ANTOINE TAMESTIT, VIOLIN SHAI WOSNER, PIANO D E N V E R ROBER T SC HUMANN
APRIL 27, 2016
Adagio and Allegro in A-flat major, Op. 70
(1810-1856) TO RU TAKEMIT SU
A Bird Came Down the Walk (1994)
(1930-1996) JOHANNES BRAHMS
(1833-1897)
Sonata for Viola and Piano in E-flat major, Op. 120, no. 2 Allegro amabile Allegro appassionato Andante con moto; Allegro
IN T E RM ISSION SC HUMANN
M채rchenbilder, Op. 113
BRAHMS
Sonata for Viola and Piano in F minor, Op. 120, no. 1
Nicht schnell Lebhaft Rasch Langsam, mit melancholischem Ausdruck
Allegro appassionato Andante un poco adagio Allegretto grazioso Vivace
FRIENDS OF CHAMBER MUSIC ANNOUNCES OUR 2016-17 SEASON! C HAMBER SERIES
PIAN O SERIES
Escher Quartet
Jonathan Biss, piano
Wu Han, Philip Setzer, and David Finckel
Joyce Yang, piano
Wednesday, September 14, 2016
Wednesday, September 28, 2016 Wednesday, March 15, 2017
Wednesday, October 5, 2016
Murray Perahia, piano
Ariel Quartet with Orion Weiss, piano
Wednesday, May 3, 2017
Wednesday, November 9, 2016
SPECIA L EVENT
Stefan Jackiw, violin, with Anna Polonsky, piano
Harlem Quartet Residency
Wednesday, December 7, 2016
January 12, 2017 Recital, Hamilton Hall January 8-13, 2017 Residency
Danish String Quartet
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Venice Baroque Orchestra with Nicola Benedetti, violin
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Monday, February 13, 2017
Wednesday, February 22, 2017
Steven Isserlis, cello, with Connie Shih, piano Tuesday, April 25, 2017
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DANISH STRIN G QUARTET
J O Y C E YA N G
ARIEL QUARTET
STEFAN JAC KIW
D AV I D F I N C K E L / W U H A N / PHILIP SETZER TRIO
M U R R AY P E R A H I A
ANTOINE TAMESTIT Antoine Tamestit has achieved that rare thing as a violist, playing at the highest level with an orchestra and being constantly in demand as a chamber musician and recitalist. He was born in Paris and later went on to study with Jesse Levine at Yale University and with Tabea Zimmermann. Tamestit was the recipient of several prizes which launched his career and gave him exposure in the US and in Europe - the William Primrose Competition and the first prize at the Young Concert Artists (YCA) International Auditions, BBC Radio 3’s New Generation Artists Scheme, Borletti- Buitoni Trust Award, and the Credit Suisse Young Artist Award in 2009. Tamestit’s repertoire ranges from the Baroque to the contemporary and he has performed many world premieres, including George Benjamin’s Viola, Viola with Tabea Zimmermann and the Concerto for Two Violas by Bruno Mantovani written for Zimmermann and himself with the Orchestre Philharmonique de Radio France.
ANTOINE TAMESTIT
viola
As soloist, Antoine Tamestit has performed with the Vienna Philharmonic, the London Symphony Orchestra, Leipzig Gewandhaus Orchestra, Bavarian Radio Symphony Orchestra, Deutsches Sinfonie-Orchester Berlin, and with major French orchestras, including the Orchestre de Paris and Orchestre Philharmonique de Radio France, and with several BBC symphony orchestras. He has also played in the opening concerts of the Mostly Mozart Festival in New York together with Louis Langrée and Christian Tetzlaff. Chamber music is an important element of Antoine Tamestit’s work and life. He plays and records as a string trio with Frank Peter Zimmermann and Christian Poltera and last season they appeared at the Salzburg and Edinburgh festivals. He is a regular guest at the Verbier Festival and plays chamber music with Leonidas Kavakos, Gautier Capuçon, and Emanuel Ax. Tamestit also performs with Gidon Kremer, Christian Tetzlaff, and the Ebene and the Hagen Quartets. Antoine Tamestit has a distinguished discography, including recordings of three of the Bach Suites, Berlioz’s Harold in Italy with Marc Minkowski and Les Musicians du Louvre, and most recently a disc of Hindemith solo and concertante works recorded with the Frankfurt Radio Symphony Orchestra and Paavo Järvi as part of the 50th anniversary of
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the composer’s death. Other notable recordings include solo works by Bach and Ligeti, Mozart’s Sinfonia Concertante with Renaud Capuçon, Louis Langrée and the Scottish Chamber Orchestra, and the Schnittke Concerto with Warsaw Philharmonic. Antoine Tamestit is professor at the Conservatoire Supérieur de Paris. He plays a viola made by Stradivarius in 1672, loaned by the Habisreutinger Foundation.
