La Jolla Music Society Season 47, Program Book October - December by La Jolla Music Society

THE ISRAEL PHILHARMONIC ORCHESTRA ZUBIN MEHTA, conductor & music director

SEASON

2015-16 OCTOBER - DECEMBER

2015-16 CALENDAR SEASON 47

OCTOBER

FEBRUARY

APRIL

NEW YORK CITY BALLET MOVES

THE MONTROSE TRIO

WINTERFEST GALA

San Diego Civic Theatre

Saturday, February 6, 2016 · 8 PM

Saturday, April 2, 2016 · 6 PM

Friday, October 30, 2015 · 8 PM

NOVEMBER AN EVENING WITH CHRIS THILE, mandolin

Saturday, November 7, 2015 · 8 PM MCASD Sherwood Auditorium

THE ISRAEL PHILHARMONIC ORCHESTRA Zubin Mehta, conductor & music director

Thursday, November 12, 2015 · 8 PM San Diego Civic Theatre

DECEMBER SDYS CHAMBER ORCHESTRA

Jeff Edmons, music director & conductor Jinjoo Cho, violin

Friday, December 11, 2015 · 8 PM MCASD Sherwood Auditorium

JINJOO CHO, violin

Sunday, December 13, 2015 · 3 PM The Auditorium at TSRI

THE BLIND BOYS OF ALABAMA

Saturday, December 19, 2015 · 8 PM MCASD Sherwood Auditorium

Martin Beaver, Clive Greensmith & Jon Kimura Parker

STORM LARGE & KIRILL GERSTEIN

MCASD Sherwood Auditorium

Coasterra

AARON NEVILLE

TANGO, SONG AND DANCE

Balboa Theatre

Friday, April 15, 2016 · 8 PM

Thursday, February 11, 2016 · 8 PM

Augustin Hadelich, Joyce Yang & Pablo Villegas

NING FENG, violin

MCASD Sherwood Auditorium

The Auditorium at TSRI

Sunday, April 17, 2016 · 3 PM

Sunday, February 21, 2016 · 3 PM

SDYS CHAMBER ORCHESTRA Jeff Edmons, music director & conductor Ning Feng, violin

Friday, February 26, 2016 · 8 PM MCASD Sherwood Auditorium

DANIIL TRIFONOV, piano

Sunday, February 28, 2016 · 8 PM MCASD Sherwood Auditorium

MARCH KEB' MO' BLUESAmericana

Friday, March 4, 2016 · 8 PM Balboa Theatre

PAUL LEWIS, piano

ISTVÁN VÁRDAI, cello The Auditorium at TSRI

MURRAY PERAHIA, piano

Sunday, April 24, 2016 · 8 PM MCASD Sherwood Auditorium

HUBBARD STREET DANCE CHICAGO Saturday, April 30, 2016 · 8 PM Spreckels Theatre

MAY NEW YORK PHILHARMONIC Alan Gilbert, music director

Wednesday, May 4, 2016 · 8 PM Jacobs Music Center-Copley Symphony Hall

JOSEF ŠPACˇEK, violin

Sunday, May 8, 2016 · 3 PM

Friday, March 11, 2016 · 8 PM

The Auditorium at TSRI

MCASD Sherwood Auditorium

THE COMPLETE

BEETHOVEN PIANO TRIOS: PART I

JANUARY

BALLET FLAMENCO DE ANDALUCÍA

GARRICK OHLSSON, piano

Spreckels Theatre

Saturday May 14, 2016 · 3 PM

MONTREAL SYMPHONY ORCHESTRA

THE COMPLETE

Thursday, January 14, 2016 · 8 PM MCASD Sherwood Auditorium

MONTEREY JAZZ FESTIVAL ON TOUR Saturday, January 16, 2016 · 8 PM Balboa Theatre

ITZHAK PERLMAN, violin & EMANUEL AX, piano

Wednesday, January 20, 2016 · 8 PM Jacobs Music Center-Copley Symphony Hall

Wednesday, March 16, 2016 · 8 PM

Kent Nagano, music director Daniil Trifonov, piano

Wednesday, March 23, 2016 · 8 PM Jacobs Music Center-Copley Symphony Hall

Philip Setzer, David Finckel & Wu Han MCASD Sherwood Auditorium

BEETHOVEN PIANO TRIOS: PART II Philip Setzer, David Finckel & Wu Han

Saturday May 14, 2016 · 8 PM MCASD Sherwood Auditorium

MOZART GROUP

Saturday May 21, 2016 · 8 PM MCASD Sherwood Auditorium

JI, piano

Sunday, January 24, 2016 · 3 PM

NEW YORK PHILHARMONIC

The Auditorium at TSRI

LA JOLLA MUSIC SOCIETY

SEASON 47 IS DEDICATED TO

CONRAD PREBYS & DEBBIE TURNER

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

SUPPORTING DECADES OF STANDING OVATIONS FOR THE LA JOLLA MUSIC SOCIETY! ACT ONE THE MED Ocean View Restaurant Savor New American Cuisine & Renowned Wines CURTAIN CALL Café la Rue bistro/bar Enjoy Modern European Cuisine & Late Night Libations Reser vations: 858-454-0771

LA JOLLA’S ADDRESS OF DISTINCTION 1132 PROSPECT ST. LA JOLLA, CA 92037 (858) 454 - 0771 | WWW . LAVALENCIA . COM

You’re music to our ears.

connected ••••• to the arts We applaud La Jolla Music Society for their ongoing work that does so much to enrich our hearts and minds of young people in our community. 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.

PROUDLY SUPPORTS THE LA JOLLA MUSIC SOCIETY • Incredible selection of local and organic produce • Full line of all natural groceries • Large selection of vitamins, supplements, health & beauty aids • Hormone-free and antibiotic-free beef, poultry and pork • Seafood delivered fresh daily • Deli selections prepared fresh right in the store • A made-from-scratch bakery • A refreshing juice bar • Huge selection of raw and vegan products!

FIVE CONVENIENT LOCATIONS: CARMEL VALLEY

CARLSBAD

ESCONDIDO

Del Mar Highlands Town Center 12853 El Camino Real; (858) 793-7755

The Forum 1923 Calle Barcelona; (760) 334-7755

Felicita Junction Shopping Center 1633 S. Centre City Parkway; (760) 489-7755

4S RANCH 4S Commons Town Center 10511 4S Commons Drive; (858) 432-7755

DOWNTOWN SAN DIEGO Westfield Horton Plaza 92 Horton Plaza; (619) 308-7755

visit us online at www.jimbos.com

H A P P Y HOUR 4 - 6 P M D A ILY • H A L F - P RIC E D TA P A S + DRINK S P E C I A L S

CELEBRATE IN style CREATING MEMORABLE EVENTS IS OUR SPECIALTY. Award Winning Cuisine – Full Service Catering

WE PRESENT world-class performances throughout the San Diego region.

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 SOCIETY is devoted to presenting

and producing stimulating performances of the highest quality that create powerful audience experiences. La Jolla Music Society’s 2015-16 Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, San Diego Gas & Electric, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, The Frieman Family, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, John and Kay Hesselink, Jeanette Stevens,Gordon Brodfuehrer, and two anonymous donors.

THE BELANICH STEINWAY

SEASON PARTNERS

R E S TA U R A N T

SUS H I BA R

MEDIA PARTNERS ®

OPENING 2018

The Conrad will serve as a heart of cultural, arts education and community event activity in La Jolla, bringing world-class performances to the community and be the new permanent home of La Jolla Music Society. The new performing arts center, which will be located at 7600 Fay Avenue in La Jolla, will include a 500-seat concert hall, a 150-seat cabaret/multi-use space, new offices for La Jolla Music Society, rehearsal rooms and a large open courtyard.

VISIT THECONRAD.ORG FOR MORE INFORMATION

SHARING OUR PASSION FOR ARTS AND EDUCATION LJMS & SDYS PARTNERSHIP

Since 2007, La Jolla Music Society and the San Diego Youth Symphony and Conservatory have collaborated closely to broaden public awareness and access to each other’s programs, and to complement each organization’s strengths and specialties. This year we are excited to announce the next stage in our partnership with the creation of two new programs designed through the lens of our combined experience and expertise.

THE MUSIC INSTITUTE Launched in October of 2015, The Music Institute provides college-level instruction in music theory, music history, and chamber music interpretation/performance, along with master classes and professional development opportunities for its students. Designed to be the premier pre-collegiate program for classical music instruction in San Diego, The Music Institute provides music education to high school students as they prepare to pursue college degrees and professions in music. Learn more about the core curriculum, class and seminar schedule at www.sdys.org/institute. *Information about auditioning for The Music Institute will be available in the Spring for classes beginning in the Fall.

SAN DIEGO YOUTH SYMPHONY SERIES La Jolla Music Society presents the SDYS Chamber Orchestra in two concerts during their 2015-16 Winter Season. Showcasing the incredibly talented student musicians of SDYS’ top ensemble, this residency combines LJMS’ position as a leading presenter of music and dance in Southern California with SDYS’ long tradition of innovative music education programs. Learn more about the San Diego Youth Symphony Series presented by La Jolla Music Society at www.LJMS.org.

These new education programs are an important community investment. To learn more about this partnership and how you can help support these growing collaborations please contact: Wade Sherman, SDYS External Relations Director at 619.233.3232 ext. 116 · wsherman@sdys.org Ferdinand Gasang, LJMS Development Director at 858.459.3724 ext. 204 · FGasang@LJMS.org

WELCOME LETTER Dear Friends of LJMS, After my first visit to San Diego, I was captivated. San Diego is a city like no other—filled with natural beauty, the possibility of unbounded growth in the arts, innovation and collaboration. I am truly honored to have been given the opportunity to lead this revered institution and to call San Diego my home. As a long-time New York City resident, I was able to experience some of the most incredible cultural performances the world has to offer. And it is a sweet homecoming of sorts, for me to inaugurate my first La Jolla Music Society performance with the visually-stunning New York City Ballet MOVES. Looking ahead, November brings tremendous excitement and diversity as La Jolla Music Society welcomes Chris Thile (Nov. 7) in a performance showcasing his virtuosic mandolin playing. The following week, Maestro Zubin Mehta and The Israel Philharmonic Orchestra return to San Diego (Nov. 12) for a performance at the Civic Theatre. Continuing their tradition of performing new works by Israeli composers, the program includes Josef Bardanashvili’s Journey to the End of the Millennium alongside works by Ravel and Beethoven. As a strong supporter of arts education for all ages, I am thrilled with the rich variety of La Jolla Music Society’s Education Programs. I am particularly proud of our growing partnership with the San Diego Youth Symphony and Conservatory. In December we will be showcasing top San Diego student musicians in our new San Diego Youth Symphony Series with violinist Jinjoo Cho, the 2014 Winner of the International Violin Competition of Indianapolis. You have the opportunity to see this emerging artist perform Mendelssohn’s Violin Concerto with the SDYS Chamber Orchestra (Dec. 11) and then in recital at The Auditorium at TSRI (Dec. 13). For our final 2015 performance, The Blind Boys of Alabama (Dec. 19) return to LJMS with a seasonally bright concert just in time for the holidays. With nearly thirty “one-night only” performances through May of 2016, we have a phenomenal continuum of musical activities and I look forward to sharing them with you. Sincerely,

Kristin Lancino

President & Artistic Director

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TABLE OF CONTENTS 2 9 10 11 14 15 20 23 27 28 38

CALENDAR WELCOME LETTER LA JOLLA MUSIC SOCIETY STAFF & BOARD OF DIRECTORS NEW YORK CITY BALLET MOVES AN EVENING WITH CHRIS THILE THE ISRAEL PHILHARMONIC ORCHESTRA SDYS CHAMBER ORCHESTRA JINJOO CHO THE BLIND BOYS OF ALABAMA ARTIST BIOGRAPHIES ANNUAL SUPPORT AND MEDALLION SOCIETY

ADMINISTRATION

ARTISTIC & EDUCATION

DEVELOPMENT

MARKETING & TICKET SERVICES

PRODUCTION

LA JOLLA MUSIC SOCIETY STAFF

BOARD OF DIRECTORS · 2015-16

Kristin Lancino, President & Artistic Director Cho-Liang Lin, SummerFest Music Director

Katherine Chapin – Chair Theresa Jarvis – Treasurer Susan Hoehn – Secretary Martha Dennis, Ph.D. – Past Chair

