THE CONRAD 2022–23
APRIL 28–JUNE 4 Complexions Contemporary Ballet / Nat Geo Live!
Home of La Jolla Music Society
OCTOBER
APOLLON MUSAGÈTE QUARTET
GARRICK OHLSSOHN, piano
SATURDAY, OCTOBER 8, 2022 · 7:30 PM
Revelle Chamber Music Series
The Baker-Baum Concert Hall
JESS GILLAM, saxophone
THOMAS WEAVER*, piano
SUNDAY, OCTOBER 23, 2022 · 3 PM
Discovery Series
The Baker-Baum Concert Hall
AN EVENING WITH THE WAR AND TREATY
FRIDAY, OCTOBER 28, 2022 · 7:30 PM
Global Roots Series
The Baker-Baum Concert Hall
JAZZREACH
SATURDAY, OCTOBER 29, 2022 · 3 PM
The ConRAD Kids Series
The Baker-Baum Concert Hall
NOVEMBER
NAT GEO LIVE! EXPLORING MARS WITH KOBIE BOYKINS
THURSDAY, NOVEMBER 3, 2022 · 7 PM
Speaker Series
The Baker-Baum Concert Hall
TIME FOR THREE
SATURDAY, NOVEMBER 5, 2022 · 6:30 PM & 8:30 PM
Concerts @ The JAI
The JAI
DANIIL TRIFONOV
THURSDAY, NOVEMBER 10, 2022 · 7:30 PM
Piano Series
The Baker-Baum Concert Hall
EMMET COHEN TRIO
SUNDAY, NOVEMBER 20, 2022 · 5 PM & 7 PM
Concerts @ The JAI
The JAI
DECEMBER
ISABEL LEONARD, voice & PABLO SÁINZ-VILLEGAS, guitar
THURSDAY, DECEMBER 1, 2022 · 7:30 PM
Recital Series
The Baker-Baum Concert Hall
RANDALL GOOSBY, violin
ZHU WANG, piano
SUNDAY, DECEMBER 4, 2022 · 3 PM
Discovery Series
The Baker-Baum Concert Hall
SPECIAL HOLIDAY EVENT: STORM LARGE
HOLIDAY ORDEAL (PLEASE NOTE: Must be 18+ to attend)
SATURDAY, DECEMBER 10, 2022 · 7:30 PM
The Baker-Baum Concert Hall
PONCHO SANCHEZ
THURSDAY, DECEMBER 15, 2022 · 7:30 PM
Jazz Series
The Baker-Baum Concert Hall
ALFREDO RODRIGUEZ TRIO
SATURDAY, DECEMBER 17, 2022 · 6:30 PM & 8:30 PM
Concerts @ The JAI
The JAI
JANUARY
DAVINA AND THE VAGABONDS
SATURDAY, JANUARY 14, 2023 · 6:30 PM & 8:30 PM
Concerts @ The JAI
The JAI
CONNECT TO THE CONRAD
JOYCE DIDONATO
WEDNESDAY, JANUARY 18, 2023 · 7:30 PM
ProtoStar Innovative Series
The Baker-Baum Concert Hall
LEIF OVE ANDSNES
THURSDAY, JANUARY 19, 2023 · 7:30 PM
Piano Series
The Baker-Baum Concert Hall
MONTEREY JAZZ FESTIVAL ON TOUR
DEE DEE BRIDGEWATER, KURT ELLING, CHRISTIAN SANDS, LAKECIA BENJAMIN, CLARENCE PENN, YASUSHI NAKAMURA
THURSDAY, JANUARY 26, 2023 · 7:30 PM
Jazz Series
Balboa Theatre
123 ANDRÉS
SATURDAY, JANUARY 28 · 10 AM & 11:30 AM
The ConRAD Kids Series
The JAI
JOHAN DALENE, violin
GIORGI GIGASHVILI, 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
2 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
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
3 PM · The Baker-Baum Concert Hall
8 PM · The JAI
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
TUESDAY, APRIL 4, 2023 · 7:30 PM
WEDNESDAY, 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
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
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 · 7:30 PM
FRIDAY, JUNE 2, 2023 · 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
SCOTT SILVEN
FRIDAY, JUNE 9, 2023 · 6 PM & 8:30 PM
SATURDAY, JUNE 10, 2023 · 5 PM & 8 PM
Concerts @ The JAI
The JAI
TheConrad.org · 858.459.3728 3
4 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON ARValentien.com | 858.777.6635 Breathtaking Views, Uniquely California Cuisine For Every Occasion LPT_LJMS_ARV_2018.indd 1 9/18/2018 2:20:21 PM
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Proud Partner and the Official Bank of LA JOLLA MUSIC SOCIETY
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TOGETHER WE WINTM
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© 2019 Banc of California, N.A. All rights reserved.
6 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON bright.com • 858.496.9700 Proud Supporter of the La Jolla Music Society Los Angeles • West Los Angeles • Santa Barbara • Orange County • San Diego Palm Springs • San Francisco • Sonoma • Saint Helena • Healdsburg • Phoenix Chairs to China Linens to Lighting Tables to Tents QUALITY SERVICE EXPERIENCE INNOVATION
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8 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON 2620 Truxtun Rd, San Diego CA, 92106 (619) 566- 0069 Liberty Station 7611 Fay Ave, La Jolla CA, 92037 (858) 777- 0069 La Jolla
TheConrad.org · 858.459.3728 9
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
10 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
7514 Girard Avenue, Suite 1-343 La Jolla, CA, USA, 92037 Tel 858-361-0755 ResMedFoundation.org
TheConrad.org · 858.459.3728 11 TABLE
CONTENTS CALENDAR OF EVENTS 2 ALICE SARA OTT 14 MARIACHI REYNA DE LOS ANGELES & VILLALOBOS BROTHERS 18 BROOKLYN RIDER & MAGOS HERRERA 19 NEW CENTURY CHAMBER ORCHESTRA & DANIEL HOPE 24 COMPLEXIONS CONTEMPORARY BALLET 28 NAT GEO LIVE! CORAL KINGDOMS AND EMPIRES OF ICE 31 B ODYTRAFFIC 32 ARTISTS’ PROFILES 35 CONCERTS @ THE JAI 41 ConRAD KIDS SERIES 41 BOARD & STAFF LISTING 46 THANK YOU FOR YOUR SUPPORT: DONOR LISTINGS 47
OF
THE CONRAD
Home of La Jolla Music Society
Winter Season
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, rising-star saxophonist Jess Gillam, The War and Treaty, Time For Three, Maria Schneider, two-time 2023 GRAMMY® winner Samara Joy 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 Engamement Programming provides unmatched access and learning opportunities to more than 11,000 students and community members throughout San Diego County annually. With learning and engagement at the heart of our mission, we work closely with each visiting artist and ensemble to create outreach activities that highlight their unique talents and expertise at both The Conrad and in the community. With our state-of the-art video and streaming capabilities at The Conrad, we are able to provide live streaming for events such as our annual SummerFest and education events for free in our Digital Concert Hall.
Land Acknowledgment
The Conrad Prebys Performing Arts Center acknowledges the ancestral, unceded territory of the Kumeyaay people, on which The Conrad was built. We hold great respect for the land and the original people of the area where our performing arts center is located. The Kumeyaay continue to maintain their political sovereignty and cultural traditions as vital members of the San Diego community.
12 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
Welcome to La Jolla Music Society’s 54 th Winter Season
What an exceptional season this has been! We have presented more than 60 performances, from virtuosic recitalists and jazz legends to groundbreaking mariachi ensembles and iconic modern dance companies. The undeniable artistic excellence and diversity of our offerings this season has been and will continue to be a key component of our artistic mission each season. I cannot wait to share with you all our plans for the 2023–24 Season, which is also LJMS’ 55th anniversary. As we near the end of our Winter Season and look toward the summer, we hope that you will join us for the remaining performances through June. On April 28, we’re honored to present the U.S. première of Alice Sara Ott’s Echoes Of Life, a multimedia reimagining of the piano recital, illuminating Chopin’s 24 Preludes with help from masterpieces of the piano literature. Ott has added a full-length video installation designed by architect Hakan Demirel to further immerse us in her aural landscape.
Another exciting debut is the New Century Chamber Orchestra, led by violinist Daniel Hope, on May 12. If you love Vivaldi’s The Four Seasons, you absolutely have to hear Max Richter’s charttopping Recomposed version, which reinvigorates the quartet and brings it into the 21st century.
Once the season concludes, our focus shifts to SummerFest. If you’ve never been, I implore you to experience Music Director Inon Barnatan’s glorious programming from July 28 to August 26. Our expanded four-week festival will explore the theme of “The Great Unknown” over 21 performances featuring iconic masterpieces like Tchaikovsky’s Souvenir de Florence, Mozart’s String Quintet, and the Dvořák String Quartet No. 12, the “American,” performed by the world’s most in-demand classical musicians including the venerable Takács Quartet, violin sensation Augustin Hadelich, legendary conductor Alan Gilbert and more. We’ll also add two Jazz @ The JAI evenings, featuring a night with Lucy Yeghiazaryan and Vanisha Gould, and Louis Cato, bandleader of The Late Show with Stephen Colbert, with his band. We hope to attract new faces to our festival and create new ways to connect with our audiences.
I look forward to seeing each and every one of you in the coming weeks.
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.
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PRELUDE 6:30 PM
Lecture by Kristi Brown Montesano
Support for this program generously provided by:
JWDA Architects
Vivian Lim and Joseph Wong
ALICE SARA OTT ECHOES OF LIFE
FRIDAY, APRIL 28, 2023 · 7:30 PM THE BAKER-BAUM CONCERT HALL
ECHOES OF LIFE
Alice Sara Ott, piano
Hakan Demirel, architect / digital art installation
IN THE BEGINNING WAS
FRANCESCO TRISTANO In The Beginning Was (b.1981)
CHOPIN Préludes 1-4 from 24 Préludes, Opus 28 (1810–1849)
INFANT REBELLION
LIGETI Sostenuto from Musica Ricercata (1923–2006)
CHOPIN Préludes 5-9 from 24 Préludes, Opus 28
WHEN THE GRASS WAS GREENER
ROTA Valse (1911–1979)
CHOPIN Préludes 10-15 from 24 Préludes, Opus 28
CREDITS
Digital art installation: Hakan Demirel
Production: 19:4 Architects Team
Stars (Night): Ahmet Dogu Ipek, (125 cm x 360 cm, Indian ink and jags on cotton paper, 2017) Courtesy of Vehbi Koc Foundation
Contemporary Art Collection, Istanbul
Dress design: Sonia Trinkl
Photo credit: Pascal Albandopulos
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, First Republic Bank, 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, Bert and Julie Cornelison, Teresa and Harry Hixson, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, and Bebe and Marvin Zigman.
NO ROADMAP TO ADULTHOOD
CHILLY GONZALES Prelude in C-sharp Major (b.1972)
CHOPIN Préludes 16-18 from 24 Préludes, Opus 28
IDENTITY
TAKEMITSU Adagio from Litany (1930–1996)
CHOPIN Préludes 19-20 from 24 Préludes, Opus 28
A PATH TO WHERE
ARVO PÄRT Für Alina
(b.1935)
CHOPIN Préludes 21-24 from 24 Préludes, Opus 28
LULLABY TO ETERNITY
ALICE SARA OTT Lullaby to Eternity
(b.1988) (on fragments of W.A. Mozart’s “Lacrimosa”)
14 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
This
performance marks Alice Sara Ott’s La Jolla Music Society debut.
ARTIST STATEMENT
Echoes Of Life is a musical and visual journey that not only reflects on the thoughts and personal moments that continue to influence my life, but also portrays how I see my role as a classical musician today and how I want to expand my artistic horizon.
The dimensions and possibilities in which we can express ourselves artistically and connect with other art forms are things I have always been fascinated by. With this project I realize a long-held dream of mine to combine the worlds of music and architecture. The collaboration with architect Hakan Demirel gives Echoes Of Life a physical dimension, a visual narrative. Although Hakan and I had much admiration for each other’s work, we had no idea during our first encounter how the bringing together of our two art forms would actually materialize. Through many hour-long conversations and the intense exchange of thoughts and ideas, a joint vision and dream started to take shape. The music in this program is accompanied by a digital video installation which Hakan designed to show an architectural reflection of the story. It lives and breathes with the changing organism of sound and takes us on a virtual journey through the microcosm of Echoes Of Life.
I grew up with a music education in which the highest priority was given to the studying of the vast heritage of classical music and the upholding of traditional performance practices. And while being grateful in many ways for the strict discipline my teachers gave me and despite treasuring the same values for many years, I notice that there was little space or encouragement to explore classical music in the context of our time.
To me music is one of the most intimate, honest and powerful forms of expression that can be shared between human beings. And while I will always appreciate and have passion for the legacy and richness of classical music, I have witnessed how the expectation for a certain education and decorum creates artificial exclusivity and exclusion and separates us according to age and class.
So, what is my role and responsibility as a classical musician today? A major part of the repertoire I play was written many decades and centuries ago, and although I do not change the original score, I interpret it, and have the unique opportunity to contextualize this music in the here and now.
When I reflect upon the composers whose music we value so highly, they have always challenged, redefined and pushed the boundaries of music itself and everything that surrounds it. Why shouldn’t we do the same thing? Why not carry their music and their spirit forward instead of insisting upon, or reproducing, bygone traditions and limitations?
We can reflect on the past—we even carry it with us—but we cannot recreate it, because our ability to see, think and
experience is also tied to the present. Due to the speed with which we communicate and consume, we now live in an age in which we find ourselves redefining our social values, perceptions and demands all of the time. As a consequence, we are exposed to the constant danger of fragmentation and isolation. Music strengthens our solidarity and encourages social consciousness and inclusivity, and it can only exist in community. We must not limit ourselves in how we choose to identify and connect with it.
