La Jolla Music Society Season 46, Program Book February - March by La Jolla Music Society

SEASON

FEBRUARY-MARCH

HERBIE HANCOCK & CHICK COREA

2014-15

SE A SO N 46

2014-15 CALENDAR OCTOBER 2014

FEBRUARY 2015

BRANFORD MARSALIS AND THE CHAMBER ORCHESTRA OF PHILADELPHIA

KODO

FRIDAY, OCTOBER 17, 2014 · 8 PM

HAGEN QUARTET

SATURDAY, OCTOBER 25, 2014 · 8 PM

NOVE MBE R 2014

CZECH PHILHARMONIC

Jirˇí Beˇlohlávek, chief conductor Jean-Yves Thibaudet, piano THURSDAY, NOVEMBER 6, 2014 · 8 PM

DANISH STRING QUARTET

SATURDAY, NOVEMBER 15, 2014 · 8 PM

FRIDAY, APRIL 10, 2015 · 8 PM

INGOLF WUNDER, piano

BUDDY GUY

SUNDAY, FEBRUARY 8, 2015 · 3 PM Yannick Nézet-Séguin, music director Hélène Grimaud, piano FRIDAY, FEBRUARY 13, 2015 · 8 PM

SIR ANDRÁS SCHIFF, piano

FRIDAY, FEBRUARY 20, 2015 · 8 PM

JERUSALEM QUARTET

SATURDAY, FEBRUARY 21, 2015 · 8 PM

GIL SHAHAM, violin

GIDON KREMER, violin & DANIIL TRIFONOV, piano

MARCH 2015

TAKÁCS QUARTET

MOMIX

UKULELE ORCHESTRA OF GREAT BRITAIN

Moses Pendleton, artistic director FRIDAY, MARCH 13, 2015 · 8 PM

FRIDAY, JANUARY 23, 2015 · 8 PM

JIAYAN SUN, piano

SUNDAY, JANUARY 25, 2015 · 3 PM

WENDY WHELAN/RESTLESS CREATURE FRIDAY, JANUARY 30, 2015 · 8 PM

NIKOLAY KHOZYAINOV, piano

SATURDAY, JANUARY 31, 2015 · 8 PM

SATURDAY, APRIL 11, 2015 · 8 PM

ROTTERDAM PHILHARMONIC ORCHESTRA MICHAEL FEINSTEIN

JANUARY 2015

SATURDAY, JANUARY 17, 2015 · 8 PM

DANIIL TRIFONOV, piano

FRIDAY, FEBRUARY 6, 2015 · 8 PM

FRIDAY, FEBRUARY 27, 2015 · 8 PM

THURSDAY, JANUARY 15, 2015 · 8 PM

APRIL 2015

INON BARNATAN, piano

FRIDAY, MARCH 6, 2015 · 8 PM

Alchemia

The Sinatra Legacy

SATURDAY, APRIL 25, 2015 · 8 PM

HAN BIN YOON, cello

SUNDAY, APRIL 26, 2015 · 3 PM

M AY 2 0 1 5

MALANDAIN BALLET BIARRITZ Roméo et Juliette

Thierry Malandain, artistic director SUNDAY, MAY 3, 2015 · 8 PM

CHRISTIAN TETZLAFF, violin & LARS VOGT, piano

SATURDAY, MAY 9, 2015 · 8 PM

ARTURO SANDOVAL & PONCHO SANCHEZ

AND HIS LATIN JAZZ BAND

SATURDAY, MAY 16, 2015 · 8 PM

HERBIE HANCOCK & CHICK COREA FRIDAY, MARCH 20, 2015 · 8 PM

CHARLIE ALBRIGHT, piano

All programs, artists, dates, times and venues are subject to change.

SUNDAY, MARCH 22, 2015 · 3 PM

LONDON SYMPHONY ORCHESTRA

Michael Tilson Thomas, conductor Yuja Wang, piano SUNDAY, MARCH 29, 2015 · 8 PM

ARTURO SANDOVAL

LA JOLLA MUSIC SOCIETY

CONRAD PREBYS & DEBBIE TURNER

La Jolla Music Society wishes to thank Conrad and Debbie for their extraordinary leadership and generosity.

SE A SO N 46

Season 46 is dedicated to

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FLORAL ARTISTRY | EVENTS | GIFTS

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connected ••••• to the arts We applaud the La Jolla Music Society for their ongoing work that does so much to enrich our hearts and minds. As a sponsor of the arts, we’re strong believers in the power of self expression. And we proudly support those organizations that share our vision. Connect at sdge.com.

SE A SO N 46

WE PRESENT world-class performances

LA JOLLA MUSIC SOCIETY is devoted to presenting

throughout the San Diego region.

and producing stimulating performances of the highest quality that create powerful audience experiences.

WE PRODUCE the acclaimed music festival

La Jolla Music Society SummerFest.

WE EDUCATE adult and young audiences as well

as aspiring and emerging artists.

La Jolla Music Societyâ&#x20AC;&#x2122;s Season 46 is supported by The City of San Diego Commission for Arts and Culture, the County of San Diego, the National Endowment for the Arts, New England Foundation for the Arts, French American Cultural Exchange, French U.S. Exchange in Dance, Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Florence Gould Foundation, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Steve Baum, Joan and Irwin Jacobs, The Frieman Family, Sam B. Ersan, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, Jeanette Stevens, Gordon Brodfuehrer, and an anonymous donor.

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R E S TA U R A N T

MEDIA PARTNERS

SUS H I BA R

Dear Friends..... In late January, as I sat among an enthusiastic audience at CHOREOLab – a combination workshop and master class LJMS sponsored for San Diego -based choreographers – I took a few moments to look back over our educational activities since I began in late 2005. Of course, LJMS has been an important educational presence in the San Diego region for years: our Community Music Center has, for nearly two decades, offered early training to hundreds of students in classes taught by professional musicians. From its beginning, SummerFest has included lectures, panel discussions, and open rehearsals, as well as featured emerging artists playing alongside acclaimed virtuosos. And, over the past decade, our commitment to high-quality education programs has intensified through the number and kind of events to which we have added an educational component. We have not only reached increasingly diverse audiences across the continuum of age and taste, but we also continue to actively seek both participants and partners among San Diego-based performers.

WE LCO ME LE TTE R

SEASON 46 • 2014-15

CHOREOLab is a good example of our deepened connection with the community. When we confirmed our presentation of New York City Ballet star Wendy Whelan’s Restless Creature (in which she danced four duets with the choreographer/dancers who had created them with her), we began to consider ways in which San Diego-based performers could interact with the company while they were here. Five local dance-makers were invited to present their works before a panel made up of the four internationally acclaimed choreographers, and then everyone engaged in a lively discussion. The panel and audience saw some remarkable transformations, and the choreographer and dancer particpants took away ideas for the future. In the Revelle Chamber Music Series, exciting things are happening behind the scenes, as our visiting artists take time to conduct Workshops and Master Classes while they are here. I often wonder how many of the large audiences that now attend our Discovery Series realize that the Musical Preludes before those concerts feature young men and women from the San Diego Youth Symphony, who are already on their way to mastery of their instruments and comfort with appearing in public performance, a skill they must possess to have a successful career. During SummerFest, activities continue to grow, most notably last season (and for the coming 2015 Festival) with the addition of a Scholar-in-Residence program to give both audiences and artists opportunities to explore – and understand – both masterpieces and the exciting new music LJMS commissions to expand the chamber music repertoire. I’ve only scratched the surface of the impressive work our dedicated staff is doing, in both general education and artist training. If you, too, feel this is important work, I hope you’ll support our efforts, not only by regular attendance at our concerts, but with a donation as well. Your contribution will make a difference. Sincerely,

Christopher Beach

President & Artistic Director

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TA B LE O F CO N TE N T S

SEASON 46 • 2014-15

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CALENDAR WELCOME LETTER LA JOLLA MUSIC SOCIETY STAFF & BOARD OF DIRECTORS SIR ANDRÁS SCHIFF JERUSALEM QUARTET GIL SHAHAM INON BARNATAN MOMIX CHICK COREA & HERBIE HANCOCK CHARLIE ALBRIGHT LONDON SYMPHONY ORCHESTRA ARTIST BIOGRAPHIES ANNUAL SUPPORT AND MEDALLION SOCIETY

ADMINISTRATION

ARTISTIC & EDUCATION

DEVELOPMENT

MARKETING & TICKET SERVICES

PRODUCTION

LA JOLLA MUSIC SOCIETY STAFF

BOARD OF DIRECTORS · 2014-15

Christopher Beach, President & Artistic Director Cho-Liang Lin, SummerFest Music Director

Martha Dennis, Ph.D. – Chair Theresa Jarvis – Treasurer Clara Wu – Secretary Clifford Schireson – Past Chair

Chris Benavides – Finance Director Debra Palmer – Executive Assistant & Board Liaison Ganesh Subramanyam – Administrative Assistant Leah Z. Rosenthal – Director of Artistic Planning & Education Jazmín Morales – Artist Services Coordinator Jonathan Piper, Ph.D. – Education Manager Marcus Overton – Consultant for Special Projects Serafin Paredes – Community Music Center Program Director Eric Bromberger – Program Annotator Ferdinand Gasang – Development Director Allison Estes-Nye – Event & Business Development Coordinator Benjamin Guercio – Development Coordinator Kristen Sakamoto – Marketing Director Vanessa Dinning – Marketing Manager Hilary Huffman – Marketing Coordinator Matthew Fernie – Graphic & Web Designer Cari McGowan – Ticket Services Manager David Henneken – Ticket Services Assistant Caroline Mickle – Ticket Services Assistant AJ Peacox – Ticket Services Assistant Kelsey Young – Ticket Services Assistant Shaun Davis – House Manager Paul Body – Photographer Travis Wininger – Production Manager Bud Fisher – Piano Technician

LEGAL COUNSEL

Paul Hastings LLP

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Leaf & Cole, LLP

LA JOLLA MUSIC SOCIETY 7946 Ivanhoe Avenue, Suite 309, La Jolla, California 92037 Ticket Office: (858)459-3728 | Admin: (858)459-3724 | Fax: (858)459-3727

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Stephen Baum Christopher Beach Karen A. Brailean Gordon Brodfuehrer Wendy Brody Katherine Chapin Ric Charlton Elaine Bennett Darwin Silvija Devine Brian Douglass Barbara Enberg Matthew Geaman Lehn Goetz Sue J. Hodges, Esq. Susan Hoehn Angelina K. Kleinbub

Carol Lam, Esq. Rafael Pastor Ethna Sinisi Piazza Peggy Preuss Deirdra Price, Ph.D. Jeremiah Robins Leigh P. Ryan, Esq. Marge Schmale Jean Shekhter Maureen Shiftan June Shillman Jeanette Stevens Debbie Turner H. Peter Wagener Carolyn Yorston-Wellcome

Brenda Baker – Honorary Director Stephen Baum – Honorary Director Joy Frieman, Ph.D. – Honorary Director Irwin M. Jacobs – Honorary Director Joan K. Jacobs – Honorary Director Lois Kohn (1924-2010) – Honorary Director Helene K. Kruger – Honorary Director Conrad Prebys – Honorary Director Ellen Revelle (1910-2009) – Honorary Director

Lecture by Steven Cassedy: What’s ‘Late’ about ‘Late Beethoven’? Part I - Beethoven’s so-called “late period” piano sonatas were written as the composer left his forties and moved into his fifties, when he had some years left of living and composing. Are they truly as different from the sonatas of his “middle period” as they are often claimed to be?

SIR ANDRÁS SCHIFF, piano HAYDN Piano Sonata in C Major, Hob.XVI:50 (1732-1809) Allegro Adagio Allegro molto

La Jolla Music Society’s Season 46 is supported by The City of San Diego Commission for Arts and Culture, the County of San Diego, the National Endowment for the Arts, New England Foundation for the Arts, French American Cultural Exchange, French U.S. Exchange in Dance, Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Florence Gould Foundation, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, Joan and Irwin Jacobs, The Frieman Family, Sam B. Ersan, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, Jeanette Stevens, Gordon Brodfuehrer, and an anonymous donor.

BEETHOVEN Piano Sonata in E Major, Opus 109 (1770-1827) Vivace, ma non troppo; Adagio espressivo Prestissimo Andante molto cantabile ed espressivo

The Frieman Family Piano Series is underwritten by Medallion Society members:

FRIDAY, FEBRUARY, 20 ∙ 8 PM MCASD SHERWOOD AUDITORIUM

"THE LAST SONATAS"

FRIEMAN FA MILY P IA N O SE R IE S

PRELUDE 7 PM

Conrad Prebys and Debbie Turner

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

MOZART Piano Sonata in C Major, K.545 (1756-1791) Allegro Andante Rondo: Allegretto

Many thanks to our Hotel Partner: The Lodge at Torrey Pines

SCHUBERT Piano Sonata in C Minor, D.958 (1797-1828) Allegro Adagio Menuetto: Allegro Allegro

Sir András Schiff’s recordings are available on the Decca/London, Teldec/Warner and ECM labels.

Sir András Schiff last performed for La Jolla Music Society at the WinterFest Gala on March 16, 2002.

Exclusive Representation: Kirshbaum Demler & Associates, Inc. 711 West End Avenue, Suite 5KN New York, NY 10025 www.kirshdem.com

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SIR ANDRÁS SCHIFF - PROGRAM NOTES Program notes by Eric Bromberger

THE LAST SONATAS The concept for this concert grew out of a curious coincidence in the careers of Haydn, Mozart, Beethoven, and Schubert. All four of these composers wrote three piano sonatas late in their lives. Haydn wrote a set of three large-scale sonatas during his final visit to London, perhaps inspired by the powerful English pianos he encountered there. Beethoven wrote his final three piano sonatas (Opp. 109-11) during the years 1821-22, just as he was emerging from a long fallow period. Those three sonatas initiated– in fact, helped define–what we know as his Late Style. Schubert wrote three massive piano sonatas all at once in September 1828. He was ill as he wrote them, and he died just two months later. The situation is more complex with Mozart: he wrote his final three piano sonatas over the space of about one year, though they were composed separately and do not form a discrete group. On this recital Sir András Schiff performs the first of each of these four composers’ final three sonatas. These are the next-to next-to last sonatas of each of the four, their antepenultimate piano sonatas.

Piano Sonata in C Major, Hob.XVI:50

Franz Joseph HAYDN Born March 31, 1732, Rohrau, Austria Died May 31, 1809, Vienna

Haydn’s approximately sixty keyboard sonatas are almost unknown to general audiences, who are daunted by their sheer number and more readily drawn to the famous nineteenth-century piano sonatas that followed. Yet there is some very fine music here indeed. The Sonata in C Major is one of a set of three he composed in London in 1794 and dedicated to pianist Therese Jansen, presumably with her talents in mind. Everyone notes the full sonority of these sonatas, but this has been explained in different ways. Some believe that these sonatas consciously echo the sound of the series of grand symphonies Haydn was then writing for London orchestras. Others have felt that the brilliance of these sonatas is the best evidence of Therese Jansen’s abilities, while still others explain it as a sign that the English fortepianos were much more powerful than the instruments Haydn was used to in Vienna. Whatever the reason, Haydn’s Sonata in C Major rings with a splendid sound. The opening Allegro is full of forthright energy. The initial pattern of three notes repeats

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throughout: it is sounded tentatively at first, then quickly repeated in full chords. Haydn plays this pattern out with great energy and brilliance across the span of a fairly lengthy movement (more than half the length of the entire sonata). The central movement is an expressive Adagio in abbreviated sonata form whose main subject is built around the rolled chords heard at the very beginning. The concluding Allegro molto, barely two minutes long, is full of high comedy. It feels like a very fast waltz that starts and stops and modulates throughout, as if the composer cannot quite make up his mind how he wants it to go. Haydn of course knows exactly how he wants it to go, and this lurching, stumbling dance should leave us all laughing.

