Bavouzet Program

JEAN-EFFLAM BAVOUZET PIANO

APRIL 19, 2016

D E N V E R LUDWIG VAN BEETHOVEN

Piano Sonata No. 24 in F-sharp major, Op. 78

(1770-1827)

Adagio cantabile – Allegro ma non troppo Allegro vivace

BEETHOVEN

Piano Sonata No. 27 in E minor, Op. 90

Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck

Nicht zu geschwind und sehr singbar vorgetragen

BEETHOVEN

Piano Sonata No. 28 in A major, Op. 101

Etwas lebhaft und mit der innigsten Empfindung Lebhaft. Marschmäßig Langsam und sehnsuchtsvoll Geschwind, doch nicht zu sehr, und mit Entschlossenheit

IN T E RM ISSION MAURICE RAVEL

(1875-1937)

Miroirs

Noctuelles Oiseaux tristes Une barque sur l’océan Alborada del gracioso La Vallée des cloches

CL AUDE DEBUSS Y Images, Book I

(1862-1918) Reflets dans l’eau (Reflections in the Water)

Hommage a Rameau Mouvement

FRIENDS OF CHAMBER MUSIC ANNOUNCES OUR 2016-17 SEASON! C HAMBER SERIES

PIAN O SERIES

Escher Quartet

Jonathan Biss, piano

Wu Han, Philip Setzer, and David Finckel

Joyce Yang, piano

Wednesday, September 14, 2016

Wednesday, September 28, 2016

Wednesday, March 15, 2017 Wednesday, October 5, 2016

Murray Perahia, piano Ariel Quartet with Wednesday, May 3, 2017

Orion Weiss, piano

Wednesday, November 9, 2016

Stefan Jackiw, violin, with Anna Polonsky, piano

Wednesday, December 7, 2016

Danish String Quartet

Monday, February 13, 2017

Ushers will distribute renewal envelopes following tonight's concert.

If you’re not currently a subscriber, email tickets@friendsofchambermusic.com or visit our ticket table in the lobby to be added to our wait list for next season.

Venice Baroque Orchestra with Nicola Benedetti, violin

All concerts are at 7:30 p.m. in Gates Concert Hall, Newman Center for the Performing Arts.

Steven Isserlis, cello

For further information, please visit our website: friendsofchambermusic.com

Wednesday, February 22, 2017 Tuesday, April 25, 2017

DANISH STRIN G QUARTET

J O Y C E YA N G

ARIEL QUARTET

STEFAN JAC KIW

D AV I D F I N C K E L / W U H A N / PHILIP SETZER TRIO

M U R R AY P E R A H I A

JEAN-EFFLAM BAVOUZET Jean-Efflam Bavouzet makes his Friends of Chamber Music debut this evening. A multiple award-winning pianist, Bavouzet regularly works with conductors such as Andrew Davis, Vladimir Jurowski, Andris Nelsons, Valery Gergiev, and the late Pierre Boulez. This season he performs with the orchestras of Cleveland, San Francisco, Montreal, Seattle, Pittsburgh, and Dallas. In addition, he opens the Mostly Mozart Festival at David Geffen Hall (formerly Avery Fisher Hall) in July and appears at the Proms with the BBC Philharmonic Orchestra. He appeared last summer at the Aspen Music Festival.

Equally active as a recitalist and chamber musician, Bavouzet regularly performs at London’s Wigmore Hall, The Louvre in Paris, and at concert halls on five continents. He has collaborated with composer Jörg Widmann in a chamber music project in Munich and this past fall he played with the Chamber Music Society of Lincoln Center.

JEAN-EFFLAM BAVOUZET

piano

Renowned for his recordings, Bavouzet has won Gramophone awards for his concerto works by Debussy and Ravel and for his fourth volume of Debussy’s complete works for piano. Bavouzet records exclusively for Chandos, and current recording projects include a Beethoven sonata cycle and the completion of a Haydn sonata cycle. Past recordings include works of Bartok, Prokofiev, Stravinsky, Beethoven, Liszt, and Falla.

