La Jolla Music Society Season 56 Program Book 1 by La Jolla Music Society

Home of 24—25

Abel Selaocoe

2024—2025 Calendar of Events

OCTOBER

ANAT COHEN QUARTETINHO*

SUNDAY, OCTOBER 6, 2024 · 5 PM & 7:30 PM Concerts @ The JAI

AIDA CUEVAS*

SUNDAY, OCTOBER 13, 2024 · 7 PM Global Roots Series · Balboa Theatre

AN EVENING WITH CHRIS BOTTI

SUNDAY, OCTOBER 20, 2024 · 7 PM Jazz Series · Balboa Theatre

ABEL SELAOCOE & BANTU ENSEMBLE*

THURSDAY, OCTOBER 24, 2024 · 7:30 PM ProtoStar Innovative Series

TAKÁCS QUARTET

SATURDAY, OCTOBER 26, 2024 · 7:30 PM Revelle Chamber Music Series

Danilo Pérez, John Patitucci, Brian Blade* LEGACY OF WAYNE SHORTER With Special Guest Mark Turner*

SUNDAY, OCTOBER 27, 2024 · 7 PM Jazz Series

NOVEMBER

SAMMY MILLER AND THE CONGREGATION* PRESENTS 100 YEARS OF JAZZ

KINGS ReJOYCE!

Joyce DiDONATO and Kings Return with Craig Terry

SATURDAY, DECEMBER 7, 2024 · 7:30 PM Special Event

HOLIDAY OPEN HOUSE

THURSDAY, DECEMBER 12, 2024 · 4 PM Free Community Event

SPANISH HARLEM ORCHESTRA: SALSA NAVIDAD

SATURDAY, DECEMBER 14, 2024 · 7:30 PM Jazz Series

CONNIE HAN TRIO*

SUNDAY, DECEMBER 15, 2024 · 5 PM & 7:30 PM Concerts @ The JAI

JANUARY

JEREMY DENK, piano

FRIDAY, JANUARY 10, 2025 · 7:30 PM Piano Series

GUIDO SANT’ANNA*, violin

SUNDAY, JANUARY 12, 2025 · 3 PM Discovery Series

FIRE SHUT UP IN MY BONES:

OPERA SUITE IN CONCERT

SUNDAY, JANUARY 19, 2025 · 7 PM ProtoStar Innovative Series

KODO ONE EARTH TOUR 2025: WARABE

THURSDAY, FEBRUARY 6, 2025 · 7:30 PM

Global Roots Series · Balboa Theatre

TWYLA THARP DANCE

DIAMOND JUBILEE

THURSDAY, FEBRUARY 13, 2025 · 7:30 PM

Dance Series · Balboa Theatre

HAROLD LÓPEZ-NUSSA*

SATURDAY, FEBRUARY 15, 2025 · 6 PM & 8:30 PM

Concerts @ The JAI

HAGEN QUARTET

THURSDAY, FEBRUARY 20, 2025 · 7:30 PM

Revelle Chamber Music Series

LONDON SYMPHONY ORCHESTRA

Antonio Pappano*, conductor Yunchan Lim*, piano

FRIDAY, FEBRUARY 21, 2025 · 8 PM

Special Event · Jacobs Music Center

DREAMERS’ CIRCUS

Global Roots Series

YUNCHAN LIM, piano

SATURDAY, NOVEMBER 2, 2024 · 6 PM & 8:30 PM Concerts @ The JAI

HÉLÈNE GRIMAUD, piano

FRIDAY, NOVEMBER 8, 2024 · 7:30 PM Piano Series

TRIO BOHÉMO*

SUNDAY, NOVEMBER 10, 2024 · 3 PM Discovery Series

ENCANTO: THE SING-ALONG FILM CONCERT*

SUNDAY, NOVEMBER 17, 2024 · 3 PM ConRAD Kids Series · Balboa Theatre

DECEMBER

BARBARA HANNIGAN*, soprano & BERTRAND CHAMAYOU*, piano

THURSDAY, DECEMBER 5, 2024 · 7:30 PM Recital Series

MARTHA GRAHAM DANCE COMPANY

SATURDAY, JANUARY 25, 2025 · 7:30 PM Dance Series · Civic Theatre

JAHARI STAMPLEY TRIO*

SUNDAY, JANUARY 26, 2025 · 5 PM & 7:30 PM Concerts @ The JAI

ANTHONY McGILL, clarinet & EMANUEL AX, piano

WEDNESDAY, JANUARY 29, 2025 · 7:30 PM Recital Series

ALBERT LIN*:

IN SEARCH OF LOST CITIES

THURSDAY, JANUARY 30, 2025 · 7:30 PM Speaker Series

FEBRUARY

EVREN OZEL*, piano

SUNDAY, FEBRUARY 2, 2025 · 3 PM

Discovery Series

WEDNESDAY, FEBRUARY 26, 2025 · 7:30 PM

FRIDAY, FEBRUARY 28, 2025 · 7:30 PM

Piano Series

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

ZAKIR HUSSAIN & THIRD COAST PERCUSSION

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

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

GOITSE

SUNDAY, MARCH 16, 2025 · 5 PM & 7:30 PM Concerts @ The JAI

LES ARTS FLORISSANTS

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

THE PARAMOUNT QUARTET* featuring Joe Lovano, Julian Lage, Sant 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

COMMUNITY ARTS OPEN HOUSE

SATURDAY, APRIL 26, 2025 · 1 PM Free Community Event

MAY

ANNE-SOPHIE MUTTER, violin

PABLO FERRÁNDEZ, cello

YEFIM BRONFMAN, piano

SATURDAY, MAY 3, 2025 · 7:30 PM

Revelle Chamber Music Series · Balboa Theatre

MAMES BABEGENUSH*

SUNDAY, MAY 4, 2025 · 5 PM & 7:30 PM Concerts @ The JAI

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

CAMERON CARPENTER, organ METROPOLIS

SATURDAY, MAY 17, 2025 · 7:30 PM

ProtoStar Innovative Series

St. James by-the-Sea Episcopal Church

WYNTON MARSALIS

LOUIS

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

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

$400,000 and above

Raffaella and John* Belanich

$400,000 and above

Debbie Turner

$1 MILLION and above

$500,000 and above

Irwin and Joan* Jacobs Dorothea Laub

$400,000 and above

Mary Ellen Clark

$200,000 and above

Julie and Bert Cornelison

$400,000 and above

Jacqueline and Jean-Luc Robert

$200,000 and above

Herbert Solomon and Elaine Galinson

$200,000 and above

and

$200,000 and above

Haeyoung Kong Tang

$200,000 and above

and

$200,000 and above

$200,000 and above Marco Londei and Liqun Wang

Sue and Peter Wagener

Keith

Helen Kim

Angel

Fred Kleinbub

Vivian Lim and Joseph Wong

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 opento-the-public educational activities. To learn more, visit TheConrad.org/SummerFest.

The Conrad

The Conrad Prebys Performing Arts Center 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 BakerBaum 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.

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

Diana Lombrozo

Sue Major

Richard A. Norling

Arman Oruc

Tom Rasmussen

Sylvia Ré

Sheryl Scarano

Marge Schmale

Stephanie Stone

Debra Turner

H. Peter Wagener

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

Karen Jordan – Interim Director of Finance

Brady Stender – Controller

Breanne Self - Human Resources and Finance Manager

PROGRAMMING & PRODUCTION

Grace Smith – Artistic Planning and Operations Director

Anne-Marie Dicce – Artistic Planning Manager

Juliet Zimmer – Venue Sales Manager

George Pritzker – Artistic Operations Coordinator

Meghann Veynar – Production Manager

Lauren Cernik-Price – Production Coordinator & Stage Manager

John Tessmer – Lead Artist Liaison

Eric Bromberger – Program Annotator

Jonnel Domilos – Piano Technician

FACILITIES & TECHNOLOGY

Tom Jones – Director of Facilities & Technology

Adam Wiebe – Technical Director of Facilities and Technology

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,

Welcome back to our 56th Winter Season and a schedule that celebrates some of the world’s greatest talents in piano, chamber music, dance, jazz, Latin music and more.

Artistic Director Leah Rosenthal has crafted yet another dizzying lineup of great artists from superstars like Wynton Marsalis, Kodo, Chris Botti, Yunchan Lim, and Joyce DiDonato to emerging talents like Jaemin Han, Guido Sant’Anna, and Trio Bohémo. Whether it’s the Piano Series that entices you, with Jeremy Denk, Hélène Grimaud, Nobuyuki Tsujii, and Lucas Debargue, or the Global Roots Series with Aída Cuevas, Dreamers’ Circus, and Sona Jobarteh, you’ll want to attend the entire series and return again and again.

Jazz lovers will be spoiled with Chris Botti, Joe Lovano’s Paramount Quartet, the Spanish Harlem Orchestra, and a Legacy of Wayne Shorter program featuring Danilo Pérez, John Patitucci, Brian Blade, and Mark Turner. A special event sees Wynton Marsalis performing a live soundtrack to a silent film, Louis, an homage to Louis Armstrong.

Speaking of superstars—we are fortunate to take in milestone performances by two titans of American dance with the Martha Graham Dance Company marking its centennial and Twyla Tharp Dance celebrating its Diamond Jubilee (60 years). We are overjoyed to present these dance luminaries and pleased that Leah has been able to book them both in the same year.

Discover the many other exciting offerings in our 2024–25 Winter Season on our website or by perusing a brochure. And join us often, taking in new experiences and creating lasting memories.

The 56th Winter Season has been dedicated to the memory of our dear friend Joan Jacobs, whom we lost earlier this year. Joan’s passion and leadership leave behind a vast legacy in San Diego. Her dedication to this community—along with that of her husband, Irwin—continues to enrich all our lives.

Warmly,

Todd R. Schultz President & CEO

AÍDA CUEVAS

SUNDAY, OCTOBER 13, 2024 · 7 PM

BALBOA THEATRE

Backup singer

Valeria Cuevas

Violins

Joe Anthony Flores

Sofía Ozuna

Carolina Rodríguez

Melanie Olivares

Charlie García-González

Trumpets

David Moreno

Adolfo Torres

Aída Cuevas

Support for this program is provided by: Balboa Theatre Grant 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.

Aída Cuevas appears by arrangement with IMG Artists, LLC, 7 West 54th Street, New York, NY 10019. 212-994-3500

ABOUT

Monitors

Mario Verdayes

Harmony Section

Rodolfo De Santiago

Austin Rosales

Pedro García Percussion

Luis Torres Keys

Jonathan González

Stage Manager

Baltazar Pérez

PROGRAM

Aída Cuevas Canta a Juan Gabriel 40 años después Works to be announced from stage.

THIS PERFORMANCE HAS NO INTERMISSION

The “Queen of Ranchera Music” Aída Cuevas presents a mariachi spectacle celebrating Mexico’s best-selling artist, Juan Gabriel, with a new album, Aída Cuevas Canta a Juan Gabriel 40 años después. Performing her legendary friend’s biggest hits, Cuevas exhibits her stunning vocals on “Te Lo Pido Por Favor,” “Te Sigo Amando,” and “La Diferencia,” among others. Juan Gabriel passed away in August 2016 as Mexico’s best-selling artist of all time with over 100 million albums worldwide. Juan Gabriel, a six-time GRAMMY® nominee, was inducted into the Billboard Latin Music Hall of Fame in 1996 and given a star on the Hollywood Walk of Fame in 2009. Aída Cuevas is the only artist given permission by the Juan Gabriel estate to perform a tribute to Latin American icon Juan Gabriel.

This performance marks Aída Cuevas’ La Jolla Music Society debut.

PRELUDE 6 PM

Interview hosted by Robert John Hughes

AN EVENING WITH CHRIS BOTTI

SUNDAY, OCTOBER 20, 2024 · 7 PM

BALBOA THEATRE

Chris Botti, trumpet Lee Pearson, drums

Daniel Chmielinski, bass

Leonardo Amuedo, guitar

Julian Pollack, piano

Chad Lefkowitz-Brown, saxophone

Caroline Campbell, vocals

Alicia Olatuja, John Splithoff, vocals

PROGRAM

Works to be announced from stage.

THIS PERFORMANCE HAS NO INTERMISSION

Chris Botti last performed for La Jolla Music Society in the Jazz Series on April 8, 2022.

ABEL SELAOCOE & BANTU ENSEMBLE

THURSDAY, OCTOBER 24, 2024 · 7:30 PM

THE BAKER-BAUM CONCERT HALL

ABEL SELAOCOE iQhawe (b. 1992)

Ibuyile i Africa

Improvisation

Ancestral Affirmations

Hlokomela

Improvisation

MARAIS/ABEL SELAOCOE Les Voix Humaines/Tsohle Tsohle (1656-1728)

Support for this program is provided by:

ProtoStar Foundation

TRADITIONAL (South Africa) Emmanuelle

ABEL SELAOCOE Ka Bohaleng Lerato

Abel Selaocoe, cello and vocals

Bantu Ensemble

Alan Keary, bass; Dudù Kouaté, percussion; Fred Thomas, piano

THIS PERFORMANCE HAS NO INTERMISSION

Abel Selaocoe last performed for La Jolla Music Society in the ProtoStar Innovative Series on April 14, 2024.

PRELUDE 6:30 PM

Lecture by Michael Gerdes

TAKÁCS QUARTET

SATURDAY, OCTOBER 26, 2024 · 7:30 PM

THE BAKER-BAUM CONCERT HALL

HAYDN String Quartet in C Major, Opus 54, No. 2 (1732–1809) Vivace

Adagio

Minuetto: Allegretto

Finale: Adagio; Presto

RAVEL

String Quartet in F Major (1875–1937)

Allegro moderato. Très doux

The Takács Quartet appears by arrangement with Seldy Cramer Artists, and records for Hyperion and Decca/London Records.

