La Jolla Music Society Season 48, Program Book, Volume 4 by La Jolla Music Society

SEASON 48 | 2016-17

JEREMY DENK

March-May

SEASON 48 | 2016-17 OCTOBER

JA N UA RY

BRAD MEHLDAU

JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS

LOUIS LORTIE

Thursday, March 9, 2017 · 8 PM

Saturday, January 14, 2017 · 8 PM

Piano Series

MCASD Sherwood Auditorium

Thursday, October 6, 2016 · 8 PM

Piano Series

MCASD Sherwood Auditorium

Balboa Theatre

TAFELMUSIK BAROQUE ORCHESTRA

KRONOS QUARTET

Friday, March 10, 2017 · 8 PM

from the Buena Vista Social Club:

Friday, January 20, 2017 · 8 PM

Jazz Series

OMARA PORTUONDO 85 TOUR

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

Balboa Theatre

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

Spreckels Theatre

RAPHAËL SÉVÈRE, clarinet

Revelle Chamber Music Series MCASD Sherwood Auditorium

EDGAR MOREAU, cello The Auditorium at TSRI

Dance Series

Discovery Series

PKF - PRAGUE PHILHARMONIA

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

Jacobs Music Center-Copley Symphony Hall

The Auditorium at TSRI

BRANFORD MARSALIS QUARTET

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

MCASD Sherwood Auditorium

CHAMBER ORCHESTRA

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

San Diego Youth Symphony Series MCASD Sherwood Auditorium

With Special Guest Kurt Elling

Friday, February 10, 2017 · 8 PM Jazz Series

Balboa Theatre

Special Event

MCASD Sherwood Auditorium

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

MCASD Sherwood Auditorium

Orchestra Series

Jacobs Music Center-Copley Symphony Hall

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

Saturday, April 8, 2017 · 8 PM

Balboa Theatre

Dance Series

BAMBERG SYMPHONY

Christoph Eschenbach, conductor Ray Chen, violin Orchestra Series

SEONG-JIN CHO, piano

Spreckels Theatre

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

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

Sunday, February 26, 2017 · 3 PM

Special Event

The Auditorium at TSRI

M AY

MARCH

JEREMY DENK

CHAMBER ORCHESTRA

Friday, May 12, 2017 · 7:30 PM

Discovery Series

Jeff Edmons, music director & conductor Caroline Goulding, violin

The Auditorium at TSRI

Piano Series

La Jolla Presbyterian Church

Friday, March 3, 2017 · 8 PM

San Diego Youth Symphony Series MCASD Sherwood Auditorium

Sunday, March 5, 2017 · 3 PM Discovery Series

The Auditorium at TSRI

LA JOLLA MUSIC SOCIETY

Thursday, March 30, 2017 · 8 PM

BLACK GRACE

CAROLINE GOULDING, violin

Fabio Luisi, conductor Deborah Voigt, soprano

Special Event

Jacobs Music Center-Copley Symphony Hall

Friday, December 16, 2016 · 8 PM

DANISH NATIONAL SYMPHONY ORCHESTRA

Saturday, February 11, 2017 · 8 PM

Friday, December 9, 2016 · 8 PM

THE UKULELE ORCHESTRA OF GREAT BRITAIN “HOLIDAY SHOW”

Civic Theatre

APRIL

Saturday, February 18, 2017 · 8 PM

MCASD Sherwood Auditorium

Saturday, March 18, 2017 · 8 PM

LEONIDAS KAVAKOS, violin & YUJA WANG, piano

TAKÁCS QUARTET Revelle Chamber Music Series

WINTERFEST GALA 2017 BEAUTY AND THE BEAST

MALANDAIN BALLET BIARRITZ

FEBRUA RY

DECEMBER

MCASD Sherwood Auditorium

Sunday, January 22, 2017 · 3 PM

Sunday, October 30, 2016 · 3 PM Discovery Series

Revelle Chamber Music Series

For more information:

858.459.3728 · WWW.LJMS.ORG

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

SEASON 48 IS DEDICATED TO CONRAD PREBYS & DEBBIE TURNER

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

Foundation

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

Mary F. Berglund, PhD Treasurer

Peter C. Farrell, PhD, DSc Secretary

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

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

Tel 858-361-0755

ResMedFoundation.org

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

CMY

OPENING 2019

The Conrad will serve as the heart of cultural, community and arts education event activity in La Jolla, bringing world-class performances to San Diego and the permanent home of La Jolla Music Society. The new performing arts center, located at 7600 Fay Avenue in La Jolla, will include a 500-seat concert hall, a 140-seat flexible use space, new offices for La Jolla Music Society and a large open courtyard.

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

Table of Contents CALENDAR LA JOLLA MUSIC SOCIETY STAFF & BOARD OF DIRECTORS MALANDAIN BALLET BIARRITZ DANISH NATIONAL SYMPHONY ORCHESTRA MAX RAABE & PALAST ORCHESTER BLACK GRACE EMERSON STRING QUARTET NIKOLAY KHOZYAINOV JERMEY DENK ARTISTS BIOGRAPHIES SUPPORT

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

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

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

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

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

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

2 10 11 14 22 23 26 30 33 37 42

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

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

HONORARY DIRECTORS

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

LEGAL COUNSEL

Paul Hastings LLP AUDITOR

Leaf & Cole, LLP HONORARY

Christopher Beach – Artistic Director Emeritus

LA JOLLA MUSIC SOCIETY

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

PRELUDE 7 PM

Arrive early for a pre-performance interview with Artistic Director and Founder Thierry Malandain along with members of the company, hosted by Marcus Overton La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

Tonight’s concert is sponsored by:

The Conrad Prebys Foundation

Dance Series

MALANDAIN BALLET BIARRITZ Thierry Malandain, artistic director

Saturday, March 18, 2017· 8PM CIVIC THEATRE

BEAUTY AND THE BEAST (La Belle et la Bête) CHOREOGRAPHER Thierry Malandain BALLET MASTERS Richard Coudray, Françoise Dubuc DANCERS Ione Miren Aguirre, Raphaël Canet, Mickaël Conte, Frederik Deberdt, Romain Di Fazio, Baptiste Fisson, Clara Forgues, Michaël Garcia, Irma Hoffren, Miyuki Kanei, Mathilde Labé, Hugo Layer, Guillaume Lillo, Claire Lonchampt, Nuria López Cortés, Arnaud Mahouy, Ismael Turel Yagüe, Patricia Velazquez, Laurine Viel, Allegra Vianello, Daniel Vizcayo, Lucia You González

Performance time is approximately 75 minutes with No Intermission

Malandain Ballet Biarritz last performed for La Jolla Music Society in the Dance Series on May 3, 2015.

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MALANDAIN BALLET BI ARRITZ – PROGRAM NOTES

Preview: With the Basque National Orchestra Versailles – Opéra Royal December 11, 12 and 13, 2015

Création/French Première:

Lyon – 17a Biennale de la Danse Amphithéâtre Cité Internationale September 16, 17, 18, 2016

Music: Pyotr Ilyich Tchaikovsky (1840-1893) Choreography: Thierry Malandain Set and Costumes:

Jorge Gallardo

Lighting Design: Francis Mannaert Dressmaker: Véronique Murat Set and Accessories Production: Frédéric Vadé Masks Production: Annie Onchalo Co-Producers: Opéra Royal / Château de Versailles Spectacles

Biennale de la danse de Lyon 2016

Opéra de Saint-Etienne

Ballet T – Teatro Victoria Eugenia Donostia / San Sebastián

CCN Malandain Ballet Biarritz

Partners: Donostia / San Sebastián Capitale Européenne de la Culture 2016 Orquesta Sinfónica de Euskadi Opéra de Reims Teatro Mayor de Bogota Fondazione Teatro Communale Città di Vicenza Equilibre-Nuithonie-Fribourg Théâtre Olympia d’Arcachon Théâtre – Le Forum de Fréjus

LA JOLLA MUSIC SOCIETY

MALANDAIN BALLET BIARRITZ – PROGRAM NOTES

Without revisiting all of the tale’s interpretations, a coming-of-age story can be detected and designed to resolve the duality of being, with Belle embodying the human soul and the Beast being its life force and instincts. With Jean Cocteau, whose film appeared in cinemas in 1946, the focus is on the portrayal of the artist’s inner demons through the Beast’s duality. Whether it is lost unity or human nature torn apart, accompanied by Tchaikovsky’s symphonic works, our version of the Beast, freed from his inner demons, marries Belle under a blazing sun.

– Thierry Malandain

SYNOPSIS

I. Interval and Waltz from Eugene Onegin, Op. 24

All alone, like the Artist facing his inner demons, the Beast who suffers from his ugliness summons the things which symbolize his metamorphosis – a key, a horse, a looking glass, a glove and the love which will save him. A few hours later, the merchant arrives home and tells his children the tale of what happened to him. Hearing his story, they start shouting and insult Belle who was not weeping. “Why should I weep because my father is going to die? He will not die since the Beast is willing to accept one of his daughters. I will let him unleash all his rage on me.” Belle then goes to the Beast’s castle.

An artist with body and soul, a man with his joy, pain and hopes tells the following story: Once upon a time there was a wealthy merchant who had two sons and three daughters. The youngest was so lovely and so much admired that everyone called her Belle which made her sisters very jealous. The two eldest were arrogant because of their wealth and attended balls every evening. The merchant suddenly lost all his wealth and all he had left was a small farmhouse far from the city.

II. Adagio – Allegro non troppo from Symphony No. 6 “Pathétique”

IV. Andante cantabile from Symphony No. 5

While her sisters snivel and whine, missing high society and beautiful clothes, Belle gets used to her new situation. There are even gentlemen courters who wish to marry her, but she cannot imagine leaving her father. The family has been living simply for a year when the merchant hears that one of the ships on which he had merchandise is back in port. This news starts the two eldest daughters thinking, and just as their father is about to leave, they ask him to bring back dresses and all kinds of things for them while Belle only asks for a rose. On his way back home, the merchant gets lost. The wind is so strong that it knocks him off his horse. Shortly after, he sees a light coming from a castle. He goes inside where a table is laden with food and drink. The next morning as the merchant is about to leave, he remembers that Belle had asked him for a rose and picks the whitest one he can find.

When Belle sees her father again, they embrace each other for over a quarter of an hour. Her sisters almost die of jealousy when they see her dressed like a queen. But very quickly, she feels sad about having abandoned the Beast when she sees him lying half-dead in the looking-glass.

III. Hamlet, Op. 67

VI. Finale. Adagio lamentoso from Symphony No.6 “Pathétique”

At that very moment, he hears a loud noise, and is confronted with a Beast so hideous, that he almost passes out. “You’re so ungrateful,” says the Beast. “I saved your life by welcoming you inside my castle, and in return for my hospitality, you steal my roses that I love more than anything in the world. You must die for this misdeed. However, I’m willing to forgive you if you send one of your daughters to die instead of you.”

Terrified at first, Belle did not suffer the fate she so dreaded. She is is welcomed graciously by the Beast and lavished in luxury. But every evening he asks her the same question, “Will you be my wife?” Belle refuses. Her only desire is to see her father again who she sees sick with grief in the looking-glass. The Beast finally lets her go home and Belle promises that she will return in one week.

V. Waltz from Symphony No. 5

When Belle returns to the castle and finds the Beast lying on the ground, she goes to him and says, “You shall not die. You shall live and be my husband.” Upon uttering these words, she sees the castle shine brightly and the Beast turns into a Prince.

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PRELUDE 7 PM

Lecture by Michael Gerdes

Birth of a Titan: Tonight you will hear Gustav Mahler’s Symphony No. 1, a work whose decade-long development and troubled reception stand in marked contrast to the near-universal adoration of its composer by today’s audiences. We’ll also explore the illicit passion and behind-the-scenes intrigue connected to Wagner’s Wesendonck Lieder.

La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

The Orchestra Series is underwritten by Medallion Society members:

Joan and Irwin Jacobs Tonight’s concert is sponsored by:

The Vail Foundation

Orchestra Series

DANISH NATIONAL SYMPHONY ORCHESTRA Fabio Luisi, principal conductor Deborah Voigt, soprano

Thursday, March 30, 2017· 8PM

JACOBS MUSIC CENTER-COPLEY SYMPHONY HALL

NIELSEN

(1865-1931)

Helios Overture, Opus 17 (1903)

WAGNER Wesendonck Lieder (1857-58) (1813-1883) Der Engel Stehe still! Im Treibhaus Schmerzen Träume Deborah Voigt, soprano See pages 18–21 for Song Texts I N T E R M I S S I O N

MAHLER Symphony No. 1 in D Major (1884-88) (1860-1911) Langsam. Schleppend. Kräftig bewegt, doch nicht zu schnell Feierlich und gemessen, ohne zu schleppen Stürmisch bewegt

This performance marks Danish National Symphony Orchestra’s and Deborah Voigt’s La Jolla Music Society debuts.

