La Jolla Music Society S47 Program Book May 2016 by La Jolla Music Society

PHILIP SETZER, DAVID FINCKEL & WU HAN

SEASON

2015-16 MAY

2015-16 CALENDAR SEASON 47

OCTOBER

FEBRUARY

APRIL

NEW YORK CITY BALLET MOVES

THE MONTROSE TRIO

WINTERFEST GALA

San Diego Civic Theatre

Saturday, February 6, 2016 · 8 PM

Saturday, April 2, 2016 · 6 PM

Friday, October 30, 2015 · 8 PM

NOVEMBER AN EVENING WITH CHRIS THILE, mandolin

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

THE ISRAEL PHILHARMONIC ORCHESTRA Zubin Mehta, conductor & music director

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

DECEMBER SDYS CHAMBER ORCHESTRA

Jeff Edmons, music director & conductor Jinjoo Cho, violin

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

JINJOO CHO, violin

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

THE BLIND BOYS OF ALABAMA

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

Martin Beaver, Clive Greensmith & Jon Kimura Parker

STORM LARGE & KIRILL GERSTEIN

MCASD Sherwood Auditorium

Coasterra

AARON NEVILLE

TANGO, SONG AND DANCE

Balboa Theatre

Friday, April 15, 2016 · 8 PM

Thursday, February 11, 2016 · 8 PM

Augustin Hadelich, Joyce Yang & Pablo Villegas

NING FENG, violin

MCASD Sherwood Auditorium

The Auditorium at TSRI

Sunday, April 17, 2016 · 3 PM

Sunday, February 21, 2016 · 3 PM

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

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

DANIIL TRIFONOV, piano

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

MARCH KEB' MO' BLUESAmericana

Friday, March 4, 2016 · 8 PM Balboa Theatre

PAUL LEWIS, piano

ISTVÁN VÁRDAI, cello The Auditorium at TSRI

MURRAY PERAHIA, piano

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

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

MAY NEW YORK PHILHARMONIC Alan Gilbert, music director

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

JOSEF ŠPACˇEK, violin

Sunday, May 8, 2016 · 3 PM

Friday, March 11, 2016 · 8 PM

The Auditorium at TSRI

MCASD Sherwood Auditorium

THE COMPLETE

BEETHOVEN PIANO TRIOS: PART I

JANUARY

BALLET FLAMENCO DE ANDALUCÍA

GARRICK OHLSSON, piano

Spreckels Theatre

Saturday May 14, 2016 · 3 PM

MONTREAL SYMPHONY ORCHESTRA

THE COMPLETE

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

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

ITZHAK PERLMAN, violin & EMANUEL AX, piano

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

Wednesday, March 16, 2016 · 8 PM

Kent Nagano, music director Daniil Trifonov, piano

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

Philip Setzer, David Finckel & Wu Han MCASD Sherwood Auditorium

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

Saturday May 14, 2016 · 8 PM MCASD Sherwood Auditorium

MOZART GROUP

Saturday May 21, 2016 · 8 PM MCASD Sherwood Auditorium

JI, piano

Sunday, January 24, 2016 · 3 PM

NEW YORK PHILHARMONIC

The Auditorium at TSRI

LA JOLLA MUSIC SOCIETY

SEASON 47 IS DEDICATED TO

CONRAD PREBYS & DEBBIE TURNER

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

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

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

You’re music to our ears.

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

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

FIVE CONVENIENT LOCATIONS: CARMEL VALLEY

CARLSBAD

ESCONDIDO

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

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

visit us online at www.jimbos.com

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

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

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

WE PRODUCE the acclaimed music festival La Jolla Music Society SummerFest. WE EDUCATE adult and young audiences as

well as aspiring and emerging artists.

LA JOLLA MUSIC SOCIETY is devoted to presenting

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

THE BELANICH STEINWAY

SEASON PARTNERS

R E S TA U R A N T

SUS H I BA R

MEDIA PARTNERS ®

WELCOME LETTER Dear Friends of LJMS, As I listened to the magnificent Montreal Symphony Orchestra play a spectacular Rite of Spring in Jacobs Music Center - Copley Symphony Hall last March, I realized again that those of us who work in a presenting organization have the best of not just one but several worlds! In the space of a month – sometimes even in the space of a week – we may present a symphony orchestra performance, an intimate recital by an exciting young instrumentalist emerging onto the international music scene, be swept away by galvanizing dance, and move from the profound beauty of chamber music to the high comedy of witty musicians who explore every facet of music, even the humorous ones. As we make our way through May to the conclusion of our “winter” season – I always smile at that word being used to describe this beautiful part of the year – you can experience this amazing diversity. An orchestra acclaimed around the world – the New York Philharmonic, led by its music director Alan Gilbert – launches the month with a program featuring two giants of music, Beethoven and Sibelius. In that same week, young violinist Josef Špaček concludes the Discovery Series with one of those daring programs that has become an LJMS trademark: Bach, Szymanowski, Ysaÿe, Prokofiev and Saint-Saëns. Mid-May brings a fitting climax to the Revelle Chamber Music Series, featuring pianist Wu Han, violinist Philip Setzer and cellist David Finckel, playing the complete Beethoven piano trios, spread over two concerts on the afternoon and evening of Saturday May 14. Nothing could be a better forecast of the glories soon to come in SummerFest 2016, beginning this year on Wednesday August 3, with a festive outdoor concert at La Jolla Cove. This August is SummerFest’s 30th Anniversary, and you won’t want to miss any of those concerts that celebrate chamber music’s power to lift us out of the ordinary, all curated by SummerFest’s dynamic Music Director, Cho-Liang “Jimmy” Lin. Our 47th Season wraps up with great music shot through with sunny humor – the MozART group (May 21) mixes music and comedy to end the season with joy and laughter in a unique combination of erudition and expert musicianship. Of course, your support of LJMS with your attendance and contributions has made it all possible, but another thank-you is in order, too. Personally, and on behalf of the LJMS family of dedicated staff and devoted Board, here’s a grateful shout-out to my predecessor as LJMS President & Artistic Director, Christopher Beach, whose hard work and forward-thinking vision assembled this extraordinary season. I am so happy to be here in San Diego, moving ahead with you into an exciting future. I’ll have a lot more news before too long about The Conrad, soon to be our new home…and I look forward to greeting you in person at SummerFest.

Kristin Lancino

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

TABLE OF CONTENTS 2 9 10 11 16 20 23 26 27 30

CALENDAR WELCOME LETTER LA JOLLA MUSIC SOCIETY STAFF & BOARD OF DIRECTORS NEW YORK PHILHARMONIC JOSEF ŠPAČEK & MIROSLAV SEKERA THE COMPLETE BEETHOVEN PIANO TRIOS: PART I THE COMPLETE BEETHOVEN PIANO TRIOS: PART II MOZART GROUP ARTIST BIOGRAPHIES SUPPORT

ADMINISTRATION

ARTISTIC & EDUCATION

DEVELOPMENT

MARKETING & TICKET SERVICES

PRODUCTION

LA JOLLA MUSIC SOCIETY STAFF

BOARD OF DIRECTORS · 2015-16

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

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

Chris Benavides – Finance Director Debra Palmer – Executive Assistant & Board Liaison Anthony LeCourt – Administrative Assistant Leah Z. Rosenthal – Director of Artistic Planning & Education Jordanna Rose – Artist Services Coordinator Allison Boles – Education Manager Marcus Overton – Consultant for Special Projects Serafin Paredes – Community Music Center Program Director Eric Bromberger – Program Annotator Ferdinand Gasang – Development Director Benjamin Guercio – Development Coordinator Rewa Colette Soltan – Business Development & Event Coordinator Kristin Claire Ascher – Event Consultant Kristen Sakamoto – Marketing Director Vanessa Dinning – Marketing Manager Hilary Huffman – Marketing Coordinator Matthew Fernie – Graphic & Web Designer Cari McGowan – Ticket Services Manager Shannon Haider – Ticket Services Assistant Caroline Mickle – Ticket Services Assistant Alex Gutierrez – Ticket Services Assistant Shaun Davis – House Manager Paul Body – Photographer Travis Wininger – Director of Theatre Operations Leighann Enos – Production Coordinator & Stage Manager Jonnel Domilos – Piano Technician

LEGAL COUNSEL

Paul Hastings LLP

AUDITOR

Leaf & Cole, LLP

HONORARY

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

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

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

Christopher Beach – Artistic Director Emeritus

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

LA JOLLA MUSIC SOCIETY

PRELUDE 7 PM

Lecture by Michael Gerdes: The Magnificent Sevens On this program, we hear two of history’s greatest symphonists at the peak of their compositional powers. These pieces are a summation of the work that has come before, each symphony building upon the previous ones and revealing the evolution of two great artists. In listening to the seventh symphonies of Sibelius and Beethoven, can we glimpse what is yet to come? La Jolla Music Society’s 2015-16 Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, San Diego Gas & Electric, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, The Frieman Family, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, John and Kay Hesselink, Jeanette Stevens, Gordon Brodfuehrer, and two anonymous donors.

CELEBRITY ORCHESTRA SERIES

New York Philharmonic Alan Gilbert, music director

WEDNESDAY, MAY 4 · 8 PM

JACOBS MUSIC CENTER-COPLEY SYMPHONY HALL

BEETHOVEN Egmont Overture, Opus 84 (1809–10) (1770-1827)

BEETHOVEN Symphony No. 7 in A Major, Opus 92 (1811–12) Poco sostenuto; Vivace Allegretto Presto; Assai meno presto Allegro con brio I N T E R M I S S I O N

SIBELIUS Symphony No. 7 in C Major, Opus 105 (1924) (1865-1957) Adagio; Vivacissimo; Adagio; Allegro molto moderato; Allegro moderato; Vivace; Presto; Adagio; Largamente molto; Affettuoso SIBELIUS Finlandia, Opus 26 (1899–1900)

The Celebrity Orchestra Series is underwritten by Medallion Society members:

Joan and Irwin Jacobs Columbia Artists Management LLC Tour Direction: R. Douglas Sheldon 1790 Broadway, New York, NY 10019

The New York Philharmonic last performed for La Jolla Music Society in the Celebrity American Orchestra Series on May 15, 2012.

