La Jolla Music Society 2020-21 Spring Season Program Book

2020-21 SPRING SEASON

BOARD OF DIRECTORS 2020-21

LA JOLLA MUSIC SOCIETY STAFF

Steve Baum – Chair H. Peter Wagener – Vice Chair Stephen Gamp – Treasurer Jennifer Eve – Secretary

Todd R. Schultz – President & CEO Leah Rosenthal –Artistic Director Inon Barnatan – SummerFest Music Director

Mary Ann Beyster Gordon Brodfuehrer Wendy Brody Ric Charlton Sharon Cohen Bert Cornelison Brian Douglass Ann Parode Dynes Debby Fishburn Lehn Goetz John Hesselink Susan Hoehn Vivian Lim Sue Major Robin Nordhoff Arman Oruc Peggy Preuss Sylvia Ré Sheryl Scarano Clifford Schireson Marge Schmale Maureen Shiftan Jeanette Stevens Stephanie Stone Debra Turner Lise Wilson Bebe L. Zigman HONORARY DIRECTORS Brenda Baker Steve Baum Joy Frieman, Ph.D. Irwin M. Jacobs Joan K. Jacobs Lois Kohn (1924-2010) Helene K. Kruger (1916-2019) Conrad Prebys (1933-2016) Ellen Revelle (1910-2009) Leigh P. Ryan, Esq. Dolly Woo *Listing as of January 31, 2021

2 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

ADMINISTRATION Rick Dahlseid, MST, CPA – Interim Director of Finance Brady Stender – Finance Coordinator Mary Emerson – Finance Assistant PROGRAMMING Allison Boles – Education & Community Programming Manager Sarah Campbell – Programming Manager John Tessmer – Artist Liason 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 Landon Akiyama – Development Coordinator Nicole Slavik – Special Events Coordinator MARKETING & TICKET SERVICES Adam Thurman – Director of Marketing Hayley Woldseth – Marketing & Communications Project Manager Rachel Cohen – Marketing Coordinator Angelina Franco – Graphic & Web Designer Shannon Bobritchi – Ticket Services Manager Nina Paganucci – Assistant Ticket Services Manager Patrick Mayuyu – Ticket Services Associate Shaun Davis – House Manager OPERATIONS & PRODUCTION Hannes Kling – Director of Operations Verdon Davis – Technical Director Abby Viton – Production Manager Anthony LeCourt – Events Manager Jonnel Domilos – Piano Technician

TABLE OF CONTENTS

2

LJMS Board and Staff

4

Live Stream Guide

5

Inon Barnatan, Philippe Quint, & Alisa Weilerstein (Wu Tsai QRT.yrd)

8

Phillipe Quint: Charlie Chaplin's Smile (Live Stream)

11 Inon Barnatan, Philippe Quint, & Alisa Weilerstein (Live Stream) 14 Yefim Bronfman (Wu Tsai QRT.yrd) 17 Yefim Bronfman (Live Stream) 20 Zlatomir Fung & Richard Fu 23 Zlatomir Fung & Richard Fu (Live Stream) 26 Biographies 28 Community Music Center 29 Education Ambassador Project 30 Education & Community Programming 2020-21 32 Support Movement Art Is

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2020-21 SEASON

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4 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

INON BARNATAN, piano; PHILIPPE QUINT, violin; & ALISA WEILERSTEIN, cello SATURDAY, APRIL 10, 2021 11:30 AM & 2:30 PM WU TSAI QRT.yrd FRANCK

Sonata in A Major for Cello and Piano

(1822-1890) Allegretto ben moderato

Allegro Recitativo–Fantasia Allegretto poco mosso

Alisa Weilerstein, cello; Inon Barnatan, piano ARENSKY

Piano Trio in D Minor, Opus 32

(1861-1906) Allegro moderato

Scherzo: Allegro molto Elegia: Adagio Finale: Allegro non troppo

Inon Barnatan, piano; Philippe Quint, violin; Alisa Weilerstein, cello

La Jolla Music Society’s 52nd Season is supported by The Conrad Prebys Foundation, The City of San Diego Commission for Arts and Culture, Banc of California, The Lodge at Torrey Pines, ProtoStar Foundation, Vail Memorial Fund, ResMed Foundation, Bright Events Rentals, Ace Parking, Brenda Baker and Steve Baum, Raffaella and John Belanich, Joan and Irwin Jacobs, Joy Frieman, Debra Turner, Ric and Eleanor Charlton, Jeanette Stevens, Gordon Brodfuehrer, Judith Bachner and Eric Lasley, and an anonymous donor.

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Inon Barnatan and Alisa Weilerstein last performed for La Jolla Music Society during SummerFest on August 30, 2020.

Philippe Quint last performed for La Jolla Music Society during SummerFest on August 6, 2019.

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 5

INON BARNATAN, PHILIPPE QUINT, & ALISA WEILERSTEIN — PROGRAM NOTES

Program Notes by Eric Bromberger

Sonata in A Major for Cello and Piano

CÉSAR FRANCK Born December 10, 1822, Liège, Belgium Died November 8, 1890, Paris Composed: 1886 Approximate Duration: 29 minutes

This cello sonata is an arrangement, made shortly after Franck’s death by the French cellist Jules Delsart, of his Violin Sonata in A Major, originally composed in 1886.

This sonata is one of the finest examples of Franck’s use of cyclic form, a technique he had adapted from his friend Franz Liszt, in which themes from one movement are transformed and used over subsequent movements.

The Sonata in A Major is a particularly ingenious instance of this technique: virtually the entire work is derived from the quiet and unassuming opening of the first movement, which then evolves endlessly across the sonata. Even when a new theme seems to arrive, it will gradually be revealed as a subtle variant of one already heard.

The piano’s quiet fragmented chords at the beginning of the Allegretto ben moderato suggest a theme-shape that the cello takes over as it enters: this will be the thematic cell of the entire sonata. The piano has a more animated second subject (it takes on the shape of the germinal theme as its proceeds), but the gently-rocking cello figure from the opening dominates this movement, and Franck reminds the performers constantly to play molto dolce, sempre dolce, dolcissimo.

The mood changes completely at the fiery second movement, marked passionato, and some critics have gone so far as to claim that this Allegro is the true first movement and that the opening Allegretto should be regarded as an introduction to this movement. In any case, this movement contrasts its blazing opening with more lyric episodes, and listeners will detect the original theme-shape flowing through some of these.

The Recitativo–Fantasia is the most original movement in the sonata. The piano’s quiet introduction seems at first a re-visiting of the germinal theme, though it is— ingeniously—a variant of the passionato opening of the second movement. The cello makes its entrance with an improvisation-like passage (this is the fantasia of the title), and the entire movement is quite free in both structure and expression: moments of whimsy alternate with passionate outbursts.

After the expressive freedom of the third movement, the finale restores order with pristine clarity: it is a canon in

octaves, with one voice following the other at the interval of a measure. The stately canon theme, marked dolce cantabile, is a direct descendant of the sonata’s opening theme, and as this movement proceeds it recalls thematic material from earlier movements. Gradually, the music takes on unexpected power and drives to a massive coda and a thunderous close.

Franck wrote this sonata for his fellow Belgian, the great violinist Eugene Ysaÿe, who gave the première in Brussels in November 1886. The composer Vincent D'Indy recalled that première: The violin and piano sonata was performed . . . in one of the rooms of the Museum of Modern Painting at Brussels. The seance, which began at three o'clock, had been very long, and it was rapidly growing dark. After the first Allegretto of the sonata, the performers could scarcely read the music. Now the official regulations forbade any light whatever in rooms which contained paintings. Even the striking of a match would have been matter for offense. The public was about to be asked to leave, but the audience, already full of enthusiasm, refused to budge. Then Ysaÿe was heard to strike his music stand with his bow, exclaiming [to the pianist], “Allons! Allons!” [“Let’s go!”] And then, unheard-of marvel, the two artists, plunged in gloom . . . performed the last three movements from memory, with a fire and passion the more astounding to the listeners in that there was an absence of all externals which could enhance the performance.

Music, wondrous and alone, held sovereign sway in the darkness of night.

Piano Trio in D Minor, Opus 32

ANTON ARENSKY Born July 12, 1861, Novgorod, Russia Died February 25, 1906, Terioki, Finland Composed: 1894 Approximate Duration: 30 minutes

The son of two passionate amateur musicians, Anton Stepanovich Arensky had his first piano lessons from his mother and was already composing by age nine.

He studied with Rimsky-Korsakov at the St. Petersburg Conservatory and received the gold medal on his graduation in 1882. That same year, at age 21, Arensky became professor of harmony at the Moscow Conservatory, where he was a friend and colleague of Tchaikovsky and taught Rachmaninoff, Scriabin, and Gliere (the grateful

6 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

INON BARNATAN, PHILIPPE QUINT, & ALISA WEILERSTEIN — PROGRAM NOTES

Rachmaninoff dedicated his first tone poem, Prince Rostislav, to his teacher). Arensky served as head of the Imperial Chapel in St. Petersburg from 1895 until 1901, when he retired on a generous pension and devoted himself to composition and to performing. But those plans were cut short: Arensky died at age 44 from tuberculosis, and Rimsky-Korsakov noted grimly that his early death had been hastened by a lifelong fondness for cards and alcohol.

