistling of the with the “impossible follies” of the romantic wind, including the whine of the wind machine, works he has been reading. He goes mad [a though the wooden horse has never le the sharp dissonance following a harp glissando] ground. and in his madness he vows that he will become Variation VIII. “e Journey to the a knight-errant. Enchanted Park.” In an oarless boat, Don eme: “Don Quixote, the Knight of the Quixote and Sancho embark, as the theme of Rueful Countenance; Sancho Panza.” Here the the Knight comes through as a Barcarolle.
Opposite: Daniel Barenboim. Photo by Peter Adamik. PROGRAM NOTES
ough the boat capsizes, the two finally reach was finished just six weeks later. “I am exceed - shore and give thanks for their safety. ingly anxious to prove to myself, as to others,” Variation IX. “e Combat with Two he wrote to his benefactress, Nazedha von Meck, Magicians.” Back on his horse and eager as ever “that I am not played out as a composer.” He for adventure, Don Quixote violently charges into a peaceable pair of monks, who are going worked doggedly on the symphony, ignoring by on their mules. In his maddened brain, the illness, the premature encroachment of old age monks are mighty magicians, and Quixote is (he was only 48, but suffered from continual ex - elated beyond measure at their utter rout. haustion and loss of vision), and his troubling Variation X. “e Duel with the Knight of self-doubts, and when it was completed, by the the White Moon.” e greatest setback of his end of August, he allowed, “I have not blun - knightly career is suffered by Quixote at the dered; it has turned out well.” hands of the Knight of the White Moon, who Tchaikovsky’s satisfaction was soon miti - is, aer all, a true friend. He explains that he hoped to cure Don Quixote of his madness, gated, however, by the work’s premiere in Saint and, having won the duel, orders him to retire Petersburg on November 17, 1888. ough the peacefully to his home. Fih Symphony was applauded by the public, Finale. “e Death of Don Quixote.” e he felt that it was a failure, that the ovation was worn and harried Knight is no longer bemused. for his earlier pieces rather than for this new It was all vanity, he reflects, and he is prepared, one, and that the whole affair was cause for now, for the peace that is death. “a deep dissatisfaction with myself.” Modeste was convinced that any negative reaction to the Peter Ilyich Tchaikovsky Fih Symphony—and the critics had some— Symphony No. 5 in E minor, Op. 64 could be traced to an inadequate performance, Tchaikovsky was never able to maintain his self- but Tchaikovsky could not be persuaded of the confidence for long, and his opinion of a new work’s value until a performance in Hamburg work oen vacillated between the extremes of early in 1889, when musicians, critics, and au - satisfaction and denigration. e unjustly neg - dience alike received it enthusiastically. Even lected Manfred Symphony of 1885, for example, the venerable Johannes Brahms, who was not le his pen as “the best I have ever written,” but strongly drawn to the music of his Russian the work failed to make a good impression at colleague, made a special effort to attend the its premiere, and Tchaikovsky’s estimation of it performance on a visit to his hometown. Tchai - tumbled. e lack of success of Manfred was kovsky was buoyed by his reception in Ham - particularly painful because he had not pro - burg, and his estimation of the Fih Symphony duced a major orchestral work since the Violin (and of himself) shot up once again. e work Concerto of 1878, and the score’s failure le him has remained among the staples of the concert with the gnawing worry that he might be “writ - repertory. ten out.” e three years aer Manfred were de - Tchaikovsky never gave any indication that void of creative work. the Symphony No. 5, unlike the Fourth Sym - It was not until May 1888 that Tchaikovsky phony, had a program, though he may well have again took up the challenge of the blank page. had one in mind. Years aer its composition, On May 27 he wrote to his brother Modeste, some rough sketches that apparently refer to “To speak frankly, I feel as yet no impulse the Symphony No. 5 were discovered in his for creative work. What does this mean? Have notebooks: “Introduction. Complete resigna - I written myself out? No ideas, no inclination! tion before Fate, or, which is the same, before Still, I am hoping to collect, little by little, mate - the inscrutable predestination of Providence. rial for a symphony.” ough he was unusually Allegro (1) Murmurs, doubts, plaints against secretive about the progress of this new piece, XXX. (2) Shall I throw myself into the embrace he must have begun it as soon as this letter was of faith???” e “XXX” probably referred to written, since the sketch of the complete score Tchaikovsky’s homosexuality, the only matter
