La Jolla Music Society Season 48, Program Book, Volume 3 by La Jolla Music Society

SEASON 48 | 2016-17

TAFELMUSIK BAROQUE ORCHESTRA

February-March

SEASON 48 | 2016-17 OCTOBER

JA N UA RY

BRAD MEHLDAU

JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS

LOUIS LORTIE

Thursday, March 9, 2017 · 8 PM

Saturday, January 14, 2017 · 8 PM

Piano Series

MCASD Sherwood Auditorium

Thursday, October 6, 2016 · 8 PM

Piano Series

MCASD Sherwood Auditorium

Balboa Theatre

TAFELMUSIK BAROQUE ORCHESTRA

KRONOS QUARTET

Friday, March 10, 2017 · 8 PM

from the Buena Vista Social Club:

Friday, January 20, 2017 · 8 PM

Jazz Series

OMARA PORTUONDO 85 TOUR

Special Guests Roberto Fonseca, Anat Cohen & Regina Carter Friday, October 7, 2016 · 8 PM Jazz Series

Balboa Theatre

TWYLA THARP DANCE 50th Anniversary Tour Saturday, October 22, 2016 · 8 PM Dance Series

Spreckels Theatre

RAPHAËL SÉVÈRE, clarinet

Revelle Chamber Music Series MCASD Sherwood Auditorium

EDGAR MOREAU, cello The Auditorium at TSRI

Dance Series

Discovery Series

PKF - PRAGUE PHILHARMONIA

Emmanuel Villaume, music director Gautier Capuçon, cello Wednesday, January 25, 2017 · 8 PM Orchestra Series

Jacobs Music Center-Copley Symphony Hall

The Auditorium at TSRI

BRANFORD MARSALIS QUARTET

HÉLÈNE GRIMAUD Thursday, December 1, 2016 · 8 PM Piano Series

MCASD Sherwood Auditorium

CHAMBER ORCHESTRA

Jeff Edmons, music director & conductor Richard O’Neill, viola Friday, December 2, 2016 · 8 PM

San Diego Youth Symphony Series MCASD Sherwood Auditorium

With Special Guest Kurt Elling

Friday, February 10, 2017 · 8 PM Jazz Series

Balboa Theatre

Special Event

MCASD Sherwood Auditorium

THE UKULELE ORCHESTRA OF GREAT BRITAIN “HOLIDAY SHOW” Saturday, December 17, 2016 · 8 PM Special Event

MCASD Sherwood Auditorium

Orchestra Series

Jacobs Music Center-Copley Symphony Hall

MAX RAABE & PALAST ORCHESTER Friday, March 31, 2017 · 8 PM Special Event Balboa Theatre

Saturday, April 8, 2017 · 8 PM

Balboa Theatre

Dance Series

BAMBERG SYMPHONY

Christoph Eschenbach, conductor Ray Chen, violin Orchestra Series

SEONG-JIN CHO, piano

Spreckels Theatre

EMERSON STRING QUARTET Saturday, April 22, 2017 · 7:30 PM Revelle Chamber Music Series La Jolla Presbyterian Church

NIKOLAY KHOZYAINOV, piano Saturday, April 29, 2017 · 8 PM

Sunday, February 26, 2017 · 3 PM

Special Event

The Auditorium at TSRI

M AY

MARCH

JEREMY DENK

CHAMBER ORCHESTRA

Friday, May 12, 2017 · 7:30 PM

Discovery Series

Jeff Edmons, music director & conductor Caroline Goulding, violin

The Auditorium at TSRI

Piano Series

La Jolla Presbyterian Church

Friday, March 3, 2017 · 8 PM

San Diego Youth Symphony Series MCASD Sherwood Auditorium

Sunday, March 5, 2017 · 3 PM Discovery Series

The Auditorium at TSRI

LA JOLLA MUSIC SOCIETY

Thursday, March 30, 2017 · 8 PM

BLACK GRACE

CAROLINE GOULDING, violin

Fabio Luisi, conductor Deborah Voigt, soprano

Special Event

Jacobs Music Center-Copley Symphony Hall

Friday, December 16, 2016 · 8 PM

DANISH NATIONAL SYMPHONY ORCHESTRA

Saturday, February 11, 2017 · 8 PM

Friday, December 9, 2016 · 8 PM

THE UKULELE ORCHESTRA OF GREAT BRITAIN “HOLIDAY SHOW”

Civic Theatre

APRIL

Saturday, February 18, 2017 · 8 PM

MCASD Sherwood Auditorium

Saturday, March 18, 2017 · 8 PM

LEONIDAS KAVAKOS, violin & YUJA WANG, piano

TAKÁCS QUARTET Revelle Chamber Music Series

WINTERFEST GALA 2017 BEAUTY AND THE BEAST

MALANDAIN BALLET BIARRITZ

FEBRUA RY

DECEMBER

MCASD Sherwood Auditorium

Sunday, January 22, 2017 · 3 PM

Sunday, October 30, 2016 · 3 PM Discovery Series

Revelle Chamber Music Series

For more information:

858.459.3728 · WWW.LJMS.ORG

Dates, times, programs and artists are subject to change. Ticket prices for performances at the Spreckels Theatre, Balboa Theatre, Civic Theatre and the Jacobs Music CenterCopley Symphony Hall include applicable facility fees.

SEASON 48 IS DEDICATED TO CONRAD PREBYS & DEBBIE TURNER

“Music is my connection with the sublime.” - Conrad Prebys Thank you Conrad Prebys and Debbie Turner for your extraordinary kindness and generosity. Conrad you are deeply missed. We could not be more humbled, proud and honored to know that your legacy will live on in The Conrad Prebys Performing Arts Center.

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

INDULGE YOUR SENSES WESTGATE STYLE

WESTGATE ROOM FROM 6:30 AM-9 PM

FRENCH CALIFORNIA CUISINE

HAPPY HOUR FROM 5 PM-7 PM | ARTISTIC DRINKS | LIVE MUSIC 3 NIGHTS A WEEK A F T E R N O O N T E A F R I D AY, S AT U R D AY & S U N D AY 2 : 3 0 P M - 5 P M

HARPIST

1055 SECOND AVE | SAN DIEGO, CA 92101 | 619-238-1818 | WESTGATEHOTEL.COM

2016 Summerfest Program Ad.pdf 1 06/01/2016 6:34:42 PM

CMY

OPENING 2019

The Conrad will serve as the heart of cultural, community and arts education event activity in La Jolla, bringing world-class performances to San Diego and 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 140-seat flexible use space, new offices for La Jolla Music Society and a large open courtyard.

VISIT THECONRAD.ORG FOR MORE INFORMATION W W W. L J M S . O R G Âˇ 8 5 8 . 4 5 9 . 3 7 2 8

Table of Contents CALENDAR LA JOLLA MUSIC SOCIETY STAFF & BOARD OF DIRECTORS BRANFORD MARSALIS QUARTET WITH SPECIAL GUEST KURT ELLING LEONIDAS KAVAKOS & YUJA WANG BAMBERG SYMPHONY SEONG-JIN CHO SDYS CHAMBER ORCHESTRA CAROLINE GOULDING BRAD MEHLDAU TAFELMUSIK BAROQUE ORCHESTRA ARTISTS BIOGRAPHIES SUPPORT

LA JOLLA MUSIC SOCIETY STAFF Kristin Lancino – President & Artistic Director Cho-Liang Lin – SummerFest Music Director ADMINISTRATION

Chris Benavides – Finance Director Debra Palmer – Executive Assistant & Board Liaison Anthony LeCourt – Administrative Assistant ARTISTIC & EDUCATION

Leah Z. Rosenthal – Director of Artistic Planning & Education Allison Boles – Education Manager Jordanna Rose – Artist Services Coordinator Juliana Gaona – Artistic & Education Assistant Marcus Overton – Consultant for Special Projects Serafin Paredes – Community Music Center Program Director Eric Bromberger – Program Annotator DEVELOPMENT

Ferdinand Gasang – Development Director Rewa Colette Soltan – Business Development & Event Coordinator Katelyn Woodside – Development Coordinator MARKETING & TICKET SERVICES

Kristen Sakamoto – Marketing Director Vanessa Dinning – Marketing Manager Hilary Huffman – Marketing Coordinator Shannon Haider – Ticket Services Assistant Caroline Mickle – Ticket Services Assistant Alex Gutierrez – Ticket Services Assistant Shaun Davis – House Manager Paul Body – Photographer PRODUCTION

Travis Wininger – Director of Theatre Operations Leighann Enos – Production Manager Jonnel Domilos – Piano Technician Erica Poole – Page Turner

2 10 11 12 17 22 25 29 33 36 40 45

BOARD OF DIRECTORS · 2016-17 Katherine Chapin – Chair Rafael Pastor – Vice Chair Robin Nordhoff – Treasurer Jennifer Eve – Secretary Martha Dennis, Ph.D. – Past Chair Stephen Baum Gordon Brodfuehrer Wendy Brody Ric Charlton Linda Chester Elaine Bennett Darwin Brian Douglass Barbara Enberg Lehn Goetz Susan Hoehn Kristin Lancino Sue Major Ethna Sinisi Piazza Peggy Preuss

Sylvia Ré Jeremiah Robins Sheryl Scarano Marge Schmale Jean Shekhter Maureen Shiftan June Shillman Jeanette Stevens Shankar Subramaniam Haeyoung Kong Tang Debra Turner H. Peter Wagener Clara Wu Katrina Wu

HONORARY DIRECTORS

Brenda Baker Stephen Baum Joy Frieman, Ph.D. Irwin M. Jacobs Joan K. Jacobs Lois Kohn (1924-2010) Helene K. Kruger Conrad Prebys (1933-2016) Ellen Revelle (1910-2009) Leigh P. Ryan, Esq.

LEGAL COUNSEL

Paul Hastings LLP AUDITOR

Leaf & Cole, LLP HONORARY

Christopher Beach – Artistic Director Emeritus

LA JOLLA MUSIC SOCIETY

7946 Ivanhoe Avenue, Suite 309, La Jolla, California 92037 Admin: 858.459.3724 | Fax: 858.459.3727

La Jolla Music Society’s 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, The Tippet Foundation, 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, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

Tonight’s concert is sponsored by:

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

Jazz Series

BRANFORD MARSALIS QUARTET WITH SPECIAL GUEST KURT ELLING Friday, February 10, 2017 · 8PM BALBOA THEATRE

UPWARD SPIRAL The album Upward Spiral, has been nominated for a 2017 Grammy® Award in the category of Best Jazz Vocal Album. Branford Marsalis, saxophone Kurt Elling, voice Joey Calderazzo, piano Eric Revis, bass Justin Faulkner, drums Works to be announced from the Stage There will be No Intermission

Branford Marsalis last performed for La Jolla Music Society as a Special Event on October 17, 2014. This performance marks Kurt Elling’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

Mr. Kavakos records exclusively for Decca Ms. Wang is exclusive to Deutsche Grammophon and her recordings can be obtained on www.yujawang.com Exclusive Tour Management and Representation: Opus 3 Artists – 470 Park Avenue South, 9th Floor North, New York, NY 10016 – www.opus3artists.com

Special Event

LEONIDAS KAVAKOS, violin & YUJA WANG, piano Saturday, February 11, 2017 · 8PM BALBOA THEATRE

JANÁCˇEK Sonata for Violin and Piano (1914-1915) (1854-1928) Con moto Balada Allegretto Adagio SCHUBERT Fantasy in C Major for Violin and Piano, D.934 (1827) (1797-1828) Andante molto; Allegretto; Andantino; Allegro vivace; Presto I N T E R M I S S I O N

DEBUSSY Sonata for Violin and Piano in G Minor (1917) (1862-1918) Allegro vivo Intermède: Fantasque et léger Finale: Très animé BARTÓK Sonata No. 1 for Violin and Piano, Sz.75 (1921-1922) (1881-1945) Allegro appassionato Adagio Allegro

Yuja Wang last performed for La Jolla Music Society in the Orchestra Series with the London Symphony Orchestra on March 29, 2015. Leonidas Kavakos last performed for La Jolla Music Society in the Orchestra Series with the Cincinnati Symphony Orchestra on April 19, 2007.

LA JOLLA MUSIC SOCIETY

LEONIDAS KAVAKOS & YUJA WANG – PROGRAM NOTES

Program notes by Eric Bromberger

VIOLIN SONATAS FROM WORLD WAR I With the exception of the Schubert Fantasy, all the works on this program were composed during World War I or immediately afterward, and each reflects–in quite a different way–the violence and artistic ferment of that wrenching moment in human history. Leos Janáček, throughout his life a passionate Czech nationalist, hoped that the war would free his homeland from the yoke of Austro-Hungarian rule. Specifically, Janáček hoped that the Russian army would liberate his homeland, and some have felt that, in the ecstatic climax of the finale of his Violin Sonata, Janáček looked forward to that hoped-for invasion by the Russians. Debussy, violently anti-German in both politics and art, was deeply depressed by the destruction wrought by the war (and on the day Debussy died in Paris, that city was being shelled by the Germans). He set out to make his Violin Sonata as consciously nonGermanic as he could, stressing that it was above all else a “French” sonata. Béla Bartók spent the war years in artistic isolation in Budapest. The war cut off musical life in Europe, and it was not until after the armistice that he was able to hear the latest developments in music, particularly Schoenberg’s new ideas about harmony. Those ideas profoundly influenced the two violin sonatas Bartók composed right after the war. Hearing these three violin sonatas on the same program reminds us how difficult those years were and how three supremely sensitive artists responded in such different ways.

Sonata for Violin and Piano

LEOŠ JANÁČEK

Born July 3, 1854, Hukvaldy, Czech Republic Died August 12, 1928, Moravska Ostrava, Czech Republic

Approximate Duration: 17 minutes

Over the last several decades, Czech composer LeoŠ Janáček has escaped his reputation as an interesting minor composer and been recognized for what he was: one of the great composers of the first part of the twentieth century. Born only thirteen years after Dvořák, Janáček might seem to belong more properly to the nineteenth century than the twentieth, but his reputation rests largely on the extraordinary body of work he created after his sixtieth birthday. Over the final fourteen years of his life, Janáček wrote the operas Katya Kabanova, The Cunning Little Vixen, The Makropoulos Affair, and The House of the Dead; orchestral works like the Sinfonietta and Taras Bulba; the Glagolitic Mass; and an array of chamber works, including two string quartets and the Violin Sonata. The Violin Sonata is unfamiliar to most audiences today, but here is an instance where familiarity breeds respect, for this is original and moving music. Janáček originally wrote the sonata in 1914 but could find no violinist interested in performing it; after complete revision, it was first performed in 1922, when the composer was 68. Listeners unfamiliar with Janáček’s music will need to adjust to the distinctive sound of this sonata: Janáček generates a shimmering, rippling sonority in the accompaniment, and over this the violin has jagged melodic lines, some sustained, but some very brief, and in fact these sometimes harsh interjections are

one of the most characteristic aspects of this music. Janáček also shows here his fondness for unusual key signatures: the four movements are in D-flat minor, E major, E-flat minor, and G-sharp minor. The opening movement, marked simply Con moto, begins with a jagged recitative for violin, which immediately plays the movement’s main subject over a jangling piano accompaniment reminiscent of the cimbalom of Eastern Europe. Despite Janáček’s professed dislike of German forms, this movement shows some relation to sonata form: there is a more flowing second subject and an exposition repeat, followed by a brief development full of sudden tempo changes and themes treated as fragments. A short recapitulation leads to the quiet close. The Balada was originally written as a separate piece and published in 1915, but as Janáček revised the sonata he decided to use the Balada as its slow movement. This is long-lined music, gorgeous in its sustained lyricism as the violin sails high above the rippling piano; it has a broad second subject. At the climax, Janáček marks both parts ad lib, giving the performers a wide freedom of tempo before the music falls away to its shimmering close. The Allegretto sounds folk-inspired, particularly in its short, repeated phrases (Janáček interjects individual measures in the unusual meters of 1/8 and 1/4). The piano has the dancing main subject, accompanied by vigorous swirls from the violin; the trio section leads to an abbreviated return of the opening material and a cadence on harshly clipped chords. The sonata concludes, surprisingly, with a slow movement, and this Adagio is in many ways the most W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

LEONIDAS KAVAKOS & YUJA WANG – PROGRAM NOTES

impressive movement of the sonata. It shows some elements of the dumka form: the rapid alternation of bright and dark music. The piano opens with a quiet chordal melody marked dolce, but the violin breaks in roughly with interjections that Janáček marks feroce: “wild, fierce.” A flowing second theme in E major offers a glimpse of quiet beauty, but the movement drives to an unexpected climax on the violin’s Maestoso declarations over tremolandi piano. And then the sonata comes to an eerie conclusion: the declamatory climax falls away to an enigmatic close, and matters end ambiguously on the violin’s fierce interjections. Janáček’s Violin Sonata is extraordinary music, original in conception and sonority and finally very moving, despite its refusal ever to do quite what we expect it to. For those unfamiliar with Janáček’s late music, this sonata offers a glimpse of the rich achievement of his remarkable final fourteen years.

