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

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

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

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

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

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

– the Water Pavilion in 2018. Situated between a landscaped garden and an expansive reflection pond, the

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

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

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

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

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

December 8, 2016 3

Berkeley Symphony 2016/17 Season5 Message from the Music Director7 Message from the Board President9 Message from the Executive Director11 Board of Directors & Advisory Council12 Orchestra14 Season Sponsors18 Berkeley Symphony Legacy Society21 Program23 Program Notes35 Music Director: Joana Carneiro39 Guest Conductor: Elim Chan41 Artists’ Biographies51 Berkeley Symphony55 Music in the Schools57 2016/17 Membership Benefits59 Annual Membership Support66 Broadcast Dates69 Contact 70 Advertiser Index

Presentation bouquets are graciously provided by Jutta’s Flowers, the official florist of Berkeley Symphony.Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras.No photographs or recordings of any part of tonight’s performance may be made without the written consent of the management of Berkeley Symphony. Program subject to change.

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

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

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

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

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

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

– the Water Pavilion in 2018. Situated between a landscaped garden and an expansive reflection pond, the

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

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

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

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

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

Media Sponsor

Official Wine Sponsor

Gertrude Allen | Kathleen G. Henschel & John W. DewesBrian James & Shariq Yosufzai | Ed Osborn & Marcia Muggli

Thomas Richardson & Edith Jackson | Tricia Swift

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December 8, 2016 5

Dear Friends,It is my great pleasure to welcome you to our final concert of 2016.

This event marks a great partnership with BBC Scottish Symphony and Pittsburgh Symphony in co-commissioning Macmillan’s fourth symphony. You may remember James Macmillan from our 2010/11 season, when we performed his riveting Seven Last Words from the Cross. His music, even when secular, is imbued with a deep spirituality. The work presented tonight pays tribute to a great influence on Macmillan, Robert Carver, in particular his Missa sum Sacrum Mysterium.

The idea of 4ths continues in our program as we will be playing Beethoven’s fourth piano concerto with the wonderful Shai Wosner. Last time we collaborated in Berkeley, Shai amazed us by playing Ligeti’s piano concerto. I am very happy to welcome Shai back in a completely different context, in which we will again enjoy not only his sheer clarity and virtuosity, but also his introspective and sensitive qualities.

This is what Berkeley Symphony is about, moving us through the history of music with great relationships with composers like Macmillan and performers like Wosner.

Once again, thank you for your continued support. I wish you musical, peaceful and happy holidays and can’t wait to welcome you back in 2017.

Joana Carneiro

Message from the Music Director

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Message from the Board President

Welcome, all, to this, our second concert of the season!

We are excited to once again welcome pianist Shai Wosner to our stage and also Elim Chan, our guest conductor for this evening.

Our 16/17 season continues to bring you the very best from your Berkeley Symphony! As we continue to strive to curate the perfect experience for you, our audience and loyal patrons, you will soon be hearing from Berkeley Symphony. We want to know your thoughts and feelings and engage you in a dialogue with us so that we can know and meet your needs.

It is vital for orchestras to work to preserve and keep alive this important art form. Berkeley Symphony is committed to bringing you new and adventurous works, classic masterpieces, and support a strong arts education in classical music with our award-winning Music in the Schools program. Music is binding, healing, and inspiring. We want to make YOUR experience with the Berkeley Symphony a great one and very much look forward to hearing from you.

This evening, please sit back and enjoy James MacMillan’s Symphony No. 4, a US Premiere that we have commissioned for you in partnership with the BBC Scottish Symphony Orchestra and Pittsburgh Symphony, as well as the familiar Beethoven Piano Concerto No. 4.

We at Berkeley Symphony wish you happy holidays and look forward to seeing you next in January.

Warm regards,

Tricia Swift

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Dearest Friends,

Welcome to the second concert of our season, an evening filled with music that embodies the transcendent power of hope.

Berkeley Symphony is committed to bringing you adventurous programming in each and every performance. Tonight is no exception as we share with you the US premiere of James MacMillan’s Symphony No. 4—a piece that is reverential and truly soulful, a vehicle transporting us away from the material world into the realm of the spirit.

These words have also described Beethoven’s Piano Concerto No. 4, a piece which is deeply spiritual, as if Beethoven somehow feeling trapped in a dark place is looking up at the light, hoping for peace and solace. The incomparable pianist Shai Wosner takes us on this enlightening journey.

With their innovation and passion, Beethoven and MacMillan reflect the heart and soul of Berkeley and offer us a perfect evening of reflection and inspiration.

I wish you all a very healthy, joyous and prosperous holiday season!

René Mandel

Message from the Executive Director

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

Advisory Council (continued)

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

Board of Directors & Advisory Council

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

Advisory CouncilJan McCutcheon, Co-Chair Lisa Taylor, Co-Chair Marilyn Collier, Chair EmeritaMichele BensonJudith BloomNorman BooksteinJoy CarlinRon & Susan ChoyMarilyn & Richard CollierDianne CrosbyCharli & John DanielsenCarolyn Doelling

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Joana Carneiro Music Director Sponsored by Brian James & Shariq YosufzaiSponsored by Helen & John MeyerSponsored by Marcia Muggli & Ed OsbornSponsored by Lisa & Jim TaylorSponsored by Anonymous

Kent Nagano Conductor LaureateElim Chan Guest Conductor

Violin IFranklyn D’Antonio ConcertmasterMatthew Szemela Associate ConcertmasterEmanuela Nikiforova Assistant ConcertmasterCandace SandersonStephanie BibboHee-Guen SongLarisa KopylovskyIlana ThomasShawyon Malek-SalehiErnest YenAnnie LiJohn BernsteinKristen KlineBert Thunstrom

Violin IISarah Wood Principal

Sponsored by Tricia Swift

Karsten Windt Assistant PrincipalDavid ChengDaniel LewinMonika GruberTess VarleyRick DiamondAnn EastmanKevin HarperCharles ZhouQuelani PenlandRose Marie Ginsburg

ViolaTiantian Lan PrincipalDarcy Rindt Assistant Principal

The OrchestraViola (continued)

Clio TiltonPatrick KrobothAlexandra LeemIvo BokulicKristen SteinerPeter LiepmanDan Stanley

CelloCarol Rice Principal

Sponsored by Getrude Allen

Stephanie Wu Assistant PrincipalWanda WarkentinEric GaenslenKenneth JohnsonPeter BedrossianJason AndersonKrisanthy DesbyMargaret MooresSylvia Woodmansee

BassMichel Taddei Principal

Sponsored by East Bay Community Foundation

Robert Ashley Assistant PrincipalJon KeigwinAlden F. CohenAleksey KlyushnikAndrew de Stackelberg

FluteEmma Moon Principal

Sponsored by Janet & Marcos Maestre

Stacey Pelinka

PiccoloStacey Pelinka

OboeDeborah Shidler Principal

Sponsored by Jan & Michael McCutcheon

Bennie Cottone

December 8, 2016 13

English HornBennie Cottone

ClarinetMark Brandenburg PrincipalJeannie Psomas

Bass ClarinetJeannie Psomas

BassoonCarla Wilson PrincipalRavinder Sehgal

ContrabassoonErin Irvine

HornAlex Camphouse PrincipalMeredith BrownLoren TayerleMichael ShuldesThomas Reicher

TrumpetScott Macomber PrincipalKale CumingsNick Antipa

TromboneThomas Hornig Principal

Sponsored by Kathleen G. Henschel & John W. Dewes

Anthony (Tony) Collins

Bass TromboneWayne Solomon

TubaJerry Olson Principal

TimpaniKevin Neuhoff Principal

PercussionWard Spangler PrincipalTimothy DentD. Allen BiggsScott Welsh

HarpWendy Tamis Principal

Piano/CelestaMiles Graber Principal

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

14 December 8, 2016

2016/17 Season Sponsors

Kathleen G. Henschel & John W. Dewes

Kathleen G. Henschel, formerly finance manager at Chevron Corporation, joined Berkeley

Symphony’s Board of Directors in 2004, and was President from 2006 to 2011. An active Bay Area philanthropist, she currently serves as Treasurer of Chanticleer. John W. Dewes, formerly General Manager of Public Affairs at Chevron Corporation, is an active volunteer in Walnut Creek. He joined the Berkeley Symphony Board in 2015.

