SummerFest 2022 Program Book

Inon Barnatan, Music Director Cover Art: Dorothy Hood, Earth Bolts , 1974 oil on canvas 110 x 85in. (279.4 x 215.9cm) Collection Museum of Contemporary Art San Diego, Gift of the artist, 1974.12 · Photographer: Pablo Mason · © Dorothy Hood, 1974

2 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER 31 SUNDAY PRELUDE · 2 PM · The JAI Lecture by Michael Gerdes BEYOND BACH · 3 PM AUGUST 1 MONDAY COACHING WORKSHOPS 10 AM-12 PM · The JAI ENCOUNTER · 2 PM · The JAI Under the Influence(r) Panel Discussion 2 TUESDAY COACHING WORKSHOPS 10 AM-12 PM · The JAI ARTIST LOUNGE with Joyce Yang hosted by Leah Rosenthal 1 PM · The Atkinson Room OPEN REHEARSAL · 2:30 PM 7 SUNDAY PRELUDE · 2 PM · The JAI Lecture by Jennifer Walker A WEEKEND IN PARIS: Beg, Borrow and Steal · 3 PM 8 MONDAY ENCOUNTER · 2 PM Fellowship Artist Spotlight I 9 TUESDAY COACHING WORKSHOPS 10 AM-12 PM · The JAI ARTIST LOUNGE with Tessa Lark hosted by Leah Rosenthal 1 PM · The Atkinson Room OPEN REHEARSAL · 2:30 PM 14 SUNDAY PRELUDE · 2 PM Performance by Pelia Quartet THE WAGNER EFFECT· 3 PM 15 MONDAY ENCOUNTER · 2 PM Fellowship Artist Spotlight II 16 TUESDAY COACHING WORKSHOPS 10 AM-12 PM · The JAI ARTIST LOUNGE with Anthony Roth Costanzo and Zack Winokur hosted by Leah Rosenthal 1 PM · The Atkinson Room 21 SUNDAY PRELUDE · 2 PM · The Atkinson Room Interview with Eric Jacobsen and John Heginbotham hosted by Leah Rosenthal The Planets: The Knights with Dance Heginbotham 3 PM & 5 PM · The JAI 22 MONDAY COACHING WORKSHOPS 10 AM-12 PM · The JAI 23 TUESDAY COACHING WORKSHOPS 10 AM-12 PM · The JAI ARTIST LOUNGE with Caroline Shaw hosted by Leah Rosenthal 1 PM · The Atkinson Room OPEN REHEARSAL · 3:30 PM Calendar of Events 2022SUMMER FEST JULY 29 – AUGUST 26 EVENT ARTISTPRELUDEOPENENCOUNTERCOACHINGPERFORMANCEKEYWORKSHOPREHEARSALLOUNGE 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 SYNERGY INITIATIVE Produced by Inon Barnatan and Clara Wu Tsai. See page 79 for more information on the Synergy Initiative

858.459.3728 • LJMS.ORG | 3 JULY 27 WEDNESDAY OPEN REHEARSAL · 2:30 PM 28 THURSDAY 29 FRIDAY PRELUDE · 6:30 PM · The JAI Interview with Inon Barnatan hosted by Leah Rosenthal OPENING NIGHT: Side by Side · 7:30 PM 30 SATURDAY PRELUDE · 6:30 PM · The JAI Lecture by Kristi Brown Montesano POINT COUNTERPOINT · 7:30 PM 3 WEDNESDAY COACHING WORKSHOPS 10 AM-12 PM · The JAI PRELUDE · 6 PM Performance by Pelia Quartet UNDER THE INFLUENCE: Shakespeare’s World · 7 PM 4 THURSDAY COACHING WORKSHOPS 10 AM-12 PM · The JAI ENCOUNTER · 2 PM · The JAI Weekend in Paris with Jennifer Walker 5 FRIDAY COACHING WORKSHOPS 10 AM-12 PM · The JAI OPEN REHEARSAL · 2:30 PM PRELUDE · 6:30 PM · The JAI Lecture by Jennifer Walker A WEEKEND IN PARIS: The Salon and The Masquerade · 7:30 PM 6 SATURDAY PRELUDE · 6:30 PM Performance by Aestas Trio A WEEKEND IN PARIS: Le Conservatoire · 7:30 PM 10 WEDNESDAY COACHING WORKSHOPS 10 AM-12 PM · The JAI PRELUDE · 6 PM Performance by Aestas Trio UNDER THE INFLUENCE: Vivaldi’s The Four Seasons 7 PM 11 THURSDAY COACHING WORKSHOPS 10 AM-12 PM · The JAI ENCOUNTER · 2 PM · The JAI The Wagner Effect with Alex Ross 12 FRIDAY COACHING WORKSHOPS 10 AM-12 PM · The JAI PRELUDE · 6:30 PM · The JAI Lecture by Alex Ross THE NEW ROMANTICS · 7:30 PM 13 SATURDAY 17 WEDNESDAY COACHING WORKSHOPS 10 AM-12 PM · The JAI PRELUDE · 6 PM Interview with Cécile McLorin Salvant hosted by Dave Drexler UNDERSYNERGY:THE INFLUENCE Cécile McLorin Salvant · 7 PM 18 THURSDAY COACHING WORKSHOPS 10 AM-12 PM · The Atkinson Room An Evening of Kurt Weill · 7:30 PM 19 FRIDAY COACHING WORKSHOPS 10 AM-12 PM · The Atkinson Room ENCOUNTER · 2 PM · The JAI Dance for PD® with John Heginbotham 20 SATURDAY PRELUDE · 5 PM · The Atkinson Room Interview with Eric Jacobsen and John Heginbotham hosted by Leah Rosenthal The Planets: The Knights with Dance Heginbotham 6 PM & 8 PM · The JAI 24 WEDNESDAY COACHING WORKSHOPS 10 AM-12 PM · The JAI UNDER THE INFLUENCE: Miró Quartet · 7 PM TAKEOVER @ THE JAI WITH CAROLINE SHAW 8:30 PM The JAI 25 THURSDAY PRELUDE · 6:30 PM Performance by Aestas Trio NEW WINE, OLD BOTTLES 7:30 PM 26 FRIDAY PRELUDE · 6:30 PM Performance by Pelia Quartet FINALE: Metamorphosis 7:30 PM 27 SATURDAY SummerFest Gala at the Pala is ParisConrad,1888 All events are in The Baker-Baum Concert Hall unless otherwise noted

ARTIST LOUNGE Free Admission · Limited Seating

Open Rehearsal†

TheEncounter*JAI 2-3:30 PM Under the Influence(r): SummerFest Artists join industry expert Scott Mello (Opus 3) to explore how social media has impacted classical music and changed the landscape for artists today. Panel discussion hosted by Education & Community Programming Director, Allison Boles. Registration required.

Coaching Workshops

The Atkinson Room 1-2 PM Artist Lounge with pianist Joyce Yang hosted by Artistic Director Leah Rosenthal. Registration required.

OPEN REHEARSALS† Free Admission · Limited Seating Open Rehearsals provide audience members with the rare opportunity to observe the intricate rehearsal process before the stage lights shine.

THURSDAY AUGUST 4 Coaching Workshops

† These events will also be live streamed and available for free on-demand viewing. Visit LJMS.org for more information.

* These events will also be recorded and available for free on-demand viewing.

The Baker-Baum Concert Hall 2:30-3:30 PM Imogen Cooper, Liza Ferschtman, and Efe Baltacigil rehearse Beethoven’s Piano Trio in D Major, Op. 70, No. 1 “Ghost”

The Baker-Baum Concert Hall 2:30-3:30 PM Joyce Yang and Inon Barnatan rehearse Mozart’s Fantasy in F Minor for Two Pianos, K.608 (arr. Busoni)

WEDNESDAY 27

JULY

The JAI 10-10:50 AM 11-11:50 AM A member of Aestas Trio coaches a local student Blake Pouliot coaches Aestas Trio on Arensky’s Piano Trio in D Minor, Op. 32

Inon Barnatan coaches Aestas Trio on Tailleferre’s Trio for Piano, Violin, and Cello

The JAI 10-10:50 AM 11-11:50 AM Erin Keefe coaches Pelia Quartet on Bartók’s String Quartet No. 3 in C-sharp Minor, Sz.85 Imogen Cooper coaches Aestas Trio on Smetana’s Piano Trio in G Minor, Op. 15

WEDNESDAY

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

Open Rehearsal†

The JAI 10-10:50 AM 11-11:50 AM Francisco Fullana coaches Pelia Quartet on Beethoven’s String Quartet No. 10 in E-flat Major, Op. 74 “Harp”

Artist Lounge

FRIDAY AUGUST 5 Coaching Workshops

The JAI 10-10:50 AM 11-11:50 AM

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.

Coaching Workshops

TheEncounter*JAI 2-3:30 PM Weekend in Paris: Prepare for a musical weekend in Paris like you’ve never experienced before. Jennifer Walker, assistant professor of musicology at West Virginia University, transports the audience back in time to the salons of Paris during La Belle Époque. Registration required.

The JAI 10–10:50 AM 11–11:50 AM A member of Pelia Quartet coaches a local student Efe Baltacigil coaches Pelia Quartet on Bartók’s String Quartet No. 3 in C-sharp Minor, Sz.85 Open Rehearsal† The Baker-Baum Concert Hall 2:30-3:30 PM Liza Ferschtman, Yura Lee, Efe Baltacigil, and Inon Barnatan rehearse Fauré’s Piano Quartet No. 1 in C Minor, Op. 15

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.

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.

MONDAY AUGUST 1

Coaching Workshops

TUESDAY AUGUST 2

AUGUST 3

Masumi Per Rostad coaches Pelia Quartet on Beethoven’s String Quartet No. 10 in E-flat Major, Op. 74 “Harp”

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.

JOIN US ONLINE

Efe Balticigil coaches Aestas Trio on Tailleferre’s Trio for Piano, Violin, and Cello

This year we welcome Fellowship Artists Pelia Quartet: Heejeon Ahn, Delphine Skene, violins ; Sung Jin Lee, viola ; Nathan Cottrell, cello ; and Aestas Trio: Wynona Yinuo Wang, piano ; Sophia Stoyanovich, violin ; Andrew Ilhoon Byun, cello

TheEncounter†Baker-Baum

TheEncounter*JAI 2-3:30 PM The Wagner Effect: Alex Ross, award-winning author and music critic for The New Yorker, delves into the life and music of composer Richard Wagner. Registration required.

FRIDAY AUGUST 12 Coaching Workshops

TheEncounterJAI 2-3:30 PM Dance for PD®: Founding teacher John Heginbotham leads a session of the internationally-acclaimed, research-backed Dance for PD® program, which welcomes people with Parkinson’s and their families to transform their lives through dance. Registration required.

David Byrd-Marrow coaches a local horn player A member of Aestas Trio coaches a local student

Artist Lounge

The Atkinson Room 1-2 PM Artist Lounge with composer Caroline Shaw hosted by Artistic Director Leah Rosenthal. Registration required.

The JAI 10-10:50 AM 11-11:50 AM William Fedkenheuer coaches Pelia Quartet on Ravel’s String Quartet in F Major Carter Brey coaches Aestas Trio on Schöenberg’s Verklärte Nacht (arr. for piano trio by Eduard Steuermann)

TUESDAY AUGUST 16 Coaching Workshops

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TUESDAY AUGUST 9 Coaching Workshops

Concert Hall 2-3:30 PM Fellowship Artist Spotlight II: Fellowship Artist Ensembles Aestas Trio and Pelia Quartet perform with special guest, clarinetist John Bruce Yeh. Registration required.

The JAI 10-10:50 AM 11-11:50 AM Nina Lee coaches Pelia Quartet on Ravel’s String Quartet in F Major

The Atkinson Room 10-10:50 AM 11-11:50 AM

Coaching Workshops

AUGUST 10 Coaching Workshops

The JAI 10-10:50 AM 11-11:50 AM John Largess coaches Pelia Quartet on Ravel’s String Quartet in F Major

MONDAY AUGUST 15

858.459.3728

Open Rehearsal†

Stefan Jackiw coaches Pelia Quartet on Haydn’s String Quartet in G Major, Op. 64, No. 4 Artist Lounge

James Ehnes coaches Pelia Quartet on Ravel’s String Quartet in F Major Inon Barnatan and Allison Boles host a conversation with Pelia Quartet and Aestas Trio

The JAI 10-10:50 AM 11-11:50 AM A member of Pelia Quartet coaches a local student Angie Zhang coaches a local pianist

TUESDAY AUGUST 23

The Atkinson Room 1-2 PM Artist Lounge with countertenor Anthony Roth Costanzo and director Zack Winokur hosted by Artistic Director Leah Rosenthal. Registration required.

The Atkinson Room 1-2 PM Artist Lounge with violinist Tessa Lark hosted by Artistic Director Leah Rosenthal. Registration required.

The JAI 10-10:50 AM 11-11:50 AM A member of Pelia Quartet coaches a local student Inon Barnatan coaches Aestas Trio on Schöenberg’s Verklärte Nacht (arr. for piano trio by Eduard Steuermann)

Sullivan Fortner coaches a local pianist John Bruce Yeh coaches a local clarinetist

Clive Greensmith coaches Aestas Trio on on Schöenberg’s Verklärte Nacht (arr. for piano trio by Eduard Steuermann)

Open Rehearsal†

AUGUST 17 Coaching Workshops

Coaching Workshops

MONDAY AUGUST 8

The JAI 10-10:50 AM 11-11:50 AM

The Baker-Baum Concert Hall 2:30-3:30 PM Alexi Kenney, Liza Ferschtman, Tessa Lark, Stefan Jackiw, and the SummerFest Chamber Orchestra rehearse Vivaldi’s The Four Seasons

The Baker-Baum Concert Hall 3:30-4:30 PM Caroline Shaw and Miró Quartet rehearse Mendelssohn’s String Quintet No. 2 in B-flat Major, Op. 87

FRIDAY AUGUST 19 Coaching Workshops

The JAI 10-10:50 AM 11-11:50 AM A member of Dover Quartet coaches Pelia Quartet on Haydn’s String Quartet in G Major, Op. 64, No. 4 Marc-André Hamelin coaches Aestas Trio on Arensky’s Piano Trio in D Minor, Op. 32

The Atkinson Room 10-10:50 AM 11-11:50 AM

MONDAY AUGUST 22 Coaching Workshops

The JAI 10-10:50 AM 11-11:50 AM Liza Ferschtman coaches Aestas Trio on Smetana’s Piano Trio in G Minor, Op. 15

WEDNESDAY AUGUST 24

THURSDAY AUGUST 11 Coaching Workshops

The JAI 10-10:50 AM 11-11:50 AM A member of Dover Quartet coaches Pelia Quartet on Bartók’s String Quartet No. 3 in C-sharp Minor, Sz.85 A member of Aestas Trio coaches a local student

WEDNESDAY

THURSDAY AUGUST 18 Coaching Workshops

WEDNESDAY

TheEncounter†Baker-Baum Concert Hall 2-3:30 PM Fellowship Artist Spotlight I: Fellowship Artist Ensembles Aestas Trio and Pelia Quartet perform with special guest, violinist Erin Keefe. Registration required.

Anthony Roth Costanzo coaches a local vocalist Artist Lounge

TAILLEFERRE Trio for Piano, Violin, and Cello (1892-1983) Allegro animato Allegro TrésModeratovivaceanimé AestasWynonaTrio Yinuo Wang, piano; Sophia Stoyanovich, violin; Andrew Ilhoon Byun, cello RAVEL Selections from Le tombeau de Couperin (1875-1937) Wynona Yinuo Wang, piano

Program notes by Eric Bromberger, except where indicated.

String Quartet No. 10 in E-flat Major, Opus 74 (1770-1827) “Harp” Poco adagio; Allegro Adagio, ma non troppo AllegrettoPresto con Variazioni PeliaHeejeonQuartetAhn, Delphine Skene, violins; Sung Jin Lee, viola; Nathan Cottrell, cello

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

QUICK NOTE: Germaine Tailleferre was the sole female composer among Les Six, a loosely formed group of young composers in Paris in the 1920s. The six were seen as leaders of a new, sparser aesthetic, yet despite the narrative, the group never really displayed much aesthetic unity. Tailleferre’s Trio is exceptional not only for its lush Gallic beauty, but for the length of time that passed between its initial composition in 1916-17 and Tailleferre’s revision (adding two new movements) in 1978. Despite the nearly six-decade gap, Tailleferre’s piano trio embodies her belief that music should only express “one’s own personality.”

A WEEKEND IN PARIS: Le Conservatoire Saturday, August 6 · 6:30 PM

UNDER THE INFLUENCE: Shakespeare’s World Wednesday, August 3 · 6 PM

UNDER THE INFLUENCE: Vivaldi’s The Four Seasons Wednesday, August 10 · 6 PM

Two events combined to help produce Le tombeau de Couperin. In the second decade of the twentieth century, Ravel embarked on a lengthy study of eighteenth-century French keyboard music, including the keyboard works of Francois Couperin. The other force was less benign. In the summer of 1914, World War I exploded across Europe. Ravel was one of the few composers in history to serve in the military, and for a nature as sensitive as Ravel’s, the experience was devastating. From 1914-17 Ravel composed a suite of six movements for piano and dedicated each movement to a different friend who had been killed in the war. He gave the piece a title that reflects both its homage to the past and the dark moment of its creation: Le tombeau de Couperin, or “The Tomb of Couperin.”

—Allison Boles

SMETANA Piano Trio in G Minor, Opus 15 (1824-1884) Moderato assai Allegro, ma non agitato Finale: Presto Aestas Trio

QUICK NOTE: Smetana wrote very little chamber music, but that chamber music is particularly intense and personal. It was as if he poured his enthusiastic Czech nationalism into works like The Moldau and reserved a more personal kind of expression for chamber music. Indeed, the Piano Trio in G Minor springs from personal tragedy. Smetana and his wife had four daughters in rapid succession, and just as rapidly three of them died. The death of his eldest, Bedˇriška, from scarlet fever at the age of four on September 5, 1855, nearly drove Smetana mad. As might be expected, the mood of this inspired music is dark: all three movements are in G minor. What might not be expected is that this trio has no true slow movement: a sonataform opening movement and a rondo-finale frame a central fast movement.

QUICK NOTE: Beethoven’s middle-period quartets proved difficult for audiences from the very beginning. The exception is the lovely Quartet in E-flat Major, which is full of graceful music. The first movement of the quartet opens with a slow introduction whose chromaticism creates an uncertain tonality until the main theme of the Allegro establishes the unequivocal key of E-flat major. The Adagio ma non troppo is built on one of Beethoven’s most attractive lyric ideas, which develops across three repetitions, each elaborated differently. By contrast, the Presto bristles with energy. Beethoven winds this movement down very carefully, and the finale that follows seems intentionally anti-climactic. It is a variation movement consisting of an almost innocent theme. The sixth and final variation gives way to a coda that extends the theme and leads to a wonderful—and very appropriate—conclusion: a great rush of sixteenth-notes powers to the very close where instead of hammering out a cadence, Beethoven concludes with two tiny and gentle chords. It is a conclusion brilliant in its understatement.

BEETHOVEN

SUMMERFEST MUSICAL PRELUDES

THE WAGNER EFFECT Sunday, August 14 · 2 PM BARTÓK String Quartet No. 3 in C-sharp Minor, Sz.85 (1881-1945) Prima parte: Moderato Seconda parte: RecapitulazioneAllegrodellaprima parte: Moderato Coda: Allegro molto

QUICK NOTE: Ravel wrote his only string quartet in 1902-03, while still a student at the Paris Conservatory. Ravel’s quartet is in many ways similar to the Debussy quartet, written in 1893, but Ravel dedicated his quartet “To my dear teacher Gabriel Fauré.” One of the most distinctive features of Ravel’s quartet is its cyclic deployment of themes: the first movement’s two main themes return in various forms in the other three movements, giving the quartet a tight sense of unity. Some have charged that such repetition precludes sufficient thematic variety, but Ravel subtly modifies the color, harmony, and mood of each reappearance of these themes so that from this unity comes enormous variety. Ravel’s quartet generated a mixed reaction at its première in 1904. One of those most critical was the dedicatee, Gabriel Fauré. But when Ravel turned to Debussy for his estimation, the latter offered the best possible response: “In the name of the gods of Music and for my sake personally, do not touch a note of what you have written.”

858.459.3728 • LJMS.ORG | 7

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. Beethoven's friend Carl Czerny said that the composer had been inspired to write the Molto Adagio "when contemplating the starry sky and thinking of the music of the spheres."

QUICK NOTE: Verklärte Nacht was one of Schoenberg’s first successes, and it remains his most popular work. He wrote this piece for string sextet in the final months of 1899 but could not get it performed. When he submitted it to Vienna’s chamber music society, the judges rejected it because the score contained a chord they could not find in their harmony textbooks. Verklärte Nacht was finally performed in 1903, and this music made its way quickly into the repertory. Verklärte Nacht (Transfigured Night) is based on a poem of the same name by Richard Dehmel. Musically, Schoenberg’s Verklärte Nacht can be understood as a tone poem depicting the events of Dehmel’s poem, and it falls into five sections: Introduction, Woman’s Confession, Man’s Forgiveness, Love Duet, and Apotheosis Verklärte Nacht may look forward to the music of the twentieth century, but its roots are firmly in the nineteenth: the influences are Brahms (in the lush, dramatic sound), Wagner (in the evolving harmonies), and Richard Strauss (whose tone poems served as models).

Thursday, August 25 · 6:30 PM

NEW WINE, OLD BOTTLES

QUICK NOTE: The shortest of Bartók’s six quartets, the Third Quartet has proven the thorniest of that cycle. It is marked by a fierce concentration of materials and by Bartók’s refusal to use traditional melodic themes. In their place he makes use of short motives that are almost consciously athematic in their brevity. The quartet takes as its basic thematic cell a three-note figure announced by the first violin in the sixth measure. That motif and a handful of others are then subjected to the most rigorous and concentrated polyphonic development. The structure is equally concentrated: only 15 minutes long and performed without pause.

BEETHOVEN Molto Adagio from String Quartet in E Minor, (1770-1827) Opus 59, No. 2 Pelia Quartet

SCHOENBERG Verklärte Nacht (1874-1951) (arr. for piano trio by Eduard Steuermann) Aestas Trio

FINALE: Metamorphosis Friday, August 26 · 6:30 PM RAVEL String Quartet in F Major (1875-1937) Allegro moderato. Très doux Assez vif. Très rythmé Très lent Vif et agité Pelia Quartet

SERVICE ANIMALS Please visit our website at TheConrad.org for information about attending with your service animal. MASKING We strongly recommend and encourage a face mask while any of The Conrad. Policy subject to change.

indoor areas

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. 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 appropriately, La Jolla Music Society Box Office must receive notification and proof of destroyed tickets no later than 24 hours prior to the performance.

MAPS & POLICIES All programs, artists, dates, times and venues are subject to change. La Jolla Music Society is unable to offer refunds for SummerFest performances. THE CONRAD PREBYS PERFORMING ARTS CENTER Valet and Self-Parking Location ��- 7600 Fay Avenue, valet service in front of The Conrad Prebys Performing Arts Center - 909 Kline Street (344 ft) FAYAVE FAYGIRARDAVEAVE PEARL ST TORREYPINESRD PROS SPECTKLINETST SILVERADO ST  �� THE CONRAD 7600 Fay Avenue

LIGHT STIMULATION EFFECTS Strobe lighting effects will be used during some performances. Patrons that may suffer from epilepsy & other visual light stimulation effects are advised to contact the Front of house staff, prior to entering the auditorium.

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 Mktg@LJMS.org.

CHILDREN AT SUMMERFEST Children under the age of 6 (six) are not permitted in the concert hall.

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

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PROGRAM NOTES

858.459.3728 • LJMS.ORG | 9 TABLE OF CONTENTS MISSION STATEMENT 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 / THE CONRAD 7600 Fay Avenue La Jolla, California 92037 Administration: 858.459.3724 Calendar of Events 2 Education Activities 4 Musical Prelude Quick Notes 6 Maps & Policies 8 Welcome Letter from Music Director 10 Artist Roster 11 Program Notes 12 Synergy Initiative 79 Artist Biographies 80 SummerFest Commission History 90 SummerFest Grand Tradition 92 Board of Directors & Staff Listing 98 Support 99 La Jolla Music Society at The Conrad is delighted to renew our longstanding relationship with the Museum of Contemporary Art San Diego, whose stunning La Jolla campus recently reopened after a lengthy renovation. Following the longstanding tradition of featuring artworks from the MCASD collection on our SummerFest posters and programs, we invite you to visit the Museum to see Dorothy Hood’s Earth Bolts in person, on display through the summer. Cover Art: Dorothy Hood, Earth Bolts , 1974 oil on canvas 110 x 85in. (279.4 x 215.9cm) Collection Museum of Contemporary Art San Diego, Gift of the artist, 1974.12 Photographer: Pablo Mason · © Dorothy Hood, 1974

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

Composers, like writers or painters, draw on their lives, their experiences, their likes and dislikes, and use them as inspirations in their art. This summer we delve into those early influencers and muses that inspired the creation of some of the greatest music ever written. We’ll spend our time in Paris, where composers, performers, writers, artists, and thinkers mingled and created art in aristocratic salons, cafés, cabarets, or the studios of the fabled conservatoire.

We’ll immerse ourselves in the sonic world of Shakespeare, observe the changing of the seasons through Vivaldi’s eyes and ears, and experience the magnetic pull of Wagner on his contemporaries and followers. We’ll hear how Baroque music continues to influence composers to this day, and see how composers and performers working side-by-side can produce a whole that is greater than the sum of its parts. I’m thrilled to bring back the Synergy Initiative, co-produced by Clara Wu Tsai, which this summer will feature collaborations between jazz musicians, opera stars, dancers, and choreographers in a truly unique and exciting week of immersive events.

I’m also beyond delighted that one of today’s most exciting composers, Caroline Shaw, the youngest composer ever to win a Pulitzer and a superstar of the music world, is joining us as Composer-in-Residence. Besides presenting her new work, co-commissioned by LJMS, she’ll also curate the Takeover @ The JAI concert and join as a performer in several concerts. We also introduce a new Wednesday series that will feature intermission-free concerts featuring some of our most beloved musicians and performers, followed by a party in the Wu Tsai QRT. yrd where you can sample exceptional local food and drink and mingle with the musicians and each other. With this fascinating musical journey and this incredible roster of artists, I truly believe you will not want to miss a single concert. For the first time, we have expanded the festival to four weeks, allowing for more space between concerts and a greater opportunity to experience everything. There has never been a better time to subscribe and join us!

Inon SummerFestBarnatanMusic Director

WELCOME TO SUMMERFEST 2022! UNDER THE INFLUENCE

858.459.3728 • LJMS.ORG | 11 VIOLIN Benjamin Beilman James Ehnes Liza AndrewBlakeSimoneTessaAlexiErinStefanKathrynAugustinFranciscoFerschtmanFullana*HadelichHatmakerJackiwKeefeKenney*LarkPorter*PouliotWan VIOLA Chi-Yuan Chen* Yura Lee Teng RichardLi* O’Neill Masumi Per Rostad Cynthia JonathanPhelpsVinocour CELLO Julie Albers* Efe JohannesNinaCliveSterlingJayCarterBaltacigilBreyCampbellElliott*GreensmithLeeMoser* BASS Doug AnthonyTimothyBalliett*CobbManzo* THEORBO Paul Holmes Morton* PIANO Inon JoyceFrancescoGarrickMarc-AndréSullivanImogenBarnatanCooper*Fortner*HamelinOhlssonPiemontesi*Yang HARPSICHORD Ruben Valenzuela* Angie Zhang* FLUTE Rose Lombardo CLARINET Anthony McGill Osmo Vänskä John Bruce Yeh BASSOON Brad Balliett HORN David Byrd-Marrow TRUMPET Ellen Shinogle* TROMBONE Eric Starr* PERCUSSION Dustin Donahue HARP Bridget Kibbey* VOICE Anthony Roth Costanzo* Cécile McLorin Salvant Robin Tritschler DIRECTOR Zack Winokur* ENSEMBLES Cécile McLorin Salvant Sullivan Fortner*, piano ; Marvin Sewell*, guitar ; Yasushi Nakamura*, bass ; Keita Ogawa*, percussion DoverJoelQuartetLink,Bryan Lee, violins ; Milena Pajaro-Van De Stadt, viola; Camden Shaw, cello MiróDanielQuartetChing, William Fedkenheuer, violins ; John Largess, viola ; Joshua Gindele, cello Musicians from The Knights* Colin & Eric Jacobsen, artistic directors Eric Jacobsen, conductor DanceJohnHeginbotham*Heginbotham, artistic director & choreographer FELLOWSHIP ARTIST ENSEMBLES AestasWynonaTrio*Yinuo Wang, piano ; Sophia Stoyanovich, violin ; Andrew Ilhoon Byun, cello PeliaHeejeonQuartet*Ahn, Delphine Skene, violins ; Sung Jin Lee, viola ; Nathan Cottrell, cello COMPOSER-IN-RESIDENCE Caroline Shaw* FILMMAKERS-IN-RESIDENCE Tristan Cook Zac Nicolson LECTURERS & GUEST SPEAKERS Allison Boles Kristi Brown Montesano Dave JenniferAlexLeahScottMichaelDrexler*Gerdes*Mello*RosenthalRossWalker* MUSIC DIRECTOR Inon BarnatanBridgetKibbey 2022 JULY 29 – AUGUST 26 *LJMS SummerFest Debut

La Jolla Music Society’s 2021–22 Season and SummerFest 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, San Diego Foundation, Brenda Baker and Steve Baum, Judith Bachner and Eric Lasley, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Jendy Dennis Endowment Fund, Sue and Chris Fan, Brenda and Michael Goldbaum, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Clara Wu Tsai, and Bebe and Marvin Zigman. Support for this program generously provided by: Jendy EndowmentDennisFund

THE JAI Interview with SummerFest Music Director Inon Barnatan hosted by Leah Rosenthal Joyce Yang Garrick Ohlsson Wynona Yinuo Wang Inon Barnatan

OPENING NIGHT: Side by Side Friday, July 29, 2022 · 7:30 PM

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THE BAKER-BAUM CONCERT HALL VARIOUS Variations in A Major on a Russian Theme Theme: VariationModerato1:Allegretto (Nikolai Rimsky-Korsakov) Variation 2: Allegro vivace (Alexander Winkler) Variation 3: Allegretto scherzoso (Felix Blumenfeld) Variation 4: Grave (Nikolai Sokolov) Variation 5: Allegretto vivace (Jazeps Vatols) Variation 6: Andante (Anatoly Lyadov) Variation 7: Con moto (Anatoly Lyadov) Variation 8: Finale—alla polacca (Alexander Glazunov) Blake Pouliot, Tessa Lark, violins; Masumi Per Rostad, viola; Jay Campbell, cello CHOPIN/ Grand Duo Concertante on Themes from Robert le diable FRANCHOMME Johannes Moser, cello; Joyce Yang, piano (1810-1849) BRAHMS Variations on a Theme by Haydn, Opus 56b (1833-1897) Garrick Ohlsson, Inon Barnatan, pianos INTERMISSION BACEWICZ Quartet for Four Violins (1909-1969) Allegretto; Allegro giocoso Andante tranquillo Molto allegro Simone Porter, Tessa Lark, Blake Pouliot, Sophia Stoyanovich, violins CZERNY Quatuor Concertant No. 1, Opus 230 (1791-1857) Wynona Yinuo Wang, Garrick Ohlsson, Joyce Yang, Inon Barnatan, pianos PRELUDE · 6:30 PM

Grand Duo Concertante on Themes from Robert le diable

OPENING NIGHT: SIDE BY SIDE — PROGRAM NOTES

FRÉDÉRIC CHOPIN

VARIOUS

Composed: Approximate1899Duration: 12 minutes

Born February 22, 1810, Zelazowa Wola, Poland Died October 17, 1849, Paris Composed: Approximate1832Duration: 12 minutes Giacomo Meyerbeer’s opera Robert le diable was premièred in Paris on November 21, 1831, and promptly became a smash hit—it had over a hundred performances in its first three years alone. Based on an ancient Norman legend, the opera told a tale of demonic spirits, supernatural events, and the battle for human souls, and its tunes became vastly popular with audiences and with other composers, who wrote a series of pieces based on those melodies. Among those caught up in the excitement was Liszt: he took Wagner to see the opera in Paris and later wrote a piece for piano that he called Réminiscences de Robert le diable

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This little-known piece is a collaborative effort, composed in 1899 by seven composers based in St. Petersburg. All seven were part of the Belyayev Circle, an informal group of composers in St. Petersburg whose activities were sponsored by the Russian lumber merchant and musical enthusiast Mitrofan Belyayev. Rimsky-Korsakov was the informal leader of this group, many of whom had been his pupils at the St. Petersburg Conservatory. Several of these composers—RimskyKorsakov, Lyadov, and Glazunov—remain well-known today, but the other four are almost forgotten. The four “forgotten” composers are Alexander Winkler (1865-1935), a pianist and composer whose students included Prokofiev; Felix Blumenfeld (1863-1931), a composer and conductor whose students included Vladimir Horowitz; Nikolai Sokolov (1859-1922), who was one of Shostakovich’s teachers at the St. Petersburg Conservatory; and Jāzeps Vītols (1863-1948), a Latvian composer and a teacher of Prokofiev. (NOTE: this Nikolai Sokolov is NOT the Nikolai Sokoloff (1886-1965), who founded the Cleveland Orchestra and in 1941 established the Chamber Music Society of La Jolla, the first incarnation of what is now the La Jolla Music Society). In 1899 Rimsky-Korsakov turned to a collection of Russian folksongs collected by Nikolai Abramychev and chose the old song “Tiny Little Boy” as the basis for a set of variations. Rimsky himself prepared a statement of that song for piano and contributed the first variation. Each of the other composers wrote a variation (Lyadov contributed two), and all the variations are quite brief (the entire work—theme and eight variations—spans only about eleven minutes). By far the longest of the variations is the eighth, in which the young Alexander Glazunov composes an exuberant finale in the form of a grand polonaise. This work is almost unknown, and listeners may take pleasure in hearing music created jointly by a talented pool of composers working out of the same fashionable salon in St. Petersburg at the very end of the nineteenth century.

The 21-year-old Chopin had arrived in Paris only two months before the première of Meyerbeer’s opera, and like so many others, he fell under its spell. The following year Chopin and the young French cellist Auguste Franchomme collaborated on a piece for cello and piano based on themes from Robert le diable, which they published in 1833 under the title Grand Duo Concertante. We do not normally think of Chopin as a composer much interested in this sort of fashionable virtuosity, and apparently he felt the same way: he quickly moved on to a different kind of music and chose not to include the Grand Duo Concertante on the official list of his works.

Program notes by Eric Bromberger Variations in A Major on a Russian Theme COMPOSERS

This collaborative music, so atypical of Chopin, has never enjoyed much popularity, and Chopin’s biographer Herbert Weinstock has suggested that Chopin supplied the general structure of the piece, while Franchomme was responsible for the cello part. After an imposing and rather lengthy introduction for the piano alone, the cello enters quietly, and soon the two instruments embark on a series of episodes at different tempos. At first these are lyric, but as the Grand Duo approaches its conclusion, the music gathers energy and rushes to a rather extroverted close. Chopin may have gone on to write quite different music, but he remained good friends with Franchomme. He dedicated his final published work, the Cello Sonata, to Franchomme, and the two men played it on Chopin’s final Paris recital, which took place in February 1848.

14 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER Variations on a Theme by Haydn, Opus 56b JOHANNES BRAHMS Born May 7, 1833, Hamburg Died April 3, 1897, Vienna Composed: Approximate1873Duration: 18 minutes

The structure of the Haydn Variations is simplicity itself: the theme, eight variations, and a finale that itself is a further variation. The original theme falls first into two five-bar phrases, followed by a series of phrases of irregular length. The eight variations, which stretch the theme in a range of ingenious ways, are all relatively brief; curiously, Brahms often writes tempo indications in the piano version that are slightly different from the orchestral version. The finale is ingenious—and very impressive—music. Brahms derives a five-measure theme from the original theme and uses this new version as a ground bass, very much in the manner of a passacaglia or chaconne (this finale looks ahead to the magnificent passacaglia that would conclude Brahms’ final symphony twelve years later). This ground bass repeats seventeen times as Brahms spins out a series of further variations in the upper voices; all of this builds to a brilliant close full of swirling runs and one final, powerful restatement of the original theme.

Quartet for Four Violins

Born February 5, 1909, Lód´z, Poland Died January 17, 1969, Warsaw

Composed: Approximate1949Duration: 12 minutes Grażyna Bacewicz (pronounced bah-CHAY-veets) studied violin, piano, and composition at the Warsaw Conservatory, then went on to Paris, where she studied composition with Nadia Boulanger and violin with Carl Flesch. Bacewicz quickly developed into an outstanding violinist: she gave concerts throughout Europe, was a prize-winner at the 1935 Wieniawski Competition, and served for three years in the 1930s as concertmaster of the Polish Radio Orchestra. In 1954 Bacewicz was so seriously injured in an automobile accident that she had to give up performing, and she devoted the rest of her career to composing and to teaching composition at the Lódź and Warsaw Conservatories. Bacewicz’s talents were multi-dimensional: she was also a fine pianist, and she was a writer—she left behind (in manuscript) a novel, short stories, and a dramatic sketch. She died in Warsaw just a few weeks before her sixtieth birthday. Bacewicz was an extremely prolific composer. She wrote seven violin concertos, two cello concertos, as well as concertos for piano and for viola, plus four symphonies,

GRAŻYNA BACEWICZ

Brahms may have planned this project to give himself practice writing for orchestra, but he was still so unsure of his abilities that he first composed the variations for two pianos, and only then did he orchestrate them. The triumphant première of the orchestral version took place in Vienna on November 2, 1873, but Brahms and Clara Schumann had already played through the two-piano version together the previous summer; the official première of this version took place in Vienna on February 10, 1874.

OPENING NIGHT: SIDE BY SIDE — PROGRAM NOTES

Brahms spent the summer of 1873 in the village of Tutzing on the western shore of the Starnberger See south of Munich. He was 40 years old and his career was going well. Named conductor of the chorus and orchestra of the Vienna Gesellschaftkonzerte the previous fall, he had spent that first concert season training and leading those forces in a series of concerts. Now he came to this resort town to relax and Brahmscompose.lovedit there. To the conductor Hermann Levi he wrote: “Tutzing is far more beautiful than we first imagined. We have just had a gorgeous thunderstorm; the lake was almost black, but magnificently green along the shores; usually it is blue, though of a more beautiful and deeper hue than the sky. In the background there is a range of snow-covered mountains—one can never see enough of it.” That summer, after years of work, Brahms finally refined two string quartets to the point where he would allow them to be published, and he was still at work on his First Symphony. This most imposing of musical forms (with its inevitable comparison to Beethoven) had occupied him since he was in his twenties, but he was still plagued by self-doubt. In particular, he was worried about his ability to compose for orchestra, and during that summer at Tutzing Brahms planned to write a brief work for orchestra to give himself practice composing for orchestra. This was a set of variations on a theme attributed to Haydn and shown to Brahms by his friend Carl Ferdinand Pohl, biographer of that earlier composer. The theme (which had never been published) appeared in the manuscript for a Feldpartita Haydn had composed for Prince Esterhazy’s troops during the 1780s; as its name suggests, a Feldpartita is a piece designed to be played in open fields, usually by military band. Though Brahms gave his work the title Variations on a Theme by Haydn, subsequent research has shown that the original Feldpartita was not written by Haydn, but probably by his student Ignaz Pleyel, who in turn may have borrowed it from an old pilgrims’ hymn: in the manuscript, the theme is marked “Chorale St. Antoni.”

