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Mountain View Cemetery Association, a historic Olmsted designed cemetery located in the foothills of
Oakland and Piedmont, is pleased to announce the opening of Piedmont Funeral Services. We are now
able to provide all funeral, cremation and celebratory services for our families and our community at our
223 acre historic location. For our families and friends, the single site combination of services makes the
difficult process of making funeral arrangements a little easier. We’re able to provide every facet of service
at our single location. We are also pleased to announce plans to open our new chapel and reception facility
– the Water Pavilion in 2016. Situated between a landscaped garden and an expansive reflection pond, the
Water Pavilion will be perfect for all celebrations and ceremonies. Features will include beautiful kitchen
services, private and semi-private scalable rooms, garden and water views, sunlit spaces and artful details.
The Water Pavilion is designed for you to create and fulfill your memorial service, wedding ceremony,
lecture or other gatherings of friends and family. Soon, we will be accepting pre-planning arrangements.
For more information, please telephone us at 510-658-2588 or visit us at mountainviewcemetery.org.
January 15, 2015 3
Berkeley Symphony 2014/15 Season
5 Message from the Music Director7 Message from the Board President9 Message from the Executive Director11 Board of Directors & Advisory Council12 Orchestra14 Season Sponsors17 Producers’ Circle Sponsorship Gifts19 Berkeley Symphony Legacy Society21 Program23 Program Notes35 Music Director: Joana Carneiro41 Composer’s Biography45 Berkeley Symphony49 Music in the Schools51 Under Construction New Music Program55 Membership Support60 Broadcast Dates65 Contact 66 Advertiser Index
Presentation bouquets are graciously provided by Jutta’s Flowers, the official florist of Berkeley Symphony.
Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras.
No photographs or recordings of any part of tonight’s performance may be made without the written consent of the management of Berkeley Symphony. Program subject to change.
Mountain View Cemetery Association, a historic Olmsted designed cemetery located in the foothills of
Oakland and Piedmont, is pleased to announce the opening of Piedmont Funeral Services. We are now
able to provide all funeral, cremation and celebratory services for our families and our community at our
223 acre historic location. For our families and friends, the single site combination of services makes the
difficult process of making funeral arrangements a little easier. We’re able to provide every facet of service
at our single location. We are also pleased to announce plans to open our new chapel and reception facility
– the Water Pavilion in 2016. Situated between a landscaped garden and an expansive reflection pond, the
Water Pavilion will be perfect for all celebrations and ceremonies. Features will include beautiful kitchen
services, private and semi-private scalable rooms, garden and water views, sunlit spaces and artful details.
The Water Pavilion is designed for you to create and fulfill your memorial service, wedding ceremony,
lecture or other gatherings of friends and family. Soon, we will be accepting pre-planning arrangements.
For more information, please telephone us at 510-658-2588 or visit us at mountainviewcemetery.org.
Media Sponsor
Official Wine Sponsor
4 January 15, 2015
January 15, 2015 5
Dear Friends,
My warmest wishes for the New Year! I hope that 2015 brings us all health, peace, and many evenings of beautiful music.
Tonight’s program holds a special place in my heart. When I was the newly appointed assistant conductor of the Los Angeles Philharmonic, my first subscription concert featured the two works you will hear tonight, Thomas Adès’ Asyla and Tchaikovsky’s “Pathétique” Symphony. Adès himself conducted Asyla, and it was thrilling to share the stage with one of the greatest musical artists of our time.
Composed in 1997, Asyla exemplifies Adès’ stunning talent and vivid musical imagination. The work’s title plays upon the meanings of the word asylum as either a sanctuary or a madhouse; listening to the piece, I am sure you will be delighted by Adès’ musical illustration of this double meaning.
The program’s second half features Tchaikovsky’s Symphony No. 6, “Pathétique.” While it is not clear whether or not Tchaikovsky liked the work’s subtitle, the symphony doubtlessly features some of his most passionate, expressive music. That Tchaikovsky was hesitant to divulge any possible program behind the work—and that he died so soon after its premiere—have added to the mysteries surrounding this incredible piece. The work features several extraordinary passages, from the cries of despair throughout the finale to the second movement’s famous 5/4 waltz.
I am always so thankful for your presence and support.
With my warmest wishes,.
Joana Carneiro
Message from the Music Director
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January 15, 2015 7
Message from the Board President
Growing Our Audience
In an age in which we are surrounded by prerecorded sounds—from the MP3s on our telephones or tablets to the piped-in music in stores and cafes—live symphonic music is a precious experience. Live performance is exciting, ephemeral, and ALWAYS new and different. When the lights dim, we tune out the cacophony of the world and focus on the musicians’ messages for us. Joana raises her baton and initiates a dialogue between musicians and audience.
What was your first experience with this magical dialogue of live performance? I remember mine well. When I was 12 years old, my mother took me to Yale’s Woolsey Hall for a performance by the Yale-New Haven Symphony. While my mother loved the more familiar part of the program, I was electrified by the “other” half: Charles Ives’ Holidays Symphony, with its vitality, humor, and thrilling new sounds. Ives’ music has sustained me throughout my life, as has the ever-widening repertoire of symphonic music that I have listened to and explored. I am always amazed by hearing something new, even in familiar works.
Your musicians love playing for you. Your support keeps Berkeley Symphony energized, vibrant, and ready to explore new horizons. Please help introduce the joy of live music-making to more young people—children, grandchildren, students—by bringing them to a performance or sponsoring their tickets to a Berkeley Symphony concert. Together as a community we can ensure the vitality of live symphonic music for generations to come.
Tricia Swift President, Board of Directors
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January 15, 2015 9
Message from the Executive Director
Greetings and Happy New Year!
We gather this evening for a concert inspired in part by Joana’s experiences years ago at the Los Angeles Philharmonic. This L.A. connection prompts me to reflect upon my own formative musical experiences there and, more broadly, the power of performance to transform lives.
When I was growing up in Los Angeles, my parents took me to hear the Philharmonic nearly every Sunday afternoon. I sat spellbound listening to the orchestra and the legendary conductors and soloists who appeared onstage, from Mehta and Giulini to Heifetz and Horowitz. In January 1971, I heard Pinchas Zukerman for the first time and I found my calling. A few weeks later, my father gave me a violin for my eighth birthday. At the time, I could have never imagined that, only six years later, I myself would appear as a soloist with the Philharmonic, under the baton of Calvin Simmons. Because of those Sunday concerts, music became a central part of my life.
The power of classical music is transformative and long-lasting. It is our mission at Berkeley Symphony to carry forward that which was so generously given to me and to scores of other children. From our Zellerbach Hall concerts and our award-winning Music in the Schools program to our chamber music series and Under Construction New Music Program, we are proud to do our part to help continue the tradition of classical music, sustaining and nurturing it for the audiences of tomorrow. I thank you for making this possible.