Bavouzet was a student of Pierre Sancan at the Paris Conservatoire and was invited by Sir George Solti to give his debut with L’Orchestre de Paris in 1995. In addition to his piano performance, Bavouzet has also made a transcription for two pianos of Debussy’s Jeux, published by Durand with a foreword by Pierre Boulez.

Bavouzet is the Artistic Director of the Lofoten Piano Festival in Norway.

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NOTES Program notes © Betsy Schwarm Introduction: Three Beethoven sonatas and two large-scale Impressionistic works? Fear not: this is no epic journey, though it is indeed one of marked contrasts. The Beethoven sonatas are amongst his shortest such works. Together, they are yet less expansive than his Hammerklavier Sonata, though they still offer an impressive overview of the Viennese master’s pianistic vision. As for the Ravel and Debussy offerings, they represent the most ambitious keyboard works either of those Frenchmen ever composed. Moreover, set alongside the Beethoven sonatas, they provide a vision of how the musical world’s use of the piano evolved over the course of almost a full century.

BEETHOVEN: PIANO SONATA NO. 24 IN F-SHARP MAJOR, OP. 78

Last performed October 5, 2005 (Richard Goode, piano)

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At its publication in 1810, the piano sonata no. 24 was dedicated to the Countess Therese von Brunsvik, formerly the composer’s piano student and an object of his oftthwarted romantic ambitions. It is unlikely that he intended the work for her performance, as its intricacies would have sorely tried the young noblewoman’s skills. However, keeping one’s name present in the minds of those with money and connections was always wise, and just because there would be no union between Beethoven and the Countess did not mean he would forget her love of his music.

The first movement opens in reserved fashion, its sweet moods liberally decorated with fluttery details. After the tempo change, many of those rhythmic contours recur, though now in expanded form and more forthright spirit, leading to four determined closing chords. By contrast, the shorter second movement is more spirited than assertive, with playful, dance-like themes and quick-moving passagework.

Moments of contrast occur with brief, tender passages, though as a whole the movement is more concerned with exuberance than with romance.

The piano sonata no. 27 was completed in 1813, immediately before three grand orchestral scores: Wellington’s Victory, the symphony no. 7, and the symphony no. 8. Here, by contrast, Beethoven crafted something far smaller in scope, both in what it requires from the performer and also in its length, spanning scarcely a quarter hour. At its publication, the score was dedicated to Prince Moritz Lichnowsky. The prince, and indeed the prince’s extended family, had long been supporters of the composer, not only asking him to perform for them and their guests, but also allowing him to take up residence in their palace for months at a time. Their names appear frequently on the dedication pages of his works.

BEETHOVEN: PIANO SONATA NO. 27 IN E MINOR, OP. 90

That this sonata is written in two movements, rather than the conventional three or four movements, may suggest that, at this point in his career, Beethoven was experimenting with greater focus, rather than broad expansion of ideas. Also, having discovered that deafness did not, after all, entirely end his career, he was finding more reason for optimism.

Although the sonata is billed as being in E minor and does begin in that somber key (the first time he had used it for a piano sonata), the second movement shifts to the more sanguine moods of E major. Beethoven has crafted a musical journey from darkness into light, which is both musically and emotionally fulfilling.

The German tempo markings – rather than the usual Italian ones – were the composer’s own choice. By rejecting conventional Italian tempo markings, Beethoven asserts his artistic prerogative. So the first movement he declares should be played “with liveliness and with sensitivity and expression throughout.” Of the second, he requests that it be “not too fast and very singably presented.” Any performer who takes those ideas to heart will find that the notes on the page lend themselves to those moods. Beethoven was not only a master composer, but also an uncommonly skilled pianist who knew well what could be done with the instrument.

Tonight marks the first performance of this work on our series.

