La Jolla Music Society Season 47, Program Book March and April by La Jolla Music Society

MARCH - APRIL

47 SEASON

KEB' MO'

2015-16

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

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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.

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WELCOME LETTER Dear Friends of LJMS, As we prepare for a concert-filled spring, I must acknowledge the many people from the board & staff who have been working tirelessly on the development of The Conrad. In the next coming months, we look forward to sharing with all of you the progress we have made as we anticipate breaking ground and beginning construction later this year. The new performing arts center, the future home for many of La Jolla Music Society’s performances, will undoubtedly transform the cultural landscape of San Diego and enhance the way our community experiences the arts. From Blues to Flamenco, our March and April performances represent the boundless array of experiences La Jolla Music Society has to offer. On March 4, three-time Grammy® Award-winner Keb’ Mo’ showcases his deep knowledge of the quintessential “American” blues music form that has defined his 20-year career. Next, we delve deep into the late Classical and early Romantic eras with a program of Brahms, Schubert and Liszt by English pianist Paul Lewis, making his San Diego debut with us on March 11. Then, direct from Spain, Ballet Flamenco de Andalucía celebrates choreography from the Company’s 20-year history. Wrapping up March, we welcome back Daniil Trifonov performing Prokofiev’s Piano Concerto No. 3 with the Orchestre symphonique de Montréal (Montreal Symphony Orchestra) led by Music Director Kent Nagano. Just three days after the Spring Equinox, they aptly close their March 23 performance with Stravinsky’s The Rite of Spring. April opens with a special treat, chanteuse Storm Large and her intoxicating vocals take center stage with her band Le Bonheur for an evening of American songbook classics at our Spring Gala on April 2. This festive evening will be held at the gorgeous Coasterra on Harbor Island. Artistic excellence continues throughout the month, as Augustin Hadelich, Joyce Yang and Pablo Villegas perform together on April 15’s Tango Song and Dance, a program inspired and curated around André Previn’s work of the same name. Two days later, hear award-winning Hungarian cellist István Várdai in his La Jolla Music Society debut on our Discovery Series joined by pianist Julien Quentin. We say goodbye to April with two incredible evenings – an exploration of Haydn, Mozart, Brahms and Beethoven by renowned pianist Murray Perahia, whose last piano recital in San Diego was almost 30 years ago and Hubbard Street Dance Chicago's dramatic and stunning performance of choreography featuring works by Alejandro Cerrudo and William Forsythe, among others. We are grateful to our audiences and supporters for everything you do, from purchasing tickets and attending concerts, to making donations and spreading the word about our performances and education programs. It is only through your support that we are able to offer these exciting performances and programs, and to continue to have an inspirational impact of music and dance on our community.

Kristin Lancino

President & Artistic Director W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

TABLE OF CONTENTS CALENDAR WELCOME LETTER LA JOLLA MUSIC SOCIETY STAFF & BOARD OF DIRECTORS KEB' MO' PAUL LEWIS BALLET FLAMENCO DE ANDALUCÍA ORCHESTRE SYMPHONIQUE DE MONTRÉAL / MONTREAL SYMPHONY ORCHESTRA SPRING GALA - STORM LARGE TANGO SONG AND DANCE ISTVÁN VÁRDAI MURRAY PERAHIA HUBBARD STREET DANCE CHICAGO ARTIST BIOGRAPHIES SUPPORT

ADMINISTRATION

ARTISTIC & EDUCATION

DEVELOPMENT

MARKETING & TICKET SERVICES

PRODUCTION

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 Jordanna Kidd – 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 Benjamin Guercio – Development Coordinator Rewa Colette Soltan – Business Development & Event Coordinator Kristin Claire Ascher – Event Consultant 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 Alex Gutierrez – Ticket Services Assistant Shaun Davis – House Manager Paul Body – Photographer Travis Wininger – Director of Theatre Operations for The Conrad Leighann Enos – Production Coordinator & Stage Manager Jonnel Domilos – Piano Technician

LEGAL COUNSEL

Paul Hastings LLP

AUDITOR

Leaf & Cole, LLP

HONORARY

LA JOLLA MUSIC SOCIETY STAFF

Christopher Beach – Artistic Director Emeritus

LA JOLLA MUSIC SOCIETY

Stephen 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

2 9 10 11 12 16 18 22 23 26 30 34 37 42

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

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

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’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, 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.

Many thanks to our Hotel Partner:

The Westgate Hotel

JAZZ SERIES

Keb' Mo'

BLUESAmericana FRIDAY, MARCH 4 · 8 PM BALBOA THEATRE

Keb' Mo', vocals & guitar Stanley Sargeant, bass Casey Wasner, drums Michael Hicks, keyboard

Works to be announced from stage NO INTERMISSION

This performance marks Keb’ Mo’s La Jolla Music Society debut.

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

PRELUDE 7 PM

Lecture by Steven Cassedy: What Does an Intermezzo Come Between? An intermezzo by definition is a composition that comes between two others. Brahms’ Three Intermezzi, Opus 117, written toward the end of his life, are hauntingly beautiful pieces. Each could certainly stand on its own. So why did Brahms call them “Intermezzi?” 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, 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.

LJMS is grateful for the support of Joy Frieman and her family for the naming of the Frieman Family Piano Series. The Frieman Family Piano Series is underwritten by Medallion Society members:

Conrad Prebys and Debra Turner Many thanks to our Hotel Partner:

The Lodge at Torrey Pines

FRIEMAN FAMILY PIANO SERIES

Paul Lewis, piano FRIDAY, MARCH 11 · 8 PM MCASD SHERWOOD AUDITORIUM

BRAHMS Four Ballades, Opus 10 (1854) (1833-1897) No. 1 in D Minor No. 2 in D Major No. 3 in B Minor No. 4 in B Major SCHUBERT Piano Sonata in B Major, D.575 (1817) (1797-1828) Allegro ma non troppo Andante Scherzo: Allegretto Allegro giusto I N T E R M I S S I O N

BRAHMS Three Intermezzi, Opus 117 (1892) No. 1 in E-flat Major: Andante moderato No. 2 in B-flat Minor: Andante non troppo e con molto espressione No. 3 in C-sharp Minor: Andante con moto LISZT Après une lecture du Dante, fantasia quasi sonata, S.161/7 (1839) (1811-1886)

This performance marks Paul Lewis’ La Jolla Music Society debut.

LA JOLLA MUSIC SOCIETY

PAUL LEWIS - PROGRAM NOTES Program notes by Eric Bromberger

Four Ballades, Opus 10

Johannes BRAHMS Born May 7, 1833, Hamburg Died April 3, 1897, Vienna

Originally, a ballad was a literary rather than a musical form, and while ballades were often sung to a dramatic narrative text, that term has no precise musical meaning. But a number of composers have been drawn to that title, perhaps because of the ballad’s association with dramatic events and poetic tale-telling. Chopin was the first to adopt the title (and his four Ballades include some of his greatest music), but other composers have used it as well: Liszt, Franck, Grieg, Fauré, Barber, and others have written short pieces they titled ballade. In the summer of 1854 Johannes Brahms wrote four short piano pieces that he called ballades. This was a very intense time for Brahms. He was very young–21–and only a few months earlier had come a catastrophe: his friend and mentor Robert Schumann had attempted suicide and was now committed to an asylum. Brahms was steadfast in his aid to the Schumann family, helping to support and organize the shattered household, visiting Robert in the asylum, and consoling Clara. And at a deeper level, Brahms was wrestling with a private demon: the collision between his own youthful love for Clara and his unwavering support for her husband. It was under these conditions that Brahms wrote the Four Ballades. Brahms would never wear his heart on his sleeve, so we should not look for autobiographical meaning in this music, but there is no question that these are four very intense pieces. The first–and most famous–of them blurs the meaning of the title even further because this ballade is in fact based on a literary ballad. Brahms had been intrigued by the old Scottish ballad Edward, which he had first encountered in Herder’s translation, and on the first page of the music he made the connection clear: “After the Scottish ballad Edward.” That ballad tells a dark tale: young Edward comes home from the hunt with bloody hands and laments that he has killed his falcon, but it soon becomes clear that he has killed his father (and in some versions had done so at the instigation of his mother). There is evidence Brahms originally planned this music as a song (the rhythm of Brahms’ opening section matches the language of the ballad in both the Scottish and in Herder’s German translation), but he eventually completed it as a piano piece. This music has been much admired, and Brahms’ biographer Karl Geiringer hears a “tragic power” in it. The opening section alternates two somber chordal themes. These explode in the violent middle section, marked Allegro, and the return of the quiet opening material is unsettled by the

triplets that now murmur deep in the pianist’s left hand. The second ballade, marked Andante, is inevitably referred to as a “lullaby,” and its gentle song is softly blurred by the syncopated accompaniment–Brahms’ marking is espressivo e dolce. But this piece is not in simple ternary form, and suddenly pounding chords push the music in entirely new directions, which include a section encrusted with grace notes. Finally the opening material does return, but it has grown more complex as its winds its way into silence. Brahms marked the third ballade Intermezzo, but it is in fact a scherzo, marked Allegro and flashing unevenly along a 6/8 meter. The chordal trio section bears some relation to the scherzo theme itself, and the actual return of that theme is quite impressive: Brahms insists on a dynamic of triple piano, and this mercurial movement almost whispers its way to the close. Critics hear the influence of Schumann in the long final ballade, marked Andante con moto. Again, Brahms’ structure is original. The flowing opening section gives way to a murmuring episode that the composer marks Col intimissimo sentimento, but over the final pages Brahms begins to fuse elements of these two different kinds of music. These alternate, dovetail, and finally blur together.

Piano Sonata in B Major, D.575

Franz SCHUBERT Born January 30, 1797, Vienna Died November 19, 1828, Vienna

In the fall of 1816, nineteen-year-old Franz Schubert moved out of the family home, where he was irksomely employed helping his schoolteacher father, and took a private apartment. This was part of his effort to declare independence and to try to support himself as a freelance composer. Over the course of the following year, Schubert completed six piano sonatas and began several others. It was perfectly logical that a young composer wishing to support himself should turn to piano music, for there was a growing market for such music among the growing middle class in Vienna. But these efforts at independence came to nothing: none of these sonatas was published during Schubert’s lifetime (some of this music did not appear until the twentieth century), and the composer’s youthful attempt to achieve financial independence ended in failure. In the fall of 1817 Schubert had to move back in with his family and resume his chores as an elementary teacher. The Sonata in B Major, composed in August 1817, was the last of this group of sonatas, and it was not published until 1846, eighteen years after Schubert’s death. The sonatas of 1817 are seldom heard today, but the Sonata in B Major W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

PAUL LEWIS - PROGRAM NOTES

is regarded as the most successful of the set–Schubert’s biographer John Reed hears in it a “characteristic vein of dynamic and optimistic lyricism.” The sonata is in four fairly compact movements. The opening Allegro ma non troppo depends heavily on dotted rhythms in both its themes. Already evident in this movement is Schubert’s fluid sense of harmonic freedom: though the movement is set in the unusual key of B major, soon he is in the remote key of G major, and even here he is flirting with G minor. This all makes for a great range of expression within the generally amiable spirit of this sonata-form movement. Schubert moves to E major for the Andante, based on a noble chordal melody that continues to make use of dotted rhythms. Along the way come such unexpected features as rolled chords, hammered left-hand octaves, and sharp dynamic contrasts. Schubert calls the third movement a Scherzo but marks it Allegretto; this is very attractive music indeed, with its graceful outer sections and flowing trio. By contrast, the concluding Allegro giusto, in sonata form, powers along a vigorous 3/8 meter. Schubert either hammers out this meter or allows it to flow easily, as he does in the second subject, marked dolce, and the movement sails along gracefully to its (rather sudden) close.

Three Intermezzi, Opus 117

Johannes BRAHMS Brahms’ piano music figures curiously in his career. He burst to prominence as a young pianist-composer (hailed by Robert Schumann as a “young eagle”), and most of his early music was for piano, including huge-scaled sonatas and complex sets of variations. But at age 30 he seemed to forget about the piano, turning instead to chamber and vocal works and later to symphonic music. He waited fifteen years and wrote eight short piano pieces, then waited another thirteen years before he returned to the piano one final time, composing late in life four collections of piano pieces: Opp. 116, 117, 118, and 119. The twenty pieces that make up these four final sets are all very brief (they may accurately be described as miniatures) and are in ABA form: a first theme, a countermelody–usually in a contrasting tempo and key, and a return of the opening material, now slightly varied. This is intensely personal music, as if Brahms were distilling a lifetime of experience and technical refinement into these brief pieces as he returned one last time to his own instrument. He wrote the Three Intermezzi of his Opus 117 during the summer of 1892, spent at his favorite summer retreat, Bad Ischl, in the Alps near Salzburg. Brahms’ titles for his

LA JOLLA MUSIC SOCIETY

piano pieces were sometimes a little loose, but for him the term “intermezzo” seemed to imply music of a quiet, almost introspective nature. It is a cliché to call Brahms’ late music “autumnal,” but there is something darker still about these three intermezzi: they are spare, haunting, moving–almost bleak. Brahms himself called them “lullabies of my pain.” The first intermezzo in fact is a lullaby. At the top of the music Brahms wrote two lines of a German translation of the old Scottish ballad Lady Anne Bothwell’s Lament: Balou, my boy, lye still and sleep, it grieves me sore to hear thee weep. The calm outer section (Brahms marks it “sweet, simple”) gives way to a more agitated middle episode in E-flat minor before the return of the opening material and the quiet close. The second intermezzo (Brahms stresses that he wants it played con molta espressione) hides its theme inside a quiet cascade of arpeggios–only gradually does the ear make out the long line of melody within this flow. The outer section offers some of the most wistful music Brahms ever wrote, and the mood changes little in the middle section: Brahms’ biographer Karl Geiringer suggests that this music portrays a “man as he stands with the bleak, gusty autumn wind eddying round him.” The final intermezzo opens with the ominous tread of the quiet main theme in C-sharp minor octaves. It has been compared to a funeral march, and the more animated middle section lightens the mood only briefly before the return of opening theme, now skillfully set as a middle voice within a complex harmony. Verbal description does these three pieces no justice. This quiet and somber music may well be dark. It is also endlessly beautiful.

