THE CONRAD 2022–23
Kodo JANUARY–FEBRUARY Home of La Jolla Music Society
OCTOBER
APOLLON MUSAGÈTE QUARTET
GARRICK OHLSSOHN, piano
SATURDAY, OCTOBER 8, 2022 · 7:30 PM
Revelle Chamber Music Series
The Baker-Baum Concert Hall
JESS GILLAM, saxophone
THOMAS WEAVER*, piano
SUNDAY, OCTOBER 23, 2022 · 3 PM
Discovery Series
The Baker-Baum Concert Hall
AN EVENING WITH THE WAR AND TREATY
FRIDAY, OCTOBER 28, 2022 · 7:30 PM
Global Roots Series
The Baker-Baum Concert Hall
JAZZREACH
SATURDAY, OCTOBER 29, 2022 · 3 PM
The ConRAD Kids Series
The Baker-Baum Concert Hall
NOVEMBER
NAT GEO LIVE! EXPLORING MARS WITH KOBIE BOYKINS
THURSDAY, NOVEMBER 3, 2022 · 7 PM
Speaker Series
The Baker-Baum Concert Hall
TIME FOR THREE
SATURDAY, NOVEMBER 5, 2022 · 6:30 PM & 8:30 PM
Concerts @ The JAI
The JAI
DANIIL TRIFONOV
THURSDAY, NOVEMBER 10, 2022 · 7:30 PM
Piano Series
The Baker-Baum Concert Hall
EMMET COHEN TRIO
SUNDAY, NOVEMBER 20, 2022 · 5 PM & 7 PM
Concerts @ The JAI
The JAI
DECEMBER
ISABEL LEONARD, voice & PABLO SÁINZ-VILLEGAS, guitar
THURSDAY, DECEMBER 1, 2022 · 7:30 PM
Recital Series
The Baker-Baum Concert Hall
RANDALL GOOSBY, violin
ZHU WANG, piano
SUNDAY, DECEMBER 4, 2022 · 3 PM
Discovery Series
The Baker-Baum Concert Hall
SPECIAL HOLIDAY EVENT: STORM LARGE
HOLIDAY ORDEAL (PLEASE NOTE: Must be 18+ to attend)
SATURDAY, DECEMBER 10, 2022 · 7:30 PM
The Baker-Baum Concert Hall
PONCHO SANCHEZ
THURSDAY, DECEMBER 15, 2022 · 7:30 PM
Jazz Series
The Baker-Baum Concert Hall
ALFREDO RODRIGUEZ TRIO
SATURDAY, DECEMBER 17, 2022 · 6:30 PM & 8:30 PM
Concerts @ The JAI
The JAI
JANUARY
DAVINA AND THE VAGABONDS
SATURDAY, JANUARY 14, 2023 · 6:30 PM & 8:30 PM
Concerts @ The JAI
The JAI
CONNECT TO THE CONRAD
JOYCE DIDONATO
WEDNESDAY, JANUARY 18, 2023 · 7:30 PM
ProtoStar Innovative Series
The Baker-Baum Concert Hall
LEIF OVE ANDSNES
THURSDAY, JANUARY 19, 2023 · 7:30 PM
Piano Series
The Baker-Baum Concert Hall
MONTEREY JAZZ FESTIVAL ON TOUR
DEE DEE BRIDGEWATER, KURT ELLING, CHRISTIAN SANDS, LAKECIA BENJAMIN, CLARENCE PENN, YASUSHI NAKAMURA
THURSDAY, JANUARY 26, 2023 · 7:30 PM
Jazz Series
Balboa Theatre
123 ANDRÉS
SATURDAY, JANUARY 28 · 10 AM & 11:30 AM
The ConRAD Kids Series
The JAI
JOHAN DALENE, violin
SAHUN SAM HONG, piano
SUNDAY, JANUARY 29, 2023 · 3 PM
Discovery Series
The Baker-Baum Concert Hall
FEBRUARY
SPECIAL FAMILY EVENT: KODO
SATURDAY, FEBRUARY 11, 2023 · 7:30 PM
Balboa Theatre
NAT GEO LIVE! LIFE ON THE VERTICAL WITH MARK SYNNOTT
THURSDAY, FEBRUARY 16, 2023 · 7 PM
Nat Geo Live! Speaker Series
The Baker-Baum Concert Hall
ARIS QUARTETT
SUNDAY, FEBRUARY 19, 2023 · 3 PM
Discovery Series
The Baker-Baum Concert Hall
QUARTETTO DI CREMONA
FRIDAY, FEBRUARY 24, 2023 · 7:30 PM
Revelle Chamber Music Series
The Baker-Baum Concert Hall
THE CONRAD / LA JOLLA MUSIC SOCIETY · 2022-23 SEASON 2
PIERRE-LAURENT AIMARD
SUNDAY, FEBRUARY 26, 2023 · 7:30 PM
Piano Series
The Baker-Baum Concert Hall
MARCH
MARIA SCHNEIDER ORCHESTRA
SUNDAY, MARCH 5, 2023 · 6 PM
Jazz Series
The Baker-Baum Concert Hall
IGOR LEVIT
THURSDAY, MARCH 9, 2023 · 7:30 PM
Piano Series
The Baker-Baum Concert Hall
ALISA WEILERSTEIN
TUESDAY, MARCH 14, 2023 · 7:30 PM
ProtoStar Innovative Series
The Baker-Baum Concert Hall
ZAKIR HUSSAIN
SATURDAY, MARCH 18, 2023 · 7:30 PM
Global Roots Series
Balboa Theatre
SAMARA JOY
SUNDAY, MARCH 19, 2023 · 5 P.M & 7 PM
Concerts @ The JAI
The JAI
SCOTT SILVEN
SATURDAY, MARCH 25, 2023 3 P.M. & 8 PM
SUNDAY, MARCH 26, 2023 3 P.M. & 6 PM
Concerts @ The JAI
The JAI
APRIL
CHUCHO VALDÉS QUARTET
SATURDAY, APRIL 1, 2023 · 7:30 PM
Jazz Series
Balboa Theatre
ALVIN AILEY AMERICAN DANCE THEATRE
WEDNESDAY, APRIL 4, 2023, AT 7:30 PM
THURSDAY, APRIL 5, 2023, AT 7:30 PM
Dance Series
Civic Theatre
YO-YO MA & KATHRYN STOTT
THURSDAY, APRIL 6, 2023 · 7:30 PM
Recital Series
Civic Theatre
EMERSON STRING QUARTET
SUNDAY, APRIL 16, 2023 · 7:30 PM
Revelle Chamber Music Series
The Baker-Baum Concert Hall
MIDORI
THURSDAY, APRIL 20, 2023 · 7:30 PM
Recital Series
The Baker-Baum Concert Hall
Dates, times, programs, and artists are subject to change.
YUNCHAN LIM
SUNDAY, APRIL 23, 2023 · 3 PM
Discovery Series
The Baker-Baum Concert Hall
ALICE SARA OTT
FRIDAY, APRIL 28, 2023 · 7:30 PM
Piano Series
The Baker-Baum Concert Hall
MARIACHI REYNA DE LOS ANGELES AND VILLA-LOBOS BROTHERS
SUNDAY, APRIL 30, 2023 · 3 PM
Global Roots Series
The Baker-Baum Concert Hall
MAY
BROOKLYN RIDER & MAGOS HERRERA
SATURDAY, MAY 6, 2023 · 7:30 PM
ProtoStar Innovative Series
The Baker-Baum Concert Hall
PIANIMAL
SATURDAY MAY 6, 2023 · 10 A.M & 11:30 AM
The ConRAD Kids Series
The JAI
NEW CENTURY CHAMBER ORCHESTRA
DANIEL HOPE, violin & music director
FRIDAY, MAY 12, 2023 · 7:30 PM
Revelle Chamber Music Series
The Baker-Baum Concert Hall
CINEMA VERISMO* WITH MAK GRGI ´ C
SATURDAY, MAY 13, 2023 · 6:30 PM & 8:30 PM
Concerts @ The JAI
The JAI
COMPLEXIONS
SATURDAY, MAY 20, 2023 · 7:30 PM
Dance Series
Civic Theatre
NAT GEO LIVE! CORAL KINGDOMS AND EMPIRES OF ICE WITH DAVID DOUBILET AND JENNIFER HAYES
THURSDAY, MAY 25, 2023 · 7 PM
Nat Geo Live! Speaker Series
The Baker-Baum Concert Hall
JUNE
BODYTRAFFIC
THURSDAY, JUNE 1, 2023, AT 7:30 PM
FRIDAY, JUNE 2, 2023, AT 7:30 PM
Dance Series
The Baker-Baum Concert Hall
JIMMIE HERROD
SUNDAY, JUNE 4, 2023 · 5 PM & 7 PM
Concerts @ The JAI
The JAI
3 LJMS.ORG · 858.459.3728
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TheConrad.org · 858.459.3728 11
CALENDAR OF EVENTS 2 JOYCE DIDONATO 14 LEIF OVE ANDSNES 16 MONTEREY JAZZ FESTIVAL ON TOUR 20 JOHAN DALENE & SAHUN SAM HONG 21 KODO 25 NAT GEO LIVE: LIFE ON THE VERTICAL with MARK SYNNOTT 27 ARIS QUARTETT 28 QUARTETTO DI CREMONA 31 PIERRE-LAURENT AIMARD 35 CONCERTS @ THE JAI 36 CONCERTS DOWNTOWN 38 ConRAD KIDS SERIES 40 ARTISTS ’ PROFILES 42 BOARD & STAFF OF LA JOLLA MUSIC SOCIETY 46 THANK YOU FOR YOUR SUPPORT: DONOR LISTINGS 47
TABLE OF CONTENTS
Winter Season
THE CONRAD
Home of La Jolla Music Society
From classical, jazz, and dance to global music, National Geographic speakers, and family concerts, each season Artistic Director Leah Rosenthal brings the best artists in the world to the San Diego community. This season, our most exciting to date, features more than 50 artists, including favorites like Yo-Yo Ma, Midori, Emerson Quartet, Daniil Trifonov, Zakir Hussain, Kodo, Alvin Ailey American Dance Theater, and the Monterey Jazz Festival, plus many inspiring new faces like Cliburn Gold Medal winner Yunchan Lim, risingstar saxophonist Jess Gillam, The War and Treaty, Time For Three, Maria Schneider, and illusionist Scott Silven.
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 70 free and opento-the-public educational activities. To learn more, visit TheConrad.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.
Learning and Engagement
La Jolla Music Society’s award-winning Learning and Engagement Programming provides unmatched access and learning opportunities to more than 11,000 students and community members throughout San Diego County annually. With learning and engagement at the heart of our mission, we work closely with each visiting artist and ensemble to create outreach activities that highlight their unique talents and expertise at both The Conrad and in the community. With our state-of the-art video and streaming capabilities at The Conrad, we are able to provide live streaming for events such as our annual SummerFest and education events for free in our Digital Concert Hall.
Land Acknowledgment
The Conrad Prebys Performing Arts Center acknowledges the ancestral, unceded territory of the Kumeyaay people, on which The Conrad was built. We hold great respect for the land and the original people of the area where our performing arts center is located. The Kumeyaay continue to maintain their political sovereignty and cultural traditions as vital members of the San Diego community.
12 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
Welcome to La Jolla Music Society’s 54 th Winter Season
Hi All,
As we move into the heart of the San Diego winter and our 54th Season, I truly believe there is no better way to spend the cooler days and nights than by watching great performances in a beautiful venue like The Conrad, with friends and family.
La Jolla Music Society has been my second family for the past 15 years and my hope is that when you come to our performances, you feel as connected as I do to the work we present, the artists you see on stage, and the people experiencing the art around you.
As we celebrate the start of the New Year together, January welcomes two very different yet equally divine singers: Davina and the Vagabonds, and opera superstar Joyce DiDonato in her most recent project, EDEN.
On January 14, Davina and the Vagabonds return for two performances in our intimate and informal cabaret space, The JAI. Davina’s voice and stage presence have been compared to Etta James, Amy Winehouse, Janis Joplin, Billie Holiday, and Betty Boop. I have no doubt this not-to-be-missed performance will move you right out of your seat and onto your feet.
For our first winter season Connect to The Conrad event, Joyce DiDonato will make her LJMS debut with a special concert featuring the renowned chamber orchestra Il Pomo d’Oro in her latest project, EDEN. This breathtaking theatrical evening showcases Joyce’s glorious talent and range, as she performs songs and arias from Gluck, Handel, and Cavalli operas that explore our individual connection to nature and its impact on our world.
Throughout January and February programming, you will see a broad range of some of the world’s most illustrious talents, like revered pianists Leif Ove Andsnes and Pierre-Laurent Aimard, and mustsee events at the Balboa Theatre including the Monterey Jazz Festival on Tour featuring Dee Dee Bridgewater, Christian Sands, and Kurt Elling. The family-friendly powerhouse performance of Kodo will likely sell out, so be sure to get your tickets early. The Discovery Series continues with two rising star talents: Johan Dalene, First Prize Winner at the 2019 Carl Nielsen International Violin Competition, and the exciting Aris Quartett.
I would love to see you all at every one of our concerts, but even if that is not possible, should you feel inspired to take a chance and discover something a bit outside your comfort zone, I hope you will listen to that voice. Whether it is jazz, dance, classical, or cabaret, I have no doubt these artists will inspire and move you.
Leah Rosenthal Artistic Director La Jolla Music Society / The Conrad
Our Mission: The mission of La Jolla Music Society 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.
TheConrad.org · 858.459.3728 13
Support for this program generously provided by:
Mary Ellen Clark
CONNECT TO THE CONRAD JOYCE DIDONATO: EDEN
WEDNESDAY, JANUARY 18, 2023 · 7:30 PM THE BAKER-BAUM CONCERT HALL
IVES The Unanswered Question (1874–1954)
RACHEL PORTMAN The First Morning of the World (b.1960) Commissioned by Linda Nelson in memory of her beloved Stuart
MAHLER “Ich atmet’ einen linden Duft!” from Rückert-Lieder (1860–1911)
UCCELLINI Sinfonia terza (a cinque stromenti), Opus 7 (1603–1680)
MARINI “Con le stelle in Ciel che mai” from Scherzi e canzone, Opus 5 (1594–1663)
MYSLIVE ˇ CEK “Toglierò le sponde al mare” from Adamo ed Eva (1737–1781)
COPLAND “Nature, the gentlest mother” from 8 Poems of Emily Dickinson (1900–1990) for Voice and Chamber Orchestra
La Jolla Music Society’s 2022–23 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, Teresa and Harry Hixson, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, and Bebe and Marvin Zigman.
EDEN has been commissioned by University Musical Society of the University of Michigan; the Harriman-Jewell Series, Kansas City; Abu Dhabi Music & Arts Foundation; Cal Performances at University of California, Berkeley; Stanford Live; and UC Santa Barbara Arts & Lectures.
VALENTINI Sonata enharmonica (1582–1649)
CAVALLI “Piante ombrose” from La Calisto (1602–1676)
GLUCK “Danza degli spettri e delle furie” from Orfeo ed Euridice, Wq.30 (1714–1787) “Misera, dove son!…Ah! non son io che parlo” from Ezio, Wq.15
HANDEL “As with rosy steps the morn” from Theodora, HWV 68 (1685–1759)
MAHLER “Ich bin der Welt abhanden gekommen” from Rückert-Lieder
marks Joyce DiDonato’s La Jolla Music Society debut.
