Season 50 Program Vol. 2

2018-19

th ANNIVERSARY SEASON

ALVIN AILEY AMERICAN DANCE THEATER

FEBRUARY-MARCH

GRAND OPENING WEEKEND : THE CONRAD PREBYS PERFORMING ARTS CENTER

April 5, 6, and 7, 2019

For information and reservations, please contact Ferdinand Gasang, Director of Development 858.459.3724, ext. 204 or FGasang@LJMS.org

SEASON

JAZZ IN THE KEY OF ELLISON Saturday, February 16, 2019 · 8 PM Jazz Series

Balboa Theatre

SIR ANDRÁS SCHIFF Friday, February 22, 2019 · 8 PM Piano Series

Balboa Theatre

THE JOFFREY BALLET JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS Presents SPACES Featuring Lil Buck & Jared Grimes Wednesday, October 3, 2018 · 8 PM Jazz Series

Thursday, October 18, 2018 · 8 PM Piano Series

The Auditorium at TSRI

PILOBOLUS DANCE THEATER SHADOWLAND Saturday, November 10, 2018 2 PM & 8 PM Dance Series

Spreckels Theatre

Piano Series

The Auditorium at TSRI

DANISH STRING QUARTET Friday, February 8, 2019 · 8 PM Revelle Chamber Music Series The Auditorium at TSRI

Saturday, February 9, 2019 · 8 PM Special Event

An Evening of Nordic Folk Music The Auditorium at TSRI

Sunday, February 10, 2019 · 3 PM Special Event

Sunday Skål! basileIE Gallery

The Baker-Baum Concert Hall

CHRIS THILE Wednesday, April 24, 2019 · 8 PM Special Event

The Baker-Baum Concert Hall

GIL SHAHAM & AKIRA EGUCHI Thursday, April 25, 2019 · 8 PM

Civic Theatre

BOMSORI KIM, violin

SAN DIEGO SYMPHONY MATTHEW HALLS, conductor

Discovery Series

Special Event

The Auditorium at TSRI

The Baker-Baum Concert Hall

ALVIN AILEY AMERICAN DANCE THEATER

HIROMI: SOLO

Tuesday & Wednesday, March 26 & 27, 2019 8 PM

Special Event

Dance Series

Sunday, March 10, 2019 · 3 PM

The Baker-Baum Concert Hall

Friday, April 26, 2019 · 8 PM

Saturday, April 27, 2019 · 8 PM

Dance Series

The Baker-Baum Concert Hall

UKULELE ORCHESTRA OF GREAT BRITAIN

GARRICK OHLSSON: BRAHMS EXPLORATION

Jacobs Music Center - Copley Symphony Hall

Friday, March 29, 2019 · 8 PM Special Event

Balboa Theatre

Coming Home JERUSALEM QUARTET Revelle Chamber Music Series

Sunday, January 20, 2019 · 6 PM

Special Event

Revelle Chamber Music Series

Tuesday, April 9, 2019 · 8 PM

LEIF OVE ANDSNES

Thursday, April 18, 2019 · 8 PM

Friday, March 8, 2019 · 8 PM

Balboa Theatre

SEONG-JIN CHO

ANOUSHKA SHANKAR

Coming Home Friday, May 3, 2019 · 8 PM Piano Series

The Baker-Baum Concert Hall

STORM LARGE & LE BONHEUR Saturday, May 4, 2019 · 8 PM Special Event

The Baker-Baum Concert Hall

The Baker-Baum Concert Hall

THE TRIPLETS OF BELLEVILLE (FILM SCREENING)

MIDORI & JEAN-YVES THIBAUDET

Thursday, May 9, 2019 · 8 PM

Friday, April 12, 2019 · 8 PM

Revelle Chamber Music Series

Jazz Series

The Baker-Baum Concert Hall

The Baker-Baum Concert Hall

DAVID FINCKEL & WU HAN

NPR'S FROM THE TOP

Friday, May 10, 2019 · 8 PM

Saturday, April 13, 2019 · 6 PM Special Event

Revelle Chamber Music Series The Baker-Baum Concert Hall

The Baker-Baum Concert Hall

STORM LARGE'S CRAZY ENOUGH

GEORGE LI, piano

Sunday, April 14, 2019 · 3 PM

Saturday, May 11, 2019 · 8 PM Sunday, May 12, 2019 · 3 PM

Discovery Series

Special Event

The Baker-Baum Concert Hall

The Baker-Baum Concert Hall

DANIIL TRIFONOV

WINNER OF THE INTERNATIONAL VIOLIN COMPETITION OF INDIANAPOLIS

Wednesday, April 17, 2019 · 8 PM Piano Series

The Baker-Baum Concert Hall

Sunday, May 19, 2019 · 3 PM Discovery Series

The Baker-Baum Concert Hall

TABLE OF CONTENTS CALENDAR LA JOLLA MUSIC SOCIETY BOARD OF DIRECTORS AND STAFF LETTER FROM THE PRESIDENT JAZZ IN THE KEY OF ELLISON SIR ANDRÁS SCHIFF THE JOFFREY BALLET BOMSORI KIM AND PHILIP CHIU ALVIN AILEY® AMERICAN DANCE THEATER GEORGE HINCHLIFFE'S UKULELE ORCHESTRA OF GREAT BRITAIN ARTIST BIOGRAPHIES SUPPORT

2 13 14 15 16 20 22 26 27 28 33

LA JOLLA MUSIC SOCIETY STAFF

BOARD OF DIRECTORS · 2018-19

David J. Kitto – Interim President Inon Barnatan – SummerFest Music Director

Katherine Chapin – Chair Rafael Pastor – Vice Chair H. Peter Wagener – Treasurer Jennifer Eve – Secretary Stephen Baum Gordon Brodfuehrer Wendy Brody Ric Charlton Linda Chester Sharon Cohen Brian Douglass Debby Fishburn Lehn Goetz Susan Hoehn Lynelle Lynch Sue Major Robin Nordhoff Peggy Preuss

ADMINISTRATION

Chris Benavides – Director of Finance Debra Palmer – Executive Assistant and Board Liaison Sylvia Ré Donald J. Rosenberg Sheryl Scarano Clifford Schireson Marge Schmale Maureen Shiftan Jeanette Stevens Haeyoung Kong Tang Debra Turner Lisa Widmier Clara Wu Katrina Wu Bebe L. Zigman

HONORARY DIRECTORS

Brenda Baker Stephen Baum Joy Frieman, Ph.D. Irwin M. Jacobs Joan K. Jacobs Lois Kohn (1924-2010) Helene K. Kruger Conrad Prebys (1933-2016) Ellen Revelle (1910-2009) Leigh P. Ryan, Esq.

PROGRAMMING

Leah Rosenthal – Director of Programming Allison Boles – Education and Community Programming Manager Sarah Campbell – Programming Coordinator Brady Stender – Programming Assistant Eric Bromberger – Program Annotator Serafin Paredes – Community Music Center Director Xiomara Pastenes – Community Music Center Administrative Assistant Community Music Center Instructors: Noila Carrazana, Marcus Cortez, Armando Hernandez, Cesar Martinez, Michelle Maynard, Eduardo Ruiz, Rebeca Tamez DEVELOPMENT

Ferdinand Gasang – Director of Development Rewa Colette Soltan – Business Development and Event Manager Landon Akiyama – Development Coordinator MARKETING & TICKET SERVICES

Hilary Huffman – Marketing Manager Hayley Woldseth – Marketing and Communications Project Manager Jediah McCourt – Marketing Coordinator Angelina Franco – Graphic and Web Designer Jorena de Pedro – Ticket Services Manager Shannon Haider – Ticket Services Assistant Janine Ponce – Ticket Services Assistant Shaun Davis – House Manager PRODUCTION

Travis Wininger – Director of Theatre Operations Leighann Enos – Production Manager Anthony LeCourt – Events Manager Josh Lemmerman – Facility Manager Jonnel Domilos – Piano Technician Erica Poole – Page Turner LEGAL COUNSEL LA JOLLA MUSIC SOCIETY

7946 Ivanhoe Avenue, Suite 309, La Jolla, California 92037 Admin: 858.459.3724 | Fax: 858.459.3727

Paul Hastings LLP

AUDITOR

Leaf & Cole, LLP

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

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Dear Friends, La Jolla Music Society celebrates its 50th Anniversary this season, a perfect time to focus on elevating our role as the region’s leading presenter of classical music, jazz, chamber music, world music and dance.

The high point of the 2018-19 season, of course, will take place April 5 through 7, 2019, with the Grand Opening Weekend of The Conrad Prebys Performing Arts Center in downtown La Jolla. Two beautiful performing spaces – the 500-seat Baker-Baum Concert Hall and the informal, multiconfigurable space known as The JAI will house an expanded schedule of concerts, education programs and much more.

Many of you have already participated in funding this exciting project, but if you have not joined our support family, we invite you to do so now as the project enters the final stages of construction.

Whether it is a contribution toward LJMS’ annual operating fund, a special gift earmarked for The Conrad, or naming a chair in the concert hall in honor of your family or friends, your support will be an integral part of La Jolla Music Society’s continuing service to our community and region – for another 50 years to come!

The April opening – followed by 21 spectacular events in all – is only the beginning. LJMS’ annual SummerFest will celebrate its first season in The Conrad with a new music director, internationally acclaimed pianist Inon Barnatan. Watch for announcements in February about the outstanding programs he is planning.

None of La Jolla Music Society’s achievements over the last half-century would have been possible without the ongoing efforts of volunteers, the generous support of its donors, and the faithful attendance of enthusiastic audiences. This winning formula will lead the Society and everyone who loves great art into the future, ably assisted by the collaborative work of our devoted Board of Directors and an extraordinary staff.

We urge you to think about the ways in which you might play a part in this new chapter for the arts in San Diego.

Many thanks in advance for your generosity, for being in our audiences – and an early welcome to a new landmark in San Diego’s landscape – The Conrad!

Enjoy the performance.

