Season 49 Program Book Vol. 4 by La Jolla Music Society

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MARK MORRIS DANCE GROUP PEPPERLAND

APRIL-MAY

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JANUARY IGOR LEVIT Sunday, January 7, 2018 · 6 PM Piano Series

The Auditorium at TSRI

SDYS CHAMBER ORCHESTRA Saturday, January 13, 2018 · 7 PM Special Event

OCTOBER CHICAGO SYMPHONY ORCHESTRA

RICCARDO MUTI, Zell Music Director Wednesday, October 18, 2017 · 8 PM Orchestra Series

Jacobs Music Center - Copley Symphony Hall

CROSSCURRENTS Featuring ZAKIR HUSSAIN, DAVE HOLLAND, CHRIS POTTER & SHANKAR MAHADEVAN Sunday, October 29, 2017 · 8 PM

Irwin M. Jacobs Qualcomm Hall

PAUL TAYLOR DANCE COMPANY Saturday, January 20, 2018 · 8 PM Dance Series

Spreckels Theatre

ROLSTON STRING QUARTET 2016 BANFF INTERNATIONAL STRING QUARTET COMPETITION WINNER Sunday, January 21, 2018 · 3 PM Discovery Series

The Auditorium at TSRI

Jazz Series

FEBRUARY

NOVEMBER

PAUL HUANG, violin 2015 AVERY FISHER CAREER GRANT RECIPIENT

Balboa Theatre

APRIL DANIELA LIEBMAN, piano WINNER OF MEXICO’S PREMIO NACIONAL DE LA JUVENTUD 2014 Sunday, April 8, 2018 · 3 PM Discovery Series

The Auditorium at TSRI

SCHUBERT’S SWAN SONG II Saturday, April 14, 2018 · 8 PM Revelle Chamber Music Series Irwin M. Jacobs Qualcomm Hall

THE JOEY ALEXANDER TRIO Saturday, April 28, 2018 · 8 PM Jazz Series

YEKWON SUNWOO, piano 2017 VAN CLIBURN GOLD MEDALIST

Sunday, February 25, 2018 · 3 PM

Sunday, November 5, 2017 · 3 PM

The Auditorium at TSRI

MAY

The Auditorium at TSRI

MARCH

RICHARD GOODE

MARK MORRIS DANCE GROUP PEPPERLAND

PIERRE-LAURENT AIMARD

Saturday, May 12, 2018 · 8 PM

Discovery Series

Balboa Theatre

Thursday, March 1, 2018 · 8 PM

Dance Series

Balboa Theatre

JUHO POHJONEN

DECEMBER

WINTERFEST GALA

Friday, May 18, 2018 · 8 PM

WENDY WHELAN / BRIAN BROOKS / BROOKLYN RIDER IN SOME OF A THOUSAND WORDS

Saturday, March 3, 2018 · 8 PM

Saturday, November 11, 2017 · 8 PM Piano Series

Irwin M. Jacobs Qualcomm Hall

Saturday, December 2, 2017 · 8 PM Dance Series

Piano Series

AX – KAVAKOS – MA Special Event

Jacobs Music Center - Copley Symphony Hall

HERBIE HANCOCK

Balboa Theatre

Wednesday, March 7, 2018 · 8 PM

DIANNE REEVES: Christmas Time is Here

Balboa Theatre

Sunday, December 17, 2017 · 8 PM Special Event Balboa Theatre

Civic Theatre

Piano Series

The Auditorium at TSRI

SCHUBERT’S SWAN SONG III Saturday, May 19, 2018 · 8 PM Revelle Chamber Music Series Irwin M. Jacobs Qualcomm Hall

Jazz Series

ACADEMY OF ST MARTIN IN THE FIELDS

JOSHUA BELL, music director & violin Friday, March 16, 2018 · 8 PM Orchestra Series

Jacobs Music Center - Copley Symphony Hall

SCHUBERT’S SWAN SONG I Saturday, March 24, 2018 · 8 PM Revelle Chamber Music Series Irwin M. Jacobs Qualcomm Hall

LA JOLLA MUSIC SOCIETY

For more information:

858.459.3728 · WWW.LJMS.ORG

Dates, times, programs and artists are subject to change. Ticket prices for performances at the Jacobs Music Center Copley Symphony Hall, Balboa Theatre, The Auditorium at TSRI and Irwin M. Jacobs Qualcomm Hall include applicable facility fees.

TABLE OF CONTENTS CALENDAR LA JOLLA MUSIC SOCIETY STAFF & BOARD OF DIRECTORS DANIELA LIEBMAN SCHUBERT'S SWAN SONG II THE JOEY ALEXANDER TRIO MARK MORRIS DANCE GROUP PEPPERLAND JUHO POHJONEN SCHUBERT’S SWAN SONG III ARTIST BIOGRAPHIES SUPPORT

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BOARD OF DIRECTORS · 2017-18

LA JOLLA MUSIC SOCIETY STAFF

Katherine Chapin – Chair Rafael Pastor – Vice Chair Robin Nordhoff – Treasurer Jennifer Eve – Secretary

Cho-Liang Lin – SummerFest Music Director

Stephen L. Baum Gordon Brodfuehrer Wendy Brody Ric Charlton Linda Chester Brian Douglass Debby Fishburn Sarah Garrison Lehn Goetz Susan Hoehn Sue Major Peggy Preuss Sylvia Ré Jeremiah Robins

Donald J. Rosenberg Sheryl Scarano Clifford Schireson Marge Schmale Maureen Shiftan Jeanette Stevens Shankar Subramaniam Haeyoung Kong Tang Debra Turner H. Peter Wagener Lisa Widmier Clara Wu Katrina Wu

HONORARY DIRECTORS

Brenda Baker Stephen L. 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.

ADMINISTRATION

Chris Benavides – Director of Finance Debra Palmer – Executive Assistant & Board Liaison Anthony LeCourt – Administrative Assistant & Rental Coordinator Brandon Johnson – Administrative Assistant ARTISTIC & EDUCATION

Leah Rosenthal – Director of Programming Allison Boles – Education Manager Sarah Campbell – Artist Services Coordinator Marcia Asasi – Artistic & Education Assistant Serafin Paredes – Director of Community Music Center Eric Bromberger – Program Annotator DEVELOPMENT

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

Jenie Dahlmann – Director of Marketing Hayley Woldseth – Marketing Manager Hilary Huffman – Marketing Coordinator Angelina Franco – Graphic & Web Designer Jorena de Pedro – Ticket Services Manager Shannon Haider – Ticket Services Assistant Caroline Mickle – Ticket Services Assistant Alex Gutierrez – Ticket Services Assistant Shaun Davis – House Manager Paul Body – Photographer PRODUCTION

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

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MUSICAL PRELUDE 2 PM Arrive early to hear a performance by young artists from the San Diego Youth Symphony and Conservatory

DANIELA LIEBMAN, piano SUNDAY, APRIL 8, 2018 • 3 PM THE AUDITORIUM AT TSRI

BEETHOVEN Rondo in C Major, Opus 51, No. 1 (1796-97) (1770-1827)

Piano Sonata in F-sharp Major, Opus 78 (1809) Adagio cantabile; Allegro ma non troppo Allegro vivace SCHUBERT Four Impromptus, D.899 (1827) (1797-1828) No. 1 in C Minor No. 2 in E-flat Major No. 3 in G-flat Major No. 4 in A-flat Major I N T E R M I S S I O N

The Discovery Series is underwritten by Medallion Society member:

Jeanette Stevens

Additional support for tonight’s concert is provided by:

Gordon Brodfuehrer

La Jolla Music Society’s 2017-18 Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, National Endowment for the Arts, Vail Memorial Fund, Thomas C. Ackerman Foundation, David C. Copley Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, Regents Bank, US Bank, The Dow Divas, The Lodge at Torrey Pines, La Valencia Hotel, 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, Jeanette Stevens, and an anonymous donor.

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CHOPIN (1810-1849)

Ballade No. 1 in G Minor, Opus 23 (1831-35)

Two Nocturnes, Opus 62 (1845-46) No. 1 in B Major No. 2 in E Major Ballade No. 3 in A-flat Major, Opus 47 (1840-41) PROKOFIEV Piano Sonata No. 3 in A Minor, Opus 28 (1917) (1891-1953)

This performance marks Daniela Liebman’s La Jolla Music Society debut.

