Chamber Music Society of Detroit program guide Spring 2013 by Echo Publications, Inc.

Saturday, March 23, 2013 Piffaro, The Renaissance Band

Saturday, April 13, 2013 Daniil Trifonov, Piano

Saturday, April 6, 2013 Gryphon Trio

Saturday, May 18, 2013 Lynn Harrell, Cello Anne-Marie McDermott, Piano

2012-2013 • 69th Season

PROGRAM GUIDE • SPRING 2013

Table of conTenTs 2013-2014 70th Season...................................................... 4 Indepth Series ................................................................. 12 campaign for the 70th Season ......................................... 30 thank you to Our donors ............................................... 32 cMSd in the community ............................................... 36 Board, advisors & administration ................................... 40 Patron Information .......................................................... 42

CONCERTS March 23: Piffaro, the renaissance Band .......................... 6 artist Biographies ......................................................... 8 Program Notes .............................................................. 9 april 6: Gryphon trio ...................................................... 13 artist Biographies ....................................................... 14 Program Notes ............................................................ 15 april 13: daniil trifonov, Piano ....................................... 18 artist Biographies ....................................................... 19 Program Notes ............................................................ 20 May 18: Lynn harrell & anne-Marie Mcdermott ........... 25 artist Biographies ....................................................... 26 Program Notes ............................................................ 27

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Spring 2013

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CHAMBER MUSIC SOCIETY

of Detroit

Celebrating 70 years of chamber music excellence!

Signature C S

hamber erieS

Satudays at 8:00 p.m.

Emerson String Quartet Saturday, October 5, 2013

Danish String Quartet Juho Pohjonen, piano Saturday, November 16, 2013

Daniel Hope, violin Simone Dinnerstein, piano Saturday, December 7, 2013

Jasper String Quartet Christopher Oâ&#x20AC;&#x2122;Riley, piano Matt Haimovitz, cello Saturday, January 11, 2014

Imani Winds Gilbert Kalish, piano Saturday, February 8, 2014

Orion String Quartet Peter Serkin, piano Saturday, March 22, 2014

CHAMBER MUSIC SOCI

SUBSCRIBE NOW! www.ChambermusicDetroit.org 248-855-6070

Sunday r S eCiTaL

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Sundays at 3:00 p.m.

Nash Ensemble Saturday, April 5, 2014

Juho Pohjonen, piano Sunday, November 17, 2013

Trio Settecento

Saturday, April 26, 2014

David Geringas, cello Ian Fountain, piano Sunday, January 26, 2014

Zukerman ChamberPlayers Saturday, May 17, 2014

Peter Serkin, piano Sunday, March 23, 2014

OCIETY of Detroit

70th Season

2013ď&#x161;ş2014

Signature

Chamber Series Saturday, March 23, 2013, 8 PM Seligman Performing Arts Center

Piffaro, The Renaissance Band Joan Kimball & Bob Wiemken, Artistic Directors Annette Bauer – recorder, dulcian, percussion Greg Ingles – sackbut, recorder, percussion Joan Kimball – shawm, dulcian, recorder, bagpipes Christa Patton – shawm, harp, bagpipes Jason Priset – guitar, percussion Priscilla Smith – shawm, dulcian, recorder, bagpipes Bob Wiemken – dulcian, recorder, percussion Tom Zajac – sackbut, recorder, bagpipe, percussion

Los Ministriles in the New World Tañe Gil du tamborino Gaspar Fernandes (c1570 – before 1629) shawms, sackbuts, dulcians, percussion Turulu negro Anonymous, Cuzo Seminary, Peru, 16th century Dios itlaçonantzine Don Francisco (?)

Oy, descubre la grandesa Fernandes

Pois con tanta graça

Fernandes recorders

Elegit eum Dominus

Monstra te esse matrem Hernando Franco (1532-1585)

Sobre vuestro canto llano Fernandes shawms, sackbuts, dulcians

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Fernandes

Gloria from Missa “Si bona suscepimus” Cristóbal de Morales (c1500-1553)

Villano Anonymous, early 17th century, arr. Piffaro recorders, harp, vihuela, bagpipes, guitar, percussion

Spring 2013

Chamber Music Society of Detroit

La Dame le demande Antonio de Cabezón (c1510 – 1566), arr. C. Patton

Differencias sobre el canto llano de Cavallero Cabezón

Espagnoleta Anonymous, arr. C. Patton

Recercada quarta “La Gamba” Diego Ortiz (c1510 – c1570) Recercada sobre canto llano Diego Ortiz (El Rey de España) Chacona: “Una sarao de la chacona” Juan Arañes (died c1649) recorders, sackbut, dulcian, vihuela, harp, percussion INTERMISSION

Versos al organo con duo para chirimias Manuel Blasco, Ecuador (c1684)

Ego enim accepi Francisco López Capillas (c1615-1673) shawms, sackbuts, dulcian

Yyaî Jesuchristo Anonymous, Bolivia, 17th century

Christianos Anonymous, Bolivia, 17th century Dulce Jesús mío Anonymous, Bolivia, 17th century shawms, sackbuts, recorders, voices

Niña, con tus libres modos

Sale la blanca aurora

Fr. B. Murillo (?, early 17th century) Juan Blas de Castro (c1560 – 1631)

Ay, ay, ay, tres veces Anonymous, c1650 dulcians, vihuela

Folias gallegas Santiago de Murcia (1673 – 1739), arr. G. Herreid

Zarambeques

Lucas Ruiz de Ribayaz (1626 – d.?)

Pabanas Ribayaz

Canarios Anonymous, early 17th century

Seguidillas manchegas Santiago de Murcia, arr. G. Herreid recorders, sackbut, dulcian, vihuela, harp, percussion

Alli in Midbar & Canarios Anonymous, early 17th century, arr. Piffaro bagpipes, guitar, percussion

This concert is made possible in part with support from Kathleen O’Toole Schein and Randolph Schein and from Comerica Bank.

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Artist Notes Piffaro, The Renaissance Band This performance marks Piffaro’s first appearance on the Chamber Music Society of Detroit series. Renowned internationally for its highly polished performances, Piffaro has delighted audiences throughout the United States, Europe, Canada and South America. Piffaro also maintains a strong commitment to education and workshops, as collaborators in the research and making of historically based instruments and programs, and as experts in reed-making and Renaissance performance practice. Piffaro’s ever-expanding instrumentarium includes shawms, dulcians, sackbuts, recorders, krumhorns, bagpipes, lutes, guitars, harps, and a variety of percussion — all careful reconstructions of instruments from the period. Piffaro’s directors are involved in researching original instruments and working with the finest instrument makers to realize accurate and successful reproductions. Indeed, Piffaro is known by players and listeners in the USA and across the globe for its role in redefining the Renaissance shawm sound. Founded in 1980, with its yearly Philadelphia concert series inaugurated in 1985, Piffaro recreates the rustic music of the peasantry, as well as the elegant sounds of the official, professional wind bands of the late Medieval and Renaissance periods. Under the direction of Artistic Co-Directors Joan Kimball and Bob Wiemken, Piffaro appears internationally, having made its European debut in 1993 at the Tage Alter Musik in Regensburg, Germany. The ensemble returned in 1996 as part of a tour of summer music festivals in Austria, Germany, France, Belgium and Italy, and in 1997 and 1998 appeared at festivals in Hamburg, Berlin, the Czech Republic, Belgium, Spain and Colombia, South America. Between 2000 and 2003, Piffaro returned to Regensburg for a third time, performed two summers in a row at the Spoleto Festival in Italy, made its English debut at the York Early Music Festival, and performed at the Utrecht Early Music 8

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Festival. The group continues to have a strong international presence with two recent returns to Regensburg (making them one of the most frequently invited groups there), Barcelona, a return to Utrecht, NDR Studios in Hamburg, and Southern Austria. Piffaro’s most recent and enlightening performances were in Bolivia during that country’s prestigious cultural event, the 22-town International Renaissance and Baroque Festival in April of 2010. Their experiences there were the point of departure for their newest recording of music from Spain and the New World. Piffaro has appeared at many of the major Early Music festivals throughout the United States, including those of Boston, Berkeley, Indianapolis, and Madison, for which Bob is Artistic Advisor and Board Member. Piffaro is also active in many of the US’s Early Music series, having been presented by Music Before 1800, The Cloisters Museum and Gardens at the Metropolitan Museum of Art in New York City, the Seattle Early Music Guild, the San Francisco Early Music Society, Milwaukee’s Early Music Now, and the Pittsburgh Renaissance & Baroque. Piffaro also appears at special events in museums such as The Getty Museum in Los Angeles, the Philadelphia Museum of Art, and the National Gallery in Washington, D.C. Since its inception Piffaro has been active in the field of education. Members of the ensemble perform regularly throughout the year for elementary, middle and high school students, and hold master classes and workshops for college students and adult amateurs, pre-professionals and professionals Chamber Music Society of Detroit

alike. the group has also been involved in weeklong residencies, working with small groups of students on recorders, or their modern band instruments, and teaching renaissance dance. Piffaro was awarded Early Music america’s annual “Early Music Brings history alive” award in 2003, and the Laurette Goldberg “Lifetime achievement award in Early Music Outreach” in 2011. Piffaro has a significant discography of over 16 cds. recording began in the early 1990’s with Newport classics, and in 1993 the ensemble’s European debut in regensburg drew the attention of the director of the prestigious deutsche Grammophon/archiv Produktion label, which promptly signed the group. these recordings led to engagements throughout Europe in the following years. In 2000, Piffaro

signed with dorian recordings and issued three cds. Since then, Piffaro has released eight recordings, including two highly regarded collaborations: in 2005, with the renowned Belgian vocal group, capilla Flamenca, yielding The Music of Jacob Obrecht, and second, a work commissioned by Piffaro, Kile Smith’s Vespers, with the Philadelphia chamber choir, the crossing. the latter cd, released on the ParMa/Navona label in 2009, was received with critical acclaim — “a masterpiece of the deepest kind,” said Audiofile Audition. Piffaro has issued three recordings on its in-house label, two of live music from concert programs. the most recent project, released in 2012 by ParMa/Navona, is Los Ministriles in the New World; it has received widespread praise from critics and listeners alike.

