February 25, 2015
CALDER QUARTET
Gates Concert Hall Newman Center for the Performing Arts University of Denver
Benjamin Jacobson, violin Andrew Bulbrook, violin Jonathan Moerschel, viola Eric Byers, cello
Thomas Adès Arcadiana (1994) (b. 1971) Venezia notturno Das klinget so herrlich, das klinget so schon Auf dem Wasser zu singen Et… (tango mortale) L’Embarquement O Albion Lethe Benjamin Britten String Quartet No. 2 in C major, Op. 36 (1913-1976) Allegro calmo senza rigore Vivace Chacony INTERMISSION Ludwig van Beethoven String Quartet No. 14 in C-sharp minor, Op. 131 (1770-1827) Adagio ma non troppo e molto espressivo Allegro molto vivace Allegro moderato Andante ma non troppo e molto cantabile Presto Adagio quasi un poco andante Allegro
works they perform creates an artfully crafted musical experience. In the spring of 2013, the quartet performed Terry Riley’s The Sands with the Cleveland Orchestra. The quartet debuted at Vancouver’s Music on Main/ Modulus Festival, and premiered three new works at L.A.’s Getty Museum. The group performed in Australia with an appearance at the Adelaide Festival (with Iva Bittova) and made its London debut at the 2013 Barbican Festival. The group has also maintained an active recording schedule, recording works by Messaien and Saariaho for the Harmonia Mundi release entitled The Edge of Light and teamed with pianist Anne-Marie McDermott to record Mozart concertos for Bridge Records.
Calder Quartet Benjamin Jacobson, violin Andrew Bulbrook, violin Jonathan Moerschel, viola Eric Byers, cello The Calder Quartet, called “outstanding” and “superb” by the New York Times, makes its Friends of Chamber Music debut tonight. Already the choice of many leading composers to perform their works, the group’s distinctive approach is exemplified by a musical curiosity brought to everything they perform, whether it’s Beethoven, Mozart, Haydn, or sold-out rock shows with bands like The National or The Airborne Toxic Event. Known for the discovery, commissioning, recording, and mentoring of emerging composers (over 25 commissioned works to date), the group continues to collaborate with artists across musical genres spanning the ranges of the classical and contemporary music world, as well as rock and visual arts, and in venues ranging from art galleries and rock clubs to Carnegie and Walt Disney concert halls. Inspired by innovative American artist Alexander Calder, the Calder Quartet’s desire to bring immediacy and context to the
Other recent highlights include a premiere of a new clarinet quintet by Pulitzer Prize winning composer Aaron Jay Kernis at La Jolla Music Society SummerFest; and performances at the Laguna Beach Festival alongside Joshua Bell and Edgar Meyer, and at Stanford Lively Arts and Le Poisson Rouge (NYC). The quartet debuted at the Edinburgh International Festival (broadcast on BBC-3), and made its Austrian debut at the Esterhazy Palace. They have performed at top halls and festivals across the globe including Carnegie Hall, Wigmore Hall, Vail’s Bravo! Festival, Santa Fe Chamber Music Festival, Cleveland Museum of Art, Mostly Mozart, Walt Disney Concert Hall, and the Hollywood Bowl. The Calder Quartet has been featured on the Late Show with David Letterman, the Tonight Show with Jay Leno, the Tonight Show with Conan O’Brien, Late Night 2
with Jimmy Kimmel, and the Late Late Show with Craig Ferguson.
PROGRAM NOTES
The group has long-standing relationships with distinguished composers Terry Riley, Christopher Rouse, and Thomas Adès. The Calder Quartet first met Riley in 2006. They subsequently released a limited edition of Riley’s Trio and Quartet in commemoration of the composer’s 75th birthday. The Calder is the first quartet in two decades to have a work written for them by composer Christopher Rouse, who just completed two seasons as the New York Philharmonic’s Composer in Residence. An album of works by Rouse, called Transfiguration, was released in 2010. After featuring the music of Thomas Adès on their first recording in 2008, the group worked directly with the composer on a performance of Arcadiana. The Guardian said, “the Calder Quartet played the most insightful and moving performance of Thomas Adès’s Arcadiana I’ve ever heard.”