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

NEW YORK PHILHARMONIC - 2015-2016 TOUR ROSTER

NEW YORK PHILHARMONIC Alan Gilbert, music director

Courtney Lewis, assistant conductor Leonard Bernstein, laureate conductor, 1943–1990 Kurt Masur, music director emeritus

VIOLINS

Frank Huang, concertmaster The Charles E. Culpeper Chair

Sheryl Staples, principal associate concertmaster The Elizabeth G. Beinecke Chair

Michelle Kim, assistant concertmaster

The William Petschek Family Chair

Carol Webb Quan Ge

Hae-Young Ham

The Mr. and Mrs. Timothy M. George Chair

Lisa GiHae Kim Kuan Cheng Lu Newton Mansfield+

The Edward and Priscilla Pilcher Chair

Kerry McDermott Anna Rabinova Charles Rex

The Shirley Bacot Shamel Chair

Fiona Simon Sharon Yamada Shanshan Yao Elizabeth Zeltser

The William and Elfriede Ulrich Chair

Yulia Ziskel

The Friends and Patrons Chair

Lisa Kim, acting principal Soohyun Kwon***

In Memory of Laura Mitchell

Duoming Ba

The Joan and Joel I. Picket Chair

Hannah Choi Marilyn Dubow

The Sue and Eugene Mercy, Jr. Chair

Hyunju Lee Joo Young Oh Daniel Reed+ Mark Schmoockler Na Sun

The Gary W. Parr Chair

Vladimir Tsypin Jin Suk Yu Ji Min Lee++ Bracha Malkin++ Suzanne Ornstein++ Sarah Pratt++ David Southorn++ Alisa Wyrick++ Jungsun Yoo++

VIOLAS

Katherine Greene

The Mr. and Mrs. William J. McDonough Chair

Dawn Hannay Vivek Kamath Peter Kenote Kenneth Mirkin Judith Nelson Rémi Pelletier Robert Rinehart

The Mr. and Mrs. G. Chris Andersen Chair

CELLOS

The Alice Tully Chair

Sherry Sylar* Robert Botti

The Paul and Diane Guenther Chair

Eric Bartlett Patrick Jee

Elizabeth Dyson+

The Mr. and Mrs. James E. Buckman Chair

Alexei Yupanqui Gonzales Maria Kitsopoulos The Secular Society Chair

Sumire Kudo Qiang Tu Nathan Vickery Ru-Pei Yeh+

The Credit Suisse Chair in honor of Paul Calello

Susannah Chapman++ Maureen McDermott++ Alberto Parrini++

BASSES

Timothy Cobb, principal Satoshi Okamoto***

The Herbert M. Citrin Chair

Max Zeugner***

The Herbert M. Citrin Chair

ENGLISH HORN

Grace Shryock++

CLARINETS Anthony McGill, principal

The Edna and W. Van Alan Clark Chair The Honey M. Kurtz Family Chair

E-FLAT CLARINET Mark Nuccio

BASS CLARINET

-------------------------------

BASSOONS Judith LeClair, principal The Pels Family Chair

Kim Laskowski* Roger Nye

The Rosalind Miranda Chair in memory of Shirley and Bill Cohen

Arlen Fast

CONTRABASSOON Arlen Fast

HORNS

Mindy Kaufman

The Norma and Lloyd Chazen Chair

Dorian Rence

LA JOLLA MUSIC SOCIETY

George Curran

TUBA TIMPANI Markus Rhoten, principal The Carlos Moseley Chair

Kyle Zerna**

PERCUSSION Christopher S. Lamb, principal The Constance R. Hoguet Friends of the Philharmonic Chair

Daniel Druckman*

The Mr. and Mrs. Ronald J. Ulrich Chair

Kyle Zerna

HARP Nancy Allen, principal

The Mr. and Mrs. William T. Knight III Chair

KEYBOARD

In Memory of Paul Jacobs

HARPSICHORD

Paolo Bordignon

PIANO

Eric Huebner

The Anna-Maria and Stephen Kellen Piano Chair

ORGAN

Kent Tritle

LIBRARIANS

Richard Deane* R. Allen Spanjer

Lawrence Tarlow, principal Sandra Pearson** Sara Griffin**

The Ruth F. and Alan J. Broder Chair The Rosalind Miranda Chair

TROMBONES

Joseph Alessi, principal

The Gurnee F. and Marjorie L. Hart Chair

Colin Williams* David Finlayson

The Donna and Benjamin M. Rosen Chair

HONORARY MEMBERS OF THE SOCIETY

The Daria L. and William C. Foster Chair Emanuel Ax

Philip Myers, principal

Leelanee Sterrett Randall Butler Howard Wall The Ludmila S. and Carl B. Hess Chair Alana Vegter++ David J. Grossman Blake Hinson TRUMPETS Orin O’Brien Matthew Muckey, acting principal The Paula Levin Chair Matthew Frischman++ Ethan Bensdorf*** Andrew Trombley++ Thomas V. Smith FLUTES Liam Day++ Robert Langevin, principal The Lila Acheson Wallace Chair

BASS TROMBONE

The Lizabeth and Frank Newman Chair Alan Baer, principal

Grace Shryock++

Eileen Moon*

PICCOLO

Liang Wang, principal

Pascual Martínez Forteza Alucia Scalzo++

The Fan Fox and Leslie R. Samuels Chair

The Joan and Joel Smilow Chair

Irene Breslaw**

OBOES

Mark Nuccio*

The Mr. and Mrs. Frederick P. Rose Chair

Rebecca Young*

Esa-Pekka Salonen, The Marie-Josée Kravis composer-in-residence Eric Owens, The Mary and James G. Wallach artist-in-residence

Carter Brey, principal

Sandra Church*+ Yoobin Son Mindy Kaufman Blair Francis++

Cynthia Phelps, principal

Joshua Gersen, assistant conductor

ORCHESTRA PERSONNEL MANAGER Carl R. Schiebler

STAGE REPRESENTATIVE Joseph Faretta

AUDIO DIRECTOR Lawrence Rock

Pierre Boulez Stanley Drucker Zubin Mehta

NEW YORK PHILHARMONIC Oscar S. Schafer, Chairman, Board of Directors

Matthew VanBesien, President Miki Takebe, Vice President, Operations and Touring

Edward Yim, Vice President, Artistic Planning

Katherine E. Johnson, Director, Communications

Patrick O'Reilly, Operations Assistant Valerie Petrov, Orchestra Personnel Assistant / Auditions Coordinator

Brendan Timins, Director, Touring and Operations

Galiya Valerio,

Assistant to the Music Director

Robert W. Pierpont, Stage Crew Robert Sepulveda, Stage Crew Gerard Urciuoli, Stage Crew Instruments made possible, in part, by The Richard S. and Karen LeFrak Endowment Fund. Steinway is the Official Piano of the New York Philharmonic Programs of the New York Philharmonic are supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, the National Endowment for the Arts, and the New York State Council on the Arts, with the support of New York State Governor Andrew Cuomo and the New York State Legislature. The New York Philharmonic This Week, nationally syndicated on the WFMT Radio Network, is broadcast internationally 52 weeks per year; visit nyphil.org for information.

* Associate Principal ** Assistant Principal *** Acting Associate Principal The New York Philharmonic’s concert+ On Leave recording series, Alan Gilbert and the ++ Replacement/Extra New York Philharmonic, is available for download or streaming at all major The New York Philharmonic uses the digital download services. Visit nyphil. revolving seating method for section org/watchlisten for more information. string players who are listed Follow the New York Philharmonic on alphabetically in the roster. Facebook, Twitter, Instagram, Tumblr, Pinterest, and YouTube.

NEW YORK PHILHARMONIC - PROGRAM NOTES Program notes by Eric Bromberger

Symphony No. 7 in A Major, Opus 92

Egmont Overture, Opus 84

Ludwig van BEETHOVEN

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

In 1809 Beethoven was invited to contribute incidental music to a revival of Goethe’s tragedy Egmont at the Vienna Burgtheater. The motives of the theater’s managers were clear: the French occupation of Vienna had just ended, and they wanted to celebrate their own freedom with a production of a play that told of resistance to political oppression. Beethoven had found the French occupation very difficult (he had hidden in the basement of his brother’s house with a pillow wrapped around his head during the French bombardment), and he was delighted to write the incidental music, which consists of an overture and nine other movements, including songs, entr’actes, a melodrama, and a concluding victory symphony. But Egmont appealed to Beethoven for reasons deeper than its relevance to the French occupation of his adopted city. Goethe’s tragedy tells of the heroic resistance to the Spanish occupation of the Netherlands by Count Egmont, who is imprisoned by the evil Duke Alva. When a rescue attempt by Egmont’s lover Clärchen fails, she poisons herself, but Egmont goes to the gallows confident of the ultimate triumph of his cause. The themes of an imprisoned hero, a faithful woman willing to make sacrifices for love and political ideals, and the resistance to tyranny are of course those of Beethoven’s opera Fidelio, and while the endings of Egmont and Fidelio are quite different, Beethoven must have found Goethe’s play close to his own heart. The complete incidental music is seldom heard today, but the overture has become one of Beethoven’s most famous. It does not, however, attempt to tell the story of the play, and listeners should not search for a musical depiction of events. A powerful slow introduction gives way to a tentative, falling string figure–gradually the strength coiled up in this simple theme-shape is unleashed, and the dramatic overture rushes ahead at the Allegro. This music is full of energy, and at moments Beethoven subtly shifts the pulse of his 3/4 meter to make it feel like 6/8. The ominous chords of the opening return to usher in the brilliant close, where music that will reappear in the Symphony of Victory (the tenth and final movement of the incidental music) symbolizes the ultimate victory of Egmont’s cause.

