berkeley symphony 2014/15 season

Mountain View Cemetery Association, a historic Olmsted designed cemetery located in the foothills of

Oakland and Piedmont, is pleased to announce the opening of Piedmont Funeral Services. We are now

able to provide all funeral, cremation and celebratory services for our families and our community at our

223 acre historic location. For our families and friends, the single site combination of services makes the

difficult process of making funeral arrangements a little easier. We’re able to provide every facet of service

at our single location. We are also pleased to announce plans to open our new chapel and reception facility

– the Water Pavilion in 2016. Situated between a landscaped garden and an expansive reflection pond, the

Water Pavilion will be perfect for all celebrations and ceremonies. Features will include beautiful kitchen

services, private and semi-private scalable rooms, garden and water views, sunlit spaces and artful details.

The Water Pavilion is designed for you to create and fulfill your memorial service, wedding ceremony,

lecture or other gatherings of friends and family. Soon, we will be accepting pre-planning arrangements.

For more information, please telephone us at 510-658-2588 or visit us at mountainviewcemetery.org.

February 26, 2015 3

Berkeley Symphony 2014/15 Season5 Message from the Music Director7 Message from the Board President9 Message from the Executive Director11 Board of Directors & Advisory Council12 Orchestra14 Season Sponsors17 Producers’ Circle Sponsorship Gifts19 Berkeley Symphony Legacy Society21 Program25 Program Notes37 Music Director: Joana Carneiro41 Guest Artist & Composer’s Biographies45 In Memoriam: Virginia Baker47 In Memoriam: Alba Witkin48 Berkeley Symphony51 Music in the Schools53 Under Construction New Music Program56 Membership Support60 Broadcast Dates65 Contact 66 Advertiser Index

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.

Mountain View Cemetery Association, a historic Olmsted designed cemetery located in the foothills of

Oakland and Piedmont, is pleased to announce the opening of Piedmont Funeral Services. We are now

able to provide all funeral, cremation and celebratory services for our families and our community at our

223 acre historic location. For our families and friends, the single site combination of services makes the

difficult process of making funeral arrangements a little easier. We’re able to provide every facet of service

at our single location. We are also pleased to announce plans to open our new chapel and reception facility

– the Water Pavilion in 2016. Situated between a landscaped garden and an expansive reflection pond, the

Water Pavilion will be perfect for all celebrations and ceremonies. Features will include beautiful kitchen

services, private and semi-private scalable rooms, garden and water views, sunlit spaces and artful details.

The Water Pavilion is designed for you to create and fulfill your memorial service, wedding ceremony,

lecture or other gatherings of friends and family. Soon, we will be accepting pre-planning arrangements.

For more information, please telephone us at 510-658-2588 or visit us at mountainviewcemetery.org.

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February 26, 2015 5

Dear Friends,I hope that your new year has started off beautifully and as musically as possible, and that the marvelous music of Thomas Adès and Tchaikovsky that we shared in January is still singing in your souls.

Tonight we present a very special program. I am so proud that we are premiering a piece by one of the greatest composers alive—Jake Heggie, whose opera, Moby-Dick, many of us were privileged to experience at San Francisco Opera just a year ago. Jake’s piece tells the tragic story of the French artist Camille Claudel (1864-1943), whose tortured association with Rodin, both personally and artistically, shaped her destiny. To tell the story, the amazing Sasha Cooke joins us on stage. What a perfect combination!

On the second half of the program, Brahms’ last symphony, closing the symphony “cycle” we started in my first season as Music Director of Berkeley Symphony, five years ago. What a great example of music, particularly for its economy of means. Let’s not forget the last movement is a Passacaglia, a form that deals with variations, in this case of a very simple melody or progression, repeated and varied in the most imaginative ways. We are very much looking forward to playing this inspired music for you.

Once again, thank you so much for your continued support and for being with us this evening.

My warmest wishes,

Joana Carneiro

Message from the Music Director

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Message from the Board President

ImaginationI recently read a first novel written by a friend who has retired from the law. It is a very good read, with a full cast of finely drawn characters. Where did these folks come from? How did my friend imagine them and bring them into full being. I marveled anew at the creative process in ALL the arts.

And after our last concert, Sanctuary, a new-to-classical music first-time concert- goer commented to me at length about his reaction to Adès’ Asyla, and how he imagined a psychological journey through the music. “It opened a new world for me!” he said.

How does a composer imagine sound and birth his/her music? I have often wondered. Some must be based on music and sounds heard. Some must be based on the foundations of earlier composers. Some is pioneering and forging new sounds, new themes, new harmonies. I think all must begin with imagination. Do composers hear it all in their minds before committing to a score? Deaf, Beethoven composed music that he ONLY could imagine. To me, the interplay of creativity and reception/stimulation—the dialogue between the imaginations of creator and the listener—is supremely mystifying and exciting.

At our last concert it was delightful that we had a cohort of young people in the audience. I hope the music fired their imaginations. Perhaps one will be inspired, based on their experience and what they heard, to imagine and create music in the future.

And so ensues the dialogue of imaginations: creator/composer with the conductor and musicians who bring it to life, and with the audience members who receive, react, and carry forward what they have experienced. Imagine . . .

Tricia Swift

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February 26, 2015 9

Welcome!I first met Jake Heggie through mutual musician friends back in the late 80s and we stayed loosely in touch over the years. We had always wanted to work together, but it wasn’t until last year that the opportunity arose. It turns out that Joana, also a big fan of Jake’s, really wanted to commission him. So we took him to lunch and chatted for some time, all the while thinking it probably wouldn’t work out, due to his already heavy commissioning schedule. To our total surprise, he said that he had always wanted to write an orchestral version of his highly acclaimed Camille Claudel song cycle and that Berkeley Symphony would be a perfect fit. It was a match made in heaven!

In programming tonight’s concert, Joana wanted to present works that would complement Camille Claudel. Opening with Ravel’s impressionistic Mother Goose Suite, written just after Claudel’s final output and ending with Brahms 4, written just before her final output, provide contrasting yet related commentaries from two of Camille Claudel’s most iconic contemporaries.

The first time I played Brahms’ fourth symphony was as a 20-year-old student at Michael Tilson Thomas’ LA Philharmonic Summer Institute. Michael brought in some of the biggest names in conducting to direct the orchestra throughout the summer. The final conductor was the legendary Leonard Bernstein, who was to prepare and perform Brahms 4. That first day of rehearsal with Bernstein is branded into my memory as if it were yesterday. It answered the question “What makes a conductor truly great?” It was his presence; the music emanated from him as naturally as the sun coming up in the morning. It was all about the music as conveyed through his epic personality and genius. It was his humility and his unconditional love, accompanied by an all-consuming command for not just Brahms, but for the entire entity of music. I will never forget it.

We dedicate tonight’s concert to the memory of two incredible women—Virginia Baker and Alba Witkin—whose love for and devotion to Berkeley Symphony will always be remembered.

With warm regards,

Message from the Executive Director

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February 26, 2015 11

Board of DirectorsExecutive CommitteeTricia Swift, PresidentKathleen G. Henschel, Vice President for GovernanceJan McCutcheon, Vice President for DevelopmentGertrude Allen, Vice President for Community EngagementEd Osborn, TreasurerThomas Z. Reicher, SecretaryRené Mandel, Executive Director

Advisory Council (continued)

Lynne LaMarca Heinrich & Dwight JaffeeBuzz & Lisa HinesSue HoneJennifer HowardKenneth A. Johnson & Nina GroveTodd KerrJeffrey S. LeiterBennett MarkelBebe & Colin McRaeHelen & John MeyerDeborah O’Grady & John AdamsElisabeth & Michael O’MalleyMaria José PereiraMarjorie Randell-SilverThomas W. Richardson & Edith JacksonLinda Schacht & John GageKathy Canfield Shepard & John ShepardJutta SinghLisa & James TaylorAlison Teeman & Michael Yovino-YoungPaul Templeton & Darrell LouieAnne & Craig Van DykeYvette VloeberghsShariq Yosufzai

Board of Directors & Advisory Council

DirectorsSusan AcquistapaceStuart GronningenEllen L. HahnBrian JamesWilliam KnuttelJanet MaestreSandy McCoyDeborah ShidlerMichel Taddei

Advisory CouncilMarilyn Collier, Chair EmeritaMichele BensonFrank & Roberta BlissJudith BloomJoy CarlinRonald & Susan ChoyRichard CollierDianne CrosbyJohn & Charli DanielsenCarolyn DoellingAnita EbléKaren FairclothGary Glaser & Christine MillerReeve GouldBereket Haregot


Joana Carneiro Music Director Sponsored by Brian James & Shariq YosufzaiSponsored by Helen & John MeyerSponsored by Marcia Muggli & Ed OsbornSponsored by Lisa & Jim TaylorSponsored by Anonymous

Kent Nagano Conductor Laureate

Violin IFranklyn D’Antonio ConcertmasterJiwon Evelyn Kwark Associate ConcertmasterNoah Strick Assistant ConcertmasterMatthew SzemelaEmanuela NikiforovaLisa ZadekDouglas KwonYuna LeeStephanie BibboGenevieve Micheletti Ernest Ting-Ta YenAnnie LiJohn BernsteinKristen KlineDavid GroteBert Thunstrom