LA JOLLA MUSIC SOCIETY

DANISH NATIONAL SYMPHONY ORCHESTRA – ROSTER

FIRST VIOLIN

Christina Aastrand Soo-Jin Hong Emily Ann Fowler Elna Carr Jan Leif Rohard Anders Fog-Nielsen Helle Hanskov Palm Per Friman Sarah Jillian McClelland Tine Rudloff Sabine Bretschneider-Jochumsen Sophia Baek Trine Yang Moeller Runi Baek Patricia Mia Andersen Monika Malmquist Egholm Heidrun Petersen Harriet Wheeler Helena Hoejgaard Nielsen

SECOND VIOLIN

Teresa Krahnert Maria Zofia Stabrawa Bodil Kuhlmann Julie Meile Marianne Bindel Line Marie Most Morten Kjaer Dulong Anne Marie Kjaerulff Andrea Rebekka Alsted Hedvig Oftedahl Vivanco Stanislav Igorevich Zakrjevski Jonida Luisa Tafilaj Christian Ellegaard Benedikte Pontoppidan Thyssen Ida Balslev

VIOLA

Claus Myrup Dmitri Golovanov Gunnar Lychou Ulla Knudsen Carina Andersson Kristian Scharff Fogh Astrid Christensen Katrine Reinhold Bundgaard Lilion Anne Soren Katarzyna Bugala Magda Stevensson Laura Rubio

CELLO

Henrik Dam Thomse Soo-Kyung Hong Carsten Tagmose Inger Guldbrandt Jensen Birgitte Oeland Johan Krarup Peter Morrison Marie Louise Lind Jacob La Cour Karin Dalsgaard Therese Aastrand Radev

DOUBLE BASS

Joel Gonzalez Axel Ruge Henrik Schou Kristensen Michal Stadnicki Michael Rossander Dabelsteen Ditlev Damkjaer Mads Lundahl Kristensen José Andrés Reyes Andrew Stalker

FLUTE

Ulla Miilmann Francisco López Martin Mikael Beier Russell Satoshi Itani

OBOE

Eva Steinaa Kristine Vestergaard Ulrich Trier Ortmann Sven Buller

CLARINET

Johnny Teyssier Pedro Franco Lopez Klaus Toenshoff Soeren Elbo

BASSOON

Magnus Koch Jensen Riccardo Terzo Dorte Bennike Aksel Kaae Trige

FRENCH HORN

Lasse Luckow Mauritzen Ola Nilsson Dominika Maria Piwkowska Oskar Lejonklo Henning Hansen

Jakob Arnholtz Einar Oehman Fabian Borchers Karl Johan Aahnberg

TRUMPET

Michael Frank Moeller László Molnár Karl Husum Jens Chr. Gotholdt

TROMBONE

Johannes Olof Rubensson Petter Winroth Brian Bindner Thomas Dahlkvist

TUBA

Thomas Andre Roeisland

HARP

Zachary James Hatcher

TIMPANI

René Felix Mathiesen

PERCUSSION

Gert Skoed Soerensen Jakob Weber Egholm Nicola Carrara

CHIEF EXECUTIVE & ARTISTIC DIRECTOR

Kim Bohr

HEAD OF ARTISTIC PLANNING Tatjana Kandel

EXECUTIVE PRODUCER Gordon Alsing

ORCHESTRA MANAGER

Susanne Gundal Henrik Overgaard Kristensen

STAGE MANAGER

Jimmy Poulsen Bjarne Lillevang Jensen

PUBLIC RELATIONS MANAGER Cecilie Rosenmeier

ASSISTANT

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

DANISH NATIONAL SYMPHONY ORCHESTRA – PROGRAM NOTES

Program notes by Eric Bromberger

Helios Overture, Opus 17

CARL NIELSEN Born June 9, 1865, Nørre Lyndelse Died October 3, 1931, Copenhagen

Wesendonck Lieder

RICHARD WAGNER Born May 22, 1813, Leipzig Died February 13, 1883, Venice

Approximate Duration: 21 minutes

In Zurich in February, 1852, Richard Wagner met the wealthy Swiss silk merchant Otto Wesendonck, who would In the winter of 1903, Carl Nielsen and his wife left become one of his most generous patrons. Over the next their three small children behind in Copenhagen and took an few years Wesendonck would give the struggling composer extended trip to Greece. Nielsen’s wife, the sculptress Anne a place to live, pay off many of his debts, and give him Marie Brodersen, had a traveling scholarship to study the substantial advances in payment for operas not yet written. art of ancient Greece, and the composer was happy to come Wagner repaid this great generosity by having a lengthy affair along for a vacation with her. The faculty of the Conservatory with Wesendonck’s young wife Mathilde. Though this affair of Music in Athens recognized that they had a distinguished may have remained platonic, it was passionately felt on both guest (Nielsen’s opera Saul and David and his Second sides, and Mathilde–an amateur poet–effectively became Symphony had just been successfully premièred), and they Wagner’s muse through the 1850s. In these same years gave him a room at the Conservatory (with a view of the Wagner was struggling to compose The Ring: by 1857 he had Acropolis) where he could work for the next several months. completed Das Rheingold and Die Walküre and had begun For a composer who had recently escaped the icy mists of a work on Siegfried, but–discouraged by the prospects for these Scandinavian winter, what feature of Greece could be more operas and under the spell of his unconsummated love for impressive than its blazing sunlight? Perhaps the result was Mathilde–he set this vast project aside to compose Tristan und inevitable: in March 1903 Nielsen began a piece of music Isolde (1857-59). And it was during the first year of his work inspired by the Greek sunlight, and on April 23 he completed on Tristan that Wagner took time off to compose five songs on the Helios Overture (Helios is the Greek god of the sun). The poems by Mathilde. new overture–really a sort of tone poem–was first performed This was a very intense time emotionally for Wagner, and in Copenhagen on October 8, 1903, by the Royal Theatre at a remarkable social gathering in Zurich in the fall of 1857 Orchestra under the direction of Johann Svendsen. he read the libretto of Tristan to an audience that included his In a note in the score, Nielsen suggested the subject of wife Minna, his current love Mathilde and her husband, and this music: “Silence and darkness–then the rising sun with his future wife, the 19-year-old Cosima von Bülow, who was a joyous song of praise–it wanders on its golden way–and visiting with her husband Hans. The mood of longing, pain, sinks quietly into the sea.” That description also suggests the death, and a sense of ecstasy just beyond reach that lies at form of the Helios Overture: it opens quietly as the sun rises the heart of Tristan und Isolde is also very much part of the from the Aegean, rides a long crescendo as the sun swings poems by Mathilde Wesendonck that Wagner chose to set, directly overhead, then trails off on a long decrescendo to the and in fact he called two of these songs “studies for Tristan quiet close of sunset. Low strings suggest subdued pre-dawn und Isolde.” He wrote the songs between November 1857 stirrings, and soon the golden sound of French horns heralds and May 1858 and then took them through several revisions. the arrival of the sun–its ascent is marked by a noble violin Wagner himself made an orchestral version of the final song, tune and ringing salvos of trumpet fanfares. Nielsen traces and conductor Felix Mottl orchestrated the first four after the sun’s trajectory across its zenith with a blistering fugato, Wagner’s death. perhaps to suggest the mathematical precision of its path The first two songs contrast sharply, with the lullaby-like through the heavens, and the music reaches a jubilant climax. Der Engel followed by the tense Stehe still!, which drives to Then slowly the sun winds its way down the blue sky, and the a great climax on the word “nature,” then trails off to a quiet music sinks into silence, once again on the sound of horns and close. Im Treibhaus is one of the “studies for Tristan und low strings. Isolde,” and many have felt a connection between this song and the prelude to Act III of the opera. Listeners will certainly sense the kinship between this dark and expressive song–with its hothouse flowers longing for their distant homeland–and the mood of unfulfilled longing in the opera. Schmerzen offers a soaring restatement of the connection between sorrow and pleasure, while Träume is the other “study” for Tristan und Isolde–it would re-emerge as the duet in Act II. Approximate Duration: 13 minutes

LA JOLLA MUSIC SOCIETY

DANISH NATIONAL SYMPHONY ORCHESTRA – PROGRAM NOTES

(“Moving powerfully”); his original subtitle for this movement was “Under Full Sail.” This movement is a scherzo in ABA form, and Mahler bases it on the ländler, the rustic Born July 7, 1860, Kalischt, Bohemia Austrian waltz. Winds and then violins stamp out the opening Died May 18, 1911, Vienna ländler, full of hard edges and stomping accents, and this Approximate Duration: 52 minutes drives to a powerful cadence. Out of the silence, the sound of Mahler’s First Symphony is one of the most impressive a solo horn rivets our attention–and nicely changes the mood. first symphonies ever written, and it gave its young creator The central section is another ländler, but this one sings a great deal of trouble. He began it late in 1884, when he beautifully, its flowing melodies made all the more sensual was only 24, and completed a first version in March 1888. by graceful slides from the violins. The movement concludes But when it was first performed–to a mystified audience in with a return of the opening material. Budapest on November 20, 1889–it had a form far different The third movement opens what, in Mahler’s original from the one we know today. Mahler would not even call it a scheme, was the second part of the symphony. Deliberately symphony. For that first performance he called it Symphonic grotesque, this music was inspired by a woodcut picturing the Poem, and it was in two huge parts that seemed to tell a story: funeral of a hunter, whose body is borne through the woods the opening three-movement section was called “Days of by forest animals–deer, foxes, rabbits, shrews, birds–who Youth,” while the concluding two movements made up what celebrate his death with mock pageantry. Over the timpani’s Mahler called the “Human Comedy.” But as Mahler revised quiet tread (once again, the interval of a fourth), solo the symphony for later performances, he began to let slip doublebass plays a lugubrious little tune that is treated as a quite different hints about the “meaning” of this music. At round; the ear soon recognizes this as a minor-key variation one point he called it the “Titan,” borrowing the title of Jean of the children’s song Frère Jacques. The first episode lurches Paul Richter’s novel about a wild young hero who feels lost along sleazily over an “oom-pah” rhythm; Mahler indicates in this world. Some further sense of its content comes from that he wants this played “with parody,” and the music the fact that the symphony borrows several themes from echoes the klezmer street bands of Eastern Europe. But a Mahler’s just-completed Songs of a Wayfarer, which are further episode brings soft relief: muted violins offer another about his recovery from an ill-fated love affair. But finally quotation from the Wayfarer songs, this time a theme that had Mahler, who had a love-hate relation with verbal explanations set the words “By the wayside stands a linden tree, and there of his music (denouncing them one moment, releasing new at last I’ve found some peace.” In the song cycle, these words ones the next), abandoned any mention of a program. When marked the disappointed lover’s escape from his pain and his he finally published this symphony in 1899, he had cut it to return to life. The march returns, and the timpani taps this only four movements, greatly expanded the orchestration, and movement to its nearly-silent close. suppressed all mention of the “Titan” or of any other extra Then the finale explodes. It is worth quoting Mahler musical associations. Now it was simply his Symphony No. 1. on this violent music: “the fourth movement then springs And what a first symphony it is! The stunning beginning– suddenly, like lightning from a dark cloud. It is simply the cry Mahler asks that it be “like a nature-sound”–is intended to of a deeply wounded heart, preceded by the ghastly brooding evoke a quiet summer morning, and he captures that hazy, oppressiveness of the funeral march.” Mahler’s original title shimmering stillness with a near-silent A six octaves deep. for this movement was “From Inferno to Paradise,” and while The effect is magical, as if we are suddenly inside some vast, one should not lean too heavily on a program the composer softly-humming machine. Soon we hear twittering birds and ultimately disavowed, Mahler himself did choose these words morning fanfares from distant military barracks. The call and this description does reflect the progress of the finale, of the cuckoo is outlined by the interval of a falling fourth, which moves from the seething tumult of its beginning to the and that figure will recur throughout the symphony, giving triumph of the close. Longest by far of the movements, the shape to many of its themes. Cellos announce the true first finale is based on two main themes: a fierce, striving figure theme, which begins with the drop of a fourth–when Mahler in the winds near the beginning and a gorgeous, long-lined earlier used this same theme in his Wayfarer cycle, it set the melody for violins shortly afterwards. The development disappointed lover’s embarking on his lonely journey: “I pitches between extremes of mood as it drives to what seems went this morning through the fields, dew still hung upon a climax but is in fact a false conclusion. The music seems the grass.” A noble chorus of horns, ringing out from a forest lost, directionless, and now Mahler makes a wonderful full of busy cuckoos, forms the second subject, and the brief decision: back comes the dreamy, slow music from the development–by turns lyric and dramatic–leads to a mighty symphony’s very beginning. Slowly this gathers energy, and restatement of the Wayfarer theme and an exciting close. what had been gentle at the beginning now returns in glory, Mahler marks the second movement Kräftig bewegt

Symphony No. 1 in D Major

GUSTAV MAHLER

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DANISH NATIONAL SYMPHONY ORCHESTRA – PROGRAM NOTES

shouted out by seven horns as the symphony smashes home triumphantly in D major, racing to the two whipcracks that bring it to a thrilling conclusion. What are we to make of Mahler’s many conflicting signals as to what this symphony is “about”? Is it about youth and the “human comedy”? Is it autobiographical, the tale of his own recovery from an unhappy love affair? Late in his brief life, Mahler even suggested another reading. When he conducted his First Symphony with the New York Philharmonic in 1909, Mahler wrote to his disciple Bruno Walter that he was “quite satisfied with this youthful sketch,” telling him that when he conducted the symphony, “A burning and painful sensation is crystallized. What a world this is that casts up such reflections of sounds and figures! Things

like the Funeral March and the bursting of the storm which follows it seem to me a flaming indictment of the Creator.” Finally we have to throw up our hands in the face of so much contradictory information. Perhaps it is best just to settle back and listen to Mahler’s First Symphony for itself– and the mighty symphonic journey that it is.