Chris Benavides – Finance Director Debra Palmer – Executive Assistant & Board Liaison Rachel Danford – Administrative Assistant Leah Z. Rosenthal – Director of Artistic Planning & Education Jordanna Rose – Artist Services Coordinator Allison Boles – Education Manager Marcus Overton – Consultant for Special Projects Serafin Paredes – Community Music Center Program Director Eric Bromberger – Program Annotator Ferdinand Gasang – Development Director Carolyn Osorio – Business Development & Event 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 Shannon Haider – Ticket Services Assistant Caroline Mickle – Ticket Services Assistant Shaun Davis – House Manager Paul Body – Photographer Travis Wininger – Production Manager Bud Fisher – Piano Technician

LEGAL COUNSEL

Paul Hastings LLP

AUDITOR

Leaf & Cole, LLP

HONORARY

Stephen L. Baum Karen A. Brailean Gordon Brodfuehrer Wendy Brody Ric Charlton Linda Chester Elaine Bennett Darwin Silvija Devine Brian Douglass Barbara Enberg Lehn Goetz Kristin Lancino Robin Nordhoff Rafael Pastor

Brenda Baker – Honorary Director Stephen L. 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 Leigh P. Ryan, Esq. – Honorary Director

Christopher Beach – Artistic Director Emeritus

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

LA JOLLA MUSIC SOCIETY

Ethna Sinisi Piazza Peggy Preuss Deirdra Price, Ph.D. Sylvia Ré Jeremiah Robins Clifford Schireson Marge Schmale Jean Shekhter Maureen Shiftan June Shillman Jeanette Stevens Debra Turner H. Peter Wagener Clara Wu

DANCE SERIES

New York City Ballet MOVES FRIDAY, OCTOBER 30 · 8 PM SAN DIEGO CIVIC THEATRE

In Creases PAU S E

This Bitter Earth PAU S E

Hallelujah Junction INTERMISSION

Pictures at an Exhibition

PRELUDE 7PM

A conversation with New York City Ballet MOVES Principal dancers Teresa Reichlen and Tyler Angle hosted by Marcus Overton La Jolla Music Society’s 2015-16 Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, San Diego Gas & Electric, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, The Frieman Family, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, John and Kay Hesselink, Jeanette Stevens, Gordon Brodfuehrer, and two anonymous donors.

Tonight’s performance is sponsored in part by:

Members of the Dance Society Many thanks to our Hotel & Restaurant Partner:

The Westgate Hotel

Exclusive Tour Management and Representation: Opus 3 Artists - 470 Park Avenue South, 9th Floor North, New York, NY 10016 - www.opus3artists.com

ARTISTIC STAFF Artistic Director Peter Martins Artistic Administrator Jean Pierre-Frohlich

THE DANCERS PRINCIPALS

Tyler Angle, Gonzalo Garcia, Sterling Hyltin, Rebecca Krohn, Tiler Peck, Amar Ramasar, Daniel Ulbricht, Andrew Veyette

SOLOIST

Georgina Pazcoguin

CORPS DE BALLET

Sara Adams, Devin Alberda, Daniel Applebaum, Harrison Ball, Joseph Gordon, Emilie Gerrity, Kristen Segin, Indiana Woodward

THE MUSICIANS

Elaine Chelton, Cameron Grant, Alan Moverman, pianos

BALLET MASTERS

Jean-Pierre Frohlich, Lisa Jackson, Glenn Keenan, Christine Redpath, Kathleen Tracey

TOURING STAFF FOR NEW YORK CITY BALLET MOVES Company Manager Gregory Russell Production Stage Manager Marquerite Mehler Lighting Director Penny Jacobus Wardrobe Mistress Marlene Olson Hamm Wardrobe Master Eric Rudy Master Carpenter Norman Kirtland III This performance marks New York City Ballet MOVES' La Jolla Music Society debut.

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NEW YORK CITY BALLET MOVES - PROGRAM NOTES

IN CREASES

HALLELUJAH JUNCTION

Music: Choreography: Costumes: Lighting:

Philip Glass Justin Peck Justin Peck, Marc Happel Mark Stanley

Music: Choreography: Costumes: Lighting:

John Adams Peter Martins Kirsten Lund Nielsen Mark Stanley

Pianos: Dancers:

Elaine Chelton, Alan Moverman Sara Adams, Emilie Gerrity, Kristen Segin, Indiana Woodward Daniel Applebaum, Devin Alberda, Harrison Ball, Andrew Veyette

Pianos: Dancers:

Elaine Chelton, Alan Moverman Sterling Hyltin, Amar Ramasar, Daniel Ulbricht Sara Adams, Daniel Applebaum Emilie Gerrity, Joseph Gordon Kristen Segin, Devin Alberda Indiana Woodward, Harrison Ball

Music: Four Movements for Two Pianos, (1st and 3rd movements) ©2007, by arrangement with Dunvagen Music Publishers, Inc. Used by Permission. In Creases was made possible in part by generous contributions from members of the New Combinations Fund and by the Rockefeller Brothers Fund. Major support was also provided by the Rudolf Nureyev Fund for Emerging Choreographers, established by a lead endowment gift from the Rudolf Nureyev Dance Foundation, with additional support provided by the Harriet Ford Dickinson Foundation and the Joseph and Sylvia Slifka foundation.

Music by arrangement with Hendon Music, Inc., a Boosey & Hawkes company, publisher and copyright owner. The creation and performance of works by Peter Martins at New York City Ballet is funded in part by an endowment gift from the Solomon family, given in loving memory of Carolyn B. Solomon.

Première: July 14, 2012, The Saratoga Performing Arts Center

Première: March 24, 2001, Royal Danish Ballet, Royal Theater, Copenhagen, Denmark New York City Ballet Première: January 22, 2002, New York State Theater

THIS BITTER EARTH

PICTURES AT AN EXHIBITION

(Excerpt from Five Movements, Three Repeats)

Music: Choreography: Costumes: Lighting:

Max Richter, Clyde Otis (from the motion picture soundtrack for Shutter Island) Christopher Wheeldon Reid Bartelme Mary Louise Geiger

Dancers:

Tiler Peck, Tyler Angle

Five Movements, Three Repeats was co-commissioned by Fang-Yi Sheu & Artists and the Vail International Dance Festival. Music by arrangement with Sony/ATV Music Publishing LLC. All rights administered by Sony/ATV Music Publishing LLC. This Bitter Earth was made possible in part with leadership support from Michele and Lawrence Herbert and members of the New Combinations Fund. Première: August 6, 2012, Vail International Dance Festival New York City Ballet Première: September 20, 2012, David H. Koch Theater

LA JOLLA MUSIC SOCIETY

Music: Choreography: Costumes: Lighting:

Modest Mussorgsky Alexei Ratmansky Adeline Andre Mark Stanley

Piano: Dancers:

Cameron Grant Sterling Hyltin, Rebecca Krohn, Georgina Pazcoguin, Tiler Peck, Indiana Woodward Tyler Angle, Gonzalo Garcia, Joseph Gordon, Amar Ramasar, Andrew Veyette

Promenade

Entire Cast

The Gnome

Georgina Pazcoguin

Promenade

Rebecca Krohn, Tiler Peck, Indiana Woodward, Gonzalo Garcia, Joseph Gordon, Andrew Veyette

NEW YORK CITY BALLET MOVES - PROGRAM NOTES

The Old Castle

Sterling Hyltin, Tyler Angle

REPERTORY NOTES

Promenade

Gonzalo Garcia, Joseph Gordon, Amar Ramasar, Andrew Veyette

IN CREASES

Tuileries

Tiler Peck

Bydlo

Sterling Hyltin, Rebecca Krohn, Georgina Pazcoguin, Indiana Woodward

Promenade

Gonzalo Garcia

Ballet of the Unhatched Chicks Tyler Angle, Gonzalo Garcia, Joseph Gordon, Amar Ramasar, Andrew Veyette Samuel Goldenberg & Schmuÿle Rebecca Krohn, Andrew Veyette

Promenade

Indiana Woodward, Joseph Gordon

The Market at Limoges Tiler Peck, Gonzalo Garcia Catacombs

Entire Cast

With the Dead in a Dead Language Entire Cast Baba Yaga

Amar Ramasar, Rebecca Krohn, Georgina Pazcoguin, Indiana Woodward

The Great Gate of Kiev Entire Cast Pictures at an Exhibition was made possible in part by a leadership gift from The Ted and Mary Jo Shen Charitable Gift Fund, with additional support provided by Howard S. Paley, and generous contributions from members of the New Combinations Fund. Première: October 2, 2014, David H. Koch Theater

In Creases is the first work that Justin Peck, New York City Ballet’s Soloist and Resident Choreographer, created for the Company. The ballet is set to Philip Glass’ Four Movements for Two Pianos, and received its world première in July 2012 during NYCB’s annual summer residency at the Saratoga Performing Arts Center in upstate New York.

THIS BITTER EARTH This Bitter Earth is a pas de deux from Christopher Wheeldon’s Five Movements, Three Repeats. The full work was originally created for Fang-Yi Sheu & Artists, a group led by former Martha Graham Dance Company star Fang-Yi Sheu that included NYCB dancers Wendy Whelan, Tyler Angle, and Craig Hall. Set to a remix of Clyde Otis' This Bitter Earth and Max Richter’s On the Nature of Daylight, the ballet had its Company première at NYCB’s 2012 Fall Gala.

HALLELUJAH JUNCTION Peter Martins’ Hallelujah Junction is set to a score of the same name by John Adams. The music was written for two pianos, and named after a small truck stop near the California-Nevada border. Adams said of the piece, “It was a case of a good title needing a piece, so I obliged by composing this work for two pianos.” The work centers on delayed repetition between the two pianos, creating an effect of echoing sonorities. There is a constant shift of pulse and meter, but the main rhythms are based on the rhythms of the word “Hal-le-LU-jah.” The ballet, originally created for the Royal Danish Ballet, features a principal couple in white, a male soloist in black, and a small corps de ballet.

PICTURES AT AN EXHIBITION Created for New York City Ballet during the fall of 2014, Pictures at an Exhibition is Alexei Ratmansky’s fourth work for the Company. Using Modest Mussorgsky’s famed piano score, Pictures at an Exhibition, the ballet includes lighting design by Mark Stanley and the 10 dancers are costumed in designs by fashion designer Adeline Andre, a frequent collaborator of Ratmansky’s.

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La Jolla Music Society’s 2015-16 Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, San Diego Gas & Electric, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, The Frieman Family, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, John and Kay Hesselink, Jeanette Stevens, Gordon Brodfuehrer, and two anonymous donors.

SPECIAL EVENT

An Evening With Chris Thile SATURDAY, NOVEMBER 7 · 8 PM MCASD SHERWOOD AUDITORIUM

Works to be announced from stage NO INTERMISSION

This performance marks Chris Thile’s La Jolla Music Society debut.

LA JOLLA MUSIC SOCIETY

PRELUDE 7PM

Lecture by Tim Page: Music in Times of Change

CELEBRITY ORCHESTRA SERIES

The Israel Philharmonic Orchestra Zubin Mehta, conductor & music director

THURSDAY, NOVEMBER 12 · 8 PM SAN DIEGO CIVIC THEATRE

JOSEF BARDANASHVILI

Journey to the End of the Millennium, symphonic poem

RAVEL

La valse, poème chorégraphique

(b. 1948)

(1875-1937)

INTERMISSION

The Celebrity Orchestra Series is underwritten by Medallion Society members:

Joan and Irwin Jacobs

BEETHOVEN (1770-1827)

Symphony No. 3 in E-flat Major, Opus 55 “Eroica” Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto; Poco andante

Tonight’s performance is sponsored by:

The Vail Memorial Fund Many thanks to our Hotel & Restaurant Partner:

The Westgate Hotel

Exclusive Tour Management and Representation: Opus 3 Artists - 470 Park Avenue South, 9th Floor North, New York, NY 10016 - www.opus3artists.com

The Israel Philharmonic Orchestra last performed for La Jolla Music Society in the Celebrity Orchestra Series on November 22, 2008.