DANIELA LIEBMAN - PROGRAM NOTES

into a minor key, is unconflicted, and Beethoven generates some lovely sounds with rippling passagework in the piano’s ringing upper register. He asks for a repeat of both exposition Born December 16, 1770, Bonn and development, and the movement closes on a cadence built Died March 26, 1827, Vienna from fragments of the main theme. Duration: Approximately 6 minutes Less than three minutes long, the concluding Allegro Beethoven composed the brief Rondo in C Major in 1796vivace is a sort of rondo based on two alternating themes: the 97, and it was published in the latter year by Artaria in Vienna. strongly-inflected figure at the opening and a pattern of nonFive years later, in 1802, that publisher joined this rondo stop sixteenth-notes. Beethoven moves fluidly between these with another one in G major, and published them jointly as ideas, and this pleasing movement is over almost before one Beethoven’s Opus 51, which explains why such an early work knows it. has such a high opus number. That opus number suggests that Beethoven was quite fond of this sonata, perhaps because this music might be contemporaneous with the Eroica, when it is so different from his others. It remained one of his it fact it was written shortly after Beethoven had published his favorites throughout his life, and to the pianist Carl Czerny he Opus 1 in Vienna. once exclaimed: “People always talk about the C-sharp Minor We have come to think of a rondo as a fast piece–Mozart Sonata [which we know as the “Moonlight”]. I have written and Beethoven would conclude their piano concertos with far better things. The F-sharp Major Sonata is something very quick-paced rondos full of virtuosity–but a rondo need be different!” neither fast nor brilliant. Beethoven’s marking for the Rondo in C Major tells the tale here: he asks that a performance of Four Impromptus, D.899 this piece be Moderato e grazioso, and this music recalls the world of eighteenth-century elegance. The poised beginning, Born January 30, 1797, Vienna complete with a smooth turn, is graceful music indeed, and Died November 19, 1828, Vienna the whole opening section is far removed from the kind of Duration: Approximately 29 minutes music Beethoven would begin writing in the new century. The Schubert wrote his eight Impromptus for piano during the vigorous central episode in C minor is more aggressive, but summer and fall of 1827, probably in response to a request the rondo theme makes a quick return. Beethoven varies this theme as it proceeds, and it eventually takes a variety of forms from his publisher for music intended for the growing number of amateur musicians with pianos in their homes: this music as the Rondo in C Major makes its way to the firm close. is melodic, attractive, and not so difficult as to take it out of the range of good amateur pianists. The term “impromptu” Piano Sonata in F-sharp Major, Opus 78 lacks precise musical meaning. It refers to a short instrumental Duration: Approximately 9 minutes piece, usually for piano, without specified form; the title The Piano Sonata in F-sharp Major dates from 1809– suggests music that gives the impression of being improvised Beethoven completed it in October, just as the French on the spot. But the notion that this music is improvised occupation of Vienna was nearing an end. It had been nearly should be speedily discounted–Schubert’s impromptus are four years since he wrote his last piano sonata, the dramatic very carefully conceived music, set in a variety of forms that “Appassionata,” and to mark his return to the form Beethoven include variation, rondo, and minuet. composed a sonata that could hardly be more dissimilar. Some have hailed Schubert as the inventor of the Everything about the Sonata in F-sharp Major is original: impromptu and the composer who freed piano music from it is extremely brief (nine minutes long), it is in only two sonata form–they see these pieces as opening the way for the movements, and its gentle mood is far from the conflict that wealth of short piano pieces by composers such as Chopin, drives the “Appassionata.” Beethoven dedicated it to his Schumann, Mendelssohn, and others. Too much has been friend the Countess Therese von Brunswick, whose husband made of this. A number of composers earlier than Schubert, Franz had received the dedication of the “Appassionata.” including Mozart and Beethoven, had written short piano The opening movement has a brief slow introduction that pieces not in sonata form, and several composers before establishes the sonata’s gentle character: Beethoven specifies Schubert had used the title Impromptu. Still, Schubert’s that it should be Adagio cantabile. And when the movement impromptus have become the most popular music published eases forward at the Allegro ma non troppo on a chordal main under this title–when someone says “impromptu,” we theme the mood remains calm: at three different points in this automatically think of Schubert. movement Beethoven reminds the pianist that the playing This program offers the four impromptus Schubert wrote should be dolce. Even the development, which moves briefly late in the summer of 1827, only a year before he died; the

Rondo in C Major, Opus 51, No. 1

LUDWIG VAN BEETHOVEN

FRANZ SCHUBERT

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DANIELA LIEBMAN - PROGRAM NOTES

first two were published that same year, but the final two did not appear until thirty years later, in 1857. No. 1 in C Minor is marked by unusual focus and compression. It is built largely on the quiet unaccompanied melody heard at the very beginning and then developed in quite different ways. This impromptu has no clearly-defined trio section, but Schubert introduces beautifully-contrasting lyrical secondary material. Especially remarkable are the harmonic progressions on the final page, where the music works its graceful way to an almost silent close in C major. No. 2 in E-flat Major is built on long chains of triplets that flow brightly across the span of the keyboard; the center section is stormy and declarative, and Schubert rounds the work off with a brief coda. In No. 3 in G-flat Major Schubert spins an extended, song-like melody over quietly-rippling accompaniment; measure lengths are quite long here (eight quarters per measure) to match the breadth of his expansive and heartfelt melody. Throughout, one hears those effortless modulations that mark Schubert’s mature music. No. 4 in A-flat Major is built on a wealth of thematic ideas. The opening theme falls into two parts: first comes a cascade of silvery sixteenth-notes, followed by six chords; Schubert soon introduces a waltz tune in the left hand. In the central section he modulates into C-sharp minor and sets his theme over steadily-pulsing chords before the music makes a smooth transition back to the opening material and concludes brightly.

Ballade No. 1 in G Minor, Opus 23

FRÉDÉRIC CHOPIN Born February 22, 1810, Żelazowa Wola, Poland Died October 17, 1849, Paris

Duration: Approximately 10 minutes

Chopin himself was the first to use the term “ballade” to refer to a piano composition, appropriating the name from the literary ballad: he appears to have been most taken with the lyric and dramatic possibilities of the term, for his four ballades fuse melodic writing with intensely dramatic–almost explosive–gestures. After Chopin’s death, Liszt, Grieg, Fauré, and Brahms would compose works for solo piano that they too called ballades.

Formally, Chopin’s ballades most closely resemble the sonata-form movement (an opening idea contrasted with a second theme-group, and the two ideas developed and recapitulated), but the ballades are not strictly in sonata-form, nor was Chopin trying to write sonata-form movements. His ballades are quite free in form, and their thematic development and harmonic progression are sometimes wildly original. All four ballades employ a six-beat meter (either 6/4 or 6/8), and the flowing quality of such a meter is particularly

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well-suited to the sweeping drama of this music. All four demand a pianist of the greatest skill. Because of the literary association and the dramatic character of the music, many have been quick to search for extra-musical inspiration for the ballades, believing that such music must represent the attempt to capture actual events in sound. Some have heard the Polish struggle for independence in this music, others the depiction of medieval heroism. Chopin himself discouraged this kind of speculation and asked the listener to take the music on its own terms rather than as a representation of something else. Chopin began work on the Ballade in G Minor in 1831 in Vienna and completed it four years later in Paris. A portentous seven-bar introduction of uncertain tonality gives way to the opening episode, a waltz-like theme in G minor. The second theme is much more dramatic but–curiously–is related to the waltz theme. This second theme undergoes a brilliant development, though this ballade lacks the recapitulation that would be expected at this point in a sonataform movement. Instead, Chopin brings back the waltz theme briefly before launching into the coda, appropriately marked Presto con fuoco.

Two Nocturnes, Opus 62 Duration: Approximately 11 minutes

Chopin composed the two nocturnes of his Opus 62 in 1845-46: they were the last nocturnes he published during his lifetime. While the Nocturne in B Major shows the delicacy one expects from this form, this particular example is quite restrained. Chopin marks the opening both dolce and legato, and the music proceeds with unusual gentleness. The middle section brings little contrast–Chopin marks it simply sostenuto, and it is just as restrained as the opening. Only the quietly-surging syncopations in the left hand ruffle the calm surface of this music. The most distinctive part of this nocturne comes at the return of the opening theme, for now Chopin buries it beneath a continuous (and very difficult) trill in the pianist’s right hand. Gradually this trill vanishes, and the Nocturne in B Major makes its way to the understated close. The Nocturne in E Major is particularly lovely and has proven popular with performers and audiences alike. Chopin marks the opening both Lento and sostenuto, and here a supple right-hand melody arches freely over steady accompaniment. The nocturne is in the expected ternary form, though Chopin offers a second theme in the opening section–it presses steadily forward over steady sixteenthnotes in the left hand. The central episode is marked Agitato, though one feels that is an indication more of tempo than character–the music moves firmly along sharply-defined

DANIELA LIEBMAN - PROGRAM NOTES

rhythms rather than growing truly agitated. Chopin reprises both opening themes, now slightly varied, and the nocturne fades into silence on a very brief (three-measure) coda.

Ballade No. 3 in A-flat Major, Opus 47 Duration: Approximately 7 minutes

Chopin wrote the Ballade in A-flat Major in 1840-41 and performed the work in public in 1842. The least overtly dramatic of the four ballades, this one nevertheless contains music of extraordinary beauty. The opening theme–a quiet, rising figure–also contains the falling half-step that gives shape to the lilting second subject.

The long coda begins with murmuring energy and gradually builds to a thunderous cadence. Much of Prokofiev’s early music met with scorn and misunderstanding. Not this sonata, however. Prokofiev gave the première in St. Petersburg on April 15, 1918, during a week-long festival of his music sponsored by the Conservatory. But the acclaim that greeted these works did little to reconcile the young composer to the changing political climate in Russia: three weeks later he left for the United States, and he would not return for fifteen years. Program notes by Eric Bromberger

Piano Sonata No. 3 in A Minor, Opus 28

SERGEI PROKOFIEV

Born April 23, 1891, Sontsovka (now Sontsovka, Ukraine) Died March 5, 1953, Moscow

Duration: Approximately 7 minutes

The year 1917 brought profound changes to Russia, and it was also the most productive of Prokofiev’s life. That year, he wrote his Classical Symphony, First Violin Concerto, and Visions fugitives, and–in the midst of all this new music–he also looked back. As a young music student in St. Petersburg, Prokofiev had sketched a number of piano sonatas, but then– realizing how quickly he was developing as a composer–left these early works in manuscript. Now, at age 26, he returned to these youthful sketches and discovered that he still found much of the music attractive. Very quickly he composed two new piano sonatas–his Third and Fourth–and based them on themes he had written as a teenager. To make clear their origin, he published each of the sonatas with the subtitle “From Old Notebooks.” The Sonata No. 3 in A Minor has become one of Prokofiev’s most popular keyboard works, despite its unusual brevity: it is in one movement that gets past in only seven minutes. They are a pretty dazzling seven minutes. Prokofiev notates the meter as 4/4(12/8), and that rush of triplets will energize the opening statement, which Prokofiev marks Allegro tempestoso. A two-measure vamp rockets us straight into the main idea of this sonata-form movement, which is stamped out fortissimo, and this has already begun to evolve by the time Prokofiev arrives at his second subject. The contrast could not be more complete. After that whitehot opening, Prokofiev goes out of his way to emphasize how different this second theme should sound: it is marked Moderato, tranquillo, pianissimo, legato, and semplice e dolce. This second idea does sing beautifully, but the opening furies return at the development, and the sonata drives to a huge climax (marked both fortissimo and con elevazione). L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

PRELUDE 7 PM Schubert’s Swan Song Series curator Inon Barnatan and tenor Robin Tritschler guide the audience through the program with musical excerpts and conversation hosted by James Chute.