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Program Notes Continued

BEETHOVEN: PIANO SONATA NO. 28 IN A MAJOR, OP. 101

When Beethoven’s piano sonata no. 28 was published in Vienna in 1817, it bore a dedication to Baroness Dorothea Ertmann, one of many aristocrats who admired his music and whose financial backing he found to be of value. It was the longest sonata he had composed in several years. That fact might reflect the Baroness’s preferences, however it seems more likely that Beethoven was warming up for what would become the next sonata in his catalog: no. 29, the broadly ambitious Hammerklavier. Here one finds perhaps less grandeur, but an equally high standard of craftsmanship.

The opening movement of Sonata no. 28 is sweetly graceful and utterly unhurried. Its thoughful atmosphere seems ideal for Beethoven’s tempo marking, played with “the innermost sensitivity.” By contrast, the second movement is forthright and jolly with as many bouncing dotted rhythms as one could conceivably fit into music that intends to capture the spirit of a march.

Tonight marks the first performance of this work on our series.

“Slow and filled with longing:” those are the words the composer chose for the third movement. There is spaciousness between one chord and the next, with much time for introspection. As the movement nears its close, the previously hesitant motion begins to pick up its pace, and long, sparkling trills lead directly, without pause, into the spirited final movement. Urgent passagework and pairs of dotted notes drive the music forward with all the “determination” that Beethoven’s tempo marking could ask.

A few gentler measures seem to recall the sonata’s opening minutes, but these are followed by a short sequence of rising chords as the sonata ends with a splash.

Completed in 1905, Miroirs is Ravel’s most expansive solo RAVEL: piano score. Each of its five movements has its own descriptive MIROIRS (MIRRORS) title hinting at what vision the composer had in mind. Yet the music varies from stereotypical Impressionism, being both stronger and more varied in character as he works through his several inspirations. Ravel rarely stays long with the light, shimmering sounds usually identified as Impressionistic.

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The first movement portrays the blind moths of dusk, with fluid melodies that evoke the skittish flight of such creatures. The second movement turns to sorrowful birds, with melancholy chords floating above somber chords. The seafaring view of the third movement, "A Ship on the Ocean," offers a rich, barcarolle-like melody with surging waves; this is not merely a ship at sea, but one on a turbulent sea. Fourth in sequence is a rhythmically intricate morning scene; a “gracioso” is a jester-like fellow, here in what sounds like an ebullient mood, riding on Spanish rhythms. Last is a quiet landscape of church bells ringing out across a meadow. Each movement is dedicated to a different artistic figure of the composer’s Last performed February acquaintance. Ricardo Viñes, the pianist who premiered the suite in Paris in January of 1906, was granted the honor of the 26, 2014 (Lise de la Salle, piano) dedication for the bird-like second movement.

Claude Debussy’s (1862 – 1918) Images are an ideal encapsulation of the notion of Impressionism, the artistic style with which Debussy is usually associated. Like the paintings of Monet and Renoir, Debussy’s music tends to be more abstract than concrete. His works capture a glimpse, a passing glance, an “image,” rather than a factual representation. So though some listeners might feel that the descriptive subtitles beg for more specifics, from the Impressionist view, “specifics” is exactly what one ought not expect. It is music that suggests, rather than defines.

DEBUSSY: IMAGES, BOOK I

Debussy published the first of two books of Images for piano in 1905. A second set followed three years later. Of the three short pieces of Book One, the first and last have lively moods, while the central piece is more languid. One might almost suppose the set to be a sonata in the old tradition, but Debussy preferred the expressive freedom that came with avoiding that term. Although the three pieces were published together, they are not dependent upon one another in the way that several movements of an expanded sonata might be.

The first of the three pieces, Reflets dans l’eau (Reflections in the Water) is as sparkling as its title implies. Exactly what is reflected on the water Debussy does not trouble himself to say, though the quick and airy motion of the music suggests it might simply be sunlight reflecting upon the surface of a quick-flowing brook. Surely it is not a reflection of friendsofchambermusic.com

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Program Notes Continued something imposing. There is plenty of activity, though no high drama.