Brian James & Shariq Yosufzai

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

Yosufzai serves on the Advisory Council of Berkeley Symphony, the Board of Directors of the San Francisco Opera, and the Board of Trustees of Cal Performances, and is a past Chair of the Board of the California Chamber of Commerce.

Gertrude Allen

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

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

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

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Tricia Swift

T ricia Swift is a prominent Real Estate Broker in Berkeley and the East Bay. She has been actively

involved in music throughout her life. As a college student, she was a member of the Harvard University Memorial Church Choir, and she sang with the San Francisco Symphony Chorus for twenty-four years before retiring from singing in 2010. She was also an original cast member of the inaugural production of the California Revels. She has been a member of Berkeley Symphony’s Board of Directors since 2009 and now serves as President.

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Ed Osborn & Marcia Muggli

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

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

Thomas W. Richardson & Edith Jackson

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

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

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

16 December 8, 2016

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

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2016/17 Season Sponsors (continued)

McCutcheon Construction was founded in 1980 with the vision of creating healthier homes,

beautiful homes that endure, and homes that matter to their owners, to the community, and to the environment. Headquartered in Berkeley, the company renovates and builds new structures throughout Northern California, where it has grown its reputation as a leader in sustainable home-building practices by listening carefully to clients and responding to their deeper desires for healthier living.

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18 December 8, 2016

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

Berkeley Symphony Legacy Society

Legacy giving will ensure that Berkeley Symphony’s music and education programs for children will continue to delight and inspire us for generations. Thank you to those who have made bequests to Berkeley Symphony as part of their estate planning. If you are interested in supporting our long-term future, please contact Mollie Budiansky at 510.841.2800 x303 or mbudiansky@berkeleysymphony.org.

Legacies ReceivedMargaret Stuart E. Graupner

Rochelle D. RidgwayHarry Weininger

“Growing up in New York City, I was introduced to classical music through Leonard Bernstein’s Young People’s Concerts and my elementary school’s arts curriculum, which encouraged every third grader to play a string instrument. I briefly played the violin before switching to piano and even studied at the Mannes School of Music while in eighth grade.

“When I moved to Berkeley in 1979, I joined the Friends of the Berkeley Symphony Orchestra, eventually serving as its President for a year. Berkeley Symphony quickly became part of my extended family, and my involvement as a volunteer, Board member, and Advisory Council member has now spanned 35 years.

“I greatly value the organization’s commitment to adventurous programming, its support of emerging composers, and its wonderful Music in the Schools program, which introduces a new generation to the joys of listening to and making music—an important legacy in which I am proud to take part.”

Legacies PledgedGertrude AllenJoan Balter Norman Bookstein & Gillian KuehnerKathleen G. HenschelKenneth Johnson & Nina Grove Jeffrey S. LeiterJanet & Marcos MaestreBennett MarkelTricia SwiftLisa Taylor

December 8, 2016 19

CAL PERFORMANCES

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SCHARF INVESTMENTS

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

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

Brian James & Shariq Yosufzai | Thomas Richardson & Edith Jackson

Ed Osborn & Marcia Muggli | Tricia Swift

Tricia Swift and Mark & Cynthia Anderson

Thursday, December 8, 2016 at 8:00 pm Zellerbach Hall

Elim Chan guest conductor

James MacMillan Symphony No. 4 US Premiere and Co-Commission with the BBC Scottish Symphony Orchestra and Pittsburgh Symphony

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

Ludwig van Beethoven Piano Concerto No. 4 in G major Allegro moderato Andante con moto Allegro assai vivace

Shai Wosner piano

Shai Wosner is represented exclusively by Opus 3 Artists.

Tonight’s concert will be broadcast on KALW 91.7 FM on May 8, 2017 at 9pm.Please switch off your cell phones, alarms, and other electronic devices

during the concert. Thank you.

Program II: Reverence

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Program Notes

James MacMillan (b. 1959)

Symphony No. 4Born on July 16, 1959 in Kilwinning, Scotland, James MacMillan currently resides in Cumnock, Scotland. MacMillan composed his Symphony No. 4 in 2014/15 on a co-commission from Berkeley Symphony with the BBC Scottish Symphony Orchestra and Pittsburgh Symphony.

First performance: Donald Runnicles led the BBC Scottish Symphony Orchestra in the world premiere on 3 August 2016 at Royal Albert Hall in London; with this performance, Berkeley Symphony is giving the U.S. premiere. The Symphony No. 4 is scored for 2 flutes (2nd doubling piccolo), 2 oboes (2nd doubling English horn), 2 clarinets (2nd doubling bass clarinet), bassoon, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 3 percussionists (glockenspiel, aluphone, xylophone, vibraphone, small triangle, temple bowls (dobaci), timbales, cymbals, tubular bells, steel drum, tom-tom, bass drum, tuned gongs, snare drum, sizzle cymbal, suspended cymbal, tam-tam), harp, piano(celesta), and strings. Duration: approximately 37 minutes.

S ir James MacMillan, who was born in 1959 in the town of Kilwinning, south

of Glasgow on Scotland’s west coast, developed an interest in composing while still a child. He recalls that the impetus came from seeing the pleasure his coal-miner grandfather found in

music. In 1990, MacMillan first came to international notice with the premiere of The Confession of Isobel Gowdie at the BBC Proms. Retelling the story of a woman who had been burned as a witch in 17th-century Scotland during a terrible period of fanaticism, this work had a remarkable impact, proving the composer’s mastery of large-scale orchestral writing and his ability to com-municate with a wider audience. It heralded the career breakthrough for one of the pre-eminent composers of our time.

Two years later, also at the Proms, MacMillan’s fellow Scot and percussion virtuoso Evelyn Glennie introduced Veni, Veni, Emmanuel, his highly influential first per-cussion concerto that boasts a track record of nearly 500 hundred performances around the world. But along with his success as an orchestral composer, the prolific MacMillan has become known as a master of contemporary choral music through his two Passion settings and other works of sacred music. (As of the date this program went to press, he had just been shortlisted for the 2016 British Composer Awards in the category of choral music.) His extensive catalogue also encompasses three operas, music theater pieces, and chamber music. MacMillan, who simultaneously pursues an international conducing career, also runs a new music festival in his home

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town of Cumnock, which he established in 2014.

