Violons Concert Program

Gates Concert Hall Newman Center for the Performing Arts

March 19, 2015

University of Denver

LES VIOLONS DU ROY Mathieu Lussier, conductor Marc-André Hamelin, piano

Jean-Philippe Rameau Suite from Les Boréades

(1683-1764) Ouverture Air andante et gratieux, Act II Entrée, Act IV Contredanses très vives, Act V

Franz Joseph Haydn Symphony No. 45 in F-sharp minor “Farewell”

(1732-1809) Allegro assai Adagio Menuet: Allegretto Finale: Presto - Adagio INTERMISSION olfgang Amadeus Mozart Rondo for Piano and Orchestra in A major, K.386 W

(1756-1791)

Haydn Piano Concerto No. 11 in D major, Hob. XVIII: 11 Vivace Un poco adagio Rondo all’Ungarese

Marc-André-Hamelin, piano

Les Violons du Roy Mathieu Lussier, Conductor Marc-André Hamelin, piano Violins I Pascale Giguère Maud Langlois Nicole Trotier Michelle Seto Ariane Lajoie Christian Prévost Violins II Noëlla Bouchard Angélique Duguay Pascale Gagnon Valérie Belzile Marie-Ève Poupart

Violas Isaac Chalk Annie Morrier Jean-Louis Blouin Marina Thibeault Cellos Benoit Loiselle Julie Hereish Doublebass Raphaël McNabney

Oboes Marjorie Tremblay Mélanie Harel Bassoon Julia Harguindey Horns David Quackenbush Guy Carmichael

Exclusive Tour Management: Opus 3 Artists, www.opus3artists.com

The chamber orchestra Les Violons du Roy takes its name from the renowned string orchestra of the court of the French kings.

The spelling, “roy,” is an anglicized version of the French “roi,” and is also the Middle French (17th century) spelling of “king.”

The group, which has a core membership of 15 players, was brought together in 1984 by founding conductor Bernard Labadie and specializes in the vast repertoire of music for chamber orchestra, performed in the stylistic manner most appropriate to each era. Although the ensemble plays on modern instruments, its approach to the works of the Baroque and Classical periods has been strongly influenced by current

research into performance practice in the 17th and 18th centuries. In this repertoire Les Violons du Roy uses copies of period bows. The orchestra also regularly delves into the repertoire of the 19th and 20th centuries, as witnessed by its recordings of works by Piazzolla, Bartók, and Britten.

Les Violons du Roy is at the heart of the music scene in Québec City, where it has been in residence at the Palais Montcalm since 2007. Since 1997, it has also been an important part of Montreal’s cultural scene.

The orchestra is well known throughout Canada thanks to numerous concerts and recordings broadcast by the CBC. 2

The 29 recordings made by Les Violons du Roy have been acclaimed by critics and earned many distinctions and awards at the national and international levels.

Berlin, Copenhagen, Lucerne, Moscow, and Munich. In America, he plays the Franck Quintet on tour with the Takács Quartet, and solo recitals at the 92nd Street Y in New York and in Princeton, Toronto, and Philadelphia.

Les Violons du Roy would like to thank the following partners: Conseil des arts et des lettres du Québec Conseil des Arts du Canada Fondation des Violons du Roy Virginia Parker Foundation Gestion Marthe Bourgeois

Last season Marc-André Hamelin was hosted by San Francisco Performances, London’s Wigmore Hall, Boston’s Celebrity Series, and Antwerp’s deSingel where, in each city, he curated and performed a three part series of solo recitals and chamber music with partners including the Pacifica and Takács Quartets, Emanuel Ax, Martin Fröst, and Anthony Marwood. Hamelin also played recitals at Carnegie’s Zankel Hall, the Muziekgebuow in Amsterdam, the Philharmonie in Berlin, the Kennedy Center, and the Théâtre des ChampsÉlysées in Paris. He appeared with the Chicago Symphony, New York Philharmonic, London Philharmonic, and the WDR Sinfonieorchester Cologne with Andris Nelsons.

Marc-André Hamelin, piano Recent recordings include piano works of Busoni, Haydn concertos with Les Violons du Roy and Bernard Labadie, three double-disc sets of Haydn sonatas, and an album of his own compositions, Hamelin: Études, which received a 2010 GRAMMY nomination (his ninth). Born in Montreal and a resident of Boston, Marc-André Hamelin has lived in the U.S. since coming to Temple University at age 18. He is an Officer of the Order of Canada, a Chevalier de l’Ordre du Québec, and a member of the Royal Society of Canada.

