October 1, 2014
EMERSON STRING QUARTET
Gates Concert Hall Newman Center for the Performing Arts
Eugene Drucker, violin Philip Setzer, violin Lawrence Dutton, viola Paul Watkins, cello
University of Denver
Henry Purcell Chacony in G minor (1659-1695) (arranged for string quartet by Benjamin Britten)
Eugene Drucker, first violin
Franz Joseph Haydn String Quartet in G major, Op. 33, no. 5 (1732-1809) Vivace assai Largo e cantabile Scherzo Finale Eugene Drucker, first violin Lowell Liebermann String Quartet No. 5, Op. 126 (b. 1961) Eugene Drucker, first violin Lowell Liebermann’s String Quartet No. 5 was commissioned
by Music Accord for the Emerson String Quartet.
INTERMISSION
Dmitri Shostakovich (1906-1975)
String Quartet No. 3 in F major, Op. 73 Allegretto Moderato con moto Allegro non troppo Adagio - Moderato
Philip Setzer, first violin
from dry and tart over clean and zesty all the way to lustrous and singing. Listening to them pass tiny rhythmic motifs around the group, I was struck by how evenly calibrated these timbres were.” The New York Times. In October, Paul Watkins performs with the Emerson Quartet for the first time in Carnegie Hall. The program includes the Schumann Piano Quintet with acclaimed pianist and colleague Yefim Bronfman.
Emerson String Quartet
The Quartet continues its series at the Smithsonian Institution in Washington, D.C. for its 35th season, and, in May, performs in the two final season concerts at Chamber Music Society of Lincoln Center in Alice Tully Hall that includes the New York premiere of Lowell Liebermann’s String Quartet No. 5, performed here tonight.
Tonight marks the Emerson String Quartet’s 14th appearance on our season. The quartet has an unparalleled list of achievements: more than thirty acclaimed recordings, nine GRAMMYS® (including two for Best Classical Album), three Gramophone Awards, the Avery Fisher Prize, and Musical America’s “Ensemble of the Year.”
As an exclusive artist for SONY Classical, the Emerson recently released Journeys, its second CD on that label, featuring Tchaikovsky’s Souvenir de Florence and Schoenberg's Verklaerte Nacht. Future recordings are planned with Mr. Watkins.
The arrival of cellist Paul Watkins in 2013 has had a profound effect on the Emerson Quartet. Mr. Watkins, a former member of the Nash Ensemble and former Music Director of the English Chamber Orchestra, joined the ensemble in its 37th season, and his dedication and enthusiasm have infused the quartet with a warm, rich tone and a palpable joy in the collaborative process. The reconfigured group has been greeted with impressive accolades. “One of the characteristics of the Emerson Quartet is that its players (the violinists Eugene Drucker and Philip Setzer and the violist Lawrence Dutton, in addition, now, to Mr. Watkins) all have the ability and the instruments to produce a sweet and glossy sound — but do so sparingly. Instead, they establish a chromatic scale of timbres that range
Formed in 1976 and based in New York City, the Emerson was one of the first quartets formed with two violinists alternating in the first chair position. Violinist Eugene Drucker is also a writer and composer, who published his first novel, The Savior, in 2008 and who made his compositional debut in 2008 with a setting of four Shakespeare sonnets. He plays a Stradivarius violin (1686). Violinist Phil Setzer’s parents were both violinists in the Cleveland Orchestra. He 2
Music Accord Partners include:
tours in a trio with former Emerson cellist David Finckel and pianist Wu Han. He plays a Zygmuntowicz violin (2011).
The Chamber Music Society of Lincoln Center
Violist Larry Dutton is an avid skier who spends a week in Aspen each winter (and never, ever falls). He plays a Zygmuntowicz viola (2003).
Center for the Performing Arts at Penn State University Hancher Auditorium at University of Iowa
Cellist Paul Watkins, originally from Wales, moved to New York last year after 20 years in London. He appeared last season with the Colorado Symphony, playing the Elgar Concerto. His wife, Jennifer, is the daughter of FCM regular, violinist Jaime Laredo, and the late pianist Ruth Laredo. Paul plays a cello by Montagnana and Gofriller (1730).
Celebrity Series of Boston Krannert Center Marquee Series at University of Illinois Library of Congress Mondavi Center for the Performing Arts San Francisco Performances Tanglewood Festival/Boston Symphony Orchestra
Music Accord
University Musical Society at the University of Michigan
Music Accord is a national consortium of classical music presenting organizations dedicated to the creation of new chamber music and to the presentation of these works in venues throughout the United States and internationally.
