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 2018. Situated between a landscaped garden and an expansive reflection pond, the

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

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

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

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

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

January 26, 2017 3

Berkeley Symphony 2016/17 Season5 Message from the Music Director7 Message from the Board President9 Message from the Executive Director11 Board of Directors & Advisory Council12 Orchestra14 Season Sponsors18 Berkeley Symphony Legacy Society21 Program23 Program Notes35 Music Director: Joana Carneiro39 Guest Conductor: Christian Reif41 Artists’ Biographies49 Berkeley Symphony55 Music in the Schools57 2016/17 Membership Benefits59 Annual Membership Support66 Broadcast Dates69 Contact 70 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 2018. 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

Gertrude Allen | Kathleen G. Henschel & John W. Dewes | Tricia SwiftBrian James & Shariq Yosufzai | Thomas Richardson & Edith JacksonEd Osborn & Marcia Muggli | Peter Mandell & Sarah Coade Mandell

4 January 26, 2017

January 26, 2017 5

Dear Friends,

A Happy New Year to all of you!

The first part of our program will include a work by a composer that I much admire and have followed for years—Mason Bates. In 2014, Bates wrote his cello concerto for Joshua Roman who is joining us this evening and better than describing it myself, I will use the words of a critic that was present at its premiere with the Seattle Symphony Orchestra, “classical lyricism and melody combined fluidly with blues, jazz elements, and techno rhythms that come straight from the 21st-century electronic club scene.”

At our last concert we played the incredible 4th piano concerto by Beethoven. Continuing this cycle of fourths, we play Beethoven’s 4th symphony. In the key of B-flat major, it was written in the summer of 1806 and dedicated to Count von Oppersdorff. When we think of Berkeley Symphony, a strong part of our identity is a vision to commission. Count von Oppersdorff felt the same, after listening to Beethoven’s second symphony. He loved it so much, he decided to commission a new one from the composer, and the 4th Symphony was born. This is a gem in the history of symphony, and composer Hector Berlioz was so much in awe of its second movement he stated it could not have been written by a human, but an archangel. I can’t wait for you to hear these pieces with our wonderful orchestra and to share them with you.

I wish you all a very happy and very wonderful new year.

Joana Carneiro

Message from the Music Director

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Message from the Board President

Welcome to our January concert!

We are quite thrilled to have Christian Reif as our guest conductor this evening. We are also thrilled to welcome Joshua Roman, our cello soloist, and to premier Mason Bates’ cello concerto, written for this wonderfully talented cellist. We continue our tradition of championing new works beside familiar works—this evening, Beethoven’s 4th Symphony.

We are very happy to finally announce the reason for Joana’s absence from us—that she is expecting! Her spirit is with us and ours with her as she prepares for new life in Lisbon.

Without YOU, our loyal audience, we could not bring the innovative program of tonight’s concert to the stage. We hope you will join us for two very important fundraising events this Spring: our Music in the Schools Luncheon on February 6th at the Bancroft Hotel and our Benefit Gala on March 30th at the Craneway.

As always, we are able to continue the fine work of the Berkeley Symphony thanks to your generous support, for which we are grateful every day. Bring your friends and family to sample our exciting programming and artists!

Yours,

Tricia Swift

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January 26, 2017 9

Dearest Friends,

Welcome to the second half of our 2016/17 season! We’ve eagerly awaited tonight’s performance as it brings together an exceptional blend of innovative, new music and a classic work that was just as groundbreaking when originally premiered over 200 years ago. It is indeed a pleasure to have Christian Reif joining us as guest conductor to present the music of two of the most-performed composers of their generations—Mason Bates and Ludwig van Beethoven.

Very exciting things are happening at Berkeley Symphony. I am honored to announce the very recent New Music USA grant we’ve just been awarded, a three-year artist residency with acclaimed composer Anna Clyne. Anna will be joining us and exploring opportunities in music, performance art, and more. Her vivid imagination and creative process will have full expression in Berkeley. Our established relationships in the community will allow us a full complement of opportunity, affording new collaborations with area arts organizations. More on these partnerships will be announced later this year.

Most importantly, please join me in congratulating Music Director Joana Carniero on the upcoming arrival of a new addition to her family! As per her doctor’s orders, Joana has suspended her conducting and travel for the time being. We are filled with joy and happiness for her and wish her and her family all the very best.

Thank you all for joining us this evening.

With all warmest regards in the New Year,

René Mandel

Message from the Executive Director

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Board of DirectorsExecutive CommitteeTricia Swift, PresidentKathleen G. Henschel, Vice President for GovernanceShariq Yosufzai, Vice President for DevelopmentGertrude Allen, Vice President for Community EngagementJohn Dewes, Treasurer Brian James, SecretaryRené Mandel, Executive Director

Advisory Council (continued)

Carolyn DoellingAnita EbléKaren FairclothBereket HaregotBuzz & Lisa HinesSusan HoneJennifer Howard & Anthony J. CascardiEdith JacksonKenneth A. Johnson & Nina GroveTodd KerrJeffrey S. LeiterBennett MarkelJan McCutcheonBebe & Colin McRaeHelen & John MeyerDeborah O’Grady & John AdamsElisabeth & Michael O’MalleyMaria José PereiraMarjorie Randell-Silver & Eric SilverKathy Canfield Shepard & John ShepardJutta SinghLisa & James TaylorAlison Teeman & Michael Yovino-YoungPaul Templeton & Darrell LouieAnne & Craig Van DykeYvette Vloeberghs

Board of Directors & Advisory Council

DirectorsSusan AcquistapaceSandra FloydEllen L. HahnWilliam KnuttelJanet MaestrePeter MandellSandy McCoyEd OsbornThomas ReicherThomas W. RichardsonDeborah ShidlerMichael Taddei

Advisory CouncilJan McCutcheon, Co-Chair Lisa Taylor, Co-Chair Marilyn Collier, Chair EmeritaMichele BensonJudith BloomNorman BooksteinJoy CarlinRon & Susan ChoyMarilyn & Richard CollierKathy CrandallDianne CrosbyCharli & John Danielsen

12 January 26, 2017

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 ConcertmasterMatthew Szemela Associate ConcertmasterCandace Sanderson Assistant ConcertmasterHee-Guen SongStephanie BibboLisa ZadekLarisa KopylovskyIlana ThomasJunghee LeeDaniel LewinShawyon Malek-SalehiAnnie LiJohn BernsteinBert Thunstrom

Violin IIDan Flanagan Principal

Sponsored by Tricia Swift

Karsten Windt Assistant PrincipalDavid ChengMonika GruberMatthew OshidaEldar HudiyevRick DiamondAnn EastmanKevin HarperKristen KlineCharles ZhouQuelani PenlandRose Marie Ginsburg

The OrchestraViolaIlana Matfis PrincipalAlexander Volonts Assistant PrincipalIvo BokulicPatrick KrobothKeith LawrenceAlessandra AquilantiAmy ApelDan StanleyKristen Steiner

CelloCarol Rice Principal

Sponsored by Getrude Allen

Stephanie Wu Assistant PrincipalWanda WarkentinShain CarrascoEric GaenslenKrisanthy DesbyPeter BedrossianKenneth JohnsonMargaret MooresSylvia Woodmansee

BassMichel Taddei Principal

Sponsored by East Bay Community Foundation

Jon Keigwin Assistant PrincipalAlden F. CohenMark WallaceEric PriceCorey ChandlerAndrew de Stackelberg

FluteEmma Moon Principal

Sponsored by Janet & Marcos Maestre

Stacey Pelinka

Piccolo/Alto FluteStacey Pelinka

January 26, 2017 13

OboeDeborah Shidler Principal

Sponsored by Jan & Michael McCutcheon

Bennie Cottone

ClarinetMark Brandenburg PrincipalDan Ferreira

Bass ClarinetDan Ferreira

BassoonShawn Jones PrincipalRavinder Sehgal

ContrabassoonErin Irvine

HornAlex Camphouse PrincipalLoren TayerleMichael ShuldesRichard HallThomas Reicher

TrumpetScott Macomber PrincipalWilliam HarveyAri Micich

TromboneThomas Hornig Principal

Sponsored by Kathleen G. Henschel & John W. Dewes

Craig Bryant

Bass TromboneRyan Black

TubaJerry Olson Principal

TimpaniJohn Weeks Principal

PercussionWard Spangler PrincipalJames KassisAllen Biggs

HarpWendy Tamis Principal

Piano/CelestaMiles Graber Principal

Franklyn D’Antonio Co-Orchestra ManagerJoslyn D’Antonio Co-Orchestra ManagerQuelani Penland LibrarianDavid Rodgers, Jr. Stage Manager

14 January 26, 2017

2016/17 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.

