La Jolla Music Society Season 53 Program Book 3 (March-April 8)

53 2021-22 SEASON

ACADEMY OF ST MARTIN IN THE FIELDS WITH JOSHUA BELL

MARCH-APRIL 8

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

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LA JOLLA MUSIC SOCIETY · 2021-22 SEASON

DOVER QUARTET WITH ESCHER STRING QUARTET

CHRIS BOTTI

FRIDAY, APRIL 8, 2022 · 8 PM

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

Jazz Series Balboa Theatre

DAKHABRAKHA

FRIDAY, APRIL 22, 2022 · 8 PM

XAVIER FOLEY

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

Global Roots Series The Baker-Baum Concert Hall

SHEKU KANNEH-MASON & ISATA KANNEH-MASON

MARCH

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

BEATRICE RANA

FRIDAY, MARCH 4, 2022 · 8 PM

GUNHILD CARLING

Piano Series The Baker-Baum Concert Hall

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

AVITAL MEETS AVITAL

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

ACADEMY OF ST MARTIN IN THE FIELDS WITH JOSHUA BELL

MAY LILA DOWNS

WEDNESDAY, MAY 4, 2022 · 8 PM

MONDAY, MARCH 14, 2022 · 8 PM

Global Roots Series Balboa Theatre

Special Orchestra Performance Civic Theatre

THE OKEE DOKEE BROTHERS

LANG LANG

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

AROD QUARTET

Gala WINTERFEST

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

JOFFREY BALLET

SATURDAY, MAY 14, 2022 · 8 PM

SUNDAY, MARCH 20, 2022 · 3 PM

Dance Series Civic Theatre

Discovery Series The Baker-Baum Concert Hall

BEHZOD ABDURAIMOV

UKULELE ORCHESTRA OF GREAT BRITAIN

Piano Series The Baker-Baum Concert Hall

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

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

APRIL

SUNDAY, MAY 15, 2022 · 3 PM

ROBERTO FONSECA

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

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

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

JUNE

ProtoStar Innovative Series The Baker-Baum Concert Hall

ARTURO SANDOVAL

MATTHIAS GOERNE & SEONG-JIN CHO

FRIDAY, JUNE 3, 2022 · 8 PM

Thursday, April 7, 2022 · 8 PM

Jazz Series The Baker-Baum Concert Hall

Special Vocal Recital The Baker-Baum Concert Hall

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

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

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Foundation

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

Board of Trustees Edward A. Dennis, PhD Chairman

Mary F. Berglund, PhD Treasurer

Peter C. Farrell, PhD, DSc Secretary

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

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Tel 858-361-0755

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TABLE OF CONTENTS CALENDAR ABOUT LA JOLLA MUSIC SOCIETY BEATRICE RANA ACADEMY OF ST MARTIN IN THE FIELDS WITH JOSHUA BELL LANG LANG AROD QUARTET UKULELE ORCHESTRA OF GREAT BRITAIN NAT GEO LIVE! OCEAN SOUL WITH BRIAN SKERRY SILKROAD ENSEMBLE “A HOME WITHIN” MATTHIAS GOERNE & SEONG-JIN CHO CHRIS BOTTI A CHAT WITH CHRIS BOTTI ARTIST BIOGRAPHIES SUPPORT

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

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

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

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

HONORARY DIRECTORS Brenda Baker Steve Baum Joy Frieman, Ph.D. Irwin M. Jacobs Joan K. Jacobs Lois Kohn (1924-2010) Helene K. Kruger (1916-2019) Conrad Prebys (1933-2016) Ellen Revelle (1910-2009) Leigh P. Ryan, Esq. Dolly Woo LA JOLLA MUSIC SOCIETY

*Executive Committee

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

DEVELOPMENT Ferdinand Gasang – Director of Development Mary Emerson – Development Manager, Individual Giving & Grants Natéa Cooke – Development Coordinator, Stewardship and Annual Fund Nicole Slavik – Venue Sales & Events Director Kierney Loucas – Venue Sales & Events Coordinator MARKETING & TICKET SERVICES Hayley Woldseth – Marketing & Communications Project Manager Rachel Cohen – Marketing Coordinator Stephanie Thompson – Communications & Public Relations Manager Angelina Franco – Graphic & Web Designer Shannon Bobritchi – Ticket Services Manager Patrick Mayuyu – Assistant Ticket Services Manager Kaitlin Barron – Ticket Services Associate Shaun Davis – House Manager OPERATIONS & PRODUCTION Hannes Kling – Director of 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

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Winter Season From classical, jazz, and dance, to global, National Geographic speakers, and family concerts, each Winter Season Artistic Director Leah Rosenthal brings the best artists in the world to the San Diego community. This season, our most dynamic to date, will feature more than 50 artists, including favorites like Wynton Marsalis, Lang Lang, Joshua Bell, Emanuel Ax, Yuja Wang, 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 more than 80 of the world’s finest musicians to perform at The Conrad throughout the month of August. In addition to remarkable mainstage performances, SummerFest offers over 50 free and open-to-the-public educational activities. To learn more, visit LJMS.org/SummerFest

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

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JOLLA MUSIC SOCIETY · 2021-22 SEASON

Spring Nights Filled with Stars as La Jolla Music Society’s 53rd Season Continues Dear Friends, Welcome back to La Jolla Music Society’s 53rd season. We have seen some incredible performances in the first half of our Winter Season, and can’t wait to bring you more. We are so grateful that you have joined us.

Some of the most famous and beloved performing artists in the world join us in March and April. Renowned violinist Joshua Bell returns leading the Academy of St Martin in the Fields, one of the world’s finest—and mostrecorded—chamber orchestras, in a program of Bach and Barber violin concertos and Beethoven’s stunning Eroica symphony. Then it’s quickly on to one of today’s undeniable classical music superstars, Lang Lang, who will grace our annual Winterfest Gala and treat us all with his interpretation of the Goldberg Variations. Chris Botti, whose fame only has grown since his days of being Sting’s go-to touring trumpet player, will entertain us with selections from his eclectic repertoire of jazz, pop, and standards.

With stars still in our eyes, we’ll turn to exciting young artists you will not see anywhere else in San Diego.

Italian piano sensation Beatrice Rana, who will play recitals at Carnegie Hall this season as part of their Virtuoso series, first brings us Debussy’s fiendishly difficult Études and Stravinsky’s groundbreaking Petrushka. And I am particularly excited to hear German baritone Matthias Goerne, one of the world’s foremost Lieder singers, joined by internationally sought-after pianist and Discovery Series alum Seong-Jin Cho, perform songs by Wolf, Pfitner, Strauss, and Wagner.

With the return of the fantastically popular and entertaining Ukulele Orchestra of Great Britain and the remarkable Silkroad Ensemble, as well as our artist-in-residence Avi Avital, the Nat Geo Speaker Series taking us under sea with nature photographer Brian Skerry, and the San Diego debut of the Arod Quartet, these weeks are truly packed.

I can’t wait to join you as we sit back and enjoy some of the most unique and exciting performances you will see all year.

Todd R. Schultz President & CEO 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

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PRELUDE 7 PM Lecture by Kristi Brown Montesano

Laughter and Lessons in the City of Lights The delightful variety of this program finds a common thread in Paris, the city where Chopin, Debussy, and Stravinsky all lived, loved, and created. We will explore the idiosyncratic humor of Chopin’s Scherzos, the serious business of Debussy’s formidable concert Études, and the Russian traditions and modernist innovations of Stravinsky’s Petrushka—and how Paris offered the perfect milieu for these works.

BEATRICE RANA, piano FRIDAY, MARCH 4, 2022 · 8 PM THE BAKER-BAUM CONCERT HALL

CHOPIN

(1810–1849)

INTERMISSION

DEBUSSY

Études for Piano, Book I No. 1 Pour les cinq doigts d’après Monsieur Czerny No. 2 Pour les tierces No. 3 Pour les quartes No. 4 Pour les sixtes No. 5 Pour les octaves No. 6 Pour les huit doigts

STRAVINSKY

Three Movements from Petrushka Russian Dance In Petrushka’s Cell The Shrove-Tide Fair Beatrice Rana, piano

(1862–1918)

Support for this program generously provided by:

Sam B. Ersan

(1882–1971)

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.

Ms. Rana records exclusively for Warner Classics More information on Beatrice Rana can be found at www.beatriceranapiano.com Management for Beatrice Rana: Primo Artists, New York, NY www.primoartists.com

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Scherzo No. 1 in B Minor, Opus 20 Scherzo No. 2 in B-flat Minor, Opus 31 Scherzo No. 3 in C-sharp Minor, Opus 39 Scherzo No. 4 in E Major, Opus 54

JOLLA MUSIC SOCIETY · 2021-22 SEASON

This performance marks Beatrice Rana’s La Jolla Music Society debut.

BEATICE RANA - PROGRAM NOTES

Program notes by Eric Bromberger

Scherzo No. 2 in B-flat Minor, Opus 31

Chopin’s second scherzo dates from 1837. This is the most popular of the four, full of blazing spirits and wonderful writing for the piano—Schumann called this piece “Byronic.” The very beginning is especially effective, Born February 22, 1810, Żelazowska Wola, Poland Died October 17, 1849, Paris with its ominous, whispered opening motif and the powerful Composed: 1830–42 chordal answer. By contrast, the middle section is calm and Approximate Duration: 37 minutes lyric, broken at two points by effortless, cascading runs across the entire keyboard. In this center section appears the Though the term had been used earlier, it was Haydn brief rhythmic figure, based on a triplet, that Chopin will who conceived of the scherzo in its modern sense. In 1781 use to drive the opening material to its dramatic climax. he called the third movement of some of his string quartets a This scherzo is unusual in that Chopin does not return to “scherzo.” What had been the old minuet-and-trio movement the opening key but instead concludes in its relative major, now became a scherzo (and trio), and Haydn’s choice of that D-flat major. name indicated that he wanted more speed and liveliness.

Beethoven took this evolution one step further: His scherzos, Scherzo No. 3 in C-sharp Minor, Opus 39 usually built on very short rhythmic units, explode with The third scherzo, composed in 1839, has the most violent energy and with enough comic touches to remind us unusual structure—it lacks the clearly defined ABA form of that scherzo is the Italian word for joke. the others and in some ways approaches traditional sonata In his four scherzos, Chopin does not copy the forms form structure. The beginning, again marked Presto con of Haydn or Beethoven, but adapts the general shape of the fuoco, presents tentative bits of sound, and out of these the classical-period scherzo for his own purposes. He keeps the true first theme bursts to life. Marked Risoluto, this theme quick tempo, the 3/4 meter, and (usually) the ABA form of is in powerful, plunging octaves, and in fact much of the the earlier scherzo, but makes no attempt at humor—the writing throughout this scherzo is in octaves. The second emphasis in this music is on brilliant, exciting music for the idea is a quiet chorale tune, but what makes it distinctive piano. The general form of the Chopin scherzo is an opening is Chopin’s elaboration of the end of each phrase: He section based on contrasted themes, followed by a middle decorates the end of each line of the chorale with a falling section (Chopin does not call this a trio) in a different key arpeggio, almost silvery in its quietly sparkling color— and character; the scherzo concludes with the return of the the combination of the sober chorale tune and its sensual opening material, now slightly abridged. decoration is striking. These themes alternate until the close, where powerful octave chords drive the scherzo to its Scherzo No. 1 in B Minor, Opus 20 cadence.

Chopin began work on his first scherzo in Vienna in 1830. He was twenty years old and had just left Scherzo No. 4 in E Major, Opus 54 behind forever his native Poland, then in the throes of an Chopin’s final scherzo, composed in 1842, is suffused unsuccessful revolt against Russian rule. Some claim to with a spirit more relaxed than one generally associates hear signs of the composer’s anxiety for his country in the with the scherzo—it is full of sunny, almost rhapsodic turbulence of this music, but Chopin always insisted that music. It is also his longest, and the entire scherzo is to his music referred to nothing but itself. He completed this some extent unified around the first five notes, which will scherzo in Paris in 1832. It opens with powerful chords reappear throughout in a variety of guises. Particularly marked Presto con fuoco, and this music seems to slash striking is the trio in C-sharp minor, in which a flowing upwards with furious energy. The quiet center section, Molto melody moves along easily over a rocking accompaniment. più lento, is based on an ancient Polish Christmas song, The return of the opening material is extended, and the “Sleep, little Jesus, sleep,” and Chopin encases this gentle final pages are brilliant. melody within quiet, bell-like octaves. This calm is sharply punctuated by powerful chords from the very beginning as the music makes its way back to the opening material, and after a brilliant coda the scherzo concludes on the same chords with which it began.