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THE ISRAEL PHILHARMONIC ORCHESTRA - 2015/16 ROSTER

THE ISRAEL PHILHARMONIC ORCHESTRA Music Director: Zubin Mehta

The Music Director’s position is endowed by the William Petschek Family Laureate Conductor (1947-90): Leonard Bernstein Honorary Guest Conductor: Kurt Masur Principal Guest Conductor: Gianandrea Noseda

FIRST VIOLINS

CELLOS

Marilyn & Sigi z”l Ziering Family Endowed Chair

Emanuele Silvestri* Shulamit Lorrain*** Yoram Alperin,

Ilya Konovalov, Concertmaster • Yigal Tuneh, Concertmaster • David Radzynski, Concertmaster• Alexander Stark, Asst. Concertmaster, Saida Bar-Lev Nitzan Canetty Sharon Cohen Marina Dorman Adelina Grodsky Genadi Gurevich Rodica Iosub Rimma Kaminkovsky Eleonora Lutsky Robert Mozes Yelena Tishin Drorit Valk Polina Yehudin

SECOND VIOLINS

Semion Gavrikov* Yevgenia Pikovsky* Amnon Valk*** Emanuel Aronovich Hadar Cohen Alexander Dobrinsky Shmuel Glaser Kalman Levin Yoram Livne Sivann Maayani Asaf Maoz Dumitru Pocitari Marianna Povolotzky Avital Steiner Olga Stern

VIOLAS

Miriam Hartman*,

Susan & Elihu Rose Endowed Chair

Roman Spitzer*,

Claire & Albert Schussler Endowed Chair

Amir van der Hal*** Dmitri Ratush*** Lotem Beider Rachel Kam Vladislav Krasnov Klara Nosovitsky Matan Noussimovitch Evgenia Oren Aharon Yaron

Marcel Bergman*,

The Annenberg Foundation Chair

Ruth Ziegler Endowed Chair

Dmitri Golderman Simon Hoffmann

Iakov Kashin

Linor Katz Enrique Maltz Kirill Mihanovsky Felix Nemirovsky

BASSES

Teddy Kling* Peter Marck* Nir Comforty*** Brad Annis Uri Arbel Nimrod Kling Noam Massarik David Segal Omry Weinberger

Daniel Mazaki* Uzi Shalev*** Gad Lederman Carol Patterson

CONTRABASSOON HORNS

James Madison Cox* Dalit Segal*** Michael Slatkin*** Yoel Abadi Sally Meth Ben Moshe Michal Mossek

TRUMPETS

Yigal Meltzer* Ram Oren** Eran Reemy,

Hannah & Randy Polansky, Endowed Chair

Yuval Shapiro

TROMBONES

HARP

Julia Rovinsky*

FLUTES

BASS TROMBONE

Yossi Arnheim*◊,

Rochelle & David A. Hirsch Endowed Chair

Micha Davis

Guy Eshed* Boaz Meirovitch Leor Eitan

TUBA

PICCOLO

Leor Eitan

Dan Moshayev* Elliot Beck***

OBOES

PERCUSSION

Ziering Family Endowed Chair

Natalie & Murray S. Katz Endowed Chair

Shemuel Hershko*

TIMPANI

Bruce Weinstein*◊, Marilyn & Sigi z”l

Ayal Rafiah* (acting),

Dudu Carmel* Merrill Greenberg Tamar Narkiss-Melzer

Gabi Hershkovich Alexander Nemirovsky

ENGLISH HORN

Israel Kastorianon, ■

Merrill Greenberg

CLARINETS

Ron Selka* Yevgeny Yehudin* Rashelly Davis Jonathan Hadas

PIANO

Judith & Burton Resnick Endowed Chair

PRINCIPAL LIBRARIAN Rachel Daliott ◊ Tal Rockman

ASSISTANT LIBRARIANS Yuval Broner Magret Wolf

Ron Selka Yevgeny Yehudin

OPERATIONAL & STAGE MANAGER

BASS CLARINET

TECHNICAL ASST.

Jonathan Hadas LA JOLLA MUSIC SOCIETY

• * ** *** ◊ ■

Canada Concertmaster Chair Principal Assoc. Principal Asst. Principal On Leave or Sabbatical Guest-player

Carol Patterson

Nir Erez* Yehoshua Pasternak*** Tal Ben Rei Micha Davis

PICCOLO CLARINETS

BASSOONS

Amit Cohen

Yaakov Kaufman

IPO Management: Yehoshua Pasternak (Chm.n),

Yoel Abadi, Ayal Rafiah

Secretary General: Avi Shoshani Musicians. Council: Eran Reemy (Chm.n),

Yoel Abadi, Amir van der Hal, Adelina Grodsky, Boaz Meirovitch, Yehoshua Pasternak, Marianna Povolotzky, Ayal Rafiah, Omry Weinberger Personnel Manager: Michal Bach Inspector: Enrique Maltz Assembly Chairman: Uzi Shalev Review Committee: Peter Marck, Aharon Yaron Finance Manager: Alex Ziv Marketing Manager: Yael Yardeni-Sela Asst. Finance Manager: Anat Eldar Treasurer: Racheli Mizrachi KeyNote Director: Irit Rub Mgr. Subscription Dept.: Nira Oryan Team Mgr.: Bagrat Chen Operation Manager: Leon Franco IT Mgr.: Shlomi Mizrachi Asst. Sec. Gen.: Iris Abramovici Tevet Asst. Marketing Mgr.: Liz Fisher Public Liaison: Rachel Levy Asst. Personnel Manager: Netta Pniny Artists Coordinator: Keren Regev Payroll Manager: Orly Zabib Payroll Accountant: Liat Ohayon Chief Accountant: Mira Rotem Bookkeeper: Orly Golan Programme Editor: Orly Tal Asst. Programme Editor: Tsilli Rudik Public Relations: Shalom Tel Aviv Legal Advisors: Jacob Katz & Co. Law Office / Auditors: Kost Forer & Gabbay For Opus 3 Artists David V. Foster, President & CEO Earl Blackburn, Senior Vice President, Manager, Artists & Attractions Leonard Stein, Senior Vice President, Director, Touring Division Tania Leong, Associate Irene Lönnblad, Associate, Touring Division Kay McCavic, Company Manager Timothy Grassel, Company Manager John Gilliland III, Asst. Tour Manager

THE ISRAEL PHILHARMONIC ORCHESTRA - PROGRAM NOTES Program notes by Eric Bromberger

A Journey to the End of the Millennium, symphonic poem

Josef BARDANASHVILI Born November 23, 1948, Batumi, Georgia

Josef Bardanashvili’s fourth opera, A Journey to the End of the Millennium, was commissioned by the Israel Opera Tel Aviv-Yafo and composed in 2004-05 on a libretto by the Israeli novelist and playwright A.B. Yehoshua, based on his novel of the same name. The opera tells a thoughtful but dark tale. In the year 998, Ben Attar–a Jewish merchant from Tangiers–has taken a second wife. He makes a business trip to Paris, where he runs afoul of local laws that prohibit polygamy. The issue brings not just legal problems for Ben Attar but also tensions with his nephew Abulafia, who is his business partner. The case is heard by an arbitrator, and matters reach a climax when Ben Attar’s second wife suggests that women should be free to have two husbands. The shocked arbitrator rules that Ben Attar and his party should be excommunicated, the despairing second wife drowns herself, and the excommunication is annulled. The opera demands a substantial production: Bardanashvili scores it for fifteen soloists, a mixed chorus, and various nonvocal roles, and the staging is elaborate. The première of A Journey to the End of the Millennium took place on May 21, 2005, under the direction of David Stern, and the opera was produced again in 2008. The Israel Symphony Orchestra and Rishon LeZion commissioned Bardanashvili to draw an orchestral work from his music for the opera. This concert opens with that piece completed in 2005, lasting slightly more than twenty minutes, scored for a large orchestra that includes harp, piano, and synthesizer. The composer has prepared a program note for this work: The original idea behind this work was to create a symphonic poem from the music I composed for the opera A Journey to the End of the Millennium, based on A. B. Yehoshua’s book by the same name. As I was working on it, I came to feel that the new composition is closer to works based on impression from written texts or philosophical thoughts, which were common in the nineteenth century. Examples of this genre include Liszt’s symphonic poems, Tchaikovsky’s Francesca da Rimini and Schoenberg’s Pelleas und Melisande. The symphonic poem Journey to the End of the Millennium is a new perspective “post reading” or “post watching” the opera. The symphonic medium presented me with entirely different challenges than the operatic medium. The clearest and most fundamental difference is that while the opera progresses

through sung text, symphonic music has to be self-explanatory. This is the case with the works by Liszt and Tchaikovsky and also with this work. In order to let the symphonic music speak its own language, I borrowed mere fragments of ideas from the opera, at times two or three notes, to which I added series of new sounds. The symphonic poem is, therefore, a new composition, based on the opera but distinctly different from the customary suites fashioned from operas or ballets. The symphonic poem, which reveals a new viewpoint of one of the heroines in the opera (the second wife), consists of two parts. In the first part, the story goes back in time: the work opens with the last day of this heroine’s life and unfolds towards the climax of her life, her wedding day. When she is on the verge of death, the most important events of her life pass before her eyes as a series of brief cinematic shots. The second part, depicting a love story, is seemingly a longer, calmer retrospection, built as a single “shot”. The hurried cinematic pace is replaced by a clearer sense of form. The musical material is comprised of the love scenes in the opera. The symphonic poem is built as a musical journey of the Jewish people from the very first (theoretical) days to the twentieth century. It ends with the music of the wedding prayer from Act I of the opera, to which the chorus intones a poem by Ibn Gabirol: “The gate which is closed, arise and open it / and the hind that fled, send unto me / For the day of your coming to lie between my breasts / where his fair fragrance rests upon me”, after which a viola is heard playing a single tone. -Josef Bardanashvili

La valse, poème chorégraphique

Maurice RAVEL

Born March 7, 1875, Ciboure, Basses-Pyrénées, France Died December 28, 1937, Paris

Though Ravel, like many French composers, was profoundly wary of German music, there was one German form for which he felt undiluted affection–the waltz. As a young piano student in Paris, Ravel fell under the spell of Schubert’s waltzes for piano, and this led him in 1911 to compose his own Valses nobles et sentimentales, a set of charming waltzes modeled on the Schubert dances he loved so much. Somewhat earlier–in 1906– Ravel had planned a great waltz for orchestra. His working title for this orchestral waltz was Wien (Vienna), but the piece was delayed and Ravel did not return to it until the fall of 1919. This was the year after the conclusion of World War I (Ravel had served as an ambulance driver in the French army during the war), and the French vision of the Germanic world was quite different now than it had been when Ravel originally conceived the piece. Nevertheless, he still felt the appeal of the project, and by December he was madly at work. To a friend he W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

THE ISRAEL PHILHARMONIC ORCHESTRA - PROGRAM NOTES

wrote: “I’m working again on Wien. It’s going great guns. I was able to take off at last, and in high gear.” The orchestration was completed the following March, and the first performance took place in Paris on December 12, 1920. By this time, perhaps wary of wartime associations, Ravel had renamed the piece La valse. If La valse is one of Ravel’s most opulent and exciting scores, it is also one of his most troubling. Certainly the original conception was clear enough, and the composer left an exact description of what he was getting at: “Whirling clouds give glimpses, through rifts, of couples waltzing. The clouds scatter little by little. One sees an immense hall peopled with a twirling crowd. The scene is gradually illuminated. The light of chandeliers bursts forth fortissimo. An Imperial Court, about 1855.” The music gives us this scene exactly: out of the murky, misty beginning, we hear bits of waltz rhythms; gradually these come together and plunge into an animated waltz in D major. La valse offers dazzling writing for orchestra. Some of this is the result of the music’s rhythmic energy, some the result of Ravel’s keen ear for instrumental color–the waltzes can glide along the most delicate writing for solo strings, then suddenly rocket ahead on important solo parts for such unlikely instruments as trumpet and tuba. If La valse concluded with all this elegant vitality, our sense of the music might be clear, but instead it drives to an ending full of frenzied violence, and we come away not so much exhilarated as shaken. Ravel made a telling comment about this conclusion: “I had intended this work to be a kind of apotheosis of the Viennese waltz, with which was associated in my imagination an impression of a fantastic and fatal sort of dervish’s dance.” Is this music a celebration of the waltz–or is it an exploration of the darker spirit behind the culture that created it? Many have opted for the latter explanation, hearing in La valse not a Rosenkavalier-like evocation of a more graceful era, but the snarling menace behind that elegance. Ravel himself was evasive about the ending. He was aware of the implications of the violent close, but in a letter to a friend he explained them quite differently: “Some people have seen in this piece the expression of a tragic affair; some have said that it represented the end of the Second Empire, others that it was postwar Vienna. They are wrong. Certainly, La valse is tragic, but in the Greek sense: it is a fatal spinning around, the expression of vertigo and the voluptuousness of the dance to the point of paroxysm.”

