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December 5, 2013 - Berkeley Symphony
Joana Carneiro M USI C D I R E C T O R 13/14 SEASON Berkeley Symphony 2013-14 Season 5 Message from the Music Director 7 Message from the Executive Director 9 Board of Directors & Advisory Council 10Orchestra 13Program 15 Program Notes 31 Music Director: Joana Carneiro 37 Guest Artist 41 Berkeley Symphony 45 Music in the Schools 47 Under Construction 49 Broadcast Dates 57 Membership Support 65Contact 66 Advertiser Index 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. Berkeley Symphony, 1942 University Ave., Ste. 207, Berkeley, CA 94704 510.841.2800 • Fax: 510.841.5422 E-mail: [email protected] Web site: www.berkeleysymphony.org To advertise: 510.652.3879 December 5, 2013 3 4 December 5, 2013 Message from the Music Director Dear Friends, photo by Rodrigo de Souza 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 bestknown 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 December 5, 2013 5 6 December 5, 2013 Message from the Executive Director photo by Marshall Berman 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 December 5, 2013 7 8 December 5, 2013 Board of Directors & Advisory Council Board of Directors Executive Committee Thomas Z. Reicher, President Janet Maestre, Vice President for Governance Janet McCutcheon, Vice President for Development Stuart Gronningen, Vice President for Community Engagement Ed Osborn, Treasurer Tricia Swift, Secretary René Mandel, Executive Director Directors Susan Acquistapace Gertrude Allen Norman Bookstein James Donato Ellen L. Hahn Brian James William Knuttel Sandy McCoy Deborah Shidler Michel Taddei Advisory Council Marilyn Collier, Chair Michele Benson Judith Bloom Joy Carlin Ron Choy Richard Collier Diane Crosby John Danielsen Jennifer DeGolia Carolyn Doelling Advisory Council (continued) Lynne LaMarca Heinrich & Dwight Jaffee Kathleen G. Henschel Buzz Hines Sue Hone Kenneth A. Johnson & Nina Grove Todd Kerr Jeffrey S. Leiter Bennett Markel Bebe & Colin McRae Elisabeth & Michael O’Malley Maria José Pereira Helen Meyer Christine Miller Deborah O’Grady & John Adams Marjorie Randell-Silver Thomas W. Richardson Linda Schacht & John Gage Kathy Canfield Shepard & John Shepard Jutta Singh Lisa & James Taylor Alison Teeman Anita Eblé Paul Templeton & Darrell Louie Karen Faircloth Anne & Craig Van Dyke Gary Glaser Yvette Vloeberghs Reeve Gould Shariq Yosufzai Berekot Haregot Michael Yovino-Young December 5, 2013 9 The Orchestra Joana Carneiro, Music Director Sponsored by Helen and John Meyer Sponsored by Earl O. Osborn Sponsored by Lisa and Jim Taylor Sponsored by Brian James and Shariq Yosufzai Sponsored by Anonymous Kent Nagano, Conductor Laureate Violin I Franklyn D’Antonio Concertmaster Matthew Szemela Associate Concertmaster Jiwon Evelyn Kwark Assistant Concertmaster Eugene Chukhlov Larisa Kopylovsky Lisa Zadek Candy Sanderson Ilana Thomas Quelani Penland Alexandra Lee* John Bernstein Noah Terry Sara Lee David Grote Alan Shearer Bert Thunstrom Violin II Karsten Windt Principal Elizabeth Choi Assistant Principal Lauren Avery Sponsored by Tricia Swift Joseph Maile Christina Knuds0n Sarah Wood Rick Diamond Ann Eastman Kevin Harper Kristen Kline Chloe Mackay* Charles Zhou Jeremy Erman Rose Marie Ginsburg 10 December 5, 2013 Viola Tiantian Lan Principal Ilana Matfis Assistant Principal Patrick Kroboth Marta Tobey Keith Lawrence Angela Kratchmer Peter Liepman Celeste McBride Daniel Stanley Alice Eastman Clio Goldstein* Amanda Woo* Cello Carol Rice Principal Stephanie Lai Assistant Principal Isaac Melamed Nancy Bien Wanda Warkentin Jasper Hussong* Peter Bedrossian Andy Ly Ken Johnson Daniel Mackay* Jordan Price Bass Michel Taddei Principal Robert Ashley Assistant Principal Alden Cohen Andrei Gorbatenko David Sullivan Ben Holston* Eugene Theriault Eric Price Flute Trombone Principal Principal Emma Moon Sponsored by Marcos and Janet Maestre