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PRELUDE 5 PM James Chute hosts a pre-performance discussion with Igor Levit


J. S. BACH Chaconne from the Violin Partita No. 2 in D Minor, BWV 1004 (1685-1750) (arr. for left hand by Brahms) (c. 1717-1720) SHOSTAKOVICH Preludes and Fugues, Opus 87 (1950-1951) (1906-1975) No. 20 in C Minor No. 17 in A-flat Major No. 18 in F Minor No. 7 in A Major No. 12 in G-sharp Minor The Piano Series is underwritten by Medallion Society members:

Conrad Prebys and Debbie Turner

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, National Endowment for the Arts, Thomas C. Ackerman Foundation, David C. Copley 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 Variations in E-flat Major on an Original Theme, WoO 24 (1810-1856) “Geistervariationen” (1854) Theme: Leise, innig Variation I Variation II: Canonisch Variation III: Etwas belebter Variation IV Variation V I N T E R M I S S I O N

WAGNER/LISZT Solemn March to the Holy Grail from Parsifal, S.450 (1882) (1813-1883) (1811-1886)

LISZT Fantasia and Fugue on Ad Nos, Ad Salutarem Undam, S.259 (arr. Busoni) (1850) Personal Management: Kristin Schuster, IMG Artists This performance marks Igor Levit’s La Jolla Music Society debut. W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8



That final note is important: the Chaconne is rigorous violin music, and Brahms preserves some of that discipline by making the transcription for left hand only. In contrast to the Busoni arrangement, which uses both hands and aims for Born March 21, 1685, Eisenach, Germany an almost organ-like voluptuousness of sound, Brahms limits Died July 28, 1750, Leipzig himself to the resources of five fingers. There may have Duration: Approximately 16 minutes been a purely academic reason for this–Brahms occasionally The magnificent Chaconne that concludes the Partita made transcriptions of other composers’ music for one hand No. 2 for Unaccompanied Violin is some of the most just to improve his technique in that hand–but more likely intense music Bach ever wrote, and it has worked its spell Brahms was drawn to Bach’s ability to wring so much from on musicians everywhere over the last two and a half the relatively limited resources of the solo violin and wished centuries. The violin is a linear instrument, and the full to present himself a similar compositional challenge. And it harmonic textures implied in the original seem to cry out should be noted that Brahms did compose music of his own for performances that can project these more satisfactorily that fuses the intellectual rigor with the emotional depth of than can a solo violin. Schumann and Mendelssohn both the Chaconne when he composed the passacaglia-finale to his wrote piano accompaniments for Bach’s solo violin music, Fourth Symphony eight years after making this transcription. and the Chaconne itself has been transcribed for many other A chaconne is one of the most disciplined forms in instruments and combinations of instruments, including music: it is built on a ground bass in triple meter over which versions for keyboard alone by Joachim Raff and Ferruccio a melodic line is repeated and varied. Here the four-bar Busoni. But the most distinctive transcription was made by ground bass repeats 64 times during the quarter-hour span of Johannes Brahms, who arranged it for left hand only. the Chaconne, and over it Bach spins out gloriously varied Brahms knew and loved the music of Bach at a time when music, all the while keeping these variations firmly anchored it was still primarily a historical curiosity to audiences (and on the ground bass. At the center section Bach moves into to many professional musicians): in Vienna he conducted the D major, and here the music relaxes a little, content to sing St. Matthew Passion and several of the cantatas, and he edited happily for awhile; after the calm nobility of this interlude, works by two of Bach’s sons. For the Chaconne in particular the quiet return of D minor sounds almost disconsolate. Bach Brahms felt an admiration that left him almost helpless. In drives the Chaconne to a great climax and a restatement of the 1877, the same year he composed his Second Symphony, ground melody at the close. Brahms made his piano transcription of the Chaconne and sent a copy to Clara Schumann. The letter that accompanied Preludes and Fugues, Opus 87 the manuscript is worth quoting at length:

Chaconne from the Violin Partita No. 2 in D Minor, BWV 1004 (arranged for left hand by Brahms)




The Chaconne is in my opinion one of the most wonderful and incomprehensible pieces of music. Using the technique adapted to a small instrument the man writes a whole world of the deepest thoughts and most powerful feelings. If I could picture myself writing, or even conceiving, such a piece, I am certain that the extreme excitement and emotional tension would have driven me mad. If one has no supremely great violinist at hand, the most exquisite of joys is probably simply to let the Chaconne ring in one’s mind. But the piece certainly inspires one to occupy oneself with it somehow . . . There is only one way in which I can secure undiluted joy from the piece, though on a small and only approximate scale, and that is when I play it with the left hand alone . . . The same difficulty, the nature of the technique, the rendering of the arpeggios, everything conspires to make me–feel like a violinist!


Born September 25, 1906, St. Petersburg Died August 9, 1975, Moscow

Duration: Approximately 25 minutes

In 1722 Bach wrote a set of pieces for keyboard that he called The Well-Tempered Clavier. 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.” 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: twenty years later he wrote a second set of twenty-four preludes and fugues. The “48,” as the two books of The Well-Tempered Clavier are sometimes called, have been a part of every pianist’s repertory since then, from the humblest amateur to the greatest virtuoso, and pianist-composers of very different character have felt the pull of Bach’s achievement. Chopin composed a cycle of twenty-four preludes in each of the


keys during a stay in stormy Mallorca in 1838-9, keeping his copy of Bach close at hand the whole while. Nearly a century later, Rachmaninoff also composed a set of preludes in each of the keys, laboring on the project for a decade, and in 1942 Hindemith composed his Ludus Tonalis, a collection of preludial and contrapuntal music in different keys ( and it should be noted that when Debussy wrote his Preludes, he composed exactly twenty-four). But the pianist-composer most haunted by Bach’s achievement in The Well-Tempered Clavier seems at first an unlikely one. In 1950, on the two-hundredth anniversary of Bach’s death, Dmitri Shostakovich was one of the judges at the First International Bach Competition in Leipzig, where he was astonished by a performance of the “48” by a young Soviet pianist, Tatiana Nikolayeva. Shostakovich had known the Bach since he was a child, but under the spell of Nikolayeva’s performance he resolved to compose his own set of preludes and fugues in each of the twenty-four keys, and he worked very quickly: his 24 Preludes and Fugues, Opus 87 were composed entirely between October 1950 and March 1951. Nikolayeva was soloist at the première in St. Petersburg on December 23 and 28, 1952. A complete performance of the Preludes and Fugues takes well over two hours, and these preludes and fugues are almost always performed individually or in small groups. Shostakovich himself performed them that way (and recorded several of them), and pianists usually play just a few of them, choosing several for maximum contrast or effect and sometimes presenting them in a non-numerical order. On this recital Mr. Levit plays five of the preludes and fugues. There are some striking similarities between the prelude and fugue of No. 20 in C Minor. Both are built on the same theme-shape, and both are at a fairly quiet dynamic. The key of C minor is a dark one–it was Beethoven’s “serious” key–and that darkness colors both prelude and fugue here. The prelude opens with a solemn progression of chords, and each time it appears, this solemnity is met with a response high in the pianist’s right hand. These responses are rhythmically and harmonically free, and the tension in this quiet music comes from the collision of such different kinds of expression. The long fugue that follows is also slow (the marking is Moderato), and its subject is very similar to the prelude theme–in fact, the first four notes are the same. This fugue in four voices is just as solemn as the opening of the prelude, and its lengthy development proceeds along an almost non-stop progression of slow quarter-notes. Both the prelude and fugue of No. 17 in A-flat Major burst with sunlit energy–commentators universally feel the need to describe both as “childlike” in their simplicity. Both are also marked Allegretto, and both move along with a