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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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.

Thomas W. Richardson & Edith Jackson

T homas W. Richardson, Jr. joined the Board of Directors of the Berkeley Symphony

in 2015. Formerly with Blyth Eastman Dillon and Wells Fargo Investment Advisors, Tom has been an independent real asset investor and investment advisor for thirty-five years. Edith Jackson owned and operated a retail Mayan clothing and handicrafts store in San Francisco, and practiced family law in El Cerrito for over twenty years. She is a tennis

player, an avid volunteer at Audubon Canyon Ranch, and serves on the Advisory Board of Berkeley Symphony.

16 January 26, 2017

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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.

2016/17 Season Sponsors (continued)

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.

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Legacy Society Member Lisa Taylor: In her own words . . .

Berkeley Symphony Legacy Society

Legacy giving will ensure that Berkeley Symphony’s music and education programs for children will continue to delight and inspire us for generations. Thank you to those who have made bequests to Berkeley Symphony as part of their estate planning. If you are interested in supporting our long-term future, please contact Mollie Budiansky at 510.841.2800 x303 or mbudiansky@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 AllenJoan Balter Norman Bookstein & Gillian KuehnerKathleen G. HenschelKenneth Johnson & Nina Grove Jeffrey S. LeiterJanet & Marcos MaestreBennett MarkelTricia SwiftLisa Taylor

January 26, 2017 19

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C O n C E R T S P O n S O R S Tonight’s performance is made possible by the generous support of

Gertrude Allen | Kathleen G. Henschel & John W. Dewes | Tricia Swift

Brian James & Shariq Yosufzai | Thomas Richardson & Edith Jackson

Ed Osborn & Marcia Muggli | Peter Mandell & Sarah Coade Mandell

Ellen Hahn, in memory of Roger Hahn

Janet & Marcos Maestre

Thursday, January 26, 2017 at 8:00 pm Zellerbach Hall

Christian Reif guest conductor

Mason Bates Cello Concerto Con moto—Grazioso—Con moto Serene Léger

Joshua Roman celloI N T E R M I S S I O N

Ludwig van Beethoven Symphony No. 4 in B-flat major, Op. 60 Adagio—Allegro vivace Adagio Allegro vivace Allegro ma non troppo

Tonight’s concert will be broadcast on KALW 91.7 FM on May 15, 2017 at 9pm.

Please switch off your cell phones, alarms, and other electronic devices during the concert. Thank you.

Program III: Relevance

22 January 26, 2017

January 26, 2017 23

Program Notes

Mason Bates (b. 1977)

Cello ConcertoMason Bates was born on January 23, 1977, in Philadelphia, Pennsylvania. He currently resides in Burlingame, California. Bates composed his Cello Concerto in 2014 on a commission from the Seattle Symphony Orchestra, the Los Angeles Chamber Orchestra, and the Columbus Symphony Orchestra, with funding from the Johnstone Fund for New Music.

First performance: December 11, 2014, with Mirga Grazinyte-Tyla leading the Seattle Symphony and Joshua Roman as the soloist. With this performance, Berkeley Symphony gives the Bay Area premiere. In addition to solo cello, the Concerto is scored for a large orchestra of 2 flutes (2nd doubling piccolo and alto flute), 2 oboes, 2 clarinets (2nd doubling bass clarinet) 2 bassoons (2nd doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, timpani, finger cymbals, triangle, crotales, vibraphone, kalimba, almglocken, glockenspiel, tam-tam, suspended cymbals, piccolo snare drum, tambourine, bass drum, marimba, low Asian drum, woodblock, hi-hat, sandpaper blocks, 2 flexible switches, crash cymbals, piano (doubling celesta), harp, and strings. Duration: approximately 25 minutes.

In October 2014, two months before the world premiere of

Mason Bates’ Cello Concerto, the Baltimore Symphony announced the results of a study investigating programming trends that season among 22 major American orchestras. In that context, they found that Bates is the second most frequently performed living composer, after John Adams.

Just turned 40, Bates has gone from success to success. Currently he is serving his second season as the first-ever composer-in-residence at the Kennedy Center (a post that involves not only composing but also imagining and curating unconventional concert formats). This summer, Santa Fe Opera will stage the world premiere of his much-anticipated debut opera, The (R)evolution of Steve Jobs. And Bates’ music has been nominated in two categories for the upcoming 2017 Grammy Awards: Best Contemporary Classical Composition for his “surreal symphonic suite,” Anthology of Fantastic Zoology (created during his residency with the Chicago Symphony under Riccardo Muti); and Best Orchestral Performance for the recording Bates: Works for Orchestra by Michael Tilson Thomas and the San Francisco Symphony.

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The latter is the latest fruit of a longstanding close relationship Bates has enjoyed with those colleagues across the Bay. A few seasons ago, they even presented a two-week festival titled “Beethoven & Bates,” and Tilson Thomas ranks among his earliest high-profile advocates.

Bates is also famous for his alter ego as a DJ (he goes by the moniker “Masonic”). In San Francisco and many other cities, he presents a counterpart to his orchestral performances in the form of after-hours sessions of immersive electronica. The composer’s website (masonbates.com) includes separate tabs for “classical” and “electronica,” but much of his orchestral work innovatively fuses the two.

Mothership one of his widely circulated shorter compositions, is a good example: it was commissioned by Tilson Thomas for the pioneering YouTube Symphony, which premiered it in 2011. That project spawned another significant musical friendship, which in turn led Bates to write his Cello Concerto. The friend in this case is Joshua Roman, an Oklahoma-born former principal cellist of the Seattle Symphony who subsequently went on to pursue a freelance career as soloist and new-music advocate.

“Josh and I got thrown together in a kind of shotgun wedding with the YouTube Symphony,” Bates told me

in an interview shortly before the 2014 world premiere. “We were both on the program in New York and were scheduled to play later that evening at [the club] Le Poisson Rouge. We had never played together before, but that night we did an electro-acoustic improvisation. The second stop in our musical relationship was a piece for his series at Town Hall in Seattle.” This later became Carbide & Carbon (named for the building in Chicago), “an unbelievably difficult piece for solo cello which he played from memory a month after receiving the score.”

For his part, Roman noted that he and the composer were in close contact throughout the creative process. Bates, he said, “did a remarkable job of making me feel like the concerto was written for my playing style and fingers.”

The premiere took place in Seattle—Roman’s former home and the home of the family of Bates’ wife. The composer considers Roman’s artistry his prime inspiration for the Concerto: “It’s about the personality he brings to the cello as an instrument. He can play any note and make it sound so good. That comes from the tone he has, which is a combination of absolute precision and at the same time an incredibly musical sensibility. Josh makes you forget about the technique, even about the instrument. He transports you into the musical world of the composer. It’s like the line from Yeats [in “Among School Children”]:

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’How can we know the dancer from the dance?’ He makes it all sound so natural.” Overall, the Cello Concerto is “more introverted in a way, a piece that comes from the inside of the cello.”

