docives | dresher | beethoven
download 
Report Transcription
ives | dresher | beethoven
THE INNOVATORS IVES | DRESHER | BEETHOVEN Thursday, October 4, 2012 | Zellerbach Hall, UC Berkeley Berkeley Symphony 2012-13 Season 5 Message from the Music Director 7 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 Artist 41 Berkeley Symphony 45 Music in the Schools 49 Under Construction 51 Young People’s Symphony Orchestra 53 Contributed Support 66 Advertiser Index 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. Berkeley Symphony, 1942 University Ave., Ste. 207, Berkeley, CA 94704 510.841.2800 • Fax: 510.841.5422 E-mail: info@berkeleysymphony.org Web site: www.berkeleysymphony.org To Advertise: 510.652.3879 October 4, 2012 3 2012-13 Season Opening Night Gala Dinner Honoring Paul Dresher Thursday, October 4, 9 pm, following the performance photo by Akiko Nabeshima Zellerbach Hall Mezzanine Berkeley Symphony celebrates the start of its 2012-13 Season with a gala dinner. Now an annual tradition, the Opening Night Dinner is our opportunity to give toast to the new season with the members of our community. This year, we also honor Bay Area composer Paul Dresher for his creativity, originality and innovation. Berkeley Symphony gratefully acknowledges the following donors for making tonight’s Gala Dinner possible. Innovator Sponsors Mark Attarha Marilyn & Richard Collier Jennifer Howard DeGolia Brian James & Shariq Yosufzai Ed Osborn Mary & Tom Reicher Tricia Swift Lisa & James Taylor Initiator Sponsors Susan & Jim Acquistapace Phil Bokovoy John Chowning Kelly Coulombe Jim & Rhonda Donato Kathleen G. Henschel Gail & Bob Hetler Janet & Marcos Maestre Janet & Michael McCutcheon Anne & Craig van Dyke All proceeds from this event benefit Joana’s commitment to innovative programming and commissioning initiatives that make possible the world premieres of works by composers such as Paul Dresher. 4 October 4, 2012 Message from the Music Director Dear friends, I am delighted to welcome you to our 2012-13 Season. Our family, Berkeley Symphony, is experiencing one of the most innovative periods in its 43-year history. Tonight’s performance is clear evidence of this. Paul Dresher personifies everything that Berkeley Symphony aims to project—a commitment to contemporary creation, endless inventiveness, innovation, craft, great taste, and the ability to surpass every expectation and preconception that one might have—all at the service of creating works of great beauty. It is a profound honor to have Paul, an icon of our intellectual community, associated with us once again. Personally, having just committed the next five years of my artistic life to Berkeley Symphony and to you, our loyal audience, I am particularly excited to mark the occasion with this evening’s program. We open with The Unanswered Question by Charles Ives, one of the most important musical figures in recent history. This haunting piece, first written in 1906 as part of a longer work, had its premiere in 1946. Following Paul’s new work, we bring tonight’s performance to a rousing finale with Beethoven’s Seventh Symphony. It has been described by many as “one of the most perfect symphonies ever written.” Its irrepressible fourth movement is infused with joy and optimism, a fitting send-off as we embark on this musical journey together. It is, indeed, my privilege to share this program with you this evening. Thank you for being here tonight and always. My very best, Joana Carneiro October 4, 2012 5 6 October 4, 2012 Message from the Executive Director photo by Marshall Berman DEFIANTLY ORGINAL. 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 transformed 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 October 4, 2012 7 8 October 4, 2012 Board of Directors & Advisory Council Board of Directors Advisory Council Executive Committee Thomas Z. Reicher, President Partner, Cooley LLP Marilyn Collier, Chair Janet Maestre, Vice President for Governance Flute Instructor/Orchestra Member (Retired) Joy Carlin Janet McCutcheon, Vice President for Development McCutcheon Construction Stuart Gronningen, Vice President for Community Outreach Orchestra Member Kathleen G. Henschel, Treasurer Finance Manager, Chevron Corp (Retired) Tricia Swift, Treasurer Realtor, The Grubb Co René Mandel, Executive Director Directors Susan Acquistapace Professor of Biology, Mills College Norman Bookstein Consultant James Donato Partner, Shearman & Sterling LLP Ellen L. Hahn Community Leader Robert B. Hetler Partner, PricewaterhouseCoopers (Retired) William Knuttel Winemaker and Proprietor, William Knuttel Winery William McCoy Fundraiser, California Native Plant Society Ed Osborn Principal, Bingham, Osborn & Scarborough, LLC Kathy Canfield Shepard President, Canfield Design Studios, Inc. Deborah Shidler Orchestra Member Michel Taddei Orchestra Member Gertrude Allen Michele Benson Ron Choy John Danielsen Jennifer DeGolia Carolyn Doelling Anita Eblé Karen Faircloth Gary Glaser Reeve Gould Lynne La Marca Heinrich Buzz Hines Sue Hone Brian James Kenneth A. Johnson Todd Kerr Jeffrey S. Leiter Bennett Markel Bebe McRae Maria José Pereira Helen Meyer Christine Miller Deborah O’Grady Marjorie Randell-Silver Thomas Richardson Linda Schacht Jutta Singh Lisa Taylor Alison Teeman Paul Templeton Anne Van Dyke Yvette Vloeberghs Shariq Yosufzai Michael Yovino-Young October 4, 2012 9 The Orchestra, October 4 Joana Carneiro, Music Director Sponsored by John and Helen Meyer Sponsored by Earl O. Osborn Sponsored by Lisa and Jim Taylor Sponsored by S. Shariq Yosufzai and Brian James Kent Nagano, Conductor Laureate Viola Tiantian Lan Principal Sponsored by James and Rhonda Donato Ilana Matfis Assistant Principal Violin I Darcy Rindt Franklyn D’Antonio Marta Tobey Sponsored by Ellen Hahn Concertmaster Sponsored by Tricia Swift Noah Strick Associate Concertmaster Yasushi Ogura Assistant Concertmaster Patrick Kroboth Deanna Said Pei-Ling Lin Steven Ng Amy Apel Alice Eastman* Matthew Szemela Member of Young People’s Symphony Orchestra Eugene Chukhlov Cello Larisa Kopylovsky Candy Sanderson Lisa Zadek Quelani Penland Annie Li Kristen Jones John Bernstein Sponsored by David and Inez Boyle Carol Rice Principal Isaac Melamed Assistant Principal Krisanthy Desby Shirley Hunt Bert Thunstrom Peter Bedrossian Violin II Jessica Blixt-Logan + Daniel Flanagan Principal Lauren Avery Assistant Principal Karsten Windt David Cheng Ann Eastman Rick Diamond Charles Zhou Ken Johnson Member of Young People’s Symphony Orchestra Joshua Herman + Member of Young People’s Symphony Orchestra Bass Michel Taddei Principal Sponsored by Janet & Michael McCutcheon Robert Ashley Assistant Principal Kevin Harper Jon Keigwin David Grote Karen Horner Ji Eun Moon Alden Cohen Sarah Lee Megan McDevitt Rose Marie Ginsburg Marcus Wong 10 October 4, 2012 Flute Trombone Emma Moon Thomas Hornig Principal Sponsored by Marcos and Janet Maestre Stacey Pelinka Piccolo Stacey Pelinka Oboe Peter Lemberg Principal Sponsored by Kim and Barbara Marienthal Sarah Rathke B-flat Clarinet Roman Fukshansky Principal Sponsored by Judith L. Bloom Principal Sponsored by Kathleen G. Henschel Bass Trombone Craig McAmis Tuba Jerry Olson Principal Timpani Kevin Neuhoff Principal Percussion Ward Spangler Diana Dorman Principal E-flat Clarinet Kevin Neuhoff Roman Fukshansky Joel Davel Bass Clarinet Piano Diana Dorman Bassoon Sponsored by Gail and Bob Hetler Miles Graber Principal Erin Irvine Principal Ravinder Sehgal Contrabassoon Erin Irvine Horn Meredith Brown Principal Sponsored by Tom and Mary Reicher Stuart Gronningen Sponsored by Kathy Canfield Shepard and John Shepard David Goldklang Tom Reicher Trumpet Cheonho Yoon Franklyn D’Antonio, Orchestra Manager Joslyn D’Antonio, Co-Orchestra Manager Quelani Penland, Librarian Sponsored by Norman A. Bookstein and Gillian Kuehner Principal Kevin Reinhardt, Ari Micich Stage Manager October 4, 2012 11 12 October 4, 2012 October 4 Program Season Opening Concert: The Innovators Thursday, October 4, 2012 at 7:00 pm Zellerbach Hall Joana Carneiro conductor Charles Ives The Unanswered Question Paul Dresher Concerto for Quadrachord and Orchestra (World Premiere) I. Uncommon Ground II. A Tale of Two Tunings III. Louder/ Faster INTERMISSION Ludwig van Beethoven Symphony No. 7 in A Major, Op. 92 I. Poco sostenuto—Vivace II. Allegretto III. Presto—Assai meno presto IV. Allegro con brio The Season Opening Concert on October 