Joana CarneiroMUSIC DIRECTOR

13/14 SEASON

BerkeleySymphony_program_covers_FINAL.indd 2 8/5/13 3:47 PM

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Berkeley Symphony 2013-14 Season

Season Sponsors: Kathleen G. Henschel, and Brian James & Shariq Yosufzai

Media Sponsor: Official Wine Sponsor:

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

Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras.

No photographs or recordings of any part of tonight’s performance may be made without the written consent of the management of Berkeley Symphony. Program subject to change.

5 Message from the Music Director7 Message from the Executive Director

9 Board of Directors & Advisory Council

10 Orchestra

13 Program

15 Program Notes

31 Music Director: Joana Carneiro

37 Guest Artist

41 Berkeley Symphony

45 Music in the Schools

47 Under Construction49 Broadcast Dates57 Membership Support65 Contact 66 Advertiser Index

Berkeley Symphony, 1942 University Ave., Ste. 207, Berkeley, CA 94704510.841.2800 • Fax: 510.841.5422E-mail: info@berkeleysymphony.orgWeb site: www.berkeleysymphony.orgTo advertise: 510.652.3879

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Dear Friends,It is wonderful to be back with you again and I am excited to share tonight’s program with you. Rarely do concert audiences get to an opportunity to experience musical influences spanning four centuries in one evening. But tonight we present just such an opportunity. Brett Dean’s Carlo provides us with the bookends, having been written in 1997, but inspired by the late Renaissance madrigals of the Italian composer Carlo Gesualdo (1566-1613). I have been a huge fan of Dean’s work for many years and am delighted to introduce one of his best-known works to you.

Within our chronological bookends, we move forward to Haydn (1732-1809) and conclude with Brahms (1833-1897). The extent of influence that the music of Haydn had on Brahms is well documented and for that reason, we are delighted to present these great works within our 400-year musical journey.

We are most fortunate to have cellist Peter Wyrick with us tonight. A favorite with Bay Area audiences who recognize him from his first desk position at the San Francisco Symphony, Peter is a conductor’s dream. His consummate artistry is matched only by his warmth and generosity as a musical collaborator. I know you will enjoy his interpretation of Haydn’s Cello Concerto No. 1.

As 2014 draws near, I wish you all a peaceful and prosperous New Year. Thank you for being here tonight and for your most inspiring love for our music.

Warm regards,.

Joana Carneiro

Message from the Music Director

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Message from the Executive Director

Greetings!When programming contemporary music, we are equally committed to introducing the brilliant literature written within the last few decades as we are to commissioning new work. Tonight we are delighted to introduce you to the music of Brett Dean. Exactly 16 years ago tonight—on December 5, 1997—Carlo had its world premiere with the composer conducting the Australian Chamber Orchestra in New South Wales. What a fortuitous coincidence!

I am particularly thrilled to be welcoming my personal friend and musical colleague, Peter Wyrick, as our soloist in the Haydn this evening. Peter and I have had the pleasure of performing together in orchestral as well as in chamber music settings, and will, in fact, be closing out the inaugural season of our Berkeley Symphony & Friends Chamber Music Series at the Piedmont Center for the Arts. If you haven’t already had the opportunity to attend one of these intimate chamber concerts, I hope you will join us for the remaining three Sundays, on January 19, March 16 and April 13 at 5pm.

For all new music fans, you won’t want to miss our 2014 Under Construction New Music Series/Composers Program. In a new partnership with EarShot, we have expanded our reach nationally. After a highly competitive process with 168 applicants, the works of four composers have been selected to be developed and performed by the Orchestra on February 2 and May 4 at the Osher Studio in Berkeley.

As always, I would like to personally thank each and every one of you who attend our concerts, give of your time and resources, and commit to being members of Berkeley Symphony’s ever growing family.

From all of us at Berkeley Symphony, we wish you a joyful holiday season!

Gratefully yours,

René Mandel, Executive Director

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Board of DirectorsExecutive CommitteeThomas Z. Reicher, PresidentJanet Maestre, Vice President for GovernanceJanet McCutcheon, Vice President for DevelopmentStuart Gronningen, Vice President for Community EngagementEd Osborn, TreasurerTricia Swift, SecretaryRené Mandel, Executive Director

Advisory Council (continued)Lynne LaMarca Heinrich & Dwight JaffeeKathleen G. HenschelBuzz HinesSue HoneKenneth A. Johnson & Nina GroveTodd KerrJeffrey S. LeiterBennett MarkelBebe & Colin McRaeElisabeth & Michael O’MalleyMaria José PereiraHelen MeyerChristine MillerDeborah O’Grady & John AdamsMarjorie Randell-SilverThomas W. RichardsonLinda Schacht & John GageKathy Canfield Shepard & John ShepardJutta SinghLisa & James TaylorAlison TeemanPaul Templeton & Darrell LouieAnne & Craig Van DykeYvette VloeberghsShariq YosufzaiMichael Yovino-Young

Board of Directors & Advisory Council

DirectorsSusan AcquistapaceGertrude AllenNorman BooksteinJames DonatoEllen L. HahnBrian JamesWilliam KnuttelSandy McCoyDeborah ShidlerMichel Taddei

Advisory CouncilMarilyn Collier, ChairMichele BensonJudith BloomJoy CarlinRon ChoyRichard CollierDiane CrosbyJohn DanielsenJennifer DeGoliaCarolyn DoellingAnita EbléKaren FairclothGary GlaserReeve GouldBerekot Haregot

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Joana Carneiro, Music Director Sponsored by Helen and John MeyerSponsored by Earl O. OsbornSponsored by Lisa and Jim TaylorSponsored by Brian James and Shariq YosufzaiSponsored by Anonymous

Kent Nagano, Conductor Laureate

Violin IFranklyn D’AntonioConcertmasterMatthew SzemelaAssociate ConcertmasterJiwon Evelyn KwarkAssistant ConcertmasterEugene ChukhlovLarisa KopylovskyLisa ZadekCandy SandersonIlana ThomasQuelani PenlandAlexandra Lee*John BernsteinNoah TerrySara LeeDavid GroteAlan ShearerBert Thunstrom

Violin IIKarsten WindtPrincipalElizabeth ChoiAssistant PrincipalLauren Avery

Sponsored by Tricia Swift

Joseph MaileChristina Knuds0nSarah WoodRick DiamondAnn EastmanKevin HarperKristen KlineChloe Mackay*Charles ZhouJeremy ErmanRose Marie Ginsburg

The Orchestra

ViolaTiantian LanPrincipalIlana MatfisAssistant PrincipalPatrick KrobothMarta TobeyKeith LawrenceAngela KratchmerPeter LiepmanCeleste McBrideDaniel StanleyAlice EastmanClio Goldstein*Amanda Woo*

CelloCarol RicePrincipalStephanie LaiAssistant PrincipalIsaac MelamedNancy BienWanda WarkentinJasper Hussong*Peter BedrossianAndy LyKen JohnsonDaniel Mackay*Jordan Price

BassMichel TaddeiPrincipalRobert AshleyAssistant PrincipalAlden CohenAndrei GorbatenkoDavid SullivanBen Holston*Eugene TheriaultEric Price