Après une lecture du Dante, fantasia quasi sonata, S.161/7

Franz LISZT Born October 22, 1811, Raiding Died July 31, 1886, Bayreuth

Après une lecture du Dante was published as the seventh (and final) piece of the second book of Années de pèlerinage. Liszt borrowed that elaborate title from a poem by Victor Hugo and appended his own description fantasia quasi sonata; the work is sometimes known as the Dante Sonata. Written in 1839, it was apparently very difficult for Liszt: Marie d’Agoult wrote to a friend to say that its composition “was sending him to the very devil.” Certainly the topic gripped Liszt, for it here inspires some of his most vivid tone-painting. The Dante Sonata opens with powerful descending octaves meant to depict the entry into hell and doubtless inspired

PAUL LEWIS - PROGRAM NOTES

by the line “Abandon hope, all ye who enter here.” Liszt underlines this association by having the octaves descend on the interval of a tritone. This unsettling interval (a diminished fifth) has been associated for centuries with the devil: its unresolved dissonance was referred to as the diabolus in musica, and its use was forbidden in some circles. Here that ominous sound makes an ideal accompaniment for our descent into hell, and soon we are plunged into the torment of the damned on music that Liszt marks lamentoso. Liszt biographer Alan Walker notes that one of Liszt’s students–on information provided by the composer–copied the following lines from Inferno into his own score at this point:

Here sighs, with lamentations and loud moans, Resounded through the air pierced by no star, That e’en I wept at entering. Strange tongues, Horrible cries, words of pain, Tones of anger, voices deep and hoarse, With hands together smote that swelled the sounds, Made up a tumult, that for ever whirls Round through that air with solid darkness stained, Like to the sand that in the whirlwind flies.

Consolation comes with the singing and serene second subject (perhaps a vision of heaven from out of the pit of hell), though Walker points out that this is ingeniously derived from the horrifying lamentation theme. Liszt then extends both these ideas through some furious development–the work is not so much in the sonata form that its title implies as a sort of free expansion of the fundamental themes. There are moments of radiant calm along the way, but finally Liszt drives the Dante Sonata to a dramatic and sonorous close.

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

DANCE SERIES

Ballet Flamenco de Andalucía Images: 20 Years

WEDNESDAY, MARCH 16 · 8 PM SPRECKELS THEATRE

Del maestro En la oscuridad de la luz Leyenda Mirando al Sur Las cuatro esquinas

PRELUDE 7PM

A conversation with Artistic Director Rafaela Carrasco 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, 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.

Support for the Dance Series is provided in part by:

LJMS’ Dance Society members Many thanks to our Hotel Partner:

The Westgate Hotel

NO INTERMISSION

ARTISTIC TEAM Artistic Director Rafaela Carrasco Repetiteur David Coria Choreography Rafaela Carrasco, David Coria, Ana Morales, Hugo López

THE DANCERS Soloists David Coria, Ana Morales, Hugo López Female Dancers Rafaela Carrasco, Ana Morales, Alejandra Gudí, Florencia O’Ryan, Laura Santamaría, Paula Comitre, Carmen Yanes Male Dancers David Coria, Hugo López, Eduardo Leal, Antonio López, Alberto Sellés

THE MUSIC Musicians Antonio Campos, Jesús Torres, Juan Antonio Suárez “Cano” Singers Antonio Campos, Antonio Núñez “El Pulga” Musical Direction Antonio Campos, Jesús Torres, Juan Antonio Suárez “Cano”

This performance marks Ballet Flamenco de Andalucía's La Jolla Music Society debut.

LA JOLLA MUSIC SOCIETY

BALLET FLAMENCO DE ANDALUCÍA - PROGRAM NOTES

Del maestro

ABOUT THE PIECES:

Choreography: Rafaela Carrasco Dancers: Full Company

Ballet Flamenco de Andalucía, is recognized as the most important representative of flamenco art in Spain. The company returns under the direction of the multi-award-winning Rafaela Carrasco. Awarded with “Giraldillo” for the best show in the 2014 Bienal de Flamenco de Sevilla, Images: 20 Years celebrates the 20th anniversary of the company, and revisits five of the most celebrated choreographies of its repertoire. Not only is the show a tribute to the former directors who inspired Rafaela during her career, it is also an interpretation of the rich history of the company. The show, awarded with the Giraldillo Prize of the 18th Flamenco Bienal of Seville for Best Show, is a creation of current choreographer, Rafaela Carrasco. Rafaela has been involved since the beginning of the company as as student, répétitrice, soloist dancer and now, since 2013, as Artistic Director and choreographer. Rafaela is inspired by these five selected moments in order to pay a tribute to the former directors of the Ballet. The show is not only a review of the different stages of the company, but a personal interpretation of these moments, drawn with the experience obtained during these 20 years.

Tribute to Mario Maya

En la oscuridad de la luz Tribute to María Pagés

Choreography: Rafaela Carrasco, Ana Morales, David Coria Dancers: Full Company

Leyenda

Tribute to José Antonio Ruiz

Choreography: Rafaela Carrasco, Ana Morales Dancers: Rafaela Carrasco, Ana Morales, Alejandra Gudí, Laura Santamaría, Florencia O´Ryan, Paula Comitre, Carmen Yanes

Mirando al Sur

Tribute to Cristina Hoyos

Choreography: Rafaela Carrasco, Hugo López Dancers: Full Company

Las cuatro esquinas Tribute to Rubén Olmo

Choreography: Rafaela Carrasco Dancers: Full Company TECHNICAL & STAFF Lighting and Set Design: Gloria Montesinos (AAI) Images: Visuales Tama Costume Design: Blanco and Belmonte Costume Production: Blanco and Belmonte/ Pepa Carrasco / Bova Mikhailova/ Amay Flamenco (batas de cola), Salao, Taller de la Unidad de Recursos Técnicos, Producción (AAIICC) Shoes: Gallardo Recording Studio: Estudio RedLed Sound Design: Rafael Gómez Production, Technichal and Choreography Team: Personal de la Unidad de Recursos Técnicos y Producción de la Agencia Andaluza de Instituciones Culturales Production Manager: Ana Prieto Technical Coordinator: Paloma Contreras Graphic Design: Ildefonso Troya Distribution: distribucion.balletflamenco.aaiicc@juntadeandalucia.es

A production of Instituto Andaluz del Flamenco, Agencia Andaluza de Instituciones Culturales

This Tour is produced by

Supporters

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PRELUDE 7PM

Lecture by Michael Gerdes: Music in Times of Change In May of 1913, Paris was the scene of two momentous musical occasions, the premières of Debussy’s Jeux and Stravinsky’s The Rite of Spring. The former was virtually ignored and the latter triggered a riot. Why such different reactions to sounds that would change music forever?

CELEBRITY ORCHESTRA SERIES

Orchestre symphonique de Montréal Kent Nagano, music director Daniil Trifonov, piano

WEDNESDAY, MARCH 23 · 8 PM JACOBS MUSIC CENTER-COPLEY SYMPHONY HALL

DEBUSSY Jeux: poème dansé (1912) 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, 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 Celebrity Orchestra Series is underwritten by Medallion Society members:

(1862-1918)

PROKOFIEV Piano Concerto, No. 3 in C Major, Opus 26 (1921) (1891-1953) Andante - Allegro Tema con variazioni Allegro, ma non troppo Daniil Trifonov, piano I N T E R M I S S I O N

STRAVINSKY The Rite of Spring (1913) (1882-1971) Part I: The Adoration of the Earth Part II: The Sacrifice

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

LA JOLLA MUSIC SOCIETY

Daniil Trifonov last performed for La Jolla Music Society on the Frieman Family Piano Series on February 28, 2016. This performance marks Orchestre symphonique de Montréal's La Jolla Music Society debut.

ORCHESTRE SYMPHONIQUE DE MONTRÉAL - U.S. TOUR 2016 ROSTER

ORCHESTRE SYMPHONIQUE DE MONTRÉAL Kent Nagano, music director

Dina Gilbert, assistant conductor

Olivier Latry, organist emeritus

Andrew Megill, chorus master

Jean-Willy Kunz, organist in residence

The chorus master chair is sponsored by Mrs. F. Ann Birks, in loving memory of Barrie Drummond Birks

Wilfrid Pelletier (1896-1982) & Zubin Mehta, conductors emeriti

Simon Leclerc, associate conductor of the OSM Pop concert series

Pierre Béique (1910-2003), general manager emeritus

FIRST VIOLINS

Scott Chancey Wilhelmina Hos Richard Roberts, concertmaster Bertrand Robin Andrew Wan1, concertmaster Olivier Thouin2, associate concertmaster Megan Tam Marianne Dugal2, 2nd associate concertmaster

Ramsey Husser, 2nd assistant Marc Béliveau Marie Doré Sophie Dugas Marie Lacasse3 Jean-Marc Leblanc Ingrid Matthiessen Myriam Pellerin Susan Pulliam Jean-Sébastien Roy Claire Segal Sergi Lauren DeRoller Marc Djokic Lizann Gervais Alexander Lozowski

SECOND VIOLINS

Alexander Read, principal Marie-André Chevrette, associate Brigitte Rolland, 1st assistant Ann Chow Mary Ann Fujino Johannes Jansonius Jean-Marc Leclerc Isabelle Lessard Alison Mah-Poy Katherine Palyga Monique Poitras Gratiel Robitaille Daniel Yakymyshyn Van Armenian Laura D’Angelo Soo Gyeong Lee Katherine Manker Viviane Roberge

VIOLAS

Neal Gripp, principal Jean Fortin, 1st assistant Victor Fournelle-Blain, 2nd assistant Chantale Boivin Rosemary Box Sofia Gentile Anna-Belle Marcotte Charles Meinen David Quinn Natalie Racine

CELLOS

Brian Manker2, principal Anna Burden, associate Pierre Djokic, 1st assistant Gary Russell, 2nd assistant Karen Baskin Li-Ke Chang Sylvie Lambert Gerald Morin Sylvain Murray Peter Parthun Alexandre Castonguay Caroline Milot

DOUBLE BASSES

Ali Yazdanfar, principal Brian Robinson, associate Eric Chappell, assistant Jacques Beaudoin Scott Feltham Peter Rosenfeld Edouard Wingell Marc Denis Alec Hiller Andrew Horton

FLUTES

Timothy Hutchins, principal Albert Brouwer, interim associate Denis Bluteau, 2nd flute Danièle Bourget, interim piccolo Lara Deutsch

OBOES

Theodore Baskin, principal Vincent Boilard, associate Alexa Zirbel, 2nd oboe Pierre-Vincent Plante, principal english horn Josée Marchand

CLARINETS

Todd Cope, principal Alain Desgagné, associate Michael Dumouchel, 2nd clarinet and E-flat clarinet André Moisan, bass clarinet and saxophone

Brent Besner

BASSOONS

Stéphane Lévesque, principal Mathieu Harel, associate Martin Mangrum, 2nd bassoon Michael Sundell

CONTRABASSOON

MUSIC LIBRARY

Michel Léonard 1

Andrew Wan’s 1744 Bergonzi violin is generously loaned by philanthropist David Sela.

Marianne Dugal’s 1737 Domenico Montagnana violin and Sartory bow, Olivier Thouin’s 1754 Michele Deconet violin, as well as Brian Manker’s c.1728-30 Pietro Guarneri cello and François Peccate bow are generously loaned by Canimex.

Marie Lacasse’s 1771 Andreas Ferdinandus Mayr violin is generously loaned by philanthropist Miroslav Wicha

Mark Romatz

HORNS

John Zirbel, principal Denys Derome, associate Catherine Turner, 2nd horn Jean Gaudreault, 4th horn Marie-Sonja Cotineau Xavier Fortin Rachelle Jenkins Jocelyn Veilleux

TOUR STAFF

Madeleine Careau

Chief Executive Officer

Marie-Josée Desrochers Chief Operating Officer

TRUMPETS

Paul Merkelo, principal Russell De Vuyst, associate Jean-Luc Gagnon, 2nd trumpet Christopher P. Smith Amy Horvey

Sébastien Almon

BASS TRUMPET

Rachel Laplante

David Martin

Director, Sponsorship Development and Strategic Alliances

TROMBONES

Jean Gaudreault

Director, Tour and Artistic Operations

Geneviève Dion

Director, Marketing and Communications

Marianne Perron

Director, Music Programming

James Box, principal Vivian Lee, 2nd trombone Pierre Beaudry, principal bass trombone David Martin

Chief of Personnel – Musician

TUBAS

Marc Wieser

Austin Howle, principal Nicholas Atkinson

TIMPANI

Andrei Malashenko, principal Hugues Tremblay, associate

PERCUSSIONS

Serge Desgagnés, principal Hugues Tremblay André Dufour Sandra Joseph John Wong

HARPS

Jennifer Swartz, principal Robin Best Caroline Lizotte

Marie-Hélène Forest

Coordinator, Artistic Projects

Estelle-Rose Clayon

Account Manager, Sponsorship Personal Assistant to the Music Director

Claude Berthiaume Head Stagehand

Carl Bluteau Stagehand For Opus 3 Artists David V. Foster, President and CEO Leonard Stein, Senior Vice President, Director, Touring Division William Bowler, Manager, Artists & Attractions Irene Lönnblad, Associate, Touring Division John Pendleton, Company Manager Don Irving, Stage Manager John C. Gilliland III, Assistant Tour Manager

PIANO & CELESTA Olga Gross

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ORCHESTRE SYMPHONIQUE DE MONTRÉAL - PROGRAM NOTES Program notes by Marc Wieser

“It seems to me that the “Russians” have opened a window in our sombre study hall with its severe master, through which we might catch a glimpse of the countryside.” – Claude Debussy (1913) Every so often, distinctive idioms combine in unlikely circumstances, creating hybrid aesthetics greater than the sum of their parts. Such was the situation in early 20th century Paris, when an influx of Russian émigré artists took the great cultural capital by surprise, to the delight and consternation of the natives. The dancer Vaslav Nijinsky physically embodied the zeitgeist from which the music of this period arises, provocatively dancing his way through two of the works featured on tonight’s programme.