Fantasy in C Major for Violin and Piano, D.934

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

Approximate Duration: 24 minutes

Schubert wrote the Fantasy for Violin and Piano in December 1827, only eleven months before his death at age 31. The music was first performed in public on January 20, 1828, by violinist Joseph Slavik and pianist Karl von Bocklet, one of Schubert’s close friends. That première was a failure. The audience is reported to have begun to drift out during the performance, reviewers professed mystification, and the Fantasy was not published until 1850, twenty-two years after Schubert’s death. Hearing this lovely music today, it is hard to imagine how anyone could have had trouble with it, for the only thing unusual about the Fantasy is its structure. About twenty minutes long, it falls into four clear sections that are played without pause. Though it seems to have some of the shape of a violin sonata, the movements do not develop in the expected sonata form–that may have been what confused the first audience–and Schubert was quite correct to call this piece a “fantasy,” with that term’s implication of freedom from formal restraint. Melodic and appealing as the Fantasy may be to hear, it is nevertheless extremely difficult to perform, and it demands players of the greatest skill. The first section, marked Andante molto, opens with shimmering ripples of sound from the piano, and the lovely violin line enters almost unnoticed. Soon, though, it rises to soar high above the accompaniment before brief cadenza-like passages for violin and then piano lead abruptly to the Allegretto. Here the violin has the dancelike opening idea, but the piano immediately picks this up,

LA JOLLA MUSIC SOCIETY

and quickly the instruments are imitating and answering each other. The violin writing in this section, full of wide skips and string-crossings, is particularly difficult. The third section, marked Andantino, is a set of variations. The piano alone plays the melody, which comes from Schubert’s song Sei mir gegrüsst (“Greetings to Thee”), written in 1821. Some of Schubert’s best-known compositions–the “Death and the Maiden” Quartet and the “Trout” Quintet–also build a movement out of variations on one of the composer’s own songs, and in the Fantasy Schubert offers four variations on Sei mir gegrüsst. These variations grow extremely complex– some have felt that they grow too complex–and once again the music makes great demands on its performers. At the conclusion of the variations, the shimmering music from the beginning returns briefly before the vigorous final section, marked Allegro vivace. Schubert brings the Fantasy to a close with a Presto coda, both instruments straining forward before the violin suddenly flashes upward to strike the concluding high C.

Sonata for Violin and Piano in G Minor

CLAUDE DEBUSSY

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

Approximate Duration: 12 minutes

Debussy’s final years were wretched. He developed colon cancer in 1909 and underwent a painful operation, radiation therapy, and drug treatment. It was all to no avail, and the disease took its steady course. The onslaught of World War I in 1914 further depressed him, but it also sparked a wave of nationalistic fervor, and he set about writing a set of six sonatas for different combinations of instruments. It may seem strange that the iconoclastic Debussy would return in his final years to so structured a form as the sonata, but he specified that his model was the French sonata of the eighteenth century and not the classical German sonata. To make his point–and his nationalistic sympathies–even more clear, Debussy signed the scores of these works “Claude Debussy, musicien français.” Debussy lived to complete only three of the projected six sonatas: a Cello Sonata (1915); a Sonata for Flute, Viola, and Harp (1916); and the Violin Sonata, completed in April 1917. It was to be his final work, and it gave him a great deal of difficulty. From the depths of his gloom, he wrote to a friend: “This sonata will be interesting from a documentary viewpoint and as an example of what may be produced by a sick man in time of war.” Debussy played the piano at the première on May 5, 1917, and performed it again in September at what proved to be his final public appearance. His deteriorating health confined him to his room thereafter, and he died the following March.

LEONIDAS KAVAKOS & YUJA WANG – PROGRAM NOTES

For all Debussy’s dark comments, the Violin Sonata is a brilliant work, alternating fantastic and exotic outbursts with more somber and reflective moments. In three concise movements, the sonata lasts only about thirteen minutes. Debussy deliberately obscures both meter and key over the first few measures of the Allegro vivo, and only gradually does the music settle into G minor. The haunting beginning of the movement feels subdued, almost ascetic, but the dancing middle section in E major is more animated. Debussy brings back the opening material and rounds off the movement with a con fuoco coda. The second movement brings a sharp change of mood after the brutal close of the first. Debussy marks it fantasque et léger (“Fantastic [or fanciful] and light”), and the violin opens with a series of leaps, swirls, and trills before settling into the near-hypnotic main idea. The second subject, marked “sweet and expressive,” slides languorously on glissandos and arpeggios, and the movement comes to a quiet close. Over rippling chords, the finale offers a quick reminiscence of the very opening of the sonata, and then this theme disappears for good and the finale’s real theme leaps to life. It is a shower of triplet sixteenths that rockets upward and comes swirling back down: the composer described it as “a theme turning back on itself like a serpent biting its own tail.” There are some sultry interludes along the way, full of glissandos, broken chords, rubato, and trills, but finally the swirling energy of the main theme drives the music to its animated close. Debussy may have been unhappy about this music while working on it, but once done he felt more comfortable with it, writing to a friend: “In keeping with the contradictory spirit of human nature, it is full of joyous tumult . . . Beware in the future of works which appear to inhabit the skies; often they are the product of a dark, morose mind.”

Sonata No. 1 for Violin and Piano, Sz.75

BÉLA BARTÓK

Born March 25, 1881, Nagyszentmiklós, Hungary Died September 26, 1945, New York City

Approximate Duration: 37 minutes

The period of World War I was difficult for Bartók. Musical life throughout Europe had gone dormant, and–depressed by adverse criticism and a failure to find audiences–Bartók had almost stopped composing. But as he approached his fortieth birthday in 1921, his fortunes changed. He had a number of successful premières, Universal Edition agreed to publish his works, and he began to make recital tours as a pianist throughout Europe. He was warmly received by audiences and critics in London, Berlin, Paris, and many other cities. He also began to hear music he had been unable to hear during the war, in particular the music of Schoenberg. The

influence of Schoenberg can be felt in the music Bartók composed in the early 1920s, particularly in its intense chromaticism and expressionistic character. Bartók’s biographer Halsey Stevens has noted that the two violin sonatas, composed in 1921-2, are “farther from traditional standards of tonality than anything else Bartók wrote.” Bartók was aware of the influences, yet he later insisted that “it is an unmistakable characteristic of my works of that period that they are built upon a tonal base.” The Violin Sonata No. 1 should be enjoyed as the music of Bartók and not valued for the appearance of influences from other composers. This is very dramatic music, and it is an unusually big sonata–at nearly 35 minutes, it is one of Bartók’s longest compositions. It also makes a splendid sound. Bartók writes entirely different music for the two instruments here, for they share no thematic material: the piano’s music is vertical (chords or arpeggiated chords), while the violin’s is linear–Bartók rarely has it play in doublestops. The score is scrupulously annotated. Bartók specifies exact metronome markings and changes them frequently, minutely gradates dynamics, and achieves a varied sonority: at times the piano is made to sound like the old Hungarian cimbalom or the percussive gamelan. Even individual phrases are shaped exactly. Bartók gives one passage the unique marking risvegliandosi: “waking up.” Perhaps the best way to approach this sonata is to enjoy its sweep, its extraordinary sound, and the drive that propels the music across two huge movements to one of Bartók’s most exciting finales. The opening movement, aptly titled Allegro appassionato, takes the general shape of sonata form: an exposition that lays out a wealth of themes and brief motifs, an extended development (introduced by quietly-tolling arpeggiated piano chords), and a lengthy recapitulation that brings back the themes not literally but radically transformed. Throughout the movement (and the entire sonata) the writing for both instruments is of a concerto-like virtuosity. The opening of the movement is of unusual harmonic interest. Bartók felt that this sonata was in C-sharp minor, but while the piano seems to begin in that key, the violin enters in C major, and that bitonal clash presages the harmonic ambiguity of the entire sonata. This music is so chromatic that a firm sense of these keys quickly vanishes, and even the conclusion of the sonata states C-sharp minor only ambiguously. The Adagio, in ternary form, opens with a lengthy passage for unaccompanied violin; the quiet opening section gives way to a slower and more ornate middle before the movement concludes with a return of the quiet opening material, once again radically transformed. The finale is a wildly-dancing rondo based on its gypsy-flavored opening idea, a sort of moto perpetuo for violin. Tempo changes are frequent here as Bartók varies the mood with sharply-contrasted episodes W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

LEONIDAS KAVAKOS & YUJA WANG – PROGRAM NOTES

before the sonata rushes to its bravura close. Composed between October and December 1921, the sonata had its première in London on March 24, 1922, by the composer and violinist Jelly d’Aranyi, and they then played it throughout Europe. One might guess that early reviews would have been uncomprehending, but in fact they were quite positive. Bartók’s First Violin Sonata is a massive work– tough, demanding, and uncompromising. It is also some of the most bracing, exhilarating, and exciting music he ever wrote.

LA JOLLA MUSIC SOCIETY

PRELUDE 7 PM

Lecture by Michael Gerdes

A Tale of Two Composers: Tonight’s program contains works by classical music’s two most famous composers, Mozart and Beethoven. However, the creation of these works could not have been more different. Mozart is rumored to have written the overture to Don Giovanni the night before its première while Beethoven labored painstakingly over the creation of his Third Symphony. In this Prelude Presentation, we’ll see how these differences in compositional style affect the music and hear Beethoven and Mozart’s personalities come to life in their music. La Jolla Music Society’s 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, The Tippet Foundation, 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, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

Orchestra Series

BAMBERG SYMPHONY

Christoph Eschenbach, conductor Ray Chen, violin Saturday, February 18, 2017 · 8PM JACOBS MUSIC CENTER-COPLEY SYMPHONY HALL

MOZART

(1756-1791)

Overture to Don Giovanni, K.527 (1787)

BRUCH Violin Concerto No. 1 in G Minor, Opus 26 (1868) (1838-1920) Vorspiel; Allegro moderato Adagio Finale: Allegro energico Ray Chen, violin I N T E R M I S S I O N

BEETHOVEN Symphony No. 3 in E-flat Major, Opus 55 (1804) (1770-1827) Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto; Poco andante

The Orchestra Series is underwritten by Medallion Society members:

Joan and Irwin Jacobs

This performance marks Bamberg Symphony’s La Jolla Music Society debut Ray Chen last performed for La Jolla Music Society in the Discovery Series on March 6, 2011.

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

BAMBER G SYMPHONY, BAVARIAN STATE PHILHARMONIC – ROSTER

Bamberg Symphony, Bavarian State Philharmonic Jakub Hrůša, Chief Conductor Herbert Blomstedt, Christoph Eschenbach, Honorary Conductors for Life FIRST VIOLINS

Bart Vandenbogaerde, 1st concertmaster Ilian Garnetz, 1st concertmaster Harald Strauss-Orlovsky, associate concertmaster Aki Sunahara, associate concertmaster Mayra Budagjan, associate concertmaster Brigitte Gerlinghaus, section leader Andreas Lucke Boguslaw Lewandowski Alfred Gschwind Birgit Hablitzel Sabine Lier Thomas Jahnel Michael Hamann Dagmar Puttkammer Sandra Marttunen Berthold Opower May-Britt Trunk Angela Stangorra

SECOND VIOLINS

Raúl Teo Arias, principal Melina Kim-Guez, principal Geworg Budagjan, associate principal Miloš Petrović, section leader Christian Dibbern Jochen Hehl Julie Wandres-Zeyer Marek Pychal Dorothee Klatt Barbara Wittenberg Hansjörg Krämer Quinten de Roos Michaela Reichel Silva Vladislav Popyalkovsky Julia Fortuna Boris-Alexander Jusa Sophie Schüler

VIOLAS

Lois Landsverk, principal Branko Kabadaić, associate principal Katharina Cürlis, section leader Hans-Joachim Bläser Raphael Lambacher Martin Timphus Mechthild Schlaud Zazie Lewandowski Christof Kuen Wolfgang Rings Christine Jahnel Yumi Nishimura Wolfram Hauser

LA JOLLA MUSIC SOCIETY

CELLOS

HORNS

BASSES

Lutz Randow, principal Markus Mester, principal Thomas Forstner Till Fabian Weser Johannes Trunk

Matthias Ranft, principal Ulrich Witteler, principal Indrek Leivategija, associate principal Nikola Jovanović, section leader Achim Melzer Markus Mayers Eduard Resatsch Katja Kuen Verena Obermayer Lucie de Roos Tobias Tauber Marius Urba

Stefan Adelmann, principal Georg Kekeisen, principal Orçun Mumcuoglu, associate principal Christian Hellwich, section leader Luuk Godwaldt Mátyás Németh Tim Wunram Jakub Fortuna Jan Rosenkranz

FLUTES

Ulrich Biersack, principal Daniela Koch, principal Ursula Pichler Ursula Haeggblom

OBOES

Barbara Bode, principal Yumi Kurihara Zsófia Magyar

CLARINETS

Günther Forstmaier, principal Christoph Müller, principal Michael Storath Christian Linz

BASSOONS

Alexei Tkachuk, principal Pierre Martens, principal Ulrich Kircheis

Christoph Eß, principal Peter Müseler Elisabeth Kulenkampff Swantje Vesper William Tuttle Wolfgang Braun Hasko Kröger

TRUMPETS

TROMBONES

Johann Voithofer, principal Angelos Kritikos, principal Stefan Lüghausen Christoph Weber Volker Hensiek

TUBA

Heiko Triebener

TIMPANI

Robert Cürlis, principal Holger Brust, principal

PERCUSSION

Jens Herz, principal Johann Michael Winkler

ORCHESTRAL BOARD

Robert Cürlis Martin Timphus Berthold Opower Boris Jusa Markus Mayers

MANAGEMENT TEAM

Marcus Rudolf Axt, Chief Executive Christian Schmölder, Director of Operations Markus Karl Stratmann, Orchestra Manager Wolfgang Liehr, Orchestra Administrator Matthias Hain, PR Manager

BAMBERG SYMPHONY – PROGRAM NOTES

to D major and composes entirely new music. Curiously, this theme bears a strong resemblance to the Allegro of the Overture to Don Giovanni, K.527 first movement of Mozart’s “Prague” Symphony, written a year earlier when he visited that city for the première of The Marriage of Figaro. Is Mozart making a nod toward a city Born January 27, 1756, Salzburg Died December 5, 1791, Vienna that had treated him with far more respect than Vienna had? Approximate Duration: 7 minutes Perhaps, but the important point is that this Allegro molto is exactly right at this point in the overture–its shining D major Mozart’s Don Giovanni has always been a favorite with audiences. Good triumphs in the end, but all the way through tonality and its surging strength have reminded some of Don Giovanni himself, even if this music will never reappear in we’re rooting for the bad guy, and his defiance even as he is the opera. Mozart constructs this part of the overture in sonata dragged into the sulphurous pit of hell is what we remember form, complete with secondary material, development, and as morality seems to establish itself at the end. Mozart had full recapitulation, and this fiery music races forward with a worked on the opera across most of 1787, and he arrived in Prague early in October to prepare for the première, scheduled vitality all its own. In the opera, this energy resolves quietly into Leporello’s “Notte e giorno fatticar,” but for separate for October 19. But too many details of the new opera were not quite ready, so The Marriage of Figaro–a great favorite in performance in the concert hall Mozart wrote a concert Prague–was performed instead on that date, and the première ending that brings the overture to a suitably dramatic close. of Don Giovanni was re-scheduled for October 29. Violin Concerto No. 1 in G Minor, Opus 26 But there remained a problem. As that première approached, the opera still had no overture, at least on paper. Born January 6, 1838, Cologne Mozart, as was his habit, had composed the overture in his Died October 2, 1920, Friedenau, Germany head, but–with other things to do–had not got around to the purely mechanical task of writing it down. Now, on the night Approximate Duration: 23 minutes before either the première or the dress rehearsal (accounts Max Bruch appears fated to remain a one-work composer. vary), he finally had to get it on paper. Years later, his widow His choral compositions are still admired in Germany, and Constanze recalled what happened that night. She mixed him one hears the Scottish Fantasy from time to time, but Bruch’s a pitcher of punch, and he wrote as fast as he could, while she reputation today rests squarely on the fame of one work, his amused him with fairy tales from The Arabian Nights. Soon, First Violin Concerto. Ironically, this concerto was a product she observed, he was laughing so hard that tears ran down of his youth–he began work on it at age 19, finished the first his face, but he kept writing. Finally, his exertions (and the version nine years later, and had it in final form in 1868, punch) got the better of him, and he fell asleep on a couch. when he was only 30. Joseph Joachim, the dedicatee, gave The copyist was due at 7 A.M., and Constanze let her husband the successful première of this version, and the concerto’s sleep until 5, then woke him, and he had the manuscript instant popularity overwhelmed everything else Bruch wrote complete when the copyist arrived to take it. thereafter. He is said to have reacted with exasperation when The work of that copyist was pretty impressive on its young violinists came to play for him, for they always played own. He had all the parts ready that night, and the Prague this concerto. He was left complaining that he had written orchestra–without time to rehearse–simply sightread the some other pieces for violin. overture on that occasion. That orchestra must have been There are several good reasons for this concerto’s terrific: Mozart later said of the overture, “A few notes did fall continuing popularity. Bruch writes gorgeous melodies for the under the desks, but it was a fine performance.” violin here–this is late German romanticism at its most lyric. It was customary to compose an opera overture on He is then able to build these simple melodies into climaxes themes that the audience would later hear in the opera, but of tremendous power and excitement. Last, and certainly Mozart only partially observes that practice in his overture not least, this concerto is beautifully written for the violin–it for Don Giovanni. He draws the overture’s dramatic slow sits gracefully under the fingers, and while the Concerto in introduction from the opera’s climax, when the statue of the G Minor is very difficult, it is also very grateful to play. This Commendatore comes back to life and accepts the Don’s concerto has an evergreen quality that will keep it fresh forever. invitation to dinner. The overture opens with ringing chords in The form is slightly unusual, and the opening movement D minor, a key Mozart associated with revenge, and the slow gave Bruch a great deal of trouble. The first two movements introduction also includes the rising-and-falling lines that will are joined, and Bruch worried that the opening section was be heard at that climactic moment. But for the main body of not a complete movement. He called it Vorspiel (Prelude), the overture, which he marks Allegro molto, Mozart moves and it is in an unusual form. It begins with a slow orchestral Program notes by Eric Bromberger

