SummerFest 2021 Program Book by La Jolla Music Society

SELF+SOUND Inon Barnatan, Music Director

28 WEDNESDAY

SUMMERFEST SUMMER JULY 30 - AUGUST 20

202 1

SUMMERFEST ENCOUNTER

The American Sound Part I · 2 PM · THE JAI

Calendar of Events 1 SUNDAY

2 MONDAY

3 TUESDAY

4 WEDNESDAY

COACHING WORKSHOPS

10 AM – 12 PM · THE JAI

PRELUDE

10 AM – 12 PM · THE JAI

SUMMERFEST ENCOUNTER

2 PM • Lecture by Eric Bromberger

The American Sound Part II · 2 PM · THE JAI

THE ARTIST AS MUSE

3 PM · THE BAKER-BAUM CONCERT HALL

PRELUDE

6:30 PM • Balourdet String Quartet performs

NOTES ON FREEDOM

7:30 PM · THE BAKER-BAUM CONCERT HALL

8 SUNDAY

9 MONDAY

10 TUESDAY

11 WEDNESDAY

COACHING WORKSHOPS

10 AM – 12 PM · THE JAI

PRELUDE

2 PM • Interview with Aaron Diehl and Inon Barnatan hosted by Robert John Hughes

AMERICAN PERSPECTIVES III: RHAPSODIES IN BLUES 3 PM · THE BAKER-BAUM CONCERT HALL *This concert will also be live streamed

10 AM – 12 PM · THE JAI

ARTIST LOUNGE

SUMMERFEST ENCOUNTER

Alisa Weilerstein · 1 PM · THE ATKINSON ROOM

Music on the Mind · 2 PM · THE JAI

OPEN REHEARSAL

3:30 – 4:30 PM · THE BAKER-BAUM CONCERT HALL

PRELUDE

FOR A GREAT ARTIST

SYMPHONIC DANCES

16 MONDAY

17 TUESDAY

18 WEDNESDAY

COACHING WORKSHOPS

6:30 PM • Balourdet String Quartet performs 7:30 PM · THE BAKER-BAUM CONCERT HALL

15 SUNDAY PRELUDE

2 PM • Interview with Alisa Weilerstein, Inon Barnatan, and Aaron Zigman hosted by Laura Prichard

AMERICAN PERSPECTIVES IV: THE SILVER SCORE 3 PM · THE BAKER-BAUM CONCERT HALL *This concert will also be live streamed

TAKEOVER @ THE JAI I CURATED BY GABRIELA LENA FRANK 7:30 PM · THE JAI

10 AM – 12 PM · THE JAI

ARTIST LOUNGE

Gabriela Lena Frank · 1 PM THE ATKINSON ROOM

10 AM – 12 PM · THE JAI

6:30 PM • Trio Syzygy performs 7:30 PM ·THE BAKER-BAUM CONCERT HALL

10 AM – 12 PM · THE JAI

OPEN REHEARSAL

2 – 3 PM · THE BAKER-BAUM CONCERT HALL

PRELUDE

6:30 PM • Balourdet String Quartet performs

TAKEOVER @ THE JAI II CURATED BY GABRIELA LENA FRANK 7:30 PM · THE JAI

2 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

INTIMATE LETTERS

7:30 PM · THE BAKER-BAUM CONCERT HALL

29 THURSDAY

30 FRIDAY

COACHING WORKSHOPS

10 AM – 12 PM · THE JAI ARTIST LOUNGE Kings Return · 1 PM

PERFORMANCE COACHING WORKSHOP PRELUDE

OPEN REHEARSAL

5 – 6 PM · THE BAKER-BAUM CONCERT HALL

6:30 PM · Interview with Inon Barnatan hosted by Eric Bromberger

5 THURSDAY

COACHING WORKSHOPS

ARTIST LOUNGE

10 AM – 12 PM · THE JAI

PRELUDE

6:30 PM · Interview with Kings Return and Inon Barnatan hosted by Eric Bromberger

OPENING NIGHT: ODE TO JOY

AMERICAN PERSPECTIVES I: GOIN’ HOME

6 FRIDAY

7 SATURDAY

7:30 PM · THE BAKER-BAUM CONCERT HALL

7:30 PM · THE BAKER-BAUM CONCERT HALL *This concert will also be live streamed

LIFE STORY

AMERICAN PERSPECTIVES II: IDEALIZED LANDSCAPES

7:30 PM · THE BAKER-BAUM CONCERT HALL

12 THURSDAY

COACHING WORKSHOPS

6:30 PM • Trio Syzygy performs performs

7:30 PM · THE BAKER-BAUM CONCERT HALL *Available to stream on-demand starting August 14

13 FRIDAY

14 SATURDAY

SUMMERFEST ENCOUNTER

OPEN REHEARSAL

Fellowship Artist Spotlight II · 2 PM THE BAKER-BAUM CONCERT HALL

11 AM – 12 PM · THE BAKER-BAUM CONCERT HALL

PRELUDE 6:30 PM • Interview with Marc Neikrug

hosted by Nicolas Reveles

A SONG BY MAHLER

19 THURSDAY

PRELUDE ARTIST LOUNGE

PRELUDE

6:30 PM • Interview with Tristan Cook and Zac Nicholson hosted by Leah Rosenthal

OPEN REHEARSAL

Fellowship Artist Spotlight I · 2 PM THE BAKER-BAUM CONCERT HALL

Attacca Quartet · 1 PM THE ATKINSON ROOM

10 AM – 12 PM · THE JAI

ENCOUNTER

SUMMERFEST ENCOUNTER

PRELUDE

EVENT KEY

10 AM – 12 PM · THE JAI

THE ATKINSON ROOM

31 SATURDAY

ADDRESS LA JOLLA MUSIC SOCIETY THE CONRAD PREBYS PERFORMING ARTS CENTER 7600 FAY AVENUE LA JOLLA, CA 92037

For parking information please visit LJMS.org SUMMERFEST 6 PM

7:30 PM · THE BAKER-BAUM CONCERT HALL

20 FRIDAY

21 SATURDAY

PRELUDE PRELUDE 6:30 PM • Interview with Tamar Muskal 6:30 PM • Trio Syzygy performs

and Daniel Rozin hosted by Steven Schick

GRAND DUOS

7:30 PM · THE BAKER-BAUM CONCERT HALL *This concert will also be live streamed

FINALE: A LOVE COMPOSED 7:30 PM · THE BAKER-BAUM CONCERT HALL *This concert will also be live streamed

858.459.3728 • LJMS.ORG | 3

DIG DEEPER INTO THE MUSIC

WEDNESDAY

JULY 28

PRELUDES

Free On-Demand Viewing Free In-Person Admission with Purchased Concert Ticket Find more information about pre-concert Prelude lectures, interviews, and performances on each concert program.

COACHING WORKSHOPS Free Admission · Limited Seating

La Jolla Music Society’s Fellowship Artist Program is one of the longest-running SummerFest traditions. Follow these musicians as they prepare for their SummerFest performances with a series of master classes. This year, we welcome Fellowship Artists Balourdet String Quartet: Angela Jiye Bae, Justin DeFilippis, violins; Benjamin Zannoni, viola; Russell Houston, cello; and Trio Syzygy: Chelsea de Souza, piano; Byungchan Lee, violin; Eunghee Cho, cello.

OPEN REHEARSALS†

Free Admission · Limited Seating

Four Open Rehearsals provide audience members with the rare opportunity to observe the intricate rehearsal process before the stage lights shine.

ENCOUNTERS*†

Free Admission · Limited Seating Featuring intriguing discussions, performance, and diverse perspectives, SummerFest Encounters reveal fascinating insights into the ways in which music is created, influenced, interpreted, and performed. To attend, register online at LJMS.org/free.

ARTIST LOUNGE

Free Admission · Limited Seating The spark of creativity is unique for every individual. New this year, the Artist Lounge is an intimate, in-depth conversation hosted by Artistic Director Leah Rosenthal. To attend, register online at LJMS.org/free.

NEW THIS YEAR * These events will also be recorded and available for free on-demand viewing. † These events will also be live streamed and available for free on-demand viewing.

Visit LJMS.org for more information.

THURSDAY

JULY 29

Encounter* The JAI

2-3:30 PM

Coaching Workshops The JAI

10–10:50 AM 11–11:50 AM 1-2 PM

Artist Lounge The Atkinson Room Open Rehearsal† The Baker-Baum Concert Hall

FRIDAY

Coaching Workshops The JAI

MONDAY

Coaching Workshops The JAI

TUESDAY

AUGUST 3

Coaching Workshops The JAI

WEDNESDAY

Coaching Workshops The JAI

JULY 30 AUGUST 2

AUGUST 4

THURSDAY

AUGUST 5 FRIDAY

AUGUST 6 MONDAY

AUGUST 9

Encounter* The JAI Coaching Workshops The JAI Artist Lounge The Atkinson Room Encounter† The Baker-Baum Concert Hall Coaching Workshops The JAI Artist Lounge The Atkinson Room Open Rehearsal† The Baker-Baum Concert Hall

AUGUST 10

Coaching Workshops The JAI

WEDNESDAY

Coaching Workshops The JAI

TUESDAY

5-6 PM 10–10:50 AM 11–11:50 AM 10–10:50 AM 11–11:50 AM 10–10:50 AM 11–11:50 AM 10–10:50 AM 11–11:50 AM 3-3.30 PM 10–10:50 AM 11–11:50 AM 1-2 PM 2-3:30 PM 10–10:50 AM 11–11:50 AM 1-2 PM 3:30-4:30 PM 10–10:50 AM 11–11:50 AM 10–10:50 AM 11–11:50 AM 2-3:30 PM

AUGUST 11

Encounter* The Baker-Baum Concert Hall

THURSDAY

Coaching Workshops The JAI

FRIDAY

Encounter† The Baker-Baum Concert Hall

SATURDAY

AUGUST 14

Open Rehearsal The Baker-Baum Concert Hall

11 AM-12 PM

MONDAY

Coaching Workshops The JAI

10-10:50 AM 11-11:50 AM 1-2 PM

AUGUST 12 AUGUST 13

AUGUST 16

TUESDAY

Artist Lounge The Atkinson Room Coaching Workshops The JAI

AUGUST 17

Open Rehearsal† The Baker-Baum Concert Hall

WEDNESDAY

Coaching Workshops The JAI

AUGUST 18

4 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

10–10:50 AM 11–11:50 AM 2-3:30 PM

10-10:50 AM 11-11:50 AM 2-3:30 PM 10–10:50 AM 11–11:50 AM

The American Sound Part I: Alex Ross, award-winning author and music critic for The New Yorker, explores the history of film-scoring through the decades. Registration required. Inon Barnatan coaches Trio Syzygy on Shostakovich’s Piano Trio No. 2 in E Minor, Op. 67 Jun Iwasaki coaches Balourdet String Quartet on Brahms’ String Quartet in C Minor, Op. 51, No. 1 Artist Lounge with Kings Return hosted by Artistic Director Leah Rosenthal. Registration required. Paul Huang, Jun Iwasaki, Jonathan Vinocour, Alisa Weilerstein, and the Calidore String Quartet rehearse Mendelssohn's Octet for Strings in E-flat Major, Op. 20 A member of Calidore String Quartet coaches Balourdet String Quartet on Brahms’ String Quartet in C Minor, Op. 51, No. 1 Tessa Lark coaches Trio Syzygy on Shostakovich’s Piano Trio No. 2 in E Minor, Op. 67 Paul Huang coaches Trio Syzygy on Shostakovich’s Piano Trio No. 2 in E Minor, Op. 67 A member of Attacca Quartet coaches Balourdet String Quartet on Brahms’ String Quartet in C Minor, Op. 51, No. 1 A member of Attacca Quartet coaches Balourdet String Quartet on Brahms’ String Quartet in C Minor, Op. 51, No. 1 or Mozart’s String Quartet No. 19 in C Major, K. 465 Roman Rabinovich coaches Trio Syzygy on Shostakovich’s Piano Trio No. 2 in E Minor, Op. 67 or Ives’ Trio for Violin, Cello and Piano Masumi Per Rostad coaches Balourdet String Quartet on Mozart’s String Quartet No. 19 in C Major, K. 465 “Dissonance” Efe Baltacigil coaches Trio Syzygy on Ives’ Trio for Violin, Cello and Piano The American Sound Part II: Dr. Aaron Paige, part of Cleveland Institute of Music’s inaugural class of the Future of Music Faculty Fellowship Program, examines Dvoˇrák's vision for American classical music from the influence of African-American spirituals to jazz. Registration required. Jay Campbell coaches Trio Syzygy on Ives’ Trio for Violin, Cello and Piano Stefan Jackiw coaches Balourdet String Quartet on Mozart’s String Quartet No. 19 in C Major, K. 465 “Dissonance” Artist Lounge with Attacca Quartet hosted by Artistic Director Leah Rosenthal. Registration required. Fellowship Artist Spotlight I: Fellowship Artist Ensembles Trio Syzygy and Balourdet String Quartet perform with special guests Jennifer Montone and Inon Barnatan. Registration required. Aaron Diehl coaches Chelsea de Souza on Solo Piano Nathan Schram coaches Balourdet String Quartet on Mozart’s String Quartet No. 19 in C Major, K. 465 “Dissonance” Artist Lounge with Alisa Weilerstein hosted by Artistic Director Leah Rosenthal. Registration required. Jennifer Johnson Cano, Rose Lombardo, David Shifrin, Julie Smith Phillips, Nathan Schram, Jay Campbell, Dustin Donahue, and Eric Derr rehearse Berio’s Folk Songs for Mezzo-Soprano and Chamber Orchestra A member of Balourdet String Quartet coaches a local student Stefan Jackiw coaches Trio Syzygy on Ives’ Trio for Violin, Cello and Piano Juho Pohjonen joins Balourdet String Quartet to rehearse for the Encounter: Fellowship Artist Spotlight II. Augustin Hadelich coaches Trio Syzygy on Beethoven’s Piano Trio in E-Flat Major, Opus 70, No. 2

Music on the Mind: The transformative power of music on the brain is well-documented and widely studied, from pain reduction and stress relief to memory and healing. Explore the complex facets of this research and discover how science and art come together during this intriguing Encounter. Max Mandel coaches Balourdet String Quartet on Beethoven’s String Quartet No. 8 in E Minor, Op. 59, No. 2 “Razumovsky” Clive Greensmith coaches Trio Syzygy on Beethoven’s Piano Trio in E-Flat Major, Op. 70, No. 2 Fellowship Artist Spotlight II: Fellowship Artist Ensembles Balourdet String Quartet and Trio Syzygy perform with special guest Juho Pohjonen. Registration required. Juho Pohjonen, Augustin Hadelich, Tereza Stanislav, Tien-Hsin Cindy Wu, and Clive Greensmith rehearse Korngold’s Quintet for Piano and Strings in E Major, Opus 15

Anthony Marwood coaches Trio Syzygy on Beethoven’s Piano Trio in E-Flat Major, Op. 70, No. 2 Paul Watkins coaches Balourdet String Quartet on Beethoven’s String Quartet No. 8 in E Minor, Op. 59, No. 2 “Razumovsky” Artist Lounge with Gabriela Lena Frank hosted by Artistic Director Leah Rosenthal. Registration required. Ori Kam coaches Balourdet String Quartet on Beethoven’s String Quartet No. 8 in E Minor, Op. 59, No. 2 “Razumovsky” James Ehnes coaches Trio Syzygy on Beethoven’s Piano Trio in E-Flat Major, Op. 70, No. 2 James Ehnes, Inon Barnatan, Geoff Nuttall, Tien-Hsin Cindy Wu, Ori Kam, and Paul Watkins rehearse Chausson’s Concerto for Violin, Piano, and String Quartet, Op. 21

A member of Trio Syzygy coaches a local student Fellowship Artists join Education & Community Programming Manager Allison Boles in conversation to reflect on their SummerFest experience. 858.459.3728 • LJMS.ORG | 5

SUMMERFEST MUSICAL PRELUDES Program Notes by Eric Bromberger, except where indicated. NOTES ON FREEDOM

Wednesday, August 4 · 6:30 PM BRAHMS String Quartet in C Minor, Opus 51, No. 1

(1833-1897) Allegro brillante

Romanze: Poco Adagio Allegretto molto moderato e comodo Allegro Balourdet String Quartet Justin DeFilippis, Angela Jiye Bae, violins; Benjamin Zannoni, viola; Russell Houston, cello

QUICK NOTE: There is something very Beethoven-like about Brahms’ Quartet in C Minor. This is not music that sets out to charm the heart or please the ear. Rather, it impresses by its fierce logic and the economy of its means: the entire quartet is unified around a central musical idea. The opening Allegro takes its character and much of its shape from this theme, heard at the very opening. Brahms marks the second movement Romanze, which suggests music of a lyric or gentle nature, and here he alternates two ideas that—in the aftermath of the first movement—do seem gentle. Brahms presents two themes simultaneously at the beginning of the Allegretto as the first violin’s chain of sixteenths pulses steadily above the viola’s wistful tune. The trio section brings the quartet’s one moment of sunshine as the first violin sings a little waltz-tune. The finale brings back the furies and the concentration of the first movement.

LIFE STORY

QUICK NOTE: The Piano Trio in E Minor of 1944 reveals a much less optimistic Shostakovich, one anguished by the war. This was not the kind of music a Soviet Thursday, August 5 · 6:30 PM government committed to the artistic doctrine of Socialist Realism wanted to hear, and it is no surprise that performances of the Trio were banned for a time. SHOSTAKOVICH Piano Trio No. 2 in E Minor, Opus 76 The Trio in E Minor is unsettling music, more apt to leave audiences stunned (1906-1975) Andante than cheering, and it is a measure of Shostakovich the artist that he could Allegro con brio transform his own anguish into music of such power and beauty… Largo Allegretto Trio Syzygy Chelsea de Souza, piano; Byungchan Lee, violin; Eunghee Cho, cello

FOR A GREAT ARTIST

Tuesday, August 10 · 6:30 PM MOZART String Quartet No. 19 in C Major, K.465 (1756-1791) “Dissonance” Adagio; Allegro

Andante cantabile Menuetto: Allegro Allegro Balourdet String Quartet Justin DeFilippis, Angela Jiye Bae, violins; Benjamin Zannoni, viola; Russell Houston, cello

QUICK NOTE: When Mozart arrived in Vienna, Haydn was the towering figure in music. Haydn had taken the string quartet, which for the previous generation had been a divertimento-like entertainment, and transformed it into an important art form. The “Dissonant” Quartet, completed on January 14, 1785, gets its nickname from its extraordinary slow introduction. The music opens with a steady pulse of Cs from the cello, but as the other three voices make terraced entrances above, their notes (A-flat, E-flat, and A—all wrong for the key of C major) grind quietly against each other. The tonality remains uncertain until the Allegro, where the music settles into radiant C major and normal sonata form. The Andante cantabile develops by repetition, its lyric main idea growing more conflicted as it evolves. The Menuetto sends the first violin soaring across a wide range, while the trio moves dramatically into urgent C minor. The concluding Allegro, in sonata form, returns to the bright spirits of the opening movement and fairly flies to its resounding close.

6 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

SYMPHONIC DANCES

Wednesday, August 11 · 6:30 PM IVES Trio for Violin, Cello, and Piano (1874-1954) Moderato

TSIAJ (“This Scherzo is a Joke”). Presto Moderato con moto Trio Syzygy Chelsea de Souza, piano; Byungchan Lee, violin; Eunghee Cho, cello

QUICK NOTE: The Baldwin-Wallace College Faculty Trio (George Poinar, Ester Pierce, and John Wolaver) gave the first public performance of this work in 1984. In lieu of a program note, see Ives’ sketch for Mrs. Ives’s answer to the late John Wolaver’s letter of Thursday 22 April 1948: …there was a copy of the program notes—but we can’t find them… the Trio was, in a general way, a kind of reflection or impression of his college days on the Campus now 50 years ago. The 1st movement recalled a rather short but serious talk, to those on the Yale fence, by an old professor of Philosophy—the 2nd, the cames and antics by the Students on the Campus, on a Holiday afternoon, and some of the tunes and songs of those days were partly suggested in this movement, sometimes in a rogh way. The last movement was partly a remembrance of a Sunday service on the campus—Dwight Hall—which ended near the ‘Rock of Ages.’ It was composed mostly in 1904 but fully completed in 1911. Mr. Ives doesn’t think it was ever played in a public concert—but it was in a private concert in New York some 30 years ago. He isn’t quite sure about TSIAJ over the 2nd movement—he thinks it hardly anything but a poor joke… From the Preface of Charles E. Ives Trio for Violin, Violoncello, and Piano: Critical Commentary by John Kirkpatrick (1984).

INTIMATE LETTERS

Wednesday, August 18 · 6:30 PM BEETHOVEN String Quartet No. 8 in E Minor, Opus 59, No. 2 (1770-1827) “Razumovsky” Allegro

Molto adagio Allegretto Presto Balourdet String Quartet Justin DeFilippis, Angela Jiye Bae, violins; Benjamin Zannoni, viola; Russell Houston, cello

SUMMERFEST FINALE: A LOVE COMPOSED

Friday, August 20 · 6:30 PM BEETHOVEN Piano Trio in E-Flat Major, Opus 70, No. 2 (1770-1827) Poco sostenuto – Allegro ma non troppo

Allegretto Allegretto ma non troppo Allegro Trio Syzygy Chelsea de Souza, piano; Byungchan Lee, violin; Eunghee Cho, cello

QUICK NOTE: Commissioned by and dedicated to Count Andreas Kyrillowitsch Graf Razumovsky by the Razumovsky Quartet, this quartet was written in 1806 and published two years later in Vienna. The three quartets Beethoven wrote in 1806 were so completely original that in one stroke they redefined the whole conception of the string quartet. The first Razumovsky quartet is broad and heroic and the third extroverted and virtuosic, but the second has defied easy characterization. Such a description would seem to make the Quartet in E Minor a nervous work, unsettled in its procedures and unsettling to audiences. But the wonder is that—despite these many original strokes—this music is so unified, so convincing, and at times so achingly beautiful.

QUICK NOTE: The Piano Trio in E-flat Major, composed in December 1808 at the estate of Countess Marie von Erdödy, has been much admired and with good reason. Some have claimed that in this trio Beethoven consciously wrote thematic material in the manner of Haydn and Mozart and then treated it in his own mature style—the music thus combines the elegance and restraint of an earlier era with Beethoven’s own powerful sense of form and musical evolution. Beyond this the music is the distinctive for its gentleness and for Beethoven’s many structural innovations.

858.459.3728 • LJMS.ORG | 7

MAPS & POLICIES SEATING POLICY All concerts begin promptly at the time stated on admission tickets. Latecomers will be seated after the first work has been performed or at the first full pause in the program as designated by the performing artists. Patrons leaving the hall while a performance is in progress will not be readmitted until the conclusion of the piece. Those who must leave before the end of a concert are requested to do so between complete works and not while a performance is in progress. If you require special seating or other assistance please notify the House Manager.

CONCERT COURTESIES Unauthorized photography (with or without flash), audio and video recordings are strictly prohibited. Please silence all electronic devices during the performance. SummerFest concerts are recorded for archival and broadcast use, and we ask for your assistance in assuring high quality sound on these recordings.

appropriately, La Jolla Music Society Ticket Office must receive notification and proof of destroyed tickets no later than 24 hours prior to the performance. CHILDREN AT SUMMERFEST Children under the age of 6 (six) are not permitted in the concert hall. PROGRAM NOTES All of La Jolla Music Society’s program notes are protected under copyright by the authors. For permission and information on use of contents of this publication contact Marketing@LJMS.org.

IF YOU ARE UNABLE TO ATTEND A PERFORMANCE We encourage any patron who is unable to attend a performance to return tickets to La Jolla Music Society Ticket Office so that someone else may use them. In order to ensure that returned tickets can be allocated

THE CONRAD PREBYS PERFORMING ARTS CENTER Valet And Self-Parking LOCATIONS S

 T



GIRA

- 7825 Fay Avenue (1,000 ft) - 7856 Fay Avenue (1,300 ft) - 888 Prospect Street, entrance

E ST

KLIN

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- 909 Kline Street (344 ft)

PI R

AV FAY

in front of The Conrad Prebys Performing Arts Center

DO S

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🅥- 7600 Fay Avenue, valet service

PR O

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🅥

THE CONRAD 7600 Fay Avenue

AV FAY

on Jenner St (1,500 ft)

L ST

PEAR

All programs, artists, dates, times and venues are subject to change. La Jolla Music Society is unable to offer refunds for SummerFest performances.

8 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

TABLE OF CONTENTS

Calendar of Events Community Engagement Activities Musical Prelude Quick Notes

2 4 6

Welcome Letter 10 Artist Roster 11 Program Notes 12 Artist Biographies 78 SummerFest Commission History 87 SummerFest Grand Tradition 89 Board of Directors & Staff Listing 94 Support 95

MISSION STATEMENT i.

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. LA JOLLA MUSIC SOCIETY 7600 Fay Avenue La Jolla, California 92037 Administration: 858.459.3724

858.459.3728 • LJMS.ORG | 9

SELF+SOUND Welcome to Summerfest 2021! I am beyond proud to welcome you back to The Conrad for my third SummerFest as Music Director. One of the great joys of a music festival is the feeling of coming together, both artistically and personally. That feeling will be especially poignant and intense this summer, more so than any other time in my life. Throughout the festival we will explore the theme of Self + Sound, discovering how music can turn solitary self-examination into a communal experience and how our individual stories can become an inspiration for great art. We’ll be looking at how composers wrote themselves, their life, and their identities into their music; we’ll hear Rachmaninoff and Sibelius flying the musical flag of their respective nations; Shostakovich and Smetana writing their autobiography in the form of a string quartet; and Janáček, Franck, and Brahms confessing unrequited love in musical notes. I’m thrilled to bring back the Synergy Series, co-produced with Clara Wu Tsai, for a series titled American Perspectives. As part of that exploration, we will focus on the American identity, considering the various elements that make a piece sound distinctly American. From gospel and jazz to iconic landscapes, we will celebrate the ways in which this distinct sound coalesces a mosaic of influences and backgrounds. I’m also pleased to present our first chamber opera, Marc Neikrug’s A Song by Mahler, which we commissioned and are premiering together with three other major arts organizations. To curate our Takeover @ The JAI series, we’ve enlisted Gabriela Lena Frank, Composer-in-Residence for the Philadelphia Orchestra and one of the most sought-after composers of our day. As always, at the heart of the festival is an amazing group of musicians, and I’m delighted to bring back some favorites, as well as introduce many new faces. I look forward to us all coming together for a healing and inspiring summer of music.

Inon Barnatan SummerFest Music Director

Inon Barnatan

10 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

MUSIC DIRECTOR

Inon Barnatan VIOLIN Benjamin Beilman Diana Cohen James Ehnes Augustin Hadelich Paul Huang Jun Iwasaki Stefan Jackiw Tessa Lark Anthony Marwood Geoff Nuttall Blake Pouliot Jeanne Skrocki Livia Sohn Tien-Hsin Cindy Wu VIOLA Ori Kam Travis Maril Masumi Per Rostad Ethan Pernela Jonathan Vinocour Tien-Hsin Cindy Wu CELLO Efe Baltacigil Jay Campbell Clive Greensmith Oliver Herbert Joshua Roman Paul Watkins Alisa Weilerstein BASS Timothy Cobb Xavier Foley David Grossman PIANO Inon Barnatan Aaron Diehl Juho Pohjonen Roman Rabinovich Daniil Trifonov FLUTE Rose Lombardo Catherine Ransom Karoly Pamela Vliek Martchev

OBOE Nathan Hughes Mary Lynch CLARINET Anthony McGill Joseph Morris Jay Shankar David Shifrin BASSOON Brad Balliett HORN David Byrd-Marrow Dylan Hart Jennifer Montone TRUMPET Ethan Bensdorf John Reynolds Eduardo Ruiz TROMBONE Rachel Trumbore VOICE Jennifer Johnson Cano Kelly Markgraf Guadalupe Paz PERCUSSION Eric Derr Dustin Donahue Steven Schick HARP Julie Smith Phillips CONDUCTOR Eric Jacobsen COMMISSIONED COMPOSERS Gabriela Lena Frank Tamar Muskal Marc Neikrug Andrew Norman

ENSEMBLES Aaron Diehl Trio Aaron Diehl, piano; David Wong, bass; Aaron Kimmel, drums Attacca Quartet Amy Schroeder, Domenic Salerni, violins; Nathan Schram, viola; Andrew Yee, cello Calder Quartet Benjamin Jacobson, Tereza Stanislav, violins; Jonathan Moerschel, viola; Eric Byers, cello Calidore String Quartet Jeffrey Myers, Ryan Meehan, violins; Jeremy Berry, viola; Estelle Choi, cello FLUX Quartet Tom Chiu, Conrad Harris, violins; Max Mandel, viola; Felix Fan, cello Kings Return Vaughn Faison, tenor 1; J.E. McKissic, tenor 2; Jamall Williams, baritone; Gabe Kunda, bass SummerFest Chamber Orchestra FELLOWSHIP ARTIST ENSEMBLES Balourdet String Quartet Angela Jiye Bae, Justin DeFilippis, violins; Benjamin Zannoni, viola; Russell Houston, cello Trio Syzygy Chelsea de Souza, piano; Byungchan Lee, violin; Eunghee Cho, cello VISUAL ARTIST Doug Fitch Daniel Rozin LECTURER & GUEST SPEAKER Eric Bromberger Robert John Hughes Aaron Paige Laura Prichard Nicolas Reveles Leah Rosenthal Alex Ross Steven Schick

Paul Huang

858.459.3728 • LJMS.ORG | 11

SUMMERFEST OPENING NIGHT: ODE TO JOY Friday, July 30, 2021 · 7:30 PM THE BAKER-BAUM CONCERT HALL BEETHOVEN

“Ode to Joy” from Symphony No. 9 (arr. for two pianos by Liszt)

MOZART

Piano Sonata in C Major, K.545 (arr. for two pianos by Grieg)

(1770-1827)

(1756-1791) Allegro

Andante Rondo: Allegretto Inon Barnatan, Roman Rabinovich, pianos KREISLER Londonderry Air (1875-1962) Paul Huang, violin; Roman Rabinovich, piano JOHN ADAMS 40% Swing from Road Movies (b. 1947) Blake Pouliot, violin; Roman Rabinovich, piano DE FALLA

Suite Populaire Espagnole

(1876-1946) El paño moruno Alisa Weilerstein

PRELUDE · 6:30 PM THE JAI Interview with SummerFest Music Director Inon Barnatan hosted by Eric Bromberger

Asturiana Jota Nana Canción Polo Alisa Weilerstein, cello; Inon Barnatan, piano OLA GJEILO (b. 1978)

Ubi Caritas

Until I Found the Lord Kings Return Vaughn Faison, J.E. McKissic, tenors; Jamall Williams, baritone; Gabe Kunda, bass HAWKINS (1949-2010)

La Jolla Music Society’s 52nd Season is supported by The Conrad Prebys Foundation, The City of San Diego Commission for Arts and Culture, Banc of California, The Lodge at Torrey Pines, ProtoStar Foundation, Vail Memorial Fund, ResMed Foundation, Bright Events Rentals, Ace Parking, Brenda Baker and Steve Baum, Raffaella and John Belanich, Joan and Irwin Jacobs, Joy Frieman, Debra Turner, Ric and Eleanor Charlton, Jeanette Stevens, Gordon Brodfuehrer, Judith Bachner and Eric Lasley, and an anonymous donor.

INTERMISSION

MENDELSSOHN Octet for Strings in E-flat Major, Opus 20 (1809-1847) Allegro moderato, ma con fuoco Andante Scherzo: Allegro leggierissimo Presto Paul Huang, Jun Iwasaki, violins; Jonathan Vinocour, viola; Alisa Weilerstein, cello; Calidore String Quartet Jeffrey Myers, Ryan Meehan, violins; Jeremy Berry, viola; Estelle Choi, cello

12 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

SUMMERFEST OPENING NIGHT: ODE TO JOY —PROGRAM NOTES

Program Notes by Eric Bromberger, except where indicated.

“Ode to Joy” from the Symphony No. 9 in D Minor, Opus 125

LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna Arranged for two pianos by

FRANZ LISZT

Born October 22, 1811, Raiding, Austria Died July 31, 1886, Bayreuth Composed: 1851 Approximate Duration: 7 minutes

Liszt made transcriptions of all nine of Beethoven’s symphonies for solo piano, and his motive in this mammoth undertaking was entirely generous: he knew that few people in the nineteenth century could hear an orchestra concert, he wanted this music to be widely known, and so he included these transcriptions on his recitals to bring Beethoven’s symphonies to a larger audience. The process took a number of years, however, and the Ninth Symphony— particularly the final movement with its setting of Schiller’s “Ode to Joy”—gave him a great deal of trouble. Liszt doubted that he could do justice to a movement that featured an orchestra, four soloists, and a chorus, and he actually considered ending his transcription project at the end of the third movement of the Ninth without even attempting a transcription of the choral finale. But finally he decided to transcribe the finale, though he decided to make this arrangement for two pianos rather than one. Even this, though, involved compromise: Liszt’s arrangement is only of the orchestral part, and listeners will have to imagine the sound of the singers on their own. Still, the cumulative power of Liszt’s transcription will give some sense of his own genius as an arranger and an even greater sense of his admiration for Beethoven. Liszt’s transcription of the “Ode to Joy” was published in 1851. There is a story that four years later Clara Schumann and the young Brahms—neither of them an admirer of Liszt—played through this transcription and approved of it highly.

Piano Sonata in C Major, K.545

WOLFGANG AMADEUS MOZART Born January 27, 1756, Salzburg Died December 5, 1791, Vienna Arranged for two pianos by

EDVARD GRIEG Born June 15, 1843, Bergen, Norway Died September 4, 1907, Bergen Composed: 1876-77 Approximate Duration: 12 minutes

In the 1870s, the young Edvard Grieg arranged several of Mozart’s piano sonatas for two pianos. It might seem heretical to tamper with music that many consider perfect, but Grieg made these arrangements for several reasons. The first was pedagogical: he wanted to create a version that could be played jointly by a student and a teacher, and in these arrangements he kept the “student” part exactly as Mozart wrote it, but created a part for the “teacher” that could support and embellish the student’s playing. Grieg said that his intention was to “impart to several of Mozart’s sonatas a tonal effect appealing to our modern ears,” and in that he was exactly right: as we listen to these arrangements, we hear the classical purity of Mozart’s original embellished, decorated, and enriched by the romantic musical sensibility of a century later. This recital offers the most famous of Grieg’s arrangements, that of Mozart’s Sonata in C Major, K.545, originally composed in June 1788. Mozart himself wrote this sonata specifically for students—he called it Eine kleine Klaviersonate für Anfänger: “A Little Piano Sonata for Beginners”—and all piano students play this graceful little sonata at some point during their studies. Mozart’s sonata needs no introduction, but the fun of this performance lies in hearing Grieg’s enriched accompaniment, which lets us re-experience Mozart’s music through a warmly romantic lens almost a century after it was composed.

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SUMMERFEST OPENING NIGHT: ODE TO JOY —PROGRAM NOTES

Londonderry Air

Suite Populaire Espagnole

Born February 2, 1875, Vienna Died January 29, 1962, New York City Composed: 1922 Approximate Duration: 4 minutes

Born November 23, 1876, Cádiz, Spain Died November 14, 1946, Alta Grazia, Argentina Composed: 1914 Approximate Duration: 13 minutes

FRITZ KREISLER

This wonderful music, known throughout the world, appears to have originated many, many years ago as an Irish folk tune. There are numerous theories about that origin, but the tune was first noted down by a folksong collector in County Londonderry in Ireland in 1851 and published four years later. Unsure what to call the melody, its early editors settled on the neutral title Londonderry Air. The song unfortunately acquired the title Danny Boy half a century later when the English lyricist Frederic Weatherly adapted his poem of that name to this music, and since then many other texts have been shaped to fit this music. The gentle, soaring, melancholy nature of this music has led to its performance on many unexpected occasions, including the funerals of both Elvis Presley and Princess Diana. Fritz Kreisler published his arrangement of Londonderry Air for violin and piano in 1922, and it has been a favorite of violinists ever since. To complicate matters of nomenclature even more, Kreisler called his version Farewell to Cucullain, but—no matter what its name—this lovely, haunting music will charm audiences for generations to come.

40% Swing from Road Movies

JOHN ADAMS

Born February 15, 1947, Worcester, MA Composed: 1995 Approximate Duration: 5 minutes

The composer has furnished the following program note: The title Road Movies is total whimsy, probably suggested by the “groove” in the piano part, all of which is required to be played in a “swing” mode (second and fourth of every group of four notes are played slightly late). Movement III is for four-wheel drives only, a big perpetual-motion machine called “40% Swing.” On modern MIDI sequencers, the desired amount of swing can be adjusted with almost ridiculous accuracy. 40% provides a giddy, bouncy ride, somewhere between an Ives ragtime and a long rideout by the Goodman Orchestra, circa 1939. It is very difficult for violin and piano to maintain over the seven-minute stretch, especially in the tricky cross-hand style of the piano part. Relax, and leave the driving to us. Road Movies was commissioned by the Library of Congress in Washington, D.C. —John Adams

MANUEL DE FALLA

Falla had moved from Madrid to Paris in 1907, but returned to Spain at the beginning of World War I. His final work before that departure was the Seven Popular Spanish Songs, completed in Paris in 1914. It comes from a period of unusual creativity: El Amor Brujo would follow in 1915 and Nights in the Gardens of Spain in 1916. In arranging that collection of songs, Falla took the unaccompanied melodic line of seven Spanish popular or folk songs and harmonized them himself, occasionally rewriting or expanding the original melodic line to suit his own purposes. Several years later the Polish violinist Paul Kochanski arranged six of the songs—with the approval of the composer—for violin and piano and published them (in a different order) as Suite Populaire Espagnole. The present arrangement for cello and piano is based on Kochanski’s version, though it presents the songs in Falla’s original sequence. El paño moruno or “The Moorish Cloth” (Allegretto vivace) is based exactly on the famous song, and Kochanski’s arrangement makes imaginative use of harmonics and pizzicato. Asturiana (Andante tranquillo) is a tune from Asturia, a province in the northwest part of Spain. Here the cello, muted throughout, plays the melodic line above a quiet sixteenth-note accompaniment. Jota (Allegro vivo) is the best-known part of the suite. A jota is a dance in triple time from northern Spain, sometimes accompanied by castanets. Slow sections alternate with fast here and the extensive use of chorded pizzicatos may be intended to imitate the sound of castanets. Nana (Calmo e sostenuto) is an arrangement of an old Andalusian cradlesong, and Falla said that hearing this melody sung to him by his mother was his earliest memory. The cello is muted throughout, and the accompaniment is quietly syncopated. Canción (Allegretto) repeats a dance theme continuously: the entire middle section is performed on artificial harmonics. A polo is a specific form: an Andalusian folksong or dance in 3/8 time, sometimes with coloratura outbursts. Though this particular Polo, marked Vivo, is based on Andalusian elements, it is largely Falla’s own composition.

14 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

SUMMERFEST OPENING NIGHT: ODE TO JOY —PROGRAM NOTES

Ubi Caritas

OLA GJEILO

Born May 5, 1978, Skui, Norway Composed: 1999 Approximate Duration: 3 minutes

Ola Gjeilo studied piano and composition as a boy and began his advanced studies at the Norwegian Academy of Music, but transferred to Juilliard and earned his master’s in composition there in 2006. He has been composer-inresidence with the Phoenix Chorale but now works as a freelance composer in New York City. On his website, Gjeilo has provided a note, text, and translation for Ubi Caritas: The first time I sang in a choir was in high school; I went to a music high school in Norway and choir was obligatory. I loved it from the very first rehearsal, and the first piece we read through was Maurice Duruflé’s Ubi Caritas. It will always be one of my favorite choral works of all time; to me, it’s the perfect a cappella piece. So when I set the same text myself a few years later, it was inevitable that the Duruflé would influence it, and it did. While Duruflé used an existing, traditional chant in his piece, I used chant more as a general inspiration, while also echoing the form and dynamic range of his incomparable setting of the text. (Ola Gjeilo) Ubi caritas et amor, Deus ibi est. Congregavit nos in unum Christi amor. Exultemus, et in ipso iucundemur. Timeamus, et amemus Deum vivum. Et ex corde diligamus nos sincero.

Where charity and love are, God is there. Christ’s love has gathered us into one. Let us rejoice and be pleased in Him. Let us fear, and let us love the living God. And may we love each other with a sincere heart

Until I Found the Lord

WALTER HAWKINS Born May 18, 1949, Oakland, California Died July 11, 2010, Ripon, California Composed: 1978 Approximate Duration: 6 minutes

From a large and very musical family in Oakland, Walter Hawkins sang for some years in his brother Edwin’s chorale, then left that to form his own church—the Love Center Church—and his own chorale; he was named a bishop of that church in 2000. Walter Hawkins’ chorale participated in a number of best-selling gospel albums, and

in 1981 he won a Grammy® for Best Gospel Performance; Hawkins and his brother Edwin were invited to perform at the White House during Black Music Month in 2008. Until I Found the Lord, one of Hawkins’ greatest hits, was originally released as part of his album Love Alive II in 1978. A rousing performance by a young Walter Hawkins and his chorale can be found on YouTube.

Octet for Strings in E-flat Major, Opus 20

FELIX MENDELSSOHN Born February 3, 1809, Hamburg Died November 4, 1847, Leipzig, Germany Composed: 1825 Approximate Duration: 33 minutes

It has become a cliché with a certain kind of critic to say that Mendelssohn never fulfilled the promise of his youth. Such a charge is a pretty tough thing to say about someone who died at 38—most of us would think Mendelssohn never made it out of his youth. And such a charge overlooks the great works Mendelssohn completed in the years just before his death: the Violin Concerto, the complete incidental music for A Midsummer Night’s Dream, and Elijah. But there can be no gainsaying the fact that the young Mendelssohn was a composer whose gifts and promise rivaled—perhaps even surpassed—the young Mozart’s. The child of an educated family that fully supported his talent, Mendelssohn had by age nine written works that were performed by professional groups in Berlin. At 12 he became close friends with the 72-year-old Goethe, at 17 he composed the magnificent overture to A Midsummer Night’s Dream, and at 20 he led the performance of the St. Matthew Passion that was probably the key event in the revival of interest in Bach’s music. Mendelssohn completed his Octet in October 1825, when he was 16. One of the finest of his early works, the Octet is remarkable for its polished technique, its sweep, and for its sheer exhilaration. Mendelssohn’s decision to write for a string octet is an interesting one, for such an ensemble approaches chamber-orchestra size, and a composer must steer a careful course between orchestral sonority and true chamber music. Mendelssohn handles this problem easily. At times this music can sound orchestral, as he sets different groups of instruments against each other, but the Octet remains true chamber music—each of the eight voices is distinct and important, and even at its most dazzling and extroverted the Octet preserves the equal participation of independent voices so crucial to chamber music. Mendelssohn marked the first movement Allegro moderato

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SUMMERFEST OPENING NIGHT: ODE TO JOY —PROGRAM NOTES

ma con fuoco, and certainly there is fire in the very beginning, where the first violin rises and falls back through a range of three octaves. Longest by far of the movements, the first is marked by energy, sweep, and an easy exchange between all eight voices before rising to a grand climax derived from the opening theme. By contrast, the Andante is based on the simple melody announced by the lower strings and quickly taken up by the four violins. This gentle melodic line becomes more animated as it develops, with accompanying voices that grow particularly restless. The Scherzo is the most famous part of the Octet. Mendelssohn said that it was inspired by the closing lines of the Walpurgisnacht section near the end of Part I of Goethe’s Faust, where Faust and Mephistopheles descend into the underworld. He apparently had in mind the final lines of the description of the marriage of Oberon and Titania: Clouds go by and mists recede, Bathed in the dawn and blended; Sighs the wind in leaf and reed, And all our tale is ended. This music zips along brilliantly. Mendelssohn marked it Allegro leggierissimo—“as light as possible”—and it does seem like goblin music, sparkling, trilling, and swirling right up to the end, where it vanishes into thin air. Featuring an eight-part fugato, the energetic Presto demonstrates the young composer’s contrapuntal skill. There are many wonderful touches here. At one point sharp-eared listeners may detect a quotation, perhaps unconscious, of “And He Shall Reign” from the Hallelujah Chorus of Handel’s Messiah, and near the end Mendelssohn skillfully brings back the main theme of the Scherzo as a countermelody to the finale’s polyphonic complexity. It is a masterstroke in a piece of music that would be a brilliant achievement by a composer of any age.