“In an age when populism and modernism seem like irreconcilable poles,” writes the BBC’s Stephen Johnson, “James MacMillan’s music continues to hold out the hope of integration, the healing of painful divisions, of transcendence.” The key to this accomplishment can perhaps be found, Johnson suggests, in the Scottish composer’s natural gift for storytelling through the vehicle of music. Many of these narratives draw on MacMillan’s faith as a devout Catholic—overtly, as in his St. Luke and St. John Passion settings, or programmatically, as found in the Piano Concerto No. 3 (“The Mysteries of Light,” from 2008), inspired by meditations associated with the Rosary, or in the tone poem Woman of the Apocalypse (2012), a musical reflection on artistic representations of a scene from the Book of Revelation. Similarly, the first of MacMillan’s symphonies—unnumbered but subtitled “Vigil” (1997)—is the final part of Triduum, an orchestral triptych related to the celebration of Easter. Religion has been central to MacMillan’s self-understanding as a composer, much as it was for J.S. Bach and Anton Bruckner.

The most recent previous score MacMillan titled a symphony is the Symphony No. 3, “Silence,” from 2002, which made reference to a novel by the Japanese writer Shusaku Endo. The Symphony No. 4, however, marks a significant departure from such programmatic elements, whether

sacred or secular. It focuses on what the composer calls “rituals of music” spanning centuries, from the Scottish Renaissance composer Robert Carver (c. 1485-1570) to hints of Olivier Messiaen. Cast in one ever-changing, ever-transforming movement, the music of this new symphony suggests the process of time’s passage itself. And for all its abstraction, it may be experienced as a “spiritual journey,” as The Scotsman observed after the world premiere at last summer’s BBC Proms. The conductor was another fellow Scot, Donald Runnicles, to whom MacMillan dedicated his Symphony No. 4 in honor of his 60th birthday.

James MacMillan has provided the following commentary on his Symphony No. 4:

My earlier three symphonies employed programmatic elements, whether exploring poetic imagery or literary references, but this new work is essentially abstract. I’m interested here in the interplay of different types of material, following upon a fascination with music as ritual that has stretched from Monteverdi in the early 17th century through to Boulez and Birtwistle in the present day. There are four distinct archetypes in the symphony, which can be viewed as rituals of movement, exhortation, petition, and joy. These four ideas are juxtaposed in quick succession from the outset, over the first five minutes or so. As the work progresses these can be individually developed in an organic way, or can co-mingle, or they can be opposed and argumentative.

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Well Orchestrated Travelwhether simple or sublime

December 8, 2016 27

Over a slow-moving tread, an angular, modal melody is heard on muted trumpet and oboe, accompanied by a sonorous chorale on English horn and horns. The first of many imperceptible accelerations brings forward clarinets and solo violas in an urgent and insistent theme revolving around just a few adjacent notes. Above this the pleading strings splay out downwards, becoming more animated, leading to the first quick and joyful music on wind, xylophone, and piano, interrupted by rushing strings. In broad terms, from here the symphony has a trajectory from slow to fast: the pace may step back for some more reflective episodes, but there is a general cranking-up of tempo and energy driving through the single movement. The work as a whole is also a homage to Robert Carver, the most important Scottish composer of the High Renaissance, whose intricate multi-part choral music I’ve loved since performing it as a student. There are allusions to his 10-voice Mass Dum sacrum mysterium embedded in my work and at a number of points it emerges from across the centuries in a more discernible form. The vocal lines are muted and muffled, literally in the distance, as they are played delicately by the back desks of the violas, cellos, and double basses.

As the music gets faster we hear some of the main themes recurring in different contexts, becoming more fanfare-like and animated. Ideas are stretched and developed but continually thrown forwards. A kind

of interplay develops between the “ancient” music and the speeding up process, even when the symphony seems to “begin again,” this time in a related mode. The cello section gradually emerges as a principal protagonist, pulling the music to a serene and ethereal core, featuring resonating temple bowls.

The earlier splaying strings are heard again, almost in a mirror image before the music takes a few dramatic twists leading to its final acceleration.

—© Sir James MacMillan

Ludwig van Beethoven (1770-1827)

Piano Concerto No. 4 in G major, Op. 58Born on December 16, 1770, in Bonn; died on March 26, 1827, in Vienna. Beethoven composed the Piano Concerto No. 4 in 1805-06.

First performance: Following its private premiere in March 1807 at the palace of one of Beethoven’s patrons, the public premiere was on December 22, 1808 in Vienna, with the composer as the soloist. In addition to solo piano, the Concerto is scored for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Duration: approximately 35 minutes.

Ludwig van Beethoven’s fascination with the piano concerto format

stretches back to his teenage years in Bonn. He was around 13 when he made

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which concluded this marathon event. Perhaps the sheer aesthetic overload numbed the impression made by the Concerto (not to mention the underrehearsed orchestra and a lack of heating in the theater on a bleak, cold Vienna night). In any case, the Fourth Concerto fell into neglect until Felix Mendelssohn posthumously made a case for this extraordinarily appealing score.

In his first three mature piano concertos, Beethoven had already fully absorbed what he could learn from the models Mozart had left behind. The Concerto No. 4 ventures into strikingly new territory. And, as mentioned, it represents Beethoven’s unintended farewell as a solo performer of his own concertos, since worsening deafness would make it impossible for him to premiere his final completed piano concerto, the Fifth (“Emperor”). The Fourth Concerto also shows the impressive variety of guises Beethoven’s so-called “heroic” style from his middle period could assume. Here, that style’s signature dramatic energy is combined with a serenely lyrical outlook. The early-20th-century German music critic Paul Bekker eloquently captured this aspect when he observed that the Fourth is “characterized by quiet, reflective gravity, by a latent energy, capable from time to time of expressing intense vitality, but usually preserving the mood of tranquility.”

In a sense, the Fourth ruminates on the concerto idea itself, taking a step back to reflect on still-untapped

his first effort to compose such a concerto. It’s intriguing to realize that just at this time Mozart was beginning to produce his famous series of piano concertos in Vienna—works that would elevate the genre to the same level of artistry and imagination as the Classical symphony. All the while, Mozart’s innovations went hand in hand with producing a much-needed source of income to support his freelance career in the big city. After Beethoven moved to Vienna in 1792, he put a personal stamp on the Mozartian legacy when he performed his late predecessor’s D Minor Concerto (K. 466) in public, provided with cadenzas of his own making.

The genre of the concerto was especially attractive during the years before deafness forced Beethoven to abandon his career as a piano soloist. It allowed him to combine the roles of composer and performer in a big public setting: like Mozart, it was as a keyboard virtuoso that the ambitious young musician from Bonn made his name. Indeed, the Piano Concerto No. 4 would mark the occasion of Beethoven’s final appearance as a solo performer with orchestra.

That took place as part of a legendary concert on December 22, 1808, which also happened to include the premieres of the Fifth and Sixth Symphonies, as well as still other pieces, such as the unusual Choral Fantasy for piano, orchestra, and chorus (again featuring Beethoven as soloist), which looks ahead in some respects to the Ninth Symphony and

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possibilities in the interplay between the one and the many. This is obvious from the stunning opening gesture: Beethoven casts aside the convention of an introductory orchestral exposition of the themes. Instead, the piano-as-protagonist launches a solo statement, the entire orchestra stepping aside. Even more unusually, this involves no dramatic fireworks but rather emanates a subdued, almost prayerful attitude—though embedded within those opening measures is an energetic rhythmic pattern that will carry through the movement. It’s worth noting that this pattern is a cousin, rhythmically speaking, of the “fate” motto from the Fifth Symphony—indeed of several works from this period, including the Sixth Symphony—on which Beethoven was also working when he composed the Fourth Piano Concerto. (The Fifth is often described as “exhausting” the potential of that rhythmic idea—yet Beethoven clearly knew much more remained to be mined from it.) Brief as it is, the opening piano solo embodies a tension, between the lyrical and the propulsively dynamic, that will prove to be fundamental to the work.