Program notes © Elizabeth Bergman Adès: Arcadiana British composer Thomas Adès first made a name for himself as a pianist, winning second prize in the BBC Young Musician of the Year competition in 1989. A decade later he established himself as a leading composer by winning the prestigious Grawemeyer Award. Adès’s music has been compared to the works of Ives, Ligeti, and Janáˇcek based on its many musical layers, romantic melodic richness, and intricate sound world. Arcadiana explores the idea of “elsewhere,” or as the composer explains, “a here that is gone, or is going.” The first movement, “Venice at Night,” takes the listener on a gondola ride down the canals with the violist as a gondolier, the other instruments the shimmery water. The title of the second movement comes from Mozart’s opera, The Magic Flute, “that sounds so delightful, that sounds so divine.” Here we are in the world of magic and make-believe. We return to the water in the third movement, “To Sing on the Water,” the title of a Schubert song. The fragmentary title “Et… (tango mortale)” refers to Poussin’s painting of two shepherds gazing upon a tomb with the inscription “Et in Arcadia ego,” meaning “I too was in Arcadia.” The fifth movement also refers to a painting, this time by Watteau. Depicting a lavish procession to the river during the reign of Louis XIV, it’s a celebration of love, art, and the transformative power of both.
In 2011 the Calder Quartet launched a non-profit dedicated to furthering its efforts in commissioning, presenting, recording, and education. The nonprofit has co-commissioned works with the Getty Museum, Segerstrom Center for the Arts, and the Barbican Centre, and funded the recording of 12 string quartets commissioned for the Calder Quartet by emerging composers. The Los Angeles based Calder Quartet formed at the University of Southern California’s Thornton School of Music and continued studies at the Colburn Conservatory of Music, and at the Juilliard School, where it received the Artist Diploma in Chamber Music Studies as the Juilliard Graduate Resident String Quartet. 3
“O Albion,” the ancient name for England, quotes a famous passage from Elgar’s Enigma Variations. Lethe is the river of forgetting.
chamber works, including three numbered string quartets and four solo cello pieces. The second quartet dates to immediately after World War II, which Britten spent in England as a conscientious objector. In July of 1945, Britten and violinist Yehudi Menuhin traveled together to Germany, now occupied by the Allies, giving at least two recitals a day. Their most memorable performance was in the former Nazi concentration camp of Bergen Belsen, still occupied by displaced persons. That fall, Britten was commissioned to write a string quartet commemorating the 250th anniversary of Henry Purcell’s death, so naturally the second quartet is dedicated to Purcell, the first British composer of note. It was premiered on November 21, 1945, the precise date of the anniversary (and a day before Britten’s own birthday). The last movement takes up a form that Purcell himself had mastered, the Chacony. It concludes with a triumphant major chord repeated 23 times that sounds almost like cathedral bells pealing in celebration of the anniversary—and of British triumph.
Ultimately these seven movements suggest “an eighth, unheard idea,” Adès reveals—the idea of here, of “where we really are.” Tonight marks the first performance of this work on our series. Britten: String Quartet No. 2 in C major, Op. 36
Benjamin Britten was preoccupied with themes of intolerance and inhumanity on both an individual and global scale. He felt true sympathy with those who suffered on account of their gender, their religious practices, their race, or their sexuality, and feared the tendency of civilization to destroy itself. His music is often described as conservative in style, but Britten actually sought to challenge aesthetic presumptions as a way to combat cultural prejudice. He believed that musical style and syntax were socially determined. Unsettling these musical strictures was a way to imagine a more just, inclusive society. By pushing back against musical “laws” he challenged the notion that any law could be absolute.
Last performed on our series: November 3, 1965 (Amadeus Quartet). Beethoven: String Quartet No. 14 in C-sharp minor, Op. 131 Almost immediately after Beethoven’s death, critics divided his music into three periods: early, middle, and late. Each is defined as much by biography as by musical style, and Beethoven composed string quartets in each of the three. The early quartets from the first period (composed around 1800) harken back to Classical examples, especially Haydn. The middle, or “heroic” period, was
Britten sought to reverse and overturn such notions as “beauty” and “ugliness” in music. He managed, in short, to make traditionally discordant musical patterns sound pleasant, and pleasant musical patterns sound discordant. Though best known as a composer of vocal music—on both a large and small scale—he also composed a selection of 4
especially valorized in the 19th century; its start is marked by Beethoven’s painful recognition of his impending deafness in the tortured “Heiligenstadt Testament.” Penned in October 1802, the document, which was discovered only after the composer’s death, reveals the depth of his despair over his illness and his commitment to continue composing. The works that immediately follow, beginning with the Eroica Symphony, Op. 55 (1803), seem personally courageous as well as musically triumphant.