Born February 21, 1791, Vienna Died July 15, 1857, Vienna Composed: Approximate1830Duration: 23 minutes Carl Czerny remains one of the most remarkable— and unknown—figures in the history of music. Born into a musical family in Vienna, he was playing the piano by age 3, was composing at 7, and became a student of Beethoven at 10—Czerny and Beethoven would remain friends and confidants for the rest of Beethoven’s life. Czerny made his debut in Vienna at age 9 playing Mozart’s Piano Concerto in C Minor, K.491, and as a boy he could play any of Beethoven’s piano sonatas from memory (he had an extraordinary memory). Beethoven chose Czerny to give the Viennese première of the “Emperor” Concerto in 1812 because Beethoven was at that point too deaf to take on that task. Czerny became one of the finest pianists in the world; he seemed set for the life of a touring virtuoso, and then he walked away from that career, saying that his “playing lacked that type of brilliant, calculated charlatanry that is usually part of a traveling virtuoso’s equipment.”

Instead, he devoted himself to teaching, and one of his first pupils was the 11-year-old Franz Liszt, who would remain forever grateful for the discipline Czerny brought to his playing. To be sure, Czerny continued to play the piano— he played duets with Chopin while visiting Paris and with Queen Victoria while visiting London—but we remember him today for his impact as a teacher: a huge number of the greatest pianists in history were taught by Czerny or by pupils of Czerny who used his methods.

Czerny appears to have had endless energy: he would give piano lessons for ten hours a day, and he still managed to compose over a thousand works (his list of opus numbers runs to 861). A few of his early concert works, such as his sonatas, are occasionally performed today, but most of his compositions were pedagogical: studies in different aspects of piano playing such as fingering and speed. Czerny never married, he lived with his parents until their death, and then he lived alone (though he kept seven to ten cats at a time as companions). He left his vast fortune to four charities in Vienna.

seven string quartets, five violin sonatas, and a vast amount of chamber music, piano music, vocal music, and two ballets. Only now, half a century after her death, is her music being gradually discovered in this country. Bacewicz composed her Quartet for Four Violins in 1949, when she was teaching at the Lódź Conservatory. She intended it as a pedagogical work, a piece that four of her violin students might play together, but its rare combination of four violins has made it attractive as a concert piece when there are that many violinists available. The Quartet is in three brief movements. Bacewicz stresses that the beginning of the opening movement should be both pianissimo and dolcissimo, but quickly the music leaps ahead at the Allegro giocoso (“happy”) on a theme full of dancing energy, and the movement alternates lyric and brisk episodes. The first violin lays out the opening theme of the delicate Andante tranquillo, and soon Bacewicz is setting pairs of violins against each other. The concluding Molto allegro opens with a series of powerful chords, all played down-bow, and quickly the music takes wing on a theme that sounds folk-inspired. The down-bow chords return throughout and finally drive the Quartet to its resounding conclusion. Bacewicz wrote this music specifically for conservatory students, and it is intentionally not intended for virtuoso violinists. Yet any group of violinists who take on this piece had better be pretty good: the Quartet is beautifully written for the violin, and Bacewicz demands a full range of string techniques, including pizzicato passages, fierce trills, harmonics, passages played over the fingerboard, and complex chording. For four good violinists, this Quartet is a lot of fun, and a piece that Bacewicz wrote for instruction now lives on in the concert hall.

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Quatuor Concertant No. 1, Opus 230 CARL CZERNY

OPENING NIGHT: SIDE BY SIDE — PROGRAM NOTES

Czerny wrote some pieces specifically for his students, and such is the case with his Quatuor Concertant No. 1, Opus 230, composed in Vienna in 1830, when he was 39. Czerny composed the piece for four of his female students, all of whom were members of the nobility. They must all have been pretty good pianists, because this music makes virtuoso demands on its performers. The Quatuor Concertant No. 1 is in one continuous movement that spans about 23 minutes, though there are a number of sections at different tempos within the piece. It should be noted that four concert grand pianos make a lot of sound, and Czerny does not hesitate to unleash the sheer sonic punch that four huge pianos can generate—there are massed chordal attacks here, the four pianos cover the entire range of their keyboards, much of the writing is very high so that it generates a glittering bell-like sound, and the piece is full of trills, runs, and octaves that can generate plenty of noise and excitement. Still, Czerny manages to give all four players their moments to shine while the others step back and accompany. Within the framework of his own composition, Czerny incorporates sections based on themes by other composers, and he carefully notates these in the score. They include

16 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER themes from Auber’s opera La Muette de Portici (written only two years earlier, in 1828), Rossini’s opera Otello (1816), and the final movement of Paganini’s Violin Concerto No. 2 (1826). The Paganini theme would become famous in Liszt’s piano transcription of 1851, which is known as La Campanella. Is the Quatuor Concertant No. 1 a deathless masterpiece? Of course not. But it does give us the rare opportunity to hear four pianos playing together, it gives four good pianists a chance to shine, and it offers some sense of Czerny’s imagination and mastery.

And it’s a lot of fun.

OPENING NIGHT: SIDE BY SIDE — PROGRAM NOTES

THE JAI Lecture by Kristi Brown Montesano Richard O’Neill

HAYDN String Quartet in F Minor, Opus 20, No. 5 (1732-1809) Allegro Finale:AdagioMenuettomoderatoFugaadue Soggetti Tessa Lark, Francisco Fullana, violins; Masumi Per Rostad, viola; Jay Campbell, cello INTERMISSION

ELGAR Piano Quintet in A Minor, Opus 84 (1857-1934) Andante;AdagioModerato Allegro Garrick Ohlsson, piano; Blake Pouliot, Simone Porter, violins; Richard O’Neill, viola; Johannes Moser, cello · 6:30 PM

VALENTINI Sonata for Two String Quartets and Double Bass “Enharmonic” (1582/83-1649) Simone Porter, Tessa Lark, Blake Pouliot, Francisco Fullana, violins; Masumi Per Rostad, Sung Jin Lee, violas; Johannes Moser, Jay Campbell, cellos; Doug Balliett, bass

THE BAKER-BAUM CONCERT HALL

POINT COUNTERPOINT

Saturday, July 30, 2022 · 7:30 PM

STEVE REICH New York Counterpoint SYNERGY COMMISSION (b. 1936) (Film directed by Tristan Cook with cinematography by Zac Nicholson) Anthony McGill, clarinet This video was co-commissioned by La Jolla Music Society and Lincoln Center for the Performing Arts as part of the Synergy Initiative, produced by Inon Barnatan and Clara Wu Tsai. MOZART Fantasy in F Minor for Two Pianos, K.608 (arr. Busoni) (1756-1791) Inon Barnatan, Joyce Yang, pianos

PRELUDE

La Jolla Music Society’s 2021–22 Season and SummerFest 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, San Diego Foundation, Brenda Baker and Steve Baum, Judith Bachner and Eric Lasley, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Jendy Dennis Endowment Fund, Sue and Chris Fan, Brenda and Michael Goldbaum, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Clara Wu Tsai, and Bebe and Marvin Zigman. See page 79 for more information on the Synergy

SupportInitiativeforthis program is sponsored in part by: Clara Wu Tsai

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FRANZ JOSEPH HAYDN

Giovanni Valentini had a career that seems—on the surface—very much like that of Antonio Vivaldi: both were born and had their early training in Venice, both became virtuoso performers, both established reputations throughout Europe, and both died in Vienna. But the similarities stop there. Valentini, who lived a century before Vivaldi, was an organist rather than a violinist, and he was a daring and innovative composer. He was also a distinguished poet who gave up publishing music over the final decades of his life to devote himself to poetry.

Valentini studied with Gabrieli in Venice and became skilled as a keyboardist. He then made a career across Central Europe, serving as a court organist to King Sigismund III in Poland before moving to Graz as “chamber organist.” In 1619 he became court organist in Vienna to the newly-appointed Holy Roman Emperor Ferdinand II and eventually became court kapellmeister in Vienna, serving in that position until his death in 1649. For the Viennese court Valentini composed a vast number of liturgical settings: masses, magnificats, canzones, and motets. Valentini had a probing mind, and he was quite willing to experiment. Very early in his career, he became interested in music written for instruments tuned to just temperament rather than to equal temperament. In equal temperament, F-sharp and G-flat are the same note (and a century later Bach wrote The Well-Tempered Clavier at least in part to demonstrate the benefits of equal temperament), but those two notes are not the same in just temperament. The clavichord that Valentini played had 77 keys for four octaves, while an instrument tuned to equal temperament had 44 keys for the same four octaves. But Valentini was an adventurous composer in many other ways, as well: he wrote music that changed meter every measure, he was willing to compose in two keys simultaneously, and he was quite open to exploring new possibilities in music. The sonata performed on this program was originally composed in just four parts, but it has been arranged for eight instruments plus continuo. In it, Valentini makes use of echo effects, he sets one quartet in G minor and the other in B minor, and he makes sharp contrasts between different dynamics. In the liner notes to their recording of this sonata, the early music ensemble ACRONYM points out that one passage in this sonata is marked triple piano, and this appears to be the earliest use ever of that dynamic.

String Quartet in F Minor, Opus 20, No. 5

GIOVANNI VALENTINI Born 1582/83, Venice Died April 29/30, 1649, Vienna

Approximate Duration: 4 minutes

POINT COUNTERPOINT — PROGRAM NOTES

Program notes by Eric Bromberger Sonata for Two String Quartets and Double Bass “Enharmonic”

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

The string quartet had begun as an entertainment form, usually as a multi-movement work of light character intended as background music at social occasions. The original title of this form—divertimento—made clear that this music was intended as a diversion. Haydn in fact published the six quartets of his Opus 20 under the title Divertimenti, but already he had reimagined the nature of the string quartet. No longer was it entertainment music content to remain in the background—Haydn made it a concise form, capable of an unusual range of expression. He reduced the number of movements to four, liberated all four voices (particularly the cello), and built the music around taut motivic development. The evolution of the form, though, was not simply a matter of newly-refined technique—it was also a matter of a new depth of expression. Haydn brought to his Opus 20 all his recent growth as a composer, and some have heard the influence of his symphonic thinking in this music. When the Opus 20 quartets were published in 1772, the publisher prefaced the set with a handsome illustration of the rising sun, and as a result they are sometimes known as the “Sun” Quartets. That is a fortuitous nickname, because these quartets do represent the beginning of a new era in quartet-writing.

Born March 31, 1732, Rohrau, Austria Died May 31, 1809, Vienna Composed: Approximate1772Duration: 22 minutes In 1772 Haydn completed the six quartets that he would publish as his Opus 20, but listeners should not be misled by that low opus number—these quartets are the work of an experienced composer. When he wrote them, Haydn was 40 years old, he had been kapellmeister to the Esterházy family for over a decade, and he had composed nearly fifty symphonies. Now he set out to transform the entire conception of the string quartet.

The Quartet in F Minor is a particularly good example of Haydn’s new conception of the form. Three of its four movements are in a minor key, and—throughout— this music is marked by a seriousness of expression and a tautness of construction. The opening of the Allegro moderato may flow smoothly, but it remains resolutely in F

WOLFGANG AMADEUS MOZART

Composed: Approximate1985Duration: 11 minutes

New York Counterpoint

Composed: Approximate1791Duration: 12 mintues In the summer of 1790 Mozart took on an unusual commission. Count Deym, a collector of curiosities, commissioned a piece for a combination mechanical organ and clock. It was to commemorate the recently-deceased Field Marshal Laudon, a hero of Austria’s war with Turkey; Count Deym wanted the music for the unveiling of a statue of Laudon in his wax museum. Mozart was not interested. He did not like the shrill sound of the tiny mechanical organ, and he had little enthusiasm about the project, but he needed the money. He made his feelings clear in a letter to his wife: I now made up my mind to compose at once the Adagio for the watchmaker and then to slip a few ducats into the hand of my dear little wife. And this I have done; but as it is a kind of composition

858.459.3728 • LJMS.ORG | 19 POINT COUNTERPOINT — PROGRAM NOTES minor, and the concise second subject does little to alter the somber spirit of the opening. The lengthy development and recapitulation are rounded off with a substantial coda that drives to a sudden (and surprisingly subdued) close.

Steve Reich studied at Cornell, Juilliard, and Mills and worked with some distinguished teachers, among them Darius Milhaud and Luciano Berio, but long before that formal training he had become fascinated with rhythm and drumming: in 1950 (at age 14) he began to study percussion with the timpanist of the New York Philharmonic. In 1970s he became interested in African and Balinese music and immersed himself in the study of those complex musical languages: he spent a summer in Ghana at the Institute for Africa Studies and also made a comprehensive study of gamelan music. This began to show up in his own music in a fascination with rhythm, pulse, and rhythmic phases. He founded his own ensemble, called Steve Reich and Musicians, to explore these possibilities, and one of his early successes was Drumming (1971), in which a single rhythmic cell is elaborated over a 90-minute span. Across his long career, Reich has written for varied (and sometimes quite large) ensembles that can use voice and tape and other nontraditional instruments, but the fascination with rhythm, percussive sounds, and rhythmic phases has remained a constant in his music. Reich wrote New York Counterpoint in 1985. It is scored for eleven different clarinet parts, but what makes this music unusual is that those eleven parts (including three for bass clarinet) must be pre-recorded. At this performance, the eleven parts have been recorded on video (created by film director Tristan Cook) by clarinetists from different branches of Lincoln Center—the Metropolitan Opera, Chamber Music Society of Lincoln Center, The Julliard School, and Jazz at Lincoln Center—and the solo clarinetist performs with these pre-recorded videos behind him. This brief piece is in three sections that remain—of necessity— strictly in rhythm. The first part, perky and staccato, fades directly into the more legato second section, which has the various voices combined as separate choirs. The final section, sharply syncopated, bounces along happily. The bass clarinets make a striking entrance here, their deeper sound suddenly enriching the entire sonority. Gradually textures thin out, and New York Counterpoint dances very precisely to its close. Fantasy in F Minor for Two Pianos, K.608 (arr. Busoni)

Born October 3, 1936, New York City

Born January 27, 1756, Salzburg Died December 5, 1791, Vienna

STEVE REICH

In the classical period the minuet movement was usually an elegant dance-interlude, but the Menuetto of this quartet sustains the spirit of the opening movement—it remains in F minor and powers forward implacably. Its trio section, in F major, projects a flash of sunshine across an otherwise dark landscape. The atmosphere changes perceptibly at the Adagio, which moves to F major and relaxes slightly. It is built on a dotted 6/8 meter, and its easy flow of melody swings gracefully along that old siciliano rhythm. The first violin part grows more ornate as the movement proceeds until it soars high above the other three instruments. The Finale returns to the spirit (and key) of the opening two movements, but now Haydn intensifies the atmosphere by casting this movement as a fugue built on two subjects. The second violin announces the first fugue subject, which Haydn may have borrowed from another composer: it echoes the chorus “And with his stripes” from Handel’s Messiah. Even as this subject is being stated, the viola presents the second subject. Haydn’s contrapuntal writing here is sharp-edged and closely argued: he combines his two subjects, presents them in canon and upside down, and at one point offers both subjects simultaneously.

Piano Quintet in A Minor, Opus 84

Elgar wrote little chamber music. He appears to have been more comfortable with the resources of the symphony orchestra and the human voice, and he wrote most often for orchestra and for chorus. In fact, after writing some brief pieces for violin and piano early in his career, Elgar turned away from chamber music almost permanently. But during the summer of 1918, at the very end of his creative career, the 61-year-old composer suddenly produced three substantial pieces of chamber music. There was no readily apparent reason for him to turn to a type of music he had neglected for so long. But during that summer England was nearing the end of a horrifying war, Elgar was facing the deteriorating health of his wife, and he may well have been confronting his own waning powers as a composer (he wrote only one more major work, the Cello Concerto of 1919). Perhaps all these had an influence on his decision to turn to so personal a form as chamber music. Perhaps none of them did—we can only guess. But in quick succession (he worked on all three simultaneously) he produced a violin sonata, a string quartet, and a piano quintet.

Born June 2, 1857, Broadheath, England Died February 23, 1934, Worcester, England

Composed: Approximate1918Duration: 37 minutes

The Piano Quintet is remarkable for the range and sharp contrast of its moods, and nowhere is this more evident than in its opening Moderato. This movement is based on a wealth of ideas, all presented in the first few moments. The very beginning is particularly impressive: the piano quietly announces the movement’s main theme, while in the background the strings sound the three-note figure that will echo like faint drum-taps throughout the movement.

20 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER POINT COUNTERPOINT — PROGRAM NOTES which I detest, I have unfortunately not been able to finish it. I compose a bit of it every day—but I have to break off now and then, as I get bored. And indeed I would give the whole thing up, if I had not such an important reason to go on with it. But I still hope that I shall be able to force myself gradually to finish it. If it were for a large instrument and the work would sound like an organ piece, then I might get some fun out of it. But, as it is, the works consist solely of little pipes, which sound too high pitched and too childish for my taste. Mozart finally did complete this piece, an Adagio and Allegro for Mechanical Organ, and must have thought himself well quit of Count Deym and his mechanical organ. But the following year, the Count commissioned another piece from Mozart for this instrument, and on March 3, 1791 Mozart composed a piece he called Orgelstück für eine Uhr: “Organ Piece for a Clock.” And this music is extraordinary. It may be a mark of how far Mozart had fallen that he felt he had to accept commissions for a mechanical organ, but it is also a mark of Mozart that he could turn around and write such astonishing and powerful music for a toy instrument. This music goes under the title Fantasy in F Minor today, when it is usually played by the massive organ that it demands. “Fantasy” is a title that more readily suggests Bach than a high-classical composer, and in fact at many points this Fantasy does suggest the music of that earlier master. It opens with a strident, almost assaultive, introduction, full of huge chords, surprising dissonances, and dotted rhythms. Mozart then introduces a fugue of great power, which develops for some minutes before he offers relief with a lovely central interlude in A-flat major marked Andante. The opening fugue returns (it is now treated as a double fugue), and the Fantasy powers its way to a massive close. How could music like this—so huge, so strong, so expressive—have been composed for a shrill and tooting little mechanical clock-organ? Mozart’s biographer Alfred Einstein believes the Fantasy so complex and powerful that it should be played by a full symphony orchestra, and this music has also been arranged for a variety of instruments, including wind quintet, accordion quartet, piano solo, piano four-hands, two flutes, and others. It is heard at this concert in an arrangement for two pianos by Ferruccio Busoni. Almost nine months to the day after composing the Fantasy, Mozart was dead at age 35. This music remains largely unknown to general audiences, but it is one more in that sequence of masterpieces from Mozart’s final year. It did not remain a secret to one young composer who arrived in Vienna only months after Mozart’s death. He encountered the Fantasy in Mozart’s own manuscript and— astonished by this music—made a pencil copy for himself.

A few moments later the upper strings in exotic harmony (English commentators invariably refer to this as “the Spanish theme”) give way to a yearning cello figure, to be quickly followed by an Allegro that sounds as if it should be scored for full orchestra. The movement pitches between these extremes: at moments it can sound confident and full, almost like salon music in its smoothness. And at others, it sounds spare and hard and haunting. The bleak ending, where fragments of the beginning break down and collapse, is especially effective.

His name was Beethoven.

SIR EDWARD ELGAR

For all the surface confidence, for all its grand gestures, the Quintet is tense music in the best meaning of that term. Throughout, one feels that this is many-faceted music, that those facets are often at odds emotionally with each other, and that from their collision comes some very moving music.

The Adagio is one of Elgar’s most successful slow movements. Its glowing beginning, with a ravishing theme for viola, sounds very much like the kind of music Brahms was writing thirty years earlier. Elgar’s development is extended, and an animated middle section leads to a quiet close. The final movement returns to the mood and manner of the first—Elgar even uses some of the same themes, as the slow introduction gives way to a confident Allegro (Elgar marks this con dignita, cantabile). This movement is very much in the grand manner: its gestures are dramatic, its themes full of sweep, its sonorities at times almost orchestral. The ending, marked Grandioso, is opulent in its rich sound and confidence. But just before the coda comes an extraordinary moment: the music grows quiet, and Elgar brings back the haunting and quiet music of the first movement, even with the ghostly drum-taps in the background. This note of stinging, quiet beauty in the midst of such splendor and energy is typical of the Quintet’s sharply-ranging moods.

POINT COUNTERPOINT — PROGRAM NOTES

858.459.3728 • LJMS.ORG | 21

J.S. BACH Concerto in D Minor for Two Violins and Strings, BWV 1043 (1685-1750) Largo,Vivace ma non tanto Allegro Tessa Lark, Blake Pouliot, solo violins C.P.E. BACH Concerto No. 3 in A Major for Cello, Strings, and Continuo, H.439, Wq.172 (1714-1788) LargoAllegrocon sordini, mesto Allegro assai Johannes Moser, solo cello; Francisco Fullana, Heejeon Ahn, Kathyrn Hatmaker, Delphine Skene, violins; Sung Jin Lee, viola; Nathan Cottrell, cello; Doug Balliett, bass; Paul Holmes Morton, theorbo; Ruben Valenzuela, harpsichord

RODERICUS Angelorum Psalat RAVEL Lent from Sonata for Violin and Cello, M. 73 (1875-1937) C.P.E. BACH Presto in C Minor, Wq. 114 No. 3, H.230 Simone Porter, violin; Jay Campbell, cello VIVALDI Violin Concerto in D Major, RV 208 “Grosso Mogul” (1678-1741) Recitativo:Allegro Grave Allegro Francisco Fullana, solo violin; Sophia Stoyanovich, Heejeon Ahn, Kathryn Hatmaker, Delphine Skene, violins; Richard O’Neill, viola; Nathan Cottrell, cello; Doug Balliett, bass; Paul Holmes Morton, theorbo; Ruben Valenzuela, harpsichord

Three Short Works for Violin and Cello

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

INTERMISSION BIBER Battalia à 10 for Violin, Strings, and Basso Continuo in D Major (1644-1704) Sonata: Allegro Die liederliche Gesellschaft von allerley Humor

THE BAKER-BAUM CONCERT HALL FALCONIERI Chaconne in G Major (1585/86-1656) Francisco Fullana, Simone Porter, Kathryn Hatmaker, Heejeon Ahn, violins; Masumi Per Rostad, viola; Jay Campbell, cello; Doug Balliett, bass; Paul Holmes Morton, theorbo; Ruben Valenzuela, harpsichord

Support for this program generously provided by: Monarch Cottage BACH Sunday, July 31, 2022 · 3 PM

PRELUDE · 2 PM

BEYOND

THE JAI Lecture by Michael Gerdes Simone Porter La Jolla Music Society’s 2021–22 Season and SummerFest 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, San Diego Foundation, Brenda Baker and Steve Baum, Judith Bachner and Eric Lasley, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Jendy Dennis Endowment Fund, Sue and Chris Fan, Brenda and Michael Goldbaum, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Clara Wu Tsai, and Bebe and Marvin Zigman.

LamentoDieAriaPrestoDerPrestoMarsSchlachtder

Verwundten Musquetirer Francisco Fullana, Sophia Stoyanova, Simone Porter, violins; Masumi Per Rostad, Richard O’Neill, Chi-Yuan Chen, Sung Jin Lee, violas; Jay Campbell, cello; Doug Balliett, bass; Ruben Valenzuela, harpsichord

The real glory of this concerto comes in the slow movement—Largo, ma non tanto—which is nearly as long as the outer movements combined. The second violin sings the noble melody that will dominate this movement, then accompanies the first violin as it enters with the theme. This balanced partnership extends throughout the movement, each violin spinning out Bach’s gloriously poised melodic lines one moment, turning to accompany the other the next.

ANDREA FALCONIERI Born 1585/1586, Naples Died July 19, 1656, Naples Approximate Duration: 3 minutes

The opening movement is significantly marked Vivace rather than the usual Allegro—Bach’s marking stresses that he wants a lively performance, vivacious rather than simply fast. A long orchestral introduction presents the main theme, and soon the solo violins enter, gracefully trading phrases. Though it moves smoothly and easily, this music is much more difficult than it sounds, requiring wide melodic skips and awkward string-crossings. The solo exchanges are interrupted by orchestral tuttis in a manner reminiscent of the concerto grosso (to which the concerto bears a strong resemblance), and at the end the orchestra brings the movement to a powerful close.

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Died July 28, 1750, Leipzig Composed: Approximate1720Duration: 15 minutes

JOHANN SEBASTIAN BACH

Andrea Falconieri trained originally as a lutenist and held positions as a court musician in Parma, Modena, Rome, and Genoa. But he soon developed an interest in composing, particularly for voice, and he wrote a number of songs, villanelles, madrigals, and motets; these were published in the early years of the seventeenth century in Rome, Florence, and Venice. Falconieri seems to have been regularly on the move, and he traveled and performed in both Spain and France before returning to Italy. In 1642 he was named lutenist at the court in Naples, and in 1647 he became maestro di cappella at that court, a position he held for the rest of his life. Falconieri died at the age of 70 of the plague that swept through southern Italy in 1656 and killed half the population of Naples. Falconieri may have composed mostly for voice, but he also wrote a number of instrumental pieces, and these were published in Naples in 1650, three years after his death. Many of these pieces are scored for two violins, bass, and a continuo line that might include theorbo, organ, or other instruments, including percussion. By far the most popular of these is the Chaconne in G Major. A chaconne is a variation-form movement in which a repeating ground bass provides the harmonic foundation for variations in the melodic line above. Usually that ground bass is eight measures long, but here Falconieri’s ground is quite short. Above it, the two violinists play with a breathless energy as they race, dance, and sing through a series of exuberant variations. Falconieri’s Chaconne is a very brief piece—only about three minutes long—but it should leave the audience just as breathless as the two violinists.

Program notes by Eric Bromberger Chaconne in G Major

By contrast, the concluding Allegro bristles with energy, hurtling along on a steady flow of sixteenth-notes. This movement is more varied rhythmically than the first—the soloists have sudden bursts of triplets and break out of the orchestral texture to launch their own soaring melodies. Again, the orchestra’s tuttis punctuate the movement and bring it to a vigorous close.

• LJMS.ORG | 23

Born March 21, 1685, Eisenach, Germany

This ever-popular concerto dates from about 1720, or from the middle of Bach’s six years as music director to Prince Leopold of Anhalt-Cöthen. The Double Concerto is a favorite of all violinists, from the greatest virtuosos to the humblest amateurs, and it is easy to understand why: this concerto offers pleasing melodies, an even distribution of duties between the soloists, and one of Bach’s greatest slow movements.

Concerto in D Minor for Two Violins and Strings, BWV 1043

BEYOND BACH — PROGRAM NOTES

The Concerto No. 3 in A Major for Cello, Strings, and Continuo, the last of Emanuel’s cello concertos, dates from about 1753. It is in three movements in the expected fast-slow-fast sequence. A vigorous orchestral introduction establishes the character of the opening Allegro, and the cello makes its entrance on a variation of that introduction. Despite some lyrical moments, the energy level remains high throughout this movement. The beautiful second movement opens with a long and somber orchestral introduction, made even darker by Emanuel’s decision to mute the strings; the focus soon shifts to the soloist, who develops the opening idea at length. Emanuel’s specification mesto (“sad”) is exactly right for this music. The orchestral opening of the Allegro assai races along on rapid triplets, but the cello’s noble entrance is more contemplative. Those flying triplets will dominate this finale, which is by far the most brilliant of the three movements, full of sharp orchestral accents and constant motion.

24 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER BEYOND BACH — PROGRAM NOTES Concerto No. 3 in A Major for Cello, Strings, and Continuo, H.439, Wq.172 CARL PHILIPP EMANUEL BACH Born March 8, 1714, Weimar, Germany Died December 14, 1788, Vienna Composed: Approximate1753Duration: 20 minutes

Baptized August 12, 1644, Wartenberg, Bohemia Died May 3, 1704, Salzburg Composed: Approximate1673Duration: 10 minutes Though he is little known to contemporary audiences, Heinrich Biber was one of the finest violinists of the seventeenth century and certainly one of its most original composers. Biber learned to play the violin as a boy, and at about age twenty he was taken into the service of the Prince-Bishop of Olomouc, who maintained a good orchestra at his residence at Kroměříz, about one hundred miles north of Vienna. Biber was there for only a few years, for he moved to Salzburg in 1670; he became kapellmeister to the Archbishop of Salzburg in 1684, several generations before the Mozart family would serve the same court. One of the most striking aspects of Biber’s writing for the violin was his use of scordatura: the retuning of one or more of the violin’s strings so that new chords, resonances, and sounds are possible. In Biber’s sonatas, these retunings could sometimes be so complex that they require violinists to exchange the position of the strings of the violin. When this attention to new sonorities is coupled with the virtuosity of Biber’s own playing, the results can be quite striking.

Carl Philipp Emanuel Bach might seem to have had a very narrow preparation as a composer. The second son of Johann Sebastian had only one teacher, his father (but what a teacher!). He did none of the extensive traveling young composers were supposed to do to expose themselves to different musical styles. He played only keyboard instruments—it was expected that any serious musician would know how to play the violin, but Emanuel was lefthanded and so found stringed instruments uncomfortable. In fact, his father intended that Emanuel should have nothing to do with music at all—he sent the young man off to the University of Leipzig and the University of Frankfurt an der Oder to study law, hoping that Emanuel would gain the university degree the father never had. But the lure of music proved too strong. Despite spending seven years in university study, Emanuel walked away from that training to devote himself to the keyboard and to composition. He developed so rapidly that in 1740, at the age of 26, he was named court harpsichordist to Frederick the Great. Emanuel spent the next 27 years in Berlin and Potsdam, accompanying the king, an amateur flutist, several times a week. The young Bach was greatly respected at the court, but his relations with Frederick the Great were a little uneasy at best—though he may have been a progressive king, Frederick was a staunch musical conservative and had little use for the wild music his harpsichord accompanist was composing.

HEINRICH BIBER

Biber wrote a great deal of liturgical music, but he was also interested in pictorial music and composed pieces that incorporate the cries of the night watch or the sounds of

Battalia à 10 for Violin, Strings, and Basso Continuo in D Major

Emanuel composed about fifty concertos. Most were originally written for harpsichord, and then many of these were arranged for other instruments, so that a large number of Emanuel’s concertos exist in versions for different instruments. The present Concerto in A Major, originally composed for harpsichord, also exists in arrangements for flute and for Emanuel’scello.concertos are usually regarded as “transitional” works, somewhere between the ritornello style of the baroque concerto and the classical style Mozart would employ a generation later. It should be noted, though, that Emanuel was an active participant in that “transition”: he was one of the early practitioners of a sort of modified sonata form: his movements might consist of several different theme-groups rather than the single-theme form of the baroque concerto, and as a result his concertos can have a higher, more dramatic profile than most baroque concertos.

One of Biber’s most famous pieces is his Battalia à 10, a musical depiction of a battle, composed in Salzburg in 1673 and scored for ten players. Across the centuries there have been many musical battles, ranging from Beethoven’s Wellington’s Victory to Tchaikovsky’s 1812 Overture and on to Shostakovich’s “Leningrad” Symphony. Biber’s battle is on a much smaller scale than any of these, but it is also much more original, revealing not only Biber’s wild imagination but also a very sly sense of humor. One of the most original aspects of this piece is Biber’s careful attention to sound: he asks the players to beat on their instruments with their bows; he demands sharply snapped-off pizzicatos to mimic the sound of musket fire; he suggests that the bass player insert a sheet of paper beneath the strings so that it can approximate the sound of a snare drum. The music begins with a Sonata full of echo effects that set the stage. This is followed by a depiction of “the dissolute horde of musketeers” who gather in a tavern and—drunk—sing eight different folk songs, each in a different key. Der Mars depicts a military march, with the solo violin taking the part of a skirling fife above the doublebass’ imitation of a drum. The Aria is dedicated to Bacchus, the god of wine, and there follows the battle itself, with gunshots sounded by banging chords and pizzicato strokes. Beethoven, Tchaikovsky, and Shostakovich all concluded their battle pieces triumphantly, but Biber gives us something quite different: after this battle, the wounded musketeers gather— presumably in a tavern—and lament their wounds with groans and dissonances.

Composed: c. 1390 Approximate Duration: 5 minutes

A great deal of mystery continues to surround this powerful music and its composer. Angelorum Psalat first appeared in the Chantilly Codex of about 1400, where its composer is listed as S. Uciredor (Rodericus spelled backwards). Almost nothing is known about Rodericus beyond the information that he served as a court musician in the court of Aragon and then went on to the court of Foix in 1415. Angelorum Psalat, which is thought to date from the 1390s, is a two-part ballad in Latin whose text “contrasts the celestial harmony of the spheres to Eve’s sin.” At this concert Angelorum Psalat is heard in an arrangement for violin and cello which in turn has been derived from an arrangement of the ballad for string quartet. The most striking thing about this music is its rhythmic complexity—its rhythms are in fact so complex that the music is almost impossible to transcribe into modern musical notation. Though the arrangement is nominally set in 3/4, Rodericus’ rhythms seem at moments to have almost nothing to do with barlines, and some measures have had to be cast in such unusual meters as 5/16, 9/32, and 11/32. This music takes us back over 700 years, and—rather than coming from a simpler time—it draws us into a world of unexpected—and very moving—complexity.

RODERICUS

Carl Philipp Emanuel Bach composed nearly 200 hundred keyboard sonatas, as well as a number of shorter works, including fantasias, rondos, and others. These were

BEYOND BACH — PROGRAM NOTES

Lent from Sonata for Violin and Cello

Composed: Approximate1768Duration: 1 minute

Three Short Works for Violin and Cello Angelorum Psalat

MAURICE RAVEL

858.459.3728 • LJMS.ORG | 25 animals. Paul Hindemith described Biber as “the most important Baroque composer before Bach.”

The composition of the Sonata for Violin and Cello was difficult for Ravel, and he struggled with this brief piece for some time before completing it early in 1922. Even then, Ravel was unsure about what he had written, saying “It doesn’t seem much, this machine for two instruments: it’s the result of nearly a year and a half’s slogging.” This was a bleak period emotionally for the composer: he had just gone through the torment of the First World War (in which he had served as an ambulance driver) and had suffered the death of his mother in 1917. This spare work is dedicated to the memory of Debussy, who had died in 1918.

CARL PHILIPP EMANUEL BACH

Writing for two linear instruments without the harmonic foundation and richness of piano accompaniment brings special problems. Ravel himself noted his solution: “Economy of means is here carried to its extreme limits; there are no harmonies to please the ear, but a pronounced reaction in favor of melody.” The Lent, the Sonata’s third movement, is its most melodic: the cello’s expressive opening theme is soon taken up by the violin, and their extended duet sings gracefully. An agitated middle section leads to a return of the opening material, now muted. Presto in C Minor, Wq. 114 No. 3, H.230

Born March 7, 1875, Ciboure, Basses-Pyrenées Died December 28, 1937, Paris Composed: Approximate1922Duration: 6 minutes

Violin Concerto in D Major, RV 208 “Grosso Mogul” VIVALDI

published in Hamburg in six volumes and were intended, in Emanuel’s words, “für Kenner und Liebhaber” (“for connoisseurs and amateurs”). Among the works for amateurs was his set of Kurze und leichte Klavierstücke (“Short and Easy Piano Pieces”), published in Hamburg in 1768, soon after his arrival in that city. The third of these pieces, a Presto in C Minor, is composed in a consciously “simple” style: it has the pianist’s hands alternating notes very rapidly as the music proceeds along its breathless way (there are no chords in this piece except for the concluding attack). It makes an ideal arrangement for violin and cello: the violin plays the right-hand part, the cello the left.

ANTONIO

Matters change completely in the central movement, marked Recitative: Grave. Vivaldi moves to B minor here and accompanies the soloist with a simple continuo line (most modern performances use a bassline prepared by the twentieth-century composer Gian Francesco Malipiero). Over this bare accompaniment, the solo violin sings a most ornate line, full of feathery embellishments and quite free Therhythmically.concluding Allegro returns to D major, and once again the soloist is given a part of unusual difficulty, full of busy passagework and again set high in the violin’s range. Another extended cadenza precedes the powerful concluding chords.

A certain amount of mystery continues to surround this brilliant concerto. It exists in three different manuscript versions, some of these include extended cadenzas and some don’t, there are two different versions of the slow movement, and no one is sure about the meaning of the nickname. And—to complicate matters—Bach made a transcription of this music as a concerto for organ solo, so it exists in an entirely different form and key. Some things can be made out clearly, however. Vivaldi probably composed this concerto about 1712. Bach, who was then serving as court organist in Weimar, was a great admirer of Vivaldi’s music; he quickly acquired a manuscript copy of this concerto and made his transcription of it for organ. Vivaldi’s concerto was then published in Amsterdam in 1720, when it was officially listed as his Opus 7, No. 11. But three different manuscript versions of this concerto survive: they were found in Schwerin in Germany, in Turin, and in Cividale de Friuli. These manuscripts differ in certain details, primarily about the cadenzas in the outer movements: Vivaldi had carefully written out those cadenzas, but two of the manuscripts omit them. On the Schwerin manuscript, someone had scrawled the title “il Grosso Mogul”: “The Great Mogul.” What does that title refer to? Did it come from Vivaldi or from another hand? No one knows. What we do know, though, is that this is a most brilliant concerto: its outer movements are extremely vigorous, and the writing for the solo violin throughout is quite difficult. And the cadenzas, which come at the end of the outer movements, are some of the longest and most demanding Vivaldi ever wrote. The opening Allegro bursts to life on a vigorous ritornello, and the entrance of the soloist is just as energetic: the extended solo passages are full of doublestops, and much of the writing for solo violin is set very high in its range. The music comes to a pause just before the concluding cadence, and—in some versions of this concerto—Vivaldi gives the soloist a long cadenza.

BEYOND BACH — PROGRAM NOTES

Born March 4, 1678, Venice Died July 26/27, 1741, Vienna Composed: Approximate1712Duration: 16 minutes

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

BEETHOVEN Piano Trio in D Major, Opus 70, No. 1 “Ghost” (1770-1827) Allegro vivace e con brio Largo assai ed espressivo Presto Imogen Cooper, piano; Liza Ferschtman, violin; Efe Baltacigil, cello

THE BAKER-BAUM CONCERT HALL Pelia Quartet performs Beethoven’s String Quartet No. 10 in E-flat Major, Op. 74 “Harp” NO INTERMISSION

THE BAKER-BAUM CONCERT HALL

858.459.3728 LJMS.ORG · 6 PM

Wednesday, August 3, 2022 · 7 PM

Support for this program generously provided by: Gordon Brodfuehrer

Imogen Cooper La Jolla Music Society’s 2021–22 Season and SummerFest 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, San Diego Foundation, Brenda Baker and Steve Baum, Judith Bachner and Eric Lasley, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Jendy Dennis Endowment Fund, Sue and Chris Fan, Brenda and Michael Goldbaum, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Clara Wu Tsai, and Bebe and Marvin Zigman.

PURCELL Fantasia No. 6 in F Major, Z.737 Fantasia Upon One Note, Z.745 Francisco Fullana, Sophia Stoyanovich, violins; Masumi Per Rostad, Sung Jin Lee, violas; Andrew Byun, cello; Doug Balliett, bass; Paul Holmes Morton, theorbo SCHUBERT Sonatina No. 1 in D Major for Violin and Piano, D.384 (1797-1828) Allegro AllegroAndantemoltovivace Alexi Kenney, violin; Francesco Piemontesi, piano KORNGOLD Much Ado About Nothing Suite, Opus 11 (1897-1957) The Maiden in the Bridal Chamber Dogberry and Verges: March of the Watch Scene in the Garden Masquerade: Hornpipe Blake Pouliot, violin; Joyce Yang, piano

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| 27 PRELUDE

UNDER THE INFLUENCE: Shakespeare’s World

PURCELL Fantasia No. 4 in G Minor, Z.735 (1659-1695) LUPO Fantasia in B-flat Lydian, VdGS 3.14 (1571-1627)

28 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER Program notes by Eric Bromberger If music be the food of love, Z.739 HENRY PURCELL Born 1659 Died November 21, 1695, Westminster Composed: Approximate1690sDuration: 3 minutes

This selection of fantasias begins with Purcell’s Fantasia in G Minor, Z.725, and this will be followed by a fantasia by George Lupo (program note below). The collection then concludes with Purcell’s Fantasia in F Major, Z.737 and the Fantasia Upon One Note, Z.7.45. In this final fantasia, the fourth voice of five (a part usually taken by a viola) plays only one note—a C—and holds that note throughout the entire piece, providing the harmonic center around which the other voices sing, imitate, and interlock.