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FluteEmma MoonPrincipal

Sponsored by Marcos and Janet Maestre

Stacey Pelinka

OboeDeborah ShidlerPrincipal

Sponsored by Janet and Michael McCutcheon

Bennie Cottone

ClarinetRoman FukshanskyPrincipalDiana Dorman

BassoonShawn JonesPrincipalRavinder Sehgal

HornAlex CamphousePrincipal

Sponsored by Tom and Mary Reicher

Stuart GronningenDoug HullRichard HallTom Reicher

TrumpetCheonho YoonPrincipalKale Cumings

TromboneThomas HornigPrincipal

Sponsored by Kathleen G. Henschel

Matthew Striplen

Bass TromboneKurt Patzner

TubaJerry OlsonPrincipal

TimpaniKevin NeuhoffPrincipal

Sampler/KeyboardSteve SandersPrincipal

*Member of Young People’s Symphony Orchestra

Franklyn D’Antonio Orchestra Manager

Joslyn D’Antonio Co-Orchestra Manager

Quelani Penland Librarian

Kevin Reinhardt Stage Manager

Joel Davel Keyboard Tech

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Thursday, December 5, 2013 at 8:00 pm Zellerbach Hall

Joana Carneiro conductor

Brett Dean Carlo

Joseph Haydn Cello Concerto No. 1 in C major I. Moderato II. Adagio III. Allegro molto Peter Wyrick cello

I N T E R M I S S I O N

Johannes Brahms Symphony No. 2 in D major, Op. 73 I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (quasi andantino) IV. Allegro con spirito

Tonight’s performance will be broadcast on KALW 91.7 FM on May 12, 2014.

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

Program

Concert Sponsors: Susan & Jim Acquistapace and Tricia Swift Guest Artist Sponsors: William & Robin Knuttel

Season Sponsors: Kathleen G. Henschel, and Brian James & Shariq Yosufzai

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Program Notes

Brett Dean (b. 1961)

CarloBorn on October 23, 1961, in Brisbane, Australia, Brett Dean currently divides his time between his native country and Berlin. He composed Carlo in 1997 on a commission by the Australian Chamber Orchestra for the Huntington Festival and dedicated the score to that ensemble and its concertmaster, Richard Tognetti. Combining music for strings with excerpts sampled from the work of Carlo Gesualdo, a tormented, pioneering composer of the late Renaissance, Carlo traces a “journey between two different time zones.”

First performance: December 5, 1997, at Huntington Winery, Mudgee, New South Wales, Australia, with the composer conducting the Australian Chamber Orchestra. Carlo is scored for 15 solo strings (8 violins, 3 violas, 3 cellos, and 1 double bass), pre-recorded tape, and sampler. Duration ca. 21 minutes.

Australian composer Brett Dean started his musical career performing the music of others and later took up full-time composition. Indeed, the duality and feedback between creation and re-creation distinctly inform what is probably his best-known work to date—Carlo. After a 14-year tenure as a violist with no less an ensemble than the Berlin Philharmonic—he moved from Brisbane to Germany in 1984—Dean

turned to composing. Over the past decade he has been commissioned by some of the highest-profile orchestras. This past October, for example, saw the U.S. premiere by the Los Angeles Philharmonic of a large-scale oratorio, The Last Days of Socrates.

In 2009 Dean won the ultra-prestigious Grawemeyer Award for composition (more or less the Nobel Prize of music) for The Lost Art of Letter Writing, a four-movement violin concerto. Prompted by reflections on how the internet era has turned letters into an endangered species, the concerto casts the violin in “the alternate roles of both an author and a recipient of letters” that range “from private love-letter to public manifesto” (Dean). Such extra-musical frames are characteristic of Dean, whose work shows the range of a deeply curious mind. His passions for literature and the visual arts are especially evident; some of them have been generated by a dialogue with the paintings of the artist Heather Betts, who is his wife.

The late Renaissance composer Carlo Gesualdo (1566-1613), an Italian nobleman and Prince of Venosa, is a figure as intriguing as any of the Borgias and, like that notorious family, has inspired a good number of art works in several disciplines.

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Gesualdo’s scandalous and widely publicized murder of his first wife and her lover sounds like a Showtime series ready to be made, but it’s his combination of brutal violence, guilt, and avant-garde creativity that has especially fascinated modern artists. Aldous Huxley describes his madrigals in The Doors of Perception, his book detailing his experiences with psychoactive drugs; and Werner Herzog’s film essay from 1995, Death for Five Voices is very much worth seeking out.

Gesualdo’s nefarious crime raises uncomfortable questions—certainly perennially relevant—about the relation between what an artist creates and that artist’s personal behavior (think Wagner). Can—or should—these be entirely divorced? Remarks Dean:

“Historians to the present day still seem undecided as to the true merits of Gesualdo the composer, unable to separate the characteristics of his compositions, with their harmonic extremities and surprises and their textural complexities, from the infamy of Gesualdo the murderer.

There are, no doubt, numerous contemporaries of his whose music would be just as worthy of the kind of attention now given to Gesualdo, composers such as Marenzio and Luzzaschi, who didn’t fan the flame by butchering their spouses. But I

believe that with Carlo Gesualdo one shouldn’t try to separate his music from his life and times. They are intrinsically interrelated. The texts of his later madrigals, thought to be written by Gesualdo himself, abound with references to love, death, guilt and self-pity. Combine this with the fact that I’ve always found Gesualdo’s vocal works in any case to be one of music’s great and most fascinating listening experiences and you have the premise of my piece.”

By an ironic twist, the “avant-garde” mode of the prepared tape and samples references the distant past while the traditionally acoustic sonority of the strings filters the composer’s present-day reflections. Dean goes on to provide the following description of the work and the relation between its historical and contemporary layers:

“Carlo starts with pure Gesualdo . . . From a tape, one hears the opening chorale from Moro lasso, one of his most famous compositions, taken from his Sixth Book of Madrigals. Following the tragically sinking chromatic line of this opening, a pre-recorded vocal collage unfolds, the various quotes from the madrigal initially linking harmonically; then going their own way, sometimes brighter and faster, at other points slower and more solemn. Gradually the orchestra becomes involved in

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this process, at first displacing the taped quotes from Moro lasso with other Gesualdo motives, and eventually leading us to altogether more 20th-century realms of sound. Occasionally the sampler or tape transport us momentarily back into the world of Gesualdo, only for the orchestra to embark on its own interpretation and re-working of this material. Throughout this journey between these two different time-zones, Gesualdo’s madrigals are eventually reduced to mere whisperings of his texts and nervous breathing sounds. These eventually also grow in dramatic intensity into what may be seen as an orchestral echo of that fateful night in Naples on the 26th of October 1590.”

—© Thomas May

Joseph Haydn (1732-1809)

Cello Concerto No. 1 in C majorBorn on March 31, 1732, in Rohrau, then part of the Habsburg Empire; died on May 31, 1809, in Vienna. Scholars speculate that Haydn composed the Cello Concerto in C major at some point between 1761 and 1765. Though a founding father of the Classical style, Haydn wasn’t a pioneer of the concerto format per se, but this long-lost work, composed early in his career, quickly became a cornerstone of the cello repertory after its rediscovery only a half century ago.

First performance: We have no date for the premiere of this work in Haydn’s time; it would have taken place at the Esterházy Palace, where the composer spent decades as music director, with Haydn leading the small house ensemble and its cellist as the soloist. After the modern-day rediscovery of the lost score, the Concerto was (re)premiered in Prague (the city where the score was found) on May 19, 1962, with Miloš Sádlo as the cello soloist and Charles Mackerras conducting the Czech Radio Symphony. In addition to solo cello, the score calls for 2 oboes, 2 horns, and strings. Duration ca. 25 minutes.

