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February 6, 2014 - Berkeley Symphony
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 13 Producers’ Circle Sponsorship Gifts 15Program 17 Program Notes 31 Music Director: Joana Carneiro 37 Guest Artists 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, , Ed Osborn, 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 February 6, 2014 3 4 February 6, 2014 Message from the Music Director Dear Friends, I hope the New Year is bringing you much joy, health and wonderful music. photo by Rodrigo de Souza Speaking of wonderful music, I am most excited about our program tonight and am incredibly proud to present our second commission of the season, a violin concerto by Samuel Adams. It has been a joy to work with Sam and to get to know his music more and more. He is bursting with talent and craft and his music consistently delivers—in the words of others—“a personal voice and keen imagination.” Anthony Marwood, an amazing violinist whom I met years ago, joins us as soloist. I was simply astonished at his playing when he championed another violin concerto, Thomas Adès’ Concentric Paths. We start our concert with a piece that many hail as the very first symbol of neoclassicism (in music), the suite from Pulcinella by Igor Stravinsky. A beautiful homage to the music of the early eighteenth century, it borrows some musical material from the past and transforms it in the most imaginative ways of the modern Stravinsky. We end the evening with—I am convinced—one of the most beautiful pieces ever written, Mendelssohn’s “Scottish Symphony.” Mendelssohn started writing this wonderful piece in 1829, at the young age of 20, and completed it years later (at the still very young age of 33). It makes sense then, to pay homage tonight to young genius, invention and respect for the great music of the past, now reinvented. After all, isn’t that what Berkeley Symphony is about? I wish you a great night and am always so thankful for your support. Joana Carneiro February 6, 2014 5 6 February 6, 2014 Message from the Executive Director photo by Marshall Berman Greetings in the New Year! . . . and welcome to tonight’s performance. It is an exciting time for Berkeley Symphony and our various creative partners. Last weekend, we had the opportunity to perform with the legendary Martha Graham Dance Company as part of our on-going partnership with Cal Performances. This past Sunday, in the first program of our 2014 Under Construction New Music Series, we inaugurated our newest collaboration with EarShot and the American Composers Orchestra, performing works by four emerging composers chosen from across the country. At the end of this month, we celebrate our long-established partnership with the Berkeley Unified School District at our annual Music in the Schools Luncheon. On March 16, we continue our most recent collaboration with the Piedmont Center for the Arts, presenting our next Berkeley Symphony & Friends chamber music concert. It is indeed gratifying to be such an integral part of the rich cultural fabric of our community. Tonight we are thrilled to be able to share with you the world premiere of Sam Adams’ Violin Concerto, which Berkeley Symphony commissioned. As a direct result of the generous donations we receive from you, our loyal patrons, we are able to make evenings like this possible. With your help, we will continue to introduce the work of the next generation of composers. You play an important role in the continued success of Berkeley Symphony, and in that way, you are our most treasured creative partner. As we enter into this new year, I want to reiterate how much your friendship and your commitment mean to Berkeley Symphony. On behalf of the musicians and our Board of Directors, I extend our gratitude and very best wishes throughout 2014. René Mandel February 6, 2014 7 8 February 6, 2014 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 Adviso00ry Council Marilyn Collier, Chair Michele Benson Frank & Roberta Bliss Judith Bloom Joy Carlin Ron Choy Richard Collier Diane Crosby John Danielsen Jennifer DeGolia Carolyn Doelling Anita Eblé Karen Faircloth Gary Glaser 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 Helen Meyer Christine Miller Deborah O’Grady & John Adams Elisabeth & Michael O’Malley Maria José Pereira Marjorie Randell-Silver Thomas W. Richardson Linda Schacht & John Gage Kathy Canfield Shepard & John Shepard Jutta Singh Lisa & James Taylor Alison Teeman Paul Templeton & Darrell Louie Anne & Craig Van Dyke Yvette Vloeberghs Reeve Gould Shariq Yosufzai Bereket Haregot Michael Yovino-Young February 6, 2014 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 Emanuela Nikiforova Assistant Concertmaster Candy Sanderson Lisa Zadek Ilana Thomas Thomas Yee Shawyon Malek-Salehi Kristen Steiner Quelani Penland John Bernstein Annie Li Violin II Daniel Flanagan Principal Karsten Windt Assistant Principal David Cheng Lauren Avery Sponsored by Tricia Swift Sarah Wood Violin II (continud) Christina Knudson Rick Diamond Ann Eastman Kristen Kline Alexandra Lee* Viola Tiantian Lan Principal Ilana Matfis Assistant Principal Darcy Rindt Patrick Kroboth Marta Tobey Amy Apel Dan Stanley Peter Liepman Celeste McBride Cello Carol Rice Principal Stephanie Lai Assistant Principal Isaac Melamed Eric Gaenslen Wanda Warkentin Ken Johnson Peter Bedrossian Jordan Price Helping Students Find Their Voice accepting applications for the 2014-2015 School year Individualized tours can be arranged GradeS 5 - 8 arcHwayScHool.orG 1940 Virginia Street, Berkeley • 510.849.4747 10 February 6, 2014 Bass Michel Taddei Principal Alden Cohen Assistant Principal David Horn Megan McDevitt Andy Butler Ben Holston* Flute/Piccolo Emma Moon Principal Sponsored by Marcos and Janet Maestre Stacey Pelinka Oboe Deborah Shidler Principal Sponsored by Janet and Michael McCutcheon Bennie Cottone Clarinet