SummerFest 2019 Program book

Gouache on paper by Caio Fonseca

SummerFest AUGUST 2-23, 2019

Inon Barnatan, Music Director

Calendar of Events 4 SUNDAY

5 MONDAY COACHING WORKSHOPS

PRELUDE

2 PM Lecture by Eric Bromberger

ANCIENT VOICES 3 PM · THE BAKER-BAUM CONCERT HALL

10 AM -12 PM · THE JAI

6 TUESDAY COACHING WORKSHOPS

10 AM -12 PM · THE JAI

7 WEDNESDAY COACHING WORKSHOPS

10 AM -12 PM · THE JAI

OPEN REHEARSAL

OPEN REHEARSAL

Special Guest: Joshua Gindele 2:50 – 4 PM · THE BAKER-BAUM CONCERT HALL

Special Guest: Yura Lee 3:50 – 5 PM · THE BAKER-BAUM CONCERT HALL

PRELUDE

PRELUDE

7 PM Benjamin Beilman and George Li perform

7 PM Interview with artists hosted by Robert John Hughes

REFLECTION

SYNERGY SERIES I: INTERSECTION

8 PM · THE BAKER-BAUM CONCERT HALL

8 PM · THE BAKER-BAUM CONCERT HALL

11 SUNDAY

12 MONDAY COACHING WORKSHOPS

10 AM -12 PM · THE JAI

13 TUESDAY OPEN REHEARSAL

Special Guest: Carter Brey 9:50 – 11 AM · THE JAI

SUMMERFEST ENCOUNTER* Musical Performance 1 – 2:30 PM · THE BAKER-BAUM CONCERT HALL

COACHING WORKSHOPS

10 AM -12 PM · THE ATKINSON ROOM

PRELUDE

7 PM Callisto Quartet and Ying Li perform

TAKEOVER @ THE JAI: MUSIC FROM MUSIC I

INVENTIONS 8 PM · THE BAKER-BAUM CONCERT HALL

7 PM · THE JAI

18 SUNDAY

14 WEDNESDAY

19 MONDAY COACHING WORKSHOPS

10 AM -12 PM · THE JAI

20 TUESDAY

21 WEDNESDAY

COACHING WORKSHOPS

10 AM -12 PM · THE JAI

OPEN REHEARSAL

Special Guest: James Ehnes 1:50 – 3 PM · THE JAI

PRELUDE

7 PM Trio Clara performs

TAKEOVER @ THE JAI: MUSIC FROM MUSIC II

LOVE STORIES 8 PM · THE BAKER-BAUM CONCERT HALL

7 PM · THE JAI

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

SYNERGY SERIES III: IN STEP featuring Mark Morris Dance Group 8 PM · THE BAKER-BAUM CONCERT HALL

1 THURSDAY

Special Guests: Inon Barnatan and Osmo Vänskä 3:20 – 4:30 PM THE BAKER-BAUM CONCERT HALL

OPEN REHEARSAL

2 FRIDAY

3 SATURDAY

OPEN REHEARSAL

PERFORMANCE

Special Guest: Erin Keefe 2:50 – 4 PM · THE BAKER-BAUM CONCERT HALL

PRELUDE

7 PM Interview with Inon Barnatan hosted by Eric Bromberger

OPENING NIGHT: THE TIME TRAVELER’S SUITE

EVENT KEY COACHING WORKSHOP

PRELUDE

7 PM Lecture by Eric Bromberger

SONGS OF HEAVEN AND EARTH

ENCOUNTER OPEN REHEARSAL PRELUDE

8 PM · THE BAKER-BAUM CONCERT HALL

8 PM · THE BAKER-BAUM CONCERT HALL

8 THURSDAY

COACHING WORKSHOPS

10 AM -12 PM · THE JAI

SUMMERFEST ENCOUNTER* Hosted by Alex Ross

1 – 2:30 PM · THE JAI

PRELUDE

7 PM Callisto Quartet performs

MOZART REWORKED

8 PM · THE BAKER-BAUM CONCERT HALL

9 FRIDAY

10 SATURDAY

15 THURSDAY COACHING WORKSHOPS

10 AM -12 PM THE ATKINSON ROOM

SYNERGY SERIES II: MUSIC AT AN EXHIBITION

7 PM · THE CONRAD 8 PM · THE BAKER-BAUM CONCERT HALL

22 THURSDAY

Dance for PD*

SUMMERFEST ENCOUNTER* Dance with MMDG

COACHING WORKSHOPS

PRELUDE

7 PM Interview with Mark Steinberg hosted by Nicolas Reveles

PRELUDE

7 PM Trio Clara performs

BEETHOVEN II: BEETHOVEN I: BRENTANO MIRÓ QUARTET QUARTET 8 PM · THE BAKER-BAUM CONCERT HALL

COACHING WORKSHOPS

10 AM -12 PM · THE JAI

PRELUDE

7 PM Trio Clara performs

17 SATURDAY SUMMERFEST GALA CARNIVAL AT THE CONRAD BENEFIT CONCERT FOR EDUCATION with SERGIO MENDES 5 PM ·THE CONRAD (See page 53 for more details)

LA JOLLA MUSIC SOCIETY AT THE CONRAD PREBYS PERFORMING ARTS CENTER 7600 Fay Avenue La Jolla, CA 92037 For parking information please visit LJMS.org

BEETHOVEN III: EHNES QUARTET 8 PM · THE BAKER-BAUM CONCERT HALL

23 FRIDAY

1 – 2 PM | 2:30 – 3:30 PM · THE JAI

PRELUDE

7 PM Callisto Quartet performs

SYNERGY SERIES III: IN STEP featuring

16 FRIDAY

ADDRESS

11 AM – 12:15 PM · THE JAI

See pages 4-5 for more information

10 AM -12 PM · THE JAI

8 PM · THE BAKER-BAUM CONCERT HALL

*Registered guests only.

Mark Morris Dance Group

8 PM · THE BAKER-BAUM CONCERT HALL 10 PM · Club JAI

PRELUDE

7 PM Lecture by Kristi Brown Montesano

FINALE: CONCERTO GROSSO 8 PM · THE BAKER-BAUM CONCERT HALL

858.459.3728 • LJMS.ORG | 3

DIG DEEPER INTO THE MUSIC PRELUDES

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

COACHING WORKSHOPS

THURSDAY

Open Rehearsal The Baker-Baum Concert Hall

3:20–4:30 PM

FRIDAY

AUGUST 2

Open Rehearsal The Baker-Baum Concert Hall

2:50–4 PM

MONDAY

Coaching Workshops The JAI

10–10:50 AM 11–11:50 AM 3:50–5 PM

AUGUST 1

AUGUST 5

Open Rehearsal The Baker-Baum Concert Hall

TUESDAY

AUGUST 6

Coaching Workshops The JAI

WEDNESDAY

Coaching Workshops The JAI

Free Admission · Limited Seating La Jolla Music Society’s Fellowship Artist Program is one of the longest-running SummerFest traditions, carried on by all our music directors since its inception with founding director Heiichiro Ohyama. Young artists and ensembles from the program have gone on to lead major orchestras and win international competitions.

Follow these young musicians as they prepare for their SummerFest performances with a series of master classes conducted by seasoned performers from the SummerFest Roster.

During SummerFest 2019, we welcome Fellowship Artists Callisto Quartet: Paul Aguilar, Rachel Stenzel, violins; Eva Kennedy, viola; Hannah Moses, cello; and Trio Clara: Ying Li, piano; Tatjana Roos, violin; Annie Jacobs-Perkins, cello.

AUGUST 7

THURSDAY

Free Admission · Limited Seating Six Open Rehearsals provide audience members with the rare opportunity to observe the intricate rehearsal process before the stage lights shine. These are working rehearsals and no entry is allowed once they have begun. LJMS Director of Programming, Leah Rosenthal, and LJMS Education and Community Programming Manager, Allison Boles, are joined by special guests to introduce each work at the start of the rehearsal.

Doors open 10 minutes prior to listed start time.

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.

Coaching Workshops The JAI

AUGUST 8

SummerFest Encounter* The JAI

FRIDAY

Coaching Workshops The JAI

MONDAY

Coaching Workshops The JAI

AUGUST 9 AUGUST 12 TUESDAY

OPEN REHEARSALS

Open Rehearsal The Baker-Baum Concert Hall

AUGUST 13

Open Rehearsal The JAI SummerFest Encounter* The Baker-Baum Concert Hall

WEDNESDAY

Coaching Workshops The Atkinson Room

THURSDAY

Coaching Workshops The Atkinson Room

FRIDAY

AUGUST 16

Coaching Workshops The JAI

MONDAY

Coaching Workshops The JAI

AUGUST 14 AUGUST 15

AUGUST 19

Open Rehearsal The JAI

TUESDAY

Coaching Workshops The JAI

AUGUST 20

THURSDAY

AUGUST 22

*Register online at LJMS.org/free-events to attend. Limited availability.

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

Special Event: Dance for PD* The JAI SummerFest Encounter* The JAI

10–10:50 AM 11–11:50 AM 10–10:50 AM 11–11:50 AM 2:50–4 PM 10–10:50 AM 11–11:50 AM 1–2:30 PM

10–10:50 AM 11–11:50 AM 10–10:50 AM 11–11:50 AM 9:50–11 AM 1–2:30 PM 10–10:50 AM 11–11:50 AM 10–10:50 AM 11–11:50 AM 10–10:50 AM 11–11:50 AM 10–10:50 AM 11–11:50 AM 1:50–3 PM 10–10:50 AM 11–11:50 AM 11 AM–12:15 PM

1–2 PM 2:30–3:30 PM

Special Guests: Inon Barnatan and Osmo Vänskä — Susanna Phillips, Erin Keefe, Benjamin Beilman, Masumi Per Rostad, Alisa Weilerstein, Timothy Cobb, Henrik Heide, James Austin Smith, Anthony McGill, Dustin Donahue, Inon Barnatan, Alison Luedecke, and conductor Osmo Vänskä rehearse Mahler’s Symphony No. 4 in G Major Special Guest: Erin Keefe — Benjamin Beilman, Erin Keefe, Masumi Per Rostad, Kenneth Olsen, Timothy Cobb, James Austin Smith, Anthony McGill, Henrik Heide, Inon Barnatan, Tina Chong, and conductor Osmo Vänskä rehearse Debussy’s Prelude to the Afternoon of a Faun Inon Barnatan coaches Trio Clara on Arvo Pärt’s Mozart Adagio Yura Lee coaches Callisto Quartet on Allegro from Beethoven’s String Quartet Opus 59, No. 2 or Ligeti’s String Quartet No. 1 “Metamorphoses Nocturnes” Special Guest: Yura Lee — Erin Keefe, Yura Lee, Kenneth Olsen, and Alisa Weilerstein rehearse Arensky’s String Quartet No. 2 in A Minor, Opus 35 Alisa Weilerstein coaches Trio Clara on Beethoven’s Piano Trio in C Minor, Opus 1, No. 3 John Largess coaches Callisto Quartet on Allegro from Beethoven’s String Quartet Opus 59, No. 2 or Ligeti’s String Quartet No. 1 “Metamorphoses Nocturnes” Nina Lee coaches Callisto Quartet on Allegro from Beethoven’s String Quartet Opus 59, No. 2 or Ligeti’s String Quartet No. 1 “Metamorphoses Nocturnes” Kenneth Olsen coaches Trio Clara on Beethoven’s Piano Trio in C Minor, Opus 1, No. 3 Special Guest: Joshua Gindele — George Li, Rose Lombardo, Miró Quartet, and Timothy Cobb rehearse Mozart’s Piano Concerto No. 20 in D Minor, K.466 (arr. Czerny) Benjamin Beilman coaches Trio Clara on Beethoven’s Piano Trio in C Minor, Opus 1, No. 3 or Arensky’s Piano Trio No. 1, Opus 32 William Fedkenheuer coaches Callisto Quartet on Dvořák’s String Quartet No. 14 in A-flat Major Classical Transformation: Alex Ross, award-winning author and music critic for The New Yorker, explores how Beethoven helped to establish the idea of a classical-music repertory. Discover why the great master’s music still inspires and poses challenges for contemporary composers today—and all composers since his time. Registered guests only.

Serena Canin coaches Callisto Quartet on Dvořák’s String Quartet No. 14 in A-flat Major Joshua Gindele coaches Callisto Quartet on Dvořák’s String Quartet No. 14 in A-flat Major Carter Brey coaches Trio Clara on Arensky’s Piano Trio No. 1, Opus 32 Qian Wu coaches Callisto Quartet with Ying Li on Schumann’s Quintet for Piano and Strings in E-flat Major, Opus 44 Special Guest: Carter Brey — Liza Ferschtman, Brett Dean, and Carter Brey rehearse J.S. Bach’s Aria with Thirty Variations (Goldberg Variations), BWV 988 (arr. Sitkovetsky) Fellowship Artist Ensembles Callisto Quartet and Trio Clara perform with pianist Qian Wu. Registered guests only.

Liza Ferschtman coaches Trio Clara on Arensky’s Piano Trio No. 1, Opus 32 Carter Brey coaches Callisto Quartet with Ying Li on Schumann’s Quintet for Piano and Strings in E-flat Major, Opus 44 James Ehnes coaches Callisto Quartet on Haydn’s String Quartet in G Major, Opus 77, No. 1 Amy Schwartz Morretti coaches Trio Clara on Arensky’s Piano Trio No. 1, Opus 32 Edward Arron coaches Trio Clara on C. Schumann’s Piano Trio in G Minor, Opus 17 Richard O’Neill coaches Callisto Quartet on Haydn’s String Quartet in G Major, Opus 77, No. 1 Jonathan Biss coaches Trio Clara on C. Schumann’s Piano Trio in G Minor, Opus 17 Cynthia Phelps coaches Callisto Quartet on Haydn’s String Quartet in G Major, Opus 77, No. 1 Special Guest: James Ehnes — James Ehnes, Liza Ferschtman, Cynthia Phelps, Richard O’Neill, Edward Arron, and Clive Greensmith rehearse Wagner’s Prelude to Tristan and Isolde (arr. Gürtler) Cho-Liang Lin coaches Trio Clara on C. Schumann’s Piano Trio in G Minor, Opus 17 Allison Boles hosts a conversation with the Fellowship Artist Ensembles to reflect on their SummerFest experience and share what’s next for these talented young musicians.

The Mark Morris Dance Group’s internationally-acclaimed, research-backed Dance for PD® program invites people with Parkinson’s and their families to transform their lives through dance. People living with Parkinson’s at all levels of ability and mobility explore movement and music with MMDG teaching artists. For more information and to register, please call 800-957-1046 ext. 5 or visit LJMS.org/free-events. Registered guests only.

Dance with MMDG®: Join this fun, low-impact class for all ages and abilities. No experience is necessary to join the class, which will be taught by Mark Morris Dance Group company members and accompanied by live music. After a gentle warm-up, you’ll get to learn Mark Morris original choreography.

Please wear comfortable attire; no shoes required. Registered guests only.

858.459.3728 • LJMS.ORG | 5

SUMMERFEST MUSICAL PRELUDES Program Notes by Eric Bromberger Quick Notes edited by Allison Boles REFLECTION

Tuesday, August 6 · 7 PM SCHUBERT Fantasy in C Major for Violin and Piano, D.934 (1797-1828) Benjamin Beilman, violin; George Li, piano

MOZART REWORKED

Thursday, August 8 · 7 PM BEETHOVEN Allegro from String Quartet in E Minor, Opus 59, (1770-1827) No. 2 LIGETI String Quartet No. 1 “Metamorphoses (1923-2006) Nocturnes” Callisto Quartet Paul Aguilar, Rachel Stenzel, violins; Eva Kennedy, viola; Hannah Moses, cello

BEETHOVEN COMPLETE STRING QUARTETS II: MIRÓ QUARTET

Friday, August 9 · 7 PM BEETHOVEN Piano Trio in C Minor, Opus 1, No. 3 (1770-1827) Allegro con brio

Andante cantabile con 5 variazioni Minuet: Quasi Allegro Finale: Prestissimo Trio Clara Ying Li, piano; Tatjana Roos, violin; Annie Jacobs-Perkins, cello

QUICK NOTE: Schubert wrote the Fantasy for Violin and Piano in December 1827, only eleven months before his death at age 31. The first section, marked Andante molto, opens with shimmering ripples of sound from the piano, and the lovely violin line enters almost unnoticed. Soon, though, it rises to soar above the accompaniment before brief cadenza-like passages for violin and then the piano leads abruptly to the Allegretto. The violin has the dance-like opening idea in this section, and quickly the instruments are imitating and answering each other. The Andantino is a set of variations on a melody that comes from Schubert’s song Sei mir gegrüsst (“Greeting to Thee”). At the conclusion of the variations, the shimmering music from the beginning returns briefly before the vigorous final section, marked Allegro vivace. Schubert brings the Fantasy to a close with a Presto coda, both instruments straining forward before the violin suddenly flashes upward to strike the concluding high C. QUICK NOTE: The two chords that open the Allegro will recur throughout, at quite different dynamic levels and used in quite different ways. The “theme” that follows seems almost a fragment, and Beethoven reduces it even further, isolating rhythmic motifs and developing intervals from this opening statement.

This is a big movement, and Beethoven asks for repeats of both the exposition and development (not always observed in performance) before the movement closes on a massive restatement of the opening theme, which suddenly fades into silence.

Formally, Ligeti’s String Quartet No. 1, which is subtitled “Metamorphoses Nocturnes,” may be thought of in several ways: as one continuous movement spanning about twenty minutes or as a sequence of miniature movements played without pause (the quartet is made up of a series of very short episodes at different tempos). The governing principle in this music is the continuous variation of material introduced at the very beginning (hence the quartet’s subtitle). One of the impressive things about the quartet is how good it sounds.

Everyone hears the influence of Bartók’s quartets on this music, and Ligeti incorporates some of that sound-world into his own music. Throughout, there is a freshness, a brilliance, and a clarity to the writing that makes this music exhilarating to hear.

QUICK NOTE: Beethoven was particularly anxious that the first work he published in Vienna—and the first work he assigned an opus number—should be successful. He chose for this first official publication a set of three piano trios on which he had worked for several years. They were published in July 1795, but all three had been performed before that—Beethoven was so anxious for the trios to succeed that he had them performed while still in manuscript so he could refine the work that would mark the beginning of his career. This trio is remarkable if for no other reason than it is Beethoven’s first work in C minor, the key that would call forth some of his most impassioned music: the Pathetique Sonata, the Fourth String Quartet, the Funeral March of the Eroica, and the Fifth Symphony, to name only the best-known examples. This trio shares some of that same C-minor spirit.

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

INVENTIONS

Wednesday, August 14 · 7 PM SCHUMANN Quintet for Piano and Strings in E-flat Major, (1810-1856) Opus 44

Allegro brillante In modo d’una Marcia Scherzo: Molto vivace Allegro, ma non troppo Ying Li, piano; Callisto Quartet Paul Aguilar, Rachel Stenzel, violins; Eva Kennedy, viola; Hannah Moses, cello

BEETHOVEN COMPLETE STRING QUARTETS III: EHNES QUARTET

Friday, August 16 · 7 PM ARENSKY Piano Trio in D Minor, Opus 32 (1861-1906) Allegro moderato

Scherzo: Allegro molto Elegia: Adagio Finale: Allegro non troppo Trio Clara Ying Li, piano; Tatjana Roos, violin; Annie Jacobs-Perkins, cello

LOVE STORIES

Tuesday, August 20 · 7 PM C. SCHUMANN Piano Trio in G Minor, Opus 27 (1819-1896) Allegro moderato Scherzo Andante Allegretto Trio Clara Ying Li, piano; Tatjana Roos, violin; Annie Jacobs-Perkins, cello

SYNERGY SERIES III: IN STEP

Thursday, August 22 · 7 PM HAYDN String Quartet in G Major, Opus 77, No. 1 (1732-1809) Allegro moderato

Adagio Minuetto: Presto Presto Callisto Quartet Paul Aguilar, Rachel Stenzel, violins; Eva Kennedy, viola; Hannah Moses, cello

QUICK NOTE: Robert Schumann established himself as a composer with his pieces for piano and his songs, but in 1841, the year after his marriage to the young Clara Wieck, Schumann wrote for orchestra, and during the winter of 1842, he began to think about chamber music. After struggling to write three quartets, Schumann found that the Piano Quintet came easily. The quintet may be Schumann’s most successful chamber work, but this music sometimes stretches the notion of the equality of all players that is central to chamber music. Schumann’s quintet has a clear star: the piano is the dominant force in this music—there is hardly a measure when it is not playing—and Schumann uses it in different ways, sometimes setting it against the other four instruments, sometimes using all five in unison, rarely allowing the quartet to play by itself. The addition of his own instrument to the string quartet clearly opened possibilities for Schumann that he did not recognize in the quartet.

QUICK NOTE: The son of two passionate amateur musicians, Anton Stepanovich Arensky studied with Rimsky-Korsakov at the St. Petersburg Conservatory and received the gold medal on his graduation in 1882. The same year, at age 21, he became professor of harmony at the Moscow Conservatory, where he was a friend and colleague of Tchaikovsky and taught Rachmaninoff, Scriabin, and Glière. Arensky wrote this trio in 1894 and dedicated it to the memory of Russian cellist Karl Davidov (1838-1889), who had served for several years as principal cellist of the Leipzig Gewandhaus Orchestra. Arensky has been described as an “eclectic” composer, and the influence of Tchaikovsky is strong here; some have also heard the influence of Mendelssohn, whose own Piano Trio in D Minor is one of the most famous in the literature.

QUICK NOTE: In a diary entry written at age 20, Clara Schumann made clear her mixed feelings about composing, and in the process she spelled out some of the difficulties facing any woman who wished to compose in the nineteenthcentury: “I once thought that I possessed creative talent, but I have given up this idea; a woman must not desire to compose—not one has been able to do it, and why should I expect to? It would be arrogance, although, indeed, my father led me into it in earlier days.” Yet Schumann continued to compose, and over the next 17 years she wrote a small number of works that include a Piano Concerto in A Minor, much piano music, and some graceful songs. The impulse in the Piano Trio in G Minor, written in 1846, is lyric rather than dramatic. The writing for piano is particularly idiomatic while the writing for strings shows the dominance of the violin typical of composers in this era.

QUICK NOTE: Haydn turned the string quartet into a great form. Music for two violins, viola, and cello had been written for years—usually as background or entertainment music—but in his cycle of 83 quartets Haydn transformed the quartet into an ensemble of four equal partners, wrote music that demanded the greatest musicianship and commitment from all four performers, and made the quartet the medium for some of his most refined expression. Commissioned

by Prince Lobkowitz, who would later be Beethoven’s patron, the two Opus 77 quartets of 1799 represent the culmination of a lifetime spent developing and refining the form: the Quartet in G Major is widely considered one of Haydn’s finest, and that is saying a great deal. Audiences might best approach this quartet by listening for the many signs of a master’s touch: the liberation of all four voices, the rapid exchanges of melodic line between them, and the beautifully idiomatic writing for all four instruments—including the oftenneglected viola.

858.459.3728 • LJMS.ORG | 7

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

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

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

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

PROGRAM NOTES All of La Jolla Music Society’s program notes are protected under copyright by the authors.

For permission and information on use of contents of this publication contact Marketing@LJMS.org.

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

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

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

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

TABLE OF CONTENTS

Calendar of Events Community Engagement Activities/Dig Deeper into the Music Musical Prelude Quick Notes

2 4 6

Welcome Letter 10

Artist Roster 11

Program Notes 12

Artist Biographies 69

SummerFest Commission History 80

SummerFest Grand Tradition 81

Board of Directors & Staff Listing 86

Support 87

MISSION STATEMENT To enhance the vitality and deepen the cultural life of San Diego by presenting and producing a dynamic range of performing arts for our increasingly diverse community.

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

858.459.3728 • LJMS.ORG | 9

TRANSFORMATION Welcome to Summerfest 2019!

It is with great pride and excitement that I embark on my first year as music director of this formidable festival, the first in its spectacular new home—The Conrad.

When programing for a festival with such a rich and celebrated history, I had to think about an issue composers and artists had to contend with for centuries: How to build on the past, while at the same time looking to the future.

This led me to an idea that became this year’s theme: Transformation.

With each concert we explore a different aspect of how composers were inspired by the music that came before them, and how they incorporated the past into their work. We also experience how reworking pieces for different instrumentation can reveal different facets of those works and make us listen to them anew. In the first part of a two-year exploration of the entire cycle of Beethoven’s string quartets we follow a single composer’s evolution and the way it shaped music history. Composer David Lang joins us as guest curator for a look at composers writing new music that comes out of older traditions.

Finally, I’m extremely proud to present a brand new and groundbreaking series, SYNERGY, in which we invite some of the most exciting artists from a variety of art forms to work together with classical musicians to create meaningful cross-disciplinary collaboration.

I’m thrilled to welcome the two fantastic young Fellowship Artist Ensembles, the Callisto Quartet and Trio Clara. You’ll be able to hear them in daily Coaching Workshops with festival musicians and in Musical Preludes, Encounters and mainstage concerts throughout the festival.

I’m grateful to all who made this festival possible, and to all of you who welcomed me here with open arms from the moment I first played at Summerfest.

I hope you can join us for this transformative journey.

Inon Barnatan SummerFest Music Director

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

Inon Barnatan

MUSIC DIRECTOR

Inon Barnatan VIOLIN Benjamin Beilman James Ehnes Liza Ferschtman Augustin Hadelich Kathryn Hatmaker Jun Iwasaki Stefan Jackiw Erin Keefe Yura Lee Cho-Liang Lin Andrew McIntosh Alyssa Park Philippe Quint Jeanne Skrocki Andrew Wan VIOLA Angela Choong Brett Dean Hsin-Yun Huang Yura Lee Caterina Longhi Travis Maril Richard O’Neill Masumi Per Rostad Cynthia Phelps CELLO Edward Arron Carter Brey Felix Fan Clive Greensmith Kenneth Olsen Alisa Weilerstein BASS Nico Abondolo Timothy Cobb PIANO Timo Andres Inon Barnatan Jonathan Biss Aaron Diehl George Li Conrad Tao Qian Wu

CLARINET Anthony McGill Joseph Morris Frank Renk Osmo Vänskä BASSOON Brad Balliett Valentin Martchev HORN Mike McCoy Keith Popejoy VOICE Tyler Duncan Nora Fischer John Holiday Cécile McLorin Salvant David Pershall Susanna Phillips Robin Tritschler Jennifer Zetlan PERCUSSION Dustin Donahue Jason Ginter ELECTRIC GUITAR Derek Johnson HARMONIUM & HARPSICHORD Inon Barnatan Tina Chong Colin Fowler Alison Luedecke Nicholas McGegan

COMMISSIONED COMPOSER Brett Dean Conrad Tao COMPOSER-IN-RESIDENCE David Lang DANCE Mark Morris Dance Group Mark Morris, Artistic Director Colin Fowler, Music Director

ENSEMBLES Brentano Quartet Serena Canin, violin Mark Steinberg, violin Misha Amory, viola Nina Lee, cello Ehnes Quartet James Ehnes, violin Amy Schwartz Moretti, violin Richard O’Neill, viola Edward Arron, cello Miró Quartet Daniel Ching, violin William Fedkenheuer, violin John Largess, viola Joshua Gindele, cello red fish blue fish Fiona Digney, percussion Sean Dowgray, percussion SummerFest Chamber Orchestra

FELLOWSHIP ARTIST ENSEMBLES Callisto Quartet Paul Aguilar, violin Rachel Stenzel, violin Eva Kennedy, viola Hannah Moses, cello Trio Clara Ying Li, piano Tatjana Roos, violin Annie Jacobs-Perkins, cello VISUAL ARTIST Tristan Cook, filmmaker Doug Fitch, designer & director Caio Fonseca, abstract painter Lutz Rödig, director Zack Smithey, multidisciplinary artist Michelle Zamora, puppeteer LECTURER Allison Boles Eric Bromberger Kristi Brown Montesano Robert John Hughes Nicolas Reveles Leah Rosenthal Alex Ross

CONDUCTOR Nicholas McGegan Osmo Vänskä

FLUTE Henrik Heide Rose Lombardo OBOE Laura Griffiths James Austin Smith Lara Wickes

Erin Keefe

Osmo Vänskä

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OPENING NIGHT: THE TIME TRAVELER’S SUITE Friday, August 2, 2019 · 8 PM THE BAKER-BAUM CONCERT HALL

Please hold applause until intermission.

THE TIME TRAVELER’S SUITE J.S. BACH Allegro from Brandenburg Concerto No. 2 in F Major, BWV 1047 (1685-1750)

COUPERIN

Adagio from Trio Sonata in G Minor for Two Violins and Continuo, Opus 2, No. 5, HWV 390 La Poule from 6 concerts transcrits en sextour

Entrée de Polymnie from Les Boréades Les baricades mistérieuses (arr. Adès)

RAVEL

Rigaudon from Le Tombeau de Couperin

STRAVINSKY

Serenata from Suite Italienne

HANDEL

(1685-1759)

RAMEAU

(1683-1764) (1668-1733)

(1875-1937) (1882-1971)

Prelude 7 PM Conversation with SummerFest Music Director, Inon Barnatan hosted by Eric Bromberger Support for this program generously provided by:

Monarch Cottage

CHARLES Selections from Bearbeitungen über Des Glogauer Liederbuch

WUORINEN 1. Pauli di Broda Carmen (b. 1938) 2. Dy Ezels Crone GUILLAUME Techno Parade

CONNESSON

(b. 1970)

J.S. BACH

Finale from Brandenburg Concerto No. 2 in F Major, BWV 1047

Erin Keefe, Stefan Jackiw, Benjamin Beilman, violins; Masumi Per Rostad, viola; Alisa Weilerstein, cello; Timothy Cobb, bass; Henrik Heide, flute; James Austin Smith, oboe; Anthony McGill, clarinet; Frank Renk, bass clarinet; Valentin Martchev, basson; Inon Barnatan, harpsichord

INTERMISSION

Movement II from “All I had forgotten or tried to” WORLD PREMIÈRE

Stefan Jackiw, violin; Conrad Tao, piano HALVORSEN Passacaglia for Violin and Cello (after Handel)

(1864-1935) Benjamin Beilman, violin; Alisa Weilerstein, cello RACHMANINOFF Suite No. 2 for Two Pianos, Opus 17

(1873-1943) Introduction Waltz Romance Tarantella

Inon Barnatan, Conrad Tao, pianos CONRAD TAO

(b. 1994)

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

OPENING NIGHT: THE TIME TRAVELER’S SUITE — PROGRAM NOTES

Program Notes by Eric Bromberger, except where indicated.

Allegro from Brandenburg Concerto No. 2 in F Major, BWV 1047

JOHANN SEBASTIAN BACH Born March 21, 1685, Eisenach, Germany Died July 28, 1750, Leipzig Composed: 1721 Approximate Duration: 5 minutes

In 1721 Bach sent a set of six concertos to the Margrave of Brandenburg, who had expressed some casual interest in his music. That interest must have been casual indeed—the Margrave never had that music performed and instead consigned it to dusty shelves, where it sat for over a century. Since their publication in 1850, however, these concertos have become audience favorites everywhere, and the irony is that they have conferred a form of immortality on that uncaring German official: we know them as the Brandenburg Concertos.

The Concerto No. 2 in F Major is the most festive of the set, and its spirited opening movement makes a perfect beginning for SummerFest 2019. Bach conceived this music as a concerto grosso, which sets a group of soloists against the orchestra—it was a form Bach had learned from Vivaldi. But where Vivaldi’s soloists were usually two violins and a cello, Bach was more imaginative: the soloists in this concerto are a trumpet, flute, oboe, and violin.

The trumpet (in F) has always posed problems—its sound is so piercing that it almost seems capable of shattering glass. Such an instrument can easily drown out the other soloists, especially the flute (which in Bach’s time would have been the wooden recorder), and performers face difficult problems balancing the voices in this concerto. At this concert the trumpet part is played on an E-flat clarinet, which makes for much better balance in a chamber-sized ensemble. Lest purists gasp too deeply, we should remember that Arturo Toscanini made exactly the same substitution when he performed the Brandenburg Concerto No. 2 with the New York Philharmonic in 1936.

Adagio from Trio Sonata in G Minor for Two Violins and Continuo, Opus 2, No. 5, HWV 390

GEORGE FRIDERIC HANDEL Born February 23, 1685, Halle, Germany Died April 14, 1759, London Composed: 1718 Approximate Duration: 3 minutes

The first half of this concert explores the conception of the baroque suite, a form that could weave together many different kinds of music, and with the second piece we encounter music far different from Bach’s ebullient Second Brandenburg. This Adagio is the second movement of Handel’s Trio Sonata in G Minor, composed in England in 1718 at virtually the same moment Bach was composing the Brandenburg Concertos in Saxony. A trio sonata combines two high melodic instruments (in this case two violins) over a continuo line that might be undertaken by a variety of instruments, including harpsichord, cello or double bass, organ, or plucked instruments such as the lute or theorbo (at this concert the continuo consists of cello and harpsichord).

Above this rich harmonic context, the two violins sing, interweave, and exchange Handel’s graceful melodic lines.

La Poule from 6 concerts transcrits en sextour

JEAN-PHILIPPE RAMEAU Baptized September 25, 1683, Dijon, France Died September 12, 1764, Paris Composed: 1728 Approximate Duration: 6 minutes

Rameau wrote about fifty short pieces for harpsichord, and these were published in three volumes in 1724, 1728, and 1741. Rameau was famous for the descriptive titles (and descriptive music!) of his keyboard pieces, and many of the movements in these suites have descriptive titles.

La Poule (“The Hen”) is probably the most famous music from the collection published in 1728. Rameau was, like Messiaen two centuries later, drawn to bird calls, and this piece resounds with the clucking of a hen. Rameau takes care to write his transliteration of that sound (Co co co co co co co dai) into the keyboard part to remind the performer of how this music should sound. The music is heard at this concert in an arrangement for string sextet.

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OPENING NIGHT: THE TIME TRAVELER’S SUITE — PROGRAM NOTES

Entrée de Polymnie from Les Boréades Composed: 1763 Approximate Duration: 5 minutes

One of Rameau’s final operas, Les Boréades was rehearsed in Paris in 1763, but apparently not performed, and it had to wait until long after its composer’s death for a production. The opera tells of the abduction of Queen Alphise by the violent boréades, descendants of the North Wind. The “Entrance of Polymnie” comes from Act IV, when Polymnia—goddess of poetry, dance and eloquence—descends to encourage the despairing hero Abaris to set out to rescue Alphise. The music that accompanies her appearance is elegant and graceful, wellsuited to the dignity and powers of this goddess.

has been arranged for countless instruments and ensembles, and this music always works, no matter the instrumentation.

Movie-goers will recall that director Terence Malik used it to good effect throughout his film The Tree of Life. At this concert, a twenty-first century composer, Thomas Adès, looks back across three centuries and offers his perspective on this haunting music.

Rigaudon from Le Tombeau de Couperin

MAURICE RAVEL

Born March 7, 1875, Ciboure, Basses-Pyrennes Died December 28, 1937, Paris Composed: 1917 Approximate Duration: 3 minutes

Ravel’s Le Tombeau de Couperin brings another retrospective take on baroque music. In the second decade of the twentieth century, Ravel found himself drawn to the music of France’s past. He embarked on a lengthy study of eighteenth-century French keyboard music and planned to write a collection of his own piano pieces in the manner of the eighteenth-century clavecinists. His working title for this work was French Suite. Then in the summer of 1914, as Ravel was drafting this music, World War I exploded across Europe. Ravel enlisted in the French army and—at age 40—drove ambulances carrying wounded back from the front. For a nature as sensitive as Ravel’s, the experience was devastating, and—to compound his misery—the composer’s mother died while he was gone. Under these conditions, what had begun as the French Suite evolved into something quite different. In 1917 Ravel completed a suite of six movements for piano, dedicating each to the memory of a friend who had been killed in the war. He gave the piece a title that suggests that this music is both an act of homage to France’s musical past and a memorial to victims of the war: Le Tombeau de Couperin, or “The Tomb of Couperin.”

This concert offers the fourth movement of Ravel’s piano suite in an arrangement for five wind instruments: flute, oboe, clarinet, bass clarinet, and bassoon. A rigaudon is a lively folk-dance in duple meter and short phrases, thought to be originally from Provençal. Ravel’s Rigaudon bursts to life with a bright brass flourish in C major, followed instantly by the dance-tune. The central episode slips into C minor, but the opening dance returns with all its energy to rush Le Tombeau de Couperin to its close on the opening flourish.

Les baricades mistérieuses (arr. Adès)

FRANCOIS COUPERIN Born November 10, 1668, Paris Died September 11, 1733, Paris Composed: 1716 Approximate Duration: 3 minutes

Over the final two decades of his life Francois Couperin published 220 pieces for the harpsichord. A large number of these are what we today call character pieces—short descriptive pieces. Some offer musical portraits of people Couperin knew, while others describe specific things: Le moucheron (The Gnat), Les petits moulins à vent (The Little Windmills), L’anguille (The Eel). And Couperin had a nice, wry sense of everyday reality: one of his pieces describes his operation for gallstones. Many times, however, Couperin’s titles are abstract, sometimes intentionally obscure, and one of Couperin’s pieces with an obscure title, Les baricades mistérieuses, has haunted performers and audiences for the last three hundred years. No one has any idea what these “mysterious barricades” are, but there can be no denying the mesmerizing, soothing power of this music. It is a short rondeau in what has been called the style brisé, or “broken style,” in which chords are “broken” or arpeggiated, and the thematic material grows almost incidentally out of the music’s rippling, interlocking textures.

Les baricades mistérieuses can be described concisely: it is a rondeau based on an eight-bar theme that falls into four episodes that Couperin called couplets—the entire piece flashes past in just over two minutes. But so technical a description misses the extraordinary power of Les baricades mistérieuses. Every listener responds to the precision and formal balance of this music—there is something compelling about just that precision. Les baricades mistérieuses

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

OPENING NIGHT: THE TIME TRAVELER’S SUITE — PROGRAM NOTES

Serenata from Suite Italienne

Techno Parade

Born June 17, 1882, Oranienbaum, Russia Died April 6, 1971, New York City Composed: 1932 Approximate Duration: 4 minutes

Born May 5, 1970, Boulogne-Billaincourt, France Composed: 2002

IGOR STRAVINSKY

Shortly after World War I Serge Diaghilev, impresario of the Ballets Russes, suggested that Stravinsky compose a ballet based on themes by the Italian composer Giovanni Pergolesi (1710-1736) and showed him some of Pergolesi’s music. Stravinsky was entranced. Over the next year he composed a ballet with song in eighteen parts, based on themes from Pergolesi’s operas and instrumental music.