Beethoven turned 40 in December 1810. Forty can be a difficult age for anyone, but for Beethoven things were going very well. True, his hearing had deteriorated to the point where he was virtually deaf, but he was still riding that whitehot explosion of creativity that has become known, for better or worse, as his “Heroic Style.” Over the decade-long span of that style (1803-1813) Beethoven essentially re-imagined music and its possibilities. The works that crystalized the Heroic Style–the Eroica and the Fifth Symphony–unleashed a level of violence and darkness previously unknown in music, forces that Beethoven’s biographer Maynard Solomon has described as “hostile energy,” and then triumphed over them. In these violent symphonies, music became not a matter of polite discourse but of conflict, struggle, and resolution. In the fall of 1811, Beethoven began a new symphony–it would be his Seventh–and it would differ sharply from those two famous predecessors. Gone is the sense of cataclysmic struggle and hard-won victory that had driven those earlier symphonies. There are no battles fought and won in the Seventh Symphony–instead, this music is infused from its first instant with a mood of pure celebration. Such a spirit has inevitably produced a number of interpretations as to what this symphony is “about”: Berlioz heard a peasants’ dance in it, Wagner called it “the apotheosis of the dance,” and more recently Maynard Solomon has suggested that the Seventh is the musical representation of a festival, a brief moment of pure spiritual liberation. But it may be safest to leave the issue of “meaning” aside and instead listen to the Seventh simply as music. There had never been music like this before, nor has there been since– Beethoven’s Seventh Symphony contains more energy than any other piece of music ever written. Much has been made (correctly) of Beethoven’s ability to transform small bits of theme into massive symphonic structures, but in the Seventh he begins not so much with theme as with rhythm: he builds the entire symphony from what are almost scraps of rhythm, tiny figures that seem unpromising, even uninteresting, in themselves. Gradually he unleashes the energy locked up in these small figures and from them builds one of the mightiest symphonies ever written. The first movement opens with a slow introduction so long that it almost becomes a separate movement of its own. Tremendous chords punctuate the slow beginning, which gives way to a poised duet for oboes. The real effect of this long Poco sostenuto, however, is to coil the energy that will be unleashed in the true first movement, and Beethoven conveys this rhythmically: the meter of the introduction is a rockW W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

NEW YORK PHILHARMONIC - PROGRAM NOTES

solid (even square) 4/4, but the main body of the movement, marked Vivace, transforms this into a light-footed 6/8. This Vivace begins in what seems a most unpromising manner, however, as woodwinds toot out a simple dotted 6/8 rhythm and the solo flute announces the first theme, a graceful melody on this same rhythm. Beethoven builds the entire first movement from this simple dotted rhythm, which saturates virtually every measure. As theme, as accompaniment, as motor rhythm, it is always present, hammering into our consciousness. At the climax, horns sail majestically to the close as the orchestra thunders out that rhythm one final time. The second movement, in A minor, is one of Beethoven’s most famous slow movements, but the debate continues as to whether it really is a slow movement. Beethoven could not decide whether to mark it Andante (a walking tempo) or Allegretto (a moderately fast pace). He finally decided on Allegretto, though the actual pulse is somewhere between those two. This movement, too, is built on a short rhythmic pattern, in this case the first five notes: long-short-short-long-long–and this pattern repeats here almost as obsessively as the pattern of the first movement. The opening sounds like a series of static chords–the theme itself occurs quietly inside those chords–and Beethoven simply repeats this theme, varying it as it proceeds. The central episode in A major moves gracefully along smoothly-flowing triplets before a little fugato on the opening rhythms builds to a great climax. Beethoven winds the movement down on the woodwinds’ almost skeletal reprise of the fundamental rhythm. The Scherzo explodes to life on a theme full of grace notes, powerful accents, flying staccatos, and timpani explosions. This alternates with a trio section for winds reportedly based on an old pilgrims’ hymn, though no one, it seems, has been able to identify that exact hymn. Beethoven offers a second repeat of the trio, then seems about to offer a third before five abrupt chords drive the movement to its close. These chords set the stage for the Allegro con brio, again built on the near-obsessive treatment of a short rhythmic pattern, in this case the movement’s opening four-note fanfare. This fournote pattern punctuates the entire movement: it shapes the beginning of the main theme, and its stinging accents thrust the music forward continuously as this movement almost boils over with energy. The ending is remarkable: above growling cellos and basses (which rock along on a two-note ostinato for 28 measures), the opening theme drives to a climax that Beethoven marks fff, a dynamic marking he almost never used. This conclusion is virtually Bacchanalian in its wild power–no matter how many times one has heard it, the ending of the Seventh Symphony remains one of the most exciting moments in all of music. The first performance of the Seventh Symphony took place

LA JOLLA MUSIC SOCIETY

in the Great Hall of the University in Vienna on December 8, 1813. Though nearly deaf at this point, Beethoven led the performance, and the orchestra was able to compensate for his failings, so that the première was a huge success. On that occasion–and at three subsequent performances over the next few months–the audience demanded that the second movement be repeated.

Symphony No. 7 in C Major, Opus 105

Jean SIBELIUS

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

In 1915, while at work on his Fifth Symphony, Jean Sibelius looked ahead and described how he envisioned his next two symphonies. He described his Seventh-to-be as: “Joy of life and vitality, with appassionato passages. In three movements– the last an ‘Hellenic rondo.’” And then he offered a caveat: “All this with due reservation.” It was a good thing he did, because when the Seventh Symphony appeared nine years later, it bore almost no resemblance to his earlier description. Instead of being in three movements with a “Hellenic rondo” as its finale, the Seventh is in only one movement, lasting just over twenty minutes. It is an entirely original form, yet that one-movement structure manages to preserve much of the emotional effect of the four-movement classical symphony: we come away from Sibelius’ Seventh Symphony feeling that we have embarked on–and made–a satisfying symphonic journey. Many have commented on the originality of Sibelius’ design, but in fact others had done the same thing before him. Arnold Schoenberg, in his Chamber Symphony No. 1 of 1906, and Franz Schreker, in his Chamber Symphony of 1916, had made the same effort to compress the massive fourmovement symphonic structure of the late nineteenth-century symphony into a concise one-movement form: both those composers pared the symphony down mercilessly, recasting it for a chamber ensemble and limiting it to a twenty-minute span. Sibelius, who probably did not know the Schoenberg and Schreker chamber symphonies, set out to achieve the same structural compression in his Seventh Symphony, but he did it with a full symphony orchestra. For all its compression, however, for all its paring-down and its economy, Sibelius’ Seventh is expressive and heartfelt music. Good symphonists present their material immediately, and Sibelius gives us his three fundamental themes in the first minutes. The Seventh Symphony opens with a soft timpani salvo, and lower strings climb a C-major scale that somehow ends up in the unexpected key of A-flat minor. Here (and throughout) the syncopated statement of themes contributes

NEW YORK PHILHARMONIC - PROGRAM NOTES

to the subtlety of Sibelius’ presentation. Almost instantly we hear pairs of woodwinds weaving about, followed by an intense string chorale that makes its way on a nine-part division of the strings. These will be the basic themes of the symphony, but now Sibelius introduces one further element: a solo trombone cuts through these textures with a ringing, heroic solo that will return twice at climactic moments in the symphony. Over the next twenty minutes, these themes will re-appear, evolve, and interweave. Perhaps the most impressive aspect of the Seventh Symphony lies in its subtle changes of tempo, which are achieved with a mastery so assured that we cannot tell where one tempo ends and another begins: a moderate tempo is established, and before we aware of it the pulse of that tempo has become fast, and just as suddenly it has relaxed again. Sibelius’ Seventh Symphony may mirror the general approach of the Schoenberg and Schreker chamber symphonies, but Sibelius integrates tempos, sections, and moods with a subtlety and assurance that those earlier composers never dreamed of. Eventually the Seventh Symphony builds to an icy rip in C major that Sibelius marks Largamente, then falls away and gradually re-groups to build to the powerful close, where–at virtually the final second–the symphony claws its way back into C major. As was his habit, Sibelius worked on this symphony almost to the last minute. He completed it on March 2, 1924, barely in time to get the parts copied and the music rehearsed before the première three weeks later, when Sibelius led the first performance on March 24, 1924, with the Stockholm Philharmonic. At that concert, the program book listed this piece as a Fantasia Sinfonica–Sibelius was so concerned about his radical structure that he was reluctant to call this music a symphony. But after hearing it, he was convinced that it was a true symphony and that it should be numbered among his works in that form. After the Seventh Symphony, Sibelius wrote only one more large-scale work, the tone poem Tapiola in 1926. And then he stopped composing–the final 31 years of his life were spent in silence. Apparently he tried to write an Eighth Symphony, and evidence suggests that he made some sketches for it, but he abandoned that effort, and his sketches have disappeared. With the Seventh, an entire symphonic journey compressed into a concise one-movement arc, Sibelius had gone as far as he could with the symphony.

accident. Sibelius originally composed it in 1899 for what seems like an innocuous occasion–a celebration to help raise money for newspaper pension funds–but this fiery music quickly caught the heart of the Finnish people and became a symbol of their national pride. Finland had been under Russian control throughout the nineteenth century, and the movement for Finnish independence had always been strong. When Czar Nicholas II cracked down in 1899 and began an intense russification campaign, the country nearly exploded with opposition, and it was at that precise moment that Sibelius wrote this music, which was first titled Finland Awake! So obvious was that meaning that Russian authorities banned its performance, and Sibelius retitled the piece Finlandia when he revised it the following year. The Finns would finally gain their independence from Russia after World War I, but Finlandia has remained a sort of unofficial national hymn ever since. Yet this music tells no story, nor does it incorporate any Finnish folk material. Many assumed that music that sounds so “Finnish” must be based on native tunes, but Sibelius was adamant that all of it was original: “There is a mistaken impression among the press abroad that my themes are often folk melodies. So far, I have never used a theme that was not of my own invention. The thematic material of Finlandia . . . is entirely my own.” Finlandia is extremely dramatic music, well-suited to the striving and heroic mood of the times. Its ominous introduction opens with snarling two-note figures in the brass, and they are answered by quiet chorale-like material from woodwinds and strings. At the Allegro moderato the music rips ahead on stuttering brass figures and drives to a climax. Sibelius relaxes tensions with a poised hymn for woodwind choir that is repeated by the strings (surely this was the spot most observers identified as “authentic” Finnish material). The music takes on some of its earlier power, the stuttering brass attacks return, and Sibelius drives matters to a knock-out close. Small wonder that music so dramatic–and composed at so important a moment in Finnish history–should have come to symbolize that nation’s pride and desire for independence.

Finlandia, Opus 26

Jean SIBELIUS Finlandia has become a virtual symbol of Finland and its aspirations, but this music achieved that status almost by W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

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

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

The Discovery Series is underwritten by Medallion Society member:

Jeanette Stevens Additional support for the Series is provided by:

Gordon Brodfuehrer

DISCOVERY SERIES

Josef Špacˇek, violin & Miroslav Sekera, piano SUNDAY, MAY 8 · 3 PM THE AUDITORIUM AT TSRI

J.S. BACH Chaconne from the Partita No. 2 in D Minor for (1685-1750) Unaccompanied Violin, BWV 1004 (1720) SZYMANOWSKI Myths, Opus 30 (1915) (1882-1937) The Fountain of Arethusa Narcissus Dryads and Pan YSAŸE Caprice (After a Study in Form of a Waltz of Saint-Saëns, (1858-1931) Opus 52, No. 6) (1900) I N T E R M I S S I O N

PROKOFIEV Sonata for Solo Violin in D Major, Opus 115 (1947) (1891-1953) Moderato Andante dolce Con brio; Allegro precipitato SAINT-SAËNS Violin Sonata No. 1 in D Minor, Opus 75 (1885) (1835-1921) Allegro agitato; Adagio Allegretto moderato; Allegro molto Josef Špaček last performed for La Jolla Music Society as the Concertmaster for the Czech Philharmonic in the Celebrity Orchestra Series on November 6, 2014. This performance marks Miroslav Sekera’s La Jolla Music Society debut.