The Danish National Symphony Orchestra is generously supported by: The A.P. Møller and Chastine Mc-Kinney Møller Foundation The Carl Nielsen and Anne Marie Carl-Nielsen Foundation The Knud Højgaard Foundation DAMCO – Global Logistic Solutions

WAGNER Wesendonck Lieder “Five Poems for Woman’s Voice” Text: Mathilde Wesendonck Der Engel “The Angel” (1857) In der Kindheit frühen Tagen Hört ich oft von Engeln sagen, Die des Himmels hehre Wonne Tauschen mit der Erdensonne,

In early days of childhood, often I heard talk of angels who heaven’s glorious bliss exchange for the sun of earth,

Dass, wo bang ein Herz in Sorgen Schmachtet vor der welt verborgen, Dass, wo still es will verbluten, Und vergehn in Tränenfluten,

so that when, in dread sorrow, a heart yearns, hidden from the world; when it wishes silently to bleed and perish in streams of tears;

Dass, wo brünstig sein Gebet Einzig um Erlösung fleht, Da der engel niederschwebt, Und es sanft gen Himmel hebt.

when its fervent prayer begs only for deliverance, then down that angel floats and raises it gently to heaven.

Ja, es stieg auch mir ein Engel nieder, Und auf leuchtendem Gefieder Führt er, ferne jedem Schmerz, Meinen Geist nun himmelwärts!

And to me an angel has come down, and upon gleaming wings, it bears far from every pain my spirit now heavenwards!

Translation text provided by Columbia Artists Management Inc.

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DANISH NATIONAL SYMPHONY ORCHESTRA – SONG TEXTS

Stehe still! “Stand still!” (1858) Sausendes, brausendes Rad der Zeit, Messer du der Ewigkeit; Leuchtende Sphären im weiten All, Die ihr umringt den Weltenball; Urewige schöpfung, halte doch ein, Genug des Werdens, lass mich sein!

Whirring, rushing wheel of time, measure of eternity; gleaming spheres in the wide universe, you who surround the globe of earth; eternal creation, cease, enough of becoming, let me be!

Halte an dich, zeugende Kraft, Urgedanke, der ewig schafft! Hemmet den Atem, stillet den Drang, Schweigend nur eine Sekunde lang!

Cease, generative powers, primal, ever-creating thought! Stop your breath, still your urge in silence for just one second!

Schwellende Pulse, fesselt den Schlag; Ende, des Wollens ewger Tag!

surging pulses, fetter your beating; end, eternal day of willing!

Dass in selig süssem Vergessen Ich mög alle Wonne ermessen! Wenn Auge in Auge wonnig trinken, Seele ganz in Seele versinken; Wesen in Wesen sich wiederfindet, Und alles Hoffens Ende sich kündet, Die Lippe verstummt in staunendem Schweigen, Keinen Wunsch mehrwill das Innre zeugen: Erkennt der Mensch des Ewgen Spur, Und löst dein Rätsel, heilge Natur!

That in blessed, sweet oblivion I might measure all my bliss! When eye drinks eye in bliss, soul drowns utterly in soul; being rediscovers itself in being, and the goal of every hope is near; when lips are mute in silent wonder, and the heart no further wish desires-then man perceives eternity’s sign, and solves your riddle, holy Nature!

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DANISH NATIONAL SYMPHONY ORCHESTRA – SONG TEXTS

Im Treibhaus “In the greenhouse” (1858)

Hochgewölbte Blätterkronen, Baldachine von Smaragd, Kinder ihr aus fernen Zonen, Saget mir, warum ihr klagt?

High-vaulted leafy crowns, canopies of emerald, children of distant zones, tell me why you grieve?

Schweigend neiget ihr die Zweige, Malet Zeichen in die Luft, Und der Leiden stumer Zeuge Steiget aufwärts, süsser Duft.

Silent, you bend your branches, draw signs upon the air, and, as mute witness to your sorrows, a sweet fragrance rises.

Weit in sehnendem Verlangen Breitet ihr die Arme aus, Und umschlinget wahnbefangen Öder Leere nichtgen Graus.

With longing and desire, wide you open your arms, and, victim of delusion, embrace desolation’s awful void.

Wohl, ich weiss es, arme Pflanze; Ein Geschicke teilen wir, Ob umstrahlt von Licht un Glanze, Unsre Heimat ist nicht hier!

Well I know, poor plant; one fate we share, though bathed in light and glory, our homeland is not here!

Und wie froh die Sonne scheidet Von des Tages leerem Schein, Hüllet der, der wahrhaft leidet, Sich in Schweigens Dunkel ein.

And as, gladly, the sun parts from the empty gleam of day, so he truly suffers, veils himself in the dark of silence.

Stille wird’s, ein säuselnd Weben Füllet bang den dunklen Raum:Schwere Tropfen seh ich schweben An der Blätter grünem Saum.

Quiet it grows, a whisper, a stir fills the dark room uneasily: heavy drops I see hanging on the leaves’ green edge.

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DANISH NATIONAL SYMPHONY ORCHESTRA – SONG TEXTS

Schmerzen “Anguish” (1857) Sonne, weinest jeden Abend Dir die schönen Augen rot, Wenn im Meeresspiegel badend Dich erreicht der frühe Tod!

Sun, each evening you weep your fair eyes red, when, bathing in the sea’s mirror, you are overtaken by early death.

Doch erstehst in alter Pracht, Glorie der düstren Welt, Du am Morgen neu erwacht, Wie ein stolzer Siegesheld!

Yet, in your old splendor, you rise, glory of the somber world, newly awakened in the morning, a proud, heroic conqueror!

Ach, wie sollte ich da klagen, Wie, mein Herz, so schwer dich sehn, Muss die Sonne selbst verzagen, Muss die Sonne untergehn?

Ah, why should I lament, and see you, my heart, so oppressed, if the sun itself must despair, if the sun must sink?

Und gebieret Tod un Leben, Geben Schmerzen Wonne nur: O wie dank ich, dass gegeben Solche Schmerzen mir Natur!

And if death beget only like, and anguish bring only delight: oh, how I give thanks that nature gave me such anguish!

Träume “Dreams” (1857) Sag, welch wunderbare Träume Halten meinen Sinn umfangen, Dass sie nicht wie leere Schäume Sind in ödes Nichts vergangen?

Say, what wondrous dreams embrace my senses, that they have not, like bubbles, vanished to a desolate void?

Träume, die in jeder Stunde, Jedem Tage schöner blühn, Und mit ihrer Himmelskunde Selig durch Gemüte ziehn!

Dreams, that with each hour, each day bloom fairer, and with their heavenly tidings pass blissfully through the mind!

Träume, die wie hehre Strahlen In die Seele sich versenken, Dor ein ewig Bild zu malen: Allvergessen, Eingedenken!

Dreams, which like sacred rays plunge into the soul, there to paint an eternal picture: forgetting all, remembering one!

Träume, wie wenn Frühlingssonne Aus dem Schnee die Blüten küsst, Dass zu nie geahnter Wonne Sie der neue Tag begrüsst,

Dreams, as when spring sun kisses the buds from the snow, so that into never-suspected bliss the new day welcomes them,

Dass sie wachsen, dass sie blühen, Träumend spenden ihren Duft, Sanft and deiner Brust verglühen, Und dann sinken in die Gruft.

so that they grow and bloom, dreaming bestow their scent, gently glow and die upon your breast, then sink into the grave.

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For more information please visit: www.palastorchester.de Tour Production Palast Orchester: Sound: Bernd Meyer-Lellek Light: Dirk M. Lehmann Office Manager: Wilfried Haase Production Manager: Robert Schneider

Special Event

MAX RAABE & PALAST ORCHESTER Friday, March 31, 2017· 8PM BALBOA THEATRE

LET’S DO IT Max Raabe, vocals Cecilia Crisafulli, violin Thomas Huder, trumpet, vocals Michael Enders, trumpet, vocals, musical director Jörn Ranke, trombone, viola, vocals Bernd Frank, tenor saxophone, clarinet Johannes Ernst, alto saxophone, clarinet Sven Bährens, alto saxophone, clarinet Rainer Fox, baritone saxophone, clarinet, vocals Vincent Riewe, drums, percussion Bernd Hugo Dieterich, bass, sousaphone Ulrich Hoffmeier, guitar, banjo, violin Ian Wekwerth, piano

The program will be announced from the stage. There will be one intermission.

Max Raabe & Palast Orchester last performed for La Jolla Music Society in the Jazz Series on March 17, 2007.

LA JOLLA MUSIC SOCIETY

PRELUDE 7 PM

Dance Series

Arrive early for an interview with Founding Artistic Director Neil Ieremia hosted by Marcus Overton La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

Choreography by Neil Ieremia Saturday, April 8, 2017 · 8PM SPRECKELS THEATRE

MINOI (1999) PATI PATI (2009) PAU S E

CRYING MEN – EXCERPT (2017) Tonight’s concert is sponsored by:

Members of LJMS’ Dance Society

PAU S E

MOTHER MOTHER (2013) INTERMISSION

Exclusive USA Tour Representation Rena Shagan Associates, Inc. 16A West 88th St, NY, NY 10024 www.shaganarts.com Tour Management – Felicitas Willems

AS NIGHT FALLS – ABRIDGED (2016) DANCERS Sean MacDonald (Ngāti Kahungunu, Ngāti Raukawa) Zoë Visvanathan (Ngāti Kahungunu), Sarah Baron Callum Sefo, Brydie Colquhoun (Ngā Puhi/Te Rarawa) Otis Herring, Demi-Jo Manalo, Shane Tofaeono Paige Shand (Te Āti Haunui-a-Pāpārangi), Rodney Tyrell This performance marks Black Grace’s La Jolla Music Society debut.

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BLACK GRACE – PROGRAM NOTES

MINOI

MOTHER MOTHER

Approximate Duration: 4:30 minutes

Approximate Duration: 8:30 minutes

Choreography: Neil Ieremia Music: Minoi Minoi (traditional), arranged by

Choreography: Neil Ieremia Music: Mother Mother (radio version),

Lighting Design: Mark Burlace

Minoi fuses a traditional Samoan dance style known as Fa’ataupati (slap dance) and western contemporary dance. It also utilises live singing and vocalisations based on an old Samoan nursery rhyme.

Mother Mother was originally choreographed for a music video, on request of popular New Zealand band Fat Freddy’s Drop.“Mother Mother is a tribute to my mother who is often the unsung hero in my family. Even to this day she helps to prop me up when things get tough, knocks me back when I get ahead of myself, reminds me to never forget where I come from and to always be grateful for what I have.”

Premièred 1999

Premièred 2013

Neil Ieremia

PATI PATI

Fat Freddy’s Drop

– Neil Ieremia

Premièred 2009 Approximate Duration: 9:30 minutes

Choreography: Neil Ieremia Music: Original music from Surface (2003),

Neil Ieremia and Juse

Lighting Design: Nik Janiurek, adapted by Bonnie Burrill Pati Pati is a ritualistic dance made from the bones of older works dating back to the beginning of Black Grace and drawing on elements of traditional Pacific dance.