Marc-André Hamelin, called "emperor of the keyboard" by The New York Times (Feb. 22, 2015), returns to FCM after his debut on our series in 2008 and a recital at the Aspen Music Festival this past summer.

This season he plays with the symphony orchestras of Cleveland, New Jersey, Oregon, Seattle, Vancouver, and Philadelphia. At the last of these, he plays the American premiere of Mark Anthony Turnage’s Piano Concerto with Music Director Yannick Nézet-Séguin, a work he premiered last season in Rotterdam.

Engagements abroad include the Royal Philharmonic in London conducted by Charles Dutoit, and recitals in Amsterdam, 3

PROGRAM NOTES

Program Notes © Betsy Schwarm

Rameau: Suite from Les Boréades Although it is the German and Italian composers who often dominate the music of the Baroque era, the French were not remiss in their achievements. This, after all, was the time of King Louis XIV and Louis XV, who set high standards for their diversions, and their tastes rubbed off on the nation as a whole. One composer to benefit from this state of affairs was Jean-Philippe Rameau (1683–1764). As an organist and harpsichordist he composed prolifically, especially for the latter instrument, and spent the last twenty years of his life supervising chamber music for Louis XV. Rameau also composed nearly thirty operas. In accordance with the styles of the day – styles popularized

by Louis XIV – Rameau tended to include expansive dance scenes in his operas, some of which were more ballet than opera.

Mathieu Lussier, conductor A versatile musician with a commanding grasp of early repertoire, Mathieu Lussier is increasingly in demand as a guest conductor in Canada and abroad. Appointed by Les Violons du Roy as Conductor-in-Residence in 2012 and Associate Conductor in 2014, Lussier has led the orchestra in numerous programs both in Quebec and on tour in Canada, the United States, and Mexico.

Recent and upcoming engagements include Orchestre de la Mission Saint-Charles, Arion Baroque Orchestra, Orchestre Métropolitain de Montreal, and Atelier Lyrique de l’Opera de Montréal, where he conducted an acclaimed production of Handel’s Acis and Galatea. In addition to his guest engagements, Lussier returns to Les Violons du Roy this season for a series of subscription performances.

Rameau’s last such work, Les Boréades from 1763, was not staged before the composer’s death the following year. With a mythologically-derived plot dealing with the descendants of one of the Greek gods of the winds, Les Boréades has found limited favor amongst modern opera companies, though, thanks to the intervention of conductor John Eliot Gardiner, it was staged in England on the bicentennial of its composition.

However, those numerous dance scenes with which Rameau had sprinkled the work serve as delightful material for an orchestral suite, sufficiently varied in rhythm and character to make for an attractive glimpse into the world of the French Baroque.

An accomplished bassoonist, Lussier continues to perform as a soloist and chamber musician throughout North America and Europe. Recent appearances have included the Tafelmusik Baroque Orchestra, Boston Early Music Festival Orchestra, Apollo’s Fire, and Cleveland Baroque Orchestra.

In addition to his numerous solo recordings, Lussier conducts Les Violons du Roy in their latest release, La Cigale et les Violons on the ATMA Classique label. The recording features the music of Jean-Philippe Rameau and Denis Gougeon.

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Tonight marks the first performance of this work on our series.

elegant second movement, longest of the four, and are also largely absent from the third movement, Menuet. In its last movement, the work takes a whimsical turn. According to legend, Haydn and the rest of the musical establishment had accompanied Prince Nikolaus and his entourage to the Esterházy country estate, where all lingered late into the year, too late for the tastes of the musicians, whose families remained in Vienna. Haydn’s newest symphony supposedly was meant to plead their case. The movement opens with taut energy propelled by proud horns and scurrying strings. Soon, however, that brisk tempo gives way to a more reflective pace and gradually, the orchestra begins what has been described as an aural vanishing act, players dropping out one by one until only two are left to play the final phrases. Amused by his court composer’s subtle point, the prince announced that their season in the country had come to a close and all were welcome to return to Vienna.