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JOSEF ŠPACˇ EK & MIROSLAV SEKERA - PROGRAM NOTES Program notes by Eric Bromberger

Myths, Opus 30

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

Karol SZYMANOWSKI

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

This Chaconne is of course THE Chaconne, one of the most famous and difficult pieces ever written for the violin. Bach composed it around 1720 as the final movement of his Partita No. 2 in D Minor for Unaccompanied Violin. The first four movements present the expected partita sequence–Allemande, Courante, Sarabande, and Gigue–but then Bach springs a surprise: the last movement is a chaconne longer that the first four movements combined. The Chaconne offers some of the most intense music Bach ever wrote, and it has worked its spell on musicians everywhere for the last two-and-a-half centuries. Beyond the countless recordings for violin, it is currently available in performances by guitar, cello, lute, and viola, as well as in piano transcriptions by Brahms, Busoni, and Raff. A chaconne is one of the most disciplined forms in music: it is built on a repeating ground bass in triple meter over which a melodic line is varied. A chaconne demands great skill from a performer under any circumstances, but it becomes unbelievably complex on the unaccompanied violin, which must simultaneously suggest the ground bass and project the melodic variations above it. Even with the curved bow of Bach’s day, some of this music borders on the unplayable, and it is more difficult still on the modern violin, with its more rounded bridge and concave bow. This makes Bach’s Chaconne sound like supremely cerebral music–and it is–but the wonder is that this music manages to be so expressive at the same time. The four-bar ground bass repeats 64 times during the quarter-hour span of the Chaconne, and over it Bach spins out gloriously varied music, all the while keeping these variations firmly anchored on the ground bass. At the center section, Bach moves into D major, and here the music relaxes a little, content to sing happily for awhile; after the calm nobility of this interlude, the quiet return to D minor sounds almost disconsolate. Bach drives the Chaconne to a great climax and a restatement of the ground bass at the close.

Born October 3, 1882, Tymoszówska Died March 29, 1937, Lausanne

World War I forced Szymanowski to remain in his native city of Tymoszówska in Poland, and there he composed prodigiously: the Symphony No. 3, Violin Concerto No. 1, and numerous songs, cantatas, and piano pieces all date from the first years of the war. Now in his early thirties, Szymanowski had only recently thrown off the influence of Wagner and Strauss to forge his own style, a style that grew in large measure from his exploration of Sicily and North Africa and from his new awareness of ancient cultures. Musically, this meant a style characterized by great attention to instrumental color, busy textures, and an expressionism that can verge on intoxicated ecstasy. Szymanowski composed several works for violin and piano during this period, among them his three Myths, Opus 30 in 1915. Szymanowski had fallen in love with classical antiquity, and each of the three movements–The Fountain of Arethusa, Narcissus, and Dryads and Pan–is based on a different Greek myth. Arethusa was a nymph loved by both Artemis and the river god Alpheus. Bathing in a river, she was forced to flee underwater to the island Ortygia to escape Alpheus; on that island, Artemis transformed her into a fountain, but Alpheus followed, was himself transformed into a river, and so was united with Arethusa at last. Szymanowski makes no attempt to cast this myth in a “classical” style but instead sets The Fountain of Arethusa in a shimmering, post-impressionistic musical language. This is a display-piece for both instruments, from the delicate piano introduction (clearly the sound of the fountain) through the writing for violin, which has a sort of fantastic tonal opulence, soaring high in its range, slipping into passages played entirely in harmonics, and leaping between an extroverted brilliance and a reflective lyricism. The Fountain of Arethusa has become one of Szymanowski’s most popular works. Narcissus was loved by Echo, but he was so consumed with himself that he rejected her; she in turn caused him to fall in love with his own reflection in a pool, where he withered away and was transformed into a flower. Szymanowski casts his Narcissus in a rondo-like form, with the violin’s principal melody returning in different keys and guises. Dryads were tree-nymphs (the most famous of them was Euridice, wife of Orpheus), and Pan the god of fields, forests, and flocks. Pan pursued the nymph Syrinx, who fled to the river Ladon and prayed to be turned into a reed; her prayer was granted, and Pan cut the reed and from it made his pipes. Szymanowski’s setting of this tale is notable for its W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

JOSEF ŠPACˇ EK & MIROSLAV SEKERA - PROGRAM NOTES

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

Caprice (After a Study in Form of a Waltz of Saint-Saëns, Opus 52, No. 6)

Eugène YSAŸE Born July 16, 1858, Liège Died May 12, 1931, Brussels

Saint-Saëns began to play the piano at the age of two and quickly turned into a prodigy of breathtaking achievements: at age ten, following a concert at which he played Beethoven and Mozart piano concertos, he offered to perform any Beethoven sonata as an encore–by memory. He began composing for the piano at age three, and his earliest surviving music for that instrument dates from 1843, when he was eight; there followed a great deal more music for piano, with his final work appearing in 1921, when he was 86. These pieces are mostly short (significantly, there are no sonatas among them), and they are often in dance forms. In 1877, when he was 42, Saint-Saëns wrote a series of studies for solo piano, which he called Six Etudes and published as his Opus 52. The last of these etudes is titled Caprice (After a Study in the Form of a Waltz). Some years later, the great Belgian violinist-composer Eugene Ysaÿe made a transcription of this Caprice for violin and piano, and in the process created one of the great virtuoso pieces for violinists– Ysaÿe played this Caprice with great success throughout his career. In its original form, the Caprice is daunting enough for pianists, but Ysaÿe’s transcription is a textbook of virtuoso violin technique: it demands rapid passages in fingered octaves, flying spiccato double-stops, great leaps, left-hand pizzicatos, sustained writing in the violin’s highest register, doublestopped tremolandi, and so on. The Caprice begins in the character of dance music (the opening is marked Allegro di valse), but across the sustained span of this demanding work the music gradually accelerates to a knock-out close.

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Sonata for Solo Violin in D Major, Opus 115

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

Prokofiev composed this unusual (and little-known) sonata in 1947. This was a difficult moment for the composer, then 56 years old. Two years earlier he had fallen and suffered a serious concussion, and he would never fully recover his strength or his health. During the winter of 1946-47 Prokofiev completed his Sixth Symphony, one of his finest scores, and then composed this brief sonata for solo violin. Sonatas for unaccompanied violin are not by themselves unusual–Bach, Ysayë, and Bartók have all written notable examples–but the distinctive title of Prokofiev’s sonata points to a larger purpose. He intended that this sonata might be played by a single violinist–or by any number of violinists, all playing in unison. Violin students in Russia often played in groups as part of their training, and Prokofiev intended that this sonata might be used for that purpose. But those students would have to be awfully good violinists, because for all its simplicity and straightforwardness, the Sonata in D Major can be very difficult indeed. Prokofiev does not write the complex contrapuntal music that other composers have often made a feature of their solo violin sonatas–the writing here is entirely linear–but this music is full of technical hurdles: great leaps, rapid string-crossings, quick chording, spiccato passages that alternate with sustained lyric lines. It might be a sonic treat to hear twenty very good violinists play this sonata, but it is most often performed today by a single violinist. The sonata is in three brief movements. The opening Moderato is in sonata form, built on the athletic opening idea and a lyric second subject that Prokofiev marks both piano and dolce. That contrast between saucy energy and a beautiful lyricism is a feature of some of Prokofiev’s finest music, and this attractive movement alternates busy passagework with more restrained and reflective interludes. The Andante dolce is in theme-and-variation form. The theme is heard at the very beginning (Prokofiev stresses that it should be espressivo), and five sharply-contrasted variations follow. Prokofiev marks the final movement Con brio, and it is indeed full of brio. This finale contrasts its brisk opening episode with an even faster second section marked Allegro precipitato, and after all this energy the sonata concludes on a rush of triplets up the scale and a resounding D.

JOSEF ŠPACˇ EK & MIROSLAV SEKERA - PROGRAM NOTES

Violin Sonata No. 1 in D Minor, Opus 75

Camille SAINT-SAËNS Born October 9, 1835, Paris Died December 16, 1921, Algiers

Saint-Saëns wrote his First Violin Sonata in 1885. At age 50, he was at the height of his powers. In that same year he wrote his Wedding Cake Waltz, and the following year he would write two of his most famous works: the “Organ” Symphony and the Carnival of the Animals. Although Saint-Saëns did not play the violin, he clearly understood the instrument– already he had written three violin concertos and the famous Introduction and Rondo Capriccioso; the Havanaise would follow two years later. The structure of the sonata is unusual. It has four movements, but the first and second are connected, as are the third and fourth, dividing the sonata into two extended parts. Saint-Saëns’ marking for the opening movement–Allegro agitato–is important, for this truly is agitated music. Beneath its quiet surface, the movement feels constantly restless. Its opening theme, a rocking tune for violin, alternates meters, slipping between 6/8 and 9/8; perhaps some of the music’s air of restlessness comes from its failure to settle into a constant meter. The lyric second idea–a long, falling melody for violin– brings some relief, and the dramatic development treats both these themes. While the second movement is marked Adagio, it shares the restless mood of the first. The piano has the quiet main theme, but the music seems to be in continuous motion before coming to a quiet close. The agreeable Allegretto moderato is the sonata’s scherzo. It dances gracefully, skittering easily between G major and G minor. At the center section, the violin has a haunting chorale tune over quietly-cascading piano arpeggios; as the movement comes to its close, Saint-Saëns skillfully twines together the chorale and the dancing opening theme and presents them simultaneously. Out of this calm, the concluding Allegro molto suddenly explodes–the violin takes off on the flurry of sixteenth-notes that will propel the finale on its dynamic way. This is by far the most extroverted of the movements, and it holds a number of surprises: a declamatory second theme high in the violin’s register and later a brief reminiscence of the lyric second theme of the opening movement. At the end, SaintSaëns brings back the rush of sixteenth-notes and the sonata races to a close so brilliant that one almost expects to see sparks flying through the hall.

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PRELUDE 2 PM

Lecture by Eric Bromberger: Beethoven at Opus 1 In May 1795 a set of three piano trios by the 24-year-old Beethoven were advertised, and appeared later that year as his official Opus 1. His first publication was a very carefully planned event, the product of a determined young composer and his equallydetermined supporters. This lecture explores the three trios of Beethoven’s Opus 1: how they were written, the music itself, its reception in Vienna, and these trios’ place in Beethoven’s chamber music–and in his career. La Jolla Music Society’s 2015-16 Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, San Diego Gas & Electric, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, The Frieman Family, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, John and Kay Hesselink, Jeanette Stevens, Gordon Brodfuehrer, and two anonymous donors.

