January 21, 2015
JEREMY DENK, piano Joseph Haydn Sonata No. 60 in C major, H.XVI:50 Gates Concert Hall (1732-1809) Allegro Newman Center for the Performing Arts Adagio University of Denver Finale: Allegro Molto Leoš Janácˇek No. 1, Andante from On the Overgrown Path, Book 2 (1854-1928) Franz Schubert Selections from Ländler, D. 366, Nos. 12, 10, 11 (1797-1828) Janácˇek No. 2, “A Blown-away Leaf” from On the Overgrown Path, Book 1 No. 5, “They Chattered Like Swallows” from On the Overgrown Path, Book 1 Schubert No. 4 in C-sharp minor from Moments musicaux, D. 780
Janácˇek No. 3, “Come with Us!” from On the Overgrown Path, Book 1 No. 4 , Vivo from On the Overgrown Path, Book 2 Schubert No. 5 in F minor from Moments musicaux, D. 780
Janácˇek No. 6, “Words Fail!” from On the Overgrown Path, Book 1
Schubert No. 3 in D major from Ländler, D. 790 No. 10 in C major from Ländler and Écossaises, D. 734 Janácˇek No. 5, Allegro from On the Overgrown Path, Book 2 INTERMISSION W.A. Mozart Rondo in A minor, K. 511 (1756-1791) Robert Schumann Carnaval, Op. 9 (1810-1856) Préambule; Pierrot; Arlequin; Valse noble; Eusebius; Florestan; Coquette; Réplique; Papillons; A.S.C.H. – S.C.H.A; Chiarina; Chopin; Estrella; Reconnaissance; Pantalon et Colombine; Valse allemande; Paganini; Aveu; Promenade; Pause; Marche des Davidsbündler
also include his appearances at the BBC Proms, London’s Wigmore Hall, and his recital debut at the Concertgebouw in Amsterdam. In 2014 Denk served as Music Director of the Ojai Music Festival, for which, besides performing and curating, he wrote the libretto for a comic opera. The opera, with a score by Steven Stucky, was just recently presented by Carnegie Hall. To coincide with the release of his second Nonesuch Records album, Bach: Goldberg Variations, Denk opened the 2013-14 season with performances of the “Goldbergs” in Boston, Chicago, and Washington, and went on to perform them as part of the Barbican’s season in London. The album reached number one on Billboard’s Classical Chart and was featured in “Best of 2013” lists by the New Yorker and the New York Times. Other season highlights included his return to Carnegie Hall with the San Francisco Symphony and Michael Tilson Thomas, and appearances at the Tanglewood Festival playing the Goldberg Variations and with the Philadelphia Orchestra playing Beethoven’s Piano Concerto No. 1. Last summer, he also appeared on tour with the Australian Chamber Orchestra playing Bach.
JEREMY DENK, piano Returning to FCM after his remarkable debut on our series in December 2010, Jeremy Denk has solidified his reputation as one of America’s most thought-provoking, multi-faceted, and compelling artists. He is the winner of a 2013 MacArthur “Genius” Fellowship, the 2014 Avery Fisher Prize, and Musical America’s 2014 Instrumentalist of the Year award. He has appeared as a soloist with the Los Angeles Philharmonic, the Philadelphia Orchestra, and the symphony orchestras of Boston, Chicago, San Francisco, and London, and regularly gives recitals in New York, Washington, Boston, and Philadelphia. This season he launches a four-season tenure as an Artistic Partner of the Saint Paul Chamber Orchestra; makes debuts with the Cleveland Orchestra under Susanna Mälkki and the New York Philharmonic led by Esa-Pekka Salonen; appears as a soloist with the Los Angeles Philharmonic and San Francisco Symphony; and performs Bach concertos with Academy of St. Martinin-the-Fields in London and on tour throughout the US. Future engagements
Denk is known for his original and insightful writing on music, which Alex Ross of the New Yorker praises for its “arresting sensitivity and wit.” The pianist’s writing has appeared in the New Yorker, the New Republic, The Guardian, and on the front page of the New York Times Book Review. One of his New Yorker contributions, “Every Good Boy Does Fine,” forms the basis of a memoir 2
York City, and his web site and blog are at jeremydenk.net.
for future publication by Random House. Recounting his experiences of touring, performing, and practicing, his blog, think denk, was recently selected for inclusion in the Library of Congress web archives. For his work as a writer and pianist, Out magazine included Denk on its “Out 100” list celebrating the most compelling LGBT people of 2013.