The magical point of transfer when the (likewise subdued) orchestra takes over from the piano brings a luminous change of key, thus prolonging the aura of reverie and further signaling that much of the Fourth’s drama will play out as new ways of presenting and staging the rapport between soloist and orchestra. In his study of all of Beethoven’s concertos, the eminent

musicologist Leon Plantinga discusses what he calls a “ruling conundrum” of the entire first movement, according to which the piano appears “as leader, showing occasional fine bursts of virtuosity, but remaining all the while devoted to the cause of tranquil and nuanced reflection, a curb on the orchestra’s propensity for energetic motion, for direct action.”

The brief Largo was interpreted by later Romantics as a hidden miniature “tone poem” re-enacting the ancient myth of Orpheus—specifically, the epi-sode in which the legendary musician-poet succeeded in taming the Furies in the Underworld in order to seek out his beloved Eurydice. (In this connection, it’s interesting to note the association sometimes made between the otherwise abstract Fifth Symphony and ancient tragedy.) To be sure, Beethoven establishes a sense of dramatic dialogue in the movement’s structure, which is also based on a rethinking of how the soloist can dialogue with the ensemble (reduced to strings in this case). The great musicologist Joseph Kerman has pointed out that we perceive the confrontations between the orchestra’s stern declamations and the piano’s soft, lyrical pleading not as non-sequiturs but “as a precisely modulated series of responses”—as a musical “conversation” that implies “crisis and reconciliation,” with that process also happening between the lines, as it were. This is the musical reading of the transformation that occurs (without reliance on an implied

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program). The result, according to Leon Plantinga, is that “this movement joins many others among Beethoven’s instrumental works that conjure up the idea of voices and song and dramatic situation.” Eventually, “as the two forces contend, they come to inhabit the same musical universe.” Concertare (the Latin root behind “concerto”) as struggle metamorphoses into concertare as harmony. Eventually, after the orchestral ferocity is assuaged, the piano erupts in a dazzling fountain of trills.

The rondo finale, not unexpectedly, contains the most straightforwardly extroverted music of the concerto. The main theme is propelled by an irresistible rhythmic charge; to this sound picture Beethoven adds the martial sonorities of timpani and drums. Yet he continues to explore the implications of the contrast between the lyrical and the dynamic so characteristic of the Fourth Concerto: a sweetly pensive second theme strays far from the battlefield spirit implicit in the call-to-arms rondo theme. Beethoven even seems to foreshadow something of the rhetoric of war and peace to which he will later turn to illuminate the “Dona nobis pacem” in the Missa Solemnis. At the same time, the sheer playfulness of this music is so refined that the Piano Concerto No. 4 remains a perennial source of joy for performers and audiences alike.

—© Thomas MayThomas May writes about the arts for a

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Music Director: Joana Carneiro

Noted for her vibrant performances in a wide diversity

of musical styles, Joana Carneiro has attracted considerable attention as one of the most outstanding young conductors working today. In 2009, she was named Music Director of Berkeley Symphony, succeeding Kent Nagano and becoming only the third music director in the 40-year history of the orchestra. She also currently serves as official guest conductor of the Gulbenkian Orchestra, working there at least four weeks every year. In January 2014 she was appointed Principal Conductor of the Orquesta Sinfónica Portuguesa and Teatro Sao Carlos in Lisbon.

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

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

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

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

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

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

As a finalist of the prestigious 2002 Maazel-Vilar Conductor’s Competition at Carnegie Hall, Carneiro was recognized by the jury for demonstrating a level of potential that holds great promise for her future career. In 2003/04, she worked with Maestros Kurt Masur and Christoph von Dohnanyi and conducted the London Philharmonic Orchestra, as one of the three conductors chosen for London’s Allianz Cultural Foundation International Conductors

Academy. From 2002 to 2005, she served as Assistant Conductor of the L.A. Chamber Orchestra and as Music Director of the Young Musicians Foundation Debut Orchestra of Los Angeles. From 2005 through 2008, she was an American Symphony Orchestra League Conducting Fellow at the Los Angeles Philharmonic, where she worked closely with Esa-Pekka Salonen and led several performances at Walt Disney Concert Hall and the Hollywood Bowl.

A native of Lisbon, she began her musical studies as a violist before receiving her conducting degree from the Academia Nacional Superior de Orquestra in Lisbon, where she studied with Jean-Marc Burfin. Carneiro received her Masters degree in orchestral conducting from Northwestern University as a student of Victor Yampolsky and Mallory Thompson, and pursued doctoral studies at the University of Michigan, where she studied with Kenneth Kiesler. She has participated in master classes with Gustav Meier, Michael Tilson Thomas, Larry Rachleff, Jean Sebastian Bereau, Roberto Benzi and Pascal Rophe.

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

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Guest Conductor: Elim Chan

Born in Hong Kong, Elim Chan became the first female winner

of the Donatella Flick Conducting Competition in December 2014 as a result of which she held the position of Assistant Conductor of the London Symphony Orchestra in 2015/16. From the 2017/18 season she assumes the title of Chief Conductor of NorrlandsOperan and has been appointed to the Dudamel Fellowship programme with the Los Angeles Philharmonic in 2016/17.

Recent notable highlights include her debut with the Mariinsky Orchestra in Spring 2016, as a result of a personal invitation from Valeriy Gergiev, both in St. Petersburg and on tour in Mexico as well as her debut at the Lucerne Festival with the Lucerne Festival Academy Orchestra. This season sees her debut with Lucerne Symphony, Orchestre Philharmonique de Luxembourg, Orchestre National de Belgique, Australian Youth Orchestra, Orchestre de Chambre de Lausanne, Norrköping Symphony and Orquesta Filarmonica de Gran Canaria as well as her North American debuts with the Berkeley, Detroit and Chicago Symphony orchestras. Chan will make a return visit in 2017 to the Hong Kong Philharmonic and will conduct a variety of New Years concerts with Orchestra Haydn di Bolzano e Trento.

Previous engagements include her debuts with Orquesta Filarmonica

de Universidad Nacional Autónoma de Mexico, the National Arts Centre Orchestra, Ottawa and the Orchestre de la Francophonie as part of the NAC Summer Music Institute in 2012 where she worked with Pinchas Zuckerman, her participation in the Musical Olympus Festival in St. Petersburg, workshops with the Cabrillo Festival and Baltimore Symphony orchestras (with Marin Alsop, Gerard Schwarz and Gustav Meier). She also took part in masterclasses with Bernard Haitink in Lucerne in Spring 2015.

Elim Chan holds degrees from Smith College and the University of Michigan. Whilst there, she served as Music Director of the University of Michigan Campus Symphony Orchestra and the Michigan Pops Orchestra. She also received the Bruno Walter Conducting Scholarship in 2013.

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Dining Guide

December 8, 2016 41

Shai Wosner, piano

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 Schubert to Ligeti and the music of today—reflect a degree of virtuosity and intellectual curiosity that has made him a favorite among audiences and critics, who note his “keen musical mind and deep musical soul” (NPR’s All Things Considered).

In the 2016/17 season, Mr. Wosner launches a new solo recital series, Schubert: The Great Sonatas, which continues his critically acclaimed engagement with the composer’s music. Described as a “Schubertian of unfaltering authority and character” by Gramophone, Mr. Wosner

performs Schubert’s last six piano sonatas over two concert programs, comparing the pieces to “six thick novels, rich with insight about the human condition.” He performs the series this season in Israel, with performances in the U.S. and Japan scheduled for the 2017/18 season.