Jeux: poème dansé

Claude DEBUSSY Born August 22, 1862, Saint-Germain-en-Laye Died March 25, 1918, Paris

A garden, at night: Bushes and brambles ducking in and out of the harsh light and deep shadows cast by an outdoor electric floodlight. A stray tennis ball bounces onto stage, chased by a frolicking young boy and two girls. As they search for the ball, they tease, laugh and play with each other, eventually falling into a furtive embrace. Such was the choreographic scenario to which Debussy composed Jeux for the Ballets Russes in 1912, though Sergei Diaghilev had originally imagined three boys in the main roles. With Vaslav Nijinsky in the principal role, the work premièred at the Théâtre des Champs-Élysées in May 1913, only two weeks before the same dancer would set the gossiping classes atwitter with his controversial choreography to Stravinsky’s The Rite of Spring. Nijinsky’s choreography for Jeux, which drew more heavily on postures from golf, tennis and jazz dance than it did from classical ballet, was not a great success. Even Debussy was non-committal, commenting only a couple of weeks later, “Among recent pointless goings-on I must include the staging of Jeux, which gave Nijinsky’s perverse genius a chance of indulging in a peculiar kind of mathematics.” But the music lived on independent of the dance, and is now universally praised as an important 20th century work in line with Debussy’s Prélude à l’après-midi d’un faune. As in that earlier piece, tone colour and orchestral texture take centre-stage. Inconclusive harmonies suggest atonality, while never fully taking the plunge. The musical themes are short, following quickly one upon the other, and the liberal use of woodwinds in various combinations makes for a character-driven and playful atmosphere.

LA JOLLA MUSIC SOCIETY

Piano Concerto No. 3 in C Major, Opus 26

Sergei PROKOFIEV Born April 23, 1891, Donetsk Oblast, Ukraine Died March 5, 1953, Moscow

As a child growing up in the Ukrainian countryside, Sergei Prokofiev was naturally experimental when it came to piano playing. His juvenile compositions were often written in a different key for each hand, creating a jarringly novel effect. This rogue instinct would follow the young composer to the Saint Petersburg Conservatory, where he began his sketches for his Piano Concerto No. 3 while still a student. Completing the work in 1921, Prokofiev performed the solo part himself in the première that same year in Chicago. He also performed in the first recording of the work in 1932, proving for all posterity that the herculean technical challenges in the score grew at least partly out of his own aptitude as an exceptionally talented pianist. Prokofiev’s five essays in the piano concerto genre are significant for their total integration of soloist and orchestra, where each part is an active contributor to the essential character of the work. The lyrical opening clarinet theme of the first movement floats somewhere between tentative and serene, as it is joined by meandering harmonies in the strings. When the orchestra suddenly takes off with the locomotive rhythm of a speeding train, and the piano bursts into the texture with a joyful yelp, the first three notes of the clarinet melody are reversed in substance and effect, becoming motivic material for the ensuing figurations. A second theme is more sarcastic in nature, but the movement ultimately builds toward a romantic climax, recalling the opening melody in a grandiose tutti near the end. The second movement is a theme and variations, allowing for a full exploration of Prokofiev’s unique ability to bring out opposing characters in the same musical material – from lush and lyrical to grotesquely terrifying and exuberantly joyful. The final movement begins with a humorous topic in the orchestra, taken up and expanded by the piano, soon building to a great romantic climax. The hair-raising coda increases in energy, as piano and orchestra join in a janissarylike clamouring in the upper registers, insistent rhythms and hand-over-hand flourishes bringing the work to a powerful close in C major.

ORCHESTRE SYMPHONIQUE DE MONTRÉAL - PROGRAM NOTES

The Rite of Spring

Igor STRAVINSKY Born June 17, 1882, Oranienbaum Died April 6, 1971, New York

The Rite of Spring Part I: Adoration of the Earth Introduction Augurs of Spring Ritual of the Rival Tribes Spring Rounds Ritual of the Rival Tribes Procession of the Sage The Sage Dance of the Earth Part II: The Sacrifice Introduction Mystic Circle of the Young Girls Glorification of the Chosen One Evocation of the Ancestors Ritual Action of the Ancestors Sacrificial Dance Paris, May 29, 1913: a date that lives on in musical notoriety. That night, the capacity audience at the newly built Théâtre des Champs-Élysées collectively participated in the birth of a new era – or the violent death of an old one, depending on whom you asked. The trio of enfants terribles at the centre of the scandal were Sergei Diaghilev, the daring founder of Les Ballets Russes, Vaslav Nijinsky, his unruly choreographer, and Igor Stravinsky, Russian darling of the Parisian avant-garde; the work, The Rite of Spring. A week after the première, a headline from The New York Times trumpeted “Parisians Hiss New Ballet,” going on to report that the house lights had to be turned up to quell “hostile demonstrations” in the audience, while at one point the ruckus was so loud that the dancers on stage could no longer hear the orchestra, Nijinsky himself shouting out the choreography from the wings. Popular myth remembers Stravinsky’s shocking new music as the cause of the riots, while the American scholar Richard Taruskin places the blame squarely on the “ugly earthbound lurching and stomping devised by Vaslav Nijinsky.” But principal dancer Lydia Sokolova recalled, “they had prepared in Paris for a riot… they had got themselves all ready.” On the eve of a great war, in a continent still grappling with class disparity, the people seemed primed to manifest: a row was inevitable. Stravinsky’s frenetically propulsive score unfolds as a series of tableaux depicting imagined scenes of ancient Pagan rituals around the coming of spring. A young girl is chosen

by elders and forced to dance herself to death in an act of sacrifice to the land. Fragments of Russian folk tunes are evidence of the composer’s efforts to express the elemental character of his homeland, while incessant motor-rhythms and terrifyingly unpredictable accented off-beats lend an aspect of mechanization to the essentially folkloric subject matter – an ominous contradiction at the heart of the work. In fact, this revolutionary ballet score, with its violent juxtapositions of rival tonalities, may be one of the most apt and profound expressions of the clash of the old world with an impending mechanical age. The Rite of Spring holds a special place in the OSM repertoire. First performed in Montréal in 1957 under the direction of Igor Markevitch, Rite would go on to become a signature work for the Orchestra during the directorship of Charles Dutoit, representing the confluence of Russian and French influences at the heart of the OSM’s traditional programming. In 1984 it featured prominently on a tour of Canada, USA and Europe, and a recording made that same year was honoured with a Félix award in Quebec. Most recently, Kent Nagano led the OSM in Stravinsky’s masterpiece in 2012 and 2016 in performances at Maison symphonique de Montréal.

The OSM USA Tour is possible thanks to Bel Air Investment Advisors, the OSM Foundation, Air Canada and Tourisme Montréal. www.osm.ca

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Gala Co-Chairs

Elaine Darwin, Silvija Devine Sponsors

Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, Dave and Elaine Darwin, Joe Tsai and Clara Wu Tsai, Mary Ann Beyster, Linda Chester and Kenneth Rind, Steven and Sylvia Ré Underwriters

Barbara and Dick Enberg, Jill Esterbrooks and James Robbins, Jeanne and Gary Herberger, Janice Dodge, Inc., Betty Jo Petersen Honorary Committee Brenda Baker and Stephen Baum, Mary Ann Beyster, Gordon Brodfuehrer, Wendy Brody, Katherine and Dane Chapin, Linda Chester and Kenneth Rind, Dave and Elaine Darwin, Drs. Edward and Martha Dennis, Brian and Silvija Devine, Joy Frieman, Lehn and Richard Goetz, Susan and Bill Hoehn, Hank and Robin Nordhoff, Rafael and Marina Pastor, Conrad Prebys and Debra Turner, Peter and Peggy Preuss, Steven and Sylvia Ré, Leigh P. Ryan, Clifford Schireson and John Venekamp, Marge and Neal Schmale, Jean and Gary Shekhter, Maureen and Tom Shiftan, Jeanette Stevens, Joe Tsai and Clara Wu Tsai, Peter and Sue Wagener, John H. Warner, Jr. and Margie Warner, Bebe and Marvin Zigman

LA JOLLA MUSIC SOCIETY

SPRING GALA

Storm Large and Le Bonheur SATURDAY, APRIL 2 · 6 PM COASTERRA ON HARBOR ISLAND

The internationally renowned and sensational chanteuse STORM LARGE will deliver an exquisite evening of Great American Songbook classics, including songs by legendary composers Cole Porter, Frank Sinatra, Ray Charles, and Randy Newman. For information and tickets, please contact Rewa Colette Soltan at 858.459.3724, ext. 206 or RSoltan@LJMS.org

REVELLE CHAMBER MUSIC SERIES

Tango Song and Dance FRIDAY, APRIL 15 · 8 PM MCASD SHERWOOD AUDITORIUM

Joyce Yang, piano; Augustin Hadelich, violin; Pablo Villegas, guitar ANDRÉ PREVIN Tango from Tango Song and Dance (1997) (b. 1929)

Augustin Hadelich, violin; Joyce Yang, piano

RODRIGO Invocación y Danza (Homage to Manuel de Falla) (1961) (1901-1999)

PRELUDE 7 PM A conversation with Augustin Hadelich hosted by Marcus Overton

Pablo Villegas, guitar

FALLA Canciones Populares Españolas (1914) (1876-1946) El paño moruno Asturiana Jota Nana Polo Augustin Hadelich, violin; Pablo Villegas, guitar GINASTERA Danzas Argentinas (1937) (1916-1983) Danza del viejo boyero Danza de la moza donosa Danza del gaucho matrero Joyce Yang, piano

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

ANDRÉ PREVIN Song from Tango Song and Dance (1997)

Augustin Hadelich, violin; Joyce Yang, piano

ROLAND DYENS Tango en Skaï (1985) Many thanks to our Hotel Partner:

The Lodge at Torrey Pines Produced by Augustin Hadelich and Schmidt Artists International, Inc. Edward Berkeley, Creative Director Kate Ashton, Lighting Design Patricia Handy, Artistic Advisor Copyright © 2012 by Augustin Hadelich and Patricia Handy

(b. 1955) Pablo Villegas,

guitar

PIAZZOLLA Histoire du Tango (1986) (1921-1992) Bordel 1900 Café 1930 Nightclub 1960 Concert d’aujourd’hui

Augustin Hadelich, violin; Pablo Villegas, guitar

YSAŸE Sonata for Solo Violin No. 6 in E Major, Opus 27/6 (1924) (1858-1931) Augustin

Hadelich, violin

ANDRÉ PREVIN Dance from Tango Song and Dance (1997)

Augustin Hadelich, violin; Joyce Yang, piano

VILLA-LOBOS Aria from Bachianas Brasileiras No. 5 (1887-1959) (arr. by Stefan Malzew) (1938/1945)

Augustin Hadelich, violin; Pablo Villegas, guitar; Joyce Yang, piano Augustin Hadelich last performed for La Jolla Music Society in SummerFest 2015. Joyce Yang last performed for La Jolla Music Society in SummerFest 2015. Pablo Villegas last performed for La Jolla Music Society in the Discovery Series on April 10, 2011.

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TANGO SONG AND DANCE - PROGRAM NOTES

Introduction: Over the years, Augustin and I have had a great time putting together recital programs that we thought were both coherent and intriguing. We recently decided it was time for something new and bold! Among the many works for violin and piano that we were considering, André Previn’s three-movement work Tango Song and Dance (written in 1997 for Anne-Sophie Mutter) jumped out at us. It’s a break from the usual: it’s not a sonata; it’s American; it swings —we loved it immediately! Augustin started to program it in some recitals with pianist Joyce Yang, and audiences love it too! An interesting factor is that every movement is approximately five minutes long — three balanced movements, each of which stands quite well on its own. Having been drawn to the concept that classical music must, in order to survive, introduce visual elements into its presentation, I began to SEE these three movements as separated pillars of a recital program. We would use lighting and a non-verbal narrative that would thread through various pieces and make the concert a coherent entity. Since the music is the most important element of Tango Song and Dance, we spent many hours finding the right music for Previn’s pillars to frame. When they finally fell into place, I called the director Ed Berkeley, asking him to create the narrative and find an excellent lighting director. - Patricia Handy, Artistic Advisor

About Tango Song and Dance: As with any conceptually solid program, various connections and resonances between the pieces continued to arise as Patricia and I worked on putting this program together, and several possibilities for the narrative emerged. In Ed Berkeley’s words, “The first step is to study the emotional connections between and among the instrumental lines in each work. Where do the instruments argue? Where do they agree? Where do they flirt? Where seduce? Where do they celebrate, where despair?” It all starts with Previn’s Tango. Ed elaborates: “The violin and piano in Previn’s Tango seem to be having an emotional problem connecting with each other. There is a struggle. This is the core of the evening, the starting point that cries for resolution.” It is then that guitarist Pablo Villegas appears playing Rodrigo’s Invocation and Dance, drawing me into his own mysterious world. I join him in five Falla songs, after which the piano explodes jealously in Ginastera’s Danzas Argentinas. Ed feels that “private thoughts are explored in the solo works until

LA JOLLA MUSIC SOCIETY

a synthesis is found among the violin, piano and guitar”. At the end, in Villa-Lobos’s gorgeous Bachianas Brasileiras No. 5, we finally all play together. It’s a truly beautiful way to end both the narrative and the musical program! To reinforce the non-verbal narrative, Ed asked lighting designer Kate Ashton to create lighting that would further communicate the story. Ed asked that “spaces become smaller and larger to connect and separate the musicians; color and image change to imply the passage of time and further explore the emotional voice of each instrument.” The lighting is atmospheric, reinforcing the character and emotional message of each work. In order that the musical content of the recital remain dominant, we decided not to use motion graphics. We want the audience to reflect upon where the pieces take them, and to make their own connections. We hope that you will have as much fun with this music as we do!