While until the 19th century, a Prélude represented a prologue or introduction preceding the main work, Frédéric Chopin established with his Préludes Opus 28 a collection of 24 individual character pieces. They are very different from each other and yet together they form a complex oeuvre. To me they reflect life, which feels built on a series of Préludes: a collection of moments, all connected in some way. One step leads to the next—at times we walk faster, sometimes slower, other times in a circle and there are times we face a dead end and have to turn around. The end of one chapter is always the beginning of another. And as life sometimes is, we come across unforeseen obstacles, we stumble and we may find ourselves on a new, unknown path.
For this program, I selected seven contemporary compositions, and in combination with the Préludes they embody personal experiences and thoughts that have guided and shaped my life thus far. When I first experimented with this idea, I didn’t anticipate what this would come to mean to me emotionally and reveal to me musically. I recall the moment when I heard the entire compilation for the first time and realized that the contemporary works confirm how Chopin’s Préludes are modern, provocative, and timeless.
We change over time and with the constant challenges we face with our society and environment. Our ways of thinking and our memories change, too. These shifts in perception accompany us from the past to the present and from the present to the future—new shapes and meanings continue to resonate within us—as if they were echoes of our lives.
I would also like to express my gratitude to my dear friend, composer and pianist Francesco Tristano, for his composition In The Beginning Was, which he wrote for this project; to artist Ahmet Doğu İpek for contributing his work Stars (Night); and to fashion designer Sonia Trinkl for creating my outfit.
—Alice Sara Ott
IN THE BEGINNING WAS Francesco Tristano, In The Beginning Was
As a young child, before starting to play the piano, I was obsessed with jigsaw puzzles and how with every little piece that was assembled the bigger picture became visible. When I finally started to play the piano, the first composer I fell in love with was Johann Sebastian Bach. For me, the structures of his music echoed how a puzzle was put together— beginning with one line, one melody, that is then joined by
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TABLE OF CONTENTS
©Felix Broede for Sony Classical
ALICE SARA OTT - PROGRAM NOTES
others to build different shapes, patterns, and tonalities.
In thinking about how I wanted to begin this program, I wrote to Francesco Tristano, who I’ve been making music with for a long time and who is not just a close friend, but like family to me. I told him I was looking for something that would echo this early time in my life, while also connecting a line to the first prelude by Chopin, which was inspired by Bach’s Prelude in C Major.
Francesco wrote this piece, entitled “In The Beginning Was,” and for me this new composition represents the spirit of our time. It’s a soundtrack that holds the past, represents the present, and carries us to the future.
INFANT REBELLION
György Ligeti, Sostenuto from Musica Ricercata
Pushing my own boundaries and challenging my parents’ patience was a crucial period in my childhood.
The first piece from György Ligeti’s Musica Ricercata contains one single pitch, articulated at different octaves and time intervals. It reminds me of that particular time when I had just discovered the word “No”—one single syllable that gave me a feeling of independence and power. A limited word— with limitless expressions.
My infant rebellion ended when I learned how to replace “No” with “Yes.” And in Ligeti‘s piece, it’s only the very last note that sets a new tone.
WHEN THE GRASS WAS GREENER Nino Rota, Valse
The grass was greener
The light was brighter
The taste was sweeter
The nights of wonder...
“High Hopes” by Pink Floyd is a song I loved in my teenage years—a time when I still saw the world through the rose-tinted spectacles of naivety and fearlessness and just romanticized everything. This is also when I fell in love with movies by Federico Fellini and Luchino Visconti and listened for hours to the music of the composer Nino Rota.
My recent discovery of Rota’s waltz made me nostalgic for this time in my life. And when I first heard it, I actually mistook it for a piece by Chopin. The way the melodies, ornaments and scales of Rota’s waltz blend in with the Chopin Preludes…
It’s almost like it was always supposed to be there.
NO ROADMAP TO ADULTHOOD Chilly Gonzales, Prelude in C-sharp Major
In my early 20s I started to be on the road most of the time, discovering countries and places I had never been to before. My way of seeing things changed gradually and while every step was filled with curiosity, I started to experience greater falls and obstacles. I learned to accept that failure and
the fear that comes with it are inevitable companions.
This is also the time when I developed a longing for the place and people I grew up with, even though I knew that they were a part of my life from which I was graduating.
When reflecting on that time, the Prelude in C-sharp Major by Chilly Gonzales came to my mind. It not only echoes the music at the beginning of this program, but it also provides an end to a chapter.
Something with the same origin is now taking on a different shape.
IDENTITY
Tōru Takemitsu, Adagio from Litany
Composer Tōru Takemitsu once stated: “Choosing to be in music clarified my identity.” I relate to the statement. Because music is the only environment where I get to define who I am.
I know how to identify and define myself outside of music, too. But this is more complex and it took me almost three decades to claim that for myself.
My identity doesn’t lie with a nationality.
It doesn’t lie with my father’s homeland, Germany, in which I was born and in which I still live.
It doesn’t lie with my mother’s homeland, Japan, in which I never lived.
It doesn’t lie with these two languages which I speak natively.
And that’s not because I do not know how to relate to their mentality and culture.
It’s because I continue to get categorized and “othered” based on how I look.
“Where are you from?”
“Where are you originally from?”
What may seem like a harmless question, asked with good intentions, is a question I have been asked all of my life—sometimes multiple times a day—and it has made me doubt and feel conflicted about what my identity is. It made me question where and how I belong. Every time I am asked, I get reminded that I apparently don’t look like I belong.
If I am asked where I am a local, I have an answer.
If I am asked what I do, I have an answer.
If I am asked what food I like, I have an answer.
I define myself with how I think, with how I act and with how I connect with people.
That’s what makes me who I am.
A PATH TO WHERE
Arvo Pärt, Für Alina
Für Alina by Arvo Pärt I identify with one of the most vulnerable and fragile moments of my life.
From the first time I heard a piano at age three, I had this desire to play.
I wanted to be a musician. And over the years, I certainly
16 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
ALICE SARA OTT - PROGRAM NOTES
experienced doubts and insecurities, but I never even considered that there would be a moment where my path— which is guided by a life in music—could be questioned.
Three years ago I started to experience physical symptoms that alarmed me, because they had an effect on my fine motor skills and I feared they would interfere with my ability to play It took several months of examinations, tests, and a stay in the hospital to finally determine that I had multiple sclerosis.
On the very day I was diagnosed, I gave a recital in my hometown, Munich, with the program of my previous album Nightfall. In the middle of the concert, while playing the Nocturne Opus 48 in C Minor by Frédéric Chopin, I started to feel numbness and cramping which ultimately led to a loss of control in my left arm. I had to stop playing for the first time in my life. The standstill of space and time I experienced in that moment on stage and its association with the tonality of C minor are things that will continue to stay with me.
It’s been two years since this moment. I have found wonderful doctors, a fitting treatment, and I am currently symptom-free. Right now multiple sclerosis is not curable, but I can say with pride that I don’t feel limited by this condition in any way.
Figuring out how to rebuild trust and confidence in myself was an intense journey. The path of how to understand my new condition and how to listen and read the signals of my body is ongoing.
There is a mindfulness with which we walk step by step into a new, unknown space…
With which we go deep inside ourselves to listen, and be conscious…
The awareness your mind and body sometimes demand… All that I find captured so completely in this vulnerable and delicate work by Arvo Pärt.
LULLABY TO ETERNITY
Alice Sara Ott, Lullaby To Eternity (on fragments of “Lacrimosa” by W.A. Mozart)
Chopin’s last Prélude begins and ends definitively in wrath and agony. I wanted to find an epilogue that responded to it. That was more open and indefinite.
W.A. Mozart’s “Lacrimosa” is part of his Requiem, which he composed at the end of his life, but could not complete. In this music mortality turns into immortality and the finite into the eternal.
My arrangement echoes fragments of it in the distance. It is filled with open spaces.
Spaces that leave room for questions unanswered.
TheConrad.org · 858.459.3728 17 TABLE OF CONTENTS
ALICE SARA OTT - PROGRAM NOTES
Support for this program provided by:
Monica Fimbres
MARIACHI REYNA DE LOS ANGELES & VILLALOBOS BROTHERS
THE SOUL OF MEXICO
SUNDAY, APRIL 30, 2023 · 3 PM
THE BAKER-BAUM CONCERT HALL
Mariachi Reyna de Los Angeles
Violins
Julissa Murillo, Laura Pena, Romina Huerta, Anisette Noperi, Brisa Bergeron, Monica Salinas
Trumpets
Sam Cabral, Linda Uhila
Guitar
Angelica Hernandez
Vihuela
Monica Hernandez-Leyva
Guitarron
Elizabeth Garcia
INTERMISSION
Villalobos Brothers
Ernesto Villalobos - lead vocals, violin, compositions
Alberto Villalobos - lead vocals, violin, jarana guitar, compositions
Luis Villalobos - lead vocals, violin, guitar, compositions
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, First Republic Bank, 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, Bert and Julie Cornelison, Teresa and Harry Hixson, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, and Bebe and Marvin Zigman.
Sergio Ramirez - guitar
Joe Sturges - drum kit
Rudyck Vidal - electric bass
PROGRAM
Works to be announced from stage. There will be a 20-minute intermission.
This performance marks Mariachi Reyna and Villalobos Brothers' La Jolla Music Society debuts
18 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
Support for this program provided by presenting sponsors:
ProtoStar Foundation
BROOKLYN RIDER & MAGOS HERRERA DREAMERS
S ATURDAY, MAY 6, 2023 · 7:30 PM THE BAKER-BAUM CONCERT HALL
MAGOS HERRERA Dreams (arr. Diego Schissi) (b.1970)
Niña (arr. Gonzalo Grau)
Poem by Octavio Paz
PARRA Volver a los 17 (arr. Diego Schissi) (1917–1967)
CAETANO VELOSO De manhã (arr. Kawues Morelembaum) (b.1942)
MAGOS HERRERA Tu y yo (arr. Guillermo Klein)
Poem by Rubén Dario
For the legal and physical safety of the artists and for the comfort of the audience, cameras and other recording devices are not permitted in the theatre during the performance.
TRADITIONAL La Llorona (arr. Gonzalo Grau)
ZECA PAGODINHO Coração em desalinho (arr. Gonzalo Grau) (b.1959)
VICENTE AMIGO La Aurora de Nueva York (arr. Gonzalo Grau) (b.1967)
Poem by Federico García Lorca
GILBERTO Undiu (arr. Colin Jacobsen) (1931–2019)
SILVIO RODRIGUEZ La maza (arr. Gonzalo Grau) (b.1946)
CARLOS AGUIRRE Milonga gris (arr. Diego Schissi) (b.1965)
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, First Republic Bank, 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, Bert and Julie Cornelison, Teresa and Harry Hixson, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, and Bebe and Marvin Zigman.
Booking Direction by David Lieberman - Artists Representative Post Office Box 10368, Newport Beach, CA 92658 714-979-4700
info@dlartists.com
LEGUIZAMÓN Balderrama (arr. Colin Jacobsen) (1917–2000)
GILBERTO GIL Eu vim da Bahia (arr. Jaqués Morelembaum) (b. 1942)
Magos Herrera, voice
Brooklyn Rider
Johnny Gandelsman, Colin Jacobsen, violins; Nicholas Cords, viola; Michael Nicolas, cello; Mathias Kunzli, percussion
TheConrad.org · 858.459.3728 19 TABLE OF CONTENTS
This
Brooklyn Rider's La Jolla Music Society debuts.
performance marks Magos Herrera and
Dreamers Texts and Translations
Translations have been adapted in some cases to make poetic sense; they are not official, and the intent is to share the spirit of the poetic power of this program. Some are poems that have been musicalized and other are classics from the Ibero-American songbook.
Dreams
Based on a fragment of Octavio Paz’ “Cántaro Roto”
Translation authorized by Paz’s widow, Maria Jose Tramini
We have to sleep with open eyes
And we must dream with our hands
Sing until the song throws out root, trunk, branches, birds, stars.
Sing until the dream engenders and then you’ll recognize yourself Sing, sing, out loud
Dreams filled with rivers finding its course
Dreams of the sun dreaming its worlds
Sing until the song throws out root, trunk, branches, birds, stars.
Sing until the dream engenders and then you’ll recognize yourself
Sing, sing, out loud
Niña
From the poem by Octavio Paz Music by Magos Herrera & Felipe Pérez Santiago
Nombras el árbol, niña.
Y el árbol crece, lento y pleno, anegando los aires, verde deslumbramiento, hasta volvernos verde la mirada.
Nombras el cielo, niña.
Y el cielo azul, la nube blanca, la luz de la mañana, se meten en el pecho hasta volverlo cielo y transparencia.
Nombras el agua, niña.
Y el agua brota, no sé dónde, baña la tierra negra, reverdece la flor, brilla en las hojas y en húmedos vapores nos convierte. No dices nada, niña.
Y nace del silencio la vida en una ola de música amarilla; su dorada marea nos alza a plenitudes, nos vuelve a ser nosotros, extraviados.
¡Niña que me levanta y resucita!
¡Ola sin fin, sin límites, eterna!
Girl Translation
You name the tree, girl, and the tree grows, slow and full, flooding the air, green glare, until our eyes turn green.
You name the sky, girl, and the blue sky, the white cloud, the morning light, penetrate our chest until it becomes heaven and transparency.
You name the water, girl, and the water springs up, I do not know where, it bathes the black earth, green the flower, shine on the leaves and in humid vapors it converts us.
You do not say anything, girl.
And from the silence life on a wave of yellow music born; and in its golden tide it raises us to plenitudes, it is us again, lost.