16 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

Florence Price

PRELUDE · 6:30 PM THE JAI Interview with Kings Return and SummerFest Music Director Inon Barnatan hosted by Eric Bromberger

SYNERGY INITIATIVE AMERICAN PERSPECTIVES I: GOIN’ HOME Produced by Inon Barnatan & Clara Wu Tsai

This concert will also be live streamed The Synergy Initiative is underwritten by:

Clara Wu Tsai

Saturday, July 31, 2021 · 7:30 PM THE BAKER-BAUM CONCERT HALL

Goin’ Home (arr. Barnatan) Jun Iwasaki, Ryan Meehan, Blake Pouliot, Jeffrey Myers, violins; Jonathan Vinocour, Jeremy Berry, violas; Alisa Weilerstein, Estelle Choi, cellos

WILLIS

Swing Low, Sweet Chariot

DVOŘÁK

(1841-1904)

NO INTERMISSION

(c. 1820-1880)

Go Down Moses Kings Return Vaughn Faison, J.E. McKissic, tenors; Jamall Williams, baritone; Gabe Kunda, bass PRICE Swing Low, Sweet Chariot from Negro Folksongs in Counterpoint (1887-1953) Calidore String Quartet Jeffrey Myers, Ryan Meehan, violins; Jeremy Berry, viola; Estelle Choi, cello TRADITIONAL Shenandoah SPIRITUAL Motherless Child Kings Return

SPIRITUAL

Lento from String Quartet in F Major, Opus 96 “American” Blake Pouliot, Jun Iwasaki violins; Jonathan Vinocour, viola; Alisa Weilerstein, cello

TAYLOR

I Wish I Knew How It Would Feel to Be Free

SPIRITUAL

Joshua Fit the Battle of Jericho Kings Return

DVOŘÁK

(1921-2010)

(continued on next page)

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SYNERGY INITIATIVE AMERICAN PERSPECTIVES I: GOIN’ HOME (continued)

An Ante-Bellum Sermon from “Plantation Melodies” Calidore String Quartet WYNTON Many Gone from String Quartet No. 1 “At The Octoroon Balls” MARSALIS Jun Iwasaki, Blake Pouliot, violins; (b. 1961) Jonathan Vinocour, viola; Estelle Choi, cello LOWRY Shall We Gather At The River? (1826-1899) Kings Return DVOŘÁK Viola Quintet in E-flat Major, Opus 97 “American” Allegro non tanto Allegro vivo Larghetto Allegro giusto Paul Huang, Blake Pouliot, violins; Jonathan Vinocour, Jeremy Berry, violas; Alisa Weilerstein, cello BURLEIGH (1866-1949)

Florence Price

PAU S E

The concert continues in the Wu Tsai QRT.yrd with a performance by Kings Return

18 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

SYNERGY INITIATIVE AMERICAN PERSPECTIVES I: GOIN’ HOME —PROGRAM NOTES

Program Notes by Eric Bromberger, except where indicated. Goin’ Home This year’s Synergy Initiative explores what makes something sound American, and how the American sound, much like America itself, draws on a mosaic of influences and continues, in turn, to inspire others. From folk songs, gospel choirs, and jazz classics to vast aural landscapes and cinematic scores, the American Perspectives series is a captivating chronicle of musical America and an important subtheme within the festival’s exploration of Self + Sound. This evening’s concert, the first Synergy event of 2021, celebrates the influence of African-American spirituals on classical composers, culminating in one of Dvořák’s chamber masterpieces, the American String Quintet. When Dvořák discovered these spirituals, sung to him by his student—a young Black composer named Harry Burleigh—he was moved to write the New World Symphony and proclaimed that American composers should base their music on these wonderful songs. Dvořák argued, “The future of this country must be founded upon what are called the Negro melodies. This must be the real foundation of any serious and original school of composition to be developed in the United States." The rich tradition of Black classical music that Dvořák envisioned might not have come fully to fruition, but Dvořák was able to make American composers think about music differently and his impact is still felt in works by classical composers today. In the first half of the program this evening, Kings Return gospel quartet will interweave their unique arrangements of spirituals, old and new, with string pieces by composers who were inspired by these African-American spirituals, including Dvořák, Florence Price, and Wynton Marsalis.

Viola Quintet in E-flat Major, Opus 97

ANTONÍN DVOŘÁK Born September 8, 1841, Muhlhausen, Bohemia Died May 1, 1904, Prague Composed: 1893 Approximate Duration: 35 minutes

Dvořák’s three years as director of the National Conservatory of Music in New York City form a distinct chapter in his career. From these years came several of his finest scores, including the New World Symphony, the American Quartet, and the Cello Concerto. Enthusiastic Americans claimed that Dvořák had made use of American materials and that these were examples of “American music.” But Dvořák would have none of that, denouncing “that nonsense about my having made use of original American melodies. I have only composed in the spirit of such American national melodies.” Dvořák felt that all his music was “genuine Bohemian music,” but the American Quartet incorporates a bird call Dvořák heard in America, the New World Symphony evokes spirituals, and the question of specifically American influences on this most Bohemian of composers remains tantalizing. Dvořák was fascinated by America. A train buff, he would sneak away from the Conservatory to watch locomotives pounding along New York City’s many rail lines. But after his first year in busy Manhattan, he took his family to Spillville, Iowa—a Czech community—for the summer of 1893. There, surrounded by familiar food, language, and customs, the Dvořák family could escape bigcity life and relax. If Dvořák had been amazed by New York City, he found different kinds of surprises on the American prairie. Bands of Iroquois Indians came to Spillville, selling medicinal herbs, and in the evening they gave programs of their dances and music. Those impromptu performances in the cool Iowa twilight had an immediate impact on the composer: the beat of Iroquois drums echoes through this quintet, composed that same summer. The opening of the Allegro non tanto is dominated by the husky sound of the violas—in fact, the prominence of the violas gives this music its characteristically dark sonority. The main theme is delayed slightly, and when it first appears—in the first violin—it grows out of the violas’ introduction; many have felt that the movement’s dancing second theme echoes the sound of Indian drums. This movement, in sonata form, moves to a quiet close on a cadence derived from the main theme. The drums of the Iroquois, however, pound relentlessly through the Allegro vivo. Dvořák uses one of the rhythms he heard in Iowa as the driving force in this movement: 858.459.3728 • LJMS.ORG | 19

SYNERGY INITIATIVE AMERICAN PERSPECTIVES I: GOIN’ HOME —PROGRAM NOTES

it appears immediately in the second viola and can be heard in various forms throughout the movement. The trio section, soaring and lovely, brings an interlude of calm before the opening material returns. The Larghetto leaves the sound of Indian drums far behind. It is in theme-and-variation form, and in fact Dvořák had written the movement’s main theme before he left for America. The first viola announces this wistful little tune, and five variations follow. Even before the first variation begins, however, Dvořák takes the tune through a modification that makes the music sound as if it has come directly from a late Beethoven quartet; after the energy of Indian drums, such heartfelt and intense music comes as a surprise. The concluding Allegro giusto is an energetic rondo that depends heavily on dotted rhythms. Dvořák interrupts the busy flow with two different theme groups, both lyric and haunting. The music rushes to its close on one of the most exuberant codas Dvořák ever wrote. Dvořák was quite correct: he was Bohemian to the core, and so was his music. But this Quintet—and the other scores he composed in America—represent a very special kind of music. It is Bohemian music, but Bohemian music flavored sharply by the sounds Dvořák heard in America.

20 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

Calidore String Quartet

PRELUDE · 2 PM THE JAI Lecture by Eric Bromberger

THE ARTIST AS MUSE Sunday, August 1, 2021 · 3 PM THE BAKER-BAUM CONCERT HALL DEBUSSY

String Quartet in G Minor

(1862-1918) Animé et très décidé

Support for this program generously provided by:

The Jendy Dennis Endowment Fund

Scherzo: Assez vif et bien rythmé Andantino doucement expressif Très modéré; Très mouvementé; Très animé Calidore String Quartet Jeffrey Myers, Ryan Meehan, violins; Jeremy Berry, viola; Estelle Choi, cello BRITTEN Sonata for Cello and Piano in C Major, Opus 65 (1913-1976) Dialogo Scherzo-pizzicato Elegia Marcia Moto perpetuo Alisa Weilerstein, cello; Inon Barnatan, piano INTERMISSION

STRAVINSKY

Three Movements from Petrushka

(1882-1971) Russian Dance

In Petrushka’s Cell The Shrove-Tide Fair Roman Rabinovich, piano MOZART Quintet in A Major for Clarinet and Strings, K.581 (1756-1791) Allegro Larghetto Menuetto Allegretto con variazioni Anthony McGill, clarinet; Tessa Lark, Jun Iwasaki, violins; Jonathan Vinocour, viola; Alisa Weilerstein, cello 858.459.3728 • LJMS.ORG | 21

THE ARTIST AS MUSE —PROGRAM NOTES

Program Notes by Eric Bromberger

String Quartet in G Minor

The Scherzo may well be the quartet’s most impressive movement. Against powerful pizzicato chords, Debussy sets the viola’s bowed theme, a transformation of the quartet’s opening figure; soon this is leaping between all four voices. The recapitulation of this movement, in 15/8 and played entirely pizzicato, bristles with rhythmic energy, and the music then fades away to a beautifully understated close. Debussy marks the third movement “Gently expressive,” and this quiet music is so effective that it is sometimes used as an encore piece. It is in ABA form: the opening section is muted, while the more animated middle is played without mutes—the quartet’s opening theme reappears subtly in this middle section. Debussy marks the ending, again played with mutes, “As quiet as possible.” The finale begins slowly but gradually accelerates to the main tempo, “Very lively and with passion.” As this music proceeds, the quartet’s opening theme begins to appear in a variety of forms: first in a misty, distant statement marked “soft and expressive,” then gradually louder and louder until it returns in all its fiery energy, stamped out in double-stops by the entire quartet. A propulsive coda drives to the close, where the first violin flashes upward across three octaves to strike the powerful G major chord that concludes this most undignified—and most wonderful—piece of music.

CLAUDE DEBUSSY

Born August 22, 1862, Saint Germain-en-Laye, France Died March 25, 1918, Paris Composed: 1893 Approximate Duration: 25 minutes

Early in 1893, Debussy met the famed Belgian violinist Eugène Ysaÿe. Debussy was at this time almost unknown (Prelude to the Afternoon of a Faun was still a year in the future), but he and Ysaÿe instantly became friends—though Ysaÿe was only four years older than Debussy, he treated the diminutive Frenchman like “his little brother.” That summer, Debussy composed a string quartet for Ysaÿe’s quartet, which gave the first performance in Paris on December 29, 1893. Debussy was already notorious with his teachers for his refusal to follow musical custom, and so it comes as a surprise to find him choosing to write in this most demanding of classical forms. Early audiences were baffled. Reviewers used words like “fantastic” and “oriental,” and Debussy’s friend Ernest Chausson confessed mystification. Debussy must have felt the sting of these reactions, for he promised Chausson: “Well, I’ll write another for you . . . and I’ll try to bring more dignity to the form.” But Debussy did not write another string quartet, and his Quartet in G Minor has become one of the cornerstones of quartet literature. The entire quartet grows directly out of its first theme, presented at the very opening, and this sharply rhythmic figure reappears in various shapes in all four movements, taking on a different character, a different color, and a different harmony on each reappearance. What struck early audiences as “fantastic” now seems an utterly original conception of what a string quartet might be. Here is a combination of energy, drama, thematic imagination, and attention to color never heard before in a string quartet. Debussy may have felt pushed to apologize for a lack of “dignity” in this music, but we value it today just for that failure. Those who think of Debussy as the composer of misty impressionism are in for a shock with his quartet, for it has the most slashing, powerful opening Debussy ever wrote: his marking for the beginning is “Animated and very resolute.” This first theme, with its characteristic triplet spring, is the backbone of the entire quartet: the singing second theme grows directly out of this opening (though the third introduces new material). The development is marked by powerful accents, long crescendos, and shimmering colors as this movement drives to an unrelenting close in G minor.

Sonata for Cello and Piano, Opus 65

BENJAMIN BRITTEN Born November 22, 1913, Lowestoft, England Died December 4, 1976, Aldeburgh, England Composed: 1960-61 Approximate Duration: 21 minutes

In 1960 Russian composer Dmitri Shostakovich introduced two of his close friends, cellist Mstislav Rostropovich and composer Benjamin Britten. These two in turn became good friends, and theirs was a creative relationship: over the next few years the English composer wrote five works for the Russian cellist. The first of these was the Sonata for Cello and Piano, begun in December 1960 and completed the following month. It was scheduled for its première the following summer, and Britten and Rostropovich gathered to rehearse it. As might be expected, the two new friends—both creative artists—were a little nervous about the prospect of trying it out for the first time. Rostropovich later described the scene: “Ben said, ‘Well, Slava, do you think we have time for a drink first?’ I said, ‘Yes, yes,’ so we both drank a large whisky. Then Ben said: ‘Maybe we have time for

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THE ARTIST AS MUSE —PROGRAM NOTES

another one?’ ‘Yes, yes,’ I said. Another large whisky. After four or five very large whiskies we finally sat down and played through the sonata. We played like pigs, but we were so happy.” The première performance—a great success— took place at the Aldeburgh Festival on July 7, 1961. The sonata is in five movements, rather than the expected three or four, and much of its thematic material is based on the interval of a second, either rising or falling. The opening movement, Dialogo, begins with a tentative cello figure that revolves around this interval; Britten marks its first appearance lusingando (“intimate, coaxing”). The second subject, marked dolce, is a slow extension of that opening theme; the animated development leads to a close on fragments of the original theme. In the brief Scherzo, Britten has the cello play pizzicato throughout— the composer called this movement “guitar-like”—and the piano’s staccato accompaniment mirrors the cello’s pizzicatos. The piano’s introduction to the Elegia again revolves around the interval of a second; the cello’s grieving opening melody rises to a full-throated climax before falling away to end quietly. The fourth movement, a sardonic march, whips past in barely two minutes; Britten accentuates the aggressive quality of this music by having the cello at moments play ponticello (bowing on top of the bridge to produce a grainy, disembodied sound) and giving it stinging glissandos. The finale is a perpetual motion movement based on the cello’s opening theme. Britten marks the theme saltando, which means “leaping”—that is, played with a springing bow. This opening subject will recur in a great range of moods, forms, and registers in the breathless finale.

Three Movements from Petrushka

IGOR STRAVINSKY Born June 17, 1882, Oranienbaum, Russia Died April 6, 1971, New York City Composed: 1921 Approximate Duration: 17 minutes

In the early 1920s, Igor Stravinsky—one of the greatest orchestrators in history and creator of some of the finest music ever written for orchestra—began to write for solo piano. There were several reasons for this. In the aftermath of World War I, Stravinsky discovered that orchestras that could play huge and complex scores were rare (and expensive). And in any case Stravinsky did not wish to go on repeating himself by writing opulent ballets. But the real factor that attracted Stravinsky to the piano was that he was a pianist and so could supplement his uncertain income as a composer by appearing before the public as both creator

and performer; this was especially important during the uncertain economic situation following the war. While not a virtuoso pianist, Stravinsky was a capable one, and over the next few years came a series of works for piano that Stravinsky introduced and then played on tour. The impetus for all this piano music may well have come from Artur Rubinstein, who asked the composer to prepare a version of the ballet Petrushka for solo piano, which Stravinsky did during the summer of 1921. Rubinstein paid Stravinsky what the composer called “the generous sum of 5,000 francs” for this music, but Stravinsky made clear that his aim was not to cash in on the popularity of the ballet: “My intention was to give virtuoso pianists a piece of a certain breadth that would permit them to enhance their modern repertory and demonstrate a brilliant technique.” Stravinsky stressed that this was not a transcription for piano, nor was he trying to make the piano sound like an orchestra; rather, he was re-writing orchestral music specifically as piano music. The ballet Petrushka, with its haunting story of a pathetic puppet brought to life during a Russian fair, has become so popular that it easy to forget that this music had its beginning as a sort of piano concerto. Stravinsky said: “I had in my mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggi.” That puppet became Petrushka, “the immortal and unhappy hero of every fair in all countries,” as the story of the ballet took shape, but the piano itself receded into the background of the ballet. Perhaps it was only natural that Stravinsky should remember the ballet’s origins when Rubinstein made his request for a piano version. Stravinsky drew the piano score from three of the ballet’s four tableaux. The opening movement, Russian Dance, comes from the end of the first tableau: the aged magician has just touched his three puppets—Petrushka, the Ballerina, and the Moor—with his wand, and now the three leap to life and dance joyfully. Much of this music was given to the piano in the original ballet score, and here this dance makes a brilliant opening movement. The second movement, In Petrushka’s Cell, is the ballet’s second tableau, which introduces the hapless Petrushka trapped in his room and railing against fate and shows the entrance of the ballerina. The third movement, The Shrove-Tide Fair, incorporates most of the music from the ballet’s final tableau, with its genre pictures of a St. Petersburg square at carnival time: various dances, the entrance of a peasant and his bear, gypsies, and so on. Here, however, Stravinsky excises the end of the ballet (where Petrushka is murdered and the tale ends enigmatically) and replaces it with the 858.459.3728 • LJMS.ORG | 23

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more abrupt ending that he wrote for concert performances of the ballet suite.

Quintet in A Major for Clarinet and Strings, K.581

WOLFGANG AMADEUS MOZART

Born January 27, 1756, Salzburg Died December 5, 1791, Vienna Composed: 1789 Approximate Duration: 33 minutes

While Mozart reportedly did not care for the sound of the flute, he felt a special fondness for the clarinet, and much of Mozart’s interest in the clarinet came from his friendship with the Austrian clarinet virtuoso Anton Stadler (1753-1812). Mozart apparently met Stadler soon after arriving in Vienna in 1781. Stadler was part of the ensemble that gave the first performance of Mozart’s great Serenade in D Major, K.361, in 1784, and the two soon became friends and colleagues—they were both Freemasons in the same lodge in Vienna, and Mozart is known to have lent Stadler money during these years. Not surprisingly, Mozart began to write for Stadler and for the clarinet. In the summer of 1786, shortly after the première of Le Nozze de Figaro, Mozart wrote his Trio for Clarinet, Viola, and Piano, presumably for Stadler, and the instrument figures prominently in his Symphony No. 39, composed two years later. It is a measure of the composer’s respect for Stadler’s artistry that in the final year of his life Mozart would compose the obbligato clarinet parts in La clemenza di Tito and the Clarinet Concerto specifically for Stadler, and he revised his Symphony No. 40 to include clarinet parts, almost certainly for Stadler. Two years earlier, during the summer of 1789, Mozart composed his Clarinet Quintet, completing it on September 29. The première had to wait until December 22, when it was performed at a concert of the Tonkünstler Societät in Vienna. On that occasion Stadler was the clarinetist, and Mozart played the viola. Mozart made clear the connection between this music and the artist for whom it was written the following year when he referred to it as “Stadler’s quintet.” Stadler played the basset clarinet, an instrument of his own invention, which could play four semitones lower than the standard clarinet of that era. This unfortunately resulted in a number of corrupt editions of Mozart’s works for Stadler, as editors re-wrote them to suit the range of the contemporary clarinet. Subsequent modifications have given the A clarinet those four low pitches, and today we hear these works in the keys for which Mozart originally wrote them.

Simple verbal description cannot begin to suggest the glories of Mozart’s Clarinet Quintet—this is truly sovereign music, full of the complete technical mastery of Mozart’s final years and replete with the emotional depth that marks his music from that period. The strings present the choralelike first theme of the sonata-form opening Allegro, and the clarinet quickly enters to embellish this noble opening statement. The expressive second subject, sung by the first violin, flows with a long-breathed smoothness that itself seems shaped for the fluid sound of the clarinet. The Larghetto, in D major, belongs very much to the clarinet, which weaves a long cantilena above the accompanying strings; new material arrives in the first violin, and the development section is Mozart at his finest. Particularly impressive here is Mozart’s careful attention to sonority, with the silky sound of muted strings set against the warm murmur of the clarinet. After the subdued conclusion of the second movement, the Menuetto bursts to life with a perky freshness—off come the strings’ mutes, and Mozart moves back to the home key of A major. This minuet is unusual in that it has two trio sections: the first— in A minor—is entirely for strings, while in the second the clarinet has a ländler-like freshness. In place of the expected rondo-finale, Mozart offers a variation movement based on the opening theme, sung as a duet for the violins. The five variations are sharply differentiated: the first introduces an entirely new theme, full of wide skips, played by the clarinet as the quartet repeats the opening theme, several feature virtuosic parts for the clarinet and first violin, and the third opens with a plaintive episode for viola over rich accompaniment from the other voices. And now Mozart springs a surprise: the stirring conclusion of the fourth variation gives way to an expressive Adagio that is really a fifth variation. After this long and moving variation is complete, the music jumps back to its opening tempo, and the Clarinet Quintet concludes with a jaunty coda derived from the first half of the original theme.

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Tessa Lark

PRELUDE · 6:30 PM THE BAKER-BAUM CONCERT HALL Balourdet String Quartet performs Brahms’ String Quartet in C Minor, Opus 51, No. 1

NOTES ON FREEDOM Wednesday, August 4, 2021 · 7:30 PM THE BAKER-BAUM CONCERT HALL BRAHMS

Support for this Prelude is provided by:

Gordon Brodfuehrer

NO INTERMISSION

Scherzo in C Minor for Violin and Piano (Sonatensatz) Paul Huang, violin; Inon Barnatan, piano ANDREW Suspend, a fantasy for piano and chamber orchestra NORMAN Inon Barnatan, piano; (b. 1979) SummerFest Chamber Orchestra Blake Pouliot, Paul Huang, Justin DeFilippis, Byungchan Lee, Domenic Salerni, Tessa Lark, Angela Jiye Bae, violins; Nathan Schram, Jonathan Vinocour, Benjamin Zannoni, violas; Andrew Yee, Russell Houston, Eunghee Cho, cellos; Timothy Cobb, bass; Anthony McGill, Jay Shankar, clarinets; Dustin Donahue, percussion; Julie Smith Phillips, harp; Eric Jacobsen, conductor (1833-1897)

BRAHMS

Piano Quartet in C Minor, Opus 60

Allegro ma non troppo

Scherzo: Allegro Andante Finale: Allegro comodo Tessa Lark, violin; Jonathan Vinocour, viola; Alisa Weilerstein, cello; Inon Barnatan, piano

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NOTES ON FREEDOM —PROGRAM NOTES

Program Notes by Eric Bromberger

Scherzo in C Minor for Violin and Piano (Sonatensatz)

JOHANNES BRAHMS Born May 7, 1833, Hamburg Died April 3, 1897, Vienna Composed: 1853 Approximate Duration: 4 minutes

The brief Scherzo in C Minor for violin and piano is the earliest surviving piece of chamber music by Brahms—he wrote it in 1853, when he was only 20. That fall, Robert Schumann put together a collaborative sonata as a gift for the young violin virtuoso Joseph Joachim, then on tour. Schumann’s student Albert Dietrich (1829-1908) contributed the first movement, Schumann himself wrote the second and fourth, and Brahms composed the third. All four movements were to be based on the sequence of three notes F-A-E, the initials of Joachim’s personal motto, “Frei aber Einsam”: “Free but lonely.” (Scholars, it must be admitted, have had a tough time locating that particular sequence of notes in Brahms’ movement.) Presented with the sonata on his arrival in Düsseldorf, Joachim was asked to play the four movements and to identify the composer of each. He is reported to have played the music easily at sight and to have guessed correctly the authorship of all four movements. The F-A-E Sonata, as it came to be called, was not published until 1935, long after everyone involved in the project was dead. Joachim, however, had liked Brahms’ scherzo movement enough that he had it published separately in 1906, nine years after the composer’s death. It has become part of the repertory, for while it is a very early work and Brahms did not choose to publish it, this music already shows a powerful individual style and a firm command of scherzo form. It is in the expected ABA form. The outer sections are built on a pounding 6/8 meter, sounded first on the violin’s open G string and quickly answered by hammering piano chords. The brief 2/4 trio section, lyric but somber, leads quickly back to the opening material. Brahms provides a surprise at the close by building a huge cadence on a reminiscence of the trio theme. This music has appeared under several titles. It is sometimes called Sonatensatz (“Sonata Movement”), a name that apparently originated with Joachim at the time of its publication in 1906. For his part, Brahms simply marked this powerful music Allegro.

Suspend, a fantasy for piano and chamber orchestra (arr. by Norman)

ANDREW NORMAN Born October 31, 1979, Grand Rapids, Michigan Composed: 2014 Approximate Duration: 20 minutes

Andrew Norman studied composition and piano at USC and Yale, and he was briefly identified as a member of the “Brooklyn” school of composers before returning to the West Coast in 2013; he now teaches at the USC Thornton School of Music. Norman has been composerin-residence with both the Boston Modern Orchestra Project and the Los Angeles Chamber Orchestra, and he has composed for orchestra, for chamber ensembles, and for voice. Norman—whose music has been performed by the Philadelphia Orchestra, Los Angeles Philharmonic, New York Philharmonic, Concertgebouw Orchestra, BBC Symphony, and many others—was named Musical America’s Composer of the Year in 2017. Andrew Norman created a special arrangement for chamber orchestra for LJMS’ SummerFest for this performance.The composer has supplied a program note for this work:

Suspend is a 20-minute fantasy for piano and orchestra. It originally was conceived at the special request of piano legend Emanuel Ax, as an exploration of two melodic fragments that were significant to Johannes Brahms. The first is F-A-E (“Frei Aber Einsam” in German, or “free but lonely” in English) and the second is F-A-F (“Frei Aber Froh”, free but happy). From there it developed into an extended rumination on the ideas of freedom and solitude, a dream-like journey inspired by the creative, conflicted, lonely spirit of Brahms and the ever-present tensions in his (and my) life and music between spontaneity and control, sentiment and structure, indulgence and restraint. Like many of its forebearers in the long tradition of keyboard fantasies, Suspend is intended to sound as if it is being made up on the spot, a single meandering but unbroken thread of thought spun out by the pianist from beginning to end. The piece follows a simple scenario: the pianist—perhaps a solitary, Brahms-like figure— sits down at the keyboard and slowly begins to improvise. At first the sounds exist only in the

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NOTES ON FREEDOM —PROGRAM NOTES

pianist’s own mind, but little by little they become real to the rest of us. The pianist very gradually imagines an orchestra into existence, and over the course of many minutes that imaginary orchestra assumes its own voice and identity, transforming from a shadow, a resonance, an echo of the piano into a powerful and distinct musical entity that threatens, at the work’s climax, to swallow up the pianist. The piece ends with a coda in which the pianist freely meditates on the F-A-F motive and the orchestra, player by player, is released into a world of free, uncoordinated playing. —Andrew Norman

Piano Quartet in C Minor, Opus 60

JOHANNES BRAHMS Composed: 1855-75 Approximate Duration: 35 minutes

While it is difficult—and dangerous!—to search for biographical significance in a piece of music, Brahms’ Piano Quartet in C Minor is one of those works that seems to cry out for such an interpretation. Brahms labored on the quartet for twenty years before it was first performed in Vienna on November 18, 1875. He had begun work on it in 1855 when as a young man of 23 he found himself part of the Schumann household during the cataclysmic period of Robert’s rapid decline in a mental institution. Torn between his friendship with the dying Robert and his hopeless love for the suffering Clara, Brahms turned inward. He began three piano quartets during the year 1855 and completed two of them. The last, the most personal and powerful of the three, he put away—this was not music he was ready to take before the public. But by 1868 he had begun to think about revising it, a process that took several more years. To a friend he tried to describe the spirit of the music: “Imagine a man for whom nothing is left, and who wishes to put an end to himself.” When he finally completed the score in 1875, Brahms suggested to his publisher: “On the cover you must have a picture, a head with a pistol pointed towards it. Now you can form an idea of the music! For this purpose I will send you my photograph! Blue coat, yellow breeches and top-boots would do well . . . ” The blue coat and yellow breeches refer to the hero in Goethe’s The Sorrows of the Young Werther. In that novel, Werther—a young man of sensitive and artistic nature—blows his brains out when the woman he loves marries someone else, and at some level

Brahms clearly identified with the romantic young hero whose love was unrequited. Brahms revised the quartet thoroughly. He transposed it from the original (and unusual) key of C-sharp minor into C minor, and he added an extra movement, a scherzo, to the original three-movement form. He also destroyed his first finale and wrote an entirely new one, as well as completely revising the surviving movements. If the opening movement does not strike the modern listener as music for a man on the verge of suicide, it is nevertheless somber and serious. The piano’s opening—a unison C four octaves deep—is quickly answered by the three strings, whose falling half-step will recur throughout. The piano alone has the second theme, unmistakably Brahmsian in its nobility and breadth; in an original touch, Brahms quickly presents four variations on this theme, highly unorthodox in a sonata-form movement. The development is dramatic, with the two-note figure hammering darkly into the listener’s consciousness before the movement comes to a quiet close. The piano introduces the main idea of the Scherzo, built on a propulsive 6/8 meter. This short movement is extremely focused: a brief section for strings marked espressivo functions as a trio section before the menacing pound of the original rhythm returns to drive the movement to its close. Some critics have regarded the Andante as a love-song, and given the mood of the music and the circumstances of its composition, such a conclusion may well be justified. It opens with a long flow of golden song from the cello. The mood of the music is intimate, and that intimacy is only a little ruffled by the extended syncopations of the development. In a wonderful touch, Brahms gives the reprise of the opening theme to the piano, which is accompanied by pizzicato strings, and on fragments of that opening melody this expressive music comes to its quiet close. By contrast, the Finale returns to the C-minor urgency of the opening. Brahms’ marking—Allegro comodo—suggests a leisurely or moderate tempo, but the mood of the music is dark and insistent throughout. The second theme is a chorale for strings, and the development has a great deal of sweep, with the main theme returning in a grand unison for the strings. Curiously, the movement stays in C minor until the very end, when Brahms wrenches it into C major with the final two chords, as if unwilling to conclude with an ending as dark as all that has gone before. But after those final two chords have faded, it is the dark, troubled urgency of this music that stays to haunt the memory.

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Attacca Quartet

PRELUDE · 6:30 PM THE BAKER-BAUM CONCERT HALL Trio Syzygy performs Shostakovich’s Piano Trio No. 2 in E Minor, Opus 67

LIFE STORY Thursday, August 5, 2021 · 7:30 PM THE BAKER-BAUM CONCERT HALL

En Saga, Opus 9 (reconstructed for octet by Jaako Kuusisto) Anthony McGill, clarinet; Brad Balliett, bassoon; Jennifer Montone, horn; Blake Pouliot, Benjamin Beilman, violins; Nathan Schram, viola; Efe Baltacigil, cello; Timothy Cobb, bass SHOSTAKOVICH String Quartet No. 8 in C Minor, Opus 110 (1906-1975) Largo Allegro molto Allegretto Largo Largo Attacca Quartet Amy Schroeder, Domenic Salerni, violins; Nathan Schram, viola; Andrew Yee, cello SIBELIUS

(1865-1957)

Support for this program generously provided by:

John Hesselink

Support for this Prelude is provided by:

Gordon Brodfuehrer

INTERMISSION

SCHUBERT

Allegro in A Minor for Piano Four-Hands, D.947 (“Lebensstürme”) Roman Rabinovich, Inon Barnatan, piano SMETANA String Quartet No. 1 in E Minor “From My Life” (1824-1884) Allegro vivo appassionato Allegro moderato à la Polka Largo sostenuto Vivace Benjamin Beilman, Tessa Lark, violins; Masumi Per Rostad, viola; Efe Baltacigil, cello (1797-1828)

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LIFE STORY —PROGRAM NOTES

Program Notes by Eric Bromberger

En Saga, Opus 9 (reconstructed for octet by Jaako Kuusisto)

JEAN SIBELIUS

Born December 8, 1865, Tavastehus, Finland Died September 20, 1957, Järvenpää, Finland Composed: 1892 Approximate Duration: 20 minutes

In 1891 the Finnish conductor Robert Kajanus commissioned a new orchestral work from the 26-year-old Sibelius. The composer titled the new work simply En Saga, and that title (which is in Swedish) translates as “A Saga” or perhaps “A Fairy Tale.” Sibelius composed En Saga across 1892 and conducted its successful première in Helsinki on February 16, 1893. The work was performed widely in this version, but Sibelius himself was not fully satisfied with it, and he came back to En Saga in 1901 and revised it completely. In its final form, En Saga was first performed in Helsinki on November 2, 1902, and it promptly became one of Sibelius’ most popular works—it is usually performed in this version today. But there is evidence that the music of En Saga is derived from a piece of chamber music that Sibelius had sketched earlier, either a septet or an octet. Finnish composer Jaako Kuusisto (born 1974) has reconstructed a version for an octet consisting of clarinet, bassoon, horn, string quartet, and double bass based on Sibelius’ original version of 1892. This version offers a glimpse into Sibelius’ early ideas as he set to work on En Saga. Music this powerful—this taut, this dramatic—seems to cry out for interpretation, and it is tempting to sense some dark drama shaping En Saga. But Sibelius would have none of that. Many years later, long after he had given up composing, he looked back and said: “En Saga is an expression of a particular state of the soul . . . all literary interpretations are naturally quite alien to me.” One of the most striking things about En Saga is Sibelius’ conception of what constitutes a theme. To be sure, this piece offers those long, flowing Sibelian melodies that build up majestically, but more often the themes are virtual fragments, just bits of rhythm or theme that repeat hypnotically. These shifting patterns of rhythm and color would become an integral part of Minimalism in the late twentieth century, but much of that conception of sound, rhythm, and development is present in this music, composed nearly a century earlier. En Saga builds through several waves of development, finally driving to a great climax. This breaks off suddenly, the music hovers plaintively for a moment, then rushes ahead heroically. Things seem headed for a triumphant

conclusion, and then comes another surprise. All this shining energy dissipates, the clarinet offers a lonely epilogue, and En Saga pulses into silence on barely-audible bits of rhythm. Listeners are of course free to make out any drama they wish playing out beneath the surface of this “saga.” But we would do well to remember Sibelius’ admonition that En Saga is abstract music, “an expression of a particular state of the soul.”

String Quartet No. 8 in C Minor, Opus 110

DMITRI SHOSTAKOVICH Born September 25, 1906, St. Petersburg Died August 9, 1975, Moscow Composed: 1960 Approximate Duration: 21 minutes

In the summer of 1960 Shostakovich went to Dresden, where he was to write a score for the film Five Days, Five Nights, a joint East German and Soviet production. The devastation of Dresden by Allied bombing in 1945—the event that drove Kurt Vonnegut to write Slaughterhouse Five— was still evident in 1960, and it stunned the composer. He interrupted his work on the film score and in the space of three days (July 12-14) wrote his String Quartet No. 8, dedicated “To the memory of the victims of fascism and war.” The Eighth Quartet has become the most-frequently performed of Shostakovich’s fifteen quartets, but this intense music appears to have been the product of much more than an encounter with the horrors of war—it sprang straight from its creator’s soul. In it Shostakovich quotes heavily from his own works: there are quotations from the First, Fifth, Tenth, and Eleventh Symphonies, Piano Trio in E Minor, Cello Concerto No. 1, and his opera Lady Macbeth of the Mtsensk District, as well as from several Russian songs. The quartet also uses as its central theme Shostakovich’s musical “signature”: he took the letters DSCH (D for Dmitri and SCH from the first three letters of his last name in its German spelling) and set down their musical equivalents: D-Es (E-flat in German notation)-C-H (B in German notation). That motto—D-Eb-C-B—is the first thing one hears in this quartet, and it permeates the entire work. Why should a quartet inspired by the destruction of a foreign city (and an “enemy” city, at that) have turned into so personal a piece of music for its composer? Vasily Shirinsky—second violinist of the Beethoven Quartet, which gave the première —offered the official Soviet explanation of so dark a work: “In this music, there is a

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portrait of Shostakovich, the musician, the citizen, and the protector of peaceful and progressive humanity.” But in Testimony, Shostakovich’s much-disputed memoirs, the composer strongly suggests that the quartet is not about fascism but is autobiographical and is about suffering, and he cites his quotation of the song “Languishing in Prison” and of the “Jewish theme” from the Piano Trio as pointing a way toward understanding the quartet. In her recent biography of the composer, Laurel Fay suggests an even darker autobiographical significance. In the spring of 1960, just before his trip to Dresden, Shostakovich was named head of the Union of Composers of the Soviet Federation, and the Russian government clearly expected such a position to be held by a party member. Under pressure to join the party, the composer reluctantly agreed and then was overwhelmed by regret and guilt. There is evidence that he intended that the Eighth Quartet, a work full of autobiographical meaning, should be his final composition and that he planned to kill himself upon his return to Moscow. Five days after completing the quartet, Shostakovich wrote to a friend: “However much I tried to draft my obligations for the film, I just couldn’t do it. Instead I wrote an ideologically deficient quartet nobody needs. I reflected that if I die some day then it’s hardly likely anyone will write a work dedicated to my memory. So I decided to write one myself. You could even write on the cover: ‘Dedicated to the memory of the composer of this quartet.’” Was the Eighth Quartet to be Shostakovich’s epitaph for himself ? The quartet is extremely compact and focused—its five interconnected movements last twenty minutes. The brooding Largo opens with the DSCH motto in the solo cello, which soon turns into the fanfare from the First Symphony, followed in turn by a quotation from the Fifth Symphony. The movement, somber and beautiful, suddenly explodes into the Allegro molto, in which the first violin’s pounding quarter-notes recall the “battle music” from the composer’s wartime Eighth Symphony. At the climax of this movement comes what Shostakovich called the “Jewish theme,” which seems to shriek out above the sounds of battle. The Allegretto is a ghostly waltz in which the first violin dances high above the other voices. Each of the final two movements is a Largo. The fourth is built on exploding chords that some have compared to gunshots, others to the fatal knock on the door in the middle of the night. At the climax of this movement come the quotations from the prison song and—in the cello’s high register—from Shostakovich’s opera Lady Macbeth. The fifth movement

returns to the mood and music of the first. The DSCH motto enters fugally and many of the quartet’s earlier themes are recalled before the music closes very quietly on a chord marked morendo. SOME NOTES: The film for which Shostakovich was to write the score that summer was a typical product of Cold War propaganda. A joint work by Russian and East German filmmakers, Five Days, Five Nights told the politically-correct confabulation that heroic Russian troops had entered Dresden in February 1945 and helped preserve the city’s artistic treasures from Allied bombing (in fact, Russian troops were nowhere near Dresden during the bombing). Shostakovich’s score for the film is unremarkable except that it too makes use of quotations: in the course of the music, the theme from the finale of Beethoven’s Ninth Symphony gradually breaks in on Shostakovich’s own music. And for the record: on September 14, 1960—two months after composing the Eighth Quartet—Shostakovich officially became a member of the Communist Party.

Allegro in A Minor for Piano Four-Hands, D.947 (“Lebensstürme”)

FRANZ SCHUBERT Born January 31, 1797, Vienna Died November 19, 1828, Vienna Composed: 1828 Approximate Duration: 13 minutes

Schubert’s final year has become the stuff of legend. He turned 31 in January 1828, and from the next ten months came a succession of masterpieces: the premières of the Trio in E-flat Major and Fantasy for Violin and Piano, the completion of the “Great” Symphony in C Major, the String Quintet, the three final piano sonatas, the songs of the Schwanengesang cycle, and the song Der Hirt auf dem Felsen. It has become customary to refer to this music—music of an extraordinary new depth and intensity—as “late Schubert,” though Donald Francis Tovey reminds us that since we are dealing with a composer who died at 31, all Schubert is “early Schubert.” The headstone of Schubert’s grave in Vienna suggests how much we have lost: “The art of music here entombed a rich possession, but even fairer hopes.” In the succession of masterworks from that remarkable year, it is easy to overlook the fact that Schubert spent the spring of 1828 writing for piano four-hands. From April came the Fantasy in F Minor, one of the greatest works written for this genre, from May the Allegro in A Minor, and from June the Rondo in A Major. Music for piano fourhands generally had a “social” function—it was intended

30 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

LIFE STORY —PROGRAM NOTES

for talented amateurs to play at home. Of course it could transcend that aim—the Fantasy is a masterpiece—but it was usually music written for the enjoyment of both performer and listener. That said, it should be noted that the duo on this program demands first-rate performers. The Allegro in A Minor (Schubert’s marking is actually Allegro ma non troppo) was not published until twelve years after his death. When Anton Diabelli published this music in Vienna in 1840, he gave it the nickname “Lebensstürme” (“The Storms of Life”), a title Schubert never heard nor imagined. While the nickname may not be authentic, it does hint at the dramatic scope of this music. Many have heard orchestral sonorities here, and in fact this music has been orchestrated and performed in that version. The Allegro in A Minor is in sonata form, but this is the extended and subtle sonata form Schubert had evolved in his final years. His “themes” are actually groups of contrasted ideas rather than simple melodies, and his harmonic language can be daring. The opening sounds fierce, like a strident trumpet call (one understands why some hear “orchestral” sonorities here), but this sharp declaration quickly leads to a quiet, chromatic melody. The arrival of the second theme-group brings a moment of pure magic. The music slows, grows quiet, and the second piano descends to a softly-pulsing accompaniment deep in the left hand. Over this, the first piano sings the choralelike second subject in the unexpected key of A-flat minor. This is very quietly presented (the marking here is triple piano), and Schubert’s modulations even within the first statement are effortlessly expressive. And, characteristically, this second group concludes with a completely different figure, a shower of sparkling triplet runs. The development is powerful and extended, with some very complex counterpoint between the two performers, and Schubert eventually drives this Allegro to two concluding chords entirely worthy of all the energy that has preceded them.

String Quartet No. 1 in E Minor “From My Life”

BEDŘICH SMETANA Born March 2, 1824, Litomysl, Bohemia Died May 12, 1884, Prague Composed: 1876 Approximate Duration: 30 minutes

Smetana’s life is a story of triumph and tragedy. Though he is acclaimed by all as the father of Czech music, a composer whose operas and symphonic poems on Czech subjects blazed the way for Dvořák, Janáček, and generations of Czech composers to come, Smetana’s personal life was full of tragedy, and his death was

appalling. He had four daughters, and three of them died in early childhood. Her health undermined by these losses, Smetana’s wife died while still a very young woman. Smetana himself became aware of frightening changes in his own health about age 50. He began to hear a piercing noise inside his head, and this was soon followed by a rushing sound—he described it as the noise of standing under a waterfall—and later the sound of breaking sticks. He went completely deaf and began to suffer hallucinations; these symptoms—the result of syphilis— eventually gave way to insanity, and Smetana died in an asylum in Prague at age 60. Late in life, and working with great difficulty, Smetana composed two string quartets. The first of these—written in 1876, shortly after he had resigned all of his musical positions because of his deafness—is autobiographical, as its subtitle “From My Life” makes explicit. Smetana supplied an elaborate program for this music, and it is clear that he intended that this quartet should tell the story of his life. The Allegro vivo appassionato opens with a long viola theme that Smetana identified with the “love of art in my youth, my romantic mood, the unspoken longing for something which I could not name or imagine clearly”; at another point, he called this figure “a warning as it were of my future misery.” If the first movement is “about” the composer’s love of music and art, the second, marked Allegro moderato à la Polka, tells of another of his loves— dancing. As a young man, Smetana had loved to dance (his wife-to-be had been one of his earliest partners) and for several years he wrote dance-music almost exclusively. Smetana said that the Largo sostenuto recalled “the happiness of my first love for the girl who later became my faithful wife.” A long cello solo opens this movement, and the first violin announces the second theme of this moving love song, which seems at times like an extended lullaby. The finale, marked Vivace, is astonishing. It sounds very “Czech”—full of folk-like tunes and high spirits—and at first it seems a conventional closing movement; Smetana identified this music with “knowledge of how to make use of the element of national music, joy at the outcome of following this path.” But near the end, these high spirits come shuddering to a stop, and out of that silence comes the violin’s screaming high E, the “piercing whistle” that to Smetana signaled the beginning of his deafness and deterioration. Over the next few moments, Smetana brings back themes from the earlier movements, but these nostalgic reminiscences cannot take hold, and gradually they disintegrate, leaving the quartet to vanish on three quiet pizzicato strokes. It is a stunning conclusion to one of the most moving quartets ever written. 858.459.3728 • LJMS.ORG | 31

PRELUDE · 6:30 PM THE JAI Interview with Tristan Cook and Zac Nicholson hosted by Artistic Director Leah Rosenthal

SYNERGY INITIATIVE AMERICAN PERSPECTIVES II: IDEALIZED LANDSCAPES Produced by Inon Barnatan & Clara Wu Tsai

This concert will be available to view on-demand starting August 14.