happy energy. The prelude is built on two simple tunes, and both of these have the simplicity and even phrases of folk music; Shostakovich combines them in the prelude’s closing measures. The fugue is in 5/4, and its subject picks up some of the shape of the prelude’s opening theme. There is a pleasing insouciance to this music, even as it moves through unexpected modulations–complexity is banished, and one felicity is followed by another. The prelude to No. 18 in F Minor–Shostakovich specifies that it should be espressivo–moves with a dark intensity of its own, and so it comes as a surprise to find at its center a fleeting passage marked Adagio that is even more expressive. This passes almost instantly, and the prelude returns to its opening material. The four-voice fugue that follows is marked by a certain emotional reserve. The writing is absolutely clear, the individual voices are cleanly defined within the textures of the contrapuntal writing, and the writing is very accomplished, even as the content of the music remains elusive. The prelude to No. 7 in A Major inevitably invites comparison to the keyboard music of Bach, particularly his two-part inventions. The active line leaps between the two hands here, its progress enlivened by some very chromatic writing along the way. The prelude reaches a moment of repose on high, silvery chords, then Shostakovich combines them with the busy main theme to bring the prelude to its chose. The three-part fugue is built on a subject that sounds like a distant, delicate bugle-call: this theme is built entirely on the notes of an A-major triad. Textures grow complex as the fugue proceeds, but this music retains its sparkling, spirited energy right through its pianissimo conclusion on a very widely-spaced A-major chord. The prelude of No. 12 in G-sharp Major is a passacaglia, here anchored an a twelve-bar ground bass in deep octaves in the left hand. As it repeats, Shostakovich spins out an increasingly expressive melody in the right hand. At the seventh repetition, the ground bass is modified moving briefly into the right hand before it returns to the left and the prelude eases to a quiet close. Out of that calm conclusion, the fugue bursts to fiery life. Set in 5/4 and taking some of the shape of the passacaglia’s ground bass, the fugue subject is angular, almost spasmodic. From this wild shape, Shostakovich builds a fugue that rips along a spiky, breathless energy. In the closing measures, that energy evaporates and the fugue glides to its conclusion on a G-sharp major chord marked triple piano.

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rhythmically, but finally the variations come to a quiet close much in the mood of the original statement of the theme. It should be noted that Brahms, who had met Schumann in the summer of 1853, felt a special affection for this music. Born June 8, 1810, Zwickau, Germany He edited and published the theme (but not the variations) Died July 29, 1856, Endenich, Germany when he helped prepare a complete edition of Schumann’s Duration: Approximately 11 minutes works in 1893, and he also used that theme as the basis for There is a painful story behind this gentle music, and variations of his own: in 1861, five years after Schumann’s it must be told. Robert Schumann was never wholly stable death, Brahms composed his Variations on a Theme of Robert mentally: he had long bouts of depression that left him unable Schumann, which he published as his Opus 23. to work, and in 1853 the composer began to show ominous signs of instability. These symptoms, almost certainly the Solemn March to the Holy Grail from Parsifal, S.450 result of tertiary syphilis, included sleeplessness, depression, ringing in his ears, problems with speech, a possible stroke, Born May 22, 1813, Leipzig, Germany and a fascination with “magnetic experiments.” Early in the Died February 13, 1883, Cannaregio, Venice, Italy next year matters came to a crisis. At this time Robert and Clara Schumann and their children were living in Düsseldorf, where Robert was serving as music director of the city. Born October 22, 1811, Raiding, Hungary Schumann had been suffering from painful tinnitus for some Died July 31, 1886, Bayreuth time when–on the night of February 10-11, 1854–he began Duration: Approximately 10 minutes hearing music that he described as “more wonderful and Parsifal, Wagner’s final opera, was given a lavish played by more exquisite instruments than ever sounded on première at Bayreuth during the summer of 1882. Bayreuth earth.” On the night of the 17th he leaped out of bed and was in a festive mood for the launch of the opera, and wrote down a theme that he claimed the angels had dictated enthusiasts and visitors flocked to hear Parsifal, which to him. The following night, those angels were replaced by was premièred on July 26 and then given fifteen more “tigers and hyenas” that threatened him with hell. In the midst of this, Schumann began to compose a set of performances. One of the honored guests during these festivities was Wagner’s father-in-law Franz Liszt, who variations on the theme he believed the angels had dictated to him. The sad truth is that this theme had not been dictated attended a number of rehearsals, heard four performances, and knew the opera well: he played excerpts of it on the piano by angels but was Schumann’s own: he had previously used for friends that summer in Bayreuth. Both Wagner and Liszt it in one of his string quartets and in the slow movement of were now in their twilight of their careers: Wagner would die his Violin Concerto, but now he was unable to recognize it. only seven months later, and Liszt–already suffering some of Over the next few days Schumann sketched five variations the effects of age–would live only four more years. on that theme, but on February 27 he suddenly ran out of the Earlier in his career Liszt had made famous (and house without coat or shoes and threw himself in the Rhine in an apparent suicide attempt. He was pulled from the river sometimes extravagant) piano versions of music from a number of Wagner’s operas, but this time–confronting one by fishermen and brought home, though Clara did not learn of the most solemn operas ever written–he created a much of the suicide attempt. Schumann then resumed work and more restrained piano piece based on one of the opera’s most completed the variations, but on March 4 he collapsed and intense moments. At the end of Act I the wounded Amfortas had to be committed to a mental asylum, where he died two and the knights of the Grail share a solemn ceremony and years later. meal, during which the Holy Grail is unveiled. The rough This set of variations–Schumann’s last work for piano– young Parsifal is invited to share in this ceremony but has acquired the nickname Geistervariationen über den looks on without understanding. At the end of their festive letzten Gedanken (“Ghost Variations on Last Thoughts”), gathering, the knights and esquires march solemnly out of though that nickname surely did not originate with the the Hall of the Grail, leaving behind the uncomprehending composer. Schumann marks the first statement of his Parsifal and the angry Gurnemanz. A tradition at Bayreuth theme leise, innig (gentle, fervent), and it is in two parts, is that this moment, which brings Act I to its close, is to be with the second part repeated. The first several variations followed by no applause. remain anchored firmly on that theme: the theme is simply Wagner’s music for the knights’ procession is dignified repeated, embellished differently each time. In the final variation, matters grow more complex, both thematically and and somber, and Liszt’s piano piece remains very much

Variations in E-flat Major on an Original Theme, WoO 24 “Geistervariationen”






within that character. This is not virtuoso piano music, designed to show off keyboard virtuosity, but rather a meditation on the music that accompanies this solemn scene. The steady march rhythm continues throughout, and above this Liszt mixes in bits of Wagner’s ceremonial music, as well as the famous “Dresden amen” that is a part of these ceremonies. Liszt composed this music very soon after the première of Parsifal: the première of his Solemn March to the Holy Grail was given in Weimar on September 29, 1882, just two months later. The pianist on that occasion was the eighteenyear-old Eugene d’Albert, one of Liszt’s star students, who would go on to make his reputation as both pianist and composer.

of Liszt’s original organ version, Busoni creates all sorts of hurdles for his performer, including thunderous bass-lines, virtuoso flourishes across the keyboard, and all manner of textual complexity. The result is a great virtuoso piece for solo piano, the joint product of two of the most formidable pianists who ever lived (and of a French opera composer). Liszt, who made his own version of this music for piano four-hands, would have loved Busoni’s version for solo piano. Program notes by Eric Bromberger

Fantasia and Fugue on Ad Nos, Ad Salutarem Undam, S.259 (arr. Busoni)


Duration: Approximately 30 minutes

This composition represents the work of three different composers. Giacomo Meyerbeer’s grand opera Le Prophète premièred in Paris in April 1849, and its success was instantaneous. Liszt, then music director at Weimar, was quite taken with Meyerbeer’s music, and the following year he composed–for organ–the Fantasia and Fugue on Ad Nos, Ad Salutarem Undam. In the first act of Le Prophète, three Anabaptists sing a chorale (which Meyerbeer himself composed) urging the people of sixteenth-century Germany to seek re-baptism. Liszt used this chorale as the basis for a massive, brilliant work for organ, a work that stretches out to nearly half an hour in length. It falls into three connected sections. The opening Fantasia is dramatic, a series of sharply-contrasted ideas on the opening of Meyerbeer’s chorale. This is followed by a long and expressive Adagio interlude, which in turn is followed by the powerful Fugue, and this drives the work to its resounding conclusion. Ferruccio Busoni was one of the great pianists of his era and a formidable composer, though–nearly a century after his death–his music is more admired than heard. Famed for his overpowering performances of Liszt, Chopin, and Beethoven, Busoni also made–in the manner of Liszt before him–a number of arrangements of music by other composers, sometimes amplifying the originals in ways that seemed to him to get at the music’s essential character. In 1897, a decade after Liszt’s death, Busoni made a piano arrangement of his Fantasia and Fugue on Ad Nos, Ad Salutarem Undam and in the process created one of the greatest virtuoso pieces ever conceived for the instrument. Faced with the challenge of getting a solo piano to approximate the massive sound W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8



JEFF EDMONS, music director and conductor CELINO ROMERO, guitar SATURDAY, JANUARY 13, 2018 · 7 PM


Tonight’s concert is sponsored by:

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, National Endowment for the Arts, Thomas C. Ackerman Foundation, David C. Copley 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.


