13/14 SEASON

Joana CarneiroMUSIC DIRECTOR

BerkeleySymphony_program_covers_FINAL.indd 4 8/5/13 3:48 PM

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Berkeley Symphony 2013-14 Season

Season Sponsors: Kathleen G. Henschel, Marcia Muggli & Ed Osborn, Brian James & Shariq Yosufzai

5 Message from the Music Director7 Message from the Executive Director9 Board of Directors & Advisory Council10 Orchestra13 Producers’ Circle Sponsorship Gifts15 Berkeley Symphony Legacy Society17 Program19 Program Notes37 Music Director: Joana Carneiro43 Guest Artist & Composers’ Biographies49 In Memoriam: Richard Reynolds51 Berkeley Symphony55 Music in the Schools57 Under Construction59 Broadcast Dates67 Membership Support73 Contact 74 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.

Media Sponsor: Official Wine Sponsor:

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Dear Friends,I can’t believe it is the last concert of the season; what a wonderful year we have had here in Berkeley. I am still hearing echoes of our last commission, the beautiful concerto for violin by Sam Adams, and I hope you are too.

Tonight’s program could well be named “the Finnish connection,” or “my” Finnish connection. This is music that is truly dear to my heart. We start with a piece by my friend and mentor, Esa-Pekka Salonen—a piece that depicts Nyx, a “shadowy Greek character,” as Salonen describes her.

Then we are so very lucky to welcome one of today’s greatest operatic superstars, Kelley O’Connor, embodying Adriana, the heroine from Kaija Saariaho’s second opera Adriana Mater. The story could easily be told today, in a war-time setting, in which we experience the life of a strong-willed woman who becomes a mother under very trying circumstances and, with her son, years later, meets the person who caused her harm. It is tragic story, but also one of love and forgiveness.

And we end this season as I started my time with Berkeley Symphony in the fall of 2008—with Beethoven’s Symphony No. 5. I am particularly excited to conduct this particular piece again in Berkeley, as we truly see and hear the tremendous growth that this Orchestra has experienced over the past five years.

Thank you for being here tonight and for sharing this season of concerts with us. I look forward to seeing you in the fall as we launch our 14/15 season.

My very best,

Joana Carneiro

Message from the Music Director

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Message from the Executive Director

Greetings!

Thank you all for another great season! With your patronage and support, Berkeley Symphony continues to grow and serve more of our Bay Area communities each year.

This year, we inaugurated our Berkeley Symphony & Friends chamber music series in partnership with the Piedmont Center for the Arts. These Sunday afternoon concerts, providing audiences with the opportunity to experience our Orchestra musicians and guest artists in an intimate setting, resume for a second season in September.

This year, our Under Construction new music program reached unprecedented heights. In partnership with EarShot, the national orchestral composition discovery network administered by the American Composers Orchestra, Under Construction drew 180 applicants from emerging composers nationwide.

This year, our Music in the Schools program served all 4,200 children free of charge in all eleven Berkeley Unified School District elementary schools. The school district has asked for additional programming in middle and high schools, and we are also in talks with neighboring communities about serving their schools. Where there is community will and the need for music education, Berkeley Symphony will be there with our hands-on classroom sessions, music curricula, in-school concerts, and opportunities for children to perform with our orchestra members.

Let’s celebrate all this with a rousing 2013/14 season finale! Then, if you don’t yet have one, please pick up a 2014/15 season brochure in the lobby.

Warmest regards,

René Mandel

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Board of DirectorsExecutive CommitteeThomas Z. Reicher, PresidentJanet Maestre, Vice President for GovernanceJanet McCutcheon, Vice President for DevelopmentStuart Gronningen, Vice President for Community EngagementEd Osborn, TreasurerTricia Swift, SecretaryRené Mandel, Executive Director

Advisory Council (continued)

Lynne LaMarca Heinrich & Dwight JaffeeKathleen G. HenschelBuzz HinesSue HoneKenneth A. Johnson & Nina GroveTodd KerrJeffrey S. LeiterBennett MarkelBebe & Colin McRaeHelen MeyerChristine MillerDeborah O’Grady & John AdamsElisabeth & Michael O’MalleyMaria José PereiraMarjorie Randell-SilverThomas W. RichardsonLinda Schacht & John GageKathy Canfield Shepard & John ShepardJutta SinghLisa & James TaylorAlison TeemanPaul Templeton & Darrell LouieAnne & Craig Van DykeYvette VloeberghsShariq YosufzaiMichael Yovino-Young

Board of Directors & Advisory Council

DirectorsSusan AcquistapaceGertrude AllenNorman BooksteinEllen L. HahnBrian JamesWilliam KnuttelSandy McCoyDeborah ShidlerMichel Taddei

Advisory CouncilMarilyn Collier, ChairMichele BensonFrank & Roberta BlissJudith BloomJoy CarlinRon ChoyRichard CollierDiane CrosbyJohn DanielsenJennifer DeGoliaCarolyn DoellingAnita EbléKaren FairclothGary GlaserReeve GouldBereket Haregot

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

Kent Nagano Conductor Laureate

Violin IFranklyn D’Antonio ConcertmasterNoah Strick Associate ConcertmasterJiwon Evelyn Kwark Assistant ConcertmasterMatthew SzemelaLarisa KopylovskyCandy SandersonLisa ZadekIlana ThomasKristen Jones SteinerNoah TerryAnnie LiChloe Mackay*John BernsteinDaniel Neyshloss*Bert Thunstrom

Violin IIDaniel Flanagan PrincipalElizabeth Choi Assistant PrincipalKarsten WindtDavid ChengLauren Avery

Sponsored by Tricia Swift

Matthew OshidaRick DiamondAnn EastmanKevin HarperAlexandra Lee*Kristen KlineDavid GroteSarah LeeRose Marie Ginsburg

The Orchestra

ViolaIlana Matfis PrincipalLynne Richburg Assistant PrincipalPatrick KrobothMarta TobeySteven NgCeleste McBrideAmy ApelAlice EastmanClio Goldstein*Amanda Woo*

CelloCarol Rice PrincipalStephanie Lai Assistant PrincipalNancy BienVictoria EhrlichKelley MaulbetschKen JohnsonPeter BedrossianAndy Ly*Jordan PriceJasper HussongDaniel Mackay*

BassMichel Taddei PrincipalRobert Ashley Assistant PrincipalMegan McDevittDavid HornDavid SullivanBen Holston*Eugene Theriault Corey Chandler

FluteEmma Moon Principal

Sponsored by Marcos and Janet Maestre

Laurie CamphouseLeslie Chin*Maureen Sides*

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Alto FluteLaurie Camphouse

PiccoloLaurie CamphouseMelanie Keller

OboeDeborah Shidler Principal

Sponsored by Janet and Michael McCutcheon

Thomas NugentStardustCicely Rhodin*Daniel Gurevich*

English HornAndrea Plesnarski

B-flat ClarinetRoman Fukshansky PrincipalDiana DormanSteve SánchezBrenden GuyMicah Kim

E-flat ClarinetSteve Sánchez

Bass ClarinetDaniel Ferreira

BassoonDavid Granger PrincipalRavinder SehgalLawrence RhodesErin IrvineNewton Kwan*Max Schugart*

ContrabassoonErin Irvine

HornAlex Camphouse Principal

Sponsored by Tom and Mary Reicher

Stuart Gronningen

Horn (continud)

Kathy Canfield ShepardMichael ShuldesTom Reicher

TrumpetGraham Taylor PrincipalBrad HogarthOwen MiyoshiJohn Freeman

TromboneCraig McAmis Principal

Sponsored by Kathleen G. Henschel

Craig Bryant

Bass TromboneKurt Patzner

TubaJerry Olson Principal

TimpaniJohn Weeks Principal

PercussionWard Spangler Principal

Sponsored by Gail and Bob Hetler

Norman PeckMark VereggeBenjamin Paysen

HarpWendy Tamis Principal

Piano/CelestaMiles Graber Principal

*Member of Young People’s Symphony Orchestra

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

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Producers’ Circle Sponsorship Gifts

We gratefully acknowledge the following individuals who have contributed to Berkeley Symphony’s Producers’ Circle Sponsorship Campaign in addition to their annual giving. Producers’ Campaign gifts directly support Berkeley Symphony’s artistic initiatives including commissions, premieres, guest soloists, Under Construction, and Music in the Schools.