Fantasias HENRY PURCELL Composed: Approximate1680Duration: 11 minutes In 1680, when he was only 21 and serving as “composer to the King’s violins,” Purcell wrote thirteen fantasias for strings: there was one fantasia for five players, three for three players, and nine for four players (these numbers are sometimes augmented in performance). In many ways, this music was looking backward even as it was composed. Purcell wrote these fantasias for a consort of viols, a combination of instruments that was already becoming obsolete, and he looked to the past as well for the polyphonic structure of these brief pieces. His fantasias are based on the Elizabethan fancy, a form in which a tune is introduced by one instrument and then the other voices enter in close imitation. The glory of this music lies in its polyphonic development, and Purcell takes his sturdy melodies, already powerful and expressive to begin with, through some intense, learned, and at times dissonant extension—even today these fantasias can sound bracing harmonically. At moments this music—in its emotional intensity and stinging dissonances—can seem to prefigure the slow movements of Beethoven’s late quartets, though Beethoven himself would have been surprised by its harmonic freedom. Purcell’s fantasias are sectional in structure: after developing a first tune, Purcell will introduce and develop a second and third theme, and he sometimes concludes with a lively dance section. Purcell does not indicate tempo changes between these sections, and it is up to performers to make decisions about tempos and the relations between the component sections. One observer, trying to take stock of this music, has described it as “among the most searching and profound works in all music.” That is a staggering claim, and it may well be accurate. Turning to the past for his models, Purcell in 1680 wrote music that—three centuries later—still sounds new, alive, daring, and moving.

This program of music inspired by Shakespeare begins with works by Henry Purcell. Born into a musical family, Purcell had a meteoric career that made him—over the span of his brief life—the first of England’s great composers. He sang in the Chapel Royal as a boy, became “composer to the King’s violins” at age 18, and was named the organist at Westminster Abbey in 1679, a position he held until his death in 1695 at the age of 36. A prolific composer, he wrote church music, coronation and other official anthems, incidental music for London theatrical productions, and a large number of instrumental and keyboard pieces. He is probably best known to American audiences for two works that have been used for other purposes: Benjamin Britten used a Rondeau from Purcell’s Abdelazar, or the Moor’s Revenge as the basis for his Young Person’s Guide to the Orchestra, and Stanley Kubrick employed Purcell’s Funeral Music for Queen Mary to eerie effect in A Clockwork Orange Purcell wrote about a hundred songs for solo voice and continuo accompaniment, and there are about 150 further solo songs drawn from the stage works. In 1698, three years after his death, a collection of these was published under the title “Orpheus Brittanicus,” a fitting tribute to a composer honored throughout the nation following his death. Purcell’s songs for high voice were probably intended for countertenor. For the accompaniment, Purcell supplied only a bass line, expecting that the keyboard player would realize the part fully during performance (and also expecting that each performance might be different). In Purcell’s time, the bass line might be doubled by gamba, a practice often abandoned in modern performance. This recital opens with one of Purcell’s most famous songs. If Music be the Food of Love is not, as its title might suggest, a setting of the beginning of Shakespeare’s Twelfth Night. Instead, Colonel Henry Heveningham took the first line of that play and wrote his own poem on it; Purcell was quite attracted to this text—he set it three different times between 1692 and 1695. An ornate vocal line rides along a wealth of energy here, colored by Purcell’s chromatic harmonies. Also evident here is Purcell’s pleasure in language—he will elaborate a particular word at length, reveling in its sound and possibilities for expression.

UNDER THE INFLUENCE: SHAKESPEARE’S WORLD — PROGRAM NOTES

Orpheus with his lute RALPH VAUGHAN WILLIAMS

Five Songs on Texts by Shakespeare Song texts begin on page 31. An Sylvia, D.891 FRANZ SCHUBERT

Born October 12, 1872, Down Ampney, England Died August 26, 1958, London Composed: Approximate1903Duration: 3 minutes Shakespeare’s Henry VIII, written in 1613, was one of his final plays (it was during a performance of this play in June 1613 that a small cannon used in the play set fire to the Old Globe and burned it to the ground). Orpheus with his lute comes from the beginning of Act III. The troubled queen asks one of her attendant women to sing a song to dispel her mood, and the woman sings in praise of Orpheus, the god of music. Vaughan Williams was only 31 and still relatively unknown when he composed his noble setting of this text in 1903; the première took place the following year when Vaughan Williams and his good friend Gustav Holst put on a joint recital of their songs.

Born January 30, 1797, Vienna Died November 19, 1828, Vienna Composed: Approximate1826Duration: 3 minutes Schubert wrote his only three settings of Shakespeare during the summer of 1826, setting all of them in German rather than English. An Silvia (Shakespeare’s text begins “Who is Sylvia?) is sung by the Host to cheer up the disguised Julia in Act IV of Two Gentlemen of Verona. This is one of Schubert’s finest songs, and he deftly weaves together three musical strands: the flowing vocal line, the steady chordal accompaniment, and a bassline that walks along dotted rhythms in beautiful counterpoint to the voice. It was a lover and his lass, Opus 23, No. 3

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ROGER QUILTER

Born November 1, 1877, Brighton Died September 21, 1953, London Composed: Approximate1921Duration: 3 minutes

UNDER THE INFLUENCE: SHAKESPEARE’S WORLD — PROGRAM NOTES

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GEORGE LUPO

858.459.3728 LJMS.ORG Fantasia in B-flat Lydian, VdGS 3.14

Baptized August 7, 1571, London Died December 1627, London Approximate Duration: 3 minutes

George Lupo was a member of an Italian family of musicians who moved first to Antwerp and then to London, where George was born. He learned to play the viol and violin as a boy and was named a member of the violin consort of Elizabeth I at the age of sixteen. He would remain in the employment of the royal family for the remaining four decades of his life, and in 1621 he was named “composer to the violins,” a position Purcell would hold half a century later. Lupo wrote a vast amount of music for different numbers of viols; like Purcell he wrote fantasias, but he also wrote many dances for viol consorts. His Fantasia in B-flat Lydian was published in Amsterdam in 1648, over two decades after his death. Based on the Lydian mode and beginning and ending on a unison B-flat, this fantasia is quite brief, spanning barely two minutes. It is scored for three parts—Cantus, Altus, and Bassus—though these numbers can be augmented by enriching the bass line.

Roger Quilter studied piano as a young man in England, then went to Frankfurt, where he continued his studies at the Hoch Conservatory. Quilter had his greatest success as a composer of songs. His Children’s Overture of 1919, based on such nursery tunes as Girls and Boys, Come out to Play; Sing a Song of Sixpence; Baa, Baa, Black Sheep; and Oranges and Lemons, had a vogue for a while, but today it can be found only on obscure recording labels. All of this is too bad, for Quilter was a deft musician (he frequently accompanied singers when they presented his songs), and he wrote beautifully for the voice. It was a lover and his lass is one of Quilter’s Five Shakespeare Songs, composed in 1921. The text comes from Act V of Shakespeare’s As You Like It. Two pages sings this song, with its refrain “Ring a ding ding,” to Touchstone and Audrey. The text is cheerful and light, but Touchstone rejects it as “a foolish song.”

UNDER THE INFLUENCE: SHAKESPEARE’S WORLD — PROGRAM NOTES

BENJAMIN DALE

Shall I compare thee to a summer's day EINOJUHANI RAUTAVAARA

Korngold wrote incidental music for a production of Shakespeare’s Much Ado About Nothing in Vienna in 1919, the year before the première of Die tote Stadt. The original version was scored for chamber orchestra, and Korngold then drew two suites from this music, one for orchestra and one for violin and piano. Shakespeare’s comedy, with its sharp-tongued lovers Beatrice and Benedick and the evil plot against the innocent Hero, has always been a favorite, and Korngold’s music captures some of the magic of the play. Particularly memorable are the bumbling constables of the night watch, Dogberry and Verges, and Korngold depicts the stumbling antics of the night watch in the sturdy and comic little march that comprises the second movement of these excerpts. The Garden Scene is soaring and melodic, and Korngold rounds the suite off with a Hornpipe (appropriately, a dance of English origin) that zips briskly along its 2/4 meter.

Born May 29, 1897, Brno, Czechia Died November 29, 1957, Hollywood Composed: Approximate1919Duration: 13 minutes

It is easy for American audiences to think of the man who won Oscars for the scores to The Adventures of Robin Hood and Anthony Adverse as a film composer, but Erich Korngold wrote for the movies for only about a decade (1934-1946). The rest of his career was dedicated to “serious” music (which somehow implies that film music is not serious): Korngold wrote five operas, a great deal of symphonic and instrumental music, and a number of songs. Some of his works, including the opera Die tote Stadt and the wonderful Violin Concerto (composed for Heifetz and based on themes from Korngold’s film scores), have achieved a measure of popularity. Much good music by Korngold remains—and deserves—to be heard.

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

Much Ado About Nothing Suite, Opus 11 ERICH KORNGOLDWOLFGANG

Born July 17, 1885, London Died July 30, 1943, London Composed: Approximate1918Duration: 5 minutes

This famous text does not come from one of Shakespeare’s plays but is instead his Sonnet 18. The sonnet’s proclamation of ardent, undying love has made it attractive to composers, and it has been set to music many, many times. Finnish composer Einojuhani Rautavaara composed his Three Sonnets of Shakespeare, Opus 14 in 1952, when he was only 24. Come away, death

Benjamin Dale entered the Royal Academy of Music at age 15, studying composition and keyboard, and he went on to a career as a prolific composer and teacher. His music has been largely forgotten, but his 1905 Piano Sonata admired then for its harmonic daring—is still performed and recorded. Dale was at the Bayreuth Festival in the summer of 1914 when World War I broke out. As a foreign national, he was detained, and he spent the entire war in a civilian detention center outside Berlin. Those in that camp included many talented musicians, and they performed Gilbert and Sullivan operettas and other music. In February 1918, while still incarcerated, Dale composed his Two Songs from Shakespeare, Opus 9. The text for the second of these comes from Act II of Twelfth Night. The love-stricken Duke Orsino calls for music to comfort him, and the clown Feste sings Come Away, Death. Dale marks the tempo Slow, with a certain noble pathos and provides a role for viola obbligato as part of the lover’s lament.

Born October 9, 1928, Helsinki Died July 27, 2016, Helsinki Composed: Approximate1952Duration: 3 minutes

The exact source of the nickname “Ghost” for this trio is unknown, but it clearly refers to the middle movement, a striking Largo in D minor. This is dark, almost murky music—the piano murmurs a complex accompaniment while the strings twist and extend bits of melody above it. This unusual music (Beethoven rarely marked a movement Largo) has excited a great deal of curiosity about its inspiration. One possibility is particularly intriguing. Beethoven had worked on his opera Leonore (later renamed Fidelio) from 1804 until 1806. It had not achieved success, and—anxious to try another opera—Beethoven explored many possible subjects. One of these was Shakespeare’s Macbeth, and he and the playwright Heinrich Collin went so far as to discuss a libretto. In fact, Beethoven actually began work on the music for Macbeth, for there are sketches in D minor marked “Macbeth.” Nothing ever came of them, though the idea of an opera based on this play continued to fascinate Beethoven, even in his final years. But on the same sheet that contains the sketches for Macbeth are the first sketches for the Largo assai ed espressivo movement of this trio, also in D minor. Whether this somber and brooding music, written in 1808, grew out of Beethoven’s projected music for Macbeth cannot be known for sure, but the connection—however distant—is clearly there, and this movement may be our one hint as to what Beethoven’s music for that tragedy might have been like. Surely it is not too great a leap to imagine this music in conjunction with the witches or Macbeth’s dark final days.

Beethoven frames this remarkable Largo with two fast movements, both in radiant D major. The middle movement is so powerful that the outer movements seem a little light by comparison, and some observers have gone so far as to suggest that they should be seen as prelude and postlude to the Largo. The Allegro vivace e con brio opens with a pithy rhythmic figure that recurs throughout the movement and finally brings it to a close. The main theme is a flowing, elegant idea heard first in the cello and quickly passed between all three instruments. This theme dominates the opening movement, giving it an atmosphere of easy expansiveness. The concluding Presto sounds innocent after the grim pizzicato strokes that end the Largo. It offers long melodic lines, a graceful partnership between the instruments, and a smooth flow of good-spirited music throughout.

If music be the food of love By Henry Heveningham If music be the food of love, Sing on till I am fill’d with joy; For then my list’ning soul you move To pleasures that can never cloy. Your eyes, your mien, your tongue declare That you are music ev’rywhere.

An Sylvia (From two Gentlmen of Verona) Who is Silvia? what is she, That all our swains commend her? Holy, fair, and wise is she; The heaven such grace did lend her, That she might admirèd be. Is she kind as she is fair? For beauty lives with kindness. Love doth to her eyes repair, To help him of his blindness; And, being helped, inhabits there. Then to Silvia let us sing, That Silvia is excelling; She excels each mortal thing Upon the dull earth dwelling; To her let us garlands bring.

UNDER THE INFLUENCE: SHAKESPEARE’S WORLD — PROGRAM NOTES

858.459.3728 • LJMS.ORG | 31 Piano Trio in D Major, Opus 70, No. 1 “Ghost” LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna Composed: Approximate1808Duration: 26 minutes

Pleasures invade both eye and ear, So fierce the transports are, they wound, And all my senses feasted are, Tho’ yet the treat is only sound, Sure I must perish by your charms, Unless you save me in your arms.

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

Between the acres of the rye, With a hey, and a ho, and a hey nonino, Those pretty country folks would lie, In springtime, the only pretty ring time, When birds do sing, hey ding a ding, ding; Sweet lovers love the spring.

Orpheus with his lute (from Henry VIII) Orpheus with his lute made trees, And the mountain tops that freeze, Bow themselves when he did sing: To his music plants and flowers Ever sprung; as sun and showers There had made a lasting spring. Every thing that heard him play, Even the billows of the sea, Hung their heads, and then lay by. In sweet music is such art, Killing care and grief of heart Fall asleep, or hearing, die.

Shall I compare thee to a summer’s day

It was a lover and his lass (from As You Like It) It was a lover and his lass, With a hey, and a ho, and a hey nonino, That o’er the green cornfield did pass, In springtime, the only pretty ring time, When birds do sing, hey ding a ding, ding; Sweet lovers love the spring.

This carol they began that hour, With a hey, and a ho, and a hey nonino, How that a life was but a flower In springtime, the only pretty ring time, When birds do sing, hey ding a ding, ding; Sweet lovers love the spring. And therefore take the present time, With a hey, and a ho, and a hey nonino, For love is crownèd with the prime In springtime, the only pretty ring time, When birds do sing, hey ding a ding, ding; Sweet lovers love the spring.

Shall I compare thee to a summer’s day?

Thou art more lovely and more temperate: Rough winds do shake the darling buds of May And summer’s lease hath all too short a date: Sometime too hot the eye of heaven shines And often is his gold complexion dimm’d; And every fair from fair sometime declines By chance or nature’s changing course untrimm’d; But thy eternal summer shall not fade Nor lose possession of that fair thou ow’st; Nor shall Death brag thou wander’st in his shade When in eternal lines to time thou growest: So long as men can breathe or eyes can see So long lives this, and this gives life to thee Come away, death (from Twelfth Night) Come away, come away, death, And in sad cypress let me be laid. Fly away, fly away, breath; I am slain by a fair cruel maid. My shroud of white, stuck all with yew, O, prepare it! My part of death, no one so true Did share it. Not a flower, not a flower sweet, On my black coffin let there be strown. Not a friend, not a friend greet My poor corpse, where my bones shall be thrown. A thousand thousand sighs to save, Lay me, O, where Sad true lover never find my grave, To weep there!

UNDER THE INFLUENCE: SHAKESPEARE’S WORLD — PROGRAM NOTES

THE JAI Lecture by Jennifer Walker Alexi Kenney La Jolla Music Society’s 2021–22 Season and SummerFest 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, San Diego Foundation, Brenda Baker and Steve Baum, Judith Bachner and Eric Lasley, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Jendy Dennis Endowment Fund, Sue and Chris Fan, Brenda and Michael Goldbaum, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Clara Wu Tsai, and Bebe and Marvin Zigman.

THE BAKER-BAUM CONCERT HALL DEBUSSY Petite Suite, for Piano Four-Hands (1862-1918) En BalletMenuetCortègebateau

Francesco Piemontesi, Imogen Cooper, piano CHOPIN Nocturne in E Major, Opus 62, No. 2 (1810-1849) Imogen Cooper, piano A Set of Songs by French Composers POULENC Voyage à Paris (1899-1963) HAHN Quand je fus pris au pavillon (1874-1947) À Chloris DEBUSSY Chansons de Bilitis La flûte de Pan La chevelure Le tombeau des naïades POULENC Les chemins de l’amour TRÉNET Boum! (1913-2001) Fleur Barron, mezzo-soprano; Imogen Cooper, piano INTERMISSION CAPLET Conte Fantastique (1878-1925) Bridget Kibbey, harp; Erin Keefe, Alexi Kenney, violins; Yura Lee, viola; Efe Baltacigil, cello; Doug Balliett, bass RAVEL La Valse, for Two Pianos (1875-1937) Inon Barnatan, Francesco Piemontesi, pianos SARASATE Fantasy on Bizet’s Carmen, Opus 25 (1844-1908) Allegro ModeratoAllegroLentoModeratomoderatoassaimoderato Augustin Hadelich, violin; Joyce Yang, piano

PRELUDE · 6:30 PM

• LJMS.ORG | 33

858.459.3728

A WEEKEND IN PARIS: The Salon and The Masquerade Friday, August 5, 2022 · 7:30 PM

Composed: Approximate1940Duration: 1 minute Francis Poulenc loved the poetry of Guillaume Apollinaire, whom he had met briefly while still a very young man, and he set that poetry to music across his entire life. Apollinaire led a life almost as fantastic as his art. Born in 1880 of uncertain parentage, he moved to Paris in his teens and became a naturalized Frenchman. From the vantage point of a century later, the events of his life can seem unbelievable: at one point, he was arrested and imprisoned for trying to steal the Mona Lisa from the Louvre, though he was quickly released. Apollinaire’s poetry takes us into a strange urban setting, where reality and fantasy

34 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER Program notes by Eric Bromberger Petite Suite, for Piano Four-Hands CLAUDE DEBUSSY Born August 22, 1862, Saint-Germain-en-Laye, France Died March 25, 1918, Paris Composed: Approximate1888Duration: 13 minutes

Nocturne in E Major, Opus 62, No. 2

Born February 22, 1810, Zelazowska Wola, Poland Died October 17, 1849, Paris Composed: Approximate1845-46Duration: 6 minutes

Voyage à Paris FRANCIS POULENC

A Set of Songs by French Composers

Born January 7, 1899, Paris Died January 30, 1963, Paris

Song texts begin on page 39.

A WEEKEND IN PARIS: THE SALON AND THE MASQUERADE — PROGRAM NOTES

In 1886, Claude Debussy—unknown to the world at large but only too well-known to the authorities at the Paris Conservatory—began work on a set of pieces for piano, four-hands. This was a difficult time for the 24-year-old composer. He was just completing two unhappy years in Rome, where he had been obligated to study as winner of the Prix de Rome, and he would continue to struggle in obscurity for several more years. Not until 1893 and 1894, with the premières of his String Quartet and Prelude to the Afternoon of a Faun, did he achieve fame. Now, however, the young composer was writing for piano. He composed the two Arabesques in 1888, and the following year he completed the set of pieces for four-hand piano, which he published under the title Petite Suite. There was a market for this sort of attractive music that talented amateurs might play at home, but the Petite Suite became much better known nearly twenty years later when Debussy’s friend, the composer Henri Büsser, arranged it for small orchestra in 1907. This concert offers the music in its original form. Critics have been hard on the Petite Suite, perhaps because it is still early Debussy and does not show the distinctive advances in harmony and form that mark his mature music. Lockspeiser, in fact, speaks of this music’s “period prettiness” and hears a number of echoes of earlier French composers in the four pieces. Despite the critics, the Petite Suite has proven popular with audiences, and at least one of its movements has become famous on its own. This is the suite’s opening movement, En bateau—“In a Boat”—which is also a favorite of pianists in its version for solo piano. It is in the form of a barcarolle, the gentlyrocking song of the Venetian gondoliers. Like all the pieces in Petite Suite, it is in ternary form: an opening section, a middle section of different mood and harmony, and a return of the opening material that also subtly recalls music from the central episode. En bateau is in the manner of a Monet water painting, with brightly-colored water lilies and brilliant sunlight glistening off the water’s surface. Debussy called the second movement Cortège, but there is little of the funeral procession about this movement, which rides along a steady pulse of sixteenths in its outer sections. The third movement is a minuet that concludes very delicately, while the finale, called Ballet, dances with unusual energy. Its central episode also dances, but in a different way: Debussy marks this Tempo di Valse, and this music does waltz along its 3/8 meter before the opening material returns to drive the Petite Suite to a powerful close.

Chopin composed the two nocturnes of his Opus 62 in 1845-46: they were the last nocturnes he published during his lifetime. The Nocturne in E Major is particularly lovely and has proven popular with performers and audiences alike. Chopin marks the opening both Lento and sostenuto, and here a supple right-hand melody arches freely over steady accompaniment. The nocturne is in the expected ternary form, though Chopin offers a second theme in the opening section—it presses steadily forward over steady sixteenthnotes in the left hand. The central episode is marked Agitato, though one feels that is an indication more of tempo than character—the music moves firmly along sharply-defined rhythms rather than growing truly agitated. Chopin reprises both opening themes, now slightly varied, and the nocturne fades into silence on a very brief (three-measure) coda.

FRÉDÉRIC CHOPIN

REYNALDO

Chansons de Bilitis CLAUDE DEBUSSY Born August 22, 1862, Saint-Germain-en-Laye, France Died March 25, 1918, Paris Composed: Approximate1897-98Duration: 10 minutes

Born August 9, 1874, Caracas, Venezuela Died January 28, 1947, Paris Approximate Duration: 4 minutes

Beginning gently (Hahn’s marking is tendrement), the song rises to a soaring climax, then falls away to its subdued conclusion. Part of the success of this song is its wonderful piano prelude—stately, poised, and wistful—that returns throughout and finally draws the song into silence.

Born in Venezuela to German parents, Reynaldo Hahn was taken to Paris at age three and had all his musical training in that city. Hahn appears to have been one of those people who could do it all. He was a fine pianist and had a beautiful baritone voice, and he would give recitals in which he sang his own songs while he played the piano, a cigarette dangling from the corner of his mouth as he sang. He was an accomplished conductor who conducted at the Salzburg Festival, became director of the Paris Opera in the final years of his life, and was an early champion of Mozart’s operas. He also served for some years as music critic of Le Figaro. Hahn composed operas, ballets, orchestral music, songs, and operettas, and it was as a composer of operettas that he had his greatest success: one of these—Ciboulette of 1923, set in a fruit and vegetable market—ran for over a thousand performances. Hahn struck a distinctive, elegant, and witty figure in Paris salons; he was Marcel Proust’s lover, and he also wrote a biography of Sarah Bernhardt, one of his close friends. A dandy, Hahn is reported to have dismissed members of orchestras if he felt they were not sufficiently well-dressed at rehearsals. This recital offers two songs by Hahn full of love and longing, both on texts by poets who were imprisoned for various periods. Quand je fus pris au pavillon sets the work of Charles d’Orléans (1394-1465). Charles was taken prisoner at the Battle of Agincourt in 1415 and held by the British for 25 years in a sort of easy confinement. Charles used that period to write over 500 poems in English and French. Hahn’s setting is animated: he marks the song Fast, very lightly, and the pianist’s left-hand dancing staccatos continue virtually throughout. The metric marking is simply 2, and this very brief song rushes to a breathless finish.

The beautiful À Chloris sets a brief love poem by the French poet, libertine, and freethinker Theophile de Viau (1590-1626), whose freethinking got him imprisoned for a couple of years. Hahn marks his setting Very slow and arcs his musical line over the long span of a 4/2 meter.

858.459.3728 • LJMS.ORG | 35 A WEEKEND IN PARIS: THE SALON AND THE MASQUERADE — PROGRAM NOTES exist in equal parts: it was Apollinaire who coined the term “surrealism.” Apollinaire served in the French army during World War I and suffered a shrapnel wound to the head; it was while he was recovering from this wound that Apollinaire contracted the flu and died in November 1918 during the Spanish Flu epidemic. Poulenc composed his Banalités—a set of five songs on texts by Apollinaire—in October 1940, during the first months of the German occupation, and it is hard not to feel that these songs represent an escape from the grim reality around him. Voyage à Paris is all motion and energy. In waltzrhythm, it tells of the poet’s excitement about leaving the dull countryside for a visit to the City of Light.

Quand je fus pris au pavillon À Chloris HAHN

In the late 1880s the young Debussy became friends with a remarkable figure in Parisian artistic circles, Pierre Louys. A photographer, poet, and author of erotic novels, Louys published his Chansons de Bilitis in 1894, the same year Debussy’s Prelude to the Afternoon of a Faun was premiered. The Chansons, purportedly Greek poems in the manner of Sappho, were actually the work of Louys himself. They tell of a Greek maiden “born at the beginning of the sixth century preceding our era, in a mountain village on the banks of the Melas forming the eastern boundary of Pamphylia.” Specifically they tell of Bilitis’ sexual awakening and experience, a topic that might have seemed risqué even in Paris, but Roger Nichols has noted that Louys’ technique is “to lend blatantly erotic situations a certain dignity by placing them in an antique never-never land.”

Debussy, whose Prelude to the Afternoon of a Faun inhabits that same never-never land of languid sensuality, was drawn to Louys’ prose-poems and set three of them in 1897-98. But Debussy found setting them to music very difficult: he was unsure whether the poems were suited to—or even needed—music. Overcome by the language of the poems, Debussy wrote to Louys: “Now will you tell me what my three little bits of music can bring to a straightforward reading of our poems? Nothing. My dear fellow, I will even say that my music, blundering in, would divide the listeners’ excitement. Really, what is the point of harmonizing the voice of Bilitis in major or minor, since she is the possessor of the most persuasive voice in the world?” Debussy, in fact, later made settings of further Bilitis poems, but simply had

CHARLES TRÉNET

ANDRÉ CAPLET Born November 23, 1878, between Le Havre and Honfleur, France Died April 22, 1925, Neuilly-sur-Seine, France

The three “songs” of the Chansons de Bilitis are very unusual. While precisely notated as to pitch, rhythm, and expression, these prose-poem settings can seem almost like recitations themselves. All three are extremely slow, and all three recount states of mind rather than action. Nevertheless, these states of mind—charged as they are with erotic awareness—have a power all their own. The songs form a progression, which might be described as innocent love, sexual love, and withered love. “La flûte de Pan” tells of the awakening of love. The shepherd’s pipe of Prelude to the Afternoon of a Faun is heard here in the piano’s opening phrase. Caught in the wonder of young love, Bilitis shares the flute of the shepherd boy, and it feels like honey to her lips. The girl stays out so late that the frogs croak (quietly in the piano), and she worries what her mother will say. Quite a different Bilitis appears in the frankly sexual “La chevelure” (“The Tresses of Hair”). Here Bilitis tells of the boy’s dream about her, and the music moves from the sleepy beginning to the passionate outburst at “lips upon my lips” and the climax at “entered into my dream” before the music fades into nothing at the close. In “Le tombeau des naïades,” an experienced Bilitis is searching for the traces of lost love as her sandals slog through dirty snow. The music’s slow pace mirrors this death of passion (Debussy marks it “Softly and wearily”), and at the end her lover declares the satyrs and nymphs dead and peers through a slice of ice at the empty sky above them. Les chemins d’amour FRANCIS POULENC Composed: Approximate1940Duration: 4 minutes Like Voyage à Paris, heard at the start of this set, Les chemins d’amour was composed in October 1940, but Poulenc wrote this song for quite a different purpose—it was composed for the premiere that December of the play Léocadia by Jean Anouilh. In that play the hero falls in love with the Romanian opera singer Léocadia, whom he had known for only three days before her accidental death. He is trapped in his memories of her but eventually breaks free and accepts reality. Poulenc wrote Voyage à Paris specifically for the singer and actress Yvonne Printemps, who took the title role in the first production, and he set the song as a waltz. In the course of this song do we hear a fleeting reference to the great waltz from Strauss’ Der Rosenkavalier, also about the passage of time and the need to let go? Boum!

Born May 18, 1913, Narbonne, France

Composed: Approximate1938Duration: 2 minutes Charles Trénet was one of the most popular French singer-songwriters of the twentieth century—he wrote over a thousand songs, and they have been sung and recorded by artists all over the world, including Frank Sinatra, Sam Cooke, Maurice Chevalier and others. Some of Trénet’s songs might be described as nonsensical or surrealistic, and this would be true, were they not so much fun—they reveal his great pleasure in language, sometimes simply in its sounds, and they are all delivered with an infectious energy. All of this combined to earn him the nickname “Le Fou chantant” (“The Singing Madman”), but he was in fact a wholly sane and endlessly creative musician. One of his most famous songs, Boum! dates from 1938, when Trénet was only 25. It is a song full of love, energy, nonsense, and fun. Those interested in it should know that a number of Trénet’s performances of Boum! were filmed and are readily available on YouTube. They give some sense of what an amazing performer he was.

Died February 19, 2001, Créteil, Val-de-Marne, France

Composed: Approximate1908-09Duration: 17 minutes Europeans were much quicker than Americans to recognize the genius of Edgar Allan Poe. Emerson could dismiss him airily as “the jingle man,” but Poe’s exploration of the darker side of the human consciousness had a profound impact on writers like Baudelaire and Mallarmé. It also attracted composers, and Rachmaninoff’s setting of “The Bells” is one of the best-known examples. Less well-known is the fact that at the time of his death Debussy was working on an opera based on “The Fall of the House of Usher.”Many other composers have written works inspired by Poe’s poems and stories, and one of the most striking of these is the Conte Fantastique (“Fantastic Story”) of André Caplet, which is based on Poe’s brief story “The Masque of the Red Death.” Though almost unknown today, Caplet was an interesting figure. He studied piano and violin as

36 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER A WEEKEND IN PARIS: THE SALON AND THE MASQUERADE — PROGRAM NOTES them recited and wrote music for two flutes, two harps and celesta to accompany that recitation.

Conte Fantastique

Caplet’s Conte Fantastique is a miniature tone poem that tells Poe’s tale in music. The most striking thing here is Caplet’s treatment of the harp, which had previously been regarded as an salon instrument, capable of elegant music but not much else. Here, however, Caplet transforms it into an instrument capable of expressing the most dramatic horror: the harp is associated with death in this music—it is the harp that gives us the sound of the striking clock, and finally it depicts the arrival of the plague itself within the castle walls. The writing for string quartet is no less striking, full of harmonics, glissandos, and other spooky sounds well-suited to this tale of horror (no wonder Debussy asked Caplet to orchestrate several of his works). So evocative is Caplet’s writing that the action may be followed easily across the seventeen-minute span of this music. From its dark and ominous beginning, full of foreboding, the music proceeds to the dancing of the revelers, but even their dancing feels haunted and dis-eased. At the climax, the harp sounds the strokes of midnight as well as the fatal knock on the door. The bloody, bandaged figure enters, and the music builds to a strident climax as the red death triumphs.

Born March 7, 1875, Ciboure, Basses-Pyrennés Died December 28, 1937, Paris Composed: Approximate1911Duration: 11 minutes

858.459.3728 • LJMS.ORG | 37 A WEEKEND IN PARIS: THE SALON AND THE MASQUERADE — PROGRAM NOTES a boy and later studied conducting with Nikisch. He won the Prix de Rome in 1901 at the age of 23, and from 1910 until 1914 he was conductor of the Boston Opera. Caplet was a close friend of Debussy, who asked him to orchestrate several of Debussy’s works, including The Martyrdom of St. Sebastian. Caplet served in the French army during World War I, was wounded and gassed, and never really recovered from the gassing—he died in 1925 at age 46 of pleurisy.

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If La valse is one of Ravel’s most opulent and exciting scores, it is also one of his most troubling. Certainly the original conception was clear enough, and the composer left an exact description of what he was getting at: “Whirling clouds give glimpses, through rifts, of couples waltzing. The clouds scatter little by little. One sees an immense hall peopled with a twirling crowd. The scene is gradually illuminated. The light of chandeliers bursts forth fortissimo. An Imperial Court, about 1855.” The music gives us this scene exactly: out of the murky, misty beginning, we hear bits of waltz rhythms; gradually these come together and plunge into an animated waltz in D major. If La valse concluded with all this elegant vitality, our sense of the music might be clear, but gradually the music darkens and drives to an ending full of frenzied

MAURICE RAVEL

Poe’s very short story tells an allegorical tale: during a time of plague characterized by bleeding that proves instantly fatal (the “red death”), Prince Prospero gathers a thousand of his subjects in a locked castle, where—safe from the horrors outside the walls—they dance and party. Their revels are interrupted by the striking of an “ebony clock,” a sound so horrifying that it freezes the dancers, who must wait for silence to resume. One night a horrifying figure, swaddled as for the grave and dripping blood, appears at the party. The outraged Prospero raises a dagger to strike the figure down but falls dead himself. Revelers grab the figure and rip off the bandages, only to discover that they are empty: the plague has gotten inside the castle, and quickly the revelers fall dead as the ebony clock lapses into silence.

Like so many of his compatriots, Caplet was drawn to Poe, and very early—about 1908 or 1909—he composed a work for harp and string orchestra inspired by Poe’s story, which he titled Le masque de la mort rouge. In the years immediately after World War I, Caplet revised that work completely, now scoring it for harp and string quartet, and this version was premièred in Paris on December 18, 1923, by Micheline Kahn and the Poulet Quartet.

Though Ravel, like many French composers, was profoundly wary of German music, there was one German form for which he felt undiluted affection—the waltz. As a young piano student in Paris, Ravel fell under the spell of Schubert’s waltzes for piano, and this led him in 1911 to compose his own Valses nobles et sentimentales, a set of charming waltzes modeled on the Schubert dances he loved so much. Somewhat earlier—in 1906—Ravel had planned a great waltz for orchestra. His working title for this orchestral waltz was Wien (Vienna), but the piece was delayed and Ravel did not return to it until the fall of 1919. This was the year after the conclusion of World War I (Ravel had served as an ambulance driver in the French army during the war), and the French vision of the Germanic world was quite different now than it had been when Ravel originally conceived the piece. Nevertheless, he still felt the appeal of the project, and by December he was madly at work. To a friend he wrote: “I’m working again on Wien. It’s going great guns. I was able to take off at last, and in high gear.” The orchestration was completed the following March, and the first performance took place in Paris on December 12, 1920. By this time, perhaps wary of wartime associations, Ravel had renamed the piece La valse

La Valse, for Two Pianos

Is this music a celebration of the waltz—or is it an exploration of the darker spirit behind the culture that created it? Many have opted for the latter explanation, hearing in La valse not a Rosenkavalier-like evocation of a more graceful era, but the snarling menace behind that elegance. Ravel himself was evasive about the ending. He was aware of the implications of the violent close, but in a letter to a friend he explained them quite differently: “Some people have seen in this piece the expression of a tragic affair; some have said that it represented the end of the Second Empire, others that it was postwar Vienna. They are wrong. Certainly, La valse is tragic, but in the Greek sense: it is a fatal spinning around, the expression of vertigo and the voluptuousness of the dance to the point of paroxysm.”

In the course of its composition, Ravel arranged La valse both for solo piano and for two pianos, but the preferred version for two pianos was prepared by Lucien Garban, and this is the version heard on this program. Ravel and Italian composer Alfredo Casella gave the first public performance of the two-piano version in Vienna at an unusual concert that also featured Arnold Schoenberg conducting his Gurrelieder. The concert took place in the Kleiner Konzerthaussaal in Vienna on October 23, 1920, two months before the première of the orchestral version, and on that occasion La valse proved a huge success in the city that had originally inspired it.

38 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER A WEEKEND IN PARIS: THE SALON AND THE MASQUERADE — PROGRAM NOTES violence, and we come away from La valse not so much exhilarated as shaken. Ravel made a telling comment about this conclusion: “I had intended this work to be a kind of apotheosis of the Viennese waltz, with which was associated in my imagination an impression of a fantastic and fatal sort of dervish’s dance.”

Fantasy on Bizet’s Carmen, Opus 25 PABLO DE SARASATE

Born March 10, 1844, Pamplona, Spain Died September 20, 1908, Biarritz, France

Composed: Approximate1883Duration: 13 minutes Georges Bizet’s opera Carmen was one of those works that set other composers’ hearts and minds on fire. Frosty old Brahms, hater of all things French, loved it with a passion, and the opera has drawn hosts of composers to make new works by arranging its thematic material for different instruments. The range of these works is impressive, from Rodion Shchedrin’s 1968 ballet score for an orchestra of strings and percussion to Busoni’s using themes from Carmen for his Sonatina No. 6 in 1920. The opera’s piquant and dramatic themes have captivated violinists in particular, and the arrangements of themes from Carmen for violin are too numerous to count, including versions by Jeno Hubay, Franz Waxman, and many others. By far the most famous of these is Sarasate’s Carmen Fantasy, published in Paris in 1883, only eight years after the première of the opera. Sarasate was one of the great virtuosos of the nineteenth century, and a measure of his stature as an artist is the list of pieces composed for him, which include Bruch’s Violin Concerto No. 2 and Scottish Fantasy, Lalo’s Symphonie espagnole, Saint-Saëns’ Violin Concerto No. 3 and Introduction and Rondo Capriccioso (those interested today in Sarasate may actually hear him play: in 1904 he made some of the earliest recordings, and these are now available on compact disc). Among Sarasate’s own compositions is a group of paraphrases for violin on themes from such operas as Weber’s Der Freischütz, Gounod’s Faust, and Verdi’s La forza del destino. These are almost never heard today, but his Carmen Fantasy remains one of the favorite works of the violin repertory. This suite of five brief movements offers a sumptuous treatment of themes from Carmen and at the same time is a showpiece for virtuoso violinist, featuring such razzle-dazzle as left-handed pizzicatos, entire passages playing in artificial harmonics, and enough fireworks to leave the audience (if not the violinist) breathless at the close.

Translation © Richard Stokes, author of: The Book of Lieder (Faber); The Complete Songs of Hugo Wolf (Faber); A French Song Companion (Oxford University Press); The Spanish Song Companion (Scarecrow Press); The Penguin Book of English Song (Penguin Classics); and J.S. Bach: The Complete Cantatas (Scarecrow Press). Provided via Oxford Lieder (www.oxfordlieder.co.uk) https://www.oxfordlieder.co.uk/song/15

858.459.3728

Après un rêve By Romain Bussine Dans un sommeil que charmait ton image Je rêvais le bonheur, ardent mirage, Tes yeux étaient plus doux, ta voix pure et sonore, Tu rayonnais comme un ciel éclairé par l’aurore; Tu m’appelais et je quittais la terre Pour m’enfuir avec toi vers la lumière, Les cieux pour nous entr’ouvraient leurs nues, Splendeurs inconnues, lueurs divines entrevues. Hélas! hélas, triste réveil des songes, Je t’appelle, ô nuit, rends-moi tes mensonges; Reviens, reviens, radieuse, Reviens, ô nuit mystérieuse!