14 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
This performance
Joyce DiDonato, mezzo-soprano & executive producer
Zefira Valova, violin/conductor
Il Pomo d’Oro
Manuel Palazzo, actor
Marie Lambert-Le Bihan, stage director
John Torres, l ighting designer
Sophie Dand & Rachel Walters, EDEN engagement managers and partnership liaisons
Askonas Holt, tour management
Colin Murphy, production manager
Zoe Morgan, stage manager
Valentin Bodier, LX board operator
Javi Castrillon, set technician
Set Created by Escenografia Moia
Sergi Galera Nebot, technical director
Joan Font, design consultant
PARTNERS
International Teaching Artists Collaborative Botanical Gardens Conservation International
Seeds provided by Grupo Posta
Challenger Middle School Choir
Marielena Teng, Director
SEEDS OF HOPE
Written by Bishop Ramsey Choir, England
Composed by the Children of the Canterbury Choir, Bishop Ramsey CE School, England, with Mike Roberts
Joyce DiDonato would like to graciously thank the following for their generous support of EDEN :
Sara Morgan
Franci Neely
John Studzinski
Ann Ziff
Helen Berggruen
McDermott Foundation
Linda Nelson
John Singer
Kern Wildenthal
Dame Janet Baker
Michael Beverly, DL
Sarah Billinghurst Solomon Foundation
Katherine G. Farley
Tom and Pamela Frame
Richard Gaddes
The Getty Foundation
Eva Haller
INSPIRATUM
David Jacobs
Eric Laub
Ellen Marcus
Sir Simon Robey
Joyce would like to thank the Hilti Foundation for its generous support of the EDEN Engagement program.
TheConrad.org · 858.459.3728 15
NO INTERMISSION
TABLE OF CONTENTS
PRELUDE 6:30 PM
Lecture by Kristi Brown‐Montesano
LEIF OVE ANDSNES, piano
THURSDAY, JANUARY 19, 2023 · 7:30 PM THE BAKER-BAUM CONCERT HALL
VUSTIN Lamento (1943–2020)
La Jolla Music Society’s 2022–23 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, Teresa and Harry Hixson, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, and Bebe and Marvin Zigman.
JANÁˇCEK
Sonata: 1.X.1905 (1854–1928)
Con moto: Presentiment
Adagio: Death
VALENTYN SILVESTROV Bagatelle, Opus 1, No. 3 (b.1937)
BEETHOVEN
Piano Sonata in A-flat Major, Opus 110 (1770–1827)
Moderato cantabile molto espressivo
Allegro molto
Adagio ma non troppo; Fugue: Allegro, ma non troppo
INTERMISSION
Poetic Tone Pictures, Opus 85 (1841–1904)
DVO ˇ RÁK
Twilight Way
Toying
In the Old Castle Spring Song
Peasants’ Ballad
Rêverie
Furiant: Folk Dance
Leif Ove Andsnes, piano
Goblins’ Dance
Serenade
Bacchanalia
Tittle-Tattle
At a Hero’s Grave
On the Holy Mount
16 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
Leif Ove Andsnes last performed for La Jolla Music Society in the Piano Series on October 11, 2003.
Mr. Andsnes appears by arrangement with Enticott Music Management in association with IMG Artists.
Mr. Andsnes records exclusively for SONY Classical.
Artist’s Statement
I open my program with Leoš Janáček’s Piano Sonata
1.X.1905, “From the Street.” Paying tribute to a worker killed in a demonstration on October 1, 1905, the sonata is still chillingly relevant today. As I write these lines in late September 2022, young Iranian demonstrators are being killed in the streets of Tehran, and brave Russians are out voicing their resistance to the devastating war that threatens their lives. Janáček’s sonata is full of the anger and sadness we feel as we confront the meaningless war in Ukraine. As an epilogue, I follow it with one of the Bagatelles by Ukrainian composer Valentin Silvestrov. The Bagatelles are dreamy fragments that seem to evoke memories of times past, or perhaps hopes of something better.
In 2019 I invited composer Alexander Vustin, then 70 years old, to the Rosendal Chamber Music Festival in Norway. It was only his second time traveling outside Russia and he was clearly affected by having lived for so many years under the oppressive regime there. I found it very touching, not only to get to know him and his music, but also to see him listening with his whole being to festival performances of Shostakovich. Later I was deeply saddened to learn that Vustin passed away during Moscow’s first wave of COVID-19 infections, in April 2020.
Vustin’s Lamento anticipates the “Song of Lamentation” (“Klagender Gesang”) in Beethoven’s Piano Sonata No. 31, Opus 110. A most profound operatic aria, the song represents the heart of this compact sonata, in which Beethoven juxtaposes the “high art” of the last movement’s spiritual arias and fugues with the “low art” of the scherzo’s child-like folk songs.
The theme of “high and low” also runs through the 13 programmatic pieces of Dvořák’s Poetic Tone Pictures, Opus 85. Poetic short stories like “Twilight Way” and “At the Old Castle” rub shoulders with the triviality of “Joking” and “Tittle-Tattle.” There is intimacy in “Reverie,” drama in “At A Hero’s Grave,” wild virtuosity in “Bacchanal,” and a “Serenade” that develops into the most touching of love songs. The pandemic gave me the chance to study this strangely neglected cycle at last. It has been a most wonderful discovery, for this is life-affirming music of the greatest invention and imagination.
– Leif Ove Andsnes, October 2022
Program notes by Eric Bromberger
Lamento ALEXANDER VUSTIN
Born April 24, 1943, Moscow
Died April 19, 2020, Moscow
Composed: 1974
Approximate Duration: 3 minutes
The music of Alexander Vustin, who died of COVID-19 during the first months of the pandemic, is not widely known in the United States, though it is more familiar in Europe, where it has been performed by such artists as Gidon Kremer, Vladimir Jurowski, the BBC Symphony, and others. Vustin trained at the Moscow Conservatory and worked as a music editor while trying to establish himself as a composer. In 1972, at the age of 29, he disavowed all the music he had written earlier and set off on a much more adventurous and experimental path, including adapting some aspects of twelvetone music in his own compositions. Vustin’s major work is his opera The Devil in Love, on which he worked from 1975 until 1989; he also served as composer-in-residence with the State Orchestra of Russia in 2016.
Lamento, composed in 1974, grew out of an extraordinary and unexpected emotional experience: Vustin went to the funeral of a friend, and as the funeral went on, a bird began to sing outside the window. Vustin was struck by his sense of death inside that room while life proceeded outside. The brief (three-minute) Lamento contrasts that world of inside and outside. The music begins mournfully with the sound of the funeral, but after a few measures the bird breaks in with its own song, unaware and unaffected by the human events within. Lamento sets those two different kinds of music in stark counterpoint, grieving and celebrating at the same time.
Sonata: 1.X.1905
LEOŠ JANÁČEK
Born July 3, 1854, Hukvaldy, Moravia
Died August 12, 1928, Moravska Ostrava, Czechoslovakia
Composed: 1905
Approximate Duration: 13 minutes
Throughout his long life Leoš Janáček remained a passionate Czech nationalist, committed to freeing the Czechs from German domination. On October 1, 1905, came an event that fired these passions even more deeply. When the Czechs in Brno asked for the creation of a Czech university, the Germans demonstrated against them, and the Czechs retaliated with a counter-demonstration. Troops were called in to quash the violence, and in the process a 20-year-old Czech worker was bayoneted to death. Outraged, Janáček composed a three-movement piano sonata that he titled after the date of that violence; its subtitle has been translated variously “From the Streets” or “Street Scene.”
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TABLE OF CONTENTS
The sonata was originally in three movements, but at a rehearsal, Janáček—apparently overcome by the quality of works on the program by other composers—stormed onto the stage and, in front of the astonished pianist, burned the last movement. After the next rehearsal, Janáček took the manuscripts to the first two movements and threw them into the Vltava River. He noted: “They did not want to sink. The paper bulged and floated on the water like so many white swans.” This time, though, the pianist was ready—she had made copies of these two movements and saved them. Nearly twenty years later, in 1924, Janáček agreed to their publication.
The two surviving movements are quite short, and both are unified around the same rhythmic and thematic figures. The opening Con moto (subtitled “Presentiment”) commences with a generalized theme-shape that becomes, in the fourth measure, the germinal cell for the entire sonata. All the other themes evolve in some way from this figure. It becomes, for example, the accompaniment to the chordal second theme, and throughout the sonata it is transformed by Janáček’s fluid rhythmic sense—the music speeds ahead, holds back, and seems to be stretched or compressed as we listen. The main theme of the Adagio (subtitled “Death” but originally subtitled “Elegie”) also grows out of the first movement’s central theme. Full of a wild and wistful quality, this movement grows more animated and then subsides to an elegiac close.
One wonders what the last movement was like.
Bagatelle, Opus 1, No. 3
VALENTYN SILVESTROV
Born September 30, 1937, Kyiv
Composed: 2005
Approximate Duration: 4 minutes
Ukrainian composer Valentyn Silvestrov studied piano and composition at the Kyiv Conservatory and has made his career as an independent composer since then. His style has evolved over the decades, from large-scale works to more intimate compositions, elusive in expression and virtually ephemeral in their effect. Now 85 years old, Silvestrov fled Kyiv with the Russian invasion of February 2022 and now lives in Berlin.
Of his Bagatelles for solo piano, Silvestrov has written: “In 2000 I started to compose small pieces in the style of bagatelles. Bagatelles are little jewels, because they are not encumbered with any kind of ideological baggage and the creative act always occurs in a flash… As soon as you play the piece at the piano, it is finished, even if it has not yet been written down. As soon as the music exists in notated form you already begin to move away from it—the text begins to take on a life of its own…”
The third bagatelle of Silvestrov’s Opus 1 is marked Moderato, and it stays at that carefully paced tempo throughout. It is built around one theme, gentle and inward in its expression, that returns throughout, evolving as it goes and harmonized in new ways on each reappearance. This is not music that goes anywhere or sets out to achieve something. Rather, it evokes a series of changing moods and then vanishes just as quietly and enigmatically as it began.
Piano Sonata in A-flat Major, Opus 110 LUDWIG VAN BEETHOVEN
Born December 16, 1770, Bonn, Germany
Died March 26, 1827, Vienna
Composed: 1821
Approximate Duration: 20 minutes
The years 1813 through 1820 were exceptionally difficult for Beethoven, who virtually stopped composing in these years. There were several reasons for this: his deafness was now nearly complete, he suffered periods of poor health, and much of his energy was consumed with his struggle for legal custody of his nephew Karl. And—perhaps most important—he had reached a creative impasse brought on by the exhaustion of his Heroic Style. Where the previous two decades had seen a great outpouring of music, now his creative powers flickered and were nearly extinguished. Not until 1820 was he able to put his troubles, both personal and creative, behind him and marshal his energy as a composer. At the end of May 1820 he committed himself to writing three piano sonatas for the Berlin publisher Adolph Martin Schlesinger; these would be Beethoven’s final sonatas. Although he claimed he wrote them “in one breath,” their composition actually was spread out over a longer period than he expected when he agreed to write them.
The Sonata in A-flat Major, completed in December 1821, shows some of the most original touches in a group of sonatas that are all distinguished for their originality. The first movement, Moderato cantabile molto espressivo, is remarkable for its lovely and continuous lyricism. Beethoven notes that the opening is to be played con amabilità, and that spirit hovers over the entire movement. The essentially lyric quality of this movement is underlined by the fact that the second theme grows immediately out of the first: the opening idea has barely been stated when the second seems to rise directly out of it. By contrast, the bluff Allegro molto is rough and ready: it is a scherzo with a brief trio section full of energy and rhythmic surprises.
The long final movement is of complex structure: it performs the function of both adagio and finale, yet even these elements are intermixed with great originality. The main theme of the Adagio, marked Arioso dolente, arches painfully over a steady chordal accompaniment before
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Beethoven introduces a fugue marked Allegro, ma non troppo After a brief working-out, the fugue comes to a halt and the Arioso theme returns. This time, however, Beethoven has marked it Ermattet, klagend (exhausted, grieving), and here the music seems almost choked and struggling to move. Yet gradually the music gathers strength and the fugue returns, but this time Beethoven has inverted the theme and builds the fugue on this inversion. The sonata ends with a great rush upward across five octaves to the triumphant final chord.
Poetic Tone Pictures, Opus 85 ANTONÍN DVOŘÁK
Born September 8, 1841, Muhlhausen, Bohemia
Died May 1, 1904, Prague
Composed: 1889
Approximate Duration: 58 minutes
Though he was a fine violist, Dvořák was at best a competent pianist who was able to participate in public performances of his own chamber works. Music for the piano does not figure largely in his catalog, and his works for piano are not often heard today. Dvořák composed his Poetic Tone Pictures at his summer estate at Vysoka between April 16 and June 6, 1889, just before beginning his Eighth Symphony. The title Poetic Tone Pictures comes from the German translation of the Czech title, which might more accurately translate into English as Poetic Moods: Each of these thirteen brief pieces sets out to create a particular atmosphere or paint a quick portrait. In a letter to his publisher, Dvořák described this music: “Each piece will bear a title and is intended to express something, i.e. it is to a certain extent program music, but in Schumann’s sense of the term; and yet I must remark forthwith that they do not sound Schumannesque.” Dvořák had originally intended that there be only twelve pieces in this collection, but finally added one more, a fact that bothered the superstitious composer a little: “It is an ominous number, but there were just as many Moravian duets and they, after all, managed to wander quite a way through the world! Perhaps they will do so again.”
These are character pieces. By turn, Dvořák offers the sound of peasant dances and songs, folk tales, pictures of places, or music that can be dreamy one moment and full of wild pleasure the next. Such a description might make the Poetic Tone Pictures sound like salon music intended for domestic consumption, but in fact some of these pieces are quite difficult. Dvořák conceived of Poetic Tone Pictures as a unified set and wanted the cycle performed complete, and at this concert Mr. Andsnes offers a performance of the complete work.
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PRELUDE 6:30 PM
Interview with Christian Sands hosted by Robert John Hughes
MONTEREY JAZZ FESTIVAL ON TOUR featuring DEE DEE BRIDGEWATER, KURT ELLING, CHRISTIAN SANDS, LAKECIA BENJAMIN, CLARENCE PENN, YASUSHI NAKAMURA
THURSDAY, JANUARY 26, 2023 · 7:30 PM
BALBOA THEATRE
ABOUT
La Jolla Music Society’s 2022–23 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, Teresa and Harry Hixson, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, and Bebe and Marvin Zigman.
Dee Dee Bridgewater, vocals
Kurt Elling, vocals
Christian Sands, piano & music director
Lakecia Benjamin, alto saxophone
Clarence Penn, drums
Yasushi Nakamura, bass
Works to be announced from stage.
NO INTERMISSION
One of the world’s longest-running musical events, the Monterey Jazz Festival celebrates its 65th year with a once-in-a-lifetime ensemble. Featuring Tony and GRAMMY ® Awardwinning NEA Jazz Master vocalist Dee Dee Bridgewater alongside GRAMMY ® Awardwinning vocalist Kurt Elling and critically acclaimed rising star saxophonist Lakecia Benjamin, this stellar band is directed by visionary pianist Christian Sands and anchored by his longtime rhythm section, bassist Yasushi Nakamura and drummer Clarence Penn.