David J. Kitto Interim President La Jolla Music Society

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LA JOLLA MUSIC SOCIETY · 50TH ANNIVERSARY SEASON

PRELUDE 7 PM

Conversation with an artist hosted by Robert John Hughes

JAZZ IN THE KEY OF ELLISON SATURDAY, FEBRUARY 16, 2019 · 8 PM BALBOA THEATRE

FEATURING Will Downing, vocals Nona Hendryx, vocals Quiana Lynell, vocals Nicholas Payton, trumpet Andy Farber Orchestra Roxane Gay, narrator PROGRAM Works to be announced from stage.

There will be a 20-minute intermission.

La Jolla Music Society’s 50th Anniversary 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, Vail Memorial Fund, Thomas C. Ackerman Foundation, David C. Copley Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, Regents Bank, US 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, Bebe and Marvin Zigman, and an anonymous donor.

Produced by NJPAC and Danny Kapilian.

Support for the NJPAC première was provided by Audible.com, the National Jazz Museum in Harlem, and the Institute for Jazz Studies in Newark.

Exclusive Representation: Opus 3 Artists

ABOUT JAZZ IN THE KEY OF ELLISON

This new concert production is inspired by the musical life of America’s iconic writer Ralph Ellison, presented in music, words, and images. Ralph Ellison, acclaimed author of the National Book Award-winning novel Invisible Man, was an accomplished trumpeter who was close to many of the great jazz innovators of his lifetime—from Louis Armstrong and Duke Ellington to Charlie Parker and Thelonious Monk. The concert celebration premièred in November 2016 at New Jersey Performing Arts Center.

This performance marks Jazz in the Key of Ellison’s LaSJolla LJM . O RMusic G · Society 8 5 8 .debut.

459.3728

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PRELUDE 7 PM

Unexpected Moderns Lecture by Seth Lerer What is modern music? How do we measure innovation, both in the past and in our own time? This program shows us great composers at their most imaginative and innovative: Bach, taking the suite and turning it into an occasion for virtuosity; Schumann, taking the dance and the sonata and stretching form to its limits; and Leos Janáček, juxtaposing folk motif and learned musical architecture into a unique outburst of personal and political emotion. Each piece in this program pushes the boundaries of tonality and pianistic technique. Hearing them together, we can listen for the modern in the masterwork and hear familiar composers in unexpected ways.

The Piano Series is sponsored by:

Conrad Prebys and Debbie Turner

La Jolla Music Society’s 50th Anniversary 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, Vail Memorial Fund, Thomas C. Ackerman Foundation, David C. Copley Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, Regents Bank, US 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, Bebe and Marvin Zigman, and an anonymous donor.

SIR ANDRÁS SCHIFF, piano FRIDAY, FEBRUARY 22, 2019 · 8 PM BALBOA THEATRE

J.S. BACH Partita No. 5 in G Major, BWV 829 (1685-1750) Preambulum Allemande Courante Sarabande Tempo di Minuetto Passepied Gigue SCHUMANN Davidsbündlertänze, Opus 6 (1810-1856) Lebhaft Balladenmässig. Sehr rasch Innig Einfach Mit Humor Mit Humor Ungeduldig Wild und lustig Einfach Zart und singend Sehr rasch Frisch Nicht schnell Mit gutem Humor Frisch Wie aus der Ferne Lebhaft Nicht schnell I N T E R M I S S I O N

JANÁČEK Piano Sonata 1.X.1905, “From the Street” (1854-1928) Con moto: Presentiment Adagio: Death SCHUMANN Piano Sonata No. 1 in F-sharp Minor, Opus 11 Introduzione: Un poco adagio; Allegro vivace Aria Scherzo e Intermezzo: Allegrissimo Finale: Allegro un poco maestoso Sir András Schiff last performed for La Jolla Music Society in the Piano Series on February 20, 2015.

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LA JOLLA MUSIC SOCIETY · 50TH ANNIVERSARY SEASON

SIR ANDRÁS SCHIFF - PROGRAM NOTES

Program notes by Eric Bromberger

Partita No. 5 in G Major, BWV 829

JOHANN SEBASTIAN BACH Born March 21, 1685, Eisenach, Germany Died July 28, 1750, Leipzig Composed: 1730 Approximate Duration: 20 minutes

When Bach moved to Leipzig in 1723, his musical duties changed. For his music-loving prince in Cöthen, Bach had written the great part of his secular instrumental music, but now—as Cantor of the Thomaskirche—he was charged with producing music for religious functions, and the music flowed out of him at a pace that would have exhausted even Mozart. But Bach did not altogether lose interest in instrumental music: he had written the first book of The Well-Tempered Clavier in Cöthen, and now in Leipzig he continued to compose for keyboard.

Bach’s set of six partitas, originally written for harpsichord, was composed between 1726 and 1731 and published in the latter year as the first volume of his ClavierÜbung (“Keyboard Practice”); in a wonderful introductory note in the score, the composer described these works as having been “Composed for Music Lovers, to Refresh their Spirits, by Johann Sebastian Bach.” Bach understood the partita to be a suite of dance movements based on the traditional sequence of allemande-courante-sarabandegigue. He adopted this tradition but made it his own by supplementing it with three of what he called “galanteries”: extra movements, somewhat lighter in character and intended to make the work more attractive to listeners.

The Partita No. 5 in G Major dates from 1730, when Bach was 45. The wonderful Preambulum has been likened to a concerto. It features brilliant exchanges between the hands, and all this dashing energy is interrupted by dignified chords that provide moments of repose before the music dashes off again.

Each of the four traditional movements of the partita has a distinct national origin. The Allemande (that name suggests its German ancestry) is a slow dance of serious character, usually in 4/4 time and in binary form. The Courante (French for “running”) is a lively movement, usually in triple time but sometimes mixing different rhythms; this one remains firmly in 3/8. The Sarabande, of Latin American and Spanish heritage, is a stately dance in triple time; this sarabande, in 3/4 meter, makes frequent use of dotted rhythms and grace notes. The concluding Gigue (derived distantly from the Irish jig) dances energetically and features polyphonic entrances and off-the-beat accents.

The interpolated “galanteries” are first a Tempo di Minuetto that belongs mostly to the right hand; its athletic

and angular character makes this quick music seem at far remove from the minuet of classical form. The second is a Passepied (“pass-foot” in French), a lively dance in triple time, said to be originally a sailors’ dance.

Davidsbündlertänze, Opus 6

ROBERT SCHUMANN Born June 8, 1810, Zwickau, Germany Died July 29, 1856, Endenich,Germany Composed: 1834-37 Approximate Duration: 28 minutes

In 1834 the young Robert Schumann helped found a newspaper dedicated to praising new music and attacking the conservative and entrenched musical opinions of the day.

He soon became editor of the Neue Zeitschrift für Musik and used that position to publish a number of witty and insightful reviews. Because he and his friends felt that they were doing battle with musical Philistines, they referred to themselves as “the band of David” (in German, Davidsbund). Schumann loved games and hidden messages. As one of the in-jokes, Schumann invented two editorial personalities, which he believed were the two sides of his nature: Florestan was the hotheaded and impetuous side, Eusebius the dreamer.

All this information is part of the background to the Davidsbündlertänze. In 1834, Schumann began composing a set of short pieces to be grouped under that title, which means “Dances of the Band of David,” but these were not completed until 1837. Schumann subtitled this work “Eighteen Character Pieces,” and he apparently intended the music to represent the varying responses of Florestan and Eusebius to the world of the Philistines: at the end of each piece he wrote the initial E or F to indicate which character had been speaking. He further added two cryptic sentences in the score: after No. 8 he wrote “Herewith Florestan made an end, and his lips quivered painfully,” and before No. 18 “Quite superfluously Eusebius remarked as follows; but all the time great bliss spoke from his eyes.” As if this were not complex enough, Schumann marked the first two measures of No. 1 “Motto de C.W.” which he had taken from the Opus 6 of Clara Wieck, whom he would marry in 1840. The Davidsbündlertänze were written during the time when Clara and Schumann were struggling to get free of her repressive father and marry. To Clara he wrote: “In the Dances there are many marriage thoughts. They originated in the most joyful excitement that I can ever recall . . . If ever I was happy at the piano, it was while composing these.” At the very end of the last piece, the pianist’s left hand strikes a deep C twelve consecutive times: are these the strokes of midnight—or an evocation of Clara’s name?

Now—having said all this—it should be noted that one need not know any of it to enjoy the music. In fact, it may be L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

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SIR AND RÁS SCHIFF - PROGRAM NOTES

better not to know it and just to take these eighteen concise pieces as they come. Perhaps it is wisest to take them as brief character pieces, to enjoy the verve of the young composer’s writing for the piano, and to sense the vastly-differing moods these short pieces evoke.

Piano Sonata 1.X.1905, “From the Street”

LEOŠ JANÁČEK

Born July 3, 1854, Hukvaldy, Czech Republic Died August 12, 1928, Moravska Ostrava, Czech Republic Composed: 1905-06 Approximate Duration: 14 minutes

Throughout his long life Janáček remained a passionate Czech nationalist, committed to freeing the Czechs from German domination. On October 1, 1905, came an event that fired these passions even more deeply. When the Czechs in Brno asked for the creation of a Czech university, the Germans demonstrated against them, and the Czechs retaliated with a counter-demonstration. Troops were called in to quash the violence, and in the process a 20-year-old Czech worker was bayoneted to death. Outraged, Janáček composed a three-movement piano sonata that he titled after the date of that violence.

This Sonata was originally in three movements, but at a rehearsal, Janáček—apparently overcome by the quality of works on the program by other composers—stormed onto the stage and, in front of the astonished pianist, burned the last movement. After the next rehearsal, Janáček took the manuscripts to the first two movements and threw them into the Vltava River. He noted: “They did not want to sink.

The paper bulged and floated on the water like so many white swans.” This time, though, the pianist was ready—she had made copies of these two movements and saved them.

Nearly twenty years later, in 1924, Janáček agreed to their publication.

