ILLUMINATORSILLUMINATORSThursday, February 7, 2013 | Zellerbach Hall, UC Berkeley

ILLUMINATORSTHETHE

PINTO-CORREIA | LUTOSŁAWSKI | RACHMANINOFF

February 7, 2013 3

Berkeley Symphony 2012-13 Season

Season Sponsors: Kathleen G. Henschel and

Official Wine Sponsor of Berkeley Symphony:

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

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

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

5 Message from the Music Director7 Message from the Executive Director

9 Board of Directors & Advisory Council

10 Orchestra

13 Program

15 Program Notes

29 Music Director: Joana Carneiro

31 Guest Artists

43 Berkeley Symphony

47 Music in the Schools

49 Under Construction51 Young People’s Symphony Orchestra53 Contributed Support66 Advertiser Index

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

4 February 7, 2013

SAVE THE DATE

Friday, May 10, 2013 The Claremont Hotel

Berkeley Symphony’s Defi antly Original

Benefi t Gala

Held at the historic Claremont Hotel, this year’s Gala promises to be an unforgettable event with new surprises and special guests!

The night includes an elegant wine and hors d’oeuvres reception, world class cuisine, live music and entertainment, and exciting silent and live auctions with a bevy of unique items available. Be sure to keep an eye out for the 2013 Auction catalog to be available online soon!

For more information, visit www.berkeleysymphony.org/support/special-events.

February 7, 2013 5

Dear Friends,Happy New Year!

May 2013 bring health, love and music to your lives.

One of the great personal delights of my tenure as Music Director of the Berkeley Symphony is to witness the deep openness and inter-est of our community when it comes to other cultures, namely my own. Last season, Portugal was present in Gabriela Lena Frank’s Biblical Women through the words of one of our greatest poets, José Tolentino de Mendonca.

Tonight, as we perform the third world premiere of the season, we introduce the music of Andreia Pinto-Correia, a young composer who is already creating a stir in the music world with pieces performed at Carnegie Hall and by the Minnesota Orchestra. Andreia’s musical imagery captures Portugal, and specifically Alfama, a medieval neighborhood in the heart of Lisbon (it is the oldest district of Lisbon), the birthplace of a very well known Portuguese song/genre, Fado.

Then, we celebrate the birthday of one of the most important composers of the last century, Witold Lutosławski, who would have turned 100 last month. Lutosławski appears on tonight’s program thanks to our Music Alive composer-in-residence Steven Stucky, and our esteemed soloist Lynn Harrell, a champion of the Lutoslawski Cello Concerto. What a wonderful combination; we are truly blessed.

We end this evening with Rachmaninoff’s Symphonic Dances, a piece born in the US and filled with great imagination and quotes from earlier works. As I write these words to you, I realize that the oldest piece in the program was written in 1940! It is just great to be in Berkeley; thank you for your trust.

My very best,

Joana Carneiro

Message from the Music Director

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Message from the Executive Director

Greetings from Berkeley Symphony

On behalf of Berkeley Symphony, I want to personally thank you for your support and welcome you to the second half of our 2012-13 Season. As our audiences continue to grow each year, it is gratifying to see so many familiar faces mixed in with our new friends.

For our February concert, we are thrilled to welcome our dear friend Lynn Harrell to the stage. After witnessing his extraordi-nary performance career, spanning over 5 decades, we are humbled to be presenting him for the first time. For our March con-cert, you will be hearing the superb young tenor Noah Stewart. As a former San Fran-cisco Opera Adler Fellow, Noah has become an international sensation, capturing the hearts of audiences worldwide. We are extremely honored to be presenting Noah on our final concert of the season as soloist in Steven Stucky’s world premiere, The Stars and the Roses.

It is an honor to have Steven Stucky as our Music Alive composer-in-residence this season and to have commissioned his world premiere. Not only is Steven a Pulitzer Prize-winning composer, he is a dedicated educator and a true humanitarian. We are truly grateful to Steven for his involvement with Berkeley Symphony.

Stay tuned this spring for the announcement of our 2013-14 Season. I don’t want to divulge any surprises just yet, but be assured that we will continue on our ’defiantly original’ path to present musical experiences that will engage the mind and delight the senses.

With warm regards,

René Mandel, Executive Director

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Board of DirectorsExecutive CommitteeThomas Z. Reicher, President Partner, Cooley LLPJanet Maestre, Vice President for Governance Flute Instructor/Orchestra Member (Retired)Janet McCutcheon, Vice President for Development McCutcheon ConstructionStuart Gronningen, Vice President for Community Outreach Orchestra MemberKathleen G. Henschel, Treasurer Finance Manager, Chevron Corp (Retired)Tricia Swift, Treasurer Realtor, The Grubb Co.René Mandel, Executive Director

DirectorsSusan Acquistapace Professor of Biology, Mills CollegeNorman Bookstein ConsultantJames Donato Partner, Shearman & Sterling LLPEllen L. Hahn Community LeaderRobert B. Hetler Partner, PricewaterhouseCoopers (Retired)William Knuttel Winemaker and Proprietor, William Knuttel WineryWilliam McCoy Fundraiser, California Native Plant SocietyEd Osborn Principal, Bingham, Osborn & Scarborough, LLCKathy Canfield Shepard President, Canfield Design Studios, Inc.Deborah Shidler Orchestra MemberMichel Taddei Orchestra Member

Advisory CouncilMarilyn Collier, Chair Gertrude AllenMichele BensonJudith BloomJoy CarlinRon ChoyJohn DanielsenJennifer DeGoliaCarolyn DoellingAnita EbléKaren FairclothGary GlaserReeve GouldLynne La Marca HeinrichBuzz HinesSue HoneBrian JamesKenneth A. JohnsonTodd KerrJeffrey S. LeiterKim MarienthalBennett MarkelBebe McRaeElizabeth O’MalleyMaria José PereiraHelen MeyerChristine MillerDeborah O’GradyMarjorie Randell-SilverThomas RichardsonLinda SchachtJutta SinghLisa TaylorAlison TeemanPaul TempletonAnne Van DykeYvette VloeberghsShariq YosufzaiMichael Yovino-Young

Board of Directors & Advisory Council

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

Kent Nagano, Conductor Laureate

Violin IFranklyn D’AntonioConcertmaster

Sponsored by Tricia Swift

Noah StrickAssociate Concertmaster

Sponsored by Ellen Hahn

Matthew SzemelaAssistant ConcertmasterLarisa KopylovskyCandy SandersonLisa ZadekDaniel LewinChristina KnudsonKristen JonesAnnie LiJohn BernsteinNoah Terry*Member of Young People’s Symphony Orchestra

Kristen KlineRebecca Herman*Member of Young People’s Symphony Orchestra

Alan ShearerBert Thunstrom

Violin IIYasushi OguraPrincipalElizabeth ChoiAssistant PrincipalKarsten WindtJoseph Maile Lauren AveryVirginia BakerRick DiamondAnn EastmanKevin HarperCharles ZhouDavid Grote

The Orchestra, February 7

Violin II (continued)Sarah LeeJeremy ErmanRose Marie Ginsburg

ViolaTiantian LanPrincipal

Sponsored by James and Rhonda Donato

Ilana MatfisAssistant PrincipalDarcy RindtPatrick KrobothMarta TobeyPeter LiepmanDaniel StanleyAlice EastmanClio Goldstein*Member of Young People’s Symphony Orchestra

Celeste McBride*Member of Young People’s Symphony Orchestra

CelloStephanie LaiActing PrincipalIsaac MelamedAssistant PrincipalVictoria EhrlichCarol RicePrincipalPeter BedrossianJoshua Herman*Member of Young People’s Symphony Orchestra

Krisanthy DesbyJessica Blixt-Logan*Member of Young People’s Symphony OrchestraJordan PriceJasper Hussong*Member of Young People’s Symphony Orchestra

BassMichel TaddeiPrincipal

Sponsored by Janet & Michael McCutcheonRobert AshleyAssistant PrincipalJon KeigwinKaren Horner

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Bass (continued)Alden CohenRoger PaskettMarcus WongBenjamin Holston*Member of Young People’s Symphony Orchestra

