La Jolla Music Society Season 53 Program Book 4 (April 23-June) by La Jolla Music Society

2021-22 SEASON

LILA DOWNS

53 APRIL 23-JUNE

OCTOBER

JANUARY

TAKÁCS QUARTET

EMANUEL AX

Revelle Chamber Music Series The Baker-Baum Concert Hall

Piano Series The Baker-Baum Concert Hall

FRIDAY, OCTOBER 15, 2021 · 8 PM

FRIDAY, JANUARY 7, 2022 · 8 PM

LES VIOLONS DU ROY WITH AVI AVITAL

ZOLTÁN FEJÉRVÁRI

Artist-in-Residence Series The Baker-Baum Concert Hall

Discovery Series The Baker-Baum Concert Hall

FRIDAY, OCTOBER 22, 2021 · 8 PM

SUNDAY, JANUARY 16, 2022 · 3 PM

ALEXANDER MALOFEEV

ALONZO KING LINES BALLET

Discovery Series The Baker-Baum Concert Hall

Dance Series Civic Theatre

SUNDAY, OCTOBER 31, 2021 · 3 PM

NOVEMBER JAZZY ASH & THE LEAPING LIZARDS

SATURDAY, NOVEMBER 6, 2021 · 9:30 AM & 11:30 AM The ConRAD Kids Series

LEONIDAS KAVAKOS & YUJA WANG WEDNESDAY, NOVEMBER 10, 2021 · 8 PM Revelle Chamber Music Series Balboa Theatre

THURSDAY, JANUARY 20, 2022 · 8 PM

JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS SATURDAY, JANUARY 22, 2022 · 8 PM Jazz Series Balboa Theatre

CONNECT TO THE CONRAD — JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS MONDAY, JANUARY 24, 2022 · 8 PM

AVI AVITAL & MILOS̆

Jazz Series The Baker-Baum Concert Hall

Artist-in-Residence Series The Baker-Baum Concert Hall

SOUNDS OF ZAMAR

BRIA SKONBERG

Global Roots Series The Baker-Baum Concert Hall

Concerts @ The JAI

FEBRUARY

FRIDAY, NOVEMBER 12, 2021 · 8 PM

SATURDAY, NOVEMBER 13, 2021 · 6:30 PM & 8:30 PM

DECEMBER

SATURDAY, JANUARY 29, 2022 · 8 PM

NAT GEO LIVE! HILAREE NELSON

COUNTERPOINT CONRAD TAO & CALEB TEICHER

Speaker Series The Baker-Baum Concert Hall

ProtoStar Innovative Series The Baker-Baum Concert Hall

HOLIDAY SHOW THE QUEEN’S CARTOONISTS

DREAMERS’ CIRCUS

Education Ambassador Special Event The Baker-Baum Concert Hall

NAT GEO LIVE! NIZAR IBRAHIM

THURSDAY, DECEMBER 9, 2021 · 7 PM

Saturday, December 11, 2021 · 3 PM & 8 PM

BÉLA FLECK, MY BLUEGRASS HEART THURSDAY, DECEMBER 16, 2021 · 8 PM Global Roots Series Balboa Theatre

FRIDAY, FEBRUARY 4, 2022 · 8 PM

WEDNESDAY, FEBRUARY 9, 2022 · 6:30 PM & 8:30 PM Concerts @ The JAI

THURSDAY, FEBRUARY 10, 2022 · 7 PM Speaker Series The Baker-Baum Concert Hall

123 ANDRÉS

SATURDAY, FEBRUARY 12, 2022 · 9:30 AM & 11:30 AM The ConRAD Kids Series

GOITSE

FRIDAY, FEBRUARY 25, 2022 · 6:30 PM & 8:30 PM Concerts @ The JAI The JAI

LA JOLLA MUSIC SOCIETY · 2021-22 SEASON

DOVER QUARTET WITH ESCHER STRING QUARTET

CHRIS BOTTI

FRIDAY, APRIL 8, 2022 · 8 PM

SATURDAY, FEBRUARY 26, 2022 · 8 PM Revelle Chamber Music Series The Baker-Baum Concert Hall

Jazz Series Balboa Theatre

DAKHABRAKHA

FRIDAY, APRIL 22, 2022 · 8 PM

XAVIER FOLEY

SUNDAY, FEBRUARY 27, 2022 · 3 PM Discovery Series The Baker-Baum Concert Hall

Global Roots Series The Baker-Baum Concert Hall

SHEKU KANNEH-MASON & ISATA KANNEH-MASON

MARCH

SATURDAY, APRIL 23, 2022 · 8 PM Revelle Chamber Music Series The Baker-Baum Concert Hall

BEATRICE RANA

FRIDAY, MARCH 4, 2022 · 8 PM

GUNHILD CARLING

Piano Series The Baker-Baum Concert Hall

THURSDAY, APRIL 28, 2022 · 6:30 PM & 8:30 PM Concerts @ The JAI

AVITAL MEETS AVITAL

THURSDAY, MARCH 10, 2022 · 6:30 PM & 8:30 PM Artist-in-Residence Series The JAI

ACADEMY OF ST MARTIN IN THE FIELDS WITH JOSHUA BELL

MAY LILA DOWNS

WEDNESDAY, MAY 4, 2022 · 8 PM

MONDAY, MARCH 14, 2022 · 8 PM

Global Roots Series Balboa Theatre

Special Orchestra Performance Civic Theatre

THE OKEE DOKEE BROTHERS

LANG LANG

FRIDAY, MARCH 18, 2022 · 8 PM Piano Series Balboa Theatre

AROD QUARTET

Gala WINTERFEST

SATURDAY, MAY 7, 2022 · 3 PM The ConRAD Kids Series The Baker-Baum Concert Hall

JOFFREY BALLET

SATURDAY, MAY 14, 2022 · 8 PM

SUNDAY, MARCH 20, 2022 · 3 PM

Dance Series Civic Theatre

Discovery Series The Baker-Baum Concert Hall

BEHZOD ABDURAIMOV

UKULELE ORCHESTRA OF GREAT BRITAIN

Piano Series The Baker-Baum Concert Hall

FRIDAY, MARCH 25, 2022 · 8 PM SATURDAY, MARCH 26, 2022 · 3 PM & 8 PM Special Event The Baker-Baum Concert Hall

NAT GEO LIVE! BRIAN SKERRY THURSDAY, MARCH 31, 2022 · 7 PM Speaker Series The Baker-Baum Concert Hall

APRIL

SUNDAY, MAY 15, 2022 · 3 PM

ROBERTO FONSECA

THURSDAY, MAY 19, 2022 · 6:30 PM & 8:30 PM Concerts @ The JAI

SPEKTRAL QUARTET “SOMETHING TO WRITE HOME ABOUT” THURSDAY, MAY 26, 2022 · 8 PM ProtoStar Innovative Series The Baker-Baum Concert Hall

SILK ROAD ENSEMBLE “A HOME WITHIN” SUNDAY, APRIL 3, 2022 · 7 PM

JUNE

ProtoStar Innovative Series The Baker-Baum Concert Hall

ARTURO SANDOVAL

MATTHIAS GOERNE & SEONG-JIN CHO

FRIDAY, JUNE 3, 2022 · 8 PM

Thursday, April 7, 2022 · 8 PM

Jazz Series The Baker-Baum Concert Hall

Special Vocal Recital The Baker-Baum Concert Hall

Dates, times, programs, and artists are subject to change. L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

Foundation

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

Mary F. Berglund, PhD Treasurer

Peter C. Farrell, PhD, DSc Secretary

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

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TABLE OF CONTENTS CALENDAR ABOUT LA JOLLA MUSIC SOCIETY DAKHABRAKHA SHEKU KANNEH-MASON & ISATA KANNEH-MASON LILA DOWNS TREY MCLAUGHLIN & THE SOUNDS OF ZAMAR THE JOFFREY BALLET BEHZOD ABDURAIMOV SPEKTRAL QUARTET “LETTERS FROM HOME” ARTURO SANDOVAL IN MEMORIAM THE CONRAD GOES SOLAR ARTIST BIOGRAPHIES SUPPORT

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BOARD OF DIRECTORS · 2021-22 Steve Baum* – Chair H. Peter Wagener* – Vice Chair Vivian Lim* – Second Vice Chair Stephen Gamp* – Treasurer Sharon Cohen* – Secretary Mary Ann Beyster* Ric Charlton Bert Cornelison* Ann Parode Dynes Jennifer Eve* Debby Fishburn* Lehn Goetz* John Hesselink Susan Hoehn*

Sue Major Robin Nordhoff Arman Oruc Peggy Preuss Sylvia Ré Sheryl Scarano* Marge Schmale Maureen Shiftan* Jeanette Stevens

Stephanie Stone* Debra Turner* Lise Wilson Bebe L. Zigman

LA JOLLA MUSIC SOCIETY STAFF Todd R. Schultz – President & CEO Leah Rosenthal – Artistic Director Inon Barnatan – SummerFest Music Director ADMINISTRATION Karin Burns – Director of Finance Brady Stender – Finance & Administration Manager Lyric Boothe – Finance & Administration Assistant PROGRAMMING Grace Smith – Artistic Programming Manager Sarah Campbell – Artistic Programming Advisor John Tessmer – Artist Liaison Allison Boles – Education & Community Programming Director Jian Wang – Education & Community Programming Coordinator Eric Bromberger – Program Annotator Serafin Paredes – Community Music Center Director Xiomara Pastenes – Community Music Center Administrative Assistant Community Music Center Instructors: Pierre Blocker, Noila Carrazana, Marcus Cortez, Armando Hernandez, Michelle Maynard, Eduardo Ruiz, Rebeca Tamez

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. Dolly Woo LA JOLLA MUSIC SOCIETY

*Executive Committee

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

DEVELOPMENT Ferdinand Gasang – Director of Development Mary Emerson – Development Manager, Individual Giving & Grants Natéa Cooke – Development Coordinator, Stewardship & Annual Fund MARKETING & TICKET SERVICES Dawn Petrick – Director of Marketing and Communications Hayley Woldseth – Marketing & Communications Project Manager Rachel Cohen – Marketing Coordinator Stephanie Thompson – Communications & Public Relations Manager Angelina Franco – Graphic & Web Designer Shannon Bobritchi – Ticket Services Manager Patrick Mayuyu – Assistant Ticket Services Manager Kaitlin Barron – Ticket Services Associate Shaun Davis – House Manager OPERATIONS & PRODUCTION Hannes Kling – Director of Theatre Operations Verdon Davis – Technical Director Abby Viton – Production Manager Tom Mehan – Facility Manager Jonnel Domilos – Piano Technician VENUE SALES & EVENTS Nicole Slavik – Venue Sales & Events Director Kierney Loucas – Venue Sales & Events Coordinator L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

Winter Season From classical, jazz, and dance, to global, National Geographic speakers, and family concerts, each Winter Season Artistic Director Leah Rosenthal brings the best artists in the world to the San Diego community. This season, our most dynamic to date, will feature more than 50 artists, including favorites like Wynton Marsalis, Lang Lang, Joshua Bell, Emanuel Ax, Yuja Wang, The Joffrey Ballet, Bela Fleck, and Lila Downs, plus many inspiring new faces like Artist-InResidence Avi Avital, rising-star pianists Isata Kanneh-Mason and Beatrice Rana, The Queen’s Cartoonists, Sweden’s Queen of Swing Gunhild Carling, and Ukrainian Ethno-Chaos band DakhaBrakha.