Violin IICassandra Bequary PrincipalDan Flanagan Assistant PrincipalKarsten WindtIlana ThomasSarah WoodLauren Avery

Sponsored by Tricia Swift

Thomas YeeMark NeyshlossRick DiamondAnn EastmanKevin HarperAlex LeeCharles Zhou

The OrchestraViolaTiantian Lan PrincipalIlana Matfis Assistant PrincipalDarcy RindtPatrick KrobothMarta TobeyKeith LawrenceAmy ApelMichael BasiliDan StanleyAmanda WooPeter Liepman Kayla Reagan

CelloCarol Rice Principal

Sponsored by Getrude Allen

Stephanie Wu Assistant PrincipalWanda WarkentinNancy BienEric GaenslenKrisanthy DesbyKenneth JohnsonPeter BedrossianJordan PriceAndy LyMargaret Moores

BassMichel Taddei PrincipalAlden Cohen Assistant PrincipalDavid HornKristin ZoernigAndrei GorbatenkoEric PriceIra Benjamin Holston

FluteEmma Moon Principal

Sponsored by Janet & Marcos Maestre

Stacey Pelinka


OboeDeborah Shidler Principal

Sponsored by Jan & Michael McCutcheon

Bennie Cottone

English HornBennie Cottone

ClarinetRoman Fukshansky PrincipalDiana Dorman

BassoonRufus David Olivier PrincipalErin IrvineShawn Jones

ContrabassoonShawn Jones

HornW. Alex Camphouse Principal

Sponsored by Thomas & Mary Reicher

Douglas HullLoren TayerleRichard HallThomas Reicher

TrumpetAri Micich PrincipalKale Cumings

TromboneThomas Hornig Principal

Sponsored by Kathleen G. Henschel & John W. Dewes

Craig BryantKurt Patzner

TimpaniKevin Neuhoff Principal

PercussionWard Spangler PrincipalVictor AvdienkoBenjamin Paysen

HarpWendy Tamis Principal

CelesteMiles Graber Principal

Franklyn D’Antonio Co-Orchestra Manager

Joslyn D’Antonio Co-Orchestra Manager

Quelani Penland Librarian

David Rodgers, Jr. Stage Manager


Tricia Swift

T ricia Swift is a prominent Real Estate Broker in Berkeley and the East Bay. She has been actively

involved in music throughout her life. As a college student, she was a member of the Harvard University Memorial Church Choir, and she sang with the San Francisco Symphony Chorus for twenty-four years before retiring from singing in 2010. She was also an original cast member of the inaugural production of the California Revels. She has been a member

of Berkeley Symphony’s Board of Directors since 2009 and now serves as President.

2014/15 Season Sponsors

Phot

o: ju

liech

eshi

re.c

omKathleen G. Henschel & John W. Dewes

Kathleen G. Henschel, formerly finance manager at Chevron Corporation, joined Berkeley

Symphony’s Board of Directors in 2004, and was President from 2006 to 2011. An active Bay Area philanthropist, she currently serves as Board Chair of Chanticleer. John W. Dewes, formerly General Manager of Public Affairs at Chevron Corporation, is an active volunteer in Walnut Creek.

Brian James & Shariq Yosufzai

B rian James is a member of the Board of Directors of Berkeley Symphony and was

Co-Chair of the Symphony’s 2014 Gala. Shariq Yosufzai serves on the Advisory Council of Berkeley Symphony, the Board of Directors of the San Francisco Opera, the Board of Trustees of Cal Performances, and is a past Chair of the Board of the California Chamber of Commerce.


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For more than 135 years, Chevron has proudly developed the energy that people and businesses

depend on, helping to spur economic growth and improve the quality of life for communities worldwide. Everywhere we operate, we strive to build lasting partnerships that contribute to local economies—now and for generations to come. We work with our partners to strengthen communities by focusing on strategic social investments in

health, education and economic development. Chevron is pleased to continue our partnership with the Berkeley Symphony to sponsor their 2014/2015 season.

McCutcheon Construction was founded in 1980 with the vision

of creating healthier homes, beautiful homes that endure, and homes that matter to their owners, to the community, and to the environment. Headquartered in Berkeley, the

company renovates and builds new structures throughout Northern California, where it has grown its reputation as a leader in sustainable home-building practices by listening carefully to clients and responding to their deeper desires for healthier living.


Producers’ Circle Sponsorship Gifts

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

Anonymous (3)

Gertrude Allen

Ronald & Susan Choy

Margaret Dorfman

Oz Erickson & Rina Alcalay

Kathleen G. Henschel & John W. Dewes

Buzz & Lisa Hines

Jennifer Howard & Anthony J. Cascardi

Brian James & Shariq Yosufzai

Janet & Marcos Maestre

Sarah Coade Mandell & Peter Mandell

Jan & Michael McCutcheon

Helen & John Meyer

Marcia Muggli & Ed Osborn

Linda & Stuart Nelson

Deborah O’Grady & John Adams

Thomas & Mary Reicher

Tricia Swift

Lisa & James Taylor

The Thomson Family

Kern & Marnie Wildenthal

William Knuttel Winery

Producers’ Circle Sponsorship gifts of $2,500 and above received between January 22, 2014 and January 22, 2015. Thank you also to our Producers’ Circle supporters at all levels!


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

Berkeley Symphony Legacy Society

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

Legacies ReceivedMargaret Stuart E. Graupner

Rochelle D. RidgwayHarry Weininger

“Growing up in New York City, I was introduced to classical music through Leonard Bernstein’s Young People’s Concerts and my elementary school’s arts curriculum, which encouraged every third grader to play a string instrument. I briefly played the violin before switching to piano and even studied at the Mannes School of Music while in eighth grade.

“When I moved to Berkeley in 1979, I joined the Friends of the Berkeley Symphony Orchestra, eventually serving as its President for a year. Berkeley Symphony quickly became part of my extended family, and my involvement as a volunteer, Board member, and Advisory Council member has now spanned 35 years.

“I greatly value the organization’s commitment to adventurous programming, its support of emerging composers, and its wonderful Music in the Schools program, which introduces a new generation to the joys of listening to and making music—an important legacy in which I am proud to take part.”

Legacies PledgedGertrude Allen

Norman Bookstein & Gillian Kuehner

Kathleen G. Henschel

Jeffrey S. Leiter

Janet & Marcos Maestre

Bennett Markel

Tricia Swift

Lisa Taylor


Thursday, February 26, 2015 at 8:00 pm Zellerbach Hall

Joana Carneiro conductor

Maurice Ravel Ma mère l’Oye: cinq pièces enfantines (Mother Goose Suite) 1. Pavane de la Belle au bois dormant (Pavane of Sleeping Beauty)

2. Petit Poucet (Little Tom Thumb / Hop o’ My Thumb)

3. Laideronnette, impératrice des pagodes (Little Ugly Girl, Empress of the Pagodas)

4. Les entretiens de la belle et de la bête (Conversation of Beauty and the Beast)

5. Le jardin féerique (The Fairy Garden)

Jake Heggie Camille Claudel: Into the Fire (World Premiere)

Lyrics by Gene Scheer

1. Rodin 2. La Valse 3. Shakuntala 4. La Petite Châtelaine 5. The Gossips 6. L’Age Mûr 7. Epilogue: Jessie Lipscomb visits Camille Claudel, Montdevergues Asylum, 1929

Sasha Cooke mezzo-soprano

Camille Claude: Into the Fire was commissioned by Berkeley Symphony with the Lead Sponsorship gift of Linda and Stuart Nelson. Ms. Cooke’s performance is underwritten by Kern and Marnie Wildenthal.

Program III: Imagination

program continues on page 23


Tonight’s concert will be broadcast on KALW 91.7 FM on May 18, 2015.Please switch off your cell phones, alarms, and other electronic devices during the concert. Thank you.

ConCert SponSorS

Tonight’s performance is made possible by the generous support of

Jennifer Howard & Anthony J. Cascardi | Thomas & Mary Reicher

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

Johannes Brahms Symphony No. 4 in E minor, Op. 98 1. Allegro non troppo 2. Andante moderato 3. Allegro giocoso 4. Allegro energico e passionato

THIS EVENING’S PERFORMANCE IS DEDICATED TO THE MEMORY OF VIRGINIA BAKER AND ALBA WITKIN

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Program Notes

Maurice Ravel (1875-1937)

Mother Goose SuiteBorn on March 7, 1875, in Ciboure, France; died on December 28, 1937, in Paris. Ravel composed Ma Mère l’Oye (“Mother Goose”) in 1908-1910 as a suite for piano four hands. In 1911-1912 he orchestrated the piece and also added some new material to create a ballet work. The orchestral suite, which has become a concert hall favorite, provides an enchanting example of Ravel’s poetic re-creation of childhood fantasy. Far from a musical fairy-tale theme park, the Mother Goose Suite shows off his beguiling mastery of orchestral texture and color.

First performance: the full orchestrated ballet version was premiered in Paris on January 29, 1912, in Paris. Mother Goose is scored for 2 flutes (2nd doubling piccolo), 2 oboes (2nd doubling English horn), 2 clarinets, 2 bassoons (2nd doubling contrabassoon), 2 horns, timpani, percussion, celesta, harp, and strings. Duration ca: 20 minutes.