With warmest regards,
René Mandel
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January 15, 2015 11
Board of DirectorsExecutive CommitteeTricia Swift, PresidentKathleen G. Henschel, Vice President for GovernanceJan McCutcheon, Vice President for DevelopmentGertrude Allen, Vice President for Community EngagementEd Osborn, TreasurerThomas Z. Reicher, SecretaryRené Mandel, Executive Director
Advisory Council (continued)
Bereket HaregotLynne LaMarca Heinrich & Dwight JaffeeBuzz & Lisa HinesSue HoneKenneth A. Johnson & Nina GroveTodd KerrJeffrey S. LeiterBennett MarkelBebe & Colin McRaeHelen & John MeyerDeborah O’Grady & John AdamsElisabeth & Michael O’MalleyMaria José PereiraMarjorie Randell-SilverThomas W. Richardson & Edith JacksonLinda Schacht & John GageKathy Canfield Shepard & John ShepardJutta SinghLisa & James TaylorAlison Teeman & Michael Yovino-YoungPaul Templeton & Darrell LouieAnne & Craig Van DykeYvette VloeberghsShariq Yosufzai
Board of Directors & Advisory Council
DirectorsSusan AcquistapaceStuart GronningenEllen L. HahnBrian JamesWilliam KnuttelJanet MaestreSandy McCoyDeborah ShidlerMichel Taddei
Advisory CouncilMarilyn Collier, Chair EmeritaMichele BensonFrank & Roberta BlissJudith BloomJoy CarlinRonald & Susan ChoyRichard CollierDianne CrosbyJohn & Charli DanielsenJennifer Howard DeGoliaCarolyn DoellingAnita EbléKaren FairclothGary Glaser & Christine MillerReeve Gould
12 January 15, 2015
Joana Carneiro Music Director Sponsored by Brian James & Shariq YosufzaiSponsored by Helen & John MeyerSponsored by Marcia Muggli & Ed OsbornSponsored by Lisa & Jim TaylorSponsored by Anonymous
Kent Nagano Conductor Laureate
Violin IFranklyn D’Antonio ConcertmasterNoah Strick Associate ConcertmasterCassandra Bequary Assistant ConcertmasterMatthew SzemelaCandy SandersonLarisa KopylovskyDouglas KwonSarah WoodStephanie BibboErnest YenShawyon Malek-SalehiAnnie LiJohn BernsteinAlexandra LeeDavid GroteBert Thunstrom
Violin IIDan Flanagan PrincipalJiwon Evelyn Kwark Assistant PrincipalKarsten WindtDavid ChengLauren Avery
Sponsored by Tricia Swift
Ilana ThomasMatthew OshidaGenevieve MichelettiRick DiamondAnn EastmanKristen KlineLuther KuefnerCharles ZhouRose Marie Ginsburg
The OrchestraViolaIlana Matfis PrincipalDarcy Rindt Assistant PrincipalPatrick KrobothMarta TobeyKeith LawrenceClio TiltonAmy ApelAmanda WooPeter LiepmanMichael BasiliDan StanleyKayla Reagan
CelloCarol Rice Principal
Sponsored by Getrude Allen
Stephanie Lai Assistant PrincipalWanda WarkentinEric GaenslenKrisanthy DesbyShain CarrascoKenneth JohnsonPeter BedrossianMargaret MooresAndy Ly
BassMichel Taddei PrincipalRobert Ashley Assistant PrincipalJon KeigwinAlden F. CohenDavid HornBen HolstonCorey ChandlerEric Price
FluteEmma Moon Principal
Sponsored by Janet & Marcos Maestre
Stacey Pelinka
January 15, 2015 13
Flute (continud)
Laurie Camphouse
PiccoloStacey PelinkaLaurie Camphouse
Bass FluteLaurie Camphouse
OboeLaura Griffiths Principal
Sponsored by Jan & Michael McCutcheon
Bennie CottoneKyle Bruckmann
English HornBennie CottoneKyle Bruckmann
Bass OboeKyle Bruckmann
ClarinetRoman Fukshansky PrincipalMark ShannonJeff Anderle
Bass ClarinetMark Shannon
Contrabass ClarinetJeff Anderle
BassoonCarla Wilson PrincipalRavinder SehgalErin Irvine
ContrabassoonErin Irvine
HornAlex Camphouse Principal
Sponsored by Thomas & Mary Reicher
Stuart GronningenLoren TayerleRichard HallTom Reicher
TrumpetScott Macomber PrincipalKale CumingsAri Micich
Piccolo TrumpetAri Micich
TromboneThomas Hornig Principal
Sponsored by Kathleen G. Henschel & John W. Dewes
Craig Bryant
Bass TromboneKurt Patzner
TubaJerry Olson Principal
Timpani/PercussionKevin Neuhoff Principal
PercussionWard Spangler PrincipalVictor AvdienkoTimothy DentBenjamin PaysenAllen Biggs
HarpWendy Tamis Principal
Pianos/CelestaMiles Graber PrincipalLori Lack
Franklyn D’Antonio Co-Orchestra Manager
Joslyn D’Antonio Co-Orchestra Manager
Quelani Penland Librarian
David Rodgers, Jr. Stage Manager
14 January 15, 2015
Tricia Swift
T ricia Swift is a prominent Real Estate Broker in Berkeley and the East Bay. She has been actively
involved in music throughout her life. As a college student, she was a member of the Harvard University Memorial Church Choir, and she sang with the San Francisco Symphony Chorus for twenty-four years before retiring from singing in 2010. She was also an original cast member of the inaugural production of the California Revels. She has been a member
of Berkeley Symphony’s Board of Directors since 2009 and now serves as President.
2014-15 Season Sponsors
Phot
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eshi
re.c
omKathleen G. Henschel & John W. Dewes
Kathleen G. Henschel, formerly finance manager at Chevron Corporation, joined Berkeley
Symphony’s Board of Directors in 2004, and was President from 2006 to 2011. An active Bay Area philanthropist, she currently serves as Board Chair of Chanticleer. John W. Dewes, formerly General Manager of Public Affairs at Chevron Corporation, is an active volunteer in Walnut Creek.
Brian James & Shariq Yosufzai
B rian James is a member of the Board of Directors of Berkeley Symphony and was
Co-Chair of the Symphony’s 2014 Gala. Shariq Yosufzai serves on the Advisory Council of Berkeley Symphony, the Board of Directors of the San Francisco Opera, the Board of Trustees of Cal Performances, and is a past Chair of the Board of the California Chamber of Commerce.
January 15, 2015 15
W ith more than 40 patents on technology ranging from its Constellation digital
acoustic system to premium loudspeakers, Meyer Sound provides solutions renowned for intelligibility and precision to airports, churches, sports arenas, cinemas, and stadium rock stages. Expert teams of acousticians and engineers provide highly customized sound solutions in the classical world and Meyer Sound products support many of the world’s finest venues including Berkeley’s Zellerbach Hall, Amsterdam’s Concertgebouw, Vienna’s Musikverein and New York’s Appel Room at Jazz at Lincoln Center. Founded by Berkeley residents John and Helen Meyer in 1979, the Company is beloved by artists ranging from Celine Dion to Stevie Wonder to Metallica. The Company is a major force in the professional audio industry worldwide with more than 300 employees and all products are manufactured at the Berkeley headquarters.
For more than 135 years, Chevron has proudly developed the energy that people and businesses
depend on, helping to spur economic growth and improve the quality of life for communities worldwide. Everywhere we operate, we strive to build lasting partnerships that contribute to local economies—now and for generations to come. We work with our partners to strengthen communities by focusing on strategic social investments in
health, education and economic development. Chevron is pleased to continue our partnership with the Berkeley Symphony to sponsor their 2014/2015 season.
McCutcheon Construction was founded in 1980 with the vision
of creating healthier homes, beautiful homes that endure, and homes that matter to their owners, to the community, and to the environment. Headquartered in Berkeley, the
company renovates and builds new structures throughout Northern California, where it has grown its reputation as a leader in sustainable home-building practices by listening carefully to clients and responding to their deeper desires for healthier living.
16 January 15, 2015
January 15, 2015 17
Producers’ Circle Sponsorship Gifts
We gratefully acknowledge the following individuals who have contributed to Berkeley Symphony’s Producers’ Circle Sponsorship Campaign in addition to their annual giving. Producers’ Campaign gifts directly support Berkeley Symphony’s artistic initiatives, commissions, premieres, guest soloists, Under Construction, and Music in the Schools.
Anonymous (3)
Gertrude Allen
Ronald & Susan Choy
Margaret Dorfman
Oz Erickson & Rina Alcalay
Kathleen G. Henschel & John W. Dewes
Buzz & Lisa Hines
Brian James & Shariq Yosufzai
Janet & Marcos Maestre
Sarah Coade Mandell & Peter Mandell
Jan & Michael McCutcheon
Helen & John Meyer
Linda & Stuart Nelson
Deborah O’Grady & John Adams
Ed Osborn & Marcia Muggli
Thomas & Mary Reicher
Tricia Swift
Lisa & James Taylor
The Thomson Family
Kern & Marnie Wildenthal
William Knuttel Winery
Producers’ Circle Sponsorship gifts of $2,500 and above received between December 1, 2013 and December 1, 2014. Thank you also to our Producers’ Circle supporters at all levels!
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Legacy Society Member Lisa Taylor: In her own words . . .