Stravinsky kept Pergolesi’s melodic and bass lines, but supplied his own harmony and brought to this music his incredible rhythmic vitality. First produced in Paris on May 15, 1920, with sets by Picasso and choreography by Massine, Pulcinella was a great success. In 1932 Stravinsky and Gregor Piatigorsky made an arrangement for cello and piano of six excerpts from Pulcinella and titled it Suite Italienne. The second movement of that suite is a lyric Serenata, based on an aria from Pergolesi’s opera Il Flaminio.

Selections from Bearbeitungen über Des Glogauer Liederbuch 1. Pauli di Broda Carmen 2. Dy Ezels Crone

CHARLES WUORINEN Born June 9, 1938, New York City Composed: 1962 Approximate Duration: 3 minutes

Now 81, Charles Wuorinen has always been known for his complex and sometimes aggressive music, often based on serial techniques—after hearing a rehearsal of Wuorinen’s Violin Concerto, Aaron Copland wryly noted: “This is the first time in my life I have ever felt like a nineteenth-century composer.” Yet Wuorinen has always had a keen sense of the music of the distant past, and he has arranged and used the techniques of medieval music in many of his own works. In 1962, when he was only 24, Wuorinen discovered a collection of dances, songs, and sacred and instrumental music that had been gathered by the canon of the Glogau Cathedral in Silesia around 1475.

Wuorinen arranged (Bearbeitungen means “reworkings”) six of these for an ensemble of flute (doubling piccolo), clarinet (doubling bass clarinet), violin, and contrabass, in the process making them sound like a pleasing combination of fifteenth and twentieth-century music. This concert offers the first two movements of his Bearbeitungen.

GUILLAUME CONNESSON Approximate Duration: 5 minutes

Guillaume Connesson studied piano, composition, and conducting as a young man and won the Nadia and Lili Boulanger Prize in 1999. He has served as a composer-inresidence with several orchestras, and his music has been widely performed in Europe and, more recently, in the United States. He currently teaches at the AubervilliersLa Courneuve Conservatory.

Connesson composed Techno Parade in 2002, and he has prepared a brief introduction: “Composed for flute, clarinet and piano, my Techno Parade is made up of one movement with a continuous beat from beginning to end. Two incisive motifs swirl and clink together giving the piece a festive, but also disturbing character. The wails of the clarinet and the obsessive patterns of the piano try to replicate the raw energy of techno music. In the middle of the piece, the pianist and his page-turner chase after the piano rhythms with a brush and sheets of paper (placed on the strings inside the piano), accompanied by the distorted sounds of the flute (rather like the tone of a side drum) and the glissandi of the clarinet. After this percussive ‘pause’ the three instruments are pulled into a rhythmic trance and the piece ends in a frenzied tempo.”

Finale from Brandenburg Concerto No. 2 in F Major, BWV 1047

JOHANN SEBASTIAN BACH Approximate Duration: 5 minutes

This concert opened with the first movement of the Brandenburg Concerto No. 2, and the first half concludes with the finale of that concerto. This Allegro assai is fugal in construction, and the trumpet (here the clarinet) introduces the main subject, followed by oboe, violin, and flute. This movement belongs largely to the soloists, who often play with only continuo accompaniment; the writing for the soloists here of unbelievable brilliance and virtuosity.

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OPENING NIGHT: THE TIME TRAVELER’S SUITE — PROGRAM NOTES

Movement II from “All I had forgotten or tried to”

CONRAD TAO Born June 11, 1994, Urbana, Illinois Composed: 2019 Approximate Duration: 5 minutes

In the summer of 2017 I was asked if I would play a piece of mine for an encore. I didn’t have any threeminute pieces lying around, so I wrote one. The piece takes its title from a passage in Impossible Princess, a book by the New Narrative writer Kevin Killian. Impossible Princess is a collection of short stories, poetry, and erotica, and it takes its title from the 1998 Kylie Minogue album of the same name.

In 2019, after playing “All I had forgotten or tried to” in violin-piano duo form with Stefan Jackiw for about a year, I wrote an additional movement to the piece for him, which takes the free single-line melodic atmosphere of the initial work and—through basic pitch multiplication—condenses that energy and refracts it. I am interested in the sonics of “effort” and “excess”: how we might hear these as activated ideas, or as layers of lyricism. What if lyricism emerged out of seeming stillness?—like looking intently at a rock face, or at the reflection of light in water, or at another’s body.

Conrad Tao

Passacaglia for Violin and Cello (after Handel)

GEORGE FRIDERIC HANDEL Born February 23, 1685, Halle Died April 14, 1759, London

JOHANN HALVORSEN Born March 15, 1864, Drammen, Norway Died December 4, 1935, Oslo Composed: 1893 Approximate Duration: 8 minutes

This pleasing music is a joint composition by two composers who lived 150 years apart. Handel we know.

Johann Halvorsen began his career as a violinist and became the concertmaster of the Bergen orchestra. A friend and disciple of Grieg, Halvorsen married Grieg’s niece. Halvorsen described the Passacaglia for Violin and Violin, composed in 1893, as being “after Handel,” and its fundamental thematic material is derived from the last movement of Handel’s Suite No. 7 in G Minor, originally composed for harpsichord in London about 1720. That last movement is a passacaglia: Handel composed a four-bar ground bass, then wrote a series of variation on that ground bass as it repeated. Halvorsen took that movement as his

starting point, and his treatment of it is quite interesting.

He begins by offering the first several sections of Handel’s music almost literally, arranging the right-hand line for violin, the left-hand line for cello. But as the music proceeds, it becomes less Handel and more Halvorsen. Halvorsen was a terrific violinist, and his variations are based on techniques dear to the hearts of string players: some are doublestopped, some alternate pizzicato and bowed passages, others require dazzling runs.

It’s too bad Handel wasn’t around to see what Halvorsen did with his music—he would have loved it.

Suite No. 2 for Two Pianos, Opus 17

SERGE RACHMANINOFF Born April 1, 1873, Semyonovo, Russia Died March 28, 1943, Beverly Hills Composed: 1900-01 Approximate Duration: 23 minutes

The critical response to Rachmaninoff’s First Symphony in 1897 had been so vicious that the young composer was left shaken and unable to compose. His family finally convinced him to see a psychologist, who treated him through hypnotic suggestion. Rachmaninoff spent the summer of 1900 in Italy, then returned to Russia and that fall composed the second and third movements of his Second Piano Concerto. The triumphant première of those two movements in Moscow on December 2 seemed to restore his confidence: between December 1900 and April 1901 Rachmaninoff composed the present Suite for Two Pianos, then completed the first movement of the concerto and his Cello Sonata. Rachmaninoff and Alexander Ziloti gave the first performance of the Suite in Moscow on November 24, 1901.

This is big music—ebullient and powerful—and its good tunes and rich sonority have made it a favorite with duo-pianists. The four movements rest on some unusual key progressions, and harmonically the Suite concludes far from its beginning. Each of the movements has a title as well as an Italian tempo indication. The Introduction, in heroic C major, has a firm, declarative opening that gives way to a more poised (but still quite animated) second subject.

Its propulsive rhythms continue throughout, even as the movement draws to a quiet close. The second movement, a Waltz in G major, opens with a burst of shining energy from which the broad waltz melody gradually emerges and then develops at length. The Romance, in A-flat major, is based on one of those wonderful Rachmaninoff melodies— deep and dark—that eventually grows to a ringing climax before the movement concludes peacefully. The finale, a

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

OPENING NIGHT: THE TIME TRAVELER’S SUITE — PROGRAM NOTES

Tarantella in the unexpected key of C minor, is based on a theme Rachmaninoff is said to have found in a collection of old tunes during his visit to Genoa and Milan the summer before composing the Suite. The energy that has characterized the entire work returns here with a vengeance, eventually driving this movement to a thunderous conclusion that remains unremittingly in C minor.

Rachmaninoff recorded many of his own works, but never this Suite. He did, however, continue to perform it—and under some unusual circumstances. Late in life, Rachmaninoff became good friends with Vladimir Horowitz and greatly respected the younger man’s abilities.

Occasionally—and for family members only—they would perform two-piano music together, and the Second Suite was one of the works they would play. Rachmaninoff’s biographer Sergei Bertensson was present at the composer’s home in Beverly Hills in June 1942, only nine months before his death, and left this account of a RachmaninoffHorowitz performance of this Suite: “It is impossible to word my impression of this event. ‘Power’ and ‘joy’ are the two words that come first to mind—expressive power, and joy experienced by the two players, each fully aware of the other’s greatness. After the last note no one spoke—time seemed to have stopped.”

It is our loss that no one thought to record that performance, now gone forever.

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Tina Chong

Anthnoy McGill

Prelude 7 PM Lecture by Eric Bromberger In these “Songs of Heaven and Earth,” Bach, Messiaen, and Mahler lead us on the journey from earth to heaven.

This lecture traces the ways those composers transform that journey— which can be so threatening—into such radiantly beautiful music.

Support for this program generously provided by:

Julie and Bert Cornelison

Timothy Cobb

Alisa Weilerstein

SONGS OF HEAVEN AND EARTH Saturday, August 3, 2019 · 8 PM THE BAKER-BAUM CONCERT HALL J.S. BACH

Ich habe genug, BWV 82a

(1685-1750) Aria: Ich habe genug

Recitativo: Ich habe genug! Mein Trost ist nur allein Aria: Schlummert ein, ihr matten Augen Recitativo: Mein Gott! Wenn kömmt das schöne: Nun! Aria: Ich freue mich auf meinem Tod

Tyler Duncan, baritone; James Austin Smith, oboe; Stefan Jackiw,

Andrew McIntosh, violins; Angela Choong, viola; Kenneth Olsen, cello;

Timothy Cobb, bass; Tina Chong, harpsichord MESSIAEN Louange à l’Immortalité de Jésus from

(1908-1992) Quatuor pour la fin du temps

Stefan Jackiw, violin; Conrad Tao, piano

INTERMISSION

MAHLER

Symphony No. 4 in G Major (arr. Stein)

(1860-1911) Bedächtig. Nicht eilen.

Im gemächlicher Bewegung. Ohne Hast.

Ruhevoll. (Poco Adagio.)

Sehr behaglich

Susanna Phillips, soprano; Erin Keefe, Benjamin Beilman, violins;

Masumi Per Rostad, viola; Alisa Weilerstein, cello; Timothy Cobb, bass;

Henrik Heide, flute & piccolo; James Austin Smith, oboe & english horn;

Anthony McGill, clarinet & bass clarinet; Dustin Donahue, Jason Ginter,

percussion; Inon Barnatan, piano; Alison Luedecke, harmonium;

Osmo Vänskä, conductor 18 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

SONGS OF HEAVEN AND EARTH — PROGRAM NOTES

Program Notes by Eric Bromberger

Ich habe genug, BWV 82a

JOHANN SEBASTIAN BACH Born March 21, 1685, Eisenach, Germany Died July 28, 1750, Leipzig Composed: 1727 Approximate Duration: 8 minutes

In May 1723 Bach left his position in Cöthen and moved his household 35 miles to the south, where he took up his new position as Cantor of the Thomaskirche in Leipzig. In the process, his duties changed dramatically.

In Cöthen Bach had been kapellmeister to a musicloving prince who provided him with a small professional orchestra, and there Bach had written only secular instrumental music. In Leipzig Bach was responsible for all the music performed in that city’s churches, and one of his responsibilities was to provide a new cantata every week. It was killing work, but Bach got it done: over the next six years he composed five complete cycles of cantatas for Sunday services (of those 300 cantatas, about 100 have been lost).

Bach’s cantatas in Leipzig fell—generally—into two types. One was the chorale cantata. Based on one of the many old Lutheran chorales, these were often large-scaled works that employed a chorus and sometimes soloists and were accompanied by an orchestra that might open the cantata with a sinfonia. The other was the solo cantata. This dispensed with the chorus in favor of a single singer, and it often dispensed with the orchestra as well—Bach usually accompanied the solo singer in these cantatas with just a chamber ensemble.

The Cantata No. 82 “Ich habe genug” is a solo cantata.

Bach composed it for the Feast of the Purification of Mary in 1727, and it was first performed at the Thomaskirche on February 2 of that year. In its original form, the cantata was scored for bass soloist, oboe, two violins, viola, bass instrument, and continuo, and almost certainly Bach played the harpsichord at that performance.

The composer remained very fond of this cantata and performed it several times over the following years. In 1731 he revised it, re-scoring it for soprano soloist and replacing the oboe with a flute. The latter is the version performed at the present concert.

The title Ich habe genug translates variously as “I have enough” or “I have sufficient,” though it is often rendered as “I am content.” The anonymous text may seem at first a dark one: the singer accepts the fact of death, longs for it, and in the final aria sings happily of her anticipation of

death and her release from earthly woes. Yet the impact of this music is not mournful—this cantata welcomes death as the portal to eternal life and fulfillment. It consists of three arias separated by two recitatives. The first movement, “Ich habe genug,” is a da capo aria in which the soprano announces that she has enough and wishes to depart this life. The tone is calm, and the gentle sound of the flute complements the soprano beautifully. The first recitative longs for release. Next comes the beautiful “Schlummert ein, ihr matten Augen,” another da capo aria. This is the longest movement in the cantata, and here falling asleep becomes the metaphor for death. Bach illustrates this musically with frequent fermatas that bring the music to a full stop. This aria is a particular favorite of singers and is often performed separately. The brief second recitative repeats the soul’s longing for death, which is described as “the lovely Now!” Bach casts the final movement in a quick 3/8 and specifies that it should be Vivace. In this joyful dance movement, the soprano once again expresses her happy anticipation of death and the release from life that it will bring.

The topic may seem a dark one, but this is beautiful, reassuring music, and one can understand why it was such a favorite of Bach himself. It is also a favorite of singers, and this appears to be the most frequently recorded of all Bach’s cantatas—it has been recorded over a hundred times. The soloists in these recordings include Dietrich Fischer-Dieskau (who recorded it three times), Janet Baker, Peter Schreier, Thomas Quasthoff, Lorraine Hunt Lieberson, and many, many more.

Louange à l’Immortalité de Jésus from Quatuor pour la fin du temps, BWV 82a

OLIVIER MESSIAEN Born December 10, 1908, Avignon, France Died April 28, 1992, Paris Composed: 1940 Approximate Duration: 7 minutes

Called up during World War II, Olivier Messiaen was serving as a medical auxiliary when the Germans overran France in the spring of 1940. He was taken prisoner and sent to a POW camp east of Dresden, where he discovered among his fellow prisoners a violinist, a clarinetist, and a cellist. A sympathetic German camp commander supplied Messiaen with manuscript paper and arranged to have an upright piano—old and out of tune—brought in for his use.

That fall, Messiaen wrote an extended work called Quatuor pour la Fin du Temps (Quartet for the End of Time) for the four musicians, who gave the première performance at that 858.459.3728 • LJMS.ORG | 19

SONGS OF HEAVEN AND EARTH — PROGRAM NOTES

prison camp—Stalag VIII A—on January 15, 1941. Their audience consisted of 5000 fellow POWs, who sat outside in sub-freezing temperatures to hear the performance.

“Never have I been listened to with such attention and understanding,” said Messiaen of that occasion.

It would be incorrect, however, to assume that the Quartet for the End of Time was written in response to the seemingly-endless existence of prisoners of war. Rather, Messiaen—a devout Catholic—took his inspiration from the Revelation of St. John the Divine in the Apocrypha, specifically from the tenth chapter: “I saw a mighty angel, descending from heaven, clothed in a cloud, having a rainbow on his head. His face was as the sun, his feet as columns of fire. He placed his right foot on the sea and his left foot on the earth, and, supporting himself on the sea and on the earth, he raised his hand towards Heaven and swore by Him who lives forever and ever, saying: There will be no more Time; but on the day of the trumpet of the seventh angel, the mystery of God will be completed.”

Louange à l’Immortalité de Jésus (“Praise for the Immortality of Jesus”) is the eighth and final movement of the quartet. It is scored for only violin and piano, and Messiaen specifies that the performance should be “Extremely slow and tender, ecstatic,” noting that the music should sound like “paradise” and that the violinist should play “with love.” The movement is firmly rooted in E major, and over a steady pulse in the piano the violin soars gracefully to an ecstatic climax and a barely-audible close.

The composer himself provided a description of this movement that is worth quoting in full: “Expansive violin solo balancing the cello solo of the fifth movement. Why this second glorification? It addresses itself more specifically to the second aspect of Jesus—to Jesus the man, to the Word made flesh, raised up immortal from the dead so as to communicate His life to us. It is total love. Its slow rising to a supreme point is the ascension of man toward his God, of the Son of God toward his Father, of the mortal newly made divine toward paradise—And I repeat anew what I said above: All this is mere striving and childish stammering if one compares it to the overwhelming grandeur of the subject!”

Symphony No. 4 in G Major (arr. Stein)

GUSTAV MAHLER Born July 7, 1860, Kalischt, Bohemia Died May 18, 1911, Vienna Composed: 1899-1900 Approximate Duration: 55 minutes

In April 1897 Mahler was named director of the Vienna Court Opera, the most prestigious post in the world of music. But the fierce demands of that position brought his composing to a standstill, and from the summer of 1896 until the summer of 1899 he composed no new music. Finally established in Vienna, he could return to creative work, and during the summer of 1899 he retreated to the resort town of Alt-Aussee in the Styrian Alps and composed the first two movements of his Fourth Symphony. He completed the symphony the following year at his new summer home on the shores of the Wörthersee and led the première in Munich on November 25, 1901.

The Fourth is Mahler’s friendliest symphony—even people who claim not to like Mahler take this music to their hearts. At just under an hour in length, it is also the shortest of Mahler’s ten symphonies, and it is scored for an orchestra that is—by his standards—relatively modest.

Mahler’s claim that the Fourth never rises to a fortissimo is not literally true, but it is figuratively true, for even at its loudest this symphony is Mahler’s most approachable work.

Much of its charm comes from the text sung by the soprano in the last movement, with its wide-eyed child’s vision of heaven. In fact, several recordings use a boy soprano in place of a woman in the finale, because the sound of a child’s voice is exactly right in this music. This sense of a child’s vision—full of wonder, innocence, and radiance— touches the entire Fourth Symphony.

At this concert Mahler’s Fourth Symphony is performed in an arrangement for a chamber ensemble, and some background is necessary here. In Vienna in 1919 Arnold Schoenberg formed the Society for Private Musical Performances, dedicated to performing new music, often in arrangements for chamber ensembles. Such performances gave enthusiasts a chance—in those days before recordings—to hear some of the music being composed during that period of enormous musical ferment.

Programs were not announced in advance, no critics were admitted, and applause was banned. Among the composers whose music was performed were Debussy, Ravel, Bartók, Stravinsky, and many others. The Society survived for only about three years before it was done in by inflation, but in that period it gave 353 performances of 154 works, often performing a work several times on the same program. The

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

SONGS OF HEAVEN AND EARTH — PROGRAM NOTES

present arrangement of Mahler’s Fourth Symphony was made in 1921 by Erwin Stein (1885-1958), one of Schoenberg’s students and later an editor at Universal Edition and Boosey & Hawkes. Stein arranged the Fourth Symphony for an ensemble of thirteen performers: soprano, string quartet, double bass, flute/piccolo, oboe/English horn, clarinet/bass clarinet, bassoon, percussion, piano, and harmonium.

The symphony opens with the sound of sleigh bells, and first violin quickly sings the graceful main subject.

Mahler marks this movement Bedächtig (“Deliberately”), and it is remarkable for the profusion of its melodic material. We arrive at what seems to be the development, and scarcely has this begun when an entirely new theme—a radiant call for flute—looks ahead to the celestial glories of the final movement. This movement proceeds melodically rather than dramatically—there are no battles fought and won here—and at the end the opening violin theme drives the movement to its ringing close on great G-major chords.

The second movement—In gemächlicher Bewegung (“Moving leisurely”)—is in a rather free form: it might be described as a scherzo with two trios. Mahler requires here that the concertmaster play two violins, one of them tuned up a whole step to give it a whining, piercing sound— Mahler asks that it sound Wie eine Fiedel: “like a fiddle.”

Mahler said that this movement was inspired by a selfportrait by the German painter Arnold Böcklin in which the devil—in this case a skeleton—plays a violin (with only one string!) in the painter’s ear. Despite all Mahler’s suggestions of demonic influence, this music remains genial rather than nightmarish—in Donald Francis Tovey’s wonderful phrase, the shadows cast here “are those of the nursery candlelight.”

However attractive the second movement may be, it finds its match in the third, marked Ruhevoll (“Peaceful”), which begins with some of the most beautiful music ever written: a long, glowing melody for cello and its countertheme in the violins. This movement is in variation form, with the variations based on this opening theme and on a more somber second subject, sung first by the oboe. Near the close, violins suddenly leap up and the gates of heaven swing open: brilliant fanfares offer a glimpse of paradise, but that finale must wait for this movement to reach its utterly peaceful close.

Out of the silence, clarinet sings the main theme of the finale, marked Sehr behaglich (“Very comfortable”), and soon the soprano takes up her gentle song. Mahler had originally composed this song, titled Das himmlische Leben (“The Heavenly Life”), in 1892 when he was conductor

of the Hamburg Opera. Its text, drawn from Das Knaben Wunderhorn, offers a child’s vision of heaven. Mahler said that he wished to create a portrait of heaven as “clear blue sky,” and this vision of heaven glows with a child’s sense of wonder. It is a place full of apples, pears, and grapes, a place where Saint Martha does the cooking, Saint Peter the fishing, where there is music and dancing and joy. The sleigh bells from the symphony’s opening now return to separate the four stanzas, and at the end the soprano sings the key line: “Kein Musik ist ja nicht auf Erden” (“There is no such music on earth”). For this truly is heavenly music, music of such innocence that it feels as if it must have come from another world, and this most peaceful of Mahler symphonies draws to a barely-audible close.

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Henrik Heide

Stefan Jackiw

ANCIENT VOICES

Prelude 2 PM Lecture by Eric Bromberger This program of “Ancient Voices” takes us from the depths of the ocean through shimmering imaginary landscapes and concludes firmly with one of the best-loved of all cello sonatas. Eric Bromberger explores how this strange mix of pieces comes together to form so convincing a concert.

Sunday, August 4, 2019 · 3 PM THE BAKER-BAUM CONCERT HALL

Prelude to the Afternoon of a Faun (arr. Bruno Sachs/Schoenberg)

Benjamin Beilman, Erin Keefe, violins; Masumi Per Rostad, viola;

Kenneth Olsen, cello; Timothy Cobb, bass; James Austin Smith, oboe;

Anthony McGill, clarinet; Henrik Heide, flute; Inon Barnatan, piano;

Tina Chong, harmonium; Osmo Vänskä, conductor GEORGE CRUMB Vox Balaenae (Voice of the Whale)

(b. 1929) Vocalise (...from the beginning of time) Variations on Sea-Time Sea Nocturne (...for the end of time)

Rose Lombardo, flute; Alisa Weilerstein, cello; Conrad Tao, piano

DEBUSSY

(1862-1918)

Support for this program generously provided by:

Silvija and Brian Devine La Jolla Music Society dedicates this concert in memory of:

Jere Robins

Susanna Phillips

INTERMISSION

RAVEL

Trois Poèmes de Stéphane Mallarmé

(1875-1937) Soupir

Placet futile Surgi de la croupe et du bond

Susanna Phillips, soprano; Henrik Heide, Rose Lombardo, flutes;

Anthony McGill, Osmo Vänskä, clarinets; Erin Keefe, Stefan Jackiw, violins;

Masumi Per Rostad, viola; Kenneth Olsen, cello; Conrad Tao, piano RACHMANINOFF Sonata in G Minor for Piano and Cello, Opus 19

(1873-1943) Lento; Allegro moderato Allegro scherzando Andante Allegro mosso

Alisa Weilerstein, cello; Inon Barnatan, piano 22 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

ANCIENT VOICES — PROGRAM NOTES

Program Notes by Eric Bromberger

Prelude to the Afternoon of a Faun (arr. Bruno Sachs/Schoenberg)

CLAUDE DEBUSSY

Born August 22, 1862, Saint-Germain-en-Laye, France Died March 25, 1918, Paris Composed: 1894 Approximate Duration: 10 minutes

This shimmering, endlessly beautiful music is so familiar to us—and so loved—that it is difficult to comprehend how assaultive it was to audiences in the years after its première in December 1894. Saint-Saëns was outraged: “[It] is pretty sound, but it contains not the slightest musical idea in the real sense of the word. It’s as much a piece of music as the palette a painter has worked from is a painting.” Later his outrage at Debussy took a more emphatic direction: “the doors of the Institute must at all costs be barred against a man capable of such atrocities.”

We smile, but Saint-Saëns had a point. Though it lacks the savagery of The Rite of Spring, the Prelude to the Afternoon of a Faun may be an even more revolutionary piece of music, for it does away with musical form altogether—this is not music to be grasped intellectually, but simply to be heard and felt. Pierre Boulez has said that “just as modern poetry surely took root in certain of Baudelaire’s poems, so one is justified in saying that modern music was awakened

by L’après-midi d’un faune.”

Debussy based this music on the poem “L’aprèsmidi d’un faune” by his close friend, the Symbolist poet Stephane Mallarmé. The poem itself is dreamlike, a series of impressions and sensations rather than a narrative. It tells of the languorous memories of a faun on a sleepy afternoon as he recalls an amorous encounter the previous day with two passing forest nymphs. This encounter may or may not have taken place, and the faun’s memories— subject to drowsiness, warm sunlight, forgetting, and drink—grow vague and finally blur into sleep.

Like the faun’s dream, Debussy’s music is directionless, and Saint-Saëns was right to feel assaulted. In the words of Ferruccio Busoni, this music “is like a beautiful sunset; it fades as one looks at it.” The famous opening flute solo (the sound of the faun’s pipe?) draws us into this soft and sensual world, and while the key signature may say E major, Debussy’s music obliterates any sense of a stable tonality from the start. The middle section, introduced by woodwinds in octaves, may be a subtle variation of the opening flute melody—it is a measure of this dreamy music that we cannot be sure. The opening section returns to lead the music to its

glowing close, finally in uncomplicated E major.

Audiences have come to love this music precisely for its sunlit mists and glowing sound, but it is easy to understand why it troubled early listeners. Beneath its shimmering and gentle beauties lies an entirely new conception of what music might be.

A NOTE ON THIS EDITION: Like the version of the Mahler Fourth Symphony heard last night, this arrangement of Prelude to the Afternoon of a Faun was prepared for a performance by Schoenberg’s Society for Private Musical Performances. The arrangement was made by Schoenberg’s student Bruno Sachs, who was working under the supervision of his teacher, and it was first performed in Vienna on October 27, 1920. Sachs arranged the Prelude for string quartet, double bass, flute, oboe, clarinet, piano, and harmonium. Debussy’s orchestration was already so transparent that such an arrangement preserves much of the color and texture of the original.

Vox Balaenae (Voice of the Whale)

GEORGE CRUMB

Born October 24, 1929, Charleston, West Virginia Composed: 1971 Approximate Duration: 22 minutes

As early as 1958, scientists had discovered that not only did humpback whales vocalize, they communicated by singing complex songs to each other. While the meaning of these songs is still open to speculation, it became clear that all the humpback whales in a particular ocean sang the same song, and that song was different from the songs sung by humpbacks in different oceans. Gradually, during a period of growing environmental awareness, these songs made their way into the public consciousness. In 1970, the year of the first Earth Day, an LP titled Songs of the Humpback Whale became a runaway best-seller, and in that same year American composer Alan Hovhaness used recordings of whale songs as part of an orchestral work he titled And God Created Great Whales; it too became a best-seller. Inspired by a recording of whale songs, George Crumb composed Vox Balaenae, and it was premièred at the Library of Congress on March 17, 1972. For that première, Crumb prepared a program note, which is used with the permission of C.F. Peters Corporation.

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Trois poèmes de Stéphane Mallarmé Voice of the Whale (Vox Balaenae), composed in 1971 for the New York Camerata, is scored for flute, cello and piano (all amplified in concert performance). The work was inspired by the singing of the humpback whale, a tape recording of which I had heard two or three years previously. Each of the three performers is required to wear a black half-mask (or visor-mask).

The masks, by effacing the sense of human projection, are intended to represent, symbolically, the powerful impersonal forces of nature (i.e. nature dehumanized).

I have also suggested that the work be performed under a deep-blue stage lighting.

The form of Voice of the Whale is a simple three-part design, consisting of a prologue, a set of variations named after the geological eras, and an epilogue.

The opening Vocalise (marked in the score: “wildly fantastic, grotespque”) is a kind of cadenza for the flutist, who simultaneously plays his instrument and sings into it. This combination of instrumental and vocal sound produces an eerie, surreal timbre, not unlike the sounds of the humpback whale. The conclusion of the cadenza is announced by a parody of the opening measures of Strauss’ Also Sprach Zarathustra.

The Sea-Theme (“solemn, with calm majesty”) is presented by the cello (in harmonics), accompanied by dark, fateful chords of strummed piano strings.

The following sequence of variations begins with the haunting sea-gull cries of the Archeozoic (“timeless, inchoate”) and, gradually increasing in intensity, reaches a strident climax in the Cenozoic (“dramatic, with a feeling of destiny”). The emergence of man in the Cenozoic era is symbolized by a partial restatement of the Zarathustra reference.

The concluding Sea-Nocturne (“serene, pure, transfigured”) is an elaboration of the Sea-Theme.

The piece is couched in the luminous tonality of B Major and there are shimmering sounds of antique cymbals (played alternately by the cellist and flutist).

In composing the Sea-Nocturne I wanted to suggest “a larger rhythm of nature” and a sense of suspension in time. The concluding gesture of the work is a gradually dying series of repetitions of a 10-note figure. In concert performance, the last figure is to be played “in pantomime” to suggest a diminuendo beyond the threshold of hearing!); for recorded performances, the figure is played as a “fade-out.”

George Crumb

MAURICE RAVEL

Born March 7, 1875, Ciboure, Basses-Pyrennes Died December 28, 1937, Paris Composed: 1913 Approximate Duration: 12 minutes

Ravel’s Trois poèmes de Stéphane Mallarmé are among his least-familiar compositions, and they come from an extraordinary intersection in the history of music. Some context: in 1909 the impresario Serge Diaghilev brought the Ballets Russes to Paris, and he commissioned a new ballet from Ravel. The composer worked three years before he completed Daphnis and Chloe, and with the première in June 1912 behind him, Ravel could relax and find new directions. They came quickly. Diaghilev had asked Stravinsky to provide a new performing edition of Mussorgsky’s unfinished opera Khovanshchina, but Stravinsky—busy with other work—was pressed for time, and he asked Ravel to help with the Mussorgsky project.

Ravel traveled to Stravinsky’s summer home in Clarens in the spring of 1913, and there the world of music exploded around him.

The “other work” that demanded Stravinsky’s attention that spring was The Rite of Spring, which he was just finishing. Ravel came to know that music from Stravinsky’s manuscript and sensed the extraordinary new directions music was about to take. Yet at the same moment Stravinsky alerted Ravel to an entirely different direction.

The previous year in Berlin Stravinsky had met Schoenberg and heard the première of Pierrot Lunaire. Pierrot—scored for singer/reciter and chamber ensemble and setting Otto Erich Hartleben’s nightmarish texts—promised to take music in yet another direction, and Stravinsky had been impressed. Under the influence of Pierrot, Stravinsky had quickly composed his Three Japanese Lyrics, scoring them for an ensemble similar to Schoenberg’s: Stravinsky wrote for soprano, two flutes, two clarinets, string quartet, and piano.

Ravel had not heard Pierrot, but now—under the influence of Stravinsky’s enthusiasm and the Three Japanese Lyrics—he composed the Trois poèmes de Stéphane Mallarmé, completing the first in April 1913 and the other two over the next several months.

Mallarmé (1842-1898) was a Symbolist poet, part of the movement that reacted against the realism of the nineteenth-century novel and—under the influence of Poe, Baudelaire, and others—explored the interior consciousness: the world of dreams, of inner impulses, of the unknown and the fantastic. Ravel was strongly drawn to Mallarmé’s poetry, describing it as “unbounded

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

ANCIENT VOICES — PROGRAM NOTES

visions yet precise in design, enclosed in a mystery of somber abstractions—an art where all the elements are so intimately bound up together that one cannot analyze, but only sense, its effect.” On another occasion he said: “I consider Mallarmé not only to be the greatest French poet, but indeed the only one, since he has rendered the French language, which was never made for poetry, poetical . . . Mallarmé exorcized our language, like the magician he that he was. He has released the winged thoughts, the unconscious day-dreams from their prison.”

Now—under the influence of Stravinsky and (obliquely) of Schoenberg—Ravel chose three of Mallarmé’s poems and set them for an ensemble nearly identical to the one Stravinsky used in Three Japanese Lyrics: voice, two flutes (one doubling piccolo), two clarinets (one doubling bass clarinet), string quartet, and piano. Listeners might best approach this music by reading Mallarmé’s poems carefully, in all their flickering, phantasmal luxuriance, then following those texts once again as Ravel sets them to music. He uses his unusual resources with great precision. Note, for example, how from the first instant of Soupir we are drawn into Mallarmé’s exotic world on the glistening, sparkling sound of harmonic arpeggios, and how this in turn gives way to an entirely different sound at “Vers l’azur,” which is accompanied by the warm sonority of the string quartet. The very beginning of Petition futile may be the most “Schoenbergian” moment in the Trois poèmes as the melodic line is fragmented and passed between different instruments instantaneously. Surgi has the most exotic sound of all, as we finally hear the piccolo and bass clarinet as part of the ensemble. Throughout, the Trois poèmes demand a singer of extraordinary abilities, one able to project the fantastic, quicksilvery mood of these poems while meeting the rhythmic demands of performing with so complex an accompaniment.

Both the Trois poèmes de Stéphane Mallarmé and Stravinsky’s Three Japanese Lyrics had their première on the same concert, which took place in Paris on January 14, 1914. Seven months later World War I would begin to transform Europe. A similar transformation was already well underway in music.

Sonata in G Minor for Piano and Cello, Opus 19

SERGEI RACHMANINOFF Born April 1, 1873, Semyonovo, Russia Died March 28, 1943, Beverly Hills Composed: 1901 Approximate Duration: 32 minutes

Rachmaninoff wrote very little chamber music: two piano trios, various fragments for string quartet, and some short pieces for strings and keyboard. But for one chamber ensemble he felt a continuing affection—the combination of cello and piano. Among his earliest works were the Romance in F Minor for cello and piano and Two Pieces for Cello and Piano, Opus 2, and to that combination he returned in his final chamber work, the Sonata for Piano and Cello in G Minor.

Rachmaninoff wrote this sonata in the summer of 1901, when he was 28. Several years earlier, harsh critical attacks had so damaged his self-confidence that he stopped composing altogether. Under the care of the psychologist Dr. Nikolay Dahl, who treated him with hypnosis, Rachmaninoff regained his confidence and composed his Second Piano Concerto, which had a triumphant première.

It was in the afterglow of this success that Rachmaninoff wrote the Cello Sonata, and perhaps it should come as no surprise that the sonata shows some of the grand, extroverted manner of the piano concerto. Rachmaninoff and Anatoly Brandoukoff gave the première in Moscow on December 2 of that year. The manuscript itself is dated December 12, 1901—apparently Rachmaninoff went back and made some revisions after the first performance.

The Cello Sonata has been criticized for favoring the piano at the expense of the cello. Rachmaninoff was one of the greatest piano virtuosos of all time, and some critics have felt that he naturally wrote best for the instrument he knew best. While the piano does have an unusually prominent role in this sonata, this was by design rather than by default. After hearing a radio performance of the sonata in 1942, Rachmaninoff phoned the cellist to offer congratulations on her playing but also to complain about the balance of the broadcast: the engineers had set the piano well in the background and Rachmaninoff wanted to specify that this was a Sonata for Piano and Cello and not simply a Cello Sonata.

The first movement opens with a Lento introduction that contains suspended fragments of what will become the sonata’s opening theme. When this theme arrives at the Allegro moderato it gives the lie to all who claim that Rachmaninoff wrote badly for the cello—if ever there was a cello theme, this songful surge of melody is it. The second

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ANCIENT VOICES — PROGRAM NOTES

subject (which critics universally label “Schumannesque”) is for piano alone, and the development is shared equally by the two instruments, though just before the coda the piano is given a virtuosic outburst that almost becomes a small cadenza. The coda to this sonata-form movement is dramatic and declarative.

Marked Allegro scherzando, the brilliant second movement has nothing of the joke about it. Gone are the broad, romantic gestures of the first movement, and in their place comes a muttering, trembling rush of triplets in somber C minor. The movement is in ABA form, which Rachmaninoff varies by inserting a lyric episode into the fast outer sections. The trio section itself is built on a gorgeous lyric theme for the cello, another example of Rachmaninoff’s beautiful writing for the instrument. The ghostly opening section returns to drive the movement to its sudden ending.

The brief Andante, by far the shortest of the movements, opens over an accompaniment of murmuring sixteenthnotes in the piano. First piano and then cello pick up and develop the main theme, a melody so lyric that it should remind listeners of a little-known side of Rachmaninoff: he wrote nearly seventy songs. The Allegro mosso finale contrasts its first theme, built on driving triplets, with a singing second episode. The blazing coda leads to a cadence very much in the manner of the just-completed Second Piano Concerto.

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

Erin Keefe

Musical Prelude 7 PM Benjamin Beilman and George Li perform Schubert’s Fantasy in C Major for Violin and Piano, D.934 Support for the Musical Prelude is provided by:

Gordon Brodfuehrer

Dustin Donahue

Philippe Quint

REFLECTION Tuesday, August 6, 2019 · 8 PM THE BAKER-BAUM CONCERT HALL YSAŸE

Sonata in A Minor for Unaccompanied

Violin, Opus 27, No. 2 “Obsession”

Obsession: Poco vivace Malinconia: Poco lento Dance des Ombres: Sarabande (Lento) Les furies: Allegro furioso, 2019

Yura Lee, violin ARENSKY String Quartet No. 2 in A Minor, Opus 35

(1861-1906) Moderato Variations sur un thême de P. Tchaikovsky: Moderato Finale: Andante sostenuto; Allegro moderato

Erin Keefe, violin; Yura Lee, viola; Kenneth Olsen, Alisa Weilerstein, cellos (1858-1931)

INTERMISSION

SHOSTAKOVICH Symphony No. 15 in A Major, Opus 141 (arr. Derevianko)

(1906-1975) Allegretto Adagio Allegretto Adagio

Philippe Quint, violin; Alisa Weilerstein, cello; Inon Barnatan, piano & celeste; Dustin Donahue, red fish blue fish, percussion

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REFLECTION — PROGRAM NOTES

Program Notes by Eric Bromberger

Sonata in A Minor for Unaccompanied Violin, Opus 27, No. 2 “Obsession”

EUGENE YSAŸE Born July 16, 1858, Liege, Belgium Died May 12, 1931, Brussels Composed: 1924 Approximate Duration: 3 minutes

Eugene Ysaÿe was one of the finest violinists of all time, famed for his musical intelligence, consummate technique, and rich sound. A student of Vieuxtemps and Wieniawski, Ysaÿe was a true champion of new music: he gave the premières of the Franck and Debussy sonatas and the Chausson Poème (all of which were dedicated to him), and his string quartet gave the first performance of the Debussy Quartet. So greatly admired was Ysaÿe as man and artist that his funeral in 1931 became the occasion for national mourning in Belgium.