FluteEmma MoonPrincipal

Sponsored by Marcos and Janet Maestre

Sarah HolzmanStacey PelinkaPiccoloStacey Pelinka

OboeDeborah ShidlerPrincipalBennie CottoneSarah Rathke

English HornBennie Cottone

ClarinetRoman FukshanskyPrincipalDiana DormanBrenden Guy

Bass ClarinetBrenden Guy

Alto SaxophoneDavid Henderson

BassoonCarla WilsonPrincipalRavinder SehgalErin Irvine

ContrabassoonErin Irvine

HornMeredith BrownPrincipal

Sponsored by Tom and Mary Reicher

Loren TayerleSponsored by Kathy Canfield Shepard and John Shepard

Susan VollmerRichard HallTom Reicher

TrumpetCheonho YoonPrincipalOwen MiyoshiJohn Freeman

TromboneThomas HornigPrincipal

Sponsored by Kathleen G. Henschel

Craig McAmis

Bass TromboneKurt Patzner

TubaJerry OlsonPrincipal

TimpaniKevin NeuhoffPrincipal

PercussionWard SpanglerPrincipal

Sponsored by Gail and Bob Hetler

Scott BleakenMark VereggeTimothy DentBenjamin Ring*Member of Young People’s Symphony Orchestra

HarpWendy TamisPrincipal

PianoMiles GraberPrincipal

CelestaMarc Shapiro

Franklyn D’Antonio Orchestra ManagerJoslyn D’Antonio Co-Orchestra ManagerQuelani Penland LibrarianKevin Reinhardt Stage Manager

12 February 7, 2013

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The IlluminatorsThursday, February 7, 2013 at 8:00 pm Zellerbach Hall

Joana Carneiro conductor

Andreia Pinto-Correia Alfama (World Premiere)*

Witold Lutosławski Concerto for Cello and Orchestra Lynn Harrell cello

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

Sergei Rachmaninoff Symphonic Dances, Op. 45

I. Non allegro

II. Andante con moto (Tempo di valse) III. Lento assai – Allegro vivace – Lento assai. Come prima – Allegro vivace

*Alfama was co-comissioned by Berkeley Symphony and the Gulbenkian Foundation and is dedicated to Joana Carneiro.

Tonight’s concert is made possible by the generous support of Gray Cathrall, Janet and Marcos Maestre, and Ed Osborn.

The Andreia Pinto-Correia commission is made possible in part by a grant from the Fromm Music Foundation and by the generous support of Marilyn and Richard Collier.

Lynn Harrell’s performance this evening is made possible in part by Ken Johnson and Nina Grove and the William Knuttel Winery.

Tonight’s concert will be broadcast on KALW 91.7 FM on May 19, 2013.

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

February 7 Program

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Program Notes

Andreia Pinto-Correia (b. 1971)

AlfamaBorn in Lisbon, Portugal, Andreia Pinto-Correia began her musical studies in her native country at the Academia de Ama-dores de Música and at the Escola Luís Villas Boas, and is currently a teaching fellow in composition at the New England Conservatory in Boston. Commissioned by Berkeley Symphony for the 2012-2013 Season, Alfama is scored for 2 flutes, piccolo, 3 oboes, 3 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, vibraphone (w/arco), xylophone, high cymbal (w/arco), wind chimes, temple blocks, glockenspiel, crotales (w/arco), tubular bells, cymbals, tam-tam, harp, piano, and strings. Duration ca. 10 minutes.

The composer has provided the following comments:

A lfama is one of the oldest neigh-borhoods in my native city of

Lisbon. In choosing this title I am paying tribute to my roots. The name is believed to be derived from the word al-hamma or “baths” in Arabic, and the area is known to be abun-dant in underground fountains and baths. Thus, the underlying string section portrays the poetic idea of a continual presence of water. Like wayfarers strolling through the laby-rinthine streets of Alfama, individual

instruments arise from and sub-merge into the watery fabric. The different instrumental sections are layered on top of each other like the strata that delineate Alfama’s vari-ous historical periods. Sounds burst forth, echoed in different contexts and at various speeds. The work is divided into two parts, the second section mirroring the initial state-ment as the wayfarer eventually rediscovers the entrance path to the magical neighborhood of Alfama. This work is dedicated to Joana Carneiro.

—© Andreia Pinto-Correia

Witold Lutosławski (1913-1994)

Concerto for Cello and OrchestraWitold Lutosławski was born on Janu-ary 25, 1913 in Warsaw, Poland (then governed as part of the Russian Empire) and died there on February 7, 1994. He composed the Cello Concerto in 1970. Working on a commission from the Royal Philharmonic Society of London and the Calouste Gulbenkian Foundation, Lutosławski wrote the work for Mstislav Rostropovich, to whom the score is dedicated and who was soloist for the premiere on October 14, 1970 in London. Edward Downes conducted the Bour-

16 February 7, 2013

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nemouth Symphony Orchestra. In addition to solo cello, the Concerto is scored for 3 flutes (flute 3 doubles piccolo), 3 oboes, 3 clarinets (clarinet 3 doubles bass clarinet), 3 bassoons (bassoon 3 doubles contrabas-soon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, xylophone, slapstick, tom-toms, vibraphone, small and suspended cymbals, tam-tam, woodblock, bass drum, field drum, tenor drum, chimes, tambou-rine, harp, celesta, piano, and strings. Duration ca. 25 minutes.

For centuries, the effects of censorship on classical music

were relatively straightforward; essentially a nuisance for opera composers, censors would demand changes to librettos deemed politi-cally or sexually subversive. But with 20th-century brands of totalitarian-ism came an unprecedented level of intrusion. Composers like Dmitri Shostakovich found that the musical idiom employed in purely abstract works like symphonies and concertos could itself be labeled dangerously heretical by the cultural police.

Such experiences of a chokehold on free expression early on only intensified the need to pursue an original, idiosyncratic language for a number of major composers who came of age around the middle of the century. Emerging as a composer in 1930s Warsaw, Witold Lutosławski endured both Nazi and Communist tyranny during an especially vulner-able period of his career, just as he was exploring his artistic voice. He got through the German occupation

playing piano duo arrangements of music with his compatriot Andrzej Panufnik in Warsaw cafés (the only form of music-making officially tolerated by the Nazis).

Later, under the artistic policies of the Communists, Lutosławski’s First Symphony was deemed unaccept-ably “formalist” and consequently banned. He was soon able to recoup his reputation with the Concerto for Orchestra of 1954, a landmark of postwar music which remains his best-known composition. The latter incorporated folk elements in a way that was more aligned with prevail-ing cultural guidelines and man-aged to offer an ingenious display of Lutosławski’s expertise in formal design and orchestration. The Con-certo for Orchestra has also carved out a solid position in the sparsely populated repertoire of postwar concert staples.

Yet instead of settling into a comfort-able artistic status quo, Lutosławski continued to challenge himself to develop in new and unpredictable directions. In the later 1950s the cultural climate in Poland (relative to that in other Eastern Bloc coun-tries) was becoming at least superfi-cially more amenable to “decadent” musical influences from the West. Meanwhile, Lutosławski’s decidedly independent approach to newly encountered techniques of serialism and other postwar developments may have been kindled by his previ-ously frustrating experiences with censorship. Rather like Ligeti, who

ˇ

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would soon go on to emigrate to the West, Lutosławski nevertheless managed to maintain an attitude of healthy skepticism toward all brands of orthodoxy—including those from the avant-garde.

Another stylistic breakthrough came with his string ensemble suite Funeral Music from 1958. Yet, Lutosławski realized he had little affinity for the highly rational systems of serialism. He once observed that 20th-century music flowed from two sources: the Second Viennese School of Schoen-berg et al. and the sensual exploi-tation of color and sonic texture pioneered by Debussy. It was with the latter source that Lutosławski clearly identified most closely.

An epiphany of another sort resulted from his first encounter with the music of John Cage. Hearing only an excerpt of Cage’s Piano Concerto in 1960, Lutosławski later remarked that “those few minutes were to change my life decisively.” Eventually he evolved his own compositional practice employing chance meth-ods. Used in the 1961 work Venetian Games, and dubbed “aleatory coun-terpoint,” this would become one of Lutosławski’s signatures and figures prominently in the Cello Concerto. Aleatory counterpoint involves small pockets of an otherwise precisely controlled score in which pitches and the sequence they follow are pre-determined but individual lines are to be played in an improvisational, ad libitum fashion, though within a specified timeframe. The result is an

unpredictable vertical alignment (the “counterpoint”) that differs with each performance, encompass-ing potential rhythmic variabilities that would be too complex to be notated.

This technique plays off the opposi-tion between control and chaos, order and unpredictability. It is thus especially fitting for the over-all concept of the Cello Concerto; Lutosławski described the work as centering around a “relationship of conflict” which he saw as analo-gous in particular to the theater. But in contrast to the grand drama of heroic individuality and dialogue that defines so many Romantic con-certos of the past, Lutosławski was interested in depicting a drama of alienation.

