La Jolla Music Society Season 51 Program Book

2019-20 L JMS.ORG

MARTHA GRAHAM DANCE COMPANY

JANUARY-MARCH

DECEMBER PABLO SÁINZ VILLEGAS, guitar

TRIBUTE TO SEGOVIA SATURDAY, DECEMBER 7, 2019 · 8 PM Special Event The Baker-Baum Concert Hall at The Conrad

2019 -20 SE A SON

OCTOBER CHICK COREA TRILOGY with

CHRISTIAN MCBRIDE & BRIAN BLADE WEDNESDAY, OCTOBER 2, 2019 · 8 PM Jazz Series Balboa Theatre

LILA DOWNS’ DÍA DE MUERTOS: AL CHILE SUNDAY, OCTOBER 13, 2019 · 7 PM Special Event Balboa Theatre

BÉLA FLECK, ZAKIR HUSSAIN, EDGAR MEYER with RAKESH CHAURASIA WEDNESDAY, OCTOBER 16, 2019 · 8 PM Jazz Series Balboa Theatre

NOVEMBER FARRUQUITO

FRIDAY, NOVEMBER 8, 2019 · 8 PM

Special Event The Baker-Baum Concert Hall at The Conrad

GARRICK OHLSSON BRAHMS EXPLORATION PART II SATURDAY, NOVEMBER 9, 2019 · 8 PM

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NAT GEO LIVE! BETWEEN RIVER AND RIM: HIKING THE GRAND CANYON THURSDAY, DECEMBER 12, 2019 · 7 PM New! Speaker Series The Baker-Baum Concert Hall at The Conrad

VOCTAVE THE SPIRIT OF THE SEASON FRIDAY, DECEMBER 13, 2019 · 7 PM

Special Holiday Event The Baker-Baum Concert Hall at The Conrad

JANUARY MARTHA GRAHAM DANCE COMPANY

WEDNESDAY, JANUARY 22, 2020 · 8 PM Dance Series Civic Theatre

KIAN SOLTANI, cello JULIO ELIZALDE, piano SUNDAY, JANUARY 26, 2020 · 3 PM

Discovery Series The Baker-Baum Concert Hall at The Conrad

FEBRUARY JAZZY ASH & THE LEAPING LIZARDS

SATURDAY, FEBRUARY 1, 2020 · 11 AM & 1 PM New! Family Concert The JAI at The Conrad

HANZHI WANG, accordion SUNDAY, FEBRUARY 9, 2020 · 3 PM

Piano Series The Baker-Baum Concert Hall at The Conrad

Discovery Series The Baker-Baum Concert Hall at The Conrad

DANISH STRING QUARTET PRISM PROJECT: FIVE CONCERT EXPLORATION

BRENTANO QUARTET FRIDAY, FEBRUARY 21, 2020 · 8 PM

Revelle Chamber Music Series The Baker-Baum Concert Hall at The Conrad

Revelle Chamber Music Series The Baker-Baum Concert Hall at The Conrad

SATURDAY, NOVEMBER 16, 2019 · 8 PM SUNDAY, NOVEMBER 17, 2019 · 3 PM FRIDAY, NOVEMBER 22, 2019 · 8 PM SATURDAY, NOVEMBER 23, 2019 · 3 PM & 8 PM

HÉLÈNE GRIMAUD FRIDAY, FEBRUARY 28, 2020 · 8 PM

LA JOLLA MUSIC SOCIETY · 2019-20 SEASO

Piano Series The Baker-Baum Concert Hall

MARCH ACADEMY OF ST MARTIN IN THE FIELDS

ZOLTÁN FEJÉRVÁRI, piano SUNDAY, APRIL 26, 2020 · 3 PM

Special Event Jacobs Music Center – Copley Symphony Hall

MAY LES VIOLONS DU ROY

JOSHUA BELL, violin MONDAY, MARCH 2, 2020 · 8 PM

MURRAY PERAHIA THURSDAY, MARCH 5, 2020 · 8 PM

Piano Series The Baker-Baum Concert Hall at The Conrad

PABLO SÁINZ VILLEGAS AMERICANO TRIO FRIDAY, MARCH 6, 2020 · 7 PM & 9 PM The JAI at The Conrad

AROD QUARTET SUNDAY, MARCH 15, 2020 · 3 PM

Discovery Series The Baker-Baum Concert Hall at The Conrad

DORRANCE DANCE SOUNDspace THURSDAY & FRIDAY, MARCH 19 & 20, 2020 · 8 PM Dance Series The Baker-Baum Concert Hall at The Conrad

NAT GEO LIVE! EXPLORING MARS THURSDAY, MARCH 26, 2020 · 7 PM

New! Speaker Series The Baker-Baum Concert Hall at The Conrad

Discovery Series The Baker-Baum Concert Hall at The Conrad

JONATHAN COHEN, music director & conductor AVI AVITAL, mandolin FRIDAY, MAY 1, 2020 · 8 PM Revelle Chamber Music Series The Baker-Baum Concert Hall at The Conrad

KENNY BARRON – DAVE HOLLAND TRIO featuring JOHNATHAN BLAKE SATURDAY, MAY 2, 2020 · 8 PM Jazz Series The Baker-Baum Concert Hall at The Conrad

PABLO SÁINZ VILLEGAS, guitar SATURDAY, MAY 9, 2020 · 11 AM & 1 PM New! Family Concert The JAI at The Conrad

NAT GEO LIVE! OCEAN SOUL THURSDAY, MAY 14, 2020 · 7 PM

New! Speaker Series The Baker-Baum Concert Hall at The Conrad

BEATRICE RANA, piano SUNDAY, MAY 17, 2020 · 3 PM

Discovery Series The Baker-Baum Concert Hall at The Conrad

APRIL CHRISTIAN SANDS — 3 PIANOS

IGOR LEVIT THURSDAY, MAY 21, 2020 · 8 PM

Jazz Series The Baker-Baum Concert Hall at The Conrad

SONIA DE LOS SANTOS SATURDAY, MAY 30, 2020 · 11 AM & 1 PM

ERROLL GARNER TRIBUTE! FRIDAY, APRIL 3, 2020 · 8 PM

HUBBARD STREET DANCE CHICAGO GLENN EDGERTON, artistic director SATURDAY, APRIL 18, 2020 · 8 PM Dance Series Spreckels Theatre

HAGEN QUARTET FRIDAY, APRIL 24, 2020 · 8 PM

Revelle Chamber Music Series The Baker-Baum Concert Hall at The Conrad

Piano Series The Baker-Baum Concert Hall at The Conrad

New! Family Concert

The JAI

Celebrating Beethoven’s 250th Birthday 858.459.3728 ǀ LJMS.ORG

Dates, times, programs, and artists are subject to change.

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Foundation

The ResMed Foundation is pleased to support your excellent programs in musical arts education.

Board of Trustees Edward A. Dennis, PhD Chairman

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TABLE OF CONTENTS CALENDAR MARTHA GRAHAM DANCE COMPANY KIAN SOLTANI & JULIO ELIZALDE HANZHI WANG BRENTANO QUARTET HÉLÈNE GRIMAUD ACADEMY OF ST MARTIN IN THE FIELDS & JOSHUA BELL MURRAY PERAHIA AROD QUARTET DORRANCE DANCE SOUNDspace NAT GEO LIVE! EXPLORING MARS ARTIST BIOGRAPHIES SUPPORT

2 24 27 30 34 38 42 46 47 51 53 54 63

BOARD OF DIRECTORS · 2019-20 Steve Baum – Chair H. Peter Wagener – Vice Chair Stephen Gamp – Treasurer Jennifer Eve – Secretary Wendy Brody Katherine Chapin Ric Charlton Linda Chester Sharon Cohen Bert Cornelison Brian Douglass Debby Fishburn Lehn Goetz John Hesselink Susan Hoehn Lynelle Lynch Sue Major Robin Nordhoff Arman Oruc HONORARY DIRECTORS Brenda Baker Steve Baum Joy Frieman, Ph.D. Irwin M. Jacobs Joan K. Jacobs Lois Kohn (1924-2010) Helene K. Kruger (1916-2019) Conrad Prebys (1933-2016) Ellen Revelle (1910-2009) Leigh P. Ryan, Esq.

LA JOLLA MUSIC SOCIETY STAFF Ted DeDee – President/CEO Inon Barnatan – SummerFest Music Director

ADMINISTRATION Peggy Preuss Sylvia Ré Donald J. Rosenberg Sheryl Scarano Clifford Schireson Marge Schmale Maureen Shiftan Jeanette Stevens Haeyoung Kong Tang Debra Turner Lisa Widmier Katrina Wu Clara Wu Tsai Bebe L. Zigman

Chris Benavides – Director of Finance Debra Palmer – Executive Assistant & Board Liaison Brady Stender – Finance Coordinator

PROGRAMMING Leah Rosenthal – Director of Programming Allison Boles – Education & Community Programming Manager Sarah Campbell – Programming Manager Lauren Paul – Programming Coordinator Eric Bromberger – Program Annotator Serafin Paredes – Community Music Center Director Xiomara Pastenes – Community Music Center Administrative Assistant Community Music Center Instructors: Noila Carrazana, Marcus Cortez, Armando Hernandez, Cesar Martinez, Michelle Maynard, Eduardo Ruiz, Rebeca Tamez

DEVELOPMENT Ferdinand Gasang – Director of Development Landon Akiyama – Development Coordinator Nicole Slavik – Special Events Coordinator

MARKETING & TICKET SERVICES Adam Thurman – Director of Marketing Jediah McCourt – Marketing Manager Hayley Woldseth – Marketing & Communications Project Manager Rachel Cohen – Marketing Coordinator Angelina Franco – Graphic & Web Designer Shannon Bobritchi – Ticket Services Manager Nina Paganucci – Assistant Ticket Services Manager Serena Gradel – Ticket Services Representative Arik Lemon – Ticket Services Representative Patrick Mayuyu – Ticket Services Representative Shaun Davis – House Manager Paul Body – Photographer

OPERATIONS & PRODUCTION

LA JOLLA MUSIC SOCIETY

7600 Fay Avenue, La Jolla, California 92037 Admin: 858.459.3724 | Fax: 858.459.3727

Hannes Kling – Director of Operations Verdon Davis – Technical Director Anthony LeCourt – Event Manager Joshua Lemmerman – Facility Manager Jonnel Domilos – Piano Technician

Abby Viton – Stage Manager Samantha Bauman-Martin – Stage Manager Laura Zingle – Stage Manager

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PRELUDE 7 PM

Interview with a company member hosted by Molly Puryear

MARTHA GRAHAM DANCE COMPANY WEDNESDAY, JANUARY 22, 2020 · 8 PM

CIVIC THEATRE

The EVE Project

Celebrating women and the 100th Anniversary of the 19th Amendment First we have to believe and then we believe. - Martha Graham

La Jolla Music Society’s 51st Season is supported

by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, Banc of California, Vail Memorial Fund, Thomas C. Ackerman Foundation, David C. Copley Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, WellsFargo, Bright Events Rentals, Snake Oil Cocktail Co, Ace Parking, The Lodge at Torrey Pines, The Westgate Hotel, The Empress Hotel, Monarch Cottage, Brenda Baker and Stephen Baum, Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Sam B. Ersan, Mao and Doctor Bob Shillman, Jeanette Stevens, Bebe and Marvin Zigman, and an anonymous donor.

DIVERSION OF ANGELS EKSTASIS UNTITLED (SOUVENIR)

INTERMISSION

CHRONICLE Artistic Director: Janet Eilber Executive Director: LaRue Allen Senior Artistic Associate: Denise Vale

THE COMPANY Lloyd Knight, Ben Schultz, Xin Ying, Lloyd Mayor, Natasha M. Diamond-Walker, Lorenzo Pagano, Charlotte Landreau, Anne O'Donnell, Leslie Andrea Williams, Anne Souder, Laurel Dalley Smith, So Young An, Marzia Memoli, Jacob Larsen, Alyssa Cebulski, Alessio Crognale, Aoi Sato, Androniki Vasili

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Martha Graham Dance Company last performed for La Jolla Music Society in the Celebrity Series on March 12, 2005.

LA JOLLA MUSIC SOCIETY · 2019-20 SEASON

MARTHA GRAHAM DANCE COMPANY – PROGRAM NOTES

DIVERSION OF ANGELS

Choreography and Costumes: Martha Graham Music: Norman Dello Joio† Original Lighting: Jean Rosenthal Adapted: Beverly Emmons Première: August 13, 1948, Palmer Auditorium, New London, CT Program Note: Martha Graham once described Diversion of Angels as three aspects of love: the couple in white represents mature love in perfect balance; red, erotic love; and yellow, adolescent love. The dance follows no story. Its action takes place in the imaginary garden love creates for itself. The ballet was originally called Wilderness Stair.

“It is the place of the Rock and the Ladder, the raven, the blessing, the tempter, the rose. It is the wish of the single-hearted, the undivided; play after the spirit’s labor; games, flights, fancies, configurations of the lover’s intention; the believed Possibility, at once strenuous and tender; humors of innocence, garlands, evangels, Joy on the Wilderness Stair, diversion of angels.” – Ben Belitt Dancers: The Couple in White………………………………...Leslie Andrea Williams, Lorenzo Pagano The Couple in Red…………………………………So Young An, Lloyd Knight The Couple in Yellow………………………………Laurel Dalley Smith, Jacob Larsen Alyssa Cebulski, Marzia Memoli, Anne O’Donnell, Aoi Sato, Alessio Crognale †Used by arrangement with Carl Fischer, Inc., publisher and copyright owner.

EKSTASIS

Choreography: Martha Graham reimagined by Virginie Mécène Costume: Martha Graham Original Music: Lehman Engel Music for reimagined Ekstasis: Ramon Humet† Première: May 4, 1933, Guild Theatre, New York City Ekstasis (reimagined): February 14, 2017, The Joyce Theater, New York City "The body is a sacred garment." – Martha Graham Dancer: Natasha M. Diamond-Walker †"Interludi meditatiu VII" from Homenaje a Martha Graham, © Neu Records 2016, used by arrangement with the copyright owner.

UNTITLED (SOUVENIR)

Choreography: Pam Tanowitz Choreographer Assistant: Melissa Toogood Music: Caroline Shaw† Lighting: Yi-Chung Chen Costumes: Ryan Lobo and Ramon Martin of TOME Première: March 2, 2019, Younes and Soraya Nazarian Center for the Performing Arts, Northridge, CA Dancers: Laurel Dalley Smith, Natasha M. Diamond-Walker, Lloyd Knight, Charlotte Landreau, Lloyd Mayor, Marzia Memoli, Anne O’Donnell, Lorenzo Pagano Untitled (Souvenir) was made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Additional production support provided by the California State University, Northridge. †Punctum for string quartet and Valencia for string quartet, performed by Attacca Quartet.

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MARTHA GRAHAM DANCE COMPANY – PROGRAM NOTES

INTERMISSION

CHRONICLE

Choreography and Costumes: Martha Graham Music: Wallingford Riegger† Original Lighting: Jean Rosenthal Lighting for Reconstruction (“Steps in the Street”): David Finley Lighting for Reconstruction (“Spectre–1914,” “Prelude to Action”): Steven L. Shelley Première: December 20, 1936, Guild Theater, New York City Chronicle does not attempt to show the actualities of war; rather does it, by evoking war’s images, set forth the fateful prelude to war, portray the devastation of spirit which it leaves in its wake, and suggest an answer. (Original program note) Dancers: I. Spectre–1914…………………………………….Anne Souder Drums—Red Shroud—Lament II. Steps in the Street………………………………Laurel Dalley Smith Devastation—Homelessness—Exile III. Prelude to Action………………………………Anne Souder Laurel Dalley Smith Unity—Pledge to the Future So Young An, Alyssa Cebulski, Natasha M. Diamond-Walker, Charlotte Landreau, Marzia Memoli, Anne O’Donnell, Aoi Sato, Androniki Vasili, Leslie Andrea Williams “Spectre–1914” reconstructed in 1994 by Terese Capucilli and Carol Fried, from film clips and Barbara Morgan photographs.

“Steps in the Street” reconstructed in 1989 by Yuriko and Martha Graham, from the Julien Bryan film discovered by Dr. Barry Fischer.

“Prelude to Action” reconstructed in 1994 by Sophie Maslow, with Terese Capucilli, Carol Fried, and Diane Gray, from film clips and Morgan photographs. †Finale from New Dance, Opus 18b (for “Steps in the Street”), originally composed for Doris Humphrey, orchestrated by Justin Dello Joio, used by arrangement with Associated Music Publishers, Inc., publisher and copyright owner. Additional orchestrations by Stanley Sussman.

Major support for the Martha Graham Dance Company is provided by The Andrew W. Mellon Foundation Howard Gilman Foundation National Endowment for the Arts New York City Department of Cultural Affairs in partnership with the New York City Council New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature The Artists employed in this production are members of the American Guild of Musical Artists AFL-CIO. Copyright to all Martha Graham dances presented held by the Martha Graham Center of Contemporary Dance, Inc. All rights reserved.

