My life here

Bette Ferguson, joined in 2006 My Life Here Is INDEPENDENT The people who live here are well-traveled and engaged with life. Their independent lifestyle is enhanced with our Continuing Care and contract options so they have all levels of healthcare under one roof. Find out why our established reputation as one of the very best not-for-profit communities is just one more reason people like Bette Ferguson know a good thing when they live it. To learn more, or for your personal visit, please call 510.891.8542. stpaulstowers-esc.org

Making you feel right, at home.

A fully accredited, non-denominational, not-for-profit community owned and operated by Episcopal Senior Communities. Lic. No. 011400627 COA #92 EPSP1616-01CJ 100111

CLIENT ESC / St. Paul’s Towers

PUBLICATION Berkeley Symphony

AD NAME Bette Ferguson

REFERENCE NUMBER EPSP616-01cj_Bette_01_mech

TYPE Full Page Color - Inside Front Cover

TRIM SIZE 4.75” x 7.25”

ISSUE 2011/12 Season

MAT’LS DUE 9.01.11

DATE 08.22.11

VERSION 01 mech

AGENCY MUD WORLDWIDE 415 332 3350 Berkeley Symphony 2011-12 Season

5 Message from the Executive Director 7 Board of Directors & Advisory Council 9 Message from the Music Director 11 Joana Carneiro 13 Berkeley Symphony

16 January 26 Orchestra 19 January 26 Program 21 January 26 Program Notes 31 January 26 Guest Artists

41 April 26 Program 43 April 26 Program Notes 55 April 26 Guest Artists

60 Music in the Schools 63 Under Construction 65 Contributed Support 74 Advertiser Index

Season Sponsors: Kathleen G. Henschel and

Official Wine Sponsor of Berkeley Symphony:

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

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

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

January 26 and April 26, 2012 3 SAVE THE DATE Friday, April 20, 2012 The Claremont Hotel Berkeley Symphony’s 2012 Gala Dinner and Auction photo by David Kuei

Held at the historic Claremont Hotel, this year’s Gala promises to be an unforgettable event with new surprises and special guests! We’re saying farewell to another successful season at the Symphony and welcoming 2012-13, a season that is filled with more original works, special commissions, and artistic accomplishments than ever before.

The night includes an elegant wine and hors d’oeurves reception, world class cuisine, live music and entertainment, and exciting silent and live auctions with a bevy of unique items available. Previous auction items have included special California wines, exclusive getaways packages, and special concert opportunities. Be sure to keep an eye out for the 2012 Auction catalog to be available online soon!

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

4 January 26 and April 26, 2012 Message from the Executive Director

elcome to Berkeley Symphony! W First and foremost, as we continue with this season and the next takes shape, I am continually thankful for the commit- ted support of the Berkeley community. photo by Marshall Berman Your excitement for Music Director Joana Carneiro’s innovative vision, your inquisi- tive and intellectual spirit, and your passion for a vibrant and living musical tradition make this symphony all that it has become.

With Berkeley Symphony, there is never a dull moment! In my recent return to this orchestra after a hiatus working at Montreal Symphony, I have only grown more enthu- siastic about the many exciting activities and ideas that are being produced. Our Under Construction and Music in the Schools programs continue to grow with strong and full support. In the coming months, stay tuned for new developments about these programs along with our exciting 2012-13 season announcement.

When Joana takes the podium tonight, you will feel a special kind of energy that is unique to Berkeley audiences—among the most intelligent, open- minded, and empathetic communities. Ultimately, what you will see on stage is a reflection and extension of the audience. Our musicians come from all walks of life, all committed to Joana’s vision of creating music of the highest caliber while maintaining an innovative curiosity. Joana’s own artistry and devotion are only too apparent in her programming of both cutting edge compositions and timeless masterpieces, always leading our orchestra and you, our beloved audience, on an unforgettable journey.

Thank you for joining us tonight. Enjoy!

With all warmest regards,

René Mandel, Executive Director

January 26 and April 26, 2012 5 Berkeley Symphony Orchestra #1 (BW) Cal Performances 4.75” x 7.25” Due: 1/5 Runs: Jan & Apr 2012 Europa Galante FINAL Fabio Biondi, conductor & violin Fri, Jan 27, 8 pm, First Congregational Church New Faces and Old Fabio Biondi and his orchestra imbue their performances of Baroque and classical masterworks with unparalleled passion. The ensemble’s New Faces and Old program features concertos, symphonies, and a suite from the best known to newly discovered composers. Program: Brioschi: Sinfonia in D major · Haydn: Concerto for Violin and Harpsichord in F major · Scaccia: Violin Concerto in E-flat major · Vivaldi: Concerto for Violin, Op. 3, No. 3, from Estro Armonico · J. S. Bach, Concerto for Two Violins in D minor · Handel: Suite from Rodrigo Sightlines: 7 pm: Pre-performance talk with Fabio Biondi and Professor Kate van Orden, UC Berkeley Department of Music Royal Philharmonic Orchestra Charles Dutoit, conductor Jean-Yves Thibaudet, piano Sat, Jan 28, 8 pm, Zellerbach Hall Liszt Piano Concerto No. 2 · Brahms Symphony No. 1 An essential conductor, an acclaimed soloist, a great orchestra, and a phenomenal program! Joining the orchestra’s new artistic director and principal conductor Charles Dutoit and these exceptional music makers is French pianist Jean-Yves Thibaudet, who dazzled Cal Performances audiences last season with his virtuoso all-Liszt program. Program: Kodály: Dances of Galánta · Liszt: Piano Concerto No. 2 in A major · Brahms: Symphony No. 1 in C minor Key Notes: 5-6 pm, Zellerbach Hall Mezzanine: Pre-Concert talk with the artists.

Order Now for the Best Seats!

Order Online Charge by Phone Ticket Office Zellerbach Hall calperformances.org 510.642.9988 Tue-Fri 12 noon – 5:30pm, Sat-Sun 1 pm – 5 pm

Season Season RUSH Tickets $10-$20 Groups of 10 or more Sponsor: Media Sponsor: Call 510.642.9988 ext 2 save 15% on most events

6 January 26 and April 26, 2012 Board of Directors & Advisory Council

Board of Directors Advisory Council Executive Committee Marilyn Collier, Chair President Thomas Z. Reicher, Gertrude Allen Partner, Cooley LLP Michele Benson Kathleen G. Henschel, Past President Finance Manager, Chevron Corp (Retired) Joy Carlin Robert B. Hetler, Vice President—Development Ron Choy Partner, PricewaterhouseCoopers LLP (Retired) John Danielsen Janet Maestre, Vice President—Governance Jennifer DeGolia Flute Instructor/Orchestra Member (Retired) Anita Eblé Vice President—Community Engagement Victor Vazquez, Karen Faircloth Branch Manager, Union Bank Gary Glaser Judith Bloom, Treasurer Certified Public Accountant Reeve Gould Stuart Gronningen, Secretary Lynne LaMarca Heinrich Orchestra Member Buzz Hines Marilyn Collier, Advisory Council Chair Sue Hone Philanthropist Brian James René Mandel, Executive Director Edith Jackson Directors Kenneth Johnson Susan Acquistapace Jeffrey S. Leiter Professor of Biology, Mills College Bennett Markel Norman Bookstein Consultant Bebe McRae James Donato Helen Meyer Partner, Shearman & Sterling LLP Christine Miller Ellen L. Hahn Deborah O’Grady Community Leader Marjorie Randell-Silver William Knuttel Thomas Richardson Winemaker and Proprietor, William Knuttel Winery Linda Schacht Kim Marienthal Realtor, Coldwell Banker Jutta Singh Janet McCutcheon Lisa Taylor McCutcheon Construction Paul Templeton Ed Osborn Carol Jackson Upshaw Principal; Bingham, Osborn & Scarborough, LLC Anne Van Dyke Kathy Canfield Shepard Yvette Vloeberghs President, Canfield Design Studios, Inc. Shariq Yosufzai Deborah Shidler Orchestra Member Tricia Swift Realtor, The Grubb Co. Michel Taddei Orchestra Member

January 26 and April 26, 2012 7 Dinner before or après-concert drinks at

A Berkeley gastropub and full-service restaurant in the Hotel Durant featuring local, organic menu selections. 2600 Durant Avenue (cross street Bowditch), Berkeley Hotel (510) 845-8981 Henry’s (510) 809-4132 hoteldurant.com henrysberkeley.com

8 January 26 and April 26, 2012 Message from the Music Director

Dear friends,

First, my very best wishes to all of you in this new year. I hope 2012 brings you much health, joy and music!

Last fall, we began the season with the best prelude photo by David S. Weiland I could wish for. Cellist Johannes Moser’s electrifying performance of Shostakovich’s First Cello Concert in October kept the audience at the edge of their seats and elicited a long standing ovation. And in December, pianist Sarah Cahill gave a mesmerizing and beautiful presentation of Lou Harrison’s Piano Concert, led by guest conductor Jayce Ogren. All the while, I am proud of our orchestra for always believing in playing music that reflects our time . . . as we have heard in the works of Enrico Chapela, Lei Liang, and Lou Harrison.

As we ring in the New Year, I am excited to share with you a truly profound program in January, featuring Henri Dutilleux’s The Shadows of Time and Shostakovich’s Fifth Symphony. Inspired by the great tragedies of the twentieth century, their music reminds us of the humanity’s strength and resilience. Performing on stage with the orchestra in The Shadows of Time will be three young singers from the Pacific Boychoir.

In April, we celebrate the end of our season with an exciting world premiere by Gabriela Lena Frank. The idea of Holy Sisters originated from a discussion between the composer and soprano Jessica Rivera. I look forward to welcoming back Ms. Rivera, whom I consider a dear member of our orchestral family, and to our first collaboration with the brilliant San Francisco Girls Chorus. And we are so lucky to have the support of the National Endowment for the Arts for this project. I hope you will join us for this momentous occasion, as we bring to life something that has never been heard before.

Thank you for being with us tonight. I once heard someone thanking a sculptor for making who we are visible. I, on the other hand, thank you for helping make Berkeley Symphony audible.

With much love,

Joana Carneiro

January 26 and April 26, 2012 9 l Mitchel K. Margaretta © Photos

Memories are Forever

MARGARETTAK. MITCHELL PHOTOGRAPHY 510 655-4920 ❖ MARGARETTAMITCHELL.COM

B O O K S T O L O V E Capture your vision and memories of house, garden, travels, family or tell your story in a unique, one-of-a-kind book to cherish. Whether an art piece of one copy or a memoir in an edition of 500, your book will be just what you envisioned. Author, photographer, artist and educator, Margaretta creates, develops, designs and produces beautiful and meaningful projects for her clients. She knows how to turn the process into an exhilarating adventure. Free introductory meeting.

10 January 26 and April 26, 2012 Joana Carneiro

oted for her vibrant performanc- New Zealand symphonies, and re- Nes in a wide diversity of musical turns to the Orchestre de Bretagne. styles, Joana Carneiro has attracted In her native Portugal, in addition to considerable attention as one of the her appearances with the Gulbenkian most outstanding young conduc- Orchestra, she leads a ballet produc- tors working today. In January 2009 tion of Romeo and Juliet with Compan- she was named Music Director of hia Nacional de Bailado. Berkeley Symphony, succeeding Kent International highlights of previous Nagano and becoming only the third seasons include music director in the 40-year his- tory of the orchestra. She currently serves as official guest conductor of the Gulbenkian Orchestra, working with the orchestra at least four weeks every year.

