Brentano Concert Program

M ARK S TEINBERG , VIOLIN S EREN A C ANIN , V IOLIN M IS H A AM O RY, VIOLA NIN A LEE, C ELLO

D E N V E R

JOHANN SEBAS TIAN BAC H

BRENTANO QUARTET JANUARY 13, 2016

Selections from The Art of the Fugue

(1685-1750)

FRANZ JOSEF Quartet No. 39 in F-sharp minor, Op. 50, no. 4, HAYDN Hob.III:47 (1732-1809) Allegro spirituoso Andante

Menuetto: Poco allegretto

Finale: Fuga: Allegro moderato

IN T E RM ISSIO N DMITRI SHOS TAKOVIC H

Quartet No. 14 in F-sharp major, Op. 142

Allegretto (1906-1975) Adagio

Allegretto: Adagio

MARK STEINBERG

violin

SERENA CANIN

violin

MISHA AMORY

viola

NINA LEE

cello

BRENTANO QUARTET The Brentano Quartet makes its third appearance on our series, having last appeared six years ago this month.

Since its inception in 1992 the Brentano Quartet has appeared throughout the world to popular and critical acclaim. “Passionate, uninhibited and spellbinding,” raves The Independent (London). The New York Times extols its “luxuriously warm sound [and] yearning lyricism.”

In 2014 the Brentano Quartet succeeded the Tokyo Quartet as Artists in Residence at Yale University, departing from their 14-year residency at Princeton University. The quartet also currently serves as the collaborative ensemble for the Van Cliburn International Piano Competition.

The Brentano Quartet has performed in the world’s most prestigious venues, including Carnegie Hall and Alice Tully Hall in New York, the Library of Congress in Washington D.C., the Concertgebouw in Amsterdam, the Konzerthaus in Vienna, Suntory Hall in Tokyo, and the Sydney Opera House.

The Brentano Quartet is known for imaginative projects combining old and new music, such as “Fragments: Connecting Past and Present” and “Bach Perspectives.”

Among the quartet’s latest collaborations with contemporary composers is a new work by Steven Mackey, One Red Rose, commemorating the 50th anniversary of the assassination of President John F. Kennedy on November

22, 1963. Other recent commissions include a piano quintet by Vijay Iyer, a work with soprano by Eric Moe, and a new viola quintet by Felipe Lara. In 2012, the quartet provided the central music (Beethoven’s Opus 131) for the critically-acclaimed independent film A Late Quartet.

The quartet has worked closely with other important composers of our time, among them Elliot Carter, Charles Wuorinen, Chou Wen-chung, Bruce Adolphe, and György Kurtág. The quartet has also been privileged to collaborate with such artists as soprano Jessye Norman, and pianists Richard Goode and Mitsuko Uchida, and they are collaborating this season with pianist Jonathan Biss.

The quartet is named for Antonie Brentano, whom many scholars consider to be Beethoven’s “Immortal Beloved,” the intended recipient of his famous love confession.

Violinist Serena Canin enjoys hiking, fishing, and square dancing. Cellist Nina Lee, the “new” member of the group, having joined in 1999, likes to unwind on the road (time permitting) taking one of her children's ukuleles with her and learning Beatles tunes. First violinist Mark Steinberg likes to cook and eat South Indian food, practice Thai massage, go to the theater, and travel to treeless locales.

Violist Misha Amory enjoys running, watching baseball, and embarrassing his kids (11 and 13) with his bad jokes.

The Brentano Quartet appears by arrangement with David Rowe Artists and records for AEON (distributed by Allegro Media Group). www.brentanoquartet.com.

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NOTES BACH: SELECTIONS FROM THE ART OF THE FUGUE

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With The Art of the Fugue, a veritable Bible of fugal techniques and expression, Bach produced a monumental edifice cloaked in mystery. A compilation of fugues based on a single subject (and its variations), The Art of the Fugue seems to be an exhaustive study of the possibilities of the form, a composer testing his mettle, expanding his horizons.

Such a mammoth achievement from the great composer’s last days comes to us only incomplete, as the final fugue trails off unended, thus inviting romantic speculation. Some see in this series of fugues a sort of last will and testament from arguably the greatest master of contrapuntal music ever to live. There is the most likely apocryphal story of Bach dying as he dictated the final fugue, having just incorporated his own name as a musical cipher into the fabric of the piece. It has long been debated whether the work is in fact a study, theoretical or conceptual, never meant to be performed.