Voyage à Paris By Guillaume Apollinaire Ah! la charmante chose Quitter un pays morose Pour Paris Paris joli Qu’un jour Dut créer l’Amour Ah! la charmante chose Quitter un pays morose Pour Paris

Translation © Richard Stokes, author of: The Book of Lieder (Faber); The Complete Songs of Hugo Wolf (Faber); A French Song Companion (Oxford University Press); The Spanish Song Companion (Scarecrow Press); The Penguin Book of English Song (Penguin Classics); and J.S. Bach: The Complete Cantatas (Scarecrow Press). Provided via Oxford Lieder (www.oxfordlieder.co.uk) https://www.oxfordlieder.co.uk/song/2580

Trip to Paris English Translation © Richard Stokes Oh! how delightful To leave a dismal Place for ThatCharmingParisParisoneday Love must have made Oh! how delightful To leave a dismal Place for Paris

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After a dream English Translation © Richard Stokes In sleep made sweet by a vision of you I dreamed of happiness, fervent illusion, Your eyes were softer, your voice pure and ringing, You shone like a sky that was lit by the dawn; You called me and I departed the earth To flee with you toward the light, The heavens parted their clouds for us, We glimpsed unknown splendours, celestial fires. Alas, alas, sad awakening from dreams! I summon you, O night, give me back your delusions; Return, return in radiance, Return, O mysterious night!

40 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER A WEEKEND IN PARIS: THE SALON AND THE MASQUERADE — PROGRAM NOTES

L’invitation au voyage By Charles Baudelaire Mon enfant, ma sœur, Songe à la douceur D’aller là-bas vivre ensemble! Aimer à loisir, Aimer et mourir Au pays qui te ressemble! Les soleils mouillés De ces ciels brouillés Pour mon esprit ont les charmes Si Demystérieuxtestraîtres yeux, Brillant à travers leurs larmes. Là, tout n’est qu’ordre et beauté, Luxe, calme et volupté!

Vois sur ces canaux Dormir ces vaisseaux Dont l’humeur est vagabonde; C’est pour assouvir Ton moindre désir Qu’ils viennent du bout du monde. Les soleils couchants Revêtent les champs, Les canaux, la ville entière, D’hyacinthe et d’or; Le monde s’endort Dans une chaude lumière. Là, tout n’est qu’ordre et beauté, Luxe, calme et volupté! Invitation to journey English Translation © Richard Stokes My child, my sister, Think how sweet To journey there and live together! To love as we please, To love and die In the land that is like you!

The watery suns Of those hazy skies Hold for my spirit The same mysterious charms As your treacherous eyes Shining through their tears. There – nothing but order and beauty dwell, Abundance, calm, and sensuous delight. See on those canals Those vessels sleeping, Vessels with a restless soul; To satisfy Your slightest desire They come from the ends of the earth. The setting suns Clothe the fields, Canals and all the town With hyacinth and gold; The world falls asleep In a warm light. There – nothing but order and beauty dwell, Abundance, calm, and sensuous delight.

Amoureux et nasillards, chacun avec sa commère, ils vont, les petits canards, comme de bons campagnards!

Villanelle of the Little Ducks English Translation © Richard Stokes

Dans le beau vert d’épinards de l’humide cressonnière, ils vont, les petits canards, et quoi qu’un peu goguenards, ils sont d’humeur débonnaire comme de bons campagnards!

http://www.jamescsliu.com/classical/Chabrier_Volailleries.htmlfolk!

In the fair spinach-green of the damp watercress bed, they go, the little ducks, and though a bit snarky, they are of good-natured humor like fine country folk!

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They go, the little ducks, all on the bank of the river, like fine country folk! Paddlers and wrigglers, happy from muddying the clear water, they go, the little ducks. They seem a little gullible, but they go about their business like fine country folk! In the water full of tadpoles, where a flimsy weed quivers, they go, the little ducks, marching in scattered groups, at a steady pace like fine country folk!

More information is available at Opencontent.org

Villanelle des petite canards By Rosemonde Gérard

Ils vont, les petits canards, tout au bord de la rivière, comme de bons campagnards!

Faisant, en cercles bavards, un vrai bruit de pétaudière, ils vont, les petits canards, dodus, lustrés et gaillards, ils sont gais à leur manière, comme de bons campagnards!

Amorous and nasal, each with its crony, they go, the little ducks, like fine country

Making, in chattering circles, a veritable riot of noise, they go, the little ducks, chubby, glossy and jolly, they are jolly in their own way, like fine country folk!

Barboteurs et frétillards, heureux de troubler l’eau claire, ils vont, les petits canards. Ils semblent un peu jobards, mais ils sont à leur affaire, comme de bons campagnards.

Dans l’eau pleine de têtards, où tremble une herbe légère, ils vont, les petits canards, marchant par groupes épars, d’une allure régulière comme de bons campagnards!

Your soul is a chosen landscape Bewitched by masquers and bergamaskers, Playing the lute and dancing and almost Sad beneath their fanciful disguises. Singing as they go in a minor key Of conquering love and life’s favours, They do not seem to believe in their fortune And their song mingles with the light of the moon, The calm light of the moon, sad and fair, That sets the birds dreaming in the trees And the fountains sobbing in their rapture, Tall and svelte amid marble statues.

Moonlight English Translation © Richard Stokes

42 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER A WEEKEND IN PARIS: THE SALON AND THE MASQUERADE — PROGRAM NOTES Extase By Jean Lahor Sur un lys pâle mon cœur dort D’un sommeil doux comme la mort … Mort exquise, mort parfumée Du souffle de la bien-aimée … Sur ton sein pâle mon cœur dort D’un sommeil doux comme la mort …

Rapture English Translation © Richard Stokes

On a pale lily my heart is sleeping A sleep as sweet as death … Exquisite death, death perfumed By the breath of the beloved … On your pale breast my heart is sleeping A sleep as sweet as death … Clair de lune By Paul Verlaine

Votre âme est un paysage choisi Que vont charmant masques et bergamasques Jouant du luth et dansant et quasi Tristes sous leurs déguisements fantasques. Tout en chantant sur le mode mineur L’amour vainqueur et la vie opportune, Ils n’ont pas l’air de croire à leur bonheur Et leur chanson se mêle au clair de lune, Au calme clair de lune triste et beau, Qui fait rêver les oiseaux dans les arbres Et sangloter d’extase les jets d’eau, Les grands jets d’eau sveltes parmi les marbres.

The paths that lead to the sea Have retained from our passing The flowers that shed their petals And the echo beneath their trees Of our clear laughter. Alas! no trace of those happy days, Those radiant joys now flown, Can I find again In my heart. Paths of my love, I search for you ceaselessly, Lost paths, you are no more And your echoes are muted. Paths of despair, Paths of memory, Paths of our first day, Divine paths of love. If one day I must forget, Since life obliterates everything, I wish for my heart to remember one thing, More vivid than the other love, To remember the path Where trembling and quite distracted, I one day felt on me your passionate hands.

A WEEKEND IN PARIS: THE SALON AND THE MASQUERADE — PROGRAM NOTES

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The Paths of Love English Translation © Richard Stokes

Les chemins de l’amour By Jean Anouilh Les chemins qui vont à la mer Ont gardé de notre passage Des fleurs effeuillées Et l’écho sous leurs arbres De nos deux rires clairs. Hélas! des jours de bonheur, Radieuses joies envolées, Je vais sans retrouver traces Dans mon coeur. Chemins de mon amour, Je vous cherche toujours, Chemins perdus, vous n’êtes plus Et vos échos sont sourds. Chemins du désespoir, Chemins du souvenir, Chemins du premier jour, Divins chemins d’amour. Si je dois l’oublier un jour, La vie effaçant toute chose, Je veux dans mon coeur qu’un souvenir Repose plus fort que l’autre amour. Le souvenir du chemin, Où tremblante et toute éperdue, Un jour j’ai senti sur moi brûler tes mains.

THE BAKER-BAUM CONCERT HALL DEBUSSY Danse Sacrée et Danse Profane (1862-1918) Bridget Kibbey, harp; Alexi Kenney, Erin Keefe, violins; Yura Lee, viola; Sterling Elliott, cello; Doug Balliett, bass L. BOULANGER Nocturne (1893-1918) Alexi Kenney, violin; Bridget Kibbey, harp FRANCK Sonata in A Major for Violin and Piano (1822-1890) Allegretto ben moderato AllegrettoRecitativo—FantasiaAllegropocomosso

THE BAKER-BAUM CONCERT HALL Aestas Trio performs Tailleferre’s Trio for Piano, Violin, and Cello and Wynona Yinuo Wang performs Selections from Ravel’s Le tombeau de Couperin Augustin Hadelich

Saturday, August 6, 2022 · 7:30 PM

A WEEKEND IN PARIS: Le Conservatoire

La Jolla Music Society’s 2021–22 Season and SummerFest 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, San Diego Foundation, Brenda Baker and Steve Baum, Judith Bachner and Eric Lasley, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Jendy Dennis Endowment Fund, Sue and Chris Fan, Brenda and Michael Goldbaum, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Clara Wu Tsai, and Bebe and Marvin Zigman.

Augustin Hadelich, violin; Francesco Piemontesi, piano INTERMISSION MESSIAEN Theme and Variations (1908-1992) Erin Keefe, violin; Inon Barnatan, piano FAURÉ Piano Quartet No. 1 in C Minor, Opus 15 (1845-1924) Allegro molto moderato Scherzo: Allegro vivo AllegroAdagio molto Inon Barnatan, piano; Liza Ferschtman, violin; Yura Lee, viola; Efe Baltacigil, cello PRELUDE · 6:30 PM

Support for the Prelude is provided by: Gordon Brodfuehrer

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

858.459.3728 • LJMS.ORG | 45 A WEEKEND IN PARIS: LE CONSERVATOIRE — PROGRAM NOTES Program notes by Eric Bromberger

Born August 21, 1893, Paris Died March 15, 1918, Mézy, France

Danse Sacrée et Danse Profane 22, 1862, Saint-Germain-en-Laye, France Paris

Composed: Approximate1911Duration: 4 minutes

Died March 25, 1918,

CLAUDE DEBUSSY Born August

Composed: Approximate1904Duration: 11 minutes

Danse Sacrée et Danse Profane are scored for chromatic harp and string orchestra. This is music of delicacy and understatement, and Debussy keeps the harp firmly in the spotlight: the string accompaniment is lean (the Danses are performed ast this concert as chamber music, with the harp accompanied by string quartet). Listeners should be a little wary of Debussy’s title, which is intentionally vague and probably meant simply to be evocative. There is nothing distinctly sacred about the first, while the second evokes no images of pagan ritual. Instead, this is intimate and sometimes haunting music, well-calculated to show off the new instrument and to please audiences. The somber Danse Sacrée—based on a melody by Debussy’s friend, the Portuguese composer-conductor Francisco de Lacerda—is poised and formal in its lean-lined melodies. The music flows without pause—and with an almost imperceptible quickening of pace—into the Danse Profane, which is brighter, more relaxed, and more animated. Sparkling runs show off the possibilities of the new instrument and finally drive the dance to its emphatic concluding pizzicato. The Danse Sacrée et Danse Profane were first performed in November 1904 at one of the Concerts Colonnes in Paris by the harpist Mme. Wurmser-Delcourt. Reviewers, still outraged by Debussy’s domestic scandal earlier that year, gave it only a lukewarm welcome. Debussy, still pressed for money, may have worried that the music would have few performances in its harp version, and that same year he arranged it for two pianos; it is still sometimes performed (and recorded) in this arrangement. The dedication, however, is to Gustave Lyon, the inventor of the chromatic harp.

Nocturne, composed in 1911, when Boulanger was 18, begins quietly as the pianist rocks softly across three octaves of repeated C’s and the violin sings its gentle song. But soon the quiet mood of the beginning (marked doux: “soft, gentle”) is penetrated by unexpected harmonies, the violin line grows more animated, and the music rises to a climax. Matters calm, the rocking accompaniment of the opening reasserts itself, and Nocturne concludes in the home key of F major, with the violin high above, the piano in its deepest register.

The Pleyel company of Paris had long been famous for its pianos (Chopin particularly admired the Pleyel piano), and in 1897 the firm introduced a new instrument, the chromatic harp. Previous harps had been able to manage only seven notes in an octave and had to use pedals to create the other notes, but the chromatic harp dispensed with pedals and instead offered strings tuned to all twelve notes of the chromatic scale. The company naturally wanted to show off its new instrument, and Pleyel and the Brussels Conservatory jointly commissioned a new work for chromatic harp from Debussy in 1904. That year was one of the most important, productive, and turbulent in the composer’s life. Deep in work on La mer, Debussy left his wife that year for Emma Bardac, the estranged wife of a wealthy banker; under the spell of this new affair, Debussy composed one of his finest pieces for piano, L’isle joyeuse. But Debussy’s distraught wife attempted suicide, and during the resulting scandal many of his friends angrily deserted him. Doubtless the commission for the new harp piece was welcome to the composer, who was almost destitute at this point—he stopped work on La mer to writeTheit.

Nocturne LILI BOULANGER

The younger sister of the great teacher Nadia Boulanger, Lili Boulanger was a musician of extraordinary talent. Lili was the first woman ever to win the Prix de Rome, but that promise was cut short by perpetually poor health and by an early death: she was only 24 when she died, ten days before the death of Debussy. So short a life inevitably means that one’s output is small, and today Lili is remembered for her vocal settings and a small amount of instrumental music. As might be expected from the sister of Nadia Boulanger, Lili’s music is beautifully crafted. She has been described as an impressionist, but more striking are her instinctive sense of form and an expressive control of what is at times a surprisingly chromatic harmonic language.

The Violin Sonata is a particularly ingenious instance of this technique: virtually the entire sonata is derived from the quiet and unassuming opening of the first movement, which then evolves endlessly across the sonata. Even when a new theme seems to arrive, it will gradually be revealed as a subtle variant of one already heard. The piano’s quiet fragmented chords at the beginning of the Allegretto ben moderato suggest a theme-shape that the violin takes over as it enters: this will be the thematic cell of the entire sonata. The piano has a more animated second subject (it takes on the shape of the germinal theme as its proceeds), but the gently-rocking violin figure from the opening dominates this movement, and Franck reminds the performers constantly to play molto dolce, sempre dolce, dolcissimo

A WEEKEND IN PARIS: LE CONSERVATOIRE — PROGRAM NOTES

46 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER Sonata in A Major for Violin and Piano CESAR FRANCK Born December 10, 1822, Liege, Belgium Died November 8, 1890, Paris Composed: Approximate1886Duration: 29 minutes

Composed in 1886, the Sonata in A Major is one of the finest examples of Franck’s use of cyclic form, a technique he had adapted from his friend Franz Liszt, in which themes from one movement are transformed and used over subsequent movements.

Theme and Variations

OLIVIER MESSIAEN

Born December 10, 1908, Avignon, France Died April 28, 1992, Paris Composed: Approximate1932Duration: 10 minutes On June 22, 1932, Olivier Messiaen, then 23, married the 25-year-old violinist Claire Delbos. During the summer he began work on a wedding present for his wife, a set of variations for violin and piano, but he would not finish it until five days before the première on November 22, 1932, at a concert sponsored by the Cercle Musical de Paris. The young composer was anxious that this music, written for his wife, should have a popular success. To a friend he wrote: “As an additional item . . . my wife and I will give the first performance of my Theme and Variations for violin and piano. It would be very nice of you to come along and make lots of noise so that this work—one of my best—gets an encore. Unless you would prefer to whistle, which would make just as much noise.” The première proved a success, and the Theme and Variations remains one of the earliest of Messiaen’s works to have earned a place in the repertory. The theme itself is rather long, stretching out over 28 measures. Messiaen divides it into three sub-themes of seven, seven, and fourteen measures each, and the variations treat all three of these segments in different orders. Bach might have recognized the form, but he

The mood changes completely at the fiery second movement, marked passionato, and some critics have gone so far as to claim that this Allegro is the true first movement and that the opening Allegretto should be regarded as an introduction to this movement. In any case, this movement contrasts its blazing opening with more lyric episodes, and listeners will detect the original theme-shape flowing through some of these. The Recitativo—Fantasia is the most original movement in the sonata. The piano’s quiet introduction seems at first a revisiting of the germinal theme, though it is—ingeniously— a variant of the passionato opening of the second movement. The violin makes its entrance with an improvisation-like passage (this is the fantasia of the title), and the entire movement is quite free in both structure and expression: moments of whimsy alternate with passionate outbursts. After the expressive freedom of the third movement, the finale restores order with pristine clarity: it is a canon in octaves, with one voice following the other at the interval of a measure. The stately canon theme, marked dolce cantabile, is a direct descendant of the sonata’s opening theme, and as this movement proceeds it recalls thematic material from earlier movements. Gradually, the music takes on unexpected power and drives to a massive coda and a thunderous close. Franck wrote this sonata for his fellow Belgian, the great violinist Eugene Ysaÿe, who gave the première in Brussels in November 1886. The composer Vincent D’Indy recalled that première: “The violin and piano sonata was performed . . . in one of the rooms of the Museum of Modern Painting at Brussels. The seance, which began at three o’clock, had been very long, and it was rapidly growing dark. After the first Allegretto of the sonata, the performers could scarcely read the music. Now the official regulations forbade any light whatever in rooms which contained paintings. Even the striking of a match would have been matter for offense. The public was about to be asked to leave, but the audience, already full of enthusiasm, refused to budge. Then Ysaÿe was heard to strike his music stand with his bow, exclaiming [to the pianist], “Allons! Allons!” [Let’s go!] And then, unheard-of marvel, the two artists, plunged in gloom . . . performed the last three movements from memory, with a fire and passion the more astounding to the listeners in that there was an absence of all externals which could enhance the performance. Music, wondrous and alone, held sovereign sway in the darkness of night.”

would have been dismayed by the harmonic language, for Messiaen’s Theme and Variations destroys the harmonic basis that has traditionally been a part of variation form, instead treating the themes modally and varying them through such techniques as canonic imitation, transposition, and diminution. Textures tend to be active and sometimes quite thick, with much of the writing for the violin in its high register, and the fifth (and final) variation makes a grand summation before the work glides to a subdued close. Some have been ready to dismiss the Theme and Variations as a youthful work, representing a stage that Messiaen had to pass through before he could develop a language entirely his own. Yet Pierre Boulez has spoken of the importance of this music to him, noting that he heard the Theme and Variations as a young man and decided on the spot—without knowing who had written this music—that he wanted to study with its composer.

858.459.3728 • LJMS.ORG | 47 A WEEKEND IN PARIS: LE CONSERVATOIRE — PROGRAM NOTES

Given this music’s popularity today, it comes as a surprise to learn that Fauré had a great deal of trouble getting it published. No publisher wanted to take a chance on a little-known composer. The quartet was rejected by two of France’s major publishing firms and was accepted by a third only on the condition that composer surrender all his rights to it. Desperate to have his work published, Fauré could do nothing but accept those terms. He never made a penny on this music.

Piano Quartet No. 1 in C Minor, Opus 15 GABRIEL FAURÉ Born May 13, 1845, Pamiers, France Died November 4, 1924, Paris Composed: Approximate1876-79Duration: 32 minutes Fauré wrote the Piano Quartet in C Minor, one of the masterpieces of his early period, between 1876 and 1879, when he was in his early thirties. Despite the work’s success, the composer was dissatisfied with the final movement and rewrote it in 1883, making it—as he said—“new from top to toe.” In its completed form, the quartet is an extraordinary achievement, both for the range of its expression and for Fauré’s imaginative craftsmanship. The Allegro molto moderato opens with a sturdy theme in the strings, with off-the-beat accompaniment from the piano. The vigor and drive of this opening continue throughout the movement, and its rhythm—heard almost continuously in the piano—unifies the entire movement; the gentle second subject, announced by the viola and marked espressivo, gracefully sets off the energy of the opening episode. In the development Fauré brings back the opening theme, now slowed down and played gently, and the wonder is that a theme which moments before had moved forward martially can be so transformed and made to sing lyrically. In the coda, this opening theme recurs quietly in the viola as the movement draws to its calm conclusion. Fauré reverses the expected order of the interior movements and places the scherzo, marked Allegro vivo, second. The piano’s opening idea rocks along cheerfully above pizzicato accompaniment in the strings; alert listeners will recognize it as a variant of the espressivo second theme of the first movement. The scherzo reaches a cadence, and then in another pleasing surprise Fauré replaces the expected trio section with a graceful chorale for muted strings. Because of their many similarities, the final two movements should be considered together. The Adagio is built on the brief dotted phrase first heard in the cello: this rising figure will unify the final two movements. The lyric second episode, introduced by the violin, contains the same rhythm, and the opening theme of the finale— Allegro molto—rushes along on this same rising, dotted theme-shape. The energetic finale seems to be in motion throughout. Even when the viola sings the second theme, marked dolce e espressivo, this graceful melody assumes the rising shape that characterizes the final two movements. It is a measure of Fauré’s achievement in this music that so simple a figure can be made to yield such a range of expression. Buoyed along by its inexhaustible energy, the quartet rushes to its close.

Imogen Cooper, Inon Barnatan, pianos RAVEL Piano Trio in A Minor (1875-1937) Pantoum:Modéré Assez vif Passacaille: Très large Finale: Animé Inon Barnatan, piano; Augustin Hadelich, violin; Efe Baltacigil, cello

SCHUMANN Six Canonic Etudes, Opus 56 (arr. Debussy) (1810-1856) Nicht zu schnell Mit innigen Ausdruck AdagioNichtInnigAndantinozuschnell

PRELUDE · 2 PM THE JAI Lecture by Jennifer Walker

INTERMISSION

Inon Barnatan Liza FerschtmanErinKeefe

La Jolla Music Society’s 2021–22 Season and SummerFest 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, San Diego Foundation, Brenda Baker and Steve Baum, Judith Bachner and Eric Lasley, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Jendy Dennis Endowment Fund, Sue and Chris Fan, Brenda and Michael Goldbaum, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Clara Wu Tsai, and Bebe and Marvin Zigman.

48 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER A WEEKEND IN PARIS: Beg, Borrow and Steal Sunday, August 7, 2022 · 3 PM

THE BAKER-BAUM CONCERT HALL COUPERIN L’Apothéose de Corelli (1668-1733) Corelli au piéd du Parnasse prie les Muses de le recevoir parmi elles Corelli, charmé de la bonne réception qu’on lui fait au Parnasse, en marque sa joye. Il continue avec ceux qui l’accompagnent Corelli buvant à la Source d’Hypocrêne, sa Troupe continue Enthouziasme de Corelli causé par les eaux d’Hypocrêne Corelli, après son enthouziasme, s’endort; et sa Troupe joue le Sommeil suivant Les Muses reveillent Corelli, et le placent auprês d’Apollon Remerciment de Corelli Alexi Kenney, Liza Ferschtman, violins; Sterling Elliott, cello; Angie Zhang, harpsichord MILHAUD Suite for Violin, Clarinet, and Piano (1892-1974) Ouverture: Vif et gai Divertissement: Animé Jeu: IntroductionVif et final: Modéré; Vif Erin Keefe, violin; Osmo Vänskä, clarinet ; Francesco Peimontesi, piano SAINT-SAËNS Septet in E-flat Major, Opus 65 (1835-1921) GavotteIntermèdeMenuetPréambuleet Finale Liza Ferschtman, Alexi Kenney, violins; Yura Lee, viola; Sterling Elliott, cello; Doug Balliett, bass; Ellen Shinogle, trumpet ; Francesco Piemontesi, piano

It is difficult now, three hundred years after the fact, to understand the culture wars that rocked French music in the early eighteenth century. The rival forces were clear. There were those who loved Italian music and Italian composers and who wished to make that passionate lyricism part of their own musical language, and there were those who held out for a specifically French music: precise, measured, inspired by the dance—and unsullied by foreign influences. There was no doubt where Francois Couperin stood. As a young man, he had fallen in love with the music of Italian composers, and in the 1690s he wrote a series of trio sonatas modeled on Italian examples. Yet Couperin also valued native French music and composers, and many years later—in 1724, when he was court musician and harpsichordist to Louis XIV—he published a work titled Les goûts-réünis (“The Styles Reunited”), in which he tried to resolve the dispute by paying tribute to both approaches. In the preface to that work, he noted: “The Italian and the French styles have for a long time shared the Republic of Music in France. For myself, I have always regarded the things which merited esteem, without considering either composer or nation . . .”

Couperin gave The Apotheosis of Corelli the more general title Le Parnasse, and the music depicts Corelli’s arrival at Mount Parnassus, the seat of poetry and the muses, but the piece is only vaguely program music. Instead, it is a trio sonata, one of the principal Italian forms that had made its way into France, and while Couperin gives each of its seven movements a descriptive title, the music does not tell a story in rigorous detail. Instead, the titles suggest Corelli’s travel to Parnassus; the warm reception he encounters; his drinking the water of Hippocrene, the fountain of the Muses; his dream; his awakening by the Muses who place him next to Apollo; and finally his thanks to those Muses, cast here as a vigorous fugue.

858.459.3728 • LJMS.ORG | 49 A WEEKEND IN PARIS: BEG, BORROW AND STEAL — PROGRAM NOTES Program notes by Eric Bromberger L’Apothéose de Corelli FRANCOIS COUPERIN Born November 10, 1668, Paris Died September 11, 1733, Paris Composed: Approximate1724Duration: 15 minutes

As an elaborate musical gesture designed to bridge the differences between French and Italian music, Couperin composed two examples of what he called an “apotheosis”—a musical work in praise of an earlier composer—and he dedicated one to his favorite Italian composer, Arcangelo Corelli, and the other to the leading French composer of the previous generation, Jean-Baptiste Lully (who was in fact an Italian by birth but a naturalized citizen of France).

A native of Provence, he studied in Paris, lived briefly in South America, and settled in the United States in 1940, teaching at Mills College in Oakland and at the Aspen Music Festival. His works include nine operas, twelve ballets, six symphonies, five piano concertos, three violin concertos, and eighteen string quartets. Milhaud’s music is distinctive for his occasional use of polytonality, his use of jazz and folk tunes, and the influence of his native Provence.

Couperin did not specify the exact instruments that should perform this music, and it has been recorded in performances by viols, winds, and other instruments. At the present concert, the upper voices are taken by two violins, the basso continuo line by harpsichord and cello.

Suite for Violin, Clarinet, and Piano

DARIUS MILHAUD Born September 4, 1892, Aix-en-Provence, France Died June 22, 1974, Geneva Composed: Approximate1936Duration: 12 minutes Possibly the most prolific of twentieth-century composers, Darius Milhaud wrote well over 400 works.

Milhaud composed the brief Suite for Violin, Clarinet, and Piano in Paris in 1936, adapting it from music he had written for the première of Jean Anouilh’s play Traveler without Baggage. Carefree and outgoing, the Suite wins its listener with an easy charm. The Ouverture (Milhaud marks it “Quick and gay”) zips along happily on its jaunty opening theme, first heard in the piano under sustained high notes from violin and clarinet. The latter instruments often play in unison in this movement, which ends with all three instruments flying up the scale. The Divertissement opens with violin and clarinet trading three-note phrases; the piano does not enter for some time, and the second half of the movement develops the piano’s flowing melody. Jeu (“Game”), scored for only violin and clarinet, functions somewhat like a cadenza—the instruments take turns accompanying each other. The finale brings back the piano. It opens with an introduction in 5/4 that gives way to the main body of the movement, a gigue-like dance in 6/8 that alternates an easy swing with stormy episodes. The instruments swirl and fly, and eventually the Suite vanishes almost nonchalantly.

The Septet begins with a grand introductory movement called Préambule, which has been compared to the traditional opening movement of the French ouverture Saint-Saëns strikes that same sort of pose, with great unison passages, huge attacks, and ringing trumpet calls (though, curiously, without the double-dotting typical of the ouverture); there follows the expected fugal writing, which here alternates with much more lyrical material. The Menuet feels hard-edged rather than graceful. The really interesting part of this movement comes in its trio section, where the elegant little tune is played in octaves by the string quartet and trumpet; Saint-Saëns gives this the unusual marking dolce assai: “very sweet.” The Intermède, which moves into dark C minor, has been called a funeral march, though that seems a little extreme for music that feels more nocturnal than funereal. The piano sets the movement’s basic dactylic rhythm, gradually the strings enter above it, and they are soon joined by the trumpet. The movement rises to a climax, then falls away as the piano’s rhythm grows simpler, and the music winks out on quiet pizzicato strokes.

Died July 29, 1856, Endenich, Germany

The last movement, Gavotte et Finale, belongs largely to the piano, which plays for extended periods by itself. There are some good-natured interludes along the way; once again with ringing trumpet calls and the suggestion of fugal development, before the music accelerates to its sudden close on a coda marked Animato Six Canonic Etudes, Opus 56 (arr. Debussy)

The trumpet is a rare visitor in chamber music, and for very good reasons. Its strident, martial character seems out of place in a world of intimacy and subtlety, and its piercing sound can overpower any chamber-sized ensemble. Saint-Saëns was well aware of these problems. When he was commissioned in 1881 by a Parisian chamber music society curiously named “La Trompette” to compose a work that included a trumpet, he wanted no part of such a project. He wrote to the society’s director to beg off: “I will write you a concerto for twenty-five guitars, and to perform it you will have to depopulate Castile and Andalusia; but with trumpet—it’s impossible!” Yet he was talked into it, and in that same year he composed his Septet in E-flat Major for the unique combination of trumpet, piano, string quartet, and double bass (it is worth noting that five years later Saint-Saëns composed his Carnival of the Animals for an ensemble of very similar size and composition, once again for a concert put on by “La Trompette”). A side of Saint-Saëns little-known today was his interest in earlier music. This extended not just to the work of Bach and Handel (barely known in nineteenth-century France) but to the music of the seventeenth-century French composers; Saint-Saëns edited and published editions of the music of Rameau, Lully, and Charpentier when those composers were virtually unknown in their homeland.

50 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER Septet in E-flat Major, and Bass, Opus 65 CAMILLE SAINT-SAËNS Born October 9, 1835, Paris Died December 16, 1921, Algiers Composed: Approximate1881Duration: 17 minutes

When he composed the Septet in 1881, Saint-Saëns turned to the past for his model and wrote the Septet in the manner of the seventeenth-century French instrumental suite (over thirty years later, Maurice Ravel would adopt a similar method when he composed his Le Tombeau de Couperin, a piano suite in the style of another early French composer). Yet the Septet does not sound consciously archaic nor does it wear the robes of the past too ostentatiously. Instead, SaintSaëns employs the forms and the shapes of seventeenthcentury French music as a framework within which to write his own music at the end of the nineteenth century.

ROBERT SCHUMANN

Composed: Approximate1846Duration: 17 minutes Robert Schumann was subject to bouts of mental instability, and he suffered one of these in 1845 while living in Leipzig. The composer became convinced that a change would do him good, and in December 1845 he and Clara moved their children and household to Dresden. The change proved beneficial. Schumann’s mood improved, and that winter he became interested in counterpoint and began to teach it to Clara; she in turn was delighted to discover that she could compose fugues. Inevitably, their thoughts turned to the organ, and during the winter the couple ordered a pedal attachment for their piano—this set of pedals made the piano duplicate the technique (if not the sound) of the organ, and the Schumanns spent that spring practicing organ music on the pedal piano. Schumann then became interested in writing for this instrument, and in April 1846 he composed his Six Canonic Etudes. These six contrapuntal “studies” are essentially organ music written for the pedal piano (and they have often been recorded on the organ). Each is a relatively brief canon, and each presents a performer with different technical challenges: canons in different intervals, canons that move between the hands, and so on. At moments these etudes are quite reminiscent of the music of Bach.

Born June 8, 1810, Zwickau, Germany

A WEEKEND IN PARIS: BEG, BORROW AND STEAL — PROGRAM NOTES

Died December 28, 1937, Paris Composed: Approximate1914Duration: 27 minutes In February 1914 Ravel went to St. Jean-de-Luz, a small village on the French coast near the Spanish border, to work on two projects he had planned for some time: a piano concerto using Basque themes and a piano trio. He soon abandoned plans for the concerto, but the first movement of the trio went much better, and he had it complete by the end of March. He struggled with the rest of it, though. It took until mid-summer to get the middle movements done, and by the time he began the last movement, he had something else to worry about—World War I broke out just as he began work. Anxious to serve in the military (he would later drive an ambulance for the French army), Ravel was nevertheless extremely agitated, particularly about leaving his aged mother behind. To a friend, he wrote: “If you only knew how I am suffering. From morning to night I am obsessed with one idea that tortures me . . . if I leave my poor old mother, it will surely kill her . . . But so as not to think of all this, I am working— yes, working with the sureness and lucidity of a madman. At the same time I get terrible fits of depression and suddenly find myself sobbing over the sharps and flats!”

Piano Trio in A Minor MAURICE RAVEL

The finale, marked Animé, is agitated. Whether this reflects Ravel’s own agitation at the time of its composition remains an unanswerable question, of course, but what is clear is that this movement has an energy and sweep unknown to the first three. It opens with swirling harmonic arpeggios from the violin, and this sensation of constant motion is felt throughout. The main theme—first heard in the piano—bears some rhythmic resemblance to the opening theme of the first movement, but the mood of this movement is far different. The finale is big music—not big in the sense of straining to be orchestral, but big in scope and color. Full of swirling arpeggios, trills, and tremolos, the movement flies to its searing conclusion on a stinging, high A-major chord.

A WEEKEND IN PARIS: BEG, BORROW AND STEAL — PROGRAM NOTES

It may seem a long leap from this “learned” music to Claude Debussy, famous for his dislike of German music and of complex developmental forms. But Debussy had a special affection for the music of Schumann: at fourteen he had won a prize for his performance of the first movement of Schumann’s Piano Sonata in G Minor. In 1891, while he was still relatively unknown (Prelude to the Afternoon of a Faun was three years in the future at this point), Debussy arranged Schumann’s canonic etudes for two pianos. This involved a certain amount of recomposition. The pedal line in Schumann’s etudes is relatively simple, and Debussy made an effort to redistribute the parts so that they are divided evenly between the two pianos. Both Schumann’s music and Debussy’s arrangement are virtually unknown to audiences today. The Canonic Etudes should be understood (and enjoyed) as Schumann’s salute to the music of an earlier era and—in turn—Debussy’s affection for that music and his desire to bring it to a wider range of performers and audiences.

Ravel called the second movement Pantoum, and exactly what he meant by that is still open to question. A “pantoum” is a form of Malay poetry in which the second and fourth lines of one stanza become the first and third of the next. Whatever Ravel meant, this movement is colorful, full of racing rhythms, harmonics, and left-handed pizzicatos. The center section is particularly dazzling: the strings stay in a racing 3/4, while the piano’s chorale-like chords are in 4/2. At the close, the opening material returns.

The third movement is a passacaglia with ten statements of the eight-bar theme. These begin quietly, become freer and louder, then gradually resume their original form as the movement comes to its quiet close. The third statement of the theme—for violin accompanied by simple chords from the piano—is ravishing.

Born March 7, 1875, Ciboure, Basses-Pyrenées

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Pushed on by this furious work, the Piano Trio was complete by the end of August. The Piano Trio is one of Ravel’s finest chamber works, featuring brilliant writing for all three performers and a range of instrumental color rare in a piano trio. The first movement, Modéré, opens with the piano alone playing a theme of delicate rhythmic suspension. Ravel called this theme, in 8/8 time, “Basque in color.” A second idea, first heard in the violin, is taken up by the other instruments, but the development section of this sonata-form movement is relatively brief. The movement comes to a close as a fragment of the first theme dissolves to the point where the piano is left quietly tapping out the rhythm in its lowest register.

52 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER UNDER THE INFLUENCE: Vivaldi’s The Four Seasons Wednesday, August 10, 2022 · 7 PM THE BAKER-BAUM CONCERT HALL BARRIÈRE Sonata for in G Minor for Two Cellos (1707-1747) AllegroAdagioAndanteprestissimo Sterling Elliott, Andrew Byun, cellos VIVALDI The Four Seasons (1678-1741) Concerto in E Major “Spring” RV 269 AllegroLargoAllegro Tessa Lark, violin Concerto in G Minor “Summer” RV 315 Allegro non molto; Allegro Adagio; Presto; Adagio Presto Liza Ferschtman, violin Concerto in F Major “Fall” RV 293 AdagioAllegro molto Allegro Alexi Kenney, violin Concerto in F Minor “Winter” RV 297 Allegro non molto AllegroLargo Stefan Jackiw, violin SummerFest Chamber Orchestra PRELUDE · 6 PM THE BAKER-BAUM CONCERT HALL Aestas Trio performs Smetana’s Piano Trio in G Minor, Opus 15 NO INTERMISSION Tessa Lark La Jolla Music Society’s 2021–22 Season and SummerFest 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, San Diego Foundation, Brenda Baker and Steve Baum, Judith Bachner and Eric Lasley, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Jendy Dennis Endowment Fund, Sue and Chris Fan, Brenda and Michael Goldbaum, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Clara Wu Tsai, and Bebe and Marvin Zigman. Support for the Prelude is provided by: Gordon Brodfuehrer *Solo violinists will rotate in Violin I and II sections

Program notes by Eric Bromberger Sonata in G Minor for Two Cellos

Violin I* Liza HeejeonStoyanovichSophiaAlexiFerschtmanKenneyAhn

Violin II* Tessa DelphineStefanLarkJackiwSkene

will rotate in Violin I and II sections SummerFest Chamber Orchestra

Each of the four is in the standard form of Vivaldi’s concertos—the first movement opens with a ritornello, or refrain, that will recur throughout the movement; between its appearances, the soloist breaks free with florid, virtuoso music of his own. The slow movement is usually a melodic interlude, while the finale—dynamic and extroverted—is sometimes cast in dance forms. Spring marches in joyfully with a buoyant ritornello, and soon the solo violin brings trilling birdsongs and the

Viola Chi-Yuan Chen Sung Jin Lee Cello Sterling Elliott Nathan Cottrell Andrew Byun Bass Doug Balliett Harpsichord Angie Zhang violinists

A number of Barrière’s sonatas employ a second cello as part of the continuo line, but the Sonata in G Minor is for two cellos without accompaniment. Barrière treats the two instruments as equally important, though the first cello more often has the leading melodic line. The Sonata in G Minor is brief—its three movements span only about eight minutes—but it has become probably Barrière’s best-known work. The opening movement is not the expected fast movement but is instead a broadly-paced Andante, featuring long melodic lines and swirling triplets and sextuplets. The central Adagio, which moves into a minor key, belongs mostly to the first cello, which is given delicate, florid melodies. The concluding Allegro prestissimo is very brief— barely two minutes long—but both cellists have a chance to shine here as this music rushes along its energetic way. The Four Seasons ANTONIO VIVALDI Born March 4, 1678, Venice Died July 26/27, 1741, Vienna Composed: Approximate1725Duration: 42 minutes Is Vivaldi’s The Four Seasons the most popular work in the classical literature? The evidence seems to suggest that—it has been recorded over a hundred times. Only Bach’s Brandenburg Concertos, Beethoven’s Fifth Symphony, and Ravel’s Bolero approach that number. Yet seventy-five years ago, hardly anyone had heard of The Four Seasons. It was a recording of this music that led to the revival of interest in baroque music after World War II, and today new recordings appear all the time. A mark of its popularity is that—in addition to the violin version—the current catalog lists arrangements for flute, recorder, trombone, brass quintet, guitar trio, electronic synthesizer, and koto ensemble.

JEAN BARRIÈRE Born about May 2, 1707, Bordeaux Died June 6, 1747, Bordeaux Composed: Approximate1737-40Duration: 10 minutes

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Born in southwestern France, Jean Barrière learned to play the viol as a young man, but he was soon attracted to its successor, the modern cello, a much more powerful and flexible instrument. Barrière became so good a cellist that at age 24 he moved to Paris, where he was named a member of the Academie Royale de Musique in the court of Louis XV. In Paris Barrière published six collections of cello sonatas, pausing along the way to spend three years in Italy refining his playing—he was by all accounts one of the finest cellists of his era. Barrière returned to France and continued his career as performer and cellist, but he died just a month after his 40th birthday.

The Four Seasons are the first four concertos in the set of twelve Vivaldi published in 1725 as his Opus 8, which he nicknamed Il cimiento dell’ armonia e dell’ inventione (“The Battle between Harmony and Invention”). Each of the four is a small tone poem depicting events of its respective season, and in the published score Vivaldi printed the four anonymous sonnets his music was intended to depict (the poems may have been written after the music was composed, however). The Four Seasons are thus one of the earliest examples of program music, but audiences should not expect the kind of detailed musical depiction of a composer like Richard Strauss. Strauss, who once said that his highest aim was to write fork music that could never be mistaken for a spoon, was a master at painting scenes with an orchestra. Vivaldi’s music, written nearly two centuries earlier, can seem a little innocent by comparison: his fast movements tend to depict storms, the slow movements shepherds falling asleep. But this music is so infectious and appealing, the many little touches so charming, that The Four Seasons seem to have an air of eternal freshness about them. Certainly these four concertos continue to win new friends for baroque music every day.