Carneiro’s 2011-12 season started with her debut at the Cincinnati Opera in John Adams’s A Flowering Tree and a return to the Hollywood Bowl with the Los Angeles Philharmonic in an all-20th century program. In Septem- ber, she opened the St. Paul Chamber Orchestra’s season in the first of three programs she will conduct there in 2011/12. Other engagements include debut perfor- mances with the Detroit and North Carolina symphonies, and a return appearance with the Toronto Sym- phony. Internationally, she leads the Royal Philharmonic Orchestra with Renée Fleming as soloist in the U.A.E’s new Royal Opera House in Oman, makes debuts with the Gothenburg, Gävle and

January 26 and April 26, 2012 11 appearances with the Ensemble receiving her conducting degree from Orchestral de Paris, Norkopping the Academia Nacional Superior de Symphony, Prague Philharmonia and Orquestra in Lisbon. She received her the Orchestra Sinfonica del Teatro la Master’s degree in orchestral con- Fenice at the Venice Biennale, as well ducting from Northwestern Univer- as the Macau Chamber Orchestra and sity as a student of Victor Yampolsky Beijing Orchestra at the International and Mallory Thompson, and pursued Music Festival of Macau. In the Amer- doctoral studies at the University icas, she has led the São Paulo State of Michigan, where she studied with Symphony, Puerto Rico Symphony, Kenneth Kiesler. Prior to her Berkeley Indianapolis Symphony, Los Angeles Symphony appointment, Carneiro Chamber Orchestra, New World Sym- served as the Assistant Conductor at phony, Grant Park Music Festival and the Los Angeles Philharmonic, where Manhattan School of Music, among she worked closely with Esa-Pekka others. In addition to her Cincinnati Salonen and led performances at Opera debut, Ms. Carneiro conducted Walt Disney Concert Hall and the John Adams’s A Flowering Tree previ- Hollywood Bowl. ously with the Chicago Opera Theater Ms. Carneiro is the 2010 recipient of and at La Cité de la Musique in Paris. the Helen M. Thompson Award, con- In 2010, she led performances of Pe- ferred by the League of American ter Sellars’s stagings of Stravinsky’s Orchestras to recognize and honor Oedipus Rex and Symphony of Psalms music directors of exceptional prom- at the Sydney Festival, which won ise. In March 2004, Ms. Carneiro was Australia’s Helpmann Award for Best decorated by the President of the Symphony Orchestra Concert in 2010. Portuguese Republic, Mr. Jorge Sam- A native of Lisbon, she began her paio, with the Commendation of the musical studies as a violist before Order of the Infante Dom Henrique.

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

12 January 26 and April 26, 2012

I just love this orchestra! Berkeley Symphony photo by David S. Weiland

nown as “the Bay Area’s most ad- programming that included a num- Kventurous orchestra” (Contra Costa ber of rarely performed 20th-century Times), Berkeley Symphony has been scores. In 1981, the internationally re- recognized with the ASCAP Award for nowned French composer Olivier Messi- Adventurous Programming in seven out aen journeyed to Berkeley to assist with of the last ten years. The orchestra sup- the preparations for his imposing ora- ports local composers through its Under torio The Transfiguration of Our Lord Jesus Construction New Music Reading Series. Christ. Nagano and the orchestra, joined It also runs a year-long, award-winning by the composer’s wife, pianist Yvonne Music in the Schools program, providing Loriod, gave a sold-out performance 4,000 local students with the experience in Davies Symphony Hall. In 1984, the of becoming a performer each year. orchestra collaborated with Frank Berkeley Symphony was founded in Zappa in a critically acclaimed produc- 1969 as the Berkeley Promenade Orches- tion featuring life-size puppets and tra by Thomas Rarick, a protégé of the moving stage sets, catapulting Berkeley great English Maestro Sir Adrian Boult. Symphony onto the world stage. Reflecting the spirit of the times, the Berkeley Symphony has introduced to orchestra performed in street dress Bay Area audiences works by upcoming and at unusual locations such as the young composers, many of whom have University Art Museum. since achieved international promi- Kent Nagano became the music director nence. Celebrated British composer of the orchestra in 1978. He charted George Benjamin, who subsequently a new course by offering innovative became Composer-in-Residence at the

January 26 and April 26, 2012 13 San Francisco Symphony, was first introduced to the Bay Area in 1987 when Berkeley Symphony performed his compositions Jubilation and Ringed by the Flat Horizon; as was Thomas Adés, whose opera Powder Her Face was debuted by the orchestra in a concert version in 1997 before it was fully staged in New York City, London and Chicago.

A champion of new music, Berkeley Symphony has commissioned and premiered numerous new works. In 2003, Naomi Sekiya was named the or- chestra’s first Composer-in-Residence. Her Sinfonia delle Ombre and Concerto for two guitars and orchestra received their world premieres that year. Other orchestra-commissioned works include Manzanar: An American History (2005) by Naomi Sekiya, Jean-Pascal Beintus and David Benoit; Bitter Harvest (2005) by Kurt Rohde and librettist Amanda Moody; and a fanfare by Rohde, com- memorating Nagano’s 30 years as music director.

Berkeley Symphony entered a new era in January 2009 as Joana Carneiro became the orchestra’s third Music Director in its 40-year history. Under Carneiro, the Symphony continues its tradition of presenting the cutting edge of classical music. In the 2010-11 season, Carneiro and the orchestra commis- sioned and premiered two new works: Enric Chapela’s Private Alleles and Du Yun’s Mantichora. Together, they are forging deeper relationships with liv- ing composers, which include several prominent contemporary Bay Area composers such as John Adams, Gabriela Lena Frank, and Paul Dresher.

14 January 26 and April 26, 2012 2011-12 Season Upcoming Concerts

A Hungarian Excursion Thursday, April 26, 2012 Joana Carneiro, conductor Zellerbach hall Jessica Rivera, soprano San Francisco Girls Chorus Bartók Music for Strings, Percussion and Celesta Gabriela Lena Frank Holy Sisters (World Premiere) Kodály Dances of Galánta

Under Construction Sunday, April 29, 2012 Joana Carneiro, conductor St. John’s Presbyterian Church Find us on Berkeley Symphony presents new works by emerging Bay Area composers in an open rehearsal-style concert!

Family Concert: I’m a Performer Saturday, May 5, 2012 Ming Luke, conductor Malcolm X Elementary School Auditorium Perform with Berkeley Symphony musicians in this one-of-a-kind community collaborative concert!

For tickets, visit www.berkeleysymphony.org or call (510) 841-2800

January 26, 2012 15 The Orchestra, January 26

Joana Carneiro, Music Director Viola Kent Nagano, Conductor Laureate Tiantian Lan Gabriela Lena Frank, Creative Advisor Principal Ilana Matfis Violin I Assistant Principal Franklyn D’Antonio Patrick Kroboth Concertmaster Marta Tobey Tricia Swift Chair Harold Levin Noah Strick Associate Concertmaster Deanna Said Yasushi Ogura Pei Ling Lin Assistant Concertmaster Steven Ng Matthew Szemela Amy Apel Eugene Chukhlov Peter Liepman Larisa Kopylovsky Lisa Zadek Cello Joseph Maile Carol Rice Principal Randall Weiss Stephanie Lai David Ryther Assistant Principal Annie Li Wanda Warkentin Quelani Penland Nancy Bien Shawyon Malek Mu’afrida Bell Ji Eun Moon Kenneth Johnson David Grote David Boyle Bert Thunstrom Inez Boyle Violin II Peter Bedrossian Laura Albers Gabriel Weiland Principal Jessica Blixt-Logan+ Andrea Oh Member of Young People’s Symphony Orchestra Assistant Principal Joshua Herman+ Karsten Windt Member of Young People’s Symphony Orchestra Lauren Avery Bass Adrienne Herbert Michel Taddei Kevin Harper Principal Ann Eastman Meyer Sound Chair Rick Diamond Robert Ashley Charles Zhou Assistant Principal Ernest Yen Jon Keigwin Sarah Lee Alden Cohen Kristen Jones David Sullivan Rose Marie Ginsburg Roger Paskett Mark Yanover Corey Chandler

16 January 26, 2012 Flute Horn (continud) Tod Brody Richard Hall Principal Tom Reicher Sarah Holzman Stacey Pelinka Trumpet Melanie Keller Cheonho Yoon Principal Piccolo Buzz and Lisa Hines Chair Stacey Pelinka Kale Cumings Melanie Keller Graham Taylor Kevin Businsky Oboe Deborah Shidler Trombone Principal Thomas Hornig Chair sponsored in celebration of the life of Principal Harriet M. Clay Kathleen G. Henschel Chair Peter Lemberg Donald Benham Sarah Rathke Bennie Cottone Bass Trombone Kurt Patzner English Horn Bennie Cottone Tuba Jerry Olson B-flat Clarinet Principal Roman Fukshansky Principal Timpani Diana Dorman Kevin Neuhoff Principal E-flat Clarinet Karen Sremac Percussion Bass Clarinet Ward Spangler Principal Peter Josheff Gail and Bob Hetler Chair Bassoon Mark Veregge Carla Wilson Victor Avdienko Principal Jim Kassis Ravinder Sehgal Karla Ekholm Harp Shawn Jones Wendy Tamis Principal Contrabassoon Karen Gottlieb Shawn Jones Piano/Celesta Horn Miles Graber Stuart Gronningen Principal Principal Chair sponsored in Honor of the Musicians of Berkeley Symphony Franklyn D’Antonio, Orchestra Manager Dougas Hull Joslyn D’Antonio, Co-Orchestra Manager Kathy Canfield Shepard and John Shepard Chair Quelani Penland, Librarian Loren Tayerle Kevin Reinhardt, Stage Manager

January 26, 2012 17 back the ticket! on your Look of

18 January 26, 2012 January 26 Program

The Shadows of Time Thursday, January 26, 2012 at 8:00 pm Zellerbach Hall Joana Carneiro conductor

Claude Debussy Prélude à l’après-midi d’un faune (Prelude to the Afternoon of a Faun)

Henri Dutilleux The Shadows of Time I. Les Heures II. Ariel Malefique III. Memorie des Ombres Interlude IV. Vagues de Lumiere V. Dominante Bleue? featuring members of the Pacific Boychoir

INTERMISSION

Dmitri Shostakovich Symphony No. 5 in D Minor, Op. 47 I. Moderato II. Allegretto III. Largo IV. Allegro non troppo

The January 26 concert is made possible by the generous support of Concert Sponsors Anita Eblé, Ken Johnson & Nina Grove, William & Robin Knuttel, Deborah O’Grady & John Adams, and Tom & Mary Reicher.

Tonight’s concert will be broadcast on KALW 91.7 FM on June 3, 2012.

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

January 26, 2012 19 �

�

20 January 26, 2012 January 26 Program Notes

Claude Debussy (1862–1918) December 22 and 23, 1894. It was so enthusiastically received that con- Prélude à l’après-midi d’un ductor Gustave Doret had to repeat it faune on the spot and soon conductors ev- (Prelude to the Afternoon erywhere were clamoring to perform of a Faun) it. Eighteen years later Debussy’s sensual music served as the basis for Claude Debussy was born in St. Germaine- the provocative ballet choreographed en-Laye on August 22, 1862. He died in and dance by the celebrated Nijinsky. Paris on March 25, 1918. The first perfor- mance in the United States was given on In Mallarmé’s famous poem, first April 1, 1902, by the Boston Orchestral published in 1876, a faun rouses on Club conducted by Georges Longy, who a drowsy summer afternoon from had been one of the oboists in the second a dream or daydream and recalls Paris performance under Édouard Col- his amorous activities with a pair of onne. Kent Nagano led the first Berkeley nymphs, wondering whether they Symphony performance in December 1992. were real or imagined. In the note The work is scored for 3 flutes, 2 oboes and that Debussy wrote or at least au- English horn, 2 clarinets, 2 bassoons, 4 thorized for the premiere he stated horns, 2 harps, crotales, and strings. Du- that his music did not “by any means ration ca. 10 minutes pretend to be a synthesis of the poem; but rather a series of succes- sive scenes across which the dreams nspired by the evocative poem and desires of the faun pass in the of his friend, symbolist poet I afternoon heat.” The poet, for whom Stéphane Mallarmé, Debussy had Debussy had played the work on the begun sketching an orchestral work piano, expressed great admiration, in 1892 that he soon was calling saying, “I didn’t expect anything like Prélude, interludes et paraphrase pour this. It is music that brings out the “L’après-midi d’un faune.” A scheduled feeling of my poem, providing it with performance in March 1894 had to be a warmer background than color.” canceled because the composer had not yet finished revising the piece. There almost had to be a flute solo The much-anticipated work, reduced at the beginning of Debussy’s work. during the revision process simply Flutes have a long history of associa- to Prélude à l’après-midi d’un faune, tion with pastoral scenes, scenes was finally presented at a concert of seduction, and especially with of the Société Nationale in Paris on fauns. In the famous Greek myth

January 26, 2012 21 THE MAGNES COLLECTION OF JEWISH ART & LIFE GRAND OPENING 1/22/12

Free admission to exhibitions, programs and 15,000 objects from around the world at UC Berkeley, 2121 Allston Way. magnes.org

