LEILA JOSEFOWICZ VIOLIN
JOHN NOVACEK D E N V E R
PIANO
NOVEMBER 15, 2015
MANUEL DE FALL A Suite Populaire Espagnole
(1876-1946) El Paño Moruno Nana Canción Polo Asturiana Jota
OLIVER MESSIAEN Thème et variations (1908-1992)
ROBER T SC HUMANN
Sonata No. 1 in A minor, Op. 105
Mit leidenschaftlichem Ausdruck (1810-1856) Allegretto Lebhaft
INT E RM ISSION ERKKI-SVEN TÜÜR Conversio
(b. 1959)
JOHN ADAMS
Road Movies
(b. 1947) Relaxed Groove Meditative 40% Swing
LEILA JOSEFOWICZ Leila Josefowicz makes her Friends of Chamber Music debut today. Josefowicz’s passionate advocacy of contemporary music is reflected in her diverse programs and enthusiasm in performing new works. She frequently collaborates with leading composers and works with orchestras and conductors at the highest level. In 2008 she was awarded a prestigious MacArthur “genius grant” Fellowship, joining prominent scientists, writers, and musicians who have made unique contributions to contemporary life. LEILA JOSEFOWICZ
Violin
Highlights of Josefowicz’s 2015/16 season include engagements with the London Symphony, Royal Concertgebouw, Tokyo Metropolitan Symphony, and Sydney Symphony orchestras. In North America Josefowicz performs with the Cleveland and Toronto Symphony orchestras, the Los Angeles Philharmonic, Seattle Symphony, St. Louis Symphony, and Washington’s National Symphony Orchestra. Violin concertos have been written especially for Josefowicz by composers including John Adams, Esa-Pekka Salonen, Colin Matthews, and Steven Mackey. “Scheherazade.2” (Dramatic Symphony for Violin and Orchestra) by Adams was given its world premiere by Josefowicz in March of this year with the New York Philharmonic, conducted by Alan Gilbert. Luca Francesconi’s concerto Duende – The Dark Notes, also written for Josefowicz, was given its world premiere by her in 2014 with the Swedish Radio Symphony Orchestra and Susanna Mälkki before being performed by Josefowicz, Mälkki, and the BBC Symphony Orchestra at the BBC Proms in July 2015. Josefowicz has released several recordings, notably for Deutsche Grammophon, Philips/Universal, and Warner Classics and was featured on Touch Press’s acclaimed iPad app, The Orchestra. Her latest recording, Esa-Pekka Salonen’s Violin Concerto with the Finnish Radio Symphony Orchestra, conducted by the composer, was nominated for a Grammy Award in 2014. Josefowicz is married with three children, aged 1, 3, and 15. She plays a modern violin, a Zygmuntowicz, made in Brooklyn.
JOHN NOVACEK John Novacek is a much sought-after collaborative artist and has performed with Joshua Bell, Matt Haimovitz, Cho-Liang Lin, Yo-Yo Ma, Truls Mørk, Elmar Oliveira, and Emmanuel Pahud, as well as the Jupiter and St. Lawrence string quartets. Mr. Novacek has also given numerous world premieres and worked closely with composers John Adams, John Harbison, Jennifer Higdon, George Rochberg, John Williams, and John Zorn. John Novacek studied piano with Polish virtuoso Jakob Gimpel at California State University, Northridge, where he earned a Bachelor of Music degree, summa cum laude. Subsequently, he earned a Master of Music degree from Mannes College of Music, where his instructors were Peter Serkin in piano and Felix Galimer in chamber music.
JOHN NOVACEK
piano
John Novacek’s own compositions and arrangements have been performed by the Pacific Symphony, The 5 Browns, Concertante, Manasse/Nakamatsu Duo, Harrington String Quartet, Ying Quartet, Millennium, Quattro Mani, and The Three Tenors. He has recorded over 30 CDs, encompassing solo and chamber music by most major composers from Bach to Bartók, as well as many contemporary and original scores. CD titles include Road Movies (2004 Grammy nomination as “Best Chamber Music Performance”), Great Mozart Piano Works, Spanish Rhapsody, Novarags (original ragtime compositions), Classic Romance, Hungarian Sketches, Intersection, Romances et Meditations and, with Leila Josefowicz, Americana (Gramophone: “Editor’s Choice”), For the End of Time, Shostakovich, and Recital (BBC Music Magazine: 5 stars/ June 2005’s chamber choice). John Novacek is a Steinway Artist.
