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JANUARY IGOR LEVIT Sunday, January 7, 2018 · 6 PM Piano Series

The Auditorium at TSRI

SDYS CHAMBER ORCHESTRA Saturday, January 13, 2018 · 7 PM Special Event


RICCARDO MUTI, Zell Music Director Wednesday, October 18, 2017 · 8 PM Orchestra Series

Jacobs Music Center - Copley Symphony Hall


Irwin M. Jacobs Qualcomm Hall

PAUL TAYLOR DANCE COMPANY Saturday, January 20, 2018 · 8 PM Dance Series

Spreckels Theatre


The Auditorium at TSRI

Jazz Series




Balboa Theatre


The Auditorium at TSRI

SCHUBERT’S SWAN SONG II Saturday, April 14, 2018 · 8 PM Revelle Chamber Music Series Irwin M. Jacobs Qualcomm Hall

THE JOEY ALEXANDER TRIO Saturday, April 28, 2018 · 8 PM Jazz Series


Sunday, February 25, 2018 · 3 PM

Sunday, November 5, 2017 · 3 PM

The Auditorium at TSRI


The Auditorium at TSRI





Saturday, May 12, 2018 · 8 PM

Discovery Series

Discovery Series

Balboa Theatre

Thursday, March 1, 2018 · 8 PM

Dance Series

Balboa Theatre




Friday, May 18, 2018 · 8 PM


Saturday, March 3, 2018 · 8 PM

Saturday, November 11, 2017 · 8 PM Piano Series

Irwin M. Jacobs Qualcomm Hall

Saturday, December 2, 2017 · 8 PM Dance Series

Piano Series

AX – KAVAKOS – MA Special Event

Jacobs Music Center - Copley Symphony Hall


Balboa Theatre

Wednesday, March 7, 2018 · 8 PM

DIANNE REEVES: Christmas Time is Here

Balboa Theatre

Sunday, December 17, 2017 · 8 PM Special Event Balboa Theatre

Civic Theatre

Piano Series

The Auditorium at TSRI

SCHUBERT’S SWAN SONG III Saturday, May 19, 2018 · 8 PM Revelle Chamber Music Series Irwin M. Jacobs Qualcomm Hall

Jazz Series


JOSHUA BELL, music director & violin Friday, March 16, 2018 · 8 PM Orchestra Series

Jacobs Music Center - Copley Symphony Hall

SCHUBERT’S SWAN SONG I Saturday, March 24, 2018 · 8 PM Revelle Chamber Music Series Irwin M. Jacobs Qualcomm Hall



For more information:

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Dates, times, programs and artists are subject to change. Ticket prices for performances at the Jacobs Music Center Copley Symphony Hall, Balboa Theatre, The Auditorium at TSRI and Irwin M. Jacobs Qualcomm Hall include applicable facility fees.

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Arrive early for a pre-performance Lecture by Michael Gerdes Unfinished Business This program contains three important works from the canon of symphonic music. Schubert’s Unfinished was abandoned in favor of his Great C Major; Schumann’s Symphony No. 2 is actually




Symphony No. 8 in B Minor, D.759 “Unfinished” (1822) Allegro moderato Andante con moto


Concerto in A Major for Clarinet and Orchestra, K.622 (1791) Allegro Adagio Rondo: Allegro Stephen Williamson, clarinet


the third such work that he had composed, and came at a time of great personal strife; Mozart’s Clarinet Concerto is his last purely instrumental work. In this lecture, we’ll explore how these


works came to be, and how they ultimately informed the final statements that each composer would make.

INTERMISSION La Jolla Music Society’s 2017-18 Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, The Ackerman Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, Regents Bank, The Dow Divas, The Lodge at Torrey Pines, La Valencia Hotel, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Jeanette Stevens, and an Anonymous donor.

SCHUMANN (1810-1856)

Symphony No. 2 in C Major, Opus 61 (1845-1846) Sostenuto assai; Allegro ma non troppo Scherzo: Allegro vivace Adagio espressivo Allegro molto vivace

Bank of America is the Global Sponsor of the Chicago Symphony Orchestra.

The Orchestra Series is underwritten by Medallion Society members:

Joan and Irwin Jacobs

Additional support for the Chicago Symphony Orchestra is provided by Dr. Bob Shillman in honor of his wife, Mao. Chicago Symphony Orchestra last appeared with La Jolla Music Society in the Orchestra Series on Feruary 19, 2012.

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CHICAGO SYMPHONY ORCHESTRA   RICCARDO MUTI, ZELL MUSIC DIRECTOR Yo-Yo Ma, Judson and Joyce Green Creative Consultant Duain Wolfe, Chorus Director and Conductor Samuel Adams, Elizabeth Ogonek, Mead Composers-in-Residence Sunghee Choi VIOLINS Robert Chen Concertmaster The Louis C. Sudler Chair, endowed by an anonymous benefactor Stephanie Jeong Associate Concertmaster The Cathy and Bill Osborn Chair David Taylor Yuan-Qing Yu Assistant Concertmasters* So Young Bae Cornelius Chiu Alison Dalton Gina DiBello Kozue Funakoshi Russell Hershow Qing Hou Blair Milton Paul Phillips, Jr. Sando Shia Susan Synnestvedt Rong-Yan Tang § Baird Dodge Principal Sylvia Kim Kilcullen § Assistant Principal Lei Hou Ni Mei Fox Fehling Hermine Gagné Rachel Goldstein Mihaela Ionescu Melanie Kupchynsky § Wendy Koons Meir Matous Michal Simon Michal Aiko Noda Joyce Noh Nancy Park † Ronald Satkiewicz Florence Schwartz


Charles Pikler § Principal The Paul Hindemith Principal Viola Chair, endowed by an anonymous donor Li-Kuo Chang Assistant Principal The Louise H. Benton Wagner Chair John Bartholomew Catherine Brubaker Youming Chen



Wei-Ting Kuo Danny Lai Diane Mues Lawrence Neuman Max Raimi Weijing Wang


John Sharp Principal The Eloise W. Martin Chair Kenneth Olsen Assistant Principal The Adele Gidwitz Chair Karen Basrak Loren Brown Richard Hirschl Daniel Katz Katinka Kleijn Jonathan Pegis § David Sanders Gary Stucka Brant Taylor


Alexander Hanna Principal The David and Mary Winton Green Principal Bass Chair Daniel Armstrong Roger Cline † Joseph DiBello Michael Hovnanian Robert Kassinger Mark Kraemer Stephen Lester Bradley Opland


Sarah Bullen Principal Lynne Turner


Stefán Ragnar Höskuldsson Principal The Erika and Dietrich M. Gross Principal Flute Chair Richard Graef Assistant Principal Emma Gerstein Jennifer Gunn


Jennifer Gunn


Michael Henoch Assistant Principal The Gilchrist Foundation Chair Lora Schaefer Scott Hostetler


Stephen Williamson Principal John Bruce Yeh Assistant Principal Gregory Smith J. Lawrie Bloom



J. Lawrie Bloom


Keith Buncke Principal William Buchman Assistant Principal Dennis Michel Miles Maner



Daniel Gingrich Acting Principal James Smelser David Griffin Oto Carrillo Susanna Gaunt


Mark Ridenour Assistant Principal John Hagstrom Tage Larsen


Jay Friedman Principal The Lisa and Paul Wiggin Principal Trombone Chair Michael Mulcahy Charles Vernon


BASS TROMBONE Charles Vernon


Gene Pokorny Principal The Arnold Jacobs Principal Tuba Chair, endowed by Christine Querfeld


David Herbert Principal The Clinton Family Fund Chair Vadim Karpinos Assistant Principal


Cynthia Yeh Principal Patricia Dash Vadim Karpinos James Ross


Peter Conover Principal Carole Keller Mark Swanson


John Deverman Director Anne MacQuarrie Manager, CSO Auditions and Orchestra Personnel


Jonathan Cegys, bass Ying Chai, violin Kiju Joh, violin Tamae Clara Takarabe, violin Alex Vvedenskiy, oboe

*Assistant concertmasters are listed by seniority. †On sabbatical §On leave The Chicago Symphony Orchestra string sections utilize revolving seating. Players behind the first desk (first two desks in the violins) change seats systematically every two weeks and are listed alphabetically. Section percussionists also are listed alphabetically.

Symphony No. 8 in B Minor “Unfinished” D.759

FRANZ SCHUBERT Born January 31, 1797, Vienna Died November 19, 1828, Vienna

Duration: 22 Minutes

In the fall of 1822, Schubert began a new symphony. He quickly completed two movements and began a third, a scherzo. He sketched out 129 measures of this scherzo and took the time to orchestrate the first nine. And then he stopped. The following year Schubert sent the manuscript to his friend Anselm Hüttenbrenner, probably as a gesture of appreciation for Schubert’s having been awarded a “diploma of honor” by the Styrian Music Society of Graz, of which Hüttenbrenner was a member. And at that point Schubert apparently forgot about this symphony. He never mentioned it again. He never heard it performed. The manuscript sat on dusty shelves for four decades. In 1865 conductor Johann Herbeck visited the aged Hüttenbrenner in Graz and inquired about the existence of any Schubert manuscripts, Hüttenbrenner showed him the symphony, and Herbeck led the première in Vienna on December 17, 1865. It was an instant triumph, yet mystery continues to swirl around this music. Why did Schubert stop? Did he stop? (Some have suggested that Schubert actually completed this symphony and later used its finale

in his incidental music to Rosamunde). And why should an “unfinished” (and forgotten) symphony have become one of the best-loved pieces ever composed? Despite its odd form–two moderately-paced movements instead of the customary four at different tempi–the Symphony in B Minor is a fully satisfying musical and emotional experience. The “Unfinished” is built on some of the most singable tunes in classical music, yet Schubert can transform those melodies into dramatic music full of craggy attacks, epic monumentality, and eerie silences. Schubert’s control of orchestral color is remarkable here, as well: three trombones give this music unusual weight, but even more impressive are the many shades of instrumental color he achieves through his subtle handling of solo winds. Also striking is the ease of Schubert’s harmonic language–this music glides effortlessly between keys, sometimes with the effect of delicately shifting patterns of light. And through both movements runs a haunting, somber beauty. All alone, cellos and doublebasses lay out the ominous opening of the Allegro moderato, marked pianissimo. But this turns out to be only an introduction–the movement proper begins as winds offer the long opening melody over skittering, nervous strings. Cellos sing the famous second subject, and then comes a complete surprise: Schubert ignores both these themes and builds the development on that dark introductory melody. That music explodes with unexpected W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8



fury, and what had seemed a “lyric” symphony suddenly becomes a very dramatic one. Then another surprise: Schubert recalls the themes of the exposition and closes on a subdued memory of the introduction. This movement is powerful, lyric, dramatic, beautiful–and utterly original. The second movement also proceeds at a moderate pace: Andante con moto. Once again, there are two principal themes–the violins’ sweet opening phrase and a poised woodwind melody over syncopated accompaniment. And once again, this movement combines a granitic monumentality with the most haunting lyricism. A short development leads to a full recapitulation, and a beautifully extended coda draws this symphony to its calm conclusion. Such a summary may describe the “Unfinished” Symphony, but it cannot begin to explain its appeal. We may never know why Schubert did not complete more than these two movements, but the symphony’s unusual form has not kept it from becoming one of the most famous ever written, and few of the millions who have loved this music have ever considered it “unfinished.”

