January 20 and March 10, 2011 - Berkeley Symphony

2 January 20 and March 10, 2011

January 20 and March 10, 2011 3

Message from the Executive Director ...........................................................5Message from the Music Director ................................................................7Joana Carneiro .............................................................................................9Farewell to Barbara Hauser ..........................................................................9January 20 Orchestra Roster .....................................................................13January 20 Program..................................................................................15January 20 Program Notes........................................................................19January 20 Guest Artists ...........................................................................27Berkeley Symphony 2010–11 Season.........................................................31Dining Guide ............................................................................................32Berkeley Symphony’s Annual Gala..................................................................35March 10 Program ....................................................................................37March 10 Program Notes ..........................................................................41March 10 Text and Translation..................................................................49March 10 Guest Artists .............................................................................53Tonight’s Concert on KALW, 91.7 FM......................................................58Meet the Orchestra: Franklyn D’Antonio ..................................................59Pre-Concert Talks.......................................................................................60Berkeley Symphony ...................................................................................61Season Sponsors .........................................................................................63Symphony in the Community ..................................................................65

Under ConstructionMusic in the Schools

Acknowledgments ......................................................................................69Donating to Berkeley Symphony ...............................................................70Contributed Support .................................................................................72

Community PartnersIndividual Donor Benefits and RecognitionSymphony CircleFriends of Berkeley SymphonyNagano Endowment for the FutureBerkeley Symphony Legacy Society

Board of Directors & Advisory Council.....................................................79Berkeley Symphony Staff ...........................................................................81Advertiser Index.........................................................................................82

Table of Contents

Berkeley Symphony1942 University Ave., Ste 207, Berkeley, CA 94704510.841.2800 • Fax: 510.841.5422E-mail: [email protected] site: www.berkeleysymphony.orgTo Advertise: 510.652.3879



I n the summer of 2006, I was introducedto an extraordinary woman who wouldchange my life and the lives of many in

this community, through her unwaveringpassion, generosity, vision, and an ampledose of that elusive thing we call leadership.She had, only a few months before, assumedthe mantle of Board President of BerkeleySymphony and it was her job to help chart the future course of the internationally-recognized but often financially-challengedorchestra then led by conducting superstarKent Nagano. This spring, we mark the conclusion of her five incredible years at the helm and celebrate an organization

transformed thanks in large part to her many efforts. Her name: Kathleen G. Henschel.

Among the first tasks she took up was an intensive and thorough strategic planningprocess—one that would ultimately provide Maestro Nagano with the confidence that his “baby” was ready to stand on its own two feet. In January 2007, Kent announced hisplans to step down at the conclusion of his thirtieth anniversary season, two years hence.Just two weeks later, Kathy had assembled a search committee to identify and secure Kent’ssuccessor, with representatives from the orchestra, board, staff and community at large. And nearly two years to the date of Kent’s announcement, Kathy introduced our new Music Director, Joana Carneiro. In the course of her tenure, Kathy also helped to retire theorganization’s accumulated deficit, establish its first endowment, increase musician compen-sation and benefits by nearly thirty percent, triple the size of music education activities in the Berkeley schools, and ensure a smooth transition of artistic leadership. Now as wecomplete Joana’s second full season, it seems the organization is ready to take the next step.

On Friday, April 29, we will honor Kathy for her outstanding leadership and many contri-butions to Berkeley Symphony at our annual Gala at the Claremont Hotel. Mark your calendar and be sure to get your tickets early! Whether you can attend that evening or not, I hope you’ll consider joining me in making a contribution of your own this winter in tribute to Kathy and in recognition of the lesson she taught by example: one individual can make a difference. Perhaps, in the end, that is Kathy’s most important gift of all!

Jim KleinmannExecutive Director

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Dear Friends,Happy 2011! I hope this

New Year has already broughtyou and your loved ones an abundanceof joy and good health. And, ofcourse, music! So far, our second sea-son together has been truly exciting;we had a season opening concert withviolinist Jenny Koh performing twoconcerti (Beethoven and Adams)—aprogram that the world continues totalk about—and a second concert inwhich we not only celebrated love butplayed our first commission since Ibecame music director of this wonder-ful orchestra. And I am happy to say itwas a great success; Enrico Chapela´s Private Alleles left us all wanting to hear more ofhis music!

We continue our season with another world premiere in January, this timethrough the imagination of Chinese composer Du Yun, whose music I instantly loved,and hope you will too. We also celebrate the great Beethoven with his Sixth Symphonyand revisit what I would dare to call a Berkeley classic, Messiaen´s Oiseaux exotiques,honoring the great legacy of Kent Nagano.

Our final concert is a personal delight. I am very happy to work with MarikaKuzma and the UC Chamber Chorus and Alumni in a piece that I think marks thegreat sacred writing of the past twenty years, James MacMillan´s Seven Last Words fromthe Cross. In this concert, we also celebrate each of our orchestra musicians and instru-ments with Stravinsky´s wonderful Symphonies of Wind Instruments, followed by thepowerful Chamber Symphony by the great Shostakovich.

Great music as always, and what a privilege it is to share it with you, to feel yourconfidence in our programming and guidance in looking to the future of orchestralmusic. Because of you, Berkeley Symphony truly feels like a 21st century orchestra,always looking forward.

With all my gratitude and best wishes,

Joana CarneiroMusic Director

Message from the Music Director

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N oted for her vibrant performanc-es in a wide diversity of musicalstyles, Joana Carneiro has

attracted considerable attention as oneof the most outstanding young conduc-tors working today. In January 2009, she was named Music Director ofBerkeley Symphony, succeeding KentNagano and becoming only the thirdmusic director in the 40-year history of the orchestra. She currently serves as official guest conductor of theGulbenkian Orchestra, working with theorchestra at least four weeks every year.

Joana Carneiro’s 2010–11 seasonhighlights include a re-engagement withthe Saint Paul Chamber Orchestra with

Dawn Upshaw as soloist, debuts with the Detroit and Indianapolis symphonies, and a return to São Paulo where she will conduct the complete Daphnis et Chloë. Last season, she led much-lauded debuts with the São Paulo State Symphony, EnsembleOrchestral de Paris, and Saint Paul Chamber Orchestra, where the Pioneer Press calledher performance “an unqualified triumph.” Previous engagements include the LosAngeles Chamber Orchestra, New World Symphony, Grant Park Music Festival, and Manhattan School of Music. In Europe, she has conducted the NorrköppingSymphony, Prague Philharmonia, and Orchestre de Bretagne, among others. Her Asian appearances have included the Macau Chamber Orchestra and BeijingOrchestra at the International Musica Festival of Macau.

Increasingly in demand as an opera conductor, Carneiro makes her CincinnatiOpera debut in July 2011 conducting John Adams’s A Flowering Tree, in which shealso recently debuted with the Chicago Opera Theater and at La Cité de la Musiquein Paris. In January 2010, Carneiro led performances of Peter Sellars’s stagings ofStravinsky’s Oedipus Rex and Symphony of Psalms at the Sydney Festival. Previously she served as assistant conductor to Esa-Pekka Salonen at the Paris Opera’s premiereof Adriana Mater by Kaija Saariaho and led critically acclaimed performances ofPhilippe Boesmans’s Julie in Bolzano, Italy.

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Joana Carneiro was a finalist at the prestigious Maazel-Vilar Conductor’sCompetition at Carnegie Hall in 2002. Since then, her profile has grown quickly in both the United States and Europe. From 2005 through 2008, she was a Leagueof American Orchestras Conducting Fellow at the Los Angeles Philharmonic, where she worked closely with Esa-Pekka Salonen, hosted education concerts, and conduct-ed subscription concerts and special projects at Walt Disney Concert Hall and at the Hollywood Bowl. In 2003-2004, she worked with Maestros Kurt Masur andChristoph von Dohnányi and conducted the London Philharmonic Orchestra as oneof three conductors chosen for London’s Allianz Cultural Foundation InternationalConductors Academy.

A native of Lisbon, Joana Carneiro began her musical studies as a violist beforereceiving her conducting degree from the Academia Nacional Superior de Orquestrain Lisbon, where she studied with Jean-Marc Burfin. She received her Master’s degree in orchestral conducting from Northwestern University as a student of VictorYampolsky and Mallory Thompson, and pursued doctoral studies at the Universityof Michigan, where she studied with Kenneth Kiesler. Carneiro is the 2010 recipientof the Helen M. Thompson Award, conferred by the League of American Orchestrasto recognize and honor music directors of exceptional promise. In March 2004,Carneiro was decorated by the President of the Portuguese Republic, Mr. JorgeSampaio, with the Commendation of the Order of the Infante Dom Henrique.

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Barbara Hauser,viola

Barbara Hauser is retiring thisyear as a long-time violistwith Berkeley Symphony.

Barbara has played violin andviola for 54 years. She started on keyboards as an 8 year old andprogressed to the string instru-ments as a teenager. She has aMaster’s in Music Performancefrom Chicago Musical Collegeand has taught in public schoolsand privately for many years. In 1983, she won a position as principal violist in the IsraelChamber Orchestra, where she toured in Israel and major European countries. When she returned to the U.S., she settled in Berkeley and has been playing in local orchestras,including Berkeley Symphony for 24 years, Philharmonia Baroque Orchestra for 10 years,and many freelance gigs. Sixteen years ago, she became a physical therapist assistant and has combined her love of music with love of exercise and fitness in many settings, includingaquatics, outpatient work, hospitals, and nursing homes. She currently works in a nursinghome and has a consulting business in fall prevention in the Fremont/Tri-Cities area.

Barbara wishes to thank Berkeley Symphony for helping to make her life joyous and fulfilling. She will miss her friends, the wonderful audience, and the great and unusualexperience of playing music in Berkeley for 24 years.

12 January 20 and March 10, 201112 January 20, 2011

Farewell


Violin I†

*Franklyn D’AntonioConcertmaster Chair sponsored in celebration of the life of Carl Helmholz

+Noah Strick+++Joseph MaileVirginia BakerEugene ChukhlovLarisa KopylovskyCandy SandersonLisa ZadekJosepha FathDavid GroteQuelani PenlandJessica LingLily MackayYP

Bert Thunstrom

Violin II**Richard Altenbach++Karsten WindtMatthew OshidaAdrienne Sengpiehl

HerbertRick DiamondAnn EastmanCharles ZhouAnnie LiDaniel ChoKristen JonesRose Marie GinsburgMark YanoverPat Atwood

Viola**Tiantian Lan

Viola (continued)

++Darcy RindtIlana MatfisPatrick KrobothMarta TobeyHarold LevinStephanie NgPeter LiepmanNina HartAmy Apel

Cello**Carol Rice

The Dr. Jean Born Chair

++Stephanie LaiNancy BienMu’afrida BellKen JohnsonAdaiha MacAdam-

SomerPeter BedrossianGabriel WeilandYP

Jessica Blixt-LoganYP

Bass**Michel Taddei++Robert AshleyAlice OlsenAlden CohenDavid SullivanRoger Paskett

Flute**Emma MoonStacey Pelinka

PiccoloRena Urso-Trapani

Oboe**Deborah ShidlerBennie Cottone

B-flat Clarinet**Roman Fukshansky

Sponsored in celebration of the life of Dan Bloom

Diana Dorman

E-flat ClarinetMike Corner

Bass ClarinetMark Shannon

Bassoon**Rufus David OlivierRavinder Sehgal

Horn**Stuart GronningenRichard Reynolds

Sponsored in celebration of the life of Harriet M.Clay

Tom Reicher

Trumpet**Ari MicichCheonho Yoon

Timpani**Kevin Neuhoff

JANUARY 20, 2011

Percussion**Ward Spangler Kevin NeuhoffScott BleakenVictor AvdienkoJim KassisMark VereggeTim Dent

Franklyn D’AntonioOrchestra Manager

Joslyn D’Antonio,Co-Orchestra Manager

Quelani Penland,Librarian

YP=Member of Young People’sSymphony Orchestra

*Concertmaster

+AssociateConcertmaster

+++AssistantConcertmaster

**Principal

++Assistant Principal

†This section sponsored byEllen and Roger Hahn, in memory of her father, SamuelJoseph Leibovici, a member of the first violin section of the Boston SymphonyOrchestra from 1926 to 1962.