The two surviving movements are quite short, and both are unified around the same rhythmic and thematic figures. The opening Con moto (subtitled “Presentiment”) commences with a generalized theme-shape that becomes, in the fourth measure, the germinal cell for the entire sonata.

All the other themes evolve in some way from this figure.

It becomes, for example, the accompaniment to the chordal second theme, and throughout the sonata it is transformed

by Janáček’s fluid rhythmic sense—the music speeds ahead, holds back, and seems to be stretched or compressed as we listen. The main theme of the Adagio (subtitled “Death” but originally subtitled “Elegie”) also grows out of the first movement’s central theme. Full of a wild and wistful quality, this movement grows more animated and then subsides to an elegiac close.

One wonders what the last movement was like.

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Piano Sonata No. 1 in F-sharp Minor, Opus 11

ROBERT SCHUMANN Composed: 1832-35 Approximate Duration: 30 minutes

Schumann’s First Piano Sonata took shape slowly during the period 1832-35, when the composer was in his early twenties and deeply in love with Clara Wieck, then in her mid-teens. Her father was so violently opposed to the match that he forbade Clara to see the young composer, and when Schumann published the sonata in 1836 he did so anonymously, inscribing it only “Dedicated to Clara from Florestan and Eusebius.” Clara of course knew who had written the sonata and performed it in public to defy her father.

One of the most remarkable things about this sonata is its thematic unity. The first movement opens with a long introduction, and the Allegro vivace then begins with a quiet eight-note figure in the left hand. The composer of this figure, however, was not Schumann but the young Clara—it comes from her Characteristic Pieces, Opus 5—and Schumann uses it here as the accompaniment to his own main theme, heard immediately in the right hand. The ingenious combination of his own music with Clara’s was a clear message of love.

The right-hand theme had been composed several years earlier by Schumann as his Fandango: fantaisie rhapsodique pour le pianoforte. A tender second subject leads to a long development, and the movement ends with a quiet restatement of Clara’s eight-note figure.

Schumann called the second movement Aria and based it on his song To Anna, written in 1828. If the theme sounds familiar, it should: in one of the sonata’s most striking touches, Schumann had foreshadowed this melody by using it in the introduction to the first movement. The third—a Scherzo e Intermezzo marked Allegrissimo—is mercurial, racing brilliantly through the range of the keyboard. One expects the Intermezzo to be a quiet contrast, but again Schumann springs a surprise, for this section is even more vigorous than the scherzo. He marks it alla burla, ma pomposo: “jestingly, but pompous.” Before the return of the scherzo section, Schumann brings the Intermezzo to an inflated close, instructing the pianist to sound “quasi Oboe.”

The Finale, marked Allegro un poco maestoso, contains some of the sonata’s most brilliant music.

LA JOLLA MUSIC SOCIETY · 50TH ANNIVERSARY SEASON

Bösendorfer 280VC concert grand piano provided by: Yamaha Artist Services, New York.

Sir András Schiff’s recordings are available on the Decca/London, Teldec/Warner and ECM labels.

Exclusive Representation: Kirshbaum Associates Inc. 711 West End Avenue, Suite 5KN New York, NY 10025 www.kirshbaumassociates.com

PRELUDE 7 PM

Conversation with an artist hosted by Molly Puryear

THE JOFFREY BALLET FRIDAY, MARCH 8, 2019 · 8 PM CIVIC THEATRE

IN CREASES PAU S E

Tonight's performance is sponsored by:

ENCOUNTER

Jeanette Stevens

INTERMISSION

La Jolla Music Society’s 50th Anniversary 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, Vail Memorial Fund, Thomas C. Ackerman Foundation, David C. Copley Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, Regents Bank, US 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, Bebe and Marvin Zigman, and an anonymous donor.

BEYOND THE SHORE INTERMISSION

JOY Ashley Wheater Mary B. Galvin artistic director Greg Cameron president and CEO Robert Joffrey founder

Gerald Arpino founder

Please see insert for cast information.

Exclusive Representation: Opus 3 Artists

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The Joffrey Ballet last performed for La Jolla Music Society in the Dance Series on January 29, 2013.

LA JOLLA MUSIC SOCIETY · 50TH ANNIVERSARY SEASON

IN CREASES

THE JOFFREY BALLET – PROGRAM NOTES

Choreography by: Justin Peck Music by: Philip Glass Still a dancer with New York City Ballet (NYCB), Justin Peck has launched his choreographic career with a “buzz” rarely found these days in dance circles. New York Times critic Alastair Macaulay declared Peck as the “third most important choreographer to have emerged in classical ballet this century.” In Creases is Peck’s first ballet created for NYCB and showcases his keen eye for manipulating bodies to form complex geometric structures and unique patterns. The ballet is set to Philip Glass’ Four Movements for Two Pianos and received its world première in July 2012 during NYCB’s annual summer residency at the Saratoga Performing Arts Center in upstate New York. The eight dancers—four women, four men—dressed in light gray hues are accompanied by two pianists playing the intricate score live on stage. Praised for poetic structure, musicality and invention, the New York Times described In Creases as a “dreamscape that heightens the progress and colors of its score.”

ENCOUNTER

— New York City Ballet

Choreography by: Nicolas Blanc Music by: John Adams Encounter was originally created on Joffrey dancers for the 2015 fundraiser for Embarc, a Chicago organization dedicated to supporting low income high school students in their training. Based on John Adams’ Saxophone Concerto, the duet explores the relationship of two individuals, both swept up by conflictual attraction to each other, while a sense of wariness floats in the background of their minds. The duet is based on how the various sonorities and musical layers of the score informed Blanc’s creative process. In John Adams’ words: “while the Concerto is not meant to sound jazzy per se, its jazz influences lie only slightly below the surface. I make constant use of the instrument’s vaunted agility as well as its capacity for a lyrical utterance that is a short step away from human voice.” That “human voice” and seductive sound is expressed by the movement expression that is at times sensual, yet tormented. The jazzy saxophone reminded Blanc of an American post-war, urban environment. Meanwhile, some tunes evoked Debussy’s Afternoon of the Faun which made him want to pay homage to this iconic piece.

BEYOND THE SHORE

Choreography by: Nicolas Blanc Music by: Mason Bates Beyond the Shore follows the score of Mason Bates’ The B-Sides and a soundscape serving as a prologue, originally composed by Bates for this piece. Through the ballet, as well as through the music, the piece makes us land in a new world different from the previous one—each movement inhabits a new environment. I thought it would be a great concept and challenge to build a piece in which I would treat each movement as six consecutive short stories, each time aiming to capture the essence and the mood of the music and the atmosphere it carries. For example, as Bates explains, the second movement “Aerosol melody (Hanalei), blooms on the Northshore of Kauai, while the third movement, Gemini in the Solar Wind, is a re-imagination of the first American spacewalk using actual communication samples from the 1965 Gemini IV voyage provided by NASA.” The approach of Beyond the Shore is a metaphor for exploration inherent to human nature. It means not staying set at the dock, but taking off to new horizons and discovering new landscapes both literal and abstract. I explored my vocabulary as a choreographer by looking at new ways to think and interact with each other expanding how we communicate in the complex world we live in. The work doesn’t aim for a strict narrative, yet the atmosphere and mood of each piece is showing just beneath the surface like a watermark. As Balanchine said, “Storyless is not abstract. Two dancers on the stage are enough material for a story; for me, they are already a story in themselves.”

JOY

— Nicolas Blanc

Choreography by: Alexander Ekman Music by: Brad Mehldau Trio, Django Django, Tiga, Moby How can we express joy through our movements? I asked the dancers this question on our first day creating. I leaned back in my chair, observed the dancers, and started to smile. To observe dancers feeling joy on stage is contagious. Joy is my 47th piece. A piece created in only two weeks in Chicago. For the first time in a long time, I wanted to just arrive in the studio without preparing too much. I wanted to see what the dancers would bring to the piece. The turnout is something completely different than I expected—that is the pure joy of creating in the moment. To be open to dancers’ talents and unique expressions can bring personality and depth to the work. Through playing we have come up with this quirky universe.

Seeing a new work come alive in front of us, together, is the best job in the world. I have to give a big thank you to Julia Eichten who has helped me create this work. I hope you will feel joy when you watch this piece.

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

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PRELUDE 2 PM

Musical Prelude by young artists from the San Diego Youth Symphony and Conservatory

BOMSORI KIM, violin PHILIP CHIU, piano SUNDAY, MARCH 10, 2019 · 3 PM THE AUDITORIUM AT TSRI

The Disovery Series is sponsored by:

Jeanette Stevens and Gordon Brodfuehrer

La Jolla Music Society’s 50th Anniversary 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, Vail Memorial Fund, Thomas C. Ackerman Foundation, David C. Copley Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, Regents Bank, US 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, Bebe and Marvin Zigman, and an anonymous donor.

BEETHOVEN Violin Sonata in G Major, Opus 30, No. 3 (1770-1827) Allegro assai Tempo di Minuetto, ma molto moderato e grazioso Allegro vivace SIBELIUS Selections from Six Pieces for Violin and Piano, Opus 79 (1865-1957) Souvenir Tanz-Idylle Berceuse WIENIAWSKI Polonaise Brillante in D Major, Opus 4 (1835-1880)

I N T E R M I S S I O N RAVEL Sonata in G Major for Violin and Piano (1875-1937) Allegretto Blues: Moderato Perpetuum mobile YSAŸE Caprice after a Study in Form of a Waltz of Saint-Saëns, (1858-1931) Opus 52, No. 6

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This performance marks Bomsori Kim and Philip Chiu’s La Jolla Music Society debut.

LA JOLLA MUSIC SOCIETY · 50TH ANNIVERSARY SEASON

Program notes by Eric Bromberger

Violin Sonata in G Major, Opus 30, No. 3

LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna Composed: 1801-02 Approximate Duration: 16 minutes

This Sonata, the last of the set of three Beethoven wrote in Heiligenstadt during the summer of 1802, has deservedly become one of his most popular. If the first of the three is characterized by quiet nobility and the second by turbulent drama, the last is marked by high spirits and energy. Of all Beethoven’s violin sonatas, this one looks the most “black” on the page, for its outer movements are built on an almost incessant pulse of sixteenth-notes. But for all its energy, this sonata never sounds forced or hurried. Throughout, it remains one of Beethoven's freshest and most graceful scores.