ProgrAm Notes Support for the program notes is generously provided by Roberta Viviano. El Nuevo Mundo – a New World, new lands, new peoples, new languages, new sights, new art and architecture, new foods and drinks, new flora and fauna, new resources and raw materials, and new possibilities - all confronting the ‘conquistadores’ of old Spain and Portugal and altering their lives ineluctably. One can only imagine the impact on those new arrivals. East, the former West, intending to find a route to the East, meets the new West! No wonder, then, if those explorers should seek solace in the familiar and feel the need for stability and comfort of the old. that they found, most certainly, in the lap of the church, the roman faith that was their chief infusion into these newfound environments. conversion was its aim, saving souls its principal goal. the wonder lies in the remarkable and almost immediate response of the indigenous peoples of this Nuevo Mundo to the music so foreign to their ears and experiences. accounts from the earliest years of exploration tell the astounding tale of near immediate attraction, www.ChamberMusicDetroit.org

and conversion to this music, the Spanish sacred polyphony with its strong emotional content and otherworldly appeal. Where words initially faltered, music communicated. Where sermons bewildered, mass and motet enchanted. thus, the old found its home in the new and in turn became the new itself. the music that resounded within the fresh mission churches in Mexico and Guatemala, and eventually in the whole of South america, was for the most part that which echoed in the great cathedrals of Seville and toledo, of Salamanca and Madrid,

the chamber Music Society of detroit gratefully acknowledges support from the Westin Southfield detroit, the official hotel of the cMSd. www.westinsouthfielddetroit.com

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of Lisbon and Évora. The composers were the same, especially Cristóbal de Morales, whose Missa pro defunctis rang out in the cathedral in Mexico City in 1559, once news of the death of emperor Charles V had reached those distant shores. The earliest printed polyphony copied for use in the New World was, in fact, one of Morales’s books of masses of 1544, from which the “Gloria in Excelsis Deo” of the Missa Si bona suscepimus on this program is drawn. Morales was fully steeped in the Flemish school of sacred polyphonic composition, which had become the international language of mass and motet, psalm and magnificat, throughout the European continent. The performance and dissemination of his works across the vastness of New World territories insured that this Flemish inheritance would perdure for generations to come on the soil of the Americas, as can be clearly seen in the works of Juan Gutierez de Padilla and Francisco López Capillas throughout the 17th century. Soon thereafter came the works of Francisco Guerrero, also fluent in the Flemish compositional style, which were extremely popular in New World centers. His Magnificat secundi toni circulated in Lima, Peru, well into the 18th century. Add to these Tomás Luis de Victoria and others, whose works in this Flemish style took pride of place in New World liturgies and served as models for aspiring young composers who had never witnessed the grand occasions of Old World piety on its own turf. Without doubt, however, new impacted old as well. A smattering of surviving pieces with texts in native tongues hints at pre-existing musical styles and practices. Such is the case with the Dios itlaçonantzine, attributed to a Dom Hernando Franco, but more likely by an essentially unknown Don Francisco, as well as the Turulu negro from archives in Peru. Yet, even the villancicos, or songs of the ‘villani,’ the common folk, with their earthy texts and rhythmic exuberance, written in the New World, display very similar formal structures, harmonic languages, jaunty rhythms and the down-to-earth vitality of those from the Iberian peninsula. The anonymous Bolivian pieces on this program, with their essentially homorhythmic structures, simple piety and straightforward expressions, also evince foreign 10

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influence, fused with local sensibilities. The composers who held the principal musical posts in the ecclesiastical establishments of colonial America until well into the 17th century hailed from old world centers and were educated in the great cathedral schools there. Such composers as Hernando Franco (Galizuela, Spain, to Santiago de Guatamela in 1555), Gaspar Fernandes (Évora, Portugal, to Santiago de Guatamela in 1599 and to Puebla, Mexico, in 1606), and Juan Gutiérrez de Padilla (Málaga, Spain, to Puebla, Mexico, in 1620), to name a very prominent few, those who never returned to their homeland but completed their careers and lived their remaining years in the Americas. Other Iberian composers visited the new world but returned, such as Lucas Ruiz de Ribayaz, born near Borgos, Spain, who mentions having visited ‘remote and overseas provinces,’ undoubtedly a reference to a sojourn in the colonies of the New World. Many Iberian composers who never trod New World soil found their works disseminated throughout the colonies, including the organ works of Antonio de Cabezón and the instrumental recercadas of Diego Ortiz. This is likely true also of Santiago de Murcia, a Spaniard born in Madrid who became Master of Guitar to the Spanish Queen Maria Luisa Gabriela de Savoy, wife of the Spanish king, Felipe V. Two of Murcia’s collections for guitar circulated widely in Mexico and Chile, if not elsewhere in the colonies, even though the composer probably never left his Iberian homeland. It wasn’t until well into the 17th century that composers born in the Americas began to occupy the top musical positions of their own homelands. One outstanding example is Francisco López Capillas, who was hired in 1641 as organist and bajonista (player of the dulcian) in the Puebla Cathedral choir, then under the direction of Juan Gutiérrez de Padilla. He achieved the dual post of organist and chapel master of the famed Mexico City Cathedral in 1654 and became the most prolific publisher of masses, of sacred music in general, in Mexico. His Ego enim accepi displays convincingly the Old World musical erudition with its Flemish roots that he inherited from his foreign-born forebears. Chamber Music Society of Detroit

Thus, New World repertoires, at least those published and preserved for posterity, share a common identity, a parallel soundscape with their Old World models. A work such as the Elegit eum Dominus by Fernandes, for instance, the earliest known Latin-texted secular work by a composer living in the New World, which was written in celebration of the entry of the 13th Mexican viceroy into Puebla in 1612, would have passed muster in any old world ceremonial event. The flip side of this Old World/New World coin must have engraved on its face a band of Ministriles, for they too, like the composers, were instrumental in planting Iberian sounds in the fertile fields of the Americas. A part of the very first waves of exploration and conquest, these instrumentalists, predominately wind players, introduced their sounds and instruments to the local populace, once again largely in connection with the efforts of the Church. Chirimía (shawm), bajón (dulcian), flauta (recorder), sacabuche (sackbut), gaita (bagpipe), arpa (harp), vihuela and guitar quickly took root. By the middle of the 16th century, centers of instrument making arose

wherein Indians had become completely proficient in the production of all these European transplants. A concert of music from el Nuevo Mundo, then, especially one mostly instrumental in performance, will not produce all radically new sounds, styles, genres and sensibilities. Instead, anyone familiar with music from the Old World will find much of that from the New thoroughly recognizable. Certainly there exist pieces that evince African and Indian cultural influences. So much music in Central and South American archives remains to be unearthed, studied and published, that the picture could change in the decades to come. However, each newly discovered and published piece from New World sources tends largely to confirm the general story that has been written to this point. New is old and old becomes new. East and West merge and exchange geographical identities. It becomes a matter of perspective. The shock of the new worked in both directions. Notes on the program by Bob Wiemken, Co-Artistic Director of Piffaro

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CM S D

in Depth

a neW DoWNtoWN Detroit series:

CMSD ARTISTS SHARE THEIR UNIQUE ARTISTIC PASSIONS

featuring an informal setting, opportunities for audiences to interact with the artists and eclectic programming, inDepth allows artists to share their artistic personalities and passions in ways that are not always possible in a formal concert setting.

gryphon trio with Patricia o’Callaghan, Vocalist: Cabaret Performance — Broken Hearts & madmen April 5, 2013, 8 Pm The Gryphon Trio with vocalist patricia o’callaghan perform music from their groundbreaking album, broken hearts & Madmen. Global in spirit and genre-stretching in style, the album mixes latin, french and american cabaret and jazz-tinged songs by some of pop’s most revered composers, including nick Drake, laurie anderson, leonard cohen, los lobos, lhasa, elvis costello and astor piazzolla. The Jazz café at Music hall Tickets: $30. Drinks and small plates are available for purchase. Tickets: 248-855-6070 or online at www.chamberMusicDetroit.org

2013-2014 seAsoN

Save the Dates...

...the CMSD’s new series returns in some of Detroit’s most exciting venues. Tickets go on sale August 1, 2013.

• Classical Jam, Oct. 18, 2013 • Danish String Quartet, Nov. 15, 2013 • Jeff Haas Jazz Ensemble, Dec. 6, 2013 • O’Riley / Haimovitz, Jan. 10, 2014 • Imani Winds, Feb. 7, 2014 • Duo Sonidos, Mar. 14, 2014

With major funding from the John s. and James L. Knight Foundation and the National endowment for the Arts 12

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Chamber Music Society of Detroit

Signature

Chamber Series Saturday, April 6, 2013, 8 PM Seligman Performing Arts Center

Gryphon Trio Annalee Patipatanakoon, Violin Roman Borys, Cello Jamie Parker, Piano JOSEPH HAYDN Trio in A major, H. XV:18 Allegro moderato Andante Allegro CHAN KA NIN

and the masks evoke… with projected visuals

CHRISTOS HATZIS

Old Photographs, from Constantinople with projected visuals

INTERMISSION FELIX MENDELSSOHN Trio in C minor, Op. 66 Allegro energico e con fuoco Andante espressivo Scherzo: Molto allegro quasi presto Finale: Allegro appassionato This concert is made possible in part with support from Suzanne L. Burke and Robert D. Hicks. The Gryphon Trio appears by arrangement with Melvin Kaplan Inc., Burlington, Vermont.