22 January 26, 2012 Pan chases the nymph Syrinx, who is fragments to be explored, inter- transformed into rushes, which then twined, and altered in a manner become his panpipes. Mallarmé’s far removed from traditional formal poem seems to call out for a “long patterns. solo”: The composer’s harmonic palette consists of tonal ambiguities, often Le jonc vaste et jumeau dont related to the interval of a tritone, sous l’azur on joue: which had already been outlined in Qui, détournant à soi le trouble de la joue, the opening solo. His sonorous colors Rêve, dans un solo long, que are drawn from an orchestra rich in nous amusions winds, joined by four horns and harp La beauté d’alentour par des but no trumpets or trombones. The confusions only percussion consists of two an- Fausses entre elle-même et tique cymbals, delicately chiming the notre chant crédule; notes E and B. —© Jane Vial Jaffe The vast and twin reed on which one plays under the azure: Which, turning to itself [the reed flute] the trouble of the Henri Dutilleux (b. 1916) cheek, Dreams in a long solo, that we The Shadows of Time were beguiling Henri Dutilleux was born on January 22, The surrounding beauty [of nature] by false [fictitious] 1916, in Angers, France. He composed The confusions Shadows of Time as a memorial tribute Between itself [the beauty] and to mankind. Commissioned and premiered our credulous song; by the Boston Symphony Orchestra under —trans. Robert Greer Cohn Seiji Ozawa in 1997, the work is scored for 4 flutes (3rd and 4th = piccolo), 3 oboes, English horn, 3 clarinets, bass clarinet, Debussy’s inspired, sensual flute 3 bassoons, contrabassoon, 4 horns, 4 roulades have become among the trumpets, 3 trombones, tuba, timpani, most famous solos in the repertoire percussion (triangle, suspended cymbals, and perfectly evoke the languorous, crotales, small Chinese gong, tam-tams, erotic atmosphere of the faun’s afternoon. The other main theme, tom-toms, snare drum, wood chimes, tem- bolder and less dreamy, is played by ple block, whip, glockenspiel, vibraphone, the winds. The miracle of Debussy’s and marimba), celesta, harp, strings; and revolutionary technique comes in three children’s voices. Duration ca. 21 the treatment of these ideas as minutes.

January 26, 2012 23 subtle discipline similarly Apervades the music of Henri Dutilleux, who reportedly tosses out a large amount of material in an Design attempt to mold as perfectly as he Installation can the modest number of works he Consultation has published throughout a lengthy Maintenance career. He has an affinity for the Flemish artists of the Northern Quality Service Renaissance, composing with a 510.595.9090 shared sense of proud craftsman- ship. Dutilleux’s music often presents mimislandscaping.com a sensuousness of texture—a color- ful garden of sounds so delicately cultivated that he often brings to mind a latter-day Ravel. A Proustian preoccupation with the interplay of memory and time passing also recurs in several works.

The Shadows of Time is a somber medi- tation on loss. The catalyst was the half-century anniversary of the end of World War II in 1995 and of the discovery of Anne Frank’s diary, and specifically a memory: the deporta- tion by the Nazis to concentration camps of an entire orphanage of Jewish children. The work unfolds in five “orchestral episodes” with evoca- tive titles. An untitled interlude links the final two episodes. Although only 21 minutes long, the entire piece exudes a concentrated power belying its length, rather like dream time’s ability to subvert the clock’s rational measurement.

Setting the work in motion (“Hours”) is a fatalistic fanfare of brass, punc- tuated by percussion and strings, tracing a downward fall. These thickly clotted lines of descent recur at

24 January 26, 2012 several crisis points. A temple block melody suggests a Near Eastern marks the relentless tread of time modality mixed with the spirit of with banal tenacity. Following an un- Gregorian chant. The touching direct- easy sustained glissando skid upward ness here contrasts with the menac- in the strings, the note A is urgently ing moods elsewhere in the score. repeated high in the trumpets (where Eventually the music sinks into the the episode began). A brief coda sug- nether regions of the orchestra. gests a false resting stop as trumpets The interlude and “Waves of Light” bleat with mutes. episode move slowly up from the “Evil Ariel” pits flickering divided lower strings into the piquant winds, strings against spiraling constella- while the dominance of G-sharp tions in the winds for a scherzo of verges on the obsessive. The final malignant energy, of which Ariel—a episode’s indeterminate title deformation of the serviceable spirit (“Dominant Blue?”) is borne out from Shakespeare’s The Tempest or by the faltering rhythms with which one of Milton’s named demons— mirroring instrumental choirs con- seems to be a herald. Mood shifts tinue to obsess over variant phrases dramatically as the piccolo intones from the children’s chanting. The a solo against deceptively childlike need for consolation is urgent, as timbres from glockenspiel and vibra- signaled by the solo trumpet and phone, leading directly into “Memory trombone’s attempts to take lyrical of Shadows.” flight. Yet they are false starts, and the unforgiving clockwork of the per- Dutilleux calls this central episode cussion returns, though in more sub- the “heart” of the score, on which limated form, as the entire orchestra is written “to Anne Frank and all tapers out on a repeated C-sharp. the children, innocents of the world On one level, The Shadows of Time (1945–1995).” He recounts a stroke of can even read like a symphony in inspiration when he was searching miniature: with a forceful opening, for a “special color in the instrumen- demonic scherzo à la Berlioz, medita- tation” to contrast with the brass tive slow movement, and enigmatic and wind timbres dominating the finale. At the same time, its alterna- beginning and heard “some voices tion of violent, threatening gestures coming from a nursery school close with textures almost withdrawn to my studio.” The score specifies only in their delicacy suggests a funda- “three voices of a child”—singing mental disquiet and sense of doubt alternately in solo and together. that gives an edge to the composer’s Their vocalise turns to repetition of gentle humanism and poetry. the simple phrases: “Pourquoi nous? —© 2011 Thomas May Pourquoi l’étoile?” (Why us? Why the Thomas May writes frequently star [yellow Star of David]?). The about music and theater.

January 26, 2012 25 Merrell Clarks Frye Boots Sperry Since Rockport Uggs 1961 Keen Moccasins Dr. Martens Clogs Timberland Dansko

FOOTWEAR

Priority Banking. Every banking relationship We are a frame shop dedicated to the should be this personal. preservation and You deserve to be rewarded for your protection of your prints, success, which is why we created Priority photographs, posters, Banking®1. With Priority Banking you’ll drawings, needlework, experience the one-to-one attention of paintings and objects. your own personal banker. A dedicated We use the finest archival materials: professional who will work with you to • Mats made of either cotton rag understand your personal and business or alpha cellulose which is acid goals. You’ll also enjoy a wide range of and lignin free. exclusive benefits and complimentary • Cotton rag mount boards behind artwork. banking services. • Foamcore backing which absorbs Call today to set up an appointment acids from environmental gases. with your personal banker. • Acrylic glazing products which Berkeley Branch protect artwork from damage 2333 Shattuck Avenue, Berkeley, CA 94704 from glass breakage. Victor Vazquez, 510-843-6353 • Acrylic and glass products which Berkeley Priority Banking Office filter out 98% of ultraviolet light, 2333 Shattuck Avenue, Berkeley, CA 94704 protecting artwork from fading John Abrate, 510-843-6414 and degradation. • Hinging or other mounting techniques which are reversible and cause no harm to artwork. unionbank.com/priority

Established 1974 (1) Priority Banking is available to individuals and small businesses with combined deposits at Union Bank or assets invested with its subsidiaries and/or affiliates totaling $100,000 or more. Terms 510.524.3422 and conditions subject to change. See our All About Personal, or All About Business, Accounts & Services Disclosure and Agreement 1645 Hopkins, Berkeley and appropriate Fee Schedule for details. ©2011 Union Bank, N.A.

26 January 26, 2012 Dmitri Shostakovich (1906–1975) contributed to his popularity today, was attacked by those who thought Symphony No. 5 in D he sold out to popular taste. On the Minor, Op. 47 other hand, he was at times accused by the Soviet culture watchdogs as Dmitri Shostakovich was born in St. not popular enough, too interested in Petersburg on September 25, 1906. abstract music for its own sake, or, to He died in Moscow, on August 9, 1975. use the dreaded term: “formalism.” Shostakovich started work on the sym- phony in April of 1937 and finished it Not only his art, but his politics have late that summer (there is some confusion come under intense scrutiny. As did over the specific date). The Leningrad any artist working for years under Philharmonic Orchestra under the direc- the Stalinist regime in the USSR, tion of Yevgeny Mravinsky gave the pre- he had to walk a tightrope between miere on November 21, 1937. The work self-expression and obedience to the is scored for large orchestra, consisting state. He has been accused of being of 2 flutes and piccolo, 2 oboes, 2 clarinets a Stalinist collaborator (he did bow and E-flat clarinet, 2 bassoons and to government pressure to affix his contrabassoon, 4 horns, 3 trumpets, signature to several documents that 3 trombones, tuba, timpani, snare drum, condemned his fellow musicians and triangle, cymbals, bass drum, tam-tam, other worthy citizens), but his defend- glockenspiel, xylophone, 2 harps (played ers claim that he was always a sub- from a single part), piano, celesta and versive at heart, and that his music strings. Duration ca. 44 minutes contains hidden messages that mock the Soviet authorities. His Fifth s one looks back on the career of Symphony, premiered in 1937, is at the A Dmitri Shostakovich from a cen- very crux of the controversy, coming tury later, his place in music history at the moment when he was in the might seem assured. In terms of per- greatest danger of imprisonment, formances, his works, especially his exile, or murder because of his work. symphonies, enjoy a solid position in the orchestral repertoire. The second In the preceding decades, his star had edition of the New Grove Dictionary been rising. A child prodigy on the of Music and Musicians (the standard piano, during his education he was English-language music reference increasingly recognized as a talented work) confidently states that Shosta- young composer with a gift for bit- kovich is “the greatest symphonist of ing and sometimes shocking satire. the mid-20th century.” Yet during his His First Symphony (1925, performed lifetime, and during the decade or so 1926), his graduation piece from the following his death, his position was Leningrad Conservatory, combined not nearly as unequivocal. His ap- comedy and tragedy in skillful ways; proachability, the factor which has it was a smash from the very first.

January 26, 2012 27 In politics, however, his skills were lacking. For example, in December of MAYBECK 1926 he failed an exam in Marxism/ EST. 1972 HIGH SCHOOL Leninism that was required for admis- sion to graduate study. But his early A small works showed such promise that he community acquired something like ideological dedicated immunity. It helped that he was an en- to learning, thusiastic and popular film composer. engaged Stalin himself was said to be a fan of a 2727 College Ave. in the catchy tune he wrote for the 1932 film, Berkeley • (510) 841-8489 wider Counterplan. It was only when Stalin world www.maybeckhs.org encountered some of Shostakovich’s more avant-garde works several years later that his troubles began.