The second of the three pieces, Hommage a Rameau, pays tribute to Debussy’s earlier countryman, Jean-Phillipe Rameau (1683 – 1764). Rameau was especially known for his harpsichord pieces in the style of ballroom dances of the time. Debussy transfers that notion to the piano, but maintains the generally graceful spirit that Rameau would have favored. Much of the piece seems evocative of a serene sarabande, though there are brief passages of stronger chords and more assertive moods.

Last performed December 10, 2003 (Emanuel Ax, piano)

The last of the three pieces bears the simplest title: Mouvement. Debussy does not specify what sort of movement it shall be, but that there is movement – and plenty of it – one cannot deny. In fact, it is perpetual movement; an earnest, driving energy in the most exuberant of moods. Mouvement is ever changing in character with new thematic ideas appearing one after another. The background pulse continues; it’s the foreground that won’t stand still.

40 UNDER 40 FCM

HELP US USHER IN A NEW GENERATION OF MUSIC LOVERS! For a 3rd year, FCM subscribers Jill and Lee Richman have challenged our audience to help usher in a new generation of music lovers through our “40 Under 40” program.

I T ’ S E A S Y TO PA R T I C I PAT E :

• Identify a potential new subscriber (or two!) under 40 years old who would enjoy our 2016-17 Piano Series.

• Invite them to become a part of the FCM family and let them know you’ll be paying for their subscription, which we’ll discount to $60 for all 3 concerts.

• Complete the order form available from the ushers this evening, or call 303-388-9839.

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"MUSIC IN THE GALLERIES" CLYFFORD STILL MUSEUM “Music in the Galleries” is a new way to experience the work of Clyfford Still through sight and sound. We are pleased to partner with the Clyfford Still Museum for this series of concerts, concluding for the spring with a performance by the Colorado Symphony's Persephone Quartet, performing works by Bach, Beethoven, and Puccini.

PERSEPHONE QUARTET S U N D AY, M AY 8 , 2 : 0 0 P M

Clyfford Still Museum 1250 Bannock Street, Denver

Music is free with admission to the galleries. FCM patrons may purchase half price tickets (advance purchase only) to enter the museum on performance days. Visit our website under “Special Events” for a link to purchase these discounted tickets.

BRING A FRIEND! WANT TO SHARE THE BEAUTY OF CHAMBER MUSIC WITH A FRIEND? For only $40, you can purchase two vouchers to invite new friends to FCM next year. Each voucher is good for any concert during the 2016-17 season, with the exception of Murray Perahia and the Venice Baroque Orchestra. Tickets are subject to availability. Two vouchers per subscriber, please.

To get your vouchers, complete the order form available from the ushers this evening, or call 303-388-9839. friendsofchambermusic.com

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NEWMAN CENTER PARKING Last spring, significant changes were made to street parking surrounding the Newman Center. Following is an overview of your parking options: YO RK S T R E E T :

H OURLY PARK I N G:

York Street between Wesley and Iliff (the entire block that contains the Newman Center) is not available for public parking. Only University Lot U permit holders are allowed to park in that block of York St. All others will be ticketed.

There are some hourly metered spaces in Lot 304, approximately two blocks away from the Newman Center, west of the Iliff School of Theology and east of DU. Location is on S. Gaylord Street, north of Iliff Ave. The parking meter is at the north end of that line of parking spaces. Enter your license plate number and pay for the number of hours you want. Please note, there may be time limit maximums on these meters.

H A N DIC A P P E D PA R KI N G:

The only handicapped parking is now located in the Newman Center parking garage. Previous street parking for handicapped vehicles is now by permit only.

S T REET PA R KI N G :

Parking on the street in the DU area is generally limited to one-hour (without a resident permit) and this limit is strictly enforced by the Denver Police Department. Street parking, not limited to one hour, can be found several blocks east of University, beyond the DU campus perimeter.

Note: Friends of Chamber Music has no control over parking decisions made by the university. We want to give you as much information as possible so you can find appropriate parking and arrive at the hall in time.