VIVALDI Concerto in D Major for Guitar, Strings, and Continuo, RV 93 (1678-1741) (ca. 1730) Allegro giusto Largo Allegro BOCCHERINI Grave assai; Fandango from Quintet in D Major for Guitar and (1743-1805) Strings, G.448 “Fandango” (1798) Celino Romero, guitar; San Diego Youth Symphony Chamber Orchestra, Jeff Edmons, conductor Solo Works to be Announced from the Stage Celino Romero, guitar I N T E R M I S S I O N

BEETHOVEN Symphony No. 7 in A Major, Opus 92 (1812) (1770-1827) Poco sostenuto; Vivace Allegretto Presto; Assai meno presto Allegro con brio San Diego Youth Symphony Chamber Orchestra, Jeff Edmons, conductor The SDYS Chamber Orchestra last performed for La Jolla Music Society on March 3, 2017. Celino Romero last performed for La Jolla Music Society on December 2, 2012 with The Romeros.



SAN DIEGO YOUTH SYMPHONY CHAMBER ORCHESTRA Jeff Edmons, music director and conductor VIOLIN I

Erica Hwang Jeffrey Dan Sollender Concertmistress Chair Ilana Hirschfeld Maurice Kawashima Associate Concertmistress Chair Christian Gonzales Song (Amy) Lee Jonathan Kuo Sofia Llacer Chamberlain Ryan Park Elizabeth Guanuna Craig Chen


Amanda Martin Principal Mia Redelings Esther Jung Judy Qin Susan Lee Sara Maxman Stella Chung Eliana Petreikis Saeji Hong


Emily Pilkington Marvin Levine Principal Viola Chair Camille Ormsby Christopher Yang


Stephen Yang Co Principal Russell Chiang Co Principal Maddie Bolin Co Principal Stephen Sun Caroline Barker Henry Helmuth


William Mrdjenovich Principal


Michelle Liu Principal Hannah Bundrant


Mana Chan Principal Brandon Chi Katrina Yin


Chae Yoon (Gemma) Baek Principal


Max Jiang Inge Manes Principal Bassoon Chair


Katherine Perrine Principal and Chelsea King French Horn Chair


Andrew Pak Principal Luke Sargent


Isabel Garcia Co Principal and Carson Kemp Memorial Chair Kirusha Lanski Co Principal

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of his adopted country, and in his compositions he sometimes included “non-musical” sounds he heard around him in Spain. One of his quintets, full of the sound of hunting horns and Born March 4, 1678, Venice bird-calls, is nicknamed the “Aviary,” and another work– Died July 26/7, 1741, Vienna subtitled “Nocturnal Music of the Streets of Madrid”–makes Duration: Approximately 20 minutes use of church bells and bugle calls from the military garrison. Of Vivaldi’s more than 500 concertos, the vast majority This attention to the native sounds of Spain appears as well are for the composer’s own instrument, the violin, and he in the series of guitar quintets that Boccherini composed wrote prolifically for other stringed instruments such as during the 1790s, late in his life. In the Guitar Quintet in D the cello and viola d’amore. Vivaldi also wrote a number Major, he expands the range of Spanish sounds in his music of concertos for winds, including flute, recorder, oboe, and by including two of the most “Spanish” instruments of all, bassoon. Beyond these, he wrote a tiny handful of concertos guitar and castanets. These late guitar quintets were not new for some unexpected instruments, including the Lute Concerto compositions, but rather arrangements–for guitar and string performed on this concert. Its rarity, however, has not quartet–of music Boccherini had originally composed some prevented the Lute Concerto from becoming one of Vivaldi’s years earlier for string quintet. In the present case, Boccherini most popular pieces–this music has attracted performers borrowed the first two movements from a quintet composed of many different instruments: guitarists have eagerly in 1771, the final two from another composed in 1788. transformed it into a concerto for their own instrument, and This concert offers the final two movements, which it has also been played on the mandolin and even the violin. are joined. They open with a slow introduction marked This popularity is no surprise at all. Its pleasing melodies, Grave assai, and the music leaps ahead at the Fandango. rhythmic vitality, and infectious spirits of this music have A fandango is an old dance of Latin origin in which the made this concerto just as attractive to audiences as it is to tempo gradually accelerates; the accompaniment is usually performers. by castanets or guitar. Boccherini achieves a rather full Perhaps because he is writing for an instrument that is sonority from his players in this movement, and the writing– not very powerful, Vivaldi scores this concerto for an unusual sometimes featuring long cello glissandi–is imaginative. He orchestra, consisting only of two violin parts and a basso brings all these elements together in the exciting and colorful continuo line. Much of this music’s effectiveness comes from conclusion to this quintet, where the tempo gradually eases the deft interplay of soloist and orchestra, for the ritornello ahead and then rushes to the close, pushed ahead by explosive themes are full of snap and energy, and they contrast nicely interjections from the castanets. with the delicate but agile sound of the lute. This music requires little description, and many listeners will discover they already know this pleasing concerto. The concerto is Symphony No. 7 in A Major, Opus 92 in three movements in the expected fast-slow-fast sequence. It opens with a firm Allegro giusto built on the orchestra’s Born December 16, 1770, Bonn rhythmic opening ritornello, and the soloist plays off the Died March 26, 1827, Vienna orchestra’s strong statements. This music feels constantly Duration: Approximately 36 minutes alive, from the snapped 32nd-notes of the ritornello through the busy runs that are exchanged by soloist and orchestra. An Beethoven turned 40 in December 1810. Forty can be a difficult age for anyone, but for Beethoven things were going expressive Largo is followed by a concluding Allegro that very well. True, his hearing had deteriorated to the point dances (gallops?) happily along its 12/8 meter. where he was virtually deaf, but he was still riding that whitehot explosion of creativity that has become known, for better or worse, as his “Heroic Style.” Over the decade-long span Grave assai; Fandango from Quintet in D Major for Guitar and of that style (1803-1813) Beethoven essentially re-imagined Strings, G.448 “Fandango” music and its possibilities. The works that crystalized the Heroic Style–the Eroica and the Fifth Symphony–unleashed a Born February 19, 1743, Lucca, Italy level of violence and darkness previously unknown in music, Died May 28, 1805, Madrid forces that Beethoven’s biographer Maynard Solomon has Duration: Approximately 11 minutes described as “hostile energy,” and then triumphed over them. During his forty-year tenure as court composer in Madrid, In these violent symphonies, music became not a matter of Boccherini appears to have been charmed by the exotic life polite discourse but of conflict, struggle, and resolution.

Concerto in D Major for Guitar, Strings, and Continuo, RV 93







In the fall of 1811, Beethoven began a new symphony–it would be his Seventh–and it would differ sharply from those two famous predecessors. Gone is the sense of cataclysmic struggle and hard-won victory that had driven those earlier symphonies. There are no battles fought and won in the Seventh Symphony–instead, this music is infused from its first instant with a mood of pure celebration. Such a spirit has inevitably produced a number of interpretations as to what this symphony is “about”: Berlioz heard a peasants’ dance in it, Wagner called it “the apotheosis of the dance,” and more recently Maynard Solomon has suggested that the Seventh is the musical representation of a festival, a brief moment of pure spiritual liberation. But it may be safest to leave the issue of “meaning” aside and instead listen to the Seventh simply as music. There had never been music like this before, nor has there been since– Beethoven’s Seventh Symphony contains more energy than any other piece of music ever written. Much has been made (correctly) of Beethoven’s ability to transform small bits of theme into massive symphonic structures, but in the Seventh he begins not so much with theme as with rhythm: he builds the entire symphony from what are almost scraps of rhythm, tiny figures that seem unpromising, even uninteresting, in themselves. Gradually he unleashes the energy locked up in these small figures and from them builds one of the mightiest symphonies ever written. The first movement opens with a slow introduction so long that it almost becomes a separate movement of its own. Tremendous chords punctuate the slow beginning, which gives way to a poised duet for oboes. The real effect of this long Poco sostenuto, however, is to coil the energy that will be unleashed in the true first movement, and Beethoven conveys this rhythmically: the meter of the introduction is a rock-solid (even square) 4/4, but the main body of the movement, marked Vivace, transforms this into a light-footed 6/8. This Vivace begins in what seems a most unpromising manner, however, as woodwinds toot out a simple dotted 6/8 rhythm and the solo flute announces the first theme, a graceful melody on this same rhythm. Beethoven builds the entire first movement from this simple dotted rhythm, which saturates virtually every measure. As theme, as accompaniment, as motor rhythm, it is always present, hammering into our consciousness. At the climax, horns sail majestically to the close as the orchestra thunders out that rhythm one final time. The second movement, in A minor, is one of Beethoven’s most famous slow movements, but the debate continues as to whether it really is a slow movement. Beethoven could not decide whether to mark it Andante (a walking tempo) or Allegretto (a moderately fast pace). He finally decided on Allegretto, though the actual pulse is somewhere between

