Page 1






April 5, 6, and 7, 2019

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


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



Discovery Series

Special Event

The Auditorium at TSRI

The Baker-Baum Concert Hall



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



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


Thursday, April 18, 2019 · 8 PM

Friday, March 8, 2019 · 8 PM

Balboa Theatre



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



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



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


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



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



LA JOLLA MUSIC SOCIETY STAFF 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 L. Baum Gordon Brodfuehrer Wendy Brody Ric Charlton Linda Chester Brian Douglass Debby Fishburn Sarah Garrison Lehn Goetz Susan Hoehn Lynelle Lynch Sue Major Robin Nordhoff Peggy Preuss

2 13 14 16 20 22 25 30 35


Sylvia Ré Jeremiah Robins Donald J. Rosenberg Sheryl Scarano Clifford Schireson Marge Schmale Maureen Shiftan Jeanette Stevens Shankar Subramaniam Haeyoung Kong Tang Debra Turner Lisa Widmier Clara Wu Katrina Wu

Chris Benavides – Director of Finance Debra Palmer – Executive Assistant and Board Liaison Anthony LeCourt – Administrative Assistant and Rental Coordinator PROGRAMMING

Leah Rosenthal – Director of Programming Allison Boles – Education and Community Programming Manager Sarah Campbell – Programming Coordinator Serafin Paredes – Director of Community Music Center Xiomara Pastenes – Community Music Center Administrative Assistant Marcus Cortez – Community Music Center Piano Instructor Armando Hernandez – Community Music Center Guitar Instructor Cesar Martinez – Community Music Center Percussion Instructor Michelle Maynard – Community Music Center Woodwind Instructor Eduardo Ruiz – Community Music Center Brass Instructor Rebeca Tamez – Community Music Center String Instructor Eric Bromberger – Program Annotator DEVELOPMENT


Brenda Baker Stephen L. 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.

Ferdinand Gasang – Director of Development Rewa Colette Soltan – Business Development and Event Manager 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 Jonnel Domilos – Piano Technician Erica Poole – Page Turner LEGAL COUNSEL

Paul Hastings LLP AUDITOR


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

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



Conversation with an artist hosted by Robert John Hughes

Tonight’s concert 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.

Jazz at Lincoln Center's commissioning of Spaces was made possible, in part, by a leadership gift from Jody and John Arnhold and a generous grant from the Howard Gilman Foundation.

Brooks Brothers is the official clothier of the Jazz at Lincoln Center Orchestra with Wynton Marsalis. Visit us at Become our fan on Facebook: Follow us on Twitter: Watch us on YouTube:



PROGRAM There will be a 20-minute intermission.

Wynton Marsalis, music director, trumpet Ryan Kisor, trumpet Kenny Rampton, trumpet Marcus Printup, trumpet Vincent Gardner, trombone Chris Crenshaw, trombone Elliot Mason, trombone Sherman Irby, alto & soprano saxophones, flute, clarinet Ted Nash, alto & soprano saxophones, flute, clarinet Victor Goines, tenor & soprano saxophones, clarinet, bass clarinet Greg Tardy, tenor & soprano saxophones, clarinet Paul Nedzela, baritone & soprano saxophones, bass clarinet Dan Nimmer, piano Carlos Henriquez, bass Charles Goold, drums



ABOUT SPACES Wynton Marsalis' Spaces combines modern dance with big band jazz in a playful and wildly entertaining exploration of the animal kingdom. Originally performed in New York (to sold-out crowds) in 2016, this visually captivating Jazz at Lincoln Center Orchestra with Wynton Marsalis production now embarks on a limited tour. Each of Spaces’ ten movements corresponds to a different animal, from “King Lion” to “Bees, Bees, Bees,” offering a dazzling array of sights and sounds that express the diversity, humor, and quirky majesty found in nature. The same two singular dance geniuses from the Spaces première—Lil Buck and Jared Grimes—reprise their roles, leaping, sliding, flipping, and tap dancing across the stage. Lil Buck is a groundbreaking young dancer who has performed with Yo-Yo Ma, Madonna, the New York City Ballet, and Cirque du Soleil. Grimes is a versatile tap dancer who has won the Astaire Award, choreographed for multiple Broadway shows and Cirque Du Soleil, and performed internationally with artists ranging from Wynton Marsalis and Gregory Hines to Mariah Carey and The Roots. Damian Woetzel, choreographer and retired Principal Dancer with the New York City Ballet, returns as director and choreographic consultant, seamlessly integrating the dance with Marsalis’ musical compositions. Spaces is a one-of-a-kind collaboration that is both an ode to the glory of nature and an extraordinary display of human achievement.

Jazz at Lincoln Center Orchestra with Wynton Marsalis last performed for La Jolla Music Society in the Jazz Series on October 6, 2016. This performance marks Lil Buck and Jared Grimes’ La Jolla Music Society debut. L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8



Music and Image Lecture by Seth Lerer What do we see when we listen to music? The fantasies of Bach, Schubert, and Chopin are not just formal experiments. They are evocations of experience. Bach, even at his most secular, always had the architecture of the Church in mind. Schubert lived to wander in the wilderness. Chopin worked with artists, poets, and performers who contributed to his visual sensibility. Mussorgsky translates pictures into pianism. This is a program that invites us not just to listen, but to see.

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.

Mr. Cho records exclusively for Deutsche Grammophon More information on Seong-Jin Cho can be found at Management for Seong-Jin Cho: Primo Artists, New York, NY



BACH Chromatic Fantasy and Fugue in D Minor, BWV 903 (1685-1750)

SCHUBERT Fantasy in C Major, D.760 “Wanderer Fantasy” (1797-1828)

CHOPIN Polonaise-fantaisie in A-flat Major, Opus 61 (1810-1849)


MUSSORGSKY Pictures at an Exhibition (1839-1881) Promenade Gnomus Promenade Il Vecchio Castello Promenade Tuileries Bydlo Promenade Ballet of the Chicks in Their Shells Two Polish Jews, One Rich, the Other Poor Promenade Limoges, The Market Place Catacombae, Sepulcrum Romanum Cum Mortuis in Lingua Mortua The Hut on Fowl’s Legs (Baba-Yaga) The Great Gate of Kiev Seong-Jin Cho last performed for La Jolla Music Society in the Discovery Series on February 26, 2017.



Program notes by Eric Bromberger

Chromatic Fantasy and Fugue in D Minor, BWV 903

JOHANN SEBASTIAN BACH Born March 21, 1685, Eisenach, Germany Died July 28, 1750, Leipzig Composed: 1717-23 Approximate Duration: 12 minutes

In December 1717, Bach left his position in Weimar to become kapellmeister in Cöthen to Prince Leopold, a musiclover who encouraged him to write instrumental music. During his Cöthen years (1717-23), Bach wrote a number of works for the keyboard (which means for the harpsichord), including Book I of The Well-Tempered Clavier and a series of short pedagogic pieces for his children and students. It was during these same years, probably about 1720, that Bach composed his Chromatic Fantasy and Fugue in D Minor. Those who think of Bach as the “safe” composer of church music and preludes and fugues intended for didactic purposes will have that conception mauled by the Chromatic Fantasy and Fugue. This is wild music—daring, powerful, expressive, brilliant. Bach may initially set this music in D minor, but the chromatic freedom of his writing often dissolves any sense of a stable home key, and there are moments of dissonance in this music that can still surprise the ear centuries after it was written. Bach assumes that many decisions will be left to the performer. There are no tempo markings and few dynamic indications, and he leaves chords to be arpeggiated and resolved at the performer’s discretion—this music can be a very different experience in the hands of each performer. The term Fantasia implies a freedom of form, and in fact the opening section of the Chromatic Fantasy should suggest the effect of improvisation, with its great swirls and free flights. This is virtuoso music, with rapid exchanges between the hands and brilliant runs. After this opening flourish, Bach proceeds to a section he marks Recitative in the score: here the pulse feels slower, and the free flights of the opening give way to chords, trills, and complex rhythms that can suddenly erupt into the free manner of the opening. The ending of this section is extraordinary: over a series of twelve descending—and quite dissonant—chords in the left hand, the right hand offers a fragmentary and subdued final statement before the section resolves firmly on a D-major chord. The Fugue returns to D minor, and Bach builds it on a long subject that rises sinuously and chromatically in its original statement. The fugue is in three voices, and textures remain quite clear—this fugue shows Bach the contrapuntalist at the height of his powers. After the measured conclusion of the Fantasy, the fugue moves at a much quicker pulse. Once again, this is music that demands a virtuoso performer, and—once again—it drives to a close in D major.

