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

SEASON

JANUARY-FEBRUARY

WENDY WHELAN/RESTLESS CREATURE

2014-15

SE A SO N 46

2014-15 CALENDAR OCTOBER 2014

FEBRUARY 2015

BRANFORD MARSALIS AND THE CHAMBER ORCHESTRA OF PHILADELPHIA

KODO

FRIDAY, OCTOBER 17, 2014 · 8 PM

HAGEN QUARTET

SATURDAY, OCTOBER 25, 2014 · 8 PM

NOVE MBE R 2014

CZECH PHILHARMONIC

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

DANISH STRING QUARTET

SATURDAY, NOVEMBER 15, 2014 · 8 PM

FRIDAY, APRIL 10, 2015 · 8 PM

INGOLF WUNDER, piano

BUDDY GUY

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

SIR ANDRÁS SCHIFF, piano

FRIDAY, FEBRUARY 20, 2015 · 8 PM

JERUSALEM QUARTET

SATURDAY, FEBRUARY 21, 2015 · 8 PM

GIL SHAHAM, violin

GIDON KREMER, violin & DANIIL TRIFONOV, piano

MARCH 2015

TAKÁCS QUARTET

MOMIX

UKULELE ORCHESTRA OF GREAT BRITAIN

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

FRIDAY, JANUARY 23, 2015 · 8 PM

JIAYAN SUN, piano

SUNDAY, JANUARY 25, 2015 · 3 PM

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

NIKOLAY KHOZYAINOV, piano

SATURDAY, JANUARY 31, 2015 · 8 PM

SATURDAY, APRIL 11, 2015 · 8 PM

ROTTERDAM PHILHARMONIC ORCHESTRA MICHAEL FEINSTEIN

JANUARY 2015

SATURDAY, JANUARY 17, 2015 · 8 PM

DANIIL TRIFONOV, piano

FRIDAY, FEBRUARY 6, 2015 · 8 PM

FRIDAY, FEBRUARY 27, 2015 · 8 PM

THURSDAY, JANUARY 15, 2015 · 8 PM

APRIL 2015

INON BARNATAN, piano

FRIDAY, MARCH 6, 2015 · 8 PM

Alchemia

The Sinatra Legacy

SATURDAY, APRIL 25, 2015 · 8 PM

HAN BIN YOON, cello

SUNDAY, APRIL 26, 2015 · 3 PM

M AY 2 0 1 5

MALANDAIN BALLET BIARRITZ Roméo et Juliette

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

CHRISTIAN TETZLAFF, violin & LARS VOGT, piano

SATURDAY, MAY 9, 2015 · 8 PM

ARTURO SANDOVAL & PONCHO SANCHEZ

AND HIS LATIN JAZZ BAND

SATURDAY, MAY 16, 2015 · 8 PM

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

CHARLIE ALBRIGHT, piano

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

SUNDAY, MARCH 22, 2015 · 3 PM

LONDON SYMPHONY ORCHESTRA

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

ARTURO SANDOVAL

LA JOLLA MUSIC SOCIETY

CONRAD PREBYS & DEBBIE TURNER

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

SE A SO N 46

Season 46 is dedicated to

Floral artistry comes in many forms.

FLORAL ARTISTRY | EVENTS | GIFTS

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SE A SO N 46

WE PRESENT world-class performances

LA JOLLA MUSIC SOCIETY is devoted to presenting

throughout the San Diego region.

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

WE PRODUCE the acclaimed music festival

La Jolla Music Society SummerFest.

WE EDUCATE adult and young audiences as well

as aspiring and emerging artists.

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

THE BELANICH STEINWAY

SEASON PARTNERS

R E S TA U R A N T

MEDIA PARTNERS

SUS H I BA R

Dear Friends..... The 20 days from January 23 to February 13 are packed with an amazing array of performances from one end of the artistic spectrum to the middle and back again. In fact, there are so many extraordinary events that I must tell you a little about each one: The Ukulele Orchestra of Great Britain (January 23, 8 p.m., MCASD Sherwood Auditorium) takes you on an unsurpassed musical adventure. From Tchaikovsky to Nirvana and Otis Redding, this group of all-singing, all-strumming musicians offers a funny, virtuosic, twanging, foot-stomping evening of pure pleasure. 24-year-old pianist Jiayan Sun opens our 2014-15 Discovery Series (January 25, 3 p.m., The Auditorium at TSRI) with a program of Chopin and Debussy, stamped with an already-mature artistry that confirms the wisdom of the judges who awarded him First Prize at the 2010 Toronto International Piano Competition.

WE LCO ME LE TTE R

SEASON 46 • 2014-15

A dance legend – That’s what audiences have called New York City Ballet’s Wendy Whelan, who recently stood at the center of the New York State Theatre stage to receive the accolades of fellow dancers, audiences and choreographers as she retired from NYCB. Now she embarks on another chapter as a collaborative artist with four male choreographers in a program of four duets called Restless Creature (January 30, 8 p.m., Balboa Theatre). Premiered at Jacob’s Pillow Dance Festival in 2013, this one-of-a-kind program pairs Whelan with four of today’s most acclaimed dance makers: Kyle Abraham, Joshua Beamish, Brian Brooks, and Alejandro Cerrudo. The Frieman Family Piano Series opens on January 31 (8 p.m., MCASD Sherwood Auditorium) with the first of two Russian powerhouse pianists, Nikolay Khozyainov (the other will be Daniil Trifonov, on April 10). Khozyainov’s challenging program showcases music by two composers who tower above all others in the piano music landscape: Chopin and Rachmaninoff. Our second Special Event of the season needs only one word: Spectacular! Kodo One Earth Tour 2015: Mystery (February 6, 8 p.m., Balboa Theatre). The Chopin International Piano Competition is both prestigious and fiercely competitive. The Discovery Series continues with recent Prize Winner Ingolf Wunder (February 8, 3 p.m., TSRI Auditorium), playing not only Chopin (E-flat Major Nocturne, Andante Spianato) but Liszt (Sonetto del Petrarca, Mephisto Waltz) as well. The climax to this 20-day mini-festival of great music and dance: the Rotterdam Philharmonic (February 13, 8 p.m., Jacobs Music Center/Copley Symphony Hall). Led by the young French-Canadian conductor recently elevated to The Philadelphia Orchestra Music Director, Yannick Nézet-Séguin, this superb ensemble, rarely heard in the United States, welcomes guest soloist Hélène Grimaud to perform Ravel’s G-Major Piano Concerto, and closes with Prokofiev’s monumental Symphony No. 5, the work for which he held the opus number 100 in reserve until its completion. Join us for one, join us (I hope) for all. Your support as audience members and donors makes it all possible. Sincerely,

Christopher Beach

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

TA B LE O F CO N TE N T S

SEASON 46 • 2014-15

WELCOME LETTER LA JOLLA MUSIC SOCIETY STAFF & BOARD OF DIRECTORS THE UKULELE ORCHESTRA OF GREAT BRITAIN JIAYAN SUN WENDY WHELAN / RESTLESS CREATURE NIKOLAY KHOZYAINOV KODO - ONE EARTH TOUR 2015: MYSTERY INGOLF WUNDER ROTTERDAM PHILHARMONIC ARTIST BIOGRAPHIES ANNUAL SUPPORT AND MEDALLION SOCIETY

ADMINISTRATION

ARTISTIC & EDUCATION

DEVELOPMENT

MARKETING & TICKET SERVICES

PRODUCTION

LA JOLLA MUSIC SOCIETY STAFF

BOARD OF DIRECTORS · 2014-15

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

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

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

LEGAL COUNSEL

Paul Hastings LLP

AUDITOR

Leaf & Cole, LLP

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

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CALENDAR

LA JOLLA MUSIC SOCIETY

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

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

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

SP E CIA L E VE N T

THE UKULELE ORCHESTRA OF GREAT BRITAIN®

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

FRIDAY, JANUARY 23, 2015 · 8 PM MCASD SHERWOOD AUDITORIUM

Program to be announced from the stage Get ready for a funny, thought-provoking, surprising, toe-tapping, foot-stomping good time!

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

PERFORMERS George Hinchliffe Kitty Lux Jonty Bankes Peter Brooke Turner Will Grove-White Leisa Rea David Suich Richie Williams

U.S. Tour Management: ARTS MANAGEMENT GROUP, INC., 130 West 57th St., New York, NY 10019 CDs and DVDs available from www.ukuleleOrchestra.com and www.amazon.com MP3s available on itunes.

This performance marks The Ukulele Orchestra of Great Britain's La Jolla Music Society debut.

Twitter: @theUkes Facebook: UkuleleOrchestraofGB Youtube: UkuleleOrchestra

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

THE UKULELE ORCHESTRA OF GREAT BRITAIN - ROSTER

MEET THE UKULELE ORCHESTRA OF GREAT BRITAIN® George Hinchliffe

Peter Brooke Turner

David Suich

Founder member and director of the orchestra. Born and grew up in Sheffield. Studied in Leeds. Started playing the ukulele in 1960. Founded the ukes in 1985. Has worked with Michael Nyman, Mary Wells, Brian Eno, The British Youth Choir, Ron Geesin, The Anjaana Asian Music Group of Bradford, Snake Davis and the Alligator Shoes. Was a noteur for Fairground Organs. Writes and arranges for the orchestra, including the original music in “Ukulelescope”, and “Dreamspiel”. Has recorded several solo CDs. Lives in Kent.

The tallest member of the orchestra. Born in Lisbon, Portugal. Grew up in the Soviet Union, Brazil, America, Finland and Italy. Started playing the ukulele in 1989. Joined the ukes in 1995. Has worked with Des O-Connor, Jules Holland, Shaking Stevens and Vic Reeves. Lent his uke to Tiny Tim for a London gig. Usually enters the Eurovision Song Contest. Fronted his own “Ukulele Kings” uke rock group. Has released several solo CDs. Lives in Kent.

Kitty Lux

Will Grove-White

The member of the orchestra with the longest hair. Born in Erith, Kent. Grew up in London. Studied in Leeds. Started playing the ukulele in 1980. Joined the ukes in 1985. Has worked with Rik Mayall, Malcolm Hardy. Also known as “Joe Bazouki”, a Glastonbury Festival compere over 20 years. Fronted his own groups including “Friends of the Monster” and “The Missing Puddings”, and supported “Screaming Lord Sutch”. Has released several solo CDs. Lives in London.

Founder member and director of the orchestra. Born and grew up in London. Studied in Leeds. Started playing the ukulele in 1982. Founded the ukes in 1985. Has worked with Impact Theatre, Brendan Croker, The Mekons, The Gang of Four. Performed and recorded with her bands: Sheeny and the Goys, Really, The Sirens. Has released several CDs. Worked in engineering and architecture gaining a Queen’s Award to industry. Lives in London.

The youngest member of the orchestra. Born in London. Grew up in Sheperd’s Bush, London. Studied in Manchester. Started playing the ukulele in 1986. Joined the ukes in 1991. Had to have written permission to take the day off school to appear on TV with the ukes. Has won several Royal TV Society awards for his documentaries. Fronts his own “Will Grove-White and the Others” band. Has released several solo CDs. Lives in London.

Jonty Bankes The member of the orchestra who in addition to playing the bass ukulele, whistles virtuosically. Born in Branston, Lincolnshire. Grew up Lincolnshire. Started playing the ukulele as a youngster playing George Formby. Joined the ukes in 1992. Has worked with Ray Davis, John Mayall, Lousiana Red and Chuck Berry. Was a London Bus driver. Plays with his own rock group in Hamburg where he lives. Has appeared on numerous CDs with other artists.

LA JOLLA MUSIC SOCIETY

Leisa Rea The member of the orchestra who has also trained doctors in the theatre of the patient encounter. Born and grew up in Manchester. Was educated in Wales and Yorkshire. Started playing the ukulele in 1990. Joined the ukes in 2005 as deputy. Has worked with many comedy greats. Was originally a guitarist. Has appeared in comedy and music shows including Adams and Rea. Lives in London.

Richie Williams One of the original members of the orchestra, and also the one of the latest additions to the line up, having had over a decade of absence. “Time off for good behaviour”. Born in Bootle. Grew up and studied in Liverpool. Started playing the guitar aged 6. Played at the Cavern Club with Thin Lizzy. Joined the ukes in 1986 and again in 2003. Was a roadie for Frank Zappa and Status Quo. Has worked with Mary Wells, Martha Reeves, Edwin Starr, Ben E King, Snake Davis and the Alligator Shoes. Worked with many other bands including his “Three Men and a Bass”. Has his own recording studio and a collection of vintage guitars. Lives in Dorset.