Ysaÿe’s set of six sonatas for unaccompanied violin dates from 1924. Ysaÿe had become interested in the styles of particular contemporary violinists, and he dedicated each sonata to a different violin virtuoso and tried to capture something of that performer’s style in “his” sonata; the list of dedicatees includes some very distinguished names: Szigeti, Kreisler, Enesco, and Thibaud. So fascinated was Ysaÿe by the idea of adapting these pieces to individual performers that he composed this music almost overnight: he went up to his room with instructions that he was not be disturbed (meals were sent up to him), and when he came down twenty-four hours later he had sketched all six sonatas.

Ysaÿe dedicated his Sonata No. 2 the French violinist Jacques Thibaud, who made a career as a touring soloist in the first decade of the twentieth century but who seemed to prefer chamber music: Thibaud was a member of one of the greatest piano trios in history (its other members were pianist Alfred Cortot and cellist Pablo Casals), and he often played string quartets informally with Ysaÿe. He was killed in a plane crash in the French Alps in 1953.

Thibaud was one of the violinists who played Bach’s works for unaccompanied violin at a time when this music was not widely performed, and in fact he would practice sections of these works every day as a form of self-discipline. Ysaÿe knew this and incorporated bits of the Preludio from Bach’s Partita in E Major into the first movement of the sonata he wrote for Thibaud. The “obsession” that runs through this work, however, is not Bach, but the ancient Dies Irae plainsong tune, used

by Berlioz (in the Symphonie fantastique), Rachmaninoff (virtually everywhere), and many others. This grim old tune permeates the Second Sonata, appearing in different forms in all four movements.

Ysaÿe simply “lifts” the beginning of the Preludio for the beginning of his own sonata, and bits of Bach’s passagework drift in and out of the texture of Ysaÿe’s first movement. That texture is extremely interesting. This is a very busy movement, built—like the Bach—on a steady pulse of sixteenth-notes, and as it proceeds we begin to hear the Dies Irae tune rising from those rushing textures: sometimes its appearance is subtle, and sometimes it is shouted out as the top and bottom notes of swirling arpeggios that punch that ancient melody into our consciousness. As in the Bach Preludio, Ysaÿe makes use of bariolage as the rapid-fire rush of sixteenths glints and flashes off closed and open E’s. Both Bach and Ysaÿe’s first movements end with a great upward rush.

The first movement is titled “Obsession,” and its obsessive Dies Irae motif will recur in the other three movements; each of these has a title as well. The second movement, Malinconia, is indeed melancholy— muted throughout, it dances gravely along its heavilydoublestopped lines, and the Dies Irae arrives only in the final seconds. That motif, however, dominates the third movement, Dance des ombres (“Dance of the Shadows”).

Though nominally a Sarabande, and so a movement right out of the Bach partitas, this is in fact a series of variations on the obsession-tune. That motif is buried within the bold pizzicato beginning, and when Ysaÿe has the violinist take up the bow the variations—six of them—begin in earnest, finally driving to a grand close; the second variation is a musette, an old dance accompanied by bagpipe, and Ysaÿe has the violin’s open G-string play the bagpipe drone here.

The finale returns to the brilliant manner of the opening movement. Titled Les furies and aptly marked Allegro furioso, this is a showpiece for virtuoso violinist, who takes the Dies Irae through a series of wild extensions, marked by some eerie sounds—ponticello passages, harmonics, and violent stringcrossings help drive this sonata to its haunted close.

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

REFLECTION — PROGRAM NOTES

String Quartet No. 2 in A Minor, Opus 35

ANTON ARENSKY Born July 12, 1861, Novgorod, Russia Died February 25, 1906, Terioki, Finland Composed: 1894 Approximate Duration: 32 minutes

The death of Tchaikovsky in November 1893 at the death of only 53 devastated a generation of young Russian composers, for he had been a generous colleague and champion. In particular he had befriended Rachmaninoff (whose music he planned to conduct) and Anton Arensky, and both young men registered their grief at Tchaikovsky’s death in music: Rachmaninoff wrote a piano trio in his memory in 1893, and the following year Arensky—then a professor at the Moscow Conservatory— wrote his String Quartet No. 2, which he dedicated to the memory of Tchaikovsky. Several things about this quartet make it unusual.

The first of these is Arensky’s decision to write not for the standard string quartet, but for one made up of violin, viola, and two cellos, which gives the work an unusually deep and dark sonority (Arensky also made an arrangement for standard string quartet). The second is Arensky’s decision to honor his friend by making the middle movement of the quartet a set of variations on a theme

by Tchaikovsky. For this theme, Arensky turned to a song Tchaikovsky had written ten years earlier, in the fall of 1883, and which had become famous on its own: “Legend” (also known as “When Jesus Christ Was But a Little Child”), which Tchaikovsky had published as the fifth of his Sixteen Children’s Songs, Opus 54. In the song, Jesus as a boy plants a tree in his garden, and that tree eventually furnishes the thorns with which he is crowned at his crucifixion. The song became so popular that Tchaikovsky himself made arrangements of it for orchestra and for a capella chorus.

Arensky’s set of variations on this theme in turn proved so attractive that he arranged it for string orchestra as his Variations on a Theme of Tchaikovsky, Opus 35a. Tchaikovsky’s somber little tune is heard immediately, and there follow seven variations. Listeners may not recognize the theme in the seventh variation, for here Arensky plays it backwards— he claimed that this was in imitation of military funerals, where guns are held upside down. A brief coda draws the movement to a quiet close.

Arensky frames the set of variations with two quite different movements, yet each of these incorporates traditional Russian funeral music. The quartet opens with a moderately-paced movement and concludes with a finale that quotes the famous Slava! tune used by Mussorgsky in

the coronation scene of Boris Godunov and by many other Russian composers. Beethoven also used this theme: it was one of the “Russian” themes given him by Count Razumovsky, and it appears in the trio section of the third movement of his String Quartet in E Minor, Opus 59, No. 2.

Symphony No. 15 in A Major, Opus 141

DMITRI SHOSTAKOVICH Born September 25, 1906, St. Petersburg Died August 9, 1975, Moscow

Arranged for Piano Trio and Percussion by

VIKTOR DEREVIANKO Born 1937, Moscow Composed: 1971 Approximate Duration: 40 minutes

One of the most predictable things about Shostakovich was his unpredictability. His Thirteenth and Fourteenth Symphonies had been dark indeed. The Symphony No. 13 was a setting of five Yevtushenko poems critical of the Soviet Union, while No. 14 was a song cycle that set 11 grim meditations on death. But when his Symphony No. 15 was première d in January 1972, it appeared to come from a different universe altogether—it begins with ringing bells and delicate, shining textures. This music seems not so much a symphony as a divertimento, an impression confirmed when Shostakovich quotes the famous theme from Rossini’s William Tell Overture, and that jaunty little tune—the “Lone Ranger” music—will appear five times across the span of this first movement.

It is a very mysterious opening movement. And then things get more mysterious in this enigmatic symphony.

Shostakovich composed his Fifteenth Symphony during the summer of 1971, and while he was working on it he wrote to tell a friend that it would include some musical quotations. He also admitted that once he had started using quotations he found it difficult to stop. While the full meaning of all these quotations can be elusive, it is clear that they had intense personal meaning for the composer. After the première, Shostakovich said that the first movement was a depiction of “a toy shop at night,” but even this is an equivocal statement. Are the toys playing on their own? Are they in revolt against the shopowner? Is Shostakovich recalling his own childhood here?

Despite some intensely chromatic writing, the tone of this movement remains generally light, and it concludes with an emphatic recall of its opening flourish.

The world of the toy shop vanishes at the beginning

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REFLECTION — PROGRAM NOTES

of the second movement. Solemn brass chords set the dark mood, and a grieving solo cello winds its way across this bleak landscape—we seem to have entered an entirely different world, full of pain and darkness, and that mood is intensified by the second theme, a somber little duet for flutes that grows to a huge climax.

And then come another quotation and another surprise: Shostakovich quotes himself. He recalls the music from the beginning of his Eleventh Symphony, which had depicted events during the 1905 revolt against the czar—those soft, muted string chords are icy music, and they sustain the troubled atmosphere of this movement. A spooky passage for vibraphone and solo contrabass leads without pause into the third movement, marked Allegretto. This movement—saucy, sardonic, athletic—is a little more what we expect from Shostakovich, though there’s a surprise at the beginning: the bouncy clarinet solo that launches the movement is in fact a twelve-tone theme, though Shostakovich does not treat it as a tone row. Along the way come notable solos for violin and for percussion (and this symphony features some unusual writing for percussion— Shostakovich writes for 14 different percussion instruments here). At the end, the Allegretto clicks into silence on the ticking sound of woodblock, castanet, and triangle.

The fourth movement opens with the most striking quotations of all. Shostakovich begins by quoting from three Wagner operas: the “fate motif ” (Die Walküre), the drum rhythm that underlies Siegfried’s Funeral Music (Die Götterdämmerung), and the first three notes of the Prelude to Tristan und Isolde. That Prelude flows into the dancing main body of the movement, marked Allegretto. A recall of the “fate motif ” brings one final enigmatic quotation: deep pizzicato strings stamp out an ostinato based on the theme of the Nazi invaders from Shostakovich’s “Leningrad” Symphony, originally composed in 1941 during the German siege of that city. Here that quotation functions as the bassline of a chaconne that builds to a great climax.

The ending of the Fifteenth Symphony is as mysterious as everything else in it. The chaconne falls away, leaving the percussion clicking along, as if everything else has been stripped away and we are hearing only the skeleton of the music. Strings hold a long A and E, but the chord is incomplete, and we have a sense of space and motion but no resolution. The celesta reminds us of the flourish from the very beginning, and in the last measure of the symphony, Shostakovich resolves matters on a soft A-major chord from bells and celesta. On that delicate sound the Fifteenth Symphony fades into mysterious silence.

What are we to make of Shostakovich’s final symphony?

Russian composer Tikhon Khrennikov, that supreme servant of Soviet authority, willingly supplied the knee-jerk official reaction of the Russian government, describing Shostakovich’s Fifteenth Symphony as “full of optimism, the affirmation of life, belief in man’s inexhaustible strength.”

One wonders if he ever heard this music. Even a casual listener recognizes that the Fifteenth Symphony wears many faces and that these faces are often contradictory. In its strange fusion of light and dark, in its placing the world of childhood innocence alongside the darkest human tragedy, in its haunting allusions to Shostakovich’s own past, the Fifteenth Symphony offers no easy answers, and—four decades after the composer’s death—this symphony remains one of his most enigmatic compositions.

At this concert, the Fifteenth Symphony is heard in an arrangement for piano trio and percussion by Viktor Derevianko, for many years a Professor of Piano at Tel Aviv University. The combination of piano trio and percussion may seem a strange one, but given the central importance of percussion instruments in Shostakovich’s symphony, Derevianko’s arrangement makes good sense, and it has been recorded several times.

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

Aaron Diehl

Inon Barnatan

Cécile McLorin Salvant

Prelude 7 PM Interview with the artists hosted by Robert John Hughes

SYNERGY SERIES I: INTERSECTION Produced by Inon Barnatan & Clara Wu Tsai

Wednesday, August 7, 2019 · 8 PM

THE BAKER-BAUM CONCERT HALL The Synergy Initiative is underwritten by:

Cécile McLorin Salvant, vocals Aaron Diehl, piano Inon Barnatan, piano

Clara Wu Tsai

Support for this program generously provided by:

Mao and Doctor Bob Shillman

PROGRAM Works to be announced from stage.

There will be no intermission.

ABOUT This performance highlights the symbiotic relationship between classical music and jazz.

Cécile McLorin Salvant, three-time GRAMMY® Award-winner and “the finest jazz singer to emerge in the last decade” (The New York Times), and Aaron Diehl, one of the most in-demand jazz pianists today, who studied classical piano and recently appeared as soloist with the New York Philharmonic and the Cleveland Orchestra, come together with pianist and SummerFest Music Director Inon Barnatan for a not-to-be-missed musical event.

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Hsin-Yun Huang

Musical Prelude 7 PM Callisto Quartet performs Allegro from Beethoven’s String Quartet in E Minor, Opus 59, No. 2 and Ligeti’s String Quartet No. 1 “Metamorphoses Nocturnes”

Yura Lee

MOZART REWORKED Thursday, August 8, 2019 · 8 PM THE BAKER-BAUM CONCERT HALL MOZART

String Quintet in C Minor, K.406

Allegro Andante Menuetto in canone; Trio in canone al rovercio (Allegro)

Hsin-Yun Huang, viola;

Brentano Quartet Serena Canin, Mark Steinberg, violins; Misha Amory, viola; Nina Lee, cello BEETHOVEN Piano Quartet in E-flat Major, Opus 16a

(1770-1827) Grave; Allegro ma non troppo Andante cantabile Rondo: Allegro ma non troppo

George Li, piano; Benjamin Beilman, violin;

Yura Lee, viola; Kenneth Olsen, cello

INTERMISSION (1756-1791)

Support for this program generously provided by:

Silvija and Brian Devine Support for the Musical Prelude is provided by:

Gordon Brodfuehrer

La Jolla Music Society dedicates this concert in memory of:

Jendy Dennis

ARVO PÄRT

Mozart Adagio

Trio Clara Ying Li, piano; Tatjana Roos, violin; Annie Jacobs-Perkins, cello MOZART Piano Concerto No. 20 in D Minor, K.466 (arr. Czerny)

Allegro Romanze Rondo: Allegro assai

George Li, piano; Rose Lombardo, flute;

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

Timothy Cobb, bass (b. 1935)

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

MOZART REWORKED — PROGRAM NOTES

Program Notes by Eric Bromberger

String Quintet in C Minor, K. 406

WOLFGANG AMADEUS MOZART Born January 27, 1756, Salzburg Died December 5, 1791, Vienna Composed: 1787 Approximate Duration: 23 minutes

This program of arrangements and re-imaginings of Mozart’s music begins with one made by Mozart himself.

The String Quintet in C Minor was not originally for viola quintet—or even for strings. It is an arrangement—by Mozart—of his Serenade in C Minor, K.388 for two oboes, two clarinets, two bassoons, and two horns, which he had composed in July 1782. Mozart’s serenades usually had a “social” function: they were intended as background music for social occasions, sometimes held outside, and as such tended to be light and attractive. It is hard to imagine how music this intense could have been intended as a background to anything. It is in the key Mozart reserved for some of his most dramatic music, and its original nickname “Nacht Musique”—an odd fusion of German and French— suggests quite a different character. Mozart omits some of the lighter movements common to serenades, and the resulting four-movement structure is dark music, somber in sonority and dramatic in gesture. A great deal of mystery continues to surround this music: no one knows why Mozart wrote so dark a serenade (full, as we shall see, of ingenious music) or even the occasion for which it was composed.

Five years later, in the summer of 1787, Mozart wrote two viola quintets, in C major and G minor. These are two of his finest works, and he wanted to sell them by subscription. Works sold by subscription were usually offered in groups of three, but Mozart—then at work on Don Giovanni—was pressed for time and could not compose a third. He solved this problem by going back to the Serenade in C Minor and arranging it for viola quintet. Both versions have their proponents, some preferring the stark power of the eight winds in this dark music, others attracted to the smoother sonority of the string version.

The powerful opening of the Allegro simply moves up the notes of a C-minor chord, and much of the movement grows out of the rich array of ideas in this extended opening. The flowing second theme-group does little to dispel the fierce mood: this is passionate, urgent music, full of explosive accents and often chromatic in its development. By contrast, the Andante suffuses peace. This heartfelt music, based on two themes introduced by the first

violin, moves to E-flat major and develops by repetition: those themes grow more complex with each restatement.

The third movement contains some extraordinary music.

The minuet is in canon, with the trailing voice only a measure behind the lead. Mozart marks the trio section “in canon al roverscio,” which does not mean “in reverse,” but upside down. It is again a simple canon, but this time the trailing voice is inverted. Despite Mozart’s quite learned counterpoint, the movement never sounds scholarly or labored.

The final movement is in theme-and-variation form. A solemn note in the new critical edition of Mozart’s works warns that the tempo marking Allegro in the manuscript is “in a strange hand”—apparently Mozart forgot to write it in when he made the arrangement, and someone else wrote in the marking from the last movement of the wind serenade. The finale returns to the key of C minor and the atmosphere of the first movement, and the variations become more dramatic and dissonant as the movement proceeds. At the very close, though, Mozart moves to radiant C major for the coda and the concluding fanfares.

Piano Quartet in E-flat Major, Opus 16a

LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna Composed: 1796 Approximate Duration: 27 minutes

Virtually unknown to audiences, Beethoven’s Piano Quartet in E-flat Major is quite authentic: it is an arrangement—by the composer himself—of his Quintet for Piano and Winds in E-flat Major, Opus 16, originally composed in 1796. As a young man, Beethoven wrote a great deal of chamber music for winds. In Bonn, Archduke Maximilian Franz maintained a wind octet that serenaded him at mealtimes and played at court functions, and the teenaged Beethoven had written music for these players. After he moved to Vienna in 1792, Beethoven continued to write for winds, often in combination with piano. The major work from these years was the Quintet for Piano and Winds, which was—as everyone quickly saw— modeled on Mozart’s Quintet for Piano and Winds, K.452: the two works share the same instrumentation (oboe, clarinet, horn, bassoon, and piano), the same key (E-flat major), and the same pattern of movements. Beethoven greatly admired the wind music of Mozart, but he was taking a real chance here by inviting direct comparison with music that Mozart himself had called “the finest of my works,” and many have felt that—however attractive Beethoven’s quintet might be—it does not match the Mozart, which is one of the glories of the chamber music repertory.

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Beethoven recognized that performances by this combination of performers might be rare but that there was a ready supply of string players eager to perform (and to buy!) new music, and so he arranged his wind quintet as a piano quartet. This version was published in 1801, the same year as the wind version, but was not given an opus number. The music is essentially the same in the two versions: both have the same movement markings, the same number of measures, and the same key. Most of the changes result from arranging music originally intended for five players for the new ensemble of four players. The prominent piano part is identical in the two versions, but at some points Beethoven doublestops the stringed instruments to complete the harmony. He also makes use of the greater flexibility of the strings: for example, a fairly simple passage originally written for the horn is greatly embellished when it is given to the viola in the revised version. If the quartet version loses some of the contrast of wind sonorities that so distinguished the original, it compensates for this with greater flexibility and at some points greater detail. In any case, this arrangement marked the end of Beethoven’s interest in the piano quartet form. He had written three while still a teenager in Bonn, but after this arrangement he never returned to the form.

Those who know the wind quintet version will rediscover familiar pleasures in a slightly different form here. The dignified slow introduction leads to a sonata-form movement of Mozartean grace with a distinguished part for piano. The lyric slow movement features exchanges between piano and strings, while the good-natured rondo-finale offers the pianist what is virtually a solo part, complete with opportunities for cadenza-like improvisation.

Mozart Adagio

ARVO PÄRT

Born September 11, 1935, Paide, Estonia Composed: 1992 Approximate Duration: 7 minutes

Russian violinist Oleg Kagan died of cancer on July 15, 1990 at the age of 44, and every one of his colleagues felt a profound sense of loss. Kagan grew up in Latvia, he studied with David Oistrakh, and he became famous in Russia for his performances of Mozart. Kagan particularly enjoyed playing piano trios, often with his wife, the cellist Natalia Gutman, and pianist Sviatoslav Richter. Kagan was loved and admired by all who knew him, and Estonian composer Arvo Pärt—who had frequently worked with the violinist— resolved to write a piece in his memory.

Pärt made an unusual choice for his memorial piece, and he made his intentions clear: “I decided to send him a final greeting with a composition permeated by the sound of his beloved Mozart.” Pärt turned to the slow movement of the Piano Sonata in F Major, K.280, which Mozart had composed in Munich when he had gone to that city for the première of his opera La Finta giardiniera during the winter of 1775.

The central movement of that sonata, marked Adagio, is extraordinary music. Mozart moves from the sonata’s home key of F major to F minor here and writes music of a bleak expressiveness. The movement is in a slow 6/8, and over its brief span Mozart contrasts two themes of quiet and affecting power. This is an unusually expressive movement from an 19-year-old composer, and it depends for much of its strength on the quietly dissonant sting of minor seconds.

Pärt made some unusual choices as he set out to write the memorial piece for Kagan. He cast his piece for piano trio rather than Mozart’s solo piano, yet the Mozart Adagio is not simply a transcription for different forces. To be sure, Mozart’s entire movement is there in all its expressive power, but it has been re-composed along the way: Pärt has reharmonized some sections, he has added pauses where there were none in the original, he has embellished the melodic line at certain points, and he has taken the slight dissonances of Mozart’s original and intensified them here, particularly around the interval of the minor second. He has also “framed” the Adagio with isolated notes from the two stringed instruments. These lonely and oddly-spaced notes introduce the Adagio, and at the end they return to lead the music to its icy and ambiguous conclusion. Mozart would certainly recognize his own music here, but he would also understand how Pärt’s re-composition has given this expressive music a new and sharper edge, a re-casting that makes perfect sense for music that tries both to say farewell to a beloved friend and to register some of the pain of that loss.

Pärt’s Mozart Adagio was commissioned by the Helsinki Festival, and the première was given in that city in 1992 by the Kalichstein-Laredo-Robinson Trio. Pärt returned to the music in 2005 and revised it slightly.

Piano Concerto No. 20 in D Minor, K. 466 (arr. Czerny)

WOLFGANG AMADEUS MOZART Composed: 1785

Approximate Duration: 30 minutes

Carl Czerny (1791-1857) was one of the great pianists of the early part of the nineteenth century. Between the ages of 9 and 12 he studied with Beethoven, and Czerny

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MOZART REWORKED — PROGRAM NOTES

would remain a friend (and confidant) of Beethoven for the rest of the older composer’s life. Though he was an excellent pianist, Czerny early rejected the life of the touring virtuoso, choosing to live quietly in Vienna, to teach (the young Liszt was among his students), to compose, and to write pedagogical studies for the piano. As a composer, Czerny was unbelievably prolific—his list of compositions runs to well over a thousand, though little of his music is performed today. One of Czerny’s great skills was as an arranger: he arranged hundreds of orchestral works for piano or chamber ensembles, including Handel’s Messiah, Mozart’s Requiem and many of his symphonies, Haydn’s Creation and symphonies, Beethoven’s symphonies, overtures, and chamber works, and many others. Czerny may not have been an original composer himself, but he had a keen ear, and his skillful arrangements brought music to many listeners who would never have a chance to hear it performed by an orchestra.

A work particularly dear to Czerny was Mozart’s Piano Concerto in D Minor. It was with this concerto that Czerny made his debut in Vienna (at age 9!), and he retained his affection for it throughout his life (as did Beethoven and so many others). This is one of Mozart’s stormiest piano concertos, and he scored it for a large orchestra. Czerny took some daring chances in his arrangement. He eliminated all Mozart’s woodwinds (with the exception of one flute), and he also eliminated the two horns, two trumpets, and timpani that give Mozart’s concerto so much of its power. Czerny kept Mozart’s solo piano part unchanged and accompanied it with the solo flute, a string quartet, and a double bass.

It is up to these six players to create an approximation of Mozart’s large orchestra, and listeners may take pleasure in hearing just how well Czerny succeeds.

The Concerto in D Minor is one of Mozart’s most familiar works, but a brief introduction may be useful, particularly when hearing this music in its new garb. Mozart completed it in Vienna on February 10, 1785, barely in time for its première the next day. In fact, he was so busy supervising the copying of the orchestra’s parts that he did not have time to rehearse the last movement—he and the orchestra simply sight-read it at the concert. The première was a huge success, and at that concert the conception of the piano concerto changed. With this music Mozart took the concerto into realms far removed from those that had preceded it. From its ominous beginning through its powerful conclusion, this concerto seethes with a tension never heard before in a piano concerto. Rather than offering a comfortable interplay between soloist and orchestra, this concerto is virtually a symphony that uses

the piano as one of the voices in the symphonic argument.

Mozart’s biographer Alfred Einstein points out that Mozart may have written few symphonies during his years in Vienna, but he did not really need to write symphonies— his piano concertos are full of symphonic thinking.

The first instant of the Allegro, with its throbbing, syncopated strings, sets the mood. Though the opening is quiet, this will be impetuous music, full of coiled power.

That coiled energy does not remain suppressed for long—it explodes in the sixteenth measure. In its exposition, the orchestra lays out several different ideas, all within the compass of that dark opening. But the piano’s entrance is just as impressive: instead of taking its material from the orchestra’s introduction, the piano enters with music of its own, and its wistful, melodic entrance makes sharp contrast with the orchestra’s exposition. The virtually symphonic nature of this movement rises from the opposition of these two quite different kinds of music, and Mozart’s development treats both of them at length. A cadenza leads to the movement’s quiet conclusion, but even this subdued close feels full of barely-contained power.

Mozart titled the second movement Romanze, a term more an indication of mood than of form or tempo—it implies music of a tender and personal nature. Solo piano sings the long melodic opening statement before the orchestra takes up this idea. After so poised an opening, the central episode comes as a surprise. The music leaps into G minor and erupts along patterns of racing triplets, a change of mood that recalls the tensions of the first movement.

Gradually—and with supreme grace—Mozart winds these tensions down as he makes the transition back to the serene opening material.

The last movement, marked Allegro assai (“Very fast”), takes us back to the dramatic atmosphere—and the D-minor tonality—of the first movement. Solo piano opens the movement, flashing upward with the powerful main theme. This rondo-finale is extremely difficult, which makes the fact that Mozart and the orchestra sight-read it at the first performance all the more remarkable; Mozart’s father Leopold, who was in the audience, reported that the performance was “excellent.” A cadenza leads to the coda, where Mozart shifts to D major. The major tonality almost feels anticlimactic, given what has gone before.

The music still seems to breathe the power of the very beginning, though, and it is on this note that Mozart drives the concerto to a cadence full of bright, slashing energy.

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Prelude 7 PM Interview with violinist Mark Steinberg hosted by Nicolas Reveles

BEETHOVEN COMPLETE STRING QUARTETS I: BRENTANO QUARTET Friday, August 9, 2019 · 8 PM THE BAKER-BAUM CONCERT HALL BEETHOVEN

String Quartet in A Major, Opus 18, No. 5

Allegro Menuetto Andante cantabile Allegro

String Quartet in F Minor, Opus 95 “Serioso”

Allegro con brio Allegretto ma non troppo Allegro assai vivace ma serioso Larghetto espressivo; Allegretto agitato (1770-1827)

INTERMISSION

BEETHOVEN String Quartet in E-flat Major, Opus 127 Maestoso; Allegro

Adagio, ma non troppo e molto cantabile Scherzando vivace Finale

Brentano Quartet Serena Canin, Mark Steinberg, violins; Misha Amory, viola; Nina Lee, cello

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

BEETHOVEN COMPLETE STRING QUARTETS I: BRENTANO QUARTET — PROGRAM NOTES

Program Notes by Eric Bromberger

String Quartet in A Major, Opus 18, No. 5

LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna Composed: 1799 Approximate Duration: 29 minutes

extremely accomplished here, and on the energy of the opening idea the music rushes to its close, which brings a sudden and surprisingly quiet concluding chord.

String Quartet in F Minor, Opus 95 “Serioso” Composed: 1810 Approximate Duration: 20 minutes

Beethoven’s manuscript for the Quartet in F Minor is dated October 1810, but almost certainly he continued to work on this quartet for some years after that, and it was not published until 1816. This quartet has a nickname, “Quartetto Serioso,” that—unusually for a musical nickname—came from the composer himself. Well aware of the music’s extraordinary character, Beethoven described the quartet as having been “written for a small circle of connoisseurs and . . . never to be performed in public.” Joseph Kerman has described it as “an involved, impassioned, highly idiosyncratic piece, problematic in every one of its movements, advanced in a hundred ways” and “unmatched in Beethoven’s output for compression, exaggerated articulation, and a corresponding sense of extreme tension.” Yet this same quartet—virtually the shortest of Beethoven’s string quartets—comes from the same period as the easily accessible “Archduke” Trio, the Seventh and Eighth Symphonies, and the incidental music to Goethe’s Egmont, and this music’s extraordinary focus and tension seem sharply at odds with those scores. In fact, this quartet in many ways prefigures Beethoven’s late style and the great cycle of quartets written during his final years.

The first movement is extraordinarily compressed (it lasts barely four minutes), and it catapults listeners through an unexpected series of key relationships. The unison opening figure is almost spit out, passing through and ending in a “wrong” key and then followed by complete silence. Octave leaps and furious restatements of the opening figure lead to the swaying second subject, announced in flowing triplets by the viola. The development section of this (highly modified) sonata-form movement is quite short, treating only the opening theme, before the movement exhausts itself on fragments of that theme.

The marking of the second movement, Allegretto ma non troppo, might seem to suggest some relief, but this movement is even more closely argued than the first. The cello’s strange descending line introduces a lovely opening melody, but this quickly gives way to a long and complex fugue, its sinuous subject announced by the viola and then taken up and developed by the other voices. A quiet close (derived from the cello’s introduction) links this movement to the third, a violent fast movement marked Allegro assai vivace

Beethoven’s first string quartets, a set of six written in Vienna during the years 1798-1800, inevitably show the influence of Haydn and Mozart, who had made the form a great one. Scholars have been unanimous in believing that the fifth quartet of Beethoven’s set had a quite specific model: Mozart’s String Quartet in A Major, K.464, composed in 1785. Beethoven greatly admired this particular quartet and had copied out the last two movements as a way of studying them. Carl Czerny reported that Beethoven once took up the Mozart score and exclaimed: “That’s what I call a work! In it, Mozart was telling the world: Look what I could create if the time were right!” For his own quartet, Beethoven took both the key and general layout of Mozart’s quartet: a sonata-form first movement, a minuet movement that comes second, a theme-and-variation third movement, and a sonata-form finale that—like Mozart’s—ends quietly.

But it is unfair to Beethoven to see his Quartet in A Major as just an imitation of Mozart’s masterpiece. Though the two composers were the same age when they wrote these quartets (29), Beethoven was still feeling his way with a form Mozart had mastered, and though he may have chosen Mozart as a model, this music sounds in every measure like young Beethoven. The opening Allegro is built on two nicely-contrasted ideas—a soaring opening theme and a darker, more melodic second idea—and Beethoven asks for a repeat of both exposition and development. The opening of the minuet belongs entirely to the violins, with the second violin gracefully following and commenting on the first’s theme; the trio section—with the theme in the middle voices under the first violin’s drone—is surprisingly short.

Longest of the movements, the Andante cantabile offers five variations on the simple falling-and-rising idea announced at the beginning; particularly effective are the fugal first variation, the first violin’s staccato triplets in the second, the expressive fourth (which Beethoven marks sempre pp), and the exuberant fifth. A long coda leads to a restatement of the theme and a quiet close. The energetic and good-natured finale is in sonata (rather than the expected rondo) form. The opening melody leaps smoothly between instruments, and Beethoven offers a quiet chorale as the second theme. The writing for all four voices is

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BEETHOVEN COMPLETE STRING QUARTETS I: BRENTANO QUARTET — PROGRAM NOTES

ma serioso. The movement is in ABABA form, the explosive opening section alternating with a chorale-like subject for the lower three voices which the first violin decorates.

Once again, Beethoven takes each section into unexpected keys. The last movement has a slow introduction—Larghetto espressivo—full of the darkness that has marked the first three movements, and this leads to a blistering finale that does much to dispel the tension. In an oft-quoted remark about the arrival of this theme, American composer Randall Thompson is reported to have said: “No bottle of champagne was ever uncorked at a better moment.”

In contrast, for example, to the near-contemporary Seventh Symphony, which ends in wild celebration, this quartet has an almost consciously anti-heroic close, concluding with a very fast coda that Beethoven marks simply Allegro.

Some have felt that the Quartet in F Minor is composed with the same technique as the late quartets but without their sense of spiritual elevation, and in this sense they see the present quartet as looking ahead toward Beethoven’s late style. But it is unfair to this music to regard it simply as a forerunner of another style. This quartet may well be dark, explosive, and extremely concentrated. But it should be valued for just those qualities.

String Quartet in E-flat Major, Opus 127 Composed: 1824-25 Approximate Duration: 38 minutes

When Russian prince Nikolas Galitzin wrote to Beethoven in the fall of 1822 to commission three string quartets, his request met a sympathetic response: the composer had been thinking about writing string quartets for some time and promised to have the first done within a month or two. After seven years of intermittent activity he had resumed sustained composing in 1820 with a set of three piano sonatas, but other projects now intervened, and despite the prince’s frequent inquiries Beethoven had to complete the Missa Solemnis, Diabelli Variations, and Ninth Symphony before he could begin work on the first of the three quartets in the summer of 1824. This quartet—in E-flat major—was not complete until February 1825.

Performed immediately by the string quartet of Ignaz Schuppanzigh, the music was a failure at its première on March 6, 1825. Furious, Beethoven quickly had it rehearsed and performed by a quartet led by Joseph Böhm.

The composer attended their rehearsals and supervised their interpretation (though deaf, he could follow their performance by watching the movement of their bows).

The second performance was successful, and this quartet was performed publicly at least ten more times in 1825—an

extraordinary number of performances for a new work— and always to great acclaim.

That fact is important because it undercuts the notion that Beethoven’s late quartets were far ahead of their time. Certain features of the late quartets did defy quick comprehension, but this was not true of the Quartet in E-flat Major. At first glance, this is the most traditional of Beethoven’s late quartets. It has a relatively straightforward structure: a sonata-form first movement, a variation-form slow movement, a scherzo in ABA form, and a dance-finale. But to reduce this music to such simplicity is to miss the extraordinary originality beneath its appealing and gentle surface.

In the first movement, Beethoven seems to set out intentionally to blur the outlines of traditional sonata form, which depends on the opposition of material. Contrast certainly seems to be implied at the beginning, which opens with a firm chordal Maestoso, but this Maestoso quickly melts into the flowing and simple main theme, marked Allegro (Beethoven further specifies that he wants this melody performed teneramente—“tenderly”—and sempre piano e dolce). The powerful Maestoso returns twice more, each time in a different key, and then drops out of the movement altogether; Beethoven builds the movement almost exclusively out of the opening melody and an equallygentle second subject. Here is a sonata-form movement that does not drive to a powerful climax but instead remains understated throughout: the movement evaporates on a wisp of the opening Allegro theme.

Two softly-pulsing measures lead to the main theme of the Adagio, a gently-rocking and serene melody introduced by the first violin and repeated by the cello. There follow six melodic variations, each growing organically out of the previous one until the music achieves a kind of rhapsodic calm—and the original theme has been left far behind.

Four sharp pizzicato chords introduce the scherzo, and these four chords then vanish, never to re-appear. The fugue-like opening section, built on a dotted figure and its inversion, leads to a brief—and utterly different—trio section. In E-flat minor, this trio whips past in a blistering blur: Beethoven’s phrase markings here stretch over twenty measures at a time. Beethoven brings back the opening section, then offers a surprise at the ending by including a quick reminiscence of the trio just before the cadence.

The last movement has proven the most difficult for commentators, perhaps because of its apparent simplicity.

Marked only Finale (there is no tempo indication), it opens with a four-measure introduction that launches off in the wrong direction before the true main theme

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BEETHOVEN COMPLETE STRING QUARTETS I: BRENTANO QUARTET — PROGRAM NOTES

appears in the first violin. Of rustic simplicity, this melody has been compared to a country-dance, and the second theme—a jaunty march-tune decorated with grace notes— preserves that atmosphere. The tunes may be innocent, but Beethoven’s treatment of them in this sonata-form movement is quite sophisticated, particularly in matters of modulation and harmony. The ending is particularly striking. At the coda Beethoven rebars the music in 6/8, moves to C major, and speeds ahead on violin trills, chains of triplets, and shimmering textures. The very end, back in E-flat major, is calm, resounding—and perfect.

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Musical Prelude 7 PM Trio Clara performs Beethoven’s Piano Trio in C Minor, Opus 1, No. 3

BEETHOVEN COMPLETE STRING QUARTETS II: MIRÓ QUARTET Saturday, August 10, 2019 · 8 PM

Support for the Musical Prelude is provided by:

Gordon Brodfuehrer

THE BAKER-BAUM CONCERT HALL BEETHOVEN

String Quartet in C Minor, Opus 18, No. 4

Allegro ma non tanto Scherzo: Andante scherzoso quasi Allegretto Menuetto: Allegretto Allegro

String Quartet in F Major, Opus 135

Allegretto Vivace Assai lento, cantante e tranquillo Grave, ma non toppo tratto; Allegro (1770-1827)

INTERMISSION

BEETHOVEN String Quartet in E Minor, Opus 59, No. 2

Allegro Molto adagio Allegretto Presto

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

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BEETHOVEN COMPLETE STRING QUARTETS II: MIRÓ QUARTET — PROGRAM NOTES

Program Notes by Eric Bromberger

String Quartet in C Minor, Opus 18, No. 4

LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna Composed: 1799 Approximate Duration: 24 minutes

Brahms may have been haunted by the Beethoven symphonies, but Beethoven had a few ghosts of his own to confront. He was all too aware of what Haydn and Mozart had achieved with the string quartet, and—while still a young man—he copied out movements of their quartets as a way of studying them. It was not until 1798, when he was in his late twenties, that Beethoven finally came to grips with the problems of the form and began writing the group of six quartets that he would eventually publish as his Opus 18. He worked on this set of quartets through the fall of 1798 and completed them the next year; after much revision, he published the six quartets in 1801, certainly conscious that Haydn and Mozart had often published their quartets in groups of six.

But Beethoven’s first set of quartets is not simply an imitation of the work of those earlier masters, and in these first quartets we see the young composer sometimes experimenting with the form and edging toward a voice distinctly his own. Of the six quartets of Opus 18, only the fourth is in a minor key. By itself, this is not remarkable, but what is noteworthy here is Beethoven’s choice of C minor, the key he already reserved for his stormiest music. From this same period came his “Pathetique” Sonata, also in C minor, and that piano sonata and the first movement of the string quartet are driven by the same spirit (it may be worth noting that Mozart wrote no quartets in C minor, and of Haydn’s 83 quartets, only one is in that key). Beethoven’s first movement, marked Allegro non tanto, is full of dark and surging energy, and its second theme—far from providing relief—takes some of the shape and character of the opening subject. The development, punctuated by chords that feel almost orchestral in texture, is dominated by that turbulent opening theme.