Thomas Hornig Sponsored by Kathleen G. Henschel Stacey Pelinka Matthew Striplen Oboe Bass Trombone Deborah Shidler Principal Sponsored by Janet and Michael McCutcheon Bennie Cottone Clarinet Roman Fukshansky Principal Diana Dorman Bassoon Shawn Jones Principal Ravinder Sehgal Horn Alex Camphouse Principal Sponsored by Tom and Mary Reicher Stuart Gronningen Doug Hull Richard Hall Tom Reicher Kurt Patzner Tuba Jerry Olson Principal Timpani Kevin Neuhoff Principal Sampler/Keyboard Steve Sanders Principal *Member of Young People’s Symphony Orchestra Franklyn D’Antonio Orchestra Manager Joslyn D’Antonio Co-Orchestra Manager Quelani Penland Librarian Trumpet Kevin Reinhardt Stage Manager Principal Joel Davel Keyboard Tech Cheonho Yoon Kale Cumings December 5, 2013 11 12 December 5, 2013 Program 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. Concert Sponsors: Susan & Jim Acquistapace and Tricia Swift Guest Artist Sponsors: William & Robin Knuttel Season Sponsors: Kathleen G. Henschel, and Brian James & Shariq Yosufzai December 5, 2013 13 14 December 5, 2013 Program Notes Brett Dean (b. 1961) Carlo Born 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 bestknown 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 ultraprestigious 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 extramusical 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. December 5, 2013 15 16 December 5, 2013 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 December 5, 2013 17 2727 College Avenue Berkeley • 510.841.8489 A vibrant community dedicated to excellence in learning where all forms of diversity flourish amid mutual respect, support and responsibility. OPEN HOUSE December 12, 6-8pm www.maybeckhs.org 18 December 5, 2013 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 major Born 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. T he 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 December 5, 2013 19 www.buyartworknow.com 20 December 5, 2013 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 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 lateBaroque 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 December 5, 2013 21 Well Orchestrated Travel Chicago or Chichicastenango 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 22 December 5, 2013 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. 73 Born 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. December 5, 2013 23 Discover 7 Remarkable Benefits of Raw Dark Chocolate 1. One of the highest antioxidant foods ever tested. 2. Polyphenols help protect your skin from harmful UV radiation. 3. Flavanols increase blood flow to the brain boosting memory and decreasing dementia. 4. Supports weight loss by boosting metabolism and reducing hunger. 5. Increases serotonin which decreases depression and boosts happiness. 6. Flavonols help prevent heart attacks & strokes by blocking free radicals, reducing inflammation and relaxing blood vessels. 7. One of the richest food sources of magnesium which helps build strong bones and supports healthy heart function. Finally feel great about enjoying gooey & delicious dark chocolate treats. Available at the Berkeley Tues & Sat Farmers Markets and online at: www.FeelGreatChocolate.com Use promo code SYMPHONY for 15% OFF your first web order. Coracao Confections is the Official Chocolatier for the Berkeley Symphony! 