Young artists from the San Diego Youth Symphony perform

JIAYAN SUN, piano

SUNDAY, JANUARY 25 ∙ 3 PM THE AUDITORIUM AT TSRI

CHABRIER

Selections from Dix Pièces pittoresque No. 4 Sous-bois No. 6 Idylle

DEBUSSY

Selections from Préludes, Book II La terrasse des audiences du clair de lune Feux d’artifice

BARTÓK

Out of Doors, Sz.81 With Drums and Pipes: Pesante Barcarolla: Andante Musettes: Moderato Musiques nocturnes: Lento The Chase: Presto

(1841-1894)

(1862-1918)

(1881-1945)

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

INTERMISSION

CHOPIN

(1810-1849)

Prelude in C-sharp Minor, Opus 45 Preludes, Opus 28 No. 1 in C Major: Agitato No. 2 in A Minor: Lento No. 3 in G Major: Vivace No. 4 in E Minor: Largo No. 5 in D Major: Allegro molto No. 6 in B Minor: Lento assai No. 7 in A Major: Andantino No. 8 in F-sharp Minor: Molto agitato No. 9 in E Major: Largo No. 10 in C-sharp Minor: Allegro molto No. 11 in B Major: Vivace No. 12 in G-sharp Minor: Presto

D ISCO VE R Y SE R IE S

PRELUDE 2 PM

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 Jiayan Sun'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

JIAYAN SUN - PROGRAM NOTES Program notes by Eric Bromberger

Selections from Préludes, Book II

Selections from Dix Pièces pittoresque

Claude DEBUSSY

Emmanuel CHABRIER Born January 18, 1841, Ambert, Puy-de-Dôme, France Died September 13, 1894, Paris

Emmanuel Chabrier was–despite stubby fingers–a piano prodigy as a child, and he grew up longing to be a composer. But his parents insisted on a “sensible” career, and so Chabrier spent several unhappy decades as a minor clerk in the Ministry of the Interior who dabbled in composition in his spare time. Chabrier is probably best-remembered today for his orchestral rhapsody España, but he also wrote a great deal of music for his own instrument, the piano. The Pièces pittoresques (“Picturesque Pieces”) date from 1881, when the 40-year-old Chabrier had just abandoned his government job to devote himself to music: he was working as chorus director for the Lamoureux concerts in Paris when he wrote these ten brief piano pieces. Despite the title, it should be understood that Chabrier was not necessarily setting out to paint musical portraits in these ten pieces–their individual titles range from emotional states (“Melancholy”) through musical forms (“Improvisation,” “Scherzo-valse”) to events (“Whirlwind,” “Village Dance”) to the slightly droll (“Pompous Minuet”). These pieces proved so successful that seven years later, in 1888, Chabrier orchestrated four of them to form his Suite pastorale. This recital presents two of those ten pieces. The fourth movement is titled Sous-bois, which has been variously translated as “Under the Trees” or “Underbrush.” This is a gentle little mood-piece. Chabrier marks the left hand part “with a great sweetness and grace,” and it murmurs quietly throughout–its occasional soft discords are part of the fun. Above this the right hand has a melodic line full of unusual rhythmic fluidity. The sixth movement of the Pièces pittoresques is an absolutely charming piece titled Idylle. Only a few minutes long, it is built on the simplest of materials: an irresistible main theme, a pulsing staccato accompaniment, and harmonies that shift subtly all the way through. Chabrier’s performance marking for this piece–“With freshness and naiveté”–is perfect, and Idylle charms at every instant, right through the ending, when it winks out in front of us.

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

Debussy composed his two books of piano préludes relatively late in life. The first appeared in 1910, and he composed the second book of twelve preludes over the next several years while he was completing one of his most subtle orchestral scores, the ballet Jeux. Book II was published in Paris on April 19, 1913, just six weeks before Stravinsky’s Le sacre du printemps stood that city on its head. Though he has been inescapably tagged an “impressionist,” Debussy disliked that term. He would have argued that he was not trying to present a physical impression of something but instead trying to create in sound the character of his subject. So little was he concerned to convey a physical impression that he placed the evocative title of each prelude at its end rather than beginning–he did not wish to have an audience (or performer) fit the music into a preconceived mental set but rather wanted the music heard for itself first, identified with an idea or image later. In fact, some have gone so far as to say that perhaps Debussy wanted the music to suggest the title. The twelve préludes of Book II have a dazzling variety of subjects, and Debussy evokes such different locales as Spain, India, England, Egypt, Germany, and–of course– France. This recital offers two of the preludes from Book II. La terrasse des audiences du clair de lune (The Balcony Where Moonlight Holds Court) was inspired by tales of India; the last of the preludes to be composed, it features chords at the extreme ends of the keyboard. The final prélude–Feux d’artifice (Fireworks)–brings a festival of fireworks, and the occasion becomes clear at the end: a bit of “La Marseillaise” sneaks in to remind us that these fireworks celebrate July 14–Bastille Day.

Out of Doors, Sz.81

Béla BARTÓK

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

In 1926 Bartók made some changes in the direction of his career, and his music changed as a result. After years of teaching at the Budapest Royal Academy of Music, Bartók decided to resume his career as a virtuoso pianist. He needed music of his own to play on tour, and so–after an interval of some years–he began to compose again for the

LA JOLLA MUSIC SOCIETY

JIAYAN SUN - PROGRAM NOTES

piano. In 1926 Bartók wrote his First Piano Concerto (it would promptly assault audiences from Frankfurt to New York with its dissonance and percussive piano writing), as well as his Sonata for Piano, Nine Little Pieces, and a collection of five brief movements that he called Out of Doors. Bartók gave the premiere of Out of Doors (at least of several of its movements) at a recital in Budapest on December 8, 1926. Out of Doors is remarkable music–it is one of Bartók’s most impressive (and difficult) works for the piano, and it shows several unusual influences. Over the preceding several years, Bartók had been editing collections of baroque keyboard music (works by Couperin, Scarlatti, Frescobaldi, and others). Bartók had no interest in the neo-classical movement then in vogue in Europe, but he found himself intrigued by the form of the baroque suite (a collection of movements that might be unrelated) and by the descriptive keyboard music of baroque composers, particularly that of Couperin. He combined the general shape of the baroque suite with his own new interest in the percussive possibilities of the piano to compose Out of Doors, a suite of five concise movements, each with a title and descriptive in intention. This is charming music, but for all its appeal to audiences, it is extraordinarily difficult for the pianist: extended sections are written on three staves, and the music is full of rhythmic and harmonic difficulties. Out of Doors also demands a performer with unusual touch, one who can master the percussive outer movements while creating the full range of color–much of it quite subtle–that Bartók demands in the interior movements. With Drums and Pipes is a good illustration of Bartók’s percussive writing for piano. Set in a steady 2/4, the music pounds along, its propulsive progress made more pungent by the stinging sound of seconds. Much of this movement is set deep in the piano’s register, and its steady pulse slows only at the end. A barcarolle is the song of the Venetian gondoliers, and a number of composers–Chopin and Liszt among them–have written keyboard works in this form. Bartók’s Barcarolla preserves the murmuring, rocking sound typical of the form, but his pulse of eighth-notes is enlivened by the fact that he changes meter in almost every measure. Above this, the music shimmers quietly. In Musettes Bartók portrays the bagpipes with whirling dissonances; the bagpipes clatter and wheeze, and tunes emerge from these thick layers of sound. The most unusual (and impressive) movement in Out of Doors is the fourth, Musiques nocturnes. This is one of the earliest of Bartók’s “night-music” movements, and here he evokes the sounds of nature at night: insects chirp, frogs croak, birds twitter. This movement is written on three staves, and it includes tone clusters that blur the sound,

swirls, murmurs, all broken by the occasional peep of a very high note. Out of these subdued night-sounds, simple tunes emerge and sing, and in the closing section Bartók combines these tunes with his opening material. This movement was clearly close to its creator’s heart. He dedicated it to his wife, and nineteen years later, as he lay dying in New York, he composed his Third Piano Concerto and dedicated that to his wife as well–the slow movement of that concerto is exactly this same sort of night-music movement. Out of the soft close of the fourth movement, the final movement–The Chase–bursts to life. The keyboard style here is very similar to that of the first movement: both pound along vigorously, and here Bartók has the left hand playing steady sixteenths while the right plays octave eighths. The music pounds its way without any relief right to the sudden stop.

Prelude in C-sharp Minor, Opus 45

Frédéric CHOPIN

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

On the second half of this program, Jiayan Sun performs Chopin’s Preludes, Opus 28. Those preludes, in each of the twenty-four keys, would seem to be Chopin’s final word on this form, but he came back to it one more time. The composer spent the summer of 1841 at Nohant, George Sand’s summer home, and there he wrote this prelude at the request of his publisher Schlesinger, who had specified that it should be short. The Prelude in C-sharp Minor is at a slow pace (Chopin’s marking is Sostenuto), and the mood is restrained. Its characteristic sound is the steady tread of the eighthnote accompaniment that unfurls continuously beneath the fragmentary melody. While the prelude may nominally be in C-sharp minor, Chopin leaves that key far behind: this music seems to move through a new key in almost every measure, and harmonic instability is the most distinctive feature of this music. Near the end, a “cadenza” leads to a forceful return of the opening material, and the prelude trails into silence on a concluding chord that is–at last–in unequivocal C-sharp minor.

Preludes, Opus 28

Frédéric CHOPIN As a small boy in Poland, Chopin fell in love with the keyboard music of Bach. Like Beethoven before him (and W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

JIAYAN SUN - PROGRAM NOTES

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-familiar it has become–remains some of the most expressive music ever written. At the other extreme are such preludes as No. 24 in D Minor, full of bravura brilliance and the Prelude No. 8 in F-sharp Minor, stormy and impulsive music–Chopin’s marking is Molto agitato. The piece is in constant motion throughout, with the driving theme in the left hand as the right accompanies with perpetual swirls of sound. After all this energy, the subdued conclusion is particularly effective. 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

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(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.

Marcus Overton will host a conversation with choreographer Brian Brooks

RESTLESS CREATURE FRIDAY, JANUARY 30 · 8 PM BALBOA THEATRE

RESTLESS CREATURE Performance time is approximately 70 minutes with no intermission. PERFORMERS

Wendy Whelan Kyle Abraham Joshua Beamish Brian Brooks Alejandro Cerrudo EXECUTIVE PRODUCERS

Sunny Artist Management Inc. Wendy Whelan

PRODUCERS

Ilter Ibrahimof Valérie Cusson

CO-PRODUCERS

The Joyce Theater Foundation

CO-COMMISSIONERS

Carolina Performing Arts Jacob’s Pillow Dance Festival The Joyce Theater Foundation

CREATIVE DIRECTOR

David Michalek

Joe Levasseur, lighting design Karen Young, costume design Davison Scandrett, production manager Meredith Belis, stage manager Courtney Ozaki Moch, project manager This performance marks the La Jolla Music Society debut of Wendy Whelan, Kyle Abraham, Joshua Beamish, Brian Brooks and Alejandro Cerrudo.

D A N CE SE R IE S

PRELUDE 7 PM

Tonight’s concert is co-sponsored by Dance Society members:

Katherine Chapin, June Shillman, and Jeanette Stevens Many thanks to our Hotel and Restaurant Partner: The Westgate Hotel

WORLDWIDE REPRESENTATION: Sunny Artist Management, Inc. sunnyartistmanagement.com restlesscreature.com PRESS REPRESENTATIVE: Blake Zidell & Associates

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RESTLESS CREATURE - PROGRAM NOTES

RESTLESS CREATURE

World Première: Jacob’s Pillow Dance Festival, Becket, MA, USA on Wednesday August 14, 2013

I. EGO ET TU (2013)

III. THE SERPENT AND THE SMOKE (2013)

Choreography Performers

Alejandro Cerrudo Alejandro Cerrudo and Wendy Whelan

Choreography Performers

Kyle Abraham Kyle Abraham and Wendy Whelan

Musical Works

“Monologue” from Perfect Sense and “The Twins (Prague)” by Max Richter “Orphée’s Bedroom” by Philip Glass “We (Too) Shall Rest” by Ólafur Arnalds “Intermezzo II” by Gavin Bryars

Musical Works

“#304” and “#320” by Hauschka & Hildur Guðnadóttir

Atlantic Screen Group [Max Richter, “Perfect Sense”], Universal Music Publishing Group [Max Richter, “The Twins (Prague)”]; ©1993, 1984 Dunvagen Music Publishers Inc. Used by Permission [Philip Glass, “Orphée’s Bedroom”]; Nettwerk One Music Group [Ólafur Arnalds]; European American Distributors Company [Gavin Bryars]

II. CONDITIONAL SENTENCES (2015) Choreography Performers

Joshua Beamish Joshua Beamish and Wendy Whelan

Musical Works

“Partita No. 2 in C Minor, BWV 826” by J.S. Bach from Glenn Gould Plays Bach

Music used by permission: Music Sales Corporation, G. Schirmer, Inc.; Touch Music

IV. FIRST FALL (2012) Choreography Performers

Brian Brooks Brian Brooks and Wendy Whelan

Musical Works

“1957 Award Montage” “November 25, Ichigaya” “1962: Body Building” “Mishima/Closing” “String Quartet No.3”, (‘Mishima’)” by Philip Glass from Brooklyn Rider plays Philip Glass ©1993, 1984 Dunvagen Music Publishers Inc. Used by Permission.