Arensky was a prolific composer—he wrote three operas, ballet, symphonies, concertos, and chamber music—but almost all of this music has disappeared from the concert hall: of his 75 opus numbers, only the Piano Trio in D Minor remains an established part of the repertory.

Arensky wrote this trio in 1894 and dedicated it to the memory of Russian cellist Karl Davidov (1838-1889), who had served for several years as principal cellist of the Leipzig Gewandhaus Orchestra and who had been head of the St. Petersburg Conservatory when Arensky was a student there.

Arensky has been described as an “eclectic” composer, and the influence of Tchaikovsky is strong here. Some have also heard the influence of Mendelssohn, whose own Piano Trio in D Minor is one of the most famous in the literature.

The opening Allegro moderato is a big movement in sonata form based on two principal ideas: the violin’s soaring opening melody and a more subdued second subject announced by the cello. The movement is dramatic, but Arensky surprises us with its conclusion: he slows the tempo to Adagio, and after all the excitement the movement comes to an unexpectedly quiet conclusion. The ternary-form Scherzo has a brilliant beginning where the violinist alternates harmonics, spiccatos, and pizzicatos over swirling piano runs; the middle section is a good-natured waltz with the strings dancing above the piano’s rollicking accompaniment.

Rather than offering a da capo repeat of the opening section, Arensky fashions a new closing section from that same material.

The third movement, marked Elegia, is the memorial for Davidov, and Arensky has the muted cello—Davidov’s own instrument—introduce the grieving main theme, which is quickly picked up by the violin. The delicate center section of this movement sounds the most “Tchaikovsky-an,” but this sunlight is short-lived, and the somber opening material returns to bring the movement to its close.

The opening of the finale seems consciously dramatic, built on contrasting blocks of sound: the piano’s massive dotted chords and string passagework in octaves and tremolos make for a portentous beginning. All seems set for a conventional spirited finale, but the conclusion brings some surprises: just as Beethoven had done in the finale of

his Ninth Symphony, Arensky now revisits themes from earlier movements, bringing back the middle section of the slow movement and the opening theme of the first movement.

The trio concludes with a brisk coda derived from the opening of the finale itself.

Arensky was the pianist at the première of the Trio in D Minor in December 1894, when he was joined by violinist Jan Hrímaly and cellist Anatoly Brandukov. Shortly after that premiere, those three recorded the trio on wax cylinders in what was one of the earliest recordings ever made of classical music. The performance is not complete, and the sound is dim, but that recording takes us back over a century in time to Imperial Russia and lets us hear Arensky play.

Those interested can find excerpts of that recording on YouTube.

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 7

PHILIPPE QUINT: CHARLIE CHAPLIN’S SMILE This performance will be available to stream on-demand until April 17, 2021.

Support for this program generously provided by

SATURDAY, APRIL 10, 2021 · 7 PM THE BAKER-BAUM CONCERT HALL CHAPLIN

City Lights Suite from City Lights (1931) (arr. by Quint and Coleman)

DEBUSSY

Clair de lune from Suite bergamasque

CHAPLIN

Tango Bitterness from Monsieur Verdoux (1947) (arr. by Quint and Coleman)

STRAVINSKY

Tango (1940)

GERSHWIN

It Ain’t Necessarily So from Porgy and Bess (arr. by Heifetz)

CHAPLIN

Weeping Willows from A King in New York (1957)

(arr. by Quint and Coleman)

(1889-1977) (1862-1918)

(1882-1971) (1898-1937)

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BRAHMS

Terry’s Theme (“Eternally”) from Limelight (1952) (arr. by Quint and Coleman) Hungarian Dance No. 5 in F-sharp Minor (arr. by Joachim)

TCHAIKOVSKY

Mélodie in E-flat Major from Souvenir d'un lieu cher, Opus 42

CHAPLIN

The Kid Fantasy from The Kid (1921) (arr. by Leon Gurvitch) Theme (“Smile”) from Modern Times (1936) (arr. by Quint and Coleman) Philippe Quint, violin; Jun Cho, piano

(1833-1897) La Jolla Music Society’s 52nd Season is supported by The Conrad Prebys Foundation, The City of San Diego Commission for Arts and Culture, Banc of California, The Lodge at Torrey Pines, ProtoStar Foundation, Vail Memorial Fund, ResMed Foundation, Bright Events Rentals, Ace Parking, Brenda Baker and Steve Baum, Raffaella and John Belanich, Joan and Irwin Jacobs, Joy Frieman, Debra Turner, Ric and Eleanor Charlton, Jeanette Stevens, Gordon Brodfuehrer, Judith Bachner and Eric Lasley, and an anonymous donor.

(1840-1893)

Philippe Quint last performed for La Jolla Music Society in a Special Event on April 10, 2021.

This performance marks Jun Cho’s La Jolla Music Society debut.

8 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

PHILIPPE QUINT: CHARLIE CHAPLIN’S SMILE — PROGRAM NOTES

Program Notes by Philippe Quint

City Lights Suite from City Lights (1931) (arr. by Quint and Coleman)

CHARLIE CHAPLIN

Composed by Charlie Chaplin with musical arrangements by Arthur Johnson and musical direction by Alfred Newman. This was the first film score composed by Chaplin and he did so in a period of six weeks. The score’s main theme, La Violetera, was borrowed from Spanish composer Jose Padilla, to whom Chaplin lost a lawsuit for not crediting the composer for the leitmotiv of the Flower Girl’s Theme.

Clair de lune from Suite bergamasque

CLAUDE DEBUSSY

Clair de lune (Moonlight), third movement of Suite bergamasque by Claude Debussy, a piano depiction of a Paul Verlaine poem. Upon meeting Chaplin in Paris, Debussy exclaimed: “You are instinctively a musician and a dancer.”

Tango Bitterness from Monsieur Verdoux (1947) (arr. by Quint and Coleman)

CHARLIE CHAPLIN

Composed by Charlie Chaplin with musical arrangement and direction by Rudolf Schrager. Inspired by a film concept originally suggested by Orson Welles, Monsieur Verdoux is a black comedy starring Chaplin in a role greatly departing that of The Little Tramp. The story is based on that of bigamist and serial killer Henri Desire Landru and the film was Oscar-nominated for Best Screen Play.

Tango (1940)

IGOR STRAVINSKY

After settling in Hollywood, Stravinsky found himself with financial difficulties. He decided to write new compositions entirely in America in order to exploit them, with the exclusive intention of making money. Tango, which was the first work entirely written in America, is one of those works. His encounter with Chaplin for a potential collaboration, did not yield any results in the end.

It Ain’t Necessarily So from Porgy and Bess (arr. by Heifetz) GEORGE GERSHWIN

Paying a direct homage to Rhapsody in Blue in parts of his score of Modern Times, Chaplin was a big admirer of Gershwin’s music. “It Ain't Necessarily So" is one of the most well-known songs from Gershwin’s immortal opera Porgy and Bess (1935).

Weeping Willows from A King In New York (1957) (arr. by Quint and Coleman)

CHARLIE CHAPLIN

Composed by Charlie Chaplin with musical arrangements by Boris Sarbek. The score to A King in New York ironically produced popular tunes while simultaneously mocking social trends, celebrity status, and popular culture.

This is another of Chaplin’s films not familiar to American audiences until its US release in 1973.

Terry’s Theme (“Eternally”) from Limelight (1952) (arr. by Quint and Coleman)

CHARLIE CHAPLIN

Composed by Charlie Chaplin with musical arrangements by Raymond Rasch and musical direction by Larry Russell. Although originally released in 1952, Chaplin was exiled from the US in that same year and Limelight was not seen by American audiences until 1972, winning the Oscar for best musical score in 1973.

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 9

PHILIPPE QUINT: CHARLIE CHAPLIN’S SMILE — PROGRAM NOTES

Hungarian Dance No. 5 in F-sharp Minor (arr. by Joachim)

JOHANNES BRAHMS

Brahms’s Hungarian Dance No. 5 accompanies one of the most well-known scenes in The Great Dictator. A film where Chaplin plays both leading roles: a ruthless fascist dictator and a persecuted Jewish barber. It has been said that Hungarian Dances possibly paved the way for Ragtime.

Mélodie in E-flat Major from Souvenir d'un lieu cher, Opus 42

PYOTR ILYICH TCHAIKOVSKY

Mélodie in E-flat Major, which Tchaikovsky also described it as a "chant sans paroles" is part his Souvenir d'un lieu cher.

Chaplin had great appreciation for a beautiful melody, and Tchaikovsky was a great source of his musical inspirations sometimes borrowing a theme or two for his films and sometimes using Tchaikovsky’s score in its entirety, such his waltz from the ballet Sleeping Beauty that can be heard in Chaplin’s Gold Rush.