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NOTES Program Notes © Elizabeth Bergman
MANUEL DE FALLA: SUITE POPULAIRE ESPAGNOLE
Tonight marks the first performance of this work on our series.
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In 1914, Manuel de Falla (1876–1946), a native of Spain but then living and working in Paris, composed a set of Spanish songs for voice and piano. They proved immediately and enduringly popular, prompting arrangements for cello and piano, voice and orchestra, and (as set by prodigy Paul Kochanski) for violin and piano. In every version, the influence of Spanish folk sources—and especially Moorish music—shines through. De Falla borrowed his melodies from printed folksong collections and set them in the tradition of the “rural miniature,” featuring fast runs, filigreed ornamentation, and pizzicato plucking. All are meant to mimic a guitar. Yet the violin also carries the instrumental line, and juggling the two roles—of guitarist and singer—is part of the joy of listening to the set and the challenge of performing it. In “Jota,” for example, the violinist actually strums the strings just like a guitarist at the opening, then steps forward to take over the vocal line. The contrast between the lively accompaniment and languorous melody seems to reflect a romantic tension in the lyrics of the original song. “Jota” speaks of a hidden love. A young man bids his beloved farewell, stealing away into the night to avoid her mother’s disapproval. Thus his loving goodbyes float above restive fears of being caught and a hasty departure. Throughout the set, various novel pizzicato techniques are employed. In “El Paño Moruno,” the pizzicato plucking requires the use of both hands, which increases the technical difficulty.
Gifted with synesthesia, meaning the ability to see MESSIAEN: colors while hearing music, Olivier Messiaen (1908– THÈME ET 1992) relished the kaleidoscope of colors produced by VARIATIONS different scales. Indeed his music is easiest to describe in visual terms: full of vibrant and varied instrumental hues pulled from an enormous sound palette to depict Impressionistic landscapes of moods. The rhythms can seem Cubist, the dense musical textures akin to sculptures. Many of his works reflect his spiritual and religious commitments (a devout Catholic, Messiaen served as organist at the Église de la Sainte-Trinité for some sixty years) as well as his interests as a naturalist by incorporating actual birdsong. Thème et variations was composed in 1932 and is dedicated to violinist Claire Delbos, whom he married that same year. She premiered the piece, with the composer at the piano. The very short, simple theme is followed by five variations that become increasingly more elaborate and more distant from the theme. Each is introduced by the piano, which is a truly an equal partner in this work. The second variation moves more quickly, beginning the long run-up to the climactic final variation, which features a clear return of the theme in the upper reaches of the violin with lush, organ-like sonorities underneath in the piano. After a searing climax, the whole piece seems almost to jump off a Tonight marks the first performance of this work cliff and float gently down, coming to a satisfying on our series. conclusion. Robert Schumann (1810–1856) was a composer, a performer (at least until an injury ended his career at the piano), and one of the first music critics. His writings feature two imaginary characters, Florestan and Eusebius, who wage battle in a war against conservative views of how music should sound and
SCHUMANN: SONATA NO. 1 IN A MINOR, OP. 105
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Program Notes Continued
be structured. Florestan was brash and confident, Eusebius quiet and retiring, introspective rather than assertive. Schumann threw support behind such composers as Berlioz, Liszt, and the young Brahms. As a composer, he championed novel genres and forms that captured the spirit of Romanticism: character pieces for piano that depicted varied temperaments and brief, evocative miniatures; passionate art songs and elaborate song cycles; and the very first “cyclic symphony,” which finds a single theme recurring throughout the movements. The piano and voice were his instruments of choice, but late in life, at the request of the concertmaster of the leading orchestra in Leipzig, he composed the first of two violin sonatas. “Robert is working away on something new,” his wife Clara (herself a gifted composer and successful concert pianist) recorded in her diary on September 15, 1851. “I can’t get him to tell me what.” By the end of the month, she knew. “I have finally seen Robert’s new sonata and am thoroughly delighted by it.” Clara gave the premiere the following March.
