SummerFest 2020 Gala Program Book

SUMMERFEST 2020 GALA

SUNDAY, AUGUST 30, 2020

Live AT

GALA CHAIR DEBRA TURNER

SUMMERFEST CHAIR SUE WAGENER

2020

SUMMERFEST GALA CHAIR DEBRA TURNER

SUMMERFEST CHAIR S U E WAG E N E R

GALA SUNDAY, AUGUST 30, 2020 6:00 PM Dinner 7:00 PM Performance 9:00 PM Evening Concludes

SUMMERFEST 2020

G A L A

DVO ŘÁK (1841-1904)

Allegro ma non troppo from String Quartet in F Major, Opus 96 “American”

BURLEIGH (1866-1949)

An Ante-Bellum Sermon Blake Pouliot, Tessa Lark, violins; Yura Lee, viola; Clive Greensmith, cello Arranged by Apollo Chamber Players; featured on Blurred Boundaries album released by Navano Records in 2015

TRADITIONAL

Bluegrass Selections Tessa Lark, violin; Michael Thurber, bass

GERSHWIN (1898-1937)

Rhapsody in Blue (arr. for piano and string quintet) Inon Barnatan, piano; Blake Pouliot, Tessa Lark, violins; Yura Lee, viola; Alisa Weilerstein, cello; Michael Thurber, bass

Live AT

PROGRAM NOTES

by Eric Bromberger Allegro ma non troppo from String Quartet in F Major, Opus 96 “American” ANTONÍN DVOŘÁK Born September 8, 1841, Nelahozeves, Bohemia Died May 1, 1904, Prague Composed: 1893 Approximate Duration: 7 minutes During his tenure as director of the National Conservatory of Music in New York (1892-95), Dvořák was fascinated by life in the New World. But he missed his family—four of his six children had remained in Bohemia—and his homeland. Dvořák’s secretary in New York City was a young violinist named Josef Jan Kovařík, who had grown up in the Czech community of Spillville, Iowa. Kovařík invited Dvořák to spend the summer of 1893 in Spillville, and the composer gladly accepted. There, with his wife (and now all his children), Dvořák spent a happy and productive summer, surrounded by familiar language, customs, and food. He was amazed by Iowa’s vast prairies and forests, he played the organ in the Spillville church, he heard native birds, and he watched as local Indians came into the village to dance and to sell herbs.

Dvořák also composed that summer. He sketched the String Quartet in F Major in only three days (June 8-10, 1893) and had it complete in fifteen. Dvořák’s comment was concise: “Thank God. It went quickly. I am satisfied.” Early audiences were more than satisfied. The Kneisel Quartet gave the official premiere in Boston on January 1, 1894, and performed it fifty times over the next several seasons. The quartet quickly acquired the nickname “American.” The source of that nickname is uncertain, but it has become an inescapable part of how we think of this music, and nationalistic Americans were quick to claim that here at last was an authentic American classical music based on American materials. Dvořák would have none of that. He would later denounce any “nonsense about my having made use of original American melodies. I have only composed in the spirit of such American national melodies.” He himself offered a useful introduction to his

quartet: “When I wrote this quartet in the Czech community of Spillville in 1893, I wanted to write something for once that was very melodious and straightforward, and dear Papa Haydn kept appearing before my eyes, and that is why it all turned out so simply. And it’s good that it did.”

This concert begins with the first movement of the “American” Quartet.

The viola leads the way into this Allegro ma non troppo, and its sharply inflected, rising-and-falling theme will give shape to much of the material that follows. A songful second subject in the violin has a rhythmic snap that some have felt to be American in origin, though such a snap is typical of the folk music of many lands. The development concludes with a brief fugal passage derived from the opening viola melody.

An Ante-Bellum Sermon Arranged by Apollo Chamber Players; featured on Blurred Boundaries album released by Navano Records in 2015

HARRY THACKER BURLEIGH Born December 2, 1866, Erie, Pennsylvania Died September 12, 1949, New York Composed: 1901 Approximate Duration: 5 minutes

This attractive music has a complex history, and that history includes a direct connection to Dvořák. The grandson of slaves, H.T. Burleigh was born in Pennsylvania the year after the Civil War ended, and the boy quickly showed musical talent. He studied piano, composition, and singing and was admitted to the National Conservatory of Music in 1892, when Dvořák was serving as the conservatory’s director. Burleigh helped pay his tuition by cleaning the conservatory’s hallways, and Dvořák heard him singing spirituals as he worked. He had the young man sing spirituals to him, and these had a profound influence on his own music—Dvořák came to feel that any American classical music would need to make use of these songs, and they influenced his own “New World” Symphony.