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Artist Notes Gryphon Trio This performance marks the Gryphon Trio’s first appearance on the Chamber Music Society of Detroit series. Celebrating its 20th anniversary in 2013, the Gryphon Trio has impressed international audiences and the press with its highly refined, dynamic performances and has firmly established itself as one of the world’s preeminent piano trios. With a repertoire that ranges from the traditional to the contemporary and from European classicism to modern-day multimedia, the Gryphons are committed to redefining chamber music for the 21st century. The ensemble-in-residence at Music Toronto for eight years, the Gryphon Trio tours extensively throughout North America and Europe. The year 2011 saw the launch of the group’s flagship educational project Listen Up!. Created by the Trio in collaboration with composer Andrew Staniland and music educator Rob Kapilow from What Makes it Great?, Listen Up! involves an entire school in the creation of a new work for choir and piano trio. Under the guidance of Staniland and Kapilow, students compose poetry and music over the course of the school year, culminating in a joint performance by the Gryphon Trio and the school choir. The project is travelling to schools across Canada this season. Strongly dedicated to pushing the boundaries of chamber music, the Trio has commissioned and premiered over fifty new works from established and emerging composers around the world, and has collaborated on special projects with clarinetist James Campbell, actor Colin Fox, choreographer David Earle, and a host of jazz luminaries at Lula Lounge, Toronto’s leading venue for jazz and world music. Their most ambitious undertaking to date is a groundbreaking multimedia production of composer Christos Hatzis’s epic work Constantinople, scored for mezzo-soprano, Middle Eastern singer, violin, cello, piano, and electronic audiovisual media, which they have 14

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brought to audiences across North America and at the Royal Opera House in London. The Trio’s celebrated recordings on the Analekta label include works by Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Dvorˇák, Lalo, Shostakovich, and Piazzolla, and their groundbreaking 2004 release Canadian Premieres, featuring new works by leading Canadian composers, was acknowledged with a coveted Juno Award from Canadian Academy of Recording Arts and Sciences. Their 2011 Beethoven recording also received a Juno Award, and was followed by the fall release of Broken Hearts and Madmen, a collaboration with soprano Patricia O’Callaghan featuring songs by Leonard Cohen, Nick Drake, and Laurie Anderson, alongside traditional melodies from Mexico, Argentina, and Chile. Deeply committed to the education of the next generations of audiences and performers alike, the Gryphons take time out of their busy touring schedule to conduct master classes and workshops at universities and conservatories across North America, and are Artists-inResidence at the University of Toronto’s Faculty of Music. The Trio’s educational initiatives include a series of in-depth lecture performances with composer Gary Kulesha that examine the art of chamber music through the centuries. Gryphon cellist Roman Borys is entering his fifth year as Artistic Director of the Ottawa International Chamber Music Society, where the Gryphons have been a mainstay since the Festival’s inception in 1994. Annalee Patipatanakoon and Jamie Parker serve as the OICMS’s Artistic Advisors. Chamber Music Society of Detroit

Program Notes Support for the program notes is generously provided by Roberta Viviano.

Joseph Haydn (Rohrau, Austria, 1732 — Vienna, 1809)

Trio in A major, H. XV:18 (1794)

he Trio in A major (XV:18 in Anthony van Hoboken’s catalog) was composed during Haydn’s second London visit in 1794. The piece was one of a group of three trios that were dedicated to Princess Marie Hermenegild Esterházy, the wife of Prince Nikolaus II and one of the more recent additions to the family which employed Haydn for nearly a half century. She seems to have been fond of the family’s old music master, and did what she could to make his last years in Vienna comfortable. As was typical of the 18th-century genre, Haydn’s A major Piano Trio entrusts the bulk of the musical argument to the keyboard, with the strings often relegated to augmenting and doubling roles. Though the piece was written for the growing market of British and Continental musical amateurs, the music exhibits a mastery of form and style and a breadth of expression reminiscent of the peerless symphonies that Haydn devised for his London concerts. The work opens with a genial sonata-form movement that is built almost entirely from the angular but smoothly flowing motive given in imitation at the outset by the piano. The Andante juxtaposes melancholy and contented strains in a threepart form (A–B–A). The movement ends on an inconclusive harmony to lead directly to the finale, a jokey rondo of Gypsy persuasion.

Chan Ka Nin

(Hong Kong, 1949)

and the masks evoke… (2000)

han Ka Nin was born in Hong Kong in 1949, emigrated to Vancouver with his family when he was fifteen, and attended the University of British Columbia with a double major in electrical engineering and music. After studying composition with Jean Coulthard at UBC, Chan settled on a career in music, and www.ChamberMusicDetroit.org

he went on to earn both master’s and doctoral degrees at Indiana University as a student of Bernhard Heiden. He joined the faculty of the University of Toronto in 1982, and is now Professor of Composition at the school. Chan has composed across a range of genres — three operas; orchestra and chamber works; concerted pieces for viola, four horns, violin, piano, flute and Chinese instruments; choruses; solo songs — for which he has won many national and international awards, including two Juno Awards (for best Canadian composition of the year), Jean A. Chalmers Award, Béla Bartók International Composers’ Competition (Hungary) and Barlow International Competition (United States). In 2001 he won the Dora Mavor Moore Award for his opera Iron Road, written with librettist Mark Brownell, depicting the 19th-century construction of the Canadian national railroad by Chinese migrant laborers. Chan Ka Nin wrote of and the masks evoke…, “There is a mystique generated by the masks of the Canadian aboriginal peoples. Robert Joseph, a Chief of the Kwakwaka’wakw [an indigenous group in coastal British Columbia], said, ‘In a world of endless change and complexity, the mask has offered a continuum for Native people to acknowledge our connection to the universe. Through masks we identify our humanity. Through masks we affirm celestial places that honor the moon and stars. Through masks we conquer our fear of the deep oceans. Through masks we interact with the spirit world, our final destination.’ and the masks evoke… leads the audience through a fantasy journey inspired by these ceremonial artifacts. “The work introduces the aboriginal culture by opening with the [imitated] sound of a drum. The first section expresses the voice of a people whose culture has been suppressed for a century. The next section relates to the first ancestors; composite images of the sky, the raven and the whale are used to describe the myths symbolically. It is followed by a section describing the development of the various tribes as they flourish across the land. Then the music Spring 2013

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evokes the spiritual world associated with the masks. The work concludes with a ‘transformation’ section. On the one hand, ‘transformation’ relates to the finely crafted masks that transform from one image to another, such as when the long beak of a raven or thunderbird is opened to reveal a human face carved inside; on the other hand, it is a statement about the ongoing recognition of the culture and rights of the aboriginal people in North America. and the masks evoke… pays tribute to those who, despite the repression they have suffered, rise triumphantly over their obstacles.”

Christos Hatzis

(Volos, Greece, 1953)

Old Photographs, from Constantinople (2000)

hristos Hatzis, born in Greece, trained in the United States and a Canadian citizen since 1985, reflects the growing internationalism of our modern society. Hatzis was born in the port city of Volos, 100 miles north of Athens, and received his early music training at the local branch of the Hellenic Conservatory. He earned his bachelor’s and master’s degrees at the Eastman School in Rochester and completed his Ph.D. in composition at SUNY/ Buffalo in 1982 under the guidance of Morton Feldman, Lejaren Hiller and Wlodzimierz Kotonski. Hatzis moved to Toronto that same year, earning his living at first as a nightclub performer and subsequently as a teacher, composer and, since 1995, faculty member of the Music Department of the University of Toronto. One of Canada’s most prominent composers, Mr. Hatzis has received two Juno Awards (2006, 2008), the Jan Matejcek Concert Music Award (2008, for the year’s most performed and broadcast Canadian composer), New Pioneer Arts Award (2002), Jean A. Chalmers National Music Award (1998), Prix Bohemia Radio (1998), Jules Léger Prize (1996) and Prix Italia Premio Speciale (1996). Christos Hatzis wrote that his Constantinople, an ambitious multimedia work for mezzo-soprano, Middle Eastern singer (alto), violin, cello, piano and electronic audio and visual media premiered in Toronto on October 16

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17, 2000, “speaks from the heart about cultural convergence. It is a metaphor for a utopian vision whereby the cultural and religious diversity of our world today — normally a cause for conflict — can become the seed of future peace and unrestrained creativity. Our contribution to this larger issue of cultural convergence is to investigate it as a possibility within the framework of music and art. The music of Constantinople is imbued by this vision of convergence…. This work is really about modern day North American urbanism, where cultural diversity is a new — the only — emerging identity. “Old Photographs, one of the two purely instrumental movements in Constantinople, is completely based on western musical idioms. It starts with an introspective theme for solo piano slightly reminiscent of Robert Schumann, which is gradually joined by the violin and the cello and transforms slowly — ‘morphs’ is a better word — into a tango in the style of Astor Piazzolla, a lighthearted moment in the complete work that also foreshadows the rather exuberant and celebratory finale.”

Felix Mendelssohn

(Berlin, 1809 — Leipzig, 1847)

Trio in C minor, Op. 66 (1845)

he most intensely busy time of Mendelssohn’s life was ushered in by his appointment in 1835 as the administrator, music director and conductor of the Leipzig Gewandhaus concerts. In very short order, he raised the quality of musical life in Leipzig to equal that of any city in Europe. In 1841, he was named director of the Music Section of the Academy of Arts in Berlin, a cultural venture newly instituted by King Frederick William IV of Prussia, which required him not only to supervise and conduct a wide variety of programs but also to compose upon royal demand — the incidental music that complements his dazzling 1826 Overture to A Midsummer Night’s Dream was written to fulfill one of Frederick’s requests. Mendelssohn won a brief hiatus from his accumulating duties when he took a leave of absence from his post at the Gewandhaus during the 1844-1845 season. By the beginning of Chamber Music Society of Detroit

1845 he had finally managed to clear his schedule sufficiently to devote himself to composition. He made significant progress on Elijah and completed the String Quintet in B-flat major (Op. 87) and C minor Piano Trio (Op. 66). In the autumn, the King of Saxony convinced him to return to his post at the Gewandhaus. His frantic pace of life was reactivated; he was dead within two years. Except for the F minor String Quartet (Op. 80), the C minor Trio was the last important chamber work of Mendelssohn’s career. In his study of the chamber music, John Horton noted of the opening movement of the C minor Trio, “Mendelssohn never wrote a stronger sonata-form allegro.” The urgent rising-and-falling phrases of the main theme, announced by the piano, generate a subsequent arch-shaped melody for the violin, which is given above the keyboard’s restless accompaniment. A sweeping subject sung in duet by violin and cello in a brighter tonality serves as the second theme. These motives are elaborated with immense skill and deep emotion as the movement unfolds. The following Andante