If the other three movements do not match the character of the opening, they show some distinctive features of their own. In Haydn and Mozart’s quartets, the second movement was usually slow, but Beethoven drops the slow movement from this quartet altogether and substitutes a scherzo, a bubbling and good-spirited movement full of fugal and canonic writing. The third movement is nominally in minuet-and-trio form, but

its pace and animated character more readily suggest another scherzo. Beethoven catches the listener off-guard by placing accents off the beat throughout the minuet; the trio section is based on exchanges between the lower voices as, high overhead, the first violin accompanies with chains of triplets. The last movement, marked simply Allegro, is the expected rondo, built here on a quick-paced opening theme. Along the way come more lyric interludes, and the second violin’s busy accompaniment to one of these near the end is among the quartet’s most felicitous moments.

Beethoven rounds the movement off with a Prestissimo coda based on the rondo tune.

String Quartet in F Major, Opus 135 Composed: 1826 Approximate Duration: 25 minutes

This quartet—Beethoven’s last complete composition— comes from the fall of 1826, one of the blackest moments in his life. During the previous two years, he had written three string quartets on commission from Prince Nikolas Galitzin, and another, the Quartet in C-sharp Minor, Opus 131, composed between January and June 1826. Even then Beethoven was not done with the possibilities of the string quartet: he pressed on with yet another, making sketches for the Quartet in F Major during the summer of 1826.

At that point his world collapsed. His twenty-yearold nephew Karl, who had become Beethoven’s ward after a bitter court fight with the boy’s mother, attempted suicide on July 30. The composer was shattered—friends reported that he suddenly looked seventy years old. At the end of September, when the young man had recovered enough to travel, Beethoven took him—and the sketches for the new quartet—to the country home of Beethoven’s brother Johann in Gneixendorf, a village about thirty miles west of Vienna. There, as he nursed Karl back to health, Beethoven’s own health began to fail. He would get up and compose at dawn, spend his days walking through the fields, and then resume composing in the evening. In Gneixendorf he completed the Quartet in F Major in October and wrote a new finale to his earlier Quartet in B-flat Major, Opus 130.

These were his final works. When Beethoven returned to Vienna in December, he went almost immediately to bed and died the following March.

One would expect music composed under such turbulent circumstances to be anguished, but the Quartet in F Major is radiant music, full of sunlight—it is as if Beethoven achieved in this quartet the peace unavailable to him in life.

This is the shortest of the late quartets, and while this music remains very much in Beethoven’s late style, it returns to the 858.459.3728 • LJMS.ORG | 41

BEETHOVEN COMPLETE STRING QUARTETS II: MIRÓ QUARTET — PROGRAM NOTES

classical proportions (and mood) of the Haydn quartets.

The opening movement, significantly marked Allegretto rather than the expected Allegro, is the one most often cited as Haydnesque. It is in sonata form—though a sonata form without overt conflict—and Beethoven builds it on brief thematic fragments rather than long melodies. This is poised, relaxed music, and the final cadence—on the falling figure that has run throughout the movement—is remarkable for its understatement. By contrast, the Vivace bristles with energy. Its outer sections rocket along on a sharply-syncopated main idea, while the vigorous trio sends the first violin sailing high above the other voices. The very ending is impressive: the music grows quiet, comes to a moment of stasis, and then Beethoven wrenches it to a stop with a sudden, stinging surprise.

The slow movement—Beethoven marks it Lento assai, cantante e tranquillo—is built on the first violin’s heartfelt opening melody. This opening is in D-flat major, but for the central episode Beethoven slows down even further (the marking is Più lento), moves to C-sharp minor, and writes music of a prayer-like simplicity. This section, full of halting rhythms, spans only ten measures before the return of the opening material, now elaborately decorated.

The final movement has occasioned the most comment.

In the manuscript, Beethoven noted two three-note mottos at its beginning under the heading Der schwer gefasste Entschluss: “The Difficult Resolution.” The first, solemnly intoned by viola and cello, asks the question: “Muss es sein?” (“Must it be?”). The violins’ inverted answer, which comes at the Allegro, is set to the words “Es muss sein!” (“It must be!”). Coupled with the fact that this quartet is virtually Beethoven’s final composition, these mottos have given rise to a great deal of pretentious nonsense from certain commentators, mainly to the effect that they must represent Beethoven’s last thoughts, a stirring philosophical affirmation of life’s possibilities. The actual origins of this motto are a great deal less imposing, for they arose from a dispute over an unpaid bill, and as a private joke for friends Beethoven wrote a humorous canon on the dispute, the theme of which he later adapted for this quartet movement.

In any case, the mottos furnish the opening material for what turns out to be a powerful but essentially cheerful movement—the second theme radiates a childlike simplicity.

The coda, which begins pizzicato, gradually gives way to bowed notes and a cadence on the “Es muss sein!” motto.

String Quartet in E Minor, Opus 59, No. 2 Composed: 1806 Approximate Duration: 37 minutes

When Count Andreas Razumovksy, the Russian ambassador to Vienna and chamber music enthusiast, commissioned a set of three string quartets from Beethoven in 1805, he could not possibly have known what he would receive in return. Beethoven had at that time written one set of six quartets (published in 1801), cast very much in the high classical mold as set out by Haydn and Mozart.

Doubtless Razumovsky expected something on this order, and he provided Beethoven with some Russian themes and asked that he include one in each of the three quartets.

The three quartets Beethoven wrote in 1806, however, were so completely original that in one stroke they redefined the whole conception of the string quartet.

These are massive quartets, both in duration and dramatic scope, and it is no surprise that they alienated virtually everyone who heard them. Only with time did Beethoven’s achievement in this music become clear. Trying to take the measure of this new music, some early critics referred to the Razumovsky quartets as “symphony quartets,” but this is misleading, for the quartets are true chamber music. But it is true that what the Eroica did for the symphony, these quartets did for the string quartet: they opened new vistas, entirely new conceptions of what the string quartet might be and of the power it might unleash.

The first Razumovsky quartet is broad and heroic and the third extroverted and virtuosic, but the second has defied easy characterization. Part of the problem is that in this quartet Beethoven seems to be experimenting with new ideas about themes and harmony. The thematic material of the first movement in particular has baffled many, for it seems almost consciously non-thematic, while harmonically this quartet can be just as elusive. All four movements are in some form of E, but Beethoven refuses to settle into any key for very long, and one key will melt into another (often unexpected) key in just a matter of measures.

Such a description would seem to make the Quartet in E Minor a nervous work, unsettled in its procedures and unsettling to audiences. But the wonder is that—despite these many original strokes—this music is so unified, so convincing, and at times so achingly beautiful. Simple verbal description cannot begin to provide a measure of this music, but a general description can at least aid listeners along the way to discovering this music for themselves. The two chords that open the Allegro will recur throughout, at quite different dynamic levels and used in quite different ways. The “theme” that follows seems almost

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BEETHOVEN COMPLETE STRING QUARTETS II: MIRÓ QUARTET — PROGRAM NOTES

a fragment, and Beethoven reduces it even further, isolating rhythmic motifs and developing intervals from this opening statement. This is a big movement, and Beethoven asks for repeats of both the exposition and development (not always observed in performance) before the movement closes on a massive restatement of the opening theme, which suddenly fades into silence.

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.” Beethoven specifies in the score that “This piece must be played with great feeling,” and after the somewhat nervous first movement the Adagio brings a world of expressive intensity. This massive movement, in sonata form, opens with a prayer-like main theme, but all is not peace—along the way Beethoven punctuates the generally hushed mood with powerful massed chords.

The Allegretto, with its skittering main theme (the pulses are off the beat), feels somewhat playful. In its trio section, Beethoven introduces Razumovsky’s “Russian theme” and then proceeds to subject it to such strait-jacketed contrapuntal treatment that some critics have felt that Beethoven is trying annihilate the theme; Joseph Kerman speaks of the trio as Beethoven’s “revenge” on Razumovsky.

The finale begins in the wrong key (C major) and then wobbles uncertainly between C major and E minor throughout. Despite the air of high-spirited dancing in the main theme, this movement too brings stuttering phrases and the treatment of bits of theme, which are sometimes tossed rapidly between the four voices. A Più Presto coda brings this most original quartet to a sudden close.

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TAKEOVER @ THE JAI

Nora Fischer

Dustin Donahue

Doors Open 6 PM Arrive early for bites and beverages The Synergy Initiative is underwritten by:

Clara Wu Tsai

Rose Lombardo

Joseph Morris

MUSIC FROM MUSIC I Curated by David Lang

Produced by Inon Barnatan & Clara Wu Tsai A Part of the Synergy Initiative

Sunday, August 11, 2019 · 7 PM The JAI

CAROLINE SHAW Entr’acte

(b. 1982) Miró Quartet Daniel Ching, William Fedkenheuer, violins; John Largess, viola; Joshua Gindele, cello; CHRIS CERRONE South Catalina

(b. 1984) Rose Lombardo, flute; Joseph Morris, clarinet; Paul Aguilar, violin; Hannah Moses, cello; Timo Andres, piano; Dustin Donahue, percussion GABRIELLA SMITH Carrot Revolution

(b. 1991) Miró Quartet DAVID LANG Death Speaks

(b. 1957) Nora Fischer, singer; Tatjana Roos, violin; Timo Andres, piano; Derek Johnson, electric guitar Stay after the performance to mingle with the artists.

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

Liza Ferschtman

Musical Prelude 7 PM Callisto Quartet and Ying Li perform Schumann’s Quintet for Piano and Strings in E-flat Major, Opus 44

Qian Wu

Brett Dean

INVENTIONS Wednesday, August 14, 2019 · 8 PM THE BAKER-BAUM CONCERT HALL DEBUSSY

Support for this program generously provided by:

Silvija and Brian Devine Support for the Musical Prelude is provided by:

Gordon Brodfuehrer

La Jolla Music Society dedicates this concert in memory of:

Helene K. Kruger

First Rhapsody for Clarinet and Piano

Joseph Morris, clarinet; Qian Wu, piano BRETT DEAN Seven Signals (2019) WEST COAST PREMIÈRE

(b. 1961) Impulse Study (Overture) Semaphore

Beacon Tallying Morse 1 Morse 2

Body Language (Pas de deux)

Joseph Morris, clarinet; Qian Wu, piano;

Liza Ferschtman, violin; Felix Fan, cello

INTERMISSION (1862-1918)

J.S. BACH

Aria with Thirty Variations (Goldberg Variations), BWV 988

(transcribed for string trio by Dmitry Sitkovetsky)

Aria Variation 16 Ouverture Variation 1 Variation 17 Variation 2 Variation 18 Canone alla Sesta Variation 3 Canone all’ Unisono Variation 19 Variation 4 Variation 20 Variation 5 Variation 21 Canone alla Settima Variation 6 Variation 22 Variation 7 al tempo di Giga Variation 23 Variation 8 Variation 24 Canone all’ Ottava Variation 9 Canone alla Terza Variation 25 Variation 10 Fughetta Variation 26 Variation 11 Variation 27 Canone alla Nona Variation 12 Canone alla Quarta Variation 28 Variation 13 Variation 29 Variation 14 Variation 30 Quodlibet Variation 15 Canone alla Quinta Aria

Liza Ferschtman, violin; Brett Dean, viola; Carter Brey, cello (1685-1750)

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INVENTIONS — PROGRAM NOTES

Program Notes by Eric Bromberger, except where indicated.

First Rhapsody for Clarinet and Piano

CLAUDE DEBUSSY

Born August 22, 1862, Saint Germain-en-Laye, France Died March 25, 1918, Paris Composed: 1909-10 Approximate Duration: 9 minutes

In 1908 Debussy was named to the advisory board of the Paris Conservatory. It was only a minor position, but for a composer never wholly free from financial worries it was a welcome appointment. Debussy’s duties appear to have centered around the Conservatory’s annual concours, the examinations held at the end of each academic year for instrumentalists. In 1909 Debussy was asked to provide two test-pieces for the concours for clarinetists. Debussy was a notoriously lazy composer who seemed to take a perverse delight in missing deadlines, and being asked to write academic pieces would seem exactly the situation to bring out this side of him. But—for whatever reasons— he found writing these pieces for clarinet an attractive challenge, and he completed them in 1910. The first, titled simply Petite pièce, is a sight-reading exercise, but the other, much more substantial, is an examination piece intended to test musicianship. Titled First Rhapsody, it puts clarinetists through their paces, offering the opportunity to demonstrate a singing, sustained sound in the opening section in 4/4 and to show off the agility of their technique in the jaunty and chromatic fast section in 2/4. Debussy could be sour and self-deprecating, but he was delighted by the Rhapsody and described it as “one of the most pleasing pieces I have ever written.”

Debussy liked this music enough that the following year he arranged it for clarinet and orchestra, and that version has proven particularly effective. Debussy’s title First Rhapsody for Clarinet seems to imply that he intended to write more, but he did not. His Second Rhapsody, not nearly so well known as the First, is for saxophone.

Seven Signals

BRETT DEAN Born October 23, 1961, Brisbane Composed: 2019 Approximate Duration: 20 minutes

The subject of Seven Signals is the power of non-verbal communication in a time in which verbal communication seemingly leads us to constant misunderstandings. These “signals without language” range from physical impulses through to encoding systems taken from maritime practice.

The work is dedicated to the choreographer Jirí Kylián with whom Brett Dean collaborated for the 1998 ballet One of a Kind.

The first movement, Impulse Study, grows out of a signal-generating pizzicato on the strings of the piano.

Contrasting with the resulting nervous, rapid runs in the clarinet are the stringent pizzicatos of the violin and cello.

A multiphonic chord in the clarinet leads into a section of various tonal repetitions, developing into a rhythmically marked, “hammering” section, which will be of significance again in a later movement. “Flowing, floating, and delicately luminous,” the beacon in the second movement sends out its signals with harmonics and short figures. Fog seems to arise quietly from the bass register of the piano before the beacon flickers again.

The idea of extracting material from a constant rhythmical figure returns in the third movement, which bears the title Morse 1. Here, with fragile, repeated harmonics, the violin announces a rhythm that radio operators could probably decipher: the distress calls, in Morse code, of the sinking RMS Titanic which collided with an iceberg during the night of 14th-15th April, 1912.

Adapted from the ship’s original radio messages, Dean develops a dense rhythmical pattern that the three other instruments add to with increasing intensity. The desperate signals “CQD” (“sécurité, distress,” the first maritime distress call in history) and “SOS,” which the Titanic’s radio operator Jack Philipps sent out constantly till the end, can be heard as the movement reaches its climax.

The fourth movement, Body Language (Pas de deux), appears as a delicate, floating study inspired by dance— arguably the most sensual among non-verbal manners of communication. The wave-like sixteenth-note figuration in the piano is inspired by Robert Schumann’s Märchenerzählungen. This is contrasted in the angular fifth movement, with multiphonics, quarter-tones, and noise-like whipping sounds made with the bows, is titled Semaphore (a telegraphy system for optical transmission of messages by means of flags).

Movement six, Tallying, is inspired by the way in which prisoners mark up their days spent in confinement by means of lines etched upon the wall. Four even, stubbornly repeated quarter notes stand for the vertical lines, the horizontal line is dissipated in rambling ornaments, as if already setting out into freedom.

Morse 2, the seventh and final movement, again takes up the Titanic’s distress signal, now embedded in overtone-rich and quarter-tone textures. With delicate, angled swishes of the bows across the strings, the violin and cello perform a ghostly version of the hymn “Nearer, My God, to Thee”— allegedly the last music that the ship’s orchestra played on

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INVENTIONS — PROGRAM NOTES

board the sinking Titanic.

The work was commissioned by La Jolla Music Society, Wigmore Hall, and Chamber Music Society of Lincoln Center, who honored Brett Dean with the Stoeger Prize in 2011.

Kerstin Schüssler-Bach

Aria with Thirty Variations (Goldberg Variations), BWV 988 (transcribed for string trio by Dmitry Sitkovetsky)

JOHANN SEBASTIAN BACH Born March 21, 1685, Eisenach, Germany Died July 28, 1750, Leipzig Composed: 1741 Approximate Duration: 60 minutes

In November 1741 Bach, then 56 years old, made the hundred-mile trip east from Leipzig to Dresden to visit an old friend, Count Hermann Keyserlingk, the Russian ambassador to the Saxon court. Keyserlingk’s court harpsichordist was the fourteen-year-old Johann Gottlieb Goldberg, who at age ten had been a student of Bach. There are several stories as to what happened next, all impossible to confirm. One is that Keyserlingk commissioned a work for his young harpsichordist and gave Bach a goblet full of gold coins in payment. Another is that Keyserlingk was an insomniac who specified that he wanted a piece that Goldberg could play to him as he went to sleep.

What is certain is that the following year Bach published (as the fourth part of his edition of keyboard works, the Clavier-Übung) a work he called simply Aria with Thirty Variations, composed for two-manual harpsichord. The score bore no dedication, nor any mention at all of Keyserlingk or Goldberg. But Bach did give the count a copy of this music, and the conclusion is that this is the piece that had been requested in Dresden. By a process of (perhaps random) association, one of the greatest works ever written immortalizes a fourteen-year-old harpsichord player, and we know this music today simply as the Goldberg Variations.

For his theme—which he calls Aria—Bach uses a sarabande melody that he had written as part of Anna Magdalena Bach’s Notebook. It is 32 measures long and already ornately embellished on its first appearance, though it is not this melody that will furnish the basis for the variations that follow but the bassline beneath it. This lengthy harmonic progression will become the backbone of the Goldberg Variations, functioning much like the ground bass of a passacaglia. The thirty variations that follow are grouped in ten units of three, of which the third is always a canon, and each successive canon is built on an interval one larger than the previous. Such a description makes the Goldberg Variations sound like one of the more densely-argued works of the

Second Viennese School, but in fact this is some of Bach’s most moving and exhilarating music.

In fact, listeners do not really need to understand the complexity of Bach’s techniques to feel the greatness of this music. One is certainly aware of the original bassline as a structuring element, but beyond that each successive variation can be taken as an individual pleasure. Some incidental observations: Bach changes meter at virtually every variation. The tenth variation is written as a Fughetta, and of special importance to the work are the three minorkey variations (Nos. 15, 21, and 25): all of these are slow, all begin in G minor (but can go far afield harmonically), and all are darkly expressive.

That close is unusual all by itself. The thirtieth and final variation is marked Quodlibet, which means simply a gathering of tunes. Here Bach incorporates into the harmonic frame of his variations some of the popular tunes that he had heard sung around him on the streets of Leipzig. Donald Francis Tovey has identified two of these, and their first lines translate “It is so long since I have been at your house” and “Cabbage and turnips have driven me away. If my mother’d cooked some meat, I might have stopped longer.” To a listener of Bach’s day, the joke would have been obvious, though it has to be explained to us—we feel only that the work is approaching its close in an unusually relaxed and tuneful manner. And then, a masterstroke: rather than rounding off the Goldberg Variations with a rousing display of contrapuntal brilliance, Bach concludes with a simple repetition of the opening Aria.

Originally written for harpsichord, the Goldberg Variations are more often heard today on the piano. This concert offers a transcription for string trio made by the violinistconductor Dmitry Sitkovetsky in 1984. Such a transcription takes this music into a sound-world entirely different from Bach’s original conception. Bach conceived the Goldberg Variations for keyboard—in which strings are struck—and Sitkovetsky’s arrangement transforms it into music for stringed instruments, which produce sound by setting strings in motion with a bow. This transcription opens up a range of new expressive possibilities, built on the rich sound of bowed strings and on the interplay of three independent performers. Sitkovetsky also takes full advantage of string techniques that could not be part of Bach’s original keyboard version; these include pizzicato and détaché and spiccato bowing, as well as the greater dynamic flexibility of stringed instruments.

Transcriptions of Bach’s music may raise the hackles of purists, but Sitkovetsky’s version of the Goldberg Variations allows us to hear this familiar music in new garb and—in the process—to experience it in completely new ways.

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Doug Fitch

The Synergy Initiative is underwritten by:

Clara Wu Tsai

SYNERGY SERIES II: MUSIC AT AN EXHIBITION Produced by Inon Barnatan & Clara Wu Tsai

Thursday, August 15, 2019 · 7 PM

THE CONRAD PREBYS PERFORMING ARTS CENTER COLLABORATORS Inon Barnatan, piano; Carter Brey, cello; Callisto Quartet; Tristan Cook, filmmaker; Liza Ferschtman, violin; Doug Fitch, visual artist, designer, & director; Caio Fonseca, abstract painter; Lutz Rödig, director; Zack Smithey, multidisciplinary artist; Trio Clara; Michelle Zamora, puppeteer SCHEDULE OF ACTIVITIES 7 PM & 9 PM

The JAI

CHASING INSPIRATION

7 PM - 10 PM

The Atkinson Room

MUSICAL TALES ON FILM

7 PM - 10 PM

The Belanich Terrace

THE SYNERGY ART WALK

7 PM - 10 PM

Wu Tsai QRT.yrd

MINGLE & CONSPIRE

(Showings)

Visionary artist Zack Smithey paints live in response to performances by Carter Brey, Liza Ferschtman, Callisto Quartet, and Trio Clara.

(Ongoing)

Filmmakers and artists bring musical tales to life on the screen in this capsule collection of short films.

(Ongoing) Explore the upper spaces of The Conrad, as you stroll among bold canvases by Caio Fonseca, video pieces by Tristan Cook, and other curious musical objects.

(Ongoing)

The Baker-Baum Concert Hall

Relax, reflect, and refresh in the Wu Tsai QRT.yrd with signature cocktails and bites.

8 PM - 9 PM

PICTURES AT AN EXHIBITION

Mussorgsky’s monumental Pictures at an Exhibition performed alongside Pärt’s Spiegel im Spiegel is galvanized by a whimsical brigade of puppets, detailed models, and live video in this world première production by designer and director Doug Fitch.

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SYNERGY SERIES II: MUSIC AT AN EXHIBITION — PROGRAM NOTES

PICTURES AT AN EXHIBITION · 8 PM ARVO PÄRT (b. 1935)

MUSSORGSKY (1839-1881)

Spiegel im Spiegel

Liza Ferschtman, violin; Inon Barnatan, piano Pictures at an Exhibition

Inon Barnatan, piano; Doug Fitch, designer & director; Lutz Rödig, director; Michelle Zamora, puppeteer

Spiegel im Spiegel

Pictures at an Exhibition

Born September 11, 1935, Paide, Estonia Composed: 1978 Approximate Duration: 10 minutes

Born March 21, 1839, Karevo, Russia Died March 28, 1881, Saint Petersburg, Russia Composed: 1874 Approximate Duration: 33 minutes

ARVO PÄRT

Pärt’s earliest works show the influence of the Soviet music of Prokofiev and Shostakovich, but beginning in 1960 with Necrology for Orchestra, he adopted the serial principles of Schoenberg. This procedure quickly exhausted its interest for him, however, and, for a fruitful period in the mid-1960s during which he produced a cello concerto, the Second Symphony and the Collage on BACH for Orchestra, he explored the techniques of collage and quotation. Pärt was still dissatisfied, however, and he abandoned creative work for several years, during which time he devoted himself to the study of the music of such Medieval and Renaissance composers as Machaut, Ockeghem, Obrecht and Josquin. Guided by the spirit and method of those ancient masters, Pärt broke his compositional silence in 1976 with the small piano piece Für Alina, which utilizes quiet dynamics, rhythmic stasis and open-interval and triadic harmonies to create a thoughtful mood of mystical introspection reflecting the composer’s personal piety.

His subsequent works, all of which eschew electronic tone production in favor of traditional instruments and voices, have been written in this pristine, otherworldly style inspired by Gregorian chant and Renaissance polyphony, and seek to unite ancient and modern ages in music that seems rapt out of time. Spiegel im Spiegel, composed in 1978, shortly before Pärt left Estonia, is an ethereal lullaby. It moves at an unvarying pace and is built from the simplest of musical materials: a continuous broken-chord pattern, subject to only the most subtle harmonic shifts, in the right hand of the piano; bell tones, deep in the bass and high in the treble, for the left hand; and long-held notes moving by fundamental intervals in the violin. There is not a single chromatic note in the entire work. The title of Spiegel im Spiegel—”Mirror in the Mirror”—suggests the additive growth of its violin line, which moves progressively from three initial notes—one above and one below the pitch A, the work’s gravitational center—to ultimately encompass complete scale sequences, much as facing mirrors create a perpetually expanding visual image.

Richard Rodda

MODEST MUSSORGSKY

In the summer of 1873, Modest Mussorgsky was stunned by the sudden death of his friend Victor Hartmann, an architect and artist who was then only 39.

The following year, their mutual friend Vladimir Stassov arranged a showing of over 400 of Hartmann’s watercolors, sketches, drawings, and designs. Inspired by the exhibition and the memory of his friend, Mussorgsky set to work on a suite of piano pieces based on the pictures and wrote enthusiastically to Stassov: “Hartmann is bubbling over, just as Boris did. Ideas, melodies, come to me of their own accord, like the roast pigeons in the story—I gorge and gorge and overeat myself. I can hardly manage to put it all down on paper fast enough.” He worked fast indeed: beginning on June 2, 1874, Mussorgsky had the score complete three weeks later, on June 22, just a few months after the première of Boris Godunov.

The finished work, which he called Pictures at an Exhibition, consists of ten musical portraits bound together by a promenade theme that recurs periodically— Mussorgsky said that this theme, meant to depict the gallery-goer strolling between paintings—was a portrait of himself. Curiously, Pictures spent its first half-century in obscurity. It was not performed publically during Mussorgsky’s lifetime, it was not published until 1886 (five years after its composer’s death), and did not really enter the standard piano repertory until several decades after that: the earliest recording of the piano version did not take place until 1942. Even early listeners were struck by the “orchestral” sonorities of this piano score, and in 1922 conductor Serge Koussevitzky asked Maurice Ravel to orchestrate it. Koussevitzky gave the first performance of Ravel’s version at the Paris Opera on October 19, 1922, and it quickly became one of the most popular works in the orchestral repertory. This performance offers the rare opportunity to hear this familiar music performed in its original version.

Eric Bromberger 858.459.3728 • LJMS.ORG | 49

Musical Prelude 7 PM Trio Clara performs Arensky’s Piano Trio No. 1, Opus 32

BEETHOVEN COMPLETE STRING QUARTETS III: EHNES QUARTET Friday, August 16, 2019 · 8 PM

Support for this program generously provided by:

Sam B. Ersan

Support for the Musical Prelude is provided by:

Gordon Brodfuehrer

THE BAKER-BAUM CONCERT HALL BEETHOVEN

String Quartet in B-flat Major, Opus 18, No. 6 Allegro con brio Adagio, ma non troppo Scherzo: Allegro Adagio: “La Malinconia”; Allegretto quasi Allegro

String Quartet in E-flat Major, Opus 74 “Harp”

Poco adagio; Allegro Adagio, ma non troppo Presto Allegretto con Variazioni (1770-1827)

INTERMISSION

BEETHOVEN String Quartet in A Minor, Opus 132

Assai sostenuto; Allegro Allegro ma non tanto Molto adagio; Andante Alla marcia, assai vivace Allegro appassionato

Ehnes Quartet James Ehnes, Amy Schwartz Moretti, violins; Richard O’Neill, viola; Edward Arron, cello

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

BEETHOVEN COMPLETE STRING QUARTETS III: EHNES QUARTET — PROGRAM NOTES

Program Notes by Eric Bromberger

String Quartet in B-flat Major, Opus 18, No. 6

LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna Composed: 1800 Approximate Duration: 25 minutes

Beethoven worked for two years on his first string quartets, completing that cycle of six in 1800, the year he also composed his First Symphony. While the quartets were not composed in the order they were published, the sixth of the set was in fact the last to be written, and it shows a number of unusual features. This is a quartet that grows more interesting as it proceeds—Beethoven was apparently experimenting here with making the finale a weightier and more significant conclusion than the usual high-spirited rondo of classical form.

Such a shift in emphasis inevitably means that the first movement—which establishes the character of a piece of music—will seem less important, and Philip Radcliffe has called the opening Allegro con brio of this quartet “lightweight” and “superficially Haydnesque.” Yet it is hard to dislike this spirited opening movement, with its propulsive exchanges between first violin and cello and its endless energy. The movement is remarkably short—its brevity is one of Beethoven’s ways of de-emphasizing its importance—and the development is concerned almost exclusively with the opening theme. The first violin lays out the elegant main melody of the Adagio, ma non troppo (the first violin has an unusually prominent part in this quartet), and this idea develops through a lengthy elaboration. The third movement is a scherzo rather than the minuet of the highclassical string quartet, and this one is full of cross-rhythms, as Beethoven sets three beats against two; the skittering trio belongs almost entirely to the first violin before a quick bridge in B-flat minor leads back to the scherzo.

The finale opens with a long Adagio that Beethoven calls “La Malinconia.” The source of this melancholy is unclear. It does not seem to reflect anything in Beethoven’s own life—perhaps it is a generalized expression of an emotional pose. The composer stresses that it should be played “with the greatest delicacy,” and this remarkable music proceeds through unexpected modulations and sharp dynamic contrasts before leading without pause into the sparkling main section of the finale, marked Allegretto quasi Allegro. This music, in a quick 3/8 meter, has some of the feel of a waltz, and once again the first violin does most of the dancing. Beethoven brings back several reminiscences

of “La Malinconia” near the close, but the music finally dashes to its close on the sunny waltz music, now accelerated to a Prestissimo.

String Quartet in E-flat Major, Opus 74, “Harp” Composed: 1809 Approximate Duration: 32 minutes

Beethoven’s middle-period quartets proved difficult for audiences from the very beginning. The exception is the lovely Quartet in E-flat Major, Opus 74, long nicknamed the “Harp.” In contrast to the other middle quartets, this one is full of graceful music executed with consummate technical skill. No battles are fought and won here—instead one savors the calm pleasures of what is perhaps Beethoven’s most relaxed string quartet.

Yet this music was composed during a difficult time for Beethoven, the year 1809. That year, French armies under Napoleon bombarded and occupied Vienna, forcing most of the city’s nobility and many of Beethoven’s friends to flee (the composer himself hid in his brother’s basement during the bombardment with a pillow held tightly around his head). And it was during the French occupation that Beethoven’s old teacher Haydn died. Anguished, Beethoven wrote to his publishers: “We are enjoying a little peace after violent destruction, after suffering every hardship that one could conceivably endure. I worked for a few weeks in success, but it seemed to me more for death than for immortality.” Beethoven’s music from 1809, however, shows little trace of his anxieties: from early in that year came the noble “Emperor” Concerto, and after completing the quartet (probably in September 1809) Beethoven set to work on the incidental music to Goethe’s Egmont.

The first movement of the quartet opens with a slow introduction whose chromaticism creates an uncertain tonality; from this tonal blur, the main theme of the Allegro establishes the unequivocal key of E-flat major. Very quickly come the pizzicatos that have earned this quartet the (not particularly appropriate) nickname “Harp.” The development is quite active, and the recapitulation features a near-virtuoso first violin part that goes swirling across all four strings before the movement’s vigorous close. The Adagio ma non troppo can be described simply—this is lovely music. It is built on one of Beethoven’s most attractive lyric ideas, which develops across three repetitions, each elaborated differently. Throughout, Beethoven constantly reminds all four performers: cantabile and espressivo.

By contrast, the Presto bristles with energy. It bears a strong resemblance to the scherzo movement of the Fifth Symphony, composed two years earlier: both are in C minor, 858.459.3728 • LJMS.ORG | 51

BEETHOVEN COMPLETE STRING QUARTETS III: EHNES QUARTET — PROGRAM NOTES

both are built on the same characteristic rhythm, and both feature fugal writing in the trio section. Yet where the third movement of the symphony builds through a huge crescendo to a triumphant finale, Beethoven winds this movement in the quartet down very carefully, and the finale that follows seems intentionally anti-climactic. It is a variation movement consisting of an almost innocent theme, six variations, and a coda; the odd-numbered variations tend to be vigorous and fast, the even-numbered lyric and gentle.

The sixth 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 the coda fortissimo 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.

String Quartet in A Minor, Opus 132 Composed: 1825 Approximate Duration: 41 minutes

Russian Prince Nikolas Galitzin commissioned three string quartets from Beethoven in the fall of 1822 and in the process set in motion the final phase of the composer’s creative life. Beethoven completed the first (Opus 127) in the winter of 1825 and began the Quartet in A Minor, but in April 1825—while composing this music—Beethoven became so ill with an intestinal disorder that his doctor put him on a strict diet and suggested a move to the country.

Only gradually did the composer resume his strength, moving to the resort town of Baden where he completed the quartet that July; it was first performed in September.

Each of the late quartets has a unique structure, and the structure of the Quartet in A Minor is one of the most striking of all. Its five movements form an arch. At the center is a stunning slow movement that lasts nearly half the length of the entire quartet. The powerful outer movements evolve out of classical forms (sonata-form and rondo), while the even-numbered movements, lighter in mood, also show some relation to earlier forms (minuet and march). This is a massive quartet—it lasts three-quarters of an hour—but the effect is of a powerful and expressive unity.

The opening movement is in a kind of sonata form, but this is the sonata form that Beethoven had evolved late in his career. Long gone is the clear structural progression of the Haydn-Mozart opening movement; instead Beethoven builds this movement around the contrast of two distinctly different themes. His marking for the movement—Assai sostenuto; Allegro—makes plain the contrast between themes at different tempos, and at the opening Beethoven alternates two principal themes: a slow cantus firmus

opening and a steady march-like melody announced by the first violin.

The second movement, in ABA form, conforms outwardly to the classical minuet and trio. The opening of this movement bears a strong resemblance to the opening of the second movement of Mozart’s Quartet in A Major, K.464: both make use of a rising unison answered by a dancing figure in the first violin. Beethoven treats this theme canonically, drawing a great deal from these limited means. The trio section brings a drone: the first violinist not only plays the theme high on the E-string but accompanies the melody with the open A. The third movement (Molto adagio) has a remarkable heading: in the score Beethoven titles it “Hymn of Thanksgiving to the Godhead from an Invalid in the Lydian Mode,” a clear reflection of the serious illness he had just come through and of his gratitude for his recovery. This is a variation movement, and Beethoven lays out a long, slow opening section, full of heartfelt music.

But suddenly the music switches to D major and leaps ahead brightly; Beethoven marks this section “Feeling New Strength.” These two sections alternate through this movement (the form is ABABA), and the opening section is so varied on each reappearance that it seems to take on an entirely different character each time: each section is distinct, and each is moving in its own way (Beethoven marks the third “With the greatest feeling”). This movement has seemed to some listeners the greatest music Beethoven ever wrote, and perhaps the problem of all who try to write about this music is precisely that it cannot be described in words and should be experienced simply as music.

After such a movement, some relief is necessary, and Beethoven provides an energetic little march, much in the manner of Haydn. But this suddenly breaks off, and the first violin soars into a recitative that leads directly into the last movement. There is a close kinship between this recitative and the recitative that launches the final movement of the Ninth Symphony, completed the year before.

This connection is strengthened when one learns that Beethoven had originally intended to use the finale of this quartet as the last movement of the Ninth Symphony when that symphony was still planned as an all-instrumental composition. The finale of the quartet, a buoyant rondo, seems full of the same mood of transcendence and triumph that marks the Ninth Symphony, and Beethoven rounds off this most remarkable quartet with a Presto coda that drives this music to the ringing, final A-major chords.

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

Gala

SummerFest AU G U St 1 7, 2 0 1 9

Carnival at The Conrad with Sérgio Mendes

A BENEFIT CONCERT FOR EDUCATION SATURDAY, AUGUST 17, 2019 · 5 PM The Conrad Prebys Performing Arts Center Celebrate SummerFest with the legendary Sérgio Mendes in our new home at The Conrad! Raise a glass to toast our new SummerFest Music Director, Inon Barnatan, while dining on world-class cuisine prepared by Jeffrey Strauss’ Pamplemousse Grille. The Party continues after the concert with live music, Drinks, Dessert and Dancing in The JAI. Gala Chair: Lehn Alpert Goetz SummerFest Chair: Sylvia Ré Honorary Chair: Dolly Woo

Sérgio Mendes

FOR RESERVATIONS, PLEASE CALL 858.459.3724 EXT. 206 OR EMAIL RSOLTAN@LJMS.ORG 858.459.3728 • LJMS.ORG | 53

TAKEOVER @ THE JAI

Tatjana Roos

Alyssa Park

Doors Open 6 PM Arrive early for bites and beverages The Synergy Initiative is underwritten by:

Clara Wu Tsai

Liza Ferschtman

Timo Andres

MUSIC FROM MUSIC II Curated by David Lang

Produced by Inon Barnatan & Clara Wu Tsai A Part of the Synergy Initiative

Sunday, August 18, 2019 · 7 PM The JAI

For the Love of Charles Mingus

Liza Ferschtman, Alyssa Park, Jun Iwasaki,

Paul Aguilar, Tatjana Roos, Rachel Stenzel, violins NINA YOUNG Spero lucem

(b. 1984) Timo Andres, piano; Jun Iwasaki, violin;

Eva Kennedy, viola; Hannah Moses, cello TIMO ANDRES Piano Trio

(b. 1985) Timo Andres, piano; Alyssa Park, violin; Annie Jacobs-Perkins, cello JULIA WOLFE With a Blue Dress On

(b. 1958) Liza Ferschtman, Alyssa Park, Jun Iwasaki, Tatjana Roos, Rachel Stenzel, violins TED HEARNE (b. 1982)

Stay after the performance to mingle with the artists.