Roman Fukshansky Principal Diana Dorman Bass Clarinet Roman Fukshansky Bassoon Horn (continud) Richard Hall Tom Reicher Trumpet Cheonho Yoon Principal Kale Cumings Trombone Thomas Hornig Principal Sponsored by Kathleen G. Henschel Timpani Kevin Neuhoff Principal Percussion Ward Spangler Principal Sponsored by Gail and Bob Hetler Kevin Neuhoff Harp Wendy Tamis Principal Piano Miles Graber Principal Carla Wilson Principal Ravinder Sehgal *Member of Young People’s Symphony Orchestra Horn Franklyn D’Antonio Orchestra Manager Alex Camphouse Principal Joslyn D’Antonio Co-Orchestra Manager Douglas Hull David Goldklang Quelani Penland Librarian Sponsored by Tom and Mary Reicher Kevin Reinhardt Stage Manager February 6, 2014 11 12 February 6, 2014 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 including commissions, premieres, and guest soloists. Anonymous (2) Gertrude Allen The Brownrigg-Thomson Family Marilyn & Richard Collier James & Rhonda Donato Ellen Hahn Kathleen G. Henschel Gail & Bob Hetler Buzz & Lisa Hines Ken Johnson & Nina Grove William & Robin Knuttel Janet & Marcos Maestre Janet & Michael McCutcheon Helen & John Meyer Linda & Stuart Nelson Ed Osborn Thomas & Mary Reicher Thomas W. Richardson Kathy Canfield Shepard & John Shepard Tricia Swift Lisa & James Taylor Brian James & Shariq Yosufzai Producers’ Circle gifts of $2,500 and above received for the 2012-13 thru 2014-15 seasons are listed. Thank you also to our Producers’ Circle supporters at all levels! February 6, 2014 13 14 February 6, 2014 Program Thursday, February 6, 2014 at 8:00 pm Zellerbach Hall Joana Carneiro conductor Igor Stravinsky Pulcinella Suite Samuel Adams Violin Concerto Sinfonia Serenata Scherzino - Allegretto - Andantino Tarantella Toccata Gavotta (con due variazioni) Vivo Minuetto - Finale (World Premiere, commissioned by Berkeley Symphony) I. expo II. q=152 pause III. aria: patiently waiting for the past to come IV. coda, coda Anthony Marwood violin I N T E R M I S S I O N Felix Mendelsson Symphony No. 3 in A minor, Op. 56, “Scottish” Andante con moto - Allegro un poco agitato Vivace non troppo Adagio Allegro vivacissimo - Allegro maestoso assai Tonight’s performance will be broadcast on KALW 91.7 FM on May 19, 2014. Please switch off your cell phones, alarms, and other electronic devices during the concert. Thank you. Concert Sponsors: Gertrude Allen in memory of Robert Allen Janet & Marcos Maestre Janet & Michael McCutcheon Guest Artist Sponsor: Chevron Commission Sponsors: The Brownrigg-Thomson Family Clarence E. Heller Charitable Foundation , Ed Osborn, Season Sponsors: Kathleen G. Henschel, and Brian James & Shariq Yosufzai February 6, 2014 15 16 February 6, 2014 Program Notes Igor Stravinsky (1882-1971) Pulcinella Suite Born on June 17, 1882, in Oranienbaum, Russia; died on April 6, 1971, in New York City. Stravinsky composed the complete score for Pulcinella in 1919-20 for the Ballets Russes at the prompting of Serge Diaghilev. Two years after the complete ballet was premiered, Stravinsky prepared a concert suite, which he revised in 1949 and which has become a repertory piece. Stravinsky also published several chamber versions of this music (for violin and for cello, respectively, with piano), titled Suite italienne. First performance: The complete ballet Pulcinella premiered on May 15, 1920, in Paris, with Ernest Ansermet conducting. The concert suite was introduced on December 22, 1922, with Pierre Monteux conducting the Boston Symphony Orchestra. The Pulcinella Suite is scored for 2 flutes (1 doubling piccolo), 2 oboes, 2 bassoons, 2 horns, trumpet, trombone, and strings, including a small quintet of soloists (two violins, viola, cello, and bass) as a quasi-concertino group set against the ripieno of the string ensemble. Duration ca. 20 minutes. W ith all the renewed attention showered on The Rite of Spring to mark that work’s centenary last year, it’s been easy to lose sight of the full extent of Igor Stravinsky’s originality. The true key to his innovative spirit was Stravinsky’s continual defiance of expectations throughout his career. Rite became a sensation through its violent fantasy of a primal Russian past; in his music for the ballet Pulcinella, Stravinsky demonstrated another way of using the past to create something startling in its novelty. His change of tack led to misguided accusations of turning “reactionary” and, for the more literal-minded, even called his credibility as a bona fide modernist into question. The term “neo-Classicism” has been much bandied about as a catchall label for the creative phase Stravinsky essentially launched with Pulcinella after the First World War. Like “Minimalism,” it’s a term of very limited usefulness, one that tends to steer listeners toward preconceived notions, to focus on certain techniques as ends rather than means. And to the extent that neo-Classicism suggests selfconscious “imitation” (whether witty or ironic) of 18th-century styles, Pulcinella is a downright misleading choice to point to as an example. Stravinsky doesn’t try to “pass” as a Classicist born in the wrong century, nor is he merely dressing up in quaintly old-fashioned drag. The composer pointed out that “I could not produce a ’forgery’ of Pergolesi February 6, 2014 17 18 February 6, 2014 because my motor habits are so different . . . .” At the same time, Stravinsky’s reworking of pre-existing music written two centuries before him involves something more complex than a process of transforming these materials into his own (in any case elusive) style. Pulcinella exists between these identities, its fascination residing in the continual shift between the 18th-century voice and the modern gloss on it. Paul Griffiths neatly sums up the tension in his book on Stravinsky: the source material was “neither so familiar that Stravinsky’s contribution would be spotted at once as external, nor so unfamiliar