Steven Osborne Concert Program

STEVEN OSBORNE, PIANO

FEBRUARY 24, 2016

D E N V E R FRANZ SC HUBER T

Impromptus, D. 935, Op. 142

(1797-1828)

No. 1 in F minor No. 4 in F minor

CL AUDE DEBUSS Y

Masques Très vif et fantasque

(1862-1918) DEBUSS Y

Images, Book II

Cloches à travers les feuilles Et la lune descend sur le temple qui fut Poissons d’or

DEBUSS Y

L’isle joyeuse

INT E RM ISSION SERGEI RAC HMANIN OFF

Études-tableaux, Op. 33

(1873-1943)

No. 1 in F minor No. 3 in C minor No. 6 in E-flat major No. 7 in G minor No. 8 in C-sharp minor

RAC HMANIN OFF

Études-tableaux, Op. 39

No. 2 in A minor No. 5 in E-flat minor No. 7 in C minor No. 8 in D minor No. 9 in D major

STEVEN OSBORNE Steven Osborne makes his Friends of Chamber Music debut this evening. He returns to Colorado after appearances this past summer at the Aspen Music Festival. Osborne is widely recognized as one of the “finest of pianists… whose vast technical command is balanced by penetrating insight” (The Guardian, May 2015). His numerous awards include The Royal Philharmonic Society Instrumentalist of the Year (2013) and two Gramophone Awards for recordings of Britten’s works for piano and orchestra and of solo works by Prokofiev and Mussorgsky.

STEVEN OSBORNE

piano

Concerto performances take Steven Osborne to major orchestras all over the world including recent visits to the Salzburg Mozarteum, Royal Stockholm, and Oslo Philharmonics, Finnish Radio Symphony, Danish National Radio, Dallas Symphony, and Mostly Mozart Festival at Lincoln Center. He has enjoyed collaborations with conductors including Christoph von Dohnanyi, Alan Gilbert, Vladimir Ashkenazy, Stéphane Denève, Ludovic Morlot, Andrew Litton, and Vladimir Jurowski.

He is a favorite soloist of British orchestras working especially with the London Philharmonic, BBC Symphony, City of Birmingham Symphony, and London Symphony Orchestras.

He recently completed the cycle of Beethoven Piano Concertos with the BBC Scottish Symphony partnered with Andrew Manze, and in August made his twelfth appearance at the Proms.

Steven Osborne’s recitals of carefully crafted programs are publicly and critically acclaimed. In recent seasons he has held residencies at both De Singel in Antwerp and at Wigmore Hall where his series of five concerts included repertoire ranging from Beethoven, Ravel, and Rachmaninov, to Prokofiev and Tippett. He has performed in many of the world’s prestigious venues including the Konzerthaus Vienna, Amsterdam Concertgebouw, Philharmonie Berlin, Suntory Hall Tokyo, Kennedy Center, and Carnegie Hall. His chamber music partners include Alban Gerhardt, Paul Lewis, James Ehnes, Dietrich Henschel, and Alina Ibragimova.

Highlights this season include performances with the Oslo Philharmonic, Tokyo Metropolitan Symphony, Dresden Philharmonic, Finnish Radio Symphony, and at the Lincoln Center Mostly Mozart Festival. Recital tours take him to the Amsterdam Concertgebouw, London’s International Piano Series, and The Barbican Centre where he takes part in the London Jazz Festival with the Britten Sinfonia and Eddie Gomez and gives a recital of works by George Crumb and Morton Feldman.

Steven Osborne has won many awards for his 22 recordings on Hyperion. In addition to the two Gramophone Awards, his double CD of Ravel’s complete music for solo piano was shortlisted for a 2011 Gramophone Award and his recording of Rachmaninov’s 24 Preludes was short-listed for a 2009 Gramophone Award and was chosen as “Editor’s Choice” in Gramophone, BBC Music Magazine, International Record Review, and The Daily Telegraph. Both his recent release of Prokofiev Violin Sonatas with Alina Ibragimova and his double CD of works by Tippett were nominated for a BBC Music Magazine Award and his CD of Messiaen’s Vingt regards sur l’enfant-Jésus was also nominated for a Gramophone Award.