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

Cynthia Phelps

Musical Prelude 7 PM Trio Clara performs C. Schumann’s Piano Trio in G Minor, Opus 17

Richard O’Neill

Jonathan Biss

LOVE STORIES Tuesday, August 20, 2019 · 8 PM THE BAKER-BAUM CONCERT HALL

Prelude to Tristan und Isolde (arr. Sebastian Gürtler)

James Ehnes, Liza Ferschtman, violins; Cynthia Phelps,

Richard O’Neill, violas; Edward Arron, Clive Greensmith, cellos SCHUMANN Dichterliebe, Opus 48

(1810-1856) Im wunderschönen Monat Mai Aus meinen Tränen sprießen Die Rose, die Lilie, die Taube, die Sonne Wenn ich in deine Augen seh’ Ich will meine Seele tauchen Im Rhein, im heiligen Strome Ich grolle nicht Und wüßten’s die Blumen Das ist ein Flöten Hör ich das Liedchen klingen Ein Jüngling liebt ein Mädchen Am leuchtenden Sommermorgen Ich hab’ im Traum geweint Allnächtlich im Traume seh’ ich dich Aus alten Märchen winkt es Die alten, bösen Lieder

Robin Tritschler, tenor; Jonathan Biss, piano WAGNER

Support for this program generously provided by:

Silvija and Brian Devine Abby and Ray Weiss Support for the Musical Prelude is provided by:

Gordon Brodfuehrer

La Jolla Music society dedicates this concert in memory of:

Kay Hesselink

(1813-1883)

INTERMISSION

C. SCHUMANN

Three Romances for Violin and Piano, Opus 22

(1819-1896) Andante molto

Allegretto Leidenschaftlich schnell

Augustin Hadelich, violin; Jonathan Biss, piano SCHOENBERG Verklaerte Nacht, Opus 4

(1874-1951) Liza Ferschtman, James Ehnes, violins; Richard O’Neill,

Cynthia Phelps, violas; Clive Greensmith, Carter Brey, cellos

858.459.3728 • LJMS.ORG | 55

LOVE STORIES — PROGRAM NOTES

Program Notes by Eric Bromberger

Prelude to Tristan und Isolde (arr. Sebastian Gürtler)

RICHARD WAGNER Born May 22, 1813, Leipzig Died February 13, 1883, Venice Composed: 1857-59 Approximate Duration: 11 minutes

During the 1850s Wagner was at work on the operas that would make up The Ring of the Nibelungen. He completed Das Rheingold in 1854 and Die Walküre in 1856 and immediately set to work on Siegfried. Partway through Act I of Siegfried, however, Wagner’s plans took an unexpected detour when he became fascinated by the ancient Irish legend of Tristan and Iseult, lovers who find fulfillment only in death. He laid aside his work on Siegfried for three years and composed Tristan und Isolde between 1856 and 1859.

Even before the opera was premièred in Munich in 1865 Wagner had led orchestral excerpts from it in concerts, and the most important of these involves a remarkable piece of compositional surgery: Wagner took the very beginning of the opera—its opening prelude—and the very ending—Isolde’s farewell to life—and fused them in an orchestral work he called Prelude and Love-Death. This reduces the four-hour opera to a sixteen-minute distillation that moves directly from its yearning beginning to Isolde’s ecstatic fulfillment in death at the very end, and it has remained one of the most popular orchestral excerpts from Wagner’s operas.

It is also one of the most remarkable works in the orchestral repertoire, so remarkable that many feel that modern music (whatever that is) begins with the Prelude to Tristan und Isolde. The Prelude opens this tale of unfulfilled love with music that is itself the very embodiment of unfulfilled longing—a falling cello line intersects dissonantly with a rising oboe line, and that harmonic clash does not resolve. That same pattern repeats in a new key, again without resolution. It will never resolve. The music’s failure ever to find harmonic stasis mirrors the lovers’ failure to find fulfillment in life, and—despite the beauty of the music—its effect is intentionally unsettling. Berlioz confessed that he was “completely baffled” when he heard Wagner conduct the Prelude in Paris in 1859, and he was quite right to feel assaulted. This music annihilated the conception of a tonal center decades before those other two works that have seemed to launch modern music— Debussy’s Prelude to the Afternoon of a Faun and Stravinsky’s Rite of Spring—were conceived (and before either of those two composers had even been born).

At this concert the Prelude to Tristan und Isolde is performed in an arrangement for string sextet by Sebastian Gürtler. In this form, Wagner’s music becomes a perfect counterpoint to Schoenberg’s Verklaerte Nacht, the final work on this concert. Both are for string sextet, both push traditional harmony in strange (and—to some— threatening) ways, and both explore dimensions of love that remained largely off-limits in the late nineteenth century.

Dichterliebe, Opus 48

ROBERT SCHUMANN Born June 8, 1810, Zwickau, Germany Died July 29, 1856, Endenich, Germany Composed: 1840 Approximate Duration: 29 minutes

Robert Schumann fell in love with Clara Wieck while she was still in her early teens, but the course of true love did not run smooth. Her repressive and controlling father was violently opposed to Schumann and did everything possible to block the match. It took a long series of court actions to escape his grasp, and the couple was not free to marry until 1840, when Clara was 21. Before that, Schumann had composed almost exclusively for the piano, but now—with the prospect of marital happiness before him—Schumann began to write for voice: 1840 was the famous “year of song,” during which he composed over 130 songs. The couple was not married until September, but they spent several happy weeks together in Berlin that spring, and in the aftermath of that union Schumann produced two song cycles: Liederkreis, Opus 39 and Dichterliebe, Opus 48; the latter was composed very quickly, between May 24 and June 1.

Dichterliebe (“Poet’s Love”) is a true cycle: it sets the work of one poet, concerns itself with one subject, and offers a progression of ideas across the span of the songs. For his texts, Schumann turned to the German poet Heinrich Heine, whose mixture of sentimental romanticism and irony particularly appealed to him. From Heine’s Buch des Lieder (Book of Songs, published in 1827), Schumann chose sixteen brief poems about love. There is a clear progression across the cycle: the texts are first about giddy love, then give way to doubts and the decay of love, go on to pain and sorrow, and finally to despair and images of death.

So troubling a progression is remarkable from one on the verge of marriage, and in his book on Schumann’s songs Dietrich Fischer-Dieskau asks a penetrating question: was Schumann in love with Clara—or with the idea of being in love with Clara? The singer notes that when things were looking bleakest for the young couple, Schumann

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

LOVE STORIES — PROGRAM NOTES

could produce his most heartfelt love songs; when marriage actually seemed imminent, Schumann could be externally happy but wrote songs full of fear and worry. Perhaps this is the reason Heine’s love lyrics—with their sharp mixture of feelings—spoke directly to the composer.

Schumann’s settings of Heine’s poems are quite concise: the sixteen songs take only twenty-six minutes.

The progression is easy to follow: Dichterliebe opens with the bursting buds of May and concludes with a burial scene.

Along the way, listeners can savor such particular pleasures as the ecstasy of Die Rose, die Lilie, die Taube, die Sonne; the intensity of Ich will meine Seele tauchen, which seems almost without melody; the nervous accompaniment to Und wüßten’s die Blume; the eerie premonitions of Mahler in Das ist ein Flöten; and the subtly expressive key changes in Am leuchtenden Sommermorgen.

Throughout, special attention should be paid to the piano. Schumann may be inspired by the possibilities of the human voice, but his own instrument plays a central role here, often doubling the voice or taking the melodic line for its own. The piano epilogues sometimes provide the most subtle comment on the real meaning of the poems.

Three Romances for Violin and Piano, Opus 22

CLARA SCHUMANN Born September 13, 1819, Leipzig Died May 20, 1896, Frankfurt am Main Composed: 1853 Approximate Duration: 10 minutes

In 1853 Robert and Clara Schumann welcomed into their home in Düsseldorf two young men who would go on to become giants of nineteenth-century German music: Johannes Brahms and Joseph Joachim. Brahms and Joachim would develop a lengthy (and frequently stormy) relation of their own, but they quickly became true friends of the Schumann family. Robert’s mental health was now in rapid deterioration, and they stood by during his decline and death in an asylum, visiting him frequently and helping Clara and the seven children. In turn, Clara remained close to both men over the remaining forty years of her life. Her long and intense friendship with Brahms is familiar, but she was also close to Joachim: she gave a number of duo-recitals with him after Robert’s death, and she was close enough to give the violinist financial and domestic advice as he approached his own marriage. Brahms and Joachim were among the most intense mourners at her death in 1896.

In 1853, during the first rush of the Schumanns’ friendship with Joachim, Clara wrote—specifically for him—the Three Romances for Violin and Piano. Clara did not

compose a great deal. The demands of being wife, mother, and pianist left her little time, and in any case she was ambivalent about composing: in a diary entry at age 19 she wrote, “a woman must not desire to compose—not one has been able to do it, and why should I expect to?” In fact, these romances were virtually her final composition (her list of opus numbers runs only to 23): after Robert’s death, she stopped composing altogether.

A romance is a type of music without strict formal meaning: that title simply suggests music of an expressive character. All three of these romances are in ternary form plus coda, and all end quietly. Though they were composed during the stress that accompanied Robert’s decline, these pieces show absolutely no sign of that pain—they may be regarded as brief explorations of gentle moods. In the Andante molto, the violin soars easily over the piano accompaniment, though the music’s characteristic quintuplet turn appears in both parts. The Allegretto, in G minor, is more intense, though Clara’s instruction is “With tender performance.” Some have heard the influence of Mendelssohn in this music, which moves into G major for its center section, full of trills and grace notes; this romance winks out with quiet pizzicato strokes that return to G major in the last measure. The final romance, marked Passionately fast, is also the longest: the violin sings above a rippling piano accompaniment; when this section returns, the composer effectively varies the sound by making the piano accompaniment entirely staccato.

Joachim very much liked the Three Romances, and he and Clara performed them frequently. When she published the set in 1855, Clara had this inscription printed in the score: “Dedicated to Joseph Joachim with the greatest friendship.”

Verklaerte Nacht, Opus 4

ARNOLD SCHOENBERG Born September 13, 1874, Vienna Died July 13, 1951, Los Angeles Composed: 1899 Approximate Duration: 29 minutes

Verklaerte Nacht was one of Schoenberg’s first successes, and it remains his most popular work. He wrote this thirtyminute piece for string sextet (string quartet plus extra viola and cello) in the final months of 1899, when he was 25, but could not get it performed. When he submitted it for performance to the Tonkunstlerverein, Vienna’s chamber music society, the judges rejected it because the score contained a chord they could not find in their harmony textbooks. Referring to its unusual tonalities, one of the judges made a now-famous crack, saying that Verklaerte Nacht 858.459.3728 • LJMS.ORG | 57

LOVE STORIES — PROGRAM NOTES

sounded “as if someone had taken the score of Tristan when the ink was still wet and smudged it over.”

Verklaerte Nacht was finally performed in 1903 in Vienna by the Rosé Quartet. The leader of that quartet, Arnold Rosé, was Mahler’s brother-in-law, and Mahler met Schoenberg at rehearsals for Verklaerte Nacht and became his champion, though he confessed that some of Schoenberg’s music was beyond him. The first performance brought howls from conservatives, but this music made its way quickly into the repertory. In 1917 Schoenberg arranged Verklaerte Nacht for string orchestra, and he revised this version in 1943; at this concert, the music is heard in its original form.

Verklaerte Nacht—the title translates Transfigured Night—is based on a poem of the same name by Richard Dehmel (1863-1920), a German lyric poet. The subject of Dehmel’s poem may have been as difficult for early Viennese audiences as Schoenberg’s music. It can be summarized briefly: a man and a woman walk together through dark woods, with only the moon shining down through the black branches above their heads. The woman confesses that she is pregnant, but by another man—her search for happiness led her to seek fulfillment in physical pleasure.

Now she finds that nature has taken vengeance on her. The man speaks, and—instead of denouncing her—he accepts her and the child as his own: their love for each other will surround and protect them. The man and woman embrace, then continue their walk through the dark woods. But the night has now been transfigured, or transformed, by their love. The first line of Dehmel’s poem—“Two people walk through bleak, cold woods”—is transformed in the last line: “Two people walk through exalted, shining night.”

Musically, Schoenberg’s Verklaerte 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. Verklaerte 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). The music is dark and dramatic, and Schoenberg drives it to several intense climaxes.

Particularly interesting are the harmonies: this music begins in dark D minor and evolves through troubled and uncertain tonalities to the bright D major of the Man’s Forgiveness and the concluding walk through the transfigured night.

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

Musical Prelude 7 PM (Aug 22 Only) Callisto Quartet performs Haydn’s String Quartet in G Major Opus 77, No. 1 The Synergy Initiative is underwritten by:

Clara Wu Tsai

Support for the Musical Prelude is provided by:

Gordon Brodfuehrer

SYNERGY SERIES III: IN STEP MARK MORRIS DANCE GROUP Produced by Inon Barnatan & Clara Wu Tsai

Wednesday & Thursday, August 21 & 22, 2019 · 8 PM

THE BAKER-BAUM CONCERT HALL

PRELUDE AND PRELUDE PAU S E

ONE CHARMING NIGHT PAU S E

THE OFFICE INTERMISSION

THE MUIR PAU S E

ARROWS. EROS.

WORLD PREMIÈRE

DANCERS Mica Bernas, Karlie Budge*, Brandon Cournay, Domingo Estrada, Jr., Lesley Garrison Lauren Grant, Sarah Haarmann, Deepa Liegel*, Aaron Loux, Laurel Lynch, Dallas McMurray Minga Prather*, Brandon Randolph, Nicole Sabella, Christina Sahaida, Billy Smith, Noah Vinson *apprentice MUSICIANS Edward Arron, Inon Barnatan, Colin Fowler, Clive Greensmith, Augustin Hadelich, John Holiday, Annie Jacobs-Perkins, David Pershall, Robin Tritschler, Andrew Wan, Jennifer Zetlan MARK MORRIS artistic director NANCY UMANOFF executive director COLIN FOWLER MMDG Music Ensemble music director

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SYNERGY SERIES III: IN STEP — PROGRAM NOTES

PRELUDE AND PRELUDE Première: June 7, 1984 – On the Boards, Seattle, Washington Choreography: Mark Morris Lighting Design: Jeff Pickford Music: Henry Cowell’s Set of Two for Violin and Harpsichord Dancers: Karlie Budge, Brandon Cournay, Lesley Garrison, Deepa Liegel, Aaron Loux, Minga Prather, Brandon Randolph, Christina Sahaida, Billy Smith Musicians: Augustin Hadelich, violin; Colin Fowler, harpsichord By arrangement with: G.Schirmer, INC. publisher and copyright owner

ONE CHARMING NIGHT Première: December 7, 1985 – Dance Theater Workshop, New York, New York Choreography: Mark Morris Lighting Design: Philip Sandstöm Music: Henry Purcell’s “Be Welcome, Then, Great Sir;” “One Charming Night;” “Hark! The Echoing Air;” “Lord, What is Man?” Dancers: Mica Bernas, Dallas McMurray Musicians: John Holiday, countertenor; Clive Greensmith, cello; Colin Fowler, harpsichord

THE OFFICE Première: April 22, 1994 – Zivili: Dances and Music of the Southern Slavic Nations, Columbus, Ohio Company Première: July 5, 1994 – Jacob’s Pillow Dance Festival, Becket, Massachusetts Choreography: Mark Morris Costume Design: June Omura Lighting Design: Michael Chybowski Music: Antonín Dvoˇrák’s Bagatelles for Two Violins, Cello and Harmonium, Op. 47 Dancers: Karlie Budge, Domingo Estrada, Jr., Aaron Loux, Brandon Randolph, Nicole Sabella, Christina Sahaida, Billy Smith Musicians: Augustin Hadelich, Andrew Wan, violins; Edward Arron, cello; Colin Fowler, harmonium

THE MUIR

INTERMISSION

Première: June 27, 2010 – Tanglewood Music Center, Lenox, Massachusetts Choreography: Mark Morris Costume Design: Elizabeth Kurtzman Lighting Design: Nicole Pearce Music: Ludwig van Beethoven – An Arrangement of Folk Songs: “Ye Shepherds of this Pleasant Vale,” WoO156/4; “The Sweetest Lad was Jamie,” Op. 108/5; “Cease your Funning,” WoO 156/5; “Sally in our Alley,” Op. 108/25; “Could this Ill World have been Contriv’d,” Op. 108/16; “What Shall I do to Shew How Much I Love Her?,” WoO 152/6; “Sunset,” Op. 108/2; “Come Fill, Fill, my Good Fellow,” Op. 108/13; “The Lovely Lass of Inverness,” Op. 108/8 Dancers: Lesley Garrison, Laurel Lynch, Dallas McMurray, Nicole Sabella, Billy Smith, Noah Vinson Musicians: Jennifer Zetlan, soprano; Robin Tritschler, tenor; David Pershall, baritone; Andrew Wan, violin; Annie Jacobs-Perkins, cello; Inon Barnatan, piano 60 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

SYNERGY SERIES III: IN STEP — PROGRAM NOTES

ARROWS. EROS.

WORLD PREMIÈRE

Choreography: Mark Morris Costume Design: Elizabeth Kurtzman Lighting Design: Nick Kolin Music: George Frideric Handel’s “Tanti strali al sen mi scocchi,” “Beato in ver” Dancers: Domingo Estrada, Jr., Lauren Grant, Laurel Lynch, Dallas, McMurray, Brandon Randolph, Noah Vinson Musicians: Jennifer Zetlan, soprano; John Holiday, countertenor; Clive Greensmith, cello; Colin Fowler, harpsichord

Major support for the Mark Morris Dance Group is provided by American Express, Anonymous, Beyer Blinder, Belle Architects & Planners, LLP, Allan and Rhea Bufferd Education Fund, Frederick and Morley Bland, Booth Ferris Foundation, Gale Epstein, Doris Duke Charitable Foundation, Judith R. and Alan H. Fishman, York-Chi and Stephen Harder, Howard Hodgkin Estate, John and Tommye Ireland (in memoriam), Suzy Kellems Dominik, Shelby and Frederick Gans, Isaac Mizrahi and Arnold Germer, Howard Gilman Foundation, Elizabeth Amy Leibman, Nicholas Ma and William Lopez, The Pierre and Tana Matisse Foundation, Suzanne Berman and Timothy J. McClimon, McDermott, Will & Emery, The Andrew W. Mellon Foundation, Meyer Sound/Helen and John Meyer, Mark Morris, Harris A. Berman & Ruth Nemzoff Family Foundation, Ellen and Arnold Offner, Sarabeth Berman and Evan Osnos, PARC Foundation, PopSockets, Poss Family Foundation, Drs. Jocelynne and Perry Rainey, Diane E. Solway and David Resnicow, Resnicow + Associates, Margaret Conklin and David Sabel, The Fan Fox and Leslie R. Samuels Foundation, Iris Cohen and Mark Selinger, The SHS Foundation, The Shubert Foundation, Jane and R.L. Stine, Nancy Umanoff, Jamie Gorelick and Richard Waldhorn, The White Cedar Fund, and Friends of MMDG. Additional support provided by Kenneth Aidekman Family Foundation, Arnow Family Fund, Lily Auchincloss Foundation, Bossak/Heilbron Charitable Foundation, Brooklyn Parkinson Group, Emily G. Buck Fund, The Campbell Family Foundation, Chervenak-Nunnalle Foundation, Con Edison, Continental Grain Foundation, Lynn Glaser, Candace and Vincent Guadiani, Joseph and Joan Cullman Foundation for the Arts, Belden H. and Pamela K. Daniels, Dau Family Foundation, Susan and Gary DeLong, Jean Espenshade, Paula and Marjorie Folkman, Bernard F. and Alva B. Gimbel Foundation, June O. Goldberg, Monika and Peter Greenleaf, Macduff and Twyla Hughes, The Gladys Krieble Delmas Foundation, Google Matching Gift Program, The Harkness Foundation for Dance, Marta Heflin Foundation, V. Hansmann, Diane and Adam E. Max, Kinder Morgan Foundation, Kraft/Posy Charitable Fund, Leatherwood Foundation, J. Loux and Carol Sanders, Lyrasis, The John D. and Catherine P. MacArthur Foundation, Materials for the Arts, Megara Foundation, Mid Atlantic Arts Foundation, Cynthia Hazen and Leon B. Polsky, Douglas Thomas, Parkinson’s Creative Collective, Parkinson’s Foundation, The L.E. Phillips Family Foundation, Jerome Robbins Foundation, Rolex, Billy Rose Foundation, Singer Xenos Wealth Management, Phoebe Taubman and Craig Nerenberg, Laurie M. Tisch Illumination Fund, June and Jeffrey Wolf, Michael and Rachel Zamsky, and Zeitz Foundation.

The Mark Morris Dance Group is supported in part by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, Mayor Bill de Blasio, Brooklyn Borough President Eric L. Adams, Council Member Helen Rosenthal, the New York City Department for the Aging, the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and the National Endowment for the Arts.

The Mark Morris Dance Group is a member of Dance/USA and the Downtown Brooklyn Arts Alliance.

Prelude and Prelude ©1984 Discalced, Inc. One Charming Night ©1985 Discalced, Inc. The Office ©1994 Discalced, Inc. The Muir ©2010 Discalced, Inc. Arrows. Eros. ©2019 Discalced, Inc. For dancer photos and bios, please visit mmdg.org/the-dance-group/about 858.459.3728 • LJMS.ORG | 61

Prelude 7 PM Lecture by Kristi Brown Montesano What exactly is a concerto grosso? This presentation will take a close look at the origins and special qualities of this string-centric Baroque genre that first arose in seventeenth-century Italy and achieved enormous popularity during the age of Vivaldi, Handel, and Bach.

We will also explore how contemporary composers have woven elements of the Baroque concerto grosso into new works—fascinating musical fusions of the “then” and “now.”

Support for this program generously provided by:

Brenda and Michael Goldbaum

FINALE: CONCERTO GROSSO Friday, August 23, 2019 · 8 PM THE BAKER-BAUM CONCERT HALL J.S. BACH

Concerto in D Major for Three Violins, BWV 1064 (arr. Baumgartner)

Allegro Adagio Allegro

Cho-Liang Lin, James Ehnes, Augustin Hadelich, violins;

SummerFest Chamber Orchestra; Nicholas McGegan, conductor & harpsichord ANDREW Gran Turismo

NORMAN Andrew Wan, James Ehnes, Cho-Liang Lin, Augustin Hadelich, Jun Iwasaki, (b. 1979)

Tatjana Roos, Paul Aguilar, Rachel Stenzel, violins MOZART Concerto in E-flat Major for Two Pianos and Orchestra, K.365

(1756-1791) Allegro Andante Rondeau: Allegro

Jonathan Biss, Inon Barnatan, pianos; SummerFest Chamber

Orchestra; Nicholas McGegan, conductor (1685-1770)

INTERMISSION

VIVALDI

Concerto in G Minor for Two Cellos and Orchestra, RV.531

Allegro Adagio Allegro

Clive Greensmith, Edward Arron, cellos; SummerFest Chamber

Orchestra; Nicholas McGegan, conductor & harpsichord HANDEL Violin Sonata in D Major, HWV 371

(1685-1759) Adagio Allegro Larghetto Allegro

Augustin Hadelich, violin; Hannah Moses, cello;

Nicholas McGegan, harpsichord ELLEN TAAFFE Concerto Grosso 1985 ZWILICH Maestoso (b. 1939)

Presto Largo Presto Maestoso

VIVALDI Concerto Grosso in D Minor, Opus 3, No. 11, RV.565

Allegro; Allegro Largo Allegro

SummerFest Chamber Orchestra; Nicholas McGegan, conductor & harpsichord (1678-1741)

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

Nicholas McGegan

Clive Greensmith

Cho-Liang Lin

Augustin Hadelich

SummerFest Chamber Orchestra Nicholas McGegan, conductor VIOLIN I Andrew Wan, concertmaster Paul Aguilar James Ehnes Augustin Hadelich Cho-Liang Lin Tatjana Roos VIOLIN II Kathryn Hatmaker Jun Iwasaki Jeanne Skrocki Rachel Stenzel

Edward Arron

VIOLA Eva Kennedy Caterina Longhi Travis Maril Richard O’Neill CELLO Edward Arron Clive Greensmith Annie Jacobs-Perkins Hannah Moses

James Ehnes

BASS Nico Abondolo

BASSOON Brad Balliett Valentin Martchev

FLUTE Rose Lombardo

HORN Keith Popejoy Mike McCoy

OBOE Laura Griffiths Lara Wickes

HARPSICHORD Nicholas McGegan

Caterina Longhi

Andrew Wan

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FINALE: CONCERTO GROSSO — PROGRAM NOTES

Program Notes by Eric Bromberger

Concerto in D Major for Three Violins, BWV 1064 (arr. Baumgartner)

JOHANN SEBASTIAN BACH Born March 21, 1685, Eisenach, Germany Died July 28, 1750, Leipzig Composed: C. 1717-23 Approximate Duration: 18 minutes

Bach became Cantor of the Thomaskirche in Leipzig in 1723 and plunged into the composition of church music, for long periods writing a new cantata every week.

In 1729, at a point when he was exhausted by these labors and by constant squabbling with the Leipzig civic authorities, Bach was ready for a change. That year he was named music director of the Collegium Musicum, and it was with relief and enthusiasm that he took up these duties. The Collegium Musicum was a small orchestra that corresponded somewhat to the modern universitycommunity orchestra: it consisted of professionals, amateurs, and students who rehearsed weekly and performed orchestral music. Bach threw himself into his new duties, and the Collegium Musicum performed a great deal: the orchestra gave concerts on Wednesday from 4 to 6 P.M. in the coffee-garden before the “Grimmisches Thor” in the summer and on Fridays from 8 to 10 P.M. in Zimmerman’s coffee-house in the winter.

Bach quickly discovered that he needed music for this orchestra to perform, and in particular he needed keyboard concertos, so he arranged as harpsichord concertos a number of works he had written earlier. One of the works he presented in Leipzig was a Concerto in C Major for Three Harpsichords and Orchestra, probably with the composer and his teenaged sons Wilhelm Friedemann and Carl Philipp Emanuel at the keyboards. Research has revealed that this keyboard concerto is an arrangement of what had originally been a concerto for three violins and orchestra, probably composed during Bach’s years as Kapellmeister at Cöthen (1717-1723). The concerto is heard at the present concert in a reconstruction for three violins by the Swiss violinist Rudolf Baumgartner. Bach customarily transposed his violin concertos down a step when arranging them for keyboard, so the reconstruction of the original moves it back up to D major, a particularly resonant and comfortable key for violinists.

The concerto is in the expected three movements in a fast-slow-fast sequence, yet the opening Allegro does not feel especially fast: perhaps aware of the need to keep textures clear in this complex music, Bach writes stately music that

unfolds at a noble pace; critics frequently invoke the word “relaxed” to describe this movement’s particular majesty.

The Adagio is not the chamber music Bach sometimes wrote as the slow movements of his concertos but is scored for the entire orchestra, and it features some particularly expressive writing for the orchestral violins. The concluding movement is the expected Allegro. Once again, Bach takes care to keep the voices clear, and he varies the movement’s steady pulse with extended passages in triplet rhythms.

Gran Turismo

ANDREW NORMAN Born October 31, 1979, Grand Rapids, Michigan Composed: 2004 Approximate Duration: 8 minutes

Andrew Norman, who turns 40 this fall, has become one of the outstanding composers of his generation. Last fall the Los Angeles Philharmonic opened its centennial season with the première of his Sustain, which was quickly hailed as one of the most important orchestral compositions of recent years. Norman, who studied composition and piano at USC and Yale, now teaches at the USC Thornton School of Music. He has been composer-in-residence with both the Boston Modern Orchestra Project and the Los Angeles Chamber Orchestra, and in 2017 he was named Musical America’s Composer of the Year.

Norman composed Gran Turismo in 2004 and dedicated it to the students of Robert Lipsett, who has taught violin for many years at the Thornton School of Music—among Lipsett’s many students were such former SummerFest artists as Sheryl Staples, Jennifer Frautschi, and Leila Josefowicz. Norman specifies that Gran Turismo is intended “for eight virtuoso violinists,” and this piece may be compared to Telemann’s concertos for four violins without orchestra, except that Norman brings a level of energy to Gran Turismo that Telemann never dreamed of. In this eight-minute piece of white-hot energy, the melodic line leaps instantaneously between the eight violinists, and even in its quieter interludes the music spills over with barelysuppressed energy. Rather than specifying an Italian tempo marking, Norman supplies one in English, Pedal to the Metal, and then notes that the music should be performed with excessive energy. He prefaces the score with a quotation from Filippo Tommaso Marinetti’s Manifesto on Futurism of 1909: “We declare that the splendor of the world has been enriched by a new beauty, the beauty of speed . . . A roaring motor car that seems to run on machine gun fire is more beautiful than the Victory of Samothrace.”

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FINALE: CONCERTO GROSSO — PROGRAM NOTES

Norman has prepared a program note that speaks of the inspiration for Gran Turismo: Right around the time I began sketching a motoric, virtuoso piece for violin ensemble, I discovered Futurist art for the first time. And right around the time I discovered Futurist art, I encountered—in a brief but blazing way—an addictive car-racing video game that bears the name ‘Gran Turismo.’

Soon I realized I was experiencing one of those serendipitous moments when the disparate facets of my life fall into an unexpected resonance with one another. The musical ideas, the art, and the video game all shared things in common—most obvious among them a preoccupation with really fast cars.

They also shared a certain flamboyant machismo that I associate strongly with the Italian peninsula (it was the Italians, after all, who produced Vivaldi, Marinetti, and Ferrari).

There were other striking parallels as well: the way that ‘force lines’ rigorously divided space and created a dramatic sense of visual rhythm in much Futurist art. This is notably present in Giacomo Balla’s 1913 and 1914 paintings of speeding cars, which resembled the jerky sequencing of imagery in the video game, which in turn became a metaphor for the cut-and-splice method of juxtaposition that permeates the violin piece. In addition, the reiteration of fragmentary motives in the art recalled the repetitive visual vocabulary of the racing game as well as the obsessive motivic hammering of the violin music.

The limited color palette of the Balla paintings seemed fitting to describe a piece scored for a pack of like instruments, and the competition between leader and followers at the core of the video game has many parallels in the Baroque model of soloist versus ensemble that is so prominent in the piece.

I let these intriguing resonances rev up for a time in my head, and when I finally set my pencil to the start line, the piece took off. Much like the music itself, the process was fast and furious and full of stop-on-a-dime changes. It was a creative joyride to work on a piece that, from the opening gesture to the final bar, is headed along only one emphatic trajectory: HIGHER! LOUDER! FASTER!” Andrew Norman

Concerto in E-flat Major for Two Pianos and Orchestra, K.365

WOLFGANG AMADEUS MOZART Born January 27, 1756, Salzburg Died December 5, 1791, Vienna Composed: 1779 Approximate Duration: 26 minutes

The conditions surrounding the composition of this concerto for two pianos are uncertain. It dates from 1779 in Salzburg and is believed to have been intended as a vehicle for Mozart, then 23, and his sister Nannerl, then 28.

After Mozart moved to Vienna in 1781, he wrote back to Salzburg to have the parts sent to him, and he performed the concerto with his student Josepha von Aurnhammer in Vienna that same year. The original orchestra consisted of two oboes, two horns, and strings, but for the performance in Vienna Mozart added clarinets, trumpets, and timpani to the orchestra.

Mozart wrote two double concertos in 1779: both the Concerto for Two Pianos and the Sinfonia Concertante for Violin in Viola treat the soloists as equals and both are in E-flat major, but beyond that they differ sharply. Where the Sinfonia Concertante is a work of nobility, depth, and—in the slow movement—pathos, the Concerto for Two Pianos is more notable for its energy and good spirits. This is not to suggest that this music is superficial, only to say that it charms in quite different ways than the Sinfonia Concertante.

The opening Allegro is full of sweep and fire. The full orchestra hammers out a unison E-flat, then leaps down an octave to lay out the noble first theme, built simply on the notes of an E-flat major chord. The pianos make their simultaneous entry on this theme, but soon develop material of their own. The writing for the pianos throughout the concerto is beautifully balanced: it is as if the soloists are engaged in a brilliant dialogue—they exchange phrases smoothly, respond to each other’s music, and sometimes play together; Mozart gives them a cadenza just before the close. The singing Andante is built on a theme introduced by the orchestra and then taken over by the pianists; in threepart form, this movement too belongs largely to the soloists.

The orchestra, however, enters more fully into the discourse in the rondo-finale, which shows traces of sonata form. The movement is based on the orchestra’s energetic opening theme, and Mozart offers contrasting—but always lively—episodes along the way. One of these, in C minor, has seemed to some commentators to foreshadow Papageno’s terrified aria “O, war ich eine Maus” from The Magic Flute, written twelve years after the concerto.

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Concerto in G Minor for Two Cellos and Strings, RV.531

Violin Sonata in D Major, HWV 371

Born March 4, 1678, Venice Died July 26/27, 1741, Vienna Approximate Duration: 11 minutes

Born February 23, 1685, Halle, Germany Died April 14, 1759, London Composed: 1749 Approximate Duration: 12 minutes

ANTONIO VIVALDI

Vivaldi wrote the vast majority of his instrumental concertos for the girls of the Ospedale della Pietà in Venice, where he served as music director for most of his life. The Ospedale, an orphanage for illegitimate and abandoned girls, was famed for the level of performance achieved by those girls, and for them Vivaldi wrote approximately 400 concertos. Of these, 221 were for the violin, Vivaldi’s own instrument. But Vivaldi was also an early champion of the cello, and the catalog of his work lists forty concertos for that instrument. Only one, however, is for two cellos, the Concerto in G Minor, RV.531, performed on this program.

It is virtually impossible to date Vivaldi’s compositions precisely, and the exact date of this concerto is unknown.

It is in the standard fast-slow-fast sequence of movements of the baroque concerto, and the writing for the two soloists—who play almost non-stop throughout this brief concerto—is graceful and idiomatic if not unusually virtuosic. Of particular interest is the way Vivaldi handles the solo instruments: sometimes the two cellos play in unison, sometimes they are a third apart; sometimes they trade phrases, sometimes they take turns accompanying each other. The first Allegro opens with an athletic figure for the first cello, repeated canonically by the second, over bare accompaniment from the orchestra. This movement is characterized by its rapid succession of sixteenth-notes, with the cellos dominating the texture. The cellos also dominate the brief Adagio (only seventeen measures long without repeats), which is virtually a duet for soloists over very quiet orchestral accompaniment. The blazing Allegro finale returns to the mood of the first movement. Soloists play in unison throughout the brilliant opening passage and are soon trading phrases before the rush to the conclusion, which is a variation of the animated opening.

GEORGE FRIDERIC HANDEL

Handel’s six violin sonatas appeared in various editions in London and Amsterdam during the 1720s and 1730s.

This has, in some cases, made for problems of authenticity, but—remarkably—Handel’s own manuscript for the Violin Sonata in D Major has survived across nearly three centuries, and this music is unquestionably authentic. The Sonata in D Major is one of his finest chamber works, made famous by distinguished recordings from Joseph Szigeti, Jascha Heifetz, Isaac Stern, and many other violinists.

The sonata is in four movements in the slow-fast-slowfast sequence of the Italian sonata di chiesa. There is some question about Handel’s marking for the first movement: in some editions it is Affetuoso (“affectionate”), while in others it is simply Adagio. The very beginning is striking. The violin lays out what seem to be the notes of a D-major chord (D-F#-A-D), but instead of the final D, Handel instead goes up one step, so that the opening statement is the unexpected D-F#-A-E. The effect is surprising—unsettling!—and that upward span of a ninth will recur throughout this first movement, grinding dissonantly against the harmonic context that we expect (almost two hundred years later, Bartók achieved exactly the same displacing effect in his First Violin Concerto but instead he diminished the concluding note by a half-step: Bartók’s sequence D-F#-A-C# is just as unsettling as Handel’s leap of a ninth). From his dissonant opening, Handel builds a long slow movement of great dignity, and perhaps it is the jagged and unexpected effect of that opening gesture that gives this movement its strength.

The second movement, fugal in construction, is marked Allegro but seems to accelerate as it proceeds, as Handel diminishes the time-value of his note-sequence: he begins with a half-note, then goes to eighths, then to sixteenths, and then to trills and mordents, so that the tempo seems to rush ahead even as the performance should be rock-steady. The Larghetto, in B minor, has a dark and ceremonial character as the violin’s melodic line arches over the keyboard’s steady chordal accompaniment, while the concluding Allegro, in binary form, is driven along the energy of its dotted rhythms and sixteenth-note runs.

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FINALE: CONCERTO GROSSO — PROGRAM NOTES

Concerto Grosso 1985

ELLEN TAAFFE ZWILICH Born April 30, 1939, Miami Composed: 1985 Approximate Duration: 15 minutes

It makes very good sense to follow the Handel Sonata in D Major with a performance of Ellen Taaffe Zwilich’s Concerto Grosso 1985 because she based her piece on Handel’s great sonata. Local audiences will remember Zwilich as a Visiting Composer at SummerFest 2011, when her Quintet for Violin, Viola, Cello, Double Bass and Piano was premièred. A violinist who played for some years in Stokowski’s American Symphony Orchestra, Zwilich later studied composition with Roger Sessions and Elliott Carter; she was the first woman to earn a Doctor of Musical Arts from Juilliard. She was also the first woman to win a Pulitzer Prize for Music, in 1983 for her Symphony No. 1.

Two years later, in 1985 and on the 300th anniversary of Handel’s birth, Zwilich was commissioned by the Washington Friends of Handel to write a piece of music to commemorate that occasion. She has spoken of her inspiration for her piece: “I almost immediately thought to base the new work on that composer’s D-major Violin Sonata. I performed the work many years ago, and I especially love the opening theme of the first movement— the striking head motive and the beauty of the generative tension between the theme and the elegant bass line. My concerto is both inspired by Handel’s sonata and, I hope, imbued with his spirit.”

Zwilich scored the Concerto Grosso 1985 for the sort of small orchestra that Bach or Handel would have recognized instantly: flute, bassoon, two horns, harpsichord, and strings. It was première d on May 9, 1986, at the Kennedy Center by the Handel Festival Orchestra under the direction of Stephen Simon, and over the last thirty years it has become one of Zwilich’s most frequently performed compositions; it has been recorded by Zubin Mehta and the New York Philharmonic.

Just as Handel (and later Bartók) explored the tension built into that opening sequence of four notes, Zwilich makes that tension the basis for her Concerto Grosso 1985.

The work is structured in a form that Bartók himself often employed, an arch built across the span of five movements: powerful outer movements, both marked Maestoso (“majestic’), frame the even-numbered movements, both of which are marked Presto; at the center is a Largo. The Concerto Grosso 1985 should not be understood as a pastiche of someone else’s music but as an original composition by

Zwilich based on Handel’s thematic material. The opening Maestoso offers a good example of her method: solemn opening chords give way to an eruption of energy in which Handel’s opening notes explode across the heavens like fireworks, and suddenly Handel’s main theme is heard in all its sturdy dignity. The music leaps between literal recalls of Handel and Zwilich’s exploration of that theme, its intervals, and its energy. Similar procedures mark the remaining movements. Particular mention should be made of the Largo, the longest movement, which becomes a dark meditation on Handel’s theme over a steady bassline, and the concluding Maestoso which preserves the majesty of Handel’s music before the Concerto Grosso 1985 trails off on the solemn chords with which it began.

Concerto Grosso in D Minor, Opus 3, No. 11, RV 565

ANTONIO VIVALDI Composed: 1711 Approximate Duration: 10 minutes

In the early years of the eighteenth century, Vivaldi supported himself by teaching violin at the Pio Ospedale della Pieta in Venice. While holding this modest position, he composed the music that spread his fame throughout Europe, and it is a sign of such fame that when Vivaldi wished to publish the set of twelve concerti grossi he called L‘Estro armonico, he turned in 1711 to Roger Etienne, a music publisher in Amsterdam. Not only were Etienne’s printing techniques far superior to anything then available in Italy, but—ironically—Vivaldi’s music was better known in Northern Europe than in Italy.