The Kid Fantasy from The Kid (1921) (arr. by Leon Gurvitch)

CHARLIE CHAPLIN

The Kid is a 1921 American silent comedy-drama film written by, produced by, directed by, and starring Charlie Chaplin, and features Jackie Coogan as his adopted son and side-kick. This was Chaplin's first full-length film as a director. It is here yet again that Chaplin revisits his favorite Tchaikovsky score of the first movement of the Sixth Symphony and makes his own version of the main theme that becomes a leitmotiv of the film’s soundtrack.

Theme (“Smile”) from Modern Times (1936) (arr. by Quint and Coleman)

IGOR STRAVINSKY

“Smile” is a song based on an instrumental theme used in the soundtrack for Charlie Chaplin's 1936 movie Modern Times. Chaplin composed the music, inspired by Puccini's Tosca. John Turner and Geoffrey Parsons added the lyrics and title in 1954. In the lyrics, based on lines and themes from the film, the singer is telling the listener to cheer up and that there is always a bright tomorrow, just as long as they smile. “Smile” has become a popular standard since its original use in Chaplin's film.

10 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

INON BARNATAN, piano; PHILIPPE QUINT, violin; & ALISA WEILERSTEIN, cello SUNDAY, APRIL 11, 2021 · 7 PM THE BAKER-BAUM CONCERT HALL

PRELUDE 6:30 PM Webinar lecture by Eric Bromberger This performance will be available to stream on-demand until April 17, 2021.

BRAHMS

Sonata for Cello and Piano in E Minor, Opus 38

(1833-1897) Allegro non troppo

Allegretto quasi Menuetto Allegro

Alisa Weilerstein, cello; Inon Barnatan, piano ARENSKY

Piano Trio in D Minor, Opus 32

(1861-1906) Allegro moderato

Scherzo: Allegro molto Elegia: Adagio Finale: Allegro non troppo

Inon Barnatan, piano; Philippe Quint, violin; Alisa Weilerstein, cello

La Jolla Music Society’s 52nd Season is supported by The Conrad Prebys Foundation, The City of San Diego Commission for Arts and Culture, Banc of California, The Lodge at Torrey Pines, ProtoStar Foundation, Vail Memorial Fund, ResMed Foundation, Bright Events Rentals, Ace Parking, Brenda Baker and Steve Baum, Raffaella and John Belanich, Joan and Irwin Jacobs, Joy Frieman, Debra Turner, Ric and Eleanor Charlton, Jeanette Stevens, Gordon Brodfuehrer, Judith Bachner and Eric Lasley, and an anonymous donor.

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Inon Barnatan and Alisa Weilerstein last performed for La Jolla Music Society in a Special Event on April 10, 2021. Philippe Quint last performed for La Jolla Music Society in the ProtoStar Innovative Series on April 10, 2021 7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 11

INON BARNATAN, PHILIPPE QUINT, & ALISA WEILERSTEIN — PROGRAM NOTES

Program Notes by Eric Bromberger

Sonata for Cello and Piano in E Minor, Opus 38

JOHANNES BRAHMS Born May 7, 1833, Hamburg Died April 3, 1897, Vienna Composed: 1862-65 Approximate Duration: 25 minutes

Born in the slums of Hamburg, Brahms rose from that grim setting to become a brilliant success: the young man’s piano-playing and compositions were quickly hailed throughout the German-speaking countries. Brahms had always assumed that he would make his career in Hamburg, and one achievement in particular would crown his rise from so modest a past to shining success—he wanted to be named conductor of the Hamburg Philharmonic.

But it was not to be, and several events combined to change the direction of Brahms’ life and career. The first came early in 1862, when the 29-year-old composer visited Vienna for the first time. He was enthralled to walk the streets where Mozart, Haydn, Beethoven, Schubert, and so many others had lived and worked, and he quickly extended what had been planned as a short visit to that fabled city. The second event was devastating—while in Vienna, Brahms learned that the post with the Hamburg Philharmonic had gone to someone else. He was crushed, and even as an old man the memory of that rejection would haunt him. It was also a life-changer: Brahms gave up any thought of making his career in Hamburg and decided to move to Vienna.

He would remain there for the final thirty-five years of his life and come to love that city, but his entry took place only gradually. A number of his new Viennese friends encouraged the move, and one of them in particular—the cellist Josef Gänsbacher—helped arrange his appointment as conductor of the Singakademie, a choral society in Vienna. Once established in this position in his new city, Brahms wrote several compositions that he hoped would help establish his reputation there.

The Cello Sonata in E Minor was one of these new works, and it comes as no surprise that he dedicated it to Gänsbacher, who would remain a lifelong friend. Brahms began this sonata in 1862, during his first months to Vienna, and quickly completed three movements. But he then set it aside for three years, and when he returned to it in 1865, he cut one of those movements (an Adagio) and composed a new finale. Doubtless Gänsbacher played the sonata privately in Vienna before its publication in 1866.

The Sonata in E Minor was the first of Brahms’ seven duo-sonatas, and it brought the eternal problem of trying to balance one stringed instrument against the massive tonal resources of the piano. Brahms compounds that problem in this sonata by keeping the cello for the most part in its lower register. This may challenge the performers, but it gives the music its wonderful dark, rich sound.

The cello sings the noble opening theme of the Allegro non troppo, rising quietly from the depths over steady chordal accompaniment. Brahms is quite explicit in his instructions to the performers, reminding them throughout this movement that their playing should be espressivo, legato, and dolce. A second subject, announced first by the cello, is passionate and surging, and a lovely chorale for piano serves as a closing theme for the exposition. The development and recapitulation in this massive movement are dramatic, and Brahms winds all this turbulence down beautifully by closing out the movement with the chorale theme.

The haunting Allegretto quasi Menuetto is poised and delicate music, with the melodic line moving easily between the two instruments. The piano’s first four notes, a sort of introductory tag, haunt the minuet and then— ingeniously—become the basis for the flowing trio section.

Many have felt the influence of Bach, one of Brahms’ favorite composers, on the finale. It opens with a powerful fugue, and the fugue subject appears to have been derived from the Contrapunctus XIII of Bach’s The Art of the Fugue. The piano has the first statement of this subject, which takes its energy from the powerful opening octave drop. But the structure in this movement is ingenious: that fugal beginning is only the exposition of the first theme, and the appearance of a second theme group—announced by the cello—sets the movement in a sort of modified sonata form. Much of the development, though, returns to the contrapuntal intricacies of the opening fugue, and this development is distinctive for its relentless logic and energy.

A Più presto coda drives the sonata to its thunderous conclusion.

12 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

INON BARNATAN, PHILIPPE QUINT, & ALISA WEILERSTEIN — PROGRAM NOTES

Piano Trio in D Minor, Opus 32

ANTON ARENSKY Born July 12, 1861, Novgorod, Russia Died February 25, 1906, Terioki, Finland Composed: 1894 Approximate Duration: 30 minutes

The son of two passionate amateur musicians, Anton Stepanovich Arensky had his first piano lessons from his mother and was already composing by age nine. He studied with Rimsky-Korsakov at the St. Petersburg Conservatory and received the gold medal on his graduation in 1882. That same year, at age 21, Arensky became professor of harmony at the Moscow Conservatory, where he was a friend and colleague of Tchaikovsky and taught Rachmaninoff, Scriabin, and Gliere (the grateful Rachmaninoff dedicated his first tone poem, Prince Rostislav, to his teacher). Arensky served as head of the Imperial Chapel in St. Petersburg from 1895 until 1901, when he retired on a generous pension and devoted himself to composition and to performing. But those plans were cut short: Arensky died at age 44 from tuberculosis, and Rimsky-Korsakov noted grimly that his early death had been hastened by a lifelong fondness for cards and alcohol.

Arensky was a prolific composer—he wrote three operas, ballet, symphonies, concertos, and chamber music—but almost all of this music has disappeared from the concert hall: of his 75 opus numbers, only the Piano Trio in D Minor remains an established part of the repertory.

Arensky wrote this trio in 1894 and dedicated it to the memory of Russian cellist Karl Davidov (1838-1889), who had served for several years as principal cellist of the Leipzig Gewandhaus Orchestra and who had been head of the St. Petersburg Conservatory when Arensky was a student there.

Arensky has been described as an “eclectic” composer, and the influence of Tchaikovsky is strong here. Some have also heard the influence of Mendelssohn, whose own Piano Trio in D Minor is one of the most famous in the literature.

The opening Allegro moderato is a big movement in sonata form based on two principal ideas: the violin’s soaring opening melody and a more subdued second subject announced by the cello. The movement is dramatic, but Arensky surprises us with its conclusion: he slows the tempo to Adagio, and after all the excitement the movement comes to an unexpectedly quiet conclusion. The ternary-form Scherzo has a brilliant beginning where the violinist alternates

harmonics, spiccatos, and pizzicatos over swirling piano runs; the middle section is a good-natured waltz with the strings dancing above the piano’s rollicking accompaniment.

Rather than offering a da capo repeat of the opening section, Arensky fashions a new closing section from that same material.

