THE REBELSThursday, December 6, 2012 | Zellerbach Hall, UC Berkeley

MATTINGLY | LIGETI | SCHUMANN

December 6, 2012 3

Berkeley Symphony 2012-13 Season

Season Sponsors: Kathleen G. Henschel and

Official Wine Sponsor of Berkeley Symphony:

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

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

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

5 Message from the Music Director7 Message from the Executive Director

9 Board of Directors & Advisory Council

10 Orchestra

13 Program

15 Program Notes

37 Music Director: Joana Carneiro

39 Guest Artists

43 Berkeley Symphony

47 Music in the Schools

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

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

4 December 6, 2012

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

2012-13 Under Construction New Music Concerts

UPCOMING CONCERTSunday, December 9, 2012, 7 pm

at Crowden Music Center (1475 Rose Street, Berkeley)

Andrew V. Ly Michael Nicholas Davide Verotta

December 6, 2012 5

Dear friends,Welcome to our second concert of the season. There is a reason that we titled this program “The Rebels.” The first half is very much about imagination in our times. I feel particu-larly honored to be premiering Dylan Mattingly’s Invisible Skyline. At 21, Dylan is already one of America’s most prom-ising composers and a familiar face to Berkeley audiences. John Adams describes him as “a hugely talented young composer who writes music of wild imagination and vigorous energy.” Pianist Shai Wosner is undeniably one of the best musicians I have ever worked with and I can’t wait for us to perform Ligeti’s Piano Concerto, described by the composer as his “most complex and technically demanding score.” You are in for a rare treat.

The second half of the program features one of my very favorite pieces, Schumann’s Symphony No. 2 in C Major, Op. 61. I am particularly drawn to Schumann’s work. I believe his piano and vocal scores are some of the most beautiful examples in the history of creation; when I listen to Schumann’s sym-phonies, I can’t help but identify with them, as well as recognize his great respect and love for the music written before him, most particularly that of J.S. Bach.

I am very proud of our beautiful programming and specifically that Berkeley Symphony continues to look ahead, celebrating the great composers of the future through our Mission to Commission!

Thank you for being part of our Berkeley Symphony family.

My very best,

Joana Carneiro

Message from the Music Director

6 December 6, 2012

December 6, 2012 7

Message from the Executive Director

DEFIANTLY ORIGINAL. What better way to describe Berkeley Symphony!

Mention our name to most musicians, conductors, soloists, agents and managers from North America to Europe and Asia, and they not only will know of us, but they will express their admiration and respect.

When Berkeley Symphony first approached Joana Carneiro about becoming our new Music Director, her mentor, Esa-Pekka Salonen—who had advised her to focus on securing a European post—told her that “Berkeley is a different story; I encourage you to wholeheartedly pursue this possibility.” And that is precisely what Joana has done. She has shared her heart and soul with us. Her passion, warmth and energy have trans-formed our sound and programming in ways that have caught the attention of all who experience our concerts. From the severest of critics to our most loyal fans, everyone agrees that something special is happening in Berkeley.

In an unprecedented move, we have commissioned and are presenting four world premieres this season—one on each of our four concerts. I hope you will join us for this exciting journey and bear witness to history in the making. (Remember…all music ever written was considered “new music” when it first premiered.) From Berkeley’s very own Paul Dresher and Dylan Mattingly to Lisbon native Andrea Pinto-Correia and Pulitzer Prize-winner Steven Stucky, you will discover unchartered territories that will delight your senses and expand your horizons.

I look forward to seeing you often in the season ahead.

With warm regards,

René Mandel

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

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

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

Board of Directors & Advisory Council

10 December 6, 2012

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

Kent Nagano, Conductor Laureate

Violin IFranklyn D’AntonioConcertmaster

Sponsored by Tricia Swift

Emanuela NikiforovaAssociate Concertmaster

Sponsored by Ellen Hahn

Yasushi OguraAssistant ConcertmasterLarisa KopylovskyCandy SandersonLisa ZadekMatthew OshidaChristina KnudsonKristen JonesNoah Terry*Member of Young People’s Symphony Orchestra

Quelani PenlandJohn BernsteinRebecca Herman*Member of Young People’s Symphony Orchestra

Bert Thunstrom

Violin IIDaniel FlanaganPrincipalElizabeth ChoiAssistant PrincipalKarsten WindtDavid ChengJoseph MaileLauren AveryRick DiamondAnn EastmanKevin HarperCharles ZhouSarah LeeRose Marie Ginsburg

The Orchestra, December 6

ViolaTiantian LanPrincipal

Sponsored by James and Rhonda Donato

Ilana MatfisAssistant PrincipalDarcy RindtPatrick KrobothMarta TobeyDeanna SaidSteven NgPeter LiepmanClio Goldstein*Member of Young People’s Symphony Orchestra

Celeste McBride*Member of Young People’s Symphony Orchestra

CelloIsaac MelamedPrincipalKrisanthy DesbyAssistant Principal

Sponsored by David and Inez Boyle

Wanda WarkentinVictoria EhrlichPeter BedrossianKen JohnsonJoshua Herman*Member of Young People’s Symphony Orchestra

Jasper Hussong*Member of Young People’s Symphony Orchestra

BassMichel TaddeiPrincipal

Sponsored by Janet & Michael McCutcheon

Robert AshleyAssistant PrincipalJon KeigwinKaren HornerMegan McDevittRoger PaskettMarcus WongBenjamin Holston*Member of Young People’s Symphony Orchestra

December 6, 2012 11

FluteEmma MoonPrincipal

Sponsored by Marcos and Janet Maestre

Melanie Keller

PiccoloEmma Moon

OboeDeborah ShidlerPrincipalBennie Cottone

ClarinetRoman FukshanskyPrincipalDiana Dorman

BassoonCarla WilsonPrincipalRavinder Sehgal

HornMeredith BrownPrincipal

Sponsored by Tom and Mary Reicher

Stuart GronningenSponsored by Kathy Canfield Shepard and John Shepard

TrumpetCheonho YoonPrincipalKale Cumings

TromboneThomas HornigPrincipal

Sponsored by Kathleen G. Henschel

Bruce Chrisp

Bass TromboneDavid Ridge

TimpaniKevin NeuhoffPrincipal

PercussionWard SpanglerPrincipal

Sponsored by Gail and Bob Hetler

Kevin Neuhoff

HarpWendy TamisPrincipal

PianoSarah CahillPrincipal

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

I just love this orchestra!

Judith L. Bloom, Certified Public Accountant

510.798.8512 • judith@jlbloomcpa.com

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December 6, 2012 13

Berkeley Symphony dedicates tonight’s concert in memory of Alan Farley.

