Dover Quartet Program

December 3, 2014

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

THE DOVER QUARTET Joel Link, violin Bryan Lee, violin Milena Pajaro-van de Stadt, viola Camden Shaw, cello

Wolfgang Amadeus Mozart

Quartet in D major, K. 499, “Hoffmeister”

(1756-1791) Allegretto Menuetto: Allegretto Adagio Allegro

Viktor Ullmann

(1898-1944)

Quartet No. 3 Allegro moderato Presto Largo Rondo: Finale

INTERMISSION

Antonín Dvorˇák

(1841-1904)

Quartet No. 11 in C major, Op. 61, B. 121 Allegro Poco adagio e molto cantabile Scherzo: Allegro vivo Finale: Vivace

and Wigmore Hall in London. The quartet will also perform together with the pianists Anne-Marie McDermott and Jon Kimura Parker, the violists Roberto Díaz and Cynthia Phelps, and the Pacifica Quartet. In addition, the quartet will participate in week-long residencies for Chamber Music Northwest, the Phoenix Chamber Music Festival, and the Chamber Music Society of Logan.

Last year the Dover Quartet won not only the Grand Prize but all three Special Prizes at the 2013 Banff International String Quartet Competition. The quartet also won top prizes at the Fischoff Competition and the Wigmore Hall International String Quartet Competition, and has taken part in festivals such as Chamber Music Northwest, Artosphere, La Jolla SummerFest, and the Santa Fe Chamber Music Festival. During the 2013-14 season, the Quartet acted as the Ernst Stiefel String Quartet-in-Residence at the Caramoor Festival. Additionally, members of the quartet have appeared as soloists with some of the world’s finest orchestras, including the Philadelphia Orchestra and the Tokyo Philharmonic.

Dover Quartet The Dover Quartet makes its debut with Friends of Chamber Music tonight. Audiences may be familiar with the quartet after their appearance last summer at Bravo! Vail.

The Dover Quartet catapulted to international stardom following a stunning sweep of the 2013 Banff International String Quartet Competition, becoming one of the most in-demand ensembles in the world. The New Yorker recently dubbed them “the young American string quartet of the moment,” and The Strad raved that the quartet is “already pulling away from their peers with their exceptional interpretive maturity, tonal refinement, and taut ensemble.” In 2013-14, the quartet became the first ever Quartet-in-Residence for the venerated Curtis Institute of Music.

The Dover Quartet draws from the musical lineage of the Cleveland, Vermeer, and Guarneri Quartets, having studied at the Curtis Institute and Rice University’s Shepherd School of Music, where they were in residence from 2011-2013. The quartet has been mentored extensively

by Shmuel Ashkenasi, James Dunham, Norman Fischer, Kenneth Goldsmith, Joseph Silverstein, Arnold Steinhardt, Michael Tree, and Peter Wiley. The quartet is dedicated to sharing their music with underserved communities

During the 2014-15 season the Dover Quartet will perform more than 100 concerts throughout the United States, Canada, South America, and Europe.

Highlights include concerts for the Kennedy Center in Washington, D.C, Schneider Concerts in New York City, 2

and is an active member of Music for Food, an initiative to help musicians fight hunger in their home communities.

friend’s other works as too difficult to attract purchasers, the fact that this score did not remain homeless should have been encouraging. However, evidence suggests that Mozart had virtually given it away in compensation to Hoffmeister, to whom he’d owed money. That the composer was already running up debts even before his concert income began to decline the following year can be viewed as a discouraging sign of things to come.

PROGRAM NOTES

Program notes © Betsy Schwarm

Mozart: Quartet in D major, K. 499, “Hoffmeister”

The first and last movements of this quartet follow general expectations of how a string quartet should be structured.

Most of the musical textures are bright and optimistic in mood, though some more determined ones appear for the sake of variety. A similar contrast of ideas is found in the last movement, which gives particular prominence to the first violin, though these playful lines also reappear in the other parts so that no one is left out of the action.