The third movement, marked Elegia, is the memorial for Davidov, and Arensky has the muted cello—Davidov’s own instrument—introduce the grieving main theme, which is quickly picked up by the violin. The delicate center section of this movement sounds the most “Tchaikovsky-an,” but this sunlight is short-lived, and the somber opening material returns to bring the movement to its close.

The opening of the finale seems consciously dramatic, built on contrasting blocks of sound: the piano’s massive dotted chords and string passagework in octaves and tremolos make for a portentous beginning. All seems set for a conventional spirited finale, but the conclusion brings some surprises: just as Beethoven had done in the finale of his Ninth Symphony, Arensky now revisits themes from earlier movements, bringing back the middle section of the slow movement and the opening theme of the first movement.

The trio concludes with a brisk coda derived from the opening of the finale itself.

Arensky was the pianist at the première of the Trio in D Minor in December 1894, when he was joined by violinist Jan Hrímaly and cellist Anatoly Brandukov. Shortly after that premiere, those three recorded the trio on wax cylinders in what was one of the earliest recordings ever made of classical music. The performance is not complete, and the sound is dim, but that recording takes us back over a century in time to Imperial Russia and lets us hear Arensky play.

Those interested can find excerpts of that recording on YouTube.

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YEFIM BRONFMAN, piano

TUESDAY, MAY 11, 2021 · 7:30 PM WU TSAI QRT.yrd BEETHOVEN

Piano Sonata in B-flat Major, Opus 22

(1770-1827) Allegro con brio

Adagio con molta espressione Menueto Rondo: Allegretto

SCHUMANN

Arabeske in C Major, Opus 18

CHOPIN

Piano Sonata No. 3 in B Minor, Opus 58

(1810-1856)

(1810-1849) Allegro maestoso

Scherzo: Molto vivace Largo Finale: Presto non tanto

Yefim Bronfman, piano

La Jolla Music Society’s 52nd Season is supported by The Conrad Prebys Foundation, The City of San Diego Commission for Arts and Culture, Banc of California, The Lodge at Torrey Pines, ProtoStar Foundation, Vail Memorial Fund, ResMed Foundation, Bright Events Rentals, Ace Parking, Brenda Baker and Steve Baum, Raffaella and John Belanich, Joan and Irwin Jacobs, Joy Frieman, Debra Turner, Ric and Eleanor Charlton, Jeanette Stevens, Gordon Brodfuehrer, Judith Bachner and Eric Lasley, and an anonymous donor.

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Yefim Bronfman last performed for La Jolla Music Society during SummerFest on August 4, 2018.

14 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

YEFIM BRONFMAN — PROGRAM NOTES

Program Notes by Eric Bromberger

Piano Sonata in B-flat Major, Opus 22

LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna Composed: 1800 Approximate Duration: 25 minutes

Beethoven made his early reputation in Vienna as a pianist, and it is not surprising that much of his early music is for that instrument: among his first 31 opus numbers are eighteen piano sonatas. The composer designated three of these early works “Grand Sonatas,” including the Sonata in B-flat Major heard on this program. This is a term without precise musical meaning, and without even a clear general meaning, since several of the sonatas that lack this title are in fact longer. That name is probably more a reflection of the composer’s sense that these are works of an unusual scope and range of expression: in a letter to his publisher, Beethoven enthusiastically proclaimed, “This sonata is really something.”

Beethoven composed the Sonata in B-flat Major during the second half of 1800. Earlier that year, his First Symphony and Septet had been successfully premiered in Vienna, but even now—as he was approaching his thirtieth birthday— Beethoven was still working to consolidate his command of classical form. Though this sonata is in four movements rather than the three of the classical style, it is in no sense a revolutionary or even groundbreaking work but is content to ride along on its amiable spirit and smooth rhythmic flow. The opening Allegro con brio illustrates this perfectly: despite the terse, almost epigrammatic opening measures, the music is soon flowing easily on its agreeable melodic material; Beethoven offers the expected exposition repeat, an extended development, and a fairly literal recapitulation.

The Adagio, which Beethoven further qualifies con molta espressione, features a long span of melody, made ornate by its many trills, turns, and accidentals. The meter is a slowly-pulsing 9/8, but the music is remarkable for its sometimes florid runs and dark keys shift. The most striking feature of the brief Menueto is its trio section, which moves unexpectedly to G minor and turns fierce, with pounding chords over steady runs; the return to the opening minuet sounds virtually innocent after all this sharp energy. The last movement is an extended rondo, but the interesting thing here is the pace: Beethoven marks it Allegretto—unexpectedly slow for a rondo-finale—and the movement begins with a stately grace and at a tempo slow enough that the rondo

theme can reappear in octaves. Yet Beethoven then breaks this easy manner with a number of differing episodes: some of these feel much faster, but only because they are written in 32nd-notes: the basic speed remains Allegretto throughout.

Some of these episodes can be quite extroverted, even virtuosic, but the civilized spirit of the opening always returns as this agreeable music makes its way to the firm close.

Arabeske in C Major, Opus 18

ROBERT SCHUMANN Born June 8, 1810, Zwickau, Germany Died July 29, 1856, Endenich, Germany Composed: 1838 Approximate Duration: 7 minutes

Schumann moved to Vienna in the fall of 1838, thinking that he and Clara Wieck might establish their home in that fabled city after their marriage. The visit was not a success. Unlike so many other composers, Schumann did not like Vienna—he found it a closed society, so conservative in its attitudes that he could not think of publishing his progressive musical journal Neue Zeitschrift für Musik there. He remained only until the end of March 1839, when the death of his brother called him back to Leipzig.

The visit was not a total loss, however. While in Vienna, Schumann visited Schubert’s brother and in a stack of old music discovered the manuscript to the “Great” Symphony in C Major; this he sent to Mendelssohn, who performed it even before Schumann left Vienna. And while there, Schumann composed some pieces for piano. To his publisher he wrote: “I am composing very intensely at the moment and hoping to elevate myself to the rank of favorite composer of all women in Vienna.” His intending this music for women pianists was not meant as disparagement (Clara Wieck was one of the finest pianists on the planet) but as a statement about the music’s marketability: he was well aware of the growing number of young amateur women pianists, the daughters of the growing middle class. Like Schubert before him, he was ready to write for this new market, and the Arabeske—composed in December 1838—was intended (at least in part) for it.

Yet this lovely music should not be written off as a relatively easy piece intended for domestic consumption.

Schumann’s use of the title Arabeske may seem open to question. An arabeske is not a specific musical form but rather a composition full of florid atmosphere and decoration (as in Debussy’s two Arabesques). Schumann’s Arabeske is in a classical form: it is a rondo based on a flowing—almost

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YEFIM BRONFMAN — PROGRAM NOTES

impulsive—main subject, heard immediately. Along the way, Schumann offers two contrasting episodes, both full of dark and expressive shading, then rounds things off with a slow coda derived from the rondo tune. Whatever its original purpose, Schumann’s Arabeske continues to bring pleasure to audiences and performers—female and male—long after it was written.

Piano Sonata No. 3 in B Minor, Opus 58

FRÉDÉRIC CHOPIN

Chopin launches the lengthy Largo with sharplydotted rhythms, over which the main theme—itself dotted and marked cantabile—rises quietly and gracefully. This movement is also in ternary form, with a flowing middle section in E major. The finale—Presto, non tanto—leaps to life with a powerful eight-bar introduction built of octaves before the main theme, correctly marked Agitato, launches this rondo in B minor. Of unsurpassed difficulty, this final movement—one of the greatest in the Chopin sonatas— brings the work to a brilliant close.

Born February 22, 1810, Żelazowa Wola, Poland Died October 17, 1849, Paris Composed: 1844 Approximate Duration: 27 minutes

Chopin wrote the Piano Sonata in B Minor, his last large-scale composition for piano, during the summer of 1844, when he was 34. He composed the sonata at Nohant, the summer estate in central France he shared with the novelist George Sand. That summer represented a last moment of stasis in the composer’s life—over the next several years his relationship with Sand would deteriorate, and his health, long ravaged by tuberculosis, would begin to fail irretrievably. Dedicated to Madame la Comtesse Emilie de Perthuis, a friend and pupil, the Sonata in B Minor was published in 1845. Chopin himself never performed it in public.

Chopin’s sonatas have come in for a hard time from some critics, and this criticism intensifies to the degree that they depart from the formal pattern of the classical piano sonata. But it is far better to take these sonatas on their own terms and recognize that Chopin—like Beethoven before him—was willing to adapt classical forms for his own expressive purposes. The Sonata in B Minor is a big work—its four movements stretch out to nearly half an hour. The opening Allegro maestoso does indeed have a majestic beginning with the first theme plunging downward out of the silence, followed moments later by the gorgeous second subject in D major, marked sostenuto.

The movement treats both these ideas but dispenses with a complete recapitulation and closes with a restatement of the second theme. The brief Molto vivace is a scherzo, yet here that form is without the violence it sometimes takes on in Beethoven. This scherzo has a distinctly light touch, with the music flickering and flashing across the keyboard (the right-hand part is particularly demanding). A quiet legato middle section offers a moment of repose before the returning of the opening rush.