4 is made possible by the generous support of Rhonda and Jim Donato, Ellen Hahn, Gail and Bob Hetler, Deborah O’Grady and John Adams, Kathy Canfield Shepard and John Shepard, and Tricia Swift. The Paul Dresher commission is made possible in part by the Creative Work Fund and the National Endowment for the Arts. Tonight’s concert will be broadcast on KALW 91.7 FM on December 2, 2012. Please be sure to switch off your cell phones, alarms, and other electronic devices during the concert. October 4, 2012 13 14 October 4, 2012 Program Notes Charles Ives (1874–1954) The Unanswered Question muted; its place may be taken by English horn, oboe, or clarinet), and strings (preferably off-stage). Duration ca. 8 minutes. Charles Ives was born on October 20, C for chamber orchestra or chamber ensemble 1874, in Danbury, Connecticut, and died in New York City on May 19, 1954. He seems to have begun work on The Unanswered Question during the summer of 1906, and completed it around the end of the same year. In the early 1930s he included it in the A Set of Three Pieces for Strings, Woodwind, Trumpet, Horn, Piano and Drum, now known as the Orchestral Set No. 9. It was probably at this time that he made small revisions to the trumpet and wind parts; this second version is the more widely performed of the two and will be heard at tonight’s concert. He also adjusted the work’s title slightly, to Largo to Presto: The Unanswered Question. Ives also used other titles for the piece, including “A Contemplation of a Serious Matter” and “The Unanswered Perennial Question,” and one of his work-lists appends the subtitle “A Cosmic Landscape.” The official premiere of the work (second version) was given by some students at the Juilliard Graduate School on May 11, 1946. Edgar Schenkman conducted the on-stage orchestra, and Theodore Bloomfield the off-stage one. The Unanswered Question is scored for four flutes (oboe and clarinet will substitute for flutes III and IV, respectively), solo trumpet (preferably harles Ives was one of America’s greatest composers, and the unorthodox trajectory of his career seems uniquely American in nature. The son of a Connecticut band leader, Ives was involved in music from an early age. He began piano and organ lessons while a child, and at the age of 14 was the youngest salaried church organist in the state. He also studied harmony and counterpoint with his father, and began to compose in his early teens. While an undergraduate at Yale he continued his musical studies, primarily with Horatio Parker, and wrote a symphony in the late Romantic German style as his thesis. He never intended to be a professional musician, it seems, and after earning his Bachelor’s degree in 1898 he moved to New York and entered the insurance business, in which he was very successful. He resigned his last organist post in 1902, and never took a professional music job again. In his spare time, however, he continued to compose until about 1927, after which he created no more new works, but did revise many earlier pieces. Around the same time, coincidentally, his music began to attract October 4, 2012 15 16 October 4, 2012 the attention of the wider world. Most of the premieres of his works took place after 1927, and in 1947 he was awarded the Pulitzer Prize for his Third Symphony (which had been composed around 1908–1911 and first performed in 1946). Ives was a keen observer of the world around him, and his music reflects this trait. Many of his works depict a scene with multiple sonic events occurring simultaneously, reproducing the experience of standing outdoors and hearing two bands play in different parts of a park, for example, or of sitting by a river while the sounds of congregational hymn singing waft in from a distance. Ives was constantly experimenting with new uses of harmony and counterpoint—his music often has a multi-layered texture, in which the layers are in different keys or meters. One such work is The Unanswered Question, which he paired with Central Park in the Dark in a set called Two Contemplations. Three distinct entities occupy separate planes: a string orchestra (preferably offstage) sustains serenely beautiful diatonic chords that shift harmonies very slowly; from time to time a solo trumpet interjects a chromatic melody played in a different meter; each trumpet solo is followed by an atonal, chaotic outburst from a quartet of flutes. For such a brief work, Ives provided an amazingly detailed set of performance instructions. The instructions also include hints as to the larger meaning of the piece, as this excerpt shows: The strings play ppp throughout with no change in tempo. They are to represent “The Silences of the Druids—Who Know, See and Hear Nothing.” The trumpet intones “The Perennial Question of Existence,” and states it in the same tone of voice each time. But the hunt for “The Invisible Answer” undertaken by the flutes and other human beings, becomes gradually more active, faster and louder through an animando to a con fuoco. . . .“The Fighting Answerers,” as the time goes on, and after a “secret conference,” seem to realize a futility, and begin to mock “The Question”—the strife is over for the moment. After they disappear, “The Question” is asked for the last time, and “The Silences” are heard beyond in “Undisturbed Solitude.” Many interpretations have been brought forth to explain this work since its first performance in 1946. One of the best known is Leonard Bernstein’s proposition that the question here is “Whither tonality in the 20th century?” but it seems more likely that the conflict between tonal and atonal forces in the piece is the medium, not the message. Ives originally titled the work “The Unanswered Perennial Question,” then pared down the title to its current, more open-ended form; we should take this as a clue not to attach October 4, 2012 17 18 October 4, 2012 specific meaning to the piece. Rather, we should treat it as an invitation to inquiry. —© Victor Gavenda Paul Dresher (b. 1951) Concerto for Quadrachord and Orchestra Paul Dresher was born in Los Angeles and currently resides in Berkeley, California. He is best known for making music in an astounding variety of expressions. Concerto for Quadrachord is commissioned by Berkeley Symphony for the 2012-13 Season. It is scored for piccolo, flute, 2 oboes, 2 clarinets in B-flat (clarinet 1 doubles Eb clarinet; clarinet 2 doubles bass clarinet), bassoon, contrabassoon, 3 horns in F, 2 trumpets in B-flat, tenor trombone, bass trombone, tuba, piano, 3 percussion (see percussion inventory page), detuned string section, strings (tuned normally) and Quadrachord soloist. Duration ca. 26 minutes. The composer has provided the following comments T his work is in three separate movements that in general follow the conventional concerto movement sequence of fast—slow—fast. Beyond this large-scale formal connection to convention, the similarities to common practices become more difficult to define, starting most obviously with the featured solo instrument, the Quadrachord. This very large stringed instrument (four strings, each nearly 14 feet long) was invented and constructed by myself and my long-time collaborator Daniel Schmidt between 1999 and 2004. More detailed description of the instrument follows these notes. The first two movements, Uncommon Ground and A Tale of Two Tunings, take two different approaches to a core challenge originated from the fact that the Quadrachord plays in an entirely different tuning system than that of the orchestra. The orchestra, along with virtually all the other forms of music we hear daily regardless of idiom or point of origin, uses equal-temperament, a system in which all 12 semitones that make up an octave are equidistant from the one above or below. In sharp contrast, the Quadrachord’s extremely long strings—far longer than any conventional stringed instrument—allow the natural harmonic intervals to be played easily and accurately. These naturally occurring intervals are a result of the multiple modes of vibration that occur when a string or column of air is set into motion by plucking, bowing, striking or blowing. In contrast to equal temperament, they are unique because of the distance from their closest neighboring harmonic. While the first four or five of these naturally occurring subdivisions of the string (also known as “just” intervals, “overtones” or “partials”) are quite