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LA JOLLA MUSIC SOCIETY · 2019-20 SEASON

PRELUDE 2 PM

Musical Prelude by young artists from the San Diego Youth Symphony and Conservatory

KIAN SOLTANI, cello JULIO ELIZALDE, piano SUNDAY, JANUARY 26, 2020 · 3 PM THE BAKER-BAUM CONCERT HALL

STRAVINSKY Suite Italienne for Cello and Piano (1882-1971) Introduzione Serenata Aria Tarantella Minuetto Finale Support for the Discovery Series is generously provided by:

Gordon Brodfuehrer Jeanette Stevens

BEETHOVEN Sonata for Pianoforte and Cello in D Major, Opus 102, No. 2 (1770-1827) Allegro con brio Adagio con molto sentimento d’affetto Allegro fugato I N T E R M I S S I O N

ARVO PÄRT Fratres

(b. 1935)

FRANCK Sonata in A Major for Cello and Piano (arr. Delsart) (1822-1890) Allegretto ben moderato Allegro Recitativo—Fantasia Allegretto poco mosso Kian Soltani, cello; Julio Elizalde, piano

This performance marks Kian Soltani and Julio Elizalde’s La Jolla Music Society debuts.

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KIAN SOLTANI & JULIO ELIZALDE - PROGRAM NOTES

Program notes by Eric Bromberger

Suite Italienne for Cello and Piano

IGOR STRAVINSKY Born June 17, 1882, Oranienbaum, Russia Died April 6, 1971, New York City Composed: 1932 Approximate Duration: 18 minutes

In the years after World War I, Stravinsky found himself at an impasse as a composer, unwilling to return to the grand manner of the “Russian” ballets that had made him famous, but unsure how to proceed. Serge Diaghilev, impresario of the Ballet Russe, suggested a ballet based on themes by the Italian composer Giovannin Pergolesi and showed him some of Pergolesi’s music. Stravinsky was entranced. Over the next year he composed a ballet with song in eighteen parts, based on themes from Pergolesi’s operas and instrumental music. Stravinsky kept Pergolesi’s melodic and bass lines, but supplied his own harmony and brought to this music his incredible rhythmic vitality. Premiered in Paris on May 15, 1920, with sets by Picasso and choreography by Massine, Pulcinella was a great success.

Over the next few years Stravinsky made several arrangements for instrumental duos of excerpts from Pulcinella, and in 1932 the composer and Gregor Piatigorsky created a version for cello and piano they called Suite Italienne. The suite is in six movements. It opens with a jaunty Introduzione (the ballet’s Overture), followed by a lyric Serenata, based on an aria from Pergolesi’s opera Il Flaminio. The Aria is a transcription of the bass aria “Con questo parolina” from Pulcinella, while the blistering Tarantella rushes to a surprising and sudden ending. The concluding section is in two parts: a slow Minuetto full of complex double-stops leads without pause to the exciting Finale.

Sonata for Pianoforte and Cello in D Major, Opus 102, No. 2

LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna Composed: 1815 Approximate Duration: 19 minutes

Beethoven composed the two cello sonatas of his Opus 102 during the summer of 1815. At age 44, he was approaching a critical point in his career. The previous year had seen the Congress of Vienna and Beethoven’s triumph before the assembled diplomats with his musically-inferior Wellington’s Victory. Though financially profitable, such music illustrated dramatically the end of what has been called—for better or worse—his “Heroic Style,” and now Beethoven plunged

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LA JOLLA MUSIC SOCIETY · 2019-20 SEASON

into a period of musical uncertainty. Over the next five years Beethoven would write very little music, and when his creative energies returned in full force—in about 1820—he had developed an entirely new style.

When it finally arrived, that late style was not a complete surprise, for there had been hints of new directions in the music Beethoven was writing before his creative energies diminished. The intimate and inward mood that marks the late work was already apparent in the Violin Sonata in G Major (1812) and the Elegiac Song (1814), and it is certainly a feature of the two cellos sonatas composed during the summer of 1815. The Opus 102 sonatas were Beethoven’s last for any instrument except piano, and already in this music he was experimenting with sonata form and moving away from the “Heroic Style” of the previous decade.

The opening Allegro con brio of Beethoven’s final cello sonata is extremely focused and powerful music. The piano’s first figure—four sixteenth-notes followed by a dotted half— is the rhythmic cell that drives the entire movement, and it quickly gives way to a shower of sixteenth-notes. Out of this opening blast of energy, the cello makes its magnificent entrance, shooting upward over two octaves before it settles into a lyric statement that Beethoven marks dolce; the soaring second subject of this sonata-form movement is also introduced by the cello.

The Adagio con molto sentimento d’affetto is unique in the Beethoven cello sonatas. In his earlier cello sonatas, Beethoven had been uncomfortable with writing a long slow movement and had chosen instead to offer brief slow interludes or to eliminate the slow movement altogether. In his final sonata, he puts aside these difficulties to compose a full-length slow movement—and what a glorious movement it is. The opening, in D minor and built on long, choralelike phrases, is almost stunned in its restraint; a measure of consolation comes with the second subject, whose D-major tonality brings a brush of sunlight across the dark landscape of the beginning. The subdued opening material returns to lead without pause to a four-measure interlude marked Allegro. Here first the cello and then the piano make a tentative run up the scale and pause before launching the final movement, Allegro fugato; that run up the scale in fact suggests the shape of the fugue subject that will follow.

Just as a more inward and expressive manner looks ahead to Beethoven’s late style, so does a renewed interest in fugal writing, and the fugue as part of sonata-form movements would return in such works as the final piano sonatas, the late quartets, and the Ninth Symphony. The fugue in four voices that makes up the final movement of Beethoven’s last cello sonata is extremely active, and while Beethoven generally keeps the dynamic at quiet levels, the busy textures

KIAN SOLTANI & JULIO ELIZALDE - PROGRAM NOTES

and hard edges of this music set some early reviewers’ teeth very firmly on edge. Those reviewers spoke with regret of the composer’s appearing to have taken a wrong turn. Little could they have known that he was simply hinting at the path he was about to pursue.

Fratres

ARVO PÄRT

Born September 11, 1935, Paide, Estonia Composed: 1977 Approximate Duration: 12 minutes

Arvo Pärt endured a long and difficult path to his current prominence as a composer. Trained in Tallinn, Pärt supported himself for many years as a recording engineer for Estonian Radio and by writing film scores as he tried to make his way as a composer in a society rigidly controlled by conservative Soviet artistic dictates. Rebelling against the simplicity of that approach, Pärt began to experiment. Without any knowledge of minimalism as it was then evolving in the United States, Pärt arrived at similar compositional procedures by himself, and his music is built on the same hypnotic repetition of simple materials.

Fratres exists in many different forms. Pärt originally composed it in 1977 for the Estonian early-music group Hortus Musicus. He then received a commission from the Salzburg Festival for a work for violin and piano based on Fratres, and that version was premiered at Salzburg in 1980

by Gidon and Elena Kremer. Pärt subsequently arranged Fratres for various other ensembles. Each of these versions is slightly different, fitting in a work which is itself in variation form. At this concert, Fratres is heard in an arrangement for cello and piano.

Fratres opens with a prelude, a string of shifting cello arpeggios that grow out of near-inaudibility to triple forte.

Powerful piano chords interrupt this progression, and then the piano lays out the three-measure ground bass—in 7/4, 9/4, and 11/4—that will repeat sixteen times, sometimes broken by near-static interludes. Above these inexorable chords, the cello spins out a sequence of variations in different speeds and moods. Fratres is exceptionally solemn and beautiful music: the piano’s chord progression has a cantus firmus dignity, and the cello variations complement and extend the solemnity of that line. The music remains poised—one might say serene— throughout the sixteen variations, which have detached, almost timeless quality, and finally Fratres fades into silence on a reminiscence of the ground bass, played in ghostly harmonics by the cello.

Sonata in A Major for Cello and Piano

CESAR FRANCK Born December 10, 1822, Liege Died November 8, 1890, Paris Composed: 1886 Approximate Duration: 30 minutes

This cello sonata is an arrangement, made shortly after Franck’s death by the French cellist Jules Delsart, of his Violin Sonata in A Major, originally composed in 1886. This sonata is one of the finest examples of Franck’s use of cyclic form, a technique he had adapted from his friend Franz Liszt, in which themes from one movement are transformed and used over subsequent movements. The Sonata in A Major is a particularly ingenious instance of this technique: virtually the entire work is derived from the quiet and unassuming opening of the first movement, which then evolves endlessly across the sonata. Even when a new theme seems to arrive, it will gradually be revealed as a subtle variant of one already heard.

The piano’s quiet fragmented chords at the beginning of the Allegretto ben moderato suggest a theme-shape that the cello takes over as it enters: this will be the thematic cell of the entire sonata. The piano has a more animated second subject (it takes on the shape of the germinal theme as its proceeds), but the gently-rocking cello figure from the opening dominates this movement, and Franck reminds the performers constantly to play molto dolce, sempre dolce, dolcissimo.

The mood changes completely at the fiery second movement, marked passionato, and some have gone so far as to claim that this Allegro is the true first movement and that the opening Allegretto should be regarded as an introduction to this movement. In any case, this movement contrasts its blazing opening with more lyric episodes, and listeners will detect the original theme-shape flowing through some of these.

The Recitativo—Fantasia is the most original movement in the sonata. The piano’s quiet introduction seems at first a revisiting of the germinal theme, though it is—ingeniously—a variant of the passionato opening of the second movement.

The cello makes its entrance with an improvisation-like passage (this is the fantasia of the title), and the entire movement is quite free in both structure and expression: moments of whimsy alternate with passionate outbursts.

After the expressive freedom of the third movement, the finale restores order with pristine clarity: it is a canon in octaves, with one voice following the other at the interval of a measure. The stately canon theme, marked dolce cantabile, is a direct descendant of the sonata’s opening theme, and as this movement proceeds it recalls thematic material from earlier movements. Gradually, the music takes on unexpected power and drives to a thunderous close.

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PRELUDE 2 PM

Musical Prelude by young artists from the San Diego Youth Symphony and Conservatory

HANZHI WANG, accordion SUNDAY, FEBRUARY 9, 2020 · 3 PM THE BAKER-BAUM CONCERT HALL

J.S. BACH Chaconne from the Partita No. 2 in D Minor for Unaccompanied (1685-1750) Violin, BWV 1004 (arr. Busoni) SCARLATTI Three Sonatas (1685-1757) in A Major, K.323 (L.95) in F Major, K.378 (L.276) in E Major, K.162 (L.21) RAMEAU Selections from Pièces de clavecin (1683-1764) L’ Egyptienne La Livri Le rappel des oiseaux Support for the Discovery Series is generously provided by:

Gordon Brodfuehrer Jeanette Stevens

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SCHNITTKE Revis Fairy Tale (1934-1998) Chichikov’s Childhood Officials Waltz Polka GRIEG Holberg Suite, Opus 40 (1843-1907) Prelude: Allegro vivace Sarabande: Andante Gavotte: Allegretto Air: Andante religoso Rigaudon: Allegro con brio Hanzhi Wang, accordion

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This performance marks Hanzhi Wang’s La Jolla Music Society debut.

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Program notes by Eric Bromberger

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

JOHANN SEBASTIAN BACH Born March 21, 1685, Eisenach, Germany Died July 28, 1750, Leipzig Composed: 1720 Approximate Duration: 15 minutes Arranged for piano by

FERRUCCIO BUSONI Born April 1, 1866, Empoli Died July 27, 1924, Berlin

The magnificent Chaconne that concludes the Partita No. 2 for Unaccompanied Violin is among the most intense music Bach ever wrote, and it has worked its spell on musicians everywhere over the last two and a half centuries. The violin is a linear instrument, and the full harmonic textures implied in the original seem to cry out for performances that can project these more satisfactorily than can the violin. The Chaconne has been transcribed for many other instruments and combinations of instruments, including several versions for keyboard: first by Joachim Raff and in 1877 by Brahms, who arranged it for left hand only. Brahms was almost beside himself with admiration for this music; to Clara Schumann he wrote: “If I could picture myself writing, or even conceiving such a piece, I am certain that the extreme excitement and emotional tension would have driven me mad.”

Ferruccio Busoni, who felt a similar excitement about the Chaconne, made his transcription some years after Brahms’ and first performed it at a concert in Boston in 1893. This was a period when Busoni was making piano transcriptions of Bach’s organ music, and at least one scholar has suggested that Busoni conceived of the Chaconne as organ music (rather than violin music) and then—with that sonority in mind— proceeded to make a transcription for piano that would project an organ-like richness of sound. Busoni’s transcription is a fairly exact reproduction of Bach’s music: he makes only minor changes in the original, including the repetition of one brief phrase not repeated by Bach.

A chaconne is one of the most disciplined forms in music: it is built on a ground bass in triple meter over which a melodic line is repeated and varied. Here the four-bar ground bass repeats 64 times during the quarter-hour span of the Chaconne, and over it Bach spins out gloriously varied music, all the while keeping these variations firmly anchored on the ground bass. At the center section Bach moves into D major, and here the music relaxes a little, content to sing happily for awhile; after the calm nobility of this interlude, the quiet

return of D minor sounds almost disconsolate. Bach drives the Chaconne to a great climax and a restatement of the ground melody at the close.

Three Sonatas in A Major, K.323 (L.95) in F Major, K.378 (L.276) in E Major, K.162 (L.21)

DOMENICO SCARLATTI Born October 26, 1685, Naples Died July 23, 1757, Madrid Composed: 1719-1757 Approximate Duration: 8 minutes

This section of the program offers brief pieces originally written for harpsichord by two of the greatest keyboard composers of the early eighteenth century: Domenico Scarlatti and Jean-Philippe Rameau. Though working in different countries and writing in quite different forms, those two laid the foundation for much of the great keyboard music that followed. Many modern performers play this music on the piano, an instrument Scarlatti and Rameau never heard, and in fact this music has been arranged for a variety of solo instruments and ensembles.

Scarlatti held positions in Naples, Florence, Venice, Rome, and Palermo before making in 1719 the long trip to Lisbon, where he served as court harpsichordist to the King of Portugal and later in Madrid. Though his primary responsibility was to write vocal music for the court, Scarlatti is remembered today for his 550 keyboard sonatas. Scarlatti called these pieces esercizi (“exercises”), and while they are not actually in sonata form, they look ahead to that form as it would develop across the remainder of the century. They are in one movement but in binary form, built on themes of contrasting tonalities, and Scarlatti would have played them on the harpsichord (or gravicembalo, as it was known in Spain). The sonatas are quite brief—usually between three and five minutes—but in these short spans Scarlatti creates miniature worlds full of drama, excitement, color, and beauty.

The Sonata in A Major, marked Allegro and set in 6/8, glides gracefully along the steady pulse of that meter. This sonata is a great favorite of guitarists and is often heard on that instrument. The Sonata in F Major has an active part for the left hand—at moments the two hands seem to be conversing. This sonata does not remain in the home key of major, but makes unexpected excursions into F minor and other keys along the way. The Sonata in E Major alternates and contrasts two quite different kinds of music: a stately Andante in 3/4 and a brilliant Allegro in 4/4.

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and assembled an orchestral suite that he called simply Gogol Suite. Those eight movements evoke some of the atmosphere—ironic, surrealistic, grotesque—of Gogol’s Baptized September 25, 1683, Dijon, France world. Schnittke composed this music in a “polystylistic” Died September 12, 1764, Paris manner, drawing upon music of composers from the past, Composed: 1724 Approximate Duration: 8 minutes treating it in a variety of ways, and fusing it with music of his own. Listeners will hear bits of Beethoven, Haydn, Rameau wished above all else to succeed as a composer Mozart, Chopin, and others float past in the madcap, almost of opera, but only a very small number of his operas are kaleidoscopic panorama of these eight movements. produced today, and Rameau’s modern reputation rests on his Three accordionists—the Russians Yuri Shiskin and harpsichord music. Rameau did not write in so disciplined Friedrich Lips plus Ksenija Sidorova of Latvia—all had a a form as Scarlatti’s sonatas; instead, he specialized in hand in arranging four movements from Schnittke’s Gogol descriptive pieces, many with evocative titles. These pieces— Suite for their own instrument. In Chichikov’s Childhood, the short, lively, and beautifully written for the instrument—are wily sharpster Pavel Chichikov comes up with a scam to buy often in dance forms, but Rameau also wrote a number of the names of dead serfs from landowners so that he might pieces to describe or evoke specific subjects. Some of the mortgage these “dead souls” as his own property; Schnittke’s latter are descriptive music (he wrote pieces about knitters, music fuses the framework of a Haydn slow movement chickens, Indians, and so on), and some suggest specific with an opulence all his own. Clerks—a portrait of bustling moods (triumph, indifference). bureaucrats—is based on a send-up of Mozart’s Overture Rameau gave no indication of the significance of to The Magic Flute, while Waltz moves from its skeletal L’Egyptienne beyond its title (which is feminine). His piece, beginning to a mazurka and finally on to a macabre ending. probably descriptive in intention, is brilliant, full energy, The Polka is based on one of Gogol’s greatest tales, The rapid exchanges between the hands, long runs, quick triplets, Overcoat, in which the pathetic clerk Akaky Akayevich saves and mordants. The exact meaning of the title La Livri is for an elegant coat, only to have it stolen. The opening echoes unknown—one writer suggests that this music is a memorial the sound of the balalaika, and this movement eventually piece for Louis Saguin, the Count of Livri, who died the turns into a madcap gallop. year before the music was published. Subtitled “Rondeau gracieux,” this has become one of Rameau’s most popular Holberg Suite, Opus 40 keyboard works and has been arranged for numerous other instruments. Like Messiaen two centuries later, Rameau was Born June 15, 1843, Bergen, Norway attracted to bird-song, and in his Le rappel des oiseaux (the Died September 4, 1907, Bergen, Norway “call” or “recalling of birds”) those birds chirp very busily, Composed: 1884 their cries decorated with gracenotes.