24 December 5, 2013 S ome 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 December 5, 2013 25 26 December 5, 2013 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 December 5, 2013 27 28 December 5, 2013 playful version of the “pastoral” idea it with an entirely new character. In emerges in the third movement, a a gloriously extended coda, Brahms leisurely Allegretto twice interrupted seems to cast away any vestiges of by Presto interludes. doubt—about the genre, about his place in history, about the power of The first three movements all end music itself. Rhythmic excitement quietly, setting the stage for the is intensified by a brightening of 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 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 Orchestra to perform under the direction of Geoffrey Gallegos February 2, 2014 at 2:00 El 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 510.524.9468 elcerritogauchos.net/archiving/archiving-project December 5, 2013 29 • Sewer • Water Heater • Water Conserving • Gas & Water Leak Replacements & Drain Cleaning & Tankless: Repair & Installation Fixtures Detection RESPONSIVE • PROFESSIONAL • GUARANTEED 3333 Martin Luther King Jr. Way, Berkeley, CA 94704 510.843.6904 • LICENSE #414359 [email protected] 30 December 5, 2013 Music Director: Joana Carneiro photo by Rodrigo de Souza N oted 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 20132014 Berkeley season features world premieres by Edmund Campion and Samuel Carl Adams, as well as works by Brett Dean, Kaija Saariaho and EsaPekka 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 December 5, 2013 31 32 December 5, 2013 Nilo Cruz with the San Francisco Girls Chorus, soprano Jessica Rivera, mezzosoprano Rachel Calloway, and members of Berkeley Symphony. a ballet production of Romeo and Juliet 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. conductor, Carneiro made her Cincinnati 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 with Companhia Nacional de Bailado in Portugal. Increasingly in demand as an opera 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 December 5, 2013 33 34 December 5, 2013 December 5, 2013 35 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 admiSSionS day Saturday, Dec. 7 ScHool TourS: 8:30-10am Tuesdays & Thursdays Individualized tours can be arranged GradeS 5 - 8 arcHwayScHool.orG 1940 Virginia Street, Berkeley • 510.849.4747 36 December 5, 2013 Guest Artist 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 Peter Wyrick, cello B orn 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. 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 December 5, 2013 37 ❖ ©2012Margaretta MargarettaK.K.Mitchell Mitchell ©2012 510 6 5 5 - 4 9 2 0 WWW.MARGARETTAMITCHELL.COM PHOTOGRAPHY LIFE’S BEST MOMENTS Your Friendly, Neighborhood Piano Shop Plus Sheet Music, Ukuleles, Guitars, Percussion. Mention this ad for 10% oFF 2416 San Pablo Avenue Berkeley, California 510 549 9755 [email protected] www.dcpianos.com 38 December 5, 2013 to advertise in the berkeley symphony program call john mcmullen 510.652.3879 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. December 5, 2013 39 Dining Guide DELICATESSEN CATERING 1685 SHATTUCK BERKELEY 510-845-5932 Poulet 40 December 5, 2013 MON-FRI 10:30 - 8 PM SAT 10:30 - 6 PM P oulet is like a cafe set up at your grandmother’s house - after she’s taken a few cooking courses and gotten hip to vegetarian food, etc. -S.F. Chronicle photo by Dave Weiland Berkeley Symphony R ecognized 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 Publishers (ASCAP) in nine of the past eleven seasons. 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 The Orchestra performs four main- new course with innovative program stage concerts a year in Zellerbach ming that included rarely performed Hall on the UC Berkeley campus, and 20th-century scores. In 1981, the supports local composers through internationally-renowned French its Under Construction New Music composer Olivier Messiaen journeyed Series/Composers Program. A to Berkeley to assist with the prepa national leader in music education, rations of his imposing oratorio The the Orchestra partners with the Transfiguration of Our Lord Jesus Christ, Berkeley Unified School District to and the Orchestra gave a sold-out December 5, 2013 41 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. 