Steven Osborne was born in Scotland and studied with Richard Beauchamp at St. Mary’s Music School in Edinburgh and Renna Kellaway at the Royal Northern College of Music in Manchester.

As a young child, Osborne used to go straight to the piano when he woke up, which tended to be around 5 a.m. His father finally put a note on the piano saying “Do not play until 7.30 a.m.” He met his clarinetist wife in Singapore while playing Rhapsody in Blue together.

Osborne loves bingeing on TV box sets. He is particularly drawn to The Wire, Breaking Bad, and The Killing (Danish version).

JOIN US FOR A MASTER CLASS WITH STEVEN OSBORNE Thursday, February 25, 12:00 noon Newman Center's Hamilton Hall Free to the public, no reservation necessary. friendsofchambermusic.com

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NOTES Program Notes © Elizabeth Bergman

SCHUBERT: IMPROMPTUS D. 935

Ever since his death on November 19, 1828, the phrase “poor Schubert” has appeared over and over again in biographical accounts of the composer’s life. One reason is that he died so young, at the age of 31, and it’s true that his finances remained ever precarious. Schubert seems to epitomize the Romantic image of the suffering genius. Yet in truth, even given bouts of melancholy and ill health, he was deeply sociable and miraculously productive. Between 1821 and 1828, Schubert produced nearly 100 opuses—double the output of his contemporary, Beethoven, in the same period. The kinds of music the two produced differed greatly: Beethoven focused on orchestral composition, writing seven of his nine symphonies in these years, whereas Schubert composed songs and piano works, ultimately producing some 800 songs.

He had begun composing around age thirteen, after receiving commendation for his music skill from his school teachers. His first public recognition came in 1814, when he conducted his own Mass in F. Schubert formed important friendships that abetted his career, and his circle of friends actively performed his compositions. After 1821, when his signature lied “The Elf King” was first performed, things began to pick up. His music began to be published, and soon Schubert became recognized as a significant composer.

He had trained as a violinist, but devoted much of his creative energies to composing for the piano. His sonatas stand as major achievements in the genre both for their breadth and depth, being monumental in scope and feeling.

Among his shorter works are the impromptus, composed mostly between 1823 and 1828. Yet these are more expansive and much more demanding than their titles suggest. At the time, the impromptu as a genre was meant to be within reach of amateur pianists, but Schubert’s pieces demand not only considerable technical skill but also exquisite musicality.

The impromptus fall in two sets of four, with D. 935 being the second. The group actually suggests a kind of four-movement sonata. The first Impromptu, like the first

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movement of a sonata, contrasts two themes in two different keys; the second Impromptu is a minuet; the third a set of variations; and the fourth a brilliant finale. Throughout there are hints of dance styles. A march appears in the first, a stately sarabande in the second, a Bohemian romp in the finale.

Schubert’s extraordinary gift of song also runs throughout the set as lied-like melodies float above gentle accompaniments.

Phrases seem to breathe as if sung. But Schubert also exploited the unique and, at the time, relatively new capabilities of the piano. Thick chords mark the climax in the second Impromptu, for example. Such moments give truth to the review of the Impromptus, penned after Schubert’s death, by fellow composer Robert Schumann. The music “seems Last performed March 27, to whisper ‘Franz Schubert,’” he wrote. In these works “we 2000 (Ann Schein, piano) discover him anew as we recognize him in his inexhaustible moods, and as he charms, deceives, then grips us.”

DEBUSSY: Masques (1904) was originally intended to be the first piece in the Suite Bergamasques, a set of three piano works that MASQUES includes the ever-popular Clair de lune. Even though Debussy chose to publish Masques on its own, still the title suggests an allegiance to the set. All relate to a poem by Verlaine, Clair de lune, dating from 1869.