Fantasy in C Major, D.760 “Wanderer Fantasy”

FRANZ SCHUBERT Born January 31, 1797, Vienna Died November 19, 1828, Vienna Composed: 1822 Approximate Duration: 21 minutes

In the fall of 1822, Schubert set to work on a new symphony. He completed the first two movements and began a scherzo, but then became interested in writing an extended work for solo piano and set the symphony aside. He completed the piano work in November 1822, and it was published the following February; he never returned to the symphony, and it is known to us today as the Unfinished Symphony. The piano piece has taken the name Wanderer Fantasy, for it is based in part on Schubert’s song Der Wanderer, composed in 1819. The Wanderer Fantasy is in one long movement—about 21 minutes in length—that falls into four sections. While the title “fantasy” may imply a lack of attention to form, exactly the reverse is true here—there are unusual thematic and rhythmic connections between the four sections, so that this music is tightly disciplined throughout. It is also extremely difficult to perform. The Wanderer Fantasy has been called the first of Schubert’s mature compositions for the piano, and in fact it was too difficult even for its creator. Schubert is reported to have given up during a performance of this music and to have stormed away from the piano, exclaiming in frustration: “The devil may play this stuff! I can’t!” The brilliance and difficulty of this music have made it a great favorite of virtuoso pianists. Franz Liszt admired and frequently performed the Wanderer Fantasy, and its cyclic structure of interconnected movements had a strong influence on his own music. The opening provides the basic dactylic pulse that will recur throughout the Fantasy. This steady, pounding rhythm will return in many forms; in this opening section, it repeats frequently, and some of these repetitions are brilliant, generating a vast volume of sound. The second section (there are no pauses between the different sections) quotes a fragment of Schubert’s song Der Wanderer at a very slow tempo and then offers a series of variations on it. Again, these variations grow increasingly brilliant before this section subsides to end quietly. The third section, playful and fast, is built upon a dotted rhythm that now begins to dominate the music—this dancing rhythm will reappear in several other themes in this carefree interlude. The final section brings back the theme that opened the Fantasy, but now that rhythmic figure is treated fugally, and this impressive music powers its way to a dramatic conclusion. L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8



Polonaise-fantaisie in A-flat Major, Opus 61

Pictures at an Exhibition

Born February 22, 1810, Żelazowa Wola, Poland Died October 17, 1849, Paris Composed: 1845-46 Approximate Duration: 13 minutes

Born March 21, 1839, Karevo, Russia Died March 28, 1881, St. Petersburg Composed: 1874 Approximate Duration: 32 minutes


Written in 1845-46, the Polonaise-fantaisie is one of Chopin’s final works—and one of his most brilliant. A polonaise is a national Polish dance in triple time, characterized by unusual rhythmic stresses; the fact that it is usually at a moderate rather than a fast tempo gives the polonaise a more stately character than most dance forms. Many composers have written polonaises, but the fourteen of Chopin remain the most famous, and some feel that this distinctly Polish form allowed Chopin an ideal channel for his own strong nationalist feelings during his exile in Paris. The polonaise is usually in three parts: a first subject, a contrasting middle section, and a return of the opening material. The Polonaise-fantaisie keeps this general pattern but with some differences: Chopin writes with unusual harmonic freedom and incorporates both themes into the brilliant conclusion—doubtless he felt that he had reshaped the basic form so far that it was necessary to append the “fantaisie” to the title. The Allegro maestoso introduction is long and rather free, while the first theme group—in A-flat major—is remarkable for the drama and virtuosity of the writing. This makes the quiet middle section, in the unexpected key of B major and marked Poco più lento, all the more effective: a chordal melody of disarming simplicity is developed at length before the gradual return of the opening material. The final pages are dazzling—Chopin combines both themes and at one point even makes one of the accompanying figures function thematically as the Polonaise-fantaisie winds down to its powerful final chord.



In the summer of 1873, Modest Mussorgsky was stunned by the sudden death of his friend Victor Hartmann, an architect and artist who was then only 39. The following year, their mutual friend Vladimir Stassov arranged a showing of over 400 of Hartmann’s watercolors, sketches, drawings, and designs. Inspired by the exhibition and the memory of his friend, Mussorgsky set to work on a suite of piano pieces based on the pictures and wrote enthusiastically to Stassov: “Hartmann is bubbling over, just as Boris did. Ideas, melodies, come to me of their own accord, like the roast pigeons in the story—I gorge and gorge and overeat myself. I can hardly manage to put it all down on paper fast enough.” He worked fast indeed: beginning on June 2, 1874, Mussorgsky had the score complete three weeks later, on June 22, just a few months after the première of Boris Godunov. The finished work, which he called Pictures at an Exhibition, consists of ten musical portraits bound together by a promenade theme that recurs periodically—Mussorgsky said that this theme, meant to depict the gallery-goer strolling between paintings, was a portrait of himself. Curiously, Pictures spent its first half-century in obscurity. It was not performed publicly during Mussorgsky’s lifetime, it was not published until 1886 (five years after its composer’s death), and did not really enter the standard piano repertory until several decades after that: the earliest recording of the piano version did not take place until 1942. Even early listeners were struck by the “orchestral” sonorities of this piano score, and in 1922 conductor Serge Koussevitzky asked Maurice Ravel to orchestrate it. Koussevitzky gave the first performance of Ravel’s version at the Paris Opera on October 19, 1922, and it quickly became one of the most popular works in the orchestral repertory. This recital offers the rare opportunity to hear this familiar music performed in its original version. The opening Promenade alternates 5/4 and 6/4 meters; Mussorgsky marks it “in the Russian manner.” The Gnome is a portrait of a gnome staggering on twisted legs; the following Promenade is marked “with delicacy.” In Hartmann’s watercolor The Old Castle, a minstrel sings before a ruined castle, and his mournful song rocks along over an incessant G-sharp minor pedal. Tuileries is a



watercolor of children playing and quarreling in the Paris park, while Bydlo returns to Eastern Europe, where a heavy ox-cart grinds through the mud. The wheels pound ominously along as the driver sings; the music rises to a strident climax as the cart draws near and passes, then diminishes as the cart moves on. Mussorgsky wanted the following Promenade to sound tranquillo, but gradually this Promenade takes on unexpected power. The Ballet of the Unhatched Chicks depicts Hartmann’s costume design for the ballet Trilby, in which these characters wore eggshaped armor—Mussorgsky echoes the sound of the chicks with chirping gracenotes. “I meant to get Hartmann’s Jews,” said Mussorgsky of Two Polish Jews, One Rich, One Poor, often called by Mussorgsky’s later title Samuel Goldenberg and Schmuyle. This portrait of two Polish Jews in animated conversation has the rich voice of Goldenberg alternating with Schmuyle’s rapid, high speech. Listeners who know Pictures only in the Ravel orchestration will be surprised to find this movement followed by another Promenade; Ravel cut this from his orchestral version, which is a pity, because this appearance of the Promenade brings a particularly noble incarnation of that theme. The Marketplace at Limoges shows Frenchwomen quarreling furiously in a market, while Catacombs is Hartmann’s portrait of himself surveying the Roman catacombs by lantern light. This section leads into Cum Mortuis in Lingua Mortua: “With the dead in a dead language.” Mussorgsky noted of this section: “The spirit of the departed Hartmann leads me to the skulls and invokes them: the skulls begin to glow faintly”; embedded in this spooky passage is a minor-key variation of the Promenade theme. The Hut on Fowl’s Legs shows the hut (perched on hen’s legs) of the vicious witch Baba Yaga, who would fly through the skies in a red-hot mortar—Mussorgsky has her fly scorchingly right into the final movement, The Great Gate of Kiev. Hartmann had designed a gate (never built) for the city of Kiev, and Mussorgsky’s brilliant finale transforms the genial Promenade theme into a heaven-storming conclusion. 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:

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



Conversation with an artist hosted by Molly Puryear


PROGRAM There will be no intermission.