January 20, 2011 13

Berkeley Symphony



BERKELEY SYMPHONY2010–11 SEASON

JOANA CARNEIRO

CONDUCTOR/MUSIC DIRECTOR

JAMES A. KLEINMANN, EXECUTIVE DIRECTOR

8:00 pm, Thursday, January 20, 2011

Zellerbach Hall

DU YUNMantichora

World Premiere

OLIVIER MESSIAENOiseaux exotiques

Natasha Paremski, piano

— INTERMISSION —

Program continues on next page

January 20, 2011 15


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LUDWIG VAN BEETHOVENSymphony No. 6 in F Major, Op. 68

I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande(Awakening of cheerful feelings upon arrival in the country): Allegro ma non troppo

II. Szene am Bach (Scene at the brook): Andante molto mossoIII. Lustiges Zusammensein der Landleute (Happy gathering of country folk):

AllegroIV. Gewitter, Sturm (Thunderstorm; Storm): Allegro V. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm (Shepherds’

song;cheerful and thankful feelings after the storm): Allegretto

Season Sponsors

Concert SponsorsJanet & Michael McCutcheon

Deborah O’Grady & John AdamsLisa & Jim Taylor

A Berkeley family who also support LifeLong Medical Care

The commission and premiere of Du Yun’s work is made possible in part by The Clarence E. Heller Foundation.

Additional support for this premiere is made possible by the Phyllis C. Wattis Foundation.

Presentation bouquets are graciously provided by Jutta’s Flowers.

Tonight’s concert will be broadcast on KALW 91.7 FM, Sunday, May 15, 2011 at 4:00 p.m.

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

Young People’s Symphony Orchestra, led by Music Director/Conductor David Ramadanoff, is celebrating its 75th season. Visit them at www.ypsomusic.net

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

Please be sure cellular phones are switched OFF during the concert.

Kathleen G. Henschel

January 20, 2011 17



January 20 Program Notes

Mantichora(World Premiere)

DU YUN (b. 1977)Chinese composer Du Yun was born andraised in Shanghai, China. Mantichora, aBerkeley Symphony commission, is scoredfor strings. Duration ca. 12 min.

The composer has provided the following comments:

He looks like a part of us and yet he isnever one of us.

The Mantichora,* the Man-eater,devours his prey whole.

Sounds of besieged, a realm unveils.The edge of the body imperceptiblycrosses over into the world of predators.A turf of immanence.

©2011, Du Yun

Oiseaux exotiques

OLIVIER MESSIAEN (1908-1992)Olivier Messiaen was born in Avignon onDecember 10, 1908 and died in Paris onApril 27, 1992. Oiseaux exotiques wascommissioned by Pierre Boulez for the“Domaine Musical” concerts at the PetitThéâtre Marigny in Paris. It is is scoredfor piccolo, flute, oboe, clarinets (E-flat,two in B-flat, and one bass), bassoon, 2horns in F major, trumpet, piano, andpercussion (5 players on glockenspiel,

xylophone, 3 temple blocks, wood block,bass drum, 3 gongs, tam-tam). Durationca. 16 min.

O iseaux exotiques (1955–56), one ofMessiaen’s earliest works to rely on

bird song for its musical language, hasalso remained one of his most popular.His exotic birds, “birds that neverencounter each other,” are randomlyplaced next to one another—birds fromIndia, China, Malaysia (East Indies), and South America, and a vast majorityfrom North America. He gathered theirsongs on his frequent trips into the field; others he had to transcribe fromgramophone records. In Réveil desoiseaux, composed two years earlier, he had dealt with the melodic outlines of bird song, but in Oiseaux exotiquesMessiaen made his first attempt toreflect the timbre of those songs.

Messiaen was also fascinated bycolor, believing that certain musicalsonorities represented certain colors.Thus, not only the songs, but also theplumage of the birds can be “heard.”Furthermore, the work exhibits anotherof Messiaen’s great passions—Greek andHindu rhythms. These are superimposedon the bird song material by unpitchedpercussion instruments in the centraland final tutti sections.

The piece is organized in sectionsthat alternate ensemble playing and solopiano cadenzas. The general outline canbe given as follows:

Introduction (tutti): minah, laugh-ing thrush

January 20, 2011 19

*A Manticore is a gigantic red lion with a humanface and three rows of teeth.



Piano cadenza 1: minah, woodthrush

Ensemble: leafbird (piccolo),Baltimore oriole (flute, oboe,clarinet), mesia (glockenspiel),California thrasher (xylophone)

Piano cadenza 2: cardinalEnsemble: texture and timbre of

first ensemblePiano cadenza 3: more cardinalCentral tutti: Introduction: prairie

chicken; main section: numer-ous bird types, emphasizinglaughing thrush and shama;closing: similar to introduction;the whole underpinned byGreek and Hindu rhythms inthe percussion

Piano cadenza 4: catbird, bobolinkFinal tutti: shama and various other

birds, A–B–A–B–A pattern,more percussion rhythms

Piano cadenza 5: wood thrush, cardinal

Coda (tutti): minah, laughingthrush, similar to introduction

The composer provided the follow-ing description of the work’s circum-stances, some of its birds (many more are listed in the preface to the score),and the Greek and Hindu rhythms heemployed:

Oiseaux exotiques was commissionedby Pierre Boulez for his DomaineMusical concerts at the PetitThéâtre Marigny. It was composedbetween October 5, 1955, andJanuary 23, 1956, and first per-formed on March 10, 1956, in Paris(Petit Théâtre Marigny), conductedby Rudolf Albert. Yvonne Loriodplayed the piano, MM. Deplus andVacellier the clarinets, M. Deléclusethe xylophone. The concert was

repeated the following day. Thework is dedicated to YvonneLoriod.

The Oiseaux exotiques that singin this score have marvelous col-ored feathers. These very lively col-ors are in the music: all the colorsof the rainbow circulate there,including red, the color of hotcountries and of the beautiful‘Cardinal of Virginia’! But there isalso the ‘Hindu Minah’ (black withyellow neck) which utters singularcries, the ‘Lesser Green Leafbird’(completely green, like a leaf inspring, with a yellow cap) whichproduces a varied warbling, the‘Baltimore Oriole’ (orange andblack feathers) which produces joy-ous vocalises, the ‘Prairie Chicken’which possesses air sacs that enableit to produce shrill sounds followedby long inflections towards thelower register, the ‘Mockingbird’(grey, pink, fawn brown streakedwith white), which makes brassy,staccato strophes, rich in harmon-ics, of an incantatory character.The ‘Cat-Bird’ (slate grey) beginsits strophes with a ‘miaow.’ The‘Shama, or White-rumped Shama’(bluish-black, with orange stom-ach, long, black and white cross-striped tail) is a marvelous singerwhose repertoire is made up ofrhythmic percussive figures, of rep-etitions of two disjunct notes, andsparkling fanfares with a brassytone. Its voice dominates the final tutti. The ‘White-CrestedLaughing Thrush’ is a large birdliving in the Himalayas. It is terri-fying because of its looks and its implacable vociferations. The‘American Robin,’ given to the twoclarinets, enlivens the entire central

January 20, 2011 21


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tutti. Also singing: the ‘Olive-Backed Thrush,’ the ‘HermitThrush,’ the ‘Red-WhiskeredBulbul,’ and the ‘Wood-Thrush,’whose sparkling fanfare, full of sun-light, ends the first piano solo‘cadenza’ and begins the last.

The work also uses Greek andHindu rhythms, given to the per-cussion. Deçi-Tâlas of ancient Indiafrom the Çârngadeva system:Nihçankalîla, Gajalîla, Laksmiça,Caccarî, Candrakalâ, Dhenkî,Gajajhampa and Carnatic theory:Matsya-sankirna, Triputa-Mishra,Matsya-Tishra, Atatâla-Cundh.

Among the Greek rhythms onefinds composed feet or meter:Dactylo-epitrite, and lines of com-posed meter: Iambelegiac, and final-ly logoaedic lines: Asclepiad,Sapphic, Glyconic, Aristophanic,Phalecian, Pherecratian.

©2011, Jane Vial Jaffe

Symphony No. 6 in F major,op. 68, “Pastoral”

LUDWIG VAN BEETHOVEN(1770-1827)Ludwig van Beethoven was born in Bonnand died in Vienna. He completed hisSixth Symphony in 1808. The first per-formance took place on December 22 of that year at the Theater an der Wien in Vienna at a marathon concert that also included the premiere of his FifthSymphony. The work captured the compos-er’s affinity for nature. It is scored for 2 flutes, 1 piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones,timpani, and strings. Duration ca. 51 min.

Ideas for one of the world’s most cele-brated examples of program music—

that is, music that tells a story or relieson elements outside of the abstractconstructs of music itself—occurred toBeethoven as early as 1803. A sketchfor the merry peasant dance in thePastoral Symphony’s third movementtrio appears in the Eroica Symphonysketchbook, as does another sketchlabeled “the murmuring of the brook,”which Beethoven gives in two keys say-ing, “the larger the stream, the deeperthe note.”

Beethoven’s concerns about pro-gram music—echoed by many a com-poser to follow—came into focus as hebegan sketching the Sixth Symphonyin earnest in 1808. He noted on thefirst page of the main sketchbook forthe work, “the listener should be ableto discover the situations for himself ”and “every kind of painting loses bybeing carried too far in instrumentalmusic.” In the program for the pre-miere, Beethoven warned his audiencethat the Pastoral was “more an expres-sion of feeling than painting.”

Nevertheless, Beethoven thoughtcertain guidelines were necessary, subti-tling the work “Recollections ofCountry Life,” and attaching descrip-tive titles to the five movements. Thesetitles reveal his familiarity with those ofJustin Heinrich Knecht’s symphony forfifteen instruments entitled A MusicalPortrait of Nature. As Beethoven schol-ar George Grove pointed out in 1896,Knecht’s symphony, complete withdescriptions, had been advertised in1783 on the same page of Cramer’sMusic Magazine as Beethoven’s firstthree piano sonatas, WoO 47.Compare Beethoven’s descriptions onthe program page with these forKnecht’s Portrait:

January 20, 2011 23


1. A beautiful country, the sunshining, gentle airs andmurmuring brooks; birdstwitter, a waterfall tumblesfrom the mountain, theshepherd plays his pipe, the shepherdess sings, andthe lambs gambol around.

2. Suddenly the sky darkens, anoppressive closeness per-vades the air, black cloudsfather, the wind rises, dis-tant thunder is heard andthe storm approaches.