LA JOLLA MUSIC SOCIETY

Symphony No. 3 in E-flat Major, Opus 55 “Eroica”

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

In May 1803, Beethoven moved to the village of Oberdöbling, a few miles north of Vienna. At age 32, he had just come through a devastating experience–the realization that he was going deaf had driven him to the verge of suicide– but now he resumed work, and life. To his friend Wenzel Krumpholz, Beethoven confided: “I am only a little satisfied with my previous works. From today on I will take a new path.” At Oberdöbling over the next six months, Beethoven sketched a massive new symphony, his third. Everyone knows the story of how Beethoven had intended to dedicate the symphony to Napoleon, whose reforms in France had seemed to signal a new age of egalitarian justice. But when the news reached Beethoven in May 1804 that Napoleon had proclaimed himself emperor, the composer ripped the title page off the score of the symphony and blotted out Napoleon’s name, angrily crying: “Is he then, too, nothing more than an ordinary human being? Now he, too, will trample on all the rights of man and indulge only his ambition. He will exalt himself above all others, become a tyrant!” (This sounds like one of those stories too good to be true, but it is quite true: that title page– with Napoleon’s name obliterated–has survived.) Countless historians have used this episode to demonstrate Beethoven’s democratic sympathies, though there is evidence that just a few months later Beethoven intended to restore the symphony’s dedication to Napoleon, and late in life he spoke of Napoleon with grudging admiration. When the symphony was published in 1806, though, the title page bore only the cryptic inscription: “Sinfonia eroica–dedicated to the memory of a great man.” The new symphony was given several private performances before the public première on April 7, 1805. Early audiences were dumbfounded. Wrote one reviewer: “This long composition, extremely difficult of performance, is in reality a tremendously expanded, daring and wild fantasia. It lacks nothing in the way of startling and beautiful passages, in which the energetic and talented composer must be recognized; but often it loses itself in lawlessness . . . The reviewer belongs to Herr Beethoven’s sincerest admirers, but in this composition he must confess that he finds too much that is glaring and bizarre, which hinders greatly one’s grasp of the whole, and a sense of unity is almost completely lost.” Legend has it that at the end of the first movement, one outraged member of the audience screamed out: “I’ll give another kreutzer [a small coin] if the thing will but stop!” It is easy now to smile at such reactions, but those honest sentiments reflect the confusion of listeners in the presence of a genuinely revolutionary work of art. There had never been a symphony like this, and Beethoven’s

THE ISRAEL PHILHARMONIC ORCHESTRA - PROGRAM NOTES

“new directions” are evident from the first instant. The music explodes to life with two whipcracks in E-flat major, followed immediately by the main idea in the cellos. This slightlyswung theme is simply built on the notes of an E-flat major chord, but the theme settles on a “wrong” note–C#–and the resulting harmonic complications will be resolved only after much violence. Another striking feature of this movement is Beethoven’s choice of 3/4 instead of the duple meter customary in symphonic first movements; 3/4, the minuet meter, had been thought essentially lightweight, unworthy of serious music. Beethoven destroys that notion instantly–this is not simply serious music, it is music of the greatest violence and uncertainty. In it, what Beethoven’s biographer Maynard Solomon has called “hostile energy” is admitted for the first time into what had been the polite world of the classical symphony. This huge movement (longer by itself than some complete Haydn and Mozart symphonies) introduces a variety of themes and develops them with a furious energy. It is no accident that the development is the longest section of this movement. The energy pent up in those themes is unleashed here, and the development–much of it fugal in structure–is full of grand gestures, stinging dissonances, and tremendous forward thrust. The lengthy recapitulation (in which the music continues to develop) drives to a powerful coda: the main theme repeats four times, growing more powerful on each appearance, and finally it is shouted out in triumph. This truly is a “heroic” movement–it raises serious issues, and in music of unparalleled drama and scope it resolves them. The second movement brings another surprise–it is a funeral march, something else entirely new in symphonic music. Beethoven moves to dark C minor as violins announce the grieving main idea over growling basses, and the movement makes its somber way on the tread of this dark theme. The C-major central interlude sounds almost bright by comparison– the hero’s memory is ennobled here–but when the opening material and tonality return Beethoven ratchets up tensions by treating his material fugally. At the end, the march theme disintegrates in front of us, and the movement ends on muttering fragments of that theme. Out of this silence, the propulsive scherzo springs to life, then explodes. For all its revolutionary features, the Eroica employs what was essentially the Mozart-Haydn orchestra: pairs of winds, plus timpani and strings. Beethoven makes only one change–he adds a third horn, which is now featured prominently in the trio section’s hunting-horn calls. But that one change, seemingly small by itself, is yet another signal of the originality of this symphony: the virtuosity of the writing for horns, the sweep of their brassy sonority–all these are new in music. The finale is a theme-and-variation movement, a form originally intended to show off the imagination of the composer

and the skill of the performer. Here Beethoven transforms this old form into a grand conclusion worthy of a heroic symphony. After an opening flourish, he presents not the theme but the bass line of that theme, played by pizzicato strings, and offers several variations on this line before the melodic theme itself is heard in the woodwinds, now accompanied by the same pizzicato line. This tune had special appeal for Beethoven, and he had already used it in three other works, including his ballet Prometheus. Was Beethoven thinking of Prometheus–stealer of fire and champion of mankind–when he used this theme for the climactic movement of this utterly original symphony? He puts the theme through a series of dazzling variations, including complex fugal treatment, before reaching a moment of poise on a stately slow variation for woodwinds. The music pauses expectantly, and then a powerful Presto coda hurls the Eroica to its close. The Eroica may have stunned its first audiences, but audiences today run the greater risk of forgetting how revolutionary this music is. What seemed “lawlessness” to early audiences must now be seen as an extraordinary leap to an entirely new conception of what music might be. Freed from the restraint of courtly good manners, Beethoven found in the symphony the means to express the most serious and important of human emotions. It is no surprise the composers over the next century would make full use of this freedom. Nor is it a surprise to learn that late in life–at a time when he had written eight symphonies–Beethoven named the Eroica as his own favorite among his symphonies.

The Israel Philharmonic Orchestra gratefully acknowledges Milton and Tamar Maltz for their generous underwriting of the Orchestra’s United States touring program, and American Friends of the Israel Philharmonic Orchestra as the principal underwriter of this tour.

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PRELUDE 7PM

Marcus Overton will interview Jeff Edmons, Music Director for the San Diego Youth Symphony and Conservatory La Jolla Music Society’s 2015-16 Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, San Diego Gas & Electric, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, The Frieman Family, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, John and Kay Hesselink, Jeanette Stevens, Gordon Brodfuehrer, and two anonymous donors.

SAN DIEGO YOUTH SYMPHONY SERIES

Chamber Orchestra

Jeff Edmons, music director & conductor Jinjoo Cho, violin FRIDAY, DECEMBER 11 · 8 PM MCASD SHERWOOD AUDITORIUM

BEETHOVEN

Overture to The Creatures of Prometheus, Opus 43

MENDELSSOHN

Violin Concerto in E Minor, Opus 64 Allegro molto appassionato Andante Allegretto no troppo; Allegro molto vivace

(1770-1827)

(1809-1847)

Jinjoo Cho, violin INTERMISSION

MENDELSSOHN

Symphony No. 1 in C Minor, Opus 11 Allegro di molto Andante Menuetto: Allegro molto Allegro con fuoco

This performance marks the San Diego Youth Symphony Chamber Orchestra's La Jolla Music Society debut. This performance marks Jinjoo Cho’s La Jolla Music Society debut.

LA JOLLA MUSIC SOCIETY

SAN DIEGO YOUTH SYMPHONY CHAMBER ORCHESTRA - 2015/16 ROSTER

SDYS CHAMBER ORCHESTRA Music Director: Jeff Edmons

VIOLIN I

Sofia Hashemi-Asasi Allan Huang Erica Hwang Daniel Rim Ilana Hirschfeld Natalie Chin Frank Lee

VIOLIN II

Bryan Kaleta Christian Gonzales Michelle Ju Ryan Park Lois Kim George Niu Song Lee

VIOLA

Ricardo Reyes Nathan Rim Diego Guerra

CELLO

Andrew Rim Paul Maxwell Stephen Yang Wade Streit Emily Lin

DOUBLE BASS

Micayla George William Mrdjenovich

FLUTE

FRENCH HORN

Christine Kim Catherine Jung

Jamie Pfauth Timothy Toombs

OBOE

TRUMPET

CLARINET

TIMPANI

Laura Gilmore Christine Kwon Jay Shankar Ivy Huang

Michael Remish Minjoon Choi David Meinen

BASSOON

Max Jiang

Program notes by Eric Bromberger

Overture to The Creatures of Prometheus, Opus 43

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

Beethoven had many reasons to accept, in 1800, a commission for a ballet score based on the Prometheus myth: he had long wanted to write a work for the stage, the ballet would be created by the distinguished ballet-master Salvatore Viganò, and frequent performances would mean increased income for the composer. Doubtless the Prometheus story itself, with its tale of a hero bringing enlightenment to mankind, appealed to the young composer. He began work on the score during the second half of 1800, shortly after the première of the First Symphony and at the same time he was writing the “Spring” Sonata. Prometheus had its first performance at the Burgtheater on March 28, 1801, and–despite some critical carping about the suitability of Beethoven’s music for dancing–the ballet had a reasonable success: it was performed over twenty times during the next two seasons. Beethoven published the overture in 1804, and it quickly became one of his most frequently-

performed works, but the score to the rest of the ballet, which consists of sixteen separate numbers, was not published until long after his death. The Prometheus Overture is extremely concise (it lasts barely five minutes) and powerful–it is easy to understand why this music was performed so frequently. Massive chords open the slow introduction, which leads without pause into the Allegro molto con brio. As that marking suggests, this goes at a blistering pace, introduced quietly by a moto perpetuo theme in the first violins. Woodwinds in pairs announce the bubbling second subject, by turns staccato and syncopated. Part of the reason for the conciseness of this overture is the fact that it has no development section: Beethoven simply introduces his ideas, recapitulates them, and the Prometheus Overture hurtles to its close.

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SAN DIEGO YOUTH SYMPHONY CHAMBER ORCHESTRA - PROGRAM NOTES

Violin Concerto in E Minor, Opus 64

Felix MENDELSSOHN Born February 3, 1809, Hamburg Died November 4, 1847, Leipzig

“I would like to write you a violin concerto for next winter. One in E minor keeps running through my head, and the opening gives me no peace.” So wrote Mendelssohn to his lifelong friend, violinist Ferdinand David, in 1838, and that opening has given millions of music-lovers no peace ever since, for it is one of the most perfect violin melodies ever written. Mendelssohn’s Violin Concerto seems so polished, so effortless in its easy flow that this music feels as if it must have appeared in one sustained stroke of Mendelssohn’s pen. Yet this concerto took seven years to write. Normally a fast worker, Mendelssohn worked very carefully on this music, revising, polishing, and consulting with David–his concertmaster at the Leipzig Gewandhaus Orchestra–at every step of its composition. He completed the score while on vacation in Bad Soden, near Frankfurt, during the summer of 1844, and David gave the première in Leipzig on March 13, 1845. Mendelssohn was sick at that time and could not conduct, so his assistant, the Danish composer Niels Gade, led the first performance. We do not normally think of Mendelssohn as an innovator, but his Violin Concerto is as remarkable for its originality as for its endless beauty. So over-familiar has this music become that it is easy to miss its many innovations. These begin in the first instant: Mendelssohn does away with the standard orchestral exposition and has the violin enter in the second bar with its famous theme, marked Allegro molto appassionato and played entirely on the violin’s E-string; this soaring idea establishes the movement’s singing yet impassioned character from the very beginning. Other themes follow in turn–a transitional figure for the orchestra and the true second subject, a choralelike tune first given out by the woodwinds. This concerto offers wonderful violin music: Mendelssohn played the violin himself, and he consulted with David at every point–the result is a concerto that sits gracefully under the violinist’s hand and sounds to its listeners as poised and idiomatic as it actually is. It is also easy to miss how deftly this concerto is scored: Mendelssohn writes for what is essentially the MozartHaydn orchestra (pairs of woodwinds, trumpets, and horns, plus timpani and strings), and he is able to keep textures transparent and the soloist audible throughout, but he can also make that orchestra ring out with a splendor that Mozart and Haydn never dreamed of. The quiet timpani strokes in the first few seconds, which subtly energize the orchestra’s swirling textures, are just one of many signs of the hand of a master. Another innovation: Mendelssohn sets the cadenza where we do not expect it, at the end of the development rather than