Piano Sonata in E Major, Opus 109

Ludwig Van BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna

The years 1813-1821 were exceptionally trying for Beethoven. Not only was he having financial difficulties, but this was also the period of his bitter legal struggle for custody of his nephew Karl. Under these stresses, and with the added burden of ill health, Beethoven virtually ceased composing. Where the previous two decades had seen a great outpouring of music, now his creative powers flickered and were nearly extinguished; in 1817, for example, he composed almost nothing. To be sure, there was an occasional major work–the Hammerklavier Sonata occupied him throughout all of 1818–but it was not until 1820 that he put his troubles, both personal and creative, behind him and was able to marshal new energy as a composer. When this energy returned, Beethoven took on several massive new projects, beginning work on the Missa Solemnis and making sketches for the Ninth Symphony. And by the end of May 1820 he had promised to write three piano sonatas for the Berlin publisher Adolph Martin Schlesinger. Although Beethoven claimed that he wrote these three sonatas–his final piano sonatas–“in one breath,” their composition was actually spread out over a longer period than he expected when he committed himself to write them–he completed the Sonata in E Major immediately, but ill health postponed the other two. The Vivace, ma non troppo of the Sonata in E Major opens with a smoothly-flowing theme that is brought to a sudden halt after only nine bars, and Beethoven introduces his second subject at a much slower tempo: Adagio espressivo. But after only eight measure at the slower tempo, he returns to his opening theme and tempo. The

SIR ANDRÁS SCHIFF - PROGRAM NOTES

entire movement is based not on the traditional exposition and development of themes of the classical sonata movement but on the contrast between these two radically different tempos. Also remarkable is this movement’s concision: it lasts barely four minutes. The Prestissimo that follows is somewhat more traditional–it is a scherzo in sonata form, full of the familiar Beethovenian power, with explosive accents and a rugged second theme. But once again, the surprise is how focused the music is: this movement lasts two minutes. It was often characteristic of the music Beethoven’s heroic period that the first movements carried the emotional weight, as did the opening movements of the Eroica and the Fifth Symphony. But in the Sonata in E Major, the opening two movements combined last barely six minutes, not even half the length of the final movement, and this final movement ultimately becomes the emotional center of the sonata. The Andante molto cantabile ed espressivo is a theme and six variations, followed by a repetition of the opening theme. The form is not remarkable, but the variations themselves are. In his youth Beethoven had made much of his reputation as a virtuoso pianist, and one of his specialties had been the ability to sit at the keyboard and extemporize variations on a given theme. The variation form as he developed it in his late period is much different from the virtuoso variations he had written in his youth. This set of variations is not so much a decoration of the original theme as it is a sustained organic growth in which each variation seems to develop from what has gone before. The theme itself is of the greatest dignity, and to Beethoven’s marking in Italian–molto cantabile ed espressivo–he further specifies in German Gesangvoll mit innigster Empfindung: “Singing with the deepest feeling.” Curiously, Beethoven never changes keys in this movement–the theme and all six variations remain in E major–and despite the wealth of invention and the contrasts generated by the different variations, the mood remains one of the most rapt expressiveness, perfectly summarized by the restatement of the original theme at the sonata’s close. The Sonata in E Major is dedicated to Maximiliana Brentano, the daughter of Antonie Brentano, whom recent scholarship has identified as Beethoven’s “Immortal Beloved.”

Piano Sonata in C Major, K.545

Wolfgang Amadeus MOZART Born January 27, 1756, Salzburg Died December 5, 1791, Vienna

One of the “miracles” of Mozart was his ability to separate so completely the details of his personal life from his art, and there are few better examples of this division than this charming piano sonata. It comes from one of the darkest moments in the composer’s life, the summer of 1788, when–beset by financial problems–he moved his family to a cheap apartment in the suburbs of Vienna and appealed to friends for financial help. Working at white heat during that awful summer, Mozart composed his final three symphonies, but he wrote other music that summer as well, including the Piano Sonata in C Major. The manuscript for this sonata is dated June 26, 1788, the same day that saw the completion of the Symphony No. 39. Three days later, Mozart’s infant daughter Theresia died at the age of six months. That symphony shows no trace of the pain in Mozart’s personal life, and neither does this sparkling little sonata, which Mozart called Eine kleine Klaviersonate fur Anfanger: “A Little Piano Sonata for Beginners.” Only ten minutes long and clearly written for the use of his piano students, the sonata is in an “easy” key. But C major is also a key that called forth some of Mozart’s greatest music, and this gentle sonata glows with that same bright C-major spirit. The opening Allegro is a miniature sonata-form movement with two themes built on beautifully-balanced phrases. A quick minor-key development leads to the close on the little fanfare that marked the end of the exposition. In the G-major Andante Mozart simply develops one theme, built on graceful turns; the theme may become more elaborate as it is varied, but at no point does it lose the poise of its first statement. The concluding Allegretto is a rondo that begins with the two hands in canon. Even with a minorkey episode along the way, the movement lasts barely a minute and a half. Mozart the man and Mozart the composer were two separate people, and he observed that division carefully. From the depths of one of the worst moments of his life, Mozart could think of his students and produce for them a sonata that would be fun to play and that would delight audiences two centuries later.

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SIR ANDRÁS SCHIFF - PROGRAM NOTES

Piano Sonata in C Minor, D.958

Franz SCHUBERT Born January 31, 1797, Vienna Died November 19, 1828, Vienna

The year 1828 was both a miracle and a disaster for Schubert. The miracle lay in the level of his creativity: he completed his “Great” Symphony in C Major and several works for piano duet during the winter and spring, the Mass in E-flat Major over the summer, three piano sonatas in September, and the Cello Quintet in October. The disaster, of course, was his health. Never fully well after a year-long illness in the 1822-23, Schubert went into sudden decline in the fall and died suddenly in November at age 31. Yet even at that age (an age at which Beethoven and Haydn were virtually unknown), Schubert had achieved an artistic maturity that makes the works of his final year among the most remarkable and moving in all of music. Schubert began work on the Piano Sonata in C Minor on September 1, though evidence suggests that he was working from sketches made as long as a year earlier. Everyone feels the influence of Beethoven on this sonata; Schubert’s biographer John Reed believes that he was consciously trying to assume the mantle of Beethoven (who had died the previous year), and certainly the choice of key, the dramatic gestures, and the character of the thematic material suggest the older composer. The beginning of the Allegro resounds with echoes of Beethoven, both in the emphatic opening chords and in the muttering, nervous main theme. Yet quickly this theme turns serene and flowing, reminding us to value this sonata as the music of Schubert rather than searching for resemblances to other composers. The chordal second subject is pure Schubert, and the extended development– built around the collision of these quite different kinds of music–brings a great deal of emotional variety. It also takes the pianist to the extreme ends of the keyboard before the (quite Beethovenian) close on a quiet C minor chord. The Adagio, with its elegant, measured main theme, has also reminded many of that earlier master. Schubert marks the opening sempre ligato, yet with its fermatas and pauses and pounding triplets this movement too brings a range of expression. The Menuetto seems at first more conventional: the initial statement of the main theme is in octaves in the right hand, and soon Schubert is inserting one-measure rests that catch us by surprise as they break the music’s flow. The finale begins as what seems a conventional tarantella, yet it is remarkable for its rhythmic and harmonic variety. Throughout this extended movement, Schubert maintains the expected 6/8 meter of the tarantella, yet he accents that meter with such variety that the pulse sometimes feels

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completely different. Similarly, he moves with graceful freedom through a range of unexpected keys, including B major and C-sharp minor, so that this movement–while long–seems to be constantly evolving, right up to the two thunderous concluding chords.

Lecture by Nicolas Reveles: “Schumann’s Mind and Music”

JERUSALEM QUARTET SATURDAY, FEBRUARY, 21 ∙ 8 PM MCASD SHERWOOD AUDITORIUM

Alexander Pavlovsky, Sergei Bresler, violins; Ori Kam, viola; Kyril Zlotnikov, cello SCHUMANN String Quartet in A Major, Opus 41, No. 3 (1810-1856) Andante espressivo; Allegro molto moderato Assai agitato; un poco Adagio Adagio molto Finale: Allegro molto vivace I N T E R M I S S I O N

SCHUBERT String Quartet in D Minor, D.810 “Death and the Maiden” (1797-1828) Allegro Andante con moto Scherzo: Allegro molto Presto

Jerusalem Quartet last performed for La Jolla Music Society in the Revelle Chamber Music Series on May 2, 2009.

REVELLE CH A MB E R MU SIC SE R IE S

PRELUDE 7 PM

Many thanks to our Hotel Partner: The Lodge at Torrey Pines

Artist Manager: DAVID ROWE ARTISTS

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JERUSALEM QUARTET - PROGRAM NOTES Program notes by Eric Bromberger

String Quartet in A Major, Opus 41, No. 3

Robert SCHUMANN Born June 8, 1810, Zwickau, Germany Died July 29, 1856, Endenich, Germany

Schumann’s marriage to the young Clara Wieck in 1840 set off a great burst of creativity, and curiously he seemed to change genres by year: 1840 produced an outpouring of song, 1841 symphonic works, and 1842 chamber music. During the winter of 1842, Schumann had begun to think about composing string quartets. Clara was gone on a month-long concert tour to Copenhagen in April, and though he suffered an anxiety attack in her absence Schumann used that time to study the quartets of Haydn, Mozart, and Beethoven. Clara’s return to Leipzig restored the composer’s spirits, and he quickly composed the three string quartets of his Opus 41 in June and July of that year; later that summer he wrote his Piano Quartet and Piano Quintet. Writing string quartets presented special problems for the pianist-composer. The string quartets are his only chamber works without piano, and–cut off from the familiar resources of his own instrument–he struggled to write just for strings. Though he returned to writing chamber music later in his career, Schumann never again wrote a string quartet. The Quartet in A Major, composed quickly between July 8 and 22, is regarded as the finest of the set and shows many of those original touches that mark Schumann’s best music. The first movement opens with a very brief (sevenmeasure) slow introduction marked Andante espressivo. The first violin’s falling fifth at the very beginning will become the thematic “seed” for much of the movement: that same falling fifth opens the main theme at the Allegro molto moderato and also appears as part of the second subject, introduced by the cello over syncopated accompaniment. Schumann’s markings for these two themes suggest the character of the movement: sempre teneramente (“always tenderly”) and espressivo. Schumann’s procedures in this movement are a little unusual: the development treats only the first theme, and the second does not reappear until the recapitulation. The movement fades into silence on the cello’s pianissimo falling fifth. The second movement brings more originality. Marked Assai agitato (“very agitated”), it is a theme-and-variation movement, but with a difference: it begins cryptically–with an off-the-beat main idea in 3/8 meter–and only after three variations does Schumann present the actual theme, now marked Un poco Adagio. A further variation and flowing coda bring the movement to a quiet close. The Adagio

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molto opens peacefully with the soaring main idea in the first violin. More insistent secondary material arrives over dotted rhythms, and the music grows harmonically complex before pulsing dotted rhythms draw the movement to its conclusion. Out of the quiet, the rondo-finale bursts to life with a main idea so vigorous that it borders on the aggressive. This is an unusually long movement. Contrasting interludes (including a lovely, Bach-like gavotte) provide relief along the way, but the insistent dotted rhythms of the rondo tune always return to pound their way into a listener’s consciousness and finally to propel the quartet to its exuberant close.

String Quartet in D Minor, D.810 “Death and the Maiden”

Franz SCHUBERT Born January 31, 1797, Vienna Died November 19, 1828, Vienna

In the fall of 1822 Schubert became extremely ill, and every indication is that he had contracted syphilis. The effect on him–physically and emotionally–was devastating. He was quite ill throughout 1823, so seriously in May that he had to be hospitalized. His health had in fact been shattered permanently, and he would never be fully well again. The cause of his death five years later at 31, officially listed as typhoid, was probably at least partially a result of syphilis. Emotionally, the illness was so destructive that he never went back to complete the symphony he had been working on when he contracted the disease–it would come to be known as the “Unfinished.” By early 1824 Schubert had regained some measure of health and strength, and he turned to chamber music, composing two string quartets, the second of them in D minor. The nickname Der Tod und Das Mädchen (“Death and the Maiden”) comes from Schubert’s use of a theme from his 1817 song by that name as the basis for a set of variations in the quartet’s second movement. In the song, which sets a poem of Matthias Claudius, death beckons a young girl; she begs him to pass her over, but he insists, saying that his embrace is soothing, like sleep. It is easy to believe that, under the circumstances, the thought of soothing death may have held some attraction for the composer. The quartet itself is extremely dramatic. The Allegro rips to life with a five-note figure spit out by all four instruments. This hardly feels like chamber music. One can easily imagine this figure stamped out furiously by a huge orchestra, and the dramatic nature of this movement marks

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it as nearly symphonic (in fact, Gustav Mahler arranged this quartet for string orchestra in 1894, and that version is still performed and recorded today). A gentle second subject brings a measure of relief, but the hammering triplet of the opening figure is never far away–it can be heard quietly in the accompaniment, as part of the main theme, and as part of the development. The Allegro, which lasts a full quarter of an hour, comes to a quiet close with the triplet rhythm sounding faintly in the distance. The Andante con moto is deceptively simple. From the song Der Tod und Das Mädchen, Schubert uses only death’s music, which is an almost static progression of chords; the melody moves quietly within the chords. But from that simple progression Schubert writes five variations that are themselves quite varied–by turns soaring, achingly lyric, fierce, calm–and the wonder is that so simple a chordal progression can yield music of such expressiveness and variety. After two overpowering movements, the Scherzo: Allegro molto might seem almost lightweight, for it is extremely short. But it returns to the slashing mood of the opening movement and takes up that same strength. The trio sings easily in the lower voices as the first violin flutters and decorates their melodic line. An unusual feature of the trio is that it has no repeat–Schubert instead writes an extension of the trio, almost a form of variation itself. The final movement, appropriately marked Presto, races ahead on its 6/8 rhythm. Some listeners have felt that this movement is death-haunted, and they point out that its main theme is a tarantella, the old dance of death, and that Schubert also quotes quietly from his own song Erlkönig. Significantly, the phrase he quotes in that song sets death’s words “Mein liebes Kind, komm geh mit mir” (My dear child, come go with me), which is precisely the message of the song Der Tod und das Mädchen. What this movement is “about” must be left to each listener to decide, but it is hard to believe this music death-haunted. The principal impression it makes is of overwhelming power–propulsive rhythms, huge blocks of sound, sharp dynamic contrasts– and the very ending, a dazzling rush marked Prestissimo that suddenly leaps into D major, blazes with life.