Maurice Ravel possessed a peculiar gift for evoking what

he called “the poetry of childhood.” Much as dance is a guiding thread through several of his most important compositions, themes involving childlike fantasy also recur again and again in his oeuvre. The two aspects—childhood and the dance—come together in the orchestral version of Ma Mère l’Oye (“Mother Goose”). Ravel

initially conceived this music as a piano duet for two children he had befriended, Mimie and Jean Godebski. Their parents, a Polish couple who held salons that attracted a remarkable array of Parisian artists, provided a kind of alternative home for the composer. Biographer Gerald Larner observes that the death of Ravel’s father in 1908 likely predisposed him to muse on his own childhood as he entertained the Godebskis and “took refuge in fairy tale and the domesticity of the piano duet.” As a result, adds Larner, “there is at least as much adult nostalgia as childish joy . . . and far more Ravel” in these pieces.

The original piano duet version of Mother Goose, which carries the subtitle “five children’s [or “childish”] pieces,” radiates a beguiling intimacy and ravishing sense of color. Ravel wrote the piano duet as a private gift for the Godebski children to play. But for the first public performance, in 1910, the kids weren’t quite up to the task—they complained it would require too much practice—and the duet was premiered by another pair of prodigies. The following year, Ravel orchestrated the pieces, rearranging their order and expanding the suite with connecting interludes to make it suitable as a ballet score. For this he concocted a scenario linking the famous fairy tale stories that were the starting point of the piano pieces. These were drawn from multiple French sources, including


Four Mainstage Concerts“Under Construction” Concerts

with Emerging ComposersNew Works

Old Chestnuts Resident Artists

Music in the Schools

2014-2015


Charles Perrault’s 1697 anthology, subtitled Tales of Mother Goose, as well as from Perrault’s contemporary, Baroness d’Aulnoy, and from Jeanne-Marie Le Prince de Beaumont.

The clarity and simplicity of presentation in this score belie the subtleties of Ravel’s orchestration. In his scenario, the tale of Sleeping Beauty provides a framework for Mother Goose. In the original full-length ballet, a Prelude sets the scene in the manner of a preview, by depicting Sleeping Beauty as she pricks her finger on the spindle of an old woman’s spinning wheel and is cast into a profound slumber. The Suite begins with Pavane de la Belle au bois dormant, (“Sleeping Beauty’s Pavane”), which ushers us along with the Princess into a state of dreamlike simplicity with its brief, stately processional and meltingly beautiful writing for woodwinds. The ensuing tales are enacted as she sleeps, in episodes that precede the moment of her awakening in the final tableau. At the same time, the Pavane’s sustained wistfulness hints at the ambivalence of Ravel’s summoning of childhood—a past recaptured by the knowing adult’s memory.

Petit Poucet (“Tom Thumb”) recounts the tale of the diminutive poor woodcutter’s son who tries to plan a way out of the woods by dropping breadcrumbs, only to discover (like Hansel and Gretel) that birds have eaten them. Tom Thumb (oboe) wanders in confusion trying to find the path, while Ravel’s vivid depiction of the birds near the end highlights his

facility for conjuring nature.

Miniature people also figure in Laideronnette, Impératrice des Pagodes (“Little Ugly, Empress of the Pagodas.”) Here, a princess has been made the ugliest woman in the world by a witch’s spell. She finds herself transported into a magical kingdom where her tiny subjects, robed in gems, serenade her with an orchestra whose instruments (the “pagodas” in Ravel’s sense) are made of the shells of walnuts and almonds. The nuanced touches from percussion enhance Ravel’s enchanting use of pentatonic melody and evoke an Asian gamelan ensemble.

In Les entretiens de la belle et de la bête (“Conversations of Beauty and the Beast”), Ravel details this unlikely love story in three parts. These chart the appearance of Beauty (clarinet) in a Satie-like waltz, the gruff pleas of Beast (contrabassoon), which emerge from the bass, and the mixture of both in a duet. A glissando from the harp signals Beast’s transformation into a handsome prince, who is now represented by a violin in place of the contrabassoon.

For the concluding tale, Ravel introduces another handsome prince into his musical landscape. Prince Charming arrives to awaken Sleeping Beauty, and the wood becomes Le jardin féerique (“The Enchanted Garden”). Perfectly judged, painterly touches set the scene. Taking the form of a stately hymn, the Suite ends with the triumphant C major sounds of wedding and coronation.

—© Thomas May


Jake Heggie (b.1961)

Camille Claudel: Into the FireCamille Claudel: Into the Fire is scored for flute, oboe (doubling English horn), clarinet in B flat, bassoon, 4 horns in F, 2 trumpets in C, 2 trombones, timpani, percussion (glockenspiel, crotales, chimes, xylophone, vibraphone, triangle, small and large tambourine, finger cymbals, sandpaper blocks, 2 suspended cymbals, tamtam, snare drum, 4 tom-toms, bass drum), harp, mezzo-soprano and strings. Duration ca: 35 minutes.

The composer has provided the following notes:

The heart-wrenching French film Camille Claudel has haunted me since I first

saw it in 1989. Isabel Adjani’s magnificent, complex portrayal of the French sculptor opposite Gérard Depardieu’s ferocious Rodin struck me as extraordinarily theatrical; something I wanted one day to explore through music.

Claudel (1864-1943) was an artistic genius at a time when a woman was rarely taken seriously on her own. The famed French art critic Octave Mirbeau described her as “a rebellion against nature: a woman of genius!” Claudel knew she was a genius, but it was only in connection with a man that she would be known: Rodin, her mentor, teacher and lover. She was called “Rodin’s muse,” “Rodin’s protégée,” “Rodin’s mistress,” “Rodin’s whore”—but hardly ever her own person. Their stormy and ill-fated romance, warring egos, clashing genius, her bold life choices, his broken promises, and the mental illness that would lead to her isolation and confinement in a remote asylum—all of this is part of her tragic story. But only part.

For there are her sculptures: sublime, beautiful, inspired, aching, they dance and sing to us through time. Only a relatively few survive, for she destroyed much of her

work before her family sent her away to the asylum; and there, she never sculpted again.

I had been seriously considering an opera based on Claudel when in 2010, Ruth Felt, president of San Francisco Performances, asked me if I would be interested in creating a new work to celebrate the Alexander String Quartet’s 30th anniversary. Knowing I am primarily an opera composer, Ruth also said we could invite a singer to participate. I called my friend, the great mezzo-soprano Joyce DiDonato and asked her about the project. “Yes, please,” was her reply. Then, I contacted wonderful Gene Scheer, my frequent collaborator, to see if he would write new texts and he enthusiastically signed on, as well. Instead of a full opera, a theatrical song cycle would be our first foray into the story of Camille Claudel.

The cycle takes place the day Camille is to be taken to the asylum. As dawn breaks

(Awakening), she wakes to the strange reality of what is about to happen and addresses her sculptures. The powerful, rugged bust of Rodin is first, followed by the lyrical La Valse—a sensuous dance of love and death.

Shakuntala, according to Hindu mythology, was the bride of King Dushyanta. Dreaming of her husband one day, she inadvertently offended a powerful rishi, or sage, whose curse was that she would be forgotten by the one she dreamed of. For many years, she and her child were banished and isolated until the king was awakened to his error and sought her out to beg forgiveness. Claudel’s sculpture depicts the difficult, emotional moment of their reunion.

La Petite Châtelaine is a tender, radiant portrait of innocence. In 1892, Claudel reluctantly aborted Rodin’s child—likely at his behest—and ended their affair. This sculpture dates from shortly after, when


composer was a close friend of Claudel and kept a copy of her sculpture La Valse on his mantle. There are a few recurring themes, most of which are permutations of the music from Camille’s first line: “Last night, I went to sleep completely naked”—a line from an early letter she wrote to Rodin.

Camille Claudel: Into the Fire was completed in December 2011 and received its premiere at the Herbst Theater in San Francisco on February 4, 2012. The chamber version of the work was commissioned by San Francisco Performances and generously underwritten by a gift from Linda and Stuart Nelson. During rehearsals for the premiere, Kern and Marnie Wildenthal—my good friends from Dallas—remarked that they thought the piece cried out to be orchestrated. I heard what they meant and my ear was piqued to explore orchestral timbres to dive even deeper into the big emotional palette of the songs.

Shortly after, René Mandel introduced me to Joana Carneiro and we talked about taking these songs to the next level with the wonderful Berkeley Symphony. Once again, Linda and Stuart Nelson stepped forward to commission the orchestration—and Kern and Marnie stepped forward to underwrite the performance of our soloist, the luminous and radiant mezzo-soprano Sasha Cooke.

The orchestration includes single winds and harp in a fragile balance with strings, brass and percussion. I chose this to reflect the precarious emotional balance that exists throughout the piece: Camille knows her world is changing drastically—knows something is terribly wrong—but has no way to control or change it. The orchestral version was completed in December 2014.

—© Jake Heggie

Claudel began to sense a growing paranoia: a fear that Rodin was trying to steal her ideas and destroy her career.