The Four Scherzos

FRÉDÉRIC CHOPIN

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

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BEATICE RANA - PROGRAM NOTES

Études for Piano, Book I

CLAUDE DEBUSSY

Born August 22, 1862, Saint-Germain-en-Laye, France Died March 25, 1918, Paris Composed: 1915 Approximate Duration: 40 minutes In

1914, the first year of World War I, Debussy’s publisher Durand asked him to edit a new version of Chopin’s works. This was not a happy time for the composer. Already suffering from cancer of the colon, he was in agony over the war, which seemed to threaten everything he held dear. But close contact with the music of Chopin had the best possible effect on Debussy. It got him interested once more in the piano, and in the fall of 1915— which he spent in the village of Pourville on the English Channel—he composed a set of twelve études for the piano and dedicated them “To the Memory of Frédéric Chopin.”

The Études are Debussy’s final work for the piano, and they present pianists with a variety of technical challenges, including studies in chromatics, repeated notes, chords, arpeggios, different intervals, and so on. Debussy himself took note of their difficulty when he described these études as “a warning to pianists not to take up the musical profession unless they have remarkable hands.” The Études are some of Debussy’s least familiar keyboard works, and pianists usually choose to perform only a few at a time.

Debussy divided the Études into two “books” of six each, and in this recital Ms. Rana performs Book I. No. 1 Pour les cinq doigts d’après Monsieur Czerny Carl Czerny (1791–1857) was a virtuoso pianist and friend of Beethoven. He is best remembered today for his countless pedagogical exercises, and Debussy had to master many of these as a young pianist. Here Debussy begins with a simple melodic pattern in C major for the left hand (drawn from one of Czerny’s études) and suddenly violates it with a “wrong” note, an A-flat in the right. At that point the battle between Czerny and Debussy is on, and it becomes more and more violent as it proceeds. After all this conflict, Debussy’s étude concludes consonantly on a unison A-flat, the note with which he had intruded on Czerny’s world of order. Characteristically, Debussy marks this étude Sagement: “well-behaved.”

No. 2 Pour les tierces This study in thirds flows smoothly along a constant murmur of sixteenth-notes (Debussy instructs the pianist to play legato e sostenuto), but soon the music grows agitated, shifting keys as it proceeds and pulsing forward and holding back. It rises to a great climax marked Con fuoco (“with fire”) before its powerful concluding measures, which Debussy stresses should be played with tutta la forza.

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JOLLA MUSIC SOCIETY · 2021-22 SEASON

No. 3 Pour les quartes Debussy builds this study in fourths around the sharp contrast of different kinds of music: Soft, evanescent passages marked murmurando or lointain (“distant”) can give way to powerful responses with such markings as sonore martelé: “with a hammered sound.” Tempos shift subtly throughout, and the music fades into silence on a final chord marked estinto: “extinct.”

No. 4 Pour les sixtes Like its predecessor, this study in sixths alternates music of contrasting moods and speeds. The subdued, reflective opening idea, marked at one point sempre dolce, gives way to more animated and chordal writing marked un poco agitato. The music can slip between these two tempos almost by the measure, and finally it is the opening material that draws this étude to its pianissimo conclusion.

No. 5 Pour les octaves This “study in octaves” is very brief and extraordinarily difficult. Debussy marks it Joyeux et emporté. Joyeux is clear enough, but emporté is more provocative, translating as “hot-headed” or “hasty.”

The étude is in a quick 3/8 that sometimes feels on the verge of breaking into a waltz, and it often seems to test things other than octaves, including a staccato touch, long muted passages, frequent tempo changes, and unusual harmonic freedom. It takes a general ternary form, with dynamic outer sections framing a central episode that requires very rapid octaves from the pianist’s right hand.

This rushes to a climax marked Strepitoso (“noisy”) before the return of the opening material and an almost violent close.

No. 6 pour les huit doigts As its name suggests, this étude is for just eight fingers—no thumbs allowed here.

This is a very fast étude (Debussy’s marking is Vivamente) as the fingers of each hand exchange rapid patterns of four notes. After all this frantic energy, the conclusion is wonderfully understated.

BEATICE RANA - PROGRAM NOTES

Three Movements from Petrushka

IGOR STRAVINSKY Born June 17, 1882, Oranienbaum, Russia Died April 6, 1971, New York City Composed: 1921 Approximate Duration: 17 minutes In

the early 1920s, Igor Stravinsky—one of the greatest orchestrators in history and creator of some of the finest music ever written for orchestra—began to write for solo piano. There were several reasons for this. In the aftermath of World War I, Stravinsky discovered that orchestras that could play huge and complex scores were rare (and expensive). And in any case Stravinsky did not wish to go on repeating himself by writing opulent ballets. But the real factor that attracted Stravinsky to the piano was that he was a pianist and so could supplement his uncertain income as a composer by appearing before the public as both creator and performer; this was especially important during the uncertain economic situation following the war.

While not a virtuoso pianist, Stravinsky was a capable one, and over the next few years came a series of works for piano that Stravinsky introduced and then played on tour.

The impetus for all this piano music may well have come from Artur Rubinstein, who asked the composer to prepare a version of the ballet Petrushka for solo piano, which Stravinsky did during the summer of 1921. Rubinstein paid Stravinsky what the composer called “the generous sum of 5,000 francs” for this music, but Stravinsky made clear that his aim was not to cash in on the popularity of the ballet: “My intention was to give virtuoso pianists a piece of a certain breadth that would permit them to enhance their modern repertory and demonstrate a brilliant technique.”

Stravinsky stressed that this was not a transcription for piano, nor was he trying to make the piano sound like an orchestra; rather, he was rewriting orchestral music specifically as piano music.

The ballet Petrushka, with its haunting story of a pathetic puppet brought to life during a Russian fair, has become so popular that it easy to forget that this music had its beginning as a sort of piano concerto. Stravinsky said: “I had in my mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggi.” That puppet became Petrushka, “the immortal and unhappy hero of every fair in all countries,” as the story of the ballet took shape, but the piano itself receded into the background of the ballet. Perhaps it was only natural that Stravinsky should remember the ballet’s origins when Rubinstein made his request for a piano version.

Stravinsky drew the piano score from three of the ballet’s four tableaux. The opening movement, Russian Dance, comes from the end of the first tableau: the aged magician has just touched his three puppets—Petrushka, the Ballerina, and the Moor—with his wand, and now the three leap to life and dance joyfully. Much of this music was given to the piano in the original ballet score, and here this dance makes a brilliant opening movement. The second movement, In Petrushka’s Cell, is the ballet’s second tableau, which introduces the hapless Petrushka trapped in his room and railing against fate and shows the entrance of the ballerina. The third movement, The Shrove-Tide Fair, incorporates most of the music from the ballet’s final tableau, with its genre pictures of a St. Petersburg square at carnival time: various dances, the entrance of a peasant and his bear, gypsies, and so on. Here, however, Stravinsky excises the end of the ballet (where Petrushka is murdered and the tale ends enigmatically) and replaces it with the more abrupt ending that he wrote for concert performances of the ballet suite.

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ACADEMY OF ST MARTIN IN THE FIELDS JOSHUA BELL, director/soloist MONDAY, MARCH 14, 2022 · 8 PM CIVIC THEATRE

BACH

Violin Concerto in A Minor, BWV 1041 (Allegro) Andante Allegro assai

BARBER

Violin Concerto, Opus 14 Allegro Andante Presto in moto perpetuo Joshua Bell, violin

(1685–1750)

(1910-1981)

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.

INTERMISSION

BEETHOVEN

(1770–1827)

www.asmf.org The Academy’s work in the US is supported by Maria Cardamone and Paul Matthews together with the American Friends of the Academy of St Martin in the Fields.

Joshua Bell appears by arrangement with Park Avenue Artists (www.parkavenueartists.com) and the Academy of St Martin in the Fields.

Mr. Bell records exclusively for Sony Classical— a MASTERWORKS label.

Exclusive Management for the Academy of St Martin in the Fields: OPUS 3 ARTISTS 470 Park Avenue South, 9th Floor North, New York, NY 10016 www.opus3artists.com

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Symphony No. 3 in E-flat Major, Op. 55 “Eroica” Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto; Poco andante

Academy of St Martin in the Fields with Joshua Bell last performed for La Jolla Music Society in a Special Event on March 2, 2020.

ACADEMY OF ST MARTIN IN THE FIELDS – ROSTER

MUSIC DIRECTOR Joshua Bell

VIOLIN

Harvey de Souza * Martin Burgess * Mark Butler Sijie Chen Ruth Funnell Jennifer Godson ** Clare Hayes Antonia Kesel Miranda Playfair Rebecca Scott Alicja Smietana Amanda Smith Matthew Ward

VIOLA

Robert Smissen * Ian Rathbone Nicholas Barr Alexandros Koustas

CELLO

Caroline Dale Will Schofield ** Juliet Welchman Judith Herbert

BASS

Lynda Houghton * Benjamin Russell

FLUTE

Adam Walker Sarah Newbold ***

OBOE

John Roberts Rachel Ingleton ***

ADMINISTRATION

TIMPANI

PIANO/HARPSICHORD John Constable *

PRINCIPAL GUEST CONDUCTOR Murray Perahia KBE LEADER/DIRECTOR Tomo Keller Interim Chief Executive & Director of Concerts Alison Tedbury

KEY *: Academy Principal **: Academy Associate Principal ***: Academy Sub-Principal

CLARINET

James Burke * Thomas Lessels ***

BASSOON

Julie Price * Graham Hobbs ***

HORN

Stephen Stirling * Joanna Hensel *** Peter Francomb Jamie Shield

TRUMPET

Mark David * William O’Sullivan ***

Program notes by Eric Bromberger

Violin Concerto in A Minor, BWV 1041

JOHANN SEBASTIAN BACH Born March 21, 1685, Eisenach, Germany Died July 28, 1750, Leipzig Composed: 1720 Approximate Duration: 13 minutes Bach

FOUNDING PRESIDENT Sir Neville Marriner CH, CBE

Tom Lee

spent the years 1717 to 1723 as kapellmeister in the service of Prince Leopold of Anhalt-Cöthen. The Cöthen court, located about thirty miles north of Leipzig, was strictly Calvinist and would not tolerate in its church services the organ music and cantatas Bach had written for the more liberal Weimar, where he had spent the previous nine years.

But Prince Leopold himself was extremely enthusiastic about music—he played clavier, violin, and viola da gamba, and he was delighted to have Bach in his employment.

So enthusiastic about music was Prince Leopold that he maintained a seventeen-piece orchestra, which he was happy to put at the composer’s disposal. Bach—who once said that music exists for two purposes: the glorification of God and the refreshment of the soul—spent six years refreshing his soul at Cöthen. From these years came the great part of his secular instrumental music, including the Brandenburg

Concerts and Tours Manager Hannah Bache Orchestra Personnel Manager Lesley Wynne Concerts and Participation Assistant Aimee Walton Librarian Hal Hutchinson Head of Learning and Participation Charlotte O’Dair Director of Development David Nagle Development Manager Amy Scott Head of U.S. Development Jacob Cohen Marketing Manager Rose Hall PR Consultant Rebecca Driver Media Relations For Opus 3 Artists Robert Berretta, Managing Director Benjamin Maimin, Chief Operating Officer Grace Hertz, Associate Manager Jemma Lehner, Managerial Assistant Tim Grassel, Company Manager

Concertos, the violin concertos, the sonatas and partitas for unaccompanied violin, several of the orchestral suites, and Book I of The Well-Tempered Clavier.

The Concerto in A Minor, one of Bach’s three surviving violin concertos, was probably composed about 1720. The opening movement is animated (though the movement lacks a tempo marking, it is clearly some form of Allegro): the upward leap of a fourth at the beginning recurs throughout, giving the movement its rhythmic energy and forward impulse. Against vigorous orchestral accompaniment, the solo violin enters in a more lyric voice on material derived directly from the orchestral exposition, and throughout the movement soloist and orchestra exchange and mutually extend this material.

