La Jolla Music Society Season 53 Program Book 2 (Jan-Feb 2022) by La Jolla Music Society

53 2021-22 SEASON

ALONZO KING LINES BALLET

JANUARY-FEBRUARY

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 Jazz Series Balboa Theatre

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

DAKHABRAKHA

FRIDAY, APRIL 22, 2022 · 8 PM

XAVIER FOLEY

Global Roots Series The Baker-Baum Concert Hall

SUNDAY, FEBRUARY 27, 2022 · 3 PM Discovery 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

MAY

Artist-in-Residence Series The JAI

LILA DOWNS

ACADEMY OF ST MARTIN IN THE FIELDS WITH JOSHUA BELL

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

SATURDAY, MAY 7, 2022 · 3 PM

Gala

The ConRAD Kids Series The Baker-Baum Concert Hall

WINTERFEST

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

SUNDAY, MAY 15, 2022 · 3 PM

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

ROBERTO FONSECA

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

NAT GEO LIVE! BRIAN SKERRY

SPEKTRAL QUARTET “SOMETHING TO WRITE HOME ABOUT”

THURSDAY, MARCH 31, 2022 · 7 PM Speaker Series The Baker-Baum Concert Hall

THURSDAY, MAY 26, 2022 · 8 PM ProtoStar Innovative Series The Baker-Baum Concert Hall

APRIL SILK ROAD ENSEMBLE “A HOME WITHIN”

JUNE

SUNDAY, APRIL 3, 2022 · 7 PM

ProtoStar Innovative Series The Baker-Baum Concert Hall

MATTHIAS GOERNE & SEONG-JIN CHO

ARTURO SANDOVAL

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

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

Tel 858-361-0755

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TABLE OF CONTENTS CALENDAR ABOUT LA JOLLA MUSIC SOCIETY EMANUEL AX NAT GEO LIVE! SKIING THE DREAM LINE WITH HILAREE NELSON ZOLTÁN FEJÉRVÁRI ALONZO KING LINES BALLET JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS CONNECT TO THE CONRAD: JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS TREY MCLAUGHLIN AND THE SOUNDS OF ZAMAR COUNTERPOINT CONRAD TAO & CALEB TEICHER NAT GEO LIVE! SPINOSAURUS: LOST GIANT OF THE CRETACEOUS WITH NIZAR IBRAHIM DOVER QUARTET WITH ESCHER STRING QUARTET XAVIER FOLEY 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* Wendy Brody 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 Rick Dahlseid, MST, CPA – Interim Director of Finance Brady Stender – Finance & Administration Manager PROGRAMMING Grace Smith – Artistic Programming Manager Sarah Campbell – Artistic Programming Advisor John Tessmer – Artist Liaison Allison Boles – Education & Community Programming Director Katie Kim – 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 Nicole Slavik – Venue Sales & Events Director Kierney Loucas – Venue Sales & Events Coordinator Mary Emerson – Development Manager, Individual Giving & Grants MARKETING & TICKET SERVICES Adam Thurman – Director of Marketing Hayley Woldseth – Marketing & Communications Project Manager Rachel Cohen – Marketing Coordinator Stephanie Thompson – Communications Coordinator Angelina Franco – Graphic & Web Designer Shannon Bobritchi – Ticket Services Manager Nina Paganucci – Assistant Ticket Services Manager Patrick Mayuyu – Ticket Services Associate Kaitlin Barron – Ticket Services Associate Shaun Davis – House Manager OPERATIONS & PRODUCTION Hannes Kling – Director of Operations Verdon Davis – Technical Director Abby Viton – Production Manager Jonnel Domilos – Piano Technician

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 over 50 artists, including favorites like Wynton Marsalis, Lang Lang, Joshua Bell, Emanuel Ax, Yuja Wang, Joffrey Ballet, Bela Fleck, and Lila Downs, plus many inspiring new faces like Artist-In-Residence 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 over 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

RINGING IN THE NEW YEAR WITH LA JOLLA MUISC SOCIETY Dear Friends, As La Jolla Music Society embarks on a new year, we are immensely grateful that our doors remain open to proudly welcome brilliant artists to our stages and enthusiastic audiences to our halls. Over the next few months, virtuosic pianists, jazz legends, National Geographic explorers, internationally renowned dance companies and so many more exceptionally gifted artists will perform on our stages, highlighting the expansive breadth and artistic excellence of our programming. This January, we will present our first Connect to The Conrad with Jazz at Lincoln Center Orchestra on January 24. This initiative aims to showcase the immense talents of our artists presented at off-site venues by building a programmatic bridge back to our home, The Conrad. To be immersed in the artistic genius of legends like jazz trumpeter Wynton Marsalis in the intimacy of The Baker-Baum Concert Hall will be a rare treat for all who attend. In this new year, we will launch a number of our subscription series including the opening of our Piano Series on January 7 with the venerable and beloved Emanuel Ax; the kick-off of our dance series on January 20 with the trailblazing contemporary ballet company, Alonzo King LINES Ballet, performing stunning excerpts from their nearly forty-year history; and the ProtoStar Innovative Series, which celebrates cross-disciplinary collaborations. This three-concert series, will commence with a stunning performance titled COUNTERPOINT, featuring rising star pianist Conrad Tao and critically acclaimed tap dancer and choreographer Caleb Teicher on February 4.

Last but not least, I am personally looking forward to the start of our Speaker Series with NatGeo Live. These captivating visual presentations and riveting stories will leave you on the edge of your seats. On January 13, Hilaree Nelson will recount her harrowing journey making the first-ever skiing descent of Lhotse, the second tallest peak in the Himalayan Mountains.

I hope you all had a wonderful holiday season and, on behalf of LJMS, welcome to 2022! I look forward to seeing you throughout our Winter Season and beyond.

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

PRELUDE 7 PM Lecture by Kristi Brown Montesano

Chopin at Twilight Frédéric Chopin created the works on this program in the space of just four years during his “Nohant period,” a reference to the village where Chopin spent summers composing. This presentation delves into the events of this period, as well as the stylistic richness of a marvelous array of works: a glimpse into the creative twilight of Chopin’s tragically short life.

Support for this program generously provided by:

Café Coyote and Rancho Coyote Vineyard

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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EMANUEL AX, piano FRIDAY, JANUARY 7, 2022 · 8 PM THE BAKER-BAUM CONCERT HALL

CHOPIN Two Nocturnes, Opus 55 (1810-1849) No. 1 in F Minor No. 2 in E-flat Major Polonaise-Fantaisie in A-flat Major, Opus 61 Three Mazurkas, Opus 56 No. 1 in B Major No. 2 in C Major No. 3 in C Minor Barcarolle in F-sharp Major, Opus 60 Nocturne in E Major, Opus 62, No. 2 Piano Sonata No. 3 in B Minor, Opus 58 Allegro maestoso Scherzo: Molto vivace Largo Finale: Presto non tanto N O I N T E R M I S S I O N

Emanuel Ax last performed for La Jolla Music Society in a special event on March 3, 2018.

JOLLA MUSIC SOCIETY · 2021-22 SEASON

EMANUEL AX - PROGRAM NOTES

FRÉDÉRIC CHOPIN

B major and marked Poco più lento, all the more effective: a chordal melody of disarming simplicity is developed at length before the gradual return of the opening material. The final pages are dazzling—Chopin combines both themes and at one point even makes one of the accompanying figures function thematically as the Polonaise-fantaisie winds down to its powerful final chord.

This

Three Mazurkas, Opus 56

Program notes by Eric Bromberger

Two Nocturnes, Opus 55

Born February 22, 1810, Żelazowa Wola, Poland Died October 17, 1849, Paris Composed: 1843 Approximate Duration: 11 minutes

program of Chopin’s late piano music begins with two works from 1843. A nocturne suggests music not just with a nocturnal atmosphere but of an intimate, personal nature, and that is certainly true of the Nocturne in F Minor. The haunting opening Andante moves gracefully over steady chords in the left hand. At the più mosso center section, animated triplets push the tempo ahead, but Chopin makes an effective transition back to the opening material, and the music concludes very quietly. The Nocturne in E-flat Major is remarkable for the equal importance of the two hands. The left hand is here not relegated to the role of accompanist but given a musical line that co-exists with the pianist’s right hand. Counterpoint is not a characteristic one automatically associates with Chopin, but this nocturne is an exercise in the deft treatment of simultaneous musical lines.

Polonaise-Fantaisie in A-flat Major, Opus 61 Composed: 1845-46 Approximate Duration: 13 minutes

Written in 1845-6, the Polonaise-fantaisie is one of Chopin’s final works—and one of his most brilliant. A polonaise is a national Polish dance in triple time, characterized by unusual rhythmic stresses; the fact that it is usually at a moderate rather than a fast tempo gives the polonaise a more stately character than most dance forms. Many composers have written polonaises, but the fourteen of Chopin remain the most famous, and some feel that this distinctly Polish form allowed Chopin an ideal channel for his own strong nationalist feelings during his exile in Paris. The polonaise is usually in three parts: a first subject, a contrasting middle section, and a return of the opening material. The Polonaise-fantaisie keeps this general pattern but with some differences: Chopin writes with unusual harmonic freedom and incorporates both themes into the brilliant conclusion—doubtless he felt that he had reshaped the basic form so far that it was necessary to append the “fantaisie” to the title. The Allegro maestoso introduction is long and rather free, while the first theme group—in A-flat major—is remarkable for the drama and virtuosity of the writing. This makes the quiet middle section, in the unexpected key of

Composed: 1843 Approximate Duration: 18 minutes

A mazurka is a Polish country dance that originated in the village of Mazovia, near Warsaw (the residents were referred to as Mazurs). The dance was in triple time, with the accent often on the second (or third) beat rather than the first; in its original form the mazurka was danced by groups of couples who would separate and return; it was sometimes accompanied by the bagpipe. Chopin loved this dance, and he wrote about sixty mazurkas across the span of his life: the first when he was 14, the last in the year of his death. A devout Polish nationalist, Chopin lived his adult life in exile in Paris, and no doubt his use of the form brought an important feeling of contact with his homeland, then under Russian subjugation. Yet Chopin’s mazurkas are not a matter of self-consciously assuming the trappings of Polish folkmusic. Instead, he took the general form of the mazurka and used it to write his own music, often quite original in matters of rhythm and harmony. Chopin wrote the three mazurkas of his Opus 56 in 1843. The harmonic freedom that flavors his finest music is much in evidence here, with these mazurkas moving suddenly between unexpected keys, assuming different expressive tints almost by the measure. The opening Mazurka in B Major dances along dotted rhythms and some pungent chords; in ABABA form, it offers a much brisker countertheme in the second and fourth sections. The Mazurka in C Major is quite brief; its Vivace opening gives way to a dancing central episode and a modified return of the opening material. The Mazurka in C Minor has become the best-known of the set: it is long and full of quite unusual harmonic modulations (a number of commentators hear these as pre-Wagnerian). The middle section is in the completely unexpected key of B major, and the long return finally arrives at a close that pulses into silence.

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

EMANUEL AX - PROGRAM NOTES

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

Barcarolle in F-sharp Major, Opus 60 Composed: 1846 Approximate Duration: 9 minutes

One of the Chopin’s final works, the Barcarolle was completed at Nohant, George Sand’s summer estate at Chateauroux, in 1846, at a time when both the composer’s relation with Sand and his health were deteriorating: at age 36, he had only three years to live. The term barcarolle (“boat-song”) comes from the Italian barcaruoli, the songs of the Venetian gondoliers, and this agreeable form of music was making its way into the art-music of serious composers across Europe—in these same years Mendelssohn included what he called Venetian Boat Songs in several of his sets of Songs without Words. The barcarolle traditionally has some of the relaxed ease of the gondoliers’ songs, and Chopin’s Barcarolle—his only work in this form—is one of his warmest and most attractive compositions. The Barcarolle is in ternary form, and it has the briefest of introductions, a simple three-bar preparation. Out of the silence begins the left-hand accompaniment, its steady rhythms suggesting the sound of a giant guitar. Over this rhythm Chopin introduces his opening subject, marked cantabile and presented very delicately at first. Gradually this opens up, expanding into a huge chordal melody that requires large (and powerful) hands. Chopin’s Barcarolle has been called a nocturne, but—to the contrary—its amiable spirits and energy more readily suggest sunshine sparkling off water. The center section moves to A major, and over the rocking rhythm characteristic of the Venetian boatsongs the music grows more animated and more fluid rhythmically. Indeed, this impression of rhythmic freedom and plasticity is even more marked in the reprise, where Chopin brings back both his themes and drives them to an ebullient climax full of rippling runs and on to a conclusion built on four powerful chords.