SummerFest La Jolla Music Society’s acclaimed chamber music festival, SummerFest, curated by award-winning pianist and festival Music Director Inon Barnatan, engages more than 80 of the world’s finest musicians to perform at The Conrad throughout the month of August. In addition to remarkable mainstage performances, SummerFest offers over 50 free and open-to-the-public educational activities. To learn more, visit LJMS.org/SummerFest

The Conrad The Conrad Prebys Performing Arts Center opened in 2019 and serves as a gathering place for cultural, arts education, and community activity. As the permanent home of La Jolla Music Society, The Conrad hosts world-class performances presented by LJMS and other local arts organizations in its four outstanding performance and activity spaces, The Baker-Baum Concert Hall, The JAI, The Atkinson Room, and the picturesque Wu Tsai QRT.yrd.

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JOLLA MUSIC SOCIETY · 2021-22 SEASON

A SPECTACULAR CLOSE AS WE LOOK TOWARD SUMMERFEST Dear Friends, What a joy it has been to witness all the incredible performances so far this season. As we near the end of our scheduled lineup, we are simultaneously gearing up for what will be another extraordinary SummerFest (July 29– August 26, 2022). Our now expanded, four-week chamber music festival will take listeners on a beautiful musical exploration featuring the works of Beethoven, Mozart, J.S. Bach, and more performed by the most illustrious musicians in the world, including critically acclaimed countertenor Anthony Roth Costanzo, violin sensation Augustin Hadelich, and of course our beloved and world-renowned Music Director, pianist Inon Barnatan. But before we set our sights on what’s coming up this summer, I hope to see you at all our remaining concerts, concluding with a not-to-be-missed jazz performance at The Baker-Baum featuring trumpet legend and ten-time GRAMMY® Award winner Arturo Sandoval on June 3. From April to June, an eclectic lineup of events offers our audiences a wide range of opportunities to experience the glorious acoustics and intimacy of The Baker-Baum Concert Hall and the informal club-like nature of The JAI. On April 23, join us for the LJMS debut of two brilliant rising stars of the classical music world, Sheku Kanneh-Mason and Isata Kanneh-Mason, both of whom were recently awarded the Association of British Orchestras Award as part of one of the most prolific musical families, as well as the muchanticipated return of pianist Roberto Fonseca, one of the brightest lights in the Afro-Cuban jazz scene, for two concerts in The JAI on May 19.

For those of you craving something a little more musically adventurous, I implore you to take a chance on Spektral Quartet’s participatory “Letters from Home” project on May 26. The final concert in our ProtoStar Innovative Series is a visually stunning and era-hopping aural thrill ride that asks the audience to engage on a new level by jotting down notes and inspirations of their own on postcards provided by the quartet throughout the performance. I look forward to seeing each and every one of you in the coming weeks.

Leah Rosenthal Artistic Director La Jolla Music Society

Our Mission: The mission of La Jolla Music Society (LJMS) is to enhance cultural life and engagement by presenting and producing a wide range of programming of the highest artistic quality, and to make The Conrad Prebys Performing Arts Center a vibrant and inclusive hub. L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

DAKHABRAKHA FRIDAY, APRIL 22, 2022 · 8 PM THE BAKER-BAUM CONCERT HALL

PROGRAM Program to be announced from the stage. NO INTERMISSION

Vladyslav Troitskyi, director, ideologist, and founder of DakhaBrakha Marko Halanevych, vocals, darbuka, tabla, didjeridoo, accordion, trombone Iryna Kovalenko, vocals, djembe, bass drums, accordion, percussion, bugay, zgaleyka, piano Olena Tsybulska, vocals, bass drums, percussion, garmoshka Nina Garenetska, vocals, cello, bass drum

ABOUT Ukrainian “ethno chaos” band DakhaBrakha creates a world of unexpected new music, weaving ancient Ukrainian folk melodies into a subversive musical tapestry that embraces indie rock, pop, hip hop, the avant-garde, and traditional instrumentation from around the world. At the crossroads of Ukrainian folklore and theatre, DahkaBrakha has honed an evocative musical approach based around eerie vocal harmonies and thunderous percussion, augmented by ethereal cello and accordion sonorities. Prepare yourself for a sonic feast. La Jolla Music Society’s 2021-22 Season is supported by The Conrad Prebys Foundation, The City of San Diego Commission for Arts and Culture, Banc of California, The Lodge at Torrey Pines, ProtoStar Foundation, Vail Memorial Fund, ResMed Foundation, Bright Events Rentals, Ace Parking, Brenda Baker and Steve Baum, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Joy Frieman, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Bebe and Marvin Zigman.

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This performance marks DakhaBrakha’s La Jolla Music Society debut. JOLLA MUSIC SOCIETY · 2021-22 SEASON

PRELUDE 7 PM

Lecture by Michael Gerdes

A Song for Cello Each piece on this program comes from a different moment and place in the twentieth century…1960s Armenia, 1930s Soviet Union, and Britain at the end of World War I. But each of them bears the same title: Sonata for Cello and Piano. In this prelude lecture, we will explore the meaning of this title throughout history and how each of these composers has made it their own.

SHEKU KANNEH-MASON, cello & ISATA KANNEH-MASON, piano SATURDAY, APRIL 23, 2022 • 8 PM THE BAKER-BAUM CONCERT HALL

BRIDGE Sonata for Cello and Piano, H.125 (1879-1941) Allegro ben moderato Adagio ma non troppo; Molto allegro ed agitato BRITTEN Sonata for Cello and Piano in C Major, Opus 65 (1913-1976) Dialogo Scherzo-pizzicato Elegia Marcia Moto perpetuo I N T E R M I S S I O N

La Jolla Music Society’s 2021-22 Season is supported by The Conrad Prebys Foundation, The City of San Diego Commission for Arts and Culture, Banc of California, The Lodge at Torrey Pines, ProtoStar Foundation, Vail Memorial Fund, ResMed Foundation, Bright Events Rentals, Ace Parking, Brenda Baker and Steve Baum, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Joy Frieman, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Bebe and Marvin Zigman. Sheku and Isata Kanneh-Mason appear by arrangement with Enticott Music Management Sheku Kanneh-Mason and Isata Kanneh-Mason record exclusively for Decca Classics Sheku plays a Matteo Goffriller cello from 1700 which is on indefinite loan to him

K. KHACHATURIAN Sonata for Cello and Piano (1920-2011) Recitativo: Adagio Intentio: Allegretto Aria: Andante Toccata: Allegro con fuoco SHOSTAKOVICH Sonata in D Minor for Cello and Piano, Opus 40 (1906-1975) Allegro non troppo Allegro Largo Allegro Sheku Kanneh-Mason, cello; Isata Kanneh-Mason, piano

This performance marks Sheku Kanneh-Mason's and Isata Kanneh-Mason’s La Jolla Music Society debuts. L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

SHEKU KANNEH-MASON & ISATA KANNEH-MASON – PROGRAM NOTES

Program notes by Eric Bromberger

Sonata for Cello and Piano, H.125

FRANK BRIDGE

Born February 26, 1879, Brighton, United Kingdom Died January 10, 1941, Eastbourne, United Kingdom Composed: 1913-17 Approximate Duration: 23 minutes

Frank Bridge appears fated, at least for American audiences, to be remembered as the teacher of Benjamin Britten, though Bridge was a remarkable musician and composer in his own right. He studied viola and composition at the Royal College of Music and then made his career as a violist, conductor, and composer: Bridge played viola in several string quartets and conducted in both England and the United States. As a composer, he made a gradual evolution from a conservative musician, heir to the nineteenth-century English pastoral tradition, to an explorer, interested in new ideas and willing to experiment with a new harmonic language. Bridge became interested in Britten when the latter was still a boy and for three years gave him private composition lessons. Bridge was a demanding teacher, and his concern for craftsmanship, self-criticism, and economy of expression made a strong impression on the young Britten; Bridge’s pacifism was also an influence on Britten’s values. It may be a measure of Bridge’s careful craftsmanship that it took him four years to compose his 23-minute Sonata for Cello and Piano. He composed the first movement in 1913, but the second and concluding movement required three years of work before he completed it in 1917. There may have been another reason for Bridge’s difficulties. A pacifist, he was appalled by the slaughter of World War I, which began in 1914. Bridge’s friends reported that he would get up during the night and walk for hours through the pre-dawn streets of Kensington, despairing. Listeners should be careful not to look for signs of this in the second movement—that movement is a piece of abstract music and is by no means pictorial—but Bridge’s difficulties completing this movement may reflect his own personal turmoil during that troubled time. The sonata consists of two big movements. Bridge specifies that the beginning of the Allegro ben moderato should be dolce e espressivo, and that might be a good key to the character of the entire first movement. Bridge writes beautifully for the rich middle and high range of the cello, and he builds this movement on several theme-groups. The music can be by turns soaring, passionate, gentle, and agitated, and after these varying moods it comes to an understated close. The second movement is much longer and more complex. Bridge had originally thought that the sonata would have three movements, but during the long composition of the

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JOLLA MUSIC SOCIETY · 2021-22 SEASON

second movement, he decided instead to conclude with a single movement that alternates reflective and dramatic music—in effect, the last movement is a combination of slow and fast movements. Piano alone leads the way into the Adagio ma non troppo, and soon cello and piano jointly announce a rocking theme in 9/8. But suddenly the music erupts at the Molto allegro ed agitato, and this alternation of extroverted and restrained music will characterize the entire movement. Bridge’s harmonic language here is much more adventurous than it was in the first movement. The music drives to a grand climax, and Bridge rounds the sonata off with an Allegro moderato coda that recalls music from the opening movement.