that dislocations would not be recognized . . . . [W]hat it presents is not so much a work as a way of hearing.” The project was initiated by Serge Diaghilev, the impresario whose Paris-based Ballets Russes had won Stravinsky international fame a decade earlier when their legendary collaboration began with The Firebird. Rather ironically, in fact, Diaghilev had initially engaged his young find to contribute some orchestrations of Chopin intended for Les Sylphides, the ballet presented as part of the Ballets Russes’ inaugural season in Paris. During the war, Stravinsky had resettled in Switzerland, and the brand of lavish productions with which the company had made its name—including the enormous orchestra such scores as Rite called for—was no longer economically feasible. Diaghilev had in the meantime discovered a successful formula by having sonatas by Domenico Scarlatti arranged into a new ballet score for the 1917 offering The Good-Humored Ladies. Hoping to win Stravinsky back as a collaborator, Diaghilev proposed a similar approach using a collection of unpublished scores believed at the time to have been penned by the Naples-based composer Giovanni Pergolesi (1710-1736). Stravinsky was no fan of the Pergolesi compositions he already knew (including Pergolesi’s greatest hit for posterity, a setting of the Stabat Mater), but the prospect won his enthusiasm after he spent some time pondering the collection. Decades later, it was established that not even half of the source material had actually been composed by Pergolesi. The rest—in another twist on the theme of “faking it”— had been falsely attributed after Pergolesi’s premature death, when his cultural stock soared. (The true identities of the other composers include several Italians and even a Dutchman.) Pulcinella’s story was meanwhile inspired by the golden age of the commedia dell’arte, with its improvisatory plots revolving around an ensemble of stock character types and variations on love intrigue and mistaken identity. The replacement for the problematic Vaslav Nijinsky, Léonide Massine concocted the scenario February 6, 2014 19 20 February 6, 2014 and choreography for Pulcinella. The trickster hero (danced by Massine), whose lengthy, beaklike nose is his signature attribute, flirts and survives the attacks of his jealous enemies, marrying his own sweetheart in the end. His feigned “resurrection” is one obvious echo of the commedia spirit of the earlier Petrushka, while the jump-cut effect between numbers in Stravinsky’s Pulcinella score (for example, between the gavotte and the penultimate Vivo section) similarly recalls something in Petrushka’s montage technique. Pablo Picasso also belonged to the creative team, designing images of Neapolitan streets and Vesuvius in the background in Cubist style. For his concert suite, Stravinsky removed the solo vocal arias and cut a good half of the ballet score. There is no clear-cut “illustration” of the action here. Rather, in its array of such 18th-century dance idioms as the swirling, perpetual-motion tarantella or the minuet that leads to the suite’s rambunctious finale, the score presents a musical analogy for the character “types” seen on the commedia stage. Stravinsky retains the original melodies and bass harmonies, to the point that, as he noted, “the remarkable thing about Pulcinella is not how much but how little has been added or changed.” But in those telling little details, an extraordinary alchemy works its magic. These range from insertions that upset the predictably periodic patterns to rhythmic adjustments and unexpected harmonic feints. It’s not simply a matter of splashing the canvas with “wrong notes” here and there. The real substance of Stravinsky’s gloss is to be found in his orchestration. Though restricting himself to a chamber orchestra, this is by no means a “period” ensemble. Listen, for instance, to the anachronistic special effects of harmonics or the jazzy attitude of the trombone and solo double bass in the Vivo section. Stravinsky described his innovation in “juxtaposing the timbres of the instruments which are the very foundation of the sound material.” A color, he argues, has no value by itself but only “in relation to the other colors which are placed next to it . . . And that is what I have wanted to do in music, and what I look for first of all is the quality of the sound.” —© Thomas May Thomas May writes about the arts and blogs at memeteria.com. Samuel Adams (b. 1985) Violin Concerto (World Premiere) Born in San Francisco, Samuel Adams attended The Crowden School in Berkeley and currently resides in Oakland. The Violin Concerto is in four movements February 6, 2014 21 www.buyartworknow.com 22 February 6, 2014 and is scored for 2 flutes (both doubling piccolo), 2 oboes, 2 Bb clarinets (one doubling bass clarinet), 2 bassoons, 2 horns, 2 trumpets (Bb and D), trombone, percussion (vibraphone, 4 metal bowls, brake drum, riveted ride cymbal, snare drum, crotales, almglocken, tam-tam, gong, sandpaper blocks, whip), harp, piano, and strings. Duration ca: 26 minutes. The composer has provided the following comments: I began work on this piece in June 2013 while at the Visby International Centre for Composers in Sweden. I had what seemed like forever to write it: twenty hours of piercing sunlight each day for a nearly uninterrupted month. My experience was inspired and, at times, ecstatic. Yet, all the while, I was acutely aware of its transience and became anxious—anxious about leaving an environment where I could calmly go about my work; anxious about returning to my normal, complicated life; anxious about seeing the sun a bit less. So I composed and composed in preference of sleep and left Sweden with a detailed and—so I thought— immutable plan of the whole work. The next six months I spent undoing this mistake. It quickly became evident that a rigid approach was