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is an extended song-without-words in which the piano often serves as interlocutor for the tandem flights of the strings. The movement is laid out in a smoothly flowing three-part form whose middle section is marked by a heightened animation and a sense of adventurous harmonic peregrination. The gossamer Scherzo is musical featherstitching such as has never been as well accomplished by any other composer — Mendelssohn is simply incomparable in evoking this elfin world of nocturnal wisps and fairy wonder. The finale is built from two contrasting thematic elements: a vivacious principal subject which is launched by a leaping interval from the cello and a broad chorale melody introduced in a chordal setting by the piano. The main theme returns for a vigorous working-out before the chorale melody, traced by Eric Werner in his biography of Mendelssohn to the hymn Vor Deinem Thron (“Before Your Throne”) from the Geneva Psalter of 1551, is summoned in a grand, nearly orchestral guise to cap this masterwork of Mendelssohn’s fullest maturity. Program notes by Richard E. Rodda

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PNC Piano Series Sponsored by

Saturday, April 13, 2013, 8 PM Seligman Performing Arts Center

Daniil Trifonov, Piano

Daniil Trifonov occupies the Diane L. and John A. Kaplan Chair in Piano Performance. ALEXANDER SCRIABIN Sonata No. 2 (Sonata-Fantasie) in G-sharp minor, Op. 19 Andante Presto FRANZ LISZT Sonata in B minor (in one movement)

INTERMISSION

FRÉDÉRIC CHOPIN 24 Preludes, Op. 28 No. 1 in C major: Agitato No. 2 in A minor: Lento No. 3 in G major: Vivace No. 4 in E minor: Largo No. 5 in D major: Allegro molto No. 6 in B minor: Lento assai No. 7 in A major: Andantino No. 8 in F-sharp minor: Molto agitato No. 9 in E major: Largo No. 10 in C-sharp minor: Allegro molto No. 11 in B major: Vivace No. 12 in G-sharp minor: Presto No. 13 in F-sharp major: Lento No. 14 in E-flat minor: Allegro No. 15 in D-flat major: Sostenuto No. 16 in B-flat minor: Presto con fuoco No. 17 in A-flat major: Allegretto No. 18 in F minor: Allegro molto No. 19 in E-flat major: Vivace No. 20 in C minor: Largo No. 21 in B-flat major: Cantabile No. 22 in G minor: Molto agitato No. 23 in F major: Moderato No. 24 in D minor: Allegro appassionato

Daniil Trifonov appears by arrangement with Opus 3 Artists, New York, NY. 18

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Chamber Music Society of Detroit

Artist Notes Daniil Trifonov This performance marks Daniil Trifonov’s first appearance on the Chamber Music Society of Detroit series. Born in Nizhniy Novgorod in 1991, Daniil Trifonov is one of the brightest names of the next generation of pianists. His reputation for outstanding performances, musical insight and expressive intensity has already surpassed the attention he received when, during the 2010-2011 season, he won medals at three of the most prestigious competitions in the music world: the Chopin Competition in Warsaw (Third Prize), the Rubinstein Competition in Tel Aviv (First Prize) and the Tchaikovsky Competition in Moscow (First Prize and Grand Prix). Jury members and observers at these competitions included Martha Argerich, Krystian Zimerman, Van Cliburn, Emanuel Ax, Nelson Freire, Yefim Bronfman and Valery Gergiev. Gergiev personally awarded Trifonov the ‘Grand Prix’ in Moscow, the additional award given to the best overall competitor in any of that Competition’s categories. Highlights of the 2011-2012 season for Mr. Trifonov included debuts with the Vienna Philharmonic Orchestra (tour and subscription concerts in Vienna), London Symphony Orchestra and Mariinsky Orchestra with Gergiev, Israel Philharmonic with Mehta, Russian National Orchestra with Pletnev, as well as collaborations with Vladimir Fedoseyev, Pietari Inkinen, Sir Neville Marriner, Diego Matheuz and Antoni Wit. He also has given performances at the Wigmore Hall London, Musikverein Vienna, Salle Pleyel Paris, Carnegie Hall New York, Suntory Hall Tokyo, and venues across North and South America, Europe and Asia. In the summer of 2012, Daniil Trifonov made his debut at such major festivals as Verbier, Montreux, Tivoli, Edinburgh, Lockenhaus, La Roque d’Anthéron and Klavier Festival Ruhr, as well as the Blossom and Ravinia Festivals. www.ChamberMusicDetroit.org

In 2012-2013, Daniil Trifonov made his debut with several prestigious international orchestras, including New York Philharmonic, Chicago Symphony, Boston Symphony, Cleveland Orchestra, Philharmonia Orchestra, Royal Philharmonic, Orchestre Philharmonique de Radio France, Budapest Festival Orchestra, Orchestra Nazionale di Santa Cecilia, and returns to the London Symphony and Mariinsky Orchestra with Valery Gergiev, Russian National Orchestra with Mikhail Pletnev and Warsaw Philharmonic with Antoni Wit. Mr. Trifonov’s upcoming and recent recitals include The Kennedy Center, Carnegie Hall, Boston Celebrity Series, Berlin Kammermusiksaal der Philharmonie, Munich Herkulessaal, Amsterdam Concertgebouw, London Queen Elizabeth Hall and Wigmore Hall, Paris Auditorium du Louvre, Zurich Tonhalle and Lucerne Piano Festival, Brussels Palais de Beaux Arts, Schloss Elmau, and the Seoul Arts Center, in addition to his performance on the Chamber Music Society of Detroit series. Daniil Trifonov began his musical studies at the age of five. He studied at Moscow Gnesin School of Music in the class of Tatiana Zelikman (2000-2009). From 2006 to 2009 he also studied composition and has continued to write piano, chamber and orchestral music since then. Since 2009, he has studied piano at the Cleveland Institute of Music in the class of Sergei Babayan.

Daniil Trifonov accepts the Gold Medal at the 2011 Arthur Rubinstein International PIano Competition in Tel Aviv.

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Program Notes Support for the program notes is generously provided by Roberta Viviano.

Alexander Scriabin

(Moscow, 1872 — Moscow, 1915)

Sonata No. 2 (Sonata-Fantasie) in G-sharp minor, Op. 19 (1892-1897)

“T

he Muscovite seer;” “the Russian musical mystic;” “the clearest case of artistic egomania in the chronicles of music:” Alexander Scriabin was one of the most unusual of all composers. Living in the generation between Tchaikovsky and Prokofiev, he showed an early talent for music and trod the accepted path of lessons, conservatory training and teaching. His visions, however, refused to be channeled into the conventional forms of artistic expression, and he developed a style and a philosophy that were unique. Scriabin’s life was shaken by several significant changes around 1902, when he resigned from the faculty of the Moscow Conservatory to devote himself to composition and to rumination, and left his first wife to take up with another woman. From that time on, Scriabin bent his music ever more forcibly to expressing his dizzying world vision. He believed that mankind was approaching a final cataclysm from which a nobler race would emerge, with himself playing some exalted but ill-defined Messianic role in the new order. (He welcomed the beginning of World War I as the fulfillment of his prophecy.) As the transition through this apocalypse, Scriabin posited an enormous ritual that would purge humanity and make it fit for the millennium. He felt that he was divinely called to create this ritual, this “Mystery” as he called it, and he spent the last twelve years of his life concocting ideas for its realization. Much of his later music grew out of a whirling emotional ferment quite unlike anything else in the history of music or any other art. Scriabin began sketching his Sonata No. 2 in 1892, around the time he graduated from the Moscow Conservatory, but he did not complete it until five years later, after returning to Russia from the tour that established his reputation 20

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in Europe. He noted the influence of the sea on the work: “The first movement represents the quiet of a southern night by the seashore; the development section is the dark agitations of the deep, deep sea. The E major section [recapitulation] shows caressing moonlight coming after the first darkness of night. The second movement (Presto) represents the vast expanse of the ocean stormily agitated.” The opening Andante follows sonata form, with a quietly ominous main theme in unsteady rhythms, a lyrical second subject and a broad closing theme. A brief development section treats the first and second themes before a truncated recall of the opening subject begins the recapitulation. The two remaining themes are given in luminous settings to round out the movement. The Presto is in a free sonata form that takes a roiling melody as its main theme and a noble strain as its complementary subject.

Franz Liszt

(Doborján, Hungary [now Raiding, Austria], 1811 — Bayreuth, Germany, 1886)

Sonata in B minor (1852-1853)

iszt composed his revolutionary B minor Piano Sonata in 1852-1853. The procedure on which he built this work is called “thematic transformation.” Basically, the “thematic transformation” process consists of inventing a theme that can be used to create a wide variety of moods, tempos, harmonies and rhythms to suggest whatever emotional states are required by the different sections of the piece. It is not unlike a single actor changing costumes to play Puck, Bottom the Weaver and Oberon all in the same production (now that’s an actor) — recognizably the same at the core, but different on the surface for each scene. There are at least four such “scenes” played continuously in Liszt’s Piano Sonata, which correspond roughly to “first movement,” “slow movement,” “finale” and “coda.” The principal theme, presented after seven measures of slow introduction, comprises two motivic components: a leaping exclamation followed by a dramatic triplet figure; and an ominous Chamber Music Society of Detroit

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quick-note gesture in the low register. It is from these two pregnant fragments that the thoroughly integrated structure of this Sonata is built. the only important melodic contrast is provided by a bold, striding theme introduced above repeated chords.