WOLFGANG AMADEUS MOZART

MAX BRUCH

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

BAMBER G SYMPHONY – PROGRAM NOTES

introduction, and the violin enters with a cadenza-like recitative. The music soon rushes ahead on soaring themes and dramatic writing to a great climax, and then Bruch brings back the recitative of the very beginning to lead the way into the middle movement. The Adagio is one of the great slow movements in all the violin concerto literature, and it shows Bruch’s considerable melodic gift. There are three separate themes, all gentle and yearning, and all of them well-suited to the violin’s lyrical nature. Bruch weaves them into a climax of considerable power before the movement ends quietly. The finale, aptly marked Allegro energico, is a rondo-like movement in G major. The orchestra’s introduction leads to the impressive violin entrance, reminiscent of gypsy fiddling. Once again, Bruch offers some terrific writing for the violin, and his performance markings tell the tale: passages marked appassionato or con fuoco or con forza alternate with material marked dolce or tranquillo e grazioso. The movement races to its close on a Presto coda that sends the solo violin soaring to the very top of its range.

to Napoleon, and late in life he spoke of Napoleon with grudging admiration. When the symphony was published in 1806, though, the title page bore only the cryptic inscription: “Sinfonia eroica–dedicated to the memory of a great man.” The new symphony was given several private performances before the public première on April 7, 1805. Early audiences were dumbfounded. Wrote one reviewer: “This long composition, extremely difficult of performance, is in reality a tremendously expanded, daring and wild fantasia. It lacks nothing in the way of startling and beautiful passages, in which the energetic and talented composer must be recognized; but often it loses itself in lawlessness . . . The reviewer belongs to Herr Beethoven’s sincerest admirers, but in this composition he must confess that he finds too much that is glaring and bizarre, which hinders greatly one’s grasp of the whole, and a sense of unity is almost completely lost.” Legend has it that at the end of the first movement, one outraged member of the audience screamed out: “I’ll give another kreutzer [a small coin] if the thing will but stop!” It is easy now to smile at such reactions, but those honest sentiments reflect the confusion of listeners in the presence of Symphony No. 3 in E-flat Major, Opus 55 “Eroica” a genuinely revolutionary work of art. There had never been a symphony like this, and Beethoven’s “new directions” are evident from the first Born December 16, 1770, Bonn Died March 26, 1827, Vienna instant. The music explodes to life with two whipcracks in Approximate Duration: 48 minutes E-flat major, followed immediately by the main ideas in the cellos. This slightly-swung theme is simply built on the notes In May 1803, Beethoven moved to the village of of an E-flat major chord, but the theme settles on a “wrong” Oberdöbling, a few miles north of Vienna. At age 32, he had note–C-sharp–and the resulting harmonic complications will just come through a devastating experience–the realization that he was going deaf had driven him to the verge of suicide– be resolved only after much violence. Another striking feature of this movement is Beethoven’s choice of 3/4 instead of the but now he resumed work, and life. To his friend Wenzel duple meter customary in symphonic first movements; 3/4, Krumpholz, Beethoven confided: “I am only a little satisfied the minuet meter, had been thought essentially lightweight, with my previous works. From today on I will take a new unworthy of serious music. Beethoven destroys that notion path.” At Oberdöbling over the next six months, Beethoven instantly–this is not simply serious music, it is music of the sketched a massive new symphony, his third. greatest violence and uncertainty. In it, what Beethoven’s Everyone knows the story of how Beethoven had biographer Maynard Solomon has called “hostile energy” is intended to dedicate the symphony to Napoleon, whose admitted for the first time into what had been the polite world reforms in France had seemed to signal a new age of of the classical symphony. This huge movement (longer by egalitarian justice. But when the news reached Beethoven in May 1804 that Napoleon had proclaimed himself emperor, the itself than some complete Haydn and Mozart symphonies) introduces a variety of themes and develops them with a composer ripped the title page off the score of the symphony and blotted out Napoleon’s name, angrily crying: “Is he then, furious energy. It is no accident that the development is the longest section of this movement. The energy pent up in too, nothing more than an ordinary human being? Now he, those themes is unleashed here, and the development–much too, will trample on all the rights of man and indulge only of it fugal in structure–is full of grand gestures, stinging his ambition. He will exalt himself above all others, become dissonances, and tremendous forward thrust. The lengthy a tyrant!” (This sounds like one of those stories too good to recapitulation (in which the music continues to develop) be true, but it is quite true: that title page–with Napoleon’s drives to a powerful coda: the main theme repeats four times, name obliterated–has survived.) Countless historians have growing more powerful on each appearance, and finally it is used this episode to demonstrate Beethoven’s democratic shouted out in triumph. This truly is a “heroic” movement–it sympathies, though there is evidence that just a few months later Beethoven intended to restore the symphony’s dedication raises serious issues, and in music of unparalleled drama and

LUDWIG VAN BEETHOVEN

LA JOLLA MUSIC SOCIETY

BAMBERG SYMPHONY – PROGRAM NOTES

scope it resolves them. had written eight symphonies–Beethoven named the Eroica as The second movement brings another surprise–it is a his own favorite among his symphonies. funeral march, something else entirely new in symphonic music. Beethoven moves to dark C minor as violins announce the grieving main idea over growling basses, and the movement makes its somber way on the tread of this dark theme. The C-major central interlude sounds almost bright by comparison–the hero’s memory is ennobled here–but when the opening material and tonality return Beethoven ratchets up tensions by treating his material fugally. At the end, the march theme disintegrates in front of us, and the movement ends on muttering fragments of that theme. Out of this silence, the propulsive scherzo springs to life, then explodes. For all its revolutionary features, the Eroica employs what was essentially the Mozart-Haydn orchestra: pairs of winds, plus timpani and strings. Beethoven makes only one change–he adds a third horn, which is now featured prominently in the trio section’s hunting-horn calls. But that one change, seemingly small by itself, is yet another signal of the originality of this symphony: the virtuosity of the writing for horns, the sweep of their brassy sonority–all these are new in music. The finale is a theme-and-variation movement, a form originally intended to show off the imagination of the composer and the skill of the performer. Here Beethoven transforms this old form into a grand conclusion worthy of a heroic symphony. After an opening flourish, he presents not the theme but the bass line of that theme, played by pizzicato strings, and offers several variations on this line before the melodic theme itself is heard in the woodwinds, now accompanied by the same pizzicato line. This tune had special appeal for Beethoven, and he had already used it in three other works, including his ballet Prometheus. Was Beethoven thinking of Prometheus–stealer of fire and champion of mankind–when he used this theme for the climactic movement of this utterly original symphony? He puts the theme through a series of dazzling variations, including complex fugal treatment, before reaching a moment of poise on a stately slow variation for woodwinds. The music pauses expectantly, and then a powerful Presto coda hurls the Eroica to its close. The Eroica may have stunned its first audiences, but audiences today run the greater risk of forgetting how revolutionary this music is. What seemed “lawlessness” to early audiences must now be seen as an extraordinary leap to an entirely new conception of what music might be. Freed from the restraint of courtly good manners, Beethoven found in the symphony the means to express the most serious and important of human emotions. It is no surprise the composers over the next century would make full use of this freedom. Nor is it a surprise to learn that late in life–at a time when he W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

MUSICAL PRELUDE 2 PM

Young artists from the San Diego Youth Symphony perform La Jolla Music Society’s 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, The Tippet Foundation, 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, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

The Discovery Series is underwritten by Medallion Society member:

Jeanette Stevens This afternoon’s concert is sponsored by:

Keith and Helen Kim Additional support for the Series is provided by:

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

Discovery Series

SEONG-JIN CHO, piano Sunday, February 26, 2017 · 3 PM THE AUDITORIUM AT TSRI

BERG Piano Sonata, Opus 1 (1907-1908) (1885-1935)

SCHUBERT Piano Sonata in C Minor, D.958 (1828) (1797-1828) Allegro Adagio Menuetto: Allegro Allegro I N T E R M I S S I O N

CHOPIN Preludes, Opus 28 (1838-1839) (1810-1849)

No. 1 in C Major: Agitato No. 2 in A Minor: Lento No. 3 in G Major: Vivace No. 4 in E Minor: Largo No. 5 in D Major: Allegro molto No. 6 in B Minor: Lento assai No. 7 in A Major: Andantino No. 8 in F-sharp Minor: Molto agitato No. 9 in E Major: Largo No. 10 in C-sharp Minor: Allegro molto No. 11 in B Major: Vivace No. 12 in G-sharp Minor: Presto

No. 13 in F-sharp Major: Lento No. 14 in E-flat Minor: Allegro No. 15 in D-flat Major: Sostenuto No. 16 in B-flat Minor: Presto con fuoco No. 17 in A-flat Major: Allegretto No. 18 in F Minor: Allegro molto No. 19 in E-flat Major: Vivace No. 20 in C Minor: Largo No. 21 in B-flat Major: Cantabile No. 22 in G Minor: Molto agitato No. 23 in F Major: Moderato No. 24 in D Minor: Allegro appassionato

This performance marks Seong-Jin Cho’s La Jolla Music Society debut.

LA JOLLA MUSIC SOCIETY

SEONG-JIN CHO – PROGRAM NOTES

Program notes by Eric Bromberger

Piano Sonata, Opus 1

ALBAN BERG

Born February 9, 1885, Vienna Died December 24, 1935, Vienna

Piano Sonata in C Minor, D.958

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

Approximate Duration: 31 minutes

The year 1828 was both a miracle and a disaster for Schubert. The miracle lay in the level of his creativity: he In the fall of 1904, Alban Berg–nineteen years old– completed his “Great” Symphony in C Major and several appeared on the doorstep of Arnold Schoenberg in Vienna works for piano duet during the winter and spring, the Mass with a portfolio of youthful compositions. He was answering in E-flat Major over the summer, three piano sonatas in Schoenberg’s newspaper advertisement for composition September, and the Cello Quintet in October. The disaster, students, and that fall the older composer accepted Berg and of course, was his health. Never fully well after a year-long another young man named Anton Webern as private students. illness during 1822-23, Schubert went into sudden decline in Berg would remain a student of Schoenberg for the next the fall and died suddenly in November at age 31. Yet even at six years, and the music he composed under Schoenberg’s that age (an age at which Beethoven and Haydn were virtually guidance during the first decade of the century shows a unknown), Schubert had achieved an artistic maturity that steady growth in assurance and sophistication. Yet these first makes the works of his final year among the most remarkable efforts–the Seven Early Songs, the Piano Sonata, and the and moving in all of music. String Quartet–are in some measure all transitional works: Schubert began work on the Piano Sonata in C Minor on they show signs of Berg’s future direction (particularly in September 1, though evidence suggests that he was working their motivic concentration), yet all three works remain firmly from sketches made as long as a year earlier. Everyone anchored in the late-romantic idiom of the turn of the century. feels the influence of Beethoven on this sonata; Schubert’s Berg’s Piano Sonata is very much a transitional work. biographer John Reed believes that he was consciously He began it in the summer of 1907, after three years of study trying to assume the mantle of Beethoven (who had died the with Schoenberg, and completed it the following summer. The previous year), and certainly the choice of key, the dramatic sonata is only one movement long, though Berg’s original gestures, and the character of the thematic material suggest plan had been to compose a piano sonata in traditional three- the older composer. movement form. Having completed what was to be the first The beginning of the Allegro resounds with echoes of movement of that sonata, Berg found that he could make no Beethoven, both in the emphatic opening chords and in the headway on the second and third movements, and Schoenberg muttering, nervous main theme. Yet quickly this theme turns suggested that the young composer should regard the work serene and flowing, reminding us to value this sonata as the as complete in its one-movement form. Berg felt satisfied music of Schubert rather than searching for resemblances to enough with this music to consider it his Opus 1, and it was other composers. The chordal second subject is pure Schubert, published by Universal Edition in 1910. The first public and the extended development–built around the collision of performance took place in Vienna on April 24, 1911. these quite different kinds of music–brings a great deal of Listeners may be struck by just how traditional this emotional variety. It also takes the pianist to the extreme ends movement is, for it conforms in many ways to the form of of the keyboard before the (quite Beethovenian) close on a the classical piano sonata. While it is written with a great quiet C minor chord. deal of harmonic freedom, it has a home key and even a key The Adagio, with its elegant, measured main theme, has signature (B minor), and Berg honors classical form to the also reminded many of that earlier master. Schubert marks extent of offering a repeat of the exposition. The remarkable the opening sempre ligato, yet with its fermatas and pauses thing about this music is Berg’s ability to generate an entire and pounding triplets this movement too brings a range of structure out of tiny motivic fragments, most of which are expression. The Menuetto seems at first more conventional: presented in the opening measures. These are expanded into the initial statement of the main theme is in octaves in the a full sonata-form structure, recapitulated, and brought to right hand, and soon Schubert is inserting one-measure rests a quiet–and emotionally-satisfying–close in unequivocal B that catch us by surprise as they break the music’s flow. The minor. Berg notates this music with scrupulous care, with finale begins as what seems a conventional tarantella, yet it is tempo fluctuations and dynamic gradations registered quite remarkable for its rhythmic and harmonic variety. Throughout precisely. This is wide-ranging music in many senses: the this extended movement, Schubert maintains the expected 6/8 writing spans almost the entire width of the keyboard, and its meter of the tarantella, yet he accents that meter with such dynamic compass stretches from triple forte to triple piano. variety that the pulse sometimes feels completely different. Approximate Duration: 12 minutes

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

SEONG-JIN CHO – PROGRAM NOTES

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

Preludes, Opus 28

FRÉDÉRIC• CHOPIN

Born February 22, 1810, Zelazowa Wola, Poland Died October 17, 1849, Paris

Approximate Duration: 30 minutes

As a small boy in Poland, Chopin fell in love with the keyboard music of Bach. Like Beethoven before him (and Rachmaninoff and Shostakovich after him), Chopin was particularly drawn to The Well-Tempered Clavier, Bach’s two sets of 24 preludes and fugues in all the major and minor keys of the chromatic scale. Haunted by Bach’s achievement, Chopin wished to try something similar, and in 1836, shortly after completing his Études, Opus 25, he began to compose a series of short preludes, but it would take him three years to complete the entire set of 24. In the fall of 1838, Chopin sailed with George Sand to Mallorca, taking with him a number of Bach scores. On the island, living in an abandoned monastery high in a mountain village that was alternately bathed in Mediterranean sunlight and torn by freezing rainstorms, he completed the Preludes in January 1839; they were published in Paris later that year. While certain scholars have heard echoes of Bach in the Preludes, this is very much the music of Chopin. And while these preludes do proceed through all the major and minor keys, Chopin does not write accompanying fugues, as Bach did: these are not preludes to anything larger, but are complete works in themselves. The entire set of 24 preludes lasts about 45 minutes, so these are concise essays in all the keys, and they encompass an enormous variety of technique, ranging from very easy preludes (played by every amateur pianist on the planet) to numbingly difficult ones, playable by only the most gifted performers. They cover an unusual expressive range as well, from the cheerful sunlight of some to the uneasy darkness of others. Each prelude exists as an independent work and may be played separately, or the entire cycle may be played at once, revealing a full world of sharply contrasted moods and music. Rather than describing each prelude in detail, it may be best to let listeners discover each for themselves. Some of the best-known preludes are of course those accessible to non-professionals. These include No. 20 in C Minor, inevitably nicknamed “Funeral March” (Chopin despised all such subjective titles and the effort to attach programs to pieces he wished to have considered solely as music). Also in this category are the graceful No. 7 in A Major (only sixteen measures long) and No. 4 in E Minor, which–however over-

LA JOLLA MUSIC SOCIETY

familiar it has become–remains some of the most expressive music ever written. At the other extreme are such preludes as No. 8 in F-sharp Minor, with its nervous, driven quality, and No. 24 in D Minor, full of bravura brilliance. Many have noted Chopin’s unusual use of repeated chords or notes throughout the set: the tolling sound of these chords is used for quite different expressive purposes in No. 15 in D-flat Major (nicknamed the “Raindrop” by George Sand, to Chopin’s exasperation), in No. 17 in A-flat Major, and in many others. One of the particular pleasures of a performance of the complete Preludes is not just to hear each individual prelude, some of which pass by in a matter of seconds, but to experience the totality of the world Chopin creates in this set. It is a world of the most dazzling variety, by turns cheerful, dark, lyric, dramatic, friendly, and terrifying, all superbly disciplined within the tight compass of the 24 keys. Bach would have found much of this music strange, but he would instantly have understood Chopin’s achievement in it.