The legendary Russian cellist Mstislav Rostropovich, the force behind many significant concer-tos for the instrument, inspired Lutosławski to take up the old- fashioned, seemingly “anti-mod-ernist” format of the concerto in a way that gave the composer’s imagination complete free rein; Rostropovich’s formidable techni-cal command amplified the feeling of freedom from limitations. The cellist’s own negative experiences with Soviet authorities seemed to be at least indirectly implied in Lutosławski’s lengthy description of the score, which refers to “inter-ventions” from the orchestra and “lamentation” from the cello. This in turn has led to a temptation to hear

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trumpets blurt out the first of the interruptions (a role that is initially confined to the brass). These brief, violent fanfares—which are not subject to the conductor’s control—represent examples of Lutosławski’s aleatory counterpoint. The first, introductory section paves the way for the varieties of interaction/interruption that ensue in the rest of the score.

The cellist’s insouciant pizzicato marks the first of four episodes (together comprising the second section). The soloist interweaves in a relatively light-hearted, “scher-zando” manner with the winds, strings, and percussion (all offering excellent instances of Lutosławski’s colorful feel for orchestration and textural weight), while the aleatory brass inject another brutal “inter-vention.” After the fourth episode, the cellist again briefly takes up its indifferent Ds but segues into the third section, a moving cantilena that is to be played “expressively and sadly.” From this point to the end of the work, notes Lutosławski, the cello becomes “serious.” A bit over halfway through this section, one of the Concerto’s most mysteriously beautiful passages is heard as piano, harp, and celesta mixed with the winds; the harmonic texture then intensifies, with the strings develop-ing a cloudlike envelope for the solo-ist using neighboring quarter-tones. The cello and strings later join in a fiercely determined, neo-Bartókian accelerando, and all hell breaks loose

the work as a reductive narrative of political oppression: the “individual” (solo cello) against the arbitrary power of the state (the orchestra). But the “conflict” Lutosławski pres-ents is to be experienced first and foremost as a purely musical phe-nomenon, following its own logic, rather than as a simplistic political allegory. Literary connections have also been adduced. In his fine book on the composer, Steven Stucky observes that Rostropovich’s wife, the soprano Galina Vishnevskaya, saw the Cello Concerto as “the story of a 20th-century Don Quixote.” Yet Lutosławski also cautioned that any kind of scenario he may have had in mind while composing could be likened to a scaffold which should be removed when the music is com-pleted, ultimately insisting that the work “has [no] literary or extra-musical significance.”

The Concerto unfolds in one unin-terrupted span comprising four parts. The first presents an arresting soliloquy by the cello alone, begin-ning on an insistently repeated D (to be played “indifferently”). Eventu-ally this is interrupted by a sudden change of attitude (a plunge down-ward on a tremolo), which marks the first in a pattern of oppositions recurring throughout the Concerto on multiple levels. The cello replays this conflict—between the “indiffer-ent” D and a playful, frivolous series of increasingly bravura forays into expressiveness—for several minutes. At the end of this quasi-cadenza,

22 February 7, 2013

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with the intervention of the brass.

The entire orchestra gathers together in a jaggedly rhythmic flare-up that leads into the final section. Here the relationship between soloist and orchestra seems significantly dif-ferent: the cello now lacks “allies” as the conflict reaches its climactic point in a series of increasingly vio-lent exchanges and nerve-shatter-ing pauses. Lutosławski’s coloristic orchestration plays remarkable sonic combinations against the cellist’s fevered, wide-ranging pleadings. At last the cello falls silent and the full orchestra repeats the repeat- note rhythm of the opening, just before slamming into a nightmare nine-note chord with “all its force.”

But it’s not the end. A brief coda described by the composer as a kind of “epilogue” allows the cello to again find a voice as its final phrases ascend to a high A; like the soliloquy’s monotonous D, this is repeated, but with a new-found expressive insistence.

—© Thomas May

Sergei Rachmaninoff (1873-1943)

Symphonic Dances, Op. 45Sergei Rachmaninoff was born on April 1, 1873, in Semyonovo in western Russia and died on March 28, 1943, in Beverly Hills, California. He composed the Symphonic

February 7, 2013 23

Dances in 1940 on his estate on the north shore of Long Island. Eugene Ormandy, to whom the work is dedicated, led the Philadelphia Orchestra in the premiere on January 3, 1941. Rachmaninoff’s orchestral swan song, this symphonic suite takes a retrospective look over the composer’s career. While its style is hauntingly spare and pared-down, the score features some of Rachmaninoff’s most imaginative orches-tral touches. Symphonic Dances calls for a large orchestra of piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clari-net, alto saxophone, 2 bassoons, contrabas-soon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, snare drum, bass drum, cymbals, triangle, tambourine, tam-tam, xylophone, glockenspiel, tubular bells, harp, piano, and strings. Duration ca. 35 minutes.

Sergei Rachmaninoff became a permanent—and unceasingly

homesick—exile from his native Russia in the wake of the 1917 Revolution. Set-tling in the United States not only left him emotionally unmoored but forced Rachmaninoff to readjust his musical priorities out of financial necessity. From his early years, he had pursued the combined roles of performer (both conducting and concertizing as a piano soloist) and composer (a juggling act that Leonard Bernstein would later face, with increasing frus-tration). But the loss of his Russian base of support forced Rachmaninoff to take up more concert engagements as a pianist to support his family.

A brutal touring schedule often brought him to the point of exhaus-tion. Even more, a condition of

permanent homesickness aggravated his creative paralysis—no matter how closely the tall, thin, aristocratically poised composer tried to replicate the atmosphere of his beloved pre-Revolutionary Russia on his estates in Switzerland or in the United States. Rachmaninoff’s compositional out-put thus dwindled to just a handful of works in his final 25 years. The Sym-phonic Dances, which draws on ideas from his Russian days, is the very last of these.

As he was composing Symphonic Dances, Rachmaninoff conceived this music on several different planes in terms of its genre and purpose. In its most familiar form, as the concert suite we hear, it represents a kind of unofficial Fourth Symphony (or even Fifth, if you count the remark-able choral symphony from 1913, The Bells, based on the writings of Edgar Allan Poe). Rachmaninoff also simultaneously prepared a version for two pianos, which neatly sums up his dual personalities as composer and pianist. Meanwhile, another work—the Rhapsody on a Theme of Paganini—had recently found new success as a ballet choreographed by Mikhail Fokine. Rachmaninoff subse-quently approached Fokine with the idea of a new collaboration based on Symphonic Dances. The choreographer was intrigued by this new project but died in 1942 before the collabora-tion could proceed further. In more recent years, such choreographers as Peter Martins and Alexei Ratmansky have created full-scale ballets based

24 February 7, 2013

on Rachmaninoff’s score. And—as the final movement makes clear—reflections on death also figure in the score, so that it may represent something of an informal Requiem as well.

An earlier title Rachmaninoff con-sidered was Fantastic Dances, and at one point he suggested a loose program by using times of day as titles for each of the work’s three movements (“Noon,” “Twilight,” and “Midnight”). He later abandoned those as unnecessary distractions and allowed only the conventional tempo indications to stand. Perhaps the titles were meant to suggest periods in his personal life. Events in Europe during the summer of 1940, when Rachmaninoff composed the work, may well have triggered a desire to reflect on the direction his life had been forced to take in a violent century. In some ways Sym-phonic Dances can be approached as a guarded retrospective survey of his past career; Rachmaninoff laces the score with self-quotations from a number of earlier works.

A bleak, brief introductory passage hints at the pared-down character of Rachmaninoff’s late style. The music soon takes on momentum and is driven by a potent and rest-less three-note rhythmic idea. Much of the movement’s drama is gener-ated from the contrast between this opening material and the folk song-like melody that is entrusted so unforgettably to the saxophone (the composer’s only use for this

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instrument in his scores). The man-ner in which Rachmaninoff allows the opening theme to creep back into the scene and supplant this haunt-ing interlude is magnificently staged. His predilection for bell-like sounds emerges in a colorful coda that brings the music to a gentle rest.

The second movement unfolds as a rueful waltz, its anxiousness inten-sified by repeated interruptions of momentum. Details are worried over in gorgeously detailed solo writing, like a quickly fragmenting dream the composer wants to preserve before it dissipates entirely. The final movement, longest of the three, alternates between extreme slow and fast tempos. Here Rachmaninoff recalls some of the spirit of the open-ing movement, but the atmosphere is decidedly more demonic.

Indeed, the famous medieval chant of Dies Irae from the Requiem Mass appears (in various slightly disguised forms) as one of the themes along-side the main theme originating from Russian sacred chant. Aside from its obvious reference to death and judgment in this context, the Dies Irae had served in several other Rachmaninoff compositions as a kind of fatalistic (rather than necessarily morbid) leitmotif. Toward the end, though, Rachmaninoff introduces a more hopeful sacred melody taken from his luminous a cappella choral music, the All-Night Vigil. Its consoling presence robs the Dies Irae of its sting.