The RebelsThursday, December 6, 2012 at 8:00 pm Zellerbach Hall

Joana Carneiro conductor

Dylan Mattingly Invisible Skyline In Three Acts (World Premiere)

György Ligeti Concerto for Piano and Orchestra I. Vivace molto ritmico e preciso II. Lento e deserto III. Vivace cantabile IV. Allegro risoluto, molto ritmico V. Presto luminoso, fluido, costante, sempre molto ritmico

Shai Wosner, piano

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

Robert Schumann Symphony No. 2 in C Major, Op. 61

I. Sostenuto assai—Allegro, ma non troppo—Con fuoco II. Scherzo: Allegro vivace III. Adagio espressivo IV. Allegro molto vivace

The concert on December 6 is made possible by the generous support of William and Robin Knuttel, Thomas W. Richardson and Edith Jackson, and Lisa and James Taylor. The Dylan Mattingly commission is made possible in part by the East Bay Fund for Artists at the East Bay Community Foundation, the Zellerbach Family Foundation, and Buzz and Lisa Hines.Tonight’s concert will be broadcast on KALW 91.7 FM on February 3, 2013.

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

December 6 Program

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December 6, 2012 15

Program Notes

Dylan Mattingly (b. 1991)

Invisible SkylineDylan Mattingly was born in Berkeley, California and currently studies composi-tion at the Bard College Conservatory of Music. Invisible Skyline is commis-sioned by Berkeley Symphony for the 2012-2013 Season. Invisible Skyline is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, 1 percus-sionist (bass drum, kick bass drum, low tom, washboard, sandpaper blocks, and xylophone), harp, piano, and strings. It is divided into three Acts with only a brief pause between them. Duration ca. 25 minutes.

The composer has provided the following comments

Invisible Skyline is a story about stories—a strange, sometimes

hyperbolic dream of an imaginary kabuki play in three acts. A celebra-tion of our ability to believe things that we know have never happened, to feel our hearts beat faster and slower to the more surreal pulses of our imagination. It is a fairy tale in retrospect, a somnambulant adven-ture of an unconscious simplicity, a märchen, or “wonder tale,” which Stith Thompson once described as “a tale of some length involving a succession of motifs or episodes. It moves in an unreal world without

definite locality or definite creatures and is filled with the marvelous.”

Invisible Skyline is a weird parade, a commemoration of the way we immortalize our heroes, the way we change people from bodies to stars. It rejoices in that unabated magic of having given oneself over to fiction, a total acceptance of the suspen-sion of disbelief—that beautiful unrelenting molding of your own heartbeats to such wild trajectories across all forms of story—across heroic epics and strange tales of exoticism; across Hollywood protagonists and strangenesses, Charles Lindbergh and Amelia Earhart flying across the sky; across newspaper propaganda and sublim-inal folk tales, three minute songs of single clarion emotions, interrupted descriptions of odd encounters with strangers, thousand-year-old trans-lations; across the total innocence, that unwritten narrative within the minutes before the beginning of a baseball game; across hundred-hour-long expanses of television containing enough time to discover universe-filling matrices of infor-mation about a nearly limitless bevy of characters, through evaporating memories of children’s books, sim-ple stories that turned to mysteries when crucial elements began to drop out of memory, or the imagi-nary stories that settle like wet

16 December 6, 2012

Four Mainstage Concerts“Under Construction” Concerts

with Emerging ComposersNew Works

Old Chestnuts Resident Artists

Music in the Schools

December 6, 2012 17

concrete in the distance, the ones that might never have existed at all.

Invisible Skyline is separated into three acts across twenty-five minutes, separated by a few beats of silence. Each act contains several emotion checkpoints, the map of which is as follows:

Act IEyes close.Pacific vastness, sometimes at night

it rains.“I was young when I left home . . .”Curtain rises.Dream Kabuki Theatertwo-dimensional Medieval dream-

scapesrainfallsporadic paradisiacal sputtering like

raindrops and revvingInhale.

Act IINautical journey musicEngineliftoffsometimes stranger birds can fly“the moment I swept I was swept up

in a terrible tremor. . .”Slow slow fall, machines begin to dis-

assemble.Curtain drops.

Act IIIEyes open.(homecoming, gentle Homeric

gamelan)Big Sur“. . . if you miss the train I’m on, count

the days that I’m gone.(you can hear that whistle blow 100

miles)”

Acceptance, stretching, (Tristan & Isolde over the course of a life-time)

kaleidoscopic epiphanic ecstasy(The greatest illusion of all time)

—©2012 Dylan Mattingly

György Ligeti (1923–2006)

Concerto for Piano and OrchestraGyörgy Ligeti was born at Dicsöszent-márton, now Târnaveni, in Transylvania (Hungary at that time, now Romania), on May 28, 1923. He died in Vienna on June 12, 2006. The Piano Concerto was com-missioned by Mario di Bonaventura for his brother, Anthony, in 1973. The work was not completed until much later. The original three-movement form of the work was first performed on October 23, 1986, in Graz, Austria, as part of the Steierischer Herbst (Styrian Autumn) Festival. Solo-ist and conductor were, respectively, Anthony and Mario di Bonaventura, and the orchestra was composed of members of the Vienna Philharmonic Orchestra. The composer decided that the work needed to be expanded, and added move-ments 4 and 5. The same soloist/conduc-tor team gave the premiere of the new version in Vienna on February 29, 1988, but this time with the ORF-Symphonieor-chester (Symphony Orchestra of Radio Austria). Scored for chamber orchestra, the work calls for flute (doubling piccolo), oboe, clarinet (doubling alto ocarina in G), bassoon, horn, trumpet, trombone, strings (including soloist), and piano solo. One

ˇ

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or two percussionists are required, playing glockenspiel, xylophone, triangle, 2 crotales, 2 suspended cymbals (small and normal-sized), snare drum, tambou-rine, 3 rototoms, 4 tom-toms, bass drum, 4 wood blocks, 5 temple blocks, güiro, castanets, slapstick, whistle, siren whistle, slide whistle, flexatone, and chromatic harmonica in C. Duration ca. 24 minutes.

The great music essayist Michael Steinberg characterized György

Ligeti as “a kind of Haydn for our time: an exhilaratingly and jubilantly inventive artist whose profundity and seriousness never weigh him down (nor us), an explorer, a humorist, a composer who rejoices in the skills of performers, a master who wears his own virtuosity lightly and with grace.” But surely the kinship runs deeper than temperament, and has its roots in geography? Both composers came from off-the-grid neighborhoods in the wilds of East-Central Europe. There one finds a rare concentra-tion of ethnic diversity: Slav, Magyar, Latin, German, and Gypsy cultures co-exist within a small area, providing a wealth of inspiration to impression-able young musicians.

Born into a Jewish-Hungarian enclave within the mostly Romanian region of Transylvania, Ligeti began his music training at an early age. During World War II, Hungary took the side of the Axis powers, and Ligeti’s fam-ily was rounded up along with hun-dreds of thousands of other Jews and deported to labor camps. György and his mother survived, but his father

and brother did not. Once the war ended he continued his studies at the Conservatory in Budapest. After graduation he went on to follow the path blazed by his countryman, Béla Bartók, carrying out ethnologi-cal research in the folk music of his native Transylvania, soon returning to teach and compose in Budapest. Ligeti’s early immersion in the folk music of Eastern Europe gave him an early appreciation for micro-tonal tuning systems (tunings that don’t follow the standard of equal temper-ament) and polyrhythms (multiple simultaneous different rhythmic patterns), which found expression in his later work.

