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

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

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

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

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

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

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

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

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

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

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

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

February 4, 2016 3

Berkeley Symphony 2015/16 Season5 Message from the Music Director7 Message from the Board President9 Message from the Executive Director11 Board of Directors & Advisory Council12 Orchestra14 Season Sponsors17 Producers’ Circle Sponsorship Gifts19 Berkeley Symphony Legacy Society21 Program23 Program Notes37 Music Director: Joana Carneiro41 Artists’ Biographies46 Berkeley Symphony49 Berkeley Symphony Salutes Marta Tobey51 Music in the Schools53 2015/16 Membership Benefits55 Annual 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 February 4, 2016

February 4, 2016 5

Dear Friends,Happy New Year! May 2016 bring you an abundance of beauty, health and peace!

This is a particularly exciting year for Berkeley Symphony as we continue to meet our goal of excellence in programming and performance.

We want each concert to be a unique experience. I believe our first concert of this new year is perfect in this sense, in that it delivers exciting, meaningful music of our time (Lutosławski’s Concerto for Orchestra) alongside one of the great landmarks in the history of musical creation (Beethoven’s “Emperor” Concerto). These extraordinary pieces, together with our wonderful musicians and a soloist that you will not forget, are ingredients for a great evening.

Indeed, Conrad Tao, with whom I have had the privilege of sharing the stage, is truly an inspiration. I’ve been told that he plays the violin as well as he plays piano, and he is a composer, too. Plus, he is only 21! I have only experienced Conrad as a pianist, but I can tell that he is an excellent musician and a joy to make music with.

Lutosławski’s Concerto for Orchestra, composed between 1950 and 1954, is widely considered to be the best example of the composer’s folkloristic style. Our friend Steve Stucky, a renowned Lutosławski expert, described this much-appreciated composer and his music in the best way possible: “Witold Lutosławski was . . . an artist worthy of comparison with Stravinsky, Bartók, Berg, Shostakovich, or Prokofiev. Like their music, his music embodies brilliant technique, vivid imagination, and largeness of human spirit.”

I am greatly looking forward to this evening and thank you once again for your continued support.

Much love,

Joana Carneiro

Message from the Music Director

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Message from the Board President

New Year Greetings!

With this concert, we progress from Magical to Mystical to MAJESTIC! We welcome the stunning young pianist Conrad Tao to perform Beethoven’s much-loved “Emperor” Concerto, paired with Lutosławski’s luscious Concerto for Orchestra.

Without YOU, our loyal audience, we could not bring these important works and fine soloists to our stage. The Board of Directors is grateful for your support and your willingness to spread the word about Berkeley Symphony to your friends and colleagues. Your continued involvement is vital to Berkeley Symphony. Our community is enriched by both the main-stage performances and our Music in the Schools program, which reaches more than 4,600 children in the Berkeley Unified School District each year. Please mark your calendars now for our two major fundraising events: the Music in the Schools Luncheon on February 22 at the Bancroft Hotel and our fun-filled Benefit Gala on April 29 at the Craneway.

Also on the spring calendar are two more “Berkeley Symphony & Friends” chamber concerts on Sunday, February 21 and Sunday, April 10 at the Piedmont Center for the Arts. And the free “Family Concerts” on Saturday, April 23 at Malcolm X Elementary School are not to be missed! Bring the children in your family and the child in YOU!

Once again, THANK YOU, and let’s keep up the good work!

Tricia Swift

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Greetings!

With each New Year and each new concert season, it is gratifying to see the impact that Berkeley Symphony is making on the Bay Area’s rich cultural landscape. Called “the model of self-generating excellence” by the Financial Times, the accolades continue . . .

• In a poll conducted last fall by San Francisco Classical Voice, Berkeley Symphony was voted the #2 Orchestra in the Bay Area, just behind the San Francisco Symphony.

• For the first time in recent history, the Wall Street Journal sent its cultural reporter David Mermelstein to interview Joana and to review our December concert, garnering praise for both the Orchestra and Joana, for her “commitment to dynamic music making.”

• And just last month, the San Francisco Chronicle’s music critic Joshua Kosman selected our May premiere of Mark Grey’s Frankenstein Symphony as one of the top five “Classical Music Gems of 2016.”

It is an exciting time as Joana and I engage in frequent cross-Atlantic discussions, formulating the 2016/17 season, which will be unveiled at our final concert of the season on May 5. As always, we will be introducing you to some new music, as well as reacquainting you with the great masterworks of past centuries.

We wish you a joyful New Year and thank you for making Berkeley Symphony a priority in your life.

Warm regards,

René Mandel

Message from the Executive Director

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

Advisory Council (continued)

Gary Glaser & Christine MillerReeve GouldBereket HaregotBuzz & Lisa HinesSusan HoneJennifer Howard & Anthony J. CascardiEdith JacksonKenneth A. Johnson & Nina GroveTodd KerrJeffrey S. LeiterBennett MarkelBebe & Colin McRaeHelen & John MeyerDeborah O’Grady & John AdamsBecky & Michael O’MalleyMaria José PereiraMarjorie Randell-SilverLinda 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 AcquistapaceEllen HahnBrian JamesWilliam KnuttelJanet MaestrePeter MandellSandy McCoyEd OsbornThomas W. RichardsonDeborah ShidlerMichel Taddei

Advisory CouncilJan McCutcheon (Board), C0-ChairLisa Taylor, C0-ChairMarilyn Collier, Chair EmeritaMichele BensonJudith BloomNorman Bookstein & Gillian KuehnerJoy CarlinRon & Susan ChoyMarilyn & Richard CollierDianne CrosbyCharli & John DanielsenCarolyn DoellingAnita EbléKaren Faircloth

12 February 4, 2016

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 Concertmaster

Matthew Szemela Associate Concertmaster

Emanuela Nikiforova Assistant ConcertmasterCandace SandersonLarisa KopylovskyLisa ZadekMonika GruberShawyon Malek-SalehiErnest YenHee-Guen SongJohn BernsteinAnnie LiQuelani PenlandCharles ZhouBert Thunstrom

Violin IISarah Wood Principal

Karsten Windt Assistant PrincipalDavid ChengStephanie BibboTess VarleyGenevieve MichelettiMark NeyshlossSergi Goldman-HullRick DiamondAnn EastmanMilica Grahovac

The Orchestra

Violin II (continued)

Kevin HarperRose Marie Ginsburg

ViolaTiantian Lan PrincipalIlana Matfis Assistant PrincipalDarcy RindtPatrick KrobothKeith LawrenceAlexander VolontsIvo BokulicAmy ApelKristen SteinerDan Stanley

CelloCarol Rice Principal

Sponsored by Getrude Allen

Stephanie Wu Assistant PrincipalWanda WarkentinEric GaenslenKrisanthy DesbyKenneth JohnsonPeter BedrossianMargaret MooresJason Anderson

BassMichel Taddei Principal

Sponsored by East Bay Community Foundation

Jon Keigwin Assistant PrincipalAlden CohenAleksey KlyushnikJames CoyneAndy ButlerEric PriceCorey Chandler

February 4, 2016 13

FluteEmma Moon Principal

Sponsored by Janet & Marcos Maestre

Stacey PelinkaLaurie Camphouse

PiccoloStacey PelinkaLaurie Camphouse

OboeDeborah Shidler Principal

Sponsored by Jan & Michael McCutcheon

StardustBennie Cottone

English HornBennie Cottone

ClarinetRoman Fukshansky PrincipalDiana DormanSteve Sanchez

Bass ClarinetSteve Sanchez

BassoonCarla Wilson PrincipalRavinder SehgalShawn Jones

ContrabassoonShawn Jones

HornMeredith Brown PrincipalDouglas HullRichard HallThomas Reicher

TrumpetWilliam Harvey PrincipalKale CumingsAri MicichJohn Freeman

TromboneThomas Hornig Principal

Sponsored by Kathleen G. Henschel & John W. Dewes

Craig BryantBruce Chrisp

Bass TromboneKurt Patzner

TubaJerry Olson Principal

TimpaniKevin Neuhoff Principal

PercussionWard Spangler Principal

James KassisAllen BiggsTimothy DentMark Veregge

HarpWendy Tamis Principal

Randall Pratt

PianoMiles Graber Principal

Sponsored by Tricia Swift

CelesteMarc Shapiro

Franklyn D’Antonio Co-Orchestra Manager

Joslyn D’Antonio Co-Orchestra Manager

Quelani Penland Librarian

David Rodgers, Jr. Stage Manager

14 February 4, 2016

2015/16 Season Sponsors

Kathleen 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 Treasurer of Chanticleer. John W. Dewes, formerly General Manager of Public Affairs at Chevron Corporation, is an active volunteer in Walnut Creek. He joined the Berkeley Symphony Board in 2015.

