S IM IN GAN ATRA , V IOLIN S IBBI BERNH ARD SSON , V IOLIN M AS UM I P ER RO S TAD, V IOL A BRAND O N VAM O S, CELLO
D E N V E R
PACIFICA QUARTET S E P T E M B E R 16, 2 015
WOLFGAN G Quartet No. 23 in F major, K. 590 AMADEUS Allegro moderato MOZAR T Andante
(1756–1791) Menuetto: Allegretto Allegro
SHUL AMIT RAN
String Quartet No. 3,
(b. 1949) Glitter, Doom, Shards, Memory “That Which Happened” “Menace” “If I Must Perish – Do Not Let My Paintings Die” Felix Nussbaum (1904–1944) “Shards, Memory” Commissioned in a partnership between the Music Accord consortium, Wigmore Hall, and Suntory Hall.
INT E RM ISSION
FELIX MENDEL SSOHN (1809–1847)
Quartet No. 4 in E minor, Op. 44, No. 2
Allegro assai appassionato Scherzo: Allegro di molto Andante Presto agitato
SIMIN GANATRA
violin
SIBBI BERNHARDSSON
violin
MASUMI PER ROSTAD
viola
BRANDON VAMOS
cello
PACIFICA QUARTET Friends of Chamber Music is excited to welcome the Pacifica Quartet to open our 2015-16 season, their tenth appearance on our series. After its stunning performances of the complete Beethoven Quartet cycle in 2012, the Pacifica has earned a special place in the hearts of FCM audiences. Recognized for its virtuosity, exuberant performance style, and often daring repertory choices, over the past two decades the Pacifica Quartet has gained international stature as one of the finest chamber ensembles performing today. Named the quartetin-residence at Indiana University’s Jacobs School of Music in March 2012, the Pacifica was also the quartet-in-residence at the Metropolitan Museum of Art (2009–2012), a position that had previously been held only by the Guarneri String Quartet. Formed in 1994, the Pacifica quickly won chamber music’s top competitions, including the 1998 Naumburg Chamber Music Award. In 2006 the Quartet was featured on the cover of Gramophone and heralded as one of “five new quartets you should know about,” the only American quartet to make the
list. In 2009, the Quartet was named “Ensemble of the Year” by Musical America. Highlights of the 2015–16 season include a performance at New York’s famed 92nd Street Y, the beginning of a twoseason residency at the Isabella Stewart Gardner Museum in Boston, a ten-day residency for the Arizona Friends of Chamber Music in Tucson, and return visits to the major series in New Orleans, San Francisco, and Portland. In addition, the Quartet will tour Europe and Japan. The Pacifica Quartet has carved a niche for itself as the preeminent interpreter of string quartet cycles, harnessing the group’s singular focus and incredible stamina to portray each composer’s evolution. Having given highly acclaimed performances of the complete Elliot Carter cycle, the Mendelssohn cycle, and the Beethoven cycle, the Quartet presented the monumental Shostakovich cycle in Chicago and New York during the 2010–2011 season and in Montreal and at London’s Wigmore Hall in the 2011–2012 season. The Quartet has been widely praised for these cycles, with critics calling the concerts “brilliant,” “astonishing,” “gripping,” and “breathtaking.” An ardent advocate of contemporary music, the Pacifica Quartet commissions and performs many new works, including tonight’s work by Shulamit Ran. In 2008 the Quartet released its Grammy Award-winning recording of Carter’s quartets Nos. 1 and 5 on the Naxos label. The 2009 release of quartets Nos. 2, 3, and 4 completed the two-CD set. Cedille Records recently released the final volume of the entire Shostakovich cycle, along with works of Shostakovich’s contemporaries, to rave reviews: “The playing is nothing short of phenomenal.” (Daily Telegraph, London). Recent projects include the just released recordings of Leo Ornstein’s rarely heard piano quintet with Marc-André Hamelin and the Brahms and Mozart clarinet quintets with the New York Philharmonic’s principal clarinetist, Anthony McGill. The members of the Pacifica Quartet live in Bloomington, Indiana, where they serve as full-time faculty members at the Jacobs School of Music. Previously the Quartet was on the faculty of the University of Illinois at Champaign-Urbana friendsofchambermusic.com
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Pacifica Quartet Continued