Sonata for Cello and Piano, Opus 65

BENJAMIN BRITTEN

Born November 22, 1913, Lowestoft, United Kingdom Died December 4, 1976, Aldeburgh, United Kingdom Composed: 1960-61 Approximate Duration: 20 minutes

In 1960 Russian composer Dmitri Shostakovich introduced two of his close friends, cellist Mstislav Rostropovich and composer Benjamin Britten. These two in turn became good friends, and theirs was a creative relationship: over the next few years the English composer wrote five works for the Russian cellist. The first of these was the Sonata for Cello and Piano, begun in December 1960 and completed the following month. It was scheduled for its première the following summer, and Britten and Rostropovich gathered to rehearse it. As might be expected, the two new friends—both creative artists—were a little nervous about the prospect of trying it out for the first time. Rostropovich later described the scene: “Ben said, ‘Well, Slava, do you think we have time for a drink first?’ I said, ‘Yes, yes,’ so we both drank a large whisky. Then Ben said: ‘Maybe we have time for another one?’ ‘Yes, yes,’ I said. Another large whisky. After four or five very large whiskies we finally sat down and played through the sonata. We played like pigs, but we were so happy.” The première performance—a great success—took place at the Aldeburgh Festival on July 7, 1961. The sonata is in five movements, rather than the expected three or four, and much of its thematic material is based on the interval of a second, either rising or falling. The opening movement, Dialogo, begins with a tentative cello figure that revolves around this interval; Britten marks its first appearance lusingando (“intimate, coaxing”). The second subject, marked dolce, is a slow extension of that opening theme; the animated development leads to a close on fragments of the original theme. In the brief Scherzo, Britten has the cello play pizzicato throughout—the composer

SHEKU KANNEH-MASON & ISATA KANNEH-MASON – PROGRAM NOTES

called this movement “guitar-like”—and the piano’s staccato accompaniment mirrors the cello’s pizzicatos. The piano’s introduction to the Elegia again revolves around the interval of a second; the cello’s grieving opening melody rises to a full-throated climax before falling away to end quietly. The fourth movement, a sardonic march, whips past in barely two minutes; Britten accentuates the aggressive quality of this music by having the cello at moments play ponticello (bowing on top of the bridge to produce a grainy, disembodied sound) and giving it stinging glissandos. The finale is a perpetual motion movement based on the cello’s opening theme. Britten marks the theme saltando, which means “leaping”—that is, played with a springing bow. This opening subject will recur in a great range of moods, forms, and registers in the breathless finale.

Sonata for Cello and Piano

KAREN KHACHATURIAN Born September 19, 1920, Moscow Died July 19, 2011, Moscow Composed: 1966 Approximate Duration: 19 minutes

Listeners should be alert to the identity of the composer of the opening piece on this program. This sonata is not by Aram Khachaturian—famous for his ballet scores and fiery Sabre Dance—but by his cousin, Karen Khachaturian. Though he is also of Armenian descent, Karen Khachaturian was born in Moscow, where his father was a theatrical director. The son studied first at the Gnesin Musical School and then went on to the Moscow Conservatory, where he studied with Shostakovich, Miaskovsky, and Shebalin. After graduation from the Conservatory, he taught orchestration there for many years. Karen Khachaturian’s works include ballet, operetta, four symphonies, oratorio, much choral music, and chamber music. He also wrote over forty film scores (and appeared as an actor in two plays). Khachaturian composed his Sonata for Cello and Piano in 1966, and he wrote it specifically for Mstislav Rostropovich, who gave the first performance on January 10, 1967. The sonata is concise: its four movements span only about nineteen minutes. Perhaps because he was writing for a powerful player, Khachaturian made this a very powerful sonata. He can write lyrically for the rich sound of the cello, but listeners may be more immediately struck by the sometimes violent character of this music: much of the writing (for both instruments) is spiky, pointilistic, staccato. Both instruments are given abrupt chords and explosive attacks, and Khachaturian makes full use of the many sounds the cello can make: sul ponticello bowing (right atop the bridge), glissandos, harmonics, pizzicatos, and even harmonic pizzicatos. The sonata is dedicated to Rostropovich, who later

recorded it. The four movements are in the slow-fast-slow-fast sequence of the baroque instrumental sonata, but that is about the only “baroque” aspect of this music. The sonata opens with a long solo for the cello deep in its register. This sets the mood of the mournful first movement, and the cello is eventually joined by the piano, whose accompaniment is minimal: lonely chords or brief transitional passages. But it is the solo piano that leads the way into the second movement, establishing a different mood with its sharp-edged, spiky sound. The writing for cello in this movement is dramatic and strident (it is full of glissandos), and the music drives to a fierce concluding chord. The third movement is titled Aria, and now the music changes character as the cello sings lyric lines over staccato piano accompaniment. Soon, though, the music grows impassioned, and Khachaturian enlivens the climax with the cello’s harmonics, both bowed and plucked. The concluding Toccata is indeed a brilliant movement— Khachaturian marks it Allegro con fuoco (“with fire”). It is essentially a perpetual motion for the cellist, and the sonata drives to the furiously dramatic conclusion that we expect.

Sonata in D Minor for Cello and Piano, Opus 40

DMITRI SHOSTAKOVICH Born September 25, 1906, St. Petersburg Died August 9, 1975, Moscow Composed: 1934 Approximate Duration: 26 minutes

Shostakovich began writing his Cello Sonata on August 15, 1934, and completed it on September 19, a week before his 28th birthday. This was an unusually calm interlude in the often-tormented life of this composer. Earlier that year he had scored a triumph with the première of his opera Lady Macbeth of the Mtsensk District, which was now headed for production in Buenos Aires, New York, Stockholm, Zurich, and other cities. The infamous Pravda attack on the opera— an assault that nearly destroyed Shostakovich’s career— would not occur for another sixteen months. Audiences normally think of Shostakovich’s music from this early period as brilliant, witty, and nose-thumbing, but already another of Shostakovich’s many styles had begun to appear: the neoclassical. In 1933 he had written Twenty-Four Preludes for piano (with the model of Bach’s sets of twenty-four preludes clearly in mind), and the Cello Sonata—with its romantic melodies, conservative harmonic language, and fairly strict classical forms—is very much in the manner of the cello sonatas of Beethoven and Brahms. Frequently performed and recorded, the Cello Sonata remains one of Shostakovich’s most approachable works, particularly for its broad lyricism and generally untroubled spirit. Viktor Lubatsky was cellist and Shostakovich the L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

SHEKU KANNEH-MASON & ISATA KANNEH-MASON – PROGRAM NOTES

pianist at the première, which took place on Christmas Day 1934. Shostakovich was a virtuoso pianist, and it is not surprising that the piano is given so prominent a role in this sonata: it introduces several themes, dominates textures, and is an extremely active participant. The cello, however, has the lovely opening melody of the Allegro non troppo. The piano introduces the quiet second theme, and both are treated fully before the quiet close of this sonata-form movement. Brisk cello arpeggios open the energetic Scherzo, with the piano singing the main idea high above; the piano also has the second subject over eerie, swooping swirls from the cello. The Largo begins with a recitative-like passage from the cello in its deepest register; soon the piano enters, and the movement’s central theme is heard: a lyric, flowing passage for cello over steady piano accompaniment. Dark and expressive, this Largo stands apart in its intensity from the other three movements of the sonata. The concluding Allegro comes closest to the sardonic manner of Shostakovich’s early music. The piano has the abrupt main idea, and the cello’s restatement already brings a saucy variation. The theme goes through several episodes, some of them humorous. At times the humor is almost too broad: one of the instruments will have the theme, played fairly straight, while in the background the other is going crazy with the most athletic accompaniment imaginable. For all its humor, however, the music never turns to slapstick, and the final episode—for piano over pizzicato accompaniment— is lovely. Those interested in this sonata should know that while it has had many fine recordings, the most interesting remains one made long ago (in monophonic sound), featuring the composer at the piano and a very young Mstislav Rostropovich as cellist. This performance has reappeared on compact disc and is well worth knowing, despite its inevitable limitations of sound.

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JOLLA MUSIC SOCIETY · 2021-22 SEASON

LILA DOWNS WEDNESDAY, MAY 4, 2022 • 8 PM BALBOA THEATRE

PROGRAM Program to be announced from the stage. NO INTERMISSION

ABOUT Known for her unique synthesis of Latin American folk, jazz fusion, and South American rhythms, GRAMMY® and Latin GRAMMY® winner Lila Downs is an internationally acclaimed singer and songwriter from Oaxaca, Mexico, whose compelling stage presence and poignant storytelling transcend all language barriers.

Lila Downs last performed for La Jolla Music Society in a Special Event on October 13, 2019. L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

TREY MCLAUGHLIN

& THE SOUNDS OF ZAMAR WEDNESDAY, MAY 11, 2022 · 8 PM THE BAKER-BAUM CONCERT HALL

PROGRAM Program to be announced from the stage. 20-MINUTE INTERMISSION

ABOUT Trey McLaughlin & The Sounds of Zamar have carved a unique place for themselves in the music industry through soul-stirring arrangements of contemporary gospel and vibrant original compositions. McLaughlin and this anointed group are known for their rich harmonies and beautiful blends on their viral videos, which have gathered millions of YouTube followers. With their expressive vocals and intricate arrangements of contemporary gospel, Trey McLaughlin & The Sounds of Zamar is one of the brightest and most prolific groups on the gospel scene.

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JOLLA MUSIC SOCIETY · 2021-22 SEASON

This performance marks Trey McLaughlin & The Sound of Zamar’s La Jolla Music Society debut.