The Takács Quartet is Quartet-in-Residence at the University of Colorado in Boulder and are Associate Artists at Wigmore Hall, London. www.takacsquartet.com

Assez vif. Très rythmé

Très lent

Vif et agité

INTERMISSION

BEETHOVEN String Quartet in F Major, Opus 59, No. 1 (1770–1827) Allegro

Allegretto vivace e sempre scherzando

Adagio molto e mesto

Thème russe: Allegro

Takács Quartet

Edward Dusinberre, Harumi Rhodes, violins; Richard O’Neill, viola; András Fejér, cello

Takács Quartet last performed for La Jolla Music Society during SummerFest on August 13, 2023.

Program notes by Eric Bromberger

String Quartet in C Major, Opus 54, No. 2 FRANZ JOSEPH HAYDN

Born March 31, 1732, Rohrau, Austria

Died May 31, 1809, Vienna

Composed: 1788

Approximate Duration: 20 minutes

Haydn composed the six string quartets of his Opus 54 and Opus 55 during the summer and fall of 1788. Then 56 and nearing the end of his three-decade tenure as kapellmeister to the Esterhazy family, he was at the height of his powers as a composer, and these are very unusual string quartets. The second of them is a wildly original piece of music: it goes its own way, it continually defeats expectations, and it manages to be completely convincing at the same time. This music depends for much of its impact on the tension between the home key of C Major and the tonic minor, C Minor. The former offers music that is playful, unbuttoned, and sometimes just plain fun, while the latter is anguished and dark. Part of the remarkable success of this quartet is that it so successfully binds together such radically different emotional worlds.

Haydn dedicated the Opus 54 quartets to Johann Tost, who was his principal second violinist in the Esterhazy orchestra between 1783 and 1788. In the latter year, Tost married a wealthy widow and set himself up as a successful merchant in Vienna. Haydn’s dedication of this set “To the Wholesaler Tost” is a wry comment on his friend’s change of fortunes (and perhaps it reflects a touch of envy on the composer’s behalf). On the evidence of these quartets, Tost must have been a remarkable violinist and artist, for the first violin part in the Quartet in C Major is extraordinary. And this in turn raises a different issue. The textbook cliché is that Haydn liberated the string quartet and made all four voices equal participants in the musical discourse, but there is no question that the first violin is the star of this particular show: it has virtually all the musical interest, and the three other voices largely play the role of accompanists. This is in no way to denigrate this very unusual music, but it is to point out the unusual focus of Haydn’s writing here.

Haydn gives the first movement the rare marking Vivace, and this music is full of vitality, with the first violin swirling and dancing across its range; Haydn makes effective use of pauses as part of the progression of his opening idea. The first violin part is quite athletic in the opening of this movement, and it is barely reined in for

the second subject, which Haydn marks dolce. As part of the brilliant first violin part, Haydn sends it up to an extended passage that ends on a high D, three octaves above middle C.

All of this good-natured energy vanishes at the Adagio. Haydn shifts to C minor, and the somber opening phrase becomes the ground bass for a passacaglia. As this theme (with some variation) repeats in the three lower voices, the first violin soars above them with a florid line, almost a series of exotic arabesques that decorate and comment on the grim sequence of the opening melody far below. After three repetitions of the ground, the music reaches a moment of repose, and then Haydn springs another surprise: he proceeds without pause into the minuet, which slips happily back into C major and dances along in high spirits reminiscent of the first movement. A unison rush up the scale with the four instruments all an octave apart leads to yet another surprise: the trio goes back into C minor and almost shrieks out its anguish. This is some of the most desolate, disturbing music Haydn ever wrote. It produces a sensation close to physical pain, and then—suddenly—it’s gone and we’re back to the amiable music of the movement’s opening.

The finale has a slow opening, which by itself is not unusual. But this Adagio goes on and on and on (it even has a repeat), with the first violin singing above steady accompaniment. Finally—finally!—the Presto arrives, and we seem to have reached the buoyant rondo that will bring this quartet to a shining close. Wrong again. The Presto barely has time to get rolling when Haydn brings it to a stop, and it vanishes for good: we are back to the Adagio, and on this music this quartet comes to its pianissimo close.

Everything about this quartet makes it sound as if it should not work, as if these different parts could not possibly fit together in a convincing whole. But they do.

String Quartet in F Major

MAURICE RAVEL

Born March 7, 1875, Ciboure, Basses-Pyrénées

Died December 28, 1937, Paris

Composed: 1903

Approximate Duration: 30 minutes

Ravel wrote his only string quartet in 1902–3, while still a student at the Paris Conservatory, and the first performance was given by the Heymann Quartet in Paris on March 5, 1904, two days before the composer’s twenty-ninth birthday. Ravel’s quartet is in many ways

similar to the Debussy quartet, written in 1893—there are parallels between the structure, rhythmic shape, and mood of the two works—but Ravel dedicated his quartet “To my dear teacher Gabriel Fauré,” who was directing Ravel’s work at the Conservatory.

One of the most distinctive features of Ravel’s quartet is its cyclic deployment of themes: the first movement’s two main themes return in various forms in the other three movements, giving the quartet a tight sense of unity. Some have charged that such repetition precludes sufficient thematic variety, but Ravel subtly modifies the color, harmony, and mood of each reappearance of these themes so that from this unity comes enormous variety.

The first movement is marked Allegro moderato, but Ravel specifies that it should also be Très doux (“Very gentle”). The calm first subject is heard immediately in the first violin over a rising accompaniment in the other voices, and this leads—after some spirited extension— to the haunting second theme, announced by the first violin and viola, two octaves apart. The relatively brief development rises to a huge climax—Ravel marks it triple forte—before the movement subsides to close with its opening theme, now gracefully elongated, fading gently into silence.

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

The third movement—Très lent—is in free form, and perhaps the best way to understand this movement is to approach it as a rhapsody based loosely on themes from the first movement. Beneath these themes Ravel sets a rhythmic cell of three notes that repeats constantly,

but it remains an accompaniment figure rather than becoming an active thematic participant. The movement’s impression of freedom results in no small part from its frequent changes of both key and meter.

After the serene close of the third movement, the fourth—Agité—leaps almost abrasively to life. Agitated it certainly is, an effect that comes from its steadily driving double-stroked passages, and this mood continues across the span of the movement. The basic metric unit here is the rapid 5/8 heard at the beginning, though Ravel changes meter frequently, with excursions into 3/4 and 5/4. Once again, material from the first movement returns, and after several lyric interludes the finale takes on once again the aggressive mood of its opening and powers its way to the close.

Ravel’s quartet generated a mixed reaction at its première in 1904. One of those most critical was the dedicatee, Gabriel Fauré, who was especially bothered by the unorthodox finale, which he thought “stunted, badly balanced, in fact a failure.” But when Ravel, troubled by such criticism, turned to Debussy for his estimation, the latter offered the best possible response: “In the name of the gods of Music and for my sake personally, do not touch a note of what you have written.”

String Quartet in F Major, Opus 59, No. 1 LUDWIG VAN BEETHOVEN

Born December 16, 1770, Bonn

Died March 26, 1827, Vienna

Composed: 1806

Approximate Duration: 39 minutes

Count Andreas Kyrillovich Razumovsky, the Russian ambassador to Vienna, was an amateur violinist and a string quartet enthusiast who had studied with Haydn. When he commissioned a set of three string quartets from Beethoven in 1805, he could not possibly have known what he would receive in return. Beethoven had at that time written one set of six quartets (published in 1801 as his Opus 18), cast very much in the high classical mold as set out by Haydn and Mozart. Doubtless Razumovsky expected something on this order, and he provided Beethoven with some Russian themes and asked that he include one in each of the three quartets. The count further assisted the composer by putting at his disposal the count’s own string quartet, led by Beethoven’s friend Ignaz Schuppanzigh. Beethoven worked two years on these quartets, completing them in 1806 and publishing them two years later.

The three quartets Beethoven published as his Opus 59, known today as the Razumovsky Quartets, were so completely original that in one stroke they redefined the entire paradigm of the string quartet. These are massive works—in duration, sonority, and dramatic scope—and it is no surprise that they alienated their early audiences. Only with time did Beethoven’s achievement in this music become clear. Trying to take the measure of this new music, some early critics referred to the Razumovsky quartets as “symphony quartets,” but this is misleading, for the quartets are genuine chamber music. But it is true that what the Eroica did for the symphony, these quartets—and the two that followed in 1809 and 1810—did for the string quartet: they opened new vistas, entirely new conceptions of what the string quartet might be and of the range of expression it might make possible.

Schuppanzigh’s quartet is reported to have burst into laughter at their first reading of the Quartet in F Major, convinced that Beethoven had intended a joke on them. When Schuppanzigh complained about the difficulty of this music, Beethoven shot back: “Do you think I worry about your wretched fiddle when the spirit speaks to me?”

The Quartet in F Major, Opus 59, No. 1 is, at forty minutes, one of the longest of Beethoven’s quartets, and its opening Allegro is conceived on a gigantic scale. The movement springs to life with its main theme rising powerfully in the cello under steady accompaniment and then taken up by the first violin. This is an extremely fertile subject, appearing in many guises and giving the movement much of its rhythmic and melodic shape. It is entirely characteristic of Beethoven that this theme, which will unleash so much strength and variety across the span of the movement, should be marked dolce on its first appearance. There is no exposition repeat—the music seems to repeat, but Beethoven is already pressing forward—and the development centers on an unusual fugal passage introduced by the second violin. At the conclusion of the movement, the opening subject returns to drive to a massive climax marked by huge chords and slashing power. While this music is clearly conceived for string quartet, both in sonority and technique, it is exactly this sort of powerful climax that earned these quartets the nickname “symphony quartets.”

A curious feature of this quartet is that all four movements are (more or less) in sonata form. The second, Allegretto vivace e sempre scherzando, has an unusual shape, alternating scherzando sections with trios. The

opening rhythm—announced by the cello and consisting of only one note, a recurring B-flat—underlies the entire movement; this figure—one repeated note—particularly infuriated many early performers and listeners. The main theme itself, an oddly asymmetrical figure, appears in the fourth measure and takes up some of this rhythm.

The heartfelt third movement is built on two ideas: a grieving opening theme announced by the first violin (Beethoven marks it mesto: “sad”) and a steadily rising melody first played by the cello. The movement comes to a close as a quasi-cadenza for violin leads without pause to the finale, marked Thème russe. Here is the Count’s “Russian theme,” a folk melody played by the cello under a sustained violin trill. The blazing final movement is based primarily on this theme, and its energy level matches the power of the first two movements. Beethoven offers a final recall of this theme—at a very slow tempo—just before the Presto close.

PRELUDE 6 PM

Interview hosted by Robert John Hughes

DANILO PÉREZ, JOHN PATITUCCI, BRIAN BLADE LEGACY OF

WAYNE SHORTER

with SPECIAL GUEST MARK TURNER

SUNDAY, OCTOBER 27, 2024 · 7 PM

THE BAKER-BAUM CONCERT HALL

Danilo Pérez, piano

John Patitucci, bass

Brian Blade, drums

Mark Turner, saxophone

PROGRAM

Works to be announced from stage.

THIS PERFORMANCE HAS NO INTERMISSION

ABOUT

Among the most intensely admired composers in jazz, Wayne Shorter is a true legend whose career stretched over half a century. The golden era of this saxophonist’s extraordinary musical journey was marked by the formation of his quartet with Danilo Pérez, John Patitucci, and Brian Blade, who went forth to confound all preconceptions of jazz in a prolific 24 years of concerts and GRAMMY® Award-winning recordings. Shorter’s great musical legacy lives on through this kindred trio, as they take to Zero Gravity—a shared fearlessness espoused by their mentor and Zen guru. Frequently hailed as one of the most influential saxophonists of his generation, Mark Turner rounds out this inspired exploration of the unknown.

This performance marks Legacy of Wayne Shorter’s La Jolla Music Society debut.

PRELUDE 6:30 PM

Lecture by Kristi Brown-Montesano

HÉLÈNE GRIMAUD, piano

FRIDAY, NOVEMBER 8, 2024 · 7:30 PM

THE BAKER-BAUM CONCERT HALL

BEETHOVEN

Piano Sonata in E Major, Opus 109 (1770–1827)

Vivace, ma non troppo; Adagio espressivo

Prestissimo

Andante molto cantabile ed espressivo

BRAHMS

Three Intermezzi, Opus 117 (1833–1897)

No. 1 in E-flat Major: Andante moderato

No. 2 in B-flat Minor: Andante non troppo e con molto espressione

No. 3 in C-sharp Minor: Andante con moto

INTERMISSION

BRAHMS

Fantasies, Opus 116

Capriccio in D Minor

Intermezzo in A Minor

Capriccio in G Minor

Intermezzo in E Major

Intermezzo in E Minor

Intermezzo in E Major

Capriccio in D Minor

BACH/BUSONI

Chaconne from Partita No. 2 in D Minor for Unaccompanied (1685–1750)/ Violin, BWV 1004 (1866–1924)

Hélène Grimaud, piano

Hélène Grimaud last performed for La Jolla Music Society in the Piano Series on February 28, 2020.