futile, allowing very little room for my intuition to play a role in making the music. The piece consequently became one about reconsideration and letting go. The exterior of the piece is similar to many violin concertos. A dynamic between the soloist and the ensemble unfolds over its duration, it has cadenzas, and it requires a high degree of virtuosity of the violinist. But to find relevance in these tropes, I had to reconsider their emotional profiles in my own terms. Here, cadenzas, which typically signify confidence, reveal vulnerability. Recapitulations, which typically signify comfort, reveal a suspicion of making the same mistake twice. Sequences, which typically signify assurance, reveal stubbornness. The work is in two “acts,” each of which contain two movements played without pause. I expo is made from two contrasting materials: a set of translucent triads played by the strings and aggressive interjections by the solo violin. The shape of the movement quickly departs from a conventional subject/countersubject dialectic and proposes a completely different narrative. The movement is punctuated by several quiet and concise cadenzas. II q=152 marks the tempo of this movement. Over its brief duration (c. 5 minutes) the solo violin is at its most virtuosic, gliding above the ensemble at intervals as wide as seven octaves. III aria: patiently waiting for the past to come is made from fragments of a baroque ritornello form. February 6, 2014 23 After several statements of an unstable harmonic cycle, a failed recapitulation emerges. Well Orchestrated Travel Durango or Dubai IV coda, coda is less of a “movement,” and more of a series of question marks. The statements presented in the first movement are reiterated above a texture that slips away like water. In the last moments of the work, the orchestra ascends and descends simultaneously, leaving the violin with only its open strings, oscillating. —© Samuel Adams Felix Mendelssohn (1809-1847) Symphony No. 3 in A minor, Op. 56 “Scottish” Born on February 3, 1809, in Hamburg, Germany; died on November 4, 1847, in Leipzig, Germany. Mendelssohn first conceived of writing his “Scottish” Symphony while traveling in Scotland in 1829, but over a dozen years passed before he finished his first version of the score in January 1842. Despite its numbering, the Symphony No. 3, dedicated to Queen Victoria, is actually the last of Mendelssohn’s five mature symphonies to be completed. First performance: March 3, 1842, with the composer conducting the Leizpzig Gewandhaus Orchestra. The Symphony No. 3 is scored for 2 flutes, 2 oboes, 24 February 6, 2014 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. Duration ca. 43 minutes. T he year Felix Mendelssohn entered his twenties, 1829, marked an artistic as well as a chronological turning point for a composer who had already revealed his genius as a child prodigy. His famous revival of Bach’s St. Matthew Passion that spring helped shore up Mendelssohn’s reputation as a leading and influential musical thinker. Several months afterward, always eager to enlarge his experience, the young composer embarked on an extensive “grand tour” throughout Europe. The first stage took him on a lengthy visit to Britain, where Mendelssohn stored up impressions on which he would draw for numerous future compositions, including two of his orchestral masterpieces: the concert overture known alternately as The Hebrides and the Third Symphony (“Scottish”). After finishing up his engagements for the concert season in London, Mendelssohn undertook a walking tour of Scotland. As a contrast to the social whirlwind of the metropolis, Scotland’s aweinspiring scenic beauty especially impressed him. Letters to his family back in Berlin recorded Mendelssohn’s reactions to the misty, forlorn seascape off Scotland’s west coast. His excursion there triggered a musical idea February 6, 2014 25 26 February 6, 2014 that would form the kernel of the Hebrides overture, a pioneering work that helped pave a way toward the quintessential Romantic genre of the tone poem. Another spontaneous musical inspiration occurred during the composer’s trip to Edinburgh—this time sparked not by nature but by the palpable sense of history that imbues Holyrood House, the official monarchical palace. After paying a visit there, Mendelssohn noted down a melancholy musical idea that would serve as the atmospheric introduction to the Third Symphony. It remained dormant, though, for a dozen years before he began grappling with the composition. The “Scottish” Symphony—Mendelssohn himself referred to the work as his “Scotch” Symphony—is actually his last, chronologically speaking, and thus exemplifies his mature technical mastery. As with the Hebrides overture, Mendelssohn left no explicit program for the “Scottish” Symphony, but his allusion to Mary Tudor is usually cited as a subtext for at least some aspects of the work (particularly the slow movement). Commentators have suggested that other impressions from the Scottish tour also play a role, ranging from Celtic legend and folklore to the Highland Games and the fiction of Sir Walter Scott. Yet for all its Romantic associations, the music refers to no specific literary source in the manner of, say, the Overture to a Midsummer Night’s Dream that Mendelssohn had written at 17. Rather, the Third Symphony integrates the evocative power of early Romanticism with the composer’s mature admiration for classical balance and internally consistent musical design. Although Mendelssohn resorts to the familiar four-movement design, these are played without interruption as a seamless whole. The extensive opening movement begins with a long slow introduction suffused with a mood of gloomy obsession: this is the musical idea that occurred to the composer at Holyrood Palace, and its dotted rhythm recurs in various guises later in the work. The movement proper