PRELUDE 7 PM Interview hosted by Molly Puryear Support for this program generously provided by:

THE JOFFREY BALLET SATURDAY, MAY 14, 2022 • 8 PM CIVIC THEATRE

UNDER THE TREES’ VOICES INTERMISSION

Jeanette Stevens

VESPERTINE INTERMISSION

THE TIMES ARE RACING Ashley Wheater MBE The Mary B. Gavin Artistic Director Greg Cameron president and CEO Robert Joffrey founder

Gerald Arpino founder

THE COMPANY La Jolla Music Society’s 2021-22 Season is supported by The Conrad Prebys Foundation, The City of San Diego Commission for Arts and Culture, Banc of California, The Lodge at Torrey Pines, ProtoStar Foundation, Vail Memorial Fund, ResMed Foundation, Bright Events Rentals, Ace Parking, Brenda Baker and Steve Baum, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Joy Frieman, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Bebe and Marvin Zigman. The Joffrey Ballet Exclusive Representation: Opus 3 Artists

Derrick Agnoletti Yoshihisa Arai Amanda Assucena Edson Barbosa Brian Bennett Miguel Angel Blanco Evan Boersma Anais Bueno Valeria Chaykina Nicole Ciapponi Lucia Connolly José Pablo Castro Cuevas

April Daly Maxwell Dawe Jonathan Dole Derek Drilon Fernando Duarte Olivia Duryea Anna Gerberich Stefan Goncalvez Dylan Gutierrez Dara Holmes Victoria Jaiani Hansol Jeong

Gayeon Jung Yumi Kanazawa Blake Kessler Yuchan Kim Hyuma Kiyosawa Brooke Linford Graham Maverick Jeraldine Mendoza Xavier Núñez Princess Reid Aaron Renteria Christine Rocas

Julia Rust Chloé Sherman Miranda Silveira Temur Suluashvili Miu Tanaka Olivia Tang-Mifsud Alberto Velazquez Valentino Moneglia Zamora

The Joffrey Ballet last performed for La Jolla Music Society in the Dance Series on March 8, 2019. L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

THE JOFFREY BALLET – PROGRAM NOTES

UNDER THE TREES’ VOICES

Choreography: Nicolas Blanc Music: Ezio Bosso Costumes Conceived By: Nicolas Blanc and Eleanor Cotey Scenery and Lighting: Jack Mehler Digital World Première: April 30, 2021 Symphony No. 2: Under the Trees’ Voices by arrangement with Sony Music

Program Note: Under the Trees’ Voices features 12 Joffrey pairs dancing to Symphony No. 2 by Italian composer Ezio Bosso. The performance channels the power of community in the age of social distancing. In four distinct sections, Blanc imagines a future of hope and unity. INTERMISSION

VESPERTINE

Choreography and Costume Design: Liam Scarlett Music: Bjarte Eike, John Dowland, Arcangelo Corelli, Francesco Geminiani Lighting Design: Michael Hulls Lighting Recreated by: Jack Mehler Staged by: Kristen McGarrity Scenery and Costumes Courtesy of: Atlanta Ballet World Première: November 15, 2013, Norwegian National Ballet, DenNorske Opera & Ballett, Olso, Norway Joffrey Première: April 24, 2019, Auditorium Theatre, Chicago, IL Program Note: Vespertine was the second ballet that I created for Norwegian National Ballet. It came very quickly after Firebird, which was a big production. Obviously with that momentous Stravinsky score, the opulence and scale of everything was enormous, so I wanted to do something a little more pared-down and slightly more nuanced and delicate. Vespertine was part of a Baroque evening. I got in touch with a small chamber orchestra based in Norway that dealt with Baroque-era music, but with a slight updated twist and electronic undertones to it and it came from there. Music is a big driving force for me. It’s your script. You don’t have words, you have music. I pride myself on being a choreographer who really is a musical one and will pay respect to the score I’m using regardless of what it is. It’s a real driving point. Every step I choreograph, that music is in the back of my head. I try and go in with a good understanding of the musical layout of it, even if I don’t have steps. The musical arc and the climaxes and the suspense it builds is a narrative layout for the piece itself. — Liam Scarlett INTERMISSION

THE TIMES ARE RACING

Choreography: Justin Peck Music: Dan Deacon Costume Design: Humberto Leon Lighting Design: Brandon Stirling Baker Sound Design: Abe Jacob Staged by: Craig Hall World Première: January 26, 2017, New York City Ballet, David H. Koch Theater, New York, NY Joffrey Première: February 12, 2020, Auditorium Theatre, Chicago, IL Original Beatles Compositions (SESAC) administered by 2011 Ribbon Music (SESAC) administered by Domino US Publishing Company (SESAC). Selections from Dan Deacon’s America USA I — Is A Monster | USA II — The Great American Desert USA III — Rail | USA IV — Manifest

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JOLLA MUSIC SOCIETY · 2021-22 SEASON

PRELUDE 2 PM

Lecture by Kristi Brown Montesano

Sources of Inspiration What are the aims, ideas, and circumstances that galvanize a composer to create a particular work? This presentation investigates this question through a wide-ranging program that spans from Scarlatti’s baroque keyboard sonatas to Romantic-age programmatic works by Schumann and Liszt to Rachmaninoff’s last solo piano work, Variations on a Theme of Corelli.

BEHZOD ABDURAIMOV, piano SUNDAY, MAY 15, 2022 • 3 PM THE BAKER-BAUM CONCERT HALL

SCARLATTI Sonata in B Minor, K.27 (1685-1757) Sonata in D Major, K.96

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

LISZT Bénédiction de Dieu dans la Solitude from Harmonies (1811-1886) poétiques et religieuses, S.173/3 RACHMANINOFF Variations on a Theme of Corelli, Opus 42 (1873-1943)

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

BEHZOD ABDURAIMOV – PROGRAM NOTES

Program notes by Eric Bromberger

Sonata in B Minor, K.27 Sonata in D Major, K.96

DOMENICO SCARLATTI Born October 26, 1685, Naples Died July 23, 1757, Madrid Composed: 1738, 1746 Approximate Duration: 8 minutes

Kreisleriana, Opus 16

ROBERT SCHUMANN Born June 8, 1810, Zwickau, Germany Died July 29, 1856, Endenich, Germany Composed: 1838 Approximate Duration: 30 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 In a famous remark, Haydn once said that his isolation the German writer E.T.A. Hoffmann (1776-1822), author of at Esterhazy had forced him to “become original.” Such a novels and fantastic tales. Hoffmann named one of his sets comment might describe another composer who worked far from established music centers: Domenico Scarlatti. Trained as of fantastic stories Fantasiestücke, and Schumann borrowed that title for several of his own works, but it was Hoffmann’s a keyboard player, Scarlatti held positions in Naples, Florence, fictional character Johannes Kreisler who seems to have struck Venice, Rome, and Palermo before making in 1719 the long Schumann most strongly. A musician and critic (like Schumann trip to Lisbon, where he served as court harpsichordist to the King of Portugal. When the Princess Maria Barbara married the himself), Kreisler was a perfect example of the literary concept Spanish Crown Prince in 1729, Scarlatti followed her to Madrid, known as Zerrisenheit: the artist-hero who is torn apart by the conflict between his idealized sense of order and the claims of where he spent the final three decades of his life. And it was there in Madrid, far from the cultured courts he had known as a the world he must live in; one of Hoffmann’s original working titles, in fact, appears to have been Lucid Intervals of an Insane young man, that Scarlatti “became original.” Musician. Schumann, one of the most mentally tormented of Though his primary responsibility was to write vocal all composers, saw in Johannes Kreisler a spiritual brother, and music for the court, Scarlatti is remembered today for his 550 he borrowed that name for this collection of eight piano pieces, keyboard sonatas, most of them written over the final decade which he specifically called “fantasies.” of his life. Scarlatti called these pieces esercizi (“exercises”), Schumann wrote Kreisleriana in the spring of 1838. He and while they are not actually in sonata form, they look ahead was 27 years old, his efforts to marry Clara Wieck were being to that form as it would develop across the remainder of the thwarted by the opposition of her father, and music seemed century. They are in one movement, but in binary form, built on themes of contrasting tonalities. Scarlatti would have played to pour out of the young composer. From January 1838 came his Novelletten, followed by the Kinderszenen in February; them on the harpsichord (or gravicembalo, as it was known in March Schumann composed the Fantasy in C Major, and in Spain), and these sonatas are remarkable for the brilliance in April—in the space of four days—he wrote Kreisleriana. of the keyboard technique he demands: they require fast runs, hand-crossing, arpeggios across the range of the keyboard, great Schumann may have called these pieces “fantasies,” which implies formlessness, but they are in fact quite disciplined cascades of sound, and rapid repetition of notes. The sonatas works. They do, however, defy easy classification: some are in are quite brief—usually between three and five minutes—but ABA form, some are in simple binary form, and several have in these short spans Scarlatti creates miniature worlds full of forms all their own. As a very general rule, it might be observed drama, excitement, color, and beauty. that the odd-numbered movements are fast and dramatic, the This recital opens with two of these sonatas. The Sonata even slow and expressive, but even this observation is undercut in B Minor (marked Allegro) is distinctive for keeping the by the frequent internal episodes at contrasting tempos. accompaniment in the middle, with the melodic line above and Particularly striking is the variety of mood and expression in below it. This requires some modest hand-crossings before this music—one moment it can be simple and lyric, the next it the sonata trails off to its conclusion in the keyboard’s deepest turns mercurial, and suddenly it is violent and extroverted. Yet register. The wonderful Sonata in D Major almost boils over this music tells no tales, paints no pictures, nor does it try to with energy. Scarlatti marks it Allegrissimo, and we seem to translate Hoffmann’s magical stories into music—these eight hear the sound of hunting horns in the right hand as the music pieces are abstract music, complete in themselves. Throughout, races along its 3/8 meter. Quickly those horn calls make their one feels Schumann’s instinctive and idiomatic understanding way into the left hand, and now the right accompanies with of the piano, and the end of Kreisleriana is stunning: after the busy trills and repeated notes. Scarlatti develops these ideas galloping, hammering energy of the final piece, the music grows in the second half of the sonata, which offers some pungent quiet and suddenly vanishes like smoke on two barely-audible dissonances and spirited hand-crossings along the way. strokes of sound.

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JOLLA MUSIC SOCIETY · 2021-22 SEASON

BEHZOD ABDURAIMOV – PROGRAM NOTES

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.”