The early 1930s were devoted to the composition of his opera Lady Macbeth of the Mtsensk District. Premiered in Leningrad in January 1934, it was an immediate critical and popular hit in spite of (or perhaps because of) its lurid and melodramatic story. The opera was quickly picked up by com- There are panies around the world, and over the great artists space of a few weeks in January 1936 no fewer than three different produc- in every field. tions could be seen in Moscow. As a result, Shostakovich increasingly We invite you found himself in the public eye.

to call one of This was a dangerous time to catch ours! the attention of the authorities. The Great Purge of the Soviet Communist www.CaliforniaMoves.com Party was just beginning, and Stalin’s 1495 Shattuck Avenue government was seeking to eliminate 510.486.1495 counter-revolutionary elements in Soviet society. Over the next few years millions of people would be arrested, imprisoned, tortured, sent to exile in Siberia, or executed. Upwards of a

BERKELEY OFFICE million people lost their lives, either directly through murder or through

28 January 26, 2012 indirect causes. For a terrifying was no question of any further period, it seemed that anyone could performances of Lady Macbeth within be a target—and targets had a way the Soviet Union. The premiere of his of disappearing without warning. Fourth Symphony was announced by Citizens of Moscow would awaken to the Leningrad Philharmonic for that find that entire sections of their apart- December, but after several rehearsals ment buildings had been emptied the performance was cancelled by the overnight. Writers and other artists Soviet Composers Union (entrusted by were at particular risk, especially if the Party with the goal of promoting they questioned the actions of the “Socialist Realism” as the only accept- Party or criticized Stalin. able musical style). Worse, he now feared for the safety of not only him- In January 1936, Stalin and his entourage attended a performance self, but his friends and family. Indeed, of Lady Macbeth at the Bolshoi Theater over the course of the Great Purge in Moscow. Shostakovich was present several of his friends, acquaintances, as well, and waited nervously for the and distant family members were dignitaries’ reaction. He was dismayed imprisoned or simply vanished. to see that Stalin and his retinue left It was in this fraught atmosphere early; dismay turned to horror two that Shostakovich conceived his Fifth days later when an unsigned editorial Symphony. “My Creative Response,” in Pravda (the newspaper of the an article attributed to the composer Communist Party) ripped the opera— published just before the work’s first and its composer—to shreds. Clearly, Moscow performance describes the Stalin had been shocked by the display symphony as showing a man pro- of raw sex and violence on stage, as gressing through suffering to a joyous well as the complete lack of a moral resolution.Shostakovich is speaking message for the audience to take away. of himself and his attempt to return to Shostakovich, the young composer the true path of Socialist Realism: who had showed such promise, had been led astray by his teachers and by If I have really succeeded in em- other critics. Rather than aspiring to bodying in musical images all the simple and natural art demanded that I have thought and felt since by the Soviet masses, he had been the critical articles in Pravda, if lured into formalism (the worst sin the demanding listener will de- tect in my music a turn towards a Soviet artist could commit). He had greater clarity and simplicity, I fallen into error, and must be shown will be satisfied.* the way back to orthodoxy. The editori- al included this ominous phrase: “This Yet, the sincerity of this repentance is a game that may end very badly.” * Translation by Richard Taruskin, “Public Lies Shostakovich’s career went into a and Unspeakable Truth: Interpreting Shosta- tailspin. Commissions dried up; there kovich’s Fifth Symphony.”

January 26, 2012 29 has been subject to controversy ever since these words appeared. On the surface, the music does seem to fol- low a Beethovenian model in tracing a hero’s journey through dark times and strife to a triumphant happy ending. Did Shostakovich acquiesce complete- ly to the demands of the Stalinist authorities? Another school of thought sees another story encoded below the surface, a dark satire that starts by illustrating the sorrows of the Russian people under the Soviet regime and ends with a parody of rejoicing under duress. Grades K-8 The opening theme of the first move- ment starts off with what could be a proud or defiant gesture, but it quickly loses impetus and collapses. Three A Private School in Berkeley repeated notes, deepening the air of resignation, punctuate the end of the theme. These ideas recur, sometimes transformed, in movements III and IV. A simple descending scale melody throws us a curve by going to E-flat when we expect E-natural. Unpredict- able harmonic gestures like this keep us off-balance for much of the rest of the movement. A cocky march leads The Academy offers a traditional us into a battle of sorts; no clear reso- and accelerated program, rich in lution is reached, and the movement the arts and music, for motivated ends quietly in a mood of uncertainty. and eager learners. A rollicking parody of a waltz Now accepting applications for intrudes upon the cheerless mood. the Fall 2012 school year. Call Shostakovich had been introduced for a brochure and to schedule to the music of Gustav Mahler a few a school tour. years previously, and the Austrian Visit our website for more details. composer’s influence is felt strongly throughout this movement. The Trio www.theacademyk-8.com 510.549.0605 section of this goofy Scherzo features 2722 Benvenue Ave., Berkeley, CA 94705 solo violin accompanied by harp and

30 January 26, 2012 plucked cellos. Sustaining the intimate sonority, the tune is picked up by solo flute with bassoons. The mordant style “Everyone’s talking about Talavera.” of Prokofiev leaves its stamp on the —San Francisco Chronicle movement as well.

Noisy brass are banished from the Largo. Shostakovich instead divides the strings into multiple parts, Handmade Sinks, Tile, Garden making available a great variety of & Tableware rich textures. Deeply elegiac in tone, ... and more this movement has the character 1801 University (at Grant), Berkeley of a lament. Its echoes of Russian Open Mon-Sat 10-6, Sun 12-6 510-665-6038 www.TalaveraCeramics.com Orthodox liturgical music (definitely out of favor in the Soviet Union) have inspired many to hear it as a Requiem for those killed or disappeared in the Great Purge. It ends enigmatically with the magical sonority of harp and ce- lesta embedded in shimmering strings.

Another violent shift of mood kicks Out-of-Print & off the fourth movement, as if to rouse Rare Books on the Arts us from our reverie. Martial music re- calls the march-like section in the first 3032 Claremont Avenue movement. After a respite during a Berkeley (510) 655-3413 relatively quiet section, the snare drum [email protected] alerts us to the return of the march. After a long buildup the opening theme of the symphony returns, now First Piano Concerto in 1933: heard in the major for the first time in a grand apotheosis. But Shostakovich I consider it absolutely super- sneaks in a note from the minor scale, fluous to follow the example of which takes some of the sheen off the a number of composers, who . . . try to decode the content of triumph. And the relentless pounding their compositions with extra- away on the tonic chord that fills the neous definitions drawn from final pages strikes some as a caricature some related field of art. I can- of a victorious ending. not describe the content of my But before reading narratives or mor- concerto with any means other als into Shostakovich’s instrumental than those with which the con- music, it’s worth remembering his certo is written. comments after the premiere of his —© Victor Gavenda

January 26, 2012 31 The Plumber Referred by Your Friends

Lic.#414359 Responsive � Professional � Guaranteed

www.albertnahmanplumbing.com 510-843-6904

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

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

CONTACTS | RX FILLED | EXAMINATIONS | ORTHOKERATOLOGY

32 January 26, 2012 January 26 Guest Artists

The Pacific Boychoir in grades 4-8. The choir school Academy students learn sightreading, music theory and repertoire, as he Pacific Boychoir Academy well as Math, English, History, (PBA) was founded in 1998 and T Science, Art, PE, and Languages. today comprises over 165 boys and The choir school has one of the young men in five choirs, aged 4-18. lowest student-teacher ratios for Pacific Boychoir has become known independent schools in the Bay for its rich sound, musicianship, Area, and is a member of the East phrasing, and talented soloists. Bay Independent Schools Associa- The Los Angeles Times described the Pacific Boychoir quality of sound tion (EBISA). and musicianship as “astonishing.” The PBA has appeared frequently With the addition of a day school with the San Francisco Symphony, in 2004, the PBA has become the under the direction of Michael Tilson only choir school on America’s West Thomas, Kurt Masur, Robert Spano, Coast. The choir school integrates David Robertson, James Conlon, a full academic curriculum with Charles Dutoit, Herbert Blomstedt, daily musical instruction for boys Donato Cabrera, and Vance George,

January 26, 2012 33 performing works by Britten, Angeles, the War Memorial Opera Orff, Wagner, Mahler, Liszt, House in San Francisco, St. Peter’s Mendelssohn, and Berlioz. Along Basilica in Vatican City, the Shang- with the San Francisco Girls Chorus, hai Oriental Arts Center, Basilica San the PBA recorded Mahler’s Third Marco in Venice, Notre Dame Cathe- Symphony with the SFS, awarded dral in Paris, the International House the Grammy for Best Classical of Music in Moscow, Teatro Polyteama Album in February 2004. In January in Jundiai Brasil, Dvorˇák Hall in Prague, 2010, the SFS recording of Mahler’s Jackson Hall at the Mondavi Center in Eighth Symphony, featuring the California, Herbst Theater in San Fran- SF Symphony Chorus, the SF Girls cisco, the Forbidden City Concert Hall Chorus, and the PBA, was awarded in Beijing, Chartres Cathedral, Linder Grammys for Best Choral Perfor- Auditorium in Johannesburg, Sala mance and Best Classical Album. São Paulo, Teatro Municipal in Rio de The PBA has sung with Berkeley Janeiro, Zellerbach Hall, Yoshi’s Oak- Symphony, the UC Berkeley and land, on Public Radio International UC Davis Orchestras, the American (PRI), on Danish National Radio, at Bach Soloists, the San Francisco Grace Cathedral, at professional sport- Opera, the Oakland/East Bay Sym- ing events, and also has several self- phony, the Lithuanian State Orches- produced concerts annually. In 2007, tra, Trinity Lyric Opera, the Youth the Boychoir presented the first per- Orchestra of the Americas, the formances of Rachmaninoff’s Vespers National Symphony Orchestra by an American boys choir (originally of Brasil, the Moscow Chamber written for a boys choir). PBA boys Orchestra, the Marcus Shelby Jazz have also contributed to performances Orchestra, the Johannesburg by comedian Zach Galifianakis, and Festival Orchestra, the University are the voices of the Yahoo! yodel. of Michigan Men’s Glee Club, the The PBA has toured throughout the Harvard Men’s Glee Club, the Vienna USA and to Australia, New Zealand, Boys Choir, the Drakensberg Boys Germany, Austria, Italy, the Czech Choir, the Boni Pueri Czech Boys Republic, France, Canada, Brasil, Choir, Denmark’s Herning Boys Denmark, Argentina, South Africa, Choir, the Oakland Symphony China, Russia, Latvia, Lithuania, and Chorus, the choirs of UC Berkeley Estonia. The Boychoir’s recordings and UC Davis, the American include Cantate, a recording of Early Boychoir, the San Francisco Girls Music written for boys’ voices, a Chorus, the Santa Clara Chorale, recording of Christmas music by and the Marin Children’s Chorus. Benjamin Britten, a recording of The PBA has performed at venues two of Bach’s “Lutheran” Masses, such as Davies Symphony Hall, and That Promised Land, a collection of Dorothy Chandler Pavilion in Los American spirituals and gospel songs.

34 January 26, 2012 Dining Guide

The tradition continues with a modern twist ... menu’s that reflect Located In The seasonally appropriate, local farm fresh foods to enjoy with an extensive selection of beers, California wines 2600 Durant Avenue, Berkeley 510.809.4132 www.henrysberkeley.com and unique cocktails.

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

Rick & Ann’s We offer a variety Rick & Ann’s of home-style for Dinner: Berkeley’s entrees using best kept secret! local ingredients. Rick & Ann’s 2922 Domingo Avenue is open for Berkeley dinner Tuesday 510-649-8538 through Sunday. Restaurant www.RickAndAnns.com

January 26 and April 26, 2012 35 Dining Guide

marvelous Musical Offering A atmosphere— Classical CDs & Café~Bistro where the air is filled with music and the Park Dine Shop aroma of fresh CA cuisine. Join us for Walk to Zellerbach dinner and shopping & before the show! We’re Directly Across the Street! Reservations Requested. 2430 Bancroft Way, Berkeley • We validate parking 510-849-0211 • www.musicaloffering.com

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

36 January 26 and April 26, 2012 Dining Guide

Executive Chef Josh Thomsen, Rising Star Award Winner

L O C A L S E A S O N A L STELLAR

Have a love affair with dining out meritageclaremont.com SYMPHON Y

January 26 and April 26, 2012 37 Dining Guide

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

“America’s most exciting chocolate In Berkeley’s Epicurious Garden innovators.” 1511 Shattuck Avenue | 548.2466 –Food & Wine, Dec 2005

The Official Chocolatier of Berkeley Symphony

Beers $2.75 after 4 pm Our house wine (stone cellar) for $2.75 with meal after 4 pm “Gluten-free” 1600 Shattuck Ave Berkeley (510) 705-1836 Crepes! 5600 College Ave Oakland (510) 658-2026 Redbridge Open daily 7:30am–11pm (midnight Fri & sat) “gluten-free” Beer www.crepevine.com

38 January 26 and April 26, 2012 2011-12 Under Construction New Music Concerts Witness the creation and transformation of newly-written works by three up-and-coming Bay Area composers as Berkeley Symphony brings them to life in their groundbreaking music series, Under Construction. The concert features pieces from Evelyn Ficarra, Nils Bultmann and Noah Luna, as the symphony experiments with their presentation, live on stage. Each excerpt is followed by a Q&A session with Music Director Joana Carneiro, to explore the themes and ideas behind the composition. Learn more about the series and the Under Construction Composers Program on Page 63.