Nocturne in E Major, Opus 62, No. 2

Composed: 1844 Approximate Duration: 27 minutes

Chopin wrote the Piano Sonata in B Minor, his last large-scale composition for piano, during the summer of 1844, when he was 34. He composed the sonata at Nohant, the summer estate in central France he shared with the novelist George Sand. That summer represented a last moment of stasis in the composer’s life—over the next several years his relationship with Sand would deteriorate, and his health, long ravaged by tuberculosis, would begin to fail irretrievably. Dedicated to Madame la Comtesse Emilie de Perthuis, a friend and pupil, the Sonata in B Minor was published in 1845. Chopin himself never performed it in public. Chopin’s sonatas have come in for a hard time from some critics, and this criticism intensifies to the degree that they depart from the formal pattern of the classical piano sonata. But it is far better to take these sonatas on their own terms and recognize that Chopin—like Beethoven before him— was willing to adapt classical forms for his own expressive purposes. The Sonata in B Minor is a big work—its four movements stretch out to nearly half an hour. The opening Allegro maestoso does indeed have a majestic beginning with the first theme plunging downward out of the silence, followed moments later by the gorgeous second subject in D major, marked sostenuto. The movement treats both these ideas but dispenses with a complete recapitulation and closes with a restatement of the second theme. The brief Molto vivace is a scherzo, yet here that form is without the violence it sometimes takes on in Beethoven. This scherzo has a distinctly light touch, with the music flickering and flashing across the keyboard (the right-hand part is particularly demanding). A quiet legato middle section offers a moment of repose before the returning of the opening rush. Chopin launches the lengthy Largo with sharplydotted rhythms, over which the main theme—itself dotted and marked cantabile—rises quietly and gracefully. This movement is also in ternary form, with a flowing middle section in E major. The finale—Presto, non tanto—leaps to life with a powerful eight-bar introduction built of octaves before the main theme, correctly marked Agitato, launches this rondo in B minor. Of unsurpassed difficulty, this final movement—one of the greatest in the Chopin sonatas— brings the work to a brilliant close.

Composed: 1845-46 Approximate Duration: 5 minutes

Chopin composed the two nocturnes of his Opus 62 in 1845-46: they were the last nocturnes he published during his lifetime. The Nocturne in E Major is particularly lovely and has proven popular with performers and audiences alike. Chopin marks the opening both Lento and sostenuto, and here a supple right-hand melody arches freely over steady accompaniment. The nocturne is in the expected ternary form, though Chopin offers a second theme in the opening section—it presses steadily forward over steady sixteenthnotes in the left hand. The central episode is marked Agitato, though one feels that is an indication more of tempo than character—the music moves firmly along sharply-defined

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Piano Sonata No. 3 in B Minor, Opus 58

JOLLA MUSIC SOCIETY · 2021-22 SEASON

SKIING THE DREAM LINE WITH HILAREE NELSON THURSDAY, JANUARY 13, 2022 · 7 PM THE BAKER-BAUM CONCERT HALL

PROGRAM Presentation Question & Answer Session NO INTERMISSION

North American Presenting Sponsor

ABOUT Next to Everest in the towering Himalaya sits a peak that has acquired a mythical status in its own right: Lhotse, the fourth-highest mountain in the world at 27,940 feet. Its famed couloir—nicknamed the “Dream Line”—is considered one of the boldest ski runs of all time and went unconquered until 2018. That September, mountaineers Hilaree Nelson and Jim Morrison summited the peak and became the first people to complete the epic descent. Join Nelson, National Geographic’s 2018 Adventurer of the Year, for her captivating stories of the passion, grit, and teamwork behind this historic achievement.

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

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

ZOLTÁN FEJÉRVÁRI, piano SUNDAY, JANUARY 16, 2022 · 3 PM THE BAKER-BAUM CONCERT HALL

J.S. BACH French Suite No. 5 in G Major, BWV 816 (1685-1750) Allemande Bourrée Courante Loure Sarabande Gigue Gavotte RAVEL Le tombeau de Couperin (1875-1937) Prélude Rigaudon Menuet Fugue Toccata Forlane I N T E R M I S S I O N

Support for this program generously provided by:

Oakmont Signature Living

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CHOPIN Preludes, Opus 28 (1810-1849) No. 1 in C Major: Agitato No. 17 in A-flat Major: Allegretto No. 2 in A Minor: Lento No. 18 in F Minor: Allegro molto No. 3 in G Major: Vivace No. 19 in E-flat Major: Vivace No. 4 in E Minor: Largo No. 5 in D Major: Allegro molto No. 6 in B Minor: Lento assai No. 7 in A Major: Andantino No. 8 in F-sharp Minor: Molto agitato No. 9 in E Major: Largo No. 10 in C-sharp Minor: Allegro molto No. 11 in B Major: Vivace No. 12 in G-sharp Minor: Presto No. 13 in F-sharp Major: Lento No. 14 in E-flat Minor: Allegro No. 15 in D-flat Major: Sostenuto No. 16 in B-flat Minor: Presto con fuoco This performance marks Zoltán Fejérvári’s La Jolla Music Society debut.

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ZOLTÁN FEJÉRVÁRI - PROGRAM NOTES

Program notes by Eric Bromberger

French Suite No. 5 in G Major, BWV 816

JOHANN SEBASTIAN BACH Born March 21, 1685, Eisenach, Germany Died July 28, 1750, Leipzig Composed: 1722 Approximate Duration: 17 minutes

In May 1720, Bach—then music director at the Cöthen court—accompanied his prince to Carlsbad, where Leopold was taking the waters, and returned to Cöthen in July to discover that his wife had died while he was gone. Bach, then 35 years old, waited nearly eighteen months to marry again, and his choice was a good one. In December 1721 he married the twenty-year-old Anna Magdalena Wilcken, daughter of a court trumpeter and herself an accomplished musician— she would bear Bach thirteen children and survive him by a decade. In the first years of their marriage, Bach composed for her a Clavierbüchlein (“little keyboard book”), just as he had written a similar volume several years earlier for his son Wilhelm Friedemann. Composed for her instruction or perhaps simply for her pleasure, this was a collection of short keyboard pieces that were certainly first performed within the Bach household. In Anna Magdalena’s Clavierbüchlein are early versions of five of the six works that would later be published as Bach’s French Suites (the sixth apparently dates from shortly after the family’s move to Leipzig in 1723). Let it be said right from the start: the name French Suite is misleading, and while it has become inseparably a part of this music, Bach never heard that name. For him, these were simply sets of short keyboard suites that he wrote for his young wife. There is nothing consciously—or even unconsciously—French about them, just as there is nothing recognizably English about Bach’s English Suites: in both cases, these nicknames were attached to the music after the composer’s death. The French Suites (inevitably, we have to use that name) are in the standard four-movement suite sequence—allemande, courante, sarabande, and gigue—into which Bach introduces a variety of dance movements, always between the sarabande and gigue. All movements are in binary form. In contrast to the English Suites, which are largescale works stretching out to nearly half an hour, the French Suites seem tiny. This is small-scaled, intimate music, and these suites—even with their six to eight movements—last only about a dozen minutes each. The Allemande of the Suite No. 5 in G Major makes some very attractive modulations, as moments of shade pass over the sunny G-major surface of this dance. There follow a quick Courante (somewhat reminiscent of the Two-Part Inventions Bach was composing in these same years), and a graceful, light Sarabande. The interpolated movements— three of them in this suite—are a Gavotte (which has become

so popular that it is sometimes performed separately), an athletic Bourrée, and a Loure marked by swirls and cascades of sound, almost arpeggiated chords. The concluding Gigue, a fugue, is the most difficult movement in the suite; it races impetuously along its unusual 12/16 meter.

Le tombeau de Couperin

MAURICE RAVEL

Born March 7, 1875, Ciboure, Basses-Pyrennes, France Died December 28, 1937, Paris Composed: 1914-17 Approximate Duration: 26 minutes

Two events combined to help produce Le tombeau de Couperin, Ravel’s last large-scale work for piano. In the second decade of the twentieth century, well before the beginning of the neo-classical movement, Ravel found himself increasingly drawn to the music of France’s past. He embarked on a lengthy study of eighteenth-century French keyboard music, going so far as to transcribe one of the keyboard pieces of Francois Couperin, and he planned to write a collection of his own piano pieces in the manner of the eighteenth-century French clavecinists. His working title for this piece was Suite française. The other force was less benign. In the summer of 1914, World War I exploded across Europe, and—after the guns destroyed the old certainties that summer—Western Civilization would never be the same. Ravel was one of the few composers in history to serve in the military. Driven by patriotism and a sense of the moment, he enlisted in the French army and—at age 40—drove ambulances carrying wounded back from the front. For a nature as sensitive as Ravel’s, the experience was devastating, and—to compound his misery—his mother died while he was gone. Under these conditions, what had begun as the Suite française evolved into something quite different. During the years 1914-17 Ravel composed a suite of six movements for piano and dedicated each movement to a different friend who had been killed in the war. He gave the piece a title that reflects both its homage to the past and the dark moment of its creation: Le tombeau de Couperin, or “The Tomb of Couperin.” Ravel creates a consciously antiquarian sound in this music: each of the six movements is in a baroque form, and Ravel sets out to make the modern piano mimic the jangling, plangent sound of the harpsichord. A bittersweet flavor runs throughout Le tombeau: several of the movements may be in dance forms, but here they dance with a gravity that springs from war and loss. Marguerite Long gave the first performance in Paris on April 11, 1919, five months to the day after the Armistice that brought the war to its close. Later that year Ravel orchestrated four of the movements, and Le tombeau de Couperin has become more familiar in this orchestral version than in its original form. L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

ZOLTÁN FEJÉRVÁRI - PROGRAM NOTES

The opening Prélude is full of busy energy, whirling along a constant murmur of sixteenth-notes. Against this rush of quiet motion Ravel sets what are essentially fragments of themes, full of mordents, turns, and other decorations characteristic of eighteenth-century music. The Fugue, at a moderate tempo, is quite subdued. Its subject, only three measures long, is of narrow compass (most of this fugue is written with both hands in the treble clef), and Ravel extends it quietly (the dynamic never rises above mezzo-forte) before the music fades delicately into silence. A forlane was originally a lively dance believed to be of Italian creation, and Ravel’s Forlane dances with somber dignity along a springing 6/8 meter. Nominally in E minor, this music is riddled with accidentals, and its pungent harmonies echo the clang of the harpsichord. A rigaudon was a lively folk-dance in duple meter and short phrases, thought to be originally from Provence. Ravel’s Rigaudon—marked Very fast—bursts to life on a bright flourish in C major, followed instantly by the propulsive dance. Its central episode slips into C minor, but the opening section soon returns in all its energy and the movement races to its close on the opening flourish. The Menuet is built on a long and expressive main theme. Ravel marks the center section Musette (an old dance accompanied by bagpipe), and the sustained chorale-like theme here echoes some of that antique sound. The concluding Toccata is easily the most brilliant, and most difficult, movement in the suite—and the one that moves farthest away from an atmosphere of mourning. As its name implies, a toccata is intended to demonstrate a player’s touch, and this Toccata whips along its 2/4 meter on the steady pound of repeated notes. Against this driving energy, Ravel sets a dancing opening theme and a more wistful second subject, but the steady rhythms finally drive the Toccata to an exciting close, which—if it does not banish the air of stately mourning that surrounds Le tombeau de Couperin—at least rounds it off in brilliant fashion.