This afternoon’s concert is underwritten by Anonymous donors. Many thanks to our Hotel Partner:

The Lodge at Torrey Pines

REVELLE CHAMBER MUSIC SERIES

The Complete Beethoven Piano Trios: Part I SATURDAY, MAY 14 · 3 PM MCASD SHERWOOD AUDITORIUM

Wu Han, piano; Philip Setzer, violin; David Finckel, cello BEETHOVEN Piano Trio in E-flat Major, Opus 1, No. 1 (1794-95) (1770-1827) Allegro Adagio cantabile Scherzo: Allegro assai Finale: Presto Piano Trio in G Major, Opus 1, No. 2 (1794-95) Adagio; Allegro vivace Largo con espressione Scherzo: Allegro Finale: Presto I N T E R M I S S I O N

Piano Trio in C Minor, Opus 1, No. 3 (1794-95) Allegro con brio Andante cantabile con Variazioni Menuetto Quasi Allegro Finale: Prestissimo David Finckel & Wu Han last performed for La Jolla Music Society as part of the Chamber Music Society of Lincoln Center in the Revelle Chamber Music Series on April 26, 2014. Philip Setzer last performed for La Jolla Music Society at SummerFest 2015.

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THE COMPLETE BEETHOVEN PIANO TRIOS: PART I - PROGRAM NOTES Program notes by Eric Bromberger

Piano Trio in E-flat Major, Opus 1, No. 1

BEETHOVEN: THREE PIANO TRIOS, OPUS 1

Ludwig van BEETHOVEN

Listeners should not be deceived by these trios’ opus number, for they are by no means Beethoven’s first compositions. When Beethoven arrived in Vienna in 1792, he had already written many works under the supervision of his teachers in Bonn, including a piano concerto, an oboe concerto, a fragment of a violin concerto, a fragment of a symphony, and numerous chamber works. Most of these have disappeared, but their range and number suggest that Beethoven was far from a novice composer when he arrived in Vienna. And once settled in his adopted city, Beethoven studied with Haydn, Salieri, and Albrechtsberger, working for several years to refine his mastery of sonata form. Beethoven was particularly anxious that the first work he published in Vienna–and the first work to which he assigned an opus number–should be successful. He chose for this first official publication a set of three piano trios on which he had worked for several years. They were published in July 1795, but all three had been performed before that: Beethoven was so eager for these trios to succeed that he had them performed while still in manuscript so that he could refine the work that would mark the beginning of his career. He dedicated the set to Prince Lichnowsky, his patron in Vienna. There is evidence that Lichnowsky–anxious himself for the young composer to succeed–secretly helped underwrite the publication costs so that Beethoven’s financial success in his first effort would be assured. Another major figure on the Viennese musical scene had a different reaction to the publication of these trios. Franz Joseph Haydn asked that Beethoven include the words “Pupil of Haydn” beneath his name on the trios’ title page. Beethoven’s feelings about the older master varied considerably across his lifetime. At this moment his relations with that older master were a little tender, and Beethoven brusquely refused the suggestion, exclaiming stormily to a friend that he “had never learned anything from [Haydn].” The piano trio of Mozart and Haydn’s day was typically a brief work in three movements in a fast-slow-fast sequence. In the trios of those earlier masters, the piano usually had the musical interest, and the strings were often cast in subordinate roles. While Beethoven’s first trios are by no means revolutionary, one feels that he has already taken over the earlier form and tried to make it his own. He adds an extra movement–a scherzo–to each of these trios, and he expands the scope and development of the other movements to the point that they become large-scale works: the Trio in E-flat Major that opens this program lasts a full half-hour.

Born December 16, 1770, Bonn Died March 26, 1827, Vienna

The opening Allegro of the Trio in E-flat Major leaps to life with an arpeggiated chord in the piano that will recur throughout the movement. The quiet second subject, played in unison by all three instruments, arrives quickly, and this sonata-form movement works through an extended development. The piano announces the opening theme of the Adagio cantabile, and in fact the piano–Beethoven’s own instrument–figures prominently throughout the trio. Here the piano’s line is florid, embellished with trills and turns. The center of the slow movement features some imaginative writing for the strings, whose long lines soar above steady piano accompaniment. Beethoven marks the third movement Scherzo, but formally it is not much different from the classical minuet-and-trio. Its most striking feature is the calm trio, where over sustained string chords the piano has quiet, belllike cascades of notes; a brief coda brings the movement to a close. The piano’s bright octave leap opens the Finale, marked Presto. The most energetic of the movements, it features a dancing second subject built on three descending notes that is treated by each of the instruments in turn and developed throughout the movement.

Piano Trio in G Major, Opus 1, No. 2

Ludwig van BEETHOVEN The Trio in G Major is the most genial of the set, quite different in mood from the Trio in C Minor that follows it. It opens with a slow introduction marked simply Adagio; the violin’s theme in the introduction will later serve as the main theme of the Allegro vivace, and the graceful second subject of this sonata-form movement is also announced by the violin. The Largo con espressione, frequently compared to the lyric slow movements of Schubert, begins with an extended passage for solo piano, soon joined by the strings; this opening episode forms the basis for the entire movement. The Scherzo, fairly restrained by Beethoven’s standards, is formally not much different from the classical minuet-and-trio; Beethoven appends a brief coda to bring the movement to a quiet close. The Presto finale rips along cheerfully on rapidly-repeated sixteenth-notes; a singing second subject provides variety but does not dampen the movement’s high spirits.

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THE COMPLETE BEETHOVEN PIANO TRIOS: PART I - PROGRAM NOTES

Piano Trio in C Minor, Opus 1, No. 3

Ludwig van BEETHOVEN We have seen that when Beethoven refused to list himself as “Pupil of Haydn” when these trios were published, he claimed that he “had never learned anything from him.” But there was a further reason for Beethoven’s animosity toward Haydn at this point. The older composer had advised him to publish the first two trios, but to hold back the Trio in C Minor. Beethoven, who believed the Trio in C Minor the best of the set, suspected jealousy on Haydn’s part. Haydn later explained to Ferdinand Ries–apparently in all innocence and sincerity–that he believed the Trio in C Minor too advanced for audiences, but Beethoven bore the grudge for some time. This trio is remarkable if for no other reason than that it is Beethoven’s first published work in C minor, the key that would call forth some of his most impassioned music: the Pathetique Sonata, the Fourth String Quartet, the Third Piano Concerto, the Funeral March of the Eroica, and the Fifth Symphony, to name only the best-known examples. This trio shares some of that same C-minor spirit. The Allegro con brio opens with an ominous theme for all three instruments in unison. Remarkably, Beethoven introduces the second theme immediately: it is heard in the tenth measure in the piano. The dramatic development treats both themes, often accompanied by showers of sixteenth-notes from the piano. The Andante cantabile con Variazioni is a set of five graceful variations on the piano’s noble opening theme; Beethoven appends a brief coda. The full title of the Menuetto Quasi Allegro is important, for it suggests that–in its rapid tempo–this minuet form is edging toward becoming a scherzo; the trio section belongs largely to the cello. The Finale: Prestissimo rushes along with the opening theme passed from violin to piano to cello. Rather than moving into a major key for the close, Beethoven keeps the movement firmly in C minor and provides an effective surprise by closing the work–which had been so full of turmoil–very quietly.

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PRELUDE 7 PM

Lecture by Eric Bromberger: The End of the Heroic Style Beethoven’s Heroic Style burst to life with the Eroica Symphony of 1803 and he transformed Classical Style into the platform for some of the most intense music ever written. But over the following decade, those furies began to abate, and the three trios on this program, composed in 1808-11, show a relaxation of the Heroic Style. This lecture discusses these three trios, written at a moment when Beethoven’s music was beginning once again to look to the future. La Jolla Music Society’s 2015-16 Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, San Diego Gas & Electric, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, The Frieman Family, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, John and Kay Hesselink, Jeanette Stevens, Gordon Brodfuehrer, and two anonymous donors.

Tonight’s concert is underwritten by Medallion Society members:

Kay and John Hesselink Many thanks to our Hotel Partner:

The Lodge at Torrey Pines

REVELLE CHAMBER MUSIC SERIES

The Complete Beethoven Piano Trios: Part II SATURDAY, MAY 14 · 8 PM MCASD SHERWOOD AUDITORIUM

Wu Han, piano; Philip Setzer, violin; David Finckel, cello BEETHOVEN Piano Trio in D Major, Opus 70, No. 1 “Ghost” (1808) (1770-1827) Allegro vivace e con brio Largo assai ed espressivo Presto Piano Trio in E-flat Major, Opus 70, No. 2 (1808) Poco sostenuto; Allegro ma non troppo Allegretto Allegretto ma non troppo Finale: Allegro I N T E R M I S S I O N

Piano Trio in B-flat Major, Opus 97 “Archduke” (1810-11) Allegro moderato Scherzo: Allegro Andante cantabile Allegro moderato

David Finckel & Wu Han last performed for La Jolla Music Society as part of the Chamber Music Society of Lincoln Center in the Revelle Chamber Music Series on April 26, 2014. Philip Setzer last performed for La Jolla Music Society at SummerFest 2015.

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THE COMPLETE BEETHOVEN PIANO TRIOS: PART II - PROGRAM NOTES Program notes by Eric Bromberger

BEETHOVEN: TWO PIANO TRIOS, OPUS 70 During the years 1807-8, Beethoven composed some of his most dramatic orchestral music. From early 1807 came the Coriolan Overture, the Mass in C Major was composed that summer, and during the fall and winter Beethoven was occupied with the Fifth Symphony. Once the Fifth was complete, he proceeded immediately to the Sixth Symphony and worked on that through the summer of 1808. With these mighty works behind him, Beethoven appears to have needed a break. He took leave of orchestral music and turned to the smaller canvases of chamber music, composing the two piano trios of Opus 70 and a cello sonata in the fall of 1808; the “Harp” Quartet followed the next year. Beethoven dedicated the two trios of Opus 70 to Countess Anna Maria Erdödy and–despite failing hearing–took part in performances of them at her home during the Christmas season in 1808.