Monterey Jazz Festival on Tour last performed for La Jolla Music Society in the Jazz Series on January 16, 2016.
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PRELUDE 2 PM
Musical Prelude by students from the Colburn School
Support for this program generously provided by:
Gordon Brodfuehrer
Jeanette Stevens
JOHAN DALENE , violin
SAHUN SAM HONG, piano
SUNDAY, JANUARY 29, 2023 · 3 PM
THE BAKER-BAUM CONCERT HALL
ARVO PÄRT Fratres (b.1935)
LERA AUERBACH Selections from 24 Preludes for Violin and Piano, Opus 46 (b.1973) No. 3 Andantino misterioso
No. 4 Allegro No. 8 Andante
GRIEG Violin Sonata No. 3 in C Minor, Opus 45 (1843–1907) Allegro molto ed appassionato
Allegretto espressivo alla Romanza
Allegro animato
INTERMISSION
BRAHMS Violin Sonata No. 3 in D Minor, Opus 108 (1833–1897) Allegro
Adagio
Un poco presto e con sentimento
Presto agitato
RAVEL Sonata in G Major for Violin and Piano (1875–1937) Allegretto
Blues: Moderato
Perpetuum mobile
Johan Dalene, violin; Sahun Sam Hong, piano
La Jolla Music Society’s 2022–23 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, Teresa and Harry Hixson, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, and Bebe and Marvin Zigman. This performance marks Johan Dalene’s and Sahun Sam Hong's La Jolla Music Society debuts.
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TABLE OF CONTENTS
Program notes by Eric Bromberger
Fratres
ARVO PÄRT
Born September 11, 1935, Paide, Estonia
Composed: 1980
Approximate Duration: 11 minutes
Arvo Pärt has endured a long and difficult path to his current prominence as a composer. Trained in Tallinn, Pärt supported himself for many years as a recording engineer for Estonian Radio and by writing film scores as he tried to make his way as a composer in a society rigidly controlled by conservative Soviet artistic dictates. Rebelling against the conformity and simplicity of that approach, Pärt began to experiment: first with serialism (at a time when that was discouraged in Soviet music), then with collage techniques, and later with the plainchant of early religious music. Without any knowledge of minimalism as it was then evolving in the United States, Pärt arrived at similar compositional procedures by himself, and his music is built on the same hypnotic repetition of simple materials, in his case often derived from early church music (a strong animating feature of Pärt’s music is his devout Orthodox faith). With his family, Pärt emigrated in 1980 and has lived in Germany since 1981.
Fratres exists in several different forms. Pärt originally composed it in 1977 for the Estonian early-music group Hortus Musicus. He then received a commission from the Salzburg Festival for a work for violin and piano based on Fratres, and this version—the one heard in this concert—was premièred at Salzburg on August 17, 1980, by Gidon and Elena Kremer. Pärt subsequently arranged Fratres for the twelve cellos of the Berlin Philharmonic and then for other ensembles. Each of these versions is slightly different, fitting in a work which is itself in variation form.
The violin-piano version opens with a prelude for solo violin, a string of shifting arpeggios that grow out of near-inaudibility to triple forte. Powerful piano chords interrupt this progression, and then the piano lays out the three-measure ground bass—in 7/4, 9/4, and 11/4—that will repeat sixteen times, sometimes broken by near-static interludes. Above these inexorable chords, the violin spins out a sequence of variations in different speeds and moods. Fratres is exceptionally solemn and beautiful music: The piano’s chord progression has a cantus firmus dignity, and the violin variations complement and extend the solemnity of that line. The music remains poised—one might say serene— throughout the sixteen variations, which have detached, almost timeless quality, and finally Fratres fades into silence on the strange sound of the violin’s col legno chords.
Selections from 24 Preludes for Violin and Piano, Opus 46 LERA AUERBACH
Born October 21, 1973, Chelyabinsk, Russia
Composed: 1999
Approximate Duration: 9 minutes
In 1722 Bach wrote a set of preludes and fugues for keyboard in all twenty-four of the major and minor keys, and The Well-Tempered Clavier—full of wonderful, ingenious, and expressive music—has moved and haunted composers ever since. One of those haunted was Bach himself: twenty years later he wrote a second set of twenty-four preludes and fugues, and many composers have subsequently felt the pull of Bach’s achievement, among them Chopin, Rachmaninoff, Scriabin, and Shostakovich.
Contemporary composers have felt drawn to that same challenge, perhaps none more than the Russian-American composer Lera Auerbach. In 1998, at the age of 25, she composed a set of 24 Preludes for Piano in all the major and minor keys, and the following year she composed two new sets of twenty-four preludes in all the major and minor keys, one for violin and piano and one for cello and piano. Auerbach has been quite direct in stating that—like Bach— she is drawn to “the value and expressive possibilities of the major and minor tonalities”: to composers, each key has its particular color and personality and demands a specific sort of music. Of the Preludes for Violin and Piano, she has said: “The special character of the pieces lies in regarding familiar things from an unexpected perspective and discovering that these things are not what they may seem to be at first glance.” That last sentence is important, for Auerbach will set all kinds of music side by side in these preludes. She can write the most appealing melodies, then surround them with weird sounds, sudden outbursts, slashes of unexpected color. This recital offers three of the 24 Preludes for Violin and Piano. No. 3 (G major) is built on a simple music box-like tune, but its sul ponticello presentation makes that innocent tune sound brittle and aggressive. In the violent middle section pounding piano chords pull us in a different direction, and suddenly the simple opening tune returns—and dissolves in front of us. No. 4 (E minor) begins with a perpetualmotion rush of almost demonic fury, and this makes its understated ending all the more effective. No. 8 (F-sharp minor) opens with a steady accompaniment from the piano, and above this the violin plays a serene melody in which some have heard a whiff of a Mozart piano concerto. Long glissandos deflate some of that serenity before the opening melody returns in artificial harmonics to bring the prelude to a poised conclusion.
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Violin Sonata No. 3 in C Minor, Opus 45 EDVARD GRIEG
Born June 15, 1843, Bergen, Norway
Died September 4, 1907, Bergen, Norway
Composed: 1887
Approximate Duration: 24 minutes
Grieg was never especially attracted to the sonata form so favored by nineteenth-century German composers like his good friend Johannes Brahms. While his most popular composition is his Piano Concerto, Grieg was happiest—and most successful—in smaller forms such as songs and pieces for solo piano. It should come as no surprise, then, that Grieg wrote so little chamber music: one cello sonata, one string quartet, and three violin sonatas. But despite its comparative rarity in his output, Grieg was interested enough in chamber music to write it throughout his career: his First Violin Sonata dates from 1865, when Grieg was only 22; the Third is one of his final works.
Grieg’s violin sonatas are heard less often today than they were even a few decades ago, and this is unfortunate, for their combination of lyricism and passion should make them attractive to both the professional and amateur performer, as well as to audiences. Only the Sonata in C Minor has remained steadily in the repertory, and many record collectors today treasure a historic recording of this sonata by Kreisler and Rachmaninoff made in 1928.
Grieg wrote his third—and last—violin sonata in the years 1886–87, when he was 43; the first performance took place in Leipzig in December 1887 with Adolph Brodsky as violinist and Grieg himself at the piano. In contrast to the more amiable first two sonatas, the Third is full of fire, and one feels this from the first instant of the Allegro molto ed appassionato, where the motto-like opening theme bursts out with no introduction. The second idea is more lyric, but the overall impression this movement creates is of continuous drama, particularly as the opening theme dominates the development, appearing in many registers and guises. Grieg’s tendency to develop a movement through repetition rather than through the growth of his thematic material is evident here. The movement arrives at its close on a fierce restatement of the opening theme.
After the seething drama of the opening movement, the second brings welcome calm. As its title indicates, the Allegretto espressivo alla Romanza is a romance, an expressive movement in free form (here ternary form). Its opening subject, given entirely to the piano, is Grieg at his most intimate and lyric, and the violin repeats the entire section verbatim. An Allegro molto center section, sometimes characterized as a folk dance, provides animated contrast before violin and piano together restate the opening section. The beginning of the Allegro animato brings a surprise,
for the violin’s opening theme is a variation of the Allegro molto center section of the previous movement. The stamping, dance-like rhythm of this theme is never absent for long in the final movement. At the climax, the music relaxes into a Cantabile passage for the violin over great arpeggios in the piano before the sonata concludes with a Prestissimo rush.
Violin Sonata No. 3 in D Minor, Opus 108 JOHANNES BRAHMS
Born May 7, 1833, Hamburg
Died April 3, 1897, Vienna
Composed: 1888
Approximate Duration: 21 minutes
Brahms spent the summer of 1886 at Lake Thun in Switzerland. He had just completed his Fourth Symphony, and now—in a house from which he had a view of the lake and a magnificent glacier—he turned to chamber music. That summer he completed three chamber works and began the Violin Sonata in D Minor, but he put the sonata aside while he wrote the Zigeunerlieder (“Gypsy Songs”) and Double Concerto for Violin and Cello, grumbling that writing for stringed instruments should be left to “someone who understands fiddles better than I do.” He returned to Lake Thun and completed his final violin sonata in the summer of 1888.
Despite Brahms’ customary self-deprecation, his writing for stringed instruments could be very convincing, and the Third Violin Sonata is brilliant music—not in the sense of being flashy but in the fusion of complex technique and passionate expression that marks Brahms’ finest music. The violin’s soaring, gypsy-like main theme at the opening of the Allegro is so haunting that it is easy to miss the remarkable piano accompaniment: Far below, the piano’s quiet syncopated octaves move ominously forward, generating much of the music’s tension. Piano alone has the second theme, with the violin quickly picking it up and soaring into its highest register. The development of these two ideas is disciplined and ingenious: In the piano’s lowest register Brahms sets a pedal A and lets it pound a steady quarter-note pulse for nearly 50 unbroken measures—beneath the powerful thematic development, the pedal notes hammer a tonal center insistently into the listener’s ear. Its energy finally spent, this movement gradually dissolves on fragments of the violin’s opening melody.
The heartfelt Adagio consists of a long-spanned melody (built on short metric units—the meter is 3/8) that develops by repetition; the music rises in intensity until the doublestopped violin soars high above the piano, then falls back to end peacefully. Brahms titled the third movement Un poco presto e con sentimento, though the particular sentiment he had in mind remains uncertain. In any case, this shadowy, quicksilvery movement is based on echo effects as bits
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of theme are tossed between the two instruments. The movement comes to a shimmering close: piano arpeggios spill downward, and the music vanishes in two quick strokes. By contrast, the Presto agitato finale hammers along a pounding 6/8 meter. The movement is aptly titled: this is agitated music, restless and driven. At moments it sounds frankly symphonic, as if the music demands the resources of a full symphony orchestra to project its furious character properly. Brahms marks the violin’s thematic entrance passionato, but he needn’t have bothered—that character is amply clear from the music itself. Even the noble second theme, first announced by the piano, does little to dispel the driven quality of this music. The complex development presents the performers with difficult problems of ensemble, and the very ending feels cataclysmic: the music slows, then suddenly rips forward to the cascading smashes of sound that bring this sonata to its powerful close.
Sonata in G Major for Violin and Piano MAURICE RAVEL
Born March 7, 1875, Ciboure, France
Died December 28, 1937, Paris
Composed: 1927
Approximate Duration: 18 minutes
Ravel began making sketches for his Violin Sonata in 1923, the year after he completed his orchestration of Mussorgsky’s Pictures at an Exhibition. He was composing a number of works for violin during these years, including Tzigane, but the Violin Sonata proved extremely difficult for him, and he did not complete it until 1927. The first performance, by violinist Georges Enesco and the composer, took place on May 30, 1927, in Paris while that city was still in a dither over the landing of Charles Lindbergh the week before.
In the Violin Sonata, Ravel wrestled with a problem that has plagued all who compose violin sonatas—the clash between the resonant, sustained sound of the violin and the percussive sound of the piano—and he chose to accentuate these differences: “It was this independence I was aiming at when I wrote a Sonata for violin and piano, two incompatible instruments whose incompatibility is emphasized here, without any attempt being made to reconcile their contrasted characters.” The most distinctive feature of the sonata, however, is Ravel’s use of jazz elements in the slow movement.
The opening Allegretto is marked by emotional restraint. The piano alone announces the cool first theme, which is quickly picked up by the violin. A sharply rhythmic figure, much like a drum tattoo, contrasts with the rocking, flowing character of the rest of this movement, which closes on a quietly soaring restatement of the main theme.
Ravel called the second movement Blues, but he insisted that this is jazz as seen by a Frenchman. In a lecture during his American tour of 1928, he said of this movement: “While I adopted this popular form of your music, I venture to say that nevertheless it is French music, Ravel’s music, that I have written.” He sets out to make violin and piano sound like a saxophone and guitar, specifying that the steady accompanying chords must be played strictly in time so that the melodic line can sound “bluesy” in contrast. The “twang” of this movement is accentuated by Ravel’s setting the violin in G major and the piano in A-flat major at the opening. Thematic fragments at the very beginning of the finale slowly accelerate to become a virtuoso perpetual motion. Ravel brings back themes from the first two movements before the music rushes to its brilliant close, which features complex string-crossings for the violinist.
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Support for this program generously provided by:
ProtoStar Foundation
KODO
ONE EARTH TOUR 2023: TSUZUMI
SATURDAY, FEBRUARY 11, 2023 · 7:30PM
BALBOA THEATRE
DYU-HA
KONO MINE NO
HAYASHI-BAYASHI
HITOHI
HAYATE
ZOKU
Composed by Maki Ishii (1981)
Composed by Yoko Fujimoto (2003)
Composed by Masayasu Maeda, Yuta Kimura (2019)
Composed by Masayasu Maeda, dance arr. by Koki Miura (2019)
Composed by Ryotaro Leo Ikenaga (2020)
Composed by Leonard Eto (1989)
INTERMISSION
MONOCHROME
UCHOTEN
P.P.C.
AYUMI
IZUMOGAKU
O-DAIKO
Composed by Maki Ishii (1976)
Composed by Yuki Hirata (2019)
Composed by Yuichiro Funabashi, Mitsuru Ishizuka, Yosuke Oda (2005)
Composed by Yuta Sumiyoshi (2020)
Traditional, arr. by Kodo
Traditional, arr. by Kodo
La Jolla Music Society’s 2022–23 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, Teresa and Harry Hixson, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, and Bebe and Marvin Zigman.
YATAI-BAYASHI
Traditional, arr. by Kodo
The following pieces are based on these regional traditional performing arts: Hitohi: Onidaiko (Sado Island, Niigata)
Hayate: Hachijo Taiko (Hachijo Island, Tokyo)
Yatai-bayashi: Chichibu Yatai-bayashi (Chichibu, Saitama)
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Kodo last performed for La Jolla Music Society in a special event on February 6, 2015. Kodo appears by arrangement with IMG Artists, LLC, 7 West 54th Street, New York, NY 10019. 212-994-3500
TABLE OF CONTENTS
KODO PERFORMERS
Eiichi Saito • Jun Jidai Koki Miura • Ryotaro Leo Ikenaga • Reo Kitabayashi
Mizuki Yoneyama • Yuta Kimura • Yuki Hirata • Taiyo Onoda • Kei Sadanari • Moe Niiyama
Jumpei Nonaka • Hana Ogawa
Artists’ Statement
Our 2021 North America tour was postponed due to the pandemic, so we have been looking forward to sharing this program with you all for a long time. Thank you for your patience and encouragement. We hope today’s performance will uplift you and bring you joy.