Last performed on our series December 15, 1993 (Pamela Frank, violin)
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The alternating moods in the sonata recall the characters Schumann created in his music criticism. The first movement, designated “With passionate expression,” immediately evokes Florestan, as does the fiendish scherzo-like finale. The middle movement, however, is more like Eusebius. Although a sunnier episode bespeaks the return of his twin, a gentle melancholy persists. The very end of the sonata features a return of music from the opening—a feature wholly typical of Schumann’s music, which seeks to create and sustain its own special world, removed from quotidian concerns.
The music of Estonian composer Erkki-Sven Tüür (b. 1959) encompasses a remarkable variety of influences, from Mozart to Stravinsky and folk music to minimalism. Conversio (1994) draws most directly on Irish fiddling and Steve Reich’s ideal of music as a gradual process, unfolding and shifting slowly over time, without obviously moving toward a goal. The piece opens with a catchy, accessible pattern that is then repeated and subtly varied for some nine minutes. The idea is for the listener to let go of the need for narrative—of a beginning, middle, climax, and conclusion—and instead feel the patterns, melodies, rhythms. (These harmonies are consonant and accessible, even familiar from jazz and popular music.) There are moments of breakthrough and departure as new ideas suddenly soar above the repetitive patterns. But just as the music seems to reach a kind of climax, suddenly the patterns break down. The second half of the work becomes instead a study in fragments rather than flow, silence rather than seamlessness, dissonance rather than consonance, sharp accents and abrupt chords. Hence, perhaps, the suggestive title, as midway through, the music undergoes a conversio(n).
TÜÜR: CONVERSIO
“After years of studiously avoiding the chamber music format, I have suddenly begun to compose for the medium in real earnest,” writes composer John Adams (b. 1947). “For years the chamber music scenario remained not a particularly fertile bed in which to grow my musical ideas.” True, Adams seemed drawn first and foremost to the textures and colors of a full orchestra or even orchestra plus singers. But writing for opera—and Adams is among the most prolific and significant contemporary composers in that genre—actually led him back to chamber music. Composing for the voice taught him to prize melody, “something that chamber music demands above and beyond all else,” he maintains.
ADAMS: ROAD MOVIES
Tonight marks the first performance of this work on our series.
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Program Notes Continued
Tonight marks the first performance of this work on our series.
DID YOU KNOW? Ever notice that FCM concert programs are printed with no advertisements? FCM is one of only a few organizations that has made a commitment to forgo advertising dollars. This has been a long-held standard, set by our board, as is our continued promise not to share names or email addresses with other organizations for any non-FCM related purpose.
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Road Movies was composed in 1995 on a commission from the Library of Congress. The title is “total whimsy,” Adams explains, yet names of individual movements are nevertheless revealing. The first, “Relaxed Groove,” actually sounds a bit more insistent than truly relaxed as a kind of study in perpetual motion, but “Meditative” is just that. It features open fourths and fifths—sonorities that seem somehow to capture the American landscape, whether the vast expanse of the West or the grassy central greens in small towns. Its harmonies come from the blues. The final movement, “40% Groove,” playfully references MIDI computer programs that pretend to perfectly calibrate certain rhythms. It’s for “four-wheel drives only,” Adams cautions, referring to the breakneck speed and thrilling turns in the music.
LEGACY GIFTS For those who want to leave a musical legacy, a planned or deferred gift to Friends of Chamber Music is a meaningful way for you to help insure our future artistic excellence and stability while providing enhanced tax benefits to you. Visit our website for more information.
GIVE WHERE YOU LIVE Colorado Gives Day is right around the corner! On December 8, 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!