3. The tempest bursts in all itsfury, the winds howl andthe rain beats, the treesgroan and the streams rush furiously.

4. The storm gradually lessens,the clouds disperse and the sky clears.

5. Nature raises its voice to heav-en in songs of gratitude tothe Creator.

Beethoven’s Pastoral Symphonymaintains an exquisite balancebetween abstract and programmaticmusical elements. The conventionalforms—sonata, ternary, sonata-rondo—provide the basic structure,with “narrative” events calling forth“disruptions,” that is, four movementsbecome five with the interruption ofthe storm, and the storm follows itsown descriptive course. An equallyfine balance between suggestive andovert pictorialism allows for the open-ing to suggest a generic nature scene,while at the conclusion of the Sceneby the Brook the composer actuallynotates and labels certain bird calls:nightingale (flute), quail (oboe), andcuckoo (clarinets).

The Sixth Symphony was first

January 20 and March 10, 2011 25January 20, 2011 25

performed on that incredible, historicmore-than-four-hour concert at theTheater an der Wien on December 22,1808, an all-Beethoven program con-sisting mainly of newly composedworks: the Fifth and Sixth Symphoniesconducted by the composer, theFourth Piano Concerto in whichBeethoven performed the solo part,the aria “Ah! perfido” (1795–96), three numbers from his Mass in Cmajor, Op. 86, his own improvisa-tions, and—for an effective concertending and because the chorus wasalready on hand—the quickly com-posed Choral Fantasy, Op. 80. By allaccounts, the preparations for this con-cert had been extremely problematic,Beethoven himself contributing a largeshare of the difficulties. The audiencehalf froze in the unheated hall, and the under-rehearsed concert could nothelp but produce mixed results, butwhat a wealth of inventive ideas hehad unleashed!

The difference between the Fifthand Sixth Symphonies could hardly be more pronounced, apparent imme-diately in their openings: the Fifth ispowerfully assertive and the Sixth gently unobtrusive. The Sixth’s quietdrone and a snippet of violin tunecome to a stop, begin again, and swellgradually as Beethoven deftly fashionshis “awakening.” This is Beethoven athis most leisurely—far removed fromthe heroic striving of many of hisworks. Yet beneath the sunny, almostcarefree atmosphere lies an extendedsonata form movement, ingeniouslyconstructed out of just a few motives.One of these, the sprightly five-notedescent derived from the second meas-ure of the initial violin tune, comes topermeate the development.

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Beethoven’s Scene by the Brook,for all its lovely flowing and ripplingimages, is also molded into traditionalsonata form—if possible, with aneven more relaxed touch. His orches-tration of the brook’s underlying murmur is masterfully subtle, withsecond violins and violas doubled by two muted solo cellos. The brooktakes some delightful harmonic excur-sions during the development section,returning unhurried to a more elabo-rately scored recapitulation, at the end of which his designated featheredfriends make their appearance.

The final three movements flowdirectly into one another. The MerryGathering of Country Folk followsBeethoven’s expandedscherzo–trio–scherzo–trio–scherzoform, with the trio—derived fromone of the 1803 sketches—providinglusty contrast in meter and character.The return of the scherzo is interrupt-ed by ominous rumblings of thunderand the first drops of rain, dramatical-ly suspended until the storm breaks infull fury. The hair-raising splendor ofthe storm—perhaps the most effectivein the repertoire—is achieved with a relatively modest-sized orchestra.Beethoven allows himself the “extras”here of shrieking piccolo and ragingtrombones. The storm subsides inexquisitely spaced fragments that leaddirectly into the shepherd’s song ofthanksgiving. The sun comes out andtranquility returns, all in the form ofa sonata-rondo. Beethoven allows hissong of thanksgiving a few momentsof passion in the coda before subsid-ing in a kind of twilight atmosphere,which he caps with two emphaticchords.



Du Yun, composer

E qually adept at writing for concerthalls, art shows, experimental the-atres, and dance, Du Yun is known

to explore the physical reality of soundwith her visceral, genre-defying compo-sitions. Her works have been describedas “. . . exuberant . . . wildly energetic . . .” (The New York Times) and won her international acclaim, includinggrants and commissions from theRockefeller Foundation, ChamberMusic of America, and the ShanghaiNew Music Foundation, among others.

Among her recent concert high-lights are premieres and performances by the Netherlands Radio KamerFilharmonie, the Shanghai SymphonyOrchestra, the InternationalContemporary Ensemble, and theBoston Modern Orchestra Project. Her score for visual artist ShahziaSikander’s most recent video, Interstitial, will be on tour in India,Laos, Pakistan and Japan in early 2011.

Aside from composing notated musicfor concert halls, Du Yun’s music alsoincludes writing for art shows, off-off-Broadway theatres, performing actively at avant-garde venues on the amplified/processed Chinese zither (zheng), piano,laptop, and performing with her ownvoice. She is also a founding composer of the critically acclaimed InternationalContemporary Ensemble (I.C.E.). Herclassical compositions can be heard onlabels such as Wugui (Beijing), ShanghaiClassical Music, ATMA Classique, NewFocus, and Oxingale.

Born and raised in Shanghai, China,Du Yun currently resides in New YorkCity. She is an alumna of the ShanghaiConservatory, Oberlin Conservatory(B.M.) and Harvard University (A.M.,Ph.D). Her principal composition teachers include DENG Erbo, RandolphColeman, Bernard Rands, JoshuaFineberg, and Mario Davidovsky. Since2006, Du Yun has served on the compo-sition faculty at the State University of New York-Purchase.

September 23 Guest Artists



Natasha Paremski, piano

Twenty-two-year-old NatashaParemski was born in Moscow andimmigrated to the United States

with her family in 1995. She studied at the San Francisco Conservatory of Music and made her professionaldebut at age nine with the Bay Area’s El Camino Youth Symphony.

Since then, she has performed withorchestras such as the San FranciscoSymphony, Los Angeles Philharmonic,the Royal Scottish National Orchestra,and the National Symphony in Taiwan,and at major concert halls and festivals,including London’s Wigmore Hall, the Auditorium du Louvre in Paris, the Schloss Elmau and Verbier festivals, and on the Rising Stars Series ofGilmore and Ravinia. She recentlyappeared at Lincoln Center as part of

the “What Makes it Great?” serieswith Rob Kapilow, and toured theUnited Kingdom with the RoyalPhilharmonic Orchestra.

With a strong focus on newmusic, Natasha’s growing repertoirereflects an artistic maturity beyond her years. At the suggestion of JohnCorigliano, she brought her insightand depth to his Piano Concerto with the Colorado Symphony in the2007–2008 season, both on subscrip-tion and in a featured concert at theNational Performing Arts Conventionin June 2008. In recital, she has played several pieces by Fred Hersch.Natasha has also performed AntonRubinstein’s fourth piano concerto in the U.S. and Europe in past seasonsto great acclaim.

Outside the concert hall, she wasfeatured in a major two-part film forBBC Television on the life and workof Tchaikovsky. She also participatedalong with Simon Keenlyside andMaxim Vengerov in the filming of“Twin Spirits,” a project starring Sting and Trudie Styler that exploresthe music and writing of Robert andClara Schumann.

Paremski graduated from MannesCollege of Music in 2007, under thetutelage of Pavlina Dokovska. She is a recipient of numerous outstandingawards, including the Prix Montblanc2007, the 2006 Gilmore Young ArtistAward, and the 2002 Bronislaw KaperAward sponsored by the Los AngelesPhilharmonic. She has recorded twodiscs on the Bel Air Music label withthe Moscow Philharmonic orchestra,featuring Anton Rubinstein’s PianoConcerto No. 4, Rachmaninov’sPaganini Rhapsody, and Chopin’sshorter works for piano and orchestra.


T O A D V E R T I S E

I N T H E

B E R K E L E Y S Y M P H O N Y

P R O G R A M

C A L L J O H N M C M U L L E N

5 1 0 . 6 5 2 . 3 8 7 9


Joana Carneiro, Music Director

Thursday, March 10, 2011, 8pmStravinsky Symphonies of Wind InstrumentsShostakovich Chamber Symphony, Op. 110aJames MacMillan Seven Last Words

from the Cross; with chorus

UC Berkeley’s Zellerbach HallTickets: $20, $40, and $60.

BERKELEY SYMPHONY: UNDER CONSTRUCTIONSunday, March 13, 2011, 7pmNew works by Emerging Composers-in-Residence in an open rehearsal/performance!

St. John’s Presbyterian Church, 2727 College Ave., Berkeley

Tickets: $10 general admission; $20 priority seating.

BERKELEY SYMPHONY FAMILY CONCERTSMing Luke, conductorSaturday, May 7, 2011 at 10 am and 11:30am

Meet the Symphony and join in the music-making in these fun, interactive and educational one-hour concerts designed for all ages! A perfect complement to Berkeley Symphony’s award-winning Music in the Schools program.Malcolm X Elementary School AuditoriumTickets: $10 adults; $5 children

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36 January 20 and March 10, 201136 March 10, 2011


BERKELEY SYMPHONY ORCHESTRA2010–11 SEASON

JOANA CARNEIROCONDUCTOR/MUSIC DIRECTOR

JAMES A. KLEINMANN, EXECUTIVE DIRECTOR

8:00 pm, Thursday, March 10, 2011Zellerbach Hall

GABRIELA LENA FRANKA Musical Tribute to Harry Weininger

Commissioned by Linda Schacht

IGOR STRAVINSKYSymphonies of Wind Instruments

(1947 version)

DMITRI SHOSTAKOVICHChamber Symphony, Op. 110a

I. LargoII. Allegro molto

III. AllegrettoIV. LargoV. Largo

— INTERMISSION —

Program continues on next page

March 10, 2011 37


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JAMES MACMILLANSeven Last Words from the Cross

1. Father, forgive them, for they know not what they do

2. Woman, Behold Thy Son!…Behold, Thy Mother!

3. Verily, I say unto thee, today thou shalt be with me in Paradise

4. Eli, Eli, lama sabachtani (My God, My God, why have you forsaken me)

5. I thirst

6. It is finished

7. Father, into Thy hands I commend my Spirit

UC Chamber Chorus and AlumniMarika Kuzma, Conductor

Season Sponsors

Concert SponsorsSusan & Jim Acquistapace

Tom & Mary Reicher

Presentation bouquets are graciously provided by Jutta’s Flowers.

Tonight’s concert will be broadcast on KALW 91.7 FM, Sunday, September 11, 2011 at 4:00 p.m.

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. All programs subject to change.

Please be sure cellular phones are switched OFF during the concert.


March 10, 2011 39


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March 10 Program Notes

Symphonies of WindInstruments

IGOR STRAVINSKY (1882-1971)Igor Stravinsky was born in Oranienbaum(now Lomonosov) on June 17, 1882 anddied in New York on April 6, 1971. It isscored for 3 flutes, 2 oboes, English horn, 3clarinets, 3 bassoons, 1 doubling on contra-bassoon, 4 horns, 3 trumpets, 3 trombones,and tuba. Duration ca. 9 min.

Despite occasional strains in their relationship, Stravinsky profoundly

admired Debussy, and when he learned of the older composer’s death in the springof 1918, he jotted down a sketch thatwould later open his Symphonies of WindInstruments. Other sketches that turned up in the piece date from 1919, amongthem the concluding chorale motive,though Stravinsky made no indication of what use he might make of them. Then in the spring of 1920, HenriPrunières asked him to contribute a piano piece for a Debussy memorialalbum to be published by La RevueMusicale. That summer Stravinsky worked in earnest on Symphonies of WindInstruments, beginning with the conclud-ing chorale, which appeared in a pianoversion in the December 1920 album.