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CELEB R ITY R E CITA L SE R IE S

GIL SHAHAM, violin FRIDAY, FEBRUARY, 27 ∙ 8 PM MCASD SHERWOOD AUDITORIUM

J.S. BACH Partita No. 3 in E Major for Unaccompanied Violin, BWV 1006 (1685-1750) Preludio Loure Gavotte en Rondeau Menuet I and II Bourrée Gigue Sonata No. 3 in C Major for Unaccompanied Violin, BWV 1005 Adagio Fuga Largo Allegro assai I N T E R M I S S I O N

Tonight’s concert is sponsored by:

Haeyoung Kong Tang Many thanks to our Restaurant Partner: The MED at La Valencia

J.S. BACH Partita No. 2 in D Minor for Unaccompanied Violin, BWV 1004 Allemande Courante Sarabande Gigue Chaconne

Gil Shaham last performed for La Jolla Music Society in SummerFest 2011.

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GIL SHAHAM - PROGRAM NOTES Program notes by Eric Bromberger

BACH’S MUSIC FOR UNACCOMPANIED VIOLIN In December 1717, Johann Sebastian Bach left the employment of Duke Wilhelm Ernst of Weimar, where he had served as chamber musician and organist for the previous nine years. It was not a cordial parting. Tensions between Bach and his employer had been escalating for several years, there had been resentments on both sides, and the rupture was serious: the Duke apparently placed Bach under house arrest for his final month in Weimar and gave him the going-away present of an “unfavorable discharge.” Bach did not care, for he had secured what looked like an ideal new position as music director at the court of Anhalt-Cöthen, about sixty miles northwest of Weimar, but the move would bring many changes musically. The Cöthen court was strictly Calvinist in its observances and would not for an instant have tolerated the organ music and cantatas Bach had composed for Weimar. However, his new employer–Prince Leopold–was an enthusiastic musician, an enlightened ruler who played violin, viola da gamba, and clavier and who maintained a seventeen-member private orchestra, which he was glad to put at Bach’s disposal. Bach–who once said that music exists for two purposes: the glorification of God and the refreshment of the soul– spent six years refreshing his soul in Cöthen. From this period came the great bulk of his secular instrumental music, including the Brandenburg Concertos, several of the orchestral suites, the first book of The Well-Tempered Clavier, and the works for unaccompanied cello and for unaccompanied violin. Bach was famed in his own day as a virtuoso organist, and–like virtually all composers of his era–he also played the violin. Very probably he played in the orchestra at Cöthen, but it is known that he preferred to play viola in chamber music, and in fact we know nothing about Bach’s skill as a violinist: his biographer Phillipp Spitta has noted that in all of the writings about Bach by family and contemporaries, there is not one mention of his ability as a violinist. What is indisputable, however, is that his understanding of the instrument was profound. The three sonatas and three partitas for unaccompanied violin, composed about 1720, represent one of the summits of the violin literature: not only are they great music in their own right (and this is wonderful music when played on any instrument), but they also confront the fundamental problem facing any composer who writes for solo violin, which is that the violin–unlike a keyboard instrument–cannot really play more than two notes at once. Within that limitation, a composer must find a way to provide a harmonic foundation

for this essentially linear instrument over the span of an extended work. Bach does not simply confront this problem–he annihilates it. For this linear instrument he creates the effect of a fully-realized harmonic texture with rolled chords, broken chords, multiple-stopping, and a complex polyphonic interweaving of voices. The effect of sounding a chord and then leaping away to resume the melodic line in another register can seem stark, almost fierce, and some listeners have found this music–amazing as it is–very difficult listening. In the nineteenth century, Mendelssohn and Schumann wrote piano accompaniments for these works– they saw what Bach was getting at musically but felt the solo violin inadequate to that task and so wanted to “help” the music by “completing” the harmonies (embarrassed by the existence of these arrangements and what they imply, the editor of the modern edition of Schumann’s works has refused to include them or to publish them in any form). Beyond this, these works are virtuoso music for the violin in the best sense–they require not just good musicianship but good violin-playing: the ability to sustain a long melodic line, to chord cleanly, to keep complex polyphonic textures absolutely clear, and to master the technical complexities of this music, which occur at both very fast and very slow speeds. We may not know much about Bach’s abilities as a violinist, but few composers have understood the instrument, its strengths, and its possibilities as well as he did. It has become a matter of verbal convenience to speak of Bach’s “six solo sonatas,” but he distinguished carefully between the sonatas and partitas, and so should we. The three sonatas are all in sonata di chiesa (“church sonata”) form, a set of four movements in slow-fast-slow-fast sequence, which Bach may have encountered in the violin sonatas of Arcangelo Corelli. The opening slow movement is serious and sometimes improvisational in character, while the second is always a fugue. The third movement, always slow, is in all the sonatas the one movement in a different key from the other three. The last movement, very fast and in binary form, has a perpetual-motion brilliance to the writing. The structure of the partitas is more complex. As that name implies, it is a form made up of “parts,” and that title has come to be used almost interchangeably with the name suite. As a (very general) rule, Bach’s partitas are collections of between five to seven movements in dance forms that incorporate the expected suite sequence of allemande-courante-sarabande-gigue, but in all three partitas Bach makes changes in this basic pattern. One should be very careful of the old generalization that sonatas are “serious” music while partitas are lighter and intended to entertain: there are very serious movements in his partitas W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

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and movements in the sonatas that are absolutely charming. Take these outlines of form in the most general sense–this is music that needs to be understood on its own compelling terms rather than pushed into patterns for the sake of easy understanding.

Partita No. 3 in E Major for Unaccompanied Violin, BWV 1006

Johann Sebastian BACH Born March 21, 1685, Eisenach, Germany Died July 28, 1750, Leipzig

The title Preludio suggests music that is merely an introduction to something else, but the Preludio to the Partita No. 3 in E Major is a magnificent work in its own right, in some ways the most striking of the seven movements of this partita. Built on the jagged, athletic opening theme, this movement is a brilliant flurry of steady sixteenth-notes, featuring complicated string-crossings and racing along its blistering course to an exciting conclusion. Among the many pleasures of this music is Bach’s use of a technique known as bariolage, the rapid alternation between the same note played on stopped and open strings, which gives this music some of it characteristic glinting brilliance. It is no surprise that this Preludio is among the most popular pieces Bach ever wrote, and those purists ready to sneer at Leopold Stokowski’s arrangement for full orchestra should know that Bach beat him to it: in 1731, ten years after writing the violin partita, Bach arranged this Preludio as the opening orchestral movement of his Cantata No. 29, “Wir danken dir, Gott.” Bach follows this striking beginning with a sequence of varied dances. The term Loure originally referred to a form of French bagpipe music and later came to mean a type of slow dance accompanied by the bagpipe. Bach dispenses with the bagpipe accompaniment, and in this elegant movement the violin dances gracefully by itself. Bach was scrupulously accurate in his titles, and the Gavotte en Rondeau (gavotte in the form of a rondo) conforms to both these forms: a gavotte is an old French dance in common time that begins on the third beat, while rondo form asks that one section recur throughout. This vigorous and poised movement features some wonderful writing for the violin as the original dance theme repeats in many guises. The two minuet movements are sharply contrasted: Menuet I takes its character from the powerful chordal beginning, while Menuet II, dancing gracefully, is more subdued. The Bourrée drives along its lively course, energized by a powerful upbeat, and the Gigue (an old English dance related to the jig) makes a lively conclusion.

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Sonata No. 3 in C Major for Unaccompanied Violin, BWV 1005

Johann Sebastian BACH Unlike the opening movements of the other two unaccompanied sonatas, which were conceived to suggest an improvisatory character, the Sonata in C Major begins with a long Adagio built entirely on the steady rhythm of the dotted eighth. The figure is very simple at its first appearance; gradually it grows more complicated, and the melodic line is elaborately embellished. The second movement is the expected fugue, in this instance one of the most difficult fugues Bach wrote for the violin; its subject is based on the old chorale tune Komm, Heiliger Geist, Herre Gott. The simple opening evolves into music of unbelievable complexity, but the fugue subject remains clear throughout, despite Bach’s complicated evolutions, which include its appearance in inversion. The Largo is a lyric slow movement; once again, the main idea is stated simply and then developed contrapuntally. This movement is in F major, the only one in the sonata not in C major. The binary-form Allegro assai is linear music, built on a steady flow of sixteenth-notes. This is the sort of dance-like movement one expects to find in the partitas, and here it makes a brilliant conclusion to the sonata.

Partita No. 2 in D Minor for Unaccompanied Violin, BWV 1004

Johann Sebastian BACH The Partita No. 2 in D Minor has become the most famous of Bach’s six works for unaccompanied violin, for it concludes with the Chaconne, one of the pinnacles of the violin literature. Before this overpowering conclusion, Bach offers the four basic movements of partita form, all in binary form. The opening Allemande is marked by a steady flow of sixteenth-notes occasionally broken by dotted rhythms, triplets, and the sudden inclusion of thirty-second notes. The Courante alternates a steady flow of triplets within dotted duple meters. The Sarabande proceeds along double and triple stops and a florid embellishment of the melodic line, while the Gigue races along cascades of sixteenth-notes in 12/8 time; the theme of the second part is a variation of the opening section. While the first four movements present the expected partita sequence, Bach then springs a surprise by closing with a chaconne longer that the first four movements combined. The Chaconne offers some of the most intense

GIL SHAHAM - PROGRAM NOTES

music Bach ever wrote, and it has worked its spell on musicians everywhere for the last two and a half centuries: beyond the countless recordings for violin, it is currently available in performances by guitar, cello, lute, and viola, as well as in piano transcriptions by Brahms, Busoni, and Raff. A chaconne is one of the most disciplined forms in music: it is built on a ground bass in triple meter over which a melodic line is repeated and varied. A chaconne demands great skill from a performer under any circumstances, but it becomes unbelievably complex on the unaccompanied violin, which must simultaneously suggest the ground bass and project the melodic variations above it. Even with the flatter bridge and more flexible bow of Bach’s day, some of this music borders on the unplayable, and it is more difficult still on the modern violin, with its more rounded bridge and concave bow. This makes Bach’s Chaconne sound like supremely cerebral music–and it is–but the wonder is that this music manages to be so expressive at the same time. The four-bar ground bass repeats 64 times during the quarter-hour span of the Chaconne, and over it Bach spins out gloriously varied music, all the while keeping these variations firmly anchored on the ground bass. At the center section, Bach moves into D major, and here the music relaxes a little, content to sing happily for awhile; after the calm nobility of this interlude, the quiet return to D minor sounds almost disconsolate. Bach drives the Chaconne to a great climax and concludes on a restatement of the ground melody.

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FRIEMAN FA MILY P IA N O SE R IE S

PRELUDE 7 PM Lecture by Steven Cassedy: What’s ‘Late’ about ‘Late Beethoven’? Part II - The arc of Beethoven’s life is divided into early, middle and late ‘periods’. Are these arbitrary divisions? Do they really tell us significant things about the music? What makes his ‘late period’ works so different from the rest.

INON BARNATAN, piano FRIDAY, MARCH 6 ∙ 8 PM MCASD SHERWOOD AUDITORIUM

BACH Toccata in E Minor, BWV 914 (1685-1750)

FRANCK Prelude, Chorale, and Fugue (1822-1890)

BARBER Piano Sonata, Opus 26 (1910-1981) Allegro energico Allegro vivace e leggero Adagio mesto Fuga: Allegro con spirito I N T E R M I S S I O N

SCHUBERT Piano Sonata in A Major, D.959 (1797-1828) Allegro Andante Scherzo: Allegro vivace Rondo: Allegretto

Inon Barnatan last performed for La Jolla Music Society during SummerFest 2014.

LA JOLLA MUSIC SOCIETY

The Frieman Family Piano Series is underwritten by Medallion Society members:

Conrad Prebys and Debbie Turner

Opus 3 Artists as exclusive representative

INON BARNATAN - PROGRAM NOTES Program notes by Eric Bromberger

Toccata in E Minor, BWV 914

Johann Sebastian BACH Born March 21, 1685, Eisenach, Germany Died July 28, 1750, Leipzig

The title toccata comes from the Italian word meaning “touched”–the cognate terms are sonata (“sounded”) and cantata (“sung”)–and it was originally a piece designed to show off a keyboard player’s touch and skill. The toccata was often built on a brilliant, rapid flow of sixteenth-notes, and that form has had an enduring appeal–composers as different as Schumann and Prokofiev have written toccatas for the piano. More recently, the original meaning of the term has been diluted: some modern composers have written toccatas for orchestra, and the title has evolved to the point where it simply means brilliant music. Bach, however, had a different understanding of the term altogether. For him, the toccata was a multi-movement suite, often very free in form. Each of his toccatas contains at least one slow movement and one fugue, and some of the movements are fantasia-like in structure: though Bach often omits tempo markings, individual movements appear to fall into sections at quite different tempos, and it is up to the performer to determine the correct speeds and relation of these different parts. Bach’s toccatas are the work of a very young composer: they date from around the years 1708 to 1710, just as Bach was leaving Muhlhausen to take up the post of organist at Weimar, and all were completed before his 25th birthday. Some have felt that they are very much the work of a young composer, pointing out that the fugues in these toccatas–despite an attractive energy–can be repetitive and lack the conciseness of the mature fugues of The WellTempered Clavier. The Toccata in E Minor has a particularly original structure. Bach begins with a stately introductory passage in 3/2, and this proceeds directly into the main body of the movement, marked Un poco Allegro and set in common time. The unusual thing about this movement is how contrapuntal the music is, and while it is not a fugue, Bach specifies that it is “in four voices.” Bach marks the next movement Adagio, but that is only a general indication of tempo, for this movement is so free–in matters of texture, speed, and rhythmic patterns–that it seems to proceed at many different tempos. The final movement is the expected fugue, in this case in three voices and built on a steady rush of sixteenth-notes and harmonically quite free. That steady pulse of sixteenths continues all the way to the end, where Bach rounds off this toccata with a great, fantasia-like flourish.