The performance by Pilobolus 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.

Major support for Pilobolus Artistic Programming provided by the National Endowment for the Arts, which believes that a great nation deserves great art, by The Shubert Foundation, and by the American Dance Festival.

SHADOWLAND was created by Steven Banks, Robby Barnett, Renée Jaworski, Matt Kent Itamar Kubovy, Michael Tracy

in collaboration with original cast members Josie Coyoc, Mark Fucik, Molly Gawler Christopher Grant, Damon Honeycutt, Beth Lewis Roberto Olvera, Derek Stratton, Lauren Yalango

Original Music by: David Poe Lighting Design by: Neil Peter Jampolis Set Design by: Neil Patel Costume Design by: Liz Prince Performed by: Nathaniel Buchsbaum, Krystal Butler, Isabella Diaz, Zachary Eisenstat, Quincy Ellis, Heather Favretto, Ariana Nakamine, Justin Norris, Jacob Michael Warren




Director of Production: Anna Bate Production Stage Manager: Kasson Marroquin Lighting Supervisor: Yannick Godts


ABOUT SHADOWLAND Shadowland combines multimedia, projected shadow play, and front-of-screen choreography in a wild evening of storytelling that is uniquely Pilobolus. The first shadow theater event of its kind to tour the globe, Pilobolus has performed Shadowland in 32 countries throughout Europe, Asia, Australia, and The Americas where it has be seen by more than 1,000,000 fans. Pilobolus pioneered this new form of shadow theater in advertisements for Hyundai and at the 79th Annual Academy Awards where it performed, through shadow, iconic images of the films nominated for Best Picture. Shadowland is a natural evolution of Pilobolus’s ground breaking experiments in shadow creation. Developed in 2009 by Pilobolus’s directors and dancers in collaboration with the lead writer for SpongeBob SquarePants, Steven Banks, and with music by American musician, producer, and film composer David Poe, Shadowland is a universal and intimately portrayed experience that is both intensely dramatic and comedic.

THE STORY Night. A teenage girl prepares for bed. As she falls asleep, the wall of her room mysteriously starts to spin, trapping her on the other side—a transfigured body stuck in the land of shadows. Unable to escape, the girl sets off on a journey of discovery. Strange creatures appear along the way—at once comic and evil, threatening and seductive. With Pilobolus’s acrobatic movement, the humor of cartoons, and the heart of a love story, Shadowland celebrates the power of dreams to help us discover who we’re born to be.

PILOBOLUS STAFF Executive Producer: Itamar Kubovy Co-Artistic Directors: Renée Jaworski, Matt Kent Charter Artistic Directors: Robby Barnett, Michael Tracy General Manager / CFO: Daniel Ordower Senior Company Manager: Kirsten Leon

Education & Community Engagement Manager: Emily Kent Dance Captains: Heather Jeane Favretto and Jacob Michael Warren Marketing Manager: Brigid Pierce Administrative Coordinator: Kayla Prata Éminence Grise: Neil Peter Jampolis

Exclusive North American Representation: IMG Artists 7 West 54th Street New York, NY 10019 Phone: 212.994.3500 · Fax: 212-994-3550 General inquiries: 860-868-0538 · Shadowland Tour Marketing and Publicity: C Major Marketing, Inc.

Find us on our social media feeds: instagram/Pilobolus twitter/Pilobolus #pilobolus

Pilobolus last performed for La Jolla Music Society in the Dance Series on January 14, 2012. L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8



Short Forms Lecture by Seth Lerer

Robert Schumann could make a world in a few bars. He helped establish the Romantic tradition of the short form, and he often brought his little pieces together into albums of imagination. His music is populated by figures from his own fantasy: versions of himself in exultation or in brooding. From Schumann, composers such as Janáĉek and Bartók learned to take little lyrics and facet them into colorful assemblies of desire, loss, and hope. This is an evening of small spaces holding great emotions.


SCHUMANN Three Romances, Opus 28 (1810-1856) No. 1 in B-flat Minor No. 2 in F-sharp Major No. 3 in B Major JANÁĈEK On an Overgrown Path, Book I (1854-1928) Our Evenings A Blown-Away Leaf Come with Us! The Madonna of Frýdek They Chattered like Swallows

Words Fail Good-Night! Unutterable Anguish In Tears The Barn Owl Has Not Flown Away!

I N T E R M I S S I O N BARTÓK Three Burlesques, Opus 8, Sz.47 (1881-1945) Presto (Quarrel) Allegretto (A Bit Drunk) Molto vivo, capriccioso 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. Mr. Andsnes appears by arrangement Enticott Music Management in association with IMG Artists. Mr. Andsnes records exclusively for SONY Classical.


SCHUMANN Carnaval, Opus 9 Préambule Papillons Valse allemande Pierrot ASCH-SCHA Intermezzo: Paganini Arlequin (Lettres dansantes) Aveu Valse noble Chiarina Promenade Eusebius Chopin Pause Florestan Estrella Marches des Davidsbündler Coquette Reconnaissance contre les Philistins Réplique Pantalon et Colombine Leif Ove Andsnes last performed for La Jolla Music Society in the Piano Series on October 11, 2003.



Program notes by Eric Bromberger

Three Romances, Opus 28

ROBERT SCHUMANN Born June 8, 1810, Zwickau, Germany Died July 29, 1856, Endenich, Germany Composed: 1839 Approximate Duration: 13 minutes

One of the most painful episodes in the life of Robert and Clara Schumann came before they were married. Her father, Friedrich Wieck, had no intention of allowing his daughter—whom he had trained to the point where she was one of the foremost pianists in Europe—to marry a struggling (and sometimes erratic) young composer. He did everything in his power to block that marriage, and his actions were frankly vicious: he accused Schumann of drunkenness, he tried to force the couple to sign an agreement that would turn over much of their income to him, he refused to show up at court dates and when he finally did show up at one of these, he became so belligerent that he had to be silenced. Matters came to a head during the second half of 1839, shortly after Schumann had returned from Vienna, when he became so disturbed by Wieck’s attacks that he was almost unable to compose. One of the few bright spots in this bleak period was his set of Three Romances, composed in the fall of 1839 and published in 1840, the year Robert and Clara were finally married. A romance is not a specific musical form—it is more an indication of atmosphere, usually a gentle and expressive one—and each of these three romances has a different structure. No. 1 in B-flat Minor is in ternary form: the rippling triplets in the left hand continue throughout, with an impetuous outer section framing a more lyric central episode. No. 2 in F-sharp Major is the most famous of the set. Schumann writes much of it on three staves, and in the opening episode the lovely main theme is presented as a duet of the pianist’s thumbs, while the outer fingers accompany. This gentle melody then repeats, and the presentation grows more complex as it proceeds to the quiet close. The pedagogue Ernest Hutcheson is extravagant in his praise of this short romance, calling it “one of Schumann’s most endearing pieces, a perfect gem of poesy.” Longest of the set, No. 3 in B Major is sectional in form. The bouncy, staccato opening functions somewhat like a rondo tune, returning as a refrain between the many episodes. These run through a wide range of expression, from dark to innocent, and after all this energy the music finally draws to a subdued close.