First Fall was commissioned by Damian Woetzel for the 2012 Vail International Dance Festival in Vail, Colorado.

RESTLESS CREATURE is the inaugural work of the Wendy Whelan New Works Initiative, and is made possible by a creative residency space grant provided by the Baryshnikov Arts Center. Presentations of Restless Creature are made possible by the MetLife Community Connections Fund of the New England Foundation for the Arts’ National Dance Project. Major support for National Dance Project is provided by the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation. Restless Creature and the Wendy Whelan New Works Initiative is made possible by the generous support of: Founders’ Circle: *Diana and Joe DiMenna, *Mary Jo and Ted Shen; Producers’ Circle: *Ian ArcherWatters, *Stephen Reidy, *Catherine and Mark Slavonia; Partners’ Circle: *Charles and Debbie Adelman, *Kerry Clayton and Paige Royer, *Stuart H. Coleman, Esq., *Judith M. Hoffman, and *Michèle and Steven Pesner; Patrons: Jody and John Arnhold, Candace and Rick Beinecke, Margo Krody and Mitchell J. Blutt, Mary Sharp Cronson, Barry Friedberg and Charlotte Moss, New York Community Trust/Wallace Special Projects Fund, Jon L. Stryker and Slobodan Randjelović. Additional support from Gillian Attfield, Davis S. Brown, Joseph P. Doherty, Hilda Kraker, and Fred and Irene Shen. *Denotes a Founding Sponsor of the Wendy Whelan New Works Initiative Ms. Whelan wishes to express her gratitude to Donya Bommer, Diana DiMenna, and Mary Jo and Ted Shen for their unwavering belief and support; Ilter Ibrahimof, David Persky, Valérie Cusson, Courtney Ozaki and Sunny Artist Management; Linda Shelton, Martin Wechsler, Cathy Eilers, Katy Myers, Margaret Hollenbeck, and the Joyce Theater Foundation; Mikhail Baryshnikov, Georgiana Pickett, Eleanor Wallace, and the Baryshnikov Arts Center; Peter Martins, Katherine E. Brown, Julia Rosenfeld, and the New York City Ballet; Rose Caiola, Erin Fogarty, and Manhattan Movement & Arts Center; Hubbard Street Dance Chicago; Wilhelm Burmann, Zvi Gotheiner, and all of the teachers who have brought inspiration with their vision of dance; and to these individuals: Ian ArcherWatters, Ella Baff, Peter Boal, Dr. Philip Bauman, Dr. Srino Bharam, Siobhan Burns, Rena Butler, Claire Chase, Francesco Clemente, James Gallegro, Jill Johnson, Ana Lopez, David Michalek, Marika Molnar, Chalvar Monteiro, Wendy Perron, Dr. Marc Philippon, Pauline Reyniak, Michelle Rodriguez, Risa Steinberg, Alexandra Wells, Deborah Wingert Arkin, Damian Woetzel, and Karen Young.

LA JOLLA MUSIC SOCIETY

LA JOLLA MUSIC SOCIETY’S

CHOREOLab 2015 CHOREOLab 2015 held at San Diego State University on Thursday, January 29, 2015 and in conjunction with La Jolla Music Society’s Dance Series presentation of WENDY WHELAN / RESTLESS CREATURE.

CONGRATULATIONS

to our featured participants: Blythe Barton, Geoffrey Gonzalez, Ami Ipapo, Melissa Nunn and Elyssa Dru Rosenberg.

THANK YOU

to Kyle Abraham, Brian Brooks, Joshua Beamish, Alejandro Cerrudo and Marcus Overton for your participation and San Diego State University, San Diego Dance Connect, San Diego Dance Network, La Jolla Music Society’s Dance Society, and the vibrant dance community of San Diego for your generous support. CHOREOLab 2016 date announcement and call for submissions will be posted at www.LJMS.org later this year!

CHOREOLab 2012

CHOREOLab is an amazing opportunity for San Diego’s incredible dance makers to present their work to leading figures in the global dance community. After an initial performance, participants receive valuable feedback from a panel of choreographers, dancers, artistic directors, managers, and dance aficionados. Participants then present their work a second time based on that feedback and engage in open dialogue with the panel and audience about the successes of their work. As part of La Jolla Music Society’s Education Programs, CHOREOLab aims to support San Diego’s vibrant arts communities. We are endlessly grateful for all the amazing artists who share their craft by participating in these programs.

For more information about this event and all of the educational opportunities LJMS offers throughout the year, please contact Jonathan Piper, Education Manager, at 858-459-3724 x221 or JPiper@LJMS.org W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

FRIEMAN FA MILY P IA N O SE R IE S

PRELUDE 7 PM Lecture by Steven Cassedy: Crazy-Difficult Piano Music

NIKOLAY KHOZYAINOV, piano SATURDAY, JANUARY 31 ∙ 8 PM MCASD SHERWOOD AUDITORIUM

CHOPIN

(1810-1849)

Ballade No. 2 in F Major, Opus 38 Three Waltzes Waltz in C-sharp Minor, Opus 64, No. 2 Waltz in A-flat Major, Opus 69, No. 1 Waltz in B Major, Opus 69, No. 2

TCHAIKOVSKY

Theme and Variations in F Major, Opus 19, No. 6

LISZT

Rhapsodie espagnole, S.254

(1840-1893)

(1811-1886)

INTERMISSION

RAVEL

Pavane pour une infante défunte

RACHMANINOFF

Piano Sonata No. 1 in D Minor, Opus 28 Allegro moderato; Allegro Lento Allegro molto

(1875-1937)

(1873-1943)

Nikolay Khozyainov last performed for La Jolla Music Society in the Discovery Series on May 12, 2013.

LA JOLLA MUSIC SOCIETY

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

Conrad Prebys and Debbie Turner Many thanks to our Hotel and Restaurant Partner: La Valencia Hotel

NIKOLAY KHOZYAINOV - PROGRAM NOTES Program notes by Eric Bromberger

Ballade No. 2 in F Major, Opus 38

Frédéric CHOPIN

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

Chopin himself was the first to use the term “ballade” to refer to a piano composition, appropriating the name from the literary ballad. He appears to have been most taken with the lyric and dramatic possibilities of the term, for his four ballades fuse melodic writing with intensely dramatic– almost explosive–gestures. After Chopin’s death, Liszt, Grieg, Fauré, and Brahms would compose works for solo piano that they too called ballades. Formally, Chopin’s ballades most closely resemble the sonata-form movement (an opening idea contrasted with a second theme-group, and the two ideas developed and recapitulated), but the ballades are not strictly in sonata-form, nor was Chopin trying to write sonata-form movements. His ballades are quite free in form, and their thematic development and harmonic progression are sometimes wildly original. All four ballades employ a six-beat meter (either 6/4 or 6/8), and the flowing quality of such a meter is particularly well-suited to the sweeping drama of this music. All four demand a pianist of the greatest skill. Because of the literary association and the dramatic character of the music, many have been quick to search for extra-musical inspiration for the ballades, believing that such music must represent the attempt to capture actual events in sound. Some have heard the Polish struggle for independence in this music, others the depiction of medieval heroism. Chopin himself discouraged this kind of speculation and asked the listener to take the music on its own terms rather than as a representation of something else. Chopin dedicated the Ballade in F Major to Robert Schumann. The actual composition of this piece was spread over several years, and Schumann was surprised when the text published in 1840 bore little resemblance to a version Chopin had played for him in 1836. The Ballade in F Major is built on two distinct theme-groups. The gentlyrocking opening, marked Andantino, moves along gracefully but is suddenly shouldered aside when the Presto con fuoco explodes to life. These two sections alternate, and the music comes to a close on a quiet fragment of the opening melody.

Three Waltzes

Frédéric CHOPIN This set offers three waltzes written at different moments in Chopin’s career. The three waltzes that make up Chopin’s Opus 64 were the last that he published. He composed them in 1846-47 and performed them frequently, both in Paris and in England, during the final two years of his brief life. These sparkling waltzes, which have become some of his best-known music, require little introduction. The second of them, in C-sharp minor, has become famous (even without benefit of a nickname); its popularity springs from the wealth of its thematic ideas, and Chopin concludes nicely by returning not to the opening theme but to the haunting second. The final work Chopin published during his lifetime was his Cello Sonata, Opus 65, which appeared in 1847. But after his death two years later at age 39 various editors and colleagues collected some of his unpublished works and presented them as his Opus 66 through Opus 74. These works, which the composer had chosen not to publish, sometimes joined together pieces that had been written at quite different times and under quite different circumstances. Such is the case with the two waltzes that make up Chopin’s Opus 69. The Waltz in A-flat Major was written in September 1835, fourteen years before the composer’s death. That summer, Chopin left Paris and traveled through Germany, where he saw his parents for the last time. At the end of the trip, he went on to Dresden and stayed with the Wodzínski family. In Poland, he had been a school-friend of the family’s three sons, but now he was struck by their sister, Maria, who had just turned 16. She was a remarkable beauty, and just before leaving Dresden Chopin presented her with a parting gift, the Waltz in A-flat Major. As a result, the waltz is sometimes given the nickname “L’adieu.” The usual form of Chopin’s waltzes is an opening section, a central episode that is usually in a different key, and a return of the opening material. The two waltzes of Opus 69 observe this pattern only generally. The Waltz in A-flat Major opens with the firm waltz rhythm in the left hand, while the right has the more supple main melody. Its middle section, based on firmer rhythms, is quite brief–so brief, in fact, that it passes almost before one knows it. A return of the opening rounds off this waltz. The Waltz in B Minor dates from 1829, when Chopin was only 19. The smooth opening gives way to a central episode in B major, marked dolce and full of dotted rhythms. Once again, the middle section is over quickly, and Chopin eases his way back to B minor and the opening material. W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

NIKOLAY KHOZYAINOV - PROGRAM NOTES

Theme and Variations in F Major, Opus 19, No. 6

Peter Ilych TCHAIKOVSKY Born May 7, 1840, Votkinsk, Russia Died November 6, 1893, St. Petersburg

Mention the name Tchaikovsky, and audiences think automatically of sumptuous ballets and dramatic orchestral works. Very few think of Tchaikovsky as the composer of piano music, but in fact he was quite a good pianist, and he composed a great deal of music for solo piano across the span of his career. Among his compositions are a number of collections of short works for piano that he usually published under the French title morceaux: “pieces.” In the fall of 1873, while he was teaching at the Moscow Conservatory, the thirty-year-old Tchaikovsky completed a collection of pieces that he titled Six morceaux, Opus 19. These six pieces are not in any way connected and are usually performed individually. The last of them–the longest and most substantial in the set–is a set of twelve variations on a theme Tchaikovsky had composed himself. The Theme and Variations in F Major is quite a compact piece of music: the theme, twelve variations, and coda pass by in about ten minutes. Tchaikovsky’s fundamental theme consists of an eight-bar chordal statement followed by an eight-bar extension, and the variations follow without pause. Tchaikovsky’s variations are usually melodic (that is, one can hear his original theme throughout all the variations), and they range from big and brilliant, such as the fourth variation, to the gentle: the fifth is marked Andante amoroso. Particularly noteworthy are the ninth, marked Alla mazurka, which offers a delicately-syncopated little dance, and the eleventh, which Tchaikovsky titles Alla Schumann. Robert Schumann was one of Tchaikovsky’s favorite composers, and this Allegro brillante variation– which dances powerfully along its dotted rhythms–is an act of homage to that earlier composer. Tchaikovsky rounds off the set with a Presto coda. Here the original theme is heard above a rush of sixteenth-notes, and Tchaikovsky drives matters to a close on some very brilliant writing marked con molto fuoco: “with much fire.”

Rhapsodie espagnole, S.254

Franz LISZT

Born October 22, 1811, Raiding, Austria Died July 31, 1886, Bayreuth, Germany

Liszt composed his Rhapsodie espagnole in 1863, when he was in his early fifties. He had for some time been drawn to the idea of composing piano works based on themes of specific national character, and he used tunes of Hungarian,

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Russian, Polish, French, German, English, and other origins as the material for these. This “Spanish Rhapsody” is based on two famous themes of ancient Spanish origin, both of them already treated by other important composers: La Folia, which nearly two centuries earlier had formed the ground bass for a set of violin variations by Corelli, and the Jota aragonesa, which Glinka had used for a brilliant orchestral work. Liszt’s Rhapsodie espagnole opens with a terrific cadenza, then La Folia is heard deep in the left hand and is transformed into music of roof-rattling virtuosity before the quiet statement of the Jota aragonesa. This too is extended brilliantly (much of the writing is in the piano’s ringing high register) before the Rhapsodie closes on a fragment of La Folia. A generation after Liszt composed this music, the Italian composer-pianist Ferruccio Busoni made a tremendous arrangement of Rhapsodie espagnole for piano and orchestra. One of the early performers of the Busoni version was a superb young pianist (and great admirer of Liszt) named Béla Bartók.