Saturday, August 7, 2021 · 7:30 PM THE BAKER-BAUM CONCERT HALL IVES The Unanswered Question

The Synergy Initiative is underwritten by:

Clara Wu Tsai

(Film by Ethan Bensdorf) Rose Lombardo, Pamela Vliek Martchev, flutes; Mary Lynch, oboe; Anthony McGill, clarinet; Ethan Bensdorf, trumpet; Attacca Quartet Amy Schroeder, Domenic Salerni, violins; Nathan Schram, viola; Andrew Yee, cello CAROLINE SHAW Plan & Elevation: The Grounds of Dumbarton Oaks (b. 1982) (Film by Tristan Cook) I. The Ellipse II. The Cutting Garden III. The Herbaceous Border IV. The Orangery V. The Beech Tree GABRIELA Contested Eden WORLD PREMIÈRE LENA FRANK (Film featuring Molly Katzman & Co.) (b.1972) Canto para California Attacca Quartet (1874-1954)

Commissioned by the Cabrillo Festival of Contemporary Music, Music Director Cristian Mǎcelaru, with generous support from Jerry Vurek-Martyn and Rhonda Martyn & Joseph Novello in loving memory of Lynda Vurek-Martyn with additional support from La Jolla Music Society for SummerFest.

INTERMISSION

JOHN WILLIAMS (b.1932) COPLAND (1900-1990)

Air and Simple Gifts Anthony McGill, clarinet; Stefan Jackiw, violin; Jay Campbell, cello; Inon Barnatan, piano Appalachian Spring Suite Benjamin Beilman, Byungchan Lee, Stefan Jackiw, Justin DeFilippis, violins; Masumi Per Rostad, Benjamin Zannoni, violas; Efe Baltacigil, Jay Campbell, cellos; Timothy Cobb, bass; Rose Lombardo, flute; Anthony McGill, clarinet; Brad Balliett, bassoon; Roman Rabinovich, piano; Eric Jacobsen, conductor

32 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

SYNERGY INITIATIVE AMERICAN PERSPECTIVES II: IDEALIZED LANDSCAPES —PROGRAM NOTES

Program Notes by Eric Bromberger, except where indicated.

The Unanswered Question

CHARLES IVES Born October 20, 1874, Danbury, CT Died May 19, 1954, New York City Composed: 1906 Approximate Duration: 7 minutes

Ives led one of those double lives that seem quintessentially American. In his workday routine, he was a shrewd Yankee businessman (at the time of his retirement, Ives & Myrick was the largest insurance firm in the country), but the private Ives was a different person altogether, a visionary artist who created soundscapes never before imagined. And The Unanswered Question is one of his most original (and pleasing) creations. In the summer of 1906, the 32-year-old Ives was living in an apartment that looked out over Central Park and working for the Mutual Insurance Company. That summer, he sketched two brief works that he at first regarded as companion-pieces, though he later separated them. One of these, scored for orchestra, would eventually become Central Park in the Dark, while the other, written for much smaller forces, would become The Unanswered Question. Ives may have sketched this music in 1906, but he was in no hurry to finish it. He set the score aside for a quarter of a century, came back to it in the 1930s, revised it slightly, and published it in 1940. The Unanswered Question is visionary music. Ives conceived it on three separate musical planes—this music is performed by three different groups of instruments that are separated physically, play entirely different music, and seem at first to have nothing to do with each other. The first is a body of strings, whose music is floating, serene, ethereal— their music proceeds as if unaware that anything else is happening onstage. There is next a solitary trumpet, which intones the same questioning phrase six times. And finally there is a quartet of flutes, who form the one active (or reactive) part of this music. The flutes seem to mull over the trumpet’s challenge, dispute among themselves, and grow more agitated as they do. In this strange musical landscape, the quartet of flutes shows us ourselves in ways that are provocative, amusing, and sometimes uncomfortable. The Unanswered Question has become Ives’ most frequently-performed work. Somehow this gentle music— built on the intersection of three completely different musical worlds—touches a deeply responsive chord in audiences. Ives himself gave The Unanswered Question two subtitles—“A Contemplation of a Serious Matter” and “A

Cosmic Landscape”—and in a note in the score he talked about his intentions in this music: The strings play ppp throughout with no change in tempo. They are to represent “The Silences of the Druids—Who Know, See and Hear Nothing.” The trumpet intones “The Perennial Question of Existence” and states it in the same tone of voice each time. But the hunt for “The Invisible Answer” undertaken by the flutes and other human beings, becomes gradually more active, faster and louder through an animando to a con fuoco. This part need not be played in the exact time position indicated. It is played in somewhat of an impromptu way; if there be no conductor, one of the flute players may direct their playing. “The Fighting Answerers,” as the time goes on, and after a “secret conference,” seem to realize a futility, and begin to mock “The Question”—the strife is over for the moment. After they disappear, “The Question” is asked for the last time, and “The Silences” are heard beyond in “Undisturbed Solitude.”

Plan and Elevation: The Grounds of Dumbarton Oaks

CAROLINE SHAW

Born August 1, 1982, Greenville, North Carolina Composed: 2015 Approximate Duration: 15 minutes

Caroline Shaw studied violin as a child and began to compose at age 10. She received her bachelor’s degree from Rice University and her master’s from Yale, and she is now in the doctoral program at Princeton. Shaw performs as a violinist and vocalist with a number of new music ensembles, and in 2012 she became the youngest composer ever to win the Pulitzer Prize, for her Partita for Solo Voices. She has supplied an introduction to Plan and Elevation: Commissioned by Dumbarton Oaks, and premièred by the Dover Quartet in the music room of Dumbarton Oaks on November 1, 2015. I have always loved drawing the architecture around me when traveling, and some of my favorite lessons in musical composition have occurred by chance in my drawing practice over the years. While writing a string quartet to commemorate the 75th anniversary of Dumbarton Oaks, I returned to these essential ideas of space and proportion —to the challenges of trying to represent them on paper. The title, Plan & Elevation, refers to 858.459.3728 • LJMS.ORG | 33

SYNERGY INITIATIVE AMERICAN PERSPECTIVES II: IDEALIZED LANDSCAPES —PROGRAM NOTES

two standard ways of representing architecture —essentially an orthographic, or “bird’s eye,” perspective (“plan”), and a side view which features more ornamental detail (“elevation”). This binary is also a gentle metaphor for one’s path in any endeavor —often the actual journey and results are quite different (and perhaps more elevated) than the original plan. I was fortunate to have been the inaugural music fellow at Dumbarton Oaks in 2014-15. Plan & Elevation examines different parts of the estate’s beautiful grounds and my personal experience in those particular spaces. Each movement is based on a simple ground bass line which supports a different musical concept or character. “The Ellipse” considers the notion of infinite repetition (I won’t deny a tiny Kierkegaard influence here). One can walk around and around the stone path, beneath the trimmed hornbeams, as I often did as a way to clear my mind while writing. The second movement, “The Cutting Garden,” is a fun fragmentation of various string quartets (primarily Ravel, Mozart K. 387, and my own Entr’acte, Valencia, and Punctum), referencing the variety of flowers grown there before they meet their inevitable end as cuttings for display. “The Herbaceous Border” is spare and strict at first, like the cold geometry of French formal gardens with their clear orthogonals (when viewed from the highest point), before building to the opposite of order: chaos. The fourth movement, “The Orangery,” is evokes the slim, fractured shadows in that room as the light tries to peek through the leaves of the aging fig vine. We end with my favorite spot in the garden, “The Beech Tree.” It is strong, simple, ancient, elegant, and quiet; it needs no introduction. —Caroline Shaw

Canto para California

GABRIELA LENA FRANK Born September 26, 1972, Berkeley, California Composed: 2021 Approximate Duration: 12 minutes

I am a believer of human-driven climate change, reluctantly so. That is what four straight years of apocalyptic fires in your beloved home state will do. My husband and I diligently thin the forests on our property,

installing water tanks and ponds, and covering edifices in fire-resistant stucco. We are regulars at classes at the fire station, and during fire season, have solar power at the ready for electrical outages, and emergency bags in the cars. And at the small music academy that I founded, my staff and I have begun leading classes for musicians about the climate crisis and talk frankly about lifestyle changes needed in our field. Contested Eden, in two movements, was a difficult project for me. A few months before the deadline, when asked if I could consider addressing the wildfires of California in my piece for the Cabrillo Festival of Contemporary Music, I was caught off guard. Then, I burst into tears and blurted out yes. What followed was a humbling period of apprehension against tackling the subject. When I did roll up my sleeves, I first wrote what could best be described as a melodramatic soundtrack for a theoretical film documentary on fire. Here’s the fire climbing up a Douglas fir: scurrying violins. There’s the ominous ascending column of smoke over hills before it sinks to the valley floor: horns in sixths to fifths to fourths to thirds to seconds, harmonized to descending bassoons. A solo flute could be the lonely bird hovering over a burned nest. Windchimes for...well, wind and maybe a charred kite. And riffing Ennio Morricone is always good for a firefighter’s vista shot surveying husks of homes against steam and ash. This went on for a while, a couple of weeks. Ultimately, it was a useful, if mortifying, exorcism of tired clichés I’ll never show anyone, leaving behind just a couple of small usable germs: an original secular psalm, Canto para California, that forms an intimate lyrical first movement, followed by a second movement centered around the concept of in extremis, Latin for “in extreme circumstances.” in extremis...What an apt description for life in California during the past four seasons, a Herculean effort of normalcy on the part of Californians while death is constantly imminent. Something inside, deep in one’s spirit, simply perseveres even while surrounded by unimaginable chaos and loss. After an initial slow build-up, the heart of the second movement is a slowly moving violin line that elegiacally descends, over several minutes, moving from the stratospheres down to its lowest register before handing off to the violas, who eventually hand off to the cellos, who hand off to the basses. All the while, against this almost too long falling arc, brief bits and pieces of earlier pieces I’ve authored come to life, albeit transformed, in the surrounding orchestral landscape before vanishing. Nothing coheres or makes sense, like memories that are of little help and comfort. That’s life in extremis.

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SYNERGY INITIATIVE AMERICAN PERSPECTIVES II: IDEALIZED LANDSCAPES —PROGRAM NOTES

Yet, the piece ends hopefully, a hint of the work’s opening and original secular psalm in tribute to the Eden that’s my beloved native state. So, while I honestly sometimes want to lie back in a comfortable bed of yesteryear, I recognize the past is going to stay there, and forward is what we’ve got. California’s never been a sleepy state, and an ultimately optimistic embrace of challenges to come is all I see for our future. —Gabriela Lena Frank

Air and Simple Gifts

JOHN WILLIAMS Born February 8, 1932, Long Island, NY Composed: 2009 Approximate Duration: 4 minutes

John Williams composed Air and Simple Gifts for the inauguration of Barack Obama as the 44th president of the United States on January 20, 2009. Williams is famous for his heroic film scores like Star Wars and Raiders of the Lost Ark, and the inauguration of an American president might seem to call for that kind of music. But Williams went in a different direction entirely: he wrote a brief, intimate, and very beautiful piece of chamber music, scored for violin, cello, clarinet, and piano. Air and Simple Gifts, as Williams titled his piece, was performed at the inauguration by Itzhak Perlman, Yo-Yo Ma, Anthony McGill, and Gabriela Montero. Or rather, they seemed to perform it—the freezing weather at the outdoor inauguration would have made it difficult to keep their instruments in tune, so the four musicians recorded the piece two days earlier and silently synced their instruments to that recording at the inauguration. As its title suggests, Air and Simple Gifts falls into several sections. The opening Air, which Williams asks to have performed “Reverently,” is built on a simple falling melody that is passed between the instruments. The clarinet enters with the tune “Simple Gifts,” which had been composed in 1848 by the Shaker Joseph Brackett. That tune became famous when Aaron Copland used it in the closing section of his ballet Appalachian Spring, where it furnished the basis for a set of variations. Williams’ treatment of that tune is not, despite what some have claimed, an arrangement of Copland’s music, but is a series of variations of his own on that well-known melody. The variations conclude, the opening Air returns briefly, and an understated coda draws the music to its quiet close. This is not the music we might have anticipated from this composer for such an occasion, but it set exactly the right tone for Obama’s inauguration, and it has gone on

to have a life of its own—the Air and Simple Gifts has been frequently performed since then, and it has also been arranged for string orchestra.

Appalachian Spring Suite

AARON COPLAND Born November 14, 1900, Brooklyn Died December 2, 1990, North Tarrytown, NY Composed: 1943-44 Approximate Duration: 25 minutes

Aaron Copland’s Appalachian Spring has become such a classic that it is surprising to learn that this ballet took shape rather haphazardly. Copland and Martha Graham had long wanted to work together before that opportunity came in 1942 when music patron Elizabeth Sprague Coolidge commissioned three new dance works from Graham and gave the choreographer her choice of composers. One of those Graham chose was Copland, and they set to work. But their plans were unclear. It was wartime and Graham wanted a specifically American subject, but her initial thought of something that would include spoken text, an Indian girl, and the Civil War did not appeal to Copland. The composer went ahead with only a general sense of Graham’s evolving scenarios. He began composition in June 1943 in Hollywood, where he was working on a film score, and completed the ballet the following summer in Cambridge, while teaching at Harvard; the orchestration was completed in Mexico. Graham was delighted with Copland’s music and adapted her choreography to fit his score (she in fact chose the title Appalachian Spring just weeks before the first performance, taking it from Hart Crane’s poem The Bridge). For his part, Copland conceived this music specifically for Martha Graham rather than for her constantly-evolving plot-lines. “When I wrote Appalachian Spring, I was thinking primarily about Martha and her unique choreographic style, which I knew well. Nobody else seems quite like Martha: she’s so proud, so very much herself. And she’s unquestionably very American: there something prim and restrained, simple yet strong, about her which one tends to think of as American.” Copland’s working title for this music was simply “Ballet for Martha” (and it still says that on the score’s title page). The première , at the Library of Congress in Washington on October 30, 1944, was a great success, and Copland’s score was awarded the Pulitzer Prize and the New York Music Critics Circle Award the following year. Because the pit at the première was so small, Copland originally scored Appalachian Spring for an ensemble of only thirteen instruments: three woodwinds (flute, clarinet,

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SYNERGY INITIATIVE AMERICAN PERSPECTIVES II: IDEALIZED LANDSCAPES —PROGRAM NOTES

bassoon), double string quartet, contrabass, and piano. In the spring of 1945, he arranged a suite from the ballet for full symphony orchestra, deleting about eight minutes from the original ballet, and this has become the best-known version of this music. However, many preferred the clarity and purity of Copland’s original chamber orchestration, and so in 1958 he prepared a version of the suite for the original thirteen-instrument ensemble (specifying that the number of string players could be augmented if desired). This is the version performed at the present concert. A note in the score outlines the subject of Appalachian Spring as Graham and Copland finally evolved it: the ballet tells of “a pioneer celebration in spring around a newlybuilt farmhouse in the Pennsylvania hills in the early part of the last century. The bride-to-be and the young farmerhusband enact the emotions, joyful and apprehensive, their new domestic partnership invites. An older neighbor suggests now and then the rocky confidence of experience. A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end the couple are left quiet and strong in their new house.” This scenario is rather simple, but the story is timeless, and Copland’s wonderful music—glowing, fresh, strong— catches its mood perfectly. The action is easily followed. The opening section, which introduces the characters one by one, outlines the main theme of the ballet—a simple rising-and-falling shape—within a quiet haze of sound, and out of this bursts the general gathering: Copland portrays this with a jubilant A-major explosion that suggests country fiddling. A hopping little episode for woodwinds is the dance of the Bride and her Intended, who look forward to their life together (there is a dark interlude here—not all of life will be happy). Suddenly the revivalist and his flock appear and help celebrate the wedding with a barn dance. The Solo Dance of the Bride, marked Presto, is her attempt to convey her complex feelings on this day, and this leads to one of the most striking moments in Appalachian Spring: Copland has a solo clarinet sing the Shaker melody “Tis the Gift To Be Simple,” and there follow five variations, each a vision of the married couple’s life together. The last is stamped out triumphantly, and, then over prayer-like music from the strings, the Bride goes to take her place among her neighbors. The young couple is left together, “quiet and strong” as the ballet fades into silence on the music from the very beginning.

36 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

Benjamin Beilman

PRELUDE · 2 PM THE JAI Interview with Aaron Diehl and Inon Barnatan hosted by Robert John Hughes This concert will also be live streamed The Synergy Initiative is underwritten by:

Clara Wu Tsai

Aaron Diehl

SYNERGY INITIATIVE AMERICAN PERSPECTIVES III: RHAPSODIES IN BLUES Produced by Inon Barnatan & Clara Wu Tsai

Sunday, August 8, 2021 · 3 PM

THE BAKER-BAUM CONCERT HALL RAVEL Blues from Sonata in G Major for Violin and Piano

Benjamin Beilman, violin; Inon Barnatan, piano Suite for Wind Quintet Rose Lombardo, flute; Mary Lynch, oboe; Anthony McGill, clarinet; Brad Balliett, bassoon; Jennifer Montone, horn

MILHAUD

La création du monde, Opus 81b

(1875-1937)

SCHULLER NO INTERMISSION

(1925-2015)

(1892-1974) Prélude: Modéré

Fugue Romance: Tendre et doux Scherzo Final: Modéré Stefan Jackiw, Benjamin Beilman, violins; Masumi Per Rostad, viola; Jay Campbell, cello; Roman Rabinovich, piano La Jolla Music Society’s 52nd Season is supported by The Conrad Prebys Foundation, The City of San Diego Commission for Arts and Culture, Banc of California, The Lodge at Torrey Pines, ProtoStar Foundation, Vail Memorial Fund, ResMed Foundation, Bright Events Rentals, Ace Parking, Brenda Baker and Steve Baum, Raffaella and John Belanich, Joan and Irwin Jacobs, Joy Frieman, Debra Turner, Ric and Eleanor Charlton, Jeanette Stevens, Gordon Brodfuehrer, Judith Bachner and Eric Lasley, and an anonymous donor.

WILLIAMS Selections from Zodiac Suite (1910-1981) Leo Virgo Libra Scorpio Aaron Diehl Trio Aaron Diehl, piano; David Wong, bass; Aaron Kimmel, drums; SummerFest Chamber Orchestra; Eric Jacobsen, conductor (continued on next page) 858.459.3728 • LJMS.ORG | 37

SYNERGY INITIATIVE AMERICAN PERSPECTIVES III: RHAPSODIES IN BLUE —PROGRAM NOTES

SYNERGY INITIATIVE AMERICAN PERSPECTIVES III: RHAPSODIES IN BLUE (continued) BERNSTEIN (1918-1990) GERSHWIN (1910-1981)

Riffs for Clarinet, Piano, Bass, and Drums Anthony McGill, clarinet; Aaron Diehl Trio Rhapsody in Blue Aaron Diehl, Inon Barnatan, pianos; SummerFest Chamber Orchestra; Eric Jacobsen, conductor

The concert continues in the Wu Tsai QRT.yrd with a performance by the Aaron Diehl Trio

PAU S E

SummerFest Chamber Orchestra Eric Jacobsen, conductor Diana Cohen, Benjamin Beilman, Stefan Jackiw, Angela Jiye Bae, Jeanne Skrocki, Justin DeFilippis, Byungchan Lee, violins; Travis Maril, Ethan Pernela, Benjamin Zannoni, viola; Jay Campbell, Russell Houston, Eunghee Cho, cello; Timothy Cobb, David Wong, bass; Rose Lombardo, flute; Mary Lynch, oboe; Anthony McGill, clarinet; Brad Balliett, bassoon; Jennifer Montone, horn; John Reynolds, trumpet; Rachel Trumbore, trombone; Dustin Donahue, Aaron Kimmel, percussion SYNERGY INITIATIVE AMERICAN PERSPECTIVES III: RHAPSODIES IN BLUE —PROGRAM NOTES

Program Notes by Eric Bromberger

Blues from Sonata in G Major for Violin and Piano

MAURICE RAVEL Born March 7, 1875, Ciboure, France Died December 28, 1937, Paris Composed: 1923-27 Approximate Duration: 18 minutes

Ravel began making sketches for his Violin Sonata in 1923, the year after he completed his orchestration of Mussorgsky’s Pictures at an Exhibition. He was composing a number of works for violin during these years, including Tzigane, but the Violin Sonata proved extremely difficult for him, and he did not complete it until 1927. The first performance, by violinist Georges Enesco and the composer, took place on May 30, 1927, in Paris while that city was still in a dither over the landing of Charles Lindbergh the week before. In the Violin Sonata, Ravel wrestled with a problem that has plagued all who compose violin sonatas—the clash between the resonant, sustained sound of the violin and the percussive sound of the piano—and he chose to accentuate these differences: “It was this independence I was aiming at when I wrote a Sonata for violin and piano,

two incompatible instruments whose incompatibility is emphasized here, without any attempt being made to reconcile their contrasted characters.” The most distinctive feature of the sonata, however, is Ravel’s use of jazz elements in the slow second movement. Ravel called the second movement Blues, but he insisted that this is jazz as seen by a Frenchman. In a lecture during his American tour of 1928, he said of this movement: “while I adopted this popular form of your music, I venture to say that nevertheless it is French music, Ravel’s music, that I have written.” He sets out to make violin and piano sound like a saxophone and guitar, specifying that the steady accompanying chords must be played strictly in time so that the melodic line can sound “bluesy” in contrast. The “twang” of this movement is accentuated by Ravel’s setting the violin in G major and the piano in A-flat major at the opening.

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SYNERGY INITIATIVE AMERICAN PERSPECTIVES III: RHAPSODIES IN BLUE —PROGRAM NOTES

Suite for Wind Quintet

La création du monde, Opus 81b

Born November 22, 1925, New York City Died June 21, 2015, Boston Composed: 1945 Approximate Duration: 6 minutes

Born September 4, 1892, Aix-en-Provence, France Died June 22, 1974, Geneva Composed: 1922-23 Approximate Duration: 18 minutes

GUNTHER SCHULLER

The son of a violinist in the New York Philharmonic, Gunther Schuller learned to play the French horn and flute as a boy. He quickly became so fine a horn-player that before his eighteenth birthday he was named principal horn of the Cincinnati Symphony Orchestra, and from 1945 until 1959 he served as principal horn of the Metropolitan Opera Orchestra. Schuller’s talents were many. As an educator, he taught at the Manhattan School of Music, Yale, Berkshire Music Festival, and the New England Conservatory, of which he was director from 1967 until 1977. As a conductor, Schuller led all the major American orchestras, championed the music of contemporary composers, and wrote a textbook on conducting. He composed extensively for orchestra and chamber ensembles, and he had a lifelong passion for jazz, both as composer and performer—it was Schuller who coined the term “Third Stream” to refer to the effort to combine classical music and jazz. Schuller composed his Suite for Wind Quintet in 1945, the year he turned twenty. This very concise work—it lasts just over five minutes—is in three movements and is scored for flute, oboe, clarinet, bassoon, and horn. It was composed the year Schuller joined the Metropolitan Opera Orchestra, and the première was given by an ensemble composed of the principal wind players of that orchestra. As one might expect from someone who played both flute and horn, the Suite is beautifully written for wind instruments, and at moments one senses Schuller’s love for jazz. The three movements pass by so quickly that they hardly require comment. The oboe has a leading melodic role in all three movements, and in the jaunty Prelude it sings above a broken ostinato line; a slower middle section leads to a return of the opening material and the sudden close. The Blues makes its way above a rocking accompaniment from the lower instruments; the movement rises to a climax on a bluesy rip for horn, a passage Schuller presumably wrote for himself. The concluding Toccata whips past in only ninety seconds; along the way we hear some quick but unmistakable reminiscences of The Rite of Spring.

DARIUS MILHAUD

In 1922 Rolf de Maré, director of the Ballets suédois, planned a new production for his company’s season in Paris. The subject would be the creation of the world as told in African folklore, and Blaise Cendrars produced the scenario for a brief ballet. The curtain comes up on darkness, and out of the mass of dancers crowded into the center of the stage African gods of creation emerge to chant incantations. As the stage lightens, life begins. A tree grows tall, its branches fold back to touch the earth, and plants and animals come to life. A man and a woman appear, encounter each other in wonder, and begin a dance of desire. That desire satisfied, the man and woman welcome the coming of the first spring as around them birds flutter their wings and call to each other. For the music, de Maré turned to the young French composer Darius Milhaud, and Milhaud made a daring— yet very appropriate—decision about the kind of music he would write. Because the ballet had an African setting, Milhaud turned to a type of music that was all the rage in 1920s Paris: African-American jazz. It was an easy choice, for Milhaud was strongly attracted to jazz. During a 1922 visit to the United States, he had made a point of going to Harlem to hear the music played in the clubs there, including the ensembles of Paul Whiteman and Leo Reisman, and he brought a huge collection of jazz records back with him to Paris. In the spring of 1923 Milhaud composed the music for La création du monde, scoring it for just seventeen players. But rather than writing for a small classical orchestra, Milhaud scored the ballet for what was in effect a jazz band: an ensemble of winds (including saxophone) and percussion, with just a handful of string players. Shortly after the premiere, Milhaud arranged his jazz-inspired ballet for a very classical ensemble: a piano quintet. Milhaud marks the beginning Modéré, and over the steady accompaniment of quiet quarter-notes a wandering, haunting viola solo leads us into the primal darkness. The Chaos before Creation is portrayed by a jazzy fugue. This energy subsides, and the third section—picturing the creation of trees, insects and animals—draws upon ideas introduced in the first section. These are followed by a quiet blues theme; parts of this section may remind listeners of Gershwin, who would compose Rhapsody in 858.459.3728 • LJMS.ORG | 39

SYNERGY INITIATIVE AMERICAN PERSPECTIVES III: RHAPSODIES IN BLUE —PROGRAM NOTES

Blue the following year. The Man and the Woman make their appearance in the jazzy Scherzo, with the couple’s increasing desire depicted by an energetic dance. The final section, which brings the kiss shared by the two principal dancers, reintroduces themes heard earlier. The music here is rousing and boisterous at first, but it grows quiet as the various dancers leave the stage, and the ballet drifts beautifully into silence on an unresolved D-major chord. La création du monde was premiered on October 25, 1923, at the Théâtre des Champs Elysées in Paris, the same hall where—ten years before—Stravinsky’s Rite of Spring had touched off a riot. La création du monde did not touch off a riot, but it drew sniffs from the Paris critics, who felt its jazz idiom more suited to the dance hall than to ballet. In his autobiography, Milhaud took his revenge: “Ten years later the selfsame critics were discussing the philosophy of jazz and learnedly demonstrating that La création was the best of my works.”

musicians I knew born under the various signs. I had no time to write, or go in the studio and record, so after those first three (signs), I’d just sit there and play, and the music was created as we were playing. You might call that real jazz composing.” These pieces (there are actually seventeen of them rather than just twelve because she wrote several for the same sign) were for solo piano, for piano and bass, and for piano, bass, and drums. She completed the series in 1945 and then arranged the pieces for piano and an 18-piece jazz orchestra. This version was premiered at Town Hall on December 31, 1945, and the following year she arranged three movements for full symphony orchestra; Williams was the soloist when the New York Philharmonic premiered that version in 1946—it was one of that orchestra’s first encounters with jazz. The concert offers the Leo, Virgo, Libra, and Scorpio movements from the Zodiac Suite.

Selections from Zodiac Suite

LEONARD BERNSTEIN

MARY LOU WILLIAMS Born May 8, 1910, Atlanta Died May 28, 1981, Durham, NC Composed: 1944-45 Approximate Duration: 14 minutes

Mary Lou Williams taught herself to play the piano at age 3, and she quickly developed into one of the greatest jazz musicians of the twentieth century. She made her career as a performer (she released over a hundred albums), an arranger (for Benny Goodman, Duke Ellington, Dizzie Gillespie, Tommy Dorsey, and many others), and as a composer. Williams was a powerful advocate for jazz and musical education, and she was tireless in her support of musicians who were recovering from addiction. She taught at Duke University in 1977, and she performed for President Carter at the White House in 1978. One of Williams’ most famous compositions is the Zodiac Suite, and it took shape in an unusual fashion. In the early 1940s, she had a radio program on WNEW in New York called “The Mary Lou Williams Piano Workshop” (and it is a measure of her fame that—during wartime and while she was still in her early thirties—Williams had a weekly radio program of her own). In 1944 she began writing a series of short pieces for this program, each inspired by a different sign of the zodiac and each intended as a musical portrait of a friend born under that sign. Williams described how these pieces came to be written: “I read a book about astrology, and though I didn’t know much about it, I decided to do the suite as based on

Riffs for Clarinet, Piano, Bass, and Drums Born August 25, 1918, Lawrence, MA Died October 14, 1990, New York City Composed: 1949 Approximate Duration: 5 minutes

In 1949 jazz band leader Woody Herman, who had already commissioned Stravinsky’s Ebony Concerto, asked Leonard Bernstein to write a piece for his band. At that point Bernstein was a 30-year-old Wunderkind who had substituted at the last-minute for Bruno Walter with the New York Philharmonic and had made a name for himself as the composer of the ballet Fancy Free and the musical On the Town. Bernstein completed the piece for Herman— which he called Prelude, Fugue, and Riffs—on November 4, 1949, but by that time Herman’s Herd had disbanded, and Bernstein’s piece went on the shelf. Its première finally took place on October 16, 1955, as part of the Omnibus telecast of Bernstein’s program “What Is Jazz?” Bernstein originally scored Prelude, Fugue, and Riffs for large forces: five saxophones, five trumpets, four trombones, plus piano, percussion, and string bass, as well as a solo clarinet in the final section. Bernstein scored the opening Prelude only for brass and percussion, and the Fugue only for saxes. Riffs, the final—and longest—movement, is “for Everyone,” and it features a prominent part for solo B-flat clarinet. Riffs is heard at this concert in an arrangement for clarinet and piano, with optional parts for string bass and drums. A riff is a brief repetitive phrase, and—after the piano’s introduction—the clarinet lays out the basic riff, a slinky, climbing two-measure figure. Gradually the other

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SYNERGY INITIATIVE AMERICAN PERSPECTIVES III: RHAPSODIES IN BLUE —PROGRAM NOTES

instruments enter, Bernstein recalls music from the earlier movements, and Riffs drives to an spirited conclusion, with the solo clarinet sailing high above all the energy.

Rhapsody in Blue

GEORGE GERSHWIN

ability to move so smoothly from episode to episode—these changes in tempo and mood seem almost effortless. Also noteworthy is the big E-major string tune marked Andantino moderato con espressione; near the end Gershwin transforms its easy flow into a jazzy romp that ends in one of the most ear-splitting chords ever written.

Born September 28, 1898, Brooklyn Died July 11, 1937, Beverly Hills Composed: 1924 Approximate Duration: 18 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 by American orchestras, 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. Gershwin wrote the Rhapsody in the space of less than a month early in 1924, when he was only 25. Because he was uncertain about his ability to orchestrate, that job was given to Ferde Grofé, who would later compose the Grand Canyon Suite. At the premiere on February 12, 1924, Gershwin was soloist with a small jazz ensemble, but most performances today use Grofé’s version for full orchestra. The present concert, however, offers a new version of Rhapsody in Blue, arranged for two pianos accompanied by a small instrumental ensemble. The Rhapsody has one of the most famous beginnings in all of music: the clarinet trill that suddenly spirals upward in a seductive, sleazy glissando leads directly into the main theme, which will recur throughout. The various episodes are easy to follow, though one should note Gershwin’s 858.459.3728 • LJMS.ORG | 41

Daniil Trifonov

PRELUDE · 6:30 PM THE BAKER-BAUM CONCERT HALL Balourdet String Quartet performs Mozart’s String Quartet No. 19 in C Major, K. 465 “Dissonance”

FOR A GREAT ARTIST Tuesday, August 10, 2021 · 7:30 PM THE BAKER-BAUM CONCERT HALL BERIO

Support for this Prelude is provided by:

Gordon Brodfuehrer

NO INTERMISSION

Folk Songs for Mezzo-Soprano and Chamber Ensemble Black is the color (USA) I wonder as I wander (USA) Loosin yelav (Armenia) Rossignolet du bois (France) A la femminisca (Sicily) La donna ideale (Italy) Ballo (Italy) Motettu de tristura (Sardinia) Malurous qu’o uno fenno (Auvergne) Lo fiolaire (Auvergne) Azerbaijan love song (Azerbaijan) Jennifer Johnson Cano, mezzo-soprano; Rose Lombardo, flute; David Shifrin, clarinet; Nathan Schram, viola; Jay Campbell, cello; Julie Smith Phillips, harp; Dustin Donahue, Eric Derr, percussion TCHAIKOVSKY Piano Trio in A Minor, Opus 50 (1840-1893) Pezzo élégiaco Tema con variazioni Variazione finale e coda: Allegro risoluto e con fuoco Daniil Trifonov, piano; Stefan Jackiw, violin; Alisa Weilerstein, cello (1925-2003)

42 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

FOR A GREAT ARTIST —PROGRAM NOTES

Program Notes by Eric Bromberger

Folk Songs for Mezzo-Soprano and Chamber Ensemble

LUCIANO BERIO Born October 24, 1925, Oneglia, Italy Died May 27, 2003, Rome Composed: 1964 Approximate Duration: 24 minutes

Luciano Berio was always part of the avant garde and wrote with such different techniques as serialism, indeterminacy, electronic music, and collage. Yet Berio also had a profound sense of the past, and he made a number of arrangements of music by earlier composers. Some of these were of composers from this distant past (Frescobaldi, Gabrieli, Purcell), some of major composers from the symphonic repertory (Schubert, Brahms, and Mahler), and some were arrangements of contemporary songs, ranging from Kurt Weill to the Beatles. Berio’s Folk Songs fall into the final category. Berio spent the decade 1962-72 in the United States, where he taught at Mills College, Harvard, and Juilliard. In 1964, he arranged a set of eleven folk songs from eight different countries for mezzo-soprano and a chamber ensemble of flute, clarinet, viola, cello, harp, and two percussionists; this version was première d that year in Oakland by the composer’s wife, the soprano Cathy Berberian. Following his return to Europe, Berio arranged the Folk Songs for singer and small orchestra, and this

version was premièred, again by Cathy Berberian, in Zurich in 1973. These eleven songs hail originally from the United States, Armenia, France, Sicily, Italy, Sardinia, the Auvergne, and Azerbaijan. Some of the songs are well-known, some utterly obscure, and two of them Berio composed himself in the manner of national folk songs. These are fairly straightforward settings: Berio does not re-compose the songs, nor does he take unusual liberties with them. He preserves the original vocal line and creates an orchestral framework that, as he said, tries to preserve some of the national character of each song. By their nature, these songs do not require commentary, and just a few observations may be in order. Many listeners will recognize the first two, for both are by John Jacob Niles, written in the manner of Appalachian folk songs. The opening of the first is meant to invoke the sound of country fiddling, and Berio creates that sound here with two keening violas. Berio took the liberty of composing the two Italian songs, La donna ideale and Ballo, and the two songs from the Auvergne may also be familiar, for they are among the songs that Joseph Canteloube set in his Songs from the Auvergne. The concluding Azerbaijani love song is particularly interesting. It was discovered on an aged and much-scratched 78 rpm recording by Cathy Berberian, who transcribed the words from that recording; a note in the score points out that this text has “so far defied translation.”

1. Black is the color

2. I wonder as I wander

Black is the color Of my true love’s hair, His lips are something rosy fair, The sweetest smile And the kindest hands; I love the grass whereon he stands. I love my love and well he knows, I love the grass where on he goes; If he no more on earth will be, ’Twill surely be the end of me. Black is the color, etc.

I wonder as I wander out under the sky How Jesus our Savior did come for to die For poor orn’ry people like you and like I, I wonder as I wander out under the sky. When Mary birthed Jesus ’twas in a cow stall With wise men and farmers and shepherds and all, But high from the Heavens a star’s light did fall The promise of ages it then did recall. If Jesus had wanted of any wee thing A star in the sky or a bird on the wing Or all of God’s angels in Heav’n for to sing He surely could have had it ’cause he was the king.

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FOR A GREAT ARTIST —PROGRAM NOTES

3. Loosin yelav

The moon has risen

Loosin yelav ensareetz Saree partzòr gadareetz Shegleeg megleeg yeresov Pòrvetz kedneen loosni dzov. Jan a loosin Jan ko loosin Jan ko gòlor sheg yereseen Xavarn arten tchòkatzav Oo el kedneen tchògatzav Loosni loosov halatzvadz Moot amberi metch mònadz. Jan a loosin, etc.

The moon has risen over the hill, over the top of the hill, its red rosy face casting radiant light on the ground. O dear moon with your dear light and your dear, round, rosy face! Before, the darkness lay spread upon the earth; moonlight has now chased it into the dark clouds. O dear moon, etc.

4. Rossignolet du bois

Little nightingale

Rossignolet du bois, Rossignolet sauvage, Apprends-moi ton langage, Apprends-moi-z à parler, Apprends-moi la manière Comment il faut aimer. Comment il faut aimer Je m’en vais vous le dire, Faut chanter des aubades Deux heures après minuit, Faut lui chanter: ‘La belle, C’est pour vous réjouir’. On m’avait dit, la belle, Que vous avez des pommes, Des pommes de renettes Qui sont dans vot’ jardin. Permettez-moi, la belle, Que j’y mette la main. Non, je ne permettrai pas Que vous touchiez mes pommes, Prenez d’abord la lune Et le soleil en main, Puis vous aurez les pommes Qui sont dans mon jardin.

Little nightingale of the woods, little wild nightingale, teach me your secret language, teach me how to speak like you, show me the way to love aright. The way to love aright I can tell you straight away, you must sing serenades two hours after midnight, you must sing to her: ‘My pretty one. This is for your delight.’ They told me, my pretty one, that you have some apples, some rennet apples, growing in your garden. Allow me, my pretty one, to touch them. No, I shall not allow you to touch my apples. First, hold the moon and the sun in your hands, then you may have the apples that grow in my garden

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FOR A GREAT ARTIST —PROGRAM NOTES

5. A la femminisca

May the Lord send fine weather

E Signuruzzu miù faciti bon tempu Ha iu l’amanti miù’mmezzu lu mari L’arvuli d’oru e li ntinni d’argentu La Marunnuzza mi l’av’aiutari. Chi pozzanu arrivòri ‘nsarvamentu E comu arriva ‘na littra Ma fari ci ha mittiri du duci paroli Comu ti l’ha passatu mari, mari.

May the Lord send fine weather, for my sweetheart is at sea; his mast is of gold, his sails of silver. May Our Lady give me her help, so that they get back safely. And if a letter arrives, may there be two sweet words written, telling me how it goes with you at sea.

6. La donna ideale

The ideal woman

L’omo chi mojer vor piar, De quattro cosse de’e spiar. La primiera è com’el è naa, L’altra è se l’è ben accostumaa, L’altra è como el è forma, La quarta è de quanto el è dotaa. Se queste cosse ghe comprendi A lo nome di Dio la prendi.

When a man has a mind to take a wife, there are four things he should check: the first is her family, the second is her manners, the third is her figure, the fourth is her dowry. If she passes muster on these, then, in God’s name, let him marry her!

7. Ballo

Dance

La la la la la la … Amor fa disviare li più saggi E chi più l’ama meno ha in sé misura Più folle è quello che più s’innamura. La la la la la la… Amor non cura di fare suoi dannaggi Co li suoi raggi mette tal cafura Che non può raffreddare per freddura.

La la la la la … Love makes even the wisest mad, and he who loves most has least judgement. The greater love is the greater fool. La la la la la … Love is careless of the harm he does. His darts cause such a fever that not even coldness can cool it.

8. Motettu de tristura

Song of sadness

Tristu passirillanti Comenti massimbillas. Tristu passirillanti E puita mi consillas A prongi po s’amanti. Tristu passirillanti Cand’ happess interrada Tristu passirillanti Faimi custa cantada Cand’ happess interrada

Sorrowful nightingale how like me you are! Sorrowful nightingale, console me if you can as I weep for my lover. Sorrowful nightingale, when I am buried, sorrowful nightingale, sing this song when I am buried

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FOR A GREAT ARTIST —PROGRAM NOTES

9. Malurous qu’o uno fenno

Wretched is he

Malurous qu’o uno fenno, Maluros qué n’o cat! Qué n’o cat n’en bou uno Qué n’o uno n’en bou pas! Tradèra ladèrida rèro, etc. Urouzo lo fenno Qu’o l’omé qué li cau! Urouz inquéro maito O quèlo qué n’o cat! Tradèra ladèrida rèro, etc.

Wretched is he who has a wife, wretched is he who has not! He who hasn’t got one wants one, he who has not, doesn’t! Tralala tralala, etc. Happy the woman who has the man she wants! Happier still is she who has no man at all! Tralala tralala, etc.

10. Lo fiolaire

The spinner

Ton qu’èrè pitchounèlo Gordavè loui moutous, Lirou lirou lirou … Lirou la diri tou tou la lara. Obio n’o counoulhèto É n’ai près un postrou. Lirou lirou, etc. Per fa lo biroudèto Mè domond’ un poutou. Lirou lirou, etc. E ièu soui pas ingrato: En lièt d’un nin fau dous! Lirou lirou, etc.

When I was a little girl I tended the sheep. Lirou lirou lirou … Lirou la diri tou tou la lara. I had a little staff and I called a shepherd to me. Lirou lirou, etc. For looking after my sheep he asked me for a kiss. Lirou lirou, etc. And I, not one to be mean, Gave him two instead of one. Lirou lirou, etc.

11. Azerbaijan love song

[Transcription defies translation.]

46 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

FOR A GREAT ARTIST —PROGRAM NOTES

Piano Trio in A Minor, Opus 50

PETER ILYICH TCHAIKOVSKY Born May 7, 1840, Votkinsk, Russia Died November 6, 1893, St. Petersburg Composed: 1881-82 Approximate Duration: 50 minutes

Nikolai Rubinstein, brother of the pianist Anton Rubinstein, had hired Tchaikovsky to teach composition at the Moscow Conservatory and later encouraged him as a composer, conducting and championing his music. When Nikolai died on March 23, 1881, at the age of 46, Tchaikovsky resolved to write a work in his memory, but it was difficult for him to choose the form for such a piece. Nikolai had been a pianist, but a piano concerto did not seem a proper memorial piece. Tchaikovsky disliked the combination of piano and strings in chamber music but eventually overcame this aversion to write the Trio in A Minor as the memorial to Rubinstein; it was the only time Tchaikovsky used a piano in his chamber music. He began work on the trio in December 1881 while living in Rome and completed the score on February 9, 1882. The manuscript is inscribed: “In memory of a Great Artist.” A particular memory came back to Tchaikovsky as he worked on this music: in 1873, after the première of Tchaikovsky’s The Snow Maiden (which had been conducted by Rubinstein), faculty members from the Moscow Conservatory had gone on a picnic in the sunny, blossomcovered countryside. Here they were surrounded by curious peasants, and the gregarious Rubinstein quickly made friends and had the peasants singing and dancing. As he set to work on the trio, Tchaikovsky remembered how much Rubinstein had liked one of these songs. The trio as completed has a very unusual form: it is in two massive movements that last a total of almost 50 minutes. The first movement in particular has proven baffling to critics, who have been unable to decide whether it is in sonata or rondo form. It is built on two sharply contrasted themes: the cello’s somber opening melody—which Tchaikovsky marks molto espressivo—and a vigorous falling theme for solo piano, marked Allegro giusto. Tchaikovsky alternates these themes through this dramatic movement, which closes with a quiet restatement of the cello’s opening theme, now played in octaves by the piano. The second movement is a huge set of variations. The theme of these variations is the peasant melody Rubinstein had liked so much on the picnic in 1873, and Tchaikovsky puts this simple tune through eleven quite different variations. Particularly striking are the fifth, in which the piano’s high notes seem to echo the sound of sleigh bells;

the sixth, a waltz introduced by the cello; the eighth, a powerful fugue; and the tenth, a mazurka introduced by the piano. So individual and dramatic are these variations that several critics instantly assumed that each must depict an incident from Rubinstein’s life and set about guessing what each variation was “about.” Tchaikovsky was dumbfounded when this was reported to him; to a friend he wrote: “How amusing! To compose music without the slightest desire to represent something and suddenly to discover that it represents this or that, it is what Moliere’s Bourgeois Gentilhomme must have felt when he learnt that he had been speaking in prose all his life.” The trio concludes with a final variation so huge that many have considered it a separate movement. It comes to a somber end: Tchaikovsky marks the final page Lugubre (“lugubrious”), and over a funeral march in the piano come fragments of the cello’s theme from the very beginning of the first movement, now marked piangendo: “weeping.” This theme gradually dissolves, and the piano marches into silence.