CRYING MEN – EXCERPT Premièred 2017

Approximate Duration: 17 minutes

Choreography: Neil Ieremia Music: Redaction, Richard Nunns, Mark Lockett & Jeff Henderson Material Instinct, Richard Nunns, Mark Lockett & Jeff Henderson Two Minds, Richard Nunns & Mark Lockett Bully, Trinity Roots

Lighting Design: Bonnie Burrill Filtered through a Pacific lens, this excerpt is the beginning of what will become a new full-length work exploring some of the challenges we face as males living in today’s world, struggling with the expectations of what it means to be a “real man.”

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AS NIGHT FALLS – ABRIDGED Premièred 2016

Approximate Duration: 40 minutes

Choreography: Neil Ieremia Music: Concerto in G Minor for 2 Cellos, Strings

and Basso continuo, RV 531: I. Allegro, Ton Koopman, Yo-Yo Ma, Amsterdam Baroque Orchestra & Jonathan Manson

Concerto No. 8 in A Minor, RV 522: I. Allegro, Berlin Philharmonic, Daniel Stabrawa & Nigel Kennedy Concerto in G Minor for 2 Cellos, Strings and Basso continuo, RV 531: III. Allegro, Ton Koopman, Yo-Yo Ma, Amsterdam Baroque Orchestra & Jonathan Manson Nisi Dominus, RV 608: IV. Cum Dederit, Jean-Christophe Spinosi, Ensemble Matheus & Philippe Jaroussky Little Sea Gongs, JPC Percussion Museum & Gareth Farr The Four Seasons, Concerto No. 2 in G Minor, RV 315, Op. 8 No. 2 “Summer”: I. Allegro non molto, Berlin Philharmonic & Nigel Kennedy The Four Seasons, Concerto No. 2 in G Minor, RV 315, Op. 8 No. 2 “Summer”: III. Presto, Berlin Philharmonic & Nigel Kennedy

BLACK GRACE – PROGRAM NOTES

The Four Seasons, Concerto No. 4 in F Minor, RV 297, Op. 8 No. 4 “Winter”: I. Allegro non molto, Berlin Philharmonic & Nigel Kennedy Concerto No. 8 in A Minor, RV 522: II. Larghetto e Spiritoso, Berlin Philharmonic, Daniel Stabrawa & Nigel Kennedy

Black Grace would like to acknowledge their Sponsors: Sustaining Partner Creative New Zealand Funding Partner Foundation North Funders Auckland Council Albert-Eden Local Board

The Lord’s Prayer (In Samoan), Choir of Western Samoa Teachers’ Training College, Apia Concerto No. 8 in A Minor, RV 522: III. Allegro, Berlin Philharmonic, Daniel Stabrawa & Nigel Kennedy

Lighting Design: Bonnie Burrill While the creative process started with news stories from around the world, often dark and at times overwhelming, As Night Falls is essentially a dance about hope. The raw material included images of broken bodies littering the streets of war torn countries, terrorist attacks on innocent civilians, protests against police brutality and the aftermath of more natural disasters. It was an image of a father shielding his son, buried beneath the rubble of a collapsed building after another airstrike that simultaneously captured the best and worst of us, and it was at that moment I decided I needed to try and create some light from the darkness. I created the movement vocabulary based on this imagery and formed the overall compositional structures much like the layout of a broadsheet newspaper. I’m not sure exactly why I chose the music I did in the end; suffice to say that much to my surprise Vivaldi stuck when all the others fell away. While listening to some old gospel records I was reminded of a verse from a hymn I used to sing as a kid. As Night Falls is my very small exchange of “beauty for ashes, oil of joy for mourning, a garment of praise for a spirit of heaviness.”

Founding Artistic Director/CEO Neil Ieremia, ONZM Choreographer Neil Ieremia, ONZM Company Manager/Tour Manager James Wasmer Creative Assistant/Stage Manager Siaosi Mulipola Tour Administrator Abby Ieremia Rehearsal Assistant/Company Teacher Zoë Visvanathan Dancers Sean MacDonald, Zoë Visvanathan, Sarah Baron,

Callum Sefo, Brydie Colquhoun, Otis Herring, Demi-Jo Manalo, Shane Tofaeono, Paige Shand, Rodney Tyrell, Zildjian Robinson (Apprentice Dancer) Technical Manager Jax Messenger The Black Grace Trust Haydn Wong (Chair), Sam Sefuiva, Bernice Mene, Neil Ieremia, ONZM Cultural Advisors Mr Siufaitotoa Simanu and Mrs Kionasina Ieremia

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PRELUDE 6:30 PM

Lecture by James Chute

What’s the common thread between these three highly personal works written more than 150 years apart? We’ll explore the ways both Dvořák and Shostakovich were indebted to Mozart, and how their quartets, no matter how idiosyncratic, were constructed upon the principles Mozart (and Haydn) established. La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

Emerson String Quartet appears by arrangement with IMG Artists, LLC 7 West 54th Street, New York, NY, 10019 Emerson String Quartet records exclusively for Sony Classical.

Revelle Chamber Music Series

EMERSON STRING QUARTET Saturday, April 22, 2017 · 7:30 PM LA JOLLA PRESBYTERIAN CHURCH

Eugene Drucker, Philip Setzer, violins Lawrence Dutton, viola; Paul Watkins, cello MOZART String Quartet in D Minor, K.421 (1783) (1756-1791) Allegro Andante Menuetto: Allegretto Allegretto ma non troppo SHOSTAKOVICH String Quartet No. 4 in D Major, Opus 83 (1949) Allegretto Andantino Allegretto Allegretto (1906-1975)

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

DVORˇÁK String Quartet in C Major, Opus 61 (1881) (1841-1904) Allegro Poco Adagio e molto cantabile Scherzo: Allegro vivo Finale: Vivace

Emerson String Quartet last performed for La Jolla Music Society on October 23, 1999.

LA JOLLA MUSIC SOCIETY

EMERSON STRING QUARTET – PROGRAM NOTES

Program notes by Eric Bromberger

String Quartet in D Minor, K.421

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

Approximate Duration: 28 minutes

Mozart’s move to Vienna in 1781 opened new musical vistas for him, and these must have seemed all the more exciting after so many years in provincial Salzburg. Among the attractions of his adopted city were the string quartets of Haydn, whose Opus 33 quartets were published in Vienna in 1782. Mozart had written no string quartets since 1773, but now–impressed by what Haydn had achieved with this most demanding of forms–Mozart wrote a set of six quartets and dedicated them to Haydn. In that dedication, Mozart noted that these quartets were the product of “long and laborious study,” and there is evidence that Mozart–usually a fast worker–took a long time indeed with these quartets, revising each carefully. It is a magnificent cycle. Each of the six is distinctive in its own way, and certain moments stay to haunt the mind: the fugal finale of K.387, which looks ahead to the “Jupiter” Symphony; K.464, which so impressed Beethoven that he modeled one of his own quartets on it; and K.465, the “Dissonant,” with its enigmatic beginning. Yet even in such distinguished company, the Quartet in D Minor, K.421, composed in June 1783, stands out as radically different. The only one of the cycle in a minor key, it is one of the most serious and powerful works that Mozart ever wrote. A minorkey quartet was not by itself unusual, and Haydn (who usually published his quartets in groups of six) would often include one minor-key quartet in a set. But no Haydn quartet–great a master as he was of that form–ever matched the expressive power of Mozart’s Quartet in D Minor. Individual keys had specific meanings for Mozart, and D minor, the key of the Piano Concerto No. 20 and of the Requiem, was the key he sometimes associated with revenge in his operas. This quartet is by no means program music, but the mood here partakes of that dark spirit–this is somber and unrelenting music. The Allegro opens with the first violin’s falling octave on D, and there follows a long and intense melody–marked sotto voce–for that instrument over unobtrusive accompaniment from the other voices. A more flowing second subject makes brief appearances, but the dark first theme dominates this movement. Mozart asks for the standard exposition retreat, but then offers performers the opportunity to repeat the entire development. The recapitulation continues to develop the movement’s material, and finally the cello leads the way into the brief coda with a dark and expressive idea of its own. The Andante, in F major, affords relief with its gentle

main theme. Mozart had originally intended a somewhat simpler melodic idea here; his manuscript shows that he recognized the limits of that theme and replaced it. While this is not a variation movement, the lyric main idea undergoes a process of continuous evolution, sometimes with the most delicate shading, before Mozart brings back a reprise of the opening and rounds things off with a quiet coda. By sharp contrast, the Menuetto is fierce, almost clenched in its chromatic intensity. And then Mozart springs one of his most effective surprises: the trio eases into D major, and–over pizzicato accompaniment–the first violin sings an elegant, soaring melody built on Lombard rhythms (dotted rhythms with the short note coming first). The viola joins the second statement before the return to the driven minuet. The finale is a theme-and-variation movement. Mozart’s dancing main theme bears more than a passing resemblance to the main theme of the finale of Haydn’s Quartet in G Major, Opus 33, No. 5. Perhaps this was intended as an act of homage, but Mozart’s version of this theme is quite subtle: it tints the home key of D minor with hints of D major, and the harmonic tension of this beginning will energize the entire movement. Four variations follow: the second brings a famous syncopated accompaniment from the second violin, the third features the tawny sound of the viola, the fourth moves into D major. At the very end, Mozart brings back his original theme but now marks it Più Allegro, and the music rushes ahead on tense chromatic lines to the sudden end, where the first violin’s falling octave D rounds off this glorious quartet with the same gesture that began it.

String Quartet No. 4 in D Major, Opus 83

DMITRI SHOSTAKOVICH Born September 25, 1906, St. Petersburg Died August 9, 1975, Moscow

Approximate Duration: 25 minutes

The Soviet crackdown on composers in February 1948 remains, nearly seventy years later, one of the most devastating examples of government interference and censorship in history. Prokofiev, Shostakovich, Khachaturian, Myaskovsky, and others were excoriated for their “formalistic distortions and anti-democratic tendencies” and for writing “confused, neuropathological combinations which transform music into cacophony.” These composers were forced to make public apologies, and–in those frosty early days of the Cold War–they promised to write more “progressive” music, in tune with the ideals of the Revolution. Shostakovich, who had met with government disfavor in 1936 during the period of Stalin’s “Great Terror,” began to write two kinds of music. The “public” Shostakovich wrote what would now be described as politically-correct scores, intended to satisfy Soviet officials with their ideological W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

EMERSO N STRING QUARTET – PROGRAM NOTES

purity: the oratorio Song of the Forests, the cantata The Sun Shines over Our Motherland, the film score The Fall of Berlin, and a choral cycle with the numbing title Ten Poems on Texts by Revolutionary Poets. The “private” Shostakovich, however, wrote the music he wanted to, but held it back, waiting for a more receptive climate. The death of Stalin in March 1953 brought a slight political and artistic thaw, and Shostakovich could bring out these scores: the First Violin Concerto, composed in 1947, but not premièred until 1955; the song cycle From Jewish Folk Poetry, written in 1948 and first performed in 1955; and the Fourth and Fifth String Quartets, written respectively in 1949 and 1952, but not played until 1953. Shostakovich’s Fourth String Quartet is almost as interesting for what it is not as for what it actually is. This music is remarkable for its restraint. All four movements are at a moderate tempo (three Allegrettos and one Andantino), and the work is marked by an emotional reserve as well. There are no dramatic extremes here–this music is spare, understated, lean, at times almost bleak. Harmonically, it varies moments of simple diatonic melodies (even unisons) with episodes of grinding dissonance. And at the end it fades into silence on the same note of emotional restraint that has marked the entire quartet. The opening Allegretto is quite brief (only three minutes), just long enough to lay out two themes but not long enough to develop them in a significant way. The music moves from the quiet beginning, built on constantly-changing meters, to a full-throated restatement; more lyric secondary material leads to a quiet close on a unison D three octaves deep. The Andantino at first feels somewhat more settled. Its wistful opening, which belongs largely to the first violin, is in straightforward F minor, but again the music grows more turbulent as the movement proceeds; it closes with a quiet reprise of the opening material, now played muted. The third movement, muted throughout, is scherzo-like in its fusion of quick-paced themes, from the cello’s propulsive opening to a more animated second subject; in the course of the movement, each of the four instruments takes a turn with this second melody. Unmuted solo viola leads the way into the finale over pizzicato accompaniment from the other voices. The first violin’s main theme here has a pronounced “Jewish” character–it is a lamenting tune, built on tight intervals, sharp accents, and fleeting dissonances. This movement, longest in the quartet, rises to an almost orchestral climax full of tremolos, unisons, and huge chords, then fades away on a haunting coda as the two violins in fourths restate the main theme. Over a sustained cello harmonic the upper voices lapse into silence on quiet pizzicatos. Small wonder that Shostakovich kept this music hidden during the Stalin years. It is far from the “progressive” and

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popular music the Soviet government wanted, and while this quartet has been admired for its lucidity, it is nevertheless troubling music, remarkable for its leanness, its restraint–and its bleakness.