Under the Communist regime in the late 40s, Ligeti’s work with folklore protected him from official censure; but after the brutal suppression of the popular uprising in 1956, he and his wife fled to the West, settling in Vienna (again, like Haydn before him). He was eager to experiment with techniques such as twelve-tone composition, but after having endured two totalitarian regimes, Nazi and Stalinist, he found himself faced with another rigid ideology: the Darmstadt-Cologne serialist avant-garde.

He resolved to pursue his own course. As Paul Griffiths writes in the New Grove, 2nd edition, “his critical, con-trary spirit was sharpened. Unlike many of his young colleagues in the West, he was suspicious of system, rejoiced in the delightfulness and evocativeness of sound, and steadily

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in a later interview that he was not entirely satisfied with the result, and decided to add two more movements. This expanded, five-movement ver-sion was finished in early 1988 and received its premiere a month later with the same team of conductor and soloist.

The opening movement plunges us directly into the action. Pianist, strings, and percussion are on differ-ent metric wavelengths, and proceed to diverge from each other over time. Each metric layer repeats a different fixed rhythmic pattern (a talea, from Western medieval music), which pre-vents the layers from ever synching up, but continually generates new combinations, like a kaleidoscope. This glittering complexity recalls the works for player piano by Conlon Nancarrow—works so tortuous that no human could possibly master them—but the overall effect should be, according to the composer, of an aircraft “lifting off . . . . The rhythmic events, too complex to be perceived in detail, hang in a suspended state.”

The slow second movement recalls the “night music” style of Bartók, which he used to evoke the atmo-sphere of summer nights in the country. Isolated clusters of notes or seemingly random melodic gestures conjure the memory of insect, frog, or wild animal sounds, and long-held quiet notes suggest the stillness of the nocturnal air. What night music does not generally include is a clear melody in the traditional sense; Bartók devised this style partly to

reintroduced—though in quite new ways, guided by an exact ear—things that serial orthodoxy had refused, such as simple harmonies, ostinatos and palpable melodies.” Indeed, the style that earned him his first interna-tional recognition (partially through exposure in the films of Stanley Kubrick) in the late 50s and 60s was his own fusion of serial techniques with what he called “micro-polyph-ony”: the dense piling up of layers of melody whose rhythms align only on the microscopic level.

Not only did Ligeti reject systems of composition, but throughout his career he continued to explore new musical styles and remained open to fresh influences. Later, his fascination with complex layered rhythms led him to investigate the idigenous music of Central Africa starting around 1980. His landmark books of Études for Piano (1985, 1994, 2001) contain the fruit of his integration of African polyphony and rhythmic practice into his own style, along with mathematically inspired principles of fractals and chaos theory.

The same influences inform his Piano Concerto. The work was commissioned around 1970 by conductor Mario di Bonaventura for his brother, Anthony. Ligeti began sketching the concerto in consultation with the brothers in the early 70s, but did not begin work-ing in earnest until 1985. The original three-movement form of the work was completed the next year. The Brothers di Bonaventura gave the pre-miere in Graz in 1986; Ligeti reported

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reflect the rhapsodic nature of Eastern European folk songs in a slow tempo. In Ligeti’s example, the melodic fore-ground consists of an intricate canon, in which a chromatic theme is played in one voice, then taken up by the oth-ers. The movement builds to an eerie intensity, punctuated by a slap on the keyboard with the palms of the hands, a siren whistle, slide whistle, and oca-rinas. After the excitement dies down, the last word goes to the harmonica.

The third movement (the original finale) has something of the air of a traditional virtuoso perpetuum mobile. The piano is the one keeping up the perpetual motion, and the orchestra provides backup in the form of strati-fied rhythmic ostinatos. Ligeti con-sidered the fourth movement to be the core of the work. Here is none of the near-incessant restlessness of the first three movements. We hear short melodic fragments separated by gaps. For the first time, there is some-thing like conversational give-and-take between soloist and orchestra. Underlying the whole is a structure inspired by fractal geometry, as the composer explains:

Without our realizing it at the beginning, a complex, gradually emerging talea-like rhythmic order secretly governs . . . All the motivic figures resemble previous motivic figures, without literally repeating any such figure, while the total structure is also self-similar. . . . This great self- similar maelstrom goes back—very indirectly—to musical associations

December 6, 2012 23

that originated through the computer representations of the Julia- or Mandelbrot-sets . . .

With the Finale we return to the whirl-ing, buzzing activity of the opening movements. A touching counterpoint is provided by a mordant tune that has more than a whiff of the nightclub about it; on its final appearance, Ligeti instructs the brass to play “menac-ingly, brutally, but ’jazzy.’” A duet between xylophone and piano capped off by a single blow to the wood block bring the work to a close.

In the liner notes to an early recording of the work, Ligeti characterized the concerto as a statement of his artistic credo:

. . . my independence both from the criteria of the traditional avant-garde and from those of fashionable post--modernism. The musical illusions so important to me are not pursued as an end in themselves, but rather form the foundation of my aesthetic con-siderations. I favor musical forms that are less process-like and are more object-like. Music as frozen time, as an object in an imagi-nary space that is evoked in our imaginations through music itself. Music as a structure that, despite its unfolding in the flux of time, is still synchronistically conceivable, simultaneously present in all its moments. To hold on to time, to suspend its disappearance, to con-fine it in the present moment, this is my primary goal in composition.

—©2012 Victor Gavenda

Robert Schumann (1810–1856)

Symphony No. 2 in C Major, Op. 61Robert Schumann was born on June 8, 1810 in Zwickau, in Saxony, approximately equidistant from the great German cul-tural centers of Weimar, Leipzig, and Dresden. He died on July 29, 1856, in an insane asylum in Endinich near Bonn, in the Rhineland. Schumann composed the Symphony “No. 2” in Dresden. (It is in fact the third symphony in order of composi-tion; the work now known as the fourth symphony was written soon after the first in 1841, but was not published until after Schumann revised it a decade later.) He sketched the work between December 12 and December 28, 1845. Fleshing out the score took a little longer, requiring ten days in February 1846, a week in May, and five weeks in September and October. The work was completed only on October 19, less than three weeks before its pre-miere. The symphony was first performed at a subscription concert of the Leipzig Gewandhaus Orchestra on November 5, 1846, conducted by Felix Mendelssohn. Schumann devoted several weeks in Octo-ber and November of 1846 and again in June and July of 1847 to “correcting” the score. Publication (in score and parts) fol-lowed a year later, by Friedrich Whistling of Leipzig. The work is scored for pairs each of flutes, oboes, clarinets, bassoons, trumpets, and horns; 3 trombones, tim-pani, and strings. Duration ca. 38 minutes.

Mental illness had plagued Rob-ert Schumann throughout most

of his adult life, but the summer of

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1844 brought the first hints of the severe mental and physical break-down that was to come. Months later, Schumann began a slow recu-peration. In January 1845 he started to give lessons in counterpoint to his 26-year-old wife, Clara (already a famous pianist). Together, they studied the works of Bach, and they each wrote a series of fugues, including a set on the name B-A-C-H (in German musical notation, B = our B-flat and H = B natural). The exercise was to leave its mark on the C Major Symphony. By the sum-mer of 1845, he had recovered suf-ficiently to return to composition, but unfortunately the labor seems to have brought on another debili-tating attack.