SHAI WOSNER
SHAI WOSNER
piano
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Shai Wosner makes his fourth appearance with FCM tonight. He has appeared on our series with the Miro Quartet, violinist Jennifer Koh, and in October 2014 with the Chamber Music Society of Lincoln Center. Wosner, who was personally recommended to FCM by Emanuel Ax, with whom he studied, has attracted international recognition for his exceptional artistry, musical integrity, and creative insight. His performances of a broad range of repertoire, from Beethoven and Mozart to Schoenberg and Ligeti, as well as music by his contemporaries, showcase his imaginative programming and intellectual curiosity. Mr. Wosner has appeared with major orchestras worldwide, including the Chicago Symphony, Cleveland Orchestra, Los Angeles Philharmonic, Orpheus Chamber Orchestra, Philadelphia Orchestra, and San Francisco Symphony in the U.S., and the Barcelona Symphony, Frankfurt Radio Symphony, Hamburg Symphony, LSO St. Luke’s, and Staatskapelle Berlin in Europe, among others. He has worked with conductors Daniel Barenboim, James Conlon, Alan Gilbert, Zubin Mehta, and Leonard Slatkin. Mr. Wosner is the recipient of an Avery Fisher Career Grant and a Borletti-Buitoni Trust Award—a prize he used to commission Michael Hersch’s concerto Along the Ravines, which he then performed with the Seattle Symphony and Deutsche Radio PhilharmonieSaarbrücken. Wosner performed last summer at the Aspen Music Festival with Jennifer Koh and in a dual piano recital with Orion Weiss. This season he continues his collaborations with Koh with the Bridge to Beethoven series. The project explores the impact and significance Beethoven has had on a diverse
group of composers and musicians. By pairing Beethoven’s ten sonatas for violin and piano with new works over four programs, this project seeks to ignite creative conversations around his music not only as a cornerstone of classical music but as a universal, culture-crossing source of inspiration. Bridge to Beethoven features new commissions from composers Vijay Iyer, Andrew Norman, and Anthony Cheung. Bridge to Beethoven will be presented in venues such as the 92nd Street Y in New York City, Hahn Hall in Santa Barbara, and Herbst Theatre in San Francisco, among others. Mr. Wosner’s upcoming orchestral engagements include performances with the Badische Staatskapelle Karlsruhe, Hungarian National Philharmonic Orchestra, Columbus Symphony, Florida Orchestra, Jacksonville Symphony, Phoenix Symphony Orchestra, and Helsinki Philharmonic Orchestra. Wosner is originally from Israel and now resides in New York City. His wife, Roni, is an oncologist at New York Hospital and they have two young children, a girl and a boy.
NOTES Program Notes © Elizabeth Bergman Robert Schumann’s plans to pursue a career as a concert pianist were thwarted by a weak ring finger, so he devoted himself instead to composition and music criticism. As a composer, he remained drawn most strongly to the piano as well as to the voice, and among his most familiar works are multiple sets of evocative, fanciful piano pieces plus some 200 deeply personal songs. But in the winter of 1848–49, Schumann enjoyed a burst of creativity that inspired him to write music for combinations he hadn’t yet tried, including the Adagio and Allegro in A-flat major, originally for horn and piano. He penned it in just four days in February 1849, then quickly followed up with the extraordinary concerto for four horns and orchestra. The Adagio and Allegro was a kind of preparation for writing that concerto, but also stands on its own as a work for horn, viola, or cello—all combinations Schumann himself endorsed.
SCHUMANN: ADAGIO AND ALLEGRO IN A-FLAT MAJOR, OP. 70
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Program Notes Continued
Last performed January 5, 2000 (David Finckel, cello, and Wu an, piano)
TORU TAKEMITSU: A BIRD CAME DOWN THE WALK (1994)
The Adagio and Allegro showcases two sides of Schumann’s genius – two temperaments associated with characters that appear in his writings: the introverted, lyrical voice of Eusebius, and the bold, brash Florestan. Like Eusebius, the Adagio is restrained, introverted. It’s an extended, intimate duet between the two instruments, with interweaving lines and quiet dialogues punctuated by moments of disagreement. All ends peacefully. The Allegro, which captures Florestan’s verve, is a joyous romp originally intended to show off the new possibilities of the valve horn, introduced to orchestras in the 1830s. The version for horn has a clear “hunting call” quality. In this guise, for viola, the Allegro exudes a rustic good humor.