PLAYBILL PROGRAM NOTES he concealed behind secret signs in his notes emotional swells, for the strings; an aggressive and diary. If that is so, the Fih Symphony strain given as a dialogue between winds and represents Tchaikovsky’s resignation to his fate strings; and a languorous, sighing string in the way he could best command—music. melo dy. Again, the brasses are brought forth to e workings of fate were an obsessive theme climax this section. All of the themes are treated with him, and the program of the earlier Fourth in the development section. e solo bassoon Symphony portrays man’s happiness crushed ushers in the recapitulation, and the themes by that intractable power at every turn. In their from the exposition are heard again, though biography of the composer, Lawrence and with changes of key and instrumentation. Aer Elisabeth Hanson reckoned Tchaikovsky’s view a final climax in the coda, the movement fades, of fate as the motivating force in the Symphony soer and slower, and sinks, finally, into the No. 5, though they distinguished its interpreta - lowest reaches of the orchestra. tion from that in the Fourth Symphony. “In At the head of the manuscript of the second the Fourth Symphony,” the Hansons wrote, “the movement Tchaikovsky is said to have written, Fate theme is earthy and militant, as if the com - “Oh, how I love…if you love me…,” a sentiment poser visualizes the implacable enemy in the that calls to mind an operatic love scene. (Tchai - form, say, of a Greek god. In the Fih, the ma - kovsky, it should be remembered, was a master jestic Fate theme has been elevated far above of the musical stage who composed more earth, and man is seen, not as fighting a force operas than he did symphonies.) e expres - that thinks on its own terms, of revenge, hate, or siveness of the opening theme, hauntingly spite, but as a wholly spiritual power which sub - played by the solo horn, is heightened as the jects him to checks and agonies for the better - movement proceeds through enriched contra - ment of his soul.” puntal lines and instrumental sonorities. Twice, e structure of the Fih Symphony reflects the imperious Fate motto intrudes upon the this process of “betterment.” It progresses from starlit mood of this romanza . minor to major, from darkness to light, from If the second movement derives from opera, melancholy to joy—or at least to acceptance the third grows from ballet. A flowing waltz and stoic resignation. It is the same path Bee- melody (inspired by a street song Tchaikovsky thoven blazed in his Fih Symphony, and the had heard in Italy a decade earlier) dominates power of such a musico-philosophical con - much of the movement. e central trio section struction was not lost on Tchaikovsky, or on exhibits a scurrying figure in the strings that any other 19th-century musician. e sense of shows the influence of Léo Delibes, the French a perilous obstacle surmounted through strug - master of ballet music whom Tchaikovsky gle energizes both works, and is the substance deeply admired. Quietly and briefly, the Fate of any “message” Tchaikovsky may have em - motto returns in the movement’s closing pages. bedded in this symphony. e finale begins with a long introduction e symphony’s four movements are linked based on the Fate theme cast in a heroic rather together through the use of a recurring “Fate” than a sinister or melancholy mood. A vigor - motto theme, given immediately at the begin - ous exposition, a concentrated development, ning by unison clarinets as the brooding intro - and an intense recapitulation follow. e long duction to the first movement. e sonata coda uses the motto theme in a major-key, form proper starts with a melancholy melody victory-won setting. is stirring work ends with intoned by bassoon and clarinet over a stark a final statement from the trumpets and horns, string accompaniment. e woodwinds enter and closing chords from the full orchestra. with wave-form scale patterns followed by a —© 2018 Dr. Richard E. Rodda stentorian passage for the brass that leads to a climax. Several themes are presented to round out the exposition: a romantic tune, filled with