—© Thomas May

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Thursday, March 28, 8pmTHE IDEALISTS Zellerbach Hall, UC Berkeley Steven Stucky The Stars and the Roses (World Premiere) Noah Stewart, tenor Anton Bruckner Symphony No. 4

For tickets, call 510.841.2800.www.berkeleysymphony.org

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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 January 2009 she was named Music Director of Berkeley Sym-phony, succeeding Kent Nagano and becoming only the third music director in the 40-year history of the Orchestra. She currently serves as official guest conductor of the Gulbenkian Orchestra in Lisbon, Portugal.

2012-13 marks Carneiro’s fourth season as Music Director of Berkeley Sym-phony, where she has been recognized for leading the Orchestra’s acclaimed initiative in focusing on composers and new works. Her successful partnership with the Orchestra will continue for an additional five years through the 2016–17 Season. With a world-premiere commission planned for each subscrip-tion program, Carneiro’s 2012-13 con-certs with Berkeley combine new works from Paul Dresher, Dylan Mattingly, Andreia Pinto-Correia and Steven Stucky, alongside masterworks such as Beethoven’s Symphony No. 7, Bruck-ner’s Symphony No. 4, Rachmaninoff’s Symphonic Dances and Schumann’s Symphony No. 2. She also leads Jes-sica Rivera and the San Francisco Girls Chorus with members of the Orchestra in the world premiere of an oratorio by Gabriela Lena Frank.

Carneiro’s growing guest-conducting career continues to take her around

the globe. Following her highly suc-cessful debuts with the Gothenburg and Gävle symphony orchestras last season, she returns to Sweden in 2012-13 to guest conduct both orchestras again, as well as the Norrköping Symphony, and to make debuts with the Swedish Radio Orchestra, Malmö Symphony and Norrlands Opera Orchestra. She makes her German debut conducting the Aachen Symphony, and her Neth-erlands debut with the Residentie Ork-est, conducts the Euskadi Orchestra of Spain, and goes to Asia for her Hong Kong Philharmonic debut. She also returns to the Indianapolis Symphony in concerts with Thomas Hampson on a Mahler/Schumann program.

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Increasingly in demand as an opera conductor, Carneiro made her Cincin-nati Opera debut in July 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 2010, she led performances of Peter Sellars’s stagings of Stravinsky’s Oedipus Rex and Symphony of Psalms at the Sydney Festival, which won Australia’s Helpmann Award for Best Symphony Orchestra Concert in 2010.

A native of Lisbon, Carneiro began her musical studies as a violist before receiving her conducting degree from the Academia Nacional Superior de Orquestra in Lisbon. She received her Master’s degree in orchestral conduct-ing from Northwestern University as a student of Victor Yampolsky and Mallory Thompson, and pursued doc-toral studies at the University of Michi-gan, where she studied with Kenneth Kiesler. Prior to her Berkeley Symphony appointment, she served as Assistant Conductor with the Los Angeles Phil-harmonic from 2005 to 2008, where she worked closely with Esa-Pekka Salonen and led performances at Walt Disney Concert Hall and the Hollywood Bowl.

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

February 7, 2013 31

Andreia Pinto-Correia, composer

The music of composer Andreia Pinto-Correia is distinguished by

influences of Iberian folk and liter-ary traditions—in particular, by the incorporation of Arab-Andalusian poetic forms. Described by The New York Times as an “aural fabric” and “mysterious, elegant, magical” by the New Music Box, her music was profiled in the prestigious literary magazine Jornal de Letras, which pro-claimed that “the music of Andreia Pinto-Correia has been a major contribution to the dissemination of Portugal’s culture and language, perhaps a contribution larger than could ever be imagined.”

Ms. Pinto-Correia’s Alfama is a co-commissioned work by Berkeley Symphony and the Gulbenkian Foundation and will have its

European premiere later in the sea-son at the Gulbenkian Foundation Grande Auditório also under conductor Joana Carneiro along with European premieres of Pinto-Correia’s Elegia a Al-Mu’tamid and Xántara. Other highlights include Cantigas da Côrte, a new work com-missioned by the Boston Symphony Orchestra Brass Quintet to be pre-miered during Spring 2013, as well as the world premiere of Territories, an operatic work with libretto by Betty Shamieh featuring soprano Haleh Abghari to be performed at the Institute for Advanced Study in Princeton. In addition, Olhos, espelho e luz, an extended work for tenor soloist and woodwind ensemble with text by seventeenth-century priest Padre António Vieira, and commissioned by the University of Minnesota, will have its world premiere during the Fall of 2013.

Her past season included a commis-sion from the American Composers Orchestra premiered at Carnegie Hall, a premiere by the Minnesota Symphony Orchestra as part of the 2012 Composer Institute, a European premiere by the Orquestra Metropolitana de Lisboa, as well as a composer-residency with the leading Portuguese cham-ber orchestra OrchestrUtópica.

She is currently composing the

Guest Artists

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opera O Búfalo Mágico (Souba et le Yak), a Companhia Ópera do Castelo/Drumming GP co-commis-sion with original story by Pascal Sanvic and libretto by acclaimed West African writer Ondjaki, to be premiered by a consortium of the-aters during the 2014 season. Other premieres include Variações sobre temas populares by the Borromeo String Quartet at the Institute for Advanced Study in Princeton; Cantos e Danças, a commission by Grammy-Award nominee Derek Bermel, premiered at the International Clarinetfest in Los Angeles; ...água e sombra, a commission by Spanish virtuoso percussionist Miquel Bernat; and Azulejos performed by the Aspen Contemporary Ensemble.

Ms. Pinto-Correia has also received commissions from such notable institutions and performers as the European Union Presidency, Tanglewood Music Center/Boston Symphony Orchestra Summer Festival, Gulbenkian Foundation, Boston Symphony Orchestra Brass Quintet, Minnesota University, Dinosaur Annex Ensemble, OrchestrUtópica, Drumming GP, Avian Music Ensemble, Antena 2/RTP (Portugal’s National Broadcast), tuba virtuosos Sérgio Carolino (Soloist Oporto National Orchestra) and Anne Jelle Visser (Soloist Opera of Zurich), Machina Mundi, Duo Musagete, Festival do Teatro S. Luíz, Câmara Municipal da Trofa, and Orquestra de Jazz de Matosinhos.

Awards and honors include a full fellowship from the Susan and Ford Schumann Center for Composition Studies-Aspen Music Festival; Tanglewood Music Center Fellowship; Gulbenkian Foundation Fellowship/ European Network of Opera Academies; MacDowell Colony residency; Toru Takemitsu Award by the Japan Society; National Orchestral Network/Ear Shot/Memphis Symphony Orchestra Fellowship; Music and Madness Festival/UC Davis Fellowship; Valparaiso Foundation residency (Spain); Berta and Edward C. Rose Scholarship, Composers Conference Fellowship, Orquestra do Algarve Fellowship, Sacatar Foundation Fellowship, Luso-American Foundation Scholarship, several ASCAPLUS awards, and various NEC Composition and Merit Awards, among others.

Ms. Pinto-Correia has had the honor of collaborating with con-ductors such as Osmo Vänskä, Stefan Asbury, David Loebel, Joshua Weilerstein, Mihhail Gerts, John Page, Alexander Prior, Lior Shambadal, and Cesário Costa. Other collaborations include New Fromm Players, Tanglewood Brass Ensemble and Chamber Ensembles, Memphis Symphony Orchestra, Dinosaur Annex Music Ensemble, Avian Music Ensemble, BSO tuba soloist Mike Roylance, soprano Haleh Abghari, Composers Conference Chamber Ensemble, New England

continued on page 37

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Conservatory Symphony Orchestra, Woodwind Ensemble and Chamber Ensemble, oboist Amanda Hardy, percussionist George Nickson, and guitarist Jerome Mouffe. She has collaborated with writers in a wide variety of genres including the late Matilde Rosa Araújo, Ondjaki, Betty Shamieh, and her father João David Pinto-Correia.

In addition to her composing, she has been dedicated to teaching for many years. Currently leading a composition seminar at the New England Conservatory of Music, she has held positions as a faculty mem-ber and head of theory classes at the Escola Luís Villas Boas in Lisbon, as music tutor and assistant coordina-tor at the Berklee College of Music (where she won an Excellence in Teaching Award), and as a lecturer in conferences and masterclasses in Europe and the United States. She has also collaborated with her father at the Centro de Tradições Populares Portuguesas at the University of Lisbon, developing a catalogue of ethnomusicology field work.