About the Music: André Previn (born 1929) wrote Tango Song and Dance for violinist Anne-Sophie Mutter. This three-movement work will frame tonight’s program, with the first movement, Tango, played at the start of the concert; the second, Song, at the beginning of the second half; and the third, Dance, at the end. Tango is full of theatrical flair. In Previn’s own words: “At the time, the tango revival craze had not yet been born, and so the first movement with its purposeful and exaggerated tango clichés was still possible. The clustered harmonies are not terribly far removed from the sound the traditional accordion makes, and the whole movement should be full of self-conscious poses”. Below the surface, however, there is a troubled and uneasy feeling. Song is poignant and extremely sentimental. The piano accompaniment’s textures and harmonies evoke sad piano bar music, over which the violinist sings wistfully. The finale, Dance, is a wild ride. It is here that the jazz influence is felt most strongly. That said, it would be rather hard to dance to since Previn likes to make the bars trip over themselves by leaving out the final eighth note. Much of the piano playing sounds like boogie woogie patterns played on a broken piano: lots of “wrong” and “missed” notes and general mayhem! Above all this, the violin plays jazz riffs intermingled with more percussive, atonal passages. Overall, the mood of the movement is frenzied and jubilant. Joaquín Rodrigo (1901-1999) is one of Spain’s most celebrated composers, particularly famous for his works for guitar. His rhapsodic solo guitar work Invocación y danza is an homage to the great Spanish composer Manuel de Falla, and it contains subtle quotes of Falla works such as the ThreeCornered Hat, and El amor brujo, although the quotes are

TANGO SONG AND DANCE - PROGRAM NOTES

disguised in such a way as to be barely recognizable. Manuel de Falla (1876-1946) wrote his Siete canciones populares españolas originally for voice and piano. The work was first transcribed for violin and piano by Paul Kochanski in the early 20th century. The guitar is a very prominent instrument in Spanish music, and many of the folk forms, for example the jota, would originally have been sung with guitar accompaniment. In his piano accompaniments, Falla is often trying to imitate the sounds of the guitar. We have chosen five of Falla’s original seven songs. El paño moruno is a lament about a piece of Moorish cloth that has been stained and will now fetch only a low price at the market. The overly dramatic tone (with many cries of Ay! Ay!) is enigmatic. Could the stained cloth be a symbol of lost innocence? Asturiana is an extremely mournful song. The weeping protagonist seeks consolation near a green pine. Instead of giving comfort, the pine tree starts weeping as well. Jota is a passionate song about two lovers. Since they are not seen talking to one another, people around them don’t think they love each other—but anyone who looks into their hearts knows the truth. The next song, Nana, is a tranquil lullaby. The Moorish influence is most clearly heard in this song. Occupying Spain from 711 until 1492, the Moors left a strong mark on Spanish music and architecture, in addition to many other areas of their culture. The cycle ends with Polo, a type of flamenco. The singer, in great despair, is cursing love and fate. Alberto Ginastera (1916-1983) wrote his Danzas Argentinas Op. 2 in 1937. The first of the three dances, Danza del viejo boyero (Dance of the Old Herdsman) is a quirky piece full of sudden dissonances which are caused by the left hand playing only black keys and the right hand playing only white ones. Danza de la moza donosa (Dance of the Beautiful Maiden) is a melancholic, sensual piece full of sighing, chromatic gestures. The final movement, Danza del gaucho matrero (Dance of the Arrogant Cowboy) is highly virtuosic and at turns wild, savage, angry and jubilant. Roland Dyens (born 1955) is a French guitarist, composer, arranger and improviser, and Tango en Skaï is his most famous original composition. The work is a light-hearted homage to Argentinian tango. “Skaï” is a French slang term for imitation leather, and is a reference to the distinctive leather outfits of the Gauchos (cowboys) of Argentina.

tangos - played and danced in the bordellos of Buenos Aires starting around 1882. Café 1930 strikes a very different note. Tango has evolved to become slower, more melancholic, and no longer just for dancing. People are now listening to tango orchestras, and violins are featured for the first time. By the time we reach Nightclub 1960, the tango has been enriched by the influence of bossa nova from Brazil. This is the passionate, rambunctious style of the tango that made Piazzolla worldfamous. Finally, in Concert d’aujourd’hui, the tango has arrived in the concert hall. This movement showcases Piazzolla’s unique compositional style, with influences from great 20th century composers such as Bartók and Stravinsky. Having started out in seedy red-light districts and survived eras when it was outlawed in Argentina, the tango is now being celebrated in the most illustrious concert halls throughout the world. In 1923 the Belgian virtuoso Eugène Ysaÿe (1858-1931) was nearing the end of his career. Inspired by Bach’s six sonatas and partitas (which form the core of the solo violin repertoire) he set out to write six of his own solo sonatas, each dedicated to another great violinist of his time. After dedicating the first five to Joseph Szigeti, Jacques Thibaud, George Enescu, Fritz Kreisler and Mathieu Crickboom, he dedicated the sixth and final sonata to Manuel Quiroga, one of the greatest Spanish violinists of the 20th century. Perhaps Ysaÿe’s most technically challenging sonata, it is cast in one single rhapsodic movement and is very much an homage to Spanish music and to Quiroga’s passionate and dramatic playing style. After many displays of virtuosity and improvisatory detours, the music comes to a stop, and a charming and seductive habanera dance emerges from the silence. After the dramatic opening returns, the fireworks quickly build towards a heroic ending. When Heitor Villa-Lobos (1887-1959) wrote his nine Bachianas Brasileiras, he intended them primarily as homages to Bach. His music often shows the strong influence of Brazilian folk music, and in these pieces, the Brazilian rhythms and idioms are combined with counterpoint and harmony directly inspired by Bach’s music. To conclude tonight’s program, we will perform the first movement, Aria, from the Bachianas Brasileiras No. 5, undoubtedly the most famous of this cycle. The arrangement for violin, guitar and piano has been composed by Stefan Malzew. Program notes by Augustin Hadelich

Originally written for flute and guitar (the earliest tango instrumentation), the four movements of Histoire du Tango by Ástor Piazzolla (1921-1992) retrace the history of Argentine tango throughout the 20th century: The first movement, titled Bordel 1900, is written in the fast and lively style of the first W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

DISCOVERY SERIES

István Várdai, cello & Julien Quentin, piano SUNDAY, APRIL 17 · 3 PM THE AUDITORIUM AT TSRI

BRAHMS Sonata for Cello and Piano in F Major, Opus 99 (1886) (1833-1897) Allegro vivace Adagio affettuoso Allegro passionato Allegro molto MENDELSSOHN Song without Words in D Major, Opus 109 (1829/1845) (1809-1847) Albumblatt (1836)

MUSICAL PRELUDE 2 PM Young artists from the San Diego Youth Symphony perform

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

DVORˇÁK Rondo in G Minor, Opus 94 (1893) (1841-1904)

RACHMANINOFF Vocalise, Opus 34, No. 14 (1912) (1873-1943)

STRAVINSKY Suite Italienne for Cello and Piano (arr. Piatigorsky) (1932) (1882-1971) Introduzione Serenata Aria Tarantella Minuetto Finale ROSTROPOVICH Humoresque, Opus 5 (1967) (1927-2007)

The Discovery Series is underwritten by Medallion Society member:

Jeanette Stevens Additional support for the Series is provided by:

Gordon Brodfuehrer

This performance marks István Várdai’s La Jolla Music Society debut. Julien Quentin last performed for La Jolla Music Society in the Discovery Series on March 6, 2011.

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ISTVÁN VÁRDAI & JULIEN QUENTIN - PROGRAM NOTES Program notes by Eric Bromberger

Sonata for Cello and Piano in F Major, Opus 99

Johannes BRAHMS Born May 7, 1833, Hamburg Died April 3, 1897, Vienna

Brahms was frequently inspired to write for a particular instrument by a particular virtuoso player. He wrote much of his violin music with Joseph Joachim in mind, and late in life he wrote a series of works for clarinet after being impressed with the playing of Richard Mühlfeld. It was his association with the Austrian cellist Robert Hausmann (1852-1909) that led to the composition of Brahms’ second and final cello sonata. Brahms heard Hausmann perform his Cello Sonata in E Minor in Vienna in March 1885 and was so taken with Hausmann’s playing that he wanted to write a new work specifically for him. But Brahms, then in the process of composing his Fourth Symphony, could not begin such a work immediately. It was not until the summer of 1886, which Brahms spent at Hofstetten on Lake Thun in Switzerland, that he could finally set to work on the sonata. When he returned to Vienna in the fall, he brought the manuscript with him, and he and Hausmann gave the work several private hearings before it had its first public performance in Vienna on November 24, 1886. Brahms himself was a virtuoso pianist, but he had the unfortunate habit of grunting and snorting as he played. His friend Elizabeth von Herzogenberg referred gently to this when she wrote of her enthusiasm for the sonata: So far I have been most thrilled by the first movement. It is so masterly in its compression, so torrentlike in its progress, so terse in the development, while the extension of the first subject on its return comes as the greatest surprise. I don’t need to tell you how we enjoyed the soft, melodious Adagio, particularly the exquisite return to F sharp major, which sounds so beautiful. I should like to hear you play the essentially vigorous Scherzo. Indeed, I always hear you snorting and puffing away at it–for no one else will ever play it just to my mind. It must be agitated without being hurried, legato in spite of its unrest and impetus. Those who claim that Brahms never wrote true chamber music have some of their most convincing evidence in this cello sonata, for this is music conceived on a grand scale– muscular, passionate, striving. The first movement is marked Allegro vivace, and from its first moments one senses music straining to break through the limits imposed by just two instruments. If the tremolandi beginning suggests the scope

of symphonic music, the rising-and-falling shape of the cello’s opening theme recalls the rising-and-falling shape of the opening movement of the composer’s just-completed Fourth Symphony. The first movement is in sonata form, and the vigorous opening theme is heard in various guises throughout the movement. Its quiet and stately reappearance in the piano just before the coda is a masterstroke. Brahms specifies that the Adagio be played affettuoso–“with affection”–yet for all its melting songfulness, this is a serious movement, full of surprises. Brahms moves to the distant key of F-sharp major for this movement and then to the equally unexpected F minor for the second subject. He uses pizzicato, a sound not typical of his string writing, for extended periods and sometimes has the piano mirror that sound with its accompaniment. And he builds his themes on something close to echo effects, with one instrument seeming to trail the other’s statement. It is imaginative writing–and often very beautiful. With the third movement, Allegro passionato, the music returns to the mood of the first, for it begins and ends with a great rush of energy. Between the scherzo sections comes a haunting trio featuring some of Brahms’ most sensitive writing for the cello. In the felicitous words of American composer Daniel Gregory Mason, “throughout this movement there are few of those places, unhappily frequent in most music for the cello, that sound so difficult that you wish, with Dr. Johnson, they were impossible.” The Allegro molto is by far the shortest movement of the sonata, and after the driving power of the first and third movements, the finale seems almost lightweight, an afterthought to the sound and fury that have preceded it. Its main theme, possibly of folk origin, rocks along happily throughout and–in another of Brahms’ many successful small touches in this sonata–is played pizzicato just before the final cadence.

Song without Words in D Major, Opus 109

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

Between 1830 and 1845 Mendelssohn composed a number of short pieces for piano that he called Lieder ohne Worte: “Songs without Words.” That title makes clear that the impulse in this music is fundamentally lyric: a singing melody, usually in the right hand, is supported by a relatively straightforward accompaniment in the left, and many of these pieces are easy enough to suggest that Mendelssohn intended them for the growing number of amateur pianists in the first part of the nineteenth century. But many of them are frankly W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

ISTVÁN VÁRDAI & JULIEN QUENTIN - PROGRAM NOTES

virtuosic, so difficult that they remain beyond the reach of all but the most talented amateur pianists. All these pieces, though, show Mendelssohn’s virtues–appealing melodies, a nice sense of form, rhythmic vitality, and polished writing for the piano–and they became vastly popular in the nineteenth century. The Lieder ohne Worte have appeared in arrangements for many instruments, but the Song without Words in D Major, Opus 109 was conceived by Mendelssohn himself for cello and piano. He appears to have composed it in the fall of 1845, shortly after the première of his Violin Concerto, but he had not published it at the time of his death sixteen months later– it was published after his death and assigned the opus number 109 at that time. This brief piece is in the three-part form that Mendelssohn favored in his Lieder: the opening section is indeed song-like in its appealing lyricism, while the middle section is impetuous. Mendelssohn makes a particularly beautiful return to the opening material, and the music draws to a quiet close.

Albumblatt

Felix MENDELSSOHN Albumblatt means “album-leaf,” and in music it denotes a short work, usually of intimate character and often conceived as a composition so brief that it might be written on a single page of someone’s album (Beethoven’s Für Elise is sometimes considered an albumblatt). The form was popular during the nineteenth century (a time when some people actually had personal albums), but it has pretty much vanished over the last hundred years. Mendelssohn wrote several works he titled Albumblatt, and listeners will find this gentle music much in the manner of the Song without Words just performed on this program. Mendelssohn marks it Assai tranquillo (“very tranquil”), though the minor tonality gives this music a dark and wistful expressive range.

Rondo in G Minor, Opus 94

Antonin DVOŘÁK Born September 8, 1841, Muhlhausen, Bohemia Died May 1, 1904, Prague

The year 1891 brought momentous changes for Dvořák. He turned 50 that September and found himself much honored: he received an Honorary Doctorate of Music from Cambridge that year, but more importantly he concluded negotiations with Jeannette Thurber to go to America and take on the

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directorship of the National Conservatory of Music in New York City the following year. Dvořák knew that his life was about to be transformed and that he would have to be gone from his homeland for years, and so–during the winter and spring of 1892–he embarked on a lengthy farewell tour of concerts through Bohemia and Moravia. The centerpiece of this tour was Dvořák’s recently-completed “Dumky” Trio: with violinist Ferdinand Lachner and cellist Hanus Wihan, he performed it more than forty times. But Dvořák realized that he needed music to play with each of those two string players individually, and so he quickly composed some new music (and arranged some old) for them. One of the new pieces was the Rondo in G Minor for cello and piano, which Dvořák began on Christmas Day 1891 and finished the following day; the composer and Wihan gave the first performance (almost before the ink had dried) on January 6, 1892, while on tour in Kladno. Two years later, Dvořák arranged the piano part for orchestra, and the Rondo has actually become better-known today in its orchestral version. Wihan appears to have been an extraordinary cellist. Dvořák wrote the “Dumky” Trio for him, and in 1895 would write his Cello Concerto–easily the greatest ever composed for that instrument–with Wihan’s skills particularly in mind. The Rondo in G Minor is a much more modest work, but pleasing in its own way. It moves from a fairly straightforward treatment of the rondo tune at the opening through some unexpected and imaginative extensions as the work proceeds.

