J O S EP H KALIC H S TEIN , PIA NO JAIM E L ARED O , VIOLIN S H ARO N RO BINS O N , CE LLO
D E N V E R
KALICHSTEINLAREDOROBINSON TRIO
M AY 1 1 , 2 0 1 6 LUDWIG VAN BEETHOVEN
(1770-1827)
Variations on an Original Theme in E-flat major, Op. 44
DMITRI Piano Trio No. 2 in E minor, Op. 67 Andante: moderato (1906-1975) Allegro con brio Largo Allegretto
SHOS TAKOVIC H
INT E RM ISSIO N JOHANNES BRAHMS
Piano Trio No. 1 in B major, Op. 8
Allegro con brio (1833-1897) Scherzo: Allegro molto Adagio Finale: Allegro
JOSEPH KALICHSTEIN
piano
JAIME LAREDO
violin
SHARON ROBINSON
cello
THE KALICHSTEIN-LAREDOROBINSON TRIO The Kalichstein-Laredo-Robinson Trio makes its fourth appearance with Friends of Chamber Music, having first appeared on our series in 1989 and most recently in 2009. After thirty-nine years of success the world over, including many award-winning recordings and newly commissioned works, the trio continues to impress audiences and critics alike with its performances. Since making their debut at the White House for President Carter’s Inauguration in January 1977, pianist Joseph Kalichstein, violinist Jaime Laredo, and cellist Sharon Robinson have set the standard for performance of the piano trio literature. As one of the only long-lived ensembles with all of its original members, the Kalichstein-Laredo-Robinson Trio balances the careers of three internationally-acclaimed soloists while making annual appearances at many of the world’s major concert halls, commissioning new works, and maintaining an active recording agenda. In addition to the European debut of André Previn’s acclaimed Trio No. 2, commissioned by the Music Accord consortium, highlights of the 2015-16 season include recitals in New York, Cincinnati, Philadelphia, and Phoenix, and the complete three-concert cycle of all the Beethoven trios for the Friends of Chamber Music of Miami.
Recent recordings include Passionate Diversions, works written for them by Ellen Taaffe Zwilich including her quintet, septet, and trio on the Azica label (2014) and a double CD set of Schubert on the Bridge label. The trio’s previous recording projects on Koch include a Brahms cycle of the complete trios, Arensky and Tchaikovsky trios, and a two-volume set of the complete Beethoven trios. In addition, Koch re-released many of the trio’s hallmark recordings, including works of Ravel, Richard Danielpour, and Shostakovich as well as Legacies, with trios written especially for the group by Pärt, Zwilich, Kirchner, and Silverman. Musical America named the Kalichstein-Laredo-Robinson Trio the Ensemble of the Year for 2002. The 2003-04 season was their first as Chamber Ensemble in Residence at the Kennedy Center, an honor which they still hold. They were awarded the Samuel Sanders Collaborative Artists Award by the Foundation for Recorded Music in 2002 and in 2011. Jaime Laredo and Sharon Robinson serve on the instrumental and chamber music faculty at the Cleveland Institute of Music, where they began teaching in 2012. Both Mr. Laredo and Ms. Robinson were professors at the Indiana University Jacobs School of Music for seven years prior. Joseph Kalichstein continues, since 1983, as a teacher at the Juilliard School of Music. In the words of American Record Guide, “It’s a rare luxury to hear music-making of such integrity and joy, and an equally rare privilege to be party to such an intimate musical conversation.”
BOARD OF DIREC TORS
BOARD MEM BERS
Lisa Bain, President Alix Corboy, Vice President Walter Torres, Secretary Allan Rosenbaum, Treasurer
Patsy Aronstein Kate Bermingham Lydia Garmaier John Lebsack Rosemarie Murane Kathy Newman Mary Park Richard Replin
Following his April 19 recital on our series, Jean-Efflam Bavouzet said, "Your piano (in Gates Hall) is fantastique! On a scale of 1 to 10 it is a 10.5!"