Prelude, Chorale, and Fugue

César FRANCK Born December 10, 1822, Liège, France Died November 8, 1890, Paris

In 1884 César Franck set out to compose a piano work inspired by Bach. Specifically, Franck chose Bach’s The Well-Tempered Clavier as his model and planned at first to compose a Prelude and Fugue. But as he worked, Franck came to feel that the music needed a transition between these two parts, and eventually this “transition” turned into a movement of its own, the Chorale. Franck was one of the great organists of the nineteenth century, yet he resisted the temptation to try to make the piano sound like an organ here. Instead, the Prelude, Chorale, and Fugue remains piano music throughout, conceived specifically for that sound and never reaching for a sonority beyond its capability. Franck’s former pupil Camille Saint-Saëns gave the first performance at a concert of the Société Nationale in Paris on January 24, 1885. As completed, the Prelude, Chorale, and Fugue falls into the three-part form that Franck favored in these years (other three-section works from this period include the Piano Quintet, Symphony in D Minor, and the Prelude, Aria, and Finale). It is based on a thematic technique Franck had learned from Liszt, who in turn had adapted it from Schubert: the work is in a cyclic form in which certain germinal themes will reappear in modified form throughout. Here the method is particularly ingenious because the themes of the Prelude and Chorale begin to evolve as soon as they are stated, and–at the climax of the Fugue– Franck recalls and weaves together all his themes in some impressive contrapuntal writing. The Prelude has an improvisatory air: the arpeggiated opening measures give way to a falling figure Franck marks a capriccio, and he will alternate and extend both these elements across the span of this opening section. The pace slows slightly at the Chorale, where Franck does not present his principal theme immediately: a rather free introduction (marked molto cantabile, non troppo dolce) leads to the chorale melody, presented in richly-arpeggiated chords that roll upward across four octaves. The structure is once again episodic, as Franck alternates the free beginning with the solemn chorale tune. As the movement proceeds, we begin to hear a foreshadowing of the fugue subject, and suddenly the music rushes into the Fugue. This is the longest section, and Franck puts his fugue subject through complex treatment. When Saint-Saëns, who was no admirer of Franck’s music, complained that this was not really a fugue, he was referring to the fact that some of the interludes here are not contrapuntal at all–they consist of a main line and W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

INON BARNATAN - PROGRAM NOTES

its accompaniment. But in fact Franck’s fugue, sectional as it may be, is quite complex, treating the subject in inversion and in various rhythmic displacements. Near the end comes the high point of all this contrapuntal complexity: Franck recalls elements of the Prelude and then–through shimmering textures–combines the Chorale and Fugue themes and presents them simultaneously. The music drives to a sonorous climax, and Franck rounds matters off with a surprisingly “virtuosic” coda based on the Chorale theme.

Piano Sonata, Opus 26

Samuel BARBER Born March 9, 1910, West Chester, PA Died January 23, 1981, New York City

Samuel Barber’s Piano Sonata, composed between 1947 and 1949, is inextricably linked with one of the greatest pianists of last century, Vladimir Horowitz. Though Barber said that he did not write the sonata specifically for the Russian pianist, Horowitz nevertheless proved an overwhelming influence on this music: he consulted with Barber during its composition, performed sections for the composer as he wrote them, and suggested important changes. Horowitz gave the world première, in Havana on December 9, 1949, and then became the sonata’s champion, performing it over twenty times that season alone. He also made the first recording, on one of the earliest LPs ever issued. The popular conception of Barber is that he was an extremely conservative composer who clung to nineteenthcentury forms even as the twentieth century evolved furiously around him. At first glance his Piano Sonata seems to bear this out, for its four movements fall into a familiar pattern: a sonata-form first movement, a scherzo, a lyric slow movement, and a fugal finale. Yet beneath this seemingly conservative exterior, the Piano Sonata is one of Barber’s most striking and audacious scores: its harmonic language is based on a dizzying chromaticism, it features one of Barber’s rare uses of twelve-tone sequences, and the thorny writing for piano requires a virtuoso of the first order. More than half a century after its composition, Barber’s Piano Sonata remains one of the finest works for piano ever composed by an American–Horowitz himself called it “the first truly great native work in the form.” For all its fierce energy, the Allegro energico is wonderfully expressive music. The jagged dotted rhythms of the opening, in the unusual key of E-flat minor, give way to a varied range of secondary material: a haunting second subject marked espressivo and repetitive patterns of notes used more as rhythmic figures than as themes. The home

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key of this movement may be E-flat minor, but Barber blurs that tonality with so many accidentals that the sense of a clear harmonic foundation is often lost; as early as the ninth measure, he introduces a twelve-tone sequence though he uses it here to obscure the harmonic frame rather than as thematic material. Longest of the movements, the Allegro energico drives to a fierce climax that recalls all its themes before the abrupt close. In complete contrast, the Allegro vivace e leggero is a quicksilvery scherzo. Much of the writing is in the piano’s high registers (the left hand is often written in treble clef), and the ringing sound of these high notes, coupled with the graceful and dancing themes, give this brief movement a music-box fragility. The third movement, Adagio mesto (“mesto” means sad) takes us once again into an entirely different world–one of the strengths of this sonata is the violent contrast between its movements. The left-hand accompaniment is based on twelve-tone sequences, and over this chromatic background the right hand spins out the long, lyric main idea. This simple music grows to a complex climax (so complex, in fact, that Barber writes some of it in three staves) before the movement concludes almost inaudibly. Barber had originally intended to complete the sonata with a slow-movement finale, but Horowitz convinced him that it needed a brilliant conclusion. The Russian pianist may have been surprised by how completely Barber followed his advice, for the Allegro con spirito is a spiky four-voice fugue of almost incandescent difficulty– so famous has this finale become that it is sometimes performed by itself as a dazzling virtuoso piece. In its original context, however, it makes a stunning conclusion to the Piano Sonata. Here one more time is a complete contrast, as the music leaps from the close of the dark slow movement into the fiery vitality of the last. Along the way, Barber treats the original fugue theme ingeniously, sometimes presenting it slowly behind the dizzying pianistic foreground. At the coda, Barber switches from the original 4/4 to 3/8, and the fugue subject assumes yet another form as it rushes to the breathtaking close of what one critic called “one of the most musically exciting and technically brilliant pieces of writing yet turned out by an American.”

INON BARNATAN - PROGRAM NOTES

Piano Sonata in A Major, D.959

Franz SCHUBERT Born January 31, 1797, Vienna Died November 19, 1828, Vienna

Schubert’s final year was dreadful. Ill for years, he went into steady decline in 1828 and died in November at 31. Yet from those last months came a steady stream of masterpieces, and few of the achievements of that miraculous–and agonizing–year seem more remarkable than the composition of three large-scale piano sonatas in the month of September, barely eight weeks before his death. In the years following Schubert’s death, many of the works from this final year were recognized as the masterpieces they are, but the three piano sonatas made their way much more slowly. When they appeared in 1838, a decade after Schubert’s death, the publisher dedicated them to Schumann, one of Schubert’s greatest admirers, but even Schumann confessed mystification, noting with a kind of dismayed condescension that “Always musical and rich in songlike themes, these pieces ripple on, page after page . . .” Even as late as 1949, Schubert’s adoring biographer Robert Haven Schauffler could rate them “considerably below the level of the last symphonies and quartets, the String Quintet, and the best songs.” It took Artur Schnabel’s championing these sonatas to rescue them from obscurity. The last of them, in fact, has today become one of the most familiar of all piano sonatas: the current catalog lists over forty separate recordings. Still, these sonatas remain a refined taste, and some of the problem may lie in the fact that our notion of a piano sonata has been so conditioned by Beethoven that Schubert’s late sonatas–which conform neither structurally nor emotionally to the Beethoven model–can seem mystifying. Certainly the opening Allegro of the Sonata in A Major seems to be in a sort of sonata form, with a declarative opening theme-group and a more flowing second subject marked pianissimo, but the development does not do the things that a Beethoven development has taught us to expect: instead, it grows almost entirely out of a wisp of a phrase from the second theme group and then proceeds to go its own way. Alfred Einstein both describes and defends Schubert’s method: “in place of a development proper Schubert spins a dreamy, ballad-like web of sound, the very existence of which is its own best justification.” Schubert rounds this long movement off with an impressive–and very quiet–coda derived from the opening material. The really stunning movement in this sonata is the Andante. Structurally, this is in ternary form, but what music lies within this simple form! It opens with a wistful little melody that treads along its steady 3/8 meter and

spins an air of painful melancholy. It is moving music, but the simplicity of this opening in no way prepares us for what happens at the center of this movement, where the pace moves ahead gradually and the movement suddenly explodes into furious, tormented music. And then this agony has passed, the opening music resumes, and now its steady and measured pace seems all the more moving for having regained control. The brief Scherzo whips along on flashing, dancing chords, with much of its sparkling character coming from the right hand’s being written in the piano’s ringing high register; the trio feels almost sedate in comparison. The last movement seems consciously to call up echoes of the past. Many have noted the similarity between this rondo-finale and the one that Beethoven wrote to close out his Sonata in G Major, Opus 31, No. 1; Einstein correctly hears echoes of Schubert’s own song Im Frühling in the pianist’s left hand, and Schubert borrowed the main theme of this movement from his own Piano Sonata in A Minor, composed in 1817. Schubert’s rondo is built on only two themes, and–unusually–they begin to develop as this movement proceeds. But matters never become too serious, and in fact the impression this movement creates is of endlessly relaxed and happy music-making. Schubert provides some structural unity by rounding off the sonata with a Presto coda that recalls the opening of the first movement, but it is the flowing, genial spirit of this movement that one remembers when the sonata is done.

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D A N CE SE R IE S

PRELUDE 7 PM Lecture by Marcus Overton: Modern/Post-Modern: What’s the difference?

MOMIX

Moses Pendleton, artistic director FRIDAY, MARCH 13 · 8 PM SPRECKELS THEATRE

ALCHEMIA PART 1 - Quest for FireWater PART 2 - Led into Gold Performance time is approximately 80 minutes with no intermission.

PERFORMERS

Jerrica Blankenship, Aaron Canfield, Jennifer Chicheportiche, Gregory Dearmond, Andrea Guajardo, Vincent Harris, Catherine Jaeger, Graci Meier, Changyong Sung, and Eddy Fernandez Artistic Director Moses Pendleton Associate Director Cynthia Quinn Lighting Design Michael Korsch Costume Design Phoebe Katzin Production Stage Manager Jeffrey Main Stage Manager Jameson Willey Production Manager Woodrow Dick Global General Manger Amanda Braverman

MOMIX last performed BOTANICA for La Jolla Music Society in the Dance Series on May 5, 2012.

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Tonight’s concert is sponsored by Medallion Society members:

Drs. Joseph and Gloria Shurman Many thanks to our Hotel Partner: The Westgate Hotel

MOMIX Box 1035 Washington, Connecticut 06793 Tel: 860•868•7454 Fax: 860•868•2317 Email: momix@snet.net Website: www.momix.com Representation: Margaret Selby CAMI Spectrum LLC 1790 Broadway, NYC, NY 10019-1412 Ph: (212) 841-9554 Fax: (212) 841-9770 E-mail: mselby@cami.com

MOMIX - PROGRAM NOTES

ALCHEMIA

World Première: Warner Theatre, Torrington, Connecticut on Saturday January 12, 2013 Conceived & Directed by: Moses Pendleton First Assistant: Cynthia Quinn Assisted by: Tsarra Bequette, Dajuan Booker,

Autumn Burnette, Jonathan Bryant, Aaron Canfield, Jennifer Chicheportiche, David Dillow, Simona Di Tucci, Eddy Fernandez, Rory Freeman, Jon Eden, Vincent Harris, Morgan Hulen, Catherine Jaeger, Jaime Johnson, Jennifer Levy, Elizabeth Loft, Nicole Loizides, Steven Marshall, Anila Mazhari, Emily McArdle, Danielle McFall, Graci Meier, Sarah Nachbauer, Cynthia Quinn, Quinn Pendleton, Rebecca Rasmussen, Cara Seymour, Matt Shanbacher, Brian Simerson, Ryan Taylor, Evelyn Toh Jerrica Blankenship, Aaron Canfield, Jennifer Chicheportiche, Gregory DeArmond, Andrea Guajardo,Vincent Harris, Catherine Jaeger, Graci Meier, Changyong Sung, and Eddy Fernandez

Performed by:

Lighting Design:

Michael Korsch

Costume Design:

Phoebe Katzin, Moses Pendleton, Cynthia Quinn

Costume Construction: Phoebe Katzin Red Fire Silk Design: Michael Curry Costume Assistants: Beryl Taylor, Linda Durovcova, Kimberly Lombard

Video Projection:

Moses Pendleton

Video Editing:

Woodrow F. Dick, III

Music Collage:

Moses Pendleton

Music Editing:

Andrew Hansen

Special Thanks:

Sharon Dante, Nutmeg Ballet; John Bonanni, Warner Theatre; Phillip Holland; The Talbot Family; Laura Daly; Julio Alvarez and Margaret Selby

“The changing of bodies into light and light into bodies is very conformable to the course of nature, which seems delighted with transmutation.” - Isaac Newton, Opticks “I drew aside the curtains and looked out into the darkness, and it seemed to my troubled fancy that all those little points of light filling the sky were the furnaces of innumerable divine alchemists, who labour continually, turning lead into gold, weariness into ecstasy, bodies into souls, the darkness into God; and at their perfect labour my mortality grew heavy, and I cried out, as so many dreamers and men of letters in our age have cried, for the birth of that elaborate spiritual beauty which could alone uplift souls weighted with so many dreams.” - W.B. Yeats, A Selection from Rosa Alchemica

ALCHEMIA SOUNDTRACK: 1. Danna & Clement, “Sunrise West” from the album “Slumberland Episode Two Awaken and Dreaming” Published by Summerland Music/ SOCAN. 2. Oreobambo, “Track 12” the album “Tollan.” Published by EM Productions. And Daimon,“Skin to Skin” from the Waveform Records album “Temenos.” Courtesy of Waveform Records. 3. Escala, “Requiem for a Tower” and from the album “Escala.” Composed by Clinton Mansell. Published by Universal Music Publishing. 4. Ennio Morricone, “Remorse” from the album “The Mission.” 5. Oreobambo, “Track 10” from their album, “Tollan.” Published by EM Productions. 6. Magna Canta, “Gilentium” from the album “Enchanted Spirits.” Composed by Junior Deros and ray Frederico. 7. Skin to Skin, “Nekyia I” from the Waveform album “Temenos.” Courtesy of Waveform Records. 8. A Positive Life, “Lighten Up!” from the Waveform album “Synaesthetic.” Courtesy of Waveform Records. 9. Ennio Morricone, “Once Upon a Time in America: Debhorah’s Theme” played by Yo-Yo Ma on the album “Yo-Yo Plays Ennio Morricone. Published by Sony BMG Music. 10. Ralph Zurmuhle, “Horizon” from the album “Our Mother.” 11. Sounds From the Ground, “Tumbledown (featuring BJ Cole)” from the album “Luminal.” Composed by Nick Woolfson, Elliot Morgan Jones and BJ Cole. Published by Nettwerk Songs. 12. Vas, “Remembrance” from the album “Sunyata” and “Kali Basa” from the album “Feast of Silence.” Composed by Azam Ali and Greg Ellis. 13. Liquid Bloom, “Whispers of our Ancestors” from the album “Spa India.” 14. Silvard, “Rain” from the album “Life is Grand…On Cape Cod.” 15. Sanjiva, “Four Dimensional Interaction” from the album “Slumberland Episode Two Awake and Dreaming.” 16. Ennio Morricone, “Penance” and “Refusal” from the album “The Mission.” Published by Virgin Records. And Escala, “Chai Mai” from the album “Escala.” Composed by Ennio Morricone. Published by SIAE UK. 17. Escala, “Palladio” from the album “Escala.” Composed by Karl Jenkins. W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

JA ZZ SE R IE S

PRELUDE 7 PM Lecture by Jazz 88’s Claudia Russell

CHICK COREA & HERBIE HANCOCK FRIDAY, MARCH 20 ∙ 8 PM

JACBOS MUSIC CENTER/COPLEY SYMPHONY HALL

IMAGINATION UNBOUND WORLD TOUR 2015

Chick Corea, piano Herbie Hancock, piano PROGRAM TO BE ANNOUNCED FROM THE STAGE No intermission. For over half a century, Herbie Hancock and Chick Corea have been blazing their own paths of artistic innovation at the keyboard. From the great Miles Davis bands of the '60s, to the stadiumfilling, genre-shattering Headhunters and Return to Forever of the '70s, to their unparalleled, award-winning careers ever since. Hancock and Corea are among the most important influences on jazz – and beyond – of our time. In a series of rare and intimate duo performances presented at the world’s greatest venues, you won’t want to miss your chance to see this historic event.