Piano Trio in D Major, Opus 70, No. 1 “Ghost”

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

The exact source of the nickname “Ghost” for this trio is unknown, but it clearly refers to the middle movement, a striking Largo in D minor. This is dark, almost murky music–the piano murmurs a complex accompaniment while the strings twist and extend bits of melody above it. This unusual music (Beethoven rarely marked a movement Largo) has excited a great deal of curiosity about its inspiration. One possibility is particularly intriguing. Beethoven had worked on his opera Leonore (later renamed Fidelio) from 1804 until 1806. It had not achieved success, and–anxious to try another opera–Beethoven explored many possible subjects. One of these was Shakespeare’s Macbeth, and he and the playwright Heinrich Collin went so far as to discuss a libretto. In fact, Beethoven actually began work on the music for Macbeth, for there are sketches in D minor marked “Macbeth.” Nothing ever came of them, though the idea of an opera based on this play continued to fascinate Beethoven, even in his final years. But on the same sheet that contains the sketches for Macbeth are the first sketches for the Largo assai ed espressivo movement of this trio, also in D minor. Whether this somber and brooding music, written in 1808, grew out of Beethoven’s projected music for Macbeth cannot be known for sure, but the connection–however distant–is clearly there, and this movement may be our one hint as to what Beethoven’s music

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for that tragedy might have been like. Surely it is not too great a leap to imagine this music in conjunction with the witches or Macbeth’s dark final days. Beethoven frames this remarkable Largo with two fast movements, both in radiant D major. The middle movement is so powerful that the outer movements seem a little light by comparison, and some observers have gone so far as to suggest that they should be seen as prelude and postlude to the Largo. The Allegro vivace e con brio opens with a pithy rhythmic figure that recurs throughout the movement and finally brings it to a close. The main theme is a flowing, elegant idea heard first in the cello and quickly passed between all three instruments. This theme dominates the opening movement, giving it an atmosphere of easy expansiveness. The concluding Presto sounds innocent after the grim pizzicato strokes that end the Largo. It offers long melodic lines, a graceful partnership between the instruments, and a smooth flow of good-spirited music throughout.

Piano Trio in E-flat Major, Opus 70, No. 2

Ludwig van BEETHOVEN The Trio in E-flat Major has been much admired, and with good reason. Some have claimed that in this trio Beethoven consciously wrote thematic material in the manner of Haydn and Mozart and then treated it in his own mature style– the music thus combines the elegance and restraint of an earlier era with Beethoven’s own powerful sense of form and musical evolution. Beyond this, the music is distinctive for its gentleness and for Beethoven’s many structural innovations. The first movement opens with a stately and poised Poco sostenuto introduction, with the three instruments making terraced entrances. This reaches a moment of repose, and violin and cello announce the leaping, graceful main theme of the Allegro ma non troppo, which is soon followed by a flowing second idea. The development, marked by a series of swirling trills from all three instruments, is exceptionally gentle, and Beethoven continually reminds the performers that their playing should be dolce. The ending is remarkable: instead of a mighty recapitulation, Beethoven brings back the music of the introduction, and the movement comes to its quiet close as the Allegro theme gradually dissolves. Beethoven’s choice of tempos for the inner movements is surprising: instead of making a defined contrast between a slow movement and a fast one, he instead writes two Allegretto movements. The hopping four-note figure heard in the piano at the very beginning of the first Allegretto will dominate this genial movement, either whispered in the background, stamped out vigorously, or simply implied. The

THE COMPLETE BEETHOVEN PIANO TRIOS: PART II - PROGRAM NOTES

third movement is marked Allegretto ma non troppo, and Beethoven’s performance markings are noteworthy: once again he constantly reminds all three instruments to play dolce, and at some points his dynamic indication is ppp, a marking he rarely used. The form of this movement is quite original: it is built on its flowing opening idea and a chordal melody offered as statement-and-answer by strings and piano; Beethoven simply alternates these sections as the movement proceeds. Particularly striking here is the contrast between the elegant string lines and the harmonic pungency of the piano’s transition passages. The seemingly easy-going Finale: Allegro, in sonata form, is built on a wealth of quite different ideas; Beethoven gradually pulls these together in a lengthy coda and drives the trio to a sonorous close.

Piano Trio in B-flat Major, Opus 97 “Archduke”

Ludwig van BEETHOVEN The archduke of this trio’s nickname was Archduke Rudolph von Hapsburg, youngest brother of Emperor Franz. Rudolph studied piano and composition with Beethoven, beginning about 1804, when he was 16. A contemporary portrait shows a young man with fair hair and the full Hapsburg lips; he appears to have been blessed with a sense of humor. Beethoven remained fond of Rudolph, who was destined for the church, throughout his life; it was for Rudolph’s elevation to archbishop that Beethoven composed the Missa Solemnis, and he dedicated a number of his greatest works to Rudolph, including the Fourth and Fifth Piano Concertos, the Hammerklavier Sonata, and the Grosse Fuge, as well as this trio. For his part, Rudolph became one of Beethoven’s most generous and reliable patrons, furnishing him with a substantial annuity for many years and maintaining a collection of his manuscripts. Rudolph, however, did not long survive his teacher–he died in 1831 at age 43. Beethoven sketched this trio in 1810 and composed it during March 1811, shortly before beginning work on his Seventh and Eighth Symphonies. He was 40 years old and nearing the end of the great burst of creativity that has come to be known as his “Heroic Style,” the period that began with the Eroica in 1803 and ended in about 1812 with the Eighth Symphony. Beethoven was growing increasingly deaf at this time–an unsuccessful performance of the “Archduke” Trio in 1814 was his final public appearance as a pianist–and he would soon enter the six-year period of relative inactivity as a composer that preceded his late style. The “Archduke” Trio seems well-named, for there is something noble about this music, something grand about its spacious proportions and breadth of spirit. At a length

of nearly 45 minutes, it is longer than most of Beethoven’s symphonies, but–unlike the symphonies–this trio is quite relaxed: it makes its way not by unleashing furious energy to fight musical battles but by spinning long, lyric melodic lines. It is as if Beethoven is showing that there is more than one way to write heroic music. The nobility of this music is evident from the opening instant of the Allegro moderato, where the piano quickly establishes the music’s easy stride (it is characteristic of this music that both outer movements should be marked Allegro moderato rather than the expected Allegro). The piano also introduces the slightly square second theme, and this sonataform movement develops easily over its lengthy span. Strings open the huge Scherzo, with the piano quickly picking up their theme. Particularly striking here is the trio section–its deep chromatic wanderings alternate with an exuberant waltz and furnish the material for the coda. The gorgeous Andante cantabile is a set of variations on the piano’s expressive opening subject. These variations proceed by making this simple melody more and more complex: the music appears blacker and blacker on the pages of the score before it falls back to end quietly, proceeding without pause to the concluding Allegro moderato. Full of energy, this rondofinale is also full of good humor and imaginative rhythms. The music flies to its close on a coda marked Presto.

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Many thanks to our Hotel Partner:

SPECIAL EVENT

MozART group SATURDAY, MAY 21 · 8 PM MCASD SHERWOOD AUDITORIUM

Filip Jaślar, Michał Sikorski, violins; Paweł Kowaluk, viola; Bolesław Błaszczyk, cello

The Lodge at Torrey Pines

Works to be announced from stage NO INTERMISSION

MozART group last performed for La Jolla Music Society at a Donor Event on March 8, 2012.

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BIOGRAPHIES ERIC BROMBERGER, prelude presenter Eric Bromberger has been program annotator for the La Jolla Music Society since 1983, and he is presently program annotator for the Minnesota Orchestra, Washington Performing Arts Society, Santa Fe Chamber Music Festival, San Francisco Performances, University of Chicago Presents, San Diego Symphony and others. He lectures frequently for the LA Philharmonic’s Upbeat Live series at Disney Hall.

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

WU HAN, piano & DAVID FINCKEL, cello

David Finckel and Wu Han are among the most esteemed and influential classical musicians in the world today. Named Musical America’s 2012 Musicians of the Year award, the talent, energy, imagination, and dedication they bring to their multifaceted endeavors as concert performers, recording artists, educators, artistic administrators, and cultural entrepreneurs has garnered superlatives from the press, public, and presenters alike. In high demand year after year among chamber music audiences worldwide, the duo has appeared each season at the most prestigious venues and concert series across the United States, Mexico, Canada, the Far East and Europe. London’s Musical Opinion said of their Wigmore Hall debut: “They enthralled both myself and the audience with performances whose idiomatic command, technical mastery and unsullied integrity of vision made me think right back to the days of Schnabel and Fournier, Solomon and Piatigorsky.” In addition to his duo activities, David Finckel served as cellist of the Grammy® Award-winning Emerson String Quartet for thirty-four years. Innovators in recording, in 1997, David Finckel and Wu Han launched the musician directed and internet based ArtistLed, whose catalogue of seventeen albums has won widespread critical acclaim. They have overseen the establishment and design of The Chamber Music Society of Lincoln Center’s acclaimed CMS Studio and CMS Live labels, as well as the Society’s recording partnership with Deutsche Grammophon; and the much lauded Music@Menlo LIVE label, now in its thirteenth season. In addition to being founding Artistic Directors of Silicon Valley’s Music@Menlo, they are in their third term as Artistic Directors of The Chamber Music Society of Lincoln Center. In 2011, they were named Artistic Directors of Chamber Music Today, an annual festival held in Korea. Educational endeavors including their newly created chamber music studio at Aspen Music Festival and School, have achieved them universal renown for their passionate commitment to nurturing the careers of countless young artists. David Finckel serves as Professor of Cello at The Juilliard School, as well as Artist-in-Residence at Stony Brook University. David Finckel and Wu Han reside in New York. For more information, please visit www.davidfinckelandwuhan.com.