Brian James & Shariq Yosufzai

B rian James is a member of Berkeley Symphony’s Board of Directors. Shariq

Yosufzai serves on the Advisory Council of Berkeley Symphony, the Board of Directors of the San Francisco Opera, and the Board of Trustees of Cal Performances, and is a past Chair of the Board of the California Chamber of Commerce. Brian and Shariq are Co-Chairs of the 2016 Berkeley Symphony Gala.

Gertrude Allen

Gertrude Allen has lived in Berkeley since graduating from UC more than fifty years ago. She and her

husband enjoyed Berkeley Promenade Orchestra—predecessor of Berkeley Symphony—at the UC Art Museum. They have been subscribers off and on ever since. After raising two children and a ten-year period working as a Policy Analyst in the Office of the President

of UC, Gertrude has engaged in volunteer work as a docent at Strybing Arboretum, the Oakland Museum and now at the East Bay Regional Parks Botanic Garden in Tilden Park. She is concerned about the future of live music and wants to do all she can to pass it along to future generations.

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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.

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.

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Ed Osborn & Marcia Muggli

Earl D. Osborn (Ed), now retired, was a founding partner of Bingham, Osborn

& Scarborough (BOS), an investment management and financial planning firm based in San Francisco and Silicon Valley. He has been on the Board of Directors of Berkeley Symphony for four years and was formerly the chair of the Finance Committee. His wife, Marcia F. Muggli, has worked for Delta Airlines for over 40 years. When not enjoying the Bay Area (and especially Berkeley Symphony), Ed and Marcia spend part of the year at their second home on Cape Cod.

16 February 4, 2016

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 restaurants, churches, sports arenas, cinemas, and stadium rock stages. An expert team of acousticians and engineers provide highly customized sound solutions in the classical world and Meyer Sound products are to 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.

S ince 1967 when Donald J. Grubb founded The Grubb Company,

our community has grown and evolved. The business of transacting real estate is different too, with more complexity, more

agents and fewer independent real estate companies deeply connected to our community. What has not changed is that home buyers and sellers still seek expert real estate advice, skilled representation and support from a trusted local brand.

Our foundation of discipline, accountability, and teamwork is as strong as ever. Our market leadership and unmatched local knowledge are being put to work for a new generation of families in Piedmont, Berkeley, Oakland and Kensington, from our two offices in Oakland and Berkeley.

We recognize that real estate is more than pricing, rates and getting to the closing table. It’s about full service and the support that anyone buying or selling something as precious as a home deserves.

2015/16 Season Sponsors (continued)

February 4, 2016 17

Producers’ Circle Sponsorship GiftsWe 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, and Music in the Schools.

Anonymous (3)Gertrude AllenRonald & Susan ChoyMargaret Dorfman and the Ralph I.

Dorfman Family FundOz Erickson & Rina AlcalayKathleen G. Henschel & John W.

DewesJennifer Howard & Anthony J.

CascardiBrian James & Shariq YosufzaiAlexander LeffJanet & Marcos Maestre

Producers’ Circle Sponsorship gifts of $2,500 and above received between December 1, 2014 and December 31, 2015. Thank you also to our Producers’ Circle supporters at all levels!

Peter Mandell & Sarah Coade Mandell

Jan & Michael McCutcheon

The Jill Grossman Family Charitable Fund

Helen & John Meyer

Deborah O’Grady & John Adams

Ed Osborn & Marcia Muggli

Tricia Swift

Lisa & James Taylor

Paul Templeton & Darrell Louie

William Knuttel Winery

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February 4, 2016 19

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 Director William Quillen at 510.841.2800 x305 or wquillen@berkeleysymphony.org.

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 AllenNorman Bookstein & Gillian KuehnerKathleen G. HenschelKenneth Johnson & Nina Grove Jeffrey S. LeiterJanet & Marcos MaestreBennett MarkelTricia SwiftLisa Taylor

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February 4, 2016 21

Thursday, February 4, 2016 at 8:00 pm Zellerbach Hall

Joana Carneiro conductor

Witold Lutosławski Concerto for Orchestra Intrada: Allegro maestoso Capriccio notturno e arioso: Vivace Passacaglia, toccata e corale: Andante con moto—Allegro giusto

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

Ludwig van Beethoven Piano Concerto No. 5 in E-flat major, “Emperor” Allegro Adagio un poco mosso Rondo: Allegro ma non troppo Conrad Tao piano

Tonight’s concert will be broadcast on KALW 91.7 FM on May 16, 2016.Please switch off your cell phones, alarms, and other electronic devices during the concert. Thank you.

C o n C e r t S p o n S o rtonight’s performance is made possible by the generous support of

Program III: Majestic

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February 4, 2016 23

Program Notes

Witold Lutosławski (1913-1994)

Concerto for OrchestraBorn on January 25, 1913 in Warsaw, Poland (then governed as part of the Russian Empire), where he died on February 7, 1994. Lutosławski composed the Concerto for Orchestra between 1950 and 1954 at the suggestion of Witold Rowicki, to whom he dedicated the work.

First performance: November 26, 1954 with Rowicki leading the Warsaw National Philharmonic Orchestra. Lutosławski scored the work for a large orchestra consisting of 3 flutes (2nd and 3rd doubling piccolo), 3 oboes (3rd doubling English horn), 3 clarinets, 3 bassoons (3rd doubling contrabassoon), 4 horns, 4 trumpets, 4 trombones, tuba, timpani, tom-toms, snare, tenor, and bass drums, cymbals, tam-tam, tambourine, xylophone, chimes, celesta, piano, 2 harps, and strings. Duration: approximately 28 minutes.

The Concerto for Orchestra is Witold Lutosławski’s best-known

achievement and a milestone of the postwar European concert repertory. Its instant success in 1954 won the composer favor in his native Poland and recognition internationally. And in a period of widespread alienation between contemporary composers and

audiences, the Concerto earned a rare status as an acknowledged masterwork from the second half of the 20th century that actually got programmed with some frequency. (The West Coast premiere, incidentally, happened in the Bay Area—in May 1961, when Stanisław Skrowaczewski conducted the San Francisco Symphony. Lutosławski himself paid a visit to lead that orchestra in the Concerto three decades later, a few years before his death.)

Ironically, the Concerto for Orchestra is something of an anomaly and in fact stands apart within the larger context of Lutosławski’s oeuvre. Like Beethoven, the Polish composer lived through an era of revolutionary political and social change, and his musical output can similarly be partitioned into distinct periods. The son of Polish nationalist parents who belonged to the landed gentry, Lutosławski came of age during the transient years of independent Poland following World War I. His father had been among the victims of the Bolshevik Revolution. Lutosławski revealed his remarkable gift for music at a young age and was profoundly influenced by his discovery of the lavishly saturated sound world of his older compatriot, Karol Szymanowski. Lutosławski’s

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own mastery of orchestration was also rooted in the tradition of Rimsky-Korsakov by way of one of the latter’s students, who privately taught the young Pole.