Variations on a Theme of Corelli, Opus 42

SERGEI RACHMANINOFF Born April 1, 1873, Semyonovo, Russia Died March 28, 1943, Beverly Hills Composed: 1931 Approximate Duration: 19 minutes

Just as Brahms’ Variations on a Theme of Haydn are not really based on a theme by Haydn, so Rachmaninoff’s Bénédiction de Dieu dans la Solitude from Variations on a Theme of Corelli are not really based on a Harmonies poétiques et religieuses, S.173/3 theme by Corelli. The haunting melody made famous by Corelli was already several hundred years old when he used it in his Born October 22, 1811, Raiding, Hungary violin sonata, Opus 5, No. 12, subtitled La Folia, of 1700. That Died July 31, 1886, Bayreuth tune appears to have originated in fifteenth-century Portugal. Composed: 1847-52 It was originally a fast dance in triple time and was danced so Approximate Duration: 18 minutes strenuously that the dancers seemed to have gone mad—the title Liszt wrote the set of ten pieces for piano that make up his folia meant “mad” or “empty-headed” (it survives in our usage Harmonies poétiques et religieuses between 1847 and 1852. as “folly”). Over time, this dance slowed down and became These were the beginning of the composer’s Weimar years, the famous stately theme we know today, and as a basis for the eleven-year period (1848-1859) when Liszt served as variations it has attracted many composers, Vivaldi, Marais, kapellmeister at the Weimar court and produced many of his Bach, Lully, Geminiani, and Liszt among them. greatest works, including the Faust and Dante Symphonies, the Rachmaninoff composed his set of Variations on a Theme symphonic poems, and many pieces for piano, including the of Corelli, his final work for solo piano, in Switzerland during Hungarian Rhapsodies. The Harmonies poétiques et religieuses, the summer of 1931. Variation form seems to have been Liszt’s only work on a religious theme for piano, is a massive on Rachmaninoff’s mind during this period: his next work, collection, lasting (in its entirety) over 80 minutes. The ten composed three years later, was the Rhapsody on a Theme of pieces are varied, both in kind and quality. One is a transcription Paganini, a set of twenty-four variations for piano and orchestra of a work by another composer, several are revisions of earlier on another quite famous theme. The Corelli Variations are pieces by Liszt himself, and some are new. Dedicated to extremely focused: Rachmaninoff offers twenty variations in the Princess Carolyn Sayn-Wittgenstein, the composer’s mistress, space of only sixteen minutes. He opens with a straightforward the Harmonies remained one of Liszt’s favorites among his own statement of the theme in D minor (the key in which Corelli set compositions. his variations), and the variations proceed at different tempos Bénédiction de Dieu dans la solitude, the third piece of the and in different moods; something of the range of their variety set, has been praised as one of Liszt’s finest works for piano, can made out from Rachmaninoff’s markings: misterioso, and many have been quick to hear in its luminous calm the scherzando, agitato, cantabile. An unusual feature of this set is same spirit that infuses the slow movements of Beethoven’s that three of the variations (Nos. 11, 12, and 19) are marked as late quartets. It is preceded in the score by an excerpt from a optional, and Rachmaninoff himself sometimes omitted various poem by Lamartine: “Whence comes, O God, this peace that others during performances, depending on his mood. Following overwhelms me? Whence comes this faith with which my heart Variation 13, Rachmaninoff offers an unnumbered variation overflows?” The Bénédiction is in ternary form, and particularly that he calls Intermezzo and which functions somewhat like a noteworthy is the shimmering accompaniment in the right hand, cadenza in a concerto. Full of mordents, arpeggiated chords, as the quiet main theme unfolds in the left. The middle section and unmeasured runs, it effectively blurs a sense of tonality, is a gentle Andante, and in the closing section Liszt brings back so that Variation 14—a return to the original tune, now in the all his themes. key of D-flat major—sounds chaste and pure. This and the following variation, marked dolcissimo, form a nocturne-like interlude before the vigorous final five variations. The ending is particularly effective. Rachmaninoff concludes not with a bravura display but with one further variation, which he marks simply Coda. This quiet Andante finally fades into silence on pianissimo D-minor chords. Rachmaninoff dedicated the Variations on a Theme of Corelli to his good friend (and frequent recital partner), the violinist Fritz Kreisler.

FRANZ LISZT

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

PRELUDE 7 PM

Interview hosted by Alex Greenbaum

Support for this program generously provided by:

ProtoStar Foundation

SPEKTRAL QUARTET “LETTERS FROM HOME” THURSDAY, MAY 26, 2022 • 8 PM THE BAKER-BAUM CONCERT HALL

VICTORIA O Magnum Mysterium (arr. Spektral Quartet) (1548-1611) DEBUSSY Animé et très décidé from String Quartet in G Minor, (1862-1918) L 85 Opus 10 RUSSELL Hiding Your Present from You (arr. Katherine Young) (1951-1992)

SCHUBERT Andante from String Quartet No. 13 in A Minor, D.804 (1797-1828) “Rosamunde” TOMEKA REID Prospective Dwellers (b.1977) Spektral Quartet Clara Lyon, Maeve Feinberg, violins; Doyle Armbrust, viola; Russell Rolen, cello

ABOUT

Letters From Home invites you to create right alongside us, penning postcards as we perform an elastic program spanning the 16th century up through today. Through recorded interviews, historic letters, and nimble storytelling, we’ll connect the composers, their music, and you the listener in an animated evening of shared creativity. La Jolla Music Society’s 2021-22 Season is supported by The Conrad Prebys Foundation, The City of San Diego Commission for Arts and Culture, Banc of California, The Lodge at Torrey Pines, ProtoStar Foundation, Vail Memorial Fund, ResMed Foundation, Bright Events Rentals, Ace Parking, Brenda Baker and Steve Baum, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Joy Frieman, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Bebe and Marvin Zigman.

Exclusive management for Spektral Quartet: Alliance Artist Management 579 West 215th Street #2B, New York, NY 10034

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Your canvas is a postcard or letter on which you’ll write personal messages to family and friends, inspired by the music in the moment. Letters From Home transforms a one-night event into a creative collaboration, the effects of which will ripple out for weeks to come. Just imagine the look on the face of a loved one, opening their mailbox and finding an unexpected, hand-written message from you. Praised by The New Yorker magazine as providing the “...signal service of obliterating the dividing line between past and present, tradition and avant-garde…” we offer this interactive experience as not only a melding of the head and heart, but an opportunity to celebrate the creative spirit in us all.

JOLLA MUSIC SOCIETY · 2021-22 SEASON

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

PRELUDE 7 PM

Interview hosted by Robert John Hughes

ARTURO SANDOVAL FRIDAY, JUNE 3, 2022 • 8 PM THE BAKER-BAUM CONCERT HALL

PROGRAM Works to be announced from the stage. NO INTERMISSION

Arturo Sandoval, trumpet Michael Tucker, saxophone William Brahm, guitar John Belzaguy, bass Maxwell Haymer, piano Tiki Pasillas, percussion Johnny Friday, drums

ABOUT La Jolla Music Society’s 2021-22 Season is supported by The Conrad Prebys Foundation, The City of San Diego Commission for Arts and Culture, Banc of California, The Lodge at Torrey Pines, ProtoStar Foundation, Vail Memorial Fund, ResMed Foundation, Bright Events Rentals, Ace Parking, Brenda Baker and Steve Baum, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Joy Frieman, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Bebe and Marvin Zigman.

Ten-time GRAMMY® Award winner Arturo Sandoval is fluent in at least four musical languages. He can burn through an Afro-Cuban groove, tear up a bebop tune, soar over a Mozart concerto, and soothe you with a luscious ballad, all with equal power and grace. A protégé of the legendary jazz master Dizzy Gillespie, Sandoval is one of the world’s most revered guardians of jazz trumpet and flugelhorn, as well as a renowned classical artist, pianist, and composer.

Arturo Sandoval last performed for La Jolla Music Society in the Jazz Series on May 16, 2015. L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

LOVING MEMORY

In the past year, La Jolla Music Society has lost some dear friends. We cherish their memories. Carolyn Yorston-Wellcome January 21, 1924–December 15, 2021

Carolyn became involved with La Jolla Music Society in the 1990s and served on our Board of Directors from 1994 to 2001 and then again from 2007 to 2015. She was one of the most steadfast and longest-standing friends and supporters of La Jolla Music Society and hosted numerous events and musicians in her home. Carolyn was a charter member of the Medallion Society, which was founded in 1999, and maintained her support through that program up to today. Carolyn’s legacy lives on at The Conrad Prebys Performing Arts Center through her naming gift of the concession stand we all enjoy.

Wendy Brody

January 28, 1947–November 25, 2021

Since moving to La Jolla in 2009, Wendy had become one of the most loyal champions of La Jolla Music Society. She jumped right in and housed several musicians, hosted receptions at her home, served on the SummerFest Committee, and joined our Board of Directors from 2013 until her passing. Wendy’s many lasting contributions to the La Jolla Music Society range from being a Founding Donor of The Conrad Prebys Performing Arts Center to chairing the 2020 WinterFest Gala, raising over $600,000 for La Jolla Music Society’s education and artistic programs.

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JOLLA MUSIC SOCIETY · 2021-22 SEASON

The Conrad has gone solar! In February, thanks to the encouragement of our Board of Directors and the financial support of Raffaella and John Belanich and Bebe and Marvin Zigman, LJMS completed the installation of an array of solar panels on the roof of The Conrad. With 237 panels each generating 425W, expected monthly savings in energy costs are projected to be 25 percent, or more than $1.3 million over the next 30 years! “Having a solar array system at The Conrad has been and is important to La Jolla Music Society’s Board of Directors,” says LJMS President and CEO Todd Schultz. “It’s important to us as a performance venue and as a participating member of this community to make every effort possible to minimize environmental impact. Although our primary mission is in the performing arts, we can work in many other ways to improve the world we live in and to serve as good community partners. We’re grateful to our visionary board members who both encouraged us to make this project happen and provided the funding to make it possible.” Raffaella and John Belanich and Bebe and Marvin Zigman led fundraising efforts with major donations to cover the $307,000 cost of installation, which began in December 2021. The system was complete and energized in February 2022. Construction had to accommodate the venue’s full performance schedule so that performers and audiences were not affected. The panels are flat roof construction, ideal for this type of installation, and were installed above both The Baker-Baum Concert Hall and The JAI.