Stravinsky dedicated the completedSymphonies of Wind Instruments to thememory of Debussy, but it took until the 1990s for widespread realization todawn—through the work of RichardTaruskin—that Stravinsky in fact basedthe piece on the Russian Orthodox

panikhida (service for the dead). The ritual bells, litanies, choral responses,and hymns associated with the servicecan all be heard in the brief space ofnine minutes. Stravinsky even hinted atthis when he described the Symphonies as“an austere ritual which is unfolded interms of short litanies between differentgroups of homogeneous instruments.”

What seems to have obscured theextramusical influence was thatStravinsky’s unconventional musical lan-guage made huge waves—both amongcomposers influenced by its mosaic-likeconstruction and among theorists benton explaining his techniques or arguingwhether this or Pulcinella should becalled his first Neoclassic work. Here itshould be mentioned that when the term Neoclassicism was first applied toStravinsky it was in Boris de Schloezer’s1923 discussion of this very piece and it meant a style “stripped-down” to itsessence, rather than something retrospec-tive. Stravinsky latched onto this way of looking at his Symphonies of WindInstruments because it was more earth-shaking than linking it to a Russian tradition—something he never explicitlyrevealed—and took to describing thepiece as an arrangement of “tonal masses. . . sculpted in marble . . . to be regard-ed objectively by the ear.”

In any case, the Symphonies of WindInstruments indeed represents the mostpronounced turning point in Stravinsky’sstyle, which helps to explain its unsuc-cessful premiere. The first performancehad been scheduled for a concert on

March 10, 2011 41



June 7, 1921, at London’s Queen’s Hall, at which Eugene Goossens was also conducting Stravinsky’s Rite ofSpring. Serge Koussevitzky was concur-rently presenting a festival of Russianmusic, and when he heard of the premiere’s cancellation he convincedStravinsky to let him present theSymphonies at one of his concerts at thesame venue on June 10. The lack ofrehearsal time and the piece’s placementat the end of an already lengthy programof lush Romantic Russian works spelleddisaster, especially since there was a massexodus of players from the precedingpiece and those left on stage had to playwith a sea of empty chairs separatingthem from Koussevitzky’s gesticulations.

Stravinsky was still wounded overthe piece’s poor reception when he wrotein 1936, “I did not, and indeed I couldnot, count on any immediate success for this work. It lacks all those elementsthat infallibly appeal to the ordinary listener, or to which he is accustomed.”Nevertheless, the Symphonies of WindInstruments left an indelible impressionon subsequent composers and has manytimes over-fulfilled Stravinsky’s hope that the piece “would appeal to some of those persons in whom a purely musi-cal receptivity outweighed the desire tosatisfy their sentimental cravings.” Aswith many of his works, Stravinsky laterrevised the Symphonies for practical reasons. The 1947 version changes theplacement of bar lines and replaces thealto flute with a standard flute, whichnecessitated other rescoring.

The Symphonies of WindInstruments—”symphonies” referring to the original meaning of “soundingtogether” rather than “symphonicpieces”—unfolds in two sections, basedon Stravinsky’s recollection of theRussian service rather than on research.

The first evokes the ritual “bells,” thetraditional reading of Psalm 118, andvarious litanies leading to the big hymnof the departed (Tropar’ o usopshikh), a strophic choral anthem with refrainthat Stravinsky clearly represents in theflute/clarinet music with regular “choral”interjections. The second section beginsby invoking another small litany beforeintoning the Kanon (fortissimo accentedchords, Tempo III), and eventually con-cludes in repose with the eternal remem-brance (Vechnaya pamyat’)—Stravinsky’sRevue Musicale chorale.


Chamber Symphony in Cminor, op. 110a

DMITRI SHOSTAKOVICH (1906-1975)arr. Rudolf Barshai (b.1924)Dmitri Shostakovich was born in St.Petersburg on September 25, 1906 anddied in Moscow, on August 9, 1975. Thetranscription of his Eighth String Quartetin C minor as a “Chamber Symphony” forstring orchestra was made in 1960—withhis permission—by Russian conductor andviolinist Rudolf Barshai, who at the timewas the conductor of the Moscow ChamberOrchestra. It is scored for string orchestra.Duration ca. 22 min.

The Eighth String Quartet is probablythe best known of Shostakovich’s

string quartets because of its quotationsfrom his own earlier works and its perva-sive use of the motto formed by usingthe initials of his first and last names,D.SCH. (from Dimitri Schostakowitsch,the German transliteration, which inGerman musical notation equates to D, E-flat, C, and B-natural). This

March 10, 2011 43


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“autobiographical” Quartet was composedin only three days, July 12–14, 1960,while the composer was in Dresden sup-posedly working on the score for a WorldWar II film entitled Five Days, FiveNights. The Quartet that occupied himinstead was officially dedicated “to thememory of the victims of fascism andwar,” but it masked an inner dedication—to the composer himself.

Shostakovich had just been coercedto join the Communist Party and heviewed his submission with self-loathing.His deep depression prompted the con-templation of his own mortality; onescholar and friend of Shostakovich sug-gested that the composer thought of theEighth Quartet not only as autobiograph-ical but at the time as his final work. Hehad in essence written his own Requiem.On July 19, 1960, Shostakovich wrote tohis friend Isaak Glikman:

I have been considering that when Idie, scarcely anyone will write a workin my memory. Therefore I havedecided to write one myself. Then onthe cover they can print: ‘Dedicated tothe author of this Quartet.’ The maintheme of the Quartet is the notes D-S-C-H, my initials. The Quartet con-tains themes from my works and therevolutionary song ‘Zamuchontyazholoy nevoley’ [Tormented byHeavy Captivity]. My themes are thefollowing: from the First Symphony,the Eighth Symphony, the [SecondPiano] Trio, the [First] Cello Concertoand from Lady Macbeth. I have madeallusions to Wagner (Funeral Marchfrom Götterdämmerung) andTchaikovsky (second theme from thefirst movement of the SixthSymphony). Oh yes, I forgot myTenth Symphony. A nice mish-mash.

His continuation described how

much he had wept during and after theQuartet’s completion, but in terms of apseudo-tragedy. Shostakovich was alreadyable to distance himself enough from the emotional content to admire theform of the work as a whole. TheQuartet consists of five movementsplayed without pause, unified by the D-S-C-H motto. The motto also servesto announce the various quotationsthroughout the work. First played by the cello then imitated by the otherinstruments, it introduces his first self-quotation, from the First Symphony.

The second movement provides contrast by means of speed, texture, andconstant loud dynamics. After the promi-nent intonement of the motto by violaand cello, Shostakovich quotes what hecalls “the Jewish theme” from his SecondPiano Trio. The main theme of the thirdmovement transforms the motto into a kind of grotesque waltz. Shostakovichquotes from his First Cello Concerto inone of the episodes, and the extension of this quotation becomes the first themeof the fourth movement. Music from hisopera Lady Macbeth of Mtsensk is quotedboth in this and in the fifth movement,but the most poignant quotation, againintroduced by the motto, is the revolu-tionary funeral march for prisoners“Tormented by Heavy Captivity.”

The fifth movement, a recapitula-tion reminiscent of the first movement,closes the work in the tragic mood that pervades the entire Quartet. Evenwithout knowing the sources of the quotations or that Shostakovich wasrecalling works of special significance in his life, the listener is struck by thedark seriousness of the work and thesoul-searching quality it conveys—a characteristic often associated with thelate Beethoven quartets.


March 10, 2011 45


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Seven Last Words from the Cross

JAMES MACMILLAN (b. 1959)James MacMillan was born at Kilwinningin North Ayrshire, Scotland on July 16,1959. Seven Last Words from the Crosswas commissioned by BBC Television andfirst screened in seven nightly episodes dur-ing Holy Week in 1994. The piece is com-posed for chorus and string orchestra.Duration ca. 45 min.

James MacMillan’s Seven Last Wordsfrom the Cross is often held up as his

greatest achievement to date: a strikingsymbiosis of the composer’s fervent reli-gious beliefs with unabashed melodicimpulse and dramatic outbursts. Theword ‘masterpiece’ is occasionally whis-pered from cathedral to concert hall asthe work seems to have slipped some-what unnoticed into the repertoire andmusical conscious of the nation, a wor-thy addition to an already burgeoningcorpus of works written in celebration of Holy Week. The work undoubtedlyrepresents a watershed for MacMillan; it is the culminating point of a ten yearperiod that began with the now with-drawn work Litanies of Stone and Ironin 1983 and finds the composer in pos-session of a fully-fledged, mature musicallanguage which will bear all the hall-marks of MacMillan’s works to date.

The piece is placed crucially inMacMillan’s oeuvre; it represents eitherthe end of the composer’s ‘first’ period of composing, or perhaps the beginningof his next. This distinction may seemarbitrary at first, but it goes some way todefining both MacMillan’s compositionalaesthetic and the quality of the musicproduced. If we suggest that it belongsto the former, it is the culmination of

a staggering group of works that beganwith the brutal traditionalism of Tryst(1989), the politically charged CantosSagrados (1990), the beguiling modalityof The Confession of Isobel Gowdie(1990), and the now well-trodden meditations of Veni, Veni, Emmanuel(1992). It represents much of whatMacMillan had been striving for inthese compositions—a way of express-ing his profound Catholicism in a waythat was both pertinent and meaningfulto a largely secular audience withouthaving to pander to the voguish musicof John Tavener and Arvo Pärt thatstood (and largely still stands) for con-temporary religiously-derived music. If, however, we suggest it belongs to the next period of his composing careerit is perhaps a beacon of inspiration in a sea of increasing mediocrity, wherethe burning intensity of his earlierworks is gradually being replaced by an over-reliance on gesture, mannerism,and the realization that technique maybe replacing inspiration as the domi-nant compositional impulse.

Seven Last Words from the Crosspremiered by Cappella Nova and theBT Scottish Ensemble, conducted byAlan Tavener with the first concert performance being given at St AloysiusChurch, Glasgow, by the same per-formers. The work begins with a char-acteristic soft, repeated cadential figuremade more striking by the false rela-tions which MacMillan will expandupon later in the work. This simple rising figure originally appeared in anearlier piece of MacMillan’s, Tuireadh(a Gaelic word for ‘lament’), which waswritten in memory of the Piper AlphaDisaster in 1989, and sets the tone forthis introspective first movement. Thetexture thickens gradually and becomesmore animated as staccato tenors and

March 10, 2011 47


basses dwarf the conjunct melodies ofthe sopranos and altos. As the musicbegins to fragment almost to the pointof incomprehension, the sopranosbegin to deliver a soft monotone which comes increasingly to the forebefore finishing the first movementalmost as a whisper.

The second movement begins with unaccompanied tutti chords ofelemental passion and ferocity, theirpower being accentuated by the imposing pauses that separate them.MacMillan brings the false relationback here in all its grandeur with dissonant intervals colliding in the middle voices. The strings build gradu-ally as the tutti chords thin until bothare fighting for prominence; the frag-mented tenor and bass lines on “beholdthy Mother” and the agitated fading of the violins suggest neither succeeds.