Anonymous (2)

Gertrude Allen

Judith Bloom

Jennifer Howard DeGolia

Margaret Dorfman

Ellen Hahn

Kathleen G. Henschel

Buzz & Lisa Hines

Ken Johnson & Nina Grove

William & Robin Knuttel

Janet & Marcos Maestre

Janet & Michael McCutcheon

Helen & John Meyer

Linda & Stuart Nelson

Marcia Muggli & Ed Osborn

Thomas & Mary Reicher

Thomas W. Richardson

Tricia Swift

Lisa & James Taylor

The Thomson Family

Brian James & Shariq Yosufzai

Producers’ Circle Sponsorship gifts of $2,500 and above received for the 2013-14 thru 2014-15 seasons are listed. Thank you also to our Producer’s Circle supporters at all levels!

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Legacy Society Member Gertrude Allen: 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 General Manager and Membership Director Steve Gallion at 510.841.2800 x305 or sgallion@berkeleysymphony.org.

Legacies ReceivedMargaret Stuart E. Graupner

Rochelle D. Ridgway

“I grew up in a musical household. My family subscribed to the San Francisco Symphony and Opera, and I listened to the Metropolitan Opera every Saturday. I play the piano, and my daughter and son-in-law are both professional musicians playing flute and French horn.

“I started going to the Berkeley Promenade Orchestra* with my husband in the 1970s. We loved it. I have never been to a concert where my husband and I didn’t go “Wow!” Later, Janet Maestre asked us to become subscribers and that’s how we became long-term supporters. Berkeley Symphony is exceptional!”

Legacies PledgedGertrude Allen

Norman Bookstein & Gillian Kuehner

Kathleen G. Henschel

Jeffrey S. Leiter

Janet & Marcos Maestre

Bennett Markel

Lisa Taylor

*Berkeley Symphony was founded in 1969 as the Berkeley Promenade Orchestra. The name was changed shortly after Kent Nagano’s tenure as music director began in 1978.

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Thursday, May 1, 2014 at 8:00 pm Zellerbach Hall

Joana Carneiro conductor

Esa-Pekka Salonen Nyx

Kaija Saariaho Adriana SongsLibretto by Amin Maalouf I. Jardin d’automne II. Je sens deux coeurs III. Rages IV. La vie retrouvée Kelley O’Connor mezzo-sopranoI N T E R M I S S I O N

Ludwig van Beethoven Symphony No. 5 in C minor, Op. 67 I. Allegro con brio II. Andante con moto III. Scherzo. Allegro IV. Allegro

Tonight’s performance will be broadcast on KALW 91.7 FM on May 26, 2014.Please switch off your cell phones, alarms, and other electronic devices during the concert. Thank you.

Program

Concert Sponsors: Thomas & Mary Reicher City of Berkeley Anonymous

Guest Artist Sponsor: Natasha Beery & William McCoy

Season Sponsors: Kathleen G. Henschel Marcia Muggli & Ed Osborn Brian James & Shariq Yosufzai

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Program Notes

Esa-Pekka Salonen (born 1958)

NyxBorn on June 30, 1958, in Helsinki, Finland; currently resides in Los Angeles. Esa-Pekka Salonen composed Nyx in 2010 on a joint commission from Radio France, the Barbican Centre, Atlanta Symphony, Carnegie Hall, and the Finnish Broadcasting Company. He conducts the Finnish Radio Symphony Orchestra in a performance available on a Deutsche Grammophon release titled Out of Nowhere (paired with the Grawemeyer Award-winning Violin Concerto he wrote for Leila Josefowicz).

First performance: February 19, 2011, with the composer conducting the Orchestre Philharmonique de Radio France at the Théâtre du Châtelet in Paris. Nyx is scored for piccolo, 3 flutes (3rd doubling 2nd piccolo), 3 oboes, English horn, 3 clarinets (3rd doubling E-flat clarinet), bass clarinet, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 3 percussionists, harp, celesta (doubling piano), and strings. Duration: ca. 18 minutes.

Mention Finland to music lovers, and Sibelius comes to mind

with Pavlovian spontaneity. For Brahms, Beethoven was the looming giant whose shadow had to be acknowledged, but for gifted young Finnish composers, Sibelius must

have seemed like a ball and chain before the emergence of today’s crop of brilliant musical Finns. The past several decades have seen an extraordinary generation of creative thinkers liberating themselves and staking out new territory. The result has turned the once-marginalized northern extremity of Europe into the acknowledged progenitor country of some of today’s most interesting composers.

Esa-Pekka Salonen and Kaija Saariaho—who are separated in age by only six years—emerged from similar backgrounds. Both were born in Helsinki and attended the Sibelius Academy there. While a student at the Academy, Salonen joined with yet another composer who would go on to international acclaim, Magnus Lindberg, to co-found an experimental collective Toimii (“it works”) and a new-music advocacy group they called Korvat Auki! (“Ears Open!”). And Salonen has stayed true to that belief in music as an ear-opening experience that can transform our perceptions of the world.

Composing was the young Salonen’s chief focus: as he has pointed on over the years, he took up conducting so as to be able to ensure performances of his own work. What he didn’t plan on was the

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immensely successful conducting career he would launch when he filled in for Michael Tilson Thomas at the last minute to conduct the Philharmonia Orchestra in Mahler’s Third Symphony in 1983. That feat paved the way toward an important relationship with the Philharmonia, which in turn opened the door to his influential tenure with the Los Angeles Philharmonic (with which he made his U.S. conducting debut in 1984, when he was only 26).

Like Leonard Bernstein, Salonen has had to contend with the frustrations of being highly gifted in several areas at once. In his New Yorker profile marking the end of Salonen’s reign with the LA Philharmonic in 2009, Alex Ross details how this Finn “with an avant-garde bent” ended up becoming “a driving force in American music.” Ross also appraises the new Violin Concerto Salonen introduced during one of his valedictory programs (where he also happened to share the billing with Beethoven’s Fifth Symphony). “When Salonen announced he was giving up the Los Angeles job,” writes Ross, “he said that he wanted to devote more time to composing, and the strength of his latest pieces suggests that he has not made a foolish choice . . . Salonen the composer is more openly expressive than Salonen the conductor.” Indeed, in 2012 the Violin Concerto won one of the music world’s most prestigious awards: the University of Louisville Grawemeyer Award for Music Composition.

Nyx is the first composition Salonen introduced since stepping down from the podium at Disney Hall. Composed in 2010, it also marks a return to composing what he calls “pure orchestral music” (i.e., not concertante)—the first such work in his oeuvre since the much briefer Helix from 2005, a virtuoso study in gradually accelerated tempo.

On one level, it’s easy to recognize in Nyx a sort of summation of the incredible abundance of technical knowledge about how large orchestras function and produce their magic. But beyond all the formidable technique, Salonen homes in on the endlessly fascinating beauty and appeal of late Romanticism (the presence of Richard Strauss is keenly felt) and indeed of the great Sibelius himself, particularly in the coming-into-being of this sound world from the opening music of the horns. Sibelius, after all, knew how to evoke a whole universe with the orchestra—just as did his Continental counterpart Mahler, who declared as much in a famous conversation with Sibelius.

As in Sibelius’ tone poems, Salonen draws on mythological imagery— in this case, the obscure, shadowy figure Nyx (Latin nox) from ancient Greek cosmogony. We don’t have many extant tales involving Nyx directly, but she was associated with the very beginning of creation—a child of the earth mother, Gaia, and considered the mother of both Sleep

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and Death. Observes Salonen: “She is an extremely nebulous figure altogether; we have no sense of her character or personality. It is this very quality that has long fascinated me and made me decide to name my new orchestral piece after her.” His aim in Nyx is not to present a musical portrayal of the mysterious goddess or to narrate some event about her. Still, he points out, “the almost constant flickering and rapid changing of textures and moods as well as a certain elusive character of many musical gestures may well be related to the subject.”

In purely musical terms, Salonen writes that Nyx differs from his other compositions employing the principle of continuous variation of certain materials. “Its themes and ideas essentially keep their properties throughout the piece while the environment surrounding them keeps changing constantly. Mere whispers grow into roar; an intimate line of the solo clarinet becomes a slowly breathing broad melody of tutti strings at the end of the 18-minute arch of Nyx.” The challenge he set himself was “to write complex counterpoint for almost one hundred musicians playing tutti at full throttle without losing clarity of the different layers and lines; something that Strauss and Mahler so perfectly mastered.”

He continues: “I have always enjoyed the unrivaled dynamic range of a large symphony orchestra, but Nyx seems to take a somewhat new

direction from my earlier orchestral music. There are many very delicate and light textures, chiaroscuro instead of details bathing in clear direct sunlight. I guess this is symptomatic of growing older as we realize there are no simple truths, no pure blacks and whites but an endless variety of half shades.”

Kaija Saariaho (born 1952)

Adriana SongsBorn on October 14, 1952, in Helsinki, Finland; currently resides in Paris. Kaija Saariaho wrote Adriana Songs for mezzo-soprano and orchestra on a joint commission from the Auftakt Festival, the Alte Oper Frankfurt, the New York Philharmonic, and the Orchestra Sinfonica Nazionale della RAI. Adriana Songs draws on material from her opera Adriana Mater, which was premiered in 2006. The texts are by Saariaho’s frequent collaborator, Amin Maalouf, and are taken from his libretto for Adriana Mater.