Lutosławski graduated from the Warsaw Conservatory in the late 1930s, with a double chokehold of invasion and tyranny to endure right around the corner, just as he was emerging and beginning to establish a voice of his own: first the Nazis and then the Communist puppet state whose strings were controlled from Moscow. Lutosławski lived through the German occupation playing in Warsaw cafés—the only form of live music-making tolerated under Nazi rule—as part of a piano duo with his friend Andrej Panufnik. (Panufnik, himself a composer, made a thrilling escape from Poland in 1954, the year the Concerto for Orchestra was premiered.)

A rather different survival strategy was required under the new Communist regime. It was during the war that Lutosławski began sketching his First Symphony (a great deal of his other scores and sketches having been lost in the devastating destruction of Warsaw). This work received its fateful premiere in 1948 by which point the guidelines of “Socialist realism” formed the dogma to be followed by artists of any discipline. The authorities banned Lutosławski’s modernist First Symphony as unacceptably “formalist” in its language (in other words, posing

a challenge to listeners instead of offering music as comfort food).

The Concerto for Orchestra marked his triumph in adjusting to the explicit aesthetic demands of his new context—though Lutosławski later denied feeling “pressure” to compose in a particular way, expressing his resentment of program notes asserting he was forced to use folk material. The work garnered critical and popular approval along with official state prizes. It also brought to a climax a distinct stylistic period in the composer’s career. A fittingly chance encounter in 1960 (over the radio) with John Cage’s philosophy of aleatory composition triggered a dramatic change in style as Lutosławski became interested in juxtaposing chance elements with tight organizational control. This might also be seen as a return to the more avant-garde stance of his earlier years—a stance which was now possible thanks to the relative “thaw” in cultural overseeing.

In the aftermath of the banned First Symphony, Lutosławski began to feel he had reached a dead end anyway, and he responded to this ostracism by changing his stylistic focus and writing “useful” occasional pieces (such as easy pieces for piano and children’s songs). This new direction also entailed exploring folk music, which provided a newfound stimulus much as it had decades earlier for Béla Bartók. As it happened,

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Bartók, too, had written one of the 20th-century’s seminal concert works with his Concerto for Orchestra—a major late-career success dating from 1943.

Encouraged by the Warsaw National Philharmonic’s chief Witold Rowicki, Lutosławski took up the challenge of writing an orchestral work he initially envisioned as another “functional” piece. But the project became more ambitious, evolving over several years into the Concerto for Orchestra, with Bartók’s decade-old work as a clear model. In terms of structural thinking, for example, the piece makes prominent use of the ABA or “arch” form favored by the Hungarian, in which similar material, though treated from different perspectives, frames a contrasting section (itself often manipulating the initial material, but in heavily disguised form). The second movement, meanwhile, alludes on one level to the mysterious “night music” pioneered by Bartók as a special genre of its own.

Lutosławski later wrote that his series of smaller compositions “connected with Polish musical folklore” paved the way for the Concerto for Orchestra, noting, however, that “the use of folklore is different here from previous compositions. The folk motifs serve the author only as ’bricks’ for building a large form which, considered on its own, has nothing in common with folklore. A colorful

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orchestration rich in various combinations gives the orchestral ensemble the occasion for a versatile display. The name concerto is justified by this fact.”

In contrast to the concerto as a metaphor for the individual struggling against or partnering with the collective—the model underlying the great solo concertos of the 19th century—the (somewhat counterintuitive) idea of a concerto for orchestra, which combines aspects of the symphony and the concerto, gained currency in particular following the success of Bartók’s example. Just a few notable examples since then include concertos by Elliott Carter, Michael Tippet, Joan Tower, Tan Dun, Christopher Rouse, and Jennifer Higdon.

The composer Steven Stucky, author of a major study of Lutosławski in the 1980s and himself the author of a Pulitzer Prize-winning Concerto for Orchestra, observes that in contrast to the First Symphony’s “youthful extravagance,” the concerto “reveals an artist in complete control of his powers” and is “a synthesis of the experience gained in folk miniatures . . . with aspects of the serious side of Lutosławski’s development, the side largely hidden from the public since the first symphony.”

Cast in the three movements normatively associated with a concerto, Lutosławski’s work

nevertheless—quite un-classically—locates its center of gravity in the third movement, a multipartite structure longer than the duration of the first two movements combined. The work also references formal models from the Baroque—the introductory Intrada (first movement) and the Passacaglia, Toccata e Corale (third movement)—yet not in the Neoclassical sense of, say, Stravinsky. Stucky notes that Lutosławski’s conception of these forms here is only superficially “neo-Baroque” and is actually closer to “postromantic” thinking.

A sense of ominous urgency underlies the opening and closing sections of the first movement, set in 9/8 meter with a relentlessly repeated F-sharp beaten out by the timpani (and, later, in the upper regions, sounded by silvery piccolo and celesta). The thematic material derives from Polish folk sources from the Warsaw region, but is treated to a continual, kaleidoscopic process of transformation, turning with each adjustment of Lutosławski’s orchestral coloration.

Titled Capriccio notturno e arioso, the middle movement likewise traces an ABA form, the outer, scherzo-like sections demanding extraordinary virtuosity and embedding a brass-dominated section at a slower pace that boils over in a powerful climax. Lutosławski uses stark contrasts between soft and loud to differentiate the sections as well.

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Listen for the changes he wrings on the return of the opening section (in particular, the mysterious percussion-focused ending), which is never merely repeated.

The complex third movement opens with the old-fashioned formal idea of a passacaglia (beginning with the two harps and the double basses): a brief theme with (in this case, 12) variations unfolding against the theme’s continual repetition (typically sounded in the bass). Lutosławski ranges across the orchestral choirs as a source of variation while the folk-derived theme is played, over and over, 18 times before he redirects the music into a toccata (the Baroque label for a virtuoso-centered display with an improvisational flair). This in turn segues into a magnificently harmonized chorale, first stated by the woodwinds. Amid the thrilling, swirling toccata music, which returns in the Concerto’s coda, a distinctive four-note motto emerges: D— E-flat—C—B, which alludes to the “signature” motif spelling Shostakovich’s initials (and famously used in his post-Stalinist Tenth Symphony of 1948). Shostakovich, too, had found a way to face official disapproval of his early work by adopting a more “popular” style—but one that made room for unexpected gestures and emotional depth and complexity as well.

—© Thomas May

Ludwig Van Beethoven (1770-1827)

Piano Concerto No. 5 in E-flat major, “Emperor”Born on December 16, 1770, in Bonn, Germany (then part of the Holy Roman Empire); died on March 26, 1827, in Vienna. Ludwig van Beethoven composed the last of his five piano concertos between 1809 and 1811.

First performance: November 28, 1811, in Leipzig, with Friedrich Schneider as the soloist and Johann Schulz conducting the Gewandhaus Orchestra. In addition to solo piano, the Piano Concerto No. 5 is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Duration: approximately 40 minutes.

Ludwig van Beethoven’s relocation to Vienna in 1792 happened, not

by chance, in a year of renewed revolutionary fervor. In his book devoted to all the Beethoven concertos, the musicologist Leon Plantinga notes that during that summer, a few months before the composer’s move, “a more radical phase of the Revolution . . . ensued” in Paris when the Commune of Paris decided to imprison the royal family. He writes: “But ’liberating’ Prussian troops were already within the French borders, and the clashes that followed marked the beginning of the continuous wars in Europe that were to form a sustained backdrop to most of Beethoven’s life in Vienna” (from 1792 to 1815).