Preludes, Opus 28

FRÉDÉRIC CHOPIN Born February 22, 1810, Żelazowa Wola, Poland Died October 17, 1849, Paris Composed: 1836-39 Approximate Duration: 36 minutes

As a small boy in Poland, Chopin fell in love with the keyboard music of Bach. Like Beethoven before him (and Rachmaninoff and Shostakovich after him), Chopin was particularly drawn to The Well-Tempered Clavier, Bach’s two sets of 24 preludes and fugues in all the major and minor keys of the chromatic scale. Haunted by Bach’s achievement, Chopin wished to try something similar, and in 1836, shortly

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after completing his Etudes, Opus 25, he began to compose a series of short preludes, but it would take him three years to complete the entire set of 24. In the fall of 1838, Chopin sailed with George Sand to Mallorca, taking with him a number of Bach scores. On the island, living in an abandoned monastery high in a mountain village that was alternately bathed in Mediterranean sunlight and torn by freezing rainstorms, he completed the Preludes in January 1839; they were published in Paris later that year. While some have heard echoes of Bach in the Preludes, this is very much the music of Chopin. And while these preludes do proceed through all the major and minor keys, Chopin does not write accompanying fugues, as Bach did: these are not preludes to anything larger, but are complete works in themselves. The entire set of 24 preludes lasts about 45 minutes, so these are concise essays in all the keys, and they encompass an enormous variety of technique, ranging from very easy preludes (played by every amateur pianist on the planet) to numbingly difficult ones, playable by only the most gifted performers. They cover an unusual expressive range as well, from the cheerful sunlight of some to the uneasy darkness of others. Each prelude exists as an independent work and may be played separately, or the entire cycle may be played at once, revealing a full world of sharply contrasted moods and music. Rather than describing each prelude in detail, it may be best to let listeners discover each for themselves. Some of the best-known preludes are of course those accessible to non-professionals. These include No. 20 in C Minor, inevitably nicknamed “Funeral March” (Chopin despised all such subjective titles and the effort to attach programs to pieces he wished to have considered solely as music). Also in this category are the graceful No. 7 in A Major (only sixteen measures long) and No. 4 in E Minor, which—however overfamiliar it has become—remains some of the most expressive music ever written. At the other extreme are such preludes as No. 8 in F-sharp Minor, with its nervous, driven quality, and No. 24 in D Minor, full of bravura brilliance. Many have noted Chopin’s unusual use of repeated chords or notes throughout the set: the tolling sound of these chords is used for quite different expressive purposes in No. 15 in D-flat Major (nicknamed the “Raindrop” by George Sand, to Chopin’s exasperation), in No. 17 in A-flat Major, and in many others. One of the particular pleasures of a performance of the complete Preludes is not just to hear each individual prelude, some of which pass by in a matter of seconds, but to experience the totality of the world Chopin creates in this set. It is a world of the most dazzling variety, by turns cheerful, dark, lyric, dramatic, friendly, and terrifying, all superbly disciplined within the tight compass of the 24 keys. Bach would have found much of this music strange, but he would instantly have understood Chopin’s achievement in it.

PRELUDE 7 PM Interview hosted by Molly Puryear

ALONZO KING LINES BALLET THURSDAY, JANUARY 20, 2022 · 8 PM CIVIC THEATRE

FOUR HEART TESTAMENTS PIE JESU from GRACE OVER MY HEAD from WRITING GROUND EXCERPT from THE RADIUS OF CONVERGENCE EXCERPT from RASA INTERMISSION

AZOTH Alonzo King, Artistic Director & Co-Founder Robert Rosenwasser, Executive Director & Co-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.

Babatunji, Adji Cissoko, Madeline DeVries, Lorris Eichinger, Shuaib Elhassan, James Gowan, Ilaria Guerra, Maya Harr, Marusya Madubuko, Alvaro Montelongo, Michael Montgomery, Tatum Quiñónez

Alonzo King LINES Ballet last performed for La Jolla Music Society in the Dance Series on May 17, 2014. L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

ALONZO KING LINES BALLET - PROGRAM NOTES

FOUR HEART TESTAMENTS Choreography: Alonzo King Lighting Design: Jim French Costume Design: Robert Rosenwasser

PIE JESU from GRACE

Première: February 7, 2020 Music: Gabriel Fauré, Pie Jesu Dancers: Shuaib Elhassan, Adji Cissoko, Ilaria Guerra, Michael Montgomery

OVER MY HEAD from WRITING GROUND

Première: July 12, 2010 Music: Traditional, Over My Head; Performed by Kathleen Battle Dancer: Madeline DeVries

EXCERPT from THE RADIUS OF CONVERGENCE

Première: October 17, 2008 Music: Edgar Meyer with Pharoah Sanders Dancers: Shuaib Elhassan, Lorris Eichinger, Babatunji, Alvaro Montelongo, Michael Montgomery

EXCERPT from RASA

Première: November 7, 2007 Music Composed by Zakir Hussain Music Performed by Zakir Hussain and Kala Ramnath Dancers: Babtunji, Madeline DeVries, Lorris Eichinger, Shuaib Elhassan, Ilaria Guerra, Maya Harr, Alvaro Montelongo, Michael Montgomery INTERMISSION

AZOTH

Première: October 1, 2019 Choreography: Alonzo King Music: Charles Lloyd and Jason Moran Image Technology: Jim Campbell Lighting Design: Jim French Costume Design: Robert Rosenwasser Sound Design: Philip Perkins Dancers: I. Adji Cissoko, Madeline DeVries, Lorris Eichinger, Michael Montgomery II. Company III. Shuaib Elhassan IV. Company V. Madeline DeVries, Shuaib Elhassan, James Gowan, Ilaria Guerra, Maya Harr, Michael Mongtomery VI. Lorris Eichinger with Company VII. Adji Cissoko, Madeline DeVries, Ilaria Guerra VIII. Lorris Eichinger, Shuaib Elhassan, Maya Harr, James Gowan, Michael Montgomery IX. Company X. Adji Cissoko, Michael Montgomery

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ALONZO KING LINES BALLET - PROGRAM NOTES

Program Note:

The concept of transmuting lead into gold is a symbol of the actual work of alchemy.The idea was to transform the base metals, the Earth, into pure metals. Symbolically speaking, the Earth is humankind.To transmute the lead into gold refers to transforming the mind and the heart into spiritual gold. Azoth was believed to be the essential agent of transformation in alchemy. It is the name given by ancient alchemists to mercury, the animating spirit hidden in all matter that makes transmutation possible. Because the Azoth is believed to contain the complete information of the whole universe, it is also used as another word for the Philosopher’s Stone. The “A” and “Z” in the word relate to the Greek alpha and omega, the beginning and end of all things.The word is meant to embrace the full meaning of the One Thing, which is both the chaotic First Matter at the beginning of the Work and the perfected Stone at its conclusion. Choreography by: Alonzo King Music by: Charles Lloyd + Jason Moran, Zakir Hussain + Kala Ramnath, Pharoah Sanders, Edgar Meyer, and Kathleen Battle Image Technology by: Jim Campbell Lighting Design by: Jim French Costume Design by: Robert Rosenwasser Sound Design: Philip Perkins Ballet Master: Laura O’Malley Director of Production: Francesca Muscolo Stage Manager: Saskia Lee Rigging Technician: Kyle Slaugh Lighting Supervisor: Michael Oesch Company Manager: Brandi Williams Costume Construction: Joan Raymond Alonzo King LINES Ballet would like to thank the following funders for their invaluable support:

Additional support provided by:

United States representation: Selby Artists Management, Margaret Selby, Director mselby@selbyartistsmgmt.com 262 West 38th Street, Suite 1701, New York, NY 10018 European representation: Trait d’Union,Thierry DuClos, Director thierry@ltddanse.com 102 Rue Pasteur, 16600 Magnac sur Touvre, FR ALONZO KING LINES BALLET • 26 Seventh Street, San Francisco, California • Tel. 415.863.3040 • linesballet.org • facebook • instagram • twitter • linkedin

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JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS SATURDAY, JANUARY 22, 2022 · 8 PM BALBOA THEATRE Jazz at Lincoln Center Orchestra with Wynton Marsalis last performed for La Jolla Music Society in the Jazz Series on October 3, 2018.

Support for this program generously provided by:

Dorothea Laub 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. Brooks Brothers is the official clothier of the Jazz at Lincoln Center Orchestra with Wynton Marsalis. Visit us at jazz.org. Become our fan on Facebook: facebook.com/jazzatlincolncenter Follow us on Twitter: twitter.com/jazzdotorg Watch us on YouTube: youtube.com/jazzatlincolncenter Artists subject to change.

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PROGRAM

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

Wynton Marsalis, music director, trumpet Ryan Kisor, trumpet Kenny Rampton, trumpet Marcus Printup, trumpet Chris Crenshaw, trombone Vincent Gardner, trombone Elliot Mason, trombone Walter Blanding, tenor & soprano saxophones, clarinet Sherman Irby, alto & soprano saxophones, flute, clarinet Ted Nash, alto & soprano saxophones, flute, clarinet Victor Goines, tenor & soprano saxophones, clarinet, bass clarinet Paul Nedzela, baritone & soprano saxophones, bass clarinet Dan Nimmer, piano Carlos Henriquez, bass Obed Calvaire, drums

ABOUT The mission of Jazz at Lincoln Center is to entertain, enrich and expand a global community for Jazz through performance, education and advocacy. With the world-renowned Jazz at Lincoln Center Orchestra and guest artists spanning genres and generations, Jazz at Lincoln Center produces thousands of performance, education, and broadcast events each season in its home in New York City (Frederick P. Rose Hall, “The House of Swing”) and around the world, for people of all ages. Jazz at Lincoln Center is led by Chairman Clarence Otis, Managing and Artistic Director Wynton Marsalis, and Executive Director Greg Scholl.

JOLLA MUSIC SOCIETY · 2021-22 SEASON

CONNECT TO THE CONRAD: JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS Jazz at Lincoln Center Orchestra with Wynton Marsalis last performed for La Jolla Music Society in the Jazz Series on January 22, 2022.

MONDAY, JANUARY 24, 2022 · 8 PM THE BAKER-BAUM CONCERT HALL

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

Support for this program generously provided by:

ABOUT La Jolla Music Society is bringing artists from the big downtown stages to The Baker-Baum Concert Hall for intimate encore performances. The Jazz at Lincoln Center Orchestra and their renowned leader, Wynton Marsalis, make their debut in an acoustic setting at The Conrad Prebys Performing Arts Center.

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TREY MCLAUGHLIN

& THE SOUNDS OF ZAMAR SATURDAY, JANUARY 29, 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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This performance marks Trey McLaughlin & The Sound of Zamar’s La Jolla Music Society debut.

PRELUDE 7 PM

COUNTERPOINT CONRAD TAO & CALEB TEICHER FRIDAY, FEBRUARY 4, 2022 · 8 PM THE BAKER-BAUM CONCERT HALL

J.S. BACH Aria from the Goldberg Variations, BWV 988

(1685-1750)

TAO/TEICHER Improvisations (b. 1994/b. 1993) Conrad Tao, piano; Caleb Teicher, tap dancer SCHOENBERG Walzer from Fünf Klavierstücke, Opus 23 (1874-1951) Conrad Tao, piano NOBLE/TATUM Cherokee (1903-1978/1909-1956) Conrad Tao, piano; Caleb Teicher, tap dancer The Coles & Bufalino Soft Shoe Caleb Teicher, tap dancer; Honi Coles & Brenda Bufalina, choreographers BRAHMS Intermezzo in E Major, Opus 116, No. 4 (1833-1897) Conrad Tao, piano; Caleb Teicher, tap dancer Song and Dance, based on Mozart’s Allegretto “Alla Turca” from Sonata in A Major, K. 331 Caleb Teicher, tap dancer; David Parker, choreographer TAO/TEICHER Swing 2 from More Forever GERSHWIN Rhapsody in Blue (arr. Tao) (1898-1937) Conrad Tao, piano; Caleb Teicher, tap dancer 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.

