La Jolla Music Society Winter Season 56 Program Book 3 by La Jolla Music Society

THE CONRAD

Home of 24—25

Ballet Folklórico de México de Amalia Hernández

2025 Calendar of Events

MARCH

ELISABETH BRAUSS*, piano

SUNDAY, MARCH 2, 2025 · 3 PM Discovery Series

GERLINDE KALTENBRUNNER*:

DEFYING LIMITS: CLIMBING THE 14 HIGHEST PEAKS

THURSDAY, MARCH 6, 2025 · 7:30 PM Speaker Series

THIRD COAST PERCUSSION & SALAR NADER, tabla

SATURDAY, MARCH 8, 2025 7:30 PM

ProtoStar Innovative Series

BLAKE POULIOT, violin & HENRY KRAMER, piano

FRIDAY, MARCH 14, 2025 · 7:30 PM Recital Series

COLLISION OF RHYTHM*

SATURDAY, MARCH 15, 2025 · 10 AM & 11:30 AM

ConRAD Kids Series · The JAI

GOITSE

SUNDAY, MARCH 16, 2025 · 5 PM & 7:30 PM

MONDAY, MARCH 17, 2025 · 5:30 PM & 8 PM Concerts @ The JAI

LES ARTS FLORISSANTS

THÉOTIME LANGLOIS DE SWARTE, violin

VIVALDI’S FOUR SEASONS AT 300

SATURDAY, MARCH 22, 2025 · 7:30 PM Revelle Chamber Music Series

BALLET FOLKLÓRICO DE MEXICO* DE AMALIA HERNÁNDEZ

SUNDAY, MARCH 23, 2025 · 7 PM Dance Series · Balboa Theatre

NOBUYUKI TSUJII*, piano

FRIDAY, MARCH 28, 2025 · 7:30 PM

Piano Series

APRIL

UKULELE ORCHESTRA OF GREAT BRITAIN

THURSDAY, APRIL 3, 2025 · 7:30 PM

Special Event · Balboa Theatre

SONA JOBARTEH*

SATURDAY, APRIL 5, 2025 · 7:30 PM

Global Roots Series

GIL SHAHAM, violin & ORLI SHAHAM, piano

SUNDAY, APRIL 6, 2025 · 3 PM Recital Series

JOE LOVANO’S PARAMOUNT QUARTET featuring Julian Lage, Asante Santi Debriano, and Will Calhoun

FRIDAY, APRIL 11, 2025 · 7:30 PM Jazz Series

LUCAS DEBARGUE,* piano

THURSDAY, APRIL 17, 2025 · 7:30 PM Piano Series

JESS CRAMP*: THE UNTOLD STORY OF SHARKS

THURSDAY, APRIL 24, 2025 · 7:30 PM Speaker Series

AMERICAN PATCHWORK QUARTET*

FRIDAY, APRIL 25, 2025 · 6 PM & 8:30 PM

Concerts @ The JAI

MAY

ANNE-SOPHIE MUTTER, violin

PABLO FERRÁNDEZ, cello

YEFIM BRONFMAN, piano

SATURDAY, MAY 3, 2025 · 7:30 PM

Revelle Chamber Music Series · Balboa Theatre

LUCKY DIAZ

SATURDAY, MAY 10, 2025 · 10 AM & 11:30 AM

ConRAD Kids Series · The JAI

CAMERON CARPENTER*, organ

FRIDAY, MAY 16, 2025 · 7:30 PM

Special Event

St. James by-the-Sea Episcopal Church

The 56th Winter Season is presented in loving memory of Joan K. Jacobs. Cameron Carpenter

CAMERON CARPENTER, organ METROPOLIS

SATURDAY, MAY 17, 2025 · 7:30 PM

ProtoStar Innovative Series

St. James by-the-Sea Episcopal Church

LOUIS: A Silent Film with Live Musical Performance by WYNTON MARSALIS AND CECILE LICAD

SUNDAY, MAY 18, 2025 · 7 PM Jazz Series · Balboa Theatre

SHEKU KANNEH-MASON, cello & ISATA KANNEH-MASON, piano

SATURDAY, MAY 31, 2025 · 7:30 PM

Recital Series

JUNE

TRES SOULS*

SUNDAY, JUNE 1, 2025 · 5 PM & 7:30 PM

Concerts @ The JAI

JAEMIN HAN*, cello

SUNDAY, JUNE 15, 2025 · 3 PM

Discovery Series

*LJMS debut

Tessa Lark

Jessie Montgomery

Juho Pohjonen

Anthony McGill

Inon Barnatan

JOLLA MUSIC SOCIETY

Every day, business owners, entrepreneurs, executives and community leaders are being empowered by Banc of California to reach their dreams and strengthen our economy. With more than $10 billion in assets and over 30 banking locations throughout the state, we are large enough to meet your banking needs, yet small enough to serve you well. Learn more about how we’re empowering California through its diverse businesses, entrepreneurs and communities at bancofcal.com

TRANSFORMATIVE SUPPORT

Our gratitude to these Medallion Society Pillars founding members who have made significant four-year commitments that will help us better serve all of the San Diego region. The Conrad can be a catalyst to bring thousands of adults and children together through a common appreciation of the performing arts, which enhance the artistic fabric of our community.

$1 MILLION and above

Brenda Baker and Steve Baum

$1 MILLION and above

$500,000 and above

Karen and Kit Sickels

$400,000 and above

Jacqueline and Jean-Luc Robert

$500,000 and above

Irwin and Joan* Jacobs Dorothea Laub

$400,000 and above

Raffaella and John* Belanich

$400,000 and above

Debbie Turner

$400,000 and above

Mary Ellen Clark

$200,000 and above

Julie and Bert Cornelison

$200,000 and above

$200,000 and above Vivian Lim and Joseph Wong

$200,000

Herbert Solomon and Elaine Galinson

Keith and Helen Kim

Angel and Fred Kleinbub

THE CONRAD

Home of La Jolla Music Society

Winter Season

From classical, jazz, and dance to global music, exciting speakers, and family concerts, each season Artistic Director Leah Rosenthal brings the best artists in the world to the San Diego community. This season will feature more than 60 artists, including superstars like Wynton Marsalis, Joyce DiDonato, Yunchan Lim, AÍda Cuevas, London Symphony Orchestra, Martha Graham Dance Company, Hélène Grimaud, Sheku Kanneh-Mason, Isata Kanneh-Mason, Anne-Sophie Mutter, Yefim Bronfman, Twyla Tharp Dance, Zakir Hussain, Spanish Harlem Orchestra, Kodo, an Encanto sing-along, and many more.

SummerFest

La Jolla Music Society’s acclaimed chamber music festival, SummerFest, curated by award-winning pianist and festival Music Director Inon Barnatan, engages more than 80 of the world’s finest musicians to perform at The Conrad throughout the month of August. In addition to remarkable mainstage performances, SummerFest offers over 50 free and open-to-the-public educational activities. To learn more, visit TheConrad.org/SummerFest.

The Conrad

The Conrad opened in 2019 and serves as a gathering place for cultural, arts education, and community activity. As the permanent home of La Jolla Music Society, The Conrad hosts world-class performances presented by LJMS and other local arts organizations in its four outstanding performance and activity spaces, The Baker-Baum Concert Hall, The JAI, The Atkinson Room, and the picturesque Wu Tsai QRT.yrd.

Learning and Engagement

La Jolla Music Society’s award-winning Learning and Engagement Programming provides unmatched access and learning opportunities to more than 11,000 students and community members throughout San Diego County annually. With learning and engagement at the heart of our mission, we work closely with each visiting artist and ensemble to create outreach activities that highlight their unique talents and

expertise at both The Conrad and in the community. With our state-of the-art video and streaming capabilities at The Conrad, we are able to provide live streaming for events such as our annual SummerFest and education events for free in our Digital Concert Hall.

Land Acknowledgment

The Conrad Prebys Performing Arts Center acknowledges the ancestral, unceded territory of the Kumeyaay people, on which The Conrad was built. We hold great respect for the land and the original people of the area where our performing arts center is located. The Kumeyaay continue to maintain their political sovereignty and cultural traditions as vital members of the San Diego community.

HEARING ASSISTANCE

Personal listening and Hearing Assist is available through the “ListenWIFI” app, through your mobile device, or complimentary devices provided at our Concierge Desk.

Please visit https://theconrad.org/listening-assistance/ for details.

BOARD OF DIRECTORS · 2024–25

Vivian Lim – Chair

Bert Cornelison – Vice Chair

Mary Ellen Clark - Treasurer

Stacy Kellner Rosenberg - Secretary

Stephen L. Baum

David Belanich

Marla Bingham

Eleanor Y. Charlton

Ric Charlton

Sharon Cohen

Ellise Coit

Peter Cooper

Ann Parode Dynes

Jennifer Eve

Debby Fishburn

Stephen Gamp

Lehn Goetz

John Hesselink

Susan Hoehn

David Kabakoff

Nancy Linke Patton

Diana Lombrozo

Sue Major

Richard A. Norling

Arman Oruc

Tom Rasmussen

Sylvia Ré

Sheryl Scarano

Marge Schmale

Stephanie Stone

Debra Turner

H. Peter Wagener

Liqun Wang

Lise Wilson

Bebe L. Zigman

HONORARY DIRECTORS

Brenda Baker

Stephen L. Baum

Raffaella Belanich

Joy Frieman, Ph.D.

Irwin M. Jacobs

Joan Jacobs (1933—2024)

Lois Kohn (1924—2010)

Helene K. Kruger (1916—2019)

Conrad Prebys (1933—2016)

Peggy Preuss

Ellen Revelle (1910—2009)

Leigh P. Ryan, Esq.

Dolly Woo

LA JOLLA MUSIC SOCIETY STAFF

Todd R. Schultz – President & CEO

Leah Rosenthal – Artistic Director

Inon Barnatan – SummerFest Music Director

ADMINISTRATION

Casey McEnelly – Director of Finance

Brady Stender – Controller

Breanne Self – Human Resources and Finance Manager

ARTISTIC & PRODUCTION

Grace Smith – Artistic Planning and Operations Director

Anne-Marie Dicce – Artistic Planning Manager

George Pritzker – Artistic Operations Coordinator

Juliet Zimmer – Artistic Rentals and Partnerships Director

Meghann Veynar – Production Manager

Caren Heintzelman – Assistant Production Manager

Lauren Cernik-Price – Production Coordinator & Stage Manager

John Tessmer – Lead Artist Liaison

Kaitlyn Thomas – Artist Liaison

Eric Bromberger – Program Annotator

Jonnel Domilos – Piano Technician

FACILITIES & TECHNOLOGY

Tom Jones – Director of Facilities & Technology

Adam Wiebe – Technical Director

Tyler Merrihew – Technical Coordinator – Audio Lead

Bradlee Kingston – Technical Coordinator – Lighting Lead

Colin Dickson – Facilities Manager

Evan Calderon – Facilities Coordinator

Kim Chevallier – Security Supervisor

LEARNING & ENGAGEMENT

Allison Boles – Director of Learning & Engagement

Jade Lewenhaupt – Learning & Engagement Coordinator

Serafin Paredes – Community Music Center Director

Aimee Alvarado – Community Music Center Administrative Assistant

Community Music Center Instructors:

Juan Tomás Acosta, Marcus Cortez, Ian Lawrence, Sofia Magallanes

Marko Paul, Eduardo Ruiz, Juan Sanchez

DEVELOPMENT

Ferdinand Gasang – Director of Development

Camille McPherson – Individual Giving & Grants Officer

Anne Delleman – Development Manager

Wadeaa Jubran – Development Coordinator

Nicole Slavik – Special Events & Catering Director

Vivian Vu – Special Events Coordinator

MARKETING & TICKET SERVICES

Mary Cook – Director of Marketing

Stephanie Saad – Communications & Public Relations Director

David Silva – Marketing Manager

Cristal Salow – Data & Marketing Analysis Manager

Mariel Pillado – Graphic Designer

Marsi Bennion – Box Office & Guest Services Manager

Patrick Mayuyu – Box Office & Guest Services Assistant Manager

Kaitlin Barron Lupton – Box Office & Guest Services Lead Associate

Sam Crowley – Box Office & Guest Services Associate

Mitch Maker – Box Office & Guest Services Associate

Shaun Davis – House Manager

Welcome to La Jolla Music Society’s 56th Winter Season

Dear Friends,

Our core mission is to bring world-class artists to our stage, creating intimate and powerful experiences for you, our audience. But our work extends far beyond the concert hall—we are deeply committed to connecting artists and educators with the next generation.

Your support helps sustain two of our most impactful programs: the Community Music Center and the Discovery Series.

The Community Music Center (CMC) is an after-school music program in Barrio Logan, providing free music lessons to students from various schools. Those who remain in the program for two years and meet certain criteria receive an instrument to keep. This past year, we were thrilled when our senior CMC mariachi students won first place at the State Fair Youth Mariachi Competition in Sacramento—an unforgettable experience for these young musicians, some of whom had never flown on a plane or stayed in a hotel before.

The Discovery Series fosters education on multiple levels. The featured artists—exceptional young musicians on the brink of stardom—are recent winners of major international competitions. During their two-day residencies, they visit schools to lead master classes and presentations, inspiring young music students. This experience is invaluable not only for the students but also for the Discovery Artists, who hone their skills as educators and mentors. In addition, each Discovery Series concert Is preceded by a Musical Prelude performance by students from the prestigious Colburn School in Los Angeles, one of the great American conservatories.

At The Conrad, we take pride in our role as stewards of the performing arts and as a service organization for our community. Your presence—as attendees, advocates, ambassadors, and donors—makes all of this possible. Thank you for being part of our journey.

Warmly,

Todd Schultz President & CEO

PRELUDE 2 PM

Musical Prelude by students from the Colburn School

ELISABETH BRAUSS, piano

SUNDAY, MARCH 2, 2025 · 3 PM

THE BAKER-BAUM CONCERT HALL

J.S. BACH Capriccio in B-flat Major Upon the Departure of his (1685–1750) Most Beloved Brother, BWV 992

Arioso: Adagio

Andante

Adagissimo

Andante con moto

Allegro poco

Fuga all’imitazione della cornetta di postiglione

Support for the Discovery Series is provided by:

Gordon Brodfuehrer

Jeanette Stevens

Additional support for this program is provided by:

The Vail Memorial Fund

La Jolla Music Society’s 2024–25 season is supported by The City of San Diego Commission for Arts and Culture, California Arts Council, County of San Diego, Prebys Foundation, The Lodge at Torrey Pines, ProtoStar Foundation, Vail Memorial Fund, Banc of California, ResMed Foundation, San Diego Theatres Foundation, Bright Events Rentals, Cafe Coyote, Rancho Coyote, GRNFC Hospitality Group, Ace Parking, Brenda Baker and Steve Baum, Raffaella and John Belanich, Gordon Brodfuehrer, Mary Ellen Clark, Bert and Julie Cornelison, Elaine Galinson and Herbert Solomon, Joan and Irwin Jacobs, Helen and Keith Kim, Angelina and Fred Kleinbub, Dorothea Laub, Vivian Lim and Joseph Wong, Jaqueline and Jean-Luc Robert, Jeanette Stevens, Haeyoung Kong Tang, Debra Turner, Sue and Peter Wagener, Liqun Wang and Marco Londei, Anna and Edward Yeung, Bebe and Marvin Zigman, and Anonymous.

BEETHOVEN Piano Sonata in E-flat Major, Opus 81a, “Les Adieux” (1770–1827) Das Lebewohl

Abwesenheit

Das Wiedersehen

INTERMISSION

SCHUMANN Variations in E-flat Major on an Original Theme, WoO 24 (1810–1856) “Geistervariationen” Theme – Leise, innig Variation I Variation II – Canonisch Variation III – Etwas belebter Variation IV Variation V

PROKOFIEV Piano Sonata No. 7 in B-flat Major, Opus 83 (1891–1953) Allegro inquieto Andante caloroso

Precipitato

Elisabeth Brauss, piano

This performance marks Elisabeth Brauss’ La Jolla Music Society debut.