On an Overgrown Path, Book I


Born July 3, 1854, Hukvaldy, Czech Republic Died August 12, 1928, Moravská Ostrava, Czech Republic Composed: 1911 Approximate Duration: 29 minutes

Leoš Janáĉek had the strangest career of any major composer (and increasingly he is being recognized as one of the major composers of the last century). Perhaps its most curious feature is that at age 60 Janáĉek was utterly unknown except to a small circle of musicians in Moravia, who thought of him as a choir director who had had one opera—Jenůfa— produced in a small provincial opera house. The miraculous explosion of work over the final decade of Janáĉek’s life would be triggered by his falling passionately (if platonically) in love with a young married woman, Kamila Stösslová, who became the inspiration for everything Janáĉek wrote during that final decade. Then the music poured out of him at white heat: four operas, Glagolitic Mass, Sinfonietta, two string quartets, and many other works, much of this inspired by Janáĉek’s keen sense of the wrongs done women by society. Janáĉek’s own domestic situation, however, was painful. He had married his wife when she was only 15, and it did not prove a happy union. The couple had two children: a son, Vladimir, who died of scarlet fever at two, and a daughter, Olga, who died just before her 21st birthday, as her father was completing Jenůfa. In the first decade of the 20th century—as his daughter died and he worked on the opera—Janáĉek was also composing for the keyboard. Between 1901 and 1908 he produced a series of short pieces for piano and harmonium, and in 1911 he gathered ten of these and published them as On an Overgrown Path. The exact meaning of Janáĉek’s title is uncertain. Some feel that it refers to memories of childhood as recalled by an adult: one moves in life along a path that gradually is grown over behind him, separating him from the world of the child. These short pieces recall scenes from youth, with children dancing or at play. The mood is gentle, nostalgic, sometimes sad, and several of the movements seem to spring directly from the experience of Olga’s death, with titles like Unutterable Anguish and In Tears. Even the movements not associated with death are tinged with a sort of melancholy, as Janáĉek looks back—from beyond the path— on the world of childhood innocence. The ten movements require little comment, and Janáĉek’s evocative titles are clearly intended to evoke a personal response from listeners. A few notes: Come with Us!, built on polka rhythms, suggests children dancing, while the pianist Rudolf Firkusny (a student of Janáĉek) said of The Madonna of Frýdek: “In this piece you can hear the pilgrims L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8



approaching in the opening quiet chords, then a shepherd plays Carnaval, Opus 9 a tune—Janáĉek said it should be played fast and with no sentimentality and is totally unaffected by the pilgrims, who Composed: 1834-35 continue to pass.” The somber Good Night! may be one of the Approximate Duration: 28 minutes movements inspired by Olga’s death. In 1834, when Schumann was a young piano student living Three Burlesques, Opus 8, Sz.47 with his teacher Friedrich Wieck and Wieck’s fifteen-year-old daughter Clara, another piano student—seventeen-year-old Ernestine von Fricken—became a member of the household. Born March 25, 1881, Nagyszentmilkos, Hungary Though he had been infatuated with Clara for some time, Died September 25, 1945, New York City Composed: 1912 Schumann promptly fell in love with Ernestine, and the two Approximate Duration: 6 minutes were secretly engaged. Over the next year—and under the spell of the two young women—Schumann wrote Carnaval, As he approached his 30th birthday in 1911, Bartók’s life his first major success and one of his most engaging works. underwent a number of changes. He developed a reputation as Carnaval is a collection of twenty-one brief pieces, each a virtuoso pianist and needed pieces to perform on his recitals. with a title. Schumann subtitled the work Scenes mignonnes He became passionately interested in the folk music of Eastern sur quatre notes (“Miniature scenes on four notes”), and Europe, and the idiom of those folk melodies and rhythms the four notes are A-S-C-H (S is E-flat in German notation; began to enter his own music. And in the fall of 1909, he H is B). The city of Asch was Ernestine’s hometown, and married one of his piano students, Márta Ziegler. All of these Schumann was delighted to learn that those four letters were events helped produce his Three Burlesques, a set of brief also the letters of his surname with musical equivalents—to his piano pieces that Bartók published in 1912. love-fired imagination, this was a significant coincidence. Of In music, the term burlesque refers not to a form but the pieces in Carnaval, all but two are based on some sequence to attitude—it suggests music that can be funny, satiric, of the four notes A-E-flat-C-B. Partway through the score, or mocking. Usually it involves a degree of edginess, and in fact, Schumann includes—under the title Sphinxes—the Bartók’s biographer Halsey Stevens has described the three sequences of the notes he used. He intended that these composer’s Three Burlesques concisely: “All three... are should not be played, though some pianists do include them in somewhat spiteful, with sharp clashes of dissonance, harsh and performance. grotesque accents.” Yet all three also make clear Bartók’s nice The title itself is important, for Schumann saw this sense of humor. His Burlesques are short: each lasts about two sequence of twenty-one pieces as a true carnival, a masked minutes. ball based loosely on the idea of the commedia dell arte. As Quarrel, composed in November 1908 and dedicated the listener moves through this ball, faces swirl past. Some to Márta Ziegler, appears to commemorate one of the fights are stock characters from the commedia dell arte such as the young couple had before their marriage. His original Pierrot, Arlequin, and Pantalon and Colombine, but many manuscript includes such entries as “Anger because of an are ingenious portraits of people around Schumann: Chopin, interrupted visit,” “Vengeance is sweet,” and “Play it if you Paganini, several of Schumann himself, the two women in his can.” Marked Presto, it opens with a swirling rush that has the life, and his friends. hands sometimes answering each other, sometimes playing A jaunty Préambule leads to the stock figures Pierrot in octaves. In the center section the music tries to break into (who stumbles engagingly) and the harlequin. A graceful a waltz, but this is interrupted by strident chords that may waltz leads to two self-portraits: Eusebius presents the quiet, suggest the couple’s fight; Bartók combines both themes at the contemplative side of Schumann; Florestan is his impetuous, close. A Bit Drunk proceeds tipsily along its way, alternating fiery side. Chiarina is a portrait of Clara Wieck, and Estrella chords played on black or white keys. Twenty years later, in depicts Ernestine von Fricken. Further dances follow, and 1930, Bartók orchestrated this piece as one of the movements the finale—The March of the Band of David against the of his Hungarian Sketches. The final movement has no Philistines—humorously portrays the triumph of Schumann evocative title, but its performance marking tells the tale: and his progressive associates over musical philistines, who Molto vivo, capriccioso. This piece whips wildly along its are depicted by the old German tune “The Grandfather-Waltz.” 3/8 meter, and if the music sometimes seems to be trying to Schumann’s secret engagement to Ernestine soon waltz, any notion of dancing is quickly shouldered aside by the collapsed, and he married Clara five years after completing brilliance of Bartók’s writing for the piano. Carnaval. Ernestine passed quietly out of history, her major contribution having been to serve as the inspiration for the engaging music.






“Tracking” the String Quartet Lecture by Kristi Brown Montesano From its humble roots as amateur music for home music-making, the string quartet developed into a “composer’s genre,” one that encouraged cutting-edge creativity, while retaining its intimate and communicative power for performers and audiences alike. We will consider how the works on this program reflect their particular eras, but also what they have in common, including the popular subject of the hunt.


HAYDN String Quartet in B-flat Major, Opus 1, No. 1 “La chasse” (1732-1809) Presto Menuetto Adagio Menuetto Presto MOZART String Quartet in B-flat Major, K.458 “Hunt” vivace assai Menuetto: Moderato Adagio Allegro assai (1756-1791) Allegro


JÖRG WIDMANN String Quartet No. 3 “Hunting Quartet” 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. Exclusive Representation: Kirshbaum Associates Inc. The Danish String Quartet has recorded for ECM, DaCapo, and CAvi-Music /BR Klassik.