Frédéric Chopin

(ZELaZOWa-WOLa, POLaNd, 1810 — ParIS, 1849)

Preludes, Op. 28 (1836-1838)

y the summer of 1838, chopin’s health was showing disturbing signs of decline, and George Sand, the flamboyantly iconoclastic novelist who was his muse and protectress, told him that they needed to leave Paris before damp winter set in. They settled on the distant Mediterranean island of Majorca, off the eastern coast of Spain. chopin sold the rights to his 24 Preludes, which he had been planning (and perhaps sketching) since 1836, to the publisher camille Pleyel to help finance the trip, and he, George, and her son and daughter left Paris in October. They settled in a sparsely furnished house at the edge of Palma, where the bad luck that was to mark their Majorca stay set in. While they were out for a long walk across rugged country, a violent storm blew up, and chopin contracted a severe case of bronchitis. The rains returned, the house became miserably dank, and chopin got worse. The physician that Sand summoned diagnosed chopin’s malady as consumption, and their landlord demanded that they leave his property. They moved to a deserted monastery at Valldemosa, situated six miles from town. “he is recovering, and I hope he will soon be better than before,” wrote Sand on december 14th, just before they installed themselves at Valldemosa. “his goodness and patience are angelic.” chopin was well enough by the end of december to write down two more of the Preludes that he had promised to Pleyel, and completed the set a month later. By then, however, the Spartan accommodations, the poor weather and the continuing fragility of chopin’s health had brought them to a state of loathing the island. When they sailed for Barcelona on February 15th, chopin’s health was much worse that when they had arrived three months before. after resting in Marseille 22

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and then at Sand’s country villa at Nohant for several months, chopin, Sand and the children finally returned home to Paris in October. the Preludes were published in France, England and Germany later that year. the very quintessence of the musical art — the ineffable balance of head and heart, of intellect and emotion — is embodied in chopin’s Preludes. Franz Liszt admired greatly their apparently unfettered romantic spontaneity, saying that these pieces “cradle the soul in golden dreams, and elevate it to the regions of the ideal.” yet undergirding — indeed, even making possible — the undeniably impetuous passion of the Preludes is a precise, rigorous, intellectual organization of both atomistic detail and overall architecture inspired by the 24 preludes and fugues comprising The Well-Tempered Clavier of Johann Sebastian Bach, whom chopin revered. as in the WTC, each of chopin’s movements concerns itself with just a single musical idea, presenting it, varying it, seeking its multiplicity of expressive shadings by turning it this way and that, as a jeweler would hold a precious stone to the light to see its many sparkling facets. the string upon which these tiny, radiant musical gems is threaded is woven from the essence of the tonal system itself: in Bach, by alternating major and minor pieces arranged by ascending half-steps (c major, c minor; c-sharp major; c-sharp minor; etc.); in chopin, by alternating major and minor movements around the “circle of Fifths” (c major, a minor; G major, E minor [one sharp]; d major, B minor [two sharps]; etc.). the wonder of Bach, of chopin, indeed, of all good music, is the way in which the craftsmanlike calculation that is mandatory for the creation of a work of art (98% perspiration) becomes the invisible bearer of the expressive message (2% inspiration). the american philosopher Susanne Langer posited the concept that the artist’s principal job is “the search for significant form” in which to express emotion. there is no better example in all of music of the truth of Langer’s maxim than chopin’s Preludes — tiny, perfect sketches of the heart’s infinite moods realized through Olympian purity of thought. Program notes by Richard E. Rodda Chamber Music Society of Detroit

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Chamber Series Saturday, May 18, 2013, 8 PM Seligman Performing Arts Center

Lynn Harrell, Cello Anne-Marie McDermott, Piano Ludwig van Beethoven Sonata for Cello and Piano in G minor, Op. 5, No. 2 Adagio sostenuto e espressivo — Allegro molto più tosto presto Presto: Allegro Ludwig van Beethoven Sonata for Cello and Piano in C major, Op. 102, No. 1 Andante — Allegro vivace Adagio — Tempo d’Andante — Allegro vivace INTERMISSION Ludwig van Beethoven Sonata for Cello and Piano in A major, Op. 69 Allegro, ma non troppo Scherzo: Allegro molto Adagio cantabile — Allegro vivace Lynn Harrell and Anne-Marie McDermott appear by arrangement with Opus 3 Artists, New York, NY. This concert is sponsored by

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Artist Notes Lynn Harrell, Cello Tonight’s performance marks Lynn Harrell’s second performance on the Chamber Music Society of Detroit Series; he last appeared in September, 2009. Lynn Harrell’s presence is felt throughout the musical world. A consummate soloist, chamber musician, recitalist, conductor and teacher, his work throughout the Americas, Europe and Asia has placed him in the highest echelon of today’s performing artists. Mr. Harrell is a frequent guest of the world’s greatest orchestras, including Boston, Chicago, New York, Philadelphia, San Francisco, Pittsburgh, London, Munich, Dresden, Leipzig, Berlin, Tonhalle and Israel, collaborating with James Levine, Sir Neville Marriner, Kurt Masur, Zubin Mehta, Sir Simon Rattle, Leonard Slatkin, Yuri Temirkanov and Michael Tilson Thomas; and in chamber music concerts with Vladimir Ashkenazy, Anne-Sophie Mutter, Yuri Bashmet, Andre Previn and Pinchas Zukerman. His critically acclaimed extensive discography of over 30 releases ranges from Bach to Walton, with several Grammy Award winners and world premieres amongst them. Mr. Harrell’s experience as an educator is wide and varied across the world. Highlights from an extensive discography of more than 30 recordings include the complete Bach Cello Suites (London/Decca), the worldpremiere recording of Victor Herbert’s Cello Concerto No. 1 with the Academy of St. Martin in the Fields led by Neville Marriner (London/Decca), the Walton Concerto with Simon Rattle and the City of Birmingham Symphony Orchestra (EMI), and the Donald Erb Concerto with Leonard Slatkin and the Saint Louis Symphony (New World). Together with Itzhak Perlman and Vladimir Ashkenazy, Mr. Harrell was awarded two Grammy Awards – in 1981 for the Tchaikovsky Piano Trio and in 1987 for the complete Beethoven 26

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Piano Trios (both Angel/EMI). Also with Mr. Ashkenazy and Pinchas Zukerman, Mr. Harrell recorded the Schubert Trios (London/Decca), released in February 2000 and the Brahms Trios (EMI) in 1994. His May 2000 recording with Nigel Kennedy, “Duos for Violin & Cello,” received unanimous critical acclaim (EMI). More recently, Mr. Harrell recorded Tchaikovsky’s Variations for Cello and Orchestra on a Rococo Theme, Shostakovich’s Cello Concerto No. 2, and Prokofiev’s Sinfonia Concertante with the Royal Liverpool Philharmonic, Gerard Schwarz conducting (Classico). In June 2010, along with his wife violinist Helen Nightengale, he founded the HEARTbeats Foundation, a 501(c) charity. Based in Los Angeles, the HEARTbeats Foundation strives to help children in need harness the power of music to better cope with, and recover from, the extreme challenges of poverty and conflict. Mr. Harrell serves as a board officer and Artist Ambassador, a capacity that allows him to work directly with children in need. Mr. Harrell plays a 2008 Dungey cello. He makes his home in Santa Monica, CA.

Anne-Marie McDermott, Piano Tonight’s performance marks Anne-Marie McDermott’s first performance on the Chamber Music Society of Detroit series. For over 25 years pianist Anne-Marie McDermott has played concertos, recitals and chamber music in hundreds of cities throughout the United States, Europe and Asia. A testimony to her stature and curatorial imagination, she was made Artistic Director of the Vail Valley Music Festival in 2011, a festival that hosts the New York Philharmonic, Chamber Music Society of Detroit

the Philadelphia Orchestra and the Dallas Symphony, in addition to presenting over 40 chamber music concerts throughout the summer. She is also Artistic Director of the Ocean Reef Chamber Music Festival in Florida and The Avila Chamber Music Celebration in Curacao. Most recently, she was appointed Curator for Chamber Music at the Mainly Mozart Festival in San Diego. The breadth of Ms. McDermott’s repertoire matches that of her instrument, spanning Bach, Haydn and Beethoven to Rachmaninoff, Prokofiev and Scriabin to works by today’s most influential composers, such as Clarice Assad, Aaron Jay Kernis, Lowell Liebermann, Steven Hartke, Joan Tower and Charles Wuorinen. Mr. Wourinen’s last solo piano sonata was written for her and premiered at New York’s Town Hall. As a soloist, Ms. McDermott has recorded the complete Prokofiev Piano Sonatas, Bach English Suites and Partitas (which was named Gramophone Magazine’s Editor’s Choice), and more recently, a solo disc of works by Chopin and the Gershwin complete works for piano and orchestra with the Dallas Symphony and Justin Brown. She continues a long-standing collaboration with the highly acclaimed violinist, Nadja Salerno Sonnenberg;

together they have released a CD titled “Live” on the NSS label and plan to release the complete Brahms Violin and Piano Sonatas. Ms. McDermott has performed with many leading orchestras, including the New York Philharmonic, the Minnesota Orchestra, the Dallas, Seattle, National, Houston, Colorado, Pittsburgh, St. Louis, Atlanta Symphonies, the Los Angeles Chamber Orchestra, Moscow Virtuosi, Hong Kong Philharmonic, and Baltimore Symphony, among others. Anne-Marie McDermott was named an artist member of the Chamber Music Society of Lincoln Center in 1995 and performs and tours extensively with them each season. Ms. McDermott is also a member of the piano quartet Opus One with colleagues Ida Kavafian, Steven Tenenbom and Peter Wiley. She continues to perform each season with her sisters, Maureen McDermott and Kerry McDermott in the McDermott Trio. Ms. McDermott studied at the Manhattan School of Music with Dalmo Carra, Constance Keene and John Browning. She was a winner of the Young Concert Artists auditions and was awarded an Avery Fisher Career Grant. She lives in New York City.

Program Notes Support for the program notes is generously provided by Roberta Viviano.