In the autumn of 1845, Schumann’s spirits revived, and he took on an even more ambitious project, a new symphony. Beginning in December, sketching the work went quickly, but completing the score dragged out through most of the follow-ing year. This was due partly to the demands of other projects, but also to the sporadic return of his mental and physical ailments.

Mendelssohn conducted the pre-miere of the work on November 5, 1846. The audience gave the symphony a lukewarm reception. Having heard the symphony in performance, Schumann decided to put the work on a diet. A second performance, this time of a sleeker version of the piece, elicited a more enthusiastic reaction.

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Indeed, during the 19th century, it was the most highly esteemed of Schumann’s symphonies. UC Berkeley Professor Anthony Newcomb sur-veyed a century and a half of changing attitudes toward Schumann’s C Major Symphony in a landmark article, “Once More Between Absolute and Program Music: Schumann’s Second Symphony.”* Schumann’s contempo-raries tended to interpret the work not as a formal structure (as modern writers often do), but as a depiction of an unfolding series of ideas or emotions—as a story.

The critics of Schumann’s time noted that this kind of symphony resembled a novel, in which a character develops over time and evolves in response to his or her experiences, feelings, and actions. In the end, the character’s personality may change drastically— yet because we’ve witnessed all of the stages of the metamorphosis, the change is not incongruous. It is a similar process of transformation, worked out in musical themes, that provides the thread—the story—that holds Schumann’s second symphony together.

The first movement of the symphony begins with a slow introduction. A simple fanfare motive is sounded by the brass: a quotation from the open-ing of Haydn’s last symphony (No. 104, from 1795). This fanfare recurs later in this movement and again at crucial moments in the second and fourth

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movements, helping to unify the symphony thematically on a super-ficial level. However, the fanfare motto also plays a more fundamen-tal role: hardly a “tune” itself, this simple gesture serves as the germ from which much of the melodic content of the rest of the symphony develops. Often the end results of this development bear no obvious relationship to the original motive, but because we have heard the indi-vidual steps of the process, we sense the relationship.

We are actually presented with two themes here, one the confident, dia-tonic (plain vanilla harmony) brass fanfare (motive A), the other a low, slithery chromatic (exotic notes, not in the key) line in the strings (B). The latter will also be transformed through the course of the symphony, and its progeny come to the fore in the second and third movements.

The salient features of A that will be exploited by Schumann are the bold upward leap and the jagged dotted rhythm of that leap. As the movement progresses, a number of melodic ideas arise from combina-tions of A and B. As Newcomb points out, the use of themes marked by irregular phrases and harmonic rhythms but that were developed from the square and stately motives we heard at the start of the move-ment produces the “atmosphere of internal uneasiness and struggle” that characterize the movement. As the movement comes to a close, the brass fanfare (A) is heard again in its

original form to remind us of how far we’ve come.

In a break with convention, Schumann places the Scherzo imme-diately after the first movement, trading places with the slow move-ment (Beethoven did the same in his 9th symphony) and casts it in duple rather than triple meter. The Scherzo is ripe with nervous energy and rarely comes to rest, intensifying the atmo-sphere of agitation already present in the first movement.

This Scherzo has two Trios, and they could not be more different in char-acter. The first is playful, with wood-winds in spiky triplets (perhaps a nod to the traditional Scherzo triple meter) juxtaposed with elegant lines for the strings. The second Trio dra-matically interrupts the frantic activ-ity of the Scherzo: for a moment, a serene mood prevails as the strings play in hymn-like, note-against-note counterpoint. The winds enter, and Schumann employs more elaborate contrapuntal techniques, weaving the melodic motive B-A-C-H into the fabric of the passage. But, this moment of peace and tranquility cannot last; the Scherzo soon barges in, breaking the spell. As the move-ment swirls to a close, the brass fan-fare (A) rings out once again, as if to try to restore sanity to the proceed-ings, but to no avail.

The heartfelt slow movement is suf-fused with despair. The angular prin-cipal melody is characterized by wide leaps and dissonant intervals. With

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those leaps and its chromaticism, the theme bears the marks of its lineage as a descendant of both motives A and B. As in the second movement, a ray of hope is provided by a con-trapuntal episode: a tip-toeing bass line supports a syncopated melody in the clarinets and first violins in antique High Baroque style (a refer-ence to the scene of the Two Armed Men in Mozart’s The Magic Flute). But the clouds descend again, and the movement ends in a mood of utter resignation.

A boisterous outburst shatters that mood—the celebration of the vic-tory over despair has begun. But why? This is a point that has both-ered many commentators: where is the progression from darkness into light? But as Newcomb explains, this is another example of transforma-tion, applied on a larger scale. The jolly start to this movement leads us to expect a bubbly, Haydnish finale, but Schumann will transform it into a weightier Beethovenish finale at the same time that he transforms the opening flourish into a serene, majestic melody.

That opening gesture starts with an upward-sweeping scale and ends with a few longer accented notes (C). The development section, too, opens with this gesture, but this time C (the line of accented notes) is extended. Eventually, Schumann begins to transform C into a melody, smoothing out its contour. But not so fast! We revisit the angst we passed through earlier in the symphony: we

hear the poignant theme from the slow movement, into which the fan-fare (A) intrudes. Alas, as before, we find no resolution.

After a moment of silence, a new theme in the remote key of A-flat begins to take shape in the winds: the transformed version of C. Before it can get very far, the struggle begins again, but soon the new theme asserts itself, first in the minor mode, then in the major. The music comes to a halt, poised for the recapitula-tion, or return of the opening themes. Instead we hear something differ-ent: yet another version of the “new” theme.

As we have seen, this theme evolved from a fragment of the opening ges-ture, and to use it here represents a radical re-thinking of the function of recapitulation. Schumann has not only transformed the theme, but transformed the musical form of the movement as well. This trans-formation also provides us with a more satisfactory resolution of the large-scale emotional trauma of the symphony, for instead of a juxtaposi-tion of despair and joy (at the start of the finale) we have a progres-sion through a series of emotions to triumph, encapsulated in a melody expressive of “serene confidence” (to quote Professor Newcomb).

Schumann’s symphony contains a dense network of interlocking refer-ences, which work at multiple levels of meaning. This “final theme” is not merely the product of thematic

30 December 6, 2012

December 6, 2012 31

transformation; it is also a quotation from Beethoven’s song cycle An die ferne Geliebte (To the Distant Beloved), specifically from the final song in the set: “Take, then, these songs, that I to you, beloved, sang . . .” It is significant that Schumann also used the same quotation once before, in his Phanta-sie for piano, Op. 17 (also in C major), another major work that he wrote after emerging from a long period of illness.