Concerto in A Major for Clarinet and Orchestra, K.622

WOLFGANG AMADEUS MOZART Born January 27, 1756, Salzburg Died December 5, 1791, Vienna

Duration: 28 Minutes

The second half of 1791 seemed, at least on the face of it, a promising time for Mozart. After several years of diminished popularity and income in Vienna, he suddenly found his music much in demand. Early that year Mozart was commissioned to write an opera for the coronation in Prague of Leopold II as King of Bohemia. Working as fast as he could (legend has it that he composed some of the opera in a carriage on his way to Prague), Mozart got La clemenza di Tito done on September 5, barely in time to conduct its première the following day. While in Prague, Mozart heard performances of some of his other works, then rushed back to Vienna to complete The Magic Flute. This was premièred on September 30, and–to Mozart’s pleased surprise–it was an immense success. It was given twenty times that month, Mozart went to see it repeatedly, and at one performance he surprised the audience by playing the glockenspiel to accompany Papageno. Meanwhile, he was at work on his setting of the Requiem Mass, which had been commissioned by a mysterious “stranger in gray” in July. Despite brief periods of illness, Mozart’s prospects seemed very bright in the fall of 1791. There was no way to foresee that they would come to nothing–he died on December 5, eight weeks short of his 36th birthday.



It was at the beginning of October, during the first week of the heady success of The Magic Flute, that Mozart composed his Clarinet Concerto–it would be his final masterpiece and virtually his final completed work. During his first years in Vienna Mozart had become friends with Anton Stadler (1753-1812), a fellow Freemason and a virtuoso clarinetist, and for Stadler he wrote three great works that feature the clarinet: the Clarinet Trio (1786), the Clarinet Quintet (1789), and the Concerto. Stadler played the basset clarinet, an instrument of his own invention, which could play four pitches lower than the standard clarinet of Mozart’s day. That meant that Mozart’s concerto could not be played on the contemporary clarinet, and this produced a number of corrupt editions of Mozart’s clarinet works, which were re-written to suit the range of that clarinet. Subsequent modifications have given the modern A clarinet those four low pitches, and today we hear these works in the key in which Mozart originally intended them. Mozart completed the Clarinet Concerto on October 7, only fifty-nine days before his death. It is of course tempting to make out premonitions of death in Mozart’s final instrumental work, and many have been unable to resist that temptation, but such conclusions must remain subjective. What we can hear in the Clarinet Concerto is some of the most graceful, noble, and moving music Mozart ever wrote. This is not a concerto that sets out to dazzle a listener’s ears with a soloist’s fiery technique (it has no cadenza) but rather music that through its endless beauty engages a listener’s heart. Mozart’s subdued orchestration (pairs of flutes, bassoons, and horns, plus strings) produces a smooth, warm, and understated sonority, ideal to accompany the clarinet and ideal for the restraint of the music itself. Mozart often has the first and second violins playing in unison, further purifying the sound of the orchestra. The Clarinet Concerto may be a restrained work, but it is not short–at nearly half an hour, it is longer than almost all of Mozart’s other concertos. But its length brings with it a spaciousness that is very much a part of this music’s character. The opening Allegro establishes the concerto’s spirit immediately with its calm and lyrical opening idea. Solo clarinet takes up this theme at its entrance, and the soloist also has the graceful, arching second theme, a theme that–rather than contrasting sharply with the opening– remains very much within that same character. This may be a sonata-form movement, but it is one without conflict. Instead, it is endlessly graceful and expressive music, beautifully written for the clarinet. The emotional center of this concerto is the Adagio. It is in this movement that one feels most strongly the concerto’s compelling combination of surface restraint and emotional depth; if one needs to make out premonitions of


Mozart’s death, this movement’s intensity and spirit of gentle resignation offer the place to look. The opening measures bring some of the most expressive Mozart music ever wrote, as the smooth sound of the clarinet rises and falls above the strings’ murmuring accompaniment. Near the end the music rises to a climax, but it is an emotional rather than a dramatic climax (Mozart’s marking is only forte), and the music slips into silence. The concluding rondo-finale dances and turns cheerfully along its 6/8 meter. The clarinet has wide skips and long, athletic runs throughout its range here, but even more impressive are the interludes between the return of the rondo theme, many of them beautifully shaded and hauntingly expressive.

to Mendelssohn that “Drums and trumpets (trumpets in C) have been sounding in my mind for quite a while now,” so apparently this trumpet-call was one of the earliest seeds of the symphony; it recurs throughout. The introduction gathers speed and flows directly into the Allegro ma non troppo, whose main subject is a sharply-dotted melody for violins and woodwinds. This opening movement is in sonata form, and near the end the trumpet fanfare blazes out once again. The second movement is a scherzo marked Allegro vivace. In contrast to some of Schumann’s others symphonic scherzos–which can remain earthbound–this one flies. Almost a perpetual-motion movement, it makes virtuoso demands on the violins. Two trio sections interrupt the scherzo–the first for woodwinds in triplets, the second for strings–before the opening music returns and the movement speeds to an Symphony No. 2 in C Major, Opus 61 exciting close. At the climax of this coda, the trumpet fanfare rings out above the racing violins. The Adagio espressivo, one of Schumann’s most Born June 8, 1810, Zwickau, Germany attractive slow movements, opens with a long-breathed Died July 29, 1856, Endenich, Germany Duration: 38 Minutes melody for the violins. This movement is the emotional center of the symphony, and though this music never wears Schumann and his wife Clara made a five-month tour its heart on its sleeve, its composition made such heavy of Russia in 1844. Her piano-playing was acclaimed emotional demands on the composer that he had to stop work everywhere, but the always-vulnerable Schumann found temporarily after completing it. himself somewhat in the shade, and on their return to Leipzig In the finale–marked Allegro molto vivace–the energy the composer began to show signs of acute depression: he of the opening movements returns as the music bursts to said that even the act of listening to music “cut into my nerves life with a rush up the C-major scale. Schumann said of the like knives.” So serious did this become that by the end of composition of this movement: “In the Finale I began to feel the year Schumann was unable to work at all. He gave up his myself, and indeed I was much better after I finished the position at the Leipzig Conservatory, and the couple moved work. Yet . . . it recalls to me a dark period in my life.” The to Dresden in the hope that quieter surroundings would help symphony’s unity is further demonstrated by Schumann’s his recovery. Only gradually was he able to resume work, transformation of the first four notes of the main theme of the completing the Piano Concerto in the summer of 1845 Adagio into this movement’s second theme and then–at the and beginning work on the Second Symphony in the fall. climax of the entire symphony–by the return of the trumpet Schumann usually worked quickly, but the composition of fanfare. It begins softly, but gradually grows to a statement this symphony took a very long time. Apparently Schumann of complete triumph, and–with timpani and brass ringing out– had to suspend work on the symphony for extended periods the symphony thunders to its close. while he struggled to maintain his mental energy, and it was Though the Second Symphony may have been the product not completed until October 1846. The first performance took of a “dark period” in its creator’s often unstable life, it also place on November 5, 1846, with Mendelssohn conducting appears to have been the vehicle by which he made his way the Leipzig Gewandhaus Orchestra. back to health. Given the conditions under which it was written, one Program notes by Eric Bromberger might expect Schumann’s Second Symphony to be full of dark music, but in fact the opposite is true–this is one of Schumann’s sunniest scores, full of radiance and strength. And, considering the protracted and difficult period of the symphony’s composition, it is surprising to find the work so tightly unified. The symphony opens with a slow introduction–Sostenuto assai–as a trumpet fanfare rings out quietly above slowly-moving strings. During the earliest stages of this symphony’s composition, Schumann wrote


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La Jolla Music Society’s 2017-18 Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, The Ackerman Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, Regents Bank, The Dow Divas, The Lodge at Torrey Pines, La Valencia Hotel, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Jeanette Stevens, and an Anonymous donor.

Zakir Hussain appears by arrangement with IMG Artists, LLC, 7 West 54thStreet New York, NY 10019. 212-994-3500 Zakir Hussain records for Moment Records

Tonight's performance is sponsored by:

Sam and Preet Kambo Royal India Restaurant & Royal Banquet

JAZZ Series



FEATURING Zakir Hussain, tabla Dave Holland, bass Chris Potter, saxophone Shankar Mahadevan, vocals Louiz Banks, keyboards Sanjay Divecha, guitar Gino Banks, drums

There will be one 20 minute intermission. Works to be announced from stage This performance marks Crosscurrents’ La Jolla Music Society debut.



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Arrive early to hear a performance by young artists from the San Diego Youth Symphony and Conservatory

La Jolla Music Society’s 2017-18 Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, The Ackerman Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, Regents Bank, The Dow Divas, The Lodge at Torrey Pines, La Valencia Hotel, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Jeanette Stevens, and an Anonymous donor.




MOZART Romance in A-flat Major, K.Anh.205 (Unknown) (1756-1791)

Rondo in A Minor, K.511 (1787) Piano Sonata in C Major, K.330 (1783) Allegro moderato Andante cantabile Allegretto

The Discovery Series is underwritten by Medallion Society member:

Jeanette Stevens

Additional support for the Series is provided by:

Gordon Brodfuehrer

This afternoon’s concert is sponsored by:

Kay and John Hesselink and La Valencia Hotel


SCHUBERT Moments musicaux, D.780 (1823-1828) (1797-1828) No. 1 in C Major No. 2 in A-flat Major No. 3 in F Minor No. 4 in C-sharp Minor No. 5 in F Minor No. 6 in A-flat Major RAVEL


La valse (1919-1920)

This performance marks Yekwon Sunwoo’s La Jolla Music Society debut.

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Romance in A-flat Major, K.Anh.205

WOLFGANG AMADEUS MOZART Born January 27, 1756, Salzburg Died December 5, 1791, Vienna

Approximate Duration: 13 minutes

Listeners should be aware that this gentle little piece is probably not by Mozart. Or at least not entirely by Mozart. It appears that its opening section may have been composed by Mozart, who then set it aside and left it in that fragmentary shape, where it remained until it was “completed” by someone else. In 1796, five years after Mozart death, Maximilian Stadler became musical adviser to Mozart’s widow Constanze, who had been left with a vast number of her husband’s manuscripts. Stadler (1748-1833), an accomplished pianist, composer, and scholar, “completed” a number of Mozart’s sketches. The Romance in A-flat Major may have been one of these, though we will probably never know how much of this piece is the work of Mozart himself or even if it was Stadler who completed it. In any case, this music flows gently along its rocking 6/8 meter. This straightforward beginning is then elaborated by an increasing number of turns and trills, and some of the trills continue for some time before the music alights on its quiet concluding bars.

powerful evolution of Mozart’s already moving original idea. The Rondo proceeds through a series of these increasingly complex repetitions and finally vanishes quietly on fragments of the original theme.