The Gossips represents a real turning point for Claudel. While Rodin’s sculptures and fame became more massive, hers became more intimate and small. Her paranoia led her to believe that she was being followed and persecuted by “la bande à Rodin” (or “Rodin’s gang”). Here four women whisper and gossip in a corner. About whom?

L’Age Mûr (“Maturity” or “Destiny”) is a large bronze sculpture in the Musée d’Orsay. It depicts three figures: an older man being led away by an ancient woman while a younger woman, on her knees, tries desperately to reach out to him. This also dates from about the time of Claudel’s abortion and Rodin’s refusal to leave his long-time lover, Rose Beuret.

In 1913, on her mother and brother’s order, Claudel was taken to an asylum. To avoid any more scandals, her brother, the diplomat and playwright Paul Claudel, had her confined in isolation. Though her caregivers insisted that she did not need to be thus confined, that what she needed was society with people, her mother and sister never visited her, and Paul only every few years. In 1929, her closest friend from their student days in Paris came to visit (Epilogue). Jessie Lipscomb and her husband were on their way to Italy and decided to seek out Camille. They found her quiet, reflective, and dear. The photograph Jessie’s husband took of them is the last evidence we have of Camille Claudel.

Musically, the cycle is tonally based with a strong sense of dance throughout, especially a strong undercurrent of ¾ time. Debussy’s G minor string quartet is a primary source of inspiration. The


Camille Claudel: Into the Fire Texts by Gene Scheer

1. Rodin

Last night, I went to sleep completely naked. I pretended you were holding me But I woke alone again Everything burned away In the cruel morning light.

Was I dreaming that you loved me Though you left me far behind? Someone’s there Hidden in the shadows You don’t want me to see You don’t want me to find

In the clay I search with my fingers To uncover something true Rodin! Rodin! Was there ever a time You wanted me to find you?

There’s a secret I have traced In your eyes, your brow, your hair. Others think they see you But, we both know, you’re not there.

In the clay I search with my fingers To uncover something true Rodin! Rodin! Was there ever a time You wanted me to find you?

Rodin? Rodin?

2. La Valse

The light of day will fade And shadows will descend No breath can last forever No heartbreak truly mend

Again, again . . . Console my eyes with beauty

Allow me to forget That every dance of love Is mingled with regret

Take me One step closer One step back One step spins One step hovers Take me! Take me to the place for unrepentant lovers!

Is it in the spirit? Is it in the flesh? Where do I abide? Console Oh, console my eyes with beauty Allow me to forget That every dance of love Is mingled with regret . . .

3. Shakuntala

“Shakuntala! Shakuntala!”

He called my name in a whisper He called my name in a cry

Before I was a mother Before I met the king Before he made his promise Before I wore his ring Before I was forgotten Abandoned and ignored Before I was denied All that I adored I did not know who I was.


After he had learned the truth After all his tears Begging my forgiveness After wasting many years Wishing to reclaim me Kneeling at my feet He reaches to embrace me Will the circle again be complete?


I lean and let him hold me His lips familiar yet estranged I forgive him utterly But in doing so have I changed?


I hear your whispers Your cries Oh, I want to take you back, my love, But who I was has died!

4. La Petite Châtelaine

Hello, my little one, La petite châtelaine

Do you know who I am? Do you know who I am?

They say I leave at night By the window of my tower Hanging from a red umbrella With which I set fire to the forest

Hello, my little one, La petite châtelaine

Do you know who I am? Or the land you come from? Where the earth is stained . . .

I did as he said and returned you to clay. Oh, how could I bleed such a blessing away? Now I’m forever alone With my children of stone.

La petite châtelaine

Can you hear my voice? The voice of your mother?

5. The Gossips

What is in my hands? What is in my head? So many ideas, my mind aches. So many ideas, the earth quakes!

People at a table listen to a prayer. Three men on a high cart laugh and go to mass.

A woman crouches on a bench and cries all alone. What does she know? Does she know three people sit behind a screen and whisper? What is the secret suspended in the air? I know. I know.

The halo rusts. The light is dim. Into the fire! Is it him? Is it him? Is it him?

6. L’Age Mûr (instrumental)

7. Epilogue: Jessie Lipscomb visits Camille Claudel, Montdevergues Asylum, 1929

Thank you for coming. I thought everyone had forgotten. Thank you for remembering me.

Four children? Beautiful . . . beautiful . . . Off to Italy? Beautiful . . . beautiful . . . You will have wonderful things to eat there. Here they are trying to poison me. (I see that they don’t. I cook for myself.) Thank you for remembering me.

Do you remember our studio in Paris? Everything moving. Two young women, so many ideas. Look at me now! Oh, Jessie . . . Every dream I ever had was of movement. Touching. Breathing. Reaching. Hovering. Something always about to change . . .

A photograph? Just me and you. Yes. I understand. I must be very still.

Thank you for remembering me.


Johannes Brahms (1833-1897)

Symphony No. 4 in E minor, Op. 98Born on May 7, 1833, in Hamburg, Germany; died on April 3, 1897, in Vienna. Johannes Brahms composed the Fourth Symphony between 1884 and 1885. A late-bloomer in writing symphonies, Brahms initially felt weighed down by the challenge of adding to a genre Beethoven had seemingly perfected. But in this last of his four symphonies he confidently drew on the wisdom he had gathered from looking backward— as a composer, a conductor, a pianist, and a musical scholar. Here, Brahms distills his deep reverence for tradition as well as what he had learned from his own creative struggles into one of the most masterfully and subtly constructed works of the entire orchestral repertoire.

First performance: October 25, 1885 in Meiningen, Germany, with the composer conducting. The Fourth Symphony is scored for 2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, and strings. Duration ca: 40 minutes.

“I ’m rather afraid that it tastes like the climate here,” Brahms

wrote about his latest work-in-progress while summering in southern Austria. “The cherries don’t ripen in these parts; you wouldn’t eat them!” The slyly cautionary metaphor was apt. Despite containing some of the most impassioned moments in

Brahms’ entire output, the Fourth is couched in a language of implacable tragedy. There is no sweetener here to palliate its harsh truths. Even the brief joyful moments in this music come more as a surprise than relief. The composer’s nature metaphor likewise points to the process of musical germination in the score, in which complex structures blossom organically from simple—at times even harsh—musical seeds.

The primary “seed” in this case is the interval of the third, which permeates the score on both melodic and harmonic levels. We hear it in descending chains right at the start of the first movement, when Brahms presents the first theme outright as the music sighs and pauses with the gestures of passionate breathing. He discarded earlier sketches for some preliminary measures, deciding to dispense with a curtain raiser and plunge us at once into the heart of the matter. Too often pigeonholed as a reactionary in a “progressive” age, Brahms confounds expectations by pretending to repeat the exposition for a few bars and then launching into his development.

The entire first movement in fact enacts a process of development, so organized is Brahms’ natural way of musical thought. Through a process Schoenberg called “developing variation,” ideas cross-fertilize and are continually transformed. This is hardly a merely intellectual or abstract concept but affects the emotional temperature


throughout. Notice, for example, the air of mystery with which Brahms alters his thematic ideas to prepare for the recapitulation of the opening material. By the end of the movement, the tragic implications hinted in the main theme have accumulated to produce an over-whelming effect. Another aspect impossible to miss in the Allegro is the presence of dance impulses. Like the “sighs” of the opening, these tether his music to the organic, patterned rhythms of the body.

The Andante nominally brightens to the tonic major, but the tonality actually conjured is surprisingly ambiguous at times—not an obvious consolation, like the turning up of the light. This movement also begins with an invitation to the dance, but a rather solemn one. Brahms blends instrumental timbres, developing his thematic material through contrasts of light and shade and creating gorgeous and stirring effects of sonic chiaroscuro. The sensual reality of sound color is integral to his imagination as the more abstract exploration of motivic ideas.

The third movement, Allegro giocoso, adds piccolo and tinkling triangle (the only times Brahms employs these instruments in his economical scoring), the brighter light of its sound seeming to dispel any night thoughts. But the brevity of its joy, framed in an innocently exuberant C major, comes as a shock. This music is energetic, like a scherzo (though not in the triple meter Beethoven


normally used for his scherzos), and its animated spirit turns out to be a delusion in view of the unyielding, titanic drama that will follow.

As far as the Romantics were concerned, Beethoven had opened the genre of the symphony up to reveal a new philosophical depth with his Fifth. The widespread belief that this work evoked the power of “fate” became associated in particular, for several Beethovenians, with the inexorable patterns of ancient Greek tragedy. Brahms had already come to terms with the Fifth in his own C minor symphony (his First), which likewise paralleled Beethoven’s trajectory from darkness to jubilant light. But he saves the grimmest music of all for the finale of his last symphony. Here, Brahms adapts the Baroque form of the passacaglia, which involves a set of variations (typically, as here, in triple meter) that take place over a basic, constantly repeating harmonic sequence in the bass. As long as we keep in mind that Brahms is in no way writing program music to “illustrate” an external story (neither was Beethoven in his Fifth), it’s possible to hear the cycling pattern of the passacaglia as a powerful metaphor for the inescapability of fate.