SCHUBERT’S SWAN SONG II CURATED BY INON BARNATAN SATURDAY, APRIL 14, 2018 · 8 PM IRWIN M. JACOBS QUALCOMM HALL

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 Inon Barnatan, piano I N T E R M I S S I O N

Tonight’s concert is sponsored by:

The Kinsella Library

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SCHUBERT Schwanengesang, D.957 (1828) Liebesbotschaft Kriegers Ahnung Frühlingssehnsucht Ständchen Aufenthalt In der Ferne Abschied Der Atlas Ihr Bild Das Fischermädchen Die Stadt Am Meer Der Doppelgänger Robin Tritschler, tenor; Inon Barnatan, piano Inon Barnatan last performed for La Jolla Music Society in the Revelle Chamber Music Series on March 24, 2018. This performance marks Robin Tritschler’s La Jolla Music Society debut.

SCHUBERT'S SWAN SONG II – PROGRAM NOTES

Piano Sonata in B-flat Major, D.960

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

Duration: Approximately 45 minutes

Schubert’s final year was dreadful. Ill for years, he went into steady decline in 1828 and died in November at 31. Yet from those last months came a steady stream of masterpieces, and few of the achievements of that miraculous, agonizing year seem more remarkable than the composition of three large-scale piano sonatas in the month of September, barely eight weeks before his death. In the years following Schubert’s death, many of the works from this final year were recognized as the masterpieces they are, but the three piano sonatas made their way much more slowly. When they appeared in 1838, a decade after Schubert’s death, the publisher dedicated them to Schumann, one of Schubert’s greatest admirers, but even Schumann confessed mystification, noting with a kind of dismayed condescension that “Always musical and rich in songlike themes, these pieces ripple on, page after page. . . .” Even as late as 1949, Schubert’s adoring biographer Robert Haven Schauffler could rate them “considerably below the 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 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 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 movement. The somber opening melody, in the unexpected key of C-sharp minor, proceeds darkly in the right hand, while the left hand offers an unusual accompaniment that skips–almost dances– through a four-octave range, reaching up above the right hand’s melody. The middle section is of a nobility that might almost be called Brahmsian, were that not absurd; perhaps it suggests why, a half-century later, Brahms admired Schubert’s music so much. By contrast, the quicksilvery Scherzo flashes across the keyboard with a main theme that moves easily between the pianist’s hands; at times the rhythms and easy flow make this seem more like a waltz than a scherzo. Schubert specifies that it should be played con delicatezza, and certainly its smooth modulations between A major and B-flat major are accomplished most delicately; the brief trio is enlivened by off-the-beat accents. The finale–Allegro, ma non troppo–dances along its two main ideas. The writing is brilliant and once again full of harmonic surprises, but in the midst of all this sparkle one hears a wistfulness, an expressive depth that stays to haunt the mind long after the music has ended.

Schwanengesang, D.957

Duration: Approximately 50 minutes

In early 1829, a few months after Schubert’s death, publisher Tobias Haslinger brought out a collection of his last songs in two books, advertising them as “the final fruits of his noble genius.” These songs, which show Schubert’s mastery at its most refined, are overpowering in their impact, but the logic of Haslinger’s choice of songs and his arrangement of them into two books have never been felt satisfactory. And Haslinger’s title Schwanengesang (“Swan-song”), one that Schubert never imagined, feels prosaic and sentimental rather than telling us anything useful about these extraordinary songs. The songs of Schwanengesang include seven by the German poet and music critic Ludwig Rellstab (1799-1860) and six by Heinrich Heine (1797-1856). The unity of such a gathering has proven elusive. Where a song-cycle like Winterreise sets the work of only one poet and sustains one mood across the span of twenty-four songs, the songs of Schwanengesang are not nearly so unified, and the term cycle–with its implication of relatedness and direction–may be too strong a word for Schwanengesang. Moreover, though Schubert made a fresh copy of many of these songs in the summer before his death, they appear to have been composed over a much longer span than had been thought. Though all of the poems Schubert sets here had appeared only in 1826-7, the composition of Schwanengesang probably took place over the final two years of his life, rather than being a product of the last three months. Faced with this situation, performers have L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

SCHUBERT'S SWAN SONG II – PROGRAM NOTES

adopted a fluid approach to Schwanengesang, often choosing to select from them and to arrange their own sequence. This recital, however, presents the Schwanengesang songs in the order Haslinger published them. Despite confusions about details of publication and the composer’s own intentions, certain ideas run through the poems Schubert chose to set, and some of the most prominent seem to be right out of Winterreise, composed in 1827: lost love, loneliness, and the pain of separateness. The Rellstab settings (the first seven songs) can seem a little more relaxed than the Heine songs, though this is at best a generalization. Liebesbotschaft (“Love’s Message”) is a gentle love song, addressed to a brook that functions as the messenger between lovers–the quiet sound of the stream rustles throughout this strophic song in the shimmer of the pianist’s 32nd-notes. Though Kriegers Ahnung (“Soldier’s Foreboding”) is also a love song, this setting is quite different: a soldier at the front dreams of his love at home, wakes to see his comrades and their weapons around him, and worries about whether he will ever return to the arms of his lover. The dark C-minor rhythms of the opening set the scene instantly (and also prefigure the military songs Mahler would write seventy years later). Schubert turns this nocturnal musing into a miniature drama, changing tempo and key for each of the four stanzas and then laying down the final words over a return of the opening tattoo–it is an ending that leaves the meaning of “sleep” in frightening ambiguity. Frühlingssehnsucht (“Spring Longing”) has an unusual structure: it is a strophic song, and each of its first four verses–full of springtime sensations–runs up against a painful sigh at its close; Schubert then takes the song into new territory for its final verse–the lover’s sentiment turns into a dramatic declaration, and the song vanishes on the piano’s subdued and sudden close. Ständchen means “Serenade,” and here the piano’s lightly-dancing eighth-note accompaniment mimics the sound of guitar or mandolin as the lover sings his song. Each of the three remaining Rellstab songs is about a wanderer, but each is distinct. The title Aufenthalt is of course ironic, because the last thing this song is about is a “resting place.” Here the wanderer finds what solace he can amidst the crashing torrent, far from the society of man; as in Erlkönig, the piano’s pulsing triplets drive him onward. In der Ferne feels as if it belongs in Winterreise, as another fugitive makes his bleak and lonely way; relief seems to come in the closing section, which modulates to B major, but Schubert brings the song to an abrupt close with the return of the home key, B minor. Abschied is also on the theme of farewell and leavetaking, but here the mood is far removed from some of Schubert’s earlier excursions into darkness, and his final traveler mounts a horse and rides off, not in darkness but on music to gladden the soul.

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These themes of lost love and loneliness are felt most strongly in the extraordinarily intense Heine settings. The six songs–almost declaimed rather than sung–are some of Schubert’s most daring and original compositions, and some have felt they look toward the direction his art might have taken had he not died at 31. Der Atlas pictures suffering, enduring man: over piano tremolandi, the singer almost shouts out the agonized text, punctuated by ringing blows of fate from the pianist’s left hand. Ihr Bild is as different as possible: the bleakness of this picture of lost love is underlined by its lean textures, unisons, and emphatic cadence. In welcome contrast, Das Fischermädchen brings a moment of relief, rocking along cheerfully on its 6/8 meter. There is something surreal about the final three Heine songs, as if all were touched by the spirit of Poe. Cold winds blow through Die Stadt, the piano’s deep tremolandi and dark arabesques helping to paint the picture of the town as nightmare. In Am Meer, a fantastic portrait of love gone wrong, the singer must leap between a high and sustained lyric line and passages of pure declamation. Der Doppelgänger, among Schubert’s most famous songs, touches one of the central ideas of the romantic imagination: the notion of the phantom double. The four-measure introduction functions almost as ground bass here, repeating slowly as the singer declaims his desolate lines. Trying to take measure of the originality of this song, Alfred Einstein calls it “a piece of lyrical ‘theater’ or theatrical lyricism. We are standing on the threshold of a new development.” Program notes by Eric Bromberger

THE JOEY ALEXANDER TRIO SATURDAY, APRIL 28, 2018 · 8 PM BALBOA THEATRE

Kris Funn, bass Johnathan Blake, drums NO INTERMISSION

Tonight’s concert is sponsored in part by:

Visit: joeyalexandermusic.com Joey Alexander is a Steinway Artist

This performance marks Joey Alexander's La Jolla Music Society debut. L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

PRELUDE 7 PM Marcus Overton hosts a pre-performance discussion with members of Mark Morris Dance Group

The Dance Series is supported in part by members of:

LJMS’ Dance Society Tonight’s concert is sponsored by:

MARK MORRIS DANCE GROUP PEPPERLAND SATURDAY, MAY 12, 2018 · 8 PM CIVIC THEATRE

PEPPERLAND MARK MORRIS DANCE GROUP

Major support for the Mark Morris Dance Group is provided by American Express, Anonymous, Beyer Blinder Belle Architects & Planners, LLP, Morley and Frederick Bland, Booth Ferris Foundation, Allan and Rhea Bufferd, Suzy Kellems Dominik, Doris Duke Charitable Foundation, Doris Duke Foundation for Islamic Art, Judith R. and Alan H. Fishman, Shelby and Frederick Gans Fund, Isaac Mizrahi & Arnold Germer, Howard Gilman Foundation, Hearst Foundation, Sandy Hill, Ellsworth Kelly Foundation, Elizabeth Liebman, The Pierre and Tana Matisse Foundation, Suzanne Berman and Timothy J. McClimon, McDermott, Will & Emery, The Andrew W. Mellon Foundation, Meyer Sound/Helen and John Meyer, Stavros Niarchos Foundation, Ellen and Arnold Offner, Sarabeth Berman and Evan Osnos, PARC Foundation, Poss-Kapor Family Foundation, Diane Solway and David Resnicow, Resnicow + Associates, Jennifer P. Goodale and Mark Russell, Margaret Conklin and David Sabel, The Fan Fox and Leslie R. Samuels Foundation, Iris Cohen and Mark Selinger, The SHS Foundation, The Shubert Foundation, Jane Stine and R.L. Stine, The White Cedar Fund, and Friends of MMDG.