Dvořák encouraged Burleigh to edit and present these songs for general audiences, and the young man did just that—his arrangement of “Deep River” (1917) made that song world-famous, and Burleigh himself performed before President Theodore Roosevelt and before King Edward VII of England.

Burleigh had a fine voice, and he was baritone soloist at St. George’s Episcopal Church in New York City from 1894 until 1946, missing only one Sunday during those 52 years. He disliked recording, so all that survives of

his voice is an ancient recording of him singing “Go Down, Moses.” Burleigh is remembered today for his own songs and for editing and publishing a vast number of spirituals.

Burleigh composed “An Ante-Bellum Sermon” in 1901 as part of a collection of songs titled Plantation Melodies Old and New. Burleigh’s song set a recent poem by the African-American poet Paul Laurence Dunbar (1872-1906). Like Burleigh, Dunbar had been born after the Civil War, but he set his poem in the pre-war South. Composed in a “slave dialect,” the poem is in fact a sermon by a Black preacher who seems to be referring to the story of Moses and the enslavement of his people but who is in fact addressing a slave audience with a message of hope while he warns slave-owners about what is to come. Burleigh based his setting—for soloist, chorus, and piano—on the old spiritual “Joshua Fit de Battl’ ob Jerico,” which provides a vigorous introduction to the different verses of Dunbar’s poem (Burleigh’s marking is “Rather quickly”). “An Ante-Bellum Sermon” is heard this evening as arranged (and slightly embellished) for string quartet by the Apollo Chamber Players.

Bluegrass Selections The artists will introduce these selections from stage.

Rhapsody in Blue

GEORGE GERSHWIN Born September 26, 1898, Brooklyn, New York Died July 11, 1937, Los Angeles Composed: 1924 Approximate Duration: 15 minutes If—as Dvořák suggested—American classical music would have to come from uniquely American roots, then Rhapsody in Blue is probably the piece of American classical music. In it, Gershwin combined the European idea of the piano concerto with American jazz and in the process created a piece of music that has become famous throughout the world—in addition to its many recordings in this country, Rhapsody in Blue has been recorded by orchestras in England, Germany, Australia, and Russia. Gershwin was in fact aware that Rhapsody in Blue might become a kind of national piece; he said that during its composition he “heard it as a sort of musical kaleidoscope of America—of our vast melting pot, of our unduplicated national pep, of our blues, our metropolitan madness.”

Classical purists argue that this is not a true piano concerto, and jazz purists argue that it is not true jazz. Of course both are right, but none of that matters—Rhapsody in Blue is a smashing success on its own terms.

Gershwin was right to call this one-movement work a rhapsody, with that term’s suggestion of a form freer than the concerto. Soloist and orchestra are not so tightly integrated as in a concerto, and the Rhapsody tends to be episodic: the piano plays alone much of the time and then gives way to orchestral interludes; only rarely does Gershwin combine all his forces.

The present performance offers a unique version of Rhapsody in Blue: an arrangement for piano and string quintet. This is not so far-fetched an idea as it might seem. Mozart composed several of his concertos so that they could be performed at home by a pianist accompanied by a string quartet. He referred to these pieces as “concertos a quattro”: concertos with quartet accompaniment. This performance adds a doublebass to the quartet, and Mozart—were he to attend this gala—would describe this version as “Rhapsody in Blue a cinque”—that is, with the accompaniment of string quintet. If this version lacks the saucy sound of the opening clarinet rip or all the brassy extravagances of the orchestral version, it does offer this familiar music with the intimacy and clarity of chamber music.

Gershwin would have loved it.

BIOGRAPHIES INON BARNATAN, music director & piano Born in Tel Aviv in 1979, Inon Barnatan started playing the piano at the age of three after his parents discovered he had perfect pitch, and he made his orchestral debut at age 11. His musical education connects him to some of the 20th century’s most illustrious pianists and teachers: he studied first with Professor Victor Derevianko, who, himself, studied with the Russian master Heinrich Neuhaus; and in 1997 he moved to London to study at the Royal Academy of Music with Maria Curcio – a student of the legendary Artur Schnabel – and with Christopher Elton. This summer is Barnatan’s second as La Jolla Music Society’s SummerFest Music Director.