Mozart composed roughly two dozen string quartets, the first when he was fourteen, the last scarcely one year before his death just short of his thirty-sixth birthday. The early start in the genre was due in part to Wolfgang’s father Leopold, a skilled violinist who often had friends over to the family’s Salzburg apartment to spend an evening playing quartets.

Young Wolfgang watched closely, and effectively taught himself not only how to play violin and viola, but also how to write quartets through repeated opportunity for observation. By the time he wrote tonight’s quartet, his twentieth, he already had extensive up-close-andpersonal experience in the field, both as a composer and performer. In either role, he knew better than nearly anyone else how to make the most of musical resources.

As for the central two movements, here Mozart diverts from expectation. He chooses to place the movement-filled Minuet before the languid Adagio, rather than in the other order. It was a trick that his friend Haydn used at times, and here the younger composer shows that he, too, sees value in shaking up the mix. Moreover, the central pages of the Minuet are wistful and hesitant in mood, providing a distinct contrast with that which comes before and after.

Throughout his expansive catalog of works Mozart frequently makes a point of trying to catch his audience – and his performers – a touch off-guard, so that what comes next in the composition serves as an intriguing surprise. Therein lies one particularly notable aspect of

Mozart’s personal catalog of his works attests that he finished this quartet August 19, 1786 and soon passed it on to a publisher friend, Franz Anton Hoffmeister, who would see it to print before year’s end. As relatively few of Mozart’s compositions found publishers during his brief life, and as Hoffmeister had rejected some of his 3

Mozart’s music; that when he sets aside the rule book it is because he has an even more perfect idea up his sleeve.

quartet to him before leaving it in Utitz’s hands. Utitz survived the war, and it was he who brought the quartet to belated publication.

Last performed on our series: October 8, 1986 (Emerson Quartet).

About a quarter hour in length, the quartet is ostensibly in four movements, though there are no breaks between the movements so the effect is more of changing moods than of separate movements. Mournful ideas and restless ones appear in turn, ultimately building to a finale of tense determination.

Significant solo lines appear for each of the players, though most prominently for viola and cello. Melodic fragments are more the rule than broad expansive melodies, as if Ullmann sensed there would be insufficient time to develop broader musical expressions. Throughout, one finds reference to musical ideas both old and new, with relatively modern harmonies shading intricate weaving of lines. The former technique would have puzzled Bach, even as the latter made sense to him, but both worked for Ullmann.

Ullmann: Quartet No. 3 Had he been of an earlier generation, Viktor Ullmann (1898–1944) might have had a long and happy life. A native of Prague, he had gone to Vienna in his early twenties to study with Schoenberg but returned to his hometown for work as a conductor and accompanist. In his music he brought home to Prague some of Schoenberg’s modern touch for harmony, without entirely favoring the darker dissonance that was taking Vienna by storm. His string quartets, piano sonatas, orchestral pieces, and operas found mostly favorable notice.

Unfortunately, Ullmann’s Jewish heritage also earned attention, in his case from the Nazis who had come to Prague in 1938. In 1942, Ullmann was arrested and sent to the Terezin concentration camp (the Germans called it Theresienstadt), where many other musical figures had been confined. Together they kept active in music, composing and performing whenever possible, and Ullmann composed his last works there. In October of 1944 he was sent on to Auschwitz, where he was sent to the gas chamber.

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

Dvorˇák: Quartet No. 11 in C major, Op. 61, B. 121 Most great composers have written string quartets. Apparently they relish the challenge of balancing four similar instruments while still allowing for melodic, thematic, and harmonic variety.

Antonín Dvorˇák (1841–1904) was one of those string quartet devotees. However, unlike many of his colleagues, he not only composed them but also played them.

Long before making a name for himself

One of Ullmann’s Terezin compositions is his String Quartet No. 3. Its two predecessors vanished, but this one survived in the care of Ullmann’s fellow prisoner, Dr. Emil Utitz. Dr. Utitz remained at Terezin rather than going on to Auschwitz, and Ullmann dedicated the 4

as a composer, Dvorˇák had earned his daily bread playing violin and viola. Even in his most successful days he continued to play chamber music with friends and colleagues for his own pleasure, as well as on the concert stage. Dvorˇák thoroughly understood what could be achieved with four string instruments, and the depth of that familiarity is clear in the quality of the results.