Pepperland is supported in part by Friends of MMDG, the Howard Gilman Foundation, PARC Foundation, and New Music USA. Music commissioned by the Charles and Joan Gross Family Foundation. The premiere engagement was supported by funding from the Mid-Atlantic Arts Foundation through USArtists International in partnership with the National Endowment for the Arts, the Andrew W. Mellon Foundation, and the Howard Gilman Foundation.

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Mica Bernas, Sam Black, Durell R. Comedy, Brandon Cournay*, Domingo Estrada, Jr., Lesley Garrison, Lauren Grant, Sarah Haarmann, Brian Lawson, Aaron Loux, Laurel Lynch, Dallas McMurray, Brandon Randolph, Nicole Sabella, Christina Sahaida*, Billy Smith, Noah Vinson *apprentice MMDG MUSIC ENSEMBLE Clinton Curtis, Colin Fowler, Jacob Garchik, Ethan Iverson, Sam Newsome, Rob Schwimmer, Vincent Sperrazza Artistic Director MARK MORRIS Executive Director NANCY UMANOFF Mark Morris Dance Group last performed for La Jolla Music Society in the Dance Series on April 28, 2012.

MARK MORRIS DANCE GROUP – PROGRAM NOTES

PEPPERLAND Music and Original songs by: The Beatles, arr. by Ethan Iverson* Original compositions by: Ethan Iverson† Choreography by: Mark Morris Set Design by: Johan Henckens Costume Design by: Elizabeth Kurtzman Lighting Design by: Nick Kolin Assistant to Mr. Morris: Aaron Loux Sgt. Pepper’s Lonely Hearts Club Band* Magna Carta† With a Little Help from My Friends* Adagio† When I’m Sixty-Four* Allegro† Within You Without You* Scherzo† Wilbur Scoville† Penny Lane* A Day in the Life* Sgt. Pepper’s Lonely Hearts Club Band* Clinton Curtis, vocals; Sam Newsome, soprano sax; Jacob Garchik, trombone; Rob Schwimmer; theremin; Ethan Iverson, piano; Colin Fowler, organ/harpsichord; Vincent Sperrazza, percussion Mica Bernas, Sam Black, Brandon Cournay, Domingo Estrada, Jr., Lesley Garrison, Lauren Grant, Sarah Haarmann, Brian Lawson, Laurel Lynch, Dallas McMurray, Brandon Randolph, Nicole Sabella, Christina Sahaida, Billy Smith, Noah Vinson NO INTERMISSION Program notes and performer bios can be found at pepperland.dance Original music by The Beatles. All Rights Reserved. Used by permission from Sony Music Publishing. Pepperland is a Mark Morris Dance Group production in association with UCSB Arts & Lectures, Santa Barbara, California; American Dance Festival, Durham, North Carolina; BAM, Brooklyn, New York; Banff Centre for Arts and Creativity with the Sony Centre, Toronto, Canada; Cal Performances, UC Berkeley, California; Celebrity Series of Boston, Massachusetts; The City of Liverpool, England, U.K.; Dance Consortium UK; Hopkins Center for the Arts, Dartmouth College, Hanover, New Hampshire; International Festival of Arts & Ideas, New Haven, Connecticut; The John F. Kennedy Center for the Performing Arts, Washington, D.C.; Krannert Center for the Performing Arts, University of Illinois at Urbana-Champaign; La Jolla Music Society, La Jolla, California; Meyer Sound, Berkeley, California; Seattle Theatre Group, Seattle, Washington; Segerstrom Center for The Arts, Costa Mesa, California; and White Bird, Portland, Oregon. continued on page 34 L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

PRELUDE 7 PM What in the World is a Fantasy? Lecture by Steven Cassedy Sonatas, fugues, even preludes are musical forms that follow certain rules or patterns and are thus fairly easy to describe. But what is a fantasy? The very name suggests an absence of rules and unlimited freedom to follow one’s… fantasy. In his “Wanderer” Fantasy, Schubert followed a characteristic (for him) practice: he stole a melody from himself, in this case from one of his most beautiful Lieder, and then set to work writing a titanic piano composition so difficult that he himself threw up his hands in despair and abandoned all attempts to get through it. What happened to the slow, mournful tune in his song? That’s where Schubert’s genius comes in.

The Piano Series is underwritten by Medallion Society members:

Conrad Prebys and Debbie Turner

JUHO POHJONEN , piano FRIDAY, MAY 18, 2018 · 8 PM THE AUDITORIUM AT TSRI

BACH Chromatic Fantasy and Fugue in D Minor, BWV 903 (c. 1720) (1685-1750)

FRANCK Prelude, Chorale, and Fugue (1884) (1822-1890)

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

MOZART Prelude and Fugue in C Major, K.394 (1782) (1756-1791)

SCHUBERT Fantasy in C Major, D.760 “Wanderer Fantasy” (1822) (1797-1828)

North American Representation: Kirshbaum Associates Inc. Juho Pohjonen has recorded for Da Capo and Music@Menlo LIVE

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Juho Pohjonen last performed for La Jolla Music Society's SummerFest in 2016.

JUHO POHJONEN - PROGRAM NOTES

Chromatic Fantasy and Fugue in D Minor, BWV 903

Prelude, Chorale, and Fugue

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

Born December 10, 1822, Liège, France Died November 8, 1890, Paris

JOHANN SEBASTIAN BACH

CÉSAR FRANCK

Duration: Approximately 12 minutes

Duration: Approximately 18 minutes

In December 1717 Bach left his position in Weimar to become kapellmeister in Cöthen to Prince Leopold, a musiclover who encouraged him to write instrumental music. During his Cöthen years (1717-1723), Bach wrote a number of works for the keyboard (which means for the harpsichord), including Book I of The Well-Tempered Clavier and a series of short pedagogic pieces for his children and students. It was during these same years, probably about 1720, that Bach composed his Chromatic Fantasy and Fugue in D Minor. Those who think of Bach as the “safe” composer of church music and preludes and fugues intended for didactic purposes will have that conception mauled by the Chromatic Fantasy and Fugue. This is wild music–daring, powerful, expressive, brilliant. Bach may initially set this music in D minor, but the chromatic freedom of his writing often dissolves any sense of a stable home key, and there are moments of dissonance in this music that can still surprise the ear centuries after it was written. Bach assumes that many decisions will be left to the performer. There are no tempo markings and few dynamic indications, and he leaves chords to be arpeggiated and resolved at the performer’s discretion–this music can be a very different experience in the hands of each performer. The term Fantasia implies a freedom of form, and in fact the opening section of the Chromatic Fantasy should suggest the effect of improvisation, with its great swirls and free flights. This is virtuoso music, with rapid exchanges between the hands and brilliant runs. After this opening flourish, Bach proceeds to a section he marks Recitative in the score: here the pulse feels slower, and the free flights of the opening give way to chords, trills, and complex rhythms that can suddenly erupt into the free manner of the opening. The ending of this section is extraordinary: over a series of twelve descending– and quite dissonant–chords in the left hand, the right hand offers a fragmentary and subdued final statement before the section resolves firmly on a D-major chord. The Fugue returns to D minor, and Bach builds it on a long subject that rises sinuously and chromatically in its original statement. The fugue is in three voices, and textures remain quite clear– this fugue shows Bach the contrapuntalist at the height of his powers. After the measured conclusion of the Fantasy, the fugue moves at a much quicker pulse. Once again, this is music that demands a virtuoso performer, and–once again–it drives to a close in D major.

In 1884 César Franck set out to compose a piano work inspired by Bach. Specifically, Franck chose Bach’s The Well-Tempered Clavier as his model and planned at first to compose a Prelude and Fugue. But as he worked, Franck came to feel that the music needed a transition between these two parts, and eventually this “transition” turned into a movement of its own, the Chorale. Franck was one of the great organists of the nineteenth century, yet he resisted the temptation to try to make the piano sound like an organ here. Instead, the Prelude, Chorale, and Fugue remains piano music throughout, conceived specifically for that sound and never reaching for a sonority beyond its capability. Franck’s former pupil Camille Saint-Saëns gave the first performance at a concert of the Société Nationale in Paris on January 24, 1885. As completed, the Prelude, Chorale, and Fugue falls into the three-part form that Franck favored in these years (other three-section works from this period include the Piano Quintet, Symphony in D Minor, and the Prelude, Aria, and Finale). It is based on a thematic technique Franck had learned from Liszt, who in turn had adapted it from Schubert: the work is in a cyclic form in which certain germinal themes will reappear in modified form throughout. Here the method is particularly ingenious because the themes of the Prelude and Chorale begin to evolve as soon as they are stated, and–at the climax of the Fugue–Franck recalls and weaves together all his themes in some impressive contrapuntal writing. The Prelude has an improvisatory air: the arpeggiated opening measures give way to a falling figure Franck marks a capriccio, and he will alternate and extend both these elements across the span of this opening section. The pace slows slightly at the Chorale, where Franck does not present his principal theme immediately: a rather free introduction (marked molto cantabile, non troppo dolce) leads to the chorale melody, presented in richly-arpeggiated chords that roll upward across four octaves. The structure is once again episodic, as Franck alternates the free beginning with the solemn chorale tune. As the movement proceeds, we begin to hear a foreshadowing of the fugue subject, and suddenly the music rushes into the Fugue. This is the longest section, and Franck puts his fugue subject through complex treatment. When Saint-Saëns, who was no admirer of Franck’s music, complained that this was not really a fugue, he was referring to the fact that some of the interludes here are not contrapuntal at all–they consist of a main line and L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

JUHO POHJONEN - PROGRAM NOTES

its accompaniment. But in fact Franck’s fugue, sectional as it may be, is quite complex, treating the subject in inversion and in various rhythmic displacements. Near the end comes the high point of all this contrapuntal complexity: Franck recalls elements of the Prelude and then–through shimmering textures–combines the Chorale and Fugue themes and presents them simultaneously. The music drives to a sonorous climax, and Franck rounds matters off with a surprisingly “virtuosic” coda based on the Chorale theme.