from 2003 to 2012. The Pacifica Quartet also serves as resident performing artist at the University of Chicago. First violinist, Simin Ganatra, is married to cellist Brandon Vamos. They are founding members of the quartet. They met when Simin moved from California to Minnesota to study with Brandon’s parents, the renowned string pedagogues Roland and Almita Vamos. The couple has two young children. Simin plays a Tononi violin from c.1710, new since her last appearance here. Brandon plays a Gasparo da Salo cello from the 1580’s. Second violinist, Sibbi Benhardsson, is originally from Iceland and joined the quartet in 2000. Sibbi toured for 18 months with his fellow Icelander, the rock musician Björk, and appeared with her on Saturday Night Live and The Tonight Show with Jay Leno. He is married to Sally Takada and they have two young children. Sibbi is playing a new violin since his last appearance in Denver, a Gaetano Pasta from 1710. Violist Masumi Per Rostad joined the quartet in 2001. His father was Norwegian and his mother is Japanese. He grew up in New York City where he attended the Bronx High School of Science before attending Juilliard. He is married to the Canadian pianist, Sonia Chan. Masumi also has a new instrument since his last appearance here, a Brothers Amati viola dated 1619, Cremona.
The Pacifica Quartet is endorsed by D’Addario and proudly uses their strings.
NOTES
Program notes ©Elizabeth Bergman Wolfgang Amadeus Mozart (1756–91) composed twentythree quartets in his thirty-five years. The Quartet in F major, K. 590, is his last, written in 1790, just over a year before his death. It belongs to a group known as the “Prussian” quartets because they were intended for the King of Prussia, King Friedrich Wilhelm II. The King was a capable cellist, so Mozart included some appealing solos for that instrument in these quartets. The cello often takes the lead in K. 590, introducing new themes in the first movement, for example, and bringing a rustic good humor to the third.
MOZART: QUARTET NO. 23 IN F MAJOR, K. 590
The quartet is a compendium of the Classical style, a style that Mozart helped to define. The first movement falls in sonata form, the most representative form of the 18th century, with two themes in two different keys that must be reconciled. The opening theme epitomizes the Classical ideal of balance. Slowly climbing upward, it then descends quickly by steps. The cello ushers in the second theme, which sounds similar to the first. If the first movement showcases the Classical approach to melody and harmony, the second (an Allegretto) focuses instead on the flexibility and fluidity of Classical rhythm. Indeed, the theme of the second movement is really just the rhythm heard in unison at the opening. The rhythm then repeats as the instruments offer delicate variations and embellishments in turn. The third movement minuet and trio possesses a wit more closely associated with another Classical composer, Joseph Haydn. (Mozart had long been enamored of Haydn’s string quartets and earlier dedicated an important set of six quartets to his elder compatriot.) The dance begins demurely in the first violin, but aristocratic decorum is swept aside by the rustic cello. Here’s another defining feature of the Classical style: the assimilation of folk styles and rhythms into chamber music.
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Program Notes Continued
The finale exemplifies another feature of Mozart’s mature style and of the Classical style more generally in its use of counterpoint. The layering of two or more independent musical ideas typifies the music of Bach and Handel in the 17th century and others before them, reaching back even to the Early Modern period. In the 18th century, Mozart reserves counterpoint for special effects. The musical density heightens the dramatic tension and raises the emotional temperature of the movement. Likewise, Mozart’s dramatic flair is on display in his frequent use of fermatas, which by prolonging silences suspend the music thrillingly in midair. Thus the operatic qualities of the Classical style shine through this final movement of Mozart’s final quartet.