Pavane pour une infante défunte

Maurice RAVEL

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

Ravel composed the Pavane pour une infante défunte (“Pavane for a Dead Princess”) for solo piano in 1899, when he was 24, and it became his first significant success. A pavane is an ancient dance of stately character and in duple meter, probably of Italian origin. There is an old custom that during periods of mourning in the Spanish court, a pavane might be danced before the funeral bier. Ravel may have been referring to this custom when he chose the title for this music, though he later admitted choosing it simply because he liked the sound of the words. He is quoted as saying: “Do not attach to the title any more importance than it has. Do not dramatize it. It is not a funeral lament for a dead child, but rather an evocation of the pavane which could have been danced by such a little princess as painted by Velazquez at the Spanish court.” The Pavane opens with the simple but haunting main theme. The piece is in rondo form, with the theme treated in three episodes, developed and harmonized differently each time. Ravel is said to have become tired of the Pavane’s great popularity, and he is known to have insisted that the music be played straight: without sentimentality or undue expression. This did not prevent his making the famous crack–after sitting through a dull performance of the Pavane–to the pianist: “I have written a pavane for a

NIKOLAY KHOZYAINOV - PROGRAM NOTES

deceased princess, not a deceased pavane for a princess.” In 1910, Ravel orchestrated the Pavane, and the music has become well-known in this version, in which the opening statement is a famous solo for French horn.

Piano Sonata No. 1 in D Minor, Opus 28

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

In February 1906 Rachmaninoff resigned his position as conductor at the Bolshoi and moved his family to Dresden. He had won critical praise as a conductor, but the demands of that position prevented him from composing, which was what he really wanted to do. He loved the quiet house he rented in Dresden–it was surrounded by a garden–and he set to work immediately. The next few years were some of his most productive, for they included the composition of his Second Symphony, Isle of the Dead, and Third Piano Concerto. Also from these years came a work that has proven much less familiar, the First Piano Sonata. Rachmaninoff sketched the sonata in January and February 1907 and had it complete on May 14 of that year. But he was by no means comfortable with his latest creation. To a friend he described his problems with it: “The sonata is certainly wild and interminable. I think it takes about 45 minutes. I was lured into this length by its guiding idea. This is–three contrasting types from a literary work. Of course no program will be indicated, though I begin to think that the sonata would be clearer if the program were revealed. Nobody will ever play this composition, it’s too difficult and long . . . At one time I wanted to make a symphony of this sonata, but this seemed impossible because of the purely pianistic style in which it is written.” The premiere, given in Moscow on October 17, 1908, by Konstantin Igumnov, got a respectful but mystified reaction, and the composer had scarcely any more success when he played the sonata on his recitals during the next several seasons. Perhaps it may help audiences to know that the “literary work” that inspired this sonata was Goethe’s Faust and that its three movements were apparently inspired in turn by Faust, Gretchen, and Mephistopheles. Small wonder that the work struck Rachmaninoff as symphonic in character: these are the titles and sequence of the three movements of Franz Liszt’s Faust Symphony, composed in 1857. Rachmaninoff chose not to reveal the inspiration, and this sonata is in no sense programmatic: its three movements should be understood more as character pieces than as pieces that depict specific events.

This is an extremely difficult sonata for the performer, and it generates textures so full and dramatic that Rachmaninoff was right to wonder if it might really be symphonic music. The Allegro moderato alternates tentative figures with fierce outbursts before rushing ahead at the Allegro; its second subject, marked Moderato, is built on repeated notes that emerge from murmuring figurations. This movement, long and technically demanding, drives to a sonorous climax that rides along great waves of sound before the music subsides to recall the second subject and to close quietly, even peacefully. The main idea of the Lento is introduced above rocking triplet accompaniment, and that rhythm will eventually drive this movement to an agitated climax; a striking sequence of descending trills brings the movement to its restrained close. The finale has seemed to some who know of the sonata’s original inspiration to have been inspired by the Flight to Brocken in Goethe’s Faust. It opens with hammered octaves that are marked both fortissimo and marcato and then races ahead; the second subject is a quiet, march-like idea that Rachmaninoff marks “very resolute.” These two ideas alternate throughout the movement, which also features some lyric and haunting melodies. The music accelerates to the close, where Rachmaninoff rounds matters off with a great chordal climax full of the sound of pealing bells and a suitably furious cadence.

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SP E CIA L E VE N T

One Earth Tour 2015: Mystery FRIDAY, FEBRUARY 6 ∙ 8 PM BALBOA THEATRE

JAMAI YOMICHI WALL AJARA AKE NO MYOJO HAREWATARU NAMAHAGE MUTE KUSA-WAKE KEI KEI

Traditional, arranged by Kodo Composed by Tsuyoshi Maeda (2013) Composed by Yosuke Oda (2013) Composed by Mitsuru Ishizuka (2006) Composed by Yosuke Oda (2012) Composed by Eri Uchida (2013) Arranged by Kodo Featuring “Yomichi” by Tsuyoshi Maeda, 2013 Composed by Yosuke Oda (2013) Composed by Yuta Sumiyoshi (2013) Composed by Yuta Sumiyoshi (2012) INTERMISSION

CHIT CHAT SHISHIMAI YUYAMI COLOR MIYAKE YATAI-BAYASHI JAMAI HEKIREKI

Composed by Eri Uchida (2013) Arranged by Kodo, Featuring “Lion” by Leonard Eto (1990) Composed by Yuta Sumiyoshi (2013) Composed by Masayuki Sakamoto (2009) Traditional, arranged by Kodo Traditional, arranged by Kodo Traditional, arranged by Kodo Composed by Masayuki Sakamoto (2013)

*The following pieces are based on these regional traditional performing arts: Jamai: Iwami Kagura (Iwami Region, Shimane)

Miyake: Kamitsuki Mikoshi Taiko (Miyake Island, Tokyo)

Yatai-bayashi: Chichibu Yatai-bayashi (Chichibu, Saitama)

Tonight’s performance is sponsored by the:

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

PERFORMERS Masayuki Sakamoto, Eri Uchida, Mariko Omi, Yosuke Kusa, Shogo Komatsuzaki, Akiko Ando, Yuta Sumiyoshi, Tetsumi Hanaoka, Kosuke Urushikubo, Jun Jidai, Koki Miura, Shunichiro Kamiya, Ryoma Tsurumi, Kengo Watanabe, Tomoe Miura

Tamasaburo Bando, artistic director Yosuke Oda, assistant artistic director Kazumi Boy, choreography Martin Lechner, technical director Takashi Akamine, company manager

Kenichi Mashiko (S.L.S.), lighting designer Takeshi Arai, stage manager Nanako Suzuki (Niigata Shoumei Giken), assistant stage manager Yui Kawamoto, Mio Teycheney, assistant company managers

Kodo last performed for La Jolla Music Society in a Special Event on February 11, 2011.

LA JOLLA MUSIC SOCIETY

Kodo appears by arrangement with IMG Artists, LLC, 152 W. 57th St., 5th Floor, New York, NY 10019. 212-994-3500

Young artists from the San Diego Youth Symphony perform

INGOLF WUNDER, piano SUNDAY, FEBRUARY 8 · 3 PM THE AUDITORIUM AT TSRI

CHOPIN

(1810-1849)

Nocturne in E-flat Major, Opus 55, No. 2 Allegro de Concert in A Major, Opus 46 Andante Spianato et Grande Polonaise Brillante, Opus 22 INTERMISSION

LISZT

(1811-1886)

Hexaméron, S.392 Sonetto 104 from Années de pèlerinage (Deuxième année: Italie), S.161/5 Mephisto Waltz No. 1, S.110/2

D ISCO VE R Y SE R IE S

PRELUDE 2 PM

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

This performance marks Ingolf Wunder's La Jolla Music Society debut.

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INGOLF WUNDER - PROGRAM NOTES Program notes by Eric Bromberger

Nocturne in E-flat Major, Opus 55, No. 2

Frédéric CHOPIN

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

The two nocturnes of Chopin’s Opus 55 come from 1843. A nocturne suggests music not just with a nocturnal atmosphere but of an intimate, personal nature, and that is certainly true of the Nocturne in E-flat Major, which is remarkable for the equal importance of the two hands. The left hand is here not relegated to the role of accompanist but given a musical line that co-exists with the pianist’s right hand. Counterpoint is not a characteristic one automatically associates with Chopin, but this nocturne is an exercise in the deft treatment of simultaneous musical lines.

Allegro de Concert in A Major, Opus 46

Frédéric CHOPIN When he arrived in Paris in September 1831, the 21-year-old Chopin brought with him from Poland two piano concertos, which he performed in Paris, and in 1832 he began a third–there is some evidence that this may have been intended as a concerto for two pianos and orchestra. He sketched the first movement of this concerto, and then abandoned it. Why? Probably for several reasons. Chopin was not really interested in a career as public virtuoso in the manner of Liszt and many others, and the piano concerto represented one of the most visible forms of that virtuosity. Further, he was not particularly interested in writing for the orchestra or in concerto form. He soon discovered that he was able to make a career in Paris by teaching and performing before private audiences, and it is not surprising that he should abandon a composition that was going to lead him in a direction he wished to avoid. About a decade later, in 1841, Chopin returned to the abandoned sketches, transformed them into a piece for piano solo that he called Allegro de Concert, and published it that same year as his Opus 46. This did not involve a radical transformation (Chopin had earlier arranged both his completed piano concertos as works for solo piano), and it is quite possible in the Allegro de Concert to make out which are the “orchestral” passages and those that had been intended for the soloist. Marked Allegro maestoso, the piece opens with the long “orchestral” exposition, which sets the dotted rhythms of the opening against more

LA JOLLA MUSIC SOCIETY

lyric secondary material. The “piano” makes a deceptively quiet entrance, but from there on this is extraordinarily difficult music, full of passages in octaves, complex chordal writing, and consciously “virtuosic” writing before Chopin rounds the movement off with a resounding “orchestral” close. The Allegro de Concert is seldom heard today, and a performance offers the opportunity to hear not just unusual Chopin, but a rare instance of this composer setting out to write consciously virtuosic music.

Andante Spianato et Grande Polonaise Brillante, Opus 22

Frédéric CHOPIN The Andante Spianato et Grande Polonaise Brillante had a curious genesis and exists today in a variety of forms. Chopin originally wrote just the Grande Polonaise as a virtuoso concert piece for piano and orchestra between September 1830 and July 1831, when he was in his early twenties. This was an emotionally wrenching time for the composer. He had left his native Poland at exactly the moment it was being subjugated by Russia, and–suddenly homeless–he had spent a disappointing eight months trying to make a career in Vienna before finally fleeing to Paris in 1831. Three years later, in 1834, Chopin returned to the Grande Polonaise and wrote an introduction for it, the Andante Spianato, scored for piano alone. This was the period when touring piano virtuosos were entertaining audiences with concertos, and Chopin had hoped to win a following in Paris with this sort of large-scale work. He gave the premiere of the Andante Spianato et Grande Polonaise Brillante in Paris on April 26, 1835, but this was to prove one of Chopin’s final public performances: he disliked performing before large crowds (modern concert conditions would have appalled him) and thereafter limited his performances to private audiences. In 1836, Chopin returned once again to this music and arranged it for piano quartet, and two years after that he arranged the entire piece for solo piano. At this concert it is heard in the version for solo piano. The Andante Spianato is unusually calm (“spianato” has been variously translated as “level,” “even,” “smoothed out”). Over a rippling accompaniment, the gentle first idea of this nocturne-like introduction is heard; a brief trio section leads to the return of this opening material. Fanfares signal the beginning of the Polonaise, which is brilliant music, full of swirling triplets and hammered octaves. A polonaise is an old Polish dance in triple time, but to that stately old dance Chopin in this case brings unusual

INGOLF WUNDER - PROGRAM NOTES

virtuosity. Like the Andante Spianato, the Polonaise is in ABA form: both the flowing main idea and the dark and noble center section (in C minor) feature some of Chopin’s most characteristic melodic material, and the conclusion is dazzling.