2015-2016
PIANO SERIES STEVEN OSBORNE
WED, FEB 24, 2016 | 7:30 PM “You could have heard a pin drop. Steven Osborne’s power over the hall was absolute…the atmosphere was spellbound.” — T H E D A I LY T E L E G R A P H
PROGRAM:
Schubert: Impromptus D.935, nos. 1 & 4 Debussy: Masques Debussy: Images, Book 2 Debussy: L'isle joyeuse Rachmaninoff: Études-Tableaux, selection
JEAN-EFFLAM BAVOUZET TUE, APR 19, 2016 | 7:30 PM
“Jean-Efflam Bavouzet is among the most generous and indefatigable of performers.” — T H E G U A R D I A N PROGRAM:
Beethoven: Piano Sonatas Op. 78, Op. 90, and Op. 101 Ravel: Miroirs Debussy: Images, Book 1
TO ORDER PIANO SERIES SINGLE TICKETS:
Single tickets $35 each, $10 Students (25 and younger) Visit www.friendsofchambermusic.com or Newman Center Box Office | 303-871-7720 www.newmantix.com
SAV E T HE DAT E
PIANO SALON WITH HSING-AY HSU TUESDAY, FEBRUARY 23, 2016 MONDAY, APRIL 18, 2016 7:30 – 9:00 PM The FCM Piano Salon with Steinway Artist Hsing-ay Hsu continues with two salons on Claude Debussy. Prepare for our remaining two Piano Series recitals with Steven Osborne and Jean-Efflam Bavouzet performing from the two books of Debussy's gorgeous Images collection. Location still to be determined. Watch for more information on our website. friendsofchambermusic.com
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BOA R D O F D I R E C TO R S
Lisa Bain, President Alix Corboy, Vice President Walter Torres, Secretary Allan Rosenbaum, Treasurer BOA R D M E M B E R S
Patsy Aronstein Kate Bermingham Lydia Garmaier John Lebsack Rosemarie Murane Kathy Newman Mary Park Richard Replin Myra Rich Suzanne Ryan Chet Stern Sam Wagonfeld PRO JECT ADM IN IS T R ATO R
Desiree Parrott-Alcorn
Pianist Hsing-ay Hsu with pianist Richard Goode and his wife, Marcia Weinfeld.
PIANO SALONS The inaugural Piano Salons with Steinway Artist Hsing-ay Hsu brought together a stellar group of long-time concert goers as well as newcomers, in the inviting music room of board member Alix Corboy. Ms. Hsu commented that they were "spectacularly engaged!" The salons focused on listening to different layers of musical ideas and on making the music personal to each listener. In addition to group discussions, participants, in pairs, shared their insights to kindle new friendships in their FCM community. See page 7 for dates and times for Hsing-ay's salon on Claude Debussy.
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GOOD VIBRATIONS! On Sunday afternoon, October 25, FCM sponsored its second annual free family concert, featuring Colorado Symphony violist Catherine Beeson and musicians from the Colorado Symphony. Over 120 guests, most new to FCM, enjoyed music performed by the CSO string quartet including Minuet from Mendelssohn’s Quartet No. 1, Op. 18, Shulamit Ran’s Bach Shards, and Little Star Project by local composer Jessica Mays. The program took listeners on an exploration of sounds as a communication tool, styles of music at different times in history, and the beautiful heterogeneity that exemplifies contemporary culture and music. Patrons had the opportunity to use their investigative skills, joining the musicians on stage to watch their communication with each other, playing with and without instruments. Following the concert patrons of all ages took the opportunity to try their hand at playing a violin, viola, or cello. We appreciate the generous hospitality of our friends at Denver School of the Arts who hosted this fun afternoon!
A few of our 40 Under 40's: Zach Antonio with Ian Campbell and Anna Psitos
From left: Rudi Hartmann, pianist Hsing-ay Hsu, FCM board member Kathy Newman, 40 Under 40 Lauren Cook, and new subscribers Lin and Christopher Williams.
BACKSTAGE RECEPTION
CSO violist Catherine Beeson gives a quick viola lesson to an eager young concertgoer following the FCM sponsored free family concert.
On October 21, FCM’s 40 Under 40 guests, their sponsors, and new Piano Series subscribers enjoyed a backstage reception with Richard Goode following his recital on our series. It was fun to see so many new faces enjoying both the recital and reception. Our thanks to the FCM donors who have helped to usher in a new generation of music lovers!