Haydn: Symphony No. 45 in F-sharp minor, “Farewell” For most of the 1700’s, the European royal and aristocratic courts were all powerful, dominating economics, politics, and the arts with equal influence. In the courts lay most of Europe’s financial resources, and by extension, the ability to patronize the arts. An ambitious composer or musician could do no better than to find employment at a wealthy, music-minded court, as Joseph Haydn did in 1761 with the noble Esterházy family. Renowned for their love of music, the Esterházys maintained a private symphony and opera ensemble, and arranged for regular performances even at the country estate. In joining the Esterházy court, Haydn knew his works would be performed and appreciated, and so he remained there for nearly fifty years.

Although Haydn had produced only a handful of symphonies before taking his place at Esterháza, he soon made up for that shortage, composing over sixty in the next twenty years. His Symphony No. 45 dates from 1772, in the midst of his Sturm und Drang period. The term (in English: “Storm and Stress”) does not refer to some personal tragedy. Rather, it originated with an artistic movement of the day that encouraged composers to write strongly emotional music, often in dramatic minor keys. Here, Haydn – who in his first forty symphonies had produced only two in minor keys – suddenly turned the tables, choosing minor keys as often as major ones, giving his music a stronger measure of color and tension than it had previously possessed.

Tonight marks the first performance of this work on our series.

Mozart: Rondo for Piano and Orchestra in A major, K. 386 Only nine minutes in length, Mozart’s Rondo in A for piano and orchestra is filled with mystery and drama. The notes themselves are not the issue – the tale to be told concerns the history of the piece itself.

It was written in October 1782, perhaps as an encore piece for one of the composer’s own concerts. However, there is no evidence that the piece was played publicly in its composer’s lifetime, and certainly it was not published. In 1799, eight years after Mozart’s death, the manuscript was still in the possession of the composer’s widow Constanze, who sold it along with other works to a publisher. By this time, the Rondo’s last pages had disappeared, and as

Thus begins the first movement of the Symphony No. 45, with tense and stormy moods only partially alleviated by gentler contrasting themes. Storms subside for the 5

catalog of works was immensely wideranging, reaching every genre of composition of the late 18th century. As to concerti for soloist and orchestra, he produced dozens, spotlighting all the usual suspects, as well as less common choices, including the trumpet and the hand-cranked lire organizzata (a peculiar instrument that combined aspects of a hurdy-gurdy and hand-cranked organ).

Piano concerti, about a dozen in all, appeared mostly in the middle decades of his career, before symphonies and string quartets began to claim a larger share of Haydn’s attention.

Whatever the genre, Haydn’s works reveal his characteristic style: buoyant energy for fast movements, lyric grace for slow ones, and often a quick succession of varied and contrasting melodies.

the piece was incomplete, the publisher had no use for it. He sent it on to an English music dealer, who eventually sold it to the pianist/composer William Sterndale Bennett. Bennett found an innovative use for the manuscript, giving it away, one page at a time, to various friends, each of whom wished to have a bit of Mozart of his very own.

Bennett’s dismembering might have destroyed the Rondo for all time. However, fortunately, between the manuscript’s arrival in England and Bennett’s acquisition of it, it passed through the hands of one Cipriani Potter, who transcribed it for solo piano, added his own ending in place of the missing one, and published the resulting hodgepodge in 1838. That version is not entirely Mozart, but it has served as a sort of roadmap for 20th century music scholars, who, over the decades, have recovered all of the original pages distributed by Bennett.

With Potter’s transcription in hand, it has proven possible to get all the pages back in the right order. Furthermore, against all odds, the original ending that had vanished while still in Constanze’s care also reappeared from various music archives.

After a tortuous path, the Rondo in A major is finally back in its original condition, exactly as Mozart himself imagined it.

The Piano Concerto No. 11 in D major was composed in 1784 and even that late in the century was as likely to be heard on harpsichord as on piano. Throughout the concerto, melodies are usually first presented by the orchestra, then restated and elaborated upon by the soloist. This particular concerto, most popular of Haydn’s concerti for piano, is especially recalled for its third movement Rondo all’Ungarese, that is, “Rondo in the Hungarian Style.” A rondo is a form of composition in which several melodies alternate with one another in close order, one generally recurring more frequently than the others. As for the Hungarian connection, Haydn was not himself Hungarian, though the Hungarian lands of the Austrian Empire began not far down the road from his own hometown of Rohrau. However, Hungarian dance-rhythms were popular at the time, and their vibrancy makes them a natural fit for a typically bright and effusive Haydn final movement. It serves to bring the concerto to a high-spirited conclusion.