16 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

YEFIM BRONFMAN, piano PRELUDE 6:30 PM Webinar lecture by Kristi Brown Montresano

WEDNESDAY, MAY 12, 2021 · 7 PM THE BAKER-BAUM CONCERT HALL BEETHOVEN

This performance will be available to stream on-demand until May 19, 2021.

Piano Sonata in D Major, Opus 10, No. 3

(1770-1827) Presto

Largo e mesto Menuetto: Allegro Rondo: Allegro

DEBUSSY

Suite bergamasque

(1862-1918) Prélude

Menuet Clair de lune Passepied

CHOPIN

Piano Sonata No. 3 in B Minor, Opus 58

(1810-1849) Allegro maestoso

Scherzo: Molto vivace Largo Finale: Presto non tanto

Yefim Bronfman, piano La Jolla Music Society’s 52nd Season is supported by The Conrad Prebys Foundation, The City of San Diego Commission for Arts and Culture, Banc of California, The Lodge at Torrey Pines, ProtoStar Foundation, Vail Memorial Fund, ResMed Foundation, Bright Events Rentals, Ace Parking, Brenda Baker and Steve Baum, Raffaella and John Belanich, Joan and Irwin Jacobs, Joy Frieman, Debra Turner, Ric and Eleanor Charlton, Jeanette Stevens, Gordon Brodfuehrer, Judith Bachner and Eric Lasley, and an anonymous donor.

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Yefim Bronfman last performed for La Jolla Music Society in the Piano Series on May 11, 2021.

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YEFIM BRONFMAN — PROGRAM NOTES

Program Notes by Eric Bromberger

Piano Sonata in D Major, Opus 10, No. 3

LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna Composed: 1797-98 Approximate Duration: 22 minutes

Beethoven composed the set of three piano sonatas that make up his Opus 10 in 1797-98, and they were published in Vienna in 1798. The set is dedicated to Countess von Browne, wife of Johann Georg von Browne, one of the composer’s early patrons in his adopted city. Beethoven had established his reputation in Vienna as a pianist, and while he was now trying to widen his compositional scope (he was working on his first set of string quartets at this same time), he was still writing primarily for piano: his first ten opus numbers include seven piano sonatas, and during this period he actually wrote several more that would be published later.

The Sonata in D Major—in four movements rather than the expected three—is universally regarded as the finest of Beethoven’s early sonatas. Not only is it music of enormous energy, but its lengthy slow movement shows signs of a new emotional depth. All by itself, the marking for the first movement—Presto—is remarkable, and the very beginning makes clear the sweep of this music: the first theme—in octaves—strides boldly upward across two octaves. The second subject arrives immediately in the unexpected key of B minor, and the development treats both these ideas before the movement drives to a powerful close on a flow of seemingly non-stop energy.

The real distinction—the real glory—of this sonata lies in its slow movement. Again, Beethoven’s marking is unusual: Largo e mesto (“slow and sad”). Beethoven seldom used the marking Largo and almost never marked a movement mesto, and this is music of a dark intensity, surprising from so young a composer. The movement, in D minor, moves slowly over the steady tread of its 6/8 meter.

The middle section introduces new material, but the solemn pulse of the beginning continues, even in the movement’s murmuring closing moments. The ending feels numb, seeming to collapse on halting, uncertain chords. The clearest indication of this movement’s importance comes in its length: this slow movement takes up nearly half the length of the sonata.

Beethoven marks the third movement Menuetto, and it feels almost innocent after the Largo. The syncopated

opening idea tumbles along happily, while the trio pushes forward on flying triplets. The concluding Allegro is a rondo based on a remarkable opening idea. This theme feels earthbound at first: it reaches upward in short phrases, then suddenly takes wing.

That impression of energy pent up and striving to break free will characterize the entire finale, which cascades to its close with a suddenness that both surprises and pleases.

Suite bergamasque

CLAUDE DEBUSSY Born August 22, 1862, Saint-Germain-en-Laye Died March 25, 1918, Paris Composed: 1905 Approximate Duration: 34 minutes

The creation of this set of four pieces remains shrouded in a certain amount of mystery. In 1890, when Debussy was 28 and virtually unknown, he composed four brief pieces for piano but did not publish them. He came back to this music fifteen years later, in 1905. By this time, Debussy had become famous (or infamous): in the intervening years he had composed Prélude à l’aprèsmidi d’un faune, the String Quartet, Pelléas et Mélisande, and La Mer. Now he composed two new piano pieces, L’isle joyeuse and Masques, and intended to publish them along with the four pieces from 1890, but eventually he thought better of this plan. He published the new pieces separately, and he revised the earlier set and published it in 1905 under the title Suite bergamasque. How much of this music is the work of an unknown music student in Paris and how much of it is the work of the established and sophisticated composer he had become by 1905? No one is sure.

The title is just as elusive. Bergamasque in one sense refers to something old or antique, but Bergamo is also the traditional home of Harlequin of the commedia dell’arte, a dramatic form to which Debussy was much drawn. In his Suite bergamasque, Debussy set out consciously to evoke the keyboard music of seventeenth- and eighteenth-century France, and three of the movements of Suite bergamasque are in forms that come directly from that music. The opening Prélude springs to life with a great flourish and then often has an improvisatory air, as if the pianist might be making it up on the spot. It contrasts a flowing, elegant opening idea with a quiet and falling second subject, and Debussy drives the movement to a forceful close. The Menuet is not in the minuet-and-trio form of Haydn and Mozart, nor does it even look back to the earlier French minuet. Instead, it evokes the graceful spirit of that formal

18 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

YEFIM BRONFMAN — PROGRAM NOTES

dance form. Debussy’s marking is pianissimo et très délicatment, and its many grace-notes, triplets, and runs evoke the “archaic” sound of the clavecin or harpsichord.

The great exception in the Suite bergamasque is its third movement, which does not look back to an earlier keyboard style. Clair de lune has become so familiar as an impressionistic portrait of moonlight that it is surprising to learn that in its earliest version this music had nothing to do with moonlight. In 1890 Debussy had originally titled this piece Promenade sentimentale, and the music acquired its familiar name only when it was revised in 1905. This music fully deserves its popularity, no matter how over-familiar it may have become—Debussy’s fluid rhythms, haunting melodies, and delicate shading continue to work their hold on listeners (and pianists).

Debussy rounds off the suite with the Passepied, which was originally a sailors’ dance from Brittany (its title means “pass-foot”). In its original form, a passepied was in triple meter, but Debussy’s movement is in duple meter throughout. Beneath the crisp staccato of the left hand (which is heard in almost every measure), the right hand lays out two ideas: the sharp-edged opening theme and a more flowing second. For all its elegance, this movement is extremely difficult for the performer, and it ends beautifully, with a falling shimmer of eighth-notes that wink out on two final chords marked triple piano.

Piano Sonata No. 3 in B Minor, Opus 58

FRÉDÉRIC CHOPIN

sonata. But it is far better to take these sonatas on their own terms and recognize that Chopin—like Beethoven before him—was willing to adapt classical forms for his own expressive purposes. The Sonata in B Minor is a big work—its four movements stretch out to nearly half an hour.

The opening Allegro maestoso does indeed have a majestic beginning with the first theme plunging downward out of the silence, followed moments later by the gorgeous second subject in D major, marked sostenuto. The movement treats both these ideas but dispenses with a complete recapitulation and closes with a restatement of the second theme. The brief Molto vivace is a scherzo, yet here that form is without the violence it sometimes takes on in Beethoven. This scherzo has a distinctly light touch, with the music flickering and flashing across the keyboard (the right-hand part is particularly demanding). A quiet legato middle section offers a moment of repose before the returning of the opening rush.

Chopin launches the lengthy Largo with sharplydotted rhythms, over which the main theme—itself dotted and marked cantabile—rises quietly and gracefully. This movement is also in ternary form, with a flowing middle section in E major. The finale—Presto, non tanto—leaps to life with a powerful eight-bar introduction built of octaves before the main theme, correctly marked Agitato, launches this rondo in B minor. Of unsurpassed difficulty, this final movement—one of the greatest in the Chopin sonatas— brings the work to a brilliant close.

Born February 22, 1810, Żelazowa Wola, Poland Died October 17, 1849, Paris Composed: 1844 Approximate Duration: 27 minutes

Chopin wrote the Piano Sonata in B Minor, his last largescale composition for piano, during the summer of 1844, when he was 34. He composed the sonata at Nohant, the summer estate in central France he shared with the novelist George Sand. That summer represented a last moment of stasis in the composer’s life—over the next several years his relationship with Sand would deteriorate, and his health, long ravaged by tuberculosis, would begin to fail irretrievably. Dedicated to Madame la Comtesse Emilie de Perthuis, a friend and pupil, the Sonata in B Minor was published in 1845. Chopin himself never performed it in public.