RAVEL Mouvement de Menuet from Sonatine (1756-1791) Conrad Tao, piano J.S. BACH Aria from the Goldberg Variations, BWV 988 Conrad Tao, piano; Caleb Teicher, tap dancer Conrad Tao last performed for La Jolla Music Society during SummerFest on August 4, 2019. This performance marks Caleb Teicher’s La Jolla Music Society debut. L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

COUNTERPOINT - PROGRAM NOTES

This program explores counterpoint: harmonic counterpoint, rhythmic counterpoint, various kinds of modal/social/theatrical counterpoint between Caleb Teicher and myself (instrumentalist/dancer, playing/still, tonal/ percussive). We’re excited by how these different contrapuntal relationships or tensions might map out constellations linking our disparate traditions. So, among other pieces: the arias from Bach’s Goldberg Variations, Art Tatum’s demented stride piano, Arnold Schoenberg’s iconic take on the Viennese waltz, and a delicate miniature from Caleb’s and my earlier piece together, More Forever. And bringing all the threads together, a work with plenty of experience as a bridge between traditions, approaches, and styles: Gershwin’s Rhapsody in Blue. —Conrad Tao

Aria from Goldberg Variations, BWV 988

JOHANN SEBASTIAN BACH

The theme that Bach wrote for his variations is in G major, identifiable as a sarabande tendre by its stately rhythmic profile, recurring emphasis on the second beat of the bar, and highly expressive style. Floridly ornamented in the French manner, its 32 measures unfold in the traditional two-part form of a dance movement. A 16-bar opening section leads from the tonic (G major) to a concluding cadence in the dominant (D major), and is then repeated. The second 16-bar section, also repeated, begins in the dominant and works its way back to end on a final cadence in the tonic. The repeated sections, both in the aria and in the variations, provide an opportunity for the performer to vary the performance by means of changes in dynamics, articulation, and ornamentation. The harmonic rhythm of the Aria is deliberately slow— one chord to the bar—which allows for maximum freedom in spinning out a wide variety of variations, since these are based not on the melodic content of the Aria, but rather on its bass-line and underlying harmonies, in the manner of a chaconne. (vanrecital.com)

Walzer from Fünf Klavierstücke, Opus 23

ARNOLD SCHOENBERG

Although Schoenberg was not a pianist himself, he had distinct aural expectations of his work for the instrument, and he found the medium conducive to working out and conveying the essence of his musical ideas. His 12-tone method appeared slowly between 1916 and 1923, and it is the fifth piece of the Opus 23 sets, the Walzer, that constitutes the composer’s first strictly dodecaphonic page. (tokencreekfestival.org)

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Cherokee

RAY NOBLE

The opening Adagio here is remarkable for its evolving textures. The music begins with the piano alone, the violin joins this, and then the violin part expands into doublestopping, giving the movement a full sonority; the music rises to its climax on a great flourish for the violin alone, then closes quietly. The Allegro is fugue that makes full use of the pianist’s left hand as one of the contrapuntal participants; the movement is in ternary form, and Bach rounds it off with a literal repeat of the opening section. The Andante moves to D major and offers a limpid lyric line that moves between the piano and the pianist’s right hand; the left hand provides a steady bass-line accompaniment. The concluding Allegro, in binary-form, races along some hard-driving energy. Once again, Bach liberates the pianist’s left hand, and his melodic line moves smoothly between all three voices.

Sonata No. 2 in E Minor for Violin and Piano, Opus 36a

FERRUCCIO BUSONI

British band leader Ray Noble wrote and introduced Cherokee as the first of five movements for Indian Suite (Cherokee, Comanche War Dance, Iroquois, Seminole, and Sioux Sue). The following year, trumpeter and arranger Billy May created a hit instrumental arrangement of Cherokee for Charlie Barnet and His Orchestra. The tune would rise to number 15 on the pop charts. (jazzstandards.com)

The Coles & Bufalino Soft Shoe

HONI COLES & BRENDA BUFALINO, choreographers

The Coles & Bufalino Soft Shoe was danced by two legendary tap dancers, Honi Coles and Brenda Bufalino. Brenda taught me that dance earlier this year. Repertoire doesn’t loom as large in tap dance as it does in classical music in that we value improvisation, presence, innovation, and some routines stay along the way. This is one of them. I love dancing it because I feel the presence of Honi Coles and Brenda, separately and together. On the Honi side, I feel his poise and his grace and all the effort that rides underneath the effortlessness. On the other side I feel Brenda, her fire, her passion, her drama, her unpredictability. And then, somewhere in the spaces between, I get to find myself in this tradition. Tap dance is relatively limited tonally, compared to a piano. But in that limitation, in that spae in between, I hear a song and I hear my imagination and I fill in the blanks. That’s the beauty of tap dance for me, that it asks myself and asks you, as an audience member, to imagine what fills the space in between. —Caleb Teicher

COUNTERPOINT - PROGRAM NOTES

Intermezzo in E Major, Opus 116, No. 4

JOHANNES BRAHMS

The Intermezzo in A Minor stands among Brahms’s most lyrical and beguiling compositions. Here a deceptively simple three-note figure is subjected to a chain of expansions and developments, including a shift to major mode before subsiding back to minor at the end. The Intermezzo in E Minor provides a superb lesson in the expressive potential of Brahms’s favored technique of “developing variation,” in which a small idea is continually modified and enhanced in preference to adding new material. The “A” section is characterized by jittery rhythms within incessant variation of its basic three-note idea, giving way to a radiant E major middle section that evokes the Austrian Ländler, almost aching with nostalgia despite being made up of precisely that same three-note idea; it puts in a brief, almost furtive appearance right at the end. (sfsymphony.org)

Gershwin contacted Whiteman to refute the Tribune article, but Whiteman eventually talked Gershwin into taking the job. Whiteman also sweetened the deal by offering to have Ferde Grofé orchestrate Gershwin’s music for orchestra. Gershwin completed Rhapsody in Blue in three weeks. Gershwin’s phenomenal talent as a pianist wowed the audience as much as the novelty of jazz stylings in a “classical” piece of music. The original opening clarinet solo, written by Gershwin, got its trademark jazzy glissando from Whiteman’s clarinetist, Ross Gorman. This opening unleashes a floodgate of colorful ideas, which blend seamlessly into one another. The pulsing syncopated rhythms and showy music later gave way to a warm expansive melody Sergei Rachmaninoff could have written. (orsymphony.org)

Mouvement de Menuet from Sonatine

MAURICE RAVEL

"After the collection Miroirs I composed a Sonatine,”

Song and Dance, based on Mozart’s Allegretto “Alla Turca” from wrote Ravel in his Autobiographical Sketch of 1930. Ravel Sonata in A Major, K. 331 was never forthcoming about his music, but this note on

DAVID PARKER, choreographer

David Parker’s irreverent take on Mozart’s famous piano piece is a solo dance that involves tongue-in-cheek singing and tapping. Parker capitalizes on the recognizable rhythms, assisted by the sung references in this highly selfaware parody. When you watch and listen to Teicher dance, consider how his movement not only successfully presents the “essence” of the piece despite limited vocalizations, but also how his tap “ornamentation” echoes the piece you know, participating in a modern realization of the classical “alla Turca” characterization.

Rhapsody in Blue (arr. Tao)

GEORGE GERSHWIN

Rhapsody in Blue occupies a special place in American music: it introduced jazz to classical concert audiences, and simultaneously made an instant star of its composer. From its instantly recognizable opening whine in the clarinet through its brilliant finale, Rhapsody in Blue epitomizes the Gershwin sound and instantly transformed the 25-year-old songwriter from Tin Pan Alley into a composer of “serious” music. The story of how Rhapsody in Blue came about is as captivating as the music itself. On January 4, 1924, Ira Gershwin showed George a news report in the New York Tribune about a concert put together by jazz bandleader Paul Whiteman that would endeavor to trace the history of jazz (Whiteman gave this concert a rather grandiose title, “An Experiment in Modern Music”). The report concluded with a brief announcement: “George Gershwin is at work on a jazz concerto.” This was certainly news to Gershwin, who was then in rehearsals for a Broadway show, Sweet Little Devil.

Sonatine is excessively curt—the piece deserves more. In fact, although completed in 1905, the same year as Miroirs, the piece was started as early as 1903 and is, therefore, the first work Ravel wrote for piano after the revolutionary Jeux d’eau. If Jeux d’eau and Miroirs represent the impressionistic Ravel, the Sonatine is a foretaste of the neo-Classical Ravel of the later Tombeau de Couperint—not least in the Menuet second movement. Perhaps the best-known movement of the work, the Menuet is one of the few piano movements by Ravel that does not demand a virtuosic technique (the first and last movements are a different matter!). Like the early String Quartet, the Sonatine is a cyclic work with the opening melody hinted at in the Menuet (with the original falling fourth transformed into a rising fifth) and opening restated and integrated in the finale. (arcpublications.co.uk)

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SPINOSAURUS: LOST GIANT OF THE CRETACEOUS WITH NIZAR IBRAHIM THURSDAY, FERUARY 10, 2022 · 7 PM THE BAKER-BAUM CONCERT HALL

PROGRAM Presentation Question & Answer Session NO INTERMISSION 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.

ABOUT Spinosaurus was nearly lost to science before Nizar Ibrahim, a remarkable young paleontologist, discovered this prehistoric giant. With amazing video and photography, Ibrahim will tell the story of the Spinosaurus’ discovery, loss, and rediscovery, explaining what makes this ancient monster so unique.

North American Presenting Sponsor

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This presentation marks Nizar Ibrahim’s La Jolla Music Society debut. JOLLA MUSIC SOCIETY · 2021-22 SEASON

PRELUDE 7 PM

Lecture by Michael Gerdes

A Classical Music Super Group… Do you love string quartets? Have you ever wondered what would happen if two were combined? Explore the origins of the string octet in this Prelude lecture before enjoying three of the most wonderful examples ever written.

DOVER QUARTET WITH ESCHER STRING QUARTET SATURDAY, FEBRUARY 26, 2022 · 8 PM THE BAKER-BAUM CONCERT HALL

SHOSTAKOVICH Two Pieces for String Octet, Opus 11 (1906-1975) Prelude Scherzo MENDELSSOHN Octet in E-flat Major, Opus 20 (1809-1847) Allegro moderato, ma con fuoco Andante Scherzo: Allegro leggierissimo Presto I N T E R M I S S I O N

Support for this program generously provided by:

Sam B. Ersan 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.