Girl, may you raise me and revive me! Wave without end, without limits, eternal!
Volver a los 17
Violeta Parra
Volver a los diecisiete
Después de vivir un siglo
Es como descifrar signos
Sin ser sabio competente
Volver a ser de repente
Tan frágil como un segundo
Volver a sentir profundo
Como un niño frente a Dios
Eso es lo que siento yo
En este instante fecundo
Se va enredando, enredando
Como en el muro la hiedra
Y va brotando, brotando
Como el musguito en la piedra
Ay si si si
Mi paso retrocedido
Cuando el de ustedes avanza
El arco de las alianzas
Ha penetrado en mi nido
Con todo su colorido
Se ha paseado por mis venas
Y hasta las duras cadenas
Con que nos ata el destino
Es como un diamante fino
Que alumbra mi alma serena
Lo que puede el sentimiento
No lo ha podido el saber
Ni el mas claro proceder
Ni el más ancho pensamiento
Todo lo cambia el momento
Cual mago condescendiente
Nos aleja dulcemente
De rencores y violencias
Sólo el amor con su ciencia
Nos vuelve tan inocentes
El amor es torbellino
De pureza original
Hasta el feroz animal
Susurra su dulce trino
Detiene a los peregrinos
Libera a los prisioneros
El amor con sus esmeros
Al viejo lo vuelve niño
Y al malo solo el cariño
Lo vuelve puro y sincero
De par en par en la ventana
Se abrió como por encanto
Entró el amor con su manto
Como una tibia mañana
Al son de su bella diana
Hizo brotar el jazmín
Volando cual serafín
Al cielo le puso aretes
Y mis años en diecisiete
Los convirtió el querubín
De manhã
Caetano Veloso
É de manhã
É de madrugada
É de manhã
Não sei mais de nada
É de manhã
Vou ver meu amor
É de manhã
Vou ver minha amada
É de manhã
Flor da madrugada
É de manhã
Vou ver minha flor
Vou pela estrada
E cada estrela
É uma flor
Mas a flor amada
É mais que a madrugada
E foi por ela
Que o galo cocorocô
Que o galo cocorocõ
Returning to 17
Translation
Returning to be seventeen
After a century of living
Is like deciphering signs without wisdom or competence, to be all of a sudden as fragile as a second, to find a deep feeling like a child in front of God, that is what I feel in this fecund instant.
Entangling, entangling it moves, like the ivy on the wall, and so it flowers, and it grows, like tiny moss on the stone. Oh yes oh yes
My steps are backward while yours keep advancing, the arch of alliances has penetrated my nest, with all of its wide palette it has walked through my veins and even the hard chains with which destiny chains us is like a fine diamond that lightens my serene soul. What feelings can grasp knowledge cannot understand, not even the clearest move not even the widest thought, the moment changes everything the condescending magician, separates us sweetly from rancor and violence, only love with its science makes us innocent
Love is a whirlwind of original purity, even the fierce animal whispers its sweet trill, stops the pilgrims, and liberates the prisoners, love with its best efforts turns the old into a child and only affection can turn the bad pure and sincere. The fully open window opened by pure enchantment love entered with its blanket like a lukewarm morning, the melody of its beautiful Diana prompted the flowering of jasmine, flying like a seraphim placed earrings in the sky and my years into seventeen cherubs did convert.
It’s Morning Translation
It’s morning,
It’s early morning
It’s morning, I do not know of anything else
It’s morning, I’ll see my love.
It’s morning
I’ll see my beloved.
It’s morning, dawn flower
It’s morning, I’ll see my flower
On the road
I see that every star is a flower
But the beloved flower, is more than dawn
And it was because of my beloved flower the rooster “cocorocô” the rooster “cocorocô”
20 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON BROOKLYN RIDER & MAGOS HERRERA - SONG TRANSLATIONS
Tu y yo
From a fragment of Ruben Darío “Tu y yo,” music by Magos Herrera & Fabio Gouvea
Yo vi un ave que suave sus cantares entonó y voló...
Y a lo lejos los reflejos de la luna en alta cumbre que, argentando las espumas bañaba de luz sus plumas de tisú...
¡y eras tú!
Yo vi un ave que suave sus cantares entonó y voló...
Y vi un alma que sin calma sus amores cantaba en tristes rumores y su ser conmover a las rocas parecía; miró la azul lejanía... tendió la vista anhelante, suspiró, y cantando amante prosiguió... ¡y era yo!
La Llorona
Mexican folk song
Salías del templo un dia Llorona cuando al pasar yo te vi hermoso huipil llevabas que la virgen te crei
No se que tienen las flores
Las flores del campo santo
Que cuando las mueve el viento, Llorona
Parece que este llorando
Ay! De mi, Llorona
Llorona de azul celeste
Y aunque la vida me cuesta, Llorona
No dejare de quererte
Ay de mí, Llorona Llorona, Llorona, llévame al río
Tápame con tu rebozo, Llorona
Porque me muero de frío
Coração em desalinho
Zeca Pagodinho
Numa estrada dessa vida
Eu te conheci, oh, flor
Vinhas tão desiludida
Mal sucedida
Por um falso amor
Dei afeto e carinho
Como retribuição
Procuraste um outro ninho
Em desalinho
Ficou o meu coração
Meu peito agora é só paixão
Meu peito agora é só paixão
Tamanha desilusão
Me deste, oh flor
Me enganei redondamente
Pensando em te fazer o bem
Eu me apaixonei
Foi meu mal
Agora, uma enorme paixão me devora
Alegria partiu, foi embora
Não sei viver sem teu amor
Sozinho curto a minha dor
You and I
Translation
I saw a bird that softly sang its songs and flew... And in the distance the reflections of the moon on high summit that, silting the foams He bathed his feathers of tissue...
And it was you!
I saw a bird that softly sang its songs and flew... And I saw a soul that loves without calm he sang in sad rumors and his being To move the rocks seemed; He looked at the blue distance He looked longingly, sighed, and singing lover And it was me!
The Weeping Woman
Translation
You walked out from the temple Llorona when I saw you pass by you were wearing a beautiful huipil* and I thought you were the Virgin. I do not know what the flowers of the holy field have that It seems are crying when the wind blows Oh! poor me Blue-lit Llorona
I will not stop loving you even if it means to give my life away Llorona, take me to the river and cover me with your rebozo* because I’m dying of cold
*Huipil: Traditional Mexican dress. *Rebozo: Traditional Mexican scarf Coração em desalinho
Translation
On a certain road of this life I met you, oh flower You were so disappointed unsuccessful for a false love I gave you love and affection as retribution you looked for another nest in disarray my heart remained now my chest is filled with passion Such disappointment you gave me, my flower, I was completely wrong thinking of doing you good I fell in love, it was my bad Now a huge passion devours me all joy is gone, gone I don't know how to live without your love alone, I like my pain.
TheConrad.org · 858.459.3728 21 TABLE OF CONTENTS BROOKLYN RIDER & MAGOS HERRERA - SONG TRANSLATIONS
La Aurora de Nueva York
Poem by Federico García Lorca, music by Vicente Amigo
La aurora de Nueva York tiene cuatro columnas de cieno y un huracán de negras palomas que chapotean las aguas podridas. La aurora llega y nadie la recibe en su boca porque allí no hay mañana ni esperanza posible. A veces las monedas en enjambres furiosos taladran y devoran abandonados niños.
La aurora de Nueva York gime por las inmensas escaleras buscando entre las aristas nardos de angustia dibujada. Los primeros que salen comprenden con sus huesos que no habrá paraíso ni amores deshojados;. saben que van al cieno de números y leyes, a los juegos sin arte, a sudores sin fruto. La luz es sepultada por cadenas y ruidos en impúdico reto de ciencia sin raíces. Por los barrios hay gentes que vacilan insomnes como recién salidas de un naufragio de sangre.
La aurora de Nueva York gime por las inmensas escaleras buscando entre las aristas nardos de angustia dibujada
La Maza
Silvio Rodriguez
O Si no creyera en la locura
De la garganta del sinsonte
Si no creyera que en el monte
Se esconde el trino y la pavura
Si no creyera en la balanza
En la razón del equilibrio
Si no creyera en el delirio
Si no creyera en la esperanza
Si no creyera en lo que agencio
Si no creyera en mi camino
Si no creyera en mi sonido
Si no creyera en mi silencio
Qué cosa fuera
Qué cosa fuera, la maza sin cantera
Un amasijo hecho de cuerdas y tendones
Un revoltijo de carne con madera
Un instrumento sin mejores resplandores
Que lucecitas montadas para escena
Qué cosa fuera, corazón, qué cosa fuera
Qué cosa fuera, la maza sin cantera
Un testaferro del traidor de los aplausos
Un servidor de pasado en copa nueva
Un eternizador de dioses del ocaso
Júbilo hervido con trapo y lentejuela
Qué cosa fuera, corazón, que cosa fuera
Qué cosa fuera la maza sin cantera
Qué cosa fuera, corazón, que cosa fuera
Qué cosa fuera la maza sin cantera
Si no creyera en lo más duro
Si no creyera en el deseo
Si no creyera en lo que creo
Si no creyera en algo puro
Si no creyera en cada herida
Si no creyera en la que ronde
Si no creyera en lo que esconde
Hacerse hermano de la vida
Si no creyera en quien me escucha
Si no creyera en lo que duele
Si no creyera en lo que quede
Si no creyera en lo que lucha
New York Dawn
Translation by Stephen Spender and JL Gili
The New York dawn has four columns of mud and a hurricane of black doves that paddle in putrescent waters
The dawn comes and no one receives it in his mouth, for there no morn or hope is possible.
Occasionally, coins in furious swarms perforate and devour abandoned children
The New York dawn grieves along the immense stairways, seeking amidst the groins spikenards of fine-drawn anguish
The first to come out understand in their bones that there will be no paradise nor amours stripped of leaves: they know they are going to the mud of figures and laws, to artless games, to fruitless sweat. The light is buried under chains and noises in impudent challenge of rootless science. Through the suburbs sleepless people stagger, as though just delivered from a shipwreck of blood
The New York dawn grieves along the immense stairways, seeking amidst the groins spikenards of fine-drawn anguish.
La Maza
Translation
If I wouldn’t believe in madness of the mockingbird throat
If I wouldn’t believe that on the mountain the trill and the fear are hidden
If I didn't believe in balance
In reason and equilibrium
If I didn't believe in delirium
If I didn't believe in hope
If I wouldn’t believe what I agency
If I wouldn’t believe in my ways
If I wouldn’t believe in my sound
If I wouldn’t believe believe in my silence
What would it be
What would it be, The mace without quarry
A jumble made of ropes and sinew
A jumble of meat with wood
An instrument without better glares than little lights mounted for the scene
What would it be, my heart, what would it be
What would it be, The mace without quarry
a figurehead of the applause traitor a server of the past in a new glass an eternalizer of sunset gods boiled joy with cloth and sequins
What would it be, my heart, what would it be
What would it be, the mace without quarry
What would it be, my heart, what would it be
What would it be, the mace without quarry
If I wouldn’t believe in the hardest things
If I wouldn’t believe in desire
If I wouldn’t believe in what I believe
If I wouldn’t believe in something pure
If I wouldn’t believe in every wound
If I wouldn’t believe in the ones that have been around
If I wouldn’t believe in what it the secret that hides to become a brother of life
If I didn't believe in who listens to me
If I didn't believe in what hurts
If I didn't believe in what's left
If I didn't believe in those who fight
22 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON BROOKLYN RIDER & MAGOS HERRERA - SONG TRANSLATIONS
Balderrama
Gustavo “Cuchi” Leguizamón, Jose Manuel Castilla
A orillitas del canal
Cuando llega la mañana
Sale cantando la noche
Desde lo de balderrama
Adentro puro temblor
El bombo con la baguala
Y se alborota quemando
Dele chispear la guitarra
El bombo con la baguala
Y se alborota quemando
Dele chispear la guitarra
Lucero, solito
Brote del alba
Donde iremos a parar
Si se apaga balderrama
Si uno se pone a cantar
Un cochero lo acompaña
Y en cada vaso de vino
Tiembla el lucero del alba
Zamba del amanecer
Arrullo de balderrama
Canta por la medianoche
Llora por la madrugada.
Eu vim da Bahia
Gilberto Gil
Eu vim da Bahia cantar
Eu vim da Bahia contar
Tanta coisa bonita que tem
Na Bahia, que é meu lugar
Tem meu chão, tem meu céu, tem meu mar
A Bahia que vive pra dizer
Como é que se faz pra viver
Onde a gente não tem pra comer
Mas de fome não morre
Porque na Bahia tem mãe Iemanjá
De outro lado o Senhor do Bonfim
Que ajuda o baiano a viver
Pra cantar, pra sambar pra valer
Pra morrer de alegria
Na festa de rua, no samba de roda
Na noite de lua, no canto do mar
Eu vim da Bahia
Mas eu volto pra lá
Eu vim da Bahia
Balderrama
Adapted translation
When morning comes on the banks of the canal the night comes out singing from Balderrama
Inside, In pure tremor
The bombo with the baguala play
While the sparking guitar Burns in excitement
A lonely morning star
A dawn bud, Where will we end up
If balderrama fades away
If one starts singing a coachman plays along and with each glass of wine the morning star trembles
Dawn zamba
Balderrama lullaby
That sings at midnight and weeps at dawn.
*Balderrama was a place where artists get together to sing
I Come from Bahia
Translation
I came from Bahia to sing I came from Bahia to tell all the beautiful things that it has Bahia, which is my hometown there’s my ground, my sky, my sea. Bahia that lives to say how can you manage to live where we do not have to eat But no one dies of hunger because in Bahia there is mother Iemanja and Senhor do Bonfim
What helps the Bahian to live
To sing, to play samba for real
To die of joy
In the street party, in the samba de roda
To the moonlit nights, to the sea song I came from Bahia And I’ll be back.