ABOUT THE ARTISTS
West-Eastern Divan Orchestra 2007 and designated the orchestra as a United For almost 20 years the West-Eastern Divan Nations Global Advocate for Cultural Under- Orchestra has been a significant presence in standing in February 2016. e West-Eastern the international music world. In 1999 Daniel Divan Orchestra has also released a number of Barenboim and the late Palestinian literary highly acclaimed CDs and DVDs. scholar Edward Said created a workshop for For more information, please visit the orches- young musicians from Israel, Palestine, and sev - tra’s website at www.west-eastern-divan.org. eral Arab countries to promote coexistence and intercultural dialogue. ey named the orches - Daniel Barenboim, conductor tra aer Johann Wolfgang von Goethe’s collec - Daniel Barenboim is one of today’s most out - tion of poems entitled West-Eastern Divan , a standing artists. As a pianist and conductor, central work for the development of the con - he has been active for decades in major cities cept of world culture. across Europe and all around the world; as e West-Eastern Divan Orchestra has the founder of several orchestras and the ini - proved time and again that music can break tiator of numerous highly acclaimed projects, down barriers previously considered insur - he has contributed decisively to international mountable. e only political aspect that pre - music life. vails in the work of the Divan is the conviction Barenboim was born in Buenos Aires in that there is no military solution to the Arab- 1942. He first received piano instruction from Israeli conflict, and that the destinies of his mother, later from his father, and held his Israelis and Palestinians are inextricably linked. first public recital at age seven in Buenos Aires. rough its work and existence, the West- In 1952 he moved to Israel with his parents. Eastern Divan Orchestra demonstrates that At age 11 Barenboim participated in conduct - bridges can be built to encourage people to lis - ing classes in Salzburg with Igor Markevitch. ten to the narrative of the other. In the summer of 1954, he met Wilhelm Furt- e orchestra’s repertoire extends beyond wängler and performed for him. Furtwängler symphonic works to opera and chamber music . subsequently wrote, “e 11-year-old Daniel Concert highlights have included appearances Barenboim is a true phenomenon.” Until 1956 at the most prestigious venues in Europe, Asia, he studied harmony and composition with and the Americas. While the West-Eastern Nadia Boulanger in Paris. Divan Orchestra has become a regular guest At age 10 Barenboim made his debuts as at the main international music festivals in a solo pianist in Vienna and Rome; this was Europe, one of its goals is to perform in the followed by debuts in Paris (1955), London home countries of its members. Concerts in (1956), and New York (1957), where he played Rabat, Doha, Abu Dhabi, and the ensemble’s with Leopold Stokowski. Since then, he has historic concert in Ramallah in 2005 have undertaken regular tours in the US, Europe, been steps towards fulfilling this aspiration. In South America, Australia, and the Far East. December 2006 the or ches tra performed in the Numerous recordings attest to Barenboim’s General Assembly Hall of the United Nations stature as a pianist and a conductor. In 1954 in New York, in honor of Secretary-General he began with solo recordings, including Kofi Annan; and in October 2015, the Divan Bee tho ven’s piano sonatas. In the 1960s, he re - gave a Concert for the Understanding of Civi - corded Beethoven’s piano concertos with Otto lizations and Human Rights at the UN head - Klemperer conducting, Brahms piano concer - quarters in Geneva. tos with Sir John Barbirolli, and all of Mozart’s Daniel Barenboim and the West-Eastern piano concertos with the English Chamber Or - Divan Orchestra have received numerous chestra, where he conducted from the piano. prestigious honors for their work together. UN As an accompanist, he has worked regularly Secretary General Ban Ki-moon named Baren - with important singers including Dietrich boim a UN Messenger of Peace in Sep tem ber Fischer-Dieskau.