Program notes by Eric Bromberger

Capriccio in B-flat Major Upon the Departure of his Most Beloved Brother, BWV 992

JOHANN SEBASTIAN BACH

Born March 31, 1685, Eisenach, Germany

Died July 28, 1750, Leipzig

Composed: 1704

Approximate Duration: 10 minutes

The departure in 1704 of Bach’s older brother Johann Jacob to join the army of King Carl XII of Sweden as an oboist was a source of concern for the whole family. For the occasion, Bach—who was then nineteen—wrote his Capriccio in B-flat Major Upon the Departure of his Most Beloved Brother, a charming and affectionate work. It is one of the few examples of programmatic music by Bach, for it depicts the actual departure of his brother on a carriage: each movement has a subtitle that describes the events. The opening Arioso is subtitled “a coaxing by his friends to dissuade him from the journey.” The Andante “is a picturing of various calamities that might overtake him in foreign parts,” and Bach depicts these calamities by modulating into wrong keys. The Adagissimo is “a general lament of his friends,” and in the Andante “come the friends, since they see it cannot be otherwise, to take their leave of him.” The fifth movement—Aria de Postiglione—echoes the horn call of the carriage that will carry the brother away, and the final movement is a “Fugue in Imitation of the Postilion’s Horncall.”

Piano Sonata in E-flat Major, Opus 81a, “Les Adieux” LUDWIG VAN BEETHOVEN

Born December 16, 1770, Bonn

Died March 26, 1827, Vienna

Composed: 1809

Approximate Duration: 17 minutes

Beethoven’s relations with members of the nobility were often thorny, but for one nobleman he felt unreserved affection. This was the Archduke Rudolph, youngest brother of Emperor Franz Joseph and a piano and composition student of Beethoven’s. Born in 1788, Rudolph—though gifted musically—was destined for a career in the church; Beethoven wrote the Missa Solemnis for Rudolph’s installation as archbishop of Olmutz. Rudolph remained one of Beethoven’s most loyal and generous patrons, and the composer responded by dedicating some of his finest works to the young nobleman: the Fourth and Fifth Piano Concertos, the “Archduke” Trio, the Missa Solemnis, the Grosse Fuge, and three piano sonatas. The Sonata in E-flat Major, Opus 81a is one of these, and the circumstances of its composition are unusually interesting. In May 1809 French armies under Napoleon occupied Vienna, and the Imperial family fled the city. Beethoven remained in Vienna throughout the occupation, and he thought often of the absent Archduke, then twenty-one years old. For Rudolph, Beethoven wrote a brief piano sonata, entitled “Les Adieux,” that is one of the composer’s few program pieces. Rather than telling a story, however, this sonata suggests the composer’s evolving emotional states during the absence of the young archduke. The opening movement—titled “Farewell”—describes Beethoven’s sorrow

at the departure of Rudolph from Vienna; the grieving second— “Absence”—his pain over separation from the young man; and the energetic third—“Reunion”—his rejoicing on Rudolph’s return to Vienna.

The composition of this sonata is dated quite accurately. The title page bears the date May 4, while the first page of the first movement was apparently written on May 21, which appears to have been the actual day of Rudolph’s departure. The Adagio introduction to the first movement is built on three quiet descending chords, corresponding to the syllables of the German word for farewell—“Lebe wohl”—and the composer in fact writes these syllables over the notes in the manuscript. Beethoven incorporates this same three-note figure into the opening theme of the exposition, marked Allegro, and this descending three-note pattern will saturate the first movement. The Andante espressivo, in C minor, is indeed expressive music, full of grief at Rudolph’s absence. A more animated middle section leads through a chromatic transition to the brilliant finale, marked Vivacissimamente. This opens with swirling arpeggios in E-flat major, and the main theme of this movement is derived from these arpeggios. The finale is in sonata form, but the secondary material complements rather than rivals this exultant opening, and the mood of celebration continues throughout. Near the end, Beethoven slows the opening theme down, and it seems to creep forward, then plunges ahead to the close.

At fourteen minutes, this is one of Beethoven’s briefest piano sonatas—and one of his most individual. It is a message of affection for a young man Beethoven respected, and the composer inscribed the manuscript with a message full of emotion: “Dedicated to, and written from the heart for, His Imperial Highness.” It may seem strange that a sonata that depends for its main theme on the syllables of the German “Lebe wohl” should bear the French nickname“Les Adieux.” In fact, Beethoven was furious when he discovered that his publisher had given this sonata a French nickname, and he wrote to complain: “Why is this? ‘Lebe wohl’ is quite different from ‘les adieux.’ One says the first only to an intimate friend, alone, the other to a whole crowd, to entire towns.”

Variations in E-flat Major on an Original Theme, WoO 24 “Geistervariationen”

ROBERT SCHUMANN

Born June 8, 1810, Zwickau, Germany

Died July 29, 1856, Endenich, Germany

Composed: 1854

Approximate Duration: 12 minutes

There is a painful story behind this gentle music, and it must be told. Robert Schumann was never wholly stable mentally: he had long bouts of depression that left him unable to work, and in 1853 the composer began to show ominous signs of instability. These symptoms, almost certainly the result of tertiary syphilis, included sleeplessness, depression, ringing in his ears, problems with speech, a possible stroke, and a fascination with “magnetic experiments.” Early in the next year matters came to a crisis. At this time Robert and Clara Schumann and their children were living in Düsseldorf, where Robert was serving as music director of the city. Schumann had been suffering from painful tinnitus for some time when—on the night of February 10–11, 1854—he

began hearing music that he described as “more wonderful and played by more exquisite instruments than ever sounded on earth.” On the night of the 17th he leaped out of bed and wrote down a theme that he claimed the angels had dictated to him. The following night, those angels were replaced by “tigers and hyenas” that threatened him with hell.

In the midst of this, Schumann began to compose a set of variations on the theme he believed the angels had dictated to him. The sad truth is that this theme had not been dictated by angels but was Schumann’s own: he had previously used it in one of his string quartets and in the slow movement of his Violin Concerto, but now he was unable to recognize it. Over the next few days Schumann sketched five variations on that theme, but on February 27 he suddenly ran out of the house without coat or shoes and threw himself in the Rhine in an apparent suicide attempt. He was pulled from the river by fishermen and brought home, though Clara did not learn of the suicide attempt. Schumann then resumed work and completed the variations, but on March 4 he collapsed and had to be committed to a mental asylum, where he died two years later.

This set of variations—Schumann’s last work for piano— has acquired the nickname Geistervariationen über den letzten Gedanken (“Ghost Variations on Last Thoughts”), though that nickname surely did not originate with the composer. Schumann marks the first statement of his theme leise, innig (gentle, fervent), and it is in two parts, with the second part repeated. The first several variations remain anchored firmly on that theme: the theme is simply repeated, embellished differently each time. In the final variation, matters grow more complex, both thematically and rhythmically, but finally the variations come to a quiet close much in the mood of the original statement of the theme.

It should be noted that Brahms, who had met Schumann in the summer of 1853, felt a special affection for this music. He edited and published the theme (but not the variations) when he helped prepare a complete edition of Schumann’s works in 1893, and he also used that theme as the basis for variations of his own: in 1861, five years after Schumann’s death, Brahms composed his Variations on a Theme of Robert Schumann, which he published as his Opus 23.

Piano Sonata No. 7 in B-flat Major, Opus 83 SERGEI PROKOFIEV

Born April 23, 1891, Sontsovka, Ukraine

Died March 5, 1953, Moscow

Composed: 1939

Approximate Duration: 18 minutes

Prokofiev liked to plan works far in advance, and in 1939— when he was 48—he projected a series of three piano sonatas, which would be his Sixth, Seventh, and Eighth. He completed the first of these in 1940, but then came catastrophe—Hitler invaded Russia in June 1941, and Prokofiev’s plans were delayed and altered. Along with many other artists, he was evacuated, first to Nalchik in the Caucasus, then in the fall of 1941 to Tbilisi, near the border with Turkey. Here Prokofiev plunged into his project to compose an opera based on Tolstoy’s War and Peace: the heroic Russian resistance to Napoleon became a parallel for the struggle against Nazi Germany. And

at the same time he worked on the opera, Prokofiev found time to compose his Piano Sonata No. 7, completing the score in Tbilisi in April 1942. Young Sviatoslav Richter gave the first performance, in Moscow, on January 18, 1943.

Since the moment of that premiere, the Seventh has been acclaimed one of Prokofiev’s finest works. Almost inevitably, observers have claimed to hear the sound of war and national catastrophe in this music, but the composer himself made no direct connection, leaving such issues to his listeners. The first movement has the unusual marking Allegro inquieto, and unquiet this music certainly is. The opening section is quite percussive, and something of the music’s character can be understood from Prokofiev’s performance markings: tumultuoso, veloce, con brio, marcato, secco; at one point, he even requests that the performer make the piano sound quasi timpani. The pianist Vladimir Ashkenazy has compared this opening section to the sound of “drums beating and iron screeching,” which makes the second section all the more impressive. This is a singing and flowing Andantino, which Prokofiev marks espressivo e dolente (“grieving”); these two quite different kinds of music alternate before the movement comes to a quiet close.

The second movement also has an unusual marking, Andante caloroso (“warm”), and some have found the opening almost sentimental in its relaxed songfulness. This is soon disrupted by an agitated middle section; the violence fades away, but the gentle opening makes only the briefest and most tentative return before the close. The famous last movement is a blistering toccata, marked simply Precipitato (“precipitous”). This is extremely fast, set in the unusual meter 7/8, and unremittingly chordal in its textures. It is also extraordinarily difficult music (Vladimir Horowitz sometimes used this movement as an encore piece), and it forms an exciting conclusion to the sonata. Along the way, material from the opening movement makes a brief reappearance, but the chordal violence of this movement overpowers it and drives the sonata to its hammering close.

GERLINDE KALTENBRUNNER

DEFYING LIMITS: CLIMBING THE 14 HIGHEST PEAKS

THURSDAY, MARCH 6, 2025 · 7:30 PM

THE BAKER-BAUM CONCERT HALL PROGRAM

Presentation

Question & Answer Session

THIS PRESENTATION HAS NO INTERMISSION

ABOUT

At 23, Austrian mountaineer Gerlinde Kaltenbrunner reached the summit of her first 8,000-meter peak. Gerlinde Kaltenbrunner has climbed all 14 of the seminal 8,000+ meter peaks, from Annapurna to Everest. Upon completing the most daunting and feared mountain, K2, in the remote Karakoram Range, she became the first woman climber to do so without supplemental oxygen or porters. She completed her audacious quest on her seventh attempt up what many consider to be the most daunting of all climbs, the world’s second highest peak, K2—known worldwide as the “Savage Mountain”—in the remote Karakoram Range of Pakistan and China. Through her stories and gripping footage, experience the grit, sheer will, and spunk it took to reach the final summit.

This presentation marks Gerlinde Kaltenbrunner’s La Jolla Music Society debut.

MURMURS IN TIME: THIRD COAST PERCUSSION & SALAR NADER, tabla

SATURDAY, MARCH 8, 2025 · 7:30 PM

THE BAKER-BAUM CONCERT HALL

PROGRAM

JLIN

Please Be Still (b. 1987)

JESSIE MONTGOMERY Lady Justice/Black Justice, The Song (b. 1981)

TIGRAN HAMASYAN Sonata for Percussion (b. 1987)

Memories from Childhood Hymn 23 for TCP

Third Coast Percussion

Sean Connors, Robert Dillon, Peter Martin, David Skidmore

INTERMISSION

SALAR NADER

To be announced from stage (b. 1981)

Salar Nader, tabla HUSSAIN Murmurs in Time (1951–2024) 1. Recitation 2.

Salar Nader, tabla Third Coast Percussion

Sean Connors, Robert Dillon, Peter Martin, David Skidmore

Support for this program is provided by: ProtoStar Foundation

Third Coast Percussion

Ensemble

Ensemble Member, Technical Director, and Education Director

Sean Connors

Ensemble Member and Development Director

Robert Dillon

Ensemble Member and Finance Director

Peter Martin

Ensemble Member and Executive Director

David Skidmore

Staff

General Manager

Reba Cafarelli

Production Manager

Colin Campbell

Marketing Consultant

Amanda Cantlin

Operations Assistant

Nolan Ehlers

Development Manager

Rebecca McDaniel

This presentation marks Third Coast Percussion’s and Salar Nader’s La Jolla Music Society debuts.

JLIN

Born July 30, 1987, Gary, IN

Composed: 2024

Approximate Duration: 6 minutes

Jlin (Jerrilynn Patton) has quickly become one of the most distinctive composers in America and one of the most influential women in electronic music. Third Coast Percussion has worked with Jlin on a number of projects since 2019, including the seven-movement suite Perspective, which was a finalist for the 2023 Pulitzer Prize in Music. True to the title of that work, the collaborative process that Jlin and TCP have developed involves Jlin composing an entire work electronically, sometimes using samples of TCP’s instruments, which is then passed to TCP to reimagine through their own lens for live performance on percussion instruments.

For Third Coast Percussion’s 20th anniversary, the quartet asked Jlin to add another layer to the musical chain, by creating a new work that would be a remix or reimagining of a work by another composer that inspires her.

Please Be Still was commissioned by Third Coast Percussion for its 20th Anniversary, with support from Carnegie Hall, the Zell Family Foundation, the Robert and Isabelle Bass Foundation, the Maxine and Stuart Frankel Foundation, the Julian Family Foundation, and Steph and Daniel Heffner.

Lady Justice/Black Justice, The Song JESSIE MONTGOMERY

Born December 8, 1981, New York, NY

Composed: 2024

Approximate Duration: 12 minutes

Lady Justice / Black Justice, The Song is inspired by the artwork of Ori G. Carino—a reflection on his painting “Black Justice” (2020—2022), which is a commentary on the injustices Black people continue to face at the heart of U.S. social order and politics. The subject is a Romanesque statue of Lady Justice, depicted as a Black woman, and she is painted using airbrush techniques upon several layers of silk, which are then stretched in staggered alignment across a life-sized canvas. The painting is placed in the center of the room with a light cast through it so that one can view the image on a 360-degree plane and observe the holographic effect that results from the silk layering, revealing her timelessness and multiple hues. The image is staggering, aspirational, and technically virtuosic.

“My approach was to try and interpret the painting from several angles, working in concert with Ori’s natural sense of beauty and grit, drawing musical correlations with the textures, techniques employed, and emotional qualities that spoke to me in the artwork. The main melody that appears throughout (which harkens to a Brahms-inspired theme that I wrote years ago, inspired by a line in Langston Hughes’ epic poem “Ask Your Mama: 12 Moods for Jazz” **) serves as a thread, reflecting the changing modalities in each section. I use special effects, such as dipping tuned crotales (weighted metal discs) into bowls of water to sonically reference the tipping of scales; the drum set part holds down an omnipresent breakbeat that bends and shapes the grungier middle section; and I interpret the holographic

elements using various analogue musical delay effects. As the title suggests, this piece can be considered a companion to the painting and vice versa.

This piece represents a deep collaboration and artistic symbiosis between myself, Third Coast Percussion, and Ori. I am privileged to call them friends in music and in life.”

[**- Passage from “Ask Your Mama: 12 Moods for Jazz,” by Langston Hughes (Pages 1,2)

“…A whirl of whistles blowing No trains or steamboats going— Yet Lyontene’s unpacking.

In the quarter of the Negros Where the doorknob lets in lieder More than German ever bore…”]

Lady Justice/Black Justice, The Song was commissioned by Third Coast Percussion for its 20th Anniversary, with support from the Zell Family Foundation, Carnegie Hall, Hancher Auditorium at the University of Iowa, Stanford Live, Stanford University, The Robert and Isabelle Bass Foundation, the Maxine and Stuart Frankel Foundation, the Julian Family Foundation, Steph and Daniel Heffner, and Third Coast Percussion’s New Works Fund.