The Andante belongs almost entirely to the solo violin: here the orchestra is limited to a bare ostinato accompaniment. But if the accompaniment is simple, the violin’s arching cantilena is ornate, unfolding in long, lyric lines high above the orchestra. This movement is the expressive center of the concerto, and—despite the C-major tonality—its tone is dark and intense.

Bach aims for brilliance in the final movement: his marking is Allegro assai—“Very fast”—and its 9/8 meter L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

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ACADEMY OF ST MARTIN IN THE FIELDS – PROGRAM NOTES

and dancing energy give it some resemblance to the gigue.

After a spirited orchestral introduction, the solo violin comes sailing into the orchestral texture. Bach’s evolution of the opening material is remarkable: as the orchestra hurtles brusquely along far below it, the violin seems to fly high, transforming this simple material into music of grace and beauty before rejoining the orchestra.

Violin Concerto, Opus 14

SAMUEL BARBER

Born March 9, 1910, West Chester, Pennsylvania Died January 23, 1981, Mt. Kisco, New York Composed: 1939 Approximate Duration: 23 minutes Samuel

Barber began composing his Violin Concerto during the summer of 1939 while living in a small village in Switzerland. He moved to Paris later that summer and then— as war broke out—returned to the United States, where he completed the concerto. That completion, however, brought problems. The concerto had been commissioned by the wealthy American businessman Samuel Fels (of Fels-Naphtha fame), who intended it for the use of a young violinist he was promoting. That violinist, however, was dissatisfied with the last movement and asked for changes. Barber refused, and soloist and composer found themselves at an impasse. This awkward situation was resolved when the young violinist renounced his right to the first performance, and Barber was free to find a new soloist. Albert Spalding gave the première on February 7, 1941, with the Philadelphia Orchestra conducted by Eugene Ormandy.

Eighty years after its composition, Barber’s Violin Concerto has become the most popular violin concerto by an American composer—numerous performances are available on compact disc, many of them recorded in Europe. The source of this popularity is no mystery: the concerto shows off Barber’s considerable melodic gift, particularly over the first two movements, while the finale is a breathless virtuoso piece.

The concerto has some unusual features, particularly in its scoring. Barber writes for Mozart’s orchestra (pairs of winds, plus timpani and strings) as well as two unusual instruments: a “military” drum, used only in the finale, and a piano, used here as a chordal instrument. The choice of piano can seem a curious one, and Barber’s decision to arpeggiate its chords gives the instrument a continuo-like plangency, an unusual sound in the concerto’s generally romantic sonority.

While the opening movement is marked Allegro, its actual pace feels somewhat restrained, so that this concerto seems to open with two slow movements, followed by a fast finale.

The opening movement is notable for its continuous lyricism.

Solo violin has the long opening melody, and the triplet that recurs during this theme will figure importantly throughout the development. Solo clarinet has the perky second idea, full of

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rhythmic snap, and the violin has a dancing subordinate figure, marked grazioso e scherzando. There is no cadenza as such, but in the first two movements Barber gives the solo violin extended cadenza-like passages over deep orchestral pedals.

The coda of the first movement recalls its two main themes, and the movement concludes quietly on the triplet rhythms that have shaped so much of it.

The Andante is very much in the manner of the opening movement. Over muted strings, solo oboe sings the long main theme; the violin’s entrance is delayed, and Barber marks its appearance senza affretare: “without hurrying.” The music rises to an expansive, soaring climax before the quiet close.

The finale—Presto in moto perpetuo—brings a sharp change of character. Gone is the lyricism of the first two movements, and in its place comes a gritty, acerbic quality.

Except for two brief interludes, the soloist is playing constantly, and the part is full of blistering triplets, awkward string-crossings, and endless accidentals—the effect is of a hard-driving perpetual motion. In the coda, the pulse of triplets suddenly gives way to racing sixteenths, and Barber’s Violin Concerto concludes as the soloist rips upward to the very top of the violin’s range.

Symphony No. 3 in E-flat Major, Opus 55 “Eroica”

LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna Composed: 1803 Approximate Duration: 50 minutes In

May 1803 Beethoven moved to the village of Oberdöbling, a few miles north of Vienna. At age 32, he had just come through a devastating experience—the realization that he was going deaf had driven him to the verge of suicide—but now he resumed work, and life. To his friend Wenzel Krumpholz, Beethoven confided: “I am only a little satisfied with my previous works. From today on I will take a new path.” At Oberdöbling over the next six months, Beethoven sketched a massive new symphony, his third.

Everyone knows the story of how Beethoven had intended to dedicate the symphony to Napoleon, whose reforms in France had seemed to signal a new age of egalitarian justice.

But when the news reached Beethoven in May 1804 that Napoleon had proclaimed himself emperor, the composer ripped the title page off the score of the symphony and blotted out Napoleon’s name, angrily crying: “Is he then, too, nothing more than an ordinary human being? Now he, too, will trample on all the rights of man and indulge only his ambition. He will exalt himself above all others, become a tyrant!” (This sounds like one of those stories too good to be true, but it is quite true: that title page—with Napoleon’s name obliterated—has survived.) Countless historians have used this episode to demonstrate Beethoven’s democratic

ACADEMY OF ST MARTIN IN THE FIELDS – PROGRAM NOTES

sympathies, though there is evidence that just a few months later Beethoven intended to restore the symphony’s dedication to Napoleon, and late in life he spoke of Napoleon with grudging admiration. When the symphony was published in 1806, though, the title page bore only the cryptic inscription: “Sinfonia eroica—dedicated to the memory of a great man.”

The new symphony was given several private performances before the public première on April 7, 1805.

Early audiences were dumbfounded. Wrote one reviewer: “This long composition, extremely difficult of performance, is in reality a tremendously expanded, daring and wild fantasia. It lacks nothing in the way of startling and beautiful passages, in which the energetic and talented composer must be recognized; but often it loses itself in lawlessness . . . The reviewer belongs to Herr Beethoven’s sincerest admirers, but in this composition he must confess that he finds too much that is glaring and bizarre, which hinders greatly one’s grasp of the whole, and a sense of unity is almost completely lost.” Legend has it that at the end of the first movement, one outraged member of the audience screamed out: “I'll give another kreutzer [a small coin] if the thing will but stop!”

It is easy now to smile at such reactions, but those honest sentiments reflect the confusion of listeners in the presence of a genuinely revolutionary work of art.

There had never been a symphony like this, and Beethoven’s “new directions” are evident from the first instant. The music explodes to life with two whipcracks in E-flat major, followed immediately by the main ideas in the cellos. This slightly-swung theme is simply built on the notes of an E-flat major chord, but the theme settles on a “wrong” note—C#—and the resulting harmonic complications will be resolved only after much violence. Another striking feature of this movement is Beethoven’s choice of 3/4 instead of the duple meter customary in symphonic first movements; 3/4, the minuet meter, had been thought essentially lightweight, unworthy of serious music. Beethoven destroys that notion instantly—this is not simply serious music, it is music of the greatest violence and uncertainty. In it, what Beethoven’s biographer Maynard Solomon has called “hostile energy” is admitted for the first time into what had been the polite world of the classical symphony. This huge movement (longer by itself than some complete Haydn and Mozart symphonies) introduces a variety of themes and develops them with a furious energy. It is no accident that the development is the longest section of this movement. The energy pent up in those themes is unleashed here, and the development—much of it fugal in structure—is full of grand gestures, stinging dissonances, and tremendous forward thrust. The lengthy recapitulation (in which the music continues to develop) drives to a powerful coda: The main theme repeats four times, growing more powerful on each appearance, and finally it is shouted out in triumph. This truly is a “heroic” movement—it raises serious issues, and in music of unparalleled drama and

scope it resolves them.

The second movement brings another surprise—it is a funeral march, something else entirely new in symphonic music. Beethoven moves to dark C minor as violins announce the grieving main idea over growling basses, and the movement makes its somber way on the tread of this dark theme. The C-major central interlude sounds almost bright by comparison—the hero’s memory is ennobled here—but when the opening material and tonality return Beethoven ratchets up tensions by treating his material fugally. At the end, the march theme disintegrates in front of us, and the movement ends on muttering fragments of that theme.

Out of this silence, the propulsive scherzo springs to life, then explodes. For all its revolutionary features, the Eroica employs what was essentially the Mozart–Haydn orchestra: pairs of winds, plus timpani and strings. Beethoven makes only one change—he adds a third horn, which is now featured prominently in the trio section’s hunting-horn calls. But that one change, seemingly small by itself, is yet another signal of the originality of this symphony: the virtuosity of the writing for horns, the sweep of their brassy sonority—all these are new in music.

The finale is a theme-and-variation movement, a form originally intended to show off the imagination of the composer and the skill of the performer. Here Beethoven transforms this old form into a grand conclusion worthy of a heroic symphony. After an opening flourish, he presents not the theme but the bass line of that theme, played by pizzicato strings, and offers several variations on this line before the melodic theme itself is heard in the woodwinds, now accompanied by the same pizzicato line. This tune had special appeal for Beethoven, and he had already used it in three other works, including his ballet Prometheus. Was Beethoven thinking of Prometheus—stealer of fire and champion of mankind—when he used this theme for the climactic movement of this utterly original symphony? He puts the theme through a series of dazzling variations, including complex fugal treatment, before reaching a moment of poise on a stately slow variation for woodwinds. The music pauses expectantly, and then a powerful Presto coda hurls the Eroica to its close.

The Eroica may have stunned its first audiences, but audiences today run the greater risk of forgetting how revolutionary this music is. What seemed “lawlessness” to early audiences must now be seen as an extraordinary leap to an entirely new conception of what music might be. Freed from the restraint of courtly good manners, Beethoven found in the symphony the means to express the most serious and important of human emotions. It is no surprise the composers over the next century would make full use of this freedom.

Nor is it a surprise to learn that late in life—at a time when he had written eight symphonies—Beethoven named the Eroica as his own favorite among his symphonies.

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PRELUDE 7 PM Lecture by Kristi Brown Montesano

The Sublime “Goldbergs” Always the same, always different. The essence of Bach’s Goldberg Variations turns on this fundamental tension: a perpetual bass line connecting the initial aria melody with thirty astonishingly inventive variations.

While surveying the fascinating architecture of this work, this presentation will also consider how the Goldberg Variations played a crucial role in popularizing Bach during the twentieth century.

LANG LANG, piano FRIDAY, MARCH 18, 2022 · 8 PM BALBOA THEATRE

SCHUMANN Arabeske in C Major, Opus 18 (1810–1856)

J.S. BACH

(1685–1750)

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.

Lang Lang is managed by: Columbia Artists Music LLC 1500 Broadway, 19th Floor, New York, NY 10019 www.camimusic.com General Manager: Jean-Jacques Cesbron Lang Lang is an Exclusive Recording Artist of Universal Music Group and Deutsche Grammophon www.langlangofficial.com, www.langlangfoundation.org, www.facebook.com/langlangpiano and www.twitter.com/lang_lang

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Goldberg Variations, BWV 988 Aria Variation 1 Variation 2 Variation 3 Canone all’ Unisono Variation 4 Variation 5 Variation 6 Canone alla Seconda Variation 7 al tempo di Giga Variation 8 Variation 9 Canone alla Terza Variation 10 Fughetta Variation 11 Variation 12 Canone alla Quarta Variation 13 Variation 14 Variation 15 Canone alla Qunita Variation 16 Ouverture Variation 17 Variation 18 Canone alla Sesta Variation 19 Variation 20

Variation 21 Canone alla Settima Variation 22 Variation 23 Variation 24 Canone all’ Ottava Variation 25 Variation 26 Variation 27 Canone alla Nona Variation 28 Variation 29 Variation 30 Quodlibet Aria

NO INTERMISSION Lang Lang last performed for La Jolla Music Society in a Special Event on January 21, 2007.

JOLLA MUSIC SOCIETY · 2021-22 SEASON

LANG LANG - PROGRAM NOTES

Program notes by Eric Bromberger

Arabeske in C Major, Opus 18

ROBERT SCHUMANN Born June 8, 1810, Zwickau, Germany Died July 29, 1856, Endenich, Germany Composed: 1838 Approximate Duration: 7 minutes

Schumann moved to Vienna in the fall of 1838, thinking that he and Clara Wieck might establish their home in that fabled city after their marriage. The visit was not a success.