Berkeley Symphony Legacy Society
Legacy giving will ensure that Berkeley Symphony’s music and education programs for children will continue to delight and inspire us for generations. Thank you to those who have made bequests to Berkeley Symphony as part of their estate planning. If you are interested in supporting our long-term future, please contact Development Manager William Quillen at 510.841.2800 x305 or [email protected].
Legacies ReceivedMargaret Stuart E. Graupner
Rochelle D. RidgwayHarry Weininger
“Growing up in New York City, I was introduced to classical music through Leonard Bernstein’s Young People’s Concerts and my elementary school’s arts curriculum, which encouraged every third grader to play a string instrument. I briefly played the violin before switching to piano and even studied at the Mannes School of Music while in eighth grade.
“When I moved to Berkeley in 1979, I joined the Friends of the Berkeley Symphony Orchestra, eventually serving as its President for a year. Berkeley Symphony quickly became part of my extended family, and my involvement as a volunteer, Board member, and Advisory Council member has now spanned 35 years.
“I greatly value the organization’s commitment to adventurous programming, its support of emerging composers, and its wonderful Music in the Schools program, which introduces a new generation to the joys of listening to and making music—an important legacy in which I am proud to take part.”
Legacies PledgedGertrude Allen
Norman Bookstein & Gillian Kuehner
Kathleen G. Henschel
Jeffrey S. Leiter
Janet & Marcos Maestre
Bennett Markel
Lisa Taylor
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January 15, 2015 21
Thursday, January 15, 2015 at 8:00 pm Zellerbach Hall
Joana Carneiro conductor
Thomas Adès Asyla I. II. III. Ecstasio IV.
I N T E R M I S S I O N
Pyotr Ilyich Tchaikovsky Symphony No. 6 in B minor, Op. 74, (Pathétique) Adagio — Allegro non troppo. Allegro con grazia Allegro molto vivace Finale: Adagio lamentoso — Andante
Program II: Sanctuary
Tonight’s performance will be broadcast on KALW 91.7 FM on May 11, 2015.Please switch off your cell phones, alarms, and other electronic devices during the concert. Thank you.
ConCert SponSorS
Tonight’s performance is made possible by the generous support of
The Grubb Co. | Janet & Marcos Maestre | William Knuttel Winery
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January 15, 2015 23
Program Notes
Thomas Adès (b. 1971)
Asyla, Op. 17Born on March 1, 1971, in London. Thomas Adès completed Asyla in 1997 on a commission by the John Feeney Charitable Trust for the City of Birmingham Symphony Orchestra. First performance: October 1, 1997, in Birmingham, England, with Simon Rattle conducting the City of Birmingham Symphony Orchestra. Asyla is scored for a large orchestra of 2 piccolos, 3 flutes, bass flute, 3 oboes, bass oboe, 2 English horns, 3 clarinets, bass clarinet, contrabass clarinet, 3 bassoons, contrabassoon, 4 horns, piccolo trumpet, 3 trumpets, 3 trombones, tuba, timpani, percussion (roto-toms, bass drum, pedal bass drum, finger drums, side drum, bell plates, cowbells, tubular bells, Chinese cymbal, suspended cymbals, choke cymbal, hi-hat cymbal, crash cymbals, sizzle cymbal, large tin cans, geophone, tam-tam, water gongs, gongs, ratchets, washboard, sandpaper blocks, bag of metal cutlery, glockenspiel, crotales) grand piano, celesta, two upright pianos, harp, and strings. Duration: 25 minutes.
Thomas Adès advanced with sensational speed to the
forefront of the new music scene as a prodigy composer in the early
1990s. After winning accolades in a BBC-sponsored piano competition while in his teens (he continues to perform as a pianist and is also an active conductor), Adès determined to take up composition. He was still in his mid-20s when he produced Asyla, a remarkable achievement in terms not only of its musical thought and structure but of its masterfully executed orchestration as well.
The colorful, distinctive, sure-footed theatricality found in his two operas to date, Powder Her Face (1995) and The Tempest (2004), has won Adès an international following. (The composer is currently at work on a third opera, based on Luis Buñuel’s film The Exterminating Angel, which is to be premiered in 2016 at the Salzburg Festival.) Adès’ orchestral music similarly draws on his dramatic sensibility and flair for evoking memorable atmospheres. Asyla, for example, which was premiered in 1997 by the City of Birmingham Symphony Orchestra under one of his foremost early champions, Simon Rattle, demonstrated a precocious stylistic confidence. Here Adès wields a Mahler-sized orchestra to craft a richly condensed symphony that includes a movement evoking a night of London club raving and excess.
24 January 15, 2015
Four Mainstage Concerts“Under Construction” Concerts
with Emerging ComposersNew Works
Old Chestnuts Resident Artists
Music in the Schools
2014-2015
January 15, 2015 25
A less self-assured artist might well have buckled under the high-stakes pressure of this degree of international attention so early in his career—attention that was accompanied by the usual hyperbole of great expectations, as Adès became routinely compared to the young Benjamin Britten (understandably, to his increasing annoyance and chagrin). Particularly in the aftermath of his sensational operatic debut, Powder Her Face (1995), Adès faced an unusual amount of attention and scrutiny. This chamber opera, an irreverent satire drawn from the tabloid fall-from-grace scandal of the Duchess of Argyll (with shades of a latter-day Lulu), suggested that Adès could tap into a musical language of Nabokovian fluency. This was a composer capable of delighting in the multifaceted possibilities of his unpredictably witty and allusive musical language.
Adès subsequently scored yet another high-profile success when Simon Rattle and the City of Birmingham Symphony commissioned Asyla, Op. 17. (Adès, incidentally, uses the old-fashioned system of cataloguing his compositions according to opus number.) This four-movement symphonic score, which was first heard in October 1997, calls for a vast orchestral palette to explore its extraordinary range of emotional states—all within
a relatively brief duration no longer than that of a modest Classical symphony. It speaks to his confidence in the quality of this music that, for his debut concert as the newly appointed music director of the Berlin Philharmonic in 2002, Rattle pointedly programmed Asyla alongside Mahler’s Fifth Symphony, making explicit the Mahlerian ambition of Adès’ work and technical facility.
It all may sound like a recipe for hubris, yet again Adès impressed savvy listeners even as he sought a voice of his own. Referring to the multiplicity implicit in the Latin title Aysla (plural of “asylum”), Alex Ross writes that in this score, Adès “dramatizes his own struggle to define himself within and against modernity, seeking ’asylums’ of one kind or another.” And the adventurous spirit of Asyla continues to fascinate listeners nearly two decades into the piece’s existence.
Adès’ title is typically evocative and ambiguous: an asylum can mean both a place of inviolable refuge and an institution for the insane. Asyla plays on this plurality of meaning without devolving into a chaos of too-muchness. The hyperactively firing synapses of Adès’ musical imagination ignite multiple simultaneous associations—a riotous counterpoint of musical references. Yet he is able to sustain a deft structural logic across the piece. After an intriguingly
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January 15, 2015 27
ritualistic call to attention issued by ringing cowbells, the first movement traces a sprawling theme (first heard in the horns) which hints of Baroque gravitas and Brucknerian grandeur. At the same time, there’s no mistaking the fidgety energy that is a hallmark of Adès’ music. Just past the midpoint of the first movement, a frenzied gesture from the trumpets gives a foretaste of the madness to come in the third movement (“Ecstasio”).
The ensuing slow movement alludes to the convention of musical lament (notice the inexorably descending line, a trope that embodies centuries of tradition). Included in the soundscapes is the intriguing sonority of a piano tuned a quarter-tone flat, while the dusky hues of the bass oboe intone the principal melody.
The hero then “swears off solitude,” as Alex Ross puts it, and “ventures out on the town” in the frenetic third movement. The most overtly “programmatic” music of Asyla, the third movement’s communal ecstasies conjure a night of club raving and excess in the London of the 1990s. “Ecstasio” suggests both a thrilling psycho-spiritual state and the pharmacological passport to reach it: the drug Ecstasy. Dance beats accumulate in layers as they weave in and out, creating a funhouse effect of shifting musical points of view. Here is a microcosm of the simultaneous diffuseness and coherence of Asyla overall—a
“fantastic symphony” for the eve of the millennium.