First performance: September 17, 2006, with the mezzo-soprano Patricia Bardon as soloist and Marc Albrecht conducting the Junge Deutsche Philharmonie. Adriana Songs is scored for 3 flutes (2nd doubling piccolo), 3 oboes, 3 clarinets, bassoon, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, 4 percussionists, harp, piano (doubling celesta), and strings. Duration: ca. 20 minutes.

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offers an intriguing entrée into Saariaho’s brand of music theater—and into the unique perception of time and space that shapes her musical universe. It’s impossible to encounter her music without having your ears and mindfulness directed to the centrality of texture, timbre, resonance of tones—even to their relative weights. All of these parameters are so often lumped under the inadequate rubric of “color,” as if they entailed mere surface decoration, or perhaps the shadow of “the real thing” (i.e., melody, harmony, rhythm). Yet in Saariaho’s sound world these acquire mesmerizing substance and evocative power and even seem to press beyond our ordinary (linear) perceptions of space and time. Saariaho’s compositions at times hover about the listener like mobile sculptures. Through the contexts she creates for them, sounds linger with a ghostlike presence, creating an aura of unstable mirages.

Saariaho meticulously perfected her ear for luminous detail through years of experimental work in Paris at Pierre Boulez’s IRCAM Institute for musical research, that bastion of the European avant-garde. Upon settling in Paris in the early 1980s, Saariaho became closely associated with the French spectralists. Their focus is on music as a process in which sonic textures transform and evolve gradually over a compositional span. Like other spectral composers, Saariaho

Adriana Mater is the name of the second of Kaija Saariaho’s three

operas to date (or four, if you count La Passion de Simone, the hybrid opera/oratorio inspired by Simone Weil that immediately followed Adriana Mater). Her Finnish compatriot and fellow Sibelius Academy alum Esa-Pekka Salonen—an ardent champion of her music—conducted the opera’s world premiere in 2006 at the Opéra National de Paris, which together with Finnish National Opera had commissioned the work. The production was directed by Peter Sellars, as was the first American staging, which took place at the Santa Fe Opera Festival in the summer of 2008.

Even in the unstaged context of this evening’s performance, those familiar with Sellars’ aesthetic might recognize a kindred spirit in Saariaho’s own theatrical sensibility. Saariaho has collaborated closely with Sellars since she launched her operatic career at the Salzburg Festival in 2000 with the haunting L’amour de loin (Love from Afar), inspired by a 12th-century troubadour. Former Berkeley Symphony music director Kent Nagano has also played an important role in her operas. He conducted the Salzburg premiere of L’amour de loin and in 2011 his recording with the Deutsches Symphonie-Orchester Berlin garnered the Grammy Award for Best Opera Recording.

Derived from the score for the two-hour-long Adriana Mater, Adriana Songs

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often uses electronic sources or “extensions” as part of a subtle blend with acoustic instruments, though she has also learned to create similar effects through purely acoustic means—as she does in Adriana Songs.

At the same time, Saariaho’s music theater works since the millennium have been rooted in traditional, indeed immemorial, themes of love, suffering, war, forgiveness. Adriana Mater is a timeless parable set amid the ruins of war. It takes up that most operatic of topics—the desire for revenge—but from a radically compassionate perspective, probing the power of maternal love to thwart the cycle of violence.

Like the composer, Saariaho’s long-term librettist Amin Maalouf is a voluntary emigré writer based in Paris. A native of Beirut whose first language is Arabic but who writes in French, Maalouf has grappled in his fiction with issues of uprooting and war. His libretto for Adriana Mater is set in an unnamed city in ruins as the result of a prolonged civil war; its blend of mythic resonance and gritty, modern detail echoes something of the fiction of J.M. Coetzee. After being brutally raped by a soldier, the lead character has borne and raised a son, Yonas. When the grown Yonas later discovers his father’s identity, he finds himself unable to carry out his intention of killing him to avenge his mother.

Well Orchestrated TravelDurango or Dubai

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Adriana Songs consists of four movements, three of them featuring solo moments for Adriana. In the first, Jardin d’automne (“Autumn Garden”), the tremendous force unleashed in the orchestral introduction leads to her intensely expressive reflections in a private moment stolen away “when the eyes of the city close.” This is followed by the painful conflict Adriana feels within—Je sens deux coeurs (“I feel two hearts”)—as she contemplates her pregnancy and the identity of “this stranger inhabiting me” and what her child’s future will be—“Cain or Abel?” Toward the end of this deeply mysterious music, the mood becomes agitated and energetic before diminishing on a widely spanning sustained chord.

The music again becomes energetic in the purely instrumental third movement, Rages (“Madness”), in which tempestuous outbursts alternate with brief moments of calm, eventually culminating in an aggressive frenzy of furioso writing. Concluding the suite is La vie retrouvée (“Life regained”) from the end of the opera. Yonas’s choice triggers an epiphany of hard-won forgiveness for Adriana: “The murderer’s blood has been calmed by flowing near mine . . . We are not avenged, we are saved.” Throughout, Saariaho’s soundscape of shifting timbral weights builds an otherworldly sense of time in which inner and outer events coalesce in dreamlike ambiguity.

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I. Jardin d’automneQuand les yeux de la cité se fermentJe dévoile ma voix!Ma voix que j’ai cueillieDans un jardin d’automnePuis couchée sous les pages d’un

livre;Ma voix que j’ai rapportée du paysEntre mes draps couleur de soufre;Ma voix que j’ai glissée dans mon

corsageSous les plis de mon coeur.

Quand les yeux de la cité se fermentJe dévoile mon coeur!Mon coeur que j’ai cueillieDans un jardin d’automnePuis couché sous les pages d’un livre;Mon coeur que j’ai rapporté du paysEntre mes draps couleur de pierre;Mon coeur que j’ai glissé dans mon

corsageSous les plis de ma peau.

Quand les yeux de la cité se fermentJe dévoile ma peau!

II. Je sens deux coeursNon, je ne suis sûre de rien.Je sens seulement, je sens un coeur,Un deuxième coeur qui bat tout près

du mien.Qui est cet étranger qui m’habite?Un frère? Un autre moi-même? Un

ennemi?

I. Autumn GardenWhen the eyes of the city closeI reveal my voice!The voice I gatheredIn an autumn gardenAnd pressed in the pages of a book;The voice I brought back from my

countryBetween my brimstone-coloured

sheets;The voice I tucked into my bodiceUnder the folds of my heart.

When the eyes of the city closeI reveal my heart!The heart I gatheredIn an autumn gardenAnd pressed in the pages of a book;The heart I brought back from my

countryBetween my stone-coloured sheets;The heart I tucked into my bodiceUnder the folds of my skin.

When the eyes of the city closeI reveal my skin!

II. I Feel Two HeartsNo, I’m not sure of anything.I only feel, I feel a heart,A second heart beating close to

mine.Who is this stranger inhabiting me?A brother? Another self? An

enemy?

Adriana SongsLibretto by Amin Maalouf

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Dans ses veines coulent deux sangs, deux sangs mêlés,

Le sang de la victime, et le sang du bourreau.

Comment répandre l’un sans répandre l’autre?

Un jour, mon enfant naîtra, je le tiendrai dans mes bras,

Je le prendrai contre mon sein pour le nourrir.

Pourtant, ce jour-lâ,Oui, même ce jour-lâ,Et j’en serai encore à me demander

comme je me demande à cet instant

Comme je me demande à chaque instant du jour et de la nuit

Qui est cet être que je porte?Qui est cet être que je nourris?Pour me rassurer, je me dis parfoisQue toutes les femmes depuis ÈveAuraient pu se poset ces

questions,Ces mêmes questions:Qui est cet être que je porte?Qui est cet être que je nourris?Mon enfant sera-t-il Caïn, ou bien

Abel?

IV. La vie retrouvéeCet hommeMéritait de mourirMais toi, mon fils,Tu ne méritais pas de tuer.Depuis que tu es né, et avant même

ta naissance,Je me demande si tu serais un jour

capable de tuer.Même quand tu étais au berceau, je

ne pouvais m’empêcherDe surveiller tes cris, le fond de ton

regard, et tes gestes,

In his veins two bloods flow—two mingled together:

The blood of the victim and the blood of the aggressor.

How can you spill one without spilling the other?