Tonight marks the first performance of this work on our series.

Haydn: Piano Concerto No. 11 in D major, Hob. XVIII:11 Mention the name of Haydn, even to a knowledgeable classical music lover, and that person will likely imagine symphonies and string quartets. Indeed, the Austrian master composed about two hundred such works, which are his most frequently performed compositions. However, his

Tonight marks the first performance of this work on our series.

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Donate an Instrument and Change a Child’s Life 2015 Instrument Drive Set For March 16-28 We’re looking forward to reaching even more children this year.”

If you have a gently-used band or orchestra instrument that is no longer being played, please bring it to one of the drop-off locations. It will be repaired and awarded to a deserving, underfunded music program, and you’ll be giving the gift of music to a child in Colorado.

The Instrument Drive is back! After a one year hiatus, the instrument drive, now produced by Bringing Music to Life, will be held throughout Colorado March 1628. Bringing Music to Life was founded and is being directed by Steve Blatt, who established and ran the instrument drives at Colorado Public Radio.

“If you don’t have an instrument, you can still help by contributing to the repair fund,” Blatt explained. “Instrument repairs are the single greatest cost of the program, with the average repair costing nearly $100.”

There are 17 donation locations for the March drive, including 12 in the greater Denver area. Brochures with complete details are available at tonight’s performance.

Information is also available at the website: www.bringmusic.org.

“Over the course of four drives,” Blatt said, “we distributed nearly 2,000 orchestra and band instruments to more than 100 schools throughout Colorado.

Don’t Miss the Last Piano Series Recital of the Season

Jonathan Biss May 6, 2015 7:30 p.m.

Tickets: $35 each/$10 (students 25 and under)

Newman Center Box Office Monday – Friday 10am – 4pm Saturday noon – 4pm 2344 E. Iliff Ave. at University and Iliff 303.871.7720

www.newmantix.com

Program:

Berg: Piano Sonata, Op. 1

Schoenberg: 6 Little Pieces for Piano, Op. 19

Schumann: Waldszenen, Op. 82 for piano

Beethoven: Piano Sonata in G, Op. 79

Beethoven: Piano Sonata in F minor, Op. 57 (Appassionata) 7

"Exploring Beethoven’s Piano Sonatas" Pianist Jonathan Biss, under the auspices of the Curtis Institute of Music, teaches a self-paced, online class on Beethoven's piano sonatas. A second part of the course on additional sonatas will launch in Spring 2015. Filmed at the Curtis Institute of Music, the lectures are designed to help both musical novices and experts understand Beethoven's piano music.

The online Beethoven course given by pianist and Curtis Institute professor Jonathan Biss last fall was remarkable for all the things it wasn't. In an age of impatience and distraction, it was a slow, deep immersion.

- The Philadelphia Inquirer To Register Visit https://www.coursera.org/learn/ beethoven-piano-sonatas or locate the link on our website under the Piano Series tab. Course registration is free.

Coursera provides access to the world’s best education, partnering with top universities and organizations.

Other Reading As part of his exploration of Beethoven, Jonathan Biss has also published a short book, Beethoven’s Shadow. Available on Amazon for under $2 (Audible Audio or Kindle Single), this book was published in 2011 when Biss embarked on a project to record all of Beethoven’s sonatas.

About the Course Our relationship to Beethoven is a deep and paradoxical one. For many musicians, he represents a kind of holy grail: His music has an intensity, rigor, and profundity which keep us in its thrall, and it is perhaps unequalled in the interpretive, technical, and even spiritual challenges it poses to performers. At the same time, Beethoven’s music is casually familiar to millions of people who do not attend concerts or consider themselves musically inclined. Nearly two hundred years after his death, he is everywhere in the culture, yet still represents its summit.

Informal Discussion with Jonathan Biss on May 5 FCM will host a free meet-up with Jonathan Biss on the evening of May 5 in connection with his May 6th appearance on our Piano Series. This will be an opportunity for those who have completed the Coursera course, as well as those with an interest in Beethoven’s piano sonatas, to meet Biss and have a further discussion about Beethoven. Location and time still to be determined. Check www.friendsofchambermusic.com in the coming weeks for details.