Piano Sonata in C Major, K.330


Over the last two centuries this lovely little sonata has tied scholars in knots, because no one can figure out when Mozart wrote it. It is part of a group of three sonatas (K.330 - 332) that were for years believed to have been written during Mozart’s 1778 visit to Paris, and scholars were able to trace all sorts of French influences on them. But then the evidence seemed to suggest that they were actually written two years later, in 1780 in Munich, where Mozart had gone for the première of his opera Idomeneo. And more recently, the best guess is that they were composed during Mozart’s first years in Vienna, probably late in 1783. Efforts to date the manuscript paper, to find references to this music in Mozart’s correspondence, and to trace stylistic influences have all come to nothing, and none of it really matters, for this music is timeless. The Sonata in C Major is light, graceful, delicate music, and Alfred Einstein is exactly right when he calls it “one of the most lovable works Mozart ever wrote.” Rondo in A Minor, K.511 The delicacy is evident from the first instant of the Allegro moderato. Much of the writing for the right hand here is high and fast, and this music needs a pianist with a Duration: 10 Minutes very supple touch to make these runs, trills, echo effects, The manuscript of Mozart’s haunting Rondo in A Minor and the chains of 32nd notes ring properly. The exposition is is dated March 11, 1787. The previous year had seen the straightforward, but Mozart surprises his listener by opening successful première of The Marriage of Figaro in Vienna, and the development with an entirely new theme, wistful and full in a few months Mozart would begin work on Don Giovanni. of chromatic shading; gradually he makes his way back to the Now, at the height of his powers and of his fame in Vienna, opening material, and the movement ends quietly. Mozart wrote this dark and expressive rondo for piano. The Mozart rarely used the marking cantabile, so we should normal notion of a rondo–as a sparkling fast movement used be alert for an unusually lyric movement when he does. The as a finale–is inaccurate here: the tempo marking is Andante, Andante cantabile is music of quiet nobility. Mozart simply and this measured movement shows none of the athletic stride alternates two poised and singing themes, one in F major and of the finales of Mozart’s piano concertos. The emphasis in the other in F minor; the shading in the minor key episodes the Rondo in A Minor is not on display but on expression, is particularly memorable. The concluding Allegretto stays and Mozart scholar Alfred Einstein has spoken of the “whole within the gentle character of the entire sonata, but this depth of its emotion, the perfection of its style, its chiaroscuro movement bubbles over with high spirits. Is this a rondo or a of major and minor.” sonata form movement? Again, no one knows, and it doesn’t The rondo theme itself, a stately and grave melody in 6/8, matter. The singing second subject is yet one more pleasure is already decorated on its initial appearance by the turns that in a sonata full of delights. will mark Mozart’s treatment of this theme. Also striking is the chromatic slide of this theme, which gives the music so much of its expressiveness. As this simple melody repeats, it grows more ornate, more encrusted with turns and rhythmic variations, yet it retains its powerful expressiveness–these embellishments are not mere decorations but are part of the





Though Ravel, like many French composers, was profoundly wary of German music, there was one German form for which he felt undiluted affection–the waltz. As a Born January 31, 1797, Vienna young piano student in Paris, Ravel fell under the spell of Died November 19, 1828, Vienna Schubert’s waltzes for piano, and this led him in 1911 to Duration: 28 Minutes compose his own Valses nobles et sentimentales, modeled on Schubert (and his publishers) were quite aware of the the Schubert dances he loved so much. Somewhat earlier–in growing number of skilled amateur piano players in the years 1906–Ravel had planned a great waltz for orchestra. His after the Congress of Vienna. These enthusiastic performers working title for this orchestral waltz was Wien (Vienna), but represented a source of ready income to a composer who was the piece was delayed and Ravel did not return to it until the never fully free from financial concerns. fall of 1919. This was the year after the conclusion of World In the fall of 1827, only a year before his death, War I (Ravel had served as an ambulance driver in the French Schubert set out to write specifically for this market. In army.), and the French vision of the Germanic world was these months he completed his eight Impromptus and a set quite different now than it had been when Ravel originally of six short pieces that were published in July 1828 with a conceived the piece. Nevertheless, he still felt the appeal of title in faulty French (probably supplied by the publisher): the project, and by December he was madly at work. To a Moments musicals. These “musical moments” (the original friend he wrote: “I’m working again on Wien. It’s going great title has been corrected to Moments musicaux) were a series guns. I was able to take off at last, and in high gear.” The of brief pieces of varying difficulty, probably intended for orchestration was completed the following March, and the performance at home. Schubert would have welcomed first performance took place in Paris on December 12, 1920. performances of individual movements, but the Moments By this time, perhaps wary of wartime associations, Ravel had musicaux are today usually performed complete, and they renamed the piece La valse. make up a substantial work that lasts over half an hour. If La valse is one of Ravel’s most opulent and exciting No. 1 in C Major has an almost innocent, open-air quality, scores, it is also one of his most troubling. Certainly the and this opening section gives way to a flowing trio. No. original conception was clear enough, and the composer left 2 in A-flat Major alternates quite different material, though an exact description of what he was getting at: “Whirling both themes are set in 9/8 meter: a dotted, chordal opening clouds give glimpses, through rifts, of couples waltzing. section alternates with passages in F-sharp minor that proceed The clouds scatter little by little. One sees an immense above flowing left-hand triplets. No. 3 in F Minor is the best- hall peopled with a twirling crowd. The scene is gradually known of the set and also the earliest to be written–Schubert illuminated. The light of chandeliers bursts forth fortissimo. composed it originally in 1823 under the title Air russe, An Imperial Court, about 1855.” The music gives us this though there does not seem anything particularly Russian scene exactly: out of the murky, misty beginning, we hear bits about it. The graceful main theme, of a Rosamunde-like of waltz rhythms; gradually these come together and plunge charm, has struck some listeners as ballet music; Schubert into an animated waltz in D major. If La valse concluded builds the piece on repeated phrases, then rounds it off with a with all this elegant vitality, our sense of the music might long coda. be clear, but gradually the music darkens and drives to an Featuring a steady rush of sixteenth-notes, No. 4 in ending full of frenzied violence, and we come away from C-sharp Minor is frequently compared to a baroque prelude, La valse not so much exhilarated as shaken. Is this music a though its progress is enlivened with some subtly expressive celebration of the waltz–or is it an exploration of the darker key changes. No. 5 in F Minor is the most powerful–and spirit behind the culture that created it? Ravel himself was the most difficult–of the set, with its quick pace (Schubert evasive about the ending. He was aware of the implications marks it Allegro vivace), chordal writing, and powerful of the violent close, but in a letter to a friend he explained dactylic rhythms. The concluding No. 6 in A-flat Major was them quite differently: “Some people have seen in this written somewhat earlier, in December 1824: longest of the piece the expression of a tragic affair; some have said that movements, this one is unusually expressive, full of brief it represented the end of the Second Empire, others that it episodes in different moods and keys. was postwar Vienna. They are wrong. Certainly, La valse is tragic, but in the Greek sense: it is a fatal spinning around, La valse the expression of vertigo and the voluptuousness of the dance to the point of paroxysm.” In the course of its composition, Ravel arranged La valse both for solo piano and for two Born March 7, 1875, Ciboure, Basses-Pyrénées, France Died December 28, 1937, Paris pianos. The former version is heard on this program. Duration: 11 Minutes Program notes by Eric Bromberger

Moments musicaux, D.780



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PIANO Series






Lecture by Steven Cassedy Did Schoenberg Find a Way to Write Music that Would Be Dissonant Forever? Musical tastes change over time, and often we find that music that sounded dissonant to listeners in one era came to sound far less dissonant to listeners in a succeeding era. Schoenberg thought he had discovered a scientific foundation for characterizing certain sound combinations as dissonant by their very nature. Was he right? Do listeners in 2017 find Schoenberg’s harmonies as dissonant and unpleasant as many listeners did a century ago? La Jolla Music Society’s 2017-18 Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, The Ackerman Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, Regents Bank, The Dow Divas, The Lodge at Torrey Pines, La Valencia Hotel, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Jeanette Stevens, and an Anonymous donor.

The Piano Series is underwritten by Medallion Society members:

Conrad Prebys and Debbie Turner



Four Preludes and Fugues from The Well-Tempered Clavier (c.1744) Prelude and Fugue in F-sharp Minor, BWV 883 Prelude and Fugue in G Major, BWV 884 Prelude and Fugue in A Minor, BWV 889 Prelude and Fugue in B Major, BWV 892

SCHOENBERG Six Little Piano Pieces, Opus 19 (1911) (1874-1951) Leicht, zart Langsam Sehr langsame Viertel Rasch, aber leicht Etwas rasch Sehr langsam BEETHOVEN (1770-1827)

Piano Sonata in A Major, Opus 101 (1816) Etwas lebhaft und mit der innagsten Empfindung. Allegretto ma non troppo Lebhaft. Marschmässig. Vivace all Marcia Langsam und sehnsuchtsvoll. Adagio, ma non troppo, con affetto Geschwind, doch nicht zu sehr, und mit Entschlossenheit. Allegro INTERMISSION



Nocturne in B Major, Opus 62, No. 1 (1846) Mazurka in B Major, Opus 41, No. 3 (1838-1839) Mazurka in C Major, Opus 24, No. 2 (1833) Mazurka in A-flat Major, Opus 59, No. 2 (1845) Mazurka in C-sharp Minor, Opus 50, No. 3 (1841-1842) Ballade in A-flat Major, Opus 47 (1847) Nocturne in C-sharp Minor, Opus 27, No. 1 (1835) Barcarolle in F-sharp Major, Opus 60 (1845-1846)

Tonight's concert is sponsored by:

Pacific Sotheby's International Realty Richard Goode last performed for La Jolla Music Society in the Piano Series on March 26, 2010.