Myra Rich Suzanne Ryan Chet Stern Sam Wagonfeld PROJECT ADM I NI S TRATOR
Desiree Parrott-Alcorn
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NOTES Program notes © Betsy Schwarm
BEETHOVEN: VARIATIONS ON AN ORIGINAL THEME IN E-FLAT MAJOR, OP. 44
Last performed on our series November 20, 2013 (Trio Solisti)
SHOSTAKOVICH: PIANO TRIO NO. 2 IN E MINOR, OP. 67
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This set of variations for piano, violin, and cello might almost have served as a final movement for a full-scale piano trio. However, it’s a bit grand for that purpose. Spanning fully a quarter hour, it might have overwhelmed any accompanying movements, or at least resulted in a trio of unusually epic scope. Perhaps for one of those reasons, when Beethoven offered it for publication in 1804 it was as a freestanding single movement, and in fact, the movement has enough drama on its own not to require any further expansion. The theme on which the variations are based is a melody of Beethoven’s own creation – light and jaunty with many staccato notes. It is introduced with just piano and violin, the cello not joining until the first of fourteen variations. As the work proceeds, the theme becomes dance-like or songlike in turn, acquiring altered rhythms, altered harmonies, and altered layering of parts. Beethoven ensures that each of the three performers has adequate time in the spotlight. The last variation is sufficiently spirited that one might suppose the piece will surge into its final chords, but this is not quite the case. Just before reaching the last measures, Beethoven works in a few phrases of distinctly relaxed demeanor. These serve to set the brief and lively coda in even greater relief.
Soviet lecturer and musicologist Ivan Sollertinsky was a close friend of Dmitri Shostakovich (1906–1975). Sollertinsky had stood by Shostakovich in those dark days of the 1930’s when Stalin ordered a public campaign against the composer’s music. In 1943, after Shostakovich had completed and premiered his monumental war-inspired Symphony No. 8, his friend suggested the composer might find artistic refreshment in writing some chamber music. In response, Shostakovich decided to write a piano trio when, in February 1944, he received the horrid news that his friend had passed away. Some sources assert that Sollertinsky died in a Nazi prison camp, though it is never made clear how a musicologist safe in Leningrad in 1943 could have fallen into Nazi hands. Whatever the cause of death, Shostakovich was deeply shaken.
“I owe all my education to him,” he said somberly. “It will be unbelievably hard for me to live without him.” In the dark days following this crisis, he began a piano trio dedicated to Sollertinsky’s memory. If the death of a dear friend was not enough to suffuse the work with sorrow, another tragedy also came to light while Shostakovich was at work on the piece, as news emerged of atrocities directed at the Jewish people. The composer’s unbounded grief at the fate of the Jewish people inhabits the trio as strongly as his more personal anguish, feelings powerfully communicated through every note of this heartrending work. It is a tragedy made palpable to every member of the audience. In fact, according to one contemporary account, listeners at the December premiere openly wept and insisted on an encore of the most Jewishinfluenced part of the composition. The trio opens with an unusual distribution of parts. In most trios, the high parts are for the violin, the low ones for the cello. Here, however, the opening theme, plaintive and eerie, is played by the cello at the very top of its range, using notes beyond those obtained with usual performance techniques. The cello is then joined by a low and haunting violin and a piano reaching to its very lowest notes. It is an otherworldly effect, sounding as if the musicians had traded parts, as if the world had turned upside-down, which, for Shostakovich, it surely had. The brief second movement is a torrent of near perpetual motion, largely ebullient in nature, though with an undercurrent of angst. That subtext claims the foreground in the third movement elegy, a weary funeral lament in a progression of mostly minor keys. With the finale, Shostakovich layers on the quirky rhythms and plangent harmonies of Jewish folk music, with dance-like energies alternating with march-like ones, as if the previous movement’s funeral had now dissolved into a wake. Its anxieties at last melt into long, despairing chords and a tentative fading away. This is the movement that was encored at the premiere, proving Last performed on our that one can wish to hear again, or perhaps need to hear again, series March 10, 2004 even music that strikes painfully at the heart. (Eroica Trio) friendsofchambermusic.com
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Program Notes Continued
BRAHMS: PIANO TRIO NO. 1 IN B MAJOR, OP. 8
Few composers have been as ruthlessly self-critical as Johannes Brahms (1833–1897). Nearly every work spent years – even decades – on his desk, undergoing continual revision before he declared them to be ready for the public. At times he even gave up on pieces that seemed beyond correction, flinging these into the fire. So a large quantity of Brahms’s early works vanished from existence, but here is a survivor. His Piano Trio No. 1 was begun early in 1854, not long after Brahms had won the encouragement and support of Robert and Clara Schumann. Their vow to help bring the young man’s music before the public had inspired in him an unusual spirit of optimism. Completing the trio with atypical haste, he published it immediately, even before its public premiere, scheduled for December 1855 in Breslau. However, unbeknownst to Brahms, the trio had already been presented three weeks earlier in, of all unexpected places, New York City. This first hearing of a Brahms work in North America occurred because an American pianist visiting Europe had purchased the published score and brought the music home to play in concert with his colleagues. Only 22 years old, Brahms was already in the international spotlight. Perhaps because the trio was so quickly accepted, Brahms did not immediately set about revising it. He may have felt that revisions were pointless unless he planned a second edition of the work, yet that opportunity arose 35 years later. By this time, Brahms’s works were almost universally acclaimed, earning a fine income both for the composer himself and for his long-time publisher, Simrock, who must have regretted Brahms had destroyed so many early scores that might otherwise have proven profitable. From Simrock’s point of view, there could never be too many manuscripts from this best of all possible clients. Therefore, in the summer of 1889, the publisher offered to print revised copies of earlier compositions. With this incentive, Brahms finally resurrected the Piano Trio No. 1. Usually, when Brahms revised a score, he destroyed its earlier versions, so that only the final edition survived intact. However, since the trio had already appeared in print, its