PHILIP SETZER, violin

Violinist Philip Setzer is a founding member of the Emerson String Quartet, which has received nine Grammy® Awards, three Gramophone Awards and the coveted Avery Fisher Prize, and has performed cycles of the complete Beethoven, Bartók, and Shostakovich string quartets in the world’s musical capitals, from New York to Vienna. Mr. Setzer’s idea inspired The Noise of Time, a groundbreaking theater collaboration between the Emerson Quartet and Simon McBurney–about the life of Shostakovich. As a soloist, he has appeared with The Cleveland Orchestra, the Aspen Chamber Orchestra, and the National Symphony, among others. In 1976, he won a bronze medal at the Queen Elisabeth International Competition in Brussels. Mr. Setzer is a tenured Professor of Violin and Chamber Music at Stony Brook University and has given master classes at schools around the world. He has been a regular faculty member of the Isaac Stern Chamber Music Workshops at Carnegie Hall and the Jerusalem Music Center. His article about those workshops appeared in The New York Times on the occasion of Isaac Stern’s 80th birthday celebration in 2001. Mr. Setzer studied violin with Josef Gingold and Rafael Druian, at The Juilliard School with Oscar Shumsky, and also studied chamber music with Robert Mann and Felix Galimir. W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

BIOGRAPHIES

MOZART GROUP

“We exist despite the sober formality of great concert halls, despite the boredom of classical musicians’ life, despite fanatic lovers of classical music, despite fans of rock, rap or pop who are afraid of classical music. We treat our Muse with a humorous irony and we’re sure, she will have nothing against it!” - MozART group Since 1995 this extraordinary ensemble of four gentlemen visited over 50 countries on four continents, performing more than 4,000 shows and combining classical music and comedy into a unique experience for young and old. Surprising and admirable, the MozART group is an ingenious fountain of noble craziness. Not always serious, but always hilarious. Without a doubt – unique! The members of the MozART group are well-educated instrumentalists, who graduated from prestigious Academies in Poland, but decided to play classical music in a humorous way. The quartet released 5 DVDs and received an impressive number of prestigious awards in Europe; among others a special prize from the Ministry of Culture of the Republic of Poland for outstanding achievements and 15 years on stage in 2010 and in 2013 the artists were awarded the three main prizes at the 10th “Festival des Artes Burlesques” in St.Etienne, France. For more information visit www.mozartgroup.net

NEW YORK PHILHARMONIC

The New York Philharmonic plays a leading cultural role in the world, and this season will connect with up to 50 million music lovers through live concerts in New York City and on its worldwide tours and residencies; digital recording series; international broadcasts on television, radio, and online; and as a resource through a wide range of education programs and the New York Philharmonic Leon Levy Digital Archives. Having commissioned and/or premiered works by leading composers from nearly every musical era, the Orchestra now champions contemporary music through CONTACT! and the NY PHIL BIENNIAL. A resource for its community and the world, the Philharmonic complements its annual free citywide Concerts in the Parks, Presented by Didi and Oscar Schafer, with Philharmonic Free Fridays and wide-ranging education programs, including the famed Young People’s Concerts and the New York Philharmonic Global Academy, collaborations with partners worldwide offering training of pre-professional musicians, often alongside performance residencies. Having appeared in 432 cities in 63 countries, America’s oldest symphony orchestra has long been a media pioneer, releasing almost 2,000 recordings since 1917 and today sharing live performances through downloads and online. Alan Gilbert became Music Director in 2009, succeeding 20th-century musical giants including Bernstein, Toscanini, and Mahler.

Alan Gilbert, music director

New York Philharmonic Music Director Alan Gilbert has introduced the positions of Composer-inResidence, Artist-in-Residence, and Artist-in-Association; CONTACT!, the new-music series; the NY PHIL BIENNIAL; and the New York Philharmonic Global Academy. In 2015–16 he conducts four World Premières; co-curates the second NY PHIL BIENNIAL; performs violin in Messiaen’s Quartet for the End of Time; and participates in the Orchestra’s residencies in Shanghai and Santa Barbara. Mr. Gilbert’s Philharmonic highlights include acclaimed stagings of Ligeti’s Le Grand Macabre, Janáček’s The Cunning Little Vixen, Sondheim’s Sweeney Todd starring Bryn Terfel and Emma Thompson, and Honegger’s Joan of Arc at the Stake starring Marion Cotillard; 24 World Premières; The Nielsen Project; the score from 2001: A Space Odyssey alongside the film; Mahler’s Resurrection Symphony on the tenth anniversary of 9/11; and nine tours around the world. Conductor laureate of the Royal Stockholm Philharmonic Orchestra and former principal guest conductor of Hamburg’s NDR Symphony Orchestra, this season Mr. Gilbert appears with Filarmonica della Scala, Dresden Staatskapelle, London Symphony, Academy of St Martin in the Fields, Cleveland Orchestra and Tokyo Metropolitan Symphony Orchestras. Juilliard’s Director of Conducting and Orchestral Studies, his honors include election to The American Academy of Arts & Sciences, a Foreign Policy Association Medal, and being named Officier de l’Ordre des Arts et des Lettres.

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BIOGRAPHIES

SAN DIEGO YOUTH SYMPHONY & CONSERVATORY

Under the leadership of President and CEO Dalouge Smith and Music Director Jeff Edmons, San Diego Youth Symphony and Conservatory (SDYS) instills excellence in the musical and personal development of students ages 8 to 23 through rigorous and inspiring musical training experiences. Since 1945, SDYS has given thousands of musicians the opportunity to study and perform classical repertoire at a highly advanced level. SDYS attracts student musicians from throughout San Diego, Imperial and Riverside counties and serves over 600 students annually through its twelve ensembles. The organization’s preeminent ensemble, the SDYS Chamber Orchestra is comprised of the principal and assistant principal musicians from the advanced level Ovation Program and rehearses at an extraordinarily proficient level for a youth program. Provided the finest training, the Chamber Orchestra is given the opportunity to perform professional level repertoire from multiple historic periods for both string orchestra and full chamber orchestra on a national and international stage. Most recently, select students of the San Diego Youth Symphony participated in SDYS’s 70th Anniversary tour to China and performed in Beijing’s Forbidden City Concert Hall, San Diego’s sister city Yantai’s Poly Grand Theatre and the Oriental Arts Center in Shanghai in June 2015.

MIROSLAV SEKERA, piano

Miroslav Sekera ranks among the preeminent Czech pianists of his generation. Considered a child prodigy, his talent was first observed at age 3 by Professor Zdena Janžurová, when, along with piano, he began the study of violin. In both concert appearances and junior performing competitions he reaped triumphs as a pianist, violinist and chamber player. At age 6, Mr. Sekera’s virtuosic skills led director Miloš Forman to cast him as a young Mozart in the film Amadeus, where he displayed bravura performing spinet and violin blindfold. Having chosen to focus on piano study, in 1999 he graduated from the Academy of Music in Prague, as the school’s best solo piano graduate. A few of his many awards include first prizes from the Chopin Competition at Mariánské Lázne(1991) and a competition organized by the Prague Academy of Music (1999), where he also received a scholarship from Yamaha. He was also awarded first prize at the Johannes Brahms International Competition at Portschach, Austria (2002). Mr. Sekera makes concert appearances in the Czech Republic and internationally as both soloist and chamber ensemble player. His most recent release is 2013 Supraphon recording with violinist Josef Špaček and features pieces by Smetana, Janáček and Prokofiev.

JOSEF ŠPACˇ EK, violin

"Never mind the superb technical accomplishment of his playing, it's the musical and interpretative achievement that is so impressive here," wrote the International Record Review about the Czech violinist Josef Špaček. Until December 2015 Mr. Špaček served as concertmaster of the Czech Philharmonic Orchestra and was named “Associate Artist” of the orchestra as of January 2015. He studied with Itzhak Perlman at The Juilliard School, Ida Kavafian and Jaime Laredo at the Curtis Institute of Music, and with Jaroslav Foltýn at the Prague Conservatory. He was laureate of the International Queen Elisabeth Competition in Brussels, and won top prizes at the Michael Hill International Violin Competition in New Zealand, the Carl Nielsen International Violin Competition in Denmark and the Young Concert Artists International Auditions in New York. As a soloist he makes guest appearances with orchestras internationally such as Rotterdam Philharmonic Orchestra, Tokyo Metropolitan Symphony Orchestra, Konzerthausorchester Berlin, Orchestra Sinfonica Nazionale della RAI Torino, and Queensland Symphony Orchestra, among others. He collaborates with such conductors as Jiří Bělohlávek, Jakub Hrůša, Valery Gergiev, Christoph Eschenbach, Manfred Honeck and Thomas Søndergård. His most recent Supraphon 2015 recording features the violin concertos of Dvořák and Janáček and of Suk's Fantasy, with the Czech Philharmonic Orchestra conducted by Jiří Bělohlávek. Josef Špaček plays an 1855 Jean-Baptiste Vuillaume violin.

PHOTO CREDITS: Cover: P. Setzer, D. Finckel & W. Han © Daniel Ashworth; Pg 2: New York Philharmonic © Chris Lee; Pg. 11 & 28: New York Philharmonic © Chris Lee; Pg. 16: J. Špacˇek © Radovan Subin; Pg. 20 & 23: P. Setzer, D. Finckel & W. Han © Daniel Ashworth; Pg. 26 & 28: MozART group © www.mozartgroup.net; Pg. 27: E. Bromberger courtesy of presenter; M. Gerdes courtesy of presenter; Pg. 27: W. Han & D. Finckel courtesy of artists; Pg. 28: A. Gilbert by David Finlayson; Pg. 29: M. Sekera © Jirˇí Ulrych; P. Setzer by Lisa Mazzucco; J. Špacˇek by Radovan Subin; Back Cover: MozART group © www.mozartgroup.net.

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

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

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

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

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ANNUAL SUPPORT

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

LA JOLLA MUSIC SOCIETY

Vail Memorial Fund Thomas and Nell Waltz Family Foundation Sheryl and Harvey White Foundation

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

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

MATCHING GIFTS Bank of America IBM, International Merck QUALCOMM, Inc. The San Diego Foundation Sempra Energy To learn more about supporting La Jolla Music Society’s artistic and education programs or to make an amendment to your listing please contact Benjamin Guercio at 858.459.3724, ext. 216 or BGuercio@LJMS.org. This list is current as of April 4, 2016. Amendments will be reflected in the next program book in August 2016.

ANNUAL SUPPORT

MEDALLION SOCIETY

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

CROWN JEWEL

Brenda Baker and Steve Baum Conrad Prebys and Debbie Turner

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

EMERALD Rita and Richard Atkinson

RUBY Silvija and Brian Devine

GARNET Elaine Galinson Peggy and Peter Preuss

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

TOPAZ

Anonymous Joan Jordan Bernstein Mary Ann Beyster+ Dr. James C. and Karen A. Brailean Dave and Elaine Darwin Barbara and Dick Enberg Jeane Erley Dr. Lisa Braun-Glazer and Dr. Jeff Glazer Margaret and Michael Grossman Alexa Kirkwood Hirsch Theresa Jarvis Angelina and Fred Kleinbub Joseph Wong and Vivian Lim+

Michel Mathieu and Richard McDonald Rafael and Marina Pastor Maria and Dr. Philippe Prokocimer Don and Stacy Rosenberg Leigh P. Ryan+ Neal and Marge Schmale Jeanette Stevens Elizabeth Taft Gianangelo Vergani Dolly and Victor Woo Carolyn Yorston-Wellcome and H. Bard Wellcome Bebe and Marvin Zigman

Note: + 5-year term Listing as of April 4, 2016

DANCE SOCIETY

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

GRAND JETÉ

POINTE

ARABESQUE

DEMI POINTE

Anonymous

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

PIROUETTE

PLIÉ

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

Stefana Brintzenhoff Mara Lawrence Joani Nelson Rejeuviné Medspa Elyssa Dru Rosenberg Elizabeth Taft Listing as of April 4, 2016