Were it meant to be performed there is much speculation on what instrumentation was intended; is it a keyboard work, a work for a consort of like instruments, for a broken consort, a vocal group? The piece is written in “open score” – on four staves, one per part, with no other indications. There is much room for discussion, for scholarly musings and musicological excavation. What is clear to us is that this is a golden treasure trove of riveting musical rhetoric, elevated, intricately woven round-table discussions which make for an engaging concert experience. It is music for which we have a deep love and which we feel we can illuminate effectively through the medium of the string quartet.

The Art of the Fugue as a whole forms a sort of treatise comprising a set of discussions related to a common theme.

Imagine hosting a series of fascinating evenings devoted to discoursing on politics, or a specific political problem, dealing with one main insight on each such evening. In much the same way as such a series of evening sessions would, we find that this set of fugues exhibits a certain shared “aboutness,” rooted in descent from a common fugue subject. Sometimes other, secondary subjects are brought in to comment on and shed light on the first (such as in Contrapunctus XI, which has two additional subjects), or a theme is turned upside down to be viewed from a new angle (Contrapuncti IV, VI, and XI), or it is stated rather more slowly or quickly in order to

lend it a different weight (Contrapunctus VI). Parts support or challenge one another. All these are familiar concepts to anyone who has been engaged in fruitful debate, and make for stimulating repartee.

Program note © Mark Steinberg Joseph Haydn composed his opus 50 string quartets in 1787. Hoping for royal acknowledgement, and perhaps emolument, he dedicated the set to King Frederick of Prussia. Although the monarch’s response may have been disappointingly parsimonious – a gold ring and a thank-you – Haydn fared quite well in the end, selling the quartets to two different publishers without either of them knowing, and pocketing his fee twice.

HAYDN: QUARTET NO. 39 IN F-SHARP MINOR, OP. 50, NO. 4

The F-sharp minor Quartet, Opus 50, no. 4, is the only minor-key quartet of the six. F-sharp minor is altogether an unusual key, as it is difficult for string players and does not take much advantage of the natural resonance of the instruments. However, Haydn used it for his “Farewell” Symphony and for one of his late piano trios as well, so he clearly responded to its severe, somewhat astringent tonal flavor. The first movement of this quartet, designated unusually “Spiritoso,” features a bold, sometimes symphonic palette with a wide range of register. It opens with a bold, rhythmic unison statement from the whole quartet, to which the first violin responds with a lonely, tentative figure.

However, it is the strength of the opening gesture, rather than the pathos of the reply, which stamps the movement as a whole, a depiction of restless, celebratory Jovian energy.

Only at the end of each major section does the music find a quieter place where it can repose briefly.

The second movement showcases a particular genius of Haydn’s, the expression of great beauty through simple means.

Here we have a patient Andante setting wherein a melody walks up and down the scale, harmonized glowingly, measured out in the plainest of musical periods. In the course of the movement, major-key sections alternate strophically with minor-key ones, returning in a different variation each time, a favorite slow-movement form for the composer.

The major-key music is radiant, unassuming, reflective; the minor-key darker, more troubled, more sophisticated. The

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Program Notes Continued

final return of the major-key section sets the cello part in its high, bel canto register (a star turn for the cello-playing King Frederick?), where it plays a close duet with the second violin before concluding the movement with emphatic chords.

The third movement is on the one hand a typical, genial Haydn minuet; on the other, it is a subtly unifying force for the other movements of the quartet. Like the first movement, it features some “large” writing – grand arpeggios, unison writing to provide emphasis, a wide register. From the second movement, it inherits a preoccupation with the tension between major and minor; although the movement as a whole is in a major key, the main section of the minuet has minor-key “coloring,” and the entire Trio is in minor, a grave, contrapuntal examination. It is this Trio section which prefigures the Finale, in its rather learned interplay of voices, its evocation of elevated discourse.

The final movement is a fugue, a form where the voices enter one at a time, each in its turn stating the “subject” – the topic that is to be discussed, so to speak. Haydn, in his opus 20 quartets, had undergone a period of fascination with fugal finales. This one, with its severe intervallic outline and light rhythmic character, recalls the finale of opus 20 no. 6, which itself can perhaps claim a lineage back to Bach’s Musical Offering. With the present fugue, however, there is no claim to a great polyphonic edifice such as that one; here we have a movement less than three minutes long, wherein all is lightness, grace and wit. Many an erudite fugal trick is employed, but the listener is equally likely to be struck by the movement›s dramatic gestures: sudden silences, sustained suspenseful pedal points, unexpected harmonic shifts, massive unisons, and not least, the abrupt strength of the emphatic closing cadence.