PRELUDE 7 PM

Arrive early for a pre-performance interview with Caroline Goulding

San Diego Youth Symphony Series

CHAMBER ORCHESTRA

Jeff Edmons, music director & conductor Caroline Goulding, violin Friday, March 3, 2017 · 8PM MCASD SHERWOOD AUDITORIUM

MOZART Overture to Cosí fan Tutte, K.588 (1790)

(1756-1791)

Violin Concerto No. 1 in B-flat Major, K.207 (1775) Allegro Adagio Finale: Presto Caroline Goulding, violin I N T E R M I S S I O N

BEETHOVEN Symphony No. 4 in B-flat Major, Opus 60 (1806) (1770-1827) Adagio; Allegro vivace Adagio Allegro vivace Allegro ma non troppo

The SDYS Chamber Orchestra last performed for La Jolla Music Society in the San Diego Youth Symphony Series on December, 2, 2016. This performance marks Caroline Goulding’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

SAN DIEGO YOUTH SYMPHONY CHAMBER ORCHESTRA – 2016/17 ROSTER

SDYS CHAMBER ORCHESTRA Music Director: Jeff Edmons

VIOLIN I

Daniel Rim Yeawon (Erica) Hwang Ilana Hirschfeld Frank Lee Jonathan Kuo Song (Amy) Lee Sofia Llacer Chamberlain

VIOLIN II

Christian Gonzales Altana Schweitzer Natalie Chin Judy Qin Ryan Park Craig Chen Elizabeth Guanuna

VIOLA

Nathan Rim Abigail McRea Emily Pilkington Christopher Yang

CELLO

Stephen Yang Russell Chiang Daniel Sun Madelynn Bolin Caroline Barker Henry Helmuth

Program notes by Eric Bromberger

Overture to Così fan tutte, K.588

WOLFGANG AMADEUS MOZART Born January 27, 1756, Salzburg Died December 5, 1791, Vienna

Approximate Duration: 5 minutes

Così fan tutte has always been Mozart’s “other” great opera, the one people remember after they have thought of Figaro, Don Giovanni, and The Magic Flute. Commissioned by Emperor Joseph II, Così fan tutte was premièred in Vienna on January 26, 1790 (the day before the composer’s 34th birthday) and was a great success, being produced ten times in that year alone. But the subject of the opera–the constancy (or, more accurately, the inconstancy) of women– has proven troublesome. The title Così fan tutte translates rather lasciviously “They all do it” (the article is feminine), and nineteenth-century audiences thought the whole thing immoral. Soon after its première, Così fell into a long obscurity from which it was rescued a century later by the young Richard Strauss, who recognized the sparkle and wit behind the at times acid-edged story. Some of Mozart’s opera overtures have become staples of the concert hall, but the overture to Così has never become a particular favorite with audiences, who find it energetic and polished, but a trifle cool and detached. The brief overture opens with an Andante introduction, then rushes ahead at the Presto: rustling strings and chains of woodwind lines flow smoothly together, alternating with sections built on resounding chords for full orchestra. None of the music from the overture reappears in the opera, with one crucial exception: at the end of the Andante introduction,

LA JOLLA MUSIC SOCIETY

DOUBLE BASS

BASSOON

FLUTE

TRUMPET

William Mrdjenovich

Max Jiang

Christine Kim Michelle Liu

Minjoon Choi

OBOE

David Meinen

PERCUSSION

Christine Kwon Lauryn Chan Lucy Ren

CLARINET

Ivy Huang Chae Yoon Baek

lower strings sound a solemn descending line that resolves into the huge chords that introduce the Presto. This music, which returns at the close of the overture, is taken from Don Alfonso’s aria near the end of the opera: “Tutti accusan le donne, ed io le scuso”: “All accuse women, and I excuse them.” That line becomes, in a sense, the moral of the opera, and Don Alfonso’s ringing words “Così fan tutte!” are set to the same chords that mark the end of the overture’s Andante introduction. Mozart clearly composed the overture after the opera was complete, and the one bit of music he included from the opera encapsulates the meaning of all that follows.

Violin Concerto No. 1 in B-flat Major, K.207

WOLFGANG AMADEUS MOZART Approximate Duration: 21 minutes

Mozart wrote all five of his violin concertos in 1775, when he was 19, and they were probably first played by the court concertmaster in Salzburg, the Italian virtuoso Antonio Brunetti. The First dates from April, and another followed every few months thereafter until the series culminated in December with the magnificent “Turkish” Concerto. Scholars have been unanimous in recognizing a steady improvement with each successive installment of this series, and their praise for the Fifth has been lavish indeed: Alfred Einstein describes it “unsurpassed for brilliance, tenderness, and wit.” So what–by implication–does such a progression say about the Violin Concerto No. 1? That it must be inferior? Not necessarily, but it is important to remember that this was a transition period in Mozart’s creative career–only a handful of the 200 works he had written to this date remain in the

SAN DIEGO YOUTH SYMPHONY CHAMBER ORCHESTRA – PROGRAM NOTES

active repertory. When he wrote this concerto, in fact, Mozart had virtually no experience writing concertos: he had written only five piano concertos (and four of these were arrangements of music by other composers, made when he was 11) and the Bassoon Concerto. The mastery of Mozart’s mature piano concertos–in which concerto form provides the setting for the most acute opposition of soloist and orchestra, subtle development of musical material, and careful integration of virtuosity into the symphonic argument–was still some years in the future. In fact, many have noted an element of serenade style in Mozart’s violin concertos: they breathe an atmosphere of easy charm, tunefulness, and relaxed spirits well-suited to their goal of providing pleasing entertainment. Certainly the Violin Concerto No. 1 is memorable for its profusion of cheerful themes, and so fertile is Mozart’s imagination here that no theme ever seems to come back literally; rather they are always in the process of evolving, growing, becoming ever more melodic. The Allegro moderato opens with a brief but crisp orchestral introduction, and the soloist quickly enters on the orchestra’s opening gesture. This movement is full of non-stop energy: there is no episode at a slower speed or of more lyrical character. Instead, this movement sparkles along with a sort of breathless impetuosity. By contrast, the Adagio brings an unending flow of melody. The orchestra lays out the silky main idea, and when the violin enters it is at first only to accompany a repetition of this theme; soon the violin takes wing with its own soaring material, and this movement sings gracefully throughout. The finale, aptly marked Presto, offers the greatest wealth of themes: one hears new ideas all the way through, as if each turn of phrase sets off Mozart’s imagination with new possibilities. Mozart’s use of material borders on the prodigal here: certain themes flash past and then vanish (one wishes, for example, that the orchestra’s slashing 32nd-note snaps from the very opening might return, but they never do). With its blazing passagework and wide melodic skips, this is the most overtly virtuosic of the three movements, yet it too dances and sings happily all the way to the close. Mozart offers the opportunity for cadenzas at the end of all three movements.

Symphony No. 4 in B-flat Major, Opus 60

LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna

Approximate Duration: 33 minutes

Over the second half of 1803, Beethoven composed his Third Symphony, the Eroica, and that white-hot symphony redefined what music might be. No longer was it a polite entertainment form–now it became a vehicle for the most serious and dramatic expression. Even as he was revising

the Eroica, Beethoven began to have ideas for a new symphony, of similar scope and set in C minor, and he made some sketches for it. But he set these plans aside to take on another musical project based on the idea of heroism, the opera Leonore (later renamed Fidelio). Leonore occupied Beethoven for nearly two years, and it was not until 1806 that he had seen the opera through its première and revision. In the summer of 1806 Beethoven accompanied his patron Prince Karl Lichnowsky to the prince’s summer palace at Troppau in Silesia. That September, composer and prince paid a visit to the nearby castle of another nobleman, Count Franz von Oppersdorff. The count was a musical enthusiast almost without equal: he maintained a private orchestra at his castle and would hire new staff for the castle only if they played an instrument and could also play in his orchestra. During that visit, the orchestra performed Beethoven’s Second Symphony, and the count commissioned a new symphony from the composer: Beethoven would receive 500 florins, and in return Oppersdorff would get the dedication, the first performance, and exclusive rights to the music for six months. Beethoven returned to Lichnowsky’s palace and set to work on the symphony, but he did not use his sketches for a symphony in C minor. Instead, he composed his Fourth Symphony from completely new material. Beethoven’s business dealings could sometimes be slippery, and so they were now. The composer got his 500 florins, but all Oppersdorff got in return was the dedication– Beethoven went ahead and had the Fourth Symphony premièred in Vienna on March 7, 1807, at a private concert that also saw the première of the Coriolan Overture and the Fourth Piano Concerto. Only after the Fourth Symphony had been premièred did Beethoven return to the sketches for a symphony in C minor he had made right after completing the Eroica. We know it today as the Symphony No. 5 in C Minor, begun before but completed after the Fourth Symphony. The Fourth Symphony has inevitably been overshadowed by the titanic symphonies on either side of it, a relationship best captured in Schumann’s oft-quoted description of the Fourth as “a slender Greek maiden between two Nordic giants.” The Fourth does seem at first a relaxation, a retreat from the path blazed by the Eroica. Some have been ready to consider the Fourth a regression, and others have specifically identified the influence of Haydn on it: the symphony opens with the sort of slow introduction Haydn often used, and it employs the smallest orchestra of any Beethoven symphony (it has only one flute part). But Beethoven’s Fourth Symphony is only superficially Haydnesque, and we need to be careful not to underestimate this music–the Fourth has a concentrated structure and enough energy that it achieves some of the same things as the Fifth, though without the darkness at the heart of that mighty symphony. W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

SAN DIEGO YOUTH SYMPHONY CHAMBER ORCHESTRA – PROGRAM NOTES

The originality of the Fourth Symphony is evident from its first instant–the key signature may say B-flat major, but the symphony opens in B-flat minor. Everything about this Adagio introduction feels strange. Not only is it in the wrong key, but soon it seems to be in no clear key at all. It is hard to make out any thematic material or direction. And the pace of this uncertainty is very slow–in his study of Beethoven’s symphonies, Richard Osborne quotes Carl Maria von Weber’s derisive review of this opening: “Every quarter of an hour we hear three or four notes. It is exciting!” Yet Beethoven knows what he’s about, and he does the same thing in the introduction to his String Quartet in C Major, Opus 59, No. 3, written at exactly the same time: both works begin in a tonal fog, but those mists blow away with the arrival of the main body of the movement, marked Allegro vivace in both symphony and quartet. That transition is done beautifully in the Fourth Symphony. As the music approaches the Allegro vivace, huge chords lash it forward, and when the main theme leaps out brightly, we recognize it as simply a speeded-up version of the slow introduction. That shape, so tentative at the very beginning, takes a variety of hard-edged forms in the main body of the movement: it becomes the second theme as well, presented by bassoon and other solo woodwinds, and it also forms an accompaniment figure, chirping along happily in the background. This is a substantial movement (much longer than the first movement of the Fifth), and it drives to a powerful close. The Adagio may be just as original. It opens not with a theme but with an accompaniment: the second violins’ dotted rhythms (outlining the interval of a fourth) will tap into our consciousness all the way through this movement. First violins sing the main theme, which Beethoven takes care to mark cantabile. Hector Berlioz’s comments on this melody may seem a little over the top, but they do speak to its air of great calm: “the being who wrote such a marvel of inspiration as this movement was not a man. Such must be the song of the Archangel Michael as he contemplates the world’s uprising to the threshold of the empyrean.” The second subject, of Italianate ease, arrives in the solo clarinet and preserves some of this same atmosphere. Throughout, Beethoven continually reminds the orchestra to play not just cantabile but also espressivo, dolce, and legato. At the close, solo timpani very quietly taps out the movement’s accompaniment rhythm one final time before the movement concludes on two surprisingly fierce chords. Beethoven marked the third movement Allegro vivace, and this is in every way a scherzo: its outer sections are full of rough edges and blistering energy, and its witty trio is built on a rustic woodwind tune spiced with saucy interjections from the violins. This movement has an unusual structure:

LA JOLLA MUSIC SOCIETY

Beethoven brings the trio back for a second appearance (the structure is ABABA) and drives it to a fun close–two horns attempt a fanfare of their own but are cut off when Beethoven brings down the guillotine blade of the full orchestra. Out of that emphatic ending, the finale bursts to life, and it goes like a rocket. This movement may be in sonata form, but it feels like a perpetual-motion with a basic pulse of racing sixteenth-notes that hardly ever lets up. There is some relaxed secondary material along the way, but even this is at high speed, and finally the movement races to a grand pause. Out of that silence Beethoven slows the movement almost to a crawl (the perpetual-motion theme feels as if it has become stuck in glue), then suddenly releases it, and lower strings rush the symphony to its powerful concluding chords.

MUSICAL PRELUDE 2 PM

Discovery Series

CAROLINE GOULDING, violin Sunday, March 5, 2017 · 3 PM THE AUDITORIUM AT TSRI

Dina Vainshtein, piano MOZART Sonata for Piano and Violin in B-flat Major, K.454 (1784) (1756-1791) Largo; Allegro Andante Allegretto RAVEL Sonata in G Major for Violin and Piano (1923-1927) Allegretto Blues: Moderato Perpetuum mobile (1875-1937)

The Discovery Series is underwritten by Medallion Society member:

Jeanette Stevens Additional support for the Series is provided by:

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

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

SZYMANOWSKI Myths, Opus 30 (1915) (1882-1937) The Fountain of Arethusa Narcissus Dryads and Pan ENESCU Impressions d’enfance, Opus 28 (1940) Lullaby Cricket Old Beggar Wind in the Chimney Stream at the Bottom Moonlight through the Window of the Garden The Bird in the Cage and Storm Outside, in the Night the Cuckoo on the Wall Sunrise

(1881-1955) Minstrel

Caroline Goulding last performed for La Jolla Music Society in the San Diego Youth Symphony Series on March 3, 2017.

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

CAROLINE GOULDING – PROGRAM NOTES

Sonata for Piano and Violin in B-flat Major, K.454

Sonata in G Major for Violin and Piano

Born January 27, 1756, Salzburg Died December 5, 1791, Vienna

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

Approximate Duration: 19 minutes

Approximate Duration: 18 minutes

Mozart wrote this sonata in Vienna in April 1784 for a series of concerts given by the violinist Regina Strinasacchi, a twenty-year-old Italian woman. Mozart played the piano at the first performance, which was attended by the emperor, and that occasion produced one of those unbelievable–but apparently quite true–Mozart anecdotes. Rushed for time, Mozart wrote out just the violin part and at the concert set only a blank sheet of paper before him; he then proceeded to play the entire piano part from memory. The manuscript shows the violin part written out in ink. Beneath it, the piano part–written in a different color ink–has been squeezed in later to fit the violin part. Even given Mozart’s extraordinary memory, playing a première from out of thin air is an act of stunning bravado. It is all the more impressive when one sees how intricate and difficult this score is. Mozart’s early sonatas had been largely piano sonatas with violin accompaniment, and the violin could almost be eliminated with no loss of musical content. But Mozart gradually began to give more of the musical interest to the violin, and one of the glories of the Sonata in B-flat Major is the equal partnership of the two instruments, particularly in their easy exchange of phrases. The first movement opens with an elegant Largo introduction, and the Allegro erupts after the slow introduction reaches a moment of repose; the development grows easily out of the cadence that ends the exposition. By contrast, the Andante is a long flow of melody. Mozart did not mark this movement cantabile, but he might well have, for it sounds like a long aria for the two instruments, which again share duties evenly. An ornate development leads to the quiet close. The concluding Allegretto opens with one of those seemingly never-ending themes, but almost instantly a melodic second idea occurs, and only when it has passed does one realize that Mozart has derived that idea from the opening. This movement is full of vigor and sweep, much of it propelled by powerful triplet rhythms. Together, the two instruments stamp out the powerful concluding cadence. One wonders what was going through Mozart’s mind as he stood–before his blank sheet of paper–to acknowledge the applause at that first performance.