Born in Lisbon, Portugal, Andreia Pinto-Correia began her musical studies in her native country at the Academia de Amadores de Música and at the Escola Luís Villas Boas, and is currently a teaching fellow in composition at the New England Conservatory in Boston, where she studied with Michael Gandolfi. She received her Master of Music degree from NEC, with Academic Honors in Jazz Composition as a

student of legendary jazz composer Bob Brookmeyer. She has also worked privately with John Harbison, William Bolcom, Augusta Read-Thomas, Colin Matthews, Christopher Rouse, Matthias Pintscher, Aaron Jay Kernis, and Steven Stucky, and has taken mas-ter classes with Elliott Carter, Mario Davidovsky, Giorgio Battistelli, Fabio Vacchi, and Lee Hyla, among others.

She has been a member of ASCAP since 2004 and her tuba music is pub-lished by Editions BIM/The Brass Press (Switzerland).

Lynn Harrell, cellist

Lynn Harrell’s presence is felt throughout the musical world.

A consummate soloist, chamber musician, recitalist, conductor and teacher, his work throughout the

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Americas, Europe and Asia has placed him in the highest echelon of today’s performing artists.

Mr. Harrell is a frequent guest of many leading orchestras includ-ing Boston, Chicago, New York, Philadelphia, San Francisco, Ottawa, Pittsburgh, and the National Symphony. In Europe he partners with the orchestras of London, Munich, Berlin, Tonhalle and Israel. He has also toured extensively to Australia and New Zealand as well as the Far East, including Japan, Korea, Malaysia, Taiwan and Hong Kong. In the sum-mer of 1999 Mr. Harrell was fea-tured in a three-week “Lynn Harrell Cello Festival” with the Hong Kong Philharmonic. He regularly collabo-rates with such noted conductors as James Levine, Sir Neville Marriner, Kurt Masur, Zubin Mehta, André Previn, Sir Simon Rattle, Leonard Slatkin, Yuri Temirkanov, Michael Tilson Thomas and David Zinman.

In recent seasons Mr. Harrell has particularly enjoyed collaborat-ing with violinist Anne-Sophie Mutter and pianist André Previn. In January 2004 the trio appeared with the New York Philharmonic performing the Beethoven Triple Concerto with Maestro Masur conducting.

An important part of Lynn Harrell’s life is summer music festivals, which include appearances at the Verbier Festival in Switzerland, the Aspen and Grand Tetons festivals,

and the Amelia Island Festival.

On April 7, 1994, Lynn Harrell appeared at the Vatican with the Royal Philharmonic in a concert dedicated to the memory of the six million Jews who perished in the Holocaust. The audience for this his-toric event, which was the Vatican’s first official commemoration of the Holocaust, included Pope John Paul II and the Chief Rabbi of Rome. That year Mr. Harrell also appeared live at the Grammy Awards with Itzhak Perlman and Pinchas Zukerman, performing an excerpt from their Grammy-nominated recording of the complete Beethoven String Trios (Angel/EMI).

Highlights from an extensive dis-cography of more than 30 record-ings include the complete Bach Cello Suites (London/Decca), the world-premiere recording of Victor Herbert’s Cello Concerto No. 1 with the Academy of St. Martin in the Fields led by Marriner (London/Decca), the Walton Concerto with Rattle and the City of Birmingham Symphony Orchestra (EMI), and the Donald Erb Concerto with Slatkin and the Saint Louis Symphony (New World). Together with Itzhak Perlman and Vladimir Ashkenazy, Mr. Harrell was awarded two Grammy Awards—in 1981 for the Tchaikovsky Piano Trio and in 1987 for the complete Beethoven Piano Trios (both Angel/EMI). A recording of the Schubert Trios with Mr. Ashkenazy and Pinchas Zukerman (London/Decca) was

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Experience the making and transformation of new works by the 2012–13 Under Construction Composers. The concerts will feature compositions by Andrew V. Ly, Michael Nicholas, and Davide Verotta, as the Orchestra experiments with their presentation, live on stage for the fi rst time. Each performance is followed by a Q&A session with the composers and Music Director Joana Carneiro, to explore the themes and ideas behind the works. Learn more about Under Construction on page 49 or at berkeleysymphony.org/uccp.

2012-13 Under Construction New Music Concerts

UPCOMING CONCERTSunday, March 24, 2013, 7 pm

at Crowden Music Center (1475 Rose Street, Berkeley)

Andrew V. Ly Michael Nicholas Davide Verotta

February 7, 2013 41

released in February 2000. His May 2000 recording with Kennedy, “Duos for Violin & Cello,” received unanimous critical acclaim (EMI). Most recently, Mr. Harrell recorded Tchaikovsky’s Variations for Cello and Orchestra on a Rococo Theme, Shostakovich’s Cello Concerto No. 2, and Prokofiev’s Sinfonia Concertante with the Royal Liverpool Philharmonic, Gerard Schwarz conducting (Classico).

Lynn Harrell’s experience as an educator is wide and varied. From 1985-93 he held the International Chair for Cello Studies at the Royal Academy in London. Concurrently, from 1988-92, he was Artistic Director of the orchestra, cham-ber music and conductor training

program at the L.A. Philharmonic Institute. In 1993, he became head of the Royal Academy in London, a post he held through 1995. He has also given master classes at the Verbier and Aspen festivals and in major metropolitan areas through-out the world. Since the start of the 2002-03 academic year, Mr. Harrell has taught cello at Rice University’s Shepherd School of Music.

Lynn Harrell was born in New York to musician parents. He began his musical studies in Dallas and pro-ceeded to The Juilliard School and the Curtis Institute of Music. He is the recipient of numerous awards, including the first Avery Fisher Award. He makes his home in Santa Monica.

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Berkeley Symphony

Recognized nationally for its spirited programming, Berkeley

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

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

comprehensive, age-appropriate music curricula to more than 4,000 local elementary students each year.

Berkeley Symphony was founded in 1969 as the Berkeley Promenade Orchestra by Thomas Rarick, a pro-tégé of the great English Maestro Sir Adrian Boult. Reflecting the spirit of the times, the orchestra performed in street dress and at unusual locations such as the University Art Museum.

Under its second Music Director, Kent Nagano, who took the post in 1978, the Orchestra charted a new course with innovative program-ming that included rarely performed 20th-century scores. In 1981, the internationally-renowned French composer Olivier Messiaen journeyed to Berkeley to assist with the prepa-rations of his imposing oratorio The Transfiguration of Our Lord Jesus Christ, and the Orchestra gave a sold-out

44 February 7, 2013

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

Berkeley Symphony has introduced Bay Area audiences to works by upcoming young composers, many of whom have since achieved interna-tional prominence. Celebrated Brit-ish composer George Benjamin, who subsequently became Composer-in-Residence at the San Francisco Sym-phony, was first introduced to the Bay Area in 1987 when Berkeley Symphony performed his compositions Jubilation and Ringed by the Flat Horizon; as was Thomas Adés, 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.

A champion of new music, Berkeley Symphony has commissioned and

premiered numerous new works. Recent orchestra-commissioned works include Private Alleles (2011) by Enrico Chapela, Mantichora (2011) by Du Yun, and Holy Sisters (2012) by Gabriela Lena Frank. Other past commissions include Manzanar: An American History (2005) by Naomi Sekiya, Jean-Pascal Beintus and David Benoit; Bitter Harvest (2005) by Kurt Rohde and librettist Amanda Moody; and a fanfare by Rohde, commemorating Nagano’s 30 years as music director.

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

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“A great community resource. A true gem in bridging the arts and bringing fine music development and appreciation to our school.”

—Marina Franco, fourth-grade teacher

For twenty years, Berkeley Symphony has partnered with the Berkeley

Unified School District and Berkeley Public Education Foundation to produce the award-winning Music in the Schools program, providing comprehensive, interactive and age-appropriate music curricula to 4,000 elementary school students in Berkeley.

Honored by the League of American Orchestras as one of the top education programs in the country, the program is designed to meet national, state and local arts education standards and gives students the opportunity to actively participate in making music and develop skills that are essential for success.

This dynamic music education program includes teacher training, classroom visits by Berkeley Symphony musicians, “Meet the Symphony” concerts to intro-duce students to symphonic music, “I’m a Performer!” concerts featuring student performers, family concerts for all community members, and free/dis-counted tickets to Berkeley Symphony concerts for students and their parents.

Website: berkeleysymphony.org/mits

Music in the Schools

FUNDERSAnonymousBerkeley Public Education Foundation Berkeley Unified School District Berkeley Association of Realtors The Bernard Osher Foundation California Arts Council In Dulci Jubilo, Inc.Koret Foundation Mechanics Bank National Endowment for the Arts U.S. Bank Target Stores Thomas J. Long Foundation UC Berkeley’s Chancellor’s Community

Partnership Fund Union Bank Foundation Bernard E. & Alba Witkin Charitable Foun-

dation

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E stablished in 1993, Berkeley Symphony’s Under Construction New Music Series/Composers Program engages the community in contemporary music and pro-

vides emerging composers a rare and invaluable opportunity to further develop their skills and gain practical experience writing for a professional orchestra.