UNDER THE INFLUENCE: VIVALDI’S THE FOUR SEASONS — PROGRAM NOTES

*Solo

54 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER UNDER THE INFLUENCE: VIVALDI’S THE FOUR SEASONS — PROGRAM NOTES

The beginning of Winter is one of the most effective moments in The Four Seasons: quick turns in the orchestra “shiver” with the cold, and later vigorous “stamping” marks the effort to keep warm. In the wonderful Largo, a graceful, melodic violin line sings of the contented who sit inside before a warm fire while outside raindrops (pizzicato strings) fall steadily. In the concluding Allegro, the solo violin shows those trying desperately to walk over ice. The ice shatters and breaks and strong winds blow, but Vivaldi’s music concludes with a sort of fierce joy—this is weather that, however rough, brings pleasure.

murmur of brooks and breezes. Thunder and lightning break out, but the birds return to sing after the storm. In the slow movement a shepherd sleeps peacefully while his dog keeps watch; the dog’s quiet “Woof! Woof!” is heard throughout in the violas. Nymphs and shepherds dance through the final movement, which shows some relation to the gigue. But the movement is no wild bacchanal, and Spring concludes with this most grave and dignified dance.

At the beginning of Summer the world limps weakly under a blast of sunlight—the ritornello is halting and exhausted. Soon the solo violin plays songs of different birds—cuckoo, dove, and goldfinch—and later the melancholy music of a shepherd boy, weeping at the prospect of a storm. The Adagio depicts more of his fears: buzzing mosquitoes and flies (quiet dotted rhythms) which alternate with blasts of thunder. The concluding Presto brings the storm. A rush of sixteenth-notes echoes the thunder, and lightning rushes downward in quick flashes. The jaunty opening of Fall depicts a peasants’ dance, and the solo violin picks up the same music. Soon the violin is sliding and staggering across all four strings—the peasants have gotten drunk and are collapsing and falling asleep; the Adagio molto, an exceptionally beautiful slow movement, shows their “sweet slumber.” The final movement opens with the sound of the orchestra mimicking hunting horns. Vivaldi’s portrait of the hunt is quite graphic—the violin’s rushing triplets depict the fleeing game that finally collapses and dies from exhaustion.

858.459.3728 LJMS.ORG NEW ROMANTICS

THE BAKER-BAUM CONCERT HALL SCHUBERT Quartettsatz in C Minor, D.703 (1797-1828) DoverJoelQuartetLink,Bryan Lee, violins; Milena Pajaro-Van De Stadt, viola; Camden Shaw, cello

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Dover Quartet La Jolla Music Society’s 2021–22 Season and SummerFest 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, San Diego Foundation, Brenda Baker and Steve Baum, Judith Bachner and Eric Lasley, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Jendy Dennis Endowment Fund, Sue and Chris Fan, Brenda and Michael Goldbaum, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Clara Wu Tsai, and Bebe and Marvin Zigman.

| 55 THE

Friday, August 12, 2022 · 7:30 PM

MARC-ANDRÉ Piano Quintet (Full Version World Première) HAMELIN Marc-André Hamelin, piano; Dover Quartet (b. 1961) INTERMISSION DVOˇRÁK Piano Trio in F Minor, Opus 65 (1841-1904) Allegro ma non troppo Allegretto grazioso Poco Finale:adagioAllegro con brio Inon Barnatan, piano; Stefan Jackiw, violin; Clive Greensmith, cello PRELUDE · 6:30 PM

THE JAI Lecture by Alex Ross Stefan Jackiw

56 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER THE NEW ROMANTICS — PROGRAM NOTES Program notes by Eric Bromberger Quartettsatz in C Minor, D.703 FRANZ SCHUBERT

January 31, 1797, Vienna Died November 19, 1828, Vienna Composed: Approximate1820Duration:

Born September 5, 1961, Montreal Approximate Duration: 36 minutes

When Dvořák wrote this powerful music in the early months of 1883, he was at a crucial moment in his life and career. After years of working in obscurity, he suddenly found himself—at age 41—a successful composer: his Slavonic Dances of 1878 had been an international success, and now his music was being performed throughout Europe and America and publishers were asking for more. Yet these were also difficult years for Dvořák. His mother had died late in 1882, and for the composer the loss was devastating. In the weeks following her death, Dvořák set to work on this trio, completing a first draft on March 31, 1883; it is a mark of how seriously he took this music that he revised it completely before its first performance the following October.

The majority of those works—including the Etudes and Toccata on L’homme armé, commissioned by the Van Cliburn International Piano Competition—are published by Edition Peters. Prior to this evening’s première of the full version of his Piano Quintet, his other most recent work, Suite à l’ancienne, was premièred in February 2021 by pianist Rachel Naomi Kudo with funding from The Gilmore Young Artist Award.

Born September 8, 1841, Muhlhausen, Bohemia Died May 1, 1904, Prague Composed: Approximate1883Duration: 42 minutes

Born 10 minutes

Schubert composed the Quartettsatz—that title, which did not originate with Schubert, means simply “quartet movement”—in December 1820, when he was just a few weeks short of his 24th birthday. He had apparently planned to write a standard four-movement quartet, but completed only the first movement and a 41-measure fragment of what would have been an Andante second movement. No one knows why he set so promising a work aside and left it unfinished, but—like the “Unfinished” Symphony—what survives is significant enough by itself to stand as a satisfying whole. Curiously, the Allegro assai opening movement of this quartet is similar to the first movement of the “Unfinished” Symphony: both feature the same sort of double-stroked opening idea in the first violins, both are built on unusually lyric ideas, and both offer unexpected key relations between the major theme-groups. In fact, the key relationships are one of the most remarkable aspects of the quartet: it begins in C minor with the first violin’s racing, nervous theme, and this quickly gives way to the lyric second idea in A-flat major, which Schubert marks dolce. The quiet third theme—a rocking, flowing melody—arrives in G major. As one expects in Schubert’s mature music (and the 23-yearold who wrote this music was a mature composer), keys change with consummate ease, though one surprise is that the opening idea does not reappear until the coda, where it returns in the closing instants to hurl the movement to its fierceListedconclusion.asthetwelfth of Schubert’s fifteen string quartets, the Quartettsatz is generally acknowledged as the first of his mature quartets. The first eleven had been written as Hausmusik for a quartet made up of members of Schubert’s own family: his brothers played the violins, his father the cello, and the composer the viola. Because he was writing for amateur musicians in those quartets, Schubert had kept the demands on the players relatively light—his cellist-father in particular was given a fairly easy part in those quartets. But in the Quartettsatz and the three magnificent final quartets Schubert felt no such restrictions.

Piano Quintet MARC-ANDRÉ HAMELIN

The Quartettsatz, which makes enormous technical demands (including virtuoso runs for the first violin that whip upward over a span of three octaves), was clearly intended for professional performers.

Piano Trio in F Minor, Opus 65 ANTONÍN DVOŘÁK

Many have detected the influence of Brahms on this trio. Brahms had befriended Dvořák several years earlier, encouraged him, and arranged the publication of his music. The Trio in F Minor is full of the same sort of darklyimpassioned and soaring music that Brahms wrote, and perhaps it was natural for Dvořák at so difficult a moment to find inspiration in the music of the older composer. But whatever the influences that shaped this trio, it remains unmistakably the music of Dvořák, stamped throughout with his individual melodies, rhythms, and harmonies. And it speaks with a passion rare in his music—and rare

Marc-André Hamelin has composed music throughout his career, with nearly 30 compositions to his name.

858.459.3728 • LJMS.ORG | 57 THE NEW ROMANTICS — PROGRAM NOTES in chamber music at all. Dvořák’s admirable biographer John Clapham hears an “epic” quality in this music, and that term—with its suggestion of drama and breadth and vision—may be exactly right for Trio in F Minor: at this moment of new artistic maturity and personal pain, Dvořák produced one of the most wide-ranging and intense works in the entire chamber music literature.

The very beginning of the Allegro ma non troppo is deceiving. The strings’ subdued entrance in octaves is instantly energized by the almost electric intrusion of the piano, and this opening statement quickly grows searing and intense. Cello and then violin introduce more lyric secondary material, and it is typical of this music that Dvořák soon has them soaring high in their ranges on some very impassioned and virtuosic writing. This trio never threatens to become orchestral in its manner—it remains true chamber music throughout—but there are moments when its emotional character strains our conception of chamber music. The dramatic opening idea continues to evolve throughout this movement, and the final cadence grows directly out of it. The Allegretto grazioso dances with a sprightly energy, but even here the C-sharp minor tonality keeps the mood subdued. The rhythmic variety of this movement is particularly pleasing. Dvořák’s cross rhythms at the very beginning (strings’ triplets against the piano’s duple meter) provide a lively frame for the main theme, which sounds very much like one of Dvořák’s own Slavonic Dances; a flowing trio section leads to the return of the opening material. If the opening movement of this trio is one of the most dramatic in chamber music, the third is among the loveliest. It opens with the cello’s long, heartfelt melody, and soon the strings are trading soaring phrases, yet Dvořák takes care to specify dolce espressivo: “sweet, expressive.” While it is dangerous to read a composer’s intentions into a piece of music, it is hard not to believe that this lovely movement was written in response to the loss of his mother. The concluding Allegro con brio is based on furiant rhythms, but its second episode (another excursion into C-sharp minor) is a waltz, and Dvořák subtly bases both themes on the same rhythmic shape. This brisk finale is in a sort of rondo form, and near the end—in a wonderful touch—Dvořák briefly recalls the main theme of the opening movement. It returns here like a distant memory, rounding off the trio beautifully before the animated rush to the close.

THE BAKER-BAUM CONCERT HALL Pelia Quartet performs Bartók's String Quartet No. 3 in C-sharp Minor, Sz.85 and Molto Adagio from Beethoven's String Quartet in E Minor, op. 59, No. 2 Clive Greensmith La Jolla Music Society’s 2021–22 Season and SummerFest 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, San Diego Foundation, Brenda Baker and Steve Baum, Judith Bachner and Eric Lasley, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Jendy Dennis Endowment Fund, Sue and Chris Fan, Brenda and Michael Goldbaum, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Clara Wu Tsai, and Bebe and Marvin Zigman.

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

Support for the Prelude is provided by: Gordon Brodfuehrer

THE WAGNER EFFECT

Sunday, August 14, 2022 · 3 PM

THE BAKER-BAUM CONCERT HALL STRAUSS Sextet for Strings from Capriccio (1864-1949) BERG Piano Sonata, Opus 1 (arr. for string sextet by Heime Müller) (1885-1935) Joel Link, Bryan Lee, violins; Teng Li, Sung Jin Lee, violas; Clive Greensmith, Camden Shaw, cellos INTERMISSION WAGNER-LISZT Isoldens Liebestod, S.447 (1813-1883) Marc-André Hamelin, piano LISZT At the Grave of Richard Wagner, S.202 (arr. Barnatan) (1811-1886) DOHNÁNYI Sextet in C Major, Opus 37 (1877-1960) Allegro Finale:AllegroIntermezzo:appassionatoAdagioconsentimentoAllegrovivace,giocoso Marc-André Hamelin, piano; Stefan Jackiw, violin; Milena Pajaro-Van De Stadt, viola; Nina Lee, cello; John Bruce Yeh, clarinet; David Byrd-Marrow, horn

PRELUDE · 2 PM

Berg’s Piano Sonata is very much a transitional work. He began it in the summer of 1907, after three years of study with Schoenberg, and completed it the following summer. The sonata is only one movement long, though Berg’s original plan had been to compose a piano sonata in traditional three-movement form. Having completed what was to be the first movement of that sonata, Berg found that he could make no headway on the second and third movements, and Schoenberg suggested that the young composer should regard the work as complete in its onemovement form. Berg felt satisfied enough with this music to consider it his Opus 1, and it was published by Universal Edition in 1910. The first public performance took place in Vienna on April 24, 1911. Berg’s Sonata is heard at this concert in an arrangement for string sextet by Heime Müller (born 1970), a German violinist who as for many years a member of the Artemis Quartet.

858.459.3728 • LJMS.ORG | 59 THE WAGNER EFFECT — PROGRAM NOTES Program notes by Eric Bromberger Sextet for Strings from Capriccio RICHARD STRAUSS Born June 11, 1864, Munich Died September 8, 1949, Garmisch-Partenkirchen, Germany Composed: Approximate1942Duration: 10 minutes

In the fall of 1904, Alban Berg—nineteen years old—appeared on the doorstep of Arnold Schoenberg in Vienna with a portfolio of youthful compositions. He was answering Schoenberg’s newspaper advertisement for composition students, and that fall the older composer accepted Berg and another young man named Anton Webern as private students. Berg would remain a student of Schoenberg for the next six years, and the music he composed under Schoenberg’s guidance during the first decade of the century shows a steady growth in assurance and sophistication. Yet these first efforts—the Seven Early Songs, the Piano Sonata, and the String Quartet—are in some measure all transitional works: they show signs of Berg’s future direction (particularly in their motivic concentration), yet all three works remain firmly anchored in the lateromantic idiom of the turn of the century.

ALBAN BERG

Richard Strauss composed Capriccio, his final opera, in 1942 at the age of 78. Far from the expressionistic horror of Salome and Elektra and even from the romantic opulence of Der Rosenkavalier, Capriccio is instead a civilized exploration of the question of which is more important in opera: the words or the music. A composer who had already written fourteen operas might well have thought about this issue in some detail, and Strauss makes clear the essentially philosophic nature of Capriccio by subtitling it “Conversation-Piece for Music.” He then focuses the issue by having a composer (Flamand) and a poet (Olivier) compete for the hand of the widowed Countess Madeleine—each must advance his artistic claims while simultaneously pursuing her romantically.

Born February 9, 1885, Vienna Died December 24, 1935, Vienna Composed: Approximate1907-08Duration: 13 minutes

Listeners may be struck by just how traditional Berg’s Sonata is, for it conforms in many ways to the form of the classical sonata. While it is written with a great deal of harmonic freedom, it has a home key and even a key signature (B minor), and Berg honors classical form to the extent of offering a repeat of the exposition. The remarkable thing about this music is Berg’s ability to generate an entire structure out of tiny motivic fragments, most of which are presented in the opening measures.

Piano Sonata, Opus 1 (arranged for string sextet by Heime Müller)

Capriccio begins with a string sextet played from the pit by the orchestra’s principal players. In the opera, this music is simultaneously the overture and Flamand’s latest composition (and most recent love-offering to the Countess—he watches her reactions as it is being performed). Even as it proceeds, Flamand and Olivier begin the debate about the primacy of words or music— their conversation is of course eliminated when the Sextet is performed separately. This is very elegant music, flowing and smooth. It is also music of unusual rhythmic suppleness, with phrases extending across barlines and rhythms often subdivided into quintuplets—it is the sort of music that requires superb players and a great deal of effort to make it sound as effortless as it should. The relaxed atmosphere of the opening gives way to a brief (and somewhat melodramatic) outburst before the opening material returns to lead the Sextet to its polished close. So—what does Countess Madeleine finally decide? Music or words? Flamand or Olivier? Her decision is a surprise. To find out what it is, go see this very pleasing opera.

Wagner had pointed out to Liszt that the rising theme of the Prelude to Parsifal bore a strong relation to the opening theme of the Prelude to Liszt’s cantata The Bells of Strasbourg Cathedral, a setting of Longfellow’s The Golden Legend. Now for his memorial piece for Wagner, Liszt turned to a theme that the two men had shared and wrote a very short, very spare piece of music. The fundamental theme-

60 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER THE WAGNER EFFECT — PROGRAM NOTES These are expanded into a full sonata-form structure, recapitulated, and brought to a quiet—and emotionally satisfying—close in unequivocal B minor. Berg notates this music with scrupulous care, with tempo fluctuations and dynamic gradations registered quite precisely. This is wide-ranging music in many senses: in its original form, the writing spans almost the entire width of the piano’s keyboard, and its dynamic compass stretches from triple forte to triple piano Isoldens Liebestod, S.447 RICHARD WAGNER

Liszt’s transcription of this scene is remarkable for its fidelity to Wagner’s music and for his subtle approach to the sonority of the piano. At the Grave of Richard Wagner, S.202 FRANZ LISZT

Born May 22, 1813, Leipzig Died February 13, 1883, Venice FRANZ LISZT Born October 22, 1811, Raiding, Austria Died July 31, 1886, Bayreuth, Germany

Composed: Approximate1883Duration: 3 minutes Liszt went to Bayreuth in 1882 to attend the première of Parsifal, and by coincidence both Wagner and Liszt spent the following winter in Venice. There, as he watched funeral processions borne across the water on gondolas, Liszt had a premonition of Wagner’s death and of his body being carried by such a gondola, and he wrote a short piece for piano titled La lugubre gondola. Wagner then died in Venice in February 1883, and his body was in fact carried by a funereal gondola as it began its journey to burial at Bayreuth. In response to Wagner’s death, Liszt composed two short pieces in his memory. He wrote R.W.—Venezia immediately after Wagner’s death, and then in Weimer on May 22, 1883, on what would have been Wagner’s seventieth birthday, Liszt composed Am Grabe Richard Wagners (“At the Grave of Richard Wagner”).

At this point, Liszt’s career as a touring virtuoso was now long in the past, and in these final years his efforts to “hurl my javelin into the infinite space of the future” (as he defined his mission as a composer) led him to compose music that might best be called experimental—these pieces bring new conceptions of form, sound, and harmony. Liszt originally scored Am Grabe Richard Wagners for string quartet and harp, but he did not much care how this music would be performed—he also prepared versions for solo piano and for organ. The music is heard at this concert in an arrangement by Inon Barnatan for violin, viola, cello, clarinet, and horn.

Composed: Approximate1867Duration: 7 minutes Liszt and Wagner shared a long friendship—and a very difficult one. They admired each other’s music, and they were active on each other’s behalf: Wagner was extravagant in his praise of Liszt’s Sonata in B Minor, and Liszt conducted the première of Lohengrin in 1850. But Wagner seduced Liszt’s daughter Cosima, who was married to the pianist-conductor Hans von Bülow, and she moved in with Wagner and bore his children. Liszt was outraged, and though he continued to love Wagner’s music, he was suddenly less enthusiastic about Wagner the man. Eventually Liszt was able to accept what had happened, and he and Wagner were able—to some degree—to reconcile and resume their friendship. If Liszt could disapprove of Wagner’s actions, he nevertheless admired his music, and he made piano transcriptions of music from eleven of Wagner’s operas. Liszt wrote a number of what have been called paraphrases or reminiscences of music from the operas of many composers—often these were completely original compositions in which the opera music served only as the starting point for Liszt’s own virtuosity. But Liszt’s transcriptions of excerpts from Wagner’s operas were much more respectful—they were almost always straightforward and literal. Liszt’s intentions here were generous: he liked this music and felt that he could make it better known by creating piano versions of works that would be heard only rarely in their original form. Liszt made his transcription of Isoldens Liebestod in 1867, only two years after the première of Tristan und Isolde (and during his period of estrangement from Wagner and Cosima). Isolde’s final scene is of course best-known as the Liebestod (or “love-death”). At the end of the opera, as Tristan lies dead before her, Isolde sings her farewell to both Tristan and to life. This music has become familiar as one of the most famous orchestral excerpts from Wagner’s operas: as Isolde finds ecstatic fulfillment in death, Wagner surrounds her with a shimmering, glowing orchestral sound.

This movement has been called a “jazz parody,” and certainly its main idea has a perkiness that might seem to recall jazz. A second theme dances jauntily, and these high spirits prevail until the horn call from the very beginning returns to drive the Sextet to its most emphatic conclusion.

The Allegro con sentimento opens with an elegant and good-spirited clarinet solo that sets the mood—when the piano enters, its part is marked both dolce and tranquillo. This movement is episodic—the opening gives way to a Presto that races along its 6/8 meter, and this in turn is followed by a suave interlude for strings. Along the way, alert listeners will hear reminiscences of the opening horn call. The music accelerates and then rushes without pause into the fast finale, which Dohnányi specifies should be giocoso (“happy”).

Dohnányi wrote this music early in 1935, following a bout of thrombosis, but there is no sign of weakness in the Sextet, a big work scored for unusual forces that generate a huge sonority. In fact, its sound is quasi-orchestral: the Sextet has a wind section (clarinet and horn), a string section (violin, viola, and cello), and a virtuoso piano part (Dohnányi himself was pianist at the première of the Sextet in Budapest on June 17, 1935). He sometimes divides his ensemble into sections, and there are moments in this music when one can easily imagine it re-scored for full orchestra.

The aptly-titled Allegro appassionato is a big movement, in both duration and sonority. It opens with an orchestral sound: over heavy piano chords and busy cello arpeggios the horn sounds its commanding opening theme, a theme that will recur throughout the Sextet. The second subject arrives in the viola a few moments later, and Dohnányi builds this often dramatic movement from these materials. The first three notes of the opening horn-call will figure prominently in this movement, and finally they drive it to a full-throated close. The mood changes completely at the Intermezzo, which is nocturne-like in its subdued atmosphere as it glides along a 12/8 meter. Dohnányi interrupts this reverie with a malevolent march that breaks in upon the peace of the opening, and these two quite different kinds of music alternate across the movement.

858.459.3728 • LJMS.ORG | 61 THE WAGNER EFFECT — PROGRAM NOTES shape rises unharmonized out of the depths and then is developed through a series of disembodied chords, usually separated by pauses. This music makes no specific progress, either formally or harmonically, and finally a further reminiscence of Parsifal draws the music gently down to its subdued conclusion. Sextet in C Major, Opus 37 ERNST VON DOHNÁNYI Born July 27, 1877, Pressburg, Hungary Died February 9, 1960, New York City Composed: Approximate1935Duration: 30 minutes Ernst von Dohnányi was not only one of the greatest pianists who ever lived, he was also a champion of Hungarian music and one of the primal forces in Hungarian musical life in the early decades of the twentieth century. He served as conductor of the Budapest Philharmonic from 1919 until 1944, was music director at the Hungarian radio, and was for many years director of the Budapest Academy of Music, where he taught piano and composition. He championed the music of Bartók, Kodály, and other young Hungarian composers, and he gave international tours as a concert pianist. So great was his influence that Bartók noted that Dohnányi was essentially providing the musical life of the entire Hungarian nation during these years. All of these activities took their toll, however, and in the mid-1930s, when he was in his fifties, Dohnányi began to experience a number of health problems. He cut back his touring and his teaching workload, and his own composition began to diminish as well: the Sextet in C Major was the only music Dohnányi composed between 1933 and 1937.

THE BAKER-BAUM CONCERT HALL Interview with Cécile McLorin Salvant hosted by Dave Drexler Cécile McLorin Salvant Sullivan Fortner Yasushi Nakamura Marvin Sewell Keita Ogawa La Jolla Music Society’s 2021–22 Season and SummerFest 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, San Diego Foundation, Brenda Baker and Steve Baum, Judith Bachner and Eric Lasley, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Jendy Dennis Endowment Fund, Sue and Chris Fan, Brenda and Michael Goldbaum, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Clara Wu Tsai, and Bebe and Marvin Zigman.

Wednesday, August 17, 2022 · 7 PM

The Synergy Initiative is underwritten by: Clara Wu Tsai See page 79 for more information on the Synergy Initiative

PRELUDE

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

The program will feature works from Cécile McLorin Salvant's latest album Ghost Song, which will include a mix of originals and interpretations on the themes of ghosts, nostalgia, and yearning. Works to be announced from the stage. Cécile McLorin Salvant, voice Sullivan Fortner, piano Marvin Sewell, guitar Yasushi Nakamura, bass Keita Ogawa, percussion · 6 PM

SYNERGY: UNDER THE INFLUENCE Cécile McLorin Salvant

THE BAKER-BAUM CONCERT HALL

858.459.3728 An Evening of Kurt Weill

• LJMS.ORG | 63 SYNERGY:

Anthony Roth Costanzo La Jolla Music Society’s 2021–22 Season and SummerFest 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, San Diego Foundation, Brenda Baker and Steve Baum, Judith Bachner and Eric Lasley, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Jendy Dennis Endowment Fund, Sue and Chris Fan, Brenda and Michael Goldbaum, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Clara Wu Tsai, and Bebe and Marvin Zigman.

Thursday, August 18, 2022 · 7:30 PM

THE BAKER-BAUM CONCERT HALL

Eric Jacobsen, conductor Alex Fortes, Emily Daggett Smith, violins; Kyle Armbrust, viola; Nina Lee, cello; Rose Lombardo, flute/piccolo; John Bruce Yeh, Christopher Pell, clarinet; Erik Höltje, bassoon; David Byrd-Marrow, horn; Sycil Mathai, trumpet; Eric Starr, trombone; Dustin Donahue, percussion

The Synergy Initiative is underwritten by: Clara Wu Tsai See page 79 for more information on the Synergy Initiative

Anthony Roth Costanzo, countertenor Zack Winokur, director Cécile McLorin Salvant, voice John Torres, lighting design Sullivan Fortner, piano MUSICIANS FROM THE KNIGHTS and SPECIAL GUESTS

64 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER SYNERGY: The Planets

THE HOLSTJAI The Planets

DANCE HEGINBOTHAM

August 20, 2022 · 5 PM Sunday, August 21, 2022 · 2 PM

John Heginbotham, artistic director & choreographer

THE ATKINSON ROOM Interview with Eric Jacobsen and John Heginbotham hosted by Leah Rosenthal La Jolla Music Society’s 2021–22 Season and SummerFest 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, San Diego Foundation, Brenda Baker and Steve Baum, Judith Bachner and Eric Lasley, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Jendy Dennis Endowment Fund, Sue and Chris Fan, Brenda and Michael Goldbaum, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Clara Wu Tsai, and Bebe and Marvin Zigman.

Saturday, August 20, 2022 · 6 PM & 8 PM Sunday, August 21, 2022 · 3 PM & 5 PM

Saturday,PRELUDE

Dance Heginbotham

The Synergy Initiative is underwritten by: Clara Wu Tsai See page 79 for more information on the Synergy Initiative

Choreography for Saturn by Ashley Dragon in consultation with John Heginbotham

MUSICIANS FROM THE KNIGHTS and SPECIAL GUESTS

NeptuneUranusSaturnJupiterMercuryVenusMars

Andrea Lodico, managing director Tracy Mendez, management associate Amber Star Merkens, rehearsal director Randi Rivera, production manager Nicole Pearce, lighting designer Maile Okamura, costume designer Paige Barnett, Ashley Dragon, Courtney Lopes, Mykel Marai Nairne, performers Lindsey Jones, rehearsal director & understudy

Eric Jacobsen, conductor Alex Fortes, Emily Daggett Smith, violins; Kyle Armbrust, viola; Nina Lee, cello; Shawn Donley, bass; Rose Lombardo, flute; Christopher Pell, clarinet; Sycil Mathai, trumpet; Eric Starr, trombone; Inon Barnatan, piano; Robert Johnson, keyboard

858.459.3728 • LJMS.ORG | 65

Put more beautifully: At a distance of 3.7 billion miles from its origin, and shortly before it exited the solar system (which at that time included Pluto), the NASA spacecraft Voyager 1 focused its camera back toward Earth. This maneuver was suggested by the astronomer and author, Carl Sagan: “Look again at that dot. That’s here. That’s home. That’s us. On it everyone you love, everyone you know, everyone you ever heard of, every human being who ever was, lived out their lives. The aggregate of our joy and suffering, thousands of confident religions, ideologies, and economic doctrines, every hunter and forager, every hero and coward, every creator and destroyer of civilization, every king and peasant, every young couple in love, every mother and father, hopeful child, inventor and explorer, every teacher of morals, every corrupt politician, every ʻsuperstar,ʼ every ʻsupreme leader,ʼ every saint and sinner in the history of our species lived there—on a mote of dust suspended in a sunbeam.”

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Program Note My friend and frequent collaborator, Eric Jacobsen, and I were discussing working on a new project — a production of Carl Orff’s 1935 cantata, Carmina Burana. During a break in the official conversation, I mentioned to Eric that I had a fantasy of choreographing a chamber music version of Gustav Holst’s The Planets. His voice descended two octaves and he said with gravity and excitement: “You know that’s my favorite piece of music of all time?!” Eric is a person who makes things happen, and I’m so happy to celebrate that here we are, premiering The Planets

The Planets premièred in 1918 at London’s Queen’s Hall. The piece was largely inspired by astrological associations with the solar system, each planet portrayed as having its own highly distinct character. Today’s performance of The Planets is a tour through our celestial neighborhood. Earth is not recognized, as its presence in the zodiac is hidden (if not absent). From the perspective of astronomy, this curious idea that our homeworld does not appear in the composition strikes me as generous—like a fashion designer’s runway curtain call; she may wear something understated which doesn’t draw attention away from the spectacular art on display. The study of astrology and astronomy, the existence of fashion, of program notes, of Holst, of dancing and music. All of these exist because Earth exists.

John Heginbotham

The Knights

SYNERGY: THE PLANETS — PROGRAM NOTE

Support

66 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER UNDER THE INFLUENCE: Miró Quartet Wednesday, August 24, 2022 · 7 PM THE BAKER-BAUM CONCERT HALL CAROLINE SHAW Microfictions [Volume 1] WEST COAST PREMIÈRE (b. 1982) I. Road signs melted, pointing to cadences II. But the tune was still visible III. Beneath an oak’s dappled counterpoint III & 1/2. Between the third and fourth movements IV. A chord that fell from grace V. To the tempo of an undiscovered Mendelssohn song VI. Heard in heavy fragments, obliquely MiróDanielQuartetChing, William Fedkenheuer, violins; John Largess, viola; Joshua Gindele, cello MENDELSSOHN String Quintet in B-flat Major, Opus 87 (1809-1847) Allegro AllegroAdagioAndantevivacescherzandoelentomoltovivace Caroline Shaw, viola; Miró Quartet

Miró Quartet La Jolla Music Society’s 2021–22 Season and SummerFest 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, San Diego Foundation, Brenda Baker and Steve Baum, Judith Bachner and Eric Lasley, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Jendy Dennis Endowment Fund, Sue and Chris Fan, Brenda and Michael Goldbaum, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Clara Wu Tsai, and Bebe and Marvin Zigman. for this program generously provided by: Judith Bachner and Eric Lasley

Microfictions [Vol. 1] is a set of six short musical stories, in the tradition of imagist poetry and surrealist painting, inspired in part by the work of Joan Miró and the short science fiction of T.R. Darling. Each movement is brief but vivid, with a distinct sonic profile that is inspired by (or, inversely, served as inspiration for) original microfiction stories that are inscribed in the score. One’s interpretation of the stories and of the music can be varied — there is no one right way to connect the sounds and images or ideas. Rather, I hope that the words create an environment for curious listening, and an invitation to imagination. These short texts have been abbreviated in the movement titles listed in the program, but the full texts are:

Mendelssohn was conductor of the Leipzig Gewandhaus Orchestra from 1835 until 1846 and also served as director of the Leipzig Conservatory. Such demands kept him from composing much during the concert season and academic year. He became in effect a “summer” composer: one who wrote during those sunny, happy months when he could take his wife and children away from Leipzig and relax. The Quintet in B-flat Major is one of these summer compositions—Mendelssohn finished the score in Frankfurt on July 8, 1845, just a few months after the première of his Violin Concerto. One of the most distinctive things about the Quintet, particularly in its outer movements, is its concertante first violin part—the writing for first violin here is so brilliant that it demands a virtuoso performer. The very beginning of the Allegro vivace has reminded many of the beginning of Mendelssohn’s own Octet: over rustling accompaniment, the first violin leaps upward with a melody that will surge and fall back through two octaves. The falling, lyric second subject is introduced by the first viola, and the energetic development flies along over omnipresent triplets. The movement concludes with a majestic coda built on both main ideas. The brief Andante scherzando is not the quicksilvery fast movement one might expect from Mendelssohn at this point but a piquant little dance. Mendelssohn varies the texture by combining bowed and pizzicato passages and surprising the listener with uneven rhythms and shifting harmonies before the movement concludes nicely with all strings pizzicato.

II. The photographs smeared into focus one by one, like organ pipes being tuned. Some of edges and corners were torn, but the tune was still visible.

IV. The complete taxonomy of verse forms is buried in a cardboard box beneath a chord that fell from grace.

Mendelssohn was one of the most gifted composers of all time, and while it has become fashionable in some circles to dismiss his music as superficial and glib, it should be noted that he drove himself mercilessly—not just as composer, but also as conductor, performer, administrator, and educator (he was also a talented painter). His death at 38 was at least partially the result of exhaustion that inevitably resulted from the demands he placed on himself.

III. The summer storm laughed and lilted and shouted until it found a shady spot, beneath an oak’s dappled counterpoint.

I. Under the hot sun, the road signs melted until they were the color of an unrhymed couplet, pointing to cadences left or north.

Born February 3, 1809, Hamburg Died November 4, 1847, Leipzig Composed: Approximate1845Duration: 31 minutes

III & 1/2. Between the third and fourth movements, the second violinist stood up and said hello to the audience. Everyone was grateful to know which movement they were on.

Caroline Shaw String Quintet in B-flat Major, Opus 87 FELIX MENDELSSOHN

VI. The mountains folded in among themselves, as the day grew on. Their songs could only be heard in heavy fragments, obliquely, from years and miles below. My thanks to the wonderful Miró Quartet for all of the collaborative exchange while writing this piece.

The marking for the third movement—Adagio e lento—seems redundant, for both terms mean “slow.”

The movement is built on its grieving main theme, heard immediately in the first violin. The accompaniment is unusually busy, and the huge climax to this movement— with buzzing tremolos—seems more orchestral than

858.459.3728 • LJMS.ORG | 67 UNDER THE INFLUENCE: MIRÓ QUARTET — PROGRAM NOTES Program notes by Eric Bromberger, except where indicated. Microfictions [Volume 1] CAROLINE SHAW Born August 1, 1982, Greenville, NC Composed: Approximate2021Duration: 20 minutes

V. Waking up on the early side that Tuesday, Miró noticed a bird repeating its solitary caption. The clouds nodded to the tempo of an undiscovered Mendelssohn song.

68 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER UNDER THE INFLUENCE: MIRÓ QUARTET — PROGRAM NOTES chamber-like in its sonority (in fact, Toscanini once performed this movement with the entire string section of the NBC Symphony). Energy is the keynote of the finale, marked Allegro molto vivace. This movement returns somewhat to the manner of the opening movement, with the first violin part particularly brilliant, though Mendelssohn varies the pulse here by sharply syncopating the secondary theme group. The development is spirited and the coda exuberant—as befits music written by a man on holiday.

858.459.3728 • LJMS.ORG | 69 TAKEOVER @ THE JAI WITH CAROLINE SHAW Wednesday, August 24, 2022 · 8:30 PM The CAROLINEJAI SHAW Thousandth Orange (b. 1982) Inon Barnatan, piano; William Fedkenheuer, violin; John Largess, viola; Joshua Gindele, cello Cant voi l’aube Caroline Shaw, voice; MiróDanielQuartetChing, William Fedkenheuer, violins; John Largess, viola; Joshua Gindele, cello The Cutting Garden from Plan & Elevation Miró Quartet And So Caroline Shaw, voice; Miró Quartet RAVEL String Quartet in F Major (1875-1937) Allegro moderato. Très doux Assez vif. Très rythmé Très lent Vif et agité Miró Quartet Caroline Shaw La Jolla Music Society’s 2021–22 Season and SummerFest 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, San Diego Foundation, Brenda Baker and Steve Baum, Judith Bachner and Eric Lasley, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Jendy Dennis Endowment Fund, Sue and Chris Fan, Brenda and Michael Goldbaum, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Clara Wu Tsai, and Bebe and Marvin Zigman. Support for this program generously provided by: Judith Bachner and Eric Lasley

Composed: Approximate2018Duration: 10 minutes

CAROLINE SHAW

CAROLINE SHAW Composed: Approximate2015Duration: 3 minutes

Thousandth Orange

Thousandth Orange begins with a very simple 4-chord progression. Nothing fancy. Nothing extravagant. Just something quite beautiful and everyday, that is enjoyed and loved and consumed and forgotten. Something you’ve probably heard before, in a pop song or a music theory class. While considering my love of Brahms’ piano quartets and my memory of playing them—and more generally how our memories of beloved music evolve over time—I began thinking about the history of still-life paintings. Those bowls of fruit we see framed in museums—sort of lovely and banal, at first glance, but then richer when considered in the long story of humans painting things that they see, over and over and over again. There’s a reason that Van Gogh painted those vases of sunflowers again and again, or Caravaggio his fruit. Maybe after the tenth, or the hundredth, or the thousandth time one paints, or looks at, or eats, an orange (or plays a simple cadential figure), it is just as beautiful as the first time. There is still more to see and to hear and to love. More angles reveal themselves—more perspectives and corners and stories, more understanding—more appreciation of something that most would consider unremarkable. Thousandth Orange is about these tiny oblique revelations that time›s filter can open up in a musical memory. The title also suggests a thousand different shades of the color orange, or the image of a thousand oranges, or perhaps a thousand ways of looking at an orange.

Commissioned by Dumbarton Oaks, and premièred by the Dover Quartet in the music room of Dumbarton Oaks on November 1, 2015.

Gabriela Lena Frank 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 entered the doctoral program at Princeton in 2010. 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

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.

TAKEOVER @ THE JAI — PROGRAM NOTES

Cant voi l’aube

Born August 1, 1982, Greenville, NC

The title, Plan & Elevation, refers to 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,

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

The Cutting Garden from Plan & Elevation

Composed: Approximate2015Duration: 5 minutes Cant voi l’aube uses the lyrics of an anonymous trouvère song in old French from the 12th century. It is a typical aubade, or morning song, in which discreet lovers resent the coming of the dawn and the tragic separation that is inevitable. The original music for the text is lost, allowing for the freedom to set the words for Anne Sofie von Otter and Brooklyn Rider in my own voice. Rather than a true imagining of a trouvère song, Cant voi l’aube carves a new and different shape out of an older musical world.

CAROLINE SHAW

The second movement, Assez vif—Très rythmé, is a scherzo in ternary form. The opening is a tour de force of purely pizzicato writing that makes the quartet sound like a massive guitar. Some of this movement’s rhythmic complexity comes from Ravel’s use of multiple meters. The tempo indication is 6/8(3/4), and while the first violin is accented in 3/4 throughout, the other voices are frequently accented in 6/8, with the resulting cross-rhythms giving the music a pleasing vitality. The slow center section is a subtle transformation of the first movement’s second theme. At the conclusion of this section comes one of the quartet’s most brilliant passages, the bridge back to the opening material. Here the pizzicato resumes quietly, gathers speed and force, and races upward to launch the return of the movement’s opening theme. This is wonderful writing for quartet, and the scherzo drives straight to its explosive pizzicato cadence.

Composed: Approximate1902–03Duration:

Ravel wrote his only string quartet in 1902-3, while still a student at the Paris Conservatory, and the first performance was given by the Heymann Quartet in Paris on March 5, 1904, two days before the composer’s twentyninth birthday. Ravel’s quartet is in many ways similar to the Debussy quartet, written in 1893—there are parallels between the structure, rhythmic shape, and mood of the two works—but Ravel dedicated his quartet “To my dear teacher Gabriel Fauré,” who was directing Ravel’s work at the Conservatory. One of the most distinctive features of Ravel’s quartet is its cyclic deployment of themes: the first movement’s two main themes return in various forms in the other three movements, giving the quartet a tight sense of unity. Some have charged that such repetition precludes sufficient thematic variety, but Ravel subtly modifies the color, harmony, and mood of each reappearance of these themes so that from this unity comes enormous variety. The first movement is marked Allegro moderato, but Ravel specifies that it should also be Très doux (“Very gentle”). The calm first subject is heard immediately in the first violin over a rising accompaniment in the other voices, and this leads—after some spirited extension—to the haunting second theme, announced by the first violin and viola, two octaves apart. The relatively brief development rises to a huge climax—Ravel marks it triple forte—before the movement subsides to close with its opening theme, now gracefully elongated, fading gently into silence.