H2 N EW MA N C E NT E R GA R AGE:

$8.00 cash event parking – first come first served basis starting at 5:30 p.m. Enter from E. Wesley Ave. (1 block south of Iliff; south side of Newman Center). Again, this is where you will find handicapped parking.

OVERFLOW PA R KI N G :

When the Newman Center Garage is full, parking staff will direct you to the overflow lot, which is Lot H2.

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EDUCATIONAL OUTREACH EL SISTEMA COLORADO

Friends of Chamber Music, in partnership with The Playground Ensemble, offered El Sistema Colorado students the unique opportunity to learn to Soundpaint. Through this three-day composition residency, students were able to approach the idea of composition in an accessible manner using Soundpainting, a hand gesture language that allows musicians (and a composer/conductor called the ‘painter’) to create music on the spot. We were fortunate to have Soundpainting creator, Walter Thompson, join the teaching staff for this residency, which was held at Garden Place Academy in Denver. A final concert, featuring works by numerous student composers, was presented for the community on Friday evening, March 25th.

El Sistema Colorado’s Lead Teaching Artist, Megan Moran, characterized this special event as a “launching-pad in musical composition” for under-served elementary students. “I wanted to give my students an opportunity to create their own material and be creative in a new way. I hope that students eventually feel empowered and utilize the skills they learn to think outside of the box and recognize their own artistic ability.”

Visit www.friendsofchambermusic.com/educational-outreach to read more about our educational outreach programs. Here you will also find a link to recent CPR coverage of the El Sistema Soundpainting residency.

Walter Thompson (Soundpainting creator, with wife and daughter), Conrad Kehn (Director, Playground Ensemble), Monika Vischer (El Sistema Founder and President), Megan Moran (El Sistema Program Director)

“CAN YOU HEAR THE DIFFERENCE?”

During March, FCM sponsored four additional school outreach programs, including the Colorado Symphony’s Bartels Brass, performing at Ellis and Johnson Elementary schools, and the Ivy Street Ensemble, performing at Palmer Elementary and Creativity Challenge Community School.

With its program, Can You Hear the Difference?, the Ivy Street Ensemble (violin, viola, cello, and flute) showcased the different sounds of string instruments and four sizes of flutes, eliciting many oohs and aahs from students. Using water bottles filled with varying levels of liquid, Ivy Street musicians reinforced basic science as they demonstrated the correlation between the size of the instrument and the sound of the instrument. The concept of theme and variation was also explored (useful in teaching writing) with words, music, and audience participation.

Cathy Peterson, Ivy Street Ensemble, demonstrates the science of sound

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SPINPHONY T U E S D AY, A P R I L 2 6 , 12 : 0 0 P M

1801 California St., Denver Free to the Public.

“LUNCHTIME AT 1801” FREE CHAMBER MUSIC CONCERTS Don’t miss the final concert of our lunchtime series as we welcome back Spinphony for a second year. While classically trained, Spinphony is energizing the world of string music with original arrangements they call “Pop Baroque” along with classical repertoire, offering programs that appeal to all ages.

Bring your lunch and join us in the spectacularly renovated lobby at 1801 California Street, 12:00 - 1:00 p.m.

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BOARD OF DIREC TORS

BOARD ME M BERS

Lisa Bain, President Alix Corboy, Vice President Walter Torres, Secretary Allan Rosenbaum, Treasurer

Patsy Aronstein Kate Bermingham Lydia Garmaier John Lebsack Rosemarie Murane Kathy Newman Mary Park Richard Replin

Myra Rich Suzanne Ryan Chet Stern Sam Wagonfeld PROJECT ADM I NI S TRATOR

Desiree Parrott-Alcorn

AUDIENCE SURVEY THE RESULTS ARE IN! This fall and winter Friends of Chamber Music asked our patrons to respond to an audience survey. More than 30% of you responded, telling us not only what you like about FCM but also letting us know how we can improve.

Here’s a summary of what you said: Most of you are loyal subscribers who have attended FCM concerts for more than 10 years, while 15% of you are new to FCM, having subscribed for fewer than four years. The majority of you are between the ages of 56 and 74.