Each selected composer has the opportunity to workshop and complete one symphonic work to be presented at the Under Construction concerts. The composers work closely with a program leader, and receive feedback and orchestration lessons from Music Director Joana Carneiro, orchestra members and guest composers. Each composer also receives a recording of the final performance for their personal use. This season, composers Steven Stucky and Paul Dresher lead the program and provide a guiding hand.

The Under Construction 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 between the audience, the conductor, and the composer follows the playing of each new work. This interchange of ideas affords the audience members a greater understanding of the composers and their work.

Our composers chronicle their experiences and the growth of their pieces during the program. Check out the Under Construction blog at underconstructioncomposers.wordpress.com. Learn more about the program at berkeleysymphony.org/uccp.

Berkeley Symphony gratefully acknowledges the following Under Construction funders: Aaron Copland Fund, Margaret Dorfman, The Amphion Foundation

Under Construction New Music Series/

Joana Carneiro working with Under Construction composer Mark Ackerley.

Composers Program

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T his season marks the third year of partnership between Berkeley Symphony and the Young People’s Symphony Orchestra (YPSO), affording

young musicians the rare opportunity to perform with a professional orches-tra. Each year, a number of YPSO players are featured alongside Berkeley Symphony musicians in all four Zellerbach Hall mainstage concerts.

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

YPSO’s mission is to guide young musicians to achieve excellence within an orchestral setting. It provides an educational environment that fosters accomplishment, serves as a cultural resource for the community, and builds future audience by instilling a passion for music. YPSO has performed in prestigious locations including Carnegie Hall, the Dean Lesher Regional Center for the Arts in Walnut Creek, San Francisco’s War Memorial Opera House, the Calvin Simmons Auditorium, the San Francisco Museum of Modern Art, and the International Kiwanis Convention, and has been broadcast live on KGO and KKHI Radio.

Young People’s Symphony Orchestra

52 February 7, 2013

I just love this orchestra!

Judith L. Bloom, Certified Public Accountant

510.798.8512 • judith@jlbloomcpa.com

READ “Eye From the Aisle” THEATRE REVIEWS

by John A. McMullenMFA, SFBATCC, ATCA, SDC

AstuteInformativeEntertaining

at www.BerkeleyDailyPlanet.comArts & Entertainment Section

February 7, 2013 53

Be a part of the Berkeley Symphony Family!As a Berkeley Symphony supporter, you develop a deeper connection to the music and artists and make it possible for the Orchestra to present innovative concerts, world-class guest soloists, commissions and premieres, emerging composer development, and award-winning music education for all public elementary school children in Berkeley.Please consider becoming a part of this incredible community through one or more of the following ways:Individual Giving: Individual donations are crucial to our mission as a cutting-edge orchestra. They help underwrite our artistic and administrative fees and other basic infrastructure of our organization.Producer’s Campaign: New for the 2012-13 season, Producers support Berkeley Sym-phony’s artistic and educational goals by sponsoring our musicians and artists. These supporters have unique opportunities to become a part of the artistic processes they help make possible.Corporate Giving: Berkeley Symphony brings new meaning to the phrase “only in Berkeley” with its adventurous programming and unwavering commitment to music education. Our Corporate sponsors are recognized not only as partners to one of the City’s anchor cultural institutions, but also as supporters of the community.Planned Giving: Leave a lasting and meaningful impact on Berkeley Symphony’s pro-grams while fulfilling your future financial needs by remembering us in your estate plans.Support Music Education: Berkeley Symphony is proud to enter its twentieth year of partnership with the Berkeley Unified School District, providing music education to Berkeley public elementary students. Your contribution is instrumental to the con-tinuation and success of our Music in the Schools program.Advertising: Program advertising is a major way to support the vitality of Berkeley Symphony. Advertising in the concert programs demonstrates to the audience and the Orchestra that our community cares about and is committed to the arts and culture in Berkeley. In return, our advertisers receive exposure to a large and captive audience, and acknowledgement on the Berkeley Symphony website.Volunteer: Volunteering is a great way to get involved “behind the scenes” with Berke-ley Symphony. We offer ongoing volunteer opportunities, including assisting with concerts and special events, as well as light administrative work in the office.For further information about giving opportunities, please call Marissa Phillips, Director of Development, at (510) 841-2800 x305 or visit www.berkeleysymphony.org/support.

Contributed Support

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2012-13 Season Sponsors

Kathleen G. Henschel

Kathleen G. Henschel, formerly finance manager at Chevron Corporation, was

president of Berkeley Symphony Board of Directors from 2006 to 2011, and a member since 2004. An active Bay Area philanthropist, she also serves on the boards of Chanticleer and Music @ Menlo.

Meyer Sound

Meyer Sound Laboratories manufactures pre-mium professional loudspeakers for sound

reinforcement and fixed installation, digital audio systems for live sound, theatrical, and other entertainment applications, elec-troacoustic 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.

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Broadcast DatesRelive Tonight’s Concert with KALW 91.7 FM

Berkeley Symphony and public radio station KALW 91.7 FM are pleased to pres-ent the broadcast of Berkeley Symphony’s 2012–13 concert season. KALW will broadcast the season concerts from 4 to 6 pm on Sunday afternoons through-out the year. Special commentary by classical music host David Latulippe in conversation with selected guests will add to the excitement and insight of these programs.

Broadcast dates:Tonight’s concert will be broadcast on May 19.The March 28 concert will be broadcast on September 15.

All concerts 4–6 pm Sundays on KALW 91.7 FMand streaming online at www.kalw.org.

February 7, 2013 55

2012-13 Season Donor BenefitsFriends of Berkeley SymphonyGet an insider’s scoop of Berkeley Symphony programs through open rehearsals, backstage tours, and special events.Supporting Member: $100+Advance notice of discounts and events through Berkeley Symphony e-newsletters.Acknowledgement in the concert program, celebrating your support.Associate Member: $300+ (All of the above plus)An invitation for two to attend an exclusive Berkeley Symphony Open Rehearsal and Reception, where you will watch the Orchestra prepare before the concert experience.Principal Member: $750+ (All of the above plus)Special invitation to attend various Berkeley Symphony events including post-concert receptions and an exclusive backstage tour.

Symphony CircleEnjoy behind-the-scenes access and intimate events with Berkeley Symphony artists, including salons and dinners.Concertmaster: $1,500+ (All of the above plus)Invitation to attend exclusive Symphony Circle Soirée Receptions featuring a performance by the concert guest artist(s) and discussion with Music Director Joana Carneiro.Invitation to pre-concert Sponsors Dinners with others in the Berkeley Symphony family.Conductor: $2,500+ (All of the above plus)Invitation to the annual Musicians Dinner to meet the orchestra members and an exclusive Open Rehearsal, where you will watch the Orchestra prepare before the concert experience.

Sponsor CircleReceive personalized recognition and participation in truly unique experiences for a deeper connection to the artistic vision of Berkeley Symphony.Associate Sponsor: $5,000 (All of the above plus)Your incredible generosity is celebrated with a wide array of benefits related to concert sponsorship, including VIP access to the Sponsor’s lounge at concert intermissions and tickets to a closed symphony rehearsal of your choice.Executive Sponsor: $10,000 (All of the above plus)Exclusive invitation to an intimate Sponsors Circle Dinner with Music Director Joana Carneiro.Season Sponsor: $25,000 (All of the above plus)Acknowledgement in the season brochure and concert program as a sponsor for the upcoming season, complete with a sponsor’s biography at your option.Recognition in media releases, thanking you for your visionary support.At this leadership level, you are invited to create the experience you want at Berkeley Symphony.

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New for the 2012-13 season, support us by participating in the Producer’s Campaign. This unique artist sponsorship will connect you with those who make our concerts and educational programs possible. A Producer may sponsor (exclusively or shared) a Berkeley Symphony musician, one of our guest artists or composers, the Education Director, or even the Music Director. During the 2012-13 season, as a Producer you will have unique opportunities to meet with the artists that you support and truly be a part of our artistic process. Many levels of sponsorships are available. For more information, please contact Development Director Marissa Phillips at 510-841-2800 x305 or mphillips@berkeleysymphony.org.

“We are tremendously excited by Joana’s energy and talent and consider it an honor and privilege to support her vision for Berkeley Symphony. Each season brings delightful surprises, introducing us to new composers, innovative programming and capti-vating soloists.”—Lisa and Jim Taylor.