Ravel began making sketches for his Violin Sonata in 1923, the year after he completed his orchestration of Mussorgsky’s Pictures at an Exhibition. He was composing a number of works for violin during these years, including Tzigane, but the Violin Sonata proved extremely difficult for him, and he did not complete it until 1927. The first performance, by violinist George Enesco and the composer, took place on May 30, 1927, in Paris while that city was still in a dither over the landing of Charles Lindbergh the week before. In the Violin Sonata, Ravel wrestled with a problem that has plagued all who compose violin sonatas–the clash between the resonant, sustained sound of the violin and the percussive sound of the piano–and he chose to accentuate these differences: “It was this independence I was aiming at when I wrote a Sonata for violin and piano, two incompatible instruments whose incompatibility is emphasized here, without any attempt being made to reconcile their contrasted characters.” The most distinctive feature of the sonata, however, is Ravel’s use of jazz elements in the slow movement. The opening Allegretto is marked by emotional restraint. The piano alone announces the cool first theme, which is quickly picked up by the violin. A sharply rhythmic figure, much like a drum tattoo, contrasts with the rocking, flowing character of the rest of this movement, which closes on a quietly soaring restatement of the main theme. Ravel called the second movement Blues, but he insisted that this is jazz as seen by a Frenchman. In a lecture during his American tour of 1928, he said of this movement: “while I adopted this popular form of your music, I venture to say that nevertheless it is French music, Ravel’s music, that I have written.” He sets out to make violin and piano sound like a saxophone and guitar, specifying that the steady accompanying chords must be played strictly in time so that the melodic line can sound “bluesy” in contrast. The “twang” of this movement is accentuated by Ravel’s setting the violin in G major and the piano in A-flat major at the opening. Thematic fragments at the very beginning of the finale slowly accelerate to become a virtuoso perpetual motion. Ravel brings back themes from the first two movements before the music rushes to its brilliant close, which features complex string-crossings for the violinist.

WOLFGANG AMADEUS MOZART MAURICE RAVEL

LA JOLLA MUSIC SOCIETY

CAROLINE GOULDING – PROGRAM NOTES

Myths, Opus 30

KAROL SZYMANOWSKI Born October 6, 1882, Tymoszówka, Ukraine Died March 29, 1937, Lausanne, Switzerland

Approximate Duration: 20 minutes

World War I forced Szymanowski to remain in his native city of Tymoszówka in Poland, and there he composed prodigiously: the Symphony No. 3, Violin Concerto No. 1, and numerous songs, cantatas, and piano pieces all date from the first years of the war. Now in his early thirties, Szymanowski had only recently thrown off the influence of Wagner and Strauss to forge his own style, a style that grew in large measure from his exploration of Sicily and North Africa and from his new awareness of ancient cultures. Musically, this meant a style characterized by great attention to instrumental color, busy textures, and an expressionism that can verge on intoxicated ecstasy. Szymanowski composed several works for violin and piano during this period, among them his three Myths, Opus 30 in 1915. Szymanowski had fallen in love with classical antiquity, and each of the three movements–The Fountain of Arethusa, Narcissus, and Dryads and Pan–is based on a different Greek myth. Arethusa was a nymph loved by both Artemis and the river god Alpheus. Bathing in a river, she was forced to flee underwater to the island Ortygia to escape Alpheus; on that island, Artemis transformed her into a fountain, but Alpheus followed, was himself transformed into a river, and so was united with Arethusa at last. Szymanowski makes no attempt to cast this myth in a “classical” style but instead sets The Fountain of Arethusa in a shimmering, postimpressionistic musical language. This is a display-piece for both instruments, from the delicate piano introduction (clearly the sound of the fountain) through the writing for violin, which has a sort of fantastic tonal opulence, soaring high in its range, slipping into passages played entirely in harmonics, and leaping between an extroverted brilliance and a reflective lyricism. The Fountain of Arethusa has become one of Szymanowski’s most popular works. Narcissus was loved by Echo, but he was so consumed with himself that he rejected her; she in turn caused him to fall in love with his own reflection in a pool, where he withered away and was transformed into a flower. Szymanowski casts his Narcissus in a rondo-like form, with the violin’s principal melody returning in different keys and guises. Dryads were tree-nymphs (the most famous of them was Eurydice, wife of Orpheus), and Pan the god of fields, forests, and flocks. Pan pursued the nymph Syrinx, who fled to the river Ladon and prayed to be turned into a reed; her prayer was granted, and Pan cut the reed and from it made his pipes. Szymanowski’s setting of this tale is notable for its brilliant writing for violin: Dryads and Pan offers the violinist

a cadenza (rare in chamber music) and features quartertones and harmonics used to imitate the sound of Pan’s flute. Szymanowski wrote Myths for the Polish violin virtuoso Paul Kochanski and dedicated it to Kochanksi’s wife Sofia.

Impressions d’enfance, Opus 28

GEORGE ENESCU

Born August 19, 1881, Liveni Vîrnav, Romania Died May 3/4, 1955, Paris

Approximate Duration: 23 minutes

George Enescu composed his Impressions d’enfance (“Memories of Childhood”) in Paris in 1940. This was early in World War II, the Germans had occupied Paris, and the 59-year-old composer may have been all too happy to flee the grim present reality and retreat to a more innocent time in his life. The Impressions d’enfance, which spans about twenty minutes, is in ten interconnected movements, each of them a specific memory from Enescu’s childhood. Given the circumstances of its creation, one might expect the Impressions d’enfance to be a nostalgic score, full of innocence and nursery tunes. Instead, this is music of extraordinary complexity, scaldingly difficult for both violinist and pianist and playable by only the most accomplished virtuosos. Yet somehow, in the midst of all its fierce technical challenges, the Impressions d’enfance manages to preserve some of the innocence and beauty of the composer’s memories of his childhood. Impressions d’enfance is a scrupulously notated score. On the first page Enescu provides a list of detailed instructions for both performers, explaining exactly how he wants passages pedaled, dynamics observed, the weight of the bow distributed, and attacks made. The rhythmic complexity of this music is particularly noteworthy, and performers must take care to control the subtle ebb and flow of tempo throughout every movement. The subject of this music may be innocent–the technique is not. Impressions d’enfance opens with a long passage (three minutes) for violin alone, titled Minstrel and full of Enescu’s childhood memories of the sound of gypsy violinists in his native Romania. The piano enters at the Old Beggar, and Enescu marks passages in this dark music malinconico and patetico. In Stream at the Bottom of the Garden, Enescu provides swirls, trills, and Chopin-like rhythmic sprays that give us some of the sound of that water. One of the most impressive movements in Impressions d’enfance is The Bird in the Cage and the Cuckoo on the Wall. Few composers ever have been able to create such convincing bird-songs as we hear from the two birds in this movement. The caged bird sings and chitters in the violin’s high register, while the sound of the cuckoo comes from hollow-sounding harmonics. One of the simplest movements, Lullaby sings gently; violin and W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

CAROLINE GOULDING – PROGRAM NOTES

piano play in unison throughout much of this cradle song. Cricket brings another amazing depiction of animal sounds. Enescu marks the violin part saltando (“jumping”) as the cricket sings its striking song. Moonlight through the Window brings not luminous calm, but complex glissandos, harmonics and grace-noted; Enescu instructs his players here to make their performance sognando (“dreaming”) and pensieroso (“thoughtful”). Wind in the Chimney belongs entirely to the violin, which creates these frightening sounds with ponticello (bowing right on top of the bridge to produce a grainy sound) and flautando bowing (bowing out over the fingerboard to produce a hollow, disembodied sound). These winds gradually build to a storm outside in the night, the piano returns, and the music drives to a great climax, then proceeds directly into the final movement, Sunrise. After all the spookiness and storminess of the preceding movements, Impressions d’enfance ends in a great blaze of D-major sunlight. This is a very unusual piece of music, and it is almost unknown. Enescu, one of the great violinists of all time and a profound musical intelligence, reaches back across fifty years to recreate a series of memories from his childhood. This music, so difficult for its performers, somehow manages to transcend those difficulties and to charm its listeners.

LA JOLLA MUSIC SOCIETY

Piano Series

BRAD MEHLDAU, piano Thursday, March 9, 2017 · 8PM MCASD SHERWOOD AUDITORIUM

Three Pieces after Bach J.S. BACH

(1685–1750)

Prelude No. 3 in C-sharp Major, BWV 848 from The Well-Tempered Clavier, Book I (ca. 1722)

MEHLDAU Three Pieces After Bach (2015) (b. 1970) After Bach 1: Rondo

PRELUDE 7 PM

Lecture by Steven Cassedy

What is improvisation? The practice of playing “note-perfect” from a written score is relatively recent. Much of the music that modern classical performers play was at first improvised. So what happens when a jazz musician, whose profession is built on improvisation, takes a score by a composer who also improvised, plays it “straight” (or not), and then improvises on the version he just played?

J.S. BACH

Prelude No. 16 in C Major, BWV 870 from The Well-Tempered Clavier, Book I (ca. 1722)

Improvisation on Bach I J.S. BACH Fugue No. 16 in G Minor, BWV 885 from The Well-Tempered Clavier, Book II (ca. 1740) MEHLDAU Three Pieces After Bach (2015) After Bach 2: Ostinato I N T E R M I S S I O N

The Piano Series is underwritten by Medallion Society members:

Conrad Prebys and Debbie Turner Three Pieces After Bach was commissioned by Carnegie Hall, The Royal Conservatory of Music, The National Concert Hall, and Wigmore Hall with the support of André Hoffmann, president of the Hoffmann Foundation. The World Première was given by Brad Mehldau in Zankel Hall, Carnegie Hall, New York City on October 22, 2015.

J.S. BACH Prelude No. 6 in D Minor, BWV 851 from The Well-Tempered Clavier, Book I (ca. 1722) MEHLDAU Three Pieces After Bach (2015) After Bach 3: Toccata

J.S. BACH Allemande from Partita No. 4 in D Major, BWV 828 (1728 Improvisation on Bach II J.S. BACH Prelude and Fugue in F Minor, BWV 851 from The Well-Tempered Clavier, Book I (ca. 1722) Improvisation on Bach III Works to be announced from stage

This performance marks Brad Mehldau’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

BRAD MEHLDAU – PROGRAM NOTES

Program notes by Brad Mehldau

THREE PIECES AFTER BACH

Approximate Run time: 2 sets, 50 minute each

J.S. Bach’s The Well-Tempered Clavier is the point of departure for the three solo piano pieces I’ve composed. That work, written for keyboard instrument, contains a prelude and a fugue in all twelve keys, major and minor. He left us with two sets of these, Books I and II. Bach’s music was a game-changer, yet it adhered largely to the rules of a tradition and was even perceived as oldfashioned in his own time. When we hear his music and we’re not really engaged, we may have the impression of hearing the status quo. When we listen further, we realize how radical his music is – how far he went with the musical principles he employed. Those principles, though, were older ones that he inherited. Bach’s music was a fulcrum – the culmination and endpoint of one tradition, pointing toward the future. Well temperament appeared in a climate that could be compared to the early days of the internet, before Google took over as the search engine. The various mean tone temperaments – methods of tuning the keyboard instruments Bach wrote for – were pleasing to the ear only in a limited context, for music without much modulation or accidentals. Well temperament made a bid for a tuning that would work in every key, and was an evolutionary step towards the standardized equal temperament in use today. It is a common error to think that the well temperament for which Bach composed his preludes and fugues is synonymous, more or less, with our equal temperament. We cannot know exactly how Bach tuned his instrument and what he heard as he composed, but based on the descriptions of various well temperaments that are left to us, the timbre of C-sharp Major on his instrument would have been very different than that of C Major. By contrast, the key of C-sharp major on a modern piano tuned in equal temperament, in terms of the relationship between its intervals – and thus all of the implications of the harmonic progressions – is fundamentally the same as the key of C Major, except that it is a higher pitch. This is a given for most listeners today, but some would argue that the move to equal temperament was a sad turn of events in musical history – that it erased the inherent differences of different keys that the composers intended. Even if we do not regularly use some version Bach’s well temperament today, his music nevertheless sounds radical. In these pieces, he exploited the harmonic possibilities he had with a temperament in which none of the twelve tones of the scale were off limits. This meant not only that all the different preludes and fugues in keys remote from each other could be played with the same tuning; it also meant, more interestingly, that within a single piece or even a single phrase, Bach

LA JOLLA MUSIC SOCIETY

could compose progressions that would move much farther distances from their starting point, and employ dissonances that would have sounded so out of tune as to be unintelligible in an earlier, more limited meantone temperament. The welltempered tuning acted as a catalyst for Bach’s imagination. The music has a spirit that a limited number of great works of art have – it is the spirit of someone being the first one to open a brand new box of crayons and start drawing. Although there is plenty of respect and awe for The WellTempered Clavier, particularly among musicians, they’re definitely not on the warm and fuzzy side of Bach’s oeuvre, if such a thing exists. The reason why some of the fugues in particular sound “difficult” to some ears – even on our modern, equally tempered instruments – might be because of the sometimes willful nature of his harmonic exploitation. Bach adhered to rules of writing a fugue, yet, with the new temperament, used a densely chromatic musical language. The subject and its countersubject inevitably collide against each other in sharp dissonances. The result is bracing music that is so dense at times as to be almost opaque. In this sense, Bach foreshadows a modernist tendency we identify with late Beethoven or Schoenberg, by placing a higher premium on adhering to musical principles than what’s pleasing or even digestible to the listener’s ear. Who had and still has more influence over music – Bach the harmonist or Bach the melodist? In the fugues, they’re inseparable. Simultaneous melodies are what generate harmony, so in the chicken-egg question, melody comes first in one sense – harmony is merely its result. The individual line is never sacrificed for the benefit of the larger texture; each voice stands, integrally, on its own. Furthermore, each voice taken on its own already implies harmonic movement in its line, so in a way harmony is the great goal or subject hovering over all that melody, asserting a more global precedence. Harmonic implication within a strong melody is something you hear in the jazz genius, Charlie Parker, or one of his descendants, Sonny Rollins. The harmonic accompaniment is already in their lines; the rhythm section is almost extraneous. We can hear Bach’s fugues horizontally as intertwining melodies or vertically as harmonic progressions (and, depending on how he or she interprets the pieces, a keyboardist can have a lot of fun drawing us into hearing the music one or the other way throughout a performance). There are no weak links, and melody and harmony melt into each other seamlessly. This is surely why the fugue held Bach’s obsessive imagination to the end and yielded some of his most personal music. It represented the resolution of a duality, perfection – something higher than human. If the fugues, ruled by an abstract concept, must be forged with toil and sweat to live and breathe, the preludes, not

BRAD MEHLDAU – PROGRAM NOTES

constrained by the rules of a musical form, are alive at once and even move into the realm of fantasy. They brim with playfulness and show us the uncharacteristically humorous side of Bach, or can be tragic and passionate like a spurned lover. Each one has a fascinatingly individual keyboard texture. The C-sharp Major Prelude from Book I inspired my first piece, Rondo. I started with Bach’s arpeggiated motif and then truncated the meter, reducing it by one sixteenth note to 5/16. We find Bach the rhythmicist in the preludes, and many of them like this one have a dance-like character. Another feature of many of the up-tempo preludes is a perpetuum mobile texture – once they start, they never really stop until they end. Both the dance element and the perpetual motion texture inspire my piece, which is an inverted Rondo: Instead of the usual A-1-A-2-A-3 etc. form, I return to the same material in the second theme of each pair: 1-A-2-A-3-A. Ostinato is inspired by the G-Minor Fugue from Book II. Bach’s Fugue is full of cycles – harmonic progressions that skip in a stepwise pattern – often, as is here, in cycles of fourths. We hear Bach’s legacy in the melancholy cycle that makes up the jazz standard Autumn Leaves, and other sad French songs from Michel Legrand. Cycles create drama because there is not only rapid movement in the melody and figuration, but the ground itself is moving – the tonal center, where we hear the root of the harmony, changes quickly as well. For my Ostinato, I elected to switch it up, and keep a pedal point on the G root for the duration of the piece. The harmony shifts above it constantly, often cyclically, but it is all underpinned by G, G, and more G. Pedal points are big for me, and they rubbed off from Brahms’ music as much as Bach, but also popular music that uses guitar open strings – The Beatles’ classic Blackbird, with its open G string that runs through all those beautiful chords, is in this piece as well, obliquely. While most of Bach’s preludes here do not employ fugal methods, they nevertheless seam together melody and harmony in a less overt fashion. A favorite method of his is to “trace” a melody across a series of arpeggios, as in the Prelude in D Minor from Book I. There, the listener hears groups of 3-note arpeggios that generate varied harmonic movement. At the same time, the top note of each one pops out in relief, forming a staccato, pointillistic melody. This top note is not on the downbeat, though; it comes right before, which adds an appealing syncopated bounce. Again, there is a feeling of dance. The dancing rhythmic displacement of Bach’s traced melody inspired my final piece, Toccata. It is the most venturesome of the three, with several shifts in meter and key. Near the end, the melody traces itself over arpeggios which form rhythmically asymmetrical groups and gradually expand in length; the dance feeling vanishes. At the climax, the groups of three return, prevailing, and the piece

closes by cyclically returning to the opening material inspired by Bach’s prelude. For my performance, I will play Bach’s piece directly before the piece of mine it inspired; in this way, the listener can hear the connections in real time.