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“SHOSTAKOVICH REVEALED” WITH THE BRENTANO QUARTET TUESDAY, JANUARY 12, 2016
DATE
TUESDAY JANUARY 12, 2016 7:00 – 8:30 PM LOC ATION
Hampden Hall Englewood Civic Center 2nd Floor 1000 Englewood Parkway Englewood, CO 80110 TICKETS
$10 O R D E R BY P H O N E
303-388-9839
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Dmitri Shostakovich, one of the most important composers of the 20th century, struggled to maintain his artistic integrity under the repressive regime of Josef Stalin and the government in Soviet Russia. While his symphonies reflect his public face, written under strict Soviet guidelines, his string quartets portray a more private and personal side, using musical language that would have been considered dissident. Join the Brentano Quartet for an exploration of the life and work of this brilliant musician. The following night the quartet will perform on our Chamber Series where their program includes Shostakovich’s Quartet No. 14 in F-sharp major, Op. 142. In the fall of 2014, the Brentano Quartet became the Resident String Quartet at the Yale School of Music. Prior to that, the quartet served as the first Ensemble-in-Residence at Princeton University where they taught and performed for 15 years.
NEWMAN CENTER PARKING Last spring, significant changes were made to street parking surrounding the Newman Center. Following is an overview of your parking options: YOR K S T RE E T :
H OU RLY PARK I N G:
York Street between Wesley and Iliff (the entire block that contains the Newman Center) is not available for public parking. Only University Lot U permit holders are allowed to park in that block of York St. All others will be ticketed.
There are some hourly metered spaces in Lot 304, approximately two blocks away from the Newman Center, west of the Iliff School of Theology and east of DU. Location is on S. Gaylord Street, north of Iliff Ave. The parking meter is at the north end of that line of parking spaces. Enter your license plate number and pay for the number of hours you want. Please note, there may be time limit maximums on these meters.
HA N DIC A P P E D PA R KI N G :
The only handicapped parking is now located in the Newman Center parking garage. Previous street parking for handicapped vehicles is now by permit only. S T REET PA R KI N G :
Parking on the street in the DU area is generally limited to one-hour (without a resident permit) and this limit is strictly enforced by the Denver Police Department. Street parking, not limited to one hour, can be found several blocks east of University, beyond the DU campus perimeter.
Note: Friends of Chamber Music has no control over parking decisions made by the university. We want to give you as much information as possible so you can find appropriate parking and arrive at the hall in time.
H2 NE W MA N C E NT E R GA R AG E :
$8.00 cash event parking – first come first served basis starting at 5:30 p.m. Enter from E. Wesley Ave. (1 block south of Iliff; south side of Newman Center). Again, this is where you will find handicapped parking. OV ERFLOW PA R KI N G :
When the Newman Center Garage is full, parking staff will direct you to the overflow lot, which is Lot H2.