Program notes by Eric Bromberger

Piano Sonata in E Major, Opus 109 LUDWIG VAN BEETHOVEN

Born December 16, 1770, Bonn

Died March 26, 1827, Vienna

Composed: 1820

Approximate Duration: 19 minutes

The years 1813–1821 were exceptionally trying for Beethoven. Not only was he having financial difficulties, but this was also the period of his bitter legal struggle for custody of his nephew Karl. Under these stresses, and with the added burden of ill health, Beethoven virtually ceased composing. Where the previous two decades had seen a great outpouring of music, now his creative powers flickered and were nearly extinguished; in 1817, for example, he composed almost nothing. To be sure, there was an occasional major work—the Hammerklavier Sonata occupied him throughout all of 1818—but it was not until 1820 that he put his troubles, both personal and creative, behind him and was able to marshal new energy as a composer.

When this energy returned, Beethoven took on several massive new projects, beginning work on the Missa Solemnis and making sketches for the Ninth Symphony. And by the end of May 1820 he had promised to write three piano sonatas for the Berlin publisher Adolph Martin Schlesinger. Although Beethoven claimed that he wrote these three sonatas—his final piano sonatas—“in one breath,” their composition was actually spread out over a longer period than he expected when he committed himself to write them—he completed the Sonata in E Major immediately, but ill health postponed the other two.

The Vivace, ma non troppo of the Sonata in E Major opens with a smoothly flowing theme that is brought to a sudden halt after only nine bars, and Beethoven introduces his second subject at a much slower tempo: Adagio espressivo. But after only eight measures at the slower tempo, he returns to his opening theme and tempo. The entire movement is based not on the traditional exposition and development of themes of the classical sonata movement but on the contrast between these two radically different tempos. Also remarkable is this movement’s concision: it lasts barely four minutes.

The Prestissimo that follows is somewhat more traditional—it is a scherzo in sonata form, full of the familiar Beethovenian power, with explosive accents

and a rugged second theme. But once again, the surprise is how focused the music is: this movement lasts two minutes.

It was often characteristic of the music of Beethoven’s heroic period that the first movements carried the emotional weight, as did the opening movements of the Eroica and the Fifth Symphony. But in the Sonata in E Major, the opening two movements combined last barely six minutes, not even half the length of the final movement, and this final movement ultimately becomes the emotional center of the sonata.

The Andante molto cantabile ed espressivo is a theme and six variations, followed by a repetition of the opening theme. The form is not remarkable, but the variations themselves are. In his youth Beethoven had made much of his reputation as a virtuoso pianist, and one of his specialties had been the ability to sit at the keyboard and extemporize variations on a given theme. The variation form as he developed it in his late period is much different from the virtuoso variations he had written in his youth. This set of variations is not so much a decoration of the original theme as it is a sustained organic growth in which each variation seems to develop from what has gone before. The theme itself is of the greatest dignity, and to Beethoven’s marking in Italian—molto cantabile ed espressivo—he further specifies in German Gesangvoll mit innigster Empfindung: “Singing with the deepest feeling.” Curiously, Beethoven never changes keys in this movement—the theme and all six variations remain in E major—and despite the wealth of invention and the contrasts generated by the different variations, the mood remains one of the most rapt expressiveness, perfectly summarized by the restatement of the original theme at the sonata’s close.

Three Intermezzi, Opus 117 JOHANNES BRAHMS

Born May 7, 1833, Hamburg

Died April 3, 1897, Vienna

Composed: 1892

Approximate Duration: 15 minutes

As he approached his sixtieth birthday, Brahms returned to the instrument of his youth, the piano. The young Brahms—the “heaven-storming Johannes,” as one of his friends described him—had established his early reputation as the composer of dramatic piano works: of his first five published works, three were big-boned piano sonatas, and he next produced a series of extraordinarily

difficult sets of virtuoso variations. And then suddenly, at age 32, Brahms walked away from solo piano music, and—except for some brief pieces in the late 1870s—that separation would last nearly three decades.

When the aging Brahms returned to the instrument of his youth, he was a very different man and a very different composer from the “heaven-storming Johannes” of years before. During the summers of 1892–93, Brahms wrote twenty brief piano pieces and published them in four sets as his Opp. 116–119. While perhaps technically not as demanding as his early piano works, these twenty pieces nevertheless distill a lifetime of experience and technical refinement into very brief spans, and in their focused, inward, and sometimes bleak way they offer some of Brahms’ most personal and moving music. Brahms himself described them as “lullabies of my pain.”

Brahms wrote the Three Intermezzi of his Opus 117 during the summer of 1892, spent at his favorite summer retreat, Bad Ischl, in the Alps near Salzburg. Brahms’ titles for his piano pieces were sometimes a little loose, but for him the term “intermezzo” seemed to imply music of a quiet, almost introspective nature. It is a cliché to call Brahms’ late music “autumnal,” but there is something darker still about these three intermezzi: they are spare, haunting, moving—almost bleak.

The first intermezzo in fact is a lullaby. At the top of the music Brahms wrote two lines of a German translation of the old Scottish ballad Lady Anne Bothwell’s Lament: Balou, my boy, lye still and sleep, It grieves me sore to hear thee weep.

The calm outer section (Brahms marks it “sweet, simple”) gives way to a more agitated middle episode in E-flat minor before the return of the opening material and the quiet close. The second intermezzo (Brahms stresses that he wants it played con molta espressione) hides its theme inside a quiet cascade of arpeggios—only gradually does the ear make out the long line of melody within this flow. The outer section offers some of the most wistful music Brahms ever wrote, and the mood changes little in the middle section: Brahms’ biographer Karl Geiringer suggests that this music portrays a “man as he stands with the bleak, gusty autumn wind eddying round him.” The final intermezzo opens with the ominous tread of the quiet main theme in C-sharp minor octaves. It has been compared to a funeral march, and the more animated middle section lightens the mood only briefly

before the return of the opening theme, now skillfully set as a middle voice within a complex harmony.

Verbal description does these three pieces no justice. This quiet and somber music may well be dark. It is also endlessly beautiful.

Fantasies, Opus 116

JOHANNES BRAHMS

Composed: 1892

Approximate Duration: 25 minutes

The seven pieces of Brahms’ Opus 116—also composed during the summer of 1892 at Bad Ischl— consist of three capriccios and four intermezzos. Brahms’ distinctions between capriccio, intermezzo, ballade, and rhapsody are often not so much a matter of form as of mood. Even the title of the set—Fantasies—suggests a freedom from strict form. In the very freest sense of these titles as Brahms uses them, however, we can note that capriccio suggests a dramatic piece, while intermezzo suggests a quieter, more restrained one. Most of these brief pieces are in ABA form: a first theme, a countermelody usually in a contrasting tempo and tonality, and a return to the opening material, usually varied on its reappearance.

This set of seven Fantasies is anchored firmly on its outer movements, each of which is a Capriccio in D Minor. The first, marked Presto energico, flies restlessly along its 3/8 meter; much of the writing is sharply syncopated, with the accent falling on the final beat. No. 2, an Intermezzo in A Minor, opens with a simple melody, built on Brahms’ characteristic three-againsttwo rhythm; the glistening—and brief—center section flows smoothly on sixteenth-notes before the return of the opening material, now extended to form the longest section of the piece. No. 3, Capriccio in G Minor, is quite dramatic. Brahms marks it Allegro passionato, and the whirlwind outer sections frame a noble and expansive march in E-flat major. By contrast, No. 4, an Intermezzo in E Major marked Adagio, feels wistful and tentative, with halting triplets in the left hand and a hesitant melody in the right. Brahms originally thought of titling this piece “Nocturne,” and the music’s dark atmosphere readily suggests why; rather than making a full return to the opening material, he merges both themes in the brief final section. No. 5, an Intermezzo in E Minor marked Andante con grazia ed intimissimo sentimento, opens with halting, pulsing two-note phrases that begin off the beat. There

is something broken and uneasy about this beginning, and the brief center section brings little relief, despite Brahms’ repeated markings of dolce and dolcissimo. This Intermezzo is not in ABA form but consists of two halves, both of which repeat. No. 6, an Intermezzo in E Major marked Andantino teneramente (“flowing tenderly”), moves along a steady pulse over chromatic harmonies; the melody—subtly embedded inside these chords— feels almost incidental to the music. The concluding Capriccio in D Minor, marked Allegro agitato, is the most dramatic of the set. Its violent beginning gives way to the middle section’s legato phrases, but even here the sharp syncopation contributes to an atmosphere of uneasiness. The powerful opening material, now sharply varied, returns to drive the set to its powerful close.

Chaconne from Partita No. 2 in D Minor for Unaccompanied Violin, BWV 1004

JOHANN SEBASTIAN BACH

Born March 21, 1685, Eisenach, Germany

Died July 28, 1750, Leipzig

Arranged for piano by

FERRUCCIO BUSONI

Born April 1, 1866, Empoli, Italy

Died July 27, 1924, Berlin

Composed: 1717–1720/1893

Approximate Duration: 14 minutes

The magnificent Chaconne that concludes the Partita No. 2 for Unaccompanied Violin is among the most intense music Bach ever wrote, and it has worked its spell on musicians everywhere over the last two and a half centuries. The violin is a linear instrument, and the full harmonic textures implied in the original seem to cry out for performances that can project these more satisfactorily than can the violin. The Chaconne has been transcribed for many other instruments and combinations of instruments, including several versions for keyboard: first by Joachim Raff and in 1877 by Brahms, who arranged it for left hand only. Brahms was almost beside himself with admiration for this music; to Clara Schumann he wrote: “If I could picture myself writing, or even conceiving such a piece, I am certain that the extreme excitement and emotional tension would have driven me mad.”

Ferruccio Busoni, who felt a similar excitement about the Chaconne, made his transcription some years after Brahms’ and first performed it at a concert in Boston in 1893. This was a period when Busoni was making piano transcriptions of Bach’s organ music, and at least

one scholar has suggested that Busoni conceived of the Chaconne as organ music (rather than violin music) and then—with that sonority in mind—proceeded to make a transcription for piano that would project an organ-like richness of sound. Busoni’s transcription is a fairly exact reproduction of Bach’s music: he makes only minor changes in the original, including the repetition of one brief phrase not repeated by Bach.

A chaconne is one of the most disciplined forms in music: it is built on a ground bass in triple meter over which a melodic line is repeated and varied. Here the four-bar ground bass repeats 64 times during the quarterhour span of the Chaconne, and over it Bach spins out gloriously varied music, all the while keeping these variations firmly anchored on the ground bass. At the center section Bach moves into D major, and here the music relaxes a little, content to sing happily for a while; after the calm nobility of this interlude, the quiet return of D minor sounds almost disconsolate. Bach drives the Chaconne to a great climax and a restatement of the ground melody at the close.

PRELUDE 2 PM

Musical Prelude by students from the Colburn School

TRIO BOHÉMO

SUNDAY, NOVEMBER 10, 2024 · 3 PM

THE BAKER-BAUM CONCERT HALL

SCHUBERT

Piano Trio in E-flat Major, D.929 (1797–1828)

Allegro

Andante con moto

Scherzo: Allegro moderato

Allegro moderato

INTERMISSION

DVOŘÁK

Piano Trio in E Minor, Opus 90 “Dumky” (1841–1904)

Lento maestoso; Allegro quasi doppio movimento

Poco adagio; Vivace non troppo

Support for this program is provided by: Gordon Brodfuehrer

Jeanette Stevens

MARIOS CHRISTOU

Andante; Vivace non troppo

Andante moderato; Allegretto scherzando

Allegro; Meno mosso

Lento maestoso; Vivace

Dvořák on Cyprus U.S. PREMIÈRE (b. 1978)

Trio Bohémo

Jan Vojtek, piano; Matouš Pěruška, violin; Kristina Vocetková, cello

This performance marks Trio Bohémo’s La Jolla Music Society debut.

Program notes by Eric Bromberger, except where indicated.

Piano Trio in E-flat Major, D.929 FRANZ SCHUBERT

Born January 31, 1797, Vienna

Died November 19, 1828, Vienna

Composed: 1827

Approximate Duration: 44 minutes

The première of the Trio in E-flat Major was one of the few public triumphs in Schubert’s brief life. It took place at a concert of his music given in Vienna on March 26, 1828, one year to the day—coincidentally—after Beethoven had died in that city. Schubert was lucky in his performers on that occasion. The violinist was Joseph Böhm, the cellist Joseph Linke, and the pianist Carl Maria von Bocklet—all three had been associated with Beethoven, who admired their playing. Schubert’s friends had been after him for some time to arrange such a concert, but the shy composer, reluctant to take on the financial risk, had always put it off. The audience, packed with Schubert’s friends, was wildly enthusiastic. The concert even turned a profit, and the composer found himself briefly wealthy—he used some of the money to go hear Paganini, who was appearing then in Vienna. Through the remainder of the year a stream of masterpieces seemed to leap from Schubert’s pen, including the final revision of the Ninth Symphony and the Fantasy in F Minor, as well as the composition of the last three piano sonatas, the Schwanengesang songs, and the Cello Quintet. But that stream would come to a sudden stop in November—eight months after his triumphant concert, Schubert was dead at age 31.

The highlight of the March concert had been this trio, written the previous November. Lasting three-quarters of an hour, it is of gigantic proportions for a piano trio. Some critics have felt that it is too long, but most listeners— charmed by Schubert’s melodies, the wonderful harmonic freedom of his late music, and the trio’s high spirits— would not wish it one instant shorter.

The Allegro opens with its first theme, a powerful unison figure three octaves deep. This theme is only six measures long, but in that brief space Schubert has already modulated from E-flat major to C minor. Almost instantly, a countertheme spins off this main idea, and later in the movement still another theme grows out of this opening idea—it is as if that basic shape is so pregnant and Schubert’s melodic gift so fertile that themes are being

born in front of us. The quiet second subject is first heard in the piano over steady strings. The long development moves easily over silvery piano triplets before the concluding cadence, which ingeniously combines both main themes.