Four Preludes and Fugues from The Well-Tempered Clavier

Six Little Piano Pieces, Opus 19

Born March 21, 1685, Eisenach, Germany Died July 28, 1750, Leipzig

Born September 13, 1874, Vienna Died July 13, 1951, Los Angeles



Duration: 22 Minutes

Duration: 6 Minutes

In 1722 Bach wrote a set of pieces for keyboard that has become one of the most popular and influential works ever composed. Bach’s own description of this music suggests his intention: “Preludes and Fugues through all the tones and semitones . . . for the use and profit of young musicians anxious to learn as well as for the amusement of those already skilled in this art.” But Bach had two larger purposes in writing this music. He wanted, first, to demonstrate the possibilities of an instrument tuned to equal temperament: such a “well-tempered” instrument could play easily in all twenty-four keys. And he wanted to explore the musical possibilities of two quite different kinds of music: the free prelude–the extension of a single idea somewhat in the manner of a fantasia–and the disciplined fugue, that most complex of contrapuntal forms. Working in part from preludes he had composed for his son Wilhelm Friedemann’s instruction, Bach compiled a collection he called The WellTempered Clavier, a set of twenty-four preludes and fugues in the major and minor of each of the twelve tones of the scale. The Well-Tempered Clavier–full of wonderful, ingenious, and expressive music–has moved and haunted composers ever since. One of those haunted was Bach himself–two decades later, in 1744, he wrote a second set of twenty-four preludes and fugues. This program opens with four preludes and fugues from Book II of The Well-Tempered Clavier. The Prelude in F-sharp Minor is solemn, serious music, and Bach varies its rhythmic pulse by constantly switching between triplets, steady sixteenths, and syncopations. The fugue, in three voices, preserves the solemnity and the rhythmic complexity of the prelude, developing a great deal of tension as its proceeds. The Prelude in G Major, in binary form, drives steadily forward along its 3/4 meter, while the fugue–in 3/8–is extremely concise (and brief); Bach rounds it off with a series of runs built on 32nd-notes. The binary-form Prelude in A Minor may nominally be in that key, but it is so full of chromatic tension that a sense of a stable tonal home is obscured. Its fugue–in three voices–is built on a granitic subject, and Bach gradually weaves a rhythmic filigree around its concise development. The prelude of No. 23 in B Major feels like a perpetual-motion movement–the pulse of steady sixteenths is present throughout. Its four-voice fugue is full of hard edges as initially stated, but Bach works a lovely countertheme into the development. .

The operative word in the title Six Little Piano Pieces is “little,” for these six pieces last a total of five minutes. Schoenberg began them in Vienna in February 1911 and completed the last in June, the month after Mahler died in the same city. These six miniatures have been described as aphorisms: they are very short pieces that do not develop– how could they in so short a span? They remain essentially formless, merely a quick statement and inconclusive close. Such pieces of course call into question the entire nature of musical form, and pianist Glenn Gould has suggested that the Six Little Piano Pieces reflect Schoenberg’s own uncertainty as a composer at this time. He had put behind him the tonal and instrumental opulence of such works as Pelléas and Melisande and Gurrelieder and had not yet found the way that would lead to Pierrot Lunaire and serial music. While the Six Little Piano Pieces still hover around tonal centers, the contours of traditional tonal music, which had been very much a part of Schoenberg’s early music, are beginning to blur here. At the same time Schoenberg was writing these tiny piano pieces, his student and friend Anton von Webern was composing his own Six Bagatelles for string quartet, a work very similar in structure. Schoenberg supplied an introduction for the Webern score, and what he says about that music applies directly to his own Six Little Piano Pieces: “Consider what moderation is required to express oneself so briefly. You can stretch every glance out to a poem, every sigh into a novel. But to express a novel in a single gesture, a joy in a breath–such concentration can only be present in proportion to the absence of self pity.” Almost by definition, the Six Little Piano Pieces require no detailed description. Their titles translate: Light, tender Slow Very slow quarter notes Quick, but light Somewhat quick Very slow

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smoothly along its 6/8 meter, but much of the movement is set in syncopated rhythms that blur a clear sense of that meter. This movement is based not so much on the collision of Born December 16, 1770, Bonn contrasting material as on an expansion of the lyric opening Died March 26, 1827, Vienna idea, and while it rises to a resounding chordal climax, the Duration: 20 Minutes movement falls away to a subdued close. When Beethoven began work on this sonata in April 1816 The second movement is a march that proceeds briskly he was 45 years old and had just completed his song cycle An along its omnipresent dotted rhythms. Its central episode, die ferne Geliebte. He took the first sketches with him to the written in canon, quickly makes its way back to the opening resort town of Baden, where he spent the summer and where material, which Beethoven repeats in full. The third he did most of the actual composition; he returned to Vienna movement is built on an expressive hymn-like melody that that fall and–after a spell of poor health–completed the sonata grows more complex rhythmically as this brief movement in November. This was in the middle of Beethoven’s long proceeds, and then comes a surprise: a cadenza-like flourish fallow period (1813-1820), when–burdened by illness, the leads to a sudden return of material from the opening legal struggle to gain custody of his nephew Karl, his decline movement. Beethoven recalls that lyric, flowing atmosphere into total deafness, and stylistic uncertainty–his creative for only a phrase or two before a series of trills propel the energies faltered. New projects (such as a Piano Trio in F music into the massive final movement, which Beethoven Minor and a Piano Concerto in D Major) were begun but specifies should be played “with determination.” abandoned, and much of Beethoven’s time went to revising Determined this music certainly is, or at least its opening music composed much earlier. Still, he did manage to is. This powerful beginning is hammered out by the two complete a handful of new works during these lean years, hands in octaves, which makes the lighthearted secondary including two cello sonatas in 1815, the “Hammerklavier” material (Beethoven marks it dolce) seem like an intentionally Sonata of 1818, and the Piano Sonata in A Major, which comic surprise. The surprises continue: Beethoven builds the Beethoven dedicated to Baroness Dorothea von Ertmann development on a fugue whose subject is derived from this when it was published in 1817. A tall and regal presence, movement’s thunderous beginning. This fugue is worked Ertmann was also a superb pianist, one of the few pianists of out at length and with great energy before the recapitulation the era able to do justice to Beethoven’s music. She had been brings another unexpected turn: the coda is based on the for many years a good friend to the composer, alert to the innocent second subject, which murmurs along–happily and difficulties he was having and tolerant of his behavior. When very quietly–until the final three measures leap up fortissimo her husband, General Stephen von Ertmann, was transferred to bring this very original sonata to its sudden close. to St. Pölten, Dorothea went with him, and Beethoven felt her absence keenly; he sent her a copy of this sonata upon its publication in February 1817 with the message: “Receive Nocturne in B Major, Opus 62, No. 1 now what was often intended for you and what may be to you a proof of my affection for your artistic aspirations as well as Born February 22, 1810, Zelazowska Wola, Poland your person.” Died October 17, 1849, Paris Duration: 7 Minutes Beethoven’s “late style” is generally supposed to commence with the composition of the three final piano Chopin composed the two nocturnes of his Opus 62 in sonatas (begun in 1820), but in fact some of the elements that 1845-46: they were the last nocturnes he published during his comprise that late style–a new lyricism, renewed interest in lifetime. While the Nocturne in B Major shows the delicacy the fugue and other contrapuntal procedures, an inwardness one expects from this form, this particular example is quite of expression, and a readiness to experiment with classical restrained. Chopin marks the opening both dolce and legato, forms–had already begun to appear in works dating back as and the music proceeds with unusual gentleness. The middle far as 1812, and they are apparent in the Piano Sonata in A section brings little contrast–Chopin marks it simply sostenuto, Major. Gone from this sonata are the clear classical forms of and it is just as restrained as the opening. Only the quietlyBeethoven’s “heroic style,” and in their place come a number surging syncopations in the left hand ruffle the calm surface of of surprises as Beethoven experiments with those forms. this music. The most distinctive part of this nocturne comes The opening Allegretto ma non troppo may show some of at the return of the opening theme, for now Chopin buries it the shape of sonata form, but lyricism is at the heart of this beneath a continuous (and very difficult) trill in the pianist’s music: Beethoven specifies that it should be performed “with right hand. Gradually this trill vanishes, and the Nocturne in B the deepest feeling” and takes care to mark it both espressivo Major makes its way to the understated close. e semplice and molto espressivo. The main idea glides

Piano Sonata in A Major, Opus 101






Four Mazurkas

Duration: 12 Minutes

A mazurka is a Polish country dance that originated in the village of Mazovia, near Warsaw (the residents were referred to as Mazurs). The dance was in triple time, with the accent often on the second (or third) beat rather than the first; in its original form the mazurka was danced by groups of couples who would separate and return; it was sometimes accompanied by the bagpipe. Chopin loved this dance, and he wrote about sixty mazurkas across the span of his life: the first when he was 14, the last in the year of his death. A devout Polish nationalist, Chopin lived his adult life in exile in Paris, and no doubt his use of the form brought an important feeling of contact with his homeland, then under Russian subjugation. Yet Chopin’s mazurkas are not a matter of self-consciously assuming the trappings of Polish folk-music. Instead, he took the general form of the mazurka and used it to write his own music, often quite original in matters of rhythm and harmony. This recital offers four mazurkas that Chopin composed between 1834 and 1845. The Mazurka in B Major, composed at Nohant during the summer of 1839, is marked Animato, and Chopin further instructs the player: con spirito. The pulsing chords at the opening will recur throughout (they eventually bring this mazurka to its quiet close). In between, the music flies along fluid melodies whose progress is enlivened by hammered chords. The Mazurka in C Major (1834-35) opens with oscillating, almost static chords before the folk-tune leaps to life as the main subject of this brief piece. The dance becomes more heavy-footed in the middle section, which moves into D-flat major, and much of the melodic interest here appears in the pianist’s left hand, with the right offering subdued chordal accompaniment. The surprising ending brings back the oscillating chords of the very beginning, but extends them as the music fades away. Chopin composed the three mazurkas of his Opus 59 during the summer of 1845. No. 2 in A-flat Major is lively–the marking is Allegretto, though Chopin specifies that he wants the performance to be dolce. The steady 3/4 of the left-hand accompaniment might almost make this seem like a waltz, were it not for the freedom and vitality of the right-hand melodies. The Mazurka in C-sharp Minor (1841) is a big piece–and subtle one. It begins with a sixteen-measure introduction full of imitative writing, and this introduction repeats before the music plunges into its rhythmic main section. Soon this smoothly evolves into much gentler music, and along the way Chopin weaves in material from the introduction. This is music of a variety of moods, and it almost flickers through this variety on its way to the emphatic close.