In Japanese, the word “Kodo” holds a double meaning. It can be translated as “heartbeat,” the primal source of all rhythm. However, our group’s name is written with different characters, which mean “drum” and “child.” This reflects Kodo’s desire to play the drums with the simple heart of a child. To commemorate our 40th anniversary in 2021, we created two new touring productions based on our name: Tsuzumi takes its name and theme from the drum character, and Warabe from the child element. Tsuzumi, the first work, opens with a very special piece in our ensemble’s history that is seldom performed on tour—Dyu-Ha The late Maki Ishii, a modern composer who was introduced to Kodo by conductor Seiji Ozawa, presented this piece to Kodo as a gift to congratulate our ensemble on its debut in 1981. We will perform Dyu-Ha on this tour for the first time in North America since 1989. Today’s program also features Ishii’s masterpiece Monochrome and other Kodo signature pieces such as O-daiko, Yatai-bayashi, and Zoku, coupled with new compositions. Join us as we trace our group’s origins back to the beginning, to reflect on our history and reaffirm what has shaped Kodo today.
Message from Director Yuichiro Funabashi:
Thank you very much for attending our performance today.
“Kodo One Earth Tour: Tsuzumi” is the first production in a series of commemorative works we created for Kodo’s 40th anniversary celebrations in 2021. The theme of this work is our home base, Sado Island. With its lush nature and distinct history, this special place has been the starting point for Kodo’s diverse local and international activities for the past four decades. Our projects are constantly guided by three words that underpin our mission—living, learning, creating.
Since early 2020, countless lives have been impacted by the effects of COVID-19. These circumstances have been very difficult for Kodo to navigate as a group, and we are still grappling with concert postponements and cancelations. But we have remained optimistic as we pressed on with our work, using this time to reflect on our group’s history. All of us at Kodo were brought to Sado, this remote island in the Sea of Japan, by the captivating resonant tones of the taiko. People on Sado live in close proximity to nature, which
affects and informs their everyday activities. Here, through the wide range of performing arts and festivals upheld on the island, we can feel the living, breathing origins of all creative pursuits.
The reverberations of taiko awaken the power of heaven and earth. Conjured and honed on Sado, Kodo’s sound is like no other.
I sincerely hope you’ll enjoy this performance and the visceral sound of Kodo’s taiko. We will give it our absolute all on stage, hoping you feel our joy and gratitude in each and every beat.
Tsuzumi is the first of two Kodo 40th Anniversary touring productions, and Warabe is the second. Together, these works will serve as cornerstones for Kodo’s next innovative chapter. Thank you for celebrating our past, present, and future with us through these works.
– Yuichiro Funabashi Director
/ Leader of Kodo Taiko Performing Arts Ensemble
Director: Yuichiro Funabashi
Technical Director: Kei Furukata
Lighting Designer: Kenichi Mashiko (S.L.S.)
Stage Manager: Kazuki Imagai, Yusuke Hayakawa
Tour Managers: Natsumi Ikenaga, Sorami Ikeyama, Minami Sasaki
Company Manager: Yui Kamiya
Assistant Manager: Donnie Keeton
International Tour Management: IMG Artists https://imgartists.com/
Music Advisor: Tatsuya Shimono
Voice Instructor: Yumi Nogami
Posture & Movement Instructor: Tatsuo Kudo
Special Thanks: Ranjo, Shingo Tokihiro, Kawachi Wakate, Rengebuji Temple
North American Tour Support: Asian Taiko U.S., Inc.
North American Tour Marketing: SoloShoe Communications, LLC
Supported by the Agency for Cultural Affairs, Government of Japan
26 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON KODO - PROGRAM NOTES
La Jolla Music Society’s 2022–23 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, Teresa and Harry Hixson, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, and Bebe and Marvin Zigman.
LIFE ON THE VERTICAL WITH MARK SYNNOTT
THURSDAY, FEBRUARY 16, 2023 · 7 PM
THE BAKER-BAUM CONCERT HALL
PROGRAM
Presentation
Question & Answer Session
NO INTERMISSION
ABOUT
Mark Synnott is a pioneering big-wall climber and one of the most prolific adventurers of his generation. He has pioneered four big-wall first ascents on Baffin Island’s remote east coast, including a grade VII on the 4,700-foot north face of Polar Sun Spire. In Pakistan’s Karakoram Mountains, he established two grade VII big-wall first ascents. One, a 6,000-foot wall topping out over 20,000 feet, is one of the longest rock climbs in the world. Closer to home, Mark has climbed Yosemite’s El Capitan 22 times, including several one-day ascents.
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This presentation marks Mark Synnott’s La Jolla Music Society debut.
TABLE OF CONTENTS
photo by: Jared Ogden
PRELUDE 2 PM
Musical Prelude by students from the Colburn School
Support for this program generously provided by:
Gordon Brodfuehrer
Jeanette Stevens
ARIS QUARTETT
SUNDAY, FEBRUARY 19, 2023 · 3 PM THE BAKER-BAUM CONCERT HALL
MOZART String Quartet in C Major, K.465 “Dissonant” (1756–1791) Adagio; Allegro
Andante cantabile
Menuetto: Allegro
Allegro non troppo
MENDELSSOHN String Quartet in F Minor, Opus 80 (1809–1847) Allegro vivace assai
Allegro assai
Adagio
Finale: Allegro molto
INTERMISSION
GRIEG String Quartet in G Minor, Opus 27 (1843–1907) Un poco andante; Allegro molto ed agitato
Romanze: Andantino; Allegro agitato
Intermezzo: Allegro molto marcato
Finale: Lento; Presto al Saltarello
Aris Quartett
Anna Katharina Wildermuth, Noémi Zipperling, violins; Caspar Vinzens, viola; Lukas Sieber, cello
La Jolla Music Society’s 2022–23 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, Teresa and Harry Hixson, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, and Bebe and Marvin Zigman.
This performance marks Aris Quartett’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: 30 minutes
When Mozart moved to Vienna in 1781, the towering figure in music was Franz Joseph Haydn, then nearly 50. One of the first works Mozart encountered in Vienna was the set of six string quartets Haydn had just composed as his Opus 33. Mozart was impressed. Haydn had taken the string quartet, which for the previous generation had been a divertimentolike 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 group of six quartets of his own. We normally think of Mozart as a fast worker, but he worked for three years on these quartets, revising and refining until he had them just the way he wanted. When the six quartets were published in 1785, Mozart dedicated them to Haydn—we know them as Mozart’s “Haydn Quartets”—and conceded that they were indeed “the fruit of long and laborious toil.”
The Quartet in C Major, the last of the six and nicknamed the “Dissonant” Quartet, was completed on January 14, 1785. The nickname comes from its extraordinary slow introduction, a span of 22 bewildering measures that left early audiences confused and threatened. The quartet is nominally in C major, and the music opens with a steady pulse of Cs 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, unmooring us from any sense of tonal stability and leaving us unsettled, uncertain of the music’s character or direction. But order is restored at the Allegro, where the music settles into radiant C major and normal sonata form. This movement is quite straightforward, flowing broadly along its bright C-major energy; the development concentrates on the first subject, Mozart offers repeats of both exposition and development, and an ebullient coda draws the movement to a quiet close. Mozart specifies that the second movement should be Andante cantabile, and it does sing, though that lyric main idea evolves and grows more conflicted as the movement proceeds. Those tensions subside, and the movement almost whispers its way to the pianissimo close.
The Menuetto powers its way along a rock-ribbed strength, but Mozart surprises us when the trio moves unexpectedly into urgent C minor. After these stresses, the concluding Allegro returns to the bright spirits of the opening movement. The form here is one of those magical amalgamations in which Mozart was able to fuse rondo and sonata form. There is something both serious and lighthearted about this movement, and its firm conclusion—in resounding C major— reminds us how far we have traveled from the harmonic uncertainty of the very beginning of the first movement. Mozart may have been deeply impressed 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: “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 in F Minor, Opus 80 FELIX MENDELSSOHN
Born February 3, 1809, Hamburg
Died November 4, 1847, Leipzig
Composed: 1847
Approximate Duration: 25 minutes
Mendelssohn’s life was short, and its ending was particularly painful. Always a driven man, he was showing signs of exhaustion during the 1846–7 season, which included trips to London and conducting engagements on the continent. In May 1847 came the catastrophe: his sister Fanny, only 41, suffered a stroke and died within hours. She and her younger brother had always been exceptionally close—Mendelssohn collapsed upon learning of her death, and he never recovered. Worried family members took him on vacation to Switzerland, where they hoped he could regain his strength and composure.
At Interlaken, Mendelssohn painted, composed the String Quartet in F Minor, and tried to escape his sorrow, but with little success. An English visitor described his last view of the composer that summer: “I thought even then, as I followed his figure, looking none the younger for the loose dark coat and the wide-brimmed straw hat bound with black crepe, which he wore, that he was too much depressed and worn, and walked too heavily.” Back in Leipzig, Mendelssohn cancelled his engagements, suffered severe headaches, and was confined to bed. After several days in which he slipped in and out of consciousness, the composer died on the evening of November 4. He was 38 years old.
Given the circumstances of its creation, one might expect Mendelssohn’s Quartet in F Minor to be somber music, and
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in fact it is. It is the last of Mendelssohn’s quartets (and his last major completed work), but it has never achieved the popularity of his earlier quartets—the pianist Ignaz Moscheles found it the product of “an agitated state of mind.” Yet this quartet’s driven quality is also the source of its distinction and strength. One feels this from the first instant of the Allegro vivace assai (it is worth noting that three of the four movements are extremely fast): the double-stroked writing, even at a very quiet dynamic, pushes the music forward nervously, and out of this ominous rustle leaps the dotted figure that will be a part of so much of this movement. A more flowing second subject nevertheless maintains the same dark cast, and after a long development this movement drives to its close on a Presto coda.
The second movement, marked Allegro assai, is in ABA form: the driving outer sections keep the dotted rhythm of the opening movement, while the trio rocks along more gently. The Adagio, the only movement not in a minor key, is built on the first violin’s lyric opening idea. The music rises to a somewhat frantic climax full of dotted rhythms before subsiding to close peacefully. The finale, marked Allegro molto, pushes ahead on the vigor of its syncopated rhythms, which are set off by quick exchanges between groups of instruments. As in the first movement, there is more relaxed secondary material, but the principal impression here is of nervous energy, and at the close the music hurtles along triplet rhythms to an almost superheated close in which the F-minor tonality is affirmed with vengeance. It is not a conclusion that brings much relief, and it speaks directly from the agonized consciousness of its creator.
String Quartet in G Minor, Opus 27 EDVARD GRIEG
Born June 15, 1843, Bergen, Norway
Died September 4, 1907, Bergen
Composed: 1877
Approximate Duration: 35 minutes
We automatically think of Grieg as a Norwegian nationalist composer—as the composer of music for Sigurd Jorsalfar and Peer Gynt, Norwegian dances for piano, and a number of ravishing songs in Norwegian—and so it comes as a surprise to discover an entirely different side of this composer: He was at some deep level dissatisfied with writing purely “nationalistic” music and was drawn to the discipline of the classical forms. In 1877, when he was 34, Grieg turned to the most demanding of classical forms and wrote to a friend: “I have recently finished a string quartet which I still haven’t heard. It is in G minor and is not intended to bring trivialities to market. It strives towards breadth, soaring flight and above all resonance for the instruments for which it was written. I needed to do this as a study… I think in this way I shall find myself again. You can have no idea what trouble I
had with the forms, but this was because I was stagnating…” The intensity of Grieg’s language suggests how difficult writing this quartet was for him—and also how important it was. Grieg made the task even more complex by unifying much of the quartet around one simple theme-shape, which is then varied and extended in countless ways across the span of the quartet. He took this theme from his own song “Spillemaend” (“Minstrels”), composed two years earlier, in 1875. This shape is stamped out by the four instruments in octaves to open the quartet’s slow introduction, and listeners may take pleasure in following Grieg’s transformations of this theme: It reappears quietly as the second subject of the first movement, is shouted out furiously as part of the Intermezzo’s central episode, opens the finale’s slow introduction, and is threaded ingeniously into textures throughout.
One of the other impressive things about this quartet is its sound: Grieg was not kidding when he said that this music strives to achieve “above all resonance for the instruments for which it is written.” The massed sound of the opening, with the instruments in octaves, establishes this sonority, and at moments the sound of this quartet can verge on the orchestral, with hammered chords and extensive double-stopping. Yet Grieg can relax, and the quartet also has some of those wonderful, effortless Grieg melodies.
The structure may be briefly described: the portentous slow introduction leads to the nervous main subject, marked Allegro molto ed agitato (it is worth noting that two of the quartet’s movements are marked agitato, a third marcato). The second subject of this sonata-form movement is an attractive derivation of the fundamental theme-shape, and this movement makes its dramatic way over a very long span. Particularly impressive is the ending of this movement: Over ponticello accompaniment from the upper voices, the cello winds the movement down with a long melody marked cantabile e molto espressivo, and the music drives to a sudden close on a Prestissimo derived from the original theme-shape. Grieg marks the second movement Romanze, suggesting music of an expressive character, and then alternates two quite distinct kinds of music: the melting lyricism of the opening gives way to a hard-driving Allegro agitato; the music moves between these quite different poles before a relaxed ending. The Intermezzo, marked Allegro molto marcato, begins with the same massive sound that opened the quartet. This movement—in ternary form—has a quicksilvery quality, flowing quickly between different kinds of expression: con fuoco gives way almost instantly to tranquillo After a slow introduction, the Finale turns into a racing dance movement—it is a saltarello, an old Italian dance that features leaping (the finale of Mendelssohn’s Italian Symphony is a saltarello). There is a subtle rhythmic sense here (2/4 will flow effortlessly into 6/8) as the music dances its way to a fullthroated climax and a ringing close in G major.
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PRELUDE 6:30 PM
QUARTETTO DI CREMONA
FRIDAY, FEBRUARY 24, 2023 · 7:30 PM
THE BAKER-BAUM CONCERT HALL
MOZART String Quartet No. 1 in G Major, K.80 (1756–1791)
Adagio
Allegro
Menuetto
Rondo
VERDI String Quartet in E Minor (1813–1901)
Allegro
Andantino
Prestissimo
Scherzo-Fuga: Allegro assai mosso
INTERMISSION
WOLF Italian Serenade (1860–1903)
RESPIGHI String Quartet in D Major (1879–1936)
Allegro moderato
Tema con variazioni: Andante
Intermezzo: Lento; Allegretto vivace
Finale: Allegro vivace
La Jolla Music Society’s 2022–23 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, Teresa and Harry Hixson, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, and Bebe and Marvin Zigman.
Quartetto di Cremona’s recordings are available on Audite, Ayriel Classical, Klanglogo, and Decca. North American representation: Kirshbaum Associates Inc. www.kirshbaumassociates.com
Quartetto di Cremona
Cristiano Gualco, Paolo Andreoli, violins; Simone Gramaglia, viola; Giovanni Scaglione, cello
TheConrad.org · 858.459.3728 31 This performance marks Quartetto di Cremona’s La Jolla Music Society debut.