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Stefan Jackiw

PRELUDE · 6:30 PM THE BAKER-BAUM CONCERT HALL Trio Syzygy performs Ives’ Trio for Violin, Cello and Piano

SYMPHONIC DANCES Wednesday, August 11, 2021 · 7:30 PM THE BAKER-BAUM CONCERT HALL ENESCU

Support for this Prelude is provided by:

Gordon Brodfuehrer

NO INTERMISSION

Violin Sonata No. 3 in A Minor, Opus 25 Moderato malinconio Andante sostenuto Allegro con brio, ma non troppo mosso Stefan Jackiw, violin; Inon Barnatan, piano RACHMANINOFF Symphonic Dances, Opus 45 for Two Pianos (1873-1943) Non allegro Andante con moto (Tempo di valse) Lento assai; Allegro vivace; Lento assai. Come prima Daniil Trifonov, Inon Barnatan, pianos (1881-1955)

48 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

SYMPHONIC DANCES —PROGRAM NOTES

Program Notes by Eric Bromberger

Violin Sonata No. 3 in A Minor, Opus 25

GEORGES ENESCU Born August 19, 1881, Liveni Virnav, Romania Died May 3/4, 1955, Paris Composed: 1926 Approximate Duration: 24 minutes

The greatest musician to come from Romania, Georges Enescu was also one of the finest violinists of the twentieth century. Enescu trained in Vienna and Paris and then had an international career, performing and conducting throughout the world; he kept Paris and Bucharest as his two homes and spent a significant amount of time in his native country, where he did much for Romanian music. As a composer, Enescu is unfortunately remembered for just one work, the Romanian Rhapsody No. 1, and its overpopularity has obscured the rest of his achievement, which includes the impressive opera Oedipe, five symphonies, and a large amount of chamber music. Enescu composed his Violin Sonata No. 3 in 1926, dedicating it to the memory of violinist Franz Kneisel— longtime concertmaster of the Boston Symphony—who had died earlier that year. The key to this striking music can be found in its subtitle: “in the popular Romanian character.” Enescu sets out here to wed Romanian folk music with the classical violin sonata: the result is a virtuoso violin sonata and a very exotic piece of music. Though the sonata contains no specific folk tunes, Enescu—like Bartók in his Violin Rhapsodies, composed at almost exactly the same time—assimilates a folk idiom so completely that it becomes the raw material for his own music. Romanian folk music inevitably suggests a gypsy character, and listeners will hear that in this sonata, as well as characteristic Romanian melodic patterns and Enescu’s attempt to mirror the sound of native instruments such as the cimbalon and lautar. He notates the score with unusual precision, specifying notes to be played slightly sharp or flat, how the piano is to be pedaled, and so on. The Third Violin Sonata has become one of Enescu’s most popular works, recorded by such violinists as Yehudi Menuhin and Isaac Stern. While it is much better to listen to such a work as pure music, something of its emotional character can be understood in a remark Enescu made to one of his students: he described the sonata as “a fantasy on the life and soul of the gypsy fiddler, the kind of musical vagabond who roamed about Europe in the old days, playing at campfires, imitating not only the sounds of nature but also the techniques and stunts of other gypsy players.”

The sonata is in the standard three movements but is quite free in structure and expression. The opening Moderato malinconico does indeed have a melancholy air. Its first theme-group consists of a series of brief thematic ideas, all riding along a very supple rhythmic pulse; these will be combined and developed across the span of the movement. The dancing second group quickly turns passionate and soaring; the brief development leads to a modified return of earlier material and a quiet close. The Andante sostenuto opens with the strange sound of a one-note piano ostinato—a high B—sounding obsessively; over this constant pulse the violin sings the first idea entirely in harmonics. That opening ostinato sets a pattern that will characterize this movement: it is full of recurrent pedal sounds—some of these are like gypsy bagpipes, and at other times the piano mimics the jangling sound of the cimbalom. This movement is quite varied, with moments of calm giving way to more ebullient episodes. The finale dances to life on the piano’s sharp-edged chords, and quickly the violin leads the way through a series of varied sections. This movement is particularly sonorous: there are extended passages played in pizzicato chords, tumultuous waves of piano sound, and striking tremolo and harmonic effects from the violin. The sonata drives to a dramatic— and resounding—conclusion, marked triple forte.

Symphonic Dances, Opus 45 for Two Pianos

SERGEI RACHMANINOFF Born April 1, 1873, Semyonovo, Russia Died March 28, 1943, Beverly Hills Composed: 1940 Approximate Duration: 35 minutes

Rachmaninoff spent the summer of 1940 at Orchard Point, a seventeen-acre estate on Long Island that had groves, orchards, and a secluded studio where he could work in peace. There, very near the East and West Egg of Fitzgerald’s The Great Gatsby, Rachmaninoff set to work on what would be his final complete work, a set of dances for orchestra. By August, he had the score complete in a version for two pianos, and—because he regarded this as a dance score—he consulted with choreographer Mikhail Fokine, a neighbor that summer. Rachmaninoff tentatively titled the piece Fantastic Dances and gave its three movements names— Noon, Twilight, and Midnight—that might suggest a possible scenario. Fokine liked the music when Rachmaninoff played it for him, and they began to look ahead to a ballet production, but Fokine’s death shortly thereafter ended any 858.459.3728 • LJMS.ORG | 49

SYMPHONIC DANCES —PROGRAM NOTES

thought of that. Even by the end of the summer, though, Rachmaninoff appears to have rethought the character of this music. By the time he completed the orchestration on October 29, he had changed its name to Symphonic Dances and dropped the descriptive movement titles, and when Eugene Ormandy and the Philadelphia Orchestra gave the première on January 3, 1941, it was as a purely orchestral composition. Rachmaninoff himself seemed surprised by what he had created, and when friends congratulated him on the energy of this music, he said, “I don’t know how it happened—it must have been my last spark.” Two years later he was dead. The orchestral version of the Symphonic Dances has become one of the most popular of Rachmaninoff’s late works. This concert, however, offers the unusual opportunity to hear this music in the form in which Rachmaninoff originally composed it—for two pianos; this was the version Fokine heard during the summer of 1941 and planned to choreograph. The orchestral version is remarkable for the opulence of its instrumental color (it includes the rarely-heard alto saxophone) and the verve of Rachmaninoff’s writing; it is one of his most exciting scores—and one of his loudest. Two pianos cannot pretend to match the variety of color produced by symphonic instruments, nor can they match the sonic punch of a onehundred piece orchestra. But the version for two virtuoso pianists offers an appeal all its own, in the excitement of a more intimate performance and in the black-andwhite clarity it brings to Rachmaninoff’s sometimes thick orchestral textures. The Symphonic Dances are remarkable for Rachmaninoff’s subtle compositional method. Rather than relying on the Big Tune, he evolves this music from the most economical of materials—rhythmic fragments, bits of theme, simple patterns—which are then built up into powerful movements that almost overflow with rhythmic energy. Rachmaninoff may have been 67 and in declining strength in 1940, but that summer he wrote with the hand of a master. The music opens with some of these fragments, just bits of sound, and over them is heard the three-note pattern that will permeate the Symphonic Dances, reappearing in endless forms across the span of this score. Rachmaninoff plays it up here into a great climax, which subsides as the opening fragments lead to the wistful central episode; this slow interlude gradually makes its way back to the explosive gestures of the beginning section. In the closing moments, Rachmaninoff rounds matter off with a grand chorale (here finally is the Big Tune), and the movement winks into silence on the fragments with which it began.

The second movement is marked Tempo di valse, the only explicit dance indication in the score. Fokine himself warned Rachmaninoff not to feel bound to “dance” music (and specifically to waltz music) when writing music for dancing—if the music had vitality and character, Fokine felt that he could find a way to make it work as a ballet. Rachmaninoff may call for a waltz tempo here, but he avoids the traditional meter of 3/4, setting the music instead in 6/8 and 9/8. This waltz evolves through several episodes—some soaring, some powerful—before the movement subsides to a sudden, almost breathless close. The slow introduction to the final movement is enlivened by interjections of the three-note pattern. Gradually these anneal into the Allegro vivace, and off the movement goes, full of rhythmic energy and the sound of ringing bells. A central episode in the tempo of the introduction sings darkly (Rachmaninoff marks it lamentoso), and finally the Allegro vivace returns to rush the Symphonic Dances to the close. Out of this rush, some unexpected features emerge: a quotation from Rachmaninoff’s First Symphony (composed nearly fifty years earlier), the liturgical chant “Blessed Be the Lord,” and— finally—that old Rachmaninoff obsession, the Dies Irae. At first this is only hinted at, but gradually it takes shape amid the blazing rush and finally is shouted out in all its glory as this music dances furiously to a close guaranteed to rip the top off a concert hall. As he finished each of his symphonies, Joseph Haydn would write Laus Deo—“Praise God”—at the end of the manuscript. At the end of the manuscript of Symphonic Dances, Rachmaninoff—perhaps aware that this would be his last work—wrote (in Russian) the simple phrase: “I thank Thee, Lord.”

50 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

David Shifrin

Jennifer Johnson Cano

PRELUDE · 6:30 PM THE JAI Interview with Marc Neikrug hosted by Nicolas Reveles Support for this program and the Flux Quartet is generously provided by:

Judith Lasley and Eric Bachner

Additional support is provided by: FLUX Quartet Sue and

Chris Fan

NO INTERMISSION

Kelly Markgraf

Marc Neikrug

A SONG BY MAHLER Thursday, August 12, 2021 · 7:30 PM THE BAKER-BAUM CONCERT HALL

A SONG BY MAHLER A New Opera by Marc Neikrug

WEST COAST PREMIÈRE Jennifer Johnson Cano, mezzo-soprano Kelly Markgraf, bass-baritone David Shifrin, clarinet FLUX Quartet Tom Chiu, Conrad Harris, violins; Max Mandel, viola; Felix Fan, cello Doug Fitch, director Nicholas Houfek, lighting design Co-commissioned by the Chamber Music Northwest with the support of the CMNW Commissioning Fund, Chamber Music Society of Lincoln Center, La Jolla Music Society for SummerFest, and Lake Champlain Chamber Music Festival.

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A SONG BY MAHLER —PROGRAM NOTES

A Song by Mahler

MARC NEIKRUG Born September 24, 1946, New York City Composed: 1981 Approximate Duration: 80 minutes

A Song by Mahler is the third piece I have written in a genre that I see as a combination of theater and music. I have tried to combine these two forms in a way that addresses some of the problems I find in opera, particularly the fact that singing any set of words takes approximately three times as long as speaking them. This leads to a sense of time, which is not how we experience “real time.” Another aspect, which I have always found problematic, is the setting of purely mundane, everyday words into singing. In these works, I have written text to be performed as in a play while composing music which, as in an opera, conveys underlying and essential emotional context. In the previous two pieces, there was no singing at all. In this one, I employ both speech and singing. The speech is rhythmically controlled in order to sychronize with the music, but it is essentially “acted,” as in a play. The singing takes over when an emotional threshold is reached where speaking doesn’t suffice. The play itself considers the situation of a concertizing singer who is diagnosed with early-onset Alzheimer’s. She confronts the reality of this, as does her husband, who is also her accompanist. The play is not an attempt at documenting the myriad aspects of the disease. It is, rather, an attempt to address the specific emotional evolution of this couple, touching on their love and their particular relationship to music. I have used one Mahler song, Liebst du um Schönheit (If you Love for Beauty), as a vehicle for the story. It is the song the play’s singer always performed as her last encore in concerts. I place a master class early in the play in order to explain the deep meaning of the song for her personally, and in order for our audience to understand it. Her gradual deterioration and her husband’s attempts to adjust, while also trying to keep his wife connected through music, lead to an eventual resolution and an evolved sense of their love. —Marc Neikrug

52 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

Clive Greensmith

Calder Quartet

Augustin Hadelich

Xavier Foley

AMERICAN PERSPECTIVES IV: THE SILVER SCORE Sunday, August 15, 2021 · 3 PM THE BAKER-BAUM CONCERT HALL

Tien-Hsin Cindy Wu

PRELUDE · 2 PM THE JAI Interview with Alisa Weilerstein, Inon Barnatan, and Aaron Zigman hosted by Laura Prichard This concert will also be live streamed

HERRMANN Psycho Suite (1911-1975) Calder Quartet Benjamin Jacobson, Tereza Stanislav, violins; Jonathan Moerschel, viola; Eric Byers, cello Balourdet String Quartet Angela Jiye Bae, Justin DeFilippis, violins; Benjamin Zannoni, viola; Russell Houston, cello Xavier Foley, bass PHILIP GLASS The Poet Acts (b. 1937) Inon Barnatan, piano JOHN The Red Violin Caprices CORIGLIANO Augustin Hadelich, violin (b. 1938)

BARBER

(1910-1981)

NICHOLAS BRITELL (b. 1980)

JOHN WILLIAMS (b. 1932)

Adagio for Strings Balourdet String Quartet Forgotten Waltz No. 2 Inon Barnatan, piano Star Wars: May the Fource be with You (arr. Attacca Quartet) Augustin Hadelich, Tereza Stanislav, violins; Tien-Hsin Cindy Wu, viola; Alisa Weilerstein, cello

INTERMISSION

AARON ZIGMAN Rhapsody for Cello and Piano (2021) WORLD PREMIÈRE (b. 1963) Alisa Weilerstein, cello; Inon Barnatan, piano KORNGOLD Quintet for Piano and Strings in E Major, Opus 15 (1897-1957) Mässiges Zeitmass, mit schwungvoll blühenden Ausdruck Mit grösster Ruhe, stets auserst gebundend und ausdruckvoll Finale: Gemessen, beinahe pathetisch; Allegro giocoso Juho Pohjonen, piano; Augustin Hadelich, Tereza Stanislav, violins; Tien-Hsin Cindy Wu, viola; Clive Greensmith, cello 858.459.3728 • LJMS.ORG | 53

SYNERGY INITIATIVE AMERICAN PERSPECTIVES IV: THE SILVER SCORE —PROGRAM NOTES

Program Notes by Eric Bromberger, except where indicated.

Psycho Suite

The Poet Acts

Born June 29, 1911, New York City Died December 24, 1975, Los Angeles Composed: 1960 Approximate Duration: 15 minutes

Born January 31, 1937, Baltimore Composed: 2002 Approximate Duration:4 minutes

BERNARD HERRMANN

PHILIP GLASS Stephen Daldry’s film The Hours (2002) was based on Michael Cunningham’s Pulitzer Prize-winning novel, which had been published four years earlier. The Hours— which starred Meryl Streep, Julianne Moore, and Nicole Kidman—tells the story of three women, each of whom lives in a completely different time and place: 1940’s England, 1950’s California, and contemporary New York. Virginia Woolf ’s novel Mrs. Dalloway provided a linking metaphor for all three tales in The Hours, and Nicole Kidman won an Academy Award for her portrayal of Virginia Woolf in the film. Philip Glass was asked to compose the music for The Hours, and he responded with what many consider his finest film score: it won the BAFTA Award for Best Film Score that year, and it was nominated for an Academy Award. For the score, Glass used a small ensemble, consisting primarily of strings and piano. The Poet Acts, the opening music in the film, is dark and subdued music that rocks gently across its brief span—it establishes perfectly the somber mood for the complex tale that will follow.

“Hitchcock has gone too far this time!” ranted one reviewer after the release of Psycho on June 16, 1960. Whether Hitchcock had gone too far remains a question of taste, but the film’s depiction of matricide, madness, crossdressing, and the famous shower scene certainly took the movie into entirely new territory cinematically. More than half a century later, Psycho remains one of the most famous movies ever made, and much of its continuing success is due to its score. The composer was Bernard Herrmann, who scored such films as Citizen Kane, The Magnificent Ambersons, and Taxi Driver and who was a close (if sometimes stormy) collaborator with Hitchcock—Herrman wrote the scores for The Man Who Knew Too Much, North by Northwest, Vertigo, Marnie, and other Hitchcock films. One of the most distinctive things about Herrmann’s music for Psycho was his decision to score it only for string orchestra. Hitchcock at first objected to this, but Herrmann overcame those objections to produce one of the most famous—and effective—film scores in history: Hitchcock himself later confessed that “33% of the effect of Psycho was due to the music.” Certain moments in that score are etched into everyone’s memory: the driving, nervous music of the Prelude (which is even more effective when it comes back to accompany the scene where Marion Crane is driving through the rainy night searching for a place to stay) or the shrieking string glissandos that accompany the murder in the shower—each of those shrieks seems to stab into a listener in the same way that the huge knife of deranged Norman Bates stabs into the helpless Marion. The music from Psycho has been heard in many arrangements. The present arrangement for string quartet by Richard Birchell includes music from the score’s most famous sequences: the Prelude, The City, The Madhouse, The Water, and the unsettling final moments of the film as Marion’s car is pulled from the mud.

The Red Violin Caprices

JOHN CORIGLIANO Born February 10, 1938, New York City Composed: 1999 Approximate Duration: 9 minutes

American composer John Corigliano wrote the score for The Red Violin, a 1998 Canadian production that tells the story of a single Stradivarius violin. Made in 1681, that violin—with its bright red varnish—has a series of owners and adventures that take it around the world over a span of three centuries. Corigliano has drawn several concert works from his music for that film, including a Chaconne for violin and orchestra that has been frequently performed and recorded. He also drew a work for solo violin entitled The Red Violin Caprices. The composer has prepared a program note for this work:

These Caprices, composed in conjunction with the score for François Girard’s film The Red Violin, take a spacious, troubadour-inspired theme

54 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

SYNERGY INITIATIVE AMERICAN PERSPECTIVES IV: THE SILVER SCORE —PROGRAM NOTES

and vary it both linearly and stylistically. These variations intentionally evoke Baroque, Gypsy, and arch-Romantic idioms as they examine the same materials (a dark, seven-chord chaconne as well as that principal theme) from differing aural viewpoints. The Caprices were created and ordered to reflect the structure of the film, in which Bussotti, a fictional 18th-century violin maker, crafts his greatest violin for his soon-to-be-born son. When tragedy claims wife and child, the grief-stricken Bussotti, in a gesture both ardent and macabre, infuses the blood of his beloved into the varnish of the instrument. Their fates thus joined, the violin travels across three centuries through Vienna, London, Shanghai and Montreal, passing through the hands of a doomed child prodigy, a flamboyant virtuoso, a haunted Maoist commissar, and at last a willful Canadian expert, whose own plans for the violin finally complete the circle of parent and child united in art. —John Corigliano

Adagio for Strings

SAMUEL BARBER

Born March 9, 1910, West Chester, Pennsylvania Died January 23, 1981, New York City Composed: 1936 Approximate Duration: 8 minutes

Barber spent the summer and fall of 1936 in the small village of St. Wolfgang in the Tyrol. The 26-yearold composer had just completed a symphony, and now his thoughts turned to chamber music. The Curtis String Quartet, made up of friends from the Curtis Institute, was planning a European tour that fall, and they had invited Barber to compose a quartet for them to play on the tour. Barber struggled with it, however, and the Quartet in B Minor—as the three-movement quartet was called—was not ready for the Curtis to play; the Pro Arte Quartet gave the first performance in Rome on December 14, 1936. Even before the quartet had been played, though, Barber knew that there was something extraordinary about its central movement, an Adagio. On September 13, 1936, he wrote to the cellist of the Curtis Quartet: “I have just finished the slow movement of my quartet today—it is a knockout!” During the summers of these years, Barber and his friend Gian-Carlo Menotti had been visiting Arturo Toscanini at the conductor’s summer home at a villa on Lake Maggiore. In the summer of 1937, the conductor— who had just heard Barber’s First Symphony performed at

the Salzburg Festival—asked to see some of his music, and the young composer sent Toscanini the manuscript scores of an Essay for Orchestra and of an arrangement for string orchestra he had made of the quartet’s slow movement. But then Barber heard nothing, and the scores were returned by mail, without comment. Stung, Barber refused to accompany Menotti when his friend went to say goodbye to the maestro at the end of the summer. Toscanini recognized what had happened and said to Menotti: “Tell him not to be mad. I’m not going to play one of his pieces, I’m going to play them both.” The conductor had memorized both scores and—not needing them—had simply sent them back; he did not ask to see them again until rehearsals were about to begin. Toscanini led the première of what had now come to be known as the Adagio for Strings on November 5, 1938. He liked this music well enough that he took it on the NBC Symphony’s tour of South America in 1940 and recorded it shortly after the beginning of World War II. At this concert, the Adagio is performed in its original version for string quartet. The Adagio for Strings takes the form of a long arch. It is built on only one theme, a slow and sinuous melody initially heard in the first violins. There is an “archaic” quality about this music that is easy to sense but difficult to define—Barber’s noble melody almost has something in common with medieval choral music. The theme develops with slow but inexorable power, passing from section to section and gathering force with each repetition until finally it builds to a climax of great intensity. Here the music breaks off suddenly, falls away, and concludes on nearly inaudible fragments of the original theme.

Forgotten Waltz No. 2

NICHOLAS BRITELL Born October 17, 1980, New York City Composed: 2011 Approximate Duration: 2 minutes

A graduate of Julliard's Pre-College Division and Harvard University who started playing piano at the age of five, Britell came to the attention of the film community when he performed his own piano composition, Forgotten Waltz No. 2, in the 2008 short romantic comedy Eve (directed by Natalie Portman and starring Lauren Bavcall). His recent feature film scores and TV series soundtracks include Free State of Jones (2016), Moonlight (2016, Oscar for Best Original Score), Succession (2019, Emmy winner), and Cruella (2021). He wrote the score for the forthcoming movie musical Carmen, starring Melissa Barrera (star of In the Heights) in the title role.

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SYNERGY INITIATIVE AMERICAN PERSPECTIVES IV: THE SILVER SCORE —PROGRAM NOTES

Forgotten Waltz No. 2 is a lyrical set of waltz variations with touches of jazz harmony. If it reminds you of Gershwin’s Summertime, you may be picking up on the lowered leading tones (lots of F-natural resolving to G), subtle suspensions of major intervals over minor chords, and stacks of gentle fourths. Based in G minor, the right hand remains independent throughout, exploring a single octave within each variation. The left hand supports each section by alternating delicate arpeggiated and triadic waltz patterns, and ending with a gently unresolved D7#9 (D, F-sharp, A, C, F-natural). —Laura Stanfield Prichard

Star Wars: May the Fource be with You (arr. Attacca Quartet)

JOHN WILLIAMS Born February 8, 1932, Long Island, NY Composed: 1977 Approximate Duration: 6 minutes

John Williams’ score for the original Star Wars (1977) contains some of the most thunderous music ever written for a movie, and so it seems a leap into an entirely different galaxy to think of that music performed by that most intimate and expressive of chamber ensembles, a string quartet. Yet the surprise is how good this music sounds when played by a string quartet. In fact, some of these movements have become popular when string quartets are asked to perform at weddings—everyone knows this music, and these charming arrangements make everyone smile. Still—a string quartet can generate a certain amount of power all its own, and there’s a nice punch to the Main Title. This music needs absolutely no introduction, and listeners will have their own favorites, including Imperial March, Cantina Band, and the concluding Throne Room.

Rhapsody for Cello and Piano

three increasingly rhythmic and captivating scherzos with sweeping melodies in the style of Rachmaninoff, Ravel, and Shostakovich. The introduction (in 6/4, rubato) descends through a fourth three times, supported by harmonies built of fourths. A new theme sweeps through E major, evolving into an original melody inspired by the Kaddish (“Yitgadal, v’yitkadash sh’mei raba”) in G minor, exploring the lower register of the cello. Nine rising triadic motives in G major, the lyrical heart of the work, build to a moving climax. The first scherzo, a tribute to jazz pianist Chick Corea (one of Zigman’s earliest jazz influences after Bill Evans), features piquant staccato rhythms and more complex harmonies based on fourths. Syncopated duet work and octaves in the cello ground the rhythmic aspect of this section, flowing through asymmetrical 3/8 bars. The cello shifts gradually back to the opening 6/4 rhapsodic texture, ushering the piano into a restatement of the rising triadic motives. A beautiful jazz waltz, peppered with double-stops and arpeggios, shepherds us to the Rhapsody’s central theme. This sweeping melody, heard first in B minor and later in E minor. The piano is allowed an extended solo to reintroduce the rising triadic theme, leading us to the second scherzo: a vivacious Balkan-flavored dance. Zigman juxtaposes measures of 10/8 or 12/8 with triple-meter phrases: it is at once toe-tapping, unique, and impossibly modern in its approach. Playful accents dislocate and fragment the beat, building to the Rhapsody’s end. The opening 6/4 melodies slowly re-emerge in the cello over the piano’s mischievous romp. Suddenly, a furious flourish of sixteenth notes interrupts the texture, and we arrive at the third and final scherzo, full of chromatic cascades, miniature cadenzas, and double stops. A saucy conversational tone develops between the players. Each races to take the reins, building to a bitonal dash for the finish line.

AARON ZIGMAN Born January 6, 1963, San Diego, CA Composed: 2021 Approximate Duration: 16 minutes

Born in San Diego, composer Aaron Zigman has created an array of works for the concert stage and composed over seventy feature film scores. The Emmyaward winner and 2021 Pulitzer Prize nominee’s newest work, Rhapsody for Cello and Piano, is a sixteen-minute virtuosic exploration of the cello, the piano, and the magnificent possibility of their combination. The work builds on Liszt’s approach to the form, as Zigman frames

56 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

—Laura Stanfield Prichard

SYNERGY INITIATIVE AMERICAN PERSPECTIVES IV: THE SILVER SCORE —PROGRAM NOTES

Quintet for Piano and Strings in E Major, Opus 15

ERICH WOLFGANG KORNGOLD Born May 29, 1897, Brno, Czech Republic Died November 29, 1957, Hollywood Composed:1920-21 Approximate Duration: 31 minutes

Few child composers have been as precocious as Eric Wolfgang Korngold. His cantata Gold, composed when he was ten, amazed Mahler, who pronounced the boy a “genius.” Those impressed by his talents included Richard Strauss and Puccini, who said: “That boy’s talent is so great, he could easily give us half and still have enough left for himself !” Korngold’s opera Die tote Stadt had simultaneous premières in Hamburg and Cologne on December 4, 1920, when the composer was all of 23, and in the 1920s Korngold was one of the most admired composers in Europe. And then his career took an unexpected turn. Invited to Hollywood to help score a film, Korngold found his romantic idiom ideally suited to film music, and when Hitler came to power Korngold moved his family to Hollywood, where he achieved his greatest success with swashbuckling music for Errol Flynn movies like Captain Blood, Robin Hood, and The Sea Hawk. As soon as the war was over, Korngold put films behind him to return to “serious” music but could never escape his Hollywood reputation, particularly since he used themes from many of his film scores in his classical works; the most successful of these is the 1945 Violin Concerto, championed by Heifetz. Korngold wrote his Piano Quintet in 1920-21, shortly after completing Die tote Stadt, and dedicated it to the Austrian sculptor Gustinus Ambrosi (1893-1975); the work was premièred in Hamburg in February 1923 with the composer at the piano. This was a period of tremendous ferment in Europe, both politically and musically: it saw the emergence of serial composition, dadaism, jazz, folk music as a source for classical composers, quarter-tone composition, and many other approaches. Korngold’s Piano Quintet reflects this ferment: at one moment it can sing with a creamy Viennese voluptuousness, and the next it can almost tear at itself with a sort of expressionistic intensity. This makes the Quintet a very high-energy experience, for both its performers and its audiences. Something of the music’s intensity can be sensed from Korngold’s extremely long and detailed performance marking for each movement. He marks the first movement Mässiges Zeitmass, mit schwungvoll blühenden Ausdruck (“Moderate tempo, with energetically blossoming

expression”). The music opens with a soaring unison passage for strings of a distinctly Viennese complexion, and this full-throated expression will characterize much of the work. Also typical of the Quintet are its frequent changes of tempo and mood: here a singing second theme-group gives way to a dark development marked Steigernd (“intensifying”). Much of the writing, full of glissandos and trills, verges on the violent, and if the movement drives to a huge climax, it also offers dark interludes along the way. Korngold gives the Adagio second movement the marking Mit grösster Ruhe, stets auserst gebundend und ausdruckvoll (“With the greatest calm, always extremely legato and expressive”). This movement is a set of variations on Korngold’s song “Mond so gehst du wieder” from his just completed songcycle Abschiedslieder (“Songs of Farewell”). Some have detected secretly-coded messages of love from Korngold to his fiancée in this movement, but one need not know this to enjoy the music. Korngold offers nine variations on his fundamental theme, which concludes on a massive and very quiet chord that has all the strings playing harmonics and extends across much of the range of the keyboard. The finale, a rondo, opens with a powerful introduction marked Gemessen, beinahe pathetisch (“Measured, almost pathetic”), before the music leaps ahead at the Allegro giocoso. The writing here is quite brilliant, with some of the instruments given what might almost be called cadenzas and with the music once again going through many tempo changes. Korngold concludes with a fast coda that includes a fleeting recall of the opening theme of the first movement.

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Gabriela Lena Frank

TAKEOVER @ THE JAI I Curated by Gabriela Lena Frank Sunday, August 15, 2021 · 7:30 PM

The JAI

CHRISTINE DELPHINE Cuimhne HEDDEN Balourdet String Quartet (b. 1990) Angela Jiye Bae, Justin DeFilippis, violins; Benjamin Zannoni, viola; Russell Houston, cello GABRIELA LENA Selections from Songs of Cifar and the Sweet Sea FRANK El rebelde Eufemia (b. 1972) Tomasito, el cuque En la vela del angelito El niño Kelly Markgraf, bass-baritone; Chelsea De Souza, piano NICOLAS LELL Movement II from El Correcaminos BENAVIDES Calder Quartet (b. 1987) Benjamin Jacobson, Tereza Stanislav, violins; Jonathan Moerschel, viola; Eric Byers, cello TIMOTHY PETERSON Shorelines (b. 1994) Over the Breakwater A Mist Spread Thin In a Gentle Snow Guadalupe Paz, mezzo-soprano; Byungchan Lee, violin GABRIELA LENA El Mundo from El último sueño de Frida y Diego FRANK Guadalupe Paz, mezzo-soprano; Chelsea de Souza, piano ANJNA Duplicity SWAMINATHAN Balourdet String Quartet (b. 1992)

58 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

TAKEOVER @ THE JAI I —PROGRAM NOTES

Program Notes by Eric Bromberger, except where indicated.

Cuimhne

CHRISTINE DELPHINE HEDDEN Born December 21, 1990 Hartford, Connecticut Composed: 2019 Approximate Duration: 5 minutes

At the beginning of writing this piece, I was about to embark on a long-awaited journey to Ireland, to be there for a longer period of time than ever before. After returning home, I missed Ireland far more intensely than I had in the wake of my previous visits. It is one thing to go to a place, be stunned by its beauty and leave again, always a guest. It’s another to visit again and again, all the while knowing that your home lies elsewhere. On this past visit, I found that it is still yet another thing to journey to a place knowing that it is only beginning to become a part of you and that this part will continue to grow. Cuimhne is the Irish word for memory. This piece is written from a place of recollection where, in the words of John O’Donohue, “absence is transfigured and our time in the world is secretly held for us.” Cuimhne was cocommissioned by Orchestra of St. Luke’s and the Gabriela Lena Frank Creative Academy of Music. —Christine Delphine Hedden

Selections from Songs of Cifar and the Sweet Sea

GABRIELA LENA FRANK Born September 26, 1972, Berkeley, California Composed: 2004 Approximate Duration: 16 minutes

Songs of Cifar and the Sweet Sea draws on poetry by the Nicaraguan poet, Pablo Antonio Cuadra (1912-2002). As a young man, Cuadra spent more than two decades sailing the waters of Lake Nicaragua, meeting peasants, fisherman, sailors, woodcutters, and timber merchants in his travels. From such encounters, he was inspired to construct a cycle of poems that recount the odyssey of a harp-playing mariner, Cifar, who likewise travels the waters of Lake Nicaragua. In my initial reading of the poems, I was struck by how Cuadra writes of commonplace objects and people but ties them to the undercurrents of his country’s past of indigenous folklore. Despite Cuadra’s plain vocabulary, ordinary things are thus rendered mythical, reveling Cifar’s capacity for wonder and passionate lyricism. The poems, which begin with Cifar’s birth and end with his death as an

old man, still clinging to an oar, some forty-odd poems later, are rich material for a composer’s imagination, indeed. Knowing that I had a treasure trove of poetry to spark my composer’s imagination, I set out to choose a limited selection of poems to set, but it wasn’t long before I knew that I would have to set them all, making for a full evening-length program. In addition, I knew I would have to broaden my vision to include another singer – Cifar, represented by a baritone drawing on traditional Nicaraguan vocal practices, would need a female singer to carry the many women that figure in his life. And finally, while my experience accompanying singers tells me that the piano is an admirable lieder partner-in-crime, perfectly suited to evoke typical Nicaraguan marimba and guitar sounds, I also know that upon the song cycle’s completion, I will create another version scoring the piano part for full orchestra. This is a work in progress. The following songs will be included in this evening’s performance: XVIII. Primer parte: El rebelde (Part One: The Rebel): In this mysterious song, a scene is coolly described of preparation being made for rebellion. We do not know if Cifar is a willing participant or not. XVIII. Segund parte: Tomasito, el cuque (Part Two: Tomasito, the Cook): A scene is described of a ship’s cook being tortured. Chillingly, it is not clear what Cifar’s role is. XVIII. Tercer parte: El niño (Part Three: The Child): Cast in the solo style of “velorio” funeral singing from Latin American cultures, the vocal writing emphasizes a rise and fall of line, and grace note-inflected tenuto pulsations to mimic the sound of sobs. Cifar cries for the child that used to be him, for a lost innocence. XXII. Primer parte: Eufemia (First part: Eufemia): Jumping to a point in Cifar’s life when he has already seen and experienced a lot (falling in love numerous times, engaging in drunken brawls, escaping spirits on supernatural islands, participating in revolutions, parenting children who disarm him of his machismo, etc.), Cifar now fights a storm while aboard a boat and compares the tempest to a former lover, Eufemia. Only, he can’t placate the storm with kisses like he does with Eufemia when she’s angry. In the deadly calm of the storm, he witnesses one of his comrades (who has appeared in other poems) become crazy with fear and jump overboard to his death, before the storm returns again. XXII. Segund parte: En la vela del angelito (Second part: At the Wake of the Little Angel): As the coda to the previous song, Cifar describes in concise words the stark wreckage of another ship, “La Esperanza,” as he views a child’s coffin floating away. In the previous song, he seems to relish the 858.459.3728 • LJMS.ORG | 59

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battle with the storm/Eufemia and even treats the death of his comrade with some (false?) bravado. At the realization that children have perished, however, he understands the depths of the damage left in the storm’s wake. There is perhaps even a touch of shame that he could have enjoyed the tempest at all. In the distance, the storm still brews, ominous. (Note: Eufemia and En la vela del angelito were commissioned by the Marilyn Horne Foundation.) —Gabriela Lena Frank

El rebelde Todavía al aurora no despierta el corazón de los pájaros y ya Cifar tira la red en el agua oscura. Sabe que es la hora de la sirena y no teme el silencio.

The Rebel Dawn has still not awakened the heart of the birds, and already Cifar casts his net into the dark water. He knows it is the hour of the siren, and he is not afraid of the silence.

Cifar espera la se¬ñal en la lejanas serranías. Antes del alba encenderán sus fogatas los rebeldes.

Cifar waits for a signal from the faraway mountains. Before daybreak the rebels will fire up their bonfires.

Les lleva peces Y armas

He takes them fish and weapons.

Tomasito, el cuque

Thomas, the Cook

“¿En qué lancha las llevaron? ¡Contesta, Tomás, contesta!

“What boar did they carry them in? Answer, Tomás, answer!

“¿Desde cuál isla zarparon? ¡Jodido, Tomás, contesta!

“From which island did they sail? Damn it, Tomás, answer!

“¿A quiénes las entregaron? ¡Hijo de puta, Tomás!

“Who did they deliver them to? Son of a whore, Tomás!

“¿Quiénes llevaron las armas? ¡Cabrón, contesta, Tomás!”

“Who carried the weapons? You bastard, answer, Tomás!”

Pero no habla Tomás. ¡Qué huevos de hombre. No habla!

But Tomás won’t talk. What balls on this guy! He doesn’t talk!

¡Ya nunca hablará Tomás!

Now Tomás will never talk again!

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El niño que yo fuí

The Child that I Was

El niño que yo fuí no ha muerto queda en el pecho toma el corazón como suyo y navega dentro lo oigo cruzar mis noches o sus viejos mares de llanto remolcándome al sueño.

The child I was has not died he remains in my breast taking my heart as his own and sails inside me I hear him cross my nights or his old seas of tears towing me along to dreams.

Eufemia

Rogando el viento… Insultando el viento… hijueputeando al viento!

Begging the wind… Insulting the wind… Son of a bitching the wind!

Tomé el azar la lancha de Pascasio… y ahora reniego de mi suerte!

I took it upon myself to borrow Pascasio’s boat and now I curse my luck!

Miro las olas furiosas y los vientos negros de Octubre. ¡a qué horas prefer éste tiempo implacable A la furia de Eufemia?

I’m looking at the furious waves and the black October winds. At what point did I prefer this implacable weather to Eufemia’s fury?

¿A qué puerto voy a qué tumba me lleva este chubasco perro? Cuánto major aguantar tus gritos, Eufemia.

To what port do I go, to what tomb does this damned storm take me? How much better to withstand your screaming, Eufemia.

Rogando el viento… Insultando el viento…

Begging the wind… Insulting the wind…

Cuánto major tucólera, tu desgreñada ira en la madrugada que esta furia de las olas y estos gritos bajo los rayos y los vientos!

How much better your anger, your disheveled ire at dawn than this fury of the waves and the screams under lightning and wind!

Ya hubiera dominado tu enojo, ya estuviéramos en los besos ya dormiría dócil después de la tempestad. Rogando el viento… Insultando el viento… hijueputeando al viento! Arsenio, granuloso

Already, I would have tamed your wrath, already, we would be in kisses, already I would be sleeping in peace after the tempest. Begging the wind… Insulting the wind… Son of a bitching the wind! Arsenio, pimply

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(continuado) cliente del burdel de Lalita, se tira al Lago. Y vemos la rápida aleta del tiburón.

(continued) Client from Lalita’s whorehouse, throws himself into the Lake. And we see the quick fin of the shark.

Al grito de espanto como un eco aflora del fondo en silencio la mancha roja.

At the scream of terror, like an echo there flowers from the depths, silently, a crimson stain.

Rogando el viento… Insultando el viento… hijueputeando al viento!

Begging the wind… Insulting the wind… Son of a bitching the wind!

¡Cuánto major aguantar tus grito, Eufemia!

How much better to withstand your screams, Eufemia!

Y no ahora, clamando a Dios, arrepentido, vomitando my cobardia en la borda, mientras el negro cielo solo me recuerda el curor de tus ojos.

Instead of now crying to God, repentant, vomiting my cowardice over the rail while the black sky only reminds me of the fury of your eyes.

Rogando el viento… Insultando el viento…

Begging the wind… Insulting the wind…

En la vela del angelito

At the Wake of the Little Angel

Cuando se hundió “La Esperanza” todos perecieron.

When “The Hope” went under, all perished.

Los que fuímos al rescate solo vimos —flotando— el ataúd de un niño.

We who went to the rescue saw only —floating— a child’s coffin.

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Movement II from El Correcaminos

NICOLAS LELL BENAVIDES Born 1987, Albuquerque, NM Composed: 2019 Approximate Duration: 5 minutes

It's difficult to capture New Mexico in one symbol. I, like many New Mexicans, am the product of generations of love, conflict, migration, peace, war, spirituality, colonialism, and progressivism. New Mexico is the meeting place of the South, West, East, and North, much like the foursided Zia symbol on our state flag. Puebloans lived here for thousands of years, followed by the Navajo (Diné), the Spanish then Mexicans, and finally the Americans. I've found myself pondering how they all saw the same Land of Enchantment. New Mexico's state bird is the roadrunner. Roadrunners are beautiful, athletic, fearless, and mysterious. They notably have four toes and nearly symmetrical feet, with two toes facing forward and two facing backward. The concept of symmetrical groupings of four is paramount. The triad with both a major and minor third plays an outsize role in all movements since it holds two major thirds and two minor thirds as a palindrome (C E E-flat G). The triad in inversion, as Bartók was obsessed with (one of my favorite composers), makes appearances as well for its symmetry (E G C E-flat). Augmented harmony and triad shapes (C E A-flat C) perfectly divide an octave into four units, and this material is woven throughout. The piece goes in reverse chronological order of the people who arrived. The second movement, El Correcaminos, is primarily about the Mexicans who arrived (influenced by the Spanish) from the South (and somewhat the West) in the 18th and 19th centuries. They were looking to settle permanently, and saw el correcaminos as a fertility blessing like a stork. They were elated to see one, as it meant there was a future in this place. —Nicolas Lell Benavides

Shorelines (Text by Catherine Pond)

TIMOTHY PETERSON Born February 9, 1994, White Plains, NY Composed: 2018 Approximate Duration: 7 minutes

When empathizing with another person, whose experience is inherently outside yet linked to our own, we often find ourselves at a shoreline, navigating a border

between something fixed and familiar and something fluid and uncharted. Shorelines (2018) is a song cycle featuring three poems by Catherine Pond that explore themes of witnessing and grappling with someone else’s grief and suffering. In the first movement, “Over the Breakwater,” a woman reflects on her brother’s mental illness and her longing to understand his innermost thoughts and feelings. In the second movement, “A Mist Spread Thin,” a woman remembers the crisp mornings when she would observe her lover row down a river and ruminate in solitude. In the final movement, “In a Gentle Snow,” a woman consoles a friend who is grieving a loss. I had the pleasure of meeting poet Catherine Pond in the spring of 2018 at the University of Southern California. We were both enrolled in a graduate seminar that paired composers with poets to collaborate on new works for voice and piano. Shorelines, composed for Duo Cortona as part of the Gabriela Lena Frank Creative Academy of Music, represents our second collaboration. —Timothy Peterson

I. Over the Breakwater A birch tree foams out over the breakwater. Peace was a rain thick as milk, mute colors of an endless causeway. Shut up, you used to say to the air. Shut up, shut up, shut up. But I could never hear the song inside your head. Happiness was there, though out of reach, like a river, tracing the land alongside us. II. A Mist Spread Thin Sometimes light washed the side of your face in a glow. There was a cathedral, I remember, and a river where you rowed, where the trees bent to touch the water and a mist spread thin across the surface. In the mornings I’d go down to the shore and watch you glide out in the chill, past the split oak, towards the grey, tremulous center. III. In a Gentle Snow Somewhere what you love is still alive, turning cartwheels in a gentle snow.