those two. This movement too is built on a short rhythmic pattern, in this case the first five notes: long-short-short-longlong–and this pattern repeats here almost as obsessively as the pattern of the first movement. The opening sounds like a series of static chords–the theme itself occurs quietly inside those chords–and Beethoven simply repeats this theme, varying it as it proceeds. The central episode in A major moves gracefully along smoothly-flowing triplets before a little fugato on the opening rhythms builds to a great climax. Beethoven winds the movement down on the woodwinds’ almost skeletal reprise of the fundamental rhythm. The Scherzo explodes to life on a theme full of grace notes, powerful accents, flying staccatos, and timpani explosions. This alternates with a trio section for winds reportedly based on an old pilgrims’ hymn, though no one, it seems, has been able to identify that exact hymn. Beethoven offers a second repeat of the trio, then seems about to offer a third before five abrupt chords drive the movement to its close. These chords set the stage for the Allegro con brio, again built on the near-obsessive treatment of a short rhythmic pattern, in this case the movement’s opening fournote fanfare. This four-note pattern punctuates the entire movement: it shapes the beginning of the main theme, and its stinging accents thrust the music forward continuously as this movement almost boils over with energy. The ending is remarkable: above growling cellos and basses (which rock along on a two-note ostinato for 28 measures), the opening theme drives to a climax that Beethoven marks fff, a dynamic marking he almost never used. This conclusion is virtually Bacchanalian in its wild power–no matter how many times one has heard it, the ending of the Seventh Symphony remains one of the most exciting moments in all of music. The first performance of the Seventh Symphony took place in the Great Hall of the University in Vienna on December 8, 1813. Though nearly deaf at this point, Beethoven led the performance, and the orchestra was able to compensate for his failings, so that the première was a huge success. On that occasion–and at three subsequent performances over the next few months–the audience demanded that the second movement be repeated. Program notes by Eric Bromberger

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PRELUDE 7 PM Marcus Overton hosts a pre-performance discussion with members of Paul Taylor Dance Company



CLOVEN KINGDOM The Dance Series is supported in part by members of:

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

DANCERS Michael Trusnovec, Robert Kleinendorst, James Samson, Michelle Fleet, Parisa Khobdeh, Sean Mahoney, Eran Bugge, Laura Halzack, Jamie Rae Walker, Michael Apuzzo, Michael Novak, Heather McGinley, George Smallwood, Christina Lynch Markham, Madelyn Ho, Kristin Draucker, Lee Duveneck, Alex Clayton Artistic Director PAUL TAYLOR Rehearsal Director BETTIE DE JONG

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, National Endowment for the Arts, Thomas C. Ackerman Foundation, David C. Copley 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.



Principal Lighting Designers JENNIFER TIPTON JAMES F. INGALLS

Principal Set & Costume Designer SANTO LOQUASTO

Executive Director JOHN TOMLINSON Paul Taylor Dance Company last performed for La Jolla Music Society in the Dance Series on May 8, 2010.



(First Performed in 1981) MUSIC BY:

William Boyce Excerpts from Symphonies Nos. 1, 3, 5, 7, 8


Paul Taylor


Gene Moore


Jennifer Tipton


Sean Mahoney, Eran Bugge, Laura Halzack, Jamie Rae Walker, Michael Apuzzo, Michael Novak, George Smallwood, Lee Duveneck, Alex Clayton

Original production made possible by contributions from the National Endowment for the Arts; the Mobil Foundation, Inc.; and the New York State Council on the Arts, a State Agency. Revival supported in part by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Preservation made possible by the support of Elise Jaffe and Jeffrey Brown, and by contributions to the Paul Taylor Repertory Preservation Project with support from the National Endowment for the Arts and the New York State Council on the Arts.


(First performed in 2008) SONGS SUNG BY:

The Mamas and The Papas


John Phillips, John Lennon/Paul McCartney, John Hartford


Paul Taylor


Santo Loquasto


Jennifer Tipton

DANCERS: Michael Trusnovec, Robert Kleinendorst, James Samson, Michelle Fleet, Parisa Khobdeh, Sean Mahoney, Laura Halzack, Michael Apuzzo, Michael Novak, Christina Lynch Markham, Kristin Draucker Program Note: We remember the Sixties as being defined by the demand for radical change. Rejecting politicians’ fear mongering and their disastrous war in Vietnam; young people questioned authority and embraced liberation movements. While this era seems singular, in fact it was not. The more things change, the more they stay the same.

Straight Shooter.......................................................................................full cast California Earthquake.......................................................Ms. Markham and cast I Call Your Name.....................................................Halzack with Mr. Kleinendorst, Mr. Novak, Mr. Samson, Mr. Mahoney Mansions................................................................................................full cast Dancing Bear..................................................................Mr. Samson, Mr. Apuzzo Studio Chatter.............................................................Ms. Draucker, Ms. Khobdeh, Mr. Trusnovec, Mr. Novak California Dreamin'..........................................................................full cast

The E.L. Wiegand Foundation is the Lead Sponsor of San Francisco Ballet’s commission and production of Paul Taylor’s Changes. The creation of Changes for the Paul Taylor Dance Company was made possible with support from the National Endowment for the Arts; The Andrew W. Mellon Foundation; the Horace W. Goldsmith Foundation; the Gladys Krieble Delmas Foundation; and the Commissioning Friends of Paul Taylor.

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(First performed in 1976) "Man is a social animal." — Spinoza MUSIC BY:

Arcangelo Corelli, Henry Cowell and Malloy Miller


John Herbert McDowell


Paul Taylor


Don York - Paul Taylor Dance Company


Scott Barrie


John Rawlings


Jennifer Tipton


Michael Trusnovec, Robert Kleinendorst, James Samson Michelle Fleet, Parisa Khobdeh, Eran Bugge, Laura Halzack, Jamie Rae Walker, Michael Apuzzo, Heather McGinley, Christina Lynch Markham, Madelyn Ho


red fish blue fish James Beauton, Christopher Clarino, Fiona Digney, Daniel King, Ryan Nestor, Benjamin Rempel Steven Schick, conductor

Original production supported by a contribution from the National Endowment for the Arts. Preservation made possible by the support of Elise Jaffe and Jeffrey Brown. Major funding provided by The SHS Foundation. Leadership support provided by Doris Duke Charitable Foundation. Support also provided by public funds from the New York City Department of Cultural Affairs in partnership with the City Council; and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Additional support provided by Shubert Foundation. National tour supported in part by an award from the National Endowment for the Arts.

Major funding provided by The SHS Foundation. Leadership support provided by Doris Duke Charitable Foundation.



MUSICAL PRELUDE 2 PM Arrive early to hear a performance by young artists from the San Diego Youth Symphony and Conservatory


Luri Lee, Jeffrey Dyrda, violins; Hezekiah Leung, viola; Jonathan Lo, cello

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:

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, National Endowment for the Arts, Thomas C. Ackerman Foundation, David C. Copley 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.

BEETHOVEN String Quartet in D Major, Opus 18, No. 3 (1798-1800) (1770-1827) Allegro Andante con moto Allegro Presto DI CASTRI String Quartet No. 1 (2016) (b. 1985) I N T E R M I S S I O N

SCHUMANN String Quartet in A Major, Opus 41, No. 3 (1842) (1810-1856) Andante espressivo; Allegro molto moderato Assai agitato; Un poco Adagio Adagio molto Finale: Allegro molto vivace

This performance marks Rolston String Quartet's La Jolla Music Society debut.

