La Jolla Music Society Season 54 Program Book 4 April 28- June 4, 2023

THE CONRAD 2022–23

OCTOBER

APOLLON MUSAGÈTE QUARTET

GARRICK OHLSSOHN, piano

SATURDAY, OCTOBER 8, 2022 · 7:30 PM

Revelle Chamber Music Series

The Baker-Baum Concert Hall

JESS GILLAM, saxophone

THOMAS WEAVER*, piano

SUNDAY, OCTOBER 23, 2022 · 3 PM

Discovery Series

The Baker-Baum Concert Hall

AN EVENING WITH THE WAR AND TREATY

FRIDAY, OCTOBER 28, 2022 · 7:30 PM

Global Roots Series

The Baker-Baum Concert Hall

JAZZREACH

SATURDAY, OCTOBER 29, 2022 · 3 PM

The ConRAD Kids Series

The Baker-Baum Concert Hall

NOVEMBER

NAT GEO LIVE! EXPLORING MARS WITH KOBIE BOYKINS

THURSDAY, NOVEMBER 3, 2022 · 7 PM

Speaker Series

The Baker-Baum Concert Hall

TIME FOR THREE

SATURDAY, NOVEMBER 5, 2022 · 6:30 PM & 8:30 PM

Concerts @ The JAI

The JAI

DANIIL TRIFONOV

THURSDAY, NOVEMBER 10, 2022 · 7:30 PM

Piano Series

The Baker-Baum Concert Hall

EMMET COHEN TRIO

SUNDAY, NOVEMBER 20, 2022 · 5 PM & 7 PM

Concerts @ The JAI

The JAI

DECEMBER

ISABEL LEONARD, voice & PABLO SÁINZ-VILLEGAS, guitar

THURSDAY, DECEMBER 1, 2022 · 7:30 PM

Recital Series

The Baker-Baum Concert Hall

RANDALL GOOSBY, violin

ZHU WANG, piano

SUNDAY, DECEMBER 4, 2022 · 3 PM

Discovery Series

The Baker-Baum Concert Hall

SPECIAL HOLIDAY EVENT: STORM LARGE

HOLIDAY ORDEAL (PLEASE NOTE: Must be 18+ to attend)

SATURDAY, DECEMBER 10, 2022 · 7:30 PM

The Baker-Baum Concert Hall

PONCHO SANCHEZ

THURSDAY, DECEMBER 15, 2022 · 7:30 PM

Jazz Series

The Baker-Baum Concert Hall

ALFREDO RODRIGUEZ TRIO

SATURDAY, DECEMBER 17, 2022 · 6:30 PM & 8:30 PM

Concerts @ The JAI

The JAI

JANUARY

DAVINA AND THE VAGABONDS

SATURDAY, JANUARY 14, 2023 · 6:30 PM & 8:30 PM

Concerts @ The JAI

The JAI

CONNECT TO THE CONRAD

JOYCE DIDONATO

WEDNESDAY, JANUARY 18, 2023 · 7:30 PM

ProtoStar Innovative Series

The Baker-Baum Concert Hall

LEIF OVE ANDSNES

THURSDAY, JANUARY 19, 2023 · 7:30 PM

Piano Series

The Baker-Baum Concert Hall

MONTEREY JAZZ FESTIVAL ON TOUR

DEE DEE BRIDGEWATER, KURT ELLING, CHRISTIAN SANDS, LAKECIA BENJAMIN, CLARENCE PENN, YASUSHI NAKAMURA

THURSDAY, JANUARY 26, 2023 · 7:30 PM

Jazz Series

Balboa Theatre

123 ANDRÉS

SATURDAY, JANUARY 28 · 10 AM & 11:30 AM

The ConRAD Kids Series

The JAI

JOHAN DALENE, violin

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

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

WE ARE CALIFORNIA’S

BUSINESS BANC.

Proud Partner and the Official Bank of LA JOLLA MUSIC SOCIETY

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

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

TOGETHER WE WINTM

Foundation

The ResMed Foundation

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

Board of Trustees

Edward A. Dennis, PhD Chairman

Mary F. Berglund, PhD Treasurer

Peter C. Farrell, PhD, DSc Secretary

Charles G. Cochrane, MD

Michael P. Coppola, MD

Anthony DeMaria, MD

Sir Neil Douglas, MD, DSc, FRCPE

Klaus Schindhelm, BE PhD

Jonathan Schwartz, MD

Kristi Burlingame Executive Director

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.

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.

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”)

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

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

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.

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

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

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”

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.

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

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

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.

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

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.

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.

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.

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

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.

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.

This presentation marks David Doubilet and Jennifer Hayes’ La Jolla Music Society debuts.

Photo by: Davd Doubilet

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.

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

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.

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.

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.

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.

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.

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

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.

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.

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

Photo: Jenna Poppe

Photo: Chris Lee

Photo: Tomas Cohen

Photo: Daniel Kelley

Photo: Steven Ovitsky

Photo: Lovethearts

Photo: Tom Emerson

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.

Inon Barnatan, Music Director | July 28 – August 26

Augustin Hadelich

Wendy Whelan

Thomas Adès

Joyce Yang

Conrad Tao

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

Conrad Home of La Jolla Music Society

THANK YOU!

The wonderful array of musical activity that La Jolla Music Society offers would not be possible without support from its family of donors. Your contributions to La Jolla Music Society help bridge the gap between income from ticket sales and the total cost to present the finest musicians and the best chamber music repertoire in San Diego. Your generosity also supports our programs in the local schools and throughout the community.

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

ANNUAL SUPPORT

La Jolla Music Society depends on contributed income for more than 60% of its annual budget. We are grateful to all of our contributors who share our enthusiams and passion for the arts. Every donor is a valued partner and they make it possible for one of San Diego’s premier music organizations to present year-round.

It is our honor to recognize the following donors.

FOUNDER

($250,000 and above)

Brenda Baker and Stephen Baum

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

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

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

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

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.

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.

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

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.

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

JOIN OUR FAMILY

For more than 50 years, La Jolla Music Society has nurtured a love of music by keeping one vision in mind: To present diverse programs of great music performed by the best musicians in the world. Today, that vision has reached beyond the intimate beauty of the chamber music ensemble and into new and diverse offerings such as orchestras, jazz ensembles, dance companies, renowned speakers, and robust education programs.

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

...WITH A GIFT TODAY!

TheConrad.org/donate

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

BOOK YOUR EVENT AT THE CONRAD

THE CONRAD PREBYS PERFORMING ARTS CENTER

Recitals · Chamber Music · Amplified Concerts · Dance · Film · Theater Conferences · Lectures ·

Receptions · Fundraisers · Weddings and more...

THE BAKER-BAUM CONCERT HALL: A intimate 513 seat performance space with superb acoustics ideally suited for chamber music and classical recitals. Its design incorporates state-of-the-art technology and adjustable acoustics, making it a world-class space for amplified concerts, film, dance, theater, lectures, and more.

THE JAI: A 2,000 square foot performance space with a contemporary look. Because of its flexible lighting, audio, and video system capabilities, this space can be configured for many types of events.

THE ATKINSON ROOM: An ideal room for meetings or lectures with audiovisual capabilities. The space can be rented in conjunction with The Baker-Baum Concert Hall and The JAI.

For more information please email VenueServices@LJMS.org