Approximate Duration: 20 minutes

Selections from Pièces de clavecin

JEAN-PHILIPPE RAMEAU

EDWARD GRIEG

Revis Fairy Tale

ALFRED SCHNITTKE Born November 24, 1934, Engels, Russia Died August 3, 1998, Hamburg Composed: 1978 Approximate Duration: 10 minutes

This charming music, which has become an important part of the accordion repertory, got its start in a strange way.

In 1978 Russian composer Alfred Schnittke wrote incidental music for a stage adaptation in Moscow of Nikolai Gogol’s novel Dead Souls, a satire of bureaucratic corruption. That topic, however, cut too close to the bone for Soviet officials, who blocked the production. The play may have been banned, but Schnittke wanted to have his music performed, and so with the help of conductor Gennady Rozhdestvensky he gathered eight movements from his incidental music

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In 1884 Norway celebrated the bicentennial of the birth of Ludwig Holberg (1684-1754), a dramatist sometimes nicknamed “the Moliere of the North” for his comedies and satires (he was also a distinguished scientist and historian).

Several Norwegian composers wrote music for this occasion, and Grieg—fiercely proud of all things Norwegian—wrote a suite of piano pieces that he called Holberg Suite. Aware that Holberg had been a nearly exact contemporary of Bach, Grieg attempted to evoke the music of that era by writing a collection of pieces in baroque dance forms. Bach himself would have recognized Grieg’s sequence of movements— Prelude, Sarabande, Gavotte, Air, and Rigaudon—as familiar parts of the baroque instrumental suite. Grieg subtitled this music “Suite in the Olden Style”; the music’s German title— Aus Holbergs Zeit (“From Holberg’s Time”)—is a better reflection of his intentions.

Grieg, though, was not entirely happy with the piano

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version, and the following year he arranged the music for string orchestra. So successful has the string version become that it remains, a century later, one of Grieg’s most frequently performed works, and the piano version is seldom heard today. This recital, however, lets us hear Grieg’s original keyboard version played on the accordion.

The five movements require little comment. They are all in ABA form, with a middle section in a contrasting tempo and key. The energetic Prelude opens with a brisk accompanying rhythm, and the sweetly lyric main idea is heard immediately. A stately Sarabande leads to a sturdy Gavotte; the center section of the movement is a musette, with the melodic line heard over an instrumental drone.

The heartfelt Air is best described by Grieg’s own tempo indication, Andante religioso, and the suite concludes with a rousing Rigaudon.

Hanzhi Wang appears by arrangement with Young Concert Artists, Inc.www.yca.org

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PRELUDE 7 PM Lecture by Kristi Brown Montesano As an aesthetic ideal, Classicism has enjoyed a prominent place in Western music history, not least during the “classical” period of Haydn and Mozart, but also in the neo-classic spirit of the early twentieth century. We will explore what “classicism” means in terms of music, how it is linked to the genre of the string quartet in general, and how it informs the musical styles of Mozart and Ravel in their celebrated quartets.

BRENTANO QUARTET FRIDAY, FEBRUARY 21, 2020 · 8 PM THE BAKER-BAUM CONCERT HALL

MOZART String Quartet in A Major, K. 464 (1756-1791) Allegro Menuetto Andante Allegro ma non troppo MATTHEW AUCOIN String Quartet (2019) WEST COAST PREMIÈRE (b. 1990) 1. my mind is elsewhere 2. open the gates!

3. a part, apart Co-Commissioned by Union College Concert Series, Carnegie Hall, La Jolla Music Society and Da Camera Houston.

La Jolla Music Society’s 51st Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, Banc of California, Vail Memorial Fund, Thomas C. Ackerman Foundation, David C. Copley Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, WellsFargo, Bright Events Rentals, Snake Oil Cocktail Co, Ace Parking, The Lodge at Torrey Pines, The Westgate Hotel, The Empress Hotel, Monarch Cottage, Brenda Baker and Stephen Baum, Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Sam B. Ersan, Mao and Doctor Bob Shillman, Jeanette Stevens, Bebe and Marvin Zigman, and an anonymous donor.

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RAVEL String Quartet in F Major (1875-1937) Allegro moderato. Très doux Assez vif. Tres rythmé Très lent

Vif et agité

Brentano Quartet Mark Steinberg, Serena Canin, violins; Misha Amory, viola; Nina Lee, cello

The Brentano Quartet last performed for La Jolla Music Society during SummerFest on August 9, 2019.

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The Allegro that opens the quartet seems simplicity itself: a flowing and easy first idea (its two opening pulses String Quartet in A Major, K.464 will recur in various forms throughout the movement), followed by a second subject in the unexpected key of C major. The Minuetto opens with a firm unison that quickly Born January 27, 1756, Salzburg gives way to a dancing counterstatement from the violins; Died December 5, 1791, Vienna the trio is also in an unexpected key, this time E major. The Composed: 1785 Approximate Duration: 35 minutes Andante is the longest movement in this set of six quartets— and one of the greatest. It is a set of variations on the first We too often think of Mozart as an utterly natural violin’s opening idea, and that melody—grave, graceful, composer, someone who could conceive an entire piece and elegant at the same time—evolves sharply across the in his head to the point where writing it out was a purely six variations: Mozart syncopates it, decorates it with dotted mechanical task. There may be some substance to that rhythms and swirling runs, and passes the melodic line stereotype, but it was not invariably true, and on certain between the four instruments. At the fifth variation, the cello works Mozart worked long and hard. In this category fall the accompanies with a drum-like tattoo that beats quietly to six string quartets he began shortly after moving to Vienna the very end of the movement (in some European countries, in 1781. Mozart had been astonished by Haydn’s recent this quartet has acquired the unfortunate nickname “The string quartets and by the possibilities the older composer Drum” because of this figure). The finale, marked Allegro had found in that form, and these six quartets—composed non troppo, grows entirely out of its (seemingly) simple between 1782 and 1785—show the young composer taking opening theme. This may be a monothematic movement, but command of this difficult form and making it fully his own. it is a mark of the sophistication of Mozart’s writing that this Mozart was honest enough, though, to acknowledge the idea has subtle thematic and rhythmic links with the main example of a master, and he dedicated these six quartets to theme of the first movement. Mozart makes this music sing Haydn when they were published in 1785. beautifully, and the ending is wonderful: the music grows Haydn in turn was blown away by these quartets. He quiet as fragments of this theme are passed from instrument heard the final three (which included the Quartet in A to instrument, and suddenly the music—like smoke— Major performed on this program) at a concert in Vienna vanishes before us. Beethoven and Haydn—and everyone in February, 1785, and he pulled Mozart’s father Leopold else who has heard this quartet—were quite right to be aside to offer one of the most generous compliments one astonished by it. composer ever paid another: “Before God and as an honest man, I tell you that your son is the greatest composer known String Quartet (2019) to me either in person or by name. He has taste and, what is more, the most profound knowledge of composition.” Haydn Born 1990, Boston was not the only composer stunned by this music. A decade Composed: 2019 later, the young Beethoven, embarking on his own first set Approximate Duration: 22 minutes of string quartets, copied out the entire last movement of Attention, we are told, is a valuable commodity. It's the Quartet in A Major as a way of studying it in detail. increasingly clear that my attention, and yours, is bought Beethoven’s friend Carl Czerny reported that Beethoven and sold every day in ways that are invisible to us. What is once took up the score of this quartet and exclaimed in wonder: “That’s what I call a work! In it, Mozart was telling visible, however, is that most 21st-century "content" (a word the world: Look what I could create if the time were right!” that means everything and nothing) exists primarily in order to attract attention, to focus—just briefly—the restless eye.

Yet at first glance there seems nothing remarkable But is our attention really so easily manipulable? Whom are formally about this quartet: a sonata-form opening we paying when we "pay attention" in this way? Is there a movement, a minuet, a variation-form slow movement, kind of attention that can't be sold? and a quick-paced finale. Such a description, though, does My new string quartet is organized according to the not begin to define what is distinctive about this music: the different forms of attention that it embodies or enacts. You evolution of its themes, the utter ease of the writing for the could think of its three movements as three studies in distinct four voices, or the emotional effect of the very ending. The kinds of human attention. quartet is neither stormy nor melancholy, but by the time The first movement, "my mind is elsewhere," embodies it reaches its understated conclusion, Mozart has distilled a state that's probably all too familiar for many of us: stunning emotional power into what had seemed very distraction. This is a specific, faintly disturbing kind of straightforward music.

Program notes by Eric Bromberger, except where indicated.

WOLFGANG AMADEUS MOZART

MATTHEW AUCOIN

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distraction that I associate with multiple tabs being open on a computer screen: the mind seems to be on autopilot, whirring away somewhere, quietly spinning its wheels, but the self— at least, the conscious, active self—is not in the building.

(Where it goes is a mystery.)

The piece's second movement embodies the opposite of distraction: an intense, obsessive fixation. (This is much closer to my usual state when I'm composing.) This state brings with it very different dangers from the state of distraction; it's possible to fixate so hard on a harmonic progression or a rhythmic cell that the musical material overheats. In this movement, for once, I can at least claim that this effect is intentional!

The third movement attempts to enact a state that is neither distraction nor obsession, but rather a meditative focus, a willingness to listen and to let the musical material lead the way.

Writing this piece has been a singular experience: it's both unnerving and illuminating to focus very hard on the state of distraction! I've noticed also that each movement's essential state has tended to bloom into its opposite by the movement's end. The first movement's distracted whirring eventually leads to a moment of awakening: the conscious self returns, realizes it had been asleep on the job, and humbly takes stock of its surroundings. The intensity of the second movement melts into a serene postlude—and the third movement's meditative focus leads somewhere pretty intense, after all.

have charged that such repetition precludes sufficient thematic variety, but Ravel subtly modifies the color, harmony, and mood of each reappearance of these themes so that from this unity comes enormous variety.

The first movement is marked Allegro moderato, but Ravel specifies that it should also be Très doux (“Very gentle”). The calm first subject is heard immediately in the first violin over a rising accompaniment in the other voices, and this leads—after some spirited extension—to the haunting second theme, announced by the first violin and viola, two octaves apart. The relatively brief development rises to a huge climax—Ravel marks it triple forte—before the movement subsides to close with its opening theme, now gracefully elongated, fading gently into silence.

The second movement, Assez vif—Très rythmé, is a scherzo in ternary form. The opening is a tour de force of purely pizzicato writing that makes the quartet sound like a massive guitar. Some of this movement’s rhythmic complexity comes from Ravel’s use of multiple meters. The tempo indication is 6/8(3/4), and while the first violin is accented in 3/4 throughout, the other voices are frequently accented in 6/8, with the resulting cross-rhythms giving the music a pleasing vitality. The slow center section is a subtle transformation of the first movement’s second theme. At the conclusion of this section comes one of the quartet’s most brilliant passages, the bridge back to the opening material.

Here the pizzicato resumes quietly, gathers speed and force, and races upward to launch the return of the movement’s —Matthew Aucoin opening theme. This is wonderful writing for quartet, and the scherzo drives straight to its explosive pizzicato cadence.

String Quartet in F Major The third movement—Très lent—is in free form, and perhaps the best way to understand this movement is to approach it as a rhapsody based loosely on themes from the Born March 7, 1875, Ciboure, Basses-Pyrenees, France first movement. Beneath these themes Ravel sets a rhythmic Died December 28, 1937, Paris Composed: 1902-03 cell of three notes that repeats constantly, but it remains Approximate Duration: 30 minutes an accompaniment figure rather than becoming an active thematic participant. The movement’s impression of freedom Ravel wrote his only string quartet in 1902-03, while still results in no small part from its frequent changes of both key a student at the Paris Conservatory, and the first performance and meter. was given by the Heymann Quartet in Paris on March 5, After the serene close of the third movement, the fourth— 1904, two days before the composer’s twenty-ninth birthday. Agité—leaps almost abrasively to life. Agitated it certainly is, Ravel’s quartet is in many ways similar to the Debussy an effect that comes from its steadily-driving double-stroked quartet, written in 1893—there are parallels between the passages, and this mood continues across the span of the structure, rhythmic shape, and mood of the two works—but movement. The basic metric unit here is the rapid 5/8 heard at Ravel dedicated his quartet “To my dear teacher Gabriel the beginning, though Ravel changes meter frequently, with Fauré,” who was directing Ravel’s work at the Conservatory. excursions into 3/4 and 5/4. Once again, material from the One of the most distinctive features of Ravel’s quartet first movement returns, and after several lyric interludes the is its cyclic deployment of themes: the first movement’s finale takes on once again the aggressive mood of its opening two main themes return in various forms in the other three and powers its way to the close. movements, giving the quartet a tight sense of unity. Some Ravel’s quartet generated a mixed reaction at its premiere

MAURICE RAVEL

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in 1904. One of those most critical was the dedicatee, Gabriel Fauré, who was especially bothered by the unorthodox finale, which he thought “stunted, badly balanced, in fact a failure.”

But when Ravel, troubled by such criticism, turned to Debussy for his estimation, the latter offered the best possible response: “In the name of the gods of Music and for my sake personally, do not touch a note of what you have written.”

The Brentano Quartet is managed by David Rowe Artists

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HÉLÈNE GRIMAUD FRIDAY, FEBRUARY 28, 2020 · 8 PM THE BAKER-BAUM CONCERT HALL

VALENTIN SILVESTROV Bagatelle I (b. 1937)

DEBUSSY Arabesque No. 1 (1862-1918)

PRELUDE 7 PM Lecture by Michael Gerdes

A Musical Feast Tonight’s program features a delightful collection of concise masterworks for the piano. Music from the great Valentin Silvestrov intertwined with two giants of French piano music, Satie and Debussy. Rounding out the program are the Kreisleriana of Robert Schumann and character pieces by its dedicatee Frédéric Chopin. In this Prelude lecture, we’ll exam just how much incredible material each of these composers is able to communicate in these miniature masterpieces.

VALENTIN SILVESTROV Bagatelle II SATIE Gnossienne No. 4 (1866-1925)

CHOPIN Nocturne in E Minor, Opus 72, No. 1 (1810-1849)

SATIE Gnossienne No. 1 En y regardant à deux fois from Pièces froides Danses de travers DEBUSSY La plus que lente CHOPIN Mazurka in A Minor, Opus 17, No. 4 Waltz in A Minor, Opus 34, No. 2 DEBUSSY Clair de lune from Suite bergamasque Rêverie SATIE Passer from Pièces froides - Danses de travers I N T E R M I S S I O N

La Jolla Music Society’s 51st Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, Banc of California, Vail Memorial Fund, Thomas C. Ackerman Foundation, David C. Copley Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, WellsFargo, Bright Events Rentals, Snake Oil Cocktail Co, Ace Parking, The Lodge at Torrey Pines, The Westgate Hotel, The Empress Hotel, Monarch Cottage, Brenda Baker and Stephen Baum, Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Sam B. Ersan, Mao and Doctor Bob Shillman, Jeanette Stevens, Bebe and Marvin Zigman, and an anonymous donor.

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SCHUMANN Kreisleriana, Opus 16 (1810-1856) Ausserst bewegt Sehr innig und nicht zu rasch Sehr aufgeregt Sehr langsam Sehr lebhaft Sehr langsam Sehr rasch Schnell und spielend

Hélène Grimaud, piano

Hélène Grimaud last performed for La Jolla Music Society in the Piano Series on December 1, 2016.

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Frédéric Chopin (1810-1849) did not invent the nocturne, but he turned this brief form into something expressive and memorable. Despite its high opus number, the A GATHERING OF SHORT PIECES Nocturne in E Minor is one of Chopin’s earliest surviving The first half of this program consists of thirteen short compositions—he wrote it when he was a 17-year-old student pieces, and ten of them were composed in Paris. The at the Warsaw Conservatory, and it was not published until exceptions include the two Bagatelles by Ukrainian composer after his death. The right-hand melody floats quietly above Valentin Silvestrov (born 1937). Of these pieces Silvestrov a steady tread of left-hand triplets; this melody grows more has written: “In 2000 I started to compose small pieces in the complex and animated, then returns to the mood of the style of bagatelles. Bagatelles are little jewels, because they beginning as left-hand triplets lead the music to its quiet are not encumbered with any kind of ideological baggage close. and the creative act always occurs in a flash . . . As soon as Satie’s Gnossienne No. 1 proceeds solemnly, almost you play the piece at the piano, it is finished, even if it has hypnotically, above a steady left-hand accompaniment. The not yet been written down. As soon as the music exists in score is filled with Satie’s cyrptic and enigmatic instructions notated form you already begin to move away from it—the to the pianist: Very shining, From the end of a thought, text begins to take on a life of its own . . .” His Bagatelle I, Question, Apply yourself. marked Allegretto, feels almost like an improvisation, as the In 1890 the 25-year-old Satie was an impoverished young music delicately expands on some very simple and wistful composer in Paris. He was unable to pay for his room, so ideas. Rhythms are fluid, Silvestrov offers a lengthy repeat, his landlord offered him a tiny room, only as big as his bed. and the music seems to fade into silence.