The very beginning of the Allegro assai sets the mood: quietly but suddenly the music winds up and leaps upward across nearly three octaves. It is a brilliant beginning, and Beethoven will make full use of the energy compressed into those three quick octaves. Almost instantly the flowing second theme is heard, and these two ideas—one turbulent, the other lyric—alternate throughout the movement before the music comes to a close made all the more effective by its sudden silence.

Beethoven marks the second movement Tempo di Minuetto, but specifies ma molto moderato e grazioso.

This is not the sort of minuet one might dance to, and the key signal is grazioso, for this is unusually graceful music.

The beginning is wonderful. The piano has the haunting main theme, while the violin accompanies. But the violin accompaniment has such a distinct character that it is almost as if Beethoven is offering two quite different themes simultaneously. Both ideas are part of the development, interrupted at times by other episodes before the quiet close: the main theme breaks down into fragments and vanishes in a wisp of sound. The concluding Allegro vivace is a perpetualmotion movement: the piano launches things on their way, and both instruments hurtle through the good-natured finale.

A second theme tries to establish itself but is quickly swept aside by the opening theme, which powers its way cheerfully forward. There are some nice touches along the way: at one point the music comes to a screeching stop, and then over the piano’s “oom-pah” rhythm Beethoven launches into the “wrong” key of E-flat, only to make his way back to a brilliant close in the home key of G major.

BOMSORI KIM AND PHILIP CHIU - PROGRAM NOTES

Selections from Six Pieces for Violin and Piano, Opus 79

JEAN SIBELIUS

Born December 8, 1865, Tavastehus, Finland Died September 20, 1957, Järvenpää, Finland Composed: 1915-17 Approximate Duration: 16 minutes

Sibelius had planned to make his career as a violinist, and while studying in Vienna he auditioned for the Vienna Philharmonic. His failure to secure a place in that great orchestra appears to have confirmed for him that his true path lay as a composer, and he set the violin aside. But he continued to compose for the instrument. Sibelius’ greatest work for violin is his Violin Concerto in D Minor of 1905, but he wrote small pieces for violin and piano throughout his life. In 1915, while World War I raged across Europe and the 50-year-old Sibelius was composing his mighty Fifth Symphony, he turned out several sets of miniatures for violin and piano, among them the Six Pieces, Opus 79.

These are very short pieces in a variety of styles, as their titles—in French, Italian, and German—make clear. There is an air of almost gypsy-like improvisation about the writing for violin here—it is full of starts and stops, sudden key shifts, and soaring melodies. On this recital, Ms. Kim plays the first, fifth, and sixth pieces. Souvenir opens with a florid introduction before its graceful main theme takes wing and drives to its climax. The Tanz-Idylle is another flowing dance, but the concluding Berceuse brings a surprise. A berceuse is traditionally a cradle-song in 6/8, but rather than rocking gently, this one is built on halting rhythms that block any sense of soothing motion. This is beautiful music, but it might not be a first choice to rock a baby to sleep.

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BOMSORI KIM AND PHILIP CHIU - PROGRAM NOTES

Polonaise Brillante in D Major, Opus 4

Sonata in G Major for Violin and Piano

Born July 10, 1835, Lublin, Poland Died March 31, 1880, Moscow Composed: 1852 Approximate Duration: 5 minutes

Born March 7, 1875, Ciboure, France Died December 28, 1937, Paris Composed: 1923-27 Approximate Duration: 18 minutes

HENRYK WIENIAWSKI

By all accounts, Henryk Wieniawski was one of the greatest violinists who ever lived, and his life reads like something out of a storybook account of what a prodigy should be: he entered the Paris Conservatory at age 8, won the first prize in violin at 11, was given a Guarnerius violin by the emperor, and made a brilliant—if brief—career as a virtuoso violinist. He toured throughout Europe but settled in St. Petersburg, where he was soloist for the czar and concertmaster of the court orchestra from 1860 until 1872.

In that last year, he and Russian pianist Anton Rubinstein embarked on a massive tour of the United States, giving 216 concerts in 245 days; when Rubinstein gave up and abandoned the tour, Wieniawski continued by himself, eventually reaching California. He returned to Europe to take a position teaching at the Brussels Conservatory; his death at 44 was the result of a weak heart and the stresses brought on by massive gambling debts.

One of Wieniawski's earliest works, the Polonaise in D Major has two purposes: to show off a violinist's brilliant technique and to please audiences (and audiences may know this piece under several different names: it is sometimes listed as Polonaise Brillante for Violin and Piano or Polonaise de concert). A polonaise was originally a stately and ceremonial Polish dance in triple time, but Wieniawski takes this ancient form from his homeland, accelerates it (his marking is Allegro maestoso), and turns it into a wild dance, full of fiendishly difficult violin-writing: it features wide skips across the range of the violin, artificial harmonics, octaves, flying spiccato thirds, and one passage in tenths (Wieniawski must have had huge hands). Something of this music’s mercurial character can be derived from Wieniawski’s performance markings in the score: virtually by measure he leaps between such markings as largamente, dolce, con bravura, grazioso, risoluto, con grazia, grandioso, con fuoco, and furioso. After all these fireworks, the Polonaise drives to the expected knock-out close.

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MAURICE RAVEL

Ravel began making sketches for his Violin Sonata in 1923, the year after he completed his orchestration of Mussorgsky’s Pictures at an Exhibition. He was composing a number of works for violin during these years, including Tzigane, but the Violin Sonata proved extremely difficult for him, and he did not complete it until 1927. The first performance, by violinist Georges Enesco and the composer, took place on May 30, 1927, in Paris while that city was still in a dither over the landing of Charles Lindbergh the week before.

In the Violin Sonata, Ravel wrestled with a problem that has plagued all who compose violin sonatas—the clash between the resonant, sustained sound of the violin and the percussive sound of the piano—and he chose to accentuate these differences: “It was this independence I was aiming at when I wrote a Sonata for violin and piano, two incompatible instruments whose incompatibility is emphasized here, without any attempt being made to reconcile their contrasted characters.” The most distinctive feature of the sonata, however, is Ravel’s use of jazz elements in the slow movement.

The opening Allegretto is marked by emotional restraint.

The piano alone announces the cool first theme, which is quickly picked up by the violin. A sharply rhythmic figure, much like a drum tattoo, contrasts with the rocking, flowing character of the rest of this movement, which closes on a quietly soaring restatement of the main theme.

Ravel called the second movement Blues, but he insisted that this is jazz as seen by a Frenchman. In a lecture during his American tour of 1928, he said of this movement: “while I adopted this popular form of your music, I venture to say that nevertheless it is French music, Ravel’s music, that I have written.” He sets out to make violin and piano sound like a saxophone and guitar, specifying that the steady accompanying chords must be played strictly in time so that the melodic line can sound “bluesy” in contrast. The “twang” of this movement is accentuated by Ravel’s setting the violin in G major and the piano in A-flat major at the opening.

Thematic fragments at the very beginning of the finale slowly accelerate to become a virtuoso perpetual motion.

Ravel brings back themes from the first two movements before the music rushes to its brilliant close, which features complex string-crossings for the violinist.

LA JOLLA MUSIC SOCIETY · 50TH ANNIVERSARY SEASON

BOMSORI KIM AND PHILIP CHIU - PROGRAM NOTES

Caprice after a Study in Form of a Waltz of Saint-Saëns, Opus 52, No. 6

EUGENE YSAŸE Born July 16, 1858, Liège, Belgium Died May 12, 1931, Brussels Composed: 1900 Approximate Duration: 9 minutes

Saint-Saëns began to play the piano at the age of two and quickly turned into a prodigy of breathtaking achievements: at age ten, following a concert at which he played Beethoven and Mozart piano concertos, he offered to perform any Beethoven sonata as an encore—by memory. He began composing for the piano at age three, and his earliest surviving music for that instrument dates from 1843, when he was eight; there followed a great deal more music for piano, with his final work appearing in 1921, when he was 86. These pieces are mostly short (significantly, there are no sonatas among them), and they are often in dance forms.

In 1877, when he was 42, Saint-Saëns wrote a series of studies for solo piano, which he called Six Etudes and published as his Opus 52. The last of these etudes is titled Caprice after a Study in the Form of a Waltz. Some years later, the great Belgian violinist-composer Eugene Ysaÿe made a transcription of this Caprice for violin and piano, and in the process created one of the great virtuoso pieces for violinists—Ysaÿe played this Caprice with great success throughout his career. In its original form, the Caprice is daunting enough for pianists, but Ysaÿe’s transcription is a textbook of virtuoso violin technique: it demands rapid passages in fingered octaves, flying spiccato double-stops, great leaps, left-hand pizzicatos, sustained writing in the violin’s highest register, double-stopped tremolandi, and so on. The Caprice begins in the character of dance music (the opening is marked Allegro di valse), but across the sustained span of this demanding work the music gradually accelerates to a powerful finish.

We hope you’ll DIG DEEPER INTO THE MUSIC by exploring our Education Program activities! We offer pre-concert lectures and interviews, master classes and workshops with artists, and so much more.

For more information please visit: LJMS.org/Free-Events Bomsori Kim's recordings are available on Warner Classics.

North American Representation: Kirshbaum Associates Inc. 711 West End Avenue, Suite 5KN New York, NY 10025 www.kirshbaumassociates.com L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8

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PRELUDE 7 PM Conversation with an artist hosted

by Molly Puryear

ALVIN AILEY® AMERICAN DANCE THEATER TUESDAY, MARCH 26, 2019 · 8 PM WEDNESDAY, MARCH 27, 2019 · 8 PM JACOBS MUSIC CENTER - COPLEY SYMPHONY HALL

Robert Battle artistic director

Tonight's performance is sponsored by:

Bebe and Marvin Zigman

La Jolla Music Society’s 50th Anniversary 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, Vail Memorial Fund, Thomas C. Ackerman Foundation, David C. Copley Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, Regents Bank, US 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, Bebe and Marvin Zigman, and an anonymous donor.