Basses-Pyrenées Died December 28, 1937,

858.459.3728 • LJMS.ORG | 71 TAKEOVER @ THE JAI — PROGRAM NOTES 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,” 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. Quartet Ciboure, Paris 30 minutes

String

After the serene close of the third movement, the fourth—Agité—leaps almost abrasively to life. Agitated it certainly is, an effect that comes from its steadily-driving double-stroked passages, and this mood continues across the span of the movement. The basic metric unit here is the rapid 5/8 heard at the beginning, though Ravel changes meter frequently, with excursions into 3/4 and 5/4. Once again, material from the first movement returns, and after several lyric interludes the finale takes on once again the aggressive mood of its opening and powers its way to the close. Ravel’s quartet generated a mixed reaction at its première in 1904. One of those most critical was the dedicatee, Gabriel Fauré, who was especially bothered by the unorthodox finale, which he thought “stunted, badly balanced, in fact a failure.” But when Ravel, troubled by such criticism, turned to Debussy for his estimation, the latter offered the best possible response: “In the name of the gods of Music and for my sake personally, do not touch a note of what you have written.”

The third movement—Très lent—is in free form, and perhaps the best way to understand this movement is to approach it as a rhapsody based loosely on themes from the first movement. Beneath these themes Ravel sets a rhythmic cell of three notes that repeats constantly, but it remains an accompaniment figure rather than becoming an active thematic participant. The movement’s impression of freedom results in no small part from its frequent changes of both key and meter.

in F Major MAURICE RAVEL Born March 7, 1875,

Eric Bromberger

Thursday, August 25, 2022 · 7:30 PM

BRAHMS Quintet in B Minor for Clarinet and Strings, Opus 115 (1833-1897) Andantino;AdagioAllegro Presto non assai, con sentimento Con moto Anthony McGill, clarinet; James Ehnes, Andrew Wan, violins; Jonathan Vinocour, viola; Clive Greensmith, cello

CHRIS ROGERSON 'Til it was dark WORLD PREMIÈRE (b. 1988) Wynona Yinuo Wang, piano; Benjamin Beilman, violin; Sung Jin Lee, viola; Julie Albers, cello; Timothy Cobb, bass INTERMISSION

Anthony McGill, clarinet; David Byrd-Marrow, horn; Brad Balliett, bassoon; Benjamin Beilman, Sophia Stoyanovich, violins; Cynthia Phelps, viola; Carter Brey, cello; Anthony Manzo, bass

THE BAKER-BAUM CONCERT HALL FRANÇAIX Octet (1912-1997) Moderato; Allegrissimo Andante;Scherzo MouvementAdagiodevalse

PRELUDE · 6:30 PM

Support for this program generously provided by: Sue and Chris Fan

NEW WINE, OLD BOTTLES

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

THE BAKER-BAUM CONCERT HALL Aestas Trio performs Schoenberg’s Verklärte Nacht (arr. for piano trio by Eduard Steuermann) Andrew Wan Anthony ManzoAnthony McGill Julie Albers La Jolla Music Society’s 2021–22 Season and SummerFest 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, San Diego Foundation, Brenda Baker and Steve Baum, Judith Bachner and Eric Lasley, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Jendy Dennis Endowment Fund, Sue and Chris Fan, Brenda and Michael Goldbaum, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Clara Wu Tsai, and Bebe and Marvin Zigman.

Born May 7, 1833, Hamburg Died April 3, 1897, Vienna

JOHANNES BRAHMS

The Schubert Octet was itself modeled on Beethoven’s vastly popular Septet, and both those pieces are essentially entertainment music: light music in multiple movements designed to show off players and to give pleasure to audiences. Françaix’s Octet, in only four movements, shares these goals. And it achieves them with elegance, wit, and pleasing writing for all eight performers.

Quintet in B Minor for Clarinet and Strings, Opus 115

Composed: Approximate1891Duration: 40 minutes

Brahms intended that his Viola Quintet in G Major of 1890 should be his last work. At age 57, he felt that he was done composing. In December of that year he sent his publisher some corrections to that quintet with a brief message: “With this note you can take leave of my music, because it is high time to stop.” But it was not to be. In March 1891 Brahms traveled to Meiningen to hear that orchestra under the direction of Fritz Steinbach, one of the leading interpreters of Brahms’ music. And then something entirely unexpected happened: Brahms heard the orchestra’s principal clarinetist, Richard Mühlfeld, perform Mozart’s Clarinet Quintet and Weber’s Clarinet Concerto. He was so impressed by Mühlfeld’s playing that he came out of retirement and wrote four works for Mühlfeld that have become the heart of the clarinet literature.

Mühlfeld (1856-1907) was an interesting musician. He joined the Meiningen orchestra at age 17 as a violinist but taught himself to play clarinet and became the orchestra’s principal clarinetist at age 23, later serving as principal of the Bayreuth orchestra. So impressed was Brahms by his playing that he sat for hours listening to him practice and gave Mühlfeld several pet nicknames, including “Fraulein Klarinette,” “my dear nightingale,” and “my primadonna.”

858.459.3728 • LJMS.ORG | 73 Gabriela Lena Frank Program notes by Eric Bromberger, except where indicated. Octet JEAN FRANÇAIX Born May 23, 1912, Le Mans, France Died September 27, 1997, Paris Composed: Approximate1824Duration: 22 minutes

The Clarinet Quintet has been universally acclaimed one of Brahms’ late masterpieces. Rather than writing a display piece to spotlight Mühlfeld’s playing, Brahms—newly sensitive to the sound and possibilities of the clarinet— carefully integrates it into the texture of the music. This is extremely concentrated music, with materials extended and

Both the final two movements are sectional. After a brief introduction, the Andante features first the strings, who have hushed and warm music; the strings then give way briefly to the winds, before Françaix combines all his forces and brings the movement to its close on an elegant coda built around the sound of the three wind instruments. The last movement is marked Mouvement de valse, and after an abrupt introduction Françaix spins out three very brief and very witty waltzes. The aim here is a sort of wicked fun, and some commentators have heard a parody of 1930s operetta in this movement. A more apt model actually came two decades earlier in another French composition that evoked Viennese style and then skewered it: Ravel’s La valse

Franz Schubert’s gracious Octet, composed in February 1824, has remained one of the most loved works in the chamber repertory. But its unusual combination of instruments (clarinet, bassoon, horn, and string quintet) has meant few performances, and an ensemble formed at mid-twentieth century in Vienna to perform the Schubert Octet wanted something to go with it on the program and to employ the same players. They turned to French pianist and composer Jean Françaix, who responded by writing an Octet of his own in 1972, using exactly the same instrumentation as Schubert’s Octet. Françaix knew comparisons were inevitable, and he made the connection explicit, saying that he had “dared to dedicate [it] to the memory of my dear Franz.”

Françaix begins with a slow introduction that features the wind players. This Moderato—warm, measured, balanced—rises to a grandiose (and pregnant) pause, and out of the silence Françaix launches an Allegrissimo that annihilates all expectations: a jazzy clarinet and violin lead the way into the sprightly main body of the movement, which develops with energy and a sense of neat proportion before tailing off to a suave close. The Scherzo rushes along on off-the-beat accents stung by the sound of pizzicato strings. Its brief trio section changes this sonority completely: now the strings dance above the sound of chattering winds before the sudden plunge back into the buoyant busy-ness of the opening section.

In the summer of 1891, six months after he had officially announced his retirement, Brahms retreated to his favorite summer vacation spot—Bad Ischl, high in the Alpine lake district—and wrote the Clarinet Trio, Opus 114 and the Quintet, Opus 115; two sonatas for clarinet followed in the summer of 1894. These four pieces, all written for Mühlfeld, were Brahms’ final instrumental works.

NEW WINE, OLD BOTTLES — PROGRAM NOTES

74 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER NEW WINE, OLD BOTTLES — PROGRAM NOTES combined in ingenious ways. Is the very beginning Brahms’ act of homage to Mozart’s Clarinet Quintet? Both quintets begin with the opening idea fully stated by the quartet, and only then does the clarinet rise from the depths, climb into its upper register, and assume its central role. Brahms opens this Allegro with a violin duet that hovers uncertainly between D major and B minor—this tonal ambiguity will mark the entire quintet. Brahms introduces all his thematic material in the first moments of this movement: the undulating theme of the first two bars gives way to the slightly swung shape of the third and fourth bars, followed by the clarinet’s rising entry in the fifth. These three theme-shapes will appear in some form throughout the entire movement. At the stormy climax, the theme of the first two bars is heard over fierce swirls in the clarinet, and the movement dies away to conclude with the quiet of the beginning.

The Adagio is in ABA form, beginning with a simple clarinet theme over quiet accompaniment from the strings. Yet this subdued opening brings extraordinarily complex rhythmic textures. The clarinet sings its simple song in quarter-notes, the first violin (also in quarter-notes) is syncopated against this, the second violin and viola trade the collision of triple and duple pulses, and beneath all this the cello has a complex line all its own—simply holding this music together presents all sorts of challenges for the performers. The middle section brings a sound that is, by Brahmsian standards, exotic. Brahms was very fond of Hungarian gypsy music, and this section, marked più lento, shows that influence: the clarinet leaps and swirls while the accompanying strings whir beneath it (in imitation of the Hungarian cimbalom?) before the opening material returns.

The principal themes of the final two movements are closely related, giving the Quintet an even greater feeling of unity. The Andantino opens with a breezy, intermezzo-like tune for clarinet, but at the center section—Presto non assai, con sentimento—the music rushes ahead impetuously and never returns to the easy flow of the opening material. The finale, like the finale of Mozart’s Clarinet Quintet, is a set of variations. Marked only Con moto, it offers five variations on the opening theme, stated in turn by the violins and clarinet. Of particular interest is the very end, where the final variation gives way to the theme that opened the first movement, and Brahms’ Clarinet Quintet winds its immensely concentrated way to the quiet unison B that concludes this movingThemusic.

Clarinet Quintet was given its public première in Berlin by Mühlfeld and Joseph Joachim’s quartet on December 12, 1891, almost a century to the day after Mozart’s death. There is no record of the public reactions to the première of Mozart’s Quintet in 1789, but the response to Brahms’ was ecstatic, both from critics and the public, and today many consider it the finest of his late works. Brahms was usually the fiercest critic of his own music, but in the face of this glowing reception he relaxed a little and was willing to concede that his Clarinet Quintet was a “very decent” piece of music.

INTERMISSION

SCHUBERT String Quartet in D Minor, D.810 “Death and the Maiden” (arr. Mahler) (1797-1828) AllegroAndante con moto Scherzo: Allegro molto Presto SummerFest Chamber Orchestra

858.459.3728 LJMS.ORG | 75

FINALE: Metamorphosis

Friday, August 26, 2022 · 7:30 PM

PRELUDE · 6:30 PM

THE BAKER-BAUM CONCERT HALL Pelia Quartet performs Ravel’s String Quartet in F Major James Ehnes La Jolla Music Society’s 2021–22 Season and SummerFest 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, San Diego Foundation, Brenda Baker and Steve Baum, Judith Bachner and Eric Lasley, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Jendy Dennis Endowment Fund, Sue and Chris Fan, Brenda and Michael Goldbaum, Joan and Irwin Jacobs, Dorothea Laub, Jeanette Stevens, Debra Turner, Clara Wu Tsai, and Bebe and Marvin Zigman. Support for this program generously provided by: Brenda and Michael Goldbaum

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THE BAKER-BAUM CONCERT HALL STRAUSS Till Eulespiegel einmal anders! (arr. Hasenöhrl) (1864-1949) Andrew Wan, violin; Anthony McGill, clarinet; David Byrd-Marrow, horn; Brad Balliett, bassoon; Anthony Manzo, bass Metamorphosen, A Study for 23 Solo Strings James Ehnes, Benjamin Beilman, violins; Cynthia Phelps, Jonathan Vinocour, violas; Julie Albers, Carter Brey, cellos; Timothy Cobb, bass

Clive

RICHARD STRAUSS

Violin

76 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER Program notes by Eric Bromberger

Ehnes

William

Metamorphosen, A Study for 23 Solo Strings

FINALE: METAMORPHOSIS — PROGRAM NOTES Violin I

Born June 11, 1864, Munich Died September 8, 1949, Garmisch-Partenkirchen, Germany Approximate1894-95Duration: 9 minutes Arranged (after Richard Strauss) by: FRANZ HASENÖHRL (1885-1970) Till Eulenspiegel einmal anders! is a witty arrangement of one of the best-loved works in the orchestral literature. Richard Strauss originally composed Till Eulenspiegels lustige Streiche (Till Eulenspiegel’s Merry Pranks) in 1894-95. The third of his great tone poems, it tells the story of a medieval trickster, his outrageous pranks, his eventual capture and execution, and the escape of his spirit to live on. Strauss’ graphic depictions of Till’s riding his horse through a market, his mocking of clerics, and his squeals of terror on the gallows have made this piece an audience favorite. But it requires a very large orchestra to perform. The version heard on this concert is a superb arrangement of Strauss’ opulent score for just five instruments: violin, clarinet, bassoon, horn, and doublebass. Titled Till Eulenspiegel einmal anders! (Till Eulenspiegel One More Time!), it is the work of the Austrian composer and teacher Franz Hasenöhrl, whose last name translates—perhaps unfortunately for a music teacher—as “rabbit ears.” Hasenöhrl, who taught composition at the University of Vienna for many years, was apparently a prolific composer, but his only work to survive in the active repertory is this ingenious arrangement. Published in 1954, Till Eulenspiegel einmal anders! offers a chamber version of Strauss’ great score, and in the process Hasenöhrl condenses the music from its original duration of fifteen minutes to half that length. What is remarkable about this arrangement is not just how much fun it is, but how good Hasenöhrl’s instrumentation is. Even with the reduction of forces to just five players, he preserves the important solos for horn and clarinet in Strauss’ original, clarifies textures, and requires some virtuoso playing from all five of his instrumentalists.

Benjamin Beilman

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Composed:

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Till Eulenspiegel einmal anders! STRAUSS

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And it was this composer—80 years old, in declining health, and tormented by the annihilation of an entire way of life—who returned to his sketches of mourning and began to plan a new work for string orchestra.

Manzo SummerFest Chamber Orchestra

Hasenöhrl must have had a nice sense of humor—he subtitled this arrangement Grotesque musicale—but listeners will not come away from this music feeling anything grotesque about it. Instead, they will be exhilarated by watching two composers have a great deal of fun—in very different ways.

Composed: Approximate1945Duration: 27 minutes Few composers have been more apolitical than Richard Strauss. Born in the early years of Bismarck’s chancellorship, he lived through the consolidation of Germany, the rule of the two Kaiser Wilhelms, the First World War, the Weimar Republic, and even survived the Third Reich without much caring who ruled Germany. Strauss might have made it through his very long life without any real connection to the external events of his era had it not been for World War II. As that war progressed, Allied bombing began to obliterate many of the symbols of German culture Strauss held dear. Following an air-raid in October 1943 that destroyed the opera houses in Munich where he and Mozart had conducted, Strauss lamented to a friend: “the burning of the Munich Hoftheatre, the place consecrated to the first Tristan and Meistersinger performances, in which 73 years ago I heard Freischütz for the first time, where my good father sat for 49 years in the orchestra at 1st horn . . . this was the greatest catastrophe which has ever been brought into my life, for which there can be no consolation and in my old age, no hope.” In the stunned aftermath of that bombing, Strauss made a 24-measure sketch of music he tentatively titled Trauer um München (“Mourning for Munich”). Five months later, the firebombing of Dresden leveled a city he particularly loved, incinerating thousands of people and the city’s cultural treasures. In a letter two weeks after that bombing, he agonized: “I too am in a mood of despair! The Goethehaus, the world’s greatest sanctuary, destroyed! My beautiful Dresden—Weimar—Munich, all gone!”

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Sophia DelphineStoyanovichSkene

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Bass Timothy Cobb

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Viola Jonathan Vinocour

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The impetus had come in a commission in July 1944 from conductor Paul Sacher, who was responsible for commissioning Bartók’s Music for Strings, Percussion and Celesta and Divertimento, Stravinsky’s Concerto in D, and many other mainstays of the twentieth-century string orchestra repertory. The actual composition of what became Metamorphosen took only one month: Strauss began the score on March 13, 1945, three weeks after the devastation of Dresden, and completed it on April 12, less than a month before the German surrender.

String Quartet in D Minor, D.810 “Death and the Maiden” (arranged for string orchestra by Gustav Mahler)

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Toscanini, Furtwängler, Klemperer, Mitropoulos, Bernstein, and other conductors sometimes performed quartets with their entire string sections (including doublebasses), and there were good reasons for doing so—in the days before recordings, the practice allowed audiences to come to know music they might otherwise never hear. But there can also be purely musical reasons for such arrangements. In the breadth of their expression and dynamic requirements, some quartets almost cry out for the resources of a full string section—such music seems to hover somewhere between the intimacy of chamber music and the more public character of an orchestral presentation—and Schubert’s dramatic Quartet in D Minor certainly “feels” symphonic at many points. What makes the present arrangement so interesting is that it was made by Gustav Mahler, and so it allows us to hear one great composer’s thoughts on another. Mahler prepared this arrangement in 1894, when the 24-yearold composer was First Conductor at the Hamburg Municipal Theater (and had just completed his own Second Symphony). To Schubert’s quartet version, Mahler added doublebasses and changed certain dynamic and phrase markings to suit the performance requirements of a string orchestra. He conducted only the slow movement at a concert in Hamburg on November 19, 1894—the sixtysixth anniversary of Schubert’s death—and then set the score aside. The first complete presentation of Mahler’s arrangement did not take place until May 1984, when it was performed in New York City. In the fall of 1822 Schubert contracted syphilis. The effect on him—physically and emotionally—was devastating. He was extremely ill throughout 1823, so seriously in May that he had to be hospitalized. His health had in fact been shattered permanently, and he would never be fully well again; the cause of his death five years later at 31 was officially listed as typhoid, but was probably a direct

SummerFest 2022 comes to its conclusion with a performance of Schubert’s “Death and the Maiden” Quartet in an arrangement for string orchestra. Performing string quartets with a string orchestra is by no means unique.

Metamorphosen is a remarkable work, scored for an unusual string orchestra of 23 solo players: ten violins, five violas, five cellos, and three doublebasses. The full title can be misleading. Metamorphosen seems to imply a set of variations, which is not the case, and the subtitle A Study makes the work sound like an exercise in virtuosity, which it is not (though it is difficult enough for the performers!). Rather, this 25-minute composition gives expression to Strauss’ pain in the face of the annihilation of German culture. And what makes Metamorphosen all the more remarkable is that some of its thematic material seems to grow out of the heritage of German music. There are no direct quotations until the very end, but along the way listeners will sense what seem to be misty references to the music of Beethoven and Wagner. A dark slow introduction for lower strings leads to the violas’ quiet statement of what will be the main subject: the four pulses and inflected descending line of this theme incorporate the theme Strauss had sketched in October 1943 for Trauer um München. Gradually the music grows more intense as Strauss introduces a number of subordinate theme-shapes, and while music for 23 parts can at times become complex, textures remain clear. Strauss reins back the tempo for the climax, which builds to a moment of sudden silence, and slowly the music winds down to its remarkable conclusion. On the final page, in the deep cellos and basses, Strauss quotes the main theme of the Funeral March from Beethoven’s Eroica, which he marks IN MEMORIAM! in the score. Only now do we recognize the close thematic similarity between Strauss’ main theme and Beethoven’s funeral music, and Strauss himself confessed that he had come to see the connection only in the course of composing this music. Beethoven’s theme merges into Strauss’ textures, and Metamorphosen’s painful lament fades into silence on a deep C-minor chord.

FRANZ SCHUBERT

Born January 31, 1797, Vienna Died November 19, 1828, Vienna Composed: Approximate1824Duration: 40 minutes

By early 1824 Schubert had regained some of his strength, and he turned to chamber music, composing two string quartets, the second of them in D minor.

FINALE: METAMORPHOSIS — PROGRAM NOTES

The nickname Der Tod und Das Mädchen (“Death and the Maiden”) for this quartet comes from Schubert’s use of a theme from his song by that name as the basis for a set of variations in the second movement. In the song, which sets a poem of Matthias Claudius, death beckons a young girl; she begs him to pass her over, but he insists, saying that his embrace is soothing, like sleep. It is easy to believe that, under the circumstances, the thought of soothing death may have held some attraction for the composer. The quartet itself is extremely dramatic. The Allegro rips to life with a five-note figure spit out by all four instruments. This hardly feels like chamber music, and the hammered unison triplets of this opening are one of those spots that seem to cry out for a fuller statement than just four instruments can manage; in fact, the dramatic scope of this movement often makes it feel symphonic. A gentle second subject brings some relief, but the triplet rhythm of the opening figure is never far away—it can be heard quietly in the accompaniment, as part of the main theme, and as part of the development. The Allegro, which lasts a full quarter of an hour, comes to a quiet close with the triplet sounding faintly in the distance. The Andante con moto is deceptively simple. From the song Der Tod und Das Mädchen, Schubert uses only death’s music, which is an almost static progression of chords; the melody moves quietly within the chords. But from that simple progression Schubert writes five variations that are themselves quite varied—by turns soaring, achingly lyric, fierce, calm—and the wonder is that so simple a chordal progression can yield music of such expressiveness and variety. After two overpowering movements, the Scherzo: Allegro molto might seem almost lightweight, for it is extremely short. But it returns to the slashing mood of the opening movement and takes up that same strength. The trio sings easily in the lower voices as the violins flutter and decorate their melodic line; an unusual feature of the trio is that it has no repeat—Schubert instead writes an extension of the trio, almost a form of variation itself. The final movement, appropriately marked Presto, races ahead on its 6/8 rhythm. Many have felt that this movement is death-haunted, and they point out that its main theme is a tarantella, the old dance of death, and that Schubert also quotes quietly from his own song Erlkönig; significantly, the phrase he quotes from that song set death’s words “Mein liebes Kind, komm geh mit mir” (My dear child, come go with me), which is precisely the message of the song Der Tod und das Mädchen. What this movement is “about” must be left to each listener to decide, but it is hard to believe this music death-haunted. The principal impression it makes is of overwhelming power—propulsive rhythms, huge blocks of sound, sharp dynamic contrasts— and the very ending, a dazzling rush marked Prestissimo, blazes with life.

78 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER result of syphilis. Emotionally, the illness was so destructive that he never went back to complete the symphony he had been working on when he contracted the disease—it would come to be known as the “Unfinished.”

Synergy returns to SummerFest with a slate of inspiring and innovative performances celebrating genre-bending collaborations between jazz musicians, opera stars, dancers, directors, and choreographers.

The following evening, audiences will be captivated by a semi-staged celebration of Kurt Weill’s vast body of work. Directed by Zack Winokur, one of the most innovative and exciting talents working today, the program features two of the world’s most in-demand and exciting vocalists: Anthony Roth Costanzo and Cécile Mclorin Salvant, alongside an ensemble of SummerFest musicians.

Anthony Roth Costanzo

Wednesday, August 17 We dive into an intensive week of Synergy programs. A night of jazz with Cécile McLorin Salvant, performing songs from her latest album Ghost Song, hailed by the New York Times as her most “revealing and rewarding album yet,” the concert explores themes of ghosts, nostalgia, and yearning.

Clara Wu Tsai and Inon Barnatan share a curiosity and passion for compelling creators from across the entire cultural spectrum and conceived the Synergy Initiative to discover what happens when these great artistic forces meet one another—creating a space that allows these creators to push the envelope and crafting unique experiences that challenge our preconceptions.

HeginbothamDance The Knights

SYNERGY INITIATIVE

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Thursday, August 18

Saturday & Sunday, August 20 & 21

To end the week of events, The Knights, an orchestra whose mission is to transform the orchestral experience and eliminate barriers between audience and music, will be joined by New York-based contemporary dance company Dance Heginbotham as they take over The JAI to perform Holst’s The Planets in a recently conceived immersive music, dance, and theater event in which audience members and performers are all equally present and interwoven throughout the playing space.

Saturday, July 30 Produced in partnership with Lincoln Center, Synergy opens with Steve Reich’s New York Counterpoint, a rhythmically intense work intended to capture the throbbing vibrancy of Manhattan.

Cécile McLorin Salvant

Produced by Inon Barnatan and Clara Wu Tsai

Efe Baltacigil, cello The InquirerPhiladelphia 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 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 Equally celebrated as a soloist, curator, and collaborator, Inon Barnatan is a regular soloist with many of the world’s foremost orchestras and conductors, and served as the inaugural Artist-in-Association of the New York Philharmonic for three seasons. The recipient of the Avery Fisher Career Grant and Lincoln Center’s Martin E. Segal Award, Barnatan is also a soughtafter recitalist and chamber musician. In recent seasons he played solo recitals at Carnegie’s Zankel Hall and London’s Wigmore Hall and reunited for a European tour with his frequent recital partner, cellist Alisa Weilerstein. He has been music director of SummerFest since 2019.

Wynona Yinuo Wang , piano Chinese pianist Wynona Wang began playing piano at age 4, and studied at the prestigious Central Conservatory of Music in Beijing. She earned her Performer’s Degree at Southern Methodist University and is now pursuing a degree at The Juilliard School. She made her New York debut recital at Carnegie Hall in the 2019–20 season, and has also performed at Lincoln Center, Krannert Center, and Merkin Hall, and major festivals such as Music@Menlo and the Chautauqua Institution. Julie Albers, cello American cellist Julie Albers made her major orchestral debut with the Cleveland Orchestra in 1998, and thereafter has performed in recital and with orchestras throughout North America, Europe, Korea, Taiwan, Australia, and New Zealand. In 2001, she won Second Prize in Munich’s MusikwettbewerbesInternationalenderARD,and was also awarded the Wilhelm-Weichsler-Musikpreis der Stadt Osnabrück. In 2014, Albers was named principal cellist of the Saint Paul Chamber Orchestra. She regularly participates in chamber music festivals around the world, and in 2009 completed a three-year residency with the Chamber Music Society of Lincoln Center Two. Brad Balliett, bassoon New York Citybased musician Brad Balliett frequently collaborates with his twin brother, Doug, with whom he performs, composes, and teaches. Principal bassoon of the Princeton Symphony Orchestra and a regular guest principal of the Saint Paul Chamber Orchestra, and has performed with the Metropolitan Opera, Chamber Music Society of Lincoln Center, Orpheus Chamber Orchestra, Houston Symphony, New York City Ballet, and Metropolis Ensemble. As a composer, he has been commissioned by Carnegie Hall, Cecilia Chorus, Metropolis Ensemble, Cantori New York, and the Boston Youth Symphony Orchestra Wind Ensemble, among others. Doug Balliett, bass Doug Balliett is a instrumentalist,composer, and poet based in New York City. The New York Times has described his poetry as “brilliant and witty,” his bass playing as “elegant,” and his compositions as “vivid, emotive, with contemporary twists.” Balliett hosted a weekly show on New York Public Radio for three years, and was a titled member of the San Antonio Symphony for five. He teaches historical performance and a Beatles course at the Juilliard school, and composes weekly cantatas for a Roman Catholic church in NYC.

Aestas Trio A trio of Fellowship Artists formed for SummerFest: Andrew Ilhoon Byun, cello Canadian cellist Andrew Byun, 23, is pursuing his Master of Music at The Juilliard School. Byun has appeared in masterclasses with Steven Isserlis, Ida Kavafian, Jian Wang, Frans Helmerson, Laurence Lesser, Thomas Riebl, Jennifer Higdon, Wen Sinn Yang, and Li-Wei Qin, among others, and has had solo performances in venues including the Mozarteum Foundation’s Wiener Saal, Jordan Hall, Galvin Recital Hall, and Weill Recital Hall. Sophia Stoyanovich, violin American violinist Sophia Stoyanovich, 26, has soloed with numerous orchestras including the Seattle Symphony at Benaroya Hall, and has performed across North America, Europe, Russia, China, and Vietnam. Based in New York City, Stoyanovich currently performs with the New York Chamber Orchestra, Symphony in C, and APEX Ensemble. In 2022 her season includes debuts with the Santa Monica Symphony, appearances at the Crocker Art Museum, Dame Myra Hess Memorial Concert Series, and Rome Chamber Music Festival, and the release of her debut album, American Elegy.

ARTIST BIOGRAPHIES

Benjamin Beilman, violin Benjamin Beilman won First Prize at the 2010 Young Concert InternationalArtists Auditions, where he

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Kristi Brown Montesano, lecturer Chair of the Music History Department at the ConservatoryColburnof Music in Los Angeles, Kristi Brown Montesano is an enthusiastic “public musicologist.” She is an active lecturer for the LA Philharmonic, the Opera League of Los Angeles, the Salon de Musiques series, and Mason House Concerts. Her book, The Women of Mozart’s Operas (UC Press, 2007), offers a detailed study of these fascinating roles; more recent scholarly interests include classical music in film, women in classical music, and opera for children.

Imogen Cooper, piano performedImogenrenownedInternationallypianistCooperhaswiththe London Orchestra,Symphony Cleveland Orchestra, the Hallé Orchestra, the BBC Scottish Symphony Orchestra. This season she gave solo recitals at the Klavierfest Ruhr in Germany, Schubertiada in Spain, Stockholm, London, and Montreal. She has appeared with the New York Philharmonic, Philadelphia, Boston, Berliner Philharmoniker, Vienna Philharmonic, Royal Concertgebouw, Leipzig Gewandhaus, Budapest Festival and NHK Symphony orchestras, and in recital in Tokyo, Hong Kong, New York, Singapore, Paris, Vienna, Prague, and at the

858.459.3728 • LJMS.ORG | 81 also received a People’s Choice Award, and the 2010 Montréal International Musical Competition. He has performed with many major orchestras worldwide. In Europe these have included the Rotterdam Philharmonic, London Philharmonic, London Chamber, Scottish Chamber, Frankfurt Radio Symphony, Zurich Tonhalle and Orchestre National du Capitole de Toulouse. In the US, Beilman has performed with San Francisco Symphony, and several times with the Philadelphia Orchestra, including a performance at Carnegie Hall.

ARTIST BIOGRAPHIES

Allison Boles, interviewer Allison Boles, La Jolla Music Society's Education & ProgrammingCommunity Director, joined the nonprofit in 2015 after beginning her career as an instrumental music editor with the Neil A. Kjos Music Company. Boles earned her BA in Music from UC San Diego and her MA in Nonprofit Leadership and Management from the University of San Diego. She serves on the Advisory Council for the Visual and Performing Arts (VAPA) Department of the San Diego Unified School District and as treasurer for the California Music Educators Association-Southern Border Section.

David Byrd-Marrow, horn Atlanta native David Byrd-Marrow is the solo hornist of the ContemporaryInternational Ensemble (ICE), a new music collective that performs internationally and serves as ensemblein-residence 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. Jay Campbell, cello Cellist Jay Campbell has been praised by The New York Times for his Campbellperformances.”“electrifyingholdsthe 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. Chi-Yuan Chen, viola Taiwanese violist Chi-Yuan Chen holds the Karen and Warren Kessler Chair as Principal Viola of San Diego Symphony. Top-prize winner of both the 2000 Fischoff Chamber Music Competition and the 2004 International Paris Viola Competition Ville d’Avray, Chen is recognized as one of the leading violists of his generation. A founding member of the Great Wall String Quartet, Chen tours and gives masterclasses frequently throughout Asian countries. A graduate of New England Conservatory with the highest distinction in performance in both Bachelor and Master degrees, Chen also holds a Doctoral of Musical Arts degree from Stony Brook University in New York.

Carter Brey, cello Carter Brey was appointed principal cellist of the New York Philharmonic in 1996, and made his debut as soloist with the orchestra under Kurt Masur. He has appeared as soloist with many of America’s major symphony orchestras under leading conductors, and is cellist of the New York Philharmonic String Quartet. He has collaborated with the Harlem Quartet and regularly appears with the Tokyo and Emerson string quartets, at Spoleto Festival USA and Italy, and in Santa Fe.

Timothy Cobb, bass Bassist Timothy Cobb joined the New York Philharmonic as Principal Bass in 2014, after serving as principal bass of The Metropolitan Opera Orchestra and principal bass of the Mostly Mozart Festival Orchestra since 1989. He has appeared at numerous chamber music festivals worldwide, including the Marlboro Music festival. Cobb serves as bass department chair for The Juilliard School as well as on the faculties of the Manhattan School of Music, Purchase College, and Rutgers University. He is also a distinguished visiting artist for Lynn University in Boca Raton, Florida.

Joel Link, Bryan Lee, Violins; CelloViola;Pajaro-VanMilenadeStadt,CamdenShaw, The phenomenal Dover Quartet catapulted to international stardom following a stunning sweep of the 2013 Banff Competition, at which they won every prize. Named the Cleveland Quartet Award winner, and honored with the Avery Fisher Career Grant, the Dover Quartet is one of the most in-demand ensembles in the world. The Quartet’s distinctive sound has helped confirm its status as “the young American string quartet of the moment” (The New Yorker).

Dance Heginbotham John Heginbotham, Artistic Director & Choreographer

Founded in 2011, Dance Heginbotham is a committeddancecontemporarycompanyto supporting, producing, and sustaining the work of choreographer John Heginbotham. Dance Heginbotham has appeared at the John F. Kennedy Center for the Performing Arts, Baryshnikov Arts Center, Brooklyn Academy of Music, Jacob’s Pillow Dance Festival, The Joyce Theater, Lincoln Center for the Performing Arts, the Metropolitan Museum of Art, and Vail International Dance Festival, among others. In 2016, the group toured Southeast Asia as cultural ambassadors of the United States with the US Department of State’s Bureau of Educational and Cultural Affairs. Dustin Donahue, percussion Los Angeles-based percussionist Dustin Donahue is an advocate contemporaryfor music, and has commissioned and premièred a large body of solo and chamber music by living composers while continuing to perform music of the 20th-century avant-garde. He frequently performs with the International Contemporary Ensemble and collaborates with many of southern California’s presenters of contemporary music, such as WasteLAnd, the Ojai Music Festival, Monday Evening Concerts, Jacaranda Music, and San Diego New Music. As a soloist, Dustin has recently performed in Reykjavik and Christchurch, and was featured performing the music of Brian Ferneyhough at Stanford University. He appears on releases for Mode, Decca, Stradivarius, and Populist Records.

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Anthony Roth Costanzo, voice AnthonyCountertenorRoth Costanzo has appeared in opera, concert, recital, film, and on Broadway. He is a 2022 GRAMMY winner, a recipient of the 2020 Beverly Sills Award from the Metropolitan Opera, a winner of the 2020 Opera News Award, and Musical America’s 2019 Vocalist of the Year, among many others. This season, he returned to the Metropolitan Opera in his acclaimed performance of the title role in Akhnaten, as well as in Rodelinda. He will be the New York Philharmonic artist-inresidence and will make his debut at the Santa Fe Opera in the title role of the world première of John Corigliano’s The Lord of Cries. His second album, a collaboration with Justin Vivian Bond, will be released this winter on Decca Gold.

Dover Quartet

Dave Drexler, interviewer A trusted professionalbroadcastfor more than 40 years, Dave Drexler is one of San Diego’s best-known voiceover artists, on-camera presenters and media writer/producers. As principal voice and on-camera host for PBS affiliate KPBS- TV for 25 years, he received three Emmy awards for performance and writing plus an Emmy nomination as producer. Drexler currently hosts and produces “Inside Art” for KSDS-FM, Jazz 88.3, a weekly radio program featuring a variety of prominent personalities in all forms of creative endeavor.

James Ehnes, violin GRAMMY Award-winning violinist James Ehnes performsregularlywithmany of the world’s most respected conductors and orchestras across the US and Europe. He also gives recitals regularly at Wigmore Hall, Carnegie Hall, Symphony Center Chicago, Amsterdam Concertgebouw, Ravinia, Montreux, the White Nights Festival in St Petersburg, Verbier Festival, and the Festival de Pâques in Aix, and in 2009 he made a sensational debut at the Salzburg Festival performing the Paganini Caprices. In 2016, Ehnes undertook a cross-Canada recital tour, performing in each of the country’s provinces and territories to celebrate his 40th birthday.

Sterling Elliott, cello Cellist Sterling Elliott is a Kovner Fellow at The Juilliard School, pursuing his Masters of Music degree. In the 2021–22 season he appeared with the San Antonio, Richmond, and West Virginia symphony orchestras; the Indianapolis Chamber Orchestra; the Orlando Philharmonic; and the Midland Symphony. Last summer he debuted with the Los Angeles Philharmonic at the Hollywood Bowl, with further appearances at Chamberfest Cleveland and Music@ Menlo. He has performed with the Philadelphia Orchestra with Yannick Nézet-Séguin, the New York Philharmonic with Jeffrey Kahane, the Boston Symphony, the Cleveland Orchestra, and the Detroit Symphony, among others.

ARTIST BIOGRAPHIES

Schubertiade in Schwarzenberg. Among her many accolades, she received a DBE in the Queen’s Birthday Honours in 2021.

Marc-André Hamelin, piano Pianist Marc-André Hamelin regularly appears around the globe with the leading orchestras and conductors of our time and performs recitals for the major concert venues and festivals worldwide. His discography on Hyperion Records spans more than 70 albums. Hamelin has composed music throughout his career, with nearly 30 compositions to his name. He has received seven Juno Awards and eleven GRAMMY nominations, and is an Officer of the Order of Canada, a Chevalier de l’Ordre du Québec, and a member of the Royal Society of Canada.

Kathryn Hatmaker, violin Violinist artisticexecutiveco-founderHatmakerKateistheandanddirectorof Art of Elan, a San Diego-based chamber music organization that has been building community through music since 2007, and has been a tenured

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Liza Ferschtman, violin

Following atFestivaltheperformancesensationalherwithBudapestOrchestraAveryFisherHall

Michael Gerdes, lecturer Michael Gerdes is Director of Orchestras at San Diego State University, where he conducts the San Diego State Symphony Orchestra, Chamber Orchestra, and Opera Orchestra. He earned his Bachelor of Music degree in Music Education and Bachelor of Arts Degree in Philosophy from Concordia College in Moorhead, Minnesota. Selected by the San Diego Union-Tribune as one of three “Faces to Watch” in Classical Music during his first year as Director of Orchestras, Gerdes is focused on creating a thriving orchestral community at San Diego State University.

in 2013, Dutch violinist Liza Ferschtman made her US orchestral debut in 2015 with the Dallas Symphony, followed by the San Francisco Symphony under Edwin Outwater performing Beethoven’s Violin Concerto. Her extensive international career includes performances with virtually every orchestra in The Netherlands. An avid chamber musician and recitalist, Ferschtman has performed at such venues as Alice Tully Hall, the Library of Congress, Wigmore Hall, Vienna’s Musikverein, and Beethoven Haus in Bonn. Since 2007 she has been Artistic Director of the Delft Chamber Music Festival. Sullivan Fortner, piano Sullivan Fortner is a GRAMMY Award-winning pianist, composer, and bandleader who has received international praise as both key player and producer for his collaborative work on The Window (Mack Avenue, 2018) alongside multi-GRAMMY-winning vocalistcomposer Cécile McLorin Salvant. As a solo leader, he has released Moments Preserved and Aria to critical acclaim. He frequently collaborates with artists including Wynton Marsalis, Paul Simon, Diane Reeves, Etienne Charles and John Scofield and has performed at Jazz at Lincoln Center, Jazz Standard, Smalls Jazz Club, Snug Harbor, and Sweet Lorraine’s, as well as festivals including Newport, Monterey, Discover, and Gillmore Keyboard, among others.