Ballade No. 3 in A-flat Major, Opus 47 Duration: 7 Minutes

Chopin himself was the first to use the term “ballade” to refer to a piano composition, appropriating the name from the literary ballad: he appears to have been most taken with the lyric and dramatic possibilities of the term, for his four ballades fuse melodic writing with intensely dramatic–almost explosive–gestures. After Chopin’s death, Liszt, Grieg, Fauré, and Brahms would compose works for solo piano that they too called ballades. Formally, Chopin’s ballades most closely resemble the sonata form movement (an opening idea contrasted with a second theme group, and the two ideas developed and recapitulated), but the ballades are not strictly in sonata form, nor was Chopin trying to write sonata form movements. His ballades are quite free in form, and their thematic development and harmonic progression are sometimes wildly original. All four ballades employ a six beat meter (either 6/4 or 6/8), and the flowing quality of such a meter is particularly well suited to the sweeping drama of this music. All four demand a pianist of the greatest skill. Because of the literary association and the dramatic character of the music, many have been quick to search for extra-musical inspiration for the ballades, believing that such music must represent the attempt to capture actual events in sound. Some have heard the Polish struggle for independence in this music, others the depiction of medieval heroism. Chopin himself discouraged this kind of speculation and asked the listener to take the music on its own terms rather than as a representation of something else. Chopin wrote the Ballade in A-flat Major in 1840-41 and performed the work in public in 1842. The least overtly dramatic of the four ballades, this one nevertheless contains music of extraordinary beauty. The opening theme–a quiet, rising figure–also contains the falling half-step that gives shape to the lilting second subject. .

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relaxed ease of the gondoliers’ songs, and Chopin’s Barcarolle– his only work in this form–is one of his warmest and most attractive compositions. The two nocturnes of Chopin’s Opus 27 were composed The Barcarolle is in ternary form, and it has the briefest in Paris in 1835. The Nocturne in C-sharp Minor has left of introductions, a simple three-bar preparation. Out of the critics gasping for language that can suggest its unearthly silence begins the left-hand accompaniment, its steady rhythms evocation of the night: “night-marmoreal . . . hushed, airless, suggesting the sound of a giant guitar. Over this rhythm and miasmic . . . black magic,” says one. “An atmosphere of Chopin introduces his opening subject, marked cantabile morbid pessimism, heavy and oppressive,” says another. By and presented very delicately at first. Gradually this opens comparison, The New Grove Dictionary keeps itself under up, expanding into a huge chordal melody that requires large control, describing this music only as “one of [Chopin’s] best (and powerful) hands. Chopin’s Barcarolle has been called a nocturnes.” nocturne, but–to the contrary–its amiable spirits and energy This is impressive music, and its haunting nightmore readily suggest sunshine sparkling off water. The atmosphere is the result of Chopin’s careful–and very center section moves to A major, and over the rocking rhythm imaginative–technical control. The Nocturne in C-sharp Minor characteristic of the Venetian boat songs the music grows more is in the expected ternary form, with an opening section that animated and more fluid rhythmically. Indeed, this impression glides darkly along the left hand’s widely-ranging sextuplets, of rhythmic freedom and plasticity is even more marked in the a pattern that continues throughout. High above, the right reprise, where Chopin brings back both his themes and drives hand has the melodic line, quiet but unsettling in its harmonic them to an ebullient climax full of rippling runs and on to a freedom. At the center section, marked più mosso, the music conclusion built on four powerful chords. presses forward powerfully. Over triplet accompaniment, the Program notes by Eric Bromberger right hand begins quietly but soon hammers its way to a great climax marked appassionato and agitato. This falls away, and the transition back to the opening material brings another surprise: Chopin gives it entirely to the left hand, whose long sequence of octaves is almost a small cadenza in itself. The opening material resumes, but the repeat is not literal, and Chopin suddenly abandons this music for an entirely new idea, which moves easily along a chain of major thirds. The atmosphere, so tense to this point, now seems to relax, and Chopin completes the surprise with an utterly unexpected modulation into C-sharp major at the end. This technical description, no matter how accurate, misses the essence of this music. That lies in its atmosphere–dark, unsettled, and constantly changing.

Nocturne in C-sharp Minor, Opus 27, No. 1 Duration: 5 Minutes

Barcarolle in F-sharp Major, Opus 60 Duration: 8 Minutes

One of the Chopin’s final works, the Barcarolle was completed at Nohant, George Sand’s summer estate at Chȃteauroux, in 1846, at a time when both the composer’s relation with Sand and his health were deteriorating: at age 36, he had only three years to live. The term barcarolle (“boatsong”) comes from the Italian barcaruoli, the songs of the Venetian gondoliers, and this agreeable form of music was making its way into the art-music of serious composers across Europe–in these same years Mendelssohn included what he called Venetian Boat Songs in several of his sets of Songs without Words. The barcarolle traditionally has some of the



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POSTLUDE Immediately following the performance Marcus Overton hosts a post-performance discussion with Wendy Whelan, Brian Brooks and a member of Brooklyn Rider La Jolla Music Society’s 2017-18 Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, The Ackerman Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, Regents Bank, The Dow Divas, The Lodge at Torrey Pines, La Valencia Hotel, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Jeanette Stevens, and an Anonymous donor.

The Dance Series is supported in part by members of:

LJMS’ Dance Society Tonight's performance is sponsored by:


DANCE Series




CHOREOGRAPHY AND DIRECTION BY Brian Brooks PERFORMED BY Wendy Whelan Brian Brooks Brooklyn Rider Johnny Gandelsman, Colin Jacobsen, violins Nicholas Cords, viola; Michael Nicolas, cello First Movement Music Composed by Jacob Cooper Second Movement Music Composed by Tyondai Braxton Third Movement Original Music Composed by Colin Jacobsen Fourth Movement Music Composed by John Luther Adams First Fall (2012) Music Composed by Philip Glass First Fall was originally commissioned by Damian Woetzel for the 2012 Vail International Dance Festival. Additional choreography was added to First Fall as part of Some of a Thousand Words. Performance time is approximately 60 minutes with No Intermission Wendy Whelan and Brian Brooks last appeared with La Jolla Music Society in the Dance Series on January 30, 2015. This performance marks Brooklyn Rider's La Jolla Music Society debut.

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MUSIC Jacob Cooper, “Arches” Tyondai Braxton, "ArpRec1" Colin Jacobsen, "BTT" © Colin Jacobsen / Vavavooviemusic (BMI). Used by permission.

John Luther Adams, “Maclaren Summit” and “Looking Towards Hope” from "The Wind in High Places" Philip Glass, "String Quartet No. 3 (Mishima)" © 1984 Dunvagen Music Publishers Inc. Used by Permission. PRODUCTION MANAGER

Emily McGillicuddy


Joe Levasseur


Meredith Belis


Karen Young


Risa Steinberg


Ilter Ibrahimof, Sunny Artist Management, Inc. Barbara Frum, Sharing Spaces, Inc. Joyce Theater Productions

Some of a Thousand Words is co-commissioned by The International Festival of Arts & Ideas New Haven, The Joyce Theater Foundation’s Stephen and Cathy Weinroth Fund for New Work, The Kentucky Center for the Arts, and the Modlin Center for The Arts at University of Richmond. This engagement was made possible in part by Joyce Theater Productions, a producing partnership of The Joyce Theater Foundation and Sunny Artist Management that supports select projects from inception to premiere and subsequent tours, as well as generous funders Deborah and Charles Adelman, Michael Lillys, Michele and Steve Pesner, and Peace. Worldwide Representation: Sunny Artist Management Inc. Ilter Ibrahimof, Director –



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La Jolla Music Society’s 2017-18 Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, The Ackerman Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, Regents Bank, The Dow Divas, The Lodge at Torrey Pines, La Valencia Hotel, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Jeanette Stevens, and an Anonymous donor.

Tonight's concert is sponsored by:

Regents Bank





Dianne Reeves, vocals Peter Martin, piano Romero Lubambo, guitar Reginald Veal, bass Terreon Gully, drums

There will be no intermission Works to be announced from stage

Dianne Reeves last performed for La Jolla Music Society in the Jazz Series on April 29, 2011.

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Biographies Brooklyn Rider Quartet

Johnny Gandelsman, Colin Jacobsen, violins; Nicholas Cords, viola; Michael Nicolas, cello Brooklyn Rider places two ideas at the center of its work: “eclectic” and “collaborative.” Its repertoire roams freely in the worlds of classical repertoire, world music and the sometimes ferocious energy of rock. In whatever discipline it explores, its performances are gripping and continue to attract legions of fans and draw admiring reviews. Last season, Brooklyn Rider toured with composer, singer and multi-instrumentalist Gabriel Kahane, presenting music from their 2016 collaborative album The Fiction Issue, as well as works from the ground-breaking multi-disciplinary project Brooklyn Rider Almanac. Their recent release So Many Things featured mezzo-soprano Anne Sofie von Otter, in an album devoted to contemporary music by Colin Jacobsen, Caroline Shaw, John Adams, Nico Muhly, Björk, Sting and Elvis Costello. Together, they embark on a world tour, including concerts in Carnegie Hall and Opernhaus Zürich. Their recording projects include albums featuring in-depth explorations of composers, such as 2011’s Brooklyn Rider Plays Philip Glass, collaborative work with Bela Fleck, and a 2008 recording – Silent City – that emerged from Brooklyn Rider’s long-standing relationship with Iranian kamancheh player Kayhan Kalhor.

Brian Brooks

Brian Brooks is one of the most sought-after choreographers in the world today, but the scope of the extremely productive career that provides the foundation for his creative work is a wide one. His work in arts education includes 12 years as a Teaching Artist of Dance at the Lincoln Center Institute for the Arts in Education, as well as adjunct positions on the faculties of both Rutgers University and Princeton. His dance group, the Brian Brooks Moving Company, has toured nationally and internationally since 2002, with presentations by the Joyce Theatre, Jacob’s Pillow Dance Festival, the American Dance Festival and the Brooklyn Academy of Music as part of its 2013 Next Wave Festival. Theatre for a New Audience invited Brooks to choreograph dances in two off-Broadway Shakespeare productions – A Midsummer Night’s Dream (2013), directed by Julie Taymor, and Pericles (2016), directed by Trevor Nunn. He has recently been appointed the inaugural Choreographer-in-Residence at Chicago’s Harris Theatre for Music and Dance, a three-year fellowship that supports several commissions for Mr. Brooks each season, with the first year featuring Hubbard Street Dance Chicago and Miami City Ballet as well as his own New York-based company.

Steven Cassedy, prelude presenter

Steven Cassedy, Distinguished Professor of Literature and Associate Dean of Graduate Studies at UCSD, is a classically trained pianist who studied at The Juilliard School’s Pre-College Division and at the University of Michigan’s School of Music. He received his undergraduate degree in comparative literature at the University of Michigan in 1974 and his Ph.D. in comparative literature at Princeton University in 1979. He has been a member of UCSD’s Department of Literature since 1980.