At first glance, the Cello Concerto might seem more “traditional”: not only is it cast in the familiar three-movement concerto format (fast-slow-fast), but also in terms of instrumentation, Bates doesn’t use any electronica. Still, traces of that sensibility come through in the exotic sounds of the kalimba (African thumb piano), which “have a delicate ringing texture. I thought this would lay out an interesting rhythmic bed for the opening theme. And this piece reflects the influence of electronica on my thinking, for example in some of the rhythmic activity in the final movement.”

At the same time, the cello really is the protagonist here. The composer further describes his work: “The piece begins plaintively, with Josh floating over a restless orchestra, and the lyricism only expands in the central slow movement. But by the final movement the rhythmic energy wins the day, and at one point Josh even plays with a guitar pick. This is, after all, the same fellow who played arrangements of Led Zeppelin at [Seattle] Town Hall, so I had to send him out with a bang.”

Ludwig van Beethoven (1770-1827)

Symphony No. 4 in B-flat major, Op. 60Born on December 16, 1770, in Bonn; died on March 26, 1827, in Vienna. Beethoven composed his Fourth Symphony in 1806, during an intensely fertile creative period during which he also sketched out ideas for the Fifth and Sixth Symphonies. He dedicated the work to the Silesian Count Franz von Oppersdorff, an admirer of his Second Symphony.

First performance: March 1807, in a private concert sponsored by one of Beethoven’s Vienna patrons; the Fourth Piano Concerto (performed on December’s Berkeley Symphony concert) was also introduced on this occasion. The Fourth is scored for 1 flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Duration: approximately 35 minutes.

A well-known instance of gender stereotypes from the

music criticism of the past can be found in Robert Schumann’s attempt to explicate the unique aura of Ludwig van Beethoven’s Symphony No. 4. Just what is it that differentiates the Fourth from the two far-more-famous powerhouse symphonies that frame it? Schumann characterized the Fourth as “a slender Greek maiden between two Norse giants.” It’s curious that he interlaces his gender-based metaphor with allusions to

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ways of achieving innovation here may be less obviously aggressive than what we encounter, say, in the Eroica—but that does not make them any less robust.

The instrumentation, for example, is more transparent in the Fourth (which calls for a single flute) than in its neighbors; yet this “neoclassical” aspect of its sound world allows for startling effects of contrast between solo passages and full-on unison outbursts. In the Fourth Symphony, Beethoven transforms the expressive language articulated by his models—Haydn above all.

That such transformations are contained within a relatively conservative framework only enhances their delightful subtlety. It would be misguided to approach the Fourth Symphony as a “lighter” or less-challenging work. (From the orchestral players’ perspective, parts of this score might well rank among the most technically difficult in all Beethoven.) The Fourth is a symphony for genuine Beethoven connoisseurs. It’s also a reminder that the composer’s unparalleled symphonic achievement did not unfold as a rejection of the past: these works were forged in an ongoing dialogue with inherited traditions. Like the aspiring artist Walther von Stolzing, who wins the song contest in Wagner’s Die Meistersinger, Beethoven synthesized spontaneity and craft, innovation and tradition, fantasy and form.

two separate paganisms—Greek antiquity versus Nordic myth—and uses the latter to account both for the epic energy of the Third Symphony (Eroica) and for the condensed drama of the Fifth.

Colorful as this is—and once entertained, it is hard to forget—the Fourth-as-Greek-maiden image has helped reinforce an unfortunate either/or dichotomy as to the value of Beethoven’s symphonies. A bias has resulted that tends to favor the works perceived as radical, trail-blazing, or “Promethean” (the odd-numbered symphonies) over those often assumed to be more conservative or even reactionary (especially the Second, Fourth, and Eighth, whose reputation with the general public indeed remains overshadowed by that of their companions).

Yet, as Schumann himself so perceptively articulated in his writings on his predecessor, Beethoven was tirelessly driven by the search for new and different solutions to compositional challenges. And that drive shouldn’t be predicated on another stereotype: Beethoven as the feisty rule-breaker. According to this stereotype, the Fourth Symphony enacts a return to more-familiar classical patterns, representing a “relaxation” of the dramatic tension that is the engine of Beethoven’s heroic style. That interpretation, however, overlooks the Fourth’s own astonishing originality. Beethoven’s

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January 26, 2017 31

Consider the long Adagio opening. On the surface, this marks a return to the use of a slow introduction, which Beethoven had employed in his first two symphonies—and, by extension, a return to what for contemporary audiences was the obvious model of Haydn’s London Symphonies (particularly the Symphony No. 102, also in B-flat major). But Beethoven elaborates his slow introduction into an arresting drama of sustained suspense and mystery. His Ninth Symphony would later establish a new paradigm for the mysterious beginning-out-of-chaos, in which musical forms are heard to come into being. Still, this earlier example of a kind of sonic groping toward the light is impressive on it its own terms. (Mahler aficionados will notice that he found obvious inspiration here for the start of his First Symphony.)

The dark harmonies of this Adagio cast a shadow—this enhances the introduction’s sense of suspense—that intensifies the unequivocal blaze of B-flat major with which the Allegro vivace is launched. That thrilling sense of release (so early in the symphony!) anticipates the triumphant outburst of C major in the Fifth Symphony’s finale, as the British composer and musicologist Robert Simpson pointed out in his classic, elegant survey of all the Beethoven symphonies. Simpson investigated how the Fourth, Fifth, and Sixth in fact all

share this feature of a dramatic transformation from darkness to light; in the Fifth and Sixth Symphonies, Beethoven uses it to link the two final movements.

Simpson suggested that this passage at the beginning of the Fourth represents the composer’s earlier attempt to work out a solution as to how to stage such a moment of illumination. This helps explain why routine depictions of the Fourth as merely “cheerful” and “sunny” feel so inadequate. “The music emerges from an impenetrable blackness,” according to Simpson, “into gleaming sunlight whose vividness is thereafter constantly preserved by passing patches of cloud.” The Fourth, it turns out, does contain “as much drama as the heroics of the Third and Fifth symphonies, albeit of a more elusive kind.”

That drama certainly comes to the fore in Beethoven’s exciting manipulation of contrasts of volume and texture. Listen for his masterful stretching out of the crescendo (in which the timpanist plays a leading role) in the build-up to the recapitulation. Each movement, moreover, has a striking rhythmic character that is used in dramatic ways. In this regard, the Fourth also looks ahead to the Seventh—Beethoven’s only later symphony with a similarly prolonged slow introduction. The Adagio, for example, exploits a mechanically repetitive rhythmic

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idea (tonic against dominant), which is counterpointed against one of the loveliest melodies Beethoven ever conceived—a descending scale spun with Handelian grace. Designed as a rondo, this Adagio is later invaded by lingering memories of the shadowy introduction. Its flowing embellishments meanwhile anticipate the flavor we later encounter in the brookside scene from the Sixth (“Pastoral”) Symphony.

Beethoven’s use of syncopation, dynamic contrast, and harmonic surprise (hints again of the slow introduction’s darkened tonality) make for a characteristically rambunctious scherzo. The regularity of meter in the central trio, which Beethoven asks to be played twice, has an effect of comic naïvete, serving as a foil to the tricksterish rhythms of the scherzo itself.

In the finale, which is based on a churning, perpetual-motion theme, Beethoven pays overt homage to Haydn. Beethovenian humor, though, becomes nearly unbridled, a far cry from the delicately “feminine” charms posited by Schumann’s classical Greek maiden. Instead, the Fourth encompasses yin and yang, shadow and light—all delightfully capped by a final, resounding joke.

—© Thomas MayThomas May writes about the arts

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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 and Teatro Sao Carlos in Lisbon.