Opus 131 is extraordinary in form and content. There’s only the barest suggestion of the traditional, four-movement form of a string quartet here. Basically movements 1, 4, 5, and 7 suggest the standard fourmovement design: The first movement Adagio is a fugue (still uncommon in a typical first movement, and the only first-movement fugue Beethoven ever wrote); the fourth movement Andante is a theme and variations; the fifth movement Presto serves as a scherzo; and the finale, the seventh movement, is an Allegro in sonata form. Movements 2, 3, and 6 are interpolations, music that seems to overflow the Classical model and become deeply Romantic. All of the movements are knit together, with each new movement picking up where the previous one ended. It’s inevitable to think of the piece as some sort of serious, arduous journey. We end up where we began—the opening musical idea returns in the finale—but transformed by the experience.
The late works, from 1812 until Beethoven’s death in 1827, were long considered marred by the composer’s deafness but are today among the most beloved of his compositions. To this late period belong the Ninth Symphony, Op. 125, and five string quartets, including Op. 131. The late quartets were slow to find acceptance among critics who tended to hear their musical difficulties as evidence of Beethoven’s declining health and deafness. When asked about the lukewarm reception of Op. 131, Beethoven mused, “They will like it one of these days.”
Last performed on our series: January 21, 2004 (Emerson Quartet).
Please join members of the quartet for a talk-back immediately following the concert.
Master Class with the Calder Quartet Thursday, February 26, 9:00 a.m. Join us tomorrow morning, February 26, 9:00 - 10:30 a.m., for a master class with the Calder Quartet. The class will be held at Denver School of the Arts, 7111 Montview Blvd., Denver, 80220. Young musicians from the El Sistema program will be joining DSA students for the class, which is free and open to the public. We hope you will join us to see our education program at work!
5
Donate an Instrument and Change a Child’s Life 2015 Instrument Drive Set For March 16-28 We’re looking forward to reaching even more children this year.” If you have a gently-used band or orchestra instrument that is no longer being played, please bring it to one of the drop-off locations. It will be repaired and awarded to a deserving, underfunded music program, and you’ll be giving the gift of music to a child in Colorado.
The Instrument Drive is back! After a one year hiatus, the instrument drive, now produced by Bringing Music to Life, will be held throughout Colorado March 1628. Bringing Music to Life was founded and is being directed by Steve Blatt, who established and ran the instrument drives at Colorado Public Radio.
“If you don’t have an instrument, you can still help by contributing to the repair fund,” Blatt explained. “Instrument repairs are the single greatest cost of the program, with the average repair costing nearly $100.” There are 17 donation locations for the March drive, including 12 in the greater Denver area. Brochures with complete details are available at tonight’s performance. Information is also available at the website: www.bringmusic.org.
“Over the course of four drives,” Blatt said, “we distributed nearly 2,000 orchestra and band instruments to more than 100 schools throughout Colorado.
Don’t Miss the Last Piano Series Recital of the Season
Jonathan Biss May 6, 2015 7:30 p.m.
Tickets: $35 each/$10 (students 25 and under)
Newman Center Box Office Monday – Friday 10am – 4pm Saturday noon – 4pm 2344 E. Iliff Ave. at University and Iliff 303.871.7720
www.newmantix.com
Program: Berg: Piano Sonata, Op. 1 Schoenberg: 6 Little Pieces for Piano, Op. 19 Schumann: Waldszenen, Op. 82 for piano Beethoven: Piano Sonata in G, Op. 79 Beethoven: Piano Sonata in F minor, Op. 57 (Appassionata) 6
"Exploring Beethoven’s Piano Sonatas" Pianist Jonathan Biss teaches this free Coursera course, offered by the Curtis Institute of Music. This online course is selfpaced, with five hours of videos and quizzes. A second part of the course on additional sonatas will launch in Spring 2015. Filmed at the Curtis Institute of Music, the online lectures will eventually include all of the sonatas and are designed to help both musical novices and experts understand Beethoven's piano music.
even while embracing the eternal mystery of Beethoven’s music itself. The online Beethoven course given by pianist and Curtis Institute professor Jonathan Biss last fall was remarkable for all the things it wasn't. In an age of impatience and distraction, it was a slow, deep immersion. - The Philadelphia Inquirer To Register Visit https://www.coursera.org/learn/ beethoven-piano-sonatas or locate the link on our website under the Piano Series tab. Course registration is free.