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

Revelle Chamber Music Series

TAFELMUSIK BAROQUE ORCHESTRA Friday, March 10, 2017 · 8PM MCASD SHERWOOD AUDITORIUM

J.S. Bach: The Circle of Creation

PRELUDE 7 PM

Lecture by James Chute

Beethoven famously called Bach the “original father of harmony” for his “elevated, great art.” And in his most inspired works, Beethoven aspired to equal Bach’s contrapuntal genius. We’ll hear that genius throughout tonight’s Tafelmusik program and we’ll talk about how Bach set a contrapuntal standard that remains unsurpassed centuries later. La Jolla Music Society’s 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, The Tippet Foundation, 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, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

J. S. BACH Sinfonia to Cantata 249a (1685-1750) Adagio from Sonata for Three Violins in C Major, after BWV 1005 Ouverture from Orchestral Suite No. 1 in C Major, BWV 1066 Chorale Tune “Gloria laus et honor” Bourrée & Forlane from Orchestral Suite No. 1 in C Major, BWV 1066 Sinfonia in G Minor, BWV 797 for Solo Harpsichord Prelude in C Major, BWV 933 for Solo Harpsichord Sarabande from Suite No. 3 for Violoncello in C Major, BWV 1009 Allegro from Brandenburg Concerto No. 3 in G Major, BWV 1048 Adagio, after Cantata 202/1: “Weichet nur, betrübte Schatten” Allegro from Brandenburg Concerto No. 3 in G Major, BWV 1048 I N T E R M I S S I O N

J. S. BACH Andante, after Cantata 208/9: “Schafe können sicher weiden” Allemande from Partita for Violin in D Minor, BWV 1004 Tish Nign (18th-Century Klezmer Tune) Cantata 140: Chorale “Wachet auf, ruft uns die Stimme” Gavottes from Orchestral Suite No. 3 in D Major, BWV 1068 Adagio & Allegro ma non presto from Sonata for Two Violins and Continuo in G Major, BWV 1039 Canons on the First 8 Notes of Goldberg Variations, BWV 1087 Simplex – Duplex a 4 – Duplex a 5 Selections from Goldberg Variations, BWV 988 Air – Variation No. 18: Canone alla sexta – Variation No.22: Alla breve – Variation No. 10: Fughetta Canon Triplex on the First 8 Notes of Goldberg Variations, BWV 1087/13 Adagio, after Cantata 42/3: “Wo zwei und drei versammlet sind” Sinfonia, after Cantata 11/1: “Lobet Gott in seinen Reichen”

Movements from Cantatas 249a, 202, 208, 42, & 11, and Goldberg Variations Nos. 18 & 22 transcribed & arranged by Alison Mackay. Sonata BWV 1005 arranged by Christopher Verrette Tafelmusik Baroque Orchestra’s U.S. Tour 2017 is generously supported by: Tafelmusik Baroque Orchestra last performed for La Jolla Music Society in the Revelle Chamber Music Series on March 9, 2013.

LA JOLLA MUSIC SOCIETY

TAFELMUSIK BAROQUE ORCHESTRA – PROGRAM NOTES

J.S. Bach: The Circle of Creation Conceived, programmed, and scripted by Alison Mackay Narrator Blair Williams Director Jeanne Lamon Stage Director Marshall Pynkoski Production Designer & Technical Director Glenn Davidson Projections Designer Raha Javanfar Film Editor Jane MacRae

TAFELMUSIK BAROQUE ORCHESTRA Directed by Jeanne Lamon

VIOLIN

DOUBLE BASS

Jeanne Lamon Patricia Ahern Thomas Georgi Michelle Odorico Christopher Verrette Julia Wedman

Alison Mackay

VIOLA

HARPSICHORD

TOUR & STAGE MANAGER

James Johnstone

Beth Anderson

Patrick G. Jordan Stefano Marcocchi

VIOLONCELLO

OBOE

PRODUCTION DESIGNER & TECHNICAL DIRECTOR Glenn Davidson

LIGHTING DIRECTOR

John Abberger Marco Cera

Glen Charles Landry

BASSOON

PROJECTIONS DESIGNER

Dominic Teresi

Raha Javanfar

Christina Mahler Allen Whear

Program notes provided by Alison Mackay

J.S. Bach: The Circle of Creation

J.S. Bach: The Circle of Creation is a celebration of the genius of Johann Sebastian Bach, with an emphasis on the instrumental music which he created for his family, his students and his colleagues. Using words and images, the performance also honors the artisans and tradespeople whose labor and expertise made the performances of Bach’s music possible, both in his own time and in the 21st century. The concert begins and ends with poetry about the honorary patrons of Bach’s city of Leipzig — the Roman god of music, Apollo, and his brother Mercury, who made a glorious musical instrument from the shell of a tortoise and seven strings of sheep gut. Two millennia later, the instrument makers of the eighteenth century still used materials from the natural world — bird feathers for the quills that pluck harpsichord strings, maple and spruce for the bodies of stringed instruments, and

boxwood for oboes. Sheep intestines were still used to create strings for Bach’s instruments, and brass strings were made by hand for his harpsichords. Centuries-old methods are still used today for the making of historical strings for period instruments. Because the guild members of early modern Europe were obliged to guard their trade secrets, modern makers have had to be detectives, using forensic evidence from scraps of old strings and sources such as Diderot’s eighteen-century encyclopedias to determine the materials and techniques that would have been used for Bach’s instruments. The images seen in the concert portray artisans from Bach’s time as well as modern instrument builders who use historical techniques to create instruments for the Tafelmusik Orchestra. Film footage and still photographs created especially for this performance feature Toronto builder and restorer Quentin Playfair, who made a cello inspired by an instrument from the Stradivarius workshop in 1726; the English harpsichord and string maker Malcolm Rose; the W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

TAFELMUSIK BAROQUE ORCHESTRA – PROGRAM NOTES

American oboe maker Harry vas Dias; German bassoon maker Pater Wolf; Toronto bow maker Stephen Marvin; and the artisans of the Aquila String factory in Italy. A special contribution has also been made by Dr. Daniel Geiger of the Museum of Natural History in Santa Barbara, California, who has created a set of stunning magnified images of the materials described in the concert. Much of the music on the program is typical of the works which would have been performed at Zimmerman’s Coffeehouse in the center of Leipzig. In 1695, the merchants’ guild of Leipzig had petitioned the town council for “street lanterns that would, as in Vienna and Berlin, burn all night to prevent incessant nocturnal crime.” On Christmas Eve of 1701, 700 oil-fuelled streetlights were installed in the city, making it safe for the first time for all citizens to walk freely at night, transforming coffeehouses into venues for recreation and music. Bach directed an ensemble which performed on Friday nights at the cafe for which the owner, Georg Zimmerman, acquired a set of musical instruments. The orchestral suites BWV 1066 and 1068, the third Brandenburg concerto, the Trio Sonata BWV 1039, the Goldberg Variations, and the shorter solos for harpsichord, violin, or cello are typical of music which Bach would have performed with members of his family, university students, and amateur players of the ensemble known as the Collegium Musicum. Professional players from the Leipzig town band also participated in these performances. These municipal musicians had responsibilities for outdoor performances from balconies at City Hall or one of the church steeples in town. Gloria laus et honour and Wachet auf, ruft uns die Stimme are well-known hymn tunes which would have been played instrumentally by these performers. They were given salaries, clothing, music, instruments, and housing for themselves and their families in the Stadtpfeiffer Gässchen (City Pipers’ Lane), which was also the traditional street for the city’s midwives. In 1746, the Dresden official court painter Elias Gottlob Haussmann painted a portrait of the 61-year-old Bach holding, as was customary, an emblem of his art. Rather than being pictured with a keyboard, the famous virtuoso chose instead to hold a small piece of paper with three short lines of music — the first eight notes of the bass line of the Goldberg Variations with a six-part canon written in code. It was a powerful symbol of Bach’s roles as composer, performer, and teacher. Like the instrument makers who made his violins and harpsichords, Bach regarded himself as a craftsman who had inherited much from the guild musicians who were his forebears. In June of 2014, the members of Tafelmusik were invited to live in the city of Leipzig for two weeks as orchestra-inresidence at the annual festival which celebrates his legacy.

LA JOLLA MUSIC SOCIETY

Immersed in the atmosphere of Bach’s hometown, we were able to explore the craft of Bach’s own artisans, guided by our generous partners and advisors at the Bach Museum, who have provided many of the images for this project. The concert ends with a reflection on human hands and the thousands of hours it takes to master the use of a violin bow or a chisel. In the long hours of labor, musicians, and artisans are sustained by the beauty of materials, the artistry of their tools, the guidance of inspiring mentors, and the exhilaration of exploring the art of a great genius. We share with our audiences around the world an abiding love for the music of J.S. Bach, and it is a privilege to be able to perform it in celebration of his art and in recognition of the artisans, scholar, tradespeople, and music lovers who have made our performing lives possible.

SPECIAL THANKS TO: Jean-Marc St. Pierre of maj productions in Montreal for permission to use his footage of the Aquila factory. Timothy Barrett, Director of the Iowa Centre of the Book, and filmmaker Avi Michael, creator of the film Chancery Papermaking, for the footage of paper being made as in the time of Bach. Dr. Daniel Geiger of the Museum of Natural History, Santa Monica, California for his magnified images of materials from Bach’s world. The Bach Museum, Leipzig, for permission to use images from the museum. Production designer Glenn Davidson for creating the photo sequences of hands and Saxon sheep.

TAFELMUSIK BAROQUE ORCHESTRA – IMAGE CREDITS

J.S. Bach: The Circle of Creation Image credits 1. Apollo with lyre. Photo credit: Depositphotos [phil bird]. 2. Mercury with metal wheel. Photo credit: Dreamstime images, ©Slayerspb. 3. Apollo and Mercury plaques. Image credit: Raha Javanfar 4. Elias Gottlieb Haussmann, Portrait of Johann Sebastian Bach, Stadtgeschichtliches Museum, Leipzig. Photo credit: Erich Lessing/Art Resource NY. 5. Overview of Hyades Star Cluster. Photo credit: NASA, ESA, ST Scl. 6. Cyprus Grove at Dawn / Cyprus Ridge in Arcadia. Photo credit: Elizabeth Ganiatsos. 7. Tortoise Shell Lyre, © The Trustees of the British Museum. Richard Earlom, after Claude Lorrain, by kind permission of Harvard Art Museums: 8. A Landscape, with Buildings, and Mercury Stealing Admetus’s Cattle from Apollo 9. A Landscape, with Cattle 10. A Landscape, with Cattle, and with Mercury and Battus 11. Abraham Ortelius, Map of Europe, c.1570. Photo credit: Depositphoto (cascoly). 12. Paul de Wit, Map of Leipzig, by kind permission of Olaf Simons. Photos of Leipzig. Photo credit: Gert Mothes. 13. Statues of Apollo and Mercury on the Stock Exchange 14. Towers of St. Nicholas and St. Thomas Church 15. City Hall 16. Leipzig film footage of baroque Stock Exchange, St. Nicholas Church, St. Thomas Church, City Hall, and White Elster River. Filmed by Alex Foster. 17. Photos of rastrum and ingredients of Bach’s ink taken with kind permission of the Bach Museum, Leipzig. Photo credit: Gert Mothes. 18. Image of Leipzig Stadpfeiffergasse, by kind permission of Martin Geisler. 19. Joachim Ernst Scheffler, Leipzig Stock Market, 1749; images of watermarks used by Bach; page of continuo part from J.S. Bach Cantata 14. By kind permission of the Bach Museum, Leipzig. 20. Microscopic views of feather, woods, bow hair, gut strings, and rosin. Wood shavings provided by Olivia Pelling (Finestrings, Ottawa). Feather material provided by Dr. Krista Fahy, Curator of Ornithology at the Santa Barbara Museum of Natural History. Photo credit: Daniel Geiger. 21. Photos of indoor Apollo and Mercury statues, town councillors, and eighteenth-century trade fair catalogue taken with kind permission of the Leipzig City Museum. Photo credit: Gert Mothes. 22. Images of millwheel stampers, rag sorters, papermakers, and candlemakers from Denis Diderot, Encyclopédie des sciences, des arts, et des métiers, 1750–1765, by kind permission of the Thomas Fisher Rare Book Library, University of Toronto.

23. Bernard Picart, Outdoor concert, 1709. Rijksmuseum, Amsterdam. 24. Vincent Laurensz van der Vinne, Gold Shop, 1714. Rijksmuseum, Amsterdam. 25. Photo of Doubrava used by kind permission of Petr Kečkeš. 26. Photo of Grüen paper mill, by kind permission of the AS/ Doubrava Museum. Many thanks to Jitka Klimova, Consulate General of the Czech Republic in Toronto. 27. Film footage from Chancery Papermaking created by Avi Michael used by kind permission of Timothy Barrett, Director of the University of Iowa Centre of the Book 28. Film footage of wire drawing and harpsichord making at the workshop of Malcolm Rose, Lewes, U.K. Filmed by Mike Grippo for Tafelmusik. 29. Workshop of luthier Quentin Playfair, Toronto. Photo credits: Sue Dickin & Quentin Playfair. 30. Oboe and bassoon making at the Guntram Wolf family workshop, Kronach, Germany. Photo credit: Anna Marsh. 31. Workshop of Harry vas Dias, Atlanta, GA. ©Hastings Huggins. 32. Saxon Merino Sheep. Photo credit: Glenn Davidson. 33. Film footage of the Aquila String Factory created for How It’s Made by Productions MAJ, Montreal. 34. Workshop of Stephen Marvin. Photos kindly provided by Stephen Marvin. Song of Songs images: 35. Philip van Gunst, Celebrating the Sabbath in a Jewish family, c.1725. Rijksmuseum, Amsterdam. 36. Abraham Mignon, Still life with fruit. Rijksmuseum, Amsterdam 37. Ottmar Elliger, Still life with liles. Rijksmuseum, Amsterdam 38. Anonymous gouache, Collegium musicum concert in a tavern, c.1740, by kind permission of Germanisches Nationalmuseum, Nürnberg. 39. Three versions of the first eight notes of the bass line of Bach Goldberg Variations, drawn by Ivars Taurins. 40. Leonardo da Vinci, Drawing of the anatomy of the hand. Photo credit: Depositphotos (lollok). 41. Hand montage photo credits: Glenn Davidson, Mike Grippo, Avi Michael, Sue Dickin, and Sian Richards. Final montage: Childhood and youthful photos of Tafelmusik players kindly provided by members of the orchestra. Photos ©Depositphotos: white horse [vikarus], maple key [ligora], maple tree [manfredxy], spruce cones [ketta], ravens in flight [rck953], native copper [only fabrizio], and spheralerite (zinc) [wlad74], flax seeds [boggy22], flax flower [VID].

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

Biographies Bamberg Symphony

The Bamberg Symphony – Bavarian State Philharmonic – has enjoyed a special status in the music world, performing over 7,000 concerts in more than 60 countries and over 500 cities: Rightly considered among the top German touring orchestras, the circumstances of its birth make the Bamberg Symphony a mirror to German history. In 1946 former members of Prague’s German Philharmonic met fellow musicians who had also been obliged to flee their homes. In Bamberg they founded the Bamberger Tonkünstlerorchester, later renamed Bamberger Symphoniker. The link with Prague’s Orchestra makes Bamberg the inheritor of a musical tradition stretching back to the 19th and even 18th centuries, to Mahler and Mozart – 230 years of Bohemian sound. Evidence of the outstanding reputation it enjoys comes in constant invitations to visit leading festivals and to tour at home and abroad, and in prizes for the Orchestra’s recordings, including the MIDEM Classical Award, the International Toblach Composing Hut Record Prize and the ECHO Klassik. That reputation is also in no small part due to the Principal and Guest Conductors who have led and shaped the Bamberg Symphony over the decades. In September 2016, Jakub Hrůša assumed musical direction of the Bamberg Symphony and is the fifth Chief Conductor in its history.

Christoph Eschenbach, conductor

Born in Breslau, Germany (today Wrocław, Poland), Christoph Eschenbach first studied piano with Professor Eliza Hansen. At a young age, he won numerous piano competitions including first prize of the 1965 Clara Haskil competition in Luzern. In demand worldwide by famous concert halls and orchestras, George Szell invited him to tour with the Cleveland Orchestra. During the same period he developed a great artistic collaboration with Herbert von Karajan as well. Following successful completion of conducting studies in Hamburg, and under the influence of Szell and Karajan as mentors, he began conducting in 1972, and made his U.S. debut in 1975 with the San Francisco Symphony Orchestra. Nowadays Christoph Eschenbach is in demand as a distinguished guest conductor with the finest orchestras and opera houses throughout the world, in cities from Vienna to Shanghai and at prestigious festivals from Salzburg to Tanglewood, among others. His grand classic repertoire ranges from J.S. Bach to music of our time and reflects his commitment to not just canonical works but also to the music of the late-20th and early-21st-century. In June 2015 he received the Ernst von Siemens Music Award (described as the Nobel Prize for Music) in honor of his life’s dedication to music.