Carneiro’s growing guest-conducting career continues to develop very quickly. Recent and future highlights include engagements with the Royal Stockholm Philharmonic, Swedish Radio Symphony, Helsinki Philharmonic, Hong Kong Philharmonic and the Gothenburg Symphony, as well as a production of Van der Aa’s Book of Disquiet with the London Sinfonietta. In 2016/2017 she will make her debut with the San Francisco Symphony, at London’s Barbican with the Britten Sinfonia, and at Theater Bonn in Germany.

She continues to be sought after for contemporary programmes and in 2014/15 she made her debut at the

English National Opera conducting the world stage premiere of John Adams’s The Gospel According to the Other Mary, and recently she conducted a production of La Passion de Simone at the Ojai Festival. Joana also works regularly with singer/song-writer Rufus Wainwright, conducting his orchestral programme in Lisbon and Hong Kong in 2015/16.

Elsewhere Joana has previously conducted the Royal Liverpool Philharmonic, Royal Philharmonic Orchestra, Orchestre Philharmonique de Radio France, Ensemble Orchestral de Paris, Orchestra de Bretagne, Norrköping Symphony, Norrlands

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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’s stagings of Stravinsky’s Oedipus Rex and Symphony of Psalms at the Sydney Festival, which won Australia’s Helpmann Award for Best Symphony Orchestra Concert in 2010. She conducted a linked project at the New Zealand Festival in 2011, and as a result was immediately invited to work with the Sydney Symphony and New Zealand Symphony orchestras on subscription.

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 Dohnanyi 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 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.

38 January 26, 2017

Dining Guide

January 26, 2017 39

Guest Conductor: Christian Reif

German conductor Christian Reif joined the San Francisco Symphony as their

Resident Conductor and Wattis Founda-tion Music Director of the internationally acclaimed San Francisco Symphony Youth Orchestra (SFSYO) in the 2016/17 season, after making a “powerful symphony debut” with the Symphony in fall 2015.

For the past two seasons, he was the Con-ducting Fellow with the New World Sym-phony in Miami, assisting Music Director Michael Tilson Thomas and leading the orchestra in a large number of varied con-certs. Summer 2015 saw Mr. Reif conduct the Tanglewood Music Center Orchestra in several world premieres as part of Tangle-wood’s 75th anniversary summer, which led to his appointment as a Tanglewood conducting fellow for the summer of 2016. During that appointment, he stepped in for Seiji Ozawa, conducting the Seiji Ozawa International Academy Switzerland. He has also repeatedly worked as assistant and cover conductor for the Los Angeles Philharmonic, for the Boston Symphony Orchestra, and for Alan Gilbert at the New

York Phil Biennial. Christian Reif is cur-rently a member of Germany’s prestigious Conductor’s Forum (Dirigentenforum). He won the German Operetta Prize 2015, awarded by the German Music Council.

Highlights of Mr. Reif’s 2015/16 season included leading the Munich Chamber Opera in performances of Mozart’s La finta semplice in Munich’s Cuvilliés Theater and performing with the Meininger Hofka-pelle. As part of efforts to bridge cultures through music, he led the Deutsche Sta-atsphilharmonie Rheinland-Pfalz in the world premiere of Mehmet C. Yesilçay’s Lieder aus der Fremde, which addresses the current European refugee crisis. With this same orchestra, Mr. Reif will make his debut at the international festival Heidelberger Frühling in April, conducting Mozart’s Jupiter Symphony and Mahler’s Lied von der Erde with Michelle DeYoung and Toby Spence.

Mr. Reif has led several orchestras and ensembles both in the US and abroad such as the Lakes Area Music Festival Orchestra, The Juilliard Orchestra, Salz-burg Chamber Soloists, Georgian Cham-ber Orchestra, and the Israel Chamber Orchestra. He has performed with soloists including Dawn Upshaw, Sanford Sylvan, Julia Bullock and Barbara Bonney.

His enthusiasm in performing contem-porary music has led to many world premieres; among those are Michael Gordon’s El Sol Caliente, a city symphony in honor of Miami Beach’s centennial; Ted Hearne’s Dispatches, part of the New Voices project, which Mr. Reif led both in Miami and in San Francisco; and also con-certos for DJ and orchestra, performed at the PULSE events of the New World Sym-

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phony, when the concert hall is trans-formed into a nightclub.

A dedicated and enthusiastic educator, he has taught piano, coaches instru-mentalists and works with singers as a répétiteur. Mr. Reif also worked as a Teaching Fellow in The Juilliard School’s Ear Training Department and served additionally as its Department Assis-tant. The Education Concerts 2014-2016 at the New World Symphony, which he hosted and conducted, were also broad-casted globally online. Christian also has been involved in the National YoungArts

Foundation as a Music Master Teacher.

In 2014, Mr. Reif completed his Master of Music in Conducting at The Juilliard School under Alan Gilbert, after studying with Dennis Russell Davies at the Mozarteum Salzburg. For his outstanding achieve-ments at The Juilliard School, Christian Reif is the recipient of the Charles Schiff Conducting Award. He also holds a schol-arship from the German study promotion program of the Cusanuswerk and two Kul-turförderpreise, awards given to promising artists of the region who promote cultural advancement in their communities.

January 26, 2017 41

Joshua Roman, cello

Joshua Roman has earned an international reputation for

his wide-ranging repertoire, a commitment to communicating the essence of music in visionary ways, artistic leadership and versatility. As well as being a celebrated performer, he is recognized as an accomplished composer and curator, and was named a TED Senior Fellow in 2015.

During the 2016/17 season, Roman will play Mason Bates’ Cello Concerto with four different orchestras: the Portland, Berkeley, Spokane, and Memphis Symphonies. The concerto is dedicated to the cellist, who gave its “world-class world premiere” (Seattle Times) with the Seattle Symphony in 2014, and has since performed it with orchestras around the U.S., including

as part of a residency last spring with the Los Angeles Chamber Orchestra. In the second of two performances with the Omaha Symphony, he plays Dreamsongs, a cello concerto written for him by Pulitzer Prize-winning composer Aaron Jay Kernis, after a concert featuring Tchaikovsky’s Pezzo Capriccioso and Variations on a Rococo Theme. He will also play a solo recital at Virginia Commonwealth University, and a Halloween concert (in a New York crypt) featuring the music of composer Gregg Kallor.

Recent seasons have seen Roman premiere Awakening, his own Cello Concerto, with the Illinois Philharmonic Orchestra, and subsequently perform it with ProMusica Chamber Orchestra; make his debut with the Pittsburgh Symphony Orchestra playing Dvorák’s Cello Concerto; give a solo performance on the TED2015 main stage; perform a program of chamber works by Lera Auerbach at San Francisco Performances with Auerbach and violinist Philippe Quint; and make appearances with the Columbus, Fort Worth, New World, and Seattle Symphonies as well as with the Moscow State Symphony Orchestra and BBC Scottish Symphony Orchestra. He also served as Alumnus-in-Residence at the prestigious Music Academy of the West in Santa Barbara.

Roman has demonstrated inspirational artistic leadership throughout

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January 26, 2017 43

School of Cello Playing to his dedicated YouTube channel (youtube.com/joshuaromancello). In his latest YouTube project, “Everyday Bach,” Roman performs Bach’s cello suites in beautiful settings around the world. He has collaborated with photographer Chase Jarvis on Nikon video projects, and Paste magazine singled out Roman and DJ Spooky for their cello and iPad cover of Radiohead’s “Everything in Its Right Place,” created for the Voice Project. For his creative initiatives on behalf of classical music, Roman was named a TED Fellow in 2011, joining a select group of next-generation innovators who show potential to positively affect the world. He acted as curator for an outdoor amphitheater performance at the TED Summit in Banff in the Canadian Rockies this past summer.