Masazumi Chaya associate artistic director

Please see insert for program and cast information.

ABOUT ALVIN AILEY® AMERICAN DANCE THEATER

Regarded as one of the world’s premier dance companies, Alvin Ailey American Dance Theater is a recipient of the National Medal of Arts and is recognized by a U.S. Congressional resolution as a vital American “Cultural Ambassador to the World.” Having performed in 71 countries on six continents for an estimated 23 million people worldwide— as well as millions more through television broadcasts—Alvin Ailey American Dance Theater continues to inspire and unite people of all backgrounds around the globe.

Exclusive Representation: Opus 3 Artists

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Alvin Ailey American Dance Theater last performed for La Jolla Music Society in the Dance Series on April 10, 2013.

LA JOLLA MUSIC SOCIETY · 50TH ANNIVERSARY SEASON

GEORGE HINCHLIFFE’S

UKULELE ORCHESTRA OF GREAT BRITAIN FRIDAY, MARCH 29, 2019 · 8 PM BALBOA THEATRE

La Jolla Music Society’s 50th Anniversary 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, Vail Memorial Fund, Thomas C. Ackerman Foundation, David C. Copley Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, Regents Bank, US 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, Bebe and Marvin Zigman, and an anonymous donor.

PERFORMERS Jonty Bankes Peter Brooke-Turner Will Grove-White Leisa Rea Ben Rouse Dave Suich Richie Williams George Hinchliffe, musical director Jodi Cartwright, manager Doug Beveridge, sound The program will be announced from the stage and will include songs where the orchestra will invite you to play-along.

There will be a 20-minute intermission.

Exclusive Management: ARTS MANAGEMENT GROUP, INC., 130 West 57th St., NY, NY 10019

George Hinchliffe’s Ukulele Orchestra of Great Britain last performed for La Jolla Music Society in a Special Event on December 17, 2016.

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BIOGRAPHIES Alvin Ailey® American Dance Theater

Alvin Ailey American Dance Theater grew from a now-fabled performance in March 1958 at the 92nd Street Y in New York City. Led by Alvin Ailey and a group of young African-American modern dancers, that performance changed forever the perception of American dance. The Ailey company has gone on to perform for an estimated 25 million people at theatres in 48 states and 71 countries on six continents—and has reached millions more online and through television broadcasts. In 2008, a U.S. Congressional resolution designated the Company as “a vital American cultural ambassador to the world” that celebrates the uniqueness of the African-American cultural experience and the preservation and enrichment of the American modern dance heritage. When Ailey began creating dances, he drew upon his "blood memories" of Texas, the blues, spirituals, and gospel as inspiration, which resulted in the creation of his most popular and critically acclaimed work, Revelations. Today, the Company continues Ailey's mission by presenting important works of the past and commissioning new ones. In all, more than 200 works by over 80 choreographers have been part of the Ailey company’s repertory.

Robert Battle, artistic director

Robert Battle became artistic director of Alvin Ailey American Dance Theater in July 2011 after being personally selected by Judith Jamison, making him only the third person to head the Company since it was founded in 1958. Battle has a long-standing association with the Ailey organization. A frequent choreographer and artist-in-residence at Ailey since 1999, he has set many of his works on Alvin Ailey American Dance Theater and Ailey II, and at The Ailey School. The Company’s current repertory includes his ballets The Hunt, No Longer Silent, and Awakening, a 2015 world première—his first since becoming artistic director.

Masazumi Chaya, associate artistic director

Masazumi Chaya was born in Fukuoka, Japan, where he began his classical ballet training. Upon moving to New York in December 1970, he studied modern dance and performed with the Richard Englund Repertory Company. Chaya joined Alvin Ailey American Dance Theater in 1972 and performed with the Company for 15 years. In 1988, he became the Company’s rehearsal director after serving as assistant rehearsal director for two years. A master teacher, both on tour with the Company and in his native Japan, he served as choreographic assistant to Alvin Ailey and John Butler. In 1991, Chaya was named associate artistic director of the Company.

Philip Chiu, piano

Noted by La Presse as “...a pianist-painter who turns every musical idea into a beautiful array of colors,” Philip Chiu is lauded for the brilliance, color and sensitivity of his playing. Dedicated to elevating the standard and art of collaborative piano, Chiu is the creator and director of the new Collaborative Piano Program at the Domaine Forget International Festival and Academy. He is an acclaimed collaborator and piano coach based at McGill University, and has been an invited professor and collaborator for the Conservatoire de musique de Montréal and l’Universite de Montréal.

Robert John Hughes, prelude presenter

Robert John Hughes is a journalist, broadcaster, musician, author, record producer. During his ownership at San Diego FM station, 102.1 KPRi, Hughes interviewed hundreds of musical artists including Sting, Adele, Don Henley and Glenn Frey (Eagles), Bonnie Raitt, B.B. King, Paul Simon, and Peter Gabriel. He is a record producer and member of the Recording Academy, known for its GRAMMY® Awards. Hughes created the five disk KPRi Live Tracks CD series that offered over 130 live performances recorded in his home studio and at KPRi studios and events.

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LA JOLLA MUSIC SOCIETY · 50TH ANNIVERSARY SEASON

BIOGRAPHIES

Jazz in the Key of Ellison

Jazz in the Key of Ellison is a concert production inspired by the musical life of America’s iconic writer Ralph Ellison, presented in music, words, and images. Ralph Ellison, acclaimed author of the National Book Award-winning novel Invisible Man, was an accomplished trumpeter who was close to many of the great jazz innovators of his lifetime—from Louis Armstrong and Duke Ellington to Charlie Parker and Thelonious Monk. The concert celebration premièred in November 2016 at New Jersey Performing Arts Center. This star-led evening of music and narration includes R&B and jazz vocalist Will Downing, iconic Labelle singer/recording artist Nona Hendryx, 2017 Sarah Vaughan International Jazz Vocal Competition winner Quiana Lynell, and GRAMMY®Award-winning trumpeter Nicholas Payton, with the Andy Farber Jazz Orchestra, plus additional special guest performers. Still images and video of Ellison, legendary performers including Louis Armstrong and Count Basie, and paintings by Ellison’s close friend Romare Beardon provide a visual backdrop.

Will Downing, vocals

With an almost unheard of 30-year career and twenty solo recordings as proof, it stands to reason music fans are nowhere near ready to vote Will Downing off the proverbial “island” where he continues to reign as the Prince of Sophisticated Soul. Downing’s voice is one of the most distinctive, loved, and instantly recognizable voices in R&B. His flawless, emotive, buttery-smooth and honey-toned baritone, along with his impeccable phrasing and jazz-fueled agile runs, seamlessly bridge the worlds of R&B and jazz.

Nona Hendryx, vocals

R&B and all-around Black-American female icon, Nona Hendryx is a celebrated vocalist, record producer, songwriter, musician, and author. Tackling social issues, love, and politics, Hendryx’s legendary career, which began as one of the founding members of Patti LaBelle & the Bluebelles and morphed into the groundbreaking group Labelle, now spans six decades.

Quiana Lynell, vocals

Winner of the 2017 Sarah Vaughn International Jazz Vocal Competition, Quiana Lynell infuses her classical training with her Southern gospel and blues upbringing to approach jazz as a storyteller. She is also passionate about her mentoring concert work with Terence Blanchard. With her debut album soon to be released by Concord Records, she is positioned to become one of the longstanding artists of jazz.

Nicholas Payton, trumpet

New Orleans-born trumpeter, keyboardist, singer, and composer Nicholas Payton is a dynamic performer, steeped in acoustic jazz and post-bop, whose music often explores genres beyond the confines of the jazz tradition. In 1997 he won the Best Jazz Instrumental Performance, Soloist, GRAMMY® Award. He became a founding member of the SFJAZZ Collective in 2004, and currently composes for and performs with TEN, a jazz trio featuring Payton, Esperanza Spalding, and Terri Lyne Carrington.

Andy Farber, bandleader, arranger, saxophone

Andy Farber is a saxophonist, composer, arranger, bandleader, and conductor who has performed each of these roles with the Jazz at Lincoln Center Orchestra with Wynton Marsalis. At Marsalis’ request, Farber assembled the Jazz at Lincoln Center All-Stars for the Tony-nominated Broadway musical After Midnight. The band is now the Andy Farber Jazz Orchestra, which backed Tony Bennett and Lady Gaga in their PBS special Cheek To Cheek Live.

Roxane Gay, narrator

Roxane Gay’s writing appears in Best American Mystery Stories 2014, Best American Short Stories 2012, Best Sex Writing 2012, Harper’s Bazaar, A Public Space, McSweeney’s, Tin House, Oxford American, American Short Fiction, Virginia Quarterly Review, and many others. She is a contributing opinion writer for The New York Times. She is the author of the books Ayiti, An Untamed State, the New York Times bestselling Bad Feminist, the nationally bestselling Difficult Women and New York Times bestselling Hunger: A Memoir of My Body. She is also the author of World of Wakanda for Marvel and the editor of Best American Short Stories 2018. She is currently at work on film and television projects, a book of writing advice, an essay collection about television and culture, and a YA novel entitled The Year I Learned Everything.

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BIOGRAPHIES

The Joffrey Ballet

Classically trained to the highest standards, The Joffrey Ballet expresses a unique, inclusive perspective on dance, proudly reflecting the diversity of America with its company, audiences, and repertoire, which includes major story ballets, reconstructions of masterpieces, and contemporary works. The Company’s commitment to accessibility is met through an innovative and highly effective education program, including the much-lauded Academy of Dance, Official School of The Joffrey Ballet, Community Engagement programs and collaborations with myriad other visual and performing arts organizations. Founded by visionary teacher Robert Joffrey in 1956, guided by celebrated choreographer Gerald Arpino from 1988 until 2007, The Joffrey Ballet continues to thrive under internationally renowned Artistic Director Ashley Wheater and Executive Director Greg Cameron.

