La Jolla Music Society Season 54 Program Book 2 Jan-Feb 2023

THE CONRAD 2022–23

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

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

WE ARE CALIFORNIA’S BUSINESS BANC.

Proud Partner and the Official Bank of LA JOLLA MUSIC SOCIETY

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TOGETHER WE WINTM

Foundation

The ResMed Foundation

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

Board of Trustees

Edward A. Dennis, PhD Chairman

Mary F. Berglund, PhD Treasurer

Peter C. Farrell, PhD, DSc Secretary

Charles G. Cochrane, MD

Michael P. Coppola, MD

Anthony DeMaria, MD

Sir Neil Douglas, MD, DSc, FRCPE

Klaus Schindhelm, BE PhD

Jonathan Schwartz, MD

Kristi Burlingame Executive Director

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.

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.

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.

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.

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

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.”

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

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.

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.

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.

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.

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

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.

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)

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

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.

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.

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

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.

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

Lecture by Michael Gerdes

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,

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

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.

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.

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.

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.

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.

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!

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.

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.

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

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.

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.

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

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.

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

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

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

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

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.

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

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.

VAIL MEMORIAL FUND

CORPORATE PARTNERS

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.

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.

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

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