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String Quartet in D Major, Opus 18, No. 3

LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna

Duration: Approximately 25 minutes

The young Beethoven spent his first decade in Vienna mastering the forms Haydn and Mozart had used before him, and the string quartet in particular gave Beethoven cause for anxiety. Haydn and Mozart had done some of their finest work in this most demanding of musical forms (Haydn himself was still writing quartets in Vienna at this time), and the young composer took his time before rushing onto a field where the competition was so formidable. He worked on the six quartets of his Opus 18 for two years before completing them in 1800, but the order of publication does not reflect the order of their creation: though published third, the Quartet in D Major was actually the first to be written. It is Beethoven’s only string quartet in D major, a key he rarely used in his mature works. That key seems to have evoked from Beethoven a particularly unclouded music (the Second Symphony, Violin Concerto, and the outer movements of the “Ghost” Trio), and the Quartet in D Major is unremittingly sunny; even the Andante, the one movement not in the home key, shares this mood. In his first quartet, Beethoven settles for a normal structure (sonata-form first movement, a lyric second, a minuet, and a brilliant finale) and writes straightforward music. The Allegro takes its mood from the opening theme, with its graceful upward leap of a seventh and its flowing lines. The young composer offers some rhythmic surprises along the way: the second theme is built on off-the-beat accents, and Beethoven at points uses triplets to break the steady flow and thrust the rhythmic pulse forward. The long development edges toward unexpected keys, but returns to the genial mood of the opening to bring the movement to its close. The Andante con moto is based on the lyric idea introduced immediately by the second violin, but the development of this theme is so elegant and poised that the entire movement has an almost rococo feel; the very ending–where the theme breaks down into fragments–is particularly effective. The brief third movement is marked simply Allegro; it is in minuet form, though this is a minuet that sometimes places the stress on the final beat of the measure rather than on the first. The trio section makes a quick excursion into D minor before the home key returns in a repeat that Beethoven wrote out (it offers minor variations on the first statement). In its brilliance, the concluding Presto has been compared to the dazzling finales of some of Haydn’s quartets. The galloping 6/8 main theme permeates the movement–it is treated contrapuntally at times, played in



thirds by the two violins at others. After all the excitement, Beethoven brings the quartet to a surprisingly understated close: two brief pulses from the main theme serve as the cadence. It is an effect he may have learned from Mozart (K.464), and it reminds us that–in his first quartet–Beethoven was very aware of the footsteps behind him. .

String Quartet No. 1

ZOSHA DI CASTRI Born 1985, Canada

Duration: Approximately 13 minutes

Zosha di Castri received her bachelor's degree from McGill University in Montreal, went to Paris for further study, and completed her DMA at Columbia, where she is currently an assistant professor of music. As a composer, she has been open to using a number of techniques, including electronics, video, dance, and interactive collaborations, and she has also composed works in traditional forms. Her music has been performed by the San Francisco Symphony, Toronto Symphony, New World Symphony, Montreal Symphony, and the Cabrillo Festival Orchestra, and she has appeared on the chamber series of both the Chicago Symphony and Los Angeles Philharmonic. She has composed in a variety of genres, including orchestral works, chamber music, vocal music, and pieces for varied ensembles and for solo performers. Her works make clear her interest in sound–in texture, timbre, and entirely new sonorities. The composer has provided a concise program note for her String Quartet No. 1, which was composed in 2016: Co-commissioned by the Banff Centre for Arts and Creativity, in partnership with The Canadian Broadcasting Corporation and Americas Society. Premièred September 2nd, 2016, by the ten finalist groups at the Banff International String Quartet Competition. Both purely abstract and sonically concrete, this quartet explores virtuosic shifts between quickly contrasting modes of expression, while demanding a physical internalization of a dense thicket of activity. Escaping the agitation and frenzy are moments of melodic beauty, microtonal introspection, and a delicate fabric of time-suspending harmonics. NOTE: As the composer points out, this quartet was written as a test-piece for the Banff International String Quartet Competition, where it was performed–and performed very well indeed–by ten different young string quartets (including the Rolston Quartet). Those interested in this music should know that many of those performances are available on YouTube, where di Castri’s String Quartet No. 1 can be enjoyed in quite different interpretations.


String Quartet in A Major, Opus 41, No. 3

ROBERT SCHUMANN Born June 8, 1810, Zwickau, Germany Died July 29, 1856, Endenich, Germany

Duration: Approximately 30 minutes

Schumann’s marriage to the young Clara Wieck in 1840 set off a great burst of creativity, and curiously he seemed to change genres by year: 1840 produced an outpouring of song, 1841 symphonic works, and 1842 chamber music. During the winter of 1842, Schumann had begun to think about composing string quartets. Clara was gone on a month-long concert tour to Copenhagen in April, and though he suffered an anxiety attack in her absence Schumann used that time to study the quartets of Haydn, Mozart, and Beethoven. Clara’s return to Leipzig restored the composer's spirits, and he quickly composed the three string quartets of his Opus 41 in June and July of that year; later that summer he wrote his Piano Quartet and Piano Quintet. Writing string quartets presented special problems for the pianistcomposer. The string quartets are his only chamber works without piano, and–cut off from the familiar resources of his own instrument–he struggled to write just for strings. Though he returned to writing chamber music later in his career, Schumann never again wrote a string quartet. The Quartet in A Major, composed quickly between July 8 and 22, is regarded as the finest of the set and shows many of those original touches that mark Schumann's best music. The first movement opens with a very brief (seven-measure) slow introduction marked Andante espressivo. The first violin’s falling fifth at the very beginning will become the thematic “seed” for much of the movement: that same falling fifth opens the main theme at the Allegro molto moderato and also appears as part of the second subject, introduced by the cello over syncopated accompaniment. Schumann’s markings for these two themes suggest the character of the movement: sempre teneramente (“always tenderly”) and espressivo. Schumann’s procedures in this movement are a little unusual: the development treats only the first theme, and the second does not reappear until the recapitulation. The movement fades into silence on the cello’s pianissimo falling fifth. The second movement brings more originality. Marked Assai agitato (“Very agitated”), it is a theme-and-variation movement, but with a difference: it begins cryptically–with an off-the-beat main idea in 3/8 meter–and only after three variations does Schumann present the actual theme, now marked Un poco Adagio. A further variation and flowing coda bring the movement to a quiet close. The Adagio molto opens peacefully with the soaring main idea in the first violin. More insistent secondary material arrives over dotted

rhythms, and the music grows harmonically complex before pulsing dotted rhythms draw the movement to a close. Out of the quiet, the rondo-finale bursts to life with a main idea so vigorous that it borders on the aggressive. This is an unusually long movement. Contrasting interludes (including a lovely, Bach-like gavotte) provide relief along the way, but the insistent dotted rhythms of the rondo tune always return to pound their way into a listener’s consciousness and finally to propel the quartet to its exuberant close. Program notes by Eric Bromberger

W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8


MUSICAL PRELUDE 2 PM Arrive early to hear a performance by young artists from the San Diego Youth Symphony and Conservatory


The Discovery Series is underwritten by Medallion Society member:

Jeanette Stevens

Additional support for the Series is provided by:

Gordon Brodfuehrer

Tonight's concert is sponsored by:

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, National Endowment for the Arts, Thomas C. Ackerman Foundation, David C. Copley 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.

Discography: CHIMEI and HARMONIA MUNDI Exclusive Management: ARTS MANAGEMENT GROUP, INC. 130 West 57th St., New York, NY 10019



ˇ DVORÁK Sonatina in G Major for Violin and Piano, Opus 100 (1893) (1841-1904) Allegro risoluto Larghetto Scherzo: Molto vivace Finale: Allegro PROKOFIEV Violin Sonata No. 1 in F Minor, Opus 80 (1938-1946) (1891-1953) Andante assai Allegro brusco Andante Allegrissimo I N T E R M I S S I O N

SCOTT Lotus Land, Opus 47, No. 1 (arr. Kreisler) (1905) (1879-1970) SARASATE Romanza Andalusa, Opus 22, No. 1 (1879) (1844-1908)

SAINT-SAËNS Violin Sonata No.1 in D Minor, Opus 75 (1885) Allegro agitato; Adagio Allegretto moderato; Allegro molto (1835-1921)

Paul Huang last performed for La Jolla Music Society in SummerFest on Friday, August 26, 2016. Helen Huang last performed for La Jolla Music Society in SummerFest on Friday, July 31, 2009.