Vivaldi called his Opus 3 L‘Estro armonico, which translates as either “Harmonious Inspiration” or “The Spirit of Harmony.” L‘Estro armonico is a collection of twelve concertos for solo violin or groups of violins and string orchestra. These are not display concertos for a virtuoso soloist (as in The Four Seasons) but concerti grossi, in which a small body of soloists—the concertino—is set against the larger string orchestra, called the ripieno.

Much of the interest of the concerto grosso form comes from a composer’s ability to contrast the sounds of these two groups, and Vivaldi was a master at creating different sonorities from different groups of instruments.

L‘Estro armonico had a tremendous impact on composers in Northern Europe. Several traveled to Italy to take lessons with Vivaldi, while others paid him the more subtle compliment of making arrangements of his music: Bach arranged five of the concertos (including the present Concerto Grosso in D Minor) from L‘Estro armonico for keyboard.

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FINALE: CONCERTO GROSSO — PROGRAM NOTES

The Concerto Grosso in D Minor features a concertino of two violins and one cello. The idea of contrast is central to this music, and listeners should be alert to Vivaldi’s sharp contrasts between dynamics, the sound of the concertino and ripieno, and instrumental colors. The Concerto Grosso in D Minor was widely performed even before the Vivaldi boom began after World War II: there is a famous old recording of this music by Koussevitzky, it was the opening work on the first concert Toscanini led with the NBC Symphony, and Stokowski performed his own arrangement of it. Those who sneer at Vivaldi’s music as “baroque minimalism” should listen to the Concerto Grosso in D Minor— this is powerful music, of strong profile and individual sonority. The impressive beginning of the opening Allegro belongs to the soloists; a quiet bridge leads to an animated fugue that begins in the lowest strings. Solo voices emerge from this contrapuntal texture, and the movement drives to a powerful close. The musical line of the Largo, a long arc of quiet melody, can be performed by either a solo violin or all the first violins, while the finale, built on its steady opening pulse, features the soloists prominently.

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ARTIST BIOGRAPHIES Inon Barnatan, music director & piano

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

Nico Abondolo, bass

An internationally recognized leading double bass soloist and chamber musician, Nico Abondolo was named principal double bass of the Los Angeles Chamber Orchestra in 2011. He made his debut at age 14 with the Los Angeles Philharmonic and in 1983, became the first double bass to win first place in Geneva, Switzerland’s International Competition for Musical Performers.

Donnacha Dennehy, Louis Andriessen, and – and the 2010 Montréal International the world première of a commissioned Musical Competition. work by Gabriella Smith.

Edward Arron, cello

Edward Arron began playing the cello at age seven in Cincinnati and continued his studies in New York with Peter Wiley. He is a graduate of The Juilliard School, where he was a student of Harvey Shapiro. In 2016, Arron joined the faculty at University of Massachusetts Amherst, after having served on the faculty of New York University from 2009 to 2016. Cellist Edward Arron has garnered recognition worldwide for his elegant musicianship, impassioned performances, and creative programming.

Brad Balliett, bassoon

New York Citybased musician Brad Balliett is in high demand as a composer, bassoonist, and teaching artist. A native of Massachusetts, Balliett grew up playing a variety of instruments through the public school program in Westborough, and began composing as soon as he started playing.

His longest-standing collaboration is with his twin brother, Doug, with whom he frequently performs, composes, and teaches.

Jonathan Biss, piano

Jonathan Biss is a world-renowned pianist who shares his deep curiosity with music lovers in the concert hall and beyond. He continues to expand his reputation as a teacher, musical thinker, and one of the great Beethoven interpreters of our time. He was recently named Co-artistic Director alongside Mitsuko Uchida at the Marlboro Music Festival, where he has spent 12 summers.

In addition, he has written extensively about his relationships with the composers with whom he shares a stage.

Allison Boles, lecturer

Allison Boles has served as La Jolla Music Society’s Education and Community Programming Manager since 2015. Boles earned her BA in Music from UC San Diego and is currently pursuing her MA in Nonprofit Leadership and Management from the University of San Diego. She enjoys playing saxophone and being active in the community by volunteering on multiple boards and committees.

Brentano Quartet

Since its inception in 1992, the Benjamin Beilman Brentano Quartet Timo Andres is a has won praise both has appeared composer and for his passionate throughout the pianist who grew up performances and world to popular in rural Connecticut deep rich tone and critical acclaim. “Passionate, and lives in which the Washington uninhibited and spellbinding,” raves the Brooklyn, NY. In Post called “mightily impressive,” and The London Independent; The New York Times extols November 2019, Andres curates (and New York Times described as “muscular with its “luxuriously warm sound [and] performs in) “American Perspective,” a a glint of violence.” The Times has also yearning lyricism.” Since 2014, the concert with the Cincinnati Symphony, praised his “handsome technique, Brentano Quartet has served as Artists in André de Ridder, Dance Heginbotham, burnished sound, and quiet confidence,” Residence at Yale University. The quartet and cellist Inbal Segev, playing his and the Strad described his playing as “pure also currently serves as the collaborative concerto, Upstate Obscura. In April 2020, poetry.” Beilman came to worldwide ensemble for the Van Cliburn International Carnegie Hall presents him in a piano attention following his First Prize wins in Piano Competition. Formerly, they were recital at Zankel Hall, playing his own the 2010 Young Concert Artists artists-in-residence at Princeton University works and works by John Adams, Nico International Auditions – where he was for many years.

Muhly, Robin Holcomb, Philip Glass, also recipient of a People’s Choice Award

Timo Andres, piano

Benjamin Beilman, violin

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ARTIST BIOGRAPHIES Eric Bromberger, scholar-in-residence

Eric Bromberger has been program annotator for the La Jolla Music Society since 1983, and he also writes program notes for the Minnesota Orchestra, Santa Fe Chamber Music Festival, San Francisco Performances, Washington Performing Arts Society, University of Chicago Presents, San Diego Symphony, and others. He lectures frequently for the Los Angeles Philharmonic’s Upbeat Live series at Disney Hall.

Carter Brey, cello

Appointed Principal Cello of the New York Philharmonic in 1996, Carter Brey has since performed as soloist each season with the orchestra. He rose to international attention in 1981 as a prizewinner in the Rostropovich International Cello Competition, and made his New York and Kennedy Center debuts in 1982. His many awards and honors include the Gregor Piatigorsky Memorial Prize, an Avery Fisher Career Grant, and a Young Concert Artists’ Michaels Award. Having studied at the Peabody Institute and Yale University, he is on the faculty of the Curtis Institute of Kristi Brown Montesano, lecturer Chair of the Music Music. Brey plays a rare 1754 J. B. History Department Guadagnini violoncello made in Milan. at the Colburn Angela Choong, viola Conservatory of Violist Angela Music in Los Choong, a native of Angeles, Kristi Columbus, Ohio, Brown Montesano is an enthusiastic began her musical “public musicologist.” She is an active studies at the age of lecturer for the LA Philharmonic, the four and has since Opera League of Los Angeles, the Salon performed as a violinist and violist de Musiques series, and Mason House Concerts. Her book, The Women of Mozart’s throughout the United States, Canada, Europe, and Asia. A passionate chamber Operas (UC Press, 2007), offers a detailed musician, she joined the Hausmann study of these fascinating roles; more Quartet in 2008, and has collaborated with recent scholarly interests include classical distinguished artists such as cellist Gary music in film, women in classical music, Hoffman, violists Toby Appel, Cynthia and opera for children.

Phelps, and Paul Neubauer, pianists James Tocco and Jeremy Denk, and the Callisto Quartet Alexander String Quartet.

Grand prize winners of the 2018 Fischoff Tina Chong, harpsichord National Chamber Hailed as a Music Competition, “paradigm of the Callisto Quartet, lyricism” by the comprised of Charleston Gazette, violinists Paul Aguilar and Rachel Stenzel, pianist Tina Chong along with violist Eva Kenndy and cellist has established Hannah Moses, formed in 2016 at the herself as an up and coming young artist in Cleveland Institute of Music and brings North America.

A native of Banff, Canada, together four dedicated and passionate Tina began her musical studies at the age musicians who share a love for chamber of three.

After her orchestral debut at the music. Highlights of their achievements age of nine, Tina has appeared as a guest include recognition as a top prize winner at soloist numerous times with orchestras the 2018 Melbourne International throughout the United States, Canada, Chamber Music Competition where they were also the only North American quartet Brazil, and Mexico, including the Calgary Philharmonic, the Brazilian Symphony selected to compete.

Orchestra, and the Mississippi Symphony Orchestra.

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Timothy Cobb, bass

Bassist Timothy Cobb joined the New York Philharmonic as Principal Bass in May 2014, after serving as principal bass of The Metropolitan Opera Orchestra, and principal bass of the Mostly Mozart Festival Orchestra since 1989. A native of Albany, New York, Cobb graduated from The Curtis Institute of Music, where he studied with Roger Scott. While at Curtis, Cobb was a substitute with The Philadelphia Orchestra and in his senior year became a member of the Chicago Symphony Orchestra under Georg Solti.

Tristan Cook, filmmaker

With an eye on the intersection of cinema and music, the work of director Tristan Cook fuses traditional and experimental film techniques in order to examine systems of human expression. A veteran in the performing arts field, he has collaborated extensively with artists and organizations such as the Emerson String Quartet, Chamber Music Society of Lincoln Center, Carnegie Hall, Music@ Menlo, Stanford Lively Arts, La Jolla Music Society, and Orpheus Chamber Orchestra. He is currently the Filmmakerin-Residence at the Bravo Vail Music Festival.

Brett Dean, composer & viola

Brett Dean studied in Brisbane before moving to Germany in 1984 where he was a member of the Berlin Philharmonic for 14 years, during which time he began composing. His music is championed by many of the leading conductors and orchestras worldwide, including Sir Simon Rattle, Vladimir Jurowski, David Robertson, Andris Nelsons, Marin Alsop and Sakari Oramo. Much of Dean’s work draws from literary, political, environmental or visual stimuli, including a number of compositions inspired by the artwork of his wife, Heather Betts.

ARTIST BIOGRAPHIES Aaron Diehl, piano

Born in 1985 in Columbus, Ohio to a funeral director and a former Olympian turned education administrator, Aaron Diehl grew up in a nurturing musical environment. His grandfather, Arthur Baskerville, a pianist and trombonist was an early influence. He began studying classical piano at age seven, while his passion for jazz was further fueled while attending the Interlochen Arts Camp as a pre-teen, where he met the pianist Eldar, who exposed him to Oscar Peterson and Art Tatum recordings. At only 32-yearsold, Diehl has made an indelible mark on the jazz world over the last 15 years.

Ehnes Quartet

Hailed as “an important new force in the chamber music arena” with a “dream-team line-up” (Strings), the Ehnes Quartet is comprised of four internationally renowned string musicians: violinists James Ehnes and Amy Schwartz Moretti, violist Richard O’Neill, and cellist Edward Arron. Formally established in 2010, the members of the Ehnes Quartet have played chamber music together in various formations for more than 20 years. The quartet’s highly refined, sensitive and expressive performances have delighted audiences and critics across North America, Europe, and Asia, and have made them one of the most sought after chamber groups performing today.

Dustin Donahue, percussion Dustin Donahue is a Their debut recordings of quartets by Barber and Shostakovich were released in percussionist based 2014 by Onyx Classics to critical acclaim. in Los Angeles. As an advocate for contemporary James Ehnes, violin music, Donahue has James Ehnes has commissioned and première d a large body established himself of solo and chamber music by living as one of the most composers while continuing to perform sought-after music of the 20th-century avant-garde. He violinists on the frequently performs with the International international stage.

Contemporary Ensemble and collaborates Gifted with a rare combination of stunning with many of southern California’s virtuosity, serene lyricism and an presenters of contemporary music, such as unfaltering musicality, Ehnes is a favorite WasteLAnd, the Ojai Music Festival, guest of many of the world’s most Monday Evening Concerts, Jacaranda respected conductors. Ehnes began violin Music, and San Diego New Music. studies at the age of four, became a protégé of the noted Canadian violinist Francis Chaplin aged nine, made his orchestral Tyler Duncan, baritone debut with Orchestre Symphonique de Canadian baritone Montréal aged 13 and graduated from The Tyler Duncan recently performed Juilliard School in 1997, winning the Peter at the Metropolitan Mennin Prize for Outstanding Achievement and Leadership in Music.

Opera as Prince Yamadori in Puccini’s Madam Butterfly. At the Spoleto Felix Fan, cello Festival he debuted as Mr. Friendly in the Felix Fan is a rare 18th-century ballad opera Flora, returning talent in the world the next season as the Speaker in Mozart’s of contemporary The Magic Flute. He holds music degrees music. Described by from the University of British Columbia, Gramophone as Germany’s Hochschule für Musik, and “particularly Hochschule für Musik und Theater. He is a sublime”, he is one of the most acclaimed, founding member on the faculty of the renowned, and respected cellists Vancouver International Song Institute. performing today. As a soloist,

collaborative artist and advocate for new music, Fan is admired for his technically refined interpretations and independent spirit, working with diverse and contemporary composers. Fan continues to collaborate with the most cutting-edge composers and instrumentalists, “navigating the structural complexities and layers of shifting tempo with flair” (New York Times). A strong advocate for the creation and commissioning of new music, Fan has première d over 100 works and dozens of recordings in his career.

Liza Ferschtman, violin

Dutch violinist Liza Ferschtman is renowned for her passionate performances, superlative musicianship, and imaginative programming. Following her sensational performance with the Budapest Festival Orchestra at Avery Fisher Hall in 2013, she made her U.S. orchestral debut in 2015 with the Dallas Symphony and Jaap van Zweden, playing the Bernstein Serenade.

The daughter of Russian musicians, Ferschtman received her formal training at the Amsterdam Conservatory with Herman Krebbers, and the Curtis Institute of Music with Ida Kavafian.

Nora Fischer, singer

Nora Fischer is challenging the way we listen to the voice. The Amsterdam-based singer is renowned for her adventurous approach to live performance and her creative projects fusing classical and contemporary repertoire. This can range from traditional concert programs to genre-defying collaborations – such as her award-winning debut album HUSH, which was released on Deutsche Grammophon in April 2018, and her work with Yo-Yo Ma’s legendary Silkroad. Using her voice as a versatile instrument, Fischer’s repertoire ranges from Monteverdi to the many compositions that have been written for her in the present day.

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ARTIST BIOGRAPHIES Doug Fitch, designer & director

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

Caio Fonseca, abstract painter

Caio Fonseca, born 1959, was raised in New York City. In 1978 he went to Barcelona where he studied and painted until 1983. He moved to Pietrasanta, Lucca in 1985 where he worked until 1989. After two years in Paris, he returned to New York and now divides his time between Pietrasanta and his studio in Manhattan on East Fifth Street. His works are held in numerous public and private collections in Europe and the United States.

Jason Ginter, percussion

Jason Ginter is a timpanist and percussionist in San Diego. He performs regularly with the San Diego Symphony, Los Angeles Philharmonic, and Pacific Symphony–with whom he recently toured China in May 2018. He is the owner of JGpercussion, specializing in handmade drumsticks and mallets. For more information, please visit www.

JGpercussion.com.

Clive Greensmith, cello

Clive Greensmith was a member of the worldrenowned Tokyo String Quartet from 1999 until 2013, giving over one hundred performances each year in the most prestigious international venues, including New York’s Carnegie Hall, Sydney Opera House, Berlin Philharmonie, Vienna Musikverein and Suntory Hall in Tokyo.

As a soloist, Greensmith has performed with the London Symphony, Royal Philharmonic and Rome’s RAI orchestras, among others. He is Professor of Cello at the Colburn School in Los Angeles.

Greensmith performs regularly with the Chamber Music Society of Lincoln Center and a founding member of the Montrose Trio, alongside Jon Kimura Parker and Martin Beaver.

Laura Griffiths, oboe

Having formerly held positions as Principal Oboe of the Cleveland Orchestra, Rochester Philharmonic Orchestra, and Mainly Mozart Festival Orchestra in San Diego, Laura Griffiths is now Principal Oboe of the San Francisco Ballet Orchestra. She has been guest Principal Oboe of several major orchestras across the country, including the Saint Paul Chamber Orchestra and the Boston, Atlanta, and San Francisco Symphonies. Griffiths graduated with honors from the Eastman School of Music, where she was a student of Richard Killmer.

Augustin Hadelich, violin

Augustin Hadelich has firmly established himself as one of the great violinists of today.

Showcasing a wide-ranging and adventurous repertoire, he is consistently cited for his phenomenal technique, soulful approach, and beauty of tone. He has performed with every major orchestra in the U.S., as well as an ever-growing number of orchestras

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around the world. Hadelich is the winner of a 2016 GRAMMY® Award for his recording of Dutilleux’s Violin Concerto with the Seattle Symphony and Ludovic Morlot.

Kathryn Hatmaker, violin

Violinist Kathryn Hatmaker enjoys a varied career as performer, educator, and entrepreneur. She is the co-founder and Executive Director of Art of Élan, a San Diego chamber music organization committed to bringing classical music to diverse audiences, and has been a violinist with the San Diego Symphony since 2006.

Hendrik Heide, flute

Henrik Heide is the Associate Principal Flutist of the Cincinnati Symphony Orchestra, appointed by Maestro Louis Langrée. He has appeared as soloist with the Cincinnati Pops Orchestra, Detroit Symphony Orchestra (under the baton of Leonard Slatkin), Milwaukee Symphony Orchestra, New World Symphony, Wisconsin Chamber Orchestra and National Repertory Orchestra, among others. He previously studied with Leone Buyse at Rice University, where he received his Bachelor of Music degree cum laude.

John Holiday, countertenor

Countertenor John Holiday, winner of the 2017 Marian Anderson Vocal Award and nominee for “Newcomer of the Year” by the German magazine Opernwelt, has quickly established himself as a fast-rising singer to watch. Alongside his classical repertoire, Holiday excels in jazz and gospel music having opened for GRAMMY® Awardwinner Jason Mraz in concert. He received a Bachelor of Music in vocal performance from Southern Methodist University in Dallas, Texas, a Master of Music in vocal performance from the

ARTIST BIOGRAPHIES University of Cincinnati College – Conservatory of Music and the Artist Diploma in Opera Studies from The Juilliard School.

Concertmaster Academy, he has been hailed for his combination of dazzling technique and lyrical musicianship.

Hsin-Yun Huang, viola

Violist Hsin-Yun Huang has forged a career performing on international concert stages, commissioning and recording new works, and nurturing young musicians. She has commissioned compositions from Steven Mackey, Shih-Hui Chen, and Poul Ruders. Huang first came to international attention as the gold medalist in the 1988 Lionel Tertis International Viola Competition. A native of Taiwan and an alumna of Young Concert Artists, she received degrees from the Yehudi Menuhin School, The Juilliard School, and the Curtis Institute of Music; she now serves on the faculties of Juilliard and Curtis.

Stefan Jackiw is one of America’s foremost violinists, captivating audiences with playing that combines poetry and purity with an impeccable technique. Hailed for playing of “uncommon musical substance” 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. He holds a Bachelor of Arts from Harvard University, as well as an Artist Diploma from the New England Conservatory, and is the recipient of a prestigious Avery Fisher Career Grant.

Robert John Hughes, lecturer

Derek Johnson, electric guitar

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

Jun Iwasaki, violin

Jun Iwasaki is the Concertmaster and Walter Buchanan Sharp Chair of the Nashville Symphony. He was appointed concertmaster of the Nashville Symphony by Music Director Giancarlo Guerrero at the beginning of the 2011-12 season. A graduate of the Cleveland Institute of Music’s prestigious

Stefan Jackiw, violin

Derek Johnson is a composer, electric guitarist and educator active in the world of contemporary concert music and beyond. Born and raised at the majestic base of the Rocky Mountains in Boulder, Colorado, Johnson began his college training as an electric guitarist at Columbia College Chicago and completed graduate degrees in composition at the Indiana University Jacobs School of Music. Deeply engaged in the emerging position of the electric guitar in concert music, he is active as both a soloist and chamber musician.

Erin Keefe, violin

American violinist Erin Keefe is the Concertmaster of the Minnesota Orchestra as well as a frequent artist of the Chamber Music Society of Lincoln Center. Winner of an Avery Fisher Career Grant, the Pro Musicis International Award as well as numerous international competitions, she has appeared as soloist in recent seasons with the Minnesota

Orchestra, New Mexico Symphony, New York City Ballet Orchestra, Korean Symphony Orchestra, Amadeus Chamber Orchestra, Turku Philharmonic, Sendai Philharmonic and the Gottingen Symphony and has given recitals throughout the United States, Austria, Italy, Germany, Korea, Poland, Finland, Japan and Denmark.

David Lang, composer

Passionate, prolific, and complicated, composer David Lang embodies the restless spirit of invention. Lang is at the same time deeply versed in the classical tradition and committed to music that resists categorization, constantly creating new forms. Lang is one of America’s most performed composers.

Many of his works resemble each other only in the fierce intelligence and clarity of vision that inform their structures. His catalogue is extensive, and his opera, orchestra, chamber and solo works are by turns ominous, ethereal, urgent, hypnotic, unsettling and very emotionally direct.

Much of his work seeks to expand the definition of virtuosity in music — even the deceptively simple pieces can be fiendishly difficult to play and require incredible concentration by musicians and audiences alike.

Yura Lee, violin & viola

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

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ARTIST BIOGRAPHIES Alison Luedecke, harmonium

Alison Luedecke is a native of Galveston, Texas.

She teaches organ, harpsichord and piano and strives to help a student fully expand their technique, musicality, and job preparedness. As an ensemble musician, she performs with the Mainly Mozart Festival Orchestra, the San Diego Symphony, California Chamber Orchestra and other ensembles. She is a founding member and organist with Millennia Consort, California's premier "Organ Plus” ensemble and a founding member and harpsichordist with the San Diego Baroque Soloists presenting all Baroque music on period style instruments.

George Li, piano

Praised by the Washington Post for combining “staggering technical prowess, a sense of command and depth of expression,” pianist George Li possesses brilliant virtuosity and effortless grace far beyond his years. He captured the Silver Medal at the 2015 International Tchaikovsky Competition and was the recipient of the 2016 Avery Fisher Career Grant. Li gave his first public performance at Boston’s Steinway Hall at the age of 10 and in 2011, performed for President Obama at the White House in an evening honoring Chancellor Angela Merkel.

Cho-Liang Lin, violin

Cho-Liang Lin was born in Taiwan. A neighbor’s violin studies convinced this five-year old boy to do the same.

At the age of 12, he moved to Sydney to further his studies with Robert Pikler, a student of Jenő Hubay. At the age 15, Lin traveled alone to New York and auditioned for The Juilliard School and spent the next six years working with Ms. DeLay. A concert career was launched in 1980 with

Lin’s debut playing the Mendelssohn Concerto with the New York Philharmonic and Zubin Mehta. He has since performed as soloist with virtually every major orchestra in the world. Lin is the former music director of La Jolla Music Society’s SummerFest and the current music director of the Hong Kong International Chamber Music Festival.

Rose Lombardo, flute

Rose Lombardo was appointed Principal Flute of the San Diego Symphony in 2011 at the age of 23.

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

Caterina Longhi, viola

Caterina Longhi grew up in Lake Carmel, New York and began learning violin at age three.

The 27-year-old violist is a member of the Cincinnati Symphony Orchestra which she joined in September of 2018. Previously a member of the San Diego Symphony, Longhi also performed with the La Jolla Music Society SummerFest, Art of Élan and Luscious Noise ensembles of San Diego.

Travis Maril, viola

A passionate chamber musician and pedagogue, violist Travis Maril has been described as playing with “persuasive, stylish ardor.” As violist with the Hyperion String Quartet, Maril won a top prize at the Fischoff National Chamber Music Competition, had performances broadcast on NPR’s Performance Today and collaborated with chamber music luminaries including the Miró Quartet and members of the Chamber Music Society

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of Lincoln Center. Maril has won top prizes at the Aspen Music Festival’s Concerto Competition and the La Jolla Symphony and Chorus Young Artist Competition

Valentin Martchev, bassoon

Valentin Martchev was born in Stara Zagora, Bulgaria, and started playing the bassoon at age 10. He went to the State Academy of Music in Sofia, and Duquesne University in Pittsburgh, where he studied with Nancy Goeres. He is currently on the faculty of Cal State Fullerton and San Diego State University, and plays on a 1920 Heckel Biebrich.

Martchev has been principal bassoon of the San Diego Symphony since 2001.

Mark Morris, MMDG artistic director

Mark Morris has been hailed as the “the most successful and influential choreographer alive, and indisputably the most musical.” (New York Times). In addition to creating over 150 works for the Mark Morris Dance Group, he conducts orchestras, directs opera, and choreographs for ballet companies worldwide. Morris’ work is acclaimed for its ingenuity, musicality, wit, and humanity. Named a Fellow of the MacArthur Foundation in 1991, he has received eleven honorary doctorates to date, and a multitude of awards, including the Samuel H. Scripps/ American Dance Festival Award for Lifetime Achievement, the Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society, the Benjamin Franklin Laureate Prize for Creativity, the Cal Performances Award of Distinction in the Performing Arts, the Orchestra of St. Luke’s Gift of Music Award, and the 2016 Doris Duke Artist Award. In 2015, Morris was inducted to the National Museum of Dance in Saratoga Springs, New York.

ARTIST BIOGRAPHIES Mark Morris Dance Group

Formed in 1980, Mark Morris’ internationallyrenowned Mark Morris Dance Group (MMDG) has received “highest praise for their technical aplomb, their musicality, and their sheer human authenticity.” (Bloomberg News). Live music and community engagement are vital components of the Dance Group. It has toured with its own musicians, the MMDG Music Ensemble, since 1996, and regularly collaborates with orchestras and opera companies around the world. MMDG’s film and television projects include Dido and Aeneas, The Hard Nut, Falling Down Stairs, the U.K.’s South Bank Show, and Live from Lincoln Center. In 2015 Morris’ signature work L’Allegro, il Penseroso ed il Moderato premiered on PBS’ Great Performances. The Mark Morris Dance Center was opened in 2001 to provide a home for the dance group, subsidized rental space for local artists, programs for local children and seniors, and dance classes for students of all ages and abilities.

Colin Fowler, MMDG Music Ensemble music director, harmonium, harpsichord

Colin Fowler began his musical study at the age of five in Kansas City and went on to study at the prestigious Interlochen Arts Academy. He continued his education at The Juilliard School, where he received his Bachelor of Music in 2003 and his Master of Music in 2005. He began to collaborate with the Mark Morris Dance Group in 2005 and has since then performed over 40 pieces with the company on almost every keyboard instrument possible, including the harmonium and toy piano, and has conducted performances of Mozart Dances, Acis and Galatea, and The Hard Nut. Hailed by The New York Times as “invaluable” and “central to Morris’ music,” he was appointed music director in 2013.

Mike McCoy, horn

Andrew McIntosh, violin

Nicholas McGegan, conductor &

Cécile McLorin Salvant, jazz vocalist

Mike McCoy, a San Diego native, has been the horn player for the Presidio Brass since its inception in 2006. Presidio Brass is a brass quintet that plays recitals all over the world. For every show they play they offer an educational outreach show and demonstrations for local schools. With a focus on education the Presidio Brass have played for over 10,000 kids across the country as well as Canada and China. He is also a Yamaha and TrumCor sponsored artist through Presidio.

Andrew McIntosh is an internationally recognized composer and performer who teaches at the California Institute of the Arts, is a co-founder of the experimentally-minded Formalist Quartet, and co-directs Populist Records, a label dedicated to new music from Southern California. His musical interests cover a broad spectrum including historical performance practice, improvisation, microtonal tuning systems, long-form works, and the 20th-century avante-garde.

The world first learned of the As he embarks on incredible vocal his sixth decade on artistry of Cécile the podium, McLorin Salvant Nicholas McGegan when she won the — long hailed as prestigious 2010 Thelonious Monk “one of the finest International Jazz Competition.

In just baroque conductors of his generation” (The under the span of a decade she has evolved Independent) and “an expert in 18th-century from a darling of jazz critics and fans, to a style” (The New Yorker) — is recognized for multi-GRAMMY® Award-winner, to a his probing and revelatory explorations of prescient and fearless voice in music today. music of all periods. English-born McGegan was educated at Cambridge and Since 2010, McLorin Salvant has soared to the top of the music world, garnering Oxford. Best known as a baroque and classical specialist, McGegan’s approach— praise and gathering awards. Her gifts as an artist are rooted in her intensive study intelligent, infused with joy and never of the history of American Music and her dogmatic — has led to appearances with uncanny ability to curate its treasures for many of the world’s major orchestras. her audience.

harpsichord

Anthony McGill, clarinet

An exceptional solo, chamber, and orchestral classical musician, Anthony McGill was named Principal Clarinet of the New York Philharmonic in 2014.

Former Principal Clarinet of the Metropolitan Opera Orchestra (MET), McGill is the recipient of an Avery Fisher Career Grant and the Sphinx Medal of Excellence. He serves on the faculty of The Juilliard School and his alma mater the Curtis Institute of Music. Alongside Itzhak Perlman, Yo-Yo Ma and Gabriela Montero, McGill performed at President Obama’s 2009 inauguration.

Miró Quartet

The Miró Quartet is one of America’s most celebrated and dedicated string quartets, having been labeled by The New Yorker as “furiously committed” and noted by the Cleveland Plain-Dealer for their “exceptional tonal focus and interpretive intensity.” Formed in 1995, the Miró Quartet was awarded first prize at several national and international competitions including the Banff International String Quartet Competition and the Naumburg Chamber Music Competition. Having released nine celebrated recordings, the

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ARTIST BIOGRAPHIES Miró recently produced an Emmy Awardwinning multimedia project titled Transcendence. A work with visual and audio elements available on live stream, CD, and Blu-ray, Transcendence encompasses philanthropy and documentary filmmaking and is centered around a performance of Franz Schubert’s Quartet in G Major on rare Stradivarius instruments.

premieres of Lera Aurbach’s 24 Preludes, John Harbison’s Viola Sonata, and his 15-year anniversary of concerts in Korea with a special appearance of the Ehnes Quartet at Seoul Arts Center.

Alyssa Park, violin

Alyssa Park established an enviable Joseph Morris, clarinet international Joseph Morris is the reputation at age 16 Principal Clarinet for being the of the Pacific youngest prizewinner in the history of the Symphony where he Tchaikovsky International Competition. holds the Hanson Her New York City debut recital at Lincoln Family Foundation Center’s Alice Tully Hall was critically Chair. As the first prize winner of the 42nd acclaimed by The New York Times for “an Ima Hogg Competition, Morris is the unusually strong technique and a youthful recipient of the 2017 Grace Woodson sense of music making.”

Memorial Award and has appeared as soloist with the Houston Symphony Masumi Per Rostad, viola Orchestra.

Praised for his “burnished sound” Kenneth Olsen, cello (The New York Times) Kenneth Olsen is a and described as an graduate of the “electrifying, poetic, Cleveland Institute and sensitive of Music and a musician,” the GRAMMY® Awardwinner of the winning, Japanese-Norwegian violist school’s prestigious Masumi Per Rostad hails from the gritty concerto competition. His other awards East Village of 1980s New York. Passionate include first prize in the Nakamichi Cello about breaking down barriers that prevent Competition at the Aspen Music Festival people from enjoying classical music, Per and second prize at the 2002 HollandRostad was the founder of DoCha, a America Music Society Competition. He chamber music festival in Champaign, also has been a participant at the Steans Illinois that produced innovative events Institute for Young Artists (the Ravinia with a focus on engaging new audiences Festival’s professional studies program for through fun and inventive programming. young musicians) and at Boston University’s Tanglewood Institute.

David Pershall, baritone

Richard O'Neill, viola

Violist Richard O’Neill, EMMY Award Winner, two-time GRAMMY® nominee and Avery Fisher Career Grant recipient, has appeared as soloist with the London, Los Angeles and Seoul philharmonics, the BBC, KBS and Hiroshima symphony orchestras, and the Wurttemburg, Vienna and Kremerata Baltica chamber orchestras. Recent highlights include the

American baritone David Pershall is quickly establishing himself as an exciting and vibrant artist. Last season, his engagements ranged from The Metropolitan Opera’s production of Puccini’s La Bohème, in which he performed the role of Schaunard, to his debut as Lescaut in Massenet’s Manon at San Francisco Opera. This season, Pershall returns to The Metropolitan Opera for Bizet’s Carmen and he sings Silvio in

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Leoncavallo’s Pagliacci in a return to the San Francisco Opera. He also reprises the role of Sharpless in Puccini’s Madama Butterfly with Greensboro Opera. Future engagements include his San Diego Opera debut.

Cynthia Phelps, viola

Cynthia Phelps is the New York Philharmonic’s Principal Viola, The Mr. and Mrs. Frederick P. Rose Chair. Her solo appearances with the Orchestra have included the New York Première –Philharmonic Co-Commission of Julia Adolphe’s Unearth, Release, in 2016; Mozart’s Sinfonia concertante in 2010 and 2014; and Sofia Gubaidulina’s Two Paths, a concerto for two violas that the Orchestra commissioned for her and Philharmonic Associate Principal Viola Rebecca Young.

Other solo engagements have included the San Diego Symphony, Orquesta Sinfónica de Bilbao, and Hong Kong Philharmonic.

Winner of the Pro Musicis International Award, Phelps’s recording Air, for flute, harp and viola, was nominated for a GRAMMY® Award.

Susanna Phillips, soprano

Alabama-born soprano Susanna Phillips, recipient of The Metropolitan Opera’s 2010 Beverly Sills Artist Award, continues to establish herself as one of today’s most sought-after singing actors and recitalists. In the 2018-19 season, Phillips will return to the Metropolitan Opera for an 11th consecutive season to sing her acclaimed Musetta in Puccini’s La bohème. She will also make her role debut as Micaela in Carmen with the company. She will also be singing the role of Elvira in Don Giovanni there as well.

Phillips will also sing the role of Countess in Le Nozze di Figaro at the Cincinnati Opera.

ARTIST BIOGRAPHIES Keith Popejoy, horn

Keith Popejoy is a long-time resident of San Diego, having attended San Diego State University from 1983 to 1985. In 1997, he played Principal Horn with the San Diego Chamber Orchestra, followed by 2 years as Principal Horn with the San Antonio Symphony.

Concurrent with this, Popejoy became third horn with the San Diego Opera and Assistant Principal Horn with San Diego Symphony from 1994 to 2008. Popejoy has been with Pacific Symphony since 2004.

Philippe Quint, violin

Multiple GRAMMY® Award-nominated violinist Philippe Quint has established himself as one of the leading violinists of his generation. In demand around the world, he regularly appears at venues ranging from the Gewandhaus in Leipzig to Carnegie Hall in New York and at prestigious music festivals such as Verbier, Colmar, Hollywood Bowl and Dresden Festspiele. BBC Music Magazine recently described Quint as “truly phenomenal.”

red fish blue fish

The New York Times calls red fish blue fish a “dynamic percussion ensemble from the University of California.” Founded 15 years ago by Steven Schick, the San Diego-based ensemble performs, records, and première s works from the last 85 years of western percussion’s rich history.

Frank Renk, clarinet

Frank Renk is a clarinetist and bass clarinetist with the San Diego Symphony Orchestra. Before

that position Renk played with the San Francisco Symphony, the San Francisco Ballet Orchestra, the San Francisco Opera Orchestra, the California Symphony, the San Diego Chamber Orchestra, and The Sacramento Symphony. Renk has also played on many movie and commercial soundtracks.

Nicolas Reveles, lecturer

Composer and pianist Nicolas Reveles earned his Master of Arts in choral conducting from the University of Redlands, as well as a Doctor of Musical Arts degree in piano performance from the Manhattan School of Music. He has produced theater scores for the Old Globe Theatre, North Coast Repertory Theatre, and others. As of 2010, he is also the host of UCSD-TV’s OperaTalk with Nick Reveles.

Leah Rosenthal, lecturer

First Book Award, and it was a finalist for the Pulitzer Prize. His second book, the essay collection Listen to This, won an ASCAP-Deems Taylor Award.

Jeanne Skrocki, violin

Jeanne Skrocki, made her solo debut with the Los Angeles Philharmonic at 14 years old, and at 16 she was a scholarship student of legendary violinist Jascha Heifetz in his master class at the University of Southern California.

Skrocki has established a dynamic career as a soloist, chamber musician, concertmaster, educator, recording musician and adjudicator. She has been concertmaster of the Pacific Symphony, American Ballet Theater Orchestra, the Opera Pacific Orchestra and the Redlands Symphony Orchestra.

Zack Smithey, multidisciplinary artist

Leah Rosenthal, Director of Programming for La Jolla Music Society, has held positions with some of the most prestigious non-profit 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.

Zack Smithey is a St. Louis artist and graduate of Lindenwood University. He is a multidisciplinary artist working in many different styles and media. He is continually evolving, exploring new concepts, designs and creative processes. Smithey has been working as a professional artist for the last 20 years. In addition to showing in galleries, he also builds functional art, paints murals, and enjoys working with designers, agents, and clients to bring their vision to life.

Alex Ross lecturer

James Austin Smith, oboe

Alex Ross has been the music critic at The New Yorker since 1996. He writes about classical music, covering the field from the Metropolitan Opera to the contemporary avant-garde, and has also contributed essays on literature, history, the visual arts, film, and ecology. His first book, The Rest Is Noise: Listening to the Twentieth Century, won a National Book Critics Circle award and the Guardian

Praised for his “virtuosic,” “dazzling” and “brilliant” performances (The New York Times) and his “bold, keen sound” (The New Yorker), oboist James Austin Smith performs new and old music across the United States and around the world. He is a member of the faculties of Stony Brook University and the Manhattan School of Music and is a member and former co-Artistic Director

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ARTIST BIOGRAPHIES of Decoda, the Affiliate Ensemble of Carnegie Hall. Smith received his Master of Music degree in 2008 from the Yale School of Music and graduated in 2005 with Bachelor of Arts (Political Science) and Bachelor of Music degrees from Northwestern University.

Conrad Tao, composer & piano

Conrad Tao has appeared worldwide as a pianist and composer, and has been dubbed a musician of “probing intellect and open-hearted vision” by The New York Times, a “thoughtful and mature composer” by NPR, and “ferociously talented” by Time Out New York. In June of 2011, the White House Commission on Presidential Scholars and the Department of Education named Tao a Presidential Scholar in the Arts, and the National Foundation for Advancement in the Arts awarded him a YoungArts gold medal in music. Later that year, Tao was named a Gilmore Young Artist, an honor awarded every two years highlighting the most promising American pianists of the new generation.