Following this musical “trip,” the final movement pursues a more emotionally expansive labyrinth, with a resoundingly cavernous bass serving as the thread. Eventually Asyla achieves a breakthrough in the immense, shimmering spasm of chords of its final pages.
—© Thomas May
Pyotr Ilyich Tchaikovsky (1840-1893)
Symphony No. 6 in B minor, Op. 74 (Pathétique)Born on May 7, 1840, in Votkinsk, Russia; died on November 6, 1893, in St. Petersburg, Russia. Pyotr Ilyich Tchaikovsky composed the last of his six symphonies in 1893 and died just nine days after he unveiled this mature masterpiece. First performance: October 28, 1893, in St. Petersburg, with the composer conducting. The Sixth Symphony is scored for 3 flutes (3rd doubling piccolo), 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, and tam-tam), and strings. Duration: 45 minutes.
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to the existence of some extra-musical dimension by adopting the provocative working subtitle “Program Symphony.” According to one of the many legends that surround the work, Tchaikovsky’s brother Modest suggested the French title Pathétique—which connotes “impassioned suffering” in its Russian context. The composer’s sudden death just a little over a week after he had led the world premiere in October 1893 in St. Petersburg made that choice seem uncannily well suited to the devastating psychological drama the Sixth encompasses.
The circumstances of Tchaikovsky’s death have further enshrouded the Pathétique in mystery: was an accidental drink of cholera-contaminated water what killed him, or did the “scandal” of his same-sex affairs result in Tchaikovsky submitting to a kind of Socratic suicide to preserve a code of “honor” among his associates (a sensationalist interpretation that has generally been debunked by now)? The debate about the potential “encoded” meaning of this work—much like the debate surrounding Shostakovich and his attitude toward Communist control—rages on unresolved, ensuring that the Pathétique remains one of the most controversial works in the symphonic repertoire.
“W ithout exaggeration, I have put my entire
soul into this symphony” wrote Tchaikovsky of his final essay in the genre. Indeed, the emotional turbulence we discern in Tchaikovsky’s mature masterpieces often evokes a confessional character—a “baring of the soul”—around which it can be tempting to construct an explanatory narrative. Quite possibly for that reason Tchaikovsky himself became ambivalent about the issue of program music, whose validity had after all been championed by his early mentors and the Russian nationalists as an antidote to the sterile “formalism” of Western music (a bias that makes Tchaikovsky’s critique of Wagner’s dramatic content as superfluous even more intriguing). At the programmatic extreme stands the Fourth Symphony, for which Tchaikovsky supplied an elaborate program centered on the idea of Fate, and the unnumbered Manfred Symphony of 1885, a treatment of Lord Byron’s poetic drama and its Faustian hero.
Something more subtle happens with the Symphony No. 6. For this work Tchaikovsky developed an esoteric, “private,” unpublished program and did without the recurrent cyclic themes of the Fifth and Manfred Symphonies. At the same time, he drew attention
30 January 15, 2015
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January 15, 2015 31
As a recent example, in recently published in-depth study of the work, Tchaikovsky’s Pathétique and Russian Culture, the musicologist Marina Ritzarev offers another provocative argument: that the conventional model of an overriding personal, subjective lamentation clashes with the composer’s aesthetic and ethical sensibility and that the actual “program” of the Sixth has to do with a more traditional, religious sense of “Passion” (and com-passion) from European culture.
The extensive first movement immediately ushers us into a world of bleak despair that acquires crushing intensity. Tchaikovsky employs his orchestral mastery and technical acumen to give resilient shape to these passions. He manages in fact with relatively traditional orchestral forces: brass chorales evoke apocalypse while caressing memories are touched by delicately sprung woodwind solos. Tempestuous string scales possess a shattering, nervous energy we cannot soon forget. But the climaxes evade predictability: in the middle of the movement, it is an exaggerated silence (marked pppppp in the score for emphasis) that shocks even more than an explosion of sound.
Two inner movements of contrasting character turn out
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to be interludes rather than long-range shifts of direction. The second movement’s flowing, dance-like charm is given a subtle displacement through the use of 5/4 meter (which manages to sound graceful rather than hobbled, though it gives the familiar pattern of the waltz an uneasy edge). In the third movement, Tchaikovsky presents a blazing but hollowly triumphant, brass-reinforced march that revels in aggressive, swaggering rhythms.
It’s often been pointed out that had Tchaikovsky simply switched the order of the final two movements, he would have preserved the optimistic, Beethovenian model of light winning out over darkness. Yet by reversing that model and ending with the nihilistic, dying fall of a “lamenting” Adagio (the same tempo with which the Symphony began), he introduces a radically new concept of the symphonic journey. (Mahler’s Ninth would adopt a similar strategy.) The valedictory plunge into silence from a sustained B minor chord deep in the strings sets the stage for a new century of bleak requiems. Tchaikovsky’s genius is to generate compassion among those who follow his journey into the psyche.
—© Thomas MayThomas May, program annotator for
Berkeley Symphony, writes about the arts and blogs at memeteria.com.
34 January 15, 2015
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Music Director: Joana Carneiro
Noted for her vibrant performances in a wide
diversity of musical styles, Joana Carneiro has attracted considerable attention as one of the most outstanding young conductors working today. In 2009, she was named Music Director of the Berkeley Symphony, succeeding Kent Nagano and becoming only the third music director in the 40-year history of the orchestra. She also currently serves as official guest conductor of the Gulbenkian Orchestra, working there at least four weeks every year. In January 2014 she was appointed Principal Conductor of the Orquesta Sinfonica Portuguesa.
Carneiro’s growing guest-conducting career continues to develop very quickly. In November she made her debut at the English National Opera conducting the world stage premiere of John Adams’ The Gospel According to the Other Mary. She also conducts Adams’ A Flowering Tree at the Gothenburg Opera, makes debuts with the Orchestre National de Lyon and the Helsingborg Symphony, and returns to the Gothenburg, Malmö, Gävle and Swedish Radio symphonies.
Joana undertakes her sixth season as Music Director of the Berkeley
Symphony, where she has captivated audiences with her commanding stage presence and adventurous programming that has highlighted the works of several prominent contemporary composers, including John Adams, Esa-Pekka Salonen, Brett Dean, Kaija Saariaho and Gabriela Lena Frank.
Last season, Carneiro conducted highly successful returns to Toronto, Gothenburg, Gävle, Malmö, Sydney, New Zealand symphonies and the National Symphony Orchestra of Spain, as well as debuts with the Orchestre Philharmonique de Radio France, Royal Stockholm
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Philharmonic and Florida Orchestra.
International highlights of previous seasons include appearances with the Royal Liverpool Philharmonic at London’s Royal Albert Hall, Royal Philharmonic Orchestra and Renée Fleming in the opening season of the U.A.E’s Royal Opera House in Oman, Ensemble Orchestral de Paris, Orchestra de Bretagne, Norrköping Symphony, Norrlands Opera Orchestra, Residentie Orkest/Hague, Prague Philharmonia, Euskadi Orchestra of Spain and the Orchestra Sinfonica del Teatro la Fenice at the Venice Biennale, as well as the Hong Kong Philharmonic, Macau Chamber Orchestra and Beijing Orchestra at the International Music Festival of Macau.
In the Americas, she has led the Los Angeles Philharmonic, Toronto Symphony, St. Paul Chamber Orchestra, Detroit Symphony, Colorado Symphony, Indianapolis Symphony, Los Angeles Chamber Orchestra, New World Symphony and São Paulo State Symphony.
In 2010, Carneiro led performances of Peter Sellars’ stagings of Stravinsky’s Oedipus Rex and Symphony of Psalms at the Sydney Festival, which won Australia’s Helpmann Award for Best Symphony Orchestra Concert in 2010. She conducted a linked project at the New Zealand Festival in 2011, and as a result was
immediately invited to work with the Sydney Symphony and New Zealand Symphony orchestras on subscription. In 2011, she led a ballet production of Romeo and Juliet with Companhia Nacional de Bailado in Portugal.