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One great irony about his final piano concerto, No. 5 in E-flat major, Op. 73, is that in English (and Italian and French, for that matter), it has long been known by the moniker “Emperor,” which in turn suggests some sort of glorification of Napoleonic arrogance, a counterpart to the often misconstrued Napoleonic associations of another milestone work Beethoven wrote in the key of E-flat major, the “Eroica” Symphony of 1805. “Emperor” (or Kaiser) was certainly not Beethoven’s nickname, nor did the work ever become known as such in German-speaking lands.

The irony here is that Beethoven composed Op. 73 at a crossroads in his career (1809 to 1811) and was deeply immersed in its creation at the very moment when Napoleon’s armies were bombarding Vienna in the spring of 1809—and causing the composer misery beyond the general chaos and economic disorder suffered by his fellow citizens. Beethoven’s assessment of Napoleon was rife with contradiction and paradox and changed over the years, but it seems safe to assume that as he sought refuge in his brother’s cellar on the Rauensteingasse, desperately covering his ears with pillows so as to stifle the sound of explosions and prevent further damage to his already degraded hearing, an apotheosis of the Napoleonic spirit must have been the last thing on his mind.

And yet somehow Beethoven

composed music of sweeping—and, yes, majestic—grandeur for this final concerto. Its outer movements, set in the composer’s signature key for evoking a larger-than-life, heroic posture of striving, pointedly draw on an assertively “militaristic” rhetoric within the larger scope of this profoundly inventive and influential score. Plantinga interprets this musical symbolism as a reflection on the militarism around Beethoven. The overbearing presence of armed conflict during this period “may have reminded him (and now us) of a generalized human struggle,” he writes—referring, again, to the archetypal concerto metaphor of a struggle. So instead of glorifying any one figure, Op. 73’s “heroic gestures pointed to a nobility of character required to prevail.”

This is one sense in which Op. 73 posits an intriguing counterpart to its predecessor, the G major Concerto. Here, too, the soloist enters into the fray at the very start. But Beethoven stages a more complicated, more theatrical entrée in the opening sequence of three orchestral chords, each of which blossoms into an exuberant solo cadenza, the entire passage serving as a kind of grandiose introduction to the launch of the first movement proper. The soloist projects an improvisatory-sounding fantasy that ranges from bold extroversion to lofty vision. For the premiere, which took place not in Vienna but in Leipzig to the west, another pianist performed as

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the soloist—Beethoven’s deafness having by this time progressed too far to allow him to continue playing that role, which he had reserved for himself for the premieres of his four previous piano concertos.

While the first movement itself contains elements of the “heroic” rhetoric Beethoven mastered in his middle period, the actual texture of the musical discourse alternates between the two impulses already introduced within this introductory framing: a dynamic momentum is set against a more relaxed manner of musing. It’s remarkable that only once, when the development section reaches its climax, does the impression of a genuine crisis emerge (in terms uncannily similar to the famous stabbing chords heard at the parallel structural moment of the “Eroica” Symphony): these in turn prepare the way for a glorious recapitulation of those abundant, flowing opening cadenzas.

In contrast, the Adagio, cast in distant B major, elevates the “Orphic” and lyrical effusions of the middle movements of Beethoven’s first three concertos to a level of serene contemplation that already anticipates the sustained meditations of his most abstract late-period compositions. Progressive deafness had by now put an end to the composer’s career as a virtuoso performer, and the sense of retreat from the world’s cares suffuses the Adagio with a veiled beauty that perfectly

counterbalances the energetic exertions of the outer movements. (The shape of the principal melody near its end would be echoed by Leonard Bernstein in the most moving number he wrote for his West Side Story score, “Somewhere.”) Yet there are deep coherences within the Concerto as a whole: The turn to B major alludes to the tonal expansiveness of the first movement, but the tonality now remains static while the piano’s exquisite filigree seems to revisit its earlier dreamy impulses in slow motion.

But just as it seems about to end, Beethoven prepares one of his most startling tonal transitions, from the Adagio’s distant B major back to the home key of E-flat major for the finale. The rondo takes off with a variant on a stereotypical “hunting” theme, though Beethoven renders this more aggressive through his propulsive rhythmic accents. Finally, it is a theatrical gesture of sonorities that closes this great cycle of piano concertos, as Beethoven brings the musical course to a near standstill. The timpani alone persist in the rhythmic motto, but with a sparkling cascade of scales, the soloist points a way out of the near-stasis, allowing the orchestra to have the final word.

—© Thomas MayThomas May writes about the arts for a

variety of international publications and blogs at memeteria.com.

36 February 4, 2016

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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 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 Sinfónica Portuguesa.

Carneiro’s growing guest-conducting career continues to develop very quickly. In 2014-15 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 conducted Adams’ A Flowering Tree at the Gothenburg Opera, made debuts with the Orchestre National de Lyon and the Helsingborg Symphony, and returned to the Gothenburg, Malmö, Gävle and Swedish Radio symphonies. In 2015-16 Joana undertakes her seventh season as Music Director of Berkeley Symphony, where she has captivated audiences with her commanding stage presence and adventurous programming that has highlighted the works of several prominent

contemporary composers, including John Adams, Esa-Pekka Salonen, Brett Dean, Kaija Saariaho and Gabriela Lena Frank. She continues to be sought after for contemporary programs, and she will return to London in spring 2016 to conduct Michel Van der Aa’s Book of Disquiet with the London Sinfonietta, and a production of La Passion de Simone at the Ojai Festival. Joana also works regularly with singer/song-writer Rufus Wainwright, and will conduct his orchestral program in Lisbon and Hong Kong in 2015-16.

International recent and future highlights include appearances with the Royal Stockholm Philharmonic,

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Royal Liverpool Philharmonic, Royal Philharmonic Orchestra, Orchestre Philharmonique de Radio France, Ensemble Orchestral de Paris, Orchestra de Bretagne, Norrköping Symphony, Norrlands Opera Orchestra, Residentie Orkest/Hague, Prague Philharmonia, Malmo Symphony, National Orchestra of Spain and the Orchestra Sinfonica del Teatro la Fenice at the Venice Biennale, as well as the Hong Kong Philharmonic, Macau Chamber Orchestra and Beijing Orchestra at the International Music Festival of Macau. In the Americas, she has led the Los Angeles Philharmonic, Toronto Symphony, St. Paul Chamber Orchestra, Detroit Symphony, Colorado Symphony, Indianapolis Symphony, Los Angeles Chamber Orchestra, New World Symphony and São Paulo State Symphony.

In 2010, Carneiro led performances of Peter Sellars’ stagings of Stravinsky’s Oedipus Rex and Symphony of Psalms at the Sydney Festival, which won Australia’s Helpmann Award for Best Symphony Orchestra Concert in 2010. She conducted a linked project at the New Zealand Festival in 2011, and as a result was immediately invited to work with the Sydney Symphony and New Zealand Symphony orchestras on subscription. In 2011, she led a ballet production of Romeo and Juliet with Companhia Nacional de Bailado in Portugal.

Increasingly in demand as an

opera conductor, Carneiro made her Cincinnati Opera debut in 2011 conducting John Adams’ A Flowering Tree, which she also debuted with the Chicago Opera Theater and at La Cité de la Musique in Paris. In the 2008-09 season, she served as assistant conductor to Esa-Pekka Salonen at the Paris Opera’s premiere of Adriana Mater by Kaija Saariaho and led critically-acclaimed performances of Philippe Boesmans’ Julie in Bolzano, Italy.