This course takes an inside-out look at the 32 piano sonatas from the point of view of a performer. Each lecture will focus on one sonata and an aspect of Beethoven’s music exemplified by it. The course will feature some analysis and historical background, but its perspective is that of a player, not a musicologist. Its main aim is to explore and demystify the work of the performer, even while embracing the eternal mystery of Beethoven’s music itself.

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Yo-Yo Ma Post Concert Reception Great Hall, Iliff School of Theology (across the street from the Newman Center) Tickets $150 each All funds raised from this reception will support FCM’s educational outreach programs.

Reception tickets are only available to those holding tickets to the Yo-Yo Ma recital. Purchase your reception tickets through the Newman Center Box Office, www.newmantix.com, or 303-8717720. To purchase a reception ticket online, you will need a promotional code.

Please call 303-388-9839 or email friendsofchambermusic@comcast.net to receive your code.

A special thanks to Robert and Judi Newman for sponsoring this reception.

Legacy Gifts For those who want to leave a musical legacy, a planned or deferred gift to Friends of Chamber Music will help ensure our future artistic excellence and financial stability while providing tax benefits to you. Visit www.friendsofchambermusic.com and click on "Support Us" for more information.

Excerpt from a letter to oxygen users from FCM subscriber, Dr. Bonnie Camp:

disturbing anyone with my Spirit 600 nestled beneath my seat, smoothly and silently delivering oxygen.”

“When the Pacifica Quartet opened its recent performance of the cycle of Beethoven String Quartets, I sat comfortably in the second row without

For more information on quiet oxygen delivery systems that Bonnie has shared with us, please pick up the complete text of her letter at the ticket table in the lobby. Thank you Bonnie!

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The following Friends who have made gifts in the last 12 months are especially important to Friends of Chamber Music. Your generous support is invaluable in assuring our continued standard of excellence. We thank you very much! $25,000 + Bonfils-Stanton Foundation Scientific and Cultural Facilities District, Tier III $5,000 + Colorado Creative Industries $2,500 + Cynthia Kendrick $1,000 + Anonymous Patsy & James Aronstein Lisa & Steve Bain Pam Beardsley Bob & Cynthia Benson Kate Bermingham Bucy Family Fund Alix & John Corboy C. Stuart Dennison Jr. Ellen & Anthony Elias Barbara & Stephen Engel Fackler Legacy Gift Julanna Gilbert and Robert Coombe Robert S. Graham Celeste & Jack Grynberg Errol & June Haun Michael Huotari & Jill Stewart John Lebsack & Holly Bennett Harry T. Lewis, Jr. Robert & Judi Newman Myra & Robert Rich Jeremy & Susan Shamos Marlis & Shirley Smith Harry & Vicki Sterling $500 + Shannon Armstrong Linda & Dick Bateman Janet & Henry Claman Classic Pianos Gerri Cohen Susan & Tim Damour Kevin & Becky Durham Max & Carol Ehrlich Stephen & Margaret Hagood Kemp Family Fund John Kendrick Ronald & Jeri Loser Charlene Byers & Pamela Metz Kim Millett, in memory of Dr. Karl Arndt, a founder of Denver Friends of Chamber Music Frank & Pat Moritz Rosemarie & Bill Murane Kathy Newman & Rudi Hartmann Richard Replin & Elissa Stein Ayliffe & Fred Ris

Henry R. Schmoll David & Susan Seitz Bobbi & Gary Siegel Ric Silverberg & Judith Cott Edie Sonn Chet & Ann Stern Marcia Strickland Morris & Ellen Susman Sylvan Stool Families + Margot K. Thomson Walter & Kathleen Torres Sam Wagonfeld Andrew Yarosh + $250 + Rick & Margot Acosta Jules & Marilyn Amer Amica Companies Foundation Anonymous Hannah Kahn & Arthur Best Sandra Bolton Theodore Brin Andrew & Laurie Brock Darrell Brown & Suzanne McNitt Peter & Cathy Buirski Peter Buttrick & Anne Wattenberg David & Joan Clark David S Cohen Fran Corsello Anne Culver Catherine C Decker Tom & Mickey DeTemple Tudy Elliff Joyce Frakes George & Sissy Gibson Edward Goldson John S. Graves Darlene Harmon David & Ana Hill David & Lynn Hurst Margie Lee Johnson Ann & Douglas Jones Bill Juraschek Kappler Marrack Foundation Donna Kornfeld Carol & Lester Lehman John & Terry Leopold Mark & Lois Levinson Ann Robinson Levy Theodor Lichtmann Nina & Alan Lipner David & Lyn Loewi, in memory of Ruth Loewi John & Merry Low Elspeth MacHattie & Gerald Chapman Rex & Nina McGehee Robert Meade Bert & Rosemary Melcher Kirsten & Dave Morgan 10