CLIVE GREENSMITH, cello Clive Greensmith was a member of the world-renowned Tokyo String Quartet from 1999 until 2013, giving over one hundred performances each year in the most prestigious international venues, including New York’s Carnegie Hall, Sydney Opera House, Berlin Philharmonie, Vienna Musikverein, and Suntory Hall in Tokyo. As a soloist, Greensmith has performed with the London Symphony, Royal Philharmonic and Rome’s RAI orchestras, among others. He is Professor of Cello at the Colburn School in Los Angeles. Greensmith performs regularly with the Chamber Music Society of Lincoln Center and is a founding member of the Montrose Trio, alongside Jon Kimura Parker and Martin Beaver.

TESSA LARK, violin Violinist Tessa Lark, recipient of a 2018 Borletti-Buitoni Trust Fellowship and a 2016 Avery Fisher Career Grant, Silver Medalist in the International Violin Competition of Indianapolis, and winner of the 2012 Naumburg International Violin Competition, is one of the most captivating artistic voices of our time. A budding superstar in the classical realm, she is also a highly acclaimed fiddler in the tradition of her native Kentucky. Since making her concerto debut with the Cincinnati Symphony Orchestra at sixteen, Lark has appeared with dozens of orchestras, festivals, and recital venues including Carnegie Hall, Ravinia, San Francisco Performances, Amsterdam’s Concertgebouw, and Marlboro Music.

YURA LEE, violin & viola Few in the world have mastery of both violin and viola, Yura Lee actively performs each equally and is one of the most versatile and compelling artists today. Her two-decade-plus-long international career includes performances as both a soloist and as a chamber musician. Her many honors include first prize in Viola at the 2013 ARD Competition in Germany and a 2007 Avery Fisher Career Grant. Lee studied at The Juilliard School, New England Conservatory, Salzburg Mozarteum and Kronberg Academy. She teaches both violin and viola at the Mason Gross School of the Arts at Rutgers University and lives in Portland, Oregon.

BLAKE POULIOT, violin Violinist Blake Pouliot has joined the upper echelons of brilliant soloists, establishing himself as a consummate 21st century artist with the rigor and passion to shine for a lifetime. At only 25-years-old the tenacious violinist has been praised by the Toronto Star as, “one of those special talents that comes along once in a lifetime.” Pouliot studied violin in Canada with Marie Berard and Erika Raum, and completed his training as an associate of The Royal Conservatory of Music in Toronto. He graduated from the Colburn School Conservatory of Music, where he studied with Robert Lipsett, the Jascha Heifetz Distinguished Violin Chair. Pouliot performs on the 1729 Guarneri del Gesù, on generous loan from the Canada Council for the Arts Musical Instrument Bank as First Laureate of both their 2018 and 2015 Competition.

MICHAEL THURBER, bass Acclaimed composer and bassist Michael Thurber’s musical career defies categorization. From composing for The Royal Shakespeare Company, co-founding the smash YouTube channel CDZA, and creating his Thurber Theater variety show at Joe’s Pub, to teaching at NYU’s Clive Davis Institute and performing in the house band on The Late Show with Stephen Colbert, as well as around the country in duo with violinist Tessa Lark, Thurber’s musical journey has been remarkably singular. Thurber serves proudly on the Board Of Directors for NPR’s From The Top and studied music at The Interlochen Arts Academy and The Juilliard School.

ALISA WEILERSTEIN, cello “A young cellist whose emotionally resonant performances of both traditional and contemporary music have earned her international recognition, Weilerstein is a consummate performer, combining technical precision with impassioned musicianship,” stated the MacArthur Foundation, when awarding American cellist Alisa Weilerstein a 2011 MacArthur Fellowship. In the 2018-19 season, Weilerstein released Transfigured Night on the Pentatone label, joined by Norway’s Trondheim Soloists for three masterworks of the First and Second Viennese Schools: Haydn’s First and Second Cello Concertos and Schoenberg’s Verklärte Nacht, from which the album takes its title.

ARTS IN ACTION Education & Community Programming

Your generous support will allow us to continue expanding our important work, bringing music and dance to students throughout San Diego County. We’ve made some changes recently that have allowed us to stay connected to our community and to have an impact during this global crisis.

DISTANCE LEARNING AT THE COMMUNITY MUSIC CENTER La Jolla Music Society’s after-school music program, the Community Music Center, is designed to help increase students’ self-confidence and motivation for learning, while providing a safe environment for creativity and music-making. For over 20 years, the CMC has provided free instruments and bilingual instruction to over 130 students annually. We’re committed to student learning and transitioned to online classes in April at the start of the pandemic, allowing students to learn from home. With this change, our students been able to continue their musical studies, and our teaching staff has been given the opportunity to provide increased support as we better understand the challenges students face in their homelife. As we begin a new semester in September, we’ll keep evaluating our methods to make sure we’re reaching our students in the most effective way possible.