As we look for guidance in expanding our educational offerings, you said you’d be most likely to attend collaborative educational events with other arts organizations, as well as pre-concert talks, lectures, and “salons.” The majority feel that the number of Chamber Series and Piano Series concerts we offer is about right, and that having occasional concerts on a Sunday afternoon is no problem. You also said you find our website (www. friendsofchambermusic.com) useful and refer to it regularly.

Things got interesting, though, when you shared your thoughts on contemporary music and reserved seating. On both subjects you either love it or hate it. Contemporary music, said some of you, is too difficult to listen to, while others said that’s part of its attraction. In any event, a clear majority of you felt that the current frequency with which we program contemporary music is about right.

Though our tradition of open seating is something many of you find inconvenient, a significant majority claimed that it’s one of the things you like most about FCM concerts.

You also said you love the consistently high quality of the artists Friends of Chamber Music presents and the beautiful venue here at Gates Concert Hall. When we asked about things we could do better or differently, a majority of you said “nothing,” but we received a number of useful suggestions having to do with parking, programming more varied ensembles, and posting encores on our website.

We’ll be guided by your comments and suggestions as we plan future seasons and are grateful you took the time to let us know what you think. Thank you very much.

DID YOU KNOW? The FCM Music Committee was formed over a decade ago to recommend artists and their programs to the FCM board.

FCM strives to present a mix of artists that are familiar and beloved, such as the Emerson, Takács, and Pacifica quartets; pianists Richard Goode, Emanuel "Manny" Ax, and Stephen Hough; violinists Hilary Hahn and Gil Shaham; and emerging artists such as pianists Inon Barnatan and Jonathan Biss as well as the Escher and Dover quartets.

The Music Committee begins planning a year and a half in advance, so discussions have begun now for the 2017-18 season. The process includes matching artist schedules with the Newman Center’s available dates and the FCM board’s approval of the overall budget.

Some artists’ programs are fixed, while others offer a choice of programs or pieces. While maintaining our commitment to presenting masterworks of the past, FCM also remains committed to introducing our audience to contemporary works of art, recognizing that the masterworks of the future are written in our lifetimes. The Music Committee is receptive to hearing from our audience members about their listening experiences with artists.

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THE FOLLOWIN G FRIENDS have made gifts in the last 12 months. Your generous support is invaluable in assuring our continued standard of excellence. Thank you! $25,000 + Bonfils-Stanton Foundation Scientific and Cultural Facilities District, Tier III $5,000 + Colorado Creative Industries The Denver Foundation $2,500 + Alix & John Corboy Cynthia & John Kendrick Richard Replin & Elissa Stein $1,000 + Anonymous Patsy & James Aronstein* Lisa & Steve Bain Bob & Cynthia Benson Howard & Kathleen Brand Henry & Janet Claman Bucy Family Fund C. Stuart Dennison Jr. Ellen & Anthony Elias Fackler Legacy Gift Robert S. Graham Celeste & Jack Grynberg Stephen & Margaret Hagood Michael Huotari & Jill Stewart Kim Millett Frank & Pat Moritz Robert & Judi Newman Myra & Robert Rich Jeremy & Susan Shamos Marlis & Shirley Smith Herbert Wittow $500 + Jules & Marilyn Amer Georgia Arribau Linda & Dick Bateman Pam Beardsley Kate Bermingham Andrew & Laurie Brock Henry & Janet Claman Susan & Tim Damour * Max & Carol Ehrlich Tudy Elliff Joyce Frakes Kathe & Michael Gendel Freeman Family Foundation Ann & Douglas Jones John Lebsack & Holly Bennett 12