launches in a spirit of restless agitation; after another variant of the opening motif comes a second, singing theme foreshadowing Brahmsian melancholy. Mendelssohn adds a remarkably eventful and stormy coda to shed new light on what has gone before. The compact Scherzo contains the most “Scottish”-sounding music of the score. Mendelssohn reiterated the signal dotted rhythm of the opening so as to evoke Scottish folk and dance music, and the diatonic simplicity of his tunes likewise sounds folk-like. Curiously, when his friend Schumann first heard this music he raved about the Symphony’s marvelous Italian February 6, 2014 27 28 February 6, 2014 local color: a reminder, perhaps, of the subjective basis of musical perception. Occupying the emotional center of the work, the Adagio develops two distinctive ideas: a poignant, long-spanning melody (strings) and a ceremonial march of dirgelike gravity. Regardless of whether Mendelssohn intended to depict a tonal portrait of Mary Stuart’s secret love and her tragic fate, his dexterity as an orchestrator is to be particularly savored here: note the serenade-like pizzicato accompaniment and the afterthoughts spun by woodwinds. In the wake of such intimate music, the finale opens up a more epic perspective. Mendelssohn even asks for the Allegro to be played with “warlike” intensity. R. Larry Todd, a leading authority on the composer, remarks that the energy of this music, “with its jagged dissonances and contrapuntal strife, generalizes the topic of conflict in Scottish history.” But then, in another extraordinary concluding section—a kind of extended epilogue to be played in a “majestic” manner—Mendelssohn turns from the minor to a confident, hymnlike melody in A major to bring the “Scottish” Symphony to a stately and dignified close. —© Thomas May Thomas May writes about the arts and blogs at memeteria.com. • Sewer • Water Heater • Heating Repairs • Gas & Water Leak Replacements & Drain Cleaning & Tankless: Repair & Installation and Installation Detection RESPONSIVE • PROFESSIONAL • GUARANTEED 3333 Martin Luther King Jr. Way, Berkeley, CA 94704 510.843.6904 • LICENSE #414359 [email protected] February 6, 2014 29 30 February 6, 2014 Music Director: Joana Carneiro N 2013/14 marks Carneiro’s fifth season as Music Director of Berkeley Symphony, where she has captivated audiences with her commanding stage presence and adventurous programming that has highlighted the works of several prominent contemporary composers, including John Adams, Steven Stucky and Gabriela Lena Frank. The 2013/14 Berkeley season features world premieres by Edmund Campion and Samuel Adams, as well as works by Brett Dean, Kaija Saariaho and EsaPekka Salonen. Carneiro’s growing guestconducting career continues to take her all around the globe. In 2013/14, she makes debuts with the Orchestre photo by Rodrigo de Souza 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 is the official guest conductor of the Gulbenkian Orchestra in her native Lisbon and was recently named principal conductor of the Portuguese National Symphony at the Teatro de São Carlos. 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 February 6, 2014 31 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 Nilo Cruz with the San Francisco Girls Chorus, soprano Jessica Rivera and mezzo-soprano Rachel Calloway, and members of Berkeley Symphony. International highlights of previous seasons include appearances with the Royal Liverpool Philharmonic at London’s Royal Albert Hall, Royal Philharmonic Orchestra and Renee Fleming in the opening season of the U.A.E’s Royal Opera House in Oman, Irish Chamber Orchestra, Ensemble Orchestral de Paris, Orchestra de Bretagne, Norrköping Symphony, Prague Philharmonia and the Orchestra Sinfonica del Teatro la Fenice at the Venice Biennale, as well as the Macau Chamber Orchestra and Beijing Orchestra at the International Music Festival of Macau. In the Americas, she has led the Los Angeles Philharmonic, Toronto Symphony, St. Paul Chamber Orchestra, Detroit Symphony, Colorado Symphony, Indianapolis Symphony, Los Angeles Chamber Orchestra, New World Symphony, Grant Park Music Festival, Manhattan School of Music, Puerto Rico Symphony and São Paulo State Symphony. In 2010, Carneiro led performances of Peter Sellars’s stagings of Stravinsky’s Oedipus Rex and Symphony of Psalms at the Sydney Festival, 32 February 6, 2014 which won Australia’s Helpmann Award for Best Symphony Orchestra Concert in 2010. She conducted a linked project at the New Zealand Festival in 2011, and as a result was immediately invited to work with the Sydney Symphony and New Zealand Symphony Orchestras on subscription in 2013. In 2011, she led a ballet production of Romeo and Juliet with Companhia Nacional de Bailado in Portugal. Increasingly in demand as an opera conductor, Carneiro made her Cincinnati Opera debut in 2011 conducting John Adams’ A Flowering Tree, which she also debuted with the Chicago Opera Theater and at La Cité de la Musique in Paris. In the 200809 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 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. February 6, 2014 33 34 February 6, 2014 February 6, 2014 35 36 February 6, 2014 Guest Artists photo by Bonnie Rae Mills of Music), and pianist Emanuel Ax. Recent highlights include Drift and Providence, a work co-commissioned by the San Francisco Symphony and New World Symphony that had its premiere under the baton of Michael Tilson Thomas, receiving immediate critical acclaim. In the spring of 2013, Adams was composer in residence at Spoleto Festival USA, where his String Quartet in Five Movements was premiered by St. Lawrence String Quartet. The work had further performances at Stanford’s new Bing Concert Hall in the Fall of 2013. Samuel Adams, composer B orn in 1985 in San Francisco, CA, Samuel Adams is a composer of acoustic and electroacoustic music. His