PLAYBILL ABOUT THE ARTISTS
Since his 1967 conducting debut with the Harrison Birtwistle’s e Last Supper . e sym - Philharmonia Orchestra in London, Baren - phony concerts regularly feature compositions boim has been in demand as a conductor at by Boulez, Rihm, Carter, and Widmann. leading orchestras around the world, including Among the constantly growing number of the Vienna and the Berlin philharmonics, en - works that Barenboim has recorded with the sembles with whom he has worked for decades Staats kapelle Berlin are Wagner’s three roman - now. Between 1975 and 1989, he was chief con - tic operas ( Der fliegende Holländer , Tannhäuser , ductor of the Orchestre de Paris, where he pre - and Lohengrin ), Beethoven’s Fidelio , Strauss’ miered numerous contemporary works. Elektra , and Berg’s Wozzeck ; the symphonies His debut at the opera podium was held of Bee thoven, Schumann, Bruckner, and Elgar; at the Edinburgh Festival in 1973, where he and the piano concertos of Beethoven, Chopin, conducted Mozart’s Don Giovanni . In 1981 Liszt, and Brahms, with Barenboim as soloist. Barenboim conducted for the first time in Bay - In 2003 he and the Staatskapelle were awarded reuth; he continued to conduct there ever sum - the Wilhelm-Furtwängler-Preis. mer until 1999, with performances of Wagner’s From 2007 to 2014 Barenboim was active Tristan und Isolde , Der Ring des Nibelungen , at Milan’s Teatro alla Scala; from 2011 he served Parsifal , and Die Meistersinger von Nürnberg . as music director. ere, he presented new From 1991 to June 2006, Barenboim served productions of Tristan und Isolde and Der Ring as chief conductor of the Chicago Symphony des Nibelungen , in addition to symphonic and Orchestra. In 2006 the musicians of the orches - chamber music concerts. tra voted him honorary conductor for life. With In 1999 Barenboim founded the West- this renowned ensemble he completed a series Eastern Divan Orchestra together with the of important recordings, including works by Palestinian literary scholar Edward Said. Each Brahms, Bruckner, Tchaikovsky, Strauss, and summer, this project brings together young Schönberg. musicians from Israel, Palestine, and the Arab Since 1992 Barenboim has been general music world. e orchestra seeks to foster a dialogue director at Berlin’s Staatsoper Unter den Linden, between the various cultures of the Middle East from 1992 to August 2002 also serving as artis - by way of the experience of making music tic director. In the fall of 2000, the Staatskapelle together. Musicians from the Staatskapelle Ber- Berlin named him chief conductor for life. lin have contributed to this project from the In both the opera and the concert repertoire, very beginning as mentors. Barenboim and the Staatskapelle have jointly Since 2015 talented young musicians from worked on large-scale cycles, presenting them the Near East have studied at the Barenboim- in Berlin and on worldwide guest performance Said Academy in Berlin, another of Maestro tours. e cyclical production of Wagner’s 10 Barenboim’s initiatives. In the fall of 2016 this major works at Berlin’s Staatsoper met with academy for music and humanities began a worldwide acclaim, as did the performance four-year bachelor’s program for up to 90 stu - of all symphonies by Beethoven, Schumann, dents in the renovated and remodeled former Schu bert, and Bruckner. Other cyclical projects Magazine of the Staatsoper. is building also included the symphonies and orchestral songs houses the new Pierre Boulez Hall, designed by of Mahler (together with Pierre Boulez) and the Frank Gehry, which has enriched Berlin’s opera and orchestral works of Berg, Schönberg, musical life since its opening in March 2017. and Debussy. In 2016 Barenboim founded a piano trio In addition to the great works of the classi - with violinist Michael Barenboim and cellist cal-romantic repertoire and classical mod - Kian Soltani, which gave its first concerts that ernism, Barenboim and the orchestra have summer in Teatro Colón. During the 2017 –18 increasingly focused on contemporary music. season the musicians performed the complete ey realized world-premiere performances of Beethoven piano trios in Pierre Boulez Hall, Elliott Carter’s only opera, What Next? , and combined with contemporary works.
ABOUT THE ARTISTS i k s v e h c i d d n a u K L
j v a a l r i o k e i N M Kian Soltani Miriam Manasherov
Maestro Barenboim has received many im - Kian Soltani, cello portant prizes and honors, including the Große Kian Soltani has been hailed by e Times as Verdientskreuz mit Stern und Schulterband, a “remarkable cellist.” His playing—“sheer per - Federal Republic of Germany, and an honorary fection,” says Gramophone —is characterized by doctorate from Oxford University, and he has expressive depth, individuality, and technical been named commander of the French Légion mastery that, when combined with his charis - d’honneur. e Japanese Imperial House hon - matic stage presence, forge an impressive emo - ored him with the Premium Imperiale, and he tional bond with his audience. Soltani is a has been named a United Nations Ambassador regular guest with the world’s leading orches tras, for Peace. Queen Elizabeth II bestowed upon conductors, and recital promoters, propelling him the title of Knight Commander of the Most him from rising star to one of the most accom - Excellent Order of the British Empire. plished cellists performing today. Daniel Barenboim has published several is season, Soltani makes debuts with or - books: the autobiography A Life in Music and chestras including the Vienna Philharmonic, Parallels and Paradoxes: Explorations in Music Boston Symphony, Berlin Staatskapelle, Lon- and Society (together with Edward Said), as well don Philharmonic, Royal Stockholm Philhar - as Everything is Connected: e Power of Music ; monic, Orchestre National de Lyon, and the Dialoghi su musica e teatro. Tristano e Isotta National Symphony Orchestra (Washington, (with Patrice Chéreau); and Musik ist alles und DC). He also returns to the Tonhalle-Orchester alles ist Musik. Erinnerungen und Einsichten . Zürich. Last month, Soltani began a season- For more information, please visit his website long residency as artist-in-residence with the at www.danielbarenboim.com. Residentie Orkest in e Hague.