ONLINE AUDIENCE & COMMUNITY ENGAGEMENT We may not be able to gather in person, but our Preludes, Encounters, and Open Rehearsals are still reaching audiences online! These events provide historical and cultural context for the music we hear from stage and reveal fascinating insights into the creative process. With live webinars and live-streaming from The Baker-Baum Concert Hall, the learning continues for our audience at home. This new mode allows us to provide even more audio and visual examples during lectures, deliver better access to artists, and reach a broader audience. These benefits are so great, we plan to add streaming services to in-person events in the future.

If you missed any of our online SummerFest 2020 Community Engagement activities, it’s not too late! Check them out on our Digital Concert Hall: LJMS.org/digital-concert-hall/

AN EXCITING SEAS EDUCATION AMBASSADOR

We’re excited to welcome Third Coast Percussion as our second annual Education Ambassador. Following the success of our first year with guitarist Pablo Sáinz Villegas, Third Coast Percussion will engage with the San Diego community for a week-long residency focused on elementary music education and artist development, including interactive performance demonstrations and an innovative composition project. The GRAMMY® Awardwinning ensemble has forged a unique path in the musical landscape with virtuosic, energetic performances that celebrate the extraordinary depth and breadth of musical possibilities in the world of percussion. The four members of Third Coast are also accomplished teachers, making the ensemble the perfect fit as our 2020-21 Education Ambassador.

Third Coast Percussion

SON AHEAD!

2020-21

FAMILY PROGRAMMING Now in its second year, The ConRAD Kids Series offers unique opportunities for children ages 3-8 to enjoy music of the highest artistic quality along with their parents, grandparents, and caregivers. With playful lyrics, an open space for silly dancing, and impactful positive messages, these performances are designed to support all areas of childhood development, including cognitive, social-emotional, motor, language, and literacy. A focus on bilingual artists and diverse styles makes The Conrad a welcoming space for all music lovers—even young ones!

ARTIST DEVELOPMENT Despite the challenges we currently face, La Jolla Music Society will continue to find new and innovative ways to support young artists. We remain committed to our Discovery Series, dance and music master classes, performance and learning opportunities for advanced students, and our beloved Fellowship Artist program.

Whether in person or online, the year ahead holds exciting opportunities for the rising stars of classical music.

The wonderful array of musical activity that La Jolla Music Society offers would not be possible without the support of its family of donors. Thank you for being the leading players who make it possible to share the magic of the performing arts with our communicty

PRINCIPAL PATRON Debra Turner

SUSTAINING PATRONS Banc of California Brenda Baker and Steve Baum Arman Oruc and Dagmar Smek Edward and Anna Yeung Bebe and Marvin Zigman

PATRONS Mary Ann Beyster The Hon. Diana Lady Dougan Peter Cooper and Erik Matwijkow Robert and Ginny Black

BALCONY SPONSORS Brenda Baker and Steve Baum Bert and Julie Cornelison Martha and Edward Dennis Susan and Bill Hoehn Sylvia and Steven Ré Sue and Peter Wagener

THANK YOU

SPONSORS Monica Fimbres Elisa and Rick Jaime Linda Chester and Kenneth Rind Linda Christensen and Gonzalo Ballon-Landa Brian and Silvija Devine Nina and Robert Doede Ann Parode Dynes and Robert Dynes Michael and Margaret Grossman Fredrick and Angelina Kleinbub Margaret McKeown and Peter Cowhey Marge and Neal Schmale Maureen and Thomas Shiftan Jim Beyster Sharon Cohen Lehn and Richard Goetz Virginia Oliver

PARTNERS The Lodge at Torrey Pines Bright Event Rentals Greenspan Group Julez Bryant

UNDERWRITERS Edward and Anna Yeung SummerFest Performance

Bebe and Marvin Zigman Dinner Sponsor

Brenda Baker and Steve Baum Wine and Champagne

Mary Ann Beyster Robert and Ginny Black Peter Cooper and Erik Matwijkow Silvija and Brian Devine The Hon. Diana Lady Dougan Barbara Enberg Joan and Irwin Jacobs Anonymous Streaming of Concerts at The Conrad

Jeanne Jones Champagne

Stacy and Don Rosenberg Sheryl and Bob Scarano William Pitts and Mary Sophos Peggy and Peter Preuss Faye Wilson Artists

Save the Date

Gala

WINTERFEST

Sheryl Scarano, Gala Chair

FRIDAY, MARCH 19, 2021 Performance by trumpet powerhouse and American best-selling artist...

CHRIS BOTTI For more information please call 858.459.3724 x 206 or visit LJMS.ORG

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