The room was unheated, and Satie piled his clothes on top of Claude Debussy (1862-1918) composed his Two him to try to stay warm. While living in this tiny room, Satie Arabesques in 1888, when he was 26, and if they do not point composed six short pieces that he called Pièces froides, a title to the original composer Debussy would soon become, they that has been translated variously as “Cold Pieces,” “Cold remain some of the most-played music ever written for piano. Places,” or “Cold Cuts.” He divided the six pieces into two In the Arabesque No. 1, the melodic ideas emerge from the sets of three each and titled the second set Danses de travers: gentle murmur of triplets that seems to flow throughout this “Crooked Pieces.” This recital offers the first two of these music, and much of the music’s energy comes from Debussy’s pieces, one now and the other to close out the first half. En constantly setting patterns of two against three. Matters slow y regardant à deux fois (“Have a Good Look”) is built on slightly for the middle section, but even here the soft pulse of patterns of notes that constantly move upward, as the melodic triplets remains. The music returns to the opening material, line, sometimes full of strange harmonic shifts, moves and at the end it glides upward (on triplets) to the quiet between the hands. Satie’s instructions to the pianist include concluding chords.

Pass the word, Flat out, White.

Silvestrov’s Bagatelle II is cut from much the same cloth Claude Debussy wrote La plus que lente in 1910, shortly as his first: this is concise, understated, and expressive music. after being diagnosed with the cancer that would eventually This bagatelle is a little more animated then the first, dancing kill him, but there is no sign of that in this charming music. gently along its swung rhythms.

Many have noted that La plus que lente, which comes from One of the most original and eccentric figures in the late in Debussy’s life, reverts to the salon style that he had history of music, Erik Satie (1866-1925) helped steer French employed as a young man, and perhaps that style recalls music away from the rich sonorities and harmonies of late happy memories. E. Robert Schmitz points out that a popular nineteenth-century German music and toward a leaner, more waltz in Paris in these years was called La valse lente, and pungent language. Satie had a wry sense of humor and gave Debussy’s title is a coy play on that name. In any case, La his pieces unusual titles (one of his literary works is titled plus que lente is an elegant little waltz, and Debussy’s own “Memoirs of an Amnesiac”). Satie composed a total of seven description of his inspiration for this music serves as the best Gnossiennes, a cryptic title with roots in antiquity. It refers possible description: “Let us think of cabarets, let us think to this music’s attempt to duplicate an ancient dance from also of the numerous ‘five o’clocks’ where the beautiful the palace of Knossos on Crete, and as a way of evoking that feminine listeners of whom I thought, meet.” music Satie abandons barlines and meters. In his Gnossienne Chopin composed the four mazurkas of his Opus 17 in No. 4, the left hand plays an accompaniment of steady 1832-33, during his first years in Paris. The treasure of the eighth-notes while the right offers a series of gentle melodic set is its final one, the Mazurka in A Minor. Its opening ideas that—very quietly—clash harmonically with the section is magic, with gorgeous shifts of harmony and those accompaniment. characteristic Chopin rhythmic “sprays” in the pianist’s Program notes by Eric Bromberger

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right hand that swirl and arc above the steady left. The tone is somber and subdued, but those words do not get at the mercurial quality of expression here. A measure of sunlight falls across the A-major middle section. This builds to a great climax, then slips effortlessly back into the opening theme, which now sounds even more disconsolate. The music drifts into a soft harmonic mist at its enigmatic conclusion.

Chopin’s Waltz in A Minor (1831) is at an unusually slow tempo—the marking is Lento—and its mood is somber.

It opens with a brief introduction that has a dark melody in the left hand and the waltz rhythm in the right; the arrival of the main waltz theme—full of those wonderfully elastic Chopin rhythms—puts things back in the expected order.

The closing moments bring a surprise: a new waltz-tune— sparkling and light—seems to flicker to life momentarily, then the music subsides into the somber left-hand melody from the very beginning.

Debussy’s Clair de lune has become so familiar as an impressionistic portrait of moonlight that it is surprising to learn that in its earliest version this music had nothing to do with moonlight. In 1890 Debussy had originally titled this piece Promenade sentimentale, and the music acquired its familiar name only when it was revised in 1905. This music fully deserves its popularity, no matter how over-familiar it may have become—Debussy’s fluid rhythms, haunting melodies, and delicate shading continue to work their hold on listeners (and pianists).

Debussy wrote Rêverie in 1890, at about the same time he composed Clair de lune. Then he more or less forgot about it. Fourteen years later—after the successful premiere of his opera Pélleas et Mélisande had made him famous—his publisher brought it out without telling him. Debussy was appalled. Over the intervening years, he had become a vastly more sophisticated composer, and the publication of this early work embarrassed him. To his publisher Debussy protested: “In two words, it’s bad!” Since then, millions have disagreed sharply with that judgment, and Rêverie has become one of the best-loved of Debussy’s works. Rêverie is in ternary form with a flowing main theme and slightly-square chordal melody in the center; when Debussy brings back the opening theme, he decorates it with sparkling runs, then recalls a hint of the chordal melody in the closing measures.

Satie’s Passer makes a very graceful conclusion to the first half of this recital. The second movement from Pièces froides, it is similar in construction to En y regardant: it is built on a sequence of phrases that ripple upward constantly, and from this texture emerge some beautifully expressive melodies. Satie’s instructions to the pianist include such admonitions as With the corner of the hand, Alone, Be visible for a moment, and at the very end Un peu cuit, which means Medium done.

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LA JOLLA MUSIC SOCIETY · 2019-20 SEASON

Kreisleriana, Opus 16

ROBERT SCHUMANN Born June 8, 1810, Zwickau, Germany Died July 29, 1856, Endenich, Germany Composed: 1838 Approximate Duration: 33 minutes

Few composers have been as well-read as Robert Schumann, who found inspiration in a range of writers, from Shakespeare to Goethe to Jean Paul to Byron. One of the strongest literary influences on Schumann was the work of the German writer E.T.A. Hoffmann (1776-1822), author of novels and fantastic tales. Hoffmann named one of his sets of fantastic stories Fantasiestücke, and Schumann borrowed that title for several of his own works, but it was Hoffmann’s fictional character Johannes Kreisler who seems to have struck Schumann most strongly. A musician and critic (like Schumann himself), Kreisler was a perfect example of the literary concept known as Zerrisenheit: the artist-hero who is torn apart by the conflict between his idealized sense of order and the claims of the world he must live in; one of Hoffman’s original working titles, in fact, appears to have been Lucid Intervals of an Insane Musician. Schumann, one of the most mentally tormented of all composers, saw in Johannes Kreisler a spiritual brother, and he borrowed that name for this collection of eight piano pieces, which he specifically called “fantasies.”

Schumann wrote Kreisleriana in the spring of 1838. He was 27 years old, his efforts to marry Clara Wieck were being thwarted by the opposition of her father, and music seemed to pour out of the young composer. From January 1838 came his Novelletten, followed by the Kinderszenen in February; in March Schumann composed the Fantasy in C Major, and in April—in the space of four days—he wrote Kreisleriana.

Schumann may have called these pieces “fantasies,” which implies formlessness, but they are in fact quite disciplined works. They do, however, defy easy classification: some are in ABA form, some are in simple binary form, and several have forms all their own. As a very general rule, it might be observed that the odd-numbered movements are fast and dramatic, the even slow and expressive, but even this observation is undercut by the frequent internal episodes at contrasting tempos. Particularly striking is the variety of mood and expression in this music—one moment it can be simple and lyric, the next it turns mercurial, and suddenly it is violent and extroverted. Yet this music tells no tales, paints no pictures, nor does it try to translate Hoffmann’s magical stories into music—these eight pieces are abstract music, complete in themselves. Throughout, one feels Schumann’s instinctive and idiomatic understanding of the piano, and the end of Kreisleriana is stunning: after the galloping,

HÉLÈNE GRIMAUD - PROGRAM NOTES

hammering energy of the final piece, the music grows quiet and suddenly vanishes like smoke on two barely-audible strokes of sound.

The apparent inspiration for this music was Hoffmann’s character, but Schumann chose to dedicate Kreisleriana “To His Friend Frederic Chopin.” His letters, however, make clear that the real inspiration for this music was his love for Clara Wieck—he wrote to tell her: “Play my Kreisleriana occasionally. In some passages there is to be found an utterly wild love, and your life and mine.”

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ACADEMY OF ST MARTIN IN THE FIELDS JOSHUA BELL, music director & violin MONDAY, MARCH 2, 2020 · 8 PM JACOBS MUSIC CENTER-COPLEY SYMPHONY HALL

MOZART Overture to The Marriage of Figaro, K.492

(1756-1791)

Support for this program is generously provided by:

Monica Fimbres

PAGANINI Violin Concerto No. 1 in D Major, Opus 6 (1782-1840) Allegro maestoso Adagio Rondo: Allegro spiritoso Original cadenza by Joshua Bell Joshua Bell, violin I N T E R M I S S I O N

BEETHOVEN Symphony No. 5 in C Minor, Opus 67 (1770-1827) Allegro con brio Andante con moto Allegro vivace Allegro

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Academy of St Martin in the Fields and Joshua Bell last performed for La Jolla Music Society in the Orchestra Series on March 16, 2018.

LA JOLLA MUSIC SOCIETY · 2019-20 SEASON

ACADEMY OF ST MARTIN IN THE FIELDS – ROSTER

MUSIC DIRECTOR Joshua Bell

VIOLIN

Harvey de Souza P Martin Burgess P Jennifer Godson AP Fiona Brett Mark Butler Sijie Chen Ruth Funnell Clare Hayes Antonia Kesel Simon Lewis Richard Milone Jeremy Morris Gabrielle Painter Helen Paterson Robert Salter Rebecca Scott Alicja Śmietana

VIOLA

Fiona Bonds AP Ian Rathbone Alexandros Koustas Triona Milne Matt Maguire Catherine Bradshaw

CELLO

Stephen Orton P Will Schofield AP Judith Herbert Juliet Welchman Reinoud Ford Rebecca Knight

BASS

Lynda Houghton P Benjamin Russell David Johnson

FLUTE

Michael Cox P Sarah Newbold SP

PICCOLO

Rebecca Larsen

OBOE

John Roberts Rachel Ingleton SP

CLARINET

Fiona Cross Tom Lessels SP

BASSOON

Julie Price P Richard Skinner SP

ADMINISTRATION

CONTRA BASSOON

FOUNDING PRESIDENT Sir Neville Marriner CH, CBE

Julie Andrews

PRINCIPAL GUEST CONDUCTOR Murray Perahia KBE

HORN

LEADER/DIRECTOR Tomo Keller

Stephen Stirling P Joanna Hensel SP Peter Francomb James Shield

TRUMPET

Mark David P William O’Sullivan SP

TROMBONE

Becky Smith Andrew Cole Joe Arnold

TIMPANI

Matthew Perry

PERCUSSION

Julian Poole Chris Blundell

KEY P: Academy Principal AP: Academy Associate Principal SP: Academy Sub-Principal

Chief Executive Alan Watt Director of Concerts Alison Tedbury Concerts and Tours Manager Hannah Bache Orchestra Personnel Manager Lesley Wynne Concerts and Participation Assistant Aimee Walton Head of Learning and Participation Charlotte O’Dair Director of Development Susie York Skinner Development Manager Amy Scott Head of U.S. Development Jacob Cohen Finance Manager David Hills Marketing and Communications Manager Ellie Dragonetti PR Consultant Rebecca Driver Media Relations The Academy’s work in the US is supported

by Maria Cardamone and Paul Matthews together with the American Friends of the Academy of St Martin in the Fields.

P ROGRAM NOTES

Overture to The Marriage of Figaro, K.492

WOLFGANG AMADEUS MOZART Born January 27, 1756, Salzburg Died December 5, 1791, Vienna Composed: 1786 Approximate Duration: 4 minutes

The Marriage of Figaro, based on the Beaumarchais play that had been banned for its theme of social injustice and its portrayal of servants outsmarting their masters, had its premiere in Vienna on May 1, 1786, and promptly began a successful run. In many respects, Figaro marked the high point of Mozart’s success during his lifetime. On a visit to Prague the following year to conduct the opera, Mozart reported that “here nothing is talked of but Figaro, nothing played but Figaro, nothing whistled or sung but Figaro, no opera so crowded as Figaro, nothing but Figaro.”

Mozart customarily composed the overtures to his operas last, and that was probably the case with The Marriage of Figaro, though there is no evidence that he had to stay up all night before the final rehearsal to get it done, as was the case with Don Giovanni. Mozart’s overtures were usually in sonata form, but he abandoned that form here, and for good reason. The Marriage of Figaro is witty, brilliant, and wise,

and it needs an overture that will quickly set its audience in such a frame of mind. This overture is very brief (barely four minutes), and Mozart drops the development section altogether. He simply presents his sparkling themes (there are six of them, even in so short a space!), recapitulates them, and plunges into the opera. Evidence suggests that he had originally begun to compose a D-minor Andante as an interlude at the center of the overture, but saw that it would be out of place and crossed it out.

From the first instant, when this music stirs to life, to its sudden explosions of energy, the overture has delighted all who hear it and is the perfect lead-in to the comic escapades (and human insight) that will follow. Faced with having to choose a performance marking for his players, Mozart dispensed with any description of the emotional character he wanted from a performance. He simply chose one word, and it is perfect: Presto.

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ACADEM Y OF ST MARTIN IN THE FIELDS & JOSHUA BELL – PROGRAM NOTES

maestoso, described by one early critic as a “grand military movement.” It certainly gets off to a “military” start with an imposing opening for orchestra alone, and soon woodwinds Born October 27, 1782, Genoa announce the singing second subject. The soloist enters on Died May 27, 1840, Nice the “military” theme, and Paganini provides his violinist Composed: 1815 Approximate Duration: 37 minutes with ample opportunity to shine throughout this movement (and in fact the whole concerto): lyrical passages alternate Whatever the judgment of his own compositions may be, with moments of hair-raising technical difficulties, including it is hard to overestimate the importance of Nicolo Paganini passages written in thirds and tenths, flying spiccatos, brilliant in the history of music, for he practically invented the runs, and great chords. Paganini’s own cadenza for this phenomenon of the touring virtuoso superstar as we know it movement has unfortunately disappeared, and contemporary today. Born in Genoa, Paganini learned to play the violin from performers must supply their own. his father and perfected his technique as a young man in Italy. The Adagio, invariably described as “operatic,” moves Beginning about age 30, he embarked on a series of vastly to dark B minor. After a dramatic opening flourish from the popular tours to Vienna, Prague, Paris, London, and elsewhere orchestra, the soloist enters with a singing line so expressive that dazzled audiences everywhere (and made Paganini that it reduced early audiences to sobs. For all his flashy unbelievably wealthy). Young Chopin heard Paganini in virtuosity, Paganini could also sustain an expressive cantabile Warsaw, Liszt heard him in Paris, and both were struck dumb line, and even Schubert admitted that “In Paganini’s Adagio with admiration for his technical achievement (Liszt in fact I heard an angel sing.” The rondo-finale makes prominent promptly modeled his own career on Paganini’s). Schumann, use of saltando passages (played with a bouncing bow), and Mendelssohn, Berlioz, and many others were similarly along the way Paganini writes an extended section in doubleamazed by Paganini’s extraordinary abilities on the violin, stopped harmonics. and in Vienna the young Schubert saved his pennies so that he might see the great Italian violinist when he performed there Symphony No. 5 in C Minor, Opus 67 on tour.

It appears that Paganini taught himself such new Born December 16, 1770, Bonn techniques as playing in double-stopped harmonics or Died March 26, 1827, Vienna with lefthanded pizzicatos, and he made a speciality of Composed: 1804-07 playing entire compositions on one string or with massive Approximate duration: 36 minutes chording. Some of these effects seemed unbelievable even to None of us can remember the first time we heard accomplished violinists, who followed him from concert to Beethoven’s Fifth Symphony—this music is so much a concert, trying to figure out “how he did it.” The impression part of us that we seem to be born knowing it. The Fifth of superhuman powers quickly led to rumors that Paganini surrounds us: as background music for chocolate and motor had acquired these abilities by selling his soul to the devil, oil commercials, as the symbol for Victory in World War II, and controversy began to swirl around him. Paganini’s sickly and cadaverous appearance of course encouraged such as the stuff of jokes. Even children who know nothing about classical music sing its opening four notes on playgrounds. speculation, and rumor soon had it that he had murdered a lover and learned to play the violin in prison on a one-stringed Those four notes are the most famous in classical music, and Beethoven’s Fifth is certainly the most famous symphony ever violin; some even swore that they saw sparks flying from written.

Paganini’s bow when he played in darkened concert halls.