Coursera provides access to the world’s best education, partnering with top universities and organizations. About the Course Our relationship to Beethoven is a deep and paradoxical one. For many musicians, he represents a kind of holy grail: His music has an intensity, rigor, and profundity which keep us in its thrall, and it is perhaps unequalled in the interpretive, technical, and even spiritual challenges it poses to performers. At the same time, Beethoven’s music is casually familiar to millions of people who do not attend concerts or consider themselves musically inclined. Two hundred years after his death, he is everywhere in the culture, yet still represents its summit.
Other Reading As part of his exploration of Beethoven, Jonathan Biss has also published a short book, Beethoven’s Shadow. Available on Amazon for under $2 (Audible Audio or Kindle Single), this book was published in 2011 when Biss embarked on a project to record all of Beethoven’s sonatas. Informal Discussion with Jonathan Biss on May 5 FCM will host a free meet-up with Jonathan Biss on the evening of May 5 in connection with his May 6th appearance on our Piano Series. This will be an opportunity for those who have completed the Coursera course, as well as those with an interest in Beethoven’s piano sonatas, to meet Biss and have a further discussion about Beethoven. Location and time still to be determined. Check www.friendsofchambermusic.com in the coming weeks for details.
This course takes an inside-out look at the 32 piano sonatas from the point of view of a performer. Each lecture will focus on one sonata and an aspect of Beethoven’s music exemplified by it. The course will feature some analysis and historical background, but its perspective is that of a player, not a musicologist. Its main aim is to explore and demystify the work of the performer, 7
Charles Ives: A Conversation with Jeremy Denk “Ives was nothing if not a ‘sampler’,” explained Jeremy Denk at a sold-out event at the Curious Theatre on January 19th. “He borrowed from spirituals, folk songs, hymns, and Beethoven, especially Beethoven,” and his music influenced many 20th century composers, from George Gershwin to John Adams.
tackle, a particularly vivid example of Ives’s sense of humor. Several passages drawn from other works underscored Ives’s peculiar penchant for composing musical “pile-ups.” FCM is deeply committed to both youth and adult education. “Charles Ives: A Conversation with Jeremy Denk” is an example of our dedication to adult education, designed to enrich the experience of our current audiences while developing new ones. To learn more about our educational programs for students and adults please visit the Education tab on our website (www. friendsofchambermusic.com).
On a spare stage, set for Curious Theatre’s regional premiere of the play Charles Ives Take Me Home, a packed house made up of FCM subscribers, Curious Theatre patrons, and the general public listened to Jeremy Denk and the play’s director, Christy Montour-Larson, talk about the life and music of American composer, Charles Ives. The cast of the play, Charles Ives Take Me Home, joined in the question and answer portion of the evening and thanked Denk for providing new insight into the character of Charles Ives. FCM is grateful to the Curious Theatre Company for hosting this special event.
If you would like to help support our educational efforts, please consider purchasing a ticket to the post-concert reception with Yo-Yo Ma on April 29th. All proceeds will support FCM’s educational programming.
Jeremy Denk is one of the foremost interpreters of Ives’s piano music and his insights into the composer were thoughtful and humorous. With characteristic wit, he hazarded the opinion that Ives is rarely played not only because his music is so devilishly difficult, but also because “audiences hate it” (present company excepted). Thanks to the generous donation of a Bosendorfer piano by Classic Pianos (formerly Onofrio Pianos), Denk illustrated his remarks at the keyboard by playing passages from a number of Ives’s works. In Yale-Princeton Football Game, composed in 1898, he demonstrated how the right and left hand crash together in the center of the keyboard in a musical
FCM board member Kathy Newman with Curious Theatre actors Dave Belden (left), Jim Hunt (center), and Josh Hartwell (right)
Director Christy Montour-Larson with pianist Jeremy Denk Photos: Yanita Rowan
8
Yo-Yo Ma Post Concert Reception Great Hall, Iliff School of Theology (across the street from the Newman Center) Tickets $150 each All funds raised from this reception will support FCM’s educational outreach programs. Reception tickets are only available to those holding tickets to the Yo-Yo Ma recital. Purchase your reception tickets through the Newman Center Box Office, www.newmantix.com, or 303-8717720. To purchase a reception ticket online, you will need a promotional code. Please call 303-388-9839 or email friendsofchambermusic@comcast.net to receive your code. A special thanks to Robert and Judi Newman for sponsoring this reception.