Marcia Naiman Dee & Jim Ohi John & Mary Ann Parfrey Douglas Hsiao & Mary Park Fred & Connie Platt Eileen Price, in memory of Max Price Jane & Bill Russell Cheryl Saborsky Richard & Jo Sanders Ray Satter Maxwell L. Saul Alan & Gail Seay San Mao Shaw David & Patty Shelton, in honor of Bernie Kern Steven Snyder Shirleyan Price & David Spira Bob & Margaret Stookesberry Dick & Kathy Swanson Berkley & Annemarie Tague Eli & Ashely Wald Jeff & Martha Welborn Lela Lee & Norman Wikner Barbara & Joseph Wilcox Lynetta Windsor $100 + Anonymous, in memory of Dr. Kent Kreider, a lighthouse to his family and to his friends, both + medical and musical Anonymous Carole and Robert Adelstein Barton & Joan Alexander Jim & Ginny Allen J. Craig Armstrong, DDS Georgia Arribau Annette Bachrach Robert Balas Keith Battan Robert Behrman Kate Bermingham Wednesday Music Party Dell & Jan Bernstein Carolyn & Joe Borus Howard & Kathleen Brand Theresa Bratton Susan Lee Cable Barbara Caley Bonnie Camp Nancy Kiernan Case, in memory of Owen & Esther Kiernan Marlene Chambers & Lawrence Duggan Dana Klapper Cohen Stephen & Dee Daniels Stephen Dilts Dan Drayer David & Debra Flitter

Judy Fredricks Barbara Wright & Frank Gay Kathe & Michael Gendel Donna & Harry Gordon Kazuo & Drusilla Gotow Jeff Zax & Judith Graham Melanie Grant Gary & Jacqueline Greer Carol & Jim Griesemer Paula & Stan Gudder Pam & Norman Haglund Richard & Leslie Handler Larry Harvey Rogers & Ruth Hauck Richard W. Healy Peter Hegg, in memory of Doris Hegg Eugene Heller & Lily Appleman Joseph & Renate Hull Richard Italiano Stanley & Barbara Jones Michael & Karen Kaplan Edward Karg & Richard Kress Robert Keatinge Ann Kiley Bruce Kindel Michael & Wendy Klein Roberta & Mel Klein Ellen Krasnow & John Blegen Elizabeth Kreider Doug & Hannah Krening Jack Henry Kunin Richard Leaman Heidi & Jonathan Leathwood Rachel Lederer Seth Lederer Christopher Lesher Igor & Jessica Levental Della & Jeff Levy Phillip Levy Ed & Jackie Lewin Penny Lewis Judy & Dan Lichtin Nancy Livingston, in memory of Dr. Lewis Duman, Doris Buckles, and Lisl Penzias Charles & Gretchen Lobitz Bette MacDonald Marilyn Madsen Evi & Evan Makovsky James Mann Roger Martin Alex & Kathy Martinez Lawrence Phillips & Myron McClellan Estelle Meskin Rhea Miller Jean Milofsky, M.D., & David Milofsky, in memory of Bernard Milofsky Paul & Barb Moe Douglas & Laura Moran Barbara & John Morrison Marilyn Munsterman & Charles Berberich Betty Naster +