Chick Corea last performed for La Jolla Music Society in SummerFest on August 17, 2004. This performance marks Herbie Hancock’s La Jolla Music Society debut.

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Many thanks to our Restaurant Partner: The University Club atop Symphony Towers

Young artists from the San Diego Youth Symphony perform

CHARLIE ALBRIGHT, piano SUNDAY, MARCH 22 ∙ 3 PM THE AUDITORIUM AT TSRI

BEETHOVEN Piano Sonata in C-sharp Minor, Opus 27, No. 2 “Moonlight” (1770-1827) Adagio sostenuto Allegretto Presto agitato CHARLIE ALBRIGHT Improvisation (Born 1988)

CHOPIN Variations on “Là ci darem la mano,” Opus 2 (1810-1849)

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

MUSSORGSKY Pictures at an Exhibition (1839-1881) Promenade Gnomus Promenade Il Vecchio Castello Promenade Tuileries Bydlo Promenade Ballet of the Chicks in Their Shells Two Polish Jews, One Rich, the Other Poor Promenade Limoges, The Market Place Catacombae, Sepulcrum Romanum Cum Mortuis in Lingua Mortua The Hut on Fowl’s Legs (Baba-Yaga) The Great Gate of Kiev

This performance marks Charlie Albright’s La Jolla Music Society debut.

D ISCO VE R Y SE R IE S

PRELUDE 2 PM

The Discovery Series is underwritten by Medallion Society member: Jeanette Stevens Additional support for the Series is provided by: Gordon Brodfuehrer

ARTS MANAGEMENT GROUP

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CHARLIE ALBRIGHT - PROGRAM NOTES Program notes by Eric Bromberger

Piano Sonata in C-sharp Minor, Opus 27, No. 2 “Moonlight”

Ludwig Van BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna

When Beethoven composed this piano sonata in 1801, he could not possibly have foreseen that it would become one of the most popular pieces ever written. But Beethoven, then 30 years old, was aware that he was trying to rethink sonata form. The keyboard sonata of the classical period had taken a fairly standard shape: sonata-form first movement, a slow movement, and a rondo-finale. While Haydn and Mozart had written some very good keyboard sonatas, no one would argue that their best work lies in such music, and in fact those two often composed keyboard sonatas for home performance by amateurs or for students. So radical was Beethoven’s rethinking of the form that he felt it necessary to append a qualifying description to the two sonatas of his Opus 27: “quasi una fantasia”–more like a fantasy than a strict sonata. In the Sonata in C-sharp Minor, he does away with sonata-form altogether in the first movement, writing instead an opening movement that functions as an atmospheric prelude. This haunting music, full of a bittersweet melancholy, feels almost improvisatory, and one senses that Beethoven is trying to avoid beginning with a conflictcentered movement that will overpower all that follows. Here the gently-rippling triplet accompaniment provides a quiet background for some of the most expressive music Beethoven ever wrote. The middle movement becomes not the traditional slow movement of the classical sonata, but a brief Allegretto that dances on gracefully-falling phrases. Formally, this movement resembles the classical minuet, though Beethoven eliminates the repeat of the first strain. Phrases are short, and Beethoven makes clear that he wants unusually strong attacks by specifying accent marks rather than a simple staccato indication. Nothing in the sonata to this point prepares one for the finale, which rips to life with a searing energy far removed from the dreamy atmosphere of the opening movement. Here, finally, is the sonata-form movement: Beethoven has moved the dramatic movement to the end as a way of giving it special significance. His marking Presto agitato is crucial: this is agitated music, and the pounding pulse of sixteenth-notes is never absent for long. Beethoven asks for an exposition repeat, builds the development around the dotted second subject, and at the close offers a series of arabesque-like runs and a moment of

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repose before the volcanic rush to the close. The nickname that has become an inescapable part of the way we think of this music did not originate with the composer, and Beethoven would be as surprised to learn that he had written a “Moonlight” Sonata as Mozart would be to learn that he had written a “Jupiter” Symphony. It was the poet-critic Ludwig Rellstab who coined the nickname in 1832, five years after Beethoven’s death, saying that the music reminded him of the flickering of moonlight on the waters of Lake Lucerne. One can only guess what Beethoven would have thought of such a nickname, particularly since it applies only to the first movement.

Variations on “Là ci darem la mano,” Opus 2

Frédéric CHOPIN Born February 22, 1810, ˙Zelazowa Wola Died October 17, 1849, Paris

During the summer of 1827, a seventeen-year-old music student named Frédéric Chopin used his summer holiday to compose a set of variations for piano and orchestra on Mozart’s “Là ci darem la mano.” It was his most ambitious work to date, and it would find unusual success. Two years later, Chopin– then19–traveled to Vienna to meet with Tobias Haslinger, who had published the work of the recently-deceased Franz Schubert. Haslinger saw Chopin’s manuscript to the variations and suggested that he would consider publishing this music only after he heard it. A performance was arranged in Vienna on August 11, 1829, and Chopin’s music (and his playing) created such an impression that Haslinger instantly decided to publish these variations. The following summer Chopin performed the work with an orchestra in Warsaw, this time using Haslinger’s freshly-printed parts. Mozart’s opera Don Giovanni was premièred in January 1787 in Prague, where it had a great success, and one of its most charming moments comes in Act I with “Là ci darem la mano.” This is sung as Don Giovanni attempts to seduce the peasant girl Zerlina. Their joint aria is very brief–Mozart called it a “Duettino”–but it has been an audience favorite from the moment of that première. “Là ci darem la mano” is sung as Don Giovanni leads Zerlina off to his house with the (patently false) promise of marriage. She goes along with this, putting up only token resistance, and all of this happens to some of the most beguiling and seductive music ever written. Chopin scored his variations on Mozart’s theme for a small orchestra and transposed that theme, originally in A major, up half-a-step to B-flat major. Chopin’s use of the orchestra was minimalist in the extreme: it provides only brief links between the variations, which are for piano alone. Pianists can perform those brief passages themselves, transforming these variations

CHARLIE ALBRIGHT - PROGRAM NOTES

into a work for solo piano. At this concert the music is heard in the version for solo piano. Chopin’s variations begin with a slow introduction that is extended at some length (nearly five minutes) as it explores aspects of Mozart’s theme, and there follow five variations on that theme. These are melodic variations: the original theme is always audible as Chopin presents it at different speeds and decorated in different ways before the rousing final section, an extended conclusion that Chopin marks Alla polacca. A very early work, the Variations on “Là ci darem la mano” are in no way typical of Chopin’s music as it evolved during his years in Paris. But to Chopin’s contemporaries, these variations sounded a distinctly original note. In his music journal, the Neue Zeitschrift für Musik, the young Robert Schumann wrote an enthusiastic review of this music by a composer he was hearing of for the first time. That review contains his famous early evaluation of Chopin: “Hats off, gentlemen! A genius!”

Pictures at an Exhibition

Modest MUSSORGSKY Born March 21, 1839, Karevo, Russia Died March 28, 1881, St. Petersburg

In the summer of 1873, Modest Mussorgsky was stunned by the sudden death of his friend Victor Hartmann, an architect and artist who was then only 39. The following year, their mutual friend Vladimir Stassov arranged a showing of over 400 of Hartmann’s watercolors, sketches, drawings, and designs. Inspired by the exhibition and the memory of his friend, Mussorgsky set to work on a suite of piano pieces based on the pictures and wrote enthusiastically to Stassov: “Hartmann is bubbling over, just as Boris did. Ideas, melodies, come to me of their own accord, like the roast pigeons in the story–I gorge and gorge and overeat myself. I can hardly manage to put it all down on paper fast enough.” He worked fast indeed: beginning on June 2, 1874, Mussorgsky had the score complete three weeks later, on June 22, just a few months after the première of Boris Godunov. The finished work, which he called Pictures at an Exhibition, consists of ten musical portraits bound together by a promenade theme that recurs periodically–Mussorgsky said that this theme, meant to depict the gallery-goer strolling between paintings, was a portrait of himself. Curiously, Pictures spent its first half-century in obscurity. It was not performed publically during Mussorgsky’s lifetime, it was not published until 1886 (five years after its composer’s death), and did not really enter the standard piano repertory until several decades after that: the earliest recording of the piano version did not take place until 1942. Even early listeners were

struck by the “orchestral” sonorities of this piano score, and in 1922 conductor Serge Koussevitzky asked Maurice Ravel to orchestrate it. Koussevitzky gave the first performance of Ravel’s version at the Paris Opera on October 19, 1922, and it quickly became one of the most popular works in the orchestral repertory. This recital offers the rare opportunity to hear this familiar music performed in its original version. The opening Promenade alternates 5/4 and 6/4 meters; Mussorgsky marks it “in the Russian manner.” The Gnome is a portrait of a gnome staggering on twisted legs; the following Promenade is marked “with delicacy.” In Hartmann’s watercolor The Old Castle, a minstrel sings before a ruined castle, and his mournful song rocks along over an incessant G-sharp minor pedal. Tuileries is a watercolor of children playing and quarreling in the Paris park, while Bydlo returns to Eastern Europe, where a heavy ox-cart grinds through the mud. The wheels pound ominously along as the driver sings; the music rises to a strident climax as the cart draws near and passes, then diminishes as the cart moves on. Mussorgsky wanted the following Promenade to sound tranquillo, but gradually this Promenade takes on unexpected power. The Ballet of the Unhatched Chicks depicts Hartmann’s costume design for the ballet Trilby, in which these characters wore eggshaped armor–Mussorgsky echoes the sound of the chicks with chirping gracenotes. “I meant to get Hartmann’s Jews,” said Mussorgsky of Two Polish Jews, One Rich, One Poor, often called by Mussorgsky’s later title Samuel Goldenberg and Schmuyle. This portrait of two Polish Jews in animated conversation has the rich voice of Goldenberg alternating with Schmuyle’s rapid, high speech. Listeners who know Pictures only in the Ravel orchestration will be surprised to find this movement followed by another Promenade; Ravel cut this from his orchestral version, which is a pity, because this appearance of the Promenade brings a particularly noble incarnation of that theme. The Marketplace at Limoges shows Frenchwomen quarreling furiously in a market, while Catacombs is Hartmann’s portrait of himself surveying the Roman catacombs by lantern light. This section leads into Cum mortuis in lingua mortua: “With the dead in a dead language.” Mussorgsky noted of this section: “The spirit of the departed Hartmann leads me to the skulls and invokes them: the skulls begin to glow faintly”; embedded in this spooky passage is a minor-key variation of the Promenade theme. The Hut on Fowl’s Legs shows the hut (perched on hen’s legs) of the vicious witch Baba Yaga, who would fly through the skies in a red-hot mortar–Mussorgsky has her fly scorchingly right into the final movement, The Great Gate of Kiev. Hartmann had designed a gate (never built) for the city of Kiev, and Mussorgsky’s brilliant finale transforms the genial Promenade theme into a heaven-storming conclusion.

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CELEBRITY O R CH E STR A SE R IE S

LONDON SYMPHONY ORCHESTRA Michael Tilson Thomas, principal guest conductor Yuja Wang, piano SUNDAY, MARCH 29 ∙ 8 PM

JACOBS MUSIC CENTER/COPLEY SYMPHONY HALL

BRITTEN Four Sea Interludes from Peter Grimes, Opus 33a (1913-1976) Dawn Sunday Morning Moonlight Storm GERSHWIN Piano Concerto in F Major (1898-1937) Allegro Adagio; Andante con moto Allegro agitato Yuja Wang, piano I N T E R M I S S I O N

SIBELIUS Symphony No. 2 in D Major, Opus 43 (1865-1957) Allegretto Tempo andante ma rubato Vivacissimo; Lento e suave Finale: Allegro moderato

The Celebrity Orchestra Series is underwritten by Medallion Society members:

Joan and Irwin Jacobs Tonight’s concert is sponsored by: Conrad Prebys and Debbie Turner Susan and Bill Hoehn Vail Memorial Fund

London Symphony Orchestra www.lso.co.uk

The London Symphony Orchestra last performed for La Jolla Music Society in the Celebrity International Orchestra Series on March 17, 2009. Yuja Wang last performed for La Jolla Music Society in the Frieman Family Piano Series on October 12, 2013.

LA JOLLA MUSIC SOCIETY

COLUMBIA ARTISTS MANAGEMENT LLC Tour Direction: R. DOUGLAS SHELDON 1790 Broadway New York, New York 10019-1412 www.cami.com

LONDON SYMPHONY ORCHESTRA - ROSTER

LONDON SYMPHONY ORCHESTRA Valery Gergiev, principal conductor Daniel Harding, Michael Tilson Thomas, principal guest conductors André Previn, KBE, conductor laureate Simon Halsey, choral director FIRST VIOLINS

VIOLAS

COR ANGLAIS

Roman Simovic, leader Carmine Lauri Lennox Mackenzie Clare Duckworth Nigel Broadbent Ginette Decuyper Gerald Gregory Jörg Hammann Maxine Kwok-Adams Claire Parfitt Laurent Quenelle Colin Renwick Ian Rhodes Sylvain Vasseur Rhys Watkins David Worswick

Paul Silverthorne Malcolm Johnston German Clavijo Anna Green Julia O’Riordan Robert Turner Edward Vanderspar Heather Wallington Philip Hall Cian O’Duill Caroline O’Neill Alistair Scahill

Leila Ward

CELLOS

Rachel Gough Daniel Jemison Joost Bosdijk

SECOND VIOLINS David Alberman Thomas Norris Miya Väisänen David Ballesteros Richard Blayden Matthew Gardner Julian Gil Rodriguez Naoko Keatley Belinda McFarlane William Melvin Iwona Muszynska Philip Nolte Harriet Rayfield Louise Shackelton

Rebecca Gilliver Minat Lyons Alastair Blayden Jennifer Brown Noel Bradshaw Eve-Marie Caravassilis Daniel Gardner Hilary Jones Amanda Truelove Mary Bergin

DOUBLE BASSES Joel Quarrington Colin Paris Nicholas Worters Patrick Laurence Matthew Gibson Thomas Goodman Joe Melvin Jani Pensola

FLUTES Gareth Davies Adam Walker Alex Jakeman

CLARINETS Andrew Marriner Chris Richards Chi-Yu Mo

BASS CLARINET Lorenzo Iosco

E-FLAT CLARINET Chi-Yu Mo

Neil Percy David Jackson Sam Walton Antoine Bedewi Jeremy Cornes

HARP

Bryn Lewis

PIANO / CELESTE John Alley

BASSOONS

CONTRA-BASSOON Dominic Morgan

LSO ADMINISTRATION Kathryn McDowell, managing director

Sue Mallet, director of planning

Frankie Hutchinson,

HORNS

tours & projects manager

Timothy Jones Stephen Stirling Angela Barnes Benjamin Jacks Jonathan Lipton

Jemma Bogan,

TRUMPETS

Dan Gobey,

Philip Cobb Alan Thomas Gerald Ruddock Daniel Newell

COLUMBIA ARTISTS MANAGEMENT LLC.