Increasingly in demand as an opera conductor, Carneiro made her Cincinnati Opera debut in 2011 conducting John Adams’ A Flowering Tree, which she also debuted with the Chicago Opera Theater and at La Cité de la Musique in Paris. In the 2008-09 season, she served as assistant conductor to Esa-Pekka Salonen at the Paris Opera’s premiere of Adriana Mater by Kaija Saariaho and led critically-acclaimed performances of Philippe Boesmans’ Julie in Bolzano, Italy.
As a finalist of the prestigious 2002 Maazel-Vilar Conductor’s Competition at Carnegie Hall, Carneiro was recognized by the jury for demonstrating a level of potential that holds great promise for her future career. In 2003-04, she worked with Maestros Kurt Masur and Christoph von Dohnányi and conducted the London Philharmonic Orchestra, as one of the three conductors chosen for London’s Allianz Cultural Foundation International Conductors Academy. From 2002 to 2005, she served as Assistant Conductor of the L.A. Chamber Orchestra and as Music Director of the Young Musicians Foundation
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Debut Orchestra of Los Angeles. From 2005 through 2008, she was an American Symphony Orchestra League Conducting Fellow at the Los Angeles Philharmonic, where she worked closely with Esa-Pekka Salonen and led several performances at Walt Disney Concert Hall and the Hollywood Bowl.
A native of Lisbon, she began her musical studies as a violist before receiving her conducting degree from the Academia Nacional Superior de Orquestra in Lisbon, where she studied with Jean-Marc Burfin. Carneiro received her Masters degree in orchestral conducting from Northwestern University as a student of Victor
Yampolsky and Mallory Thompson, and pursued doctoral studies at the University of Michigan, where she studied with Kenneth Kiesler. She has participated in master classes with Gustav Meier, Michael Tilson Thomas, Larry Rachleff, Jean Sebastian Bereau, Roberto Benzi and Pascal Rophe.
Carneiro is the 2010 recipient of the Helen M. Thompson Award, conferred by the League of American Orchestras to recognize and honor music directors of exceptional promise. In 2004, Carneiro was decorated by the President of the Portuguese Republic, Mr. Jorge Sampaio, with the Commendation of the Order of the Infante Dom Henrique.
40 January 15, 2015
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Thomas Adès
Thomas Adès was born in London in 1971. His
compositions include two operas, Powder Her Face (Cheltenham Festival/Almeida Theatre, London, 1995), and The Tempest (Royal Opera, Covent Garden, 2004). Other orchestral works include Asyla (CBSO, 1997), Tevot (Berlin Philharmonic and Carnegie Hall, 2007), Polaris (New World Symphony, Miami 2011), Violin Concerto Concentric Paths (Berliner Festspiele and London Proms, 2005), In Seven Days (Piano concerto with moving image—LA Philharmonic and RFH
London 2008), and Totentanz for mezzo-soprano, baritone and orchestra (London Proms, 2013).
Chamber works include the string quartets Arcadiana (1993) and The Four Quarters (2011), Piano Quintet (2001), and Lieux retrouvés for cello and piano (2010). Solo piano works include Darknesse Visible (1992), Traced Overhead (1996), and Three Mazurkas (2010). Choral works include The Fayrfax Carol (King’s College, Cambridge 1997), America: a Prophecy (New York Philharmonic, 1999) and January Writ (Temple Church, London 2000).
From 1999 to 2008 Adès was Artistic Director of the Aldeburgh Festival.
As a conductor he appears regularly with, among others, the Los Angeles Philharmonic, Boston Symphony, London Symphony Orchestra, the Royal Concertgebouw, Melbourne and Sydney Symphonies, BBC Symphony, and City of Birmingham Symphony Orchestra. As an opera conductor he has conducted
Composer’s Biography
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The Rake’s Progress at the Royal Opera, London and the Zürich Opera, and made his debut at the Metropolitan Opera in New York conducting The Tempest. He will conduct this production of The Tempest at the Vienna Staatsoper in 2015 with the Vienna Philharmonic.
Future plans include Totentanz with the Boston and Chicago Symphonies and the Los Angeles and New York Philharmonics.
Recent piano engagements include solo recitals at Carnegie Hall (Stern Auditorium), New York and the Barbican in London, and concerto appearances with the New York Philharmonic.
Prizes include: Grawemeyer Award for Asyla (1999); Royal Philharmonic Society large-scale composition awards for Asyla, The Tempest and Tevot; Ernst von Siemens Composers’ prize for Arcadiana; British Composer Award for The Four Quarters; and Best Opera Grammy and Diapason d’or de l’année (Paris) for The Tempest. He coaches piano and chamber music annually at the International Musicians Seminar, Prussia Cove.
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44 January 15, 2015
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Berkeley Symphony
Recognized nationally for its spirited programming, Berkeley
Symphony has established a reputation for presenting major new works for orchestra alongside fresh interpretations of the classical European and American repertoire. It has been honored with an Adventurous Programming Award from the American Society of Composers, Authors and Publishers (ASCAP) in ten of the past twelve seasons.
Under the baton of Music Director Joana Carneiro, the Orchestra performs four main-stage concerts a year in Zellerbach Hall, and supports emerging symphonic composers through its Under Construction New Music Program, in partnership with EarShot. A national leader in music education, the Orchestra partners with the Berkeley Unified School District to produce the
award-winning Music in the Schools program, providing comprehensive, age-appropriate music curricula to more than 4,200 local elementary students each year. In association with the Piedmont Center for the Arts, Berkeley Symphony presents an annual chamber music series at the Center called Berkeley Symphony & Friends.
Berkeley Symphony was founded in 1969 as the Berkeley Promenade Orchestra by Thomas Rarick, a protégé of the great English Maestro Sir Adrian Boult. Under its second Music Director, Kent Nagano, who took the post in 1978, the Orchestra charted a new course with innovative programming that included rarely performed 20th-century scores. In 1981, the internationally-renowned French composer Olivier Messiaen journeyed to Berkeley to assist with the
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preparations of his imposing oratorio The Transfiguration of Our Lord Jesus Christ, and the Orchestra gave a sold-out performance in San Francisco’s Davies Symphony Hall. In 1984, Berkeley Symphony collaborated with Frank Zappa in a critically-acclaimed production featuring life-size puppets and moving stage sets, catapulting the Orchestra onto the world stage.
Berkeley Symphony entered a new era in January 2009 when Joana Carneiro became the Orchestra’s third Music Director in its 40-year history. Under Carneiro, the Orchestra continues its tradition of presenting the cutting edge of classical music. Together, they are forging deeper relationships with living composers, which include several prominent contemporary Bay Area
composers such as John Adams, Paul Dresher, and Gabriela Lena Frank.
Berkeley Symphony has introduced Bay Area audiences to works by upcoming young composers, many of whom have since achieved international prominence. Celebrated British composer George Benjamin, who subsequently became Composer-in-Residence at the San Francisco Symphony, was first introduced to the Bay Area in 1987 when Berkeley Symphony performed his compositions Jubilation and Ringed by the Flat Horizon; as was Thomas Adès, whose opera Powder Her Face was debuted by the Orchestra in a concert version in 1997 before it was fully staged in New York City, London and Chicago. www.berkelysymphony.org
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2727 College Avenue Berkeley • 510.841.8489
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where all forms of diversity flourish amid mutual respect,
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More than 4,200 elementary school children each year benefit from
Berkeley Symphony’s Music in the Schools program:• Over 200 In-Class Sessions are provided free of charge and include curriculum booklets with age-appropriate lessons addressing state standards for music education. • Eleven Meet the Symphony concerts are performed free of charge in elementary schools each fall.• Six I’m a Performer concerts, also free of charge, provide young musicians with an opportunity to rehearse and perform with Berkeley Symphony.• Four free Family Concerts provide an opportunity for the whole family to experience a Berkeley Symphony concert together.
All Music in the Schools programs are provided 100% free of charge to children and their families. We are grateful to the individuals and institutions listed on this page whose financial contributions help make Music in the Schools possible. But more help is needed to fully fund the program . . .