The third movement seeks toresolve much of the agitation of theprevious as Jesus’s words “Verily, I say unto you, today thou shalt be withme in paradise” sets the tone for thisreflective and beautiful meditation.Duets for each of the voices are fol-lowed by a striking refrain made all the more arresting by its warm conso-nance and arpeggio string writing. The violin solo that arises from therefrain is perhaps only just erring onthe side of good taste, and is one of the few points where MacMillan nearlysuccumbs to Catholic kitsch.

The fourth movement reflects thequestioning of the title, “My God, myGod, why have you forsaken me?” Thehighly ornamented vocal lines and glissandos give the feeling of instabilityand futile grasping for something moresecure; this is emphasised by the arc-shaped form as the music builds fromthe basses into shimmering full choir

polyphony before returning to thedepths and the opening sonority.

The fifth movement is perhaps the bleakest and is certainly the sparsestwith quick bursts of choral monotonycoalescing uneasily with held string notesand tremolandi. The incredible crescen-do that accompanies the first eruption of “I thirst” is matched only in emotion-al intensity by the weary resignation ofthe second. The crescendo that builds inthe strings is referred to in the score byMacMillan as “like a violent shuddering”and although it fades to nothing it isundeniably a preparation for the horrificstabbing chords that open the sixthmovement. Again MacMillan strays close to bad taste with his depiction of the nails being hammered into Jesus(a trick he would replicate in The World’sRansoming in 1998), though the dramat-ic power of this gesture is countered by the softly building material in thechoir. The opening motif from the firstmovement is expanded and varied as the sopranos and the rest of the choiruneasily sing their opposing texts; even-tually it is the sopranos that emerge withtheir serene melody before the stringstabbing returns to end the movement.

The final movement begins withtutti chords and pauses similar to thesecond, and again each subsequent repetition sees the texture thin and theharmony relax. The final utterance fromthe choir “Father, into thy hands I com-mend my spirit” begins a long section of modal string polyphony (similar insound and design to that of Gowdie) that gradually ascends the register of theorchestra until a lone semitone dyad (thefinal appearance of that false relationfrom the opening) gradually fades, ourears straining to hear what is music andwhat is silence.

©2009, Phillip A. Cooke


March 10 Text and Translation

March 10, 2011 49

1. Father, forgive them, for they know not what they do (Luke 23:34)

Hosanna to the Son of Davidblessed is he who comes in the name

of the Lord,The King of Israel, Hosanna in the Highest!


Hosanna filio Davidbenedictus qui venit in nomine

DomineRex Israel, Hosanni in excelsis!

—The Palm Sunday Exclamation

The life that I held dear I delivered into the hands of the unrighteousand my inheritance has become for me like a lion in the forest.My enemy spoke out against me,‘Come gather together and hasten to devour him.’They placed me in a wasteland of desolation,and all the earth mourned for me.For there was no one who would acknowledge me or give me help.Men rose up against me and spared not my life.

—From the Good Friday Responsaries for Tenebrae

2. Woman, Behold Thy Son . . . Behold, Thy Mother! (John 19:26-27)

3. Verily, I say unto thee, today thou shalt be with me in Paradise (Luke 23:43)

Ecce Lignum Crucisin quo salus mundi pependit:Venite adoremus

Behold the Wood of the Crosson which The Saviour of the world was hungCome let us adore him

—Good Friday Versicle

4. Eli, Eli, lama sabachtani (Matthew 27:46)

My God, My God, why have you forsaken me?

contiunues on next page


January 20 and March 10, 2011 51March 10, 2011 51

My eyes were blind with weeping,For he that consoled me is far from me:Consider all you people,is there any sorrow like my sorrow?All you who pass along this way take heedand consider if there is any sorrow like mine.

5. I thirst (John 19:28)

Ego te potaviaqua salutis de petra:

et tu me postast felle et aceto

I gave you to drink of life-giving water from the rock:

and you gave me to drink of gall and vinegar

7. Father, into Thy hands I commend my Spirit (Luke 23:46)

—Good Friday Reproaches

6. It is finished (John 19:30)

—Good Friday Responsaries for Tenebrae


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March 10 Guest Artists

James MacMillan, composer

J ames MacMillan is one of today’s most successful living composers andis also internationally active as a con-

ductor. His musical language is floodedwith influences from his Scottish heritage,Roman Catholic faith, social conscienceand close connection with Celtic folkmusic, blended together with influencesfrom Far Eastern, Scandinavian, andEastern European music.

MacMillan first became internation-ally recognized after the extraordinarysuccess of The Confession of IsobelGowdie at the BBC Proms in 1990. His prolific output has since been performed and broadcast around theworld, placing him in the front rank of today’s composers. His major worksinclude percussion concerto Veni, Veni,Emmanuel, which has received morethan 400 performances, a cello concertofor Mstislav Rostropovich, the large scalechoral-orchestral work Quickening, andthree symphonies. Recent major worksinclude his new opera The Sacrifice,premiered by Welsh National Opera

and conducted by MacMillan, and hisSt. John Passion, premiered by the LondonSymphony Orchestra and Sir Colin Davis in 2008, with performances in2009 and 2010 by co-commissionersConcertgebouw Orchestra, BostonSymphony, and Rundfunkchor Berlin.

MacMillan was appointed AffiliateComposer of the Scottish ChamberOrchestra in 1990, and between 1992 and 2002 he was Artistic Director of thePhilharmonia Orchestra’s Music of Todayseries. In January 2005 MacMillan wasthe focus of a major retrospective in theBBC Symphony’s annual composer week-end at London’s Barbican Centre, wherehe conducted concerts with both the BBC Philharmonic and BBC SymphonyOrchestra. In 2009, MacMillan won theprestigious Ivor Novello Classical MusicAward and the British Composer Awardfor Liturgical Music.

MacMillan was recently announcedas Principal Guest Conductor of theNetherlands Radio Kamer Filharmonie, a post he took up in the 2010–11 season,following nine years asComposer/Conductor of the BBCPhilharmonic. He has conducted orches-tras such as the Munich Philharmonic,Toronto Symphony, Swedish ChamberOrchestra, Los Angeles Philharmonic, and the Melbourne Symphony. Highlightsof last season include ‘James MacMillan:The Story so Far,’ a season-long focus onhis music in Rotterdam, in which he con-ducted both the Rotterdam Philharmonicand Royal Flemish Philharmonic.

During the 2009–10 season,

March 10, 2011 53


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MacMillan was the focus of an ‘ArtistPortrait’ by the London SymphonyOrchestra. Highlights included the world premiere of his new ViolinConcerto with Vadim Repin conductedby Valery Gergiev, a revival of the St.John Passion under the baton of Sir Colin Davis, and performances of hisEpiclesis and Into the Ferment, both conducted by Kristjan Järvi. Also last season, MacMillan conducted the Danish National Radio SymphonyOrchestra in his St. John Passion, as well as the BBC Philharmonic, FloridaOrchestra, Kymi Sinfonietta, VästeråsSinfonietta and the Orchestra of theRoyal Opera House in a Royal Balletproduction of MacMillan’s Tryst.

James MacMillan has directed manyof his own works on disc for Chandos,BIS, and BMG. This season he recordsA Deep but Dazzling Darkness and his percussion concerto Veni, Veni,Emmanuel with Colin Currie and theNetherlands Radio Kamer Filharmonie,and an acclaimed performance of hisSeven Last Words has recently beenreleased by the Dimitri Ensemble for Naxos. MacMillan was awarded a CBE in January 2004.

Marika Kuzma, choral conductor

C onductor Marika Kuzma has gainedrecognition in the San Francisco Bay Area and beyond as a choral

director of great versatility and high standards. She has directed choirs across North America, including the MontrealSymphony Chorus, the St. LawrenceChoir, the Handel Society of DartmouthCollege, the University of Virginia Singers,the Oakland Symphony Chorus, and her several choirs at the University ofCalifornia, Berkeley. Having studied at the Aspen Festival as an orchestral con-ducting fellow, she has also conductedinstrumental ensembles such as Earplay,Composers Inc., Berkeley Symphony, and the National Orchestra of Ukraine.

Most recently she led the UCChamber Chorus and the Abel-Steinberg-Winant trio in a performance of MortonFeldman’s Rothko Chapel at the BerkeleyArt Museum as part of its L@te series. Inthe 2007–08 season, she was invited to bethe chef de choeur for the Orchestre sym-phonique de Montréal, preparing works by Bach, Beethoven, Bellini, Wagner,Verdi, Debussy, and Ravel. She was invitedback to Montreal in the Fall of 2009 toprepare the Bach St. Matthew Passion.

March 10, 2011 55

56 March 10, 2011

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Directing choirs at UC Berkeley since1990, she has led ensembles in works rang-ing from Machaut to Bach, Mozart, andVerdi, as well as premieres of new works.Her Berkeley choirs have often been invit-ed to perform with professional ensembles.The UC Chamber Chorus has performednumerous times with the PhilharmoniaBaroque Orchestra in collaboration withthe Mark Morris Dance Group, includingthe American premieres of Platée and KingArthur, and L’Allegro. In the realm of EarlyMusic, Kuzma has directed the Collegiumat the Amherst Early Music Festival andled a “chant-along” at Grace Cathedral for the San Francisco Early Music Society.With the UC Berkeley Chamber Chorus,she has directed performances of themedieval Carmina Burana, Dufay’s MissaAve Regina Celorum (recording on Sanglierrecords), the Monteverdi Vespers, andnumerous works by Handel and Bach with Baroque orchestras. In the standardchoral-orchestra repertoire, she has con-ducted performances of works such as the Haydn Creation, Mozart C minorMass and Requiem, the requiems of Fauré,Brahms, Verdi, and Britten, Stravinsky’sSvadebka (Les Noces), and Reich’s Tehillim.

In contemporary music, she has con-ducted premieres of works by Karchin,Reich (West Coast premiere of Proverb),Rockmaker, Rzewski, and Takemitsu(American premiere of Gemeaux, a piece for double-orchestra that she co-conducted with Kent Nagano). She has also premiered works by her composercolleagues at UC Berkeley Jorge Lidermanand John Thow.

Of Ukrainian descent, Marika has aspecial affinity for Eastern European choralmusic. Her concerts have featured works by Bortniansky, Glinka, Rachmaninoff,Stravinsky, Dychko, Schnittke, Sylvestrov,and others. She has published articles andgiven talks on the topic internationally, and

her edition of the choral concertos ofDmitry Bortniansky as well as a recordingof the concertos will be published this year.

UC Chamber Chorus and Alumni

The Chamber Chorus of theUniversity of California, Berkeley is the university’s premiere concert

choral ensemble. The ensemble of some30 singers is particularly acclaimed for itsreadings of both early and contemporarymusic. The chorus has regularly per-formed with the Philharmonia BaroqueOrchestra. Its collaborations with theorchestra and the Mark Morris DanceGroup (Purcell King Arthur, RameauPlatée, Handel L’Allegro) have met withsold-out audiences and enthusiastic critical acclaim. It has also premiered and recorded works by such notedAmerican composers as Elinor Armer,Richard Felciano, Morton Feldman, Lou Harrison, Jorge Liderman, and JohnThow. Its concerts have been featured in broadcasts of the Voice of America,Public Radio International, and AustrianRadio. Concert engagements have included appearances locally in HertzHall, St. Mark’s Church, Zellerbach Hall, Oakland’s Paramount Theater, Grace Cathedral, Christ the LightCathedral, and throughout California, as well as concert tours to Canada,England, Germany (Goethingen Festival),Austria, Ukraine, and the Czech Republic.Its eclectic discography includes works by Guillaume Dufay, Gibbons, Handel(its Handel Susannah with PhilharmoniaBaroque Orchestra won a GrammyAward), Brahms, Feldman, Armer,Liderman, and Thow. Alumni of the UC Chamber Chorus sing with the someof the most prestigious choral ensemblesin the Bay Area and across America.