One day my child will be born. I’ll hold him in my arms,

Feed him at my breast

But that day,Yes, that day,I’ll still be wondering, as I’m

wondering now,

As I wonder every moment, day and night,

Who is this creature I carry?Who is this creature I feed?To comfort myself I sometimes thinkThat every woman, ever since Eve,Might have asked herself the same

questions,The same questions:Who is it I carry?Who is it I feed?Which will my child turn out to be—

Cain or Abel?

IV. Life RegainedThat manDeserved to die.But you, my son,Did not deserve to kill him.Ever since you were born, and even

before that,I’ve wondered if you were capable of

killing.Even when you were in your cradle I

couldn’t helpWeighing your cries, your

expressions, your movements,

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Il fallait que je sacheSi le sang qui coule dans tes veines,Est le celui du tueur,Ou bien le mien.Quand, autour de moi, on

s’inquiétait, on se méfiaif,Mois, je m’efforçais de croireQue le sang était neuter et muet,Que le sang ne décidait de rien,Qu’il suffirait que je t’aime, que je

te parle, que je t’élève avec droiture,

Pour que tu sois aimant, et réfléchi, et droit.

Mais il y avait constamment en moi,Constamment, la torture du doute,Constamment, cette question,

obsédante, têtue:Si un jour te tenant, une arme dans

la main,Devant un homme que tu hais,Devant un homme qui mérite le pire

châtiment,Ce jour-là, le frapperas-tu?Ou bien feras-tu, au dernier moment,

un pas en arrière?

Si tu ètais vraiment le fils de cet home,Tu l’aurais tué,Aujourd’hui, j’ai enfin la réponse . . .Le sang du meurtrier s’est apaisé en

côtoyant le mien.Aujourd’hui, ma vie, que je croyais

perdue.Est enfin retrouvée,Nous ne sommes pas vengés, mais

nous sommes sauvés.Viens, approche-toi, entourne-moi

de tes bras,J’ai besoin de reposer ma tête un

instant sur une épaule d’homme.Amin Maalouf

I had to knowIf the blood that flows in your veinsIs that of the killer,Or mine.Around me, people were anxious,

suspicious,But I did my best to believeThat blood was neutral and silent,That blood determined nothing,That it was enough that I loved you,

spoke to you, brought you up honorably,

For you to be loving, thoughtful and honorable yourself.

But all the time, inside,I was tortured with doubt.With the endless, unrelenting

question:If one day you should find yourself,

weapon in hand,Before a man you hate,A man who deserves the harshest of

punishments,Would you kill him?Or, at that moment, would you draw

back?

If you’d really been that man’s sonYou’d have killed him.So now at last I have my answer . . .The murderer’s blood has been

calmed by flowing near mine.Today my life, which I thought was

lost,Is found again at last.We are not avenged, we are

saved.Come close and put your arms

around me.I need to rest my head for a moment

on a man’s shoulder.Amin Maalouf

Translated by Barbara Bray

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May 1, 2014 33

Ludwig van Beethoven (1770-1827)

Symphony No. 5 in C minor, Op. 67 Born on December 16, 1770, in Bonn, Germany (then part of the Holy Roman Empire); died on March 26, 1827, in Vienna. Ludwig van Beethoven composed his Fifth Symphony between 1804 and 1808, while simultaneously working on other compositions.

First performance: December 22, 1808, in Vienna, with the composer conducting. The Symphony No. 5 is scored for 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons and contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. Duration ca. 35 minutes.

The mere phrase “Beethoven’s Fifth” seems to instantly conjure the most iconic example of the symphony in the history of the genre. Yet the concert on which it was first heard was hardly a triumph. The Fifth shared the bill with Ludwig van Beethoven’s Sixth Symphony, Fourth Piano Concerto, and several other works on an epically long but alarmingly under-rehearsed program in a wretchedly unheated hall in Vienna (shortly before Christmas). The concert was meant to raise funds for the 38-year-old composer.

Eventually, of course, the Fifth became the cornerstone of a newly involving philosophy of music that influenced other

artists, writers, and thinkers. Conventional language no longer seemed adequate to describe what was happening in this piece. How to convey the overwhelming, often downright perplexing experience it triggered in its early listeners? This was music that had to be interpreted.

As a dramatic model, the Fifth laid out a template for the progression from grim tragedy to light-flooded triumph—or toward a kind of sonic “enlightenment,” if you will. This happens in musical-harmonic terms by traversing a journey from the opening in C minor, a key that held darkly passionate associations for Beethoven, to the blaze of C major, vigorously reinforced by almost military-sounding brass and piccolo that concludes the work. The dramatic angle encompasses both the sense of crisis and the catharsis which is eventually achieved and thus brings to mind comparisons with ancient Greek tragedy—another potential source suggested for the composer’s inspiration. In this reading (though less sensationally than in Schindler’s bit about fate knocking at the door), the image of inevitable destiny once again works its way into the scenario.

At the same time, the Fifth is recognized as the quintessence of “absolute music”—music that develops its materials with an internally consistent logic whose meaning is contained in the notes

34 May 1, 2014

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alone, without any reliance on external descriptions.

Beethoven’s Third Symphony, the Eroica, had itself been an unparalleled game changer, claiming new dimensions for the genre. But in contrast to the Eroica’s epic expanse and its implicit protagonist—the symphony as novel—the Fifth Symphony is a tightly coiled Greek tragedy, cosmic and anonymous. Even the famously hard-won outburst of triumph toward which it steers in the final movement is beset with questioning: right in its center, the music suddenly falls back into the pit of terrorizing doubt sounded by the Scherzo, overshadowing the victory.

The short-short-short-long rhythmic motif that blasts across its landscape at the outset, with no clearing of the throat, is not the only source of the first movement’s concentrated power. (And, by the way, as Matthew Guerrieri points out in The First Four Notes, his fascinating cultural history of the Fifth, is the motif we all think we know really just those first four notes? Or is it perhaps those PLUS the chasm of silence between PLUS the repetition of the pattern on different degrees of the scale—a total of eight notes?) Think for a minute of what does reside in the music’s silences—as in the implied uptake of breath right before that first note. Meanwhile, Beethoven the condenser here stretches the

coda to development-like length, introducing yet another new piece of thematic material.

The Andante takes the form of a double set of variations. The serene and unusually elongated melody of the first could hardly contrast more starkly with the clipped, militaristic fanfare of the second. To characterize the Fifth as staging the “triumph” of joyful C major over tragic C minor neglects the details. Along with the return of the spooky Scherzo sonorities in the very heart of the finale, “victorious” C major already appears on the scene in the Andante’s fanfares, and there’s something manically comic about the vigorously tail-chasing fugue section in the third movement’s Trio. This soon gives way to some of the most Gothically chilling “special effects” orchestration in the literature.

The transition linking the finale is a tense passage through the fog in this symphony of heightened tension. “The finale is no romantic ’triumph,’” writes commentator

Robert Simpson. “The antithesis of scherzo and finale is an elemental phenomenon, and the finale has the last word only because it suggests a condition in which human power can thrive, not because the world of the scherzo has ceased to exist.”

Program Notes © Thomas May Thomas May writes about the arts and

blogs at memeteria.com.

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May 1, 2014 37

Music Director: Joana Carneiro

Noted for her vibrant perfor-mances 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 is the official guest conductor of the Gulbenkian Orchestra in her native Lisbon and was recently named principal conductor of the Portuguese National Symphony at the Teatro de São Carlos. 2013/14 marks Carneiro’s fifth season as Music Director of Berkeley Symphony, where she has captivated audiences with her commanding stage presence and adventurous programming that has highlighted the works of several prominent contemporary composers, including John Adams, Steven Stucky and Gabriela Lena Frank. The 2013/14 Berkeley season features world premieres by Edmund Campion and Samuel Adams, as well as works by Brett Dean, Kaija Saariaho and Esa-Pekka Salonen.

Carneiro’s growing guest-conducting career continues to take her all around the globe. In 2013/14, she makes debuts with the Orchestre

Philharmonique de Radio France, Royal Stockholm Philharmonic and Florida Orchestra. She returns to the Toronto, Gothenburg, Gävle, Malmö, Sydney, New Zealand symphonies and the National Symphony Orchestra of Spain.

Last season, Carneiro conducted highly successful returns to the Gothenburg, Gävle and Norrköping symphonies, and debuts with the Swedish Radio Orchestra, Malmö Symphony, Norrlands Opera Orchestra, Residentie Orkest/Hague, Aachen Symphony of Germany, Euskadi Orchestra of Spain and Hong Kong Philharmonic. She returned

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to the Indianapolis Symphony in concerts with Thomas Hampson on a Mahler/Schumann program and conducted a highly successful world premiere of Santos, an oratorio by composer Gabriela Lena Frank and librettist Nilo Cruz with the San Francisco Girls Chorus, soprano Jessica Rivera and mezzo-soprano Rachel Calloway, and members of Berkeley Symphony.