Francisco Fullana, violin Francisco Fullana, winner of a 2018 Avery Fisher Career Grant, the 2015 Pro Musicis International Award, and the 2014 Johannes Brahms International Violin Competition, has appeared in recital at Carnegie Hall and as a soloist and chamber musician with numerous European and American orchestras and festivals. Since 2018 he has performed regularly with the Chamber Music Society of Lincoln Center. His debut recording, Through the Lens of Time, includes Max Richter’s “The Four Seasons Recomposed” and contemporary works for solo violin and violin with piano. Bach’s Long Shadow, released in May 2021, juxtaposes J.S. Bach’s Partita No. 3 with virtuoso works from the next three centuries.

Clive Greensmith, cello Clive Greensmith was a member of the renownedworld- Tokyo String Quartet from 1999 until 2013, giving more than 100 performances each year in the most prestigious international venues, including New York’s Carnegie Hall, Sydney Opera House, and Berlin Philharmonie. He is Professor of Cello at the Colburn School in Los Angeles. Greensmith performs regularly with the Chamber Music Society of Lincoln Center and is a founding member of the Montrose Trio.

Augustin Hadelich, violin Violinist orchestraeveryperformedHadelichAugustinhaswithmajorinthe US, as well as the Bavarian Radio Symphony, Royal Concertgebouw Orchestra, Danish National Orchestra, Hong Kong Philharmonic, London Philharmonic, NHK Symphony (Tokyo), Rotterdam Philharmonic, and Seoul Philharmonic. He is the winner of a 2016 GRAMMY Award for his recording of Dutilleux’s Violin Concerto with the Seattle Symphony and Ludovic Morlot. Other releases include Paganini’s 24 Caprices for Warner Classics, Tchaikovsky and Lalo Concertos with the London Philharmonic Orchestra, Sibelius and Adès Concertos with the Royal Liverpool Philharmonic Orchestra, and Mendelssohn and Bartók Concertos with the Norwegian Radio Orchestra.

Bridget Kibbey, harp Bridget Kibbey is a soloist collaboratorandwith today’s top artists. She has appeared at festivals across the globe, including Schloss Elmau, Pelotas Festival, Lincoln Center’s Mostly Mozart Festival, Aspen Music Festival, Vail, Santa Fe, Spoleto, and Music@ Menlo, among others. At series and festivals across the United States, Kibbey performs the works of Debussy, Ravel, and Caplet, and her own adaptations of J.S. Bach’s keyboard concerti and sonatas, reimagined alongside the Dover Quartet.

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Colin & Eric Jacobsen, Artistic Directors Eric Jacobsen, Conductor The Knights are a flexible collective of transformingdedicatedmusiciansadventurousto the orchestral experience and eliminating barriers between audiences and music. They have toured and recorded with

violinist with the San Diego Symphony since 2006. Hatmaker has been a featured soloist with a wide variety of North American orchestras, including the San Diego Symphony, and has performed at the Vail International Dance Festival and the Ojai Music Festival, among others. She has served on the faculty at the University of California-San Diego and the Coronado School of the Arts, and is a frequent chamber music recitalist, guest clinician, and keynote speaker.

Erin Keefe, violin Violinist Erin Keefe is Concertmaster of the CurtistheOrchestraMinnesotaandonfacultyoftheInstituteof Music. Winner of an Avery Fisher Career Grant, the Pro Musicis International Award, and numerous international competitions, she has appeared with important orchestras and given recitals throughout the United States, Europe, and Japan. She has collaborated with artists including the Emerson String Quartet, James Ehnes, Augustin Hadelich, David Finckel, and Wu Han, and has recorded for Naxos, the CMS Studio label, BIS, Onyx, and Deutsche Grammophon.Her festival appearances include Music@Menlo, Mainly Mozart, Music Academy of the West, Ravinia, and more.

Musicians from The Knights

ARTIST BIOGRAPHIES

During the 2021–22 season, Carnegie Hall presents Kibbey as bandleader/ soloist in her Bach to Brazil project.

John Heginbotham, choreographer John Heginbotham is a Brooklyn-based choreographer, performer, and teacher. As a member of the Mark Morris Dance Group from 1998 to 2012, he performed a variety of lead roles, touring across the United States and abroad alongside artists including Mikhail Baryshnikov, Yo-Yo Ma, Emanuel Ax, and Zakir Hussain. Heginbotham received a 2018 Guggenheim Fellowship and the 2014 Jacob’s Pillow Dance Award. He is also active as a freelance choreographer, most recently creating a new ballet, RACECAR, for The Washington Ballet as part of their NEXTsteps series. His opera commissions include John Adams’ Girls of the Golden West at San Francisco Opera and Dutch National Opera; Candide with the Orlando Philharmonic; and The Magic Flute at Opera Theatre of St. Louis, directed by Isaac Mizrahi. Heginbotham has taught at Princeton University, Barnard College, George Mason University, University of California Berkeley, and the University of Washington, among others. He is a founding teacher of Dance for PD®, a collaboration between the Mark Morris Dance Group and the Brooklyn Parkinson Group. Stefan Jackiw, violin Stefan Jackiw is one of foremostAmerica’sviolinists, playingaudiencescaptivatingwiththat 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 Conductor and cellist Eric Jacobsen, newly named DirectorMusicofthe Virginia Symphony, is the Artistic Director and conductor of The Knights, which he founded with his brother, violinist Colin Jacobsen. As a guest conductor, Jacobsen has led the symphony orchestras of Baltimore, Detroit, the New World, St. Paul Chamber Orchestra, the Deutsche Philharmonie Merck, and the Tonkunstler Orchestra, at Vienna’s legendary Musikverein. This season he returns to the Detroit Symphony and the Virginia Symphony, and travels to Bilkent, Turkey, to appear with the orchestra there.

Alexi Kenney, violin Alexi Kenney has soloed with major orchestras in the USA and abroad, and collaborated with the most celebrated musicians of our time. This season he debuted as soloist with the Pittsburgh Symphony, Orchestra de la Suisse Romande, Eugene Symphony, and New Haven Symphony, among others. He also appeared at Wigmore Hall, Philadelphia Chamber Music Society, and with the Chamber Music Society of Lincoln Center. Kenney regularly performs at festivals including Caramoor, Napa Valley, La Jolla, Ojai, Kronberg, Music@Menlo, Ravinia, and Spoleto, as well as on tour with Musicians from Marlboro and the Chamber Music Society of Lincoln Center.

Anthony Manzo, bass Anthony Manzo performs regularly at noted venues including Lincoln Center in NYC, Boston’s Symphony Hall, and the Spoleto Festival in Charleston, and appears with the Chamber Music Society of Lincoln Center, both in NY and across the country. He serves as the solo bassist of San Francisco’s New Century Chamber Orchestra and as a guest with the East Coast Chamber Orchestra, the Orpheus Chamber Orchestra, and A Far Cry in Boston. He is also a regular guest with the National Symphony Orchestra, the Smithsonian Chamber Society, and the Baltimore Symphony. Formerly the solo bassist of the Munich Chamber Orchestra in Germany, Manzo has also been guest principal with Camerata Salzburg in Austria.

Nina Lee, cello Cellist Nina Lee performs regularly at the Yale School of Music as a member of the School of Music’s ensemble-in-residence, the Brentano String Quartet, and coaches graduate-level chamber music ensembles at the School of Music. In the summers, she performs and teaches at Norfolk Chamber Music Festival/Yale Summer School of Music. Previously, she taught at Princeton University and Columbia University. Lee has also performed at the El Paso Chamber Music Festival, Portland Chamber Music Festival, Helicon Foundation, and Bargemusic in New York City.

Teng Li, viola Teng Li was recently PrincipalappointedViolistof the Los Angeles Philharmonic after more than a decade as Principal with the Toronto Symphony Orchestra. She regularly participates in the festivals of Marlboro, Santa Fe, Mostly Mozart, Music from Angel Fire, Rome, Moritzburg, and Caramoor. She has performed with the Guarneri Quartet at Carnegie Hall and with the 92nd Street Y Chamber Music Society, and is a member of Lincoln Center’s Chamber Music Society Two program. Li has been featured as soloist with the National Chamber Orchestra, Santa Rosa Symphony, Munich Chamber Orchestra, Haddonfield Symphony, Shanghai Opera Orchestra, among others. Rose Lombardo, flute Rose Lombardo was appointed Principal Flute of the San Diego Symphony in 2011. She has traveled across the globe as an orchestral, chamber, and solo artist, collaborating with some of the finest musicians at venues including Carnegie Hall, Bolshoi Zal at the St. Petersburg Philharmonia, Suntory Hall, Seiji Ozawa Hall, Jordan Hall, and Boston Symphony Hall. She has performed alongside musicians from the Cincinnati Symphony, Chicago Symphony Orchestra, Berlin Philharmonic, Vienna Philharmonic, and Les Arts Florissants, and at Sapporo’s Pacific Music Festival, Spoleto Music Festival USA, and the Sunflower Music Festival in Topeka. Lombardo performs regularly in San Diego with the Art of Élan and San Diego Symphony Chamber Music Series.

858.459.3728 • LJMS.ORG | 85 renowned soloists including Yo-Yo Ma, Dawn Upshaw, Béla Fleck, and Gil Shaham, and appeared across the world’s most prestigious stages, including Carnegie Hall, Tanglewood, Ravinia, The Kennedy Center, and the Vienna Musikverein. This season they collaborated with virtuoso pianist and composer Aaron Diehl and dancer/choreographer Twyla Tharp; began a new residency partnership with storied New York City venue 92Y; and released a holiday album, The Knights Before Christmas Tessa Lark, violin Violinist Tessa Lark, recipient of a 2018 TrustBorletti-BuitoniFellowship 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 16, Lark has appeared with dozens of orchestras, festivals, and recital venues including Carnegie Hall, Ravinia, Amsterdam’s Concertgebouw, and Marlboro Music.

Anthony McGill, clarinet Anthony McGill serves as the principal clarinet of the New York Philharmonic—its first AfricanAmerican 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).

ARTIST BIOGRAPHIES

McGill also serves as an ardent advocate for helping music education reach underserved communities and for

Yura Lee, viola Earlier this Leeviolinist/violistyear,Yurawasnamed Principal Violist of the Los Angeles Chamber Orchestra. She has performed with major orchestras including New York, Chicago, Baltimore, Cleveland, San Francisco, and Los Angeles. She has given recitals at Wigmore Hall, the Musikverein, Salzburg’s Mozarteum, Brussels’ Palais des BeauxArts, and the Amsterdam Concertgebouw. At 12, she became the youngest artist ever to receive the Debut Artist of the Year prize from National Public Radio. She received the 2007 Avery Fisher Career Grant and first prize at the 2013 ARD Competition. As a chamber musician, she regularly performs at the festivals of Marlboro, Salzburg, Verbier, La Jolla, Music@Menlo, Seattle, and Caramoor, among others.

ARTIST BIOGRAPHIES

Paul Holmes Morton, theorbo Over the past decade, Paul Holmes Morton has become a practicinginstrumentpluckedspecialist disciplines from the European Renaissance to modern Americana. As a lutenist Morton performs in the United States and abroad in the practice of a baroque continuo player, performing with Ruckus, Spoleto Chamber Music Series, and The Baroque Chamber Orchestra of Colorado. An active recording artist, he can be found on Majel Connery’s Orphea, Ruckus and Emi Furgeson’s Fly the Coop, and Arcangelo’s Circle by the Baroque Chamber Orchestra of Colorado.

Francesco Piemontesi, piano In the season,2021–22Italian pianist includingwithPiemontesiFrancescoperformsorchestrasthe London Philharmonic, followed by engagements with Bergen Philharmonic, Deutsches Symphonie-Orchester Berlin, Finnish Radio Symphony Orchestra, Philharmonia Zürich, Wiener Symphoniker, Seattle Symphony, and Frankfurt Museumsorchester, with recitals in L’Aquila,

The Miró Quartet has performed throughout the world on the most prestigious concert stages, taking pride in finding new ways to communicate with audiences of all backgrounds. Members of the Quartet have given master classes at universities and conservatories throughout the world, and since 2003, it has been quartet-in-residence at the Butler School of Music at the UT Austin. The Miró Quartet has been awarded first prize at several competitions including the Banff International String Quartet Competition and Naumburg Chamber Music Competition. In 2005, it became the first ensemble ever to be awarded an Avery Fisher Career Grant.

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

Johannes Moser, cello cellistGerman-CanadianJohannes Moser performedhas with the world’s leading orchestras such as the Berliner Philharmoniker, New York Philharmonic, Los Angeles Philharmonic, Chicago Symphony, BBC Philharmonic at the Proms, London Symphony, Tonhalle Orchestra Zurich, Tokyo NHK Symphony, and the Philadelphia and Cleveland Orchestras, with conductors including Riccardo Muti, Lorin Maazel, Zubin Mehta, Yannick Nézet-Séguin, and Gustavo Dudamel. His recordings have been awarded the Preis der Deutschen Schallplattenkritik and the Diapason d’Or. Moser has performed with Emanuel Ax, Joshua Bell, Vadim Gluzman, Leonidas Kavakos, and Midori, and is a regular at festivals worldwide. Garrick Ohlsson, piano Last summer, pianist Garrick Ohlsson appeared with the Indianapolis and Cleveland orchestras, in recital in San Francisco, at the Brevard Festival, and Chicago’s Ravinia Festival. The 2021–22 season began with the KBS orchestra in Seoul followed by the Atlanta, Dallas, Seattle symphonies, BBC Glasgow, and orchestras in Prague, Hamburg, Lyon, and St. Petersburg, and in recital across the US and Europe. Ohlsson has collaborated with the Cleveland, Emerson, Tokyo and Takacs string quartets. He can be heard on the Arabesque, RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, Hyperion, and Virgin Classics labels.

Miró Quartet

Daniel Ching, William Fedkenheuer, violins; John Largess, viola; Joshua Gindele, cello

addressing issues of diversity, equity, and inclusion in classical music.

Richard O’Neill, viola An Emmy Award winner, recipient,Fishernominee,GRAMMYtwo-timeandAveryCareerGrantviolist

Cynthia Phelps, viola Principal Violist of the New Philharmonic,York Cynthia Phelps has numerousreceivedhonors and awards and captivated audiences with her compelling solo and chamber music performances. She is a founding member of the chamber group Les Amies, and a member of the newly-formed New York Philharmonic String Quartet. She has also been heard on National Public Radio’s St. Paul Sunday Morning, Radio France, and RAI in Italy, and has been featured on The MacNeil/Lehrer News Hour, Live from Lincoln Center, and CBS Sunday Morning Her most recent album, on Telarc, was nominated for a GRAMMY Award.

Richard O’Neill is acclaimed as a champion of his instrument and a social and musical ambassador. He has appeared as soloist with the London, Los Angeles, Seoul, and Euro-Asian Philharmonics, and the BBC, KBS, Hiroshima, and Korean Symphonies, among others. This June he joined the world-renowned Takács Quartet. As recitalist and chamber musician he has performed in many of the greatest halls of the world and its major festivals. O’Neill has recorded ten solo albums and is a best-selling South Korean classical recording artist.

Pelia Quartet Heejeon Ahn, Delphine Skene, violins; Sung Jin Lee, viola; Nathan Cottrell, cello The Pelia Quartet formed in 2019 at the Emerson String Quartet Institute of Stony Brook University. In 2020–21, they were quartet-in-residence for the State University of New York Artist. They were recently awarded the Jeunesses Musicales Deutschland Prize at the Wigmore Hall International String Quartet Competition. In addition to SummerFest, this summer the quartet will perform at the Great Lakes Chamber Music Festival where they will collaborate with Philip Setzer, Paul Watkins, and David Shifrin, among others.

Masumi Per Rostad, viola GRAMMY Award-winning Japanese-Norwegian violist Masumi Per Rostad performedhas at the most prominent festivals, including Marlboro, Spoleto USA, Music@Menlo, Caramoor, and the Aspen Music Festival. He has collaborated with the St. Lawrence, Ying, Pavel Haas, Miró, Verona, and Emerson string quartets, and recorded on the Cedille, Naxos, Hyperion, Musical Observations, Bridge, and Tzadik record labels. As a member of the Pacifica Quartet, Rostad regularly performed in the world’s greatest halls including Amsterdam’s Concertgebouw, Tokyo’s Suntory Hall, Carnegie Hall, Lincoln Center, Wigmore Hall, Vienna’s Konzerthaus, and the Musikverein, among many others.

Ross has received the George Peabody Medal, an Arts and Letters Award from the American Academy of Arts and Letters, a Guggenheim Fellowship, and a MacArthur Fellowship.

Cécile McLorin Salvant, voice Cécile McLorin Salvant is a composer, singer, and visual artist who has developed a passion for storytelling and finding connections between vaudeville, blues, folk traditions from around the world, theater, jazz, and baroque music. Salvant won the Thelonious Monk competition in 2010 and has received GRAMMY Awards for Best Jazz Vocal Album three times, and a nomination for a fourth. In 2020, she received the MacArthur fellowship and the Doris Duke Artist Award. Salvant’s latest work, Ogresse, is a musical fable in the form of a cantata that blends genres (folk, baroque, jazz, country).

ARTIST BIOGRAPHIES

858.459.3728 • LJMS.ORG | 87 Paris, Monte-Carlo, Wiener Konzerthaus, Basel, Las Palmas, and Schubertiade Schwarzenberg. Piemontesi recently completed a residency at the Orchestre de la Suisse Romande, marking the first-ever residency the Orchestra has named, and made his debut appearance with Berliner Philharmoniker. He regularly appears with major ensembles worldwide and in the most prestigious venues and festivals.

Blake Pouliot, violin Violinist Blake Pouliot has joined the upper echelons of brilliant soloists, establishing himself as a consummate 21st-century artist with the rigor and passion to shine for a lifetime. At only 26 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.”

Cécile McLorin Salvant Ensemble Sullivan Fortner, piano; Marvin Sewell, guitar; Yasushi Nakamura, bass; Keita Ogawa, percussion Caroline Shaw, composer-in-residence producer,Composer,and performer Caroline Shaw became the youngest recipient of the Pulitzer Prize for Music for Partita for 8 Voices, written for the GRAMMY Award-winning Roomful of Teeth, of which she is a member. Her recent commissions include new works for Renée Fleming with Inon Barnatan, Dawn Upshaw, Seattle Symphony, Anne Sofie von Otter with Philharmonia Baroque, the LA Philharmonic, Juilliard 415, and the Orchestra of St. Luke’s with John Lithgow. She currently teaches at NYU and is a Creative Associate at the Juilliard School.

Simone Porter, violin Violinist Simone Porter debutedrecentlywith the New Philharmonic,York the Philadelphia Orchestra, and renowned conductors including Gustavo Dudamel, Yannick Nézet-Séguin, Nicholas McGegan, and Donald Runnicles. In July 2021 she resumed orchestral and recital concerts including at Aspen, Denver, St. Louis, Quebec, Sarasota, and Monterey. She appeared at the Edinburgh and Mostly Mozart festivals and performed with the Los Angeles Philharmonic at the Hollywood Bowl and Walt Disney Concert Hall with Gustavo Dudamel. Internationally, Porter has performed with the Simón Bolívar Symphony Orchestra, the Orquestra Sinfônica Brasileira, the City Chamber Orchestra of Hong Kong, and l’Opéra de Marseilles, among others.

Leah Rosenthal, interviewer Leah Rosenthal, Artistic Director for La Jolla Music Society, has held positions with some of the most prestigious nonprofit organizations in the country, including the Chicago Symphony Orchestra, the Ravinia Festival, The Recording Academy, and PBS. Rosenthal completed undergraduate studies in voice performance and went on to receive her master’s degree in Arts Management at Columbia College of Chicago. Alex Ross, lecturer Alex Ross has been the music critic of The New Yorker since 1996. His first book, The Rest Is Noise: Listening to the Twentieth Century, published in 2007, won a National Book Critics Circle Award and the Guardian First Book Award, and was a finalist for the Pulitzer Prize. An essay collection, Listen to This, appeared in 2010. His third book, Wagnerism: Art and Politics in the Shadow of Music, was published in 2020.

Osmo Vänskä, clarinet Finnish conductor and clarinetist Osmo Vänskä has previously been the principal clarinetist of the Turku Philharmonic Orchestra and assistant principal clarinetist of the Helsinki Philharmonic Orchestra, and was the Artistic Director of the Crusell Festival in Uusikaupunki, Finland, from 1989 until 1993. As a conductor, Vänskä was music director of the Minnesota Orchestra from 2003 to 2022, the Seoul Philharmonic from 2020 to 2022, and previously spent 20 years as music director of the Lahti Symphony Orchestra. He is a frequent guest conductor of leading orchestras around the world and performs chamber music regularly in Europe, Asia, and the United States.

. ARTIST BIOGRAPHIES

Eric Starr, trombone Eric Starr is Studio Artist LecturerTeacher,ofMusic, Internship Coordinator, and Faculty Advisor of the Aztec Music Group at the SDSU School of Music and Dance. Off campus, he is trombonist for Westwind Brass, executive director of San Diego New Music, and a Community Engagement Partner with Art of Élan. He has performed with the San Diego Symphony, Pacific Symphony, San Diego Opera, San Diego Winds, Broadway San Diego, La Jolla Symphony, City Music Cleveland, and the Orquesta Sinfonica UANL in Monterrey, Mexico, as well as the Ojai Music Festival, the Bang On a Can Marathon, La Paz Conservatory of Music (MX), Casa de la Cultura Mexicali, April in Santa Cruz, and the Ventura Chamber Music Festival. Robin Tritschler, voice This season sees Irish tenor Robin Tritschler singing the Evangelist in Theater Basel’s new production of St Matthew Passion, a co-production with Deutsche Oper Berlin. In concert, he has appeared with many leading orchestras including the London Philharmonic Orchestra, L’Orchestre National de Lyon, the Hong Kong Philharmonic Orchestra, the Rotterdam Philharmonic Orchestra, the Moscow Virtuosi, and the BBC Philharmonic. With the RTE Concert Orchestra, Robin performed the Messiah before Pope Benedict XVI to celebrate the 80th Anniversary of the Vatican State and gave the UK première of CPE Bach’s St John Passion with the Bournemouth Symphony Orchestra.

Jennifer Walker, lecturer Jennifer Walker is an musicologyProfessorAssistantofin the School of Music at West Virginia University. A scholar of French music of the late 19th century, her research reevaluates music’s role in the relationship between the French state and the Catholic Church by offering an alternative to the prevailing epistemological emphasis on divisions between the church and the secular Third Republic. She is the author of numerous books and articles, including Sacred Sounds, Secular Spaces: Transformations of Catholicism in the Music of Third Republic Paris (AMS Studies in Music/ Oxford University Press, 2021), “Church, State, and an Operatic Outlaw: Jules Massenet’s Hérodiade” (Cambridge Opera Journal, 2019) and “Les grands oratorios à l’église Saint-Eustache” (Journal of Music Criticism, 2019). Walker has written essays for the BBC Proms and the Bard Music Festival and is currently preparing a monograph on Hector Berlioz’s Requiem

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

Ellen Shinogle, trumpet Ellen Shinogle is an trumpetaward-winninginternationalplayer and educator who enjoys working with composers and has premiered many pieces internationally, most recently at the Rudolfinum in Prague, Czechia. As principal trumpet, she has performed in operas, orchestras, and musical theatre productions internationally and domestically. She can frequently be heard performing in multiple productions at the Disneyland Resort, in films, and in television shows such as Jimmy Kimmel Live! Shinogle is currently a Doctor of Musical Arts candidate at the University of California, Los Angeles Herb Alpert School of Music, studying with Jens Lindemann.

Jonathan Vinocour, viola Since Jonathan2009,Vinocour has been the principal viola of the San Symphony.FranciscoAnative 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.

Ruben Valenzuela, harpsichord Ruben Valenzuela is the founder and artistic director of Bach Collegium San Diego (BCSD). As a conductor and keyboardist, he has led BCSD in notable and acclaimed performances of music of the Renaissance, early and high Baroque, the early Classical period, as well as music of the 20th century. In addition to his work with BCSD, Valenzuela regularly performs as guest director, most notably for Bach Vespers at Holy Trinity, New York City; Marsh Chapel Choir and Collegium at Boston University; Bach at Emmanuel Church, Boston; Julliard 415 (Lincoln Center, NYC); and most recently the Washington Bach Consort.

Angie Zhang , harpsichord Angie Zhang is one of a few concert pianists to win the Peter Mennin Prize for AchievementOutstandingand Leadership in Music at The Juilliard School, she has won major prizes in international competitions, received grants and fellowships from an array of institutions, and is also a rare three-time winner of the Juilliard Concerto Competition. She has worked with world-leading conductors such as Fabio Luisi and scholars including Robert Levin, and performed in venues such as the Kennedy Center and with artists including Itzhak Perlman and Anne-Marie McDermott, and with orchestras including the National Symphony Orchestra of the Dominican Republic, Juilliard Orchestra, Juilliard Chamber Orchestra, Indianapolis Chamber Orchestra, and Milwaukee Symphony Orchestra.

John Bruce Yeh, clarinet John Bruce Yeh joined the SymphonyChicago Orchestra in 1977, the first Asian musician ever appointed to the CSO, and is now the longest-serving clarinetist in CSO history. He has performed as guest principal of the Philadelphia Orchestra, the Seoul Philharmonic, and the Guangzhou Symphony. Yeh is the dedicatee of new works for clarinet by numerous composers, ranging from Ralph Shapey to John Williams, and has recorded more than a dozen acclaimed solo and chamber music recordings. Yeh is director of Chicago Pro Musica, which received the 1985 Grammy Award as “Best New Classical Artist.” His innovative quartet Birds and Phoenix bridges Eastern and Western musical cultures.

Andrew Wan, violin In 2008, Andrew Wan was concertmasternamedof the Montreal Orchestra.SymphonyAs soloist, he has appeared in the US, China, New Zealand, Cuba, Argentina, Brazil, Switzerland, and Canada under conductors such as JeanClaude Casadesus, Maxim Vengerov, Jacques Lacombe, Vasily Petrenko, James DePreist, and Michael Stern. Wan has performed in venues such as Carnegie Hall, Alice Tully Hall, the Kennedy Center, Jordan Hall, and Salle Gaveau with artists such as the Juilliard Quartet, Vadim Repin, Emanuel Ax, Gil Shaham, Marc-André Hamelin, and Cho-Liang Lin. He has appeared at the St. Prex, Seattle, Edinburgh, Olympic, Agassiz, Aspen, and Orford Music Festivals. Zack Winokur, director Stage choreographer,director, and dancer WinokurZackfrequently collaborates on opera productions across the US and Europe. This season he directs Tristan und Isolde, the centerpiece of Santa Fe Opera’s 2022 season, and a new production of Messiaen’s Harawi at the Aix-en-Provence Festival. Winokur is Artistic Director of AMOC, a collective of singers, dancers, and instrumentalists he co-founded with composer Matthew Aucoin. The group will serve as Music Director of the Ojai Festival this year. Winokur has collaborated with a diverse group of artists in a wide range of media, including Academy Award-nominated director Mike Figgis, pianist Rosey Chan, fashion house Boudicca, grime artist Pepstar, DJ crew A Tribe Called Red, and artists Gerard & Kelly in venues from David Lynch’s Club Silencio, the Centre Pompidou, the Mies van der Rohe Farnsworth House, the Royal Opera House, and the Supreme Court of the United States. Joyce Yang , piano GRAMMYnominated pianist Joyce Yang won the silver medal at the 2005 Van Cliburn International Piano Competition—the youngest contestant at 19 years old. In 2006 she made her New York Philharmonic debut at Avery Fisher Hall and on their tour of Asia. Yang received the 2010 Avery Fisher Career Grant and earned her first GRAMMY nomination for her recording of Franck, Kurtág, Previn & Schumann with violinist Augustin Hadelich. This season she returns to the stage at Wolf Trap, Grant Park, Aspen, and Sun Valley, and with the New World Symphony, Dallas Symphony, Buffalo Philharmonic, Utah Symphony, and Colorado Symphony, among others.

ARTIST BIOGRAPHIES

858.459.3728 • LJMS.ORG | 89

90 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER 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 FRANGHIZ ALI-ZADEH Sabah (morning/tomorrow/in the future) (2003) Aleck Karis, piano; Cho-Liang Lin, violin; Felix Fan, cello; Wu Man, pipa 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 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 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 DAVID DEL TREDICI Bullycide (2013) Orion Weiss, piano; DaXun Zhang, bass; Shanghai Quartet GABRIELA LENA FRANK Contested Eden (2021) Canto para California in extremis Attacca Quartet MARC-ANDRÉ HAMELIN String Quartet (2016) Hai-Ye Ni, cello; Marc-Andre Hamelin, piano JOHN HARBISON String Quartet (2002) Orion String Quartet Crossroads (2013) Jennifer Johnson Cano, mezzo-soprano; Peggy Pearson, oboe; Linden String Quartet; Nico Abondolo, bass

SUMMERFEST COMMISSION HISTORY

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 MAGNUS LINDBERG Konzertstück for Cello and Piano (2006) Anssi Karttunen, cello; Magnus Lindberg, piano JACQUES LOUSSIER Divertimento (2008) Jacques Loussier Trio; SoJin Kim, Shih-Kai Lin, violins; Elzbieta Weyman, viola; Yves Dharamraj, cello; Mark Dresser, bass 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

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

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

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

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 WAYNE SHORTER Terra Incognita (2006) Imani Winds STEVEN STUCKY Sonata for Violin and Piano (2013) Cho-Liang Lin, violin; Jon Kimura Parker, piano AUGUSTA READ THOMAS Bells Ring Summer (2000) David Finckel, cello CONRAD TAO Movement II from “All I had forgotten or tried to” (2019) Stephan Jackiw, violin; Conrad Tao, piano

CHRIS ROGERSON XXXXX (2022) Wynona Yinuo Wang, piano; Benjamin Beilman, violin; Sung Jin Lee, viola; Julie Albers, cello, Timothy Cobb, bass

CHRISTOPHER ROUSE String Quartet No. 3 (2010) Calder Quartet KAIJA SAARIAHO Serenatas (2008) Real Quiet 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 PAUL SCHOENFIELD Sonata for Violin and Piano (2009) Cho-Liang Lin, violin; Jon Kimura Parker, piano

Photo credits: Cover: Dorothy Hood, Earth Bolts , 1974 oil on canvas 110 x 85in. (279.4 x 215.9cm) Collection Museum of Contemporary Art San Diego, Gift of the artist, 1974.12 · Photographer: Pablo Mason © Dorothy Hood, 1974; Pg. 9: The Baker-Baum Concert Hall © Darren Bradley; Pg. 10: I.Barnatan © Marco Borggreve; Pg. 11: B.Kibbey © Ronald Smith; Pg. 12: J.Yang © Kt-Kim, G.Ohlsson © Dario Acosta, W.Y. Wang courtesy of artist, I.Barnatan © Marco Borggreve; Pg. 17: R.O'Neill courtesy of artist; Pg. 22: S.Porter © Elisha Knight; Pg. 27: I.Cooper © Sussie Ahlburg; Pg. 39: A.Kenney © Yang Bao; Pg. 44: A. Hadelich © Luca Valentina; Pg. 48: I.Barnatan © Marco Borggreve, L.Ferschtman courtesy of artist, E.Keefe courtesy of artist; Pg. 52; T.Lark © Lauren Desberg; Pg. 55: S.Jackiw © Sangwook Lee, D.Quartet © Roy Cox; Pg. 58: C. Greensmith © Shayne Gray; Pg. 62: C.M. Salvant © Shawn Michael Jones, S.Fortner courtesy of artist, M.Sewell courtesy of artist, Y.Nakamura courtesy of artist, K.Ogawa courtesy of artist; Pg. 63: A.R. Costanzo © courtesy of artist; 64: D.Heginbotham © Jacobs Pillowdance; 65: T.Knights © Shervin Lainez; Pg. 66: M.Quartet © Tania Quintanilla; Pg. 69: C.Shaw © Kait Moreno; Pg. 72: A.McGill © Eric Rudd, A.Wan courtesy of artist, J.Albers courtesy of artist, A.Manzo © GVR Photography; PG. 75: J.Ehnes © Ben Ealovega; Pg. 80 & 81: A. Byun courtesy of artist, S. Stoyanovich courtesy of artist, W. Y. Wang courtesy of artist, J. Albers courtesy of artist, B. Balliett courtesy of artist, D. Balliett © Céline Nieszawer, E. Baltacigil courtesy of artist, I. Barnatan © Marco Borggreve, B. Beilman © Stefan Ruiz; Pg. 81: A. Boles courtesy of A. Boles, C. Brey courtesy of artist, K. B. Montesano © Elisa Ferrari, D. Byrd-Marrow courtesy of artist, J. Campbell courtesy of artist, C. Y. Chen © Beth Ross Buckley, T. Cobb © Chris Lee, I. Cooper © Sim Canetty-Clarke; Pg. 82: A. R. Costanzo © Matthew Placek, Dance Heginbotham Dancers © Amber Star Merkens, D. Donahue courtesy of artist, Dover Quartet © Roy Cox, D. Drexler courtesy of artist, J. Ehnes © Benjamin Ealovega, S. Elliott courtesy of artist; Pg. 83: L. Ferschtman © Marco Borggreve, S. Fortner © Gulnara Khamatova, F. Fullana © Felix Broede, M. Gerdes courtesy of artist, C. Greensmith © Tomo Saito, A. Hadelich © Suxiao Yang, M. A. Hamelin © Sim Canetty-Clarke, K. Hatmaker courtesy of artist; Pg. 84: S. Jackiw © Sangwook Lee, E. Jacobsen © Shervin Lainez, E. Keefe courtesy of artist, A, Kenney © Yang Bao, B. Kibbey © Ronald Smith, The Knights © Shervin Lainez; Pg. 85: T. Lark courtesy of artist, N. Lee © Jürgen Frank, Y. Lee courtesy of artist, T. Li courtesy of artist, R. Lombardo courtesy of artist, A. Manzo © GVR Photography, A. McGill © Todd Rosenberg; Pg. 86: Miró Quartet © Jeff Wilson, P. H. Morton courtesy of artist, J. Moser © Uwe Arens, G. Ohlsson © Bartek Sadowski, R. O’Neill courtesy of artist, Pelia Quartet © Kevin Kyaw, C. Phelps © R. Bowditch, F. Piemontesi © Marco Borggreve; Pg. 87: S. Porter © Elisha Knight, B. Pouliot © Lauren Hurt, L. Rosenthal © Darin Fong, A. Ross courtesy of artist, M. P. Rostad courtesy of artist, C. M. Salvant © Shawn Michael Jones, C. Shaw © Kait Moreno; Pg. 88: E. Shinogle courtesy of artist, E. Starr courtesy of artist, R. Tritschler © Garreth Wong, R. Valenzuela courtesy of artist, O. Vänskä © Lisa-Marie Mazzucco, J. Vinocour © Anastasia Chernyavsky, J. Walker courtesy of artist; Pg. 89: A. Wan courtesy of artist, Z. Winokur courtesy of artist, J. Yang © KT Kim, J. B. Yeh © Todd Rosenberg, A. Zhang courtesy of artist; Pg. 103: The Conrad © Darren Bradley; Back: J. Didonato © Sergi Jasanada

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

• LJMS.ORG |

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 CHINARY UNG AKASA: “Formless Spiral” (2010) Real Quiet JOHN WILLIAMS Quartet La Jolla (2011) Cho-Liang Lin, violin; Joshua Roman, cello; John Bruce Yeh, clarinet; Deborah Hoffman, harp CYNTHIA LEE WONG Piano Quartet (2011) Joyce Yang, piano; Martin Beaver, violin; Kazuhide Isomura, viola; Felix Fan, cello

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

858.459.3728 91

Peskanov, Mark 1990 Phillips, Daniel 1992-’93,’95-’97, 2002,’04 Phillips, Todd 1992-’93, 2002,’04 Place, Annaliesa 1999* Porter, Simone 2022 Pouliot, Blake 2021-‘22 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 Skene, Delphine 2022* 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* Stoyanovich, Sophia 2022* 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,’22 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

92 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER GRAND TRADITION: SUMMERFEST ARTISTS 1986-2021

Fujiwara,Freivogel,Fried,Frautschi,Frautschi,Frankel,Frank,Ferschtman,Fedkenheuer,Englund,Emes,Ehnes,Drucker,Dolkas,Dicterow,Deutsch,Derkervorkian,DeFilippis,Coucheron,Cosbey,Copes,Cohen,Choi,Choi,Cho,Chiu,Ching,Chen,Chen,Chee-YunChapelle,Chang,Chan,Chan,Cardenes,Boyd,Bouey,Borup,Borok,Blumberg,1986-’87Ilana1993*◊Emanuel2004Hasse1999*Christina2017*Aaron2003*,’16Andres1986-’89David1995◊-’97*◊,2001,’04-’05,’07-’11,’13,’15,’17Ivan1998Sarah2007Corinne1997*2000,’02,’06-’07,’10,’16-’17Jiafeng2013*Robert1990Daniel2014Lucinda2018Yumi2007,’09Jennie1997*Jennifer1994*◊Diana2021Steven2008Catherine2013*David2010*Justin2021*Armen2017Lindsay2006*Glen2017Bridget2001-’02,’07,09-’10,’12-’18Eugene1988-’89,2000,’17James2019-’22Catherine1988◊Meri2013-’14William2014Liza2019,’22Pamela1994-’95Joanna2007*Jennifer1990*-’92*◊,’94*◊-’95◊,’14Laura1990*-’92*◊Miriam1986-’87,2006J2009*Hamao1992-’94

Fullana, Francisco 2022 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-‘22 Harasim, Sonja 2011* Hatmaker, Kathryn 2012-’19,’22 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-‘22 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,’22 Kenney, Alexi 2022 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-’22 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 Monahan,2011Nicole 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

VIOLIN Aguilar, Paul 2019* Ahn, Heejeon 2022* 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-’22 Biss, Paul

858.459.3728 LJMS.ORG | 93 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 Chen, Chi-Yuan 2022 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* 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, Sung Jin 2022* Lee, Yura 2014,’16-’20,’22 Leung, Hezekiah 2018* Li, Honggang 2003 Li, Teng 2022 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,’22 Pajaro-van de Stadt, Milena 2011* Per Rostad, Masumi 2019,’21-‘22 Pernela, Ethan 2021 Phelps, Cynthia 1989-’90,’99-2002,’05-’08,’10-’11,’13-’14,’16,’19,’22 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-‘22 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 Albers, Julie 2022 Arron, Edward 2017,’19 Baltacigil, Efe 2021-‘22 Belcher, Richard 2003* Braun, Jacob 2008 Brey, Carter Byers,Bruskin,’12-’13,’16,’18-’19,’221990-’91,’93,’95-’96,’99-2001,’03-’06,‘08-’10,Julia2003*Eric2009

Moser, Johannes 2022 Myers, Peter 2011 Ni, Hai-Ye 2003-’04,’08,’11,’14,’16,’18 Olsen, Kenneth 2019 Ostling, Kristin 1991* Ou, Carol 1993*◊-’94*◊ 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*

•

Byun, Andrew Ilhoon 2022* Campbell, Jay 2021-‘22 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 Cottrell, Nathan 2022* 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 Elliott, Sterling 2022 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-’22 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, Moses,Moores,Moon,Mollenauer,Marica,Maisky,Ma,Lo,Liu,Little,Levenson,Leonard,Lee,Lee,Lee,Lee,Langham,Kudo,Kubota,Kostov,Kloetzel,Kirshbaum,Kim,Kim,Karttunen,Karoly,Kang,Kalayjian,Kabat,Janss,Janecek,Jacobs-Perkins,Iwasaki,Itzkoff,Hunt,Houston,Hong,’12-’13,’15,’18Ben1990*,2001,’13-’16,’18Russell2021*Shirley2014Coleman2014*Ko1995Annie2019*Marie-Stephanie2007*Andrew2007*Madeleine2009*Ani2008*Kristopher2010Jonathan2005,’07Anssi2006Eric1998,2004,’06,’11,’14Yeesun2010Ralph1986-’89,’91,2001-’04,’07-‘08,’11,’15Jennifer1992*◊-’93*◊Lachezar2011*Maki2018Sumire1995*◊,’96◊,’97,2006Jennifer1999Daniel2005JeongHyoun“Christine”2015*Jiyoung2013*Nina2022Ronald1986-’88,’90-’91,2002Jeffrey1986-’87Dane1988◊YunJie1990*Jonathan,2018*Yo-Yo2005Mischa2016Mihai2012*David1988◊Eileen2016Margaret1986-’87,’99Hannah2019*