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Kathy Newman & Rudi Hartmann McGinty Co. Mary Park and Douglas Hsiao Allan & Judith Rosenbaum Ray Satter Henry R. Schmoll Bobbi & Gary Siegel Ric Silverberg & Judith Cott Edie Sonn Chet & Ann Stern Sylvan Stool Families* Marcia Strickland Dick & Kathy Swanson Walter & Kathleen Torres Sam Wagonfeld Andrew Yarosh* $250 + Amica Companies Foundation Truman & Catherine Anderson Anonymous Jan Baucum Hannah Kahn & Arthur Best Theodore Brin David & Joan Clark David S Cohen Fran Corsello Susan & Tim Damour Kevin & Becky Durham George & Sissy Gibson Edward Goldson Larry Harvey David & Lynn Hurst Margie Lee Johnson Carol & Lester Lehman John & Terry Leopold Mark & Lois Levinson Ann Levy Nina & Alan Lipner David & Lyn Loewi, in memory of Ruth Loewi Jeri Loser Philippa Marrack Alex & Kathy Martinez Rex & Nina McGehee Robert Meade Bert & Rosemary Melcher Kirsten & Dave Morgan Rosemarie & Bill Murane John & Mary Ann Parfrey Eileen Price, in memory of Max Price Ann Richardson and Bill Stolfus

Ayliffe & Fred Ris Jane & Bill Russell Richard & Jo Sanders Alan & Gail Seay San Mao Shaw David & Patty Shelton Steven Snyder David Spira and Shirleyan Price Margaret Stookesberry Berkley & Annemarie Tague Norman Wikner & Lela Lee Joseph & Barbara Wilcox $100 + Barton & Joan Alexander Jim & Ginny Allen Anonymous Shannon Armstrong Carolyn Baer Dennis & Barbara Baldwin Dell & Jan Bernstein Sandra Bolton Carolyn & Joe Borus Michael & Elizabeth Brittan Darrell Brown & Suzanne McNitt Joan & Bennie Bub Peter & Cathy Buirski Peter Buttrick & Anne Wattenberg Susan Lee Cable Bonnie Camp Nancy Kiernan Case Marlene Chambers & Lawrence Duggan Geri Cohen Anne Culver Stephen & Dee Daniels Catherine C Decker Tom & Mickey DeTemple Vivian & Joe Dodds David & Debra Flitter Judy Fredricks Herbert & Lydia Garmaier Donna & Harry Gordon Kazuo & Drusilla Gotow John S. Graves Gary & Jacqueline Greer Paula & Stan Gudder Gina Guy Pam & Norman Haglund Richard & Leslie Handler June Haun Richard W. Healy Eugene Heller & Lily Appleman

David & Ana Hill Joseph & Renate Hull L.D. Jankovsky & Sally Berga Stanley Jones Bill Juraschek Michael & Karen Kaplan Robert Keatinge Bruce Kindel Michael & Wendy Klein Roberta & Mel Klein Donna Kornfeld Ellen Krasnow & John Blegen Elizabeth Kreider Doug & Hannah Krening Edward Karg & Richard Kress George Kruger Jack Henry Kunin Richard Leaman Igor & Jessica Levental Judy & Dan Lichtin Theodor Lichtmann Arthur Lieb Charles & Gretchen Lobitz John & Merry Low Elspeth MacHattie & Gerald Chapman Evi & Evan Makovsky Roger Martin Myron McClellan & Lawrence Phillips Estelle Meskin Pamela Metz & Charlene Byers Rhea Miller Paul & Barb Moe Douglas & Laura Moran Marilyn Munsterman & Charles Berberich Betty Naster * Robert & Ilse Nordenholz Robert N. O’Neill Dee & Jim Ohi Jan Parkinson Desiree Parrott-Alcorn John Pascal Carolyn & Garry Patterson David S Pearlman Becky & Don Perkins Carl Pletsch Barbara Pollack Carol Prescott Sarah Przekwas Ralph & Ingeborg Ratcliff Gene & Nancy Richards Marv & Mary Robbins Herb Rothenberg, in memory of Doris Rothenberg Suzanne Ryan Lorenz Rychner