PROGRAM NOTES Program notes © Betsy Schwarm
In 2012, Denk made his Nonesuch debut with a pairing of masterpieces old and new: Beethoven’s final Piano Sonata No. 32, Op. 111, and György Ligeti’s Études. Denk has a long-standing attachment to the music of American composer, Charles Ives, and his recording of Ives’s two piano sonatas has been featured in many “best of the year” lists. In March 2012, the pianist was invited by Michael Tilson Thomas to appear as soloist in the San Francisco Symphony’s American Mavericks festival, and he recorded Henry Cowell’s Piano Concerto with the orchestra. Having cultivated relationships with many living composers, he currently has several commissioning projects in progress.
Haydn: Sonata No. 60 in C major, Hob. XVI:50 How does one stand out in music when one shares time and place with both Mozart and Beethoven? Joseph Haydn (1732 – 1809) established the frame of reference that would soon shape their music. A Haydn piano sonata may seem reminiscent of Mozart or Beethoven. However, it would be more to the point to observe that they are reminiscent of him. Haydn’s Sonata No. 60 in C major dating from 1795 is structured in three movements – the first of a fast tempo, the second slow, the last fast. This was Haydn’s practice before either Mozart or Beethoven was born. That it also features a variety of nicely contrasting moods and melodies was an approach that both Mozart and Beethoven learned from Haydn’s example.
Denk has toured frequently with violinist Joshua Bell, and their recently released Sony Classical album, French Impressions, won the 2012 Echo Klassik award. He also collaborates regularly with cellist Steven Isserlis, and has appeared at numerous festivals, including the Italian and American Spoleto Festivals, the Santa Fe Chamber Music, Verbier, Ravinia, Tanglewood, Aspen Music, and Mostly Mozart Festivals. Jeremy Denk has earned degrees from Oberlin College, Indiana University, and the Juilliard School. He lives in New
The first movement is bright and energetic, punctuated at times by even more strongly assertive passages. One often hears a four-note rhythmic pattern stated in the high notes of the right hand, then restated in the low notes of the left. The gentle second movement is sweetly song-like, with much opportunity for the performer to make interpretative 3
decisions, shading the written notes rapturously or poignantly by choice. As its tempo marking suggests, the finale evokes the rhythms of the minuet, though with more variety of pacing and mood than might be usual. By this point in his career Haydn had enough experience that he might decide to try something new, confident that it would prove effective. Given the results, one can hardly quarrel with the process.
fluttering – is well suited to that image. By contrast, the sixth piece of that set, which he describes as “Words fail!” (Nelze domluvit!) makes clear that it is melancholy, not joy, that has interrupted conversation. With Book Two there may be no subtitles for guidance, yet one can still sense the varying moods. So number 4, “Vivo,” sparkles with the restless action of Moravian folk dance. That spirit also appears in number 5, though there it shares space with far more somber moods. The longest single piece of the complete On the Overgrown Path, number 5 is the most spacious of the collection and Janáček seemed determined to capitalize upon that broader canvas, contrasting brilliance and sorrow in close order.
Last performed on our series: December 12, 2012 (Yefim Bronfman, piano) Janácˇek: On the Overgrown Path The various short solo piano pieces that make up Leoš Janáček’s On the Overgrown Path exhibit a style that only a Moravian such as he was likely to craft. Written over several years prior to their publication in 1911, tempos in these pieces change in an instant, as was often the case of the region’s folk dances, so that whatever mood is present at one moment may be very different from that which follows. It makes for music of vivid, but highly variable, character, best suited to pianists who can shift rapidly from one technique to another.