closely matched to those of equal temperament, they increasingly diverge from the conventional October 4, 2012 19 �� 510 ©2012 Margaretta K. Mitchell 655-4920 WWW.MARGARETTAMITCHELL.COM PHOTOGRAPHY LIFE’S BEST MOMENTS We are a frame shop dedicated to the preservation and protection of your prints, photographs, posters, drawings, needlework, paintings and objects. We use the finest archival materials: • Mats made of either cotton rag or alpha cellulose which is acid and lignin free. • Cotton rag mount boards behind artwork. • Foamcore backing which absorbs acids from environmental gases. • Acrylic glazing products which protect artwork from damage from glass breakage. • Acrylic and glass products which filter out 98% of ultraviolet light, protecting artwork from fading and degradation. • Hinging or other mounting techniques which are reversible and cause no harm to artwork. There are great artists in every field. We invite you to call one of ours! www.CaliforniaMoves.com 1495 Shattuck Avenue 510.486.1495 Established 1974 510.524.3422 1645 Hopkins, Berkeley 20 October 4, 2012 BERKELEY OFFICE tuning system as one proceeds up the harmonic series. This composition makes extensive use of these intervals, as they are so resonant on the Quadrachord, and to my ears, musically intriguing. But to ears accustomed only to equal-temperament, these intervals will typically sound quite “out of tune” at first, often unpleasantly so. Thus one of my goals in this work is to introduce the Quadrachord’s tuning system in such a way that as the piece progresses, this initial strangeness will start to become familiar and begin to make a different kind of sense to the listener. To accomplish this I have had to come up with several compositional and orchestrational strategies in order to create some common ground, as well as interesting uncommon ground, between the orchestra and the Quadrachord. In fact, all the brass instruments in the orchestra utilize the intervals of the natural harmonic series, and so in the first two movements, this instrumental family plays a large role in establishing the common ground between the orchestra and the Quadrachord. The contrasting sound from the different tuning systems is the underlying subject of the first movement, Uncommon Ground. In parts of the first and second movements, I digitally record what I perform on the Quadrachord. This recording then loops continuously, forming the basis of the rich musical development furthered by both the live Quadrachord and orchestra. The second movement, A Tale of Two Tunings, is much more spare in its orchestration. The tension between the two different intonation systems is made apparent through a simple and continuously looped 14 bar harmonic progression. Beginning in equal temperament, this progression moves, hopefully with some new form of grace, to the intervallically remote regions of the 7th, 11th and 13th harmonics and then back to its equal tempered starting point. During the final statement of the progression, the attempt to reconcile just and equal tempered versions of the same tones is entirely dispensed with, and we hear the two systems superimposed upon one another unadorned and without excuse. The last movement, Louder/Faster, explores the unique sonic resources of the Quadrachord as a percussion instrument. In composing this section, I began by revisiting some performance techniques I first developed for the 2006 composition Glimpsed From Afar, a work I still perform regularly on the Quadrachord in a duo with my long-time percussionist and collaborator Joel Davel. While moving far beyond the musical terrain used in that work, this new work nonetheless owes a profound debt to Joel’s deep musical imagination and collaborative spirit. The Concerto was composed between March and September of 2012, first at my composing retreat in the redwood forest outside of Boonville, CA. Then, for very important three weeks in October 4, 2012 21 22 October 4, 2012 May, at the Atlantic Center for the Arts in New Smyrna Beach, Florida, where I was a Master Artist-In-Residence; and finally, in Boonville from June through its completion in early September. I am very grateful to the Creative Work Fund for its courageous support of this project; to Joana Carneiro and the staff, board and musicians of Berkeley Symphony for their dedication to bringing this project to fruition; to Jeremy Thal for his consultation regarding the intonational resources of the French Horn; to the Atlantic Center for the Arts; to John and Helen Meyer of Meyer Sound for years of support to the Paul Dresher Ensemble and the whole community (and for the loan of speakers for my composing studio); and most of all, to my extraordinary wife Philippa Kelly, for tolerating my ups and downs, obsessions and regressions, and insane daily schedule during the course of the composition. The Quadrachord The Quadrachord is an instrument invented in collaboration with instrument designer Daniel Schmidt as part of my music theater work Sound Stage. This work has a theatrical set comprised entirely of invented large-scale musical instruments/ sound sculptures. A collaboration with writer/director Rinde Eckert, Sound Stage was commissioned and premiered by the Minneapolis-based new music ensemble Zeitgeist in June of 2001. While there were many designs created for this production, the Quadrachord was clearly our most compelling invention and its sonic attributes have continued to inspire me since its creation. The instrument has a total string length of 160 inches; four strings of differing gauges but of equal length and an electric bass pick-up next to each of the two bridges. The instrument can be plucked like a guitar, bowed like cello, played like a slide guitar, prepared like a piano and hammered on like a percussion instrument. Because of the extremely long string length (relative to our conventional bowed and plucked instruments), and very low open string/fundamental pitches, the instrument is capable of easily and accurately playing the harmonic series up to the 28nd harmonic and beyond. Thus it is a remarkable tool for exploring alternative tuning systems based on the harmonic series. Since 2002, I have regularly used the instrument in live performance in a duo with electronic percussionist Joel Davel. It is typically used in conjunction with live digital looping and signal processing (most importantly programmable equalization or tone control) that together allow us to build up complex multi-track layers, each of which is defined by a distinct timbre and spectral characteristics. Since its debut in Sound Stage, the instrument has been used in several important works. It is the featured instrument and source for all sounds October 4, 2012 23 in the concert work In the Name(less) that I recorded with percussionist Joel Davel on my 2004 New Albion CD, Cage Machine. In 2006, as result of a commission from the Jewish Music Festival produced by the Berkeley JCC, Joel and I premiered a second duo for the Quadrachord and Marimba Lumina, Glimpsed From Afar. This work has toured widely, was performed on a program with the Los Angeles Philharmonic in Disney Hall as part of the West Coast Left Coast Music Festival directed by John Adams. As a source for digital sound samples and explorations of alternative “just” tunings, it is at the core of Unequal Distemperament, my four-movement concerto for cellist Joan Jeanrenaud and my own Electro-Acoustic Band, completed in 2006. And in recorded form, it is source for all the sounds in the surround sound work Steel, which is part of the surround sound audio DVD compilation, Immersion (2000) on the Starkland label. Merrell Frye Boots Rockport Keen Dr. Martens Timberland Clarks Sperry Uggs Moccasins Clogs Dansko The Quadrachord has also been used Since 1961 in several compositions for dance, first in live performance for choreographer Allyson Green’s In The Name. In recorded form it was the source for all sounds in the recorded work Jaisalmer for Nancy Karp and Dancers. And in 2006 it was incorporated in live performance throughout the evening length collaboration with the F O OT WEAR Margaret Jenkins Dance Company A Slipping Glimpse. —© Paul Dresher 24 October 4, 2012 Ludwig van Beethoven (1770–1827) Symphony No. 7 in A Major, Op. 92 Ludwig van Beethoven’ was born in Bonn, in the German Rhineland. The exact date of his birth is not known, but he was baptized