March 10, 2011 57


Relive Tonight’s Concert

with KALW 91.7 FM

B erkeley Symphony and public radio station KALW 91.7 FM

are pleased to present the broadcast of the Berkeley Symphony’s

2010–11 concert season. KALW will broadcast the season concerts

from 4 to 6 p.m. on Sunday afternoons throughout the year. Special

commentary by longtime classical music host Alan Farley in conver-

sation with selected guests will add to the excitement and insight of

these programs.

A great opportunity to hear favorite performances again and

introduce your friends to Berkeley Symphony and KALW.

BROADCAST DATES:

December 2, 2010 concert will be broadcast March 6, 2011

January 20, 2011 concert will be broadcast May 15, 2011

March 10, 2011 concert will be broadcast September 11, 2011

All concerts 4–6 p.m. Sundays on KALW 91.7 FM

and streaming online at www.kalw.org.

Broadcast Dates

Franklyn D’Antonio, concertmaster

B erkeley Symphony ConcertmasterFranklyn D’Antonio was born in Los Angeles and says he began playing

around with a plastic violin when he wastwo or three. His mother, Joy Lyle, was a professional violinist and colleague ofAssistant Concertmaster Virginia Baker, his father a professional clarinetist, so he wassurrounded by music and moved on to awooden violin and lessons when he was four.

He graduated from high school at 16 and began studying with Jascha Heifetz while continuing his studies at theUniversity of Southern California. Franklynspent three years in the legendary violinist’stwice-weekly master class, which requiredthat he also study viola and piano. Heifetz,says Franklyn, would occasionally “flex hismuscles in what it means to be a genius” by sitting down and playing the piano partto a sonata or concerto from memory. But

Franklyn also got occasional glimpses of the maestro’s lighter side during holiday partiesat his Malibu home where Heifetz would roll up his sleeves and play ping-pong.

At the age of 17 Franklyn was appointed to the Los Angeles Chamber Orchestra by Sir Neville Marriner, and from there he moved on to the Detroit Symphony, ChicagoSymphony, and Los Angeles Philharmonic, where he played from 1986 to 1998. Even when he was playing in Detroit and Chicago, he would travel to Los Angeles forrecording work, but during his time with the Philharmonic he did extensive work onrecordings and film scores. Between 1990 and 2000 he served as professor of violin atCalifornia State University, Northridge and released two CDs with the Vista Piano Trio.He has appeared as violin soloist with numerous orchestras, including multiple appear-ances with the San Francisco Ballet performing the Prokofiev and Stravinsky violin con-certos and the Russian Seasons (a 12-movement work for solo violin and string orchestra).

As a child, Franklyn spent summer vacations in the Sierra, and he remembers thateven then he would think, “I’d like to stay up here until I don’t want to be here any more.” So in 2004, Franklyn and his wife, Joslyn, bought property overlooking the Bear River outside of Auburn and moved to the Sierra. (His email moniker is


Meet the Orchestra


Pre-Concert Talks with Chloe Veltman

W ant to know more about the music on the program? Pre-concert talks,hosted by Chloe Veltman, Berkeley Symphony’s own dramaturg, offer a

fascinating insight into the music you are about to experience. Each talk takesplace an hour prior to the concert in Zellerbach Hall. Admission is free for allconcert attendees!

Chloe Veltman is a culture correspondent for the Bay Area section of The New York Times. She is the host and producer of VoiceBox on KALW91.7 and is associate producer and a scriptwriter for Keeping Score, a series ofNPR classical music documentaries presented by Michael Tilson Thomas. Herdaily culture blog, “lies like truth,” is syndicated via ArtsJournal.com. Moreinformation about Chloe Veltman can be found at www.chloeveltman.com

Pre-Concert Talks

foothillfranklyn.) It was his intention to retire from the violin entirely, but after turn-ing down a few offers to fill in with the Los Angeles Philharmonic, he agreed to play a set and found the experience of performing again thrilling.

Not long after that he was called on to fill in as concertmaster with BerkeleySymphony. Franklyn was immediately impressed with the congeniality of the musiciansand found he enjoyed playing with the orchestra. The following year Maestro Naganoappointed him concertmaster, and today he also serves as the orchestra’s contractor, the person responsible for hiring the musicians for each concert. Contracting, heobserves, means “dealing with 60, 70, 80 different musicians, including some who play for free. But they come with a wonderful attitude and a pure love of playing withBerkeley Symphony and working with Joana Carneiro.”

For him, adds Franklyn, working with Joana has been “one of the most musicallygratifying experiences of my career. Her enthusiasm for music and ability to inspire the orchestra is at the highest level that I have ever worked for. She gives everythingthat she has from the core of her soul.”

In addition to music, Franklyn’s passions include bicycling and gardening. “WhenI’m not practicing,” his says, “I’m on the bike, I’m working in the yard.” Joslyn, a former schoolteacher, now works with him on the contracting duties. Every so often,she sends out work offers while he is in the same room practicing the violin parts. Inthe past, he says, “we always went on our separate ways in the morning.” Now they are able to work together, an experience he has found extremely rewarding.

©2011, Richard Reynolds


Known as “the Bay Area’s mostadventurous orchestra” (ContraCosta Times), Berkeley Symphony

has been recognized with an ASCAPAward for Adventurous Programmingin seven out of the past ten years. Theorchestra supports local composersthrough its Under Construction newmusic series at St. John’s PresbyterianChurch. It also serves every public elementary school in Berkeley with its year-long, award-winning Music inthe Schools Program, which providesevery student with the experience ofbecoming a performer.

Berkeley Symphony was foundedin 1969 as the Berkeley PromenadeOrchestra by Thomas Rarick.Reflecting the spirit of the times, the Promenade replaced tuxedos withinformal street dress and performed in unusual locations, including theUniversity Art Museum.

When Kent Nagano was appoint-ed Music Director in 1978, he charteda new course by offering innovative

programming that included manyrarely heard twentieth-century scores.In 1981, internationally renownedcomposer Olivier Messiaen journeyedto Berkeley to assist with preparationsfor his imposing oratorio, TheTransfiguration of Our Lord Jesus Christ.Nagano and the orchestra performedthe work with pianist Yvonne Loriod,Messiaen’s wife, to a sold-out audiencein Davies Symphony Hall. In 1984,the orchestra collaborated with FrankZappa in a critically acclaimed produc-tion featuring life-size puppets andmoving stage sets, catapulting BerkeleySymphony onto the world stage.

Berkeley Symphony has intro-duced to Bay Area audiences youngcomposers who have since achievedinternational prominence. CelebratedBritish composer George Benjamin,who subsequently became Composer-in-Residence at the San FranciscoSymphony, was first introduced to the Bay Area in 1987 when BerkeleySymphony performed his compositions

Berkeley Symphony

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Jubilation and Ringed by the FlatHorizon; as was Thomas Adés, whoseopera Powder Her Face was debuted by the orchestra in a concert version in 1997 before it was fully staged inNew York City, London and Chicago. In 2004, Unsuk Chin’s Violin Concertoreceived its U.S. premiere with BerkeleySymphony, having previously won oneof the world’s most prestigious musiccomposition prizes.

Berkeley Symphony not only premieres new works but also commis-sions new music. In 2003, Naomi Sekiya was named the orchestra’s firstComposer-in-Residence. Her Sinfoniadelle Ombre and Concerto for two guitars and orchestra received theirworld premieres that year. Other orchestra-commissioned works includeManzanar: An American History (2005)by Naomi Sekiya, Jean-Pascal Beintusand David Benoit; Bitter Harvest (2005)by Kurt Rohde and librettist AmandaMoody; and a fanfare by Rohde, commemorating Nagano’s 30 years asmusic director.

In January 2009, Joana Carneirobegan her tenure as Berkeley Symphony’sonly third Music Director in its 40-yearhistory. Staying true to the orchestra’stradition of presenting the cutting edgeof classical music, her inaugural seasonfeatured works by several prominentcontemporary Bay Area composers,including John Adams, Gabriela LenaFrank, and Paul Dresher. UnderCarneiro, the orchestra has begun toforge new relationships with living composers. The first half of the 2010–11season featured a return appearance byAdams and the world premiere of EnricoChapela’s Private Alleles. The second half will highlight lesser-known worksby composers old and new.

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Under Construction is BerkeleySymphony’s unique openrehearsal/performance series in

which audiences hear works-in-progress played for the first time.Designed as a reading session andshowcase for the Bay Area’s composingtalents, the program provides a rareopportunity for a composer to workwith some of the most well-respectedartists in the field and have work per-formed by a professional orchestra.

This season, Under Construction takes on a new concert format! Theorchestra “test-drove” the work in-progress and experimented with differentmusical passages at the first concert to culminate in the complete polishedpiece which will be performed at the second concert. Watch and listen as JoanaCarneiro and the orchestra bring life to new works in a way that is uniquelyBerkeley Symphony!

2010–11 Under Construction Composers:Mark Ackerley; David Coll; Joe Lin, special program participant

Second Concert:Sunday, March 13, 2011, 7pm

St. John’s Presbyterian Church, 2727 College Avenue, Berkeley

Visit www.berkeleysymphony.org for more information.

Berkeley Symphony gratefully acknowledges the following donors for their support of Under Construction:

Aaron Copland Fund for Music, Peggy Dorfman, Fleishhacker Foundation

Under Construction New Music Program

Symphony in the Community


Berkeley Symphony’s Music in the Schools Program

Our Music in the Schools program provides a year-long, interactive introduction tosymphonic music to elementary school students in Berkeley. As part of a two year

growth plan, we expanded to all eleven Berkeley schools in 2008–09, and currentlyserve more than 4,000 students. Honored by the League of American Orchestras as one of the top education programs in the country, the program helps students fulfill theCalifornia Performing Arts Content Standards and provides new ways of approaching manyother subjects in the core curriculum. The in-school residency includes the following:

• Musician visits to all classes in the eleven participating schools.

• Meet the Symphony, a fun interactive concert that introduces students to live symphonicmusic.

• I’m a Performer! This unique and inspiring concert gives students in grades K–5 the chance to rehearse and perform with Berkeley Symphony.

Symphony in the Community

Ming Luke conducts student violinists at Malcolm X Elementary, March 2008.

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

—Marina Franco, fourth-grade teacher


Berkeley Symphony gratefully acknowledges the support from the following communi-ty partners for Music in the Schools as well as the many individual donors who makethis program possible.

Berkeley Association of Realtors • Berkeley Public Education Fund Berkeley Unified School District • David B. Gold FoundationJPMorgan Chase Foundation • The Bernard Osher Foundation

Koret Foundation • Mechanics Bank • Morris Stulsaft Foundation The San Francisco Foundation • Union Bank Foundation

Wells Fargo • Bernard E. & Alba Witkin Charitable Foundation Zalec Familian and Lilian Levinson Foundation

INTERNSHIPS AVAILABLE

Berkeley Symphony offers part-time internships with flexible scheduling to motivated individuals

with an interest in arts administration. Work focuses on areas of arts marketing

and/or fundraising.