Prelude and Fugue in C Major, K.394

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

Duration: Approximately 10 minutes

Mozart’s arrival in Vienna opened up new vistas for the young composer after being marooned for years in Salzburg, a city he believed hopelessly provincial. In Vienna he soon met one of the most remarkable patrons in the history of music, Baron Gottfried van Swieten. Swieten encouraged and sponsored Mozart (and also took care of his funeral arrangements after the composer’s premature death), he arranged the texts for Haydn’s oratorios The Creation and The Seasons, and he supported the young Beethoven, who dedicated his First Symphony to Swieten in 1800. As a diplomat from Vienna to Berlin, Swieten had come into contact with the music of J.S. Bach and Handel, then barely known in Vienna, and he returned to spread his passion for the polyphonic music of an earlier era among enthusiasts in Vienna. Soon after his arrival in Vienna, Mozart was invited to Swieten’s musical gatherings, and on April 10, 1782, he wrote back to his father in Salzburg: “I go every Sunday at noon to Baron van Swieten’s–and there nothing is played but Handel and Bach. Right now I am making a collection of Bach fugues–including those of Sebastian as well as Emanuel and Friedemann Bach.” Under Swieten’s encouragement, Mozart made arrangements of several of Handel’s oratorios (including Messiah) and also pursued his interest in the polyphonic music of the Bach family–he wrote fugues for keyboard and arranged preludes and fugues by various Bachs for string trio and string quartet. For all his enthusiasm, however, Mozart never found such fugal writing congenial, and he struggled with such music, leaving behind many unfinished sketches. The Prelude and Fugue in C Major was one of the first works Mozart wrote after his discovery of Bach–it dates from April 1782, just as he was beginning to attend Swieten’s Sunday afternoon musicales. The Prelude and Fugue in C Major might be thought of as Mozart’s initial response to the preludes and fugues of Bach’s Well-Tempered Clavier.

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In a letter to his father and sister back in Salzburg, Wolfgang explained that he had written the fugue first, while ideas for the prelude ran through his mind, then went back and wrote that prelude (which is sometimes titled Fantasia rather than Prelude). The prelude opens with a brief Adagio, marked by trills and great chords, before proceeding into the Andante main section, full of hammered repeated notes and staccato triplet runs. The propulsive fugue, marked Andante maestoso, is based on a firm three-measure subject first announced by the pianist’s left hand. Mozart develops this fugue concisely– it lasts less than half the length of the prelude–and drives it firmly to the final bars, where he concludes with a brief Adagio cadence.

Fantasy in C Major, D.760 “Wanderer Fantasy”

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

Duration: Approximately 22 minutes

In the fall of 1822, Schubert set to work on a new symphony. He completed the first two movements and began a scherzo, but then became interested in writing an extended work for solo piano and set the symphony aside. He completed the piano work in November 1822, and it was published the following February; he never returned to the symphony, and it is known to us today as the “Unfinished Symphony.” The piano piece has taken the name Wanderer Fantasy, for it is based in part on Schubert’s song Der Wanderer, composed in 1819. The Wanderer Fantasy is in one long movement–about twenty minutes in length–that falls into four sections. While the title “fantasy” may imply a lack of attention to form, exactly the reverse is true here–there are unusual thematic and rhythmic connections between the four sections, so that this music is tightly disciplined throughout. It is also extremely difficult to perform. The Wanderer Fantasy has been called the first of Schubert’s mature compositions for the piano, and in fact it was too difficult even for its creator. Schubert is reported to have given up during a performance of this music and to have stormed away from the piano, exclaiming in frustration: “The devil may play this stuff! I can’t!” The brilliance and difficulty of this music have made it a great favorite of virtuoso pianists. Franz Liszt admired and frequently performed the Wanderer Fantasy, and its cyclic structure of interconnected movements had a strong influence on Liszt’s own music. The opening provides the basic dactylic pulse that will recur throughout the Fantasy. This steady, pounding rhythm will return in many forms; in this opening section, it repeats frequently, and some of these repetitions are brilliant, continued on page 34

PRELUDE 7 PM Schubert’s Swan Song Series curator Inon Barnatan and cellist Carter Brey guide the audience through the program with musical excerpts and conversation hosted by James Chute.

SCHUBERT’S SWAN SONG III CURATED BY INON BARNATAN SATURDAY, MAY 19, 2018 · 8 PM IRWIN M. JACOBS QUALCOMM HALL

SCHUBERT Piano Sonata in C Minor, D.958 (1828) (1797-1828) Allegro Adagio Menuetto: Allegro Allegro Inon Barnatan, piano Fantasy in C Major for Violin and Piano, D.934 (1827) Andante molto; Allegretto; Andantino; Allegro vivace; Presto Benjamin Beilman, violin; Inon Barnatan, piano I N T E R M I S S I O N

SCHUBERT String Quintet in C Major, D.956 (1828) Allegro ma non troppo Adagio Scherzo: Presto Allegretto Carter Brey, cello; Dover Quartet Joel Link, Bryan Lee, violins; Milena Pajaro-van de Stadt, viola; Camden Shaw, cello Inon Barnatan last performed for La Jolla Music Society in the Revelle Chamber Music Series on April 14, 2018. Benjamin Beilman last performed for La Jolla Music Society in the Revelle Chamber Music Series on April 26, 2014. Carter Brey last performed for La Jolla Music Society during SummerFest 2016. Dover Quartet last performed for La Jolla Music Society during SummerFest 2011. L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

SCHUBERT'S SWAN SONG III – PROGRAM NOTES

Piano Sonata in C Minor, D.958

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

Duration: Approximately 30 minutes

The year 1828 was both a miracle and a disaster for Schubert. The miracle lay in the level of his creativity: he completed his “Great” Symphony in C Major and several works for piano duet during the winter and spring, the Mass in E-flat Major over the summer, three piano sonatas in September, and the Cello Quintet in October. The disaster, of course, was his health. Never fully well after a year-long illness in 1822-23, Schubert went into sudden decline in the fall and died suddenly in November at age 31. Yet even at that age (an age at which Beethoven and Haydn were virtually unknown), Schubert had achieved an artistic maturity that makes the works of his final year among the most remarkable and moving in all of music. Schubert began work on the Piano Sonata in C Minor on September 1, though evidence suggests that he was working from sketches made as long as a year earlier. Everyone feels the influence of Beethoven on this sonata; Schubert’s biographer John Reed believes that he was consciously trying to assume the mantle of Beethoven (who had died the previous year), and certainly the choice of key, the dramatic gestures, and the character of the thematic material suggest the older composer. The beginning of the Allegro resounds with echoes of Beethoven, both in the emphatic opening chords and in the muttering, nervous main theme. Yet quickly this theme turns serene and flowing, reminding us to value this sonata as the music of Schubert rather than searching for resemblances to other composers. The chordal second subject is pure Schubert, and the extended development–built around the collision of these quite different kinds of music–brings a great deal of emotional variety. It also takes the pianist to the extreme ends of the keyboard before the (quite Beethovenian) close on a quiet C-minor chord. The Adagio, with its elegant, measured main theme, has also reminded many of that earlier master. Schubert marks the opening sempre ligato, yet with its fermatas and pauses and pounding triplets this movement too brings a range of expression. The Menuetto seems at first more conventional: the initial statement of the main theme is in octaves in the right hand, and soon Schubert is inserting one-measure rests that catch us by surprise as they break the music’s flow. The finale begins as what seems a conventional tarantella, yet it is remarkable for its rhythmic and harmonic variety. Throughout this extended movement, Schubert maintains the expected 6/8 meter of the tarantella, yet he accents that meter with such

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

Fantasy in C Major for Violin and Piano, D.934 Duration: Approximately 24 minutes

Schubert wrote the Fantasy for Violin and Piano in December 1827, only eleven months before his death at age 31. The music was first performed in public on January 20, 1828, by violinist Joseph Slavik and pianist Karl von Bocklet, one of Schubert’s close friends. That première was a failure. The audience is reported to have begun to drift out during the performance, reviewers professed mystification, and the Fantasy was not published until 1850, twenty-two years after Schubert’s death. Hearing this lovely music today, it is hard to imagine how anyone could have had trouble with it, for the only thing unusual about the Fantasy is its structure. About twenty minutes long, it falls into four clear sections that are played without pause. Though it seems to have some of the shape of a violin sonata, the movements do not develop in the expected sonata form–that may have been what confused the first audience–and Schubert was quite correct to call this piece a “fantasy,” with that term’s implication of freedom from formal restraint. Melodic and appealing as the Fantasy may be to hear, it is nevertheless extremely difficult to perform, and it demands players of the greatest skill. The first section, marked Andante molto, opens with shimmering ripples of sound from the piano, and the lovely violin line enters almost unnoticed. Soon, though, it rises to soar high above the accompaniment before brief cadenza-like passages for violin and then piano lead abruptly to the Allegretto. Here the violin has the dancelike opening idea, but the piano immediately picks this up, and quickly the instruments are imitating and answering each other. The violin writing in this section, full of wide skips and string-crossings, is particularly difficult. The third section, marked Andantino, is a set of variations. The piano alone plays the melody, which comes from Schubert’s song Sei mir gegrüsst (“Greetings to Thee”), written in 1821. Some of Schubert’s best-known compositions–the “Death and the Maiden” Quartet and the “Trout” Quintet–also build a movement out of variations on one of the composer’s own songs, and in the Fantasy Schubert offers four variations on Sei mir gegrüsst. These variations grow extremely complex– some have felt that they grow too complex–and once again the music makes great demands on its performers. At the conclusion of the variations, the shimmering music from the