SHULAMIT RAN: GLITTER, DOOM, SHARDS, MEMORY
Shulamit Ran’s Glitter, Doom, Shards, Memory (2012–13) was written specifically for the Pacifica Quartet. Ran, a member of the faculty at the University of Chicago and native of Israel, found inspiration for her quartet in the work of a German-Jewish painter, Felix Nussbaum (1904–44), who died at Auschwitz during the Holocaust. Her evocative title derives from an exhibition of art from Weimar Germany (the period just before the rise of Hitler) titled “Glitter and Doom: German Portraits from the 1920s.” Nussbaum’s work was not featured in the exhibition, but Ran was drawn to the exhibition title “as a way of framing a possible musical composition that would be an homage to his life and art, and to that of so many others like him during that era.” Their art, she explains, “is triumph of the human spirit over annihilation.” Ran herself details each movement of the quartet: 1. “That which happened” (das was geschah)—is how the poet Paul Celan referred to the Shoah—the Holocaust. These simple words served for me, in the first movement, as a metaphor for the way in which an “ordinary” life, with its daily flow and its sense of sweet normalcy, was shockingly, inhumanely, inexplicably shattered. 2. “Menace” is a shorter movement, mimicking a Scherzo. It is also machine-like, incessant, with an occasional, recurring, waltz-like little tune—perhaps the chilling grimace we recognize from the executioner’s guillotine
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mask. Like the death machine it alludes to, it gathers momentum as it goes, and is unstoppable. 3. “If I perish—do not let my paintings die”; these words are by Felix Nussbaum who, knowing what was ahead, nonetheless continued painting till his death in Auschwitz in 1944. If the heart of the first movement is the shuddering interruption of life as we know it, the third movement tries to capture something of what I can only imagine to be the conflicting states of mind that would have made it possible, and essential, to continue to live and practice one’s art—bearing witness to the events. Creating must have been, for Nussbaum and for so many others, a way of maintaining sanity, both a struggle and a catharsis—an act of defiance and salvation all at the same time. 4. “Shards, Memory” is a direct reference to my quartet’s title. Only shards are left. And memory. The memory is of things large and small, of unspeakable tragedy, but also of the song and the dance, the smile, the hopes. All things human. As we remember, in the face of death’s silence, we restore dignity to those who are gone. The music aptly captures these many moods. “Menace” is especially foreboding; the intense contrasts between high and low, soft and loud, full and thin, measure the distance between the horror of the Second World War and the beauty of the art to emerge from it. Ultimately the entire quartet seems fragmented—split into shards, shattered by memory. That seems only fitting, given the impossibility of understanding the experience of the Holocaust. Felix Mendelssohn (1809–47) and his older sister Fanny were musical prodigies who flourished under the best teachers in Berlin. Fanny was encouraged to practice music as a decorous hobby, while her brother was allowed to pursue it as a profession. By 1819, the 10-year-old boy had distinguished himself as an exceptional pianist, organist, and violinist as well as a composer. His talent can be compared to Mozart’s.
MENDELSSOHN: QUARTET NO. 4 IN E MINOR, OP. 44, NO. 2
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Program Notes Continued
Perhaps looking back to Mozart, Mendelssohn wholeheartedly embraces principles of the Classical style even while exploring the emotional (and harmonic) terrain of musical Romanticism. The first movement reveals a finely tuned sense of Classical proportion and balance, with a gorgeous, arching first theme in the violin. Yet the mood is elegiac and impassioned, even stormy at times. Grace and elegance prevail, and the fluidity of the writing—the continuous flow of music—is breathtaking. This facility defines Mendelssohn’s unique compositional gift. As did his Classical predecessors Mozart and Haydn, Mendelssohn knows how to inject good humor and bucolic charm into his scherzos. The second movement Scherzo is spirited and lively. The third movement Andante calls up a particularly Romantic genre, one Mendelssohn himself defined, the Lied ohne Worte, or song without words. It’s just what it seems—an instrumental composition (very often for piano) that sounds like a song, with a singing line above an accompaniment. The first violin in particular seems to follow the patterns of the breath—inhaling, then exhaling long, lovely phrases. After this vocal interlude, the quartet returns to the realm of the purely instrumental in the finale. The music is now breathless. At the end, even the dark key of E minor ends up sounding rather triumphant. Such is the radiance of Mendelssohn’s musical genius.