ENESCU Octet in C Major, Opus 7 (1881-1955) Très modéré Très fougueux Lentement Mouvement de valse bien rythmée Dover Quartet Joel Link, Bryan Lee, violins; Milena Pajaro-van de Stadt, viola; Camden Shaw, cello Escher String Quartet Adam Barnett-Hart, Brendan Speltz, violins; Pierre Lapointe, viola; Brook Speltz, cello Dover Quartet last performed for La Jolla Music Society during SummerFest on August 21, 2011. Escher String Quartet last performed for La Jolla Music Society during SummerFest on August 17, 2016. L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

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who died at 38—most of us would think Mendelssohn never made it out of his youth. And such a charge overlooks the great works Mendelssohn completed in the years just before Two Pieces for String Octet, Opus 11 his death: the Violin Concerto, the complete incidental music for A Midsummer Night’s Dream, and Elijah. But there can Born September 25, 1906, St. Petersburg be no gainsaying the fact that the young Mendelssohn was Died August 9, 1975, Moscow a composer whose gifts and promise rivaled—perhaps even Composed: 1924 surpassed—the young Mozart’s. The child of an educated Approximate Duration: 10 minutes family that fully supported his talent, Mendelssohn had by When Shostakovich died in 1975, he was remembered age 9 written works that were performed by professional primarily as a symphonist, but the last several decades have groups in Berlin. At 12 he became close friends with the seen new interest in his chamber music, particularly his 72-year-old Goethe, at 17 he composed the magnificent impressive cycle of fifteen string quartets. Shostakovich came overture to A Midsummer Night’s Dream, and at 20 he led the to the string quartet relatively late in life—he did not write his performance of the St. Matthew Passion that was probably the first until he was in his thirties—but as a very young man he key event in the revival of interest in Bach’s music. had experimented with chamber music, composing a piano Mendelssohn completed his Octet in October 1825, trio at 17 and the Two Pieces for String Octet at 18, while he when he was 16. One of the finest of his early works, the was still a conservatory student. Octet is remarkable for its polished technique, its sweep, and From this same period came Shostakovich’s dazzling for its sheer exhilaration. Mendelssohn’s decision to write First Symphony, Opus 10, and in fact he worked on the for a string octet is an interesting one, for such an ensemble symphony and the Two Pieces simultaneously. The Two approaches chamber-orchestra size, and a composer must Pieces are in the same neo-classical manner as the symphony. steer a careful course between orchestral sonority and true Shostakovich scored this music for string octet, specifically chamber music. Mendelssohn handles this problem easily. the same double string quartet that another teenaged At times this music can sound orchestral, as he sets different composer, Felix Mendelssohn, had used in his Octet. The groups of instruments against each other, but the Octet form can seem strange: this brilliant, bittersweet music remains true chamber music—each of the eight voices is consists of two contrasting and unrelated movements, both distinct and important, and even at its most dazzling and characterized by high energy levels. extroverted the Octet preserves the equal participation of Composed in December 1924, the Prelude is dominated independent voices so crucial to chamber music. by the powerful sequence of ominous chords heard at the Mendelssohn marked the first movement Allegro very beginning. This movement is episodic, with sharply moderato ma con fuoco, and certainly there is fire in the very contrasting passages for muted triplets, pizzicato chords, and beginning, where the first violin rises and falls back through a virtuoso part for the first violin before closing on a quiet a range of three octaves. Longest by far of the movements, unison D. The Scherzo, written in July 1925, is much more the first is marked by energy, sweep, and an easy exchange acerbic. It too is episodic, though here the thematic material between all eight voices before rising to a grand climax tends to be short and angular. The fiery main idea, announced derived from the opening theme. By contrast, the Andante by the first violin, rushes this movement to its sudden, is based on the simple melody announced by the lower powerful close. strings and quickly taken up by the four violins. This gentle The Two Pieces for String Octet were first performed in melodic line becomes more animated as it develops, with Moscow on January 9, 1927, by the combined Gliere and accompanying voices that grow particularly restless. Stradivarius Quartets. The Scherzo is the most famous part of the Octet. Mendelssohn said that it was inspired by the closing lines of Octet for Strings in E-flat Major, Opus 20 the Walpurghisnacht section near the end of Part I of Goethe’s Faust, where Faust and Mephistopheles descend into the underworld. He apparently had in mind the final lines of the Born February 3, 1809, Hamburg Died November 4, 1847, Leipzig description of the marriage of Oberon and Titania: Composed: 1825 Clouds go by and mists recede, Approximate Duration: 33 minutes Bathed in the dawn and blended; Sighs the wind in leaf and reed, It has become a cliché with a certain kind of critic to And all our tale is ended. say that Mendelssohn never fulfilled the promise of his youth. This music zips along brilliantly. Mendelssohn marked it Such a charge is a pretty tough thing to say about someone Allegro leggierissimo—“as light as possible”—and it does Program notes by Eric Bromberger

DMITRI SHOSTAKOVICH

FELIX MENDELSSOHN

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seem like goblin music, sparkling, trilling, and swirling right up to the end, where it vanishes into thin air. Featuring an eight-part fugato, the energetic Presto demonstrates the young composer’s contrapuntal skill. There are many wonderful touches here. At one point sharp-eared listeners may detect a quotation, perhaps unconscious, of “And He Shall Reign” from the Hallelujah Chorus of Handel’s Messiah, and near the end Mendelssohn skillfully brings back the main theme of the Scherzo as a countermelody to the finale’s polyphonic complexity. It is a masterstroke in a piece of music that would be a brilliant achievement by a composer of any age.

element into his music, one that strongly attracted Enescu (who in fact quotes the Symphonie fantastique in the closing moments of the Octet). Enescu noted that he wanted to bring the extravagance of the earlier composer to the civilized world of chamber music: “Sometimes I felt myself like a Berlioz in chamber music, if it is possible to imagine the man who used five orchestras composing such a kind of music.” The opening instantly establishes the character of this powerful music. Over steady accompaniment from the second cello, the other seven instruments hammer out the opening theme, a sinuous, angular, and propulsive idea that takes nearly a minute to unfold. This is the seminal subject of the Octet, and all subsequent material will in some way be related Octet for Strings in C Major, Opus 7 to this theme. This is very densely argued exposition: much of it unfolds canonically, and the writing makes virtuoso demands on all eight players. The second subject, announced Born August 19, 1881, Liveni Virnav, Romania by the first viola and marked expressive and grieving, seems Died May 3/4, 1955, Paris Composed: 1900 to strike a different note, but this theme is simply a derivation Approximate Duration: 38 minutes of the powerful opening idea. After a dynamic development, this extended movement trails into silence on a muted re A child prodigy, George Enescu left Romania at age 7 to statement of the main idea. enter the Conservatory of the Gesellschaft der Musikfreunde Enescu calls for only a brief pause between the first and in Vienna, then went on to study at the Paris Conservatory. second movements (long enough only to remove the mutes), Along the way, he worked with a spectacular array of and suddenly the second movement leaps violently to life. musicians: in Vienna he played in orchestras conducted by Marked Très fougueux (“fiery, impetuous”), it opens with Brahms, and in Paris he studied with Massenet and Fauré, the same sort of unison explosion that launched the first became friends with Saint-Saëns, and was a classmate of movement, but now that theme has evolved into something Ravel. He graduated from the Paris Conservatory with a first spiky and fierce. Enescu marks this opening statement prize in violin in 1899 at the age of 18, then embarked on a agité, and it alternates with slower, gentler material marked career as violinist and composer. caressant: “caressing.” The movement develops principally Enescu’s music took two distinct paths at first. There through a violent fugue based on its opening gesture; along were consciously nationalistic works like the Romanian the way the principal theme of the first movement makes a Rhapsodies, composed in 1900-01. But at this same moment, reappearance, and the music drives to a huge climax full of just as he left the Conservatory, the teenaged Enesco set massed chords. to work on quite a different piece, an Octet for Strings. In This fury subsides, and the music proceeds without pause contrast to the Romanian Rhapsodies, which string together into the third movement, marked Lentement. This opens with a series of Romanian folksongs in an episodic structure, a series of slow, muted chords (once again derived from the the Octet was very carefully conceived and composed as seminal theme), and soon the first violin sings the grieving a complex musical structure. The Octet grows out of its main idea (one of Enescu’s recurring markings in this powerful opening idea, which will reappear in many subtle movement is velouté: “velvety”). Gentle as its opening may transformations across its forty-minute span. be, this movement too rises to a conflicted climax, recalling An Octet for Strings of course calls to mind the themes from the opening movement as it proceeds. The finale, other great octet for strings, also written by a teenager: which begins without pause, is a sort of grand waltz, full of Mendelssohn’s Octet of 1825, composed when he was 16. But energy and sweep. The movement drives aggressively to its how different these two works are! Mendelssohn’s Octet is closing pages, which bring a surprise: the music slows, and all fleetness, grace, and polish, but Enescu’s plunges us into a the first violin sings a phrase that appears to be derived from world of violence, sonority, and conflict. the theme of the Beloved in Berlioz’s Symphonie fantastique. The principal influence on Enescu’s Octet was not After all the violence of the Octet, this episode—however Mendelssohn, but—surprisingly—Berlioz, who wrote no brief—seems to offer a moment of relief, of purity. And then chamber music of his own. But Enescu saw a role model in the furies return to drive the Octet to its surprisingly fierce Berlioz, who had been dead for thirty years when he began conclusion. work on the Octet: Berlioz had fought against hidebound French musical traditions and had introduced a nightmare

GEORGE ENESCU

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

XAVIER FOLEY, double bass & KELLY LIN, piano SUNDAY, FEBRUARY 27, 2022 · 3 PM THE BAKER-BAUM CONCERT HALL

Xavier Foley last performed for La Jolla Music Society during SummerFest on August 15, 2021. This performance marks Kelly Lin's La Jolla Music Societ debut.

Support for this program generously provided by:

Gordon Brodfuehrer Jeanette Stevens 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.

J.S. BACH Suite No. 5 in C Minor for Unaccompanied Cello, BWV 1011 (1685-1750) (transposed for solo double bass) Praeludium Allemande Courante Sarabande Gavottes I & II Gigue Xavier Foley, double bass XAVIER FOLEY Latin Paradise (b. 1994) Xavier Foley, double bass; Kelly Lin, piano I N T E R M I S S I O N XAVIER FOLEY Lost Child Etude No. 11 “The Singer” Xavier Foley, double bass VIVALDI Cello Sonata No. 1 in B-flat Major, RV 47 (1678-1741) (transposed to G Major for double bass and piano ) Largo Allegro Largo Allegro BOTTESINI Fantasia on La sonnambula (1821-1889) Xavier Foley, double bass; Kelly Lin, piano

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Program Notes by Eric Bromberger, except where indicated.

Suite No. 5 in C Minor for Unaccompanied Cello, BWV 1011 (transposed for solo double bass)

JOHANN SEBASTIAN BACH Born March 21, 1685, Eisenach Died July 28, 1750, Leipzig Composed: 1717-23 Approximate Duration: 25 minutes

Bach’s six suites for unaccompanied cello date from his six years as Kapellmeister at the court of Anhalt-Cothen (1717-23). From this period came the great part of Bach’s purely instrumental music, including the Brandenburg Concertos, the sonatas and partitas for solo violin, and the first book of The Well-Tempered Clavier. Bach did not play the cello, but his knowledge of that instrument appears to have been profound—the writing for cello in these suites is idiomatic and assured, and he makes full use of the instrument’s lower registers. The suites for solo cello, however, remained for many years the property of a handful of connoisseurs—they were not published until 1828, over a century after they were composed. Bach understood the term “suite” to mean a collection of dance movements in the basic sequence of allemande, courante, sarabande, and gigue. He added an introductory prelude to all six cello suites, and into each suite he interpolated one extra dance movement; all movements after the opening prelude are in binary form. The Suite No. 5 in C Minor has long been regarded as one of the finest of the cycle: the somber minor tonality gives the music a dark, expressive quality, and Bach himself appears to have been taken with this music—several years after writing it, he arranged it for solo lute. An unusual feature of the cello version is that Bach asks the cellist to re-tune his instrument, tuning the A-string (the top string) down one full step to G; this makes possible certain chord combinations impossible with normal tuning. The lengthy opening Praeludium has been compared to French overture form, though the relation is distant. The Praeludium does open with the dotted figures characteristic of the French overture and does introduce fugal-sounding material, but the opening section never returns. The slow Allemande (that title originally meant “German dance”) retains the dotted rhythms of the opening movement, while the Courante (French for “running”) is in a quick 3/2 meter, full of multiple-stopping. The grave Sarabande is entirely linear—there is no chording at all here—and this ancient dance form (the sarabande was originally a sung dance) proceeds with great dignity. Two gavottes form the “extra” movement in this suite. The first is athletic and graceful and full of double-stopping, while the second is quick and built

on flowing triplets; Bach asks for a da capo repeat of the first gavotte. The gigue is of British origins, but Bach’s concluding Gigue seems far removed from its ancestor, the merry jig. Here the metric and phrase units are short (a quick 3/8), and the movement ends with the somber gravity that has marked the entire suite.