Legacy Gifts For those who want to leave a musical legacy, a planned or deferred gift to Friends of Chamber Music will help ensure our future artistic excellence and financial stability while providing tax benefits to you. Visit www.friendsofchambermusic.com and click on "Support Us" for more information.
Excerpt from a letter to oxygen users from FCM subscriber, Dr. Bonnie Camp:
disturbing anyone with my Spirit 600 nestled beneath my seat, smoothly and silently delivering oxygen.”
“When the Pacifica Quartet opened its recent performance of the cycle of Beethoven String Quartets, I sat comfortably in the second row without
For more information on quiet oxygen delivery systems that Bonnie has shared with us, please pick up the complete text of her letter at the ticket table in the lobby. Thank you Bonnie!
9
The following Friends who have made gifts in the last 12 months are especially important to Friends of Chamber Music. Your generous support is invaluable in assuring our continued standard of excellence. We thank you very much! $25,000 + Bonfils-Stanton Foundation Scientific and Cultural Facilities District, Tier III $5,000 + Colorado Creative Industries $2,500 + Cynthia Kendrick $1,000 + Anonymous Patsy & James Aronstein Lisa & Steve Bain Pam Beardsley Bob & Cynthia Benson Kate Bermingham Bucy Family Fund Alix & John Corboy C. Stuart Dennison Jr. Ellen & Anthony Elias Barbara & Stephen Engel Julanna Gilbert and Robert Coombe Robert S. Graham Celeste & Jack Grynberg Errol & June Haun Michael Huotari & Jill Stewart John Lebsack & Holly Bennett Harry T. Lewis, Jr. Robert & Judi Newman Myra & Robert Rich Jeremy & Susan Shamos Marlis & Shirley Smith Harry & Vicki Sterling $500 + Shannon Armstrong Linda & Dick Bateman Janet & Henry Claman Classic Pianos Gerri Cohen Susan & Tim Damour Kevin & Becky Durham Max & Carol Ehrlich Fackler Legacy Gift Stephen & Margaret Hagood Kemp Family Fund John Kendrick Ronald & Jeri Loser Charlene Byers & Pamela Metz Kim Millett, in memory of Dr. Karl Arndt, a founder of Denver Friends of Chamber Music Frank & Pat Moritz Rosemarie & Bill Murane Kathy Newman & Rudi Hartmann Richard Replin & Elissa Stein Ayliffe & Fred Ris
Henry R. Schmoll David & Susan Seitz Bobbi & Gary Siegel Ric Silverberg & Judith Cott Edie Sonn Chet & Ann Stern Marcia Strickland Morris & Ellen Susman Sylvan Stool Families + Margot K. Thomson Walter & Kathleen Torres Sam Wagonfeld Andrew Yarosh + $250 + Rick & Margot Acosta Jules & Marilyn Amer Amica Companies Foundation Anonymous Hannah Kahn & Arthur Best Sandra Bolton Theodore Brin Andrew & Laurie Brock Darrell Brown & Suzanne McNitt Peter & Cathy Buirski Peter Buttrick & Anne Wattenberg David & Joan Clark David S Cohen Fran Corsello Anne Culver Catherine C Decker Tom & Mickey DeTemple Tudy Elliff Joyce Frakes George & Sissy Gibson Edward Goldson John S. Graves Darlene Harmon David & Ana Hill David & Lynn Hurst Margie Lee Johnson Ann & Douglas Jones Bill Juraschek Kappler Marrack Foundation Donna Kornfeld Carol & Lester Lehman John & Terry Leopold Mark & Lois Levinson Ann Robinson Levy Theodor Lichtmann Nina & Alan Lipner David & Lyn Loewi, in memory of Ruth Loewi John & Merry Low Elspeth MacHattie & Gerald Chapman Rex & Nina McGehee Robert Meade Bert & Rosemary Melcher Kirsten & Dave Morgan 10