Your soul is like a landscape fantasy, Where charming masks and Bergamasks pass Strumming lutes and dancing, just a bit sad to be Hidden beneath their fanciful disguise.

(The references here are to the masked performers of the Italian commedia dell’arte and an Italian dance named after the town of Bergamo.)

The restive movement (recalling “Mouvement” from Images) betrays an existential unease. Debussy himself described Masques as reflecting “the tragic expression of existence.” Lightheartedness is married to melancholy, the ambiguity and ambivalences of life mirrored in the anxious rhythms, edgy dissonances, and slightly frantic climaxes.

Debussy thus proves himself no mere painter in music, but a true poet who captures the most beautiful and most unsettling truths of our lives.

Last performed on our series February 3, 1999 (Radu Lupu, piano) friendsofchambermusic.com

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Program Notes Continued

DEBUSSY: IMAGES, BOOK II

Achille-Claude Debussy entered the Paris Conservatoire in 1872 at ten years old to study piano and musical rudiments.

A few years later he began to compose in earnest—writing songs, piano music, and a piano trio—while making his living as an accompanist. In 1884, he won the coveted Prix de Rome, which funded two years of study in Rome at the Villa Medici. Afterward he took a job with Nadezhda von Meck, a patron of the arts who had inherited a railroad fortune (and who supported Tchaikovsky throughout his mature career), playing in a trio at her home in Moscow.

Returning to Paris in 1887, he fell in with the literary crowd of Symbolists, admired the Javanese gamelan at the 1889 Universal Exposition, wrestled with the influence of Richard Wagner’s music, and made his debut in the Parisian musical world with the String Quartet in 1893. The following year he produced his first masterwork, the Prelude to the Afternoon of a Faun, based on a poem by Stephane Mallarmé.

Debussy had strong ties to the Symbolist writers in France, but is often mistakenly labeled an Impressionist, which was originally a derogatory description of Claude Monet’s painting Impression: Sunrise, exhibited in 1872. Monet was criticized for having sloppy technique, when of course the intent was to capture the transitory qualities of light and shadow. The term was first applied to Debussy in 1887 to describe a preference for instrumental texture and timbre over form. He strenuously objected, referring specifically to his piano works Images. These works, he wrote, represent what “imbeciles call ‘impressionism,’ a term employed with utmost inaccuracy.” Instead, he was actually “trying to write ‘something else’—realities, in a manner of speaking.”

These “realities” are better understood in terms of Symbolism.

Whereas Impressionism seeks to capture the fleeting effect of a single moment, Symbolism is concerned with expanses of time, with how the mind forms associations between moments and shapes them into a resonant experience.

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Layers of experience are laid down in Debussy’s Images for piano. There are two books of three works each, composed in 1905 and 1907; all have evocative titles that suggest particular sources of inspiration—among them some of Debussy’s favorites: water (“Reflets dans l’eau”/"Reflections in the Water") and (“Poissons d’or”/"Goldfish"), moonlight and ruins (“Et la lune descend sur le temple qui fut”/"And the Moon Sets over the Temple that Was"), French music history (“Hommage à Rameau”), and bells (“Cloches à travers les feuilles”/"Bells through the Leaves”).

The second book reveals another profound influence on Debussy’s music: the Japanese gamelan. Here Debussy captures the sonorities, timbres, and resonance of the percussion orchestra within a “box of hammers and strings,” as he once called the piano. All three pieces play with the percussive echoes of the piano and depend, for greatest effect, on the sophisticated use of the pedal. (Perhaps no other composer uses the pedals of the piano as effectively as Debussy!) Each piece is indebted to a very specific source of inspiration. “Cloches” refers to a narrative by his friend, the critic and scholar Louis Laloy, describing a rural scene on All Saints Day with the bells of a church rolling over the landscape. “Et la lune…” is dedicated to Laloy. The title is a perfect alexandrine—a poetic line of 12 syllables, a type favored by the great Symbolist poet Charles Baudelaire.