SCHUBERT'S SWAN SONG III – PROGRAM NOTES

beginning returns briefly before the vigorous final section, marked Allegro vivace. Schubert brings the Fantasy to a close with a Presto coda, both instruments straining forward before the violin suddenly flashes upward to strike the concluding high C.

decorates the melody with quiet interjections of its own. The middle section, in F minor, feels agitated and dark; a trill leads back to the opening material, but now the two outer voices accompany the melody with runs and swirls that have suddenly grown complex. The third movement is a scherzo-and-trio, marked Presto. String Quintet in C Major, D.956 The bounding scherzo, with its hunting horn calls, is fairly Duration: Approximately 50 minutes straightforward, but the trio is quite unusual, in some surprising ways the emotional center of the entire Quintet. One normally Schubert’s String Quintet in C Major, universally expects a trio section to be gentle in mood, sometimes even acknowledged as one of the finest creations in all chamber a thematic extension of the scherzo. But this trio, marked music, dates from the miraculous final year of that composer’s Andante sostenuto and in the unexpected key of D-flat major, brief life, 1828. That year saw the revision of the “Great” is spare, grave, haunting. Schubert sets it in 4/4 instead of the Symphony in C Major and the composition of the three final expected 3/4, and its lean lines and harmonic surprises give it piano sonatas, the songs of the Schwanengesang collection, this a grieving quality quite different from the scherzo. The lament quintet, and the song “Der Hirt auf Dem Felsen,” completed in concludes, and the music plunges back into sunlight as the the weeks just prior to Schubert’s death on November 19. The scherzo resumes. date of the Quintet is difficult to pin down, but it was probably Many have heard Hungarian folk music in the opening composed at the end of the summer–on October 2 Schubert of the Allegretto, with its evocation of wild gypsy fiddling. wrote to one of his publishers that he had “finally turned out a The second theme is one of those graceful little tunes that Quintet for 2 violins, 1 viola, and 2 violoncellos.” only Schubert could write; both themes figure throughout the Many have been quick to hear premonitions of death in movement, until finally another cello duet leads to a fiery coda this quintet, as if this music–Schubert’s last instrumental work– ingeniously employing both main themes. must represent a summing-up of his life. But it is dangerous The Quintet in C Major is one of the glories of the chamber to read intimations of mortality into music written shortly music repertory and one of Schubert’s finest works. Yet he before any composer’s death, and there is little basis for such never heard a note of it. It lay in manuscript for years and was a conclusion here–although he was ill during the summer, not performed until 1850, twenty-two years after his death. Schubert did not know that he was fatally ill. Rather than being death-haunted, the Quintet in C Major is music of great Program notes by Eric Bromberger richness, music that suffuses a golden glow. Some of this is due to its unusual sonority: the additional cello brings weight to the instrumental texture and allows one cello to become a full partner in the thematic material, a freedom Schubert fully exploits. Of unusual length (over 50 minutes long), the Quintet also shows great harmonic freedom–some have commented that this music seems to change keys every two bars. The opening Allegro ma non troppo is built on three theme groups: the quiet violin theme heard at the very beginning, an extended duet for the two cellos, and a little march figure for all five instruments. The cello duet is unbelievably beautiful, so beautiful that many musicians (certainly many cellists!) have said that they would like nothing on their tombstone except the music for this passage. But it is the march tune that dominates the development section; the recapitulation is a fairly literal repeat of the opening section, and a brief coda brings the movement to its close. Longest of the four movements, the Adagio is in ABA form. The opening is remarkable. The three middle voices– second violin, viola, and first cello–sing a gentle melody that stretches easily over 28 bars; the second cello accompanies them with pizzicato notes, while high above the first violin L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

BIOGRAPHIES Joey Alexander, piano

Born in 2003 in Bali, Joey Alexander lived in Jakarta from the age of 8 to 10 and then moved to New York City in 2014, where he has experienced one of the most ascendant careers ever seen in jazz. Jason Olaine, a Grammy®-winning producer who serves as Director of Programming for Jazz At Lincoln Center, has produced all four of Mr. Alexander’s albums, including his most recent release Eclipse. Mr. Olaine says he continues to be impressed by the pianist’s fantastic gift. “Joey is such a huge talent coming out of a young player, however he wants to create and have fun by playing. It’s not about the accolades or the applause.” He added, “Eclipse shows what an amazing journey Joey has been on, and he’s playing with an openness and clarity.” His work continues to draw from his inspirations of the past, while putting his own progressive stamp on the music by constantly exploring, both on stage and in the studio. As a pianist, Mr. Alexander possesses an elemental sense of melody, exhibiting the patience and instinct to get his melodic statements just right. “I’ve learned how to be a good listener,” Mr. Alexander says.

Inon Barnatan, piano

"One of the most admired pianists of his generation" (New York Times), Inon Barnatan is celebrated for his poetic sensibility, musical intelligence, and consummate artistry. He was a recipient of Lincoln Center's Martin E. Segal Award in 2015, recognizing "young artists of exceptional accomplishment," as well as the Avery Fisher Career Grant in 2009. He recently completed his third and final season as the inaugural Artist-in-Association of the New York Philharmonic (2017), a position created by former Philharmonic Music Director Alan Gilbert, who calls him "…the complete artist.…” He recently joined the Academy of St Martin in the Fields to record that orchestra’s first complete Beethoven concerto cycle. Born in Tel Aviv in 1979, Mr. Barnatan started playing the piano at the age of 3 after his parents discovered he had perfect pitch, and he made his orchestral debut at age 11. His musical education connects him to some of the 20th century's most illustrious pianists and teachers: he studied first with Professor Victor Derevianko; and in 1997 he moved to London to study at the Royal Academy of Music with Maria Curcio and Christopher Elton. Leon Fleisher has also been an influential teacher and mentor. Mr. Barnatan currently resides in New York City. For more information visit inonbarnatan.com.

Benjamin Beilman, violin

American violinist Benjamin Beilman is recognized as one of the fastest rising stars of his generation, winning praise for his passionate performances and deep rich tone, which the Washington Post called “mightily impressive” and The New York Times described as “muscular with a glint of violence." Highlights of Mr. Beilman’s 2017-18 Season include performances with the Houston Symphony and Orchestra St. Luke’s. In recital, he will première a new work written for him by Frederic Rzewski, commissioned by Music Accord. The recipient of the prestigious 2014 Borletti-Buitoni Trust Fellowship, a 2012 Avery Fisher Career Grant, and a 2012 London Music Masters Award, he won First Prize in the Young Concert Artists International Auditions and at the Montréal International Musical Competition in 2010. Mr. Beilman studied at the Music Institute of Chicago, the Curtis Institute of Music, and at the Kronberg Academy with Christian Tetzlaff. In March 2016, Warner Classics released his debut recital CD Spectrum. He plays the "Engleman" Stradivarius from 1709 generously on loan from the Nippon Music Foundation.

Carter Brey, cello

Carter Brey was appointed Principal Cello of the New York Philharmonic in 1996. He made his official subscription debut with the Orchestra in May 1997 performing Tchaikovsky’s Rococo Variations under the direction of then Music Director Kurt Masur, and has since performed as soloist each season. In addition to his activities as a performer, Mr. Brey is on the faculty of the famed Curtis Institute of Music in Philadelphia. He rose to international attention in 1981 as a prizewinner in the Rostropovich International Cello Competition. From the time of Mr. Brey’s New York and Kennedy Center debuts in 1982, he has been regularly hailed by audiences and critics for his virtuosity, flawless technique, and complete musicianship. The recipient of the Gregor Piatigorsky Memorial Prize, Avery Fisher Career Grant, Young Concert Artists’ Michaels Award, and other honors, he also was the first musician to win the Arts Council of America’s Performing Arts Prize. Mr. Brey studied with Laurence Lesser and Stephen Kates at the Peabody Institute, and with Aldo Parisot at Yale University. His violoncello is a rare J. B. Guadagnini made in Milan in 1754.

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BIOGRAPHIES Steven Cassedy, prelude presenter

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

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.

Dover Quartet

The Dover Quartet catapulted to international stardom following a sweep of first prize and all special prizes at the 2013 Banff International String Competition. Recently named the Cleveland Quartet Award winner and awarded the coveted Avery Fisher Career Grant (2017), the Dover Quartet has become one of the most in-demand ensembles in the world. The Quartet’s rise from up-and-coming young ensemble to occupying a spot at the top of their field has been “practically meteoric” (Strings). With its burnished warmth, incisive rhythms, and natural phrasing, the Quartet’s distinctive sound has helped confirm its status as “the young American string quartet of the moment” (New Yorker). The Quartet’s second Cedille Records album Voices of Defiance 1943 1944 1945, released in October 2017, features works by Ullmann, Shostakovich, and Laks. The Quartet serves as the quartet-in-residence for the Bienen School of Music at Northwestern University, and will perform more than a hundred concerts around North America and Europe in 2017-18. The Quartet’s 2018-19 Season begins a three-year term as the Kennedy Center’s Quartet-in-Residence.