Beyond Schubert, Mr. Wosner has also been praised for inventive pairings of classical and modern masters. His latest recording, featuring concertos and solo works by Haydn and Ligeti with the Danish National Symphony conducted by Nicholas Collon, was released in June on the Onyx label to wide acclaim and was named “Concerto Choice” (September 2016) by BBC Music Magazine, which wrote: “Wosner’s notes describe these composers’ use of humor as ’like two distant relatives sharing an old family joke.’ Wit nevertheless rubs shoulders effortlessly with intensity and even moments of terror—that Ligeti slow movement involves sounds that resemble a siren and a police whistle. It’s the intelligence, perception and dazzling energy of Wosner’s playing that makes all this possible and vivid.” His earlier Onyx releases have also explored links between stylistically contrasting composers, including an album of solo works by Brahms and Schoenberg and an album of works by Schubert and Missy Mazzoli.

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Artists’ Biographies

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the Wallis Annenberg Center for the Performing Arts in Beverly Hills, The Phillips Collection in Washington, DC, and in Sedona, AZ. Last season, the duo performed the series at London’s Wigmore Hall, which was recorded for fall 2016 release on Onyx Classics.

In addition to his Onyx releases, Mr. Wosner’s discography includes a duo recording with Ms. Koh, titled Signs, Games + Messages, on the Cedille label. Weaving traditional Central European folk music with 20th-century modernism, the recording features works by Bartók, Janácek, and Kurtág, including the latter’s duet piece for which the album was named.

Mr. Wosner is a recipient of Lincoln Center’s Martin E. Segal Award, an Avery Fisher Career Grant, and a Borletti-Buitoni Trust Award—a prize he used to commission Michael Hersch’s concerto Along the Ravines, which he performed with the Seattle Symphony and Deutsche Radio Philharmonie in its world and European premieres. He was in residence with the BBC as a New Generation Artist, during which he appeared frequently with the BBC orchestras, including conducting Mozart concertos from the keyboard with the BBC Scottish Symphony Orchestra. He returned to the BBC Scottish Symphony in both subscription concerts and Proms performances with Donald Runnicles and appeared with the BBC Philharmonic in a live broadcast from Manchester’s Bridgewater Hall. As a concerto soloist in the U.S., Mr.

Such juxtaposition is also a central feature in Mr. Wosner’s joint program with the Aurora Orchestra and Nicholas Collon in London, in which he performs concertos by Ligeti and Mozart and solo works by Chopin, Glass, Hindemith, and Nancarrow. Other concerto appearances in the 2016/17 season include Mr. Wosner’s return to the Berkeley, Columbus, Fresno, Jacksonville, North Carolina, and Jerusalem symphonies, as well as a performance of the Berg Chamber Concerto in Germany with violinist Veronika Eberle and the Kammerakademie Potsdam.

The music of Beethoven is also a major focus for Mr. Wosner this year in recital, chamber, and concerto performances. In addition to performing the composer’s last three piano concertos with various orchestras in the U.S., he continues two Beethoven collaborations: Bridge to Beethoven—a recital series with violinist Jennifer Koh—and the complete works for cello and piano with Ralph Kirshbaum. Among the Bridge to Beethoven performances this season is a program in Philadelphia featuring the local premiere of Vijay Iyer’s Bridgetower Fantasy. In New York, Mr. Wosner and Ms. Koh also perform a recital of works by Beethoven, Debussy, Fauré, and contemporary composers György Kurtág and Kaija Saariaho. Mr. Wosner and Mr. Kirshbaum’s 2016/17 performances of Beethoven’s complete works for cello and piano include concerts at

44 December 8, 2016

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Wosner has appeared with the orchestras of Atlanta, Baltimore, Berkeley, Chicago, Cleveland, Dallas, Indianapolis, Los Angeles, Milwaukee, Philadelphia, Pittsburgh, and San Francisco, among others. In addition to the BBC orchestras, he has performed abroad with the Barcelona Symphony, Bournemouth Symphony, Frankfurt Radio Symphony, Gothenburg Symphony, LSO St. Luke’s, National Arts Centre Orchestra, Nieuw Sinfonietta Amsterdam, Orchestre National de Belgique, Staatskapelle Berlin, and the Vienna Philharmonic, among others. Mr. Wosner has also appeared with the Orpheus, St. Paul, and Los Angeles Chamber Orchestras, having conducted the latter from the keyboard in a 2010 concert that was broadcast on American Public Radio.

Mr. Wosner has worked with such conductors as Daniel Barenboim, Jirí Belohlávek, James Conlon, Alan Gilbert, Gunther Herbig, James Judd, Zubin Mehta, Peter Oundjian, Donald Runnicles, Leonard Slatkin, Jeffrey Tate, and Yan Pascal Tortelier, and has performed at summer festivals including the Bowdoin International Music Festival, Bravo! Vail festival, Grand Teton Music Festival, Mainly Mozart Festival in San Diego, Mostly Mozart Festival at Lincoln Center, and Ravinia Festival. For several consecutive summers, he was involved in the West-Eastern Divan Workshop led by Mr. Barenboim and toured as soloist with the

West-Eastern Divan Orchestra.

Widely sought after by colleagues for his versatility and spirit of partnership, Mr. Wosner has collaborated as a chamber musician with numerous artists, including Martin Fröst, Lynn Harrell, Dietrich Henschel, Cho-Liang Lin, Christian Tetzlaff, and Pinchas Zukerman. He has also collaborated with leading chamber ensembles, including the Grammy Award-winning Parker Quartet in The Schubert Effect recital series. Mr. Wosner is a former member of Lincoln Center’s Chamber Music Society Two and performs regularly at various chamber music festivals, including Chamber Music Northwest in Portland, the Jerusalem Chamber Music Festival, the Oregon Bach Festival, the Piano Aux Jacobins festival in France, and the Santa Fe Chamber Music Festival. Recent chamber music engagements include collaborations with the Pro Musica Society at the Maison Symphonique de Montreal and the Le Club Musical de Quebec at le Palais Montcalm in Canada; performances of works by Brahms, Schumann, and Takemitsu with the Friends of Chamber Music in Denver, Colorado; and appearances at the Santa Fe Chamber Music Festival, Laguna Beach Music Festival, and the Ravinia Festival. Among his recent solo recitals, he performed a program of Gershwin and Dvorák at The Phillips Collection in Washington, D.C.

Born in Israel, Mr. Wosner

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James MacMillan, composer

James MacMillan read music at Edinburgh University and took

Doctoral studies in composition at Durham University with John Casken. After working as a lecturer at Manchester University, he returned to Scotland and settled in Glasgow. The successful premiere of Tryst at the 1990 St Magnus Festival led to his appointment as Affiliate Composer of the Scottish Chamber Orchestra. Between 1992 and 2002 he was Artistic Director of the Philharmonia Orchestra’s Music of Today series of contemporary music concerts. MacMillan is internationally active as

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enjoyed a broad musical education from a very early age, studying piano with Emanuel Krasovsky as well as composition, theory, and improvisation with André Hajdu. He later studied at The Juilliard School with Emanuel Ax. Mr. Wosner is on the

faculty at the Longy School of Music in Boston. He resides in New York with his wife and two children.

For more information on Mr. Wosner, please visit his fan page on Facebook and go to shaiwosner.com.

a conductor, working as Composer/Conductor with the BBC Philharmonic between 2000 and 2009, and appointed Principal Guest Conductor of the Netherlands Radio Chamber Philharmonic from 2010. He was awarded a CBE in January 2004.