International highlights of previous seasons include appearances with the Royal Liverpool Philharmonic at London’s Royal Albert Hall, Royal Philharmonic Orchestra and Renee Fleming in the opening season of the U.A.E’s Royal Opera House in Oman, Irish Chamber Orchestra, Ensemble Orchestral de Paris, Orchestra de Bretagne, Norrköping Symphony, Prague Philharmonia and the Orchestra Sinfonica del Teatro la Fenice at the Venice Biennale, as well as the 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, Grant Park Music Festival, Manhattan School of Music, Puerto Rico 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 in 2013. In 2011, she led a ballet production of Romeo and Juliet with Companhia Nacional de Bailado in Portugal.

Increasingly in demand as an opera conductor, Carneiro made her Cincinnati Opera debut in 2011 conducting John Adams’ A Flowering Tree, which she also debuted with the Chicago Opera Theater and at La Cité de la Musique in Paris. In the 2008-09 season, she served as assistant conductor to Esa-Pekka Salonen at the Paris Opera’s premiere of Adriana Mater by Kaija Saariaho and led critically-acclaimed performances of Philippe Boesmans’s Julie in Bolzano, Italy.

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 Dohnányi and conducted the London Philharmonic Orchestra, as one of three conductors chosen for London’s Allianz Cultural Foundation International Conductors Academy. From 2002 to 2005, she served as Assistant Conductor of the

May 1, 2014 41

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.

42 May 1, 2014

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Kelley O’Connor, mezzo-soprano

Possessing a voice of uncommon allure, musical sophistication

far beyond her years, and intuitive and innate dramatic artistry, the Grammy Award-winning mezzo-soprano Kelley O’Connor has emerged as one of the most compelling performers of her generation. During the 2013-14 season, the California native’s impressive calendar includes John Adams’ The Gospel According to the Other Mary with Grant Gershon conducting the Ravinia Festival Orchestra, the world premiere of John Harbison’s Crossroads with the Saint Paul Chamber Orchestra conducted by Edo de Waart, Peter Lieberson’s

Neruda Songs with the Gothenburg Symphony Orchestra and Joana Carneiro, and Beethoven’s Ninth Symphony with Alan Gilbert and the New York Philharmonic. Miss O’Connor joins Franz Welser-Möst and the Cleveland Orchestra for an international tour of Beethoven’s Mass in C, a work that also serves for her return to the San Francisco Symphony under the baton of Michael Tilson Thomas. She collaborates with Vladimir Jurowski for the first time in performances of Adams’ El Niño with the London Philharmonic Orchestra. The artist returns to the Atlanta Symphony Orchestra for Brahms’ Alto Rhapsody led by Donald Runnicles, as well as to the National Symphony Orchestra in performances of El amor brujo conducted by the venerable Spanish maestro, Rafael Frühbeck de Burgos.

Highlights of recent seasons include performances of Ravel’s Shéhérazade with Esa-Pekka Salonen and the Philharmonia Orchestra at the Edinburgh Festival, Bach’s St. Matthew Passion with Robert Spano and the Atlanta Symphony, Stravinsky’s Les noces with David Robertson and the St. Louis Symphony, Mahler’s “Resurrection” Symphony with Donald Runnicles and the Atlanta Symphony, Elgar’s Sea Pictures and Britten’s Spring Symphony with Edward Gardner and the City of Birmingham

Guest Artist & Composers’ Biographies

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May 1, 2014 45

Symphony Orchestra, and Mozart’s Requiem with Louis Langrée and the Mostly Mozart Festival Orchestra, as well as with Iván Fischer leading the Orchestra of St. Luke’s at Carnegie Hall. Miss O’Connor also debuts roles as Suzuki in Madama Butterfly at Boston Lyric Opera, Ursule in Berlioz’s Béatrice et Bénédict at Opera Boston, and Hippolyta in A Midsummer Night’s Dream at the Lyric Opera of Chicago and Canadian Opera Company.

Her discography includes Lieberson’s Neruda Songs and Golijov’s Ainadamar with Robert Spano and the Atlanta Symphony as well as Beethoven’s Ninth Symphony with Franz Welser-Möst and the Cleveland Orchestra for Deutsche Grammophon.

www.kelleyoconnor.com

be ranked as one of the leading composers of the late twentieth and early twenty first centuries. Born Kaija Anneli Laakkonen, she began studying visual arts at the University of Art and Design. She married Markku Veikko Ilmari Saariaho in 1972, but the marriage was short lived, ending the following year. The composer, however, retained her married name.

In 1976, she began composition studies at the Sibelius Academy with Paavo Heininen. She obtained a degree in composition from the academy in 1980, but continued studies there for another year. Afterward, she enrolled at the Musikhochschule in Freiburg, Germany, to study with British composer Brian Ferneyhough and Germany’s Klaus Huber. She was awarded a diploma there in 1983. By this time, Saariaho was already turning out some of her earliest works. The most noted efforts from this period include Verblendungen for Orchestra and Tape (1982-1984) and the minimalist piece Vers le blanc (1982). This latter piece was composed with the use of a computer and software developed at the Paris-based I.R.C.A.M. (L’Institut de Recherche et Coordination), where she had begun extensive studies in 1982 in computer techniques as they relate to musical composition. Saariaho had permanently relocated to Paris that same year. In 1984, she married Jean-Baptiste Barrière,

Kaija Saariaho, composer

Kaija Saariaho is not only among the most important Finnish

composers of her time, but must

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also a composer, and their marriage produced two children. In the mid-1980s, Saariaho’s works began garnering much attention and she received many prestigious awards, such as the Kranichsteiner Prize in 1986, the Prix Italia in 1988, and the following year the Ars Electronica for her works Stilleben (1987-1988) and Io (1986-1987). She also attracted several impressive commissions, including one from the Lincoln Center, which resulted in the chamber work Nymphéa (1987), which was premiered by the Kronos Quartet. By the early 1990s, her music was beginning to appear with greater frequency on the concert stage and with some regularity on record labels. Saariaho had become one of the few composers to write in a modern, though not particularly dissonant, style who has achieved a good measure of popularity. Further commissions came to her, including an important one from the Finnish National Ballet, for which she produced The Earth (1991). Many of her compositions have been written specifically for major artists or groups, as with the violin work she produced for Gidon Kremer, entitled Graal Théâtre (1994), and the song cycle Château de l’âme (1996) for Dawn Upshaw. A 1993 trip to Japan led to a commission from Kunitachi College for which Saariaho composed a work for percussion and electronics, Six Japanese Gardens (1993-1995). The composer spent a year at the Sibelius Academy teaching composition (1997-1998), at a time when her

stature could rival that of almost any other composer of the day. This pre-eminence is evidenced by the numerous major performances of her compositions, such as the 1999 Kurt Masur-led New York Philharmonic premiere of her choral work Oltra mar, and the Salzburg Festival premiere of her first opera, L’amour de loin, in August 2000, which featured Upshaw and conductor Kent Nagano. Saariaho continues to collect prizes, including the German Kaske Prize and the Swedish Rolf Schock Prize, both in 2001. Many of her works have been made available on a variety of labels, including DG, BIS, Finlandia, and Ondine.

Esa-Pekka Salonen, composer

A lauded composer and world renowned conductor, Esa-Pekka

Salonen has a restless innovation

48 May 1, 2014

that marks him as one of the most important artists in classical music. Salonen is currently the Principal Conductor and Artistic Advisor of the Philharmonia Orchestra and Conductor Laureate for the Los Angeles Philharmonic, where he was Music Director from 1992 until 2009.

Trained in the austere world of European modernism and enjoying a close relationship with the sunny city of Los Angeles, Salonen composes works that move freely between contemporary idioms, combining intricacy and technical virtuosity with playful rhythmic and melodic innovations. Three major retrospectives of Salonen’s original work have been heard by capacity audiences and received critical acclaim: at Festival Présences Paris in 2011; at the Stockholm International Composer Festival in 2004; and at Musica Nova, Helsinki, in 2003. Salonen has completed several works for symphony orchestra, including Foreign Bodies (2001), Insomnia (2002), and Wing on Wing, which received its world premiere at Walt Disney Concert Hall in 2004. In 2007, Salonen conducted the New York Philharmonic in the first performance of his Piano Concerto, dedicated to Yefim Bronfman, who also premiered it.