Music so white-hot in intensity, so universal in appeal, Ever the showman, Paganini was well aware of the box office cries out for interpretation, and over the last two centuries value of such rumors and did little to dispel them. many have been ready to tell us what this symphony “means.”

Paganini published his Violin Concerto No. 1 in D To some, it is Fate knocking at the door. To one nineteenthMajor in 1820, but he had been playing it for several years century critic, it told the story of a failed love affair. Others before that time; it was probably composed in 1817-18. It is altogether typical of Paganini’s sense of showmanship that he see it as the triumph of reason over chaos and evil. Still others have advanced quite different explanations. But engaging as had originally written the concerto in E-flat major and then played it in D major on a violin tuned up a half-step so that it such interpretations are, they tell us more about the people who make them than about the music itself. The sad truth would sound more brilliant; all subsequent performers have is that this music is so over-familiar that we have almost simply played it in D major. The concerto is in the expected stopped listening to it: the opening rings out, and our minds three movements, beginning with a lengthy opening Allegro

Violin Concerto No. 1 in D Major, Opus 6

NICOLO PAGANINI

LUDWIG VAN BEETHOVEN

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ACADEMY OF ST MARTIN IN THE FIELDS & JOSHUA BELL – PROGRAM NOTES

go on automatic pilot for the next thirty minutes—we have lost the capacity to listen to the Fifth purely as music, to comprehend it as the astonishing and original musical achievement that it is.

Beethoven made the first sketches for his Fifth Symphony in 1804, soon after completing the Eroica, but did not begin work in earnest until after finishing the Fourth in 1806. Most of the composition took place in the summer of 1807, and the score was completed that fall. The first performance took place on December 22, 1808, six days after Beethoven’s 38th birthday.

The stark opening of the Allegro con brio, both very simple and charged with volcanic fury, provides the musical content for the entire movement. That (seemingly) simple figure saturates the first movement, giving it extraordinary unity. Those four notes shape the main theme, generate the rhythms, and pulse insistently in the background—they even become the horn fanfare that announces the second theme.

One of the most impressive features of this movement is how short it is: the Fifth has the shortest first movement in all Beethoven’s nine symphonies. The power unleashed at the beginning is unrelenting, and this movement hammers to a close with the issues it raises still unresolved.

The Andante con moto contrasts two themes. Violas and cellos sing the broad opening melody in A-flat major; Beethoven reportedly made eleven different versions of this theme before he got the one he wanted. The second subject, in heroic C major, blazes out in the brass, and Beethoven simply alternates these two themes, varying each as the movement proceeds. The third movement returns to the C-minor urgency of the beginning. It seems at first to be in scherzo-and-trio form, with lower strings introducing the sinuous opening idea. But horns quickly sound the symphony’s opening motto, and the movement never quite regains its equilibrium; the trio, with lumbering fugal entries in the strings, subtly incorporates the opening rhythm as well. At just the point where one anticipates a return to the scherzo comes one of the most famous—and original— moments in music.

Instead of going back, Beethoven pushes ahead. Bits of the scherzo flit quietly over an ominous pedal, and suddenly the final movement—a triumphant march in C major—bursts to life: this dramatic moment has invariably been compared to sunlight breaking through dark clouds.

Beethoven’s scoring here reminds us of something easy to overlook—his concern with instrumental color. The march theme is announced by a full orchestra that includes three trombones (their first use in a symphony), and Beethoven employs a piccolo and contrabassoon to good effect here as well. Near the middle of this movement, Beethoven brings back some of the scherzo, which briefly—and darkly—

slows progress before the triumphant march bursts out again to drive the symphony to its close. The coda itself is extremely long, and the final cadence—extended almost beyond reason—is overpowering.

No matter how familiar this symphony is, no matter how overlain it has become with extra-musical associations, the music remains extraordinary. Heard for itself, free of the cultural baggage it has acquired over the years, Beethoven’s Fifth Symphony is as original and powerful and furious today as it was when it burst upon an unsuspecting audience on a cold winter night in Vienna two centuries ago.

Exclusive Management for the Academy of St Martin in the Fields: Opus 3 Artists David V. Foster, President & CEO Leonard Stein, Senior Vice President, Director, Touring Division Robert Berretta, Vice President, Manager, Artists & Attractions Tania Leong, Associate, Touring Division Grace Hertz, Assistant, Artists & Attractions John C. Gilliland III, Company Manager

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

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PRELUDE 7 PM Lecture by Michael Gerdes

MURRAY PERAHIA THURSDAY, MARCH 5, 2020 · 8 PM THE BAKER-BAUM CONCERT HALL

PROGRAM Please see insert for program listing and notes.

There will be a 20- minute intermission.

La Jolla Music Society’s 51st Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, Banc of California, Vail Memorial Fund, Thomas C. Ackerman Foundation, David C. Copley Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, WellsFargo, Bright Events Rentals, Snake Oil Cocktail Co, Ace Parking, The Lodge at Torrey Pines, The Westgate Hotel, The Empress Hotel, Monarch Cottage, Brenda Baker and Stephen Baum, Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Sam B. Ersan, Mao and Doctor Bob Shillman, Jeanette Stevens, Bebe and Marvin Zigman, and an anonymous donor.

Mr. Perahia appears by arrangement of IMG Artists.

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LA JOLLA MUSIC SOCIETY · 2019-20 SEASON

Murray Perahia last performed for La Jolla Music Society in the Piano Series on April 24, 2016.

PRELUDE 2 PM Musical Prelude by young artists from the San Diego Youth Symphony and Conservatory

AROD QUARTET SUNDAY, MARCH 15, 2020 · 3 PM THE BAKER-BAUM CONCERT HALL

HAYDN String Quartet in D Major, Opus 76, No. 5 (1732-1809) Allegretto; Allegro Largo: Cantabile e mesto Menuetto: Allegro Finale: Presto BARTÓK String Quartet No. 4. Sz.91 (1881-1945) Allegro Prestissimo, con sordino Non troppo lento Allegretto pizzicato Allegro molto Support for the Discovery Series is generously provided by:

Gordon Brodfuehrer Jeanette Stevens

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

BEETHOVEN String Quartet in F Major, Opus 59, No. 1 (1770-1827) Allegro Allegretto vivace e sempre scherzando Adagio molto e mesto Thème russe: Allegro Arod Quartet Jordan Victoria, Alexandre Vu, violins Tanguy Parisot, viola; Samy Rachid, cello

This performance marks the Arod Quartet’s La Jolla Music Society debut.

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AROD QUARTET - PROGRAM NOTES

Program notes by Eric Bromberger

String Quartet in D Major, Opus 76, No. 5

FRANZ JOSEPH HAYDN Born March 31, 1732, Rohrau, Austria Died May 31, 1809, Vienna Composed: 1796-97 Approximate Duration: 18 minutes

Haydn composed the six string quartets of his Opus 76 in 1796-97, shortly after returning from the second of his wildly successful visits to London. At age 65, he was nearing an important turning point in his life: soon he would turn away from instrumental music entirely and devote the rest of his life to vocal music. Behind him now were all 104 of his symphonies, and he was close to the end of the cycle of his string quartets—the present quartet is the 79th of his 83 quartets. Even as he wrote these last quartets he was beginning work on his oratorio The Creation.

The Opus 76 quartets—sometimes nicknamed the “Erdödy Quartets” after the man who commissioned them, Count Joseph Erdödy—include some of Haydn’s most famous, among them those nicknamed “Emperor,” “Sunrise,” and “Fifths.” While the fifth of the cycle, in D major, lacks a nickname, it shows some unusual technical features. As might be expected, it also shows the consummate mastery of a composer who had spent a lifetime transforming the string quartet into one of the greatest of all musical forms.

Particularly striking is the structure of the first movement.

Haydn had for many years experimented with building sonata-form movements on just one theme, but here he goes even further, dividing the movement into two parts—each at a different tempo—yet using the same theme. The quartet opens with a lengthy Allegretto, based on the violin’s graceful opening melody. Hardly has this had a chance to unfold when the music slips suddenly into D minor, and the cello now has the theme beneath the first violin’s complicated embellishments. The music grows turbulent, then just as unexpectedly moves back into the D-major sunshine of the beginning. Only at this point does Haydn launch the Allegro, itself based on the opening melody, but this section (the first movement proper) is extremely short, almost abrupt.

The unusual length of the slow movement gives it central importance. It also has a distinctive marking—Haydn stresses that he wants it to sound “Singing and sad”—but even more remarkable is the key signature, for Haydn sets the movement in the unusual key of F-sharp major. This is another monothematic movement, based on the violin’s dotted opening melody. The minuet is more conventional, though the expansive D-major minuet gives way to the tense mutterings

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of a trio in D minor. Some have heard the rustic music of village bands in the finale, marked Presto, but Haydn transforms this material into a sonata-form movement of unusual polish. Particularly impressive here are the range of the writing (the first violin part is extremely high for a string quartet) and Haydn’s deft use of silences to contrast with the cheerful thrust of this lively music.

String Quartet No. 4, Sz.91

BÉLA BARTÓK

Born March 25, 1881, Nagyszentmiklos, Hungary Died September 26, 1945, New York City Composed: 1928 Approximate Duration: 23 minutes

Bartók’s Fourth String Quartet of 1928 is a work of extraordinary concentration. Over its brief span, materials that at first seem unpromising are transformed into music of breathtaking virtuosity and expressiveness. Bartók’s biographer Halsey Stevens suggests that the Fourth “is a quartet almost without themes, with only motives and their development,” and one of the most remarkable things about the Fourth Quartet is that virtually all of it is derived from a simple rising-and-falling figure announced by the cello moments into the first movement. Bartók takes this six-note thematic cell through a stunning sequence of changes that will have it appear in an almost infinite variety of rhythms, harmonies, and permutations. So technical a description makes this music sound cerebral and abstract. In fact, the Fourth Quartet offers some of the most exciting music Bartók ever wrote.

The Fourth Quartet is one of the earliest examples of Bartók’s fascination with arch form, an obsession that would in some ways shape the works he composed over the rest of his life. There had been hints of symmetrical formal structures earlier, but the Fourth Quartet is the first explicit and unmistakable statement of that form—the form here is palindromic. At the center of this five-movement quartet is a long slow movement, which Bartók described as “the kernel” of the entire work. Surrounding that central movement are two scherzos (“the inner shell”) built on related material, and the entire quartet is anchored on its powerful opening and closing movements (“the outer shell”), which also share thematic material. There is a breathtaking formal balance to the Fourth Quartet, and that balance is made all the more remarkable by its concentration: the entire five-movement work spans only 23 minutes.

Bartók’s Third Quartet had seen a new attention to string sonority, but the Fourth takes us into a completely new sound-world. It marks the first appearance of the “Bartók pizzicato” (the string plucked so sharply that it snaps off

AROD QUARTET - PROGRAM NOTES

the fingerboard), but there are many other new sounds here as well: strummed pizzicatos, fingered ninths, chords arpeggiated both up-bow and down-bow. If the Third Quartet had opened up a new world of sound for Bartók, in the Fourth he luxuriates in those sounds, expanding his palette, yet employing these techniques in the service of the music rather than as an end in themselves.

Many observers have been tempted to describe the outer movements of the Fourth Quartet as being in sonata form, and it is true that they are structured—generally—on the notion of exposition, development, and recapitulation. But to try to push these movements into a traditional form is to violate them. The outer movements of the Fourth Quartet do not divide easily into component sections, and in fact the entire quartet is characterized by a continuous eruption and transformation of ideas. Themes develop even as they are being presented and continue to evolve even as they are being “recapitulated.” For Bartók, form is a dynamic process rather than a structural plan.

The Allegro opens with an aggressive tissue of terraced entrances, and beneath them, almost unobtrusively, the cello stamps out the quartet’s fundamental thematic cell in the seventh measure. This tight chromatic cell (all six notes remain within the compass of a minor third) will then be taken through an infinite sequence of expansions: from this pithy initial statement through inversions, expansions to more melodic shapes, and finally to a close on a massive restatement of that figure.

If the outer movements are marked by a seething dynamism, the three interior movements takes us into a different world altogether. Bartók marks the second movement Prestissimo, con sordino and mutes the instruments throughout. The outer sections are built on the opening theme, which is announced by viola and cello in octaves. The central section, which does not relax the tempo in any way, rushes through a cascade of changing sonorities— glissandos, pizzicatos, grainy sul ponticello bowing—before the return of the opening material. This movement comes to a stunning close: glissandos swoop upward and the music vanishes on delicate harmonics.

At the quartet’s center lies one of Bartók’s night-music movements. Textures here are remarkable. At the beginning Bartók asks the three upper voices—the accompaniment—to alternate playing without and with vibrato: the icy stillness of the former contrasts with the warmer texture of vibrato.

Beneath these subtly-shifting sonorities, the cello has a long and passionate recitative that has its roots in Hungarian folk music, and the first violin continues with a series of soaring trills suggestive of bird calls.

The fourth movement is the companion to the second, this one played entirely pizzicato. The viola’s main theme is a variant of the principal theme of the second movement, here opened up into a more melodic shape. This use of pizzicato takes many forms in this movement: the snapped “Bartók pizzicato,” arpeggiated chords, strummed chords, glissandos.

Brutal chords launch the final movement. This is the counterpart to the opening movement, but that opening Allegro is now counterbalanced by this even faster Allegro molto. Quickly the two violins outline the main theme, a further variation of the opening cell, which returns in its original form as this music dances along its sizzling way. As if to remind us how far we have come, the quartet concludes with a powerful restatement of that figure.

String Quartet in F Major, Opus 59, No. 1

LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna Composed: 1806 Approximate Duration: 40 minutes

Count Andreas Kyrillovich Razumovsky, the Russian ambassador to Vienna, was an amateur violinist and a string quartet enthusiast who had studied with Haydn. When he commissioned a set of three string quartets from Beethoven in 1805, he could not possibly have known what he would receive in return. Beethoven had at that time written one set of six quartets (published in 1801 as his Opus 18), cast very much in the high classical mold as set out by Haydn and Mozart. Doubtless Razumovsky expected something on this order, and he provided Beethoven with some Russian themes and asked that he include one in each of the three quartets.

The count further assisted the composer by putting at his disposal the count’s own string quartet, led by Beethoven’s friend Ignaz Schuppanzigh. Beethoven worked two years on these quartets, completing them in 1806 and publishing them two years later.

The three quartets Beethoven published as his Opus 59, known today as the “Razumovsky Quartets,” were so completely original that in one stroke they redefined the entire paradigm of the string quartet. These are massive works—in duration, sonority, and dramatic scope—and it is no surprise that they alienated their early audiences. Only with time did Beethoven’s achievement in this music become clear.

Trying to take the measure of this new music, some early critics referred to the Razumovsky quartets as “symphony quartets,” but this is misleading, for the quartets are genuine chamber music. But it is true that what the Eroica did for the symphony, these quartets—and the two that followed in 1809 and 1810—did for the string quartet: they opened new vistas, L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

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entirely new conceptions of what the string quartet might be and of the range of expression it might make possible.

Schuppanzigh’s quartet is reported to have burst into laughter at their first reading of the Quartet in F Major, convinced that Beethoven had intended a joke on them. When Schuppanzigh complained about the difficulty of this music, Beethoven shot back: “Do you think I worry about your wretched fiddle when the spirit speaks to me?”

The Quartet in F Major, Opus 59, No. 1 is, at forty minutes, one of the longest of Beethoven’s quartets, and its opening Allegro is conceived on a gigantic scale.

The movement springs to life with its main theme rising powerfully in the cello under steady accompaniment and then taken up by the first violin. This is an extremely fertile subject, appearing in many guises and giving the movement much of its rhythmic and melodic shape. It is entirely characteristic of Beethoven that this theme, which will unleash so much strength and variety across the span of the movement, should be marked dolce on its first appearance.

There is no exposition repeat—the music seems to repeat, but Beethoven is already pressing forward—and the development centers on an unusual fugal passage introduced by the second violin. At the conclusion of the movement, the opening subject returns to drive to a massive climax marked by huge chords and slashing power. While this music is clearly conceived for string quartet, both in sonority and technique, it is exactly this sort of powerful climax that earned these quartets the nickname “symphony quartets.”

A curious feature of this quartet is that all four movements are (more or less) in sonata form. The second, Allegretto vivace e sempre scherzando, has an unusual shape, alternating scherzando sections with trios. The opening rhythm—announced by the cello and consisting of only one note, a recurring B-flat—underlies the entire movement; this figure—one repeated note—particularly infuriated many early performers and listeners. The main theme itself, an oddly asymmetrical figure, appears in the fourth measure and takes up some of this rhythm.

The heartfelt third movement is built on two ideas: a grieving opening theme announced by the first violin (Beethoven marks it mesto: “sad”) and a steadily-rising melody first played by the cello. The movement comes to a close as a quasi-cadenza for violin leads without pause to the finale, marked Thème russe. Here is the Count’s “Russian theme,” a folk melody played by the cello under a sustained violin trill. The blazing final movement is based primarily on this theme, and its energy level matches the power of the first two movements. Beethoven offers a final recall of this theme—at a very slow tempo—just before the Presto rush to the close.