Tonight marks the first performance of these works on our series. Schubert: Solo Piano Pieces Franz Schubert’s larger solo piano pieces – the sonatas, and even the impromptus – appear regularly on recital programs, but what about his other keyboard works? Hundreds of these survive, the great majority composed for the entertainment of his friends. Schubert’s social circle would gather regularly, often at the home of whichever friend was then offering lodging to the usually penniless composer, to hear Schubert’s latest creations. A highlight of the evening would be Schubert himself settling in at the piano to provide the music while his friends danced. Sometimes, the music would be improvised. However, even those selections might find themselves jotted down in the days ahead, and some
Janáček arranged the published version of On the Overgrown Path into two books, the first containing ten pieces, the second only five. One difference between the two sets is that the pieces in Book One were given descriptive subtitles, whereas those of Book Two were not. So the composer tells his performers that, with the second piece of Book One, he wishes to capture the erratic motion of a windblown leaf, and the music – rising and falling, sometimes poignant, at others 4
Robert Schumann: Carnaval, Op. 9
came to print, though usually years later. At the time of the composer’s death, just short of his 31st birthday, only his closest friends and family had any notion of how much music he had actually created. The general public had yet to hear those many spirited dance pieces – often romping and light on their feet – that are available to us today.
Published in 1837, Robert Schumann’s Carnaval is not a formal sonata. Rather, it is a set of what were called “character pieces”: short movements intended to convey a mood or personality to the listener. Their effectiveness depends not only on the player’s dexterity with the actual notes, but also on that person’s ability to change expressive mood from one moment to the next, for the various movements differ greatly from one another. The work became a favorite in the repertoire of Schumann's future wife, Clara. It also attracted favorable attention from Franz Liszt, who knew much about piano music though his own creations tended toward ever greater drama.
Tonight marks the first performance of these works on our series. Mozart: Rondo in A minor, K. 511 Mozart’s Rondo in A minor was composed early in 1787. Evidence suggests that he intended to publish it together with two other works – the Rondo in D, K. 485, and the Rondo in F, K. 494 – that he’d composed the previous spring. That there were three works in the set was thanks to the fact that, in Mozart’s time, three was considered an ideal number, particularly if the three works each used nicely varied keys. The three works all reached publication, though separately.
Space does not permit an explanation of each movement, but some deserve clarification. Pierrot, Arlequin, Pantalon, and Colombine are all traditional commedia del’arte characters. Eusebius and Florestan were pen names that Schumann used in his critical writing, the former even-tempered in mood and the latter tending toward exuberant expression. Chiarina is the teenaged Clara, already an object of Schumann’s interest. As to young ladies, one also finds Ernestine von Fricken, two years older than Clara and here captured in the Estrella movement, as well as in A.S.C.H. – S.C.H.A. The latter of these two is an inside musical joke. Fräulein von Fricken was from the German town of Asch. Schumann noticed that all the letters of that community’s name appeared in his own last name, and that all were the letters of musical notes, at least in German notation, in which B is designated as H, the letter B itself being given to
Although less expansive than a full sonata would have been, Mozart’s Rondo in A minor shows the brightest facets of his keyboard approach; deftly flowing melodies that lead naturally from one to another, with much character and color along the way. In lesser hands, solo piano pieces often faded into long sequences of scales pouring up and down the keyboard. Mozart uses his scales, but also much more, for his hands never stooped to “lesser” techniques. Last performed on our series: April 2, 1975 (Alfred Brendel, piano).
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a group of musically inclined friends and colleagues of Schumann’s; their opinions and reactions to music were often referred to in his critical writing.
what in English terminology is B-flat. Schumann built the melody of this short movement around the four notes that the two names had in common. Within another year, however, Ernestine would be displaced in his heart by Clara. Lastly, the Davidsbündler (Band of David) was
Last performed on our series: February 27, 2013 (Stephen Hough, piano)
Don’t Miss the Last Piano Series Recital of the Season Jonathan Biss May 6, 2015 7:30 p.m.
Tickets: $35 each/$25 (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 Sontata 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, beginning this month. This online course is self-paced, 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.
and demystify the work of the performer, even while embracing the eternal mystery of Beethoven’s music itself.