Cello Sonata No. 1 in B-flat Major, RV47 (transposed to G Major for doublebass)

ANTONIO VIVALDI Born March 4, 1678, Venice Died July 26/7, 1741, Vienna Composed: 1720-40 Approximate Duration: 9 minutes

We instinctively associate Vivaldi with the violin. He was a superb violinist himself, and he wrote over 200 concertos for that instrument. But Vivaldi was also interested in the cello, an instrument he did not play: he wrote 27 concertos for cello and ten sonatas for cello with continuo accompaniment. The sonatas were composed during the 1720s and 1730s, and six of them were published in Paris in 1740, without the knowledge or permission of Vivaldi, who died the following year. While the cello part was fully written out, the continuo line was not, and so that part needs to be recreated for performances. This set of sonatas is usually heard in an edition by the Italian composer Gian Francesco Malipiero (1882-1973), and the first of these sonatas, in B-flat major, is heard at this concert in a transposition to G major, which makes it more comfortable on the doublebass. All six sonatas are in the slow-fast-slow-fast sequence of movements of the baroque instrumental sonata, and— curiously—all six have exactly the same sequence of movement markings: Largo-Allegro-Largo-Allegro. The present sonata opens with a stately Largo in which the bass has long melodic lines over steady chordal accompaniment from the piano. The Allegro, in binary form, is full of energy, taking much of its pulse from the syncopated attacks at the beginning of each phrase. In the melodic second Largo, but Vivaldi’s expressive writing is full of accidentals, and the harmonic language is complex. The music returns to the home tonality for the spirited concluding Allegro, set in a quick 3/8 meter and—like all four movements—in binary form. century after they were composed.

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XAVIER FOLEY & KELLY LIN - PROGRAM NOTES

Fantasia on La sonnambula

GIOVANNI BOTTESINI Born December 22, 1821, Crema, Italy Died July 7, 1889, Parma, Italy Composed: 1849 Approximate Duration: 9 minutes

The life of Giovanni Bottesini is a lesson in musical necessity. As a boy he showed extraordinary talent and learned to sing and to play the timpani and violin, but when he tried to enter the Milan Conservatory in 1835, there were scholarships available only for bassoonists and doublebassists. The fourteen-year-old promptly learned to play the doublebass, and within a month he played well enough that he won one of those scholarships. He played so well, in fact, that he became one of the greatest performers on that instrument in history: during his lifetime he was billed as “the Paganini of the doublebass.” Bottesini was an original: he had his instrument re-strung with only three strings (which were then re-tuned), and he used a cello bow to help create a lighter sound. But Bottesini’s musical talents were not limited simply to playing the doublebass. He became a conductor and led operas in Havana, New Orleans, New York, London, Mexico, St. Petersburg, Paris, Scandinavia, Spain, Portugal, and elsewhere (and it was at Verdi’s specific request that Bottesini conducted the première of Aida in Cairo in 1871). He also found time to compose, and while he wrote ten operas, the vast majority of his compositions are for doublebass, including concertos, duos, opera paraphrases, and even a set of 36 studies for the instrument. Vincenzo Bellini must have been one of Bottesini’s favorite composers, because Bottesini wrote fantasias on themes from five of Bellini’s operas. Bellini’s La sonnambula, premièred in 1831, was one of the most popular operas of the nineteenth century—it is said to have been Queen Victoria’s favorite opera. Bottesini wrote his Fantasia on La sonnambula in 1849. A firm piano introduction leads to an expectant introduction from the bassist, and then Bottesini offers a series of variations on themes from the opera. These alternate between the lyric and the spirited, and this music suggests how good a performer Bottesini must have been: he can require sensitive playing one moment, then send his performers through the most difficult of passages, some of them played entirely in harmonics. A spirited coda brings the Fantasia to a grand conclusion.

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Gala 2022

WINTERFEST

with

Lang Lang, piano Friday, March 18, 2022

Susan Hoehn, Gala Chair 5:00 PM Reception & Dinner at the Westgate Hotel 8:00 PM Performance at the Balboa Theatre

For gala tickets and information, please call 858.526.3425 or NSlavik@LJMS.org Proceeds from this event will support La Jolla Music Society's Education and Artistic Programs.

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

The Queen’s Cartoonists participated in LJMS’ first student matinee at The Conrad

La Jolla Music Society’s 2021-22 Education Ambassador-in-Residence: The Queen’s Cartoonists Launched in 2019 with internationally renowned classical guitarist Pablo Sáinz-Villegas, the Education Ambassador-in-Residence program provides an opportunity for visiting artists to build a deep and meaningful connection with the San Diego community through arts education. La Jolla Music Society’s Artistic Director, Leah Rosenthal, works diligently each year to find the right artist for the role—a musician, ensemble, dancer, or choreographer who not only meets LJMS’ high standard of artistic quality, but also shares a passion for arts education. The diversity of the artists she selects is a reflection of the multi-disciplinary nature of the artistic programming offered year-round by LJMS. Presenting a wide variety of artists through its Education Ambassador initiative allows LJMS to engage different audiences and student groups each year. New special projects and initiatives developed in consultation with the Education Ambassador take place during extended residency periods. These collaborative projects highlight and maximize the

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artist’s talents and expertise in arts education. The Education Ambassador program is a major expansion of LJMS’ robust educational offerings (see page 44 for an overview of all its Education & Community Programming). This expansion is owing to the organization’s longstanding commitment to education, access, and community engagement. “Through the Education Ambassador initiative, students and community members gain direct access to the world-renowned artists they otherwise only see onstage. This type of connection removes a crucial barrier, often referred to as the fourth wall, allowing for in-depth educational opportunities and high-level training.” - Allison Boles, LJMS’ Education & Community Programming Director In the height of the pandemic, the Education Ambassador program served a crucial role. When most venues had shuttered their doors and students were learning remotely, LJMS was able to sustain its commitment to presenting great artists and to engaging the community.

Pablo Sáinz-Villegas, LJMS’ inaugural Education Ambassador As 2020-21 Education Ambassador, Third Coast Percussion led an innovative online composition project with students in San Diego

GRAMMY® Award-winners Third Coast Percussion, a contemporary music ensemble from Chicago, along with street dancers from Movement Art Is served as the second annual Education Ambassadors during the 2020-21 season. Faced with the challenges of that time, Rosenthal and Boles reimagined the residency by creating a hybrid model that included both in-person and online performances and education activities. In addition to a live-streamed performance from The Baker-Baum Concert Hall, the musicians and dancers—all educators in their own right—led an online composition and choreography project with students from the San Diego School of Creative and Performing Arts, Mira Mesa High School, and The Bishop’s School. The two-month project culminated with an online premier of their collaborative creation, titled Spring Flight, and a celebratory virtual party for the students’ family and friends, featuring interviews with the artists and students.

This season, The Queen’s Cartoonists served as LJMS’ third annual Education Ambassador. This dynamic jazz combo from Brooklyn, New York was an ideal fit for the role. The group’s musical mission of equal parts music preservation, education, and performance aligned perfectly with the goals of LJMS’ initiative. The ensemble engaged in a wide range of activities that focused on the key elements of their performance—and two classic forms of American art—jazz and cartoons. In addition to their mainstage performances on December 11, The Queen’s Cartoonists participated in LJMS’ first student matinee at The Conrad. The ensemble also led a master class for students from Mission Bay High School, which prepared the students to join the band onstage. The Education Ambassador-in-Residence program will return next season with a visionary artist, activist, and educator whose career spans decades. Details will be announced with the 2022-23 Winter Season launch later this spring.

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LA JOLLA MUSIC SOCIETY’S EDUCATION & COMMUNITY PROGRAMMING La Jolla Music Society’s commitment to presenting and producing programming of the highest artistic quality extends beyond the concert hall and into its work in the San Diego community. LJMS’ award-winning educational programs and activities focus on three levels engagement—training, education, and exposure—serving thousands of students and community members each year.

Explore our programs and visit LJMS.org/Education to learn more.

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Training Community Music Center

La Jolla Music Society’s after-school music program helps foster students’ self-confidence and motivation for learning while providing a safe and equitable environment. For over 20 years, we have provided free, bilingual music instruction and free instruments to 120 students annually. Operating in Logan Heights each September through May, students take group lessons three days per week and participate in a fourth day of ensemble practice. The instruction and instruments are all provided free-of-charge, and students are awarded their instruments to keep for life after meeting attendance and proficiency requirements.

Artist Development

Professional opportunities focusing on developing the skills of interpretation, communication, and performance are provided year-round for young, emerging musicians and dancers through Coaching Workshops, Master Classes, and Musical Preludes. During SummerFest, La Jolla Music Society’s music director invites students from the world’s leading music conservatories to participate in the Fellowship Artist Program. As part of this highly competitive program, the artists receive a multitude of performance opportunities, daily coaching sessions led by world-class chamber musicians, and tickets to every performance.

Education

Exposure

Education Ambassador-in-Residence

The ConRAD Kids Series

Each year, La Jolla Music Society selects one artist or ensemble to work in profound ways in the San Diego community, serving as LJMS’ Education Ambassador. Whether a musician, composer, dancer, or choreographer, the artist’s work will extend beyond the concert hall, focusing on performance, education, and community and donor relations. The program has featured great artists like beloved guitarist Pablo Sáinz-Villegas, the Grammy Award-winning ensemble Third Coast Percussion with the innovative dancers of Movement Art Is, and this year's exciting ensemble The Queen's Cartoonists.

Audience Education

La Jolla Music Society offers a wide range of learning opportunities throughout the year, including pre-concert lectures, in-depth interviews, open rehearsals, and SummerFest Encounters. Audience and community members are able to learn directly from the artists while witnessing the evolution of musical interpretation, observing the arduous rehearsal process, and enjoying engaging discussions and lectures. There’s something for everyone!

Speaker Series

Relish in the full multi-media capabilities of The Baker-Baum Concert Hall at The Conrad Prebys Performing Arts Center with this series featuring lectures, film, and images by National Geographic explorers. These photographers, scientists, filmmakers, and adventurers take the audience on a journey as they share their unbelievable behind-thescenes stories and stunning images and video—live onstage!

What could be better than enjoying a live performance with your little ones? These kid-friendly concerts entertain the whole family with outstanding award-winning artists from diverse genres, including classical music, world music, dance, and theater. With playful lyrics, an open space for silly dancing, and impactful positive messages, these performances are designed to support all areas of childhood development.

Education Ticket Program

As one of the premier presenters of Southern California, La Jolla Music Society has the opportunity and obligation to open its doors to audiences who might not otherwise be able to attend a performance. Each year, hundreds of students are welcomed into the concert hall by attending LJMS’ performances at no charge through its Education Ticket Program.

Community Engagement

La Jolla Music Society has a longstanding history of bringing artists into the community, and now it is able to welcome the community to The Conrad. The Discovery Series engages young musicians for a performance and several days of outreach to area schools, libraries, and community or business centers. The program introduces thousands of San Diego children to classical music each year. At The Conrad, free public events like the Holiday Sing-Along, the Community Arts Open House, and concerts in the Wu Tsai QRT.yrd make the new performing arts center a welcoming and inclusive space for the whole community.

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CONCERTS @ THE JAI

BRIA SKONBERG, trumpet

SATURDAY, NOVEMBER 13, 2021 · 6:30 PM & 8:30 PM Hot Jazz | Blues | Smoky Vocals

Described as “one of the most versatile and imposing musicians of her generation” (Wall Street Journal), Bria Skonberg has made her mark on the jazz scene with her smoky vocals, fiery trumpet playing and compelling compositions. In her rising career, she “has become the shining hope of hot jazz” (The New York Times).