UPCOMING CONCERT Sunday, April 29, 2012 7 pm at St. John’s Presbyterian Church (2727 College Avenue, Berkeley)

Broadcast Dates Relive Tonight’s Concert with KALW 91.7 FM

Berkeley Symphony and public radio station KALW 91.7 FM are pleased to present the broadcast of the Berkeley Symphony’s 2011–12 concert season. KALW will broadcast the season concerts from 4 to 6 pm on Sunday afternoons throughout the year. Special commentary by longtime classical music host Alan Farley in conversation with selected guests will add to the excitement and insight of these programs.

Broadcast dates: December 8, 2011 concert will be broadcast April 22, 2012 January 26, 2012 concert will be broadcast June 3, 2012 April 26, 2012 concert will be broadcast September 16, 2012 All concerts 4–6 pm Sundays on KALW 91.7 FM and streaming online at www.kalw.org.

January 26 and April 26, 2012 39 Why your whole family should go to UC Berkeley

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

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

40 April 26, 2012 April 26 Program

A Hungarian Excursion Thursday, April 26, 2012 at 8:00 pm Zellerbach Hall Joana Carneiro conductor

Béla Bartók Music for Strings, Percussion and Celesta I. Andante tranquillo II. Allegro III. Adagio IV. Allegro molto

Gabriela Lena Frank Holy Sisters

(World Premiere Commission)

Jessica Rivera soprano San Francisco Girls Chorus

INTERMISSION

Zoltán Kodály Galántai Tánkoc (Dances of Galánta) I. Lento II. Allegretto moderato III. Allegro con moto, grazioso IV. Allegro V. Allegro vivace

The April 26 concert is made possible by the generous support of Concert Sponsors Susan & Jim Acquistapace, Marilyn & Richard Collier, Ken Johnson & Nina Grove, Janet & Michael McCutcheon, and Tricia Swift.

The commission and premiere by Gabriela Lena Frank is generously supported by the East Bay Fund for Artists, the National Endowment for the Arts, the Phyllis C. Wattis Foundation, and the Weininger Family, in Honor of Harry Weininger.

Tonight’s concert will be broadcast on KALW 91.7 FM on September 16, 2012.

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

April 26, 2012 41 Golden State Senior Services A Family Business High Standards Exceptional Caregiving Quality Focused Highly Individualized We model our service standards as we would want to be treated (510) 526-8883 www.goldenstateseniorservices.com

42 April 26, 2012 April 26 Program Notes

Béla Bartók (1881–1945) Eastern Europe and he also toured often as a concert pianist and con- Music for Strings, Percussion ductor throughout Europe and the and Celesta United States. On one such tour in 1929, he met Paul Sacher (1906–1999; Béla Bartók was born on March 25, 1881 Basel, Switzerland), conductor of the in Nagyszentimiklós in Hungary (now Sîn- Basel Chamber Orchestra. Sacher nicolau Mare, in Romania). He died in New had founded the orchestra in 1926 York City on September 26, 1945. On June while still a conducting student at the 23, 1936, the Swiss conductor Paul Sacher Basel Conservatory for the purpose commissioned a work from Bartók to mark of performing both modern works the tenth anniversary of the Basel Kammer- and what we now call “early music” orchester (Chamber Orchestra). The Music (i.e., music composed prior to the for Strings, Percussion and Celesta, mid-18th century). He continued to composed over a remarkably short span of lead the ensemble until he disbanded time in the summer of 1936 and completed it in 1987 after a 61-year run. In on September 7, was the result. Its pre- addition, in 1933 Sacher also founded miere, by the Basel Kammerorchester with the Schola Cantorum Basiliensis, Sacher conducting, took place on January a teaching and research institution 21, 1937. Universal Edition of Vienna pub- devoted to early music. lished the piece later that same year. The The following year, Sacher married work is scored for string ensemble (divided the heiress to the vast fortune of into two groups), a large percussion sec- the Hoffmann-LaRouche drug com- tion comprising two side drums (with and pany, and began to use his wealth without snares), two pairs of cymbals (at to commission new works from lead- different pitches), tam-tam, and bass drum ing contemporary composers. To (all played by a single individual), plus tim- commemorate the 10th anniversary pani, xylophone, celesta (occasionally tak- of the Basel Chamber Orchestra, in ing a second part at the piano), harp, and June of 1936, Sacher commissioned a piano. The duration of the work is about 26 work from Bartók for the first time. minutes. In his correspondence with Bartók, Sacher requested that the piece not he 1920s were a busy time for Béla call for wind players (his ensemble T Bartók. While holding a teaching was made up largely of amateur position at the Budapest Academy players, some of whom boasted only of Music, he continued his scholarly modest abilities), and suggested studies of the indigenous music of a workable substitute might be “a

April 26, 2012 43 Berkeley Symphony Orchestra #2 (BW) Cal Performances 4.75” x 7.25” Due: 1/5 Runs: Jan & Apr 2012 Tue, June 12, 9:30 pm Norwegian Chamber Orchestra REV Theodore Jansen, actor Leif Ove Andsnes, piano Program: Janácˇek: String Quartet No. 1, Kreutzer Sonata) (With readings from Tolstoy, arranged for string orchestra and actor) Wed, June 13, 7 pm Barbara Sukowa, speaker Reinbert de Leeuw, piano Norwegian Chamber Orchestra Program: Janácˇek: String Quartet No. 2, (Intimate Letters) · Reinbert de Leeuw: Ojai North! Im Wundershönen Monat Mai Leif Ove Andsnes, music director Wed, June 13, 9:30 pm Marc-André Hamelin, piano Tue-Thu, June 12-14, Hertz Hall Program: Ives: Concord Sonata A unique convergence of exceptional artists performing a stimulating and Thu, June 14, 7 pm diverse repertoire marks our second Leif Ove Andsnes, piano collaboration with the legendary Ojai Music Christianne Stotijn, mezzo-soprano Festival. “A pianist of magisterial elegance, Marc-André Hamelin, piano power, and insight” (New York Times), Norwegian Chamber Orchestra 2012 music director Leif Ove Andsnes Program: Haflidi Hallgrimsson: Poemi · will be joined by some of his favorite Ben Sørensen: Piano Concerto · Berg: collaborators. For more information, visit Four Songs · Beethoven: Piano Sonata calperformances.org. No. 21 in C major (Waldstein) Tue, June 12, 7 pm Thu, June 14, 9:30 pm Leif Ove Andsnes, piano Leif Ove Andsnes, piano Christianne Stotijn, mezzo-soprano Christianne Stotijn, mezzo-soprano Marc-André Hamelin, piano Marc-André Hamelin, piano Members of the Norwegian Chamber Norwegian Chamber Orchestra Orchestra Program: György Kurtág: Jatekok Program: Shostakovich: Six Poems of (selections) · Debussy: Danses Sacre Marina Tsvetaeva · Schnittke: Piano et Profane · Bolcom: Selections from Quintet · Stravinsky: Sacre du Printemps Cabaret Songs · Grieg: Holberg Suite

Order Now for the Best Seats!

Order Online Charge by Phone Ticket Office Zellerbach Hall calperformances.org 510.642.9988 Tue-Fri 12 noon – 5:30pm, Sat-Sun 1 pm – 5 pm

Season Season RUSH Tickets $10-$20 Groups of 10 or more Sponsor: Media Sponsor: Call 510.642.9988 ext 2 save 15% on most events

44 April 26, 2012 piano or cembalo (as a continuo, so The outcome of these studies to speak) or some kind of percussion was of decisive influence upon instrument.” The Music for Strings, my work, because it freed me Percussion and Celesta was the result. from the tyrannical rule of the major and minor keys. The The Music calls for an unusual greater part of the collected assemblage of instruments: at treasure, and the more valuable its core is a body of strings in ten part, was in old ecclesiastical parts and divided into two equal or old Greek modes, or based groups. Bartók instructed that the on more primitive [pentatonic] two groups be arrayed around the scales, and the melodies were outside of the ensemble, mirroring full of most free and varied each other (only one example of the rhythmic phrases and changes importance symmetry plays in the of tempi, played both rubato conception of the work). The other and giusto. instruments (percussion, harp, piano, It became clear to me that the and celesta) occupy the center of the old modes, which had been ensemble. Bartók exploits the dual forgotten in our music, had lost nature of the piano as a percussive nothing of their vigor. Their new string instrument, sometimes using employment made new rhyth- it in the service of the percussion mic combinations possible. This forces, and at other times emphasiz- new way of using the diatonic ing its melodic qualities in support scale brought freedom from the of the strings. rigid use of the major and minor keys, and eventually led to a Bartók had devoted much of the first new conception of the chro- two decades of the 20th century to matic scale, every tone of which the collection and transcription of came to be considered of equal folk music, often in collaboration value and could thus be used with Zoltán Kodály, while on field freely and independently. expeditions in rural Hungary and Romania as well as other parts of One of the “tyrannical” features of Eastern Europe, eventually ranging the traditional major-minor key as far as Algeria and Turkey. Bartók system is the strong gravitational the composer found various uses for attraction exerted by the tonic note; the material he collected, sometimes this pull is aided and abetted by the integrating peasant rhythms and asymmetrical layout of the pitches harmonic scales into his own musical in tonal scales. Most of the intervals language, and sometimes using the are major seconds (whole steps) melodies intact as the basis for new but minor seconds (half steps) are works. In his autobiography Bartók located at crucial points in the scales discussed the influence of these and it is these smaller intervals that sources: nudge the harmony in predictable

April 26, 2012 45 Blue Note

MusicGuitars/AmplifiersEquipment Recording Founded 1930 Instruments Folk 125 locations worldwide Repairs Lessons Management Leasing Valet Parking Shuttles Consulting

When you have parking management or special event needs, call the parking experts. 510/644-2583 We have been parking cars since 1930. 2556 Telegraph @ Blake Locations as small as 20 spaces, as large as 1400 spaces READ “Eye From the Aisle” THEATRE REVIEWS 510.444.7412 www.douglasparking.com by John A. McMullen MFA, SFBATCC, AaTCA, SSDC Astute Corporate Office: Informative 1721 Webster Street • Oakland • CA • 94612 Entertaining Offices in: Oakland • San Francisco • San Jose at www.BerkeleyDailyPlanet.com Walnut Creek • Las Vegas NV • Portland OR Arts & Entertainment Section Athens, Greece

46 April 26, 2012 directions. Treating the tones of the ment. American scholar Benjamin chromatic scale equally allowed for Suchoff has distinguished motives novel harmonic systems, including and scale patterns from Hungarian, symmetrical scales and harmonic Romanian, and Slovak folk traditions. structures that were free from the The bipartite division of the orchestra stereotyped patterns of progression is used to good effect here, as the two and resolution so common to tradi- halves of the string section are played tional tonal music. off against each other antiphonally.

Symmetrical structures permeate The atmospheric third movement Music for Strings, Percussion and Celesta is an example of Bartók’s “Night not only harmonically but also for- Music.” Not a formal designation, mally. The first movement demon- pieces in the “night music” style strates this most vividly. Its principal evoke the sensation of being out- theme begins on A and rises in its doors at night. Bartók family lore twisted and chromatically tortured has it that the composer drew his way to E-flat as its highest structural inspiration from summers he spent note. This interval divides the octave at the country estate of his sister exactly in half, so when the theme is on the Great Hungarian Plain. Iso- inverted it fills in the other half of the lated clusters of notes or seemingly octave, from E-flat to A. The theme random melodic gestures conjure fans out through the orchestra in the memory of insect, frog, or wild fugal fashion, with each even-num- animal sounds; long-held quiet notes bered statement a fifth higher than suggest the stillness of the nocturnal the one preceding, and each odd- air. What night music does not gener- numbered statement a fifth lower. ally include is a clear melody in the Overall, the impression is of an ex- traditional sense; Bartók devised panding wave which reaches its crest this style partly to reflect the rhap- at the mid-point of the movement, sodic nature of Eastern European folk when the theme is presented in E- songs in a slow tempo. Though im- flat, which is also the midpoint in the pressionistic, this movement none- scale from A to A. The movement’s theless is tightly organized in an arch second half unfolds like a mirror im- form (ABCBA) with brief allusions to age of the first, with statements of the first movement theme interposed the theme turned upside down and between the sections. backwards (though in compressed Once more we return to the vigorous form). world of Eastern European folk dance Where movement I was slow and for the fourth movement. Melodies densely wrought, movement II is fast and rhythms from Slovakia, Bulgaria, and rhythmic. Bartók tells us that it and Ukraine swirl past in quick is in sonata form, and its main theme succession. In addition, this finale echoes the subject of the first move- provides a summation and resolution

April 26, 2012 47 of all that has gone before. Thematic ideas from the previous three move- A Benefit ments make fresh appearances, and A Benefit most satisfyingly, the chromatic ConcertConcert theme from the first movement returns in a new diatonic guise.

toto ProtectProtect Three years after completing the Music for Strings, Percussion and Celesta, Borneo’sBorneo’s Bartok gave an interview in Paris in RainforestRainforest which he laid out his principal aim as a composer: Please Join Kodály and I wanted to make a Keynote Speaker synthesis of East and West. Be- cause of our race, and because Gabriela Lena Frank of the geographical position of in presenting the our country, which is at once Presidio String Quartet the extreme point of the East and the defensive bastion of the playing West, we felt this was a task we David Ryther’s evocative were well fitted to undertake.