Hexaméron, S.392

Franz LISZT

Born October 22, 1811, Raiding, Austria Died July 31, 1886, Bayreuth, Germany

Princess Cristina Belgiojoso-Trivulzio was one of the most colorful (some would say flamboyant) figures in Parisian salon life during the 1830s. During the winter of 1837 she conceived of an extravagant–and very imaginative–idea for a concert to benefit the poor: she chose the march of the puritans from Bellini’s opera I puritani, which had been premiered in Paris only two years earlier, and invited six leading pianists of the day to contribute a variation on that theme and to play their variation at her concert. Paris was then home to the greatest pianists in the world, as her choices made clear: Frédéric Chopin, Johann Peter Pixis, Sigismond Thalberg, Carl Czerny, Henri Herz, and Franz Liszt. Not all the variations were complete at the time of the Princess’ benefit concert, nor were all the pianists present to play “their” variation, and Liszt, then 26 years old, was eventually put in charge of assembling the composite work. He wrote an introduction, the statement of Bellini’s theme, transitional music between some of the variations, and a finale. Liszt liked the composite piece, which was named Hexaméron to recognize the participation of its six different composers: he referred to it as “the monster work” and performed it on recitals throughout Europe. The Princess Belgiojoso was known for her revolutionary sympathies–she had been thrown out of Italy because of her political views–and she chose a theme close to her heart: Bellini’s chorus is a call to arms in the name of liberty. Liszt’s subtitle makes clear that this music was intended as a virtuoso work: “Morceau de Concert. Grande Variations Bravoure sur le Marche Des Puritains.” Hexaméron opens with Liszt’s portentous introduction, full of deep tremolandi, huge chords, and powerful octave writing. His introduction contains hints of Bellini’s theme, which is then given a grandiloquent presentation marked Allegro marziale. The six variations follow. Thalberg’s variation, marked Ben marcato, is full of powerful runs, while Liszt’s own Moderato variation sounds almost chaste after Thalberg’s animated writing. Pixis marks his variation Di bravura and con fuoco (“with fire”); it features

much writing in octaves, and Liszt supplies a transition to Herz’s variation, marked legato e grazioso. This section is extremely fast, with sparkling runs set high in the pianist’s right hand. Czerny’s variation is similarly brilliant. Marked Vivo e brillante, it too is set high in the piano’s high register, and Liszt wrote a transitional passage to lead from this brilliant writing to Chopin’s more restrained variation, a slow movement. Listeners will recognize the essential Chopin style in this Largo, which builds from a quiet beginning to a fortissimo climax before falling back. Liszt then steps in to supply a knock-out bravura finale to all that has gone before. Liszt later made an arrangement of Hexaméron for solo piano and orchestra, and much of the writing in this finale sounds as if it had been conceived with an orchestra in mind. Liszt may have championed Hexaméron on his concert tours, but performances today are rare, which is too bad. Hexaméron may be a very unusual piece of music, a strange stylistic hybrid, but it does give us a window into musical life in Paris in the 1830s and into the quite different styles of six of the leading pianists active in that city and that era.

Sonetto 104 from Années de pèlerinage (Deuxième année: Italie), S.161/5

Franz LISZT Liszt and his mistress Marie d’Agoult made an extended visit to Italy in 1838-39, and they fell in love with the country, its people, its art. While in Italy, Liszt began to sketch a second collection of piano pieces in the manner of the first book of Années de pèlerinage. But where the first collection had been devoted to physical locations in Switzerland, now Liszt changed his focus, and a set of seven pieces inspired by varied works of Italian art began to take shape. In Italy, Liszt and Marie d’Agoult read through the sonnets of Petrarch together, and Liszt was so struck by these poems that the following year he wrote three songs that set Petrarch’s sonnets 104, 47, and 123. These appear to have been the first songs composed by Liszt, who was 28 at the time. These dramatic songs have been described as operatic, for they were written for high tenor and go up to high C-sharp. Liszt immediately transcribed the three songs as piano pieces, and these transcriptions were published as a set–in a slightly different order–in 1846. Several years later, Liszt returned to these piano pieces and revised them for inclusion in the second book of Années de pèlerinage. While the impulse behind these three pieces is lyric, Liszt turned the piano versions into virtuoso keyboard W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

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works: moments of melting lyricism will give way almost instantly to bravura writing that demands an absolutely firstclass pianist simply to get the notes. The famous Sonetto 104 opens powerfully (Agitato assai), as befits the troubled topic of this sonnet, but this abrupt beginning quickly gives way to the melody of the song, which is then extended at length. The writing for piano is particularly impressive here, with difficult chordal passages, powerful writing in octaves, great cadenza-like flourishes, and chains of thirds. After all this energy, the peaceful main theme returns to draw the music to its close on quietly-arpeggiated chords.

Mephisto Waltz No. 1, S.110/2

Franz LISZT In 1860, as he neared the end of his tenure as music director at the Weimar court, Franz Liszt wrote a pair of orchestral works that he titled Two Episodes from Lenau’s Faust. Nicolas Lenau (1802-50) was a Hungarian-Austrian poet who wrote his own versions of the Faust legend (different from Goethe’s) and the Don Juan story (which would inspire Richard Strauss’ tone poem later in the century). Liszt’s pieces depict quite different episodes from Lenau’s dramatic poem. The first, Der nächtlige Zug (“The Ride by Night”), is a portrait of a religious procession passing by in the night, carrying torches as they go. It is seldom played, but the second has become one of Liszt’s most familiar orchestral works. Liszt titled it Der Tanz in der Dorfschenke (“The Dance in the Village Tavern”), though it is most commonly known today under the title Mephisto Waltz No. 1. Liszt completed this music in January 1861 and led its first performance at Weimar on March 8, 1861, only months before his departure from that city (and only months before his fiftieth birthday). In the score, Liszt printed a synopsis of the action that his music depicts. Faust and Mephistopheles wander into a village tavern, where Faust is smitten by a “blackeyed beauty.” But he is afraid to approach her, and Mephistopheles chides him for being willing to stand up to the creatures of hell but cowering at the prospect of approaching a woman. Bored with the tavern, its inhabitants, and the music, Mephistopheles challenges the local musicians to dig in and play with some life. He takes up a violin and begins to play, and his playing is so exciting that it whips those in the tavern into a frenzy of excitement. Under the spell of the music, Faust overcomes his fears and leads the “black-eyed beauty” out into the warm night, where they cross a meadow and enter a dark forest. Deep in that forest, they hear the music from the distant tavern as a

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nightingale sings overhead. Liszt’s music does not set out to depict these events in the sort of realistic detail that Richard Strauss would have brought to the task. Instead, he offers a more generalized impression, and his piece is structured as a series of waltzes: some are fiery, some languorous, and some dance with an almost Mendelssohnian lightness. After all this excitement, the music turns quiet as Faust and his companion enter the dark woods. The Mephisto Waltz No. 1 is heard on this recital in Liszt’s own arrangement for solo piano.

Lecture by Marcus Overton: Always a Bridesmaid….

ROTTERDAM PHILHARMONIC Yannick Nézet-Séguin, music director Hélène Grimaud, piano

FRIDAY, FEBRUARY 13 ∙ 8 PM JACOBS MUSIC CENTER/COPLEY SYMPHONY HALL

RAVEL

(1875-1937)

Suite from Ma Mère l’Oye (Mother Goose) Pavane of the Sleeping Princess Hop O’ My Thumb Empress of the Pagodas Beauty and the Beast The Enchanted Garden Piano Concerto in G Major Allegramente Adagio assai Presto Hélène Grimaud, piano INTERMISSION

PROKOFIEV (1891-1953)

CELEBRITY O R CH E STR A SE R IE S

PRELUDE 7 PM

The Celebrity Orchestra Series is underwritten by Medallion Society members:

Joan and Irwin Jacobs Many thanks to our Restaurant Partner: The University Club Atop Symphony Towers

Symphony No. 5 in B-flat Major, Opus 100 Andante Allegro marcato Adagio Allegro giocoso

This performance marks Rotterdam Philharmonic's La Jolla Music Society debut. Hélène Grimaud last performed for La Jolla Music Society in the Frieman Family Piano Series on March 6, 2009.

Tour Direction: Tim Fox and Alison Ahart Williams Columbia Artists Management LLC New York, NY www.cami.com

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ROTTERDAM PHILHARMONIC - ROSTER

ROTTERDAM PHILHARMONIC 2015 U.S. TOUR ROSTER

Yannick Nézet-Séguin, music director Hélène Grimaud, piano FIRST VIOLIN

VIOLA

OBOE

TROMBONE

Igor Gruppman

Anne Huser Maartje van Rheeden Galahad Samson Alison Ewer Kerstin Bonk Lex Prummel Janine Baller Francis Saunders Veronika Lénártová Pierre-Marc Vernaudon

Remco de Vries Karel Schoofs Hans Cartigny Anja van der Maten

Pierre Volders Alexander Verbeek Remko de Jager

concert master

Marieke Blankestijn concert master

Quirine Scheffers Edward LeCouffe Aesil Kim Itamar Shimon Arno Bons Mireille van der Wart Shelly Greenberg Cor van der Linden Rachel Browne Maria Dingjan Marie-José Schrijner Noëmi Bodden Petra Visser Sophia Torrenga Annelieke Schaefer-van Beest Loortje van den Brink

SECOND VIOLIN Charlotte Potgieter Frank de Groot Laurens van Vliet Agnes Tönkö Ebred Reijnen Tomoko Hara Elina Hirvilammi-Staphorsius Jun Yi Dou Bob Bruyn Letizia Sciarone Eefje Habraken Maija Reinikainen Sumire Hara Wim Ruitenbeek

OBOE/COR ANGLAIS

BASS TROMBONE/ CONTRABASS TROMBONE

Ron Tijhuis

Ben van Dijk

CLARINET

TUBA

Julien Hervé Jan Jansen

Hendrik-Jan Renes

Floris Mijnders Joanna Pachucka Daniel Petrovitsch Geneviève LeCouffe Mario Rio Gé van Leeuwen Eelco Beinema Carla Schrijner Pepijn Meeuws

CLARINET/BASS CLARINET

Randy Max Danny van de Wal Ronald Ent Martin Baai Koen Plaetinck

DOUBLE BASS

FRENCH HORN

Peter Luit Matthew Midgley Ying Lai Green Harke Wiersma Robert Franenberg Peter Leerdam Jonathan Focquaert Joost Maegerman Arjen Leendertz

Martin van de Merwe Bob Stoel Jos Buurman Wendy Leliveld Richard Speetjens

CELLO

FLUTE Juliëtte Hurel Désirée Woudenberg

FLUTE/PICCOLO Wim Steinmann

LA JOLLA MUSIC SOCIETY

Romke-Jan Wijmenga

BASSOON Pieter Nuytten Marianne Prommel

BASSOON/CONTRABASSOON Hans Wisse

TRUMPET André Heuvelman Ad van Zon Arto Hoornweg Simon Wierenga Jos Verspagen

TIMPANI/PERCUSSION

HARP Charlotte Spren

ROTTERDAM PHILHARMONIC - PROGRAM NOTES Program notes by Eric Bromberger

Suite from Ma Mère l’Oye (Mother Goose)

Maurice RAVEL

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

Ravel was a very strange mixture as a person. A man of enormous sophistication and intelligence, he nevertheless felt throughout his life a stinging longing for the world of the child: he collected toys and was fascinated by the illustrations in children’s books. Not surprisingly, he made friends easily with children and sometimes abandoned the adults at parties to go off and play games with their children. Ravel’s fascination with the world of the child found expression in his art: he wrote music for children to hear (such as his opera L’Enfant et les Sortileges) and music for them to play. His Ma Mère l’Oye (“Mother Goose Suite”) for piano-four hands dates from 1908. Ravel wrote it for Jean and Mimi Godebski, aged 8 and 10, the son and daughter of some of his friends, though it was two other children–aged 7 and 10–who played the premiere in Paris in 1910. Each of the five movements was inspired by a scene from an old French fairy tale; the suite, however, should be understood as a collection of five separate scenes rather than as a connected whole. In an oft-quoted remark, Ravel described his aim and his technique in this music: “My intention of awaking the poetry of childhood in these pieces naturally led me to simplify my style and thin out my writing.” This may be music for children to hear–and for very talented children to play–but it is also music for adults: it evokes the freshness and magic of something long in the past. In 1911, Ravel orchestrated Ma Mère l’Oye, slightly expanding the music in the process. The very gentle Pavane of the Sleeping Princess depicts the graceful dance of the attendants around the sleeping Princess Florine. Hop O’ My Thumb tells of one of the most famous figures in children’s tales–the little boy who leaves a trail of breadcrumbs behind in the woods, only to become lost when birds eat the crumbs. The music itself seems to wander forlornly as the lost boy searches for the path; high above him, the birds who ate his crumbs cry out tauntingly. Empress of the Pagodas tells the story of the empress who is made ugly by a spell, only to be transformed to beauty at the end. When she steps into her bath in the garden, bells burst out in happy peals. Ravel’s use of the pentatonic scale–the music is played mostly on black keys of the piano–evokes an exotic atmosphere. Beauty and the Beast brings another classic tale. Ravel depicts Beauty with a gentle waltz, Beast with a lumpish, growling theme in the contrabassoon’s low register. A delicate glissando depicts his transformation, and Ravel skillfully combines the music of both characters. The Enchanted Garden brings the suite to a happilyever-after ending. The opening–for strings alone–is simple, almost chaste, but gradually the music assumes a broad, heroic character and–decorated with brilliant runs–drives to a noble close in shining C major.