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

ANNUAL SUPPORT

LEGACY SOCIETY

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

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

Maria and Dr. Philippe Prokocimer Bill Purves Darren and Bree Reinig Jay W. Richen Leigh P. Ryan Jack and Joan Salb Johanna Schiavoni Patricia C. Shank Drs. Joseph and Gloria Shurman Jeanette Stevens Elizabeth and Joseph* Taft Norma Jo Thomas Dr. Yvonne E. Vaucher Lucy and Ruprecht von Buttlar Ronald Wakefield John B. and Cathy Weil Carolyn Yorston-Wellcome and H. Barden Wellcome Karl and Joan Zeisler Josephine Zolin *In Memoriam Listing as of April 4, 2016

BUSINESS SOCIETY

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

GUARANTOR

AMBASSADOR

ASSOCIATE

The Lodge at Torrey Pines San Diego Gas & Electric

ACE Parking Management, Inc. Giuseppe Restaurants & Fine Catering La Jolla Beach and Tennis Club La Valencia Hotel NINE-TEN Restaurant Chef Drew Catering, Panache Productions Sammy’s Woodfire Pizza Del Mar

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

SUSTAINER The Westgate Hotel

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

LA JOLLA MUSIC SOCIETY

ENTHUSIAST Nelson Real Estate

AFICIONADO Callan Capital Girard Gourmet Sharp HealthCare

Listing as of April 4, 2016

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

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

NINE-TEN Restaurant

910 Prospect Street, La Jolla For Reservations: 858.964.5400 www.nine-ten.com

The Westgate Room

1055 Second Avenue, San Diego For Reservations: 619.557.3650 www.westgatehotel.com

SPECIAL RESTAURANT NIGHT MAY 14 · 5:45 PM

Join us for a special buffet dinner between the two-performance presentation of the complete Beethoven piano trio cycle on Saturday, May 14.

LA VALENCIA HOTEL at The MED Patio 1132 Prospect Street, La Jolla

This special buffet dinner is $60 per person and includes a welcome champagne, starting at 5:45 PM. For more information or to reserve your seat, please contact: Rewa Colette Soltan at 858.459.3724, ext. 206 or email RSoltan@LJMS.org. W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

30 t h A n n i v e r s a r y

AUGUST 3 – 26, 2016

FREE OUTDOOR CONCERT

SUMMERFEST Under the Stars Featuring Time For Three Wednesday, August 3 · 6:30 PM SCRIPPS PARK (LA JOLLA COVE)

Join us for our annual free concert to kick off SummerFest!

OPENING NIGHT: A Bohemian Rhapsody

AN EVENING WITH ZUKERMAN TRIO Tuesday, August 9 · 8 PM

Friday, August 5 · 8 PM

CHO-LIANG LIN SummerFest Music Director

MUSIC TRANSFIGURED

1824 - 1942: RICHARD, ROBERT & LUDWIG

Saturday, August 6 · 8 PM

Wednesday, August 10 · 8 PM

VIENNESE GIANTS Friday, August 12 · 8 PM

CHEE- YUN

FROM MOZART TO MAHLER Sunday, August 7 · 3 PM

LA JOLLA MUSIC SOCIETY

JUHO POHJONEN

GREAT QUINTETS Sunday, August 21 · 3 PM

VIRTUOSO WINDS Tuesday August, 23 · 8 PM

PREMIÈRES & REPRISES Sunday, August 14 · 3 PM

FLUX QUARTET

A SPIRITUAL JOURNEY Tuesday, August 16 · 8 PM

CATHERINE RANSOM KAROLY

AN EVENING WITH PAQUITO D’RIVERA: Jazz Meets the Classics Wednesday, August 17 · 8 PM

BACH CELLO SUITES WITH MISCHA MAISKY PART 1

AN EVENING WITH MARC-ANDRÉ HAMELIN Wednesday, August 24 · 8 PM

Friday, August 19 · 8 PM

BACH CELLO SUITES WITH MISCHA MAISKY PART 2 Saturday, August 20 · 8 PM

FINALE WITH JAMES CONLON & GIL SHAHAM Friday, August 26 · 8 PM

SUBSCRIPTIONS ON SALE NOW!

FOR MORE INFORMATION: LJMS.ORG · 858.459.3728 W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

SHARING OUR PASSION FOR ARTS AND EDUCATION LJMS & SDYS PARTNERSHIP

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

THE MUSIC INSTITUTE Launched in October of 2015, The Music Institute provides college-level instruction in music theory, music history, and chamber music interpretation/performance, along with master classes and professional development opportunities for its students. Designed to be the premier pre-collegiate program for classical music instruction in San Diego, The Music Institute provides music education to high school students as they prepare to pursue college degrees and professions in music. Learn more about the core curriculum, class and seminar schedule at www.the-music-institute.org. *Information about auditioning for The Music Institute will be available in the Spring for classes beginning in the Fall. SAN DIEGO YOUTH SYMPHONY SERIES La Jolla Music Society presents the SDYS Chamber Orchestra in two concerts during their Winter Season. Showcasing the incredibly talented student musicians of SDYS’ top ensemble, this residency combines LJMS’ position as a leading presenter of music and dance in Southern California with SDYS’ long tradition of innovative music education programs. Learn more about the San Diego Youth Symphony Series presented by La Jolla Music Society at www.LJMS.org.

These new education programs are an important community investment. To learn more about this partnership and how

you can help support these growing collaborations please contact: Ferdinand Gasang, LJMS Development Director at 858.459.3724 ext. 204 · FGasang@LJMS.org

LA JOLLA MUSIC SOCIETY

JUST ANNOUNCED! ORCH E ST R A S E R IE S

PRAGUE PHILHARMONIA

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

Jacobs Music Center-Copley Symphony Hall

BAMBERG SYMPHONY

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

SEASON 48 R E V E L L E CH A M BE R M U S IC S E R IE S

S PECI A L E V E N T S

TAKÁCS QUARTET

THE UKULELE ORCHESTRA OF GREAT BRITAIN “HOLIDAY SHOW”

Friday, December 9, 2016 · 8 PM

Friday, December 16, 2016 · 8 PM

KRONOS QUARTET

THE UKULELE ORCHESTRA OF GREAT BRITAIN “HOLIDAY SHOW”

MCASD Sherwood Auditorium

Friday, January 20, 2017 · 8 PM MCASD Sherwood Auditorium

Saturday, December 17, 2016 · 8 PM

TAFELMUSIK BAROQUE ORCHESTRA

MCASD Sherwood Auditorium

Jacobs Music Center-Copley Symphony Hall

Friday March 10, 2017 · 8 PM

DANISH NATIONAL SYMPHONY ORCHESTRA

LEONIDAS KAVAKOS, violin & YUJA WANG, piano

EMERSON STRING QUARTET

Saturday, February 11, 2017 · 8 PM

Jacobs Music Center-Copley Symphony Hall

JA Z Z S E R IE S

JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS And Special Guests Denzal Sinclaire and Audrey Shakir Thursday, October 6, 2016 · 8 PM

Saturday April 22, 2017 · 8 PM MCASD Sherwood Auditorium

PI A NO S E R IE S

HÉLÈNE GRIMAUD Thursday, December 1, 2016 · 8 PM MCASD Sherwood Auditorium

LOUIS LORTIE Saturday, January 14, 2017 · 8 PM MCASD Sherwood Auditorium

Balboa Theatre

BRAD MEHLDAU

FROM THE BUENA VISTA SOCIAL CLUB:

MCASD Sherwood Auditorium

OMARA PORTUONDO 85 TOUR Special Guests Roberto Fonseca, Anat Cohen & Regina Carter Friday, October 7, 2016 · 8 PM Balboa Theatre

BRANFORD MARSALIS QUARTET featuring Special Guest Kurt Elling Friday, February 10, 2017 · 8 PM Balboa Theatre

DA NCE S E R IE S

TWYLA THARP DANCE

50 Anniversary Tour Saturday, October 22, 2016 · 8 PM th

Spreckels Theatre

WINTERFEST 2017

MALANDAIN BALLET BIARRITZ BEAUTY AND THE BEAST Saturday, March 18, 2017 · 8 PM

Thursday, March 9, 2017 · 8 PM

JEREMY DENK Friday, May 12, 2017 · 8 PM MCASD Sherwood Auditorium

DI S COV E RY S E R IE S

RAPHAËL SÉVÈRE, clarinet

Balboa Theatre

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

NIKOLAY KHOZYAINOV, piano Saturday April 29, 2017 · 8 PM The Auditorium at TSRI

S DYS S E R IE S

CHAMBER ORCHESTRA

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

CHAMBER ORCHESTRA

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

Sunday, October 30, 2016 · 3 PM The Auditorium at TSRI

EDGAR MOREAU, cello Sunday, January 22, 2017 · 3 PM The Auditorium at TSRI

SEONG-JIN CHO, piano Sunday, February 26, 2017 · 3 PM The Auditorium at TSRI

CAROLINE GOULDING, violin Sunday, March 5, 2017 · 3 PM The Auditorium at TSRI

WYNTON MARSALIS

Fabio Luisi, principal conductor Deborah Voigt, soprano Thursday, March 30, 2017 · 8 PM

MCASD Sherwood Auditorium

Civic Theatre

BLACK GRACE Saturday, April 8, 2017 · 8 PM Spreckels Theatre

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

OPENING 2018

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

VISIT THECONRAD.ORG FOR MORE INFORMATION 42

LA JOLLA MUSIC SOCIETY

sharp applauds

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

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

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

Nelson R E A L

E S T A T E

Robert C. Nelson

PRINCIPAL BROKER

858.531.4555

robertcn1@yahoo.com www.PerfectPlaceToLive.com

California BRE #01335083

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

LA JOLLA MUSIC SOCIETY

Foundation

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

Mary F. Berglund, PhD Treasurer

Peter C. Farrell, PhD, DSc Secretary

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

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

Tel 858-361-0755

ResMedFoundation.org

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

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MAY NEW YORK PHILHARMONIC

THE COMPLETE

MOZART GROUP

Wednesday, May 4, 2016 · 8 PM

Philip Setzer, David Finckel & Wu Han

SPECIAL EVENT

Alan Gilbert, music director

BEETHOVEN PIANO TRIOS: PART I

CELEBRITY ORCHESTRA SERIES

Saturday May 14, 2016 · 3 PM

Jacobs Music Center-Copley Symphony Hall

JOSEF ŠPACˇEK, violin

Sunday, May 8, 2016 · 3 PM DISCOVERY SERIES The Auditorium at TSRI

Saturday May 21, 2016 · 8 PM MCASD Sherwood Auditorium

REVELLE CHAMBER MUSIC SERIES MCASD Sherwood Auditorium

THE COMPLETE

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

Saturday May 14, 2016 · 8 PM

REVELLE CHAMBER MUSIC SERIES

MOZART GROUP

MCASD Sherwood Auditorium

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