The symphonies and string quartets Joseph Haydn composed throughout most of his career are venerated as a cornerstone of Western music. While he didn’t actually invent these genres, Haydn’s decades of experimentation and refinement developed both to an unprecedented level of sophistication. The alluring blend of craft and expressive power Haydn concocted left its mark above all on Beethoven—however recalcitrant a student the younger composer had been—and was deeply valued by such “latecomers” as Brahms. (Listen to Haydn’s last symphony, No. 104—also in D major—after hearing the Brahms Second again for a telling example of this line of influence.)

By comparison, Haydn’s output and influence in the concerto genre was quite modest. Unlike his younger

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ensemble, with some of whom Haydn developed close personal ties. (Like Gesualdo, another series waiting to be filmed—a musicians’ version of Downton Abbey.) One of these was the court cellist (and friend) Joseph Franz Weigl. There’s no phoning it in here: the sheer richness of invention in this score suggests that Haydn must have had a wonderfully musical personality in mind. Similarly, his Trumpet Concerto (from much later, in 1796) was intended for the musician Anton Weidinger and broke new ground for that instrument. Haydn also wrote the Second Cello Concerto in D major for an Esterházy cellist, a later arrival to the court orchestra named Antonín Kraft. While quite a number of concertos once thought to be by Haydn were removed from his work list as erroneous attributions, the Cello Concerto in C has made up for lost time since being re-introduced a half-century ago, when the score parts unexpectedly turned up in a collection held at the Czech National Library in Prague.

Haydn’s organization of the piece is particularly interesting: he mingles together vestiges of the late-Baroque concerto idea from earlier in the century with elements already anticipating the High Classical style of which Haydn was an instrumental architect. The former is evidenced by a kind of writing based on the alternation between ensemble and solo passages, with a recurrent

friend Mozart, who made his living as a freelancer in Vienna as a keyboard performer and thus had incentive to invest his creativity into his piano concertos, Haydn was not a virtuoso soloist. He was an active performer, to be sure. After starting his life in music as a youngster in the forerunner of the Vienna Boys’ Choir, Haydn was certainly a proficient keyboard and string player, but his position handling musical affairs for the estate of the mega-rich Prince Esterházy enabled him to concentrate on his work for the house orchestra and hence on symphonies.

Moreover, the market for published concertos at the time was much more limited than that for symphonies or quartets. But there were occasions to write in this format. Along with reams of chamber music, Haydn wrote several concertos for baryton (all lost), a kind of cross between a bowed bass viol and a plucked lute; this was the instrument one of his Esterházy bosses, Prince Nikolaus, delighted in playing. As his reputation spread across Europe, Haydn was also commissioned by King Ferdinand IV of Naples to come up with a set of concertos for lira organizzata, a hybrid hurdy-gurdy/organ. (What a regal sight those performances must have been!)

Meanwhile, Haydn wrote some concertos specifically to pay tribute to the talents of various players in the live-in Esterházy Palace

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theme threaded through the flow. The Classical style, which reaches its pinnacle as far as the concerto genre is concerned with Mozart and then Beethoven, calls for a confrontation of contrasting ideas that are dramatically juxtaposed. The first movement essentially derives its material from the bright, expansive thematic idea we hear at the outset, which keeps coming back in a way not unlike what you’d find in Vivaldi’s concertos—hence the frequent description of this music as “monothematic” in character. The marvel is the wealth of variety Haydn manages to spin from it, redoubling the sense of discovery by parsing the theme and its subunits via the distinctive voice of the solo cello.

Haydn has his oboes and horns stay on the sidelines during the Adagio, in a pastoral F major, homing in on the strings’ sonority alone. There is ample display of the depth of his lyrical gift—a feature often overlooked in the midst of this composer’s febrile inventiveness. Notice how the cello enters on a sustained note just when it seems the ensemble is about to repeat the opening, only to detach itself from the others—this strategy is a staple idea encountered in many later canonical concertos, above all for strings, and Haydn repeats it in his finale. The technical challenges he asks of the soloist are especially striking here, with Haydn’s rapidfire tempo, fleet scales, and leaps

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across the instrument’s register—a clever way of creating a trompe l’oreille effect of more than one soloist. Once again, Haydn ekes maximum mileage out of his irrepressible main theme without ever making it sound effortful—a compositional virtuosity to neatly match that of the performers.

—© Thomas May

Johannes Brahms (1833-1897)

Symphony No. 2 in D major, Op. 73Born on May 7, 1833, in Hamburg, Germany; died on April 3, 1897, in Vienna. Brahms composed the second of his four symphonies in the summer of 1877. Brahms was famously a late-bloomer in writing symphonies, weighed down by the challenge of adding to a genre Beethoven had seemingly perfected. But his Second Symphony flowed quickly and readily, within a matter of months. Beneath its apparently “pastoral” surface, Brahms interweaves deeper layers of elegy and reflection. His reverence for the past proved to open yet another way toward being “defiantly original.”

First performance: December 30, 1877, in Vienna, with Hans Richter conducting. The Second Symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings. Duration ca. 45 minutes.

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Some composers, like Mozart or George Gershwin, seem to have been born in exactly the right era to match their creative temperament. Others don’t fit in so easily, experiencing a more self-conscious—even detached—relationship to their historical context. It’s to the latter group that Johannes Brahms undeniably belongs. His stature as one of the greatest of all composers hasn’t kept him from being one of the most misunderstood as well. As both a musician and an individual, Brahms was fraught with contradictions. Diffident yet enormously ambitious, the starry-eyed youth who impressed Robert Schumann as the new generation’s saving genius was in many ways a late bloomer, maturing over decades into the fatherly, patriarchal figure so familiar from his later photographs.

And Brahms was pigeonholed by his enemies as the quintessential conservative out of step with contemporary musical currents, only to be later reappraised as a “progressive” composer. That’s how Arnold Schoenberg characterized Brahms, referring to the experimental, innovative attitude he brought to his use of old-fashioned forms. In recent decades, Brahms has reemerged as uniquely appealing, an antidote for an era given to postmodern ennui and somehow convinced that there’s nothing new to be said.

The symphonic genre brings into focus Brahms’s crucial struggle

with his mission—with how music in his era should relate not only to the legacy of Beethoven but to that of the past in general. Brahms contended with a widespread feeling among many of his fellow Romantics that the symphony represented a dead end and that the future lay in “descriptive” program music or in the revolutionary music drama being forged by Wagner.

Brahms was also an avid researcher into the emerging field of “early music,” collecting manuscripts of the old masters. But his veneration of the past coexisted with a driving ambition. Schumann, after all, had recognized his early piano sonatas as “veiled symphonies.” The young genius from northern Germany was determined to breathe new life into the symphony, but it took a lengthy struggle to produce his First Symphony. At last, in 1876—ironically, just a few months after the world premiere of the complete Ring cycle—Brahms was ready to reveal the fruit of his labors to a skeptical public. The First triumphed, and that success reinforced a newfound confidence in the now-middle-aged composer. In striking contrast to the First, he completed his Second Symphony with astonishing speed—all told, within a period of about five months in 1877. Even more, its overall character sounds light years removed from the dramatic tension and epic scope of its predecessor. The Second immediately suggested comparisons with the relaxed lyricism of

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Beethoven’s Sixth (Pastoral) Symphony, as if deliberately following up on the echoes of the Beethoven Fifth which are contained in Brahms’s maiden symphonic voyage.