Jessie Montgomery

Sonata for Percussion TIGRAN HAMASYAN

Born July 13, 1987, Leninakan, Armenian SSR (now Gyumri, Armenia)

Composed: 2024

Approximate Duration: 24 minutes

Armenian-born, Los Angeles-raised pianist and composer Tigran Hamasyan is one of the 21st century’s true slipstream musicians. His work crosses boundaries between jazz, crossover classical, electronic, Baroque dance, vocal, and Armenian folk musics atop electronic backdrops and hip-hop beats.

Hamasyan’s Sonata for Percussion is very classical in some ways—it has three distinct movements (fast-slow-fast), and it is abstract music, evoking moods but not telling a specific story. Lilting dance feels, arpeggiated harmonies and ornamented melodies give an additional wink to the classical, but the vocabulary is pure Hamasyan, with the moments of hardgrooving energy or ghostly lyricism winding their way through an asymmetrical rhythmic landscape. The outer movements both explore different subdivisions of 23-beat rhythmic cycles, while the middle movement is in a (relatively) tame seven.

Working through this material—both in workshops with the composer during the creative process and in rehearsals for the premiere—was an exhilarating but humbling experience for the

members of TCP, who had to work to develop the unique skill set that Tigran has built with his band, in order to fit together the rhythmic jigsaw puzzle in a way that grooves and allows the character of the musical lines to shine through.

Tigran Hamasyan’s Sonata for Percussion was commissioned by Third Coast Percussion for its 20th Anniversary, with support from Elizabeth and Justus Schlichting, the Zell Family Foundation, the Maxine and Stuart Frankel Foundation, the Julian Family Foundation, and Steph and Daniel Heffner.

Murmurs in Time

ZAKIR HUSSAIN

Born March 9, 1951

Died December 15, 2024

Composed: 2024

Approximate Duration: 25 minutes

The pre-eminent classical tabla virtuoso of his time, Zakir Hussain was appreciated both in the field of percussion and in the music world at large as an international phenomenon and one of the world’s most esteemed and influential musicians. The foremost disciple of his father, the legendary Ustad Alla Rakha, Zakir was a child prodigy who began his professional career at the age of twelve, accompanying India’s greatest classical musicians and dancers and touring internationally with great success by the age of eighteen. His brilliant accompaniment, solo performance and genre-defying collaborations, including his pioneering work to develop a dialogue between North and South Indian musicians, elevated the status of his instrument both in India and globally, bringing the tabla into a new dimension of renown and appreciation.

Murmurs in Time represents Hussain’s only composition for a classical percussion group, though his career was filled with collaborations with percussionists of all kinds, and explorations of the special bond between “fellow rhythmists.” This twomovement work echoes with memories of his own personal history, and the path along which he grew into one of the world’s most revered musicians.

Zakir worked with Third Coast Percussion as he developed Murmurs in Time, through a series of workshops and rehearsals throughout the course of 2024, and the five recorded this new work together in October of that year. The members of TCP were crushed to learn of Zakir’s passing just two months later, as the album was being prepared for release, and are endlessly grateful that they had the opportunity to work with this musical hero and record this work together for posterity. To continue to share this music with the world, Salar Nader, one of Zakir’s most prominent students, will join TCP for performances in 2025 and beyond.

Murmurs in Time by Zakir Hussain was commissioned by Third Coast Percussion for its 20th Anniversary, with support from the Zell Family Foundation, Modlin Center for the Arts at University of Richmond, Carnegie Hall, Washington Performing Arts, the Maxine and Stuart Frankel Foundation, the Julian Family Foundation, and Steph and Daniel Heffner.

PRELUDE 6:30 PM

Lecture by Michael Gerdes

BLAKE POULIOT, violin & HENRY KRAMER, piano

FRIDAY, MARCH 14, 2025 · 7:30 PM

THE BAKER-BAUM CONCERT HALL

BAO ZHI YANG

Ambush On All Sides (b. 1935)

JANÁČEK

Sonata for Violin and Piano (1854–1928)

Con moto

Ballada

Allegretto

Adagio

Blake Pouliot, violin; Henry Kramer, piano

Opus 3 Artist

DERRICK SKYE

the spark she left behind WORLD PREMIÈRE (b. 1982)

PIRAYEH POURAFAR

I Have Not Seen Butterflies Around Here WORLD PREMIÈRE (b. 1959) II. Damon

Blake Pouliot, violin

Co-commissioned by Carnegie Hall and La Jolla Music Society

INTERMISSION

PROKOFIEV

Sonata for Violin and Piano No. 1 in F Minor, Opus 80 (1891–1953)

Andante assai

Allegro brusco

Andante

Allegrissimo – Andante assai

Blake Pouliot, violin; Henry Kramer, piano

Blake Pouliot last performed for La Jolla Music Society during SummerFest on August 17, 2024. Henry Kramer last performed for La Jolla Music Society as an accompanist for the Discovery Series on January 12, 2025.

Program notes by Eric Bromberger except where indicated

Ambush On All Sides

BAOZHI YANG

Born 1935, Guangdong Province, China

Composed: 1975

Approximate Duration: 6 minutes

Born into a musical family, Baozhi Yang learned to play the piano from his mother. Not until he was 13, when he saw a movie of Heifetz playing the Tchaikovsky Violin Concerto, did he begin to sense that instrument’s appeal. He abandoned the piano, devoted himself to the violin, and succeeded so rapidly that he was admitted to the Central Conservatory of Music in Beijing at age 16. He then made his career as violinist, composer, and teacher: he taught at the Shanghai, Sichuan, and Central Conservatories of Music, and he composed music for the violin and for chamber ensembles. As a scholar, Yang was particularly interested in arranging traditional Chinese music—music that had originally been composed for such instruments as the pipa, lute, sevenstring zither, and bamboo flute—for the violin. That might seem a strange act culturally, but the violin had been introduced to China by European traders centuries earlier, and it had the approval of Chinese authorities, even during the Cultural Revolution. Yang was particularly concerned to emulate the sound of traditional Chinese instruments when he arranged their music for violin. Yang retired in 1997 but continued to publish scholarly studies on the violin and its role in traditional music.

One of Yang’s best-known works is Ambush from All Sides. Originally written for pipa, a Chinese lute with four strings, Ambush from All Sides was inspired by the Battle of Gaixia, fought by two huge Chinese armies in 202 B.C. The original work for pipa is quite violent and dramatic, depicting the opposing armies, the battle itself, the suicide of the losing general, and the triumph of the winning general. The music has been part of Chinese culture for centuries, and it has been arranged for many different instruments, including guitar, guzheng, symphony orchestra, and the Silk Road Ensemble; it also served as part of the soundtrack of the 2004 martial arts film House of Flying Daggers. Yang’s arrangement for violin and piano is fiendishly difficult for its performers. He takes music written for the pipa—an instrument capable of slides, overtones, complex chords, and various kinds of pizzicatos—and adapts it for a virtuoso violinist, who must master all those techniques on a completely different instrument.

Sonata for Violin and Piano

LEOŠ JANÁČEK

Born July 3, 1854, Hukvaldy, Czechoslovakia

Died August 12, 1928, Moravska Ostrava, Czechoslovakia

Composed: 1914

Approximate Duration: 18 minutes

Leoš Janáček composed his Violin Sonata in 1914, just as Europe was engulfed by World War I. That war brought catastrophe to millions, but Janáček welcomed it, believing that the Russian army would sweep in and liberate his Czech homeland from German subjugation: “I wrote the Violin Sonata in 1914 at the beginning of the war when we were expected the Russians in Moravia,” he later wrote. Janáček would be disappointed by the

Russians, and at first the Violin Sonata brought disappointment as well—Janáček could find no violinist interested in performing it. He set the music aside, returned to it after the war, and revised it completely; the first performance of the final version took place in Brno in 1922, when the composer was 68.

Listeners unfamiliar with Janáček’s music will need to adjust to the distinctive sound of this sonata. Janáček generates a shimmering, rippling sonority in the accompaniment, and over this the violin has jagged melodic figures, some sustained but some very brief, and in fact these harsh interjections are one of the most characteristic aspects of this music. Janáček also shows here his fondness for unusual key signatures: the four movements are in D-flat minor, E major, E-flat minor, and G-sharp minor.

The opening movement, marked simply Con moto, begins with a soaring, impassioned recitative for violin, which immediately plays the movement’s main subject over a jangling piano accompaniment reminiscent of the cimbalon of Eastern Europe. Despite Janáček’s professed dislike of German forms, this movement shows some relation to sonata form: there is a more flowing second subject and an exposition repeat, followed by a brief development full of sudden tempo changes and themes treated as fragments.

Janáček originally composed the Ballada as a separate piece and published it in 1915, but as he revised the sonata he decided to use the Ballada as its slow movement. This is long-lined music, gorgeous in its sustained lyricism as the violin sails high above the rippling piano. At the climax, Janáček marks both parts ad lib, giving the performers a wide freedom of tempo before the music falls away to its shimmering close.

The Allegretto sounds folk-inspired, particularly in its short, repeated phrases (Janáček interjects individual measures in the unusual meters of 1/8 and 1/4). The piano has the dancing main subject, accompanied by vigorous swirls from the violin; the trio section leads to an abbreviated return of the opening material and a cadence on harshly clipped chords.

The sonata concludes, surprisingly, with a slow movement, and this Adagio is in many ways the most impressive movement of the sonata. It shows some elements of the dumka form: the rapid alternation of bright and dark music. The piano opens with a quiet chordal melody marked dolce, but the violin breaks in roughly with interjections that Janáček marks feroce: “wild, fierce.” A flowing second theme in E major offers a glimpse of quiet beauty, but the movement drives to an unexpected climax on the violin’s Maestoso declarations over tremolandi piano. Janáček regarded this passage as the high point of the entire sonata—he identified the piano tremolandi with the excitement generated by the approach of the Russian army during the first months of the war. And then the sonata comes to an eerie conclusion: this declamatory climax falls away to an enigmatic close, and matters end ambiguously on the violin’s halting interjections.

Janáček’s Violin Sonata is extraordinary music, original in conception and sonority and finally very moving, despite its refusal ever to do quite what we expect it to. For those unfamiliar with Janáček’s late music, this sonata offers a glimpse of the rich achievement of his remarkable final fourteen years.

the spark she left behind World Première DERRICK SKYE

Born November 19, 1982, Los Angeles

Composed: 2025

Approximate Duration: 4 minutes

This piece is a heartfelt tribute to my grandmother, Darnetha Jacobs Owens, whose enduring spirit and love profoundly influenced my life. Drawing on the intricate traditions of Persian classical music, the composition is rooted in Dastgâh-eHomâyūn and journeys through Âvâz-e-Esfahan, exploring the evocative gushé, Bayât-e-Râge.

The work captures my emotional sensation of remembrance, weaving through nuanced tonalities and ornamentations. The violin’s voice alternates between moments of introspective stillness and soaring vitality, reflecting the duality of melancholy and radiance in my grandmother’s memory. With its bright yet reflective spirit, “The Spark She Left Behind” serves as a bridge between worlds—a quality she always embodied. It is a personal homage that carries her spark forward, illuminating new paths in sound and meaning.

-Derrick Skye

I Have Not Seen Butterflies Around Here World Première PIRAYEH POURAFAR

Born: 1959, Tehran, Iran

Composed: 2025

Approximate Duration: 8 minutes

I Have Not Seen Butterflies Around Here is a deeply moving composition, originally conceived in three movements, that explores themes of displacement and the collective challenges of living in a tumultuous era. Music, as a universal language, has the power to transcend borders and divisions. It offers a space to challenge the rising tide of nativism, nationalism, and xenophobia, fostering emotional connections and a profound sense of shared humanity. By amplifying feelings of relatedness, belonging, and kinship, this composition serves as a call for empathy and unity, using the transformative power of art to bridge divides and inspire collective action.

Rooted in the rich traditions of Persian folk and classical music, the piece blends timeless cultural motifs with a poignant reflection on the human condition. This work seeks to bring attention to the plight of individuals affected by humanitarian crises, urging audiences to reflect on the shared struggles of our global community.

The composition contains words by the great Persian mystic Rumi.

“The outcome of my life is uttered simply in three words: I was raw, I was cooked and I was burned.

I burned and burned and burned until I learned the art of love.”

Special thanks to:

Houman Pourmehdi: tonbak, daf, dohol, and dayereh

Khosro Ansari: vocals

Jake Smith: electronics and sound engineer

Hoss Yekband: sound engineer

John Greenham: mastering

Violin Sonata No. 1 in F Minor, Opus 80 SERGEI PROKOFIEV

Born April 23, 1891, Sontsovka, Ukraine

Died March 5, 1953, Moscow

Composed: 1946

Approximate Duration: 31 minutes

-Pirayeh Pourafar

Prokofiev’s First Violin Sonata had a difficult genesis. Prokofiev began work on it in 1938 during the one of the most horrifying moments in Soviet history—the period of Stalin’s purges—but found that he could not complete it. He set the score aside, but before he could return to it, another of the most traumatic events in Russian history—the Second World War—occurred. In response to the war Prokofiev wrote some of his greatest scores, including the opera War and Peace and the mighty Fifth Symphony. Only after the war was over did he return to complete this sonata, eight years after it was begun. This made for problems with numbering: during the war, Prokofiev had written another violin sonata; he called this his Second, even though it was completed before the First. Violinist David Oistrakh, dedicatee of the First Sonata, gave the premiere performance in Moscow on October 23, 1946.

While the Second Sonata is one of Prokofiev’s sunniest scores (it shows no trace of the war that raged during its creation), the First is grim, and Soviet commentators were quick to put the politically correct interpretation on such dark music: some heard it as resistance to the Nazis, others as a portrait of oppressed Russia, and so on. Eighty years after the composition of this sonata, it is far better to let the music speak for itself than to impose extraneous interpretations on it.

Beneath the lyric surface of this music, the mood is often icy and dark—even brutal. Some of this unsettling quality comes from Prokofiev’s extremely fluid metrical sense: in this score, the meter sometimes changes every measure. The marking for the opening Andante assai is 3/4 4/4, and Prokofiev alternates those two meters, though he will sometimes fall into just one of them for extended passages. The somber first movement opens with an ostinato-like piano passage over which the violin makes its muttering, tentative entrance. Much of the main section is double-stopped, and in the final moments come quietly racing runs for muted violin; Prokofiev said that these should sound “like the wind in a graveyard,” and he marks the violinist’s part freddo: “cold.”

The second movement, Allegro brusco (“brusque”) is in sonata form. The pounding opening subject gives way to a soaring second theme marked eroico; the brusque and the lyric alternate throughout this movement, which ends with the violin rocketing upward to the concluding high C. Prokofiev began the Andante—which he described as “slow, gentle, and tender”— before the war, but did not complete it until 1946. Muted throughout, the violin has the main subject over rippling triplets from the piano. The concluding Allegrissimo brings back the metrical freedom of the opening movement: Prokofiev’s metric indication is 5/8 7/8 8/8. The alternating meters give the music an asymmetric feel, which is intensified by the aggressive quality of the thematic material. The cold winds from the first movement return to blow icily through the sonata’s final pages.