Chopin’s sonatas have come in for a hard time from some critics, and this criticism intensifies to the degree that they depart from the formal pattern of the classical piano

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ZLATOMIR FUNG, cello & RICHARD FU, piano SATURDAY, JUNE 5, 2021 · 2:30 PM THE BAKER-BAUM CONCERT HALL SGAMBATI

Serenata Napoletana, Opus 24, No. 2

BEETHOVEN

Sonata for Pianoforte and Cello in A Major, Opus 69

(1841-1914)

(1770-1827) Allegro ma non tanto

Allegro molto Adagio cantabile; Allegro vivace

SERVAIS

(1807-1866)

Fantasie and Variations on Themes from Donizetti’s La fille du régiment, Opus 16 Zlatomir Fung, cello; Richard Fu, piano

La Jolla Music Society’s 52nd Season is supported by The Conrad Prebys Foundation, The City of San Diego Commission for Arts and Culture, Banc of California, The Lodge at Torrey Pines, ProtoStar Foundation, Vail Memorial Fund, ResMed Foundation, Bright Events Rentals, Ace Parking, Brenda Baker and Steve Baum, Raffaella and John Belanich, Joan and Irwin Jacobs, Joy Frieman, Debra Turner, Ric and Eleanor Charlton, Jeanette Stevens, Gordon Brodfuehrer, Judith Bachner and Eric Lasley, and an anonymous donor.

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This performance marks Zlatomir Fung and Richard Fu’s La Jolla Music Society debuts.

20 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

ZLATOMIR FUNG & RICHARD FU — PROGRAM NOTES

Program Notes by Eric Bromberger

Serenata Napoletana, Opus 24, No. 2

GIOVANNI SGAMBATI Born May 28, 1841, Rome Died December 14, 1914, Rome Composed: 1890 Approximate Duration: 3 minutes

Giovanni Sgambati studied piano as a boy and soon attracted the attention of Liszt, who was living in Rome at that time. Sgambati studied with Liszt and eventually became his colleague and lifelong friend. Liszt in turn brought Sgambati to Germany and introduced him to mainstream European classical music, which was then almost unknown in Italy, where opera reigned supreme.

Sgambati developed into a virtuoso pianist and played throughout Europe, but he remained based in Rome, where he helped found the Academy of Santa Cecelia. As a conductor, Sgambati introduced much instrumental music to Italy: he conducted the Italian premieres of Beethoven’s Eroica in 1867 and his Seventh Symphony in 1870, and it is telling that those symphonies were not performed in Italy until over sixty years after they were written. Sgambati composed orchestral music, chamber music, sacred settings, and piano pieces, but most of this music has disappeared from concert halls.

Sgambati composed his Two Pieces for Violin and Piano, Opus 24, in 1890, and the second of these two pieces—a “Neapolitan” serenade—remains his most famous work; it is heard at this concert in an arrangement for cello and piano. The Serenata Napoletana is short, lyrical, and charming music, and it was a favorite encore piece of Jascha Heiftetz, who recorded it. At the beginning, Sgambati instructs the pianist to play come chitarra (“like a guitar”), and the tuneful serenade soars above this accompaniment. Throughout, Sgambati repeatedly reminds both performers to play tranquillo and espressivo.

Sonata for Pianoforte and Cello in A Major, Opus 69

LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna Composed: 1807-08 Approximate Duration: 25 minutes

The year 1807 found Beethoven extremely busy.

During the previous year, he had composed his Fourth Piano Concerto, Fourth Symphony, the three Razumovsky Quartets, and

the Violin Concerto, and now he pressed right on, completing the Coriolan Overture in March 1807 and continuing work on his Fifth Symphony. He paused to write the Mass in C Major, then completed the symphony in the fall and began a cello sonata, which he finished early the following year.

Beethoven dedicated the sonata to his longtime friend Baron Ignaz von Gleichenstein, who not only handled the composer’s financial affairs but was also a skillful amateur cellist. The first public performance—on March 5, 1809— was given by two distinguished performers who were also friends and colleagues of Beethoven: pianist Baroness Dorothea von Ertmann and cellist Nikolaus Kraft.

The Cello Sonata in A Major is a remarkable work. Given its proximity in time to the Fifth Symphony, one might expect the sonata to be charged with that same molten energy.

Instead, it is characterized by nobility, breadth, and a relaxed quality that have made it—by common consent— the finest of Beethoven’s five cello sonatas. Beyond issues of content, this sonata is notable for Beethoven’s solution to a problem that has plagued all who write cello sonatas—how to keep the two instruments balanced. He keeps the cello part in the rich mid-range of that instrument, and while the piano is an active co-participant, it is never allowed to overpower or bury the cello.

The Allegro ma non tanto opens with an unusual touch: all alone, the cello plays the movement’s poised main theme and is joined by the piano only after the theme is complete.

Beethoven marks both entrances dolce, and while there is plenty of energy in this lengthy sonata-form movement, that marking might characterize the movement as a whole (characteristically, the marking at the beginning of the development is espressivo). The second movement—Allegro molto—is a scherzo with a syncopated main idea and a doublestopped second theme (also marked dolce). These alternate in the pattern ABABA before a brief coda rounds the movement off; the very ending is a model of ingenuity and understatement. There is no slow movement in this sonata, but the final movement opens with an extended slow introduction marked Adagio cantabile before the music leaps ahead at the Allegro vivace. This is not the expected rondo-finale but another sonata-form movement. It is typical of this sonata that the opening of the fast section is marked pianissimo, and throughout the movement Beethoven reminds both players repeatedly to play dolce.

This sonata may come from the same period as the Fifth Symphony, but its graceful mix of nobility and restraint makes it seem a far different work. Doubtless it brought relief to its composer, and it continues to bring joy to audiences today.

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ZLATOMIR FUNG & RICHARD FU — PROGRAM NOTES

Fantasie and Variations on Themes from Donizetti’s La fille du régiment, Opus 16

ADRIEN FRANCOIS SERVAIS Born June 6, 1807, Halle, Belgium Died November 26, 1866, Halle, Belgium Composed: 1856 Approximate Duration: 10 minutes

Though his name is almost forgotten today, Adrien Francois Servais was one of the greatest cellists of the nineteenth century. Admired for the richness of his sound and for the fluidity of his playing, Servais was frequently compared with Paganini and Liszt; Berlioz and Rossini were among the many who praised his playing. Servais divided his time between concert tours and teaching at the Brussels Conservatory, and he made extended stays in Russia.

Servais played a Stradivarius cello crafted in 1701, and that instrument—considered one of the finest cellos ever made— is now in the collection of the Smithsonian Institution.

One of the popular forms for composer-performers in the nineteenth century was a set of variations on themes from operas of the day: these themes, already familiar to audiences, would provide material for performers to show their skills. Servais wrote a number of such pieces, based on themes from Verdi’s La Traviata, Weber’s Der Freischütz, and others. In 1856 he composed what he called a Fantasie and Variations on themes from one of the most popular operas of the era, Donizetti’s La fille du régiment. That opera, premiered in Paris in 1840, tells of the love between Marie, the canteen girl of the 21st Regiment of the French army, and Tonio, a young soldier. From themes of that opera, Servais fashioned an attractive—and quite lyric—set of variations. This music was originally scored for cello and orchestra, but today it is almost always performed by cello and piano. Servais divides the work into different sections: an introduction, the principal theme, four variations, a romance, and a virtuoso finale. The principal theme comes from Marie’s aria in Act I, “Chacun le sait,” which is in fact the song of the 21st Regiment, and in the opera Marie is cheered on by the soldiers as she sings it. The aria has a very infectious melody (it is a great favorite of sopranos), and from it Servais composes a twelve-minute piece that allows cellists to show off both their lyrical skills and their virtuosity.

22 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

ZLATOMIR FUNG, cello & RICHARD FU, piano PRELUDE 2:45 PM Education Ambassador Project: Spring Flight

SUNDAY, JUNE 6, 2021 · 3 PM THE BAKER-BAUM CONCERT HALL FAURÉ

This performance will be available to stream on-demand until June 23, 2021.

Cello Sonata No. 1 in D Minor, Opus 109

(1845-1924) Allegro

Andante Allegro commodo

BERGER

Selections from Duo for Cello and Piano

(1862-1918) I. Poco adagio

BEETHOVEN

II. Allegro moderato

Sonata for Pianoforte and Cello in A Major, Opus 69

(1770-1827) Allegro ma non tanto

Allegro molto Adagio cantabile; Allegro vivace

Zlatomir Fung, cello; Richard Fu, piano

La Jolla Music Society’s 52nd Season is supported by The Conrad Prebys Foundation, The City of San Diego Commission for Arts and Culture, Banc of California, The Lodge at Torrey Pines, ProtoStar Foundation, Vail Memorial Fund, ResMed Foundation, Bright Events Rentals, Ace Parking, Brenda Baker and Steve Baum, Raffaella and John Belanich, Joan and Irwin Jacobs, Joy Frieman, Debra Turner, Ric and Eleanor Charlton, Jeanette Stevens, Gordon Brodfuehrer, Judith Bachner and Eric Lasley, and an anonymous donor.