Yet Brahms never allows it to become a formal straightjacket: the miracle of the finale is the abundance of transformation that transpires within the limited confines of the passacaglia. The basis for these

variations is the sequence of eight chords stated in the opening measures, which Brahms borrowed from the final movement of one of Bach’s earliest known cantatas: “Nach dir, Herr, verlanget mich” (“For Thee, O Lord, I Long”). By reviving a form that was presumed to be defunct, the “conservative” Brahms provided a model for composers up to the present who have found creative ways to reclaim elements of the past.

Brahms fuses the predictability of the passacaglia’s repetitions with the forward-moving drama of sonata form. Notice, for example, the sense of recapitulation that arrives, after a far-ranging development, when the full orchestra climactically plays out the theme (this happens to be Variation No. 24 of a total of 30 variations). Brahms even outlines the pattern of a miniature four-movement symphony in his implicit subdivisions of the variations into groups, such as the woodwind-dominated variations at the center (suggesting the equivalent of a slow movement). Whatever expectations might be set up of a “victorious” conclusion—and an uplifting turn toward the major—are dashed by the genuinely tragic close Brahms will not spare us. This most severe of the Fourth’s movements charges ahead in an urgent coda to its ruthless close.

—© Thomas MayThomas May, program annotator for

Berkeley Symphony, writes about the arts and blogs at memeteria.com.


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 the 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 there at least four weeks every year. In January 2014 she was appointed Principal Conductor of the Orquesta Sinfonica Portuguesa.

Carneiro’s growing guest-conducting career continues to develop very quickly. In November she made her debut at the English National Opera conducting the world stage premiere of John Adams’ The Gospel According to the Other Mary. She also conducts Adams’ A Flowering Tree at the Gothenburg Opera, makes debuts with the Orchestre National de Lyon and the Helsingborg Symphony, and returns to the Gothenburg, Malmö, Gävle and Swedish Radio symphonies.

Joana undertakes her sixth season as Music Director of the 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, Esa-Pekka Salonen, Brett Dean, Kaija Saariaho and Gabriela Lena Frank.

Last season, Carneiro conducted highly successful returns to Toronto, Gothenburg, Gävle, Malmö, Sydney, New Zealand symphonies and the National Symphony Orchestra of Spain, as well as debuts with the Orchestre Philharmonique de Radio France, Royal Stockholm

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Philharmonic and Florida Orchestra.

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, Ensemble Orchestral de Paris, Orchestra de Bretagne, Norrköping Symphony, Norrlands Opera Orchestra, Residentie Orkest/Hague, Prague Philharmonia, Euskadi Orchestra of Spain and the Orchestra Sinfonica del Teatro la Fenice at the Venice Biennale, as well as the Hong Kong Philharmonic, 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 and São Paulo State Symphony.

In 2010, Carneiro led performances of Peter Sellars’ 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 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’ 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 the 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 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.

40 February26, 2015

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Sasha Cooke, mezzo-soprano

G rammy Award-winning mezzo-soprano Sasha Cooke has

been called a “luminous standout” (The New York Times) and “equal parts poise, radiance and elegant directness” (Opera News). Recognized notably in the French and German repertoire, Ms. Cooke appears frequently this season singing Mahler and Berlioz, composers whose works she has sung to great acclaim on four different continents. Sought after by the world’s leading orchestras, opera companies, and chamber music ensembles for her versatile repertoire and commitment to new music, Ms. Cooke’s season continues to bring world premiere

performances and unique artistic collaborations.

Symphonic engagements of the 2014-2015 season include performances of Berlioz’ Roméo et Juliette with Tugan Sokhiev and the Deutsches Symphonie-Orchester, Verdi’s Requiem with Andrés Orozco-Estrada and the Houston Symphony, Mahler’s Third Symphony with Sir Andrew Davis and the Melbourne Symphony, Beethoven’s Missa Solemnis with Michael Tilson Thomas and the San Francisco Symphony and Mozart’s Requiem with the Colorado Symphony conducted by Pinchas Zukerman and the Seattle Symphony conducted by Ludovic Morlot. In recital, Ms. Cooke appears with pianist Julius Drake at Carnegie Hall and under the auspices of San Francisco Performances in works of Haydn, Liszt and Granados.

Her operatic engagements this season include the world premieres of Laura Kaminsky’s As One at the Brooklyn Academy of Music and Joby Talbot’s Everest with The Dallas Opera directed by Leonard Foglia, as well as the role of Anna and cover of Didon in Sir David McVicar’s production of Berlioz’ Les Troyens at San Francisco Opera under the baton of Donald Runnicles.

A frequent performer of contemporary works, Ms. Cooke

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Guest Artist & Composer’s Biographies

42 February26, 2015

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performs the orchestral premiere of Jake Heggie’s Camille Claudel: Into the Fire with Berkeley Symphony, a new work by Pierre Jalbert with the River Oaks Chamber Orchestra and a premiere song cycle by Kevin Puts at Carnegie Hall. Chamber music performances include collaborations with I Musici de Montréal and Jean-Marie Zeitouni in Mahler’s Lieder eines fahrenden Gesellen and Ravel’s Shéhérazade and with the Miró Quartet at The Kennedy Center in works of Wolf, Crumb and Schubert. Additional engagements include collaborations with Jeremy Denk and the St. Paul Chamber Orchestra and the Seattle Chamber Music Society.

Ms. Cooke has performed at numerous festivals, including the Aspen Music Festival, Caramoor International Music Festival, Luzerne Festival, Mecklenburg-Vorpommern Festival, Mostly Mozart Festival, Music@Menlo Festival and New York Festival of Song. A graduate of Rice University and The Juilliard School, as a student, Sasha Cooke also attended the Music Academy of the West, the Aspen Music Festival, the Ravinia Festival’s Steans Music Institute, the Wolf Trap Foundation, the Marlboro Music Festival, the Metropolitan Opera’s Lindemann Young Artist Development Program, Young Concert Artists, and Seattle Opera and Central City Opera’s Young Artist Training Programs. Ms. Cooke very much enjoys mentoring and has given masterclasses throughout the United States. She lives near Houston, TX with her 3 year-old daughter Evelyn and husband baritone Kelly Markgraf.

Jake Heggie, composer

Jake Heggie is the American composer of the operas Moby-Dick (libretto by

Gene Scheer), Dead Man Walking (libretto by Terrence McNally), Three Decembers (Scheer), The End of the Affair (McDonald), Out of Darkness—A Holocaust Triptych (Scheer), To Hell and Back (Scheer), At the Statue of Venus (McNally), and The Radio Hour: A Choral Opera (Scheer). He is currently at work on two new stage works: Great Scott (McNally) for The Dallas Opera in 2015, and an opera based on It’s A Wonderful Life (Scheer) for the Houston Grand Opera in 2016. Heggie has also composed more than 250 art songs, as well as concerti, chamber music, choral and orchestral works, including his recent Ahab Symphony.

The operas—most created with the distinguished writers Terrence McNally and Gene Scheer—have been produced on five continents. Dead Man Walking has received more than 40 productions worldwide since its San Francisco Opera

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premiere in 2000 and has been recorded live twice (Erato Records in 2000 and Virgin Classics in 2011). Moby-Dick has received six international productions since its 2010 premiere at The Dallas Opera and was telecast nationally in 2013 as part of Great Performances’ 40th Anniversary Season. Moby-Dick received its East Coast premiere at The Kennedy Center in Feb 2014 with the Washington National Opera; a production from the San Francisco Opera has been released on DVD (EuroArts). It is also the subject of a book by Robert Wallace titled Heggie & Scheer’s Moby-Dick—A Grand Opera for the 21st Century (UNT Press).

A Guggenheim Fellow, Heggie served for three years as a mentor for Washington National Opera’s American Opera Initiative. He is also a frequent guest artist and master teacher at universities and conservatories, including Boston University, Bucknell, Cornell, The Royal Conservatory in Toronto, University of North Texas, University of Colorado, USC’s Thornton School, Vanderbilt University, and at festivals such as SongFest at the Colburn School, Ravinia Festival, and VISI in Vancouver.

Jake Heggie frequently collaborates as composer and pianist with some of the world’s most loved singers, including sopranos Kiri Te Kanawa and Renée Fleming; mezzo-sopranos Joyce DiDonato, Susan Graham and Frederica von Stade; Broadway stars Patti LuPone and Audra McDonald; tenors William Burden, Stephen Costello and Jay Hunter Morris; baritones Nathan Gunn, Morgan Smith and Bryn Terfel. Directors who have championed his work include Leonard Foglia, Joe Mantello and Jack O’Brien. All of Heggie’s major opera premieres have been led by Patrick Summers; he has also worked closely with conductors John DeMain, Joseph Mechavich and Nicole Paiement.

In addition to two new operas, upcoming works include The Work At Hand: Symphonic Songs for mezzo Jamie Barton and cellist Anne Martindale Williams (Carnegie Hall and the Pittsburgh Symphony); new songs for Susan Graham (Vocal Arts DC); and Stop This Day And Night With Me for The King’s Singers, the 2015 Brock Commission for the American Choral Directors Association Conference.