works, hailed as “wondrously alluring” (The San Francisco Chronicle), “thoroughly ingenious” (The San Francisco Examiner) and “music of a composer with a personal voice and keen imagination” (The New York Times), draw from his experiences in a diverse array of fields, including noise and electronic music, jazz, and field recording. He has received commissions from Carnegie Hall, the San Francisco Symphony, New World Symphony, ACJW (The Academy, a program of Carnegie Hall, Juilliard, and The Weill Institute In April 2013, his Tension Studies were presented as part of the Los Angeles Philharmonic Brooklyn Festival and, in the following November, were released on post-classical duo The Living Earth Show’s first full-length album, High Art (Innova Recordings). In the summer of 2014, Adams will participate as guest composer with the National Youth Orchestra of The United States of America (NYOUSA), during which the fellows will perform a new work under the direction of David Robertson as part of their coast-to-coast national tour. Holding degrees from the Yale School of Music (M.M.) and Stanford University (B.A.), Adams currently lives and works in Oakland, California. February 6, 2014 37 Merrell Frye Boots Rockport Keen Dr. Martens Timberland Clarks Sperry Uggs Moccasins Clogs Dansko Since 1961 F O OT W E AR 38 February 6, 2014 photo by Sussie Ahlberg relationship with Les Violons du Roy where he has been a guest the last two seasons and to which he returns to lead and play a program of Enesco, Dvořák, and Suk in May 2014. He returns also to the St. Louis Symphony this season to lead an all-Mozart subscription week, and recently led a split week with the Vancouver Symphony featuring Mozart’s Violin Concerto No. 2, Rameau’s Suite from Dardanus and Haydn’s Symphony No. 44. Anthony Marwood, violin W ell established in Europe and Australia as leader/soloist with the Irish Chamber Orchestra, the Academy of St. Martin in the Fields and the Australian Chamber Orchestra, Anthony Marwood is quickly developing a singular North American presence, both as a soloist and as a leader who directs from the violin. Thomas Adès wrote his violin concerto Concentric Paths for Anthony Marwood, who premiered it in Berlin and at the BBC Proms; he also played first performances in Paris, St. Petersburg and, stateside in Boston and Los Angeles with the composer conducting. They made a much acclaimed recording of it together in 2010. Steve Mackey has also written for Marwood, who performed Mackey’s Beautiful Passing Concerto with the St. Louis Symphony and David Robertson, who invited him to Sydney and Vienna last season for performances of the colorful, expressive work. Mackey wrote Four Iconoclastic Episodes (for violin, electric guitar and orchestra) for Marwood. Marwood has established an ongoing Anthony Marwood tours the U.S., Asia, and Europe with his recital partner Alexander Madzar, including their 3-part recital series of the complete Brahms Violin Sonatas at Wigmore Hall, recorded on the Wigmore Hall Live label. With Thomas Adès, Marwood toured the complete music of Stravinsky for piano and violin, recorded for Hyperion in 2010. His most recent Hyperion recordings include the Schumann and Britten violin concerti with the BBC Scottish Symphony. A remarkable highlight of Anthony Marwood’s career onstage was his boundary bursting portrayal of the title role in Stravinsky’s A Soldier’s Tale, directed by Lawrence Evans. Touring the U.K., his performance was named one of the cultural highlights of the year by The Daily Telegraph. Marwood was the sole violinist of the Florestan Trio during its 16-year span, and Artistic Director and leader of the Irish Chamber Orchestra from 2006 to 2011. The Royal Philharmonic Society named him Instrumentalist of the Year in 2006. Through the generosity of a syndicate of purchasers, he plays a 1736 Carlo Bergonzi violin. February 6, 2014 39 Dining Guide DELICATESSEN CATERING 1685 SHATTUCK BERKELEY 510-845-5932 Poulet 40 February 6, 2014 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 February 6, 2014 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 February 6, 2014 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. February 6, 2014 43 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. www.maybeckhs.org 44 February 6, 2014 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 (2) 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 Richard Colton 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 Foundationn Thanks also to those giving up to $1,000 annually. February 6, 2014 45 46 February 6, 2014 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 second concert on 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 interactions, affords the audience members a greater understanding of the composers and their work. In a partnership 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 its 2013/14 Under Construction sponsor, Margaret Dorfman. February 6, 2014 47 2013-2014 Four Mainstage Concerts “Under Construction” Concerts with Emerging Composers New Works Old Chestnuts Resident Artists Music in the Schools 48 February 6, 2014 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 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 Berkeley Daily Planet Berkeley Times 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 Piedmont Post Thomas Richardson & Edith Jackson Lisa & Jim Taylor Anne & Craig Van Dyke Dave Weiland Photography William Knuttel Wines February 6, 2014 49 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 LIFE’S BEST MOMENTS ❖ ©2012 Margaretta K. Mitchell 510 6 5 5 - 4 9 2 0 50 February 6, 2014 PHOTOGRAPHY WWW.MARGARETTAMITCHELL.COM [email protected] www.dcpianos.com to advertise in the berkeley symphony program call john mcmullen 510.652.3879 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. February 6, 2014 51 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! 