I came from Bahia
TheConrad.org · 858.459.3728 23 TABLE OF CONTENTS
BROOKLYN RIDER & MAGOS HERRERA - SONG TRANSLATIONS
PRELUDE 6:30 PM
Lecture by Michael Gerdes
NEW CENTURY CHAMBER ORCHESTRA
DANIEL HOPE, violin & music director
FRIDAY, MAY 12, 2023 · 7:30 PM
THE BAKER-BAUM CONCERT HALL
JESSIE MONTGOMERY Banner for String Quartet and String Orchestra (b.1981)
BRITTEN Variations on a Theme of Frank Bridge, Opus 10 (1913–1976)
Introduction and Theme
Adagio
March
Romance
Aria Italiana
Bourrée Classique
Wiener Walzer
Moto Perpetuo
Funeral March
Chant
Fugue and Finale
INTERMISSION
MAX RICHTER Recomposed: Vivaldi—The Four Seasons (b.1966)
Spring 0
Spring 1
Spring 2
Spring 3
Summer 1
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, First Republic Bank, 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, Bert and Julie Cornelison, Teresa and Harry Hixson, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, and Bebe and Marvin Zigman.
Summer 2
Summer 3
Autumn 1
Autumn 2
Autumn 3
Winter 1
Winter 2
Winter 3
This performance marks Daniel Hope and the New Century Chamber Orchestra’s La Jolla Music Society debuts.
24 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
THE ORCHESTRA
Violin I
Daniel Hope, Music Director & Concertmaster
Deborah Tien Price, Associate Concertmaster
Dawn Harms, Robin Mayforth, Iris Stone, Karen Shinozaki Sor
Violin II
Michael Yokas, Principal
Candace Guirao, Stephanie Bibbo, Kayo Miki, Jory Fankuchen
Viola
Anna Kruger, Principal
Cassandra Lynne Richburg, Jenny Douglass
Elizabeth Prior, Frank Shaw
Cello
Evan Kahn, Principal
Isaac Melamed, Kyle Stachnik, Michael Graham
Bass
Lizzie Burns, Principal
William Everett
Harp
Jacqueline Marshall
Harpsichord
Derek Tam
TheConrad.org · 858.459.3728 25 TABLE OF CONTENTS
Program notes by Eric Bromberger
Banner for String Quartet and String Orchestra JESSIE MONTGOMERY
Born December 8, 1981, New York City
Composed: 2014
Approximate Duration: 10 minutes
The daughter of theater and musical artists, Jessie Montgomery learned to play the violin as a child and earned her bachelor’s degree in violin performance from Juilliard and her master’s in composition from New York University. She is currently a Graduate Fellow in composition at Princeton as well as a Professor of Violin and Composition at The New School in New York City. In May 2021 Montgomery began her tenure as composer-in-residence with the Chicago Symphony Orchestra.
The composer has provided a program note for Banner: Banner is a tribute to the 200th anniversary of The StarSpangled Banner, which was officially declared the American National Anthem in 1814 under the penmanship of Francis Scott Key. Scored for solo string quartet and string orchestra, Banner is a rhapsody on the theme of The Star-Spangled Banner. Drawing on musical and historical sources from various world anthems and patriotic songs, I’ve made an attempt to answer the question: “What does an anthem for the 21st century sound like in today’s multicultural environment?”
In 2009, I was commissioned by the Providence String Quartet and Community MusicWorks to write Anthem: A Tribute to the Historical Alection of Barack Obama. In that piece I wove together the theme from The StarSpangled Banner with the commonly named Black National Anthem Lift Every Voice and Sing by James Weldon Johnson (which coincidentally share the exact same phrase structure). Banner picks up where Anthem left off by using a similar backbone source in its middle section, but expands further both in the amount of references and also in the role play of the string quartet as the individual voice working both with and against the larger community of the orchestra behind them. The structure is loosely based on traditional marching band form where there are several strains or contrasting sections, preceded by an introduction, and I have drawn on the drum line chorus as a source for the rhythmic underpinning in the finale. Within the same tradition, I have attempted to evoke the breathing of a large brass choir as it approaches the climax of the “trio” section. A variety of other cultural Anthems and American folk songs and popular idioms interact to form various textures in the finale section, contributing to a multi-layered fanfare.
The Star-Spangled Banner is an ideal subject for exploration in contradictions. For most Americans the song represents a paradigm of liberty and solidarity against fierce odds, and for others it implies a contradiction
between the ideals of freedom and the realities of injustice and oppression. As a culture, it is my opinion that we Americans are perpetually in search of ways to express and celebrate our ideals of freedom—a way to proclaim, “We’ve made it!” as if the very action of saying it aloud makes it so. And for many of our nation’s people, that was the case: through work songs and spirituals, enslaved Africans promised themselves a way out and built the nerve to endure the most abominable treatment for the promise of a free life. Immigrants from Europe, Central America, and the Pacific have sought out a safe haven here and, though met with the trials of building a multi-cultured democracy, continue to find rooting in our nation and make significant contributions to our cultural landscape. In 2014, a tribute to the U.S. National Anthem means acknowledging the contradictions, leaps and bounds, and milestones that allow us to celebrate and maintain the tradition of our ideals. —
Jessie Montgomery
Variations on a Theme of Frank Bridge, Opus 10 BENJAMIN BRITTEN
Born November 22, 1913, Lowestoft, England
Died December 4, 1976, Aldeburgh, England
Composed: 1937
Approximate Duration: 30 minutes
In 1937 England’s best string orchestra, the Boyd Neel Orchestra, was invited to perform at the Salzburg Festival, and Neel wanted to use the occasion to perform music by an English composer. Pressed for time, he turned to 23-yearold Benjamin Britten. The young composer sketched out an entire piece in just ten days and had the score complete on July 12; Neel led the première in Salzburg six weeks later, and Britten’s Variations on a Theme of Frank Bridge instantly became part of the repertory.
For Neel, Britten wrote a set of variations on a theme by his own teacher, English composer Frank Bridge (1879–1941). The theme comes from Bridge’s second Idyll for String Quartet (1911), and Britten takes this gentle, unpromising melody through a stunning series of transformations. The resulting music is exciting, witty, and beautifully written for strings, a remarkable achievement by a very young composer. Sharp pizzicato chords open the introduction, and soon Bridge’s theme is presented very quietly by solo string quartet; the interval of the falling fifth that opens Bridge’s theme will figure centrally in Britten’s variations. The theme is briefly extended by full orchestra before leading directly into the Adagio first variation, where violins rise and fall back over a somber chorale of lower voices. The March is very quick indeed (Presto alla marcia), and its dotted rhythms press forward to a great climax that subsides to a nearly inaudible close. The Romance features a gorgeous tune for unison violins that soars high and then ends on sustained harmonics; Bridge’s original theme is part of the bass-line pizzicato accompaniment here.
26 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON NEW CENTURY CHAMBER ORCHESTRA - PROGRAM NOTES
The fifth movement is hilarious. It is a witty sendup of an Italian opera aria, and Britten misses no chance to turn the knife in this wicked parody: First violins take the part of the prima donna soprano, who sings, primps, and trills; below her coloratura line, accompanying strings strum a pizzicato accompaniment quasi chitarra (“like a guitar”). Britten follows this with Bourrée Classique, in the style of Bach and Vivaldi’s violin music; the open-string crossings here echo the fifths of Bridge’s theme. Next come Wiener Walzer, a parody of Viennese waltz style that has been compared to Ravel’s La Valse, and Moto Perpetuo, one of the shortest and most brilliant variations.
The character of the music, so vivacious to this point, changes completely in the next two variations. In the grim Funeral March, keening violins rise high in their range; far below, the falling fifths in the cellos and basses echo the sound of muffled drums. The icy Chant takes its color from the violins’ artificial harmonics while muted violas have the theme, now an almost static progression of chords.
The last movement begins with a fugue (Allegro moto vivace) whose subject is derived from the first measures of Bridge’s theme. This grows to a complex climax with the orchestra divided into fifteen separate voices—Bridge’s original theme is played once again by solo string quartet as the fugue dances busily around it. At the very end, full orchestra stamps out the theme—now in D major—before the powerful close on a unison D.
Recomposed: Vivaldi—The Four Seasons MAX RICHTER
March 22, 1966, Hamelin, Germany
Composed: 2012
Approximate Duration: 45 minutes
Vivaldi’s The Four Seasons may be the most popular piece of classical music ever composed. It was a recording of The Four Seasons that opened the door to the revival of interest in baroque music after World War II, it has been recorded hundreds of times since then, and every violinist on the planet knows and plays The Four Seasons. Even people who know nothing about classical music recognize this music and can hum along with it.
But that in itself is a problem. The Four Seasons, glorious as it is, has become numbingly over-familiar: We hear it in elevators, in supermarket checkout lines, in ringtones. English composer Max Richter, who grew up listening to his parents’ recording of The Four Seasons, had the inevitable reaction: “I grew to hate it. In a way I stopped being able to hear it as music at all.” And so, Richter decided to do something about it. He has described his method: I needed to resolve the love/hate relationship I had with the work—call it an exorcism—and reclaim Vivaldi’s original as a musical object rather than a sonic irritant. The best way to do that, I decided, would be to take a voyage through Vivaldi’s landscape and to make new discoveries there.
As I looked into the score I saw there was a natural meeting point between his baroque language and my own. Vivaldi’s work is very pattern-based, and he generates his effects by juxtaposing contrasting kinds of material. That’s very much the way post-minimal music and electronic dance music operates, and I found plenty of touchpoints that enabled me to dive into his material in a natural, sculptural and architectural way. The result . . . succeeded in letting me encounter The Four Seasons afresh and laying the ghost of many hours of enforced listening to tinny 30-second loops of Spring while on hold waiting to speak to my bank.
Richter has said that he threw out about three-quarters of Vivaldi’s original and then “re-composed” the rest of it, and this involved a number of different approaches. Sometimes he added electronics. Sometimes he took Vivaldi’s rhythms as a starting point. Sometimes he quoted Vivaldi literally. Sometimes he wrote music of his own and superimposed it on elements of Vivaldi’s. He described his method as “throwing molecules of the original Vivaldi into a test tube with a bunch of other things, and waiting for an explosion.”
What resulted was not an explosion in the destructive sense, but a re-imagining of Vivaldi’s music. Richter begins with a movement he titles Spring 0, a forty-second overture that introduces the language of the re-composition. This proceeds directly into Spring 1, and the journey begins. There follow the twelve movements of Vivaldi’s original score in correct order, each of those movements re-created in a different way. The result is not a desecration—it is not “an explosion”—but an attempt to get at the essence of Vivaldi’s cycle by a composer working three hundred years later who loves that music and hears it in his own way. At its best, Richter’s composition should make us re-think and re-hear (with twenty-first century ears) music we have heard all our lives—perhaps too many times.
ON MAX RICHTER: Born in Germany, Max Richter grew up in England, attended the University of Edinburgh and Royal Academy of Music, and later studied privately with Luciano Berio. He has been active as a composer, pianist, producer, and organizer, and his music can show features of minimalism, postmodernism, and electronic music. Richter has produced ten very successful albums, and these often include voices; their topics range from protests against war to tracing the effects of migration and displacement on refugees. Richter has also written music for a vast number of films and television series. Among the movies he has scored (or which make use of his music) are Waltz with Bashir, Hostiles, Arrival, Shutter Island, and Prometheus. Among the television programs that have used Richter’s music are The Handmaid’s Tale, Peaky Blinders, and The Queen. Richter wrote the music for the first season of The Leftovers, and alert listeners may recognize the reappearance of some of that music in Autumn 1 of Recomposed—Vivaldi’s The Four Seasons.
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PRELUDE 6:30 PM
Interview hosted by Molly Puryear
Support for this program provided by members of the Dance Society and presenting sponsors:
Elaine Galinson and Herbert Solomon
Bebe and Marvin Zigman
COMPLEXIONS
CONTEMPORARY BALLET
ARTIST-IN-RESIDENCE
STAR DUST: FROM BACH TO BOWIE
SATURDAY, MAY 20, 2023 · 7:30 PM CIVIC THEATRE
HISSY FITS
The Music of J.S.Bach (excerpt)
CHOKE SERENITY (excerpt)
ELEGY
POCKET SYMPHONY
INTERMISSION
STAR DUST
A Ballet Tribute to David Bowie
Dwight Rhoden & Desmond Richardson, Founding Co-Artistic Directors
Meg Paul, Associate Artistic Director
Dwight Rhoden, Principal Choreographer
Muadi B. Dibinga, Interim Executive Director
Carmen de Lavallade & Sarita Allen, Artistic Advisors
ARTISTS IN RESIDENCE
Christina Dooling, Gary W. Jeter II, Christina Johnson, Jae Man Joo, Natiya Kezevadze, Terk Lewis
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, First Republic Bank, 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, Bert and Julie Cornelison, Teresa and Harry Hixson, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, and Bebe and Marvin Zigman.
Representation Margaret Selby Selby/Artists Mgmt
262 West 38th Street,Suite 1701 New York, NY 10018
Office: 212-382-3260 | mselby@selbyartistsmgmt.com
THE COMPANY
Alberto Andrade, Christian Burse, Jacopo Calvo, Kobe Atwood Courtney, Jasmine Heart Cruz, Jillian Davis, Vincenzo Di Primo, Thomas Dilley, Joe González, Mary Ann Massa, Marissa Mattingly, Tatiana Melendez, Miguel Solano, Lucy Stewart, Candy Tong, April Watson
Apprentices: Angelo De Serra, Elijah Mack, Carmina Ballesteros
Complexions Contemporary Ballet last performed for La Jolla Music Society in the Dance Series on May 7, 2011.