Beyond these initiatives, Roman’s adventurous spirit has led to collaborations with artists outside the music community, including his co-creation of “On Grace” with Tony Award-nominated actress Anna Deavere Smith, a work for actor and cello which premiered in February 2012 at San Francisco’s Grace Cathedral. His outreach endeavors have taken him to Uganda with his violin-playing siblings, where they played chamber music in schools, HIV/AIDS centers and displacement camps, communicating a message of hope through music.

Before embarking on a solo career, Roman spent two seasons as principal cellist of the Seattle Symphony, a position he won in 2006 at the age of 22. Since that time he has

his career. As Artistic Director of TownMusic in Seattle he has showcased his own eclectic musical influences and chamber music favorites, while also promoting newly commissioned works. Under his direction, the series has offered world premieres of compositions by some of today’s brightest young composers and performances by cutting-edge ensembles. In the 2015/16 season at TownMusic he presented his own song cycle, we do it to one another, based on Tracy K. Smith’s book of poems Life on Mars, with soprano Jessica Rivera. He has also recently been appointed the inaugural Artistic Advisor of award-winning contemporary streaming channel Second Inversion, launched by Seattle’s KING-FM to cultivate the next generation of classical audiences. The cellist additionally took on a new curatorial role last summer, as Creative Partner of the Colorado Music Festival & Center for Musical Arts. The same organization sponsored him in April 2016 at the 68th Annual Conference on World Affairs on the University of Colorado campus, where he contributed his innovative ideas about how classical music is conceived and presented. Roman performed at the Kennedy Center Arts Summit that same month and is a member of the 2016 Kennedy Center Honors artists committee.

Roman’s cultural leadership includes using digital platforms to harness new audiences. In 2009 he developed “The Popper Project,” performing, recording and uploading the complete etudes from David Popper’s High

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appeared as a soloist with the San Francisco Symphony, Los Angeles Philharmonic, Mariinsky Orchestra, New World Symphony, Alabama Symphony, and Orquesta Sinfónica Nacional del Ecuador, among many others. An active chamber musician, Roman has collaborated with established artists such as Andrius Zlabys, Cho-Liang Lin, Assad Brothers, Earl Carlyss, Christian Zacharias, and Yo-Yo Ma, as well as other dynamic young soloists and performers from New York’s vibrant music scene, including the JACK Quartet, Talea Ensemble, Derek

Bermel and the Enso String Quartet.

A native of Oklahoma City, Roman began playing the cello at the age of three on a quarter-size instrument, and gave his first public recital at age ten. Home-schooled until he was 16, he then pursued his musical studies at the Cleveland Institute of Music with Richard Aaron. He received his Bachelor’s Degree in Cello Performance in 2004, and his Master’s in 2005, as a student of Desmond Hoebig, former principal cellist of the Cleveland Orchestra. Roman is grateful for the loan of an 1899 cello by Giulio Degani of Venice.

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Mason Bates, composer

Recently named the most-performed composer of his generation, Mason

Bates serves as the first composer-in-residence of the Kennedy Center for the Performing Arts. His music enlivens imaginative narrative forms with novel

orchestral writing, the harmonies of jazz and the rhythms of techno, and it has been the first symphonic music to receive widespread acceptance for its unique integration of electronic sounds. Leading conductors such as Riccardo Muti, Michael Tilson Thomas, and Leonard Slatkin have championed his diverse catalogue. He has become a visible advocate for bringing new music to new spaces, whether through institutional partnerships such as his residency with the Chicago Symphony Orchestra, or through his club/classical project Mercury Soul, which transforms spaces ranging from commercial clubs to Frank Gehry-designed concert halls into exciting, hybrid musical events drawing over a thousand people. In awarding Bates the Heinz Medal, Teresa Heinz remarked that “his music has moved the orchestra into the digital age and

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dissolved the boundaries of classical music.”

This season includes several world premieres and performances by leading orchestras, as well as the debut of a score for a film by Gus Van Sant starring Matthew McConaughey. In addition to performances of Liquid Interface and Garages of the Valley by the National Symphony Orchestra this season, the Kennedy Center will be premiering a new work celebrating the centennial of John F. Kennedy. Scored for mezzo-soprano, orchestra, and electronica, the work juxtaposes the poetry of longtime JFK confidant Robert Frost with excerpts of the President’s own words. Other performances include Alternative Energy with the Philadelphia Orchestra and a performance by the Fort Worth Symphony of Anthology of Fantastic Zoology, which was recently recorded by Riccardo Muti and the Chicago Symphony.

His music’s dramatic realization of narrative forms has attracted the attention of artists in the dramatic mediums of opera and film. In July 2017, Santa Fe Opera premieres The (R)evolution of Steve Jobs, a kinetic and emotional exploration of one of the most compelling figures of our time. Staring baritone Edward Parks and mezzo-soprano Sasha Cooke, the opera is animated by innovative storytelling on all levels, from an electro-acoustic score to a non-linear narrative to stunning visual effects. The Fall of 2016 saw the release of legendary film director Gus Van Sant’s The Sea of Trees, starring Matthew McConaughey,

Naomi Watts, and Ken Watanabe. Complementing the mystical narrative of a man lost in Japan’s suicide forest is a symphonic score recorded at Skywalker Studios.

Bringing classical music to new audiences is a central part of Bates’ activities as a curator. With composer Anna Clyne, he transformed the Chicago Symphony’s MusicNOW series into an imaginative concert experience drawing huge crowds, with cinematic program notes and immersive stagecraft. Outside the concert hall, his Mercury Soul inhabits commercial clubs and extraordinary spaces, embedding sets of classical music into a fluid evening of DJing and immersive stagecraft. Sold-out performances from San Francisco’s famed Mezzanine club to Miami’s New World Symphony have brought a new vision of the listening experience to widespread audiences, and the project recently returned to San Francisco’s DNA Lounge. Mercury Soul is being presented in October by the Kennedy Center, where he works with the Center’s broad range of artistic constituents, from performances with the National Symphony to appearances with Jason Moran on Kennedy Center Jazz, often integrating electronic artists into the Center’s unique spaces. His new-music series KC Jukebox features the eclectic programming, immersive production, and projected information for which his curating projects have become known, and this season presents a range of artists from Chanticleer to Thievery Corporation.

48 January 26, 2017

January 26, 2017 49

Berkeley Symphony

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Berkeley Symphony is unique among American orchestras:

founded in 1969 in the intellectual and artistic nexus of Berkeley, California; led by the restlessly innovative Music Director Joana Carneiro and Executive Director René Mandel, an actively performing violinist; committed to premiering and commissioning new music, including a disproportionate amount of music written by women; and sustained by the supportive musical environment of Berkeley, the East Bay, and the San Francisco Bay Area.

From the outset, the people behind Berkeley Symphony’s culture and programming were attuned to the culturally diverse people and the heady creative climate of their home city. Thomas Rarick, a protégé of the great English maestro Sir Adrian

Boult, founded the orchestra in 1969 as the Berkeley Promenade Orchestra. Reflecting the spirit of the times, musicians performed in street dress and at unusual locations such as the University Art Museum.

When Kent Nagano became the music director of the orchestra in 1978, he charted a new course by offering innovative programming that included a number of rarely performed 20th-century works and numerous premieres. The renamed Berkeley Symphony Orchestra gained an international reputation for its adventurous programming, and became known for premiering the music of international composers and showcasing young local talents. During the 30 years he served as music director, Nagano established an international reputation as a

50 January 26, 2017

January 26, 2017 51

gifted interpreter of both the operatic and symphonic repertoire. Nagano stepped down from his post at Berkeley Symphony in 2008, after his 30th anniversary season.

In January 2009, Portuguese conductor Joana Carneiro became the orchestra’s third Music Director in its 40-year history. She begins her eighth season with the Orchestra in the 2016/17 season. Noted for her vibrant performances in a wide diversity of musical styles, Carneiro has attracted considerable attention as one of the most outstanding young conductors working today. In addition to her role at Berkeley Symphony, Carneiro has a thriving international conducting career, as principal conductor of the Orquesta Sinfonica Portuguesa, official guest conductor of the Gulbenkian Orchestra, and many other conducting engagements for orchestras and opera companies throughout the world.