Ludwig van Beethoven (Bonn, 1770 — Vienna, 1827)

Sonata in G minor, Op. 5, No. 2 (1796)

eethoven’s first public appearance as a pianist in Vienna, in March 1795, incited enthusiastic audience acclaim, favorable critical reviews and invitations to display his talents to other cities in the German lands. He arranged a concert tour for early the next year, and set out for Prague, then Dresden and Leipzig, and finally Berlin, where he met King Friedrich Wilhelm II’s director of chamber music, the French cello virtuoso Jean Pierre Duport. In addition to a public appearance at the Singakademie, Beethoven also played several www.ChamberMusicDetroit.org

times at court, and it was for those events that he composed two cello sonatas for himself and Duport. The immense technical challenge of these compositions bespeaks the virtuosity of their first performers. The formal architecture of the Op. 5 Sonatas — a large introductory movement followed by two in faster tempos — finds no equivalent in Beethoven’s sonatas for solo keyboard or for violin and piano, and was probably adopted to give prominence to the lyrical capabilities of the cello. The opening movement of the Sonata in G minor, Beethoven’s only large-scale work in that key, couches its lyricism in a vocabulary of dramatic expressions that the composer was to refine further in the Herculean works of the following years: unsettling dotted rhythms, portentous harmonies and sudden dynamic contrasts mark this music as one of Beethoven’s Spring 2013

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strongest and most prophetic creations of the 1790s. The movement becomes gripped by silences and fragmented gestures before pausing briefly on an incomplete harmony, which provides the gateway to the following Allegro, a thoroughly worked sonata-form essay which heightens the turbulent sentiments of the previous pages. A compact arch-motive sung by the cello serves as the main theme; the subsidiary subject, a rising phrase entrusted to the piano while the cello intones a single sustained note, is presented in a brighter tonality. Another theme is added before the close of the exposition, and it is this idea that furnishes the material for much of the development section. The full recapitulation of the earlier themes is capped by a developmental coda which adds considerable expressive import to the end of the movement, a sort of formal counterweight to the long opening Adagio, which is seen in retrospect to have been a greatly extended introduction to the Allegro. The dashing rondo-form finale, based on a theme of Papageno-like jocularity, is a smashing virtuoso exercise for both participants.

Sonata in C major, Op. 102, No. 1 (1815)

ount Andreas Kyrillovitch Razumovsky was appointed Russian ambassador to Vienna in 1792, four years after his marriage to Elizabeth, Countess of Thun and sister of Prince Karl Lichnowsky, one of Beethoven’s most devoted patrons. In the spring of 1806, Razumovsky took over from Lichnowsky the patronage of the string quartet headed by Ignaz Schuppanzigh, and installed the ensemble as resident musicians in the grand palace that he was building on the Danube Canal. Later that year, Beethoven composed the three splendid Quartets comprising his Op. 59 on commission from Razumovsky; the works have always borne their patron’s name as sobriquet. It was with understandable distress that Beethoven learned of the terrible fire that nearly destroyed Razumovsky’s palace in December 1814. The Count, whose health and vision were already beginning to fail, was further strained financially by the tragedy, and forced to dismiss his 28

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household quartet. In the spring of 1815, Joseph Linke, cellist of the quartet headed by Ignaz Schuppanzigh, was taken into the employ of Countess Marie von Erdödy, another important patron of Beethoven. Beethoven was a great respecter of Linke’s talent, and he composed his last two Cello Sonatas for him during the summer of 1815; they were performed soon thereafter at the Erdödy household. The form of the Cello Sonata in C major, is unique in Beethoven’s output — two fast movements each prefaced by a slow introduction. To unify the Sonata’s overall structure, the first introduction (Andante) returns in an elaborated version as the bridge between the second introduction and the finale. The work is also highly unusual in that the first fast movement (Allegro vivace) departs from the nominal tonality of C major to venture into the stormier expressive regions of A minor. This sense of stretching the bounds of traditional formal and stylistic concepts, of probing untapped musical resources, also applies to the Sonata’s detailed workingout, which is subject to startling shifts of dynamics and tempo, to florid writing that tests both the technical prowess of the players and the traditional sonorities expected of the instruments, to flamboyant modulations and harmonic progressions, and to thematic material that seems to be more a struggle to suggest the outlines of a melodic idea than to present its polished and fully finished form. It is entirely appropriate that Beethoven noted in the heading of this work that it is “A Free Sonata,” a composition committed to breaching traditional precepts, to battering through the constrictions of musical convention. It is a fitting and prophetic gateway to the music of his final period.

Sonata in A major, Op. 69 (1808)

he Cello Sonata No. 3 of 1808 dates from the most productive period of Beethoven’s life — it is exactly contemporary with the Fifth and Sixth Symphonies, with whose sketches it is mingled, and immediately surrounded by several of his most important compositions, among them the Piano Sonatas, Opp. 53 Chamber Music Society of Detroit

(“Waldstein”), 54 and 57 (“appassionata”); Fourth and Fifth Piano concertos; Fourth Symphony; Violin concerto; and the razumovsky Quartets, Op. 59. It is not known why Beethoven composed this particular cello Sonata, but it has been speculated that the work was intended as a sort of compensation to Baron Ignaz von Gleichenstein (1778-1828), an amateur cellist, secretary to the austrian War department and one of his closest friends at the time, to whom the composer had promised the dedication of the Fourth Piano concerto, completed in 1806. Beethoven instead assigned that work to crown Prince rudolf of austria, his most important patron and a former piano student of his, and therefore inscribed Gleichenstein’s name on the cello Sonata when it was published in 1809. the a major cello Sonata is one of Beethoven’s finest duos for string instrument and piano, and among the most halcyon expressions of his art. the work is often cited as the first true modern duet sonata for cello and piano, the earliest composition in which the two instruments advanced beyond the

18th-century conception of a piano sonata “accompanied” by melody instrument to a new incarnation of the genre, in which the presentation and development of the musical materials is shared with absolute equality between the participants. the dominant mood of the opening sonata-form movement, like that of the work’s immediate symphonic neighbor in Beethoven’s catalog, is pastoral, maintained throughout by a constant renewal of the inspired lyricism of the main theme and a lack of dramatic contrast. the second movement, a haunted scherzo in a minor, acts as an emotional foil to the preceding music. Like the similar movements in the propinquitous Fourth Symphony and the E minor “razumovsky” Quartet (Op. 59, No. 2), this scherzo embraces two traversals of its contrasting trio. as in all of his five cello sonatas except the last (Op. 102, No. 2), Beethoven eschewed a full slow movement in this work, here providing only a brief, thoughtful paragraph as a bridge between the scherzo and the joyous finale. Program notes by Richard E. Rodda

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• $500,000 to support continued programming of the very finest in chamber music concerts through the 2013-2014 season •$ 250,000 to support the significant growth of our educational programs, to reach over 20,000 children each year •$ 250,000 to establish a permanent strategic reserve fund to stabilize the organization’s finances in the years ahead Together these funds will ensure that the Chamber Music Society of Detroit grows and thrives in service to our community — for the next 70 years! 30

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Your generous gift of financial support will ensure that our traditions continue, our audience grows, our educational programs reach even more children, and our organization grows stronger, more visible, and more vital in the years ahead.

Three Ways to Give:

1. M ake a multi-year commitment of regular annual giving through the 70th season, or 2. M ake a special gift over and above regular annual giving to support new initiatives, or 3. M ake a new planned gift (such as naming the Chamber Music Society as a beneficiary in a will or life insurance policy, or purchasing a charitable gift annuity). To learn about any of these giving options, please call the Chamber Music Society of Detroit at 248-737-9980, or visit us at www.ChamberMusicDetroit.org.

www.ChamberMusicDetroit.org

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Thank You to Our Donors The Chamber Music Society of Detroit is proud to announce that as of this writing, we have raised well over 50% of our goal in individual donations and multi-year pledges to the Campaign for the 70th Season. We deeply appreciate the generosity of our patrons and donors. As you purchase your tickets or renew your subscription, please help us “over the top” with a tax-deductible contribution to support this historic season. *multi-year gift

Contributions to Operating Funds Corporations, Businesses & Foundations $100,000 and up Community Foundation for Southeast Michigan* $25,000 - $99,999 John S. and James L. Knight Foundation* Kresge Foundation* PNC Wealth Management $10,000 - $24,999 Beztak Companies Greenleaf Trust Michigan Council for Arts and Cultural Affairs National Endowment for the Arts Loraine & Melinese Reuter Foundation Erwin & Izabelle Ziegelman Foundation $5,000 - $9,999 Fifth Third Bank Fidelity Investments Maxine and Stuart Frankel Foundation Honigman, Miller, Schwartz & Cohn LLP Masuda Design Nordstrom Herbert and Elsa Ponting Foundation Westin Southfield Hotel $2,500 - $4,999 Arts Midwest Touring Fund Mandell L. & Madeleine H. Berman Foundation 32

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Comerica Bank Friends of the Novi Public Library Microsoft Corporation Varnum LLP $1,000 - $2,499 Aaron Copland Fund for Music Inc. Evola Music Neiman Marcus Sweet Lorraine’s Café & Bar Target Corporation Village Club Foundation $100 - $999 Bacco Ristorante Cadillac Coffee Company Dnfalk Solutions Fleming’s Steakhouse & Wine Bar The Henry Ford Roberts Restaurant Group Schakolad Chocolate Factory Mt. Sinai Medical Staff Foundation Spectrum Legal Services The Wine and Food Society of Detroit Townsend Hotel 2012-2013 Media Sponsors HOUR Media WRCJ 90.9 FM

Individuals $25,000 and up Anonymous Cecilia Benner* Barbara & Edward Klarman* Kathleen O’Toole Schein & Randolph Schein* $10,000 - $24,999 Lee & Paul Blizman* Cindy & Harold Daitch* Andrea & David Page* Norma Jean Shufro* Roberta Viviano*

$5,000 - $9,999 Anonymous Suzanne L. Burke & Robert D. Hicks Diane L. & John A. Kaplan* Michele & Steve Wogaman* $2,500 - $4.999 Sandy & Thomas Bergh* Jeanne Hansen & Scott Bertschy* Wendy Zimmer Cox & Andy Cox* Suzanne L. Burke & Robert D. Hicks Deanna & David Holtzman Karen Thompson Isble & Andrew Isble* $1,000 - $2,499 Nina Dodge Abrams & Howard Abrams* Beth Goldberg & David Anderson Flavia F. & Jay De Veny* Suzanne & John Dreifus Harry Francis* Kenneth Hull Linda & Thomas Klein* Stanley Levy Blaire H. Miller & Glenn Clark* Sophie Pearlstein Marilyn Pincus Joan & Arthur Rose* Susan Sheiner* Marjorie Simon Miriam Leventhal & Norman Tepley Willa & Andy Walker* Rissa & Sheldon Winkelman $500 - $999 Linda & Maurice Binkow Lorraine & Jerome Bookstein Richard Bortfeld Jeanne Hansen & Scott Bertschy Florence Brownfain Kathryn & Chung-Ho Chang Sylvia & Kenneth Chun Lois Pincus Cohn & Avern Cohn Carol & Burke Fossee Sam Frank* Michael Fortner Chamber Music Society of Detroit