Daniela Liebman, piano

Born in 2002 in Guadalajara, Mexico, Daniela Liebman made her orchestral debut at age 8 with the Aguascalientes Symphony. She has since played with more than twenty orchestras on four continents, including the Orlando Philharmonic, the National Symphony of Bogota, the Rachmaninov Orchestra of the Kremlin, and the Guatemala City Orchestra. In Mexico, Daniela has performed with the Mexico City Philharmonic, the Jalisco Symphony Orchestra, and the Orchestra Sinfónia of Sinaloa. In 2013, Ms. Liebman made debuts at Mexico’s Palacio de Bellas Artes, with the Orchestra de Camera de Bellas Artes, and Carnegie Hall. Ms. Liebman has given recitals at Festival Cervantino, the Kennedy Center, the Ravinia Festival, and on the Harriman-Jewell Series. She received first prize at the 2017 PianoTexas Concerto Competition and was a featured performer at Carnegie Hall's 2017 Medal of Excellence Gala. In 2017, Forbes named Daniela one of “Mexico’s Five Most Powerful and Unexpected Women” after having been named one of Mexico’s most Creative Women in 2016. Ms. Liebman’s 2018 Season includes performances with the Corpus Christi Symphony and the National Symphony Orchestra of Mexico, among others, as well as a Latin American tour. Yamaha Artist Daniela Liebman studies with Tamas Ungar in Fort Worth, Texas, and is represented by Park Avenue Artists.

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BIOGRAPHIES Mark Morris, choreographer

Mark Morris was born on August 29, 1956, in Seattle, Washington, where he studied with Verla Flowers and Perry Brunson. In the early years of his career, he performed with the companies of Lar Lubovitch, Hannah Kahn, Laura Dean, Eliot Feld, and the Koleda Balkan Dance Ensemble. He formed the Mark Morris Dance Group (MMDG) in 1980, and has since created over 150 works for the company. He has created 22 ballets since 1986 and his work has been performed by companies worldwide, including San Francisco Ballet, American Ballet Theatre, Ballet du Grand Théâtre de Genève, and the Royal New Zealand Ballet. His many awards and honors include a 1991 MacArthur Foundation Fellowship, eleven honorary doctorates to date, and a 2016 Doris Duke Artist Award. He has taught at the University of Washington, Princeton University, and Tanglewood Music Center. In 2015, Mr. Morris was inducted into the Mr. and Mrs. Cornelius Vanderbilt Whitney Hall of Fame at the National Museum of Dance. Mr. Morris opened the Mark Morris Dance Center in Brooklyn, New York, in 2001 to provide a home for his company, rehearsal space for the dance community, outreach programs for children and seniors, and a school offering dance classes to students of all ages and abilities.

Mark Morris Dance Group

The Mark Morris Dance Group was formed in 1980 and gave its first performance that year in New York City. The company’s touring schedule steadily expanded to include cities in the United States and around the world. Based in Brooklyn, New York, MMDG appears regularly in New York, Boston, Seattle, and Fairfax, and maintains strong ties to presenters in several cities around the world, most notably Cal Performances in Berkeley, California, and the Krannert Center for the Performing Arts at the University of Illinois at Urbana-Champaign. The Company has performed at New York City Center’s Fall for Dance Festival, regularly performs at Lincoln Center for the Performing Arts’ Mostly Mozart and White Light Festivals, and collaborates yearly with BAM on performances and master classes. Reflecting Mr. Morris’ commitment to live music, the Dance Group has featured live musicians in every performance since the formation of the MMDG Music Ensemble in 1996, and regularly collaborates with renowned musicians. In 2015, Mr. Morris’ signature work L’Allegro, il Penseroso ed il Moderato had its national television première on PBS’ Great Performances. While on tour the Dance Group partners with local cultural institutions and community organizations to present arts and humanities-based activities for people of all ages and abilities.

Ethan Iverson, composer, arranger, piano

Ethan Iverson was a founding member of The Bad Plus (TBP), alongside Reid Anderson and David King. The New York Times called TBP “…Better than anyone at melding the sensibilities of post-60’s jazz and indie rock.” During his 17-year tenure TBP performed at diverse venues such as the Village Vanguard, Carnegie Hall, and Bonnaroo; collaborated with Joshua Redman, Bill Frisell, and the Mark Morris Dance Group; and created a faithful arrangement of Stravinky’s The Rite of Spring. Mr. Iverson also has been in the critically-acclaimed Billy Hart quartet for over a decade, occasionally performing with an elder statesman like Albert “Tootie” Heath. For almost 15 years Mr. Iverson’s blog Do the Math has been a repository of musician-to-musician interviews and analysis. Time Out New York selected Iverson as one of 25 essential New York jazz icons: “Perhaps NYC’s most thoughtful and passionate student of jazz tradition—the most admirable sort of artist-scholar.” More recently Iverson has been writing about jazz for the New Yorker. In 2017 he co-curated a centennial celebration of Thelonious Monk at Duke University and in 2018 he will be premièring an original piano concerto with the American Composers Orchestra and releasing a duo album with Mark Turner on ECM. To view all dancer and musician bios visit pepperland.dance

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.

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BIOGRAPHIES Juho Pohjonen, piano

Celebrated as one of Finland's most outstanding pianists, Juho Pohjonen has received widespread acclaim for his profound musicianship and intense, thoughtful, and fearless interpretations of a broad range of repertoire from Bach to Salonen. Recent highlights include his debuts with Vancouver, Baltimore, and Cleveland Symphonies, and chamber programs at Lincoln Center’s Alice Tully Hall and the Library of Congress. European engagements have included performances with the Szczecin Philharmonic, Finnish Radio Orchestra, Philharmonia Orchestra, Helsinki Philharmonic, Iceland Symphony, and Antalya State Symphony. A frequent guest of the Atlanta Symphony Orchestra, Mr. Pohjonen enjoys frequent collaboration with its renowned Music Director Robert Spano. Mr. Pohjonen studied with Meri Louhos and Hui-Ying Liu at Helsinki’s Sibelius Academy where he completed his Master's Degree in 2008. In 2009, Juho Pohjonen was selected by Sir András Schiff as winner of the Klavier Festival Ruhr Scholarship. In addition, he has won numerous prizes in both Finnish and international competitions, including First Prize at the 2004 Nordic Piano Competition in Nyborg, Denmark, First Prize at the 2000 International Young Artists Concerto Competition in Stockholm, and the Prokofiev Prize at the 2003 AXA Dublin International Piano Competition. 2018 anticipates the release of a recording featuring the music of Chopin, Schumann, and Grieg with cellist Inbal Segev.

San Diego Youth Symphony and Conservatory

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

Robin Tritschler, tenor

Irish tenor Robin Tritschler graduated from the Royal Academy of Music and was a BBC New Generation Artist. He has performed with Welsh National Opera in roles ranging from Salome’s Narraboth to Don Giovanni’s Don Ottavio. Mr. Tritschler appears frequently in recital at London’s Wigmore Hall, as well as performing at many other renowned venues such as the Köln Philharmonie, Concertgebouw, and the Kennedy Center, and at the Aldeburgh, Aix-en-Provence, and the West Cork Chamber Music Festivals. Acclaimed for his "radiantly lyrical" voice, Mr. Tritschler has garnered praise from critics and audiences for his performances. In concert, Robin has appeared with many leading orchestras including the London Philharmonic Orchestra, L’Orchestre National de Lyon, Gulbenkian Foundation Lisbon, the Hong Kong Philharmonic Orchestra, the Rotterdam Philharmonic Orchestra, the Moscow Virtuosi, and the BBC Philharmonic. With the RTE Concert Orchestra, Mr. Tritschler performed the Messiah before Pope Benedict XVI to celebrate the 80th Anniversary of the Vatican State, and he gave the UK première of CPE Bach’s St John Passion with the Bournemouth Symphony Orchestra under Kirill Karabits.

PHOTO CREDITS: Cover: MMDG © Gareth Jones; Pg. 12 & 29: D. Liebman © David Ochoa; Pg. 16, 25 & 28: I. Barnatan © Marco Borggreve; Pg. 19: J. Alexander © John Katz; Pg. 20: MMDG© Robbie Jack; Pg. 22: J. Pohjonen © Marco Borggreve; Pg. 28: J. Alexander © Carol Friedman, B. Bielman © Giorgia Bertazzi, C. Brey courtesy of artist; Pg. 29: S. Cassedy courtesy of presenter, J. Chute courtesy of presenter, Dover Quartet © Carlin Ma; Pg. 30: M. Morris © Beowulf Sheehan, E. Iverson courtesy of MMDG, Marcus Overton courtesy of presenter; Pg. 31: J. Pohjonen © Henry Fair, Robin Tritschler © Sussie Ahlburg; Back Cover: J. Alexander © courtesy of website.

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

JUHO POHJONEN continued from page 24 generating a vast volume of sound. The second section (there are no pauses between the different sections) quotes a fragment of Schubert’s song Der Wanderer at a very slow tempo and then offers a series of variations on it. Again, these variations grow increasingly brilliant before this section subsides to end quietly. The third section, playful and fast, is built upon a dotted rhythm that now begins to dominate the music–this dancing rhythm will reappear in several other themes in this carefree interlude. The final section brings back the theme that opened the Fantasy, but now that rhythmic figure is treated fugally, and this impressive music powers its way to a dramatic conclusion. Program notes by Eric Bromberger

PEPPERLAND continued from page 21

Thanks to Maxine Morris. Sincerest thanks to all the dancers for their dedication, commitment, and incalculable contribution to the work. Additional support provided by Amazon, Kenneth Aidekman Family Foundation, The Amphion Foundation, Inc., Arnow Family Fund, Lily Auchincloss Foundation, Inc., Bossak/Heilbron Charitable Foundation, Cavali Foundation, Chervenak-Nunnalle Foundation, Con Edison, Joseph and Joan Cullman Foundation for the Arts, Inc., Dau Family Foundation, The Gladys Krieble Delmas Foundation, Estée Lauder Companies, ExxonMobile Corporate Matching Gift Program, Google Matching Gift Program, The Charles and Joan Gross Family Foundation, Guggenheim Partners Matching Gifts, The Harkness Foundation for Dance, Marta Heflin Foundation, IBM Corporation Matching Gifts Program, Jaffe Family Foundation, JP Morgan Chase, Kinder Morgan Foundation, The Langworthy Foundation, Leatherwood Foundation, The John D. and Catherine T. MacArthur Foundation, Materials for the Arts, Mid Atlantic Arts Foundation, Morgan Stanley & Co., Harris A. Berman & Ruth Nemzoff Family Foundation, New Music USA, The L. E. Phillips Family Foundation, The Pinkus Foundation, Jerome Robbins Foundation, Rolex, Billy Rose Foundation, Inc., San Antonio Area Foundation, Schneer Foundation, SingerXenos Wealth Management, Laurie M. Tisch Illumination Fund, Trust for Mutual Understanding, Viad Corp, and Zeitz Fund. The Mark Morris Dance Group is supported in part by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, Mayor Bill de Blasio, Brooklyn Borough President Eric L. Adams, Council Member Helen Rosenthal, the New York City Department for the Aging, the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and the National Endowment for the Arts. The Mark Morris Dance Group is a member of Dance/USA and the Downtown Brooklyn Arts Alliance.