The Andante con moto begins with an accompaniment that is brilliant in its understatement—rather than offering a steady rhythm, Schubert gives the piano an odd little hop, and that asymmetric hop is the difference between routine and inspired writing. Over it, the cello sings the soaring and noble main melody. This opening appears to have had an unusual inspiration: in November 1827, just as he was beginning work on this trio, Schubert heard a recital by the Swedish tenor Isak Albert Berg, and among the Swedish songs sung on that occasion was one whose main theme-shape anticipates Schubert’s theme here. The movement rises to a huge climax, marked triple forte, before concluding quietly on the opening theme.

The third movement is marked Scherzo: Allegro moderato, though in a letter to his publisher Schubert referred to it as a “minuet.” While it retains some of the shape of the classical minuet, it is much too fiercely argued to be dance music, and its real identity lies somewhere in that area between scherzo and minuet. Schubert builds the outer sections on canons, while the trio is full of energy. The concluding Allegro moderato is an extended movement, but in its original form it was even longer—Schubert had made cuts even before he sent it to his publisher. The movement flows along agreeably, and in an unusual example of cyclic writing Schubert twice brings back the big cello tune—the socalled “Swedish” theme—from the slow movement. The reappearance of this theme, now varied rhythmically, is one of the most striking moments in this striking music.

Piano Trio in E Minor, Opus 90 “Dumky” ANTONÍN DVOŘÁK

Born September 8, 1841, Mühlhausen, Bohemia

Died May 1, 1904, Prague

Composed: 1891

Approximate Duration: 32 minutes

Dumky is the plural form of the Russian dumka, a type of Slavonic ballad—perhaps of Ukrainian origin— characterized by a dark and elegiac character. In his “Dumky” Trio, Dvořák makes an important change in this form: to the melancholy music of the traditional dumka, he adds fast and jubilant music, so that each of his movements consists of sharply contrasted parts. Dvořák

began work on the “Dumky” Trio in November 1890 and completed it on February 12, 1891. When he played the piano part at the first performance in April 1891, Dvořák was a few months short of his fiftieth birthday and at the height of his powers. During the previous year, he had conducted the première of his Eighth Symphony, and in June 1891 would come double honors: he received an honorary degree from Cambridge and was invited to become director of the National Conservatory of Music in New York. Dvořák played the piano in a series of farewell concerts featuring the “Dumky” Trio before departing in the fall of 1892 for his new position in the New World.

The last of Dvořák’s four piano trios, the “Dumky” has an unusual form, consisting of six dumka movements, each with slow and fast sections. The first three are played without pause, the fourth dumka is primarily a slow movement, the fifth primarily a fast one, and the sixth shows some elements of the rondo-finale, and so Dvořák’s highly unusual structure may be said—if one needs or wants to understand it that way—to conform to the four-movement shape of the standard piano trio. Far better, though, to take this highly original music, which annihilates sonata form, on its own terms.

The “Dumky” Trio is powerfully expressive music, ranging in emotional extremes from fragmentary, grieving slow phrases that often sound right out of Janáček to fast sections much like Dvořák’s own buoyant Slavonic Dances. The odd combination of dark music side-by-side with bright is curiously satisfying, the elegiac and festive sides of Dvořák’s soul flashing out by turns in this intense music. The Lento maestoso opens with falling piano triplets that soon give way to ascetically lean and beautiful string lines; at the Allegro vivace, quasi doppio movimento the music leaps brightly forward, and these two sections alternate before leading directly into the second dumka: Poco adagio. Here the somber and steady opening pulse gradually leads to a dancing Vivace non troppo, where the violin flies quietly but brilliantly over staccato piano accompaniment; along the way Dvořák offers a brief cello cadenza. The third—Andante—is built on the piano’s chaste opening melody, played at first only by the right hand; the fast section—as in the second dumka—belongs to the violin. The fourth dumka Andante moderato—has the feel of a slow movement because the fast sections are brief and restrained, almost a part of the fabric of the overall slow tempo. In a similar way, the fifth—Allegro functions as the work’s fast movement because it opens at

a fast tempo and, despite some slow interludes, remains largely at this pace. The opening of the Lento maestoso is dark, grieving, painful, as are the Lento interludes. Dvořák binds them together with vigorous dance sections.

Dvořák on Cyprus U.S. PREMIÈRE MARIOS CHRISTOU

Born April 14, 1978, Nicosia, Cyprus

Composed: 2022

Approximate Duration: 10 minutes

Dvořák on Cyprus is in a way a continuation to my previous composition Beethoven in Greece from 2016. It was commissioned by Trio Bohémo. Trio approached me in a desire for a ‘Czech’ composition, but with a touch of Greek style and with plenty of humour. It is a result of playful composing: it is based on a fantasy, where Antonín Dvořák secretly paid a visit to a culturally distant and exotic place, an island of Cyprus. There, under the strong influence of local music, he writes a composition that combines elements of two very distant worlds—the music world of Antonín Dvořák as we know it and the world of Cypriot folk music. Dvořák knew that such a composition would have not been accepted in his time. For that reason, he decides to leave the score in an old Cypriot monastery. The score also contains a note, explaining the circumstances of the creation of the piece and the reason why he left the score to its fate. Much later, the piano trio is discovered by a Cypriot composer living in Prague and ever since then it is being performed under his name.

—Marios Christou

SUNDAY, NOVEMBER 17, 2024 · 3 PM

BALBOA THEATRE

Music performed live by Banda de la Casita

Today’s performance lasts approximately 2 hours including a 20-minute intermission. The performance is a presentation of the complete film of Disney’s Encanto with live music performed by Banda de la Casita. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the end credits.

DISNEY ENCANTO

DIRECTOR

Byron Howard, Jared Bush

CO-DIRECTOR

Charise Castro Smith

ORIGINAL SCORE

Germaine Franco

ORIGINAL SONGS

Lin-Manuel Miranda

PRODUCER

Clark Spencer, Yvett Merino

SCREENPLAY

Jared Bush, Charise Castro Smith, Lee Unkrich, Jason Katz, Matthew Aldrich, Adrian Molina

FILM VOICE CAST

Mirabel

“Abuela” Alma Madrigal

Agustín Madrigal

Dolores Madrigal

Isabela Madrigal

Félix Madrigal

Julieta Madrigal

Luisa Madrigal

Camilo Madrigal

Pepa Madrigal

Antonio Madrigal

Bruno Madrigal

Stephanie Beatriz

María Cecilia Botero

Wilmer Valderrama

Adassa

Diane Guerrero

Mauro Castillo

Angie Cepeda

Jessica Darrow

Rhenzy Feliz

Carolina Gaitán

Ravi Cabot-Conyers

John Leguizamo

This performance marks Encanto: The Sing-Along Film Concert’s La Jolla Music Society’s debut.

Disney Encanto: The Sing-Along Film Concert

Music performed live by

Banda de la Casita

AMP and Disney Concerts presents “ENCANTO: THE SING-ALONG FILM CONCERT” National Tour! Experience the film Encanto while singing along with its chart-topping hits, performed by the live band, Banda de la Casita. Encanto lovers of all ages have the opportunity to sing along with their favorite GRAMMY®-Award winning songs performed by a live band while watching the full film. Produced by AMP Worldwide, “Encanto: The Sing-Along Film Concert” will include all the music of the Academy Award®-winning film, including iconic hits like “We Don’t Talk About Bruno” and “Surface Pressure” performed live. Fans are encouraged to dress up as Mirabel, Luisa, Isabela, or any of their favorite characters from the film and to use their voices to transform each venue into one big celebration of the Madrigal family.

About the Movie:

Walt Disney Animation Studios’ Encanto tells the tale of an extraordinary family, the Madrigals, who live hidden in the mountains of Colombia, in a magical house, in a vibrant town, in a wondrous, charmed place called an Encanto. The magic of the Encanto has blessed every child in the family with a unique gift from super strength to the power to heal—every child except one, Mirabel (voice of Stephanie Beatriz). But when she discovers that the magic surrounding the Encanto is in danger, Mirabel decides that she, the only ordinary Madrigal, might just be her exceptional family’s last hope. Released on Nov. 24, 2021, the film features all-new songs by Emmy®, GRAMMY® and Tony Award® winner LinManuel Miranda (Hamilton, Moana) and is directed by Byron Howard (Zootopia, Tangled) and Jared Bush (co-director, Zootopia), co-directed by Charise Castro Smith (writer, The Death of Eva Sofia Valdez), and produced by Clark Spencer and Yvett Merino; Bush and Castro Smith are screenwriters on the film.

Banda de la Casita:

Banda de la Casita is the on-stage band bringing the magical, musical world of Disney “Encanto: The Sing-Along Film Concert” to life during the live-to-film concert experience! The Banda’s vibrant and dynamic performances of the treasured songs from the movie infuses each note with the spirit and energy of the film’s original soundtrack. Featuring a blend of traditional Colombian rhythms and contemporary styles, Banda de la Casita captures and celebrates the heart and la familia of Encanto.

BANDA DE LA CASITA

Veronica Mosquera, host/cuatro

Erica “Kika” Parra, music director & percussion

Channo Tierra, accordion

Juan Arango, guitar

Ramiro Marziani, guitar

Jader Torres, bass

Morris Cañate, percussion

Roland Polo, percussion

Roberto de Jesús Cuao Rivera, drum set

Company Manager

Rachel Lantow

Production Manager Joseph Bingham

TOUR STAFF

Audio Engineer Mario Alonso

Company Driver Todd McClain

SPECIAL THANKS TO:

Diane Burrell, Tour Logistics Coordinator

Mike Kasprzyk, Black Ink Presents

Travis McHale, Lighting Design

Road Rebel Global, Hotel Arrangements

L.A. Percussion & Backline Rentals

Clair Global, Audio Equipment

Kai Cuffee, Production Assistant

About Disney Concerts

Disney Concerts is the concert production and licensing division of Disney Music Group, the music arm of The Walt Disney Company. Disney Concerts produces concerts and tours, and licenses Disney music and visual content to symphony orchestras, choruses, choirs and presenters on a worldwide basis. Disney Concerts’ licensed concert packages include a variety of formats, such as “live to film” concerts and themed instrumental and vocal compilation concerts that range from instrumental-only symphonic performances to multimedia productions featuring live vocalists and choir. Featuring concerts from the largest movie franchises in the world—from Walt Disney Pictures, Walt Disney Animation Studios, Marvel Studios, Lucasfilm, Pixar and 20th Century Studios—current titles include the Star Wars Film Concert Series, Toy Story, Aladdin, Disney Princess - The Concert, Coco, The Lion King, Up, Tim Burton’s The Nightmare Before Christmas and The Muppet Christmas Carol.

PRELUDE

6:30 PM

Lecture by Michael Gerdes

BARBARA HANNIGAN, soprano BERTRAND CHAMAYOU, piano

THURSDAY, DECEMBER 5, 2024 · 7:30 PM

THE BAKER-BAUM CONCERT HALL

MESSIAEN

Chants de terre et de ciel for Soprano and Piano (1908–1992)

Bail avec Mi

Antienne du silence

Danse du bébé-pilule

Arc-en-ciel d’innocence

Minuit pile et face

Résurrection

Barbara Hannigan, soprano; Bertrand Chamayou, piano

Support for vocal music programs is provided by: Mary Ellen Clark

SCRIABIN

Poème-Nocturne, Opus 61 (1872–1915) Vers la flamme, Opus 72 Bertrand Chamayou, piano

JOHN ZORN

Jumalattaret for Soprano and Piano (b. 1953)

Proem—Opening Invocation

I.Päivätär (Sun Goddess)

II.Vedenemo (Mother of Waters)

III.Akka (Queen of the Ancient Magic)

IV.Louhi (Hostess of the Underworld)

V.Mielikki (The Huntress)

VI.Kuu (Moon Goddess)

VII.Tellervo (Forest Spirit)

VIII.Ilmatar (Air Spirit)

IX.Vellamo (Goddess of the Sea)

Postlude

Barbara Hannigan, soprano; Bertrand Chamayou, piano

THIS PERFORMANCE HAS NO INTERMISSION

This performance marks Barbara Hannigan’s and Bertrand Chamayou’s La Jolla Music Society debuts.

OLIVIER MESSIAEN

Chants de terre et de ciel

Poems/ Texts by the composer

I. Bail avec Mi (pour ma femme)

Ton oeil de terre, mon oeil de terre, nos mains de terre, Pour tisser l’atmosphère, la montagne de l’atmosphère.

Étoile de silence à mon coeur de terre, à mes lèvres de terre,

Petite boule de soleil complémentaire à ma terre.

Le bail, doux compagnon de mon épaule amère.

II. Antienne du silence

(pour le jour des Anges gardiens)

Ange silencieux, écris du silence dans mes mains, alléluia. Que j’aspire le silence du ciel, alléluia.

III. Danse du bébé-Pilule (pour mon petit Pascal)

Pilule, viens, dansons.

Malonlanlaine, ma.

Ficelles du soleil.

Malonlanlaine, ma.

C’est l’alphabet du rire aux doigts de ta maman.

Son oui perpétuel était un lac tranquille. Malonlanlaine, ma, ma.

Douceur des escaliers, surprise au coin des portes.

Tous les oiseaux légers s’envolaient de tes mains.

Oiseaux légers, cailloux, refrains, crème légère.

En poissons bleus, en lunes bleues

Les auréoles de la terre et de l’eau, Un seul poumon dans un seul roseau. Io, io, malonlaine, ma, malonlaine etc.

L’oeil désarmé, un ange sur la tête, ton petit nez levé

Vers le bleu qui s’avale, ourlant de cris dorés.

Les horizons de verre, tu tendais ton coeur si pur. Chanter, chanter, chanter, ah! chanter, Glaneuses d’étoiles, tresses de la vie, Pouviez-vous chanter plus délicieusement?