Unlike so many other composers, Schumann did not like Vienna—he found it a closed society, so conservative in its attitudes that he could not think of publishing his progressive musical journal Neue Zeitschrift für Musik there. He remained only until the end of March 1839, when the death of his brother called him back to Leipzig.

The visit was not a total loss, however. While in Vienna, Schumann visited Schubert’s brother and in a stack of old music discovered the manuscript to the “Great” Symphony in C Major; this he sent to Mendelssohn, who performed it even before Schumann left Vienna. And while there, Schumann composed some pieces for piano. To his publisher he wrote: “I am composing very intensely at the moment and hoping to elevate myself to the rank of favorite composer of all women in Vienna.” His intending this music for women pianists was not meant as disparagement (Clara Wieck was one of the finest pianists on the planet) but as a statement about the music’s marketability: he was well aware of the growing number of young amateur women pianists, the daughters of the growing middle class. Like Schubert before him, he was ready to write for this new market, and the Arabeske— composed in December 1838—was intended (at least in part) for it.

Yet this lovely music should not be written off as a relatively easy piece intended for domestic consumption.

Schumann’s use of the title Arabeske may seem open to question. An arabeske is not a specific musical form but rather a composition full of florid atmosphere and decoration (as in Debussy’s two Arabesques). Schumann’s Arabeske is in a classical form: it is a rondo based on a flowing—almost impulsive—main subject, heard immediately. Along the way, Schumann offers two contrasting episodes, both full of dark and expressive shading, then rounds things off with a slow coda derived from the rondo tune. Whatever its original purpose, Schumann’s Arabeske continues to bring pleasure to audiences and performers—female and male—long after it was written.

Goldberg Variations, BWV 988

JOHANN SEBASTIAN BACH Born March 21, 1685, Eisenach, Germany Died July 28, 1750, Leipzig Composed: 1741 Approximate Duration: 75 minutes

In November 1741 Bach, then 56 years old, made the hundred-mile trip east from Leipzig to Dresden to visit an old friend, Count Hermann Keyserlingk, the Russian ambassador to the Saxon court. Keyserlingk’s court harpsichordist was the fourteen-year-old Johann Gottlieb Goldberg, who at age ten had been a student of Bach. There are several stories as to what happened next, all impossible to confirm. One is that Keyserlingk commissioned a work for his young harpsichordist and gave Bach a goblet full of gold coins in payment. Another is that Keyserlingk was an insomniac who specified that he wanted a piece that Goldberg could play to him as he went to sleep. What is certain is that the following year Bach published (as the fourth part of his edition of keyboard works, the Clavier-Übung) a work he called simply Aria with Thirty Variations, composed for two-manual harpsichord. The score bore no dedication, nor any mention at all of Keyserlingk or Goldberg. But Bach did give the count a copy of this music, and the conclusion is that this is the piece that had been requested in Dresden. By a process of (perhaps random) association, one of the greatest works ever written immortalizes a fourteen-year-old harpsichord player, and we know this music today simply as the Goldberg Variations.

For his theme—which he calls Aria—Bach uses a sarabande melody that he had written as part of Anna Magdalena Bach’s Notebook. It is 32 measures long and already ornately embellished on its first appearance, though it is not this melody that will furnish the basis for the variations that follow but the bass line beneath it. This lengthy harmonic progression will become the backbone of the Goldberg Variations, functioning much like the ground bass of a passacaglia. The thirty variations that follow are grouped in ten units of three, of which the third is always a canon, and each successive canon is built on an interval one larger than the previous. Such a description makes the Goldberg Variations sound like one of the more densely argued works of the Second Viennese School, but in fact this is some of Bach’s most moving and exhilarating music, and it is a measure of his genius that such expressive music can grow out of such rigorous compositional procedures.

In fact, listeners do not really need to understand the complexity of Bach’s techniques to feel the greatness of this music. One is certainly aware of the original bass line as a structuring element, but beyond that each successive variation can be taken as an individual pleasure.

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LANG LANG - PROGRAM NOTES

Some incidental observations: The keyboard writing here is unusually brilliant—this is virtuoso music, and that virtuosity appears not just in the dazzling runs across the range of the keyboard but in the complexity of the contrapuntal writing, where the pianist—limited to just two hands—must keep multiple strands clear. Bach changes meter at virtually every variation, with the music leaping from its original 3/4 meter through such permutations as 4/4, 3/8, 2/4, and on to 12/16 and 18/16. The tenth variation is written as a Fughetta, and of special importance to the work are the three minor-key variations (Nos. 15, 21, and 25): all of these are slow, all begin in G minor (but can go far afield harmonically), and all are darkly expressive. In particular, No. 25—which lasts well over six minutes by itself—forms the emotional climax of the work before the spirited conclusion.

That close is unusual all by itself. The thirtieth and final variation is marked Quodlibet, which means simply a gathering of tunes. Here Bach incorporates into the harmonic frame of his variations some of the popular tunes that he had heard sung around him on the streets of Leipzig. Donald Francis Tovey has identified two of these, and their first lines translate “It is so long since I have been at your house” and “Cabbage and turnips have driven me away. If my mother’d cooked some meat, I might have stopped longer.” To a listener of Bach’s day, the joke would have been obvious, though it has to be explained to us—we feel only that the work is approaching its close in an unusually relaxed and tuneful manner. And then, a masterstroke: rather than rounding off the Goldberg Variations with a rousing display of contrapuntal brilliance, Bach instead concludes with a simple repetition of the opening Aria.

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PRELUDE 2 PM Musical Prelude by young artists from the San Diego Youth Symphony Support for this program generously provided by:

AROD QUARTET SUNDAY, MARCH 20, 2022 · 3 PM THE BAKER-BAUM CONCERT HALL

MOZART

String Quartet in C Major, K.465 “Dissonant” Adagio; Allegro Andante cantabile Menuetto: Allegro Allegro non troppo

BARTÓK

String Quartet No. 1, Sz.40 Lento Poco a poco accelerando al Allegretto Introduzione: Allegro; Allegro vivace

(1756–1791)

The Family of Teddie Lewis The Discovery Series is generously supported by:

(1881–1945)

Gordon Brodfuehrer Jeanette Stevens

INTERMISSION

RAVEL (1875–1937)

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.

String Quartet in F Major Allegro moderato. Très doux Assez vif. Tres rythmé Très lent Vif et agité Arod Quartet Jordan Victoria, Alexandre Vu, violins; Tanguy Parisot, viola; Jérémy Garbarg, cello

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

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Program notes by Eric Bromberger

String Quartet in C Major, K.465 “Dissonant”

WOLFGANG AMADEUS MOZART Born January 27, 1756, Salzburg Died December 5, 1791, Vienna Composed: 1785 Approximate Duration: 29 minutes When

Mozart arrived in Vienna, the towering figure in music was Franz Joseph Haydn, then nearly 50. Haydn had taken the string quartet, which for the previous generation had been a divertimento-like entertainment, and transformed it. He liberated the viola and cello from what had been purely accompanying roles and made all four voices equal partners; he further made each detail of rhythm and theme and harmony an important part of the musical enterprise.

Under Haydn’s inspired hands, the string quartet evolved from entertainment music into an important art form. Mozart, who was 25 when he arrived in Vienna, quickly grasped what the older master had achieved with the string quartet and embarked on a cycle of six quartets of his own. These are in no sense derivative works—they are thoroughly original quartets, each of them a masterpiece—but Mozart acknowledged his debt (and admiration) by dedicating the entire cycle to Haydn when it was published in 1785.

The “Dissonant” Quartet, the last of the six, was completed on January 14, 1785. The nickname comes from its extraordinary slow introduction. The quartet is in C major and the music opens with a steady pulse of C’s from the cello, but as the other three voices make terraced entrances above, their notes (A-flat, E-flat, and A—all wrong for the key of C major) grind quietly against each other. The tonality remains uncertain until the Allegro, where the music settles into radiant C major and normal sonata form. The surprise is that after this unusual introduction, the first movement is quite straightforward, flowing broadly along its bright C-major energy; an ebullient coda eventually draws the movement to a quiet close. The Andante cantabile develops by repetition, its lyric main idea growing more conflicted as it evolves. The Menuetto sends the first violin soaring across a wide range, while the dramatic trio section moves unexpectedly into urgent C minor. After these stresses, the concluding Allegro, in sonata form, returns to the bright spirits of the opening movement. This finale, which has a brilliant part for the first violin, fairly flies to its resounding close.

Mozart may have been struck by Haydn’s quartets, but now it was Haydn’s turn to be amazed. When he heard the “Dissonant” Quartet and two others of this cycle performed at a garden party in Vienna in February 1785, Haydn pulled Mozart’s father, Leopold, aside and offered as sincere a compliment as any composer ever gave another:

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JOLLA MUSIC SOCIETY · 2021-22 SEASON

“Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name. He has taste and, what is more, the most profound knowledge of composition.”

String Quartet No. 1, Sz.40

BÉLA BARTÓK

Born March 25, 1881, Nagyszentmiklos, Hungary Died September 26, 1945, New York City Composed: 1909 Approximate Duration: 30 minutes Bartók composed his First String Quartet while he was a 27-year-old professor at the Budapest Academy of Music. He made the first sketches in 1907, did most of the composition in 1908, and completed the quartet on January 27, 1909, but the music had to wait over a year for its première. The Waldbauer-Kerpely Quartet gave the first performance at an all-Bartók concert in Budapest on March 19, 1910.

Any composer who sets out to write a string quartet is conscious of the thunder behind him, of the magnificent literature created for this most demanding of forms. When Beethoven composed his first set of string quartets in the last years of the eighteenth century, he was quite aware of the example of Haydn (who was still composing string quartets at that time) and of Mozart. A century later, Bartók, too, was aware of the example of the past, and many have noted that in his First Quartet Bartók chose as his model one of the towering masterpieces of the form, Beethoven’s String Quartet in C-sharp Minor, Opus 131. Both quartets begin with a long, slow contrapuntal movement that opens with the sound of the two violins alone, both show a similar concentration of thematic material, both quartets are performed without breaks between their movements, both recall in their finales themes that had been introduced earlier, and both end with three massive, stinging chords.

Yet Bartók’s First Quartet does not sound like Beethoven, nor was he trying to write a Beethoven-like quartet. Instead, Bartók took as a very general model a quartet that he deeply admired and then used that model as the starting point to write music that is very much his own.

If the First Quartet does not have the distinct personality of Bartók’s later essays in this form, it nevertheless shows a young composer in complete command of the form. Bartók’s mastery is evident throughout the First Quartet. The quartet is in three movements, rather than the traditional four; these movements are played without pause, and there are subtle relationships between those three movements. From the beginning, Bartók was quite willing to reimagine quartet form (of his six quartets, only the last is in four movements, and even this is a highly modified structure). Finally, one of the features of Bartók’s mature style already present in the

AROD QUARTET - PROGRAM NOTES

First Quartet is his assured handling of motivic development. Ideas that first appear as only a tentative few notes will gradually yield unsuspected possibilities (and riches) as they evolve across the span of a complete work.

Many have noted that the First Quartet gets faster and faster as it proceeds. The music moves from a very slow opening movement through a second movement marked Allegretto and on to a very fast finale that grows even faster in its closing moments. Simply as musical journey, this quartet offers a very exciting ride. It gets off to quite a subdued start, however. The Lento opens with the two violins in close canon, and their falling figure will give shape to much of the thematic material that follows.

Cello and viola also enter in canon, and this ternary-form movement rises to resounding climax before the viola introduces the central episode with a chiseled theme marked molto appassionato, rubato. The reprise of the opening canon is truncated, though this too rises to a grand climax before falling away to the quiet close.