Carneiro and Berkeley Symphony are continuing the orchestra’s steadfast commitment to presenting original and unique programs, with a 2016/17 season that combines time-honored classics with important contemporary works and newly commissioned music, including a commissioned world premiere of an orchestral work from Paul Dresher and a co-commissioned West Coast premiere of James MacMillan’s Symphony No. 4. Under Carneiro’s direction, the orchestra has maintained the highest standard of musical excellence as she continues to cultivate new relationships and conduct the work of prominent

contemporary composers such as John Adams, Esa-Pekka Salonen, Brett Dean, Kaija Saariaho, Edmund Campion, Gabriela Lena Frank, Mason Bates, Samuel Adams, Mark Grey, Paul Dresher, and James MacMillan, among others, while showcasing the classical masterworks.

As of the conclusion of the 2015/16 season, Berkeley Symphony has performed 64 world premieres, 28 U.S. premieres, and 21 West Coast premieres since the 1980/1981 season. Over the past 35 seasons, nine percent of the new works were commissioned or co-commissioned by Berkeley Symphony. Forty-four percent of the music performed in the last 15 seasons was written by living or recently active composers, and 19 percent of those living composers are women. Berkeley Symphony’s leadership in commissioning and performing new music has been acknowledged with the prestigious ASCAP Adventurous Programming Award in 10 of the past 12 seasons.

Since it began, Berkeley Symphony’s commitment to fostering the work of new and established composers has brought success and international prominence. In 1981, the renowned French composer Olivier Messiaen journeyed to Berkeley to assist with the preparations for his imposing oratorio The Transfiguration of Our Lord Jesus Christ. Nagano and the orchestra, joined by the composer’s wife, pianist Yvonne Loriod, gave a sold-out performance in Davies Symphony Hall. In 1984, the Orchestra collaborated with Frank Zappa in A Zappa Affair,

52 January 26, 2017

a critically acclaimed production featuring life-size puppets and moving stage sets, catapulting Berkeley Symphony onto the world stage.

Celebrated British composer George Benjamin was first introduced to the Bay Area in 1987 when Berkeley Symphony performed his compositions Jubilation and Ringed by the Flat Horizon. Thomas Adès’ 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. In 2003, Naomi Sekiya was named the orchestra’s first Composer-in-Residence. Her Sinfonia delle Ombre and Concerto for two guitars and orchestra received their world premieres that year. The orchestra also commissioned her Manzanar: An American History (2005), co-written with Jean-Pascal Beintus and David Benoit. Berkeley Symphony performed the U.S. premiere of Unsuk Chin’s Violin Concerto in 2004; the piece won one of the world’s most prestigious music composition prizes. Recent orchestra-commissioned works include Mark Grey’s Frankenstein Symphony (2016, co-commissioned with Atlanta Symphony Orchestra); Oscar Bettison’s Sea Shaped (given its world premiere in 2014); Samuel Adams’ Violin Concerto (world premiere, 2014), and Gabriela Lena Frank’s Holy Sisters (world premiere, 2012).

Under the baton of Music Director Joana Carneiro, the Orchestra performs four concerts a year in Zellerbach Hall, on the UC Berkeley campus. Berkeley Symphony also

presents Berkeley Symphony & Friends, an annual chamber music series in association with the Piedmont Center for the Arts.

A national leader in music education, the Orchestra partners with the Berkeley Unified School District (BUSD) to produce the award-winning Music in the Schools program, led by Conductor and Education Director Ming Luke. Music in the Schools offers comprehensive, age-appropriate music curricula to more than 4,600 local elementary and middle school students each year. Over 200 inclass sessions are led by Berkeley Symphony musicians at all eleven BUSD elementary schools each year. Classroom sessions include hands-on music education and curriculum guides for teachers designed to meet state standards for music education. In the middle schools, Berkeley Symphony musicians lead 130 ensemble coaching sessions, 22 master classes, and six ensemble adjudications each year. “Meet the Symphony” and “I’m a Performer!” concerts take place in BUSD elementary schools, providing young musicians opportunities to rehearse and perform side-by-side with Berkeley Symphony. Four annual Family Concerts provide opportunities for students, their families, and community members to experience a Berkeley Symphony concert together. All Music in the Schools programming is provided free of charge for children and their families.

For more information, please visit www.berkeleysymphony.org.

January 26, 2017 53

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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)Susan & Jim AcquistapaceGertrude AllenMark & Cynthia AndersonBerkeley Public Schools FundBernard E. and Alba Witkin Charitable

FoundationBernard Osher FoundationJudith L. BloomCalifornia Arts CouncilRonald & Susan ChoyEast Bay Community FoundationAnn & Gordon GettyJill GrossmanEllen HahnAnn Fischer HechtKathleen G. Henschel & John W. DewesJennifer Howard & Tony CascardiMr. & Mrs. Robert Edward KrollHelen & John MeyerMusic Performance Trust FundNational Endowment for the ArtsThe Rudolph and Lentilhon G. Von

Fluegge Foundation, Inc.Dr. Ruedi Naumann-Etienne and Annette

Campbell-WhiteBetty PigfordThomas W. Richardson & Edith JacksonTricia SwiftLisa & James TaylorUnion Bank FoundationShariq Yosufzai & Brian JamesThanks also to those giving up to $2,500 annually.

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A special discount for those who tell us they learned about us at Berkeley Symphony

January 26, 2017 57

2016/17 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 2016/17 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.

58 January 26, 2017

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Gifts received between December 15, 2015 and December 15, 2016

SPONSOR CIRCLE GIFTS

Season Sponsors $50,000 and aboveAnn & Gordon GettyKathleen G. Henschel & John W. DewesHelen & John MeyerShariq Yosufzai & Brian James

Season Sponsors $25,000 and aboveAnonymousMargaret Dorfman and the Ralph I.

Dorfman Family FundGertrude AllenPeter Mandell & Sarah Coade MandellEd Osborn & Marcia MuggliThomas W. Richardson & Edith JacksonJan & Michael McCutcheonTricia Swift

Executive Sponsors $10,000 and aboveAnonymousSusan & Jim AcquistapaceWilliam KnuttelEllen HahnJanet & Marcos MaestreDeborah O’Grady & John AdamsLisa & James Taylor

Founding Sponsors $5,000 and aboveNatasha Beery & Sandy McCoyRonald & Susan ChoyOz Erickson & Rina AlcalayDean FrancisPaula & John GambsJill GrossmanJennifer Howard & Tony CascardiDitsa & Alexander PinesMark & Cynthia AndersonPaul Templeton & Darrell Louie

SYMPHONY CIRCLE GIFTS

Conductor Level $2,500 and aboveAnonymous (2)Judith L. BloomMs. Dianne CrosbyGloria FujimotoGary Glaser & Christine MillerAnn Fischer Hecht & Shawn HechtBennett MarkelPatrick McCabeMichael & Becky O’Malley

Annual Membership Support

Thank you to the following individuals for making the programs of Berkeley Symphony possible. A symphony is as strong as the community that supports it. Thank you to the following individuals for making Berkeley Symphony very strong indeed. Your generosity allows 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.