– Catherine Pond

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Duplicity

ANJNA SWAMINATHAN Born June 25, 1992, Maryland Composed: 2019 Approximate Duration: 5 minutes

This work was commissioned by The Orchestra of St. Luke’s and Gabriela Lena Frank Creative Academy of Music and premièred on March 23, 2019 at Flushing Town Hall as part of Carnegie Hall’s Migrations: The Making of America festival. Duplicity brings various aspects of Carnatic (South Indian classical) melodic and rhythmic vocabulary into the string quartet form. It shifts between four ragas or melodic/phraseological frameworks, each in a separate tonal center—both are indicated at the start of each section. The Carnatic ornaments incorporated in the piece include spuritam and jantai both of which involve an articulation of a multi-note flourish as though it is a single note. Rhythmically, the composition centers on a larger cycle of nine, which is articulated by four different claves or syncopated percussive cycles. In combining these shifting rhythmic "signatures" and tonal "signatures," the same rhythmic cycle moves through various emotional and expressive landscapes and showcases the "duplicity" or double-edged nature of rhythm. The piece was inspired by a short story about my mother, who engaged in what I like to call "cultural duplicity" by easily shapeshifting between cultural, linguistic, and traditional spaces. The story is included below. Perhaps one of the memories most emblematic of my mother’s penchant for the accidentally radical, the intentionally comical, and the quixotically paradoxical, was when she won a yodeling competition in Germany. She was a vocalist and dancer, trained like many of her South Indian peers in Carnatic music and Bharatanatyam (South Indian classical dance), but having grown up in the cosmopolitan city of Coimbatore and having been born just as tape recordings began circling around modest homes, she had acquired a masterful skill of replicating any voice she heard—regardless of whether it matched her traditional Carnatic training. She had spent hours listening to classic Hindi film songs, duets by Kishore Kumar and Lata Mangeshkar, priding herself in her ability to mimic both the male tenor and the female soprano, moving back and forth with ease and bravado. It was through these studies of Kishore Kumar’s recordings, where he famously yodeled long expressive passages of vocal melodies, that she had picked up this instinct for yodeling. So, as one might expect, when presented with the

opportunity to yodel among lederhosen-clad German choir singers, my mother hopped on stage, still adorned in her brightly colored sari and dark kohl—now accessorized with Reebok sneakers and a fanny pack. The German choir singers stood alongside her, holding in anticipatory laughs as they awaited what might be the most comical coming together of cultures their yodeling competition would see. She stepped up to the mic and out soared my mother’s perfectly timed and unwaveringly tuneful yodel, Kishore Kumar licks and all. The audience of beer-drunk tourists and natives stood up in a roar of cheer and laughter and ‘Amma’ was instantly deemed winner of that day’s yodeling competition. A choir member quickly called on a bartender to present her with a two-gallon beer stein as a prize for her efforts. “How wonderfully you yodeled for us today! You have to drink from this beer stein in front of everyone now!” he exclaimed, clapping with the audience. “I’ll just have a sip, I think. I don’t like the taste of beer. My husband will drink the rest of it,” she blushed in perfect English with a soft laugh. “Well, then we must to give you a prize,” he suggested, looking knowingly at his fellow choir members. “How about we sing your country’s national anthem and you can sing with us? I’m sure you’ll sing it much better than us, so we’ll support you!” He handed her the mic, looked once again at his fellow singers and started singing the Indian national anthem, “Jana gana mana—” “I’m from the United States,” my mother interrupted into the mic. “But you’re wearing—” “Yes, and I am an American.” And so, my sari-clad mother firmly planted her right palm on her heart, rose the microphone to her lips and led the German choir in a rendition of “Oh, Say Can You See.” Indeed, my mother’s artful—though accidental— cultural duplicity has proven to be comical, thoughtprovoking and outright confusing, and whether or not by intention, these nuggets of liminality consistently pushed those around her to question their own boundaries of culture, nation, music and costume. —Anjna Swaminathan

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Gabriela Lena Frank

TAKEOVER @ THE JAI II Curated by Gabriela Lena Frank Tuesday, August 17, 2021 · 7:30 PM The JAI

GABRIELA LENA FRANK (b. 1972)

Zapatos de chincha from Hilos Byungchan Lee, violin; Eunghee Cho, cello

AKSHAYA AVRIL Breathing Sunlight TUCKER Tereza Stanislav, violin; Joshua Roman, cello (b. 1992)

IMAN HABIBI RevolutionStreet (b. 1985) Balourdet String Quartet Justin DeFilippis, Angela Jiye Bae, violins; Benjamin Zannoni, viola; Russell Houston, cello GABRIELA LENA Milagros FRANK I. Milagrito —Capilla del Camino (Shrine by the Road) II. Milagrito—Zampoñas Rotas (Broken Panpipes) III. Milagrito —Mujeres Cantando (Women Singing) IV. Milagrito —Danza de Tingo María (Dance of Tingo María) V. Milagrito —Sombras de Amantaní (Shadows of Amantaní) VI. Milagrito —Adios a Churín (Goodbye to Churín) VII. Milagrito —Danza de los Muñecos (Dance of the Dolls) VIII. Milagrito —Capilla del Camino Calder Quartet Benjamin Jacobson, Tereza Stanislav, violins; Jonathan Moerschel, viola; Eric Byers, cello MICHAEL-THOMAS Stellar Cartography FOUMAI Tereza Stanislav, violin; Eunghee Cho, cello (b. 1987)

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Zapatos de chincha from Hilos

GABRIELA LENA FRANK Born September 26, 1972, Berkeley, California Composed: 2017 Approximate Duration: 4 minutes

The original quartet, from which this arrangement came, Hilos, was commissioned for Alias Chamber Ensemble by Vanderbilt University, Nashville, Tennessee, and The Schubert Club, Saint Paul, Minnesota. The second movement, Zapatos de chincha, was for clarinet and cello. It was arranged for violin and violoncello for Johnny Gandelsman, violin, and Joshua Roman, violoncello, to premièred in Boonville, California. for the first public concert of the Gabriela Lena Frank Creative Academy of Music in September of 2017. This light-footed movement is inspired by Chincha, a southern coastal town known for its afro-peruano music and dance (including a unique brand of tap). The cello part is especially reminiscent of the cajon, a wooden box that percussionists sit on and strike with hands and feet, extracting a remarkable array of sounds and rhythms. —Gabriela Lena Frank

Breathing Sunlight

AKSHAYA AVRIL TUCKER Born September 14, 1992, Willow, NY Composed: 2017 Approximate Duration: 9 minutes

Breathing Sunlight is inspired by a melody that started winding into my mind in 2015. When I began learning the Hindustani Raga Bhimpalasi a year later, I realized that it virtually matched the contour of this melody, in pitch as well as in mood. In this piece, finally, the melody found its place. However, I do not state the melody outright. Rather, I watched it oscillate somewhere in the background, beyond the conscious mind of the piece. It approaches the surface and recedes, in one line or through bubbling polyphony. It appears in different speeds—sometimes more like a slow alaap, at others like a fast tarana. A common misconception about Indian Classical music is that it is a microtonal system. For this reason, I want to clarify that my use of quarter tones in Breathing Sunlight does not stem from my transcription of Raga Bhimpalasi, or any raga. Instead, quarter tones are just one timbral technique I use to create a space that is thick with the kind silence you experience when listening to (or playing) a tanpura.*

Breathing Sunlight is about moments spent with those who will leave us soon. Simple things, like lying on the grass, in the sun, breathing—these moments of conscious stillness, within a mind racked by mental and physical discomfort— are as significant as they are fleeting. The love we feel in those moments is strong, transcending our physical boundaries, and becoming memories for those left behind. —Akshaya Tucker *Tanpura: the 4-string plucked string instrument used as an overtone-rich drone in Indian Classical music.

RevolutionStreet

IMAN HABIBI

Born November 10, 1985, Tehran, Iran Composed: 2018-19 Approximate Duration: 8 minutes

Revolution (Enghelab) Street is a busy central street in Tehran, located in close proximity to the University of Tehran. This street has often been the starting place for many youth-led civil protests. It was on this street that a woman, in an attempt to protest mandatory hijab (headcovering), stood on a telecom box, took off her scarf, attached it to a stick and waved it in the air in front of hundreds of spectators. Videos of her brave act went viral; she was arrested, as were many others who joined her by protesting in a similar fashion. This piece is an attempt to amplify the voice of the many brave ones who stand up to defend their civil rights peacefully. This particular movement was frequently broadcast on social media with hashtags #GirlsofRevolutionStreet or #WhiteWednesdays. In this piece you will hear the innocence, courage, and yet fragility of these voices, and the aggression with which they are treated. —Iman Habibi

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Milagros

GABRIELA LENA FRANK Composed: 2010 Approximate Duration: 22 minutes

Milagros (Miracles) is inspired by my mother’s homeland of Perú. It has been a remarkable, often difficult, yet always joyous experience for me to visit, again and again, this small Andean nation that is home to not only foggy desert coasts but also Amazonian wetlands. Usually a religious and marvelous occurrence, milagro here refers to the sights and sounds of Perú’s daily life, both past and present, that I’ve stumbled upon in my travels. While probably ordinary to others, to me, as a gringa-latina, they are quietly miraculous, and are portrayed in eight short movements as follows: I. Milagrito —Capilla del Camino (Shrine by the Road): A brief, earnest, and somewhat austere solo violin opening pays homage to the ubiquitous tiny Catholic shrines erected along the highways throughout the altiplano, or highlands, silently honoring those who have been killed in roadside accidents. These shrines are humble standouts against large expansive landscapes, seemingly unchanging through time. II. Milagrito—Zampoñas Rotas (Broken Panpipes): A depiction of ceramic panpipes found at the Cahuachi Temple that were ritualistically broken by a fiery pre-Inca civilization, the Nazca (200 BC to 500 AD), this movement has a violent, jagged-edge quality, employing motifs commonly found in panpipe and other wind instrument music. III. Milagrito —Mujeres Cantando (Women Singing): Inspired by the sound of indigenous women singing, this movement exaggerates their “clustery” pitch and how their voices separate and converge. IV. Milagrito —Danza de Tingo María (Dance of Tingo María): As one who avoids the largely impenetrable selvas, or jungles, I did take away a strong impression of this border jungle town as lively and cacophonous. The relentless rhythm and the melodic line of pizzicatos inspired by water drums drive this movement. V. Milagrito —Sombras de Amantaní (Shadows of Amantaní): The remarkable starry nights of this barren island in Lake Titicaca between Perú and Bolivia made for eerie shadows that I could not dodge on my nocturnal walks. VI. Milagrito —Adios a Churín (Goodbye to Churín): Churín is a small city on the side of a mountain with seemingly little horizontal ground, famous for its healing bath waters. I visited during a time when it was on the verge of becoming a ghost town as its youth were migrating in droves to urban

coastal cities. Allusions to guitar music are made against a melancholy singing cello line. VII. Milagrito —Danza de los Muñecos (Dance of the Dolls): Playful in character, this movement is inspired by the brightly colored, almost mannequin-like dolls from the colonial era that are found in small museums and private collections. VIII. Milagrito —Capilla del Camino: Throughout my travels over the years, these capilla sightings have been constant and unyielding, as I expect they will always be as I continue to travel in the future. Where the second violin introduced the piece with una capilla, it is the first violin who takes up the capilla theme and ends our journey for now. —Gabriela Lena Frank

Stellar Cartography

MICHAEL-THOMAS FOUMAI Born December 17, 1987, Honolulu, Hawai'i Composed: 2017 Approximate Duration: 10 minutes

Stellar Cartography takes its title from the famed Star Trek franchise, and is the name of a three-dimensional map room on board the starship, USS Starship Enterprise E (of the Next Generation fleet of vessels). While there is no connection musically to the soundtracks of the Star Trek universe, this piece takes inspiration from star maps, the art of mapping the stars, galaxies, celestial objects and of course, the three dimensional presentation of these stellar charts on deck, with intricate tangential and intersecting coordinates connecting star points, tracing an interstellar voyage. Star maps, with their multitude of dots and lines representing celestial objects and their astrological relationships look very much like notes on a page of music and the piece reflects an amazement in recognizing this relationship. The piece is in three sections and uses a recurring rhythmic pattern, a kind of musical map line that traces and outlines musical ideas. Imagine the famous scenes from the Indiana Jones franchise, as the protagonist dashes across the world, accompanied with a global map and red tracing line illustrating the journey, and the musical twists and turns, flourishes and metronomic pulses, will paint celestial pathways that crisscross, branching into universes and galaxies where no one has gone before. —Michael-Thomas Foumai

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Ori Kam

PRELUDE · 6:30 PM THE BAKER-BAUM CONCERT HALL Balourdet String Quartet performs Beethoven’s String Quartet No. 8 in E Minor, Opus 59, No. 2 “Razumovsky”

INTIMATE LETTERS Wednesday, August 18, 2021 · 7:30 PM THE BAKER-BAUM CONCERT HALL JANÁČEK

Support for this Prelude is provided by:

Gordon Brodfuehrer

NO INTERMISSION

String Quartet No. 2 “Intimate Letters” Andante Adagio Moderato Allegro Calder Quartet Benjamin Jacobson, Tereza Stanislav, violins; Jonathan Moerschel, viola; Eric Byers, cello FRANCK Piano Quintet in F Minor (1822-1890) Molto moderato Lento con molto sentimento Allegro non troppo ma con fuoco Geoff Nuttall, Anthony Marwood, violins; Ori Kam, viola; Paul Watkins, cello; Juho Pohjonen, piano (1854-1928)

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INTIMATE LETTERS —PROGRAM NOTES

Program Notes by Eric Bromberger

String Quartet No. 2 “Intimate Pages”

LEOŠ JANÁČEK Born July 3, 1854, Hukvaldy, Moravia Died August 12, 1928, Ostravia Composed: 1928 Approximate Duration: 26 minutes

In the summer of 1917 Leoš Janáček, a 63-year-old composer little known outside his homeland, met Kamila Stösslová, a 25-year-old married woman with a small child, and fell madly in love. Over the final eleven years of his life, she was the inspiration for a volcanic outpouring of masterpieces by the aging composer: four operas, two string quartets, a mass, tremendous orchestral works, and numerous choral and chamber pieces—as well as 600 letters written to her. Janáček’s love for Kamila Stösslová was entirely platonic—and one-sided. Mystified by the composer’s passion, she responded with affectionate friendship and encouragement, content to serve as muse for a creator she did not fully understand (Kamila was lucky to have an understanding husband—Janáček had a furiously jealous wife). Janáček said that all his late works were, at some level, an expression of his love for Kamila, and one piece made that love explicit. During the winter of 1928, he took three weeks (January 29-February 19) off from work on his opera From the House of the Dead to compose his String Quartet No. 2, which he subtitled “Intimate Pages.” Janáček’s original nickname for the quartet had been “Love Letters,” but he decided against that, telling Kamila that he did not want “to deliver [his] feelings up to the discretion of stupid people.” To underline the latent meaning of the quartet, he at first intended to replace the viola with the viola d’amore; when the older instrument proved to have insufficient power, he returned to the modern viola, which is given a very prominent role in this quartet. Janáček noted that each movement had a particular program. The opening movement was inspired by his first meeting Kamila at the Luhačovice Spa during the summer of 1917; the second depicts events of that summer; the third he described as “gay, but melting into a vision of you”; the last expressed Janáček’s “fear for you—however it eventually sounds not as fear, but as longing and its fulfillment.” After hearing a private performance of the first two movements, the exultant composer wrote: “Kamila, it will be beautiful, strange, unrestrained, inspired, a composition beyond all the usual conventions! Together I think that we’ll triumph! It’s my first composition that

sprang from directly experienced feeling. Before then I composed only from things remembered; this piece, ‘Intimate Letters,’ was written in fire.” This passionate, intense music is in Janáček’s extremely compressed late style. Themes tend to be short, there are countless abrupt tempo shifts, and the music is tightly unified—even accompaniment figures have thematic importance, and there is some cyclic use of themes. The full-blooded beginning of the Andante gives away suddenly to the true first theme: an eerie, unsettling melody played ponticello by the viola—Janáček said that it reflected Kamila’s disquieting arrival in his life. This theme recurs in many forms in this movement, which pitches between the lyric and harshly dramatic. By contrast, the Adagio is based largely on the viola’s opening melody; this rises to a climax marked Maestoso before closing over flautato mutterings from viola and second violin. The Moderato begins with a lilting dance in 9/8, followed by a lyric violin duet. The climax of this movement is a stunner: the music comes to a stop, then the first violin rips out a stabbing entrance on its highest E—marked appassionato, this is an explosive variation of the preceding duet tune. The concluding Allegro, a rondo, gets off to a good-natured start with a theme that sounds as if it might have folk origins (actually it was Janáček’s own). Once again, there are frequent mood and tempo changes, and—driven by furious trills and mordants—the music drives to its impassioned close. The 74-year-old Janáček was very pleased with this music. To Kamila, he wrote that it was “like a piece of living flesh. I don’t think I ever shall be able to write anything deeper or more truthful.” Six months later, the creator of this passionate music was dead.

Piano Quintet in F Minor

CÉSAR FRANCK Born December 10, 1822, Liege Died November 8, 1890, Paris Composed: 1880 Approximate Duration: 37 minutes

Few works in the chamber music literature have produced so violent a reaction at their premières as the Piano Quintet of César Franck. Franck, then 57 and a professor of organ at the Paris Conservatory, had written no chamber music for over 25 years when the Piano Quintet burst to life before an unsuspecting audience in Paris on January 17, 1880. Few in that audience expected music so explosive from a man known as the gentle composer of church music. Franck’s students were wildly enthusiastic, and a later performance is reported to have left the audience stunned 858.459.3728 • LJMS.ORG | 69

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into silence, some of them weeping openly. But the acclaim was not universal. Franck had intended to dedicate this music to Camille Saint-Saëns, the pianist at the première, but when he approached Saint-Saëns after the performance to offer him the personally-inscribed manuscript, SaintSaëns is reported to have made a face, thrown the manuscript on the piano, and walked away. Franck’s wife hated the Quintet and refused to attend performances. There appear to have been non-musical reasons for these reactions. Four years earlier, a twenty-year-old woman named Augusta Holmès had begun to study composition with Franck. Holmès moved easily in the musical and literary circles of Paris. A striking figure, she attracted the attention and admiration of most of the leading musical figures of the late eighteenth-century, including Rossini, Wagner, Liszt, Rimsky-Korsakov, and many others. SaintSaëns, whose proposal of marriage she rejected, confessed that “We were all in love with her.” Holmès (she added the accent to the family name) composed on a grand scale: among her works are four operas (she wrote the librettos for all her operas), symphonies, symphonic poems, choral music, and songs. The details of the relationship between Holmès and her teacher remain unclear. She was strongly attracted to Franck, and he confessed that his student “arouses in me the most unspiritual desires.” The première of Franck’s Piano Quintet apparently brought matters to a head. The general feeling was that the mild-mannered Franck had made clear his love for Augusta in this music, and both his wife and Saint-Saëns knew it. For those interested, the relationship between Franck and Holmès is the subject of a 1978 novel by Ronald Harwood titled César and Augusta. Despite the tensions at its première, Franck’s Quintet has come to be regarded as one of the great piano quintets, along with those of Schumann, Brahms, Dvořák, and Shostakovich. Everyone instantly recognizes its power—this is big music, full of bold gestures, color, and sweep. Franz Liszt, one of Franck’s greatest admirers, wondered whether the Quintet was truly chamber music and suggested that it might be better heard in a version for orchestra. Franck’s first instruction, dramatico, sets the tone for the entire work, and Liszt was quite right to wonder whether this is truly chamber music: Franck asks for massed unison passages, fortississimo dynamic levels, tremolos, and a volume of sound previously unknown in chamber music. Beyond the purely emotional and sonic impact, however, this music is notable for its concentration: the Piano Quintet is one of the finest examples of Franck’s cyclic treatment of themes, an idea he had taken from Liszt—virtually the entire quintet grows out

of theme-shapes presented in the first movement. The opening of the first movement is impressive, as Franck alternates intense passages for strings with quiet, lyrical interludes for piano. Gradually these voices merge and rush ahead at the violent Allegro, which listeners will recognize as a variant of the violin’s figure at the very beginning. This and other theme-shapes will be stretched, varied, and made to yield a variety of moods. At the end of the movement, the music dies away on Franck’s marking estinto: “extinct.” The slow movement begins with steady piano chords, and over these the first violin plays what seem at first melodic fragments. But these too have evolved from the opening of the first movement, and soon they combine to form the movement’s main theme. Again the music rises to a massive climax, then subsides to end quietly. Out of that quiet, the concluding movement springs to life. Franck specifies con fuoco—with fire—and the very beginning feels unsettled and nervous, with the violins pulsing ahead. The main theme, when it finally arrives, has grown out of material presented in the second movement; now Franck gives it to the four strings, and their repetitions grow in power until the theme is hammered out violently. An extremely dramatic coda drives to the brutally abrupt cadence.

70 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

Inon Barnatan

Steven Schick

David Byrd-Marrow

Paul Watkins

PRELUDE · 6:30 PM THE BAKER-BAUM CONCERT HALL Interview with Tamar Muskal and Daniel Rozin hosted by Steven Schick This concert will also be live streamed NO INTERMISSION

Facing the Automaton by Tamar Muskal is part of the Synergy Initiative, produced by Inon Barnatan & Clara Wu Tsai. The Synergy Initiative is underwritten by:

Clara Wu Tsai

GRAND DUOS Thursday, August 19, 2021 · 7:30 PM THE BAKER-BAUM CONCERT HALL MOZART

Grande Sestetto Concertante in E-flat Major (after K.364) Allegro maestoso Andante Presto Anthony Marwood, Geoff Nuttall, violins; Tien-Hsin Cindy Wu, Ori Kam, violas; Oliver Herbert, Joshua Roman, cellos TAMAR MUSKAL Facing the Automaton (2021) WORLD PREMIÈRE (b. 1956) Steven Schick, percussion; Joseph Morris, clarinet, Brad Balliett, bassoon; David Byrd-Marrow, horn; Tereza Stanislav, Justin DeFilippis, violin; Jonathan Moerschel, viola; Joshua Roman, cello; David Grossman, double bass; Chelsea de Souza, piano Commissioned by La Jolla Music Society for SummerFest CHAUSSON Concerto for Violin, Piano, and String Quartet, Opus 21 (1855-1899) Decidé; Animé Sicilienne: Pas vite Grave Très animé James Ehnes, violin; Inon Barnatan, piano; Geoff Nuttall, Tien-Hsin Cindy Wu, violins; Ori Kam, viola; Paul Watkins, cello (1756-1791)

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Program Notes by Eric Bromberger, except where indicated.

Grande Sestetto Concertante in E-flat Major (after K.364)

WOLFGANG AMADEUS MOZART WOLFGANG AMADEUS MOZART Born January 27, 1756, Salzburg Died December 5, 1791, Vienna Composed: 1779 Approximate Duration: 28 minutes

Here is familiar and much-loved wine, served up in a new bottle. Mozart composed his Sinfonia Concertante for Violin and Viola in E-flat Major in the autumn of 1779, when the 23-year-old composer was in his final years of service to the Archbishop of Salzburg. The music was performed and admired as one of Mozart’s finest works for solo instruments and orchestra, but he did not publish it—the score remained in manuscript at the time of his death. The Sinfonia Concertante was finally published in 1802, eleven years after Mozart’s death, and immediately it appeared in arrangements for various chamber ensembles. In 1808 someone (their identity remains unknown) arranged the Sinfonia Concertante for string sextet: two violins, two violas, and two cellos (or one cello and one double bass). Two centuries later, in 2006, Christopher Hogwood edited and published a new version of that arrangement. The original arranger faced a particular problem: the Sinfonia Concertante features distinctive solo writing for violin and viola, but a sextet is chamber music, which implies the participation of six equal performers. This arrangement solves that problem in ingenious ways. Mozart’s solo writing is now distributed among the six performers, all of whom have a chance to shine. The solo violin part is now shared by the two violinists, the solo viola part is shared by the first violist and first cellist, and there are similar distributions of the solo parts throughout. The Grande Sestetto Concertante, as this version was called, is a pleasing piece of chamber music, and the arrangement for string sextet gives the music a nice richness of sound. The opening Allegro maestoso is well-named, for this truly is majestic music, and it unfolds with sovereign ease. A long introduction leads to the masterful entrance of the soloists, parts that are taken here by different members of the sextet. This long opening movement is based on six different themes. There is a particular quality to this music that is almost impossible to define—the mood may be relaxed, but throughout this movement one feels the breadth, ease, and strength of Mozart’s musical imagination at its most powerful.

Great as the first movement is, it finds its equal in the Andante, which shifts to C minor. It opens with a dark, almost grieving main idea, and the development of this yearning, lamenting music is one of the glories of Mozart’s music. Among the most impressive things is this music’s rhythmic imagination: there are turns, trills, dotted rhythms, and decorations in nearly every measure. The concluding rondo-finale, marked Presto, zips along happily, powered by the trills that decorate its main theme. This is the most brilliant of the movements, with the interplay between the instruments particularly crisp. There is no cadenza, but each instrument gets the chance to say farewell just before the close of this noble music.

Facing the Automaton

TAMAR MUSKAL Born June 20, 1965, Jerusalem Composed: 2021 Approximate Duration: 12 minutes

This is Tamar Muskal’s second collaboration with artist Daniel Rozin. In the core of their shared interest is the investigation of sound and visual. In this collaboration Muskal has composed a percussion concerto for soloist Steven Schick, a kinetic sculpture by Rozin—Wooden Mirror—and ensemble. Harnessing the mirror’s ability to interact with the performer and produce percussive sounds while creating complex visuals, Muskal uses the sculpture as an instrument, as well as an autonomous player (hence the term automaton in the title). The piece comprises three movements: The first movement is a traditional percussion concerto utilizing a wide gamut of orchestral percussion instruments in conversation with the ensemble. The second movement introduces the Wooden Mirror, first as a kinetic interactive sculpture and progressively as a sound producing rhythmic instrument. The third movement integrates the Wooden Mirror as an autonomous instrument that joins the ensemble in complex conversations. The first step in creating the piece involved Rozin programming the Wooden Mirror to respond interactively to a performer in different artistic ways (for the second movement). This first step informed Muskal’s experimentation with the mirror exploring different visual and rhythmical possibilities. Once ample materials were discovered, Muskal completed the first movement and started work on the third movement where the Wooden Mirror is fully composed. At times, the mirror’s part led to musical ideas and at others, the musical ideas led to the mirror’s part. Once completing this movement, Tamar

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suggested guidelines for Schick’s improvised interaction with the mirror. Schick’s interaction with the mirror involves his entire body and is an intimate conversation that does not include the ensemble. Throughout the piece, the audience’s attention drifts between concentrating on the undulating visual patterns of the Wooden Mirror and then finding themselves focused on the sounds and rhythms it produces. This duality is in the essence of the piece and is the motivator of both Muskal and Rozin’s interest in this combined media. —Tamar Muskal

Concerto for Violin, Piano, and String Quartet, Opus 21

ERNEST CHAUSSON Born January 20, 1855, Paris Died June 10, 1899, Limay, France Composed: 1889-91 Approximate Duration: 41 minutes

Ernest Chausson is one of the most painful examples of what-might-have-been in the history of music. Born into a wealthy and educated family, Chausson came to music indirectly. He was an accomplished painter and art collector, but his parents wanted him to do something “sensible,” so he took degrees in law and was admitted to the bar in Paris at age 22. But he never practiced, choosing instead to pursue a career in music. Chausson studied with César Franck and tried to develop a personal style as a composer. This proved a difficult task, Chausson found himself caught between the chromaticism of Franck, the seductive influence of Wagner, and the radical music of his friend Debussy. He wrote a handful of pieces that have found their way into the repertory—the Poème for violin and orchestra and the Chanson perpetuelle for soprano—but the promise of these pieces was cut short. In the summer of 1899, Chausson and his family took a vacation house in Limay, about twenty miles northwest of Paris. His wife and five children were returning from a day trip to Paris, and Chausson got on a bicycle to meet them at the station. Along the way, he lost control of the bicycle, was thrown headfirst into a stone wall, and—in those days before bicycle helmets—was killed instantly. He was 44 years old. Ten years earlier, in 1889, Chausson began work on a unique piece of chamber music, scored for violin, piano, and string quartet. The composer gave it an unusual name—Concerto for Violin, Piano, and String Quartet (that title is sometimes listed as Concert rather than Concerto). The uncertainty about its name may be a key to this music,

for it sometimes seems like a hybrid composition. At moments, it is true chamber music—the six instruments play together, and their music has the intimacy and interchange we expect of the medium. There are, however, extended periods when the string quartet drops out altogether and the two “solo” instruments play by themselves. And there are also moments when the quartet makes so huge a sound, full of massed chords and tremolos, that it takes on the sonority and character of an orchestra and the music seems to become a true concerto. But if there are confusions about its exact nature, there is no doubt about the power of this music, which is often full of those tantalizing, ineffable moments that characterize Chausson’s finest work. This is music of generous proportions—and it is grounded in the cyclic form Chausson had learned from Franck: its themes reappear in different forms in later movements. At the beginning of the first movement, the piano announces—very firmly—the three-note cell that will shape much of that movement. This extended movement alternates interludes of melting sensuousness with fullthroated outbursts from the combined forces. A cadenzalike flourish from the solo violin leads to a dramatic recapitulation and a very quiet close on the opening three-note cell. The wistful second movement is a Sicilienne that rocks gently along the swaying rhythm characteristic of that old Mediterranean dance; in the course of the movement, Chausson combines its two main themes. Darkest of the movements, the Grave opens with a long duet for the solo violin and piano. The violin sings its expressive song over the chromatic wandering of the piano, and it is typical of Chausson that this piano part should be marked both pianissimo and très lié: “very heavy.” The quartet enters quietly, but rising tensions drive the music to a huge climax built on great waves of sound. These furies subside, and the piano part from the very beginning, wandering disconsolately once again, draws the movement to its rapt conclusion. Aptly marked Très animé, the finale leaps to life in a rush of rhythmic energy that will drive the entire movement. Along the way, Chausson brings back the fundamental theme-shape of the first movement as well as the main theme of the Grave, and there are once again extended passages for the two solo instruments. Chausson worked on the Concerto for two years before completing it in 1891. The soloists on the première in 1892 were Eugène Ysaÿe and Auguste Pierret. Ysaÿe and Chausson were good friends, and it was for him that Chausson would later write his famous Poème. 858.459.3728 • LJMS.ORG | 73

Juho Pohjonen

Catherine Ransom Karoly

PRELUDE · 6:30 PM THE BAKER-BAUM CONCERT HALL Trio Syzygy performs Beethoven’s Piano Trio in E-Flat Major, Opus 70, No. 2

Anthony Marwood

SUMMERFEST FINALE: A LOVE COMPOSED Friday, August 20, 2021 · 7:30 PM THE BAKER-BAUM CONCERT HALL

This concert will also be live streamed Support for this Prelude is provided by:

Gordon Brodfuehrer

SCHUMANN (1810-1856)

WAGNER

(1813-1883)

Andante and Variations for Two Pianos, Two Cellos, and Horn Juho Pohjonen, Inon Barnatan, pianos; Joshua Roman, Oliver Herbert, cellos; David Byrd-Marrow, horn Siegfried Idyll Geoff Nuttall, Angela Jiye Bae, violins; Benjamin Zannoni, viola; Russell Houston, cello; David Grossman, bass; Catherine Ransom Karoly, flute; Nathan Hughes, oboe; Joseph Morris, Jay Shankar, clarinets; Brad Balliett, bassoon; David Byrd-Marrow, Dylan Hart, horns; Eduardo Ruiz, trumpet INTERMISSION

SCHUMANN BRAHMS

Elegy (arr. Britten) Livia Sohn, violin; Geoff Nuttall, Byungchan Lee, Anthony Marwood, Justin DeFilippis, violins; Ori Kam, Benjamin Zannoni, violas; Alisa Weilerstein, Eunghee Cho, cellos; David Grossman, bass La Jolla Music Society’s 52nd Season is supported by The Conrad Prebys Foundation, The City of San Diego Commission Sextet for Strings in G Major, Opus 36 for Arts and Culture, Banc of California, The Lodge at Torrey Pines, (1833-1897) Allegro non troppo ProtoStar Foundation, Vail Memorial Fund, ResMed Foundation, Scherzo: Allegro non troppo Bright Events Rentals, Ace Parking, Brenda Baker and Steve Baum, Adagio Raffaella and John Belanich, Joan and Irwin Jacobs, Joy Frieman, Poco Allegro Debra Turner, Ric and Eleanor Charlton, Jeanette Stevens, Gordon Brodfuehrer, Judith Bachner and Eric Lasley, Anthony Marwood, James Ehnes, violins; Ori Kam, Tien-Hsin Cindy Wu, violas; and RESERVATIONS, an anonymous donor. PLEASE FOR EXT. 206Oliver OR EMAIL CALL 858.459.3724 Paul Watkins, Herbert,RSOLTAN@LJMS.ORG cellos

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SUMMERFEST FINALE: A LOVE COMPOSED —PROGRAM NOTES

Program Notes by Eric Bromberger

Andante and Variations for Two Pianos, Two Cellos, and Horn

ROBERT SCHUMANN Born June 8, 1810, Zwickau, Germany Died July 29, 1856, Endenich, Germany Composed: 1843 Approximate Duration: 19 minutes

This unusual piece is almost unknown to audiences. Schumann himself abandoned it, and the music exists today only because it had one very passionate—and famous—admirer. In 1842 Schumann turned to chamber music. He was most naturally a composer of piano music and of songs, and he felt threatened by the whole prospect of chamber music—Schumann did not play a stringed instrument, and he knew how formidable the competition was. He spent the spring studying quartets by Haydn, Mozart, and Beethoven and then—in a great rush of energy—composed three string quartets that summer. The Piano Quintet quickly followed in October, and Schumann kept going: after “constant fearful sleepless nights,” he completed the Piano Quartet in November. And still he continued to write chamber music. A Piano Trio in A Minor was finished in December, and in January 1843 he wrote the Andante and Variations for Two Pianos, Horn, and Two Cellos. But now Schumann began to have doubts about his work. He was dissatisfied with the last two works and held them back. Seven years later he would recast the trio as the Phantasiestücke, Opus 88, but—on the recommendation of Felix Mendelssohn—Schumann quickly revised the Andante and Variations, recasting it for two pianos, and in this form it was published as his Opus 46 in August 1843. The manuscript of the original version went onto the shelf, and there it might remain to this day but for one man. Johannes Brahms, who as a youth of twenty had been championed by Schumann, knew and loved this music in its original form. In 1893—half a century after it was composed—Brahms convinced Schumann’s widow Clara to allow him to edit and publish the original version. Brahms particularly liked the unusual combination of colors in Schumann’s original, and it is only because of his passion for this version that we are able to hear the work on this concert. (And do we hear some of Brahms’ love for this music’s combination of string, piano, and horn sonorities in his own Horn Trio of 1865?) The music itself consists of a gentle theme, marked Andante espressivo, and a set of variations on it. Even in Schumann’s original version, the two pianos have most of the musical interest, and the cellos and horn are used

primarily for color and harmonic underpinning. When Schumann revised the work for two pianos, he shortened it considerably, cutting out some of the episodes that feature the other three instruments more prominently. A misty introduction by the cellos and horn leads to the presentation of the theme, which the two pianos take turns introducing. As noted, the pianists have most of the responsibility for the variations, with the other three instruments contributing occasional swirls of sound and color to their texture. In the course of the variations Schumann quotes the music of the first song, “Seit ich ihn gesehen,” from his cycle Frauenliebe und -leben, which he had composed three years earlier. The song speaks of the first rush of a young woman’s love for the man she will eventually marry, and here that theme contributes to the romantic ardor of Schumann’s variations. One of the most effective variations comes near the end, when Schumann writes a brusque march-like episode (despite the triple meter) that proceeds tautly along its way; this was, unfortunately, one of the variations he would cut from the two-piano version. At the end, quiet chains of sixteenthnotes from the two pianos draw this little-known music to its subdued close.

Siegfried Idyll

RICHARD WAGNER Born May 22, 1813, Leipzig Died February 13, 1883, Venice Composed: 1870 Approximate Duration: 20 minutes

An understanding of Wagner’s lovely Siegried Idyll requires some knowledge of the details of that composer’s irregular personal life. In 1864, at the age of 51, Wagner began an affair with 27-year-old Cosima von Bülow, daughter of Franz Liszt and wife of pianist-conductor Hans von Bülow. Wagner and Cosima’s daughter Isolde was born the following April, on the same day von Bülow conducted the first rehearsal of Tristan und Isolde. All concerned agreed to keep details of the situation a secret, and the infant’s birth certificate listed von Bülow as the father, Wagner as the godfather. Cosima bore Wagner two more children, a daughter Eva in 1867 and a son Siegfried in 1869, and moved in with him in 1868. Finally, in 1870—after a six-year relationship and three children—the couple was married. That fall, Cosima became aware that Wagner was working on a project he would not describe to her, and for good reason—it was to be one of the best surprises in the history of music. On Christmas morning, Cosima—asleep with eighteen-month-old Siegfried—awoke to the sound of 858.459.3728 • LJMS.ORG | 75

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music. Her husband had secretly composed and rehearsed a piece for small orchestra, and now that orchestra— arranged on the staircase leading to Cosima’s bedroom— gave this music its most unusual première. This music was not just a token of love and a Christmas present, but also a birthday present—Cosima had turned 33 a few weeks earlier. She treasured this music, which is full of private meanings for the couple: it is based on themes from Wagner’s (as yet unperformed) opera Siegfried, but it also uses a child’s cradlesong and other themes with personal meaning for Wagner and Cosima. Their private title for the piece was Tribschen Idyll: they were living at Tribschen on Lake Lucerne in Switzerland at the time, and Cosima felt that the music was an embodiment of their life and love in these years. When in 1878, pressed for cash, Wagner had the music published (under the now-familiar title Siegfried Idyll), Cosima confessed in her diary: “My secret treasure is becoming common property; may the joy it will give mankind be commensurate with the sacrifice I am making.” As good love music should be, Siegfried Idyll is gentle, warm, and melodic. Listeners familiar with the opera Siegfried will recognize some of the themes, all associated with the young hero Siegfried: his horn call, the bird call from the Forest Murmurs sequence, and others. Wagner also quotes, in the oboe near the beginning, the old cradlesong “Sleep, Little Child, Sleep.” At its première, this music was performed on Cosima’s staircase by an orchestra of fifteen players, though the double bass was around a corner and could not see Wagner conduct. At this concert, Siegfried Idyll is performed not in its familiar version for full orchestra but in Wagner’s original scoring for an orchestra of thirteen performers.

Elegy (arr. Britten)

ROBERT SCHUMANN Composed: 1853 Approximate Duration: 5 minutes

On September 1, 1957, the great horn-player Dennis Brain was killed in an automobile accident while driving from the Edinburgh Festival to London. His good friend Benjamin Britten, who had written his Serenade in 1943 specifically for Brain, felt the loss keenly and set out to create a memorial piece. He turned to an almost unknown work, the Violin Concerto of Robert Schumann, and made an arrangement of its slow movement for string orchestra. This was apparently performed at the Aldeburgh Festival in 1958, and then it vanished for half a century. Steven Isserlis

discovered the manuscript among Britten’s papers, and this music–titled Elegy–is now finding an audience over sixty years after Britten made the arrangement. Schumann composed Violin Concerto in 1853, but it was not published during his lifetime, and in fact it was not given its official public première until 1937. Schumann’s performance marking for the slow movement is ausdruckvoll (“expressive”), and this music alternates a syncopated opening idea from the cellos with the solo violin’s singing response. It was an easy enough matter for Britten to arrange the movement for string orchestra (Schumann’s original scoring was for strings, plus pairs of horns and bassoons), though Britten did have to create a new ending, for in Schumann’s concerto this movement accelerated directly into the fast finale. This is lovely music, and in Britten’s orchestration it forms an affectionate remembrance of one great musician from another.

Sextet for Strings in G Major, Opus 36

JOHANNES BRAHMS Born May 7, 1833, Hamburg Died April 3, 1897, Vienna Composed: 1864—65 Approximate Duration: 36 minutes

The Sextet in G Major is almost unique among Brahms’ works because it offers one of the most explicit emotional statements ever made by this normally-reticent composer. Brahms died a confirmed bachelor, but he fell in love with women throughout his life, and he went so far as to become engaged to one of these. She was Agathe von Siebold, the vivacious daughter of a professor at the University of Göttingen. Brahms and Agathe were engaged in 1858, when he was 25, and the couple spent several blissful months until the composer, convinced that he could never be happy if bound by marriage, broke it off, firmly and abruptly. The two never saw each other again. The rupture was painful for both, and they responded in different ways. In her account of her life, published as a novel many years later, Agathe as an old woman finally came to terms with his decision: [Brahms] strode by on his path to fame, and as he, like every genius, belonged to humanity, she gradually learned to appreciate his wisdom in severing the bonds which had threatened to shackle him. She saw clearly at last that she could never have filled his life with her great love.

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SUMMERFEST FINALE: A LOVE COMPOSED —PROGRAM NOTES

Brahms looked back with sharply-mixed feelings—relief, regret, guilt, pain, nostalgia—and several years later he did something quite rare for him: he made an overt expression of his emotions in his own music. In the first movement of the Sextet in G Major, composed during the summers of 1864 and 1865, Brahms included a musical motif based on the letters of Agathe’s name. The sequence of notes A - G - A - H - E (H is B in German musical notation) occurs several times, and Brahms made its significance clear when he said to a friend: “Here I have freed myself from my last love.” The Sextet should not be understood simply as a tribute to a woman the composer had loved, or (as some have suggested) as the composer’s farewell to the possibilities of love, but this warm and gentle (and sometimes complex) music is suffused with a depth of feeling. The first measures of the Allegro non troppo establish its mood of calm but unsettled beauty. The music opens with the hypnotic murmuring of the first viola, and quickly the first violin offers the main theme, a gently-singing idea that glides easily between G major and E-flat major as it rises and falls. That quietly-oscillating accompaniment and subtle handling of tonality will both be central to this music. The wonderful second subject—music full of sunlight and health—leads to the “Agathe” motif just before the start of the development. There is something plaintive about that figure here, as if it is what Brahms called (in another work) Rückblick: a “glance backward.” Brahms titles the second movement Scherzo, but this is a very unusual scherzo. It is in duple rather than the expected triple meter, and the pace is not fast—Allegro non troppo. Brahms had written its main theme—decorated continuously with mordents—as part of a piano piece a decade earlier. The measured pace of this “scherzo” is blasted aside at the trio section, which goes into 3/4 and leaps ahead at a blistering pace. Presto giocoso (“fast, merry”), says Brahms, and this unbuttoned and rollicking episode has more than a whiff of gypsy music about it. The Adagio is in theme-and-variation form. The theme itself—marked molto espressivo—is slow, though its multilayered accompaniment is rhythmically complex and full of chromatic tension. Brahms, who was fascinated by variation form throughout his life, had just completed his Paganini Variations before writing this Sextet, and some of the complexity of that set can be felt in the five variations here, though eventually this movement reaches a conclusion full of radiant calm. By contrast, the good-natured Poco Allegro swings easily along its main theme in 9/8, heard immediately after the bustling rush of the introduction. This finale is in sonata form, and Brahms opens the development by treating that introductory material fugally.

The rapid chatter of those steady sixteenths is heard throughout, and finally that energetic pulse rushes the movement to its spirited close on a coda marked Animato. Is the Sextet in G Major an autobiographical composition, one that “tells” the story of this moment in its creator’s life? Absolutely not, and Brahms would have been the first to insist that it be heard as abstract music. But this music’s flickering between light and dark, its sharp mixture of energy and plaintiveness, and its motivic remembrance of vanished love should alert us that the Sextet in G Major had special, if very private, meaning for its young composer.

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ARTIST BIOGRAPHIES Attacca Quartet

Attacca Quartet is one of the most versatile and outstanding ensembles of the moment – a quartet for modern times. Passionate advocates of contemporary repertoire, the quartet is dedicated to performing new works. Their latest recording project, Orange, featuring string quartets by Pulitzer-prize winning composer Caroline Shaw, won the 2020 GRAMMY® for Best Chamber Music/ Small Ensemble Performance.