PRELUDE 6:30 PM

Lecture by Michael Gerdes

LES ARTS FLORISSANTS

THÉOTIME LANGLOIS DE SWARTE, violin

VIVALDI’S FOUR SEASONS AT 300

SATURDAY, MARCH 22, 2025· 7:30 PM

THE BAKER-BAUM CONCERT HALL

MONTEVERDI

Adoramus te, SV 289 (transcription) (1567–1643)

VIVALDI

Concerto for Strings and Basso Continuo “Madrigalesco” R.V. 129 (1678–1741)

Adagio

Allegro

Adagio

Without indication

UCCELLINI

Bergamasca (c.1603–1680)

VIVALDI

Concerto in D Minor, RV 813

Allegro

Adagio

Allegro

Adagio

Andante e piano

Largo

Allegro

GEMINIANI

Concerto XII in D Minor “Follia” (after Corelli) (1687–1762)

VIVALDI

Concerto in E Major, Opus 8, No. 1, RV 269 “Spring”

Allegro

Largo

Allegro

Concerto in G Minor, Opus 8, No. 2, RV 315 “Summer”

Allegro non molto

Adagio

Presto

INTERMISSION

North American management for Les Arts Florissants and Théotime Langlois de Swarte by David Rowe Artists www.davidroweartists.com

Les Arts Florissants records exclusively for Harmonia Mundi

Théotime Langlois de Swarte records exclusively for Harmonia Mundi

Overture to “La Fida Ninfa” in F-Major, FV 714

Concerto in F Major, Opus 8, No. 3 RV 293 “Autumn”

Allegro

Adagio molto

Allegro

Grave from Violin Concerto in Bb-Major, RV 370

Concerto in F Minor, Opus 8, No. 4 RV 297 “Winter”

Allegro non molto

Largo

Allegro

Les Arts Florissants

Théotime Langlois de Swarte, violin soloist

Augusta McKay Lodge (leader), Valentine Pinardel, Christophe Robert, Magdalena Sypniewski, Roxana Rastegar, Yaoré Talibart, Jeffrey Girton, Alyssa Campbell, violins; Lucia Peralta Lopez, Nicolas Fromonteil, violas; Hanna Salzenstein, Magdalena Probe, cellos; Alexandre Teyssonnière de Gramont, double bass; Benoît Hartoin, harpsichord

Les Arts Florissants last performed for La Jolla Music Society in the Revelle Series on October 25, 2014. This presentation marks Théotime Langlois de Swarte’s La Jolla Music Society debut.

Notes on the Program

A colorful figure in fascinating Baroque Venice who captivated audiences with his extravagance and virtuoso violin playing, Antonio Vivaldi is one of the most influential musicians of 18th-century Europe.

Born in Venice in 1678, Vivaldi quickly became violin master, choirmaster and then concert master at the Ospedale della Pietà. There, he explored a wide range of musical activity, demonstrating an incomparable talent, notably in the invention of the solo concerto, which enchanted 18th-century musical Europe and inspired virtually all subsequent composers. His career also flourished in opera, particularly at the San Angelo theater in Venice, but also in Mantua, Rome, and Vienna.

The Four Seasons, whose 300th anniversary we are celebrating today, played an essential role in the composer’s fame. With its descriptive and imaginative writing, this work anticipates the programmatic music that would prevail among later Romantic-era composers, and even included descriptive sonnets to help illustrate the music for performers and listeners. For violinist Théotime Langlois de Swarte it embodies the essence of spirituality, a metaphysical work evoking life and death, with moments of great gentleness as well as extreme violence. Through his interpretation Théotime seeks to capture the drama characteristic of Venetian arts: expressive density, operatic and theatrical emotion, and jubilant energy.

The works complementing the Seasons on our program serve to highlight musicians who influenced Vivaldi’s approach, and one he in turn inspired.

The transcription of Claudio Monteverdi’s Adoramus te SV 289 is closely linked to Vivaldi’s childhood, when he accompanied his father, a musician in the San Marco orchestra which Monteverdi previously directed. The work also embodies the liturgical vocal style specific to Venice, as well as the city’s theatrical and musical environment. In a way, it represents Vivaldi’s musical DNA, upon which he built his virtuosity, notably through the abundance of repeated notes.

The Madrigalesco from Vivaldi’s Concerto for Strings and Continuo RV 129 is composed in the “antico” style. Its presence here establishes an interesting connection between Monteverdi and Uccellini, revealing the extent to which the influences of the masters shaped Vivaldi’s new style.

If Monteverdi marks the beginning of Vivaldi’s musical journey, Marco Uccellini’s Bergamasca reveals the origin of his instrumental repertoire. A pioneer in the art of violin and sonata composition, Uccellini exerted a decisive influence on the young Vivaldi. This dance, based on a popular theme with variations, also celebrated the art of improvisation, an element dear to the Venetians and to the composer throughout his life.

Vivaldi’s Concerto in D Minor RV 813 was one of his earliest written for the Ospedale della Pietà in Venice. All the hallmarks of Vivaldi’s style are already present: joy, virtuosity, theatricality, exaltation. The popularity of this concerto is also due to Johann Sebastian Bach’s masterly transcription for keyboard.

Francesco Geminiani’s Follia from Concerto XII in D minor, a transcription of Corelli’s treatment of this famous baroque-era theme, illustrates the lineage of three Italian masters. Corelli,

whose groundbreaking Opus 5 concludes with “Follia” and was published in 1700, was an inspirational figure to the young Vivaldi. And Geminiani’s “Follia,” published in 1729, was almost certainly influenced by the appearance of Vivaldi’s Opus 8 just four years prior. It also highlights the particularly lively and joyful spirit inherent to the art of the concerto, which Geminiani had undoubtedly heard in many of Vivaldi’s works.

Vivaldi’s Overture to La Fida Ninfa in F Major RV 714 evokes the Teatro San Angelo and shows how opera influenced Vivaldi’s instrumental music, offering extraordinary vocality. Opera also enabled him to create dramatic interactions between instruments, where brilliance, impetuosity, sensuality, and seduction blend harmoniously in the soundscape.

The “Grave” movement from Vivaldi’s Concerto in B flat Major RV 370 is an unfinished piece, built on an ostinato chromatic bass. Théotime Langlois de Swarte has completed it here; a tribute from a young violinist to his illustrious elder.

When it was published in 1725 nobody could imagine Vivaldi’s Opus 8, Nos. 1-4 (“The Four Seasons”) would become perhaps the most frequently heard music of all time. Vivaldi’s singular genius continues to inspire artists the world over, as demonstrated by this concert of Les Arts Florissants led by violinist Théotime Langlois de Swarte. As this great Vivaldi performer and loyal member of Les Arts Florissants puts it: “For one of the best-known composers in Western music, it is astonishing there are still so many facets to explore.”

PRELUDE 6 PM

Interview hosted by Molly Puryear

BALLET FOLKLÓRICO DE MÉ XICO DE AMALIA HERNÁNDEZ

SUNDAY, MARCH 23, 2025 · 7 PM

BALBOA THEATRE

Support for this program is provided by:

Dorothea Laub

Elaine Galinson and Herbert Solomon

PROGRAM

THIS PERFORMANCE IS APPROXIMATELY 100 MINUTES INCLUDING ONE 20-MINUTE INTERMISSION

Founders

Amalia Hernández Navarro

Norma López Hernández

General Direction

Salvador López López

Artistic Direction

Viviana Basanta Hernández

Artistic Coordination

José De Jesús Villanueva González, Carlos Antunez Tiburcio, Víctor Caudillo Alvarado

Public Relations

Viviana Álvarez Basanta

Operations Manager

Laura Becerril Ortiz

Communication Coordination

María Fernanda R. Almela

Social Networks

Rene Dolores Tolentino

Graphic Design

Ricardo Sánchez Flores

Web Page

Alejandro Zayas

Administration

Andrés Vázquez del Arenal, Alejandro Roa Sepúlveda, Diana Elizabeth Gamboa Álvarez

Technical Coordination

Aldo Misael López Cedillo

Audio

Pablo Flores Martínez, Leonardo

Francisco Cano Valadéz, Fernando Jiménez Páramo

Wardrobe

José Barrios Gómez, Pedro Cedillo Jiménez

Lightning

Roberto Arellano

Ticket Office Staff

Susana Becerril Ortíz, René Jaramillo Fabriz, Diana Elizabeth Gamboa Álvarez

This performance marks Ballet Folklórico de Mexico’s La Jolla Music Society debut.

PROGRAM

Los Matachines

This dance takes place during religious celebrations. Although its roots are uncertain, we should consider the possibility that it’s the result of intermixing between the people of the center and northeast of Mexico and a large part of the border cities. There are many variants of this dance in different regions of the country but there are similarities as well, such as colorful costumes, flower crowns, ribbons, feathers, glass beads, mirrors, rattles, and the main accessories: the bow and arrow, fundamental weapons for the survival of the inhabitants of the arid and semi-arid zones of Mexico.

Guerrero

The cultural richness of the state of Guerrero is one of the most extensive in Mexico, internationally recognized for its delicate handicrafts and exquisite textile embroidery. A deeply rooted cultural expression in Guerrero people is dance, which accompanies celebrations, social occasions and represents the flora and fauna of the province.

La Revolución

This ballet is dedicated to the “soldaderas,” also called Adelitas, women who had a decisive role in the Mexican Revolution, as they took their lives and few belongings to the war scenes. In quick contrast, the aristocrats are seen in a joyous celebration, when a group of rebels breaks into the party, prepared to fight and march towards their destiny: the Revolution.

Charreada

One of the most deeply rooted traditions in Mexico is the Charrería, which arises from the equestrian and livestock activities around the country. Declared Intangible Heritage by UNESCO, Charrería is considered an art and discipline where men and women demonstrate their courage with great feats that took place in the old farms of Mexico.

Fiesta en Tlacotalpan

Spanish culture has a strong influence on Jarocha dance and music, which is why there is percussive footwork in every choreography, a distinctive move of flamenco. This fusion can be appreciated during the celebration of the Virgen de la Candelaria, where the streets are filled with mojigangas, fandango dancers, jaraneros and beautiful women who wear the typical Veracruz costume.

Boda en la Huasteca

This dance tells the story of a young man about to get married. On his way to church, he meets a woman who was fetching water from a nearby river. He seduces her and then continues on his way to the wedding. Meanwhile, the bride accompanied by her friends dances a prenuptial dance. When the groom finally arrives, the couple and the guests are dancing when a disgruntled rival appears and challenges the young man to a machete fight. The festive atmosphere turns tragic when the groom kills the lover. But in the end, joy and love conquer death, and the party goes on.

La danza del venado

The Deer Dance is an emblematic representation of the state of Sonora and is considered an Intangible Cultural Heritage by UNESCO. The Deer Dance is a ritual performed before the hunting expeditions and reproduces the movements of the prey with amazing fidelity.

Fiesta en Jalisco

The state of Jalisco is the land of the Charros, the Chinas, and the Mariachi, powerful symbols of Mexican identity. Pure Mexican culture is shown in the brilliant folklore of Jalisco, its music, its vigorous and refined dances, and in its dazzling and multicolored costumes.

PRELUDE 6:30 PM

Lecture by Kristi Brown-Montesano

NOBUYUKI TSUJII, piano

FRIDAY, MARCH 28, 2025 · 7:30 PM

THE BAKER-BAUM CONCERT HALL

BEETHOVEN

Piano Sonata No.21 in C Major, Opus 53 “Waldstein” (1770–1827) Allegro con brio Introduzione. Adagio molto Rondo. Allegretto moderato - Prestissimo

LISZT En rêve, S.207 (1811–1886)

Mephisto Waltz No. 1, S.514 “The Dance in the Village Inn”

INTERMISSION

CHOPIN Nocturne No. 1 in C-sharp Minor, Opus 27 (1810–1849)

Nocturne No. 2 in D-flat Major, Opus 27

Piano Sonata No.3 in B Minor, Opus 58 Allegro maestoso Scherzo. Molto vivace

Largo

Finale. Presto non tanto Nobuyuki Tsujii, piano

This performance marks Nobuyuki Tsujii’s La Jolla Music Society debut.

Program notes by Eric Bromberger

Piano Sonata in C Major, Opus 53 “Waldstein” LUDWIG VAN BEETHOVEN

Born December 16, 1770, Bonn

Died March 26, 1827, Vienna

Composed: 1804

Approximate Duration: 24 minutes

Between May and November 1803, Beethoven wrote the Eroica, a symphony on a scale never before imagined. Nearly half an hour longer than his Second Symphony, Beethoven’s Third thrust the conception of the symphony—and sonata form—into a new world, a world in which music became heroic struggle, and sonata form became the stage for this drama rather than an end in itself. It was a world of new dimensions, new sonorities, new possibilities of expression, and with the Eroica behind him Beethoven began to plan two new piano sonatas. These sonatas, later nicknamed the Waldstein and the Appassionata, would be governed by the same impulse that had shaped that symphony.

Beethoven began work on the Sonata in C Major as soon as he had completed the first draft of the Eroica, and this concise sonata (just over twenty minutes long) was complete early in 1804 (though it was written after the Eroica, the Waldstein was published first and so has a lower opus number). In this music, Beethoven changed the conception of the piano sonata as completely as he had revolutionized the symphony in the Eroica. This is piano music of previously unknown power, scope, and color. No longer does Beethoven intend his piano sonatas for performance at home by talented amateurs: this sonata demands a virtuoso performer. The Waldstein has so much of the Eroica’s dramatic manner and scope that it has been called “a heroic symphony for piano,” and the opening of the Allegro con brio first movement is remarkably similar to the opening of the scherzo of the Eroica: a quietly insistent rhythmic pounding in the lower register is answered by a falling figure in the upper voice. The second subject, a poised chorale, arrives in the unexpected key of E major, yet it offers scant relief from the driving power of the sonata’s opening. The first movement of the Eroica had proceeded on discord, conflict, and resolution, but here the driving impulse is an almost headlong forward impetus.

The second and third movements are connected. Beethoven had originally intended to use a piece now known as the Andante favori as the second movement, but he dropped this and substituted a remarkable movement only 27 measures long. Titled Introduzione and marked Adagio molto, it is intended not just as a bridge between the outer movements but as a subtle preparation for the final movement. The dynamic remains pianissimo almost exclusively, but the tempo—while slow—seems to be coiling up the rhythmic energy that will be unleashed in the final movement. This finale, a lengthy rondo marked Allegretto moderato, begins with a flowing main theme marked sempre pianissimo. Its noble simplicity has suggested folk origins to some observers, but whatever its provenance, its flowing shape is ideal for rondo treatment; Beethoven breaks this smooth motion with more agitated episodes and even offers some transformation of the rondo theme itself. A Prestissimo coda, using the rondo theme at a much faster tempo, brings the sonata to a fiery close.

This sonata, which has become one of Beethoven’s most popular, takes its nickname from its dedicatee, Count Ferdinand von Waldstein, Beethoven’s patron in Bonn. It was Count Waldstein who had sent the young man off to Vienna in 1792 with a powerful exhortation:

Dear Beethoven: You are going to Vienna in fulfillment of your long-frustrated wishes. The Genius of Mozart is still mourning and weeping over the death of her pupil. She found a refuge but no occupation with the inexhaustible Haydn; through him she wishes once more to form a union with another. With the help of assiduous labor you shall receive Mozart’s spirit from Haydn’s hands. Your true friend, Waldstein.

Beethoven did not simply take up the spirit of those earlier master. In this sonata (and in the symphony that preceded it) he took music into territory that neither Mozart nor Haydn—nor Waldstein—could have imagined.

En rêve, S.207 FRANZ LISZT

Born October 22, 1811, Raiding, Hungary

Died July 31 1886, Bayreuth, Germany

Composed: 1885

Approximate Duration: 3 minutes

This brief piece comes from the final years of Liszt’s long life: he wrote it during the winter of 1885, only a year before his death. Liszt’s career as a touring virtuoso was now long in the past, and in these final years his efforts to “hurl my javelin into the infinite space of the future” (as he defined his mission as a composer) led him to compose music that might best be called experimental—these pieces bring new conceptions of form, sound, and harmony. Liszt called En rêve (“Dreaming”) a nocturne and marked this gentle music Andantino. Over a quietly rocking accompaniment, an innocent melody is announced simply by the pianist’s right hand. While retaining its innocence, this music moves far afield harmonically, then concludes quietly, almost wistfully.