PROGRAM NOTES
Since its formation in 1997, Music Accord has commissioned more than twenty new works through its collaboration with composers including William Bolcom, Elliott Carter, Mario Davidovsky, David Del Tredici, Gabriela Lena Frank, Lukas Foss, Osvaldo Golijov, Steven Mackey, Augusta Read Thomas, Kevin Puts, Roberto Sierra, Bright Sheng, and performing artists and ensembles including Jeremy Denk, Stephanie Blythe, the Borromeo String Quartet, the Brentano Quartet, Chanticleer, Thomas Hampson, eighth blackbird, the St. Lawrence String Quartet, Frederica von Stade, and the Tokyo String Quartet.
Purcell: Chacony in G minor Beloved British composer Henry Purcell (1659–1695) was born into a musical family. His father was a singer and choirmaster at Westminster Abbey and Henry sang as a boy soprano in the Chapel Royal at St. James’s Palace. After his voice broke, he began studying composition with organist John Blow while also taking a job caring for the king’s instruments. Purcell soon succeeded his teacher as organist at the Abbey (and would be buried there, next to the organ, after his untimely death). In 1685, the ascension 3
of James II, a Catholic, curtailed the activities of the Anglican Chapel Royal, so Purcell turned from sacred to secular composition and composed music for use at court. But when William and Mary took the throne a few years later, musical life at court diminished. Ever adaptable, Purcell turned his focus to writing for the theater, penning his most famous stage piece, Dido and Aeneas, in 1688.
in the summer and fall of 1781, they were specifically designed to appeal. For the first time Haydn had been granted permission by his employer, Prince Esterhazy, to sell his own compositions on the open musical market and so reach for a wider audience outside of his rural post. Haydn negotiated his own contracts with music publishers in Vienna, then the musical center of Europe. He advertised the new set of quartets to potential buyers as having been written “in an entirely new and special way.” But that wasn’t just good marketing copy. The Opus 33 quartets truly do differ from their predecessors, the densely contrapuntal quartets of Opus 20, in being lighter in texture and tone. That’s not to say that they are any less learned. In many subtle ways the quartets of Opus 33 are “music about music,” almost in a modernist sense of art about art (think of all-white paintings that challenge the very notion of painting itself ). Haydn gently tweaks some of the conventions of Classical forms and styles then still emerging. This unparalleled balance that he achieved between musical accessibility and compositional sophistication captivated the young Mozart, newly arrived in Vienna at the time the quartets appeared. Indeed, Haydn’s Opus 33 inspired Mozart to write his own set of six quartets—and dedicate them to Haydn.
The most famous number from that hour-long opera is “Dido’s Lament,” which actually follows the same general form as the Chacony in G minor: a set of variations unfold above unchanging, repeating harmonies. The Chacony was likely written sometime between 1677 and 1685 for use at court during the reign of Charles II. It would have been performed by the court violin orchestra, which Purcell directed, and probably accompanied a stately, formal dance. Though Purcell was probably all of about 20 years old when he wrote the Chacony, it reveals complete mastery of the form and a sensitivity to dramatic pacing that would later find full flower in his stage works. Tonight marks the first performance of this work on our series. Haydn: String Quartet in G major, Op. 33, no. 5 The six quartets of Opus 33 are landmarks in Haydn’s output as well as in the history of the string quartet itself. All bear the stamp of the composer’s mature style, including the humor of unexpected interruptions and silences, an easy banter among the instruments, and genial, rhythmic energy. Composed
The most obvious musical pun in Opus 33, no. 5 comes right at the beginning. The quartet opens with a closing gesture, a kind of formal, gracious curtsey set to a rhythm that suggests the question, “How do you do?” That question has become a nickname for the quartet. The 4
following Largo, with its exquisite and impassioned opening melody, reveals just how accomplished an operatic composer Haydn was. Though probably best known for his sonatas, symphonies, and quartets, he also wrote over a dozen operas, most for private performances at the Esterhazy estate, and of course also penned the beloved oratorios The Creation and The Seasons for the public stage in London. The Scherzo has the rustic charm of a heavy-heeled, hopping dance and ends, again in good humor, seemingly on the wrong foot, but recovers with a quick closing bow. The Finale is simple, gentle, and lovely—the very epitome of Haydn’s “new and special way.”
terrifying events of the kind with which we are all bombarded daily, in what seems more and more like a world gone mad. The work’s mysterious opening, marked “Limpido” (“still”) introduces a number of motives that are heard and developed throughout the quartet. Structurally, the quartet is in one arc-like symmetrical movement consisting of two mostly slow sections flanking a fast section whose structure is, in and of itself, symmetrical. If we think of that central fast section as being akin to a scherzo and trio, then the reprise of the scherzo section is actually an intervallic inversion of its first statement, while the trio section divides at its midpoint, the second half being a mirror image of the first half.