Jake Heggie lives in San Francisco with his husband, Curt Branom. jakeheggie.com

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In Memoriam: Virginia Baker

V irginia Voigtlander Baker enjoyed a career in music performance that

spanned over six decades. Born during a time when it was not considered appropriate for a woman to have a career as an orchestral performer, she pioneered the way for future generations of women drawn to this profession. The youngest of three daughters, her mother was a D.A.R. and her father the son of German immigrants. Unusual for their time, Virginia’s parents encouraged their daughters to cultivate professions that would enable them to become self-sufficient in the world. She studied violin at the Curtis Institute and Juilliard Graduate School. She met her lifelong love and partner William Baker in Columbia, Missouri where she had landed her first position teaching at Stevens College. They were married in January of 1951 and in December of that year their first born, Martha arrived.

In 1952 they moved to Pasadena, California where her husband attended

Fuller Theological Seminary. During that time Mark and Elizabeth were born. In 1956 the family moved to the San Fernando Valley and when all the children were in elementary school Virginia began studying the violin with Vera Barstow, her favorite teacher. As time allowed, Virginia began performing with various orchestras. She had played with the Pasadena Symphony since coming to California. Around 1960 she became Concertmaster of the Pasadena Symphony and continued in the role until 1972. She was a founding member of the Los Angeles Chamber Orchestra and played in numerous community orchestras, including the Glendale Symphony, Long Beach Symphony, Henri Temianka’s California Chamber Orchestra, and countless free-lancing and studio jobs. Her gift of teaching led her to teach at Occidental College and California State University Long Beach, as well as in her own private studio. In 1972 she won the position as Assistant Concertmaster of the San Francisco Symphony, a position she held until 1993. She then joined the New Century Chamber Players in its early seasons and also the Berkeley Symphony with whom she performed for the next 18 years, reluctantly retiring from symphony life at the age of 88. During her years in Berkeley she taught private violin lessons to UC Berkeley students as well as in the Young Musicians Program. Virginia touched the lives of countless students, concert listeners, friends and family through her deeply held principles of excellence, a strong work ethic, kindness, compassion, and high moral principles.

1922-2014


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In Memoriam: Alba Witkin

A lba Pichetto Kuchman Witkin, philan-thropist, civic activist, and humanitarian,

and a Berkeley, California resident since 1978, was the widow of the late Bernard E. Witkin, legal scholar and author of the 37-volume Witkin treatises on California law.

Born in New Jersey in 1919, Alba moved with her family to California in 1929. She received her bachelor’s degree from Fresno State College and a master’s degree in Public Personnel Administration from Stanford University. Before accepting a position with the State Personnel Board in Sacramento, she worked with the American Friends Service Committee (Quakers). This formative experience with Quakerism, conscientious objection, non-violence, and peace instilled a lifetime devotion to these ideals.

Alba was twice elected to the Sacramento School Board and held elective and appointive offices with many community organizations, including the Governor’s Conference on Juvenile Delinquency, the City/County Human Relations Commission, the Blue Ribbon Committee for the Revision of the County Charter, the Sacramento Civil Service Board, Sacramento League of Women Voters, the

Sacramento YWCA, the Community Welfare Council, and the Sacramento Peace Center.

In 1964, Alba was appointed to the California Advisory Committee of the U.S. Commission on Civil Rights. The Commission was established in 1957 to investigate alleged deprivations of the right to vote on the basis of color, race, religion, or national origin; to study denials of equal protection under the U.S. Constitution; to appraise the laws and politics of the federal government with respect to equal protection; and to report findings and recommendations to the President and Congress.

In addition to her philanthropic work, Alba also served on the boards of the University of California Friends of the Botanical Garden, the University YWCA, and the National Peace Garden in Washington, D.C. Since 2005, the California Judges Association annually awards the Alba Witkin Humanitarian Award to honor a judicial officer who is making a difference outside of the courtroom. In March 2014, Alba was inducted into the Alameda County Women’s Hall of Fame for her work in philanthropy.

In 1982, along with her husband, she established the Bernard E. & Alba Witkin Charitable Trust so that they could provide vital aid and assistance to non-profit groups. Their generosity kept music alive in the Berkeley public school system, helped provide affordable housing and food for the needy, supported gender and refugee studies, funded mental health services, and supported projects for peace, social justice, and human rights. In 2003, Alba reformed the Trust into the Bernard E. & Alba Witkin Charitable Foundation, which continues to provide generous support to Berkeley Symphony.

1919-2014


Berkeley Symphony

Recognized nationally for its spirited programming, Berkeley

Symphony has established a reputation for presenting major new works for orchestra alongside fresh interpretations of the classical European and American repertoire. It has been honored with an Adventurous Programming Award from the American Society of Composers, Authors and Publishers (ASCAP) in ten of the past twelve seasons.

Under the baton of Music Director Joana Carneiro, the Orchestra performs four main-stage concerts a year in Zellerbach Hall, and supports emerging symphonic composers through its Under Construction New Music Program, in partnership with EarShot. 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 4,200 local elementary students each year. In association with the Piedmont Center for the Arts, Berkeley Symphony presents an annual chamber music series at the Center called Berkeley Symphony & Friends.

Berkeley Symphony was founded in 1969 as the Berkeley Promenade Orchestra by Thomas Rarick, a protégé 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 programming that included rarely performed 20th-century scores. In 1981, the internationally-renowned French composer Olivier Messiaen journeyed to Berkeley to assist with the

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preparations of his imposing oratorio The Transfiguration of Our Lord Jesus Christ, and the Orchestra gave a sold-out performance in San Francisco’s Davies Symphony Hall. In 1984, Berkeley Symphony collaborated with Frank Zappa in a critically-acclaimed production featuring 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 Carneiro became the Orchestra’s third Music Director in its 40-year history. 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 international prominence. Celebrated British composer George Benjamin, who subsequently became Composer-in-Residence at the 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 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. www.berkelysymphony.org


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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 Sponsors(Gifts of $2,500 and above annually)

Anonymous (2)Berkeley Public Schools FundBernard E. & Alba Witkin Charitable

FoundationThe Bernard Osher FoundationCalifornia Arts CouncilAnnette Campbell-White & Dr. Ruedi

Naumann-EtienneRonald & Susan ChoyEast Bay Community FoundationPaula & John GambsKathleen G. Henschel & John W. DewesBrian James & Shariq YosufzaiJohn KarnayHelen & John MeyerMusic Performance Trust FundNational Endowment for the ArtsThomas J. Long FoundationTricia SwiftU.S. Bank FoundationUnion Bank FoundationnThanks also to those giving up to $2,500 annually.

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In partnership with EarShot, Berkeley Symphony’s 2015 Under Construction New Music Program will present new symphonic works by emerging composers from across the

country. Selected for the program following a highly competitive national search, the composers each create a symphonic work to be developed, polished and recorded during a two-day residency at Osher Studio in Berkeley, while receiving on-going guidance from Music Director Joana Carneiro, mentor composers, and members of the Orchestra. The public is invited to view the creative process during two informal readings on Saturday, May 2, at 3pm and Sunday, May 3, at 7pm. The names of the selected composers will be announced in late January.2015 marks the second year of a new partnership between Berkeley Symphony and 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. The collaboration enables Berkeley Symphony to expand its role as a West Coast artistic incubator for emerging orchestra composers and to broaden its reach.Established in 1993, the Under Construction New Music Program seeks to engage audiences in contemporary music and its creation. During the first reading, the Orchestra rehearses the work in progress, experimenting with different musical choices and giving the composers an opportunity to hear the work performed live. At the second reading, the compositions are finalized, polished and recorded. An open dialogue among the composers, the conductor, the musicians and audience members is encouraged. That interchange of ideas affords the audience a greater understanding of the creative process, the composers and their work.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 its 2014/15 Under Construction sponsor, Margaret Dorfman.

Under Construction New Music Program

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

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SpEciAl hAnd-mAde chOcOlatES tO SurpriSE And inSpirE

yOur tAStE budS

1964 university ave., berkeley510.705.8800 1809 Fourth Street, berkeley 510.665.9500www.chocolatierblue.com

A special discount for those who tell us they learned about us at Berkeley Symphony


2014/15 Membership BenefitsTicket sales cover only a portion of concert expenses. And our Music in the Schools program—offered free of charge to thousands of children each year—is entirely Membership-driven! Your Membership makes Berkeley Symphony thrive, and provides many opportunities to make the most of your concert-going experience. Consider adding a Membership to your subscription—or increase your level of Membership in support of the 2014/15 season.

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.• Two concert guest passes.Principal Member: $750+ (All of the above plus . . .)• Invitation to select special events including post-concert receptions with the music

director, musicians, soloists, and/or visiting composers.

Symphony Circle of MembersConcertmaster: $1,500+ (All of the above plus . . .)• Invitations to two exclusive Symphony Circle Salon Receptions hosted by Joana Carneiro.• A total of four concert guest passes.Conductor: $2,500+ (All of the above plus . . .)• Invitations to all exclusive Symphony Circle Salon Receptions hosted by Joana Carneiro.• Invitation to an exclusive Musicians Dinner and “closed” rehearsal for you and guests.• A total of eight concert guest passes.

Sponsorship Circle of MembersFounding Sponsors: $5,000, $10,000 and above (All of the above plus . . .)• VIP access to Berkeley Symphony intermission Sponsors’ Lounge.• Recognition as Sponsor of a season concert, guest soloist, commissioned composer,

orchestra section chair, or the Under Construction or Music in the Schools programs.• Special “Sponsorship Dinner” opportunities with Music Director Joana Carneiro.