Le vent sur tes oreilles, malonlanlaine, ma, Joue à saute-mouton, malonlanlaine, ma. Et la présence verte et l’oeil de ta maman. En effeuillant une heure autour de mon sourire. Malonlanlaine, ma.

Autour de mon sourire. Malonlanlaine, ma, ma, ma, ma, io!

Ha, ha, ha, ha, ha! Io, io!

Songs of Earth and Heaven

I. A pact with Mi (for my wife)

Your eye of earth, my eye of earth, our hands of earth, To weave the atmosphere, the mountain of the atmosphere. Star of silence for my heart of earth, for my lips of earth, Little ball of sun complementary to my earth. The pact, sweet companion of my bitter shoulder.

II. Antiphon of silence

(for the feast of guardian angels)

Silent angel, inscribe some silence in my hands, alleluia. That I might breathe the silence of heaven, alleluia.

III. Dance of my Baby Pilule (for my little Pascal)

Pilule, come, let’s dance, Malonlanlaine, ma.

Strands of the sun, Malonlanlaine, ma.

It’s the alphabet of laughter on your mother’s fingers.

Her perpetual Yes was a peaceful lake.

Malonlanlaine, ma, ma.

Sweetness of stairs, surprise behind doors.

All the light birds fluttered from your hands.

Light birds, pebbles, refrains, light cream.

Shaped like blue fish, like blue moons,

Haloes of earth and water,

A single lung in a single reed. Io, io malonlaine, ma, malonlaine etc.

A disarmed eye, an angel on your head, your little nose lifted up

Towards the low blue which is swallowed up, hemmed with golden cries.

The glass horizons, you held out your heart so pure.

To sing, to sing, to sing, ah! to sing, Gleaners of stars, tresses of life, Could you have sung more deliciously?

The wind over your ears, malonlanlaine, ma, Is playing leap-frog, malonlanlaine, ma.

And the green presence and your mother’s eye.

An hour shedding its petals around my smile.

Malonlanlaine, ma.

Around my smile, Malonlanlaine, ma, ma, ma, ma, io!

Ha, ha, ha, ha, ha! Io, io!

IV. Arc-en-ciel d’innocence (pour mon petit Pascal)

Pilule, tu t’étires comme une majuscule de vieux missel, Tu es fatigué ; regarde ta main.

Jouet incassable, les ressorts fonctionnent toujours;

Mais on ne peut pas le lancer par-dessus bord

Comme la jolie poupée en coton.

Rêve aux plis de l’heure ;

Tresse, tresse des vocalises autour du silence:

Le soleil t’écrira sur l’épaule du matin

Pour lancer des oiseaux dans ta bouche sans dents.

Sourire, sourire, ce que tu chantes, chanter, chanter, T’a appris à sourire.

Ce que tu ne vois pas, sauras-tu en rêver?

Viens, que je te catapulte dans le jour

Comme la libellule aviateur!

Te voilà plus haut que moi;

Quel plaisir de dominer tous ces géants!

Attache à tes poignets fins les arcs-en-ciel d’innocence

Qui sont tombés de tes yeux,

Fais-les frémir dans les encoignures du temps.

Très loin, très près;

Recommençons cent fois le jeu!

Où est-il ? Si haut qu’on ne le voit plus?

Saute, mon bilboquet Pilule!

Tu t’agites comme un battant de cloche pascale.

Bonjour, petit garçon.

V. Minuit pile et face (Pour la mort)

Ville, oeil puant, minuits obliques, Clous rouillés enfoncés aux angles de l’oubli.

Agneau, Seigneur!

Ils dansent, mes péchés dansent!

Carnaval décevant des pavés de la mort. Grand corps tout pourri des rues, sous la dure lanterne.

Carrefour de la peur!

Couverture de démence et d’orgueil!

Rire, aiguise-toi, rire, avale-toi!

Ces flambeaux sont des montagnes de nuit. Noeuds bien serrés de l’angoisse.

Bête inouïe qui mange.

Qui bave dans ma poitrine.

Tête, tête, quelle sueur!

Et je resterais seul à la mort qui m’enroule!

Père des lumières, Christ, Vigne d’amour, Esprit consolateur,

Consolateur aux sept dons!

Cloche, mes os vibrent, chiffre soudain, Décombres de l’erreur et des cercles à gauche, Neuf, dix, onze, douze.

Oh ! M’endormir petit!

Sous l’air trop large, dans un lit bleu, La main sous l’oreille, Avec une toute petite chemise.

IV. Rainbow of innocence (for my little Pascal)

Pilule, you stretch like the first letter of an ancient missal

You are tired; look at your hand.

Unbreakable toy, the springs are still working;

But you can’t discard this one

Like some pretty rag-doll.

Dream in the folds of the hour; Weave, weave vocalises around silence:

The sun will write to you on the shoulder of morning

To cast birds into your toothless mouth.

Smile, smile, that which you are singing, sing, sing, Has taught you to smile.

That which you do not see, can you dream of it?

Come, let me catapult you into the day

Like an aviator-dragonfly!

There you are, higher than me:

How lovely to dominate all these giants!

Tie to your little wrists rainbows of innocence

That have fallen from your eyes,

Make them quiver in the corners of time.

Very distant, very near;

Let’s play the game a hundred times over!

Where is he? So high he cannot be seen?

Jump, my cup-and-ball Pilule!

You jump around like the clapper of a paschal bell.

Hello, little boy.

V. Midnight heads and tails

City, stinking eye, oblique midnights, Rusty nails driven into the corners of oblivion.

Lamb, Lord!

They dance, my sins dance!

Carnival of disillusion of death’s cobblestones.

The streets a great rotting corpse, beneath the lantern’s harsh light. Crossroad of fear!

Blanket of madness and pride!

Laughter, grow more shrill! laughter, swallow yourself! These torches are mountains of night.

Tightly pulled knots of anguish.

Unknown beast that devours

That drools on my chest

Head, head, such sweat!

And I’ll be left alone to the death that envelops me!

Father of lights, Christ, Vine of love, Comforting spirit, Comforter of the seven gifts!

Bell, my bones vibrate, a sudden cypher, Ruins of error and circles on the left, Nine, ten, eleven, twelve.

Oh! Fall asleep, little one!

Beneath the too broad air, in a blue bed, The hand under the ear,

With a tiny night-shirt on.

BARBARA HANNIGAN &

VI. Résurrection (pour le jour de Pâques)

Alléluia, alléluia.

Il est le premier, le seigneur Jésus. Des morts il est le premier-né Sept étoiles d’amour au transpercé,

Revêtez votre habit de clarté.

‘Je suis ressuscité, je suis ressuscité, Je chante: pour Toi, mon Père, pour Toi, mon Dieu, alléluia.

De mort à vie je passe.’

Un ange

Sur la pierre il s’est posé.

Parfum, porte, perle, azymes de Vérité. Alléluia, alléluia.

Nous l’avons touché, nous l’avons vu.

De nos mains nous l’avons touché.

Un seul fleuve de vie dans son côté, Revêtez votre habit de clarté.

‘Je suis ressuscité, je suis ressuscité.

Je monte: vers Toi, mon Père, vers Toi, mon Dieu, alléluia.

De terre à ciel je passe.’

Du pain.

Il le rompt et leurs yeux sont dessillés.

Parfum, porte, perle, lavez-vous dans la Vérité.

JOHN ZORN

Jumalattaret for Soprano and Piano

From the Finnish poem Kalevala from Finnish folklore and mythology

Texts and Translations

Proem—Opening Invocation

Mieleni minun tekevi, aivoni ajattelevi

lähteäni laulamahan, saa’ani sanelemahan, sukuvirttä suoltamahan, lajivirttä laulamahan. Sanat suussani sulavat, puhe’et putoelevat, kielelleni kerkiävät, hampahilleni hajoovat. ylistykseksi jumalattaret!

III. Akka

Viel’ on muitaki sanoja, ongelmoita oppimia

IV. Louhi

siitti siivet sulkinensa kuuhuen käsin tavoitti

VII. Tellervo

Keksi piirtämän kivessä, valeviivan kalliossa.

VI. Resurrection (for Easter Day)

Alleluia, alleluia.

He is the first, the Lord Jesus. He is the first-born of the dead.

Seven stars of love for the pierced one, Put on your garment of light.

‘I have risen again, I have risen again; I sing: for Thee, my Father, for Thee, my God, alleluia.

I pass from earth to sky.’

An angel.

He has alighted on the stone.

Perfume, gate, pearl, unleavened bread of Truth.

Alleluia, alleluia.

We have touched Him, we have seen Him. With our hands we have touched Him.

A single stream of life in His side, Put on your garment of light.

‘I have risen again, I have risen again.

I ascend: to Thee, my Father, to Thee, my God, alleluia. I pass from death to light.’

Bread.

He breaks it and their eyes are opened.

Perfume, gate, pearl, wash yourselves in Truth.

mastered by impulsive desire, by a mighty inward urging, I am now ready for singing, ready to begin the chanting in praise of the goddesses!

there are other words of magic, incantations I have learned

made a pair of feathered wings, with her bare hands by her magic

secret sign drawn on the rock

VIII. Ilmatar

Parempi olisi ollut ilman impenä elää

Postlude

Ellös täältä ilman pääskö,nousko, kuu, kumottamahan, pääskö, päivä, paistamahan, kun en käyne päästämähän, itse tulle noutamahan yheksän orihin kanssa, yhen tamman kantamalla!

Program notes by Eric Bromberger, except where indicated.

Chants de terre et de ciel

OLIVIER MESSIAEN

Born December 10, 1908, Avignon, France

Died April 27, 1992, Paris

Composed: 1938

Approximate Duration: 27 minutes

better had it been for me to have stayed the airy virgin

Moon of gold and Sun of silver, Hide your faces in the caverns Of Pohyola’s dismal mountain; Shine no more to gladden Northland, Till I come to give ye freedom, Drawn by coursers nine in number, Sable coursers of one mother!

really “settings” because the poems became music at the same instant they became word.

In 1932 Olivier Messiaen, then 24 years old, married Claire Delbos, who was not only an excellent violinist but an enthusiastic champion of new music. He was devoted to her, and his happiness in those years quickly found expression in music: his Poèmes pour Mi (1936) is a cycle of nine love-songs on poems that Messiaen had written for his wife. The following year the couple had a son, named Pascal, and in 1938 Messiaen wrote a group of six songs, again on his own poems, celebrating marriage and family life. His original title was Prismes: Six poèmes d’Olivier Messiaen, but he eventually changed that title to Chants de terre et de ciel: “Songs of the Earth and Heavens.”

Yet these songs are more than just a depiction of happy domestic life. Throughout his life, Messiaen was a devout Roman Catholic who regarded married love as a sacrament in a very literal sense. For Messiaen, the spirituality of his love for God, the sensuality of his love for his wife, and their love for their baby son were inseparable. Poèmes pour Mi has been said to reflect “his passionate Christian vision of family life,” and the same may be said of Chants de terre et de ciel. Messiaen himself made this clear, noting that he wanted here “to compose a religious, Catholic work.” Messiaen preferred to set his own poems because poetry and music occurred simultaneously to him; in that sense, these songs are not

Messiaen was 30 when he wrote these songs, and while they remain clear, lyric, and expressive throughout, already they display some of the rhythmic complexity that would mark his later music. There are no time signatures here: Messiaen uses bar-lines, but they are present only as brief metric subdivisions to indicate phrasing; rhythms and phrases are often asymmetric and the music rings with the sound of chord clusters. Several of the songs have key signatures, but many of Messiaen’s melodic lines are based on modes.

The songs of Chants de terre et de ciel can be easily followed, but a few comments may be helpful. While these six songs do not form a music drama, there is a sort of progress across them: while there can be dark moments, the Chants de terre et de ciel offer a journey full of love, devotion, and celebration, and the set concludes with an ecstatic celebration of the Resurrection. Messiaen wrote Bail avec Mi specifically for his wife (“Mi” was his nickname for her). This is a song of devotion and union, offering a simple, heartfelt vocal line over the sparest of piano accompaniments. Throughout, the pianist plays a rippling refrain-like pattern high in the right hand, and eventually the song concludes on this delicate splash of color.

The second song, Antienne du silence (“Anthem of Silence”), is dedicated to the Guardian Angels. This is an ecstatic song, full of Alleluias and featuring a soaring vocal line that rides above a steady pulse of sixteenthnotes from the piano. The piano part, written on three staves, is extraordinarily difficult.

The next two songs were written for Messiaen’s son Pascal. Danse du bébé-pilule (“baby-pill”) is marked

“Fast and joyful,” and it incorporates the sound of laughter and long vocalizations on the syllable “ma.” Messiaen said that this song was about the “exuberant and unbounded enchantment of childhood,” and it ends triple forte. Arc-en-ciel d’innocence (“Rainbow of Innocence”) is a more relaxed song, full of smiling and singing. Messiaen formally welcomes his son in the final line: “Bonjour, petit garçon.”

Things turn serious in the fifth song, which Messiaen described as “the heart of the work.” It is titled Minuit, but this is elaborated as pile et face: “tail and head.” This is a nightmare song, written (Messiaen said) “for death.”

A tough fugue in the piano propels the song along its way.

The concluding Résurrection was written for Easter Day. That event is proclaimed with ecstatic “Alleluias” from the soprano, whose melodic line is punctuated by great chords from the piano that ring out like church bells. Messiaen dedicated this song to his one-year-old son, in the process playing on his son’s name Pascal and the French word for Easter: Pâques.