Tonight marks the first performance of this work on our series.
Tonight marks the first performance of this work on our series.
Liebermann: String Quartet No. 5, Op. 126
Shostakovich: String Quartet No. 3 in F major, Op. 73
Lowell Liebermann provided the following note about his new work:
String quartets are often heard as somehow more individual, more intimate—and so more personally revealing—than any other genre. Perhaps this is because they are so obviously conversational, and there is by necessity a certain familial rapport among the musicians themselves. Each instrument seems like a voice, and we want to know what is being said. In the case of Dmitri Shostakovich (1906– 1975), a composer who spent his entire career in the Soviet Union and who often wrote music in service of the state, exactly what he might be saying has long been debated. He was not, as is still sometimes suggested, a closet dissident, encoding political rebellion in his musical scores. He wrote fifteen string quartets, but only composed his first in 1938, at age 31, with
The 5th String Quartet, Op.126 was commissioned by Music Accord for the Emerson String Quartet, to whom the work is dedicated. It is such an honor (and not an unintimidating one!) to write for an ensemble that has been, through their many recordings, such an iconic presence in my own musical development. This quartet, like much of my instrumental music, has no extra-musical program. It is as absolute and abstract as music can be – yet, at the same time, I have no doubt that my mindset while composing the piece, and its resultant overriding elegiac tone, was at least partly influenced by any number of depressing/ 5
five symphonies already behind him. He had cut his teeth on other genres, so to speak, and turned to the quartet only in his compositional maturity. “After all, the quartet is one of the most difficult musical genres,” he confessed.
darker, more anxious music can’t obscure the sunny tune, and the movement ends quite happily. Other movements are more brooding and punctuated by real moments of wrenching crisis. When peace spreads across the final movement there is a sense of true rest—perhaps eternal.
At any rate, the Third Quartet (1946) seems to rise above its personal or political circumstances altogether to address more universal topics, namely the passage from innocence to experience and perhaps even beyond. It is symphonic in its emotional and musical scope. Contrasts abound: loud and soft, fast and slow, bowed and plucked. Everything is here, the whole world of music and of human experience. In fact, the Third Quartet is truly symphonic in the sense that it shares many qualities of Shostakovich’s Eighth Symphony. Both scores feature two scherzos, for example, and both recall music from one movement in another. In the Third Quartet, music from the fourth movement recurs in the fifth before the enigmatic conclusion.
Tempting as it may be to read these movements as some sort of allegory for its age, scholar Simon Morrison reminds us that music can really just be about music. His argument is that Shostakovich here suggests how the same material can be heard differently, how a change in perspective can bring about a new understanding. Hence the repetitions (two warlike scherzos, for example). The multiplicity of voices, the possibilities of interpretation, the varieties of understanding, and endless ways of knowing—that’s the often difficult truth of human experience as celebrated in the Third Quartet. Last performed on our series: December 4, 2002 (St. Lawrence String Quartet).
The first movement has been heard as an echo of childhood, with its buoyant opening melody. Passing clouds of slightly
Program Notes © Elizabeth Bergman
Clarinet Master Class with David Shifrin - October 15th, 2014 From 10 a.m. - noon on Wednesday, October 15th, join us for a free master class with clarinetist David Shifrin. Shifrin will conduct a master class for Lamont School of Music clarinet students at Hamilton Recital Hall in the Newman Center. One of only two wind players to have been awarded the Avery Fisher Prize since the award’s inception in 1974,
Mr. Shifrin is in constant demand as an orchestral soloist, recitalist, and chamber music collaborator. He has also served as the artistic director for the Chamber Music Society of Lincoln Center, with whom he will be performing that evening on FCM’s Chamber Series. Visit our website at www.friendsofchambermusic. com for more information. 6
Curious to Hear Denk on Ives? January 19th, 2015, 6 p.m. Ives Take Me Home. This event is offered in collaboration with Curious Theatre Company and attendees will have the opportunity to purchase discounted tickets to Charles Ives Take Me Home. Jeremy Denk will appear in concert on FCM’s Piano Series on Wednesday, January 21st. For more information, visit our website at www.friendsofchambermusic.com in the coming weeks.