“

Bria Skonberg plays trumpet like a red hot devil and sings like a dream. – The Wall Street Journal

DREAMER’S CIRCUS

WEDNESDAY, FEBRUARY 9, 2022 · 6:30 PM & 8:30 PM Nordic Folk | Traditional | Classical Influences

Dreamers’ Circus returns to The Conrad to share their love of folk and traditional Nordic music with you, this February. Contemporary and innovative in their approach, they draw inspiration from the deep traditions of folk music in the region and reshape them into something bright, shiny, and new. Their art embraces music from Denmark and Sweden as well as Iceland, Finland, and the far reaches of the windswept Faroe Islands.

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JOLLA MUSIC SOCIETY · 2021-22 SEASON

GOITSE

FRIDAY, FEBRUARY 25, 2022 6:30 PM & 8:30 PM Gaelic Irish | Traditional Folk | Rhythmic | Powerful

Get ready for a cracking good time in The JAI. The whitehot award-winning Irish quintet, Goitse, pronounced “Go-wit-cha”, brings a vibrant mix of Irish classic jigs and tunes with their own original compositions for an irrepressible Irish musical experience that opens your mind and moves your feet.

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 rule book, entwining folkloric sounds with everything from jazz and classical music to rap, funk, reggaeton and electronica. L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

THE ConRAD KIDS series

JAZZY ASH & THE LEAPING LIZARDS SATURDAY, NOVEMBER 6, 2021 9:30 AM & 11:30 AM THE JAI

Join Jazzy Ash & The Leaping Lizards for a musical adventure influenced by the music from her mother's hometown of New Orleans and her father's Trinidadian culture! Come enjoy your favorite Jazzy Ash songs and hear live ukulele, guitar, banjo, accordion, fiddle, bass, trombone, saxophone, washboard, and drums! As an acclaimed songwriter and music educator, Jazzy Ash’s music celebrates the magic of movement, with a lot of sugar and sass thrown in, New Orleans-style!

123 ANDRÉS

SATURDAY, FEBRUARY 12, 2022 9:30 AM & 11:30 AM THE JAI 123 Andrés (pronounced uno, dos, tres Andrés) are Latin GRAMMY® Award–winning teaching artists who get kids and families excited about learning and moving together in Spanish and English! Families sing, dance, and sound out with Andrés and Christina as they compose an eclectic mix of sounds from all corners of Latin America. The husband-wife duo fuse folk-based rhythms like Vallenato and Champeta with upbeat pop, creating a winning combination for listeners of any age, featuring first-class musicianship and rich instrumentation.

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

This American bluegrass/American roots GRAMMY award winning 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.”

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CONCERTS DOWNTOWN

ACADEMY OF ST MARTIN IN THE FIELDS WITH JOSHUA BELL, music director & violin SPECIAL ORCHESTRA PERFORMANCE MONDAY, MARCH 14, 2022 · 8 PM CIVIC THEATRE The ever-popular Academy of St Martin in the Fields, under the musical direction of renowned violin soloist Joshua Bell, returns to La Jolla Music Society for another spectacular performance. This storied, conductor-less ensemble is one of the world’s finest chamber orchestras, well known for its inspired and inspiring interpretations of great orchestral music.

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

SATURDAY, MAY 7, 2022 · 3 PM best-selling artist Chris Botti Trumpet powerhouse and American dazzles with both “flickering intimacy THE BAKER-BAUM CONCERT HALL and thundering grandiosity”

(The New York Times). His mesmerizing performances with a stunning This bluegrass/American roots Streisand, GRAMMY award arrayAmerican of legends such as Sting, Barbra Tony Bennett, Yo-Yo Ma, winning duo hasPaul put Simon their passion for theBocelli outdoors at cemented the Frank Sinatra, and Andrea have his place heart of their children’s music. A five-time Parent’s Choice as one of the most brilliant and inspiring forces of the contemporary Award havehe’s garnered praise with fromillustrious the likes ofsymphonies musicwinner, scene. they Whether performing NPR’s All Things Considered and USA Today, and have been crystalline or at renowned venues around the globe, his unparalleled called “two of familytranscends music’s best songwriters.” and poetic sound musical boundaries.

THE OKEE DOKEE JOFFREY BALLET BROTHERS SATURDAY,MAY MAY7,14, 2022 · 8 PM SATURDAY, 2022 · 3 PM CIVIC THEATRE CONCERT HALL THE BAKER-BAUM

TheAmerican incomparable Chicago-based roots JoffreyGRAMMY Ballet award This bluegrass/American returns for a dazzling evening at San Diego winning duo has put their passion for the outdoors at the CivicofTheatre. Among America’s premier ballet heart their children’s music. A five-time Parent’s Choice companies, their cutting-edge programs display Award winner, they have garnered praise from the likes of the inestimable skill of Joffrey dancers. NPR’s All Things Considered andBallet’s 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 Alonzo King LINES Ballet

Alonzo King has been called a visionary choreographer who is altering the way we look and think about movement. Alonzo King LINES Ballet has been guided by his unique artistic vision since 1982. Named a Master of Choreography by the Kennedy Center in 2005, King is the recipient of the NEA Choreographer’s Fellowship, the Jacob’s Pillow Creativity Award, the US Artist Award in Dance, NY Bessie Award, and the National Dance Project’s Residency and Touring Awards. In 2015, he received the Doris Duke Artist Award in recognition of his ongoing contributions to the advancement of contemporary dance. Joining historic icons in the field, King was named one of America’s “Irreplaceable Dance Treasures” by the Dance Heritage Coalition. He holds an honorary Doctorate from Dominican University, California Institute of the Arts, and The Juilliard School.

Emanuel Ax, piano

Born in modern-day Lvov, Poland, Emanuel Ax moved to Winnipeg, Canada, as a young boy. Ax made his New York debut in the Young Concert Artists Series, and in 1974 won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists, followed four years later by the Avery Fisher Prize. Ax has been a Sony Classical exclusive recording artist since 1987. He has received GRAMMY® Awards for the second and third volumes of his cycle of Haydn’s piano sonatas and has also made a series of GRAMMY®-winning recordings with cellist Yo-Yo Ma. Ax is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Skidmore College, New England Conservatory of Music, Yale University, and Columbia University.

Dover Quartet

The phenomenal Dover Quartet catapulted to international stardom following a stunning sweep of the 2013 Banff Competition, at which they won every prize. Named the Cleveland Quartet Award winner, and honored with the Avery Fisher Career Grant, the Dover Quartet is one of the most in-demand ensembles in the world. The Quartet’s distinctive sound has helped confirm its status as “the young American string quartet of the moment” (The New Yorker).

Escher String Quartet

The Escher String Quartet has received acclaim for its profound musical insight and rare tonal beauty. A former BBC New Generation Artist, the quartet has performed at the BBC Proms at Cadogan Hall and is a regular guest at Wigmore Hall, London. In its hometown of New York, the ensemble serves as Season Artists of The Chamber Music Society of Lincoln Center, where it has recently performed quartet cycles of Beethoven and Zemlinsky.

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BIOGRAPHIES

Zoltán Fejérvári, piano

Zoltán Fejérvári has emerged as one of the most intriguing pianists of a new generation of Hungarian musicians, a virtuoso in the truest sense, and in-demand on the world’s concert stages. Fejérvári is the winner of the 2017 Concours Musical International de Montréal and recipient of the prestigious Borletti-Buitoni Trust Fellowship in 2016. Distinguished pianist András Schiff chose Fejérvári for “Building Bridges,” a series established to highlight young pianists of unusual promise.

Xavier Foley, bass

Xavier Foley is known for communicating his virtuosity on the double bass, which is rarely presented as a solo instrument. Foley is a winner of a prestigious 2018 Avery Fisher Career Grant. As a composer, Foley has been co-commissioned by Carnegie Hall and the Sphinx Organization for a new work entitled For Justice and Peace for Violin, Bass, and String Orchestra, which will be performed this season as part of a program promoting social justice.

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.

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.

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

BIOGRAPHIES

Nizar Ibrahim, paleontologist

German/Moroccan paleontologist and anatomist Nizar Ibrahim scours the vast deserts of North Africa for clues to life in the Cretaceous period, when the area was a large river system teeming with a profusion of diverse life. One of the youngest explorers ever to lead expeditions to the Sahara, he has unearthed spectacular dinosaur bones, giant prehistoric fish, and a new species of giant flying reptile with a 20-foot wingspan that lived 95 million years ago. In 2014, Ibrahim was named a National Geographic Emerging Explorer, and, in 2015, he was named a TED fellow, the first paleontologist in the history of TED.

Jazz at Lincoln Center Orchestra

The Jazz at Lincoln Center Orchestra (JLCO) comprises 15 of the finest jazz soloists and ensemble players today. Led by Wynton Marsalis, Jazz at Lincoln Center Managing and Artistic Director, this remarkably versatile orchestra performs a vast repertoire ranging from original compositions and Jazz at Lincoln Center-commissioned works to rare historic compositions and masterworks by Duke Ellington, Count Basie, Fletcher Henderson, Thelonious Monk, and many others. Since 1988, the JLCO has been performing and leading educational events in New York, across the United States, and around the globe.

Wynton Marsalis

Wynton Marsalis is the managing and artistic director of Jazz at Lincoln Center and a world-renowned trumpeter and composer. Marsalis has recorded more than 60 jazz and classical recordings, and in 1983 he became the first and only artist to win both classical and jazz GRAMMYs in the same year. Marsalis is an internationally respected teacher, and has received honorary doctorates from dozens of U.S. universities and colleges. In 1997, Marsalis became the first jazz artist to be awarded the Pulitzer Prize. In 2001, he was appointed Messenger of Peace by Mr. Kofi Annan, Secretary-General of the United Nations, and he has also been designated cultural ambassador to the United States of America by the U.S. State Department through their Culture Connect program.

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.

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BIOGRAPHIES

Hilaree Nelson, mountaineer & adventurer

For Hilaree Nelson, skiing is the gateway to possibility. She started skiing at age 3 and was later introduced to big mountain skiing and climbing. Nelson has climbed and skied volcanoes in the Kamchatka Peninsula of Russia, in Mongolia, India, Lebanon, and first descents of the tight couloirs of Baffin Island in the Canadian Arctic. Nelson’s mountain adventures led Outside Magazine to name her one of the most adventurous women in the world of sport. As the recipient of a National Geographic Explorer’s Grant, Nelson led a team of alpinists to attempt a first ascent on a remote peak in northern Myanmar in 2014.

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

For 75 years, San Diego Youth Symphony (SDYS) has served as a catalyst for investing in the future of thousands of young San Diegans through the study and performance of music. Through SDYS’ flagship ensemble program in historic Balboa Park, its neighborhood engagement collaborations across San Diego County, and its early childhood music curriculum, SDYS is San Diego’s most comprehensive provider of cradle-to-college music education programming and a national leader in innovative community outreach, serving thousands of young musicians and their families every year. We respect every young person who takes part in our programs and celebrate their accomplishments as musicians, as community members, and as future leaders.

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, 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.

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BIOGRAPHIES

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 2018-2019 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.

Conrad Tao, piano

Conrad Tao has appeared worldwide as a pianist and composer and has been dubbed “the kind of musician who is shaping the future of classical music” by New York Magazine, and an artist of “probing intellect and open-hearted vision” by The New York Times. He is the recipient of the prestigious Avery Fisher Career Grant and was named a Gilmore Young Artist—an honor awarded every two years highlighting the most promising American pianists of the new generation. As a composer, he was also the recipient of a 2019 New York Dance and Performance “Bessie” Award, for Outstanding Sound Design / Music Composition, for his work on More Forever, his collaboration with dancer and choreographer Caleb Teicher.

Caleb Teicher, tap dancer

Caleb Teicher specializes in musically-driven dance traditions and interdisciplinary collaboration. Their work has been presented at venues including The Joyce Theater, New York City Center, the Guggenheim Museum, Jacob’s Pillow Dance Festival, and Lincoln Center. Caleb is the recipient of a 2019 New York City Center Choreographic Fellowship, a 2019 Harkness Promise Award, a 2019 NEFA National Dance Project Production Grant, and two Bessie Awards. Their work has been featured by The New York Times, NPR, Forbes, Vogue, Interview Magazine, on the cover of Dance Magazine, and on The Late Show with Stephen Colbert alongside Regina Spektor.