Poème-Nocturne, Opus 61

Vers la flamme, Opus 72

ALEXANDER SCRIABIN

Born January 6, 1872, Moscow

Died April 27, 1915, Moscow

Composed: 1911/1914

Approximate Duration: 8 minutes/6 minutes

Poème was one of Scriabin’s favorite titles, but he did not understand that title to have a precise formal meaning. Instead, it was a general title he used for pieces with a particularly intense expressive quality. Scriabin composed about twenty piano pieces that he titled some form of Poème, and he also used that title for dramatic orchestral works like his Poem of Ecstasy and Prometheus, Poem of Fire. Each of his two works on this program was originally titled some form of “Poème,” but they are quite different pieces, suggesting how general that title was for the composer. Both come from late in Scriabin’s brief life.

Scriabin composed his Poème-Nocturne in 1911, at a time when he was developing new ideas about harmony and musical form. Yet at this same time Scriabin could be profoundly aware of the past. Early in his career he had been influenced by Chopin and had written in many of the forms favored by that master: preludes, mazurkas, waltzes, études, and so on, and now Scriabin returned to one of the forms we identify strongly with Chopin, the nocturne. Chopin’s nocturnes offered not just subdued “night-

music,” but a range of many different kinds of music, and here Scriabin does the same thing. His Poème-Nocturne is only about eight minutes long, and it pitches between quite different moods—one moment it can be mysterious and withdrawn, the next it can erupt with unexpected violence. Chopin might have recognized the form here, but he would have been astonished by Scriabin’s harmonic complexity and rhythmic freedom, and by the Poème-Nocturne’s sudden and enigmatic conclusion.

One of the remarkable things about Scriabin’s music is the range of performance instructions (in French) he included in his scores. An audience, of course, would be entirely unaware of these, but they give a performer some idea of Scriabin’s sense of what is happening in the music and how it should be performed. A tiny sampling of these instructions in the score to the Poème-Nocturne: “with a capricious grace,” “like a moving shadow,” “with a sleeping voluptuousness,” “like a dream,” “with a growing passion,” “gentle, limpid,” “as a confused murmur,” and— at several points—“crystalline, pearly.”

Scriabin composed his final Poème in 1914, only a few months before his death at age 42. He at first intended that he would develop this material into his Piano Sonata No. 11, but he was under financial pressure, and he published it quickly under the title Vers la flamme–Poème (we know the piece better under the simpler title Vers la flamme: “Towards the Flame”). It is essentially a tiny music-drama inspired by a vision Scriabin had of the earth being consumed in flame. The music begins very quietly (the marking is sombre) with Scriabin’s complex “mystic chord,” a complex, unresolved chord spread across several octaves. Here that chord is at first meant to depict a flickering candle, and the music then grows in excitement and power as it is drawn ecstatically into that flame. This is a work of stupefying difficulty for the pianist, who must master complex textures, multiple layers of quite different rhythms (parts of this piece are written on three staves), and sustained trill-like passages that require the pianist to “trill” the top notes on four different keys (there is a performance available on the internet in which an aged Vladimir Horowitz discusses these difficulties before playing Vers la flamme).

Particularly revealing are Scriabin’s performance instructions to the pianist in the score: “With growing emotion,” “with a veiled joy,” “with a more and more tumultuous joy,” “brilliant, luminous,” as the music rushes toward ecstatic union with the flame.

Jumalattaret for Soprano and Piano

JOHN ZORN

Born September 2, 1953, Queens, New York

Composed: 2012

Approximate duration: 25 minutes

Program note for Jumalattaret written by John Zorn and Barbara Hannigan

Using pieces of texts from the epic Finnish tale the Kalevala, Jumalattaret (2012) is a song cycle in praise of nine Finnish Goddesses out of Sami Shamanism: Päivätär, goddess of summer—Vedenemo, the mother of waters—Akka, goddess of the underworld—Louhi, a powerful witch and shapeshifter—Mielikki, the goddess of the hunt—Kuu, the moon goddess—Tellervo, goddess of forests—Ilmatar the virgin spirit of air—Vellamo, the goddess of water. The music uses a variety of musical techniques and genres, and moves from lyrical folklike simplicity to more complex atonal and textural pyrotechnics.

John Zorn:

Barbara Hannigan was in New York City performing George Benjamin’s Written on Skin at Lincoln Center in the summer of 2015. We met for the very first time, introduced by mutual friends, for a memorable lunch at the Thai restaurant Som Tum Der on Avenue A. We stayed for hours talking candidly about music, life, collaboration, improvisation, the classical world, conductors, and so much more. It was deeply inspiring—and we began to imagine a path forward. Remembering Jumalattaret, I sent her the score and proposed it as our first adventure together.

Barbara Hannigan:

Meeting John back in 2015 was a turning point in my life as a creative person. The connection between us as musicians was immediate and magnetic. I began working on Jumalattaret in 2016 17, but realized quite quickly that I’d met my “Waterloo” in its virtuosic demands. I was not sure I would manage it, even though I had tackled many “impossible” pieces before. Finally I mustered the courage to write to John with my concerns. I was hoping he might make a few corners of it a little more “possible” for me to manage.

We exchanged several emails, and John was incredibly deep in his response to the vulnerabilities I was sharing with him.

I’d never experienced anything like this kind of support with a composer. He was not offended. He was really with me in the struggle.

John wrote the following to me:

One cannot transcend anything by staying on safe ground. And it is in these intense moments that we can find deeper truths, bring mind and heart together—and begin to understand the soul and its workings.

In that courageous moment of letting go and going for it, the music will become alive in a special and heroic way—a way that is beyond just the notes on paper.

John Zorn:

The long journey toward Barbara’s mastery of the piece is beautifully told in Mathieu Amalric’s insightful documentary Zorn III, which is focused on our backand-forth communications, and the long process of Barbara learning, struggling, rehearsing, and performing Jumalattaret.

Barbara Hannigan:

Because of John’s belief in me, I felt overcome with a new energy and summoned all my strength to throw myself into the music until I was completely immersed in it and it became a part of me. I have performed it many times now at festivals celebrating John Zorn’s music, and wanted to put it into a new performance context, programming it together with Messiaen’s song cycle Chants de terre et de ciel. Both works are deeply spiritual, mysterious, tender and ecstatic. While the Messiaen cycle has a more male-dominated focus (the God of the Catholic faith), the Zorn is inspired by female power, as are many of John’s compositions.

John has gone on to write another five works for my voice, with various combinations of instruments and not a season goes by that I am not singing his music, somewhere. He has become a very dear friend and inspiring mentor.

KINGS ReJOYCE! JOYCE DiDONATO & KINGS RETURN with CRAIG TERRY

SATURDAY, DECEMBER 7, 2024 · 7:30 PM

THE BAKER-BAUM CONCERT HALL

Joyce DiDonato, mezzo-soprano

Craig Terry, piano

Kings Return, vocal quartet

Vaughn Faison, JE McKissic, tenors; Jamall Williams, baritone; Gabe Kunda, bass

Support for vocal music programs is provided by:

Mary Ellen Clark

PROGRAM

Works to be announced from stage

THIS PERFORMANCE HAS NO INTERMISSION

Joyce DiDonato last performed for La Jolla Music Society in the ProtoStar Innovative Series on January 18, 2023.

Kings Return last performed for La Jolla Music Society in The JAI Series on March 9, 2024.

PRELUDE 6:30 PM

Interview hosted by Robert John Hughes

SPANISH HARLEM ORCHESTRA SALSA NAVIDAD

SATURDAY, DECEMBER 14, 2024 · 7:30 PM

THE BAKER-BAUM CONCERT HALL

SPANISH

HARLEM ORCHESTRA

Oscar Hernández, pianist and musical director

Vocals

Jeremy Bosch

Marco Bermudez

Carlos Cascante

Congas

George Delgado

Bongos

Oreste Abrantes

Timbales

Luisito Quintero

Bass

Gerardo “Gerry” Madera

Saxophone/Flute

Mitch Frohman

Trombone

Doug Beavers

Juanga Lakunza

Trumpet

Manuel “Maneco” Ruiz

Alex Norris

PROGRAM

Works to be announced from stage.

THIS PERFORMANCE HAS NO INTERMISSION

ABOUT

The three-time GRAMMY®-winning Spanish Harlem Orchestra is one of the finest music ensembles around. They have performed at many of the great performing arts centers, festivals, and venues around the world. Salsa Navidad is a show dedicated to classic Latino/ Spanish music as well as select American Christmas classics done in a Latin/Salsa style. Part of the show features the Puerto Rican Christmas style known as “Aguinaldo,” which reflects the spirit and cultural essence of the Caribbean. Most of the band members are Latino and were raised in New York City so they are equally familiar with the American holiday tradition. The program also features the ensemble’s non-holiday, original music for which they have become so well known.

Spanish Harlem Orchestra last performed for La Jolla Music Society in the Jazz Series on March 11, 2006.

ARTIST PROFILES

Banda de la Casita

Banda de la Casita is the on-stage band bringing the magical, musical world of Disney’s Encanto The Sing-Along Film Concert to life during the live-to-film concert experience! The Banda’s vibrant and dynamic performances of the treasured songs from the movie infuses each note with the spirit and energy of the film’s original soundtrack. Featuring a blend of traditional Colombian rhythms and contemporary styles, Banda de la Casita captures and celebrates the heart and la familia of Encanto.

Bantu Ensemble

Abel Selaocoe formed the Bantu Ensemble in 2022, touring his debut album Hae Ke Kae to Amsterdam’s Concertgebouw, London’s Southbank Centre, Berlin Philharmonie, Kölner Philharmonie, and deSingel Antwerp, amongst others. A flexible and evolving ensemble, its core members are Alan Keary (bass), Dudù Kouaté (percussion), and Fred Thomas (piano). Bantu Ensemble performs and improvises around Selaocoe’s own original material alongside works by Baroque composers including Giovanni Platti and J.S. Bach.

Brian Blade, drums

A native of Shreveport, Louisiana, Brian Blade established himself as a versatile, accomplished drummer early in his career, appearing on albums by the likes of Joshua Redman, Kenny Garrett, and Bob Dylan. Blade released his first album, Brian Blade Fellowship, in 1998 and followed two years later with Perceptual, both on Blue Note. Always an in-demand sideman and collaborator, Blade continued to find work with a varied bevy of artists, including Joni Mitchell, Bill Frisell, and Wayne Shorter. Ten years after releasing his first album as the Brian Blade Fellowship, Blade returned with Season of Changes in 2008, this time on Verve. At the beginning of 2014, the BBF band re-signed with Blue Note in a cooperative deal with the Shreveport, Louisiana-based Mid-City Records. Their fourth album together, Landmarks, was issued in April of 2014.

Chris Botti, trumpet

GRAMMY®-winning trumpeter Chris Botti has been one of the most popular instrumentalists in the world for nearly three decades; he’s collaborated with some of the biggest superstars on the planet, including Sting, Paul Simon, Barbra Streisand, Lady Gaga, Tony Bennett, Frank Sinatra, Aretha Franklin, Bette Midler, Joni Mitchell, Steven Tyler, Andrea Bocelli, Herbie Hancock, Yo-Yo Ma, and others; he’s topped the jazz charts with numerous albums, earned multiple Gold and Platinum records, and performed with symphony orchestras and on prestigious stages from Carnegie Hall to the Hollywood Bowl to the Sydney Opera House.

Bertrand Chamayou, piano

Bertrand Chamayou appears regularly at the world’s most prestigious concert halls and festivals, from Philharmonie de Paris, Wigmore Hall, Théâtre des Champs-Elysées, Elbphilharmonie, Berlin Philharmonie and Concertgebouw Amsterdam, to Lucerne Festival, Salzburg Festival, New York’s Mostly Mozart, and Suntory Hall Tokyo. He has performed with the world’s finest orchestras, including New York Philharmonic, Cleveland Orchestra, Leipzig’s Gewandhausorchester, Orchestre de Paris, London Philharmonic Orchestra, Staatskapelle Berlin, Wiener Symphoniker, Tonhalle Orchestre Zurich, Orchestra dell’Accademia Nazionale di Santa Cecilia, and NHK Symphony Orchestra, and has shared the stage with Pierre Boulez, Semyon Bychkov, Philippe Herreweghe, FrançoisXavier Roth, Herbert Blomstedt, Sir Antonio Pappano and Elim Chan. Chamayou’s multi award-winning discography includes Liszt’s Années de pèlerinage, which won Album of the Year at the Victoires de la Musique Classique. In 2019 Bertrand Chamayou won the Gramophone Award for Recording of the Year for his album of Saint-Saëns on Erato.

Aída Cuevas

Aída Cuevas, known as “The Queen of Mariachi Music,” has been singing traditional Mexican and Latin American music for more than 40 years. Cuevas is the first and only one female singer in the traditional mariachi genre to ever win a GRAMMY® and a Latin GRAMMY® Award and now

celebrates a long-lasting career which includes eleven GRAMMY® nominations in the “Best Mariachi/Ranchero Album” category. Her albums have played a central role in defining Mexican popular music. Over her career, she’s recorded 41 full-length albums that have sold internationally in excess of 11 million copies. An artist known widely as the “Queen of Ranchera Music,” and “La Voz de México” (the Voice of Mexico) in her native country, her two latest albums, Antología de la Musica Ranchera Vol. 1 and Vol. 2 (2020 & 2021), feature her interpretations of the timeless songs made famous by the iconic 1930s ranchera singer Lucha Reyes. Both albums were nominated for GRAMMY®s in the “Best Mariachi/ Ranchero Album” category.