on December 17, 1770 so it is assumed that he was born either on that day or on the day before. He moved to Vienna in 1792 to take up the study of composition with Franz Josef Haydn, and remained a resident of that city until his death on March 26, 1827. Beethoven seems to have begun work on the Seventh Symphony in the autumn of 1811; he began to write out the fair copy of the completed work on May 13, 1812. Its first performance took place on December 8, 1813 in the Hall of the University of Vienna. The concert was sufficiently successful (credit for this is at least partly due to the other major work on the program, Beethoven’s “Battle Symphony”) to be repeated on December 12; then again on January 2 and February 27 of the following year, in the Large Redoutensaal in the Hofburg Palace. At the latter event it was joined on the program by the Eighth Symphony, which was receiving its premiere. Publication followed in November of 1816, by Steiner of Vienna. Score and parts appeared simultaneously, a first for one of Beethoven’s symphonies, and the title pages of both bear the dedication to Count Moritz von Fries, a wealthy aristocrat and patron of the arts who provided material aid to the careers of Haydn and Beethoven. The work is scored for the typical late-Classical-Period orchestra, calling for pairs each of flutes, oboes, clarinets, bassoons, horns and trumpets, plus timpani and strings. Duration ca. 38 minutes. “Everyone’s talking about Talavera.” —San Francisco Chronicle Handmade Sinks, Tile, Garden & Tableware ... and more 1801 University (at Grant), Berkeley Open Mon-Sat 10-6, Sun 12-6 510-665-6038 www.TalaveraCeramics.com Out-of-Print & Rare Books on the Arts 3032 Claremont Avenue Berkeley (510) 655-3413 RWturtleisland@aol.com October 4, 2012 25 26 October 4, 2012 A fter completing the Fifth and Pastoral Symphonies in 1808, Beethoven turned away from symphonic music for several years. No doubt the 1809 occupation of Vienna by Napoleon’s army is partly responsible for this: most of the city’s aristocratic families fled to the countryside, taking an important source of patronage for the performing arts with them. In addition, the financial and social disruptions caused by the presence of the foreign army rendered impractical most large-scale public music-making. French troops departed the city in late 1809, and life slowly began to return to normal. The first signs of work on the Seventh Symphony are found in the so-called Petter sketchbook, now in the Bodmer collection in Bonn, which dates from the second half of 1811. Beethoven’s ideas for the A Major Symphony are intermingled with sketches for the Eighth Symphony. Some notations in this sketchbook confirm references in Beethoven’s letters of the time to a third symphony in D minor. (These ideas were to lie fallow for another decade, until he began work on the Ninth Symphony in earnest.) Completed by May of 1812, the Symphony in A Major languished unperformed. Austria was in the grip of a general economic and emotional malaise, thanks to the hardships wrought by the continuing Napoleonic wars. For the most part, the only public concerts that took place were charity events in support of the victims of the war. Furthermore, Beethoven was struggling with emotional conflicts of a more personal nature. In the summer of 1812, he composed (but probably did not send) the famous letter to his “Immortal Beloved,” a woman with whom he was passionately in love, but who was hopelessly out of reach. And in the fall of the year, he devoted much time and energy to meddling in the love life of his brother, Johann. He was convinced that his brother’s girlfriend was wicked and immoral, and he traveled to their home in Linz in an attempt to drive them apart, going so far as to attempt to enlist the local bishop and the police in his causes. Naturally, Beethoven’s efforts backfired: the couple, driven to desperation by the composer’s interference, got married. Beethoven slunk back to Vienna in defeat. Finally, in late 1813, an opportunity arose for a performance of the new symphony, thanks to Beethoven’s acquaintance with the inventor and musician, Johann Nepomuk Mälzel (1772–1838), who had earned the hearing-impaired composer’s admiration and affection by crafting an ear-trumpet that actually worked. Mälzel, better known to music history through his 1817 invention, the metronome, became famous through his elaborate mechanical musical instruments, including his Mechanical Trumpeter and the grand Panharmonicon. This ungainly beast incorporated all of the usual military band instruments in a box, complete with bellows to power them and a music-box-like toothed cylinder to play them. After the news October 4, 2012 27 28 October 4, 2012 of Wellington’s victory over the French at the Battle of Vittoria (in June of 1813) arrived in Vienna, Mälzel hit on the idea of asking Beethoven to compose a “Battle Symphony” that would display the talents of the Panharmonicon to greatest advantage. The plan was for the odd couple to take the machine on tour, performing the novelty act in numerous cities across Europe. To finance the venture, Mälzel realized that not one, but several benefit concerts would be necessary. To gain public favor, the proceeds from the first concerts would be earmarked for the victims of the recent Battle of Hanau, but if there was sufficient demand, the concert could be repeated to the benefit of its sponsors. He asked Beethoven to orchestrate the “Battle Symphony,” and suggested that if he had any other unheard orchestral works lying around, those could help fill out the program. in his own right, describes Beethoven’s Because Beethoven hadn’t given a public orchestral concert in several years, and because of the charitable nature of the event, many of Vienna’s most prominent musicians offered their services for free or next to nothing. One gets the sense from contemporary sources that they volunteered partly for the honor of participating in a new major work by Beethoven (for the Seventh Symphony) and partly as a professional frolic (for the “Battle Symphony”). Several of the musicians recorded their impressions of the event; Louis Spohr, who played violin and was a renowned composer and the Seventh Symphony were re- conducting: Beethoven had accustomed himself to indicate expression to the orchestra by all manner of singular bodily movements. So often as a sforzando occurred, he tore his arms, which he had previously crossed upon his breast, with great vehemence asunder. At piano he crouched down lower and lower as he desired the degree of softness. If a crescendo then entered he gradually rose again and at the entrance of the forte jumped into the air. Sometimes, too, he unconsciously shouted to strengthen the forte . . . It was obvious that the poor man could no longer hear the piano of his music. The amazing thing is that Mälzel’s plan worked spectacularly. The first concert was a smash hit. Both the potboiler, Wellington’s Victory (its official title), ceived with wild applause, and the repetition of the concert a few days later had the same result. A large sum of money was raised for the widows and orphans, and at further repetitions of the program in early 1814, Beethoven earned a handsome profit for himself. But these concerts had a significance for Beethoven that went far beyond pecuniary matters. They were a watershed in his career, the moment when his public recognition spread beyond the narrow circle of aristocrats and connoisseurs who were his original patrons and reached a much wider audiOctober 4, 2012 29 30 October 4, 2012 ence. He had “arrived,” in the modern sense. At the time, much of this success was attributed to Wellington’s Victory, which combines God Save the King with imitation cannon blasts, but it is clear the A Major Symphony was understood and appreciated as well. For one thing, at each performance, the audience insisted that the Allegretto, one of Beethoven’s most sublime achievements, be repeated. This melancholy movement, whose frequent shifts of mode between minor and major foreshadow the art of Schubert, is the only serious moment in a work that is almost entirely devoted to the expression of unbridled joy and good humor. Its giddy atmosphere was a heady tonic for a people just beginning to see the light at the end of the tunnel after a decade of almost constant warfare and political and economic