In addition to The Confession of Isobel Gowdie, which launched MacMillan’s international career at the BBC Proms in 1990, his orchestral output includes his first percussion concerto Veni, Veni, Emmanuel, premiered by Evelyn Glennie in 1992 and which has since received close to 500 performances worldwide. MacMillan’s music has been programmed extensively at international music festivals, including the Edinburgh Festival in 1993, the Bergen Festival in 1997, the South Bank Centre’s 1997 Raising Sparks festival in London, the Queensland Biennial in 1999, the BBC Barbican Composer Weekend in 2005 and the Grafenegg Festival in 2012. A documentary film portrait of MacMillan by Robert Bee was screened on ITV’s South Bank Show in 2003.

Works by MacMillan from the 1990s also include Seven Last Words from the Cross for chorus and string orchestra, screened on BBC TV during Holy Week

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by the São Paulo Symphony in 2014, and Symphony No.4 premiered at the 2015 BBC Proms. Works with choir include a festive setting of the Gloria (to mark the 50th anniversary of the consecration of Coventry Cathedral), St. Luke Passion for chorus and chamber orchestra and Stabat Mater for chorus and string orchestra. His one-act chamber opera Clemency has been performed in London, Edinburgh and Boston. 2014 saw MacMillan launching a new music festival in his home town of Cumnock.

In terms of recordings, the Koch Schwann disc of The Confession of Isobel Gowdie and Tryst won the 1993 Gramophone Contemporary Music Record of the Year Award, and the BMG recording of Veni, Veni, Emmanuel won the 1993 Classic CD Award for Contemporary Music. MacMillan discs on the BIS label include the complete Triduum conducted by Osmo Vänskä, the clarinet concerto Ninian and the trumpet concerto Epiclesis. A MacMillan series on Chandos with the BBC Philharmonic includes The Berserking, Symphony No.3: “Silence” which won a Classical Brit award in 2006, Quickening and The Sacrifice. Other acclaimed recordings include Mass and Seven Last Words from the Cross on Hyperion and discs on the Naxos, Black Box, Coro, Linn, LSO Live and Challenge Classics labels.

James MacMillan was awarded a Knighthood in the 2015 Queen’s Birthday honours. He is published exclusively by Boosey & Hawkes.

1994, Inés de Castro, premiered by Scottish Opera in 1996 and given a second production in 2015, a triptych of orchestral works commissioned by the London Symphony Orchestra: The World’s Ransoming, a Cello Concerto for Mstislav Rostropovich, and Symphony: “Vigil” premiered under the baton of Rostropovich in 1997, and Quickening for The Hilliard Ensemble, chorus and orchestra, co-commissioned by the BBC Proms and the Philadelphia Orchestra.

MacMillan works composed in the 2000s include Piano Concerto No.2 first performed with choreography by Christopher Wheeldon at New York City Ballet, A Scotch Bestiary commissioned to inaugurate the new organ at Disney Hall with soloist Wayne Marshall and the Los Angeles Philharmonic conducted by Esa-Pekka Salonen, and The Sacrifice premiered and toured by Welsh National Opera in 2007. His St. John Passion, co-commissioned by the LSO, Royal Concertgebouw Orchestra, Boston Symphony Orchestra and Berlin Radio Choir, was premiered under the baton of Sir Colin Davis in 2008.

The past five years have brought a successful sequence of concertos: for violinist Vadim Repin, pianist Jean-Yves Thibaudet (his third piano concerto), oboist Nicholas Daniel, violist Lawrence Power and percussionist Colin Currie (his second percussion concerto). Orchestral scores have included Woman of the Apocalypse premiered by Marin Alsop at the Cabrillo Festival and performed

50 December 8, 2016

December 8, 2016 51

Berkeley Symphony

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The mission of Berkeley Symphony is to champion symphonic music

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

Recognized nationally for its spirited programming, Berkeley Symphony has established a reputation for presenting major new works for orchestra alongside fresh interpretations of the classical European and American repertoire. It has been honored with an Adventurous Programming Award from the American Society of Composers, Authors and Publishers (ASCAP) in eleven of the past twelve seasons.

Under the baton of Music Director Joana Carneiro, the Orchestra performs four main-stage concerts a year in

Zellerbach Hall. A national leader in music education, the Orchestra partners with the Berkeley Unified School District to produce the award-winning Music in the Schools program, providing comprehensive, age-appropriate music curricula to more than 4,600 local elementary and middle school students each year. In association with the Piedmont Center for the Arts, Berkeley Symphony presents an annual chamber music series at the Center called Berkeley Symphony & Friends.

Berkeley Symphony was founded in 1969 as the Berkeley Promenade Orchestra by Thomas Rarick, a protégé of the great English Maestro Sir Adrian Boult. Under its second Music Director, Kent Nagano, who took the post in 1978, the Orchestra charted a new course with innovative programming that included rarely performed 20th-century scores.

52 December 8, 2016

In 1981, the internationally renowned French composer Olivier Messiaen journeyed to Berkeley to assist with the preparations of his imposing oratorio The Transfiguration of Our Lord Jesus Christ, and the Orchestra gave a sold-out performance in San Francisco’s Davies Symphony Hall. In 1984, Berkeley Symphony collaborated with Frank Zappa in a critically acclaimed production featuring life-size puppets and moving stage sets, catapulting the Orchestra onto the world stage.

Berkeley Symphony entered a new era in January 2009, when Joana Carneiro became the Orchestra’s third Music Director in its 40-year history. Under Carneiro, the Orchestra continues its tradition of presenting the cutting edge of classical music. Together, they are forging deeper relationships with

living composers, which include several prominent contemporary Bay Area composers such as John Adams, Paul Dresher, and Gabriela Lena Frank.

Berkeley Symphony has introduced Bay Area audiences to works by rising young composers, many of whom have since achieved international prominence. Celebrated British composer George Benjamin, who subsequently became Composer-in-Residence at the San Francisco Symphony, was first introduced to the Bay Area in 1987 when Berkeley Symphony performed his compositions Jubilation and Ringed by the Flat Horizon; as was Thomas Adès, whose opera Powder Her Face was debuted by the Orchestra in a concert version in 1997 before it was fully staged in New York City, London and Chicago. Visit www.berkeleysymphony.org.

December 8, 2016 53

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More than 4,600 school children each year benefit from Berkeley

Symphony’s Music in the Schools program:• Over 200 In-Class Sessions are provided free of charge and include curriculum booklets with age-appropriate lessons addressing state standards for music education. • Over 150 Ensemble Coaching Sessions and master classes in area middle schools. • Eleven Meet the Symphony concerts are performed free of charge in elementary schools each fall.• Six I’m a Performer concerts, also free of charge, provide young musicians with an opportunity to rehearse and perform with Berkeley Symphony.• Four free Family Concerts provide an opportunity for the whole family to experience a Berkeley Symphony concert together.

All Music in the Schools programs are provided 100% free of charge to children and their families. We are grateful to the individuals and institutions listed on this page whose financial contributions help make Music in the Schools possible. But more help is needed to fully fund the program . . .

Please join those making Music in the Schools a reality! Donate online and designate your gift as “Restricted—Music in the Schools Program.” Or simply mail a contribution to: Berkeley Symphony, Music in the Schools Fund, 1942 University Ave. Suite #207, Berkeley, CA 94704

www.berkeleysymphony.org/mits

Music in the Schools

Music in the Schools Sponsors(Gifts of $2,500 and above annually)Anonymous (3)Susan & Jim AcquistapaceGertrude AllenMark & Cynthia AndersonBerkeley Public Schools FundBernard E. and Alba Witkin Charitable

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

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

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

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2016/17 Membership BenefitsTicket sales cover only a portion of concert expenses. And our Music in the Schools program—offered free of charge to thousands of children each year—is entirely Membership-driven! Your Membership makes Berkeley Symphony thrive, and provides many opportunities to make the most of your concert-going experience. Consider adding a Membership to your subscription—or increase your level of Membership in support of the 2016/17 season.