Chicago Symphony Orchestra

Founded in 1891, the Chicago Symphony Orchestra (CSO) is consistently hailed as one of the greatest orchestras in the world. Its music director since 2010 is Riccardo Muti, one of the preeminent conductors of our day. The musicians of the CSO command a vast repertoire and annually perform more than 150 concerts, most at Symphony Center in Chicago, and, since 1936, in the summer at the Ravinia Festival. Since its first tour to Canada in 1892, the Orchestra has performed in 29 countries on five continents during 60 international tours. Since 1916, recording has been significant in establishing the Orchestra’s international reputation, with recordings by the CSO earning a total of 62 Grammy® awards from the National Academy of Recording Arts and Sciences. Its independent label, CSO Resound, was launched in 2007. The 2010 release of Verdi’s Messa da Requiem, with the CSO and Chicago Symphony Chorus conducted by Muti, was recognized with two Grammy® awards. Listeners around the world can hear the CSO in weekly airings of the CSO Radio Broadcast Series, which is syndicated on the WFMT Radio Network and online at The CSO’s music director position is endowed in perpetuity by a generous gift from the Zell Family Foundation. Global Sponsor of the CSO




Ricardo Muti, Zell Music Director

Born in Naples, Italy, Riccardo Muti is one of the preeminent conductors of our day. In 2010, when he became the tenth music director of the world-renowned Chicago Symphony Orchestra (CSO), he had more than forty years of experience at the helm of Maggio Musicale Fiorentino (1968–1980), the Philharmonia Orchestra (1973–1982), the Philadelphia Orchestra (1980–1992), and Teatro alla Scala (1986–2005). He also has had a close relationship with the Vienna Philharmonic and the Salzburg Festival for more than 45 years and he is an honorary member of Vienna’s Gesellschaft der Musikfreunde, the Vienna Hofmusikkapelle, the Vienna Philharmonic, and the Vienna State Opera. Riccardo Muti has received innumerable international honors and more than twenty honorary degrees from universities around the world. His vast catalog of recordings, numbering in the hundreds, ranges from the traditional symphonic and operatic repertoires to contemporary works. He also has written two books, Verdi, l’italiano and Riccardo Muti: An Autobiography: First the Music, Then the Words, both of which have been published in several languages. Passionate about teaching young musicians, Muti founded the Luigi Cherubini Youth Orchestra in 2004 and the Riccardo Muti Italian Opera Academy in 2015.

Stephen Williamson, clarinet

Principal Clarinet in the Chicago Symphony Orchestra, Stephen Williamson was formerly principal clarinet in both the New York Philharmonic (2013–14) and the Metropolitan Opera Orchestra (2003–2011). He is currently a faculty member in the DePaul University School of Music in Chicago, and also served on the faculties of Columbia University and the Mannes College of Music in New York City, as well as at the Pacific Music Festival in Sapporo, Japan. His extensive discography includes recordings for Sony Classics, Telarc, CRI, BMG, Naxos and Decca; he was a featured soloist with the CSO under the leadership of John Williams for Steven Spielberg’s film Lincoln. Williamson received his Bachelor’s degree and Performer’s Certificate from the Eastman School of Music, and his Master’s degree from The Juilliard School. As a recipient of a Fulbright scholarship, he furthered his studies at Berlin’s Hochschule der Künste. He currently plays Selmer Signature clarinets and uses Vandoren traditional reeds, with a James Pyne JX/BC mouthpiece.


The pre-eminent classical tabla virtuoso of our time, Zakir Hussain is appreciated both in the field of percussion and in the music world at large as an international phenomenon and is well-known for his constant explorations of music from around the world. Bassist/ composer Dave Holland, a player with one of the most distinguished careers in jazz, brings his singular vision to the group. He has exemplified the evolutionary process in musical form, reinventing his concept and approach with each new project while constantly honing his instantly identifiable voice, over the course of a nearly five-decade career. A world-class soloist, accomplished composer, and formidable bandleader, saxophonist Chris Potter has emerged as a leading light of his generation. Shankar Mahadevan is among the greatest Indian vocalists alive, having risen to fame in Mumbai’s fabled Bollywood film industry as a composer, playback singer, and member of the famed Shankar-Ehsaan-Loy composing team. Louiz Banks has been nicknamed the “Godfather of Indian Jazz,” and it’s appropriate; his commitment and devotion to jazz convinced his father to change his son’s name to Louis in honor of the greatest of jazz trumpet players, Louis Armstrong. Guitarist Sanjay Divecha’s entire history has seen him pursue a vision of world community as expressed through music, which is in perfect accord with the implicit principles of CrossCurrents. Louiz’s son, drummer Gino Banks, is a stalwart in the Bollywood Shankar-Ehsaan-Loy film music world. Hussain says of Crosscurrents: “The influence of Indian classical music on jazz is widely known. Less known, however, is the influence of jazz on the popular music of India. Jazz first came to India by way of the Hollywood musicals of the 1930s and ‘40s and quickly influenced the music of India’s burgeoning film industry. The improvisational nature of jazz was familiar to Indian composers and musicians, who found a way to incorporate jazz harmonies and chord progressions into their work. As a few decades passed, and as the West was enjoying the inspiration of Indian classical music, certain musicians came to influence popular music in India in a big way. Among these are jazz pianist Louiz Banks, jazz guitarist Sanjay Divecha, and superstar composer/ vocalist Shankar Mahadevan.”

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Michael Gerdes, prelude presenter

Michael Gerdes is the Director of Orchestras at SDSU, the San Diego Summer Music Institute, and the BRAVO International Music Academy, and the Assistant Conductor of the La Jolla Symphony. His performances have been hailed as “highly sensitive and thoughtfully layered” and his conducting has been proclaimed “refined, dynamically nuanced” and “restrained but unmistakably lucid” by the San Diego Story. The San Diego Symphony’s Suite Noir première received a 2015 “Bravo” award. Mr. Gerdes earned his Bachelor of Music as well as a BA in Philosophy from Concordia College and his Master’s in Orchestral Conducting from James Madison University.

Richard Goode, piano

Richard Goode has been hailed for music-making of tremendous emotional power, depth and expressiveness, and has been acknowledged worldwide as one of today’s leading interpreters of Classical and Romantic music. In regular performances with the major orchestras, recitals in the world’s music capitals, and through his extensive and acclaimed Nonesuch recordings, he has won a large and devoted following. Highights among recent seasons included performing as soloist with Louis Langrée and the Mostly Mozart Festival Orchestra, in a program filmed as part of a documentary celebrating the 50th Anniversary, and concerts with his recording partner, the Budapest Festival Orchestra and Ivan Fischer. Their recording of the five Beethoven Piano Concertos has won worldwide acclaim. An exclusive Nonesuch recording artist, Goode has made more than two dozen recordings over the years, ranging from solo and chamber works to lieder and concertos. A native of New York, Richard Goode studied at the Mannes College of Music and at the Curtis Institute. From 1999 through 2013 Mr. Goode served as co-Artistic Director of the Marlboro Music School and Festival with Mitsuko Uchida. He is married to violinist Marcia Weinfeld, and, when the Goodes are not on tour, they live in New York City.

Marcus Overton, prelude presenter

In a 50-year career, Marcus Overton has crossed almost every disciplinary boundary, as performer, teacher and coach for singers and actors, opera and theatre stage director, critic for major publications and Emmy Award-winning radio and television producer. His arts management career began at the Lyric Opera of Chicago, continued in senior management at the Ravinia Festival, and included nine years as Senior Manager of Performing Arts at the Smithsonian Institution. Before relocating to San Diego for an unsuccessful attempt at retirement, he held the general manager’s post at Spoleto Festival USA – by invitation of Gian Carlo Menotti.

Dianne Reeves

Dianne Reeves is a kind of natural wonder – one of the small number of preeminent jazz vocalists in the world today. Possessor of what Wynton Marsalis has called “…one of the most powerful, purposeful and accurate voices of this or any other time,” Reeves makes the difficult appear effortless, moving with ease between highly individual jazz stylings and traditional R&B. Her vocal virtuosity, improvisational prowess and richly expressive approach to singing has been recognized with five Grammy® Awards for Best Jazz Vocal Album, and an honorary doctorate of music from The Juilliard School. For 2018, she has been named among the recipients of the National Endowment for the Arts’ Jazz Master awards. Ms. Reeves’ recent Grammy®-winning album Beautiful Life epitomizes her extraordinary career, crossing genre boundaries and featuring a diverse group of collaborating artists. This evening, Reeves will focus on selections from Christmas Time is Here, a recording so musical and pleasurable that it falls into that rare category of Christmas albums—it’s simply a great record. “I love the big gray December sky hovering outside my kitchen window when it’s Christmas,” said Reeves. “Inside, I’m cooking for about thirty people with mellow music in the background. It’s the time for me to cook, sit back, relax and float.” Well, sit back and relax, because tonight, Christmas time




San Diego Youth Symphony

Under the leadership of President and CEO Dalouge Smith and Music Director Jeff Edmons, San Diego Youth Symphony and Conservatory (SDYS) instills excellence in the musical and personal development of students ages 8 to 25 through rigorous and inspiring musical training experiences. Since 1945, SDYS has given thousands of musicians the opportunity to study and perform classical repertoire at a highly advanced level. SDYS serves 600 students annually through its twelve ensembles in the Conservatory Program. Its vision to “Make Music Education Accessible and Affordable to All” has led to restoring and strengthening music education in public schools. The organization’s preeminent ensemble, the SDYS Chamber Orchestra, is comprised of the principal and assistant principal musicians from the advanced Ovation Program. Provided the finest training, the Chamber Orchestra is given the opportunity to perform professional-level repertoire from multiple historic periods for both string orchestra and full chamber orchestra on a national and international stage. In June 2015, select students of the San Diego Youth Symphony participated in SDYS’s 70th Anniversary Tour to China and performed in Beijing’s Forbidden City Concert Hall, San Diego’s sister city Yantai’s Concert Hall and the Oriental Arts Center in Shanghai.

Yekwon Sunwoo, piano

Gold medalist of the Fifteenth Van Cliburn International Piano Competition, 28-year-old pianist Yekwon Sunwoo has been hailed for “his total command over the instrument and its expressiveness” (San Francisco Examiner). Born in Anyang, South Korea, Mr. Sunwoo began learning piano at age 8. He gave both his recital and orchestra debuts in 2004 in Seoul, and has since performed as soloist with the Baltimore and Houston Symphonies and the National Orchestra of Belgium, under such conductors as Marin Alsop and Itzhak Perlman. Recitals have taken him to Kumho and Art Hall in Seoul, Carnegie Hall’s Weill Recital Hall, London’s Wigmore Hall, and Salle Cortot in Paris. An avid chamber musician, his partners have included the Jerusalem and Brentano String Quartets, violinist Benjamin Beilman and cellists Edgar and Gary Hoffman. Highlights of his 2017–2018 season will include recitals in Chicago, Houston, Los Angeles and Vancouver and a nine-city U.S. tour with the National Orchestra of Cuba. Following his win, Decca Gold released Cliburn Gold 2017, which features award-winning performances of Ravel’s La valse and Rachmaninoff’s Second Sonata. Currently studying with Bernd Goetzke in Hannover, Mr. Sunwoo also credits former teachers Seymour Lipkin, Robert McDonald, and Richard Goode for their guidance.