28 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
HISSY FITS (2006)
The Music of J.S. Bach
Choreography by Dwight Rhoden
Music by Johann Sebastian Bach
Lighting Design by Michael Korsch
Costumes Design by Christine Darch
Performed by The Company
MUSIC CREDITS
Toccata & Fugue in D Minor, BWV 565, Composed by Johann Sebastian Bach, performed by Gabriela Montero, EMI CLASSICS; Chromatic Fantasy in D Minor, BWV 903a, performed by Glenn Gould, composed by Johann Sebastian Bach, Domenico Scarlatti, Carl Philipp Emanuel Bach and Johann Bernard Bach, performed by Glenn Gould, SONY CLASSICS; Chaconne from Partita in D Minor, composed by Johann Sebastian Bach, performed by Dietrich Buxtehudem, T. Albioni, Antonio Lotti & Jean Baptiste Loeillet, EMI Classics. HISSY FITS was commissioned by NJPAC Alternate Routes.
CHOKE (2006)
Choreography by Dwight Rhoden
Music Vivaldi (The Four Seasons - Summer)
Lighting Design by Michael Korsch
Costumes Design by DRSquared
Performed by Christian Burse and Marissa Mattingly
PROGRAM NOTE
CHOKE is originally a duet for two men that highlights opposing qualities and competitive energies.
SERENITY (2022) (excerpt)
Choreography by Jae Man Joo
Music J. Brahms, Max Richter
Lighting Design by Michael Korsch
Costumes Design by Christine Darch
Performed by Thomas Dilley, Vincenzo Di Primo
MUSIC CREDITS
“Cumulonimbus - Pt. 2", Composed by Max Richter, Published by Mute Song Limited; “Path 5 (delta)", Composed by Max Richter, Published by Mute Song Limited
ELEGY (2020)
Choreography by Dwight Rhoden
Music Ludwig van Beethoven
Lighting Design by Michael Korsch
Costumes Design by Christine Darch
Performed by Jillian Davis
In loving memory of Dolores Rhoden and Yvonne Richardson. Unconditional Love. Believer. Matriarch. Fighter. Forever In Our Hearts.
MUSIC CREDITS
“Sonata No. 14 in C-Sharp Minor. Op 27 No. 2 “Moonlight”: I: sostenuto (Redbook Stereo)
Performed by Arthur Rubinstein; Published by Sony Music
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POCKET SYMPHONY (2023)
Choreography by Dwight Rhoden
Music Sven Helbig
Lighting Design by Matt Taylor
Costumes Design by Christine Darch
Performed by Tatiana Melendez, Thomas Dilley, The Company
MUSIC CREDITS
“Frost” Performed by Sven Helbig, Fauré Quartett, MDR Leipzig Radio Symphony Orchestra, Kristjan Järvi
INTERMISSION
STAR DUST (2016)
A Ballet Tribute to David Bowie
Choreography by Dwight Rhoden
Music by David Bowie
Lighting Design by Michael Korsch
Costumes Design by Christine Darch
Performed by The Company
I. LAZARUS (Blackstar album, 2016)
II. CHANGES (Hunky Dory album, 1971)
III. LIFE ON MARS (Hunky Dory)
IV. SPACE ODDITY (Space Oddity album, 1969)
V. 1984 (Diamond Dogs album, 1974)
VI. HEROES (Heroes album, 1977)
Sung by Peter Gabriel
VII. MODERN LOVE (Let’s Dance album, 1983)
VIII. ROCK AND ROLL SUICIDE (The Rise and Fall of Ziggy Stardust and The Spiders from Mars album, 1972)
IX. YOUNG AMERICANS (Young Americans album, 1975)
PROGRAM NOTE
STAR DUST is the first installment of a full evening-length ballet tribute to the genre-bending innovation of one of the prolific rock stars of our time—DAVID BOWIE. This ballet takes an array of his hits and lays a visual imprint, inspired by his unique personas and his restless invention artistically—to create a rock opera-style production in his honor. With Bowie’s 40+-year career and 25 albums that stretch across musical borders, STAR DUST pays homage to the iconic and chameleonic spirit of what can only be described as... BOWIE.
* STAR DUST was generously commissioned by Detroit’s Music Hall. Special thanks to Vince Paul.
MUSIC CREDITS
“Warszawa,” written by David Bowie & Brian Eno, published by Tintoretto Music (BMI) administered by RZO Music, Inc., EMI Music Publishing Ltd |
“Lazarus,” written by David Bowie, publishers: Nipple Music (BMI) administered by RZO Music, Inc. | “Changes,” written by David Bowie, published by Tintoretto Music (BMI) administered by RZO Music, Inc.; EMI Music Publishing Ltd.; BMG Blue (BMI) obo Chrysalis Music Ltd. | “Life on Mars?”, written by David Bowie, published by Tintoretto Music (BMI) administered by RZO Music, Inc.; EMI Music Publishing Ltd.; BMG Blue (BMI) obo Chrysalis Music Ltd. | “1984,” written by David Bowie, published by Jones Music America (ASCAP) administered by ARZO Publishing; Bewlay Brothers Music; EMI Music Publishing Ltd.; BMG Blue (BMI) obo Chrysalis Music Ltd. | “Heroes,” written by David Bowie & Brian Eno, published by Tintoretto Music (BMI) administered by RZO Music, Inc.; EMI Music Publishing Ltd. | “Modern Love,” written by David Bowie, published by Jones Music America (ASCAP) administered by ARZO Publishing | “Rock ‘N’ Roll Suicide,” written by David Bowie, published by Tintoretto Music (BMI) administered by RZO Music, Inc.; EMI Music Publishing Ltd.; BMG Blue (BMI) obo Chrysalis Music Ltd. | “The Young Americans,” written by David Bowie, published by Jones Music America (ASCAP) administered by ARZO Publishing; Bewlay Brothers Music; EMI Music Publishing Ltd.; BMG Blue (BMI) obo Chrysalis Music Ltd.
30 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
CORAL KINGDOMS AND EMPIRES OF ICE WITH DAVID DOUBILET AND JENNIFER HAYES
THURSDAY, MAY 25, 2023 · 7 PM THE BAKER-BAUM CONCERT HALL
Explore rarely seen undersea worlds with two photographers creating a visual voice for the world’s oceans. David Doubilet is a legend in underwater photography. Together with his wife and underwater partner, photojournalist Jennifer Hayes, in just one remarkable year on assignment, he explored three unique marine environments for National Geographic. Join them to explore the rich and diverse waters of Kimbe Bay, Papua New Guinea, part of the “coral triangle.” Follow them into the world beneath the Antarctic ice, then north to the Gulf of St. Lawrence to see whales, wolfish and harp seals. Together, they’ll go beyond the published stories to share the reality of behind-the-camera adventures.
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PROGRAM Presentation Question & Answer Session NO INTERMISSION
ABOUT
This presentation marks David Doubilet and Jennifer Hayes’ La Jolla Music Society debuts.
Photo by: Davd Doubilet
TABLE OF CONTENTS
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, First Republic Bank, 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, Bert and Julie Cornelison, Teresa and Harry Hixson, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, and Bebe and Marvin Zigman.
PRELUDE 6:30 PM
Interview hosted by Molly Puryear
Support for this program provided by members of the Dance Society and presenting sponsors:
Elaine Galinson and Herbert Solomon
Bebe and Marvin Zigman
BODYTRAFFIC thanks the following Corporate, Foundation, and Government partners for their generous support.
BODYTRAFFIC
THURSDAY, JUNE 1, 2023 · 7:30 PM
FRIDAY, JUNE 2, 2023 · 7:30 PM
THE BAKER-BAUM CONCERT HALL
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, First Republic Bank, 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, Bert and Julie Cornelison, Teresa and Harry Hixson, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, and Bebe and Marvin Zigman.
Representation Margaret Selby
Selby/Artists Mgmt
262 West 38th Street,Suite 1701 New York, NY 10018
Office: 212-382-3260 | mselby@selbyartistsmgmt.com
BODYTRAFFIC
An exploration of identity through dance
Tina Finkelman Berkett, Artistic Director
Guzmán Rosado, Associate Artistic Director
THE COMPANY
Katie Garcia, Pedro Garcia, Alana Jones, Tiare Keeno, Ty Morrison, Joan Rodriguez, Jordyn Santiago
Callen Gosselin, General Manager
Dora Quintanilla, Production and Tour Manager
Julie Opiel, Education and Outreach Manager
Tiare Keeno, Dance Captain
Michael Jarett, Technical Director
This performance marks BODYTRAFFIC’s La Jolla Music Society debut.
32 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
PROGRAM A MILLION VOICES PAUSE SNAP INTERMISSION
PAUSE
O2JOY
PACOPEPEPLUTO
BODYTRAFFIC - PROGRAM NOTES
A MILLION VOICES
Choreography by: Matthew Neenan
Music by: Performed by Peggy Lee; composed by Robert Sour & Una Mae Carlisle, Johnny Mercer & Harold Arlen, C. Farrow, Irving Berlin, Mike Stoller & Jerry Leiber, Adrian Zing & Benny Goodman, Arthur Hamilton
Lighting Design by: Burke Wilmore
Costume Design by: BODYTRAFFIC
Performers: Katie Garcia, Pedro Garcia, Alana Jones, Tiare Keeno,Ty Morrison, Joan Rodriguez, Guzmán Rosado, Jordyn Santiago
Première: The Wallis Annenberg Center for the Performing Arts, Beverly Hills, CA, 2018
A Million Voices is inspired by the inimitable Peggy Lee, who was a pioneer in the art of “persona.” Her legendary music, which was created in response to the political climate of her time, spurs us to embrace the passion of living even in the darkest of times.
This work was made possible in part by the Made in Wickenburg Residency Program at Del E. Webb Center for the Performing Arts with funding from the RH Johnson Foundation, the National Endowment for the Arts, the Wellik Foundation, WESTAF, and Benner-Nawman.
SNAP
Choreography by: Micaela Taylor
Lighting Design by: Burke Wilmore
Costume Design by: Kristina Marie Garnett – KAART KAART GALLERY
Music by: James Brown
Original Music and
Sound Editing by: SHOCKEY
Performers: Katie Garcia, Pedro Garcia, Alana Jones, Tiare Keeno, Ty Morrison, Joan Rodriguez, Jordyn Santiago
Première: The Wallis Annenberg Center for the Performing Arts, Beverly Hills, CA, 2019
SNAP is inspired by the ethnically diverse yet isolating crowds of Los Angeles. It urges audiences to “snap out of” social pressures to conform and to connect with their individuality as well as with people around them.
SNAP was made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation.
General Operating Support was made possible by the New England Foundation for the Arts’ National Dance Project with funding from the Doris Duke Charitable Foundation
SNAP’s costumes were generously underwritten by Harold I. Huttas & Scott A. McPhail in honor of Renae Williams Niles’ birthday.
PAUSE INTERMISSION
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TABLE OF CONTENTS
O2JOY
Choreography by: Richard Siegal
Music by: Oscar Peterson, “Mumbles,” Billie Holiday, “On the Sunny Side of the Street,” Ella Fitzgerald, “All of Me,” Glenn Miller, “Taps Miller,” Oscar Peterson, “My One and Only”
Music Editing by: David Karaganis
Costume Design by: Rita DiLorenzo and Richard Siegal
Lighting Design by: Burke Wilmore based on an original design by Kindred Gottlieb
Performers by: Katie Garcia/Alana Jones, Pedro Garcia, Tiare Keeno, Ty Morrison, Joan Rodriguez
Première: The Joyce Theater, New York, New York, 2012
An exuberant homage to American jazz standards, o2Joy is, as its title suggests, an expression of sheer joy through music and movement.
PAUSE
PACOPEPEPLUTO
Choreography by: Alejandro Cerrudo
Music by: Joe Scalisi, “Memories Are Made of This”, Dean Martin, “In the Chapel in the Moonlight”, Dean Martin, “That’s Amore”
Lighting Design by: Matthew Miller
Performers: Joan Rodriguez, First solo, Pedro Garcia, Second solo, Guzmàn Rosado, Third solo
Première: Inside/Out Choreographic Workshop, UIC Theatre, University of Illinois by Hubbard Street Dance Chicago, 2011
BODYTRAFFIC Première: The Wallis Annenberg Center for the Performing Arts, Beverly Hills, CA, 2021
Three solos for male dancers set to songs popularized by “the king of cool,” Dean Martin. PACOPEPEPLUTO shows Alejandro Cerrudo’s skill at balancing aesthetic austerity and sharp wit. This work dares viewers to nakedly and joyfully embrace their true self-expression. It is performed in dim lighting and contains partial nudity with male dancers in dance belts.
34 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON BODYTRAFFIC - PROGRAM NOTES
ARTISTS’ PROFILES
Tina Finkelman Berkett, Artistic Director, BODYTRAFFIC
Tina Finkelman Berkett, Artistic Director and a founder of BODYTRAFFIC, is an influential dance leader and community builder, producing original, compelling repertoire and sharing a new vision of dance across the U.S. and around the world. Berkett’s professional dance career began at Aszure Barton & Artists, a contemporary dance company where she quickly became a featured dancer and then Barton’s assistant, teaching both in the U.S. and abroad. A true highlight of her career was being a founding member of Mikhail Baryshnikov’s Hell’s Kitchen Dance and touring internationally alongside Mr. Baryshnikov himself. Berkett found an interest in arts administration when she served as the company’s dancer liaison. In 2007, she relocated to Los Angeles and launched BODYTRAFFIC with Lillian Barbeito. Now serving as the company’s sole Artistic Director, Berkett is focusing on re-envisioning and revitalizing BODYTRAFFIC. With her deep commitment to taking the company to new heights, she is curating and discovering exciting choreographers and programming challenging programs that audiences enjoy, seeing incredible dancers doing their best work.