As a finalist of the prestigious 2002 Maazel-Vilar Conductor’s Competition at Carnegie Hall, Carneiro was recognized by the jury for demonstrating a level of potential that holds great promise for her future career. In 2003-04, she worked with Maestros Kurt Masur and Christoph von Dohnányi and conducted the London Philharmonic Orchestra, as one of the three conductors chosen for London’s Allianz Cultural Foundation International Conductors Academy. From 2002 to 2005, she served as Assistant Conductor of the L.A. Chamber Orchestra and as Music Director of the Young Musicians Foundation Debut Orchestra of Los Angeles. From 2005 through 2008, she was an American Symphony Orchestra League Conducting Fellow at the Los Angeles Philharmonic, where she worked closely with Esa-Pekka Salonen and led several performances at Walt Disney Concert Hall and the Hollywood Bowl.

A native of Lisbon, she began her musical studies as a violist before receiving her conducting degree from

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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.

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Witold Lutosławski, composer

W itold Lutosławski was indisputably one of the

major composers of the twentieth century. Born in Warsaw in 1913, he showed prodigious musical and intellectual talent from an early age. His composition studies in Warsaw ended at a politically difficult time for Poland so his plans for further study in Paris were replaced by a period which included military training, imprisonment by the Germans and escape back to Warsaw, where he and his compatriot Andrzej Panufnik played in cafés their own compositions and transcriptions.

After the war, the Stalinist regime banned his First Symphony (1941-47) as ’formalist’, but he continued to compose and in 1958 his Musique Funèbre, in memory of Bartók, established his international reputation. His own personal aleatoric technique whereby the performers have freedom within certain controlled parameters was first demonstrated in his Jeux Venitiens (1961) and is to be found in almost all the later music. Over the years, Witold Lutosławski was frequently inspired by particular ensembles and artists including the London Sinfonietta, Sir Peter Pears, Heinz and Ursula Holliger, Dietrich Fischer-Dieskau, Mstislav Rostropovich and Anne-Sophie Mutter. His Symphony No. 4 was commissioned by the Los Angeles Philharmonic Orchestra and received its world premiere in February 1993 under the baton of the composer. A powerful work, it reflected his increasing concern with expansive melody. Among many international prizes awarded to this most modest man were the UNESCO Prize (1959 & 1968), the French order of Commandeur des Arts et des Lettres (1982); Grawemeyer Award (1985); Royal Philharmonic Society Gold Medal (1986); in the last year of his life, the Swedish Polar Music Prize and the Inamori Foundation Prize, Kyoto, for his outstanding

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Artists’ Biographies

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a Gilmore Young Artist, an honor awarded every two years highlighting the most promising American pianists of the new generation. In May of 2012, he was awarded the prestigious Avery Fisher Career Grant.

During the 2015/16 season, Tao performs with the Philadelphia Chamber Orchestra, Pittsburgh Symphony Orchestra, Cincinnati Symphony, Dallas Symphony Orchestra, Buffalo Philharmonic, Pacific Symphony, Brazilian Symphony, and Calgary Philharmonic, among others; he also performs recitals in Europe and throughout the United States with repertoire ranging from Bach to Frederic Rzewski to Rachmaninoff to Julia Wolfe. Past notable symphonic engagements have included the San Francisco Symphony, Baltimore Symphony, Toronto Symphony, St. Louis Symphony, Detroit Symphony, National Arts Centre Orchestra, Indianapolis Symphony, and Nashville Symphony. Tao maintains a close relationship with the Aspen Music Festival, and has appeared at the Sun Valley Summer Symphony, Brevard Music Center, Ravinia Festival, and Mostly Mozart Festival.

In June of 2013, Tao kicked off the inaugural UNPLAY Festival at the powerHouse Arena in Brooklyn, which he curated and produced. The festival, designated a “critics’ pick” by TimeOut New York and hailed by The New York Times for its “clever organization” and “endlessly engaging” performances, featured Conrad with guest artists

contribution to contemporary European music; and, posthumously, the International Music Award for best large-scale composition for the Fourth Symphony. Lutosławski’s contribution to the musical world was enormous and his loss in February 1994, at the age of 81, will continue to be deeply felt.

Conrad Tao, piano

Conrad Tao has appeared worldwide as a pianist and

composer, and has been dubbed a musician of “probing intellect and open-hearted vision” by The New York Times, a “thoughtful and mature composer” by NPR, and “ferociously talented” by TimeOut New York. In June of 2011, the White House Commission on Presidential Scholars and the Department of Education named Tao a Presidential Scholar in the Arts, and the National Foundation for Advancement in the Arts awarded him a YoungArts gold medal in music. Later that year, Tao was named

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performing a wide variety of new works. Across three nights encompassing electroacoustic music, performance art, youth ensembles, and much more, UNPLAY explored the fleeting ephemera of the Internet, the possibility of a 21st-century canon, and music’s role in social activism and critique. That month, Tao, a Warner Classics recording artist, also released Voyages, his first full-length for the label, declared a “spiky debut” by The New Yorker’s Alex Ross. Of the album, NPR wrote: “Tao proves himself to be a musician of deep intellectual and emotional means—as the thoughtful programming on this album . . . proclaims.” His next album, Pictures, which slots works by David Lang, Toru Takemitsu, Elliott Carter, and Tao himself, alongside Mussorgsky’s familiar and beloved Pictures at an Exhibition, was released last fall.

Tao’s career as composer has garnered eight consecutive ASCAP Morton Gould Young Composer Awards and the Carlos Surinach Prize from BMI.

In the 2013/14 season, while serving as the Dallas Symphony Orchestra’s artist-in-residence, Tao premiered his orchestral composition, The world is very different now. Commissioned in observance of the 50th anniversary of the assassination of President John F. Kennedy, the work was described by The New York Times as “shapely and powerful.” Most recently, the Chamber Orchestra of Philadelphia commissioned a new work for piano, orchestra, and electronics, An Adjustment, which received its premiere in September 2015 with Tao at the piano. The Philadelphia Inquirer declared the piece abundant in “compositional magic,” a “most imaginative [integration of] spiritual post-Romanticism and ’90s club music.”

Tao was born in Urbana, Illinois, in 1994. He has studied piano with Emilio del Rosario in Chicago and Yoheved Kaplinsky in New York, and composition with Christopher Theofanidis.

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Berkeley Symphony

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T he mission of Berkeley Symphony is to champion symphonic music

as a living art form, creating live performances and educational programs that engage the intellect, spark the curiosity, and delight the spirit of Berkeley and surrounding Bay Area communities.

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. 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 4,600 local elementary and middle school 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.

February 4, 2016 47

In 1981, the internationally renowned French composer Olivier Messiaen journeyed to Berkeley to assist with the 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 rising 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. Visit www.berkeleysymphony.org.

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February 4, 2016 49

Berkeley Symphony pays tribute tonight to Marta Tobey, who recently

retired after forty seasons in the viola section and many years of music librarian work. Marta has played in orchestras all her life, starting with the California Youth Symphony and its Japan tour in 1963. She played in the Oberlin Orchestra as a math major and then San Jose Symphony and West Bay Opera during her short career as a computer programmer. Moving to Berkeley in 1975, she joined old friends from CYS in the Berkeley Promenade Orchestra under Thomas Rarick. She earned an MA in linguistics at Cal, missing half a season to study Mandarin in Taiwan. Since then, only childbirth, tendinitis, and breast cancer surgery kept her off the Berkeley Symphony stage.

Marta assumed the role of orchestra librarian with some trepidation in 1994 and kept it for ten years. Every year there were four subscription concerts, a couple of Under Construction concerts, school programs, and the occasional pops concert in Tahoe to prepare. Highlights included premieres of two large works by David Sheinfeld and the Manzanar oratorio, commissioned from three composers, all requiring heroic efforts down to the wire to provide materials. She enjoyed getting to know the players and their needs, such as extra parts to accommodate percussion choreography. And she worked educating composers, many working with an orchestra for the first time, to get the best possible performances of their work.