Brad Balliett, bassoon

New York Citybased musician Brad Balliett is in high demand as a composer, bassoonist, and teaching artist. A native of Massachusetts, Balliett grew up playing a variety of instruments through the public school program in Westborough, and began composing as soon as he started playing. His longest-standing collaboration is with his twin brother, Doug, with whom he frequently performs, composes, and teaches.

Washington Performing Arts Society Prize. Born in Istanbul, Turkey, Baltacigil received his Artist Diploma and the Jacqueline DuPré Scholarship from The Curtis Institute of Music in Philadelphia.

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.

Eric Bromberger, lecturer

Benjamin Beilman, violin

David Byrd-Marrow, horn

Benjamin Beilman has won praise both for his passionate performances and deep rich tone which the Washington Post called “mightily impressive,” and The Balourdet String Quartet New York Times described as “muscular with The Balourdet a glint of violence.” The Times has also String Quartet was praised his “handsome technique, formed in 2018 at burnished sound, and quiet confidence,” Rice University in and the Strad described his playing as “pure Houston, Texas. In October of 2019, poetry.” Beilman came to worldwide attention following his First Prize wins in the quartet received the second prize at the 2010 Young Concert Artists the Carl Nielsen International Chamber International Auditions – where he was Music Competition. They will enter the New England Conservatory as the resident also recipient of a People’s Choice Award quartet of the Professional Quartet Program – and the 2010 Montréal International this fall, where they will work with Paul Katz Musical Competition. and other members of the string faculty.

Efe Baltacigil, cello

The Philadelphia Inquirer called cellist Efe Baltacıgil “a highly individualized solo artist” with ”gorgeous sound, strong personality, and expressive depth.” Baltacigil won the 2005 Young Concert Artists International Auditions and was awarded the

performing with the Civic Orchestra of Chicago, the training orchestra for the Chicago Symphony Orchestra, and also performed with the New World Symphony and the Chicago Symphony Orchestra’s contemporary ensemble, MusicNOW. Eric Bromberger has been program annotator for the La Jolla Music Society since 1983, and he also writes program notes for the Minnesota Orchestra, Santa Fe Chamber Music Festival, San Francisco Performances, Washington Performing Arts Society, University of Chicago Presents, San Diego Symphony, and others. He lectures frequently for the Los Angeles Philharmonic’s Upbeat Live series at Disney Hall. Atlanta native David Byrd-Marrow is the solo hornist of the International Contemporary Ensemble (ICE), a new music collective that performs internationally and serves as ensemble-inresidence at Lincoln Center’s Mostly Mozart Festival. He frequently performs at festivals including the Ojai Music Festival, the Tanglewood Music Center, and as faculty at the Banff Music Centre.

Calder Quartet

Hailed as “Superb” and “imaginative, skillful creators” by The New York Times, the Calder Quartet Ethan Bensdorf, trumpet captivates audiences Ethan Bensdorf by exploring a broad spectrum of joined the New York repertoire. Winners of the prestigious 2014 Philharmonic’s Avery Fisher Career Grant, they are widely trumpet section in known for the discovery, commissioning, June 2008. He recording and mentoring of some of received his today’s best emerging composers. Bachelor of Music degree from Northwestern University in 2007, where he studied with Barbara Butler, Charles Geyer, and Christopher Martin. While a student at Northwestern, Bensdorf spent two years

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ARTIST BIOGRAPHIES Calidore Quartet

The Calidore String Quartet has been praised by the New York Times for its “deep reserves of virtuosity and irrepressible dramatic instinct.” Recipient of a 2018 Avery Fisher Career Grant, and the 2017 Lincoln Center Emerging Artist Award, the Calidore first made international headlines as winner of the $100,000 Grand-Prize of the 2016 M-Prize International Chamber Music Competition. The quartet was also the first North American ensemble to win the Borletti-Buitoni Trust Fellowship.

Jay Campbell, cello

Cellist Jay Campbell has been praised by The New York Times for his “electrifying performances.” Campbell holds the distinction of being the only artist ever to receive two Avery Fisher Career Grants —as a soloist and again as a member of the JACK Quartet. In the 2019/20 season Campbell served as co-curator of the Los Angeles Philharmonic’s Green Umbrella series opener with composer John Adams.

Jennifer Johnson Cano, voice

A naturally gifted singer noted for her commanding stage presence and profound artistry, Jennifer Johnson Cano has garnered critical acclaim for committed performances of both new and standard repertoire. For her performance as Offred in Poul Ruders’s The Handmaid’s Tale she was lauded as a “tour de force” by The Boston Globe. With more than 100 performances on the stage at The Metropolitan Opera, her most recent roles have included Nicklausse, Emilia, Hansel and Meg Page.

Timothy Cobb, bass

Eric Derr, percussion

Eunghee Cho, cello

Aaron Diehl Trio

Diana Cohen, violin

Dustin Donahue, percussion

Bassist Timothy Cobb joined the New York Philharmonic as Principal Bass in May 2014, after serving as principal bass of The Metropolitan Opera Orchestra, and principal bass of the Mostly Mozart Festival Orchestra since 1989. A native of Albany, New York, Cobb graduated from The Curtis Institute of Music, where he studied with Roger Scott. While at Curtis, Cobb was a substitute with The Philadelphia Orchestra and in his senior year became a member of the Chicago Symphony Orchestra under Georg Solti. Born in Davis, California, KoreanAmerican cellist Eunghee Cho graduated magna cum laude and as a Steven & Kathryn Sample Renaissance Scholar from the Thornton School of Music at the University of Southern California with a Bachelor of Music in Cello Performance and a Minor in Biology. Following his completion of a Masters degree at New England Conservatory he is currently enrolled in the conservatory’s Doctor of Musical Arts Program under the tutelage of distinguished pedagogue Laurence Lesser. Praised for her “incredible flair, maturity and insight,” violinist Diana Cohen leads a multi-faceted career as a concertmaster, chamber musician, soloist, and arts administrator. Appointed concertmaster of the Calgary Philharmonic Orchestra in 2012, she previously served as concertmaster of the Richmond Symphony Orchestra and Kalamazoo Symphony Orchestra while maintaining an active freelance career in New York City.

Eric Derr is committed to commissioning and presenting new, vibrant, sustainable works for percussion as well as revisiting classic pieces with focus and intensity. Derr is a member of Red Fish Blue Fish, the International Contemporary Ensemble, and has performed with innovative Ensemble Dal Niente since 2007, with highlight performances at the Library of Congress and a Residency at Harvard University. Eric holds a DMA in Contemporary Percussion Performance from UC San Diego, where he studied closely with Steven Schick. Pianist and composer Aaron Diehl transforms the piano into an orchestral vessel in the spirit of beloved predecessors Ahmad Jamal, Erroll Garner and Jelly Roll Morton. Diehl is the American Pianist Association’s 2011 Cole Porter fellow. Bassist David Wong graduated from the Juilliard School in classical music in 2004 and has studied with Orin O’Brien, Ron Carter, Ben Wolfe, and John Clayton. Drummer Aaron Kimmel holds a bachelor of music degree from The Juilliard School, where he studied with Kenny Washington and Billy Drummond. As an advocate for contemporary music, percussionist Dustin Donahue has commissioned and premiered a large body of solo and chamber music by living composers while continuing to perform music of the twentieth-century avantgarde. He frequently performs with New York’s International Contemporary Ensemble and collaborates with many of southern California’s presenters of contemporary music.

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ARTIST BIOGRAPHIES James Ehnes, violin

James Ehnes has established himself as one of the most sought-after violinists on the international stage. Gifted with a rare combination of stunning virtuosity, serene lyricism and an unfaltering musicality, Ehnes is a favorite guest of many of the world’s most respected conductors. Ehnes began violin studies at the age of four, became a protégé of the noted Canadian violinist Francis Chaplin aged nine, made his orchestral debut with Orchestre Symphonique de Montréal aged 13 and graduated from The Juilliard School in 1997, winning the Peter Mennin Prize for Outstanding Achievement and Leadership in Music.

Doug Fitch, designer & director

Doug Fitch was born in 1959 in Philadelphia and graduated magna cum laude with a degree in visual studies from Harvard University. The creative life of Fitch began as part of his family’s touring puppet theater. Later, while studying visual arts at Harvard University, he collaborated with director Peter Sellars, including on a production of Wagner’s Der Ring des Nibelungen. Fitch also worked on Robert Wilson’s Civil Wars at the American Repertory Theatre and, in England, with the late Jim Henson of The Muppets.

Xavier Foley, double bass

Xavier Foley is known for communicating his virtuosity on the double bass, which is rarely presented as a solo instrument. Foley is a winner of a prestigious 2018 Avery Fisher Career Grant. As a composer, Foley has been co-commissioned by Carnegie Hall and the Sphinx Organization for a new work entitled For Justice and Peace for Violin, Bass, and String Orchestra, which will be performed this season as part of a program promoting social justice.

Gabriela Lena Frank, composer

Included in the Washington Post’s list of the 35 most significant women composers in history (August, 2017), identity has always been at the center of composer/pianist Gabriela Lena Frank’s music. Born in Berkeley, California, to a mother of mixed Peruvian/Chinese ancestry and a father of Lithuanian/Jewish descent, Frank explores her multicultural heritage most ardently through her compositions. Frank is something of a musical anthropologist. Having traveled extensively throughout South America, her pieces often reflect and refract her studies of Latin American folklore, incorporating poetry, mythology, and native musical styles into a western classical framework that is uniquely her own.

FLUX Quartet

The FLUX Quartet has performed to rave reviews in venues worldwide, including the Tate Modern with BBC Radio3, Kennedy Center, and international festivals. FLUX’s recent highlights include a live recording of string quartets by influential Japanese composer Toshi Ichiyanagi—including String Quartet No.5, commissioned by La Jolla Music Society and premiered by FLUX at SummerFest 2018. To support the next generation of composers, FLUX has been awarded grants from the American Composers Forum, Aaron Copland Fund, and Meet-The-Composer, among others.

of Lincoln Center and is a founding member of the Montrose Trio.

David Grossman, double bass

Double bassist and composer David Grossman enjoys a multi-faceted career in the realms of classical and jazz music. Born and educated in New York City, he joined the New York Philharmonic as its youngest member in Spring 2000. Grossman has been an ardent student of Orin O’Brien, with whom he now enjoys the pleasure of playing in the Philharmonic bass section. He is also a member of the double bass faculty of Manhattan School of Music.

Augustin Hadelich, violin

Augustin Hadelich has firmly established himself as one of the great violinists of today. Showcasing a wide-ranging and adventurous repertoire, he is consistently cited for his phenomenal technique, soulful approach, and beauty of tone. He has performed with every major orchestra in the U.S., as well as an evergrowing number of orchestras around the world. Hadelich is the winner of a 2016 GRAMMY® Award for his recording of Dutilleux’s Violin Concerto with the Seattle Symphony and Ludovic Morlot.

Dylan Hart, horn

Los Angeles native Dylan Hart is a busy freelance musician. Depending on the day, Hart can be Clive Greensmith, cello found recording Clive Greensmith French Horn music for video games, was a member of the world-renowned motion pictures, theme parks, cruise lines Tokyo String Quartet and television shows as well as performing a wide variety of musical genres including from 1999 until 2013, giving over one solo, chamber music, pop, jazz, hundred performances each year in the most contemporary, and orchestral. In 2013, prestigious international venues, including Hart won Honorable Mention in the Professional Division at the International New York’s Carnegie Hall, Sydney Opera Horn Competition of America. House, and Berlin Philharmonie. He is Professor of Cello at the Colburn School in Los Angeles. Greensmith performs regularly with the Chamber Music Society

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ARTIST BIOGRAPHIES Oliver Herbert, cello

The recipient of a 2021 Avery Fisher Career Grant, cellist Oliver Herbert is quickly building a reputation as an artist with a distinct voice and individual style. Performing a wide range of repertoire, Herbert’s recent solo and recital appearances include debuts with the San Francisco Symphony, Chicago Symphony Orchestra, Warsaw Philharmonic, Edmonton Symphony Orchestra, San Francisco Symphony SoundBox, Union College Concert Series, and the Dame Myra Hess Recital Series in Chicago, among others.

Paul Huang, violin

Recipient of the prestigious 2015 Avery Fisher Career Grant and the 2017 Lincoln Center Award for Emerging Artists, violinist Paul Huang is celebrated for his eloquent music making, distinctive sound, and effortless virtuosity. Huang is a proud recipient of the inaugural Kovner Fellowship at The Juilliard School, where he earned his Bachelor’s and Master’s degrees under Hyo Kang and I-Hao Lee.

Nathan Hughes, oboe

Nathan Hughes is Principal Oboe of the Metropolitan Opera and serves on the faculties of The Juilliard School, Rutgers University, and the Verbier Festival in Switzerland. Hughes regularly performs with the MET Chamber Ensemble at Carnegie Hall, and has collaborated with Yefim Bronfman, Jeremy Denk, and James Ehnes, among others. Hughes has earned degrees from The Juilliard School and the Cleveland Institute of Music, from which he was awarded the Alumni Achievement Award.

Robert John Hughes, lecturer

Robert John Hughes is a journalist, broadcaster, musician, author, and record producer. During his ownership at San Diego FM station, 102.1 KPRi, Hughes interviewed hundreds of musical artists including Sting, Adele, Don Henley & Glenn Frey (Eagles), Bonnie Raitt, B.B. King, Paul Simon, and Peter Gabriel. As a record producer and member of the GRAMMY® Academy, Hughes created the five disk KPRi Live Tracks CD series that offered over 130 live performances recorded in his home studio and at KPRi studios and events.

Jun Iwasaki, violin

Jun Iwasaki is the Concertmaster and Walter Buchanan Sharp Chair of the Nashville Symphony. He was appointed concertmaster of the Nashville Symphony by Music Director Giancarlo Guerrero at the beginning of the 2011-12 season. A graduate of the Cleveland Institute of Music’s prestigious Concertmaster Academy, he has been hailed for his combination of dazzling technique and lyrical musicianship.

Stefan Jackiw, violin

Stefan Jackiw is one of America’s foremost violinists, captivating audiences with playing that combines poetry and purity with an impeccable technique. Hailed for playing characterized by “uncommon musical substance” and that is “striking for its intelligence and sensitivity” (Boston Globe), Jackiw has appeared as soloist with the Boston, Chicago, Cleveland, New York, Philadelphia, and San Francisco symphony orchestras, among others.

Eric Jacobsen, conductor

Hailed by the New York Times as “an interpretive dynamo,” conductor and cellist Eric Jacobsen has built a reputation for engaging audiences with innovative and collaborative programming. He is the newly-named Music Director of the Virginia Symphony, becoming the 12th music director in the orchestra’s 100-year history. Jacobsen is Artistic Director and conductor of The Knights, and serves as the Music Director for the Orlando Philharmonic Orchestra. Jacobsen founded the adventurous orchestra The Knights with his brother, violinist Colin Jacobsen, to foster the intimacy and camaraderie of chamber music on the orchestral stage.

Ori Kam, viola

Violist Ori Kam made his debut at 16 with the Israel Philharmonic and has since performed with orchestras such as the National Symphony Orchestra and the Manhattan Philharmonia. As an avid performer of chamber music, Kam is the violist of the Jerusalem Quartet. Independently, he has appeared alongside Isaac Stern, Daniel Barenboim, and Itzhak Perlman, among others. He appears regularly in festivals including Verbier, Tanglewood, Aspen, and Jerusalem Chamber Music Festival.

Kings Return

Kings Return is a vocal band of brothers —Gabe Kunda, Vaughn Faison, J.E. McKissic & Jamall Williams. The Dallas, Texas based a cappella group formed unintentionally in 2016 after first singing together for Kunda’s college graduation recital. The popularity of Kings Return grew when they began posting videos to social media from the stairwell where they rehearse. Avoiding the confines of a single genre, their sound is proudly born out of gospel, jazz, R&B, and classical music.

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ARTIST BIOGRAPHIES Tessa Lark, violin

Violinist Tessa Lark, recipient of a 2018 BorlettiBuitoni Trust Fellowship and a 2016 Avery Fisher Career Grant, 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, Amsterdam’s Concertgebouw, and Marlboro Music.

Byungchan Lee, violin

Originally from Seoul, Korea, violinist Byungchan Lee garnered international attention as prize winner at the inaugural 2009 Yankelevich International Violin Competition. During his undergraduate studies at McGill University’s Schulich School of Music, he won the coveted $25,000 Golden Violin Award. He received his master’s degree from The Juilliard School where he was awarded a Benzaquen Career Advancement Grant for demonstrating artistry and achievement in leadership. Affectionately, he is known to his friends as ‘Chan.’

Rose Lombardo, flute

Rose Lombardo was appointed Principal Flute of the San Diego Symphony in 2011 at the age of 23. At the time, she was in her second year of graduate studies with Jim Walker at the Colburn School Conservatory of Music in Los Angeles and graduated with a Professional Studies Certificate. Previously, Lombardo earned a Bachelor of Music degree from The Juilliard School where she studied with Jeffrey Khaner.

Mary Lynch, oboe

Anthony Marwood, violin

Kelly Markgraf, voice

Anthony McGill, clarinet

Mary Lynch is currently principal oboist of the Seattle Symphony Orchestra, where she has performed frequently as soloist, including a collaboration with Itzhak Perlman. Lynch earned her BM and MM degrees at New England Conservatory and The Juilliard School. Upon graduating from Juilliard, she was awarded the prestigious William Schuman Prize for outstanding achievement and leadership in music. Bass-baritone Kelly Markgraf has been hailed by The New York Times for his “heartstirring” singing and “charismatic” stage presence. He has performed music from the Baroque to works composed expressly for him. In the summer of 2017, he created the role of Paul Jobs in Mason Bates’ premiere The (R)evolution of Steve Jobs at the Santa Fe Opera, which later received a 2019 GRAMMY® Award for Best Opera Recording.

Travis Maril, viola

Travis Maril is Coordinator of the string department at SDSU’s School of Music and Dance, CoDirector of SDSU’s new String Academy, and Undergraduate Advisor. Maril was a top prize winner at the Fischoff National Chamber Music Competition. His chamber music partners have included the concertmasters of the Cleveland Orchestra and LA Philharmonic, the Miro String Quartet and members of the Chamber Music Society of Lincoln Center.

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British violinist Anthony Marwood, appointed an MBE in the Queen’s 2018 New Year’s Honors List, is known worldwide as an artist of exceptional expressive force. His energetic and collaborative nature places him in great demand as soloist and director with chamber orchestras worldwide. He is Principal Artistic Partner of the celebrated Canadian chamber orchestra, Les Violons du Roy, a post he took up in 2015. Anthony McGill serves as the principal clarinet of the New York Philharmonic —that orchestra’s first African-American principal player. McGill is hailed for his “trademark brilliance, penetrating sound, and rich character” (The New York Times), as well as for his “exquisite combination of technical refinement and expressive radiance” (The Baltimore Sun). McGill also serves as an ardent advocate for helping music education reach underserved communities and for addressing issues of diversity, equity, and inclusion in classical music.

Jennifer Montone, horn

Jennifer Montone joined The Philadelphia Orchestra as principal horn in 2006, and is currently on the faculties of The Curtis Institute of Music and The Juilliard School. Monotone won an Avery Fisher Career Grant in 2006 and performs regularly at the Chamber Music Society of Lincoln Center, La Jolla SummerFest, and Santa Fe Chamber Music Festival. A native of northern Virginia, Montone was in the National Symphony Fellowship Program, where she studied with Edwin Thayer, and was a fellow of the Tanglewood Music Center.

ARTIST BIOGRAPHIES Joseph Morris, clarinet

Joseph Morris is the principal clarinet of the Pacific Symphony where he holds the Hanson Family Foundation Chair. As the first prize winner of the 42nd Ima Hogg Competition, Morris is the recipient of the 2017 Grace Woodson Memorial Award and has appeared as soloist with the Houston Symphony Orchestra.

Tamar Muskal, composer

Tamar Muskal studied composition and viola at the Jerusalem Academy for Dance and Music (Israel), Yale University, and CUNY. Recent commissions include a song cycle commissioned by ASCAP and work for percussionist Steve Schick to perform with a kinetic, interactive sculpture created by Daniel Rozin. Muskal is a 2009 recipient of the Guggenheim Fellowship. Her composition,“The Yellow Wind,” was nominated for a Pulitzer prize.

Marc Neikrug, composer

Composer Marc Neikrug has written chamber, symphonic, opera music and musicaltheater. Among noted performers of his music are Zubin Mehta, Leonard Slatkin, John Turturro, and the Emerson, Vermeer, Tokyo and Orion Quartets. His music-theater work, Through Roses, was commissioned by London’s South Bank Festival with the National Theater. Since its premiere in 1980 it has had hundreds of performances in fifteen countries and has been translated into 11 languages.

Andrew Norman, composer

Andrew Norman is a Los Angeles-based composer who was recently praised as “the leading American composer of his generation” by The Los Angeles Times. He is the recipient of the 2005 ASCAP Nissim and Leo Kaplan Prizes and a 2016 Guggenheim Fellowship, among others. Norman’s string trio The Companion Guide to Rome was named a finalist for the 2012 Pulitzer Prize in Music.

Geoff Nuttall, violin

Violinist Geoff Nuttall began playing the violin at the age of eight and spent most of his musical studies under the tutelage of Lorand Fenyves at The Banff Centre, the University of Western Ontario, and the University of Toronto, where he received his bachelor of arts. In 1989, he co-founded the St. Lawrence String Quartet, with which he has performed well over 2,000 concerts nationally and internationally. He has received two GRAMMY® nominations for the St. Lawrence Quartet and is now on faculty at Stanford University, where the St. Lawrence Quartet is ensemble-in-residence.

Aaron Paige, lecturer

A native of Detroit, Aaron Paige is a former member of the Singing Sergeants of the United States Air Force Band where he held the tenor section leader position. Dr. Paige has presented lectures and recitals on African American music in collaboration with the Smithsonian Institute at the National Museum of American History, National Air and Space Museum, and National Museum of African Art. He has also been a featured soloist at the White House, Kennedy Center, Carnegie Hall, and DAR Constitution Hall.

Guadalupe Paz, voice

Mezzo-soprano Guadalupe Paz graduated from Conservatory Arrigo Pedrollo in Vinceza, Italy. Among classic repertoire she has performed as soloist in Bach’s Magnificat, Handel’s Messiah, and Mozart’s Requiem and Vesperae Solennelle. Recent engagements include her debut with San Diego Opera Company singing Mercedes in Bizet’s Carmen, and singing Marchesa Melibea in Il Viaggio a Reims, among others for the Bellas Artes National Opera Company in Mexico City.

Masumi Per Rostad, viola

Praised for his “burnished sound” (The New York Times) and described as an “electrifying, poetic, and sensitive musician,” the GRAMMY® Awardwinning, Japanese-Norwegian violist Masumi Per Rostad hails from the gritty East Village of 1980s New York. Passionate about breaking down barriers that prevent people from enjoying classical music, Per Rostad was the founder of DoCha, a chamber music festival in Champaign, Illinois that produced innovative events with a focus on engaging new audiences through fun and inventive programming.

Ethan Pernela, viola

Ethan Pernela joined the viola section of the San Diego Symphony Orchestra in spring of 2015. Pernela completed his Bachelor of Music, Master of Music and Graduate Diploma with honors at the New England Conservatory of Music in Boston, where he studied with James Dunham and Martha Strongin Katz. After receiving a fellowship to the New World Symphony in 2007, Pernela won a viola position in the Honolulu Symphony under the baton of Andreas Delfs.

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ARTIST BIOGRAPHIES Blake Pouliot, violin

of the New World Symphony and the violinist Vadim Gluzman, and conductor Dorian Wind Quintet. She has participated David Danzmayr. in numerous music festivals, including Tanglewood, the Spoleto Festival in Italy, Leah Rosenthal, lecturer and has been a frequent performer at La Leah Rosenthal, Jolla Music Society SummerFest. Director of She earned her Master of Music degree Programming for from The Juilliard School, studying with La Jolla Music Carol Wincenc, and has three children Society, has held with her husband LA Philharmonic cellist positions with some Jonathan Karoly. J of the most prestigious non-profit organizations in the country, including the Nicolas Reveles, lecturer Chicago Symphony Orchestra, the Ravinia Composer and Festival, The Recording Academy, and pianist Nicolas PBS. Rosenthal completed undergraduate Reveles earned his studies in voice performance and went on Master of Arts in to receive her master’s degree in Arts Laura Prichard, lecturer choral conducting Management at Columbia College of Laura Stanfield from the University Chicago. Prichard studied at of Redlands, as well as a Doctor of Yale, Emory, and Musical Arts degree in piano performance Alex Ross lecturer the University of from the Manhattan School of Music. He Illinois; she holds Alex Ross has been has produced theater scores for the Old master’s and the music critic at Globe Theatre, North Coast Repertory doctoral degrees in choral conducting, The New Yorker since library science, musciology, and education. Theatre, and others. As of 2010, he is also 1996. He writes She lectures regularly for the San Francisco the host of UCSD-TV’s OperaTalk with Nick about classical Reveles. and Chicago Symphonies and opera music, covering the companies in Boston and San Francisco field from the Metropolitan Opera to the (since 1995). contemporary avant-garde, and has also John Reynolds, trumpet Dr. John Reynolds is contributed essays on literature, history, the visual arts, film, and ecology. His first book, a highly sought Roman Rabinovich, piano The Rest Is Noise: Listening to the Twentieth trumpeter in The eloquent Century, won a National Book Critics Circle Southern pianist Roman award and the Guardian First Book California, adept in Rabinovich has Award, and it was a finalist for the Pulitzer performing many been highly lauded Prize. His second book, the essay collection styles of music. Reynolds holds a Doctorate by The New York Listen to This, won an ASCAP-Deems in Musical Arts from the University of Times and BBC Taylor Award. Southern California as well as degrees Music Magazine, among others. Rabinovich from San Diego State University and Point made his Israeli Philharmonic debut at age Daniel Rozin, digital artist 10, and has since performed in venues such Loma Nazarene University. The SoCal Jazz Society recently recognized Dr. Daniel Rozin is an as Wigmore Hall, Carnegie Hall, Lincoln Reynolds as the “Jazz Educator of the artist, educator and Center, and the Great Hall of the Moscow Year.” developer, working Conservatory, as well as participated in in the area of festivals including Marlboro, Lucerne, interactive digital and Davos. Joshua Roman, cello art. Rozin creates Joshua Roman is a installations and sculptures that have the cellist, accomplished Catherine Ransom Karoly, flute unique ability to change and respond to composer, and Catherine Ransom the presence of the viewer. As an educator, curator whose Karoly was Rozin is a Professor at Tisch School Of performances appointed The Arts, NYU. Born in Jerusalem and embrace musical Los Angeles trained as an industrial designer, Rozin styles from Bach to Radiohead. Roman Philharmonic lives and works in New York. His work has was named a TED Senior Fellow in 2015. Associate Principal earned him numerous awards including Flute by former Music Director Esa-Pekka His compositions are inspired by sources such as the poetry of Pulitzer Prize-winner Prix Ars Electronica, ID Design Review, Salonen in March 2009. She joined the and the Chrysler Design Award. Tracy K. Smith, and the musicians he Philharmonic in 1996, and made her solo debut in 2000. Karoly is a former member writes for, such as the JACK Quartet, 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 has twice been featured on CBC’s “30 Hot Canadian Classical Musicians under 30”.

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ARTIST BIOGRAPHIES Eduardo Ruiz, trumpet

Eduardo Ruiz has been the brass instructor of La Jolla Music Society’s Community Music Center since 2015. Born and raised in San Diego, he has worked hard to bring music to San Diego and its surrounding areas for over 10 years and is currently pursuing a degree in Music Education. He plays trumpet and enjoys composing and arranging.

David Shifrin, clarinet

David Shifrin is one of only three wind players to have been awarded the Avery Fisher Prize. An artist member of the Chamber Music Society of Lincoln Center since 1989, Shifrin served as its artistic director from 1992 to 2004. He has been the Artistic Director of Chamber Music Northwest since 1981. Shifrin was appointed Artistic Director of the Chamber Music Society of Yale and Yale’s annual concert series at Carnegie Hall in 2008.

festival guest in Europe, North America, South America, Asia, Africa, and New Zealand. The Strad Magazine says “Livia Sohn possesses a remarkably lithe and transparent tone of exceptional purity. [Her] virtually blemishless accounts are nothing short of remarkable. Even when under the most fearsome technical pressure at high velocity, every note rings true with pinpoint accuracy.”

Chelsea de Souza, piano

Chelsea de Souza is a Steinway Young Artist from Mumbai, Steven Schick, percussion & lecturer India. She has won Percussionist, four All-India piano conductor, and Jeanne Skrocki, violin competitions and is author Steven Jeanne Skrocki is a committed performer of music by living Schick has been Artist in Residence composers, having premiered numerous hailed by Alex Ross at the University of works for solo piano and small ensemble by in the New Yorker as, Redlands and composers at the Oberlin Conservatory, “one of our supreme living virtuosos, not Concertmaster of Peabody Institute and Shepherd School. just of percussion but of any instrument.” the Redlands Most recently, she was awarded a 2020 Schick has championed contemporary Symphony Orchestra. She has established Grant by New Music USA for her project percussion music by commissioning or herself locally and nationally as an premiering more than one hundred-fifty outstanding teacher and performer. Skrocki “Blurred Origins: Redefining Culture through Music,” supporting the new works. He is music director of the La continues the legacy of the legendary commission of a new work for cello and Jolla Symphony and Chorus, the artist Jascha Heifetz, with whom she studied at director of Breckenridge Music Festival, the University of Southern California, and piano that refocuses discussions of culture around the individual. and is an inductee of the Percussive Arts joined the faculty of the Jascha Heifetz Society Hall of Fame. Symposium at Connecticut College in June 2013. She is a dedicated mentor to young Daniil Trifonov, piano musicians, using encouraging and effective Grammy AwardJay Shankar, clarinet teaching methods to motivate students to winning Russian Jay Shankar is a excel and accomplish their career goals. pianist Daniil James Backas Trifonov – Musical Memorial Scholar America’s 2019 Artist at the Peabody Julie Smith Phillips, harp of the Year – has Institute studying as Principal Harpist of made a spectacular ascent of the classical a freshman under the San Diego music world, as a solo artist, champion of Professor Eugene Mondie. He has Symphony since the concerto repertoire, chamber and vocal performed as a clarinetists in several youth 2007, Julie Smith collaborator, and composer. Combining orchestras including the National Youth Phillips is one of the consummate technique with rare sensitivity Orchestra of the USA in 2016. In 2015, he most prominent and depth, his performances are a participated in the Tanglewood Institute young harpists today, performing as both perpetual source of awe. “He has Summer Program. He currently plays in an orchestral musician and concert artist. everything and more … tenderness and both the Peabody Concert and Symphony Phillips made her National Symphony Orchestras. He was awarded first prize in Orchestra debut in 2003 and is a founding also the demonic element. I never heard anything like that,” marveled pianist the San Diego Clarinet Society member of The Myriad Trio. Martha Argerich. As The Times of London competition and was a finalist of the San notes, he is “without question the most Diego Symphony’s HotShots Concerto Livia Sohn, violin astounding pianist of our age.” Competition. Hailed by Opus Magazine as “a stunning musician,” violinist Livia Sohn performs widely on the international stage as concerto soloist, recitalist, and

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ARTIST BIOGRAPHIES Rachel Trumbore, trombone

Pamela Vliek Martchev, flute

Jonathan Vinocour, viola

Paul Watkins, cello

Trombonist Rachel Trumbore is the Professor of Brass at Aurora University based in Chicagoland. Trumbore has performed with the San Diego Symphony, Chicago Symphony, The Who, Johnny Mathis, and under the baton of Charles Dutoit, Edo de Waart, and Rafael Payare. Trumbore completed her master's at California State University Long Beach with Kyle Covington. She is also a Northwestern University alumnus, where she studied with Michael Mulcahy, Tim Higgins, Doug Wright, and Randy Hawes. Aside from music, Trumbore finds joy in hiking, gardening, and raising alpacas with her wife Sarah.incipal viola of the San Francisco Symphony. A Since 2009, Jonathan Vinocour has been the principal viola of the San Francisco Symphony. A native of Rochester, New York, Vinocour graduated from Princeton University and the New England Conservatory of Music. He is a regular coach at the New World Symphony in Miami and is on the faculty of the San Francisco Conservatory.

Flutist Pamela Vliek Martchev has played with southern California’s top orchestras, including the Los Angeles Philharmonic, San Diego Symphony, LA Chamber Orchestra, Pacific, Pasadena, and Mainly Mozart Festival Symphonies. She served as principal flute with the Boulder Philharmonic in CO for 10 seasons, and was also 2nd flute of Philharmonie der Nationen in Germany from 1997-98. She has taught at Mt. San Antonio College and Riverside City College, and is currently on the faculties of San Diego State University, Pt. Loma Nazarene University, and USD. Since 2009, Acclaimed for his inspirational performances and eloquent musicianship, Paul Watkins enjoys a distinguished career as a concert soloist, chamber musician, and conductor. He is the Artistic Director of the Great Lakes Chamber Music Festival in Detroit, the cellist of the Emerson String Quartet, Visiting Professor of Cello at Yale School of Music, and won first prize in the 2002 Leeds Conducting Competition.

Alisa Weilerstein, cello

Alisa 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. Committed to expanding the cello repertoire, Weilerstein is an ardent champion of new music. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, the cellist also holds a degree in history from Columbia University, from which she graduated in May 2004.

Tien-Hsin Cindy Wu, violin & viola

Violist Tien-Hsin Cindy Wu enjoys a versatile career as a soloist, chamber musician and educator. She has collaborated with such artists as Midori, Yuja Wang and members of the Brentano and Miró string quartets. From 2010 to 2015 she taught violin, chamber music and string pedagogy at USC’s Thornton School of Music. She is currently the artist-in-residence of the Da Camera Society in Los Angeles. Wu plays on a 1734 Domenico Montagnana violin, and a 2015 Stanley Kiernoziak viola.

Photo credits: Cover: RGB Peg Mirror by Daniel Rozin; Pg. 10: I. Barnatan © Marco Borggreve; Pg. 11: P. Huang © Marco Borggreve; Pg. 12: A. Weilerstein © Paul Stuart; Pg. 17: F. Price © G. Nelidoff; Pg. 22: Calidore Quartet © Sophie Zhai; Pg. 26: T. Lark © Lauren Desberg; Pg. 30: Attacca Quartet © David Goddard; Pg. 39: B. Beilman © Stefan Ruiz, A. Diehl © Maria Jarzyna; Pg. 45: D. Trifonov © Dario Acosta; Pg. 51: S. Jackiw © Sangwook Lee; Pg. 54: Flux Quartet courtesy of artists; D. Shifrin courtesy of artist, J. Johnson Cano © Fay Fox; K. Markgraf courtesy of artist; Pg. 56: C. Greensmith © Shayne Gray, Calder Quartet courtesy of artists, A. Hadelich © Luca Valentina, X. Foley courtesy of artist, T.H. Wu courtesy of artist; Pg. 61 & 67: G. L. Frank © Mariah Tauger; Pg. 71: O. Kam © Yanai Yechiel; Pg. 74: I. Barnatan © Marco Borggreve, S. Schick courtesy of artist, D. Byrd-Marrow courtesy of artist, P. Watkins © Jurgen Frank; Pg. 76: C. Ransom Karoly courtesy of artist, J. Pohjonen courtesy of artist, A. Marwood © Walter Van Dyck; Pg. 82: Attacca Quartet © David Goddard, B. Balliett © Katrin Albert, Balourdet String Quartet courtesy of artists, Efe Baltacigil courtesy of artist, I. Barnatan © Marco Borggreve, B. Beilman © Stefan Ruiz, E. Bensdorf I. Barnatan courtesy of artist, D. Byrd-Marrow courtesy of artist, Calder Quartet courtesy of artists; Pg. 83: Calidore Quartet © Sophie Zhai, J. Campbell courtesy of artist, J. Johnson Cano © Fay Fox, T. Cobb © Chris Lee, T. Cook courtesy of artist, D. Cohen courtesy of artist, E. Derr © Ren Ebel, A. Diehl © Maria Jarzyna; D. Donahue courtesy of artist, J. Ehnes © B. Ealovega; Pg. 84: D. Fitch courtesy of artist, X. Foley courtesy of artist, G. L. Frank © Mariah Tauger, Flux Quartet courtesy of artists, C. Greensmith © Shayne Gray, D. Grossman courtesy of artist, A. Hadelich © Luca Valentina, D. Hart courtesy of artist; Pg. 85: O. Herbert © Todd Rosenberg, P. Huang © Marco Borggreve, N. Hughes courtesy of artist, J. Iwasaki courtesy of artist, S. Jackiw © Sangwook Lee, E. Jacobsen courtesy of artist, O. Kam © Yanai Yechiel, Kings Return courtesy of artists, T. Lark © Lauren Desberg; B. Lee © Bo Huang, R. Lombardo © Beth Ross Buckley, M. Lynch courtesy of artist, K. Markgraf courtesy of artist, A. Marwood © Walter Van Dyck, A. McGill © David Finlayson, J. Montone courtesy of artist, J. Morris courtesy of the Cincinnati Symphony Orchestra; T. Muskal courtesy of artist; Pg. 87: M. Neikrug courtesy of artist, A. Norman courtesy of artist, G. Nuttall courtesy of artist, G. Paz courtesy of artist, J. Pohjonen courtesy of artist, B. Pouliot © Jeff Fasano, M. Per Rostad courtesy of artist, R. Rabinovich © Balazs Borocz, C. Ransom Karoly courtesy of artist; Pg. 88: J. Roman courtesy of artist, D. Rozin courtesy of artist, E. Ruiz courtesy of artist, S. Schick courtesy of artist, D. Shifrin courtesy of artist, J. Skrocki courtesy of artist, J. Smith Phillips courtesy of artist, L. Sohn courtesy of artist, C. de Souza courtesy of artist, D. Trifonov © Dario Acosta; Pg. 89: R. Trumbore courtesy of artist, J. Vinocour courtesy of artist, P. Vliek Martchev © Anastasya Korol, P. Watkins © Jurgen Frank, A. Weilerstein © Paul Stewart, T. H. Wu courtesy of artist; Back Cover: C. Botti courtesy of artist

86 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

SUMMERFEST COMMISSION HISTORY BRUCE ADOLPHE Couple (1999) David Finckel, cello; Wu Han, piano Oceanophony (2003) Bruce Adolphe, conductor; Marisela Sager, flute; Frank Renk, clarinet; Ryan Simmons, bassoon; Aiyun Huang, percussion; Marija Stroke, piano; Tereza Stanislav, violin; Richard Belcher, cello; Allan Rickmeier, bass Into a Cloud (2005) Bruce Adolphe, narrator; Zheng Huang, oboe; Jun Iwasaki, violin; Erin Nolan, viola; Davin Rubicz, cello; Marija Stroke, piano Zephyronia (2006) Imani Winds

MARC-ANDRÉ DALBAVIE Quartet for Piano and Strings (2012) Yura Lee, violin; Paul Neubauer, viola; Felix Fan, cello; Jeremy Denk, piano RICHARD DANIELPOUR Clarinet Quintet “The Last Jew in Hamadan” (2015) Burt Hara, clarinet; Verona Quartet

FRANGHIZ ALI-ZADEH Sabah (morning/tomorrow/in the future) (2003) Aleck Karis, piano; Cho-Liang Lin, violin; Felix Fan, cello; Wu Man, pipa

DAVID DEL TREDICI Bullycide (2013) Orion Weiss, piano; DaXun Zhang, bass; Shanghai Quartet

MAGNUS LINDBERG Konzertstück for Cello and Piano (2006) Anssi Karttunen, cello; Magnus Lindberg, piano

GABRIELA LENA FRANK Contested Eden (2021) Canto para California in extremis Attacca Quartet

JACQUES LOUSSIER Divertimento (2008) Jacques Loussier Trio; SoJin Kim, Shih-Kai Lin, violins; Elzbieta Weyman, viola; Yves Dharamraj, cello; Mark Dresser, bass

MARC-ANDRÉ HAMELIN String Quartet (2016) Hai-Ye Ni, cello; Marc-Andre Hamelin, piano

JULIAN MILONE La Muerte del Angel (arr. movement from Piazzolla’s Tango Suite) (2008) Gil Shaham, Kyoko Takezawa, Cho-Liang Lin, Margaret Batjer, violins; Chris Hanulik, bass

JULIAN ANDERSON String Quartet No. 2 “300 Weihnachtslieder” (2014) FLUX Quartet CLARICE ASSAD Synchronous (2015) Liang Wang, oboe; Andrew Wan, Fabiola Kim, violins; Robert Brophy, viola; JeongHyoun “Christine” Lee, cello SÉRGIO ASSAD Candido Scarecrow (2014) The Assad Brothers DEREK BERMEL Death with Interruptions (2014) David Chan, violin; Clive Greensmith, cello; John Novacek, piano CHEN YI Ancient Dances (2004) I. Ox Tail Dance II. Hu Xuan Dance David Schifrin, clarinet; Andre-Michel Schub, piano Night Thoughts (2004) Catherine Ransom, flute; Keith Robinson, cello; Andre-Michel Schub, piano STEWART COPELAND Retail Therapy (2009) Kyoko Takezawa, violin; Nico Abondolo, bass; Frank Renk, bass clarinet; Stewart Copeland, drums; Joyce Yang, piano CHICK COREA String Quartet No. 1, The Adventures of Hippocrates (2004) Orion String Quartet

BRETT DEAN Epitaphs for String Quintet (2010) Brett Dean, viola; Orion String Quartet Seven Signal (2019) Joseph Morris, clarinet; Qian Wu, piano; Liza Ferschtman, violin; Felix Fan, cello

JOHN HARBISON String Quartet (2002) Orion String Quartet Crossroads (2013) Jennifer Johnson Cano, mezzo-soprano; Peggy Pearson, oboe; Linden String Quartet; Nico Abondolo, bass STEPHEN HARTKE Sonata for Piano Four-Hands (2014) Orion Weiss, Anna Polonsky, piano JOEL HOFFMAN of Deborah, for Deborah (2015) Nancy Allen, harp; Cho-Liang Lin, violin; Toby Hoffman, viola; Gary Hoffman, cello HUANG RUO Real Loud (2018) Real Quiet TOSHI ICHIYANAGI String Quartet No. 5 (2008) FLUX Quartet PIERRE JALBERT Piano Quintet (2017) Juho Pohjonen, piano Rolsoton String Quartet

AARON JAY KERNIS Perpetual Chaconne (2012) John Bruce Yeh, clarinet; Calder Quartet LEON KIRCHNER String Quartet No. 4 (2006) Orion String Quartet DAVID LANG String Quartet “almost all the time” (2014) FLUX Quartet LEI LIANG Vis-à-vis, for Pipa and Percussion (2018) Wu Man, pipa; Steven Schick, percussion

TAMAR MUSKAL Facing the Automaton (2021) Steven Schick, percussion; Joseph Morris, clarinet, Brad Balliett, bassoon; David Byrd-Marrow, horn; David Chan, Justin DeFilippis, violins; Jonathan Moerschel, viola; Joshua Roman, cello; David Grossman, bass, Chelsea de Souza, piano MARC NEIKRUG Ritual (2007) Real Quiet A Song by Mahler (2018) Jennifer Johnson Cano, mezzo-soprano; Kelly Markgraf, bass-baritone; David Shifrin, clarinet; FLUX Quartet; Doug Fitch, director; Nicholas Houfek, lighting design MARK O’CONNOR String Quartet No. 2 “Bluegrass” (2005) Mark O‘Connor, Cho-Liang Lin, violins; Carol Cook, viola; Natalie Haas, cello ANDRÉ PREVIN Vocalise (1996) Ashley Putnam, soprano; David Finckel, cello

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CHRISTOPHER ROUSE String Quartet No. 3 (2010) Calder Quartet

AUGUSTA READ THOMAS Bells Ring Summer (2000) David Finckel, cello

KAIJA SAARIAHO Serenatas (2008) Real Quiet

CONRAD TAO Movement II from “All I had forgotten or tried to” (2019) Stephan Jackiw, violin; Conrad Tao, piano