upheaval. Overall, the symphony is characterized by radical contrasts and almost comical juxtapositions. The opening movement begins with one of Beethoven’s most grand and imposing slow introductions, but once we reach the main part of the movement, a solo flute in jaunty 6/8 time leads the merry-making. Frequently, thematic statements made by instruments at the treble end of the orchestra are answered by those at the extreme bass end. Forte and piano follow upon each other in quick succession. It is not uncommon for metric weight to be shifted from strong beats to weak for many measures in a row. Indeed, it is Beethoven’s mastery of rhythm that gives this work its intoxicating vitality. Not only is every movement pervaded by rhythmic motives that are treated almost obsessively, but on deeper levels the structure of the music propels the work inexorably forward to climaxes of enormous power. In the words of J.W.N. Sullivan (Beethoven: His Spiritual Developmenti): “The exultant note rises higher until in the last movement, we are in the region of pure ecstasy, a reckless, headlong ecstasy, a more than Bacchic festival of joy.” —© Victor Gavenda I just love this orchestra! Judith L. Bloom, Certified Public Accountant 510.798.8512 • judith@jlbloomcpa.com October 4, 2012 31 32 October 4, 2012 2012-13 Season Upcoming Zellerbach Hall Concerts The Rebel Thursday, December 6, 2012 Dylan Mattingly Invisible Skylines (World Premiere) Ligeti Piano Concerto; Shai Wosner, piano Schumann Symphony No. 2 The Illuminators Thursday, February 7, 2013 Andreia Pinto-Correia Alfama (World Premiere) Lutosławski Cello Concerto; Lynn Harrell, cello Rachmaninoff Symphonic Dances The Idealists Thursday, March 28, 2013 Steven Stucky The Stars and the Roses (World Premiere); Noah Stewart, tenor Bruckner Symphony No. 4 Plus Under Construction New Music Series and Family Concerts! Find us on For details or tickets, visit www.berkeleysymphony.org or call (510) 841-2800 x1. October 4, 2012 33 34 October 4, 2012 October 4, 2012 35 The Plumber Referred by Your Friends Lic.#414359 Responsive � Professional � Guaranteed www.albertnahmanplumbing.com 510-843-6904 L unettes du Monde A Gallery of Fine Eyewear From Around The World by Dr. Philip Schletter, O.D. 1799e Fourth St., Berkeley (510) 559-8181 CONTACTS | RX FILLED | EXAMINATIONS | ORTHOKERATOLOGY 36 October 4, 2012 Music Director: Joana Carneiro N oted 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 Symphony, 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 Symphony, 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, Carneiro’s 2012-13 concerts with Berkeley combine new works from Paul Dresher, Dylan Mattingly, Andreia Pinto-Correia and Steven Stucky, alongside masterworks such as Beethoven’s Symphony No. 7, Bruckner’s Symphony No. 4, Rachmaninoff’s Symphonic Dances and Schumann’s Symphony No. 2. She also leads Jessica Rivera and the San Francisco Girls Chorus with members of the Orchestra in the world premiere of an oratorio by Gabriela Lena Frank. Carneiro’s growing guest-conducting career continues to take her all around the globe. Following her highly successful 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 Netherlands debut with the Residentie Orkest, 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. October 4, 2012 37 Increasingly in demand as an opera Mallory Thompson, and pursued doc- conductor, Carneiro made her Cincin- toral studies at the University of Michi- nati Opera debut in July 2011 conducting gan, where she studied with Kenneth John Adams’ A Flowering Tree, which she Kiesler. Prior to her Berkeley Symphony also debuted with the Chicago Opera appointment, she served as Assistant Theater and at La Cité de la Musique in Conductor with the Los Angeles Phil- Paris. In 2010, she led performances of harmonic from 2005 to 2008, where she Peter Sellars’s stagings of Stravinsky’s worked closely with Esa-Pekka Salonen Oedipus Rex and Symphony of Psalms and led performances at Walt Disney at the Sydney Festival, which won Concert Hall and the Hollywood Bowl. Australia’s Helpmann Award for Best Symphony Orchestra Concert in 2010. Carneiro is the 2010 recipient of the Helen M. Thompson Award, conferred A native of Lisbon, Carneiro began by the League of American Orchestras her musical studies as a violist before to recognize and honor music direc- receiving her conducting degree from tors of exceptional promise. In March the Academia Nacional Superior de 2004, Carneiro was decorated by the Orquestra in Lisbon. She received her President of the Portuguese Republic, Master’s degree in orchestral conduct- Mr. Jorge Sampaio, with the Commen- ing from Northwestern University as dation of the Order of the Infante Dom a student of Victor Yampolsky and Henrique. 38 October 4, 2012 Guest Artist Paul Dresher, composer P aul Dresher is an internationally active composer noted for his ability to integrate diverse musical influences into his own personal style. He pursues many forms of expression including experimental opera and music theater, chamber and orchestral composition, live instrumental electro-acoustic music performances, musical instrument invention, and scores for theater, dance, and film. As an experienced collaborator with artists from all performing disciplines, he also has been actively involved as a producer in the realization of collaborativelycreated opera, music theater and new media projects. A recipient of a Guggenheim Fellowship for 2006-07, he has received commissions from the Library of Congress, Saint Paul Chamber Orchestra, Spoleto Festival USA, the Kronos Quartet, the San Francisco Symphony, California EAR Unit, Zeitgeist, San Francisco Ballet, Meet the Composer, Seattle Chamber Players, Present Music, Chamber Music America, and Berkeley Symphony. He has performed or had his works performed throughout North America, Asia, and Europe at venues including New York Philharmonic, Los Angeles Philharmonic, London Sinfonietta, Lincoln Center, Berkeley Symphony, the Festival d’Automne in Paris, the Brooklyn Academy of Music’s Next Wave Festival, CBC Vancouver Radio Orchestra, the Minnesota Opera, Arts Summit Indonesia ’95 and Festival Interlink in Japan. Dresher has created new works in collaboration with such directors as Robert Woodruff, Rinde Eckert, Tony Taccone, Richard E.T. White, Les Waters, and Chen Shi Zheng. He has also worked extensively with many choreographers including Margaret Jenkins, Brenda Way/ODC San Francisco, Nancy Karp, Wendy Rogers, and Allyson Green. Recent performances include the October 4, 2012 39 December 2009 performance of his invented instrument work Glimpsed From Afar on two programs with the Los Angeles Philharmonic in Disney Hall. In March of 2009 at Stanford University, Dresher premiered Schick Machine, a music theater work performed on a set comprised entirely of invented musical instruments/sound sculptures and created in collaboration with writer/director Rinde Eckert, percussionist/performer Steven Schick and mechanical sound artist Matt Heckert. In April 2008, the San Francisco Ballet premiered Dresher’s orchestral score for Thread, his collaboration with choreographer Margaret Jenkins, commissioned for the Ballet’s 75th anniversary. In 40 October 4, 2012 May 2006, Dresher’s chamber solo chamber opera The Tyrant, for tenor John Duykers and with a libretto by Jim Lewis, premiered in five performances at Opera Cleveland and has now been produced in eight other US cities. In 2012, an entirely new production was premiered by the Teatro Comunale di Bolzano in Bolzano, Italy. He has had a longtime interest in the music of Asia and Africa, studying Ghanaian drumming with C.K. and Kobla Ladzekpo, Hindustani classical music with Nikhil Banerjee as well as Balinese and Javanese music. For more information about his work and the work of the Paul Dresher Ensemble visit www.dresherensemble.org. photo by David S. Weiland Berkeley Symphony H ailed as “the Bay Area’s most adventurous orchestra” by the Con- tra Costa Times, Berkeley Symphony has established a reputation for presenting major new works for orchestra alongside fresh interpretations of the classical European repertoire. It has been recognized with an Adventurous Programming Award from the American Society of Composers, Authors and Publishers (ASCAP) in eight of the past ten seasons. The Orchestra performs four mainstage concerts a year at Zellerbach Hall on the UC Berkeley campus, and supports local composers through its Under Construction New Music Series. A community leader in music education, the Orchestra partners with the Berkeley Unified School District to produce the awardwinning 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 protégé 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 programming that included a number of rarely performed 20th-century scores. In 1981, the internationally renowned French composer Olivier Messiaen journeyed to Berkeley to assist with the preparations of his imposing oratorio The Transfiguration of Our Lord Jesus Christ, and the Orchestra gave a October 4, 2012 41 Dining Guide DELICATESSEN CATERING 1685 SHATTUCK BERKELEY 510-845-5932 Poulet Rick & Ann’s Restaurant MON-FRI 10:30 - 8 PM SAT 10:30 - 6 PM Rick & Ann’s for Dinner: Berkeley’s best kept secret! 