Lecture by Michael Gerdes
TABLE OF CONTENTS
Program notes by Eric Bromberger
String Quartet No. 1 in G Major, K.80 WOLFGANG AMADEUS MOZART
Born January 27, 1756, Salzburg
Died December 5, 1791, Vienna
Composed: 1770
Approximate Duration: 17 minutes
Mozart wrote his first symphony at age 8 and his first piano concerto at 11, but he took the string quartet seriously—he waited until he was an old man of 14 to write his first. This was on his first trip to Italy, in 1770. He and his father had made an extended visit to Milan, where the boy was commissioned to write an opera to be produced the following December. They left Milan on March 14, and the next day—either in the coach or at an inn in Lodi (accounts differ)—the boy wrote his first quartet. This first essay was in only three movements; the final movement, a rondo, was added late in 1773 or early in 1774 for a performance during to a visit to Vienna.
It should be noted immediately that in 1770 the string quartet was not yet the sophisticated and expressive form it would become under the hands of Haydn and Mozart himself. By 1770, in fact, Haydn had written only ten of his 83 quartets, and these were in the divertimento form that makes clear the quartet’s root as entertainment music. Mozart’s first quartet is in this lighter mode, and many have felt that it betrays the influence of the galant music of Giambattista Sammartini, whom the Mozarts had just met in Milan.
In any case, the quartet does show some surprising touches: It opens with a slow movement followed by a fast one, a reversal of the expected pattern. There are no dynamic markings in the first three movements, and the part-writing is a little strange (at times the second violin is playing above the first); whether these are the results of inexperience or of youthful experimentation is impossible to say.
The quartet opens with an Adagio movement that is by turns gentle and energetic. Most of the musical interest here—and throughout the quartet—is in the violins, with the two lower voices playing largely accompanimental roles; here the two violins exchange phrases of an elaborate melodic line. The Allegro is quite vigorous—at several points the young composer has the violins playing quadruple-stopped chords—and some of the writing goes quite high. The minuet seems more normal, though in the trio section Mozart tries briefly to move away from the home key of G major. The concluding rondo, which has been described as a gavotte, was added when Mozart was almost 18. Audiences may take pleasure in listening for signs of Mozart’s growth in the four
years that separate the finale from the first three movements: the part-writing for all four instruments is now much more assured, and there are sharp dynamic contrasts and key changes. Especially effective is the very ending, where—after a vigorous rush up the scale—the music comes to a sudden, surprising close.
String Quartet in E Minor GIUSEPPE VERDI
Born October 9/10, 1813, Roncole, Italy
Died January 27, 1901, Milan
Composed: 1872
Approximate Duration: 23 minutes
Verdi came out of retirement to compose Aida, which was triumphantly premièred in Cairo on Christmas Eve 1871. Once back in Italy, the composer supervised productions of his new opera in Milan and Parma and in the fall of 1872 went to Naples for the first production there. But Theresa Stolz, who was to sing the part of Aida in Naples, fell ill, and the production was delayed. Verdi found himself marooned in Naples, waiting for the recovery of his soprano and with nothing to do. In a letter written the following spring, he described what happened: “In my moments of idleness in Naples I actually wrote a quartet. I had it performed one evening in my house without attaching the slightest importance to it, and without issuing invitations of any kind. Present were only seven or eight people accustomed to visiting me. Whether the quartet is beautiful or ugly I don’t know… All I know is that it’s a quartet!”
Despite Verdi’s self-deprecation, the quartet was an immediate success: those “seven or eight people” demanded a second performance on the spot. But Verdi remained uncertain and for several years refused to publish it—this music remained the property of a few of the composer’s friends. He relented and allowed the quartet to be published in 1876 and even went so far as to sanction performances by a string orchestra rather than a quartet; it is still sometimes heard in that version.
The Quartet in E Minor has been called Verdi’s only nonvocal composition (and this is true so long as one regards his opera overtures—often performed as concert works—as part of vocal compositions). Strange as the thought of a string quartet by this most operatic of composers seems at first, it is really not so remarkable that Verdi would write a quartet—he owned the scores of the quartets of the classical composers, kept them by his bedside, and studied them with care. His own quartet may be regarded as the effort to fuse the discipline and economy of the string quartet with the vocal impulse at the center of his own creative imagination, and various critics have imagined that they hear echoes of his operas in this quartet: Aida in the opening movement,
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Rigoletto and Il Trovatore in the third movement, Falstaff in the fugal finale. Yet we should grant Verdi his due and consider this music on its own terms: It is quite successful as a string quartet, and if its four movements do not conform exactly to the pattern established by the classical composers, they are nevertheless beautifully written for the four instruments.
This quartet is also quite difficult and demands the most proficient players. The opening Allegro is in sonata form, with the dramatic first subject—announced by the second violin—set against a simple and appealing second subject marked dolce The animated development treats the first theme; the music passes through E major as the shining second subject makes a brief reappearance, and then Verdi drives the movement to a firm close in E minor. The lyric Andantino is in ternary form, and its opening belongs to the first violin, whose part is scrupulously marked dolcissimo and con eleganza; the middle section grows turbulent before the return of the opening material and a quiet close. The Prestissimo is also in ABA form: its opening—full of trills and bristling energy—is marked brillante; the trio section is one of the places that invariably strike listeners as “operatic,” and some have gone so far as to imagine the cello’s tune here as a song conceived for baritone. The finale has an unusual marking: Scherzo-Fuga This movement is a fugue, and it is a scherzo, and in that sense it looks ahead twenty years to the finale of Falstaff, where the assembled cast sings a great fugue on the text Tutto nel mondo è burlo: “Everything in the world’s a jest.” Here the second violin announces the subject and is gradually joined by the other instruments in music of great precision and delicacy. At the end of this concise movement, the music rushes ahead on a (non-contrapuntal) coda marked Poco piu Presto, and Verdi brings his one venture into the world of chamber music to a dramatic close on four resounding E-major chords.
Italian Serenade HUGO WOLF
Born March 13, 1860, Windischgraz, Slovenia
Died February 22, 1903, Vienna
Composed:1887
Approximate Duration: 8 minutes
Hugo Wolf’s reputation rests on his songs, but throughout his brief creative career (he died at 43 in a mental hospital) he dreamed of composing large-scale works. In 1887, at age 27, Wolf composed—in the space of three days—a movement for string quartet that he called simply Serenade. Three years later, he added the word “Italian” to that title, apparently as an act of homage to a land of warmth and sunny spirits, and in 1892 he arranged the serenade for a small orchestra of pairs of flutes, oboes, clarinets, bassoons, horns, and strings (there
is also a prominent role for solo viola in both versions). Wolf later planned to add three further movements to make his Italian Serenade a full-scale orchestral work, but these came to nothing. Trapped by frequent periods of creative sterility and—increasingly—by periods of mental instability, he could make no progress on these movements, which survive only as fragmentary sketches.
The one completed movement of the Serenade, however, has become one of Wolf’s most frequently performed and recorded works. Some commentators have taken the title quite literally: they claim to hear in this music an actual serenade sung by a young man to his love on a balcony above. They cite the opening pizzicatos as the sound of a guitar being tuned and hear the voice of the young man in the earnest cello and the voice of the young woman in reply.
It is quite possible to enjoy the music without knowing any of this (or searching for it in the music). The Italian Serenade is in rondo form, set at a very brisk tempo—Wolf marks it Ausserst lebhaft (“Extremely fast”)—yet the music manages both to be very fast and to project an easy, almost languorous, atmosphere throughout. Wolf marks individual episodes “tender,” “fiery,” and “passionate” as this music flows smoothly to its quiet close.
String Quartet in D Major OTTORINO RESPIGHI
Born July 9, 1879, Bologna
Died April 18, 1936, Rome
Composed: 1904
Approximate Duration: 28 minutes
When we think of Respighi, we automatically think of opulent orchestral scores, full of vivid color and sonic punch. But Respighi was also very interested in chamber music. A fine violinist and violist, he was for some years a member of the Mugellini Quartet in Bologna, and he wrote for chamber ensembles throughout his life. If this music has never achieved the fame of his great orchestral works, it remains an interesting body of work. Among his chamber works are a fine Violin Sonata in B Minor (championed by Heifetz) and “Il tramonto,” a lovely setting of a Shelley poem for mezzosoprano and string quartet.
Respighi composed about six string quartets, and probably the best-known of these is the Quartet in D Major, written in 1904. Respighi, who was playing in the Mugellini Quartet at this time, was still struggling to find an authentic voice as a composer. Some have heard the influence of Brahms—at that time dead for only seven years—on this quartet, and certainly it has a thicker, more Germanic, sonority than we are used to in Respighi’s music. It is also extraordinarily difficult technically, and the writing (particularly for the first violin) is quite demanding—this
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music may give us some sense of how good a violinist Respighi must have been. Much of the part is very fast, exposed, and set high in the instrument’s register, and in fact this music challenges all four players.
The four movements of the Quartet in D Major are in expected forms: a sonata-form first movement, a themeand-variation movement, a third movement that Respighi titles Intermezzo but which is in fact a scherzo, and a sonataform finale. The opening Allegro moderato is a big-boned movement, built on the first violin’s rising theme heard at the very beginning and a slower second subject. Textures can be thick in this movement, but already Respighi is sensitive to instrumental color, and the first violin has sustained passages in harmonics. After a vigorous working out of its material, the music vanishes on a gentle recall of its opening idea. The second movement begins with a twelve-measure melody, which Respighi then takes through some sharply contrasted variations. These include a transformation of the theme into a slow waltz, another variation that begins fugally, one marked Allegretto scherzando, and another titled Lento doloroso. This movement, which spotlights different instruments in the quartet, comes to a surprisingly fierce close.
The Intermezzo has a slow two-measure introduction, and then the music races ahead on its skittering main idea. This movement feels in constant motion. Respighi offers an intense trio section marked Appassionato, then repeats the opening before another unexpected conclusion: the movement closes quietly with the instruments playing harmonics.
The vigorous Allegro vivace finale returns to the manner and sonority of the opening movement. Much of the writing for the first violin is very high here, and Respighi supplies an equally firm second subject. Near the end, he recalls the very opening of the first movement before the dancing main theme of the finale drives the quartet to its conclusion in emphatic D major.
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QUARTETTO DI CREMONA - PROGRAM NOTES
PRELUDE 6:30PM
PIERRE-LAURENT AIMARD, piano
SUNDAY, FEBRUARY 26, 2023 · 7:30 PM THE BAKER-BAUM CONCERT HALL
MOZART Fantasia No. 3 in D Minor, K.397 (1756–1791)
SWEELINCK Fantasia Chromatica (1562–1621)
VOLKONSKY Musica Stricta (1933–2008)
Andantino
Allegretto
Lento rubato
Allegro marcato
INTERMISSION
MOZART Fantasia in F Minor, K.Anh 32
C.P.E. BACH Fantasia C Major, H.284 (1714–1788)
MOZART Fantasia in C Minor, K.396
BEETHOVEN Fantasia for Piano, Opus 77 (1770–1827)
La Jolla Music Society’s 2022–23 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, Teresa and Harry Hixson, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, and Bebe and Marvin Zigman.
GEORGE BENJAMIN Fantasy on Iambic Rhythm (b.1960)
Pierre-Laurent Aimard, piano
Pierre-Laurent Aimard last performed for La Jolla Music Society in the Piano Series on March 1, 2018.
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TABLE OF CONTENTS
Lecture by Kristi Brown‐Montesano
CONCERTS @ THE JAI
EMMET COHEN TRIO
SUNDAY, NOVEMBER 20, 2022
5 PM & 7 PM
Jazz Trio
TIME FOR THREE
RANAN MEYER, double bass, NICK KENDALL, violin
CHARLES YANG, violin
SATURDAY, NOVEMBER 5, 2022 · 6:30 PM & 8:30 PM
Americana | Pop | Classical
Defying convention and boundaries, Time For Three stands at the busy intersection of Americana, modern pop, and classical music. To experience Time For Three (TF3) live is to hear the various eras, styles, and traditions of Western music fold in on themselves and emerge anew.
La Jolla Music Society is proud to announce our new food & beverage partner GRNFC Hospitality Group, founded by one of San Diego’s most established chef/restaurateurs, Giuseppe Ciuffa. You can look forward to a revamped small bites menu, delicious new cocktails, and the opportunity to order before you arrive!
Giuseppe’s at The Conrad is the perfect culinary pairing to your musical experience.
Winner of the 2019 American Pianists Association Jazz Award, multifaceted American jazz pianist and composer Emmet Cohen is in the vanguard of his generation’s advancement of music and the related arts.
SAMARA JOY
SUNDAY, MARCH 19, 2023
5 PM & 7 PM
Weʼ ve expanded our Discovery Series to showcase the rising stars from the next generation of jazz musicians! Our first ever Discovery Series jazz artist, Samara Joy, won the 2019 Sarah Vaughan International Jazz Vocal Competition. With a voice as smooth as velvet, Samara has already performed in many of the great jazz venues including Dizzy’s Club Coca Cola, The Blue Note, and Mezzrow, in addition to working with jazz greats such as Christian McBride, Pasquale Grasso, Kirk Lightsey, Cyrus Chestnut, and NEA Jazz Master Dr. Barry Harris.
36 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
ALFREDO RODRÍGUEZ TRIO
SATURDAY, DECEMBER 17, 2022
6:30 PM & 8:30 PM
Jazz Piano | Latin
Discovered at the 2006 Montreux Jazz Festival by Quincy Jones, Cuban-born GRAMMY® Award nominee Alfredo Rodríguez has rapidly risen to stardom under the tutelage of the famed producer. Since arriving in the US in 2009, Rodríguez has appeared on prestigious stages such as the Playboy Jazz Festival at the Hollywood Bowl and the Gilmore Keyboard Festival.
SCOTT SILVEN
WONDERS
SATURDAY, MARCH 25, 2023
3 PM & 8 PM
SUNDAY, MARCH 26, 2023
3 PM & 6 PM
An unforgettable performance of awe-inspiring intrigue.
As a child, Scott Silven reveled in mystery. This innate fascination with the enigmatic and unexplainable guided him to the craft of illusion at a young age, and evoked a sense of wonder that he knew he had to share with others. Wonders is a show for these extraordinary times; a shared experience that explores the power of connection through unforgettable illusions. Silven is a modern-day marvel like no other, at the top of his profession.
JIMMIE HERROD
SUNDAY, JUNE 4, 2023
5 PM & 7 PM
DAVINA & THE VAGABONDS
SATURDAY, JANUARY 14, 2023
6:30 PM & 8:30 PM
American Songbook | Jazz | Blues | Retro
Bluesy, blustery, bawdy and irresistibly fun, Davina & The Vagabonds have carved their own niche in the blues world with their high-energy live performances and rollicking compositions. Lead singer Davina Lozier’s voice and stage presence defy category, with elements of boogie-woogie, ragtime, early rock, and beyond.
MAK GRGIC´ CINEMA VERISMO
SATURDAY, MAY 13, 2023
6:30 PM & 8:30 PM
Mak Grgic´ , proclaimed “imaginative, gifted and expressive” by the New York Times and a “guitarist to keep an eye on” by the Washington Post, is an innovative player who programs music as far-reaching as works from the avant-garde to the great classics of guitar repertoire and early works. This program takes listeners down memory lane by offering originals and adaptations of music featured in films such as The Deerhunter, Raging Bull, The Godfather, Chariots of Fire, Vicky Cristina Barcelona, and many others.