If we were to transcribe the “story” of this symphony into words, it might be something like this: Schumann

is wracked by physical and mental afflictions which cause him anxiety and despair. He struggles to overcome these difficulties, and is aided by his awareness of his musical heritage and by his studies of counterpoint as exemplified by the works of J. S. Bach. Having endured this redemptive expe-rience (perhaps equivalent to a trial by fire and water, as in The Magic Flute) Schumann is now worthy to stand in the company of Haydn, Mozart, and Beethoven, the great triumvirate of the German symphonic tradition.

—©2012 Victor Gavenda

Alan Farley (1936-2012)Alan Farley was born in Idaho in 1936 and grew up in Seattle and Los Angeles. He attended Cali-fornia Institute of Technology as a mathemat-ics undergrad, and went on to pursue graduate degrees at the University of Michigan and the University of California, Berkeley. He served as Chairman of the Mathematics Department at Morehouse College in Atlanta from 1964–1969. He was also a faculty member at Merritt College.

As a music aficionado, Farley served as guide and head guide to the Boston Symphony Orchestra’s Berkshire Music Festival during the summers of 1958–1960. He was also once Richard Pryor’s road manager.

As a radio lover, Alan was a volunteer and staff member at KPFA. He transitioned to KALW in 1975, where he was founding host and producer of “Book Talk,” “My Favorite Things,” “Open Air,” and “Explorations in Music.” Until his passing, he was host for the KALW broadcast of Berkeley Symphony concerts. He also led the Orchestra’s pre-concert talks. Over the years, he interviewed countless Berkeley Symphony artists and composers, most recently Music Director Joana Carneiro, cellist Johannes Moser, and pianist Sarah Cahill.

He will be greatly missed by the entire Berkeley Symphony community.

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December 6, 2012 33

Find us on

Under Construction Concert I Crowden Music Center Sunday, December 9, 2012Andrew V. Ly Lair Michael Nicholas The Wraith Davide Verotta Ultramarinus (Ceruleus)

The IlluminatorsZellerbach Hall Thursday, February 7, 2013Andreia Pinto-Correia Alfama (World Premiere)Lutosławski Cello Concerto; Lynn Harrell, celloRachmaninoff Symphonic Dances

The Idealists Zellerbach Hall Thursday, March 28, 2013Steven Stucky The Stars and the Roses (World Premiere); Noah Stewart, tenorBruckner Symphony No. 4Plus Family Concerts! For details or tickets, visit www.berkeleysymphony.org or call (510) 841-2800 x1.

2012-13 Season

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Music Director: Joana Carneiro

Noted for her vibrant performances in a wide diversity of musical

styles, Joana Carneiro has attracted considerable attention as one of the most outstanding young conductors working today. In January 2009 she was named Music Director of Berkeley Sym-phony, succeeding Kent Nagano and becoming only the third music director in the 40-year history of the orchestra. She currently serves as official guest conductor of the Gulbenkian Orchestra in Lisbon, Portugal.

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

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

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

38 December 6, 2012

Increasingly in demand as an opera conductor, Carneiro made her Cincin-nati Opera debut in July 2011 conducting John Adams’ A Flowering Tree, which she also debuted with the Chicago Opera Theater and at La Cité de la Musique in Paris. In 2010, she led performances of Peter Sellars’s stagings of Stravinsky’s Oedipus Rex and Symphony of Psalms at the Sydney Festival, which won Australia’s Helpmann Award for Best Symphony Orchestra Concert in 2010.

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

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

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Dylan Mattingly, composer

A native of Berkeley, California, Dylan Mattingly began playing

cello when he was five years old and writing music at the age of seven. He currently studies composition at the Bard College Conservatory of Music with George Tsontakis, Joan Tower, John Halle, and Kyle Gann, and is mentored by John Adams in Berkeley. His music has been performed in San Francisco, Sydney, Berlin, NewYork, London, and many other cities around the world.

Called “visionary magic” by Susan Scheid, Mattingly’s work has been particularly influenced by Thomas Adès, John Adams, Olivier Messiaen, Joni Mitchell, Bob Dylan, and the old American blues and folk field record-ings of the Lomaxes. A performer and improviser inside (and outside) many varied forms of music from classical to folk, rock, jazz, and epic freeform improvisations with violinists Alex Fager, Finnegan Shanahan, and Eli Wirtschafter, Mattingly draws not only from his artistic surroundings, but from the landscapes themselves. Deeply influenced by literature, Mattingly is a Classics major at Bard College, and his music is informed by the poems of Homer and the complex metrical schemes of choral tragedy. For two years he was the co-director of Formerly Known as Classi-

cal, a Bay Area new music ensemble whose young members play only music written in their lifetimes, and he is now the co-artistic director and co-founder of Contemporaneous, a New York-based ensemble of young musicians, “dedicated to performing the most exciting music of the pres-ent moment.” Mattingly performs frequently as a cellist, bassist, pianist, guitarist, and percussionist. Contem-poraneous has just released an album on INNOVA Records, entitled “Stream of Stars—Music of Dylan Mattingly.”

Among the performers who have played his music are Berkeley Sym-phony, the Del Sol String Quartet,

Guest Artists

40 December 6, 2012

Contemporaneous, Formerly Known as Classical, Soovin Kim, Ignat Sol-zhenitsyn, Sarah Cahill, Geoffrey Burleson, Mary Rowell, Other Minds, Symphony Parnassus, and the Da Capo Players. Mattingly was a final-ist in Orpheus Chamber Orchestra’s “Project 440,” a crowdsourcing com-missioning project sponsored by WQXR. His recent work, I Was a Stranger, commissioned by John Adams and Deborah O’Grady for the Cabrillo Festival Orchestra, received its world

Shai Wosner, pianist

P ianist Shai Wosner has attracted international recognition for his

exceptional artistry, musical integrity, and creative insight. His performances of a broad-range of repertoire from Beethoven and Mozart to Schoenberg and Ligeti, as well as music by his contemporaries, communicate his imaginative programming and his

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premiere on August 11, 2012, at the Santa Cruz Civic Auditorium. Upcom-ing premieres include a new work for the Del Sol String Quartet entitled Gone, Gone, Gone, to be premiered on Decem-ber 7th, 2012, as well as a setting of the choruses of Euripides’ The Bakkhae, uti-lizing the original Ancient Greek meter and tuning systems for a large produc-tion of the play in spring 2013. In addi-tion to composing, Mattingly is also an avid painter, poet, and pitcher for Bard College’s first ever baseball team.

intellectual curiosity. Mr. Wosner’s virtuosity and perceptiveness have made him a favorite among audi-ences and critics, who have praised him for his “keen musical mind and deep musical soul” (NPR’s All Things Considered) and for exemplifying a “remarkable blend of the intellectual, physical and even devilish sides of performance” (Chicago Sun Times).

Mr. Wosner’s 2012-13 season begins with a seven-city tour throughout Germany and Belgium in November. He will perform a Schubert recital at the Kennedy Center in May, and will be a featured performer with the Pittsburgh Symphony, the India-napolis Symphony, and Berkeley Symphony. Mr. Wosner will appear in recital with violinist Jennifer Koh at the Philadelphia Kimmel Center in January followed by performances with Ms. Koh in Virginia, Arizona and Georgia.