BODYTRAFFIC
BODYTRAFFIC uses the creative spirit of its Los Angeles home to fulfill its mission of delivering performances that inspire audiences simply to love dance. Founded in 2007, its repertory includes the works of renowned contemporary choreographers like Kyle Abraham, Ohad Naharin, Hofesh Shechter, Victor Quijada, Arthur Pita, Fernando Magadan, and Micaela Taylor. BODYTRAFFIC made its 2016 Hollywood Bowl debut with the Los Angeles Philharmonic and is currently company-in-residence at the Wallis Annenberg Center for the Performing Arts in Beverly Hills. Beyond
LA, the company has performed at prestigious venues throughout the U.S. in such places as New York, Colorado, Pennsylvania, Massachusetts, Michigan, North Carolina, Texas, and Arizona, and on an extensive tour to more than 20 cities abroad including Moscow, St. Petersburg, and The Hague. In 2015 the Obama Administration selected BODYTRAFFIC to be U.S. cultural ambassadors to Israel and Jordan through DanceMotion USA, a program of the Bureau of Educational and Cultural Affairs of the U.S. State Department. BODYTRAFFIC also served as cultural ambassadors of the United States in South Korea (2016), Algeria (2017–18), and Indonesia (2018)
Brooklyn Rider
Johnny Gandelsman, Colin Jacobsen, violins ; Nicholas Cords, viola ; Michael Nicolas, cello; Mathias Kunzli, percussion
Brooklyn Rider is known for playing unusual and contemporary repertoire, and for collaborating with musicians from outside the classical music sphere. The quartet founded the Stillwater Music Festival in 2006 to serve as a place to unveil new repertory and collaborations, and have completed residencies at several universities. The GRAMMY-nominated quartet has performed at the Schwartz Center (Atlanta), the Kimmel Center, the Cologne Philharmonie, American Academy in Rome, Spoleto Festival USA, and Malmö Festival in Sweden. In 2010, they played at the SXSW Festival in Austin, Texas, which was also broadcast live on NPR—the only classical performers to have been invited to play at the festival to date. Brooklyn Rider made their Lincoln Center and Carnegie Hall debuts in 2011. They recently collaborated on different projects with Israeli mandolin virtuoso Avi Avital and Swedish mezzo-soprano Anne Sofie von Otter, and in 2022–23 launched a major new commissioning venture, The Four Elements, an exploration of the four classical elements of earth, air, water, and fire as metaphor for both the complex inner world of the string quartet and the current health of planet Earth.
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TABLE OF CONTENTS
The Colburn School
fafw 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
Complexions Contemporary Ballet
Founded in 1994 by Master Choreographer Dwight Rhoden and the legendary Desmond Richardson, Complexions has presented an entirely new and exciting vision of human movement on five continents, in over twenty countries, to more than 20 million television viewers, and to well over 300,000 people in live audiences. The company has received numerous awards, including The New York Times Critics’ Choice Award. It has appeared throughout the US, including the Joyce Theater, Lincoln Center, Kennedy Center, Brooklyn Academy of Music, Mahalia Jackson Theater for the Performing Arts, Paramount Theatre in Seattle, The Music Center in Los Angeles, Winspear Opera Housein Dallas, and Music Hall in Detroit, The Bolshoi Theater, The Kremlin, The Mikhailovsky Theater, and the Melbourne Arts Center. The Company has appeared at major European dance festivals including Italy’s Festival of Dance, the Isle De Dance Festival in Paris, the Maison De La Dance Festival in Lyon, the Holland Dance Festival, Steps International Dance Festival in Switzerland, Łódź Biennale, Warsaw Ballet Festival, Kraków Spring Ballet Festival, and the Dance Festival of the Canary Islands. In addition, Complexions has toured extensively throughout the Baltic Regions, Russia, Serbia, Korea, Japan, Brazil, Egypt, Israel, New Zealand, Bermuda, Jamaica, and Australia.
Dwight Rhoden, Co-Founder Co-Artistic Director Principal Choreographer
Dwight Rhoden has performed with Dayton Contemporary Dance Company, Les Ballet Jazz De Montreal, and as a principal dancer with the Alvin Ailey American Dance Theater. In 1994, Rhoden and Desmond Richardson founded COMPLEXIONS Contemporary Ballet, and have brought their unique brand of contemporary dance to the world for over two decades. Rhoden’s choreography has been the lynchpin of the development of COMPLEXIONS repertory. Since 1994, he has created more than 80 ballets for COMPLEXIONS, as well as for numerous other companies, including the Alvin Ailey American Dance Theater, Arizona Ballet, Aspen Santa Fe Ballet, BalletMet, Dance Theatre of Harlem, Colorado Ballet, Joffrey Ballet, Miami City Ballet, New York City Ballet, Pennsylvania Ballet, PHILADANCO!, Mariinsky Ballet, Oakland Ballet, Pittsburgh Ballet Theater, Washington Ballet, and the San Francisco Ballet. Rhoden has also directed and choreographed performances for shows across a range of media, including So You Think You Can Dance, E! Entertainment’s Tribute to Style, Amici, and Cirque Du Soleil’s Zumanity, and he appeared in the feature film One Last Dance. He has collaborated with or created work for a number of celebrated artists, including Prince, Lenny Kravitz, Kelly Clarkson, The Drifters, Paul Simon, Billy Strayhorn, Nina Simone, Marvin Gaye, U2, and Patrick Swayze. Rhoden is a recipient of various honors and awards including The New York Foundation for the Arts Award, The Choo San Goh Award for Choreography, and The Ailey School’s Apex Award.
36 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON ARTISTS ’ PROFILES
Desmond Richardson, Co-Founder Co-Artistic Director
Desmond Richardson was the first African-American principal dancer of American Ballet Theatre. He was nominated for a Tony Award for his role in the original Broadway cast of Fosse and deemed a standout in the Tony Award-winning production After Midnight . Richardson has appeared on celebrated stages across the world, including The Metropolitan Opera, The Kennedy Center, Paris Opera, Bolshoi Theatre, Mariinsky Theatre, the State Kremlin Palace, Teatro Massimo, and Teatro alla Scala. He has been a member and invited guest of prestigious companies including Alvin Ailey American Dance Theater, Frankfurt Ballet, Royal Swedish Opera Ballet, American Ballet Theatre, Washington Ballet, and San Francisco Ballet, to name a few. Richardson, a Young Arts Finalist and Presidential Scholar, has received numerous awards including the Dance Magazine Award, Capezio Award, Ailey Apex Award, L.A. Ovation Award, “Bessie” Award, YoungArts Alumni Award, and most recently the Roosevelt “Rosey” Thompson Award presented by the Presidential Scholars Foundation. He has been a celebrity guest performer and choreographer for productions such as the American Music Awards, the Academy Awards, City Center’s Encores! series, Italy’s Amici, and international franchises of So You Think You Can Dance. Richardson has been featured by Michael Jackson, Prince, Madonna, Elton John, and Aretha Franklin, and appears in celebrated films such as the Academy Award-winning Chicago, Julie Taymor’s Across the Universe, and the recent independent film Fall to Rise. He is currently a guest artist-in-residence at USC’s Glorya Kaufman School of Dance.
David Doubilet
David Doubilet has a long and intimate view of the sea. As a photographer he has spent five decades exploring and documenting the far corners of the world from beneath interior Africa, remote tropical coral reefs, rich temperate seas and recent projects beneath the polar ice. His personal challenge is to create a visual voice for the world’s oceans and to connect people to the incredible beauty and silent devastation happening within the invisible world below. Doubilet is a contributing editor for several publications and an author of twelve titles including the award-winning Water Light Time. His numerous photographic awards include Picture of the Year, BBC Wildlife, Communication Arts and World Press. He is a member of the Academy of Achievement, Royal Photographic Society, International League of Conservation Photographers and International Diving Hall of Fame. Doubilet was named a National Geographic Contributing Photographer-in-Residence in 2001. He is the recipient of the Explorers Club Lowell Thomas Award and Lennart Nilsson Award for Scientific Photography.
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.
TheConrad.org · 858.459.3728 37 ARTISTS ’ PROFILES
TABLE OF CONTENTS
Jennifer Hayes
Jennifer Hayes is a contributing photojournalist and speaker for National Geographic Partners. She is an aquatic biologist who has directed her focus to photojournalism specializing in natural history, conservation, and the documentation of freshwater and marine environments. She has descended beneath Botswana’s Okavango Delta, explored the world beneath oil and gas rigs, documented remote and wild Cuba, and submerged into Greenland’s fjords choked with icebergs. Hayes’ academic passions led to graduate degrees in marine ecology and zoology. Her research focused on shark finning and commercial landing in the western Atlantic and the population dynamics and movements of the ancient fish sturgeon. Hayes has translated her love of science into storytelling, working with scientists around the globe to share their stories. She is an award-winning photographer, contributor to numerous global publications, and author/contributor to books on marine environments. She is a trustee of the Shark Research Institute, an Explorer Club fellow, editorial board advisor for Ocean Geographic, and recipient of the President’s medal for contributions to the natural world.
Magos Herrera, vocalist
Jazz singer, songwriter, producer, and educator
Magos Herrera was born in Mexico City and is currently based out of New York City. She is known for her eloquent vocal improvisation and her singular bold style, which embraces elements of contemporary jazz with IberoAmerican melodies and rhythms singing in Spanish, English, and Portuguese. Herrera has recorded ten albums and appeared as a guest artist on several others. She has performed in international venues including Lincoln Center, Kennedy Center, Palacio de Bellas Artes in Mexico City, Círculo de Bellas Artes in
Madrid, Union Chapel in London, Duc des Lombardes in Paris, Kamani Auditorium in Delhi, and Palau de la Musica in Valencia, and has been part of the lineup of some of the most memorable jazz festivals around the world, including Montreux Jazz Festival, Montreal Jazz Festival, and Festival Internacional Cervantino. Her awards and recognitions include a GRAMMY nomination in the Best Jazz Vocal Album category for her album Distancia (2009), and she is the only female artist to have received the Berklee College of Music’s Master of Latin Music Award. She is known for championing women’s causes and has served as spokesperson for UN Women.
Daniel Hope, violin & music director
British violinist Daniel Hope has been recognized with a string of honors including the Order of Merit of the Federal Republic of Germany and the 2015 European Culture Prize for Music. Besides undertaking solo recitals, chamber concerts, and concerto collaborations with the world’s leading orchestras and conductors, Hope directs many ensembles from the violin, succeeding Roger Norrington as Music Director of the Zurich Chamber Orchestra in 2016 and becoming Music Director of San Francisco’s New Century Chamber Orchestra two years later. An exclusive Deutsche Grammophon artist since 2007, he has an award-winning discography and is also a popular radio and television host who recently anchored the award-winning streaming and TV series Hope@Home. In 2019 he completed his sixteenth and final season as Associate Artistic Director of Georgia’s Savannah Music Festival and became Artistic Director of Dresden’s Frauenkirche Cathedral. In 2020, following in the distinguished footsteps of Kurt Masur and Joseph Joachim, Hope started his tenure as President of the Beethoven-Haus Bonn. His more than 30 albums have been recognized with awards including the Deutsche Schallplattenpreis, the Diapason d’Or of the Year, the Edison Classical Award and the Prix Caecilia. Hope plays the 1742 “ex-Lipínski” Guarneri del Gesù.ics.
38 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
ARTISTS ’ PROFILES
Kristi Brown Montesano, lecturer
Chair of the Music History Department at the Colburn Conservatory of Music in Los Angeles, Kristi Brown Montesano is an enthusiastic “public musicologist.” She is an active lecturer for the LA Philharmonic, the Opera League of Los Angeles, the Salon de Musiques series, and Mason House Concerts. Her book, The Women of Mozart’s Operas (UC Press, 2007), offers a detailed study of these fascinating roles; more recent scholarly interests include classical music in film, women in classical music, and opera for children.
Molly Puryear, interviewer
Molly Puryear brings passion for dance and nonprofit administration to her position as Executive Director of Malashock Dance. Puryear has worked with Malashock Dance since 2006, and previously served in the role of Education Director. She strategically aligns artistic and educational efforts to create a dynamic relationship between programs, the communities they serve, and the organization’s valuable funders. Puryear is committed to serving the San Diego community through the development and administration of vibrant dance programs. She believes that dance is an avenue for personal expression that engages people from all walks of life.
New Century Chamber Orchestra
gdwgdywqgdgqwudqwgdOne of only a handful of conductorless chamber ensembles in the world, New Century Chamber Orchestra was founded in 1992 and includes 19 string players from the San Francisco Bay Area as well throughout the US. Musical decisions are made collaboratively, resulting in an enhanced level of commitment from the musicians and concerts of remarkable precision, passion, and power. British
violinist Daniel Hope was appointed beginning in the 2018–19 season as the ensemble’s Music Director; previous music directors of the ensemble include Nadja Salerno-Sonnenberg (2008–17), Krista Bennion Feeney (1999–2006), and Stuart Canin (1992–99). In addition to performing beloved masterworks from the chamber orchestra repertoire, New Century commissions important new works, breathes new life into rarely heard jewels of the past, and frequently performs world premieres. Its numerous recordings are critically acclaimed and award-winning. Beyond regular season concerts in the Bay Area, New Century has toured nationally including performances in the Midwest, East Coast, and Southern California and an eight-state national tour. In June 2019, the orchestra embarked on its first European tour, the largest and most ambitious artistic undertaking in the organization’s history, with appearances across Germany and Poland including the acclaimed Leonard Bernstein-founded SchleswigHolstein Music Festival and Philharmonie Essen.