Joyce DiDonato, mezzo-soprano

A multi-GRAMMY® Award winner and 2018 Olivier Award winner for Outstanding Achievement in Opera, Joyce DiDonato has gained international prominence in operas by Handel and Mozart as well as her varied and highly acclaimed discography. DiDonato received rave reviews for her performances as Virginia Woolf in the world première of The Hours at the Metropolitan Opera. Recently she completed European tours of My Favourite Things and EDEN with Il Pomo d’Oro, and her Winterreise and In My Solitude recital programmes with pianist Craig Terry. DiDonato also returned to the Royal Opera House Covent Garden in Handel’s Theodora, as Agrippina at the Metropolitan Opera and the Royal Opera House, in Les Troyens at the Vienna State Opera; as Adalgisa in Norma at the Metropolitan Opera, Sister Helen in Dead Man Walking at the Teatro Real Madrid and London’s Barbican Centre; and in numerous recitals at the great halls of North American and Europe.

Hélène Grimaud, piano

Hélène Grimaud is not just a deeply passionate and committed artist whose pianistic accomplishments play a central role in her life; she has also established herself as a wildlife conservationist, a human rights activist and a writer. Between her debut in 1995 with the Berliner Philharmoniker under Claudio Abbado and her first performance with the New York Philharmonic under Kurt Masur in 1999 Grimaud has developed long-standing relationships with some of the world’s leading orchestras, conductors and soloists. In the 2024–25 season, Hélène Grimaud will perform among others with the San

Francisco Symphony under Kazuki Yamada and the Philadelphia Orchestra under Yannick Nézet-Séguin. She will give recitals at Carnegie Hall in New York and Bing Concert Hall in Stanford, as well as in Singapore, Taipei, and São Paulo. Her contributions to the world of classical music were recognised by the French government when she was admitted into the Ordre National de la Légion d’Honneur.

Barbara Hannigan, soprano

Canadian soprano and conductor

Barbara Hannigan has collaborated with John Zorn, Krszysztof

Warlikowski, Simon Rattle, Sasha Waltz, Kent Nagano, Vladimir Jurowski, Andreas Kriegenburg, Andris Nelsons, Esa-Pekka Salonen, Christoph Marthaler, Antonio Pappano, Katie Mitchell, and Kirill Petrenko, and given the world première performances of over 90 new creations. The past few seasons have brought the première of a new production of Poulenc’s opera La Voix Humaine, in which she both sings and conducts. Recent world premières include Golfam Khayam’s I am not a tale to be told with Iceland Symphony Orchestra, John Zorn’s Split the Lark for soprano and piano with Stephen Gosling, and Zosha di Castri’s In the Half Light with the Toronto Symphony Orchestra, among others. She won the 2018 GRAMMY® Award for Best Classical Solo Vocal album. Her awards and honors include the Order of Canada (2016), Officier des Arts et des Lettres in France (2022), and Gramophone Magazine’s 2022 Artist of the Year.

Kings Return

Vaughn Faison, JE McKissic, tenors; Jamall Williams, baritone; Gabe Kunda, bass

Formed in 2016, the dynamic and soothing four-piece vocal group Kings Return quickly found success online, posting a series of videos of their a cappella performances that went viral. This soon led to live performances, and the Dallas-based quartet has since captured the hearts of millions of fans in person and online. They dropped their debut EP in December 2021, a warm, jazz-leaning holiday album titled Merry Little Christmas, followed by the June 2022 release of their stunning Bee Gees cover “How Deep is Your Love” off debut LP ROVE, which earned a GRAMMY® nomination for Best Arrangement, Instrumental or A Cappella. ROVE was released in September 2022, followed in 2023 by a full-length holiday LP, We 4 Kings

ARTIST PROFILES

John Patitucci, bass

Bassist and multi-GRAMMY® Award nominee and winner John Patitucci has played throughout the world with his own band and with jazz luminaries Chick Corea, Herbie Hancock, Wayne Shorter, Stan Getz, Pat Metheny, Wynton Marsalis, Joshua Redman, and scores of others. Some of the many pop and Brazilian artists he has played with include Sting, Aaron Neville, Natalie Cole, Joni Mitchell, Carole King, Milton Nascimiento, and Astrud and Joao Gilberto. As a studio musician, Patitucci has played on countless albums with artists such as B. B. King, Bonnie Raitt, Chick Corea, Wayne Shorter, Herbie Hancock, George Benson, Dizzy Gillespie, Bon Jovi, Sting, Queen Latifah, and Carly Simon. In 2000, John began touring with Wayne Shorter, and the Wayne Shorter Quartet has received worldwide acclaim for its performances and recordings. Their recording Alegria won a GRAMMY® in 2003. Another CD, Beyond the Sound Barrier, won a GRAMMY® for Best Instrumental Jazz Album in 2005.

Danilo Pérez, piano

As a solo artist and as a collaborator with jazz giants from Dizzy Gillespie to Wayne Shorter, for over three decades Panamanian pianistcomposer Danilo Pérez has been lauded as one of the most creative forces in contemporary music. He has toured and/or recorded with artists such as Dizzy Gillespie United Nations Orchestra from 1989 to 1992, Jack DeJohnette, Charlie Haden, Michael Brecker, Joe Lovano, Tito Puente, Wynton Marsalis, and Roy Haynes. Pérez has released several albums as a bandleader, earning GRAMMY® and Latin GRAMMY® nominations for Central Avenue (1998), Motherland (2000), Across the Crystal Sea (2008), and Providencia (2010). Pérez joined the Wayne Shorter Quartet in 2000 and in 2018 Blue Note records released their album EMANON which won a 2019 GRAMMY® in the category of Best Jazz Instrumental album. For several years Pérez has also been touring with his trio and with Children of the Light, a collaboration with fellow Wayne Shorter Quartet members John Patitucci and Brian Blade.

Abel Selaocoe, cello

South African cellist Abel Selaocoe combines virtuosic performance with improvisation, singing, and body percussion, and is devoted to composing works and curating programs that highlight the links between Western and non-Western musical traditions. In April 2022 the St. Paul Chamber Orchestra announced Selaocoe as Artistic Partner for an initial three seasons. He was also Artist in Association with the BBC Singers and Artist-in-Residence at London’s Southbank Centre for the 2022–23 season with performances there throughout the season. Further tour performances include Amsterdam Concertgebouw, Lucerne Festival, Berliner Philharmonie, Kolner Philharmonie, and Antwerp deSingel, among others. Selaocoe enjoys close collaborations with musicians from a medley of genres and a close partnership with Bantu Ensemble. In 2023 he was awarded the RPS Instrumentalist Award for his performances and collaborations.

Spanish Harlem Orchestra

Spanish Harlem Orchestra, the three-time GRAMMY®winning salsa and Latin jazz band, sets the gold standard for excellence in authentic, New York-style hardcore salsa, whether in a concert hall or at an outdoor jazz festival. The ensemble’s thirteen world-class musicians and vocalists come together to create an unparalleled musical experience. Now celebrating 20 years of excellence, SHO is dedicated to the sounds of the barrio (Spanish Harlem, NYC). Their music is characterized by the raw, organic and vintage sound defined by the genre. They are on a mission to keep the musical legacy of salsa dura (hard salsa) alive and expand its audience to those who love great music, not just Latin music. With eight CDs and five GRAMMY® nominations, this powerhouse orchestra is aware that it is crucial to continually push themselves and raise the bar. Their 2018 release, Anniversary, won the 2019 GRAMMY® Award for Best Tropical Album.

ARTIST PROFILES

Takács Quartet

Edward Dusinberre, Harumi Rhodes, violins; Richard O’Neill, viola; András Fejér, cello

The world-renowned Takács Quartet is now entering its forty-ninth season. The upcoming year includes many performances of a new quartet written for the Takács by Nokuthula Ngwenyama, a cocommission from nine major US concert series. This year sees the release of two Hyperion discs of works by Coleridge-Taylor, Dvořák, and Schubert. The Takács will return to the ensemble’s Hungarian roots by playing cycles of the complete Bartók quartets. As Associate Artists at the Wigmore Hall, London, the Takács will continue its series of four concerts, featuring amongst other works, Stephen Hough’s 2021 quartet for the Takács and piano quintets by Florence Price and Dvořák—the latter pieces part of a concert/recording project with pianist Marc-André Hamelin. Other international destinations include Berlin, Geneva, and the Adam International Chamber Music Festival in New Zealand.

Craig Terry, piano

GRAMMY® Award-winning pianist and arranger Craig Terry enjoys an international career regularly performing with the world’s leading singers and instrumentalists. Currently Terry serves as Music Director of The Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, after having served for eleven seasons at Lyric as Assistant Conductor. Previously, he served as Assistant Conductor at The Metropolitan Opera after joining its Lindemann Young Artist Development Program. Terry has performed with such esteemed vocalists as Jamie Barton, Stephanie Blythe, Christine Brewer, Janai Brugger, Lawrence Brownlee, Sasha Cooke, Danielle de Niese, Joyce DiDonato, Giuseppe Filianoti, Renée Fleming, Christine Goerke, Susan Graham, Denyce Graves, Brian Jagde, Joseph Kaiser, Quinn Kelsey, Kate Lindsey, Amanda Majeski, Ana María Martínez, Eric Owens, Ailyn Perez, Nicholas Phan, Susanna Phillips, Luca Pisaroni, Patricia Racette, Bo Skovhus, Garrett Sorenson, Heidi Stober, Christian Van Horn, Amber Wagner, Laura Wilde, and Catherine WynRogers. He has collaborated as a chamber musician with members of The Metropolitan Opera Orchestra, the Lyric Opera of Chicago Orchestra, the Gewandhaus Orchester, and the Pro Arte String Quartet.

Trio Bohémo

Matouš Pěruška, violin; Kristina Vocetková, cello; Jan Vojtek, piano

Formed in 2019, Trio Bohémo immediately made a splash by winning numerous awards, including Ensemble of the Year 2021 from the “Le Dimore del Quartetto” network, special prizes at the ISA Festival in Austria, and first prize at the International Filippo Nicosia Award in Italy. In 2021, Trio Bohémo not only received the first prize but also the audience prize at the International Johannes Brahms Competition in Austria and the International Parkhouse Award in London. In 2023 they received first prize, prize for the best interpretation of Joseph Haydn, and the audience prize at the International Joseph Haydn Chamber Music Competition in Vienna and were awarded three special prizes at the ARD International Music Competition. Debut concerts followed at the Vienna Musikverein, Wigmore Hall, and Stoller Hall in Manchester, and they performed at numerous festivals such as the Prague Spring, Schwarzwald Musikfestival, and in Gent at the Festival van Vlaanderen.

Mark Turner, saxophone

In a career that spans two decades and encompasses a broad array of musical ventures, saxophonist Mark Turner has emerged as a towering presence in the jazz community. Turner’s diverse discography includes collaborations with many of jazz’s leading lights, including Kurt Rosenwinkel, Lee Konitz, James Moody, Dave Holland, Joshua Redman, Delfeayo Marsalis, Brad Mehldau, Reid Anderson, Omer Avital, Diego Barber, David Binney, Brian Blade, Seamus Blake, Ethan Iverson, Jonny King, Ryan Kisor, Guillermo Klein, Matthias Lupri, OAM Trio, Mikkel Ploug, Enrico Rava, Jochen Rueckert, Jaleel Shaw, Edward Simon and the SF Jazz Collective. He has also released recordings of his own, as well as being featured on releases by pianist Stefano Bollani, guitarist Gilad Hekselman, pianist Baptiste Trotignon, and the Billy Hart Quartet. Those projects add to an already expansive body of work that encompasses Turner’s own widely acclaimed albums and an assortment of collaborations, along with his prolific work as an in-demand sideman.

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: A. Selaocoe © Gaelle Beri; Pg.3: S. Kanneh-Mason & I. Kanneh-Mason © Decca; Pg.13: Fellowship Artists © Darren Bradley; Pg.14: Courtesy of The Conrad; Pg. 16: T. Schultz © Sam Zausch; Pg.17: A. Cuevas courtesy of artist; Pg.18: C. Botti courtesy of artist; Pg.19: A. Selaocoe & Bantu Ensemble © Michael Leckie; Pg. 20: Takács Quartet © Amanda Tipton; Pg.24: B. Blade, D. Pérez, J. Patitucci © Anna Webber, M. Turner © Jimmy Katz; Pg.25: H. Grimaud courtesy of artist; Pg.29: Trio Bohémo courtesy of artists; Pg.32: Disney Encanto logo © The Walt Disney Company; Pg.35: B. Hannigan & B. Chamayou © Luciano Romano; Pg.42: J. DiDonato courtesy of artist, Kings Return © Bryson Gamble; Pg.43: Spanish Harlem Orchestra © George Pruitt; Pgs.44-45: Banda de la Casita © The Walt Disney Company, A. Selaocoe & Bantu Ensemble © Michael Leckie, B. Blade © Anna Webber, C. Botti courtesy of artist, B. Chamayou © Marco Borggreve, A. Cuevas courtesy of artist, J. DiDonato © Salva López, H. Grimaud courtesy of artist, B. Hannigan © Cyrus Allyar; Pg.46-47: Kings Return © Bryson Gamble, J. Patitucci © Anna Webber, D. Pérez © Tito Herrera, A. Selaocoe © Christina Ebenezer, Spanish Harlem Orchestra © George Pruitt, Takács Quartet courtesy of artist; Trio Bohémo courtesy of artists, M. Turner © Jimmy Katz

Up Next: JANUARY 2025

Martha Graham Dance Company

100th Anniversary featuring Appalachian Spring Civic Theatre · Saturday, January 25