TROMBONES

Dudley Bright Peter Moore James Maynard

orchestra personnel manager

Iryna Goode, senior librarian

Alan Goode, stage & transport manager stage manager

R. Douglas Sheldon, senior vice president, tour direction

Karen Kloster, tour coordinator

Marcus Lalli,

BASS TROMBONE

executive assistant

Paul Milner

tour manager

PICCOLO

TUBA

Sharon Williams

Patrick Harrild

OBOES

TIMPANI

John Roberts Michael O’Donnell

PERCUSSION

Renee O’Banks, Maestro! Tour Management, hotels

Leanne Donlevy, hotel advance

Nigel Thomas Antoine Bedewi W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

LONDON SYMPHONY ORCHESTRA - PROGRAM NOTES Program notes by Eric Bromberger

Four Sea Interludes from Peter Grimes, Opus 33a

Benjamin BRITTEN Born November 22, 1913, Lowestoft, England Died December 4, 1976, Aldeburgh, England

Peter Grimes, which depends for so much of its force on Britten’s superb evocation of the harsh and violent Suffolk coast, has become one of the great operas of the twentieth century, and it comes as a surprise to learn that the opera got its start in Escondido. Britten had left England in 1939, believing that his homeland was blocked to him as an artist and intending to make a new life in America. Britten had some success here, but he also suffered bouts of ill health, and–wishing for a climate warmer than Long Island’s–he accepted an invitation to spend the summer of 1941 with the duo-pianist team of Ethel Bartlett and Rae Robertson at a home they had rented in Escondido. Britten and Peter Pears drove an ancient car across the country, arriving in Escondido that spring. Two years in this country had made Britten increasingly ambivalent about his separation from England, and the summer in Escondido brought the event that drove him both to return and to compose Peter Grimes. Early that summer, Pears bought a volume of the poetry of George Crabbe (Pears was later unable to recall if the bookstore had been in Los Angeles or San Diego), and now the two young men found themselves enthralled by Crabbe’s poetry. Crabbe (1754-1832) was from Britten’s own Suffolk. His was a bleak vision of mankind and of Suffolk life; Britten probably did not know–but would readily have agreed with– the sonnet in tribute to Crabbe by American poet Edwin Arlington Robinson, which begins “Give him the darkest inch your shelf allows.” To a friend in Long Island, Britten wrote: “We’ve just re-discovered the poetry of George Crabbe (all about Suffolk!) & are very excited–maybe an opera one day–!” Britten was particularly taken with Crabbe’s The Borough (1810), which tells of life in a Suffolk fishing village and of the outcast Peter Grimes. When Serge Koussevitzky asked Britten the following winter why he had composed no operas, the young composer spoke of the cost of such a project, and Koussevitzky promptly commissioned an opera from him. Britten returned to England in April 1942, armed with this commission and fired by a new passion for his native Suffolk. He composed Peter Grimes in 1944-45, and its première in June 1945 was a triumph. The opera is based on the deadly collision between a fishing village called The Borough–which represents convention, religion, law, and a great deal of smugness–and Grimes,

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an outcast, violent, perhaps demented, yet longing for acceptance by the community he despises. The opera is in three acts, and as preludes to the acts or as interludes between scenes Britten composed six orchestral interludes, brief mood-pieces designed to set a scene, establish a mood, or hint at character. Even before the opera had been produced, Britten assembled an orchestral suite made up of four of these, which he called Sea Interludes, and led the London Philharmonic Orchestra in its première on June 14, 1945. The opera opens with a Prologue, The Borough’s investigation into the death of Grimes’ previous apprentice William Sprode, and at its conclusion comes the first interlude, Dawn, which functions as the prelude to the opera. Here is gray daybreak on the bleak Suffolk coast, evoked by the high, clear, pure sound of unison flutes and violins. This is haunting, evocative music, full of the cries of sea birds, the hiss of surf across rocky beaches, and–menacing in the deep brass–the swell of the sea itself. Sunday Morning, the prelude to Act 2, opens with the sound of church bells pealing madly in the horns and woodwinds. The strings have the theme Ellen Orford sings in praise of the sunny sea: “Glitter of waves / And glitter of sunlight / Bid us rejoice / And lift our hearts high.” Moonlight is the prelude to Act 3–its portrait of the tranquil sea is broken by splashes of sound from flute, xylophone, and harp. The concluding Storm actually comes from early in the opera: a depiction of a storm that strikes the coast, it forms the musical interlude between Scenes 1 and 2 of the opening act. The violence of the opening gives way to a more subdued central section before the storm breaks out again and drives the music to its powerful close. Britten noted that “ . . . my life as a child was colored by the fierce storms that sometimes drove ships on our coast and ate away whole stretches of neighboring cliffs. In writing Peter Grimes, I wanted to express my awareness of the perpetual struggle of men and women whose livelihood depends on the sea.”

Piano Concerto in F Major

George GERSHWIN Born September 28, 1898, Brooklyn Died July 11, 1937, Beverly Hills

The success of Rhapsody in Blue in February 1924 propelled Gershwin overnight from a talented Broadway composer to someone taken seriously in the world of concert music, and he was anxious to explore a path that had suddenly opened up for him. When conductor Walter Damrosch and the New York Symphony Society asked Gershwin to compose a piano concerto the following year,

LONDON SYMPHONY ORCHESTRA - PROGRAM NOTES

the young composer accepted eagerly: the commission– signed in April 1925–paid him $500 for the new concerto, to be performed the following December. There is no truth to the story, told many times, that Gershwin left this meeting and went straight to a bookstore to buy a book on musical form so that he would know what a piano concerto was, but this story does point to a larger truth: Gershwin was entering a musical world with which he was unfamiliar. Ferde Grofé had orchestrated Rhapsody in Blue for Gershwin, but now the composer was anxious to do all the work by himself: he wanted to be taken seriously as someone who could compose classical music (and in fact he did consult treatises on orchestration as he worked on this concerto). Gershwin jotted down some ideas for the concerto while in London in May 1925, but it was not until he returned to New York that he began the actual composition, which took place between July and November of that year. He had at first planned to call the piece New York Concerto, but his desire for respectability won out, and he settled on Piano Concerto in F (it may be a mark of the breezy spirit of this music that it is always called that, rather than the more formal Piano Concerto in F Major). As was his habit, Gershwin played this music to many friends as he worked so that he could try it out. In fact, he even hired an orchestra and played a private run-through a few weeks before beginning rehearsals with Damrosch for the official première, which took place (with Gershwin as soloist) in Carnegie Hall on December 3, 1925. F. Scott Fitzgerald nicknamed the twenties “The Jazz Age” (The Great Gatsby was published in the same year Gershwin wrote this concerto), and jazz was very much in the air in 1925. Gershwin had made his reputation with Rhapsody in Blue–billed as an experimental effort to fuse jazz and classical music–but he took pains to insist that he did not consider the Concerto in F a jazz piece. Though the concerto employs Charleston rhythms and a blues trumpet, Gershwin wanted it taken as a piece of serious music: he said that its brilliant energy was not so much the effort to write jazz as it was intended to represent “the young, enthusiastic spirit of American life.” Certainly the Concerto in F takes the form of the classical concerto: a sonata-form first movement, a lyric second movement, and a fast rondo-finale. The Allegro opens with a great flourish of timpani followed by the characteristic Charleston rhythm. Solo bassoon introduces the first theme, gradually taken up by the full orchestra, and the piano makes its entrance with the wonderful second subject, sliding up from the depths on a long glissando into the lazily-syncopated tune. Gershwin was willing to bend classical form for his own purposes, and he described this first movement: “It’s in sonata-form–but.” The development

tends to be episodic (but who cares?), and this lengthy movement concludes with a Grandioso restatement by full orchestra of the piano’s opening tune and an exciting coda based on the Charleston theme. Of the slow movement, Gershwin said that it “has a poetic nocturnal atmosphere which has come to be referred to as the American blues . . .” He contrasts the trumpet’s bluesy entrance (played with a felt mute) against the piano’s snappy entrance on a variant of the same tune and then alternates these ideas across the span of the movement. He may have thought of this movement as a nocturne, but this particular night seems full of energy, for the music rises to a tremendous climax before falling away to the quiet close. Out of the quiet, the Allegro agitato finale explodes to life. Gershwin described it as “an orgy of rhythm,” and the opening plunges the pianist and orchestra into a perpetual-motion-like frenzy. The movement is in rondo form, and the episodes quickly begin to recall themes from the first two movements. At the end, Gershwin brings back the Grandioso string tune from the climax of the first movement, and the Concerto in F rushes to a knock-out close based on the timpani flourish from the very beginning of the first movement.

Symphony No. 2 in D Major, Opus 43

Jean SIBELIUS

Born December 8, 1865, Tavastehus, Finland Died September 20, 1957, Järvenpää, Finland

Sibelius’ Second Symphony, composed in Italy in 1901 when the composer was 35, has become one of the most famous in the orchestral repertory. It is easily Sibelius’ most popular symphony, it is a favorite of audiences around the world, and it is a favorite of performers too: over thirty recordings are currently available. This popularity has been explained in various ways. Some sense the sunny atmosphere of Italy warming Sibelius’ austere Scandinavian sensibilities. Others hear a Finlandia-like program that dramatizes Finland’s struggle for national identity in the face of foreign domination. But Sibelius would have had none of this. He wanted his music considered abstractly–as sounddrama and not as a vehicle for extra-musical interpretation– and there is no doubt that the Second Symphony, in all its austere grandeur, is a stunning success as sound-drama. Sibelius’ music has the sweep of the true symphonist, yet his symphonic methods are unique. Rather than presenting themes and then developing them, a Sibelius symphony will often present its themes at first only as fragmentary shapes. These shapes can come together to assume a more complete form within the course of a W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

LONDON SYMPHONY ORCHESTRA - PROGRAM NOTES

movement, but then shatter into fragments once again. And this transformation of material takes place during violent contrasts of mood, long buildups that culminate in a constant series of climaxes, and great splashes of instrumental color that burst out of the leaden skies of Sibelius’ musical landscape. These methods may be unique, but they take us on a true symphonic journey: across the forty-minute span of the Second Symphony, Sibelius moves inexorably from the tentative beginning through the battlefields of the interior movements to the thrilling culmination of the heroic finale. No wonder this is one of the most emotionally satisfying–and most popular–symphonies ever written. Many have noted that Sibelius seems to reverse the sequence of the first two movements. Rather than opening with a dramatic movement, Sibelius begins with a gentle Allegretto. The pulsing string figures at the opening will recur throughout, and over them woodwinds sing an almost innocent tune. These theme-shapes return in a variety of forms, but the movement resolves nothing and concludes on the same tentative chords with which it began. The drama one expects from a first movement erupts in the second, marked Tempo Andante. Over the deep pizzicato opening, a pair of bassoons chant the main theme, aptly marked lugubre, and soon the music explodes in furious brass and percussion outbursts. Such episodes alternate with melting lyricism in a lengthy movement that is never at peace for long. The scherzo arrives like a blast of wind across the frozen tundra. Its brief trio section, marked lento e suave, is in the unusual meter of 12/4: solo oboe sings its gentle song, built of a number of repeated notes. A sudden return of the scherzo leads to a further surprise: Sibelius brings back the music of the trio one more time before the symphony proceeds–on gradually more excited waves of sound–directly into the finale. This concluding Allegro moderato is heroic in every sense of the term: its broad D major opening strides ahead in thunderous octaves, so powerfully that one may miss the fact that this appears to be a variation of the woodwind tune from the symphony’s very beginning, now played backwards. Trumpet fanfares and throbbing accompaniment push this music steadily forward, and this heroic beginning might prove anticlimactic were it not for Sibelius’ control of his material. More lyric secondary music intervenes, and Sibelius continually delays the return of the home key of D major until the shining return of the main theme in the triumphant final moments.

LA JOLLA MUSIC SOCIETY

With special thanks to the generous supporters of the LSO’s 2015 U.S. Tour

City National Bank Mr. Neil and Dr. Kira Flanzraich Bruce and Suzie Kovner Sir Michael Moritz KBE and Harriet Heyman Michael Tilson Thomas and Joshua Robison

And those that wish to remain anonymous We would also like to extend our thanks to those who support the wider work of the LSO through the American LSO Foundation: Jane Attias, Mercedes T. Bass, Francesca & Christopher Beale, David Chavolla, Barbara G. Fleischman, The Reidler Foundation, Elena Sardarova, Daniel Schwartz, Mrs. Ernest H Seelhorst.

B IO G R A P H IE S

CHARLIE ALBRIGHT, piano

2014 Avery Fisher Career Grant Recipient, 2009 Young Concert Artist, 2010 Gilmore Young Artist and Official Steinway Artist, Charlie Albright has been critically acclaimed by The Washington Post as “among the most gifted musicians of his generation” whose “musical shape was never sacrificed to showmanship” and whose “impressive range of differently colored sounds at the keyboard was matched by overwhelming virtuosity. The New York Times praised his “jaw-dropping technique,” “intelligently wrought interpretation,” and “virtuosity meshed with a distinctive musicality.” Having performed duets and chamber music on multiple occasions with such artists as cellist Yo-Yo Ma and such groups as the Silk Road Project, Mr. Albright has performed or competed across the U.S., France, Australia, Norway, and Portugal. He completed his Associate of Science degree at the Centralia College during high school while studying with Nancy Adsit, and is the first classical pianist in the Harvard/New England Conservatory B.A./M.M. 5-Year Joint Program, where he received his B.A. in Economics at Harvard as a premedical student and received his Masters of Music in Piano Performance in 2012 with Wha-Kyung Byun. He graduated with the prestigious Artist Diploma (A.D.) from The Juilliard School of Music with Yoheved Kaplinsky. For more information, visit: CharlieAlbright.com.

INON BARNATAN, piano

Pianist Inon Barnatan has been named as the New York Philharmonic’s first Artist in Association, a major three-season appointment highlighted by multiple concerto and chamber collaborations with the orchestra. Equally commanding in solo and chamber performances, the Avery Fisher Career Grant recipient has performed recitals at Carnegie Hall, Washington’s Kennedy Center, Wigmore Hall and the Concertgebouw, among others. He is a member of the Chamber Music Society of Lincoln Center and frequently performs as a recital partner of cellist Alisa Weilerstein. Mr. Barnatan has performed with many of the world’s leading orchestras, including the Los Angeles Philharmonic, the symphony orchestras of Atlanta, Dallas, Cleveland, Philadelphia and San Francisco, the Academy of St. Martin-in-theFields, Deutsche Symphonie Orchester Berlin, National Arts Centre Orchestra and the Orchestre de la Suisse Romande. BBC Music magazine praises his 2013 recording of Schubert’s late sonatas “superior playing, in which penetrating musicianship, compelling interpretive insight, and elegant pianism achieve near perfect equilibrium.” His solo album Darknesse Visible was designated one of the “Best of 2012” by The New York Times. He regularly commissions and performs music by living composers, and recently premiered piano works by Matthias Pintscher and Sebastian Currier.