Alice Sara Ott, piano
Echoes Of Life, Alice Sara Ott’s tenth album on Deutsche Grammophon, had its world premiere at London’s Southbank in November 2021, followed by dates at Paris’ La Seine Musicale, Munich
Prinzregententheater, Lucerne KKL, Budapest MUPA, Antwerp de Singel, Klavierfest Ruhr, and Lille Piano Festival, plus a tour in Japan in spring 2022. Echoes Of Life follows on from her albums Nightfall, Wonderland, and The Chopin Project, taking her total number of album streams to over 150 million. In 2021–22 Ott performed with the Borusan Philharmonic, KBS Symphony in Seoul with Christoph Eschenbach, and with Camerata Salzburg. She performed Ravel’s Left Hand Concerto on tour with Orchestre Philharmonique de Radio France. She has worked with conductors at the highest level, including Gustavo Dudamel, Pablo HerasCasado, Edward Gardner, Paavo Järvi, Sir Antonio Pappano, Yuri Temirkanov, Vladimir Ashkenazy, Osmo Vänskä, Myung-Whun Chung, and Robin Ticciati. She continues to perform with ensembles such as Berliner Philharmoniker, Los Angeles Philharmonic, London Symphony Orchestra, Philharmonia Orchestra, Bergen
TheConrad.org · 858.459.3728 39 ARTISTS’ PROFILES
TABLE OF CONTENTS
Philharmonic Orchestra, Chicago Symphony Orchestra, National Symphony Orchestra, and Wiener Symphoniker. Also an illustrator and designer, Ott created a signature line of bags for the German premium fashion brand JOST, was global brand ambassador for Technics, and has collaborated with the French luxury jewelry house Chaumet.
Mariachi Reyna de Los Angeles
Enriching the medium as America’s first all-female mariachi ensemble, Mariachi Reyna de Los Angeles brings sensitivity, beauty, warmth and vivacious spirit to the historic art of mariachi, blazing the trail for female mariachi musicians. In a musical landscape where songs are often written by men, from male perspectives, Reyna has created its own history. Established in 1994, the group had a strong beginning thanks to the mentorship of Lola Bertran, “La Reina de La Musica Ranchera.” In these early days, Maestro Jóse Hernàndez saw the potential in this all-female ensemble and fostered the development of the group. Reyna de Los Angeles has since gone on to record three albums, sharing the stage with world-renowned musicians like Vicki Carr, Guadalupe Pineda, and Lucha Villa, and perform for some of the world’s highest-profile celebrities including Tom Cruise, Oprah Winfrey, and President and First Lady Barack and Michelle Obama.
Guzmán Rosado, Associate Artistic Director, BODYTRAFFIC
Guzmán Rosado started dancing at the International School of Dance of Carmen Roche Scaena in Madrid on a scholarship sponsored by the Ministerio de Cultura de Madrid. Rosado danced with Ballet Joven de Carmen Roche until 1999, when he was offered a scholarship to attend the School of American Ballet (SAB). After his time at SAB, Edward Villella invited him to dance with Miami City Ballet. From 2002 to 2007, Guzmán danced with Companhia Portuguesa de Bailado
Contemporaneo. In 2007, with André Mesquita and Teresa Alves da Silva, Guzmán co-founded Tok’Art, a cultural platform. He has performed extensively as a guest artist throughout Europe. He teaches ballet, yoga, and movement workshops. Guzmán joined BODYTRAFFIC in 2012 and is also currently the company’s resident filmmaker, winning awards for his film work.
Villalobos Brothers
The Villalobos Brothers are acclaimed as one of today’s leading contemporary Mexican ensembles, performing throughout Latin America, India, Russia, Canada and in more than thirty states across the US. They have performed at historic venues and events including Carnegie Hall, Lincoln Center, the Latin GRAMMY Awards, Davies Symphony Hall, Montreal Jazz Festival, the Ford Theatre in Hollywood, the 60th Anniversary of the United Nations, the New Victory Theatre on Broadway, San Jose Jazz Fest, Celebrate Brooklyn, the 66th FIFA Congress in Mexico City, the Blue Note Jazz Festival, and the Apollo Theatre. In 2018, they joined forces with Arturo O’Farrill and the Afro-Latin Jazz Orchestra for the “Fandango at the Wall” project. This ambitious undertaking, produced by Kabir Sehgal, united legendary international musicians for a live concert at the Tijuana–San Diego border wall which resulted in a live album and documentary film by HBO Max, released in 2019. The Villalobos Brothers recently premiered their Symphonic Project, performing soldout concerts with the San Francisco Symphony, Sun Valley Symphony, Walla Walla Symphony, and Yakima Symphony orchestras. The ensemble has collaborated with legendary musicians including GRAMMY winners Bruce Springsteen, Dolly Parton, Antonio Sánchez, Regina Carter, Eduardo Magallanes, Dan Zanes, Sierra Hull, and Ana Tijoux.
40 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON ARTISTS ’ PROFILES
CONCERTS @ THE JAI
MAK GRGIC´ CINEMA VERISMO
SATURDAY, MAY 13, 2023 · 6:30 PM & 8:30 PM
2023 GRAMMY® nominee 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 asThe Deerhunter, Raging Bull, The Godfather, Chariots of Fire, Vicky Cristina Barcelona, and many others.
JIMMIE HERROD
SUNDAY, JUNE 4, 2023 · 5 PM & 7 PM
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 America’s Got Talent, in an intimate and mesmerizing evening of music.
SCOTT SILVEN WONDERS
FRIDAY, JUNE 9, 2023 · 6 PM & 8:30 PM
SATURDAY, JUNE 10, 2023 · 5 PM & 8 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.
THE CONRAD KIDS SERIES
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.
TheConrad.org · 858.459.3728 41 TABLE
OF CONTENTS
Classical Music Festivals of the West 2023
CALIFORNIA
Cabrillo Festival of Contemporary Music
cabrillomusic.org
Santa Cruz, CA
July 30-August 13
Carmel Bach Festival
bachfestival.org
Carmel, CA
July 15-29
La Jolla Music Society SummerFest
TheConrad.org
La Jolla, CA
July 28-August 26
Mainly Mozart
All-Star Orchestra Festival
mainlymozart.org
San Diego, CA
June 15-24
Music@Menlo
musicatmenlo.org
Atherton, CA
July 14-August 5
COLORADO
Aspen Music Festival and School
aspenmusicfestival.com
Aspen, CO
June 29-August 20
Bravo! Vail Music Festival
bravovail.org
Vail, CO
June 22-August 3
Colorado Music Festival
coloradomusicfestival.org
Boulder, CO
June 29-August 6
Strings Music Festival
stringsmusicfestival.com
Steamboat Springs, CO
June 24-August 23
IDAHO
Sun Valley Music Festival
svmusicfestival.org
Sun Valley, ID
July 30-August 24
NEW MEXICO
Santa Fe Chamber Music Festival
santafechambermusic.org
Santa Fe, NM
July 16-August 21
OREGON
Chamber Music
Northwest Summer Festival
cmnw.org
Portland, OR
June 24-July 29
Oregon Bach Festival
oregonbachfestival.org
Eugene, OR
June 30-July 16
WASHINGTON
Seattle Chamber Music Society Summer Festival
seattlechambermusic.org
Seattle, WA
July 3-29
WYOMING
Grand Teton Music Festival
gtmf.org
Jackson, WY
June 30-August 19
42 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
Photo: Jenna Poppe
Photo: Chris Lee
Photo: Tomas Cohen
Photo: Daniel Kelley
Photo: Steven Ovitsky
Photo: Lovethearts
FILL YOUR SUMMER WITH MUSIC!
the musical riches and unique settings of these allied festivals of the Western United States.
Photo: Tom Emerson
Explore
TheConrad.org · 858.459.3728 43 TABLE OF CONTENTS
THE GRE A T
SummerFest 2023 celebrates The Great Unknown: The joy of discovery and rediscovery, the delight in the unexpected, and the mystery of the exotic. We explore fantastical and otherworldly pieces, myths, fairy tales, dreams, and memories, reveling both in the canon’s most beloved works and in hidden gems from well-known, lesser-known, and previously silenced composers. Above all, The Great Unknown personifies the mysterious and intangible nature of music and how it continues to transform, inspire and surprise us all.
Composer-in-residence Thomas Adès, Augustin Hadelich, Liza Ferschtman, Joyce Yang, Conrad Tao, Alisa Weilserstein, Louis Cato, Wendy Whelan, the Takács Quartet and many more brilliant artists will join us for a festival experience that is not to be missed.
44 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
Inon Barnatan, Music Director | July 28 – August 26
Augustin Hadelich
Wendy Whelan
Thomas Adès
Joyce Yang
Conrad Tao
TheConrad.org · 858.459.3728 45 TABLE OF CONTENTS Explore The Concerts at TheConrad.org unknown
Anthony McGill
Alisa Weilserstein
Louis Cato
Takács Quartet
Inon Barnatan
BOARD OF DIRECTORS · 2022–23
H. Peter Wagener – Chair
Vivian Lim – Vice Chair
Bert Cornelison - Treasurer
Sharon Cohen - Secretary
Steve 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
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 and Engagement
Carly D ’ Amato – Learning and 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, Juan Sanchez, Rebeca Tamez
DEVELOPMENT
Ferdinand Gasang – Director of Development
Camille McPherson – Individual Giving and Grants Officer
Anne Delleman – Development Coordinator
VENUE SALES & EVENTS
Nicole Slavik – Venue Sales & Events Director
Juliet Zimmer – Venue Sales Manager
Calvin Caldua – Event Manager
MARKETING & TICKET SERVICES
Dawn Petrick – Director of Marketing and 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
Tom Mehan – Facilities Manager
Ryn Shroeder – Production Coordinator
Colin Dickson – Facilities Coordinator
Yoni Hirshfield – Technical Coordinator
Kim Chevallier – Security Supervisor
Jonnel Domilos – Piano Technician
46 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
7600
Admin: 858.459.3724
The
Conrad Home of La Jolla Music Society
Fay Avenue, La Jolla, California 92037
THANK YOU!
The wonderful array of musical activity that La Jolla Music Society offers would not be possible without support from its family of donors. Your contributions to La Jolla Music Society help bridge the gap between income from ticket sales and the total cost to present the finest musicians and the best chamber music repertoire in San Diego. Your generosity also supports our programs in the local schools and throughout the community.
On the following pages La Jolla Music Society pays tribute to you, the leading players who make it possible to share the magic of the performing arts with our community.
TheConrad.org · 858.459.3728 47
TABLE OF
CONTENTS
ANNUAL SUPPORT
La Jolla Music Society depends on contributed income for more than 60% of its annual budget. We are grateful to all of our contributors who share our enthusiams and passion for the arts. Every donor is a valued partner and they make it possible for one of San Diego’s premier music organizations to present year-round.
It is our honor to recognize the following donors.