PLAYBILL ABOUT THE ARTISTS
As a recitalist, Soltani makes his debut at Miriam Manasherov, viola Carnegie Hall in the spring of 2019; returns Miriam Manasherov was born in Israel in 1981. to the Salzburg and Lucerne festivals, Lon - She began violin lessons with Luba Shochat at don’s Wigmore Hall, and Berlin’s Boulez Hall; the age of eight. Aer graduating from the and makes further recital appearances at the elma Yellin High School of the Arts, Mana - Phil har monie de Paris, Vien na Konzerthaus, sherov joined the IDF (Israel Defense Forces) Am sterdam Con cert ge bouw, Elbphilharmonie as part of the Excellent Musicians Unit, where Ham burg, Barbi can Centre (London), Cologne she served as a member of an ensemble later Philharmonie, and Stock holm Concert Hall as known as the Rosso Quartet. She then began part of the ECHO Rising Stars program. taking viola lessons with Prof. Yuri Gandelsman In 2017 Soltani signed an exclusive record - at the Buchmann-Mehta School of Music at Tel ing contract with Deutsche Grammophon; his Aviv University. In 2003 Manasherov began her first CD, Home— with pianist Aaron Pilsan and studies at the Lübeck Academy of Music, with com prised of works by Schubert, Schumann, Prof. Barbara Westphal. She took part in differ - and Reza Vali—was released to international ent festivals and master classes, including at acclaim last February, with Gramophone de - Schleswig-Holstein and Prussia Cove, and with scribing the recording as “sublime.” His record - the Verbier Orches tra and the West-Eastern ing of the Mozart piano quartets with Daniel Divan. Manasherov has been a substitute musi - and Michael Barenboim and Yulia Deyneka cian for the Konzerthaus Berlin, Gürzenich was released last August. Orchester Köln, and the Israel Philharmonic Born in Bregenz in 1992 to a family of Per - Orchestra, and had a three-year contract with sian musicians, Soltani began playing the cello the WDR Symphony Orchestra Cologne. She at age four and was only 12 years old when he has participated in chamber music festivals joined Ivan Monighetti’s class at the Basel Music such as Rolandseck in Ger many and Kfar Blum Academy. He was awarded an Anne-Sophie in Israel. Manasherov was the winner of the Mutter Foundation scholarship in 2014, and chamber music competition at the Jerusalem completed further studies as a member of the Academy of Music and Dance. She has re - young soloist program at Germany’s Kronberg ceived scholarships from the America-Israel Academy. Cultural Foun da tion and the DAAD in Ger - Soltani performs on a cello by brothers Gio - many. Aer almost a decade in Germany, Man - vanni and Francesco Grancino made in Milan a sherov now lives in Tel Aviv. in 1680, on generous loan from the MERITO Strings Instrument Trust. US Tour Management Intermusica represents Kian Soltani world - Opus 3 Artists wide. For more information, please visit inter - 470 Park Avenue South, 9th Floor North musica.co.uk/artist/Kian-Soltani. New York, NY 10016 Berkeley RADICAL CITIZENSHIP ese performances are part of the 2018/19 Berkeley RADICAL Citizenship programming strand, which examines the human side of the current debate on immigration and nationalism. By sharing unique perspectives on the threats to—and responsibilities of—citizenship, the artists included here illustrate the universal need for belonging and home, and invoke the very real sense of urgency and peril that pervades the world today. For more on the Citizenship series, please visit calperformances.org.