STEVEN CASSEDY, prelude presenter Steven Cassedy, Distinguished Professor of Literature and Associate Dean of Graduate Studies at UCSD, is a classically trained pianist who studied at The Juilliard School’s Pre-College Division and at the University of Michigan’s School of Music. He received his undergraduate degree in comparative literature at the University of Michigan in 1974 and his Ph.D. in comparative literature at Princeton University in 1979. He has been a member of the Department of Literature since 1980.

CHICK COREA, piano

The New York Times has described Chick Corea’s career as “among the most kaleidoscopic in jazz…,” and Mr. Corea as “ebullient and eternally youthful,” “a worthy luminary with the instincts of a tinkerer, more committed to inquiry than to resolutions.” The keyboardist, composer and bandleader is a DownBeat Hall of Famer and NEA Jazz Master, as well as the fourth-most nominated artist in Grammy® Awards history with 63 nods – and 22 wins, in addition to a number of Latin Grammys®. From straight-ahead to avant-garde, bebop to jazz-rock fusion, children’s songs to chamber and symphonic works, Mr. Corea has touched an astonishing number of musical bases in his career since playing with the genre-shattering bands of Miles Davis in the late '60s and early '70s. Yet he has never been more productive than in the 21st century, whether playing acoustic piano or electric keyboards, leading multiple bands, W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

BIOGRAPHIES

performing solo or collaborating with a who’s who of music. Underscoring this, he has been named Artist of the Year twice this decade in the DownBeat Readers Poll. Born in 1941 in Massachusetts, Mr. Corea remains a tireless creative spirit, continually reinventing himself through his art. He has attained iconic status in music.

HERBIE HANCOCK, piano

Recognized as a legendary pianist and composer, and now in the fifth decade of his professional life, Herbie Hancock remains where he has always been: at the forefront of world culture, technology, business and music. Mr. Hancock has been an integral part of every popular music movement since the 1960s, from pioneering groundbreaking sound in jazz with the Miles Davis Quintet, to combining electric jazz with funk and rock to create record-breaking albums like “Headhunters.” He has received many honors including an Academy Award® for his Round Midnight film score and 14 Grammy® Awards, including Album Of The Year for River: The Joni Letters, and two for The Imagine Project. Many of his compositions, including “Canteloupe Island,” “Maiden Voyage,” “Watermelon Man” and “Chameleon,” are modern standards. Mr. Hancock serves as the Los Angeles Philharmonic Association’s Creative Chair for Jazz and is Thelonious Monk Institute of Jazz’s Chairman. He is a founder of The International Committee of Artists for Peace (ICAP), and was recently given the “Commandeur des Arts et des Lettres” by French Prime Minister François Fillon. In 2011 Mr. Hancock was named a UNESCO Goodwill Ambassador by UNESCO Director-General Irina Bokova, and in December of 2013, received a Kennedy Center Honor.

JERUSALEM QUARTET

Alexander Pavlovsky, Sergei Bresler, violins; Ori Kam, viola; Kyril Zlotnikov, cello

BBC Music Magazine extolled Jerusalem Quartet’s latest recording of Haydn’s String Quartets as “an absolute triumph. Their playing has everything you could possibly wish for.” The ensemble has won audiences the world over, both in concert and with their recordings for the Harmonia Mundi label. The Quartet performs regularly in Europe as well as North America, with recent appearances at venues such as the Concertgebouw in Amsterdam, the Herkulessaal in Munich, London’s Wigmore Hall and the Cité de la Musique in Paris, as well as venues in cities including Brussels, Antwerp, Gent, Lucerne, Dortmund, Perugia, Genoa, Siena and Le Mans. Jerusalem Quartet formed while its members were students at the Jerusalem Conservatory of Music and Dance. They quickly found a shared commitment to the music that has not only endured, but has propelled them to the highest level of performance. Hailed by The Strad as “one of the young, yet great quartets of our time,” Jerusalem Quartet has garnered international acclaim for its rare combination of passion and precision. Ori Kam joined the group in 2011, upon the departure of founding violist Amihai Grosz.

LONDON SYMPHONY ORCHESTRA Widely regarded as one of the world’s leading orchestras, the London Symphony Orchestra has an enviable family of artists including LSO Principal Conductor Valery Gergiev, Principal Guest Conductors Michael Tilson Thomas and Daniel Harding, and collaborates with some of the world’s leading musicians – Yuja Wang, Leonidas Kavakos, Anne-Sophie Mutter, Mitsuko Uchida and Maria João Pires. In addition to a global tour schedule, the LSO performs around 70 concerts a year as Resident Orchestra at the Barbican, and enjoys successful residencies in New York, Paris and Tokyo. La Jolla Music Society’s LSO presentation is part of an extensive tour of the United States with Michael Tilson Thomas, celebrating his 70th birthday with the Orchestra. The LSO is committed to music education, and its LSO Discovery and LSO On Track programs engage people of all ages in music-making. The Orchestra is a world-leader in recording music for CD, film and events. The unparalleled LSO Live label celebrated its hundredth release last year. Recordings are available world-wide on CD, SACD and online. The LSO has also recorded music for hundreds of films, including Philomena, The Monuments Men, four of the Harry Potter films, Superman and all six Star Wars movies.

LA JOLLA MUSIC SOCIETY

BIOGRAPHIES

Michael Tilson Thomas, principal guest conductor

Michael Tilson Thomas has said, “Classical music is an unbroken, living tradition that goes back over 1,000 years, and every one of those years has had something unique and powerful to say to us about what it’s like to be alive.” Mo. Tilson Thomas is Music Director of the San Francisco Symphony, Founder and Artistic Director of the New World Symphony and Principal Guest Conductor of the London Symphony Orchestra. As a guest conductor he works with the world’s leading orchestras, including the Vienna Philharmonic and the Chicago Symphony Orchestra. He has won 11 Grammys® for his recordings, is the recipient of the National Medal of Arts (the highest honor for artistic excellence in the United States), presented to him by President Barack Obama, and is a Chevalier dans l’ordre des Arts et des Lettres of France. This season he celebrates both his 20th anniversary as Music Director of the San Francisco Symphony and his 70th birthday with a U.S. and European tour with the San Francisco Symphony, a tour of New York and the west coast of the United States with the London Symphony Orchestra, appearances in New York and Washington D.C. with the New World Symphony and concerts with the Vienna Philharmonic Orchestra.

Yuja Wang, piano

Yuja Wang has performed with many of the world’s most prestigious orchestras, including the Big Five orchestras of the United States, and Berlin Staatskapelle, China Philharmonic, Filarmonica della Scala, Israel Philharmonic, London Symphony, the NHK Symphony in Tokyo, and the Royal Concertgebouw Orchestra, among others abroad. Conductors with whom she has collaborated include Abbado, Barenboim, Dudamel, Mehta, Masur, Salonen and Tilson Thomas. This season Ms. Wang is artist-in-residence with Zurich’s Tonhalle Orchestra and will also be featured in a two-week residency with the Hong Kong Philharmonic. She performs Prokofiev’s Concerto No. 2 with both the Berlin and Munich philharmonics, and returns to the Concertgebouw to work with Mariss Jansons. In the U.S. she is featured soloist on the London Symphony Orchestra tour with Maestro Tilson Thomas. An exclusive recording artist for Deutsche Grammophon, Ms. Wang’s catalogue includes three sonata recordings, a concerto recording with Abbado and the Mahler Chamber Orchestra, and a disc of Prokofiev and Rachmaninov with Dudamel and the Simón Bolívar Symphony Orchestra. Most recently, she recorded the Brahms violin sonatas with Leonidas Kavakos for Decca Records. Ms. Wang received the prestigious Avery Fisher Career Grant in 2010. She is a graduate of the Curtis Institute of Music.

MOMIX With nothing more than light, shadow, props, and the human body, MOMIX has astonished audiences on five continents for more than 30 years. Under the direction of Moses Pendleton, MOMIX is a company of dancer-illusionists known internationally for presenting work of exceptional inventiveness and physical beauty. In addition to stage performances world-wide, MOMIX has worked in film and television, recently appearing in a national commercial for Hanes underwear and a Target ad that premiered during the airing of the 67th Annual Golden Globe Awards. With performances on PBS’s “Dance in America” series, France’s Antenne II and Italian RAI television, the company’s repertory has been broadcast to 55 countries. Joining the Montreal Symphony in the Rhombus Media film of Mussorgsky’s Pictures at an Exhibition, winner of an International Emmy® for Best Performing Arts Special, the company’s performance was distributed on laser disc by Decca Records. MOMIX, and its dancers have been featured in such films IMAGINE, FX2 and The Company. The company has been commissioned by corporations such as Fiat and Mercedes Benz, performing at Fiat’s month long 100th Anniversary Celebration in Torino, Italy and Mercedes Benz’s International Auto Show in Frankfurt, Germany. MOMIX has been touring steadily and is currently performing several programs internationally.

Moses Pendleton, artistic director Moses Pendleton has been one of America’s most innovative and widely performed choreographers and directors for over 40 years. He was born and raised on a dairy farm in Northern Vermont and his earliest experiences as a showman came from exhibiting his family’s dairy cows at the Caledonian County Fair. A graduate of Dartmouth College, he co-founded the ground-breaking W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

BIOGRAPHIES

Pilobolus Dance Theater, before forming his own company, MOMIX. Pilobolus shot to fame in the1970s, performing on Broadway and appearing in PBS’s Dance in America and Great Performances series. Mr. Pendleton has also worked extensively in film, TV and opera and as a dancer and as a choreographer for an expansive variety of acclaimed ballet companies and special events including the Joffrey Ballet, the Arizona and Aspen Santa Fe ballets, the Paris Opera, the 1980 Winter Olympics, the U.S. Spoleto Festival and La Scala. Mr. Pendleton is an avid photographer with works presented in Rome, Milan, Florence, and Aspen. In addition to having received many awards, Mr. Pendleton received an honorary doctorate of fine arts (HDFA) and delivered the keynote address to the University of the Arts in Philadelphia. Most recently, Mr. Pendleton choreographed the ‘Symbol of Peace’ for the opening ceremony of the 2013 Sochi Winter Olympics.

MARCUS OVERTON, prelude presenter In a 50-year career, Marcus Overton has crossed almost every disciplinary boundary, as performer, teacher and coach for singers and actors, opera and theatre stage director, critic for major publications and Emmy Award-winning radio and television producer. His arts management career began at the Lyric Opera of Chicago, continued in senior management at the Ravinia Festival, included nine years as Senior Manager of Performing Arts at the Smithsonian Institution and – by invitation of Gian Carlo Menotti – the general manager’s post at Spoleto Festival USA.

NICOLAS REVELES, prelude presenter A San Diego County native, Nicolas Reveles is currently the Director of Education and Community Engagement for San Diego Opera. A pianist and composer as well as a coach and educator, he holds a doctorate in piano from the Manhattan School of Music in New York. Before joining San Diego Opera, he was a professor of music at the University of San Diego, and hosts an annual – and very popular – series of broadcasts – “Opera Talk with Nic Reveles” – on UCSD-TV.

CLAUDIA RUSSELL, prelude presenter Claudia Russell is the Program Director at KSDS Jazz 88.3 and manages the promotions department as well. Claudia has been in radio professionally since 1988, working for both commercial and public stations, and at KSDS since the spring of 2001. She brings to Jazz 88.3 a love for jazz and blues music, as well as an appreciation of all performing arts. Claudia’s musical tastes run the gamut from acoustic folk, jam bands, and Afro-Cuban music to classical and Broadway tunes. Among her favorite jazz recordings are the classic Blue Note and Verve recordings, as well as “the great American songbook” vocal performances by Ella Fitzgerald. She has served on development panels for National Public Radio, as well as the International Association for Jazz Education.

SAN DIEGO YOUTH SYMPHONY AND CONSERVATORY The San Diego Youth Symphony and Conservatory is the 6th oldest continuously operating youth symphony in the US, and serves over 600 students annually in ten ensembles in Balboa Park. Skill levels range from beginner to pre-professional, with participating students ages 8 to 25. In addition to its Balboa Park programs, SDYS launched the Community Opus Project in 2010 as a strategy to demonstrate the benefits of music education, build support for music in the community, and convince school districts to provide music as part of students’ regular curriculum. SDYS was the 2012 Grand Prize Winner of the BoardSource/Prudential Leadership Awards for Exceptional Nonprofit Boards.

LA JOLLA MUSIC SOCIETY

BIOGRAPHIES

SIR ANDRÁS SCHIFF, piano

Born in Budapest, Hungary in 1953, Sir András Schiff is renowned and acclaimed as a pianist, conductor, pedagogue, and lecturer. Having recently completed The Bach Project, this season he begins The Last Sonatas, a series of recitals comprising the final three sonatas of Haydn, Mozart, Beethoven and Schubert. The Last Sonatas takes place over the course of two seasons with the complete series slated for New York’s Carnegie Hall, San Francisco’s Davies Symphony Hall, Los Angeles’s Walt Disney Concert Hall, Chicago’s Symphony Hall, Washington Performing Arts’ Strathmore Hall, The Vancouver Recital Society and University Musical Society of The University of Michigan. Sir András Schiff has established a prolific discography, and has been an exclusive artist for ECM New Series. Recordings for ECM include the complete solo piano music of Beethoven and Janáček, two solo discs of Schumann piano pieces, his second recordings of the Bach Partitas and Goldberg Variations, The Well Tempered Clavier, Books I and II and Beethoven’s Diabelli Variations. An all-Schubert disc featuring Sonata in B (D960), Sonata in G (D894), Moments Musicaux (D780) and the Impromptus is slated to be released in spring 2015. In addition to numerous international prizes, Sir András Schiff was awarded a Knighthood by Her Majesty Queen Elizabeth II in the 2014 Birthday Honours.

GIL SHAHAM, violin

Time praises Gil Shaham as “The outstanding American violinist of his generation.” His flawless technique combined with his inimitable warmth and generosity of spirit has solidified his renown as an American master. Highlights of his 2014-15 season include an opening-night gala with the Seattle Symphony and rejoining the San Francisco Symphony under Michael Tilson Thomas on the orchestra’s 20th-anniversary tour. In December, he premiered David Bruce’s Violin Concerto Fragile Light with the San Diego Symphony. Mr. Shaham will perform Prokofiev’s Second Concerto at venues including Carnegie Hall as part of his long-term exploration of “Violin Concertos of the 1930s.” Mr. Shaham’s more than two dozen concerto and solo CDs have topped the charts in the U.S. and abroad. His recordings have earned multiple Grammys®, a Grand Prix du Disque, Diapason d’Or and Gramophone Editor’s Choice. Mr. Shaham has most recently recorded for the Canary Classics label, which he founded in 2004. He has won many prizes including the Avery Fisher Career Grant in 1990 and the coveted Avery Fisher Prize in 2008. He plays the 1699 “Countess Polignac” Stradivarius and lives in New York City with his wife, violinist Adele Anthony, and their three children. For more information, visit www.gilshaham.com.