Robert N. O’Neill Tina & Tom Obermeier Danielle & Tom Okin Desiree Parrott-Alcorn John Pascal David S Pearlman Becky & Don Perkins Barbara Pollack Carol Prescott Ralph & Ingeborg Ratcliff Reid T. Reynolds Ed & Maxine Richard Gene & Nancy Richards Marv & Mary Robbins Allan & Judith Rosenbaum Herb & Doris Rothenberg Lorenz Rychner Ginny Swenson & Pat Sablatura Peter Sachs Charley Samson Donald Schiff, in memory of Rosalie Schiff Ted & Kathi Schlegel John & Patricia Schmitter Robert & Barbara Shaklee Beverly Buck & David Sherman Susan Sherrod & Andrew Lillie Milton Shioya Colly & Bunny Shulman Bobbi & Gary Siegel Artis Sliverman Nathan Stark Paul Stein William A. Stolfus Dan & Linda Strammiello Steve & Phyllis Straub Decker Swann Karen Swisshelm Cle Symons Malcolm & Hermine Tarkanian Peter Van Etten John & Lisa Vincent-Morrison Robert & Beth Vinton Ann & Marlin Weaver Hedy & Michael Weinberg Carol C. Whitley Wilmot Charitable Fund Linda & David Wilson Ruth Wolff Dan & Patti Wright Karen Yablonski-Toll R. Dale Zellers Carl & Sara Zimet $50 + Lorraine & Jim Adams Daniel Andrews Anonymous, in memory of Lisl Penzias Vernon Beebe Joan & Bennie Bub Thomas Butler Elizabeth & John Carver Edward Champoux Richard & Gwen Chanzit Gini Chrisco 11

Marion Colliander Jane Cooper Janet Dampeer Garth Englund, Jr. Nancy & Mike Farley Janet & Arthur Fine John & Debora Freed Martha Fulford Robert C. Fullerton Dr. & Mrs. Stanley Ginsburg Sandra Goodman Sanders Graham Barbara Hamilton Daniel & Hsing-ay Hsu Kellogg Kay Kotzelnick & Barbara Gilette Barbara Inama Suzanne Kaller Leonard & Abbey Kapelovitz William & Martha Keister Shana Kirk Linda Levin Marilyn Lindenbaum Cherry Lofstrom, in memory of Samuel A. Lofstrom Roy & Esther Lowenstein James Mann Bill and Lisa Maury Loris McGavran Joanna Moldow James & Karin Mote Betty Murphy Mary Murphy Mari Newman Carolyn & Garry Patterson Barbara Pelter Georgina Pierce Mary Platt Candice & Scott Posner, in memory of Lisl Penzias Sarah Przekwas Marcia Ragonetti, in memory of Allen Young Robert Rasmussen Margaret Roberts Suzanne Ryan Kim Schurman Jo Shannon Artis Silverman Lois Sollenberger Steve Susman Carol Trotter Suzanne Walters Barbara Walton Greta and Randy Wilkening, in honor of Nancy Feiner Greta & Randy Wilkening, in honor of Nina & Rex McGehee Greta & Randy Wilkening, in honor of Pat & John Schmitter James Williams Jaclyn Yelich Yoni Zaluski + Gift made to FCM Endowment

UPCOMING CONCERTS CHAMBER SERIES

PIANO SERIES

TRIO CON BRIO COPENHAGEN WEDNESDAY, APRIL 1, 7:30 PM

JONATHAN BISS WEDNESDAY, May 6, 7:30 PM

SPECIAL EVENT YO-YO MA, SOLO RECITAL APRIL 29, 7:30 PM (SOLD OUT) Advance single tickets are available for all concerts.

Returned tickets are also available at the door.

Visit www.friendsofchambermusic.com or contact the Newman Center Box Office, 303-871-7720, www.newmantix.com

SPECIAL THANKS COLORADO PUBLIC RADIO for broadcasting our concerts

SCIENTIFIC AND CULTURAL FACILITIES DISTRICT (Tier III) for supporting FCM’s outreach efforts through school residencies and master classes

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 in memory of Lewis Story

Lyn Loewi for coordinating program notes

COLORADO CREATIVE INDUSTRIES providing general operating support for our season

BOARD OF DIRECTORS Lisa Bain, President Alix Corboy, Vice President Walter Torres, Secretary Allan Rosenbaum, Treasurer PROJECT ADMINISTRATOR Desiree Parrott-Alcorn

BOARD MEMBERS Patsy Aronstein Kate Bermingham Julanna Gilbert John Lebsack Rosemarie Murane Kathy Newman

Mary Park Richard Replin Myra Rich Suzanne Ryan Chet Stern Sam Wagonfeld

FRIEN DSOFCH A MBERMUSIC.COM 12