Mephisto Waltz No. 1, S.514 “The Dance in the Village Inn” FRANZ LISZT

In 1860, as he neared the end of his tenure as music director at the Weimar court, Franz Liszt wrote a pair of orchestral works that he titled Two Episodes from Lenau’s Faust. Nicolas Lenau (1802–50) was a Hungarian-Austrian poet who wrote his own versions of the Faust legend, different from Goethe’s. Liszt’s pieces depict two scenes from Lenau’s dramatic poem. The first, Der nächtlige Zug (“The Ride by Night”), is a portrait of a religious procession passing by in the night, carrying torches as they go. It is seldom played, but the second has become one of Liszt’s most familiar orchestral works. Liszt titled it Der Tanz in der Dorfschenke (“The Dance in the Village Inn”), though it is most commonly known today under the title Mephisto Waltz No. 1. Liszt completed this music in January 1861 and led its first performance at Weimar on March 8, 1861, only months before his departure from that city (and only months before his fiftieth birthday). At the same time, Liszt prepared a piano version of this music—it is virtually the same musically as the orchestral version, though it differs in a few pianistic details.

In the score Liszt printed a synopsis of the action that his music depicts. Faust and Mephistopheles wander into a village tavern, where Faust is smitten by a “black-eyed beauty.” But he is afraid to approach her, and Mephistopheles chides him for being willing to stand up to the creatures of hell but cowering at the prospect of approaching a woman. Bored with the tavern, its inhabitants, and the music, Mephistopheles challenges the local musicians to dig in and play with some life. He takes up a violin and begins to play, and his playing is so exciting that it whips those in the tavern into a frenzy of excitement. Under the spell of the music, Faust overcomes his fears and leads the “black-eyed beauty” out into the warm night, where they cross a meadow and enter a dark forest. Deep in that forest, they hear the music from the distant tavern as a nightingale sings overhead.

Liszt’s music does not set out to depict these events in the sort of realistic detail that Richard Strauss would have brought to the task a generation later. Instead, he offers a more generalized impression, and his piece is structured as a series of waltzes in 3/8: some are fiery, some languorous, and some dance with an almost Mendelssohnian lightness. After all this excitement, the music turns quiet as Faust and his companion enter the dark woods. In Liszt’s orchestral version a solo cello and a solo violin suggest the couple in the dark at this point, while a flute echoes the nightingale’s song. A sudden rush of energy propels the music to its powerful final chords.

Nocturnes, Opus 27 FRÉDÉRIC CHOPIN

Born March 1, 1810, Zelazowa Wola, Poland Died October 17, 1849, Paris

Composed: 1835

Approximate Duration: 12 minutes

Both these nocturnes were composed in Paris in 1835. The Nocturne in C-sharp Minor has left critics gasping for language that can suggest its unearthly evocation of the night: “nightmarmoreal…hushed, airless, and miasmic…black magic,” says one. “An atmosphere of morbid pessimism, heavy and oppressive,” says another. By comparison, The New Grove Dictionary keeps itself under control, describing this music only as “one of [Chopin’s] best nocturnes.”

This is impressive music, and its haunting night-atmosphere is the result of Chopin’s careful—and very imaginative— technical control. The Nocturne in C-sharp Minor is in the expected ternary form, with an opening section that glides darkly along the left hand’s widely-ranging sextuplets, a pattern that continues throughout. High above, the right hand has the melodic line, quiet but unsettling in its harmonic freedom. At the center section, marked Più Mosso, the music presses forward powerfully. Over triplet accompaniment, the right hand begins quietly but soon hammers its way to a great climax marked appassionato and agitato. This falls away, and the transition back to the opening material brings another surprise: Chopin gives it entirely to the left hand, whose long sequence of octaves is almost a small cadenza in itself. The opening material resumes, but the repeat is not literal, and Chopin suddenly abandons this music for an entirely new idea, which moves easily along a chain of major thirds. The atmosphere, so tense to this point, now seems to relax, and Chopin completes the surprise with an utterly unexpected modulation into C-sharp major at the end.

This technical description, no matter how accurate, misses the essence of this music. That lies in its atmosphere—dark, unsettled, and constantly changing.

The Nocturne in D-flat Major is suffused with the dark and subdued atmosphere we associate with the nocturne. The left hand establishes a steady accompaniment that will continue throughout, while the right hand has the main theme, a flowing and endlessly lyric idea that glides along smoothly (Chopin marks it Lento sostenuto). The music grows more complex and dramatic as it proceeds, and at the climax Chopin first asks that it be con anima, then con forza, and finally appassionato At the end, the calm of the beginning returns, and the music closes quietly.

Piano Sonata No. 3 in B Minor, Opus 58 FRÉDÉRIC CHOPIN

Composed: 1844

Approximate Duration: 26 minutes

Chopin wrote the Piano Sonata in B Minor, his last largescale composition for piano, during the summer of 1844, when he was 34. He composed the sonata at Nohant, the summer estate in central France he shared with the novelist George Sand. That summer represented a last moment of stasis in the composer’s life—over the next several years his relationship with Sand would deteriorate, and his health, long ravaged by tuberculosis, would begin to fail irretrievably. Dedicated to Madame la Comtesse Emilie de Perthuis, a friend and pupil, the Sonata in B Minor was published in 1845. Chopin himself never performed it in public.

Chopin’s sonatas have come in for a hard time from some critics, and this criticism intensifies to the degree that they depart from the formal pattern of the classical piano sonata. But it is far better to take these sonatas on their own terms and recognize that Chopin—like Beethoven before him—was willing to adapt classical forms for his own expressive purposes. The Sonata in B Minor is a big work—its four movements stretch out to nearly half an hour. The opening Allegro maestoso does indeed have a majestic beginning with the first theme plunging downward out of the silence, followed moments later by the gorgeous second subject in D major, marked sostenuto. The movement treats both these ideas but dispenses with a complete recapitulation and closes with a restatement of the second theme. The brief Molto vivace is a scherzo, yet here that form is without the violence it sometimes takes on in Beethoven. This scherzo has a distinctly light touch, with the music flickering and flashing across the keyboard (the right-hand part is particularly demanding). A quiet legato middle section offers a moment of repose before the returning of the opening rush.

Chopin launches the lengthy Largo with sharply-dotted rhythms, over which the main theme—itself dotted and marked cantabile—rises quietly and gracefully. This movement is also in ternary form, with a flowing middle section in E major. The finale—Presto, non tanto—leaps to life with a powerful eight-bar introduction built of octaves before the main theme, correctly marked Agitato, launches this rondo in B minor. Of unsurpassed difficulty, this final movement is one of the greatest in the Chopin sonatas.

UKULELE ORCHESTRA OF GREAT BRITAIN 40TH ANNIVERSARY TOUR

THURSDAY, APRIL 3, 2025 · 7:30 PM

BALBOA THEATRE

PROGRAM

Works to be announced from stage.

20-MINUTE INTERMISSION

UKULELE ORCHESTRA OF GREAT BRITAIN

Peter Brooke Turner, Soprano ukulele

Guy Bellingham, Soprano ukulele

Ben Rouse, Tenor ukulele

Leisa Rea, Soprano/Concert ukulele

Guy Hargreaves, Soprano/Concert ukulele

Laura Currie, Tenor ukulele

Laurie Higgins, bass ukulele

Sound Engineer

Verena Rogler

ABOUT

Tour Manager Viola Farrington

For their 40th birthday show this all plucking, all singing and some dancing Orchestra will revisit some old favourites as well as brand new arrangements. Expect an unforgettable evening of entertainment with songs from Paul Simon, The Beach Boys, The Cure, Shirley Bassey, Motörhead and many more!

In 1985 The Ukulele Orchestra of Great Britain donned black tuxedos and began giving “concerts” in tiny rooms above old pubs. Four decades (and 400,000,000 plucks) later they’re still thrilling audiences with their offbeat humor and four-stringed virtuosity. There are no drums, pianos, backing tracks, guitars, or banjos, no pitch shifters or electronic trickery— just an astonishing revelation of the rich palette of orchestration afforded by ukuleles and a menagerie of voices in a collision of post-punk performance and old classics. Come and celebrate the 40th anniversary of this much-loved institution, on a white-knuckle dash through every kind of musical genre. From ABBA to ZZ Top, Tchaikovsky to Nirvana, Bluegrass to Broadway, all played on the “bonsai guitar.”

The Ukulele Orchestra of Great Britain last performed for La Jolla Music Society in a Special Event on March 25, 2022.

SONA JOBARTEH

SATURDAY, APRIL 5, 2025 · 7:30 PM

THE BAKER-BAUM CONCERT HALL

PROGRAM

Works to be announced from stage.

Sona Jobarteh, kora

Andi Mclean, bass & backing vocals

Jeff Pierre, percussion

Sidiki Jobarteh-Codjo, balafon, hand percussion & backing vocals

Eric Appapoulay, guitar & backing vocals

Yuval “Juba” Wetzler, drums

Support for this program is provided by:

The Vail Memorial Fund

ABOUT

Sona Jobarteh is a unique and pioneering musical icon of her time whose renown has been rapidly flourishing globally. Born into a griot family from the Gambia, a tradition that dates back seven centuries, she is the first female within this tradition to become a professional virtuoso on the kora. Her music is uniquely poised between the preservation of her rich cultural heritage and an accessible, modern style that relates to the current era and to audiences from all over the world.

This performance marks Sona Jobarteh’s La Jolla Music Society debut.

PRELUDE

2 PM Lecture

GIL SHAHAM, violin ORLI SHAHAM, piano

SUNDAY, APRIL 6, 2025 · 3 PM THE BAKER-BAUM CONCERT HALL

RÖNTGEN-MAIER

Violin Sonata in B Minor (1853–1894)

Allegro

Andantino; Allegretto, un poco vivace

Allegro molto vivace

C. SCHUMANN

Three Romances for Violin and Piano, Opus 22 (1819–1896)

Andante molto

Allegretto

Leidenschaftlich schnell

Support for this program is provided by:

Raffaella Belanich

Opus 3 Artists

R. SCHUMANN

Violin Sonata No. 1 in A Minor, Opus 105 (1810–1856)

Mit leidenschaftlichem Ausdruck

Allegretto

Lebhaft

Three Romances for Violin and Piano, Opus 94

Nicht schnell

Einfach, innig

Nicht schnell

BRAHMS

Violin Sonata No. 3 in D Minor, Opus 108 (1833–1897)

Allegro

Adagio

Un poco presto e con sostenuto

Presto agitato

Gil Shaham, violin; Orli Shaham, piano

Gil Shaham last performed for La Jolla Music Society in the Recital Series on April 25, 2019. Orli Shaham last performed for La Jolla Music Society at SummerFest on August 9, 2009.

Violin Sonata in B Minor AMANDA RÖNTGEN-MAIER

Born February 20, 1853, Landskrona, Sweden

Died July 15, 1894, Amsterdam

Composed: 1878

Approximate Duration: 19 minutes

Amanda Röntgen-Maier came from a musical family. Though her father was a baker, he taught her to play the violin and piano, and at age 16 she entered the Royal College of Music in Stockholm. There she studied violin and composition (as well as the cello, organ, and piano), and she became the first woman to graduate from the College. She then went on to the Leipzig Conservatory, where she studied composition with Carl Reinecke and violin with the concertmaster of the Leipzig Gewandhaus Orchestra, Engelbert Röntgen. After a brief career performing in Europe, Maier married Röntgen’s son Julius, and at this point her career came to resemble that of Amy Beach in America: both Maier and Beach’s husbands insisted that their wives give up performing in public, but both women were free to compose and to perform at home. Julius Röntgen was an excellent pianist, and he and Amanda turned their home into a distinguished venue for music-making: among the guests and participants at their gatherings were Brahms and Grieg. Brahms in particular admired Maier’s playing, and he sent an early version of his Third Violin Sonata to her and asked for her advice (he is also said to have greatly enjoyed the cookies she baked). Maier had two sons, but she contracted tuberculosis and died at age 41. Her works include a violin concerto, chamber music, and a small number of songs and piano pieces.

Maier composed her Violin Sonata in B Minor in 1878, when she was a 25-year-old student in Leipzig. The sonata is beautifully written for the two instruments (she played both), and it is built on attractive material—Maier had a fine melodic gift. The opening Allegro, in sonata form, pitches between its impassioned, soaring beginning and gentler secondary material (the markings Animato and Un poco tranquillo appear throughout the movement). The dramatic development leads to an equally dramatic conclusion.

The middle movement is in ABA form. It opens with a gentle melody in 3/8 marked semplice (“simple, uncomplicated”), but this quickly gives way to the central episode, marked Allegretto, un poco vivace. There is some very accomplished writing here: the violin and the piano are in canon at the interval of one measure. Maier soon brings back the opening material, but it continues to develop on its return.

The violin leads the way into the concluding Allegro molto vivace, which is cast in rondo form. Surprisingly, the piano alone introduces several of the contrasting episodes before Maier rounds off the movement with a powerful coda in B major.

Maier dedicated this sonata “To My Dear Father,” who had taught her to play both the violin and the piano.

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. She 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, she had this inscription printed in the score: “Dedicated to Joseph Joachim with the greatest friendship.”

Violin Sonata No. 1 in A Minor, Opus 105 ROBERT SCHUMANN

Born June 8, 1810, Zwickau, Germany

Died July 29, 1856, Endenich, Germany

Composed: 1851

Approximate Duration: 17 minutes

Schumann’s relation with the violin was never wholly comfortable. A pianist, Schumann found the prospect of writing for stringed instruments intimidating, and he appears to have been threatened most of all by the violin—he wrote a number of pieces of chamber music for viola and for cello before he was finally willing to face writing for the violin. Then that music came in a rush—during the final years of his brief creative career Schumann wrote three violin sonatas, a violin concerto, and a fantasy for violin and orchestra.

The Violin Sonata in A Minor was the first of these. Schumann composed it very quickly—between September 12 and 16, 1851—during a period of personal stress. The previous year he had become music director for the city of Düsseldorf, and by the time he wrote this sonata his tenure there had already become mired in clashes with local authorities and in his own suspicions of plots against him. Schumann himself reported that when he wrote this sonata, he was “very angry with certain people,” though the music should not be understood as a personal reaction to artistic squabbles. Instead, Schumann’s first engagement with the violin produced a compact sonata in classical forms.

The sonata is in three movements that offer Schumann’s customary mixture of German and Italian performance markings. The opening Mit leidenschaftlichem Ausdruck (“With passionate expression”) bursts to life with the violin’s forceful, surging main idea over the piano’s shimmer of constant sixteenths. This busy motion is punctuated by great swooping flourishes that lead to gentle secondary material; it is the opening theme, however, that dominates the development, and Schumann rounds off the movement with a lengthy coda that drives to a dramatic close.

Relief arrives in the central Allegretto, which treats the violin’s innocent opening melody in rondo form. Tempos fluctuate throughout, with the music pulsing ahead, then reining back; some of these episodes become animated before the movement winks out on two pizzicato strokes.

Marked Lebhaft (“Lively”), the finale returns to the tonality and mood of the opening movement. The violin’s steady rush of sixteenths makes this feel at first like a perpetual-motion movement, but it is in fact another sonata-form movement, complete with a jaunty little secondary tune and an exposition repeat. This movement shows subtle points of contact with the first movement that run beyond their joint key of A minor and impassioned mood: the rhythm of the sonata’s opening theme underlies much of the finale, and near the close that theme actually makes a fleeting appearance. But the finale’s forceful main subject quickly shoulders this aside and drives the sonata to an almost superheated close.

Three Romances for Violin and Piano, Opus 94 ROBERT SCHUMANN

Composed: 1849

Approximate Duration: 12 minutes

The year 1849 was intense for Robert Schumann and his family. In May, the revolutionary fervor that was sweeping across the German states erupted in Dresden: buildings were burned, Prussian troops called in to suppress the revolt killed 200 civilians, and the Schumann family fled to the countryside to escape the fighting. They did not return until the middle of June, but their return did not bring calm. The ever-suspicious Schumann had come to believe that rivals in Dresden were plotting against him, and now—very quietly—he began to make plans to leave the city for good.