LA JOLLA MUSIC SOCIETY

just before the coda, and that cadenza–a terrific compilation of trills, harmonics, and arpeggios–appears to have been largely the creation of David, who fashioned it from Mendelssohn’s themes. The return of the orchestra is a masterstroke: it is the orchestra that brings back the movement’s main theme as the violinist accompanies the orchestra with dancing arpeggios. Mendelssohn hated applause between movements, and he tried to guard against it here by tying the first two movements together with a single bassoon note (this has not always stopped audiences, however). The two themes of the Andante might by themselves define the term “romanticism.” There is a sweetness about this music that could–in other hands–turn cloying, but Mendelssohn skirts that danger gracefully. The soloist has the arching and falling opening melody, while the orchestra gives out the darker, more insistent second subject. The writing for violin in this movement, full of doublestopping and fingered octaves, is a great deal more difficult than it sounds. Mendelssohn joins the second and third movements with an anticipatory bridge passage that subtly takes its shape from the concerto’s opening theme. Resounding fanfares from the orchestra lead directly to the soloist’s entrance on an effervescent, dancing melody so full of easy grace that we seem suddenly in the fairyland atmosphere of Mendelssohn’s own incidental music to A Midsummer Night’s Dream. Several other themes appear along the way (Mendelssohn combines some of them in ingenious ways), but it is the sprightly opening melody that dominates as the music seems to fly through the sparkling coda to the violin’s exultant three-octave leap at the very end.

Symphony No. 1 in C Minor, Opus 11

Felix MENDELSSOHN Felix Mendelssohn may have been the greatest prodigy in the history of music. His talents as a pianist, his sense of form, and his musical instincts rivaled–perhaps even surpassed–those of the young Mozart. Though his family was wary of a career in music, they recognized the boy’s talent very early and did all they could to encourage it: they arranged to have the finest professional musicians in Berlin perform his music as soon as it was written, and they hired one of the best musical pedagogues available, Karl Zelter, to teach the boy composition. Zelter put the boy through a rigorous apprenticeship, and Mendelssohn had written countless works before he was finally allowed to publish his official Opus 1, a piano quartet, when he was fourteen. As part of the boy’s training, Zelter had made Mendelssohn write a series of symphonies for strings, and twelve of these

SAN DIEGO YOUTH SYMPHONY CHAMBER ORCHESTRA - PROGRAM NOTES

survive (they are occasionally still performed). Late in 1823 Mendelssohn wrote a thirteenth symphony for strings, in C minor, and then pressed on to arrange it for full orchestra, which in this case meant Mozart’s classical orchestra. He completed what would be his first “official” symphony on March 31, 1824, a month after his fifteenth birthday. The young composer led the première at a private concert the following November 11. To help celebrate the nineteenth birthday of Mendelssohn’s sister Fanny, the family had hired a professional orchestra, and that première took place in the family home in Berlin. The first public performance, by the Leipzig Gewandhaus Orchestra, had to wait until February 1, 1827. Karl Zelter was an extremely conservative teacher (he loathed the music of Beethoven, then still active in Vienna) and insisted that Mendelssohn compose in strict classical forms. And so Mendelssohn’s First Symphony is very much in the manner of Haydn and Mozart. Unlike his teacher, young Mendelssohn admired Beethoven, and he chose Beethoven’s own favorite “dark” key of C minor for his first symphonic effort. The opening Allegro di molto gets off to a fierce and dramatic beginning, and this makes the flowing second subject all the more attractive. Young Mendelssohn takes this movement through some remote keys before closing firmly in C minor. The Andante, also in sonata form, is based largely on its chorale-like opening theme for strings, while young Mendelssohn sets the Menuetto in the unexpected meter 6/4. Its trio section, another chorale-like melody but this time in A-flat major, makes an extended return to the opening material. Mendelssohn marked the finale Allegro con fuoco, and certainly there is plenty of fire at its vigorous opening. Along the way comes a gentle song for solo clarinet over pizzicato strings, and the boy demonstrates his contrapuntal abilities with several extended fugato passages. At the very end, Mendelssohn suddenly (and unexpectedly) shifts to C major and drives his First Symphony to its powerful conclusion in that key. A NOTE ON EDITIONS: When Mendelssohn led the London première of his First Symphony on May 25, 1829, he dropped the Menuetto movement and substituted his own orchestration of the Scherzo from his Octet for Strings. The symphony is today performed and recorded in both these versions. At this concert the San Diego Youth Symphony plays Mendelssohn’s original version, with the Menuetto as the third movement.

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MUSICAL PRELUDE 2PM

Young artists from the San Diego Youth Symphony perform

The Discovery Series is underwritten by Medallion Society member:

DISCOVERY SERIES

Jinjoo Cho, violin SUNDAY, DECEMBER 13 · 3 PM THE AUDITORIUM AT TSRI

Hyun Soo Kim, piano JOAN TOWER

String Force

C. SCHUMANN

Three Romances for Violin and Piano, Opus 22 Andante molto Allegretto Leidenschaftlich schnell

R. SCHUMANN

Violin Sonata No. 2 in D Minor, Opus 121 Ziemlich langsam; Lebhaft Sehr lebhaft Leise, einfach Bewegt

(b. 1938)

(1819-1896)

(1810-1856)

Jeanette Stevens Additional support for the Series is provided by:

Gordon Brodfuehrer

INTERMISSION

ELLEN ZWILICH

Fantasy for Solo Violin

JOHN CORIGLIANO

Sonata for Violin and Piano Allegro Andantino Lento Allegro

RAVEL

Tzigane

(b. 1939) (b. 1938)

(1875-1937)

Jinjoo Cho last performed for La Jolla Music Society in the San Diego Youth Symphony Series on December 11, 2015.

LA JOLLA MUSIC SOCIETY

JINJOO CHO - PROGRAM NOTES Program notes by Eric Bromberger

String Force

Joan TOWER

Born September 6, 1938, New Rochelle, New York

In 1982 the distinguished violinist Josef Gingold founded the International Violin Competition of Indianapolis, and over the last three decades that competition has become one of the most important showcases for young violinists. Held every four years, the Competition attracts contestants from around the world, and some very distinguished violinists have launched their careers after winning it. Augustin Hadelich and Kyoko Takezawa have won the gold medal, and other medal winners include Sergey Khachatryan and Ida Kavafian, as well as the concertmasters of three major American orchestras: David Kim (Philadelphia), Andrés Cárdenes (Pittsburgh) and David Chan (Metropolitan Opera). The competitors are expected to perform the standard literature, but for each competition a leading composer is asked to write a test-piece for solo violin that every candidate will play. Among the composers who have written these test-pieces are Witold Lutosławski, Leon Kirchner, Bright Sheng, and Ned Rorem, and some of the pieces composed for Indianapolis, such as Lutosławski’s Subito of 1992, have gone on to become part of the violin repertory. On this recital Jinjoo Cho will perform the two most recent test-pieces for the Indianapolis Competition. Joan Tower wrote String Force as the test-piece for the 2010 competition. One of America’s most-honored (and most prolific) composers, Joan Tower studied at Bennington College and at Columbia, where her teachers included Otto Luening, Jack Beeson, and Vladimir Ussachevsky. Tower was the pianist and co-founder of the Da Capo Players, and she performed with and composed for that ensemble for many years. The recipient of the 1990 Grawemeyer Award for her Silver Ladders, Tower has been composer-inresidence with the Saint Louis Symphony and the Orchestra of St. Luke’s. She now teaches at Bard College. The composer has prepared a program note for this work: String Force (2010) was commissioned by the International Violin Competition of Indianapolis for the 2010 Competition and was underwritten by the Christel DeHaan Family Foundation in honor of the children and families of Christel House. It is dedicated with great affection to the violinist Jaime Laredo. The 7-minute work was an attempt at writing a challenging piece for violin. When I heard 16 very good semi-finalists from around the world play this piece (without any rehearsal of any kind with me), I was dumbstruck at what was working and what was not. I changed several things after that and learned quite a bit about

the extremes of tempo and register of the violin. (I want to thank Ida and Ani Kavafian and Maria Bachmann for their advice in writing this piece.) - Joan Tower

Three Romances for Violin and Piano, Opus 22

Clara SCHUMANN Born September 13, 1819, Leipzig Died May 20, 1896, Frankfurt

In 1853 Robert and Clara Schumann welcomed into their home in Düsseldorf two young men who would go on to become giants of nineteenth-century German music: Johannes Brahms and Joseph Joachim. Brahms and Joachim would develop a lengthy (and frequently stormy) relationship of their own, but they quickly became true friends of the Schumann family. Robert’s mental health was now in rapid deterioration, and they stood by during his decline and death in an asylum, visiting him frequently and helping Clara and the seven children. In turn, Clara remained close to both men over the remaining forty years of her life. Her long and intense friendship with Brahms is familiar, but she was also close to Joachim: she gave a number of duo-recitals with him after Robert’s death, and she was close enough to give the violinist financial and domestic advice as he approached his own marriage. Brahms and Joachim were among the most intense mourners at her death in 1896. In 1853, during the first rush of the Schumanns’ friendship with Joachim, Clara wrote–specifically for him–the Three Romances for Violin and Piano. Clara did not compose a great deal. The demands of being wife, mother, and pianist left her little time, and in any case she was ambivalent about composing: in a diary entry at age 19 she wrote, “a woman must not desire to compose–not one has been able to do it, and why should I expect to?” In fact, these romances were virtually her final composition (her list of opus numbers runs only to 23): after Robert’s death, she stopped composing altogether. A romance is a type of music without strict formal meaning: that title simply suggests music of an expressive character. All three of these romances are in ternary form plus coda, and all end quietly. Though they were composed during the stress that accompanied Robert’s decline, these pieces show absolutely no sign of that pain– they may be regarded as brief explorations of gentle moods. In the Andante molto, the violin soars easily over the piano accompaniment, though the music’s characteristic quintuplet turn appears in both parts. The Allegretto, in G minor, is more intense, though Clara’s instruction is “With tender performance.” Some have heard the influence of Mendelssohn in this music, which moves into G major for its center section, full of trills and grace notes; this romance winks out with quiet pizzicato strokes that return to G major in the last measure. The final romance, marked Passionately fast, is also the longest: the violin sings above a rippling piano accompaniment; when this section returns, the composer effectively varies the sound by making the piano accompaniment entirely staccato. W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

JINJOO CHO - PROGRAM NOTES

Joachim very much liked the Three Romances, and he and Clara performed them frequently. When she published the set in 1855, Clara had this inscription printed in the score: “Dedicated to Joseph Joachim with the greatest friendship.”

Violin Sonata No. 2 in D Minor, Opus 121

Robert SCHUMANN

on top of the bridge to produce a disembodied sound). The variations turn melodic again, but this movement concludes with a brief reminiscence of the scherzo. After two such imaginative movements, the finale (marked “Animated”) can seem a little conventional. It features torrential washes of sixteenth-notes, some difficult string-crossings for the violinist, and once again much syncopated writing. The movement is in sonata form, and in its closing moments Schumann moves from the dark D-minor tonality to a sudden D-major cadence.