Marcia Naiman Dee & Jim Ohi John & Mary Ann Parfrey Douglas Hsiao & Mary Park Fred & Connie Platt Eileen Price, in memory of Max Price Jane & Bill Russell Cheryl Saborsky Richard & Jo Sanders Ray Satter Maxwell L. Saul Alan & Gail Seay San Mao Shaw David & Patty Shelton, in honor of Bernie Kern Steven Snyder Shirleyan Price & David Spira Bob & Margaret Stookesberry Dick & Kathy Swanson Berkley & Annemarie Tague Eli & Ashely Wald Jeff & Martha Welborn Lela Lee & Norman Wikner Barbara & Joseph Wilcox Lynetta Windsor $100 + Anonymous, in memory of Dr. Kent Kreider, a lighthouse to his family and to his friends, both + medical and musical Anonymous Carole and Robert Adelstein Barton & Joan Alexander Jim & Ginny Allen J. Craig Armstrong, DDS Georgia Arribau Annette Bachrach Robert Balas Keith Battan Robert Behrman Kate Bermingham Wednesday Music Party Dell & Jan Bernstein Carolyn & Joe Borus Howard & Kathleen Brand Theresa Bratton Susan Lee Cable Barbara Caley Bonnie Camp Nancy Kiernan Case, in memory of Owen & Esther Kiernan Marlene Chambers & Lawrence Duggan Dana Klapper Cohen Stephen & Dee Daniels Stephen Dilts Dan Drayer David & Debra Flitter
Judy Fredricks Barbara Wright & Frank Gay Kathe & Michael Gendel Donna & Harry Gordon Kazuo & Drusilla Gotow Jeff Zax & Judith Graham Melanie Grant Gary & Jacqueline Greer Carol & Jim Griesemer Paula & Stan Gudder Pam & Norman Haglund Richard & Leslie Handler Larry Harvey Rogers & Ruth Hauck Richard W. Healy Peter Hegg, in memory of Doris Hegg Eugene Heller & Lily Appleman Joseph & Renate Hull Richard Italiano Stanley & Barbara Jones Michael & Karen Kaplan Edward Karg & Richard Kress Robert Keatinge Ann Kiley Bruce Kindel Michael & Wendy Klein Roberta & Mel Klein Ellen Krasnow & John Blegen Elizabeth Kreider Doug & Hannah Krening Jack Henry Kunin Richard Leaman Heidi & Jonathan Leathwood Rachel Lederer Seth Lederer Christopher Lesher Igor & Jessica Levental Della & Jeff Levy Phillip Levy Ed & Jackie Lewin Penny Lewis Judy & Dan Lichtin Nancy Livingston, in memory of Dr. Lewis Duman, Doris Buckles, and Lisl Penzias Charles & Gretchen Lobitz Bette MacDonald Marilyn Madsen Evi & Evan Makovsky James Mann Roger Martin Alex & Kathy Martinez Lawrence Phillips & Myron McClellan Estelle Meskin Rhea Miller Jean Milofsky, M.D., & David Milofsky, in memory of Bernard Milofsky Paul & Barb Moe Douglas & Laura Moran Barbara & John Morrison Marilyn Munsterman & Charles Berberich
Betty Naster + Robert N. O’Neill Tina & Tom Obermeier Danielle & Tom Okin Desiree Parrott-Alcorn John Pascal David S Pearlman Becky & Don Perkins Barbara Pollack Carol Prescott Ralph & Ingeborg Ratcliff Reid T. Reynolds Ed & Maxine Richard Gene & Nancy Richards Marv & Mary Robbins Allan & Judith Rosenbaum Herb & Doris Rothenberg Lorenz Rychner Ginny Swenson & Pat Sablatura Peter Sachs Charley Samson Donald Schiff, in memory of Rosalie Schiff Ted & Kathi Schlegel John & Patricia Schmitter Robert & Barbara Shaklee Beverly Buck & David Sherman Susan Sherrod & Andrew Lillie Milton Shioya Colly & Bunny Shulman Bobbi & Gary