Salonen’s extensive recording career includes a CD of his orchestral works performed by the Finnish Radio Symphony

Orchestra, which he also conducted, as well as a disc of his Piano Concerto and his works Helix and Dichotomie. A new album of one of Henri Dutilleux’s most important works recorded with the Orchestre Philharmonique de Radio France in the presence of the composer was released in 2013 on Deutsche Grammophon on the composer’s 97th birthday. Also that month, Sony completed a recording project that began with Salonen and the Los Angeles nearly 30 years ago: a 2-disc set of the orchestral works of Lutosławski, released in what would have been the composer’s 100th year. In 2012, he recorded a disc of Saariaho’s Passion de Simone with the Finnish Radio Symphony Orchestra and Dawn Upshaw. 2012 saw the release of the first-ever recording of Shostakovich’s previously undiscovered opera prologue Orango with the Los Angeles Philharmonic and the release of Out of Nowhere, a collection of his Violin Concerto and Nyx, featuring Leila Josefowicz and the Finnish Radio Symphony Orchestra. In 2009, a new collaboration with Signum was launched with the release of a live recording of Schoenberg’s Gurrelieder; other recent recordings with the Philharmonia on Signum include Berlioz’s Symphonie fantastique and Mahler’s sixth and ninth symphonies.

www.esapekkasalonen.com

May 1, 2014 49

In Memoriam: Richard Reynolds

R ichard claimed that he was “tricked” into playing the horn at the age

of 12. Though he told the instrumental teacher at his Detroit elementary school that he wanted to play the trumpet, the teacher (improbably named “Mr. Vroom”) explained that his pronounced overbite would force him to hold the trumpet at a downward angle, directing all his tone at the floor. Fortunately, Mr. Vroom alleged, this angle was ideal for the French horn, so Richard began lessons on the horn. In reality there was no problem with Richard’s orthodontia; Mr. Vroom had resorted to subterfuge, because he needed horn players more than trumpet players.

But the die was cast. Richard stuck with the horn and never regretted it. He played in nothing but bands throughout high school, but when he entered the University of Michigan (majoring in English, not music) he auditioned for the orchestra. Revelation struck as the

ensemble started to prepare Mahler’s Fourth Symphony for their first concert: he was no longer only one of a dozen players on a part but carried a part by himself. In Berkeley Symphony, as in the U of M orchestra, he played second horn, which is the lower of the two main horn parts. He enjoyed playing in the low register of the instrument and supporting the harmony from below.

Richard moved to San Francisco in 1972. Having set his horn aside during grad school, he started to play again, and in the mid-seventies joined the Berkeley Promenade Orchestra (precursor of Berkeley Symphony) under Tom Rarick. Around the same time (1976) Richard also began playing with the Lamplighters, San Francisco’s popular Gilbert and Sullivan repertory company. He played every G & S operetta dozens, if not hundreds, of times.

In addition to his playing role, Richard served as a players’ representative on Berkeley Symphony’s board for over a decade and edited the program book for many concerts. This function was closely related to Richard’s day job as communications director of Mother Jones magazine in San Francisco.

Richard was really passionate about espresso. He not only loved to drink it, but was quite an expert on the subject. He wrote on coffee for the San Francisco Chronicle, Fresh Cup (a coffee industry trade journal), Gastronomica, and Salon.com.

Richard is survived by his wife, Fran Haselsteiner.

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Dining Guide

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May 1, 2014 51

Berkeley Symphony

Recognized nationally for its spirited programming, Berkeley

Symphony has established a reputa-tion for presenting major new works for orchestra alongside fresh inter-pretations of the classical European repertoire. It has been honored with an Adventurous Programming Award from the American Society of Composers, Authors and Publish ers (ASCAP) in nine of the past eleven seasons.

The Orchestra performs four main-stage concerts a year in Zellerbach Hall on the UC Berkeley campus, and supports local composers through its Under Construction New Music Series/Composers Program. A 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 4,000 local elementary students each year.

Berkeley Symphony was founded in 1969 as the Berkeley Promenade Orchestra by Thomas Rarick, a pro-tégé of the great English Maestro Sir Adrian Boult. Under its second Music Director, Kent Nagano, who took the post in 1978, the Orchestra charted a new course with innovative program-ming that included rarely performed 20th-century scores. In 1981, the internationally-renowned French composer Olivier Messiaen journeyed to Berkeley to assist with the prepa-rations of his imposing oratorio The Transfiguration of Our Lord Jesus Christ, and the Orchestra gave a sold-out

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Dining Guide

Y o u r a d c o u l d b e h e r e

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May 1, 2014 53

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

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

Adams, Paul Dresher, and Gabriela Lena Frank.

Berkeley Symphony has introduced Bay Area audiences to works by upcoming young composers, many of whom have since achieved interna-tional prominence. Celebrated Brit-ish composer George Benjamin, who subsequently became Composer-in-Residence at the San Francisco Sym phony, was first introduced to the Bay Area in 1987 when Berkeley Symphony performed his compositions Jubilation and Ringed by the Flat Horizon; as was Thomas 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.

54 May 1, 2014

2727 College Avenue Berkeley • 510.841.8489

www.maybeckhs.org

A vibrant community dedicated to excellence in learning where all forms

of diversity flourish amid mutual respect, support and responsibility.

OPEN HOUSEMay 28, 6-8pm

May 1, 2014 55

More than 4,200 elementary 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. • 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 SponsorsGifts of $1,000–$15,000 annuallyAnonymous (2)Susan & Jim AcquistapaceBerkeley Public Schools FundBerkeley Unified School DistrictBerkeley Association of RealtorsThe Bernard Osher FoundationCalifornia Arts CouncilAnnette Campbell-WhiteRichard ColtonEast Bay Community FoundationAnne Hannah-RoyKathleen G. HenschelIn Dulci Jubilo, Inc.Dorothy KaplanJorge ManchenoBebe & Colin McRaeMechanics BankMusic Performance Trust FundNational Endowment for the ArtsMichael & Elisabeth O’MalleyEllen SingerTarget StoresAma Torrance & David DaviesU.S. BankThomas J. Long FoundationUnion Bank FoundationBernard E. & Alba Witkin Charitable

FoundationThanks also to those giving up to $1,000 annually.

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Berkeley Symphony’s 2014 Under Construction New Music Series/Composers Program presents new symphonic works by emerging composers Sivan Eldar,

B.P. Herrington, Ruben Naeff and Nicholas Omiccioli. Selected for the program following a highly competitive national search, the four composers will each write a symphonic work to be developed, polished and recorded during two open rehearsal–style concerts, while receiving on-going guidance from Music Director Joana Carneiro, mentor composers Edmund Campion (UC Berkeley) and Robert Beaser (The Juilliard School), and members of the Orchestra. The second concert on May 4 will be held at the Osher Studio in Berkeley at 7pm.

Established in 1993, the Under Construction New Music Series seeks to engage audiences in contemporary music and its making. The concerts are formatted to build upon each other. The Orchestra rehearses the work in progress and experiments with different musical passages at the first concert to enable the complete, polished piece to be performed at the second concert. Discussion among the audience, the conductor, and the composer follows the playing of each work. That interchange of ideas, along with the post-concert interactions, affords the audience members a greater understanding of the composers and their work.

In a partnership with EarShot: the National Orchestral Composition Discovery Network, and its partner organizations—the American Composers Forum, League of American Orchestras, New Music USA and the American Composers Orchestra—Berkeley Symphony expands its role as the West Coast artistic incubator for emerging orchestra composers and broadens its reach to a new national level.

Funding for EarShot is made possible with the support of the Andrew W. Mellon Foundation and The Aaron Copland Fund for Music. Berkeley Symphony thanks its 2013/14 Under Construction sponsor, Margaret Dorfman.

Under Construction New Music Series

Mentors Paul Dresher and Steven Stucky (back to camera) offer advice to Andrew V. Ly.

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1940 Virginia Street, Berkeley • 510.849.4747

GradeS 5 - 8 arcHwayScHool.orG

accepting applications for the

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May 1, 2014 59

Broadcast Dates

KALW is proud to be Berkeley Symphony’s

Season 13-14 Media Sponsor

Relive this season’s concerts on KALW 91.7 FM

4 Mondays at 9pm in May 2014

Hosted by KALW’s David Latulippe

Program I: Oct. 3, 2013 will be broadcast on May 5

Program II: Dec. 5, 2013 will be broadcast on May 12

Program III: Feb. 6, 2014 will be broadcast on May 19

Program IV: May 1, 2014 will be broadcast on May 26

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.