NIELSEN String Quartet No. 1 in G Minor, Opus 13 FS4 (1865-1931) Allegro energico Andante amoroso Scherzo: Allegro molto Finale: Allegro (inquieto) Danish String Quartet Rune Tonsgaard Sørensen, Frederik Øland, violins; Asbjørn Nørgaard, viola; Fredrik Schøyen Sjölin, cello

The Danish String Quartet last performed for La Jolla Music Society during SummerFest in 2016. L J M S. O R G · 8 5 8 . 4 5 9 . 3 7 2 8



Most of Haydn’s early divertimenti were in five movements in a quite symmetrical shape: the first and last movements were fast, the even-numbered movements were THE STRING QUARTET AND THE HUNT minuets, and at the center would be a lengthy slow movement. Those familiar with the string quartet form will recognize This program takes as its theme a pairing that at first that here Haydn was anticipating the arch-form Bartók would seems improbable: the string quartet, that most civilized employ in his Fourth and Fifth String Quartets nearly two and subtle of chamber music forms, and hunting, a blood centuries later. But where the mature Bartók used that form sport. What possibly can those two have to do with each to create some of the most powerful and expressive string other? Well, more than we might think, and the connection is quartets ever written, the young Haydn was writing music musical. Hunters, particularly those who rode horses, often intended simply to entertain his audiences and performers. communicated with each other by means of a hunting horn. Those ten divertimenti were published as Haydn’s Those horns, circular and valveless, were very difficult to Opus 1 and Opus 2, and the very first of them—in B-flat handle, especially on horseback. They could play a limited major—quickly acquired the nickname La chasse (“The number of notes, and they sounded best in great strident Hunt”) because of the hunting horn-like call of its very calls, usually set in 6/8. It is a very distinctive kind of music, opening. This opening Presto is in a sort of early sonata bold and grand, and composers across the centuries have form: Haydn writes a very brief development of the opening incorporated it into what we might call “serious” music. section, full of antiphonal exchanges between the first violin This concert offers examples from three different composers. and the other instruments, then offers a repeat of this section. Haydn was the only one of these three who was actually The first Menuetto begins with a sturdy tune in the first a hunter: he once shot three hazel-hens (grouse) that were violin; the trio section moves to E-flat major and sets the served to Empress Maria Theresa when she visited Esterháza, instruments in pairs: the violins exchange the line with the and we hear a hunting-horn call at the very beginning of his lower instruments. At the center is a lengthy Adagio, also in first quartet. The same sort of 6/8 hunting call opens Mozart’s E-flat major, that is essentially a serenade for the first violin. Quartet in B-flat Major, but while Mozart’s quartet has All four instruments offer a solemn introduction, and then nothing to do with hunting, Jörg Widmann’s Quartet No. 3 is the first violin takes wing, soaring gracefully above steady explicitly about hunting, as his comments in the program note accompaniment from the other three players. The second make clear. Menuetto is built on canonic writing, while its trio section makes piquant contrast between piano and forte attacks. The String Quartet in B-flat Major, Opus 1, No. 1 “La chasse” concluding Presto, in 2/4, races along happily, and once again Haydn gives a brilliant part to the first violinist. Program notes by Eric Bromberger

FRANZ JOSEPH HAYDN Born March 31, 1732, Rohrau, Austria Died May 31, 1809, Vienna Composed: 1757-59 Approximate Duration: 15 minutes

When Haydn, in his mid-twenties, began to write pieces for two violins, viola, and cello, he had no conception of the string quartet, nor did he or any of his contemporaries recognize that music for this combination of instruments would eventually become one of the great forms in music. Instead, Haydn composed what he called divertimenti a quattro: music for “diversion,” performed by four instruments. When Haydn wrote ten of these divertimenti between 1757 and 1759, he was still living in Vienna, earning his living as a free-lance violinist and struggling to teach himself to be a composer. Not until 1761 would he be hired by the Esterházy family, and from that position he would transform himself into one of the greatest composers of his era, one who eventually composed over eighty string quartets and essentially invented the form in the process.


String Quartet in B-flat Major, K.458 “Hunt”

WOLFGANG AMADEUS MOZART Born January 27, 1756, Salzburg Died December 5, 1791, Vienna Composed: 1784 Approximate Duration: 26 minutes

Nicknames sometimes get attached to pieces of music for the thinnest of reasons. Audiences like to have a handle, a way of identifying or distinguishing a particular piece (and publishers see nicknames as good selling points). Some nicknames are appropriate. Mozart’s Symphony No. 41 truly does sound so Olympian that the nickname Jupiter strikes exactly the right note to identify that great music. But many nicknames are less felicitous, mere convenient tags that— by dwelling on a detail—mislead rather than illuminate the music they name. Mozart’s String Quartet in B-flat Major, K.458 falls into the latter category. The nickname “Hunt” (not original



with the composer) comes from the 6/8 theme at the very beginning, which some listeners have identified with the sound of hunting horns. The identification of this quartet with hunting is unfortunate, since the music has not the faintest connection with hunting and such a nickname draws one away from the many distinctive merits of this quartet. The Quartet in B-flat Major is the fourth of the cycle of six quartets written between 1782 and 1785 that Mozart dedicated to Haydn. He completed this quartet on November 9, 1784, and it has been admired for the wonderfully graceful writing for strings, for the easy partnership of four equal voices, and for its many original touches. Though the Allegro vivace assai begins amiably with the so-called “hunting” theme, the development brings a surprise, for it seems based on entirely new themes—only fragments of the exposition material appear here. But the recapitulation brings back the first theme in all its glory, and Mozart pulls all his material together easily at the close. Distinctive as the first movement is, it almost functions as prelude to the middle two movements, the most striking in the quartet. Mozart reverses the expected order, so that the minuet precedes the slow movement. Minuets can sometimes serve as pleasing interludes between more serious movements, but Mozart suffuses this one with rare expressive power. Trills and offthe-beat accents mark its outer sections, while the trio itself— which begins over a cheerfully-ticking accompaniment in the middle voices—grows suddenly expressive in its second strains, with dark shadings and plangent falls. The stunning Adagio begins simply, but soon the first violin spins a long, disconsolate melodic line that turns complex and darklyshaded as it proceeds. Though the movement belongs largely to the first violin, one should not overlook the consummate skill with which the secondary voices shade and merge with the leading voice, sometimes murmuring in the background, sometimes deftly trading parts of the melodic line. After the subdued close of the Adagio, the sonata-form finale comes as a burst of sunlight, its eight-bar phrases flowing seamlessly between the four voices. Haydn heard this quartet performed at a garden concert in Vienna on February 10, 1785. Stunned by the music, he pulled Mozart’s father Leopold aside and offered the most sincere compliment any composer ever gave another. This remark has been quoted many times, but Haydn's evaluation of Mozart is worth hearing again: “Before God and as an honest man, I tell you that your son is the greatest composer known to me either in person or by name. He has taste and, what is more, the most profound knowledge of composition.”

String Quartet No. 3 "Hunting Quartet"

JÖRG WIDMANN Born June 19, 1973, Munich Composed: 2003 Approximate Duration: 11 minutes

Composer and clarinetist Jörg Widmann received his early training in his native Munich, then spent a year at The Juilliard School studying clarinet with Charles Neidich. He returned to Munich to study composition with Hans Werner Henze and Wilfried Hiller and later with Wolfgang Rihm. Widmann has been Professor of Clarinet at the Hochschule für Musik in Freiburg since 2001, and he currently divides his time between Freiburg and Munich. As a composer, he has won numerous awards, and his music has been widely performed by such conductors as Jonathan Nott, Sylvain Cambreling, Christian Theilemann, and Kent Nagano. Pierre Boulez led the Vienna Philharmonic in the première of Widmann’s Armonica at the 2007 Salzburg Festival. Between 1997 and 2005, Widmann composed a cycle of five brief string quartets. Each of these quartets corresponds to a movement in a large-scale classical composition, and these quartets may be performed individually (as the Third is on this program) or as part of the larger cycle. The String Quartet No. 3 is the “scherzo” of the cycle, and Widmann has nicknamed it Jagdquartett, or “Hunting Quartet.” The other composers on this program were not concerned with hunting per se, but Widmann takes the notion of hunting music in quite a different direction in his Third Quartet. He borrows his hunting rhythms from Schumann’s Papillons, and at first his quartet seems an evocation of hunting, complete with galloping rhythms and exuberant vocal cries. But the positive energy of the opening soon leads to what the composer calls the “skeletonizing” of the character of the music. In his own note to this quartet, Widmann says that “the situation of the four instrumentalists changes: the braggart hunters go on to be hunted, to be pursued. The fact that the three high strings conspire against the cello is a further (deadly) change of perspective and put the blame on this instrument is an analogy to social patterns of behavior.” Listeners may follow the progress of this music easily across the eleven-minute span of the String Quartet No. 3: it moves from its exuberant beginning to an angst-ridden climax, then on to an eerie denouement, and finally to a shocking conclusion.