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first version survived, allowing us to observe how an elder statesman would recreate his prior self. Brahms himself implied that the changes were minor. “Do you remember a B-major trio for our younger days?” he wrote to a friend. “And would you be curious to hear now that I have – well, not stuck a wig on it, but at least combed its hair a little?” The letter gives an image of some simple tidying on the surface, but as so often happens with this sometimes ironic composer, the statement is largely understatement. He may have begun by combing the hair, but he ended by restyling a youth into a man of the world. The earlier version he had once described as “muddled.” By contrast, the later version was clear as a summer morning. In general, Brahms’s musical remodeling served to create better balance in the work and to more smoothly offset its various melodies. For example, of the first movement’s two major melodies, the first is unaltered, yet the second has been superseded by an upward moving theme that nicely contrasts the first theme’s downward shape. A similar revision occurs in the fourth movement, though here it is mood, rather than motion, that is altered. The new fourth movement gives Brahms’s original dark opening theme a brighter second theme for greater balance and contrast. Changes also occur in the third movement Adagio, which is given more passionate expression, particularly in the interplay between cello and piano in the second main theme, yet the second movement Scherzo is left virtually intact, a significant fact, for if the hyper-critical Brahms, so merciless to most of his music, was willing to let this movement stand, he must have regarded it as one of the finest creations of his early years. In the other movements we hear the mature Brahms, but in the Scherzo, we hear the young man of whom the elder approved. On Monday, April 25, FCM sponsored a master class with French violist Antoine Tamestit. Four students performed for Mr. Tamestit in the Newman Center’s Hamilton Hall, including three violists studying at the Lamont School of Music. FCM is pleased to provide area students with these educational opportunities to interact with our visiting artists.
Last performed on our series April 23, 2008 (Trio con Brio Copenhagen)
Viola student Thomas Maeda receives a few pointers from Mr. Tamestit. friendsofchambermusic.com
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40 UNDER 40 FCM
HELP US USHER IN A NEW GENERATION OF MUSIC LOVERS! For a 3rd year, FCM subscribers Jill and Lee Richman have challenged our audience to help usher in a new generation of music lovers through our “40 Under 40” program. I T ’ S E A S Y TO PA R T I C I PAT E :
• Identify a potential new subscriber (or two!) under 40 years old who would enjoy our 2016-17 Piano Series. • Invite them to become a part of the FCM family and let them know you’ll be paying for their subscription, which we’ll discount to $60 for all 3 concerts. • Complete the order form available from the ushers this evening, or call 303-388-9839.
BRING A FRIEND! WANT TO SHARE THE BEAUTY OF CHAMBER MUSIC WITH A FRIEND? For only $40 you can purchase two vouchers to invite new friends to FCM next year. Each voucher is good for any concert during the 2016-17 season, with the exception of Murray Perahia and the Venice Baroque Orchestra. Tickets are subject to availability. Two vouchers per subscriber, please. To get your vouchers, complete the order form available from the ushers this evening, or call 303-388-9839.
As a thank you for FCM’s sponsorship of the recent "Soundpainting" residency at Garden Place Academy, Megan Moran (right), Lead Teaching Artist with El Sistema Colorado, presents FCM President, Lisa Bain, with a paper violin, created and signed by participating students.
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DID YOU KNOW?
EDUCATIONAL OUTREACH FRIENDS OF CHAMBER MUSIC SPONSORS “YOUNG COMPOSERS” PROGRAM AT KUNSMILLER CREATIVE ARTS ACADEMY For a third year, Friends of Chamber Music collaborated with the Denver-based Playground Ensemble to sponsor a music composition residency for students at Kunsmiller Creative Arts Academy (KCAA) in West Denver. Sixteen high school students had the opportunity to compose original works of chamber music over the course of seven weeks under the direction of KCAA music teacher, Luke Wachter, and the Playground’s Conrad Kehn. Students could score their pieces for any combination of flute, cello, electric guitar, or percussion. The culmination of the residency was a recital on April 8th at which musicians from the Playground performed the students’ original pieces for their peers, family members, and DPS arts administrators. The sixteen pieces, ranging from one to five minutes, were as diverse as their composers. Some pieces highlighted formal structures (“Life’s Ups and Downs”) or showcased themes taken up by different instruments (“Penultimate Waltz”), while other pieces were intended to evoke specific emotions (“Bittersweet”) or experiences (“Spring”). To listen to the Playground musicians performing two of the students’ compositions, visit our website at friendsofchambermusic.com and click on “Education.” Friends of Chamber Music is committed to music education and outreach in Denver Public Schools. The Young Composers residency is one of the many educational programs we offer and is funded in part by the generosity of our subscribers. For more information on Friends of Chamber Music’s educational offerings, visit the Education tab on our website.