Andreas Jones Graphic DesignSusan & Jim AcquistapaceMarshall BermanJudith L. BloomCasa de ChocolatesCoracao ConfectionsMarilyn & Richard CollierJennifer Howard DeGoliaRick C. DiamondDouglas ParkingExtreme PizzaGloria FujimotoReeve GouldEllen HahnJohn Harris

George & Marie HecksherKathleen G. HenschelJutta’s FlowersKaren Ames ConsultingJanet & Marcos MaestreRico MandelJanet & Michael McCutcheonBebe & Colin McRaeMeyer Sound Laboratories, Inc.Peet’s Coffee & TeaThomas Richardson & Edith JacksonLisa & Jim TaylorAnne & Craig Van DykeDave Weiland PhotographyWilliam Knuttel Winery

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Four Mainstage Concerts“Under Construction” Concerts

with Emerging ComposersNew Works

Old Chestnuts Resident Artists

Music in the Schools

2013-2014

May 1, 2014 61

2013-14 Season Sponsors

Kathleen G. Henschel

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

Berkeley Symphony’s Board of Directors from 2006 to 2011, and a member from 2004 to 2013. An active Bay Area philanthropist, she currently serves as board chair of Chanticleer.

Meyer Sound

Meyer 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.

Brian James and Shariq Yosufzai

B rian James is a member of the Board of Directors of Berkeley Symphony

and a Co–Chair of the Symphony’s 2014 Gala. Shariq Yosufzai serves on the Advisory Board of Berkeley Symphony, the Executive Committee of the Board of Directors of the San Francisco Opera and is a past Chair of the Board of the California Chamber of Commerce.

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It’s true. Symphony orchestras cannot exist on ticket sales alone. At Berkeley Symphony, charitable gifts are crucial in producing concerts at price ranges affordable to all, and educational programs at no charge for school children. If our Subscribers are the backbone of Berkeley Symphony, our contributing Members are the heart and soul. It takes us all to make the music soar.

Like subscription benefits, Membership, too, offers great rewards!

Pre- and post-concert receptions, special salon performances, open rehearsals, and opportunities to meet and talk with our musicians, with Music Director Joana Carneiro, and with guest artists and visiting composers are just some of the ways you can deepen your experience with the music and those who create it.

Best of all, your Membership gift strengthens Berkeley Symphony and our service to the community.

See page 55 for a complete list of Membership levels. If you are not yet a Member, please join me. Already a Member? Consider an investment in a deeper level of involvement. It’s easy to give online at www.berkeleysymphony.org.

Thank you for being a part of our success,

Tom ReicherPresident, Board of Directors

Become a Berkeley Symphony Member

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inflammation and relaxing blood vessels. 7. One of the richest food sources of magnesium which helps build strong bones and

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Finally feel great about enjoying gooey & delicious dark chocolate treats.

Available at the Berkeley Tues & Sat Farmers Markets and online at:

www.FeelGreatChocolate.com Use promo code SYMPHONY for 15% OFF your first web order.

Coracao Confections is the Official Chocolatier for the Berkeley Symphony!

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2014-15 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 2014-15 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 exclusive reception and open rehearsal of the Orchestra.• Two concert guest passes.Principal Member: $750+ (All of the above plus . . .)• Invitation to select special events including post-concert receptions with the music

director, 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 Joana Carneiro.• A total of four concert guest passes.Conductor: $2,500+ (All of the above plus . . .)• Invitations to all exclusive Symphony Circle Salon Receptions hosted by Joana Carneiro.• Invitation to an exclusive Musicians Dinner and “closed” rehearsal for you and guests.• A total of eight concert guest passes.

Sponsorship Circle of MembersFounding Sponsors: $5,000, $10,000 and above (All of the above plus . . .)• VIP access to Berkeley Symphony intermission Sponsors’ Lounge.• Recognition as Sponsor of a season concert, guest soloist, commissioned composer,

orchestra section chair, or the Under Construction or Music in the Schools programs.• Special “Sponsorship Dinner” opportunities with Music Director Joana Carneiro.

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Gifts received between March 26, 2013 and March 26, 2014

SPONSOR CIRCLE GIFTSSeason Sponsors $50,000 and aboveKathleen G. HenschelHelen & John Meyer

Season Sponsors $25,000 and aboveMarcia Muggli & Ed OsbornShariq Yosufzai & Brian James

Executive Sponsors $10,000 and aboveAnonymous (3)Peggy DorfmanJanet & Marcos MaestreJanet & Michael McCutcheonLinda & Stuart NelsonThomas & Mary ReicherTricia SwiftLisa & James TaylorThe Thomson Family

Founding Sponsors $5,000 and aboveAnonymousSusan & Jim AcquistapaceGertrude AllenOz EricksonAnn & Gordon GettyEllen HahnBuzz & Lisa HinesWilliam & Robin KnuttelNatasha Beery & William B. McCoyDr. Ruedi Naumann-EtienneDeborah O’Grady & John AdamsThomas W. Richardson

SYMPHONY CIRCLE GIFTSConductor Level $2,500 and aboveJudith L. BloomAnnette Campbell-WhiteRonald & Susan ChoyDianne CrosbyJennifer Howard DeGoliaGloria FujimotoJohn HarrisKen Johnson & Nina GrovePaul Templeton & Darrell LouieBennett Markel & Karen StellaPatrick McCabeJoe & Carol NeilEllen SingerAnne & Craig Van DykeAlison Teeman & Michael Yovino-YoungGordon & Evie Wozniak

Concertmaster Level Gifts of $1,500 or moreAnonymous (2)Sallie & Edward ArensMichele BensonMr. Frank BlissNorman A. Bookstein & Gillian KuehnerJoy CarlinGray CathrallBrian ChaseMs. Carol ChristMarilyn & Richard CollierJohn & Charli DanielsenJoan & Bruce DoddJack & Ann EastmanAnita Eblé

Annual Membership SupportThank you to the following individuals for making the programs of Berkeley Symphony possible. A symphony orchestra 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.

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Principal Level $750 and abovePhyllis Brooks SchaferRichard ColtonMs. Anne Hannah-RoyFran HaselsteinerJorge ManchenoBebe & Colin McRaeMarjorie RandolphAssociate Level $300 and aboveAnonymous (4)Patricia & Ronald AdlerDonald & Margaret AlterKaren AmesMs. Bonnie J. BernhardtChristel BieriGeorge & Dorian BikleSusan BlakeHelen CagampangMr. & Mrs. Stuart CaninJoana CarneiroRosemary CozzoJohn DewesRick C. DiamondKevin DonahueGini Erck & David PettaMarcine & Dean FrancisMary FriedmanDoris FukawaDaniel & Kate FunkIsabelle GerardEvelyn & Gary GlennWendell GoddardPeggy Griffin

Bonnie & Sy GrossmanAlan Harper & Carol BairdTrish & Anthony W. HawthorneBarbara HendricksonValerie & Richard HerrHilary HonoreOra & Kurt HuthRichard HutsonFred JacobsonFaye KeoghTodd KerrJoann LorberJohn Lowitz & Fran KriegerArthur & Martha LuehrmannHelen MarcusHoward & Nancy MelPeggy Radel & Joel MyersonLance & Dalia NagelMaria José PereiraAnja PlowrightThe Estate of Myron PollycoveMyron PollycoveLucille & Arthur PoskanzerPauline RobertsonDian ScottDeborah Shidler & David

BurkhartAnne ShortallRobert Sinai & Susanna

SchevillCarol & Anthony SomkinScott SparlingRobert & Emily WardenGary & Susan Wendt-BogearCharles Wolfram

Supporting Level $100 and aboveAnonymous (4)Rose Lynn Abesamis-BellHenry L. AbronsJoel AltmanKelly AmisPatricia Vaughn AngellKim AnnoRobert & Evelyn ApteFred & Elizabeth BalderstonJoan BalterKevin BastianSheldon & Joan BaumrindWilliam W. BeahrsDavid I. BerlandTerry BloomsburghCara BradburyDavid BradfordRobert J. BreuerMark Chaitkin & Cecilia StorrEarl & June CheitPaul ChurchillMurray & Betty CohenSarah CohenRichard CollierDr. Lawrence R. CotterJoe & Sue DalyRobert DavidMavis DelacroixDr. Marian C. DiamondPaula & James R. DiederichCarolyn DoellingPatrick D. DohertyMr. Anthony Drummond

FRIENDS OF BERKELEY SYMPHONY GIFTS

Lois & Gary MarcusGary Glaser & Christine MillerPenny & Noel NellisMichael & Becky O’MalleyIris Hagen Ratowsky in Honor of Dr.