In 1998 Marta began ten years of managing Kent Nagano’s personal library, the scores he used for conducting orchestras and operas around the world. This work involved much shipping and a few panicked international phone calls, but unfortunately, no travel to venues more exotic than Los Angeles.

Since leaving Berkeley Symphony, Marta remains active as a chamber musician and looks forward to seeing her old colleagues at the symphony concerts. She misses the thrill of performing in a large and talented orchestra, but not the exhaustion that comes from the concentrated rehearsal schedules. And she doesn’t miss the stress of being a music librarian.

Berkeley Symphony thanks Marta for her many years of service and dedication to the Orchestra.

Berkeley Symphony Salutes Marta Tobey

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More than 4,600 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. • Over 150 Ensemble Coaching Sessions and master classes in area middle schools. • 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 (3)Gertrude AllenMark & Cynthia AndersonBerkeley Public Schools FundBernard E. and Alba Witkin Charitable

FoundationThe Bernard Osher FoundationCalifornia Arts CouncilRonald & Susan ChoySheila DuignanEast Bay Community FoundationThe Grubb Co.Kathleen G. Henschel & John W. DewesBrian James & Shariq YosufzaiMcCutcheon ConstructionBebe & Colin McRae Helen & John MeyerMusic Performance Trust FundNational Endowment for the ArtsThomas W. Richardson & Edith JacksonTricia SwiftLisa & James TaylorAma Torrance & David DaviesUnion Bank FoundationU.S. Bank FoundationAnne & Craig Van DykeThanks also to those giving up to $2,500 annually.

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2015/16 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 2015/16 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 open rehearsal of the orchestra.Principal Member: $750+ (All of the above plus . . .)• Invitation to select special events including post-concert receptions with Music Director

Joana Carneiro, 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 Music Director

Joana Carneiro.• Two free guest concert passes.Conductor: $2,500+ (All of the above plus . . .)• Invitations to all exclusive Symphony Circle Salon Receptions hosted by Music Director

Joana Carneiro.• Invitation to an exclusive Musicians’ Dinner and “closed” rehearsal for you and guests.

Sponsorship Circle of MembersFounding Sponsors: $5,000+ (All of the above plus . . .)• VIP access to Berkeley Symphony intermission Sponsors’ Lounge at Zellerbach Hall.• Opportunities to be recognized as a concert sponsor, musician sponsor, or guest

soloist sponsor.• Special “Sponsorship Dinner” opportunities with Music Director Joana Carneiro.• A total of four or more free concert guest passes.

54 February 4, 2016

Four Mainstage Concerts“Under Construction” Concerts

with Emerging ComposersNew Works

Old Chestnuts Resident Artists

Music in the Schools

2015-2016

Four Mainstage Concerts New Works

Old ChestnutsResident Artists

Music in the Schools

February 4, 2016 55

Gifts received between December 1, 2014 and December 31, 2015

SPONSOR CIRCLE GIFTSSeason Sponsors $50,000 and aboveBrian James & Shariq YosufzaiKathleen G. Henschel & John W. DewesHelen & John Meyer

Season Sponsors $25,000 and aboveGertrude AllenJan & Michael McCutcheonEd Osborn & Marcia MuggliTricia Swift

Executive Sponsors $10,000 and aboveAnonymous (3)Margaret Dorfman and the Ralph I.

Dorfman Family FundAlexander LeffJanet & Marcos MaestrePeter Mandell & Sarah Coade MandellThomas W. Richardson & Edith JacksonLisa & James Taylor

Founding Sponsors $5,000 and aboveAnonymous (2)Susan & Jim AcquistapaceMark & Cynthia AndersonNatasha Beery & William B. McCoyRonald & Susan ChoySheila DuignanOz Erickson & Rina AlcalayPaula & John GambsEllen L. HahnJennifer Howard & Anthony J. CascardiDeborah O’Grady & John Adams

Founding Sponsors $5,000 and above (continued)Thomas & Mary ReicherPaul Templeton & Darrell Louie

Conductor Level $2,500 and aboveAnonymousJudith BloomDianne CrosbyGloria FujimotoGary Glaser & Christine MillerBuzz & Lisa HinesKen Johnson & Nina GroveBebe & Colin McRaeJutta SinghAlison Teeman & Michael

Yovino-YoungAma Torrance & David DaviesAnne & Craig Van Dyke

Concertmaster Level Gifts of $1,500 or moreAnonymousSallie & Edward ArensFred & Elizabeth BalderstonMichele BensonMs. Carol ChristMarilyn & Richard CollierRichard & Christine ColtonJohn & Charli DanielsenAnita EbléKaren FairclothDean FrancisMary & Stan FriedmanAnn Fischer Hecht & Shawn Hecht

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

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Principal Level $750 and aboveJoel AltmanCatherine Atcheson &

Christian FritzeBlume Capital ManagementDeborah Born & Stephen BornBruce DoddAnn & Jack EastmanDaniel & Kate FunkShelly Gin & Don LeeArthur & Martha LuehrmannMarjorie RandolphRose RayLinda Schacht & John GagePhyllis Brooks SchaferDeborah Shidler & David

BurkhartAnne ShortallMatías Tarnopolsky & Birgit

HottenrottJules Roman TippettRobert & Emily WardenNancy & Charles Wolfram

Associate Level $300 and aboveAnonymous (3)Dr. Henry L. Abrons & Dr.

Li-Hsia WangJeannette AlexichPatricia Vaughn AngellKevin Bastian & Dolores DaltonMs. Bonnie J. Bernhardt

Christel & Jurg BieriGeorge & Dorian BikleBoard of Berkeley Public

Schools FundBob & Ginny BlumbergCarl BlumensteinTammy ButtonStuart and Virginia CaninGray CathrallMark Chaitkin & Cecilia StorrCindy Chang & Christopher

HudsonMary ClaugusRichard & Christine ColtonJoe and Sue DalyDennis & Sandy DeDomenicoNancy & Gordon DouglassGini Erck & David PettaKaren FagerstromMarcia FlanneryEdnah Beth FriedmanDoris Fukawa & Marijan PevecMarianne & John GerhartEvelyn & Gary GlennMr. Richard GranbergPeggy GriffinBonnie & Sy GrossmanSophie Hahn & Eric BjerkholtJohn HarrisTrish & Tony HawthorneValerie & Richard HerrSusan & Jerry HerrickHilary Honore

Mark & Lynne HumphreyRichard HutsonRuss IrwinNancy LehrkindHelen Marcus & David

WilliamsonJohn McMahon & Nicole ChunGeraldine and Gary MorrisonAnn M. O’Connor & Ed CullenLucille & Arthur PoskanzerWilliam Quillen & Hedy LeiterSuzanne RiessDonald Riley & Carolyn SerraoConstance RubenScott SparlingSheridan and Betsey WarrickGordon & Evie WozniakKatinka Wyle

Supporting Level $100 and aboveAnonymous (3)Rose Lynn Abesamis-BellPhilip & Mary-Ellis AdamsKarthiga AnandanJeffrey & Joan AngellRobert & Evelyn ApteNancy AustinJoan BalterKevin Bastian & Dolores DaltonWilliam W. BeahrsAnna Bellomo & Joshua BloomElaine & David I. BerlandSandra Bernard

FRIENDS OF BERKELEY SYMPHONY GIFTS

Patrick McCabeNoel & Penny NellisEvelyn Nussenbaum & Fred VogelsteinMichael & Becky O’MalleyBetty PigfordDitsa & Alexander PinesPat & Merrill ShanksKathy Canfield Shepard & John

ShepardEd Vine & Ellen Singer-Vine

Founding Sponsors $1,500 and above (continued) Lynne La Marca Heinrich and Dwight

JaffeeSue Hone & Jeffrey LeiterFred Jacobson & Mary MurtaghThe Leo J. & Celia Carlin FundJorge ManchenoRené MandelLois & Gary MarcusBennett Markel

58 February 4, 2016

February 4, 2016 59

Supporting Level $100 and above (continued)

Thomas Mark BossermanCara BradburyAimee BrownIrene Bruenger & Bob

RiksheimMs. Mary CanavanStephanie G. & Allan L.