60 January 26, 2017

Deborah Shidler & David BurkhartKathy Canfield Shepard & John ShepardJoy CarlinMarilyn & Richard CollierRichard & Christine ColtonKaren S. FairclothBuzz & Lisa HinesFred JacobsonKen Johnson & Nina GroveRené MandelBebe & Colin McRaeNoel & Penny NellisEd Vine & Ellen Singer-Vine

Conductor Level $2,500 and above (continued)

Betty PigfordMr. & Mrs. Robert Edward KrollMarc A. RothPat & Merrill ShanksAlison Teeman & Michael Yovino-Young

Concertmaster Level Gifts of $1,500 or moreAnonymousSallie & Edward ArensNorman A. Bookstein & Gillian Kuehner

January 26, 2017 61

Principal Level $750 and aboveAnonymousRonald and Patricia AdlerMs. Bonnie J. BernhardtPhyllis Brooks SchaferCrystal and Craig BryantMs. Carol ChristSheila DuignanJack and Ann EastmanAnita EbléMary and Stan FriedmanDoris Fukawa & Marijan

PevecDaniel & Kate FunkTheresa Gabel & Timothy

ZumwaltChuck & Olivia HastyLynne La Marca Heinrich and

Dwight JaffeeJeffrey S. LeiterArthur & Martha LuehrmannLois & Gary MarcusMarjorie RandolphRobert Sinai & Susanna

SchevillMichel Taddei

Associate Level $300 and aboveAnonymousAngela ArchieCatherine Atcheson &

Christian FritzeFred & Elizabeth BalderstonChristel & Jurg BieriGeorge and Dorian BikleCarl BlumensteinStuart and Virginia CaninGray CathrallMary ClaugusJoe & Sue DalyLisa DelanElliott and Liz DeloachBruce DoddGini Erck & David PettaKaren Fagerstrom

Marianne & John GerhartPeggy GriffinStuart & Sharon GronningenBonnie & Sy GrossmanSophie Hahn & Eric BjerkholtAlan Harper & Carol BairdTrish & Tony HawthorneValerie & Richard HerrRichard HutsonRichard & Miki KeldsenMarcy Wong & Donn LoganHelen Marcus & David

WilliamsonCarrie McAlisterGeraldine and Gary MorrisonLance & Dalia NagelThomas & Mary ReicherBarbara & Nigel RentonMs. Polly RosenthalTony SchillingJohn SkonbergGeoffrey S. SwiftMarta Tobey and Roger RameySheridan and Betsey WarrickNancy & Charles Wolfram

Supporting Level $100 and aboveAnonymous (2)Joel AltmanMarian K. AltmanKarthiga AnandanMs. Jane AndersonRobert and Evelyn ApteBarbara ArmentroutAllison BakerJoan BalterWilliam W. BeahrsMs. Emily H BennerEdward BennettMichele BensonBerkeley SymphonyElaine & David I. BerlandSandra BernardElizabeth Raymer & Ragna

BoyntonCara Bradbury

David BradfordRobin BradleyTammy ButtonMark Chaitkin & Cecilia StorrCindy Chang & Christopher

HudsonBrian & Cindy ChaseZeo & Terry CoddingtonFrederick & Joan CollignonDr. Lawrence R. CotterFranklyn & Joslyn D’AntonioJan DavisDennis & Sandy De DomenicoRobert & Loretta DorsettBeth & Norman EdelsteinRachel EidboIlse & James EvansBennett Falk & Margaret

MorelandMs. Mary Ellen FineTom and Tallie FishburneBruce Fitch—BHS Class of 1968

(Member Berkeley High School Band)

Ms. Brenda FitzpatrickMarcia FlanneryJeremy FookesEdnah Beth FriedmanJulie GardnerIsabelle GerardEllen GiersonJeffrey Gilman & Carol ReifJudith A. & Alexander J. GlassJoan GlasseyStuart GoldEdward C GordonHarold GraboskeSteven E. GreenbergElaine GrossbergJanet GuggenheimErvin & Marian HafterVictoria GreyMs. Catherine A HebertWilliam & Judith HeinSarah S. HendricksonFlorence HendrixMaj-Britt Hilstrom

FRIENDS OF BERKELEY SYMPHONY GIFTS

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January 26, 2017 63

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 Please email mbudiansky@berkeleysymphony.org 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 Honor of:

Kenneth Johnson & Nina GroveRobin BradleyVictoria GreyIsaac Kaplan & Sandra Kaplan Schwarcz

Marilyn & Richard CollierElaine & David I. Berland

Janet MaestreKevin Bastian & Dolores Dalton

Supporting Level $100 and above (continued)

Deborah & Eric AsimovDarlene & Ira HolstonRussell & PenelopePhyllis IsaacsonIsaac Kaplan and Sandra

Kaplan SchwarczIrene & Kiyoshi KatsumotoDavid Kessler & Nancy

MennelLaura and Paul KuhnSamuel & Tamara

KushnerAndrew Lazarus & Naomi

JanowitzCatherine LloydRandi and Herb LongKim & Barbara MarienthalMartha MastracciAlex MazetisSuzanne McCullochWinton & Margaret

McKibbenSuzanne and William

McLeanHoward & Nancy MelSusan MessinaJunichi & Sarah Miyazaki

Eileen Murphy & Michael GrayMs. Ruth Okamoto NaganoMs. Anita NavonMs. Dianne NicoliniMary Lee and John NoonanJohn NuechterleinMichael & Andrea PflaumerLawrance PhillipsTherese M. PipeManuel & Connie PiresLeslie & Joellen PiskitelEvan Painter & Wendy

PolivkaLucille & Arthur PoskanzerJo Ann & Buford PriceLisa and Mark RafaelDr. & Mr. Megin Scully Reed

MinuthFrancoise ReesErin & Mark RhoadesSuzanne RiessDonald Riley & Carolyn

SerraoTerry RilleraConstance RubenJulianne H. RumseySheila SabineDoug SagerGeorge Scharffenberger

Steven SchollBrenda Shank, M.D., Ph.D.James R. Shay & Steven F.

CorrellJack ShoemakerJessie ShoharaTimothy SmallsreedCarl & Grace SmithMs. Carla SoraccoSylvia Sorell & Daniel KaneAnonymousMargaret SparksBruce & Susan StangelandDavid StullMaria TamburrinoFrances & Ronald TauberRandy & Ting VogelDavid & Marvalee WakeRobert & Emily WardenDavid & Pennie WarrenGerald WeberDr. George & Bay WestlakeJune Wiley and Bruce

McCubbreyNancy WolfeMrs. Charlene M. WoodcockGordon & Evie WozniakKatinka Wyle

Gifts received between December 15, 2015 and December 15, 2016

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January 26, 2017 65

$50,000 and aboveThe William & Flora Hewlett FoundationMeyer Sound Laboratories, Inc.

$25,000 and aboveBerkeley Public Schools FundClarence E. Heller Charitable

FoundationThe Graybird Foundation National Endowment for the Arts

$10,000 and aboveAnn and Gordon Getty FoundationA.V. Thomas ProduceBernard E. and Alba Witkin Charitable

FoundationThe Bernard Osher FoundationCalifornia Arts CouncilChevron CorporationCity of BerkeleyEast Bay Community FoundationThe Grubb Co.Jill Grossman Family Charitable FundLaSalle Financial Services$5,000 and aboveUnion Bank FoundationWallis FoundationZellerbach Family Foundation$2,500 and aboveMusic Performance Trust Fund

Up to $2,500Amazon SmileAnchor Brewing Co.The Rudolph and Lentilhon G. Von

Fluegge Foundation, Inc.

Up to $2,500 (continued)

Epicurious GardenExtreme PizzaGenentech, Inc.Microsoft, Inc.Mu Phi Epsilon, Berkeley Alumni

ChapterSoopTides Foundation

Matching GiftsThe following companies have matched their employees’ or retirees’ gifts to Berkeley Symphony. Please let us know if your company does the same by con-tacting René Mandel at 510.841.2800 x308 or rmandel@berkeleysymphony.org.

Anchor Brewing Co.Chevron CorporationGenentech, Inc.Microsoft, Inc.

Annual Institutional Gifts Berkeley Symphony is proud to recognize these corporations, foundations, community organizations and government programs. These institutions are supporting our communities through their commitment to Berkeley Symphony and the arts.