Dvorˇák described himself as a man of the country and here seems bent on indulging that side of his character. The playful finale is all eagerness, sometimes contrasting light staccato passages with smooth legato ones, even simultaneously.

As a whole, it is music of varied energy, the work of a man who knew quartets from the inside out.

A dozen years would pass before Dvorˇák composed another quartet; String Quartet No. 12 is his familiar “American” Quartet. Only two more quartets would follow that one. There seems no evidence that he was losing interest in a genre that he had enjoyed from the earliest days of his career. Rather, Dvorˇák would soon become increasingly busy, not just with composing but also with teaching and international travel for concerts of his works. That the majority of his quartets date from his less successful years is largely due to the fact that when a young composer is unknown he might feel more optimistic about writing smaller scale works that stand a greater chance of reaching the public. By the time he decided to write the String Quartet No. 11, Dvorˇák had no difficulty finding an audience. Here is a work composed not due to an immediate need, but rather because he felt like writing something best suited to strings alone. Through his String Quartet No. 11, modern performers and listeners alike can peek into Dvorˇák's musical imagination of the time.

Standing immediately after the Symphony No. 6 in the catalog of Dvorˇák's works, his String Quartet No. 11 was composed late in 1881 and published the following year. Much of it is in the resolutely sunny key of C major, perhaps reflecting the fact that these were good years for the composer. A string of first prizes in an Austrian state- sponsored composition competition had brought him, in close order, a champion (Brahms), a publisher (Simrock), and a wife (Anna). Now, with a young family and an international career, Dvorˇák had no cause for complaint. This quartet is the music of a man for whom all is right with the world.

The first movement is eager and thoughtful by turns, with brisk energy dancing along on a tide of dotted rhythms, offset at times by more flowing, song-like passages. The generally restful second movement has fragments of melodies that appear first in one part and then in another, neatly emphasizing the variety of colors available within the ensemble, even when handling the same melodic material. With the third movement, folk-like moods appear, dancing or singing as required, the middle pages tinted with bird-like warbles.

Last performed on our series: February 9, 2005 (St. Lawrence String Quartet).

Please join members of the quartet for a talk-back immediately following the concert.

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Dover Quartet Master Class Earlier today Friends of Chamber Music was pleased to sponsor a master class for students at Denver School of the Arts. We also welcomed a group of students from the El Sistema program to observe the master class – each student is planning to audition for Denver School of the Arts next year.

The morning included a short performance by the Dover Quartet, followed by an open discussion about the challenges and rewards of a career as a professional musician.

All FCM-sponsored master classes are free and open to the public. Please plan to join us on Thursday, February 26, 2015 from 9:00 – 10:30 a.m. at Denver School of the Arts for a master class by the Calder Quartet.

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 303-871-7720. 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.

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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 Sunday’s 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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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!

SAVE THE DATE Colorado Gives Day is right around the corner! On December 9, thousands of Coloradans will support their favorite Colorado charities and nonprofits. If you would like to preschedule a donation to Friends of Chamber Music, visit www.ColoradoGives.org/FCM. As always, we thank you for your support, helping to keep chamber music alive in our community!

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Charles Ives: A Conversation with Jeremy Denk Join us at Curious Theatre Company at 6:00 p.m. on Monday, January 19, 2015, for an unforgettable evening with pianist Jeremy Denk as he talks about the world and works of American composer, Charles Ives. One of the foremost interpreters of Ives’ piano music, Denk will speak about the composer and his influences.