Coursera provides access to the world’s best education, partnering with top universities and organizations.
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.
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
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 FCM will host a free meet-up with Jonathan Biss 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, date, 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
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Found Sound – Subscriber Appreciation Event On Sunday, November 16, FCM hosted a family-friendly afternoon of musicmaking with help from The Playground Ensemble.
tonight at our ticket table in the lobby. If you know of a school that would be interested in one of our programs, please call 303-388-9389 or email friendsofchambermusic@comcast.net.
Patrons of all ages had the opportunity to play on a number of unique instruments made from found objects – most designed and built by Playground musicians. Later in the program the younger members of our audience performed on stage with these instruments as the entire audience learned to “sound paint.” Created by composer Walter Thompson, sound painting is a hand gesture language that allows musicians (and a composer/ conductor called the “painter”) to compose music on the spot. It was a fun and collaborative experience for all members of the audience.
Our thanks to Denver School of the Arts Orchestra Director, Dr. Enrique Lasansky, and Denver School of the Arts for providing such a wonderful venue for this event.
The afternoon also featured a new work by Katina Jaekel, a student and young composer from Kunsmiller Creative Arts Academy. Katina’s composition was an impressive first work, developed as part of a residency program at Kunsmiller funded in part by FCM. The Kunsmiller composition residency continues again this year with funding from FCM and with the assistance of Lamont School of Music students from the FCM/DU Teaching Fellows program. In addition to residency programs and sound painting workshops, FCM sponsors a number of different educational programs for students in Denver Public Schools. If you’d like more information about available programs, visit www.friendsofchambermusic.com/ educational-outreach or pick up a flyer
Photos: Yanita Rowan
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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!
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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 S Lisa & Steve Bain S Pam Beardsley S Bob & Cynthia Benson S Kate Bermingham S Bucy Family Fund Alix & John Corboy S C. Stuart Dennison Jr. S Ellen & Anthony Elias S Barbara & Stephen Engel S Julanna Gilbert and Robert Coombe S Robert S. Graham S Celeste & Jack Grynberg S Errol & June Haun S Michael Huotari & Jill Stewart John Lebsack & Holly Bennett S Harry T. Lewis, Jr. Robert & Judi Newman Myra & Robert Rich S Jeremy & Susan Shamos S Marlis & Shirley Smith S Harry & Vicki Sterling S $500 + Shannon Armstrong S Linda & Dick Bateman Janet & Henry Claman S Gerri Cohen S Susan & Tim Damour S Kevin & Becky Durham S Max & Carol Ehrlich Fackler Legacy Gift Stephen & Margaret Hagood S John Kendrick Ronald & Jeri Loser S Charlene Byers & Pamela Metz S Kim Millett, in memory of Dr. Karl Arndt, a founder of Denver Friends of Chamber Music S Frank & Pat Moritz S Rosemarie & Bill Murane S Kathy Newman & Rudi Hartmann S Onofrio Piano Richard Replin & Elissa Stein S Ayliffe & Fred Ris S Henry R. Schmoll S