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Zlatomir Fung and Richard Fu last performed for La Jolla Music Society in the Discovery Series on June 5, 2021 7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 23

ZLATOMIR FUNG & RICHARD FU — PROGRAM NOTES

Program Notes by Eric Bromberger

Cello Sonata No. 1 in D Minor, Opus 109

GABRIEL FAURÉ Born May 13, 1845, Pamiers, France Died November 4, 1924, Paris Composed: 1917 Approximate Duration: 19 minutes

Fauré and Debussy might seem at first quite different as men and composers: one was quiet and restrained, classical by training and inclination, while the other was a revolutionary, fiery and anti-establishment. Yet their final years (they died within six years of each other) show some surprising parallels. Both men suffered physically (Fauré from deafness, Debussy from cancer); both were terribly distressed by World War I; and both turned to chamber music, the most intimate and disciplined of forms, during their difficult final years. Debussy embarked on a cycle of six sonatas (he completed only three), while Fauré wrote six major chamber pieces in the last seven years of his life.

Fauré composed his Cello Sonata No. 1 in 1917, just as Debussy was completing his final work, the Violin Sonata. It is hard not to believe that some of the anguish of the war years makes its way into these works, and the Fauré sonata in particular is austere and somber. Gone are the lush sounds and harmonies and the “tunefulness” of Fauré’s early music; in their place is a lean sonority, an abstract manner, and a refusal to rely on instrumental color or overt gestures.

The very beginning of the opening Allegro brings an unusual sound—a percussive piano part that will pound quietly throughout the movement; this percussive beginning quickly gives way to a lyric main idea, followed by a dolce second subject. Throughout, the mood is somber, and Fauré makes his argument subtly. The coda is impressive: both cello and piano take up the quiet, percussive strike that has underpinned much of the movement, and on this sound the music drives to its close.

One of the most striking features of the Andante, in G minor, is the simplicity of its themes: the cello sings its gentle song over a quiet triplet accompaniment, then repeats it quietly. Some of the same mood extends to the finale, Allegro commodo, where the singing main idea is marked con grazia and once again Fauré accompanies the cello with a quietly rippling piano line. An unusual feature of this movement is Fauré’s setting the cello and piano in unison in some passages; the coda, with its crescendo chords, is one of the most striking of these.

Selections from Duo for Cello and Piano

ARTHUR BERGER Born May 15, 1912, New York City Died October 7, 2003, Boston Composed: 1951 Approximate Duration: 12 minutes

Arthur Berger was many things over the span of his 91 years: pianist, composer, teacher, critic, and theoretician.

Trained originally at New York University and Harvard, Berger studied briefly with Nadia Boulanger in Paris, then returned to the United States and taught at Mills College in Oakland. After four years there, he made abrupt change, moving to New York City and serving for ten years as music critic for the New York Sun and the Herald-Tribune. Then in 1953 he went back to teaching, first at Brandeis and finally at the New England Conservatory, where he taught into his mid-eighties.

Very early in his career Berger met Aaron Copland, and the two remained friends for life. Berger was one of the original members of Copland’s Young Composers Group and advocated strongly for their progressive ideas about music and politics. Berger was heavily influenced

by Stravinsky’s neo-classicism, and in the early 1950s he became interested in serial composition at just the same time that Stravinsky took up that technique. Berger wrote extensively about serial music and incorporated many of its procedures in his own music, though he managed to sustain a tonal base in that music. In his review of the Duo for Cello and Piano heard on this program, Milton Babbitt described Berger as a “diatonic Webern,” and that has become the standard phrase to describe Berger, though it might not offer the best approach to his music.

Berger composed the Duo for Cello and Piano in 1951, a crucial moment for him. He was in his late thirties, he was nearing the end of his tenure as critic for the Herald Tribune, and he was becoming interested in serial procedures, including the use of pitch cells. The Duo is in two movements that total about twelve minutes, and listeners may at different moments detect the major influences on Berger’s music: Copland, Stravinsky, and Schoenberg. The two movements—one slow, the other somewhat faster—are built on a quite specific sonority: clean, clear, angular, spiky.

That sonority is almost pointillistic: the piano plays with a sharp staccato, and the cello part is often played pizzicato.

All this may make the Duo sound cerebral and threatening, but this is instantly attractive music, graceful, full of rhythmic energy, and always on the edge of dancing. In fact, the Duo would probably make an ideal score for dancers.

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ZLATOMIR FUNG & RICHARD FU — PROGRAM NOTES

Sonata for Pianoforte and Cello in A Major, Opus 69

LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna Composed: 1807-08 Approximate Duration: 15 minutes

The year 1807 found Beethoven extremely busy. During the previous year, he had composed his Fourth Piano Concerto, Fourth Symphony, the three Razumovsky Quartets, and the Violin Concerto, and now he pressed right on, completing the Coriolan Overture in March 1807 and continuing work on his Fifth Symphony. He paused to write the Mass in C Major, then completed the symphony in the fall and began a cello sonata, which he finished early the following year. Beethoven dedicated the sonata to his longtime friend Baron Ignaz von Gleichenstein, who not only handled the composer’s financial affairs but was also a skillful amateur cellist. The first public performance—on March 5, 1809—was given by two distinguished performers who were also friends and colleagues of Beethoven: pianist Baroness Dorothea von Ertmann and cellist Nikolaus Kraft.

The Cello Sonata in A Major is a remarkable work. Given its proximity in time to the Fifth Symphony, one might expect the sonata to be charged with that same molten energy.

Instead, it is characterized by nobility, breadth, and a relaxed quality that have made it—by common consent— the finest of Beethoven’s five cello sonatas. Beyond issues of content, this sonata is notable for Beethoven’s solution to a problem that has plagued all who write cello sonatas—how to keep the two instruments balanced. He keeps the cello part in the rich mid-range of that instrument, and while the piano is an active co-participant, it is never allowed to overpower or bury the cello.

The Allegro ma non tanto opens with an unusual touch: all alone, the cello plays the movement’s poised main theme and is joined by the piano only after the theme is complete.

Beethoven marks both entrances dolce, and while there is plenty of energy in this lengthy sonata-form movement, that marking might characterize the movement as a whole (characteristically, the marking at the beginning of the development is espressivo). The second movement—Allegro molto—is a scherzo with a syncopated main idea and a doublestopped second theme (also marked dolce). These alternate in the pattern ABABA before a brief coda rounds the movement off; the very ending is a model of ingenuity and understatement. There is no slow movement in this sonata, but the final movement opens with an extended slow introduction marked Adagio cantabile before the music leaps

ahead at the Allegro vivace. This is not the expected rondofinale but another sonata-form movement. It is typical of this sonata that the opening of the fast section is marked pianissimo, and throughout the movement Beethoven reminds both players repeatedly to play dolce.

This sonata may come from the same period as the Fifth Symphony, but its graceful mix of nobility and restraint makes it seem a far different work. Doubtless it brought relief to its composer, and it continues to bring joy to audiences today.

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BIOGRAPHIES 2020-21 SPRING SEASON INON BARNATAN, music director & piano

Born in Tel Aviv in 1979, Inon Barnatan started playing the piano at the age of three after his parents discovered he had perfect pitch, and he made his orchestral debut at age 11. His musical education connects him to some of the 20th century’s most illustrious pianists and teachers: he studied first with Professor Victor Derevianko, who, himself, studied with the Russian master Heinrich Neuhaus; and in 1997 he moved to London to study at the Royal Academy of Music with Maria Curcio – a student of the legendary Artur Schnabel – and with Christopher Elton. This summer is Barnatan’s second as La Jolla Music Society’s SummerFest Music Director.

ERIC BROMBERGER, lecturer

Eric Bromberger has been program annotator for the La Jolla Music Society since 1983, and he also writes program notes for the Minnesota Orchestra, Santa Fe Chamber Music Festival, San Francisco Performances, Washington Performing Arts Society, University of Chicago Presents, San Diego Symphony, and others. He lectures frequently for the Los Angeles Philharmonic’s Upbeat Live series at Disney Hall.

YEFIM BRONFMAN, piano

Born in Tashkent in the Soviet Union, Yefim Bronfman immigrated to Israel with his family in 1973. In the United States, he studied at The Juilliard School, Marlboro School of Music, and the Curtis Institute of Music, under Rudolf Firkusny, Leon Fleisher, and Rudolf Serkin. A recipient of the prestigious Avery Fisher Prize, one of the highest honors given to American instrumentalists, in 2010 he was further honored as the recipient of the Jean Gimbel Lane prize in piano performance from Northwestern University and in 2015 with an honorary doctorate from the Manhattan School of Music.

RICHARD FU, piano

Shanghai-born American pianist Richard Fu is an aspiring recitalist with an affinity for vocal and string repertoire and a developing interest in opera and new music.

Fu fell in love with classical music while studying abroad in Vienna and changed his studies to music. He continued his studies at the Royal College of Music in London, University of Oxford, the Juilliard School, and Kunstuniversität Graz where he currently studies with Julius Drake. back to table of contents 26 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

BIOGRAPHIES

ZLATOMIR FUNG, cello

The first American in four decades and youngest musician ever to win First Prize at the International Tchaikovsky Competition Cello Division, Zlatomir Fung is poised to become one of the preeminent cellists of our time. Astounding audiences with his boundless virtuosity and exquisite sensitivity, the 20-year-old has already proven himself to be a star among the next generation of world-class musicians. Fung’s impeccable technique demonstrates a mastery of the canon and an exceptional insight into the depths of contemporary repertoire.