ESA-PEKKA SALONEN Lachen verlernt (Laughing Unlearnt) (2002) Cho-Liang Lin, violin PETER SCHICKELE Spring Ahead Quintet for Clarinet and String Quartet (2015) Burt Hara, clarinet; Huntington Quartet LALO SCHIFRIN Letters from Argentina (2005) Lalo Schifrin, piano; David Schifrin, clarinet; Cho-Liang Lin, violin; Nestor Marconi, bandoneón; Pablo Aslan, bass; Satoshi Takeishi, percussion

JOAN TOWER Big Sky (2000) Chee-Yun, violin; David Finckel, cello; Wu Han, piano Trio La Jolla (2007) (Renamed Trio CAVANY) Cho-Liang Lin, violin; Gary Hoffman, cello; Andre-Michel Schub, piano White Granite (2011) Margaret Batjer, violin; Paul Neubauer, viola; Joshua Roman, cello; Andre-Michel Schub, piano GEORGE TSONTAKIS Stimulus Package (2009) Real Quiet

PAUL SCHOENFIELD Sonata for Violin and Piano (2009) Cho-Liang Lin, violin; Jon Kimura Parker, piano

CHINARY UNG AKASA: “Formless Spiral” (2010) Real Quiet

GUNTHER SCHULLER Quintet for Horn and Strings (2009) Julie Landsman, horn; Miro Quartet

JOHN WILLIAMS Quartet La Jolla (2011) Cho-Liang Lin, violin; Joshua Roman, cello; John Bruce Yeh, clarinet; Deborah Hoffman, harp

BRIGHT SHENG Three Fantasies (2006) Cho-Liang Lin, violin; Andre-Michel Schub, piano Northen Lights, for Violon, Cello and Piano (2010) Lynn Harrell, cello; Victor Asuncion, piano SEAN SHEPHERD Oboe Quartet (2011) Liang Wang, oboe; Jennifer Koh, violin; Cynthia Phelps, viola; Felix Fan, cello String Quartet No. 2 (2015) FLUX Quartet HOWARD SHORE A Palace Upon the Ruins (A Song Cycle) (2014) Jennifer Johnson Cano, mezzo-soprano; Catherine Ransom Karoly, flute; Coleman Itzkoff, cello; Andrew Staupe, piano; Julie Smith Phillips, harp; Dustin Donahue, percussion

CYNTHIA LEE WONG Piano Quartet (2011) Joyce Yang, piano; Martin Beaver, violin; Kazuhide Isomura, viola; Felix Fan, cello XIAOGANG YE Gardenia for String Quartet and Pipa (2017) Wu Man, pipa; Miro Quartet ELLEN TAAFFE ZWILICH Quintet for Violin, Viola, Cello, Contrabass and Piano (2011) Kalichstein-Laredo-Robinson Trio; Michael Tree, viola; Harold Robinson, bass Pas de Trois (2016) Kalichstein-Laredo-Robinson Trio

WAYNE SHORTER Terra Incognita (2006) Imani Winds STEVEN STUCKY Sonata for Violin and Piano (2013) Cho-Liang Lin, violin; Jon Kimura Parker, piano

88 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

GRAND TRADITION: SUMMERFEST ARTISTS 1986-2021 VIOLIN

Aguilar, Paul 2019* Allen, Isaac 2010*,’13 Almond, Frank 1988 Anthony, Adele 2001,’03,’05-’06,’18 Arvinder, Eric 2015 Ashikawa, Lori 1988◊ Bae, Angela Jiye 2021* Banerdt, Rhiannon 2017* Barnett-Hart, Adam 2007*,’16 Barston, Elisa 1992*◊,’94 Batjer, Margaret 2001-’03,’07-’11,’13,’17-’18 Beaver, Martin 2011,’14,’16 Beilman, Benjamin 2019,’21 Biss, Paul 1986-’87 Blumberg, Ilana 1993*◊ Borok, Emanuel 2004 Borup, Hasse 1999* Bouey, Christina 2017* Boyd, Aaron 2003*,’16 Cardenes, Andres 1986-’89 Chan, David 1995◊-’97*◊,2001,’04-’05,’07-’11,’13,’15,’17 Chan, Ivan 1998 Chang, Sarah 2007 Chapelle, Corinne 1997* Chee-Yun 2000,’02,’06-’07,’10,’16-’17 Chen, Jiafeng 2013* Chen, Robert 1990 Ching, Daniel 2014 Chiu, Lucinda 2018 Cho, Yumi 2007,’09 Choi, Jennie 1997* Choi, Jennifer 1994*◊ Cohen, Diana 2021 Copes, Steven 2008 Cosbey, Catherine 2013* Coucheron, David 2010* DeFilippis, Justin 2021* Derkervorkian, Armen 2017 Deutsch, Lindsay 2006* Dicterow, Glen 2017 Dolkas, Bridget 2001-’02,’07, 09-’10,’12-’18 Drucker, Eugene 1988-’89, 2000,’17 Ehnes, James 2019-’21 Emes, Catherine 1988◊ Englund, Meri 2013-’14 Fedkenheuer, William 2014 Ferschtman, Liza 2019 Frank, Pamela 1994-’95 Frankel, Joanna 2007* Frautschi, Jennifer 1990*-’92*◊,’94*◊-’95◊,’14 Frautschi, Laura 1990*-’92*◊ Fried, Miriam 1986-’87, 2006 Freivogel, J 2009* Fujiwara, Hamao 1992-’94 Ganatra, Simin 1995◊ Gerard, Mary 1988◊ Georgieva, Mila 1996*◊ Gigante, Julie 2011 Goldstein, Bram 2010* Gringolts, Ilya 2001 Gruppman, Igor 1988◊ Gruppman, Vesna 1988◊ Gulli, Franco 1990 Hadelich, Augustin 2010-’13,’15,’19,’21 Harasim, Sonja 2011* Hatmaker, Kathryn 2012-’19 Hershberger, Amy 1997◊ Horigome, Yuzuko 1991 Hou, Yi-Jia Suzanne 2003* Hsu, Luke 2016* Hsu, Shu-Ting 2010 Huang, June 1988◊ Huang, Paul 2016,’18,’21 Hyun, Eileen 1988◊ Hyun, Katie 2012* Iwasaki, Jun 2005*,’19,’21 Jackiw, Stefan 2019,’21

Jacobson, Benjamin 2009 Jeong, Stephanie 2013 Jiang, Yi-Wen 2003 Josefowicz, Leila 2002,’04,’08 Kaplan, Mark 2001 Kavafian, Ani 1988,’94,’98, 2000,’06 Kavafian, Ida 1998 Keefe, Erin 2019 Kerr, Alexander 2009,’14 Kim, Benny 1999 Kim, Fabiola 2015* Kim, Helen Hwaya 1996*◊-’97*◊ Kim, Michelle 1992◊,’93*◊-’95*◊,’96◊,’08,’12-’13,’15,’17 Kim, SoJin 2008*-’09* Kim, Young Uck 1990-’91 Kitchen, Nicholas 2010 Koh, Jennifer 2008,’11,’17 Koo, Daniel 2015* Kraggerud, Henning 2002 Kwon, Yoon 2002*,’05,’07,’09 Kwuon, Joan 1996*◊, 2004,’07 Laredo, Jaime 2011 Lark, Tessa 2020-’21 Lee, Bryan 2011* Lee, Byungchan 2021* Lee, Gina 1992◊,’93*,’94*◊-95*◊ Lee, Joanna 2017 Lee, Kristin 2014,’16-’17 Lee, Luri 2018* Lee, Se-Yun 1999* Lee, Yura 2012,’14,’16-’20 Lin, Cho-Liang 1989-’93,’95-’99, 2001-’19 Lin, Jasmine 2008 Lin, Shih-Kai 2008* Ling, Andrew 2010 Link, Joel 2011* Lippi, Isabella 1993*◊ Lockwood, Kathryn 1993* Ma, Michael 2009 Martin, Philip 2017* Martinson, Haldan 1993*◊-’95*◊ Marwood, Anthony 2021 McDermott, Kerry 2003,’07,’15 McDuffie, Robert 1999 McElravy, Sarah 2013* McIntosh, Andrew 2019 Meyers, Anne Akiko 2005 Midori 2011 Monahan, Nicole 1992◊ Namkung, Yuri 2004* Nelson, Maureen 2003* Nightengale, Helen 2005,’07 Niwa, Sae 2009* Nosky, Aisslinn 2014-’15 Nuttall, Geoff 2021 O’Connor, Mark 2001,’05,’09 Oland, Frederik 2016 Ong, Jonathan 2016* Otani, Reiko 1996*◊ Park, Alyssa 2016-’19 Park, Tricia 2003*-’04* Pauk, Gyorgy 1986-’87,’90 Peskanov, Mark 1990 Phillips, Daniel 1992-’93,’95-’97, 2002,’04 Phillips, Todd 1992-’93, 2002,’04 Place, Annaliesa 1999* Pouliot, Blake 2021 Preucil, Alexandra 2005* Preucil, William 1999, 2000 Qiang, Xiaoxiao 2011*,’14 Quint, Philippe 2012-’13,’19 Redding, Deborah 1990 Ro, Dorothy 2016* Robinson, Cathy Meng 1998 Roffman, Sharon 1999* Roos, Tatjana 2019* Rosenfeld, Julie 1989-’99 Setzer, Philip 1999, 2000,’03,’15

Shaham, Gil 2001,’03,’05-’06,’08,’11,’16,’18 Shay, Yvonne 2012-’14 Shih, Michael 2003 Shimabara, Sae 1996◊ Sitkovetsky, Dmitry 2015 Skrocki, Jeanne 2009-’19,’21 Smirnoff, Joel 2004,’07 Sohn, Livia 2021 Southorn, David 2012* Stanislav, Tereza 2003*,’12,’14 Staples, Sheryl 1990*-’91*,’92◊-’94◊,’95, 2006-’07,’09, ‘11,’14,’16 Stein, Eddie 1988◊ Steinhardt, Arnold 2002,’06 Stenzel, Rachel 2019* Sussmann, Arnaud 2014 Swensen, Joseph 1989, 2013 Takezawa, Kyoko 1998-’99,2001,’03,’05-’06,’08-’09, ‘11,’15,’18 Thayer, Jeff 2005 Tognetti, Richard 2005 Tong, Kristopher 2010 Toyoshima, Yasushi 1997 Tree, Michael 2002 Troback, Sara 2002*,’05 Tursi, Erica 2014* Ung, Susan 2002 Urioste, Elena 2008* Ushikubo, Ray 2017 Ushioda, Masuko 1986-’87,’89 Vergara, Josefina 1993*◊,’95◊,97◊ Wan, Andrew 2012,’14-’16,’19 Warsaw-Fan, Arianna 2012* Weilerstein, Donald 1986 Wilkie, Roger 1991,’97,’17 Wu Jie 2007* Wu, Tien-Hsin Cindy 2011,’18,’21 Yang, Jisun 2007 Yoo, Hojean 2015* Yoshida, Ayako 1991* Yu, Mason 2014* Zehetmair, Thomas 1988 Zehngut, Jeffrey 2010 Zelickman, Joan 2002 Zhao, Chen 1994*◊ Zhao, Yi 2014* Zhu, Bei 2006*,’07,’10 Zori, Carmit 1993 Kruspe, Emily 2018*

VIOLA

Ando, Fumino 1996*◊ Baillie, Helena 2011 Barston, Elisa 1994 Berg, Robert 1988◊ Biss, Paul 1986-’87 Brooks, Colin 2017* Brophy, Robert 2003*,’13,’15-’16 Bulbrook, Andrew 2009 Carrettin, Zachary 2011* Chen, Che-Yen 2005,’07-’10,’12-’13,’15-’16,’18 Choi, En-Sik 1990* Choong, Angela 2010*,’19 Cook, Carol 2005 Dean, Brett 2010,’19 Dirks, Karen 1986-’87 DuBois, Susan 1993*,’95*◊ Dunham, James 2007,’09,’12 Dutton, Lawrence 1999, 2003,’15 Frankel, Joanna 2007* Gilbert, Alan 2003 Gulkis, Susan 1992* Ho, Shirley 1994*◊,’95*,’96*◊,’97*◊, 2006 Hoffman, Toby 1989-’92,’95-’96,’98, 2000-’01,’11-’12, ‘15,’17,’18 Holtzman, Carrie 1988◊ Huang, Hsin-Yun 2008 Husum, Marthe 2015*

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GRAND TRADITION Huang, Hsin-Yun 2019 Imai, Nobuko 1986 Isomura, Kazuhide 2011 Jacobson, Pamela 2009 Kam, Ori 2003,’14,’15,’21 Karni, Gilad 1993*◊ Kavafian, Ida 1998 Kennedy, Eva 2019* Kraggerud, Henning 2002 Lapointe, Pierre 2007*,’16 Largess, John 1994*◊-’96*◊,’14,’17 Lee, Scott 1997*◊, 2002,’04,’07 Lee, Yura 2014,’16-’20 Leung, Hezekiah 2018* Li, Honggang 2003 Lin, Wei-Yang Andy 2012* Liu, Yun Jie 1990* Lockwood, Kathryn 1995◊ LoCicero, Joseph 2014* Longhi, Caterina 2016-’17,’19 Martin, Francesca 1988-’90 Maril, Travis 2009-’14,’16-’19,’21 Moerschel, Jonathan 2009 Molnau, Michael 2012 Motobuchi, Mai 2010 Neubauer, Paul 1992-’96,’98-’99, 2001,’03-’07,’09- ’12,’15,’17-’18 Neuman, Larry 1991* Ngwenyama, Nokuthula 2000 Nilles, AJ 2014 Nolan, Erin 2005* Norgaard, Asbjorn 2016 Ohyama, Heiichiro 1986-’97, 2004,’06,’08-’09,’11,’14-’16,’18 O’Neill, Richard 2013-’15,’19 Pajaro-van de Stadt, Milena 2011* Per Rostad, Masumi 2019,’21 Pernela, Ethan 2021 Phelps, Cynthia 1989-’90,’99- 2002,’05-’08,’10-’11,’13- ’14,’16,’19 Quincey, Brian 1992*◊-’93*◊ Quintal, Sam 2009* Richburg, Lynne 1992*◊ Rojansky, Abigail 2016* Runde, Ingrid 1988◊ Sanders, Karen 1988 Strauss, Michael 1991* Suzuki, Leo 1994*◊,’99* Tenenbom, Steven 2004 Thomas, Whittney 2005 Toyoshima, Yasushi 1997 Tree, Michael 2001-’02,’08,’11 Ung, Susan 2010 Vernon, Robert 1987-’88 Vinocour, Jonathan 2021 Walther, Geraldine 1993-’95 Weyman, Elzbieta 2008* Wickert, Eve 2003* Wilson, Evan N. 2001-’02 Wu, Tien-Hsin Cindy 2017-’18,’21 Wong, Eric 2013* Zannoni, Benjamin 2021* Zehngut, Gareth 2010

CELLO

Arron, Edward 2017,’19 Baltacigil, Efe 2021 Belcher, Richard 2003* Braun, Jacob 2008 Brey, Carter 1990-’91,’93,’95-’96,’99-2001,’03-’06, ‘08-’10,’12-’13,’16,’18-’19 Bruskin, Julia 2003* Byers, Eric 2009 Campbell, Jay 2021 Canellakis, Nicholas 2014 Castro-Balbi, Jesus 2002* Chaplin, Diane 1989-’90 Chien, Chia-Ling 2012,’15-’18 Cho, Eunghee 2021* Cho, Stella 2015*

Cooper, Kristina 2003 Cox, Alexander 2014* Crosett, Rainer 2016* Curtis, Charles 2003,’05,’09 DeMaine, Robert 2017 DeRosa, William 2002 Dharamraj, Yves 2008* Diaz, Andres 1992,’94,’99, 2000 Drakos, Margo Tatgenhorst 2009-’10 Eddy, Timothy 1993, 2004 Eldan, Amir 2004* Elliot, Gretchen 1999 Fan, Felix 1992*◊-’96*◊,’97◊,’98-’99, 2001,’03, ‘06-’13,’16,’19 Fiene, Sarah 1999 Fife, Stefanie 1988◊ Finckel, David 1992-’96,’98-2000,’06 Geeting, Joyce 1999 Gelfand, Peter 1999 Gerhardt, Alban 1998 Gindele, Joshua 2014 Greenbaum, Alex 2017-’18 Greensmith, Clive 2015-’21 Haas, Natalie 2005 Hagerty, Warren 2016* Haimovitz, Matt 1986 Halpern, Joshua 2017* Hammill, Rowena 1999 Han, Eric 2010* Handy, Trevor 2011-’12 Harrell, Lynn 2005-’07,’10,’14,’18 Henderson, Rachel 2009* Herbert, Oliver 2021 Ho, Grace 2017* Hoebig, Desmond 2010,’12,’14 Hoffman, Gary 1987-’93,’95-’97,’99, 2001, ‘03-’04,’06-’07,’10,’12-’13,’15,’18 Hong, Ben 1990*,2001,’13-’16,’18 Houston, Russell 2021* Hunt, Shirley 2014 Itzkoff, Coleman 2014* Iwasaki, Ko 1995 Jacobs-Perkins, Annie 2019* Janecek, Marie-Stephanie 2007* Janss, Andrew 2007* Kabat, Madeleine 2009* Kalayjian, Ani 2008* Kang, Kristopher 2010 Karoly, Jonathan 2005,’07 Karttunen, Anssi 2006 Kim, Eric 1998, 2004,’06,’11,’14 Kim, Yeesun 2010 Kirshbaum, Ralph 1986-’89,’91,2001-’04, ’07-‘08,’11,’15 Kloetzel, Jennifer 1992*◊-’93*◊ Kostov, Lachezar 2011* Kubota, Maki 2018 Kudo, Sumire 1995*◊,’96◊,’97, 2006 Langham, Jennifer 1999 Lee, Daniel 2005 Lee, JeongHyoun "Christine" 2015* Lee, Jiyoung 2013* Leonard, Ronald 1986-’88,’90-’91, 2002 Levenson, Jeffrey 1986-’87 Little, Dane 1988◊ Liu, Yun Jie 1990* Lo, Jonathan, 2018* Ma, Yo-Yo 2005 Maisky, Mischa 2016 Marica, Mihai 2012* Mollenauer, David 1988◊ Moon, Eileen 2016 Moores, Margaret 1986-’87,’99 Moses, Hannah 2019* Myers, Peter 2011 Ni, Hai-Ye 2003-’04,’08,’11,’14,’16,’18 Olsen, Kenneth 2019 Ostling, Kristin 1991* Ou, Carol 1993*◊-’94*◊

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Ou, Samuel 1994*◊ Pereira, Daniel 2002 Putnam, Dana 1994*◊ Rejto, Peter 1987,’89 Roman, Joshua 2011-’13,’15,’21 Rosen, Nathaniel 1994 Rubicz, Davin 2005* Saltzman, David 1999 Samuel, Brent 1996*◊-’97*◊ Sharp, John 2015-’16 Shaw, Camden 2011* Sherry, Fred 2000,’09 Shulman, Andrew 2010,’15 Sjolin, Fredrik Schoyen 2016 Smith, Ursula 1991* Smith, Wilhelmina 1990*,’92*◊ Speltz, Brook 2016 Starker, Janos 1999 Sutherland, Wyatt 1999 Swallow, Gabriella 2013 Szanto, Mary 2001 Toettcher, Sebastian 1999 Tsan, Cecilia 1996 Tzavaras, Nicholas 2003 Umansky, Felix 2013* Vamos, Brandon 1995◊ Wang, Jian 2002,’05,’11,’18 Watkins, Paul 2021 Weilerstein, Alisa 2006-’08,’11,’17,’19-’21 Weiss, Meta 2012* Wirth, Barbara 1999 Yoon, Han Bin 2012 Zeigler, Jeff 1999 Zhang, Yuan 2010* Zhao, Yao 2009,’18

BASS

Abondolo, Nico 1989-’93,’97◊, 2002–’03,’07,’09,‘11-’19 Aslan, Pablo 2005,’13,’16 Cho, Han Han 2010 Coade, Sarah 1992◊ Cobb, Timothy 2019,’21 Danilow, Marji 1994◊-’95◊,’97◊ Dresser, Mark 2005,’08 Finck, David 1996 Foley, Xavier 2021 Green, Jonathan 1986 Grossman, David 2021 Haden, Charlie 1995 Hager, Samuel 2011-’18 Hanulik, Christopher 2007-’10,’15 Hermanns, Don 1994◊,’96◊ Hovnanian, Michael 1988◊ Kurtz, Jeremy 2004-’05 Lloyd, Peter 2018 Magnusson, Bob 2001 Meyer, Edgar 1996 Meza, Oscar 1987 Palma, Donald 2000 Pitts, Timothy 2013-’14 Ranney, Sue 1986 Revis, Eric 2012 Rickmeier, Allan 2001-’03 Robinson, Harold 2011 Thurber, Michael 2020 Turetzky, Bertram 2002 Van Regteren Altena, Quirijn 1999 Wais, Michael 2000-’01 Worn, Richard F. 1993* Wulff, Susan 2009-’10 Zhang, DaXun 2004,’11,’13-’14,’17-’18 Zory, Matthew 1992◊

BARYTON

Hunt, Shirley 2014

THEORBO

Leopold, Michael 2014

GRAND TRADITION PIANO

Adolphe, Bruce 2001 Andres, Timo 2019 Asuncion, Victor Santiago 2010 Ax, Emanuel 1990, 2010,’18 Ax, Yoko Nozaki 1990 Barnatan, Inon 2012-’14,’17,’19-’21 Battersby, Edmund 1994 Biss, Jonathan 2006,’13,’19 Blaha, Bernadene 1996-’97 Bolcom, William 2003 Bookstein, Kenneth 1990* Bronfman, Yefim 1989,’92, 2003,’06,’14,’18 Brown, Alex 2016 Brunetti, Octavio 2013 Chen, Weiyin 2006-’07* Cole, Naida 2004 Corea, Chick 2004 Coucheron, Julie 2010 Cuellar, Scott 2017* de Souza, Chelsea 2021* Denk, Jeremy 2012 Diehl, Aaron, 2019,’21 Feltsman, Vladimir 2008,’10,’15 Fitzgerald, Kevin 1997 Fleisher, Katherine Jacobson 2008 Fleisher, Leon 2000,’02-’03,’08 Follingstad, Karen 1986-’87 France, Hal 2001 Francois, Jean-Charles 1987 Goldstein, Gila 1993* Golub, David 1986-’93,’95-’97 Graffman, Gary 1999 Haefliger, Andreas 2009,’11 Hamelin, Marc-Andre 2011,’16 Harris, John Mark 2002 Hewitt, Angela 2005 Hewitt, Anthony 1991* Higuma, Riko 2003*-’04* Hsiao, Ching-Wen 2004* Hsu, Julia 2015 Huang, Helen 2001,’06,’09 Jablonski, Peter 2008 Jian, Li 2003 Julien, Christie 1997* Kahane, Gabriel 2012 Kahane, Jeffrey 1986-’89,2002,’04,’06,’12-’13 Kalichstein, Joseph 1998, 2006-07,’10,’13,’15 Kalish, Gilbert 1998-’99 Karis, Aleck 2003 Kern, Olga 2011,’17 Kern, Vladislav 2011 Kodama, Mari 2012 Kogan, Richard 2014 Kramer, Henry 2012* Kuerti, Anton 1986 Laredo, Ruth 1994 Lee, Jeewon 2008* Levinson, Max 1990*-’91*,’94-’95◊,’97, 2000,’06 Li, George 2019 Li, Ying 2019* Licad, Cecile 1998, 2005,’07 Lifschitz, Konstantin 2000 Lin, Gloria 2002* Lin, Steven 2013* Lindberg, Magnus 2006 Ling, Jahja 2004 Litton, Andrew 2004 McDermott, Anne-Marie 2007-’09 Montero, Gabriela 2010 Murphy, Kevin 2002,’07 Mustonen, Olli 2017 Naughton, Christina 2017 Naughton, Michelle 2017 Neikrug, Marc 2007 Newman, Anthony 2001-’02,’07,’10,’13 Noda, Ken 2008-’10,’12,’14,’18 Novacek, John 1992*, 2002,’08-’10,’12,’14-’18 O’Riley, Christopher 1999, 2000,’02,’06,’10

Ohlsson, Garrick 2003,’08 Orloff, Edith 1986-’88 Park, Jeongwon 1995* Parker, Jon Kimura 2002,’06,’09,’12-’13,’16-’18 Pohjonen, Juho 2016,’18 Polonsky, Anna 2014 Pressler, Menahem 1998, 2009 Previn, Andre 1987,’90-’92,’96 Rabinovich, Roman 2021 Russo, Andrew 2007 Schifrin, Lalo 2005 Schub, Andre-Michel 1990-’91,2001,’04-’07,’11 Serkin, Peter 2015 Shaham, Orli 2009 Sheng, Bright 1993 Staupe, Andrew 2014* Stepanova, Liza 2009* Strokes, Marija 2003,’05 Tao, Conrad 2019 Taylor, Christopher 2008 Taylor, Ted 2007 Tramma, Marzia 1996* Trifonov, Daniil 2013,’21 Vonsattel, Gilles 2017-’18 Watts, Andre 2005 Weilerstein, Vivian Hornik 1986 Weiss, Orion 2007-’10,’13-’14,’18 Woo, Alan 2015* Wosner, Shai 2005-’08,’16-’18 Wu Han 1992-’96,’98-2000,’06 Wu, Qian 2019 Yrjola, Maria 2002 Yang, Joyce 2008-’11,’13,’15,’18 Zhang, Haochen 2017 Ziegler, Pablo 2012

HARMONIUM & HARPSICHORD Barnatan, Inon 2019 Beattie, Michael 2013-’14 Chong, Tina 2019 Fowler, Colin 2019 Koman, Hollace 1992◊-’94◊,’96 Kroll, Mark 1991 Luedecke, Alison 2019 Mabee, Patricia 2007,’14-’15 McGegan, Nicholas 2011,’19 McIntosh, Kathleen 1997◊ Newman, Anthony 2001-’02,’04-’05,’07,’09,’12-’13 Novacek, John 1992◊ Zearott, Michael 1987-’88◊

ORGAN

Beattie, Michael 2014 Newman, Anthony 2002,’10,’14

BANDONEÓN Del Curto, Hector 2013 Marconi, Nestor 2005

FLUTE

Anderson, Arpi C. 1994* Bursill-Hall, Damian 1986-’89 Ellerbroek, Clay 2002 Giles, Anne Diener 1990 Heide, Henrik 2019 Karoly, Catherine Ransom 2001-’02,’04-’05,’07-’09,’11-’18,’21 Lombardo, Rose 2019,’21 McGill, Demarre 2007-’08,’10 Martchev, Pamela Vliek 2011-’18,’21 O’Connor, Tara Helen 1997 Piccinini, Marina 1991 Sager, Marisela 2002-’04 Tipton, Janice 1997,’99, 2002-’03 Wincenc, Carol 1990,’92,’94, 2000

RECORDER Petri, Michala 2012

OBOE

Avril, Franck 2008 Barrett, Susan 2003 Boyd, Thomas 1988 Davis, Jonathan 2014-’15 DeAlmeida, Cynthia 1996 Enkells-Green, Elizabeth 1986 Ghez, Ariana 2013 Gilad, Kimaree 1997 Griffiths, Laura 2016-’19 Horn, Stuart 1997 Hove, Carolyn 1991 Huang, Zheng 2004-’06 Hughes, Nathan 2017,’21 Janusch, J. Scott 2001-’02 Kuszyk, Marion Arthur 2002 Lynch, Mary 2021 Michel, Peggy 1996◊ Overturf, Andrea 2009-’15,’17 Parry, Dwight 2007 Paulsen, Scott 1996◊ Pearson, Peggy 2013 Rapp, Orion 2007 Reed, Electra 2002 Reed, Leslie 1993,’95 Resnick, Lelie 2014-’15 Reuter, Gerard 1989-’90 Smith, James Austin 2019 Vogel, Allan 1987-’89,’91-’95,’97-’99, 2008-’10 Wang, Liang 2011-’12,’14-’16,’18 Whelan, Eileen 1994* Wickes, Lara 2009-’11,’19 Woodhams, Richard 2003-’04,’07,’09

ENGLISH HORN Hove, Carolyn 1991

CLARINET

Calcara, Tad 1994* D’Rivera, Paquito 2016 Hara, Burt 2003,’05,’07,’11-’16 Lechusza, Alan 2004 Levee, Lorin 2005-’07 Liebowitz, Marian 1986 Livengood, Lee 1991*,’93* McGill, Anthony 2017-’19,’21 Moffitt, James 2011 Morris, Joseph 2019,’21 Palmer, Todd Darren 1999 Peck, David 1986-’90 Reilly, Teresa 2004,’14,’16,’18 Renk, Frank 1993,’97, 2003-’04,’08-’09,’19 Renk, Sheryl L. 1993-’95, 2001-’02,’04,’08,’11-’13,’17 Rosengren, Hakan 1995 Shankar, Jay 2021 Shifrin, David 1986-’87,’92-’93,’96-’98, 2000,’04-’05,’13,’21 Vänskä, Osmo 2019 Yeh, John Bruce 2001-’02,’04,’08-’14,’16,’18 Zelickman, Robert 2002–’04

BASS CLARINET Howard, David 1990 Renk, Frank 2002,’08-’09 Renk, Sheryl 2002 Yeh, John Bruce 2002

BASSOON

Balliett, Brad 2019,’21 Buncke, Keith 2016-’18 Farmer, Judith 1997,’99 Fast, Arlen 1993 Goeres, Nancy 1996 Grego, Michele 1991,’94-’95 Mandell, Peter 1993 Martchev, Valentin E. 2004-’05,’07-’09,’11-’15,’19 Michel, Dennis 1986-’90,’92-’95 Nielubowski, Norbert 1991

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GRAND TRADITION Simmons, Ryan 2001-’04,’08,’11-’13,’16-’18 Zamora, Leyla 2009,’14-’15,’17

CONTRABASSOON Savedoff, Allen 2013 Zamora, Leyla 2008,’17

SAXOPHONE

HARP

Allen, Nancy 2005,’15 Hays, Marian Rian 1986-’87 Hoffman, Deborah 1990,2001,’10-’12 Phillips, Julie Smith 2021 Sterling, Sheila 2002-’03,’07

Marsalis, Branford 2012 Rewoldt, Todd 2007 Sundfor, Paul 2004

PIPA

HORN

MANDOLIN

Bain, Andrew 2014 Byrd-Marrow, David 2021 Drake, Susanna 1996◊ Folsom, Jerry 1987 Grant, Alan 2003 Gref, Warren 1986,’93, 2001-’02,’04,’07-’10 Hart, Dylan 2018,’21 Jaber, Benjamin 2012-’13 Landsman, Julie 1994-’95◊,’97,2009 Lorge, John 1990,’93,’95◊,2004 McCoy, Mike 2011,’15-’17,’19 Montone, Jennifer 2005,’16-’17,’21 Popejoy, Keith 2002-’04,’07-’11,’13-’15,’17,’19 Ralske, Erik 2012,’18 Ruske, Eric 2013-’14 Skye, Tricia 2009,’11,’17 Thayer, Julie 2013 Todd, Richard 1988-’89,’92-’94,’99, 2004,’07-’09,’11 Toombs, Barry 2002

TRUMPET

Balsom, Alison 2014 Bensdorf, Ethan 2021 Marotta, Jennifer 2016-’18 Nowak, Ray 2009-’12,’14 Owens, Bill 2010-’11 Perkins, Barry 2004,’09 Price, Calvin 1993,’95,’97 Reynolds, John 2021 Ruiz, Eduardo 2021 Stevens, Thomas 1991 Washburn, David 2002-’04,’07,’09-’10,’12-’14,’16-’18 Wilds, John 2001

TROMBONE

Buchman, Heather 1993 Gordon, Richard 2004 Hoffman, Mike 2001 Miller, James 2002 Panos, Alexander J. 2002 Reusch, Sean 2012,’14 Trumbore, Rachel 2021

PERCUSSION

Aguilar, Gustavo 2006 Copeland, Stewart 2009 Cossin, David 2006-’07,’09-’10,’12 Derr, Eric 2021 Donahue, Dustin 2012-’14,’19,’21 Dreiman, Perry 1993 Esler, Rob 2006 Ginter, Jason 2009-’12,’18-’19 Huang, Aiyun 2002-’03,’16 Mack, Tyler 1993 Nestor, Ryan 2018 Nichols, Don 2006 Palter, Morris 2004 Pfiffner, Pat 2012 Plank, Jim 1995◊ Rhoten, Markus 2013 Schick, Steven 1997, 2002-’04,’06,’13,’15,’18,’21 Smith, Bonnie Whiting 2012 Stuart, Greg 2006 Szanto, Jonathan 2001 Takeishi, Satoshi 2005,’13 Yeh, Molly 2014,’16

Wu Man 2003,’10,’15,’17-’18 Jewell, Joe 2003

GUITAR

Isbin, Sharon 2003 Johnson, Art 2001 Kahane, Gabriel 2012 Mackey, Steven 2001 Romero, Celin 2001 Romero, Pepe 2001 Sprague, Peter 2001 Viapiano, Paul 2003

ELECTRIC GUITAR Johnson, Derek 2019

DIGITAL SAMPLER Chen, Yuanlin 2012

VOICE

Boone, Sherri 2002 Bryant, Stephen 2012 Burdette, Kevin 2006 Cairns, Christine 1990 Cano, Jennifer Johnson 2013-’14,’21 Cooke, Sasha 2009 Dix, Marjorie Elinor 2003 Duncan, Tyler 2019 Ferguson, William 2006 Fischer, Nora 2019 Hall, Cecelia 2014 Hellekant, Charlotte 2010 Holiday, John 2019 Hong, Haeran 2012-’13 Huang, Ying 2007,’12 Hughs, Evan 2013 Kahane, Gabriel 2012 Kim, Young Bok 2006 Kuznetsova, Dina 2006 Leonard, Isabel 2006 Lindsey, Kate 2007 Markgraf, Kelly 2010,’21 McLorin Salvant, Cecile 2019 McNair, Sylvia 2001,’07 Molomot, Mark 2006 Morris, Joan 2003 Mumford, Tamara 2008,’18 Murphy, Heidi Grant 2002,’04,’07 Paz, Guadalupe 2021 Pershall, David 2019 Petrova, Lyubov 2015,’17-’18 Phillips, Susanna 2019 Plantamura, Carol 1987 Plenk, Matthew 2013 Putnam, Ashley 1996 Saffer, Lisa 1993 Trakas, Chris 2002 Trebnik, Andrea 2000 Trischler, Robin 2019 Wolfson, Sarah 2006 Zetlan, Jennifer 2019 Zhang, Jianyi 2003

NARRATOR

Adolphe, Bruce 2001 Eichenthal, Gail 1988-’89 Ellsworth, Eleanor 2009

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Goldman, Kit 1988 McNair, Sylvia 2007 Mark Pinter 2018 Rubinstein, John 1997, 2002 York, Michael 2009

CONDUCTOR

Adolphe, Bruce 2001 Beattie, Michael 2013 Conlon, James 2016-’17 Edmons, Jeff 2010-’13,’16-’17 Gilbert, Alan 2003 Hermanns, Carl 1994-’95 Huang Ruo 2008 Jacobsen, Eric 2021 Kahane, Jeffrey 2006 Kapilow, Robert 2002,’04 Laredo, Jamie 2011 Leppard, Raymond 2013 Lin, Cho-Liang 2011 Ling, Jahja 2006,’09 Litton, Andrew 2004 McGegan, Nicholas 2011,’19 Mackey, Steven 2008 Mickelthwate, Alexander 2007 Nagano, Kent 1993,’12 Neikrug, Marc 1997 Newman, Anthony’09-’10 Ohyama, Heiichiro 1988,’90-’97, 2006,’09,’11,’16 Previn, Andre 1990-’91 Salonen, Esa-Pekka 2002 Schick, Steven 2008-’09 Slatkin, Leonard 2014 Swensen, Joseph 2013 Tan Dun 2003,’12 Vanska, Osmo 2019 Zinman, David 2017-’18

ENSEMBLES

Aaron Diehl Trio 2021 Amelia Piano Trio 2000* American String Quartet 2007 Amphion String Quartet 2012* Andre Previn Jazz Trio 1991 Arioso Wind Quintet 1993 Arcadian Academy 2013 Assad Brothers 2011,’14 Attacca Quartet 2021 Australian Chamber Orchestra 2005 Avalon String Quartet 2000* Balourdet String Quartet 2021* Beacon Street Trio 2016* Bettina String Quartet 1996* BodyVox 2007 Borromeo String Quartet 2000-’01,’10,’15 Brentano Quartet 2019 Calder Quartet 2005,’09-’10,’12,’21 Calidore String Quartet 2021 Callisto Quartet 2019* Cambridge Trio 2018* Colorado String Quartet 1989-’90 Coolidge String Quartet 1999* Danish String Quartet 2016 Eclat Quartet 2011* Ehnes Quartet 2019 Emerson String Quartet 2018 Enso String Quartet 2001*,’03* Escher String Quartet 2007*,’15-’16 Firebird Quartet 1998* FLUX Quartet 2014,’16,’18,’21 Formosa Quartet 2008 Gemini Trio 1998* Goffriller Piano Trio 1999* Hausmann Quartet 2010* Huntington Quartet 2015* Igudesman & Joo 2012 Imani Winds 2006 International Sejong Soloists 2006 Jacques Loussier Trio 2008

GRAND TRADITION Jasper String Quartet 2009* Kalichstein-Laredo-Robinson Trio 2002,’11,’17 KahaneSwensenBrey 2013 Kings Return 2021 La Jolla Symphony 2008-’09 Late Night with Leonard Bernstein 2018 Linden String Quartet 2013* Malashock Dance 2002 Mark Morris Dance Group 2019 Miami String Quartet 1998,2003-’04 Miro Quartet 2009,’14,’17,’19 Montrose Trio, The 2016 Newbury Trio 2012* New Orford String Quartet 2018 Old City String Quartet 2011* Omer Quartet 2014* Orion String Quartet 1992-’93,2002,’04,’06,’10 Ornati String Quartet 2000* Pablo Ziegler Classical Tango Quartet 2012 Pacifica Quartet 1995* Pegasus Trio 2014* Phaedrus Quartet 2001* John Pizzarelli Trio 2018 Real Quiet 2007-’10 red fish blue fish 2004,’08-’09,’15,’19 Regina Carter Quartet 2017 Ridge String Quartet 1991 Rioult 2008 Rodin Trio 2017* Rolston String Quartet 2018* SACRA/PROFANA 2013 San Diego Chamber Orchestra 1987-’88 San Diego Master Chorale 2012,’18 San Diego Symphony 1990, 2004 SDYS’ International Youth Symphony 2010-’13,’16-’17 Shanghai Quartet 2003,’07,’13 Silk Road Ensemble 2005 Sonora String Quartet 2008* St. Lawrence String Quartet 1999 SummerFest Ensembles 1988,’92-’97 Sycamore Trio 2015* Time for Three 2015-’16 Tokyo String Quartet 2008,’11,’12 Trio Agape 1998* Trio Clara 2019* Trio Syzygy 2021* Trio Vivo 2013* Turtle Island String Quartet 1998 Ulysses Quartet 2017* Vega String Quartet 2001* Verona Quartet 2016* Wayne Shorter Quartet 2006 Westwind Brass 1994-’95,’97 Xando Quartet 1999* Zukerman Trio 2016

VISITING COMPOSER Adams, John 2002 Adolphe, Bruce 1998-2003,2005-’06 Ali-Zadeh, Franghiz 2003 Anderson, Julian 2014 Assad, Clarice 2015 Assad, Sergio 2014 Bermel, Derek 2015 Bolcom, William 2003 Chen Yi 2004 Copeland, Stewart 2009 Corea, Chick 2004 Dalbavie, Marc-Andre 2012 Dean, Brett 2010 Del Tredici, David 2013 Dutton, Brent 1997 Frank, Gabriela Lena 2021 Golijov, Osvaldo 1999 Hamelin, Marc-Andre 2016 Harbison, John 2002,’13 Hartke, Stephen 2014 Hoffman, Joel 2015 Huang Ruo 2008 Kahane, Gabriel 2012

Kapilow, Robert 2002,’04 Kirchner, Leon 2006 Lang, David 2019 Lindberg, Magnus 2006 Loussier, Jacques 2008 Mackey, Steven 2001,’08 Meyer, Edgar 1996 Neikrug, Marc 1997,’07,’21 O’Connor, Mark 2001,’05,’09 Powell, Mel 1989 Previn, Andre 1990,’96 Rouse, Christopher 2005,’10 Salonen, Esa-Pekka 2002 Schoenfield, Paul 2009 Schifrin, Lalo 2005 Schuller, Gunther 2009 Sheng, Bright 1993, 2004,’06,’10 Shepherd, Sean 2011,’16 Shorter, Wayne 2006 Stucky, Steven 2013 Tan Dun 2003,’12 Thomas, Augusta Read 2000 Tower, Joan 2000,’07,’11 Tsontakis, George 2009 Ung, Chinary 2003,’10 Wong, Cynthia Lee 2011 Ye, Xiaogang 2017 Zigman, Aaron 2021 Zwilich, Ellen Taaffe 2011

CHOREOGRAPHER Malashock, John 1994, 2002 Greene, Allyson 2005-’06

SCHOLAR-IN-RESIDENCE Bromberger, Eric 2014-’18 Kogan, Richard 2014 Pollack, Howard 2013 Reveles, Nicolas 2016 Taruskin, Richard 2015 Sam Zygmuntowicz 2018

LECTURER & GUEST SPEAKER Adamson, Robert, M.D. 2001 Adolphe, Bruce 1999 Agus, Ayke 2003 Allison, John 2000 Amos, David 1994 Bell, Diane 2001 Beres, Tiffany Wai-Ying 2017 Boles, Allison 2017-’20 Brandfonbrener, Alice G. 2002 Bromberger, Eric 1988-’96,’98-2009,’11-’13,’19-‘21 Brooks, Geoffrey 1988 Brown Montesano, Kristi 2019 Cassedy, Steve 2007-’10,’12-’14,’16 Chapman, Alan 1988 Child, Fred 2001-’06 Davies, Hugh 2000 DeLay, Dorothy 2001 Eichenthal, Gail 1987 Epstein, Steven 2001 Erwine, Dan 2000-’01 Fay, Laurel 1991 Feldman, Michael 1999-2000 Fiorentino, Dan 2003 Flaster, Michael 2001 Gatehouse, Adam 2000 Guzelimian, Ara 1987,’89-’90 Hampton, Jamey 2007 Hanor, Stephanie 2003 Harris, L. John 2001 Helzer, Rick 2006 Hermanns, Carl 1997 Hughes, Robert John 2019,’21 Lamont, Lee 2002 Liang, Lei 2017 Longenecker, Martha W. 2003 Malashock, John 2000

Mehta, Nuvi 2010,’16-’17 Mobley, Mark 2001-’03 Morel, Rene 2000 Noda, Ken 2000 O’Connor, Sandra Day 2004 Overton, Marcus 2000-’01,2004-’18 Paige, Aaron 2021 Pak, Jung-Ho 2001 Perl, Neale 2000-’01 Prichard, Laura 2021 Quill, Shauna 2005 Reveles, Nicolas 1994-’95,’99,2000,’11,’13-’14,‘18-’19,’21 Roden, Steve 2007 Rodewald, Albert 1990 Roe, Benjamin K. 2001,’04-’05,’10 Rosenthal, Leah Z. 2010-’19,’21 Roland, Ashley 2007 Ross, Alex 2019,’21 Ruggiero, Dianna 2011 Russell, Claudia 2008,’18 Salzman, Mark 2001 Sanroman, Lucia 2007 Scher, Valerie 2000-’01 Schick, Steven 2010,’21 Schomer, Paul 2001 Schultz, Eric 2003-’04 Shaheen, Ronald 2007-’08 Silver, Jacquelyne 1994,’96-’97 Smith, Ken 2000 Stein, Leonard 1992 Steinberg, Russell 2007-’11 Stevens, Jane R. 1991 Stokes, Cynthia 2011 Sullivan, Jack 2000 Sutro, Dirk 2001-’04 Teachout, Terry 2000 Valenzuela, Ruben 2012 Varga, George 2004 Walens, Stanley 2007,’11 Wallace, Helen 2000 Willett, John 1991 Winter, Robert 1987, 2000 Yeung, Angela 2008 Youens, Susan 2012 Yung, Gordon, M.D. 2001

VISUAL ARTIST-IN-RESIDENCE Cook, Tristan 2019-’21 Chihuly, Dale 2000^ Curry, Stephen P. 2001 # Engle, Madelynne 1996 Farber, Manny 1997 Fitch, Doug 2019,’21 Fonseca, Caio 1998-’99^,’19 Ohyama, Gail 1986-’95 Roden, Steve 2007 # Rodig, Lutz 2019 Rozin, Daniel 2021 Scanga, Italo 2000^ Smithey, Zack 2019 Zamora, Michelle 2019

SUMMERFEST MUSIC & ARTISTIC DIRECTORS Inon Barnatan 2019-’21 Lin, Cho-Liang 2001-’18 Finckel, David and Wu Han 1998-2000 Ohyama, Heiichiro 1986-’97

◊ SummerFest Ensembles * Fellowship Artists, Workshop participant ^ in collaboration with the University Art Gallery, UC San Diego # in collaboration with the Museum of Contemporary Art, San Diego BOLD Newcomers to SummerFest

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BOARD OF DIRECTORS 2020-21

LA JOLLA MUSIC SOCIETY STAFF

Steve Baum – Chair H. Peter Wagener – Vice Chair Stephen Gamp – Treasurer Jennifer Eve – Secretary

Todd R. Schultz – President & CEO Leah Rosenthal – Artistic Director Inon Barnatan – SummerFest Music Director

Mary Ann Beyster Gordon Brodfuehrer Wendy Brody Ric Charlton Sharon Cohen Bert Cornelison Brian Douglass Ann Parode Dynes Debby Fishburn Lehn Goetz John Hesselink Susan Hoehn Vivian Lim Sue Major Robin Nordhoff Arman Oruc Peggy Preuss Sylvia Ré Sheryl Scarano Clifford Schireson Marge Schmale Maureen Shiftan Jeanette Stevens Stephanie Stone Debra Turner Lise Wilson Bebe L. Zigman HONORARY DIRECTORS Brenda Baker Steve 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 *Listing as of January 31, 2021

ADMINISTRATION Rick Dahlseid, MST, CPA – Interim Director of Finance Brady Stender – Finance Coordinator Mary Emerson – Finance Assistant PROGRAMMING Allison Boles – Education & Community Programming Manager Sarah Campbell – Artistic Programming Advisor Grace Smith – Artistic Programming Manager John Tessmer – Artist Liason Eric Bromberger – Program Annotator Serafin Paredes – Community Music Center Director Xiomara Pastenes – Community Music Center Administrative Assistant Community Music Center Instructors: Noila Carrazana, Marcus Cortez, Armando Hernandez, Cesar Martinez, Michelle Maynard, Eduardo Ruiz, Rebeca Tamez DEVELOPMENT Ferdinand Gasang – Director of Development Landon Akiyama – Development Coordinator Nicole Slavik – Special Events Coordinator MARKETING & TICKET SERVICES Adam Thurman – Director of Marketing Hayley Woldseth – Marketing & Communications Project Manager Rachel Cohen – Marketing Coordinator Angelina Franco – Graphic & Web Designer Shannon Bobritchi – Ticket Services Manager Nina Paganucci – Assistant Ticket Services Manager Patrick Mayuyu – Ticket Services Associate Shaun Davis – House Manager OPERATIONS & PRODUCTION Hannes Kling – Director of Operations Verdon Davis – Technical Director Abby Viton – Production Manager Sammy Bauman-Martin – Principal Stage Manager Alyssa Swann – Assistant Stage Manager Tristan Cook – Video Director Jake Drake – Video Director Zac Nicholson – Camera Anthony LeCourt – Streaming & Content Manager Benjamin Maas – Recording Engineer Jonnel Domilos – Piano Technician

94 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

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 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.