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

Schumann’s three violin sonatas come from very late in his career. He wrote the second in the space of only eight days (October 26-November 2, 1851), during a period of increasing stress. Then 41, Schumann was nearing the end of his turbulent tenure as music director in the city of Düsseldorf and believed himself surrounded by scheming rivals–he had written his Violin Sonata No. 1 only a month before, describing himself as “very angry with certain people” when he composed it. The Second Sonata appears to have come from a calmer interval, though it too has moments of turbulence. Schumann dedicated it to Ferdinand David, who had given the première of Mendelssohn’s Violin Concerto in 1845 and had earned Schumann’s gratitude by giving the first readings of Schumann’s three string quartets nine years earlier. Schumann’s Second Violin Sonata shows an unusual structure. It is in four movements rather than the customary three: two massive outer movements frame two much shorter inner movements, which are themselves linked in ingenious ways. The sonata opens with a declarative slow introduction, somewhat in the manner of a recitative. The music leaps ahead at the exposition (marked “Lively”), where the main theme is full of propulsive and twisting energy; by contrast, the second subject is melodic and quite long. The troubled development, full of accents and syncopations, focuses on the first theme; it drives to a massive chordal climax and a coda that Schumann marks “Faster.” The second movement, a scherzo marked “Very lively,” features pounding chords in the outer sections and two trios. In the first trio Schumann keeps the 6/8 meter in the piano but sets the violin in duple rhythms above it; the second is full of dotted rhythms and springing themes. This movement too drives to a powerful climax on unison chords from both instruments. And then the surprises begin. Schumann marks the third movement “Gentle, simple,” and simple it certainly seems to be, as the violin picks out a tune and the movement turns into a set of variations on this melody. Only gradually does the identity of this tune become clear: it was the massive chordal climax at the end of the scherzo, presented there as a sort of premonition. That melody is itself a variation of the Bach chorale tune Gelobet seist du, Jesu Christ, and Schumann’s variations here are quite imaginative: in the fourth, for example, the pounding opening theme of the scherzo suddenly shows up, and over it Schumann offers the chorale tune, played ponticello (bowed

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Fantasy for Solo Violin

Ellen Taafe ZWILICH Born April 30, 1939, Miami

On this recital Jinjoo Cho performs the two most recent testpieces for the Indianapolis Competition. Ellen Taafe Zwilich was the first woman to win the Pulitzer Prize for Music–in 1983 for her Symphony No. 1–and over the last four decades she has become one of this country’s most successful and prolific composers. Her catalog of works lists five symphonies, numerous concertos (including many for unusual or unexpected combinations of instruments), orchestral works, chamber music, and vocal music. Trained as a violinist, Zwilich played for several years in the American Symphony Orchestra under Leopold Stokowski before deciding to devote herself full-time to composition. She studied with Elliott Carter and Roger Sessions and was the first woman to earn a Doctorate of Musical Arts from Juilliard. For some years Zwilich served as the Francis Eppes Distinguished Professor of Music at Florida State University. Zwilich composed her Fantasy for Solo Violin for the 2014 Competition, at which Jinjoo Cho was the Gold Medal winner. The test-pieces for Indianapolis are designed specifically to challenge violinists to show their virtuosity through a range of techniques as well as the ability to project a sense of form and a singing line. In an interview Zwilich noted: “Any work for solo violin presents technical challenges, but it was my aim in writing Fantasy for Solo Violin to challenge the musical imagination and dramatic impulses of the violinist as well. For me, the best artist is not just a virtuoso but a creative spirit in communion with the music.” About six minutes long, Zwilich’s Fantasy bursts to life with an opening declaration marked Free, then plunges ahead firmly at the Tempo giusto. This section is full of such hurdles as extended high-position passages, multiple-stopping, rapid string-crossings, left-handed pizzicatos, and many more. Zwilich, herself a professional violinist, draws on that experience to devise a test-piece that will push all violinists to the outer limits of their technique. Zwilich dedicated the Fantasy to her long-time friend, the violinist Jaime Laredo, who was director of the 2014 Competition.

JINJOO CHO - PROGRAM NOTES

Sonata for Violin and Piano

John CORIGLIANO Born February 16, 1938, New York

It is hard to believe that John Corigliano–for many years a prominent “young” composer–is now 77 years old. Corigliano has built his distinguished reputation on large-scale works, particularly his four concertos and the score to the film Altered States, which won an Academy Award nomination. Recently, two other major works have earned international attention: his Symphony No. 1 (1990), written in reaction to the AIDS epidemic, and the opera The Ghost of Versailles (1991), commissioned, performed, and recorded by the Metropolitan Opera. Chamber music has formed a relatively small part of Corigliano’s output, and his Violin Sonata dates from very early in his career: he composed this music in 1963, when he was only 25, and it was first performed at the Festival of Two Worlds in Spoleto on July 10, 1964. One expects the music of a young composer to show influences, and there are moments in this sonata when one senses the spirit of Copland (in the wideranging melodies and “open” harmonies) and Stravinsky (in the motor rhythms and brisk energy). Yet Corigliano’s Violin Sonata survives on its own virtues: this is music of dramatic sweep, a nice sense of melody, and high spirits. It is also ferociously difficult. Corigliano wrote it for his father–John Corigliano, Sr.–who was for many years the concertmaster of the New York Philharmonic (the work is dedicated to the composer’s parents), and both the violin and piano parts demand a virtuoso performer: there are, in fact, cadenzas for both players along the way. Corigliano’s Violin Sonata is in four movements: two massive fast movements frame two slower movements. The opening Allegro is built on changing meters, sweeping thematic material, rapid shifts between pizzicato and bowed passages, brilliant runs, and complex multiple-stops; the movement remains in character throughout, driving unremittingly to a violent close. By complete contrast, the Andantino sings gracefully. Corigliano marks the beginning with simplicity and dolce; the middle section grows more agitated before the movement almost floats to its quiet close. Piano alone makes the fierce opening statement of the Lento, and when the violin picks up this material the composer marks its part broodingly (some of the hidden fun of this piece lies in Corigliano’s instructions to the performers, who are at various times instructed to play “warmly,” “richly,” “cooly”). The violin has a long and difficult cadenza here, then rejoins the piano for the quiet close. The sonata concludes with a cheerful finale that combines elements of the rondo and perpetual motion. After a long and brilliant opening section, the music finally slows down; Corigliano marks this section dolce, a bit breathless (and at this point the performers may well

be forgiven if they are). A piano cadenza leads to a return of the perpetual-motion material, and the sonata rushes to a blistering close on the fierce collision of C# and D. It is a resonant and exciting conclusion to a very energetic piece of music.

Tzigane

Maurice RAVEL

Born March 7, 1875, Ciboure, Basses-Pyrénées, France Died December 28, 1937, Paris

In the summer of 1922, just as he began his orchestration of Mussorgsky’s Pictures at an Exhibition, Ravel visited England for several concerts of his music, and in London he heard a performance of his brand-new Sonata for Violin and Cello by Jelly d’Arányi and Hans Kindler. Jelly d’Arányi must have been a very impressive violinist, for every composer who heard her was swept away by her playing–and by her personality (Bartók was one of the many who fell in love with her). Ravel was so impressed that he stayed after the concert and talked her into playing gypsy tunes from her native Hungary for him–and he kept her there until 5 A.M. the next morning, playing for him. Tzigane probably got its start that night. Inspired by both d’Arányi’s playing and the fiery gypsy tunes, Ravel set out to write a virtuoso showpiece for the violin based on gypsy-like melodies (the title Tzigane means simply “gypsy”). Its composition was much delayed, however, and Ravel did not complete Tzigane for another two years. Trying to preserve a distinctly Hungarian flavor, he wrote Tzigane for violin with the accompaniment of lutheal, a device which–when attached to a piano–gave the piano a jangling sound typical of the Hungarian cimbalom. The first performance, by Jelly d’Arányi with piano accompaniment, took place in London on April 26, 1924, and later that year Ravel prepared an orchestral accompaniment. In whatever form it is heard, Tzigane remains an audience favorite. It is unusual for a French composer to be so drawn to gypsy music. Usually it was the composer from central Europe–Liszt, Brahms, Joachim, Hubay–who felt the charm of this music, but Ravel enters fully into the spirit and creates a virtuoso showpiece redolent of gypsy campfires and smoldering dance tunes. Tzigane opens with a long cadenza (nearly half the length of the entire piece) that keeps the violinist solely on the G-string across the span of the entire first page. While Tzigane seems drenched in an authentic gypsy spirit, all of its themes are Ravel’s own, composed in the spirit of the tunes he heard d’Arányi play late that night. Gradually the accompaniment enters, and the piece takes off. Tzigane is quite episodic, and across its blazing second half Ravel demands such techniques from the violinist as artificial harmonics, left-hand pizzicatos, complex multiple-stops, and sustained octave passages. Over the final pages the tempo gradually accelerates until Tzigane rushes to its scorching close, marked Presto. W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

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SPECIAL EVENT

The Blind Boys of Alabama SATURDAY, DECEMBER 19 · 8 PM MCASD SHERWOOD AUDITORIUM

Benjamin Moore, vocals Eric “Ricky” McKinnie, vocals Jimmy Carter, vocals Joey Williams, guitar & vocals Paul Beasley, vocals Tracy Pierce, bass Austin Moore, drums Ray Ladson, keyboard

Works to be announced from stage NO INTERMISSION The Blind Boys of Alabama last performed with La Jolla Music in the Jazz Series on October 13, 2012.

LA JOLLA MUSIC SOCIETY

BIOGRAPHIES THE BLIND BOYS OF ALABAMA

Rolling Stone magazine has called the Blind Boys of Alabama “a super-weapon of roots music uplift.” The Blind Boys are recognized worldwide as living legends of gospel music. Nearly seventy-five years after they hit their first notes together, The Blind Boys of Alabama are exceptional not only in their longevity, but also in the breadth of their catalog and their relevance to contemporary roots music. Since 2000, they have won five Grammy® Awards and four Gospel Music Awards, and have delivered their spiritual message to countless listeners. The Blind Boys’ live shows are roof-raising musical events that appeal to audiences of all cultures, as evidenced by an international itinerary that has taken them to virtually every continent. The Blind Boys of Alabama have attained the highest levels of achievement in a career that spans over 75 years and shows no signs of diminishing. The Blind Boys of Alabama Christmas Tour will showcase the band performing selections from their latest Christmas album, “Talkin’ Christmas!” as well as the band’s previous Grammy-winning Christmas recording, “Go Tell It on the Mountain,” along with Blind Boys’ Gospel classics.

JINJOO CHO, violin

Born in Seoul, Korea, Jinjoo Cho moved to Ohio to study in Cleveland Institute of Music’s Young Artist Program at age 14. Having garnered First Grand Prize and Radio Canada’s People’s Choice Award at the 2006 Montreal International Musical Competition at age 17, Ms. Cho was the Gold Medalist of the 2014 International Violin Competition of Indianapolis. She finished her Bachelor of Music degree at both the Curtis Institute of Music and the Cleveland Institute of Music (CIM), where she later received her Master of Music and Professional Studies, studying with Jaime Laredo. She has concertized throughout North and South America, Asia, and Europe, performing as a soloist with such prestigious orchestras as The Cleveland Orchestra and the Montreal Symphony Orchestra, among others. She has spent summers at the Aspen Music Festival and the Chamber Music Residency Program at The Banff Centre with pianist Daniel H.S. Kim, with whom she performs and tours as Duo Istas. Passionate about arts education and audience engagement, she founded Encore Chamber Music Institute, a chamber music program for Cleveland high school and college students to commence summer of 2016. Ms. Cho will begin teaching violin and coaching chamber music at Oberlin Conservatory fall of 2015.

Hyun Soo Kim, piano

Pianist Hyun Soo Kim has performed extensively throughout the United States, Canada, Italy, Switzerland and South Korea. In demand as a collaborative pianist with singers and instrumentalists, Mr. Kim is a member of the Collaborative Piano Staff at the Cleveland Institute of Music (CIM) and Kent State University. He received a Bachelor of Music in piano performance from the University of Delaware and was recognized as a Delaware Representative in the Young Artist Category by the Music Teachers National Association. He completed his Master’s degree and Artist Diploma in collaborative piano at CIM, where he received the Rosa Lobe Collaborative Piano Award. He has served as a staff pianist at Rocky Ridge Music Center, Interlochen Arts Academy and regional opera companies in Cleveland, Philadelphia and Delaware.