Theater Tickets Charles Ives Take Me Home Curious Theatre, Jan 8 – Feb 14, 2015 Curious Theatre Company is offering FCM subscribers $39 A Seating tickets (regularly priced at $44) and $32 B Seating tickets (regularly priced at $37) valid to any Charles Ives, Take Me Home performance January 15 - 31, 2015* when you purchase tickets by January 1, 2015. Redeem this exclusive offer by using

Denk will be joined by Christy MontourLarson, director of Curious Theatre Company’s regional premiere of Charles Ives Take Me Home. In this inspiring new work, modernist composer Charles Ives officiates a generational scrimmage between a virtuoso violinist and his basketball coach daughter. It’s a difficult father/daughter relationship in which dissonant passions create a fugue of disappointments and missed chances.

the code "CHAMBER" (all caps) when purchasing tickets at curioustheatre.org.

*Subject to availability and valid online only. Cannot be applied to previously purchased tickets.

Tickets to both events are only available through Curious Theatre’s Box Office: www.curioustheatre.org /303.623.0524

Event Tickets Charles Ives: A Conversation with Jeremy Denk.

January 19, 2015, 6–7:30 p.m.

Curious Theatre Company 1080 Acoma St., Denver, 80204. $15 per ticket, on sale now.

A limited number of seats available for this event so order today!

Our thanks to Onofrio Piano for donating a piano for this event.

Don't miss our upcoming Piano Series Recitals $35 each/$10 students 25 and under Tickets available through our website, www.friendsofchambermusic.com, or contact the Newman Center Box Office, 303-871-7720, www.newmantix.com

Jeremy Denk

January 21, 2015 7:30 p.m.

Jonathan Biss

May 6, 2015 7:30 p.m.

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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 $1,000 + Patsy & James Aronstein S Lisa & Steve Bain S Pam Beardsley S Bob & Cynthia Benson S 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 John & Cynthia Kendrick 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 Peyton & Suzanne Bucy Janet & Henry Claman S Gerri Cohen S Kevin & Becky Durham S Max & Carol Ehrlich Fackler Legacy Gift Stephen & Margaret Hagood S Michael Huotari & Jill Stewart Ronald & Jeri Loser S Charlene Byers & Pamela Metz S Frank & Pat Moritz S Rosemarie & Bill Murane S Kathy Newman & Rudi Hartmann S Richard Replin & Elissa Stein S Ayliffe & Fred Ris S Henry R. Schmoll S David & Susan Seitz Bobbi & Gary Siegel Ric Silverberg & Judith Cott Patricia Somerville Edie Sonn Chet & Ann Stern June K. Stool & Evelyn Waldron S Marcia Strickland S Morris & Ellen Susman S

Margot K. Thomson S Walter & Kathleen Torres S Sam Wagonfeld S $250 + Rick & Margot Acosta S Jules & Marilyn Amer Amica Companies Foundation Linda & Dick Bateman Hannah Kahn & Arthur Best S Sandra Bolton Theodore Brin Andrew & Laurie Brock Darrell Brown & Suzanne McNitt S Peter & Cathy Buirski 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 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 Theodor Lichtmann 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 Marcia Naiman Dee & Jim Ohi S John & Mary Ann Parfrey S Fred & Connie Platt Eileen Price, in memory of Max Price S Jane & Bill Russell S Cheryl Saborsky S 10

Richard & Jo Sanders Ray Satter Maxwell L. Saul S Alan & Gail Seay San Mao Shaw S David & Patty Shelton, in honor of Bernie Kern Bob & Margaret Stookesberry S Berkley & Annemarie Tague S Eli & Ashely Wald S Jeff & Martha Welborn S Lela Lee & Norman Wikner Barbara & Joseph Wilcox Lynetta Windsor S Andrew Yarosh 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 Bonnie Camp Nancy Kiernan Case Marlene Chambers & Lawrence Duggan Dana Klapper Cohen S Susan & Tim Damour S Stephen & Dee Daniels Stephen Dilts S Dan Drayer S David & Debra Flitter Barbara Wright & Frank Gay S Kathe & Michael Gendel Donna & Harry Gordon Kazuo & Drusilla Gotow Jeff Zax & Judith Graham Melanie Grant Carol & Jim Griesemer