THE CONRAD GOES GREEN(ER), WITH SOLAR PANELS

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

CONCERTS @ THE JAI

GUNHILD CARLING

THURSDAY, APRIL 28, 2022 · 6:30 PM & 8:30 PM Swing | Vaudeville | Jazz Standards

Sweden’s Queen of Swing, Gunhild Carling is an internationally acclaimed superstar. Whether she’s singing favorite jazz standards or playing one of many instruments, Gunhild’s sublime showmanship shines through. She is a jazz artist of the old breed, showing heavy influence from Bix Beiderbecke, Louis Armstrong, and Billie Holiday. She combines extraordinary skills on trumpet and trombone with vaudeville stunts, like playing three trumpets at once.

ROBERTO FONSECA

YESUN THURSDAY, MAY 19, 2022 · 6:30 PM & 8:30 PM Afro-Cuban | Genre-Bending

Havana-born and-based pianist Roberto Fonseca honors his deep Afro-Cuban roots while embracing modern music and showcasing what the future of Cuban music can be, thus becoming “one of the most exciting musicians in the new Cuban scene” (BBC Music). Fonseca, who has toured the world’s best venues with Buena Vista Social Club, is known for ripping up the rulebook, entwining folkloric sounds with everything from jazz and classical music to rap, funk, reggaeton and electronica.

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JOLLA MUSIC SOCIETY · 2021-22 SEASON

THE ConRAD KIDS series

THE OKEE DOKEE BROTHERS SATURDAY, MAY 7, 2022 · 3 PM THE BAKER-BAUM CONCERT HALL

This American bluegrass/American roots GRAMMY® awardwinning duo has put their passion for the outdoors at the heart of their children’s music. A five-time Parent’s Choice Award winner, they have garnered praise from the likes of NPR’s All Things Considered and USA Today, and have been called “two of family music’s best songwriters.”

CONCERTS DOWNTOWN

CHRIS BOTTI, trumpet FRIDAY, OKEE APRIL 8, 2022 · 8 PM THE DOKEE BALBOA THEATRE BROTHERS

Trumpet powerhouse and American best-selling artist Chris Botti

SATURDAY, 2022 · 3intimacy PM and thundering grandiosity” dazzles withMAY both 7, “flickering (The New York Times). His mesmerizing THE BAKER-BAUM CONCERT HALL performances with a stunning

array of legends such as Sting, Barbra Streisand, Tony Bennett, Yo-Yo Ma, This American rootsBocelli GRAMMY award Frank Sinatra,bluegrass/American Paul Simon and Andrea have cemented his place winning duo has put their passion for the outdoors at thecontemporary as one of the most brilliant and inspiring forces of the heart their children’s A five-timewith Parent’s Choice musicofscene. Whether music. he’s performing illustrious symphonies Award winner, they have garnered praise from likes of crystalline or at renowned venues around the globe, histhe unparalleled NPR’s All Things Considered andmusical USA Today, and have been and poetic sound transcends boundaries. called “two of family music’s best songwriters.”

THEOKEE JOFFREY BALLET THE DOKEE SATURDAY, MAY 14, 2022 · 8 PM BROTHERS CIVIC THEATRE SATURDAY, MAY 7, 2022 · 3 PM The incomparable Chicago-based Joffrey Ballet THE BAKER-BAUM CONCERT HALL returns for a dazzling evening at San Diego Civic

Theatre. Among America’s premierroots balletGRAMMY companies, This American bluegrass/American award Joffrey’sduo cutting-edge programs winning has put their passiondisplay for the the outdoors at the inestimable skill of its music. dancers. heart of their children’s A five-time Parent’s Choice Award winner, they have garnered praise from the likes of NPR’s All Things Considered and USA Today, and have been called “two of family music’s best songwriters.” L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

BIOGRAPHIES Behzod Abduraimov, piano Behzod Abduraimov performs with leading orchestras worldwide, collaborating with prestigious conductors such as Valery Gergiev, Vladimir Ashkenazy, James Gaffigan, and Gustavo Dudamel. Summer 2019 included re-invitations to Verbier, Rheingau, La Roque Antheron and Lucerne Festivals. Born in Tashkent, Uzbekistan, in 1990, Abduraimov began the piano aged five as a pupil of Tamara Popovich at Uspensky State Central Lyceum in Tashkent. In 2009, he won First Prize at the London International Piano Competition with Prokofiev’s Piano Concerto No. 3.

DakhaBrakha Ukrainian “ethno chaos” band DakhaBrakha creates a world of unexpected new music. DakhaBrakha was created in 2004 at the Kyiv Center of Contemporary Art by the avant-garde theatre director Vladyslav Troitskyi and named for the old Ukrainian word that means “give/take.” After experimenting with Ukrainian folk music, the band has added rhythms of the surrounding world into their music, thus creating the bright, unique and unforgettable sound of DakhaBrakha. At the crossroads of Ukrainian folklore and theatre, their musical spectrum is both intimate and riotous, plumbing the depths of contemporary roots and rhythms, inspiring “cultural and artistic liberation.”

Lila Downs Lila Downs has one of the world’s most singular voices and innovative approaches to music. Born in the state of Oaxaca, México, she is the daughter of a Mixtec Indian woman and a University of Minnesota professor. Downs has a GRAMMY and four Latin GRAMMYS. Lila Downs has performed at many of the world’s most prestigious festivals and venues, and has been invited to sing at the White House. Artists with whom she has collaborated include Mercedes Sosa, Carlos Santana, Juanes, Bunbury, Cafe Tacuba, Los Tigres del Norte, 1 Giant Leap, Wynton Marsalis, La Niña Pastori, and Juan Gabriel, among many others.

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BIOGRAPHIES

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 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 is focused on creating a thriving orchestral community at San Diego State University.

Alex Greenbaum, lecturer Born in New York, cellist Alex Greenbaum enjoys a diverse and adventurous musical life. As a member of the Hausmann Quartet he is an Artist-in-Residence and Lecturer at San Diego State University, where he teaches cello and chamber music. As a long-time member of The Knights chamber orchestra he has performed throughout the U.S. and Europe, and has recorded for Ancalagon, Arc, Bridge, Canary Classics, Cantaloupe, In a Circle, Koch, Naxos, Warner Classics and Sony records. Locally, Alex is a founding member of San Diego Baroque, a mainstay in Art of Élan's concerts, an affiliated artist with San Diego New Music and a member of Bach Collegium San Diego.

Robert John Hughes, lecturer Journalist, broadcaster, musician, author, record producer. Hughes has interviewed hundreds of musical artists in classical, jazz, pop, rock, R&B, and blues, including Sting, Wynton Marsalis, Bonnie Raitt, Paul Simon, B.B. King, Adele, and Peter Gabriel. As a record producer and member of the GRAMMY® Academy, Hughes has released five albums of live performances by artists heard on San Diego FM station 102.1 KPRi. Hughes has hosted La Jolla Music Society Preludes since 2018.

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BIOGRAPHIES

The Joffrey Ballet Classically trained to the highest standards, The Joffrey Ballet expresses a unique, inclusive perspective on dance, proudly reflecting the diversity of America with its company, audiences, and repertoire which includes major story ballets, reconstructions of masterpieces, and contemporary works. Founded by visionary teacher Robert Joffrey in 1956, guided by celebrated choreographer Gerald Arpino from 1988 until 2007, The Joffrey Ballet continues to thrive under internationally renowned Artistic Director Ashley Wheater and Executive Director Greg Cameron.

Ashley Wheater MBE, Mary B. Gavin Artistic Director Ashley Wheater has dedicated his life to dance. He was born in Scotland and trained at The Royal Ballet School in England. In 1997, after a career dancing with the London Festival Ballet, Australian Ballet, The Joffrey Ballet, and San Francisco Ballet, Wheater retired from dancing. Since his appointment, in 2007, as The Mary B. Gavin Artistic Director of The Joffrey Ballet, his passion and commitment to The Joffrey Ballet has been evident in the quality that he has brought to the dancing and to the repertoire. In December 2019, Wheater was appointed to be a Member of the Most Excellent Order of the British Empire (MBE) by Her Majesty Queen Elizabeth II.

Sheku Kanneh-Mason, cello Sheku Kanneh-Mason became a household name in 2018 after performing at the wedding of the Duke and Duchess of Sussex at Windsor Castle, his performance having been greeted with universal excitement after being watched by nearly two billion people globally. Sheku initially garnered renown as the winner of the 2016 BBC Young Musician competition, the first Black musician to take the title. He is the winner of Best Classical Artist at the Global Awards in 2020 and 2021 (the latter as part of the Kanneh-Mason family), and received the 2020 Royal Philharmonic Society’s Young Artists’ Award. Sheku was appointed a Member of the Most Excellent Order of the British Empire (MBE) in the 2020 New Year’s Honours List.

Isata Kanneh-Mason, piano Isata Kanneh-Mason is the recipient of the 2021 Leonard Bernstein Award, a 2020 Opus Klassik award for best young artist, and, as a member of the Kanneh-Mason family, the 2021 best classical artist at the Global Awards. She recently gave her Wigmore Hall solo recital debut, which featured repertoire by female composers for International Women’s Day, and appeared in streamed performances with orchestras such as the Hallé and the BBC Scottish Symphony. In the 2021-22 season, Isata will continue as Young Artist in Residence with the Royal Liverpool Philharmonic Orchestra.

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BIOGRAPHIES

The Sounds of Zamar The Sounds of Zamar have carved a unique place for themselves in the music industry through soul-stirring arrangements of contemporary gospel, musical theater, and rich original compositions. The ensemble, organized in 2009, has performed with gospel greats such as William McDowell, Kierra “Kiki” Sheard, Richard Smallwood, VaShawn Mitchell, Earnest Pugh, and James Fortune. Hailing from Augusta, Georgia, Trey McLaughlin & The Sounds of Zamar are known for their opulent harmonies and beautiful blends, which are showcased throughout their 2012 album Limitless and their viral online covers.

Trey McLaughlin Trey M. McLaughlin is a passionate vocalist, educator, composer, arranger, and clinician. Known for fusing together an eclectic mix of musical genres, he arranges and performs original works with his own touring and recording ensemble, The Sounds of Zamar, who concluded their first national tour in the 2018-19 season. McLaughlin currently serves as Director of Worship and Arts at Tabernacle Baptist Church of Augusta, Georgia, and is the Artistic Director of the non-profit performing arts youth group Creative Impressions, of which he was once a member and Student Director. He serves as adjunct faculty at the University of St. Thomas in St. Paul, Minnesota, teaching graduate-level courses in conducting, vocal technique, composition, arranging, and piano.

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.