Trio Clara

Ying Li, piano Ying Li, from China, entered the Curtis Institute of Music in Philadelphia in 2012. Li attends on a merit-based, fulltuition scholarship, and holds the Harold and Helene Schonberg Fellowship. As a soloist, Li has appeared with numerous orchestras including her most recent debut with the New Jersey Symphony Orchestra.

She has also worked with the Longwood Symphony Orchestra, the Brevard Music Center Orchestra, the St. Petersburg Chamber Philharmonic Orchestra, and the “Mihail Jora” Philharmonic Orchestra of Romania.

Tatjana Roos, violin The fourth generation of a musical family, Tatjana Roos was born in London in 1997 and began playing the violin when she

was three. She was admitted to London’s Royal Academy of Music and, at age seven, she recorded Massenet’s Meditation for an installation art exhibition by Turner Prize-winner, Gillian Wearing. Roos lived in Singapore for three years and during this time, aged 10, she enjoyed her first solo opportunity with orchestra at the Yong Siew Toh Conservatory where she played Mendelssohn’s Violin Concerto.

Annie Jacobs-Perkins, cello Annie Jacobs-Perkins, praised for her “hypnotic lyricism” and “ability to make the audience forget where they were” (The New Yorker), is a graduate of the University of Southern California's Thornton School of Music. Jacobs-Perkins has sat as Principal Cellist of the Thornton Symphony Orchestra and the Rochester Philharmonic Youth Orchestra. At age 17, she was selected to be Associate Principal for the New York String Orchestra’s 2014 concerts in Carnegie Hall. In 2015 she won the Thornton School’s Solo Bach Competition and the Burbank Philharmonic’s Hennings-Fischer Young Artist Competition.

Robin Tritschler, tenor

Acclaimed for his “radiantly lyrical” voice, Irish tenor Robin Tritschler has garnered praise from critics and audiences for his performances. In concert, Tritschler has appeared with many leading orchestras including the London Philharmonic Orchestra, L’Orchestre National de, Gulbenkian Foundation Lisbon, the Hong Kong Philharmonic Orchestra, the Rotterdam Philharmonic Orchestra, the Moscow Virtuosi, and the BBC Philharmonic. In 2012 Robin was selected as a BBC New Generation Artist and has broadcast extensively with their orchestras, including appearing at the BBC Proms with Sir Mark Elder.

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

Osmo Vänskä, conductor & clarinet

Osmo Vänskä began his career as a clarinetist, occupying, amongst others, the CoPrincipal Chair of the Helsinki Philharmonic Orchestra.

In recent years he has enjoyed a return to the instrument, including regular chamber music performances and a recording of Kalevi Aho’s chamber works, in 2012. Music Director of the Minnesota Orchestra for 15 years, Vänskä has led the Orchestra on five major European tours, as well as an historic trip to Cuba in May 2015, at the invitation of the Cuban Ministry of Culture – the first visit by an American orchestra since the two countries announced steps to re-establish diplomatic relations.

Andrew Wan, violin

Andrew Wan was named concertmaster of the Orchestre symphonique de Montréal (OSM) in 2008. As soloist, he has performed worldwide under conductors such as Vengerov, Payare, Petrenko, Labadie, Rizzi, Oundjian, and DePreist and has appeared in recitals with artists such as the Juilliard Quartet, Repin, Hamelin, Trifonov, Pressler, Widmann, Ax, Ehnes, and Shaham. His discography includes GRAMMY®-nominated and Juno, Felix and Opus award-winning releases with the Seattle Chamber Music Society, New Orford String Quartet and pianist Charles Richard-Hamelin.

ARTIST BIOGRAPHIES Alisa Weilerstein, cello

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

Lara Wickes, oboe

Lara Wickes has been playing Principal Oboe with the New West Symphony since 2009. She is also the Principal Oboist of the Santa Barbara Symphony. She performs regularly with many orchestras in Southern California, including the Pasadena Symphony, Pacific Symphony, San Diego Symphony, Los Angeles Chamber Orchestra and the Los Angeles Philharmonic.

Qian Wu, piano

Winner of a 2016 Lincoln Center Emerging Artist Award, as well as classical music’s bright young star award for 2007 by The Independent, pianist Qian Wu has maintained a busy

international career for over a decade.

She won first prize in the Trio di Trieste Duo Competition and the Kommerzbank Piano Trio competition in Frankfurt, and has received numerous other awards. Her debut recording of Schumann, Liszt, and Alexander Prior was met with universal critical acclaim. Wu Qian is a member of Chamber Music Society Two.

Theatre at the Brooklyn Academy of Music, reprised her Fanny in the New York première of Ricky Ian Gordon’s Morning Star, and joined the San Francisco Symphony as Xenia in Boris Godunov.

Michelle Zamora, puppeteer

Michelle Zamora is a Los Angeles Puppeteer and CEO of Viva La Puppet. She has been design-ing, building, and puppeteering for 19 years.

Most recently she worked on puppets for A Black Lady Sketch Show on HBO, lead the TRUTH puppet campaign with 72 and Sunny, puppeteered with Terry Crews for Old Spice, and Bob’s Burgers Live at The Orpheum. Other theater credits include Peter and the Wolf at The Disney Concert Hall with Giants are Small and Robert & Kris-ten Anderson-Lopez’s Up Here at La Jolla Playhouse. She also received an Ovation Award in Puppet Design for The Magic Finger at MainStreet Theatre. Big thanks to Doug, Matias, and El-lie her 1 year old daughter.

Jennifer Zetlan, soprano

Soprano Jennifer Zetlan is internationally recognized for her artistry and captivating stage presence. She has been seen and heard on opera and concert stages worldwide, as well as recital venues and on Broadway.

Last season, Zetlan created the title role of Rhoda in Rhoda and the Fossil Hunt for On Site Opera, reprised her role in Crossing with American Repertory

Photo credits: Cover: Gouache on paper by Caio Fonseca; Pg. 10 & Pg. 31: I. Barnatan © Marco Borggreve; Pg. 11: E. Keefe and O. Vänskä courtesy of artist; Pg. 18 & : A. Weilerstein © Marco Borggreve, A. McGill © David Finlayson, T. Chong courtesy of artist, T. Cobb © Chris Lee; Pg. 22: S. Jackiw courtesy of artist, S. Phillips © Zachary Maxwell; Pg. 27: E. Keefe courtesy of artist, D. Donahue courtesy of artist, P. Quint © Isa Akahome; Pg. 31: C. M. Salvant © Mark Fitton, A. Diehl © John Abbott; Pg. 32: H.Y. Huang courtesy of artist, Y. Lee © Giorgia Bartazzi; Pg. 36: Brentano Quartet © Juergen Frank; Pg. 40 &: Miró Quartet © Tania Quintanilla; Pg. 44: N. Fischer © Sarah Wijzenbeek, D. Donahue courtesy of artist, R. Lombardo © Beth Ross Buckely, J. Morris courtesy of artist; Pg. 45: L. Ferschtman © Marco Borggreve, Q. Wu courtesy of artist, B. Dean © Bettina Stoess; Pg. 48: D. Fitch courtesy of artist; Pg. 50: Ehnes Quartet © B Ealovega; Pg. 53: The Baker-Baum Concert Hall © Steve Uzzell, S. Mendes courtesy of artist; Pg. 54: Tatjana Roos courtesy of artist, A. Park courtesy of artist, L. Ferschtman courtesy of artist, T. Andres © Michael Wils; Pg.55: C. Phelps © Richard Bowditch, R. O’Neill © Cider at Universal Music Korea, J. Biss © Benamin Eolovega; Pg. 59: Mark Morris Dance Group’s Grand Duo © Erin Baiano; Pg. 63: N. McGegan © RJ Muna, C.L. Lin © Sophie Zhai, C. Greensmith © Shayne Gray A. Hadelich © Rosalie O’Connor, E. Aaron courtesy of artist, J. Ehnes © B Ealovega, C. Longhi © Cincinnati Symphony, A. Wan © Julia Marois; Back Cover: J. Bell © Benjamin Ealovega.

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SUMMERFEST COMMISSION HISTORY BRUCE ADOLPHE

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

JOHN HARBISON String Quartet (2002) Orion String Quartet Crossroads (2013) Jennifer Johnson Cano, mezzo-soprano; Peggy Pearson, oboe; Linden String Quartet; Nico Abondolo, bass STEPHEN HARTKE Sonata for Piano Four-Hands (2014) Orion Weiss, Anna Polonsky, piano JOEL HOFFMAN of Deborah, for Deborah (2015) Nancy Allen, harp; Cho-Liang Lin, violin; Toby Hoffman, viola; Gary Hoffman, cello HUANG RUO Real Loud (2018) Real Quiet TOSHI ICHIYANAGI String Quartet No. 5 (2008) FLUX Quartet PIERRE JALBERT Piano Quintet (2017) Juho Pohjonen, piano Rolsoton String Quartet AARON JAY KERNIS Perpetual Chaconne (2012) John Bruce Yeh, clarinet; Calder Quartet LEON KIRCHNER String Quartet No. 4 (2006) Orion String Quartet

SÉRGIO ASSAD Candido Scarecrow (2014) The Assad Brothers

DAVID LANG String Quartet “almost all the time” (2014) FLUX Quartet

DEREK BERMEL Death with Interruptions (2014) David Chan, violin; Clive Greensmith, cello; John Novacek, piano

LEI LIANG Vis-à-vis, for Pipa and Percussion (2018) Wu Man, pipa; Steven Schick, percussion

CHEN YI Ancient Dances (2004) I. Ox Tail Dance II. Hu Xuan Dance David Schifrin, clarinet; André-Michel Schub, piano Night Thoughts (2004) Catherine Ransom, flute; Keith Robinson, cello; André-Michel Schub, piano STEWART COPELAND Retail Therapy (2009) Kyoko Takezawa, violin; Nico Abondolo, bass; Frank Renk, bass clarinet; Stewart Copeland, drums; Joyce Yang, piano

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

MARC NEIKRUG CHICK COREA String Quartet No. 1, The Adventures of Hippocrates (2004) Ritual (2007) Real Quiet Orion String Quartet MARK O'CONNOR MARC-ANDRÉ DALBAVIE String Quartet No. 2 "Bluegrass" (2005) Quartet for Piano and Strings (2012) Mark O‘Connor, Cho-Liang Lin, violins; Yura Lee, violin; Paul Neubauer, viola; Felix Fan, cello; Carol Cook, viola; Natalie Haas, cello Jeremy Denk, piano ANDRÉ PREVIN RICHARD DANIELPOUR Vocalise (1996) Clarinet Quintet “The Last Jew in Hamadan” (2015) Ashley Putnam, soprano; David Finckel, cello Burt Hara, clarinet; Verona Quartet CHRISTOPHER ROUSE BRETT DEAN String Quartet No. 3 (2010) Epitaphs for String Quintet (2010) Calder Quartet Brett Dean, viola; Orion String Quartet KAIJA SAARIAHO Seven Signal (2019) Serenatas (2008) Joseph Morris, clarinet; Qian Wu, piano; Real Quiet Liza Ferschtman, violin; Felix Fan, cello ESA-PEKKA SALONEN DAVID DEL TREDICI Lachen verlernt (Laughing Unlearnt) (2002) Bullycide (2013) Cho-Liang Lin, violin Orion Weiss, piano; DaXun Zhang, bass; Shanghai Quartet PETER SCHICKELE MARC-ANDRÉ HAMELIN Spring Ahead Quintet for Clarinet and String Quartet String Quartet (2016) (2015) Hai-Ye Ni, cello; Marc-André Hamelin, piano Burt Hara, clarinet; Huntington Quartet

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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 GUNTHER SCHULLER Quintet for Horn and Strings (2009) Julie Landsman, horn; Miró Quartet BRIGHT SHENG Three Fantasies (2006) Cho-Liang Lin, violin; André-Michel Schub, piano Northen Lights, for Violon, Cello and Piano (2010) Lynn Harrell, cello; Victor Asuncion, piano SEAN SHEPHERD Oboe Quartet (2011) Liang Wang, oboe; Jennifer Koh, violin; Cynthia Phelps, viola; Felix Fan, cello String Quartet No. 2 (2015) FLUX Quartet HOWARD SHORE A Palace Upon the Ruins (A Song Cycle) (2014) Jennifer Johnson Cano, mezzo-soprano; Catherine Ransom Karoly, flute; Coleman Itzkoff, cello; Andrew Staupe, piano; Julie Smith Phillips, harp; Dustin Donahue, percussion 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 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; André-Michel Schub, piano White Granite (2011) Margaret Batjer, violin; Paul Neubauer, viola; Joshua Roman, cello; André-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 XIAOGANG YE Gardenia for String Quartet and Pipa (2017) Wu Man, pipa; Miró 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

GRAND TRADITION: SUMMERFEST ARTISTS 1986-2018 VIOLIN

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

Jeong, Stephanie 2013 Jiang, Yi-Wen 2003 Josefowicz, Leila 2002,‘04,‘08 Kaplan, Mark 2001 Kavafian, Ani 1988,‘94,‘98, 2000,‘06 Kavafian, Ida 1998 Keefe, Erin 2019 Kerr, Alexander 2009, ‘14 Kim, Benny 1999 Kim, Fabiola 2015* Kim, Helen Hwaya 1996*◊-‘97*◊ Kim, Michelle 1992◊, ‘93*◊-‘95*◊,‘96◊,‘08,‘12-‘13, ‘15,‘17 Kim, SoJin 2008*-‘09* Kim, Young Uck 1990-‘91 Kitchen, Nicholas 2010 Koh, Jennifer 2008, ‘11, ‘17 Koo, Daniel 2015* Kraggerud, Henning 2002 Kwon, Yoon 2002*,‘05,‘07,‘09 Kwuon, Joan 1996*◊, 2004,‘07 Laredo, Jaime 2011 Lee, Bryan 2011* 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-‘19 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*◊ McDermott, Kerry 2003,‘07,‘15 McDuffie, Robert 1999 McElravy, Sarah 2013* McIntosh, Andrew 2019 Meyers, Anne Akiko 2005 Midori 2011 Monahan, Nicole 1992◊ Namkung, Yuri 2004* Nelson, Maureen 2003* Nightengale, Helen 2005,‘07 Niwa, Sae 2009* Nosky, Aisslinn 2014-‘15 O‘Connor, Mark 2001,‘05,‘09 Øland, Frederik 2016 Ong, Jonathan 2016* Otani, Reiko 1996*◊ Park, Alyssa 2016-‘19 Park, Tricia 2003*-‘04* Pauk, György 1986-‘87, ‘90 Peskanov, Mark 1990 Phillips, Daniel 1992-’93,‘95-‘97, 2002,‘04 Phillips, Todd 1992-‘93, 2002,‘04 Place, Annaliesa 1999* Preucil, Alexandra 2005* Preucil, William 1999, 2000 Qiang, Xiaoxiao 2011*, ‘14 Quint, Philippe 2012-’13,'19 Redding, Deborah 1990 Ro, Dorothy 2016* Robinson, Cathy Meng 1998 Roffman, Sharon 1999* Roos, Tatjana 2019* Rosenfeld, Julie 1989-‘99 Setzer, Philip 1999, 2000,‘03,‘15 Shaham, Gil 2001,‘03,‘05-‘06,‘08, ‘11,‘16,‘18 Shay, Yvonne 2012-‘14 Shih, Michael 2003 Shimabara, Sae 1996◊ Sitkovetsky, Dmitry 2015

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

VIOLA

Ando, Fumino 1996*◊ Baillie, Helena 2011 Barston, Elisa 1994 Berg, Robert 1988◊ Biss, Paul 1986-‘87 Brooks, Colin 2017* Brophy, Robert 2003*,‘13, ‘15-‘16 Bulbrook, Andrew 2009 Carrettin, Zachary 2011* Chen, Che-Yen 2005,‘07-‘10,‘12-‘13, ‘15-‘16, ‘18 Choi, En-Sik 1990* Choong, Angela 2010*, ‘19 Cook, Carol 2005 Dean, Brett 2010, ‘19 Dirks, Karen 1986-‘87 DuBois, Susan 1993*,‘95*◊ Dunham, James 2007,‘09,‘12 Dutton, Lawrence 1999, 2003, ‘15 Frankel, Joanna 2007* Gilbert, Alan 2003 Gulkis, Susan 1992* Ho, Shirley 1994*◊,‘95*,‘96*◊,‘97*◊, 2006 Hoffman, Toby 1989-‘92,‘95-‘96,‘98, 2000-‘01,‘11-‘12, ‘15, ‘17, ‘18 Holtzman, Carrie 1988◊ Huang, Hsin-Yun 2008 Husum, Marthe 2015* Huang, Hsin-Yun 2019 Imai, Nobuko 1986 Isomura, Kazuhide 2011 Jacobson, Pamela 2009

858.459.3728 • LJMS.ORG | 81

GRAND TRADITION Kam, Ori 2003, ‘14, ‘15 Karni, Gilad 1993*◊ Kavafian, Ida 1998 Kennedy, Eva 2019* Kraggerud, Henning 2002 Lapointe, Pierre 2007*,‘16 Largess, John 1994*◊-‘96*◊, ‘14,‘17 Lee, Scott 1997*◊, 2002,’04,‘07 Lee, Yura 2014,‘16, ‘19 Leung, Hezekiah 2018* Li, Honggang 2003 Lin, Wei-Yang Andy 2012* Liu, Yun Jie 1990* Lockwood, Kathryn 1995◊ LoCicero, Joseph 2014* Longhi, Caterina 2016-‘17,'19 Martin, Francesca 1988-‘90 Maril, Travis 2009-‘14,‘16-‘19 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* Nørgaard, Asbjørn 2016 Ohyama, Heiichiro 1986-‘97, 2004, ‘06,‘08-‘09, ‘11, ‘14- ‘16, ‘18 O’Neill, Richard 2013-‘15, ‘19 Pajaro-van de Stadt, Milena 2011* Per Rostad, Masumi 2019 Phelps, Cynthia 1989-‘90,‘99- 2002, ‘05-’08,‘10-‘11, ‘13-‘14,‘16, ‘19 Quincey, Brian 1992*◊-‘93*◊ Quintal, Sam 2009* Richburg, Lynne 1992*◊ Rojansky, Abigail 2016* Runde, Ingrid 1988◊ Sanders, Karen 1988 Strauss, Michael 1991* Suzuki, Leo 1994*◊,‘99* Tenenbom, Steven 2004 Thomas, Whittney 2005 Toyoshima, Yasushi 1997 Tree, Michael 2001-‘02,‘08, ‘11 Ung, Susan 2010 Vernon, Robert 1987-‘88 Walther, Geraldine 1993-‘95 Weyman, Elzbieta 2008* Wickert, Eve 2003* Wilson, Evan N. 2001-‘02 Wu, Tien-Hsin Cindy 2017-‘18 Wong, Eric 2013* Zehngut, Gareth 2010

CELLO

Arron, Edward 2017, ‘19 Belcher, Richard 2003* Braun, Jacob 2008 Brey, Carter 1990-‘91,‘93,‘95-‘96, ‘99-2001,‘03-‘06, ‘08-‘10,‘12-‘13,‘16, ‘18-’19 Bruskin, Julia 2003* Byers, Eric 2009 Canellakis, Nicholas 2014 Castro-Balbi, Jesús 2002* Chaplin, Diane 1989-‘90 Chien, Chia-Ling 2012, ‘15-‘18 Cho, Stella 2015* Cooper, Kristina 2003 Cox, Alexander 2014* Crosett, Rainer 2016* Curtis, Charles 2003,‘05,‘09 DeMaine, Robert 2017 DeRosa, William 2002 Dharamraj, Yves 2008* Díaz, Andrés 1992,‘94,‘99, 2000

Drakos, Margo Tatgenhorst 2009-‘10 Eddy, Timothy 1993, 2004 Eldan, Amir 2004* Elliot, Gretchen 1999 Fan, Felix 1992*◊-‘96*◊,‘97◊,‘98-‘99, 2001,‘03, ‘06-‘13,‘16, ‘19 Fiene, Sarah 1999 Fife, Stefanie 1988◊ Finckel, David 1992-‘96,‘98-2000,‘06 Geeting, Joyce 1999 Gelfand, Peter 1999 Gerhardt, Alban 1998 Gindele, Joshua 2014 Greenbaum, Alex 2017-‘18 Greensmith, Clive 2015-’19 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* Ho, Grace 2017* Hoebig, Desmond 2010,‘12, ‘14 Hoffman, Gary 1987-‘93,‘95-‘97,‘99, 2001, ‘03-‘04,‘06-’07,‘10,‘12-‘13,‘15, ‘18 Hong, Ben 1990*,2001,‘13-‘16, ‘18 Hunt, Shirley 2014 Itzkoff, Coleman 2014* Iwasaki, Ko 1995 Jacobs-Perkins, Annie 2019* Janecek, Marie-Stéphanie 2007* Janss, Andrew 2007* Kabat, Madeleine 2009* Kalayjian, Ani 2008* Kang, Kristopher 2010 Karoly, Jonathan 2005,‘07 Karttunen, Anssi 2006 Kim, Eric 1998, 2004,‘06, ‘11,‘14 Kim, Yeesun 2010 Kirshbaum, Ralph 1986-‘89,‘91,2001-‘04,‘07‘08,‘11,‘15 Kloetzel, Jennifer 1992*◊-’93*◊ Kostov, Lachezar 2011* Kubota, Maki 2018 Kudo, Sumire 1995*◊,‘96◊,‘97, 2006 Langham, Jennifer 1999 Lee, Daniel 2005 Lee, JeongHyoun "Christine" 2015* Lee, Jiyoung 2013* Leonard, Ronald 1986-‘88,‘90-‘91, 2002 Levenson, Jeffrey 1986-‘87 Little, Dane 1988◊ Liu, Yun Jie 1990* Lo, Jonathan, 2018* Ma, Yo-Yo 2005 Maisky, Mischa 2016 Marica, Mihai 2012* Mollenauer, David 1988◊ Moon, Eileen 2016 Moores, Margaret 1986-‘87,‘99 Moses, Hannah 2019* Myers, Peter 2011 Ni, Hai-Ye 2003-‘04,‘08, ‘11,‘14,‘16, ‘18 Olsen, Kenneth 2019 Ostling, Kristin 1991* Ou, Carol 1993*◊-‘94*◊ Ou, Samuel 1994*◊ Pereira, Daniel 2002 Putnam, Dana 1994*◊ Rejto, Peter 1987,‘89 Roman, Joshua 2011-‘13,‘15 Rosen, Nathaniel 1994 Rubicz, Davin 2005* Saltzman, David 1999 Samuel, Brent 1996*◊-‘97*◊

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

Sharp, John 2015-‘16 Shaw, Camden 2011* Sherry, Fred 2000,‘09 Shulman, Andrew 2010,‘15 Sjölin, Fredrik Schøyen 2016 Smith, Ursula 1991* Smith, Wilhelmina 1990*,‘92*◊ Speltz, Brook 2016 Starker, János 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 Weilerstein, Alisa 2006-‘08, ‘11, ‘17, ‘19 Weiss, Meta 2012* Wirth, Barbara 1999 Yoon, Han Bin 2012 Zeigler, Jeff 1999 Zhang, Yuan 2010* Zhao, Yao 2009, ‘18

BASS

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

BARYTON

Hunt, Shirley 2014

THEORBO

Leopold, Michael 2014

GRAND TRADITION PIANO

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

Ohlsson, Garrick 2003,‘08 Orloff, Edith 1986-‘88 Park, Jeongwon 1995* Parker, Jon Kimura 2002,‘06,‘09,‘12-‘13,‘16-‘18 Pohjonen, Juho 2016, ‘18 Polonsky, Anna 2014 Pressler, Menahem 1998, 2009 Previn, André 1987,‘90-‘92,‘96 Russo, Andrew 2007 Schifrin, Lalo 2005 Schub, André-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 Vonsattel, Gilles 2017-‘18 Watts, André 2005 Weilerstein, Vivian Hornik 1986 Weiss, Orion 2007-‘10,‘13-‘14, ‘18 Woo, Alan 2015* Wosner, Shai 2005-‘08,‘16-‘18 Wu Han 1992-‘96,‘98-2000,‘06 Wu, Qian 2019 Yrjola, Maria 2002 Yang, Joyce 2008-‘11,‘13,‘15, ‘18 Zhang, Haochen 2017 Ziegler, Pablo 2012

OBOE

HARMONIUM & HARPSICHORD

Hove, Carolyn 1991

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

ORGAN

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

BANDONEÓN Del Curto, Héctor 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 Lombardo, Rose 2019 McGill, Demarre 2007-‘08,‘10 Martchev, Pamela Vliek 2011-‘18 O‘Connor, Tara Helen 1997 Piccinini, Marina 1991 Sager, Marisela 2002-‘04 Tipton, Janice 1997,‘99, 2002-‘03 Wincenc, Carol 1990,‘92,‘94, 2000

RECORDER Petri, Michala 2012

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 Janusch, J. Scott 2001-‘02 Kuszyk, Marion Arthur 2002 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 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 Moffitt, James 2011 Morris, Joseph 2019 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, Håkan 1995 Shifrin, David 1986-‘87,‘92-‘93,‘96-‘98, 2000,‘04-‘05,’13 Vänskä, Osmo 2019 Yeh, John Bruce 2001-‘02,‘04,‘08-‘14,‘16, ‘18 Zelickman, Robert 2002–‘04

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

BASSOON

Balliett, Brad 2019

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

858.459.3728 • LJMS.ORG | 83

GRAND TRADITION 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

Smith, Bonnie Whiting 2012 Stuart, Greg 2006 Szanto, Jonathan 2001 Takeishi, Satoshi 2005,‘13 Yeh, Molly 2014, ‘16

CONTRABASSOON

PIPA

HARP

Allen, Nancy 2005,‘15 Hays, Marian Rian 1986-‘87 Hoffman, Deborah 1990,2001,‘10-‘12 Sterling, Sheila 2002-‘03,‘07

Savedoff, Allen 2013 Zamora, Leyla 2008,‘17

Wu Man 2003,‘10,‘15,‘17-‘18

SAXOPHONE

Jewell, Joe 2003

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

HORN

Bain, Andrew 2014 Drake, Susanna 1996◊ Folsom, Jerry 1987 Grant, Alan 2003 Gref, Warren 1986,‘93, 2001-‘02,‘04,‘07-‘10 Hart, Dylan 2018 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 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 Marotta, Jennifer 2016-‘18 Nowak, Ray 2009-‘12,‘14 Owens, Bill 2010-‘11 Perkins, Barry 2004,‘09 Price, Calvin 1993,‘95,‘97 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

PERCUSSION

Aguilar, Gustavo 2006 Copeland, Stewart 2009 Cossin, David 2006-‘07,‘09-‘10,‘12 Donahue, Dustin 2012- ‘14, ‘19 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

MANDOLIN GUITAR

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

ELECTRIC GUITAR Johnson, Derek 2019

DIGITAL SAMPLER Chen, Yuanlin 2012

VOICE

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

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

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 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, André 1990-‘91 Salonen, Esa-Pekka 2002 Schick, Steven 2008-‘09 Slatkin, Leonard 2014 Swensen, Joseph 2013 Tan Dun 2003,‘12 Vänskä, Osmo 2019 Zinman, David 2017-‘18

ENSEMBLES

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

GRAND TRADITION Jasper String Quartet 2009* Kalichstein-Laredo-Robinson Trio 2002, ‘11,‘17 KahaneSwensenBrey 2013 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 Montrose Trio, The 2016 Newbury Trio 2012* New Orford String Quartet 2018 Old City String Quartet 2011* Omer Quartet 2014* Orion String Quartet 1992-‘93,2002, ‘04,‘06,‘10 Ornati String Quartet 2000* Pablo Ziegler Classical Tango Quartet 2012 Pacifica Quartet 1995* Pegasus Trio 2014* Phaedrus Quartet 2001* John Pizzarelli Trio 2018 Real Quiet 2007-‘10 red fish blue fish 2004,‘08-‘09,‘15, ‘19 Regina Carter Quartet 2017 Ridge String Quartet 1991 Rioult 2008 Rodin Trio 2017* Rolston String Quartet 2018* SACRA/PROFANA 2013 San Diego Chamber Orchestra 1987-‘88 San Diego Master Chorale 2012, ‘18 San Diego Symphony 1990, 2004 SDYS’ International Youth Symphony 2010-‘13,‘16-‘17 Shanghai Quartet 2003,‘07,’13 Silk Road Ensemble 2005 Sonora String Quartet 2008* St. Lawrence String Quartet 1999 SummerFest Ensembles 1988,‘92-‘97 Sycamore Trio 2015* Time for Three 2015-‘16 Tokyo String Quartet 2008, ‘11,‘12 Trío Ágape 1998* Trio Clara 2019* 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, Sérgio 2014 Bermel, Derek 2015 Bolcom, William 2003 Chen Yi 2004 Copeland, Stewart 2009 Corea, Chick 2004 Dalbavie, Marc-André 2012 Dean, Brett 2010 Del Tredici, David 2013 Dutton, Brent 1997 Golijov, Osvaldo 1999 Hamelin, Marc-André 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, 2007 O‘Connor, Mark 2001,‘05,‘09 Powell, Mel 1989 Previn, André 1990,‘96 Rouse, Christopher 2005,‘10 Salonen, Esa-Pekka 2002 Schoenfield, Paul 2009 Schifrin, Lalo 2005 Schuller, Gunther 2009 Sheng, Bright 1993, 2004,‘06,‘10 Shepherd, Sean 2011,‘16 Shorter, Wayne 2006 Stucky, Steven 2013 Tan Dun 2003,‘12 Thomas, Augusta Read 2000 Tower, Joan 2000,‘07, ‘11 Tsontakis, George 2009 Ung, Chinary 2003,‘10 Wong, Cynthia Lee 2011 Ye, Xiaogang 2017 Zwilich, Ellen Taaffe 2011

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

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

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

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

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

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

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

858.459.3728 • LJMS.ORG | 85

BOARD OF DIRECTORS 2018-19

LA JOLLA MUSIC SOCIETY STAFF

Katherine Chapin – Chair Rafael Pastor – Vice Chair H. Peter Wagener – Treasurer Jennifer Eve – Secretary

Inon Barnatan – SummerFest Music Director Ted DeDee – President/CEO

Stephen L. Baum Gordon Brodfuehrer Wendy Brody Ric Charlton Linda Chester Sharon Cohen Brian Douglass Debby Fishburn Stephen Gamp Lehn Goetz Susan Hoehn Lynelle Lynch Sue Major Robin Nordhoff Peggy Preuss Sylvia Ré Donald J. Rosenberg Sheryl Scarano Clifford Schireson Marge Schmale Maureen Shiftan Jeanette Stevens Haeyoung Kong Tang Debra Turner Lisa Widmier Clara Wu Tsai Katrina Wu Bebe L. Zigman HONORARY DIRECTORS Brenda Baker Stephen L. 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. *Listing as of July 1, 2019

ADMINISTRATION Chris Benavides – Director of Finance Debra Palmer – Executive Assistant & Board Liaison Brady Stender – Accounts Payable

PROGRAMMING Leah Rosenthal - Director of Programming Allison Boles - Education & Community Programming Manager Sarah Campbell - Programming Coordinator Grace Rosus - Artist Liaison/Music Librarian Malaika Richardson - Education Intern Eric Bromberger - Program Annotator Richard Londsdorf - Consulting Artistic Advisor Marcus Overton - Consultant for Special Projects* Serafin Paredes - Community Music Center Director Xiomara Pastenes - Community Music Center Administrative Assistant Community Music Center Instructors: Noila Carrazana, Marcus Cortez, Armando Hernandez, Cesar Martinez, Michelle Maynard, Eduardo Ruiz, Rebeca Tamez

DEVELOPMENT Ferdinand Gasang – Director of Development Rewa Colette Soltan – Business Development & Event Manager Landon Akiyama – Development Coordinator

MARKETING & TICKET SERVICES Adam Thurman – Director of Marketing Jediah McCourt – Marketing Manager Hayley Woldseth – Marketing & Communications Project Manager Angelina Franco – Graphic & Web Designer Jorena de Pedro – Ticket Services Manager Shannon Haider – Assistant Ticket Services Manager Janine Ponce – Ticket Services Representative Arik Lemon – Ticket Services Representative Shaun Davis – House Manager Paul Body – Photographer

OPERATIONS & PRODUCTION Hannes Kling - Director of Operations Leighann Enos - Production Manager Anthony LeCourt - Event Manager Joshua Lemmerman - Facility Manager SummerFest Staff: Samantha Bauman-Martin - Principal Stage Manager Abigail Viton - Assistant Stage Manager Teagan Rutkowski - Assistant Stage Manager Ben Maas - Recording Engineer Samuel Sandoval - Recording Assistant Jonnel Domilos - Piano Technician Erica Poole - Page Turner Lesi Mei - Page Turner Lauren Kim - Page Turner

*In fond memory of Marcus Overton for his years of dedicated service and commitment to La Jolla Music Society.

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

FESTIVAL FOUNDING SPONSORS

Brenda Baker and Steve Baum

SYNERGY INITIATIVE UNDERWRITER

Clara Wu Tsai

MUSIC DIRECTOR UNDERWRITERS

Kay and John Hesselink

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

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SUMMERFEST PARTNERS Festival Chairs and Partners SummerFest Chair Sylvia RĂŠ Honorary Chair Dolly Woo Gala Chair Lehn Alpert Goetz Artist Housing Chair Brenda Baker Partners

Judith Bachner and Eric L. Lasley Brenda Baker and Steve Baum Raffaella and John Belanich Joan Jordan Bernstein Mary Ann Beyster Bjorn Bjerede and Jo Kiernan Virginia and Robert Black Dr. James C. and Karen A. Brailean Gordon Brodfuehrer Wendy Brody Ric Charlton Katherine and Dane Chapin Linda Chester and Kenneth Rind Julie and Bert Cornelison Dave and Elaine Darwin Martha and Ed Dennis Nina and Robert Doede Silvija and Brian Devine

Mr. J. Lynn and Amb. Diana Lady Dougan Susan and Brian Douglass Eleanor Ellsworth Barbara Enberg Jeane Erley Jennifer and Kurt Eve Sue and Chris Fan Joy Frieman Pam and Hal Fuson Laura and Tom Gable Sarah and Michael Garrison Buzz and Peg Gitelson Lisa Braun Glazer and Jeff Glazer Lehn and Richard Goetz Brenda and Michael Goldbaum Margaret Stevens Grossman and Michael S. Grossman Kay and John Hesselink Joan and Irwin Jacobs Theresa Jarvis Keith and Helen Kim Angelina and Fred Kleinbub Carol Lam and Mark Burnett Vivian Lim and Joseph Wong Eleanor Mohammed Elaine and Doug Muchmore Hank and Patricia Nickol Robin and Hank Nordhoff Rafael and Marina Pastor Peggy and Peter Preuss Sylvia and Steven RĂŠ

Catherine and Jean Rivier Stacy and Don Rosenberg Leigh P. Ryan Sheryl and Bob Scarano Clifford Schireson and John Venekamp Marge and Neal Schmale Patricia C. Shank Maureen and Tom Shiftan Mao and Doctor Bob Shillman Susan Shirk and Sam Popkin Annemarie and Lee Sprinkle Jeanette Stevens Elizabeth Taft Debbie Turner Haeyoung Kong Tang UC San Diego Gianangelo and Mera Vergani Sue and Peter Wagener Jian Wang and Sampson Chan Margie Warner and John H. Warner, Jr. Abby and Ray Weiss Lisa Widmier Dolly and Victor Woo Clara Wu Tsai and Joseph Tsai Katrina Wu Anna and Edward Yeung Carolyn Yorston-Wellcome and Henry Morgan Bebe and Marvin Zigman Anonymous (2)

Lehn Alpert Goetz and Richard Goetz Diana and Francois Goedhuys Brenda and Michael Goldbaum Cindy and Tom Goodman John Hesselink Louise and Robert Hill Johanna and Jeff Isaacs Joan and Irwin Jacobs Sue and Lyle Kalish Allen Kalkstein and Linda Low-Kalkstein Vivian Lim and Joseph Wong Sarah and Simon Long Jennifer Luce Carol Manifold Gini and David Meyer Sara Moser Elaine and Doug Muchmore Joani Nelson Marie and Merrel Olesen Stacy and Don Rosenberg

Cindy Rosenthal Arlene and Peter Sacks Jane and Eric Sagerman Marge and Neal Schmale Maureen and Thomas Shiftan Annemarie and Leland Sprinkle Joyce and Ted Strauss Elizabeth Taft Haeyoung Tang Sue and Peter Wagener Abby and Ray Weiss Donna Weston and David Ward Mimi Wong Dolly and Victor Woo Anonymous

Listing as of June 11, 2019

Festival Hosts Paula Anthony Brenda Baker and Steve Baum Raffaella and John Belanich Mary Ann Beyster Alicia and Rocky Booth Althea Brimm Wendy Brody Jane Burns and John Gordon Carol and Jim Carlisle Linda Chester and Kenneth Rind Linda Christensen and Gonzalo Ballon-Landa Julie and Bert Cornelison Ann Craig Victoria Danzig Martha and Ed Dennis Silvija and Brian Devine Sue and Chris Fan Caroline and Tony Farwell Diane and Elliot Feuerstein Joy Frieman

We are always looking for new hosts. If you are interested in learning more about hosting an artist, please call 858.459.3724.

Listing as of June 11, 2019

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

THANK YOU FOR YOUR SUPPORT Festival Corporate Partners

SM

SM

SAN DIEGO

Festival Media Partners

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ANNUAL SUPPORT La Jolla Music Society’s 50th Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, Banc of California, Vail Memorial Fund, Thomas C. Ackerman Foundation, David C. Copley Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, Bright Event Rentals, US Bank, The Dow Divas, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Jeanette Stevens, Clara Wu Tsai and Joseph Tsai, Bebe and Marvin Zigman, and an anonymous donor.