Ashley Wheater, the Mary B. Galvin artistic director

Born in Scotland and raised in England, Wheater was trained at The Royal Ballet School. Wheater began his professional career with The Royal Ballet and danced at the London Festival Ballet, The Australian Ballet, The Joffrey Ballet, and San Francisco Ballet. In 1997, he became ballet master at San Francisco Ballet, and in 2002, assistant to the artistic director. In 2007, Wheater was appointed artistic director of The Joffrey Ballet. New work is the life blood of a company, and he has introduced numerous premières to the repertoire. In 2008, the Boeing Corporation recognized his commitment to community outreach and diversity in the world of dance, presenting him the “Game Changer” award. In 2010, Wheater, representing The Joffrey Ballet, was named Lincoln Academy Laureate, the highest honor presented by the State of Illinois. The Chicago Tribune selected Wheater as 2013 “Chicagoan of the Year” for his contributions to dance. In 2014, Wheater accepted the Chicago Spirit of Innovation Award for The Joffrey Ballet and in 2015, he received the University of Chicago Rosenberger Medal for Outstanding Achievement in the Creative and Performing Arts. He also serves as the Artistic Director of the Joffrey Academy of Dance, the Official School of The Joffrey Ballet.

Nicolas Blanc, ballet master/principal coach

Nicolas Blanc started his dance training in Montauban, France, continuing at the Academie de Danse Classique Princesse Grace in Monte-Carlo. After winning a scholarship in the 1994 Prix de Lausanne, he completed his education at the Paris Opera Ballet School. He went on to dance for Nice Opera Ballet, Deutsche Oper am Rhein in Dusseldorf, Zurich Ballet and San Francisco Ballet, where he was made Principal Dancer in 2004. In 2006 and 2007, he created two works for the trainees of San Francisco Ballet School. In 2010, he was nominated with Tina LeBlanc for an Isadora Duncan Dance Award. Blanc joined Scottish Ballet as Ballet Master in 2009 and has been Ballet Master with The Joffrey Ballet since 2011. In July 2014, Blanc received the choreographic award at IBC for his duet Rendez-vous. He created L’espace d’un Chapitre for a french dance festival in July 2013. It made its U.S. debut under the title Evenfall for The Joffrey Ballet during the 2015 Spring program. He was selected to participate to the 2015 National Choreographers Initiative (NCI) and created Orphee in 2015. In Fall 2015, he was chosen to participate in New York City Ballet’s (NYCB) New York Choreographic Institute where he created the work Mothership which premiered at NYCB’s 2016 Spring Gala. Blanc also created two works for Barak Ballet Tableaux Vivants in 2016 and Desert Transport in 2018.

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LA JOLLA MUSIC SOCIETY · 50TH ANNIVERSARY SEASON

BIOGRAPHIES

Bomsori Kim, violin

A native of South Korea, Bomsori Kim is a graduate of Seoul National University, where she studied with Young Uck Kim. She earned her Master of Music degree at The Juilliard School, where she is currently pursuing her Artist Diploma, as a full-scholarship student of Sylvia Rosenberg and Ronald Copes. With the support of Kumho Asiana Cultural Foundation, she currently plays on a 1774 violin

by Joannes Baptista Guadagnini. Winner of the 62nd ARD International Music Competition, Kim is internationally regarded as one of today’s most vibrant and exciting instrumentalists. A prize winner of such prestigious international violin competitions as the Tchaikovsky International Competition, the Queen Elisabeth Competition, the International Jean Sibelius Violin Competition, Joseph Joachim International Violin Competition Hannover, Montréal International Musical Competition, and Sendai International Music Competition, Kim received astonishing success at the 15th International Henryk Wieniawski Violin Competition, winning both Second Prize and Critic’s Prize, as well as nine additional special prizes. In 2017, Warner Classics released Kim's debut album with maestro Jacek Kaspszyk and the Warsaw Philharmonic Orchestra, featuring Wieniawski’s Violin Concerto No. 2 and Shostakovich’s Violin Concerto No. 1. The BBC Music Magazine praised Kim’s playing as “[with] centred tone and a strong rhythmic thrust,” and The Strad Magazine opined “I can’t remember when I last enjoyed this concerto so much.”

Seth Lerer, prelude presenter

Seth Lerer is Distinguished Professor of Literature and former Dean of Arts and Humanities at UC San Diego. He has published widely on topics ranging from the Middle Ages to science fiction, from children’s books to the history of English. A devoted amateur musician, he has studied piano and music history throughout his life. His most recent work has been on Shakespeare and music, and his book, Shakespeare’s Lyric Stage, has just been published by the University of Chicago Press.

Molly Puryear, prelude presenter

Molly Puryear brings passion for dance and nonprofit administration to her position as executive director of Malashock Dance. Puryear has worked with Malashock Dance since 2006, and previously served in the role of Education Director. She strategically aligns artistic and educational efforts to create a dynamic relationship between programs, the communities they serve, and the organization’s valuable funders.

Puryear is committed to serving the San Diego community through the development and administration of vibrant dance programs. She believes that dance is an avenue for personal expression that engages people from all walks of life.

PHOTO CREDITS: Cover: Alvin Ailey American Dance Theater’s J. Green and J. Roberts. Photo by Andrew Eccles; Pg. 15: W. Downing, N. Hendryx, N. Pay-ton, and Q. Lynell, all courtesy of Opus 3 Artists; Pg. 16: A. Schiff © Nadia Fro; Pg. 20 & 31: Joffrey artists. Photo by Cheryl Mann; Pg. 22 & 31: B. Kim © Kyutai Shim; Pg. 26 & 28: Alvin Ailey American Dance Theater’s S. Figgins and J. Bozeman. Photo by Andrew Eccles; Pg. 27 & 32: Ukulele Orchestra of Great Britain © Allison Burke; Pg. 28: R. Battle. Photo by Andrew Eccles, M. Chaya.

Photo by Andrew Eccles, P. Chiu courtesy of artist, R. J. Hughes courtesy of presenter; Pg. 29: Ralph Ellison courtesy of artist; Pg. 30: Joffrey artists V. Jaiani and F. Calmels. Photo by Cheryl Mann, A. Wheater. Photo by Cheryl Mann, N. Blanc. Photo by Cheryl Mann; Pg. 31: S. Lerer courtesy of presenter; M. Puryear courtesy of presenter; Pg. 32: A. Schiff © Sheila Rock; Pg. 33: R. Carter © Christopher Drukker, D. Liebman © David Ochoa, J. Green © Paul Kolnik, Y. Ma © Todd Rosenberg, J. Pizzarelli cour-tesy of artist; Back Cover: Ukulele Orchestra of Great Britain © Allison Burke.

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San Diego Youth Symphony and Conservatory

Under the leadership of President and CEO Dr. Michael Remson and Music Director Jeff Edmons, San Diego Youth Symphony and Conservatory (SDYS) instills excellence in the musical and personal development of students ages 7 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 of 2015, the San Diego Youth Symphony and its Musicians participated in their 18th International invitational Concert Tour, in honor of the 70th Anniversary of SDYS, performing concerts in the Forbidden City in Beijing, San Diego's Sister City Yantai, and a special 4th of July closing Concert at the Oriental Arts Center in Shanghai.

Sir András Schiff, piano

Sir András Schiff was born in Budapest, Hungary in 1953 and started piano lessons at the age of five with Elisabeth Vadász. Subsequently, he continued his studies at the Franz Liszt Academy with Professor Pál Kadosa, György Kurtág, and Ferenc Rados, and later in London with George Malcolm.

Recitals and special cycles, including the major keyboard works of J.S. Bach, Haydn, Mozart, Beethoven, Schubert, Chopin, Schumann, and Bartók, form an important part of his activities. Since 2004 he has performed complete cycles of the 32 Beethoven Sonatas worldwide and recorded the cycle live in the Tonhalle Zürich for ECM Records. An exclusive ECM recording artist, his recordings of works by Schubert, Schumann, Janáček, Beethoven, and Bach have been released to the highest of critical acclaim. The most recent album, Encores after Beethoven, was released in 2016: a collection of encores performed after his Beethoven Cycle programs. His newest recording, released in October 2017, includes sonatas for violin and piano by Bach, Busoni, and Beethoven with violinist Yūko Shiokawa. Sir András Schiff's book, Musik kommt aus der Stille, essays and conversations with Martin Meyer, was published in March 2017 by Bärenreiter and Henschel.

George Hinchliffe's Ukulele Orchestra of Great Britain

The Ukulele Orchestra of Great Britain is “sheer fun and outright daffiness tied to first-rate musicality and comic timing,” raves The New York Times. When The Ukulele Orchestra of Great Britain puts on a show, there are no drums, pianos, backing tracks, or electronic trickery. Instead, audiences can look forward to lots of catchy, foot-stomping tunes on ukuleles, a bit of comedy, and sheer fun. The orchestra is renowned for witty entertainment and novel interpretations of music and songs from across all genres. Expect anything from Tchaikovsky to Nirvana via Otis Redding, EDM and Spaghetti Western to go through the ukulele orchestra blender and emerge as a stomping, uplifting and thoughtprovoking show. The group is “virtuosic,” raves Guitar Magazine. Founded in 1985, the orchestra’s first gig instantly sold out. A working band, playing an “outsider” instrument, has become an international institution. The current group has been performing together more than 20 years, delivering standing-room-only concerts around the world. The ensemble has played at prestigious venues such as the Sydney Opera House, The Royal Albert Hall, and New York’s Carnegie Hall. They also had the honor to perform, by invitation of The Prince of Wales, at the private 90th birthday party of Her Majesty the Queen at Windsor Castle. The orchestra is “frighteningly talented and awesome!” proclaims Time Out magazine.

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LA JOLLA MUSIC SOCIETY · 50TH ANNIVERSARY SEASON

THANK YOU! The wonderful array of musical activity that La Jolla Music Society offers would not be possible without support from its family of donors. Your contributions to La Jolla Music Society help bridge the gap between income from ticket sales and the total cost to present the finest musicians and the best chamber music repertoire in San Diego. Your generosity also supports our programs in the local schools and throughout the community.