THE ISRAEL PHILHARMONIC ORCHESTRA

The Israel Philharmonic Orchestra is one of Israel’s oldest and most influential cultural institutions. Since its founding in 1936, the Israel Philharmonic Orchestra has dedicated itself to presenting the world’s greatest music to audiences in Israel and around the world. The IPO was born of first-chair musicians of Eastern European and German orchestras who immigrated to Palestine as a result of the political climate of the time. The Orchestra has enjoyed associations with such renowned artists as Emanuel Ax, Daniel Barenboim, Yo-Yo Ma, Honorary Guest Conductor Kurt Masur, Itzhak Perlman, Jean-Pierre Rampal, Arthur Rubinstein, Gil Shaham and Isaac Stern. Conductor Zubin Mehta was awarded the title Music Director for life in 1981. The IPO is Israel’s premier cultural ambassador and travels extensively throughout the world, where goodwill created by these tours is of enormous value to the State of Israel. From Italy and the Americas and China, and beyond, The IPO’s concerts have brought music and a message of peace. In addition to touring, the Orchestra gives more than 100 performances each year in Israel’s Tel Aviv, Jerusalem and Haifa to their 26,000 subscribers. The IPO KeyNote Education and Outreach Program bring classical music to the audience of the future through music. W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

BIOGRAPHIES

Zubin Mehta, conductor & music director

Born in 1936 in Bombay, Zubin Mehta’s first musical education was under his father’s Mehli Mehta’s guidance who was a noted concert violinist and the founder of the Bombay Symphony Orchestra. By 1961 Mr. Mehta had already conducted the Vienna, Berlin and Israel Philharmonic orchestras and has recently celebrated 50 years of musical collaboration with all three ensembles. Mr. Mehta has directed many of the world’s finest orchestras, and has been Music Director of the Montrael Symphony, Los Angeles Philharmonic and the New York Philharmonic orchestras. He is the music director for life of the Israel Philharmonic Orchestra and the chief conductor of the Orchestra del Maggio Musicale Fiorentino. His list of awards and honours is extensive and includes the “Nikisch-Ring” bequeathed to him by Karl Böhm, The Commander’s Cross of the Order of Merit of the Federal Republic of Germany, the Indian Government’s “Tagore Award for cultural harmony” and a star on Hollywood Boulevard. Mr. Mehta continues to support the discovery and furtherance of musical talents all over the world. He and his brother Zarin co-chair Bombay’s Mehli Mehta Music Foundation that educates hundreds of children in Western Classical Music, and works with The IPO at The Buchmann-Mehta School of Music in Tel Aviv to develop young talent.

NEW YORK CITY BALLET MOVES

New York City Ballet is one of the foremost dance companies in the world, with an unparalleled active repertory of ballets—most of them created for NYCB—many of which are considered modern masterpieces. NYCB was established in 1948 by choreographer George Balanchine and arts aficionado Lincoln Kirstein at the City Center of Music and Drama, and quickly became known for pure neoclassicism, which resonated with modern audiences. In 1949, Jerome Robbins joined NYCB as associate artistic director. Balanchine served as Ballet Master of NYCB from its inception until his death, in 1983, choreographing countless works and creating a company of dancers known for their speed and musicality. Now under the direction of Ballet Master in Chief Peter Martins and Executive Director Katherine Brown, the company has more than 90 dancers, a 62-member orchestra, an official school (the School of American Ballet), an institute for choreography (the New York Choreographic Institute), and an annual 21-week season in New York City, the longest home season of any dance company in the world. New York City Ballet MOVES, composed of a select group of NYCB dancers and musicians, provides an opportunity to showcase NYCB’s extraordinary artists and repertory for new audiences around the world.

Peter Martins, artistic director

Peter Martins was born in Denmark and has spent more than 40 years with New York City Ballet as a dancer, choreographer, and Ballet Master in Chief. After appearing for three years as a guest artist, Mr. Martins joined the Company as a Principal Dancer in 1970. During his career as a dancer, from which he retired in 1983, he performed in a tremendous variety of ballets in the repertory, and originated roles in many works by George Balanchine and Jerome Robbins, among others. From 1983 to 1989, he and Jerome Robbins served as co-Ballet Masters in Chief of the New York City Ballet and, in 1990, he assumed sole artistic directorship of the Company. Under his leadership, New York City Ballet has added significantly to its repertory, while maintaining the integrity of its core works, the 20th-century masterpieces by Balanchine and Robbins. He began his career as a choreographer in 1977 with Calcium Light Night and has since created more than 80 ballets, many of them set to scores by contemporary American composers. Mr. Martins is also Artistic Director and Chairman of the Faculty at the School of American Ballet and Founder and Artistic Director of the New York Choreographic Institute.

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.

LA JOLLA MUSIC SOCIETY

BIOGRAPHIES

TIM PAGE, prelude presenter

Tim Page is a professor of music and journalism at the University of Southern California’s Thornton School of Music and the Annenberg School for Communication and Journalism. He won the Pulitzer Prize for Criticism in 1997 for his “lucid and illuminating” writings as chief classical music critic for The Washington Post. Additionally, Mr. Page’s varied career has included writing, editing and producing. He was the artistic advisor and creative chair for the St. Louis Symphony Orchestra.

SAN DIEGO YOUTH SYMPHONY & CONSERVATORY

Under the leadership of President and CEO Dalouge Smith and Music Director Jeff Edmons, San Diego Youth Symphony and Conservatory (SDYS) instills excellence in the musical and personal development of students ages 8 to 25 through rigorous and inspiring musical training experiences. Since 1945, SDYS has given thousands of musicians the opportunity to study and perform classical repertoire at a highly advanced level. SDYS attracts student musicians from throughout San Diego, Imperial and Riverside counties and serves over 600 students annually through its ten ensembles. The organization’s preeminent ensemble, the SDYS Chamber Orchestra is comprised of the principal and assistant principal musicians from the advanced level Ovation Program and rehearses at an extraordinarily proficient level for a youth program. Provided the finest training, the Chamber Orchestra is given the opportunity to perform professional level repertoire from multiple historic periods for both string orchestra and full chamber orchestra on a national and international stage. Most recently, select students of the San Diego Youth Symphony participated in SDYS’s 70th Anniversary tour to China and performed in Beijing’s Forbidden City Concert Hall, San Diego’s sister city Yantai’s Concert Hall and the Oriental Arts Center in Shanghai in June 2015.

Jeff Edmons, music director & conductor

Jeff Edmons is now in his twentieth year with SDYS. Under his direction, the Youth Symphony has experienced tremendous growth, both in enrollment and in its level of musical achievement. Mr. Edmons has been featured in articles and journals honoring his work and has been the subject of documentaries on CNN, Fox Television, National Public Radio, and more. Mr. Edmons has led youth, collegiate, and professional orchestras in critically acclaimed performances throughout the United States as well as abroad, from Mexico to Switzerland and beyond. He is frequently invited to judge and guest conduct local and regional orchestras and bands and has received numerous local and national invitations and awards for his achievements in music education. His mentors and teachers include Esa Pekka Salonen, Michael Davis, Dr. Robert Gillespie and Craig Kirchoff.

CHRIS THILE, mandolin & vocals

Described by London’s Independent as “the most remarkable mandolinist in the world,” Chris Thile is the mandolinist and vocalist of Punch Brothers and Nickel Creek. The McArthur Foundation echoed that assessment when it named Mr. Thile one of its 23 MacArthur Fellows for 2012 and a recipient of its prestigious “Genius Grant.” As a solo artist he has released five albums, as well as performed and recorded extensively in duos with Edgar Meyer, Brad Mehldau, and Mike Marshall. Other stellar musicians with whom he has collaborated include cellist Yo-Yo Ma, banjoist Béla Fleck, violinist Stuart Duncan, and bluegrass guitarist Michael Daves. August 2013 saw the release of Chris Thile’s debut solo mandolin recording, Bach: Partitas and Sonatas, Vol.1, produced by Edgar Meyer. Nonesuch Records released Bass & Mandolin in September 2014, the second duo recording from Mr. Thile and Mr. Meyer, which won the 2015 Grammy for Best Contemporary Instrumental Album. In January 2015, Nonesuch Records released Punch Brothers’ newest album, The Phosphorescent Blues, which was hailed by The Herald in Scotland as a piece of music that “...deserves to be filed next to the best work of The Beach Boys, Big Star, and Richard Thompson.”

PHOTO CREDITS: Cover: Z. Mehta © Marco Brescia; Pg 2: New York Philharmonic © Chris Lee; Pg. 11 & 30: New York City Ballet MOVES © Paul Kolnik; Pg. 14 & 31: C. Thile courtesy of artist; Pg. 15 & 30: Z. Mehta © Marco Brescia; Pg. 20 & 31: SDYS by Matthew Fernie; Pg. 24 & 29: J. Cho courtesy of artist; Pg. 28 & 29: The Blind Boys of Alabama courtesy of artists; H. S. Kim courtesy of artist; The Israel Philharmonic Orchestra © Shai Skiff; Pg. 30: P. Martins © Paul Kolnik; M. Overton courtesy of presenter; Pg. 31: T. Page courtesy of presenter; J. Edmons courtesy of artist; Back Cover: The Blind Boys of Alabama courtesy of artists

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($5,000 - $9,999)

*In Memoriam

COMMUNITY MUSIC CENTER Since 1999, La Jolla Music Society has operated the Community Music Center, a free afterschool music education program in southeast San Diego. Each year, the program provides instruments and valuable instruction to over one hundred students.

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PATRON SOCIETY

MEMBERS OF THE PATRON SOCIETY SUPPORT LA JOLLA MUSIC SOCIETY WITH GIFTS OF $250 TO $4,999

AFICIONADO ($2,500 - $4,999)

Jim Beyster Ian & Ann Campbell Callan Capital Valerie & Harry Cooper Nina & Robert Doede Mr. & Mrs. Michael Durkin Bryna Haber Betty Ann Hoehn Linda Howard Jessie Knight & Joye Blount Carol Lazier Todd Lempert & Donna Madrea Arleen & Robert Lettas Charlie & Gloria McCoy The Hon. M. Margaret McKeown & Dr. Peter Cowhey Marilyn & Stephen Miles Gail & Edward Miller Novak Charitable Trust: Earl N. Feldman, Trustee John Rebelo & Sarah B. Marsh-Rebelo Murry & Patty Rome The SingerVenekamp Team at Brown Harris Stevens Annie So Leland Sprinkle Matthew & Iris Strauss Bill & Shelby Strong

SERVING OUR COMMUNITY During our 2014â&#x20AC;&#x201C;15 season, La Jolla Music Society was able to reach over 11,700 students and community members. We worked with students from over 60 different schools and universities, providing concert tickets, performance demonstrations, and master classes. Thanks to the generous support of our patrons and donors, all of our outreach activities are free to the people we serve.

LA JOLLA MUSIC SOCIETY

Renee Taubman Mary L. Walshok Al & Armi Williams Harvey & Sheryl White Joseph Witztum & Mary Elinger Witztum Su-Mei Yu Tim & Ellen Zinn

ASSOCIATE ($1,000 - $2,499)

Kenny & Kathy Alameda Frank Alessio Christopher Beach & Wesley Fata Bjorn Bjerede & Jo Kiernan Ginny & Bob Black Marsha & Bill Chandler Del Foit & Cynthia Bobin-Foit Teresa O. Campbell Anthony F. Chong & Annette Thu Nguyen Victor & Ellen Cohn Peggy Cravens Lori & Tony Demaria Dennis Dorman Mary & Hudson Drake Ernie & Marilyn Dronenburg The Rev. Eleanor Ellsworth Drs. Edward & Ruth Evans Nomi Feldman Gigi Fenley Richard & Beverly Fink Paul & Clare Friedman Paul & Barbara Hirshman Floyd Humphreys Elisa & Rick Jaime Daphne & James Jameson Jeanne Jones & Don Breitenberg Peter & Beth Jupp David & Susan Kabakoff Louise Kasch Katherine Kennedy Greg Lemke Theodora Lewis Grace Lin Jaime & Sylvia Liwerant Paul & Maggie Meyer Dr. Sandra Miner David Mittelstadt Will & Nora Hom Newbern Beverle & Marc Ostrofsky Anne Otterson

PATRON SOCIETY

Art & Vicki Perry Ann & Ken Poovey William Purves Dr. Jane Reldan Dr. Marilies Schoepflin Juliette Singh Francy Starr Kathy Taylor & Terry Atkinson Susan & Richard Ulevitch Robert Vanosky Laurette Verbinski Dr. Lee & Rhonda Vida Nell Waltz Jo & Howard Weiner Jack & Judith White Karin Winner Toby Wolf Anna & Edward Yeung Thomas W. Ziegler Josephine M. Zolin

FRIEND

($500 - $999) Anonymous K. Andrew Achterkirchen Barry & Emily Berkov Malin Burnham Luc Cayet & Anne Marie Pleska Robert & Jean Chan June Chocheles Elizabeth Clarquist Sharon Cohen Ted Hoehn Innovative Commercial Environments Sally Fuller Ed & Linda Janon Saundra L. Jones Sally Maizel Jain Malkin Winona Mathews Ted McKinney & *Frank Palmerino Robert Nelson & Jean Fujisaki Mr. & Mrs. Don Oliphant Phil & Pam Palisoul Gaynor & Gary Pates Robert & Allison Price Lonnie Ross Gordana & Dave Schnider Pat Shank Todd Schultz Miriam Summ Yvonne Vaucher Suhaila White Olivia & Marty Winkler Faye Wilson

ENTHUSIAST ($250 - $499)

Fiona & Scott Bechtler-Levin Carolyn Bertussi Steven & Patricia Blostin Benjamin Brand Stefana Brintzenhoff Kathleen Charla Peter Clark Geoffrey Clow Hugh J. Coughlin Dr. Ruth Covell America Daschle Edith & Edward Drcar Douglas P. & Robin Doucette Drs. Lawrence & Carol Gartner Carrie & Jim Greenstein Nan & Buzz Kaufman Gladys & Bert Kohn Elinor Merl & Mark Brodie Alan Nahum & Victoria Danzig Joani Nelson Aghdas Pezeshki Rejeuvin茅 Medspa Peter & Arlene Sacks William Smith Edward Stickgold & Steven Cande Eleanor L. tum Suden Norma Jo Thomas Kevin Tilden & Philip Diamond M.D. Carey Wall Terry & Peter Yang

DANCE SERIES OUTREACH La Jolla Music Society hosts master classes and open rehearsals throughout the winter season. Participating companies have included, MOMIX, Joffrey Ballet, New York City Ballet MOVES, and many more. In addition, we host a biennial CHOREOLab for up-and-coming local choreographers to present their work for feedback from some of the leading figures in the global dance community.