String Quartet in C Major, Opus 61

ANTONIN DVOŘÁK Born September 8, 1841, Mühlhausen, Bohemia Died May 1, 1904, Prague

Approximate Duration: 38 minutes

Throughout his creative life, Dvořák was caught between two conflicting artistic impulses. He wrote in the great German classical forms, yet in his heart he was a devout Czech nationalist, happiest when he could infuse his music with the characteristic rhythms and sounds of his homeland. Usually he could balance these claims, but at times they came into conflict. Such a collision occurred in 1881, when Joseph Hellmesberger commissioned a string quartet from Dvořák. Hellmesberger, a violinist and conductor, must have seemed to Dvořák the symbol of Vienna: he was director of the Vienna Conservatory, he was the founder and first violinist of his own string quartet, and for forty years he conducted the concerts of the Vienna Gesellschaft. It was Hellmesberger who had championed the young Brahms after the latter’s arrival in Vienna twenty years earlier, and Dvořák recognized how great a compliment it was to have a work commissioned by Hellmesberger. But such a commission raised uncomfortable artistic problems for Dvořák. Should he remain true to his own impulses and write the kind of music he wanted, full of Czech melodies, rhythms, and dances? Or should he write in a more classical–a more Viennese– manner? Viennese audiences, he knew, tended to sneer at local color (particularly foreign local color) in music. Critics have been unanimous in their belief that Dvořák–faced with an important commission from Vienna–capitulated, erasing Czech elements from this quartet and attempting to write in the style of the Viennese masters. One critic hears echoes of Beethoven in the first movement, another hears Schubert in the scherzo, and so on. Actually, this quartet sounds like Dvořák throughout. True, one does not hear the rhythms and national dances typical of much of Dvořák’s Czech music, but no one would guess that the Quartet in C Major is the work of any composer but Dvořák. He creates memorable themes, the music is full of harmonic adventures, there are surprising thematic links between movements, and this quartet bristles with energy–for this exciting music to make its full effect, it needs a real virtuoso performance. The extended first movement is in sonata form; Dvořák supplies an extremely dramatic coda which–surprisingly–

EMERSON STRING QUARTET – PROGRAM NOTES

gives way to a gentle close. The marking for the second movement–Poco adagio e molto cantabile–is crucial, for this intense music sings throughout. The haunting main theme grows more florid and ornate as it develops, and the music is full of chromatic figurations and spiky accompaniment figures. The main theme of the Scherzo is derived from the main theme of the opening movement, and suddenly we are back in that same world of furious energy, with the music racing along on triplet rhythms; the scherzo section itself is in the expected 3/4 meter, but Dvořák sets the trio in 2/4. The rondo-like finale, marked Vivace, is the most impressive movement of the quartet: the main theme sounds unmistakably like a Czech dance, and it is on the energy of this music that Dvořák brings his most “Viennese” composition to a sparkling close.

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Tonight’s concert is sponsored by:

Lehn and Richard Goetz Sue and Peter Wagener

Special Event

NIKOLAY KHOZYAINOV, piano Saturday, April 29, 2017 · 8PM THE AUDITORIUM AT TSRI

BEETHOVEN Piano Sonata in A-flat Major, Opus 110 (1821-22) (1770-1827) Moderato cantabile molto espressivo Allegro molto Adagio ma non troppo; Fugue: Allegro, ma non troppo STRAVINSKY Three Movements from Petrushka (1921) (1882-1971) Russian Dance In Petrushka’s Cell The Shrovetide Fair I N T E R M I S S I O N SCHUMANN Fantasie in C Major, Opus 17 (1839) (1810-1856) Durchaus phantastisch und leidenschaftlich vorzutragen Mässig. Durchaus energisch Langsam getragen. Durchweg leise zu halten

Nikolay Khozyainov last performed for La Jolla Music Society in the Piano Series on January 31, 2015.

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NIKOLAY KHOZYAINOV – PROGRAM NOTES

Program notes by Eric Bromberger

Piano Sonata in A-flat Major, Opus 110

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

Three Movements from Petrushka

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

Approximate Duration: 16 minutes

In the early 1920s, Igor Stravinsky–one of the greatest orchestrators in history and creator of some of the finest The years 1813 through 1820 were exceptionally difficult music ever written for orchestra–began to write for solo for Beethoven, who virtually stopped composing in these piano. In the aftermath of World War I, Stravinsky discovered years. There were several reasons for this: his deafness was that orchestras that could play huge and complex scores were now nearly complete, he suffered periods of poor health, and rare (and expensive). And in any case Stravinsky did not wish much of his energy was consumed with his struggle for legal to go on repeating himself by writing opulent ballets. But the custody of his nephew Karl. And–perhaps most important–he real factor that attracted Stravinsky to the piano was that he had reached a creative impasse brought on by the exhaustion was a pianist and so could supplement his uncertain income of his Heroic Style. Where the previous two decades had seen as a composer by appearing before the public as both creator a great outpouring of music, now his creative powers flickered and performer; this was especially important during the and were nearly extinguished. Not until 1820 was he able to uncertain economic situation following the war. put his troubles, both personal and creative, behind him and While not a virtuoso pianist, Stravinsky was a capable marshal his energy as a composer. At the end of May 1820 one, and over the next few years came a series of works for he committed himself to writing three piano sonatas for the piano that Stravinsky introduced and then played on tour. Berlin publisher Adolph Martin Schlesinger; these would be The impetus for all this piano music may well have come Beethoven’s final sonatas. Although he claimed he wrote them from Artur Rubinstein, who asked the composer to prepare “in one breath,” their composition was actually spread out over a version of the ballet Petrushka for solo piano, which a longer period than he expected when he agreed to write them. Stravinsky did during the summer of 1921. Rubinstein paid The Sonata in A-flat Major, completed in December Stravinsky what the composer called “the generous sum of 1821, shows some of the most original touches in a group 5,000 francs” for this music, but Stravinsky made clear that of sonatas that are all distinguished for their originality. The his aim was not to cash in on the popularity of the ballet: “My first movement, Moderato cantabile molto espressivo, is intention was to give virtuoso pianists a piece of a certain remarkable for its lovely and continuous lyricism. Beethoven breadth that would permit them to enhance their modern notes that the opening is to be played con amabilita, and that repertory and demonstrate a brilliant technique.” Stravinsky spirit hovers over the entire movement. The essentially lyric stressed that this was not a transcription for piano, nor was he quality of this movement is underlined by the fact that the trying to make the piano sound like an orchestra; rather, he second theme grows immediately out of the first: the opening was re-writing orchestral music specifically as piano music. idea has barely been stated when the second seems to rise The ballet Petrushka, with its haunting story of a pathetic directly out of it. By contrast, the bluff Allegro molto is rough puppet brought to life during a Russian fair, has become so and ready: it is a scherzo with a brief trio section full of popular that it easy to forget that this music had its beginning energy and rhythmic surprises. as a sort of piano concerto. Stravinsky said: “I had in my The long final movement is of complex structure: it mind a distinct picture of a puppet, suddenly endowed with performs the function of both adagio and finale, yet even life, exasperating the patience of the orchestra with diabolical these elements are intermixed with great originality. The main cascades of arpeggi.” That puppet became Petrushka, “the theme of the Adagio, marked Arioso dolente, arches painfully immortal and unhappy hero of every fair in all countries,” as over a steady chordal accompaniment before Beethoven the story of the ballet took shape, but the piano itself receded introduces a fugue marked Allegro, ma non troppo. After a into the background of the ballet. Perhaps it was only natural brief working-out, the fugue comes to a halt and the Arioso that Stravinsky should remember the ballet’s origins when theme returns. This time, however, Beethoven has marked it Rubinstein made his request for a piano version. Ermattet, klagend (exhausted, grieving), and here the music Stravinsky drew the piano score from three of the ballet’s seems almost choked and struggling to move. Yet gradually four tableaux. The opening movement, Russian Dance, comes the music gathers strength and the fugue returns, but this time from the end of the first tableau: the aged magician has just Beethoven has inverted the theme and builds the fugue on this touched his three puppets–Petrushka, the Ballerina, and the inversion. The sonata ends with a great rush upward across Moor–with his wand, and now the three leap to life and dance five octaves to the triumphant final chord. joyfully. Much of this music was given to the piano in the Approximate Duration: 20 minutes

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NIKOLAY KHOZYAINOV – PROGRAM NOTES

original ballet score, and here this dance makes a brilliant opening movement. The second movement, In Petrushka’s Cell, is the ballet’s second tableau, which introduces the hapless Petrushka trapped in his room and railing against fate and shows the entrance of the ballerina. The third movement, The Shrovetide Fair, incorporates most of the music from the ballet’s final tableau, with its genre pictures of a St. Petersburg square at carnival time: various dances, the entrance of a peasant and his bear, gypsies, and so on. Here, however, Stravinsky excises the end of the ballet (where Petrushka is murdered and the tale ends enigmatically) and replaces it with the more abrupt ending that he wrote for concert performances of the ballet suite.

Fantasie in C Major, Opus 17

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

Approximate Duration: 32 minutes

In 1835, the 25-year-old Robert Schumann learned of plans to create a Beethoven monument in Bonn and–fired with enthusiasm for the project–resolved to compose a piano sonata and donate all receipts from it to support the monument. He wrote to his publisher, suggesting an elaborate publication in which the score would be bound in black and trimmed with gold, and he proposed a monumental inscription for that cover: Ruins. Trophies. Palms. Grand Piano Sonata For Beethoven’s Monument Yet when Schumann began composing this music the following year, his plans had changed considerably. He had fallen in love with the young piano virtuosa Clara Wieck, and her father had exploded: Friedrich Wieck did everything in his power to keep the lovers apart, forbidding them to see each other and forcing them to return each other’s letters. The dejected Schumann composed a three-movement sonata-like piece that was clearly fired by his thwarted love: he later told Clara that the first movement was “the most passionate thing I have ever composed–a deep lament for you.” Yet the score, published under the neutral title Fantasie in 1839, contains enough references to Beethoven (quotations from the song cycle An die ferne Geliebte at the end of the first movement and from the Seventh Symphony in the last) to suggest that some of Schumann’s original plans for a Beethoven sonata remained in this music. And finally, to complicate matters even further, Schumann dedicated the score not to Clara but to Franz Liszt, who would become one of its great champions.

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If the inspiration for this music is in doubt, its greatness is not: the Fantasie in C Major is one of Schumann’s finest compositions, wholly original in form, extremely difficult to perform, and haunting in its emotional effect. Schumann was right to call this music a Fantasie–it may seem like a piano sonata on first appearance, but it refuses to conform exactly to the rules of sonata form. The first movement, marked “Fantastic and passionate throughout,” begins with an impassioned falling figure that Schumann associated with Clara. In the quiet middle section, which Schumann marks “In the manner of a legend,” the music moves to C minor; yet the conclusion does not recapitulate the opening material in the correct key–the music returns to C major only after the reference to Beethoven’s song from An die ferne Geliebte. The second movement is a vigorous march full of dotted rhythms; Schumann marks it “Energetic throughout.” Curiously, Clara–the inspiration for the first movement–liked this movement the best; she wrote to Schumann: “The march strikes me as a victory march of warriors returning from battle, and in the A-flat section I think of the young girls from the village, all dressed in white, each with a garland in her hand crowning the warriors kneeling before them.” Schumann concludes with a surprise: the last movement is at a slow tempo–it unfolds expressively, and not until the final bars does Schumann allow this music to arrive–gently and magically–in the home key of C major. The Fantasie in C Major is one of Schumann’s finest works, yet within years of its composition, Schumann himself was hard on this music, calling it “immature and unfinished… mostly reflections of my turbulent earlier life.” By this time, he was happily married to Clara and may have identified the Fantasie with a painful period in his life, yet it is precisely for its turbulence, its pain, and its longing that we value this music today.

Piano Series

JEREMY DENK, piano Friday, May 12, 2017 · 7:30 PM LA JOLLA PRESBYTERIAN CHURCH

J.S. BACH English Suite No. 3 in G Minor, BWV 808 (1715) (1685-1750) Prelude Allemande Courante Sarabande Les agréments de la même Sarabande Gavotte I and II Gigue

PRELUDE 6:30 PM

Lecture by James Chute

Writing music for the piano, from the Baroque to the modern: As the piano changed and grew, so did the “language” of piano music. During the 19th century, composers expanded the capacity of the piano, turning it into a mini-orchestra.