Hilary & Peter Sachs Charley Samson Donald Schiff, in memory of Rosalie Schiff John & Patricia Schmitter Robert & Barbara Shaklee Susan Sherrod and Andrew Lillie Milton Shioya Kathryn Spuhler Nathan Stark Paul Stein Dan & Linda Strammiello Morris & Ellen Susman Decker Swann Cle Symons Malcolm & Hermine Tarkanian Margot K. Thomson Peter Van Etten Tom & Eleanor Vincent Eli & Ashely Wald Bill Watson Ann & Marlin Weaver Hedy & Michael Weinberg Jeff & Martha Welborn Carol Whitley Greta & Randy Wilkening * Ruth Wolff Jeff Zax and Judith Graham R. Dale Zellers Carl & Sara Zimet $50 + Lorraine & Jim Adams Charlene Baum Vernon Beebe Alberta & William Buckman Thomas Butler Barbara Caley Richard & Gwen Chanzit Dana Klapper Cohen Jane Cooper Nancy & Mike Farley Janet & Arthur Fine John & Debora Freed Martha Fulford Robert C. Fullerton Barbara Gilette & Kay Kotzelnick Dr. and Mrs. Stanley Ginsburg Henry & Carol Goldstein Sandra Goodman Sanders Graham Carol & Jim Griesemer Thomas & Gretchen Guiton Barbara Hamilton

Dorothy Hargrove Suzanne Kaller Leonard & Abbey Kapelovitz Daniel & Hsing-ay Hsu Kellogg Barbara Inama John & Margo Leininger Linda Levin Della Levy Ben Litoff & Brenda Smith Cherry Lofstrom Bill and Lisa Maury Loris McGavran Joanna Moldow Betty Murphy Mary Murphy Mari Newman Tina & Tom Obermeier Larry O'Donnell Martha Ohrt Danielle Okin Romney Philpott Robert Rasmussen Margaret Roberts Yanita Rowan Cheryl Saborsky Kim Schumanf Jo Shannon Artis Sliverman Lois Sollenberger Steve Susman Robert & Beth Vinton Suzanne Walters Barbara Walton Lin & Christopher Williams, in honor of Kathy Newman’s 70th birthday Robert & Jerry Wolfe Karen Yablonski-Toll Jaclyn Yelich MEMORIAL GIFTS The following individuals made gifts in memory of Ronald Loser, a long-time subscriber who passed away in September.

Bill & Adele Deline GYRO Club of Denver William Russell Jerry Seifert Marlis Smith Deborah Sorenson * Gift made to FCM Endowment

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UPCOMING CONCERTS C HAMBER SERIES

SPECIAL EVENT S

Antoine Tamestit, viola, and Shai Wosner, piano

"Music in the Galleries"

Wednesday, April 27, 7:30 PM

Kalichstein-Laredo-Robinson Trio Wednesday, May 11, 7:30 PM Talk-back following concert

ADVANCE SINGLE TICKETS ARE AVAILABLE FOR ALL CONCERTS

Visit Our Website: www.friendsofchambermusic.com Or contact the Newman Center Box Office, 303-871-7720 www.newmantix.com

Clyfford Still Museum May 8, 2:00 PM, Persephone Quartet

"Lunchtime at 1801" Free Chamber Music Concerts

1801 California Street, downtown, April 26, 12:00 PM, Spinphony

Antoine Tamestit Master Class April 25, 2016, 12:30 PM Newman Center’s Hamilton Hall (Free to the public)

SPECIAL THANKS COLORADO CREATIVE INDUSTRIES

COLORADO PUBLIC RADIO (KVOD 88.1 FM)

SCIENTIFIC AND CULTURAL FACILITIES DISTRICT (TIER III)

ESTATE OF JOSEPH DEHEER ESTATE OF SUE JOSHEL

for providing general operating support for our season

for supporting FCM’s outreach efforts through school residencies and master classes

for broadcasting FCM concerts on its “Colorado Spotlight” programs

for providing lead gifts to the FCM Endowment Fund BONFILS-STANTON FOUNDATION

for sponsorship of FCM’s Piano Series and audience development programs in memory of Lewis Story

Gates Concert Hall • Newman Center for the Performing Arts • University of Denver

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