Described by The Seattle Times as “a voice like a beacon of hope,” Jimmie Herrod has been bringing audiences to their feet with his miraculous, transporting voice (and dazzling smile) since he started touring with Pink Martini. Hear Jimmie Herrod, Golden Buzzer winner during the 2021 season of Americaʼs Got Talent, in an intimate and mesmerizing evening of music.
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TABLE OF CONTENTS
CONCERTS DOWNTOWN
CONCERTS DOWNTOWN
MONTEREY JAZZ FESTIVAL ON TOUR DEE DEE BRIDGEWATER, KURT ELLING, CHRISTIAN SANDS, LAKECIA BENJAMIN, CLARENCE PENN, YASUSHI NAKAMURA
THURSDAY, JANUARY 26, 2023 · 7:30 PM
BALBOA THEATRE
6:30 PM Prelude · Interview hosted by Robert John Hughes
One of the world’s longest-running musical events, the Monterey Jazz Festival celebrates its 65th year with a once-in-a-lifetime ensemble. Featuring Tony and GRAMMY® Awardwinning NEA Jazz Master vocalist Dee Dee Bridgewater alongside GRAMMY®Awardwinning vocalist Kurt Elling and critically acclaimed rising star saxophonist Lakecia Benjamin, this stellar band is directed by visionary pianist Christian Sands and anchored by his longtime rhythm section, bassist Yasushi Nakamura and drummer Clarence Penn.
KODO
ONE EARTH TOUR 2023: TSUZUMI
SATURDAY, FEBRUARY 11, 2023 · 7:30 PM
BALBOA THEATRE
For four decades, the Japanese group Kodo has shown off the extraordinary emotional and artistic range of the traditional taiko drum on stages around the world. Their new program Tsuzumi commemorates this incredible legacy, featuring pieces that trace their music back to the group’s origins.
ZAKIR HUSSAIN
MASTERS OF PERCUSSION
SATURDAY, MARCH 18, 2023 · 7:30 PM
BALBOA THEATRE
Drumming crosses cultures and unites us in the dance of the heart. An international phenomenon, GRAMMY® Award-winning tabla virtuoso Zakir Hussain is one of the foremost percussionists of the contemporary world. Widely recognized as a chief architect of the world music movement, Hussain’s ever-changing musical feast, Masters of Percussion, is a platform for rarely heard rhythm traditions from India. Over time, the Masters of Percussion ensemble has expanded to include great drummers and percussionists from many world traditions, including jazz. Winner of the 2022 Kyoto Prize in Arts and Philosophy.
38 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
ALVIN AILEY® AMERICAN DANCE THEATER
TUESDAY, APRIL 4 & WEDNESDAY, APRIL 5, 2023 · 7:30 PM
CIVIC THEATRE
You don’t just see an Alvin Ailey performance, you feel it. Alvin Ailey ® American Dance Theater has grown from a small group of African American dancers to a revolutionary company that transcends barriers and celebrates the African American cultural experience. In 2008, a U.S. Congressional resolution designated the company as “a vital American cultural ambassador to the world.” Under the decade-long leadership of its visionary artistic director, Robert Battle, the company continues to honor the monumental legacy of its founder, while expanding the Ailey repertory and developing the next generation of choreographers. Alvin Ailey American Dance Theater will perform two programs, both including Ailey’s masterpiece Revelations.
YO-YO MA , cello & KATHRYN STOTT, piano
THURSDAY, APRIL 6, 2023 · 7:30 PM
CIVIC THEATRE
6:30 PM Prelude · Lecture by Michael Gerdes
One of the most beloved musicians of our day and a dear friend of La Jolla Music Society, Yo-Yo Ma brings his unparalleled virtuosity, passion, and thoughtfulness to the Civic Theatre stage. Collaborating with acclaimed pianist Kathryn Stott, he will make this evening one to remember. Program to be announced.
COMPLEXIONS CONTEMPORARY BALLET
ARTIST-IN-RESIDENCE
STAR DUST: FROM BACH TO BOWIE
SATURDAY, MAY 20, 2023 · 7:30 PM
CIVIC THEATRE
Founders Dwight Rhoden and Desmond Richardson, armed with a rich Alvin Ailey lineage and a cadre of 18 spectacular dancers, have re-envisioned ballet through technical precision, athletic prowess, and sheer passion. Their blockbuster hit, STAR DUST: From Bach to David Bowie, honoring two musical icons, has rocked the dance world and will make your spirits soar!
TheConrad.org · 858.459.3728 39
TABLE OF CONTENTS
THE ConRAD KIDS series
JAZZREACH
Featuring Metta Quintet plus Students from Mission Bay High School
SATURDAY, OCTOBER 29, 2022 · 3 PM
THE BAKER-BAUM CONCERT HALL
Recommended for ages 6–10
In partnership with San Diego Unified School District’s Visual and Performing Arts Department, JazzReach’s critically acclaimed resident ensemble, Metta Quintet, culminates a four-day educational residency by performing with students from Mission Bay High School’s acclaimed music programs. A cohesive, tight-knit unit featuring some of today’s most esteemed creative artists, Metta Quintet is fueled by a collective, open-minded musical curiosity and dedicated to exploring new artistic territory while maintaining a passionate commitment to arts education, fostering new audiences, and nurturing young talent.
123 ANDRÉS
SATURDAY, JANUARY 28, 2023 · 10 AM & 11:30 AM
The JAI
Recommended for ages 2–6
Back by popular demand! 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.
PIANIMAL
SATURDAY, MAY 6, 2023 · 10 AM & 11:30 AM
The JAI
Recommended for ages 5–10
Founded in 2011 by director Elizabeth Schumann and her sister, Sonya Schumann, Piano Theatre began as a collaboration to create a concert tour integrating literature, music, art, and multimedia for children. This project presents piano pieces, theatre, and artwork inspired by animals, with integrated live video projections and artwork to promote arts education. Pianimal includes the music of Dvorˇák, Grieg, Rimsky-Korsakov, Debussy, Scriabin, Dutilleux, Mussorgsky, and Saint-Saëns.
40 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
TheConrad.org · 858.459.3728 41 Inon Barnatan, SummerFest Music Director Visit TheConrad.org for more information SummerFest 2023 July 28–August 26 SummerFest artist hosting is a wonderful tradition that pairs local hosts with SummerFest artists. Artists Make Great House Guests! Hosts are needed for as little as three days and for as long as the four-week festival. Hosting is an opportunity to get to know some of the best classical artists performing today. Artists and Hosts often become friends and continue relationships year after year. Have an extra bedroom in your home? Want a chance to build a personal relationship with an artist? We are interested in hearing from you! Contact Grace Smith for more information: GSmith@LJMS.org · 858-526-3433 Save the dates! TABLE OF CONTENTS
Pierre-Laurent Aimard, piano
Pierre-Laurent Aimard has collaborated with many leading composers of our age, including György Ligeti, Karlheinz Stockhausen, George Benjamin, Olivier Messiaen, and Pierre Boulez, who appointed Aimard at age 19 the Ensemble Intercontemporain’s first solo pianist. In the 2021–22 season Aimard toured internationally with leading orchestras and conductors including Münchner Philharmoniker, Philharmonia Orchestra, Wiener Symphoniker, and San Francisco Symphony with Esa-Pekka Salonen, with whom he will record Bartók’s Piano Concertos Nos. 1 & 3. He will also give performances of Messiaen’s Vingt Regards at the Philharmonie de Paris and the Concertgebouw Amsterdam and collaborate with leading instrumentalists Mark Simpson and Jean-Guihen Queyras for trio recitals at the Auditorio Nacional de Música and Elbphilharmonie. Aimard was awarded the 2017 International Ernst von Siemens Music Prize in recognition of a life devoted to the service of music.
Leif Ove Andsnes, piano
Norwegian pianist Leif Ove Andsnes plays concertos and recitals in the world’s leading concert halls and with its foremost orchestras, while building an extensive, esteemed discography. He is the founding director of the Rosendal Chamber Music Festival, was co-artistic director of the Risør Festival of Chamber Music for nearly two decades, and has served as music director of California’s Ojai Music Festival. A Gramophone Hall of Fame inductee, he holds honorary doctorates from Norway’s University of Bergen and The Juilliard School. Now recording exclusively for Sony Classical, the pianist recently received his eleventh GRAMMY® nomination and has been recognized with six Gramophone Awards. He was the first Scandinavian to curate Carnegie Hall’s “Perspectives” series and has been Pianist-in-Residence of the Berlin Philharmonic and Artist-in-Residence of the New York Philharmonic.
Aris Quartett
Anna Katharina Wildermuth, Noëmi Zipperling, violins; Caspar Vinzens, viola ; Lukas Sieber, cello
Founded in 2009 in Frankfurt am Main, the Aris Quartett performs on the world’s great stages, including the Elbphilharmonie Hamburg, Wigmore Hall, the Philharmonie de Paris, Konzerthaus Wien, Amsterdam Concertgebouw, BBC Proms, and San Francisco Chamber Music Society. The quartet attracted attention after winning the Chamber Music Prize of the Jürgen Ponto Foundation in addition to five prizes at the ARD International Music Competition. They were named New Generation Artists by the BBC and ECHO Rising Stars by the European Concert Hall Organization, and won the Borletti–Buitoni Trust Award. Aris Quartet has released five highly acclaimed CD productions to date, the most recent in autumn 2020 in cooperation with Deutschlandfunk and BBC Radio 3 featuring works by Johannes Brahms.
The Colburn School
A performing arts institution located in the heart of Los Angeles, the Colburn School trains students from beginners to those about to embark on professional careers. The academic units of the school provide a complete spectrum of music and dance education united by a single philosophy: that all who desire to study music or dance should have access to top-level instruction. Each year, nearly 2,000 students from around the world come to Colburn to benefit from the renowned faculty, exceptional facilities, and focus on excellence that unites the community. colburnschool.edu.
42 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
’
ARTISTS
PROFILES
Johan Dalene, violin
21-year-old Swedish violinist Johan Dalene’s current schedule includes performances with all the major Scandinavian orchestras and debuts with the Leipzig Gewandhaus Orchestra, Czech Philharmonic with Semyon Bychkov, and Konzerthausorchester Berlin with Christoph Eschenbach, as well as solo recitals at Wigmore Hall and Carnegie Hall. During the 2020–21 season, he was Artist in Residence with the Swedish Radio Symphony Orchestra, performing concertos, recitals, and chamber music together with members of the orchestra, and performed solo recitals in some of Europe’s most prestigious concert halls. Recording exclusively for BIS, Dalene released his first recording album on the label in December 2019, featuring the Tchaikovsky and Barber Violin Concerti with the Norrköping Symphony Orchestra. His second disc, of Nordic recital music, was released in Spring 2021 and received an Editors’ Choice from Gramophone Magazine as well as winning the Diapason D’Or.
Joyce DiDonato, mezzo-soprano
Multi-GRAMMY® Award winner and 2018 Olivier Award winner for Outstanding Achievement in Opera, Kansas-born Joyce DiDonato has soared to the top of the industry, gaining international prominence in operas by Handel and Mozart as well as her varied and highly acclaimed discography. She is also widely celebrated for the bel canto roles of Rossini and Donizetti. DiDonato most recently received rave reviews for her performances as Virginia Woolf in the world premiere of The Hours at the Metropolitan Opera. Earlier this season she completed European tours of her baroque-inspired programme My Favourite Things with Il Pomo d’Oro, and her Winterreise and In My Solitude recital programmes with pianist and longtime collaborator Craig Terry. DiDonato also returned to the Royal Opera House Covent Garden in Handel’s Theodora, as Agrippina at the Metropolitan Opera and in a new production at the Royal Opera House, in Les Troyens at the Vienna State Opera; Adalgisa in Norma at the Metropolitan Opera, Sister Helen in Dead Man Walking at the Teatro Real Madrid and London’s Barbican Centre; and in numerous recitals at the great halls of North American and Europe. Her discography includes Les Troyens which in 2018 won the Best Recording (Complete Opera) category at the International Opera Awards, the Opera Award at the BBC Music Magazine Awards, and Gramophone’s Recording of the Year, among many other award-winning recordings. EDEN is a 2023 GRAMMY® Nominee for Best Classical Solo Vocal Album.
Michael Gerdes, lecturer
Michael Gerdes is Director of Orchestras at San Diego State University, where he conducts the San Diego State Symphony Orchestra, Chamber Orchestra, and Opera Orchestra. He earned his Bachelor of Music degree in Music Education and Bachelor of Arts Degree in Philosophy from Concordia College in Moorhead, Minnesota. Selected by the San Diego Union-Tribune as one of three “Faces to Watch in Classical Music” during his first year as Director of Orchestras, Gerdes is focused on creating a thriving orchestral community at San Diego State University.
Sahun Sam Hong, piano
Pianist Sahun Sam Hong was the winner of the 2017 Vendôme Prize at Verbier and received Second Prize at the 2017 International Beethoven Competition Vienna. He was also a recipient of a 2021 American Pianists Award, and finalist in the 2018 International German Piano Award and 2017 American Pianists Awards. On the roster of Young Steinway Artists since 2010, Hong has been featured as a guest soloist with orchestras including ORF-Vienna, Milwaukee, Indianapolis, Camerata New York, Fort Worth, Richardson, Racine, Waco, Galveston, and Brazos Valley Symphony. He has performed in prestigious venues including Carnegie Hall’s Weill Hall, Lincoln Center’s Alice Tully Hall, the Vienna Musikverein, Église de Verbier, Merkin Hall, and the Kennedy Center. In addition to performing, Hong is a prolific arranger of chamber music and orchestral works. TABLE
TheConrad.org · 858.459.3728 43 ARTISTS ’ PROFILES
OF CONTENTS
Robert John Hughes, interviewer
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.
Kodo
Exploring the limitless possibilities of the traditional Japanese drum, the taiko, Kodo is forging new directions for a vibrant living art form. Since the group’s debut at the Berlin Festival in 1981, Kodo has given more than 6,500 performances on all five continents, spending about a third of the year overseas, a third touring in Japan and a third rehearsing and preparing new material on Sado Island. Kodo strives to both preserve and reinterpret traditional Japanese performing arts. Beyond this, members on tours and research trips all over the globe have brought back to Sado a kaleidoscope of world music and experiences which now exerts a strong influence on the group’s performances and compositions. Collaborations with other artists and composers extend right across the musical spectrum and Kodo’s lack of preconceptions about its music continues to produce startling new fusion and forms.
Monterey Jazz Festival On Tour
Originating in 1966, the Monterey Jazz Festival assembled master jazz musicians under the “Monterey All-Stars” banner to perform at the Monterey County Fairgrounds. No longer just gracing the stages of Monterey, these bands tour nationwide and embody the past, present, and future of jazz history, and spread the Monterey Jazz Festival’s artistic footprint. The Monterey Jazz Festival On Tour 2022 again features critically-acclaimed, GRAMMY®-winning jazz artists including vocalists Dee Dee Bridgewater and Kurt Elling, saxophonist Lakecia Benjamin, pianist Christian Sands, bassist Yasushi Nakamura, and drummer Clarence Penn. MJF On Tour presents the artistry, spirit, and fun of the Monterey Jazz Festival to audiences far and wide with musicians who embody the Monterey aesthetic by performing music both historic and new that reflects the values and legacy of the Monterey Jazz Festival over the last 65 years. In total, the MJF On Tour programs have played over 185 concerts to almost 150,000 people.