2922 Domingo Avenue Berkeley 510-649-8538 www.RickAndAnns.com BEC’S BAR AND BISTRO 2271 Shattuck Ave., Berkeley (510) 641-1790 Dinner served from 5pm to 11pm Open table reservation 42 October 4 P oulet is like a cafe set up at your grandmother’s house - after she’s taken a few cooking courses and gotten hip to vegetarian food, etc. -S.F. Chronicle We offer a variety of home-style entrees using local ingredients. Rick & Ann’s is open for dinner Tuesday through Sunday. A Place To Enjoy, To Meet, To Dine 3-Course Dinner for $25 sold-out performance in Davies Symphony Hall. In 1984, Berkeley Symphony collaborated with Frank Zappa in a critically acclaimed production featuring life-size puppets and moving stage sets, catapulting the Orchestra onto the world stage. Berkeley Symphony has introduced to Bay Area audiences works by upcoming young composers, many of whom have since achieved international prominence. Celebrated British composer George Benjamin, who subsequently became Composer-inResidence at the San Francisco Symphony, was first introduced to the Bay Area in 1987 when Berkeley Symphony performed his compositions Jubilation and Ringed by the Flat Horizon; as was Thomas 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, 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 Carneiro became the orchestra’s third Music Director in its 40-year history. Under Carneiro, the Symphony 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. www.buyartworknow.com October 4, 2012 43 Dining Guide Beers $2.75 after 4 pm Our house wine (stone cellar) for $2.75 with meal after 4 pm 1600 Shattuck Ave Berkeley (510) 705-1836 5600 College Ave Oakland (510) 658-2026 Open daily 7:30am–11pm (midnight Fri & sat) www.crepevine.com “Gluten-free” Crepes! Redbridge “gluten-free” Beer A 1830 Fourth Street, Berkeley 510-841-8783 Lunch: Monday - Saturday 11:30 - 3 pm Dinner: Monday - Thursday 5:30 - 9:00 pm Friday & Saturday 5:30 - 9:30 pm 44 October 4 beguiling retreat from reality. Modern day Samurai from Berkeley and beyond, dressed in jeans to suits to avant-garde finery have discovered O Chamé. Music in the Schools Berkeley Symphony’s Music in the Schools Program F or twenty years, Berkeley Symphony’s Music in the Schools program has provided comprehensive and interactive music education to every public elementary school in Berkeley. In our partnership with the Berkeley Unified School District, we serve all eleven Berkeley elementary schools and reach more than 4,000 students every year. 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 introduce students to symphonic music, “I’m a Performer!” concerts featuring student performers, family concerts for all community members, and free/discounted tickets to Berkeley Symphony concerts for students and their parents. Website: www.berkeleysymphony. org/mits FUNDERS Berkeley Public Education Foundation Berkeley Unified School District Berkeley Association of Realtors Bernard Osher Foundation California Arts Council Chancellor’s Community Partnership Fund In Dulci Jubilo Koret Foundation Mechanics Bank National Endowment for the Arts US Bank Target Stores Thomas J. Long Foundation Union Bank Foundation Wells Fargo Bank Bernard E. & Alba Witkin Charitable Foundation October 4, 2012 45 Dining Guide Executive Chef Josh Thomsen, Rising Star Award Winner LOCAL SEASONAL STELLAR Have a love affair with dining out meritageclaremont.com (Cannot be redeemed in conjunction with any other offers or specials. Limit one glass with each coupon.) 46 October 4 Expires December 31, 2012 SYMPHONY One free glass of house wine with the purchase of one full priced entree. Fifth Annual Music in the Schools Luncheon Tuesday, October 30, 2012 Bancroft Hotel This year marks the 20th anniversary of Berkeley Symphony’s Music in the Schools program. Join us as we celebrate this milestone at our annual Music in the Schools Luncheon on Tuesday, October 30. This year’s event will honor Ming Luke, Director of Music Education for MITS, and Suzanne McCulloch, District Visual and Performing Arts Program Supervisor for the Berkeley Unified Schools District. The event will begin at 12:30 pm, and will feature a delicious meal, wine generously donated by William Knuttel, and an unforgettable performance from student performers who have grown up with the MITS program. It promises to be a special opportunity to celebrate how music education has enriched our community and how the program has evolved in these past 20 years. “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 October 4, 2012 47 48 October 4, 2012 Under Construction Joana Carneiro working with Under Construction composer Mark Ackerley. Under Construction New Music Series / Composers Program E stablished in 1993, Berkeley Symphony’s Under Construction New Music Series/ Composers Program is a unique commitment to Bay Area composers and new music. Designed as a reading session to showcase the Bay Area’s composing talents, the program engages the community in contemporary music and its making, as well as provides a rare and invaluable opportunity for emerging composers to further develop their skills and to gain practical experience writing for a professional orchestra. During the course of the program, each selected composer workshops and completes one symphonic work to be presented at the Under Construction concerts. They work closely with a program leader, who provides individual mentoring sessions and professional guidance. They also have access to the orchestra members, as well as opportunities to receive feedback with Music Director Joana Carneiro and guest composers. Each composer also receives a recording of the final performance for their personal use. In the 2012-13 Season, composers Paul Dresher and Steven Stucky will lead Under Construction 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. Our audience members will have an inside look at how the composer, the conductor and the musicians work together to bring new compositions to life for the first time. They will also be able to participate in the dialogue along the way. Our composers chronicle their experiences and the growth of their pieces during the program. Check out the Under Construction blog at underconstructioncomposers. wordpress.com. Berkeley Symphony gratefully acknowledge the following Under Construction funders: Aaron Copland Fund, Margaret Dorfman, The Amphion Foundation To learn more about the program, visit berkeleysymphony.org/uccp. October 4, 2012 49 Why your whole family should go to UC Berkeley At the UC Eye Center in Berkeley, good vision is a family affair. From kids 6 to 9 months old to mature grandparents, we have everything it takes for complete examinations, a vast Eyewear Center for glasses and contact lenses, and the latest in Wavefront laser surgery. Please see us soon! Call (510) 642-2020 to schedule an appointment. Open to the public 7 days a week. Free parking with appointments. Visit us at www.CalEyeCare.org Proud to be part of the Berkeley Symphony family 50 October 4, 2012 Young People’s Symphony Orchestra T he 2012-13 Season marks the fourth 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 orchestra. 