Gifts received between January 22, 2014 and January 22, 2015

SPONSOR CIRCLE GIFTSSeason Sponsors $50,000 and aboveHelen & John MeyerBrian James & Shariq Yosufzai

Season Sponsors $25,000 and aboveKathleen G. Henschel

& John W. DewesJan & Michael McCutcheonTricia Swift

Executive Sponsors $10,000 and aboveAnonymous (3)Susan & Jim AcquistapaceGertrude AllenJennifer Howard & Anthony J. CascardiMargaret DorfmanJanet & Marcos MaestreMarcia Muggli & Ed OsbornLinda & Stuart NelsonLisa & James TaylorThe Thomson Family

Founding Sponsors $5,000 and aboveAnonymousNatasha Beery & Sandy McCoyAnnette Campbell-White & Dr. Ruedi

Naumann-EtienneRonald & Susan ChoyOz Erickson & Rina Alcalay

Founding Sponsors $5,000 and above (continued)

Paula & John GambsEllen HahnSarah Coade Mandell & Peter MandellDeborah O’Grady & John AdamsThomas & Mary ReicherThomas W. Richardson & Edith JacksonAlison Teeman & Michael

Yovino-YoungAnne & Craig Van DykeKern & Marnie Wildenthal

SYMPHONY CIRCLE GIFTSConductor Level $2,500 and aboveJudith BloomNorman A. Bookstein & Gillian KuehnerDianne CrosbyAnita EbléGloria FujimotoGary Glaser & Christine MillerStuart & Sharon GronningenBuzz & Lisa Hines Sue Hone & Jeffrey LeiterKen Johnson & Nina GroveJohn KarnayBennett MarkelPatrick McCabeKathy Canfield Shepard & John ShepardJutta Singh

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


Principal Level $750 and abovePatricia & Ronald AdlerRichard ColtonBruce DoddJack & Ann EastmanDean FrancisMs. Anne Hannah-RoyFran HaselsteinerHilary HonoreMark & Lynne HumphreyShelly & Don LeeArthur & Martha LuehrmannLois & Gary MarcusKim & Barbara MarienthalBetty PigfordDitsa & Alexander PinesMarjorie RandolphPhyllis Brooks SchaferDeborah Shidler & David

BurkhartBlume Capital Management

Associate Level $300 and aboveAnonymous (4)Dr. Henry L. Abrons & Dr.

Li-Hsia WangDonald & Margaret AlterJoel AltmanKaren AmesJeffrey & Joan AngellPatricia Vaughn Angell

Catherine AtchesonFred & Elizabeth BalderstonMs. Bonnie J. BernhardtChristel & Jurg BieriGeorge & Dorian BikleMr. & Mrs. Stuart CaninNick CarlinMark Chaitkin & Cecilia StorrEarl & June CheitMavis DelacroixRick C. DiamondGini Erck & David PettaMary FriedmanDaniel & Kate FunkSteve Gallion & Pam WolfIsabelle GerardEvelyn & Gary GlennPeggy GriffinBonnie & Sy GrossmanSophie Hahn & Eric BjerkholtAlan Harper & Carol BairdTrish & Tony HawthorneWilliam & Judith HeinBarbara HendricksonValerie & Richard HerrOra & Kurt HuthRichard HutsonFred JacobsonIrene & Kiyoshi KatsumotoShelly & Don LeeJohn Lowitz & Fran KriegerHelen Marcus

Suzanne & William McLeanHoward & Nancy MelGary & Gerry MorrisonAnn M. O’Connor & Ed CullenLucille & Arthur PoskanzerSuzanne RiessConstance RubenAnne ShortallRobert Sinai & Susanna

SchevillScott SparlingGeoffrey S. SwiftMichel TaddeiNancy & Charles Wolfram

Supporting Level $100 and aboveAnonymous (5)Rose Lynn Abesamis-BellHenry L. AbronsJoel AltmanKim AnnoRobert & Evelyn ApteNancy AustinJoan BalterKevin BastianSheldon & Joan BaumrindWilliam W. BeahrsElaine & David I. BerlandBob & Ginny BlumbergCara BradburyRobert J. BreuerHelen Cagampang

FRIENDS OF BERKELEY SYMPHONY GIFTS

Concertmaster Level Gifts of $1,500 or more (continued

John & Charli DanielsenKaren FairclothLynne LaMarca Heinrich & Dwight JaffeeJeffrey S. LeiterJorge ManchenoRené MandelBebe & Colin McRaeNoel & Penny NellisLinda Schacht & John GageAma Torrance & David DaviesEd Vine & Ellen Singer-VineRobert & Emily Warden

Conductor Level $2,500 and above (continued)

Paul Templeton & Darrell LouieGordon & Evie Wozniak

Concertmaster Level Gifts of $1,500 or moreAnonymous (2)Sallie & Edward ArensMichele BensonJoy CarlinGray CathrallMs. Carol ChristMarilyn & Richard Collier


Supporting Level $100 and above (continued)Cindy Chang & Christopher

HudsonMs. Grace ChinnMurray & Betty CohenSarah CohenFrederick & Joan CollignonDr. Lawrence R. CotterRichard CurleyJoseph & Susan DalyTracy DearmanPaula & James R. DiederichCarolyn DoellingRobert & Loretta DorsettDonna M. DuhePaul Dresher & Philippa KellyBeth & Norman EdelsteinRebecca E. ErdiakoffBennett Falk & Margaret

MorelandLynn Feintech & Anthony

BernhardtMs. Mary Ellen FineSusan Henderson FisherSusan K. FisherMarcia FlanneryEdnah Beth FriedmanJoan FrischDoris Fukawa & Marijan

PevecTheresa Gabel & Timothy

ZumwaltRobert Garmston & Arthur

CostaJeffrey Gilman & Carol ReifJohn H. Gilman

Rose Marie & Sam GinsburgStuart GoldEdward C. GordonMr. Michael GormanHarold GraboskeMr. Richard GranbergSteven E. GreenbergErvin & Marian HafterJane HammondNicholas & Nancy

HaritatosWilliam & Judith HeinLyn HejinianFlorence HendrixDr. & Mrs. Gene HernMaj-Britt HilstromRuss IrwinJoseph Jackson & Joann

LeskovarRichard KeldsenPaul & Joanne KellyJames & Phyllis Pennington

KentTodd KerrBahram KhadjenouriAlmon E. Larsh, Jr.Leora LawtonAndrew Lazarus & Naomi

JanowitzLaurel LeichterAllan LichtenbergSteve LuppinoJames & Jayne MatthewsAlicia MayorgaAlex MazetisNan Parks McCarthySuzanne R McCulloch

Winton & Margaret McKibben

Geraldine & Gary MorrisonJim & Monique McNittAmelie C. Mel De Fontenay &

John StenzelSusan MessinaLouise Miller & David PetersonJunichi & Sarah MiyazakiNancy & Robert MuellerLance & Dalia NagelMs. Anita NavonJoe & Carol NeilMr. Daniel Peter O’ConnorAnn M. O’Connor & Ed CullenLawrance PhillipsLeslie & Joellen PiskitelEvan Painter & Wendy

PolivkaJo Ann & Buford PriceGeorge N. QueeleyBarbara Van RaalteStephen & Wilma RaderKit RatcliffMs. Elizabeth RaymerErin RhoadesDonald Riley & Carolyn

SerraoTerry RilleraConstance RubenMary RudserJulianne H. RumseySteven SchollValerie SchwimmerBrenda M ShankJack Shoemaker & Jane

Vandenburgh

to advertise

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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.

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

In Memory of:

Virginia BakerRobert Garmston & Arthur CostaJerry CarlinJudith L. BloomDonna HamiltonPatrick FlanneryJ.F.K.Ms. Carla Soracco

In Honor of:Marilyn CollierElaine & David I. BerlandMr. & Mrs. R. CollierDavid BerlandEllie HahnSusan & Bruce CarterKim MarienthalSusan & Bruce CarterRabbi Jonathan Omer-manMetivta Center for Contemplative

JudaismTricia SwiftTrish & Anthony W. Hawthorne

Shelton ShugarCarl & Grace SmithDrs. Johan & Gerda SnapperMs. Carla SoraccoSylvia Sorell & Daniel KaneBruce & Susan StangelandFrances & Ronald TauberMs. Carol L. TomlinsonLinda van Drent

Randy & Ting VogelUrsula von FlueggeDavid & Marvalee WakeAnn Walker & Jon DemeterDorothy WalkerAndrew WalmisleyDavid & Pennie WarrenSheridan & Betsey WarrickDave Waugh