CartwrightBrian & Cindy ChaseJune CheitMurray & Betty CohenFrederick & Joan CollignonZipporah & Dwight CollinsJohn ConstableDr. Lawrence R. CotterRichard CurleyFranklyn & Joslyn D’AntonioJan DavisTracy DearmanDennis & Sandy De DomenicoMavis DelacroixMs. Barbara DenglerPaula & James R. DiederichCarolyn DoellingRobert & Loretta DorsettPaul Dresher & Philippa KellyDonna M. DuhePatricia Rose DuignanBeth & Norman EdelsteinRachel EidboIlse EvansPeter & Elizabeth EvansJoe & Sara EvingerBennett Falk & Margaret

MorelandDavid FavrotMs. Mary Ellen FineSusan K. FisherBruce Fitch—BHS Class of 1968

(Member Berkeley High School Band)

Ms. Brenda FitzpatrickMarcia FlanneryColette FordHarriet Fukushima

Theresa Gabel & Timothy Zumwalt

Dr. Robert John Garmston & Arthur Costa

Isabelle GerardJeffrey Gilman & Carol ReifJohn H. GilmanRose Marie & Sam GinsburgJoan GlasseyDavid GlennStuart GoldJudy Gonzalez-MassihEdward C. GordonReeve GouldSteven E. GreenbergMr. Daniel T. HaddickErvin & Marian HafterScott HamiltonMs. Anne Hannah-RoyRobert & Miriam HawleyNoel HayashiWilliam & Judith HeinLyn HejinianFlorence HendrixDr. & Mrs. Gene HernMaj-Britt HilstromRobert & Margaret HirstDarlene & Ira HolstonSarah Holzman & Matt WhiteOra & Kurt HuthF.W. IrionElaine JacksonJoseph Jackson & Joann

LeskovarIrene & Kiyoshi KatsumotoPaul & Joanne KellyFaye KeoghTodd KerrDavid Kessler & Nancy MennelMs. Sharon KorotkinSamuel & Tamara KushnerColleen LarkinAlmon E Larsh, JrMichele LawrenceLynanne Jacob & Lloyd LeeLaura Leff

Ira LehnCatherine LloydCatharine LucasSteve LuppinoKim & Barbara MarienthalMs. Jayne A. MatthewsAlex MazetisCarrie McAlisterMs. Suzanne McCullochWinton & Margaret

McKibbenSuzanne & William McLeanDan MeierHoward & Nancy MelAmelie C. Mel De Fontenay &

John StenzelJim MeredithMr. Robert MessickSusan MessinaCindy MichaelLouise Miller & David

PetersonJunichi & Sarah MiyazakiYuri MiyazakiProf. Linda MorrisEileen Murphy & Michael

GrayMs. Ruth Okamoto NaganoMs. Anita NavonJohn & Mary Lee NoonanMr. Daniel Peter O’ConnorCharlotte OppenheimDavid and Barbara

ParminterMichael & Andrea PflaumerLawrance PhillipsTherese M. PipeJohn PiresLeslie & Joellen PiskitelEvan Painter & Wendy

PolivkaJim Gleason & Deborah QuokStephen & Wilma RaderLisa & Mark RafaelElizabeth Raymer & Ragna

BoyntonBarbara & Nigel RentonMr. & Mrs. Mark A. Rhoades

60 February 4, 2016

KALW is proud to be Berkeley Symphony’s

Season 2015/16 Media Sponsor

Relive this season’s concerts on

KALW 91.7 FM

Broadcast Dates

4 Mondays at 8pm in May 2016

Hosted by KALW’s David Latulippe

Program I: Oct. 14, 2015 will be broadcast on May 2

Program II: Dec. 3, 2015 will be broadcast on May 9

Program III: Feb. 4, 2016 will be broadcast on May 16

Program IV: May 5, 2016 will be broadcast on May 23

February 4, 2016 61

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. Recognition levels exclude fundraising event auction item purchases and purchases of base-level tickets to fundraising events. While every attempt has been made to assure accuracy in our list of supporters, omissions and misspellings may occur. Please call 510.841.2800 x305 to report errors. We appreciate the opportunity to correct our records.

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

In Memory of:

Virginia BakerDr. Robert John Garmston & Arthur Costa

Jean Chapman BornGertrude AllenAdrienne Austin-Shapiro & Arthur M.

ShapiroDonald & Lucy CampbellJohn ConstableLouise Miller & David PetersonYuri MiyazakiDavid & Barbara ParminterMargaret RoismanMs. Carol RossetCarol SeiberlingTricia SwiftSayoko S. Yokogawa

In Honor of:

Marilyn CollierElaine & David I. Berland

Brian JamesTracy DearmanDonna Duhe

Janet MaestreKevin Bastian & Dolores DaltonWendy Simon

Peter Mandell & Sarah Coade MandellAlexander Leff

Gifts received between December 1, 2014 and December 31, 2015

Supporting Level $100 and above (continued)

Terry RilleraRoisman Henel LLPJulianne H. RumseyGeorge ScharffenbergerSteven SchollGeorgia SchreiberValerie SchwimmerMargaret SeelyPatricia SellarsBrenda M ShankBrian ShiratsukiJack ShoemakerJessie ShoharaDavid & Elizabeth

Silberman

Ms. Wendy SimonCarl & Grace SmithCarol & Anthony SomkinMs. Carla SoraccoSylvia Sorell & Daniel KaneBruce & Susan StangelandTia Stoller & Drew DetschGeoffrey S. SwiftFrances & Ronald TauberMonica ThybergMs. Carol L. TomlinsonMr. Juan Ornelas & Mr. Brad

TouchetteLinda van DrentMarco VangelistiRandy & Ting VogelUrsula Von Fluegge

David & Marvalee WakeKevin WakelinDorothy WalkerMs. Helen WalkerSim WarkovDavid & Pennie WarrenCarolyn WebberKaren WeinsteinKaren Wells & Jan ProbstDr. George & Bay WestlakeJune Wiley & Bruce

McCubbreyLinda & Steven WolanNancy WolfeMrs. Charlene M. WoodcockNicole WrubelSayoko S. Yokogawa

62 February 4, 2016

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.