Friends Circle of MembersSupporting Member: $100+• Advance e-newsletter notice of discounts and special events.• Listing in season concert programs.Associate Member: $300+ (All of the above plus . . .)• Invitation for two to an open rehearsal of the orchestra.Principal Member: $750+ (All of the above plus . . .)• Invitation to select special events including post-concert receptions with Music Director

Joana Carneiro, musicians, soloists and/or visiting composers.

Symphony Circle of MembersConcertmaster: $1,500+ (All of the above plus . . .)• Invitations to two exclusive Symphony Circle Salon Receptions hosted by Music Director

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

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

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

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

58 December 8, 2016

December 8, 2016 59

Gifts received between November 8, 2015 and November 8, 2016

SPONSOR CIRCLE GIFTS

Season Sponsors $50,000 and aboveAnn & Gordon GettyKathleen G. Henschel & John W. DewesShariq Yosufzai & Brian JamesHelen & John Meyer

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

Dorfman Family FundThomas W. Richardson & Edith JacksonGertrude AllenJan & Michael McCutcheonTricia Swift

Executive Sponsors $10,000 and aboveAnonymousSusan & Jim AcquistapaceGertrude AllenWilliam KnuttelJanet & Marcos MaestreSarah Coade Mandell & Peter MandellJan & Michael McCutcheonDeborah O’Grady & John Adams

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

SYMPHONY CIRCLE GIFTS

Conductor Level $2,500 and aboveAnonymous (2)Judith L. BloomMs. Dianne CrosbyGloria FujimotoGary Glaser & Christine MillerAnn Fischer Hecht & Shawn HechtBennett Markel

Annual Membership Support

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

60 December 8, 2016

Norman A. Bookstein & Gillian KuehnerDeborah Shidler & David BurkhartJoy CarlinMarilyn & Richard CollierKaren S. FairclothBuzz & Lisa HinesFredric Jacobson

& Mary MurtaghRené MandelLois & Gary MarcusBebe & Colin McRaeNoel & Penny NellisEd Vine & Ellen Singer-Vine

Conductor Level $2,500 and above (continued)

Patrick McCabeMichael & Becky O’MalleyMarcia Muggli & Ed OsbornBetty PigfordMr. & Mrs. Robert Edward KrollPat & Merrill ShanksAlison Teeman & Michael Yovino-Young

Concertmaster Level Gifts of $1,500 or moreAnonymousSallie & Edward Arens

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Berkeley’s Premiere Appraisal Company Since 1960Carrying on a Tradition Since 1909

G. Michael Yovino-Young and Alison Teeman

Yovino-Young Inc.2716 Telegraph Avenue, Berkeley510-548-1210 www.yovino.com

December 8, 2016 61

Principal Level $750 and aboveAnonymousRonald & Patricia AdlerPhyllis Brooks SchaferCrystal & Craig BryantMs. Carol ChristRichard & Christine ColtonSheila DuignanJack & Ann EastmanAnita EbléMary & Stan FriedmanDoris Fukawa & Marijan PevecDaniel & Kate FunkTheresa Gabel & Timothy

ZumwaltChuck & Olivia HastyLynne La Marca Heinrich &

Dwight JaffeeJeffrey S. LeiterArthur & Martha LuehrmannMarjorie RandolphRobert Sinai & Susanna

SchevillMichel TaddeiAnne & Craig Van DykeNancy & Charles Wolfram

Associate Level $300 and aboveAnonymous (2)Angela ArchieCatherine Atcheson &

Christian FritzeFred & Elizabeth BalderstonMs. Bonnie J. BernhardtChristel & Jurg BieriGeorge & Dorian BikleCarl BlumensteinStuart & Virginia CaninGray CathrallMary ClaugusJoe & Sue DalyDennis & Sandy De DomenicoLisa DelanElliott & Liz Deloach

Bruce DoddGini Erck & David PettaKaren FagerstromMarianne & John GerhartPeggy GriffinStuart & Sharon GronningenBonnie & Sy GrossmanSophie Hahn & Eric BjerkholtAlan Harper & Carol BairdTrish & Tony HawthorneValerie & Richard HerrRichard HutsonRichard & Miki KeldsenRené MandelHelen Marcus & David

WilliamsonCarrie McAlisterGeraldine & Gary MorrisonLance & Dalia NagelThomas & Mary ReicherBarbara & Nigel RentonMs. Polly RosenthalTony SchillingJohn SkonbergScott SparlingGeoffrey S. SwiftMarta TobeySheridan & Betsey Warrick

Supporting Level $100 and aboveAnonymous (2)Joel AltmanMarian K. AltmanKarthiga AnandanMs. Jane AndersonAllison BakerJoan BalterKevin Bastian & Dolores DaltonWilliam W. BeahrsMs. Emily H BennerEdward BennettMichele BensonBerkeley SymphonyElaine & David I. Berland

Sandra BernardElizabeth Raymer & Ragna

BoyntonCara BradburyDavid BradfordRobin BradleyTammy ButtonKathy Canfield Shepard & John

ShepardMark Chaitkin & Cecilia StorrCindy Chang & Christopher

HudsonCindy ChaseZeo & Terry CoddingtonFrederick & Joan CollignonDr. Lawrence R. CotterFranklyn & Joslyn D’AntonioJan DavisRobert & Loretta DorsettBeth & Norman EdelsteinRachel EidboIlse & James EvansBennett Falk & Margaret

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

(Member, Berkeley High School Band)

Ms. Brenda FitzpatrickMarcia FlanneryJeremy FookesEdnah Beth FriedmanJulie GardnerIsabelle GerardEllen GiersonJeffrey Gilman & Carol ReifJudith A. & Alexander J. GlassJoan GlasseyStuart GoldEdward GordonHarold GraboskeSteven E. GreenbergVictoria GreyElaine GrossbergJanet GuggenheimErvin & Marian Hafter

FRIENDS OF BERKELEY SYMPHONY GIFTS

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December 8, 2016 63

We thank all who contribute to Berkeley Symphony, including those giving up to $100 annually and those whose gifts have been received since press time. Recognition levels exclude fundraising event auction item purchases and purchases of base-level tickets to fundraising events. While every attempt has been made to assure accuracy in our list of supporters, omissions and misspellings may occur. Please call 510.841.2800 x303 to report errors. We appreciate the opportunity to correct our records.

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

In Honor of:

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

Marilyn & Richard CollierElaine & David I. Berland

Janet MaestreKevin Bastian & Dolores Dalton

Supporting Level $100 and above (continued)

Ms. Catherine A HebertWilliam & Judith HeinSarah S. HendricksonFlorence HendrixMaj-Britt HilstromDeborah & Eric AsimovDarlene & Ira HolstonRussell & PenelopePhyllis IsaacsonKen Johnson & Nina GroveIsaac Kaplan & Sandra

Kaplan SchwarczIrene & Kiyoshi KatsumotoDavid Kessler & Nancy

MennelLaura & Paul KuhnSamuel & Tamara KushnerAndrew Lazarus & Naomi

JanowitzShelly Gin & Don LeeCatherine LloydRandi & Herb LongKim & Barbara

MarienthalMartha MastracciAlex MazetisSuzanne McCulloch

Winton & Margaret McKibben

Suzanne & William McLeanHoward & Nancy MelSusan MessinaJunichi & Sarah MiyazakiEileen Murphy & Michael

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

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

MinuthFrancoise ReesErin & Mark RhoadesSuzanne RiessDonald Riley & Carolyn

Serrao

Terry RilleraMarc A. RothConstance RubenJulianne H. RumseySheila SabineDoug SagerGeorge ScharffenbergerBrenda Shank, M.D., Ph.D.James R. Shay & Steven F.