BOARD OF DIRECTORS
Lisa Bain, President Alix Corboy, Vice President Walter Torres, Secretary Allan Rosenbaum, Treasurer PROJECT ADMINISTRATOR
Desiree Parrott-Alcorn
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BOARD MEMBERS
Patsy Aronstein Kate Bermingham Lydia Garmaier John Lebsack Rosemarie Murane Kathy Newman Mary Park Richard Replin Myra Rich Suzanne Ryan Chet Stern Sam Wagonfeld
DATES
TUESDAY, OCT 13, 2015 7:30–9:00 PM
MOZART TUESDAY, OCT 20, 2015 7:30–9:00 PM
BRAHMS LOC ATION
At the home of Alix Corboy, FCM board member Cherry Hills East of St. Mary’s Academy TICKETS
$30 single class $50 both classes O R D E R BY P H O N E
Hsing-Ay Hsu
303-388-9839
PIANO SALON WITH HSING- AY HSU
O R D E R BY M A I L
Join Steinway Artist Hsing-ay Hsu for two evenings to prepare your ears for Richard Goode’s October 21st recital, featuring the music of Mozart and Brahms. Two geniuses settled in Vienna a century apart, each with a shared appreciation of form and counterpoint, yet with completely unique musical personalities. Come indulge in the luxurious textures of Brahms, and find out if listening to Mozart will really make you smarter!
Send a check to: Friends of Chamber Music 191 University Blvd #974 Denver, CO 80206 Include name of each participant, date(s) of each class you plan to attend, and email address for class confirmation.
Deepen your appreciation of Richard Goode’s performance by engaging in active listening to the works of Mozart and Brahms. Ms. Hsu will challenge you with highlighted listening commentary and demonstrations with her Conscious Listening™ method. Ask questions in the intimate setting of Alix Corboy’s Cherry Hills home. Note: Space is limited to a maximum of 14 participants with registrations accepted on a first come, first served basis. friendsofchambermusic.com
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PIANO SERIES RICHARD GOODE WED, OCT 21, 2015 | 7:30 PM “Every time we hear him, he impresses us as better than we remembered, surprising us, surpassing our expectations, and communicating perceptions that stay in the mind.” — G R A M O P H O N E PROGRAM:
Mozart: Piano Sonata in A minor, K. 310 Brahms: Six Klavierstücke, Op. 118 Mozart: Piano Sonata in F major, K. 533 Brahms: Four Klavierstücke, Op. 119
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’ile joyeuse Rachmaninoff: Études-Tableaux, selection
JEAN-EFFL AM 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
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TO ORDER PIANO SERIES TICKETS:
O R D ER T HE EN T I R E SER IES FOR ONLY $ 8 5
($65 for current Chamber Series subscribers) Call 303-388-9839 to order Single tickets $35 each ($40 for Richard Goode) $10 Students (25 years or younger) Visit www.friendsofchambermusic.com or Newman Center Box Office | 303-871-7720 www.newmantix.com
40 UNDER 40 Jill and Lee Richman, long-time FCM subscribers, have once again challenged our audience to help usher in a new generation of music lovers, insuring the future of Friends of Chamber Music for many more years to come. 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 2015-16 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. The goal is 40 new subscriptions by the time we launch our 2015–16 Piano Series in October. If you are interested in purchasing one or more subscriptions for someone under the age of 40, call 303-388-9839. Diana Gatschet (right) with her 40 Under 40 sponsor, Jeremy Shamos
Thank you to the following Friends who have sponsored 40 Under 40 guests for our 2015–16 Piano Series. We look forward to thanking these sponsors and welcoming our new guests at a backstage reception following Richard Goode’s recital on October 21. Patsy and Jim Aronstein Lisa and Steve Bain Marianne Barr Christa Bell David Cohen Beth Cookson Joyce Frakes Paula and Stan Gudder Bill Juraschek Evi and Evan Makovsky Rosemarie and Bill Murane Priscilla Press Lee and Jill Richman Laura Rogers Jeremy and Susan Shamos friendsofchambermusic.com
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FCM IN THE COMMUNIT Y FCM is excited to launch another year of educational outreach programming for audiences of all ages. Watch for more information at friendsofchambermusic.com
IN-SCHOOL PERFORMANCES
Over 200 students at Garden Place Academy (including those in the El Sistema program) enjoyed a performance by the Pacific Quartet this morning. Another 12–15 schools will benefit from chamber music programs throughout the year. RESIDENCIES
We look forward to continuing our work with students at Maxwell Elementary and Kunsmiller Creative Arts Academy, both low-income DPS schools. Our Lamont Teaching Fellows program is also gearing up for a November launch. MASTER CLASSES
Students at Denver School of the Arts are preparing for a visit from the Jerusalem Quartet next month. Pianist Stephen Osborne will work with students at Metropolitan State University in February. A D U LT / C O M M U N I T Y E D U C AT I O N
Many opportunities will be available throughout the year, including: • A Piano Salon with Hsing-ay Hsu in October (see page 7 for details) • A January 12 discussion of the work and life of Dmitri Shostakovich with the Brentano Quartet, offered in conjunction with their January performance on our series. • Tuesdays in April, join us for four free lunchtime concerts downtown in the lobby of 1801 California Street. 10 friendsofchambermusic.com
GOOD VIBRATIONS Communicating through Music Sunday, October 25, 2:00–3:30 p.m.