For our more than 60-year history, Friends of Chamber Music has operated with an all-volunteer, “working” board. While we hire a hard-working project administrator on a contract basis to help with marketing, communications, and grant-writing, all our other work is done by members of our board of directors and a handful of loyal volunteers. Members of the board choose each season’s artists, negotiate contracts, drive artists to and from the airport and rehearsals, feed and sometimes house artists, write articles for and proofread the concert programs, manage ticket sales and exchanges, and work backstage with the crew of the Newman Center. Our outreach programs, including school-based concerts, residencies, and master classes, and our adult education programs, such as lectures, salons, talk-backs, and special events, are also planned and carried out by members of our board. Our unpaid board treasurer keeps us operating on a sound financial basis and gives us solid investment advice. Even our mailings are labeled and stamped around the kitchen table by board members and other dedicated volunteers. Our working board allows Friends of Chamber Music to keep ticket prices low while presenting the finest chamber musicians each season. We thought you'd like to know. friendsofchambermusic.com
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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 Richard Replin & Elissa Stein $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 Kim Millett Frank & Pat Moritz Robert & Judi Newman Myra & Robert Rich Jeremy & Susan Shamos Marlis & Shirley Smith Herbert Wittow $500 + Jules & Marilyn Amer Georgia Arribau Linda & Dick Bateman Pam Beardsley Kate Bermingham Andrew & Laurie Brock Henry & Janet Claman Susan & Tim Damour * Max & Carol Ehrlich Tudy Elliff Joyce Frakes Kathe & Michael Gendel Freeman Family Foundation Ann & Douglas Jones John Lebsack & Holly Bennett 8
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Kathy Newman & Rudi Hartmann McGinty Co. Mary Park and Douglas Hsiao 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 Dick & Kathy Swanson Walter & Kathleen Torres Sam Wagonfeld Andrew Yarosh* $250 + Amica Companies Foundation Truman & Catherine Anderson Anonymous Jan Baucum Hannah Kahn & Arthur Best Theodore Brin David & Joan Clark David S Cohen Fran Corsello Susan & Tim Damour Kevin & Becky Durham George & Sissy Gibson Edward Goldson Larry Harvey David & Lynn Hurst Margie Lee Johnson Carol & Lester Lehman John & Terry Leopold Mark & Lois Levinson Ann Levy Nina & Alan Lipner David & Lyn Loewi, in memory of Ruth & Roger Loewi Jeri Loser Philippa Marrack 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
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Thomas & Gretchen Guiton Barbara Hamilton Dorothy Hargrove Suzanne Kaller Leonard & Abbey Kapelovitz Daniel & Hsing-ay Hsu Kellogg Barbara Inama John & Margo Leininger Linda Levin Della Levy Ben Litoff & Brenda Smith Cherry Lofstrom Bill and Lisa Maury Loris McGavran Joanna Moldow Betty Murphy Mary Murphy Mari Newman Tina & Tom Obermeier Larry O'Donnell Martha Ohrt Danielle Okin Romney Philpott 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. 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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FRIENDS OF CHAMBER MUSIC ANNOUNCES OUR 2016-17 SEASON! Steven Isserlis, cello Connie Shih, piano
C HAMBER SERIES
Escher Quartet
Wednesday, September 14, 2016
Tuesday, April 25, 2017
Wu Han, Philip Setzer, and David Finckel
PIAN O SERIES
Ariel Quartet Orion Weiss, piano
Joyce Yang, piano
Wednesday, October 5, 2016
Wednesday, November 9, 2016
Stefan Jackiw, violin Anna Polonsky, piano
Jonathan Biss, piano
Wednesday, September 28, 2016 Wednesday, March 15, 2017
Murray Perahia, piano Wednesday, May 3, 2017
Wednesday, December 7, 2016
Danish String Quartet
Monday, February 13, 2017
Venice Baroque Orchestra Nicola Benedetti, violin
Wednesday, February 22, 2017
SPECIAL EVENT
Harlem Quartet Residency
January 12, 2017 Recital, Hamilton Hall January 8-13, 2017 Residency Subscriptions are on sale now. Visit friendsofchambermusic.com or call 303-388-9839 for information.
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
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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