42 December 5, 2013 performance in San Francisco’s Davies Symphony Hall. In 1984, Berkeley Symphony collaborated with Frank Zappa in a criticallyacclaimed 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 interna tional prominence. Celebrated Brit ish composer George Benjamin, who subsequently became Composerin-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. December 5, 2013 43 44 December 5, 2013 Music in the Schools M photo by Dave Weiland ore 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 Sponsors Gifts of $1,000–$15,000 annually Anonymous Susan & Jim Acquistapace Berkeley Public Schools Fund Berkeley Unified School District Berkeley Association of Realtors The Bernard Osher Foundation California Arts Council Annette Campbell-White In Dulci Jubilo, Inc. Koret Foundation Mechanics Bank Music Performance Trust Fund National Endowment for the Arts Michael & Elisabeth O’Malley Ellen Singer Target Stores U.S. Bank Thomas J. Long Foundation Union Bank Foundation Bernard E. & Alba Witkin Charitable Foundation Thanks also to those giving up to $1,000 annually. December 5, 2013 45 46 December 5, 2013 photo by Dave Weiland Under Construction New Music Series Mentors Paul Dresher and Steven Stucky (back to camera) offer advice to Andrew V. Ly. B erkeley 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. December 5, 2013 47 2013-2014 Four Mainstage Concerts “Under Construction” Concerts with Emerging Composers New Works Old Chestnuts Resident Artists Music in the Schools 48 December 5, 2013 Broadcast Dates 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 KALW is proud to be Berkeley Symphony’s Season 13-14 Media Sponsor Program III: Feb. 6, 2014 will be broadcast on May 19 Program IV: May 1, 2014 will be broadcast on May 26 Young People’s Symphony Orchestra B erkeley 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. December 5, 2013 49 Merrell Frye Boots Rockport Keen Dr. Martens Timberland Clarks Sperry Uggs Moccasins Clogs Dansko Since 1961 F O OT W E AR 50 December 5, 2013 2013-14 Season Sponsors photo by Marshall Berman Kathleen G. Henschel K athleen 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 M eyer 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 PHOTO TK 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. December 5, 2013 51 52 December 5, 2013 Become a Berkeley Symphony Member 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 Reicher President, Board of Directors December 5, 2013 53 54 December 5, 2013 2013-14 Membership Benefits Beyond 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 Members Supporting Member: $100+ • Advance e-newsletter notice of discounts and special events. • Listing in season concert programs. Associate Member: $300+ (All of the above plus . . .) • Invitation for two to an 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 Members Concertmaster: $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 Members Founding 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. December 5, 2013 55 56 December 5, 2013 Annual Membership Support Thank 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. Gifts received between October 1, 2012 and November 1, 2013 Sponsor Circle GIFTS $50,000 and above Kathleen G. Henschel Helen & John Meyer $25,000 and above Thomas & Mary Reicher Shariq Yosufzai & Brian James $10,000 and above Anonymous (3) Peggy Dorfman Janet & Michael McCutcheon Ed Osborn Tricia Swift Lisa & James Taylor $5,000 and above Susan & Jim Acquistapace Gertrude & Robert Allen Norman A. Bookstein & Gillian Kuehner Jennifer Howard DeGolia James & Rhonda Donato Oz Erickson Ann & Gordon Getty Ellen Hahn Gail & Bob Hetler Buzz & Lisa Hines William & Robin Knuttel Janet & Marcos Maestre William McCoy & Natasha Beery Dr. Ruedi Naumann-Etienne Deborah O’Grady & John Adams Thomas W. Richardson Sedge Thomson & Sylvia Brownrigg Gordon & Evie Wozniak $2,500 and above Judith L. Bloom Annette Campbell-White Marilyn & Richard Collier $2,500 and above (continued) Dianne Crosby Gloria Fujimoto John Harris Ken Johnson & Nina