Mary Ellen & Harold Gurewitz Fay Herman Carole & Norman Hyman Joan & Robert Jampel Monica & Robert Koenig Carol Levin Beth Denenberg Lowe & Jonathan Lowe* Tova & Harold Milinsky Florence Morris Jeanne Salathiel Miriam Sandweiss Sheldon Sandweiss Helen Shufro Adrienne & Joseph Silverstein Kelle & Edgar Vela* $250 - $499 Johanna & Martin Bermann Doris & Eric Billes Christine & Clyde Blair* Ruthan & Bernard Brodsky Carol A. & Stephen Bromberg Lynne B. Cookson Lauren & Marvin Daitch Linda Feinstone Marie Y. Etienne & Howard Goldberg Cheryl & Bruce Hack Sharon Klein David Lebenbom Florence Lopatin Barbara & John Mansfield Jane & Richard Miller Leanne & Edward Miller Hedda & William Panzer Arlene & John Redfield Aviva & Jack Robinson Judy & Chris Rossman Sandra Sherman Dolores Silverstein Barbara & Bernard Stollman Judy & Lewis Tann Gerald Weintraub Monica & Norman Ziegelman $100 - $249 Sandra Altman Arnold Berkman Joyce & George Blum James Bond William Cavers Joyce Cheresh & Sidney Blustein www.ChamberMusicDetroit.org

Joann & Claude Coates Jo & Richard Coskey Lena & Charles Dare Margaret Demant Margaret Dufault Derek Francis Sara & Michael Frank Beverly Frank Geraldine Frank Jane Galantowicz Margot & Herbert Gardner Anne Ginn Marilyn & Darryl Goldberg Rohn Goldman Ruth Goldman Barbara & Paul Goodman Sarabeth Goodman Enid & Richard Grauer Zivia Grekin Paul Groffsky Janet Gumenick Julie & Hanley Gurwin Suzanne & Donald Hartman Mary Heller Ellen Kahn Agatha Kalkanis Marian Kantor Ann & Norman Katz Rosalie Koenig Nancy & Harold Kulish Ruben Kurnetz Carole Landau Norma & Phillip Layne Linda & Henry Lee Jane Legg Diana Leventer Charles Levin Martin Liebman Suzanne & Edmund London Betsy & Gerald Loomus Margaret MacTavish Gerald Manko Joan & Doug Mann Elizabeth Baergen & John Mishler James Montante Sandra Nathanson Judith Orbach Nancy & Donald Pais Martha Pleiss Barbara Rosen Charlotte Rosenbaum Beverly & Robert Rosenfeld Ralle Rothman & Emily Eichenhorn

Stephanie & Peter Ruseckas Loretta Ryder St. John Providence Medical Staff Norman Sampson Dorothy & Herschel Sandberg Ruth Adler Schnee Florence Schreier Alfred Schwarz Eva & Raymond Shapiro Georgette Sheehan Faye Sidder Lila & Gilbert Silverman Mariette & Sidney Simon Ann Smitt Ruth & Morton Stockler Mildred & Mayer Subrin Gerald Sukenic Ruth Tobias Deborah & Kenneth Tucker Barbara & Irving Tukel Izabella Vilensky Robert Weitz Doris Werner Judith Wiener Susan & Arnold Winshall Mary Zahler Shirley & Richard Zirkin $50 - $99 Jean & Frederick Birkhill Alice Beecher Jan Berris Marie Clifford Joan & Stuart Davidson Florence Elton Jane & Robert Eberwein Chris Engquist Mary Ensroth Rosa Ernstein Barbara & Oscar Feldman Maxine & Joseph Fontana Rosalind & Michael Grand Barbara & David Grekin Jolyn Hillebrand Anna Himelhoch Audree Horwitz Geoffrey Hosker Maxine & George Huysken Ida & Myron Joyrich Melissa & Gary Kazanjian Diane & Emery Klein Barbara Kux Ethel & Allen Levantin Spring 2013

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Patricia & Thomas Levine Diana Lieberman Roberta Litwin Kirsten & Samuel Mason Peggy McCall Aurelia & Alvin Michaels Ellin Perlmutter Nancy & John Prince Julian Prince Sharon & Howard Riley Marilynn G. & Charles Rivkin Anne Roden Corliss & Gerald Rosenberg Nancy & Barry Shapiro Susan & Henry Shevitz Harriet Siden Anita & Ralph Sosin Helene & Donald Stalcup Joyce Stuart Sanford Waxer Johanna & Jack Wayne Lenore Weiss Janis & William Wetsman Susan Winer Ruth & Irwin Wright Operating Fund contributions have been received in honor of: Paul Blizman Claude Coates Diane Kaplan Diane & John Kaplan Barbara & Edward Klarman Michael Layne Allie Lichterman Randolph Schein & Karthleen Oâ&#x20AC;&#x2122;Toole Schein Malka & Mayer Subrin Roberta Viviano Operating Fund contributions have been received in memory of: Lawrence Altman Rema Frankel Jack Grekin Ida Milstein Lowe Milton Miller Phyllis Robinson Ed Schnee Arthur S. Shufro O. D. Silverstein Aurelia Verbecki Rosalyn Weintraub Gerald Zahler Erwin & Izabelle Ziegelman 34

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Planned Gifts and Contributions to Endowment Funds

Joseph Silverstein 4 David R. Weinberg & Effi P. Weinberg 2,4 Helen & Clyde Wu 3,4

**planned gift commitment

$1,000 - $9,999 Beth Goldman & David Anderson3,4 Frieda Applebaum 3,4 Eva Redei & Edward Applebaum 3,4 Renah & Max Bardenstein 4 Nora & Guy Barron 4 Batya Berlin 4 Barbara & Harold Beznos 3,4 Lois R. & Maurice Jerry Beznos 4 Linda & Maurice Binkow 4 Loris G. Birnkrant 4 Betty Blair 4 Nancy and Richard Blieden 3 Lorraine & Jerome Bookstein Lynne B. Cookson 3,4 Adrienne & Robert Z. Feldstein 4 Harry Francis 3 Dr. & Mrs. Alegro Godley 4 Rochelle & Robert S. Gold 3,4 Maria Y. Etienne & Howard Goldberg3,4 Cynthia & Michael Hathaway Michael Hermanoff 4 Partners of Honigman, Miller, Schwartz & Cohn LLP Honigman, Miller, Schwartz & Cohn LLP Carole & Norman Hyman Fay & Austin Kanter 4 Ann & Norman D. Katz Jeannie & Walter Koziol 3,4 Judy & Michael Layne 3 Linda & Edward C. Levy, Jr. 4 Laura & Channing Lipson 4 Beth Denenberg Lowe & Jonathan Lowe3,4 Jerry Luptak Carlton Maley & Blake Spraggins 4 Jeannette Miller 4 Blaire H. Miller & Glenn Clark Dean E. and Barbara J. Richardson Foundation Carol & Leo Sheiner Norma Jean & Arthur S. Shufro 3,4 Barbara & Bernard H. Stollman 3 Barbara & Irving Tukel 4 Roberta Viviano Beverly & Hadley Wine 4 Rissa & Sheldon Winkelman 3 Margaret W. Winkelman & Robert A. Krause Susan & Arnold Winshall 4

Endowed Concert The David and Andrea Page 1797 Concert Celebrating Music of the Renaissance, Baroque and Classical Periods. Endowed Chairs Each season, a performing artist will be designated as the occupant of the following endowed performance chairs: Cindy and Harold Daitch Chair in Cello Performance Diane L. and John A. Kaplan Chair in Piano Performance Norma Jean and Arthur S. Shufro Chair in Violin Performance Endowed Funds Beverly Franzblau Baker Endowment Fund Dr. I. Harold and Gertrude S. Friedman Fund Gifts to Endowment ($250 or more, cumulative) $150,000 and up Andrea & David Page 3,4 $100,000 - $149,999 Beverly Baker Jean and Sam Frankel 3,4 Barbara & Edward Klarman1,3,4 Leonard Mazerov** $50,000 - $99,000 Cindy & Harold Daitch 3 Diane L. & John A. Kaplan**3 $10,000 - $49,999 Beztak Companies 3 Lee & Paul Blizman1,3,4 Penny & Harold Blumenstein 4 Comerica Private Banking 4 Kresge Foundation 4 Aviva & Jack Robinson Miriam Sandweiss1,4

Chamber Music Society of Detroit

$500 - $999 Anonymous (2) 3 David Breitman 4 Laurie and Thomas Forbes 3 Joyce Ginsberg Enid & Richard Grauer 3,4 Joan & Manuel Jacobs Suzanne & John Kullen 4 Hedda & William C. Panzer 4 Arlene & John Redfield Corliss & Jerry Rosenberg 4 Rhoda & Albert Rosenthal 4 Ruth Adler Schnee 3 Sally B. Schottenfels Marjorie Simon 3 Sandra K. Sommer April & Dennis J. Tini 3 Donald M. Vuchetich $250 - $499 Nancy & Eduardo Arciniegas4 Teryl & Armen Asher 3 Margaret Demant 3,4 Chris Engquist Leila & Martin Evelev 4 Harriet & Allan Gelfond 4 Patricia Gurin Deanna & David Holtzman3 Sylvia Iwrey 3,4 Sterling C. Jones Betti & Sol Kurtzman 4 Lorraine Lerner 4 Aurelia & Alvin B. Michaels Vera Fay Righthand 4 Judy & Chris Rossman Helen A. Rowin Violet Soltar 4 Fraida Joy Stillwater 3 Josh & Midge Stulberg 4