But that’s only part of the story. A disproportionate focus on “the Beethoven problem” long tended to obscure the uniquely Brahmsian aspects of this work—and, even more so, of the First Symphony. In some ways, as Brahms scholar Reinhold Brinkmann argues, it’s the Second rather than the First that represents the true “breakthrough” work for Brahms. Now that he had successfully “competed” with the specter of Beethoven, Brahms could dwell with less pressure on what he wanted to say in this genre, leading to a remarkable sound world blending serenity, playfulness, and passion. Something of this “liberated” quality can also be found in a companion work from the following year, the Violin Concerto, which happens to be in the same tonality (D major) and which was also conceived in the same magical get-away spot where Brahms vacationed in southern Austria.

Another identifiably Brahmsian thumbprint here is a subtle undercurrent of melancholy. This adds an intriguing emotional layer to the more readily recognized “pastoral” qualities of the Second Symphony. Brahms himself joked that the published version should be “printed with a black border,” like a funeral announcement. But there may be something more than a joke here,

according to Brinkmann (who has devoted an entire book to Late Idyll—to exploring this less-understood aspect). In his analysis, the entire work can be bisected into two halves: the pastoral innocence evoked in the opening measures is questioned by “melancholic” doubts in the first two movements, while the final two present a “serene” picture that attempts to transcend the elegiac undercurrents that have gone before.

In any case, the Second Symphony is a model of Brahms’s method of developing his musical ideas organically, from the most economical musical “seeds.” One of these occurs in the opening measures, deep in the cellos and basses: the half-step circling around the tonic (D-C-sharp-D), from which Brahms spins out a good deal of his thematic material. The first minute or so conveys the impression of an introduction before the “real” movement takes off but in fact already contains the movement’s main thematic ideas—along with its basic emotional contrast between the “pastoral” (woodwinds and horns) and the “melancholic” (those disturbing rumblings from the timpani and the interruptions by tuba and trombones). This emotional polarity fuels the development.

The Symphony’s elegiac layer is most explicitly foregrounded in the lengthy Adagio. Brahms heightens internal contrasts by shifting the meter and incorporating sudden eruptions of dense counterpoint. A more

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playful version of the “pastoral” idea emerges in the third movement, a leisurely Allegretto twice interrupted by Presto interludes.

The first three movements all end quietly, setting the stage for the giddy high spirits of the finale—where another figure from the past, Haydn, gets a nod. That three-note motif from the very beginning turns out to drive the main theme here, but its exuberant momentum colors

it with an entirely new character. In a gloriously extended coda, Brahms seems to cast away any vestiges of doubt—about the genre, about his place in history, about the power of music itself. Rhythmic excitement is intensified by a brightening of the orchestral texture. The brass, no longer ruminative, herald a deliriously joyful final rush that chases away all hints of melancholy.

—© Thomas May

The Kensington Symphony Orchestrato perform under the direction of Geoffrey Gallegos

February 2, 2014 at 2:00El Cerrito High School Performing Arts Theater

An afternoon of classical music with featured guests from Germany

cellist Rebecca Rust and bassoonist Friedrich Edelmann

$10.00 at the door 510.524.9468elcerritogauchos.net/archiving/archiving-project

 

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Music Director: Joana Carneiro

Noted for her vibrant performances in a wide diversity of musical styles, Joana Carneiro has attracted considerable attention as one of the most outstanding young conductors working today. In 2009, she was named Music Director of Berkeley Symphony, succeeding Kent Nagano and becoming only the third music director in the 40-year history of the Orchestra. She also currently serves as official guest conductor of the Gulbenkian Orchestra, working with that orchestra at least four weeks every year.

2013-14 marks Carneiro’s fifth season as Music Director of Berkeley Symphony, where she has captivated audiences with her commanding stage presence and adventurous programming that has highlighted the works of several prominent contemporary composers, including John Adams, Steven Stucky and Gabriela Lena Frank. The 2013-2014 Berkeley season features world premieres by Edmund Campion and Samuel Carl Adams, as well as works by Brett Dean, Kaija Saariaho and Esa-Pekka Salonen.

Carneiro’s growing guest-conducting career continues to bring her all around the globe. In 2013-14, she makes debuts with the Orchestre Philharmonique de Radio France, Royal Stockholm Philharmonic and Florida Orchestra. She returns to the Toronto, Gothenburg, Gävle, Malmö, Sydney, New Zealand

symphonies and the National Symphony Orchestra of Spain.

Last season, Carneiro conducted highly successful returns to the Gothenburg, Gävle and Norrköping symphonies, and debuts with the Swedish Radio Orchestra, Malmö Symphony, Norrlands Opera Orchestra, Residentie Orkest/Hague, Aachen Symphony of Germany, Euskadi Orchestra of Spain and Hong Kong Philharmonic. She returned to the Indianapolis Symphony in concerts with Thomas Hampson on a Mahler/Schumann program and conducted a highly successful world premiere of Santos, an oratorio by composer Gabriela Lena Frank and librettist

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Nilo Cruz with the San Francisco Girls Chorus, soprano Jessica Rivera, mezzo-soprano Rachel Calloway, and members of Berkeley Symphony.

International highlights of previous seasons include appearances with the Royal Liverpool Philharmonic at London’s Royal Albert Hall, Royal Philharmonic Orchestra and Renée Fleming in the opening season of the U.A.E’s Royal Opera House in Oman, Irish Chamber Orchestra, Ensemble Orchestral de Paris, Orchestra de Bretagne, Norrköping Symphony, Prague Philharmonia and the Orchestra Sinfonica del Teatro la Fenice at the Venice Biennale, as well as the Macau Chamber Orchestra and Beijing Orchestra at the International Music Festival of Macau. In the Americas, she has led the Los Angeles Philharmonic, Toronto Symphony, St. Paul Chamber Orchestra, Detroit Symphony, Colorado Symphony, Indianapolis Symphony, Los Angeles Chamber Orchestra, New World Symphony, Grant Park Music Festival, Manhattan School of Music, Puerto Rico Symphony and São Paulo State Symphony.

In 2010, Carneiro led performances of Peter Sellars’s stagings of Stravinsky’s Oedipus Rex and Symphony of Psalms at the Sydney Festival, which won Australia’s Helpmann Award for Best Symphony Orchestra Concert in 2010. She conducted a linked project at the New Zealand Festival in 2011, and as a result was immediately invited to work with the Sydney Symphony and New Zealand Symphony Orchestras on subscription in 2013. In 2011, she led

a ballet production of Romeo and Juliet with Companhia Nacional de Bailado in Portugal.

Increasingly in demand as an opera conductor, Carneiro made her Cincinnati Opera debut in 2011 conducting John Adams’ A Flowering Tree, which she also debuted with the Chicago Opera Theater and at La Cité de la Musique in Paris. In the 2008-09 season, she served as assistant conductor to Esa-Pekka Salonen at the Paris Opera’s premiere of Adriana Mater by Kaija Saariaho and led critically-acclaimed performances of Philippe Boesmans’s Julie in Bolzano, Italy.