“Scenes from Costa Rica” By successfully integrating the har- — a rainforest journey monic and rhythmic characteristics of Eastern European folk music with at the the formal procedures of Western Eu- David Brower Center ropean art music in Music for Strings, Berkeley, California Percussion and Celesta, Bartók proved himself up to that task. Saturday May 19th —© Victor Gavenda at 5:00PM Hosted Reception to follow Tickets $60.00 Gabriela Lena Frank (b. 1972) Sliding Scale available Holy Sisters

Contact: Gabriela Lena Frank, Berkeley Symphony’s Brihannala Morgan Creative Adviser, was born in Berkeley and (415) 341 7051 currently resides in Oakland. Holy Sisters is commissioned by Berkeley Symphony. www.borneoproject.org It features text by celebrated Portuguese poet José Tolentino de Mendonça. It is scored for solo soprano, treble choir, 2

48 April 26, 2012 flutes (the second doubling on piccolo), of which contained music “after oboe, English horn, B-flat clarinet, bas- several Gypsies from Galánta.” soon, 2 horns in F, 2 trumpets in C, bass They have preserved the old drum, suspended cymbal, 2 marimbas, Hungarian tradition. In order to slapstick, triangle, harp, and strings. continue it, the composer took Duration ca. 22 minutes. Please refer to his principal subjects from these tonight’s program insert for composer’s ancient editions. comments about the work and the song —Composer’s preface to the score text. Kodály, along with his lifelong friend Béla Bartók, dedicated a major effort to collecting and preserving Zoltán Kodály (1882–1967) Hungarian folk tunes by recording them throughout the countryside. Galántai Tánkoc Many of these tunes provided source (Dances of Galánta) material for his own compositions. Kodály distrusted the accuracy of Zoltán Kodály was born in Kecskemét, printed versions of folk tunes, prefer- Hungary, on December 16, 1882, and died ring recordings of actual performanc- in Budapest, March 6, 1967. He composed es. But in the present case, the 1804 his Dances of Galánta in 1933 and Viennese publication of Hungarian dedicated the work to the Budapest dances mentioned in his preface was Philharmonic Society on its eightieth his only link to an earlier tradition. It birthday. It was premiered October 23, was to this collection that he turned 1933, in Budapest, with Ernö von Dohnányi when asked in 1933 to compose a dance conducting the Budapest Philharmonic suite in honor of the eightieth anni- Society. The score calls for 2 flutes, 2 versary of the Budapest Philharmonic, oboes, 2 clarinets, 2 bassoons, 4 horns, 2 resulting in his Dances of Galánta. trumpets, timpani, tambourine, triangle, bells, and strings. Duration ca. 15 minutes. The 1804 publication was a collec- tion of verbunkos music, dances that alánta is a small Hungar- originated in the second half of the ian market town known G eighteenth century to accompany the to travelers between Vienna recruitment of men into the military. and Budapest. The composer The verbunkos typically includes a slow passed there seven years of his introduction (lassú) and a section childhood. There existed at that time a Gypsy band which has in a fast tempo (friss), with music char- since disappeared. Their music acterized by the alternation of slow was the first “orchestral sonor- and fast figures even within a given ity” that came to the ear of tempo, dotted rhythms, syncopations, the child. . . . About 1800, some major-minor melodies, and wide books of Hungarian dances melodic leaps. The dance steps were published in Vienna, one likewise consisted of slow figures

April 26, 2012 49 50 April 26, 2012 alternating with fast, and were per- formed by hussars accompanied by local or regimental Gypsy bands. The proceedings died out with conscription in 1849, but the musical form survived.

Kodály’s Dances of Galánta includes many elements of the verbunkos tra- dition in addition to the modified tunes themselves. In general, the structural order of the lassú and friss is maintained although considerably enlarged. The introduction is perme- ated with a typical Hungarian dotted rhythm—long notes alternating with pairs of short notes—begun by the cellos. The Gypsy qualities (uncommon melodic steps, syncopations, etc.) are all present. The various dance tunes are strung together through the use of recurring material in the manner of a rondo. The clarinet, a typical instrument in Gypsy bands, is quite prominent in the work, but curiously the solo violin, the leader of such a band, is not; eventually the entire orchestra shares the virtuosity. —© Jane Vial Jaffe

April 26, 2012 51 52 April 26, 2012 April 26 Guest Artists

the all-Frank Naxos CD “Hilos” broke into the top 100 classical record- ings on Billboard in the first week of its release and earned Frank a 2012 Grammy nomination as pianist with the Alias Ensemble in the category of Best Small Ensemble Perfor- mance. The Berkeley Symphony gave the West Coast premiere of Frank’s Peregrinos (Pilgrims) at Music Director Joana Carneiro’s debut concert in October 2009. Peregrinos, originally composed Gabriela Lena Frank, for the Indianapolis Symphony, composer depicts a world inspired by the sto- ries of Latino immigrants in India- member of G. Schirmer’s pres- napolis and was the subject of the tigious roster of artists, Frank A Emmy-nominated PBS documen- creates work that incorporates La- tary “Peregrinos/Pilgrims: A Musical tino/Latin American mythology, ar- Journey.” cheology, art, poetry, and folk music into western classical forms, reflect- Other recent premieres include New ing her Peruvian-American heritage. Andean Songs for the Los Angeles Among numerous awards, Frank has Philharmonic’s Green Umbrella received a 2009 Guggenheim Fellow- new music series, ¡Chayraq! for Yo ship, a 2009 Latin Grammy for Best Yo Ma and the Silk Road Ensemble, Classical Contemporary Composi- Quijotadas for the Brentano String tion, and a 2010 United States Artists Quartet, Tres Mitos de Mi Tierra for the King’s Singers, and La Centinela y la Fellowship given each year to fifty of Paloma (The Keeper and the Dove) America’s finest artists across eight for soprano Dawn Upshaw and the disciplines. St. Paul Chamber Orchestra and Frank’s compositions have been conducted by Joana Carneiro (based described by critics as “luminous on original new texts by frequent … bursting with fresh originality” collaborator and Pulitzer Prize play- (Los Angeles Times), “of unearthly wright Nilo Cruz). Frank is currently beauty” (Miami Sun-Sentinel), and at work on new compositions for “brilliant” (Chicago Tribune). In 2011, the Cleveland Orchestra, the Los

April 26, 2012 53 eclectic handblown glass by Patricia Garrett

berkeley studio by appointment (510) 339-1138

54 April 26, 2012 Angeles Master Chorale (in collabo- composers including John Adams, ration with the Andean music group Osvaldo Golijov, and Nico Muhly, Huayucaltia), and guitarist Manuel and has brought her together in Barrueco, among others. collaboration with such esteemed conductors as Bernard Haitink, Sir Born in Berkeley in 1972, Frank holds Simon Rattle, Esa-Pekka Salonen, a bachelor’s and a master’s degree Robert Spano, and Michael Tilson from Rice University, and a doctor- Thomas. ate from the University of Michigan in Ann Arbor. She currently resides In the 2011-12 season Rivera makes in Oakland and travels often to Latin her debut with the Finnish National America. Opera as Kitty Oppenheimer in Peter Sellars’s acclaimed production of John Adams’s Doctor Atomic, a role with which she made her European operatic debut with the Netherlands Opera and Lyric Opera of Chicago. She also debuts with Madrid’s Teatro Treal in Golijov’s Ainadamar, sing- ing the role of Margarita Xirgu. She returns to the Cartagena Festival in Colombia for Golijov’s La Pasión según San Marcos. Under the direc- tion of Bernard Haitink, Rivera makes her Boston Symphony Or- chestra debut in Beethoven’s Sym- phony No. 9, which she also sings with the Houston Symphony under Hans Graf, and the Chamber Orches- tra of Europe at the Concertgebouw Jessica Rivera, soprano in Amsterdam and in Salle Pleyel in Paris. ossessing a voice praised by the P San Francisco Chronicle for its Ms. Rivera was heralded in the world “effortless precision and tonal lus- premiere of John Adams’s newest ter,” Jessica Rivera is established as opera, A Flowering Tree, singing the one of the most creatively inspired role of Kumudha, in a production vocal artists before the public today. directed by Peter Sellars as part Her superb performances on the of the New Crowned Hope Festi- great international concert and val in Vienna. Since then, she has opera stages has garnered Ms. Rivera performed the work for her debut unique artistic collaborations with with the Berliner Philharmoniker many of today’s most celebrated with Sir Simon Rattle and, under the

April 26, 2012 55 composer’s baton, with the Cincin- in a collaboration with pianist Molly nati Opera, San Francisco Symphony, Morkoski and the MEME Chamber the Los Angeles Philharmonic, the Or- Ensemble. chestra of St. Luke’s at Lincoln Center, Other highlights of recent seasons and the London Symphony Orchestra include John Adams’s El Niño under at the Barbican Centre. An upcoming the composer’s baton at the San performance is scheduled with the Francisco Symphony and at the Atlanta Symphony in June 2012. Edinburgh International Festival with Ms. Rivera covered the role of Pat James Conlon and the BBC Scottish Nixon for the Metropolitan Opera’s Symphony Orchestra, Mahler’s company premiere of Nixon in Fourth Symphony with Franz Welser- China directed by Peter Sellars and Möst in a debut with the Cleveland conducted by John Adams, and Orchestra, and Górecki’s Symphony joined the Grammy Award-winning No. 3 (“Symphony of Sorrowful Beninoise singer-songwriter Songs”) with Gustavo Dudamel Angélique Kidjo for the world pre- and the Los Angeles Philharmonic. miere of Jonathan Leshnoff’s Hope: Ms. Rivera made her critically An Oratorio at the Kimmel Center acclaimed Santa Fe Opera debut in with the Chamber Orchestra of the summer of 2005 as Nuria in the Philadelphia. Carnegie Hall and world premiere of the revised edi- Cal Performances Berkeley co- tion of Osvaldo Golijov’s Ainadamar. commissiond a work for Jessica Ri- She reprised the role for the 2007 vera written by Mark Grey with a li- Grammy Award-winning Deutsche Atash bretto by Niloufar Talebi; Grammophon recording of the work Sorushan (Fire Angels), which received with the Atlanta Symphony Orches- its premiere during recital presenta- tra under Robert Spano, and bowed tions at Zankel Hall and Hertz Hall in the Peter Sellars staging at Lincoln Center, Opera Boston, as well as in The Official Chocolatier performances at the Barbican of Berkeley Symphony Centre, the Adelaide Festival of Arts, Cincinnati Opera, and the Ojai and Ravinia Festivals. She is currently in her second year of the Artist Resi- dency Program with San Francisco Performances where she conducts workshops in classroom and com- munity settings throughout the Bay Area, encouraging young people to open their minds to the beauty and power of music as well as to the po- etry and spirit behind the art of song.