FOUNDER Brenda Baker & Stephen Baum

($250,000 and above)

The City of San Diego Commission for Arts and Culture Conrad Prebys & Debra Turner Clara Wu Tsai & Joseph Tsai

ANGEL Raffaella & John Belanich

($100,000 - $249,999)

The Dow Divas Joy Frieman Joan & Irwin Jacobs

Sheryl & Bob Scarano Debbie Turner

BENEFACTOR Gordon Brodfuehrer ($50,000-$99,999)

GUARANTOR

($25,000-$49,999)

Jeanette Stevens Haeyoung Kong Tang Silvija & Brian Devine Stephen Gamp/Banc of California Bebe & Marvin Zigman Susan & Bill Hoehn Steven & Sylvia Ré Anonymous Bob Barth & Nicole Frank Mary Ann Beyster Katherine & Dane Chapin Ric & Barbara Charlton Linda Chester & Ken Rind Julie & Bert Cornelison Anne Daigle Martha & Ed Dennis Barbara Enberg Jennifer & Kurt Eve Debby & Wain Fishburn Jeff Glazer & Lisa Braun Glazer Lehn & Richard Goetz Kay & John Hesselink

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Sue & John Major Arlene & Lou Navias Robin & Hank Nordhoff Marina & Rafael Pastor Peter & Peggy Preuss Don & Stacy Rosenberg Clifford Schireson & John Venekamp Marge & Neal Schmale Tina Simner Twin Dragon Foundation Vail Memorial Fund Sue & Peter Wagener

THANK YOU FOR YOUR SUPPORT SUSTAINER ($15,000-$24,999)

Anonymous (2) Ginny & Robert Black Wendy Brody Sharon L. Cohen Susan & Brian Douglass Andrew B. Dumke Sue & Chris Fan Brenda & Michael Goldbaum Angelina & Fredrick Kleinbub Lynelle & William Lynch Beverly Scarano Maureen & Thomas Shiftan UC San Diego / Chancellor Pradeep Khosla Abby & Ray Weiss Lisa Widmier Dolly & Victor Woo Katrina Wu Carolyn Yorston-Wellcome & H. Bard Wellcome

SUPPORTER ($10,000-$14,999)

Anonymous (2) Betty Beyster County of San Diego / Community Enhancement Program Karen & Don Cohn Nina & Robert Doede Ann Parode Dynes & Robert Carr Dynes Anne Evans Monica Fimbres Socorro Fimbres Hanna & Mark Gleiberman Buzz & Peg Gitelson Keith & Helen Kim Vivian Lim & Joseph Wong Diane & Ron Mannix Jack McGrory & Una Davis Betty-Jo Petersen William Pitts & Mary Sophos Sandy Redman / California Bank & Trust Leigh P. Ryan Beverly Frederick Springer & Alan Springer Iris & Matthew Strauss Margie & John H. Warner, Jr. Anna & Edward Yeung

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

Anonymous (4) Anna Maria Abbott John Amberg Judith Bachner & Dr. Eric L. Lasley Carson Barnett & Tom Dubensky

Joan Jordan Bernstein Diane & John Berol Carolyn Bertussi Bjorn Bjerede & Jo Kiernan Boretto + Merrill Consulting, LLC- Angela Merill and Colleen Boretto George & Laurie Brady Dr. James C. & Karen A. Brailean Stuart & Isabel Brown Jian & Samson Chan Elaine & Dave Darwin Robert & Tatiana Dotson Eleanor Ellsworth Jeane Erley Jill Esterbrooks & James Kirkpatrick Robbins Olivia & Peter Farrell Elliot & Diane Feuerstein Richard & Beverly Fink Sara & Jay Flatley Wendy & Dave Frieman Pam & Hal Fuson Sarah & Michael Garrison Michael Grossman & Margaret Stevens Grossman Rita & Mark Hannah Gail Hutcheson Theresa Jarvis & Ric Erdman Jan Ann Kahler William Karatz & Joan Smith Amy & William Koman Carol Lam & Mark Burnett Carol Lazier Sharon LeeMaster, CFRE Arleen & Robert Lettas Richard J. Leung, M.D. Kathleen & Ken Lundgren Donna Medrea Marilyn & Stephen Miles Elaine & Doug Muchmore Pat & Hank Nickol Taffin & Gene Ray Catherine & Jean Rivier Ivor Royston & Colette Carson Royston Emily & Tim Scott Susan Shirk & Samuel Popkin Rob Sidner Joyce & Ted Strauss Elizabeth Taft Mary & Bill Urquhart Gianangelo & Mera Vergani Ronald Wakefield Nell Waltz Judy White Sheryl & Harvey White Karin Winner Hanna Zahran / Pacific Premier Bank

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THANK YOU FOR YOUR SUPPORT

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

Anonymous Arlene Antin & Leonard Ozerkis Rusti Bartell Edgar & Julie Berner Jim Beyster Barry Bielinski & Seonaid McArthur Johan & Sevil Brahme Benjamin Brand Ralph & Gail Bryan R. Nelson & Janice Byrne Trevor Callan / Callan Capital Carol & Jim Carlisle Lee Clark Bradley Comp & Christine Ellis-Comp Lori & Aaron Contorer David Cooper & Joanne Hutchinson Valerie & Harry Cooper Ann Craig Stacie & Michael Devitt Diana Lady & J. Lynn Dougan Mr. & Mrs. Ernie Dronenburg Mr. & Mrs. Michael Durkin Siri & Lars Ekman Ruth & Ed Evans Teresa & Merle Fischlowitz Ingrid & Ted Friedmann Elaine Galinson & Herbert Solomon Dawn Gilman Lee & Frank Goldberg Lynn Gorguze & The Hon. Scott Peters Jennifer & Richard Greenfield Ingrid Hibben Reena & Sam Horowitz Joan Hotchkis Jeanne Jones & Don Breitenberg David & Susan Kabakoff Lynda Kerr Leonard & Betty Kornreich Barry & Hema Lall Jeffrey & Sheila Lipinsky Sylvia & Jamie Liwerant Cindy & Jay Longbottom Mary Keough Lyman Larry Marcus Patsy & David Marino M. Margaret McKeown & Peter Cowhey Diane McKernan & Steve Lyman Dan McLeod & Sumi Adachi Bill Miller & Ida Houby Gail & Ed Miller Howard & Barbara Milstein Hans & Ursula Moede Alexandra Morton Virginia Oliver Pam Palisoul

Carolyn & Ed Parrish Marty & David Pendarvis Vicki & Art Perry William Purves & Don Schmidt John Rebelo & Sarah Marsh-Rebelo Jessica & Eberhardt Rohm Sandra & Robert Rosenthal Hector Salazar-Reyes, MD Doreen & Myron Schonbrun Susan & Stephen Schutz Suzan & Gad Shaanan Mao & Dr. Bob Shillman Jean Sullivan & David Nassif Drs. Gloria & Joseph Shurman Dagmar Smek & Arman Oruc Leland & Annemarie Sprinkle Norma Jo Thomas Erika & Fred Torri Mary Walshok Bill & Lori Walton Joan Warren-Grady Jo & Howard Weiner Pat & Chris Weil Faye Wilson

ASSOCIATE ($1,000-$2,499)

Chris & Craig Andrews Fara Ashandi Ginger & David Boss June Chocheles Drs. Anthony F. Chong & Annette Thu Nguyen Marjorie Coburn Marilyn Colby Dr. Ruth Covell Susan Crutchfield Linda & Richard Dicker Sue H. Dramm Arlene & Richard Esgate Beverly Freemont Tom & Laura Gable Lola & Walter Green Bryna Haber Norma Hidalgo-Del Rio Ann Hill Linda Howard Robert & Patricia Hughes Selwyn Isakow Elisa & Rick Jaime Annette & Arthur Johnson Roger & Tamara Joseph Dwight Kellogg Jeanne Larson Theodora Lewis Polly Liew Grace H. Lin Papa Doug Manchester

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John Matty Andrea Migdal Dr. Sandra Miner Cynthia & George Mitchell Glenn Montgomery Micki Olin & Reid Abrams Jeff Patrick Gary Poon Jill Porter Mary Pringle John Renner John P. & Lynnsay Rogers Patty Levaur Rome Cynthia Rosenthal Sanford Burnham Prebys Medical Discovery Institute Seltzer | Caplan | MacMahon | Vitek Pam Shriver Gerald & Susan Slavet Anastasia Thomas Helen Wagner Joseph & Mary Witztum Bart Ziegler

FRIEND ($500-$999)

Anonymous Barry & Emily Berkov LaVerne & Blaine Briggs Luc Cayet & Anne Marie Pleska Elizabeth Clarquist George & Cari Damoose Caroline DeMar Douglas & Robin Doucette Paul & Clare Friedman Sally Fuller Carrie Greenstein Phil & Kathy Henry A.S. & Elsie Hirshman Paul & Barbara Hirshman Emmet & Holly Holden Nancy Hong Lulu Hsu Louise Kasch Helene K. Kruger Toni Langlinais Dr. Greg Lemke Lynda Fox Photography Jennifer Luce Sally & Luis Maizel Eileen A. Mason Winona Mathews Ted McKinney Joel Mogy Dr. Chandra Mukerji Barbara Rosen Ronald Simon

Randall Smith Edward Stickgold & Steven Cande Susan Trompeter Yvonne Vaucher Suhaila White Linda Wilson Olivia & Marty Winkler

ENTHUSIAST ($250-$499)

Anonymous Sibille Alexander Lynell Antrim Nancy Assaf & George Wafa Rita Foegal Bell Stefana Brintzenhoff Marc Brown Candace Carroll Robert & Jean Chan Kathleen Charla Yau-Hung Chow Geoffrey Clow Hugh Coughlin Edith & Edward Drcar Roccio & Mike Flynn Richard Forsyth Bruce Galanter Karol Galkowsky & Brian Worthington Ferdinand Marcus Gasang Russel Ginns Carolyn Greenslate Dr. & Mrs. Jimmie Greenslate Richard Hsieh Ed & Linda Janon Rebecca Kanter Julia & George L. Katz Gladys & Bert Kohn Robert & Elena Kucinski Las Damas de Fairbanks Marion Mettler Joani Nelson Aghdas Pezeshki Carol Plantamura Gustavo Romero Dr. Aron Rosenthal Paula & Manuel Rotenberg Peter & Arlene Sacks Alice& Brad Saunders Denise & Sydney Selati Patricia Shank William Smith Bob Stefanko Eli & Lisa Strickland Monica & Richard Valdez Dr. & Mrs. Robert Wallace Terry & Peter Yang Debra Youssefi

DANCE SOCIETY GRAND JETÉ

Jeanette Stevens Marvin and Bebe Zigman

ARABESQUE

June and Dr. Bob Shillman Carolyn Bertussi

PIROUETTE

Elaine Galinson and Herbert Solomon Larry Marcus

POINTE

Katherine and Dane Chapin

DEMI POINTE Beverly Fremont

PLIÉ

Rebecca Kanter Rewa Colette Soltan Elizabeth Taft Listing as of June 11, 2019

SUPPORT To learn more about supporting La Jolla Music Society’s artistic and education programs or to make an amendment to your listing please contact Landon Akiyama at 858.459.3724, ext. 216 or LAkiyama@ LJMS.org. This list is current as of June 10, 2019.

Amendments will be reflected in the next program book in October 2019.

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MEDALLION SOCIETY CROWN JEWEL

Brenda Baker and Steve Baum Conrad Prebys and Debbie Turner

DIAMOND

Raffaella and John Belanich Joy Frieman Joan and Irwin Jacobs

RUBY

Silvija and Brian Devine

EMERALD

Arlene and Louis Navias

GARNET

Julie and Bert Cornelison Peggy and Peter Preuss

SAPPHIRE

Kay and John Hesselink Keith and Helen Kim

TOPAZ

Anonymous Joan Jordan Bernstein Mary Ann Beyster Virginia and Robert Black Dr. James C. and Karen A. Brailean Dave and Elaine Darwin Eleanor Ellsworth Barbara Enberg Jeane Erley Pam and Hal Fuson Buzz and Peg Gitelson Drs. Lisa Braun Glazer and Jeff Glazer Margaret Stevens Grossman and Michael Grossman Theresa Jarvis Angelina and Fred Kleinbub Elaine and Doug Muchmore Hank and Patricia Nickol Rafael and Marina Pastor Don and Stacy Rosenberg Leigh P. Ryan Neal and Marge Schmale Jeanette Stevens Gloria and Rod Stone Elizabeth Taft Gianangelo and Mera Vergani Joseph Wong and Vivian Lim Dolly and Victor Woo Carolyn Yorston-Wellcome Bebe and Marvin Zigman Listing as of June 11, 2019

In 1999, the Board of Directors officially established the Medallion Society to begin to provide long-term financial stability for La Jolla Music Society. We are honored to have this special group of friends who have made a multi-year commitment of at least three years to La Jolla Music Society, ensuring that the artistic quality and vision we bring to the community continues to grow.

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PLANNED GIVING 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 Elaine and Dave Darwin Teresa and Merle Fischlowitz Ted and Ingrid Friedmann Joy and Ed* Frieman

Sally Fuller Maxwell H. and Muriel S. Gluck* Dr. Trude Hollander* Eric Lasley Theodora Lewis Joani Nelson Maria and Dr. Philippe Prokocimer Bill Purves Darren and Bree Reinig Jay W. Richen Leigh P. Ryan Jack* and Joan Salb Johanna Schiavoni Patricia C. Shank Drs. Joseph and Gloria Shurman

Karen and Christopher Sickels Jeanette Stevens Elizabeth and Joseph* Taft Norma Jo Thomas Dr. Yvonne E. Vaucher Lucy and Ruprecht von Buttlar Ronald Wakefield John B. and Cathy Weil Carolyn Yorston-Wellcome Karl and Joan Zeisler Josephine Zolin *In Memoriam Listing as of June 11, 2019

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.

FOUNDATIONS The Fidelity Charitable Gift 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: Diane & Elliot Feuerstein Fund Galinson Family Fund Lawrence & Bryna Haber Fund Joan & Irwin Jacobs Fund Warren & Karen Kessler Fund Theodora F. Lewis Fund the vail memorial fund Liwerant Family Fund Jaime & Sylvia Liwerant Fund The Allison & Robert Price Family Fdn Fund The Blachford-Cooper Foundation John & Cathy Weil Fund The Catalyst Foundation: Stephen Warren Miles and Marilyn Miles Fd. The Hon. Diana Lady Dougan Rancho Santa Fe Foundation: The Clark Family Trust The Fenley Family Fund Enberg Family Charitable Foundation The Susan & John Major Fund The Epstein Family Foundation: The Oliphant Fund Phyllis Epstein 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 Silicon Valley Community Foundation: The William R. & Wendyce H. Brody Fund Simner Foundation The Haeyoung Kong Tang Foundation The John M. and Sally B. Thornton Foundation Vail Memorial Fund Thomas and Nell Waltz Family Foundation

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CORPORATE PARTNERS BENEFACTOR

GUARANTOR

SUSTAINER

SUPPORTER

AMBASSADOR

SAN DIEGO

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

Support of our 50th Anniversary is provided by:

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

The National Endowment for the Arts has awards grants to strengthen the creative capacity of our communities by providing opportunities for arts participation.

Thank you NEA for your commitment to make the arts a vital part of the lifeblood of this nation.

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

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We are grateful to our generous Founding Donors whose leadership and gifts have built The Conrad Prebys Performing Arts Center and we applaud their vision to enrich the quality of life for everyone in our community.

Conrad Prebys and Debbie Turner The Conrad Prebys Foundation Brenda Baker and Steve Baum Joan and Irwin Jacobs Clara Wu and Joseph Tsai

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

Peggy and Peter Preuss Noni and Drew Senyei Debbie Turner

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

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

Sue H. Dramm Robert and Ann Parode Dynes Barbara and Dick Enberg Jennifer and Kurt Eve John and Linda Falconer Eduardo Ludovico Feller Irene Tsang Feller Thompson and Jane Fetter Elliot and Diane Feuerstein Monica Fimbres Socorro Fimbres Teresa and Dr. Merle Fischlowitz Wain and Debbie Fishburn Elisabeth Eisner Forbes and Brian Forbes David Fox Jorgina Franzheim Barbara Freeman Brandon and Paula Freeman Paul and Claire Friedman Ronald Friedman Georges & Germaine Fusenot Charity Foundation Tom Gable Ira Gaines and Cheryl J. Hintzen-Gaines Elaine Galinson and Herbert Solomon Susan Galluccio Sarah and Michael Garrison Ferdinand Marcus Gasang Maxine and Marti Gellens Clyde Gillespie Dawn Gilman Peggy and Buzz Gitelson Lisa Braun Glazer and Jeff Glazer Tom Gleich in memory of Martin and Enid Gleich

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THANK YOU! Lehn and Richard Goetz Brenda and Michael Goldbaum Lee and Frank Goldberg Grande Colonial Clyde Gonzales Jennifer and Richard Greenfield Ronald and Deborah Greenspan Carol Lynne Grossman Margaret Stevens Grossman and Michael Grossman David Guss Teresa Haas Helga Halsey Judith Harris and Robert Singer George Hauer / George’s at the Cove Bo Hedfors Nancy Heitel Edvard and Barbara Hemmingsen Dr. Jeanne Herberger in loving memory of Gary Kierland Herberger Kay and John Hesselink Nellie High Louise and Robert Hill Paul and Barbara Hirshman Sue Hodges Susan and Bill Hoehn Alan Hofmann Mark Holmlund Vivian and Greg Hook Eliot Horowitz in honor of Carol Fink Davorin David Hrovat in loving memory of Dr. Vilibald Vrovat and Dr. Maria Hrovat Liz and Robert Jackson Linda and Edward Janon Theresa Jarvis Arthur Q. Johnson Foundation Sheila Johnson Wilbur Johnson Jeanne Jones and Don Breitenberg Patricia and Lewis Judd Michael and Nancy Kaehr Allen Kalkstein and Linda Low-Kalkstein Linda Kanan Sofia Kassel Nan and Buzz Kaufman Dwight Kellogg

Richard and Ruth Kelly Lynda Kerr Karen and Warren Kessler Katherine Killgore and Glen Bourgeois Helen and Keith Kim Jenelle Kim Shirley Kirschbaum Carrie Kirtz David Kitto and Aristides Gonzales Angelina and Fredrick Kleinbub Leslie and Nat Klein in memory of Audree Jane Kolar James Kralik and Yunli Lou Artun Kutchuk La Jolla Beach & Tennis Club La Valencia Hotel Carol Lam and Mark Burnett Bill and Sallie Larsen Las Patronas The LeCourt Family Sharon LeeMaster Teddie Lewis Vivian Lim and Joseph Wong Lawrence Lindberg and Marilyn Adler Lindberg Sheila and Jeffrey Lipinsky Ann and Gerald Lipschitz in honor of Selma Malk Norman and Mayumi Lizt Terri Lundberg Kathleen and Ken Lundgren Mary Keough Lyman Sue and John Major Brian Malk in honor of Selma Malk Linda and Michael Mann Patsy and David Marino Betty and James Martin Michel Mathieu and Richard MacDonald Dennis A. McConnell and Kimberly A. Kassner Matt McCormick in memory of Joel McCormick Margaret McKeown and Peter Cowhey Dan McLeod Virginia Meyer Betsy Mitchell Hans and Ursula Moede Daphne Nan Muchnic Bridget Musante Esther Nahama

Arlene and Lou Navias The Nelson Family Paula Noell Robin and Hank Nordhoff Janet and John Nunn Virginia Oliver John and Nancy O’Neal Neil Osborne Pacific Sotheby’s Real Estate Renee Levine Packer Catherine and Bob Palmer Rafael and Marina Pastor Pamela Peck in honor of the Peck Pugh Family Dan Pearl in memory of Julius Pearl Marty and David Pendarvis Rachel Perlmutter in memory of Marion and Lester Perlmutter Betty Jo Petersen Ursula Pfeffer Phyllis and Stephen Pfeiffer William Pitts and Mary Sophos Gary Poon Ellen Potter and Ronald Evans William Propp and Anna Covici The ProtoStar Foundation Robert Bob and Joyce Quade The Klaus Radelow Family Evelyn and Ernest Rady Sylvia and Steven Ré Catherine and Jean Rivier Jeannie and Arthur Rivkin Jessica and Eberhard Rohm Stacy and Don Rosenberg Colette Carson Royston and Ivor Royston Noel Rufo David and Mary Ruyle Leigh P. Ryan Rita Ryu in memory of Sam Ryu Arlene and Peter Sacks Eric and Jane Sagerman Julie and Jay Sarno Eric Sasso Sheryl and Bob Scarano Adrienne and Richard Schere Jay and Torrie Schiller Clifford Schireson and John Venekamp

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THANK YOU!

Marge and Neal Schmale Marilies Schoepflin in honor of Axel Schoepflin Emily and Tim Scott Minah Shah Patricia Shank Maureen and Thomas Shiftan Gigi and Joseph Shurman Karen and Christopher Sickels Rob Sidner Simon | Krichman Family Ethna Sinisi Rodney and Dolores Smith Rewa Colette Soltan Alan and Beverly Springer Martin Stein Jeanette Stevens Gloria and Rod Stone Iris and Matthew Strauss Elizabeth Taft

Michael Takamura Haeyoung Kong Tang William Tong Shannon Turner Susan and Richard Ulevitch N.B. Varlotta Yvonne Vaucher Jocelyn and Richard Vortmann Sue and Peter Wagener Richard H. Walker Andrew Morgan Walker Evelyn Bea Walker Graham Brooks Walker Paige Keegan Walker Steph Walker Bill and Lori Walton Nell Waltz Margie Warner and John H. Warner, Jr. Viviane M. Warren Maureen and Dean Weber

Cathy and John Weil Abby and Ray Weiss Linda and Steve Wendfeldt Doug and Jane Wheeler Sheryl and Harvey White Suhaila White Lisa Widmier Joan and Howard Wiener Faye Wilson Joseph and Mary Witztum Dolly and Victor Woo Katrina Wu Anna and Edward Yeung Carolyn Yorston-Wellcome and Bard Wellcome Howard and Christy Zatkin Barbara and Michael Zelnick Bebe and Marvin Zigman Anonymous Listing as of July 11, 2019

We have so much to celebrate today, but just think of where we might be 50 years from now? There are creative endeavors yet to be imagined: young musicians now in training who could defy our highest expectations; and scores of young students that could be introduced to the joy of music for the first time. An endowment makes that possible.

Please join us in ensuring that The Conrad, a cultural and community treasure, remains a vital resource to our generation and all those to follow. Make a gift today by contacting: Ferdinand Gasang, Director of Development, at 858.459.3724, ext. 204 or FGasang@LJMS.org. You can also make a gift online at www.LJMS.org.

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

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

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

We hope you, too, will join the La Jolla Music Society family and help present unforgettable performances in the concert hall, the classroom, and community spaces. Your financial support will enable LJMS to build on a long history of artistic excellence and community engagement. Through your patronage, you are setting the tone for the future. Your participation is critical to the success of our 50th Anniversary and for 50 more years to come.

JOIN OUR FAMILY LJMS.org/donate You can also speak to our Development Team at 858.459.3724, ext. 216 to make a gift.

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L A JOLL A MUSIC SOCIETY’S COMMUNITY MUSIC CENTER Celebrating 20 years of Service to the Community!

For the past 20 years, La Jolla Music Society’s Community Music Center has given thousands of children their first experience in music-making.

Over 100 students from roughly 40 different elementary, middle, and high schools take part each year in our bilingual after-school music program located in San Diego’s Logan Heights neighborhood. The Community Music Center provides free instruments and instruction to all our students with group lessons three days each week for piano, violin, woodwind, brass, voice, guitar, and percussion. We’ve also expanded our program this year and now offer a fourth day of instruction focused on ensemble performance practice.

To learn more about the Community Music Center and to support our Education and Community Programming, please contact: Allison Boles, Education and Community Programming Manager 858.459.3724, ext. 221 or ABoles@LJMS.org.

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B O O K YO U R E V E N T AT T H E C O N R A D

Recitals · Chamber Music · Amplified Concerts · Dance · Film · Theater Conferences · Lectures · Receptions · Fundraisers · Weddings and more...

THE BAKER-BAUM CONCERT HALL: A intimate 513 seat performance

space with superb acoustics ideally suited for chamber music and classical recitals. Its design incorporates state-of-the-art technology and adjustable acoustics, making it a world-class space for amplified concerts, film, dance, theater, lectures, and more.

THE JAI: A 2,000 square foot performance space with a contemporary

look. Because of its flexible lighting, audio, and video system capabilities, this space can be configured for many types of events.

THE ATKINSON ROOM: An ideal room for meetings or lectures with

audiovisual capabilities. The space can be rented in conjunction with The Baker-Baum Concert Hall and The JAI.

For more information please contact Events Manager, Anthony LeCourt: 858.459.3724 x217 or visit TheConrad.org 858.459.3728 • LJMS.ORG | 103

Foundation

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

Board of Trustees Edward A. Dennis, PhD Chairman

Mary F. Berglund, PhD Treasurer

Peter C. Farrell, PhD, DSc Secretary

Charles G. Cochrane, MD Michael P. Coppola, MD Anthony DeMaria, MD Sir Neil Douglas, MD, DSc, FRCPE Klaus Schindhelm, BE PhD Jonathan Schwartz, MD Kristi Burlingame Executive Director

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

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Tel 858-361-0755

ResMedFoundation.org

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QUALITY SERVICE EXPERIENCE INNOVATION Chairs to China

Linens to Lighting

Tables to Tents

bright.com • 858.496.9700

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

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News that matters, from a source you trust.

Every day, 24/7.

Serving and reflecting the San Diego community since 1868

READ: SanDiegoUnionTribune.com | SUBSCRIBE: online or call 1.800.533.8830 | ADVERTISE: 866.411.4140

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

Now Open for Lunch, Dinner and Weekend Brunch Steps away from The Conrad, Chef Giuseppe Ciuffa’s newest spot, Candor is a European inspired restaurant with fresh Seasonal California Cuisine. Focused on honest and straightforward cooking, Candor sources as much as possible from local farmers and fishermen.

Join Candor for an afternoon aperitif pre-concert at the wine bar or dinner following a night out.

Reservations are recommended.

1030 Torrey Pines Road, La Jolla, CA 92037 858.246.7818 • DineCandor.com

Timeless Culinary Creations

Giuseppe’s everything-made-in-house credo, unparalleled service and exquisite presentations make for the perfect catering partner for any occasion including weddings, holiday celebrations, corporate events and more.

Call us at 858.581.2205 or visit us online at grnfc.com.

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WE’RE SO GLAD THAT YOU’VE JOINED US AT

Continue the experience online at facebook.com/ LaJollaMusicSociety twitter.com/ LJMusicSociety instagram.com/ LJMusicSociety

#LJMSSummerFest #LJMSEducation 110 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

Ultimately, it’s your experience that matters.

We’re proud of our more than 30 years of experience in senior living. But, to us, what really matters is your experience at our communities.

We invite you to experience La Vida Del Mar for yourself at a complimentary lunch and tour.

Please call 858.345.4127 to schedule your visit.

I n depen den t & A ssis t ed L i v i ng R esi denc es

850 Del Mar Downs Road • Solana Beach, CA LaVidaDelMar.com • 858.345.4127

RCFE# 374602832

Pamplemousse Grille

HAPPY HOUR DINNER PRIVATE ROOMS RETAIL WINE CATERING

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

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

PGRILLE.COM 858.792.9090 INFO@PGRILLE.COM

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Committed to

www.Jimbos.com

CARMEL VALLEY

Del Mar Highlands Town Center

12853 El Camino Real; (858) 793-7755

4S RANCH

4S Commons Tower Center 10511 4S Commons Dr; (858) 432-7755

The Forum 1923 Calle Barcelona; (760) 334-7755

DOWNTOWN SD Horton Plaza 92 Horton Plaza; (619) 308-7755

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CARLSBAD

ESCONDIDO

Felicita Junction Shopping Center 1633 S. Centre City Prkwy; (760) 489-7755

Together We Thrive Monarch Cottage La Jolla and The Conrad Prebys Performing Arts Center: Sharing a vision for the healing power of music and the arts.

“Recently, my family and I realized that we needed assistance with my mother’s care.

We searched for the perfect place to move her and hoped to find a community that would bring quality care and joy into her life. My mother danced to the beat of her own drum, and some of her greatest joys in life were music and dancing. When we found Monarch Cottage and learned that the Conrad Prebys Performing Arts Center would be built next door, our choice became clear. Not only would my mother receive quality services at Monarch Cottage, but my mother and family members would also be able to attend extraordinary concerts in a world class venue."

The Horowitz Family

Caring for your loved one can be complex and come with many unanticipated challenges. Tour Monarch Cottage today and learn how you can bring joy and peace to your family while our compassionate and professional Monarch Family addresses your challenges.

Together We Engage, Thrive, & Flourish.

858-924-8530

7630 Fay Avenue, La Jolla, CA 92037 www.monarchcottages.net RCFE License # 374603724

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We Create, You Celebrate!

Going above and beyond is part of the tradition at Creative Catering & Events.

The company’s roots can be traced back to 1998 and we’ve continued to grow since then. Providing the nest cuisine prepared in our kitchen, using the freshest, most avorful ingredients to make any meal a hit. We put our hearts into making every event nothing but a success. Creativity is what makes us who we are and there is no match to our quality for the price. Next time you have an event, remember Creative Catering and Events will make you shine.

858.750.2365 | www.sdcreativecatering.com | info@sdcreativecatering.com

San Diego’s exclusive private caterer now at The Conrad

secondnaturecatering.com

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WELCOME TO THE LOT...

CINEMAS/ RESTAURANT/ BAR/ CAFÉ/

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

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Your Conrad Moments Elevated Captivating guests since its founding nearly 30 years ago, Culinary Concepts extends its rich history as the definitive resource in food and hospitalitly.

(858) 530-1885 | cateringspecialist.com

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

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Chocolates of Switzerland San Diego

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

In Sweet Harmony with La Jolla Music Society

9 of 10 people love chocolate the tenth one is a little liar!

7863 Girard Ave / Suite 204 / La Jolla / CA 92037 858.230.6337 www.teuschersandiego.com

#teuschersandiego

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

877.511.1718 | Coastcatering.com

Steel seahorse, Jennifer Lannes, diner since 1978

some traditions just keep getting richer.

Located along the shores of La Jolla, the elegance and sophistication of your dining experience is matched only by the power and drama of the ocean just inches away.

At The Marine Room, every meal is a special occasion.

858.459.7222

MarineRoom.com

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

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

ManhaaanofLaJolla.com (858) 459-0700 info@manhaaanoflajolla.com

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FLOWERCHILDSANDIEGO.COM

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

#PARTY AT THE CONRAD

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

partner

of

THE CONRAD PREBYS

PERFORMING ARTS CENTER

ONE OF A KIND PARTIES #TENFOLDSTYLE

www.TENFOLDSTYLE.com

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

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A

�

I •

Nurturing Potential String Players to Musical Reality in partnership with La Jolla Music Society's Outreach Program

858.909.0319 by appointment 10505 Sorrento Valley Rd., Suite 400, San Diego, CA 92121 www.theviolinshopsandiego.com

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

UN‘OPERA ITALIANA CON CHEF STEFANO, MILANO

Voted Bronze For Best Overall Restaurant In La Jolla

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

7731 FAY AVENUE . LA JOLLA . 858 412 3108 . PIAZZA1909.COM

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GIRARD GOURMET from beach to boardroom

PROUD SUPPORTERS OF LA JOLLA MUSIC SOCIETY AT THE CONRAD

7837 Girard Ave, La Jolla, CA 92037 | 858.454.3321

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You appreciate excellence...

We create it.

FLORAL FANTASIES REALIZED BLOOMERS OF LA JOLLA • 7520 EADS AVENUE • LA JOLLA, CALIFORNIA 92037 • (858) 454-3913

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Working together in harmony!

Thanks for being our trusted partner, La Jolla Music Society.

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

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

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

7550 FAY AVENUE, LA JOLLA, CA 92037 | 858 454-5013 berninisbistro.com

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Celebrate Summer In Elegance The Westgate Hotel is a Proud Supporter of The La Jolla Music Society

su mm er p o olside jazz ser i e s

Every Thursday starting June 1st - August 31st.

The event series will feature a different performance every week, complemented by signature cocktails, wine and craft beer, as well as a gourmet array of appetizers and tapas.

S E E O UR P E R F O R M AN C E L I N E- U P AT W E ST GAT EH OT EL .COM

sunday brunc h

Enjoy our award winning buffet, complemented by live music and bottomless champagne, mimosas, bloody marys and margaritas. Every Sunday 10am - 2pm.

t he w e stgat e r o om

Enjoy exquisite California contemporary cuisine masterfully prepared by our Executive Chef Fabrice Hardel.

Within an atmosphere of European elegance and class, our attentive staff provides unequalled service.

p l a z a bar

Voted “Best Piano Bar� by San Diego Magazine, The Plaza Bar located in the lobby of The Westgate Hotel features live music Friday, Saturday and Monday.

westgatehotel.com

|

619-238-1818 | 1055 second ave, san diego

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ALENCIA HOTEL AND SPA LA JOLLA, CA

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

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

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

THE CONRAD The Conrad Prebys Performing Arts Center

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

858.454.4244 •

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

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WE ARE

CALIFORNIA’S BANK. Proud Partner and the Official Bank of

$

THE LA JOLLA MUSIC SOCIETY

10+

Billion Assets

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.

30+ Locations in California

TOGETHER WE WIN

TM

© 2019 Banc of California, N.A. All rights reserved.

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

NC

A OF C LIFOR A NI

BA

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

Breathtaking Views, Uniquely California Cuisine For Every Occasion

ARValentien.com | (858) 777-6635

LTP_ARV_LJMS Summerfest_2019.indd 1

4/16/2019 10:58:44 AM

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VOCTAVE THE SPIRIT OF THE SEASON

FRIDAY, DECEMBER 13, 2019 · 7 PM Special Holiday Event The Baker-Baum Concert Hall

JANUARY MARTHA GRAHAM DANCE COMPANY WEDNESDAY, JANUARY 22, 2020 · 8 PM Dance Series Civic Theatre

KIAN SOLTANI, cello JULIO ELIZADE, piano

SUNDAY, JANUARY 26, 2020 · 3 PM Discovery Series The Baker-Baum Concert Hall

2019 -20 SE A SON OCTOBER CHICK COREA TRILOGY WITH CHRISTIAN MCBRIDE & BRIAN BLADE

BRENTANO QUARTET

SUNDAY, OCTOBER 13, 2019 · 7 PM Special Event Balboa Theatre

FRIDAY, FEBRUARY 21, 2020 · 8 PM Revelle Chamber Music Series The Baker-Baum Concert Hall

BÉLA FLECK, ZAKIR HUSSAIN, EDGAR MEYER with RAKESH CHAURASIA

HÉLÈNE GRIMAUD

FRIDAY, FEBRUARY 28, 2020 · 8 PM Piano Series The Baker-Baum Concert Hall

WEDNESDAY, OCTOBER 16, 2019 · 8 PM Jazz Series Balboa Theatre

MARCH

NOVEMBER

ACADEMY OF ST MARTIN IN THE FIELDS JOSHUA BELL, violin

FARRUQUITO

FRIDAY, NOVEMBER 8, 2019 · 8 PM Special Event The Baker-Baum Concert Hall

MONDAY, MARCH 2, 2020 · 8 PM Special Event Jacobs Music Center – Copley Symphony Hall

GARRICK OHLSSON BRAHMS EXPLORATION PART II

MURRAY PERAHIA

THURSDAY, MARCH 5, 2020 · 8 PM Piano Series The Baker-Baum Concert Hall

SATURDAY, NOVEMBER 9, 2019 · 8 PM Piano Series The Baker-Baum Concert Hall

PABLO SÁINZ VILLEGAS AMERICANO TRIO

DANISH STRING QUARTET PRISM PROJECT: FIVE CONCERT EXPLORATION

SATURDAY, DECEMBER 7, 2019 · 8 PM Special Event The Baker-Baum Concert Hall

NAT GEO LIVE! BETWEEN RIVER AND RIM: HIKING THE GRAND CANYON

THURSDAY, DECEMBER 12, 2019 · 7 PM New! Speaker Series The Baker-Baum Concert Hall

FRIDAY, MARCH 6, 2020 · 7 PM & 9 PM Concerts @ The JAI

AROD QUARTET

SUNDAY, MARCH 15, 2020 · 3 PM Discovery Series The Baker-Baum Concert Hall

DORRANCE DANCE SOUNDspace

CHRISTIAN SANDS — 3 PIANOS ERROLL GARNER TRIBUTE! FRIDAY, APRIL 3, 2020 · 8 PM Jazz Series The Baker-Baum Concert Hall

HUBBARD STREET DANCE CHICAGO GLENN EDGERTON, artistic director SATURDAY, APRIL 18, 2020 · 8 PM Dance Series Spreckels Theatre

HAGEN QUARTET

FRIDAY, APRIL 24, 2020 · 8 PM Revelle Chamber Music Series The Baker-Baum Concert Hall

ZOLTÁN FEJÉRVÁRI, piano

SUNDAY, APRIL 26, 2020 · 3 PM Discovery Series The Baker-Baum Concert Hall

MAY LES VIOLONS DU ROY JONATHAN COHEN, music director & conductor AVI AVITAL, mandolin FRIDAY, MAY 1, 2020 · 8 PM Revelle Chamber Music Series The Baker-Baum Concert Hall

KENNY BARRON – DAVE HOLLAND TRIO featuring JOHNATHAN BLAKE SATURDAY, MAY 2, 2020 · 8 PM Jazz Series The Baker-Baum Concert Hall

PABLO SÁINZ VILLEGAS, guitar

SATURDAY, MAY 9, 2020 · 11 AM & 1 PM New! Family Concert The JAI

NAT GEO LIVE! OCEAN SOUL

THURSDAY, MAY 14, 2020 · 7 PM New! Speaker Series The Baker-Baum Concert Hall

BEATRICE RANA, piano

SUNDAY, MAY 17, 2020 · 3 PM Discovery Series The Baker-Baum Concert Hall

IGOR LEVIT

THURSDAY, MAY 21, 2020 · 8 PM Piano Series The Baker-Baum Concert Hall

SONIA DE LOS SANTOS

SATURDAY, MAY 30, 2020 · 11 AM & 1 PM New! Family Concert The JAI

Celebrating Beethoven’s 250th Birthday

THURSDAY & FRIDAY, MARCH 19 & 20, 2020 · 8 PM Dance Series The Baker-Baum Concert Hall

NAT GEO LIVE! EXPLORING MARS

THURSDAY, MARCH 26, 2020 · 7 PM New! Speaker Series The Baker-Baum Concert Hall

Dates, times, programs, and artists are subject to change.

For more information:

858.459.3728 ǀ LJMS.ORG

Joshua Bell

PABLO SÁINZ VILLEGAS, guitar TRIBUTE TO SEGOVIA

SATURDAY, FEBRUARY 1, 2020 · 11 AM & 1 PM New! Family Concert The JAI SUNDAY, FEBRUARY 9, 2020 · 3 PM Discovery Series The Baker-Baum Concert Hall

LILA DOWNS’ DÍA DE MUERTOS: AL CHILE

DECEMBER

JAZZY ASH & THE LEAPING LIZARDS

HANZHI WANG, accordion

WEDNESDAY, OCTOBER 2, 2019 · 8 PM Jazz Series Balboa Theatre

Revelle Chamber Music Series The Baker-Baum Concert Hall

SATURDAY, NOVEMBER 16, 2019 · 8 PM SUNDAY, NOVEMBER 17, 2019 · 3 PM FRIDAY, NOVEMBER 22, 2019 · 8 PM SATURDAY, NOVEMBER 23, 2019 · 3 PM & 8 PM

FEBRUARY

APRIL