Photo Credits: Cover: J. Gowan, Alonzo King LINES Ballet © RJ Muna; Pg. 17: L. Rosenthal courtesy of artist; Pg. 18: E. Ax © Lisa Marie Mazzucco; Pg. 21: H. Nelson © Nick Kalisz; Pg. 22: Z. Fejervari © Balasz Borocz; Pg. 25: Alonz King LINES Ballet © RJ Muna; Pg. 28: W. Marsalis © Piper Ferguson; Pg. 29: Jazz at Lincoln Center Orchestra © Piper Ferguson; Pg. 30: Trey McLaughin & The Sounds of Zamar © Megan Bean; Pg. 31: C. Tao & C.Teicher © Em Watson; Pg. 34: N. Ibrahim © Nizar Ibrahim; P. 35: Dover Quartet © Roy Cox, Escher Quartet courtesy of artists; Pg. 38: X. Foley © Matt Dines; Pg. 41: L. Lang © Olaf Heine; Pg. 46: B. Skonberg © Dario Acosta, Dreamers’ Circus © Goran Petersson; Pg. 47: Goitse courtesy of artists, G. Carling courtesy of artist, R. Fonseca © Alejandro Azcuy; Pg. 48: Jazzy Ash courtesy of artist, 123Andres © David Rugeles, The Okee Dokee Brothers courtesy of artists; Pg. 49: J. Bell courtesy of artist, C. Botti © Leanne Mueller, Joffrey Ballet © Cheryl Mann; Pg. 50: S. Elhassan, Alonzo King LINES Ballet © RJ Muna, E. Ax © Lisa Marie Mazzucco, Dover Quartet © Roy Cox, Escher Quartet courtesy of artists; Pg. 51: Z. Fejervari © Balasz Borocz, X. Foley © Matt Dines, M. Gerdes courtesy of artist, R. J. Hughes courtesy of artist; Pg. 52: N. Ibrahim © Kat Keene Hogue, Jazz at Lincoln Center Orchestra © Piper Ferguson, W. Marsalis © Piper Ferguson, K. Brown Montesano courtesy of artist; Pg. 53: H. Nelson © Nick Kalisz, M. Puryear curtesy of artist, The Sounds of Zamar © Megan Bean; Pg. 54: T. McLaughlin © Megan Bean, C. Tao © Shervin Lainez, C. Teicher © David Needleman: Pg. 55: T. McLaughlin © Megan Bean, B. Skonberg © Dario Acosta, Arod Quartet © Julien Benhamou, Alonzo King LINES Ballet © RJ Muna, J. Bell © Benjamin Ealovega; Back Cover: L. Lang © Olaf Heine.

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

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 Mary Ann Beyster ($50,000-$99,999)

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Ric & Eleanor Charlton Peter Cooper & Erik Matwijkow Silvija & Brian Devine Stephen Gamp | Banc of California Jeanne Herberger, Ph.D. Peggy & Peter Preuss Sheryl & Bob Scarano Marge & Neal Schmale Doctor Bob & June Shillman Bebe & Marvin Zigman

JOLLA MUSIC SOCIETY · 2021-22 SEASON

ANNUAL SUPPORT

GUARANTOR

($25,000 - $49,999)

Anonymous Gordon Brodfuehrer Wendy Brody Mary Ellen Clark Peter Cooper & Erik Matwijkow Julie & Bert Cornelison Jennifer & Kurt Eve Lehn & Richard Goetz 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 UC San Diego Vail Memorial Fund Anna & Edward Yeung Sue & Peter Wagener

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

SUPPORTER

($10,000 - $14,999)

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 Teresa & Merle Fischlowtiz 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

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 Monica Fimbres Marina & Gordon Fines Richard & Beverley Fink Beverly Frederick & Alan Springer Ingrid & Ted Friedmann Elaine Galinson & Herbert Solomon Sarah & Michael Garrison Buzz & Peg Gitelson Michael Grossman & Margaret Stevens Grossman Teresa & Harry Hixson Gail & Doug Hutcheson Theresa Jarvis & Ric Erdman Kathleen & Ken Lundgren Margaret McKeown & Peter Cowhey Virginia & David Meyer Marilyn & Stephen Miles Elaine & Doug Muchmore William Pitts & Mary Sophos Susan Shirk & Samuel Popkin Gloria & Rod Stone Joyce & Ted Strauss Patty Rome Susan & Richard Ulevitch Yvonne Vaucher Gianangelo & Mera Vergani Jo & Howard Weiner Mary & Joseph Witztum

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

ANNUAL SUPPORT

AFICIONADO

ASSOCIATE

FRIEND

Anonymous Jeffrey Barnouw Barry & Emily Berkov Carolyn Bertussi Benjamin Brand Sedgwick & Gloria Browne R. Nelson & Janice Byrne Katherine & Dane Chapin David Cooper & Joanne Hutchinson Linda & Richard Dicker Mr. & Mrs. Michael Durkin Ruth & Ed Evans Jack Fisher Lynn Gorguze & The Hon. Scott Peters Beverly Grant Reena & Sam Horowitz Linda Howard Elisa & Rick Jaime Susan & David Kabakoff Sylvia & Jamie Liwerant Anita & Mike Mahaffey Dennis McConnell & Kimberly Kassner Gail & Ed Miller Howard & Barbara Milstein Alexandra Morton Muchnic Foundation Jeanne & Rick Norling Sally & Howard Oxley Carolyn & Ed Parrish Erin & Peter Preuss, Jr. Allison & Robert Price Jathan Segur | California Bank & Trust 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 Faye Wilson

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

Anonymous (2) Dr. Andrew S. Allen Arlene Antin & Leonard Ozerkis Nancy Corbin Assaf Julie & Edgar Berner Sonya Celeste-Harris & Richard Harris Jian & Samson Chan John Conway Ann Craig Caroline DeMar Richard Forsyth Clare Friedman Elisabeth Friedman Carrie Greenstein Sofia Grigoriou Nancy D. Grover Bryna Haber Phil & Kathy Henry Emmet & Holly Holden Nancy Hong Michelle Horowitz Louise Kasch Evelyn & Bill Lamden Toni Langlinais Bill & Sallie Larsen Lewis Leicher Elizabeth Lucas Betty & James Martin Kenneth Martin Ted McKinney Wendy & Bruce Nelson Susan Newell Marguerite O. Pitts William Purves & Don Schmidt Ronald Simon Randall Smith Trevor Ré Cassidy Robins Mary Rodriguez Barbara Rosen & Bob Fahey Marsha & Bob Venn David Washburn Suhaila White Olivia & Marty Winkler Susan & Gavin Zau

($2,500 - $4,999)

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($1,000 - $2,499)

JOLLA MUSIC SOCIETY · 2021-22 SEASON

($500 - $999)

ANNUAL SUPPORT

ENTHUSIAST ($250 - $499)

Anonymous Lynell Antrim Mary Lonsdale Baker Stefana Brintzenhoff Kathleen Charla Geoffrey Clow Dr. Marjorie Coburn Lori & Aaron Contorer Hugh Coughlin Roccio & Mike Flynn Ferdinand Marcus Gasang Dr. & Mrs. Jimmie Greenslate Helga Halsey Victoria Hamilton Bo Hedfors David Hodgens & Linda Olson Richard Hsieh Ed & Linda Janon Julia & George L. Katz Gladys & Bert Kohn Gordon Knight Barry Lebowitz Linda & Michael Mann Patricia McNew Maggie & Paul Meyer Anne Minteer Ross Moser Nasrin A. Owsia Aghdas Pezeshki Nicolas Reveles Cynthia Rosenthal Morton & Marjorie Shaevitz Leland & Annemarie Sprinkle Edward Stickgold & Steven Cande Eli & Lisa Strickland 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 Anne Rodda 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 September 30, 2021. We regret any errors. Please contact Ferdinand Gasang, Director of Development, at FGasang@LJMS.org or 858.526.3426 to make a correction for the March 2022 program book. L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

MEDALLION SOCIETY CROWN JEWEL

SAPPHIRE

Brenda Baker and Steve Baum

John Hesselink Keith and Helen Kim

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 Hank and Patricia Nickol 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 Gianangelo and Mera Vergani Sue and Peter Wagener Joseph Wong and Vivian Lim Dolly and Victor Woo Carolyn Yorston-Wellcome Bebe and Marvin Zigman Listing as of September 30, 2021

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

POINTE

Jeanette Stevens Marvin and Bebe Zigman

Carolyn Bertussi

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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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 Listing as of September 30, 2021

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

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

The Stephen Warren Miles and Marilyn Miles 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

SAN DIEGO

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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 have are interested in sponsoring an artistic or education program, please contact Ferdinand Gasang, Director of Development, at 858.526.3426 or FGasang@LJMS.org.

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

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

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#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

www.TENFOLDSTYLE.com

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

UN‘OPERA ITALIANA CON CHEF STEFANO, MILANO

Voted Bronze For Best Overall Restaurant In La Jolla

BRUNCH PIZZA LUNCH SEAFOOD DINNER FRESH PASTA Large Patios . Wine Bar . Catering . Private Events . Cooking Classes A PROUD COMMUNITY PARTNER OF THE CONRAD

7731 FAY AVENUE . LA JOLLA . 858 412 3108 . PIAZZA1909.COM

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.

7825 Fay Ave | La Jolla, CA 92037 | lajollasportsclub.com

QUALITY SERVICE EXPERIENCE INNOVATION Chairs to China

Linens to Lighting

Tables to Tents

bright.com • 858.496.9700

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.

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

bancofcal.com

TOGETHER WE WIN

Breathtaking Views, Uniquely California Cuisine For Every Occasion

ARValentien.com | 858.777.6635

LPT_LJMS_ARV_2018.indd 1

9/18/2018 2:20:21 PM

COMING UP... MARCH

APRIL

FRIDAY, MARCH 4, 2022 · 8 PM

SUNDAY, APRIL 3, 2022 · 7 PM

BEATRICE RANA

SILK ROAD ENSEMBLE “A HOME WITHIN”

Piano Series The Baker-Baum Concert Hall

ProtoStar Innovative Series The Baker-Baum Concert Hall

AVITAL MEETS AVITAL

MATTHIAS GOERNE & SEONG-JIN CHO

Artist-in-Residence Series The JAI

Special Vocal Recital The Baker-Baum Concert Hall

ACADEMY OF ST MARTIN IN THE FIELDS WITH JOSHUA BELL

CHRIS BOTTI

THURSDAY, MARCH 10, 2022 · 6:30 PM & 8:30 PM

Thursday, April 7, 2022 · 8 PM

FRIDAY, APRIL 8, 2022 · 8 PM Jazz Series Balboa Theatre

MONDAY, MARCH 14, 2022 · 8 PM Special Orchestra Performance Civic Theatre

LANG LANG

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

AROD QUARTET

DAKHABRAKHA

Gala

FRIDAY, APRIL 22, 2022 · 8 PM

WINTERFEST

Global Roots Series The Baker-Baum Concert Hall

SHEKU KANNEH-MASON & ISATA KANNEH-MASON

SUNDAY, MARCH 20, 2022 · 3 PM

SATURDAY, APRIL 23, 2022 · 8 PM

Discovery Series The Baker-Baum Concert Hall

Revelle Chamber Music Series The Baker-Baum Concert Hall

UKULELE ORCHESTRA OF GREAT BRITAIN

GUNHILD CARLING

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

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

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

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LANG LANG

La Jolla Music Society Season 53 Program Book 2 (Jan-Feb 2022)

Articles inside

ZOLTÁN FEJÉRVÁRI

DOVER QUARTET WITH ESCHER STRING QUARTET

ALONZO KING LINES BALLET