Grove Bennett Markel & Karen Stella Joe & Carol Neil Ellen Singer Alison Teeman & Michael Yovino-Young Paul Templeton & Darrell Louie Gifts of $1,500 or more Anonymous Sallie & Edward Arens Michele Benson Mr. Frank Bliss Gray Cathrall Brian Chase Ronald & Susan Choy Ms. Dianne Crosby John & Charli Danielsen Bruce & Joan Dodd Anita Eblé Karen Faircloth Steve Gallion & Pam Wolf Stuart & Sharon Gronningen Sue Hone & Jeffrey Leiter René Mandel Kim & Barbara Marienthal Patrick McCabe Gary Glaser & Christine Miller Penny & Noel Nellis Michael & Becky O’Malley Mrs. Iris Hagen Ratowsky in Honor of Dr. Richard Ratowsky Kathy Canfield Shepard & John Shepard Deborah Shidler & David Burkhart Ama Torrance & David Davies Anne & Craig van Dyke December 5, 2013 57 58 December 5, 2013 Friends of Berkeley Symphony GIFTS $750 and above Phyllis Brooks Schafer Joy & Jerome Carlin Earl & June Cheit Richard Colton Jack & Ann Eastman Lynne La Marca Heinrich & Dwight Jaffee Lois & Gary Marcus Bebe & Colin McRae Ditsa & Alexander Pines Karen Teel Gary & Susan Wendt-Bogear $300 and above Anonymous Patricia & Ronald Adler Virginia Almeida Donald & Margaret Alter Mark Attarha Ms. Bonnie J. Bernhardt Christel Bieri George & Dorian Bikle Susan Blake Lauren & Steve Adams Mr. & Mrs. Stuart Canin Joana Carneiro Rosemary Cozzo John Dewes Kevin Donahue Gini Erck & David Petta Dean Francis Doris Fukawa Daniel & Kate Funk Steve Gallion & Pam Wolf Evelyn & Gary Glenn Wendell Goddard Peggy Griffin Bonnie & Sy Grossman Alan Harper & Carol Baird Trish & Anthony W. Hawthorne Ora & Kurt Huth Richard Hutson Fred Jacobson Irene & Kiyoshi Katsumoto Faye Keogh Howard & Nancy Mel Peggy Radel & Joel Myerson Lance & Dalia Nagel Maria José Pereira Greg Phillips Anja Plowright The Estate of Myron Pollycove Myron Pollycove Lucille & Arthur Poskanzer Marjorie Randolph Pauline Robertson Dian Scott Robert Sinai & Susanna Schevill Jutta Singh Carol & Anthony Somkin Scott Sparling Steven Stucky Goldstar Events Tickets Robert & Emily Warden Dr. George & Bay Westlake Nancy & Sheldon Wolfe Nancy & Charles Wolfram $100 and above Anonymous (6) Joel Altman Karen Ames Kelly Amis Patricia Vaughn Angell Kevin Bastian William W. Beahrs In Honor of Mr. & Ms. R. Collier’s Anniversary Terry Bloomsburgh Cara Bradbury David Bradford Helen Cagampang Mark Chaitkin & Cecilia Storr Paul Churchill Murray & Betty Cohen Sarah Cohen Dr. Lawrence R. Cotter Joe & Sue Daly Robert David Dennis & Sandy De Domenico Dr. Marian C. Diamond Paula & James R. Diederich Patrick D. Doherty Mr. Anthony Drummond Beth & Norman Edelstein Bennett Falk & Margaret Moreland Lynn Feintech & Anthony Bernhardt Ms. Mary Ellen Fine In Memory of Donna Hamilton Marcine & Dean Francis Ednah Beth Friedman Harriet Fukushima Theresa Gabel & Timothy Zumwalt Isabelle Gerard Marianne & John Gerhart Ron L. Gester Jeffrey Gilman & Carol Reif David Goines Stuart M. Gold, Md Anne Golden Edward C. Gordon Phyllis Gottlieb Mr. Richard Granberg Steve Granholm Steven E. Greenberg Arnold & Elaine Grossberg Ervin & Marian Hafter Jane Hammond Ms. Margot Harrison William & Judith Hein Lyn Hejinian Florence Hendrix Valerie & Richard Herr Jason Hofmann Mr. Allen Holub Birgit Hottenrott Gayle Hughes F.W. Irion Patricia Kates E. Paul & Joanne P. Kelly James Pennington Kent Todd Kerr Alexander Jihyun Koo Robert Kroll & Rose Ray Walter & Rosemarie Krovoza Almon E Larsh, Jr Shelly & Don Lee Laurel Leichter & Michael Wilson David Lipson Arthur & Martha Luehrmann Kim & Barbara Marienthal Suzanne R. McCulloch Bill & Suzanne McLean Jim & Monique McNitt Donald & Susanne McQuade Amelie C. Mel De Fontenay & John Stenzel Inspired by Jan McCutcheon, Ellie Hahn, & Janet Maestre Junichi & Sarah Miyazaki Gerry Morrison Ms. Anita Navon Michael & Elisabeth O’Malley Elizabeth Pigford December 5, 2013 59 60 December 5, 2013 $100 and above (continued) Joellen & Leslie Piskitel Dr. Patrick M. Pralle Jo Ann & Buford Price George