Ray Chen, violin

Winner of the Queen Elisabeth and Yehudi Menuhin Competitions, Ray Chen is among the most compelling young violinists today. In 2017, Mr. Chen signed to Decca Classics in a major new recording deal and multimedia partnership. Ray has previously released three critically acclaimed albums on Sony: a recital program Virtuoso of works by Bach, Tartini, Franck and Wieniawski; the Mendelssohn and Tchaikovsky concertos with Swedish Radio Orchestra and Daniel Harding; and an all-Mozart album with Christoph Eschenbach and the Schleswig-Holstein Festival Orchestra. Mr. Chen has appeared with some of the leading orchestras around the world including the London Philharmonic, the National Symphony Orchestra and the Orchestre National de France where he joined Daniele Gatti for the televised Bastille Day concert in Paris to an audience of over 800,000. Other recent highlights include his 2016 debut at the BBC Proms where he appeared with the BBC Symphony at Royal Albert Hall in London. Born in Taiwan and raised in Australia, Mr. Chen was accepted to the Curtis Institute of Music at age 15 where he studied with Aaron Rosand and was supported by Young Concert Artists. He plays the 1715 “Joachim” Stradivarius violin on loan from the Nippon Music Foundation. This instrument was once owned by the famed Hungarian violinist, Joseph Joachim (1831-1907).

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.

LA JOLLA MUSIC SOCIETY

BIOGRAPHIES

Seong-Jin Cho, piano

With his overwhelming talent and natural musicality, Seong-Jin Cho is rapidly embarking on a world-class career and is considered one of the most distinctive artists of his generation. Mr. Cho was brought to the world’s attention in October 2015 when he won First Prize at the Chopin International Piano Competition in Warsaw. Four years before he had won Third Prize at the Tchaikovsky competition, at age 17. Born in 1994 in Seoul, he started studying the piano at 6 and gave his first public recital five years later. He won the 1st prize at the 6th Moscow International Frederick Chopin Competition in 2008 at age 14. In 2009 he won the 1st prize at the 7th Hamamatsu International Piano Competition in Japan—the youngest winner in its history. Seong-Jin Cho has performed with some of the world’s major orchestras including the Royal Concertgebouw Orchestra and the Mariinsky Orchestra, under renowned conductors such as Valery Gergiev. His 2016-17 engagements include debut recitals at the Concertgebouw Recital Hall and Carnegie Hall. He studied with Prof. S.R. Park, S.J. Shin in Seoul, and Michel Béroff at the Paris Conservatory. He lives in Paris.

James Chute, prelude presenter

James Chute has been an arts journalist for nearly four decades. A Pittsburgh native and a graduate of the University of Cincinnati College-Conservatory of Music (where he earned a Doctor of Musical Arts), he has served as music critic for The Cincinnati Post, The Milwaukee Journal, The Orange County Register and the San Diego Union-Tribune. A Pulitzer Prize finalist in criticism and a winner of an ASCAP-Deems Taylor Award, Penney Missouri Award, Best of the West award and a California Newspaper Publishers award, he has contributed articles to the New Grove Dictionary of Music, New Grove Dictionary of American Music and other publications.

Kurt Elling, vocals

The New York Times declared, “Elling is the standout male vocalist of our time.” The Washington Post added, “Since the mid-1990s, no singer in jazz has been as daring, dynamic or interesting as Kurt Elling. With his soaring vocal flights, his edgy lyrics and sense of being on a musical mission, he has come to embody the creative spirit in jazz.” Grammy® winner Kurt Elling is among the world’s foremost jazz vocalists. He won the DownBeat Critics Poll for fourteen consecutive years and was named “Male Singer of the Year” by the Jazz Journalists Association eight times in that same span. An international jazz award winner, he has been Grammy® nominated a dozen times. Mr. Elling’s rich baritone spans four octaves and features both astonishing technical mastery and emotional depth. His repertoire includes original compositions and modern interpretations of standards, all of which are springboards for inspired improvisation, scatting, spoken word and poetry. He is a renowned artist of vocalese–the writing and performing of words over recorded improvised jazz solos. Mr. Elling was the Artist-in-Residence for the Singapore and Monterey Jazz Festivals. He has written multi-disciplinary works for the City of Chicago and the Steppenwolf Theatre and the Obama Administration’s first state dinner featured Mr. Elling in a monumental performance.

Michael Gerdes, prelude presenter

Michael Gerdes is the Director of Orchestras at SDSU 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 has been 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.

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

BIOGRAPHIES

Caroline Goulding, violin

For nearly a decade, the virtuoso violinist Caroline Goulding has performed with the world’s premier orchestras, in recital and on record and has blossomed from “precociously gifted” (Gramophone) 13-year-old soloist with the Cleveland Orchestra to “a skilled violinist well on her way to an important career” (The Washington Post). June 2016 marked the release of her first new recording since the self-titled Grammy®-nominated and chart-topping debut released on Telarc in 2009, when the violinist was just 16. The new Preis der Deutschen Schallplattenkritik-nominated recital album with pianist Danae Dörken on the ARS label includes works by Schumann, Enescu and Dvořák. Caroline and Danae celebrated the release of the new album with a recital in New York’s Steinway Hall in September 2016. Since her 2006 debut, she has appeared as soloist with the Symphony Orchestras of Toronto, Detroit and Dallas; performed at the Marlboro Music; and has appeared in recital at Carnegie Hall, Lincoln Center, the Kennedy Center, Beijing’s Forbidden City Concert Hall, and at the Louvre. Recipient of a 2011 Avery Fisher Career Grant and 2009 winner of the Young Concert Artists International Auditions, Ms. Goulding plays a 2016 Sam Zygmuntowicz violin.

Leonidas Kavakos, violin

Greek violinist Leonidas Kavakos is recognized as an artist of rare quality, known for his virtuosity, superb musicianship and the integrity of his playing. By age 21, Mr. Kavakos had won three major competitions: the 1985 Sibelius Competition, and the 1988 Paganini and Naumburg competitions. He was the first to record the original Sibelius Violin Concerto (1903/4), which won the 1991 Gramophone Concerto of the Year Award. He is the 2017 winner of the Léonie Sonning Music Prize, Denmark’s prestigious and highest musical honor awarded annually to an internationally recognized composer, instrumentalist, conductor or singer. Previous winners include Igor Stravinsky and Sir Simon Rattle. Over the years Mr. Kavakos has developed close relationships with some of the most prestigious orchestras and conductors, and in the 2016-17 Season he is the Artist in Residence with the New York Philharmonic. Mr. Kavakos records for Decca Classics. His recent recordings include Virtuoso (2016), the Brahms Violin Sonatas with Yuja Wang (2014), Brahms Violin Concerto with the Gewandhausorchester Leipzig and Riccardo Chailly (2013), and the complete Beethoven Violin Sonatas with Enrico Pace (2013). He plays the ‘Abergavenny’ Stradivarius violin of 1724.

Branford Marsalis, saxophones and the Branford Marsalis Quartet

Branford Marsalis has stayed the course. His many awards include three Grammy® and (together with his father and brothers) his citation as a Jazz Master by the National Endowment for the Arts. From his early acclaim as a saxophonist bringing new energy and new audiences to the Jazz Art, he has refined and expanded his talents and his horizons as a musician, composer, bandleader and educator—a 21st Century mainstay of artistic excellence. Growing up in the rich environment of New Orleans as the oldest son of pianist and educator Ellis Marsalis, Branford was drawn to music along with siblings Wynton, Delfeayo and Jason. His first instrument, the clarinet, gave way to the alto and then the tenor and soprano saxophones when the teenage Branford began working in local bands. Entering college, a growing fascination with jazz led to his first major jobs with trumpet legend Clark Terry and alongside Wynton in Art Blakey’s legendary Jazz Messengers. When the brothers left to form the Wynton Marsalis Quintet, the world of uncompromising acoustic jazz was invigorated. Branford formed his own quartet in 1986 and, with a few minor interruptions in the early years, has sustained the unit as his primary means of expression. The tight-knit working band features Mr. Marsalis on saxophones, Joey Calderazzo on piano, Eric Revis on bass and Justin Faulkner on drums. Known for the telepathic communication among its uncommonly consistent personnel, its deep book of original music replete with expressive melodies and provocative forms and an unrivaled spirit in both live and recorded performances, the Branford Marsalis Quartet has long been recognized as the standard to which other ensembles of its kind must be measured. The Quartet’s most recent release Upward Spiral, with special guest Kurt Elling, is a 2017 Grammy® nominee in the category of Best Jazz Vocal Album!

LA JOLLA MUSIC SOCIETY

BIOGRAPHIES

Brad Mehldau, piano

Over the last two decades, pianist Brad Mehldau has forged a unique path which embodies the essence of jazz exploration, classical romanticism, and pop allure. His unquestionable leadership across idioms has grown as he has transformed the paradigm of jazz and classical performance – performing both solo and with his long-standing trio (Larry Grenadier, bass and Jeff Ballard, drums). In addition to his trio and solo work, Mr. Mehldau’s collaborative spirit will be embodied in upcoming duo work with Joshua Redman and Chris Thile, and a new electric group with John Scofield and prodigious drummer Mark Guiliana. Although inventive diversity remains his focus, the coming seasons will continue to showcase Mr. Mehldau’s solo piano output, on the heels of the critically acclaimed 10 Years Solo Live. In that realm, a new commission Three Pieces After Bach premièred at Carnegie Hall in October 2015. Showcasing his diversity and undeniable voice, Mr. Mehldau has also had notable collaborations with Pat Metheny, Anne Sofie von Otter, Orpheus Chamber Orchestra, Renee Fleming, Britten Sinfonia, Kevin Hays, Jeremy Denk and Jazz at Lincoln Center Orchestra. With his rigorous intellect feeding an inspired range of expression and intensity, Mr. Mehldau leaves his worldwide audience eager for his next foray.

San Diego Youth Symphony and Conservatory

Under the leadership of President and CEO Dalouge Smith and Music Director Jeff Edmons, San Diego Youth Symphony and Conservatory (SDYS) instills excellence in the musical and personal development of students ages 8 to 25 through rigorous and inspiring musical training experiences. Since 1945, SDYS has given thousands of musicians the opportunity to study and perform classical repertoire at a highly advanced level. SDYS serves 600 students annually through its twelve ensembles in the Conservatory Program. Its vision to “Make Music Education Accessible and Affordable to All” has led to restoring and strengthening music education in public schools. The organization’s preeminent ensemble, the SDYS Chamber Orchestra, is comprised of the principal and assistant principal musicians from the advanced Ovation Program. Provided the finest training, the Chamber Orchestra is given the opportunity to perform professional-level repertoire from multiple historic periods for both string orchestra and full chamber orchestra on a national and international stage. Most recently, select students of the San Diego Youth Symphony participated in SDYS’s 70th Anniversary tour to China and performed in Beijing’s Forbidden City Concert Hall, San Diego’s sister city Yantai’s Concert Hall and the Oriental Arts Center in Shanghai in June 2015.

Jeff Edmons, music director & conductor

Jeff Edmons is now in his 21st year with SDYS. Under his direction, the Youth Symphony has experienced tremendous growth, both in enrollment and in its level of musical achievement. Mr. Edmons has been featured in articles and journals honoring his work and has been the subject of documentaries on CNN, Fox Television, National Public Radio, and more. Mr. Edmons has led youth, collegiate, and professional orchestras in critically acclaimed performances throughout the United States as well as abroad, from Mexico to Switzerland and beyond. He is frequently invited to judge and guest conduct local and regional orchestras and bands and has received numerous local and national invitations and awards for his achievements in music education. His mentors and teachers include Esa Pekka Salonen, Michael Davis, Dr. Robert Gillespie and Craig Kirchoff.

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

BIOGRAPHIES

Tafelmusik Baroque Orchestra

Hailed as “one of the world’s top baroque orchestras” by Gramophone Magazine, Tafelmusik was founded in 1979 by Kenneth Solway and Susan Graves. At the heart of Tafelmusik is a group of remarkably talented, enthusiastic, and dynamic permanent members, each of whom is a specialist in historical performance practice. Delighting audiences worldwide for more than three decades, Toronto-based Tafelmusik reaches millions of people through its touring, critically-acclaimed recordings, broadcasts, new media and artistic and community partnerships. The vitality of Tafelmusik’s vision clearly resonates with its audiences in Toronto, where the orchestra performs more than 50 concerts, and maintains a strong presence on the world stage, performing in some 350 cities in 32 countries. Tafelmusik has also invested much energy and many resources into supporting the next generation of period performers through its artist training programs where musicians from around the globe gather to study, most notably through its renowned annual summer and winter institutes. Tafelmusik’s critically acclaimed discography of over 80 baroque and classical albums has garnered many national and international awards, including nine JUNO Awards, preeminent Canadian music awards. Tafelmusik’s most recent 2016 recording of Beethoven’s Ninth Symphony completes the cycle of Beethoven Symphonies with conductor Bruno Weil.

Dina Vainshtein, piano

Pianist Dina Vainshtein, based in boston, is the daughter of two pianists, and studied with Boris Berlin at the prestigious Gnessin Academy in Moscow. While there she received the Special Prize for the Best Collaborative Pianist at the 1998 Tchaikovsky International Competition. She came to the United States in 2000 to attend the Cleveland Institute of Music, where she worked with Vivian Hornik Weilerstein and Donald Weilerstein. To this day, Mr. Weilerstein regards her as “an extraordinary collaborator. She is an extremely fine musician and one of the most empathetic, dynamic and supportive chamber players I know.” For nearly a decade Dina Vainshtein has been affiliated with the New England Conservatory and the Walnut Hill School in Massachusetts where she teaches chamber music.

Yuja Wang, piano

Yuja Wang has secured a place of distinction among the world’s finest performers due to her rare blend of technical refinement, musical insight, and emotional sensitivity. The intense power of her interpretations comes from a combination of exceptional presence on stage and a natural affinity for repertoire ranging from Mozart to Gershwin. ‘Charismatic’, ‘breathtaking’, ‘flawless’ and ‘heartfelt’ are just some of the superlatives used frequently by critics worldwide. One of Rolex’s cultural ambassadors, Yuja Wang was described by the New York Times as “one of the best young pianists around” and hailed by the Sydney Morning Herald for her “blistering technique.” In July 2015 the Los Angeles Times declared: “Hers is a nonchalant, brilliant keyboard virtuosity that would have made both Prokofiev (who was a great pianist) and even the fabled Horowitz jealous.” The combination of critical acclaim, audience ovations, return engagements at leading international venues, an Avery Fischer Prize, Grammy® nominations and an exclusive recording relationship with Deutsche Grammophon confirm the 29-year old pianist’s status as one of this century’s most compelling artists. She is set to broaden her audience throughout the 2016-17 Season, not least through her term as Artist-in-Residence at China’s National Centre for the Performing Arts as well as the Konserthuset in Stockholm.

PHOTO CREDITS: Cover, Pg. 36 & 44: Tafelmusik Baroque Orchestra by Sian Richards; Pg. 11: B. Marsalis and K. Elling by Palma Kolansky; Pg. 12 & 42: L. Kavakos by Marco Borggreve; Y. Wang © Fadil Berisha; Pg. 17: Bamberg Symphony © Michael Trippel; Pg. 22: S. Cho © Bartek Sadowski; Pg. 25: SDYS by Matthew Fernie; Pg. 29 & 42: C. Goulding © Jamie Jung; Pg. 33 & 43: B. Mehldau by Michael Wilson; Pg. 40: Bamberg Symphony © Peter Eberts; C. Eschenbach by Luca Piva; R. Chen by Julian Hargreaves; S. Cassedy courtesy of presenter; Pg. 41: S. Cho © Rami Studio; J. Chute courtesy of presenter; K. Elling by Palma Kolansky; M. Gerdes courtesy of presenter; Pg. 42: B. Marsalis by Palma Kolansky; Pg. 43: J. Edmons courtesy of artist; Pg. 44: D. Vainshtein by Susan Wilson; Y. Wang by Norbert Kniat; Back Cover: R. Chen by Sophie Zhai.

LA JOLLA MUSIC SOCIETY

Season Partners La Jolla Music Society’s 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, The Tippet Foundation, 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, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, Sue and Peter Wagener.

Media Partners ®

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

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 world-class performances and educational opportunities to San Diego, please contact Ferdinand Gasang, Development Director, at 858.459.3724, ext. 204 or FGasang@LJMS.org.

FOUNDER

($250,000 and above)

ANGEL

($100,000 - $249,999)

Brenda Baker & Stephen Baum Conrad Prebys & Debra Turner The City of San Diego Commission for Arts and Culture Joy Frieman Joan & Irwin Jacobs Raffaella & John Belanich

BENEFACTOR

Silvija & Brian Devine Steven & Sylvia Ré

GUARANTOR

Anonymous Mary Ann Beyster Gordon Brodfuehrer Katherine & Dane Chapin Linda Chester & Ken Rind Dave & Elaine Darwin Kay & John Hesselink

($50,000 - $99,999)

($25,000 - $49,999)

Susan & Bill Hoehn Peter & Peggy Preuss Marge & Neal Schmale Jeanette Stevens Joe Tsai & Clara Wu Twin Dragon Foundation Vail Memorial Fund

WORLD-CLASS PERFORMANCES La Jolla Music Society cultivates and inspires the performing arts scene in San Diego throughout the year with presentations of world-class musicians, jazz ensembles, orchestras and dance companies.