As a finalist of the prestigious 2002 Maazel-Vilar Conductor’s Competition at Carnegie Hall, Carneiro was recognized by the jury for demonstrating a level of potential that holds great promise for her future career. In 2003-04, she worked with Maestros Kurt Masur and Christoph von Dohnányi and conducted the London Philharmonic Orchestra, as one of three conductors chosen for London’s Allianz Cultural Foundation International Conductors Academy. From 2002 to 2005, she served as Assistant Conductor of the L.A. Chamber Orchestra and as Music Director of the Young Musicians Foundation Debut Orchestra of Los Angeles. From 2005 through 2008, she was an American Symphony Orchestra League Conducting Fellow at the Los Angeles Philharmonic, where she worked closely with Esa-Pekka Salonen and led several performances at Walt Disney Concert Hall and the Hollywood Bowl.

A native of Lisbon, she began her musical

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36 December 5, 2013

studies as a violist before receiving her conducting degree from the Academia Nacional Superior de Orquestra in Lisbon, where she studied with Jean-Marc Burfin. Carneiro received her Masters degree in orchestral conducting from Northwestern University as a student of Victor Yampolsky and Mallory Thompson, and pursued doctoral studies at the University of Michigan, where she studied with Kenneth Kiesler. She has participated in master classes with

Gustav Meier, Michael Tilson Thomas, Larry Rachleff, Jean Sebastian Bereau, Roberto Benzi and Pascal Rophe.

Carneiro is the 2010 recipient of the Helen M. Thompson Award, conferred by the League of American Orchestras to recognize and honor music directors of exceptional promise. In 2004, Carneiro was decorated by the President of the Portuguese Republic, Mr. Jorge Sampaio, with the Commendation of the Order of the Infante Dom Henrique.

Helping Students Find Their Voice

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Tuesdays & Thursdays Individualized tours can be arranged

December 5, 2013 37

Peter Wyrick, cello

Born in New York to musician parents, Peter Wyrick began his studies in Poughkeepsie, New York and proceeded to The Juilliard School at the age of eight. He made his solo debut at age 12 with the Hudson Valley Philharmonic. Mr. Wyrick is active as a soloist, chamber musician, teacher and orchestra musician.

Since 1999 he has been the Associate Principal Cellist of the San Francisco Symphony. He has appeared as soloist with the Symphony numerous times, including performances of Leonard Bernstein’s Meditation, Haydn’s Sinfonia Concertante and Tan Dun’s “Crouching Tiger Hidden Dragon” Cello Concerto. He has performed as soloist with the Aspen Chamber Orchestra, the Queens Philharmonic, the American Chamber Orchestra, the Oklahoma Chamber Orchestra, the Kozponti Sinfonicus in Budapest, Hungary, and the Silicon Valley Orchestra.

As a chamber musician, Mr. Wyrick has enjoyed collaborating with Yo-Yo Ma, Joshua Bell, Jean Yves Thibaudet, Yefim Bronfman, Lynn Harrell, Jeremy Denk, Julia Fischer, and Edgar Meyer, among others. Peter was a member of the acclaimed Ridge String Quartet, whose recording of the Dv0řák Piano Quintets with pianist Rudolf Firkusny on the RCA label won the French Diapason d’Or and was nominated for the 1993 Grammy Award for Best Chamber Music Performance. He has participated in Finland’s Helsinki Festival, the

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Spoleto Festival in Charleston, SC and Spoleto, Italy, as well as the Bard, Vancouver Chamber Music West, La Jolla, Santa Fe, Ruby Mountain, and Tahoe music festivals.

Mr. Wyrick was the Principal Cellist of the Mostly Mozart Orchestra at Lincoln Center and the Associate Principal of the New York City Opera Orchestra. His recordings include the cello

sonatas of Gabriel Fauré with pianist Earl Wild for dell’Arte Records, as well as performances for the Stereophile and Arabesque labels.

Peter Wyrick was one of the last students of Leonard Rose at The Juilliard School, and plays on a David Tecchler cello, on generous loan from Jacques and Barbara Schlumberger, made in Rome circa 1724.

40 December 5, 2013

Dining Guide

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December 5, 2013 41

Berkeley Symphony

Recognized nationally for its spirited programming, Berkeley Symphony has established a reputa-tion for presenting major new works for orchestra alongside fresh inter-pretations of the classical European repertoire. It has been honored with an Adventurous Programming Award from the American Society of Composers, Authors and Publish ers (ASCAP) in nine of the past eleven seasons.

The Orchestra performs four main-stage concerts a year in Zellerbach Hall on the UC Berkeley campus, and supports local composers through its Under Construction New Music Series/Composers Program. A national leader in music education, the Orchestra partners with the Berkeley Unified School District to

produce the award-winning Music in the Schools program, providing comprehensive, age-appropriate music curricula to more than 4,000 local elementary students each year.

Berkeley Symphony was founded in 1969 as the Berkeley Promenade Orchestra by Thomas Rarick, a pro-tégé of the great English Maestro Sir Adrian Boult. Under its second Music Director, Kent Nagano, who took the post in 1978, the Orchestra charted a new course with innovative program-ming that included rarely performed 20th-century scores. In 1981, the internationally-renowned French composer Olivier Messiaen journeyed to Berkeley to assist with the prepa-rations of his imposing oratorio The Transfiguration of Our Lord Jesus Christ, and the Orchestra gave a sold-out

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Dining Guide

plan a special evening out!

enjoy a fine meal at one of these local eateries

before the next berkeley symphony concert

on thursday, december 5 at 8pm.

December 5, 2013 43

performance in San Francisco’s Davies Symphony Hall. In 1984, Berkeley Symphony collaborated with Frank Zappa in a critically-acclaimed production fea turing life-size puppets and moving stage sets, catapulting the Orchestra onto the world stage.

Berkeley Symphony entered a new era in January 2009 when Joana Car neiro became the Orchestra’s third Music Director in its 40-year his tory. Under Carneiro, the Orchestra continues its tradition of presenting the cutting edge of classical music. Together, they are forging deeper relationships with living composers, which include several prominent contemporary Bay Area composers such as John

Adams, Paul Dresher, and Gabriela Lena Frank.

Berkeley Symphony has introduced Bay Area audiences to works by upcoming young composers, many of whom have since achieved interna-tional prominence. Celebrated Brit-ish composer George Benjamin, who subsequently became Composer-in-Residence at the San Francisco Sym phony, 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 Adès, 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.

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More than 4,200 elementary school children each year benefit from Berkeley Symphony’s Music in the Schools program:• Over 200 In-class Sessions are provided free of charge and include curriculum booklets with age-appropriate lessons addressing state standards for music education. • Eleven Meet the Symphony concerts are performed free of charge in elementary schools each fall.• Six I’m a Performer concerts, also free of charge, provide young musicians with an opportunity to rehearse and perform with Berkeley Symphony.• Four free Family Concerts provide an opportunity for the whole family to experience a Berkeley Symphony concert together.

All Music in the Schools programs are provided 100% free of charge to children and their families. We are grateful to the individuals and institutions listed on this page whose financial contributions help make Music in the Schools possible. But more help is needed to fully fund the program . . .

Please join those making Music in the Schools a reality! Donate online and designate your gift as “Restricted—Music in the Schools Program.” Or simply mail a contribution to: Berkeley Symphony, Music in the Schools Fund, 1942 University Ave. Suite #207, Berkeley, CA 94704

www.berkeleysymphony.org/mits

Music in the Schools

Music in the Schools SponsorsGifts of $1,000–$15,000 annuallyAnonymousSusan & Jim AcquistapaceBerkeley Public Schools FundBerkeley Unified School DistrictBerkeley Association of RealtorsThe Bernard Osher FoundationCalifornia Arts CouncilAnnette Campbell-WhiteIn Dulci Jubilo, Inc.Koret FoundationMechanics BankMusic Performance Trust FundNational Endowment for the ArtsMichael & Elisabeth O’MalleyEllen SingerTarget StoresU.S. BankThomas J. Long FoundationUnion Bank FoundationBernard E. & Alba Witkin Charitable

FoundationThanks also to those giving up to $1,000 annually.