CorrellJack ShoemakerJessie ShoharaTim SmallsreedCarl & Grace SmithMs. Carla SoraccoSylvia Sorell & Daniel KaneMargaret SparksBruce & Susan StangelandDavid StullFrances & Ronald TauberRandy & Ting VogelDavid & Marvalee WakeDavid & Pennie WarrenGerald WeberDr. George & Bay WestlakeNancy WolfeMrs. Charlene M. WoodcockGordon & Evie WozniakKatinka Wyle

Gifts received between November 8, 2015 and November 8, 2016

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The William & Flora Hewlett FoundationMeyer Sound Laboratories, Inc.

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

FoundationNational Endowment for the Arts

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

FoundationThe Bernard Osher FoundationCalifornia Arts CouncilChevron CorporationCity of BerkeleyEast Bay Community FoundationThe Grubb Co.Jill Grossman Family Charitable FundLaSalle Financial Services

$5,000 and aboveUnion Bank FoundationWallis FoundationZellerbach Family Foundation

$2,500 and aboveMusic Performance Trust Fund

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

Fluegge Foundation, Inc.

Up to $2,500 (continued)

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

ChapterSoopTides Foundation

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

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

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

Gifts received between November 8, 2015 and November 8, 2016

$50,000 and above

66 December 8, 2016

KALW is proud to be Berkeley Symphony’s

Season 2016/17 Media Sponsor

Relive this season’s concerts on

KALW 91.7 FM

Broadcast Dates

4 Mondays at 9pm in May 2017

Hosted by KALW’s David Latulippe

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

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

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

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

December 8, 2016 67

In-Kind GiftsSpecial thanks to these individuals and businesses whose generous donations of goods and services are crucial in helping Berkeley Symphony produce our concerts and education programs while keeping expenses as low as possible.

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

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

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

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

FundAngela & William YoungMichael Yovino-Young

68 December 8, 2016

BRING IN THIS AD TO RECEIVE A

1O% DISCOUNT ON ANY PURCHASE OF GIFTS AND FLOWERS

December 8, 2016 69

Administration & Creative Staff

Contact

find us on

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

Berkeley Symphony1942 University Avenue, Suite 207, Berkeley, CA 94704510.841.2800 Fax: 510.841.5422info@berkeleysymphony.orgwww.berkeleysymphony.org

René Mandel, Executive Director

Andrew Leshovsky, Director of Marketing

Sarah Thomas, Director of Operations

Samantha Noll, Patron Services Manager

Mollie Budiansky, Development & Marketing Associate

Cindy Michael, Finance Director

Jean Shirk, Public Relations Consultant

James Taylor, Corporate Development Associate

Franklyn D’Antonio, Co-Orchestra Manager

Joslyn D’Antonio, Co-Orchestra Manager

Quelani Penland, Librarian

David Rodgers, Jr., Stage Manager

Stoller Design Group, Graphic Design

Dave Weiland, Photography

Elie Khadra, Videographer

Johnson Digital Audio, Recording Engineer

ProgramAndreas Jones, Design & Production

Stoller Design Group, Cover Design

John McMullen, Advertising Sales

Thomas May, Program Notes

Calitho, Printing

Workshops

Poetry

Fiction

Memoir

1600 Shattuck Ave, Suite 216,

Above Barney’s

ManuscriptConsulting

College EssayWriting

70 December 8, 2016

A1 Sun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 26

The Academy . . . . . . . . . . . . . . . . . . . . . . . . page 56

Ackerman’s Servicing Volvo . . . . . . . . . page 42

Albert Nahman Plumbing . . . . . . . . . . . page 28

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

Aurora Theatre Company . . . . . . . . . . . . page 50

The Bay Grille at the DoubleTree Hotel . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 64

Berkeley City Club . . . . . . . . . . . . . . . . . . . page 46

Berkeley Optometry . . . . . . . . . . . . . . . . . page 24

Bill’s Footwear . . . . . . . . . . . . . . . . . . . . . . . page 36

Blue’s Chocolates . . . . . . . . . . . . . . . . . . . . page 48

BuyArtworkNow.com . . . . . . . . . . . . . . . page 44

Cal Performances . . . . . . . . . . . . . . . pages 19, 30

Chanticleer . . . . . . . . . . . . . . . . . . . . . . . . . . page 38

Christmas Revels . . . . . . . . . . . . . . . . . . . . page 30

The Claremont Club & Spa . . . . . . . . . . . .page 22

Coldwell Banker . . . . . . . . . . . . . . . . . . . . . page 36

The College Preparatory School . . . . . page 44

The Cooperative Cleaning Company. . . page 17

The Crowden School . . . . . . . . . . . . . . . . . .page 52

Dining Guide . . . . . . . . . . . . . . . . . . . . . . . . page 40

Douglas Parking . . . . . . . . . . . . . . . . . . . . . page 66

Eric Pomert, Film Editor . . . . . . . . . . . . . page 44

The Faculy Club, UC Berkeley . . . . . . . . page 42

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

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

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

Jutta’s Flowers . . . . . . . . . . . . . . . . . . . . . . . page 68

La Mediterranée . . . . . . . . . . . . . . . . . . . . . page 40

Advertiser IndexLa Note Restaurant Provençal . . . . . . . page 40

Left Margin Lit . . . . . . . . . . . . . . . . . . . . . . . page 69

Mancheno Insurance Agency . . . . . . . .page 33

Margaretta K. Mitchell Photography . . page 36

Marlene Simas, Realtor® . . . . . . . . . . . . .page 32

Mason McDuffie . . . . . . . . . . . . . . . . . . . . . .page 32

Maybeck High School . . . . . . . . . . . . . . . . page 46

McCutcheon Construction . . . . . . . . . . . .page 53

Meritage . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 40

Mountain View Cemetery . . inside front cover

National Geographic Expeditions . . . page 58

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

Pacific Boychoir Academy . . . . . . . . . . . page 50

Pacific Union . . . . . . . . . . . . . . . . . . . . . . . . page 34

Piedmont Gardens . . . . . . . . . . . . . . . . . . . page 14

Poulet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 56

San Francisco ChamberOrchestra . . . page 65

San Francisco Classical Voice . . . . . . . . page 62

Savvy Rest . . . . . . . . . . . . . . . . . . . . . . . . . . . page 13

Scharf Investments, LLC. . . . . . . . . . . . . page 20

Star Grocery . . . . . . . . . . . . . . . . . . . . . . . . . page 36

Steve Deutsch Woodwinds. . . . . . . . . . . page 26

Storey Framing . . . . . . . . . . . . . . . . . . . . . . page 44

Talavera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .page 33

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

Traverso Tree Service . . . . . . . . . . . . . . . . .page 32

Tricia Swift, Realtor . . . . . . . . .inside back cover

Wooden Window. . . . . . . . . . . . . . . . . . . . . page 28

Wells Fargo. . . . . . . . . . . . . . . . . . . . . . . . . . page 54

Yovino-Young Inc. . . . . . . . . . . . . . . . . . . . page 60

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