BYRD The Passing Mesures: the Nynthe Pavian from (c.1540-1623) My Ladye Nevells Booke of Virginal Music (1591) BOLCOM Graceful Ghost Rag (1970) (b.1938)

JOPLIN/HAYDEN Sunflower Slow Drag (1901) (1867/8-1917)/(1882-1915)

HINDEMITH Ragtime from Suite: “1922” (1921-22)

The Piano Series is underwritten by Medallion Society members:

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

(1895-1963)

STRAVINSKY Piano-Rag-Music (1919) (1882-1971)

IVES Ragtime Dances Nos. 3 & 4 from Four Ragtime Dances (1902) (1874-1954)

NANCARROW Canon (1988) (1912-1997)

LAMBERT “Pilgrim’s Chorus” from Tannhäuser after Wagner

(1904-1962) (trans. 1941)

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

SCHUBERT Piano Sonata in B-flat Major, D.960 (1828) (1797-1828) Molto moderato Andante sostenuto Scherzo: Allegro vivace con delicatezza Allegro, ma non troppo

Jeremy Denk last performed for La Jolla Music Society in SummerFest on August 12, 2012.

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JEREMY DENK – PROGRAM NOTES

Program notes by Eric Bromberger

English Suite No. 3 in G Minor, BWV 808

JOHANN SEBASTIAN BACH Born March 21, 1685, Eisenach, Germany Died July 28, 1750, Leipzig, Germany

Approximate Duration: 18 minutes

Among Bach’s works for keyboard are two sets bearing national titles: French Suites and English Suites. Neither of these titles appears to have originated with Bach himself, and scholars have for two centuries debated their source and meaning. The situation with the English Suites is particularly confusing, for there is nothing specifically “English” about this music. Some have attempted to find similarities between these suites and contemporary English music, while others point to a manuscript in the possession of one of Bach’s sons that is reportedly inscribed “fait pour les anglais.” The one conclusion that can be drawn is that no one knows the significance of the title–it serves as a convenient handle rather than as a name that tells us anything about the music itself. The six English Suites date from about 1715. Bach, then 30, was still living in Weimar, where he was organist for the Duke of Saxe-Weimar. All six suites are in the same sequence of six movements: an opening Prelude followed by five dance movements. The only variation comes in the fifth movement, where Bach uses a variety of dance forms. Bach launches each of these suites with an animated Prelude, and the Suite in G Minor bursts to life with a Prelude that rushes along its propulsive 3/8 meter. The second movement is an Allemande, which–as its name suggests–is of German origin; this one, delicate and poised, is in binary form and not especially fast. The third movement, a Courante, is faster (that title means “running” in French) and sometimes combines duple and triple meters, though in this case the movement dances along the generous span of its 3/2 meter. The fourth movement is a Sarabande, a slow dance in triple time and of Latin origin. The Sarabande of the Suite in G Minor is remarkable music, stark and sometimes dissonant. Bach follows it with a movement called Les agréments de la même Sarabande; that title suggests that it is an “embellishment” of the Sarabande, and in fact it is a double, a highly-embellished second version of the same movement. The fifth movements of the English Suites vary, for Bach uses a variety of short dance forms here; in the Suite No. 3, he employs a pair of Gavottes. Gavotte I dances lightly, while Gavotte II is a musette, a movement that dances above a constantly-held drone; listeners will recognize this as the most-familiar music of the Suite in G Minor, for it is often heard in arrangements. The sixth and concluding movement of each suite is a Gigue, a quick dance related–as its title suggests–to the jig. This one, in 12/8, is fugal in construction, and Bach inverts its principal theme in the second half.

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The Passing Mesures: the Nynthe Pavian from My Lady Nevells Booke of Virginal Music

WILLIAM BYRD

Born c. 1540, London Died July 4, 1623, Stonton Massey, Essex

Approximate Duration: 8 minutes

One of the first great English composers, William Byrd lived a remarkable life that spanned more than eighty years–born two decades before Shakespeare, he outlived the playwright by almost another decade. Byrd’s life was eventful: he was a devout Roman Catholic at a moment when it was dangerous to be Catholic in England, and though he was under suspicion by the police, he enjoyed the personal protection of Elizabeth I, who granted him the sole right to publish music in London. Byrd trained originally as an organist in Lincoln, but spent much of his career in London, eventually retiring to Essex, where he was involved in a good deal of litigation–he was apparently not a man to walk away from a fight. Byrd is remembered today primarily for his sacred music–he wrote with equanimity for both Anglican and Catholic services–and for his keyboard music. The keyboard music was probably composed for virginal, a type of small harpsichord with one keyboard and strings running parallel to that keyboard (rather than away from it). Byrd’s most famous keyboard works were collected under the curious title My Ladye Nevells Booke. This collection has a complex history, but it appears to date from 1591, when John Baldwin of Windsor gathered 42 virginal pieces that Byrd had written over the previous decade and had them bound for a “Ladye Nevell.” Her identity has been debated, but evidence suggests that she was Rachel, wife of Sir Edward Nevill, a member of parliament from Windsor. This music was intended for the enjoyment of skilled amateur performers, and the pieces in My Ladye Nevells Booke take many forms: most are dances, some are descriptive battle pieces (perhaps inspired by Drake’s defeat of the Spanish Armada three years earlier), and some are arrangements of songs. This program offers The Passing Mesures: the Nynthe Pavian from Lady Nevell’s Book in its original form, a pavane was a stately dance of Italian origin This music carries us back across more than three centuries–as we listen to this pavane, we hear music that the young Shakespeare (still in his twenties and unknown) might have heard as worked on Two Gentlemen of Verona and The Taming of the Shrew.

JEREMY DENK – PROGRAM NOTES

RAGS Works by

WILIAM BOLCOM SCOTT JOPLIN/SCOTT HAYDEN PAUL HINDEMITH IGOR STRAVINSKY CHARLES IVES CONLON NANCARROW DONALD LAMBERT

Approximate Duration: 22 minutes

Antonín Dvořák said that American “classical” music would develop out of African-American music and the music of Native American tribes, and the music Dvořák himself wrote in this country shows both those influences. But it was Afro-American music that became the more powerful force in American–and European–music. Near the end of the nineteenth century, while Dvořák was still active in New York City, Afro-American pianists developed a style of piano music based on a sharply-syncopated melody in the right hand over steady accompaniment in the left. The syncopated (hence, “ragged”) right-hand rhythm earned this style the name “ragtime,” and in the hands of Scott Joplin, Jelly Roll Morton, Eubie Blake, and others ragtime became a popular feature of American musical life (Joplin’s Maple Leaf Rag of 1899 sold a million copies). The style remained popular until about World War I, when it was supplanted by jazz. Ragtime influenced composers on both sides of the Atlantic (Debussy’s Golliwog’s Cakewalk is an example), and on this program Jeremy Denk offers a selection of ragtime pieces– and pieces influenced by ragtime–composed over the last century by American and European composers. The set opens with one of the most popular recent examples, the Graceful Ghost Rag, composed in 1970 by WILLIAM BOLCOM (b. 1938). Bolcom has been a powerful advocate of music from the ragtime era, not only piano music but also popular songs of that period. The Graceful Ghost Rag offers the best possible introduction to ragtime music: Bolcom marks the opening both cantabile and smoothly, and this evocative music sings a wistful song that is enlivened by its sunnier central episode. SCOTT HAYDEN (1882-1915) was related by marriage to SCOTT JOPLIN (1867/8-1917), and they collaborated on four rags, though the Sunflower Slow Drag appears to be primarily the work of Hayden. This quintessentially “happy” music dates from 1901. F. Scott Fitzgerald called the 1920’s “the Jazz Era,” and in the years after the war jazz elements began to appear in the

music of European composers. PAUL HINDEMITH (18951963) composed his Suite: “1922,” during the difficult years of the Weimar Republic, and many have detected a bitter tone in this five-movement suite based largely on dance forms. The last movement is titled Ragtime, though this furious music lacks the steady left-hand accompaniment we associate with the form. Hindemith’s quite specific performance instructions for this movement set the mood. He instructs the pianist: “Play this piece very wildly but always strictly in time, like a machine” and further specifies that the performer should “regard the piano here as an interesting percussion instrument.” Always keenly attuned to new developments in music, IGOR STRAVINSKY (1882-1971) became aware of ragtime and jazz during World War I: in 1918 he included a Ragtime movement in his L’histoire du soldat and also composed a Ragtime for Eleven Instruments. The following year Stravinsky composed a short work that he titled Piano-RagMusic, dedicating it to Artur Rubinstein (who never played it). Piano-Rag-Music is not in the steady duple meter of most ragtime, and the most remarkable thing about this music is Stravinsky’s metric freedom: he changes meter constantly, and long passages are without any bar-lines at all. The composer’s performance instruction is succinct: trés fort (“very strong”). CHARLES IVES (1874-1954) knew ragtime long before Stravinsky: he heard it in the theaters and clubs of New York City as it was being created. Ives was unsure about ragtime. He wrote: “Ragtime has its possibilities . . . Perhaps we know it now as an ore before it has been refined into a product. It may be one of nature’s ways of giving art new material.” But he was willing to mine this ore, and ragtime elements appear in a number of his works. In 1902 he composed Four Ragtime Dances, scoring them first for small orchestra and later for piano. Both Nos. 3 and 4 are marked Allegro, both feature complex textures through which the characteristic syncopated rhythms can be heard, and both incorporate snatches of the popular melodies Ives heard around him at the turn of the century. CONLON NANCARROW (1912-1997) studied with Sessions, Piston, and Slonimsky, then joined the Abraham Lincoln Brigade to fight in the Spanish Civil War. Returning to the United States after the Loyalist defeat, Nancarrow–who had joined the Communist Party in 1934–faced the loss of his visa because of his political affiliations, and so he moved to Mexico City, where he lived for the rest of his life. Before his departure, Nancarrow had become fascinated with complex rhythms, and this led him to an unusual musical decision: he composed almost exclusively for player piano, on which he could achieve a level of rhythmic complexity and accuracy impossible with mortal performers. Nancarrow once said that “ever since I’d been writing music I was dreaming of getting rid of the performers.” W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8

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best-loved of all piano sonatas: the current catalog lists over forty recordings. It is dangerous to assume that a composer’s final works must be haunted–as were Mahler’s and Shostakovich’s–by premonitions of death. And in fact, Schubert’s final works do not agonize in the way the Mahler Tenth or Shostakovich Fourteenth Symphonies do. But it remains true that as Schubert’s condition worsened across the span of that final year, his music took on a depth and poignance rare in his works. And it is hard not to hear in the beginning of the Sonata in B-flat Major a direct premonition of mortality. The Molto moderato begins simply with a flowing chordal melody of unusual expressiveness. But in the eighth measure comes a discordant trill deep in the left hand, and the music glides to a complete stop. The silence that follows–Schubert marks it with a fermata to be sure that it is prolonged–is one of the few genuinely terrifying moments in music. It is as if a moment of freezing terror has crept into this flow of gentle song. Out of the silence the theme resumes. Again the deep trill intrudes, but this time the music rides over it and continues. Claudio Arrau has spoken of this movement as one written “in the proximity of death,” and while this music is never tortured, it is some of the most expressive Schubert ever wrote. This is a long movement, full of the harmonic freedom that marks Piano Sonata in B-flat Major, D.960 Schubert’s best music; it ends quietly in B-flat major with a chorale-like restatement of the main theme. The Andante sostenuto is as moving as the first Born January 31, 1797, Vienna Died November 19, 1828, Vienna movement. The somber opening melody, in the unexpected Approximate Duration: 22 minutes key of C-sharp minor, proceeds darkly in the right hand, while the left hand offers an unusual accompaniment that Schubert’s final year was dreadful. Ill for years, he went skips–almost dances–through a four-octave range, reaching into steady decline in 1828 and died in November at 31. Yet from those last months came a steady stream of masterpieces, up above the right hand’s melody. The middle section is of a nobility that might almost be called Brahmsian, were that and few of the achievements of that miraculous, agonizing not absurd; perhaps it suggests why, a half-century later, year seem more remarkable than the composition of three Brahms admired Schubert’s music so much. By contrast, the large-scale piano sonatas in the month of September, barely eight weeks before his death. In the years following Schubert’s quicksilvery Scherzo flashes across the keyboard with a main death, many of the works from this final year were recognized theme that moves easily between the pianist’s hands; at times as the masterpieces they are, but the three piano sonatas made the rhythms and easy flow make this seem more like a waltz than a scherzo. Schubert specifies that it should be played con their way much more slowly. When they appeared in 1838, a delicatezza, and certainly its smooth modulations between decade after Schubert’s death, the publisher dedicated them A major and B-flat major are accomplished most delicately; to Schumann, one of Schubert’s greatest admirers, but even the brief trio is enlivened by off-the-beat accents. The finale– Schumann confessed mystification, noting with a kind of Allegro, ma non troppo–dances along its two main ideas. The dismayed condescension that “Always musical and rich in writing is brilliant and once again full of harmonic surprises, songlike themes, these pieces ripple on, page after page . . .” but in the midst of all this sparkle one hears a wistfulness, an Even as late as 1949, Schubert’s adoring biographer Robert expressive depth that stays to haunt the mind long after the Haven Schauffler could rate them “considerably below the music has ended. level of the last symphonies and quartets, the String Quintet, and the best songs.” It took Artur Schnabel’s championing these sonatas to rescue them from obscurity, and today the last of them, the Sonata in B-flat Major, has become one of the Nancarrow’s rhythmic complexity fascinated other musicians (Copland commented: “You have to hear it to believe it”), and there have been a handful of pianists willing to master the complexities of music originally conceived for a mechanical player. Late in his long life, Nancarrow began once again to write for live performers: in 1988–when he was 76–Nancarrow composed a set of three canons for piano for Ursula Oppens, and Jeremy Denk performs one of these on the present recital. DONALD LAMBERT (1904-1962) was a jazz stride pianist. The term “stride” refers to the wide leaps required from the pianist’s left hand (thus, “stride”), while the right hand has the melody. Lambert was active largely in the 1920s and 1930s. The present piece, perhaps his most famous work, uses the “Pilgrims Chorus” from Wagner’s Tannhäuser as its starting point. Lambert offers a brief statement of the theme of that chorus (though one already slightly squared-off), then proceeds into a virtuoso piano piece based on that theme. Part of the fun of this piece is watching the pianist’s left hand, but the right has an absolutely exhilarating romp, through which the chorus of Wagner’s pilgrims can occasionally be heard. Those interested in this music should know that Lambert himself made a terrific recording in 1941.