The music of Japanese composer Toru Takemitsu (1930– 1996) reveals the influence of such notable Western modernists as Arnold Schoenberg, John Cage, and Olivier Messiaen. But perhaps Takemitsu’s greatest inspiration is nature—especially water. Rain Tree (1981) and Toward the Sea (1981) precede Rain Spell (1982), and riverrun (1984) follows; the last work finds parallel inspiration in the freeflowing novels of James Joyce (the title being a quote from the first line of Finnegan’s Wake). In all of these watery pieces, Takemitsu translates the fluid dynamics of water into the liquid motion of sound. They are also united by the image of rain pouring into rivers which then lead to the ocean—the “sea of tonality,” in the composer’s own words. A Bird Came Down the Walk obviously takes its inspiration not from the seas but the skies, although (tellingly) the poem that shares its title does indeed include water imagery. It’s by Emily Dickinson: A Bird came down the Walk— He did not know I saw— He bit an Angleworm in halves And ate the fellow, raw,
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And then he drank a Dew From a convenient Grass— And then hopped sidewise to the Wall To let a Beetle pass— He glanced with rapid eyes That hurried all around— They looked like frightened Beads, I thought— He stirred his Velvet Head Like one in danger, Cautious, I offered him a Crumb And he unrolled his feathers And rowed him softer home— Than Oars divide the Ocean, Too silver for a seam— Or Butterflies, off Banks of Noon Leap, splashless as they swim. Takemitsu playfully explores the technical capabilities of the viola, using double, triple, and quadruple stops (multiple notes played at once to form chords) plus sliding glissandi and ghostly harmonics. A quivering tremolo suggests the bird’s warbling, and the composer even writes “as a bird’s calling” in the piano score.
In 1853, Robert Schumann introduced a promising young talent to readers of the Neue Zeitschrift für Musik, the leading musical journal of the day. “Sooner or later,” Schumann imagined, “someone would and must appear, fated to give us the ideal expression of the times, one who would not gain his mastery by gradual stages, but rather would spring fully armed like Minerva from the head of Jove.” And actually, according to Schumann, this heralded composer had already appeared: “His name is Johannes Brahms, from Hamburg,” Schumann declared. “He carries all the marks of one who has received a call.” At the time, Brahms (1833–1897) was just five years past his solo debut as a pianist, which he made in 1848. His earliest extant compositions date from 1851, only two years before Schumann’s fateful pronouncement. Brahms started
Tonight marks the first performance of this work on our series.
BRAHMS: SONATA FOR VIOLA AND PIANO IN E-FLAT MAJOR, OP. 120, NO. 2
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Program Notes Continued composing cautiously, working in the more familiar genres of the piano sonata and art song, saving the most exalted genres of the string quartet and symphony for much later in life. In the last decade or so of his life, Brahms devoted himself to writing chamber music, writing some dozen major works, the two sonatas in Opus 120 among them. Indeed these are the last chamber works Brahms composed before his death in 1897. Originally written for clarinet and piano, the composer himself transcribed them both for viola.
Tonight marks the first performance of this work on our series.
SCHUMANN: MÄRCHENBILDER, OP. 113
Tonight marks the first performance of this work on our series.
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The first movement of Op. 120, no. 2 presents an amiable dialogue between the viola and piano. The second movement scherzo turns dark and stormy, although the trio in the middle provides a sunny respite. The final movement is a theme and five variations that threatens to end in a moody minor key. But a cheerful, lyrical coda brings the work to a close on a note of good cheer. Märchen translates as “fairytale” and bilder are pictures (as in painting). As described by one of Schumann’s favorite writers, Novalis, the Märchen was “a vision in a dream—incoherent— an ensemble of wonderful things and events, for example, a musical fantasy.” The suite of four “fairytale pictures” in Opus 113 (1851) can be compared to Schumann’s similar sets of piano pieces: character pieces, as they are known, that try to capture certain feelings, attitudes, images, or ideas. No specific stories are told here; rather, the pieces move through a variety of moods—from rapturous lyricism in the first movement, to galloping energy in the second, to a darker third movement, and a melancholy finale that fully exploits the full-throated richness of the viola.
In a letter to a friend, Johannes Brahms confessed that he was, by temperament, a nostalgic, or “melancholic” individual, mindful of the “black wings” of death flapping above him. He expressed this sentiment in his Second Symphony (1877) and in the chamber music of his final years, including his 1891 Sonata for Viola and Piano in F minor. This piece was first composed for clarinet, but on the suggestion of his publisher, Brahms reconceived it for viola, exploiting the huskiness of the lowest string and enriching the harmonies with double-stops. If the clarinet version can be considered incandescent, the viola transposition is something of the opposite: phosphorescent, dim in the afterglow. There is a backwards-looking element to the piece, which pays homage to other past musical luminaries—Bach among them. Melodies unfold, develop, and spin out, much as in Baroque music. Aesthetician Eduard Hanslick lauded Brahms’s Op. 120, especially the second movement, for its lyricism. The movement is in three parts, and for Hanslick it called to mind a salon romance—something unstated, perhaps, but deeply felt. The third movement, a dance, recalls the simpler style of an Austrian Ländler; indeed the movement has been called “bumptiously kinetic.” But Brahms’s music is too stately, the counts too slow, for the folk of Alpine Austria. The final movement moves back in time to the 18th century of Haydn, to the Enlightenment that Brahms seems, at times, to have believed he belonged to. Ultimately, however, the work is not a retreat from Romanticism. Instead Brahms—in his seriousness, his intertwining lines, thick textures, and deep dialogues between viola and piano—seeks to restore the intellectual edge to Romantic emotion, so that we might think, as well as feel, our way through a piece.