Join us for a family-friendly musical afternoon featuring Colorado Symphony violist Catherine Beeson and musicians from the Colorado Symphony. We’ll have refreshments and hands-on activities in the lobby following this interactive program — fun for all ages! Free to the Public Sunday, October 25, 2:00 - 3:30 p.m. Denver School of the Arts 7111 Montview Blvd, Denver 80220 Please RSVP by October 16 to 303-388-9839 or friendsofchambermusic@comcast.net
DID YOU KNOW? Ever wonder why Friends of Chamber Music concerts are general admission seating? With the exception of special events like the recent Yo-Yo Ma recital, there is no reserved seating at FCM concerts. Here’s why: T R A D I T I O N : We have a long history of presenting concerts in general admission venues, from church halls to high school auditoriums. Open seating is part of our “music for the people” tradition and allows us to offer affordable prices, flexible exchange/return policies, and avoid tiered pricing and service fees. T I C K E T P R I C E S : Reserved seating would mean a significant bump in ticket prices. Box office software is expensive and would require the addition of paid staff to manage sales, returns, and exchanges. Alternatively we would need to move all ticketing operations to the Newman Center and be unable to offer the “personal touch” our patrons value.
The next time you wonder why your ticket doesn’t have a seat number, chalk it up to tradition and modest ticket prices. Stay tuned for more “Did You Know?” pieces about the hows and whys of Friends of Chamber Music in upcoming concert programs. friendsofchambermusic.com 11
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 $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 12
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Tudy Elliff Joyce Frakes Ann & Douglas Jones John Lebsack & Holly Bennett Kathy Newman & Rudi Hartmann Mary Park and Douglas Hsiao Richard Replin & Elissa Stein Ray Satter Henry R. Schmoll Bobbi & Gary Siegel Ric Silverberg & Judith Cott Edie Sonn Chet & Ann Stern Sylvan Stoll 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 and Bill Stolfus Ayliffe & Fred Ris Richard & Jo Sanders Alan & Gail Seay San Mao Shaw David & Patty Shelton Steven Snyder David Spira and 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 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 and Christopher Williams, in honor of Kathy Newman’s 70th birthday Robert & Jerry Wolfe Karen Yablonski-Toll Jaclyn Yelich
* Gift made to FCM Endowment friendsofchambermusic.com
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UPCOMING CONCERTS C HAMBER SERIES
PIAN O SERIES
Jerusalem Quartet
Richard Goode
Leila Josefowicz, violin
Steven Osborne
Brentano Quartet
Jean-Efflam Bavouzet
Wednesday, October 7, 7:30 PM Sunday, November 15, 4:00 PM Wednesday, January 13, 7:30 PM
Musicians from Marlboro
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, October 21, 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 t he Newman Center Box Of fice, 303- 871- 7 720 www.newmantix.com
SPECIAL THANKS SCIENTIFIC AND CULTURAL FACILITIES DISTRICT (TIER III)
for supporting FCM’s outreach efforts through school residencies and master classes COLORADO CREATIVE INDUSTRIES
for providing general operating support for our season
COLORADO PUBLIC RADIO (KVOD 88.1 FM)
for broadcasting FCM concerts on its “Colorado Spotlight” programs 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 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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