Vocalise, Opus 34, No. 14

Sergei RACHMANINOFF Born April 1, 1873, Novgorod Died March 28, 1943, Beverly Hills

Rachmaninoff wrote so much bravura piano music and so many dramatic orchestral works that one tends to overlook his greatest strength as a composer–an incredible lyric gift best evident in his more than seventy songs and numerous choral works. Vocalise dates from the summer of 1912, which Rachmaninoff spent at Ivanovka, his family’s country estate. There he completed a cycle of fourteen songs, tailoring each to the talents of an individual Russian singer he knew. The last of the fourteen–dedicated to soprano Antonina Nezhdanova, a member of the Moscow Grand Opera–was wordless: the soprano was simply to sing the melodic line over piano accompaniment. The song proved popular, and a few years later–at the suggestion of conductor Serge Koussevitzky– Rachmaninoff arranged Vocalise for string orchestra. Vocalise has haunted performers as well as listeners: in addition to the original versions for voice and for orchestra, the current catalog

ISTVÁN VÁRDAI & JULIEN QUENTIN - PROGRAM NOTES

lists transcriptions for cello, piano, and saxophone. It is easy to understand this music’s appeal. Vocalise offers Rachmaninoff’s most bittersweet lyricism, suffused with a dark, elegiac quality–this music was, in fact, performed at the memorial service following Rachmaninoff’s own death.

Suite Italienne for Cello and Piano (arr. Piatigorsky)

Igor STRAVINSKY Born June 17, 1882, Oranienbaum, Russia Died April 6, 1971, New York City

In the years after World War I, Stravinsky found himself at an impasse as a composer, unwilling to return to the grand manner of the “Russian” ballets that had made him famous, but unsure how to proceed. Serge Diaghilev, impresario of the Ballets Russes, suggested a ballet based on themes by the Italian composer Giovanni Pergolesi (1710-1736) and showed him some of Pergolesi’s music. Stravinsky was entranced. Over the next year he composed a ballet with song in eighteen parts, based on themes from Pergolesi’s operas and instrumental music (though subsequent research has shown that not all these themes were written by Pergolesi). Stravinsky kept Pergolesi’s melodic and bass lines, but supplied his own harmony and brought to this music his incredible rhythmic vitality. First produced in Paris on May 15, 1920, with sets by Picasso and choreography by Massine, Pulcinella was a great success. Over the next few years Stravinsky made several arrangements for instrumental duos of excerpts from Pulcinella. First was a Suite for Violin and Piano based on themes from the ballet, which he made in 1925. Next came an arrangement of different excerpts for cello and piano, made in 1932 by the composer and Gregor Piatigorsky; this version was the first be called Suite Italienne. The following year, Stravinsky and violinist Samuel Dushkin made an arrangement of excerpts for violin and piano and called it Suite Italienne as well. (Somewhat later, Jascha Heifetz and Piatigorsky made an arrangement for violin and cello, which they also called Suite Italienne.) The cello and piano version of Suite Italienne is in six movements. It opens with a jaunty Introduzione (the ballet’s Overture), followed by a lyric Serenata, based on an aria from Pergolesi’s opera Il Flaminio. The Aria is a transcription of the bass aria “Con questo parolina” from Pulcinella, while the blistering Tarantella rushes to a surprising and sudden ending. The concluding section is in two parts: a slow Minuetto full of complex double-stops leads without pause to the exciting Finale.

Humoresque, Opus 5

Mstislav ROSTROPOVICH Born March 27, 1927, Baku, Azerbaijan Died April 27, 2007, Moscow

We remember Mstislav Rostropovich as one of the greatest of cellists, but he was also a gifted conductor and–like many virtuosos from years past–a composer. Though not a prolific composer, he did write for his own instrument, and his bestknown work is the brief Humoresque, which has been recorded many times. A humoresque is a musical term without precise meaning–that title refers to a piece with a playful character rather than denoting a specific musical form. Rostropovich’s Humoresque is a brilliant composition, a showpiece for virtuoso cellist. Only two minutes long, it is essentially a blistering perpetual motion that puts a cellist through a range of techniques: much of the Humoresque is set in the cello’s high positions (sometimes at the very top of the instrument’s range), and it requires rapid arpeggios, doublestops, glissandos, and quick leaps across the fingerboard. The Humoresque is an exhilarating piece for cellists (and for audiences), and after a cadenza-like flourish it concludes with a pair of resounding pizzicato strokes.

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PRELUDE 7 PM

Lecture by Steven Cassedy: Redefining Sonata Form Beethoven’s Opus 106, popularly but somewhat misleadingly called the “Hammerklavier,” is the longest and probably most technically difficult of the composer’s thirtytwo sonatas for piano. It’s also, from a formal standpoint, one of the most radical, bursting the bounds of sonata form just as it seems to want to burst the bounds of the instrument on which it is performed. 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, 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.

FRIEMAN FAMILY PIANO SERIES

Murray Perahia, piano SUNDAY, APRIL 24 · 8 PM MCASD SHERWOOD AUDITORIUM

HAYDN Andante and Variations in F Minor, Hob.VII:6 (1732-1809)

LJMS is grateful for the support of Joy Frieman and her family for the naming of the Frieman Family Piano Series. The Frieman Family Piano Series is underwritten by Medallion Society members:

Conrad Prebys and Debra Turner Many thanks to our Hotel Partner:

The Lodge at Torrey Pines

Murray Perahia appears by arrangement with IMG Artists. 7 W 54 St. New York, NY 10019

MOZART Piano Sonata in A Minor, K.310 (1756-1791) Allegro maestoso, common time Andante cantabile con espressione Presto BRAHMS Late Piano Music (1833-1897) Ballade in G Minor, Opus 118, No. 3 (1893) Intermezzo in C Major, Opus 119, No. 3 (1893) Intermezzo in E Minor, Opus 119, No. 2 (1893) Intermezzo in A Major, Opus 118, No. 2 (1893) Capriccio in D Minor, Opus 116, No. 1 (1892) I N T E R M I S S I O N

BEETHOVEN Piano Sonata in B-flat Major, Opus 106 “Hammerklavier” (1817/1818) (1770-1827) Allegro Scherzo: Assai vivace Adagio sostenuto Largo; Allegro; Allegro risoluto

Murray Perahia last performed for La Jolla Music Society on March 20, 1987.

LA JOLLA MUSIC SOCIETY

MURRAY PERAHIA - PROGRAM NOTES Program notes by Eric Bromberger

Andante and Variations in F Minor, Hob.VII:6

connection must remain conjectural, but this somber and expressive music–composed and very carefully revised in the months after Marianne’s death–has seemed to many to be Haydn’s homage to a friend he held very dear.

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

This extraordinary music is one of Haydn’s final compositions for piano. He wrote it in Vienna in 1793 between his two visits to London, and evidence suggests that Haydn himself was unsure just what form this music would take. The manuscript is headed “Sonata,” and it is possible Haydn intended it as the first movement of a sonata, giving up that plan when it became clear to the composer that this music should stand alone. He revised the score carefully, and its final form is unusual: it is a set of double variations–the first theme in F minor, the second in F major–which is then completed by a powerful coda 83 measures long. The somber opening theme, marked Andante, is heard immediately and passes between both hands, extending through two strains. Haydn then switches to F major for the second theme, but this florid melody, full of swirls and arabesques, shows subtle harmonic relations to the subdued opening subject, so that there is already a unifying bond between these two themes before the variations begin. Haydn then offers two variations on these two themes. The variations on the F minor theme remain restrained, chromatic, and expressive, while the variations on the F major theme are more florid, full of trills and flowing triplets. Haydn begins the coda with a literal reprise of the opening theme, and suddenly this music takes off: over rising harmonic tension, the coda grows more powerful, more expressive, and more dynamic as it drives to a fortissimo climax. And then–in an equally original stroke– Haydn has the music fall back, shatter, and fade into silence on bits of the original theme. Haydn dedicated the Andante and Variations to Babette (or Barbara) von Ployer, who had been one of Mozart’s students. Scholars, though, have been nearly unanimous in sensing another woman as the real inspiration behind this music. In 1789, Haydn had become good friends with Marianne von Genzinger, the wife of a Viennese physician, and their friendship took the form of a lengthy series of letters in which the older composer was able to pour out–after his own long and unhappy marriage–a depth of feeling and observation; these letters in fact remain one of the clearest records of Haydn’s character and thinking in these years. In January 1793, Marianne von Genzinger died suddenly at age 38, and many music historians regard the Andante and Variations, written shortly after her death, as Haydn’s response to that devastating event. Until more evidence is available, such a

Piano Sonata in A Minor, K.310

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

In September 1777, the 21-year-old Mozart set out on a trip that would turn into a disaster. Accompanied by his mother, he was to seek a position worthy of his talents in two of the musical capitals of Europe, Mannheim and Paris, while father Leopold remained behind in Salzburg. Suspicions of Mozart’s immaturity were instantly confirmed. From Mannheim, he proposed abandoning the trip to take a 16-year-old soprano on a tour of Italy (Leopold’s response was nearly apoplectic), and everywhere he went Mozart was considered too young for the role of kapellmeister. The disaster came in Paris–Mozart’s mother died suddenly during the summer of 1778. When Mozart returned to Salzburg in January 1779, both he and his father knew that the trip had been in every way a failure. The Piano Sonata in A Minor, composed in Paris, shows a depth, tension, and expressivity new in the young composer’s music. Alfred Einstein has called it “a tragic sonata,” and it has been easy for some to conclude that Mozart wrote the sonata in response to his mother’s death. The evidence seems clear, however, that it had been completed before Maria Anna Mozart died on July 3, 1778. We feel a level of tension from the first instant of this sonata, where the A-minor tonality is violated by a D-sharp grace note, but this dissonance only serves to establish the mood of what will follow. Mozart’s marking Allegro maestoso for this movement is curious, for there is nothing heroic or regal here. Instead, there is something darker, something powerful and insistent, and the music keeps pressing ahead–even the quietlyrippling second subject maintains this mood. Mozart seldom marked a movement cantabile (he felt that all music should sing), but he goes even farther here, specifying that the second movement should be Andante cantabile con espressione. It is in ternary form, with calm outer sections framing an agitated central episode. In his biography of Mozart, Maynard Solomon argues that in this movement Mozart invents what would become an archetype of the romantic imagination: the music begins in Edenic innocence, but the middle section plunges that primal world into a darkness that threatens to overpower it; Mozart recovers as he returns to the opening section, but now this has been changed W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

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by the experience. Solomon argues that in this movement Mozart creates the pattern of “the Romantic mood-piece” that Schubert, Chopin, Brahms, and many others would employ over the following century. The concluding Presto returns to the tonality–and manner–of the opening movement. Though quiet, the music partakes of that same restless spirit, much of it energized around the rhythm of a dotted eighth. A brief A-major episode at the center of the movement brings a brush of sunlight across the dusky landscape of this music, but Mozart quickly returns to A minor and drives the music implacably to its close.

Late Piano Music

Johannes BRAHMS Born May 7, 1833, Hamburg Died April 3, 1897, Vienna

As he approached his sixtieth birthday, Brahms returned to the instrument of his youth, the piano. The young Brahms– the “heaven-storming Johannes,” as one of his friends described him–had established his early reputation as the composer of dramatic piano works: of his first five published works, three were big-boned piano sonatas, and he next produced a series of extraordinarily difficult sets of virtuoso variations. And then suddenly, at age 32, Brahms walked away from solo piano music, and–except for some brief pieces in the late 1870s–that separation would last nearly three decades. When the aging Brahms returned to the instrument of his youth, he was a very different man and a very different composer from the “heaven-storming Johannes” of years before. During the summers of 1892-93, Brahms wrote twenty brief piano pieces and published them in four sets as his Opp. 116-119. The twenty pieces that make up these four final sets are all very brief (they may accurately be described as miniatures) and are in ABA form: a first theme, a countermelody–usually in a contrasting tempo and key, and a return of the opening material, now slightly varied. While perhaps technically not as demanding as his early piano works, these twenty pieces nevertheless distill a lifetime of experience and technical refinement into very brief spans, and in their focused, inward, and sometimes bleak way they offer some of Brahms’ most personal and moving music. Someone once astutely noted that a cold wind blows through these late piano pieces; Brahms himself described them as “lullabies of my pain.” This recital offers five of those twenty pieces. The thunderous beginning of the Ballade in G Minor seems to bring back the world of “the young, heaven-storming Johannes.” Now, at age 60, Brahms fuses that powerful earlier

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manner with a greatly refined technique. The Allegro energico opening moves easily into the gorgeous middle section in B major; Brahms constantly reminds the pianist here to play dolce and espressivo. The return of the opening plunges briefly into a “wrong” key, but matters quickly recover, and the music pounds ahead with all its original strength. The Intermezzo in C Major, marked Grazioso e giocoso (“Graceful and happy”), dances easily on its 6/8 meter. This piece has no true contrasting theme in its center–Brahms simply slows down his opening idea and uses that as the central episode before the return of the theme at its original tempo. In the Intermezzo in E Minor, which Brahms marks Andantino un poco agitato, the pianist’s two hands seem to be chasing each other through the murmuring, rhythmically-fluid opening section. The central episode dances gently (Brahms’ marking is teneramente: “tenderly”); the music gradually makes its way back to the opening material, now varied, and Brahms concludes with a faint whiff of the waltz-melody. The Intermezzo in A Major is like a lullaby (Brahms’ marking is Andante teneramente), and that gentle mood prevails throughout, though the center section is elaborate and varied before the subtle reintroduction of the opening material. The Capriccio in D Minor, marked Presto energico, flies restlessly along its 3/8 meter; much of the writing is sharply syncopated, with the accent falling on the final beat.