56 April 26, 2012 photo by RJ Muna

San Francisco Girls Chorus swearing-in ceremony, and a debut concert at Alice Tully Hall at New York’s or more than 30 years, the San Lincoln Center. F Francisco Girls Chorus has been recognized as one of the world’s most Founded in 1978, the San Francisco respected vocal ensembles. Its level Girls Chorus has become a regional of training, performance, quality, center for choral music education range, and leadership in commission- and performance for girls and young ing music for treble voices is lauded by women ages 5-18. 400 singers from 45 Bay Area cities participate in this musicians, critics, and audiences. San internationally recognized program, Francisco Symphony Music Director deemed “a model in the country for Michael Tilson Thomas says, “The San training girls’ voices” by the California Francisco Girls Chorus is a treasure. Arts Council. The organization consists Their training, musicality, and vibrant of a professional level performance, spirit are evident whenever they per- recording and touring ensemble and form. I have enjoyed our long associa- the Alumnae Chorus, both conducted tion and look forward to many years by Artistic Director Susan McMane; of collaboration.” the four-level Chorus School train- SFGC’s 30th Anniversary season, ing program, supervised by Director 2008-2009, culminated in a perfor- Elizabeth Avakian; and a Preparatory mance in President Barack Obama’s Chorus for 5-7 year olds.

April 26, 2012 57 SFGC has won many honors, including SFGC has been featured at the Ameri- the prestigious Margaret Hillis Award can Choral Directors Association West- and two ASCAP Awards for Adventur- ern Division Convention in Salt Lake ous Programming in 1999, 2004 and City and represented North America in 2011. The Girls Chorus is invited annu- the prestigious World Vision Children’s ally to perform with musical organiza- Choir Festival in Seoul, Korea, and in tions including San Francisco Opera, the Gateway to Music Festival at the San Francisco Symphony, Philharmo- Forbidden City Concert Hall in Beijing. nia Baroque Orchestra, and others. The Chorus School offers a program The Chorus has been honored to sing of unparalleled excellence, designed at many national and international to take young girls from their first in- venues, including the World Choral troduction to the art of choral singing Symposium in Kyoto, Japan in 2005. through a full course of choral/vocal instruction. This comprehensive mu- sic education includes the study and development of choral artistry, vocal technique, music theory, music his- tory, and performing style. The disci- pline, teamwork, and concentration young girls learn in the Chorus School rehearsals and performances instill in them the values necessary for high achievement in music and in life.

SFGC’s discography continues to grow with a new release entitled Heaven and Earth. The music on this two-disc set represents some of the greatest sacred and secular repertoire ever written for treble voices. Other record- ings include: Voices of Hope and Peace, a recording with many exciting SFGC commissions; Christmas, featuring di- verse holiday selections; Crossroads, a collection of world folk music; and Mu- sic from the Venetian Ospedali, a disc of Italian Baroque music of which The New Yorker described the Chorus as “tremen- dously accomplished.” The Chorus can also be heard on several San Francisco Symphony recordings, including five Grammy Award-winners.

58 April 26, 2012 Young People’s Symphony Orchestra

ounded in 1935 in Berkeley, Young People’s Symphony Orchestra (YPSO) is the Foldest independent youth orchestra in California, and the second oldest in the nation. For 75 years—and counting—YPSO has developed the musical talents and skills of students in the San Francisco Bay Area. Today, many YPSO alumni are in- ternationally distinguished musicians and prominent community members.

YPSO’s mission is to guide young musicians to achieve excellence within an orchestral setting, which includes providing an educational environment that fosters accomplishment, serving as a cultural resource for the community, and building future audience by instilling a passion for music.

Music Director/Conductor David Ramadanoff, in his 23rd season with the orches- tra, leads a team of master teachers who provide specialized sectional coaching each week, addressing technical and musical issues unique to their instruments. Student applicants audition for placement into YPSO in May and August for the season, which begins in September. The Orchestra’s 100 members range in age from 12-22, and represent 28 cities and six counties in the San Francisco Bay Area. As a result of YPSO’s intensive sectional coaching program and Mr. Ramadanoff’s extensive background in orchestra building, the orchestra has grown substantial- ly in quality and size and has gained a reputation throughout and beyond North- ern California as an outstanding youth ensemble.

YPSO has performed in prestigious locations including Carnegie Hall, the Dean Lesher Regional Center for the Arts in Walnut Creek, San Francisco’s War Memorial Opera House and Davies Symphony Hall, the Calvin Simmons Auditorium, the San Francisco Museum of Modern Art, and the International Kiwanis Convention, and has been broadcast live on San Francisco’s KGO, KKHI, and KALW radio stations.

January 26 and April 26, 2012 59 Music in the Schools

Ming Luke conducts student violinists at Malcolm X Elementary, March 2008. Berkeley Symphony’s Music in the Schools Program

or eighteen years, our award- This dynamic music education Fwinning Music in the Schools program includes teacher training, program has provided a year-long, classroom visits by Berkeley interactive introduction to symphonic Symphony Musicians, Meet the music to elementary school students Symphony concert to introduce in Berkeley. In our partnership with students to symphonic music, I’m a Performer! concert featuring Berkeley Unified School District, we student performers, Family Concerts serve all eleven Berkeley elementary for all community members, and schools and reach more than 4,000 free or reduced-rate concert tickets students every year. Honored by the to Berkeley Symphony for students League of American Orchestra as one and their parents. of the top education programs in the country, the program is designed to “A great community resource. A true meet national, state and local arts ed- gem in bridging the arts and bringing ucation standards and gives students fine music development and apprecia- the opportunity to actively participate tion to our school.” in making music and develop skills —Marina Franco, that are essential for success. fourth-grade teacher

60 January 26 and April 26, 2012 Berkeley Symphony gratefully acknowledges the support from the following community partners for Music in the Schools as well as the many individual donors who make this program possible.

Berkeley Public Education Foundation Bernard Osher Foundation Berkeley Unified School District Target Stores Berkeley Association of Realtors Union Bank Foundation California Arts Council Wells Fargo Bank David B. Gold Foundation Bernard E. & Alba Witkin Charitable In Dulci Jubilo Foundation Koret Foundation Zalec Familian and Lilian Levinson National Endowment for the Arts Foundation

January 26 and April 26, 2012 61 since 1980

Celebrating Joana & Berkeley Symphony

Building Another Great Season! 2011-2012

1280 Sixth Street | Berkeley CA | 510.558.8030 | www.mcbuild.com

62 January 26 and April 26, 2012 Under Construction

Joana Carneiro working with Under Construction composer Mark Ackerley.

Under Construction New Music Series / Composers Program

nder Construction is Berkeley Symphony’s unique open rehearsal and perfor- Umance series in which audiences hear works-in-progress played for the first time. Designed as a reading session and showcase for the Bay Area’s composing talents, the program provides a rare and invaluable opportunity for emerging composers to further develop their skills and gain practical experience in writing for a professional orchestra. During the year-long program, each selected com- poser will workshop and complete one large symphonic work to be presented at the Under Construction concerts. They will regularly meet with program director Gabriela Lena Frank in private and small group sessions, receive feedback and or- chestration lessons from music director Joana Carneiro and guest composers, as well as participate in workshops led by key orchestra members. Each composer will also receive a CD of the performance for their personal and non-commercial use. The two Under Construction concerts are formatted to build upon one another: the orchestra will “test-drive” the works-in-progress and experiment with different mu- sical passages at the first concert to culminate in the complete polished piece which will be performed at the second concert. Watch and listen as Joana Carneiro and the orchestra bring life to new works in a way that is unique to Berkeley Symphony! Thank you to the UC funders: Aaron Copland Fund for Music, Margaret Dorfman, The Amphion Foundation To learn more, visit: www.berkeleysymphony.org/education/uccp

January 26 and April 26, 2012 63 64 January 26 and April 26, 2012 Contributed Support

Be a part of the Berkeley Symphony Family!

As a Berkeley Symphony supporter, you develop a deeper connection to the music and artists and make it possible for the orchestra to present innovative concerts, world-class guest soloists, commissions and premieres, emerging composer development, and award-winning music education for all public elementary school children in Berkeley.

Please consider becoming a part of this incredible community through one or more of the following ways:

Volunteer: Volunteering is a great way to get involved “behind the scenes” with Berkeley Symphony. We offer ongoing volunteer opportunities, including assisting with concerts and special events, as well as light administrative work in the office.

Individual Giving: Individual donations are crucial to our mission as a cutting-edge orchestra. They help underwrite our artistic and administrative fees and other basic infrastructure of our organization.

Support Music Education: Berkeley Symphony is proud to enter its eighteenth year of partnership with the Berkeley Unified School District, providing music education to all Berkeley public elementary students. Your contribution will ensure the continuation and success of our Music in the Schools program.

Corporate Matching Gifts: Many Bay Area companies match employee donations to not-for-profit organizations. When you make a donation to Berkeley Symphony, you could increase the impact of that gift through a corporate match. Please contact your HR Department to see if your company supports such a program.

Planned Giving: Remembering Berkeley Symphony in your estate plans is a meaningful way to leave a lasting impact on the orchestra’s programs. A planned gift may be as simple as naming Berkeley Symphony as beneficiary in your retirement account or will, and for many donors this will be the largest donation they ever make.

For further information about giving opportunities, please call Darren Rich, Director of Development, at (510) 841-2800 x305 or visit www.berkeleysymphony.org/support.

January 26 and April 26, 2012 65 2011-12 Season Sponsors

Kathleen G. Henschel

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

Meyer Sound

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

66 January 26 and April 26, 2012 2011-12 Season Donor Benefits

Friends of Berkeley Symphony Supporting Member: $100+ Insider’s scoop of Berkeley Symphony programs Advance notice of discounts and events through Berkeley Symphony e-newsletter Acknowledgement in the concert program, celebrating your support

Associate Member: $300+ (All of the above plus) An invitation for two to attend an Open Rehearsal and Reception

Principal Member: $750+ (All of the above plus) Invitation to Music in the Schools Concerts, post-concert receptions, and a back- stage tour VIP service for all your ticketing needs

Symphony Circle Concertmaster: $1,500+ (All of the above plus) Invitation to Symphony Circle Salon Receptions featuring a performance by the concert guest artist(s) and discussion with Music Director Joana Carneiro Invitation to pre-concert Sponsors Dinners with others in the Berkeley Symphony family

Conductor: $2,500+ (All of the above plus) Invitation to the annual Musicians Dinner to meet the Symphony

Sponsor Circle Associate Sponsor: $5,000 (All of the above plus) Your generosity is celebrated with an array of benefits related to either concert sponsorship or musician chair sponsorship VIP access to the Sponsor’s Lounge at concert intermissions and tickets to a closed symphony rehearsal of your choice

Executive Sponsor: $10,000 (All of the above plus) Invitation to an intimate Sponsors Circle Dinner with Music Director Joana Carneiro

Season Sponsor: $25,000 (All of the above plus) Acknowledgement in the concert program as a sponsor for the 2011-12 season Invitation to create the personalized experience you want at Berkeley Symphony

January 26 and April 26, 2012 67 Annual Fund Annual fund gifts enable Berkeley Symphony to continue its mission to present innovative programming, provide music education to all Berkeley elementary students, and create a community where learning and experiencing the art is accessible to all. We gratefully acknowledge the generosity of each individual who has contributed to our annual fund between October 1, 2010 and Janaury 6, 2012

SPONSOR CIRCLE SYMPHONY CIRCLE

Gifts of $100,000 or more Gifts of $2,500 or more Kathleen G. Henschel Michele Benson Judith L. Bloom Gifts of $50,000 or more Norman A. Bookstein & Gillian Kuehner Helen & John Meyer John & Charli Danielsen Gary Glaser & Christine Miller Gifts of $25,000 or more Elizabeth Helmholz Lisa & James Taylor Jeffrey Shattuck Leiter & Susan Hone The Weininger Family, in Honor Kim & Barbara Marienthal of Harry Weininger Bennett Markel & Karen Stella Gifts of $10,000 or more Bebe & Colin McRae Anonymous Alice Olsen Thomas W. Richardson & Edith Jackson Susan & Jim Acquistapace Linda Schacht & John Gage Buzz & Lisa Hines Merrill & Patricia Shanks Ken Johnson & Nina Grove Paul Templeton & Darrell Louie Janet & Marcos Maestre Carol Jackson Upshaw Janet & Michael McCutcheon Craig & Anne Van Dyke Deborah O’Grady & John Adams Tom & Mary Reicher Gifts of $1,500 or more Kathy Canfield Shepard & John Shepard Gertrude & Robert Allen Tricia Swift Sallie & Edward Arens Karen Faircloth Gifts of $5,000 or more Valerie & Richard Herr Anonymous (2) Arthur & Martha Luehrmann Gray & Anne Cathrall René Mandel & Joana Berman Ronald & Susan Choy Ellen Singer-Vine Marilyn & Richard Collier Gordon & Evie Wozniak Jennifer Howard DeGolia Alison Teeman & Michael Yovino-Young James & Rhonda Donato Shariq Yosufzai & Brian James Margaret Dorfman Anita Eblé FRIENDS OF Ellen Hahn, In Loving Memory of Roger BERKELEY SYMPHONY Hahn Gail & Bob Hetler Gifts of $750 or more William & Robin Knuttel Phyllis Brooks Schafer Ed Osborn Joy & Jerome Carlin Bernard E. and Alba Witkin Charitable Earl & June Cheit Foundation Bruce & Joan Dodd