GRAND TRADITION 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 Balliett, Doug 2022 Cho, Han Han 2010 Coade, Sarah 1992◊ Cobb, Timothy 2019,’21-‘22 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 Manzo, Anthony 2022 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◊

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

BARYTON Hunt, Shirley 2014 THEORBO Holmes Morton, Paul 2022 Leopold, Michael 2014 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-’22 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 Cooper, Imogen 2022 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 Fortner, Sullivan 2022 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-André 2011,’16,’22 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,’22 Orloff, Edith 1986-’88 Park, Jeongwon 1995* Parker, Jon Kimura 2002,’06,’09,’12-’13,’16-’18 Piemontesi, Francesco 2022 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 Wang, Wynona Yinuo 2022* 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,’22 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

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-‘22 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,’22 Yeh, John Bruce 2001-’02,’04,’08-’14,’16,’18,’22 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-‘22 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 Simmons, Ryan 2001-’04,’08,’11-’13,’16-’18 Zamora, Leyla 2009,’14-’15,’17

CONTRABASSOON Savedoff, Allen 2013 Zamora, Leyla 2008,’17 SAXOPHONE Marsalis, Branford 2012 Rewoldt, Todd 2007 Sundfor, Paul 2004 HORN Bain, Andrew 2014 Byrd-Marrow, David 2021-‘22 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 Shinogle, Ellen 2022 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 Starr, Eric 2022 Trumbore, Rachel 2021 PERCUSSION Aguilar, Gustavo 2006 Copeland, Stewart 2009 Cossin, David 2006-’07,’09-’10,’12 Derr, Eric Donahue,2021Dustin 2012-’14,’19,’21-‘22 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 HARP Allen, Nancy 2005,’15 Hays, Marian Rian 1986-’87 Hoffman, Deborah 1990,2001,’10-’12 Kibbey, Bridget 2022 Phillips, Julie Smith 2021 Sterling, Sheila 2002-’03,’07

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-‘22 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

858.459.3728 • LJMS.ORG | 95 GRAND TRADITION McIntosh, Kathleen 1997◊ Newman, Anthony 2001-’02,’04-’05,’07,’09,’12-’13 Novacek, John 1992◊ Valenzuela, Ruben 2022 Zearott, Michael 1987-’88◊ Zhang, Angie 2022 ORGAN Beattie, Michael 2014 Newman, Anthony 2002,’10,’14

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 Miró Quartet 2009,’14,’17,’19,’22 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* Pelia Quartet 2022* 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* The Knights 2022 Time for Three 2015-’16 Tokyo String Quartet 2008,’11,’12 Trio Agape 1998* Trio Clara 2019* Trio Syzygy 2021*

Brentano Quartet 2019 Calder

1998* FLUX

Kalichstein-Laredo-Robinson2009*

Calidore String Quartet 2021 Callisto Quartet 2019* Cambridge Trio 2018* Cécile McLorin Salvant 2022 Colorado String Quartet 1989-’90 Coolidge String Quartet 1999* Dance Heginbotham 2022 Danish String Quartet 2016 Dover Quartet 2022 Eclat Quartet 2011* Ehnes Quartet 2019 Emerson String Quartet 2018 Enso String Quartet 2001*,’03* Escher

1998*

96 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER GRAND TRADITION PIPA Wu Man 2003,’10,’15,’17-’18 MANDOLIN 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

2014,’16,’18,’21 Formosa

2015* Igudesman

Quartet

2012 Imani Winds 2006 International

1999* Hausmann

Firebird

2008 Jasper

2008

2006 Jacques

2010* Huntington

Aaron Diehl Trio 2021 Aestas Trio 2022* 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 Borromeo2007String 2000-’01,’10,’15 Quartet 2005,’09-’10,’12,’21 String Quartet 2007*,’15-’16 Quartet Quartet Quartet Gemini Trio Goffriller Piano Trio Quartet Quartet & Joo Sejong Soloists Loussier Trio String Quartet Trio 2002,’11,’17

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 Costanzo, Anthony Roth 2022 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 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 Salvant, Cécile McLorin 2019,’22 Saffer, Lisa 1993 Trakas, Chris 2002 Trebnik, Andrea 2000 Tritschler, Robin 2019,’22 Wolfson, Sarah 2006 Zetlan, Jennifer 2019 Zhang, Jianyi 2003 NARRATOR Adolphe, Bruce 2001 Eichenthal, Gail 1988-’89 Ellsworth, Eleanor 2009 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

• LJMS.ORG | 97 GRAND TRADITION

◊

* Fellowship Artists, Workshop participant

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

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 DeLay,Davies,Child,Chapman,Cassedy,BrownBrooks,Bromberger,Brandfonbrener,2017-’20,’22AliceG.2002Eric1988-’96,’98-2009,’11-’13,’19-‘21Geoffrey1988Montesano,Kristi2019,’22Steve2007-’10,’12-’14,’16Alan1988Fred2001-’06Hugh2000Dorothy2001 Drexler, Dave 2022 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 Gerdes, Michael 2022 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 Longenecker,2017Martha W. 2003 Malashock, John 2000 Mehta, Nuvi 2010,’16-’17 Mello, Scott 2022 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-‘22 Roland, Ashley 2007 Ross, Alex 2019,’21-‘22 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 Walker, Jennifer 2022 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

CHOREOGRAPHER Greene, Allyson 2005-’06 Heginbotham, John 2022 Malashock, John 1994, 2002 DIRECTOR Winokur, Zack 2022 SCHOLAR-IN-RESIDENCE Bromberger, Eric 2014-’18 Kogan, Richard 2014 Pollack, Howard 2013 Reveles, Nicolas 2016 Taruskin, Richard 2015 Sam Zygmuntowicz 2018

858.459.3728 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 Copeland,2004Stewart 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 Shaw, Caroline 2022 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

^ in collaboration with the University Art Gallery, UC San Diego # in collaboration with the Museum of Contemporary Art, San Diego BOLD SummerFest debuts

Inon Barnatan 2019Lin, Cho-Liang 2001-’18 Finckel, David and Wu Han 1998-2000 Ohyama, Heiichiro 1986-’97 SummerFest Ensembles

98 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER BOARD OF DIRECTORS 2022-23 LA JOLLA MUSIC SOCIETY / THE CONRAD STAFF Steve Baum* – Chair H. Peter Wagener* – Vice Chair Vivian Lim* – Second Vice Chair Stephen Gamp* – Treasurer Sharon Cohen* – Secretary Mary Ann Beyster* Eleanor Y. Charlton Ric ToddSusanJohnLehnDebbyJenniferAnnBertMaryCharltonEllenClarkCornelison*ParodeDynesEve*Fishburn*Goetz*HesselinkHoehn*R.Schultz–President & CEO Leah Rosenthal – Artistic Director Inon Barnatan – SummerFest Music Director ADMINISTRATION Karin Burns – Director of Finance Brady Stender – Finance & Administration Manager Lyric Boothe – Finance & Administration Assistant PROGRAMMING Grace Smith – Artistic Programming Manager Carly Cummings – Artistic Programming Coordinator John Tessmer – Artist Liaison Henry Aceves – SummerFest Intern Allison Boles – Education & Community Programming Director Jian Wang – Education & Community Programming Coordinator Eric Bromberger – Program Annotator Serafin Paredes – Community Music Center Director Xiomara Pastenes – Community Music Center Administrative Assistant Community Music Center Instructors: Pierre Blocker, Noila Carrazana, Marcus Cortez, Armando Hernandez, Michelle Maynard, Eduardo Ruiz, Rebeca Tamez DEVELOPMENT Ferdinand Gasang – Director of Development Natéa Cooke – Development Coordinator, Stewardship & Annual Fund Camille McPherson – Development Coordinator, Individual Giving & Grants VENUE SALES & EVENTS Nicole Slavik – Venue Sales & Events Director Cami Asher – Special Events Manager Juliet Zimmer – Venue Sales Manager Sue BebeLiseDebraStephanieJeanetteMaureenToddMargeSherylLeahSylviaTonPeggyArmanRobinMajorNordhoffOrucPreussRasmussenRéZ.RosenthalScarano*SchmaleSchultzShiftan*StevensStone*Turner*WilsonL.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 *Executive Committee MARKETING & TICKET SERVICES Dawn Petrick – Director of Marketing and Communications Hayley Woldseth – Data & Marketing Analysis Manager Rachel Cohen – Marketing Project Manager Stephanie Thompson – Communications & Public Relations Manager Angelina Franco – Sr. Graphic Designer Mariel Pillado – Graphic Designer Shannon Bobritchi – Box Office & Guest Services Manager Patrick Mayuyu – Box Office & Guest Services Assistant Manager Kaitlin Barron – Box Office & Guest Services Lead Associate Shaun Davis – House Manager OPERATIONS & PRODUCTION Tom Jones – Director of Production & Technology Verdon Davis – Technical Director Tom Mehan – Facilities Manager Spencer Kahn – Technical Coordinator Yoni Hirshfield – Technical Coordinator Kim Chevallier – Security Supervisor Jonnel Domilos – Piano Technician SUMMERFEST PRODUCTION STAFF Leighann Enos – SummerFest Production Manager Shayna Houp – Production Stage Manager Sam Bedford – Assistant Stage Manager Benjamin Maas – Recording Engineer Tristan Cook – Filmmaker-in-Residence Zac Nicolson – Filmmaker-in-Residence Additional Stagehands provided by IATSE Local 122

858.459.3728 • LJMS.ORG | 99 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 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 Underwriters, the following pages pay tribute to all of our partners who make it possible to share the magic of the performing arts with our community. SUMMERFEST MUSIC DIRECTOR UNDERWRITER Raffaella and John Belanich

Baker and Steve Baum, honorary chairs Artist Hosting Committee Brenda Baker Vivian Lim Sheryl DollySueMaureenScaranoShiftanWagenerWoo Wine Committee Ann Dynes, co-chair Robin Stark, co-chair Steve Baum Medallion Society and Festival Sponsors 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 Martha and Ed Dennis Silvija and Brian Devine Barbara Enberg Sue and Chris Fan Joy PamFriemanandHal 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 TeresaHesselinkandHarry Hixson Joan and Irwin Jacobs Theresa Jarvis THANK YOU FOR YOUR SUPPORT SM SM VAIL MEMORIAL FUND

100 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER Festival Chairs, Sponsors, and Hosts SummerFest Committee Maureen Shiftan, chair Vivian Lim, gala co-chair Dolly Woo, gala co-chair

Brenda

858.459.3728 • LJMS.ORG | 101 Keith and Helen Kim Angelina and Fred Kleinbub Dorothea Laub Vivian Lim and Joseph Wong Kathleen and Ken Lundgren Elaine and Doug Muchmore Arlene and Louis Navias Peggy and Peter Preuss Sylvia and Steven Ré Catherine Rivier Stacy and Don Rosenberg Leigh P. Ryan Sheryl and Bob Scarano Marge and Neal Schmale Maureen and Tom Shiftan Susan Shirk and Sam Popkin Jeanette Stevens Gloria and Rodney Stone Haeyoung Kong Tang Sue and Peter Wagener Abby and Ray Weiss Dolly and Victor Woo Bebe and Marvin Zigman Anonymous (2) Wine Sponsors Kenny BrendaBacaBaker and Steve Baum John ChristopherBailey Beach and Wesley Fata Carol Carlisle Linda Christensen and Gonzalo Ballon-Landa Sharon Cohen Julie and Bert Cornelison Sue and Chris Fan Peter DebbyFarrellandWain Fishburn Nabil Hanna Paula and George Hauer John Hesselink Zoe and Eric Kleinbub Jane and Steve Lahre Sue and John Major Jeanne and Rick Norling Virginia Oliver Marty and David Pendarvis Sylvia and Steve Ré Judy Robbins Julie Ruedi and Robert Engler Robin VictorLiseSueNathanStarkVandergriftandPeterWagenerWilsonandSteveStraussandDollyWoo Festival Hosts Arlene Antin and Leo Ozerkis Brenda Baker and Steve Baum Mary Ann Beyster Alicia and Rocky Booth Gordon Brodfuehrer Jane Burns and John Gordon Linda Chistensen and Gonzalo Ballon-Landa Julie and Bert Cornelison Amy Corton and Carl Eibl Ann MarthaCraigand Ed Dennis Silvijia and Brian Devine Carol Diggs Sue JenniferBarbaraDrammEnbergandKurt Eve Brenda and Michael Goldbaum Cindy and Tom Goodman Pati JoanJohnHeestandHesselinkandIrwin Jacobs Elisa and Rick Jaime Molly Lee Linda Low-Kalkstein Vivian Lim and Joseph Wong Jennifer Luce Sue and John Major Elaine and Doug Muchmore Garna Muller Joani Nelson Marie and Merrel Olesen Stacy and Don Rosenberg Arlene and Peter Sacks Jane and Eric Sagerman Sheryl and Bob Scarano Marge and Neal Schmale Maureen and Tom Shiftan Susan Shirk and Sam Popkin Annemarie and Leland Sprinkle Mary and Martin Stein Haeyoung Kong Tang Maxine Turner Susan and Richard Ulevitch Sue and Peter Wagener Abby and Ray Weiss Dolly and Victor Woo Susan and Gavin Zau We are always looking for new hosts. If you are interested in learning more about hosting an artist or a special event, please call 858.459.3728. Listing as of June, 2022

Susan

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

Theodore

The Conrad Prebys Foundation

Joan and Irwin Jacobs Dorothea Laub Debra Turner

Eleanor

Sheryl

Edward

Clara Wu Tsai and Joseph Tsai and Richard Charlton

Brenda Baker and Steve Baum Raffaella and John Belanich

102 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER ANNUAL SUPPORT

premier music organization to present year-round. It is our honor to recognize the following donors. FOUNDER ($250,000 and above) ANGEL ($100,000 - $249,999) BENEFACTOR ($50,000-$99,999)

Julie and Bert Cornelison and Brian Devine and Friedmann

Silvija

Vivian Lim and Joseph Wong and Bob Scarano and Margaret Schmale and Anna Yeung San Diego’s

Culture

Ingrid

The City of San Diego Commission for Arts and

Jeanne Herberger, Ph.D. and Bill Hoehn

Neal

858.459.3728 • LJMS.ORG | 103 GUARANTOR ($25,000 - $49,999) Banc of California Mary Ann Beyster Robert and Ginny Black Katherine and Dane Chapin Mary Ellen Clark Peter Cooper and Erik Matwijkow Ann Parode Dynes and Robert Dynes Sam and Lyndie Ersan Jennifer and Kurt Eve Pam Farr and Buford Alexander Monica and Socorro Fimbres Richard and Lehn Goetz Goldman Sachs Sue and John Major Arlene and Louis Navias Hank and Robin Nordhoff Peter and Peggy Preuss Sylvia and Steve Ré Bob and June Shillman Jeanette R Stevens Haeyoung Tang Gayle and Philip Tauber Vail Memorial Fund Sue and Peter Wagener Marvin and Bebe Zigman SUSTAINER ($15,000 - $24,999) Judith Bachner and Eric Lasley Gordon Brodfuehrer Sharon L. Cohen Jendy Dennis Endowment Fund Debby and Wain Fishburn Sarah and Jay Flatley Michael and Brenda Goldbaum John ArmanMonarchHesselinkCottageOrucandDagmar Smek ProtoStar Foundation Clayton Lewis and Thomas Rasmussen Don and Stacy Rosenberg Clifford Schireson and John Venekamp Thomas and Maureen Shiftan Stephanie and Nick Stone Abby and Ray Weiss Lise Wilson and Steven Strauss Dolly and Victor Woo SUPPORTER ($10,000 - $14,999) Ingrid de Alba de Salazar and Hector Salazar-Reyes Bjorn Bjerede and Jo Kiernan Martha and Edward Dennis The Hon. Diana Lady Dougan Chris and Sue Fan Hal and Pam Fuson Sarah and Mike Garrison Rick and Elisa Jaime Keith and Helen Kim Teddie Lewis Betty Jo Petersen ResMed Foundation Leigh Patrice Ryan, Esq Bob and Nancy Selander Noni and Drew Senyei 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. ANNUAL SUPPORT

104 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER AMBASSADOR ($5,000 - $9,999) Joan Jordan Bernstein Carolyn Bertussi James Beyster Susan and Ken Bien Karen and Jim Brailean Benjamin Brand Janice and Nelson Byrne George and Tallie Dennis Barbara Enberg Beverly Fredrick Springer and Alan Springer Elaine Galinson and Herbert Solomon Buzz and Peg Gitelson Jeff Glazer and Lisa Braun Margaret Stevens Grossman and Michael Grossman HarryAnonymousandTeresa Hixson Gary and Jerri-Ann Jacobs Theresa Jarvis Fred and Angelina Kleinbub Carol Lam and Mark Burnett DianaAnonymousandEli Lombrozo Kathleen and Ken Lundgren Gini and David Meyer Elaine and Doug Muchmore Oakmont Signature Living Virginia Oliver William Pitts and Mary Sophos Samuel Popkin and Susan Shirk Catherine Rivier James Robbins and Jill Esterbrooks Patty Rome Todd R. Schultz Sherron Schuster Gloria and Rod Stone Edward and Joyce Strauss Elizabeth Taft Richard and Susan Ulevitch Ayse Underhill Mary and Joseph Witztum AFICIONADO ($2,500 - $4,999) Emily and Barry Berkov Eric MargaretSarahRonaldJeeyoonMargaretDavidCarrieIraNaomiDebbeCohenDeverillFekiniGainesGreensteinHsiehJacksonKimandRuthLeonardiLongandSimonFangMcKeownandPeter Cowhey Marilyn and Stephen Miles Gail and Edward Miller Daphne Nan Muchnic Rick and Jeanne Norling Robert and Allison Price Mary Pringle Mary and Scott Pringle Carol Randolph and Robert Caplan Eva and Doug Richman Kathleeen Roche-Tansey and Tansey Gerald and Susan Slavet Ronald Wakefield Jo and Howard Weiner Al and Armi Williams Carolyn Yorston-Wellcome ASSOCIATE ($1,000 - $2,499) Judith Adler Dede and Mike Alpert ArleeneAnonymousAntin and Leonard Ozerkis Kenny Baca John AnthonyJuneAliciaJeffreyBaileyBarnouwBoothChochelesandAnnette Nguyen Chong Caroline DeMar Ted Ebel and Jee Shin Beverly Fremont Joy PaulNabilFriemanHannaandBarbara Hirshman Ted EnriqueMichaelEdwardBrettHoehnJohnsonKoczakKrcoandViviana Lombrozo Eileen A Mason Ted SusanMcKinneyandDoug McLeod William Miller and Ida Houby Sandra MartyMichaelNormanMinerNeedelO'BrienandDavid Pendarvis Ursula DoreenSandraPfefferRedmanandMyron Schonbrun William Smith and Carol Harter Norma Jo Thomas Yvonne Vaucher Howard and Christy Zatkin Xiaomei Zhang FRIEND ($500 - $999) K Andrew Achterkirchen Terence ChristopherBalagiaBeach and Wesley Fata Ryan RenéeBobAnnJosephJamesBordelonWBurnsCalvinoCraigDawsonandJames Dunford Peter LindseyFarrelland Steve Gamp Martha and David Gilmer Kara Hanning Paul and George Hauer Nancy Hong and Ardem Patapoutian Joanne Hutchinson Dwight Kellogg Jane and Steven Lahre ANNUAL SUPPORT

858.459.3728 • LJMS.ORG | 105 This list is current as of June 2022. We regret any errors. Please contact Camille McPherson, at 858.526.3449 or CMcPherson@LJMS.org to make a correction for the October 2022 program book. ANNUAL SUPPORT Lewis PaulElizabethLeicherLucasandMargaret Meyer Jeff WilliamAndreaMuellerOsterPurves and Don Schmidt Cathy SusanMartySymphorosaSuhailaVictorAnonymousRonaldAnonymousJenniferAnonymousVivianCynthiaRempelRosenthalRyanReillySimonAvanLintWhiteWilliamsandOliviaWinklerandGavinZau ENTHUSIAST ($250 - $499) Hiroko LindaMichaelRoannaBabaCaneteCaseyChristensen and Gonzalo Bal CourtneyCandylon-LandaColemanCoyleand Steven McDonald Jeane FerdinandWendyClareStephenRobertErleyC.FaheyFeldmanFriedmanFriemanMarcus Gasang Morris and Phyllis Gold David LindaAndreaHalterHarrisandEd Janon Michael Kalichman Zoe and Eric Kleinbub Patricia M. Lending Vonnie PatriciaMichaelMadiganMannManners Christopher Moore Kylie Murphy Joani Nelson Linda MortonHannahBarbaraPlattRosenSchlachetandMarjorie Shaevitz Leland and Annemarie Sprinkle Robin Stark Bob BartBillSandraN.B.NathanStefankoVandergiftVarlottaZarcadesZiebronZiegler CONTRIBUTOR ($125 - $249) Linda Cory Allen Mary Lonsdale Baker Maryana Bhak Laura JamesWendyHaroldBirnsGBrittainBrodyandCarol Carlisle Marta Delgado Chavira Susan PatriciaElaineJoniSerinMartiJohnJohnSusanRenitaAllisonJorginaKathyLauraMarthaJenniferLornaTeresaMarjorieChildsCoburnCortadoCullenCuthrellDavisEarlFacklerFranzhaeimGardenswartzGreenbergHallidayHigbeeKrasnoKutnikLeeLeSageLittonLowenstam Claudia DebraBonnieDonnaKarenMargarethaDanielleAngelaKarenAnneLeeKatieAnnSusanMariliesJudyLynnMichaelMattMelvinEdieElinorRobertJoanneJasmineEduardoLowensteinMacagnoMajidMartinLMazalewskiMerlMunkOkamuraPacePendarvisReinemanRobbinsSchoepflinFSharinRSimoneauMSmithTalnerTurhollowLValentinoVasandaniVirgadamoWalkWalterWestonWrightYoussefi GIFTS HONORIN& MEMORY OF In Memory of Wendy Brody: Ferdinand Marcus Gasang In Honor of Bobbi Chifos: Ferdinand Marcus Gasang Susan and Richard Ulevitch In Memory of Carolyn Yorston-Wellcome: Ferdinand Marcus Gasang

106 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER We are honored to have this extraordinary group of friends who have made multi-year commitments to La Jolla Music Society, ensuring that the artistic quality and vision we bring to the community continues to grow. MEDALLION SOCIETY DANCE SOCIETY CROWN JEWEL Brenda Baker and Steve Baum DIAMOND Raffaella and John Belanich Dorothea Laub 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 Bebe and Marvin Zigman TOPAZ JoanAnonymousJordan 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 Stevens Grossman and Michael Grossman Theresa AngelinaJarvisandFred Kleinbub Vivian Lim and Joseph Wong Kathleen and Ken Lundgren Elaine and Doug Muchmore Don and Stacy Rosenberg Leigh P. Ryan Neal and Marge Schmale Jeanette Stevens Gloria and Rodney Stone Sue and Peter Waganer Dolly and Victor Woo GRAND JETÉ Jeanette Stevens Marvin and Bebe Zigman POINTE Carolyn Bertussi PLIÉ Mary Ann Beyster Laura AnaelviaAmberBirnsBlissSanchez and Harold Brittain Gordon Brodfuehrer Joseph Calvino Eleanor and Ric Charlton Mary Ellen Clark Courtney Coyle Jennifer and Vernon Cuthrell Joy AllisonWendyFriemanFriemanandDaniel Gardenswartz Renita Greenberg Susan and Bill Hoehn Joanne Martin Laura StephanieKatieCynthiaMcWilliamsRosenthalSmithandNick Stone Sue and Peter Wagener Samatha Zauscher We are grateful for each patron for their passion and support of our dance programs.

858.459.3728 • LJMS.ORG | 107 The Legacy Society recognizes those generous individuals who have chosen to provide for La Jolla Music Society’s future. Members have remembered La Jolla Music Society in their estate plans in many ways—through their wills, retirement gifts, life income plans, and many other creative planned giving arrangements. We thank them for their vision and hope you will join this very special group of friends. If you have included LJMS in your estate plans, please let us know so we may recognize you. *In memoriam PLANNED GIVING 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). 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 George and Cari Damoose Teresa and Merle Fischlowitz Ted and Ingrid Friedmann Joy and Ed* Frieman Sally MaxwellFullerH. and Muriel S. Gluck* Dr. Trude Hollander* Eric MariaJoaniTheodoraLasleyLewisNelsonandDr.Philippe Prokocimer Bill DarrenPurvesand Bree Reinig Jay W. Richen* Leigh P. Ryan Jack* and Joan Salb Johanna Schiavoni Pat Drs.ShankJoseph 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 John B. and Cathy Weil Carolyn Yorston-Wellcome and H. Barden Wellcome* Karl and Joan Zeisler Josephine Zolin

108 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER 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. FOUNDATIONS Thomas FoundationAckermanC. David C. FoundationCopley

Saturday, August 13, 2022 at 5:00PM The Conrad Prebys Performing Arts Center A t T h e Palais C o nrad, Paris 1888 SummerFest

110 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER The Conrad Prebys Performing Arts Center Protect arts programming. Ensure a future filled with live performances. Donate Today LJMS.org or call 858.459.3728 RESILIENCE FUND

858.459.3728 • LJMS.ORG | 111 Wine Raffle HELP US REACH OUR GOAL OF $25,000 FOR SUMMERFEST EDUCATION & COMMUNITY ENGAGEMENT PROGRAMS. TICKETS AVAILABLE AT 858.459.3728 AND IN THE LOBBY DURING CONCERTS Tickets for either raffle are $125 each, or buy two tickets or more to join both. Listings of the wines featured in both collections are available. Contact Natéa at 858.526.3445 or NCooke@LJMS.org THANK YOU TO OUR WINE CONNOISSEURS: Kenny Baca, John Bailey, Gonzalo Ballon-Landa and Linda Christensen, Steve Baum and Brenda Baker, Christopher Beach and Wesley Fata, Carol and Jim Carlisle, Sharon Cohen, Bert and Julie Cornelison, Robert Engler and Julie Ruedi, Chris and Sue Fan, Peter Farrell, Debby and Wain Fishburn, Nabil Hanna, George and Paula Hauer, John Hesselink, Zoe and Eric Kleinbub, Steve Lahre, Sue and John Major, Rick and Jeanne Norling, Virginia Oliver, Marty and David Pendarvis, Steve and Sylvia Ré, Judy Robbins, Robin Stark, Nathan Vandergrift, Sue and Peter Wagener, Lise Wilson and Steve Strauss, Victor and Dolly Woo. SIX HALF CASES OF WINES Win One of Six half cases of outstanding wines donated by wine connoisseurs. Six winning tickets will be picked out of 100 tickets sold. $1,200+ value per half case. PREMIER CASE OF WINES Win a collection of Twelve outstanding wines donated by wine connoisseurs. One winning ticket will be picked out of 100 tickets sold. $6,628 value.

BOOK YOUR EVENT AT THE CONRAD THE CONRAD

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

For

THE ATKINSON ROOM: An ideal room for meetings or lectures with audiovisual capabilities. The space can be rented in conjunction with The Baker-Baum Concert Hall and The JAI. more information please email VenueServices@LJMS.org PREBYS PERFORMING ARTS CENTER

112 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER Recitals · Chamber Music · Amplified Concerts · Dance · Film · Theater Conferences · Lectures · Receptions · Fundraisers · Weddings and more...

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

858.459.3728 • LJMS.ORG | 113 Located along the shores of La Jolla, the elegance and sophistication of your dining experience is matched only by the power and drama of the ocean just inches away. At The Marine Room, every meal is a special occasion. 858.459.7222 MarineRoom.com some traditions just keep getting richer. Steel seahorse, Jennifer Lannes, diner since 1978 An Experience in Great Taste (858) 638‐1400 www.BTScenes.com

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116 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER Working togetherin h armony! 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

117 H A P P Y H O U R D I N N E R P R I V A T E R O O M S R E T A I L W I N E C A T E R I N G 5 1 4 V I A D E L A V A L L E S T E . 1 0 0 S O L A N A B E A C H , C A 9 2 0 7 5 P G R I L L E . C O M 8 5 8 . 7 9 2 . 9 0 9 0 I N F O @ P G R I L L E . C O M PROUD PARTNER OF THE CONRAD & LONG TIME SUPPORTER OF LA JOLLA MUSIC SOCIETY mousse Grille

118 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER 2620 Truxtun Rd, San Diego CA, 92106 (619) 566 0069 Liberty Station 7611 Fay Ave, La Jolla CA, 92037 (858) 777 0069 La Jolla

858.459.3728 • LJMS.ORG | 119

120 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER S t a y a n d P l a y o n Fa y - A P r e f e r r e d P a r t n e r o f T H E C O N R A D E X P E R I E N C E E X C E P T I O N A L S E R V I C E C o n n n e n t a l B r e a k f a s t - P i a n o S p a S u i t e - F i n e I t a l i a n C u i s i n e

858.459.3728 • LJMS.ORG | 121 CLASSICAL MUSIC FESTIVALS OF THE WEST 2022 Fill your summer with music! Explore the musical riches and unique settings ofthese allied festivals of the Western United States. Wyoming GRAND TETON MUSICgtmf.orgFESTIVALJackson Hole, WYJULY 3–AUG 27 Washington SEATTLE CHAMBERMUSIC seattlechambermusic.orgSUMMERSOCIETYFESTIVAL Seattle, WA JULY 5–31 Oregon CHAMBER SUMMERNORTHWESTMUSICFESTIVALcmnw.org Portland, OR JUNE 25–JULY 31 Colorado ASPEN MUSIC FESTIVAL and aspenmusicfestival.comSCHOOL Aspen, CO JUNE 30–AUG 21 BRAVO! bravovail.orgVAIL Vail, CO JUNE 23–AUG 4 STRINGS MUSIC stringsmusicfestival.comFESTIVAL Steamboat Springs, CO JUNE 24–AUG 27 coloradomusicfestival.orgMUSICCOLORADOFESTIVAL Boulder, CO JUNE 30–AUG 7 New Mexico SANTA FE CHAMBER MUSIC santafechambermusic.comFESTIVAL Santa Fe, NM JULY 17–AUG 22 California CABRILLO FESTIVAL of CONTEMPORARYcabrillomusic.orgMUSIC Santa Cruz, CA JULY 24 AUG 7 CARMEL BACH bachfestival.orgFESTIVAL Carmel, CA JULY 14–30 LA MUSICJOLLASOCIETYSUMMERFESTljms.org La Jolla, CA JULY 29–AUG 26 MAINLY MOZART mainlymozart.orgFESTIVAL San Diego, CA JUNE 10–18 musicatmenlo.orgMUSIC@MENLO Atherton, CA JULY 14–AUG 6 Idaho SUN svmusicfestival.orgMUSICVALLEYFESTIVAL Sun Valley, ID JULY 24–AUG 18

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

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

858.459.3728 • LJMS.ORG | 127 bright.com • 858.496.9700 Proud Supporter of the La Jolla Music Society Los Angeles • West Los Angeles • Santa Barbara • Orange County • San Diego Palm Springs • San Francisco • Sonoma • Saint Helena • Healdsburg • Phoenix Chairs to China Linens to Lighting Tables to Tents QUALITY SERVICE EXPERIENCE INNOVATION

128 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER 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 KristiExecutiveBurlingameDirector Foundation 7514 Girard Avenue, Suite 1-343 La Jolla, CA, USA, 92037 Tel 858-361-0755 ResMedFoundation.org

858.459.3728 • LJMS.ORG | 129

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858.459.3728 • LJMS.ORG | 131 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 © 2019 Banc of California, N.A. All rights reserved. TOGETHER WE WINTM

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858.459.3728 • LJMS.ORG | 133

SAMARA JOY SUNDAY, MARCH 19, 2023 · 5 PM & 7 PM Concerts

MARCH

SATURDAY, DECEMBER 17, 2022 · 6:30 PM & 8:30 PM JAI JAI DAVINA THE VAGABONDS SATURDAY, JANUARY 14, 2023 · 6:30 PM & 8:30 PM JAI JAI CONNECT TO THE CONRAD — JOYCE DIDONATO WEDNESDAY, JANUARY 18, 2023 · 7:30 PM Innovative Series

ALFREDO RODRIGUEZ TRIO

Balboa

Jazz Series The

Special

Piano Series

The Baker-Baum Concert Hall ALISA WEILERSTEIN TUESDAY, MARCH 14, 2023 · 7:30 PM ProtoStar Innovative Series

The Baker-Baum Concert Hall ZAKIR HUSSAIN WEDNESDAY, MARCH 15, 2023 · 7:30PM Global Roots Series Balboa Theatre

The Baker-Baum Concert Hall

ARIS

The Baker-Baum Concert Hall

The JAI JOHAN DALENE , violin SUNDAY, JANUARY 29, 2023 · 3 PM

Discovery Series

RANDALL GOOSBY, violin ZHU WANG, piano SUNDAY, DECEMBER 4, 2022 · 3 PM Discovery Series

The Baker-Baum Concert Hall IGOR LEVIT THURSDAY, MARCH 9, 2023 · 7:30 PM

The Baker-Baum Concert Hall DI CREMONA FRIDAY, FEBRUARY 24, 2023 · PM Baker-Baum Concert AIMARD SUNDAY, FEBRUARY 26, 2023 7:30 PM Baker-Baum Concert Hall GOITSE FRIDAY, MARCH 3, 2023 · 6:30 PM & 8:30 PM JAI The JAI MARIA SCHNEIDER ORCHESTRA SUNDAY, MARCH 5, 2023 PM Jazz Series

@ The

The Baker-Baum Concert Hall SATURDAY, FEBRUARY 11, 2023 · 7:30 PM Family Event GEO THE VERTICAL WITH MARK SYNNOTT THURSDAY, FEBRUARY 16, 2023 · 7 PM

MONTEREY JAZZ FESTIVAL ON TOUR

LIVE! LIFE ON

The Baker-Baum Concert Hall

Revelle Chamber Music Series The

Hall PIERRE-LAURENT

· 6

The ConRAD Kids Series

PLEASE NOTE: 18+ to attend PONCHO SANCHEZ AND HIS LATIN JAZZ BAND THURSDAY, DECEMBER 15, 2022 · 7:30 PM Baker-Baum Concert Hall

JAI The JAI SCOTT SILVEN SATURDAY, MARCH 25, 2023 3 PM & 8 PM SUNDAY, MARCH 26, 2023 3 PM & 6 PM Concerts @ The JAI The JAI APRIL CHUCHO VALDÉ S QUARTET SATURDAY, APRIL 1, 2023 · 7:30 PM Jazz Series The Baker-Baum Concert Hall ALVIN AILEY AMERICAN DANCE THEATER TUESDAY, APRIL 4, 2023 · 7:30 PM WEDNESDAY, APRIL 5, 2023 · 7:30 PM Dance Series Civic Theatre YO-YO MA & KATHRYN STOTT THURSDAY, APRIL 6, 2023 · 7:30 PM Recital Series Civic Theatre EMERSON STRING QUARTET SUNDAY, APRIL 16, 2023 · 7:30 PM Revelle Chamber Music Series The Baker-Baum Concert Hall MIDORI THURSDAY, APRIL 20, 2023 · 7:30 PM FRIDAY, APRIL, 21, 2023 · 7:30 PM Recital Series The Baker-Baum Concert Hall VAN CLIBURN GOLD MEDAL WINNER YUNCHAN LIM SUNDAY, APRIL 23, 2023 · 3 PM Discovery Series The Baker-Baum Concert Hall ALICE SARA OTT FRIDAY, APRIL 28, 2023 · 7:30 PM Piano Series The Baker-Baum Concert Hall MARIACHI REYNA DE LOS ANGELES & VILLA-LOBOS BROTHERS SUNDAY, APRIL 30, 2023 · 3 PM Global Roots Series The Baker-Baum Concert Hall MAY PIANIMAL SATURDAY MAY 6, 2023 · 10 AM & 11:30 AM The ConRAD Kids Series The JAI BROOKLYN RIDER & MAGOS HERRERA SATURDAY, MAY 6, 2023 · 7:30 PM ProtoStar Innovative Series The Baker-Baum Concert Hall NEW CENTURY CHAMBER ORCHESTRA DANIEL HOPE, violin & music director FRIDAY, MAY 12, 2023 · 7:30 PM Revelle Chamber Music Series The Baker-Baum Concert Hall CINEMA VERISMO WITH MAK GRGIC´ SATURDAY, MAY 13, 2023 · 6:30 PM & 8:30 PM Concerts @ The JAI The JAI COMPLEXIONS CONTEMPORARY BALLET SATURDAY, MAY 20, 2023 · 7:30 PM Dance Series Civic Theatre NAT GEO LIVE! CORAL KINGDOMS AND EMPIRES OF ICE WITH DAVID DOUBILET & JENNIFER HAYES THURSDAY, MAY 25, 2023 · 7 PM Speaker Series The Baker-Baum Concert Hall JUNE BODYTRAFFIC THURSDAY, JUNE 1, 2023 · 7:30 PM FRIDAY, JUNE 2, 2023 · 7:30 PM Dance Series The Baker-Baum Concert Hall JIMMIE HERROD SUNDAY, JUNE 4, 2023 · 5 PM & 7 PM Concerts @ The JAI The JAI Dates, times, programs, and artists are subject to change.

The Baker-Baum Concert Hall

Balboa Theatre NAT

QUARTETTO

Special Holiday Event

JANUARY

The

STORM LARGE SATURDAY, DECEMBER 10, 2022 · 7:30 PM

Concerts @ The

ProtoStar

The Baker-Baum Concert Hall

DidonatoJoyce 54 SEASON OCTOBER APOLLON MUSAGÈTE QUARTET GARRICK OHLSSON, piano SATURDAY, OCTOBER 8, 2022 · 7:30 PM Revelle Chamber Music Series The Baker-Baum Concert Hall JESS GILLAM, saxophone THOMAS WEAVER, piano SUNDAY, OCTOBER 23, 2022 · 3 PM Discovery Series The Baker-Baum Concert Hall AN EVENING WITH THE WAR AND TREATY FRIDAY, OCTOBER 28, 2022 · 7:30 PM Global Roots Series The Baker-Baum Concert Hall JAZZREACH SATURDAY, OCTOBER 29, 2022 · 3 PM The ConRAD Kids Series The Baker-Baum Concert Hall NOVEMBER NAT GEO LIVE! EXPLORING MARS WITH KOBIE BOYKINS THURSDAY, NOVEMBER 3, 2022 · 7 PM Speaker Series The Baker-Baum Concert Hall TIME FOR THREE SATURDAY, NOVEMBER 5, 2022 · 6:30 PM & 8:30 PM Concerts @ The JAI The JAI DANIIL TRIFONOV THURSDAY, NOVEMBER 10, 2022 · 7:30 PM Piano Series The Baker-Baum Concert Hall EMMET COHEN TRIO SUNDAY, NOVEMBER 20, 2022 · 5 PM & 7 PM Concerts @ The JAI The JAI DECEMBER ISABEL LEONARD, voice & PABLO SÁINZ-VILLEGAS, guitar THURSDAY, DECEMBER 1, 2022 · 7:30 PM Recital Series

Concerts @ The

LEIF OVE ANDSNES THURSDAY, JANUARY 19, 2023 · 7:30 PM Piano Series

Discovery Series

Speaker Series

FEBRUARY KODO

·

Piano Series The

Concerts @ The

AND

The

7:30

The Baker-Baum Concert Hall QUARTETT SUNDAY, FEBRUARY 19, 2023 · 3 PM

THURSDAY, JANUARY 26, 2023 · 7:30 PM Jazz Series Theatre 123 ANDRÉS SATURDAY, JANUARY 28 · 10AM & 11:30 AM