Susan & Jim AcquistapaceAndreas Jones Graphic DesignEric Asimov & Deborah HofmannPeter AsimovAurora Theatre CompanyNatasha Beery & Sandy McCoyBerkeley Repertory TheatreMarshall BermanJudith BloomGeorge BoziwickCain Vineyard & WineryCal PerformancesJoy CarlinGray Cathrall—Piedmont PostChanticleerRonald & Susan ChoyMarilyn & Richard CollierConcannon VineyardCottage Grove InnFranklyn D’AntonioDave Weiland PhotographyD.C. Piano CompanyRick C. Diamonddi RosaDouglas ParkingDyer VineyardAnn & Jack EastmanAnita EbléExtreme PizzaFisher VineyardsFIVE RestaurantKelly FlemingGloria FujimotoSteve Gallion & Pam WolfGary Glaser & Christine MillerGreen Music CenterGulbenkian MuseumHayes Street GrillKathleen G. Henschel & John W. DewesThe Hess Collection WineryRobert HirstSue HoneHotel Shattuck PlazaBrian James & Shariq YosufzaiPhilippa KellyKen Johnson & Nina GroveTodd Kerr—Berkeley Times

La SirenaLama BeanLandmark VineyardsLaSalette RestaurantLos Angeles OperaLos Angeles PhilharmonicRico MandelPeter Mandell & Sarah Coade MandellBennett MarkelJan & Michael McCutcheonMcCutcheon ConstructionMeyer SoundMueller Family VineyardsMuncheryMusic@MenloMusic in the VineyardsNew Century Chamber OrchestraNew World SymphonyOmni Hotels & ResortsEd Osborn & Marcia MuggliPhilharmonia BaroquePortuguese National SymphonyMarjorie Randell-Silver—Copper Leaf

ProductionsThomas W. Richardson & Edith JacksonSaga Musical InstrumentsSan Francisco OperaSan Francisco SymphonyLinda Schacht & John GageKathy Canfield Shepard—Canfield Design

StudiosJohn ShepardDeborah ShidlerHiram SimonJutta Singh—Jutta’s FlowersTia Stoller—Stoller Design GroupTricia SwiftLisa & James TaylorAlison Teeman & Michael Yovino-YoungAnne & Craig Van DykeViking River CruisesYvette VloeberghsWilliam Knuttel WineryAngela & William Young

February 4, 2016 63

$50,000 and aboveThe William & Flora Hewlett Foundation

$25,000 and aboveClarence E. Heller Charitable

FoundationThe Grubb Co.Meyer Sound Laboratories, Inc.

$10,000 and aboveAnn and Gordon Getty FoundationA.V. Thomas ProduceBerkeley Public Schools FundBernard E. and Alba Witkin Charitable

FoundationThe Bernard Osher FoundationChevronThe Jill Grossman Family Charitable

FundLaSalle Financial ServicesThe National Endowment for the Arts

$5,000 and aboveCalifornia Arts CouncilCity of BerkeleyEast Bay Community FoundationWallis Foundation

$2,500 and aboveAnonymousAmerican Composers Orchestra

(Earshot)East Bay Music FundMusic Performance Trust Fund

$2,500 and above (continued)

Union Bank FoundationU.S. Bank

Up to $2,500AnonymousAnchor Brewing Co.Berkeley Association of RealtorsBerkeley BowlGenentech, Inc.Home Depot FoundationPixar Animation StudiosThe Richard Shaklee Memorial

FoundationThe Rudolph and Lentilhon G. Von

Fluegge Foundation, Inc.Thornwall Properties, Inc.

Tides Foundation

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, 2014 and December 31, 2015

Matching Gifts

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

Anchor Brewing Co.

Chevron Corporation

Genentech Inc.

The Home Depot

64 February 4, 2016

BRING IN THIS AD TO RECEIVE A

1O% DISCOUNT ON ANY PURCHASE OF GIFTS AND FLOWERS

February 4, 2016 65

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: 510.841.5422info@berkeleysymphony.orgwww.berkeleysymphony.org

René Mandel, Executive DirectorWilliam Quillen, Director of DevelopmentSarah Thomas, Director of OperationsNoel Hayashi, Marketing ConsultantSamantha Noll, Patron Services

ManagerMollie Budiansky, Development &

Marketing AssociateJared Winn-Taryor, Administrative

InternKathryn Buder, Box Office InternCindy Michael, Finance DirectorJean Shirk, Public Relations ConsultantJames Taylor, Corporate Development

AssociateFranklyn D’Antonio, Co-Orchestra

ManagerJoslyn D’Antonio, Co-Orchestra

ManagerQuelani Penland, LibrarianDavid Rodgers, Jr., Stage ManagerStoller Design Group, Graphic DesignDave Weiland, PhotographyJavier Acevedo, Video DesignBandwagon Media Services, Recording

Engineer

ProgramAndreas Jones, Design & ProductionStoller Design Group, Cover DesignJohn McMullen, Advertising SalesThomas May, Program NotesCalitho, Printing

66 February 4, 2016

A1 Sun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 36

Ackerman’s Servicing Volvo . . . . . . . . . page 34

Albert Nahman Plumbing . . . . . . . . . . . page 34

Alward Construction . . . . . . . . . . . . . . . . page 26

Bay Sotheby’s International Realty . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . .inside back cover

Berkeley Horticultural Nursery . . . . . . . page 17

Berkeley Optometry . . . . . . . . . . . . . . . . . . page 16

Bill’s Footwear . . . . . . . . . . . . . . . . . . . . . . . page 38

BuyArtworkNow.com . . . . . . . . . . . . . . . page 40

Café Clem . . . . . . . . . . . . . . . . . . . . . . . . . . . page 44

Center for Natural Health Care . . . . . . . .page 32

Chocolatier Blue . . . . . . . . . . . . . . . . . . . . . page 30

Claremont Lobby Lounge & Bar . . . . . . page 42

The Club at The Claremont . . . . . . . . . . . .page 22

Coldwell Banker . . . . . . . . . . . . . . . . . . . . . page 38

The College Preparatory School . . . . . page 36

The Cooperative Cleaning Company. . page 28

The Crowden School . . . . . . . . . . . . . . . . . .page 47

Dining Guide . . . . . . . . . . . . . . . . . . . . pages 42, 44

DoubleTree Hotel . . . . . . . . . . . . . . . . . . . . page 58

Douglas Parking . . . . . . . . . . . . . . . . . . . . . page 60

Eric Pomert, Film Editor . . . . . . . . . . . . . .page 32

Frank Bliss, State Farm . . . . . . . . . . . . . . .page 10

Going Places . . . . . . . . . . . . . . . . . . . . . . . . page 26

The Grubb Co . . . . . . . . . . . . . . . . . . . . . back cover

Judith L. Bloom, CPA . . . . . . . . . . . . . . . . . page 45

Advertiser IndexJutta’s Flowers . . . . . . . . . . . . . . . . . . . . . . . page 64

Kid Dynamo . . . . . . . . . . . . . . . . . . . . . . . . . .page 52

La Mediterranée . . . . . . . . . . . . . . . . . . . . . page 44

La Note Restaurant Provençal . . . . . . . page 42

Lake Park . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 14

Mancheno Insurance Agency . . . . . . . .page 27

Margaretta K. Mitchell . . . . . . . . . . . . . . . . . . . . . . .

Photography . . . . . . . . . . . . . . . . . . . . page 26

Maybeck High School . . . . . . . . . . . . . . . . .page 32

McCutcheon Construction . . . . . . . . . . . page 48

Montclair Sports . . . . . . . . . . . . . . . . . . . . .page 32

Mountain View Cemetery . . inside front cover

National Geographic Expeditions . . . page 56

Oceanworks . . . . . . . . . . . . . . . . . . . . . . . . . page 38

Pacific Union . . . . . . . . . . . . . . . . . . . . . . . . . page 18

Piedmont Gardens . . . . . . . . . . . . . . . . . . page 24

Poulet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 42

Savvy Rest . . . . . . . . . . . . . . . . . . . . . . . . . . page 26

St. Paul’s Towers . . . . . . . . . . . . . . . . . . . . . page 20

Star Grocery . . . . . . . . . . . . . . . . . . . . . . . . . .page 32

Storey Framing . . . . . . . . . . . . . . . . . . . . . . page 36

Talavera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .page 27

Thornwall Properties . . . . . . . . . . . . . . . . . page 18

Tricia Swift, Realtor . . . . . . . . . . . . . . . . . . page 54

Wooden Window. . . . . . . . . . . . . . . . . . . . . .page 52

Yovino-Young Inc. . . . . . . . . . . . . . . . . . . . page 40. . . . . . . . . . . . . . . . Please Patronize Our Advertisers!

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