Carolyn WebberDorothy WechslerDr. George & Bay WestlakeJune Wiley & Bruce

McCubbreyKarsten WindtNancy WolfeMrs. Charlene M. WoodcockLisa Zadek

Small Classes, Hands-On Learning

1940 Virginia Street, Berkeley • 510.849.4747

GradeS 6 - 8 arCHwaySCHOOL.OrG

Thank you for a wonderful

40 years


KALW is proud to be Berkeley Symphony’s

Season 14-15 Media Sponsor

Relive this season’s concerts on

KALW 91.7 FM

Broadcast Dates

4 Mondays at 8pm in May 2015

Hosted by KALW’s David Latulippe

Program I: Oct. 2, 2014 will be broadcast on May 4

Program II: Jan. 15, 2015 will be broadcast on May 11

Program III: Feb. 26, 2015 will be broadcast on May 18

Program IV: Apr. 30, 2015 will be broadcast on May 25


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 DesignEric Asimov & Deborah HofmannAurora Theatre CompanyBerkeley Repertory TheatreMarshall BermanPeter BowesGeorge BoziwickCain Vineyard & WineryCal PerformancesKathy Canfield—Canfield Design StudiosJoy CarlinGray Cathrall—Piedmont PostMarilyn & Richard CollierFranklyn D’AntonioDave Weiland PhotographyD.C. Piano CompanyRick C. Diamonddi RosaDouglas ParkingDyer VineyardExtreme PizzaFisher VineyardsKelly FlemingGloria FujimotoSteve Gallion & Pam WolfGary Glaser & Christine MillerGreen Music CenterKathleen G. Henschel & John W. DewesThe Hess Collection WineryBrian James & Shariq YosufzaiKen Johnson & Nina Grove

Todd Kerr—Berkeley TimesLa SirenaLama BeanLandmark VineyardsLaSalette RestaurantLos Angeles OperaLos Angeles PhilharmonicRico MandelBennett MarkelJan & Michael McCutcheonMeyer SoundMarcia Muggli & Ed OsbornMuncheryMusic in the VineyardsNew Century Chamber OrchestraNew World SymphonyOmni Hotels & ResortsPhilharmonia BaroqueMarjorie Randell-Silver—Copper Leaf ProductionsInge ReistSaga Musical InstrumentsSan Francisco OperaSan Francisco SymphonyJohn ShepardDeborah ShidlerJutta SinghTia Stoller—Stoller Design GroupViking River CruisesWilliam Knuttel WineryAngela & William Young


$50,000 and aboveWilliam & Flora Hewlett Foundation

$25,000 and aboveAnonymous

Chevron Corporation

Meyer Sound Laboratories, Inc.

$10,000 and above

Ann and Gordon Getty Foundation

Berkeley Public Schools Fund

The Bernard Osher Foundation

The Grubb Co.

National Endowment for the Arts

The Thomas J. Long Foundation

$5,000 and aboveAmerican Composers Orchestra

(Earshot)

Bernard E. and Alba Witkin Charitable Foundation

California Arts Council

City of Berkeley

East Bay Community Foundation

Music Performance Trust Fund

U.S. Bank

Wallis Foundation

William Knuttel Winery

$2,500 and aboveAnonymous

The Aaron Copland Fund for Music

Union Bank Foundation

Up to $2,500Alameda County Art CommissionAnchor Brewing Co.ASCAP—American Society of

Composers, Authors and PublishersBerkeley Association of RealtorsMetvita Center for Contemplative

Judaism The Rudolph & Lentilhon G. von Fluegge

Foundation, Inc.

Thornwall Properties, Inc.

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 January 22, 2014 and January 22, 2015

Matching Gifts

The following companies have matched their employees’ or retirees’ gifts to Berkeley Symphony. Please let us know if your company does the same by contacting William Quillen at 510.841.2800 x305 or [email protected].

Anchor Brewing Co.

Chevron Corporation

Genentech Inc.

The Home Depot


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: [email protected]

René Mandel, Executive Director

Ming Luke, Education Director/Conductor

Theresa Gabel, Director of Operations

Noel Hayashi, Director of Marketing

William Quillen, Development Manager

Cindy Hickox, Development & Marketing Associate

Steve Gallion, Development Consultant

James Taylor, Corporate Development Associate

Cindy Michael, Finance Director

Brenden Guy, Press & Public Relations

Franklyn D’Antonio, Co-Orchestra Manager

Joslyn D’Antonio, Co-Orchestra Manager

Quelani Penland, Librarian

David Rodgers, Jr., Stage Manager

Stoller Design Group, Graphic Design

Dave Weiland, Photography

Steve Flavin, Video Design

Bandwagon Media Services, Recording Engineer

ProgramAndreas Jones, Design & Production

Stoller Design Group, Cover Design

John McMullen, Advertising Sales

Thomas May, Program Notes

Calitho, Printing

Your Friendly, Neighborhood Piano Shop

Plus Sheet Music, Ukuleles, Guitars, Percussion.

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A1 Sun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 18ACT Catering . . . . . . . . . . . . . . . . . . . . . . . . page 49Albert Nahman Plumbing . . . . . . . . . . . . page18Alward Construction . . . . . . . . . . . . . . . . . page 18Andrew Raskopf & David Gunderman, . . . . . . . Real Estate Brokers . . . . .inside back coverArchway School . . . . . . . . . . . . . . . . . . . . . page 59Bebe McCrae, Realtor . . . . . . . . . . . . . . . . page 28Berkeley Horticultural Nursery . . . . . . page 46Berkeley Optometry . . . . . . . . . . . . . . . . . .page 22Bill’s Footwear . . . . . . . . . . . . . . . . . . . . . . . page 46Bridgeway Service . . . . . . . . . . . . . . . . . . . . page 18BuyArtworkNow.com . . . . . . . . . . . . . . . page 44Café Clem . . . . . . . . . . . . . . . . . . . . . . . . . . . page 42Chocolatier Blue . . . . . . . . . . . . . . . . . . . . . page 54The Club at The Claremont . . . . . . . . . . . page 20Coldwell Banker . . . . . . . . . . . . . . . . . . . . . . page 14The College Preparatory School . . . . . page 50The Crowden School . . . . . . . . . . . . . . . . . page 39DC Pianos . . . . . . . . . . . . . . . . . . . . . . . . . . . page 65Dining Guide . . . . . . . . . . . . . . . . . . . . pages 40, 42DoubleTree Hotel . . . . . . . . . . . . . . . . . . . . page 62Douglas Parking . . . . . . . . . . . . . . . . . . . . . page 60Forrests Music . . . . . . . . . . . . . . . . . . . . . . . page 58Frank Bliss, State Farm . . . . . . . . . . . . . . . page 16Going Places . . . . . . . . . . . . . . . . . . . . . . . . page 50The Grubb Co . . . . . . . . . . . . . . . . . . . . . back coverJudith L. Bloom, CPA . . . . . . . . . . . . . . . . . . page 61

Advertiser IndexJutta’s Flowers . . . . . . . . . . . . . . . . . . . . . . . page 64Kid Dynamo . . . . . . . . . . . . . . . . . . . . . . . . . . page18La Mediterranée . . . . . . . . . . . . . . . . . . . . . page 42La Note Restaurant Provençal . . . . . . . page 40Mancheno Insurance Agency . . . . . . . . page 14Margaretta K. Mitchell . . . . . . . . . . . . . . . . . . . . . . . Photography . . . . . . . . . . . . . . . . . . . . page 50Maybeck High School . . . . . . . . . . . . . . . . page 50McCutcheon Construction . . . . . . . . . . . .page 52Mechanics Bank . . . . . . . . . . . . . . . . . . . . . page 46Meritage at the Claremont . . . . . . . . . . . page 40Montclair Sports . . . . . . . . . . . . . . . . . . . . . page 14Mountain View Cemetery . . inside front coverOceanworks . . . . . . . . . . . . . . . . . . . . . . . . . .page 35Pacific Union . . . . . . . . . . . . . . . . . . . . . . . . . page 16Piedmont Gardens . . . . . . . . . . . . . . . . . . page 30Poulet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 40The Renaissance International . . . . . . . . . . . . . . School. . . . . . . . . . . . . . . . . . . . . . . . . . . page 28Savvy Rest . . . . . . . . . . . . . . . . . . . . . . . . . . . page 13St. Paul’s Towers . . . . . . . . . . . . . . . . . . . . . page 24Star Grocery . . . . . . . . . . . . . . . . . . . . . . . . . page 46Storey Framing . . . . . . . . . . . . . . . . . . . . . . page 50Talavera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .page 35Thornwall Properties . . . . . . . . . . . . . . . . .page 10Tricia Swift, Realtor . . . . . . . . . . . . . . . . . . page 26Yovino-Young Inc. . . . . . . . . . . . . . . . . . . . .page 23. . . . . . . . . . . . . . . . Please Patronize Our Advertisers!

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5 1 0 . 6 5 2 . 3 8 7 9

With gratitude to our friends and clients for the successes of the last year:

+ The East Bay real estate leaders with 75 transactions and $65MM sold, per MLS

+ Ranked by the Wall Street Journal for the third year in a row as one of the top 250 teams in the nation (#56 in 2013)

+ Combined with our team of 13 real estate experts, well over $125MM sold

East Bay Real Estate Leaders

6211 La Salle Avenue Oakland

AndrewAndDavid.com

Andrew Raskopf CalBRE# 01394348

[email protected] 510.205.3575

David Gunderman CalBRE# 01313613

[email protected] 510.205.4369

We are proud to support Berkeley Symphony and thank them for bringing such wonderful music to our community

Andrew Raskopf & David Gunderman

berkeley symphony 2014/15 season

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