Mr. Wosner recently made his highly acclaimed debut with the Chicago

December 6, 2012 41

Symphony Orchestra and was invited to return later that year to perform with the orchestra at Ravinia. He has appeared with numerous major orchestras in North America, including the Los Angeles Philharmonic at the Hollywood Bowl, the Orpheus Cham-ber Orchestra, and the symphony orchestras of Atlanta, Baltimore, Cleveland, Dallas, Indianapolis, Milwaukee, Philadelphia, and San Francisco. In Europe, he has appeared with the Staatskapelle Berlin, Gothen-burg Symphony, Barcelona Symphony, and the Frankfurt Radio Symphony, among others. In 2006, he debuted with the Vienna Philharmonic Orches-tra in Salzburg, during the 250th anniversary celebrations of Mozart’s birth. He has worked with conduc-tors such as Daniel Barenboim, Zubin Mehta and Leonard Slatkin.

Wosner is widely sought after by col-leagues for his versatility and spirit of partnership. As a chamber musician, he has collaborated with numerous esteemed artists including Pinchas Zukerman, Lynn Harrell, Ralph Kir-shbaum, Christian Tetzlaff and Cho-Liang Lin. He is a former member of the Lincoln Center’s Chamber Music Society Two and performs regularly at various chamber music festivals, including Chamber Music Northwest in Portland, the Santa Fe Chamber Music Festival, and the Jerusalem Chamber Music Festival. He has also toured as a soloist with Daniel Barenboim’s West-Eastern Divan Orchestra.

Mr. Wosner is the recipient of an Avery Fisher Career Grant and he recently

completed a residency as a BBC New Generation Artist, during which he played frequently with the BBC orchestras, including appearances conducting Mozart concertos from the keyboard with the BBC Scottish Symphony Orchestra. He also returned to the BBC Scottish Symphony in both subscription concerts and per-formances at the Proms with Donald Runnicles.

Mr. Wosner’s debut recording, released by Onyx in the fall of 2010, juxtaposes works by Brahms and Schoenberg and was called “inventively conceived and impressive” by The New York Times. His second solo album featuring works by Schubert was released by Onyx in the fall of 2011.

Born in Israel, Mr. Wosner enjoyed a broad musical education from a very early age, studying piano with Eman-uel Krasovsky. He later studied at The Juilliard School with Emanuel Ax. Mr. Wosner now resides in New York City with his wife and daughter.

42 December 6, 2012

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Berkeley Symphony

Hailed as “the Bay Area’s most adventurous orchestra” by the

Contra Costa Times, Berkeley Symphony has established a reputation for pre-senting major new works for orchestra alongside fresh interpretations of the classical European repertoire. It has been recognized with an Adventurous Programming Award from the Ameri-can Society of Composers, Authors and Publishers (ASCAP) in eight of the past ten seasons.

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

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

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

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

44 December 6, 2012

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

Berkeley Symphony has introduced Bay Area audiences to works by upcoming young composers, many of whom have since achieved interna-tional prominence. Celebrated Brit-ish composer George Benjamin, who subsequently became Composer-in-Residence at the San Francisco Sym-phony, was first introduced to the Bay Area in 1987 when Berkeley Symphony performed his compositions Jubilation and Ringed by the Flat Horizon; as was Thomas Adés, whose opera Powder Her Face was debuted by the orchestra in a concert version in 1997 before it was fully staged in New York City, London and Chicago.

A champion of new music, Berkeley Symphony has commissioned and

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

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

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

—Marina Franco, fourth-grade teacher

For twenty years, Berkeley Symphony has partnered with the Berkeley

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

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

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

Website: berkeleysymphony.org/mits

Music in the Schools

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

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

Foundation

48 December 6, 2012

December 6, 2012 49

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

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

Each selected composer will have the opportunity to workshop and complete one symphonic work to be presented at the Under Construction concerts. They will work closely with a program leader, and receive feedback and orchestration lessons from Music Director Joana Carneiro, orchestra members and guest com-posers. Each composer will also get a recording of the final performance for their personal use. In 2012-13, composers Steven Stucky and Paul Dresher will lead the program and provide a guiding hand.

The Under Construction concerts are formatted to build upon each other: the orchestra rehearses the work in progress and experiments with different musical passages at the first concert to enable the complete, polished piece to be performed at the second concert. Discussion between the audience, the conductor, and the composer follows the playing of each new work. This interchange of ideas affords the audience members a greater understanding about the composers and their work.

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

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

Under Construction New Music Series/

Joana Carneiro working with Under Construction composer Mark Ackerley.

Composers Program

50 December 6, 2012

December 6, 2012 51

The 2012-13 Season marks the third year of partnership between Berkeley Symphony and the Young People’s Symphony Orchestra (YPSO), affording

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

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

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

Young People’s Symphony Orchestra

52 December 6, 2012

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

Contributed Support

54 December 6, 2012

2012-13 Season Sponsors

Kathleen G. Henschel

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

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

Meyer Sound

Meyer Sound Laboratories manufactures pre-mium professional loudspeakers for sound

reinforcement and fixed installation, digital audio systems for live sound, theatrical, and other entertainment applications, elec-troacoustic architecture, acoustical prediction software and electroacoustic measurement systems. An innovator for over 30 years, Meyer Sound creates wholly integrated systems designed for optimal performance and ease of use.

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Broadcast DatesRelive Tonight’s Concert with KALW 91.7 FMBerkeley Symphony and public radio station KALW 91.7 FM are pleased to pres-ent the broadcast of the Berkeley Symphony’s 2011–12 concert season. KALW will broadcast the season concerts from 4 to 6 pm on Sunday afternoons through-out the year. Special commentary by classical music host David Latulippe in conversation with selected guests will add to the excitement and insight of these programs.

Broadcast dates:December 6, 2012 concert will be broadcast February 3, 2013February 7, 2013 concert will be broadcast May 19, 2013March 28, 2013 concert will be broadcast September 15, 2013

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

December 6, 2012 55

2012-13 Season Donor BenefitsFriends of Berkeley SymphonyGet an insider’s scoop of Berkeley Symphony programs through open rehearsals,

backstage tours, and special events.Supporting Member: $100+Advance notice of discounts and events through Berkeley Symphony e-newslettersAcknowledgement in the concert program, celebrating your support.Associate Member: $300+ (All of the above plus)An invitation for two to attend exclusive Berkeley Symphony Open Rehearsal and

Reception, where you will watch the orchestra prepare before the concert experience.Principal Member: $750+ (All of the above plus)Special invitation to attend various Berkeley Symphony events including post-concert

receptions and an exclusive backstage tour.

Symphony CircleEnjoy behind-the-scenes access and intimate events with Berkeley Symphony

artists including salons and dinners.Concertmaster: $1,500+ (All of the above plus)Invitation to attend exclusive Symphony Circle Soiree Receptions featuring a

performance by the concert guest artist(s) and discussion with Music Director Joana Carneiro.