Please join those making Music in the Schools a reality! Donate online and designate your gift as “Restricted—Music in the Schools Program.” Or simply mail a contribution to: Berkeley Symphony, Music in the Schools Fund, 1942 University Ave. Suite #207, Berkeley, CA 94704
www.berkeleysymphony.org/mits
Music in the Schools
Music in the Schools Sponsors(Gifts of $2,500 and above annually)
Anonymous (2)Berkeley Public Schools FundBernard E. & Alba Witkin Charitable
FoundationThe Bernard Osher FoundationCalifornia Arts CouncilAnnette Campbell-White & Dr. Ruedi
Naumann-EtienneRonald & Susan ChoyEast Bay Community FoundationPaula & John GambsKathleen G. Henschel & John W. DewesBrian James & Shariq YosufzaiJohn KarnayHelen & John MeyerMusic Performance Trust FundNational Endowment for the ArtsThomas J. Long FoundationTricia SwiftU.S. Bank FoundationUnion Bank FoundationnThanks also to those giving up to $2,500 annually.
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In partnership with EarShot, Berkeley Symphony’s 2015 Under Construction New Music Program will present new symphonic works by emerging composers from across the
country. Selected for the program following a highly competitive national search, the composers each create a symphonic work to be developed, polished and recorded during a two-day residency at Osher Studio in Berkeley, while receiving on-going guidance from Music Director Joana Carneiro, mentor composers, and members of the Orchestra. The public is invited to view the creative process during two informal readings on Saturday, May 2, at 3pm and Sunday, May 3, at 7pm. The names of the selected composers will be announced in late January.2015 marks the second year of a new partnership between Berkeley Symphony and EarShot: the National Orchestral Composition Discovery Network, and its partner organizations—the American Composers Forum, League of American Orchestras, New Music USA and the American Composers Orchestra. The collaboration enables Berkeley Symphony to expand its role as a West Coast artistic incubator for emerging orchestra composers and to broaden its reach.Established in 1993, the Under Construction New Music Program seeks to engage audiences in contemporary music and its creation. During the first reading, the Orchestra rehearses the work in progress, experimenting with different musical choices and giving the composers an opportunity to hear the work performed live. At the second reading, the compositions are finalized, polished and recorded. An open dialogue among the composers, the conductor, the musicians and audience members is encouraged. That interchange of ideas affords the audience a greater understanding of the creative process, the composers and their work.Funding for EarShot is made possible with the support of the Andrew W. Mellon Foundation and The Aaron Copland Fund for Music. Berkeley Symphony thanks its 2014/15 Under Construction sponsor, Margaret Dorfman.
Under Construction New Music Program
Mentors Paul Dresher and Steven Stucky (back to camera) offer advice to Andrew V. Ly.
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2014/15 Membership BenefitsTicket sales cover only a portion of concert expenses. And our Music in the Schools program—offered free of charge to thousands of children each year—is entirely Membership-driven! Your Membership makes Berkeley Symphony thrive, and provides many opportunities to make the most of your concert-going experience. Consider adding a Membership to your subscription—or increase your level of Membership in support of the 2014/15 season.
Friends Circle of MembersSupporting Member: $100+• Advance e-newsletter notice of discounts and special events.• Listing in season concert programs.Associate Member: $300+ (All of the above plus . . .)• Invitation for two to an exclusive reception and open rehearsal of the Orchestra.• Two concert guest passes.Principal Member: $750+ (All of the above plus . . .)• Invitation to select special events including post-concert receptions with the music
director, musicians, soloists, and/or visiting composers.
Symphony Circle of MembersConcertmaster: $1,500+ (All of the above plus . . .)• Invitations to two exclusive Symphony Circle Salon Receptions hosted by Joana Carneiro.• A total of four concert guest passes.Conductor: $2,500+ (All of the above plus . . .)• Invitations to all exclusive Symphony Circle Salon Receptions hosted by Joana Carneiro.• Invitation to an exclusive Musicians Dinner and “closed” rehearsal for you and guests.• A total of eight concert guest passes.
Sponsorship Circle of MembersFounding Sponsors: $5,000, $10,000 and above (All of the above plus . . .)• VIP access to Berkeley Symphony intermission Sponsors’ Lounge.• Recognition as Sponsor of a season concert, guest soloist, commissioned composer,
orchestra section chair, or the Under Construction or Music in the Schools programs.• Special “Sponsorship Dinner” opportunities with Music Director Joana Carneiro.
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Gifts received between December 1, 2013 and December 1, 2014
SPONSOR CIRCLE GIFTSSeason Sponsors $50,000 and aboveHelen & John MeyerBrian James & Shariq Yosufzai
Season Sponsors $25,000 and aboveKathleen G. Henschel
& John W. DewesJan & Michael McCutcheonTricia Swift
Executive Sponsors $10,000 and aboveAnonymous (3)Susan & Jim AcquistapaceGertrude AllenJennifer Howard DeGoliaMargaret DorfmanJanet & Marcos MaestreLinda & Stuart NelsonEd Osborn & Marcia MuggliLisa & James TaylorThe Thomson Family
Founding Sponsors $5,000 and aboveAnonymousNatasha Beery & William B. McCoy
Founding Sponsors $5,000 and above (continued)
Annette Campbell-White & Dr. Ruedi Naumann-Etienne
Ronald & Susan ChoyOz Erickson & Rina AlcalayPaula & John GambsEllen HahnSarah Coade Mandell & Peter MandellDeborah O’Grady & John AdamsThomas & Mary ReicherThomas W. Richardson & Edith JacksonAlison Teeman & Michael
Yovino-YoungAnne & Craig Van DykeKern & Marnie Wildenthal
SYMPHONY CIRCLE GIFTSConductor Level $2,500 and aboveJudith BloomNorman A. Bookstein & Gillian KuehnerDianne CrosbyAnita EbléGloria FujimotoGary Glaser & Christine Miller
Annual Membership Support
Thank you to the following individuals for making the programs of Berkeley Symphony possible. A symphony is as strong as the community that supports it. Thank you to the following individuals for making Berkeley Symphony very strong indeed. Your generosity allows adventurous music to be heard, commissions world-class composers, and impacts the lives of thousands of children in hundreds of classrooms each year.
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SpEciAl hAnd-mAde chOcOlatES tO SurpriSE And inSpirE
yOur tAStE budS
1964 university ave., berkeley510.705.8800 1809 Fourth Street, berkeley 510.665.9500www.chocolatierblue.com
A special discount for those who tell us they learned about us at Berkeley Symphony
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Principal Level $750 and abovePatricia & Ronald AdlerTony CascardiRichard ColtonBruce DoddJack & Ann EastmanGini Erck & David PettaDean FrancisMs. Anne Hannah-RoyFran HaselsteinerHilary HonoreMark & Lynne HumphreyArthur & Martha LuehrmannLois & Gary MarcusKim & Barbara Marienthal
Betty PigfordDitsa & Alexander PinesMarjorie RandolphPhyllis Brooks SchaferDeborah Shidler & David
BurkhartBlume Capital Management
Associate Level $300 and aboveAnonymous (3)Dr. Henry L. Abrons & Dr.