Bartók proceeds without pause into the second movement. A duet for viola and cello and then for the two violins suggest another fundamental shape, and then the movement takes wing at the Allegretto. The first violin’s first three notes here take their shape from the very opening of the Lento, but now they become the thematic cell of a very active movement. Some have been tempted to call this movement in 3/4 a waltz, but the music never settles comfortably into a waltz rhythm, and soon the cello’s firm pizzicato pattern introduces a second episode. After all its energy, this movement reaches a quiet close that Bartók marks dolce, and he goes right on to the Introduzione of the finale. Here the cello has a free solo (Bartók marks it Rubato) of cadenza-like character, and the music leaps ahead on the second violin’s repeated E’s. Molto vivace, says Bartók, and he means it: this will be a finale filled with scalding energy. In unison, viola and cello sound the main theme (adapted from the main theme of the second movement), and off the music goes. For all its length and variety, the finale is in sonata form with a second theme, a recurring Adagio episode, and a lengthy fugue whose subject is derived from what we now recognize as the quartet’s fundamental shape. As he nears the conclusion, Bartók pushes the tempo steadily forward, and his First String Quartet hurtles to its three massive final chords.

String Quartet in F Major

MAURICE RAVEL

Born March 7, 1875, Ciboure, Basses-Pyrenées, France Died December 28, 1937, Paris Composed: 1902–3 Approximate Duration: 30 minutes Ravel wrote his only string quartet in 1902–3, while still a student at the Paris Conservatory, and the first performance was given by the Heymann Quartet in Paris on March 5, 1904, two days before the composer’s twentyninth birthday. Ravel’s quartet is in many ways similar to the Debussy quartet, written in 1893—there are parallels between the structure, rhythmic shape, and mood of the two works—but Ravel dedicated his quartet “To my dear teacher Gabriel Fauré,” who was directing Ravel’s work at the Conservatory.

One of the most distinctive features of Ravel’s quartet is its cyclic deployment of themes: the first movement’s two main themes return in various forms in the other three movements, giving the quartet a tight sense of unity. Some have charged that such repetition precludes sufficient thematic variety, but Ravel subtly modifies the color, harmony, and mood of each reappearance of these themes so that from this unity comes enormous variety.

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

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

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

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AROD QUARTET - PROGRAM NOTES

The third movement—Très lent—is in free form, and perhaps the best way to understand this movement is to approach it as a rhapsody based loosely on themes from the first movement. Beneath these themes Ravel sets a rhythmic cell of three notes that repeats constantly, but it remains an accompaniment figure rather than becoming an active thematic participant. The movement’s impression of freedom results in no small part from its frequent changes of both key and meter.

After the serene close of the third movement, the fourth—Agité—leaps almost abrasively to life. Agitated it certainly is, an effect that comes from its steadily driving double-stroked passages, and this mood continues across the span of the movement. The basic metric unit here is the rapid 5/8 heard at the beginning, though Ravel changes meter frequently, with excursions into 3/4 and 5/4. Once again, material from the first movement returns, and after several lyric interludes the finale takes on once again the aggressive mood of its opening and powers its way to the close.

Ravel’s quartet generated a mixed reaction at its première in 1904. One of those most critical was the dedicatee, Gabriel Fauré, who was especially bothered by the unorthodox finale, which he thought “stunted, badly balanced, in fact a failure.” But when Ravel, troubled by such criticism, turned to Debussy for his estimation, the latter offered the best possible response: “In the name of the gods of Music and for my sake personally, do not touch a note of what you have written.”

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JOLLA MUSIC SOCIETY · 2021-22 SEASON

George Hinchliffe’s

UKULELE ORCHESTRA OF GREAT BRITAIN FRIDAY, MARCH 25, 2022 · 8 PM SATURDAY, MARCH 26, 2022 · 3 PM & 8 PM THE BAKER-BAUM CONCERT HALL

PROGRAM Program to be announced from the stage.

20-MINUTE INTERMISSION

Jonty Bankes Peter Brooke Turner Laura Currie Leisa Rea Ben Rouse Dave Suich Ewan Wardrop

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.

George Hinchliffe, musical director Jodi Cartwright, management Doug Beveridge, sound

ABOUT Back by popular demand. The Ukulele Orchestra is a touring musical group which has been delighting audiences, raising the roof, selling out performances, and receiving standing ovations since 1985. This all-singing, all-strumming group has been performing for 35 years using only a fistful of ukuleles and maintaining that all genres of music are available for reinterpretation.

George Hinchliffe’s UKULELE ORCHESTRA OF GREAT BRITAIN last performed for La Jolla Music Society in a Special Event on March 29, 2019.

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

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OCEAN SOUL WITH BRIAN SKERRY THURSDAY, MARCH 31, 2022 · 7 PM THE BAKER-BAUM CONCERT HALL

PROGRAM Presentation Question & Answer Session NO INTERMISSION

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

National Geographic photographer Brian Skerry has spent more than 10,000 hours underwater, often in extreme conditions beneath Arctic ice and in predator-infested waters. Journey with him from the North Atlantic, where harp seals face the threat of declining sea ice, to the temperate waters of New Zealand, home of the fastest shark in the world—the mako. The stunning images he captures while on assignment offer a mesmerizing glimpse of the “soul of the sea.”

North American Presenting Sponsor

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This presentation marks Brian Skerry’s La Jolla Music Society debut.

PRELUDE 6 PM

Support for this program generously provided by:

SILKROAD ENSEMBLE “A HOME WITHIN” SUNDAY, APRIL 3, 2022 · 7 PM THE BAKER-BAUM CONCERT HALL

ProtoStar Foundation

PROGRAM Works to be announced from stage.

20-MINUTE INTERMISSION

Kinan Azmeh, creator & composer, clarinet Kevork Mourad, creator, visual art Layale Chaker, violin Shawn Conley, bass Karen Ouzounian, cello Shane Shanahan, percussion Issam Rafea, oud

ABOUT

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

Home Within is an emotional accounting of home in a time of conflict. An audio-visual performance conceived by Syrian Composer and clarinetist Kinan Azmeh and Syrian Armenian visual artist Kevork Mourad, the result is an impressionistic reflection on the unity of loss, longing, and the impact of tragedy on our sense of “home.” Rather than follow a narrative, the artists document “home” within specific moments in Syria’s recent history, using the counterpoint between image and sound to establish a sense of sustained urgency and continued hope for both their homeland and communities around the world.

Home Within was originally created as a duo commission in response to the Syrian crisis in 2013; over a decade later, the work is taking on new life as a large-scale collaboration with the Silkroad Ensemble.

Silkroad Ensemble last performed for La Jolla Music Society in a special event on October 20, 2013.

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

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MATTHIAS GOERNE, baritone & SEONG-JIN CHO, piano Support for this program generously provided by:

Mary Ellen Clark, in loving memory of W. Vere Wolf

THURSDAY, APRIL 7, 2022 · 8 PM THE BAKER-BAUM CONCERT HALL

Please hold applause until the end of each set PFITZNER

Sehnsucht, Opus 10, No. 1 Wasserfahrt, Opus 6, No. 6 Es glänzt so schön die sinkende Sonne, Opus 4, No. 1 Ist der Himmel darum im Lenz so blau, Opus 2, No. 2 An die Mark, Opus 15, No. 3 Abendrot, Opus 24, No. 4 Nachts, Opus 26, No. 2 Stimme der Sehnsucht, Opus 19, No. 1

WAGNER

Wesendonck Lieder Der Engel Stehe still!

Im Treibhaus Schmerzen Träume

STRAUSS

Traum durch die Dämmerung, Opus 29, No. 1 Morgen!, Opus 27, No. 4 Ruhe, meine Seele!, Opus 27, No. 1 Freundliche Vision, Opus 48, No. 1

(1869–1949)

(1813–1883)

(1813–1883)

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.

Mr. Cho records exclusively for Deutsche Grammophon More information on Seong-Jin Cho can be found at www.seongjin-cho.com Management for Seong-Jin Cho: Primo Artists, New York, NY www.primoartists.com

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Vier letzte Lieder No. 4 Im Abendrot Matthias Goerne, baritone; Seong-Jin Cho, piano NO INTERMISSION

This performance marks Matthias Goerne’s La Jolla Music Society debut.

Seong-Jin Cho last performed for La Jolla Music Society in the Discovery Series on February 26, 2017.

JOLLA MUSIC SOCIETY · 2021-22 SEASON

MATTHIAS GOERNE & SEONG-JIN CHO - SONG TEXT TRANSLATIONS Sehnsucht by Detlev von Liliencron Ich ging den Weg entlang, der einsam lag, Den stets allein ich gehe jeden Tag. Die Heide schweigt, das Feld ist menschenleer; Der Wind nur weht im Knickbusch um mich her.

Longing Stewart Spencer © 2021 Deutsche Grammophon I walked along the lonely path, the path I tread alone each day.

The heath is silent, the fields deserted; only the wind in the quickset hedge is blowing around me.

Weit liegt vor mir die Straße ausgedehnt; Es hat mein Herz nur dich, nur dich ersehnt.

Und kämest Du, ein Wunder wär's für mich, Ich neigte mich vor dir: ich liebe dich.

The road stretches out before me; my heart desired only you, only you.

And if you came, it would be a marvel for me, I’d bow down before you: I love you.

Und im Begegnen, nur ein einzger Blick, Des ganzen Lebens wär er mein Geschick.

Und richtest du dein Auge kalt auf mich, Ich trotze Mädchen dir: ich liebe dich.

And only a single glance as we meet would seal my whole life’s fate.

And if you looked at me cold-eyed, I’d defy you, my girl: I love you.

Doch wenn dein schönes Auge grüßt und lacht, Wie eine Sonne mir in schwerer Nacht, Ich zöge rasch dein süßes Herz an mich Und flüstre leise dir: ich liebe dich.

But if your beautiful eyes greet me and laugh like a sun in a perilous night, I’d swiftly draw your sweet heart to mine and softly whisper: I love you.

Wasserfahrt by Heinrich Heine Ich stand gelehnet an den Mast und zählte jede Welle.

Ade, mein schönes Vaterland!

Mein Schiff, das segelt schnelle!

Sea Voyage Stewart Spencer © 2021 Deutsche Grammophon I stood leaning against the mast and counted every wave.

Farewell, my beautiful fatherland!

My ship speeds swiftly on.

Ich kam schön Liebchens Haus vorbei, die Fensterscheiben blinken; ich guck mir fast die Augen aus, doch will mir niemand winken.

I passed my sweetheart’s house, the panes were shining brightly; I almost go blind from staring but no one is waving back at me.

Ihr Tränen, bleibt mir aus dem Aug’, dass ich nicht dunkel sehe.

Du armes Herze, brich mir nicht vor allzu großem Wehe.

Tears, be gone from my eyes and do not cloud my vision.

Poor heart, do not break from my all-too-powerful grief.

Es glänzt so schön die sinkende Sonne by Heinrich Heine Es glänzt so schön die sinkende Sonne, doch schöner ist deiner Augen Schein.

Das Abendrot und deine Augen, sie strahlen mir traurig ins Herz hinein.

The setting sun shines so beautifully © 2014 Stewart Spencer The setting sun shines so beautifully, but more beautiful yet is the light of your eyes.

The sunset and your eyes shine their mournful light in my heart.

Das Abendrot bedeutet Scheiden und Herzensnacht und Herzensweh.

Bald fließet zwischen meinem Herzen und deinen Augen die weite See.

The sunset means parting and the night and anguish of the heart.

Soon the wide sea will flow between my heart and your eyes.

Ist der Himmel darum im Lenz so blau by Richard Leander Ist der Himmel darum im Lenz so blau, weil er über die blumige Erde schaut?

Oder ist die Erde so blumig im Lenz, weil darüber der rosige Himmel blaut?

Is the sky so blue in spring Stewart Spencer © 2021 Deutsche Grammophon Is the sky so blue in spring because it looks down on the verdant earth?

Or is the earth so verdant in spring because the roseate sky turns blue above it?

Hab ich dich darum, mein Kind, so lieb, weil du gar so lieblich und reizend bist?

Oder bist du darum so reizend, mein Kind, weil die Lieb’ dir ins Herz kommen ist?

Do I love you, my child, because you’re so lovely and charming?

Or are you so charming, my child, because love has entered your heart?

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MATTHIAS GOERNE & SEONG-JIN CHO - SONG TEXT TRANSLATIONS An die Mark by Ilse von Stach Bereifte Kiefern, atemlose Seen, die träumen einem dunkeln Auge gleich in ew’ger Sehnsucht von des Frühlings Reich; und drüber hin ein schwarzer Zug von Kräh’n.