52 February 6, 2014 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. It’s easy to give online at www.berkeleysymphony.org. Thank you for being a part of our success, Tom Reicher President, Board of Directors February 6, 2014 53 54 February 6, 2014 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! It’s easy to 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. February 6, 2014 55 56 February 6, 2014 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 December 1, 2012 and January 6, 2014 Sponsor Circle GIFTS Symphony Circle GIFTS Season Sponsors $50,000 and above Conductor Level $2,500 and above Kathleen G. Henschel Helen & John Meyer Season Sponsors $25,000 and above Ed Osborn Shariq Yosufzai & Brian James Executive Sponsors $10,000 and above Anonymous (3) The Brownrigg-Thomson Family Peggy Dorfman Janet & Marcos Maestre Janet & Michael McCutcheon Linda & Stuart Nelson Thomas & Mary Reicher Tricia Swift Lisa & James Taylor Founding Sponsors $5,000 and above Anonymous 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 Natasha Beery & William B. McCoy Dr. Ruedi Naumann-Etienne Deborah O’Grady & John Adams Thomas W. Richardson Judith L. Bloom Annette Campbell-White Marilyn & Richard Collier Dianne Crosby Gloria Fujimoto John Harris Ken Johnson & Nina Grove Paul Templeton & Darrell Louie Bennett Markel & Karen Stella Patrick McCabe Joe & Carol Neil Ellen Singer Anne & Craig van Dyke Alison Teeman & Michael Yovino-Young Gordon & Evie Wozniak Concertmaster Level Gifts of $1,500 or more Anonymous (2) Sallie & Edward Arens Michele Benson Mr. Frank Bliss Gray Cathrall Brian Chase Ronald & Susan Choy Ms. Carol Christ Ms. Dianne Crosby John & Charli Danielsen Joan & Bruce Dodd Jack & Ann Eastman Anita Eblé Karen Faircloth Linda Schacht & John Gage Steve Gallion & Pam Wolf Stuart & Sharon Gronningen Lynne LaMarca Heinrich & Dwight Jaffee February 6, 2014 57 58 February 6, 2014 Concertmaster Level Gifts of $1,500 or more (continued) Sue Hone & Jeffrey Leiter René Mandel Lois & Gary Marcus 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 Ama Torrance & David Davies Friends of Berkeley Symphony GIFTS Principal Level $750 and above Ms. Bonnie J. Bernhardt Phyllis Brooks Schafer Joy & Jerome Carlin Earl & June Cheit Richard Colton Ditsa & Alexander Pines Marjorie Randolph Karen Teel Associate Level $300 and above Anonymous (4) Patricia & Ronald Adler Virginia Almeida Donald & Margaret Alter Joel Altman Karen Ames Patricia Vaughn Angell Christel Bieri George & Dorian Bikle Susan Blake Mr. & Mrs. Stuart Canin Joana Carneiro Rosemary Cozzo John Dewes Kevin Donahue Gini Erck & David Petta Marcine & Dean Francis Doris Fukawa Daniel & Kate Funk Evelyn & Gary Glenn Wendell Goddard Peggy Griffin Bonnie & Sy Grossman Alan Harper & Carol Baird Trish & Anthony W. Hawthorne William & Judith Hein Lyn Hejinian Hilary Honore 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 Donald Riley & Carolyn Serrao Pauline Robertson Dian Scott Deborah Shidler & David Burkhart Anne Shortall Robert Sinai & Susanna Schevill Carol & Anthony Somkin Scott Sparling Steven Stucky Robert & Emily Warden Gary & Susan Wendt-Bogear Nancy & Sheldon Wolfe Charles Wolfram Supporting Level $100 and above Anonymous (5) Henry L. Abrons Gertrude Allen Kelly Amis Robert & Evelyn Apte Fred & Elizabeth Balderston Joan Balter Kevin Bastian Sheldon & Joan Baumrind William W. Beahrs David I. Berland Terry Bloomsburgh Cara Bradbury David Bradford Robert J. Breuer Helen Cagampang Mark Chaitkin & Cecilia Storr Ms. Grace Chinn Paul Churchill Murray & Betty 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 Robert & Loretta Dorsett Mr. Anthony Drummond Beth & Norman Edelstein Bennett Falk & Margaret Moreland Lynn Feintech & Anthony Bernhardt Ms. Mary Ellen Fine Susan Henderson Fisher Marcia Flannery Patrick Flannery Marcine & Dean Francis Ednah Beth Friedman Harriet Fukushima Theresa Gabel & Timothy Zumwalt Isabelle Gerard Marianne & John Gerhart Ron L. Gester Jeffrey Gilman & Carol Reif Rose Marie & Sam Ginsburg David Goines Stuart M. Gold, MD Anne Golden Edward C. Gordon Phyllis Gottlieb Harold Graboske Mr. Richard Granberg Steven E. Greenberg Arnold & Elaine Grossberg Ervin & Marian Hafter Jane Hammond Nicholas & Nancy Haritatos William Hartrick February 6, 2014 59 60 February 6, 2014 Supporting Level $100 and above (continued) Florence Hendrix Valerie & Richard Herr Gail & Bob Hetler Jason Hofmann Mr. Allen Holub Birgit Hottenrott F.W. Irion Paul & Joanne 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 David Lipson Arthur & Martha Luehrmann Kim & Barbara Marienthal Bill & Suzanne McLean Jim & Monique McNitt Donald & Susanne McQuade Bebe & Colin McRae Susan Messina Junichi & Sarah Miyazaki Gerry Morrison Ms. Anita Navon Elizabeth Pigford Joellen & Leslie Piskitel Dr. Patrick M. Pralle Jo Ann & Buford Price George N. Queeley Stephen & Wilma Rader Suzanne Riess Constance Ruben Julianne H. Rumsey Susanna Schevill Steven Scholl Brenda Shank Jack Shoemaker Shelton Shugar David & Elizabeth Silberman Johan & Gerda Snapper Ms. Carla Soracco Sylvia Sorell & Daniel Kane Frances & Ronald Tauber Susan Thomakos 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 Ann Walker & Jon Demeter Dorothy Walker Sheridan & Betsey Warrick Alice Waters Carolyn Webber Elizabeth Weber Dorothy Wechsler Dr. Louis Weil Ms. Carolyn D. Weinberger Dr. George & Bay Westlake June Wiley Nancy & Charles Wolfram 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]. Gertrude Allen Norman Bookstein & Gillian Kuehner Kathleen G. Henschel Jeffrey S. Leiter Janet & Marcos Maestre Bennett Markel Lisa Taylor Honor and Memorial Gifts Thank you for gifts made in honor or remembrance of the following individuals . . . In Memory of: In Honor of: Jerry Carlin Judith L. Bloom Mr. & Mrs. R. Collier David Berland Tricia Swift Trish & Anthony W. Hawthorne Donna Hamilton Patrick