Li-hsia WangDonald & Margaret AlterKaren & Lawrence AmesJeffrey & Joan AngellPatricia Vaughn Angell
Catherine AtchesonMs. Bonnie J. BernhardtChristel & Jurg BieriGeorge & Dorian BikleMr. & Mrs. Stuart CaninNick CarlinEarl & June CheitMavis DelacroixRick C. DiamondCarolyn DoellingMary FriedmanDaniel & Kate FunkSteve Gallion & Pam WolfIsabelle GerardEvelyn & Gary GlennPeggy Griffin
FRIENDS OF BERKELEY SYMPHONY GIFTS
Concertmaster Level Gifts of $1,500 or more (continued
Ms. Carol ChristMarilyn & Richard CollierJohn & Charli DanielsenKaren FairclothLynne LaMarca Heinrich &
Dwight JaffeeFaye KeoghJeffrey S. LeiterJorge ManchenoRené MandelCarrie McAlisterBebe & Colin McRaeNoel & Penny NellisEvelyn Nussenbaum & Fred VogelsteinLinda Schacht & John GageAma Torrance & David DaviesEd Vine & Ellen Singer-VineRobert & Emily Warden
Conductor Level $2,500 and above (continued)
Stuart & Sharon GronningenBuzz & Lisa Hines Sue Hone & Jeffrey LeiterKen Johnson & Nina GroveJohn KarnayBennett MarkelPatrick McCabeKathy Canfield Shepard & John ShepardJutta SinghPaul Templeton & Darrell LouieGordon & Evie Wozniak
Concertmaster Level Gifts of $1,500 or moreAnonymous (2)Sallie & Edward ArensMichele BensonJoy CarlinGray Cathrall
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Associate Level $300 and above (continued)
Bonnie & Sy Grossman
Sophie Hahn & Eric Bjerkholt
Alan Harper & Carol Baird
Trish & Tony Hawthorne
William & Judith Hein
Barbara Hendrickson
Valerie & Richard Herr
Ora & Kurt Huth
Richard Hutson
Fred Jacobson
Irene & Kiyoshi Katsumoto
Todd Kerr
Shelly & Don Lee
John Lowitz & Fran Krieger
Helen Marcus
Suzanne & William McLean
Howard & Nancy Mel
Gary & Gerry Morrison
Lucille & Arthur Poskanzer
Suzanne Riess
Anne Shortall
Shelton Shugar
Robert Sinai & Susanna Schevill
Scott Sparling
Geoffrey S. Swift
Michel Taddei
Dave Waugh
Nancy & Charles Wolfram
Supporting Level $100 and aboveAnonymous (5)
Rose Lynn Abesamis-Bell
Joel Altman
Kim Anno
Robert & Evelyn Apte
Nancy Austin
Fred & Elizabeth Balderston
Joan Balter
Kevin Bastian
Sheldon & Joan Baumrind
William W. Beahrs
Elaine & David I. Berland
Bob & Ginny Blumberg
Cara Bradbury
Robert J. Breuer
Helen Cagampang
Mark Chaitkin & Cecilia Storr
Cindy Chang & Christopher Hudson
Ms. Grace Chinn
Murray & Betty Cohen
Sarah Cohen
Frederick & Joan Collignon
Dr. Lawrence R. Cotter
Richard Curley
Joseph & Susan Daly
Paula & James R. Diederich
Paul Dresher & Philippa Kelly
Beth & Norman Edelstein
Rebecca E. Erdiakoff
Bennett Falk & Margaret Moreland
Lynn Feintech & Anthony Bernhardt
Ms. Mary Ellen Fine
Susan Henderson Fisher
Susan K. Fisher
Marcia Flannery
Ednah Beth Friedman
Joan Frisch
Doris Fukawa & Marijan Pevec
Theresa Gabel & Timothy Zumwalt
Jeffrey Gilman & Carol Reif
Rose Marie & Sam Ginsburg
Stuart Gold
Edward C. Gordon
Mr. Michael Gorman
Harold Graboske
Mr. Richard Granberg
Steven E. Greenberg
Ervin & Marian Hafter
Jane Hammond
Nicholas & Nancy Haritatos
Lyn Hejinian
Florence Hendrix
Dr. & Mrs. Gene Hern
Maj-Britt Hilstrom
Russ Irwin
Joseph Jackson & Joann Leskovar
Richard Keldsen
Paul & Joanne Kelly
James and Phyllis Pennington Kent
Bahram Khadjenouri
Leora Lawton
Andrew Lazarus & Naomi Janowitz
Laurel Leichter
Allan Lichtenberg
Steve Luppino
James and Jayne Matthews
Alicia Mayorga
Alex Mazetis
Nan Parks McCarthy
Suzanne R McCulloch
Winton & Margaret McKibben
Jim & Monique McNitt
Amelie C. Mel De Fontenay & John Stenzel
Susan Messina
Louise Miller & David Peterson
Junichi & Sarah Miyazaki
Nancy & Robert Mueller
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We thank all who contribute to Berkeley Symphony, including those giving up to $100 annually and those whose gifts have been received since press time. While every attempt has been made to assure accuracy in our list of supporters, omissions and misspellings may occur. Please call 510.841.2800 x305 to report errors. We appreciate the opportunity to correct our records.
Honor and Memorial GiftsThank you for gifts made in honor or remembrance of the following individuals . . .
In Memory of:
J.F.K.Ms. Carla Soracco
Jerry CarlinJudith L. Bloom
Donna HamiltonPatrick Flannery
In Honor of:
Marilyn CollierElaine & David I. Berland
Mr. & Mrs. R. CollierDavid Berland
Ellie HahnSusan & Bruce Carter
Kim MarienthalSusan & Bruce Carter
Rabbi Jonathan Omer-manMetivta Center for Contemplative
Judaism
Tricia SwiftTrish & Anthony W. Hawthorne
Lance & Dalia Nagel
Ms. Anita Navon
Joe & Carol Neil
Ann M. O’Connor & Ed Cullen
Lawrance Phillips
Leslie & Joellen Piskitel
Evan Painter & Wendy Polivka
Jo Ann & Buford Price
George N. Queeley
Barbara Van Raalte
Kit Ratcliff
Ms. Elizabeth Raymer
Erin Rhoades
Donald Riley & Carolyn Serrao
Terry Rillera
Constance Ruben
Mary Rudser
Julianne H. Rumsey
Steven Scholl
Valerie Schwimmer
Brenda M Shank
Jack Shoemaker & Jane Vandenburgh
Carl & Grace Smith
Drs. Johan & Gerda Snapper
Ms. Carla Soracco
Sylvia Sorell & Daniel Kane
Bruce & Susan Stangeland
Frances & Ronald Tauber
Ms. Carol L. Tomlinson
Linda van DrentRandy & Ting VogelUrsula von FlueggeDavid & Marvalee WakeAnn Walker & Jon DemeterDorothy WalkerAndrew WalmisleyDavid & Pennie WarrenSheridan and Betsey WarrickCarolyn WebberDorothy WechslerDr. George & Bay WestlakeKarsten WindtNancy WolfeMrs. Charlene M. WoodcockLisa Zadek
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KALW is proud to be Berkeley Symphony’s
Season 14-15 Media Sponsor
Relive this season’s concerts on KALW 91.7 FM
Broadcast Dates
4 Mondays at 8pm in May 2015
Hosted by KALW’s David Latulippe
Program I: Oct. 2, 2014 will be broadcast on May 4
Program II: Jan. 15, 2015 will be broadcast on May 11
Program III: Feb. 26, 2015 will be broadcast on May 18
Program IV: Apr. 30, 2015 will be broadcast on May 25
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In-Kind GiftsSpecial thanks to these individuals and businesses whose generous donations of goods and services are crucial in helping Berkeley Symphony produce our concerts and education programs while keeping expenses as low as possible.
Andreas Jones Graphic Design
Eric Asimov & Deborah Hofmann
Aurora Theatre Company
Berkeley Repertory Theatre
Marshall Berman
Peter Bowes
George Boziwick
Cain Vineyard & Winery
Cal Performances
Kathy Canfield—Canfield Design Studios
Joy Carlin
Gray Cathrall—Piedmont Post
Marilyn & Richard Collier
Franklyn D’Antonio
Dave Weiland Photography
D.C. Piano Company
Rick C. Diamond
di Rosa
Douglas Parking
Dyer Vineyard
Extreme Pizza
Fisher Vineyards
Kelly Fleming
Gloria Fujimoto
Steve Gallion & Pam Wolf
Gary Glaser & Christine Miller
Green Music Center
Kathleen G. Henschel & John W. Dewes
The Hess Collection Winery
Brian James & Shariq Yosufzai
Ken Johnson & Nina Grove
Todd Kerr—Berkeley Times
La Sirena
Lama Bean
Landmark Vineyards
LaSalette Restaurant
Los Angeles Opera
Los Angeles Philharmonic
Rico Mandel
Bennett Markel
Jan & Michael McCutcheon
Meyer Sound
Marcia Muggli & Ed Osborn
Munchery
Music in the Vineyards
New Century Chamber Orchestra
New World Symphony
Omni Hotels & Resorts
Philharmonia Baroque
Marjorie Randell-Silver—Copper Leaf Productions
Inge Reist
Saga Musical Instruments
San Francisco Opera
San Francisco Symphony
John Shepard
Deborah Shidler
Jutta Singh
Tia Stoller—Stoller Design Group
Viking River Cruises
William Knuttel Winery
Angela & William Young
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$50,000 and aboveWilliam & Flora Hewlett Foundation
$25,000 and aboveAnonymous
Chevron Corporation
Meyer Sound Laboratories, Inc.