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



states the first theme immediately, and the cello quickly announces the second. These are treated to a full-throated development and a soaring recapitulation, so that after all Born June 9, 1865, Nørre Lyndelse, Denmark this energy the very ending brings a surprise: its energy Died October 2, 1931, Copenhagen exhausted, the movement concludes on a pianissimo chord. Composed: 1887-1888 Approximate Duration: 26 minutes While Nielsen marks the second movement Andante amoroso, this music does not seem in any way a love Some composers (Mozart and Mendelssohn come song. First violin sings the broad-spanned opening melody to mind) appear almost to have been born knowing how (the meter here is 9/8), and all seems set for a lyric slow to write music. Other composers (Beethoven and Elgar) movement, but now Nielsen springs a surprise in this “slow” struggle for years to master their craft and achieve success. movement. Suddenly the music accelerates into a violent Carl Nielsen belonged to the latter group. Born into a family section marked Agitato, and only gradually does it make its who lived in near-poverty in rural Denmark (his father was a way back to the calm opening material, now marked molto house painter), the boy helped support his family by herding tranquillo. geese during school vacations. Nielsen was drawn to music After the quiet conclusion of the slow movement, the from an early age: his family became aware of his talent Scherzo, set in 6/8 rather than the expected 3/4, erupts with when they watched him beat out rhythms on logs using energy. At the trio section Nielsen moves into G major, sticks. He learned to play the violin and piano as a small and the first violin sings a bucolic tune whose many open boy, and by 15 he played the cornet in a military band. But E-string notes give this music the flavor of country fiddling. he wanted to write his own music, and he was able to attend But this does not last for long: back comes the vigorous the Copenhagen Conservatory only because of the support scherzo, and a powerful coda drives the movement to its of friends in his hometown. He graduated in 1886 and then emphatic final chord. struggled to make his way as a composer. Financial security The finale brings further surprises. Nielsen stresses came in 1889 when—at age 24—he joined the Royal Danish that he wants the performance to be inquieto, and suddenly Opera Orchestra as a violinist. That job paid the bills, but it we find ourselves back in the G-minor intensity of the first was killing work, and he would remain in the orchestra for movement. As the finale nears its conclusion, Nielsen creates sixteen years until—at age 40—he had become successful a section he titles Resumé, and here he recalls themes from enough as a composer that he could support himself and his the first and third movements and weaves them into the busy family through his own music. textures of this music. It makes for a grand conclusion to a Nielsen sketched several string quartets while still a very impressive piece of music by a very young composer. teenager, but he did not compose his official first string quartet—the first one he allowed to be published—until he was 22. Nielsen composed his String Quartet No. 1 in G Minor between December 1887 and February 1888. We may think of Nielsen as a twentieth-century composer, but when he wrote this string quartet, Brahms, Bruckner, and Tchaikovsky were still active, and Liszt had been dead for only a year. So it is not surprising that the idiom of this music is still fairly conservative, and this quartet is noteworthy not for any striking innovations but for its high energy level and for Nielsen’s accomplished writing for strings. The quartet is in the expected four movements, and they are all in traditional forms: a sonata-form opening movement, a ternary-form slow movement, a scherzo and trio, and a vigorous finale that recalls themes heard in earlier movements. Nielsen’s marking for the first movement, Allegro energico, is exactly right, because this is indeed a high-energy movement. From its insistent and driving opening, this music is built on busy textures, athletic themes, and rapid interchanges between the instruments. First violin

String Quartet No. 1 in G Minor, Opus 13 FS4





PROGRAM Works to be announced from stage. There will be a 20-minute intermission. An evening of folk music from the Nordic countries featuring selections from Danish String Qurtet's recent Wood Works and Last Leaf albums. In this sublime foray, the Danish String Quartet will explore folk treasures in what they call “a nice little niche somewhere between traditional folk and classical music.” Rune Tonsgaard Sørensen, Frederik Øland, violins; Asbjørn Nørgaard, viola; Fredrik Schøyen Sjölin, cello

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. Exclusive Representation: Kirshbaum Associates Inc. The Danish String Quartet has recorded for ECM, DaCapo, and CAvi-Music /BR Klassik.

DANISH STRING QUARTET SUNDAY, FEBRUARY 10, 2019 · 3 PM basileIE Gallery Join us for an informal gathering uniting music, art, and beer with the Danish String Quartet as they play an array of Nordic folk tunes and classical favorites. Presented at the basileIE Gallery in Barrio Logan, this concert brings traditional music to a contemporary space. Step outside of the concert hall and toast the musicians with authentic Danish beer provided by Mikkeller Brewing. SKÅL!

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


BIOGRAPHIES Leif Ove Andsnes, piano

Leif Ove Andsnes was born in Karmøy, Norway in 1970, and studied at the Bergen Music Conservatory under the renowned Czech professor Jirí Hlinka. He has also received invaluable advice from the Belgian piano teacher Jacques de Tiège who, like Hlinka, has greatly influenced his style and philosophy of playing. He is currently an Artistic Adviser for the Prof. Jirí ˘ Hlinka Piano Academy in Bergen where he gives an annual masterclass to participating students. The New York Times has called Andsnes “a pianist of magisterial elegance, power, and insight,” and The Wall Street Journal named him “one of the most gifted musicians of his generation.” With his commanding technique and searching interpretations, he has won worldwide acclaim, performing in the world’s leading concert halls and with its foremost orchestras. Also an avid chamber musician, Andsnes is the founding director of the Rosendal Chamber Music Festival in Norway which he launched in 2016. Now in its third year the 2018 Festival focused on music “In the Shadow of War, 1914 – 1918.” This year also saw the release of two new recordings: a Stravinsky duo CD with Marc André Hamelin in the spring, followed in the autumn by an album of solo Chopin.

Seong-Jin Cho, piano

Born in 1994 in Seoul, Seong-Jin Cho started learning the piano at 6 and gave his first public recital at age 11. In 2009, he became the youngest-ever winner of Japan’s Hamamatsu International Piano Competition. In 2011, he won Third Prize at the Tchaikovsky Competition in Moscow at the age of 17. In 2012, he moved to Paris to study with Michel Béroffat the Paris Conservatoire and he graduated in 2015. Cho was brought to the world’s attention in Fall 2015 when he won the coveted Gold Medal at the Chopin International Competition in Warsaw. Within one month, a recording of Cho’s live competition highlights was rush-released by Deutsche Grammophon, propelling the pianist to pop-star status in South Korea. It reached No. 1 in the nation’s pop album chart and has sold well over 150,000 copies to date worldwide. In January 2016, Cho signed an exclusive contract with Deutsche Grammophon. The first CD of this collaboration features Chopin’s First Concerto and the Four Ballades with the London Symphony Orchestra and Gianandrea Noseda, released to critical acclaim in November 2016. With an overwhelming talent and innate musicality, Seong-Jin Cho is rapidly embarking on a worldclass career and considered one of the most distinctive artists of his generation.

Danish String Quartet

Since its debut in 2002, the Danish String Quartet has demonstrated a special affinity for Scandinavian composers, from Nielsen to Hans Abrahamsen, alongside music of Mozart and Beethoven. The Quartet’s musical interests also encompass Nordic folk music, the focus of its newest recording, Last Leaf, on the ECM label. Embodying the quintessential elements of a fine chamber music ensemble, the Danish String Quartet has established a reputation for their integrated sound, impeccable intonation and judicious balance. Violinists Frederik Øland and Rune Tonsgaard Sørensen and violist Asbjørn Nørgaard met as children at a music summer camp where they played both soccer and music together, eventually making the transition into a serious string quartet in their teens and studying at Copenhagen’s Royal Academy of Music. In 2008 the three Danes were joined by Norwegian cellist Fredrik Schøyen Sjölin. The Danish String Quartet was primarily taught and mentored by Professor Tim Frederiksen and have participated in master classes with the Tokyo and Emerson String Quartets, Alasdair Tait, Paul Katz, Hugh Maguire, Levon Chilingirian and Gábor Takács-Nagy. With their technical and interpretive talents matched by an infectious joy for music-making and “rampaging energy” (The New Yorker), the quartet is in demand worldwide by concert and festival presenters alike.