FRANZ SCHUBERT

LA JOLLA MUSIC SOCIETY

Biographies Black Grace

Black Grace, New Zealand’s leading contemporary dance group, was founded by Neil Ieremia in 1995. Mr. Ieremia draws from his Samoan and New Zealand roots to create innovative dance works that reach across social, cultural and generational barriers. The work itself is highly physical, rich in the story telling traditions of the South Pacific and expressed with raw finesse, unique beauty and power. Since its inception, Black Grace has changed the face of contemporary dance in New Zealand and turned Black Grace into one of the most recognizable and iconic cultural brands. The Company features some of New Zealand’s finest dancers and tours the length and breadth of New Zealand, and internationally to Europe, Japan, South Korea, Mexico, Australia, and New Caledonia. In 2004 Black Grace made its U.S. debut performing a sold out season at Jacob’s Pillow Dance Festival, with a subsequent return to the Festival in 2005. In 2009 Black Grace was presented with a resolution passed by the Guam legislature in recognition of their work with local communities; it received a Herald Angel Award at the 2014 Edinburgh Festival Fringe, and in 2010 the Mayor of Honolulu officially proclaimed the 6th February 2010 as “Black Grace Day.”

Neil Ieremia, founding artistic director

Founding Artistic Director Neil Ieremia is one of New Zealand’s most accomplished choreographers. Born in Wellington and of Samoan heritage, Mr. Ieremia was raised in a tough working class neighborhood in a country focused more on sporting prowess and agriculture than creative expression. At the age of nineteen and with no formal training, Mr. Ieremia resigned from his banking job, and enrolled in a full-time dance program. In his final year of training, he joined the prestigious Douglas Wright Dance Company whom he worked for until 1996. As a freelance professional dancer Mr. Ieremia worked with many other leading New Zealand choreographers and created a number of commissioned works. Motivated to provide a different perspective and a fresh voice in the dance scene, Mr. Ieremia founded his own company, Black Grace in 1995. Numerous ‘firsts’ for a New Zealand choreographer include sold-out performances at Jacob’s Pillow Dance Festival (U.S. debut 2004 and 2005) and performances at the renowned Cervantino Festival in Mexico. Among his many other achievements, Mr. Ieremia has received a 2005 Arts Foundation of New Zealand Laureate Award. In 2015, Mr Ieremia received a City of Porirua Anniversary Award and the Senior Pacific Artist Award from Creative New Zealand. Most recently, Mr Ieremia was appointed an Officer of the New Zealand Order of Merit for services to dance.

Steven Cassedy, prelude presenter

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

James Chute, prelude presenter

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

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BIOGRAPHIES

Danish National Symphony Orchestra

The Danish National Symphony Orchestra was founded in 1925 as part of the Danish Broadcasting Corporation under the motto: “The best – only the best,” and today, is one of the leading symphony orchestras in Europe performing with the world’s leading conductors and soloists. After the passing of its Principal Conductor, Spanish Maestro Rafael Frühbeck de Burgos, in June 2014, the Symphony Orchestra announced its new principal conductor, Italian Fabio Luisi. Former conductors include Lorin Maazel, Essa-Pekka Salonen, Giuseppe Sinopoli, Sergiu Celibidache, Kurt Sanderling, Sir Thomas Beecham, Nicolai Malko and Fritz Busch. The Symphony Orchestra has performed with renowned artists such as Anne Sophie Mutter, Leonidas Kavakos, Renée Fleming, Yo-Yo Ma, Leif Ove Andsnes, Lang Lang, Daniel Barenboim, Itzhak Pearlman, Serge Prokofiev and Igor Stravinsky. It has toured extensively in the U.S., South America, Asia and most countries in Europe, and performed at some of the most prestigious venues including Carnegie Hall, Royal Albert Hall, Berlin Philharmonic, Cologne Philharmonic, Concertgebouw, Konzertverein and Alhambra (Granada). British music magazine Gramophone rated DR Koncerthuset, home of the Symphony Orchestra, designed by French architect Jean Nouvel and built in 2009, among the ten best in the world.

Fabio Luisi, principal conductor

Grammy® and ECHO Klassik Award-winner Fabio Luisi serves as General Music Director of the Zurich Opera, Principal Conductor of the Metropolitan Opera and Principal Conductor of the Danish National Symphony Orchestra (DNSO). He concludes his six-year tenure at the Met with Don Giovanni and a new production of Guillaume Tell. In addition to leading the DNSO and Zurich Opera, he rounds out the Season in concert appearances with the Philadelphia Orchestra, NHK Symphony, Filarmonica della Scala, Munich Philharmonic, London Symphony Orchestra, and Opera di Firenze, where he assumes the role of Music Director next spring. As former Chief Conductor of the Vienna Symphony, Mo. Luisi was honored with the orchestra’s Golden Bruckner Medal and Ring. In 2015, the Philharmonia Zurich inaugurated its Philharmonia Records label with his accounts of Berlioz, Wagner and Rigoletto, to which they recently added his rare recording of the original version of Bruckner’s Eighth Symphony. A native of Genoa, Luisi was awarded the Grifo d’Oro for his contributions to the city’s cultural legacy. Off stage, he is a passionate perfume maker; sales from his one-person operation, flparfums.com, benefit the Luisi Academy for Music and Visual Arts.

Deborah Voigt, soprano

One of the world’s most versatile singers, Deborah Voigt’s 2016-17 Season sees her join the San Francisco Conservatory of Music as a full-time member of the voice faculty; serve as the new Artistic Advisor to Florida’s Vero Beach Opera; and reprise her beloved one-woman show, Voigt Lessons. Her HarperCollins memoir, Call Me Debbie: True Confessions of a Down-to-Earth Diva, was released in paperback last year. Having made her name as a leading dramatic soprano, Ms. Voigt has given definitive performances of iconic German operatic roles from Salome to Isolde. Also a devotee of Broadway and American song, she has sung with Rufus Wainwright at London’s BBC Proms, Kristin Chenoweth at Carnegie Hall and Barbara Cook and Dianne Reeves at the Hollywood Bowl. Her extensive discography includes two EMI solo albums – All My Heart and Obsession – and Deutsche Grammophon’s Grammy® Award-winning Blu-ray set Wagner: Die Walkure. She appears regularly as both performer and host in the Met’s “Live in HD” series. Ms. Voigt’s numerous honors include first prizes in Moscow’s International Tchaikovsky Competition and Philadelphia’s Luciano Pavarotti International Voice Competition; a Chevalier dans l’Ordre des Arts et des Lettres; and Honorary Doctorates from Smith College and the University of South Carolina.

LA JOLLA MUSIC SOCIETY

BIOGRAPHIES

Jeremy Denk, piano

Jeremy Denk is one of America’s foremost pianists; he is a winner of a 2013 MacArthur “Genius” Fellowship, the 2014 Avery Fisher Prize, Musical America’s 2014 Instrumentalist of the Year award and was elected to the American Academy of Arts and Sciences in 2016. Mr. Denk returns frequently to Carnegie Hall and has appeared at the BBC Proms with Michael Tilson Thomas. He has recently performed with the Chicago Symphony, New York Philharmonic and Cleveland Orchestra, as well as been on tour with Academy St. Martin in the Fields. Mr. Denk continues as Artistic Partner of the Saint Paul Chamber Orchestra. In 2014 he served as Music Director of the Ojai Music Festival, at which he wrote the libretto for a comic opera that was later presented by Carnegie Hall and the Aspen Festival. Mr. Denk’s original and insightful writing on music has appeared in the New Yorker, the New Republic, The Guardian and the New York Times Book Review. His blog, Think Denk, was selected for inclusion in the Library of Congress web archives. French Impressions, with violinist Joshua Bell, won the 2012 Echo Klassik award. Jeremy Denk graduated from Oberlin College, Indiana University and the Juilliard School. He lives in New York City.

Emerson String Quartet

Over four decades the Emerson String Quartet has amassed more than thirty acclaimed recordings; nine Grammys® (including two for Best Classical Album), three Gramophone Awards, the Avery Fisher Prize, Musical America’s “Ensemble of the Year” and collaborations with many of the greatest artists of our time. The arrival of cellist Paul Watkins in 2013 has had a profound effect on the Emerson Quartet. Mr. Watkins, a distinguished soloist, award-winning conductor, and devoted chamber musician, joined the ensemble in its 37th season, and his dedication and enthusiasm have infused the Quartet with a warm, rich tone and a palpable joy in the collaborative process. The reconfigured group has been praised by critics and fans alike around the world. “The Emerson brought the requisite virtuosity to every phrase. But this music is equally demanding emotionally and intellectually, and the group’s powers of concentration and sustained intensity were at least as impressive,” The New York Times. The 2016-17 season marks the Emerson Quartet’s 40th Anniversary, and highlights of this milestone year reflect all aspects of the Quartet’s venerable artistry with high-profile projects and collaborations, commissions and recordings. Universal Music Group has reissued their entire Deutsche Grammophon discography in a 52-CD boxed set.

Michael Gerdes, prelude presenter

Michael Gerdes is the Director of Orchestras at SDSU where he conducts the Symphony, Chamber and Opera orchestras. His performances with the Symphony have been hailed as “highly sensitive and thoughtfully layered” and his conducting has been proclaimed “refined, dynamically nuanced” and “restrained but unmistakably lucid” by San Diego Story. 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.

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BIOGRAPHIES

Nikolay Khozyainov, piano

Nikolay Khozyainov is one of the most remarkable pianists of his generation. At age 24, his featured recitals and concerto engagements have already included sold out performances at some of the world’s foremost stages such as Carnegie Hall, Wigmore Hall in London and Théâtre des Champs-Élysées in Paris. Mr. Khozyainov has performed with the Tokyo Symphony Orchestra, Sydney Symphony Orchestra, Czech National Symphony Orchestra, RTE National Symphony Orchestra of Ireland, among many others. Mr. Khozyainov’s many awards include being the youngest finalist of the XVI International Frédéric Chopin Piano Competition in Warsaw, Poland in October 2010, and in 2012 he won both 1st prize at the Dublin International Piano Competition and 2nd prize at the Sydney International Piano Competition. Born in Blagoveshchensk, a city in the Russian Far East, he began to play the piano at the age 5, and at age 7, made his public debut with the Handel Piano Concerto at the Great Hall of the Moscow Conservatory. He continued his Graduate Studies at the Moscow P.I. Tchaikovsky Conservatory until May 2015. Currently he lives in Germany where he is pursuing an Advanced Degree studying at the Hannover Hochschule für Musik under the guidance of Professor Arie Vardi.

Malandain Ballet Biarritz

Malandain Ballet Biarritz is made up of 22 permanent dancers trained in classical technique and whose expression in Thierry Malandain’s choreographies is contemporary. It is one of Europe’s most widely-seen companies, by almost 80,000 spectators per season, with 100 performances per year, including a third abroad. Malandain Ballet Biarritz is one of 19 National Choreographic Centres (NCC) in France. It was created in 1998 in Biarritz on the initiative of the Ministry of Culture & Communication, and the Town of Biarritz with the support of Aquitaine Region and the Atlantic Pyrenees General Council. As an NCC, Malandain Ballet Biarritz works to increase public awareness of dance – with on average over 450 events per year – and thanks to the “Accueil Studio” program, supports artists and companies. Malandain Ballet Biarritz has forged numerous cultural partnerships. Its “Ballet T” project, a partnership between Malandain Ballet Biarritz and San Sebastián’s Teatro Victoria Eugenia, with support from Europe and the Aquitaine Euskadi fund, aims to spread choreographic art in the Basque Country, by co-producing and disseminating choreographic works, and also through awareness campaigns and audience mobility within the Euro-region.