Contact Elizabeth Hounshell, Patron Services Manager, 510.841.2800 ext. 301 or [email protected]


MAKE BERKELEY SYMPHONY

A PART OF YOUR PLANSBerkeley Symphony is committed to providing innovative programming, award-winning music education, and

stimulating artistic experiences for our community . . . now and into the future.

Berkeley Symphony invites you to help sustain our music and programs by remembering us in your will and trust.

A planned or deferred gift may offer substantial income tax, state tax, and capital gains benefits that could enhance

your current and future financial position.

For questions about this and other aspects of Planned Giving, please contact Darren Rich, Director of Development,

at 510.841.2800, ext. 305 or [email protected].


Generous In-Kind DonorsAlegio Chocolate

Andreas Jones Graphic Design

Susan & Jim Acquistapace

Berkeley Daily Planet

Marshall Berman

Judith L. Bloom

Marilyn & Richard Collier

Ruth & Burt Dorman

DoubleTree Hotel—Berkeley Marina

Douglas Parking

Reeve Gould

Ellen & Roger Hahn

Extreme Pizza proud to support local musicians and Berkeley Symphony

John Harris

George & Marie Hecksher

Hotel Durant

Indian Rock Imagesetting

Jutta’s Flowers

Martha & Arthur Luehrmann

Kim & Barbara Marienthal

The Monthly

Peet’s Coffee & Tea

Richard Reynolds

The Spanish Table

Paul Templeton

William Knuttel Winery

The Board of Directors and staff of Berkeley Symphony extend special thanks to the

individuals and businesses listed below whose generous donation of goods and

services has helped to facilitate the production of our season concerts.

Acknowledgments


How You Can Play Your Part!Did you know that ticket sales only cover 40% of the orchestra’s costs? We are able tokeep ticket prices accessible to the community, promote emerging composers throughour Under Construction series, and provide our Music in the Schools program to everyBerkeley public elementary school, thanks to the generous contributions of individualslike you.

There are many ways for you to show your support:

Volunteers: Volunteering is a great way to get involved “behind the scenes” withBerkeley Symphony! Berkeley Symphony has ongoing volunteer opportunities, whichinclude assisting with concerts, events, and in the office.

Individual Donations: Donations from individuals are welcome throughout the yearand may be in the form of cash, securities, and even real property. Sustainers are agroup of committed individuals who make monthly contributions to BerkeleySymphony. Additional information about the levels and benefits of donations can befound in the donor listing section of this program.

Corporate Matching Gifts: Did you know that many Bay Area companies, small andlarge, match employee donations to not-for-profit organizations? When you make adonation to Berkeley Symphony, you could double the impact of that gift through acorporate match. Ask your human resources department if your company sponsorssuch a program.

Planned Giving: We all know the value of preparing for the future. RememberingBerkeley Symphony in your estate plans is a meaningful way to consider the future ofthe orchestra and its future in the life of our community. A planned or deferred giftmay offer substantial income tax, estate tax, and capital gains benefits that may enhanceyour current and future financial position. A planned gift may be as simple as namingBerkeley Symphony as a beneficiary in your will, or can be more complex, providingbenefits over a period of time.

For further information about giving opportunities, please contact Darren Rich,Director of Development, at 510.841.2800 ext. 305 or [email protected].

Donating to Berkeley Symphony


Benefactors’ CircleGifts of $50,000 or more

William & Flora Hewlett Foundation

Benefactors’ CircleGifts of $20,000 or more

Clarence E. Heller Charitable Foundation

Creative Work Fund/Walter & Elise Haas Fund

Hearst FoundationMeyer Sound Laboratories, Inc.Phyllis C.Wattis Foundation

Presenters’ CircleGifts of $10,000 or more

Ann and Gordon Getty FoundationBerkeley Public Education FoundationFleishhacker FoundationBernard Osher FoundationKoret FoundationNational Endowment for the Arts

Producers’ CircleGifts of $5,000 or more

The Aaron Copland Fund for MusicCity of BerkeleyDavid B. Gold Foundation

COMMUNITY PARTNERSFOUNDATION, CORPORATE, AND GOVERNMENT DONORS

Gifts received between August 1, 2009 and December 31, 2010

Producers’ CircleGifts of $5,000 or more

(continued)

JPMorgan Chase FoundationLeague of American Orchestras/

MetLife FoundationMorris Stulsaft FoundationUnion Bank FoundationWallis Foundation Wells Fargo

Friends’ CircleGifts of $1,500 or more

Berkeley Association of RealtorsThe Mechanics BankZellerbach Family Foundation

Berkeley Symphony expresses its deep appreciation to the following

individuals, foundations, corporations, government agencies, and community

organizations for their generous support of our artistic and educational programming.

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

Anchor Brewing Co.ChevronGenentech, Inc.Johnson & JohnsonJPMorgan Chase & Co.

Contributed Support


2010–11 DONOR BENEFITSSupporting Member: $100+

Advance e-mail notice of special discounts and events.Complimentary Company e-Newsletters.

Donor listing in our program books.

Associate Member: $300+ (all of the above plus)Invitation for two to observe selected Open Rehearsals

Principal Member: $750+ (all of the above plus)Invitation to attend Music in the Schools Concerts

VIP ticket serviceInvitation to Post-Concert Receptions (includes Under Construction)

Invitation to attend a Backstage Tour

Concertmaster: $1,500+ (all of the above plus)Invitation to attend Symphony Circle Preview & Interlude Receptions

Invitation to Sponsors Pre-Concert Dinners (no-host)

Conductor: $2,500+ (all of the above plus)Two additional invitations to observe selected Open Rehearsals (four total)

Invitation to annual Musicians Dinner

Associate Sponsor: $5,000+ (all of the above plus)Title Page & Lobby Recognition as Sponsor of Concert

Instrument Chair Sponsor Recognition & annual Musicians DinnerAttend a Closed Rehearsal of your Concert

VIP Access to Sponsors “Champagne Lounge” at IntermissionInvitation to Sponsors Circle Dinner with Joana

Executive Sponsor: $10,000+ (all of the above plus)Photo with Music Director

Two additional invitations to observe selected Open Rehearsals (six total)

Season Sponsor: $25,000+ (all of the above plus)Program listing as a Sponsor of the 2010-11 SeasonSeason Sponsor’s biography in performance programRecognition as a Season Sponsor in a Media Release

Two additional invitations to observe selected Open Rehearsals (eight total)

Berkeley Symphony would like to thank you for your support of our pro-gramming throughout the year. Ticket sales provide only a portion of theamount required to ensure that Berkeley Symphony is here for you, for the nextyear and beyond. Please contact Darren Rich, Director of Development, at510.841.2800 x305 or [email protected] with any questions you mayhave about becoming a contributor to Berkeley Symphony.

Individual Donor Benefits and Recognition


Season SponsorGifts of $25,000 or more

Kathleen G. HenschelHelen & John Meyer

Executive SponsorGifts of $10,000 or more

AnonymousTricia SwiftLisa & Jim Taylor

Associate SponsorGifts of $5,000 or more

AnonymousSusan & Jim AcquistapaceDr. Jean Chapman BornGray & Anne CathrallJennifer Howard DeGoliaMargaret DorfmanEllen & Roger HahnWilliam & Robin KnuttelJanet & Marcos MaestreJanet & Michael McCutcheonDeborah O’Grady & John AdamsAmy & Eddie OrtonTom & Mary ReicherKathy Canfield Shepard

& John ShepardSedge Thomson & Sylvia BrownriggAlba Witkin

ConductorGifts of $2,500 or more

Judith L. BloomRonald & Susan ChoyDonald & Lynn GlaserGary Glaser & Christine MillerElizabeth HelmholzBuzz & Lisa Hines

SYMPHONY CIRCLE

ConductorGifts of $2,500 or more(continued)Alice OlsenPaul Templeton & Darrell LouieShariq Yosufzai & Brian James

ConcertmasterGifts of $1,500 or moreMichele BensonNorman Bookstein & Gillian KuehnerJoy & Jerome CarlinMarilyn & Richard CollierJohn & Charli DanielsenRyu GotoJeffrey Leiter & Sue HoneKim & Barbara MarienthalBebe & Colin McRaeThomas W. Richardson & Edith JacksonLinda Schacht & John GageCarol Jackson Upshaw, in memory of

Jean Gray HargroveYvette Vloeberghs

Berkeley Symphony’s Symphony Circle honors those special donors of $1,500 or more whose contributions enable Joana Carneiro and Berkeley Symphony

to give our community the wonderful gift of music and music education.

Gifts received between August 1, 2009 and December 31, 2010

The Official Chocolatier of Berkeley Symphony


formed and welded steel sculpture by Marshall Berman

studio open by appointment1448 6th Street, Berkeley (510) 526-8441

Edo 1 30” x 28” x 31”


Principal MembersGifts of $750 or moreAnonymousGertrude & Robert AllenBruce & Joan DoddJack & Ann EastmanAnita EbléStan & Mary FriedmanGrubb Co.Sophie HahnJohn HarrisLynne La Marca Heinrich

& Dwight JaffeeValerie & Richard HerrJohn KarnayGreg & Liz LutzLois & Gary MarcusBennett MarkelPenny & Noel NellisBetty & Jack SchaferMichael StrunskyAlison Teeman & Michael

Yovino-YoungStefan & Tess WilliamsGordon & Evie Wozniak

Associate Members Gifts of $300 or moreAnonymousPatricia & Ronald AdlerDonald & Margaret AlterGail BayleyNatasha Beery & William

McCoyChristel BieriPhyllis Brooks SchaferJoana CarneiroEarl & June CheitRobert ColeJonathan & Thelma DixonCarolyn DoellingCheryl EcclesGini Erck & David PettaKaren Fagerstrom

Stuart GoldBonnie & Sy GrossmanJohn HarrisMatias Tarnopolsky & Birgit

HottenrottGeorge & Leslie HumeKen Johnson & Nina GroveFaye KeoghHoward & Nancy MelAmelie C. Mel De Fontenay

& John StenzelMartin & Muriel PaleyMarjorie Randell-Silver &

Eric SilverJessica RiveraJoshua Robison & Michael

Tilson ThomasDeborah Shidler & David

BurkhartRobert Sinai & Susanna

SchevillMichel TaddeiAustin ThompsonTides FoundationCarlos Eduardo VieiraLinda & Steven WolanNancy & Charles Wolfram

Supporting MembersGifts of $100 or moreAnonymous (11)Anonymous, in honor of

Kathy HenschelDenny AbramsJoel AltmanJudy S.AndersonPatricia Vaughn AngellBarbara Anscher & Steven

BinderRobert & Evelyn ApteJonathan AronsNoreen AxelsonFred & Elizabeth

Balderston

Joan BalterSteven BeckendorfDavid Berland, in honor

of Mr. & Mrs. Richard Collier

John BensonBrenda BerlinHoward & Estelle BernMs. Bonnie J. BernhardtGeorge & Dorian BikleMs. Judy BinghamSteven BirenbaumBob BirgeGabe Bowers & Liora

GelblumCara BradburyRobert J. BreuerDavid & Jo Ellen Brean

AtchesonKatherine BrownSusan & Bruce CarterRonald CassanoMark Chaitkin & Cecilia

StorrRichard ColtonLawrence R. CotterBarbara A. DalesJoe & Sue DalyBarbara De Nardo &

Elaine SoanesRick & Lisa DietzSarah DouglasPaul Dresher & Philippa

KellyMs.Tanya DrlikMs. Leslie EasterdayJennifer Easton & Victor

IngrassiaBeth & Norman

EdelsteinBennett Falk & Margaret

MorelandMary FalveyCorty Fengler

FRIENDS OF BERKELEY SYMPHONYGifts received between August 1, 2009 and December 31, 2010


Marcia Flannery in honor of Marilyn Collier

Mr. & Mrs. Michael B. FrankJoan FrischDaniel & Kate FunkIsabelle GerardJeffrey Gilman & Carol ReifEvelyn & Gary GlennDavid GoinesPatrick GoldenEdward GordonSteven E. GreenbergSharon & Stuart

GronningenErvin & Marian HafterJane HammondNicholas & Nancy

HaritatosAlan Harper & Carol BairdWilliam HartrickTrish & Anthony W.