To the Marchland Hannah Ridout © 2000 Deutsche Grammophon Hoary pines, unbreathing lakes: akin to dark eyes they dream in eternal longing of spring’s kingdom; and over them a black flight of rooks.

Viel junges Leben will die Sonne sehn.

Da sitzt die Schwermut schon am Waldesrand und schreibt geheime Zeichen in den Sand, kein Frühlingssturm wird ihre Schrift verwehn.

Much young life would the sun fain see.

Melancholy sits already at the forest rim and writes arcane signs in the sand; no spring storm will obliterate its script.

Und eines Tages kommt der junge Mai; und dennoch – unter glückverlornen Küssen lebt ein Bewusstsein, dass wir sterben müssen, dass alles nur ein Traum und schmerzlich sei.

And one day youthful May will come; and yet – amid the joyous abandon of kisses an awareness lives that we must die – that all is just a dream and full of pain.

Dies Land, da Wunsch und Hoffnung selig sind und doch in ihrem rätselvollen Wesen von stiller Trauer niemals zu erlösen, dies Land ist meine Heimat und ich bin sein Kind.

This land, where desire and hope are blessed and yet in their enigmatic nature are never to be freed of tacit sorrow – this land is my homeland and I am its kin.

Abendrot by Friedrich Lienhard Mir ist nach einer Heimat weh, die keine Erdengrenzen hat!

Ich sehne mich aus Menschennot nach einer ew’gen Himmelsstadt.

Sunset Stewart Spencer © 2021 Deutsche Grammophon Sore at heart, I long for a land that knows no bounds on earth!

I yearn to escape from this vale of tears to heaven’s eternal city.

Groß glänzt und klar das Abendrot, sanft rauscht der Quell im Wasgenwald.

Wie bald verging mein Erdentag und all mein Tagewerk, wie bald!

Sunset glows with a great clear light, the fountain murmurs in the forests of the Vosges.

How soon my days on earth have passed and all my day’s work is done, how soon!

O komm, du weltallweite Nacht, die keine Erdenmaße kennt, aus deren Tiefen Stern an Stern auf unser winzig Sternlein brennt.

Come, O universal night that cannot be measured by earthly norms, from whose depths star upon star shines down on our tiny little star.

Nicht müd bin ich vom Tagewerk, und doch bin ich des Tages satt.

Nach deinen Weiten sehn ich mich, du unbegrenzte Himmelsstadt.

I am not weary from my day’s work and yet I am sated with day.

I long for your vast expanse, O boundless heavenly city.

Nachts by Joseph von Eichendorff Ich stehe in Waldesschatten wie an des Lebens Rand, die Länder wie dämmernde Matten, der Strom wie ein silbern Band.

At Night Stewart Spencer © 2021 Deutsche I stand in the forest’s shadow as if on the edge of life, the lands are like twilit pastures, the stream like a ribbon of silver.

Von fern nur schlagen die Glocken über die Wälder herein.

Ein Reh hebt den Kopf erschrocken und schlummert gleich wieder ein.

The bells ring out from afar, approaching across the forests.

A roe deer, startled, raises its head, then falls asleep once again.

Der Wald aber rühret die Wipfel im Traum von der Felsenwand.

Denn der Herr geht über die Gipfel und segnet das stille Land.

But the forest shakes the treetops as they dream on the wall of rock.

Our Lord is passing above these peaks and blessing the silent land.

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MATTHIAS GOERNE & SEONG-JIN CHO - SONG TEXT TRANSLATIONS Stimme der Sehnsucht by Carl Busse Ich raun’ dir am Bette in schlafloser Nacht, ich hab deine Tage so müde gemacht.

Und was ich gewesen und was ich dir bin, das flutet in ewigem Wechsel dahin.

Voice of Longing Stewart Spencer © 2021 Deutsche Grammophon One sleepless night I whisper to you by your bedside, I have made your days so weary.

And all that I was to you and what I am now floods away in an endless succession.

Ich bin ein dunkler, verworrner Klang, der weit aus Thule herüberdrang.

Ich bin deiner Jugend verblühender Traum, dein erster Kuss unterm Apfelbaum.

I’m a dark and confusing sound that has forced its way here from faraway Thule.

I’m the fading dream of your youth, your very first kiss beneath the apple tree.

Ich bin deine heil’ge Herzensnot, ich ruf dich in Morgen- und Abendrot.

Deine Felder verkommen, dein Pflug bleibt stehn.

Es treibt dich in purpurne Fernen zu gehn, und ich flieg dir voraus, und dein Fuß wird wund, und immer verdürstender brennt dein Mund.

I’m your heart’s most solemn distress, I call you at dawn and at sunset.

Your fields are barren, your plough stands idle.

You’re drawn to the distant empyrean vault and I fly there ahead of you and your feet are sore and your throat is increasingly parched.

Und du schreist nach mir, nach Erfüllung und Licht, wie du hungerst und frierst und du findest mich nicht.

And you cry out for me, for fulfilment and light, just as you starve and freeze and do not find me.

Ich bin nur ein Klingen, ich bin nur ein Hauch, dein Herz wird schweigen; dann schweig ich auch.

I’m only a ringing sound, I’m only a breath, your heart will fall silent; then I too shall be silent.

Der Engel by Mathilde Wesendonck In der Kindheit frühen Tagen hört’ ich oft von Engeln sagen, die des Himmels hehre Wonne tauschen mit der Erdensonne.

The Angel Thomas A. Quinn © 1975 Universal Music B.V. In my early childhood days I often heard tales of angels who exchange the blissful sublimity of heaven for the sunshine of earth.

Dass, wo bang ein Herz in Sorgen schmachtet vor der Welt verborgen, dass, wo still es will verbluten und vergehn in Tränenfluten,

Heard that, when a heart in sorrow hides its grief from the world, bleeds in silence and dissolves in tears,

dass, wo brünstig sein Gebet einzig um Erlösung fleht, da der Engel niederschwebt und es sanft gen Himmel hebt.

offers fervent prayers for deliverance, then the angel flies down and bears it gently to heaven.

Ja, es stieg auch mir ein Engel nieder, und auf leuchtendem Gefieder führt er, ferne jedem Schmerz, meinen Geist nun himmelwärts.

Yes, an angel came down to me also and on shining pinions bears my spirit away from all torment heavenward.

Stehe still! by Mathilde Wesendonck Sausendes, brausendes Rad der Zeit, Messer du der Ewigkeit; leuchtende Sphären im weiten All, die ihr umringt den Weltenball; urewige Schöpfung, halte doch ein, genug des Werdens, lass mich sein!

Be Still! Thomas A. Quinn © 1975 Universal Music B.V. Rushing, roaring wheel of time, you measure of eternity; shining spheres in the vast firmament, you that encircle our earthly globe; eternal creation, stop!

Enough of becoming, let me be!

Halte an dich, zeugende Kraft, Urgedanke, der ewig schafft!

Hemmet den Atem, stillet den Drang, schweiget nur eine Sekunde lang!

Schwellende Pulse, fesselt den Schlag; ende, des Wollens ew’ger Tag! Dass in selig süßem Vergessen

Ye powers of generation, cease, primal thought that endlessly creates, stop every breath, still every urge, give but one moment of silence!

Swelling pulses, restrain your beating; end, eternal day of the will!

So that, in sweet forgetfulness, L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

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MATTHIAS GOERNE & SEONG-JIN CHO - SONG TEXT TRANSLATIONS ich mög’ alle Wonnen ermessen!

Wenn Aug’ in Auge wonnig trinken, Seele ganz in Seele versinken; Wesen in Wesen sich wiederfindet und alles Hoffens Ende sich kündet; die Lippe verstummt in staunendem Schweigen, keinen Wunsch mehr will das Inn’re zeugen: Erkennt der Mensch des Ew’gen Spur und löst dein Rätsel, heil’ge Natur!

I may take the full measure of all my joy!

When eye blissfully gazes into eye, when soul drowns in soul; when being finds itself in being and the goal of all hopes is near, then lips are mute in silent amazement, the heart can have no further wish: man knows the imprint of eternity, and solves your riddle, blessed Nature!

Im Treibhaus by Mathilde Wesendonck Hochgewölbte Blätterkronen, Baldachine von Smaragd, Kinder ihr aus fernen Zonen, saget mir, warum ihr klagt?

In the Hothouse Thomas A. Quinn © 1975 Universal Music B.V. High-arching leafy crowns, canopies of emerald, you children of distant lands, tell me, why do you lament?

Schweigend neiget ihr die Zweige, malet Zeichen in die Luft, und, der Leiden stummer Zeuge, steiget aufwärts süßer Duft.

Silently you incline your branches, tracing signs in the air, and, mute witness to your sorrows, a sweet perfume rises.

Weit in sehnendem Verlangen breitet ihr die Arme aus und umschlinget wahnbefangen öder Leere nicht’gen Graus.

Wide, in longing and desire, you spread your arms and embrace, in self-deception, barren emptiness, a fearful void.

Wohl, ich weiß es, arme Pflanze: Ein Geschicke teilen wir.

Ob umstrahlt von Licht und Glanze, unsre Heimat ist nicht hier!

Well I know it, poor plant!

We share the same fate.

Although the light shines brightly round us, our home is not here!

Und wie froh die Sonne scheidet von des Tages leerem Schein, hüllet der, der wahrhaft leidet, sich in Schweigens Dunkel ein.

And, as the sun gladly quits the empty brightness of the day, so he, who truly suffers, wraps round him the dark mantle of silence.

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

It grows quiet, an anxious rustling fills the dark room; I see heavy drops hanging from the green edges of the leaves.

Schmerzen by Mathilde Wesendonck Sonne, weinest jeden Abend dir die schönen Augen rot, wenn im Meeresspiegel badend dich erreicht der frühe Tod.

Torment Thomas A. Quinn © 1975 Universal Music B.V. Sun, you weep every evening until your lovely eyes are red, when, bathing in the sea, you are o’ertaken by your early death.

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

But you rise again in your old splendour, the aureole of the dark world, fresh awakened in the morning like a proud and conquering hero!

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

Ah, then, why should I complain, why should my heart be so heavy, if the sun itself must despair, if the sun itself must go down?

Und gebieret Tod nur Leben, geben Schmerzen Wonnen nur: O wie dank ich, dass gegeben solche Schmerzen mir Natur.

And, if only death gives birth to life, if only torment brings bliss, then how thankful I am that Nature has given me such torment.

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MATTHIAS GOERNE & SEONG-JIN CHO - SONG TEXT TRANSLATIONS Träume by Mathilde Wesendonck Sag, welch wunderbare Träume halten meinen Sinn umfangen, dass sie nicht wie leere Schäume sind in ödes Nichts vergangen?

Dreams Thomas A. Quinn © 1975 Universal Music B.V. Say, what wondrous dreams hold my soul captive and have not disappeared like bubbles into barren nothingness?

Träume, die in jeder Stunde, jedem Tage schöner blühn und mit ihrer Himmelskunde selig durchs Gemüte ziehn?

Dreams that in every hour of every day bloom most fair and, with their intimations of heaven, float blissfully through my mind!

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

Dreams that like rays of glory penetrate the soul, there to leave an everlasting imprint: forgetfulness of all, remembrance of one!

Träume, wie wenn Frühlingssonne aus dem Schnee die Blüten küsst, dass zu nie geahnter Wonne sie der neue Tag begrüßt.

Dreams like the kiss of the spring sun drawing blossoms from the snow, so that to undreamed-of bliss the new day may welcome them.

Dass sie wachsen, dass sie blühen, träumend spenden ihren Duft, sanft an deiner Brust verglühen und dann sinken in die Gruft.

So that they grow and flower, spread their scent as in a dream, softly fade upon your breast, then sink into their grave.

Traum durch die Dämmerung by Otto Julius Bierbaum Weite Wiesen im Dämmergrau; die Sonne verglomm, die Sterne ziehn, nun geh ich hin zu der schönsten Frau, weit über Wiesen im Dämmergrau, tief in den Busch von Jasmin.

Dream in the Dusk Hannah Ridout © 2000 Deutsche Grammophon Spreading meadows in the grey of dusk; the sun has died away, the stars proceed.

Now I’m going to the fairest lady, far across the meadows in the grey of dusk, deep into bushes of jasmine.

Durch Dämmergrau in der Liebe Land; ich gehe nicht schnell, ich eile nicht; mich zieht ein weiches samtenes Band durch Dämmergrau in der Liebe Land, in ein blaues, mildes Licht.