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THE FOLLOWIN G FRIENDS have made gifts in the last 12 months. Your generous support is invaluable in assuring our continued standard of excellence. Thank you! $25,000 + Bonfils-Stanton Foundation Scientific and Cultural Facilities District, Tier III $5,000 + Colorado Creative Industries The Denver Foundation $2,500 + Alix & John Corboy Cynthia & John Kendrick $1,000 + Anonymous Patsy & James Aronstein* Lisa & Steve Bain Bob & Cynthia Benson Howard & Kathleen Brand Henry & Janet Claman Bucy Family Fund C. Stuart Dennison Jr. Ellen & Anthony Elias Fackler Legacy Gift Robert S. Graham Celeste & Jack Grynberg Stephen & Margaret Hagood Michael Huotari & Jill Stewart Katherine Millett, in memory of Dr. Karl Arndt, a founder of Denver Friends of Chamber Music Frank & Pat Moritz Robert & Judi Newman Myra & Robert Rich Jeremy & Susan Shamos Marlis & Shirley Smith Patricia Somerville Herbert Wittow $500 + Jules & Marilyn Amer Linda & Dick Bateman Pam Beardsley Kate Bermingham Andrew & Laurie Brock Henry & Janet Claman Susan & Tim Damour, in honor of Lisa Bain Max & Carol Ehrlich Tudy Elliff 12
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Joyce Frakes Ann & Douglas Jones John Lebsack & Holly Bennett Kathy Newman & Rudi Hartmann McGinty Co. Mary Park & Douglas Hsiao Richard Replin & Elissa Stein Allan & Judith Rosenbaum Ray Satter Henry R. Schmoll Bobbi & Gary Siegel Ric Silverberg & Judith Cott Edie Sonn Chet & Ann Stern Sylvan Stool Families* Marcia Strickland Walter & Kathleen Torres Sam Wagonfeld Andrew Yarosh* $250 + Amica Companies Foundation Truman & Catherine Anderson Anonymous Hannah Kahn & Arthur Best Theodore Brin David & Joan Clark David S Cohen Fran Corsello Kevin & Becky Durham Kathe & Michael Gendel George & Sissy Gibson Edward Goldson Larry Harvey David & Lynn Hurst Margie Lee Johnson Carol & Lester Lehman John & Terry Leopold Ann Levy Nina & Alan Lipner David & Lyn Loewi, in memory of Ruth Loewi Alex & Kathy Martinez Rex & Nina McGehee Robert Meade Bert & Rosemary Melcher Kirsten & Dave Morgan Rosemarie & Bill Murane John & Mary Ann Parfrey
Eileen Price, in memory of Max Price Ann Richardson & Bill Stolfus Ayliffe & Fred Ris Jane & Bill Russell Richard & Jo Sanders Alan & Gail Seay San Mao Shaw David & Patty Shelton Steven Snyder David Spira & Shirleyan Price Margaret Stookesberry Dick & Kathy Swanson Berkley & Annemarie Tague Norman Wikner & Lela Lee Joseph & Barbara Wilcox $100 + Barton & Joan Alexander Jim & Ginny Allen Anonymous Shannon Armstrong Dennis & Barbara Baldwin Jan Baucum Dell & Jan Bernstein Sandra Bolton Carolyn & Joe Borus Darrell Brown & Suzanne McNitt Joan & Bennie Bub Peter & Cathy Buirski Peter Buttrick & Anne Wattenberg Susan Lee Cable Bonnie Camp Nancy Kiernan Case Marlene Chambers & Lawrence Duggan Geri Cohen Anne Culver Stephen & Dee Daniels Tom & Mickey DeTemple David & Debra Flitter Judy Fredricks Herbert & Lydia Garmaier Donna & Harry Gordon Kazuo & Drusilla Gotow John S. Graves Gary and Jacqueline Greer Paula & Stan Gudder Pam & Norman Haglund Richard & Leslie Handler June Haun
Richard W. Healy Eugene Heller & Lily Appleman David & Ana Hill Joseph & Renate Hull L.D. Jankovsky & Sally Berga Stanley Jones Bill Juraschek Michael & Karen Kaplan Robert Keatinge Bruce Kindel Michael & Wendy Klein Roberta & Mel Klein Donna Kornfeld Ellen Krasnow & John Blegen Elizabeth Kreider Doug & Hannah Krening Edward Karg & Richard Kress George Kruger Jack Henry Kunin Richard Leaman Igor & Jessica Levental Judy & Dan Lichtin Theodor Lichtmann Charles & Gretchen Lobitz Ronald & Jeri Loser John & Merry Low Elspeth MacHattie & Gerald Chapman Evi & Evan Makovsky Roger Martin Myron McClellan & Lawrence Phillips Estelle Meskin Pamela Metz & Charlene Byers Rhea Miller Paul & Barb Moe Douglas & Laura Moran Marilyn Munsterman & Charles Berberich Betty Naster * Robert & Ilse Nordenholz Robert N. O’Neill Dee & Jim Ohi Jan Parkinson Desiree Parrott-Alcorn David S Pearlman Barbara Pollack Carol Prescott Sarah Przekwas Ralph & Ingeborg Ratcliff Gene & Nancy Richards Marv & Mary Robbins Herb Rothenberg, in memory of Doris Rothenberg Suzanne Ryan Lorenz Rychner Hilary & Peter Sachs Charley Samson