N. Queeley Suzanne Riess Donald Riley & Carolyn Serrao Constance Ruben Julianne H. Rumsey Susanna Schevill Steven Scholl Brenda Shank Jack Shoemaker Anne Shortall Shelton Shugar David & Elizabeth Silberman Johan & Gerda Snapper Sylvia Sorell & Daniel Kane In honor of Marilyn Collier Julie Thorson Alta Tingle Renee Tissue Ms. Carol L. Tomlinson Elsa & Revan Tranter Carol Jackson Upshaw Joy Valdez Marco Vangelisti Randy & Ting Vogel David & Marvalee Wake Dorothy Walker Sheridan & Betsey Warrick Alice Waters Carolyn Webber Elizabeth Weber Dr. Louis Weil Ms. Carolyn D. Weinberger June Wiley Ms. Zoe Williams Mrs. Charlene M. Woodcock 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. Berkeley Symphony Legacy Society Thank 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 [email protected]. Norman Bookstein & Gillian Kuehner Kathleen G. Henschel Jeffrey S. Leiter Janet & Marcos Maestre Bennett Markel Lisa Taylor In-Kind Gifts Special thanks to these individuals and businesses whose generous donations of goods and services are crucial in helping Berkeley Symphony produce our concerts and education programs while keeping expenses as low as possible. Andreas Jones Graphic Design Susan & Jim Acquistapace Marshall Berman Judith L. Bloom Casa de Chocolates Coracao Confections Marilyn & Richard Collier Jennifer Howard DeGolia Rick Diamond Douglas Parking Extreme Pizza Gloria Fujimoto Reeve Gould Ellen Hahn John Harris George & Marie Hecksher Kathleen G. Henschel Jutta’s Flowers Karen Ames Consulting Janet & Marcos Maestre Rico Mandel Janet & Michael McCutcheon Bebe & Colin McRae Meyer Sound Laboratories, Inc. Peet’s Coffee & Tea Thomas Richardson & Edith Jackson Lisa & Jim Taylor Anne & Craig Van Dyke Dave Weiland Photography William Knuttel Winery December 5, 2013 61 62 December 5, 2013 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 $50,000 and above $1,500 and above William & Flora Hewlett Foundation The Mechanics Bank $25,000 and above $1,000 and above Clarence E. Heller Charitable Foundation The Creative Work Fund Meyer Sound Laboratories, Inc. $10,000 and above Anonymous (2) Ann and Gordon Getty Foundation Berkeley Public Schools Fund Chevron Corporation Thomas J. Long Foundation Alameda County Art Commission ASCAP—American Society of Composers, Authors and Publishers Up to $1,000 Berkeley Assoc. of Realtors Casa De Chocolates In Dulci Jubilo, Inc. Tides Foundation Bernard Osher Foundation National Endowment for the Arts $5,000 and above The Aaron Copland Fund for Music Bernard E. and Alba Witkin Charitable Foundation California Arts Council City of Berkeley East Bay Community Foundation Grubb Co. Koret Foundation New Music U.S.A. Wallis Foundation U.S. Bank Zellerbach Family Foundation $2,500 and above Fromm Foundation Union Bank of California 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 Steve Gallion at 510.841.2800, x305 or [email protected]. Anchor Brewing Company Chevron Corporation Genentech, Inc. Home Depot December 5, 2013 63 64 December 5, 2013 Administration & Creative Staff René Mandel, Executive Director Steve Gallion, General Manager & Membership Director Ming Luke, Education Director/ Conductor Theresa Gabel, Director of Operations Noel Hayashi, Director of Marketing Jessica Schultze-Sadler, Associate Director of Marketing/Box Office Manager Contact Tickets available by phone, fax, mail, e-mail, or online: Berkeley Symphony 1942 University Avenue, Suite 207, Berkeley, CA 94704 510.841.2800 Fax: 510.841.5422 [email protected] www.berkeleysymphony.org find us on Cindy Hickox, Development & Marketing Associate Karen Ames Communications, Press & Public Relations Yesenia Sanchez, Finance Direct0r Quelani Penland, Librarian Franklyn D’Antonio, Orchestra Manager Joslyn D’Antonio, Co-Orchestra Manager Kevin Reinhardt, Stage Manager Stoller Design Group, Graphic Design Dave Weiland, Photography Steve Flavin, Video Design Sid Kesav, Telemarketing David Fang, Intern Program Andreas Jones, Design & Production Stoller Design Group, Cover Design John McMullen, Advertising Sales Thomas May, Program Notes Calitho, Printing December 5, 2013 65 Advertiser Index A1 Sun. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 20 Hotel Durant . . . . . . . . . . . . . . . . . . . . . . . . . page 16 Albert Nahman Plumbing. . . . . . . . . . . . page 30 Judith L. Bloom, CPA. . . . . . . . . . . . . . . . . . . page 11 Alward Construction . . . . . . . . . . . . . . . . . page 20 Jutta’s Flowers. . . . . . . . . . . . . . . . . . . . . . . . page 64 American Bach Soloists. . . . . . . . . . . . . . page 43 Kensington Symphony Orchestra . . . . page 29 Ampersand Graphics. . . . . . . . . . . . . . . . . page 26 La Mediterranée. . . . . . . . . . . . . . . . . . . . . . page 42 Archway School. . . . . . . . . . . . . . . . . . . . . . page 36 Lunettes du Monde. . . . . . . . . . . . . . . . . . . page 26 Aurora Theatre. . . . . . . . . . . . . . . . . . . . . . . page 22 Mancheno Insurance Agency . . . . pages 34-35 Bacheesos. . . . . . . . . . . . . . . . . . . . . . . . . . . . page 40 Margaretta K. Mitchell Photography. . page 38 Bayside Park . . . . . . . . . . . . . . . . . . . . . . . . . page 30 Maybeck High School. . . . . . . . . . . . . . . . . page 18 Berkeley Horticultural Nursery. . . . . . . page 39 McCutcheon Construction. . . . . . . . . . . . page 46 Berkeley Optometry. . . . . . . . . . . . . . . . . . page 18 Mechanics Bank. . . . . . . . . . . . . . . . . . . . . . page 38 Bill’s Footwear. . . . . . . . . . . . . . . . . . . . . . . . page 50 Mountain View Cemetery. . . inside back cover BuyArtworkNow.com . . . . . . . . . . . . . . . . page 20 New Year’s Eve at the Claremont. . . . . . page 40 Café Clem . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 42 Oceanworks. . . . . . . . . . . . . . . . . . . . . . . . . . page 23 Cal Performances . . . . . . . . . . . . . . . . . . . . page 32 Osher Life Long Learning. . . . . . . . . . . . . page 39 The Club at The Claremont. . . . . . . . . . . . page 14 Piedmont Gardens . . . . . . . . . . . . . . . . . . . page 56 Coldwell Banker. . . . . . . . . . . . . . . . . . . . . . page 60 Poulet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 40 The College Preparatory School . . . . . . page 18 R. Kassman Pianos . . . . . . . . . . . . . . . . . . . page 50 Coracao Confections. . . . . . . . . . . . . . . . . page 24 Red Oak Realty. . . . . . . . . . . . . . . . . . . . . . . page 58 Crowden . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 18 Scholar Share . . . . . . . . . . . . . . . . . . . . . . . . page 44 DC Pianos . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 38 Sotheby’s International Realty. . . . . . . . . . . . . . . Dining Guide . . . . . . . . . . . . . . . . . . . . pages 40, 42 . . . . . . . . . . . . . . . . . . . . . . . . . . . . inside front cover DoubleTree Hotel. . . . . . . . . . . . . . . . . . . . . page 62 St. Paul’s Towers. . . . . . . . . . . . . . . . . . . . . . page 12 Douglas Parking. . . . . . . . . . . . . . . . . . . . . . page 60 Storey Framing. . . . . . . . . . . . . . . . . . . . . . . page 18 Frank Bliss, State Farm . . . . . . . . . . . . . . . page 28 Talavera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 23 Going Places . . . . . . . . . . . . . . . . . . . . . . . . . page 22 Thornwall Properties. . . . . . . . . . . . . . . . . page 16 Golden State Senior Care. . . . . . . . . . . . . page 29 Tricia Swift, Realtor. . . . . . . . . . . . . . . . . . . page 48 The Grubb Co. . . . . . . . . . . . . . . . . . . . . . back cover UC Berkeley Extension. . . . . . . . . . . . . . . page 50 Henry’s Gastropub.. . . . . . . . . . . . . . . . . . . page 52 Wells Fargo. . . . . . . . . . . . . . . . . . . . . . . . . . . page 54. to advertise in the berkeley symphony program, call john mcmullen 510.652.3879 66 December 5, 2013