On the following pages La Jolla Music Society pays tribute to you, the leading players who make it possible to share the magic of the performing arts with our community.

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SE ASON SPONSORS Underwriters make it possible for La Jolla Music Society to showcase the greatest artists of our day in performances that thrill, inspire and unite our incredibly diverse audiences. We are profoundly grateful to our Season Sponsors who enable us to serve our community.

Conrad Prebys and Debra Turner Brenda Baker and Stephen Baum The Beyster Family Joan and Irwin Jacobs Joy Frieman

Thomas C. Ackerman Foundation

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

vail memorial fund

MEDIA PAR TNERS

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LA JOLLA MUSIC SOCIETY · 50TH ANNIVERSARY SEASON

Brian and Silvija Devine Gordon Brodfuehrer Jeanette Stevens Bebe and Marvin Zigman Anonymous

The Dow Divas

THANK YOU FOR YOUR SUPPOR T

FOUNDER

($250,000 and above)

ANGEL

($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

BENEFACTOR

Silvija & Brian Devine Susan & Bill Hoehn Steven & Sylvia Ré

Sheryl & Bob Scarano Haeyoung Kong Tang Bebe & Marvin Zigman

GUARANTOR

Anonymous Bob Barth & Nicole Frank Mary Ann Beyster Gordon Brodfuehrer Katherine & Dane Chapin Linda Chester & Ken Rind Julie & Bert Cornelison Anne Daigle Martha & Ed Dennis Barbara Enberg Jennifer & Kurt Eve Debby & Wain Fishburn Sarah & Michael Garrison Lehn & Richard Goetz Kay & John Hesselink

Sue & John Major Arlene & Lou Navias Robin & Hank Nordhoff Marina & Rafael Pastor Peter & Peggy Preuss Don & Stacy Rosenberg Marge & Neal Schmale Jeanette Stevens Twin Dragon Foundation Vail Memorial Fund Sue & Peter Wagener Clara Wu & Joseph Tsai Katrina Wu

($50,000 - $99,999)

($25,000 - $49,999)

We are grateful to all of our contributors who share our enthusiasm and passion for the arts. Please join them today and make a gift online at www.LJMS.org/donate or by contacting Ferdinand Gasang, Director of Development, at 858.459.3724, ext. 204 or FGasang@LJMS.org.

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THAN K YOU FOR YOU R SU PPOR T

SUSTAINER

AMBASSADOR

Anonymous (2) Ginny & Robert Black Wendy Brody Ric & Barbara Charlton Susan & Brian Douglass Sue & Chris Fan Brenda & Michael Goldbaum Angelina & Fredrick Kleinbub Lynelle & William Lynch Clifford Schireson & John Venekamp Maureen & Thomas Shiftan Shankar Subramaniam & Annamaria Calabro UC San Diego / Chancellor Pradeep Khosla Abby & Ray Weiss Carolyn Yorston-Wellcome & H. Bard Wellcome Lisa Widmier Dolly & Victor Woo

Anonymous (4) Anna Maria Abbott John Amberg Judith Bachner & Dr. Eric L. Lasley Carolyn Bertussi Bjorn Bjerede & Jo Kiernan Boretto + Merrill Consulting, LLCAngela Merill & Colleen Boretto George & Laurie Brady Johan & Sevil Brahme Dr. James C. & Karen A. Brailean Stuart & Isabel Brown Jian & Samson Chan Elaine & Dave Darwin Nina & Robert Doede Eleanor Ellsworth Jeane Erley Jill Esterbrooks & James Kirkpatrick Robbins Olivia & Peter Farrell Elliot & Diane Feuerstein Richard & Beverly Fink Sara & Jay Flatley Pam & Hal Fuson Buzz & Peg Gitelson Jeff Glazer & Lisa Braun-Glazer Michael Grossman & Margaret Stevens Grossman Rita & Mark Hannah Gail Hutcheson Theresa Jarvis & Ric Erdman Jan Ann Kahler William Karatz & Joan Smith Amy & William Koman Carol Lam & Mark Burnett Carol Lazier Arleen & Robert Lettas Richard J. Leung, M.D. Donna Medrea Marilyn & Stephen Miles Elaine & Doug Muchmore Pat & Hank Nickol

($15,000 - $24,999)

SUPPORTER ($10,000 - $14,999)

Anonymous Joan Jordan Bernstein Betty Beyster Karen & Don Cohn County of San Diego / Community Enhancement Program Monica Fimbres & Socorro Fimbres Hanna & Mark Gleiberman Keith & Helen Kim Vivian Lim & Joseph Wong Diane & Ron Mannix Jack McGrory & Una Davis Betty-Jo Petersen William Pitts & Mary Sophos Leigh P. Ryan Anna & Edward Yeung

($5,000 - $9,999)

Maria & Dr. Philippe Prokocimer Taffin & Gene Ray Catherine & Jean Rivier Ivor Royston & Colette Carson Royston Beverly Scarano Susan Shirk & Samuel Popkin Iris & Matthew Strauss Joyce & Ted Strauss Elizabeth Taft Mary & Bill Urquhart Gianangelo & Mera Vergani Margie & John H. Warner, Jr. Sheryl & Harvey White Hanna Zahran / Regents Bank

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

Anonymous Rusti Bartell Jim Beyster Benjamin Brand R. Nelson & Janice Byrne Trevor Callan / Callan Capital Lee Clark Bradley Comp & Christine Ellis-Comp David Cooper & Joanne Hutchinson Valerie & Harry Cooper Stacie & Michael Devitt Diana Lady & J. Lynn Dougan Mr. & Mrs. Ernie Dronenburg Mr. & Mrs. Michael Durkin Ruth & Ed Evans Beverly Frederick & Alan Springer Elaine Galinson & Herbert Solomon Dawn Gilman Lee & Frank Goldberg Jennifer & Richard Greenfield Reena & Sam Horowitz Joan Hotchkis Jeanne Jones & Don Breitenberg Lynda Kerr Sharon LeeMaster, CFRE Jeffrey & Sheila Lipinsky

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

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LA JOLLA MUSIC SOCIETY ¡ 50TH ANNIVERSARY SEASON

THAN K YOU FOR YOU R SU PPOR T

Sylvia & Jamie Liwerant Cindy & Jay Longbottom Kathleen & Ken Lundgren Mary Keough Lyman Patsy & David Marino Diane McKernan & Steve Lyman Gail & Ed Miller Hans & Ursula Moede Alexandra Morton Vicki & Art Perry William Purves & Don Schmidt Jessica & Eberhardt Rohm Sandra & Robert Rosenthal Doreen & Myron Schonbrun Tina Simner Leland & Annemarie Sprinkle Ronald Wakefield Mary Walshok Bill & Lori Walton Jo & Howard Weiner Faye Wilson

ASSOCIATE ($1,000 - $2,499)

Chris & Craig Andrews June Chocheles Drs. Anthony F. Chong & Annette Thu Nguyen Serge Falesitch Beverly Freemont Bryna Haber Ann Hill Lulu Hsu Roger & Tamara Joseph Dwight Kellogg Jeanne Larson Theodora Lewis Grace H. Lin Papa Doug Manchester Bill Miller & Ida Houby Dr. Sandra Miner Cynthia & George Mitchell Jill Porter John Renner Seltzer | Caplan | MacMahon | Vitek Pam Shriver Gerald and Susan Slavet Norma Jo Thomas Joseph and Mary Witztum

FRIEND

($500 - $999)

Anonymous Barry & Emily Berkov

LaVerne & Blaine Briggs Luc Cayet & Anne Marie Pleska Elizabeth Clarquist Dr. Ruth Covell George & Cari Damoose Caroline DeMar Douglas Doucette Paul & Clare Friedman Sally Fuller Carrie Greenstein Phil & Kathy Henry Paul & Barbara Hirshman Emmet & Holly Holden Nancy Hong Louise Kasch Helene K. Kruger Toni Langlinais Dr. Greg Lemke Lynda Fox Photography Jennifer Luce Sally & Luis Maizel Winona Mathews Ted McKinney Joel Mogy Ronald Simon Randall Smith Edward Stickgold & Steven Cande Susan Trompeter Yvonne Vaucher Suhaila White Olivia & Marty Winkler

ENTHUSIAST ($250 - $499)

Anonymous Sibille Alexander Lynell Antrim Nancy Assaf & George Wafa Rita Foegal Bell Stefana Brintzenhoff Marc Brown Candace Carroll Robert & Jean Chan Kathleen Charla Yau-Hung Chow Geoffrey Clow Marjorie Coburn Sharon L. Cohen Hugh Coughlin Edith & Edward Drcar Roccio & Mike Flynn Bruce Galanter Karol Galkowsky & Brian Worthington Russel Ginns

Carolyn Greenslate Dr. and Mrs. Jimmie Greenslate Richard Hsieh Ed & Linda Janon Julia & George L. Katz Gladys & Bert Kohn Las Damas de Fairbanks Katy McDonald Marion Mettler Dr. Chandra Mukerji Joani Nelson Aghdas Pezeshki Carol Plantamura Gustavo Romero Dr. Aron Rosenthal Paul Rotenberg Peter & Arlene Sacks Denise & Sydney Selati Patricia Shank Drs. Gloria & Joseph Shurman William Smith Bob Stefanko Eli & Lisa Strickland Monica & Richard Valdez Dr. & Mrs. Robert Wallace Terry & Peter Yang Debra Youssefi Bart Ziegler

COMMUNITY MUSIC CENTER Celebrating 20 Years!

La Jolla Music Society has operated the Community Music Center, a free afterschool music education program in Logan Heights, San Diego, since 1999. Each year, the program provides instruments and valuable instruction to more than 100 students.