$10,000 and above
Ann and Gordon Getty Foundation
Berkeley Public Schools Fund
The Bernard Osher Foundation
The Grubb Co.
National Endowment for the Arts
The Thomas J. Long Foundation
$5,000 and aboveAmerican Composers Orchestra
(Earshot)
Bernard E. and Alba Witkin Charitable Foundation
California Arts Council
City of Berkeley
East Bay Community Foundation
Music Performance Trust Fund
U.S. Bank
Wallis Foundation
William Knuttel Winery
$2,500 and aboveAnonymous
The Aaron Copland Fund for Music
Union Bank Foundation
Up to $2,500Alameda County Art Commission
Anchor Brewing Co.
ASCAP—American Society of Composers, Authors and Publishers
Berkeley Association of Realtors
Home Depot Foundation
Metvita Center for Contemplative Judaism
The Rudolph & Lentilhon G. von Fluegge Foundation, Inc.
Annual Institutional Gifts Berkeley Symphony is proud to recognize these corporations, foundations, community organizations and government programs. These institutions are supporting our communities through their commitment to Berkeley Symphony and the arts.
Gifts received between December 1, 2013 and December 1, 2014
Matching Gifts
The following companies have matched their employees’ or retirees’ gifts to Berkeley Symphony. Please let us know if your company does the same by contacting William Quillen at 510.841.2800 x305 or [email protected].
Anchor Brewing Co.
Chevron Corporation
The Home Depot
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Administration & Creative Staff
Contact
find us on
Tickets available by phone, fax, mail, e-mail, or online:
Berkeley Symphony1942 University Avenue, Suite 207, Berkeley, CA 94704510.841.2800 Fax: [email protected]
René Mandel, Executive DirectorMing Luke, Education Director/
ConductorTheresa Gabel, Director of OperationsNoel Hayashi, Director of MarketingJessica Sadler, Associate Director of
Marketing/Box Office ManagerWilliam Quillen, Development ManagerCindy Hickox, Development & Marketing
AssociateSteve Gallion, Development ConsultantJames Taylor, Corporate Development
AssociateCindy Michael, Finance DirectorBrenden Guy, Press & Public RelationsFranklyn D’Antonio, Co-Orchestra
ManagerJoslyn D’Antonio, Co-Orchestra
ManagerQuelani Penland, LibrarianDavid Rodgers, Jr., Stage ManagerStoller Design Group, Graphic DesignDave Weiland, PhotographySteve Flavin, Video DesignBandwagon Media Services, Recording
Engineer
ProgramAndreas Jones, Design & ProductionStoller Design Group, Cover DesignJohn McMullen, Advertising SalesThomas May, Program NotesCalitho, Printing
66 January 15, 2015
A1 Sun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 30ACT Catering . . . . . . . . . . . . . . . . . . . . . . . . .page 47Albert Nahman Plumbing . . . . . . . . . . . . page18Alward Construction . . . . . . . . . . . . . . . . . page 18Andrew Raskopf & David Gunderman, . . . . . . . Real Estate Brokers . . . . .inside back coverArchway School . . . . . . . . . . . . . . . . . . . . . page 48Bebe McCrae, Realtor . . . . . . . . . . . . . . . . page 38Berkeley Horticultural Nursery . . . . . . page 40Berkeley Optometry . . . . . . . . . . . . . . . . . page 26Bill’s Footwear . . . . . . . . . . . . . . . . . . . . . . . page 40Bridgeway Service . . . . . . . . . . . . . . . . . . . . page 18Brunch at the Claremont . . . . . . . . . . . . page 44BuyArtworkNow.com . . . . . . . . . . . . . . . . page 18Café Clem . . . . . . . . . . . . . . . . . . . . . . . . . . . page 46Chocolatier Blue . . . . . . . . . . . . . . . . . . . . . page 56The Club at The Claremont . . . . . . . . . . . page 20Coldwell Banker . . . . . . . . . . . . . . . . . . . . . page 34The College Preparatory School . . . . . page 48The Crowden School . . . . . . . . . . . . . . . . . page 39DC Pianos . . . . . . . . . . . . . . . . . . . . . . . . . . . page 34Dining Guide . . . . . . . . . . . . . . . . . . . .pages 44, 46DoubleTree Hotel . . . . . . . . . . . . . . . . . . . . page 62Douglas Parking . . . . . . . . . . . . . . . . . . . . . .page 52Frank Bliss, State Farm . . . . . . . . . . . . . . . page 16Going Places . . . . . . . . . . . . . . . . . . . . . . . . page 34The Grubb Co . . . . . . . . . . . . . . . . . . . . . back cover
Advertiser IndexJudith L. Bloom, CPA . . . . . . . . . . . . . . . . . page 54Jutta’s Flowers . . . . . . . . . . . . . . . . . . . . . . . page 64Kid Dynamo . . . . . . . . . . . . . . . . . . . . . . . . . . page18La Mediterranée . . . . . . . . . . . . . . . . . . . . . page 46La Note Restaurant Provençal . . . . . . . page 44Mancheno Insurance Agency . . . . . . . .page 33Margaretta K. Mitchell . . . . . . . . . . . . . . . . . . . . . . . Photography . . . . . . . . . . . . . . . . . . . . . page 31Maybeck High School . . . . . . . . . . . . . . . . page 48McCutcheon Construction . . . . . . . . . . . page 50Mechanics Bank . . . . . . . . . . . . . . . . . . . . . page 40Montclair Sports . . . . . . . . . . . . . . . . . . . . page 43Mountain View Cemetery . . inside front coverOceanworks . . . . . . . . . . . . . . . . . . . . . . . . . . page 31Pacific Union . . . . . . . . . . . . . . . . . . . . . . . . . page 16Piedmont Gardens . . . . . . . . . . . . . . . . . . page 28Poulet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 44The Renaissance International . . . . . . . . . . . . . . School. . . . . . . . . . . . . . . . . . . . . . . . . . . page 38Savvy Rest . . . . . . . . . . . . . . . . . . . . . . . . . . page 30St. Paul’s Towers . . . . . . . . . . . . . . . . . . . . . .page 22Star Grocery . . . . . . . . . . . . . . . . . . . . . . . . . page 40Storey Framing . . . . . . . . . . . . . . . . . . . . . . page 43Talavera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .page 33Thornwall Properties . . . . . . . . . . . . . . . . .page 10Tricia Swift, Realtor . . . . . . . . . . . . . . . . . . page 24Yovino-Young Inc. . . . . . . . . . . . . . . . . . . . page 30
t o a d v e r t i s e i n t h e b e r k e l e Y s Y m p h o n Y
p r o g r a m , c a l l j o h n m c m u l l e n
5 1 0 . 6 5 2 . 3 8 7 9
With gratitude to our friends and clients for the successes of the last year:
+ The East Bay real estate leaders with 75 transactions and $65MM sold, per MLS
+ Ranked by the Wall Street Journal for the third year in a row as one of the top 250 teams in the nation (#56 in 2013)
+ Combined with our team of 13 real estate experts, well over $125MM sold
East Bay Real Estate Leaders
6211 La Salle Avenue Oakland
AndrewAndDavid.com
Andrew Raskopf CalBRE# 01394348
[email protected] 510.205.3575
David Gunderman CalBRE# 01313613
[email protected] 510.205.4369
We are proud to support Berkeley Symphony and thank them for bringing such wonderful music to our community
Andrew Raskopf & David Gunderman
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