Wendy Whelan

Born and raised in Louisville, Kentucky, where she began taking ballet lessons at the age of nine, Wendy Whelan might not have imagined, as a young student, that she would eventually spend 30 years at New York City Ballet, 23 of them as principal dancer. In that time, she danced virtually every major Balanchine role, worked closely with Jerome Robbins, and originated leading roles in works by eminent choreographers such as William Forsythe, Alexei Ratmansky, Twyla Tharp and Christopher Wheeldon. On October 18, 2014, Whelan took the stage for her final performance with New York City Ballet, but retirement from NYCB was only the first step into exploring new challenges and opportunities, including teaching and administration. Even before the 2014 NYCB retirement, in 2013, Wendy had premiered her inaugural independent project, Restless Creature, co-produced by the Joyce Theatre and presented at Jacob’s Pillow Dance Festival. Some of a Thousand Words is the most recent manifestation of the success and momentum of her ongoing independent work. She is also a faculty member of New York’s Ballet Academy East, and an Artistic Associate at New York City Center.

PHOTO CREDITS: Cover & Pg. 13: Chicago Symphony Orchestra and R. Muti © Todd Rosenburg Photography; Pg. 18 & 31: Crosscurrents © RNH Events; Pg. 19: Y. Sunwoo © Ralph Lauer/The Cliburn; Pg. 22 & 32: R. Goode © Steve Riskind; Pg. 27 & 33: W. Whelan by Nir Arieli; Pg. 29: D. Reeves © Jerris Madison; Pg. 30: Brooklyn Rider Quartet by Erin Baiano; B. Brooks by Erin Baiano; S. Cassedy courtesy of presenter; Chicago Symphony Orchestra © Todd Rosenburg Pho-tography; Pg. 31: R. Muti © Todd Rosenburg Photography; S. Williamson © Todd Rosenburg Photography; Pg. 32: M. Gerdes courtesy of presenter; M. Overton courtesy of presenter; D. Reeves © Jerris Madison; Pg. 33: Y. Sunwoo © Jeremy Enlow/The Cliburn; Back Cover: W. Whelan by Erin Baiano.

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Season Partners

La Jolla Music Society's 2017-18 Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, The Ackerman Foundation, D’Addario Foundation, ProtoStarFoundation, ResMed Foundation, Regents Bank, The Dow Divas, The Lodge at Torrey Pines, La Valencia Hotel, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Jeanette Stevens, and an Anonymous donor.

PHP Management, Inc.

Media Partners ®



Annual Support La Jolla Music Society’s high quality presentations, artistic excellence, and extensive education and community engagement programs are made possible in large part by the support of the community. There are many ways for you to play a crucial role in La Jolla Music Society’s future —from education or concert sponsorships, general program gifts, or planned giving. For information on how you can help, please contact Ferdinand Gasang, Development Director, at 858.459.3724, ext. 204 or


($250,000 and above)


($100,000 - $249,999)

Brenda Baker & Stephen Baum The City of San Diego Commission for Arts and Culture Conrad Prebys* & Debra Turner Raffaella & John Belanich The Dow Divas Joy Frieman Joan & Irwin Jacobs


Silvija & Brian Devine Steven & Sylvia Ré June & Dr. Bob Shillman


Anonymous Mary Ann Beyster Gordon Brodfuehrer Katherine & Dane Chapin Julie & Bert Cornelison Elaine & Dave Darwin Barbara & Dick Enberg Kay & John Hesselink

($50,000 - $99,999)

($25,000 - $49,999)

Marina & Rafael Pastor Peter & Peggy Preuss Marge & Neal Schmale Jeanette Stevens Joe Tsai & Clara Wu Twin Dragon Foundation Vail Memorial Fund Katrina Wu 

WORLD-CLASS PERFORMANCES La Jolla Music Society cultivates and inspires the performing arts scene in San Diego throughout the year with presentations of world-class musicians, jazz ensembles, orchestras and dance companies.

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Anonymous (2) Dr. James C. & Karen A. Brailean Wendy Brody Ric & Barbara Charlton Linda Chester & Ken Rind Karen & Don Cohn Brian Douglass, digital OutPost Jennifer & Kurt Eve Debby & Wain Fishburn Sarah & Michael Garrison Lehn & Richard Goetz Brenda & Michael Goldbaum Susan & Bill Hoehn Keith & Helen Kim Vivian Lim & Joseph Wong Sue & John Major National Endowment for the Arts Robin & Hank Nordhoff Don & Stacy Rosenberg Sheryl & Bob Scarano Clifford Schireson & John Venekamp Maureen & Thomas Shiftan Shankar Subramaniam & Annamarie Calabro Haeyoung Kong Tang UC San Diego / Chancellor Pradeep Khosla Sue & Peter Wagener Abby & Ray Weiss Lisa Widmier Carolyn Yorston-Wellcome & H. Barden Wellcome Tori Zwisler

Anonymous Joan Jordan Bernstein Betty Beyster Ginny & Robert Black County of San Diego / Community Enhancement Program Martha & Ed Dennis Sue & Chris Fan Betty Ann Hoehn Sharon & Joel Labovitz Jack McGrory & Una Davis Marilyn & Stephen Miles Betty-Jo Petersen Ethna Sinisi Piazza Leigh P. Ryan Joyce & Ted Strauss Dolly & Victor Woo Marvin & Bebe Zigman

($15,000 - $24,999)



($10,000 - $14,999)

AMBASSADOR ($5,000 - $9,999)

Anonymous (2) Judith Bachner & Dr. Eric L. Lasley Varda & George Backus Johan & Sevil Brahme Jian & Samson Chan Marsha & Bill Chandler Valerie & Harry Cooper Eleanor Ellsworth Jeane Erley Jill Esterbrooks & James Kirkpatrick Robbins Buzz & Peg Gitelson Jeff Glazer & Lisa Braun-Glazer Michael Grossman & Margaret Stevens Grossman Theresa Jarvis & Ric Erdman William Karatz & Joan Smith Angelina & Fredrick Kleinbub Amy & William Koman Carol Lam & Mark Burnett Richard J. Leung, M.D. Polly Liew Elaine & Doug Muchmore Pat & Hank Nickol Maria & Dr. Philippe Prokocimer Catherine & Jean Rivier Jessica & Eberhardt Rohm Ivor Royston & Colette Carson Royston Jean & Gary Shekhter

Susan Shirk & Samuel Popkin Iris & Matthew Strauss Elizabeth Taft Brad Termini Tippett Foundation Paige & Robert Vanosky Gianangelo Vergani Sheryl & Harvey White Mary & Joseph Witztum Anna & Edward Yeung Hanna Zahran / Regents Bank

AFICIONADO ($2,500 - $4,999)

Anonymous Arleene Antin & Leonard Ozerkis Jim Beyster Bjorn Bjerede and Jo Kiernan Stuart & Isabel Brown R. Nelson & Janice Byrne Trevor Callan / Callan Capital Kathleen Charla Anne & Robert Conn Lori & Aaron Contorer Miguel Espinosa Beverly Frederick & Alan Springer Elaine Galinson & Herbert Solomon Jeanne Jones & Don Breitenberg Susan & David Kabakoff Kristin & Thierry Lancino Patricia Lau Todd Lempert Arleen & Robert Lettas Sylvia & Jamie Liwerant Greg & Marilena Lucier Kathleen & Ken Lundgren Mary Keough Lyman Ron Mannix Sarah Marsh-Rebelo and John G. Rebelo Gail & Ed Miller Patty & Murray Rome Drs. Gloria & Joseph Shurman Leland & Annemarie Sprinkle Erika & Fred Torri John Velasco & Craig Countryman Ronald Wakefield Jo & Howard Weiner Judith White



($1,000 - $2,499)

Judith Adler Paddi & Nicholas Arthur Christopher Beach & Wesley Fata Rita Bell Carolyn Bertussi Masha & Jordan Block Joye Blount & Jessie Knight, Jr. Linden Blue & Ronnie Foman LaVerne & Blaine Briggs June Chocheles Drs. Anthony F. Chong & Annette Thu Nguyen Victor & Ellen Cohn Jule Eberlin Richard & Beverley Fink Bryna Haber John Haffner Alexa Kirkwood Hirsch Judith Harris & Robert Singer, M.D. Lulu Hsu Gregg LaPore Jeanne Larson Sharon LeeMaster, CFRE Theodora Lewis Grace H. Lin Leanne MacDougall Winona Mathews Bill Miller & Ida Houby Dr. Sandra Miner Susan & Mel Plutsky Allison & Robert Price William Purves & Don Schmidt Sandra & Robert Rosenthal Steve & Debbie Scherer Seltzer | Caplan | MacMahon | Vitek Elizabeth & Mitch Siegler Mary Walshok


($500 - $999)

Anonymous Andrew K. Achterkirchen Barry & Emily Berkov Benjamin Brand Luc Cayet & Anne Marie Pleska Elizabeth Clarquist Dr. Ruth Covell George & Cari Damoose Caroline DeMar Nomi Feldman Lynda Fox Photography

Paul & Clare Friedman Sally Fuller Paul & Barbara Hirshman Louise Kasch Helene K. Kruger Sally & Luis Maizel Ted McKinney Ohana Music, Inc. Lorne Polger Anthony & Agnieska RĂŠ Winfried Ritter Arlene & Peter Sacks Yvonne Vaucher Margie & John H. Warner, Jr. Suhaila White Olivia & Marty Winkler

Eli & Lisa Strickland Norma Jo Thomas Monica & Richard Valdez Laurette Verbinski Dr. & Mrs. Robert Wallace Terry & Peter Yang

ENTHUSIAST ($250 - $499)

Nancy Assaf Chris Benavides Dr. & Mrs. Paul Benien Stefana Brintzenhoff Robert & Jean Chan Geoffrey Clow Sharon L. Cohen Hugh Coughlin James Determan Christopher Franke Bruce Galanter Ferdinand Gasang Carrie Greenstein Susan Guzzetta Ed & Linda Janon Nancy Jones Gladys & Bert Kohn Robert & Elena Kucinski Las Damas de Fairbanks Christine & Bill Mingst Joani Nelson Tai Nguyen Kim & Hans Paar Aghdas Pezeshki Janet Presley Paul Rotenberg Peter & Arlene Sacks Jeanne & Milton Saier Joe & Virginia Silverman Ronald I. Simon & Anne F. Simon William Smith Bob Stefanko Edward Stickgold & Steven Cande

COMMUNITY MUSIC CENTER Beginning in 1999, La Jolla Music Society has operated the Community Music Center, a free afterschool music education program in Logan Heights, San Diego. Each year, the program provides instruments and valuable instruction to over one hundred students.