Program note © Misha Amory

SHOSTAKOVICH: QUARTET NO. 14 IN F-SHARP MAJOR, OP. 142 4

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Beginning in stark bleakness with the eleventh quartet, Shostakovich’s tetralogy of quartets, dedicated to each of the members of the Beethoven Quartet in turn, finds its peroration with the fourteenth, open to the fragile possibility of light. The Beethoven Quartet premiered each of Shostakovich’s quartets starting from the second and

thus served as the mouthpiece for some of the composer’s most vulnerable and intimate utterances. The eleventh had been dedicated to Vasily Shirinsky, the second violinist of the quartet, who had passed away. The Beethoven Quartet considered disbanding at the time and it was in part at Shostakovich’s urging that they continued. The dedicatee of the fourteenth is Sergei Shirinsky, brother of Vasily and the ‘cellist of the quartet, still playing when the fourteenth quartet was written (1972 - 73). A genial and enthusiastic man, he had known Shostakovich for nearly fifty years at the time. So this grouping of four quartets begins in absence and finds its way toward a sense of presence, continuity and the perpetuation of a musical voice.

Shostakovich has always seemed to me to have a sort of spiritual link with Schubert in his depiction of forces that are fateful and inhuman, his lyrical gift, and in his recognition of states of radiance that are clearly seen from without, at a distance. Some of this is in evidence at the start of the F-sharp Major quartet. A group of three repeated notes is an often-used Shostakovich motif: a series of knocks, a brutal insistence, a rupture in time. Here are six intoned notes, the idea doubled, a set-up for a serious reckoning with the forces that be. However, as it recedes it reveals an innocent, insouciant theme, good-natured and scarcely recognizable as the Shostakovich of the previous quartets. As it progresses we are thrown a few cheeky notes as if the composer peeks out from behind to assure us it is still him. What is going on here?

In Giovanni’s Room James Baldwin writes “Perhaps everybody has a garden of Eden, I don’t know, but they have scarcely seen their garden before they see the flaming sword. Then, perhaps, life only offers the choice of remembering the garden or forgetting it. Either, or; it takes strength to remember, it takes another kind of strength to forget, it takes a hero to do both. People who remember court madness through pain, the pain of the perpetually recurring death of their innocence; people who forget court another kind of madness, the madness of the denial of pain and the hatred of innocence; and the world is mostly divided between madmen who remember and madmen who forget. Heroes are rare.”

Shostakovich was often criticized for what many considered to be a cowardly stance in the nearly impossible political climate of the mid-twentieth century USSR. His truer nature, friendsofchambermusic.com

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Program Notes Continued

that of an artist, however, evinced heroism in his ability to live as a witness in his world without extinguishing an ember of hope, belief, and goodness.

Here in the fourteenth quartet we find some writing that is utterly guileless, as if Shostakovich is holding on to some part of himself protected as one would protect a child from the harshnesses of the outer world. It is an uneasy amalgam of Edenic purity and the depiction of struggle, toggling between them and bringing them into confrontation without resolution. (Again, a Schubertian state of affairs.)

This quartet marks the end of a nearly year-long fallow period that caused the composer much anxiety. His compositional voice was his truth; lack of access to that voice left him bereft. At the same time as he was writing the quartet Shostakovich was planning a one act opera based on Chekhov’s short story The Black Monk, a project that was ultimately to go unrealized. But themes in this story may illuminate some of the characteristics of the fourteenth quartet. In the story a glorious, fertile garden, a sort of Eden, plays a large role, and there is much concern about the garden becoming barren and unkempt. Chekhov describes as well an apparition, the eponymous Black Monk, who appears to the protagonist to tell him that he is a genius writer, that he is divinely chosen to be the bearer of eternal truth, the rational and the beautiful, in service of eternal life, the object of which, he claims, is enjoyment. Kovrin, the writer, frets that he is mad, that the monk is not real, to which the apparition replies “I exist in your imagination, and your imagination is part of nature, so I exist in nature.”