But if 1849 brought tumult, it was a very good year for the Schumann household. In July, Robert and Clara welcomed their sixth child, a boy named Ferdinand. And it was a good year for Schumann the composer. The works he wrote that year ranged from large-scale orchestral pieces like the Introduction and Allegro and the Concert-Piece for Four Horns to a number of settings of Goethe (1849 was the Goethe centennial) to choral music and individual songs. That year, music just seemed to pour out of the 39-year-old composer.

Early in December Schumann set aside big projects to write a set of three miniatures that he called “romances.” When he published this music in 1850, Schumann specified that it could be played by either oboe or violin, and he made slight variations in the score to suit the differences between those two instruments. Since then, this music has appealed to many other instrumentalists, and it is now performed in versions for clarinet, cello, French horn, and flute. At this concert the Three Romances are heard in Schumann’s original version for violin and piano.

Music this attractive and straightforward needs little comment. All three pieces are in ABA form, all are at restrained dynamic and moderate tempos, and all end quietly. The first is in somber A minor, while the second—in A major—is probably the best-known and is sometimes performed by itself. The singing simplicity of its outer sections contrasts with the dark and surging interior episode. In the final movement, Schumann asks for great fluidity of phrasing, as the music holds back and then rushes ahead; the center section sings gracefully over triplet accompaniment, and Schumann appends a brief coda.

Those interested in this music should know that in 1927—in the earliest days of electrical recording—Fritz Kreisler recorded the second of these pieces in a Berlin studio. That performance, now nearly a century old, remains a model of impassioned, expressive playing.

Violin Sonata No. 3 in D Minor, Opus 108 JOHANNES BRAHMS

Born May 7, 1833, Hamburg

Died April 3, 1897, Vienna

Composed: 1888

Approximate Duration: 21 minutes

Brahms spent the summer of 1886 at Lake Thun in Switzerland. He had just completed his Fourth Symphony, and now—in a house from which he had a view of the lake and a magnificent glacier—he turned to chamber music. That summer he completed three chamber works and began the Violin Sonata in D Minor, but he put the sonata aside while he wrote the Zigeunerlieder (“Gypsy Songs”) and Double Concerto for Violin and Cello, grumbling that writing for stringed instruments should be left to “someone who understands fiddles better than I do.” He returned to Lake Thun and completed his final violin sonata in the summer of 1888.

Despite Brahms’ customary self-deprecation, his writing for stringed instruments could be very convincing, and the Third Violin Sonata is brilliant music—not in the sense of being flashy but in the fusion of complex technique and passionate expression that marks Brahms’ finest music. The violin’s soaring, gypsy-like main theme at the opening of the Allegro is so haunting that it is easy to miss the remarkable piano accompaniment: far below, the piano’s quiet syncopated octaves move ominously forward, generating much of the music’s tension. Piano alone has the second theme, with the violin quickly picking it up and soaring into its highest register. The development of these two ideas is disciplined and ingenious: in the piano’s lowest register Brahms sets a pedal A and lets it pound a steady quarter-note pulse for nearly 50 unbroken measures—beneath the powerful thematic development, the pedal notes hammer a tonal center insistently into the listener’s ear. Its energy finally spent, this movement gradually dissolves on fragments of the violin’s opening melody.

The heartfelt Adagio consists of a long-spanned melody (built on short metric units—the meter is 3/8) that develops by repetition; the music rises in intensity until the doublestopped violin soars high above the piano, then falls back to end peacefully. Brahms titled the third movement Un poco presto e con sentimento, though the particular sentiment he had in mind remains uncertain. In any case, this shadowy, quicksilvery movement is based on echo effects as bits of theme are tossed between the two instruments. The movement comes to a shimmering close: piano arpeggios spill downward, and the music vanishes in two quick strokes.

By contrast, the Presto agitato finale hammers along a pounding 6/8 meter. The movement is aptly titled: this is agitated music, restless and driven. At moments it sounds frankly symphonic, as if the music demands the resources of a full symphony orchestra to project its furious character properly. Brahms marks the violin’s thematic entrance passionato, but he needn’t have bothered—that character is amply clear from the music itself. Even the noble second theme, first announced by the piano, does little to dispel the driven quality of this music. The complex development presents the performers with difficult problems of ensemble, and the very ending feels cataclysmic: the music slows, then suddenly rips forward to the cascading smashes of sound that bring this sonata to its powerful close.

ARTIST PROFILES

Ballet Folklórico de México de Amalia Hernández

Dancer and choreographer Amalia Hernández founded the Ballet Folklórico de México in 1952. From a very young age, she began a long journey through Mexican culture that would lead her to rescue the traditional dances of Mexico. She strove to project to the world the beauty of her country through movement, from pre-Columbian cultures and Spanish influences to the revolutionary times. With her first performances in 1952, she gained public recognition as a cultural representative of Mexico. Her success established the Ballet Folklórico in Mexico City’s Palace of Fine Arts as its permanent venue beginning in 1959. With more than 30 million spectators and countless recognitions, Amalia Hernández’ artistic legacy is assured thanks to her more than 120 original choreographies featuring great technical difficulty, elaborate costumes, and first-rate artists, consolidating the Ballet Folklórico de México as the best dance company in the world in its genre.

Elizabeth Brauss, piano

The pianist Elisabeth Brauss has been praised by Gramophone Magazine for “the maturity and sophistication of her thoughtful interpretations” which “would be the pride of any pianist twice her age.” Born in Hannover in 1995, Brauss is quickly establishing herself as one of the most exciting and versatile musicians of her generation. As a former member of the BBC New Generation Artist Scheme, Brauss continues to appear regularly with solo, chamber and concerto engagements across the UK. In 2021 she made her debut at the BBC Proms, performing Mozart Piano Concerto No.23 with the BBC Philharmonic Orchestra. In a new partnership between this scheme and the Hallé Orchestra, she was awarded the Terence Judd-Hallé Award, given to an NGA graduate considered to be on the cusp of a major international career. In addition to winning first prize at the International Steinway Competition in Hamburg, and the International Grotrian Steinweg Piano Competition in Braunschweig, Elisabeth was awarded the Prätorius Musikpreis Lower Saxony Prize in 2012.

Théotime Langlois de Swarte, violin

Violinist Théotime Langlois de Swarte studied at the Paris Conservatory under Michael Hentz, and became a regular member of Les Arts Florissants at William Christie’s invitation in 2014, while still a student. Recognition has come in the form of major awards, including the 2022 “Diapason D’or of the year” for his recording of Vivaldi,

Locatelli, and Leclair concertos (harmonia mundi), and the 2022 “Ambassador of the Year” award from the European Early Music Network (REMA). Langlois de Swarte regularly offers concertos by all of the baroque masters, along with Haydn and Mozart. He has appeared with Le Consort, Orchestre de l’Opera Royal, Holland Baroque, the Australian Brandenburg Orchestra, Les Ombres, and Orchestre National de Lorraine. His engagements have brought him to prestigious venues such as the Philharmonie de Paris, Vienna’s Musikverein, Elbphilharmonie, Berlin’s Philharmonie, Los Angeles’ Walt Disney Hall, and the Shanghai National Art Center. 2023 marked debuts at Carnegie Hall, at Wigmore Hall, and his first tour of Australia. He plays on a Jacob Stainer violin of 1665 loaned by the Jumpstart Foundation, and an Allessandro Gagliano from 1700 on loan from the Zylber Association.

Sona Jobarteh, kora

Sona Jobarteh has performed to crowds from the Hollywood Bowl in Los Angeles to Symphony Space in New York, and she’s sold out the Barbican in London, Cologne’s Philharmonie, and the Seine Musicale in Paris. These performances are underpinned by her skills as a composer arising from early days at London’s RCM and Purcell School of Music. Sona Jobarteh scored the film Motherland in 2010 and in 2022 the Hollywood blockbuster Beast, starring Idris Elba. She co-wrote a track on LL Cool J’s latest album with Q Tip and has filmed several of her live shows for CBS’ 60 Minutes. Jobarteh’s dedication to spreading powerful humanitarian messages through her songs and her stage performances makes her much more than a musician; she is active in social change and leads by her own example. Jobarteh singlehandedly set up The Gambia Academy, a pioneering institution dedicated to achieving educational reform across the continent of Africa.

Gerlinde Kaltenbrunner, mountaineer

At 23, Gerlinde Kaltenbrunner left her job as a nurse to pursue her driving passion—becoming a professional mountaineer. In time, with iron-willed determination and unmatched skill, Kaltenbrunner conquered all fourteen of the world’s 8,000 meter-peaks. By reaching the summit of the treacherous 8,611-meter-high K2, she became the first woman to scale all of these giants without the use of supplemental oxygen or high-altitude porters. In other words, she relied only on her own sheer will, training, remarkable athleticism, and determination. Kaltenbrunner lives in Upper Austria, where she spends her time rock climbing, mountaineering in the Alps, going on expeditions, and mentoring other climbers.

Henry Kramer, piano

In 2016, Henry Kramer garnered international recognition with a Second Prize win in the Queen Elisabeth Competition in Brussels. Most recently, he was awarded a 2019 Avery Fisher Career Grant by Lincoln Center. Kramer has performed solo recital debuts, most notably at Alice Tully Hall as the recipient of the Juilliard School’s William Petschek Award, as well as at Amsterdam’s Concertgebouw. A versatile performer, he has been featured as soloist with orchestras around the world, including the Bilkent Symphony Orchestra, Belgian National Orchestra, Shanghai Philharmonic Orchestra, Hartford Symphony, Indianapolis Symphony and the Calgary Philharmonic Orchestras, among many others, collaborating with conductors such as Marin Alsop, Gerard Schwarz, Stéphane Denève, Jan Pascal Tortelier and Hans Graf. He has also performed recitals in cities such as Washington (Phillips Collection), Durham (St. Stephens), Hilton Head (BravoPiano! festival), and Seattle (Emerald City Music and the Seattle Series) and made summer appearances at the Anchorage, Lakes Area, Rockport, and Vivo music festivals.

Les Arts Florissants

An ensemble of singers and instrumentalists specialized in the performance of Baroque music on period instruments, Les Arts Florissants are renowned the world over. Founded in 1979 by the Franco-American harpsichordist and conductor William Christie, the Ensemble, named for a short opera by Marc-Antoine Charpentier, has played a pioneering role in the revival of a Baroque repertoire that had long been neglected (including the rediscovery of countless treasures in the collections of the Bibliothèque Nationale de France). Today that repertoire is widely performed and admired: not only French music from the reign of Louis XIV, but also more generally European music of the 17th and 18th centuries. Since 2007, the Ensemble is also conducted by the British tenor Paul Agnew, who is appointed Musical Codirector of Les Arts Florissants in 2019. Each season Les Arts Florissants give around 100 concerts and opera performances in France—at the Philharmonie de Paris, where they are artists in residence, the Théâtre de Caen, the Opéra Comique, the Théâtre des Champs-Élysées, the Château de Versailles, as well as at numerous festivals—and are an active ambassador for French culture abroad, being regularly invited to New York, London, Edinburgh, Brussels, Vienna, Salzburg, Madrid, Barcelona, Moscow, and elsewhere.

Salar Nader, tabla

A standout artist of his generation, tabla virtuoso Salar Nader is recognized as a global ambassador weaving South Asian arts into the musical traditions of his Afghanistan heritage. A percussionist, composer, and producer, Nader studied under Ustad Zakir Hussain since the age of seven. He has toured widely with Stanley Clarke, Kronos Quartet, Wu Man, Miles From India; Central Asian master musicians Homayoun Sakhi and Abbos Kosimov; and legendary Indian classical musicians including Ustad Zakir Hussain, Ustad Amjad Ali Khan, Rahul Sharma, and many others. He has performed and recorded with contemporary & electronic artists including Cheb i Sabbah, Niyaz, and Grand Tapestry. Nader scored the original stage adaptation of Khaled Hosseini’s bestselling novel The Kite Runner, which had a groundbreaking run on Broadway in 2022 and national tour in 2024. Salar continues his dedication to community engagement, workshops, and cross-cultural understanding.

Blake Pouliot, violin

Violinist Blake Pouliot’s recent highlights include Shostakovich 1, Bruch 1, Tchaikovsky, Korngold and Sibelius concerti across the US and Canada with Orchestre Symphonique de Montréal, Artis-Naples and NAC Ottawa, and Quebec City Symphony, among others. Pouliot recently made his Spanish debut with the Philharmonic Orchestra of Spain at the Teatro Monumental in Madrid. As a chamber musician, Pouliot returned last season to NAC’s Music for a Sunday Afternoon series and Aspen Music Festival and also made his chamber debut with Festival Napa Valley at the San Francisco Conservatory. Pouliot has performed with the orchestras of Aspen, Atlanta, Detroit, Dallas, Madison, Montreal, Toronto, San Francisco, and Seattle, among many others. Internationally, he has performed as soloist with the Sofia Philharmonic in Bulgaria, Orchestras of the Americas on its South American tour, and was the featured soloist for the first ever joint tour of the European Union Youth Orchestra and National Youth Orchestra of Canada. Pouliot performs on the 1729 Guarneri del Gesù on generous loan from an anonymous donor.

Gil Shaham, violin

GRAMMY® Award-winning violinist Gil Shaham was also named Musical America’s “Instrumentalist of the Year,” and is sought after throughout the world for concerto appearances with leading orchestras and conductors, regularly giving recitals and appears with ensembles on the world’s great concert stages and at the most prestigious

ARTIST PROFILES

festivals. Highlights of recent years include the acclaimed recording and performances of J.S. Bach’s complete sonatas and partitas for solo violin. In addition to championing these solo works, he frequently joins his long-time duo partner pianist Akira Eguchi in recitals throughout North America, Europe, and Asia. Gil Shaham was awarded an Avery Fisher Career Grant in 1990, and in 2008 he received the coveted Avery Fisher Prize. He plays the 1699 “Countess Polignac” Stradivarius and performs on an Antonio Stradivari violin, Cremona c1719, with the assistance of Rare Violins In Consortium, Artists and Benefactors Collaborative.

Orli Shaham, piano

Hailed as “a first-rate Mozartean” by Chicago Tribune, Orli Shaham has established an international reputation as one of today’s most gifted pianists. She has performed with many of the major orchestras around the world, and has appeared on stages from Carnegie Hall to the Sydney Opera House. She is Artistic Director of Pacific Symphony’s chamber series, Artist-in-Residence at Vancouver Symphony USA, and Artistic Director of the interactive children’s concert series, Orli Shaham’s Bach Yard. In 2023, Shaham released Volume 4 of the complete Mozart Piano Sonatas; the final volumes released in 2024 conclude the cycle. Her Mozart recording project includes Volume 1, 2, and 3 of the Piano Sonatas, and Piano Concertos with St. Louis Symphony, which are part of her discography of a dozen titles on Canary Classics, Deutsche Gramophone, Sony, and other labels. Orli Shaham is a co-host of the national radio program From the Top, is on faculty at The Juilliard School, and is chair of the board of trustees at Kaufman Music Center in New York.

Third Coast Percussion

Sean Connors, Robert Dillon, Peter Martin, and David Skidmore

With nearly two decades of spellbinding performances to its name, Chicagobased quartet Third Coast Percussion is the first percussion ensemble to win a GRAMMY® Award in the classical genre. Also nominated for a GRAMMY® as a composer collective, TCP recasts the classical musical experience with a brilliantly varied sonic palette, crafting music to “push percussion in new directions, blurring musical boundaries and beguiling new listeners” (NPR). The ensemble celebrates its 20th anniversary in 2025, having blossomed from percussion students who met in 2005 at Northwestern University into an internationally renowned performing arts organization. TCP’s 2023 album Between Breaths was nominated for Best Chamber Music/Small Ensemble Performance in the 2024 GRAMMY® Awards. During its 20th anniversary season in 2024–2025, the ensemble embarks on ambitious collaborative

projects including national tours with composer/violinist Jessie Montgomery and Twyla Tharp Dance. Other highlights include performances of TCP’s acclaimed Metamorphosis program. TCP has also commissioned new works from composers Tigran Hamasyan and Jlin.