Piano Concerto in G Major

Maurice RAVEL Throughout his career Ravel had written no concertos, and then in the fall of 1929–at the age of 54–he set to work simultaneously on two piano concertos. One was the Concerto for the Left Hand for the pianist Paul Wittgenstein, and the other– the Concerto in G Major–was intended for the composer’s own use. The Concerto for the Left Hand is dark and serious, but the Concerto in G Major is much lighter. Ravel described it as “a concerto in the truest sense of the term, written in the spirit of Mozart and Saint-Saëns. Indeed, I take the view that the music of a concerto can very well be cheerful and brilliant and does not have to lay claim to profundity or aim at dramatic effect . . . At the beginning I thought of naming the work a divertissement; but I reflected that this was not necessary, the title ‘Concerto’ explaining the character of the music sufficiently.” The actual composition took longer than Ravel anticipated, and the concerto was not complete until the fall of 1931. By that time, failing health prevented the composer from performing this music himself. Instead, he conducted the premiere in Paris on January 14, 1932. The pianist was Marguerite Long, to whom Ravel dedicated the concerto (Long had given the first performance of Ravel’s Le tombeau de Couperin in 1919). Ravel may have taken Mozart and Saint-Saëns as his model, but no listener would make that association. What strikes audiences first are the concerto’s virtuoso writing for both piano and orchestra, the brilliance and transparency of the music, and the influence of American jazz. It is possible to make too much of the jazz influence, but Ravel had heard jazz during his tour of America in 1928 and found much to admire. When asked about its influence on this concerto, he said: “It includes some elements borrowed from jazz, but only in moderation.” Ravel was quite proud of this music and is reported to have said that in this work “he had expressed himself most completely, and that he had poured his thoughts into the exact mold that he had dreamed.” The first movement, marked Allegramente (“Brightly”), opens with a whipcrack, and immediately the piccolo plays the jaunty opening tune, picked up in turn by solo trumpet before the piano makes its sultry solo entrance. Some of the concerto’s most brilliant music occurs in this movement, which is possessed of a sort of madcap energy, with great splashes of instrumental color, strident flutter-tonguing by the winds, string glissandos, and a quasi-cadenza for the harp. The Adagio assai, one of Ravel’s most beautiful slow movements, opens with a three-minute solo for the pianist, who lays out the haunting main theme at length. The return of this theme later in the movement in the English horn over delicate piano accompaniment is particularly effective. Despite its seemingly easy flow of melody, this movement gave Ravel a great deal of trouble, and he later said that he wrote it “two bars at a time.” The concluding Presto explodes to life with a five-note riff that recurs throughout, functioning somewhat like the ritornello W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

ROTTERDAM PHILHARMONIC - PROGRAM NOTES

of the baroque concerto. The jazz influence shows up here in the squealing clarinets, brass smears, and racing piano passages. The movement comes to a sizzling conclusion on the five-note phrase with which it began.

Symphony No. 5 in B-flat Major, Opus 100

Sergei PROKOFIEV Born April 23, 1891, Sontsovka, Russia Died March 5, 1953, Moscow

The premiere of Prokofiev’s Fifth Symphony on January 13, 1945, in Moscow, was one of those storybook tales, almost too good to be true. As Prokofiev mounted the podium, the sound of distant artillery rumbled through the hall. The news had just arrived that the Russian army had smashed across the Vistula River in Poland and was preparing for its final assault on Nazi Germany. After four horrific years of war, the end was in sight–that artillery barrage was the sound of the garrison in Moscow celebrating the now-inevitable victory. And so it was that Prokofiev’s Fifth Symphony was heard for the first time with a prelude of artillery thunder. This music made an overwhelming impression on audiences, both that night in Moscow and around the world in the following months, and it remains today one of the most frequently performed of twentieth-century symphonies. Prokofiev composed this music in the space of one month during the summer of 1944 at the Composer’s House in Ivanovo, an artists retreat 150 miles northeast of Moscow. Shostakovich was also there that summer, composing two works that many have felt were touched by the war, the Trio in E Minor and Second String Quartet. Prokofiev refused to make a connection between the war and his new work, saying only that he “conceived it as a symphony of the grandeur of the human spirit.” Like Stravinsky and Copland, Prokofiev was not by nature a symphonist, finding himself more comfortable with dance scores and smaller forms–his Third and Fourth Symphonies are based on material he drew from his ballets The Fiery Angel and The Prodigal Son. Now, however–in the face of a defining national moment–Prokofiev turned to the most serious of orchestral forms and wrote with vision and force. His Fifth Symphony builds across an effective sequence in its four movements: a broad-scaled and conflicted first movement gives way to a propulsive scherzo, which is in turn followed by a painful Adagio; the symphony concludes with an almost happy-go-lucky finale that takes themes from the first movement and transforms them to suit its mood of celebration. The symphony’s themes are simple, even singable, its orchestration masterful. Some of Prokofiev’s early scores had been brutal in their impact (the young composer had taken delight in outraging audiences), but now at age 53 he handles the orchestra with distinction: the scoring here ranges from the most delicate effects (the majority of its themes are introduced by solo woodwinds) to some of the loudest music ever written.

LA JOLLA MUSIC SOCIETY

The combination of dramatic content, attractive themes, skillful orchestration, and formal control makes this music almost unique among Prokofiev’s works, and one observer has gone so far as to describe Prokofiev’s Fifth as “Shostakovich’s finest symphony,” a remark that–however witty–is unfair to both composers. The very beginning is deceptively innocent: Prokofiev’s Fifth Symphony opens with the pastel sound of two flutes and a bassoon playing the simple opening idea, and the other themes–all introduced quietly and lyrically–appear quickly. This movement is an Andante rather than the expected Allegro, but while the pace may be measured, it is also inexorable, and the music gathers force as it proceeds. In its closing moments, skies blacken over what had been a generally serene landscape, and the climax is shattering, one of the most impressive in all symphonic music: tunes that had seemed genial on their first appearance now explode as the strength pent up in those simple figures is unleashed. The ticking accompaniment heard at the very beginning of the Allegro marcato continues throughout–this near-demonic tick-tock-tick-tock is so pervasive that the ear seems to hear it even when it is not there. Solo clarinet leads the way in this music, full of rhythmic energy and instrumental color. Much of this color comes from Prokofiev’s imaginative handling of percussion, particularly snare drum, woodblock, piano, and tambourine. The piercing sound of oboe and clarinet herald the arrival of the good-natured trio, but the return of the opening material brings a surprise: over the halting (almost suppressed) sound of staccato trumpets, timpani, and pizzicato strings, the opening theme now sounds lugubrious. Gradually the tempo accelerates, and the Scherzo smashes its way to the close. While Prokofiev would not make a specific connection between this symphony and the war that had raged across Russia for three years when it was written, it is hard not to feel that the Adagio is touched by the events of those years. This grieving music opens with a simple clarinet melody that quickly turns impassioned, and a range of melodic material follows, including a broadspanned theme that rises up over a span of four octaves and a grotesque march that sounds like something straight out of a Mahler symphony. Much of the writing here, particularly for the strings, is very high, yet for all this movement’s pain, its quiet closing moments are among the most beautiful in the symphony. The concluding Allegro giocoso is well named, for this truly is fast and happy music. Prokofiev re-introduces several themes from the first movement here, but now he transforms them–ideas that had sounded poised in the first movement become rollicking in this finale. Violas lead the way into the main section, full of sweep and high spirits–it takes little imagination to hear the sound of laughter at moments in this music of celebration. The ending is particularly effective. With the music racing along, Prokofiev suddenly reduces his forces to just a handful of players, and for a few moments this mighty symphony becomes chamber music. In the last seconds, the entire orchestra leaps back in for the earsplitting rush up the scale that drives Prokofiev’s Fifth Symphony to its exultant close.

2013 MacArthur Fellow, Kyle Abraham, began his dance training at the Civic Light Opera Academy and the Creative and Performing Arts High School in Pittsburgh, Pennsylvania. He continued his dance studies in New York, receiving a BFA from SUNY Purchase and an MFA from NYU Tisch School of the Arts. In 2010, Kyle received a prestigious Bessie Award for Outstanding Performance in Dance for his work in The Radio Show, and a Princess Grace Award for Choreography in 2010. The previous year, he was selected as one of Dance Magazine’s 25 To Watch for 2009. In November 2012, Abraham was named the newly appointed New York Live Arts Resident Commissioned Artist for 2012-2014. Just one month later, Alvin Ailey American Dance Theater premiered Abraham’s newest work, Another Night at New York’s City Center to rave reviews. That same year, Abraham was named the 2012 Jacob’s Pillow Dance Award recipient and 2012 USA Ford Fellow. In 2011, OUT Magazine labeled Abraham as the “best and brightest creative talent to emerge in New York City in the age of Obama.” For more information, please visit: abrahaminmotion.org.

B IO G R A P H IE S

KYLE ABRAHAM, choreographer and performer

JOSHUA BEAMISH, choreographer and performer Joshua Beamish founded MOVE: the company in 2005 and his works have since toured throughout North America, Europe, Asia and Africa. Outside of the company, he has created in collaboration with The Royal Ballet, Cirque du Soleil, NYCB Principal Ashley Bouder for The Ashley Bouder Project, The National Ballet of Canada’s YOUdance, Compania Nacional de Danza de Mexico, Cape Dance Company/South Africa, the Royal Winnipeg Ballet, Toronto Dance Theatre and Kansas City’s Wylliams/Henry Contemporary Dance, among others. He also choreographed for the CBC Radio Canada series Ils Dansent and the Cultural Olympiads for both the 2010 and 2012 Olympics. Joshua is the recipient of residencies throughout North America, including Jacob’s Pillow and the National Incubator Artist for the American Dance Institute in Washington, DC. He is an alumni of the NY Choreographic Institute, an affiliate organization of New York City Ballet, and a Jerome Robbins Foundation grantee. Notable recent presentations include The Royal Opera House, the Guggenheim and a 24-dancer evening for MOVE: the company commissioned by the Bangkok International Festival to celebrate 50 years of Canadian and Thai political relations. Joshua is a current member of The Joyce Theatre’s Young Leader’s Circle Committee. Joshua would like to extend his special thanks to Joanna and Brian Fisher, Deborah Wingert Arkin, Cathy Eilers, Larry Henry, Ella Baff, Chalvar Monteiro, Pablo Francisco Ruvalcaba Tovar, Erin Fogarty, Kyle Abraham, Risa Steinberg, Joshua Green and Chelsea Beamish.

BRIAN BROOKS, choreographer and performer Choreographer Brian Brooks was awarded with a 2013 Guggenheim Fellowship. In the same year, he was also a proud recipient of the NY City Center Fellowship, the Jerome Robbins New Essential Works grant, and the Joyce Theater’s Artist Residency. Based in New York City, his dance group, the Brian Brooks Moving Company, has been presented throughout the US, South Korea and in Germany, and was presented by BAM in their 2013 Next Wave Festival. The company will be presented by The Joyce Theater in June 2015. For three consecutive years, Brooks has been commissioned by Damian Woetzel at the Vail International Dance Festival to create new works featuring dancers from NYC Ballet. Brooks choreographed director Julie Taymor’s production of A Midsummer Night’s Dream (2013), which was the inaugural performance at Theatre for a New Audience’s Brooklyn home. As a guest artist, he has created new dances at schools including The Juilliard School and The Boston Conservatory. He has served as part time faculty at both Rutgers University and Princeton University, and was a Teaching Artist at the Lincoln Center Institute from 1999 to 2012. Originally from Hingham, MA, Brooks lives in New York City.

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BIOGRAPHIES

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

ALEJANDRO CERRUDO, choreographer and performer Alejandro Cerrudo was born in Madrid, Spain and trained at the Real Conservatorio Profesional de Danza de Madrid. His professional career began in 1998 and includes work with Victor Ullate Ballet, Stuttgart Ballet and Nederlands Dans Theater 2. Cerrudo joined Hubbard Street Dance Chicago in 2005, was named Choreographic Fellow in 2008, and became the company’s first Resident Choreographer in 2009. Fifteen works choreographed to date for Hubbard Street include collaborations with the Chicago Symphony Orchestra, The Second City and Nederlands Dans Theater 2. These pieces and additional commissions are in repertory at companies around the U.S. as well as in Australia, Denmark, Germany and the Netherlands; touring engagements have brought his work still further abroad, to audiences in Algeria, Canada, Morocco and Spain. In March 2012, Pacific Northwest Ballet invited Cerrudo to choreograph his first work for the company, Memory Glow, upon receiving the Joyce Theater Foundation’s second Rudolf Nureyev Prize for New Dance. Additional honors include an award from the Boomerang Fund for Artists (2011), and a Prince Prize for Commissioning Original Work from the Prince Charitable Trusts (2012) for his acclaimed, first evening length work, One Thousand Pieces. Cerrudo was recently announced the 2014 USA Donnelley Fellow by United States Artists.