Through the grey of dusk to the land of love; I do not walk quickly, I do not hurry; a soft, velvet ribbon draws me through the grey of dusk to the land of love, into a blue and gentle light.

Morgen! By John Henry Mackay Und morgen wird die Sonne wieder scheinen, und auf dem Wege, den ich gehen werde, wird uns, die Glücklichen, sie wieder einen inmitten dieser sonnenatmenden Erde.

Tomorrow! © 1984 William Mann And tomorrow the sun will shine again, and on the path that I shall take it will unite us, happy ones, again amid this same sun-breathing earth.

Und zu dem Strand, dem weiten, wogenblauen, werden wir still und langsam niedersteigen; stumm werden wir uns in die Augen schauen, und auf uns sinkt des Glückes stummes Schweigen.

And to the beach, broad, blue-waved, we shall climb down quiet and slow; mute we shall gaze in each other’s eyes, and the still silence of bliss will fall upon us.

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MATTHIAS GOERNE & SEONG-JIN CHO - SONG TEXT TRANSLATIONS Ruhe, meine Seele! By Karl Friedrich Henckell Nicht ein Lüftchen regt sich leise, sanft entschlummert ruht der Hain; durch der Blätter dunkle Hülle stiehlt sich lichter Sonnenschein.

Ruhe, ruhe, meine Seele, deine Stürme gingen wild, hast getobt und hast gezittert, wie die Brandung, wenn sie schwillt!

Diese Zeiten sind gewaltig, bringen Herz und Hirn in Not; ruhe, ruhe, meine Seele, und vergiss, was dich bedroht!

Rest, my soul! © 1984 William Mann Not even a soft breeze is stirring, peacefully asleep the wood is at rest.

Through the sombre cloak of leaves steals beaming sunshine.

Rest, rest, my soul; your storms were savage.

You have raged and you have trembled like the breakers when they swell.

These times are momentous; they put heart and head to the test.

Rest, rest, my soul, and forget what threatens you.

Freundliche Vision by Otto Julius Bierbaum Nicht im Schlafe hab ich das geträumt, hell am Tage sah ich’s schön vor mir: eine Wiese voller Margeriten; tief ein weißes Haus in grünen Büschen; Götterbilder leuchten aus dem Laube.

Und ich geh mit einer, die mich lieb hat, ruhigen Gemütes in die Kühle dieses weißen Hauses, in den Frieden, der voll Schönheit wartet, dass wir kommen.

Pleasant Vision John C. Constable © 1999 Deutsche Grammophon It was not in sleep that I dreamed it; by the light of day I saw it fair before me: a meadow full of marguerites; a white house deep in verdant bushes; divine images shone out from the leaves.

And with one who is fond of me I walk with quiet heart into the coolness of this white house, into the peacefulness that in all its beauty awaits our coming.

Im Abendrot by Joseph von Eichendorff Wir sind durch Not und Freude gegangen Hand in Hand, vom Wandern ruhen wir nun überm stillen Land.

At Sunset © 1984 William Mann Through want and joy we have walked hand in hand; we are resting from our travels now, the quiet countryside below us.

Rings sich die Täler neigen, es dunkelt schon die Luft, zwei Lerchen nur noch steigen nachträumend in den Duft.

Around us the valleys incline; already the air grows dark.

Two larks still soar alone, half-dreaming, into the haze.

Tritt her und lass sie schwirren, bald ist es Schlafenszeit, dass wir uns nicht verirren in dieser Einsamkeit.

Come here, and let them fly about; soon it is time for sleep.

We must not go astray in this solitude.

O weiter, stiller Friede!

So tief im Abendrot!

Wie sind wir wandermüde – ist dies etwa der Tod?

O spacious, tranquil peace, so profound in the sunset.

How tired we are of travelling— is this perchance death?

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PRELUDE 7 PM

CHRIS BOTTI

Interview hosted by Robert John Hughes

FRIDAY, APRIL 8, 2022 · 8 PM BALBOA THEATRE

PROGRAM Program to be announced from the stage.

20-MINUTE INTERMISSION

Chris Botti, trumpet Chad Lefkowitz-Brown, saxophone Sandy Cameron, violin Sy Smith, vocals Veronica Swift, vocals Holger Marjamaa, piano Leonardo Amuedo, guitar Reggie Hamilton, bass Lee Pearson, drums 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 Trumpet powerhouse and American best-selling artist Chris Botti dazzles with both “flickering intimacy and thundering grandiosity” (The New York Times). His mesmerizing performances with a stunning array of legends such as Sting, Barbra Streisand, Tony Bennett, Yo-Yo Ma, Frank Sinatra, Paul Simon, and Andrea Bocelli have cemented his place as one of the most brilliant and inspiring forces of the contemporary music scene. Whether he’s performing with illustrious symphonies or at renowned venues around the globe, his unparalleled crystalline and poetic sound transcends musical boundaries.

This performance marks Chris Botti’s La Jolla Music Society debut.

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A CHAT WITH CHRIS BOTTI

Over the past three decades, trumpet virtuoso Chris Botti has recorded and performed with superstars including Sting, Barbra Streisand, Tony Bennett, Lady Gaga, Josh Groban, Yo-Yo Ma, Michael Bublé, Paul Simon, Joni Mitchell, John Mayer, Andrea Bocelli, Joshua Bell, and even Frank Sinatra. Before Covid, hitting the road for as many as 300 days per year, the trumpeter has also performed with many of the finest symphonies and at some of the world’s most prestigious venues from Carnegie Hall and the Hollywood Bowl to the Sydney Opera House and the Real Teatro di San Carlo in Italy.

A successful recording artist in his own right, Botti has released four solo albums and composed and produced music for feature films including Caught and Playing by Heart. Most recently, his latest album, Impressions, won the GRAMMY® Award for Best Pop Instrumental Album.

We caught up with Botti for a chat about what he’s been up to and what to expect at his La Jolla Music Society debut, April 8 at the Balboa Theatre.

How does it feel to be on tour after the Covid disruptions of the past two years?

LJMS:

CB: I’ve been on the road for 19 years and I am so happy to be

back out on tour again. I missed being in a different city every night. Part of the reason I have a successful career is because I truly love every aspect of being on the road. And for a lot of artists, they want to do a tour and then take time off from being on the road. But for me, I love it. And when it was taken away, like so many things were taken from everyone in the world, that was the thing I missed the most.

Have you noticed a change, compared to pre-Covid times, CB: From what I’ve seen, a lot of people, I am, are grateful to be back amongst in audiences’ responses now that we’re back in the concert halls? like one another. That seems to be the common

LJMS:

thread—that people are just grateful to be able to go out and shake someone’s hand or put their arm around someone, or share a glass of wine, or see a concert or be at a theater or see a sporting event. Those communal activities where people are together is the essence of life, and I don’t think there’s any difference between a concert hall for me or the New York Philharmonic or a football game. It’s the same sort of camaraderie and you can see that everyone is glad to be back.

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What does a performing artist do when they can’t perform?

(Especially one of your stature.)

LJMS:

CB: Practice a lot!!

You’ve worked in a lot of different musical genres – CB: Jazz for sure. I wouldn’t consider myself a pop or classical trumpet player at all. Now, I can do you have a favorite, or a favorite right now? approach music in a classical way, but what I

LJMS:

study, and my roots, are in jazz. I’ve played with a lot of popular artists, like Sting and Barbra Streisand, so I have an affection for pop music, but my day-to-day activities and the way I look at life is through the lens of a jazz musician.

LJMS:

What are you working on next? CB: I hope to work on a new album this year. However, I made a pact

with myself when the pandemic started that I wouldn’t start the recording process until everyone can walk into the recording studio in Los Angeles, London, or New York, and not be social distanced and not have to take tests or wear masks and we can be free to interact with other musicians. Once that is in place, I will start to sit down and make a record. I’m very grateful that the touring is back but I don’t have an exact time of when the indoor studio scene, especially in Los Angeles, is going to be back to normal. I’m hoping that it’s sooner rather than later, but I’m really hoping to have a record out by next fall.

Anything specific you’re looking forward to about coming to San Diego? Do you like fish tacos? CB: I love fish tacos!!

LJMS:

Without giving away the program, what can our audience expect to hear at your concert?

LJMS:

CB: We will be playing a little bit of everything,

from “Impressions” back to “When I Fall In Love.”

I honestly have had so many people, like my friends, come to me and go ‘Chris, I’m coming to your show tomorrow, I have never seen you play before, so is it just you and the trumpet?’ You know, they don’t realize it’s a night of entertainment with an incredible jazz group that moves around from pop to classical to jazz. You have all these lines being blurred and it’s incredibly fun!

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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

DREAMERS’ 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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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.

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

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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, trumpet 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 “flCONCERT ickering intimacy THE BAKER-BAUM 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 fi ve-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 heart their children’s music. A fipremier ve-time ballet Parent’s Choice companies, the Joffrey’s cutting-edge Award winner, they have garnered praiseprograms from the likes of display inestimable skilland of its dancers.

NPR’s All the Things Considered USA Today, and have been called “two of family music’s best songwriters.”

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BIOGRAPHIES Academy of St Martin in the Fields

The Academy of St Martin in the Fields is one of the world’s finest chamber orchestras, renowned for fresh, brilliant interpretations of the world’s greatest orchestral music. Formed by Sir Neville Marriner in 1958 from a group of leading London musicians, the Academy gave its first performance in its namesake church in November 1959. Through unrivalled live performances and a vast recording output, the Academy quickly gained an enviable international reputation for its distinctive, polished, and refined sound. With more than 500 releases in a much-vaunted discography and a comprehensive international touring program, the sound of the Academy is known by classical audiences throughout the world. Today, the Academy is led by Music Director and virtuoso violinist Joshua Bell, retaining the collegiate spirit and flexibility of the original small, conductor-less ensemble, which has become an Academy hallmark.

Joshua Bell, violin

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

Arod Quartet

With all four members only in their early twenties, the Paris-based Arod Quartet has already dazzled chamber music lovers in concerts at such prestigious venues as the Auditorium of the Louvre in Paris and the Verbier Festival in Switzerland. The Arod quickly came to international attention when they won the coveted First Prize of the 2016 ARD International Music Competition in Munich, having already taken First Prize at the Carl Nielsen Chamber Music Competition in Copenhagen. Teachers of the Arod include Mathieu Herzog and Jean Sulem, and the group currently serves as the artist-in-residence at the Queen Elisabeth Music Chapel in Brussels, along with the Artemis Quartet. The group takes its name from Legolas’s horse in J.R.R. Tolkien’s epic Lord of the Rings trilogy; in Tolkien’s mythic Rohirric language, Arod means ‘Ú swift.’

Chris Botti

Since the release of his 2004 critically acclaimed CD When I Fall In Love, Chris Botti has become the largest-selling American instrumental artist. His success has crossed over to audiences usually reserved for pop music and his ongoing association with PBS has led to four #1 jazz albums, as well as multiple Gold, Platinum and GRAMMY® Awards. Over the past three decades, Botti has recorded and performed with the best in music, including Sting, Barbra Streisand, Tony Bennett, Lady Gaga, Yo-Yo Ma, Michael Bublé, Paul Simon, Joni Mitchell, John Mayer, Andrea Bocelli, Joshua Bell, and even Frank Sinatra.

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BIOGRAPHIES

Seong-Jin Cho, piano

With an overwhelming talent and innate musicality, Seong-Jin Cho has made his mark as a thoughtful and poetic, assertive and tender, virtuosic and colorful pianist, combining panache with purity and exhibiting an impressive natural sense of balance. Seong-Jin Cho was brought to the world’s attention in 2015 when he won the First Prize at the Chopin International Competition in Warsaw. An active recitalist very much in demand, Seong-Jin Cho performs in many of the world’s most prestigious concert halls including the main stage of Carnegie Hall as part of the Keyboard Virtuoso Series, Concertgebouw Amsterdam in the Master Pianists series, Berliner Philharmonie Kammermusiksaal, Suntory Hall Tokyo, Walt Disney Hall Los Angeles, and more.