Robert John Hughes, Prelude Presenter

Robert John Huges 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.

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.

Kristi Brown Montesano, Prelude Presenter

Chair of the Music History Department at the Colburn Conservatory of Music in Los Angeles, Kristi Brown Montesano is an enthusiastic “public musicologist.” She is an active lecturer for the LA Philharmonic, the Opera League of Los Angeles, the Salon de Musiques series, and Mason House Concerts. Her book, The Women of Mozart’s Operas (UC Press, 2007), offers a detailed study of these fascinating roles; more recent scholarly interests include classical music in film, women in classical music, and opera for children. Learn more at

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




For 45 years, Pilobolus has tested the limits of human physicality to explore the beauty and the power of connected bodies. They continue to bring this tradition to global audiences through our post-disciplinary collaborations with some of the greatest influencers, thinkers, and creators in the world. Pilobolus brings decades of expertise telling stories with the human form to show diverse communities, brands, and organizations how to maximize group creativity, solve problems, create surprise, and generate joy through the power of nonverbal communication. Pilobolus has created and toured over 120 pieces of repertory to more than 65 countries. They currently perform our work for over 300,000 people across the U.S. and around the world each year. Pilobolus has been recognized with many prestigious honors, including a TED Fellowship, a 2012 Grammy® Award Nomination, a Primetime Emmy® Award for Outstanding Achievement in Cultural Programming, and several Cannes Lion Awards at the International Festival of Creativity. In 2015, Pilobolus was named one of Dance Heritage Coalition’s “Irreplaceable Dance Treasures”.

Itamar Kubovy, Executive Producer

Itamar Kubovy oversees the many moving parts of Pilobolus. After joining Pilobolus in 2004, he founded Pilobolus's acclaimed International Collaborators Project, a program that invites artists and thinkers from diverse fields to participate Pilobolus’s collaborative choreographic process. He also grew the business of Pilobolus Creative Services, collaborating with clients to develop custom movement and storytelling for film, advertising, publishing, and corporate events. Itamar was born in Israel and grew up in New Haven, where he studied philosophy at Yale. Prior to joining Pilobolus, he ran theaters in Germany and Sweden, directed plays by John Guare, co-directed the 2002 season finale of The West Wing, and made a film, Upheaval, starring Frances McDormand.

Renée Jaworski, Co-Artistic Director

Renée Jaworski received her BFA from the University of the Arts in Philadelphia. Upon graduating she began work with MOMIX, performing and teaching throughout the world as well as creating her own work in Philadelphia. She began performing with Pilobolus in 2000. Renée has served as choreographer and creator for exciting projects and collaborations such as the 79th Annual Academy Awards, the Grammy® nominated video for OKGo’s All is Not Lost, Radiolab Live: In the Dark, and has worked with myriad outside artists through the International Collaborator's Project. In 2010, her alma mater honored her with the University’s Silver Star Alumni Award for her work as an artist in the field of dance. Renée lives in Connecticut with her husband and daughter.

Matt Kent, Co-Artistic Director

Matt Kent has worked with Pilobolus since 1996 as a dancer, collaborator, creative director, and choreographer. Past Pilobolus projects include Head Choreographer for Andre Heller’s Magnifico, a large-scale circus production; choreographer for a Sports Emmy-nominated teaser created in collaboration with the NFL network; and choreographer for a television appearance on Late Night with Conan O’Brien. His work for Pilobolus on Shakespeare’s The Tempest, co-directed by Teller and Aaron Posner, was nominated for Best Choreography by the L.A. Drama Critics Circle. Outside of Pilobolus, he has worked as zombie choreographer for AMC’s hit series “The Walking Dead”; as movement consultant on the Duncan Sheik musical, Whisper House; and created family and children’s performances with Rob Kapilow. Matt lives in Connecticut with his wife and two sons.

Molly Puryear, Prelude Presenter

Molly Puryear brings passion for dance and non-profit 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.




Jazz at Lincoln Center Orchestra with Wynton Marsalis

The mission of Jazz at Lincoln Center is to entertain, enrich, and expand a global community for Jazz through performance, education, and advocacy. With the world-renowned Jazz at Lincoln Center Orchestra and guest artists spanning genres and generations, Jazz at Lincoln Center produces thousands of performance, education, and broadcast events each season in its home in New York City (Frederick P. Rose Hall, “The House of Swing”) and around the world, for people of all ages. Jazz at Lincoln Center is led by Chairman Robert J. Appel, Managing and Artistic Director Wynton Marsalis, and Executive Director Greg Scholl. The Jazz at Lincoln Center Orchestra (JLCO), comprising 15 of the finest jazz soloists and ensemble players today, has been the Jazz at Lincoln Center resident orchestra since 1988. Featured in all aspects of Jazz at Lincoln Center’s programming, this remarkably versatile orchestra performs and leads education events in New York, across the U.S., and around the globe, in concert halls, dance venues, jazz clubs, and public parks with symphony orchestras, ballet troupes, local students, and an ever-expanding roster of guest artists.

Wynton Marsalis, Managing and Artistic Director

Wynton Marsalis is the Managing and Artistic Director of Jazz at Lincoln Center. Born in New Orleans, Louisiana in 1961, Marsalis began his classical training on trumpet at age 12 and soon began playing in local bands of diverse genres. He entered The Juilliard School at age 17 and joined Art Blakey and the Jazz Messengers. Marsalis made his recording debut as a leader in 1982, and has since recorded more than 70 jazz and classical albums which have garnered him nine GRAMMY® Awards. In 1983, he became the first and only artist to win both classical and jazz GRAMMY® Awards in the same year; he repeated this feat in 1984. In 1997, Marsalis became the first jazz artist to be awarded the prestigious Pulitzer Prize in music for his oratorio Blood on the Fields, commissioned by Jazz at Lincoln Center. In 2001, Marsalis was appointed Messenger of Peace by Kofi Annan, former Secretary-General of the United Nations; he has also been designated cultural ambassador to the United States of America by the U.S. State Department through their CultureConnect program. Marsalis is also an internationally respected teacher and spokesman for music education, and has received honorary doctorates from dozens of universities and colleges throughout the U.S.

Lil Buck, dancer

Charles "Lil Buck" Riley was born in Chicago, IL. At an early age, his family moved to Memphis, TN, where he was introduced to an urban street dance style called Memphis Jookin. At age 19, Lil Buck moved to Los Angeles to pursue a full-time career in dance and performance, and he has been blazing his own trail ever since. In 2011 Lil Buck met former New York City Ballet principal dancer and current Director of the Aspen Institute Arts Program, Damian Woetzel, who paired him with famous cellist Yo-Yo Ma in “The Dying Swan,” a performance that went viral on YouTube and catapulted Lil Buck’s career.

Jared Grimes, dancer

Jared Grimes is a quadruple threat who is making his mark in singing, dancing, acting, and choreographing. He has danced alongside legends such as Wynton Marsalis, Gregory Hines, Ben Vereen, Jerry Lewis, and Fayard Nicholas and has performed for President Barack Obama and Ted Kennedy at the Kennedy Center. Grimes has also toured with Mariah Carey under the choreography of Marty Kudelka and danced for artists such as Common, Salt-N-Pepa, En Vogue, Busta Rhymes, and The Roots. His theater credits include After Midnight on Broadway, Twist, Babes in Arms, and Gentlemen Prefer Blondes (directed by John Rando at Encores and self-directed at Broadway Underground). PHOTO CREDITS: Cover: Shadowland by Pilobolus © Ian Douglas; Pg. 14: JLCO © Joe Martinez; Pg. 15 & 33: W. Marsalis © Joe Martinez; Pg. 16 & 20: S. Cho © Harald Hoffmann; Pg. 20 & 32: Shadowland by Pilobous © Ian Douglas; Pg. 22 & 30: L. Andsnes © Gregor Hohenberg; Pg. 25, 29 & 31: Danish String Quartet © Caroline Bittencourt; Back Cover: Danish String Quartet © Caroline Bittencourt.