The sense of time and timelessness in the title and in the music is not only Symbolist but also akin to non-Western modes of rhythmic organization that favor repeated circular Last performed on our patterns. “Poissons d’or” (Goldfish) was inspired by a series December 10, 2003 Japanese lacquer screen that Debussy owned with two (Emanuel Ax, piano) golden carp swimming beneath a weeping willow.

L’isle joyeuse (The Joyous Isle, 1904) is akin to Debussy’s greatest seascape, the orchestral work La mer (The Sea, 1905), in its symphonic grandeur. The composer himself recognized the breadth and depth of the work. “My God! It’s hard to play,” he wrote to a friend. “This piece seems to me to bring together every different way of striking the piano, since it unifies force and grace.”

DEBUSSY: L’ISLE JOYEUSE Tonight marks the first performance of this work on our series.

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Program Notes Continued

RACHMANINOFF: ÉTUDES

Sergei Rachmaninoff (1873-1943) was, of course, one of the greatest virtuoso pianists of the twentieth century—or any century, for that matter. He took up composing while a student at the Moscow Conservatory and enjoyed some early success, but then the unremarkable premiere of his First Symphony in 1895 proved deeply discouraging. His creativity dimmed for only a few years, however, and by the time he penned two sets of Études tableaux, completing Opus 33 in 1911 and Opus 39 in 1917, he was at the height of his compositional powers.

The Études combine two of the most representative piano genres of the Romantic era, reaching back to Liszt and Chopin: the technical etude and the character piece. That is, Rachmaninoff ’s etudes certainly are studies in the sense of posing particular pianistic challenges, like unconventional hand positions, but they are also evocative portraits of a mood or scene. The Etude in E-flat, for example, depicts a country fair—at least according to reports from Rachmaninoff filtered through composer Otto Respighi, who orchestrated five of the Etudes in 1929 with Rachmaninoff ’s permission. Respighi’s orchestration attached titles to the pieces that perhaps reveal their sources of inspiration: Op. Étude No. 5, Op. 39 was 33, no. 7 is “The Fair”; Op. 32, no. 2, “The Sea and the last performed on our series Seagulls”; Op. 39, no. 6 “Little Red Riding Hood and the October 4, 2011 (Yuja Wolf ”; Op. 39, no. 7 “Funeral March”; and Op. 39, Wang, piano) no. 9 “March.”

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.

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NEWMAN CENTER PARKING Last spring, significant changes were made to street parking surrounding the Newman Center. Following is an overview of your parking options: YO RK S T R E E T :

H OURLY 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.

H A N DIC AP 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 N EW 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.

OVERFLOW 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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DON’T MISS THE LAST PIANO SERIES RECITAL OF THE SEASON 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

PIANO SALON WITH HSING-AY HSU

Hsing-Ay Hsu

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The FCM Piano Salon with Steinway Artist Hsing-ay Hsu concludes with a second evening on Claude Debussy, preparing for our final Piano Series recital with Jean-Efflam Bavouzet. Come listen to the different layers of musical ideas and experience the movement of sounds and the exotic sonorities that create a signature Debussy atmosphere.

Participants will also have a chance to kindle new friendships within their FCM community.

DATE

MONDAY, APRIL 18, 2016 7:30 - 9:00 PM LOC ATION

Hilltop home of FCM Board Member Richard Replin TICKETS

$30/person O R D E R BY P H O N E

303-388-9839 O R D E R BY M A I L

Send a check to: FCM, 191 University Blvd #974, Denver, CO 80206.

Include name of each participant and email address for class confirmation.

DID YOU KNOW?