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PRELUDE 7 PM Interview with a company member hosted by Molly Puryear

DORRANCE DANCE

SOUNDspace

THURSDAY & FRIDAY MARCH 19 & 20, 2020 · 8 PM Support for this program is generously provided by:

THE BAKER-BAUM CONCERT HALL

PROGRAM

Bebe and Marvin Zigman

There will be no intermission.

Artistic Director: Michelle Dorrance Executive Director: Donald Borror

DANCERS Christopher Broughton, Elizabeth Burke, Warren Craft, Brittany DeStefano, Michelle Dorrance, Luke Hickey, Jillian Meyers, Claudia Rahardjanoto, Leonardo Sandoval, Byron Tittle

MUSICIAN Gregory Richardson, bass

ABOUT Michelle Dorrance's SOUNDspace strips tap dance down to its most raw and thrilling basics— movement as pure music. Without the trappings of ornate set pieces or flashy costumes, the award-winning choreographer and her expert company, along with musician Gregory Richardson, explore the unique setting and acoustics of The Baker-Baum Concert Hall in a collective celebration of rhythm, sound, and energy.

This performance marks Dorrance Dance’s La Jolla Music Society debut.

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SOUNDspace (2013) Choreography by Michelle Dorrance with solo improvisation by the dancers Additional Choreography by Ephrat “Bounce” Asherie and Byron Tittle Original Music by Gregory Richardson Original Body Percussion Score by Nicholas Van Young Lighting Design by Kathy Kaufmann Costumes by Mishay Petronelli, Michelle Dorrance, and Byron Tittle Production Manager/Sound Designer: Christopher Marc Lighting Supervisor: Serena Wong Technical Director/Assistant Stage Manager: Diego Quintanar

The creation of SOUNDspace was made possible, in part, by the Danspace Project 2012-2013 Commissioning Initiative, with support from the New York State Council on the Arts. As part of Danspace Project’s Choreographic Center Without Walls, Dorrance received a production residency supported by The Andrew W. Mellon Foundation.

Dorrance Dance is managed by Selby Artists Management.

DANCE SERIES OUTREACH La Jolla Music Society hosts dance master classes and open rehearsals throughout the winter season.

Participating companies have included MOMIX, Joffrey Ballet, New York City Ballet MOVES, and many more.

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EXPLORING MARS with KOBIE BOYKINS, NASA engineer THURSDAY, MARCH 26, 2020 · 7 PM THE BAKER-BAUM CONCERT HALL La Jolla Music Society’s 51st Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, Banc of California, Vail Memorial Fund, Thomas C. Ackerman Foundation, David C. Copley Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, WellsFargo, Bright Events Rentals, Snake Oil Cocktail Co, Ace Parking, The Lodge at Torrey Pines, The Westgate Hotel, The Empress Hotel, Monarch Cottage, Brenda Baker and Stephen Baum, Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Sam B. Ersan, Mao and Doctor Bob Shillman, Jeanette Stevens, Bebe and Marvin Zigman, and an anonymous donor.

PROGRAM Question & Answer Session following the presentation.

There will be no intermission.

ABOUT NASA mechanical engineer Kobie Boykins is intimately involved with the planet Mars.

As supervisor of the mobility and remote sensing teams for the rover Curiosity, Boykins has monitored headline-making studies, including proof of the former presence of water on Mars indicating that the red planet could have supported life. Join Boykins, winner of a NASA Exceptional Service Medal, as he shares his boundless enthusiasm for unraveling the mysteries of outer space and recounts the latest exciting chapter of Mars exploration.

This presentation marks Kobie Boykins’ La Jolla Music Society debut.

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BIOGRAPHIES Academy of St Martin in the Fields

The Academy of St Martin in the Fields is one of the world’s finest chamber orchestras, renowned for fresh, brilliant interpretations of the world’s greatest orchestral music. Formed by Sir Neville Marriner in 1958 from a group of leading London musicians, the Academy gave its first performance in its namesake church in November 1959. Through unrivalled live performances and a vast recording output, the Academy quickly gained an enviable international reputation for its distinctive, polished, and refined sound. With over 500 releases in a much-vaunted discography and a comprehensive international touring program, the sound of the Academy is known by classical audiences throughout the world.

Joshua Bell, music director & violin

With a career spanning more than 30 years as a soloist, chamber musician, recording artist, conductor, and director, Joshua Bell is one of the most celebrated violinists of his era. Having performed with virtually every major orchestra in the world, Bell continues to maintain engagements as soloist, recitalist, and chamber musician. A Sony Classical artist, Bell has recorded more than 40 albums garnering GRAMMY®, Mercury, Gramophone, and OPUS KLASSIK awards. Named the Music Director of the Academy of St Martin in the Fields in 2011, he is the only person to hold this post since Sir Neville Marriner formed the orchestra in 1958. A native of Bloomington, Indiana, Bell performs on the 1713 Huberman Stradivarius violin.

Arod Quartet

With all four members only in their twenties, the Paris-based Arod Quartet has already dazzled awestruck chamber-music lovers in concerts at such prestigious venues as the Auditorium of the Louvre in Paris and the Verbier Festival in Switzerland. The Arod skyrocketed to international attention when they won the coveted First Prize of the 2016 ARD International Music Competition in Munich. In April 2019 the Quartet undertook its debut American tour, which featured its inaugural Carnegie Hall performance – one of the only European chamber ensembles ever to make its Carnegie Hall debut on its first trip to the United States. The group takes its name from Legolas’s horse in J.R.R. Tolkien’s epic Lord of the Rings trilogy; in Tolkien’s mythic Rohirric language, Arod means ‘swift.

Kobie Boykins, NASA engineer

Originally from Omaha, Nebraska, Kobie Boykins graduated Cum Laude from Rensselaer Polytechnic Institute in Troy, New York, before becoming a mechanical engineer at NASA’s Jet Propulsion Laboratory in Pasadena, California. Boykins has worked on projects from Pathfinder and Mars Exploration Rovers to Ocean Surface Topography Mission over more than 10 years at the lab. He was involved in the NANOROVER/ MUSES-CN microver technology and flight task and has worked many pre-proposal and proposals as a member of Team X. Boykins served as the CogE of the Mars Exploration Rover’s Solar Array Mechanisms and Structures and as a member of the ATLO team. Currently, Boykins is supervisor of the mobility and remote sensing mast teams for the Mars Science Laboratory, Curiosity.

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BIOGRAPHIES

Brentano Quartet

Since its inception in 1992, the Brentano String Quartet has appeared throughout the world to popular and critical acclaim. The Brentano Quartet is “passionate, uninhibited and spellbinding,” raves the London Independent. Since 2014, the Brentano Quartet has served as Artists in Residence at Yale University and were, previously, Artists in Residence at Princeton University for many years. The Quartet had its first European tour in 1997, and was honored in the U.K. with the Royal Philharmonic Award for Most Outstanding Debut.

In addition to their interest in performing very old music, the Brentano Quartet frequently collaborates with contemporary composers. Recent commissions include a piano quintet

by Vijay Iyer, a work by Eric Moe (with Christine Brandes, soprano), and a viola quintet by Felipe Lara (performed with violist Hsin-Yun Huang). The Quartet is named for Antonie Brentano, whom many scholars consider Beethoven’s “Immortal Beloved,” the intended recipient of his famous love confession.

Dorrance Dance

Dorrance Dance is an award-winning tap dance company based in New York City. The company’s work aims to honor tap dance’s uniquely beautiful history in a new, dynamic, and compelling context—not by stripping the form of its tradition, but by pushing it rhythmically, technically, and conceptually. The company’s inaugural performance garnered a Bessie Award for “blasting open our notions of tap” and the company continues its passionate commitment to expanding the audience for tap dance, America’s original art form. Founded in 2011 by artistic director and 2015 MacArthur Fellow Michelle Dorrance, the company has received countless accolades, rave reviews, and has performed at venues including Danspace Project, Jacob’s Pillow Dance Festival, The Joyce Theater, New York City Center, Brooklyn Academy of Music, Vail Dance Festival, the Kennedy Center, Lincoln Center Out of Doors, Works and Process at the Guggenheim, Carolina Performing Arts at UNC Chapel Hill, Cal Performances at UC Berkeley, among many others, including international venues in Canada, France, Germany, Spain, England, Hong Kong, Singapore, and Russia. DorranceDance.com

Michelle Dorrance, artistic director/choreographer

Michelle Dorrance is a New York City–based artist. Mentored by Gene Medler (North Carolina Youth Tap Ensemble), she was fortunate to study under many of the last master hoofers. Career highlights include: STOMP, Derick Grant’s Imagine Tap!, Jason Samuels Smith’s Charlie’s Angels/ Chasing the Bird, Ayodele Casel’s Diary of a Tap Dancer, Mable Lee’s Dancing Ladies, and touring with Darwin Deez. Company work includes: Savion Glover’s Ti Dii, Manhattan Tap, Barbara Duffy and Co., JazzTap Ensemble, and Rumba Tap. Solo work ranges from The Late Show with Stephen Colbert to commissions for the Martha Graham Dance Company and American Ballet Theatre. A 2018 Doris Duke Artist, 2017 Ford Foundation Art of Change Fellow, and 2015 MacArthur Fellow, Dorrance is humbled to have been acknowledged and supported by United States Artists, The Joyce Theater, New York City Center, the Alpert Awards, Jacob’s Pillow, Princess Grace FoundationUSA, The Field, American Tap Dance Foundation, and the Bessie Awards. Dorrance holds a B.A. from New York University and is a Capezio Athlete.

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BIOGRAPHIES

Julio Elizalde, piano

Praised as a musician of "compelling artistry and power" by The Seattle Times, the gifted American pianist Julio Elizalde is a multi-faceted artist who enjoys a versatile career as a soloist, chamber musician, artistic administrator, educator, and curator. Since 2014, he has served as the Artistic Director of the Olympic Music Festival near Seattle, Washington. He tours internationally with world-renowned violinists Sarah Chang and Ray Chen and has performed alongside conductors Itzhak Perlman, Teddy Abrams, and Anne Manson. Originally from the San Francisco Bay Area, Elizalde received a Bachelor of Music degree with honors from the San Francisco Conservatory of Music, where he studied with Paul Hersh. He holds a Master's and a Doctorate of Musical Arts degree from the Juilliard School in New York City.

Michael Gerdes, lecturer

Michael Gerdes is the Director of Orchestras at San Diego State University where he conducts the San Diego State Symphony Orchestra, Chamber Orchestra, and Opera Orchestra. He earned his Bachelor of Music degree in Music Education and his Bachelor of Arts Degree in Philosophy from Concordia College in Moorhead, Minnesota. Selected by The San Diego Union-Tribune as one of three “Faces to Watch” in Classical Music during his first year as Director of Orchestras, Gerdes if focused on creating a thriving orchestral community at San Diego State University.

Hélène Grimaud, piano

Renaissance woman Hélène Grimaud is not just a deeply passionate and committed musical artist whose pianistic accomplishments play a central role in her life. She is a woman with multiple talents that extend far beyond the instrument that she plays with such poetic expression and peerless technical control. Grimaud was born in 1969 in Aix-en-Provence and was accepted into the Paris Conservatoire at just 13. She continued to study with György Sándor and Leon Fleisher until, in 1987, she gave her well-received debut recital in Tokyo.

It is through Grimaud’s thoughtful and tenderly expressive music making that she most deeply touches the emotions of audiences. Her prodigious contribution to and impact on the world of classical music were recognized by the French government when she was admitted into the Ordre National de la Légion d’Honneur (France’s highest decoration) at the rank of Chevalier (Knight).

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BIOGRAPHIES

Martha Graham Dance Company

The MARTHA GRAHAM DANCE COMPANY has been a world leader in the development of contemporary dance since its founding in 1926. Today, the Company is embracing a new programming vision that showcases masterpieces by Graham alongside newly commissioned works by contemporary artists. During its 90-year history, the Company has received acclaim from audiences and critics in more than 50 countries. "These men and women easily embody the choreographer’s sense of dancers as angelic athletes,” says Robert Greskovic of The Wall Street Journal, while Marina Kennedy of Broadway World notes, “This is contemporary dance at its very best.” Siobhan Burke of The New York Times asks, “Can this please never go away?”

Janet Eilber, artistic director

Janet Eilber has been the Company’s artistic director since 2005. Her direction has focused on creating new forms of audience access to Martha Graham’s masterworks, including contextual programming, cultural partnerships, use of media, commissioning of new works and events such as the Lamentation Variations. Earlier in her career, Ms. Eilber worked closely with Martha Graham. She danced many of Graham’s greatest roles, had roles created for her by Graham, and has since taught, lectured, and directed Graham ballets internationally.

Murray Perahia, piano

In the more than 40 years he has been performing on the concert stage, American pianist Murray Perahia has become one of the most sought-after and cherished pianists of our time, performing in all of the major international music centers and with every leading orchestra.

He is the Principal Guest Conductor of the Academy of St Martin in the Fields, with whom he has toured as conductor and pianist throughout the world. Born in New York, Perahia started playing piano at the age of four, and later attended Mannes College where he majored in conducting and composition. Perahia is an honorary fellow of the Royal College of Music and the Royal Academy of Music, and he holds honorary doctorates from Leeds University and Duke University. In 2004, he was awarded an honorary KBE by Her Majesty The Queen, in recognition of his outstanding service to music.

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BIOGRAPHIES

Kristi Brown Montesano, lecturer

Chair of the Music History Department at the Colburn Conservatory of Music in Los Angeles, Kristi Brown Montesano is an enthusiastic “public musicologist.” She is an active lecturer for the LA Philharmonic, the Opera League of Los Angeles, the Salon de Musiques series, and Mason House Concerts. Her book, The Women of Mozart’s Operas (UC Press, 2007), offers a detailed study of these fascinating roles; more recent scholarly interests include classical music in film, women in classical music, and opera for children.

Molly Puryear, lecturer

Molly Puryear brings passion for dance and non-profit administration to her position as Executive Director of Malashock Dance. Puryear has worked with Malashock Dance since 2006, and previously served in the role of Education Director. She strategically aligns artistic and educational efforts to create a dynamic relationship between programs, the communities they serve, and the organization’s valuable funders. Puryear is committed to serving the San Diego community through the development and administration of vibrant dance programs. She believes that dance is an avenue for personal expression that engages people from all walks of life.

San Diego Youth Symphony and Conservatory

Under the leadership of President and CEO Dr. Michael Remson and Music Director Jeff Edmons, San Diego Youth Symphony and Conservatory (SDYS) instills excellence in the musical and personal development of students ages eight 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.

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BIOGRAPHIES

Kian Soltani, cello

Hailed by The New York Times as a “remarkable cellist” and described by Gramophone as “sheer perfection,” Kian Soltani’s playing is characterized by a depth of expression, a sense of individuality, technical mastery, and a charismatic stage presence. Soltani made his international breakthrough at the age of 19 with acclaimed debuts in the Vienna Musikverein’s Goldener Saal and at the Hohenems Schubertiade. In February 2017, Soltani won Germany’s celebrated Leonard Bernstein Award and in December 2017, he was awarded the prestigious Credit Suisse Young Artist Award. Born in Bregenz, Austria, in 1992 to a family of Persian musicians, Soltani began playing the cello at age four and was only 12 when he joined Ivan Monighetti’s class at the Basel Music Academy. Soltani plays "The London, ex Boccherini" Antonio Stradivari cello, kindly loaned to him by a generous sponsor through the Beares International Violin Society.

Hanzhi Wang, accordion

Praised for her captivating stage presence and performances that are technically and musically masterful, the groundbreaking young musician Hanzhi Wang is the first accordionist to win a place on the roster of Young Concert Artists in its 58-year history. Wang won First Prize in the 40th Castelfidardo International Accordion Competition in Italy, has served on the jury for the Accordion Competition of Rome and Portugal’s International Accordion Festival, and inspired the next generation of accordionists with lectures, performances, and master classes at universities and schools around the world. Wang earned her Bachelor’s degree at the China Central Conservatory of Music in Beijing, and her Master’s degree at the Royal Danish Academy of Music in Copenhagen as a student of Geir Draugsvoll.

PHOTO CREDITS: Cover: X. Ying in Martha Graham’s Chronicle © Hibbard Nash Photography; Pg. 24: L. Mayor and C. Landreau in Martha Graham’s Diversion of Angels © Brigid Pierce; Pg. 27: K. Soltani © Juventino Mateo; Pg. 30: H.Wang © Matt Dine; Pg. 34: Brentano Quartet © Juergen Frank; Pg. 38: H. Grimaud courtesy of artist; Pg. 42: Academy of St Martin in the Fields & Joshua Bell© Benjamin Ealovega; Pg. 46: M. Perahia courtesy of artist; Pg. 47: Arod Quartet © Marco Borggreve; Pg. 51: Dorrance Dance SOUNDspace © Stephanie Berger; Pg. 53: K. Boykins © NASA; Pg. 54: Academy of St Martin in the Fields © Benjamin Ealovega, J.Bell courtesy of artist, Arod Quartet © Marco Borggreve, K. Boykins © Caltech; Pg. 55: Brentano Quartet © Juergen Frank, Dorrance Dance © Matthew Murphy, M. Dorrance courtesy of artist; Pg. 56: J. Elizalde courtesy of artist, M. Gerdes courtesy of lecturer, H. Grimaud courtesy of artist; Pg. 57: C. Landreau in Martha Graham’s Diversion of Angels © Brigid Pierce, J. Eilber © Hibbard Nash Photography, M. Perahia © Nana Watanabe; Pg. 58: M. Puryear courtesy of lecturer, San Diego Youth Symphony and Conservatory; Pg. 59: K. Soltani © Juventino Mateo, H.Wang courtesy of artist; Pg. 63: L. Downs © Marcela Taboada, C. Sands courtesy of artist, H. Wang courtesy of artist, J. Bell © Phil Knott, Xin Ying in Martha Graham’s Chronicle © Hibbard Nash Photography; Back Cover: Arod Quartet © Marco Borggreve

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L A JOLL A MUSIC SOCIETY’S COMMUNITY MUSIC CENTER

For the past 20 years, La Jolla Music Society’s Community Music Center has given thousands of children their first experience in music-making.