Piano Sonata in B-flat Major, Opus 106 “Hammerklavier”

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

Beethoven spent the summer of 1817 in the small village of Mödling, about twelve miles south of Vienna. These were miserable times for the composer (he himself referred to this as a period of “oppressive circumstances”): he was in poor health, locked in a bitter legal struggle for custody of his nephew Karl, and sinking deeper into deafness. Worse, he found himself at a creative standstill. Since the dissolution of the Heroic Style five years earlier, he had fallen into a long silence as–from the depths of his illness and deafness–he searched for a new musical language. Yet Beethoven took pleasure in the village in the lovely valley of Brühl, where he would go for long walks. He was joined on one of these by the pianist Carl Czerny, who reported that Beethoven told him “I am writing a new sonata that will become my greatest.” But progress was slow. Beethoven began the sonata in the fall of 1817 and had only the first two movements complete by the following April. He returned to Mödling for the summer of 1818 and had the

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sonata done by the end of that summer. It had taken a year of work. Many would agree with Beethoven that this sonata is his greatest, and–at 45 minutes–it is certainly his longest. When it was published in September 1819, it acquired the nickname “Hammerklavier,” a nickname that originated–obliquely–with the composer himself. Beethoven in these years had become convinced that the piano was a German invention, and he did not want to use the Italian title pianoforte for the instrument (during this period he was also coming to prefer German performance markings to Italian). When this sonata and the Sonata in A-flat Major, Opus 101 were published, Beethoven specified that they were “für das Hammerklavier,” which was simply the German word for piano (a piano with the strings struck by hammers). The title Hammerklavier has stuck only to the second of those sonatas, but that nickname–with its latent subtextual implication of vast power–is inextricably linked to our sense of this music. We never think of it as the Sonata in B-flat Major. We think of it only with one powerful word: Hammerklavier. Coming as it does between the collapse of the Heroic Style and the arrival of the Late Style, the Hammerklavier is inevitably a transitional work, though that hardly need imply an inferior one. It is traditional in the sense that it retains the four-movement structure of the sonata: a sonata-form first movement, a scherzo, a lyric slow movement, and a powerful fast finale, yet in every other sense this music looks ahead, and Maynard Solomon is quite right when he describes the Hammerklavier “the crystallization of the late style.” Those old forms may be present, but Beethoven is transforming them beyond recognition even as he holds onto them. The Allegro opens with a powerful, almost defiant chordal gesture, yet Beethoven quickly follows this with a flowing, lyric idea and then brings the music to a brief pause--in those opening eight bars, he has provided enough material to fuel virtually the entire movement. There is a second theme, a quiet chorale set high in the pianist’s right hand while the left accompanies this with swirling sextuplets; Beethoven marks this cantabile dolce ed espressivo, but it is really the sonata’s opening that will dominate this movement–the chorale theme does not re-appear until almost the end of the exposition, and Beethoven treats it thereafter more as refrain than as an active thematic participant. The drama comes from that sharplycontrasted opening idea, and Beethoven builds much of his development on a fugal treatment of the opening gesture before the movement drives to a powerful close on a coda derived from that opening. After that mighty first movement, which lasts a full dozen minutes, the Scherzo whips pasts in barely two. It is in standard ternary form, but Beethoven experiments with the whole notion of theme here: the outer section is built virtually

on one rhythmic pattern, the dotted figure heard at the very beginning. The brief central episode, in D-flat major and written in octaves, leads to a dazzling return to the opening: a Prestissimo run across the range of the keyboard and great flourish set up the beautifully-understated reappearance of the opening. The ending is just as brilliant: Beethoven writes a very brief Presto that begins in colossal power and–almost before we know it–has vanished like smoke. The Adagio sostenuto is not just the longest movement in this sonata but one of the longest slow movements Beethoven ever wrote. He specifies that it should be Appassionata e con molto sentimento, and the simple, moving chordal melody at the beginning gradually expands across the long span of this movement, taking us through a range of experience, intense and heartfelt. The final movement opens with a long introduction marked Largo; some of this is unbarred and gives the impression of existing outside time, yet in the middle of this slow introduction the music suddenly rushes ahead on a five-measure Allegro that sounds as if it had come directly from Bach’s Well-Tempered Clavier. The Largo resumes, gathers power on a series of trills, and suddenly the main section– Allegro risoluto–bursts to life. This massive finale is one long fugue in three voices, which Beethoven then develops with great power, originality, and complexity; perhaps he saw in the fugue, with its combination of intellectual and emotional power, an ideal conclusion to so powerful a sonata. This finale makes fiendish demands on the pianist (it is scarcely easier for the listener), and it has produced some stunned reactions: Barry Cooper notes that “There is in this finale . . . an element of excessiveness . . . An instinct to push every component part of the music . . . not just to its logical conclusion but beyond.” And in fact the sonata is so overwhelming–technically, musically, emotionally–that it has left all who write about it gasping for language that might measure its stride. Paul Bekker calls the slow movement “the apotheosis of pain, of the deep sorrow for which there is no remedy . . . the immeasurable stillness of utter woe.” The pianist and pedagogue Ernest Hutcheson virtually concedes defeat: “The immensity of this composition cannot fail to strike us with awe. We gaze at its vast dome like pygmies from below, never feeling on an intellectual or moral level with it.” Perhaps it is best to leave the last word to Beethoven himself, who mailed this music off to his publisher with a wry observation: “Now there you have a sonata that will keep the pianists busy fifty years hence.”

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DANCE SERIES

Hubbard Street Dance Chicago SATURDAY, APRIL 30 · 8 PM SPRECKELS THEATRE

Out of Keeping INTERMISSION

N.N.N.N. PAU S E

Excerpt from Second to Last INTERMISSION

PRELUDE 7PM

A conversation with Artistic Director Glenn Edgerton 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, 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.

Support for the Dance Series is provided in part by:

LJMS’ Dance Society members Many thanks to our Hotel Partner:

The Westgate Hotel

Hubbard Street Dance Chicago 1147 West Jackson Boulevard, Chicago, Illinois 60607 312-850-9744 • hubbardstreetdance.com Facebook + YouTube /HubbardStreetDance Twitter + Instagram @HubbardStreet North American Representation Sunny Artist Management Ilter Ibrahimof, Director ilter@sunnyartistmanagement.com

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Solo Echo Artistic Director Glenn Edgerton Executive Director Jason D. Palmquist General Manager Karena Fiorenza Ingersoll Rehearsal Director Lucas Crandall Resident Choreographer Alejandro Cerrudo Director of External Affairs Suzanne Appel Artistic Associate and Coordinator, Pre-Professional Programs Meredith Dincolo Founding Artistic Director Lou Conte

THE DANCERS Jesse Bechard, Jacqueline Burnett, Alicia Delgadillo, Jeffery Duffy, Kellie Epperheimer, Michael Gross, Jason Hortin, Alice Klock, Emilie Leriche, Florian Lochner, Ana Lopez, Andrew Murdock, Penny Saunders, David Schultz, Kevin J. Shannon, Jessica Tong Director of Production Jason Brown Company Manager Ishanee DeVas Head of Wardrobe Rebecca M. Shouse Lighting Director Kaitlyn Breen Stage Manager and Properties Master Julie E. Ballard Head Carpenter and Stage Operations Stephan Panek Master Electrician Sam Begich Audio Engineer Kilroy G. Kundalini Touring Wardrobe Jenni Schwaner Ladd

Hubbard Street Dance Chicago last performed for La Jolla Music Society in the Dance Series on February 29, 2008.

HUBBARD STREET DANCE CHICAGO - PROGRAM NOTES

Out of Keeping Choreography: Penny Saunders Music: Ólafur Arnalds, Volker Bertelmann,

Karsten Gundermann, Hilary Hahn, Danny Norbury Set and Lighting Design: Michael Mazzola Costume Design: Branimira Ivanova Created for and premièred by Hubbard Street Dance Chicago December 10, 2015 at the Harris Theater for Music and Dance in Millennium Park, Chicago. Music by Volker Bertelmann and Hilary Hahn: “North Atlantic” and “Clock Winder,” from the album Silfra, as performed by Hilary Hahn and Hauschka, courtesy of Universal Music Group, used by permission of G. Schirmer, Inc. / Music Sales Group. Music by Danny Norbury: “Speak, Memory,” from the album Dusk, used by permission of Danny Norbury. Music by Ólafur Arnalds: “Tomorrow’s Song,” from the album Living Room Songs. Music by Karsten Gundermann: “Faust - Episode 2 – Nachspiel,” from the album Spheres, as performed by Daniel Hope and Deutsches Kammerorchester Berlin, conducted by Simon Halsey, courtesy of Universal Music Group, used by permission of Karsten Gundermann. Elizabeth Yntema for the Mark Ferguson Elizabeth Yntema Family Charitable Trust is the Lead Individual Sponsor of Out of Keeping by Penny Saunders. Additional support for Out of Keeping by Penny Saunders is provided by Individual Sponsors Randy and Lisa White.

N.N.N.N. Choreography: William Forsythe Stage Design : William Forsythe Lighting: William Forsythe Costume Design: William Forsythe Music: Thom Willems Technical Consultant: Tanja Rühl Staging: Cyril Baldy, Amancio González N.N.N.N. appears as a mind in four parts, four dancers in a state of constant, tacit connection. Underscored by the sudden murmured flashes of Thom Willems’ music, these dancers enter into a complex, intense inscription. Their arms, heads, bodies and legs become singular voices, each tuned and in counterpoint to the other. These performers write out a text of the voice of the body, slowly, then more and more rapidly, coalescing over and over into a linked entity of flinging arms, folding joints and a sharp, high sense of time. Hubbard Street is honored to be the first U.S. dance company to perform William Forsythe’s N.N.N.N., restaged at the Hubbard Street

Dance Center in Chicago by Forsythe with original cast members Cyril Baldy and Amancio González. N.N.N.N. was created for and premièred by Ballett Frankfurt on November 21, 2002 at the Opernhaus, Frankfurt am Main, Germany; and first performed by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance, October 15, 2015. Original score by Thom Willems. Used by permission of Thom Willems. Hubbard Street’s acquisition of N.N.N.N. is sponsored by the Harris Theater for Music and Dance, with support from Sandra and Jack Guthman through the Imagine campaign. Lead Individual Sponsors of the Season 38 Fall Series celebrating William Forsythe are Jay Franke and David Herro. Additional support is provided by Individual Sponsors Pam Crutchfield, Charles Gardner and Patti Eylar, and Richard L. Rodes. The Elizabeth F. Cheney Foundation is the Lead Foundation Sponsor of the Season 38 Fall Series.

Excerpt from Second to Last Choreography & Costume Concept: Alejandro Cerrudo Music: Arvo Pärt Lighting Design: Michael Korsch Created for and premièred by Ballet Arizona at the Orpheum Theatre, Phoenix, AZ, March 28, 2013. Original Set Design by Wrara Plesoiu. Original Costume Design by Leonor Texidor. First performed by Hubbard Street Dance Chicago as part of The Art of Falling, created for and premièred by Hubbard Street and The Second City, Inc. in collaboration at the Harris Theater for Music and Dance in Millennium Park, Chicago, October 16, 2014. Music by Arvo Pärt: “Spiegel im Spiegel,” from the album Arvo Pärt: Alina, as recorded by Dietmar Schwalke, Alexander Malter, Vladimir Spivokov, and Sergei Bezrodny, courtesy of ECM Records. Used by permission of European American Music Distributors Company. The Art of Falling was commissioned by the Harris Theater for Music and Dance in Millennium Park, with support from Sandra and Jack Guthman through the Imagine campaign; was sponsored by Richard L. Rodes, R. Penny Rodes DeMott, GoodSmith, Gregg & Unruh LLP, The Walter E. Heller Foundation and Wessex 504 Corporation; and Choreographer’s Circle Members Meg and Tim Callahan, Sidney and Sondra Berman Epstein, Caryn Jacobs and Dan Cedarbaum, and Sallyan Windt. The Art of Falling was partially supported by a grant from the Illinois Arts Council Agency.

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HUBBARD STREET DANCE CHICAGO - PROGRAM NOTES

Solo Echo Choreography: Crystal Pite Music: Johannes Brahms Lighting Design: Tom Visser Stage Design: Jay Gower Taylor Costume Design: Joke Visser, Crystal Pite Staging: Eric Beauchesne Lines for Winter

By Mark Strand Tell yourself as it gets cold and gray falls from the air that you will go on walking, hearing the same tune no matter where you find yourself — inside the dome of dark or under the cracking white of the moon’s gaze in a valley of snow. Tonight as it gets cold tell yourself what you know which is nothing but the tune your bones play as you keep going. And you will be able for once to lie down under the small fire of winter stars. And if it happens that you cannot go on or turn back and you find yourself where you will be at the end, tell yourself in that final flowing of cold through your limbs that you love what you are. Created for and premièred by Nederlands Dans Theater February 9, 2012 at the Lucent Danstheater, Den Haag, the Netherlands. First performed by Hubbard Street Dance Chicago December 10, 2015 at the Harris Theater for Music and Dance, Chicago. Music by Johannes Brahms: Allegro non Troppo from Sonata for Cello and Piano in E Minor, Opus 38, and Adagio Affettuoso from Sonato for Cello and Piano in F Major, Opus 99, from the album Brahms Sonatas for Cello & Piano, courtesy of Sony Music Entertainment. Poem by Mark Strand: “Lines for Winter,” from Selected Poems, © 1979 by Mark Strand and published by Alfred A. Knopf, an imprint of the Knopf Doubleday Publishing Group, a division of Random House LLC. All rights reserved. Sara Albrecht is the Lead Individual Sponsor of the Hubbard Street première of Solo Echo by Crystal Pite. Hubbard Street’s touring engagements featuring Solo Echo by Crystal Pite are sponsored by the Lauren Robishaw Creative Fund.

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

BALLET FLAMENCO DE ANDALUCÍA

“Few companies capture flamenco’s essence better than Ballet Flamenco de Andalucía. A blending of Gypsy, Arab, Jewish and Spanish musical and dance traditions, the art form evolved in Andalusia more than 200 years ago and still flourishes there,” heralds The Boston Phoenix. For the last two decades Ballet Flamenco de Andalucía (Andalusian Flamenco Ballet) has been one of flamenco's foremost ambassadors, regularly featured at major international events like Aichi Exhibition in Japan as well as in big flamenco festivals, including those in New York and London. The almost 20 year history of Ballet Flamenco de Andalucía is full of recognition, not only from the audience and critics but also from the professional performing arts community. María Pagés was recognized for the show direction of El Perro Andaluz with Spain’s National Choreography Award in 1996 and Cristina Hoyos won the Max Prize for Best Female Dance Performance for Yerma. Ballet Flamenco de Andalucía has become a landmark dance company whose productions have had an impact on national and international audiences and awakened interest in flamenco around the world. The U.K.’s The Telegraph described Images: 20 Years as “a blast of Spanish passion.”