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Berkeley Symphony’s 2014 Under Construction New Music Series/Composers Program will present new symphonic works by emerging composers Sivan Eldar, B.P. Herrington, Ruben Naeff and Nicholas Omiccioli. Selected for the program following a highly competitive national search, the four composers will each write a symphonic work to be developed, polished and recorded during two open rehearsal–style concerts, while receiving on-going guidance from Music Director Joana Carneiro, mentor composers Edmund Campion (UC Berkeley) and Robert Beaser (The Juilliard School), and members of the Orchestra. The concerts, on February 2 and May 4, will be held at the Osher Studio in Berkeley at 7pm.

Established in 1993, the Under Construction New Music Series seeks to engage audiences in contemporary music and its making. The concerts are formatted to build upon each other. The Orchestra rehearses the work in progress and experiments with different musical passages at the first concert to enable the complete, polished piece to be performed at the second concert. Discussion among the audience, the conductor, and the composer follows the playing of each work. That interchange of ideas, along with the post-concert receptions, affords the audience members a greater understanding of the composer and their work.

Working in collaboration with EarShot: the National Orchestral Composition Discovery Network, and its partner organizations—the American Composers Forum, League of American Orchestras, New Music USA and the American Composers Orchestra – Berkeley Symphony expands its role as the West Coast artistic incubator for emerging orchestra composers and broadens its reach to a new national level.

Funding for EarShot is made possible with the support of the Andrew W. Mellon Foundation and The Aaron Copland Fund for Music. Berkeley Symphony thanks our 2013/14 Under Construction sponsor, Margaret Dorfman.

Under Construction New Music Series

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

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Four Mainstage Concerts“Under Construction” Concerts

with Emerging ComposersNew Works

Old Chestnuts Resident Artists

Music in the Schools

2013-2014

December 5, 2013 49

Young People’s Symphony Orchestra

Berkeley Symphony continues its partnership with the Young People’s Symphony Orchestra (YPSO), affording young musicians the rare opportunity to perform with a professional orchestra. Each year, a number of YPSO players are featured alongside Berkeley Symphony musicians in all four Zellerbach Hall concerts.

Founded in 1936 in Berkeley, Young People’s Symphony Orchestra is the oldest independent youth orchestra in California, and the second oldest in the nation. For over 75 years, YPSO has developed the musical talents and skills of students in the San Francisco Bay Area. Today, many YPSO alumni are internationally-recognized musicians and prominent community members.

Broadcast Dates

KALW is proud to be Berkeley Symphony’s

Season 13-14 Media Sponsor

Relive this season’s concerts on KALW 91.7 FM

4 Mondays at 9pm in May 2014

Hosted by KALW’s David Latulippe

Program I: Oct. 3, 2013 will be broadcast on May 5

Program II: Dec. 5, 2013 will be broadcast on May 12

Program III: Feb. 6, 2014 will be broadcast on May 19

Program IV: May 1, 2014 will be broadcast on May 26

50 December 5, 2013

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December 5, 2013 51

2013-14 Season Sponsors

Kathleen G. Henschel

Kathleen G. Henschel, formerly finance manager at Chevron Corporation, was president of Berkeley Symphony’s Board of Directors from 2006 to 2011, and a member from 2004 to 2013. An active Bay Area philanthropist, she also serves as board chair of Chanticleer.

Meyer Sound

Meyer Sound Laboratories manufactures premium professional loudspeakers 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.

Brian James and Shariq Yosufzai

B rian James is a member of the Board of Directors of Berkeley Symphony and a Co–Chair of the Symphony’s 2014 Gala. Shariq Yosufzai serves on the Advisory Board of Berkeley Symphony, the Executive Committee of the Board of Directors of the San Francisco Opera and is a past Chair of the Board of the California Chamber of Commerce.

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It’s true. Symphony orchestras cannot exist on ticket sales alone. At Berkeley Symphony, charitable gifts are crucial in producing concerts at price ranges affordable to all, and educational programs at no charge for school children. If our Subscribers are the backbone of Berkeley Symphony, our contributing Members are the heart and soul. It takes us all to make the music soar.

Like subscription benefits, Membership, too, offers great rewards!

Pre- and post-concert receptions, special salon performances, open rehearsals, and opportunities to meet and talk with our musicians, with Music Director Joana Carneiro, and with guest artists and visiting composers are just some of the ways you can deepen your experience with the music and those who create it.

Best of all, your Membership gift strengthens Berkeley Symphony and our service to the community.

See page 55 for a complete list of Membership levels. If you are not yet a Member, please join me. Already a Member? Consider an investment in a deeper level of involvement. Use the envelope in this concert program book, or give online at www.berkeleysymphony.org.

Thank you for being a part of our success,

Tom ReicherPresident, Board of Directors

Become a Berkeley Symphony Member

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2013-14 Membership BenefitsBeyond the benefits of subscription, Berkeley Symphony Memberships provide many benefits to make the most of your concert-going experience. Increase your level of membership for the 2013-14 season, or start a new membership today! Use the envelope provided inside this program book, or join online at www.berkeleysymphony.org. Membership contributions are tax deductible to the extent allowed by law.

Friends Circle of MembersSupporting Member: $100+• Advance e-newsletter notice of discounts and special events.• Listing in season concert programs.

Associate Member: $300+ (All of the above plus . . .)• Invitation for two to an exclusive reception and open rehearsal of the orchestra.• Berkeley Symphony Guest Passes to Zellerbach Hall concerts.

Principal Member: $750+ (All of the above plus)• VIP service for all your ticketing needs.• Invitation to select special events including post-concert receptions with the music

director, musicians, soloist, and/or visiting composer.

Symphony Circle of MembersConcertmaster: $1,500+ (All of the above plus . . .)• Invitations to two exclusive Symphony Circle Salon Receptions featuring a performance

by the concert guest soloist and discussion with Music Director Joana Carneiro.• Invitations to select post-concert meet-and-greet(s) with the music director, musicians,

soloist, and/or visiting composer.

Conductor: $2,500+ (All of the above plus . . .)• Invitations to ALL exclusive Symphony Circle Salon Receptions featuring a performance

by the concert guest soloist and discussion with Music Director Joana Carneiro.• Invitation to an exclusive “closed” rehearsal and Musicians Dinner.

Sponsorship Circle of MembersFounding Sponsors: $5,000 (All of the above plus . . .)• Invitations to ALL post-concert meet-and-greets with the music director, musicians,

soloist(s), and/or visiting composer(s).• VIP access to Berkeley Symphony Sponsors’ Lounge before the concerts and at

intermissions.• Recognition as Sponsor of a season concert, guest soloist, or commissioned composer.

Executive Sponsors: $10,000 (All of the above plus . . .)• Photo with guest soloist or commissioned composer.• VIP parking vouchers for the season.• Exclusive invitation to an intimate Sponsors Circle Dinner with Music Director Joana

Carneiro.