Photo Credits: Cover: L. Downs © Marcela Taboada; Pg. 17: L. Rosenthal, courtesy of artist; Pg. 18: Dakhabrakha © Vilchynska Tetiana; Pg. 19: S. Kanneh-Mason © Jake Turney; I. Kanneh-Mason © John Davis; Pg. 23: L. Downs © Marcela Taboada; Pg. 24: T. McLaughlin & The Sounds of Zamar, photo courtesy of artist; Pg. 33: The Joffrey Ballet artists: Graham Maverick, Yuka Iwai, Brooke Linford, Olivia Tang Mifsud © Cheryl Mann; Pg. 27: B.Abduraimov © Evgeny Eutykhov; Pg. 30: Spktral Quartet © Jocelyn Chuang; Pg.31, A. Sandoval © Jeremy Lock; Pg. 33: The Conrad solar panels © Hannes Kling ; Pg. 34: G. Carling courtesy of artist, R. Fonseca © Alejandro Azcuy; Pg. 35: The Okee Dokee Brothers courtesy of artists, C. Botti © Leann Mueller, The Joffrey Ballet © Cheryl Mann; Pg. 36: B. Abduraimov © Evgeny Eutykhov, Dakhabrakha © Vilchynska Tetiana, L. Downs © Marcela Taboada; Pg.37: Michael Gerdes, courtesy of artist; Alex Greenbaum, photo courtesy of artist, Robert John Hughes; Pg. 38: The Joffrey Ballet artists: Christine Rocas, Rory Hohenstein, Beyond the Shore © Cheryl Mann, Ashley Wheater © Cheryl Mann, S. Kanneh-Masons © Jake Turney, I. Kanneh-Masons © Jake Turney; Pg. 39: The Sounds of Zamar © courtesy of artist, T. McLaughlin © Megan Bean, K. B. Montesano, courtesy of artist; Pg. 10: Molly Puryear, courtesy of artist, Spektral Quartet © Dan Kullman, A. Sandoval © Jeremy Lock; Back Cover: I. Barnatan © Marco Borggreve.

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BIOGRAPHIES

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.

Spektral Quartet Multi-GRAMMY award nominees, the Spektral Quartet creates vivid conversations between exhilarating works of the past and the extraordinary works of today. With the New York Times writing, “they have everything: a supreme technical command that seems to come easily, a capacity to make complicated music clear, and, most notably... an ability to cast a magic spell,” Spektral is regarded as one of the most forward-thinking ensembles working today. Invited to take the stage at notable venues such as the Kennedy Center, Library of Congress, American Academy in Rome, and NPR’s Tiny Desk Concerts, the quartet is also in demand for residencies at leading music schools around the country including Stanford University, New World Symphony, and Northwestern University.

Arturo Sandoval, trumpet A protégé of the legendary jazz master Dizzy Gillespie, Arturo Sandoval was born in Artemisa, a small town in the outskirts of Havana, Cuba, on November 6, 1949. Sandoval has since evolved into one of the world’s most acknowledged guardians of jazz trumpet and flugelhorn, as well as a renowned classical artist, pianist and composer. He has been awarded 10 GRAMMY® Awards, and nominated 19 times; he has also received six Billboard Awards and an Emmy. Sandoval was a founding member of the GRAMMY® Award-winning group Irakere, whose explosive mixture of jazz, classical, rock, and traditional Cuban music caused a sensation throughout the entertainment world. In 1981, he left Irakere to form his own band, which garnered enthusiastic praise from critics and audiences all over the world and continues to do so.

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B O O K YO U R E V E N T AT T H E C O N R A D

THE CONRAD PREBYS PERFORMING ARTS CENTER Recitals · Chamber Music · Amplified Concerts · Dance · Film · Theater Conferences · Lectures · Receptions · Fundraisers · Weddings and more...

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 email VenueServices@LJMS.org L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

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. 42 L A

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ANNUAL SUPPORT La Jolla Music Society depends on contributed income for more than 60% 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 honor to recognize the following donors.

FOUNDER Brenda Baker & Stephen Baum

($250,000 and above)

Raffaella & John Belanich The Conrad Prebys Foundation

ANGEL Joy Frieman

($100,000 - $249,999)

Joan & Irwin Jacobs Dorothea Laub Debra Turner The City of San Diego Commission for Arts and Culture Clara Wu Tsai & Joseph Tsai

BENEFACTOR Banc of California | Stephen Gamp ($50,000-$99,999)

Mary Ann Beyster Ric & Eleanor Charlton Peter Cooper & Erik Matwijkow Silvija & Brian Devine Ingrid & Ted Friedmann Jeanne Herberger, Ph.D. Peggy & Peter Preuss Sheryl & Bob Scarano Marge & Neal Schmale Doctor Bob & June Shillman Bebe & Marvin Zigman

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ANNUAL SUPPORT

GUARANTOR

SUPPORTER

Anonymous Gordon Brodfuehrer Wendy Brody Mary Ellen Clark Katherine & Dane Chapin Julie & Bert Cornelison Lyndie & Sam Ersan Jennifer & Kurt Eve Pamela Farr & Buford Alexander Lehn & Richard Goetz Goldman Sachs: Terence Balagia, George Dennis, Brett Johnson, Michael O’Brien John Hesselink Susan & Bill Hoehn Vivian Lim & Joseph Wong Sue & John Major Arlene & Lou Navias Arman Oruc & Dagmar Smek Steven & Sylvia Ré Jeanette Stevens Gayle & Philip Tauber Vail Memorial Fund Anna & Edward Yeung Sue & Peter Wagener

Anonymous Judith Bachner & Dr. Eric L. Lasley Tom & Stephanie Baker Bjorn Bjerede & Jo Kiernan Bob & Ginny Black Una Davis & Jack McGrory Barbara Enberg Elliot & Diane Feuerstein Monica Fimbres Lisa Braun Glazer & Jeff Glazer Brenda & Michael Goldbaum Ingrid Hibben & Victor La Magna Jeanne Jones Keith & Helen Kim Carol Lam & Mark Burnett Rafeal & Marina Pastor Catherine Rivier Noni & Drew Senyei Haeyoung Kong Tang Dolly & Victor Woo Carolyn Yorston-Wellcome

($25,000 - $49,999)

SUSTAINER

($15,000 - $24,999)

Anonymous (2) Sharon L. Cohen The Hon. Diana Lady Dougan Ann Parode Dynes & Robert Dynes Sue & Chris Fan Debby & Wain Fishburn Pam & Hal Fuson Angelina & Fredrick Kleinbub Robin & Hank Nordhoff Betty-Jo Petersen Stacy & Don Rosenberg Leigh P. Ryan Clifford Schireson & John Venekamp Maureen & Thomas Shiftan Margie & John H. Warner, Jr. Abby & Ray Weiss Lise Wilson & Steve Strauss

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($10,000 - $14,999)

Elisa & Rick Jaime Theresa Jarvis Kathleen & Ken Lundgren Margaret McKeown & Peter Cowhey Virginia & David Meyer Marilyn & Stephen Miles Elaine & Doug Muchmore Mary Sophos & William Pitts Susan Shirk & Samuel Popkin Gloria & Rod Stone Joyce & Ted Strauss Elizabeth Taft Clayton Lewis & Thomas Rasmussen Patty Rome Susan & Richard Ulevitch Ayse Underhill Yvonne Vaucher Gianangelo & Mera Vergani Jo & Howard Weiner Shara Williams & Benjamin Brand Mary & Joseph Witztum

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

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

Anonymous (3) Carson Barnett & Tom Dubensky Joan Jordan Bernstein Jim Beyster Dr. James C. & Karen A. Brailean Stuart & Isabel Brown Lisa & David Casey Martha & Ed Dennis Debbe Deverill Nina & Robert Doede Margot & Dennis Doucette Jill Esterbrooks & James Robbins Marina & Gordon Fines Richard & Beverley Fink Beverly Frederick & Alan Springer Elaine Galinson & Herbert Solomon Sarah & Michael Garrison Buzz & Peg Gitelson Margaret Stevens Grossman & Michael Grossman Teresa & Harry Hixson Gail & Doug Hutcheson

JOLLA MUSIC SOCIETY · 2021-22 SEASON

Anonymous Jeffrey Barnouw Barry & Emily Berkov Carolyn Bertussi Susan & Ken Bien Sedgwick & Gloria Browne R. Nelson & Janice Byrne David Cooper & Joanne Hutchinson Linda & Richard Dicker Mr. & Mrs. Michael Durkin Ruth & Ed Evans Sarah Long & Simon Fang Jack Fisher Lynn Gorguze & The Hon. Scott Peters Beverly Grant Carrie Greenstein Reena & Sam Horowitz Linda Howard Margaret Jackson Susan & David Kabakoff Ruth & Ronald Leonardi Sylvia & Jamie Liwerant Anita & Mike Mahaffey Dennis McConnell & Kimberly Kassner Gail & Ed Miller

ANNUAL SUPPORT Howard & Barbara Milstein Alexandra Morton Muchnic Foundation Jeanne & Rick Norling Sally & Howard Oxley Carolyn & Ed Parrish Erin & Peter Preuss, Jr. Allison & Robert Price Mary Pringle Kathleeen Roche-Tansey Gerald & Susan Slavet Mark & Nicollette Sterk Jean Sullivan & David Nassif Claire Reiss Eva & Doug Richman Emily & Tim Scott Pat Shank Ronald Wakefield Mary Walshok Lisa Widmier Armi & Al Williams

ASSOCIATE

($1,000 - $2,499)

Dede & Mike Alpert George & Laurie Brady Cathy & Chris Carroll Adriana Cetto Grace & David Cherashore Anthony Chong & Annette Nguyen Jim & Patty Clark Randy Clark & Tom Maddox June Chocheles Rosalind Dietrich James & Renée Dunford Naomi Fekini Nicole Forrest Beverly Fremont Barbara & Kent Freundt Beverly Friemon Laura & Tom Gable Catharina M. Hamilton Arlene Harris & Martin Cooper Alissa & Henry Heinerscheid Ida Houby & Bill Miller Lulu Hsu Marilyn James Sandra Jordan

Jeeyoon Kim Edward Koczak Jeanne Larson Theodora Lewis Grace H. Lin Eileen A. Mason Dan McLeod & Sumi Adachi Dr. Sandra Miner Virginia Oliver Marty & David Pendarvis Ursula Pfeffer Jill Porter Carol Randolph John Renner Gwyn Carter Rice Jeanne Saier Pam Shriver Carol Harter & William Smith Mariam Summ Jean Thomas Norma Jo Thomas Paige & Bob Vanosky Lori & Bill Walton Karin Winner Howard & Christy Zatkin