Richard RatowskiKathy Canfield Shepard & John

ShepardAma Torrance & David Davies

Concertmaster Level Gifts of $1,500 or more (continued)

Karen FairclothLinda Schacht & John GageSteve Gallion & Pam WolfStuart & Sharon GronningenLynne LaMarca Heinrich & Dwight JaffeeSue Hone & Jeffrey LeiterRené Mandel

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Supporting Level $100 and above (continued)Beth & Norman EdelsteinRebecca E. ErdiakoffBennett Falk & Margaret

MorelandLynn Feintech & Anthony

BernhardtMs. Mary Ellen FineSusan Henderson FisherMarcia FlanneryEdnah Beth FriedmanHarriet FukushimaTheresa Gabel & Timothy

ZumwaltMarianne & John GerhartJeffrey Gilman & Carol ReifRose Marie & Sam GinsburgStuart GoldAnne GoldenEdward C. GordonMr. Richard GranbergSteven E. GreenbergArnold & Elaine GrossbergErvin & Marian HafterSophie Hahn & Eric BjerkholtJane HammondWilliam & Judith HeinLyn HejinianFlorence HendrixJason HofmannBirgit Hottenrott

Irene & Kiyoshi KatsumotoPaul & Joanne KellyJames Pennington KentAlexander Jihyun KooRobert Kroll & Rose RayAlmon E Larsh, JrShelly Gin LeeShelly & Don LeeLaurel LeichterDavid LipsonRené MandelKim & Barbara MarienthalAlicia MayorgaSuzanne R McCullochSuzanne & William McLeanJim & Monique McNittDonald & Susanne McQuadeAmelie C. Mel De Fontenay &

John StenzelSusan MessinaJunichi & Sarah MiyazakiGerry MorrisonMs. Anita NavonElizabeth PigfordJoellen & Leslie PiskitelJo Ann & Buford PriceGeorge N. QueeleyBarbara Van RaalteKit RatcliffErin RhoadesSuzanne RiessDonald Riley & Carolyn Serrao

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. While every attempt has been made to assure accuracy in our list of supporters, omissions and misspellings may occur. Please call 510.841.2800 x305 to report errors. We appreciate the opportunity to correct our records.

Steve RodewaldConstance RubenJulianne H. RumseySusanna SchevillSteven SchollBrenda ShankJack ShoemakerShelton ShugarDavid & Elizabeth SilbermanJohan & Gerda SnapperMs. Carla SoraccoSylvia Sorell & Daniel KaneFrances & Ronald TauberJulie ThorsonRenee TissueJoy ValdezMarco VangelistiRandy & Ting VogelDavid & Marvalee WakeAnn Walker & Jon DemeterDorothy WalkerDavid & Pennie WarrenSheridan & Betsey WarrickCarolyn WebberElizabeth WeberDorothy WechslerMs. Carolyn D. WeinbergerDr. George & Bay WestlakeJune WileyNancy & Sheldon WolfeMrs. Charlene M. Woodcock

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

In Memory of:

J.F.K.Ms. Carla Soracco

Jerry CarlinJudith L. Bloom

In Honor of:Mr. & Mrs. R. CollierDavid Berland

Ellie HahnSusan & Bruce Carter

Kim MarienthalSusan & Bruce Carter

Tricia SwiftTrish & Anthony W. Hawthorne

Rabbi Jonathan Omer-manMetivta Center for Contemplative

Judaism

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$50,000 and aboveWilliam & Flora Hewlett Foundation

$25,000 and aboveAnonymousChevron CorporationClarence E. Heller Charitable

FoundationMeyer Sound Laboratories, Inc.

$10,000 and aboveAnonymous (2)Ann and Gordon Getty FoundationBerkeley Public Schools FundBernard Osher FoundationThe Grubb Co.National Endowment for the ArtsThomas J. Long Foundation

$5,000 and aboveAnonymousBernard E. and Alba Witkin Charitable

FoundationCalifornia Arts CouncilCity of BerkeleyEast Bay Community FoundationMusic Performance Trust FundWallis FoundationWilliam Knuttel WineryU.S. Bank

$2,500 and aboveThe Aaron Copland Fund for MusicFromm FoundationUnion Bank of California

$1,000 and aboveAlameda County Art CommissionASCAP—American Society

of Composers, Authors and Publishers

The Mechanics BankTarget Stores

Up to $1,000Berkeley Assoc. of RealtorsIn Dulci Jubilo, Inc.Metivta Center for Contemplative

JudaismSoutheby’s International RealtyTides Foundation

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 March 26, 2013 and March 26, 2014

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 contacting Steve Gallion at 510.841.2800 x305 or sgallion@berkeleysymphony.org.

Abbott FundAnchor Brewing CompanyChevron CorporationGenentech, Inc.Home Depot

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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 DirectorSteve Gallion, General Manager &

Membership DirectorMing Luke, Education Director/

ConductorTheresa Gabel, Director of OperationsNoel Hayashi, Director of MarketingJessica Sadler, Associate Director of

Marketing/Box Office ManagerCindy Hickox, Development & Marketing

AssociateKaren Ames Communications,

Press & Public RelationsCindy Bruneman, Finance Direct0rQuelani Penland, LibrarianFranklyn D’Antonio, Orchestra

ManagerJoslyn D’Antonio, Co-Orchestra

ManagerDavid Rodgers, Stage ManagerStoller Design Group, Graphic DesignDave Weiland, PhotographySteve Flavin, Video DesignSid Kesav, Telemarketing

David Fang, Intern

ProgramAndreas Jones, Design & ProductionStoller Design Group, Cover DesignJohn McMullen, Advertising SalesThomas May, Program NotesCalitho, Printing

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A1 Sun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 30Albert Nahman Plumbing . . . . . . . . . . . page 34Alward Construction . . . . . . . . . . . . . . . . page 24Ampersand Graphics . . . . . . . . . . . . . . . . page 36Archway School . . . . . . . . . . . . . . . . . . . . . page 58Aurora Theatre . . . . . . . . . . . . . . . . . . . . . . page 26Bacheesos . . . . . . . . . . . . . . . . . . . . . . . . . . . page 50Bayside Park . . . . . . . . . . . . . . . . . . . . . . . . page 34Berkeley Horticultural Nursery . . . . . . page 30Berkeley Optometry . . . . . . . . . . . . . . . . . page 46Bill’s Footwear . . . . . . . . . . . . . . . . . . . . . . . page 42BuyArtworkNow.com . . . . . . . . . . . . . . . page 24Café Clem . . . . . . . . . . . . . . . . . . . . . . . . . . . .page 52The Club at The Claremont . . . . . . . . . . . . page 18Coldwell Banker . . . . . . . . . . . . . . . . . . . . . page 66The College Preparatory School . . . . . page 54Coracao Confections . . . . . . . . . . . . . . . . page 64Crowden . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 54Cypress String Quartet . . . . . . . . . . . . . . . page 41DC Pianos . . . . . . . . . . . . . . . . . . . . . . . . . . . page 62Dining at the Claremont . . . . . . . . . . . . . page 50Dining Guide . . . . . . . . . . . . . . . . . . . . pages 50, 52DoubleTree Hotel . . . . . . . . . . . . . . . . . . . . page 70Douglas Parking . . . . . . . . . . . . . . . . . . . . . page 66Frank Bliss, State Farm . . . . . . . . . . . . . . . page 12Going Places . . . . . . . . . . . . . . . . . . . . . . . . page 26Golden State Senior Services . . . . . . . . page 24The Grubb Co . . . . . . . . . . . . . . . . . . . . . back cover

Advertiser IndexHenry’s Gastropub. . . . . . . . . . . . . . . . . . . .page 32 Hotel Durant . . . . . . . . . . . . . . . . . . . . . . . . . page 14Judith L. Bloom, CPA . . . . . . . . . . . . . . . . . page 58Jutta’s Flowers . . . . . . . . . . . . . . . . . . . . . . . .page 72La Mediterranée . . . . . . . . . . . . . . . . . . . . . .page 52Lunettes du Monde . . . . . . . . . . . . . . . . . . page 36Mancheno Insurance Agency . . . pages 38-39Margaretta K. Mitchell Photography . . page 58Maybeck High School . . . . . . . . . . . . . . . . page 54McCutcheon Construction . . . . . . . . . . . page 56Mechanics Bank . . . . . . . . . . . . . . . . . . . . . page 42Mountain View Cemetery . . .inside back coverOceanworks . . . . . . . . . . . . . . . . . . . . . . . . . .page 27Osher Life Long Learning . . . . . . . . . . . . page 62Piedmont Gardens . . . . . . . . . . . . . . . . . . . page 18Poulet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 50R. Kassman Pianos . . . . . . . . . . . . . . . . . . page 42Red Oak Realty . . . . . . . . . . . . . . . . . . . . . . page 44Scholar Share . . . . . . . . . . . . . . . . . . . . . . . page 20Sotheby’s International Realty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . inside front coverSt. Paul’s Towers . . . . . . . . . . . . . . . . . . . . . . page 16Storey Framing . . . . . . . . . . . . . . . . . . . . . . page 54Talavera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .page 27Thornwall Properties . . . . . . . . . . . . . . . . .page 22Tricia Swift, Realtor . . . . . . . . . . . . . . . . . . page 60UC Berkeley Extension. . . . . . . . . . . . . . . page 30Wells Fargo . . . . . . . . . . . . . . . . . . . . . . . . . . . page 16

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