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


La Jolla Music Society’s Community Music Center

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 WINTER RECITAL ON THE EVENING OF WEDNESDAY, DECEMBER 19TH! 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



2018-19 SEASON PARTNERS 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.

Thomas C. Ackerman Foundation

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

PHP Management, Inc.


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



($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 Susan & Bill Hoehn Steven & Sylvia Ré

Sheryl & Bob Scarano Haeyoung Kong Tang


Anonymous Bob Barth and 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 & Louis 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)

The wonderful array of musical activity that La Jolla Music Society offers would not be possible without support from dedicated patrons. Individual gifts not only help LJMS present the finest musicians and the best chamber music repertoire in San Diego, but they help us reach beyond the concert by nurturing talents in young musicians each year. 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 or by contacting Ferdinand Gasang, Director of Development, at 858.459.3724, ext. 204 or






Anonymous (2) Ginny & Robert Black Wendy Brody Ric & Barbara Charlton Brian Douglass John Paul the Great Catholic University Sue & Chris Fan Brenda & Michael Goldbaum Angelina & Fredrick Kleinbub National Endowment for the Arts 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 Marvin & Bebe Zigman

Anonymous (3) Anna Maria Abbott John Amberg Judith Bachner & Dr. Eric L. Lasley Carolyn Bertussi Bjorn Bjerede & Jo Kiernan Boretto + Merrill Consulting, LLC- Angela Merill and Colleen Boretto George and Laurie Brady Johan & Sevil Brahme Dr. James C. & Karen A. Brailean Stuart & Isabel Brown Jian & Samson Chan Elaine & Dave Darwin Nina and Robert Doede Eleanor Ellsworth Jeane Erley Jill Esterbrooks & James Kirkpatrick Robbins Farrell Family Foundation Elliot & Diane Feuerstein Richard & Beverley 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 Maria & Dr. Philippe Prokocimer

($15,000 - $24,999)


($10,000 - $14,999)

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

($5,000 - $9,999)

Taffin & Gene Ray Mrs. Robert Reiss 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 R. Nelson & Janice Byrne Trevor Callan / Callan Capital Lee Clark Bradley Comp and Christine Ellis-Comp David Cooper and Joanne Hutchinson Valerie & Harry Cooper Stacie & Michael Devitt Diana Lady and J. Lynn Dougan Mr. and Mrs. Ernie Dronenburg Mr. and Mrs. Michael Durkin Ruth and Ed Evans Beverly Frederick & Alan Springer Elaine Galinson & Herbert Solomon Dawn Gilman Lee Goldberg Jennifer and Richard Greenfield Reena & Sam Horowitz Joan Hotchkis Jeanne Jones & Don Breitenberg Lynda Kerr Sharon LeeMaster, CFRE Jeffrey & Sheila Lipinsky Sylvia & Jamie Liwerant Cindy & Jay Longbottom

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.

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



Kathleen & Ken Lundgren Mary Keough Lyman Diane McKernan & Steve Lyman Gail & Ed Miller 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


($1,000 - $2,499)

Christine Andrews June Chocheles Drs. Anthony F. Chong & Annette Thu Nguyen Serge Falesitch Beverly Friemon 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 Jill Porter John Renner Seltzer | Caplan | MacMahon | Vitek Pam Shriver Gerald and Susan Slavet Norma Jo Thomas Joseph and Mary Witztum


($500 - $999)

Anonymous Barry & Emily Berkov Benjamin Brand 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

Katy McDonald Marion Mettler Dr. Chandra Mukerji Joani Nelson Aghdas Pezeshki Carol Plantamura Gustavo Romero Dr. Aron Rosenthal Paul Rotenberg Peter & Arlene Sacks Denise and Sydney Selati Patricia Shank Drs. Gloria & Joseph Shurman William Smith Bob Stefanko Eli & Lisa Strickland Monica & Richard Valdez George Wafa & Nancy Assaf Dr. & Mrs. Robert Wallace Brian Worthington Terry & Peter Yang Debra Youssefi Bart Ziegler

ENTHUSIAST ($250 - $499)

Sibille Alexander Lynell Antrim Rita Bell Stefana Brintzenhoff 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 Russel Ginns Dr. and Mrs. Jimmie Greenslate Richard Hsieh Ed & Linda Janon Julia & George L. Katz Gladys & Bert Kohn Las Damas de Fairbanks


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.

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’Addario 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 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 ProtoStar Foundation Qualcomm Foundation Rancho Santa Fe Foundation: The Fenley Family Fund The Susan & John Major Fund The Oliphant Fund The Pastor Family 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: 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 Tippett 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.

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



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 Ferdinand Gasang, Director of Development, at 858.459.3724, ext. 204 or This list is current as of August 22, 2018. Amendments will be reflected in the next program book in February 2019.





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 Navais

GARNET Julie and Bert Cornelison Peggy and Peter Preuss

SAPPHIRE Kay and John Hesselink Keith and Helen Kim

Listing as of August 22, 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.

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





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 Elaine Galinson and Herbert Solomon Annie So

DEMI POINTE Beverly Fremont Saundra L. Jones

Listing as of August 22, 2018

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 our Dance Society friends for their passion and generous support of our dance programs.

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.



PLANNED 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 Elaine and Dave Darwin Teresa and Merle Fischlowitz Ted and Ingrid Friedmann Joy and Ed* Frieman Sally Fuller

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

Norma Jo Thomas Dr. Yvonne E. Vaucher Lucy and Ruprecht von Buttlar Ronald Wakefield John B. and Cathy Weil Carolyn Yorston-Wellcome and H. Barden Wellcome Karl and Joan Zeisler Josephine Zolin

*In Memoriam Listing as of August 22, 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.



La Valencia Hotel The Lodge at Torrey Pines The LOT

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

SUSTAINER George’s at the Cove La Jolla Beach and Tennis Club NINE-TEN Restaurant Royal India Sotheby’s International The Westgate Hotel The World Residences at Sea

AMBASSADOR Bloomers Flowers DPR Construction Girard Gourmet Giuseppe Restaurants & Fine Catering LAZ Parking US Bank

AFICIONADO Callan Capital Jimbo’s…Naturally! Schubach Aviation

ASSOCIATE Nelson Real Estate

Listing as of August 22, 2018

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 August 22, 2018

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




THE CONRAD PREBYS PERFORMING ARTS CENTER GRAND OPENING WEEKEND Featuring inaugural performances in The Baker-Baum Concer t Hall and The JAI Program and details to be announced.

APRIL 5, 6, and 7, 2019 HONORARY CHAIRS Brenda Baker and Steve Baum Joan and Irwin Jacobs Debbie Turner


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

JUBILEE CHAIRS Susan Hoehn Sheryl Scarano Debbie Turner







Revelle Chamber Music Series

Dance Series

Thursday, October 18, 2018 · 8 PM Piano Series

The Auditorium at TSRI

NOVEMBER SHADOWLAND BY PILOBOLUS Saturday, November 10, 2018 2 PM & 8 PM Dance Series

Spreckels Theatre


Friday, February 8, 2019 · 8 PM

Friday, March 8, 2019 · 8 PM

The Auditorium at TSRI

Civic Theatre

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!

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

Balboa Theatre


The Auditorium at TSRI

Friday, February 22, 2019 · 8 PM Piano Series

Discovery Series

The Auditorium at TSRI


basileIE Gallery

Sunday, January 20, 2019 · 6 PM Piano Series

Sunday, March 10, 2019 · 3 PM

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

Jacobs Music Center - Copley Symphony Hall

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

Balboa Theatre


L JMS.ORG | 8 5 8.4 59.3728

Profile for La Jolla Music Society

Season 50 Program Book Vol. 1  

Season 50 Program Book Vol. 1  

Profile for ljms