Join us at Curious Theatre Company, 6 p.m. on Monday, January 19th, 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 with Christy Montour-Larson, director of Curious Theatre Company’s production of Charles
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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Building New Audiences through Educational Outreach Friends of Chamber Music's education programs are an essential part of our mission.  FCM recently received this letter from Luke Wachter, the music teacher at Kunsmiller Creative Arts Academy, a K-12 public magnet school serving students in southwest Denver.
I try to ensure that my students are engaged not in just what I think is valuable, but also in what is actually happening in the musical community of the city. This means exposing them to working artists in the world of chamber music, and more importantly giving them the chance to work directly in making music with those professionals.
Dear Friends of Chamber Music, As anyone who has run a school music program can tell you, it is impossible for even a masterful teacher to be successful on their own. Support from parents, schools, co-teachers, and outside organizations bringing musical opportunities to students are all vital parts of comprehensive 21st-century music education. The latter two things can be particularly difficult for inner-city schools without a lot of financial resources, like many of those in Denver. However, due to the work being done by groups like the Friends of Chamber Music, it has been possible for me to expose my students at Kunsmiller Creative Arts Academy in Denver Public Schools to an expanding landscape of musical experiences and opportunities.
Bridging the achievement gap in the arts is a difficult prospect, but I know the support of organizations such as FCM have a real impact on student growth and achievement. After our Spring 2014 Young Composers Project, which FCM helped make possible, I had two high school students come to the realization that not only did they want careers in music, but that it was something that was actually possible for them to do in a very real way. This is how new audiences are built, new artists' voices found, and lives changed. Luke Wachter Kunsmiller Creative Arts Academy
Legacy Gifts For those who want to leave a musical legacy, a planned or deferred gift to Friends of Chamber Music will help insure 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.
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SPECIAL EVENT - PRE-SALE INFORMATION Yo-Yo Ma, cello Wednesday, April 29, 2015 7:30 PM To hear Yo-Yo Ma in solo recital in an intimate setting is a once-in-a lifetime experience. FCM is excited to be able to offer this experience to Denver audiences this season. FCM Chamber Series and Piano Series subscribers have an opportunity to purchase tickets to Yo-Yo Ma's cello recital at Gates Concert Hall, in advance of the general public, beginning at 10 a.m. on Wednesday, October 1st. Tickets to the general public go on sale on October 15th. There will be a limit of one ticket per FCM subscription during the initial order period (Oct. 1-14). Note: If you hold a combined Chamber/ Piano Series subscription, it counts as only one subscription. Reserved seats will be available at the following discounted prices for FCM subscribers: Orchestra - $125
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Parterre - $100
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Mezzanine - $75
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Balcony - $50
We expect this event to sell out very quickly and subscribers are not guaranteed tickets. Take advantage of this early purchase opportunity. Tickets for the concert and reception will only be available through the Newman Center Box Office. All subscribers should have received a mailing with pre-sale instructions, including a special promo code to use when ordering. If you did not receive yours, please call 303-388-9389. Reception Join us for a special post-concert reception with Mr. Ma to be held in the Great Hall at the Iliff School of Theology, directly across the street from the Newman Center. A limited number of tickets are available for $150 to those holding tickets to the Yo-Yo Ma recital. All funds raised from this reception will support FCM’s educational outreach programs. Special thanks to Robert and Judi Newman for sponsoring this reception. 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 $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 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
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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 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 11
Vernon Beebe Bennie Bub Thomas Butler Elizabeth & John Carver 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
Leonidas Kavakos and Yuja Wang WEDNESDAY, NOVEMBER 19, 7:30 PM
Jonathan Biss WEDNESDAY, MAY 6, 7:30 PM
Chamber Music Society of Lincoln Center WEDNESDAY, OCTOBER 15, 7:30 PM
Jeremy Denk WEDNESDAY, JANUARY 21, 7:30 PM
Dover Quartet WEDNESDAY, DECEMBER 3, 7:30 PM
Advance single tickets are available for all concerts. $35 each/$10 students 25 and under. Returned tickets are also available at the door. Visit our website www.friendsofchambermusic.com or contact the Newman Center Box Office, 303-871-7720 www.newmantix.com
Calder Quartet WEDNESDAY, FEBRUARY 25, 7:30 PM Les Violons du Roy with Marc-André Hamelin THURSDAY, MARCH 19, 7:30 PM Trio con Brio Copenhagen WEDNESDAY, APRIL 1, 7:30 PM
SPECIAL THANKS COLORADO PUBLIC RADIO (KVOD 88.1 FM) for broadcasting FCM concerts on its “Colorado Spotlight” programs
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
Our anonymous donor for providing beautiful flowers for tonight’s performance
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
Lyn Loewi for coordinating program notes
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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