FESTIVAL FOUNDING SPONSORS

Brenda Baker and Steve Baum

SYNERGY INITIATIVE UNDERWRITER

Clara Wu Tsai

In addition to our Lead Sponsors and Underwriter, the following pages pays tribute to all of our partners who make it possible to share the magic of the performing arts with our community.

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THANK YOU FOR YOUR SUPPORT Festival Chairs, Sponsors, and Hosts SummerFest Chairs Peggy Preuss Debbie Turner Sue Wagener Gala Chairs Peter Cooper Erik Matwijkow Artist Housing Committee Brenda Baker Sheryl Scarano Sue Wagener Dolly Woo Medallion Society and Festival Sponsors Judith Bachner and Eric L. Lasley Brenda Baker and Steve Baum Judith Bachner and Eric Lasley Raffaella and John Belanich Joan Jordan Bernstein Mary Ann Beyster Bjorn Bjerede and Jo Kiernan Bob and Ginny Black Karen and James Brailean Gordon Brodfuehrer Julie and Bert Cornelison Jendy Dennis Endowment Fund Una Davis and Jack McGrory Martha and Ed Dennis Silvija and Brian Devine Barbara Enberg Sue and Chris Fan Joy Frieman Pam and Hal Fuson Lehn and Richard Goetz Brenda and Michael Goldbaum Peg and Buzz Peg Gitelson Lisa Braun-Glazer and Jeff Glazer Margaret Stevens Grossman and Michael S. Grossman John Hesselink Joan and Irwin Jacobs Theresa Jarvis

Keith and Helen Kim Angelina and Fred Kleinbub Vivian Lim and Joseph Wong Kathleen and Ken Lundgren Elaine and Doug Muchmore Arlene and Louis Navias Marina and Rafael Pastor Peggy and Peter Preuss Sylvia and Steven Ré Catherine Rivier Stacy and Don Rosenberg Leigh P. Ryan Susan Shirk and Sam Popkin Marge and Neal Schmale Jeanette Stevens Gloria and Rodney Stone Mera and Gianangelo Vergani Abby and Ray Weiss Dolly and Victor Woo Carolyn Yorston-Wellcome Anna and Edward Yeung Bebe and Marvin Zigman Anonymous (2) Festival Hosts Brenda Baker and Steve Baum Linda Christensen and Gonzalo Ballon-Landa Julie and Bert Cornelison Mary Ann Beyster Alicia and Rocky Booth Lisa Braun Glazer and Jeff Glazer Gordon Brodfuehrer Jane and John Burns Eleanor and Ric Charlton Karen and Harris Cohen Amy Corton Ann Craig Silvijia and Brian Devine Martha and Ed Dennis Sue Dramm Sue and Chris Fan Lehn and Richard Goetz Pati Heestand John Hesselink Carol Manifold

96 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

Margaret McKeown and Peter Cowhey Elaine and Doug Muchmore Garna Muller Joani Nelson Claire Reiss Cindy Rosenthal Arlene and Peter Sacks Susan Shirk and Sam Popkin Haeyoung Tang Susan and Richard Ulevitch Diana Vines and John C. Malugen Sue and Peter Wagener Abby and Ray Weiss Donna and David Weston Dolly and Victor Woo We are always looking for new hosts. If you are interested in learning more about hosting an artist or a special event, please call 858.459.3724. Listing as of July 12, 2021

SEASON SPONSORS

FESTIVAL SPONSORS

SAN DIEGO

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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 organization to present year-round. It is our honor to recognize the following donors.

FOUNDER Brenda Baker & Stephen Baum

($250,000 and above)

Raffaella & John Belanich The Conrad Prebys Foundation

ANGEL Joy Frieman

($100,000 - $249,999)

Joan & Irwin Jacobs Debra Turner The City of San Diego Commission for Arts and Culture

BENEFACTOR Mary Ann Beyster ($50,000-$99,999)

Ric & Eleanor Charlton Silvija & Brian Devine Stephen Gamp | Banc of California Jeanne Herberger, Ph.D. Sheryl & Bob Scarano Doctor Bob & June Shillman Haeyoung Kong Tang Clara Wu Tsai & Joseph Tsai Bebe & Marvin Zigman

98 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

ANNUAL SUPPORT

GUARANTOR

($25,000 - $49,999)

Anonymous Gordon Brodfuehrer Wendy Brody Peter Cooper & Erik Matwijkow Julie & Bert Cornelison Barbara Enberg Monica Fimbres Jeff Glazer & Lisa Braun Glazer Lehn & Richard Goetz John Hesselink Susan & Bill Hoehn Vivian Lim & Joseph Wong Sue & John Major Arlene & Lou Navias Arman Oruc & Dagmar Smek Peter & Peggy Preuss Marge & Neal Schmale Jeanette Stevens Gayle & Philip Tauber Vail Memorial Fund Anna & Edward Yeung Sue & Peter Wagener

SUSTAINER

($15,000 - $24,999)

Anonymous (2) Sharon L. Cohen Nina & Robert Doede Brian & Susan Douglass Ann Parode Dynes & Robert Dynes Lyndie & Sam B. Ersan Jennifer & Kurt Eve Sue & Chris Fan Debby & Wain Fishburn Brenda & Michael Goldbaum

Angelina & Fredrick Kleinbub Robin & Hank Nordhoff Betty-Jo Petersen Steven & Sylvia Ré Stacy & Don Rosenberg Leigh P. Ryan Clifford Schireson & John Venekamp Maureen & Thomas Shiftan Abby & Ray Weiss Lisa Widmier Lise Wilson & Steve Strauss Katrina Wu

SUPPORTER

($10,000 - $14,999)

Anonymous Judith Bachner & Dr. Eric L. Lasley Tom & Stephanie Baker Bob & Ginny Black Karen & Don Cohn Martha & Ed Dennis The Hon. Diana Lady Dougan Teresa & Merle Fischlowtiz Pam & Hal Fuson Ingrid Hibben Keith & Helen Kim Carol Lam & Mark Burnett Virginia & David Meyer Rafeal & Marina Pastor Catherine Rivier Ivor Royston & Colette Carson Royston Noni & Drew Senyei Iris & Matthew Strauss Dolly & Victor Woo Carolyn Yorston-Wellcome

AMBASSADOR ($5,000 - $9,999)

Anonymous (3) Carson Barnett & Tom Dubensky Joan Jordan Bernstein Mary Bianco Bjorn Bjerede & Jo Kiernan George and Laurie Brady Dr. James C. & Karen A. Brailean Stuart & Isabel Brown Lisa & David Casey Lori & Aaron Contorer Margot & Dennis Doucette Jeane Erley Jill Esterbrooks & James Kirkpatrick Robbins Farrell Family Foundation Elliot & Diane Feuerstein Richard & Beverley Fink Sara & Jay Flatley Beverly Frederick & Alan Springer Ingrid & Ted Friedmann Elaine Galinson & Herbert Solomon Buzz & Peg Gitelson Michael Grossman & Margaret Stevens Grossman Rita & Mark Hannah Erik & Mimi Holtsmark Gail & Doug Hutcheson Debby & Hal Jacobs Theresa Jarvis & Ric Erdman Jan Ann Kahler Amy & William Koman Arleen & Robert Lettas Kathleen & Ken Lundgren Jack McGrory & Una Davis Margaret McKeown & Peter Cowhey Donna Medrea Marilyn & Stephen Miles

THE CONRAD Since its opening on April 5, 2019, The Conrad Prebys Performing Arts Center has become the new heart of cultural, arts education, and community event activity in La Jolla. The Conrad is the permanent home of La Jolla Music Society and hosts world-class performances presented by LJMS as well as other San Diego arts presenters. Additionally, The Conrad is available for a wide range of conferences, corporate meetings, weddings, fundraisers, and private events.

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ANNUAL SUPPORT Bill Miller & Ida Houby Hans & Ursula Moede Elaine & Doug Muchmore Muchnic Foundation Pat & Hank Nickol Sharon & Jeff Pennington William Pitts & Mary Sophos Taffin & Gene Ray Mrs. Robert Reiss Susan Shirk & Samuel Popkin Gloria & Rod Stone Joyce & Ted Strauss Mary & Bill Urquhart Yvonne Vaucher Gianangelo & Mera Vergani Jodi & Rusty Wallis Margie & John H. Warner, Jr. Sheryl & Harvey White Mary & Joseph Witztum

AFICIONADO ($2,500 - $4,999)

Anonymous Rusti Bartell Barry & Emily Berkov Jim Beyster Sedgwick & Gloria Browne R. Nelson & Janice Byrne Katherine & Dane Chapin Linda Chester & Ken Rind Linda Christensen & Gonzalo Ballon-Landa Lee Clark Dr. Marjorie Coburn Bradley Comp and Christine Ellis-Comp David Cooper and Joanne Hutchinson Linda & Richard Dicker Mr. & Mrs. Michael Durkin Ruth & Ed Evans Socorro Fimbres Dawn Gilman Lee & Frank Goldberg Lynn Gorguze & The Hon. Scott Peters Ronald & Deborah Greenspan Teresa & Harry Hixson Erik & Mimi Holtsmark Reena & Sam Horowitz Joan Hotchkis Elisa & Rick Jaime Susan & David Kabakoff

Lynda Kerr Jeanne Jones Jeffrey & Sheila Lipinsky Sylvia & Jamie Liwerant Sarah Long Cindy & Jay Longbottom Mary Keough Lyman Anita & Mike Mahaffey Dennis McConnell & Kimberly Kassner Gail & Ed Miller Howard & Barbara Milstein Alexandra Morton Jeanne & Rick Norling Sally & Howard Oxley Carolyn & Ed Parrish Rachel & Robert Perlmutter Vicki & Art Perry Allison & Robert Price Drs. Gloria & Joseph Shurman Gerald & Susan Slavet Mark & Nicollette Sterk Jessica & Eberhardt Rohm Sandra & Robert Rosenthal Doreen & Myron Schonbrun Emily & Tim Scott Pat Shank Leland & Annemarie Sprinkle Elizabeth Taft Twin Dragons Foundation Susan & Richard Ulevitch Rick & Diane Viton Ronald Wakefield Mary Walshok Armi & Al Williams Jo & Howard Weiner Faye Wilson

ASSOCIATE

($1,000 - $2,499)

Dede & Mike Alpert Christine Andrews Alvaro Ávila Jeffrey Barnouw Charles & Sharon Bates Carolyn Bertussi Benjamin Brand Cathy & Chris Carroll Adriana Cetto Jian & Samson Chan

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Grace & David Cherashore Anthony F. Chong & Annette Thu Nguyen Jim & Patty Clark June Chocheles Debbe Deverill Rosalind Dietrich James and Renée Dunford Jack Fisher Barbara & Kent Freundt Beverly Friemon Laura & Tom Gable Sarah & Michael Garrison Beverly Grant Miles Grant & Tatiana Zunshine Catharina M. Hamilton Arlene Harris and Martin Cooper Norma Hildago Paul & Barbara Hirshman Linda Howard Lulu Hsu Margaret Jackson Sandra Jordan Dwight Kellogg Edward Koczak Jeanne Larson Theodora Lewis Grace H. Lin Eileen A. Mason Dr. Sandra Miner Virginia Oliver Marty & David Pendarvis Jill Porter Carol Randolph John Renner Gwyn Carter Rice Eva & Doug Richman Linda & Charlie Shalvoy Pam Shriver Jean Sullivan & David Nassif Jean Thomas Norma Jo Thomas Susan E. Trompeter, M.D. Paige & Bob Vanosky Fernanda Vildosola Lori & Bill Walton Sibyl & David Wescoe Karin Winner Fernanda Witworth

ANNUAL SUPPORT

FRIEND

ENTHUSIAST

Anonymous (2) K. Andrew Achterkirchen Dr. Andrew S. Allen Arlene Antin & Leonard Ozerkis Julie & Edgar Berner LaVerne & Blaine Briggs Sonya Celeste-Harris & Richard Harris John Conway Caroline DeMar Richard Forsyth Beverly Fremont Clare Friedman Elisabeth Friedman Carrie Greenstein Nancy D. Grover Bryna Haber Phil & Kathy Henry Emmet & Holly Holden Nancy Hong Louise Kasch Evelyn & Bill Lamden Toni Langlinais Bill & Sallie Larsen Lewis Leicher Elizabeth Lucas Linda & Michael Mann Betty & James Martin Kenneth Martin Ted McKinney Wendy & Bruce Nelson Susan Newell Jonathan Scheff & Kimberly Butterwick Ronald Simon William Smith & Carol Harter Randall Smith Mary Rodriguez Barbara Rosen & Bob Fahey Marsha & Bob Venn David Washburn Suhaila White Olivia & Marty Winkler

Anonymous Sibille Alexander Lynell Antrim Nancy Corbin Assaf Stefana Brintzenhoff Robert & Jean Chan Kathleen Charla Geoffrey Clow Hugh Coughlin Roccio & Mike Flynn Ferdinand Marcus Gasang Dr. & Mrs. Jimmie Greenslate Helga Halsey Victoria Hamilton Bo Hedfors David Hodgens & Linda Olson Richard Hsieh Ed & Linda Janon Julia & George L. Katz Gladys & Bert Kohn Gordon Knight Las Damas de Fairbanks Katy McDonald Patricia McNew Anne Minteer Ross Moser Nasrin A. Owsia Aghdas Pezeshki William Purves & Don Schmidt Nicolas Reveles Morton & Marjorie Shaevitz William Smith Edward Stickgold & Steven Cande Eli & Lisa Strickland Dr. & Mrs. Robert Wallace Christopher and Patricia Weil Brian Worthington David & Debra Youssefi Bart Ziegler

($500 - $999)

($250 - $499)

HONORARIA & MEMORIAL In Memory of Rita Atkinson: Ferdinand Marcus Gasang Dolly & Victor Woo

In Honor of Barbara Enberg: Karen & Stuart Tanz

In Honor of Monica Fimbres: Anne Marshall

In Memory of Henry Gasang: Martha & Ed Dennis

In Honor of Arman Oruc: Barbara and Geoff Wahl

In Honor of Sheryl Scarano: Maxine Snyder Nancy and Alan Spector

In Honor of Todd Schultz: Christopher Beach & Wesley Fata Teresa & Harry Hixson Susan & Richard Ulevitch

In Honor of Maureen & Tom Shiftan: Lester Stiel

In Honor of Leslie Simon: Adrienne Krichman

In Honor of Debbie Turner: Lori & Bill Walton Karin Winner

This list is current as of July 12, 2021. to make an amendment to your listing please contact Landon Akiyama, at 858.459.3724, ext. 216 or LAkiyama@LJMS.org. 858.459.3728 • LJMS.ORG | 101

MEDALLION SOCIETY CROWN JEWEL

TOPAZ

Brenda Baker and Steve Baum

Anonymous Joan Jordan Bernstein Mary Ann Beyster Virginia and Robert Black Dr. James C. and Karen A. Brailean Barbara Enberg Pam and Hal Fuson Buzz and Peg Gitelson Drs. Lisa Braun-Glazer and Jeff Glazer Margaret and Michael Grossman Theresa Jarvis Angelina and Fred Kleinbub Kathleen and Ken Lundgren Elaine and Doug Muchmore Hank and Patricia Nickol Rafael and Marina Pastor Don and Stacy Rosenberg Leigh P. Ryan Neal and Marge Schmale Jeanette Stevens Gloria and Rodney Stone Gianangelo and Mera Vergani Joseph Wong and Vivian Lim Dolly and Victor Woo Carolyn Yorston-Wellcome Bebe and Marvin Zigman

DIAMOND Raffaella and John Belanich Joy Frieman Joan and Irwin Jacobs

RUBY Silvija and Brian Devine

EMERALD Arlene and Louis Navias

GARNET Julie and Bert Cornelison Peggy and Peter Preuss

SAPPHIRE John Hesselink Keith and Helen Kim

Listing as of July 12, 2021

The Medallion Society was established to provide long-term financial stability for La Jolla Music Society. We are honored to have this special group of friends who have made multi-year commitments of at least three years to La Jolla Music Society, ensuring that the artistic quality and vision we bring to the community continues to grow. 102 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

DANCE SOCIETY GRAND JETÉ

PIROUETTE

DEMI POINTE

Jeanette Stevens Marvin and Bebe Zigman

Elaine Galinson and Herbert Solomon Larry Marcus Annie So

Beverly Fremont Saundra L. Jones

POINTE Carolyn Bertussi Susan E. Trompeter, M.D.

PLIÉ Rebecca Kanter

Listing as of July 12, 2021

DANCE SERIES OUTREACH La Jolla Music Society hosts dance master classes and open rehearsals throughout the winter season. Participating companies have included Alvin Ailey American Dance Theater, MOMIX, Joffrey Ballet, Mark Morris Dance Group, New York City Ballet MOVES, and many more.

La Jolla Music Society is the largest present of major American and great international dance companies in San Diego. In order for LJMS to be able to fulfill San Diego’s clear desire for dance and ballet performances by the very best artists around the world, the Dance Society was created. We are grateful for each patron for their passion and support of our dance programs. 858.459.3728 • LJMS.ORG | 103

PLANNED GIVING LEGACY SOCIETY Anonymous (2) June L. Bengston* Joan Jordan Bernstein Bjorn Bjerede and Jo Kiernan Dr. James C. and Karen A. Brailean Gordon Brodfuehrer Barbara Buskin* Trevor Callan Geoff and Shem Clow Anne and Robert Conn

Johanna Schiavoni Pat Shank Drs. Joseph and Gloria Shurman Karen and Christopher Sickels Jeanette Stevens Elizabeth and Joseph* Taft Norma Jo Thomas Dr. Yvonne E. Vaucher Lucy and Ruprecht von Buttlar Ronald Wakefield

George and Cari Damoose Teresa and Merle Fischlowitz 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

John B. and Cathy Weil Carolyn Yorston-Wellcome and H. Barden Wellcome* Karl and Joan Zeisler Josephine Zolin

*In Memoriam Listing as of July 12, 2021

REMEMBERING LJMS IN YOUR WILL It is easy to make a bequest to La Jolla Music Society, and no amount is too small to make 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. 104 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

FOUNDATIONS Thomas C. Ackerman Foundation

David C. Copley F o u n d at i o n

Ayco Charitable Foundation: The AAM & JSS Charitable Fund The Vicki & Carl Zeiger Charitable Foundation Bettendorf, WE Foundation: Sally Fuller The Blachford-Cooper Foundation The Catalyst Foundation: The Hon. Diana Lady Dougan The Clark Family Trust Enberg Family Charitable Foundation The Epstein Family Foundation: Phyllis Epstein The Fidelity Charitable Gift Fund: The Carroll Family Fund Drs. Edward & Martha Dennis Fund Sue & Chris Fan Don & Stacy Rosenberg Shillman Charitable Trust Richard and Beverly Fink Family Foundation Inspiration Fund at the San Diego Foundation: Frank & Victoria Hobbs 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 Jaime & Sylvia Liwerant Fund The Allison & Robert Price Family Foundation Fund John & Cathy Weil Fund The Stephen Warren Miles and Marilyn Miles Foundation

Rancho Santa Fe Foundation: The Fenley Family Fund The Susan & John Major Fund The Oliphant Fund The Pastor Family Fund The San Diego Foundation: The Beyster Family Foundation Fund The M.A. Beyster Fund II The Karen A. & James C. Brailean Fund The Valerie & Harry Cooper Fund The Hom Family Fund The Ivor & Colette Carson Royston Fund The Scarano Family Fund The Shiftan Family Fund Schwab Fund for Charitable Giving: Ted McKinney & Frank Palmerino Fund The Shillman Foundation Simner Foundation The Haeyoung Kong Tang Foundation The John M. and Sally B. Thornton Foundation Vail Memorial Fund Thomas and Nell Waltz Family Foundation The John H. Warner Jr. and Helga M. Warner Foundation Sheryl and Harvey White Foundation

SERVING OUR COMMUNITY La Jolla Music Society reaches over 11,000 students and community members annually. LJMS works with students from more than 60 schools and universities, providing concert tickets, performance demonstrations, and master classes. Thanks to the generous support of our patrons and donors, all of our outreach activities are free to the people we serve.

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PUBLIC SUPPORT La Jolla Music Society thanks all of our generous patrons and supporters– including government funding – who support our artistic, education and community engagement programs.

Support of our Season is provided by:

Thank you to The City of San Diego Commission for Arts and Culture for promoting, encouraging and increasing support for the region's artistic and cultural assets, integrating arts and culture into community life and showcasing San Diego as an international tourist destination.

Support from the County of San Diego’s Community Enhancement Program is vital to our SummerFest programs. Thank you for supporting programs that promote and generate tourism and economic development in San Diego.

Thank You! 106 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

SUMMERFEST

Gala Chairs Peter Cooper Erik Matwijkow

Celebrate the return of SummerFest by joining us at our most important annual fundraiser for the education and artistic programs of our chamber music festival.

Gala Hosts Noni and Drew Senyei SummerFest Chairs Peggy Preuss Debbie Turner Sue Wagener

August 14, 2021

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The Conrad Prebys Performing Arts Center

RESILIENCE FUND Protect arts programming. Ensure a future filled with live performances.

Donate Today LJMS.org or call 858.459.3728

108 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

JOIN OUR FAMILY For more than 50 years, La Jolla Music Society has helped nurture 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, and robust education programs. This impressive growth has been carefully conducted by an active and highly committed volunteer board of directors and a 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! During these extraordinary and unprecedented times, gifts to La Jolla Music Society help bring the music you love to audiences in San Diego and around the world. Every contribution is significant in helping us to create engaging programs that can be experienced at home and at outdoor spaces. La Jolla Music Society’s legacy is one of resilience and has endured for half a century, and with your support, we will once again prevail during this precarious time. Through your patronage, you are setting the tone for the future. Please consider making a donation today. With help from devoted arts patrons like you, we can look forward to bringing back unforgettable live performances for all to enjoy.

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We are grateful to our generous Founding Donors whose leadership and gifts have built The Conrad Prebys Performing Arts Center and we applaud their vision to enrich the quality of life for everyone in our community. Conrad Prebys and Debbie Turner The Conrad Prebys Foundation Brenda Baker and Steve Baum Joan and Irwin Jacobs Clara Wu and Joseph Tsai

Raffaella and John Belanich Rita and Richard Atkinson The Beyster Family Brian and Silvija Devine Joy Frieman

Peggy and Peter Preuss Noni and Drew Senyei Debbie Turner

The Abello Family Sumi Adachi Erica Arbelaez Alexander Willis Allen Kathleen Alligood and Timothy Sauer John Amberg Sue Andreasen Arleene Antin and Leonard Ozerkis Abrahame and Debbie Artenstein Nancy Assaf Thomas Bache and Ann Kerr Marnie Barnhorst Rusti Bartell Christopher Beach and Wesley Fata Maurine Beinbrink Emily and Barry Berkov Holly Berman Edgar and Julie Berner Joan Jordan Bernstein Bjorn Bjerede and Jo Kiernan Barbara Bloom Helen Bloomfield Joye Blount and Jessie Knight, Jr. Robert and Virginia Black Joyce and Robert Blumberg Susan B. Boe Bill Boggs and Marilyn Huff Karen and Jim Brailean Benjamin Brand Ronald I. Brendzel Carter Brey Gordon Brodfuehrer Wendy Brody Ellen Brown

Sedgwick Browne Fay Bullitt Janice and Nelson Byrne Peter Cacioppo Carol and Jim Carlisle Robert Caplan and Carol Randolph R. Park and Louise Carmon Lisa and David Casey Katherine and Dane Chapin Ric and Barbara Charlton Linda Chester and Kenneth Rind Bobbi Chifos Linda Christensen and Gonzalo Ballon-Landa Lee Clark Ashley Clark Jim and Patty Clark Ryan Clark Greg Clover and Kathleen Webber Charles and Monica Cochrane Sharon Cohen Karen and Don Cohn Peter Cooper in honor of Norman Blachford Valerie and Harry Cooper Julie and Bert Cornelison Hugh Coughlin Ruth Covell Elaine and Dave Darwin Una Davis Family Doug Dawson Mr. and Mrs. Richard Dean Ted DeDee and Pamela Hinchman Caroline DeMar Tallie and George Dennis Martha and Ed Dennis

Debra Deverill Linda and Rick Dicker Brian and Susan Douglass The Dow Divas Sue H. Dramm Robert and Ann Parode Dynes Barbara and Dick Enberg Leighann Enos Jennifer and Kurt Eve John and Linda Falconer Felix Fan Eduardo Ludovico Feller Irene Tsang Feller Thompson and Jane Fetter Elliot and Diane Feuerstein Monica Fimbres Socorro Fimbres Teresa and Dr. Merle Fischlowitz Wain and Debbie Fishburn Elisabeth Eisner Forbes and Brian Forbes David Fox Jorgina Franzheim Barbara Freeman Brandon and Paula Freeman Paul and Claire Friedman Ronald Friedman Georges & Germaine Fusenot Charity Foundation Laura and Tom Gable Ira Gaines and Cheryl J. Hintzen-Gaines Elaine Galinson and Herbert Solomon Susan Galluccio Sarah and Michael Garrison Ferdinand Marcus Gasang

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THANK YOU! Maxine and Marti Gellens Clyde Gillespie Dawn Gilman Peggy and Buzz Gitelson Lisa Braun Glazer and Jeff Glazer Tom Gleich in memory of Martin and Enid Gleich Lehn and Richard Goetz Brenda and Michael Goldbaum Lee and Frank Goldberg Grande Colonial Clyde Gonzales Lynn Gorguze and The Hon. Scott Peters Jennifer and Richard Greenfield Ronald and Deborah Greenspan Carol Lynne Grossman Margaret Stevens Grossman and Michael Grossman David Guss Teresa Haas Helga Halsey Judith Harris and Robert Singer George Hauer / George’s at the Cove Bo Hedfors Nancy Heitel Edvard and Barbara Hemmingsen Dr. Jeanne Herberger in loving memory of Gary Kierland Herberger Kay and John Hesselink Nellie High Louise and Robert Hill Paul and Barbara Hirshman Sue Hodges Susan and Bill Hoehn Alan Hofmann Mark Holmlund Vivian and Greg Hook Eliot Horowitz in honor of Carol Fink Davorin David Hrovat in loving memory of Dr. Vilibald Hrovat and Dr. Maria Hrovat Lulu Hsu Liz and Robert Jackson Linda and Edward Janon Theresa Jarvis Arthur Q. Johnson Foundation Sheila Johnson Wilbur Johnson Jeanne Jones and Don Breitenberg Patricia and Lewis Judd

David and Susan Kabakoff Michael and Nancy Kaehr Rowain and Joseph Kalichstein Allen Kalkstein and Linda Low-Kalkstein Linda Kanan Sofia Kassel Nan and Buzz Kaufman Dwight Kellogg Richard and Ruth Kelly Lynda Kerr Karen and Warren Kessler Katherine Killgore and Glen Bourgeois Eric Kim Helen and Keith Kim Jenelle Kim Shirley Kirschbaum Carrie Kirtz David Kitto and Aristides Gonzales Angelina and Fredrick Kleinbub Leslie and Nat Klein in memory of Audree Jane Kolar James Kralik and Yunli Lou Artun Kutchuk La Jolla Beach & Tennis Club La Jolla Sports Club La Valencia Hotel Carol Lam and Mark Burnett Bill and Sallie Larsen Las Patronas Jaime Laredo The LeCourt Family Sharon LeeMaster Teddie Lewis Vivian Lim and Joseph Wong Debby and Jimmy Lin Lawrence Lindberg and Marilyn Adler Lindberg Sheila and Jeffrey Lipinsky Ann and Gerald Lipschitz in honor of Selma Malk Norman and Mayumi Lizt Mathew and Barbara Loonin Terri Lundberg Kathleen and Ken Lundgren Mary Keough Lyman Sue and John Major Brian Malk in honor of Selma Malk Linda and Michael Mann Holly Fowler Martens and Robert Martens Patsy and David Marino

Betty and James Martin Michel Mathieu and Richard MacDonald Rosemarie Maywood Dennis A. McConnell and Kimberly A. Kassner Matt McCormick in memory of Joel McCormick Margaret McKeown and Peter Cowhey Dan McLeod Virginia Meyer Betsy Mitchell Hans and Ursula Moede Daphne Nan Muchnic Bridget Musante Esther Nahama Arlene and Lou Navias The Nelson Family Paula Noell Robin and Hank Nordhoff Janet and John Nunn Virginia Oliver John and Nancy O’Neal Richard O’Neill Neil Osborne Pacific Sotheby’s Real Estate Renee Levine Packer Catherine and Bob Palmer Patty and PD Rafael and Marina Pastor Pamela Peck in honor of the Peck Pugh Family Dan Pearl in memory of Julius Pearl Marty and David Pendarvis Rachel Perlmutter in memory of Marion and Lester Perlmutter Betty Jo Petersen Ursula Pfeffer Phyllis and Stephen Pfeiffer Cynthia Phelps William Pitts and Mary Sophos Gary Poon Ellen Potter and Ronald Evans William Propp and Anna Covici The ProtoStar Foundation Robert Bob and Joyce Quade The Klaus Radelow Family Evelyn and Ernest Rady Sylvia and Steven Ré Catherine and Jean Rivier

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! U O Y K N THA

Jeannie and Arthur Rivkin Jessica and Eberhard Rohm Stacy and Don Rosenberg Colette Carson Royston and Ivor Royston Noel Rufo David and Mary Ruyle Leigh P. Ryan Rita Ryu in memory of Sam Ryu Arlene and Peter Sacks Eric and Jane Sagerman Julie and Jay Sarno Eric Sasso Sheryl and Bob Scarano Adrienne and Richard Schere Jay and Torrie Schiller Clifford Schireson and John Venekamp Marge and Neal Schmale Marilies Schoepflin in honor of Axel Schoepflin Emily and Tim Scott Linda Scott Minna Shah Pat Shank Maureen and Thomas Shiftan Mao and Doctor Bob Shillman Gigi and Joseph Shurman Karen and Christopher Sickels

Rob Sidner Simon | Krichman Family Ethna Sinisi Rodney and Dolores Smith Rewa Colette Soltan Alan and Beverly Springer Leland and Annemarie Sprinkle Sheryl Staples Martin Stein Jeanette Stevens Gloria and Rod Stone Iris and Matthew Strauss Elizabeth Taft Michael Takamura Haeyoung Kong Tang William Tong Shannon Turner Susan and Richard Ulevitch N.B. Varlotta Yvonne Vaucher Jocelyn and Richard Vortmann Sue and Peter Wagener Richard H. Walker Andrew Morgan Walker Evelyn Bea Walker Graham Brooks Walker Paige Keegan Walker

Steph Walker Bill and Lori Walton Nell Waltz Margie Warner and John H. Warner, Jr. Viviane M. Warren Maureen and Dean Weber Cathy and John Weil Abby and Ray Weiss Linda and Steve Wendfeldt Doug and Jane Wheeler Sheryl and Harvey White Suhaila White Lisa Widmier Joan and Howard Wiener Faye Wilson Joseph and Mary Witztum Dolly and Victor Woo Katrina Wu Anna and Edward Yeung Carolyn Yorston-Wellcome and Bard Wellcome Howard and Christy Zatkin Barbara and Michael Zelnick Bebe and Marvin Zigman Anonymous Listing as of July 12, 2021

We have so much to celebrate today, but just think of where we might be 50 years from now? There are creative endeavors yet to be imagined: young musicians now in training who could defy our highest expectations; and scores of young students that could be introduced to the joy of music for the first time. An endowment makes that possible. Please join us in ensuring that The Conrad, a cultural and community treasure, remains a vital resource to our generation and all those to follow. Make a gift today or sponsor a seat by contacting: Ferdinand Gasang, Director of Development, at 858.459.3724, ext. 204 or FGasang@LJMS.org. You can also make a gift online at www.LJMS.org/donate 112 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

C O M M U N I TY MUSIC CENTER

For the past 20 years, La Jolla Music Society’s Community Music Center has given thousands of children their first experience in music-making. We've moved our program online and continue to serve students during this difficult time. We remain dedicated to our mission, providing free instruments, bilingual instruction, and learning materials—tools that help students develop self-confidence and self-worth.

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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

7514 Girard Avenue, Suite 1-343 La Jolla, CA, USA, 92037

114 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

Tel 858-361-0755

ResMedFoundation.org

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QUALITY SERVICE EXPERIENCE INNOVATION Chairs to China

Linens to Lighting

Tables to Tents

bright.com • 858.496.9700

Proud Supporter of the La Jolla Music Society Los Angeles • West Los Angeles • Santa Barbara • Orange County • San Diego Palm Springs • San Francisco • Sonoma • Saint Helena • Healdsburg • Phoenix

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Breathtaking Views, Uniquely California Cuisine For Every Occasion

ARValentien.com | (858) 777-6635

118 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

Now Open for Lunch, Dinner and Weekend Brunch Steps away from The Conrad, Chef Giuseppe Ciuffa’s newest spot, Candor is a European inspired restaurant with fresh Seasonal California Cuisine. Focused on honest and straightforward cooking, Candor sources as much as possible from local farmers and ﬁshermen. Join Candor for an afternoon aperitif pre-concert at the wine bar or dinner following a night out. Reservations are recommended. 1030 Torrey Pines Road, La Jolla, CA 92037 858.246.7818 • DineCandor.com

Timeless Culinary Creations

Giuseppe’s everything-made-in-house credo, unparalleled service and exquisite presentations make for the perfect catering partner for any occasion including weddings, holiday celebrations, corporate events and more. Call us at 858.581.2205 or visit us online at grnfc.com.

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Pamplemousse Grille

HAPPY HOUR DINNER PRIVATE ROOMS RETAIL WINE CATERING

514 VIA DE LA VALLE STE. 100 SOLANA BEACH, CA 92075

120 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

PROUD PARTNER OF THE CONRAD & LONG TIME SUPPORTER OF LA JOLLA MUSIC SOCIETY

PGRILLE.COM 858.792.9090 INFO@PGRILLE.COM

We Create, You Celebrate! Going above and beyond is part of the tradition at Creative Catering & Events. The company’s roots can be traced back to 1998 and we’ve continued to grow since then. Providing the nest cuisine prepared in our kitchen, using the freshest, most avorful ingredients to make any meal a hit. We put our hearts into making every event nothing but a success. Creativity is what makes us who we are and there is no match to our quality for the price. Next time you have an event, remember Creative Catering and Events will make you shine. 858.750.2365 | www.sdcreativecatering.com | info@sdcreativecatering.com

San Diego’s exclusive private caterer now at The Conrad

secondnaturecatering.com 858.459.3728 • LJMS.ORG | 121

WELCOME TO THE LOT...

CINEMAS/ RESTAURANT/ BAR/ CAFÉ/

La Jolla 7611 Fay Ave, La Jolla CA, 92037 (858) 777- 0069 Liberty Station 2620 Truxtun Rd, San Diego CA, 92106 (619) 566- 0069

122 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

Elevate Your Catering We know your standards are high — so are ours. From crowd pleasing appetizers to fun late night snacks, we’ll help refine your menu and highlight fresh seasonal ingredients. Contact us at info@toastcatering.com or 619.795.9135.

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Chocolates of Switzerland San Diego

"For chocolate lovers...many connoisseurs consider teuscher to be the world's finest!" -- NY Times

In Sweet Harmony with La Jolla Music Society

9 of 10 people love chocolate the tenth one is a little liar! 7863 Girard Ave / Suite 204 / La Jolla / CA 92037 858.230.6337 www.teuschersandiego.com 124 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

#teuschersandiego

Coast Catering offers full-service event planning and custom catering for every occasion. Whether planning a small private party, major celebration or high-profile corporate event you can enjoy the ultimate experience with our perfect blend of event strategy, custom menus and culinary execution.

877.511.1718 | Coastcatering.com

Steel seahorse, Jennifer Lannes, diner since 1978

some traditions just keep getting richer. Located along the shores of La Jolla, the elegance and sophistication of your dining experience is matched only by the power and drama of the ocean just inches away. At The Marine Room, every meal is a special occasion. 858.459.7222

MarineRoom.com

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EXPERIENCE EXCEPTIONAL SERVICE Stay and Play on Fay - A Preferred Partner of THE CONRAD Connnental Breakfast - Piano Spa Suite - Fine Italian Cuisine

7766 Fay Ave. La Jolla, CA 92037 www.Empress-Hotel.com (858) 454-3001

ManhaaanofLaJolla.com (858) 459-0700 info@manhaaanoﬂajolla.com 126 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

FLOWERCHILDSANDIEGO.COM

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#PARTY AT THE CONRAD

TENFOLDSTYLE is a long standing supporter of THE LA JOLLA MUSIC SOCIETY & A proud

partner

THE CONRAD PREBYS

PERFORMING ARTS CENTER

ONE OF A KIND PARTIES #TENFOLDSTYLE

www.TENFOLDSTYLE.com

An Experience in Great Taste (858) 638‐1400 www.BTScenes.com

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UN‘OPERA ITALIANA CON CHEF STEFANO, MILANO

Voted Bronze For Best Overall Restaurant In La Jolla

BRUNCH PIZZA LUNCH SEAFOOD DINNER FRESH PASTA Large Patios . Wine Bar . Catering . Private Events . Cooking Classes A PROUD COMMUNITY PARTNER OF THE CONRAD

7731 FAY AVENUE . LA JOLLA . 858 412 3108 . PIAZZA1909.COM 858.459.3728 • LJMS.ORG | 129

GIRARD GOURMET from beach to boardroom

PROUD SUPPORTERS OF LA JOLLA MUSIC SOCIETY AT THE CONRAD

7837 Girard Ave, La Jolla, CA 92037 | 858.454.3321

130 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

You appreciate excellence...

We create it.

FLORAL FANTASIES REALIZED BLOOMERS OF LA JOLLA • 7520 EADS AVENUE • LA JOLLA, CALIFORNIA 92037 • (858) 454-3913 858.459.3728 • LJMS.ORG | 131

Working together in harmony! Thanks for being our trusted partner, La Jolla Music Society.

We are proud to sponsor Summerfest as we work to create a healthy and vibrant community in the Village.

7825 Fay Ave | La Jolla, CA 92037 | lajollasportsclub.com

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134 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

Proud partner in support of The Conrad Prebys Performing Arts Center A one minute walk from THE CONRAD LUNCH | DINNER | HAPPY HOUR SATURDAY & SUNDAY BRUNCH

7550 FAY AVENUE, LA JOLLA, CA 92037 | 858 454-5013 berninisbistro.com 858.459.3728 • LJMS.ORG | 135

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2019 NINE-TEN SummerFest Program Ad.pdf 1 05/29/2019 9:55:32 AM

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GOURMET

experiences From the award-winning Westgate Room restaurant, to the legendary Sunday Brunch in the regal Le Fontainebleau Room, let us transport you to a universe of exceptional gastronomy. The Westgate is already unforgettable. Make it truly memorable with a meal to remember. ••• Theatre Night Special ~ Enjoy complimentary 3-hour parking with a minimum purchase of $59 at Westgate Room. ••• westgatehotel.com | 1055 Second Ave. | San Diego, CA 92101

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ALENCIA HOTEL AND SPA LA JOLLA, CA

THE CROWN JEWEL OF LA JOLLA La Valencia Hotel & Spa - a hospitality classic since 1926. With her signature pink exterior and iconic tower, the elegant “Pink Lady” remains a renowned landmark on La Jolla’s distinctive Prospect Street commanding the village bluffs with panoramic views of the Pacific coastline and beautiful La Jolla Cove.

HOLLYWOOD GLAMOUR ON THE CALIFORNIA RIVIERA 877 • 698 • 3788 • LAVALENCIA.COM • 1132 PROSPECT STREET, LA JOLLA, CA 92037

140 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

A SYMPHONY O F TA S T E George’s at the Cove is a Proud Community Partner in support of

THE CONRAD The Conrad Prebys Performing Arts Center

experience g e o rg e s a t t h e co v e . co m •

858.454.4244 •

1 2 5 0 P ro s p e c t S t re e t , L a J o l l a , C A 9 2 0 3 7

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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 WIN

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COMING SOON

20 21-2 2 SE A S ON

Announcement

For more information:

858.459.3728 ǀ LJMS.ORG

Chris Botti

SummerFest 2021 Program Book

Articles inside

Program Notes

SummerFest Commission History

Support

Artist Biographies

Board of Directors & Staff Listing

Welcome Letter