Sonatina in G Major for Violin and Piano, Opus 100

Violin Sonata No. 1 in F Minor, Opus 80

Born September 8, 1841, Mühlhausen, Bohemia Died May 1, 1904, Prague

Born April 23, 1891, Sontsovka, Ukraine Died March 5, 1953, Moscow



Duration: Approximately 19 minutes

Duration: Approximately 28 minutes

The Violin Sonatina dates from Dvořák’s American period: he wrote it in the space of two weeks during November-December 1893, while he was serving as director of the National Conservatory of Music in New York. Earlier that year he had composed the New World Symphony, which would receive its première on December 16 in Carnegie Hall. Exciting as Dvořák found life in the new world, he remained profoundly homesick for his Czech homeland, where four of his six children had stayed behind. He dedicated the Sonatina “To my Children,” telling his publisher that this music was “intended for young people (dedicated to my children) but grown-ups, too, let them get what enjoyment they can out of it.” And over the last century countless grown-ups have had considerable pleasure in this charming music. Dvořák called this music a Sonatina rather than a Sonata for several reasons. It is a little shorter than most full-scale sonatas, it is not terribly demanding technically, and it is without the complications of construction, harmony, and development that usually mark sonatas. Yet it is not really a “student” piece, for it has musical substance and demands a fairly accomplished player. The question of American influence on the music Dvořák wrote in this country has been debated endlessly. Dvořák himself said that the main theme of the Sonatina’s slow movement was inspired by a visit to the Minnehaha Falls in St. Paul, and some have heard the rhythmic snap and syncopation characteristic of American music throughout the Sonatina. But Dvořák remained quintessentially Czech throughout his years here, and it is far more useful to enjoy this music for itself than to search for “influences.” The marking for the opening movement, Allegro risoluto (“Fast and resolute”), may seem a little stern, given the music’s melodic nature and easy flow. This sonata-form movement alternates lyric ideas and bursts of energy before its quiet close. Many listeners will discover that they already know the Larghetto, which was made popular in an arrangement by Fritz Kreisler under the name Indian Lament, a title Dvořák never imagined or heard. The energetic Scherzo rips along in its outer sections (Dvořák demands a great deal of string-crossing here), but offers a more lyric trio section. The lengthy finale, marked Allegro, is built on three theme groups. The first is full of rhythmic snap, while the third–in E major–has the rising-and-falling theme-shape of the opening movement of the New World Symphony. Dvořák treats all three themes before driving the Sonatina to its rousing coda.

Prokofiev’s First Violin Sonata had a difficult genesis. Prokofiev began work on it in 1938 during the one of the most horrifying moments in Soviet history–the period of Stalin’s purges–but found that he could not complete it. He set the score aside, but before he could return to it, another of the most traumatic events in Russian history–the Second World War–occurred. In response to the war Prokofiev wrote some of his greatest scores, including the opera War and Peace and the mighty Fifth Symphony. Only after the war was over did he return to complete this sonata, eight years after it had begun. This made for problems with numbering: during the war, Prokofiev had written another violin sonata; he called this his Second, even though it was completed before the First. Violinist David Oistrakh, dedicatee of the First Sonata, gave the première performance in Moscow on October 23, 1946. While the Second Sonata is one of Prokofiev’s sunniest scores (it shows no trace of the war that raged during its creation), the First is grim, and Soviet commentators were quick to put the politically-correct interpretation on such dark music: some heard it as resistance to the Nazis, others as a portrait of oppressed Russia, and so on. Seventy years after the completion of this sonata, it is far better to let the music speak for itself than to impose extraneous interpretations on it. Beneath the lyric surface of this music, the mood is often icy and dark–even brutal. Some of this unsettling quality comes from Prokofiev’s extremely fluid metrical sense: in this score, the meter sometimes changes every measure. The marking for the opening Andante assai is 3/4 4/4, and Prokofiev alternates those two meters, though he will sometimes fall into just one of them for extended passages. The somber first movement opens with an ostinato-like piano passage over which the violin makes its muttering, tentative entrance. Much of the main section is double-stopped, and in the final moments come quietly-racing runs for muted violin; Prokofiev said that these should sound “like the wind in a graveyard,” and he marks the violinist’s part freddo: “cold.” The second movement, Allegro brusco (“brusque”) is in sonata form. The pounding opening subject gives way to a soaring second theme marked eroico; the brusque and the lyric alternate throughout this movement, which ends with the violin rocketing upward to the concluding high C. Prokofiev began the Andante–which he described as “slow, gentle, and tender”–before the war, but did not complete it until 1946. Muted throughout, the violin has the main subject over W W W. L J M S . O R G · 8 5 8 . 4 5 9 . 3 7 2 8



rippling triplets from the piano. The concluding Allegrissimo brings back the metrical freedom of the opening movement: Prokofiev’s metric indication is 5/8 7/8 8/8. The alternating meters give the music an asymmetric feel, which is intensified by the aggressive quality of the thematic material. The cold winds from the first movement return to blow icily through the sonata’s final pages and to bring this music to its somber close.

Romanza Andaluza, Opus 22, No. 1

PABLO DE SARASATE Born March 10, 1844, Pamplona, Spain Died September 20, 1908, Biarritz, France

Duration: Approximately 4 minutes

In Sir Arthur Conan Doyle’s The Red-Headed League, Sherlock Holmes suggests to Watson that they might take the afternoon off: “‘Sarasate plays at St. James’s Hall this afternoon,’ he remarked. ‘What do you think, Watson? Lotus Land, Opus 47, No. 1 (arr. Kreisler) Could your patients spare you for a few hours?’” Watson reports that Holmes, himself a fine violinist, very much Born September 27, 1879, Oxton, Cheshire enjoyed Sarasate’s playing: “All the afternoon he sat in the Died December 31, 1970, Eastbourne, England stalls wrapped in the most perfect happiness, gently waving Duration: Approximately 4 minutes his long, thin fingers in time to the music.” Cyril Scott left England at age 12 to study piano in Holmes, like all of Europe, was captivated by the Frankfurt, and he did much of his training–in both piano and Spanish virtuoso-composer Pablo de Sarasate, who toured composition–in that city. Then Scott returned to England not only Europe but also North and South America, playing and enjoyed a long and productive career as a composer in his own compositions and the music of others. So great a his native land (he died at 91). His catalog of works lists player was Sarasate that he inspired many works now a part over 400 compositions, including three operas, three ballets, of the standard repertory. Saint-Saëns’ Violin Concerto No. three symphonies, concertos, choral music, and a great deal 3 and Introduction and Rondo Capriccioso, Bruch’s Scottish of piano and chamber music. Scott’s music enjoyed a vogue Fantasy, Lalo’s Symphonie espagnole, and Wieniawski’s for some years, particularly for his experiments with rhythm Violin Concerto No. 2 were all written for him. (Those and harmony, and for awhile he was dubbed “the English interested in Sarasate the violinist should know that in 1904 Debussy.” His popularity had waned by World War II, he made some of the earliest commercial recordings, and though Scott went on composing throughout his long life. He these are now available on compact disc.) was also a poet and had a passion for what has been referred As composer, Sarasate’s fame today rests primarily on to as “metaphysics”: he wrote extensively on mysticism, the his Carmen Fantasy and Zigeunerweisen, both showpieces occult, medicine, diet, and health issues. for violin and orchestra, but in his own day Sarasate was Lotus Land, the first of a set of piano pieces that he famous for his many compositions of a specifically Spanish published in 1905 when he was only 26, has always been character. Principal among these were his four sets of one of his most popular works. This mood-piece does Spanish Dances, published between 1878 and 1882. This seem to draw us into a misty, soft-edged world far removed program presents one of these Spanish Dances, the Romanza from the rush of daily life. Scott’s performance marking at Andaluza from his Opus 22. From a purely technical point the beginning, Andante languido, seems exactly right, and of view, this dance offers a virtual compendium of violin there are moments here when one understands exactly why technique: double- and triple-stopping, artificial harmonics, some were ready to name him “the English Debussy.” Fritz passages in octaves, huge skips, and left-handed pizzicatos– Kreisler, always alert to music that could be arranged for this music is every bit as hard as it sounds. At the same time, violin and piano, published his transcription of Lotus Land it offers some charming music. The Romanza Andaluza in 1922. Kreisler’s arrangement is quite effective, especially evokes the atmosphere of Andalusia, that region in southern since Scott’s right-hand melodies transfer easily to the violin. Spain famous for its wine, citrus, and Moorish and gypsy Kreisler of course adds a few flourishes of his own, and the influences. One is certainly aware of that last influence here, music concludes delicately on double-stopped harmonics. as the Romanza moves from its sultry beginning to a quiet, haunting close.