Over 100 students from roughly 40 different elementary, middle, and high schools take part each year in our bilingual after-school music program located in San Diego’s Logan Heights neighborhood. The Community Music Center provides free instruments and instruction to all our students with group lessons three days each week for piano, violin, woodwind, brass, voice, guitar, and percussion. We’ve also expanded our program this year and now offer a fourth day of instruction focused on ensemble performance practice.

To learn more about the Community Music Center and to support our Education and Community Programming, please contact: Allison Boles, Education and Community Programming Manager 858.459.3724, ext. 221 or ABoles@LJMS.org.

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THANK YOU! The wonderful array of musical activity that La Jolla Music Society offers would not be possible without support from its family of donors. Your contributions to La Jolla Music Society help bridge the gap between income from ticket sales and the total cost to present the finest musicians and the best chamber music repertoire in San Diego. Your generosity also supports our programs in the local schools and throughout the community.

On the following pages La Jolla Music Society pays tribute to you, the leading players who make it possible to share the magic of the performing arts with our community.

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SEASON 2019-20 SPONSORS La Jolla Music Society’s 51st Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, Banc of California, Vail Memorial Fund, Thomas C. Ackerman Foundation, David C. Copley Foundation, D’Addario Foundation, ResMed Foundation, WellsFargo, Bright Events Rentals, Snake Oil Cocktail Co, Ace Parking, The Lodge at Torrey Pines, The Westgate Hotel, The Empress Hotel, Brenda Baker and Steve Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Sam B. Ersan, Mao and Doctor Bob Shillman, Jeanette Stevens, Bebe and Marvin Zigman, and an anonymous donor.

SM

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SAN DIEGO

MEDIA PARTNERS

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ANNUAL SUPPORT La Jolla Music Society depends on contributed income for more than 50% of its annual budget. We are grateful to all of our contributors who share our enthusiams and passion for the arts. Every donor is a valued partner and they make it possible for one of San Diego’s premier music organization to present year-round.

It is our privilege to recognize the following donors.

FOUNDER Brenda Baker & Stephen Baum

($250,000 and above)

The City of San Diego Commission for Arts and Culture Debra Turner Clara Wu Tsai & Joseph Tsai

ANGEL Joy Frieman

($100,000 - $249,999)

Joan & Irwin Jacobs Sheryl & Bob Scarano

BENEFACTOR Raffaella & John Belanich ($50,000-$99,999)

GUARANTOR

($25,000-$49,999)

Steven & Sylvia Ré Gordon Brodfuehrer Jeanette Stevens Silvija & Brian Devine Haeyoung Kong Tang Stephen Gamp/Banc of California Bebe & Marvin Zigman Lehn & Richard Goetz Anonymous Mary Ann Beyster Katherine & Dane Chapin Ric & Barbara Charlton Linda Chester & Ken Rind Julie & Bert Cornelison Martha & Ed Dennis Barbara Enberg Jennifer & Kurt Eve Monica Fimbres Debby & Wain Fishburn Jeff Glazer & Lisa Braun Glazer Kay & John Hesselink Susan & Bill Hoehn Sue & John Major

Arlene & Lou Navias Robin & Hank Nordhoff Arman Oruc & Dagmar Smek Peter & Peggy Preuss Don & Stacy Rosenberg Marge & Neal Schmale Tina Simner UC San Diego / Chancellor Pradeep Khosla Vail Memorial Fund Sue & Peter Wagener Bebe & Marvin Zigman

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ANNUAL SUPPORT

SUSTAINER

AMBASSADOR

Anonymous (2) Ginny & Robert Black Wendy Brody Sharon L. Cohen Nina & Robert Doede Brian & Susan Douglass Lyndie & Sam B. Ersan Sue & Chris Fan Brenda & Michael Goldbaum Angelina & Fredrick Kleinbub Vivian Lim & Joseph Wong Marina & Rafael Pastor Clifford Schireson & John Venekamp Maureen & Thomas Shiftan Abby & Ray Weiss Lisa Widmier Katrina Wu Dolly & Victor Woo Anna & Edward Yeung Carolyn Yorston-Wellcome

Anonymous (3) Judith Bachner & Dr. Eric L. Lasley Bjorn Bjerede & Jo Kiernan George and Laurie Brady Johan & Sevil Brahme Dr. James C. & Karen A. Brailean Benjamin Brand Stuart & Isabel Brown Lisa & David Casey Jian & Samson Chan Lori & Aaron Contorer Peter Cooper & Erik Matwijkow Elaine & Dave Darwin Sandra & Henny den Uijl J. Lynn Dougan and Amb. Diana Lady Dougan Eleanor Ellsworth Jeane Erley Jill Esterbrooks & James Kirkpatrick Robbins Farrell Family Foundation Elliot & Diane Feuerstein Richard & Beverley Fink Sara & Jay Flatley Pam & Hal Fuson Sarah & Michael Garrison Buzz & Peg Gitelson Jeff Glazer & Lisa Braun Glazer Michael Grossman & Margaret Stevens Grossman Rita & Mark Hannah Erik & Mimi Holtsmark Gail Hutcheson Debby & Hal Jacobs Theresa Jarvis & Ric Erdman Jan Ann Kahler Amy & William Koman Carol Lam & Mark Burnett Arleen & Robert Lettas Donna Medrea Marilyn & Stephen Miles Bill Miller & Ida Houby Hans & Ursula Moede Elaine & Doug Muchmore

($15,000 - $24,999)

SUPPORTER

($10,000 - $14,999)

Anonymous Tom & Stephanie Baker Joan Jordan Bernstein Jim Beyster Karen & Don Cohn County of San Diego / Community Enhancement Program Ingrid Hibben Keith & Helen Kim Kathleen & Ken Lundgren Jack McGrory & Una Davis Betty-Jo Petersen Leigh P. Ryan Ivor Royston & Colette Carson Royston Noni & Drew Senyei Iris & Matthew Strauss

($5,000 - $9,999)

Muchnic Foundation Jeanne & Rick Norling Pat & Hank Nickol Sharon & Jeff Pennington Taffin & Gene Ray Mrs. Robert Reiss Catherine & Jean Rivier Pat Shank Susan Shirk & Samuel Popkin Gloria & Rod Stone Joyce & Ted Strauss Steve Strauss & Lise Wilson Elizabeth Taft Mary & Bill Urquhart Yvonne Vaucher Gianangelo & Mera Vergani Jodi & Rusty Wallis Margie & John H. Warner, Jr. Sheryl & Harvey White Mary & Joseph Witztum

AFICIONADO ($2,500 - $4,999)

Anonymous Dede & Mike Alpert Rusti Bartell Sedgwick & Gloria Browne R. Nelson & Janice Byrne Lee Clark Dr. Marjorie Coburn Bradley Comp and Christine Ellis-Comp David Cooper and Joanne Hutchinson Stacie & Michael Devitt Mr. and Mrs. Michael Durkin Robert Dynes & Ann Parode Dynes Ruth and Ed Evans Socorro Fimbres Beverly Frederick & Alan Springer Elaine Galinson & Herbert Solomon Dawn Gilman Lee & Frank Goldberg Jennifer & Richard Greenfield Reena & Sam Horowitz Joan Hotchkis

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.

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LA JOLLA MUSIC SOCIETY ¡ 2019-20 SEASON

ANNUAL SUPPORT Jeanne Jones Susan & David Kabakoff Lynda Kerr Sharon LeeMaster, CFRE Jeffrey & Sheila Lipinsky Sylvia & Jamie Liwerant Sarah Long Cindy & Jay Longbottom Mary Keough Lyman Gail & Ed Miller Howard & Barbara Milstein Alexandra Morton Sally & Howard Oxley Carolyn & Ed Parrish Marty & David Pendarvis Vicki & Art Perry William Pitts & Mary Sophos William Purves & Don Schmidt Jessica & Eberhardt Rohm Sandra & Robert Rosenthal Doreen & Myron Schonbrun Drs. Gloria & Joseph Shurman Leland & Annemarie Sprinkle Twin Dragons Foundation Ronald Wakefield Mary Walshok Faye Wilson

ASSOCIATE

($1,000 - $2,499)

Christine Andrews Alvaro Ă vila Charles & Sharon Bates Adriana Cetto June Chocheles Anthony F. Chong & Annette Thu Nguyen Serge Falesitch Beverly Friemon Laura & Tom Gable Beverly Grant Miles Grant & Tatiana Zunshine Bryna Haber Ann Hill Lulu Hsu Sandra Jordan Roger & Tamara Joseph Dwight Kellogg Jeanne Larson Theodora Lewis Grace H. Lin Papa Doug Manchester Bill Miller & Ida Houby Dr. Sandra Miner Norma Hildago Jill Porter John Renner Eva & Doug Richman

Linda & Charlie Shalvoy Pam Shriver Gerald & Susan Slavet Norma Jo Thomas Susan E. Trompeter, M.D. Susan & Richard Ulevitch Fernanda Vildosola Jo & Howard Weiner Sibyl & David Wescoe Fernanda Witworth

FRIEND

($500 - $999)

Anonymous (2) Barry & Emily Berkov LaVerne & Blaine Briggs Elizabeth Clarquist Carol & Jeff Chang Caroline DeMar Douglas Doucette Richard Forsyth Clare Friedman Sally Fuller Carrie Greenstein Catharina Hamilton Phil & Kathy Henry Paul & Barbara Hirshman Emmet & Holly Holden Nancy Hong Louise Kasch Helene K. Kruger Toni Langlinais Lewis Leicher Dr. Greg Lemke Lynda Fox Photography Jennifer Luce Sally & Luis Maizel Kenneth Martin Eileen A. Mason Winona Mathews Ted McKinney Joel Mogy Jonathan Scheff & Kimberly Butterwick Ronald Simon Randall Smith Edward Stickgold & Steven Cande Suhaila White Olivia & Marty Winkler

ENTHUSIAST ($250 - $499)

Sibille Alexander Lynell Antrim Nancy Corbin Assaf Rita Bell

Stefana Brintzenhoff Candace Carroll Luc Cayet & Anne Marie Pleska Robert & Jean Chan Kathleen Charla Geoffrey Clow Hugh Coughlin Roccio & Mike Flynn Ferdinand Marcus Gasang Russel Ginns Dr. & Mrs. Jimmie Greenslate Bo Hedfors Richard Hsieh Ed & Linda Janon Julia & George L. Katz Gladys & Bert Kohn Las Damas de Fairbanks Linda & Michael Mann Katy McDonald Marion Mettler Dr. Chandra Mukerji Joani Nelson Aghdas Pezeshki Carol Plantamura Gustavo Romero Dr. Aron Rosenthal Paul Rotenberg Peter & Arlene Sacks Denise & Sydney Selati William Smith Eli & Lisa Strickland Terrence D. Underwood Monica & Richard Valdez Brian Wahlstrom Dr. & Mrs. Robert Wallace Brian Worthington Terry & Peter Yang Debra Youssefi Bart Ziegler Listing as of December 10, 2019

THE CONRAD Since its opening on April 5, 2019, The Conrad Prebys Performing Arts Center has become the new heart of cultural, arts education, and community event activity in La Jolla. The Conrad is the permanent home of La Jolla Music Society and hosts world-class performances presented by LJMS as well as other San Diego arts presenters.

Additionally, The Conrad is available for a wide range of conferences, corporate meetings, weddings, fundraisers, and private events.

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ANNUAL SUPPORT

HONORARIA & MEMORIAL GIFTS In Memory of John R. Amberg: Linda Olson

In Honor of Inon Barnatan: Susan and Richard Ulevitch

In Honor of Joan Jordan Bernstein: Beverly Fremont

In Memory of Jendy Dennis: Chris Benavides Gordon Brodfuehrer Linda Chester and Kenneth Rind Eleanor Ellsworth Martha and Ed Dennis Sarah and Michael Garrison Ferdinand Marcus Gasang Sylvia and Steve Ré Liegh P. Ryan Marge and Neal Schmale Rewa Colette Soltan Susan and Richard Ulevitch Andrew Viterbi Peter and Sue Wagener Abby and Ray Weiss Dolly and Victor Woo Bebe and Marvin Zigman

In Memory of Aleva Henderson: Howie and Charlotte Zuckerman

In Memory of Kay Hesselink: Christopher Beach and Wesley Fata Chris Benavides Carter Brey

Silvija and Brian Devine Jennifer and Kurt Eve Felix Fan Aloysia Friedmann and Jon Kimura Parker Ferdinand Marcus Gasang Carolyn Greenslate Rowain and Joseph Kalichstein Eric Kim Vivian Lim and Joseph Wong Debby and Jimmy Lin Heiichiro Ohyama Richard O'Neill Cynthia Phelps Sylvia and Steve Ré Leigh P. Ryan Marge and Neal Schmale Sheryl Staples Jeanette Stevens Sue and Peter Wagener Dolly and Victor Woo

In Memory of Helene K. Kruger: Christopher Beach and Wesley Fata Chris Benavides Gordon Brodfuehrer Ruth Bush Marilyn Colby Silvija and Brian Devine Jennifer and Kurt Eve Ferdinand Marcus Gasang Ellen Greenebaum and Simeon Schwartz Barbara and David Groce Bryna Haber Angel and Fredrick Kleinbub Patricia Manners Paul and Maggie Meyers

Ann L. Mound J.L. Person Betty-Jo Petersen Robert and Allison Price Sylvia and Steve Ré Marge and Neal Schmale Sue and Peter Wagener Pat Winter Dolly and Victor Woo Bebe and Marvin Zigman

In Memory of Jere Robins: Chris Benavides Arlene Bernstein Jian and Samson Chan Silvija and Brian Devine Jennifer and Kurt Eve Ferdinand Marcus Gasang Lei Guang Sam Popkin and Susan Shirk Sylvia and Steve Ré Marge and Neal Schmale Rewa Colette Soltan Sue and Peter Wagener Jackie Wang Abby and Ray Weiss Dolly and Victor Woo

In Honor of Leah Rosenthal: Susan and Richard Ulevitch

In Tribute to Sheryl Scarano: Nancy and Alan Spector

In Honor of Dolly Woo: Ronald Youn

ANNUAL 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 Landon Akiyama, at 858.459.3724, ext. 216 or LAkiyama@LJMS.org. This list is current as of December 10, 2019. Amendments will be reflected in the next program book in April 2020.

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LA JOLLA MUSIC SOCIETY · 2019-20 SEASON

MEDALLION SOCIETY CROWN JEWEL

TOPAZ

Brenda Baker and Steve Baum

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 Drs. Lisa Braun-Glazer and Jeff Glazer Margaret and Michael Grossman Theresa Jarvis Angelina and Fred Kleinbub Kathleen and Ken Lundgren Elaine and Doug Muchmore Hank and Patricia Nickol Rafael and Marina Pastor Don and Stacy Rosenberg Leigh P. Ryan Neal and Marge Schmale Jeanette Stevens Gloria and Rodney Stone Gianangelo and Mera Vergani Joseph Wong and Vivian Lim Dolly and Victor Woo Carolyn Yorston-Wellcome Bebe and Marvin Zigman

DIAMOND Raffaella and John Belanich Joy Frieman Joan and Irwin Jacobs

RUBY Silvija and Brian Devine

EMERALD Arlene and Louis Navias

GARNET Julie and Bert Cornelison Peggy and Peter Preuss

SAPPHIRE Kay and John Hesselink Keith and Helen Kim

Listing as of December 10, 2019

The Medallion Society was established 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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DANCE SOCIETY GRAND JETÉ

PIROUETTE

DEMI POINTE

Jeanette Stevens Marvin and Bebe Zigman

Elaine Galinson and Herbert Solomon Larry Marcus Annie So

Beverly Fremont Saundra L. Jones

ARABESQUE

POINTE

Ellise and Michael Coit June and Dr. Bob Shillman Carolyn Bertussi

Katherine and Dane Chapin Susan E. Trompeter, M.D.

PLIÉ Rebecca Kanter Joani Nelson Elizabeth Taft

Listing as of December 10, 2019

DANCE SERIES OUTREACH La Jolla Music Society hosts dance master classes and open rehearsals throughout the winter season.

Participating companies have included Alvin Ailey American Dance Theater, MOMIX, Joffrey Ballet, Mark Morris Dance Group, New York City Ballet MOVES, and many more.