Gifts received between December 15, 2015 and December 15, 2016

66 January 26, 2017

KALW is proud to be Berkeley Symphony’s

Season 2016/17 Media Sponsor

Relive this season’s concerts on

KALW 91.7 FM

Broadcast Dates

4 Mondays at 9pm in May 2017

Hosted by KALW’s David Latulippe

Program I: Oct. 13, 2016 will be broadcast on May 1

Program II: Dec. 8, 2016 will be broadcast on May 8

Program III: Jan. 26, 2017 will be broadcast on May 15

Program IV: May 4, 2017 will be broadcast on May 22

January 26, 2017 67

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 AcquistapaceAjantaA.V. Thomas Produce Eric Asimov & Deborah HofmannPeter AsimovAurora Theatre CompanyNatasha Beery & Sandy McCoyBerkeley Repertory TheatreBerkeley SymphonyBistro LiaisonGeorge BoziwickCain VineyardsCal PerformancesKathy Canfield Shepard—Canfield Design

StudiosChez Panisse Restaurant and CaféCorison WineryJoy CarlinClub Cascadas de BajaRichard CollierCottage Grove InnCarolyn DoellingDyer VineyardsJack & Ann EastmanAnita EbléExtreme PizzaFIVE RestaurantGary Glaser & Christine MillerAnne & Matt GoldenGray Cathrall—Piedmont PostGreen Music CenterGulbenkian FoundationKathleen G. Henschel & John W. DewesBuzz & Lisa HinesSusan HoneBrian James & Shariq YosufzaiJericho Canyon VineyardsKenneth Johnson & Nina GrovePhilippa KellyTodd Kerr—Berkeley TimesBrian KohWilliam Knuttel

Lama Beans CaféLaSalette RestaurantAlexander LeffJeffrey LeiterLos Angeles PhilharmonicRené MandelPeter Mandell & Sarah Coade MandellRivers-Marie WinesRichard MartinJan & Michael McCutcheonHelen & John MeyerMueller Family VineyardsMusic@MenloMusic in the VineyardsNapa Valley Youth SymphonyNational Geographic Unique LodgesNew World SymphonyMitchell NewmanPhilharmonia BaroquePicante RestaurantPiedmont Piano Company (Jim Callahan)Simone PorterPortuguese National SymphonyQuivira VineyardsMarjorie Randell-Silver—Copper Leaf

ProductionsSan Francisco OperaSan Francisco SymphonyLinda Schacht & John GageSaga Musical InstrumentsDeborah ShidlerHiram SimonJutta Singh—Jutta’s FlowersTia Stoller—Stoller Design GroupTricia SwiftBlair TindallAnne & Craig Van DykeYvette VloeberghsThe Wild Cat Education and Conservation

FundAngela & William YoungMichael Yovino-Young

68 January 26, 2017

BRING IN THIS AD TO RECEIVE A

1O% DISCOUNT ON ANY PURCHASE OF GIFTS AND FLOWERS

January 26, 2017 69

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 Director

Ian Harwood, Associate Executive Director

Sarah Thomas, Director of Operations

Andrew Leshovsky, Director of Marketing

Samantha Noll, Patron Services Manager

Mollie Budiansky, Development & Marketing Associate

Cindy Michael, Finance Director

Jean Shirk, Public Relations Consultant

James Taylor, Corporate Development Associate

Franklyn D’Antonio, Co-Orchestra Manager

Joslyn D’Antonio, Co-Orchestra Manager

Quelani Penland, Librarian

David Rodgers, Jr., Stage Manager

Stoller Design Group, Graphic Design

Dave Weiland, Photography

Elie Khadra, Videographer

Johnson Digital Audio, Recording Engineer

ProgramAndreas Jones, Design & Production

Stoller Design Group, Cover Design

John McMullen, Advertising Sales

Thomas May, Program Notes

Calitho, Printing

70 January 26, 2017

A1 Sun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 13The Academy . . . . . . . . . . . . . . . . . . . . . . . . page 40Ackerman’s Servicing Volvo . . . . . . . . . page 50Albert Nahman Plumbing . . . . . . . . . . . page 30Alward Construction . . . . . . . . . . . . . . . . page 28Aurora Theatre Company . . . . . . . . . . . . page 48The Bay Grille at the DoubleTree Hotel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 64Berkeley City Club . . . . . . . . . . . . . . . . . . . page 26Berkeley Optometry . . . . . . . . . . . . . . . . . page 24Bill’s Footwear . . . . . . . . . . . . . . . . . . . . . . . page 36Blue’s Chocolates . . . . . . . . . . . . . . . . . . . . page 56BuyArtworkNow.com . . . . . . . . . . . . . . . page 46Cal Performances . . . . . . . . . . . . . . . pages 19, 48Chanticleer . . . . . . . . . . . . . . . . . . . . . . . . . . page 44The Claremont Club & Spa . . . . . . . . . . . .page 22Coldwell Banker . . . . . . . . . . . . . . . . . . . . . page 36The College Preparatory School . . . . . page 65The Cooperative Cleaning Company. . . page 17The Crowden School . . . . . . . . . . . . . . . . . page 50Dining Guide . . . . . . . . . . . . . . . . . . . . . . . . page 38Douglas Parking . . . . . . . . . . . . . . . . . . . . . page 66Eric Pomert, Film Editor . . . . . . . . . . . . . .page 37The Faculty Club, UC Berkeley . . . . . . . . page 30Frank Bliss, State Farm . . . . . . . . . . . . . . .page 10Going Places . . . . . . . . . . . . . . . . . . . . . . . . .page 32The Grubb Co . . . . . . . . . . . . . . . . . . . . . back coverJutta’s Flowers . . . . . . . . . . . . . . . . . . . . . . . page 68La Mediterranée . . . . . . . . . . . . . . . . . . . . . page 38La Note Restaurant Provençal . . . . . . . page 38Left Margin Lit . . . . . . . . . . . . . . . . . . . . . . . page 46

Advertiser IndexMancheno Insurance Agency . . . . . . . .page 33Margaretta K. Mitchell Photography . . .page 32Marlene Simas, Realtor® . . . . . . . . . . . . page 60Mason McDuffie . . . . . . . . . . . . . . . . . . . . . page 28Maybeck High School . . . . . . . . . . . . . . . . page 26McCutcheon Construction . . . . . . . . . . . .page 53Meritage . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 38Mountain View Cemetery . . inside front coverNational Geographic Expeditions . . . page 58Oceanworks . . . . . . . . . . . . . . . . . . . . . . . . . page 40Pacific Boychoir Academy . . . . . . . . . . . page 42Pacific Union . . . . . . . . . . . . . . . . . . . . . . . . . page 16Philharmonia Baroque Orchestra & Chorale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 34Piedmont Gardens . . . . . . . . . . . . . . . . . . . page 14Poulet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .page 32San Francisco Chamber Orchestra . . . page 46San Francisco Classical Voice . . . . . . . . page 62Savvy Rest . . . . . . . . . . . . . . . . . . . . . . . . . . page 60Scharf Investments, LLC. . . . . . . . . . . . . page 20Star Grocery . . . . . . . . . . . . . . . . . . . . . . . . . page 46Steve Deutsch Woodwinds. . . . . . . . . . . page 36Storey Framing . . . . . . . . . . . . . . . . . . . . . . page 69Talavera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .page 33Thornwall Properties . . . . . . . . . . . . . . . . . page 18Traverso Tree Service . . . . . . . . . . . . . . . . page 28Tricia Swift, Realtor . . . . . . . . .inside back coverWooden Window. . . . . . . . . . . . . . . . . . . . . page 42Wells Fargo. . . . . . . . . . . . . . . . . . . . . . . . . . page 54Yovino-Young Inc. . . . . . . . . . . . . . . . . . . . .page 32. . . . . . . . . . . . . . . . Please Patronize Our Advertisers!

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