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PRODUCTION CREDITS Costumes built by Eric Winterling, Inc. A Day in the Life, Penny Lane, Sgt. Pepper’s Lonely Hearts Club Band, When I’m Sixty-Four, With a Little Help from My Friends by John Lennon and Paul McCartney Within You Without You by George Harrison Pepperland ©2017 Discalced, Inc. For more information contact: MARK MORRIS DANCE GROUP 3 Lafayette Avenue Brooklyn, NY 11217-1415 (718) 624-8400 www.mmdg.org

facebook: markmorrisdancegroup twitter: markmorrisdance instagram : markmorrisdance snapchat : markmorrisdance youtube: Mark Morris Dance Group blogger: Mark Morris Dance Group Sign up for inside news from the Mark Morris Dance Group. Go to mmdg.org/join-email-list or text “MMDG” to 555888.

2017-18 SEASON PARTNERS La Jolla Music Society is greatful for the support of The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, National Endowment for the Arts, Vail Memorial Fund, Thomas C. Ackerman Foundation, David C. Copley Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, Regents Bank, US Bank, The Dow Divas, The Lodge at Torrey Pines, La Valencia Hotel, 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, Jeanette Stevens, and an anonymous donor.

Thomas C. Ackerman Foundation

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PHP Management, Inc.

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ANNUAL SUPPORT FOUNDER Brenda Baker & Stephen Baum ($250,000 and above) The City of San Diego Commission for Arts and Culture Conrad Prebys & Debra Turner ANGEL

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

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 extraordinary performances to San Diego, please contact Ferdinand Gasang, Development Director, at 858.459.3724, ext. 204 or FGasang@LJMS.org.

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COMMUNITY MUSIC CENTER La Jolla Music Society has operated the Community Music Center, a free afterschool music education program in Logan Heights, San Diego, since 1999. Each year, the program provides instruments and valuable instruction to more than 100 students.

ANNUAL SUPPORT

FOUNDATIONS Thomas C. Ackerman Foundation Ayco Charitable Foundation: The AAM & JSS Charitable Fund The Vicki & Carl Zeiger Charitable Foundation Bettendorf, WE Foundation: Sally Fuller The Blachford-Cooper Foundation The Catalyst Foundation: The Hon. Diana Lady Dougan The Clark Family Trust David C. Copley Foundation D'Addaraio Foundation 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 ProtoStar Foundation Qualcomm Foundation Rancho Santa Fe Foundation: The Fenley Family Donor-Advised Fund The Susan & John Major Donor-Advised Fund The Oliphant Donor-Advised Fund The Pastor Family 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 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 2016-17 season, La Jolla Music Society was able to reach over 11,500 students and community members. LJMS worked with students from more than 60 schools and universities, providing concert tickets, performance demonstrations, and master classes. Thanks to the generous support of our patrons and donors, all of our outreach activities are free to the people we serve.

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ANNUAL SUPPORT

HONORARIA & MEMORIAL GIFTS In Honor of Gordon Brodfuehrer: Hugh Coughlin Richard & Katherine Matheron Jeanette Stevens

In Honor of Katherine “absolutely not” Chapin: Bebe & Marvin Zigman

In Honor of Martha Dennis’ Birthday:

Joan Hotchkis Dr. and Mrs. Richard Kahler & family Stuart & Lisa Lipton Papa Doug Manchester Joel Mogy Clifford Schireson & John Venekamp Neal & Marge Schmale Pam Shriver Corinne Wohlforth Dolly & Victor Woo

In Honor of May L. Hsieh: Yau-Hung Chow Richard Hsieh

Christine Andrews Thompson & Jane Fetter Stacy & Don Rosenberg

In Memory of Lois Kohn:

In Memory of Dick Enberg:

Ferdinand Gasang

Brenda Baker & Steve Baum Christopher Beach & Wesley Fata Elaine & Dave Darwin Joy Frieman Ferdinand Gasang Robert Gould Phil & Kathy Henry Sue & Steve Hesse

In Memory of Carleton and Andree Vail: Vail Memorial Fund

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

Ingrid Paymar

In Memory of Richard MacDonald: In Honor of Maggie Meyer’s Birthday: Martha and Ed Dennis

In Honor of Betty-Jo Petersen: Chris Benavides

In Honor of Abby and Ray Weiss: Lynn Stern

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 23, 2018. Amendments will be reflected in the next program book in August 2018.

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.

LA JOLLA MUSIC SOCIETY

MEDALLION SOCIETY CROWN JEWEL

TOPAZ

Brenda Baker and Steve Baum Conrad Prebys and Debbie Turner

Anonymous Joan Jordan Bernstein Mary Ann Beyster Virginia and Robert Black Dr. James C. and Karen A. Brailean Dave and Elaine Darwin Eleanor Ellsworth Barbara and Dick Enberg Jeane Erley Pam and Hal Fuson Buzz and Peg Gitelson Dr. Lisa Braun-Glazer & Dr. Jeff Glazer Margaret and Michael Grossman Theresa Jarvis Angelina and Fred Kleinbub Joseph Wong and Vivian Lim Michel Mathieu and Richard McDonald Elaine and Doug Muchmore Hank and Patricia Nickol Rafael and Marina Pastor Maria and Dr. Philippe Prokocimer Don and Stacy Rosenberg Leigh P. Ryan Neal and Marge Schmale Jeanette Stevens Elizabeth Taft Gianangelo Vergani Dolly and Victor Woo Carolyn Yorston-Wellcome and H. Bard Wellcome Bebe and Marvin Zigman

DIAMOND Raffaella and John Belanich Joy Frieman Joan and Irwin Jacobs

RUBY Silvija and Brian Devine

GARNET Peggy and Peter Preuss

SAPPHIRE Julie and Bert Cornelison Kay and John Hesselink Keith and Helen Kim

Listing as of February 23, 2018

In 1999, the Board of Directors officially established the Medallion Society to provide long-term financial stability for La Jolla Music Society. We are honored to have this special group of friends who have made multi-year commitments 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.

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CORPORATE PARTNERS GUARANTOR

SUSTAINER

SUPPORTER

AMBASSADOR

AFICIONADO

ASSOCIATE

Members of our Corporate Honor Roll 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.

Listing as of February 23, 2018

LA JOLLA MUSIC SOCIETY

DANCE SOCIETY ARABESQUE

POINTE

PLIÉ

Ellise and Michael Coit June and Dr. Bob Shillman Jeanette Stevens

Carolyn Bertussi Teresa O. Campbell Katherine and Dane Chapin

Stefana Brintzenhoff Joani Nelson Elyssa Dru Rosenberg Elizabeth Taft

PIROUETTE

DEMI POINTE

Elaine Galinson and Herbert Solomon Annie So Marvin and Bebe Zigman

Saundra L. Jones

Listing as of February 23, 2018

La Jolla Music Society is proud to be a major presenter of American and International dance companies in San Diego. The Dance Society was created in order to fulfill our community’s desire for exceptional dance and ballet performances by the highest-quality artists from around the world. We are grateful to our Dance Society friends for their passion and generous support of our dance programs.

PLANNED GIVING 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 Geoff and Shem Clow Anne and Robert Conn George and Cari Damoose Elaine and Dave Darwin Teresa & Merle Fischlowitz Ted and Ingrid Friedmann Joy and Ed* Frieman

Sally Fuller Maxwell H. and Muriel S. Gluck* Dr. Trude Hollander Eric Lasley Theodora Lewis Joani Nelson Maria and Dr. Philippe Prokocimer Bill Purves Darren and Bree Reinig Jay W. Richen Leigh P. Ryan Jack* and Joan Salb Johanna Schiavoni Patricia C. Shank Drs. Joseph and Gloria Shurman

Jeanette Stevens Elizabeth and Joseph* Taft Norma Jo Thomas Dr. Yvonne E. Vaucher Lucy and Ruprecht von Buttlar Ronald Wakefield John B. and Cathy Weil Carolyn Yorston-Wellcome and H. Barden Wellcome Karl and Joan Zeisler Josephine Zolin *In Memoriam Listing as of February 23, 2018

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

LA JOLLA MUSIC SOCIETY

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LA JOLLA MUSIC SOCIETY

SEASON

2017-18

APRIL DANIELA LIEBMAN, piano WINNER OF MEXICO’S PREMIO NACIONAL DE LA JUVENTUD 2014 Sunday, April 8, 2018 · 3 PM Discovery Series The Auditorium at TSRI

SCHUBERT’S SWAN SONG II Curated by Inon Barnatan Saturday, April 14, 2018 · 8 PM Revelle Chamber Music Series Irwin M. Jacobs Qualcomm Hall

THE JOEY ALEXANDER TRIO Saturday, April 28, 2018 · 8 PM Jazz Series Balboa Theatre

MAY MARK MORRIS DANCE GROUP PEPPERLAND Saturday, May 12, 2018 · 8 PM Dance Series Civic Theatre

JUHO POHJONEN

SCHUBERT’S SWAN SONG III Curated by Inon Barnatan Saturday, May 19, 2018 · 8 PM Revelle Chamber Music Series Irwin M. Jacobs Qualcomm Hall

JOEY ALEXANDER

Friday, May 18, 2018 · 8 PM Piano Series The Auditorium at TSRI