Violin Sonata No. 1 in D Minor, Opus 75

CAMILLE SAINT-SAËNS Born October 9, 1835, Paris Died December 16, 1921, Algiers, Algeria

Duration: Approximately 23 minutes

Saint-Saëns wrote his First Violin Sonata in 1885. At age 50, he was at the height of his powers. In that same year he wrote his Wedding Cake Waltz, and the following year he would write two of his most famous works: the “Organ” Symphony and the Carnival of the Animals. Although SaintSaëns did not play the violin, he clearly understood the instrument–already he had written three violin concertos and the famous Introduction and Rondo Capriccioso; the Havanaise would follow two years later. The structure of the sonata is unusual. It has four movements, but the first and second are connected, as are the third and fourth, dividing the sonata into two extended parts. Saint-Saëns’ marking for the opening movement–Allegro agitato–is important, for this truly is agitated music. Beneath its quiet surface, the movement feels constantly restless. Its opening theme, a rocking tune for violin, alternates meters, slipping between 6/8 and 9/8; perhaps some of the music’s air of restlessness comes from its failure to settle into a constant meter. The lyric second idea–a long, falling melody for violin–brings some relief, and the dramatic development treats both these themes. While the second movement is marked Adagio, it shares the restless mood of the first. The piano has the quiet main theme, but the music seems to be in continuous motion before coming to a quiet close. The agreeable Allegretto moderato is the sonata’s scherzo. It dances gracefully, skittering easily between G major and G minor. At the center section, the violin has a haunting chorale tune over quietly-cascading piano arpeggios; as the movement comes to its close, Saint-Saëns skillfully twines together the chorale and the dancing opening theme and presents them simultaneously. Out of this calm, the concluding Allegro molto suddenly explodes–the violin takes off on the flurry of sixteenth-notes that will propel the finale on its dynamic way. This is by far the most extroverted of the movements, and it holds a number of surprises: a declamatory second theme high in the violin’s register and later a brief reminiscence of the lyric second theme of the opening movement. At the end, Saint-Saëns brings back the rush of sixteenth-notes, and the sonata races to a close so brilliant that one almost expects to see sparks flying through the hall. Program notes by Eric Bromberger

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Biographies James Chute, prelude presenter

James Chute has been an arts journalist for nearly four decades. A Pittsburgh native and a graduate of the University of Cincinnati College-Conservatory of Music (where he earned a Doctor of Musical Arts), he has served as music critic for The Cincinnati Post, The Milwaukee Journal, The Orange County Register and the San Diego Union-Tribune. A Pulitzer Prize finalist in criticism and a winner of an ASCAP-Deems Taylor Award, Penney Missouri Award, Best of the West award and a California Newspaper Publishers award, he has contributed articles to the New Grove Dictionary of Music, New Grove Dictionary of American Music and other publications.

Helen Huang, piano

Taiwanese-American pianist Helen Huang was discovered at age 10 by Maestro Kurt Masur upon winning the 1992 Young Artists’ Competition, which resulted in engagements with the New York Philharmonic and a recording contract with the Teldec record label. Ms. Huang has enjoyed a multifaceted career as a soloist and chamber musician, and performed with orchestras such as the Philadelphia Orchestra, the Saint Louis Symphony, the Berlin Philharmonic and the Leipzig Gewandhaus Orchestra, among others. As an avid chamber musician, Ms. Huang spent several summers at the Marlboro Music Festival. She has recorded with Kurt Masur and the New York Philharmonic as well as violinist ChoLiang Lin. Ms. Huang graduated from The Juilliard School and the Yale School of Music, studying with Yoheved Kaplinsky and Peter Frankl. Recipient of the 1995 Avery Fisher Career Grant, she currently teaches at The Juilliard Pre-College and resides in New Jersey with her husband and two daughters.

Paul Huang, violin

Recipient of a 2015 Avery Fisher Career Grant and 2017 Lincoln Center Award for Emerging Artists, Taiwanese-American violinist Paul Huang is quickly gaining attention for his eloquent music making, distinctive sound and effortless virtuosity. Highlights of Mr. Huang’s 2017-18 season include debuts with the Mariinsky Orchestra, under Valery Gergiev at St. Petersburg’s White Nights Festival, and Berliner Symphoniker, under Lior Shambadal at Berlin Philharmonie. Additional engagements include performances with Grant Park Festival Orchestra, the Taipei and Knoxville Symphonies and Louisiana Philharmonic. Mr. Huang’s 2018 recital tour takes him to Chicago, Toronto, Taiwan, New York, and culminates at the Kennedy Center in Washington D.C. Mr. Huang’s 2018 festival appearances will include La Jolla Music Society SummerFest, Music@Menlo, Bridgehampton, Dresden’s Moritzburg, and he will make his recital debut at the Lucerne Festival in Switzerland. Mr. Huang continues his association with the Chamber Music Society of Lincoln Center throughout the season and returns to Camerata Pacifica as its Principal Artist. Winner of the 2011 Young Concert Artists International Auditions, Mr. Huang earned his bachelor’s and master’s degrees from The Juilliard School. He plays the Guarneri del Gesù Cremona 1742 ex-Wieniawski violin, on generous loan through the Stradivari Society of Chicago.

Igor Levit, piano

Winner of Gramophone’s “Recording of the Year 2016” award, Igor Levit has established himself as “one of the essential artists of his generation” (The New Yok Times). The press attests to his performing with a “wealth of meaning without artifice” (Washington Post) leaving the listener “speechless with amazement and admiration” (The Telegraph). Mr. Levit’s 2017-18 season highlights include performing with the BBC Symphony Orchestra for Opening Night of the 2017 BBC Proms under the baton of Ed Gardner and debut performances with the Royal Concertgebouw Orchestra (Jakub Hrusa), the Royal Stockholm Philharmonic Orchestra (Sakari Oramo), and the Vienna and Pittsburgh Symphony Orchestras (both with Manfred Honeck). Born in Nizhny Novgorod in 1987, Igor Levit moved with his family to Germany at age 8. He completed his piano studies at Hannover Academy of Music, Theatre and Media in 2009 with the highest academic and performance scores in the history of the institute, and he won the Silver Prize as the youngest participant in the 2005 Arthur Rubinstein Competition in Tel Aviv. Mr. Levit lives in Berlin and is an exclusive recording artist for Sony Classical. He plays a Steinway D Grand Piano kindly given to him by the Trustees of Independent Opera at Sadler’s Wells.



Biographies 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.

Paul Taylor Dance Company

“The American spirit soars whenever Taylor’s dancers dance.” – San Francisco Chronicle The Paul Taylor Dance Company is one of the world's most highly respected and sought-after dance ensembles. Dance maker Paul Taylor first presented his choreography with five other dancers in Manhattan on May 30, 1954. That modest performance marked the beginning of more than 60 years of unrivaled creativity, and in the decades that followed, Mr. Taylor became a cultural icon and one of history's most celebrated artists, hailed as part of the pantheon that created American modern dance. The Paul Taylor Dance Company has traveled the globe, bringing Mr. Taylor’s ever-burgeoning repertoire to theaters and venues of every size and description in cultural capitals, on college campuses and in rural communities – and often to places modern dance had never been before. The Company has performed in more than 520 cities in 64 countries, representing the United States at arts festivals and touring extensively under the aegis of the U.S. Department of State. Performing more than half of each touring season in cities throughout the United States, the Company continues a tradition of its historic role as one of the early touring companies of American modern dance. For more information, please visit

Paul Taylor, artistic director and choreographer

Paul Taylor, one of the most accomplished artists this nation has ever produced, continues to shape America’s indigenous art of modern dance since becoming a professional dancer and pioneering choreographer in 1954. Having performed with Martha Graham’s company for several years, Mr. Taylor uniquely bridges the legendary founders of modern dance – Isadora Duncan, Ruth St. Denis, Ted Shawn, Doris Humphrey and Ms. Graham – and the dance makers of the 21st Century with whom he is now working. Through his new initiative at Lincoln Center – Paul Taylor American Modern Dance – he presents great modern works of the past and outstanding works by today’s leading choreographers alongside his own vast and growing repertoire. Commissioning the next generation of dance makers to work with his renowned Company, he works to ensure the future of the art form. Born in 1930, Paul Taylor grew up in and around Washington, DC. The subject of Matthew Diamond’s documentary Dancemaker, Mr. Taylor authored his autobiography Private Domain and a collection of essays Facts and Fancies. He has received nearly every important honor given to artists, including a Kennedy Center Honor, a MacArthur Foundation Fellowship and France’s Légion d’Honneur—for exceptional contributions to French culture. For more information, please visit

red fish blue fish

The New York Times calls red fish blue fish a “dynamic percussion ensemble from the University of California.” Founded twenty years ago by Steven Schick, the San Diego-based ensemble performs, records, and premières works from the last 85 years of the rich history of western percussion. The group works regularly with living composers from every continent. Recent projects include a world premières of a Roger Reynolds’ Sanctuary and the American premières of James Dillon’s epic Nine Rivers cycle with the International Contemporary Ensemble (ICE). red fish blue fish has collaborated with George Crumb, Dawn Upshaw, and Peter Sellars to premières the staged version of The Winds of Destiny at the Ojai Music Festival. In 2015, red fish blue fish won two important recording awards: the 2015 Deutscheschall-plattenkritikspreis for Best New Music release for the collected early percussion works of Karlheinz Stockhausen, and the “Diapason d’Or” for its recording of Iannis Xenakis’s Zythos.