Paula & Stan Gudder Pam & Norman Haglund Richard & Leslie Handler Larry Harvey Rogers & Ruth Hauck S Richard W. Healy Peter Hegg, in memory of Doris Hegg S Eugene Heller & Lily Appleman Joseph & Renate Hull Richard Italiano S Stanley & Barbara Jones Michael & Karen Kaplan Ann Kiley S Bruce Kindel Roberta & Mel Klein Ellen Krasnow & John Blegen Elizabeth Kreider S Doug & Hannah Krening Jack Henry Kunin Heidi & Jonathan Leathwood S Rachel Lederer S Seth Lederer S Christopher Lesher S Igor & Jessica Levental Ann Robinson Levy S Della & Jeff Levy S 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 S Marilyn Madsen Evi & Evan Makovsky S James Mann Roger Martin Alex & Kathy Martinez Lawrence Phillips & Myron McClellan Rhea Miller Katherine Millett, in memory of Jeanne Reeve Jean Milofsky, M.D., & David Milofsky, in memory of Bernard Milofsky S Paul & Barb Moe Douglas & Laura Moran Kirsten Morgan S Barbara & John Morrison S Marilyn Munsterman & Charles Berberich Betty Naster S Robert N. O’Neill Tina & Tom Obermeier Danielle & Tom Okin Douglas Hsiao & Mary Park S

Desiree Parrott-Alcorn John Pascal S David S Pearlman Becky & Don Perkins S Barbara Pollack Carol Prescott Ralph & Ingeborg Ratcliff Reid T. Reynolds S Ed & Maxine Richard Gene & Nancy Richards Mary Robbins Allan & Judith Rosenbaum 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 Robert & Barbara Shaklee S Beverly Buck & David Sherman Milton Shioya Colly & Bunny Shulman Bobbi & Gary Siegel S Artis Sliverman S Steven Snyder Shirleyan Price & David Spira S Nathan Stark Paul Stein S William A. Stolfus S Dan & Linda Strammiello Steve & Phyllis Straub Dick & Kathy Swanson Karen Swisshelm Cle Symons Malcolm & Hermine Tarkanian Peter Van Etten John & Lisa Vincent-Morrison S Robert & Beth Vinton Ann & Marlin Weaver S Hedy & Michael Weinberg Carol C. Whitley Greta & Randy Wilkening Wilmot Charitable Fund Linda & David Wilson 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 11

Richard & Gwen Chanzit Gini Chrisco Marion Colliander Jane Cooper Janet Dampeer Garth Englund, Jr. Nancy & Mike Farley John & Debora Freed Martha Fulford Robert C. Fullerton Sandra Goodman Sanders Graham Barbara Inama Suzanne Kaller Leonard & Abbey Kapelovitz William & Martha Keister Shana Kirk Edward Karg & Richard Kress Linda Levin Marilyn Lindenbaum Roy & Esther Lowenstein Bill and Lisa Maury Loris McGavran Estelle Meskin Joanna Moldow James & Karin Mote Betty Murphy Mary Murphy 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 Jo Shannon Artis Silverman Lois Sollenberger Steve Susman Carol Trotter Suzanne Walters Barbara Walton James Williams Ruth Wolff Jaclyn Yelich Yoni Zaluski S S Gift made to the Piano Fund + Gift made to the FCM Endowment

UPCOMING CONCERTS CHAMBER SERIES

PIANO SERIES

CALDER QUARTET WEDNESDAY, FEBRUARY 25, 7:30 PM

JEREMY DENK WEDNESDAY, JANUARY 21, 7:30 PM

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

JEREMY DENK/CURIOUS THEATRE EVENT JANUARY 19, 2015, 6:00 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

CALDER QUARTET MASTER CLASS FEBRUARY 26, 2015, 9 - 10:30 AM Denver School of the Arts YO-YO MA, SOLO RECITAL APRIL 29, 2015, 7:30 PM

SPECIAL THANKS SCIENTIFIC AND CULTURAL FACILITIES DISTRICT (Tier III) for supporting FCM’s outreach efforts through school residencies and master classes

COLORADO PUBLIC RADIO for broadcasting our concerts 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