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Gifts received between October 1, 2012 and November 1, 2013

SPONSOR CIRCLE GIFTS$50,000 and aboveKathleen G. HenschelHelen & John Meyer

$25,000 and aboveThomas & Mary ReicherShariq Yosufzai & Brian James

$10,000 and aboveAnonymous (3)Peggy DorfmanJanet & Michael McCutcheonEd OsbornTricia SwiftLisa & James Taylor

$5,000 and aboveSusan & Jim AcquistapaceGertrude & Robert AllenNorman A. Bookstein & Gillian KuehnerJennifer Howard DeGoliaJames & Rhonda DonatoOz EricksonAnn & Gordon GettyEllen HahnGail & Bob HetlerBuzz & Lisa HinesWilliam & Robin KnuttelJanet & Marcos MaestreWilliam McCoy & Natasha BeeryDr. Ruedi Naumann-EtienneDeborah O’Grady & John AdamsThomas W. RichardsonSedge Thomson & Sylvia BrownriggGordon & Evie Wozniak

$2,500 and aboveJudith L. BloomAnnette Campbell-WhiteMarilyn & Richard Collier

$2,500 and above (continued)Dianne CrosbyGloria FujimotoJohn HarrisKen Johnson & Nina GroveBennett Markel & Karen StellaJoe & Carol NeilEllen SingerAlison Teeman & Michael Yovino-YoungPaul Templeton & Darrell Louie

Gifts of $1,500 or moreAnonymousSallie & Edward ArensMichele BensonMr. Frank BlissGray CathrallBrian ChaseRonald & Susan ChoyMs. Dianne CrosbyJohn & Charli DanielsenBruce & Joan DoddAnita EbléKaren FairclothSteve Gallion & Pam WolfStuart & Sharon GronningenSue Hone & Jeffrey LeiterRené MandelKim & Barbara MarienthalPatrick McCabeGary Glaser & Christine MillerPenny & Noel NellisMichael & Becky O’MalleyMrs. Iris Hagen Ratowsky in Honor of

Dr. Richard RatowskyKathy Canfield Shepard & John ShepardDeborah Shidler & David BurkhartAma Torrance & David DaviesAnne & Craig van Dyke

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

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$750 and abovePhyllis Brooks SchaferJoy & Jerome CarlinEarl & June CheitRichard ColtonJack & Ann EastmanLynne La Marca Heinrich &

Dwight JaffeeLois & Gary MarcusBebe & Colin McRaeDitsa & Alexander PinesKaren TeelGary & Susan Wendt-Bogear

$300 and aboveAnonymousPatricia & Ronald AdlerVirginia AlmeidaDonald & Margaret AlterMark AttarhaMs. Bonnie J. BernhardtChristel BieriGeorge & Dorian BikleSusan BlakeLauren & Steve AdamsMr. & Mrs. Stuart CaninJoana CarneiroRosemary CozzoJohn DewesKevin DonahueGini Erck & David PettaDean FrancisDoris FukawaDaniel & Kate FunkSteve Gallion & Pam WolfEvelyn & Gary GlennWendell GoddardPeggy GriffinBonnie & Sy GrossmanAlan Harper & Carol BairdTrish & Anthony W. HawthorneOra & Kurt HuthRichard HutsonFred JacobsonIrene & Kiyoshi KatsumotoFaye KeoghHoward & Nancy MelPeggy Radel & Joel MyersonLance & Dalia NagelMaria José PereiraGreg PhillipsAnja PlowrightThe Estate of Myron Pollycove

Myron PollycoveLucille & Arthur PoskanzerMarjorie RandolphPauline RobertsonDian ScottRobert Sinai & Susanna

SchevillJutta SinghCarol & Anthony SomkinScott SparlingSteven StuckyGoldstar Events TicketsRobert & Emily WardenDr. George & Bay WestlakeNancy & Sheldon WolfeNancy & Charles Wolfram

$100 and aboveAnonymous (6)Joel AltmanKaren AmesKelly AmisPatricia Vaughn AngellKevin BastianWilliam W. BeahrsIn Honor of Mr. & Ms. R.

Collier’s AnniversaryTerry BloomsburghCara BradburyDavid BradfordHelen CagampangMark Chaitkin & Cecilia StorrPaul ChurchillMurray & Betty CohenSarah CohenDr. Lawrence R. CotterJoe & Sue DalyRobert DavidDennis & Sandy De DomenicoDr. Marian C. DiamondPaula & James R. DiederichPatrick D. DohertyMr. Anthony DrummondBeth & Norman EdelsteinBennett Falk & Margaret

MorelandLynn Feintech & Anthony

BernhardtMs. Mary Ellen FineIn Memory of Donna HamiltonMarcine & Dean FrancisEdnah Beth FriedmanHarriet FukushimaTheresa Gabel & Timothy

ZumwaltIsabelle GerardMarianne & John GerhartRon L. GesterJeffrey Gilman & Carol ReifDavid GoinesStuart M. Gold, MdAnne GoldenEdward C. GordonPhyllis GottliebMr. Richard GranbergSteve GranholmSteven E. GreenbergArnold & Elaine GrossbergErvin & Marian HafterJane HammondMs. Margot HarrisonWilliam & Judith HeinLyn HejinianFlorence HendrixValerie & Richard HerrJason HofmannMr. Allen HolubBirgit HottenrottGayle HughesF.W. IrionPatricia KatesE. Paul & Joanne P. KellyJames Pennington KentTodd KerrAlexander Jihyun KooRobert Kroll & Rose RayWalter & Rosemarie KrovozaAlmon E Larsh, JrShelly & Don LeeLaurel Leichter & Michael

WilsonDavid LipsonArthur & Martha LuehrmannKim & Barbara MarienthalSuzanne R. McCullochBill & Suzanne McLeanJim & Monique McNittDonald & Susanne McQuadeAmelie C. Mel De Fontenay &

John StenzelInspired by Jan McCutcheon,

Ellie Hahn, & Janet MaestreJunichi & Sarah MiyazakiGerry MorrisonMs. Anita NavonMichael & Elisabeth O’MalleyElizabeth Pigford

FRIENDS OF BERKELEY SYMPHONY GIFTS

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$100 and above (continued)Joellen & Leslie PiskitelDr. Patrick M. PralleJo Ann & Buford PriceGeorge N. QueeleySuzanne RiessDonald Riley & Carolyn SerraoConstance RubenJulianne H. RumseySusanna SchevillSteven SchollBrenda ShankJack Shoemaker

Anne ShortallShelton ShugarDavid & Elizabeth SilbermanJohan & Gerda SnapperSylvia Sorell & Daniel KaneIn honor of Marilyn CollierJulie ThorsonAlta TingleRenee TissueMs. Carol L. TomlinsonElsa & Revan TranterCarol Jackson UpshawJoy Valdez

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

Marco VangelistiRandy & Ting VogelDavid & Marvalee WakeDorothy WalkerSheridan & Betsey WarrickAlice WatersCarolyn WebberElizabeth WeberDr. Louis WeilMs. Carolyn D. WeinbergerJune WileyMs. Zoe WilliamsMrs. Charlene M. Woodcock

Berkeley Symphony Legacy SocietyThank you to those who have included Berkeley Symphony in their estate planning or life-income arrangements. If you are interested in supporting the long-term future of Berkeley Symphony, please contact General Manager Steve Gallion at 510.841.2800 x305 or sgallion@berkeleysymphony.org.