“SHOSTAKOVICH REVEALED” The night before their January 13th recital on our Chamber Series, the Brentano Quartet spoke to an eager audience of FCM subscribers and guests at Englewood’s Hampden Hall about the life and music of Dmitri Shostakovich. Colorado Public Radio host, Charley Samson, quizzed the musicians about Shostakovich’s Quartet No. 14 in F-sharp major, Op. 142 in a wide-ranging conversation about the Black Monk, the “Italian bit,” and the ethereal last few measures of the piece.

After discussing Shostakovich’s quartet, his literary influences, and the political pressures he faced, the Brentano Quartet answered questions from the audience. Then, to everyone’s surprise and delight, the Brentano played the entire Quartet No. 14 - a special preview of their performance of the piece at Gates Concert Hall the following evening.

FCM regularly presents programs like “Shostakovich Revealed” as part of our commitment to audience education.

Watch for announcements of upcoming educational events in concert programs, email blasts, and information under the “Special Events” tab of our website.

The FCM Music Committee was formed over a decade ago to recommend artists and their programs to the FCM board.

FCM strives to present a mix of artists that are familiar and beloved, such as the Emerson, Takács, and Pacifica quartets; pianists Richard Goode, Emanuel "Manny" Ax, and Stephen Hough; violinists Hilary Hahn and Gil Shaham; and emerging artists such as pianists Inon Barnatan and Jonathan Biss as well as the Escher and Dover quartets.

The Music Committee begins planning a year and a half in advance, so discussions have begun now for the 2017-18 season. The process includes matching artist schedules with the Newman Center’s available dates and the FCM board’s approval of the overall budget.

Some artists’ programs are fixed, while others offer a choice of programs or pieces. While maintaining our commitment to presenting masterworks of the past, FCM also remains committed to introducing our audience to contemporary works of art, recognizing that the masterworks of the future are written in our lifetimes. The Music Committee is receptive to hearing from our audience members about their listening experiences with artists.

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BOA RD OF D I R E C TO R S

Lisa Bain, President Alix Corboy, Vice President Walter Torres, Secretary Allan Rosenbaum, Treasurer BOA RD 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 P RO JECT A DMIN IS T R ATO R

Desiree Parrott-Alcorn

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EDUCATIONAL OUTREACH NOEL COMMUNITY ARTS SCHOOL

On December 3, three members of the Altius Quartet (graduate quartet in residence at CU Boulder) performed an outreach program for students at Noel Community Arts School in northeast Denver. The quartet offered a 45-minute presentation to about 50 middle school orchestra and choir elective students, including instrument introductions, performance, and post-concert Q & A session. After choir students departed, the musicians spent another 45 minutes coaching violin and viola students who began studying in September. We hope to have the chance to visit Noel again this spring.

GUST ELEMENTARY SCHOOL

On December 14, 270 students participated in an interactive listening experience when CSO violist and Education Director, Catherine Beeson, brought her “Good Vibrations” program to Gust Elementary. This program, adapted from FCM’s family concert in October, introduced four major periods of classical music while guiding students to compare/ contrast stylistic elements in each genre of music. Students also participated in some scientific observation, learning how musicians use non-verbal communication when they perform. The program concluded with an opportunity for several young audience members to try their hand at conducting the chamber ensemble. This program traveled to two additional elementary schools in February.

"MUSIC IN THE GALLERIES" CLYFFORD STILL MUSEUM Music was a part of the life of Clyfford Still from an early age. He played piano and memorized works by Beethoven, Chopin, and Schubert. His record collection, which is part of the Museum’s archives, includes an eclectic mix of classical, jazz, traditional gospel, blues, and folk music.

This winter, the Clyfford Still Museum is partnering with Friends of Chamber Music and Swallow Hill Music to offer a new way to encounter Still’s work. "Music in the Galleries" is performed not in concert, but as a new way to experience Still’s work through sight and sound. Chairs will be scattered throughout the museum for guests to sit, look, listen, and enjoy.

Music is free with admission to the galleries. As a part of this partnership, the museum has offered FCM patrons half price tickets (if purchased in advance) to enter the museum on performance days. Visit our website under “Special Events” for a link to purchase these discounted tickets.