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Rolston String Quartet

First Prize laureate of the 12th Banff International String Quartet Competition, the Rolston String Quartet was named among the Canadian Broadcasting Corporation’s 2016 “30 Hot Canadian Classical Musicians Under 30.” Musical Toronto said, “they performed with a maturity and cohesion rivaling the best string quartets in the world.” A winner of Astral’s 2016 National Auditions, the Quartet was also the Grand Prize winner of the 31st Chamber Music Yellow Springs Competition, as well as prizewinners at the inaugural M-Prize competition (2016) and the 2016 Bordeaux International String Quartet Competition. Following their Banff win, the Quartet embarked upon the Competition’s U.S.—European tour. 2017-2018 highlights include appearances at the Smithsonian, Kennedy Center for the Performing Arts, Koerner Hall at the Toronto Royal Conservatory of Music and the Esterházy Palace. Currently quartet-in-residence at Yale School of Music, they have also served as the graduate quartet-in-residence at Rice University’s Shepherd School of Music. The Rolston String Quartet formed in 2013 at the Banff Centre for Arts and Creativity’s Chamber Music Residency, and take their name from Canadian violinist Thomas Rolston, founder and longtime director of the Centre’s Music and Sound Programs. Luri Lee plays a Carlo Tononi violin, on loan from Shauna Rolston Shaw. Rolston String Quartet is endorsed by Jargar Strings of Denmark.

San Diego Youth Symphony and Conservatory

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.

Jeff Edmons, music director and conductor

San Diego Youth Symphony (SDYS) and Conservatory’s Music Director Jeff Edmons is now in his 22nd year with SDYS. Under his direction, SDYS has experienced tremendous growth, both in enrollment and in its level of musical achievement. He has been featured in articles and journals honoring his work and has been the subject of documentaries on CNN, Fox Television, National Public Radio, and more. He has led youth, collegiate, and professional orchestras in critically acclaimed performances throughout the U.S. and in over twelve countries around the world. Mr. Edmons’ mentors and teachers include Esa-Pekka Salonen, Michael Davis, Robert Gillespie, and Craig Kirchoff.

Celino Romero, guitar

Celino Romero is the youngest member of the legendary “Royal Family of the Guitar,” The Romeros, a veritable institution in the world of classical music. The Romeros guitar quartet was founded by the celebrated Spanish guitarist Celedonio Romero with his sons Celin, Pepe and Angel. The ensemble today consists of the second generation (Celin and Pepe) and third generation (Celino and Lito) of The Romeros. Celino, son of Celin, began his studies with his father and grandfather at age three and joined the quartet in 1990. Highlights of his career with the ensemble include concerts in major venues around the world, including Carnegie Hall, Berlin’s Philharmonie, Madrid’s Auditorio Nacional de Música, Beijing’s and Shanghai’s Concert Halls, among many others, and the quartet celebrated their 50th anniversary with a 2008-09 world tour. In 2007 they received the Recording Academy’s President’s Merit Award from the GRAMMYs in honor of their artistic achievements. In addition to 25 years as a member of The Romeros, Celino is also active as a soloist, and recently released his guitar method The Art of Spanish Guitar, which describes the distinctive musical and technical approach of his illustrious family to the classical guitar. PHOTO CREDITS: Cover, Pg. 22 & 33: Paul Taylor Dance Company © Paul B. Goode; Pg. 13 & 32: I. Levit © Gregor Hohenberg; Pg. 18: San Diego Youth Symphony Chamber Orchestra by Matthew Fernie; Pg. 25 & 34: Rolston String Quar-tet © Tianxiao Zhang Photography; Pg. 28: P. Huang © Carlin Ma; Pg. 32: J. Chute courtesy of presenter; H. Huang © Wang Te Fang; P. Huang © Marco Borggreve; Pg. 33: M. Overton courtesy of presenter; P. Taylor by Paul Palmero; red fish blue fish by courtesy of artist; Pg. 34: Jeff Edmons courtesy of artist; Celino Romero courtesy of artist; Back Cover: P. Huang © Marco Borggreve.



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, National Endowment for the Arts, Thomas C. Ackerman Foundation, David C. Copley 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.

Thomas C. Ackerman Foundation

David C. Copley F o u n d at i o n

PHP Management, Inc.

Media Partners ®

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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 can 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 to help bring extraordinary programs to San Diego, 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 year-round presentations of world-class musicians, jazz ensembles, orchestras and dance companies.






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 & Annamaria 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

AAnonymous 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 (3) 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 Pam & Hal Fuson 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 & John G. Rebelo Gail & Ed Miller Arlene & Lois Navias Patty & Murray Rome Drs. Gloria & Joseph Shurman Leland & Annemarie Sprinkle Erika & Fred Torri John Velasco & Craig Countryman Ronald Wakefield Jo & Howard Weiner Judith White W W W. L J M S . O R G ¡ 8 5 8 . 4 5 9 . 3 7 2 8




($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 Jill Porter 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



Douglas Doucette Nomi Feldman Lynda Fox Photography Paul & Clare Friedman Sally Fuller Carrie Greenstein Paul & Barbara Hirshman Louise Kasch Helene K. Kruger Toni Langlinais 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

ENTHUSIAST ($250 - $499)

Christine Andrews Nancy Assaf Lynell Antrim Chris Benavides Dr. & Mrs. Paul Benien Stefana Brintzenhoff Candace Carroll Robert & Jean Chan Geoffrey Clow Sharon L. Cohen Hugh Coughlin James Determan Christopher Franke Bruce Galanter Ferdinand Gasang Carolyn Greenslate 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 Dr. Aron Rosenthal 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 Eli & Lisa Strickland Norma Jo Thomas Monica & Richard Valdez Laurette Verbinski Dr. & Mrs. Robert Wallace Terry & Peter Yang

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.


FOUNDATIONS Thomas C. Ackerman Foundation 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 David C. Copley Foundation D'Addaraio Foundation 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 ProtoStar Foundation 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 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. LJMS 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.

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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 Mrs. May Hsieh: Yau-Hung Chow Richard Hsieh 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 Ré 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 Leidos 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 November 1, 2017. Amendments will be reflected in the next program book in March 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.

Medallion Society In 1999, the Board of Directors officially established the Medallion Society to provide long-term financial stability for La Jolla Music Society. We are honored to have this special group of friends who have made multi-year commitments 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 Virginia and Robert Black Dr. James C. and Karen A. Brailean Dave and Elaine Darwin Eleanor Ellsworth Barbara and Dick Enberg Jeane Erley Pam and Hal Fuson 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 Hank and Patricia Nickol 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 Julie and Bert Cornelison Kay and John Hesselink Keith and Helen Kim

Listing as of November 1, 2017

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Corporate Honor Roll Members of our Corporate Honor Roll 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








Listing as of November 1, 2017


Dance Society La Jolla Music Society is proud to be a major presenter of American and International dance companies in San Diego. The Dance Society was created in order to fulfill our community’s desire for exceptional dance and ballet performances by the highest-quality artists from around the world. We are grateful to the following friends for their passion and generous 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 November 1, 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 & 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 November 1, 2017

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JANUARY IGOR LEVIT Sunday, January 7, 2018 · 6 PM Piano Series The Auditorium at TSRI

SDYS CHAMBER ORCHESTRA JEFF EDMONS, music director & conductor CELINO ROMERO, guitar Saturday, January 13, 2018 · 7 PM Special Event Irwin M. Jacobs Qualcomm Hall

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




Sunday, February 25, 2018 · 3 PM Discovery Series The Auditorium at TSRI

WWW.LJMS.ORG · 858.459.3728

Season 49 Program Book Vol. 2  
Season 49 Program Book Vol. 2