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, CA, 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, CA, 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. October 4, 2012 51 Golden State Senior Services A Family Business High Standards Quality Focused Exceptional Caregiving Highly Individualized We model our service standards as we would want to be treated (510) 526-8883 52 October 4, 2012 www.goldenstateseniorservices.com Contributed Support 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, worldclass 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 Symphony’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 programs 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 continuation 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 Berkeley 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. October 4, 2012 53 2012-13 Season Sponsors photo by Marshall Berman Kathleen G. Henschel K athleen 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 M eyer Sound Laboratories manufactures premium professional loudspeakers for sound reinforcement and fixed installation, digital audio systems for live sound, theatrical, and other entertainment applications, electroacoustic 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. Broadcast Dates Relive Tonight’s Concert with KALW 91.7 FM Berkeley Symphony and public radio station KALW 91.7 FM are pleased to present 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 throughout 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: October 4, 2012 concert will be broadcast December 2, 2012 December 6, 2012 concert will be broadcast February 3, 2013 February 7, 2013 concert will be broadcast May 19, 2013 March 28, 2013 concert will be broadcast September 15, 2013 All concerts 4–6 pm Sundays on KALW 91.7 FM and streaming online at www.kalw.org. 54 October 4, 2012 2012-13 Season Donor Benefits Friends of Berkeley Symphony Get an insider’s scoop of Berkeley Symphony programs through open rehearsals, backstage tours, and special events. Supporting Member: $100+ Advance notice of discounts and events through Berkeley Symphony e-newsletters Acknowledgement in the concert program, celebrating your support Associate Member: $300+ (All of the above plus) An invitation for two to attend 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 Circle Enjoy 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 Circle Receive 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 October 4, 2012 55 Four Mainstage Concerts “Under Construction” Concerts with Emerging Composers New Works Old Chestnuts Resident Artists Music in the Schools 56 October 4, 2012 Producer’s Campaign 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. “Joana brings excitement, musical virtuosity and an exuberant conducting style that takes musicians and audiences alike to joyful new heights.” —Brian James and Shariq Yosufzai We would like to thank the following supporters of the Producer’s Campaign: “Joana is an extremely exciting conductor and music director. Since joining the Berkeley Symphony, she has energized the program in a way that is both creative and magnetic. As longtime patrons, we’re proud to support Joana’s work as she continues to lead the orchestra that has touched and inspired many of us in the Berkeley community.” —Helen and John Meyer Judith L. Bloom Norman A. Bookstein & Gillian Kuehner David and Inez Boyle Marilyn and Richard Collier James and Rhonda Donato Ellen Hahn Kathleen G. Henschel Gail and Bob Hetler Buzz & Lisa Hines Ken Johnson & Nina Grove Marcos and Janet Maestre Kim and Barbara Marienthal Janet & Michael McCutcheon John and Helen Meyer Earl O. Osborn Tom and Mary Reicher Kathy Canfield Shepard and John Shepard Tricia Swift Lisa and Jim Taylor William Knuttel Winery S. Shariq Yosufzai and Brian James October 4, 2012 57 Founded 1930 125 locations worldwide Management Leasing Valet Parking Shuttles Consulting When you have parking management or special event needs, call the parking experts. We have been parking cars since 1930. Locations as small as 20 spaces, as large as 1400 spaces 510.444.7412 www.douglasparking.com Corporate Office: 1721 Webster Street • Oakland • CA • 94612 Offices in: Oakland • San Francisco • San Jose Walnut Creek • Las Vegas NV • Portland OR Athens, Greece 58 October 4, 2012 Annual Support Your 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. Gifts received between August 1, 2011 and September 25, 2012 SPONSOR CIRCLE SYMPHONY CIRCLE Gifts of $50,000 or more Gifts of $2,500 or more Kathleen G. Henschel Helen & John Meyer Gifts of $10,000 or more Anonymous (3) James & Rhonda Donato Gail & Bob Hetler William & Robin Knuttel Janet & Marcos Maestre Ed Osborn Thomas & Mary Reicher Kathy Canfield Shepard & John Shepard Tricia Swift Lisa & James Taylor Shariq Yosufzai & Brian James Gifts of $5,000 or more Anonymous Susan & Jim Acquistapace Norman A. Bookstein & Gillian Kuehner Gray Cathrall Marilyn & Richard Collier John & Charli Danielsen Jennifer Howard DeGolia Margaret Dorfman Paula & John Gambs Gary Glaser & Christine Miller Grubb Co. Ellen Hahn Robert & Gail Hetler Natasha Beery & William B. McCoy Deborah O’Grady & John Adams Thomas W. Richardson Anonymous Gertrude & Robert Allen Mark Attarha Michele Benson Judith L. Bloom David & Inez Boyle Anita Eblé Karen Faircloth Linda Schacht & John Gage John Harris Buzz & Lisa Hines Kim & Barbara Marienthal Bennett Markel & Karen Stella Paul Templeton & Darrell Louie Anne & Craig van Dyke Gordon & Evie Wozniak Gifts of $1,500 or more Sallie & Edward Arens Judith Bloom Phyllis Brooks Schafer Ronald & Susan Choy Valerie & Richard Herr David Hill Sue Hone & Jeff Leiter Susan Hone Jorge Mancheno René Mandel Patrick McCabe Amy & Eddie Orton Alison Teeman & Michael Yovino-Young Carol Jackson Upshaw October 4, 2012 59 60 October 4, 2012 FRIENDS OF BERKELEY SYMPHONY Gifts of $750 or more Joy & Jerome Carlin Earl & June Cheit Bruce & Joan Dodd Oz Erickson Stuart & Sharon Gronningen Lynne L. Heinrich & Dwight Jaffee Lynne La Marca Heinrich & Dwight Jaffee Ken Johnson & Nina Grove Arthur & Martha Luehrmann Lois & Gary Marcus Bebe & Colin McRae Michael & Elisabeth O’Malley Anthony & Patricia Theophilos Robert & Emily Warden Mr. Jeffrey A. White Gifts of $300 or more Anonymous Patricia & Ronald Adler Donald & Margaret Alter Fred & Elizabeth Balderston Christel Bieri Ms. Lauren Brown Adams William Buckingham Diane Budd Mr. Thomas Busse Joana Carneiro Richard Colton Dianne Crosby Dennis & Sandy De Domenico Jack & Ann Eastman Gini Erck & David Petta Daniel & Kate Funk Theresa Gabel & Timothy Zumwalt Evelyn & Gary Glenn Bonnie & Sy Grossman Trish & Anthony W. Hawthorne Donald & Janet Helmholz Hilary Honore Ora & Kurt Huth James Pennington Kent Faye Keogh Mischa Lorraine Helen Marcus Maria José Pereira Peggy Radel & Joel Myerson Gifts of $300 or more (continued) Penny & Noel Nellis Ditsa & Alexander Pines Leslie & Joellen Piskitel Leslie Plotkin Mary Lu & Bob Schreiber Deborah Shidler & David Burkhart Shelton Shugar Robert Sinai & Susanna Schevill Lisa St. Claire Michel Taddei Gary & Susan Wendt-Bogear Nancy & Charles Wolfram Caroline Wood Gifts of $100 or more Anonymous (5) Jeannette Alexich Joel Altman Patricia Vaughn Angell Robert & Evelyn Apte Mr. Jonathan Arons Catherine Atcheson Stephen Beck & Candice Eggerss Steven Beckendorf Frances Berges Ms. Bonnie J. Bernhardt John Beviacqua George & Dorian Bikle Cara Bradbury David Bradford Robert J. Breuer Helen Cagampang Mr. Stuart Canin Mark Chaitkin & Cecilia Storr Murray & Betty Cohen Frederick & Joan Collignon Kristin Collins Dr. Lawrence R. Cotter Edward Cullen Richard Curley Barbara A. Dales Joe & Sue Daly Dr. Marian C. Diamond Paula & James R. Diederich Paul Dresher & Philippa Kelly Ms. Tanya Drlik Mr. Anthony Drummond Gifts of $100 or more (continued) Beth & Norman Edelstein Bennett Falk & Margaret Moreland Mr. Fred G. Fassett Marcia Flannery Joseph Floren Collette Ford Ednah Beth Friedman Doris Fukawa Harriet Fukushima Isabelle Gerard John C. Gerhart Jeffrey Gilman & Carol Reif Rose Marie & Sam Ginsburg Karen Glasser David Goines Stuart Gold Edward C. Gordon Steven E. Greenberg Arnold & Elaine Grossberg Ervin & Marian Hafter Jane Hammond Alan Harper & Carol Baird William & Judith Hein Mark & Roberta Hoffman Richard Hutson Russ Irwin Fred Jacobson Mr. Wayne J. Jensen Irene & Kiyoshi Katsumoto E. Paul & Joanne P. Kelly Todd Kerr David & Nancy Kessler Robert Kroll & Rose Ray Laurence & Jalyn Lang Cara Lankford Almon E Larsh, Jr Jenny Lee Jim Lovekin John Lowitz & Fran Krieger Mr. George E. Mattingly Alex Mazetis Suzanne & William McLean Jim & Monique McNitt Howard & Nancy Mel Parker Monroe & Teresa Darragh Gerry Morrison Marcia Muggli Leslie Myers October 4, 2012 61 Gifts of $100 or more (continued) Ms. Anita