Invitation to pre-concert Sponsors Dinners with others in the Berkeley Symphony family.Conductor: $2,500+ (All of the above plus)Invitation to the annual Musicians Dinner to meet the orchestra members and an

exclusive Open Rehearsal, where you will watch the orchestra prepare before the concert experience.

Sponsor CircleReceive personalized recognition and participation in truly unique experiences

for a deeper connection to the artistic vision of Berkeley Symphony.Associate Sponsor: $5,000 (All of the above plus)Your incredible generosity is celebrated with a wide array of benefits related to

concert sponsorship, including VIP access to the Sponsor’s lounge at concert intermissions and tickets to a closed symphony rehearsal of your choice.

Executive Sponsor: $10,000 (All of the above plus)Exclusive invitation to an intimate Sponsors Circle Dinner with Music Director

Joana Carneiro.Season Sponsor: $25,000 (All of the above plus)Acknowledgement in the season brochure and concert program as a sponsor for

the upcoming season, complete with a sponsor’s biography at your option. Recognition in media releases, thanking you for your visionary support.At this leadership level, you are invited to create the experience you want at

Berkeley Symphony.

56 December 6, 2012

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December 6, 2012 57

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

“The Producer’s Campaign is a great and inclusive initiative of Berkeley Symphony. We were fortu-nate enough to meet Dylan Mattingly at the 2012 Gala and we’re thrilled to be able to support Dylan and the Orchestra in such a meaningful way.”

—Buzz and Lisa Hines

Producer’s Campaign

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

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

“The Producer’s Campaign provides us the perfect opportunity to rec-ognize Joana’s inspired leadership, to honor the artistry of Principal Percussionist Ward Spangler, and to support Berkeley Symphony’s unique blending of traditional classical repertoire with contemporary composers, music, and instruments.”

—Gail and Bob Hetler

58 December 6, 2012

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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

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Gifts received between August 1, 2011 and September 25, 2012

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

Gifts of $10,000 or moreAnonymous (3)James & Rhonda DonatoGail & Bob HetlerWilliam & Robin KnuttelJanet & Marcos MaestreEd OsbornThomas & Mary ReicherKathy Canfield Shepard & John ShepardTricia SwiftLisa & James TaylorShariq Yosufzai & Brian James

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

SYMPHONY CIRCLEGifts of $2,500 or moreAnonymousGertrude & Robert AllenMark AttarhaMichele BensonJudith L. BloomAnita EbléKaren FairclothLinda Schacht & John GageJohn HarrisBuzz & Lisa HinesKim & Barbara MarienthalBennett Markel & Karen StellaPaul Templeton & Darrell LouieAnne & Craig van DykeGordon & Evie Wozniak

Gifts of $1,500 or moreSallie & Edward ArensJudith BloomDavid & Inez BoylePhyllis Brooks SchaferRonald & Susan ChoyValerie & Richard HerrDavid HillSue Hone & Jeff LeiterSusan HoneJorge ManchenoRené MandelPatrick McCabeAmy & Eddie OrtonAlison Teeman & Michael Yovino-YoungCarol Jackson Upshaw

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

60 December 6, 2012

December 6, 2012 61

Gifts of $750 or moreJoy & Jerome CarlinEarl & June CheitBruce & Joan DoddOz EricksonStuart & Sharon GronningenLynne L. Heinrich & Dwight

JaffeeLynne La Marca Heinrich &

Dwight JaffeeKen Johnson & Nina GroveArthur & Martha LuehrmannLois & Gary MarcusBebe & Colin McRaeMichael & Elisabeth O’MalleyAnthony & Patricia

TheophilosRobert & Emily WardenMr. Jeffrey A. White

Gifts of $300 or moreAnonymousPatricia & Ronald AdlerDonald & Margaret AlterFred & Elizabeth BalderstonChristel BieriMs. Lauren Brown AdamsWilliam BuckinghamDiane BuddMr. Thomas BusseJoana CarneiroRichard ColtonDianne CrosbyDennis & Sandy De DomenicoJack & Ann EastmanGini Erck & David PettaDaniel & Kate FunkTheresa Gabel & Timothy

ZumwaltEvelyn & Gary GlennBonnie & Sy GrossmanTrish & Anthony W.

HawthorneDonald & Janet HelmholzHilary HonoreOra & Kurt HuthJames Pennington KentFaye KeoghMischa LorraineHelen MarcusMaria José PereiraPeggy Radel & Joel Myerson

Gifts of $300 or more (continued)Penny & Noel NellisDitsa & Alexander PinesLeslie & Joellen PiskitelLeslie PlotkinMary Lu & Bob SchreiberDeborah Shidler & David

BurkhartShelton ShugarRobert Sinai & Susanna

SchevillLisa St. ClaireMichel TaddeiGary & Susan Wendt-BogearNancy & Charles WolframCaroline Wood

Gifts of $100 or moreAnonymous (5)Jeannette AlexichJoel AltmanPatricia Vaughn AngellRobert & Evelyn ApteMr. Jonathan AronsCatherine AtchesonStephen Beck & Candice

EggerssSteven BeckendorfFrances BergesMs. Bonnie J. BernhardtJohn BeviacquaGeorge & Dorian BikleCara BradburyDavid BradfordRobert J. BreuerHelen CagampangMr. Stuart CaninMark Chaitkin & Cecilia StorrMurray & Betty CohenFrederick & Joan CollignonKristin CollinsDr. Lawrence R. CotterEdward CullenRichard CurleyBarbara A. DalesJoe & Sue DalyDr. Marian C. DiamondPaula & James R. DiederichPaul Dresher & Philippa KellyMs. Tanya DrlikMr. Anthony Drummond

Gifts of $100 or more (continued)Beth & Norman EdelsteinBennett Falk & Margaret

MorelandMr. Fred G. FassettMarcia FlanneryJoseph FlorenCollette FordEdnah Beth FriedmanDoris FukawaHarriet FukushimaIsabelle GerardJohn C. GerhartJeffrey Gilman & Carol ReifRose Marie & Sam GinsburgKaren GlasserDavid GoinesStuart GoldEdward C. GordonSteven E. GreenbergArnold & Elaine GrossbergErvin & Marian HafterJane HammondAlan Harper & Carol BairdWilliam & Judith HeinMark & Roberta HoffmanRichard HutsonRuss IrwinFred JacobsonMr. Wayne J. JensenIrene & Kiyoshi KatsumotoE. Paul & Joanne P. KellyTodd KerrDavid & Nancy KesslerRobert Kroll & Rose RayLaurence & Jalyn LangCara LankfordAlmon E Larsh, JrJenny LeeJim LovekinJohn Lowitz & Fran KriegerMr. George E. MattinglyAlex MazetisSuzanne & William McLeanJim & Monique McNittHoward & Nancy MelParker Monroe & Teresa

DarraghGerry MorrisonMarcia MuggliLeslie Myers

FRIENDS OF BERKELEY SYMPHONY

62 December 6, 2012

Gifts of $100 or more (continued)Ms. Anita NavonWilliam NewtonOrtun NiesarAnn M. O’Connor & Ed