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PATRON SOCIETY

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: 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 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 The Oliphant 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 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 Silicon Valley Community Foundation: The William R. & Wendyce H. Brody Fund Simner Foundation The Haeyoung Kong Tang Foundation The John M. and Sally B. Thornton Foundation

LA JOLLA MUSIC SOCIETY

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: Brenda Baker & Stephen Baum Dr. James C. & Karen A. Brailean Gordon Brodfuehrer Wendy Brody & Bill Brody Ann & Ian Campbell Katherine & Dane Chapin Ric & Barbara Charlton Linda Chester & Kenneth Rind Elaine & Dave Darwin Martha & Ed Dennis Silvija & Brian Devine Brian Douglass, President digital OutPost Dick & Barbara Enberg Joy Frieman Matthew Geaman Dr. Lisa Braun-Glazer & Dr. Jeff Glazer Lehn Goetz Susan & Bill Hoehn Theresa Jarvis Angel & Fred Kleinbub Carol Lam & Mark Burnett Robin & Hank Nordhoff Rafael & Marina Pastor Ethna Piazza Conrad Prebys & Debbie Turner Peggy & Peter Preuss Silvia & Steven Re Jere & Cassidy Robins Leigh Ryan Cliff Schireson & John Venekamp Marge & Neal Schmale Jean & Gary Shekhter Maureen & Tom Shiftan Jeanette Stevens Dolly & Victor Woo Clara Wu & Joe Tsai Carolyn Yorston-Wellcome & H. Bard Wellcome In Memory of J. Robert Beyster: Clifford Schireson & John Venekamp In Memory of Evelyn Brailean: Martha & Ed Dennis Ferdinand Gasang Helene Kruger In Honor of Brian Devine’s Birthday: Helene Kruger In Honor of Ferdinand Gasang’s Father: Dr. James C. & Karen A. Brailean In Honor of Alexa Hirsch: Todd Schultz In Honor of Susan and Bill Hoehn: Mary & Hudson Drake Tom & Loretta Hom In Honor of Irwin Jacobs’ Birthday: Martha & Ed Dennis In Memory of Lois Kohn: Ingrid Paymar

In Honor of Helene Kruger: Anonymous Brian & Silvija Devine Ferdinand Gasang Sharon & Joel Labovitz Patricia Manners Paul & Maggie Meyer Ann Mound Lonnie Ross Debbie Horwitz & Paul Nierman Don & Stacy Rosenberg Clifford Schireson & John Venekamp Beverly Schmier Nell Waltz Pat Winter Bebe & Marvin Zigman In Honor of Carol Lam: QUALCOMM Incorporated In Honor of Peggy Preuss Peggy Cravens In Honor of Kristen Sakamoto’s Grandmother: Ferdinand Gasang In Honor of Clifford Schireson: Kevin Tilden & Philip Diamond M.D. In Honor of Jean Shekhter: Morgan & Elizabeth Oliver In Honor of Jeanette Stevens: Todd Schultz In Memory of Fiona Tudor: Anonymous Frank Alessio Christopher Beach & Wesley Fata Mary Ann Beyster Elaine & Dave Darwin Lori & Tony Demaria Martha & Ed Dennis Barbara & Dick Enberg Ferdinand Gasang Theresa Jarvis Robin & Hank Nordhoff Marina & Rafael Pastor Peggy & Peter Preuss Carol Randolph & Bob Caplan In Memory of Carleton and Andree Vail: Vail Memorial Fund In Honor of Abby Weiss: Anonymous Jane & Michael Glick

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 September 30, 2015. Amendments will be reflected in the next program book in January 2016.

BUILDING THE SOCIETY FOR FUTURE GENERATIONS 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

Brenda Baker and Steve Baum Conrad Prebys and Debbie Turner

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

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

TOPAZ

Anonymous Joan Jordan Bernstein Mary Ann Beyster+ Dr. James C. and Karen A. Brailean Dave and Elaine Darwin Barbara and Dick Enberg Jeane Erley Dr. Lisa Braun-Glazer & Dr. Jeff Glazer Margaret and Michael Grossman Alexa Kirkwood Hirsch 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 Jeanette Stevens Elizabeth Taft Gianangelo Vergani Dolly and Victor Woo Bebe and Marvin Zigman *In Memoriam Note: + 5-year term Listing as of September 30, 2015

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

ARABESQUE

DEMI POINTE

Anonymous

Katherine and Dane Chapin Ellise and Michael Coit June and Dr. Bob Shillman Jeanette Stevens

PLIÉ

Teresa O. Campbell Innovative Commercial Environments Saundra L. Jones Gordana and Dave Schnider Susan Trompeter

Stefana Brintzenhoff Mara Lawrence Joani Nelson Rejeuviné Medspa Elyssa Dru Rosenberg Elizabeth Taft Listing as of September 30, 2015

PIROUETTE

Elaine Galinson and Herbert Solomon Annie So Marvin and Bebe Zigman

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BUILDING THE SOCIETY FOR FUTURE GENERATIONS

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 Maria and Dr. Philippe Prokocimer

Bill Purves Darren and Bree Reinig Jay W. Richen Jack and Joan Salb Johanna Schiavoni Patricia C. Shank 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 September 30, 2015

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 call Carolyn Osorio at 858.459.3724, ext. 206 or email COsorio@LJMS.org.

GUARANTOR

The Catamaran Resort & Spa The Lodge at Torrey Pines

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 Valencia Hotel NINE-TEN Restaurant Chef Drew Catering, Panache Productions Roppongi Restaurant & Sushi Bar

ASSOCIATE

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

ENTHUSIAST Nelson Real Estate

AFICIONADO Callan Capital Girard Gourmet Sharp HealthCare

Listing as of September 30, 2015

LA JOLLA MUSIC SOCIETY

RESTAURANT PARTNERS La Jolla Music Society has partnered with restaurants to enhance your cultural experience. Along with their generous support as a member of our Business Society, the following restaurants offer our patrons exciting menus prior to LJMS performances. Please call ahead for reservations.

La Valencia Hotel – THE MED 1132 Prospect Street, La Jolla For Reservations: 858.551.3765 www.lavalencia.com

JOIN US FOR RESTAURANT NIGHTS

These special three-course dinners are only $65 per person. They begin with a champagne reception at 5:45 PM followed by a seated dinner at 6:15 PM. For more information or to reserve your seat, please contact Carolyn Osorio at 858.459.3724, ext. 206 or COsorio@LJMS.org.

FRIDAY, OCTOBER 30, 2015 & THURSDAY, NOVEMBER 12, 2015

NINE-TEN Restaurant

910 Prospect Street, La Jolla

For Reservations: 858.964.5400 www.nine-ten.com

Roppongi Restaurant & Sushi Bar 875 Prospect Street, La Jolla

For Reservations: 858.551.5252 www.roppongiusa.com

SATURDAY, DECEMBER 19, 2015

The Westgate Room

1055 Second Avenue, San Diego

For Reservations: 619-.557.3650 www.westgatehotel.com

THURSDAY, JANUARY 14, 2016

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SHARP APP UDS

LA JOLLA MUSIC SOCIETY FOR ITS EFFORTS TO ENRICH THE CULTURAL LIFE OF SAN DIEGO.

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“Music in the soul can be heard by the universe.” — Lao Tzu

Nelson R E A L

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Robert C. Nelson

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LA JOLLA MUSIC SOCIETY

Global Sponsors of the Israel Philharmonic Orchestra

We are proud sponsors of the Israel Philharmonic Orchestra Beatrice G. Crain Chairman & CEO

Michael S. Maling, Psy.D. President & Director

American Friends of the Israel Philharmonic Orchestra 2015 United States Tour - National Sponsors We gratefully acknowledge the support of the following individuals and foundations Platinum Patron - $250,000 The Rosalinde and Arthur Gilbert Foundation The Milton and Tamar Maltz Family Foundation

 Virtuoso Benefactors - $100,000 Rita and Charles Bronfman Helgard and Irwin Field Maurice Marciano Family Foundation Marilyn Ziering

 Conductor’s Circle - $50,000 The Annenberg Foundation Diane Belfer, Endelson & Cypres Families The Eli and Edythe Broad Foundation Sara and Charles Fabrikant Gazit Group USA Rochelle and David A. Hirsch Marvin Jubas Jane Stern Lebell and Don Lebell Lily Safra The Sandler Family Herb and Jeanne Sorensen Siegel Judith and Michael Steinhardt Lauren and John Veronis Margo and Irwin Winkler The Yom Kippur Open American Friends of the Israel Philharmonic Orchestra (AFIPO) is a non-profit organization dedicated to supporting the Israel Philharmonic Orchestra, the leading orchestra in Israel and globally recognized as a worldclass symphonic ensemble. AFIPO seeks to strengthen and broaden the reach of the IPO as the preeminent cultural ambassador for the State of Israel and expand the support of classical music and musical education in Israel. For more information on our programs, visit our website at www.afipo.org.

Foundation

The ResMed Foundation is pleased to support your excellent programs in musical arts education. Board of Trustees Edward A. Dennis, PhD Chairman

Mary F. Berglund, PhD Treasurer

Peter C. Farrell, PhD, DSc Secretary

Charles G. Cochrane, MD Michael P. Coppola, MD Anthony DeMaria, MD Sir Neil Douglas, MD, DSc, FRCPE Klaus Schindhelm, BE PhD Jonathan Schwartz, MD Kristi Burlingame Executive Director

7514 Girard Avenue, Suite 1-343 La Jolla, CA, USA, 92037

Tel 858-361-0755

ResMedFoundation.org

S E R V I NG L A JO L L A N S S I NC E 19 87

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OCTOBER

NOVEMBER

DECEMBER

NEW YORK CITY BALLET MOVES

AN EVENING WITH CHRIS THILE, mandolin

CHAMBER ORCHESTRA

Friday, October 30, 2015 · 8 PM DANCE SERIES

San Diego Civic Theatre

Saturday, November 7, 2015 · 8 PM SPECIAL EVENT

Jeff Edmons, music director & conductor Jinjoo Cho, violin

Friday, December 11, 2015 · 8 PM

MCASD Sherwood Auditorium

SAN DIEGO YOUTH SYMPHONY SERIES

THE ISRAEL PHILHARMONIC ORCHESTRA

JINJOO CHO, violin

Zubin Mehta, conductor & music director

Thursday, November 12, 2015 · 8 PM CELEBRITY ORCHESTRA SERIES San Diego Civic Theatre

MCASD Sherwood Auditorium

Sunday, December 13, 2015 · 3 PM DISCOVERY SERIES The Auditorium at TSRI

THE BLIND BOYS OF ALABAMA

Saturday, December 19, 2015 · 8 PM SPECIAL EVENT

THE BLIND BOYS OF ALABAMA

MCASD Sherwood Auditorium

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