Norman Bookstein & Gillian KuehnerKathleen G. Henschel

Jeffrey S. LeiterJanet & Marcos Maestre

Bennett MarkelLisa Taylor

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

Andreas Jones Graphic DesignSusan & Jim AcquistapaceMarshall BermanJudith L. BloomCasa de ChocolatesCoracao ConfectionsMarilyn & Richard CollierJennifer Howard DeGoliaRick DiamondDouglas ParkingExtreme PizzaGloria FujimotoReeve GouldEllen HahnJohn Harris

George & Marie HecksherKathleen G. HenschelJutta’s FlowersKaren Ames ConsultingJanet & Marcos MaestreRico MandelJanet & Michael McCutcheonBebe & Colin McRaeMeyer Sound Laboratories, Inc.Peet’s Coffee & TeaThomas Richardson & Edith JacksonLisa & Jim TaylorAnne & Craig Van DykeDave Weiland PhotographyWilliam Knuttel Winery

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$50,000 and aboveWilliam & Flora Hewlett Foundation

$25,000 and aboveClarence E. Heller Charitable

FoundationThe Creative Work FundMeyer Sound Laboratories, Inc.

$10,000 and aboveAnonymous (2)Ann and Gordon Getty FoundationBerkeley Public Schools FundChevron CorporationThomas J. Long FoundationBernard Osher FoundationNational Endowment for the Arts

$5,000 and aboveThe Aaron Copland Fund for

MusicBernard E. and Alba Witkin Charitable

FoundationCalifornia Arts CouncilCity of BerkeleyEast Bay Community FoundationGrubb Co.Koret FoundationNew Music U.S.A.Wallis FoundationU.S. BankZellerbach Family Foundation

$2,500 and aboveFromm FoundationUnion Bank of California

$1,500 and aboveThe Mechanics Bank

$1,000 and aboveAlameda County Art

CommissionASCAP—American Society

of Composers, Authors and Publishers

Up to $1,000Berkeley Assoc. of RealtorsCasa De ChocolatesIn Dulci Jubilo, Inc.Tides Foundation

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

Gifts received between October 1, 2012 and November 1, 2013

Matching GiftsThe following companies have matched their employees’ or retirees’ gifts to Berkeley Symphony. Please let us know if your company does the same by contacting Steve Gallion at 510.841.2800, x305 or sgallion@berkeleysymphony.org.

Anchor Brewing CompanyChevron CorporationGenentech, Inc.Home Depot

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Administration & Creative Staff

Contact

find us on

Tickets available by phone, fax, mail, e-mail, or online:

Berkeley Symphony1942 University Avenue, Suite 207, Berkeley, CA 94704510.841.2800 Fax: 510.841.5422info@berkeleysymphony.orgwww.berkeleysymphony.org

René Mandel, Executive DirectorSteve Gallion, General Manager &

Membership DirectorMing Luke, Education Director/

ConductorTheresa Gabel, Director of OperationsNoel Hayashi, Director of MarketingJessica Schultze-Sadler, Associate

Director of Marketing/Box Office Manager

Cindy Hickox, Development & Marketing Associate

Karen Ames Communications, Press & Public Relations

Yesenia Sanchez, Finance Direct0rQuelani Penland, LibrarianFranklyn D’Antonio, Orchestra

ManagerJoslyn D’Antonio, Co-Orchestra

ManagerKevin Reinhardt, Stage ManagerStoller Design Group, Graphic DesignDave Weiland, PhotographySteve Flavin, Video DesignSid Kesav, TelemarketingDavid Fang, Intern

ProgramAndreas Jones, Design & ProductionStoller Design Group, Cover DesignJohn McMullen, Advertising SalesThomas May, Program NotesCalitho, Printing

66 December 5, 2013

A1 Sun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 20Albert Nahman Plumbing . . . . . . . . . . . page 30Alward Construction . . . . . . . . . . . . . . . . page 20American Bach Soloists . . . . . . . . . . . . . page 43Ampersand Graphics . . . . . . . . . . . . . . . . page 26Archway School . . . . . . . . . . . . . . . . . . . . . page 36Aurora Theatre . . . . . . . . . . . . . . . . . . . . . . .page 22Bacheesos . . . . . . . . . . . . . . . . . . . . . . . . . . . page 40Bayside Park . . . . . . . . . . . . . . . . . . . . . . . . page 30Berkeley Horticultural Nursery . . . . . . page 39Berkeley Optometry . . . . . . . . . . . . . . . . . . page 18Bill’s Footwear . . . . . . . . . . . . . . . . . . . . . . . page 50BuyArtworkNow.com . . . . . . . . . . . . . . . page 20Café Clem . . . . . . . . . . . . . . . . . . . . . . . . . . . page 42Cal Performances . . . . . . . . . . . . . . . . . . . .page 32The Club at The Claremont . . . . . . . . . . . . page 14Coldwell Banker . . . . . . . . . . . . . . . . . . . . . page 60The College Preparatory School . . . . . . page 18Coracao Confections . . . . . . . . . . . . . . . . page 24Crowden . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 18DC Pianos . . . . . . . . . . . . . . . . . . . . . . . . . . . page 38Dining Guide . . . . . . . . . . . . . . . . . . . . pages 40, 42DoubleTree Hotel . . . . . . . . . . . . . . . . . . . . page 62Douglas Parking . . . . . . . . . . . . . . . . . . . . . page 60Frank Bliss, State Farm . . . . . . . . . . . . . . page 28Going Places . . . . . . . . . . . . . . . . . . . . . . . . .page 22Golden State Senior Care . . . . . . . . . . . . page 29The Grubb Co . . . . . . . . . . . . . . . . . . . . . back coverHenry’s Gastropub. . . . . . . . . . . . . . . . . . . .page 52

Advertiser IndexHotel Durant . . . . . . . . . . . . . . . . . . . . . . . . . page 16Judith L. Bloom, CPA . . . . . . . . . . . . . . . . . . page 11Jutta’s Flowers . . . . . . . . . . . . . . . . . . . . . . . page 64Kensington Symphony Orchestra . . . page 29La Mediterranée . . . . . . . . . . . . . . . . . . . . . page 42Lunettes du Monde . . . . . . . . . . . . . . . . . . page 26Mancheno Insurance Agency . . . pages 34-35Margaretta K. Mitchell Photography . page 38Maybeck High School . . . . . . . . . . . . . . . . . page 18McCutcheon Construction . . . . . . . . . . . page 46Mechanics Bank . . . . . . . . . . . . . . . . . . . . . page 38Mountain View Cemetery . . .inside back coverNew Year’s Eve at the Claremont . . . . . page 40Oceanworks . . . . . . . . . . . . . . . . . . . . . . . . . .page 23Osher Life Long Learning . . . . . . . . . . . . page 39Piedmont Gardens . . . . . . . . . . . . . . . . . . page 56Poulet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 40R. Kassman Pianos . . . . . . . . . . . . . . . . . . page 50Red Oak Realty . . . . . . . . . . . . . . . . . . . . . . page 58Scholar Share . . . . . . . . . . . . . . . . . . . . . . . page 44Sotheby’s International Realty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . inside front coverSt. Paul’s Towers . . . . . . . . . . . . . . . . . . . . . . page 12Storey Framing . . . . . . . . . . . . . . . . . . . . . . . page 18Talavera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .page 23Thornwall Properties . . . . . . . . . . . . . . . . . page 16Tricia Swift, Realtor . . . . . . . . . . . . . . . . . . page 48UC Berkeley Extension. . . . . . . . . . . . . . . page 50Wells Fargo . . . . . . . . . . . . . . . . . . . . . . . . . . page 54

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