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

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LA JOLLA MUSIC SOCIETY · 2019-20 SEASON

PLANNED GIVING LEGACY SOCIETY Anonymous (2) June L. Bengston* Joan Jordan Bernstein Bjorn Bjerede and Jo Kiernan 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 and 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 Pat Shank Drs. Joseph and Gloria Shurman Karen and Christopher Sickels Jeanette Stevens Elizabeth and Joseph* Taft Norma Jo Thomas Dr. Yvonne E. Vaucher Lucy and Ruprecht von Buttlar Ronald Wakefield John B. and Cathy Weil Carolyn Yorston-Wellcome and H. Barden Wellcome* Karl and Joan Zeisler Josephine Zolin

*In Memoriam Listing as of December 10, 2019

REMEMBERING LJMS IN YOUR WILL It is easy to make a bequest to La Jolla Music Society, and no amount is too small to make a difference.

Here is a sample of language that can be incorporated into your will: “I hereby give ___% of my estate (or specific assets) to La Jolla Music Society, Tax ID 27-3147181, 7600 Fay Avenue, La Jolla, CA 92037, for its general purposes (or education and artistic programs).

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. If you have included LJMS in your estate plans, please let us know so we may recognize you.

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CORPORATE PARTNERS BENEFACTOR

GUARANTOR

SUSTAINER

SUPPORTER

AMBASSADOR

SAN DIEGO

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LA JOLLA MUSIC SOCIETY · 2019-20 SEASON

FOUNDATIONS Thomas C. Ackerman Foundation

David C. Copley F o u n d at i o n

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

Rancho Santa Fe Foundation: The Fenley Family Fund The Susan & John Major Fund The Oliphant Fund The Pastor Family Fund 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: 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 Vail Memorial Fund Thomas and Nell Waltz Family Foundation The John H. Warner Jr. and Helga M. Warner Foundation Sheryl and Harvey White Foundation

SERVING OUR COMMUNITY La Jolla Music Society reaches over 11,000 students and community members annually. LJMS works 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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PUBLIC SUPPORT La Jolla Music Society thanks all of our generous patrons and supporters– including government funding – who support our artistic, education and community engagement programs.

Support of our 51st Season is provided by:

Thank you to The City of San Diego Commission for Arts and Culture for promoting, encouraging and increasing support for the region's artistic and cultural assets, integrating arts and culture into community life and showcasing San Diego as an international tourist destination.

Support from the County of San Diego’s Community Enhancement Program is vital to our SummerFest programs. Thank you for supporting programs that promote and generate tourism and economic development in San Diego.

Thank You! 74

LA JOLLA MUSIC SOCIETY · 2019-20 SEASON

2019-20

SEASON 51

For more than 50 years, La Jolla Music Society has helped nurture a love of music by keeping one vision in mind: To present diverse programs of great music performed by the best musicians in the world. Today, that vision has reached beyond the intimate beauty of the chamber music ensemble and into new and diverse offerings such as orchestras, jazz ensembles, dance companies, and robust education programs.

This impressive growth has been carefully conducted by an active and highly committed volunteer board of directors and a dedicated staff. But most importantly, La Jolla Music Society’s progress has been sustained by the generosity of the community and ticket buyers.

We hope you, too, will join the La Jolla Music Society family and help present unforgettable performances in the concert hall, the classroom, and community spaces. Your financial support will enable LJMS to build on a long history of artistic excellence and community engagement. Through your patronage, you are setting the tone for the future. Your participation is critical to the success of our 51st Season and for 50 more years to come.

JOIN OUR FAMILY LJMS.org/donate You can also speak to our Development Team at 858.459.3724, ext. 216 to make a gift.

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We are grateful to our generous Founding Donors whose leadership and gifts have built The Conrad Prebys Performing Arts Center and we applaud their vision to enrich the quality of life for everyone in our community.

76

Conrad Prebys and Debbie Turner The Conrad Prebys Foundation Brenda Baker and Steve Baum Joan and Irwin Jacobs Clara Wu and Joseph Tsai

Raffaella and John Belanich Rita and Richard Atkinson The Beyster Family Brian and Silvija Devine Joy Frieman

Peggy and Peter Preuss Noni and Drew Senyei Debbie Turner

The Abello Family Sumi Adachi Erica Arbelaez Alexander Willis Allen Kathleen Alligood and Timothy Sauer John Amberg Sue Andreasen Arleene Antin and Leonard Ozerkis Abrahame and Debbie Artenstein Nancy Assaf Thomas Bache and Ann Kerr Marnie Barnhorst Rusti Bartell Christopher Beach and Wesley Fata Maurine Beinbrink Emily and Barry Berkov Holly Berman Edgar and Julie Berner Joan Jordan Bernstein Bjorn Bjerede and Jo Kiernan Barbara Bloom Helen Bloomfield Joye Blount and Jessie Knight, Jr. Robert and Virginia Black Joyce and Robert Blumberg Susan B. Boe Bill Boggs and Marilyn Huff Karen and Jim Brailean Benjamin Brand Ronald I. Brendzel Carter Brey Gordon Brodfuehrer Wendy Brody Ellen Brown

Sedgwick Browne Fay Bullitt Janice and Nelson Byrne Peter Cacioppo Carol and Jim Carlisle Robert Caplan and Carol Randolph R. Park and Louise Carmon Lisa and David Casey Katherine and Dane Chapin Ric and Barbara Charlton Linda Chester and Kenneth Rind Bobbi Chifos Linda Christensen and Gonzalo Ballon-Landa Lee Clark Ashley Clark Jim and Patty Clark Ryan Clark Greg Clover and Kathleen Webber Charles and Monica Cochrane Sharon Cohen Karen and Don Cohn Peter Cooper in honor of Norman Blachford Valerie and Harry Cooper Julie and Bert Cornelison Hugh Coughlin Ruth Covell Elaine and Dave Darwin Una Davis Family Doug Dawson Mr. and Mrs. Richard Dean Ted DeDee and Pamela Hinchman Caroline DeMar Tallie and George Dennis Martha and Ed Dennis

Linda and Rick Dicker Brian and Susan Douglass The Dow Divas Sue H. Dramm Robert and Ann Parode Dynes Barbara and Dick Enberg Leighann Enos Jennifer and Kurt Eve John and Linda Falconer Felix Fan Eduardo Ludovico Feller Irene Tsang Feller Thompson and Jane Fetter Elliot and Diane Feuerstein Monica Fimbres Socorro Fimbres Teresa and Dr. Merle Fischlowitz Wain and Debbie Fishburn Elisabeth Eisner Forbes and Brian Forbes David Fox Jorgina Franzheim Barbara Freeman Brandon and Paula Freeman Paul and Claire Friedman Ronald Friedman Georges & Germaine Fusenot Charity Foundation Laura and Tom Gable Ira Gaines and Cheryl J. Hintzen-Gaines Elaine Galinson and Herbert Solomon Susan Galluccio Sarah and Michael Garrison Ferdinand Marcus Gasang Maxine and Marti Gellens

LA JOLLA MUSIC SOCIETY ¡ 2019-20 SEASON

THANK YOU! Clyde Gillespie Dawn Gilman Peggy and Buzz Gitelson Lisa Braun Glazer and Jeff Glazer Tom Gleich in memory of Martin and Enid Gleich Lehn and Richard Goetz Brenda and Michael Goldbaum Lee and Frank Goldberg Grande Colonial Clyde Gonzales Lynn Gorguze and The Hon. Scott Peters Jennifer and Richard Greenfield Ronald and Deborah Greenspan Carol Lynne Grossman Margaret Stevens Grossman and Michael Grossman David Guss Teresa Haas Helga Halsey Judith Harris and Robert Singer George Hauer / George’s at the Cove Bo Hedfors Nancy Heitel Edvard and Barbara Hemmingsen Dr. Jeanne Herberger in loving memory of Gary Kierland Herberger Kay and John Hesselink Nellie High Louise and Robert Hill Paul and Barbara Hirshman Sue Hodges Susan and Bill Hoehn Alan Hofmann Mark Holmlund Vivian and Greg Hook Eliot Horowitz in honor of Carol Fink Davorin David Hrovat in loving memory of Dr. Vilibald Vrovat and Dr. Maria Hrovat Lulu Hsu Liz and Robert Jackson Linda and Edward Janon Theresa Jarvis Arthur Q. Johnson Foundation Sheila Johnson Wilbur Johnson Jeanne Jones and Don Breitenberg Patricia and Lewis Judd

David and Susan Kabakoff Michael and Nancy Kaehr Rowain and Joseph Kalichstein Allen Kalkstein and Linda Low-Kalkstein Linda Kanan Sofia Kassel Nan and Buzz Kaufman Dwight Kellogg Richard and Ruth Kelly Lynda Kerr Karen and Warren Kessler Katherine Killgore and Glen Bourgeois Eric Kim Helen and Keith Kim Jenelle Kim Shirley Kirschbaum Carrie Kirtz David Kitto and Aristides Gonzales Angelina and Fredrick Kleinbub Leslie and Nat Klein in memory of Audree Jane Kolar James Kralik and Yunli Lou Artun Kutchuk La Jolla Beach & Tennis Club La Jolla Sports Club La Valencia Hotel Carol Lam and Mark Burnett Bill and Sallie Larsen Las Patronas Jaime Laredo The LeCourt Family Sharon LeeMaster Teddie Lewis Vivian Lim and Joseph Wong Debby and Jimmy Lin Lawrence Lindberg and Marilyn Adler Lindberg Sheila and Jeffrey Lipinsky Ann and Gerald Lipschitz in honor of Selma Malk Norman and Mayumi Lizt Mathew and Barbara Loonin Terri Lundberg Kathleen and Ken Lundgren Mary Keough Lyman Sue and John Major Brian Malk in honor of Selma Malk Linda and Michael Mann Holly Fowler Martens and Robert Martens

Patsy and David Marino Betty and James Martin Michel Mathieu and Richard MacDonald Rosemarie Maywood Dennis A. McConnell and Kimberly A. Kassner Matt McCormick in memory of Joel McCormick Margaret McKeown and Peter Cowhey Dan McLeod Virginia Meyer Betsy Mitchell Hans and Ursula Moede Daphne Nan Muchnic Bridget Musante Esther Nahama Arlene and Lou Navias The Nelson Family Paula Noell Robin and Hank Nordhoff Janet and John Nunn Virginia Oliver John and Nancy O’Neal Richard O’Neill Neil Osborne Pacific Sotheby’s Real Estate Renee Levine Packer Catherine and Bob Palmer Rafael and Marina Pastor Pamela Peck in honor of the Peck Pugh Family Dan Pearl in memory of Julius Pearl Marty and David Pendarvis Rachel Perlmutter in memory of Marion and Lester Perlmutter Betty Jo Petersen Ursula Pfeffer Phyllis and Stephen Pfeiffer Cynthia Phelps William Pitts and Mary Sophos Gary Poon Ellen Potter and Ronald Evans William Propp and Anna Covici The ProtoStar Foundation Robert Bob and Joyce Quade The Klaus Radelow Family Evelyn and Ernest Rady Sylvia and Steven Ré Catherine and Jean Rivier

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!

U O Y K N THA

Jeannie and Arthur Rivkin Jessica and Eberhard Rohm Stacy and Don Rosenberg Colette Carson Royston and Ivor Royston Noel Rufo David and Mary Ruyle Leigh P. Ryan Rita Ryu in memory of Sam Ryu Arlene and Peter Sacks Eric and Jane Sagerman Julie and Jay Sarno Eric Sasso Sheryl and Bob Scarano Adrienne and Richard Schere Jay and Torrie Schiller Clifford Schireson and John Venekamp Marge and Neal Schmale Marilies Schoepflin in honor of Axel Schoepflin Emily and Tim Scott Linda Scott Minna Shah Pat Shank Maureen and Thomas Shiftan Mao and Doctor Bob Shillman Gigi and Joseph Shurman Karen and Christopher Sickels

Rob Sidner Simon | Krichman Family Ethna Sinisi Rodney and Dolores Smith Rewa Colette Soltan Alan and Beverly Springer Leland and Annemarie Sprinkle Sheryl Staples Martin Stein Jeanette Stevens Gloria and Rod Stone Iris and Matthew Strauss Elizabeth Taft Michael Takamura Haeyoung Kong Tang William Tong Shannon Turner Susan and Richard Ulevitch N.B. Varlotta Yvonne Vaucher Jocelyn and Richard Vortmann Sue and Peter Wagener Richard H. Walker Andrew Morgan Walker Evelyn Bea Walker Graham Brooks Walker Paige Keegan Walker

Steph Walker Bill and Lori Walton Nell Waltz Margie Warner and John H. Warner, Jr. Viviane M. Warren Maureen and Dean Weber Cathy and John Weil Abby and Ray Weiss Linda and Steve Wendfeldt Doug and Jane Wheeler Sheryl and Harvey White Suhaila White Lisa Widmier Joan and Howard Wiener Faye Wilson Joseph and Mary Witztum Dolly and Victor Woo Katrina Wu Anna and Edward Yeung Carolyn Yorston-Wellcome and Bard Wellcome Howard and Christy Zatkin Barbara and Michael Zelnick Bebe and Marvin Zigman Anonymous Listing as of December 10, 2019

We have so much to celebrate today, but just think of where we might be 50 years from now? There are creative endeavors yet to be imagined: young musicians now in training who could defy our highest expectations; and scores of young students that could be introduced to the joy of music for the first time. An endowment makes that possible.

Please join us in ensuring that The Conrad, a cultural and community treasure, remains a vital resource to our generation and all those to follow. Make a gift today or sponsor a seat by contacting: Ferdinand Gasang, Director of Development, at 858.459.3724, ext. 204 or FGasang@LJMS.org. You can also make a gift online at www.LJMS.org/donate

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LA JOLLA MUSIC SOCIETY ¡ 2019-20 SEASON

#PARTY AT THE CONRAD

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THE BAKER-BAUM CONCERT HALL: A intimate 513 seat performance

space with superb acoustics ideally suited for chamber music and classical recitals. Its design incorporates state-of-the-art technology and adjustable acoustics, making it a world-class space for amplified concerts, film, dance, theater, lectures, and more.

THE JAI: A 2,000 square foot performance space with a contemporary

look. Because of its flexible lighting, audio, and video system capabilities, this space can be configured for many types of events.

THE ATKINSON ROOM: An ideal room for meetings or lectures with

audiovisual capabilities. The space can be rented in conjunction with The Baker-Baum Concert Hall and The JAI.

For more information please contact Events Manager, Anthony LeCourt: 858.459.3724 x217 or visit TheConrad.org

WE ARE CALIFORNIA’S

BUSINESS BANC. Proud Partner and the Official Bank of

LA JOLLA MUSIC SOCIETY Every day, business owners, entrepreneurs, executives and community leaders are being empowered by Banc of California to reach their dreams and strengthen our economy. With more than $10 billion in assets and over 30 banking locations throughout the state, we are large enough to meet your banking needs, yet small enough to serve you well.

Learn more about how we’re empowering California through its diverse businesses, entrepreneurs and communities at

bancofcal.com

TOGETHER WE WIN

TM

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9/18/2018 2:20:21 PM

JANUARY MARTHA GRAHAM DANCE COMPANY WEDNESDAY, JANUARY 22, 2020 · 8 PM Dance Series Civic Theatre

BRENTANO QUARTET

AROD QUARTET

FRIDAY, FEBRUARY 21, 2020 · 8 PM

SUNDAY, MARCH 15, 2020 · 3 PM

Revelle Chamber Music Series The Baker-Baum Concert Hall at The Conrad

Discovery Series The Baker-Baum Concert Hall at The Conrad

HÉLÈNE GRIMAUD

DORRANCE DANCE SOUNDspace

FRIDAY, FEBRUARY 28, 2020 · 8 PM

KIAN SOLTANI, cello JULIO ELIZALDE, piano SUNDAY, JANUARY 26, 2020 · 3 PM Discovery Series The Baker-Baum Concert Hall at The Conrad

FEBRUARY JAZZY ASH & THE LEAPING LIZARDS

Piano Series The Baker-Baum Concert Hall at The Conrad

MARCH ACADEMY OF ST MARTIN IN THE FIELDS JOSHUA BELL, violin MONDAY, MARCH 2, 2020 · 8 PM

Special Event Jacobs Music Center - Copley Symphony Hall

SATURDAY, FEBRUARY 1, 2020 11 AM & 1 PM

MURRAY PERAHIA

New! Family Concert The JAI at The Conrad

Piano Series The Baker-Baum Concert Hall at The Conrad

SUNDAY, FEBRUARY 9, 2020 · 3 PM Discovery Series The Baker-Baum Concert Hall at The Conrad

The JAI at The Conrad

AROD QUARTET

Dance Series The Baker-Baum Concert Hall at The Conrad

NAT GEO LIVE! EXPLORING MARS THURSDAY, MARCH 26, 2020 · 7 PM New! Speaker Series The Baker-Baum Concert Hall at The Conrad

THURSDAY, MARCH 5, 2020 · 8 PM

PABLO SÁINZ VILLEGAS AMERICANO TRIO

HANZHI WANG, accordion

THURSDAY & FRIDAY, MARCH 19 & 20, 2020 · 8 PM

FRIDAY, MARCH 6, 2020 · 7 PM & 9 PM

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