Matthias Goerne, baritone

Matthias Goerne is one of the most versatile and internationally sought-after vocalists and a frequent guest at renowned festivals and concert halls. Goerne has appeared on the world’s principal opera stages including the Metropolitan Opera in New York, Royal Opera House Covent Garden, Teatro Real in Madrid, Paris National Opera, and the Vienna State Opera.

His roles range from Wolfram, Amfortas, Wotan, Orest, and Jochanaan to the title roles in Béla Bartók’s Duke Bluebeard’s Castle and Alban Berg’s Wozzeck. Goerne’s artistry has been documented on numerous recordings, many of which have received prestigious awards, including four GRAMMY® nominations, an ICMA Award, a Gramophone Award, and the BBC Music Magazine Vocal Award 2017.

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.

Lang Lang, piano

Lang Lang is a leading figure in classical music today–as a pianist, educator, and philanthropist he has become one of the world’s most influential and committed ambassadors for the arts in the 21st century. Equally happy playing for billions of viewers at the 2008 Olympic Opening Ceremony in Beijing or just for a few hundred children in the public schools, he is a master of communicating through music. Lang Lang’s boundless drive to attract new audiences to classical music has brought him tremendous recognition: he was presented with the 2010 Crystal Award in Davos and was picked as one of the 250 Young Global Leaders by the World Economic Forum. In December 2011 he was honored with the highest prize awarded by the Ministry of Culture of the People’s Republic of China and received the highest civilian honors in Germany (Merit of the Federal Republic of Germany) and France (Medal of the Order of Arts and Letters).

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BIOGRAPHIES

Kristi Brown Montesano, lecturer

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

Beatrice Rana, piano

Beatrice Rana has been shaking the international classical music world, arousing admiration and interest from concert presenters, conductors, critics, and audiences internationally.

Rana performs at the world’s most esteemed concert halls and festivals including Vienna’s Konzerthaus and Musikverein; Berlin Philharmonie; Amsterdam’s Concertgebouw; New York’s Lincoln Center and Carnegie Hall; London’s Wigmore Hall, Royal Albert Hall, and Royal Festival Hall; Philharmonie de Paris; Verbier Festival, Mostly Mozart Festival at Lincoln Center; Los Angeles’ Walt Disney Hall and Hollywood Bowl; Washington D.C.’s Kennedy Center; and many more.

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.

Silkroad Ensemble

Yo-Yo Ma conceived Silkroad in 1998, recognizing the historical Silk Road as a model for radical cultural collaboration–for the exchange of ideas, tradition, and innovation across borders. In an innovative experiment, he brought together musicians from the lands of the Silk Road to co-create a musical language founded in difference, thus creating the foundation of Silkroad: both a touring ensemble comprised of world-class musicians from all over the globe and a social impact organization working to make a positive impact across borders through the arts. Today, under the leadership of Artistic Director Rhiannon Giddens, Silkroad leads social impact initiatives and educational programming alongside the creation of new music by the GRAMMY® Award-winning Silkroad Ensemble.

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BIOGRAPHIES

Brian Skerry, photojournalist

Brian Skerry is a photojournalist specializing in marine wildlife and underwater environments. Since 1998, he has been a contract photographer for National Geographic magazine. Skerry is an 11-time Wildlife Photographer of the Year award winner. In 2010, National Geographic magazine named one of Skerry’s images among their 50 Greatest Photographs Of All Time. Skerry’s work has also been featured in Sports Illustrated, The New York Times, BBC Wildlife, The Washington Post, The Wall Street Journal, and Smithsonian among others. He is the author of 10 books and frequently lectures on photography, exploration, and conservation issues, having presented at venues such as the United Nations General Assembly, The World Economic Forum in Davos, Switzerland, TED Talks, The National Press Club in Washington, DC, The Royal Geographical Society in London, and the Sydney Opera House in Australia. He also serves as a Marine Fellow with Conservation International, serves on the World Wildlife Fund’s National Council and Marine Leadership Council, as well as on the Board of Directors of the Atlantic White Shark Conservancy.

Ukulele Orchestra of Great Britain

The Ukulele Orchestra of Great Britain was formed in 1985 as a bit of fun, but the first gig was an instant sell-out, and they’ve been performing ever since. The Orchestra has given thousands of sold-out concerts across the world, including Great Britain, Germany, Sweden, Finland, Poland, France, America, Canada, New Zealand, and Japan.

Over the last 37 years, the Ukulele Orchestra of Great Britain has spawned hundreds of imitators, and you can now find ukulele groups in nearly every major city, indeed, the Orchestra is often blamed for the current ukulele revival which is sweeping the globe.

Collaborators have included Madness, David Arnold, The British Film Institute, The Ministry of Sound, Yusuf Islam (aka Cat Stevens), and The Kaiser Chiefs.

Photo Credits: Cover: Academy of St Martin in the Fields © Benjamin Ealovega; Pg. 17:T. Schultz © David Pollar; Pg. 18: B. Rana © Simon Fowler; Pg. 22: Academy of St Martin in the Fields © Benjamin Ealovega; Pg. 26: L. Lang © Olaf Heine; Pg. 29: Arod Quartet © Julien Benhamou; Pg. 33: Ukulele Orchestra of Great Britain © Allison Burke; Pg. 34: Fish in Can © Brian Skerry; Pg. 35: Home Within courtesy of artist; Pg. 36: S.J. Cho © Holger Hage, M. Goerne © Marrie Staggat; Pg. 43: C. Botti © Fabrizio Ferri; Pg. 44: C. Botti © Fabrizio Ferri; Pg. 45: C. Botti © Fabrizio Ferri; 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: Academy of St Martin in the Fields © Benjamin Ealovega, J. Bell courtesy of artist, Arod Quartet © Julien Benhamou, C. Botti © Fabrizio Ferri; Pg. 51: S.J. Cho © Holger Hag, M. Goerne © Marrie Staggat, R. J. Hughes courtesy of artist, L. Lang © Olaf Heine; Pg. 52: K. Brown Montesano courtesy of artist, B. Rana © Simon Fowler, Silkroad ensemble courtesy of artist, B. Skerry © Mauricio Handler; Pg. 53: Ukulele Orchestra of Great Britain © Allison Burke; 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: A. Sandoval © Lonnie Timmons.

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

Your generosity also supports our programs in the local schools and throughout the community.

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

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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)

Ric & Eleanor Charlton Peter Cooper & Erik Matwijkow Silvija & Brian Devine Ingrid & Ted Friedmann 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 L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

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ANNUAL SUPPORT

GUARANTOR

SUPPORTER

Anonymous Gordon Brodfuehrer Wendy Brody Mary Ellen Clark Katherine & Dane Chapin Julie & Bert Cornelison Lyndie & Sam Ersantaft 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

Anonymous Judith Bachner & Dr. Eric L. Lasley Tom & Stephanie Baker Bjorn Bjerede & Jo Kiernan Bob & Ginny Black Una Davis & Jack McGrory Barbara Enberg Elliot & Diane Feuerstein Monica Fimbres 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

SUSTAINER

AMBASSADOR

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

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

($25,000 - $49,999)

($15,000 - $24,999)

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($10,000 - $14,999)

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

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

($5,000 - $9,999)

JOLLA MUSIC SOCIETY · 2021-22 SEASON

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

ANNUAL SUPPORT Howard & Barbara Milstein Alexandra Morton Muchnic Foundation Jeanne & Rick Norling Sally & Howard Oxley Carolyn & Ed Parrish Erin & Peter Preuss, Jr. Allison & Robert Price 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

ASSOCIATE

($1,000 - $2,499)

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

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

FRIEND

($500 - $999)

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

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

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ANNUAL SUPPORT

ENTHUSIAST ($250 - $499)

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

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

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

In Honor of Mary Lonsdale Baker: Anne Rodda

In Memory of Henry Gasang: Martha & Ed Dennis

In Memory of OJ Heestand: Donald Allison Gail Condor Judy Nielson 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 January 21, 2022. 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 April 2022 program book.

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

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MEDALLION SOCIETY CROWN JEWEL

SAPPHIRE

Brenda Baker and Steve Baum

John Hesselink Keith and Helen Kim Bebe and Marvin Zigman

DIAMOND Raffaella and John Belanich Joy Frieman Joan and Irwin Jacobs

RUBY Silvija and Brian Devine

EMERALD Arlene and Louis Navias

GARNET Julie and Bert Cornelison Peggy and Peter Preuss

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

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

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

DANCE SOCIETY GRAND JETÉ

PLIÉ

Jeanette Stevens Marvin and Bebe Zigman

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

POINTE Carolyn Bertussi

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

We are grateful for each patron for their passion and support of our dance programs.

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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

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

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

The Legacy Society recognizes those generous individuals who have chosen to provide for La Jolla Music Society’s future. Members have remembered La Jolla Music Society in their estate plans in many ways—through their wills, retirement gifts, life income plans, and many other creative planned giving arrangements. We thank them for their vision and hope you will join this very special group of friends. If you have included LJMS in your estate plans, please let us know so we may recognize you.

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FOUNDATIONS Thomas C. Ackerman Foundation

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

The Blachford-Cooper Foundation The Catalyst Foundation: The Hon. Diana Lady Dougan The Clark Family Trust Enberg Family Charitable Foundation The Epstein Family Foundation: Phyllis Epstein The Fidelity Charitable Gift Fund: The Carroll Family Fund Drs. Edward & Martha Dennis Fund Sue & Chris Fan Don & Stacy Rosenberg Shillman Charitable Trust Richard and Beverly Fink Family Foundation Inspiration Fund at the San Diego Foundation: Frank & Victoria Hobbs The Jewish Community Foundation: Jendy Dennis Endowment Fund Diane & Elliot Feuerstein Fund Galinson Family Fund Lawrence & Bryna Haber Fund Joan & Irwin Jacobs Fund Warren & Karen Kessler Fund Theodora F. Lewis Fund Liwerant Family Fund The Allison & Robert Price Family Foundation Fund John & Cathy Weil Fund

Muchnic Foundation Rancho Santa Fe Foundation: The Fenley Family Fund The Susan & John Major Fund The Oliphant Fund The Pastor Family Fund The San Diego Foundation: The Beyster Family Foundation Fund The M.A. Beyster Fund II The Karen A. & James C. Brailean Fund The Valerie & Harry Cooper Fund The Hom Family Fund The Scarano Family Fund The Shiftan Family Fund Schwab Fund for Charitable Giving: Ted McKinney & Frank Palmerino Fund The Shillman Foundation Simner Foundation The Haeyoung Kong Tang Foundation The John M. and Sally B. Thornton Foundation Vail Memorial Fund Thomas and Nell Waltz Family Foundation The John H. Warner Jr. and Helga M. Warner Foundation

SERVING OUR COMMUNITY La Jolla Music Society reaches over 11,000 students and community members annually. LJMS works with students from more than 60 schools and universities, providing concert tickets, performance demonstrations, and master classes. Thanks to the generous support of our patrons and donors, all of our outreach activities are free to the people we serve.

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CORPORATE & FOUNDATION SPONSORS

VAIL MEMORIAL FUND

CORPORATE PARTNERS

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PUBLIC SUPPORT La Jolla Music Society thanks all of our generous patrons and supporters–including government funding–who support our artistic, education and community engagement programs.

Support of our 2021-22 Season is provided by:

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

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JOIN OUR FAMILY

For more than 50 years, La Jolla Music Society has nurtured a love of music by keeping one vision in mind: To present diverse programs of great music performed by the best musicians in the world.

Today, that vision has reached beyond the intimate beauty of the chamber music ensemble and into new and diverse offerings such as orchestras, jazz ensembles, dance companies, renowned speakers, and robust education programs.

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

...with a gift today!

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

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The Conrad Prebys Performing Arts Center

RESILIENCE FUND Protect arts programming.

Ensure a future filled with live performances.

Donate Today LJMS.org or call 858.459.3728

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시음 /si-úm/ Jee yo on Kim PI AN O 시음 pronounced as /si-úm/ means poetry

and music in Korean. A unique classical piano performance in a way that you’ve never experienced before...

THE CONRAD PREBYS

PERFORMING ARTS CENTER

The Baker-Baum Concert Hall April 24, 2022 Sunday at 3 p.m.

TICKETS: www.ljms.org

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#PARTY AT THE CONRAD

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

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9/18/2018 2:20:21 PM

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INON BARNATAN, SUMMERFEST MUSIC DIRECTOR