Later in the tale Kovrin’s wife espies him talking to what seems to be an empty chair (speaking of joy as the normal state of man) and declares him mad. Doctors are called on to “cure” him of his madness. Parted from his hallucination he grows weary, heavy, ordinary and unhappy. The garden is in ruins. His marriage is in ruins. At his deathbed, the Black Monk appears to him one last time and says to him “Why did you not believe me? If you had believed me then, that you were a genius, you would not have spent these two years so gloomily and so wretchedly.” Upon his death, Kovrin is found in a puddle of blood with a “blissful smile” on his face.

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Analogies with Shostakovich’s own fraught life and the radiance of his gift are easily made. The tale speaks of joy that is perpetually available, even when it looks to all the wretched world to be madness. And it may be that Shostakovich wanted to make a connection between this story and the fourteenth quartet. There is a reference to Braga’s “Angel’s Serenade” in the story, sung by Kovrin’s wife with the accompaniment of a violin, about “a maiden, ... , who heard one night in her garden mysterious sounds, so strange and lovely that she was obliged to recognize them as a holy harmony which is unintelligible to us mortals, and so flies back to heaven.” Shostakovich arranged the Serenade in the same year as he wrote this quartet (surely in preparation for the opera), and the climax of the second movement of this quartet may very well refer to it (an idea put forward by Laurel Fay). Shostakovich called this his “Italian bit” and it gave him much pleasure. The second movement begins with a first violin line that is a pre-echo of the confessional song of the ‘cello, the main protagonist of this work, to follow.

It is a sort of empathy offered before the fact, and when the climax is reached with the ‘cello singing up high with parallel support from the first violin (the two remaining original players of the Beethoven Quartet) there is a sense of a partnership that enables a reaching beyond.

There is a possibility that Shostakovich at one point contemplated suicide and intended the eighth quartet to be his final work in 1960. In that work the motif of three repeated notes is used often to chilling and disturbing effect. Here the last movement of the fourteenth quartet starts with the same repeated notes (used already at the start of the piece), here, however, cautiously impish, and Shostakovich uses them to spell out in musical notes ‘cellist Sergei Shirinsky’s nickname, Seryozha, There is a powerful sort of alchemy here, a return to a childlike state of play, an ability to see without being overtaken.

(César Aira: “Children have a very special attachment to the incomprehensible; there’s so much they don’t understand at that age, they have no choice but to love it, blindly, like an enigma, but also like a world. It teaches them what love is.”)

The movement deals in memory and the holding of memories, some intense and painful, without being consumed. The music wanders and drifts and finally vanishes, despite everything, with a blissful smile on its face.

Program note © Mark Steinberg friendsofchambermusic.com

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2015-2016

PIANO SERIES STEVEN OSBORNE

WED, FEB 24, 2016 | 7:30 PM “You could have heard a pin drop. Steven Osborne’s power over the hall was absolute…the atmosphere was spellbound.”

— T H E D A I LY T E L E G R A P H

PROGRAM:

Schubert: Impromptus D.935, nos. 1 & 4 Debussy: Masques Debussy: Images, Book 2 Debussy: L'isle joyeuse Rachmaninoff: Études-Tableaux, selection

JEAN-EFFLAM BAVOUZET TUE, APR 19, 2016 | 7:30 PM

“Jean-Efflam Bavouzet is among the most generous and indefatigable of performers.” — T H E G U A R D I A N PROGRAM:

Beethoven: Piano Sonatas Op. 78, Op. 90, and Op. 101 Ravel: Miroirs Debussy: Images, Book 1

TO ORDER PIANO SERIES SINGLE TICKETS:

Single tickets $35 each, $10 Students (25 and younger) Visit www.friendsofchambermusic.com or Newman Center Box Office | 303-871-7720 www.newmantix.com

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Visit our website for more information.

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DATES

TUESDAY, FEBRUARY 23 7:30 - 9:00 PM MONDAY, APRIL 18 7:30 - 9:00 PM LOC ATION

Hilltop home of FCM Board Member Richard Replin TICKETS

$30 single class $50 both classes

Hsing-Ay Hsu

O R D E R BY P H O N E

PIANO SALON WITH HSING-AY HSU The FCM Piano Salon with Steinway Artist Hsing-ay Hsu continues with two evenings on Claude Debussy.

Prepare for our remaining two Piano Series recitals with Steven Osborne and Jean-Efflam Bavouzet splitting up the two books of Debussy's gorgeous Images collection.

Come listen to the different layers of musical ideas and experience the movement of sounds and the exotic sonorities that create a signature Debussy atmosphere.

Participants will also have a chance to kindle new friendships within their FCM community.