Rafaela Carrasco, artistic director

Born in Seville, Rafaela Carrasco started dancing at Matilde Coral’s dance school at age 8. She joined the Mario Maya Company at age 18, where she was principal dancer and répétitrice. She then entered the Andalusian Dance Company as soloist, participating in the productions De lo flamenco and Requiem (1994) and Los Caminos de Lorca (2004). In 2002 Ms. Carrasco formed her own company; that same year she was awarded prizes for best choreography, best musical composition and for outstanding dancer at the XI Choreography Contest of Spanish and Flamenco Dance. Ms. Carrasco’s dance company has created nine productions since its inception. She has received prestigious awards such as the Giraldillo for best choreography, the Press Prize for best choreography and the Culture Prize of Madrid in the Dance category. In September of 2013, Rafaela Carrasco was selected as head choreographer of Ballet Flamenco de Andalucía. Images: 20 years commemorates the 20th anniversary of the company, and revisits five of the most celebrated choreographies of its repertoire. It is both a tribute to the former directors who inspired Ms. Carrasco during her career and an interpretation of the rich history of the company.

MICHAEL GERDES, prelude presenter Michael Gerdes is the Director of Orchestras at San Diego State University where he conducts the Symphony, Chamber, and Opera orchestras. His performances with the Symphony have been hailed as “highly sensitive and thoughtfully layered” and his conducting proclaimed “refined, dynamically nuanced” and “restrained but unmistakably lucid” by the San Diego Story. The Symphony’s Suite Noir premèire received a 2015“Bravo” award. Mr. Gerdes earned his Bachelor of Music as well as a BA in Philosophy from Concordia College and his Master’s in Orchestral Conducting from James Madison University.

AUGUSTIN HADELICH, violin

One of the great violinists of his generation, Augustin Hadelich has forged an international career as orchestral soloist, recitalist and chamber musician, with critically acclaimed performances in prestigious venues worldwide. The Washington Post wrote of his Kennedy Center recital debut: “The essence of Hadelich’s playing is beauty … delivering the musical message with no technical impediments whatsoever … revealing something from a plane beyond ours.” An active recording W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

BIOGRAPHIES

artist, Mr. Hadelich’s recent CD of Dutilleux’s violin concerto, “L’arbre des songes” with the Seattle Symphony under Ludovic Morlot (Seattle Symphony MEDIA), won the 2016 Grammy® Award in the “Best Classical Instrumental Solo” category. Gold Medalist of the International Violin Competition of Indianapolis (2006), Augustin Hadelich has received numerous awards, most recently, the inaugural Warner Music Prize(2015). Born in Italy, the son of German parents, he is now an American citizen, and holds an Artist Diploma from The Juilliard School.

HUBBARD STREET DANCE CHICAGO

Hubbard Street Dance Chicago’s core purpose is to bring artists, art and audiences together to enrich, engage, educate, transform and change lives through the experience of dance. Hubbard Street Dance Chicago grew out of the Lou Conte Dance Studio at LaSalle and Hubbard Streets in 1977, when Lou Conte gathered an ensemble of four dancers to perform in senior centers across Chicago, then later evolved into a preeminent internationally touring dance company. Celebrating Season 38 in 2015– 16, under the artistic leadership of Glenn Edgerton, Hubbard Street continues to innovate, supporting its creative talent while presenting repertory by the field’s internationally recognized living artists. Hubbard Street has grown through the establishment of multiple platforms alongside the Lou Conte Dance Studio, entering its fifth decade of providing a wide range of public classes and pre-professional training under the direction of founding company member Claire Bataille. Extensive Youth, Education, Community, Adaptive Dance and Family Programs, led by Kathryn Humphreys, keep the organization deeply connected to its hometown. Hubbard Street 2, led by Terence Marling, stewards early-career dancers and choreographers, while the main company’s 16 members perform all year long, domestically and around the world. For artist profiles, touring schedules and more information visit: hubbardstreetdance.com.

Glenn Edgerton, artistic director

Glenn Edgerton joined Hubbard Street Dance Chicago after an international career as a dancer and director. At the Joffrey Ballet, he performed leading roles, contemporary and classical, for 11 years under the mentorship of Robert Joffrey. In 1989, Mr. Edgerton joined the acclaimed Nederlands Dans Theater (NDT), where he danced for five years. He retired from performing to become its artistic director, leading NDT 1 for a decade and presenting the works of Jiří Kylián, Hans van Manen, William Forsythe, Ohad Naharin, Mats Ek, Nacho Duato, Jorma Elo, Johan Inger, Paul Lightfoot and Sol León, among others. From 2006 to 2008, he directed the Colburn Dance Institute at the Colburn School of Performing Arts in Los Angeles. Mr. Edgerton joined Hubbard Street as associate artistic director in 2008; since 2009 as artistic director, he has built upon more than three decades of leadership in dance performance, education and appreciation established by founder Lou Conte and continued by Conte’s successor, Jim Vincent. In an interview, Glenn Edgerton identified Hubbard Street Dance Chicago’s two main missions: “To bring the best choreography from the world’s stages to Chicago and to foster the creative talents of the artists within our building.”

KEB' MO', guitar & vocals

Over the past two decades, award-winning singer, songwriter, guitarist and contemporary blues artist, Keb’ Mo’, has cultivated a reputation as a modern master of American roots music through the understated excellence of his live and studio performances. B.B. King, Buddy Guy, the Dixie Chicks, Joe Cocker, Robert Palmer and Tom Jones have all recorded his songs. His guitar playing has inspired leading instrument makers Gibson Brands to issue the Keb’ Mo’ Signature Bluesmaster acoustic guitar and Martin Guitars to issue the HD-28KM Keb’ Mo’ Limited Edition Signature model. He has collaborated with a host of artists, including Bonnie Raitt, Jackson Brown, Cassandra Wilson, Buddy Guy, Amy Grant, Solomon Burke, Little Milton and many others. Keb’ also wrote and performed the theme song for the smash sitcom, “Mike & Molly,” and was music composer for TV’s “Memphis Beat.” Keb’ Mo’ released his 12th studio album, titled BLUESAmericana on Kind of Blue Music on April 22, 2014. Following its release, the album spent several weeks at No. 1 on the Soundscan Blues Album chart. The album garnered Keb’ Mo’ a Blues Music Award from the Blues Foundation, three 2015 Grammy® nominations and multiple other achievements.

LA JOLLA MUSIC SOCIETY

BIOGRAPHIES

PAUL LEWIS, piano

Pianist Paul Lewis enjoys a global career appearing as a soloist with leading orchestras and conductors, and as a recitalist and chamber musician at the world’s most prestigious musical centers and festivals. His recent cycles of both Beethoven’s and Schubert’s piano works received unanimous critical and public acclaim, solidifying his reputation as a foremost interpreter of the central European classical repertoire. Mr. Lewis studied with Joan Havill at Guildhall School of Music and Drama before studying privately with Alfred Brendel. He was recently appointed co-Artistic Director of the Leeds International Piano Competition, and shares the artistic directorship of the UK’s Midsummer Music festival with his wife, cellist Bjørg Lewis. His awards and accolades include the Royal Philharmonic Society’s Instrumentalist of the Year, two Edison awards, three Gramophone awards, a Diapason D’or de l’Annee, the Premio Internazionale Accademia Musicale Chigiana, the South Bank Show Classical Music Award and an honorary doctorate from the University of Southampton. Paul Lewis’ extensive discography for Harmonia Mundi includes Beethoven’s piano sonatas and concertos, Schubert’s piano sonatas and 3 song cycles with Mark Padmore, as well as solo works by Schumann, Liszt and Mussorgsky. A recording featuring Brahms' D Minor Piano Concerto (Daniel Harding/Swedish Radio Symphony Orchestra) will be released this spring.

ORCHESTRE SYMPHONIQUE DE MONTRÉAL

Since its founding in 1934, the Orchestre symphonique de Montréal (OSM), has distinguished itself as a leader in the orchestral life of Canada and Québec. A cultural ambassador of the highest order, the Orchestra has earned an enviable reputation internationally through the quality of its many recordings and tours. Under the leadership of its Music Director, Kent Nagano, the OSM carries on a rich tradition, while featuring innovative programming aimed at updating the orchestral repertoire and deepening the Orchestra’s connection with the community. The Orchestra has performed on more than 40 tours and some 30 national and international excursions; they have carried out ten tours in Asia, eleven in Europe, and three in South America. Under the direction of Maestro Nagano, the OSM’s March 2016 tour realizes its ninth major tour in the United States. The OSM has made over 100 recordings for Decca, EMI, Philips, CBC Records, Analekta, ECM and Sony as well as on its own label, which have earned it some fifty national and international awards. The OSM is recognized for a history marked by innovative projects. Most recently, as part of a renewed partnership with Decca Classics, L’Aiglon, a work by Honegger and Ibert, made its March 17, 2015 North American première.

Kent Nagano, music director

Kent Nagano has established an international reputation as one of the most insightful and visionary interpreters of both the operatic and symphonic repertoire. Since 2006 he has been Music Director of the Orchestre symphonique de Montréal, a contract extended until 2020. He became Principal Guest Conductor and Artistic Advisor of the Gothenburg Symphony Orchestra in 2013. Since 2015, he has been General Music Director and Principal Conductor of the Hamburg State Opera and

Philharmonic Orchestra. Born in California, Maestro Nagano spent his early professional years in Boston, working in the opera house and as Assistant Conductor to Seiji Ozawa at the Boston Symphony Orchestra. He has held eminent positions for prestigious opera houses and orchestras in Europe and North America. He was the first Music Director of the Los Angeles Opera from 2003 to 2006. As a much sought-after guest conductor, Mo. Nagano has worked with most of the world’s finest orchestras and opera houses – including the Vienna and Berlin Philharmonics and the Opéra national de Paris. He has won two Grammy® Awards; in 2013, Mo. Nagano was named Great Montrealer by the Board of Trade of Metropolitan Montreal, and he received the insignia of Grand Officer of the Order of Québec.

Daniil Trifonov, piano

Combining consummate technique with rare sensitivity and depth, Daniil Trifonov has made a spectacular ascent to classical music stardom. Since taking First Prize at both the Tchaikovsky and Rubinstein competitions in 2011 at just 20, the Russian pianist has appeared with the world’s foremost orchestras and graced key international venues from Amsterdam’s Concertgebouw to Tokyo’s Opera City and Suntory Hall. W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

BIOGRAPHIES

Mr. Trifonov’s 2015-16 Season includes debuts with the Berlin Staatskapelle and Royal Stockholm Philharmonic, where he headlined the prestigious Nobel Prize Concert. He reprised his own acclaimed piano concerto with the Pittsburgh Symphony and undertook residencies in Lugano, Switzerland, and at London’s Wigmore Hall, collaborating with pianist Sergei Babayan and violinist Gidon Kremer. Mr. Trifonov is an exclusive Deutsche Grammophon artist whose recent releases include Rachmaninoff Variations, with the Philadelphia Orchestra and Yannick Nézet-Séguin and Trifonov: The Carnegie Recital, captured live at his sold-out 2013 Carnegie Hall recital debut, which scored both an ECHO Klassik Award and a Grammy® nomination. Born in Nizhny Novgorod in 1991, Trifonov studied with Tatiana Zelikman at Moscow’s Gnessin School of Music and Sergei Babayan at the Cleveland Institute of Music. In 2013 he was awarded Italy’s Franco Abbiati Prize for Best Instrumental Soloist.

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.

MURRAY PERAHIA, piano

In the more than 40 years he has been performing on the concert stage, Murray Perahia has become one of the most sought-after and cherished pianists of our time. Mr. Perahia began the 2015-16 season in London and Japan performing with the London Symphony Orchestra under Bernard Haitink. Later in the fall, he undertook a Beethoven project with the Academy of St. Martin in the Fields, playing and conducting all five piano concertos. His spring 2016 tour of North America includes performances with the Boston Symphony Orchestra and recitals in Portland, Seattle, La Jolla, Los Angeles, North Bethesda, Montreal, New York, Berkeley, and Stanford and Duke Universities. Mr. Perahia has a wide and varied discography. Sony Classical has issued a special boxed set edition of all his recordings entitled The First 40 Years. Some of his previous solo recordings feature Brahms’ Handel Variations, a 5-CD boxed set of his Chopin recordings, Bach’s Partitas Nos. 1, 5 and 6 and Beethoven’s Piano Sonatas, opp. 14, 26, and 28. He is the recipient of two Grammy® Awards and several Gramophone Awards including the inaugural Piano Award in 2012. In 2004, he was awarded an honorary KBE by Her Majesty The Queen, in recognition of his outstanding service to music.

JULIEN QUENTIN, piano

Remarkable depth of musicianship and distinct clarity of sound coupled with flawless technique make French pianist Julien Quentin in demand as both soloist and chamber musician. A versatile and sensitive pianist, he has made successful recital debuts in Paris’ Salle Cortot, Geneva’s Conservatoire Hall and Bargemusic in New York. In addition to touring internationally, he is regularly invited to numerous festivals around the world. Mr. Quentin’s appearances have included the Concertgebouw, Wigmore and Carnegie Halls and Ravina, Verbier and Lucerne festivals, among others. Recent projects include ‘Musica Litoralis’ at Piano Salon Christophori, where he has managed to create an increasingly successful concert series reminiscent of the salons of the Roaring Twenties. Mr. Quentin received his Graduate Diploma from The Juilliard School in 2003 and now lives in Berlin.

ISTVÁN VÁRDAI, cello

Hungarian István Várdai is the only cellist in the world to have won both the International Cello Competition in Geneva (2008) and the ARD Competition in Munich (2014), the two most important contests for cellists. In 2012 he received the prestigious Prix Montblanc awarded to the world’s most promising young musician. Since his debut concert in 1997 in The Hague, he has performed with great success in New York, London, Paris, Prague, Vienna, Frankfurt, Munich, Geneva, Dublin, Moscow, St. Petersburg, Florence, Tokyo and Beijing. He is a regular guest of

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BIOGRAPHIES

prestigious orchestras including the Russian National Orchestra, Mariinsky Theatre Orchestra, Suisse Romande, Bavarian Radio Symphony Orchestra, among others, and at festivals such as Santander, St. Petersburg, Radio France Montpellier, Verbier, West Cork Festival, Schwetzigen and Casals Festival. Mr. Várdai began studies in the Class of Special Talents at the Franz Liszt Academy in Budapest in 2004 and at the Music Academy of Vienna in 2005. Between 2010 and 2013, he continued his studies at the world-famous Kronberg Academy in Germany, where since 2013 he has been on staff. Mr. Várdai together with Kristóf Baráti, is the artistic director of the Kaposfest Chamber Music Festival in Hungary. He plays a Montagnana cello from 1720.