Kristi Brown‐Montesano, lecturer
Dr. Kristi Brown-Montesano approaches graduate seminars, adult-education classes, podcasts, and pre-concert lectures with the same philosophy: that offering context— rigorously researched, provocative, and humanistic—empowers listeners and musicians to make their own meaningful connections to classical music. Currently Chair of Music History at the Colburn Conservatory and Lecturer in Musicology at UCLA, Dr. Brown-Montesano also has ongoing relationships with many of Southern California’s most distinguished musical organizations, including the Los Angeles Opera, Los Angeles Philharmonic, La Jolla Music Society, and the Philharmonic Society of Orange County. Her book, Understanding the Women of Mozart’s Operas (University of California Press, paperback edition 2021) offers fresh critical takes on the female roles in the Da Ponte.
44 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
ARTISTS ’ PROFILES
Il Pomo d’Oro
Founded in 2012, the ensemble Il Pomo d’Oro specializes in authentic, dynamic interpretation of operas and instrumental works from the baroque and classical periods. The ensemble has collaborated with conductors Riccardo Minasi, Stefano Montanari, George Petrou, Enrico Onofri, and Francesco Corti, with Maxim Emelyanychev as its chief conductor since 2016. Il Pomo d’Oro is a regular guest in prestigious concert halls and festivals all over Europe. After the worldwide success of the program In War and Peace with Joyce DiDonato, in 2020 Il Pomo d’Oro and Emelyanychev presented My Favourite Things with DiDonato and is now on tour worldwide with EDEN , which it also recorded. The ensemble’s discography includes multiple award-winning opera recordings, recitals, and instrumental albums.
Quartetto di Cremona
Cristiano Gualco, Paolo Andreoli, violins; Simone Gramaglia, viola ; Giovanni Scaglione, cello
Winner of the 2019 Franco Buitoni Award, the Quartetto di Cremona was established in 2000 at the Accademia Walter Stauffer in Cremona, Italy, and recently celebrated its twentieth anniversary. Quartetto di Cremona has toured extensively in Europe, the United States, South America, and Asia, appeared at leading festivals, and performed regularly on radio and television broadcasts, including RAI, BBC, Westdeutscher Rundfunk, and the Australian Broadcasting Corporation. The quartet’s extensive repertoire encompasses key masterworks from Haydn, Mozart, Beethoven, and Schubert; essential late nineteenth- and twentieth-century literature by Debussy, Schoenberg, Webern, Bartók, and Shostakovich, Prokofiev, Ravel, Janaček, and Dvorák; and contemporary works by Golijov, Lacheman, Fabio Vacchi, Silvia Colasanti, Nimrod Borenstein, and Kalevi Aho. The quartet completed two North American tours in the 2021–22 season, and made its Lincoln Center debut with Prokofiev, Schoenberg, and Weber’s quintet with clarinetist David Shifrin, as well as debuts at the Ravello Festival and at Prague’s Rudolfinum.
Mark Synnott
Mark Synnott is a pioneering big-wall climber and one of the most prolific adventurers of his generation. His search for unclimbed and unexplored rock walls has taken him on nearly 30 expeditions to places like Alaska, Baffin Island, Greenland, Iceland, Newfoundland, Patagonia, Guyana, Venezuela, Pakistan, the Himalayas, Uzbekistan, Russia, Cameroon, Chad, Borneo, Oman, and Pitcairn Island, pioneering new routes and setting records. He has climbed Yosemite’s El Capitan 22 times, including several one-day ascents. Synnott works with The North Face Research, Design, and Development team and lectures frequently on his life as a professional climber and explorer. His book Baffin Island: Climbing, Trekking, Skiing was published in 2007. He has worked for National Geographic Television, NBC Sports, Warren Miller Entertainment, Teton Gravity Research, and Red Bull Media House and is a contributor to National Geographic magazine, Men’s Journal, Outside, Climbing, Rock & Ice, Skiing, and New York Magazine
Zefira Valova, conductor
Born in Sofia, Bulgaria, Zefira Valova specialized in baroque violin at the Conservatorium van Amsterdam and was concertmaster of several orchestras including The National Youth Orchestra of The Netherlands. She has appeared as a soloist with the Academic Symphony Orchestra Sofia, Classic FM Radio Orchestra, Chamber Orchestra Orpheus, and the prizewinning Ars Barocca Ensemble. Valova is a founder of the Sofia Baroque Arts Festival and has been concertmaster of Il Pomo d’Oro since 2015. Since 2016, she has conducted the Sofia Philharmonic Orchestra’s early music series, and collaborates with Helsinki Baroque Orchestra, the Orchestra of the Age of Enlightenment, La Chambre Philharmonique, B’Rock, Les Ambassadeurs, and others, and regularly appears in chamber music ensembles.
TheConrad.org · 858.459.3728 45 ARTISTS ’ PROFILES
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BOARD OF DIRECTORS · 2022–23
H. Peter Wagener – Chair
Vivian Lim – Vice Chair
Bert Cornelison – Treasurer
Sharon Cohen – Secretary
Stephen Baum
Mary Ann Beyster
Eleanor Y. Charlton
Ric Charlton
Mary Ellen Clark
Ellise Coit
Ann Parode Dynes
Jennifer Eve
Debby Fishburn
Stephen Gamp
John Hesselink
Susan Hoehn
Sue Major
Richard A. Norling
Arman Oruc
Peggy Preuss
Tom Rasmussen
Sylvia Ré
Sheryl Scarano
Marge Schmale
Jeanette Stevens
Stephanie Stone
Debra Turner
Lise Wilson
Bebe L. Zigman
HONORARY DIRECTORS
Brenda Baker
Stephen 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 STAFF
Todd R. Schultz – President & CEO
Leah Rosenthal – Artistic Director
Inon Barnatan – SummerFest Music Director
ADMINISTRATION
Karin Burns – Director of Finance
Brady Stender – Finance & Administration Manager
Breanne Self – Finance & Administration Assistant
PROGRAMMING
Grace Smith – Artistic Programming Manager
Carly Cummings – Artistic Programming Coordinator
John Tessmer – Artist Liaison
Eric Bromberger – Program Annotator
LEARNING & ENGAGEMENT
Allison Boles – Director of Learning & Engagement
Carly D ’ Amato – Learning & Engagement Coordinator
Serafin Paredes – Community Music Center Director
Xiomara Pastenes – Community Music Center Administrative Assistant
Community Music Center Instructors:
Noila Carrazana, Marcus Cortez, Ian Lawrence, Michelle Maynard, Eduardo Ruiz, Jorge Soto, Rebeca Tamez
DEVELOPMENT
Ferdinand Gasang – Director of Development
Natéa Cooke – Development Coordinator, Stewardship & Annual Fund
Camille McPherson – Development Coordinator, Institutional Giving & Grants
VENUE SALES & EVENTS
Nicole Slavik – Venue Sales & Events Director
Juliet Zimmer – Venue Sales Manager
Calvin Cadua – Event Manager
MARKETING & TICKET SERVICES
Dawn Petrick – Director of Marketing & Communications
Stephanie Thompson – Communications & Public Relations Manager
David Silva – Marketing Manager
Cristal Salow – Data & Marketing Analysis Manager
Angelina Franco – Senior Graphic Designer
Mariel Pillado – Graphic Designer
Shannon Bobritchi – Box Office & Guest Services Manager
Patrick Mayuyu – Box Office & Guest Services Assistant Manager
Kaitlin Barron – Box Office & Guest Services Lead Associate
Sam Gilbert – Box Office & Guest Services Associate
Mitch Cook – Box Office & Guest Services Associate
Shaun Davis – House Manager
OPERATIONS & PRODUCTION
Tom Jones – Director of Production & Technology
Verdon Davis – Technical Director
Jamie Coyne – Production Manager
Ryn Schroeder – Production Coordinator
Tom Mehan – Facilities Manager
Colin Dickson – Facilities Coordinator
Spencer Kahn – Technical Coordinator
Yoni Hirshfield – Technical Coordinator
Kim Chevallier – Security Supervisor
Jonnel Domilos – Piano Technician
46 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
The
7600 Fay Avenue, La
California 92037 Admin: 858.459.3724
Conrad Home of La Jolla Music Society
Jolla,
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.
TheConrad.org · 858.459.3728 47
TABLE OF CONTENTS
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 organizations to present year-round.
It is our honor to recognize the following donors.
FOUNDER
($250,000 and above)
Brenda Baker and Stephen Baum
Joan and Irwin Jacobs
The Conrad Prebys Foundation
ANGEL ($100,000 - $249,999)
BENEFACTOR
($50,000-$99,999)
Raffaella and John Belanich
Mary Ellen Clark
Dorothea Laub
Debra Turner
The City of San Diego Commission for Arts and Culture
Clara Wu Tsai and Joseph Tsai
Mary Ann Beyster
Ric and Eleanor Charlton
Julie and Bert Cornelison
Silvija and Brian Devine
Elaine Galinson and Herbert Solomon
Susan and Bill Hoehn
Vivian Lim and Joseph Wong
Peggy and Peter Preuss
Marge and Neal Schmale
Haeyoung Kong Tang
Anna and Edward Yeung
Bebe and Marvin Zigman
48 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
GUARANTOR ($25,000 - $49,999)
Anonymous
Banc of California | Stephen Gamp
Jim Beyster
Ginny and Bob Black
Katherine and Dane Chapin
Peter Cooper and Erik Matwijkow
Ann Parode Dynes and Robert Dynes
Lyndie and Sam Ersan
Jennifer and Kurt Eve
Pam Farr and Buford Alexander
Ingrid and Ted Friedmann
Goldman Sachs
Jeanne Herberger
John Hesselink
Sue and John Major
Arlene and Lou Navias
Steven and Sylvia Ré
Sheryl and Bob Scarano
Maureen and Thomas Shiftan
Mao and Doctor Bob Shillman
Jeanette Stevens
Vail Memorial Fund
Sue and Peter Wagener
SUSTAINER ($15,000 - $24,999)
Anonymous (2)
Judith Bachner and Dr. Eric L. Lasley
Ellise and Michael Coit
Cafe Coyote and Rancho Coyote Wines
Sharon L. Cohen
Jendy Dennis Endowment Fund
Nina and Robert Doede
The Hon. Diana Lady Dougan
Monica Fimbres
Debby and Wain Fishburn
Sarah and Jay Flatley
Pam and Hal Fuson
Lehn and Richard Goetz
Brenda and Michael Goldbaum
Teresa and Harry Hixson
Helene and Keith Kim
Las Patronas
Monarch Cottage
Robin and Hank Nordhoff
Jeanne and Rick Norling
Arman Oruc and Dagmar Smek
ProtoStar Foundation
Thomas Rasmussen and Clayton Lewis
Patty Rome
Stacy and Don Rosenberg
Leigh P. Ryan
Susan Shirk and Samuel Popkin
Stephanie and Nick Stone
Lise Wilson and Steve Strauss
Dolly and Victor Woo
SUPPORTER ($10,000 - $14,999)
Jeffrey Barnouw
Scott Benson
Bjorn Bjerede and Jo Kiernan
Gordon Brodfuehrer
Una Davis and Jack McGrory
Martha and Ed Dennis
Barbara Enberg
Sue and Chris Fan
Joy Frieman
Sarah and Mike Garrison
Margaret Stevens Grossman and Michael Grossman
Angelina and Fredrick Kleinbub
ResMed Foundation
Bob and Nancy Selander
Dr. Seuss Foundation
Elizabeth Taft
Abby and Ray Weiss
TheConrad.org · 858.459.3728 49 ANNUAL SUPPORT
TABLE OF CONTENTS
AMBASSADOR ($5,000 - $9,999)
Anonymous (3)
Ingrid de Alba de Salazar and Hector Salazar-Reyes
Joan Jordan Bernstein
Carolyn Bertussi
Karen and Jim Brailean
Li-Rong Lilly Cheng
Grace and David Cherashore
George and Tallie Dennis
Debbe Deverill
Jill Esterbrooks and James Robbins
Peter Farrell
Diane and Elliot Feuerstein
Beverly Frederick and Alan Springer
Buzz and Peg Gitelson
Lisa Braun Glazer and Jeff Glazer
Barbara and Paul Hirshman
Elisa and Rick Jaime
Theresa Jarvis
Barbara Kjos
Kathleen and Ken Lundgren
Marilyn and Stephen Miles
Cynthia and George Mitchell
Elaine and Doug Muchmore
Virginia Oliver
Linda Platt
Mary and Scott Pringle
Eva and Doug Richman
Catherine Rivier
Kathleen Roche-Tansey and David Tansey
Clifford Schireson and John Venekamp
Todd R. Schultz
Reesey and David Shaw
Gloria and Rod Stone
Joyce and Ted Strauss
Susan and Richard Ulevitch
Ayse Underhill
Lynne and David Weinberg
Jo and Howard Weiner
Shara Williams and Benjamin Brand
Mary and Joseph Witztum
AFICIONADO
($2,500 - $4,999)
Emily and Barry Berkov
Susan and Ken Bien
Jerry and Bernice Blake
Janice and Nelson Byrne
Charles Schwab | Derek Anthony
Eric Cohen and Bill Coltellaro
Naomi Fekini
Carrie Greenstein
Richard Harris and Sonya Celeste-Harris
Cheryl Hintzen-Gaines and Ira Gaines
David Hsieh
Margaret Jackson
Jerri-Ann and Gary Jacobs
Susan and David Kabakoff
Ruth and Ronald Leonardi
Diana and Eli Lombrozo
Sarah Long and Simon Fang
Maggie and Paul Meyer
Gail and Edward Miller
Daphne Nan Muchnic
Robert and Allison Price
Carol Randolph and Robert Caplan
Gerald and Susan Slavet
Jean Sullivan and David Nassif
Ronald Wakefield
Western States Arts Federation
Lisa Widmier
Al and Armi Williams
ASSOCIATE
Anonymous
($1,000 - $2,499)
K. Andrew Achterkirchen
Judith Adler
Dede and Mike Alpert
Arleene Antin and Leonard Ozerkis
Kenny Baca
Mike Belanich
Alicia Booth
Isabel and Stuart Brown
Raymond Chinn
June Chocheles
Anthony Chong and Annette Nguyen Chong
Peggy Cravens
Lu Dai
Carolyn DeMar
Ted Ebel and Jee Shin
Beverly Fremont
Ted Hoehn
Linda Howard
Brett Johnson
Dwight Kellogg
Edward Koczak
Michael Krco
Viviana and Enrique Lombrozo
Eileen A. Mason
Michael Masser
Ted McKinney
Susan and Doug McLeod
William Miller and Ida Houby
Sandra Miner
Norman Needel
Michael O'Brien
Marty and David Pendarvis
Ursula Pfeffer
Sandra Redman
Jean-Luc and Jaqueline Robert
Cassidy Robins
Marilies Schoepflin
Doreen and Myron Schonbrun
Anne and Ronald Simon
William Smith and Carol Harter
Norma Jo Thomas
Yvonne Vaucher
Cynthia Weiler
Howard and Christy Zatkin
Xiaomei Zhang
FRIEND ($500 - $999)
Anonymous (2)
John Bailey
Terence Balagia
Christopher Beach and Wesley Fata
Ryan Bordelon
James W. Burns
Joseph Calvino
Elizabeth Clarquist
Bob Dawson
Ann Craig
50 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON ANNUAL SUPPORT
Caroline DeMar
Renée and James Dunford
James Emerson
Lindsey and Steve Gamp
Martha and David Gilmer
Lynn Gorguze and Scott Peters
Nabil Hanna
Kara Hanning
Paul and George Hauer
Nancy Hong and Ardem Patapoutian
Joanne Hutchinson
Dwight Kellogg
Jane and Steven Lahre
Lewis Leicher
Elizabeth Lucas
Linda and Michael Mann
Virginia Meyer
Jeff Mueller
Andrea Oster
William Purves and Don Schmidt
Cathy Rempel
Vivian and Lou Ryan
Jennifer Reilly
Denise Selati
Annemarie and Leland Sprinkle
Robin Stark
Victor A. van Lint
Suhaila White
Symphorosa Williams
Marty and Olivia Winkler
Susan and Gavin Zau
ENTHUSIAST ($250 - $499)
Anonymous
Alison Alpert
Bruce H. Athon
Hiroko Baba
Mary Lonsdale Baker
Inon Barnatan and Jason Feldman
Laura Birns
Roanna Canete
Michael Casey
Jugo Cassirer
Kimberly Chevallier
Linda Christensen and Gonzalo Ballon-Landa
Harris Cohen
Candy Coleman
Courtney Coyle and Steven McDonald
Jeane Erley
Robert C. Fahey
Stephen Feldman
Clare Friedman
Ferdinand Marcus Gasang
Morris and Phyllis Gold
Andrea Harris
Rodger Heglar
Matthew Herman
Linda and Ed Janon
David K. Jordan
Michael Kalichman
Zoe and Eric Kleinbub
Melvin Knyper
Patricia M. Lending
Vonnie Madigan
Robert L. Mazalewski
Christopher Moore
Kylie Murphy
Joani Nelson
Gary P. Poon
Barbara Rosen
Cynthia Rosenthal
Jon M. Rosenthal
Leah Rosenthal and Matthew Geaman
Anne Rudolph
Hannah Schlachet
Morton and Marjorie Shaevitz
Bob Stefanko
Anne Turhollow
N.B. Varlotta
Monica Valdez
Colleen Vasquez
Jian Wang
Joyce Williams
Ian A. Wilson
Sandra Zarcades
Bill Ziebron
Bart Ziegler
ANNUAL SUPPORT
CONTRIBUTOR ($150 - $249)
Harold G Brittain
Linda Brown
Adam Byrnes
James and Carol Carlisle
Marjorie Coburn
Jennifer Cuthrell
Martha Davis
Kathy Fackler
Allison Gardenswartz
Renita Greenberg
Susan Halliday
David Halter
John Higbee
George and Julia Katz
H. Koshkarian
John Krasno
Marti Kutnik
Joni LeSage
Elaine Litton
Eduardo Macagno
Jasmine Majid
Carol Manifold
Patricia Manners
Joanne Martin
Roderick Graham Mclennan
Elinor Merl
Melvin Okamura
Michael Pendarvis
Lynn Reineman
Judy Robbins
Teri and Eduardo Rodriguez
Susan F. Sharin
Katie M. Smith
Judith Springer
Lee Talner
Junko Vajda
Nathan Vandergift
Margaretha Walk
Jen-Yi Wang
Donna Weston
TheConrad.org · 858.459.3728 51
This list is current as of December 16, 2022. We regret any errors. Please contact Natéa Cooke at NCooke@LJMS.org or 858.526.3445 to make a correction.