Thierry Malandain, artistic director

Author of a repertoire of 80 choreographies Thierry Malandain has developed a very personal vision of dance, closely linked to ‘‘Ballet,’’ where priority is given to the dancing body, its power, virtuosity, humanity and sensuality. The search for meaning and aesthetics guides a powerful and sober style, which can be both serious and insolent, based on the pursuit of harmony between history and today’s world. Mr. Malandain explains, “My culture is that of classical ballet and I confidently remain attached to it. Because while I readily admit that its artistic and social codes are from another time, I also think that this heritage from four centuries represents invaluable resources for dancers. A classical choreographer for some, a contemporary one for others, I play with it, simply trying to find a dance I like. A dance that will not only leave a lasting impression of joy, but that will also restore the essence of the sacred things and serve as a response to the difficulty of being.” In 1998 he was appointed by the French Ministry of Culture to the head of the new Centre Chorégraphique National in Biarritz. Most recently, he was awarded “best choreographer” by the Taglioni European Ballet Awards for Cinderella.

LA JOLLA MUSIC SOCIETY

BIOGRAPHIES

Max Raabe & Palast Orchester

Born 1962 in Lünen, Germany, Max Raabe moved to Berlin in his early twenties to study opera singing, and founded the Palast Orchester with some fellow students in 1986. Max Raabe’s commitment to the remembrance of 1920s and 30s music has received various awards including the 2000 ECHO Classic in for his interpretation of Mack the Knife, the Paul-Lincke-Ring of the City of Goslar in 2005, the cultural prize of his hometown Lünen in 2007, and in 2012 the Order of Merit of the State of Berlin. Among the many charity events he has performed for, since 2007 Max Raabe has emceed the annual Berlin opera gala of the German AIDS foundation. Two of Max Raabe’s recent releases have been collaborations with producer, singer and composer Annette Humpe, the albums Küssen kann man nicht alleine (One Cannot Kiss Alone) and Für Frauen ist das kein Problem (For Women It’s No Problem). The Palast Orchester was founded in 1986 by Max Raabe and a group of fellow music students to play music from Germany’s Golden Twenties. Teaming up with film director Sönke Wortmann two years later for the film Der bewegte Mann (The Most Desired Man) made them known to a wider audience. In 1997 Max Raabe & Palast Orchester celebrated their 10th anniversary in the sold out open air arena Waldbühne in Berlin. In addition to having toured from China, to Scandinavia and the Baltics, they regularly tour the U.S. and Canada, giving concerts in prestigious venues such as Chicago Symphony Hall, Davies Hall in San Francisco and New York’s Carnegie Hall. DVD/CD releases include concert recordings from Berlin’s open air venue Waldbühne, the Festspielhaus Baden Baden (the show Palast Revue) and at Admiralspalast Berlin, an original theater from the 20s where they filmed Heute Nacht oder nie (Tonight Or Never) and Eine Nacht in Berlin (A Night In Berlin). Most recently this fitting venue also set the scene for their 2016 production Let’s Do It which is currently running on U.S. TV as one of the PBS pledge shows.

Marcus Overton, prelude presenter

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

PHOTO CREDITS: Cover: J. Denk ©Michael Wilson; Pg. 11 & 40: Malandain Ballet Biarritz © Olivier Houeix; Pg. 14 & 38: Danish National Symphony Orchestra © Morten Abrahamsen; Pg. 22 & 41: Max Raabe & Palast Orchester courtesy of artist; Pg. 23 & 37: Black Grace © Neil Ieremia; Pg. 26 & 39: Emerson String Quartet courtesy of artist; Pg. 30 & 40: N. Khozyainov courtesy of artist; Pg. 33: J. Denk © Dennis Callahan; Pg. 37: Neil Ieremia courtesy of artist; S. Cassedy courtesy of presenter; J. Chute courtesy of presenter; Pg. 38: Fabio Luisi courtesy of artist; Deborah Voigt © Heidi Gutman; Pg. 39: J. Denk ©Michael Wilson; M. Gerdes courtesy of presenter; Pg. 40: T. Malandain courtesy of artist; Pg. 41: M. Overton courtesy of presenter; Back Cover: Malandain Ballet Biarritz © Olivier Houeix.

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Season Partners La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, Sue and Peter Wagener.

Media Partners ®

LA JOLLA MUSIC SOCIETY

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

FOUNDER

($250,000 and above)

ANGEL

($100,000 - $249,999)

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

BENEFACTOR

Silvija & Brian Devine Steven & Sylvia Ré

GUARANTOR

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

($50,000 - $99,999)

($25,000 - $49,999)

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

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

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ANNUAL SUPPORT

SUSTAINER

AMBASSADOR

AFICIONADO

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

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

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

($15,000 - $24,999)

SUPPORTER

($10,000 - $14,999)

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

LA JOLLA MUSIC SOCIETY

($5,000 - $9,999)

($2,500 - $4,999)

ASSOCIATE

($1,000 - $2,499)

Rita Bell Carolyn Bertussi Teresa O. Campbell Peter Chen June Chocheles Drs. Anthony F. Chong & Annette Thu Nguyen Victor & Ellen Cohn The Rev. Eleanor Ellsworth Drs. Edward & Ruth Evans Nomi Feldman Richard & Beverley Fink Karen S. Fox Judith Harris & Robert Singer, M.D.

ANNUAL SUPPORT

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

FRIEND

($500 - $999)

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

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

ENTHUSIAST ($250 - $499)

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

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

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

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ANNUAL SUPPORT

FOUNDATIONS Ayco Charitable Foundation: The AAM & JSS Charitable Fund The Vicki & Carl Zeiger Charitable Foundation Bettendorf, WE Foundation: Sally Fuller The Blachford-Cooper Foundation The Catalyst Foundation: The Hon. Diana Lady Dougan The Clark Family Trust Enberg Family Charitable Foundation The Epstein Family Foundation: Phyllis Epstein The Fidelity Charitable Gift Fund: Drs. Edward & Martha Dennis Fund Sue & Chris Fan Don & Stacy Rosenberg Shillman Charitable Trust Richard and Beverly Fink Family Foundation Inspiration Fund at the San Diego Foundation: Frank & Victoria Hobbs The Jewish Community Foundation: Diane & Elliot Feuerstein Fund Foster Family Foundation Galinson Family Fund Lawrence & Bryna Haber Fund Joan & Irwin Jacobs Fund David & Susan Kabakoff Fund Warren & Karen Kessler Fund Liwerant Family Fund Theodora F. Lewis Fund Jaime & Sylvia Liwerant Fund The Allison & Robert Price Family Foundation Fund Gary & Jean Shekhter Fund John & Cathy Weil Fund

Sharon & Joel Labovitz Foundation The Stephen Warren Miles and Marilyn Miles Foundation The New York Community Trust: Barbara & William Karatz Fund Qualcomm Foundation Rancho Santa Fe Foundation: The Fenley Family Donor-Advised Fund The Susan & John Major Donor-Advised Fund The Oliphant Donor-Advised Fund ResMed Foundation The San Diego Foundation: The Beyster Family Foundation Fund The M.A. Beyster Fund II The Karen A. & James C. Brailean Fund The Valerie & Harry Cooper Fund The Hom Family Fund The Ivor & Colette Carson Royston Fund The Scarano Family Fund The Shiftan Family Fund Schwab Fund for Charitable Giving: Alexa Kirkwood Hirsch Fund Ted McKinney & Frank Palmerino Fund The Shillman Foundation Silicon Valley Community Foundation: The William R. & Wendyce H. Brody Fund Simner Foundation The Haeyoung Kong Tang Foundation Tippett Foundation The John M. and Sally B. Thornton Foundation The John H. Warner Jr. and Helga M. Warner Foundation Vail Memorial Fund Thomas and Nell Waltz Family Foundation Sheryl and Harvey White Foundation

SERVING OUR COMMUNITY In the 2015-16 season, La Jolla Music Society was able to reach over 11,500 students and community members. We worked with students from over 60 different schools and universities, providing concert tickets, performance demonstrations, and master classes. Thanks to the generous support of our patrons and donors, all of our outreach activities are free to the people we serve.

LA JOLLA MUSIC SOCIETY

ANNUAL SUPPORT

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

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

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

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

SUPPORT To learn more about supporting La Jolla Music Society’s artistic and education programs or to make an amendment to your listing please contact Katelyn Woodside at 858.459.3724, ext. 216 or KWoodside@LJMS.org. This list is current as of February 3, 2017. Amendments will be reflected in the next program book in August 2017.

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

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

CROWN JEWEL

TOPAZ

Brenda Baker and Steve Baum Conrad Prebys and Debbie Turner

Anonymous Joan Jordan Bernstein Mary Ann Beyster Dr. James C. and Karen A. Brailean Julie and Bert Cornelison Dave and Elaine Darwin Barbara and Dick Enberg Jeane Erley Dr. Lisa Braun-Glazer & Dr. Jeff Glazer Margaret and Michael Grossman Alexa Kirkwood Hirsch Theresa Jarvis Angelina and Fred Kleinbub Joseph Wong and Vivian Lim Michel Mathieu and Richard McDonald Elaine and Doug Muchmore Rafael and Marina Pastor Don and Stacy Rosenberg Leigh P. Ryan Neal and Marge Schmale Jeanette Stevens Elizabeth Taft Gianangelo Vergani Dolly and Victor Woo Carolyn Yorston-Wellcome and H. Bard Wellcome Bebe and Marvin Zigman

DIAMOND Raffaella and John Belanich Joy Frieman Joan and Irwin Jacobs

RUBY Silvija and Brian Devine

GARNET Peggy and Peter Preuss

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

Listing as of February 3, 2017.

LA JOLLA MUSIC SOCIETY

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.

ARABESQUE

POINTE

PLIÉ

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

CCarolyn Bertussi Teresa O. Campbell

Stefana Brintzenhoff Joani Nelson Elyssa Dru Rosenberg Elizabeth Taft

DEMI POINTE Saundra L. Jones Susan Trompeter

PIROUETTE

Listing as of February 3, 2017.

Elaine Galinson and Herbert Solomon Annie So Marvin and Bebe Zigman

S A V E

T H E

D A T E

SummerFest Gala Saturday, August 12, 2017 at the home of

Joan and Irwin Jacobs Katherine Chapin, Gala Chair

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

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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

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

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

SUSTAINER La Jolla Sports Club La Valencia Hotel The Westgate Hotel

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

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

ENTHUSIAST Nelson Real Estate Listing as of February 3, 2017.

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

LA JOLLA MUSIC SOCIETY

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 February 3, 2017.

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LA JOLLA MUSIC SOCIETY

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sharp applauds

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

LA JOLLA MUSIC SOCIETY

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LA JOLLA MUSIC SOCIETY

PRODUCTIONS,LLC Corporate, Social, Private Events & Weddings

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

www.chefdrewmcpartlin.com

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

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

VIEW THE FULL CATERING MENU AT sammyspizza.com/catering

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

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

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

THE LOT La Jolla

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

thelotent.com

WHERE THE NEIGHBORHOOD PLAYS.

MOVIES/ RESTAURANT / BAR/CAFÉ

THE LOT Liberty Station

SEASON 48 | 2016-17 March WINTERFEST GALA 2017

BEAUTY AND THE BEAST MALANDAIN BALLET BIARRITZ Saturday, March 18, 2017 · 8 PM Dance Series Civic Theatre

DANISH NATIONAL SYMPHONY ORCHESTRA

April BLACK GRACE

May JEREMY DENK

Dance Series

Piano Series

Saturday, April 8, 2017 · 8 PM Spreckels Theatre

La Jolla Presbyterian Church

EMERSON STRING QUARTET

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

Fabio Luisi, conductor Deborah Voigt, soprano

NIKOLAY KHOZYAINOV, piano

Thursday, March 30, 2017 · 8 PM

Special Event

Orchestra Series

Friday, May 12, 2017 · 7:30 PM

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

Jacobs Music Center-Copley Symphony Hall

MAX RAABE & PALAST ORCHESTER

Friday, March 31, 2017 · 8 PM Special Event

BEAUTY AND THE BEAST MALANDAIN BALLET BIARRITZ

Balboa Theatre

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