HawthorneMary HealyWilliam & Judith HeinDonald & Janet HelmholzRichard & Joan HerringHilary HonoreMelvin HonowitzJudy M. Huey & Leland D.

LevyBob & Elizabeth Lindgren-

YoungOra & Kurt HuthF.W. IrionJohn David JacksonJoseph Jackson & Joann

LeskovarWayne J. JensenFred JacobsonHarold JohnstonJoanna JonesIrene & Kiyoshi KatsumotoPaul & Joanne KellyMarcia KimesCatherine & Fred KonkelEdward & Kathleen Kovach

FRIENDS OF BERKELEY SYMPHONYSupporting Members Gifts of $100 or more (continued)

(Continued)Kathy KrohnSam & Tamar KushnerCarol KusmierskiLaurence & Jalyn LangAlmon LarshCarol Lashof & Bill

NewtonMr. James T. LeakJesse & Joanne LevyJulie & Gary LouieJim LovekinJohn Lowitz & Fran

KriegerHelen MarcusPatrick McCabeSuzanne McCullochMorton McDonald &

Jane BarrettKaren McKieJim MeredithMary Lynn MillerWhitney MorrisGary & Gerry MorrisonElizabeth NixonAnn M. O’Connor &

Ed CullenDale OgarCarol OlwellThe Klop-PackelsBrandon PaeEugene H. PeckElizabeth & Thomas

PigfordTerry L. PedersenDitsa & Alexander PinesLeslie & Joellen PiskitelMyron PollycoveLucille & Arthur

PoskanzerJo Ann & Buford PriceGeorge N. QueeleyStephen & Wilma RaderMegan RastMr.Arthur RemediosDonald Riley & Carolyn

Serrao

Marc A. RothRudney AssociatesJulianne H. RumseySam SalkinSteven SchollMary Lu & Bob SchreiberBrenda ShankJesse ShoharaAnne ShortallLynn SignorelliRobert Sinai & Susanna

SchevillEllen SingerBarry & Wendy SnyderCarol & Anthony SomkinMs. Carla SoraccoSylvia Sorell & Daniel

KaneAlan Spiegelman, in honor

of Kathy HenschelBruce & Susan StangelandAnne & Douglas StewartHelga TarverFrances & Ronald TauberMonica ThybergElsa and Revan TranterGeorge & Madeleine

TrillingCraig & Anne Van DykeDeborah & Bob van NestVictor VazquezJoseph VeniDorothy WalkerMaria Wang-HornRobert & Emily WardenRobert WarnockAlice WatersSheldon & Betsey

WarrickDorothy & Sheldon

WechslerDr. Louis WeilCarolyn D.WeinbergerDr. George & Bay WestlakeJane WhiteNancy & Sheldon Wolfe


Kathleen G. HenschelJeffrey S. Leiter

Janet & Marcos Maestre Bennett MarkelLisa Taylor

Berkeley Symphony Legacy SocietyThank you to those donors who have included Berkeley Symphony

in their estate or life-income arrangements.If you are interested in including Berkeley Symphony

in your planned giving, please contact Darren Rich, Director of Development,

at 510.841.2800 ext. 305 or [email protected].

We would like to thank all our donors, including those whohave given under $100 and those whose recent gifts may not yetappear in these listings. All contributions are greatly appreciated.

While every attempt has been made to assure accuracy in ourdonor list, omissions and misspellings may occur. Please advise theSymphony office at 510.841.2800 ext. 305 of any errors. We appreciate the opportunity to correct our records.

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

Anonymous, in honor of Harry Weininger

AnonymousRonald & Susan ChoyRichard & Marilyn CollierJennifer Howard DeGolia

& Peter GlazerRuth & Burt DormanAnita EbléDonald & Lynn GlaserSharon & Stuart

GronningenEllen & Roger Hahn

Lynne LaMarca Heinrich & Dwight Jaffee

Kathleen G. HenschelBuzz & Lisa HinesKenneth Johnson &

Nina GroveJames Kleinmann &

Lara GilmanWilliam & Robin KnuttelArthur & Martha

LeuhrmannJanet & Marcos MaestreKim & Barbara Marienthal

Bennett MarkelJanet & Michael McCutcheonHelen & John MeyerDeborah O’Grady &

John AdamsLinda Schacht & John GageMerrill & Patricia ShanksKathy Canfield Shepard &

John ShepardDeborah ShidlerTricia SwiftMichel TaddeiLisa & Jim Taylor

For more information about the Nagano Endowment for the Future, please contact Darren Rich, Director of Development, at 510.841.2800 x305

or [email protected]



Board of Directors

Executive CommitteeKathleen G. Henschel, President

Finance Manager, Chevron Corp (Retired)William Knuttel, Vice President, Development

Winemaker and Proprietor,William Knuttel WineryJanet Maestre, Vice President, Governance

Flute Instructor/Orchestra Member (Retired)Victor Vazquez, Vice President,Community Engagement

Branch Manager, Union BankTricia Swift, Treasurer

Realtor, The Grubb Co.Stuart Gronningen, Secretary

Orchestra MemberMarilyn Collier, Advisory Council Chair

PhilanthropistJames A. Kleinmann, Executive Director

DirectorsSusan Acquistapace

Professor of Biology, Mills CollegeJudith L. Bloom

Certified Public AccountantNorman Bookstein

ConsultantJennifer DeGoliaEllen L. Hahn

Community LeaderKim Marienthal

Realtor, Coldwell BankerJanet McCutcheon

McCutcheon ConstructionDeborah O’Grady

PhotographerThomas Z. Reicher

Partner, Cooley LLPKathy Canfield Shepard

President, Canfield Design Studios, Inc.Deborah Shidler

Orchestra MemberMichel Taddei

Orchestra Member

Advisory CouncilMarilyn Collier, ChairMichele BensonJoy CarlinRon ChoyJohn DanielsenCarolyn DoellingJack EastmanAnita Eblé John FeldGary GlaserReeve GouldRobert HamiltonLynne LaMarca HeinrichValerie HerrBuzz HinesSue HoneBrian JamesEdith JacksonKenneth Johnson Jeffrey S. LeiterBennett MarkelBebe McRaeAmelie Mel de FontenayHelen MeyerChristine MillerPenny NellisMartin PaleyMarjorie Randell-SilverThomas RichardsonLinda SchachtJutta SinghLisa TaylorPaul TempletonCarol Jackson UpshawAnne Van DykeYvette VloeberghsShariq YosufzaiJean Gray Hargrove, In MemoriamHarry Weininger, In Memoriam

Board of Directors & Advisory Council



Joana Carneiro, Music DirectorKent Nagano, Conductor LaureateGabriela Lena Frank, Creative AdvisorMing Luke, Education Director & Conductor

James A. Kleinmann, Executive DirectorTheresa Gabel, Director of Operations Darren Rich, Director of DevelopmentJenny Lee, Marketing Manager Elizabeth Hounshell, Patron Services ManagerFrancesca Danby, Development/Marketing

AssistantHeli Roiha, BookkeeperFranklyn D’Antonio, Orchestra ManagerJoslyn D’Antonio, Co-Orchestra ManagerQuelani Penland, LibrarianKevin Reinhardt, Stage ManagerSandra Ferreira, InternJasen Talise, Intern

Chloe Veltman, DramaturgJane Vial Jaffe, Program Annotator Andreas Jones, Program Designer Julie Giles, Program Cover DesignerJohn McMullen, Advertising SalesCalifornia Lithographers, Program Printing

T O A D V E R T I S E

I N T H E

B E R K E L E Y S Y M P H O N Y

P R O G R A M

C A L L J O H N M C M U L L E N

5 1 0 . 6 5 2 . 3 8 7 9

Staff

Tickets to Berkeley Symphony concerts and events

are available online at

berkeleysymphony.org

You can also sign up for our e-newsletter to stay current on

Berkeley Symphony and Joana Carneiro.

Visit us at berkeleysymphony.org

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

Berkeley Symphony1942 University Avenue, Suite 207,

Berkeley, CA 94704510.841.2800 • Fax: 510.841.5422E-mail: [email protected]

Web site: www.berkeleysymphony.org

Find us onand


To advertise call John McMullen: 510.652.3879

Advertiser Index

The Academy .......................................page 55

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

Albert Nahman Plumbing....................page 38

Alegio Chocolaté ..........................pages 33, 73

Berkeley City Club...............................page 34

Berkeley Horticultural Nursery ...........page 52

Berkeley West Edge Opera...................page 26

Bill’s Men’s Shop..................................page 51

Blue Note Music ..................................page 56

Body Time ............................................page 28

Bubi’s ...................................................page 52

Cal Performances..........................pages 20, 42

Casa Vino Bistro ...................................page 34

The Club at The Claremont .................page 08

Coldwell Banker ..................................page 54

Crowden..............................................page 30

David Chee, CPA..................................page 46

DINING GUIDE .............................pages 32-34

DoubleTree Hotel ................................page 80

Douglas Parking...................................page 62

Eva Ruland, Life Coach ........................page 64

Fidelity Insurance ................................page 10

Forrests Music......................................page 54

The Gardener.......................................page 68

Gem Gallery/Bill’s Trading Post ...........page 12

Going Places ........................................page 25

Golden State Senior Care.....................page 56

Grateful Body.......................................page 25

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

Henry C. Levy & Co.............................page 46

Henry’s Gastropub. ......................pages 16, 34

Hotel Durant........................................page 16

Idyllwild Arts Academy ........................page 24

Judith L. Bloom, CPA............................page 44

Jutta’s Flowers .....................................page 78

KDFC 102.1 FM ...................................page 50

La Mediterranée...................................page 32

La Note Restaurant ..............................page 32

Lunettes du Monde..............................page 11

Margaretta K. Mitchell Photography......page 22

Marshall Burman Sculpture .................page 74

Maybeck High School ..........................page 54

McCutcheon Construction ..................page 64

Mountain View Cemetery....................page 18

Musical Offering ..................................page 33

Native Here Nursery............................page 44

O Chamé..............................................page 33

Oceanworks.........................................page 56

On the Spot Carpet Cleaning ..............page 52

Osher Lifelong Learning Institute........page 54

PBG Real Estate ...................................page 04

Poulet...................................................page 32

R. Kassman Piano.................................page 30

Red Oak Realty ....................................page 14

St. Paul’s Towers ...................inside front cover

Storey Framing.....................................page 52

Talavera................................................page 25

Thornwall Properties...........................page 36

Tricia Swift, Realtor .............................page 38

Turtle Island Book Shop ......................page 51

UC Berkeley Optometry......................page 40

Weatherford BMW ...............................page 06

September 23 and December 2, 2010 83

84 September 23 and December 2, 2010

Documents

January 20 and March 10, 2011 - Berkeley Symphony