BRAHMS: SONATA FOR VIOLA AND PIANO IN F MINOR, OP. 120, NO. 1
Last performed February 24, 1999 (Kim Kashkashian, viola, and Peter Nagy, piano)
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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.
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. 8
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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.
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“CAN YOU HEAR THE DIFFERENCE?”
Cathy Peterson, Ivy Street Ensemble, demonstrates the science of sound
During March, FCM sponsored four additional school outreach programs, including the Colorado Symphony’s Bartels Brass, performing at Ellis and Johnson Elementary schools, and the Ivy Street Ensemble, performing at Palmer Elementary and Creativity Challenge Community School. With its program, Can You Hear the Difference?, the Ivy Street Ensemble (violin, viola, cello, and flute) showcased the different sounds of string instruments and four sizes of flutes, eliciting many oohs and aahs from students. Using water bottles filled with varying levels of liquid, Ivy Street musicians reinforced basic science as they demonstrated the correlation between the size of the instrument and the sound of the instrument. The concept of theme and variation was also explored (useful in teaching writing) with words, music, and audience participation.
"MUSIC IN THE GALLERIES" CLYFFORD STILL MUSEUM “Music in the Galleries” is a new way to experience the work of Clyfford Still through sight and sound. We are pleased to partner with the Clyfford Still Museum for this series of concerts, concluding for the spring with a performance by the Colorado Symphony's Persephone Quartet, performing works by Bach, Beethoven, and Puccini.
PERSEPHONE QUARTET S U N D AY, M AY 8 , 2 : 0 0 P M
Clyfford Still Museum 1250 Bannock Street, Denver
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Music is free with admission to the galleries. FCM patrons may purchase half price tickets (advance purchase only) to enter the museum on performance days. Visit our website under “Special Events” for a link to purchase these discounted tickets.
BOARD OF DIREC TORS
BOARD ME M 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
Myra Rich Suzanne Ryan Chet Stern Sam Wagonfeld PROJECT ADM I NI S TRATOR
Desiree Parrott-Alcorn
AUDIENCE SURVEY THE RESULTS ARE IN! This fall and winter Friends of Chamber Music asked our patrons to respond to an audience survey. More than 30% of you responded, telling us not only what you like about FCM but also letting us know how we can improve. Here’s a summary of what you said: Most of you are loyal subscribers who have attended FCM concerts for more than 10 years, while 15% of you are new to FCM, having subscribed for fewer than four years. The majority of you are between the ages of 56 and 74. As we look for guidance in expanding our educational offerings, you said you’d be most likely to attend collaborative educational events with other arts organizations, as well as pre-concert talks, lectures, and “salons.” The majority feel that the number of Chamber Series and Piano Series concerts we offer is about right, and that having occasional concerts on a Sunday afternoon is no problem. You also said you find our website (www. friendsofchambermusic.com) useful and refer to it regularly. Things got interesting, though, when you shared your thoughts on contemporary music and reserved seating. On both subjects you either love it or hate it. Contemporary music, said some of you, is too difficult to listen to, while others said that’s part of its attraction. In any event, a clear majority of you felt that the current frequency with which we program contemporary music is about right. Though our tradition of open seating is something many of you find inconvenient, a significant majority claimed that it’s one of the things you like most about FCM concerts. You also said you love the consistently high quality of the artists Friends of Chamber Music presents and the beautiful venue here at Gates Concert Hall. When we asked about things we could do better or differently, a majority of you said “nothing,” but we received a number of useful suggestions having to do with parking, programming more varied ensembles, and posting encores on our website. We’ll be guided by your comments and suggestions as we plan future seasons and are grateful you took the time to let us know what you think. Thank you very much.
DID YOU KNOW? 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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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 & 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
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 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 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 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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UPCOMING CONCERTS C HAMBER SERIES
SPECIAL EVENT S
Kalichstein-Laredo-Robinson Trio
"Music in the Galleries"
Wednesday, May 11, 7:30 PM Talk-back following concert
Program:
Beethoven: Variations on an Original Theme in E-flat major, Op. 44 Shostakovich: Trio No. 2 in E minor, Op. 67 Brahms: Trio No. 1 in B major, Op. 8, for Piano, Violin and Cello
Clyfford Still Museum May 8, 2:00 PM, Persephone Quartet
TO PURCHASE SINGLE TICKETS
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
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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