Nobuyuki Tsujii, piano

Japanese pianist Nobuyuki Tsujii (Nobu), who has been blind from birth, won the joint Gold Medal at the Van Cliburn International Piano Competition in 2009 and has gone on to earn an international reputation for the passion and excitement he brings to his live performances. Nobu recently performed a sold-out Royal Albert Hall as part of the BBC Proms with Domingo Hindoyan and Royal Liverpool Philharmonic Orchestra, one of several collaborations with RLPO that saw Nobu perform with them again in Liverpool and on tour in Japan. Other collaborations as concerto soloist include Hong Kong Philharmonic, Orpheus Chamber Orchestra, Orchestra Sinfonica di Milano, and Macau Symphony Orchestra. As a recitalist, Nobu also returned to Théâtre des Champs-Elysées and the Tsinandali Festival, in addition to numerous solo and concerto appearances across his native Japan including a tour with Klaus Mäkelä conducting Oslo Philharmonic. As an exclusive recording artist for Avex Classics International, Nobu’s growing album catalogue encompasses the breadth of the piano concerto repertoire. A live DVD recording of Nobu’s 2011 Carnegie Hall recital was named DVD of the Month by Gramophone, as was his latest DVD release, Touching the Sound—The Improbable Journey of Nobuyuki Tsujii, a documentary film by Peter Rosen.

Ukulele Orchestra of Great Britain

Formed in 1985 as the antidote to mindless pop, egocentric rock, and the indulgent, bluster of the music business, the Ukulele Orchestra of Great Britain donned black tuxedos and began giving “concerts” in tiny rooms above old pubs. Four decades (and 400,000,000 plucks) later they’re still thrilling audiences with their offbeat humour and four-stringed virtuosity from Tasmania to the Arctic Circle, Windsor Castle to Carnegie Hall. There are no drums, pianos, backing tracks, guitars, or banjos, no pitch shifters or electronic trickery—just an astonishing revelation of the rich palette of orchestration afforded by ukuleles and a menagerie of voices in a collision of post-punk performance and old classics. Come and celebrate the 40th anniversary of this much-loved institution, on a white-knuckle shopping-trolley dash through every kind of musical genre from ABBA to ZZ Top, Tchaikovsky to Nirvana, Bluegrass to Broadway, all played on the “bonsai guitar.”

Winter Season 2024–25 Prelude Lecturers, Interviewers,

and Performers

Kristi Brown-Montesano, Piano Series lecturer

As a faculty member at the Colburn School Conservatory of Music from 2003–22, Dr. Kristi BrownMontesano served as Chair of Music History and helped shape the degree programs of the institution. Today, she is a Lecturer in Musicology at the UCLA Herb Alpert School of Music. She also collaborates with many of Southern California’s most distinguished musical organizations, including the Los Angeles Philharmonic, Los Angeles Opera, La Jolla Music Society, and the Philharmonic Society of Orange County. For more information, please visit kristibrownmontesano.com.

Michael Gerdes, Revelle Chamber Music and Recital Series lecturer

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

Robert John Hughes, Jazz Series interviewer

Journalist, broadcaster, musician, author, and record producer Robert John Hughes has interviewed hundreds of musical artists in classical, jazz, pop, rock, R&B, and blues, including Sting, Wynton Marsalis, Bonnie Raitt, Paul Simon, B.B. King, Adele, and Peter Gabriel. As a record producer and member of the GRAMMY® Academy, Hughes has released five albums of live performances by artists heard on San Diego FM station 102.1 KPRi. Hughes has hosted La Jolla Music Society Preludes since 2018.

Molly Puryear, Dance Series interviewer

Molly Puryear brings passion for dance and nonprofit administration to her position as Executive Director of Malashock Dance. Puryear has worked with Malashock Dance since 2006, and previously served in the role of Education Director. She strategically aligns artistic and educational efforts to create a dynamic relationship between programs, the communities they serve, and the organization’s valuable funders. Puryear is committed to serving the San Diego community through the development and administration of vibrant dance programs. She believes that dance is an avenue for personal expression that engages people from all walks of life

The Colburn School, Discovery Series Musical Preludes

A performing arts institution located in the heart of Los Angeles, the Colburn School trains students from beginners to those about to embark on professional careers. The academic units of the school provide a complete spectrum of music and dance education united by a single philosophy: that all who desire to study music or dance should have access to top-level instruction. Each year, nearly 2,000 students from around the world come to Colburn to benefit from the renowned faculty, exceptional facilities, and focus on excellence that unites the community. colburnschool.edu

COVER: Ballet Folklórico de México couresty of artists; Pg.2: C. Carpenter © Dovile Sermokas; Pg.3: I. Barnatan © Marco Borggreve, T. Lark © Benjamin Allen, J. Montgomery © Jiyang Chen, J. Pohjonen courtesy of artist, A. McGill © Martin Romero; Pg. 13: SummerFest Fellowship artists © Darren Bradley; Pg.14: Miró Quartet and The Baker-Baum Concert Hall courtesy of The Conrad; Pg. 16: T. Schultz © Sam Zausch; Pg. 17: E. Brauss © Felix Broede; Pg. 20: G. Kaltenbrunner courtesy of speaker; Pg. 21: S. Nader © Nilesn Patel, Third Coast Percussion © Saverio Truglia; Pg. 24: B. Pouliot © Lauren Hurt, H. Kramer © Grittani Creative; Pg. 27: Les Arts Florissants & T. L. De Swarte courtesy of artists; Pg: 29: Ballet Folklórico de México couresty of artists; Pg. 31: N. Tsujii © Giorgia Bertazzi; Pg. 34: Ukulele Orchestra of Great Britain © Stefan Mager; Pg. 35: S. Jobarteh couresty of artist; Pg. 36: G. Shaham © Chris Lee, O. Shaham © Christian Steiner; Pg. 40-43: Ballet Folklórico de México couresty of artists, E. Brauss courtesy of artist, T. De Swarte © Marco Borggreve, S. Jobarteh © Dan Pier Paris, G. Kaltenbrunner courtesy of speaker, H. Kramer ©Grittani Creative, Les Arts Florissants & T. L. De Swarte courtesy of artists, S. Nader courtesy of artist, B. Pouliot courtesy of artist, G. Shaham © Chris Lee, O. Shaham © Karjaka Studios, Third Coast Percussion © Saverio Truglia, N. Tsujii © Giorgia Bertazzi, Ukulele Orchestra of Great Britain © Stefan Mager; Pg. 44-45: Paramount Quartet © Aquapio Films, L. Debargue © Felix Broede, J. Cramp © Andy Mann, American Patchwork Quartet courtesy of artists, A. Mutter, Y. Bronfman, P. Ferrandez © J. Milteer, L. Diaz © Corey Nickols, C. Carpenter © Dovile Sermokas, W. Marsalis © Rob Waymen, I. Kanneh-Mason & S. Kanneh-Mason © James Hole, Tres Souls courtesy of artists, J. Han © Shin-Joong Kim; BACK COVER: I. Kanneh-Mason & S. Kanneh-Mason © James Hole

Up Next:

Joe Lovano’s Paramount Quartet

Friday, April 11 · 7:30 PM

The Baker-Baum Concert Hall

Jess Cramp: The Untold Story of Sharks

Thursday, April 24 · 7:30 PM

The Baker-Baum Concert Hall

Lucas Debargue, piano

Thursday, April 17 · 7:30 PM

The Baker-Baum Concert Hall

American Patchwork Quartet

Friday, April 25 · 6 PM & 8:30 PM

The JAI

Lucky Diaz

Saturday, May 10 · 10 AM & 11:30 AM

The JAI

Mutter Bronfman Ferrández Trio

Saturday, May 3 · 7:30 PM

Balboa Theatre

Cameron Carpenter, organ

Friday, May 16 · 7:30 PM

St. James by-the-Sea Episcopal Church, La Jolla

Cameron Carpenter, organ Metropolis

Saturday, May 17 · 7:30 PM

St. James by-the-Sea Episcopal Church, La Jolla

LOUIS: A Silent Film with Live Musical Performance by Wynton Marsalis and Cecile Licad

Sunday, May 18 · 7 PM

Sheku Kanneh-Mason, cello & Isata Kanneh-Mason, piano

Saturday, May 31 · 7:30 PM

The Baker-Baum Concert Hall

Jaemin Han, cello

Sunday, June 15 · 3 PM

The Baker-Baum Concert Hall

Tres Souls

Sunday, June 1 · 5 PM & 7:30 PM The JAI

Balboa Theatre

THANK YOU!

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

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

Hagen Quartet

Anne-Sophie-Mutter

Sona Jobarteh

Yunchan Lim

Ballet Folklórico de Mexico de Amalia Hernández

ANNUAL SUPPORT

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

It is our honor to recognize the following donors.

FOUNDER

($250,000 and above)

ANGEL

($100,000 - $249,999)

Brenda Baker and Steve Baum

Wendy Brody Estate

The City of San Diego Commission for Arts and Culture

Mary Ellen Clark

The Conrad Prebys Foundation

Joan* and Irwin Jacobs

Anna and Edward Yeung

Raffaella and John* Belanich

Dorothea Laub

Jaqueline and Jean-Luc Robert

Debra Turner

Clara Wu Tsai and Joseph Tsai

Karen and Kit Sickels

BENEFACTOR

($50,000 - $99,999)

Eleanor and Ric Charlton

Peter Cooper and Erik Matwijkow

Julie and Bert Cornelison

Silvija* and Brian Devine

Farfy Foundation

Elaine Galinson and Herbert Solomon

Lehn and Richard Goetz

Jeanne Herberger

Susan and Bill Hoehn

Helen and Keith Kim

Angelina and Fredrick Kleinbub

Vivian Lim and Joseph Wong

Sheryl and Bob Scarano

Marge and Neal Schmale

Haeyoung Kong Tang

Sue and Peter Wagener

Liqun Wang and Marco Londei

Bebe and Marvin Zigman

ANNUAL SUPPORT

GUARANTOR

($25,000 - $49,999)

Mary Ann Beyster

Marla Bingham and Gary Gallagher

Gordon Brodfuehrer

Karen and Don Cohn

Ann Parode Dynes and Robert Dynes

Barbara Enberg

Jennifer and Kurt Eve

John Hesselink

The Lodge at Torrey Pines

Diana and Eli Lombrozo

Viviana and Enrique Lombrozo

Sue and John Major

Arlene and Lou Navias

Jeanne and Rick Norling

The Parker Foundation

ProtoStar Foundation

Sylvia and Steve Ré

Stacy and Don Rosenberg

Jeanette Stevens

Elizabeth and Joseph* Taft Revocable Trust

Vail Memorial Fund

Abby and Ray Weiss

Lise Wilson and Steven Strauss

SUSTAINER

($15,000 - $24,999)

Judith Bachner and Dr. Eric L. Lasley

Banc of California | Stephen Gamp

Jeffrey Barnouw

Jasna and David Belanich

Jim Beyster

Café Coyote and Rancho Coyote Wines

California Arts Council

Sharon L. Cohen

Ellise and Michael Coit

Cushman Foundation

Jendy Dennis Endowment Fund

Martha and Edward Dennis

Pamela Farr and Buford Alexander

Dr. Seuss Foundation

Debby and Wain Fishburn

Ingrid and Theodore Friedmann

Hal and Pam Fuson

Elisa and Rick Jaime

Susan and David Kabakoff

Jo Kiernan

Nancy Linke Patton and Rip Patton

Jacqueline Mars

Gini and Dave Meyers

Andy Nahas

Peggy and Peter Preuss

Thomas Rasmussen and Clayton Lewis

Maureen and Thomas Shiftan

Robert Singer

Dagmar Smek and Arman Oruc

Susan Shirk and Sam Popkin

Stephanie and Nick Stone

SUPPORTER

($10,000 - $14,999)

Anonymous

Celeste and Timothy Bailey

Abdul Bitar

Raymond Chinn

Eric Cohen and Bill Coltellaro

Amy Corton and Carl Eibl

County of San Diego

Community Enhancement Fund

Monica Fimbres

Beverly Fredrick

Joy Frieman

Wendy Frieman

Brenda and Michael Goldbaum

Ingrid Hibben

Angela and Cory Homnick

Marilee and Peter Kovacs

Kathleen and Ken Lundgren

Elaine and Doug Muchmore

ResMed Foundation

Susan and Stephen Schutz

Reesey and David Shaw

June and Doctor Bob Shillman

Gloria and Joseph Shurman

Greta and Steve Treadgold

Susan and Richard Ulevitch

AMBASSADOR

($5,000+)

Anonymous (2)

Arleene Antin and Leonard Ozerkis

Brad and Gigi Benter

Carolyn and Giovanni Bertussi

Ginny* and Bob Black

William Boggs

Karen and Jim Brailean

Lisa and David Casey

Lori and Aaron Contorer

Debbe Deverill

The Hon. Diana Lady Dougan

Jill Esterbrooks and James Robbins

Sue and Chris Fan

Diane and Elliot Feuerstein

Sarah and Mike Garrison

Buzz and Peg Gitelson

Lisa Braun Glazer and Jeff Glazer

Lynn Gorguze and The Hon. Scott Peters

Margaret Stevens Grossman and Michael Grossman

Nellie High-Iredale

Barbara and Paul Hirshman

Teresa and Harry Hixson

Theresa Jarvis

Barbara Kjos

Kate Leonard and Richard Forsyth

Christine and Charles Lo

Barbara Loonin

Jain Malkin

Miguel Rodolfo Mata Dadillo

Andrea Migdal and Mike Tierney

Gail and Edward Miller

Marina and Rafael Pastor

Linda Platt

Vivien Ressler

Catherine Rivier

Leigh P. Ryan

Joan and Jack Salb Estate

Clifford Schireson and John Venekamp

Todd R. Schultz

Gerald and Susan Slavet

Diane and DJ Smith

Gloria and Rod Stone

Barbara and Sam Takahashi

Gwynn and Brian Thomas

Ayse Underhill

Mary L. Walshok

Erika Walter*

Armi and Al Williams

Shara Williams and Benjamin Brand 

Mary and Joseph Witztum

Dolly and Victor Woo

Carol Young

AFICIONADO

($2,500+)

Anonymous

Carson Barnett and Tom Dubensky

Emily and Barry Berkov

Berenice and Jerry Blake

DeAnn Cary and Bill Jech

Aeria Chang

Carol and Jeff Chang

Katherine and Dane Chapin

Julie and Robert Cowan Novak

Melanie Cruz

D'Addario Foundation

Marilyn and Ernie Dronenburg

Sheryl and Michael Durkin

Phyllis and Dan Epstein

Feary Media

Cheryl Hintzen-Gaines and Ira Gaines

Virginia Graham

Deborah and Ronald Greenspan

Lori Haynes

Linda Howard

Ida Houby and Bill Miller

Marilyn K. James and Rick Phetteplace

Karen and Warren Kessler

Sallay and Tae Kim

Wally Klein

Carol Lam and Mark Burnett

Veronica and Miguel Leff

Ann and Gerald Lipschitz

Sylvia Liwerant

Mark Machina

Dennis McConnell and Kimberly Kassner

Cynthia and George Mitchell Foundation

Muchnic Foundation

Joyce and Ron Nelson

Virginia Oliver

Robert and Allison Price

Christine Purcell

Carol Randolph and Robert Caplan

Eva and Doug Richman

Colette Carson Royston and Ivor Royston

Adriana and Brian Scott

Noni and Drew Senyei

Stephanie and Steve Steinberg

Jean Sullivan and David Nassif

Diana and Roger Van Duzer

Yvonne E. Vaucher

Susan Ward and Lawrence Gartner

Lynne

Jo Weiner

Bart Zeigler

ASSOCIATE

($1,000+)