7:30 PM

Jeremy Denk, piano

Friday, January 10

7:30 PM

Guido Sant’Anna, violin

Sunday, January 12

3 PM

Fire Shut Up in My Bones: Opera Suite in Concert Sunday, January 19 7 PM

Jahari Stampley Trio

Sunday, January 26

5 PM & 7:30 PM

Anthony McGill, clarinet & Emanuel Ax, piano

Wednesday, January 29

7:30 PM

Albert Lin: In Search of Lost Cities Thursday, January 30 7:30 PM

Up Next: FEBRUARY 2025

Kodo One Earth Tour 2025: Warabe

Thursday, February 6 · 7:30 PM

Balboa Theatre

Evren Ozel, piano

Sunday, February 2 • 3 PM

Twyla Tharp Dance Diamond Jubilee

Thursday, February 13 • 7:30 PM

Harold López-Nussa

Timba a la Americana

Saturday, February 15 • 6 PM & 8:30 PM

FEBRUARY

Hagen Quartet

Thursday, February 20 • 7:30 PM

London Symphony Orchestra

Antonio Pappano, conductor

Yunchan Lim, piano

Friday, February 21 • 8 PM

WinterFest

Dreamers’ Circus

Wednesday, February 26 • 7:30 PM

ARTIST-IN-RESIDENCE

Yunchan Lim, piano

Friday, February 28 • 7:30 PM

Up Next: MARCH 2025

LES ARTS FLORISSANTS

THÉOTIME LANGLOIS DE SWARTE, violin

VIVALDI’S FOUR SEASONS AT 300

Saturday, March 22 · 7:30 PM

Elisabeth Brauss, piano

Sunday, March 2 • 3 PM

Zakir Hussain & Third Coast Percussion

Saturday, March 8 • 7:30 PM

Gerlinde Kaltenbrunner

Defying Limits: Climbing The 14

Highest Peaks

Thursday, March 6 • 7:30 PM

Blake Pouliot, violin & Henry Kramer, piano

Friday, March 14 • 7:30 PM

Ballet Folklórico de Mexico de Amalia Hernández

Sunday, March 23 • 7 PM

MARCH 2025

Collision of Rhythm

Saturday, March 15

10 AM & 11:30 AM

Goitse Sunday, March 16 • 5 PM & 7:30 PM

Nobuyuki Tsujii

Friday, March 28 • 7:30 PM

WinterFest Gala LA JOLLA MUSIC SOCIETY

FRIDAY, FEBRUARY 21, 2025 · 5 PM

The University Club atop Symphony Towers

Susan Hoehn, Gala Chair

LONDON SYMPHONY ORCHESTRA

Antonio Pappano, conductor

Yunchan Lim, piano

Jacobs Music Center

THANK YOU!

The wonderful array of musical activity that La Jolla Music Society offers would not be possible without support from its family of donors. Your contributions 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 enthusiasm 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)

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

ANGEL

($100,000 - $249,999)

BENEFACTOR

($50,000 - $99,999)

Raffaella and John* Belanich

Dorothea Laub

Jaqueline and Jean-Luc Robert

Debra Turner

Clara Wu Tsai and Joseph Tsai

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

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

GUARANTOR

($25,000 - $49,999)

Mary Ann Beyster

Marla Bingham and Gary Gallagher

Gordon Brodfuehrer

Karen and Don Cohn

Barbara Enberg

Jennifer and Kurt Eve

Jeanne Herberger

John Hesselink

Susan and Bill Hoehn

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

Sheryl and Bob Scarano

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

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

Dr. Seuss Foundation

Ann Parode Dynes and Robert Dynes

Debby and Wain Fishburn

Ingrid and Theodore Friedmann

Hal and Pam Fuson

Elisa and Rick Jaime

Jo Kiernan

Jacqueline Mars

Andy Nahas

Peggy and Peter Preuss

Thomas Rasmussen and Clayton Lewis

Robert Singer

Maureen and Thomas Shiftan

Dagmar Smek and Arman Oruc

Stephanie and Nick Stone

SUPPORTER

($10,000 - $14,999)

Anonymous

Celeste and Timothy Bailey

Jeff Barnouw

County of San Diego Community Enhancement Fund

Una Keyes Davis and Jack McGrory

Martha and Edward Dennis

Nina and Robert Doede

Pamela Farr and Buford Alexander

Monica Fimbres

Beverly Frederick

Joy Frieman

Wendy Frieman

Brenda and Michael Goldbaum

Ingrid Hibben

Marilee and Peter Kovacs

Elaine and Doug Muchmore

Samuel Popkin and Susan Shirk

ResMed Foundation

Susan and Stephen Schutz

June and Doctor Bob Shillman

Iris and Matthew* Strauss

Greta and Steve Treadgold

Susan and Richard Ulevitch

ANNUAL SUPPORT

AMBASSADOR

($5,000 - $9,999)

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

Eric Cohen and Bill Coltellaro

Lori and Aaron Contorer

The Hon. Diana Lady Dougan

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

Kathleen and Ken Lundgren

Jain Malkin

Gini and Dave Meyer

Gail and Edward Miller

Nancy Linke Patton and Rip Patton

Linda Platt

Vivien Ressler

Catherine Rivier

Leigh P. Ryan

Joan and Jack Salb Estate

Clifford Schireson and John Venekamp

Todd R. Schultz

Reesey and David Shaw

Gigi and Joe Shurman

Gerald and Susan Slavet

Diane and DJ Smith

Gloria and Rod Stone

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 - $4,999)

Anonymous

Carson Barnett and Tom Dubensky

Emily and Barry Berkov

Abdul Rahman Bitar

DeAnn Cary

Carol and Jeff Chang

June Chocheles

Julie and Robert Cowan Novak

Melanie Cruz

D'Addario Foundation

Debbe Deverill

Phyllis and Dan Epstein

Feary Media

Jill Esterbrooks and James Robbins

Cheryl Hintzen-Gaines and Ira Gaines

Virginia Graham

Deborah and Ronald Greenspan

Lori Haynes

Linda Howard

Ida Houby and Bill Miller

Susan and David Kabakoff

Sallay and Tae Kim

Veronica and Miguel Leff

Sylvia Liwerant

Dennis McConnell and Kimberly Kassner

Andrea Migdal and Mike Tierney

Cynthia and George Mitchell Foundation

Muchnic Foundation

Marina and Rafael Pastor

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

Diana and Roger Van Duzer

Yvonne E. Vaucher

Jo Weiner

ASSOCIATE

($1,000 - $2,499)

Anonymous (3)

Judith Adler

Albertsons-Safeway Foundation

Jadwiga Alexiewicz

Dede and Mike Alpert

Axel's Gift

Ryan Bordelon

James Carter

Michael and Cathy Casteel

Kathleen Charla

June Chocheles

Anthony Chong and Annette Nguyen

Ann Rea Craig

Caroline DeMar

Linda and Wallace Dieckmann

Renee and James Dunford

Lyndie and Sam* Ersan

July F. Galper

The Granada Fund

Anne Graves

Marcia Green

Lee Ann Groshong

Pamela Hamilton Lester

Lulu Hsu

Melvin Knyper

Haig and Susan Koshkarian

Robin Luby

Stacey J. Lucchino

Eileen A. Mason

Ted McKinney

Eleanor Merl

Virginia Meyer

Sandra Miner

Anne and John Minteer

Chandra Mukerji

Brian Munden

Virginia Oliver

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

Jean Sullivan and David Nassif

Molly Thornton

Pam Wagner

Karen M. Walter

Suzanne Ward and Lawrence Gartner

Lisa Widmier

Karen and Richard P. Wilson

Christy and Howard Zatkin

Bart Ziegler

FRIEND

($500 - $999)

Anonymous (3)

K Andrew Achterkirchen

Robin Allgren

Elise Angel

Stephanie Bergsma and Dwight Hare

Carol and Bruce Boles

Edwin Chen

Diane and David Child

Thayne Clark

Betty Clarquist

Robert Conn

Jeanette Day

Sandra and Henry Den Uijl

Marilou Dense

Gail Donahue

Kim Doren

Joyce and Paul Dostart

Jeane Erley

Irene and Eduardo Feller

Jack C. Fisher

Ferdinand Marcus Gasang

Barbara Giammona

Beth Goodman

Cynthia and Tom Goodman

John Gordon and Jane Burns

Carrie Greenstein

Patt and Jeff Hall

Carol Harter and William Smith

Nicole Holland

Laura Henson Hueter and Geoffrey Hueter

Sofia and Leon Kassel

Kathleen Kovacs

Carol Lynne Krumhansl

Lewis Leicher

Patricia and Stephen Lending

Charles Letourneau

Ann and Gerald Lipschitz

Linda and Michael Mann

Nita Mehta

Desiree Michelle

Betsy and Greg Mitchell

Norman Needel

Rosalva Parada

Sigrid Pate

Kirk L. Peterson

Dana and Stella Pizzuti

Paula M. Pottinger

Jacqueline Powell

Irina and Mikhail Prishchepa

Sasha Richards

Clark Ritter and John Gowan

Barry Rosenbush

James F. Sallis

Tracy and Tim Sanford-Wachtel

Denise Selati

Michael Sellett

Tatjana Soli

Mary Sophos and William Pitts

Annemarie and Leland Sprinkle

Lisa Stennes-Laikind

Lee Talner

Anne Turhollow

Karen L. Valentino

Victor A. Van Lint

Cynthia Walk

Ruth Waterman

Patricia and Christopher Weil

Suhaila White

Joyce Williams

Olivia and Martin Winkler

Bonnie J. Wright

Barbara and Michel Zelnick

ENTHUSIAST

($250 - $499)

Anonymous

Rogerio Ampudia

Sue Andreasen

Christine and Craig Andrews

Youn Joo Bae

Gayle Barsamian and David Clapp

Clyde Beck

C M Boyer

Ms. Donna Gray Bowersox

Linda Brown

Debirah Carnick

Linda Christensen and Gonzalo Ballon-Landa

Patty and Jim Clark

Linda Cory Allen

Susan Crutchfield

Jeffrey Cullen

Lesley Davis

Zofia Dziewanowska

Gerhard Engel

Lucy and Stephen Eskeland

Robert Fahey

Juan C. Figueroa

Beverly Fremont

Margareta and Bruce Galanter

Tony Gild

Hany Magdy Girgis

Phyllis and Morris Gold

John Graul

Lola and Walter Green

Douglas Hall Jr.

Andrea Harris

Terence J. Hart

Walter Hickey

Christine Hickman and Dennis Ragen

Vivian and Greg Hook

Gregory A. Jackson

Patricia Jasper

David K. Jordan

Diane and John Kane

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

Maggie and Paul Meyer

Brigitte and Richard Obetz

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

Carolyn Rynard

Jane and Eric Sagerman

Alice and Brad Saunders

Hermeen Scharaga

Sharron Seal

Marjorie Hansen Shaevitz

Katherine Michaud Silver and Mark Silver

Kinga S. Soni

Julie Swain

Gayle and Philip Tauber

Joy Vaccari

Jen-Yi Wang

Suzanne Weiner

Carol West

Paul Woody

Margaret Wypart

Tanya Young and Michael McManus *in memoriam

DANCE SOCIETY GIFTS IN HONOR/MEMORY

HONORARIA GRANDE JETÉ

Elaine Galinson and Herbert Solomon

Bebe and Marvin Zigman

JETÉ

Marla Bingham and Gary Gallagher

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

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 Memory of Teddie Lewis:

Ferdinand Marcus Gasang

Dolly Woo

In Honor of Dr. Oleson:

Susan Dramm

In Honor of Leah Rosenthal:

Bart Ziegler

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

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*

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

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

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

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

JANUARY

JEREMY DENK, piano

FRIDAY, JANUARY 10, 2025 · 7:30 PM Piano Series

GUIDO S ANT’ANNA, violin

SUNDAY, JANUARY 12, 2025 · 3 PM

Discovery Series

FIRE SHUT UP IN MY BONES: OPERA SUITE IN CONCERT

SUNDAY, JANUARY 19, 2025 · 7 PM

ProtoStar Innovative Series

MARTHA GRAHAM DANCE COMPANY

SATURDAY, JANUARY 25, 2025 · 7:30 PM

Dance Series · Civic Theatre

JAHARI STAMPLEY TRIO

SUNDAY, JANUARY 26, 2025 · 5 PM & 7:30 PM

Concerts @ The JAI

ANTHONY McGILL, clarinet & EMANUEL AX, piano

WEDNESDAY, JANUARY 29, 2025 · 7:30 PM

Recital Series

ALBERT LIN: IN SEARCH OF LOST CITIES

THURSDAY, JANUARY 30, 2025 · 7:30 PM

Speaker Series

FEBRUARY

EVREN OZEL, piano

SUNDAY, FEBRUARY 2, 2025 · 3 PM Discovery Series

KODO ONE EARTH TOUR 2025: WARABE

THURSDAY, FEBRUARY 6, 2025 · 7:30 PM

Global Roots Series · Balboa Theatre

TWYLA THARP DANCE

DIAMOND JUBILEE

THURSDAY, FEBRUARY 13, 2025 · 7:30 PM

Dance Series · Balboa Theatre

HAROLD LÓPEZ-NUSSA

SATURDAY, FEBRUARY 15, 2025 · 6 PM & 8:30 PM

Concerts @ The JAI

HAGEN QUARTET

THURSDAY, FEBRUARY 20, 2025 · 7:30 PM

Revelle Chamber Music Series

LONDON SYMPHONY ORCHESTRA

Antonio Pappano, conductor

Yunchan Lim, piano

FRIDAY, FEBRUARY 21, 2025 · 8 PM

Special Event · Jacobs Music Center

DREAMERS’ CIRCUS

WinterFest

WEDNESDAY, FEBRUARY 26, 2025 · 7:30 PM

Global Roots Series

YUNCHAN LIM, piano

FRIDAY, FEBRUARY 28, 2025 · 7:30 PM Piano Series