TABLE OF CONTENTS
MEDALLION SOCIETY
CROWN JEWEL
Brenda Baker and Steve Baum
Joan and Irwin Jacobs
DIAMOND
Raffaella and John Belanich
Mary Ellen Clark
Dorothea Laub
RUBY
Silvija and Brian Devine
Elaine Galinson and Herbert Solomon
EMERALD
Arlene and Louis Navias
GARNET
Julie and Bert Cornelison
Peggy and Peter Preuss
SAPPHIRE
Raymond Chinn
John Hesselink
Keith and Helen Kim
Anna and Edward Yeung
Bebe and Marvin Zigman
DANCE SOCIETY
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 Stevens Grossman and Michael Grossman
Theresa Jarvis
Angelina and Fred Kleinbub
Vivian Lim and Joseph Wong
Kathleen and Ken Lundgren
Elaine and Doug Muchmore
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
Dolly and Victor Woo
GRAND JETÉ
Elaine Galinson and Herbert Solomon
Jeanette Stevens
Marvin and Bebe Zigman
POINTE
Carolyn Bertussi
PLIÉ
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
Joy Frieman
Wendy Frieman
Allison and Daniel Gardenswartz
Renita Greenberg
Susan and Bill Hoehn
Joanne Martin
Laura McWilliams
Cynthia Rosenthal
Katie Smith
Stephanie and Nick Stone
Sue and Peter Wagener
Samatha Zauscher
We are honored to have this extraordinary group of friends who have made multi-year commitments to La Jolla Music Society, ensuring that the artistic quality and vision we bring to the community continues to grow.
We are grateful for each patron for their passion and support of our dance programs.
52 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
PLANNED GIVING
LEGACY SOCIETY
Anonymous (2)
Brenda Baker and Steve Baum
June L. Bengston*
Joan Jordan Bernstein
Bjorn Bjerede and Jo Kiernan
Dr. James C. and Karen A. Brailean
Gordon Brodfuehrer
Wendy Brody*
Barbara Buskin*
Trevor Callan
Geoff and Shem Clow
Anne and Robert Conn
George and Cari Damoose
Teresa and Merle Fischlowitz
Lynda Fox
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
Joyce and Ted* Strauss
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
REMEMBERING LJMS IN YOUR WILL
It is easy to make a bequest to La Jolla Music Society, and any amount makes 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.
*In memoriam
TheConrad.org · 858.459.3728 53
TABLE OF CONTENTS
FOUNDATIONS
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
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
Cynthia and George Mitchell Foundation
Muchnic Foundation
Rancho Santa Fe Foundation:
The Fenley Family Fund
The Susan & John Major Fund
The Oliphant Fund
The San Diego Foundation:
The Beyster Family Foundation Fund
The M.A. Beyster Fund II
The Karen A. & James C. Brailean Fund
The Hom Family Fund
The Scarano Family Fund
The Shiftan Family Fund
Dr. Seuss Foundation
Schwab Fund for Charitable Giving:
Ted McKinney & Frank Palmerino Fund
The Shillman Foundation
The Haeyoung Kong Tang Foundation
Vail Memorial Fund
Thomas and Nell Waltz Family Foundation
The John H. Warner Jr. and Helga M. Warner Foundation
GIFTS IN HONOR/MEMORY
In Honor of OJ Heestand:
Scott Benson
In Memory of Kenneth Rind, husband of Linda Chester:
Susan & Richard Ulevitch
In Honor of Todd Schultz:
Brenda Baker & Steve Baum
Christopher Beach & Wesley Fata
Mary Ann Beyster
Pam & Hal Fuson
Steve Gamp
Teresa & Harry Hixson
Elaine & Doug Muchmore
Jeanette Stevens
Susan & Richard Ulevitch
Dolly & Victor Woo
Bebe & Marvin Zigman
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.
54 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
VAIL MEMORIAL FUND
CORPORATE PARTNERS
TheConrad.org · 858.459.3728 55 CORPORATE
FOUNDATION SPONSORS
&
TABLE OF CONTENTS
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 2022-23 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.
Takashi Okamoto;
LJMS;
The Baker-Baum Concert Hall © Steve Uzzell; Pg.13: L. Rosenthal © Darin Fong; Pg.14: J. Didonato © Sergi Jasanada; Pg.16: L. Ove Andsnes © Helge Hansen; Pg.20: D. Bridgewater, K. Elling, L. Benjamin, C. Sands, Y. Nakamura, C. Penn © R.R Jones; Pg.21: J. Dalene © Mats Bäcker; Pg.25: Kodo Drummers © Takashi Okamoto; Pg.27: M.Synnott © Jared Ogden; Pg.28: Aris Quartett courtesy of artists; Pg.31: Quartetto Di Cremona courtesy of artists; Pg.35: P. Aimard ©Julia Wesley; Pg.36: Time for Three © Lauren Desberg, Emmet Cohen Trio © Gabriela Gabrielaa, Cocktails courtesy of artist, S. Joy courtesy of artist; Pg.37: A. Rodríguez © Anna Webber, D. Lozier © Grinkie Photography, S. Silven © J. Smith, M. Grgi´c © Anthony Avell, J. Herrod courtesy of artist; Pg. 38: Kodo Performers © Takashi Okamoto, Z. Hussain © Paul Joseph; Pg.39: Alvin Ailey®American Dance Theater's Jacquelin Harris © Dario Calmese, Y. Ma & K. Stott © Mark Mann, Complexions-Stardust © Sharen Bradford; Pg.40: Metta Quintet courtesy of artists, 123 Andrés © Dominick Williams, Pianimal courtesy of artists; Pg.41: I. Barnatan © Marco Borggreve; Pg.42: P. Aimard ©Julia Wesley, L. Ove Andsnes © Helge Hansen, Aris Quartett © Simona Bednarek; Pg.43: J. Dalene © Mats Bäcker, J. DiDonato © Sergi Jasanada, M. Gerdes courtesy of artist, G. Gigashvili © Luca Guadagnini; Pg.44: R. John Hughes courtesy of artist, Kodo © Takashi Okamoto, MJF © RR-Jones, K. Brown-Montesano courtesy of artist; Pg.45: IPd'Oro © Julien Mignot, Q.Cremona © Courtesy of Artist, M. Synnott © Clayton Boyd, Z.Valova © Petra Ambrosi.
56 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
PHOTO CREDITS: Cover: Photographer: Kodo Performers ©
Pg. 11: The Baker-Baum Concert Hall courtesy of
Pg.12:
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!
TheConrad.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.
TheConrad.org · 858.459.3728 57
TABLE OF CONTENTS
58 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON Protect arts programming. Ensure a future filled with live performances. Donate Today TheConrad.org or call 858.459.3728 Resilience Fund THE CONRAD
Home of La Jolla Music Society
BOOK YOUR EVENT AT THE CONRAD
THE CONRAD PREBYS PERFORMING ARTS CENTER
Recitals · Chamber Music · Amplified Concerts · Dance · Film · Theater Conferences · Lectures ·
Receptions · Fundraisers · Weddings and more...
THE BAKER-BAUM CONCERT HALL: A intimate 513 seat performance space with superb acoustics ideally suited for chamber music and classical recitals. Its design incorporates state-of-the-art technology and adjustable acoustics, making it a world-class space for amplified concerts, film, dance, theater, lectures, and more.
THE JAI: A 2,000 square foot performance space with a contemporary look. Because of its flexible lighting, audio, and video system capabilities, this space can be configured for many types of events.
THE ATKINSON ROOM: An ideal room for meetings or lectures with audiovisual capabilities. The space can be rented in conjunction with The Baker-Baum Concert Hall and The JAI.
For more information please email VenueServices@LJMS.org
S t a y a n d P l a y o n Fa y - A P r e f e r r e d P a r t n e r o f T H E C O N R A D E X P E R I E N C E E X C E P T I O N A L S E R V I C E C o n n n e n t a l B r e a k f a s t - P i a n o S p a S u i t e - F i n e I t a l i a n C u i s i n e
Located along the shores of La Jolla, the elegance and sophistication of your dining experience is matched only by the power and drama of the ocean just inches away. At The Marine Room, every meal is a special occasion. 858.459.7222 MarineRoom.com some traditions just keep getting richer. Steel seahorse, Jennifer Lannes, diner since 1978
H A P P Y H O U R D I N N E R P R I V A T E R O O M S R E T A I L W I N E C A T E R I N G 5 1 4 V I A D E L A V A L L E S T E . 1 0 0 S O L A N A B E A C H , C A 9 2 0 7 5 P G R I L L E . C O M 8 5 8 . 7 9 2 . 9 0 9 0 I N F O @ P G R I L L E . C O M PROUD PARTNER OF THE CONRAD & LONG TIME SUPPORTER OF LA JOLLA MUSIC SOCIETY mousse Grille
FLOWERCHILDSANDIEGO.COM
“Candor is La Jolla Hidden Gem!” Brian L. - Tripadvisor COME AND DINE WITH US! Steps away from The Conrad, Chef Giuseppe Ciuffa's restaurant Candor is a European inspired restaurant with fresh Seasonal California Cuisine. Focused on honest and straightforward cooking, Candor sources as much as possible from local farmers and fishermen. Join Candor for an afternoon aperitif pre-concert at the wine bar or dinner following a night out. WWW.DINECANDOR.COM 1030 Torrey Pines Road, La Jolla, CA 92037 | 858.246.7818 Reservations are recommended. LUNCH | DINNER | COCKTAILS | OUTDOOR DINING
COMING UP...
MARCH
MARIA SCHNEIDER ORCHESTRA
SUNDAY, MARCH 5, 2023 · 6 PM
Jazz Series
The Baker-Baum Concert Hall
IGOR LEVIT
THURSDAY, MARCH 9, 2023 · 7:30 PM
Piano Series
The Baker-Baum Concert Hall
ALISA WEILERSTEIN
FRAGMENTS
Co-produced with the San Diego Symphony
TUESDAY, MARCH 14, 2023 · 7:30 PM
ProtoStar Innovative Series
The Baker-Baum Concert Hall
ZAKIR HUSSAIN
MASTERS OF PERCUSSION
SATURDAY, MARCH 18, 2023 · 7:30 PM
Global Roots Series
Balboa Theatre
SAMARA JOY
SUNDAY, MARCH 19, 2023 · 5 PM & 7 PM
Inaugural Discovery Series Jazz Artist
The JAI
SCOTT SILVEN
WONDERS
SATURDAY, MARCH 25, 2023 · 3 PM & 8 PM
SUNDAY, MARCH 26, 2023 · 3 PM & 6 PM
The JAI
APRIL
CHUCHO VALDÉS QUARTET
SATURDAY, APRIL 1, 2023 · 7:30 PM
Jazz Series
The Baker-Baum Concert Hall
ALVIN AILEY AMERICAN
DANCE THEATRE
WEDNESDAY, APRIL 4, 2023 · 7:30 PM
THURSDAY, APRIL 5, 2023· 7:30 PM
Dance Series
Civic Theatre
YO-YO MA & KATHRYN STOTT
THURSDAY, APRIL 6, 2023 · 7:30 PM
Recital Series
Civic Theatre
EMERSON STRING QUARTET FAREWELL
SEASON
SUNDAY, APRIL 16, 2023 7:30 PM
Revelle Chamber Music Series
The Baker-Baum Concert Hall
MIDORI
40TH ANNIVERSARY CELEBRATION
Education Ambassador-in-Residence
THURSDAY, APRIL 20, 2023 · 7:30 PM
Recital Series
The Baker-Baum Concert Hall
858.459.3728
TheConrad.org
Yo-Yo Ma & Kathryn Scott