LA JOLLA MUSIC SOCIETY

ANNUAL SUPPORT

SUSTAINER

AMBASSADOR

AFICIONADO

Anonymous Dr. James C. & Karen A. Brailean Wendy Brody Martha & Ed Dennis Barbara & Dick Enberg Jennifer & Kurt Eve Sue & Chris Fan Lehn & Richard Goetz Brenda & Michael Goldbaum William Karatz & Joan Smith Keith & Helen Kim Sue & John Major National Endowment for the Arts Robin & Hank Nordhoff Raphael & Marina Pastor Sheryl & Bob Scarano Clifford Schireson & John Venekamp Gary & Jean Shekhter Maureen & Thomas Shiftan June & Dr. Bob Shillman Shankar Subramaniam Haeyoung Kong Tang Sue & Peter Wagener Katrina Wu

Anonymous (2) Judith Bachner & Dr. Eric L. Lasley Norman Blachford & Peter Cooper Johan & Sevil Brahme Jian & Samson Chan Ellise & Michael Coit Karen & Don Cohn Anne & Robert Conn Julie & Bert Cornelison Nina & Robert Doede Jeane Erley Jill Esterbrooks & James Kirkpatrick Robbins Peter & Olivia Farrell Elaine Galinson & Herbert Solomon Jeff Glazer & Lisa Braun-Glazer Michael Grossman & Margaret Stevens Grossman Theresa Jarvis & Ric Erdman Angelina & Fredrick Kleinbub Helene K. Kruger Carol Lazier & James A. Merritt Richard J. Leung, M.D. Michel Mathieu & Richard MacDonald Leanne Hull MacDougall Marilyn & Stephen Miles Elaine & Doug Muchmore Morgan & Elizabeth Oliver Betty-Jo Petersen Catherine & Jean Rivier Sandra & Robert Rosenthal Ivor Royston & Colette Carson Royston Leigh P. Ryan Susan Shirk & Samuel Popkin Joyce & Ted Strauss Elizabeth Taft Karen & Stuart Tanz Tippett Foundation Gianangelo Vergani Sheryl & Harvey White Carolyn Yorston-Wellcome & H. Barden Wellcome Marvin & Bebe Zigman

Anonymous Jim Beyster Josephine & Bjorn Bjerede Robert & Ginny Black Stuart & Isabel Brown Joye Bount & Jessie Knight, Jr. R. Nelson & Janice Byrne Trevor Callan, Callan Capital Carol & James Carlisle Marsha & Bill Chandler Leonard & Susan Comden Jeanette & Dr. Harold Coons Gigi Fenley Elliot & Diane Feuerstein Deborah & Ron Greenspan Bryna Haber Jeanne Jones & Don Breitenberg David & Susan Kabakoff Arleen & Robert Lettas Kathleen & Ken Lundren Mary Keough Lyman Jack & Una McGrory Diane McKernan & Steve Lyman Gail & Ed Miller Howard & Sally Oxley Patty & Murray Rome Annie So Leland & Annemarie Sprinkle Ronald Wakefield Margie and John H. Warner, Jr. Jo & Howard Weiner Faye Wilson Su-Mei Yu Ellen & Tim Zinn

($15,000 - $24,999)

SUPPORTER

($10,000 - $14,999)

Anonymous Joan Jordan Bernstein Betty Beyster Ric & Barbara Charlton County of San Diego / Community Enhancement Program Brian Douglass, digital OutPost Alexa Kirkwood Hirsch Sharon & Joel Labovitz Carol Lam & Mark Burnett Vivian Lim & Joseph Wong Ethna Sinisi Piazza Maria & Dr. Philippe Prokocimer Don & Stacy Rosenberg Iris & Matthew Strauss Abby & Ray Weiss Dolly & Victor Woo

($5,000 - $9,999)

($2,500 - $4,999)

ASSOCIATE

($1,000 - $2,499)

Rita Bell Carolyn Bertussi Teresa O. Campbell Peter Chen June Chocheles Victor & Ellen Cohn Drs. Anthony F. Chong & Annette Thu Nguyen The Rev. Eleanor Ellsworth Drs. Edward & Ruth Evans Nomi Feldman Richard & Beverley Fink Karen S. Fox Judith Harris & Robert Singer, M.D. W W W. L J M S . O R G Âˇ 8 5 8 . 4 5 9 . 3 7 2 8

ANNUAL SUPPORT

Betty Ann Hoehn Lulu Hsu Elisa & Rick Jaime Daphne & James Jameson Katherine Kennedy Kristin & Thierry Lancino Gregg LaPore Theodora Lewis Debbie & Jimmy Lin Sylvia & Jamie Liwerant Richard & Katherine Matheron Maggie & Paul Meyer Bill Miller & Ida Houby Dr. Sandra Miner Anne Otterson Ann & Ken Poovey Jill Q. Porter Allison & Robert Price William Purves & Don Schmidt Dr. Jane Reldan Marilies Schoepflin Doreen & Myron Schonbrun Jay & Minna Shah Barbara & Lawrence Sherman Tina Simner Richard & Susan Ulevitch Mary Walshok Nell Waltz Judith White Karin Winner Joseph Witztum & Mary Elinger Witztum Toby Wolf Anna & Edward Yeung Hanna Zahran, Regents Bank

FRIEND

($500 - $999)

Anonymous Arleene Antin & Leonard Ozerkis Barry & Emily Berkov Benjamin Brand Malin Burnham Luc Cayet & Anne Marie Pleska Robert & Jing Chan Peter B. Clark Elizabeth Clarquist Dr. Ruth Covell George & Cari Damoose Douglas P. & Robin Douchette Paul & Clare Friedman Sally Fuller Paul & Barbara Hirshman

LA JOLLA MUSIC SOCIETY

Saundra L. Jones Louise Kasch Sally & Luis Maizel Winona Mathews Ted McKinney Robert Nelson & Jean Fujisaki Ohana Music, Inc. Sandra Redman & Jeff Mueller Arlene & Peter Sacks Pat Shank Miriam Summ Susan & Jonathan Tiefenbrun Susan Trompeter Yvonne Vaucher Suhaila White Olivia & Marty Winkler

ENTHUSIAST ($250 - $499)

Lynell Antrim Fiona & Scott Bechtler-Levin Steven & Patricia Blostin Stefana Brintzenhoff Patrick Chapman, Accurate Printing and Mailing Kathleen Charla Sharon L. Cohen Hugh Coughlin Geoffrey Clow Carol DeMar Marina & Igor Fomenkov Drs. Lawrence & Gartner Lynn Gordon Carrie Greenstein Ed & Linda Janon Nancy Jones Nan & Buzz Kaufman Gladys & Bert Kohn Robert & Elena Kucinski Arlene LaPlante The Hon. M. Margaret McKeown & Dr. Peter Cowhey Robert Merryman Alan Nahum & Victoria Danzig Joani Nelson Aghdas Pezeshki Becki Robbins Jeanne & Milton Saier Jonathan Scheff Joe & Virginia Silverman Ronald I. Simon and Anne F. Simon

William Smith Joan Snider Kathryn Starr Edward Stickgold & Steven Cande Norma Jo Thomas Eleanor L. tum Suden Laurette Verbinski Terry & Peter Yang Josephine Zolin

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

ANNUAL SUPPORT

FOUNDATIONS 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 Qualcomm Foundation 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 Scarano 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 Tippett Foundation The John M. and Sally B. Thornton Foundation The John H. Warner Jr. and Helga M. Warner Foundation Vail Memorial Fund Thomas and Nell Waltz Family Foundation Sheryl and Harvey White Foundation

SERVING OUR COMMUNITY In the 2015-16 season, La Jolla Music Society was able to reach over 11,500 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.

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

ANNUAL SUPPORT

HONORARIA & MEMORIAL GIFTS In Honor of Gordon Brodfuehrer: Hugh Coughlin Richard & Katherine Matheron In Honor of Linda Chester and Ken Rind: Michael Stotsky In Honor of Martha Dennis: Christine Andrews In Honor of Silvija Devine’s Birthday: Elaine & Dave Darwin Martha & Ed Dennis In Memory of Austin Hudson-LaPore: Gregg LaPore In Memory of Lois Kohn: Ingrid Paymar In Honor of Helene K. Kruger: Anonymous (2) Marilyn Colby Brian & Silvija Devine Ferdinand Gasang Benjamin Guercio Bryna Haber Ruth Herzog Sharon & Joel Labovitz Patricia Manners Paul & Maggie Meyer Betty-Jo Petersen Don & Stacy Rosenberg Pat Winter In Honor of Carol Lam: QUALCOMM Incorporated In Honor of Betty-Jo Petersen: Chris Benavides In Memory of Conrad Prebys: Brenda Baker & Steve Baum Chris Benavides Allison Boles Karen & Jim Brailean Gordon Brodfuehrer Wendy Brody Katherine & Dane Chapin Linda Chester & Kenneth Rind Martha & Ed Dennis Vanessa Dinning Barbara & Dick Enberg Leighann Enos Jennifer & Kurt Eve Matthew Fernie

LA JOLLA MUSIC SOCIETY

Juliana Gaona Ferdinand Gasang Susan & Bill Hoehn Hilary Huffman Kristin Lancino Anthony LeCourt Debbie & Jim Lin Cari McGowan Robin & Hank Nordhoff Debra Palmer Marina & Rafael Pastor Ethna Sinisi Piazza Peggy & Peter Preuss Sylvia & Stephen Re Jordanna Rose Leah Z. Rosenthal Leigh P. Ryan Kristen Sakamoto Clifford Schireson & John Venekamp Marge & Neal Schmale Maureen &Tom Shiftan June & Dr. Bob Shillman Rewa Colette Soltan Jeanette Stevens Travis Wininger

In Honor of Sue Wagener: Christine Andrews In Memory of Carleton and Andree Vail: Vail Memorial Fund

MATCHING GIFTS Bank of America IBM, International Merck QUALCOMM, Inc. Sempra Energy *In Memoriam

SUPPORT To learn more about supporting La Jolla Music Society’s artistic and education programs or to make an amendment to your listing please contact Katelyn Woodside at 858.459.3724, ext. 216 or KWoodside@LJMS.org. This list is current as of December 31, 2016. Amendments will be reflected in the next program book in April 2017.

DANCE SERIES OUTREACH La Jolla Music Society hosts dance master classes and open rehearsals throughout the winter season. Participating companies have included, MOMIX, Joffrey Ballet, New York City Ballet MOVES, and many more.

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

CROWN JEWEL

TOPAZ

Brenda Baker and Steve Baum Conrad Prebys and Debbie Turner

Anonymous Joan Jordan Bernstein Mary Ann Beyster Dr. James C. and Karen A. Brailean Dave and Elaine Darwin Barbara and Dick Enberg Jeane Erley Dr. Lisa Braun-Glazer & Dr. Jeff Glazer Margaret and Michael Grossman Alexa Kirkwood Hirsch Theresa Jarvis Angelina and Fred Kleinbub Joseph Wong and Vivian Lim Michel Mathieu and Richard McDonald Elaine and Doug Muchmore Rafael and Marina Pastor 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

DIAMOND Raffaella and John Belanich Joy Frieman Joan and Irwin Jacobs

RUBY Silvija and Brian Devine

GARNET Peggy and Peter Preuss

SAPPHIRE Kay and John Hesselink Keith and Helen Kim Sharon and Joel Labovitz Maria and Dr. Philippe Prokocimer

Listing as of December 31, 2016.

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

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 Diegoâ&#x20AC;&#x2122;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.

ARABESQUE

POINTE

PLIĂ&#x2030;

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

Carolyn Bertussi Teresa O. Campbell

Stefana Brintzenhoff Joani Nelson Elyssa Dru Rosenberg Elizabeth Taft

DEMI POINTE Saundra L. Jones Susan Trompeter

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

WinterFest Gala Saturday, March 18, 2017 June Shillman, Gala Chair

Beauty and the

beast

Malandain Ballet Biarritz For more information or reservations, please contact Rewa Colette Soltan at 858.459.3724, ext. 206 or RSoltan@LJMS.org

LA JOLLA MUSIC SOCIETY

Listing as of December 31, 2016.

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

The Lodge at Torrey Pines

SUSTAINER

La Jolla Sports Club La Valencia Hotel The Westgate Hotel

SUPPORTER

ACE Parking Management, Inc. digital OutPost The LOT NINE-TEN Restaurant Paul Hastings LLP Procopio, Cory, Hargreaves & Savitch LLP The Violin Shop Whisknladle Hospitality

AMBASSADOR

ASSOCIATE

Giuseppe Restaurants & Fine Catering La Jolla Beach and Tennis Club Chef Drew Catering, Panache Productions Paul Body Photography Sammy’s Woodfire Pizza & Catering

Athen’s Market Taverna Jimbo’s…Naturally! Romero Bow Shop Sprinkles Cupcakes

AFICIONADO

Nelson Real Estate

Bloomers Flowers Callan Capital Girard Gourmet Gelson’s Market Monarch Cottages Sharp HealthCare UC San Diego Healthcare

ENTHUSIAST

Listing as of December 31, 2016.

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 Leigh P. Ryan 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 December 31, 2016.

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

LA JOLLA MUSIC SOCIETY

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

LA JOLLA MUSIC SOCIETY

sharp applauds

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

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

LA JOLLA MUSIC SOCIETY

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

GET SOCIAL

Share + Connect 858.459.3728 WWW.LJMS.ORG

LA JOLLA MUSIC SOCIETY

www.facebook.com/ LaJollaMusicSociety www.twitter.com/ LJMusicSociety/ @LJMusicSociety www.instagram.com/ LJMusicSociety

PRODUCTIONS,LLC Corporate, Social, Private Events & Weddings

Professional, Knowledgeable Bartenders, Servers & Chefs for All Your Stafﬁng Needs Specializing in Intimate “Petite” Affairs from 2 To 50

www.chefdrewmcpartlin.com

WE CATER TO your CROWD Whether you’re planning a bridal shower or business lunch, our event specialists can help you design the perfect menu of Starters, Salads, Wraps, Pastas, and award winning Woodfired Pizzas.

DELIVERY OPTIONS AVAILABLE! Contact a Sammy’s near you for help designing the perfect menu.

VIEW THE FULL CATERING MENU AT sammyspizza.com/catering

1926 - 2016 HOT PINK AT 90 1 1 3 2 P R OS P E CT S T . L A J OL L A , CA 92 03 7 | (85 8) 45 4 - 07 7 1 | W W W .LAV ALE N CIA.CO M

Enjoy a new dining experience complete with an expanded outdoor patio and lounge, custom-built wood-burning rotisserie, and re-imagined menu from Executive Chef Jeff Jackson.

LodgeTorreyPines.com | 858.777.6635 11480 North Torrey Pines Road | La Jolla, California 92037

THE LOT La Jolla

TH E LOT is San Diego’s luxury cinema and dining destination. A high energy social hub for craft coffee, artisan pastries, elevated cuisine, premium spirits and sophisticated wines. THE LOT La Jolla, 7611 Fay Avenue, La Jolla, CA 92037 THE LOT Liberty Station, 2620 Truxtun Road, San Diego, CA 92106

thelotent.com

WHERE THE NEIGHBORHOOD PLAYS.

MOVIES/ RESTAURANT / BAR/CAFÉ

THE LOT Liberty Station

SEASON 48 | 2016-17 February BRANFORD MARSALIS QUARTET With Special Guest Kurt Elling

Friday, February 10, 2017 · 8 PM Jazz Series

Balboa Theatre

LEONIDAS KAVAKOS, violin & YUJA WANG, piano

Saturday, February 11, 2017 · 8 PM Special Event

Balboa Theatre

BAMBERG SYMPHONY

Christoph Eschenbach, conductor Ray Chen, violin Saturday, February 18, 2017 · 8 PM

SEONG-JIN CHO, piano

BRAD MEHLDAU

Discovery Series

Piano Series

Sunday, February 26, 2017 · 3 PM The Auditorium at TSRI

March CHAMBER ORCHESTRA

Jeff Edmons, music director & conductor Caroline Goulding, violin

Thursday, March 9, 2017 · 8 PM MCASD Sherwood Auditorium

TAFELMUSIK BAROQUE ORCHESTRA

Friday, March 10, 2017 · 8 PM Revelle Chamber Music Series MCASD Sherwood Auditorium

Friday, March 3, 2017 · 8 PM San Diego Youth Symphony Series MCASD Sherwood Auditorium

CAROLINE GOULDING, violin Sunday, March 5, 2017 · 3 PM Discovery Series

The Auditorium at TSRI

Orchestra Series

RAY CHEN

Jacobs Music Center-Copley Symphony Hall

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