Producer’s Campaign

We would like to thank the following supporters of the Producer’s Campaign:Judith L. Bloom Norman A. Bookstein & Gillian KuehnerDavid and Inez BoyleMarilyn and Richard CollierJames and Rhonda DonatoEllen HahnKathleen G. Henschel Gail and Bob Hetler Buzz & Lisa Hines Ken Johnson & Nina Grove Marcos and Janet MaestreKim and Barbara MarienthalJanet & Michael McCutcheon John and Helen MeyerEarl O. Osborn Tom and Mary Reicher Kathy Canfield Shepard and John

ShepardTricia SwiftLisa and Jim TaylorWilliam Knuttel WineryS. Shariq Yosufzai and Brian James

“Berkeley Sym-phony is a real treasure: our own excellent sym-phony conveniently in the heart of Berkeley. I always look forward to Joana’s innova-tive programming of main stage

concerts, as well as ground-breaking new music at Under Construction, and I attend as many Music in the Schools programs as I can, where our musicians reach Berkeley’s school children with fun and profound outreach. From Sir John Lubbock: ’Music is a moral law; it gives wings to the mind; a soul to the universe; flight to imagination; a charm of sadness; a life to everything.’ Come and join our adventures!”—Tricia Swift

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Gifts received between August 1, 2011 and January 2, 2013

SPONSOR CIRCLEGifts of $50,000 or moreKathleen G. HenschelHelen & John Meyer

Gifts of $10,000 or moreAnonymous James & Rhonda DonatoGail & Bob HetlerWilliam & Robin KnuttelJanet & Marcos MaestreJan & Michael McCutcheonMcCutcheon ConstructionEd OsbornThomas & Mary ReicherKathy Canfield Shepard & John ShepardTricia SwiftLisa & James TaylorShariq Yosufzai & Brian James

Gifts of $5,000 or moreAnonymousSusan & Jim AcquistapaceNorman A. Bookstein & Gillian KuehnerGray CathrallMarilyn & Richard CollierJohn & Charli DanielsenJennifer Howard DeGoliaMargaret DorfmanOz EricksonPaula & John GambsGary Glaser & Christine MillerGrubb Co.Ellen HahnNatasha Beery & William B. McCoyDeborah O’Grady & John AdamsThomas W. Richardson

SYMPHONY CIRCLEGifts of $2,500 or moreAnonymousGertrude & Robert AllenMark AttarhaMichele BensonJudith L. BloomDavid & Inez BoyleAnita EbléKaren FairclothLinda Schacht & John GageJohn HarrisKen Johnson & Nina GroveBuzz & Lisa HinesKim & Barbara MarienthalBennett Markel & Karen StellaAlison Teeman & Michael

Yovino-YoungPaul Templeton & Darrell LouieAnne & Craig Van DykeGordon & Evie Wozniak

Gifts of $1,500 or moreSallie & Edward ArensPhyllis Brooks SchaferRonald & Susan ChoyValerie & Richard HerrDavid HillSue Hone & Jeff LeiterJorge ManchenoRené MandelPatrick McCabeAmy & Eddie OrtonCarol Jackson Upshaw

Annual SupportYour contributions enable Berkeley Symphony to continue its mission to present innovative programming, provide music education to all Berkeley elementary students, and create a community where learning and experiencing the art is accesible to all. We gratefully acknowledge the generosity of each individual who has contributed to Berkeley Symphony by way of Annual Fund contributions, Producer’s Campaign contributions, donations to Berkeley Symphony events and auction contributions.

60 February 7, 2013

February 7, 2013 61

Gifts of $750 or moreJoy & Jerome CarlinEarl & June CheitBruce & Joan DoddJack & Ann EastmanStuart & Sharon GronningenLynne La Marca Heinrich &

Dwight JaffeeArthur & Martha LuehrmannLois & Gary MarcusBebe & Colin McRaeMichael & Elisabeth O’MalleyDitsa & Alexander PinesAnthony & Patricia

TheophilosRobert & Emily WardenJeffrey A. White

Gifts of $300 or moreAnonymousPatricia & Ronald AdlerDonald & Margaret AlterFred & Elizabeth BalderstonBonnie J. BernhardtChristel BieriLauren Brown AdamsWilliam BuckinghamDiane BuddThomas BusseJoana CarneiroRichard ColtonDianne CrosbyVirginia d’AlmeidaDennis & Sandy De DomenicoGini Erck & David PettaDaniel & Kate FunkTheresa Gabel & Timothy

ZumwaltEvelyn & Gary GlennBonnie & Sy GrossmanTrish & Anthony W. HawthorneDonald & Janet HelmholzHilary HonoreOra & Kurt HuthJames Pennington KentFaye KeoghMischa LorraineHoward & Nancy MelHelen MarcusPenny & Noel NellisMaria José PereiraGreg PhillipsLeslie & Joellen PiskitelLeslie Plotkin

Lucille & Arthur PoskanzerPeggy Radel & Joel MyersonMarjorie RandolphMary Lu & Bob SchreiberDeborah Shidler & David

BurkhartShelton ShugarRobert Sinai & Susanna

SchevillScott SparlingLisa St. ClaireSteven StuckyMichel TaddeiGary & Susan Wendt-BogearNancy & Charles WolframCaroline Wood

Gifts of $100 or moreAnonymous (5)Anonymous in honor of

Marilyn CollierAnonymous in honor of Mr. &

Ms. R. Collier’s AnniversaryAnonymous in memory of

Donna HamiltonAnonymous inspired by Jan

McCutcheon, Ellie Hahn, & Janet Maestre

Jeannette AlexichJoel AltmanKaren AmesPatricia Vaughn AngellRobert & Evelyn ApteJonathan AronsCatherine AtchesonStephen Beck & Candice

EggerssSteven BeckendorfFrances BergesJohn BeviacquaGeorge & Dorian BikleCara BradburyDavid BradfordRobert J. BreuerHelen CagampangStuart CaninMark Chaitkin & Cecilia StorrMurray & Betty CohenFrederick & Joan CollignonKristin CollinsDr. Lawrence R. CotterEdward CullenRichard CurleyBarbara A. Dales

Joe & Sue DalyDr. Marian C. DiamondPaula & James R. DiederichPaul Dresher & Philippa KellyTanya DrlikAnthony DrummondBeth & Norman EdelsteinBennett Falk & Margaret

MorelandFred G. FassettLynn Feintech & Anthony

BernhardtMarcia FlanneryJoseph FlorenCollette FordMarcine & Dean FrancisEdnah Beth FriedmanDoris FukawaHarriet FukushimaIsabelle GerardJohn C. GerhartRon L. GesterJeffrey Gilman & Carol ReifRose Marie & Sam GinsburgKaren GlasserDavid GoinesStuart M. Gold, MdEdward C. GordonPhyllis GottliebSteven E. GreenbergArnold & Elaine GrossbergErvin & Marian HafterJane HammondAlan Harper & Carol BairdMargot HarrisonWilliam & Judith HeinLyn HejinianMark & Roberta HoffmanRichard HutsonF.W. IrionRuss IrwinFred Jacobson Wayne J. JensenIrene & Kiyoshi KatsumotoE. Paul & Joanne P. KellyTodd KerrDavid & Nancy KesslerRobert Kroll & Rose RayLaurence & Jalyn LangCara LankfordAlmon E Larsh, JrJenny Lee

FRIENDS OF BERKELEY SYMPHONY

62 February 7, 2013

Gifts of $100 or more (continued)Laurel Leichter & Michael WilsonJim LovekinJohn Lowitz & Fran KriegerGeorge E. MattinglyAlex MazetisBill & Suzanne McLeanJim & Monique McNittParker Monroe & Teresa DarraghGerry MorrisonMarcia MuggliLeslie MyersAnita NavonWilliam NewtonOrtun NiesarAnn M. O’Connor & Ed CullenGaby OlanderJonathan Omer-Man &

Nan GefenStanley & Shirley OsherElizabeth PigfordTherese M. PipeMyron PollycoveRandy Porter

Dr. Patrick M. PralleJo Ann & Buford PriceGeorge N. QueeleyJean M. RadfordMark RhoadesDonald Riley & Carolyn SerraoBill RudiakJulianne H. RumseyBetty & Jack SchaferSusanna SchevillSteven SchollMary Lou Schreiber, MdCarolyn SerraoBrenda ShankJane Vandenburgh & Jack

ShoemakerAnne ShortallJutta SinghCarl & Grace SmithJohan & Gerda SnapperCarol & Anthony SomkinCarla SoraccoSylvia Sorell & Daniel KaneCharlotte & Martin SproulBruce & Susan Stangeland

Nagano Campaign for the FutureWe thank our supporters of the Nagano Campaign for the Future.

