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If any Renaissance composer can be said to have the “wow” factor, it would be Carlo Gesualdo. His brilliant Tenebrae Responsories for Good Friday and Holy Saturday, performed by AVE on June 10, offers an outstanding introduction to the upcoming Berkeley Festival and Exhibition.

How in the world could the San Francisco Library lead the violist Pamela Freund-Striplen to a pool, “full of old fish, blind-stricken long ago … revealed only by the croaking of consumptive frogs”? Like the best adventures, the path was circuitous, but the result was a highly imaginative program for her Gold Coast Chamber Players that absorbed lucky listeners at the Lafayette Library Community Hall Saturday night.

Sign of the times: The Berkeley Festival and Exhibition is going mostly local this year. That’s in response to the depressed funding cycle that coincided with the serious recession of the past two years. Questions linger about the festival’s stability and long-term organization, but fortunately they stop at the concert hall doors.

The San Francisco Symphony program was a bit of an odd one. It was not bad, certainly, but was strangely bifurcated, veering from some rather fluffy 19th-century French music, by Litolff and Adam, to major works by Chopin and Debussy. Under Michael Tilson Thomas’ direction, the orchestra sounded grand in less than grand music, as well as in works of substance; and piano soloist Garrick Ohlsson was magnificent in everything he touched.

After 29 years with the San Francisco Symphony, violist Geraldine Walther left to join the Takács Quartet. She returns on June 6 for a performance at the Herbst Theatre. Here, she talks about the Brahms she wants to play before kicking the bucket, the challenge of performance in a quartet, and why mowing the lawn can be more rewarding than learning French.

“What?!” you say, “another recording of Rhapsody in Blue?” Amazon lists 632 recordings of this music co-opted by United Airlines ads and 71 MP3 downloads. What’s so special about this rendition?

A panorama of the creative smorgasboard from the 16th century will be on display in Chanticleer’s final season concert, “For Thy Soul’s Salvation: Music for England’s Monarchs,” presented June 2-5 in Berkeley, Sacramento, San José, and San Francisco.

It’s a story of unknowing maternal incest in mid-19th-century Maine, but composer Tobias Picker thinks it will be right at home in Petaluma’s Cinnabar Performing Arts Theater, and he’ll be there next week during dress rehearsals to help parent the West Coast premiere of his creation.

The upcoming San Francisco Opera production of Puccini’s La fanciulla del West, aka Girl of the Golden West, aka “Puccini's American opera,” returning here after an absence of 31 years, is the epitome of ”Italian-American.”