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THAN K YOU FOR YOU R SU PPOR T

HONORARIA & MEMORIAL GIFTS In Honor of Gordon Brodfuehrer: Hugh Coughlin Richard & Katherine Matheron Jeanette Stevens

In Honor of Martha Dennis: Christine Andrews Mary Ann Beyster Karen & Jim Brailean Gordon Brodfuehrer Katherine & Dane Chapin Linda Chester & Kenneth Rind Ed Dennis Jendy Dennis Silvija & Brian Devine Thompson & Jane Fetter Joy Frieman Ferdinand Gasang Joan & Irwin Jacobs Sylvia & Steven Ré Stacy & Don Rosenberg Dolly & Victor Woo

In Memory of Dick Enberg: Marcia Asasi Brenda Baker & Steve Baum Christopher Beach & Wesley Fata Chris Benavides Allison Boles Gordon Brodfuehrer Sarah Campbell Elaine & Dave Darwin Jorena de Pedro Martha & Ed Dennis Leighann Enos Angelina Franco Joy Frieman Sarah & Michael Garrison Ferdinand Gasang Robert Gould Shannon Haider Phil & Kathy Henry Sue & Steve Hesse Susan & Bill Hoehn Joan Hotchkis Hilary Huffman Dr. and Mrs. Richard Kahler and Family Anthony LeCourt Stuart & Lisa Lipton Sue & John Major Papa Doug Manchester Joel Mogy Debra Palmer Marina & Rafael Pastor Sylvia & Steven Ré Leah Rosenthal Leigh P. Ryan

Sheryl & Bob Scarano Clifford Schireson & John Venekamp Marge & Neal Schmale Maureen & Tom Shiftan Pam Shriver Rewa Colette Soltan Sue & Peter Wagener Travis Wininger Corinne Wohlforth Hayley Woldseth Dolly & Victor Woo Katelyn Woodside

In Honor of May L. Hsieh: Yau-Hung Chow Richard Hsieh

In Memory of Lois Kohn: Ingrid Paymar

In Memory of Richard MacDonald: Ferdinand Gasang

In Honor of Maggie Meyer’s Birthday: Martha and Ed Dennis

In Honor of Betty-Jo Petersen: Chris Benavides

In Honor of Abby and Ray Weiss: Lynn Stern

In Memory of Carleton and Andree Vail: Vail Memorial Fund

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 Landon Akiyama at 858.459.3724, ext. 216 or LAkiyama@LJMS.org. This list is current as of October 31, 2018. Amendments will be reflected in the next program book in April 2019.

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LA JOLLA MUSIC SOCIETY · 50TH ANNIVERSARY SEASON

MEDALLION SOCIETY

CROWN JEWEL

TOPAZ

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 Drs. Lisa Braun-Glazer & Jeff Glazer Margaret and Michael Grossman Theresa Jarvis Angelina and Fred Kleinbub Elaine and Doug Muchmore Hank and Patricia Nickol Rafael and Marina Pastor Don and Stacy Rosenberg Leigh P. Ryan Neal and Marge Schmale Jeanette Stevens Elizabeth Taft Gianangelo and Mera Vergani Joseph Wong and Vivian Lim 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

EMERALD Arlene and Louis Navias

GARNET Julie and Bert Cornelison Peggy and Peter Preuss

SAPPHIRE Kay and John Hesselink Keith and Helen Kim

Listing as of October 31, 2018

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.

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DANCE SOCIETY

ARABESQUE

POINTE

PLIÉ

Ellise and Michael Coit June and Dr. Bob Shillman Jeanette Stevens Marvin and Bebe Zigman

Carolyn Bertussi Teresa O. Campbell Katherine and Dane Chapin

Stefana Brintzenhoff Rebecca Kanter Joani Nelson Elizabeth Taft

PIROUETTE

DEMI POINTE

Elaine Galinson and Herbert Solomon Annie So

Beverly Fremont Saundra L. Jones

Listing as of October 31, 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.

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

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LA JOLLA MUSIC SOCIETY · 50TH ANNIVERSARY SEASON

PL ANNED GIVING Anonymous (2) June L. Bengston* Joan Jordan Bernstein Bjorn Bjerede and Jo Kiernan 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

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

Elaine and Dave Darwin Teresa and Merle Fischlowitz Ted and Ingrid Friedmann Joy and Ed* Frieman Sally Fuller Maxwell H. and Muriel S. Gluck* Dr. Trude Hollander* Eric Lasley Theodora Lewis Joani Nelson Maria and Dr. Philippe Prokocimer Bill Purves Darren and Bree Reinig Jay W. Richen Leigh P. Ryan

Carolyn Yorston-Wellcome and H. Barden Wellcome Karl and Joan Zeisler Josephine Zolin

*In Memoriam Listing as of October 31, 2018

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.

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CORPOR A TE PAR TNERS

GUARANTOR

SUSTAINER

SUPPORTER

AMBASSADOR

AFICIONADO

ASSOCIATE

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 RSoltan@LJMS.org.

Listing as of October 31, 2018

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LA JOLLA MUSIC SOCIETY · 50TH ANNIVERSARY SEASON

FOUNDA TIONS Thomas C. Ackerman Foundation

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

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

Rancho Santa Fe Foundation: The Fenley Family Fund The Susan & John Major Fund The Oliphant Fund The Pastor Family Fund 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: 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 Vail Memorial Fund Thomas and Nell Waltz Family Foundation The John H. Warner Jr. and Helga M. Warner Foundation Sheryl and Harvey White Foundation

SERVING OUR COMMUNITY La Jolla Music Society reaches over 11,000 students and community members annually. LJMS works with students from more than 60 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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PUBLIC SUPPOR T La Jolla Music Society thanks all of our generous patrons and supporters– including government funding – who support our artistic, education and community engagement programs.

Support of our 50th Anniversary is provided by:

Thank you to The City of San Diego Commission for Arts and Culture for promoting, encouraging and increasing support for the region's artistic and cultural assets, integrating arts and culture into community life and showcasing San Diego as an international tourist destination.

The National Endowment for the Arts has awards grants to strengthen the creative capacity of our communities by providing opportunities for arts participation.

Thank you NEA for your commitment to make the arts a vital part of the lifeblood of this nation.

Support from the County of San Diego’s Community Enhancement Program is vital to our SummerFest programs. Thank you for supporting programs that promote and generate tourism and economic development in San Diego.

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Thank You! LA JOLLA MUSIC SOCIETY · 50TH ANNIVERSARY SEASON

L A JOLL A MUSIC SOCIETY’S COMMUNITY MUSIC CENTER Celebrating 20 years of Service to the Community!

For the past 20 years, La Jolla Music Society’s Community Music Center has given thousands of children their first experience in music-making.

Over 100 students from roughly 40 different elementary, middle, and high schools take part each year in our bilingual after-school music program located in San Diego’s Logan Heights neighborhood. The Community Music Center provides free instruments and instruction to all our students with group lessons three days each week for piano, violin, woodwind, brass, voice, guitar, and percussion. We’ve also expanded our program this year and now offer a fourth day of instruction focused on ensemble performance practice.

PLEASE JOIN US IN CELEBRATING THE COMMUNITY MUSIC CENTER’S 20TH ANNIVERSARY AT OUR SPRING RECITAL ON THE EVENING OF WEDNESDAY, MAY 15TH! To learn more about the Community Music Center and to support our Education Programs, please contact: Allison Boles, Education and Community Programming Manager 858.459.3724, ext. 221 or ABoles@LJMS.org.

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THE CONRAD PREBYS PERFORMING ARTS CENTER GRAND OPENING WEEKEND

APRIL 5, 6, and 7, 2019 OPENING WEEKEND CHAIRS Peggy Preuss Sue Wagener

HONORARY CHAIRS Brenda Baker and Steve Baum Joan and Irwin Jacobs Debbie Turner

JUBILEE CHAIRS Susan Hoehn Sheryl Scarano Debbie Turner

Individual Tickets and Sponsorship Packages are available.

To secure your tickets please contact Landon Akiyama LAkiyama@LJMS.org 858.459.3724 ext. 216

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BE PART OF OUR TH 50 ANNIVERSARY SEASON 46

LA JOLLA MUSIC SOCIETY · 50TH ANNIVERSARY SEASON

For 50 years, La Jolla Music Society has helped nurture a love of music by keeping one vision in mind: To present diverse programs of great music performed by the best musicians in the world. Today, that vision has reached beyond the intimate beauty of the chamber music ensemble and into new and diverse offerings such as orchestras, jazz ensembles, dance companies, and robust education programs.

This impressive growth has been carefully conducted by an active and highly committed volunteer board of directors and a dedicated staff. But most importantly, La Jolla Music Society’s progress has been sustained by the generosity of the community and ticket buyers.

We hope you, too, will join the La Jolla Music Society family and help present unforgettable performances in the concert hall, the classroom, and community spaces. Your financial support will enable LJMS to build on a long history of artistic excellence and community engagement. Through your patronage, you are setting the tone for the future. Your participation is critical to the success of our 50th Anniversary and for fifty more years to come.

JOIN OUR FAMILY LJMS.org/donate You can also speak to our Development Team at 858.459.3724, ext. 216 to make a gift.

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FEBRUARY

MARCH

JAZZ IN THE KEY OF ELLISON

THE JOFFREY BALLET

ALVIN AILEY AMERICAN DANCE THEATER

Saturday, February 16, 2019 · 8 PM

Friday, March 8, 2019 · 8 PM

Tuesday & Wednesday, March 26 & 27, 2019 · 8 PM

Balboa Theatre

Civic Theatre

Jacobs Music Center - Copley Symphony Hall

Jazz Series

SIR ANDRÁS SCHIFF Friday, February 22, 2019 · 8 PM Piano Series

Balboa Theatre

Dance Series

BOMSORI KIM, violin

Sunday, March 10, 2019 · 3 PM Discovery Series

The Auditorium at TSRI

UKULELE ORCHESTRA OF GREAT BRITAIN

Dance Series

UKULELE ORCHESTRA OF GREAT BRITAIN Friday, March 29, 2019 · 8 PM Special Event Balboa Theatre

L JMS.ORG · 8 5 8.4 59.3728