FRIEND

($500 - $999)

Anonymous (2) K Andrew Achterkirchen Dr. Andrew S. Allen Arlene Antin & Leonard Ozerkis Nancy Corbin Assaf Julie & Edgar Berner James W. Burns Joseph Calvino Sonya Celeste-Harris & Richard Harris Jian & Samson Chan John Conway Ann Craig Caroline DeMar Richard Forsyth Clare Friedman Elisabeth Friedman Sofia Grigoriou Nancy D. Grover Bryna Haber Phil & Kathy Henry

Emmet & Holly Holden Nancy Hong Michelle Horowitz Louise Kasch Dwight Kellogg Evelyn & Bill Lamden Toni Langlinais Bill & Sallie Larsen Lewis Leicher Elizabeth Lucas Betty & James Martin Kenneth Martin Maggi & Paul Meyer Ted McKinney Wendy & Bruce Nelson Susan Newell Marguerite O. Pitts Don Schmidt & William Purves Ronald Simon Randall Smith Jennifer Reilly Cassidy Robins Mary Rodriguez Barbara Rosen & Bob Fahey Victor A. van Lint Marsha & Bob Venn David Washburn Suhaila White Olivia & Marty Winkler Susan & Gavin Zau

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ANNUAL SUPPORT

ENTHUSIAST ($250 - $499)

Anonymous Lynell Antrim Mary Lonsdale Baker Stefana Brintzenhoff Michael Casey Geoffrey Clow Dr. Marjorie Coburn Lori & Aaron Contorer Hugh Coughlin Courtney Coyle Jeane Erley Roccio & Mike Flynn Ferdinand Marcus Gasang Morris & Phyllis Gold Dr. & Mrs. Jimmie Greenslate Helga Halsey Victoria Hamilton Bo Hedfors David Hodgens & Linda Olson Richard Hsieh Ed & Linda Janon Michael Kalichman Julia & George L. Katz Gladys & Bert Kohn Gordon Knight Barry Lebowitz Patricia M. Lending

Linda & Michael Mann Patricia McNew Maggie & Paul Meyer Anne Minteer Christopher Moore Ross Moser Dr. Norman Needel Andrea Oster Nasrin A. Owsia Aghdas Pezeshki Nicolas Reveles Cynthia Rosenthal Hannah Schlachet Morton & Marjorie Shaevitz Leland & Annemarie Sprinkle Edward Stickgold & Steven Cande Eli & Lisa Strickland N.B. Varlotta Dr. & Mrs. Robert Wallace David Ward Christopher & Patricia Weil Nowell Wisch David & Debra Youssefi Bart Ziegler

HONORARIA & MEMORIAL In Memory of Rita Atkinson: Ferdinand Marcus Gasang Dolly & Victor Woo

In Honor of Mary Lonsdale Baker: Anne Rodda

In Memory of Henry Gasang: Martha & Ed Dennis

In Memory of OJ Heestand: Donald Allison Gail Condor Judy Nielson Donna Tuke David Weinberg

In Honor of Arman Oruc: Barbara and Geoff Wahl

In Honor of Sheryl Scarano: Maxine Snyder Nancy and Alan Spector

In Honor of Todd Schultz: Christopher Beach & Wesley Fata Teresa & Harry Hixson Susan & Richard Ulevitch

This list is current as of February 14, 2022. We regret any errors. Please contact Natéa Cooke, Development Coordinator, at NCooke@LJMS.org or 858.526.3445 to make a correction for the August 2022 program book.

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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MEDALLION SOCIETY CROWN JEWEL

SAPPHIRE

Brenda Baker and Steve Baum

John Hesselink Keith and Helen Kim 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

TOPAZ Anonymous Joan Jordan Bernstein Mary Ann Beyster Virginia and Robert Black Dr. James C. and Karen A. Brailean Barbara Enberg Pam and Hal Fuson Buzz and Peg Gitelson Drs. Lisa Braun-Glazer and Jeff Glazer Brenda and Michael Goldbaum Margaret and Michael Grossman Theresa Jarvis

Angelina and Fred Kleinbub Kathleen and Ken Lundgren Elaine and Doug Muchmore Rafael and Marina Pastor Patty Rome Don and Stacy Rosenberg Leigh P. Ryan Sheryl and Bob Scarano Neal and Marge Schmale Jeanette Stevens Gloria and Rodney Stone Sue and Peter Wagener Vivian Lim and Joseph Wong Dolly and Victor Woo

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.

DANCE SOCIETY GRAND JETÉ

PLIÉ

Jeanette Stevens Marvin and Bebe Zigman

Carolyn Bertuss Mary Ann Beyster Laura Birns Amber Bliss AnaElvia Sanchez and Harold Brittain Gordon Brodfuehrer Joseph Calvino Eleanor and Ric Charlton Mary Ellen Clark Courtney Coyle Jennifer and Vernon Cuthrell

POINTE Carolyn Bertussi

Joy Frieman Wendy Frieman Allison and Daniel Gardenswartz Renita Greenberg Susan and Bill Hoehn Joanne Martin Laura McWilliams Cynthia Rosenthal Katie Smith Stephanie Stone Sue and Peter Wagener Samantha Zauscher

We are grateful for each patron for their passion and support of our dance programs. L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

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 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

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 artistic programs (or education, general operating, or where needed most).

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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FOUNDATIONS Thomas C. Ackerman Foundation

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

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: The Carroll Family 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: Jendy Dennis Endowment Fund 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 The Allison & Robert Price Family Foundation Fund John & Cathy Weil Fund

Muchnic Foundation 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 Scarano Family Fund The Shiftan Family Fund Schwab Fund for Charitable Giving: Ted McKinney & Frank Palmerino Fund The Shillman Foundation 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

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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CORPORATE & FOUNDATION SPONSORS

VAIL MEMORIAL FUND

CORPORATE PARTNERS

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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 2021-22 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.

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JOIN OUR FAMILY

For more than 50 years, La Jolla Music Society has nurtured 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, renowned speakers, and robust education programs. This impressive growth has been carefully conducted by an active and highly committed volunteer board of directors and dedicated staff. But most importantly, La Jolla Music Society’s progress has been sustained by the generosity of the community and ticket buyers.

...with a gift today! LJMS.org/donate To make a donation by phone or if you are interested in sponsoring an artistic or education program, please contact Ferdinand Gasang, Director of Development, at 858.526.3426 or FGasang@LJMS.org.

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The Conrad Prebys Performing Arts Center

RESILIENCE FUND Protect arts programming. Ensure a future filled with live performances.

Donate Today LJMS.org or call 858.459.3728

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

La Jolla Music Society’s SummerFest returns to The Conrad Prebys Performing Arts Center in 2022, expanded to four glorious weeks! Music Director Inon Barnatan has created an ambitious program, evocatively titled “Under the Influence,” exploring the muses that seduced and inspired some of the greatest composers in musical history. During the festival, we’ll hear the magnetic power of Wagner and Bach on their peers, travel to the salons of Paris, and experience the sins and merry pranks of Weill and Strauss. We’ll spend a genre-defying and unique week with opera stars, dancers, and jazz luminaries, and go further under the influence in a new intermission-free Wednesday series that welcomes audiences into the worlds of Shakespeare, Vivaldi, and more followed by a social and culinary experience in the Wu Tsai QRT.yrd. Garrick Ohlsson, Augustin Hadelich, Liza Ferschtman, Marc-André Hamelin, Caroline Shaw, Carter Brey, Joyce Yang, Anthony Roth Costanzo, the Dover and Miró Quartets, and many more astounding artists will join us in La Jolla for a festival you won’t want to miss.

Miró Quartet

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JOLLA MUSIC SOCIETY · 2021-22 SEASON

#PARTY AT THE CONRAD

TENFOLDSTYLE is a long standing supporter of THE LA JOLLA MUSIC SOCIETY & A proud

partner

THE CONRAD PREBYS

PERFORMING ARTS CENTER

ONE OF A KIND PARTIES #TENFOLDSTYLE

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An Experience in Great Taste (858) 638‐1400 www.BTScenes.com

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GIRARD GOURMET from beach to boardroom

PROUD SUPPORTERS OF LA JOLLA MUSIC SOCIETY AT THE CONRAD

7837 Girard Ave, La Jolla, CA 92037 | 858.454.3321

Working together in harmony! Thanks for being our trusted partner, La Jolla Music Society.

We are proud to sponsor Summerfest as we work to create a healthy and vibrant community in the Village.

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QUALITY SERVICE EXPERIENCE INNOVATION Chairs to China

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Tables to Tents

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Proud Supporter of the La Jolla Music Society Los Angeles • West Los Angeles • Santa Barbara • Orange County • San Diego Palm Springs • San Francisco • Sonoma • Saint Helena • Healdsburg • Phoenix

GOURMET

experiences From the award-winning Westgate Room restaurant, to the legendary Sunday Brunch in the regal Le Fontainebleau Room, let us transport you to a universe of exceptional gastronomy. The Westgate is already unforgettable. Make it truly memorable with a meal to remember. ••• Theatre Night Special ~ Enjoy complimentary 3-hour parking with a minimum purchase of $59 at Westgate Room. ••• westgatehotel.com | 1055 Second Ave. | San Diego, CA 92101

A SYMPHONY O F TA S T E George’s at the Cove is a Proud Community Partner in support of

THE CONRAD The Conrad Prebys Performing Arts Center

experience g e o rg e s a t t h e co v e . co m •

858.454.4244 •

1 2 5 0 P ro s p e c t S t re e t , L a J o l l a , C A 9 2 0 3 7

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.

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TOGETHER WE WIN

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SummerFest 2022 July 29 - August 26 V isi t L JMS.ORG f or mor e inf or mat ion

INON BARNATAN, SUMMERFEST MUSIC DIRECTOR

La Jolla Music Society Season 53 Program Book 4 (April 23-June)

Articles inside

BEHZOD ABDURAIMOV

CALENDAR

SUPPORT

ARTIST BIOGRAPHIES

ABOUT LA JOLLA MUSIC SOCIETY

ARTURO SANDOVAL

THE CONRAD GOES SOLAR

SHEKU KANNEH-MASON & ISATA KANNEH-MASON