Arthur & Martha LuehrmannJanet & Marcos MaestreKim & Barbara MarienthalBennett MarkelJanet & Michael McCutcheonHelen & John MeyerDeborah O’Grady & John AdamsLinda Schacht & John GageMerrill & Patricia ShanksKathy Canfield Shepard & John ShepardDeborah ShidlerTricia SwiftMichel TaddeiLisa & Jim TaylorThe Weininger Family, in Honor

of Harry Weininger

Anonymous, in honor of Harry Weininger

Anonymous (2)Ronald & Susan ChoyRichard & Marilyn CollierJennifer Howard DeGoliaRuth & Burt DormanAnita EbléSharon & Stuart GronningenEllen & Roger HahnLynne LaMarca Heinrich & Dwight JaffeeKathleen G. HenschelBuzz & Lisa HinesKenneth Johnson & Nina GroveJames Kleinmann & Lara GilmanWilliam & Robin Knuttel

We would like to thank all our donors, including those who have given under $100 and those whose recent gifts may not yet appear in these listings. All contributions are greatly appreciated. While every attempt has been made to assure accuracy in our donor list, omissions and misspellings may occur. Please advise the Symphony office at 510.841.2800 ext. 305 of any errors. We appreciate the opportunity to correct our records.

Kyra SubbotinGeoffrey S. SwiftMatias Tarnopolsky & Birgit

HottenrottKaren TeelChristopher TerryKathryn ThornburgAlta TingleElsa & Revan TranterGeorge & Madeleine TrillingYvette VloeberghsRandy & Ting VogelDavid & Marvalee WakeDorothy WalkerLi-Hsia Wang & Henry L.

AbronsSheridan & Betsey WarrickAlice WatersCarolyn WebberDr. George & Bay WestlakeAnn WilkinsKarsten WindtNancy & Sheldon WolfeCharlene M. WoodcockMark G. Yatabe

February 7, 2013 63

Gifts of $50,000 or moreNew Music U.S.A. The William & Flora Hewlett Foundation

Gifts of $25,000 or moreThe Creative Work FundMeyer Sound Laboratories, Inc.

Gifts of $10,000 or moreAnonymousAnn and Gordon Getty FoundationBerkeley Public Education FoundationThe Bernard Osher FoundationEast Bay Community FoundationKoret FoundationNational Endowment for the ArtsThomas J. Long FoundationUC Berkeley’s Chancellor’s Community

Partnership Fund

Gifts of $5,000 or moreThe Aaron Copland Fund for MusicCalifornia Arts CouncilCity of BerkeleyEast Bay Community FoundationUnion Bank of CaliforniaU.S. BankWallis Foundation

Gifts of $5,000 or more (continued)

Bernard E. and Alba Witkin Charitable Foundation

Zellerbach Family Foundation

Gifts of $2,500 or moreAmphion Foundation

Gifts of $1,000 or moreBerkeley Association of RealtorsCenter for Cultural InnovationTarget Stores

Gifts of $500 or moreIn Dulci Jubilo, Inc.Mechanics BankTides Foundation

Matching GiftsThe following companies have matched their employees’ contributions to Berkeley Symphony. Please call us at 510.841.2800 x305 to find out if your company matches gifts.

Anchor Brewing Co.ChevronHome Depot

Institutional Gifts Berkeley Symphony expresses its deep appreciation to the following individuals, foundations, corporations, government agencies, and community organizations for their generous support of our artistic and educational programming.

Gifts received between August 1, 2011 and January 2, 2013

Berkeley Symphony Legacy SocietyThank you to those donors who have included Berkeley Symphony in their estate or life-income arrangements. If you are interested in including Berkeley Symphony in your planned giving, please contact Marissa Phillips, Director of Development, at 510.841.2800 ext. 305 or mphillips@berkeleysymphony.org.

Kathleen G. HenschelJeffrey S. Leiter

Janet & Marcos Maestre Bennett MarkelLisa Taylor

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February 7, 2013 65

In-Kind GiftsBerkeley Symphony would like to extend special thanks to the individuals and busi-nesses listed below whose generous donation of goods and services have helped to facilitate the production of our season concerts.

Andreas Jones Graphic DesignSusan & Jim AcquistapaceMarshall BermanJudith L. BloomCasa de ChocolatesMarilyn & Richard CollierRick DiamondDouglas ParkingExtreme PizzaReeve GouldJohn HarrisGeorge & Marie Hecksher

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

AdministrationRené Mandel, Executive DirectorMarissa Phillips, Director of DevelopmentTheresa Gabel, Director of OperationsMing Luke, Education Director &

ConductorNoel Hayashi, Director of MarketingKaren Ames, Communications ConsultantJessica Schultze, Marketing AssociateAaron Woeste, Development AssociateThomas Busse, ControllerCrystal Pascucci, Development Intern

Program

Julie Giles, Cover DesignAndreas Jones, Design & ProductionJohn McMullen, Advertising SalesThomas May, Program NotesCalifornia Lithographers, Printing

Contact

find us on

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

Berkeley Symphony1942 University Avenue, Suite 207, Berkeley, CA 94704510.841.2800Fax: 510.841.5422info@berkeleysymphony.orgwww.berkeleysymphony.orgSign up online for our e-newsletter to stay current on Berkeley Symphony and Joana Carneiro.

66 February 7, 2013

Alameda Structural . . . . . . . . . . . . . . . . . . page 18Albert Nahman Plumbing . . . . . . . . . . . page 36Aurora Theatre . . . . . . . . . . . . . . . . . . . . . . page 28Bec’s Bar and Bistro . . . . . . . . . . . . . . . . . page 42Berkeley Hat Company . . . . . . . . . . . . . . .page 52Berkeley Horticultural Nursery . . . . . . page 46Bill’s Footwear . . . . . . . . . . . . . . . . . . . . . . page 24BuyArtworkNow.com . . . . . . . . . . . . . . . page 45The Club at The Claremont . . . . . . . . . . . . page 14Casa de Chocolates . . . . . . . . . . . . . . . . . . page 50Coldwell Banker . . . . . . . . . . . . . . . . . . . . . page 58The College Preparatory School . . . . . page 30Crowden . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 38Dining Guide . . . . . . . . . . . . . . . . . . . . pages 42, 44DoubleTree Hotel . . . . . . . . . . . . . . . . . . . . page 60Douglas Parking . . . . . . . . . . . . . . . . . . . . . page 58Eva Ruland, Life Coach . . . . . . . . . . . . . . . .page 52Frank Bliss, State Farm . . . . . . . . . . . . . . . page 18Going Places . . . . . . . . . . . . . . . . . . . . . . . . .page 25Golden State Senior Care . . . . . . . . . . . . page 46Griffin Motorwerke . . . . . . . . . . . . . . . . . . . page 41The Grubb Co . . . . . . . . . . . . . . . . . . . . . back coverHenry’s Gastropub. . . . . . . . . . . . . . . . . . . . page 16 Hotel Durant . . . . . . . . . . . . . . . . . . . . . . . . .page 32Judith L. Bloom, CPA . . . . . . . . . . . . . . . . . .page 52Jutta’s Flowers . . . . . . . . . . . . . . . . . . . . . . page 64

Advertiser Index

La Mediterranée . . . . . . . . . . . . . . . . . . . . . page 42Lunettes du Monde . . . . . . . . . . . . . . . . . . page 36Mancheno Insurance Agency . . . pages 34-35Margaretta K. Mitchell Photography . .page 22Marshall Berman Sculpture . . . . . . . . . page 56Maybeck High School . . . . . . . . . . . . . . . . page 28McCutcheon Construction . . . . . . . . . . . page 48Mechanics Bank . . . . . . . . . . . . . . . . . . . . . page 24Meritage at the Claremont . . . . . . . . . . . page 42Mountain View Cemetery . . .inside back coverO Chamé . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 44Oceanworks . . . . . . . . . . . . . . . . . . . . . . . . . page 46Osher Life Long Learning . . . . . . . . . . . . page 30Poulet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 44R. Kassman Piano . . . . . . . . . . . . . . . . . . . page 38Scandinavian Designs . . . . . . . . . . . . . . . . page 18Sotheby’s International Realty . . . . . . . page 12St. Paul’s Towers . . . . . . . . . . . inside front coverStorey Framing . . . . . . . . . . . . . . . . . . . . . . .page 22Talavera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .page 25Thornwall Properties . . . . . . . . . . . . . . . . page 20Tricia Swift, Realtor . . . . . . . . . . . . . . . . . . page 16Turtle Island Book Shop . . . . . . . . . . . . . .page 25UC Berkeley Optometry . . . . . . . . . . . . . page 26Viking Trader . . . . . . . . . . . . . . . . . . . . . . . . page 28 . . . . . . . . . . . . . . . Please Patronize Our Advertisers!

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