Bruce Tobis & Alice Hamele Sanford Waxer Jane & J. Bryan Williams 4 1

Includes support for the Kalichstein-Laredo Robinson International Trio Award

Includes support for the Cleveland Quartet Award

Includes support for the Lois R. Beznos President’s Discretionary Endowment Fund

Includes support for the Van Dusen Endowment Challenge

Sostenuto Society** Reflecting the musical for “sustain,” the members of the Sostenuto Society are making bequest gifts that will help to sustain the Chamber Music Society of Detroit for generations to come. Betty & Art Blair Enid & Richard Grauer Julie & Hanley Gurwin Fay Herman Suzanne L. Burke & Robert D. Hicks Monica & Robert Koenig Jeannie & Walter Koziol Judy & Michael Layne Jonathan & Beth Denenberg Lowe Leonard Mazerov Andrea & David Page Judy & Chris Rossman Kathleen & Randolph Schein Norma Jean & Arthur S. Shufro

Endowment Gifts have been received in honor of: Debbie Altman Lois R. Beznos Carol & Ricky Blumenstein Barbara Klarman Andrea & David Page Marjorie & Harold Victor Endowment Gifts have been received in memory of: M. Lawrence Applebaum Pearle Baskin Marvin H. Bookstein Rose & Richard Cooper Fred M. Ginsberg Karl Haas Sol Iwrey Wendy Joyrich Linda Hoffman Kozlowski Norman D. Kloosterman Milton J. (Jack) Miller Albert Rosenthal O. D. Silverstein Toba & Bert Smokler This list of reflects contributions of $50 or more received March 14, 2012 through March 14, 2013. The Chamber Music Society of Detroit deeply regrets any errors or omissions. For questions or concerns, please call the Chamber Music Society office at 248-737-9980.

Special thanks to Masuda Design for making our stage beautiful.

Kay Masuda: (248) 497-1741 or (248) 596-9330 www.ChamberMusicDetroit.org

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chamber Music society

in the Community Audience members of the Chamber music society of Detroit have come to expect the highest standards of artistic quality on our concert stage. But did you know the Chamber music society of also one of the most active arts education organizations in the southeast michigan community as well?

■ Each year, thousands of school children experience programs by chamber Music Society ensembles in their schools, and advanced string students receive master class training. ■ through a partnership with Wayne rESa, the chamber Music Society offers webcast student concerts to students throughout the region and the state.

■ chamber Music Society outreach programs now include Listen @ the Library, a new partnership with public libraries in Novi and Bloomfield hills. ■ chamber Music Society communitybased programs touch the lives of children and families throughout the Southeast Michigan community.

to get involved in the education and community programs of the Chamber music society of Detroit, contact Kelle Vela, Director of Community engagement, at 248-737-9980, ext. 2.

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Chamber Music Society of Detroit

the Chamber music society of Detroit deeply appreciates the generous foundations, corporations, businesses and individuals who make these exciting educational collaborations possible.

www.ChamberMusicDetroit.org

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Hour Media proudly supports CHaMBer MuSIC SoCIetY oF DetroIt

Your Lifestyle

Your Insight

YourStories | YourStyle Your CItY MagazIneS

Your Celebration

Your Sanctuary

Your Craving

31731 Northwestern Highway, Suite 259 West • Farmington Hills, MI 48334 Ticket Service: 248-855-6070 • Phone: 248-737-9980 • Fax: 248-737-9981 www.ChamberMusicDetroit.org BOARD OF DIRECTORS & OFFICERS Wendy Zimmer Cox Chairman Stephen Wogaman President Paul J. Blizman Secretary Karen T. Isble Diane Kaplan Barbara Klarman Til M. Klem Martin Liebman Blaire H. Miller

Thomas H. Bergh Scott Bertschy Harold Daitch Flavia De Veny Chris Engquist Howard Goldberg Robert Z. Feldstein W. Anthony Jenkins

Emanuel Ax, Piano Yefim Bronfman, Piano Richard Goode, Piano Clive Greensmith, Cello Kazuhide Isomura, Viola Joel Krosnick, Cello, Juilliard String Quartet Truls Mørk, Cello

Robert D. Hicks Treasurer

ADVISORY BOARD Lois R. Beznos President Emeritus

Stephen D. Moore Chris E. Rossman Randolph Schein Susan Sheiner Norma Jean Shufro Roberta Viviano David K. Page David R. Weinberg

ARTISTIC ADVISORY BOARD Joel Smirnoff, President, Jon Kimura Parker, Piano Cleveland Institute of Menahem Pressler, Piano Music Sharon Robinson, Cello, Arnold Steinhardt, Violin Kalichstein-LaredoRichard Stoltzman, Robinson Trio Clarinet András Schiff, Piano Dawn Upshaw, Soprano Joseph Silverstein, Violin, Ellen Taaffe Zwilich, Conductor Composer

ADMINISTRATION Willa R. Walker Kelle Vela Administrative and Marketing Director Director of Community Engagement Christine Blair Patron Services Manager

Caitlin Koska Marketing Assistant Kirsten Mason Development Consultant

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Chamber Music Society of Detroit

MINDFUL MEETINGS Meetings at Westin are designed to inspire fresh thinking. With clutter-free meetings in our Executive Meetings Center, healthy catered menus and great room rates, you’ll see what a pleasure it is to do business here. FOR MORE INFORMATION OR TO MAKE A RESERVATION, VISIT WESTINSOUTHFIELDDETROIT.COM OR CALL 1.248.827.4000

©2011–2012 Starwood Hotels & ResortsWorldwide, Inc. All Rights Reserved. Preferred Guest, SPG, Westin and their logos are the trademarks of Starwood Hotels & ResortsWorldwide, Inc., or its affiliates. For full terms & conditions visit www.westinsouthfielddetroit.com.

Patron Information Concert Program Guide Beginning this season, the Chamber Music Society of Detroit will publish three program guides per year, each covering four of the twelve concerts taking place at Seligman Performing Arts Center. Patrons may either turn in their programs at the end of each concert, or take them home and bring them back for the remaining concerts included in that book.

• Ticket Refunds: Due to the nature of live events,

Accessibility Seligman Performing Arts Center is wheelchair accessible. Please contact the Ticket Office at 248-8556070 to purchase accessible seating. Persons needing a wheelchair for a performance are urged to call Christine Blair, Patron Services Manager, in advance of concert night to make arrangements.

Children Please use discretion in bringing children to performances, particularly children under five years of age. As a courtesy to others, parents or guardians may be asked to remove children creating a disturbance during the performance. All patrons, regardless of age, must have a ticket to enter the theater.

Assistive-Listening Systems Complimentary assistive-listening devices are available through the Box Office. If you are using one, please keep the level turned down as low as comfortably possible during the performance, as the noise can disturb other patrons and the performers. Late Seating Latecomers will be admitted to the back of the hall (accessible by stairs or elevator). Patrons are asked to stand until a movement is over and then take a seat in the back of the hall. At the end of the piece, patrons will be seated in their purchased seats. On rare occasions, an artist will request that there be no late seating. In those cases, the artist’s wishes will be honored and patrons may listen to the first half of the concert through the lobby loudspeakers and take their seats after intermission. Ticket Policies • Lost or Misplaced tickets: Can’t find your reserved seat tickets? Call the Ticket Office at 248-855-6070 and we will have duplicate tickets waiting for you free of charge at Will Call. • Tax Credit Donations: Subscribers and single ticket buyers may call 248-855-6070 up until two hours before a concert if they are unable to attend a concert and wish to donate their ticket(s) back to the CMSD for a tax credit. • Ticket Exchanges: Subscribers may also call 248855-6070 in advance of ticket night to exchange tickets for another concert during the 2012-2013 season, subject to ticket availability. • Student Tickets: Half-price student tickets are available in most sections of the hall. Student rush tickets at $10 are available one hour prior to performances.

artists and programs are subject to change without notice. Refunds are given only in the case of event cancellation. Handling fees are not refundable. All ticket sales are final. • Will Call: Ticket orders received less than 7 days prior to the performance will be held at Will Call, which opens one hour prior to curtain.

Electronic Devices • Please turn off all cell phones, pagers, watch alarms and other electronic devices prior to the performance. • The taking of photographs and the use of recording equipment is not allowed during any performance. • Patrons expecting emergency calls are encouraged to leave pagers or cell phones and seat numbers with the Box Office. • Please do not text during performances. Parking Free parking is available in the Detroit Country Day School lot next to Seligman Performing Arts Center. Security Guards are always on duty to assist patrons in finding parking. Please let a Security Guard know if you are in need of a handicapped parking spot. Arrival Time Tickets go on sale at the door at 7:00 PM before an 8:00 PM concert. On evenings when a pre-concert event is scheduled, the box office opens at 6:00 PM. Doors to the hall generally open 30 minutes prior to the performance. Society Café The Society Café opens at 7:00 PM before concerts beginning at 8:00 PM and at 6:00 PM on nights when pre-concert events are scheduled; it reopens during intermission. The Café offers a variety of inexpensively priced desserts plus spring water, coffee, tea, and in the colder weather, hot chocolate. Patrons are asked to eat and drink in the tiled area of the lobby where the Café is located. Please do not bring refreshments into the hall or into carpeted areas. Thank you for your patronage and enjoy the concert!

Through June 16, 2013 Through June 16, 2013 Free with museum admission Free with museum admission

This exhibition has been organized by the Detroit Institute of Arts. Support has been provided by the Chrysler brand and Rock Ventures. Additional support has been provided by the City of Detroit. Bill Rauhauser, Kresge Court, Detroit Institute of Arts, 1960s. This exhibition has been organized by the Detroit Institute of Arts. Support has been provided by the Chrysler brand and Rock Detroit Institute of Arts. ÂŠBill Rauhauser, 2012 Ventures. Additional support has been provided by the City of Detroit. Bill Rauhauser, Kresge Court, Detroit Institute of Arts, 1960s. Detroit Institute of Arts. ÂŠBill Rauhauser, 2012

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