FOUNDER
($250,000 and above)
Brenda Baker and Stephen Baum
The City of San Diego Commission for Arts and Culture
Joan and Irwin Jacobs
The Conrad Prebys Foundation
ANGEL
($100,000 - $249,999)
Raffaella and John Belanich
Mary Ellen Clark
Dorothea Laub
Debra Turner
Clara Wu Tsai and Joseph Tsai
BENEFACTOR
($50,000-$99,999)
Mary Ann Beyster
Ric and Eleanor Charlton
Julie and Bert Cornelison
Silvija and Brian Devine
Elaine Galinson and Herbert Solomon
Susan and Bill Hoehn
Angelina and Fredrick Kleinbub
Vivian Lim and Joseph Wong
Peggy and Peter Preuss
Marge and Neal Schmale
Haeyoung Kong Tang
Anna and Edward Yeung
Bebe and Marvin Zigman
48 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
GUARANTOR ($25,000 - $49,999)
Anonymous
Banc of California | Stephen Gamp
Jim Beyster
Ginny and Bob Black
Katherine and Dane Chapin
Peter Cooper and Erik Matwijkow
Ann Parode Dynes and Robert Dynes
Barbara Enberg
Lyndie and Sam Ersan
Jennifer and Kurt Eve
Pam Farr and Buford Alexander
First Republic Bank
Ingrid and Ted Friedmann
Goldman Sachs
Jeanne Herberger
John Hesselink
Inamori Foundation
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)
Anonymous
Jeffrey Barnouw
Scott Benson
Bjorn Bjerede and Jo Kiernan
Gordon Brodfuehrer
Una Davis and Jack McGrory
Martha and Ed Dennis
Sue and Chris Fan
Joy Frieman
Sarah and Mike Garrison
Margaret Stevens Grossman and Michael Grossman
ResMed Foundation
Bob and Nancy Selander
Dr. Seuss Foundation
Elizabeth Taft
Abby and Ray Weiss
TheConrad.org · 858.459.3728 49 TABLE OF CONTENTS ANNUAL SUPPORT
AMBASSADOR ($5,000 - $9,999)
Anonymous (3)
Ingrid de Alba de Salazar and Hector Salazar-Reyes
Carolyn Bertussi
Karen and Jim Brailean
Boys and Girls Foundation
Lisa and David Casey
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
Richard Harris and Sonya Celeste-Harris
Norma Hidalgo-Del Rio
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
Gerald and Susan Slavet
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
Cheryl Hintzen-Gaines and Ira Gaines
David Hsieh
Margaret Jackson
Jerri-Ann and Gary Jacobs
Susan and David Kabakoff
Ruth and Ronald Leonardi
Jaime and Sylvia Liwerant
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
Jean Sullivan and David Nassif
Ronald Wakefield
Western States Arts Federation
Lisa Widmier
Al and Armi Williams
ASSOCIATE ($1,000
Anonymous
K Andrew Achterkirchen
Judith Adler
Dede and Mike Alpert
- $2,499)
Arleene Antin and Leonard Ozerkis
Kenny Baca
Joan Jordan Bernstein
Alicia Booth
Isabel and Stuart Brown
Raymond Chinn
June Chocheles
Anthony Chong and Annette Nguyen Chong
Ann Craig
Peggy Cravens
Lu Dai
Carolyn DeMar
Ted Ebel and Jee Shin
Beverly Fremont
Carrie Greenstein
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
James W. Burns
Joseph Calvino
Dr. Kathleen Charla
Elizabeth Clarquist
Bob Dawson
Caroline DeMar
Renée and James Dunford
James Emerson
Lindsey and Steve Gamp
Martha and David Gilmer
50 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON ANNUAL
SUPPORT
Lynn Gorguze and Scott Peters
Jeff and Patt Hall
Nabil Hanna
Kara Hanning
Paul and George Hauer
Nancy Hong and Ardem Patapoutian
Joanne Hutchinson
Nancy Kossan
Jane and Steven Lahre
Lewis Leicher
Elizabeth Lucas
Linda and Michael Mann
Lynn and Charles McPherson
Virginia Meyer
Andrea Oster
Sigrid Pate and Glenn Butler
William Purves and Don Schmidt
Jennifer Reilly
Denise Selati
Annemarie and Leland Sprinkle
Robin Stark
Victor A. van Lint
Paul Viani
Suhaila White
Symphorosa Williams
Marty and Olivia Winkler
Susan and Gavin Zau
ENTHUSIAST ($250 - $499)
Anonymous
Alison Alpert
Bruce H. Athon
Robin Allgren
Hiroko Baba
Mary Lonsdale Baker
Inon Barnatan and Jason Feldman
Laura Birns
Marc Brown
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
Margie and Paul Grossman
Andrea Harris
Phyllis and Gordon Harris
Rodger Heglar
Matthew Herman
Laura and Geoffrey Hueter
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
Renee Packer
Carol Plantamura
Gary P. Poon
Ellen M. Quandahl
Ester Rodriguez
Barbara Rosen
Cynthia Rosenthal
Jon M. Rosenthal
Leah Rosenthal and Matthew Geaman
Anne Rudolph
Hannah Schlachet
Marjorie Hansen Shaevitz
Bob Stefanko
Lee Talner
Anne Turhollow
N.B. Varlotta
Monica Valdez
Colleen Vasquez
Jian Wang Joyce Williams
Ian A. Wilson
Carol Young
Sandra Zarcades
Bill Ziebron
Bart Ziegler
CONTRIBUTOR ($150
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
Mee Ryoung Kim
John Krasno
Marti Kutnik
Joni LeSage
Elaine Litton
Eduardo Macagno
Jasmine Majid
Carol Manifold
Patricia Manners
- $249)
Roderick Graham Mclennan
Elinor Merl
Michael Pendarvis
Lynn Reineman
Teri and Eduardo Rodriguez
Susan F. Sharin
Katie M. Smith
Junko Vajda
Nathan Vandergift
Margaretha Walk
Donna Weston
TheConrad.org · 858.459.3728 51 TABLE OF CONTENTS
at ADelleman@LJMS.org 858.526.3445
correction.
SUPPORT
This list is current as of April 3, 2023. We regret any errors. Please contact Anne Delleman
to make a
ANNUAL
TRANSFORMATIVE SUPPORT
Our gratitude to these Medallion Society Pillars founding members who have made significant four-year commitments that will help us better serve all of the San Diego region. The Conrad can be a catalyst to bring thousands of adults and children together through a common appreciation of the performing arts, which enhance the artistic fabric of our community.
52 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
Thank
you to these Pillars in the community.
Brenda Baker and Steve Baum $1 MILLION and above
Dorothea Laub $500,000 and above
Irwin and Joan Jacobs $1 MILLION and above
Julie and Bert Cornelison $200,000 and above
Debbie Turner $400,000 and above
Mary Ellen Clark $400,000 and above
Herbert Solomon and Elaine Galinson $200,000 and above
Sue and Peter Wagener $200,000 and above
Vivian Lim and Joseph Wong $200,000 and above
Angel and Fred Kleinbub $200,000 and above
MEDALLION SOCIETY
CROWN JEWEL
Brenda Baker and Steve Baum
Joan and Irwin Jacobs
DIAMOND
Raffaella and John Belanich
Mary Ellen Clark
Dorothea Laub
RUBY
Julie and Bert Cornelison
Silvija and Brian Devine
Elaine Galinson and Herbert Solomon
Angelina and Fred Kleinbub
Vivian Lim and Joseph Wong
EMERALD
Barbara Enberg
Arlene and Louis Navias
GARNET
Peggy and Peter Preuss
SAPPHIRE
John Hesselink
Keith and Helen Kim
Bebe and Marvin Zigman
TOPAZ Anonymous
Joan Jordan Bernstein
Mary Ann Beyster
Virginia and Robert Black
Dr. James C. and Karen A. Brailean
Pam and Hal Fuson
Buzz and Peg Gitelson
Drs. Lisa Braun-Glazer and Jeff Glazer
Margaret Stevens Grossman and Michael Grossman
Theresa Jarvis
Kathleen and Ken Lundgren
Elaine and Doug Muchmore
Don and Stacy Rosenberg
Leigh P. Ryan
Sheryl and Bob Scarano
Neal and Marge Schmale
Jeanette Stevens
Gloria and Rodney Stone
Susan and Richard Ulevitch
Sue and Peter Wagener
Dolly and Victor Woo
DANCE SOCIETY
GRAND JETÉ
Elaine Galinson and Herbert Solomon
Marvin and Bebe Zigman
ARABESQUE
Ellise and Michael Coit
Jeanette Stevens
PIROUETTE
Carolyn Bertussi
Bill Coltellaro and Eric Cohen
DEMI POINTE
Joseph Calvino
Stephanie and Nick Stone
PLIÉ
Mary Ann Beyster
Laura Birns
Amber Bliss
Anaelvia Sanchez and Harold Brittain
Gordon Brodfuehrer
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
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.
TheConrad.org · 858.459.3728 53 TABLE OF CONTENTS
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
Todd R. Schultz
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
54 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
FOUNDATIONS
The Blachford-Cooper Foundation
Boys and Girls Foundation
The Catalyst Foundation:
The Hon. Diana Lady Dougan
Enberg Family Charitable Foundation
The Fidelity Charitable Gift Fund:
The Carroll Family Fund
Drs. Edward & Martha Dennis Fund
Sue & Chris Fan
Don & Stacy Rosenberg
Shillman Charitable Trust
Inamori 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
The Conrad Prebys Foundation
ProtoStar Foundation
ResMed 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 Memory of George Damoose, from:
Ferdinand Gasang
Margie and Paul Grossman
Mary Manak
Martin and Pamela Morris
in Honor of Joy Frieman, from: Ferdinand Gasang
Sylvia Geffen
Susan & Richard Ulevitch
In Honor of OJ Heestand, from: Scott Benson
In Honor of Susan and Bill Hoehn's 50th Anniversary, from: Martha & Ed Dennis
In Memory of George Katz, from: Barbara and Paul Hirshman
In Honor of Leah Rosenthal, from: Bart Ziegler
In Memory of Joanne Snider:
Ferdinand Gasang
Glenn Mosier
Reissa Schrager-Cole and Hilary Cole
Kerry Symonds
Dolly and Victor Woo
In Honor of Jeanette Stevens: Derek Floyd
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.
TheConrad.org · 858.459.3728 55
CORPORATE & FOUNDATION SPONSORS
VAIL MEMORIAL FUND
CORPORATE PARTNERS
PHOTO CREDITS: Cover: Complexions Contemporary Ballet © Rachel Neville, Penguins on ice floe © David Doubilet; Pg. 11: The Baker-Baum Concert Hall courtesy of The Conrad; Pg.12: The Baker-Baum Concert Hall © Steve Uzzell; Pg.13: L. Rosenthal © Sam Zausch; Pg.14: Y. Lim courtesy of artist; Pg.18: A.S.Ott © Pascal Albandopulos; Pg.22: Mariachi Reyna de Los Angeles © Michael G. Stewart, Villalobos Brothers © Mariana Osorio; Pg.23: Brooklyn Rider & M. Herrerra © Shervin Lainez; Pg.28: New Century Chamber Orchestra © Matthew Washburn; Pg.32: Complexions Contemporary Ballet © Sharen Bradford; Pg.34: Harp Seal Pup © David Doubilet; Pg.35: BODYTRAFFIC courtesy of artists; Pg.38-39: T. Finkelman Berkett © Guzman Rosado, Brooklyn Rider courtesy of artists, Complexions dancers © Rachel Neville, D. Rhoden © Jae-Man-Joo; Pg.40-41: D. Richardson courtesy of artist, D. Doubilet © Kelly Strimmel, M. Gerdes courtesy of artist, J. Hayes © Kelly Strimmel, M. Herrerra © Shervin Lainez, D. Hope © Daniel Waldhecker; Pg.42-43: Y. Lim courtesy of artist, K. Brown Montesano © Elisa Ferrarri, M. Puryear courtesy of artist, New Century Chamber Orchestra © Matthew Washburn, A.S.Ott © Pascal Albandopulos, Mariachi Reyna de Los Angeles courtesy of artist, Guzmán Rosado; Pg. 44: Villalobos Brothers © Mariana Osorio
56 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
JOIN OUR FAMILY
For more than 50 years, La Jolla Music Society has nurtured a love of music by keeping one vision in mind: To present diverse programs of great music performed by the best musicians in the world. Today, that vision has reached beyond the intimate beauty of the chamber music ensemble and into new and diverse offerings such as orchestras, jazz ensembles, dance companies, renowned speakers, and robust education programs.
This impressive growth has been carefully conducted by an active and highly committed volunteer board of directors and dedicated staff. But most importantly, La Jolla Music Society’s progress has been sustained by the generosity of the community and ticket buyers.
...WITH A GIFT TODAY!
TheConrad.org/donate
To make a donation by phone or if you are interested in sponsoring an artistic or education program, please contact Ferdinand Gasang, Director of Development, at 858.526.3426 or FGasang@LJMS.org.
TheConrad.org · 858.459.3728 57 TABLE OF CONTENTS
58 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON Protect arts programming. Ensure a future filled with live performances. Donate Today TheConrad.org or call 858.459.3728 Resilience Fund THE CONRAD
Home of La Jolla Music Society
BOOK YOUR EVENT AT THE CONRAD
THE CONRAD PREBYS PERFORMING ARTS CENTER
Recitals · Chamber Music · Amplified Concerts · Dance · Film · Theater Conferences · Lectures ·
Receptions · Fundraisers · Weddings and more...
THE BAKER-BAUM CONCERT HALL: A intimate 513 seat performance space with superb acoustics ideally suited for chamber music and classical recitals. Its design incorporates state-of-the-art technology and adjustable acoustics, making it a world-class space for amplified concerts, film, dance, theater, lectures, and more.
THE JAI: A 2,000 square foot performance space with a contemporary look. Because of its flexible lighting, audio, and video system capabilities, this space can be configured for many types of events.
THE ATKINSON ROOM: An ideal room for meetings or lectures with audiovisual capabilities. The space can be rented in conjunction with The Baker-Baum Concert Hall and The JAI.
For more information please email VenueServices@LJMS.org
TheConrad.org · 858.459.3728 59
60 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON S t a y a n d P l a y o n Fa y - A P r e f e r r e d P a r t n e r o f T H E C O N R A D E X P E R I E N C E E X C E P T I O N A L S E R V I C E C o n n n e n t a l B r e a k f a s t - P i a n o S p a S u i t e - F i n e I t a l i a n C u i s i n e
TheConrad.org · 858.459.3728 61 Located along the shores of La Jolla, the elegance and sophistication of your dining experience is matched only by the power and drama of the ocean just inches away. At The Marine Room, every meal is a special occasion. 858.459.7222 MarineRoom.com some traditions just keep getting richer. Steel seahorse, Jennifer Lannes, diner since 1978
62 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY H A P P Y H O U R D I N N E R P R I V A T E R O O M S R E T A I L W I N E C A T E R I N G 5 1 4 V I A D E L A V A L L E S T E . 1 0 0 S O L A N A B E A C H , C A 9 2 0 7 5 P G R I L L E . C O M 8 5 8 . 7 9 2 . 9 0 9 0 I N F O @ P G R I L L E . C O M PROUD PARTNER OF THE CONRAD & LONG TIME SUPPORTER OF LA JOLLA MUSIC SOCIETY mousse Grille
TheConrad.org · 858.459.3728 63 FLOWERCHILDSANDIEGO.COM
64 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON
TheConrad.org · 858.459.3728 65
66 THE CONRAD | HOME OF LA JOLLA MUSIC SOCIETY · 2022-23 SEASON “Candor is La Jolla Hidden Gem!” Brian L. - Tripadvisor COME AND DINE WITH US! Steps away from The Conrad, Chef Giuseppe Ciuffa's restaurant Candor is a European inspired restaurant with fresh Seasonal California Cuisine. Focused on honest and straightforward cooking, Candor sources as much as possible from local farmers and fishermen. Join Candor for an afternoon aperitif pre-concert at the wine bar or dinner following a night out. WWW.DINECANDOR.COM 1030 Torrey Pines Road, La Jolla, CA 92037 | 858.246.7818 Reservations are recommended. LUNCH | DINNER | COCKTAILS | OUTDOOR DINING
TheConrad.org · 858.459.3728 67
Inon Barnatan, SummerFest Music Director Visit TheConrad.org for more information SummerFest 2023 July 28–August 26