CullenGaby OlanderJonathan Omer-Man & Nan

GefenStanley & Shirley OsherTherese M. PipeMyron PollycoveRandy PorterLucille & Arthur PoskanzerJo Ann & Buford PriceGeorge N. QueeleyJean M. RadfordMark RhoadesDonald Riley & Carolyn

SerraoBill Rudiak

Julianne H. RumseyBetty & Jack SchaferSusanna SchevillSteven SchollMary Lou Schreiber, MdCarolyn SerraoBrenda ShankJane Vandenburgh & Jack

ShoemakerAnne ShortallJutta SinghCarl & Grace SmithJohan & Gerda SnapperCarol & Anthony SomkinMs. Carla SoraccoSylvia Sorell & Daniel

KaneCharlotte & Martin

SproulBruce & Susan StangelandKyra Subbotin

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

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

of Harry Weininger

Anonymous, in honor of Harry Weininger

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

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

Geoffrey S. SwiftMatias Tarnopolsky & Birgit

HottenrottKaren TeelChristopher TerryKathryn ThornburgRevan & Elsa TranterGeorge & Madeleine TrillingYvette VloeberghsRandy & Ting VogelDavid & Marvalee WakeSheridan & Betsey WarrickAlice WatersCarolyn WebberDr. George & Bay WestlakeAnn WilkinsKarsten WindtNancy & Sheldon WolfeMrs. Charlene M. WoodcockMark G. Yatabe

December 6, 2012 63

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

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

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

Partnership Fund

Gifts of $5,000 or moreCalifornia Arts CouncilCity of BerkeleyEast Bay Community FoundationUnion Bank of CaliforniaU.S. BankWallis FoundationBernard E. and Alba Witkin Charitable

Foundation

Gifts of $5,000 or more (continued)

Zellerbach Family Foundation

Gifts of $2,500 or moreAmphion FoundationThe Aaron Copland Fund for Music

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

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

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

Anchor Brewing Co.Chevron

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

Gifts received between August 1, 2011 and September 25, 2012

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

Kathleen G. HenschelJeffrey S. Leiter

Janet & Marcos Maestre Bennett MarkelLisa Taylor

64 December 6, 2012

December 6, 2012 65

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

Andreas Jones Graphic DesignSusan & Jim AcquistapaceMarshall BermanJudith L. BloomCasa de ChocolatesMarilyn & Richard CollierDouglas ParkingExtreme PizzaReeve GouldKathleen G. HenschelJohn HarrisGeorge & Marie Hecksher

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

AdministrationRené Mandel, Executive DirectorMarissa Phillips, Director of DevelopmentJenny Lee, Director of CommunicationsTheresa Gabel, Director of OperationsMing Luke, Education Director &

ConductorKaren Ames, Consulting/

Communications ConsultantJessica Schultze, Marketing AssociateAaron Woeste, Development AssociateThomas Busse, ControllerPatrick Doherty, Development Intern

ProgramThomas May, Program AnnotatorVictor Gavenda, Program AnnotatorAndreas Jones, Program DesignerJulie Giles, Program Cover DesignerJohn McMullen, Advertising SalesCalifornia Lithographers, Program Printing

Contact

find us on

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

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

66 December 6, 2012

Alameda Structural . . . . . . . . . . . . . . . . . . page 18Albert Nahman Plumbing . . . . . . . . . . . page 36Aur0ra Theatre . . . . . . . . . . . . . . . . . . . . . . page 28Bec’s Bar and Bistro . . . . . . . . . . . . . . . . . page 42Berkeley Hat Company . . . . . . . . . . . . . . .page 32Berkeley Horticultural Nursery . . . . . . .page 52Bill’s Men’s Shop . . . . . . . . . . . . . . . . . . . . page 24BuyArtworkNow.com . . . . . . . . . . . . . . . page 45The Christmas Revels . . . . . . . . . . . . . . . . page 56The Club at The Claremont . . . . . . . . . . . . page 14Casa de Chocolates . . . . . . . . . . . . . . . . . . page 50Coldwell Banker . . . . . . . . . . . . . . . . . . . . . page 58College Prep . . . . . . . . . . . . . . . . . . . . . . . . . . page 41Crepevine Restaurant . . . . . . . . . . . . . . . page 44Crowden . . . . . . . . . . . . . . . . . . . . . . . . . . . . .page 32Dining Guide . . . . . . . . . . . . . . . . pages 42, 44, 46DoubleTree Hotel . . . . . . . . . . . . . . . . . . . . page 60Douglas Parking . . . . . . . . . . . . . . . . . . . . . page 58Frank Bliss, State Farm . . . . . . . . . . . . . . . page 18George Mattingly Design . . . . . . . . . . . . page 38Going Places . . . . . . . . . . . . . . . . . . . . . . . . .page 25Golden State Senior Care . . . . . . . . . . . . .page 52Griffin Motorwerke . . . . . . . . . . . . . . . . . . page 56The Grubb Co . . . . . . . . . . . . . . . . . . . . . back coverHenry’s Gastropub. . . . . . . . . . . . . . . . . . . . page 16 Hotel Durant . . . . . . . . . . . . . . . . . . . . . . . . page 30Hudson Restaurant . . . . . . . . . . . . . . . . . . page 46Judith L. Bloom, CPA . . . . . . . . . . . . . . . . . . page 11

Advertiser Index

Jutta’s Flowers . . . . . . . . . . . . . . . . . . . . . . page 64La Mediterranée . . . . . . . . . . . . . . . . . . . . . page 44Lunettes du Monde . . . . . . . . . . . . . . . . . . page 36Mancheno Insurance Agency . . . pages 34-35Margaretta K. Mitchell Photography . .page 22Maybeck High School . . . . . . . . . . . . . . . . page 28McCutcheon Construction . . . . . . . . . . . page 48Mechanics Bank . . . . . . . . . . . . . . . . . . . . . page 24Meritage at the Claremontg . . . . . . . . . page 46Mountain View Cemetery . . .inside back coverO Chamé . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 44Oceanworks . . . . . . . . . . . . . . . . . . . . . . . . . .page 52Osher Life Long Learning . . . . . . . . . . . . page 38Poulet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 42R. Kassman Piano . . . . . . . . . . . . . . . . . . . .page 32Revival Bar & Kitchen . . . . . . . . . . . . . . . page 46Rick & Ann’s Restaurant . . . . . . . . . . . . . page 42Scandinavian Designs . . . . . . . . . . . . . . . . page 18Sotheby’s International Realty . . . . . . . page 12St. Paul’s Towers . . . . . . . . . . . inside front coverStorey Framing . . . . . . . . . . . . . . . . . . . . . . .page 22Talavera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .page 25Thornwall Properties . . . . . . . . . . . . . . . . page 20Tricia Swift, Realtor . . . . . . . . . . . . . . . . . . page 16Turtle Island Book Shop . . . . . . . . . . . . . .page 25UC Berkeley Optometry . . . . . . . . . . . . . page 26Viking Trader . . . . . . . . . . . . . . . . . . . . . . . . page 28 . . . . . . . . . . . . . . . Please Patronize Our Advertisers!

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