Donald Schiff, in memory of Rosalie Schiff John & Patricia Schmitter Robert & Barbara Shaklee Susan Sherrod and Andrew Lillie Milton Shioya Nathan Stark Paul Stein Dan & Linda Strammiello Morris & Ellen Susman Decker Swann Cle Symons Malcolm & Hermine Tarkanian Margot K. Thomson Peter Van Etten Tom & Eleanor Vincent Eli & Ashely Wald Bill Watson Ann & Marlin Weaver Hedy & Michael Weinberg Jeff & Martha Welborn Carol Whitley Greta & Randy Wilkening * Ruth Wolff Jeff Zax and Judith Graham R. Dale Zellers Carl & Sara Zimet $50 + Lorraine & Jim Adams Charlene Baum Vernon Beebe Alberta & William Buckman Thomas Butler Richard & Gwen Chanzit Dana Klapper Cohen Jane Cooper Catherine C Decker Nancy & Mike Farley Janet & Arthur Fine John & Debora Freed Martha Fulford Robert C. Fullerton Barbara Gilette & Kay Kotzelnick Dr. and Mrs. Stanley Ginsburg Henry & Carol Goldstein Sandra Goodman Sanders Graham Carol & Jim Griesemer Barbara Hamilton Dorothy Hargrove Suzanne Kaller Leonard & Abbey Kapelovitz
Daniel & Hsing-ay Hsu Kellogg John & Margo Leininger Linda Levin Della Levy Arthur Lieb Ben Litoff & Brenda Smith Cherry Lofstrom Bill and Lisa Maury Loris McGavran Joanna Moldow Betty Murphy Mary Murphy Mari Newman Tina & Tom Obermeier Martha Ohrt Danielle Okin John Pascal Carolyn & Garry Patterson Romney Philpott Carl Pletsch Robert Rasmussen Margaret Roberts Yanita Rowan Cheryl Saborsky Kim Schumanf Jo Shannon Artis Sliverman Lois Sollenberger Steve Susman Robert & Beth Vinton Suzanne Walters Barbara Walton Lin & Christopher Williams, in honor of Kathy Newman’s 70th birthday Robert & Jerry Wolfe Karen Yablonski-Toll Jaclyn Yelich MEMORIAL GIFTS The following individuals made gifts in memory of Ronald Loser, a long-time subscriber who passed away in September. Anonymous Bill & Adele Deline GYRO Club of Denver William Russell Jerry Seifert Marlis Smith Deborah Sorenson * Gift made to FCM Endowment friendsofchambermusic.com
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UPCOMING CONCERTS C HAMBER SERIES
PIAN O SERIES
Brentano Quartet
Steven Osborne
Musicians from Marlboro
Jean-Efflam Bavouzet
Wednesday, January 13, 7:30 PM Wednesday, March 30, 7:30 PM
Antoine Tamestit, viola, and Shai Wosner, piano
Wednesday, April 27, 7:30 PM
Kalichstein-Laredo-Robinson Trio Wednesday, May 11, 7:30 PM
Wednesday, February 24, 7:30 PM Tuesday, April 19, 7:30 PM ADVANCE SINGLE TICKETS ARE AVAILABLE FOR ALL CONCERTS. Visit Our Website: www.friendsofchambermusic.com Or contact the Newman Center Box Office, 303- 871- 7720 www.newmantix.com
SPECIAL THANKS COLORADO CREATIVE INDUSTRIES
COLORADO PUBLIC RADIO (KVOD 88.1 FM)
SCIENTIFIC AND CULTURAL FACILITIES DISTRICT (TIER III)
ESTATE OF JOSEPH DEHEER ESTATE OF SUE JOSHEL
for providing general operating support for our season
for supporting FCM’s outreach efforts through school residencies and master classes BOWEN FAMILY PERFORMING ARTS FUND OF THE DENVER FOUNDATION
for supporting our education programs.
for broadcasting FCM concerts on its “Colorado Spotlight” programs
for providing lead gifts to the FCM Endowment Fund BONFILS-STANTON FOUNDATION
for sponsorship of FCM’s Piano Series and audience development programs in memory of Lewis Story
Gates Concert Hall • Newman Center for the Performing Arts • University of Denver
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