All concerts will be held on Sunday afternoons, 2:00 – 3:00 p.m., at the Clyfford Still Museum, 1250 Bannock Street, Denver

MARCH 13

Dustin Adams Trio, performing jazz from the 1930’s and early 1940’s

APRIL 10

Colorado Chamber Players, performing works by Bach, Mozart, Haydn, and Schubert.

MAY 8

Persephone Quartet, performing works by Bach, Beethoven, and Puccini.

BRINGING MUSIC TO LIFE PRESENTS 2016 INSTRUMENT DRIVE, MARCH 14-26 Learning to play an instrument can have a profound, positive impact on a child, teaching valuable life skills and boosting confidence and self-esteem.

On March 14th through the 26th, Bringing Music to Life will hold the 2016 Instrument Drive, collecting donations of gently-used band and orchestra instruments that will be repaired and awarded to deserving music programs throughout the state.

Last year nearly $250,000 worth of instruments was given to 43 elementary, middle and high schools in Colorado. But there are still many more children who want to learn to play but can't afford to rent or buy and instrument.

If you have an instrument you can donate, please do so beginning March 14th. A complete list of drop off locations will be available at www.bringmusic. org Even if you don't have an instrument, you can help by contributing to Bringing Music to Life's repair fund. $100 is all it takes to repair a donated instrument and put it in the hands of a child. 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 12

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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 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 Ann Richardson and Bill Stolfus

Ayliffe & Fred Ris Jane & Bill Russell Richard & Jo Sanders Alan & Gail Seay San Mao Shaw David & Patty Shelton Steven Snyder David Spira and Shirleyan Price Margaret Stookesberry Berkley & Annemarie Tague Norman Wikner & Lela Lee Joseph & Barbara Wilcox $100 + Barton & Joan Alexander Jim & Ginny Allen Anonymous Shannon Armstrong Carolyn Baer Dennis & Barbara Baldwin Dell & Jan Bernstein Sandra Bolton Carolyn & Joe Borus Michael & Elizabeth Brittan 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 Catherine C Decker Tom & Mickey DeTemple Vivian & Joe Dodds David & Debra Flitter Judy Fredricks Herbert & Lydia Garmaier Donna & Harry Gordon Kazuo & Drusilla Gotow John S. Graves Gary & Jacqueline Greer Paula & Stan Gudder Gina Guy 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 Arthur Lieb Charles & Gretchen Lobitz 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 John Pascal Carolyn & Garry Patterson David S Pearlman Becky & Don Perkins Carl Pletsch Barbara Pollack Carol Prescott Sarah Przekwas Ralph & Ingeborg Ratcliff Gene & Nancy Richards Marv & Mary Robbins Herb Rothenberg, in memory of Doris Rothenberg 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 Kathryn Spuhler 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 Barbara Caley Richard & Gwen Chanzit Dana Klapper Cohen Jane Cooper 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 Thomas & Gretchen Guiton Barbara Hamilton Dorothy Hargrove

Suzanne Kaller Leonard & Abbey Kapelovitz Daniel & Hsing-ay Hsu Kellogg 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

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UPCOMING CONCERTS C HAMBER SERIES

PIAN O SERIES

Musicians from Marlboro

Jean-Efflam Bavouzet

Antoine Tamestit, viola, and Shai Wosner, piano

SPECIAL EVENT S

Wednesday, March 30, 7:30 PM

Wednesday, April 27, 7:30 PM

Kalichstein-Laredo-Robinson Trio Wednesday, May 11, 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

Tuesday, April 19, 7:30 PM

Steven Osborne Master Class

February 25, 12:00 noon Newman Center's Hamilton Hall

"Music in the Galleries"

Clyfford Still Museum (See page 11 of tonight's program for details.)

Piano Salon with Hsing-ay Hsu April 18, 7:30 PM Call 303-388-9839 for tickets

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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