NIKOLAY KHOZYAINOV, piano One of the most promising pianists of his generation, Nikolay Khozyainov was born in 1992 in Blagoveshchensk, a city in the Russian Far East. He began playing piano at age five and graduated from the Central Musical School of Moscow State P.I. Tchaikovsky Conservatory. Since 2005, he has studied with Professor Mikhail Voskresensky at the Moscow Conservatory. In 2012 Mr. Khozyainov won the first and special prizes at the Dublin International Piano Competition and was awarded second and numerous special prizes at the 10th Sydney International Piano Competition, including “best performance of a Study by Liszt.” He also won first and special prizes in the 2003 Virtuosi per Musica di Pianoforte in the Czech Republic, the 2004 Carl Filtsch Piano Competition in Romania, the 2008 Scrabin Competition in Paris and was the youngest finalist in the 16th International Fryderyk Chopin Piano Competition in Poland in 2010. Since 2011 he has recorded works by Beethoven, Schubert, Ravel, Chopin and Liszt for CD Accord and JVC Victor in Japan. Mr. Khozyainov has performed in renowned concert halls around the world and made debuts in New York’s Carnegie Hall and London’s Wigmore Hall in April 2013 and May 2014, respectively.

KODO Making their debut at the Berlin Festival in 1981, Kodo is based on Sado Island in Niigata, Japan, and has given over 5500 performances in 46 countries worldwide under the theme “One Earth.” Spending about a third of the year overseas, a third touring in Japan and a third on Sado Island, Kodo is always on the move, giving performances that transcend borders, genres and time. Kodo returns to North America in 2015 with another new production, Kodo - One Earth Tour: Mystery, created by its Artistic Director and Japanese Living National Treasure Tamasaburo Bando. Tamasaburo Bando, a leading Kabuki actor, and the most popular and celebrated onnagata (actor specializing in female roles) currently on stage, was a catalyst for Kodo to break new ground in taiko expression. Kodo continues to explore limitless possibilities and forge new directions with their unique and vibrant living art-form. This 2015 North America Tour marks the Kodo - One Earth Tour: Mystery’s debut outside of Japan.

LA JOLLA MUSIC SOCIETY

BIOGRAPHIES

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

ROTTERDAM PHILHARMONIC The Rotterdam Philharmonic ranks among Europe’s foremost orchestras, being internationally known for the intense energy of its performances, its acclaimed recordings and its innovative audience approach. The Rotterdam Philharmonic was founded in 1918. From 1930, under chiefconductor Eduard Flipse, it developed into one of the foremost orchestras of the Netherlands. In the 1970s, with Jean Fournet and Edo de Waart, the orchestra gained international recognition. In 1995, Valery Gergiev’s appointment as Music Director heralded a new period of bloom. He was succeeded by Yannick NézetSéguin,with whom the orchestra has made numerous successful tours and recordings. In September 2013 Jiří Bělohlávek joined the Rotterdam Philharmonic as its Principal Guest Conductor. Home of the Rotterdam Philharmonic is De Doelen Concert Hall, but the orchestra can frequently be heard in other locations – from the local venues to the most prestigious halls at home and abroad. Since 2010, the Rotterdam Philharmonic has been a resident orchestra of the Paris Théâtre des ChampsElysées. Since the groundbreaking Mahler recordings with Eduard Flipse in the 1950s, the Rotterdam Philharmonic has made a large number of critically lauded recordings. At present the orchestra has contracts with Deutsche Grammophon and BIS Records; in recent years it also recorded for EMI and Virgin Classics.

Yannick Nézet-Séguin, music director Yannick Nézet-Séguin is Music Director of The Philadelphia Orchestra and Rotterdam Philharmonic Orchestra. He has been Artistic Director and Principal Conductor of Montreal’s Orchestre Métropolitain since 2000, and is Artist-in-Residence at Konzerthaus Dortmund, which he will thrice visit this season. Maestro Nézet-Séguin was Principal Guest Conductor of the London Philharmonic Orchestra from 2008-14, with which he continues to be closely associated. Highlights in his 2014-15 season include a North American tour with the Rotterdam Philharmonic, a European tour with The Philadelphia Orchestra, projects with the Bavarian Radio Symphony and Don Carlo at The Metropolitan Opera. Mo. Nézet-Séguin has an extensive discography. His most recent releases include the complete Schumann symphonies with the Chamber Orchestra of Europe, The Rite of Spring with The Philadelphia Orchestra and Tchaikovsky with the Rotterdam Philharmonic, all for Deutsche Grammophon. A native of Montreal, Mo. Nézet-Séguin studied at the Conservatoire de musique du Québec in Montreal and Westminster Choir College in Princeton, New Jersey before going on to study with renowned conductors, most notably Carlo Maria Giulini. He has honorary doctorates from the University of Quebec in Montreal (2011) and Curtis Institute in Philadelphia (2014). He was appointed a Companion of the Order of Canada in 2012.

Hélène Grimaud, piano One of the most celebrated pianists of our time, Hélène Grimaud is also a highly respected wildlife conservationist, human rights activist and author. Accepted into the Paris Conservatoire at 13, in 1987 she made her Tokyo recital debut followed by an invitation to perform with the Orchestre de Paris. Between her 1995 debuts with the Berliner Philharmoniker and the New York Philharmonic in 1999 — Grimaud established the Wolf Conservation Center in New York. An exclusive Deutsche Grammophon artist since 2002, Grimaud is the first woman of the 21st century to record the two Brahms Piano Concertos in 2013. The CD was recorded with Andris Nelsons conducting the Bavarian Radio Symphony Orchestra for the first concerto and the Vienna Philharmonic for the second. Previous releases include DUO in 2012 with cellist Sol Gabetta which won the 2013 ECHO Award for “chamber recording of the year.” Her 2011 Mozart Piano Concertos No. 19 and No. 23, W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

BIOGRAPHIES

featured singer Mojca Erdmann on Mozart’s Ch’io mi scordi di te? Grimaud has authored three books: "Variations Sauvages," "Leçons Particulières," and "Retour à Salem." Grimaud’s deep dedication to her musical career, both in performances and recordings, is reflected and reciprocally amplified by the scope and depth of her environmental and literary pursuits.

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

JIAYAN SUN, piano “Technically flawless, poetically inspired and immensely assured playing,” the Toronto Star praised Jiayan Sun, who has performed worldwide in venues such as Carnegie Hall and Lincoln Center in New York, Severance Hall in Cleveland, National Concert Hall in Dublin and Beethoven-Haus in Bonn. He has collaborated with many distinguished conductors such as Michail Jurowski, Sir Mark Elder, Stefan Sanderling, Leon Fleisher and prestigious orchestras including The Cleveland Orchestra, The Hallé, Chinese National, RTÉ National, Fort Worth and Toledo Symphony Orchestras. His performances have been broadcasted on BBC, RTÉ, China Central Television and classical music radio stations in North America. He was awarded First Prize in the inaugural CCC Toronto International Piano Competition, Third Prize in the Leeds International Piano Competition, Second Prize in the Dublin International Piano Competition and Fourth prize and audience prize in Cleveland International Piano Competition. Born in 1990 in Yantai, Shandong Province, China, Mr. Sun moved to the U.S. in 2006. He has earned his Bachelor’s and Master’s degrees from The Juilliard School, and continues his studies as a C. V. Starr Doctoral Fellow under the tutelage of Dr. Yoheved Kaplinsky and Stephen Hough. An accomplished performer on early keyboard instruments, he is also a devoted composer.

THE UKULELE ORCHESTRA OF GREAT BRITAIN® Founded by George Hinchliffe and Kitty Lux in 1985 as a “bit of fun,” the Orchestra is an ensemble featuring ukuleles of various sizes and registers, accompanied by voices of performers. The Ukulele Orchestra of Great Britain’s first gig was “an instant sell-out,” and they’ve been performing ever since. By 1988 they had released an LP, appeared on BBC TV, played at WOMAD and recorded a BBC Radio 1 session. They have sold-out concerts in countless countries around the world, more recently at the Sydney Opera House (2012), London’s Royal Albert Hall (2009, 2012) and New York’s Carnegie Hall (2010, 2012). The Ukulele Orchestra of Great Britain has spawned hundreds of imitators, and suggests a possible claim for the current increased popularity of the instrument. Their music has been featured in films, plays and commercials, and clips of the Orchestra’s live concerts and TV appearances have been viewed on websites such as YouTube millions of times. Collaborators have included Madness, David Arnold, the British Film Institute, the Ministry of Sound, Yusuf Islam (aka Cat Stevens) and Kaiser Chiefs. Dubbed “The Nation’s Ukulele Orchestra” by BBC, the current ensemble has been playing together for over 20 years. For more information, visit: ukuleleorchestra.com.

LA JOLLA MUSIC SOCIETY

BIOGRAPHIES

WENDY WHELAN, performer Wendy Whelan was born and raised in Louisville, Kentucky, where at the age of three she began taking dance classes with Virginia Wooton, a local teacher. At age eight she performed as a mouse with the Louisville Ballet in its annual production of The Nutcracker. Joining the Louisville Ballet Academy that year, she began intense professional training. In 1981 she received a scholarship to the summer course at the School of American Ballet (SAB), the official school of New York City Ballet and a year later she moved to New York to become a fulltime student there. She was invited to become a member of the New York City Ballet corps de ballet in 1986 and was promoted to principal dancer in 1991. Ms. Whelan has performed a wide spectrum of the Balanchine repertory and worked closely with Jerome Robbins on many of his ballets. She has originated featured roles in 13 ballets for Christopher Wheeldon, as well as in the ballets of William Forsythe, Alexei Ratmansky, Wayne McGregor, Jorma Elo, Shen Wei, Jerome Robbins and Twyla Tharp. In 2007, Ms. Whelan was nominated for an Olivier Award and a Critics Circle Award for her performances with Morphoses/Wheeldon Company. She received the 2007 Dance Magazine Award, and in 2009 was given a Doctorate of Arts, honoris causa, from Bellarmine University. In 2011, she was honored with both The Jerome Robbins Award and a Bessie Award for her Sustained Achievement in Performance. Ms. Whelan was recently appointed an Artistic Associate at New York’s City Center. She resides in New York City with her husband, the artist David Michalek.

INGOLF WUNDER, piano Ingolf Wunder’s 2014 debut with the London Chamber Orchestra led The Guardian to note: “It’s a long time since a young pianist made such an impression…Wunder seems a fearless player, with a totally secure technique that he never flaunts unnecessarily, and the musical intelligence to put it to good use.” Highlights of his 2014-15 tour also include performances with the NDR Sinfonieorchester Hamburg and a return to the Warsaw Philharmonic Orchestra. On tour he will perform in Taiwan and the United States and at the Wiener Konzerthaus, Porto Casa da Música and Schubertiade Hohenems. Mr. Wunder achieved worldwide recognition at the 2010 International Chopin Piano Competition in Warsaw, winning several special awards including Best Concerto and Best Prize for Polonaise-Fantaisie, as well as second prize overall. Internationally, Mr. Wunder has performed at Zurich’s Tonhalle, Théâtre du Palais-Royal Paris and more. Mr. Wunder records exclusively for Deutsche Grammophon. His recordings include an all-Chopin recital disc released in June 2011 and his second CD, 300, was released in 2013. His latest recording, featuring concertos by Tchaikovsky and Chopin in collaboration with Vladimir Ashkenazy and St. Petersburg Philharmonic Orchestra, was named Classic FM’s Album of the Week. For more information, visit: ingolfwunder.at.