Navon William Newton Ortun Niesar Ann M. O’Connor & Ed Cullen Gaby Olander Jonathan Omer-Man & Nan Gefen Stanley & Shirley Osher Therese M. Pipe Myron Pollycove Randy Porter Lucille & Arthur Poskanzer Jo Ann & Buford Price George N. Queeley Jean M. Radford Mark Rhoades Donald Riley & Carolyn Serrao Bill Rudiak Julianne H. Rumsey Betty & Jack Schafer Susanna Schevill Steven Scholl Mary Lou Schreiber, Md Carolyn Serrao Brenda Shank Jane Vandenburgh & Jack Shoemaker Anne Shortall Jutta Singh Carl & Grace Smith Johan & Gerda Snapper Carol & Anthony Somkin Ms. Carla Soracco Sylvia Sorell & Daniel Kane Charlotte & Martin Sproul Bruce & Susan Stangeland Kyra Subbotin Geoffrey S. Swift Matias Tarnopolsky & Birgit Hottenrott Karen Teel Christopher Terry Kathryn Thornburg Revan & Elsa Tranter George & Madeleine Trilling Yvette Vloeberghs Randy & Ting Vogel David & Marvalee Wake Sheridan & Betsey Warrick Alice Waters Carolyn Webber Dr. George & Bay Westlake Ann Wilkins Karsten Windt Nancy & Sheldon Wolfe Mrs. Charlene M. Woodcock Mark G. Yatabe 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. Nagano Campaign for the Future We thank our supporters of the Nagano Campaign for the Future. Anonymous, in honor of Harry Weininger Anonymous (2) Ronald & Susan Choy Richard & Marilyn Collier Jennifer Howard DeGolia Ruth & Burt Dorman Anita Eblé Sharon & Stuart Gronningen Ellen & Roger Hahn Lynne LaMarca Heinrich & Dwight Jaffee Kathleen G. Henschel Buzz & Lisa Hines Kenneth Johnson & Nina Grove James Kleinmann & Lara Gilman William & Robin Knuttel 62 October 4, 2012 Arthur & Martha Luehrmann Janet & Marcos Maestre Kim & Barbara Marienthal Bennett Markel Janet & Michael McCutcheon Helen & John Meyer Deborah O’Grady & John Adams Linda Schacht & John Gage Merrill & Patricia Shanks Kathy Canfield Shepard & John Shepard Deborah Shidler Tricia Swift Michel Taddei Lisa & Jim Taylor The Weininger Family, in Honor of Harry Weininger Berkeley Symphony Legacy Society Thank 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. Henschel Jeffrey S. Leiter Janet & Marcos Maestre Bennett Markel Lisa Taylor 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 Gifts of $50,000 or more Gifts of $2,500 or more Gifts of $25,000 or more Gifts of $1,000 or more New Music U.S.A. William & Flora Hewlett Foundation Meyer Sound Laboratories, Inc. Gifts of $10,000 or more Ann and Gordon Getty Foundation Berkeley Public Education Foundation Bernard Osher Foundation East Bay Community Foundation Koret Foundation May and Stanley Smith Charitable Trust National Endowment for the Arts The Thomas J. Long Foundation UC Berkeley’s Chancellor’s Community Partnership Fund Gifts of $5,000 or more California Arts Council City of Berkeley Union Bank of California U.S. Bancorp Foundation Wallis Foundation Wells Fargo Foundation Zellerbach Family Foundation Amphion Foundation The Aaron Copland Fund for Music Berkeley Association of Realtors Center for Cultural Innovation Target Stores Gifts of $500 or more In Dulci Jubilo, Inc. Mechanics Bank Tides Foundation Matching Gifts The 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 October 4, 2012 63 64 October 4, 2012 In-Kind Gifts Berkeley Symphony would like to extend special thanks to the individuals and businesses listed below whose generous donation of goods and services have helped to facilitate the production of our season concerts. Andreas Jones Graphic Design Susan & Jim Acquistapace Marshall Berman Judith L. Bloom Casada Chocolates Marilyn & Richard Collier Douglas parking Extreme Pizza Reeve Gould Kathleen G. Henschel Administration René Mandel, Executive Director Marissa Phillips, Director of Development Jenny Lee, Director of Communications John Harris George & Marie Hecksher Jutta’s Flowers Karen Ames Consulting Janet & Michael McCutcheon Bebe & Colin McRae Meyer Sound Laboratories, Inc. Peet’s Coffee & Tea Thomas Richardson & Edith Jackson Lisa & Jim Taylor Anne & Craig Van Dyke Dave Weiland Photography William Knuttel Winery Contact Theresa Gabel, Director of Operations Ming Luke, Education Director & Conductor Karen Ames, Consulting/ Communications Consultant Jessica Shultze, Marketing Associate Aaron Woeste, Development Associate Thomas Busse, Controller Quelani Penland, Librarian Patrick Doherty, Development Intern Lauren Eales, Marketing Intern Program Thomas May, Program Annotator Victor Gavenda, Program Annotator Andreas Jones, Program Designer Julie Giles, Program Cover Designer John McMullen, Advertising Sales California Lithographers, Program Printing Tickets available by phone, fax, mail, e-mail, or online: Berkeley Symphony 1942 University Avenue, Suite 207, Berkeley, CA 94704 510.841.2800 Fax: 510.841.5422 info@berkeleysymphony.org www.berkeleysymphony.org Sign up online for our e-newsletter to stay current on Berkeley Symphony and Joana Carneiro. find us on October 4, 2012 65 Advertiser Index Alameda Structural . . . . . . . . . . . . . . . . . . page 18 Jutta’s Flowers . . . . . . . . . . . . . . . . . . . . . . page 64 Albert Nahman Plumbing . . . . . . . . . . . page 36 La Mediterranée . . . . . . . . . . . . . . . . . . . . . page 44 Aur0ra Theatre . . . . . . . . . . . . . . . . . . . . . . page 28 Lunettes du Monde . . . . . . . . . . . . . . . . . . page 36 Bec’s Bar and Bistro . . . . . . . . . . . . . . . . . page 42 Mancheno Insurance Agency . . . pages 34-35 Bentley School . . . . . . . . . . . . . . . . . . . . . . page 38 Margaretta K. Mitchell Photography . page 20 Berkeley Hat Company . . . . . . . . . . . . . . .page 32 Maybeck High School. . . . . . . . . . . . . . . . page 28 Berkeley Horticultural Nursery . . . . . . .page 52 McCutcheon Construction . . . . . . . . . . . page 48 Bill’s Men’s Shop . . . . . . . . . . . . . . . . . . . . page 24 Mechanics Bank . . . . . . . . . . . . . . . . . . . . . page 24 BuyArtworkNow.com . . . . . . . . . . . . . . . page 43 Meritage at the Claremontg . . . . . . . . . page 46 The Club at The Claremont . . . . . . . . . . . . page 18 Mountain View Cemetery . . .inside back cover Casa de Chocolates . . . . . . . . . . . . . . . . . . page 26 Nathan Phillips Photography . . . . . . . . page 40 Coldwell Banker . . . . . . . . . . . . . . . . . . . . . page 20 O Chamé . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 44 College Prep . . . . . . . . . . . . . . . . . . . . . . . . . .page 25 Oceanworks . . . . . . . . . . . . . . . . . . . . . . . . . .page 52 Crepevine Restaurant . . . . . . . . . . . . . . . page 44 Other Minds . . . . . . . . . . . . . . . . . . . . . . . . . page 58 Crowden . . . . . . . . . . . . . . . . . . . . . . . . . . . . .page 32 Poulet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 42 Dining Guide . . . . . . . . . . . . . . . . pages 42, 44, 46 R. Kassman Piano . . . . . . . . . . . . . . . . . . . .page 32 DoubleTree Hotel . . . . . . . . . . . . . . . . . . . . page 60 Revival Bar & Kitchen . . . . . . . . . . . . . . . page 46 Douglas Parking . . . . . . . . . . . . . . . . . . . . . page 58 Rick & Ann’s Restaurant . . . . . . . . . . . . . page 42 Frank Bliss, State Farm . . . . . . . . . . . . . . . page 14 Scandinavian Designs . . . . . . . . . . . . . . . . page 18 German International School . . . . . . . . page 16 Sotheby’s International Realty . . . . . . . page 12 Going Places . . . . . . . . . . . . . . . . . . . . . . . . page 20 St. Paul’s Towers . . . . . . . . . . . inside front cover Golden State Senior Care . . . . . . . . . . . . .page 52 Storey Framing . . . . . . . . . . . . . . . . . . . . . . page 20 Griffin Motorwerke . . . . . . . . . . . . . . . . . . . page 16 Talavera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .page 25 The Grubb Co . . . . . . . . . . . . . . . . . . . . . back cover Thornwall Properties . . . . . . . . . . . . . . . . .page 22 Henry’s Gastropub. . . . . . . . . . . . . . . . . . . . page 16 Tricia Swift, Realtor . . . . . . . . . . . . . . . . . page 56 Hotel Durant . . . . . . . . . . . . . . . . . . . . . . . . page 30 Turtle Island Book Shop . . . . . . . . . . . . . .page 25 Hudson Restaurant . . . . . . . . . . . . . . . . . . page 46 UC Berkeley Optometry . . . . . . . . . . . . . page 50 Judith L. Bloom, CPA . . . . . . . . . . . . . . . . . . page 31 Viking Trader . . . . . . . . . . . . . . . . . . . . . . . . page 28 TO ADVERTISE IN THE BERKELEY SYMPHONY PROGRAM CALL JOHN MCMULLEN 510.652.3879 66 October 4, 2012