David & Susan Seitz Bobbi & Gary Siegel S Ric Silverberg & Judith Cott Edie Sonn Chet & Ann Stern Marcia Strickland S Morris & Ellen Susman S Sylvan Stool Families + S Margot K. Thomson S Walter & Kathleen Torres S Sam Wagonfeld S Andrew Yarosh + S $250 + Rick & Margot Acosta S Jules & Marilyn Amer Amica Companies Foundation Anonymous Hannah Kahn & Arthur Best S Sandra Bolton S Theodore Brin Andrew & Laurie Brock Darrell Brown & Suzanne McNitt S Peter & Cathy Buirski S Peter Buttrick & Anne Wattenberg S David & Joan Clark David S Cohen S Fran Corsello S Anne Culver S Catherine C Decker S Tom & Mickey DeTemple S Tudy Elliff S Joyce Frakes George & Sissy Gibson S Edward Goldson John S. Graves S Darlene Harmon S David & Ana Hill S David & Lynn Hurst Margie Lee Johnson Ann & Douglas Jones Bill Juraschek S Kappler Marrack Foundation Donna Kornfeld S Carol & Lester Lehman S John & Terry Leopold Mark & Lois Levinson Ann Robinson Levy S Theodor Lichtmann S Nina & Alan Lipner David & Lyn Loewi, in memory of Ruth Loewi John & Merry Low S Elspeth MacHattie & Gerald Chapman S Rex & Nina McGehee S Robert Meade Bert & Rosemary Melcher Kirsten & Dave Morgan S Marcia Naiman 10
Dee & Jim Ohi S John & Mary Ann Parfrey S Douglas Hsiao & Mary Park S Fred & Connie Platt Eileen Price, in memory of Max Price S Jane & Bill Russell S Cheryl Saborsky S Richard & Jo Sanders Ray Satter Maxwell L. Saul S Alan & Gail Seay San Mao Shaw S David & Patty Shelton, in honor of Bernie Kern Steven Snyder Shirleyan Price & David Spira S Bob & Margaret Stookesberry S Dick & Kathy Swanson Berkley & Annemarie Tague S Eli & Ashely Wald S Jeff & Martha Welborn S Lela Lee & Norman Wikner Barbara & Joseph Wilcox Lynetta Windsor S $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 S Georgia Arribau S Annette Bachrach S Robert Balas Keith Battan S Robert Behrman Kate Bermingham S Wednesday Music Party Dell & Jan Bernstein Carolyn & Joe Borus Howard & Kathleen Brand Theresa Bratton S Susan Lee Cable Barbara Caley S Bonnie Camp Nancy Kiernan Case, in memory of Owen & Esther Kiernan Marlene Chambers & Lawrence Duggan Dana Klapper Cohen S Stephen & Dee Daniels Stephen Dilts S Dan Drayer S David & Debra Flitter Judy Fredericks
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Robert N. O’Neill Tina & Tom Obermeier Danielle & Tom Okin Desiree Parrott-Alcorn John Pascal S David S Pearlman Becky & Don Perkins S Barbara Pollack S Carol Prescott Ralph & Ingeborg Ratcliff Reid T. Reynolds S Ed & Maxine Richard Gene & Nancy Richards Marv & Mary Robbins Allan & Judith Rosenbaum S Herb & Doris Rothenberg Lorenz Rychner Ginny Swenson & Pat Sablatura S Peter Sachs Charley Samson S Donald Schiff, In memory of Rosalie Schiff Ted & Kathi Schlegel John & Patricia Schmitter Robert & Barbara Shaklee S Beverly Buck & David Sherman Susan Sherrod & Andrew Lillie Milton Shioya Colly & Bunny Shulman Bobbi & Gary Siegel S Artis Sliverman S Nathan Stark Paul Stein S William A. Stolfus S Dan & Linda Strammiello Steve & Phyllis Straub Decker Swann Karen Swisshelm Cle Symons Malcolm & Hermine Tarkanian Peter Van Etten John & Lisa Vincent-Morrison S Robert & Beth Vinton S Ann & Marlin Weaver S Hedy & Michael Weinberg Carol C. Whitley S Wilmot Charitable Fund S Linda & David Wilson S Ruth Wolff Dan & Patti Wright S 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 Gini Chrisco 11
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 S Gift made to the Piano Fund + Gift made to the FCM Endowment S
UPCOMING CONCERTS CHAMBER SERIES
PIANO SERIES
CALDER QUARTET WEDNESDAY, FEBRUARY 25, 7:30 PM
JONATHAN BISS WEDNESDAY, May 6, 7:30 PM
LES VIOLONS DU ROY WITH MARC-ANDRÉ HAMELIN THURSDAY, MARCH 19, 7:30 PM
SPECIAL EVENTS CALDER QUARTET MASTER CLASS FEBRUARY 26, 2015, 9 - 10:30 AM Denver School of the Arts
TRIO CON BRIO COPENHAGEN WEDNESDAY, APRIL 1, 7:30 PM
YO-YO MA, SOLO RECITAL APRIL 29, 2015, 7:30 PM
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
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
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