PHOTO CREDITS: Cover: W. Whelan © 2013 Christopher Duggan; Pg 2: A. Sandoval courtesy of artist; Pg. 11 & 36: The Ukulele Orchestra of Great Britain courtesy of artist; Pg. 13: J. Sun by Roger Mastroianni; Pg. 17: Restless Creature © 2013 Christopher Duggan; Pg. 19 & 34: N. Khozyainov © Grzymala Design; Pg. 24 & 34: Kodo by Takashi Okamoto; Pg. 25 & 37: I. Wunder © Patrick Walter/DG; Pg. 29: Rotterdam Philharmonic © Hans van der Woerd; Pg. 33: K. Abraham © 2013 Christopher Duggan; J. Beamish © 2013 Christopher Duggan; B. Brooks © 2013 Christopher Duggan; Pg. 34: S. Cassedy courtesy of presenter; A. Cerrudo © 2013 Christopher Duggan; Pg. 35: M. Overton courtesy of presenter; Rotterdam Philharmonic © Simon van Boxtel; Y. Nézet-Séguin © Simon van Boxtel; H. Grimaud © Mat Hennek/DG; Pg. 36: J. Sun courtesy of artist; Pg. 37: W. Whelan © 2013 Christopher Duggan; Back Cover: Rotterdam Philharmonic © Hans van der Woerd

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

SEA SON 46 • 2014-15

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

FOUNDER

Brenda Baker & Stephen Baum Conrad Prebys & Debbie Turner

ANGEL

City of San Diego Commission for Arts and Culture Joy & Ed* Frieman Joan & Irwin Jacobs

BENEFACTOR

Rita & Richard Atkinson Raffaella & John Belanich Dave & Elaine Darwin Silvija & Brian Devine Sam B. Ersan Kay & John Hesselink Mao & Dr. Bob Shillman

GUARANTOR

Anonymous Mary Ann Beyster Gordon Brodfuehrer Mr. & Mrs. Dick Enberg Susan & Bill Hoehn William Karatz & Joan Smith Rafael & Marina Pastor Peter & Peggy Preuss Jeremiah & Cassidy Robins Marge & Neal Schmale Jean & Gary Shekhter Jeanette Stevens Elizabeth Taft

($250,000 and above)

($100,000 - $249,999)

($50,000 - $99,999)

($25,000 - $49,999)

LA JOLLA MUSIC SOCIETY

MAJOR DONOR SOCIETY

SUSTAINER

($15,000 - $24,999) Anonymous Dr. James C. & Karen A. Brailean Bill & Wendy Brody Katherine & Dane Chapin Martha & Ed Dennis Sue & Chris Fan Elaine Galinson & Herbert Solomon Richard & Lehn Goetz Theresa Jarvis & Mr. Ric Erdman Angelina K & Fredrick Kleinbub Carol Lam & Mark Burnett National Endowment for the Arts Betty-Jo Petersen Stacy & Don Rosenberg Leigh P. Ryan John Venekamp & Clifford Schireson Thomas & Maureen Shiftan Vail Memorial Fund Jack & Joanna Tang Clara Wu & Joseph Tsai Carolyn Yorston-Wellcome & H. Barden Wellcome

SUPPORTER ($10,000 - $14,999)

Joan Jordan Bernstein Bob* & Betty Beyster Ric & Barbara Charlton County of San Diego / Community Enhancement Program Brian Douglass, President digital OutPost French American Cultural Exchange, French U.S. Exchange in Dance Theodore & Ingrid Friedmann Cam & Wanda Garner Michael & Brenda Goldbaum Dr. & Mrs. Michael Grossman Judith Harris & Robert Singer, M.D. Alexa Kirkwood Hirsch Sue J. Hodges Katherine Kennedy Keith & Helen Kim Sharon & Joel Labovitz Vivian Lim & Joseph Wong New England Foundation for the Arts Phil & Pam Palisoul Ethna Sinisi Piazza Deirdra Price QUALCOMM Incorporated ResMed Foundation

Drs. Joseph & Gloria Shurman Haeyoung Kong Tang Peter & Sue Wagener Dolly & Victor Woo

AMBASSADOR ($5,000 - $9,999)

Anonymous (2) Norman Blachford & Peter Cooper Johan & Sevil Brahme Anne & Bob Conn Bernard & Rose Corbman Endowment Fund The Rev. Eleanor Ellsworth Jeane Erley Olivia & Peter C. Farrell Pauline Foster Dr. Lisa Braun-Glazer & Dr. Jeff Glazer Robert & Margaret Hulter Warren & Karen Kessler Leanne Hull MacDougall Michel Mathieu & Richard McDonald Morgan & Elizabeth Oliver Stephen Warren Miles & Marilyn Miles Paul Hastings, LLP Susan Shirk & Samuel Popkin Maria & Dr. Philippe Prokocimer Drs. Jean & Catherine Rivier James Robbins Lawrence & Cathy Robinson Sandra & Robert Rosenthal Ivor & Colette Royston Sheryl & Bob Scarano Joyce & Ted Strauss Gianangelo Vergani Ronald Wakefield John B. & Cathy Weil Abby & Ray Weiss Bebe & Marvin Zigman *In Memoriam

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

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PATR O N SO CIE T Y

SEASON 46 â&#x20AC;˘ 2014-15

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

AFICIONADO

ASSOCIATE

Anonymous (2) Jim Beyster R. Nelson & Janice Byrne California Presenters Callan Capital Valerie & Harry Cooper Nina & Robert Doede Gigi Fenley Bryna Haber Paul & Barbara Hirshman Elisa & Rick Jaime Jeanne Jones & Don Breitenberg Judith Bachner & Dr. Eric L. Lasley Arleen & Robert Lettas Theodora Lewis Sue & John Major Gail & Edward Miller Naser Partovi Annie So Matthew & Iris Strauss Mrs. Nell Waltz Margie Warner & John H. Warner, Jr. Kathy Wright Rolfe & Doris Wyer

Lisa & Steve Altman Varda & George Backus Christopher Beach & Wesley Fata Robert & Sondra Berk Bjorn Bjerede & Jo Kiernan Ginny & Bob Black Teresa O. Campbell Marsha & Bill Chandler June Chocheles Anthony F. Chong & Annette Thu Nguyen Don & Karen Cohn Victor & Ellen Cohn Sandra & Bram Dijkstra The Hon. Diana Lady Dougan Phyllis Epstein Nomi Feldman Diane & Elliot Feuerstein Richard & Beverly Fink Sally Fuller Ron & Kaye Harper Frank Hobbs Linda & Tim Holiner Dr. Trude Hollander Linda Howard Elizabeth Hoyle Tom & Loretta Hom Daphne & James Jameson Peter & Beth Jupp David & Susan Kabakoff Louise Kasch Jessie Knight & Joye Blount Jaime & Sylvia Liwerant Gail Myers & Lou Lupin Hon. M. Margaret McKeown & Peter Cowhey Paul & Maggie Meyer Bill Miller & Ida Houby Fenner Milton & Barbara McQuiston Dr. Sandra Miner Laurie Mitchell & Brent Woods Will & Nora Hom Newbern Hank & Robin Nordhoff Hai Phuong Robert & Allison Price Sandra Redman / California Bank & Trust Frank & Demi Rogozienski Yan Sha & Baoqun Zhang Joanne Snider Fred & Erika Torri Susan & Richard Ulevitch Jo & Howard Weiner

($2,500 - $4,999)

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

LA JOLLA MUSIC SOCIETY

($1,000 - $2,499)

PATRON SOCIETY

DID YOU KNOW? David & Sibyl Wescoe Harvey & Sheryl White Joseph & Mary Witztum Shirley Young Su Mei Yu Stephen Yu Joan & Karl Zeisler Thomas W. Ziegler Tim & Ellen Zinn Josephine M. Zolin Emma & Leo Zuckerman

FRIEND

($500 - $999) Anonymous K. Andrew Achterkirchen Barry & Emily Berkov Luc Cayet & Anne Marie Pleska Robert & Jean Chan Marilyn Colby Caroline DeMar Betsy & Alan Epstein Ed & Linda Janon Jain Malkin Winona Mathews Ted McKinney & Frank Palmerino Joani Nelson Robert Nelson & Jean Fujisaki Jill Q. Porter Frances & Tom Powell Gordana & Dave Schnider William Smith Leland Sprinkle Jonathan & Susan Tiefenbrun Dr. Lee & Rhonda Vida Yvonne Vaucher Suhaila White Edward & Anna Yeung

ENTHUSIAST ($250 - $499)

Aaron & Naomi Alter Fiona Bechtler-Levin Steven & Patricia Blostin Benjamin Brand Stefana Brintzenhoff Peter Clark Hugh J. Coughlin Dr. Ruth Covell

La Jolla Music Society is a strong supporter of the San Diego dance community. Artists and companies performing in the Dance Series lead eyeopening – and life-changing – Master Classes and Open Rehearsals with local student and professional dancers.

Gary Recker & Kathy Davis Douglas P. & Robin Doucette Edith & Edward Drcar Ellen Potter & Ron Evans Drs. Lawrence & Carol Gartner Jane & Michael Glick Carrie & Jim Greenstein Nan & Buzz Kaufman Gladys & Bert Kohn Robert & Elena Kusinski Mara & Larry Lawrence Elinor Merl & Mark Brodie Alan Nahum & Victoria Danzig Gaynor & Gary Pates Aghdas Pezeshki William Purves Ted Roberts Elyssa Dru Rosenberg Peter & Arlene Sacks Pat Shank Anne & Ronald Simon Ruth Stern Edward Stickgold & Steven Cande Norma Jo Thomas Kevin Tilden & Philip Diamond M.D. Eleanor L. tum Suden Laurette Verbinski Geoff Wahl Carey Wall Karen M. Walter Wells Fargo Advisors Olivia & Marty Winkler Terry & Peter Yang

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PATR O N SO CIE T Y 42

SEASON 46 • 2014-15

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

LA JOLLA MUSIC SOCIETY

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

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

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

MATCHING GIFTS Bank of America IBM, International QUALCOMM, Inc. The San Diego Foundation Sempra Energy

To learn more about supporting La Jolla Music Society’s artistic and education programs or to make an amendment to your listing please contact Benjamin Guercio at 858.459.3724, ext. 216 or BGuercio@LJMS.org. This list is current as of December 5, 2014. Updates and amendments will be reflected in the next program book on February 20, 2015.

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

CROWN JEWEL

TOPAZ

Brenda Baker and Stephen Baum Conrad Prebys and Debbie Turner

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

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

EMERALD Rita and Richard Atkinson

RUBY Silvija and Brian Devine

GARNET Elaine Galinson Peggy and Peter Preuss

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

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

SEASON 46 â&#x20AC;˘ 2014-15

*In Memoriam Note: + 5-year term Listing as of December 5, 2014

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BUIL DING THE SOCIETY FOR F U TU R E G E N E R ATIO N S 44

SEASON 46 • 2014-15

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

GRAND JETÉ

POINTE

Anonymous

Teresa O. Campbell

ARABESQUE

DEMI POINTE

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

Gordana and Dave Schnider

PIROUETTE

Stefana Brintzenhoff Mara Lawrence Joani Nelson Elyssa Dru Rosenberg Elizabeth Taft

Elaine Galinson and Herbert Solomon Annie So Marvin and Bebe Zigman

PLIÉ

Listing as of December 5, 2014

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

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

Bill Purves Darren and Bree Reinig Jay W. Richen Jack and Joan Salb Johanna Schiavoni Drs. Joseph and Gloria Shurman Jeanette Stevens Elizabeth and Joseph* Taft Norma Jo Thomas Dr. Yvonne E. Vaucher Lucy and Ruprecht von Buttlar Ronald Wakefield John B. and Cathy Weil Carolyn Yorston-Wellcome and H. Barden Wellcome Karl and Joan Zeisler Josephine Zolin *In Memoriam Listing as of December 5, 2014

BUILDING THE SOCIETY FOR FUTURE GENERATIONS

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

GUARANTOR

AFICIONADO

The Catamaran Resort & Spa The Lodge at Torrey Pines

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

SUSTAINER The Westgate Hotel

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

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

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

ENTHUSIAST Nelson Real Estate Listing as of December 5, 2014

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

LA JOLLA MUSIC SOCIETY

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we like to watch, too

Palomar San Diego and Saltbox Dining & Drinking are proud partners of La Jolla Music Society

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LA JOLLA MUSIC SOCIETY

OPEN DAILY FOR DINNER 4 PM | HAPPY HOUR Monday thru Friday, 4-6 PM •

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JANUARY 2015

FEBRUARY 2015

UKULELE ORCHESTRA OF GREAT BRITAIN KODO FRIDAY, JANUARY 23, 2015 · 8 PM

FRIDAY, FEBRUARY 6, 2015 · 8 PM

MCASD SHERWOOD AUDITORIUM

BALBOA THE ATRE

JIAYAN SUN, piano

INGOLF WUNDER, piano

SPECIAL EVENT

SUNDAY, JANUARY 25, 2015 · 3 PM DISCOVERY SERIES

THE AUDITORIUM AT TSRI

SPECIAL EVENT

SUNDAY, FEBRUARY 8, 2015 · 3 PM

ROTTERDAM PHILHARMONIC ORCHESTRA

Yannick Nézet-Séguin, music director Hélène Grimaud, piano FRIDAY, FEBRUARY 13, 2015 · 8 PM CELEBRITY ORCHESTRA SERIES

JACOBS MUSIC CENTER/COPLE Y SYMPHONY HALL

DISCOVERY SERIES

THE AUDITORIUM AT TSRI

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

BALBOA THE ATRE

NIKOLAY KHOZYAINOV

SATURDAY, JANUARY 31, 2015 · 8 PM FRIEMAN FAMILY PIANO SERIES MCASD SHERWOOD AUDITORIUM

ROTTERDAM PHILHARMONIC ORCHESTRA Yannick Nézet-Séguin, music director

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