PABLO VILLEGAS, guitar

Pablo Villegas is hailed by critics as one of the world’s leading classical guitarists and celebrated as a natural ambassador of Spanish culture with performances in more than 30 countries since his auspicious debut with the New York Philharmonic under Rafael Frühbeck de Burgos at Avery Fisher Hall. At age 15 he won the Andrés Segovia Award, launching a succession of international wins that includes Gold Medal at the inaugural Christopher Parkening International Guitar Competition and El Ojo Crítico, Spain’s top classical music honor. Born and raised in La Rioja, Spain – the country uniquely and deeply linked to his chosen instrument – Villegas is praised for performances that conjure the passion, playfulness, and drama of his homeland’s rich musical heritage. A born communicator, the guitarist explains: “Music is a social tool, and opening people’s hearts, and helping them connect to the inner life of the emotions, is my mission.”

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 23 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 twelve 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 Poly Grand Theatre and the Oriental Arts Center in Shanghai in June 2015.

JOYCE YANG, piano

Winning the silver medal at the 12th Van Cliburn International Piano Competition at age 19, pianist Joyce Yang came to international attention in 2005. A Steinway artist, in 2010 Ms. Yang received an Avery Fisher Career Grant. Having performed with distinguished conductors and renowned American Orchestras, among others internationally, Ms. Yang’s 2015-16 season will include reuniting with the New York Philharmonic under Tovey for a five-date engagement of Falla’s Nights in the Gardens of Spain and she will perform and record the Albany Symphony commissioned world première of Michael Torke’s Piano Concerto, a piece created expressly for her, before a return with the Melbourne Symphony. Born in Seoul, Korea, Ms. Yang received her first piano lesson from her aunt at age 4. In 1997 she moved to the United States to begin studies at the pre-college division of The Juilliard School.Ms. Yang appears in the film In the Heart of Music, a documentary about the 2005 Cliburn Competition. PHOTO CREDITS: Cover: Keb' Mo' by Andrea Lucero ; Pg 2: New York Philharmonic © Chris Lee; Pg. 11 & 38: Keb' Mo' by Andrea Lucero; Pg. 12: P. Lewis © Josep Molina/Harmonia Mundi; Pg. 16 & 37: Ballet Flamenco de Andalucía by Luis Castilla; Pg. 18 & 39: Orchestre symphonique de Montréal © Felix Broede; Pg. 23: P. Villegas, J. Yang & A. Hadelich © Schmidt Artists International, Inc.; Pg. 26 & 40: I. Várdai © Balazs Borocz; Pg. 30 & 40: M. Perahia by Felix Broede © 2009 Sony Music Entertainment; Pg. 34 & 38: Hubbard Street Dancer Jacqueline Burnett by Quinn B Wharton; Pg. 37: S. Cassedy courtesy of presenter; R. Carrasco courtesy of artist; M. Gerdes courtesy of presenter; A. Hadelich by Paul Glickman; Pg. 38: G. Edgerton by Todd Rosenberg; Pg. 39: K. Nagano by Marco Campanozzi; D. Trifonov © Dario Acosta/DG; Pg. 40: J. Quentin courtesy of artist; Pg. 41: P. Villegas © Lisa Mazzucco; J. Yang courtesy of artist; Back Cover: Ballet Flamenco de Andalucía by Luis Castilla

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ANNUAL SUPPORT La Jolla Music Society’s high quality presentations, artistic excellence, and extensive education and community engagement programs are made possible in large part by the support of the community. There are many ways for you to play a crucial role in La Jolla Music Society’s future —from education or concert sponsorships, general program gifts, or planned giving. For information on how you can help bring the world to San Diego, please contact Ferdinand Gasang, Development Director, at 858.459.3724, ext. 204 or FGasang@LJMS.org.

FOUNDER Brenda Baker & Stephen Baum ($250,000 and above) Conrad Prebys & Debra Turner ANGEL City of San Diego Commission for Arts and Culture Joy & Ed* Frieman Joan & Irwin Jacobs ($100,000 - $249,999)

BENEFACTOR Rita & Richard Atkinson ($50,000 - $99,999) Raffaella

& John Belanich Silvija & Brian Devine

GUARANTOR ($25,000 - $49,999)

Anonymous Mary Ann Beyster Dr. James C. & Karen A. Brailean Gordon Brodfuehrer Katherine & Dane Chapin Dave & Elaine Darwin Martha & Ed Dennis Mr. & Mrs. Dick Enberg Kay & John Hesselink Susan & Bill Hoehn Theresa Jarvis Bill Karatz & Joan Smith *In Memoriam

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Sharon & Joel Labovitz National Endowment for the Arts Rafael & Marina Pastor Peter & Peggy Preuss QUALCOMM Incorporated Marge & Neal Schmale Mao & Dr. Bob Shillman Jeanette Stevens Twin Dragon Foundation Vail Memorial Fund Joe Tsai & Clara Wu Tsai

ANNUAL SUPPORT

SUSTAINER

AMBASSADOR

Anonymous George Bolton & Leia Hayes Linda Chester & Kenneth Rind Carol Lam & Mark Burnett Vivian Lim & Joseph Wong Steven & Sylvia R茅 Stacy & Don Rosenberg Leigh P. Ryan John Venekamp & Clifford Schireson Jean & Gary Shekhter Thomas & Maureen Shiftan Judith Harris & Robert Singer, M.D. Haeyoung Kong Tang Dolly & Victor Woo Carolyn Yorston-Wellcome & H. Barden Wellcome

Anonymous (2) Johan & Sevil Brahme Tatiana & David Brenner Stuart & Isabel Brown R. Nelson & Janice Byrne Don & Karen Cohn Anne & Bob Conn Jeane Erley Diane & Elliot Feuerstein Elaine Galinson & Herbert Solomon Dr. Lisa Braun-Glazer & Dr. Jeff Glazer Warren & Karen Kessler Angelina K. & Fredrick Kleinbub Annika & Gordon Kovtun Judith Bachner & Dr. Eric L. Lasley Lean Hull Fine Art, LLC. / Leanne Hull MacDougall Sue & John Major Michel Mathieu & Richard McDonald Bill Miller & Ida Houby Morgan & Elizabeth Oliver Paul Hastings, LLP Susan Shirk & Samuel Popkin Drs. Jean & Catherine Rivier James Robbins & Jill Esterbrooks Ivor & Colette Royston The San Diego Foundation Sheryl & Bob Scarano Sempra Energy Simner Foundation Elizabeth Taft Gianangelo Vergani Ronald Wakefield Margie Warner & John H. Warner, Jr. Abby & Ray Weiss

($15,000 - $24,999)

SUPPORTER

($10,000 - $14,999) Anonymous Joan Jordan Bernstein Bob* & Betty Beyster Norman Blachford & Peter Cooper Wendy Brody Ric & Barbara Charlton County of San Diego / Community Enhancement Program Brian Douglass, President digital OutPost Sue & Chris Fan Olivia & Peter C. Farrell Pauline Foster Richard & Lehn Goetz Michael & Brenda Goldbaum Margaret Stevens Grossman & Michael S. Grossman Alexa Kirkwood Hirsch Keith & Helen Kim New England Foundation for the Arts Hank & Robin Nordhoff Betty-Jo Petersen Ethna Sinisi Piazza Deirdra Price Maria & Dr. Philippe Prokocimer ResMed Foundation Sandra & Robert Rosenthal Joyce & Ted Strauss H. Peter & Sue Wagener Bebe & Marvin Zigman

($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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ANNUAL SUPPORT

AFICIONADO

ASSOCIATE

Jim Beyster Ann Spira Campbell Callan Capital Valerie & Harry Cooper Caroline DeMar 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 & Annemarie Sprinkle Matthew & Iris Strauss Bill & Shelby Strong Renee Taubman Mary L. Walshok Jo & Howard Weiner Al & Armi Williams Harvey & Sheryl White Joseph Witztum & Mary Elinger Witztum Su-Mei Yu Tim & Ellen Zinn

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 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 Art & Vicki Perry Ann & Ken Poovey William Purves Dr. Jane Reldan Dr. Marilies Schoepflin Barbara & Lawrence Sherman Juliette Singh Francy Starr Kathy Taylor & Terry Atkinson Susan & Richard Ulevitch Robert Vanosky Dr. Lee & Rhonda Vida Nell Waltz Jack & Judith White Karin Winner

($2,500 - $4,999)

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

($1,000 - $2,499)

ANNUAL SUPPORT

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 Douglas P. & Robin Doucette Ted Hoehn Innovative Commercial Environments Sally Fuller Carrie & Jim Greenstein Ed & Linda Janon Saundra L. Jones Louise Kasch Sally Maizel Jain Malkin Winona Mathews Ted McKinney & Frank Palmerino* Robert Nelson & Jean Fujisaki Mr. & Mrs. Don Oliphant Phil & Pam Palisoul Gaynor & Gary Pates Jill Q. Porter 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)

Lynell Antrim 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 Marina & Igor Fomenkov Drs. Lawrence & Carol Gartner Nancy Jones Nan & Buzz Kaufman Gladys & Bert Kohn Robert & Elena Kucinski Arlene LaPlante Elinor Merl & Mark Brodie Alan Nahum & Victoria Danzig Joani Nelson Aghdas Pezeshki Rejeuvin茅 Medspa Peter & Arlene Sacks William Smith Joanne Snider Edward Stickgold & Steven Cande Eleanor L. tum Suden Norma Jo Thomas Kevin Tilden & Philip Diamond M.D. Laurette Verbinski Carey Wall Terry & Peter Yang *In Memoriam

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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ANNUAL SUPPORT

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 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 The John H. Warner Jr. and Helga M. Warner Foundation

LA JOLLA MUSIC SOCIETY

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 Ann Spira 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 Merck 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 February 1, 2016. Amendments will be reflected in the next program book in May 2016.

ANNUAL SUPPORT

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 Raffaella and John Belanich Joy Frieman+ Joan and Irwin Jacobs

EMERALD Rita and Richard Atkinson

RUBY Silvija and Brian Devine

GARNET Elaine Galinson Peggy and Peter Preuss

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

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 and 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 Carolyn Yorston-Wellcome and H. Bard Wellcome Bebe and Marvin Zigman

Note: + 5-year term Listing as of February 1, 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

PIROUETTE

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 February 1, 2015

Elaine Galinson and Herbert Solomon Annie So Marvin and Bebe Zigman W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

ANNUAL SUPPORT

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 Gordon Brodfuehrer Barbara Buskin Trevor Callan Anne and Robert Conn George and Cari Damoose Elaine and Dave Darwin 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 February 1, 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 contact Rewa Colette Soltan, at 858.459.3724, ext. 206 or RSoltan@LJMS.org.

GUARANTOR

AMBASSADOR

ASSOCIATE

The Lodge at Torrey Pines San Diego Gas & Electric

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 Sammy’s Woodfire Pizza Del Mar

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

SUSTAINER The Westgate Hotel

SUPPORTER digital OutPost Paul Hastings LLP Procopio, Cory, Hargreaves & Savitch LLP

LA JOLLA MUSIC SOCIETY

ENTHUSIAST Nelson Real Estate

AFICIONADO Callan Capital Girard Gourmet Sharp HealthCare

Listing as of February 1, 2015

DINNERS 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 â&#x20AC;&#x201C; THE MED 1132 Prospect Street, La Jolla For Reservations: 858.551.3765 www.lavalencia.com

NINE-TEN Restaurant

The Westgate Room

For Reservations: 858.964.5400 www.nine-ten.com

For Reservations: 619.557.3650 www.westgatehotel.com

910 Prospect Street, La Jolla

1055 Second Avenue, San Diego

RESTAURANT NIGHTS

Please join us and fellow concertgoers for dinner prior to select performances. These special three-course dinners are only $65 per person and begin with a champagne reception at 5:45 PM followed by your seated dinner at 6:15 PM. For more information or to reserve your seat, please call Rewa Colette Soltan, at 858.459.3724, ext. 206 or RSoltan@LJMS.org.

FRIDAY, MARCH 4

SUNDAY, MAY 14

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OPENING 2018

The Conrad will serve as a heart of cultural, community and arts education event activity in La Jolla, bringing world-class performances to San Diego and be the permanent home of La Jolla Music Society. The new performing arts center, 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 and a large open courtyard.

VISIT THECONRAD.ORG FOR MORE INFORMATION 50

LA JOLLA MUSIC SOCIETY

sharp applauds

La JoLLa Music society for its efforts to enrich the cultural life of san diego.

Robert.LJMS.Ad_Layout 1 9/15/13 9:08 PM Page 1

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

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

LA JOLLA MUSIC SOCIETY

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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MARCH

APRIL

KEB’ MO’ BLUESAmericana

WINTERFEST GALA

JAZZ SERIES

Coasterra

Friday, March 4, 2016 · 8 PM Balboa Theatre

PAUL LEWIS

Friday, March 11, 2016 · 8 PM

STORM LARGE & KIRILL GERSTEIN Saturday, April 2, 2016 · 6 PM

TANGO, SONG AND DANCE

Augustin Hadelich, Joyce Yang & Pablo Villegas

Friday, April 15, 2016 · 8 PM

FRIEMAN FAMILY PIANO SERIES

REVELLE CHAMBER MUSIC SERIES

MCASD Sherwood Auditorium

BALLET FLAMENCO DE ANDALUCÍA

ISTVÁN VÁRDAI, cello

DANCE SERIES

DISCOVERY SERIES

Spreckels Theatre

The Auditorium at TSRI

MONTREAL SYMPHONY ORCHESTRA

MURRAY PERAHIA

Wednesday, March 16, 2016 · 8 PM

Sunday, April 17, 2016 · 3 PM

Kent Nagano, music director Daniil Trifonov, piano

Sunday, April 24, 2016 · 8 PM

Wednesday, March 23, 2016 · 8 PM

MCASD Sherwood Auditorium

CELEBRITY ORCHESTRA SERIES

HUBBARD STREET DANCE CHICAGO

Jacobs Music Center-Copley Symphony Hall

FRIEMAN FAMILY PIANO SERIES

Saturday, April 30, 2016 · 8 PM DANCE SERIES

BALLET FLAMENCO DE ANDALUCÍA

Spreckels Theatre

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