68 January 26 and April 26, 2012 Gifts of $750 or more (continued) Gifts of $300 or more (continued) Doris Fukawa Alta Tingle, in Honor of Kathleen G. Sharon & Stuart Gronningen Henschel John Harris Ama Torrance Lynne La Marca Heinrich & Dwight Miriam & David Wilson Jaffee Nancy and Charles Wolfram Lois & Gary Marcus Caroline Wood Howard & Nancy Mel Mary Lu & Bob Schreiber Gifts of $100 or more Deborah Shidler & David Burkhart Anonymous (8) Michel Taddei Anonymous, in Honor of Marilyn Collier Anthony & Patricia Theophilos, in Honor of Kathleen G. Henschel Denny Abrams Patricia & Ronald Adler Gifts of $300 or more Jim & Mary Alinder, in Honor of Angela Archie Kathleen G. Henschel Christel Bieri Donald & Margaret Alter Joana Carneiro Joel Altman Mr. & Mrs. J.A. Clements, in Honor of Judy S. Anderson Kathleen G. Henschel Patricia Vaughn Angell Annelle Clute Jonathan Arons Robert Cole & Susan Muscarella Deborah & Eric Asimov, in Honor of Richard Colton Kathleen G. Henschel Jonathan & Thelma Dixon Fred and Elizabeth Balderston Carolyn Doelling Steven Beckendorf Mr. Anthony Drummond John Benson Jack & Ann Eastman Berkeley Public Education Gini Erck & David Petta Foundation Anne Flegel Berkeley Unified School District Mary & Stan Friedman David Berland, in Honor of Mr. & Mrs. John & Paula Gambs R. Collier Evelyn & Gary Glenn Howard & Estelle Bern Reeve Gould Ms. Bonnie J. Bernhardt Bonnie & Sy Grossman George and Dorian Bikle Ms. Louise Gund Cara Bradbury George & Marie Hecksher Robert J. Breuer William & Judith Hein Mark Chaitkin & Cecilia Storr Mark & Roberta Hoffman Murray & Betty Cohen Ora & Kurt Huth Kristin Collins F.W. Irion Dr. Lawrence R. Cotter Robert Kroll & Rose Ray Rose Craig David Lipson Barbara A. Dales Susie Medak & Greg Murphy Joe and Sue Daly Amelie Mel de Fontenay & John Stenzel Patricia Davis, in Honor of Kathleen Joe & Carol Neil G. Henschel Penny & Noel Nellis Blair Dean Ann M. O’Connor & Ed Cullen Ms. Lois De Domenico, in Honor of Michael & Elisabeth O’Malley Kathleen G. Henschel Ditsa & Alex Pines Dr. Marian C. Diamond Bracha Tannenbaum, in Honor of Sarah Douglas Kathleen G. Henschel Nancy & Gordon Douglass

January 26 and April 26, 2012 69 Gifts of $100 or more (continued) Laurel Leichter Paul Dresher & Philippa Kelly Jim Lovekin Tanya DrlikBeth & Norman Edelstein John Lowitz & Fran Krieger Bennett Falk & Margaret Moreland Helen Marcus Mary Falvey Jeanne Margen John Feld Susan Marinoff & Tom Schrag, in Honor Marcia Flannery of Kathleen G. Henschel Anne Flegal Patrick McCabe Collette Ford Suzanne McCulloch Molly Fraker Winton & Margaret McKibben Mr. & Mrs. Michael B. Frank Karen McKie Ednah Beth Friedman Suzanne & William McLean Daniel & Kate Funk Whitney Morris Theresa Gabel & Timothy Zumwalt, in Gerry Morrison Honor of Kathleen G. Henschel Murrey Nelson Isabelle Gerard William Newton Marianne & John Gerhart Gaby Olander Jeffrey Gilman & Carol Reif Carol Olwell Rose Marie & Sam Ginsburg, in Honor Jacob Pak of Kathleen G. Henschel Ms. Terry L. Pedersen David Goines Elizabeth Pigford, in Honor of Tricia Patrick Golden Swift Edward C. Gordon Leslie & Joellen Piskitel Ervin & Marian Hafter H. Platts, in Honor of Kathleen G. Henschel Sophie Hahn Anja Plowright Roger & Anne Hollingsworth Haley, in Myron Pollycove Honor of Kathleen G. Henschel Lucille & Arthur Poskanzer Jane Hammond Dr. Patrick M. Pralle Alan Harper & Carol Baird George N. Queeley Mary Healy Stephen & Wilma Rader Gregory & Francey Henschel, in Honor Marjorie Randell-Silver & Eric Silver of Kathleen G. Henschel John Ratcliffe Richard & Joan Herring Eileen and Charles Read, in Honor of Deborah Hofman, in Honor of Kath- Kathleen G. Henschel leen G. Henschel John & Hillary Reinis, in Honor of Kath- Hilary Honore leen G. Henschel Andrea Kneeland & Elizabeth Hounshell Mr. Arthur Remedios Richard Hutson Louise & Paul Renne, in honor of Kathy Fred Jacobson Henschel Mr. Wayne J. Jensen Jim Reynolds, in Honor of Kathleen G. Irene & Kiyoshi Katsumoto Henschel Todd Kerr Donald Riley and Carolyn Serrao Candace & Paul Khanna Larissa Roesch Cynthia Koenigsberg & Harry Patsch II Henry and Kate Rogers Laura and Paul Kuhn Annie Rohan Sam & Tamara Kushner Julianne H. Rumsey Carol Kusmierski Susanna Schevill Laurence & Jalyn Lang Steven Scholl Almon E Larsh, Jr Robert Schwenke Mr. James T. Leak Jack Shoemaker

70 January 26 and April 26, 2012 Gifts of $100 or more (continued) Renée Tissue Anne Shortall Elsa & Revan Tranter Lynn Signorelli George & Madeleine Trilling Robert Sinai & Susanna Schevill Deborah and Bob van Nest, in Honor of Jutta Singh, Jutta’s Flowers and Gifts Kathleen G. Henschel Kathie Sollers, in Honor of Kathleen G. Victor Vazquez Henschel Robert & Emily Warden Carol & Anthony Somkin Robert and Martha Warnock Ms. Carla Soracco Sheridan & Betsey Warrick Sylvia Sorell & Daniel Kane Alice Waters Bruce & Susan Stangeland Dorothy & Sheldon Wechsler Karen Stella Dr. George & Bay Westlake Kyra Subbotin Tim Whalen, in Honor of Kathy Henschel Matias Tarnopolsky & Birgit Karsten Windt Hottenrott Linda & Steven Wolan Frances & Ronald Tauber Nancy & Sheldon Wolfe Monica Thyberg Charlene Woodcock

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

Nagano Campaign for the Future

We thank our supporters of the Nagano Campaign for the Future.For more informa- tion about the Nagano Campaign for the Future, please contact Darren Rich, Direc- tor of Development, at 510.841.2800 x305 or [email protected]

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

January 26 and April 26, 2012 71 Berkeley Symphony Legacy Society

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

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

Institutional Gifts

Berkeley Symphony expresses its deep appreciation to the following individuals, foundations, corporations, government agencies, and community organizations for their generous support of our artistic and educational programming. Gifts received as of January 6, 2012

Gifts of $50,000 or more Gifts of $5,000 or more (continud) William & Flora Hewlett Foundation Bernard E. and Alba Witkin Charitable Meet the Composer Foundation

Gifts of $25,000 or more Gifts of $2,500 or more Creative Work Fund/Walter & Elise The Amphion Foundation Haas Fund The Aaron Copland Fund for Music Meyer Sound Laboratories, Inc. David B. Gold Foundation National Endowment for the Arts Zellerbach Family Foundation Phyllis C. Wattis Foundation Gifts of $1,500 or more Gifts of $10,000 or more Berkeley Association of Realtors Anonymous In Dulci Jubilo, Inc. Berkeley Public Education Founda- The Grubb Co. tion Target Stores East Bay Fund for Artists Ann and Gordon Getty Foundation Koret Foundation Bernard Osher Foundation Matching Gifts The following companies have matched Gifts of $5,000 or more their employees’ contributions to City of Berkeley Berkeley Symphony. Please call us at League of American Orchestras/ 510.841.2800 x305 to find out if your MetLife Foundation company matches gifts. California Arts Council Union Bank Foundation Anchor Brewing Co. Wallis Foundation Chevron Wells Fargo Foundation Johnson & Johnson

72 January 26 and April 26, 2012 In-Kind Gifts

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

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

Administration Contact

René Mandel, Executive Director Theresa Gabel, Director of Operations Darren Rich, Director of Development Jenny Lee, Director of Communications Ming Luke, Education Director & Conductor Maya Lawrence, Patron Services & Tickets available by phone, fax, Special Events Manager mail, e-mail, or online: Kirstin Haag, Development/Marketing Berkeley Symphony Assistant 1942 University Avenue, Suite 207, Christine Browne, Bookkeeper Berkeley, CA 94704 510.841.2800 Program Fax: 510.841.5422 Jane Vial Jaffe, Program Annotator [email protected] Victor Gavenda, Program Annotator www.berkeleysymphony.org Andreas Jones, Program Designer Sign up online for our e-newsletter to stay current on Berkeley Symphony Julie Giles, Program Cover Designer and Joana Carneiro. John McMullen, Advertising Sales California Lithographers, Program Printing find us on

January 26 and April 26, 2012 73 Advertiser Index

The Academy ...... page 30 Jutta’s Flowers ...... page 50 Albert Nahman Plumbing ...... page 32 La Mediterranée ...... page 36 Alegio Chocolaté ...... pages 38, 56 Lunettes du Monde ...... page 32 Bec’s Bar and Bistro ...... page 38 The Magnes Collection ...... page 22 Berkeley City Club ...... page 51 Margaretta K. Mitchell Photography . .page 10 Berkeley Horticultural Nursery ...... page 42 Maybeck High School ...... page 28 Bill’s Men’s Shop ...... page 26 McCutcheon Construction ...... page 62 Blue Note Music ...... page 46 Meritage at the Claremontg ...... page 37 Borneo Project ...... page 48 Mimi’s Landscaping ...... page 24 Cal Performances ...... pages 6, 44 Mountain View Cemetery . . .inside back cover The Club at The Claremont ...... page 18 Musical Offering ...... page 36 Coldwell Banker ...... page 28 O Chamé ...... page 36 Crepevine Restaurant ...... page 38 Oceanworks ...... page 42 Crowden ...... page 58 Other Minds ...... pages 24, 52 Dining Guide ...... pages 35-38 Pacific Boychoir Academy ...... page 66 DoubleTree Hotel ...... page 64 Patricia Garrett Handblown Glass . . . page 54 Douglas Parking ...... page 46 Poulet ...... page 35 Eva Ruland, Life Coach ...... page 51 R. Kassman Piano ...... page 52 Eye from the Aisle ...... page 46 Revival Bar & Kitchen ...... page 37 The Gardener ...... page 62 Rick & Ann’s Restaurant ...... page 35 Going Places ...... page 30 St. Paul’s Towers ...... inside front cover Golden State Senior Care ...... page 42 Storey Framing ...... page 26 The Grubb Co ...... back cover Talavera ...... page 31 Henry’s Gastropub...... pages 8, 35 Thornwall Properties ...... page 20 Hotel Durant ...... page 18 Tricia Swift, Realtor ...... page 61 Hudson ...... page 37 Turtle Island Book Shop ...... page 31 Idyllwild Arts Academy ...... page 14 UC Berkeley Optometry ...... page 40 Judith L. Bloom, CPA ...... page 12 Union Bank ...... page 26

TO ADVERTISE IN THE BERKELEY SYMPHONY PROGRAM

CALL JOHN M C MULLEN 510.652.3879

74 January 26 and April 26, 2012