Siegel Artis Sliverman Nathan Stark Paul Stein William A. Stolfus Dan & Linda Strammiello Steve & Phyllis Straub Decker Swann Karen Swisshelm Cle Symons Malcolm & Hermine Tarkanian Peter Van Etten John & Lisa Vincent-Morrison Robert & Beth Vinton Ann & Marlin Weaver Hedy & Michael Weinberg Carol C. Whitley Wilmot Charitable Fund Linda & David Wilson Ruth Wolff Dan & Patti Wright Karen Yablonski-Toll R. Dale Zellers Carl & Sara Zimet $50 + Lorraine & Jim Adams Daniel Andrews Anonymous, in memory of Lisl Penzias Vernon Beebe Joan & Bennie Bub Thomas Butler Elizabeth & John Carver Richard & Gwen Chanzit 11
Gini Chrisco Marion Colliander Jane Cooper Janet Dampeer Garth Englund, Jr. Nancy & Mike Farley Janet & Arthur Fine John & Debora Freed Martha Fulford Robert C. Fullerton Dr. & Mrs. Stanley Ginsburg Sandra Goodman Sanders Graham Barbara Hamilton Daniel & Hsing-ay Hsu Kellogg Kay Kotzelnick & Barbara Gilette Barbara Inama Suzanne Kaller Leonard & Abbey Kapelovitz William & Martha Keister Shana Kirk Linda Levin Marilyn Lindenbaum Cherry Lofstrom, in memory of Samuel A. Lofstrom Roy & Esther Lowenstein Bill and Lisa Maury Loris McGavran Joanna Moldow James & Karin Mote Betty Murphy Mary Murphy Mari Newman Carolyn & Garry Patterson Barbara Pelter Georgina Pierce Mary Platt Candice & Scott Posner, in memory of Lisl Penzias Sarah Przekwas Marcia Ragonetti, in memory of Allen Young Robert Rasmussen Margaret Roberts Suzanne Ryan Kim Schurman Jo Shannon Artis Silverman Lois Sollenberger Steve Susman Carol Trotter Suzanne Walters Barbara Walton Greta & Randy Wilkening, in honor of Pat & John Schmitter Greta & Randy Wilkening, in honor of Nina & Rex McGehee James Williams Jaclyn Yelich Yoni Zaluski + Gift made to FCM Endowment
UPCOMING CONCERTS CHAMBER SERIES
PIANO SERIES
LES VIOLONS DU ROY WITH MARC-ANDRÉ HAMELIN THURSDAY, MARCH 19, 7:30 PM
JONATHAN BISS WEDNESDAY, May 6, 7:30 PM
SPECIAL EVENTS
TRIO CON BRIO COPENHAGEN WEDNESDAY, APRIL 1, 7:30 PM
CALDER QUARTET MASTER CLASS FEBRUARY 26, 9 - 10:30 AM Denver School of the Arts
Advance single tickets are available for all concerts. Returned tickets are also available at the door. Visit www.friendsofchambermusic.com or contact the Newman Center Box Office, 303-871-7720, www.newmantix.com
YO-YO MA, SOLO RECITAL APRIL 29, 7:30 PM
SPECIAL THANKS COLORADO PUBLIC RADIO for broadcasting our concerts
SCIENTIFIC AND CULTURAL FACILITIES DISTRICT (Tier III) for supporting FCM’s outreach efforts through school residencies and master classes
ESTATE OF JOSEPH DEHEER ESTATE OF SUE JOSHEL for providing lead gifts to the FCM Endowment Fund
BONFILS-STANTON FOUNDATION for sponsorship of FCM’s Piano Series in memory of Lewis Story
Lyn Loewi for coordinating program notes
COLORADO CREATIVE INDUSTRIES providing general operating support for our season
BOARD OF DIRECTORS Lisa Bain, President Alix Corboy, Vice President Walter Torres, Secretary Allan Rosenbaum, Treasurer PROJECT ADMINISTRATOR Desiree Parrott-Alcorn
BOARD MEMBERS Patsy Aronstein Kate Bermingham Julanna Gilbert John Lebsack Rosemarie Murane Kathy Newman
Mary Park Richard Replin Myra Rich Suzanne Ryan Chet Stern Sam Wagonfeld
FRIEN DSOFCH A MBERMUSIC.COM 12