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FOUNDATIONS Ayco Charitable Foundation: The AAM & JSS Charitable Fund The Vicki & Carl Zeiger Charitable Foundation Bettendorf, WE Foundation: Sally Fuller The Blachford-Cooper Foundation The Catalyst Foundation: The Hon. Diana Lady Dougan The Clark Family Trust Enberg Family Charitable Foundation The Epstein Family Foundation: Phyllis Epstein The Fidelity Charitable Gift Fund: Drs. Edward & Martha Dennis Fund Sue & Chris Fan Don & Stacy Rosenberg Shillman Charitable Trust Richard and Beverly Fink Family Foundation Inspiration Fund at the San Diego Foundation: Frank & Victoria Hobbs The Jewish Community Foundation: Diane & Elliot Feuerstein Fund Foster Family Foundation Galinson Family Fund Lawrence & Bryna Haber Fund Joan & Irwin Jacobs Fund David & Susan Kabakoff Fund Warren & Karen Kessler Fund Liwerant Family Fund Theodora F. Lewis Fund Jaime & Sylvia Liwerant Fund The Allison & Robert Price Family Foundation Fund Gary & Jean Shekhter Fund John & Cathy Weil Fund

Sharon & Joel Labovitz Foundation The Stephen Warren Miles and Marilyn Miles Foundation The New York Community Trust: Barbara & William Karatz Fund Qualcomm Foundation Rancho Santa Fe Foundation: The Fenley Family Donor-Advised Fund The Susan & John Major Donor-Advised Fund The Oliphant Donor-Advised Fund ResMed Foundation The San Diego Foundation: The Beyster Family Foundation Fund The M.A. Beyster Fund II The Karen A. & James C. Brailean Fund The Valerie & Harry Cooper Fund The Hom Family Fund The Ivor & Colette Carson Royston Fund The Scarano Family Fund The Shiftan Family Fund Schwab Fund for Charitable Giving: Alexa Kirkwood Hirsch Fund Ted McKinney & Frank Palmerino Fund The Shillman Foundation Silicon Valley Community Foundation: The William R. & Wendyce H. Brody Fund Simner Foundation The Haeyoung Kong Tang Foundation Tippett Foundation The John M. and Sally B. Thornton Foundation The John H. Warner Jr. and Helga M. Warner Foundation Vail Memorial Fund Thomas and Nell Waltz Family Foundation Sheryl and Harvey White Foundation

SERVING OUR COMMUNITY In the 2016-17 season, La Jolla Music Society was able to reach over 11,500 students and community members. We worked with students from over 60 different schools and universities, providing concert tickets, performance demonstrations, and master classes. Thanks to the generous support of our patrons and donors, all of our outreach activities are free to the people we serve.




HONORARIA & MEMORIAL GIFTS In Honor of Gordon Brodfuehrer: Hugh Coughlin Richard & Katherine Matheron In Honor of Linda Chester and Ken Rind: Michael Stotsky In Honor of Martha Dennis: Christine Andrews In Honor of Silvija Devine’s Birthday: Elaine & Dave Darwin Martha & Ed Dennis In Memory of Austin Hudson-LaPore: Gregg LaPore In Memory of Lois Kohn: Ingrid Paymar In Honor of Helene K. Kruger: Anonymous (2) Marilyn Colby Brian & Silvija Devine Ferdinand Gasang Benjamin Guercio Bryna Haber Ruth Herzog Sharon & Joel Labovitz Patricia Manners Paul & Maggie Meyer Betty-Jo Petersen Don & Stacy Rosenberg Pat Winter In Honor of Carol Lam: QUALCOMM Incorporated In Honor of Betty-Jo Petersen: Chris Benavides In Memory of Conrad Prebys: Brenda Baker & Steve Baum Chris Benavides Allison Boles Karen & Jim Brailean Gordon Brodfuehrer Wendy Brody Katherine & Dane Chapin Linda Chester & Kenneth Rind Martha & Ed Dennis Vanessa Dinning Barbara & Dick Enberg Leighann Enos Jennifer & Kurt Eve Matthew Fernie Juliana Gaona

Ferdinand Gasang Susan & Bill Hoehn Hilary Huffman Kristin Lancino Anthony LeCourt Debbie & Jim Lin Cari McGowan Robin & Hank Nordhoff Debra Palmer Marina & Rafael Pastor Ethna Sinisi Piazza Peggy & Peter Preuss Sylvia & Stephen Re Jordanna Rose Leah Z. Rosenthal Leigh P. Ryan Kristen Sakamoto Clifford Schireson & John Venekamp Marge & Neal Schmale Maureen &Tom Shiftan June & Dr. Bob Shillman Rewa Colette Soltan Jeanette Stevens Travis Wininger

In Memory of Carleton and Andree Vail: Vail Memorial Fund

MATCHING GIFTS Bank of America IBM, International Merck QUALCOMM, Inc. Sempra Energy *In Memoriam

SUPPORT To learn more about supporting La Jolla Music Society’s artistic and education programs or to make an amendment to your listing please contact Katelyn Woodside at 858.459.3724, ext. 216 or This list is current as of September 15, 2017. Amendments will be reflected in the next program book in January 2018.

DANCE SERIES OUTREACH La Jolla Music Society hosts dance master classes and open rehearsals throughout the winter season. Participating companies have included, MOMIX, Joffrey Ballet, New York City Ballet MOVES, and many more.

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Medallion Society In 1999, the Board of Directors officially established the Medallion Society to begin to provide long-term financial stability for La Jolla Music Society. We are honored to have this special group of friends who have made a multi-year commitment of at least three years to La Jolla Music Society, ensuring that the artistic quality and vision we bring to the community continues to grow.



Brenda Baker and Steve Baum Conrad Prebys and Debbie Turner

Anonymous Joan Jordan Bernstein Mary Ann Beyster Dr. James C. and Karen A. Brailean Dave and Elaine Darwin Eleanor Ellsworth Barbara and Dick Enberg Jeane Erley Buzz and Peg Gitelson Dr. Lisa Braun-Glazer & Dr. Jeff Glazer Margaret and Michael Grossman Betty Ann Hoehn Theresa Jarvis Angelina and Fred Kleinbub Joseph Wong and Vivian Lim Michel Mathieu and Richard McDonald Elaine and Doug Muchmore Rafael and Marina Pastor Maria and Dr. Philippe Prokocimer Don and Stacy Rosenberg Leigh P. Ryan Neal and Marge Schmale Jeanette Stevens Elizabeth Taft Gianangelo Vergani Dolly and Victor Woo Carolyn Yorston-Wellcome and H. Bard Wellcome Bebe and Marvin Zigman

DIAMOND Raffaella and John Belanich Joy Frieman Joan and Irwin Jacobs

RUBY Silvija and Brian Devine

GARNET Peggy and Peter Preuss

SAPPHIRE Kay and John Hesselink Keith and Helen Kim

Listing as of September 15, 2017



Business Society Members of our Business Society are committed to the LJMS community. For information on how your business can help bring world-class performances to San Diego, please contact Rewa Colette Soltan at 858.459.3724, ext. 206 or



La Valencia Hotel The Lodge at Torrey Pines The LOT

Bloomers Flowers Callan Capital Girard Gourmet Gelson’s Market Jimbo’s…Naturally!

SUSTAINER Citibank George’s at the Cove NINE-TEN Restaurant Royal India Restaurants Sotheby’s International The Westgate Hotel

SUPPORTER ACE Parking Management, Inc. digital OutPost La Jolla Sports Club Paul Hastings LLP Procopio, Cory, Hargreaves & Savitch LLP The Violin Shop Whisknladle Hospitality

ASSOCIATE Athen’s Market Taverna Romero Bow Shop Sprinkles Cupcakes

ENTHUSIAST Nelson Real Estate Listing as of September 15, 2017

AMBASSADOR DPR Construction Giuseppe Restaurants & Fine Catering La Jolla Beach and Tennis Club LAZ Parking

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Dance Society La Jolla Music Society has quickly become the largest presenter of major American and great international dance companies in San Diego. In order for LJMS to be able to fulfill San Diego’s clear desire for dance and ballet performances by the very best artists around the world, the Dance Society was created. We are grateful to the following friends for their passion and support of our dance programs.




Ellise and Michael Coit June and Dr. Bob Shillman Jeanette Stevens

Carolyn Bertussi Teresa O. Campbell Katherine and Dane Chapin



Stefana Brintzenhoff Joani Nelson Elyssa Dru Rosenberg Elizabeth Taft

Elaine Galinson and Herbert Solomon Annie So Marvin and Bebe Zigman

Saundra L. Jones

Listing as of September 15, 2017

Legacy Society The Legacy Society recognizes those generous individuals who have chosen to provide for La Jolla Music Society’s future. Members have remembered La Jolla Music Society in their estate plans in many ways – through their wills, retirement gifts, life income plans and many other creative planned giving arrangements. We thank them for their vision and hope you will join this very special group of friends. Anonymous (2) June L. Bengston* Joan Jordan Bernstein Bjorn and Josephine Bjerede Dr. James C. and Karen A. Brailean Gordon Brodfuehrer Barbara Buskin Trevor Callan Geoff and Shem Clow Anne and Robert Conn George and Cari Damoose Elaine and Dave Darwin Teresa and Merle Fischlowitz Ted and Ingrid Friedmann Joy and Ed* Frieman



Sally Fuller Maxwell H. and Muriel S. Gluck* Dr. Trude Hollander Eric Lasley Theodora Lewis Joani Nelson Maria and Dr. Philippe Prokocimer Bill Purves Darren and Bree Reinig Jay W. Richen Leigh P. Ryan Jack* and Joan Salb Johanna Schiavoni Patricia C. Shank Drs. Joseph and Gloria Shurman

Jeanette Stevens Elizabeth and Joseph* Taft Norma Jo Thomas Dr. Yvonne E. Vaucher Lucy and Ruprecht von Buttlar Ronald Wakefield John B. and Cathy Weil Carolyn Yorston-Wellcome and H. Barden Wellcome Karl and Joan Zeisler Josephine Zolin *In Memoriam Listing as of September 15, 2017

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RICCARDO MUTI, Zell Music Director Wednesday, October 18, 2017 · 8 PM Orchestra Series

Jacobs Music Center - Copley Symphony Hall


Balboa Theatre

NOVEMBER YEKWON SUNWOO, piano 2017 VAN CLIBURN GOLD MEDALIST Sunday, November 5, 2017 · 3 PM Discovery Series

The Auditorium at TSRI

RICHARD GOODE Saturday, November 11, 2017 · 8 PM Piano Series

Irwin M. Jacobs Qualcomm Hall


Balboa Theatre

DIANNE REEVES: Christmas Time is Here Sunday, December 17, 2017 · 8 PM Special Event Balboa Theatre



La Jolla Music Society Season 49 Program Book, Volume 1  
La Jolla Music Society Season 49 Program Book, Volume 1