Anonymous (3)

K Andrew Achterkirchen

Judith Adler

Albertsons-Safeway Foundation

Jadwiga Alexiewicz

Dede and Mike Alpert

Axel's Gift

Nicholas and Samantha Binkley

Ryan Bordelon

Molly and Charles Brazell

Diane M. Brockington

Isabel and Stuart Brown

James Carter

Michael and Cathy Casteel

Kathleen Charla

June Chocheles

Anthony Chong and Annette Nguyen

Linda Christensen and Gonzalo Ballon-Landa

Ann Craig

Caroline DeMar

Marilou Dense

Linda and Wallace Dieckmann

Karen Dow

Susan Dramm

Renee and James Dunford

Lyndie and Sam* Ersan

July F. Galper

Barbara Giammona

Jeffrey Goldman

Cynthia and Tom Goodman

The Granada Fund

Anne Graves

Marcia Green

Carrie Greenstein

Lee Ann Groshong

Jill Hall

Pamela Hamilton Lester

Terence Hart

Carol Harter and William Smith

Lulu Hsu 

Zella Kahn-Jetter and Gary Jetter

Dwight Kellogg

John Graul and Cynthia King

Melvin Knyper

Leonard Korneich

H. and Susan Koshkarian

Robin Luby

Stacey J. Lucchino

Eileen A. Mason

Ted McKinney

Eleanor Merl

Sandra Miner

Anne and John Minteer

Chandra Mukerji

Brian Munden

Charles Perrin

Ursula Pfeffer

Dana and Stella Pizzuti

Barbara Rabiner

Jay Rosen

Arlene and Peter Sacks

Cristina and Victor Saldivar

Doreen and Myron Schonbrun

Anne and Ronald Simon

David and Phyllis Snyder

Dale and Mark Steele

Lester and Elizabeth Stiel

Lee Talner

Molly Thornton

Jennifer Tillman

Pam Wagner

Karen M. Walter

Lisa Widmier

Joyce Williams

Karen and Richard P. Wilson

David A. Wood

Natasha Wong and Kevin Chen

Christy and Howard Zatkin

FRIEND ($500+)

Anonymous (3)

Robin Allgren

Elise Angel

Paddi and Nicholas Arthur

Balloon Man Dan

Gayle Barsamian and David Clapp*

Stephanie Bergsma and Dwight Hare

Carol and Bruce Boles

Edwin Chen

Diane and David Child

Thayne Clark

Betty Clarquist

Alain J.-J. Cohen

Robert Conn

Jeanette Day

Sandra and Henry Den Uijl

Linda and Rick Dicker

Gail Donahue

Kim Doren

Joyce and Paul Dostart

Stanley Drosch

Jeane Erley

Irene and Eduardo Feller

Jack C. Fisher

Melissa Foo

Ferdinand Marcus Gasang 

Beth Goodman

John Gordon and Jane Burns

Patt and Jeff Hall

Andrea Harris

Nicole Holland

Laura Henson Hueter and Geoffrey Hueter

Gregory A. Jackson

Nancy and Michael Kaehr

Sofia and Leon Kassel

Kathleen Kovacs

Carol Lynne Krumhansl

Lewis Leicher

Linda and Michael Mann

Susan and Craig McClellan

Nita Mehta

Maggie and Paul Meyer

Desiree Michelle

Betsy and Greg Mitchell

Patricia Moises

Norman Needel

Rosalva Parada

Sigrid Pate

John David and Mary Peters

Kirk L. Peterson

Paula M. Pottinger

Jacqueline Powell

Irina and Mikhail Prishchepa

Sharon Rearwin and Thomas Delman

Sasha Richards

Clark Ritter and John Gowan

Gabriele and Nathan Rosenblatt

Barry Rosenbush

James F. Sallis

Tracy and Tim Sanford-Wachtel

Hannah Schlachet

Denise Selati

Michael Sellett

Tatjana Soli

Mary Sophos and William Pitts

Annemarie and Leland Sprinkle

Lisa Stennes-Laikind

Anne Turhollow

Karen L. Valentino

Victor A. Van Lint

N. B. Varlotta

Cynthia Walk

Ruth Waterman

Patricia and Christopher Weil

Suzanne and Edward Weissman

Carol West

Suhaila White

Olivia and Martin Winkler

Tanya Young and Michael McManus

Bonnie J. Wright

Barbara and Michel Zelnick

ENTHUSIAST ($250+)

Anonymous

Rogerio Ampudia

Sue Andreasen

Christine and Craig Andrews

Clyde Beck

Joyce and Robert Blumberg

Sandra Boddy

C M Boyer

Donna Gray Bowersox

Linda Brown

Ron Campnell

Debirah Carnick

Michael Casey

Patty and Jim Clark

Marilyn Colby

Linda Cory Allen

Susan Crutchfield

Jeffrey Cullen

Lesley Davis

Bernadette Dobbs

Zofia Dziewanowska

Gerhard Engel

Lucy and Stephen Eskeland

Robert Fahey

Stephen Feldman

Juan C. Figueroa

Pamel and L. Michael Foley

Beverly Fremont

Yoshiro Fukuoka

Margareta and Bruce Galanter

Tony Gild

Hany Magdy Girgis

Phyllis and Morris Gold

Lola and Walter Green

Douglas Hall Jr.

Walter Hickey

Christine Hickman and Dennis Ragen

Vivian and Greg Hook

Patricia Jasper

David K. Jordan

Diane and John Kane

Kelley Keatly

Nancy Kennedy 

Marti Kutnik

Carolynn La Pierre

Leslie Learn

Linda Low-Kalkstein and Allen Kalkstein

Margo Maeder

Patricia Manners

Neil Marmor

Jim Martin

M. Margaret McKeown and Peter Cowhey

Joani Nelson*

Brigitte and Richard Obetz

Kyomi O'Connor

Antje Olivie

Pascual Ortiz Rubio

Elizabeth Phelps

Carol Plantamura

Joely Pritzker

Bill Purves and Don Schmidt

Hanna Reisler

Jessica and Eberhard Rohm

Barbara Rosen and Bob Fahey

Anne Rudolph

Carolyn Rynard

Jane and Eric Sagerman

Alice and Brad Saunders

Hermeen Scharaga

Sharron Seal

Marjorie Hansen Shaevitz

Annie So

Katherine Michaud Silver and Mark Silver

Julie Singletary

Kinga S. Soni

Julie Swain

Gayle and Philip Tauber

Joy and Richard Vaccari

Richard Vasquez

Jen-Yi Wang

Suzanne Weiner

Paul Woody

Margaret Wypart

Phyllis and Phil Ziring

Tanya Young and Michael McManus

 monthly-donor program

* in memoriam

This list is current as of January 31, 2025. We regret any errors. Please contact Wadeaa Jubran at WJubran@TheConrad.org or 858.526.3447 to make a correction.

DANCE SOCIETY GIFTS IN HONOR/MEMORY

HONORARIA GRANDE JETÉ

Elaine Galinson and Herbert Solomon

Bebe and Marvin Zigman

JETÉ

Amy Corton and Carl Eibl

ARABESQUE

Ellise and Michael Coit

Jeanette Stevens

POINTE

Carolyn and Giovanni Bertussi

We are grateful for each patron for their passion and support of our dance programs.

In Memory of John Belanich:

Martha and Ed Dennis

Ferdinand Marcus Gasang

Sylvia and Steve Ré

Todd Schultz

In Memory of Bjorn Bjerede: Anonymous

Jenna Aviano

Martha and Edward Dennis

Ferdinand Marcus Gasang

Wendy G. and Greg Hein

James Hobza

Jo Kiernan

Amy and Bill Morris

Michael Laprey

Pat M. Laprey

Patricia Laprey

Annemarie and Leland Sprinkle

Maggie S. Wolfe-Johnson

In Honor of Ginny Black:

Ferdinand Marcus Gasang

Sylvia and Steve Ré

In Honor of Maureen Clancy: Lester and Elizabeth Stiel

In Memory of Silvija Devine:

Ferdinand Marcus Gasang

Sylvia and Steve Ré

In Memory of Alan Gary:

Ferdinand Marcus Gasang

David Rosenthal

Natasha Wong and Kevin Chen

Dolly Woo

Ellen Worthington

In Honor of Ferdie Gasang: Benjamin Guercio

In Memory of Joan Jacobs:

Ferdinand Marcus Gasang

Sylvia and Steve Ré

Todd Schultz

John Venekamp and Clifford Schireson

In Honor of Marilyn Perrin: Charles Perrin

In Honor of Leah Rosenthal: Bart Ziegler

In Honor of Sheryl and Bob Scarano:

Susan and Craig McCLellan

In Memory of Joanne Snider:

Ferdinand Marcus Gasang

Jud, LeeAnn, and Tyler Groshong

Glenn Mosier

Kevin Pearson and Stephen Murphy

Renee Roth

Reissa Schrager-Cole and Hilary Cole

Kerry Symonds

Dolly and Victor Woo

In Memory of Alan Springer:

Ferdinand Marcus Gasang

Barbara Maggio

In Honor of Susan and Richard Ulevitch:

Leslie Simon

In Honor of the marriage of David Ulevitch and Stephanie Nass:

Susan and Richard Ulevitch

In Memory of Mrs. Erika Walter and in honor of Dr. Johannes Walter: KyungAh Chung-Benedetti

PLANNED GIVING / ENDOWMENT

GIVIING / ENDOWMENT

LEGACY SOCIETY

Anonymous (2)

Brenda Baker and Steve Baum

June L. Bengston*

Joan Jordan Bernstein

Bjorn Bjerede and Jo Kiernan

James C. and Karen A. Brailean

Gordon Brodfuehrer

Wendy Brody*

Barbara Buskin*

Trevor Callan

Geoff and Shem Clow

Anne and Robert Conn

George and Cari Damoose*

Teresa and Merle Fischlowitz*

Lynda Fox*

Ted and Ingrid Friedmann

Joy and Ed* Frieman

Sally Fuller

Maxwell H. and Muriel S. Gluck*

Trude Hollander*

Joan* and Irwin Jacobs

Eric Lasley

Theodora Lewis*

Vivian Lim and Joseph Wong

Joani Nelson*

Maria and Dr. Philippe Prokocimer

Bill Purves

Darren and Bree Reinig

Jay W. Richen*

Leigh P. Ryan

Jack and Joan Salb*

Johanna Schiavoni

Pat Shank

Reesey Shaw and David Joseph Shaw, M.D.

Joseph and Gloria Shurman

Karen and Christopher Sickels

Todd R. Schultz

Jeanette Stevens

Elizabeth and Joseph* Taft

Norma Jo Thomas

Yvonne E. Vaucher

Lucy and Ruprecht von Buttlar

Ronald Wakefield*

John B. and Cathy Weil

Carolyn Yorston-Wellcome and H. Barden Wellcome*

Karl and Joan Zeisler

Bebe and Marvin Zigman

Josephine Zolin

*in memoriam

REMEMBERING LJMS IN YOUR WILL

It is easy to make a bequest to La Jolla Music Society, and no amount is too small to make a difference.

Here is a sample of language that can be incorporated into your will:

“I hereby give ___% of my estate (or specific assets) to La Jolla Music Society, Tax ID 23-7148171, 7600 Fay Avenue, La Jolla, CA 92037, for its artistic programs (or education, general operating, or where needed most).”

Then, please contact Ferdinand Gasang at FGasang@TheConrad.org or 858.526.3426 and let him know you have included LJMS in your estate plans.

The Legacy Society recognizes those generous individuals who have chosen to provide for La Jolla Music Society’s future. Members have remembered La Jolla Music Society in their estate plans in many ways—through their wills, retirement gifts, life income plans, and many other creative planned giving arrangements. We thank them for their vision and hope you will join this very special group of friends.

If you have included LJMS in your estate plans, please let us know so we may recognize you. Please contact Ferdinand Gasang at FGasang@TheConrad.org or 858.526.3426.

CROWN JEWEL

Brenda Baker and Steve Baum

Joan* and Irwin Jacobs

DIAMOND

Raffaella and John* Belanich

Mary Ellen Clark

Dorothea Laub

Jaqueline and Jean-Luc Robert

Karen and Kit Sickels

Debra Turner

RUBY

Julie and Bert Cornelison

Silvija* and Brian Devine

Elaine Galinson and Herbert Solomon

Helen and Keith Kim

Angelina and Fred Kleinbub

Vivian Lim and Joseph Wong

Haeyoung Kong Tang

Sue and Peter Wagener

Liqun Wang and Marco Londei

Anna and Edward Yeung

EMERALD

Barbara Enberg

Arlene and Louis Navias

GARNET

Pam and Hal Fuson

Peggy and Peter Preuss

SAPPHIRE

Raymond Chinn

John Hesselink

Elaine and Doug Muchmore

Elizabeth and Joseph* Taft

Bebe and Marvin Zigman

TOPAZ

Anonymous

Jeff Barnouw

Mary Ann Beyster

Abdul Bitar

Virginia* and Robert Black

James C. and Karen A. Brailean

Buzz and Peg Gitelson

Lisa Braun-Glazer and Jeff Glazer

Brenda and Michael Goldbaum

Margaret Stevens Grossman and Michael Grossman

Theresa Jarvis

Christine and Charles Lo

Barbara Loonin

Kathleen and Ken Lundgren

Don and Stacy Rosenberg

Leigh P. Ryan

Sheryl and Bob Scarano

Neal and Marge Schmale

Susan and Gerald Slavet

Diane and DJ Smith

Jeanette Stevens

Gloria and Rodney Stone

Susan and Richard Ulevitch

Shara Williams and Benjamin Brand

Dolly and Victor Woo

*in memoriam

We are honored to have this extraordinary group of friends who have made multi-year commitments to La Jolla Music Society, ensuring that the artistic quality and vision we bring to the community continues to grow.

VAIL MEMORIAL FUND

TERRA LAWSON-REMER

JOE LACAVA

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

"Candor is La Jolla's hidden gem!"

Brian L. — Tripadvisor

COMING UP

APRIL

JOE LOVANO’S PARAMOUNT QUARTET

featuring Julian Lage, Asante Santi Debriano, and Will Calhoun

FRIDAY, APRIL 11 · 7:30 PM Jazz Series

LUCAS DEBARGUE, piano

THURSDAY, APRIL 17 · 7:30 PM Piano Series

JESS CRAMP:

THE UNTOLD STORY OF SHARKS

THURSDAY, APRIL 24 · 7:30 PM Speaker Series

AMERICAN PATCHWORK QUARTET

FRIDAY, APRIL 25 · 6 PM & 8:30 PM Concerts @ The JAI

MAY

ANNE-SOPHIE MUTTER, violin

PABLO FERRÁNDEZ, cello

YEFIM BRONFMAN, piano

SATURDAY, MAY 3 · 7:30 PM Revelle Chamber Music Series · Balboa Theatre

LUCKY DIAZ

SATURDAY, MAY 10 · 10 AM & 11:30 AM ConRAD Kids Series · The JAI

CAMERON CARPENTER, organ

FRIDAY, MAY 16 · 7:30 PM Special Event

St. James by-the-Sea Episcopal Church

CAMERON CARPENTER, organ METROPOLIS

SATURDAY, MAY 17 · 7:30 PM

ProtoStar Innovative Series

St. James by-the-Sea Episcopal Church

LOUIS: A Silent Film with Live Musical Performance by WYNTON MARSALIS and CECILE LICAD

SUNDAY, MAY 18 · 7 PM Jazz Series · Balboa Theatre

SHEKU KANNEH-MASON, cello & ISATA KANNEH-MASON, piano

SATURDAY, MAY 31 · 7:30 PM Recital Series

JUNE

TRES SOULS

SUNDAY, JUNE 1 · 5 PM & 7:30 PM Concerts @ The JAI

JAEMIN HAN, cello

SUNDAY, JUNE 15 · 3 PM Discovery Series

Sheku Kanneh-Mason & Isata Kanneh-Mason