Flannery Marilyn Collier Susan Thomakos Kim Marienthal and Ellie Hahn Susan & Bruce Carter J.F.K. Ms. Carla Soracco Dr. Richard Ratowsky Mrs. Iris Hagen Ratowsky February 6, 2014 61 62 February 6, 2014 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 December 1, 2012 and January 6, 2014 $50,000 and above $1,000 and above William & Flora Hewlett Foundation Alameda County Art Commission $25,000 and above Anchor Brewing Co. Clarence E. Heller Charitable Foundation ASCAP—American Society of Composers, Authors and Publishers The Creative Work Fund Sotheby’s International Realty Meyer Sound Laboratories, Inc. The Mechanics Bank $10,000 and above Target Stores Anonymous Anonymous (2) Ann and Gordon Getty Foundation Berkeley Public Schools Fund Chevron Corporation National Endowment for the Arts Up to $1,000 Berkeley Assoc. of Realtors In Dulci Jubilo, Inc. Tides Foundation The Grubb Co. Thomas J. Long Foundation $5,000 and above Anonymous Bernard E. and Alba Witkin Charitable Foundation California Arts Council City of Berkeley East Bay Community Foundation Koret Foundation New Music U.S.A. Wallis Foundation William Knuttel Winery U.S. Bank $2,500 and above 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]. Abbott Fund Anchor Brewing Company The Aaron Copland Fund for Music Chevron Corporation Fromm Foundation Genentech, Inc. Union Bank of California Home Depot February 6, 2014 63 64 February 6, 2014 Administration & Creative Staff Contact René Mandel, Executive Director Tickets available by phone, fax, mail, e-mail, or online: Steve Gallion, General Manager & Membership Director Ming Luke, Education Director/ Conductor Theresa Gabel, Director of Operations Noel Hayashi, Director of Marketing Jessica Sadler, Associate Director of Marketing/Box Office Manager 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 Cynthia Mei, Grants Manager 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 Roya Clune, Intern David Fang, Intern Program Andreas Jones, Design & Production Stoller Design Group, Cover Design John McMullen, Advertising Sales Thomas May, Program Notes Calitho, Printing February 6, 2014 65 Advertiser Index A1 Sun. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 22 Hotel Durant . . . . . . . . . . . . . . . . . . . . . . . . . page 56 Albert Nahman Plumbing. . . . . . . . . . . . page 29 Judith L. Bloom, CPA. . . . . . . . . . . . . . . . . . . page 11 Alward Construction . . . . . . . . . . . . . . . . . page 22 Jutta’s Flowers. . . . . . . . . . . . . . . . . . . . . . . . page 64 American Bach Soloists. . . . . . . . . . . . . . page 43 La Mediterranée. . . . . . . . . . . . . . . . . . . . . . page 42 Ampersand Graphics. . . . . . . . . . . . . . . . . page 30 Lunettes du Monde. . . . . . . . . . . . . . . . . . . page 30 Archway School. . . . . . . . . . . . . . . . . . . . . . page 10 Mancheno Insurance Agency . . . . pages 34-35 Aurora Theatre. . . . . . . . . . . . . . . . . . . . . . . page 24 Margaretta K. Mitchell Photography. . . page 50 Bacheesos. . . . . . . . . . . . . . . . . . . . . . . . . . . . page 40 Maybeck High School. . . . . . . . . . . . . . . . . page 44 Bayside Park . . . . . . . . . . . . . . . . . . . . . . . . . page 28 McCutcheon Construction. . . . . . . . . . . . page 46 Berkeley Horticultural Nursery. . . . . . . page 36 Mechanics Bank. . . . . . . . . . . . . . . . . . . . . . page 38 Berkeley Optometry. . . . . . . . . . . . . . . . . . page 54 Mountain View Cemetery. . . inside back cover Bill’s Footwear. . . . . . . . . . . . . . . . . . . . . . . . page 38 Oceanworks. . . . . . . . . . . . . . . . . . . . . . . . . . page 25 BuyArtworkNow.com . . . . . . . . . . . . . . . . page 22 Osher Life Long Learning. . . . . . . . . . . . . page 50 Café Clem . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 42 Piedmont Gardens . . . . . . . . . . . . . . . . . . . page 18 The Club at The Claremont. . . . . . . . . . . . page 16 Poulet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 40 Coldwell Banker. . . . . . . . . . . . . . . . . . . . . . page 60 R. Kassman Pianos . . . . . . . . . . . . . . . . . . . page 38 The College Preparatory School . . . . . . page 44 Red Oak Realty. . . . . . . . . . . . . . . . . . . . . . . page 58 Coracao Confections. . . . . . . . . . . . . . . . . page 52 San Francisco Performances. . . . . . . . . page 28 Crowden . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 44 Scholar Share . . . . . . . . . . . . . . . . . . . . . . . . page 18 DC Pianos . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 50 Sotheby’s International Realty. . . . . . . . . . . . . . . Dining at the Claremont. . . . . . . . . . . . . . page 40 . . . . . . . . . . . . . . . . . . . . . . . . . . . . inside front cover Dining Guide . . . . . . . . . . . . . . . . . . . . pages 40, 42 St. Paul’s Towers. . . . . . . . . . . . . . . . . . . . . . page 14 DoubleTree Hotel. . . . . . . . . . . . . . . . . . . . . page 62 Storey Framing. . . . . . . . . . . . . . . . . . . . . . . page 44 Douglas Parking. . . . . . . . . . . . . . . . . . . . . . page 60 Talavera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 25 Frank Bliss, State Farm . . . . . . . . . . . . . . . page 12 Thornwall Properties. . . . . . . . . . . . . . . . . page 20 Going Places . . . . . . . . . . . . . . . . . . . . . . . . . page 24 Tricia Swift, Realtor. . . . . . . . . . . . . . . . . . . page 48 Golden State Senior Care. . . . . . . . . . . . . page 36 UC Berkeley Extension. . . . . . . . . . . . . . . page 36 The Grubb Co. . . . . . . . . . . . . . . . . . . . . . back cover Wells Fargo. . . . . . . . . . . . . . . . . . . . . . . . . . . page 16. Henry’s Gastropub.. . . . . . . . . . . . . . . . . . . page 26 . . . . . . . . . . . . . . . . Please Patronize Our Advertisers! to advertise in the berkeley symphony program, call john mcmullen 510.652.3879 66 February 6, 2014