PHOTO CREDITS: Cover: H. Hancock © Douglas Kirkland 2010 / C. Corea © C. Taylor Crothers; Pg 2: A. Sandoval courtesy of artist; Pg. 11 & 41: Sir A. Schiff © Dieter Mayr; Pg. 15: Jerusalem Quartet © Felix Broede; Pg. 18 & 41: G. Shaham by Luke Ratray; Pg. 22 & 37: I. Barnatan © Marco Borggreve; Pg. 26 & 39: MOMIX - Alchemia by Max Pucciariello; Pg. 28: H. Hancock © Douglas Kirkland 2010 / C. Corea by Dick Zimmerman (2014); Pg. 29 & 37: C. Albright courtesy of artist; Pg. 32 & 38: M. Tilson Thomas © Bill Swerbenski; Pg. 37: S. Cassedy courtesy of presenter; C. Corea by Dick Zimmerman (2014); Pg. 38: H. Hancock © Douglas Kirkland 2010; Jerusalem Quartet © Felix Broede; Pg. 39: M. Tilson Thomas by Chris Wahlberg; Y. Wang © James Cheadle; M. Pendleton courtesy of artist; Pg. 40: M. Overton courtesy of presenter; N. Reveles © Seth Mayer; C. Russell courtesy of presenter; Back Cover: M. Tilson Thomas © Bill Swerbenski

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MA JO R D O N O R SO CIE T Y

SEA SON 46 • 2014-15

MEMBERS OF THE MAJOR DONOR SOCIETY SUPPORT LA JOLLA MUSIC SOCIETY WITH GIFTS OF AT LEAST $5,000 La Jolla Music Society’s high quality presentations, artistic excellence, and extensive education and community engagement programs are made possible in large part by the support of the community. There are many ways for you to play a crucial role in La Jolla Music Society’s future —from annual support to sponsorships to planned giving. For information on how you can help bring the world to San Diego, please contact Ferdinand Gasang, Development Director, at 858.459.3724, ext. 204 or FGasang@LJMS.org.

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DID YOU KNOW? Since 1999, La Jolla Music Society has operated Community Music Center, a free afterschool music education program in Southeast San Diego. Beyond learning how to read music and play their instruments, students in this program learn valuable lessons in commitment, perseverance and responsibility.

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PATR O N SO CIE T Y

SEASON 46 â&#x20AC;˘ 2014-15

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DID YOU KNOW? SummerFest Fellowship Artists are selected from among the finest young musicians in the country. Alumni ensembles go on to win major awards, like the Banff International String Quartet Competition and the CMS Two Program of The Chamber Music Society of Lincoln Center.

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PATR O N SO CIE T Y 46

SEASON 46 • 2014-15

FOUNDATIONS The Atkinson Family Foundation Ayco Charitable Foundation: The AAM & JSS Charitable Fund The Vicki & Carl Zeiger Charitable Foundation Bettendorf, WE Foundation: Sally Fuller The Blachford-Cooper Foundation The Catalyst Foundation: The Hon. Diana Lady Dougan The Clark Family Trust Enberg Family Charitable Foundation The Epstein Family Foundation: Phyllis Epstein The Fidelity Charitable Gift Fund: Drs. Edward & Martha Dennis Fund Sue & Chris Fan Don & Stacy Rosenberg Shillman Charitable Trust Richard and Beverly Fink Family Foundation Inspiration Fund at the San Diego Foundation: Frank & Victoria Hobbs The Jewish Community Foundation: Bernard & Rose Corbman Endowment Fund The Sondra & Robert Berk Fund Diane & Elliot Feuerstein Fund Foster Family Foundation Galinson Family Fund Lawrence & Bryna Haber Fund Joan & Irwin Jacobs Fund David & Susan Kabakoff Fund Warren & Karen Kessler Fund Liwerant Family Fund Theodora F. Lewis Fund Jaime & Sylvia Liwerant Fund The Stephanie Jean Hayo Robins Memorial Fund The Allison & Robert Price Family Foundation Fund Gary & Jean Shekhter Fund John & Cathy Weil Fund Sharon & Joel Labovitz Foundation The Stephen Warren Miles and Marilyn Miles Foundation The New York Community Trust: Barbara & William Karatz Fund Rancho Santa Fe Foundation: The Fenley Family Donor-Advised Fund The Susan & John Major Donor-Advised Fund ResMed Foundation The San Diego Foundation: The Beyster Family Foundation Fund The M.A. Beyster Fund II The Karen A. & James C. Brailean Fund The Valerie & Harry Cooper Fund The Hom Family Fund Inspiration Charitable Trust Louise D. Kasch Donor Advised Fund The Julius J. Pearl Fund The Ivor & Colette Carson Royston Fund The Scaranao Family Fund The Shiftan Family Fund Schwab Fund for Charitable Giving: Alexa Kirkwood Hirsch Fund Ted McKinney & Frank Palmerino Fund The Shillman Foundation LA JOLLA MUSIC SOCIETY

Silicon Valley Community Foundation: The William R. & Wendyce H. Brody Fund The Haeyoung Kong Tang Foundation The John M. and Sally B. Thornton Foundation The John H. Warner Jr. and Helga M. Warner Foundation Vail Memorial Fund Thomas and Nell Waltz Family Foundation Sheryl and Harvey White Foundation

HONORARIA/ MEMORIAL GIFTS In Honor of Christopher Beach: Helene Kruger In Memory of J. Robert Beyster: Clifford Schireson & John Venekamp In Honor of Karen and Jim Brailean: Thomas & Judith Theriault In Honor of Gordon Brodfuehrer’s Birthday: Anonymous In Honor of Bill and Wendy Brody: Helene Kruger In Honor of Brian Devine’s Birthday: Helene Kruger In Honor of Brian and Silvija Devine: Gordon Brodfuehrer Dave & Elaine Darwin Helene Kruger In Honor of Joy Frieman: Linda & Tim Holiner In Memory of David Goldberg: Patricia Winter In Honor of Susan and Bill Hoehn: Tom & Loretta Hom In Honor of Irwin Jacobs’ Birthday: Martha & Ed Dennis In Honor of Edith Kohn’s Birthday: Helene Kruger In Memory of Lois Kohn: Ingrid Paymar In Honor of Helene Kruger: Anonymous Christopher Beach & Wesley Fata Brian & Silvija Devine Bryna Haber Patricia Manners Paul & Maggie Meyer Ann Mound Debbie Horwitz & Paul Nierman Don & Stacy Rosenberg Clifford Schireson & John Venekamp

Beverly Schmier Nell Waltz Pat Winter In Honor of Joel and Sharon Labovitz: Helene Kruger In Honor of Carol Lam: QUALCOMM Incorporated In Honor of Peter Preuss’ Birthday: Judith Harris & Robert Singer, MD In Honor of Peggy and Peter Preuss: Judith Harris & Robert Singer, MD Ivor & Colette Royston In Honor of Kristen Sakamoto’s Grandmother: Ferdinand Gasang In Honor of Jean Shekhter: Morgan & Elizabeth Oliver In Honor of Clifford Schireson: Rhonda Berger & Robert Abrams Laurie Mitchell & Brent Woods Kevin Tilden & Philip Diamond M.D. In Honor of Marge and Neal Schmale: Pat Nickol In Honor of Beverly Schmier’s Birthday: Helene Kruger In Memory of Fiona Tudor: Mary Ann Beyster Ferdinand Gasang In Honor of Richard and Susan Ulevitch: Joy Frieman James & Lois Lasry Leslie Simon In Memory of Carleton and Andree Vail: Vail Memorial Fund In Honor of Abby Weiss: Anonymous Jane & Michael Glick In Honor of Dolly Woo: Jack & Joanna Tang In Honor of Carolyn Yorston’s Birthday: Martha & Ed Dennis Maria & Dr. Philippe Prokocimer *In Memoriam

MATCHING GIFTS Bank of America IBM, International QUALCOMM, Inc. The San Diego Foundation Sempra Energy To learn more about supporting La Jolla Music Society’s artistic and education programs or to make an amendment to your listing please contact Benjamin Guercio at 858.459.3724, ext. 216 or BGuercio@LJMS.org. This list is current as of January 16, 2015. Updates and amendments will be reflected in the next program book on April 10, 2015.

MEDALLION SOCIETY In 1999, the Board of Directors officially established the Medallion Society to begin to provide long-term financial stability for La Jolla Music Society. We are honored to have this special group of friends who have made a multi-year commitment of at least three years to La Jolla Music Society, ensuring that the artistic quality and vision we bring to the community continues to grow.

CROWN JEWEL

TOPAZ

Brenda Baker and Stephen Baum Conrad Prebys and Debbie Turner

Anonymous Joan Jordan Bernstein Mary Ann Beyster+ Dr. James C. and Karen A. Brailean Dave and Elaine Darwin Barbara and Dick Enberg Jeane Erley Margaret and Michael Grossman Alexa Kirkwood Hirsch Margaret and Robert Hulter Theresa Jarvis Angelina and Fred Kleinbub Joseph Wong and Vivian Lim+ Michel Mathieu and Richard McDonald Rafael and Marina Pastor Maria and Dr. Philippe Prokocimer Don and Stacy Rosenberg Leigh P. Ryan+ Neal and Marge Schmale Drs. Joseph and Gloria Shurman Jeanette Stevens Elizabeth Taft Gianangelo Vergani Dolly and Victor Woo Bebe and Marvin Zigman

DIAMOND Raffaella and John Belanich Joy Frieman+ Joan and Irwin Jacobs

EMERALD Rita and Richard Atkinson

RUBY Silvija and Brian Devine

GARNET Elaine Galinson Peggy and Peter Preuss

SAPPHIRE Kay and John Hesselink Keith and Helen Kim Sharon and Joel Labovitz

BUIL DING THE SOCIETY FOR F U TU R E G E N E R ATIO N S

SEASON 46 â&#x20AC;˘ 2014-15

*In Memoriam Note: + 5-year term Listing as of January 16, 2015

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BUIL DING THE SOCIETY FOR F U TU R E G E N E R ATIO N S 48

SEASON 46 • 2014-15

DANCE SOCIETY La Jolla Music Society has quickly become the largest presenter of major American and great international dance companies in San Diego. In order for LJMS to be able to fulfill San Diego’s clear desire for dance and ballet performances by the very best artists around the world, the Dance Society was created. We are grateful to the following friends for their passion and support of our dance programs.

GRAND JETÉ

POINTE

Anonymous

Teresa O. Campbell

ARABESQUE

DEMI POINTE

Katherine and Dane Chapin June and Dr. Bob Shillman Jeanette Stevens

Innovative Commercial Environments Gordana and Dave Schnider

PIROUETTE Elaine Galinson and Herbert Solomon Annie So Marvin and Bebe Zigman

PLIÉ Stefana Brintzenhoff Mara Lawrence Joani Nelson Elyssa Dru Rosenberg Elizabeth Taft Listing as of January 16, 2015

LEGACY SOCIETY The Legacy Society recognizes those generous individuals who have chosen to provide for La Jolla Music Society’s future. Members have remembered La Jolla Music Society in their estate plans in many ways – through their wills, retirement gifts, life income plans and many other creative planned giving arrangements. We thank them for their vision and hope you will join this very special group of friends.

Anonymous (2) June L. Bengston* Joan Jordan Bernstein Bjorn and Josephine Bjerede Dr. James C. and Karen A. Brailean Barbara Buskin Trevor Callan Anne and Robert Conn George and Cari Damoose Teresa & Merle Fischlowitz Ted and Ingrid Friedmann Joy and Ed* Frieman Sally Fuller Maxwell H. and Muriel S. Gluck* Dr. Trude Hollander Eric Lasley Theodora Lewis Joani Nelson LA JOLLA MUSIC SOCIETY

Bill Purves Darren and Bree Reinig Jay W. Richen Jack and Joan Salb Johanna Schiavoni Drs. Joseph and Gloria Shurman Jeanette Stevens Elizabeth and Joseph* Taft Norma Jo Thomas Dr. Yvonne E. Vaucher Lucy and Ruprecht von Buttlar Ronald Wakefield John B. and Cathy Weil Carolyn Yorston-Wellcome and H. Barden Wellcome Karl and Joan Zeisler Josephine Zolin *In Memoriam Listing as of January 16, 2015

BUILDING THE SOCIETY FOR FUTURE GENERATIONS

BUSINESS SOCIETY Members of our Business Society are committed to the LJMS community. For information on how your business can help bring world-class performances to San Diego, please contact Allison Estes-Nye at 858.459.3724, ext. 206 or AEstes@LJMS.org.

GUARANTOR

AFICIONADO

The Catamaran Resort & Spa The Lodge at Torrey Pines

Adelaide’s La Jolla Callan Capital Girard Gourmet Sharp Heatlhcare The University Club

SUSTAINER The Westgate Hotel

SUPPORTER digital OutPost Paul Hastings LLP Procopio, Cory, Hargreaves & Savitch LLP San Diego Gas & Electric

AMBASSADOR ACE Parking Management, Inc. Giuseppe Restaurants & Fine Catering La Jolla Beach and Tennis Club La Jolla Sports Club La Valencia Hotel NINE-TEN Restaurant Chef Drew Catering, Panache Productions Roppongi Restaurant & Sushi Bar

ASSOCIATE Hotel Palomar Jade J. Schulz Violins Jimbo’s…Naturally! Sprinkles Cupcakes

ENTHUSIAST Nelson Real Estate Listing as of January 16, 2015

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JAZZ SERIES

FRIDAY, FEBRUARY 20, 2015 · 8 PM

FRIDAY, MARCH 6, 2015 · 8 PM

FRIDAY, MARCH 20, 2015 · 8 PM

MCASD SHERWOOD AUDITORIUM

JACOBS MUSIC CENTER/COPLE Y SYMPHONY HALL

JERUSALEM QUARTET

MOMIX

CHARLIE ALBRIGHT, piano

REVELLE CHAMBER MUSIC SERIES

Moses Pendleton, artistic director FRIDAY, MARCH 13, 2015 · 8 PM

DISCOVERY SERIES

SATURDAY, FEBRUARY 21, 2015 · 8 PM MCASD SHERWOOD AUDITORIUM

GIL SHAHAM, violin

FRIDAY, FEBRUARY 27, 2015 · 8 PM CELEBRITY RECITAL SERIES

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DANCE SERIES

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SUNDAY, MARCH 22, 2015 · 3 PM THE AUDITORIUM AT TSRI

LONDON SYMPHONY ORCHESTRA

Michael Tilson Thomas, conductor Yuja Wang, piano SUNDAY, MARCH 29, 2015 · 8 PM CELEBRITY ORCHESTRA SERIES

JACOBS MUSIC CENTER/COPLE Y SYMPHONY HALL

LONDON SYMPHONY ORCHESTRA Michael Tilson Thomas, conductor

TICKETS ON SALE NOW! 858.459.3728 · WWW.LJMS.ORG