303-388-9839 O R D E R BY M A I L

Send a check to: FCM, 191 University Blvd #974, Denver, CO 80206.

Include name of each participant, date(s) of each class you plan to attend, and email address for class confirmation.

NOTE

Space is limited to a maximum of 16 participants with registrations accepted on a first come, first served basis.

Ms. Hsu will challenge you with highlighted listening commentary and demos with her Conscious Listening™ method.

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We hope you will take the time to complete a short survey to help us best serve our audiences. We value your opinion! The survey can be accessed on the home page of our website. If you would prefer to complete a hard copy of the survey, you can pick up a copy at the ticket table in the lobby. Survey closes on January 15. friendsofchambermusic.com

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BOA RD OF D I R E C TO R S

Lisa Bain, President Alix Corboy, Vice President Walter Torres, Secretary Allan Rosenbaum, Treasurer BOA RD M E M B E R S

Patsy Aronstein Kate Bermingham Lydia Garmaier John Lebsack Rosemarie Murane Kathy Newman Mary Park Richard Replin Myra Rich Suzanne Ryan Chet Stern Sam Wagonfeld P RO JECT A DMIN IS T R ATO R

Desiree Parrott-Alcorn

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EDUCATIONAL OUTREACH NOEL COMMUNITY ARTS SCHOOL On December 3, three members of the Altius Quartet (graduate quartet in residence at CU Boulder) performed an outreach program for students at Noel Community Arts School in northeast Denver. The quartet offered a 45-minute presentation to about 50 middle school orchestra and choir elective students, including instrument introductions, performance, and post-concert Q & A session. After choir students departed, the musicians spent another 45 minutes coaching violin and viola students who began studying in September. We hope to have the chance to visit Noel again this spring.

On December 14, 270 students participated in an interactive listening experience when CSO violist and Education Director, Catherine Beeson, brought her “Good Vibrations” program to Gust Elementary. This program, adapted from FCM’s family concert in October, introduced four major periods of classical music while guiding students to compare/contrast stylistic elements in each genre of music. Students also participated in some scientific observation, learning how musicians use nonverbal communication when they perform. The program concluded with an opportunity for several young audience members to try their hand at conducting the chamber ensemble. This program will travel to three additional elementary schools in January and February.

Alla Prima Quartet

MUSIC IN THE GALLERIES CLYFFORD STILL MUSEUM Music was a part of the life of Clyfford Still from an early age. He played piano and memorized works by Beethoven, Chopin, and Schubert. His record collection, which is part of the Museum’s archives, includes an eclectic mix of classical, jazz, traditional gospel, blues, and folk music.

This winter, the Clyfford Still Museum is partnering with Friends of Chamber Music and Swallow Hill Music to offer a new way to encounter Still’s work. Music in the galleries is performed not in concert, but as a new way to experience Still’s work through sight and sound. Chairs will be scattered throughout the museum for guests to sit, look, listen, and enjoy.

Music is free with admission to the galleries. As a part of this partnership, the museum has offered FCM patrons half price tickets (if purchased in advance) to enter the museum on performance days. Visit our website under “Special Events” for a link to purchase these discounted tickets.

All concerts will be held on Sunday afternoons, 2:00 – 3:00 p.m., at the Clyfford Still Museum, 1250 Bannock Street, Denver

JANUARY 10

Heaven Bound, performing traditional and contemporary gospel music.

FEBRUARY 7

Alla Prima Quartet, performing works by Beethoven, Schubert, and Mozart. The Alla Prima Quartet is a new quartet composed of musicians Doran Kincaid (violin), Phillip Stevens (viola), Tom Hagerman (violin), and Evan Orman (cello).

MARCH 13

Dustin Adams Trio, performing jazz from the 1930’s and early 1940’s

APRIL 10

Colorado Chamber Players, program to be announced

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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 Lorenz Rychner Hilary & Peter Sachs

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Anonymous 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

PIAN O SERIES

Musicians from Marlboro

Steven Osborne

Antoine Tamestit, viola, and Shai Wosner, piano

Jean-Efflam Bavouzet

Kalichstein-Laredo-Robinson Trio

ADVANCE SINGLE TICKETS ARE AVAILABLE FOR ALL CONCERTS.

Wednesday, March 30, 7:30 PM

Wednesday, April 27, 7:30 PM Wednesday, May 11, 7:30 PM

Wednesday, February 24, 7:30 PM Tuesday, April 19, 7:30 PM

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

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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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