ROBERT JOHN HUGHES, lecturer

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. As a record producer and member of the GRAMMY® Academy, 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.

KRISTI BROWN MONTESANO, lecturer

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, 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.

PHILIPPE QUINT, violin

Multi Grammy Award nominee violinist Philippe Quint is internationally recognized for his unique and insightful approach to standard repertoire, championing and rediscovering neglected repertoire and embarking on imaginative, exciting journeys of explorations and collaborations with artists of different genres. Philippe Quint was born in Leningrad, Soviet Union (now St. Petersburg, Russia). After moving to the United States in 1991, he earned both Bachelor's and Master's degrees from the Juilliard School.

ALISA WEILERSTEIN, cello

“A young cellist whose emotionally resonant performances of both traditional and contemporary music have earned her international recognition, Weilerstein is a consummate performer, combining technical precision with impassioned musicianship,” stated the MacArthur Foundation, when awarding American cellist Alisa Weilerstein a 2011 MacArthur Fellowship. In the 2018-19 season, Weilerstein released Transfigured Night on the Pentatone label, joined by Norway’s Trondheim Soloists for three masterworks of the First and Second Viennese Schools: Haydn’s First and Second Cello Concertos and Schoenberg’s Verklärte Nacht, from which the album takes its title.

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C O M M U N I TY 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.

We've moved our program online and continue to serve students during this difficult time. We remain dedicated to our mission, providing free instruments, bilingual instruction, and learning materials—tools that help students develop self-confidence and self-worth.

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La Jolla Music Society’s Education Ambassador Project A Celebration of San Diego’s Music and Dance Students As La Jolla Music Society’s second annual Education Ambassadors, GRAMMY® Award-winning ensemble Third Coast Percussion and dancers from Movement Art Is are working with San Diego students on an innovative composition and choreography project.

Over the course of two months, local music and dance students will join forces online with these talented artists—all educators in their own right. Students will create a new work featuring original composition and dance, echoing the brilliant world premiere of Metamorphosis performed by the artists in The Baker-Baum Concert Hall in November 2020.

Stay tuned for premiere party details!

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&

La Jolla Music Society’s Education La Jolla Music Society has remained steadfastly committed to our mission during this difficult year. Through our Education & Community Programming, we have connected with nearly 1,500 students and community members so far this season.

The generous support of donors has allowed us to continue offering engaging programming, including online instruction at our Community Music Center and residency activities led by pianist Eric Lu, Jazz at Lincoln Center Orchestra with Wynton Marsalis, Mark Morris Dance Group, and others.

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&

Community Programming 2020-21

HERE’S WHAT STUDENTS AND ADMINISTRATORS HAVE TO SAY ABOUT OUR PROGRAMS: “Sax lessons with Ms. Maynard (aka Miz Raven) were so much fun, each week I left the Zoom feeling confident and happy! She helped me go from a starter to a growing learner on the sax. I’m looking forward to more!” – Melody Montoya, 7th grader, Community Music Center student

“I am grateful that our Students were able to learn from Mr. Printup, Mr. Rampton, Ms. Boles, JLCO & LJMS! Learning from talented musicians is an experience I am sure will inspire them in their musical careers. Thank you for taking the time to connect with our wonderful music program!”

- Roosevelt Middle School Principal Bernard Steinberger

“Thank you for putting on a great show. It was awesome for 2 of the best musicians of all time to come to our school. You are a real inspiration, and I can’t wait to watch you put on more shows in the future.”

- Jimmy, Roosevelt Middle School student

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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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ANNUAL SUPPORT La Jolla Music Society depends on contributed income for more than 60% of its annual budget. We are grateful to all of our contributors who share our enthusiams and passion for the arts. Every donor is a valued partner and they make it possible for one of San Diego’s premier music organization to present year-round.

It is our honor to recognize the following donors.

FOUNDER Brenda Baker & Stephen Baum

($250,000 and above)

Raffaella & John Belanich The Conrad Prebys Foundation

ANGEL Joy Frieman

($100,000 - $249,999)

Joan & Irwin Jacobs Debra Turner The City of San Diego Commission for Arts and Culture

BENEFACTOR Ric & Eleanor Charlton ($50,000-$99,999)

Silvija & Brian Devine Stephen Gamp | Banc of California Jeanne Herberger, Ph.D. Sheryl & Bob Scarano Haeyoung Kong Tang Clara Wu Tsai & Joseph Tsai Bebe & Marvin Zigman

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ANNUAL SUPPORT

GUARANTOR

($25,000 - $49,999)

Anonymous Mary Ann Beyster Gordon Brodfuehrer Wendy Brody Linda Chester & Ken Rind Julie & Bert Cornelison Barbara Enberg Monica Fimbres Jeff Glazer & Lisa Braun Glazer Lehn & Richard Goetz John Hesselink Susan & Bill Hoehn Vivian Lim & Joseph Wong Sue & John Major Arlene & Lou Navias Arman Oruc & Dagmar Smek Peter & Peggy Preuss Marge & Neal Schmale Jeanette Stevens Gayle & Philip Tauber Vail Memorial Fund Anna & Edward Yeung Sue & Peter Wagener

SUSTAINER

($15,000 - $24,999)

Anonymous (2) Sharon L. Cohen Peter Cooper & Erik Matwijkow Nina & Robert Doede Brian & Susan Douglass Ann Parode Dynes & Robert Dynes Lyndie & Sam B. Ersan Jennifer & Kurt Eve Sue & Chris Fan

Debby & Wain Fishburn Brenda & Michael Goldbaum Angelina & Fredrick Kleinbub Robin & Hank Nordhoff Betty-Jo Petersen Steven & Sylvia Ré Stacy &p Don Rosenberg Leigh P. Ryan Clifford Schireson & John Venekamp Maureen & Thomas Shiftan Abby & Ray Weiss Lisa Widmier Lise Wilson & Steve Strauss Katrina Wu

SUPPORTER

($10,000 - $14,999)

Anonymous Judith Bachner & Dr. Eric L. Lasley Tom & Stephanie Baker Bob & Ginny Black Karen & Don Cohn Martha & Ed Dennis Teresa & Merle Fischlowtiz Pam & Hal Fuson Ingrid Hibben Keith & Helen Kim Carol Lam & Mark Burnett Rafeal & Marina Pastor Catherine Rivier Ivor Royston & Colette Carson Royston Noni & Drew Senyei Iris & Matthew Strauss Dolly & Victor Woo Carolyn Yorston-Wellcome

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

Anonymous (3) Carson Barnett & Tom Dubensky Joan Jordan Bernstein Mary Bianco Bjorn Bjerede & Jo Kiernan George and Laurie Brady Dr. James C. & Karen A. Brailean Stuart & Isabel Brown Lisa & David Casey Katherine & Dane Chapin Lori & Aaron Contorer The Hon. Diana Lady Dougan Jeane Erley Jill Esterbrooks & James Kirkpatrick Robbins Farrell Family Foundation Elliot & Diane Feuerstein Richard & Beverley Fink Sara & Jay Flatley Beverly Frederick & Alan Springer Ingrid & Ted Friedmann Buzz & Peg Gitelson Michael Grossman & Margaret Stevens Grossman Rita & Mark Hannah Erik & Mimi Holtsmark Gail & Doug Hutcheson Debby & Hal Jacobs Theresa Jarvis & Ric Erdman Jan Ann Kahler Amy & William Koman Arleen & Robert Lettas Kathleen & Ken Lundgren Jack McGrory & Una Davis Margaret McKeown & Peter Cowhey Donna Medrea Virginia & David Meyer

THE CONRAD Since its opening on April 5, 2019, The Conrad Prebys Performing Arts Center has become the new heart of cultural, arts education, and community event activity in La Jolla. The Conrad is the permanent home of La Jolla Music Society and hosts world-class performances presented by LJMS as well as other San Diego arts presenters. Additionally, The Conrad is available for a wide range of conferences, corporate meetings, weddings, fundraisers, and private events.

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ANNUAL SUPPORT Marilyn & Stephen Miles Bill Miller & Ida Houby Hans & Ursula Moede Elaine & Doug Muchmore Muchnic Foundation Pat & Hank Nickol Sharon & Jeff Pennington William Pitts & Mary Sophos Taffin & Gene Ray Mrs. Robert Reiss Susan Shirk & Samuel Popkin Gloria & Rod Stone Joyce & Ted Strauss Mary & Bill Urquhart Yvonne Vaucher Gianangelo & Mera Vergani Jodi & Rusty Wallis Margie & John H. Warner, Jr. Sheryl & Harvey White Mary & Joseph Witztum

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

Anonymous Rusti Bartell Barry & Emily Berkov Jim Beyster Sedgwick & Gloria Browne R. Nelson & Janice Byrne Linda Christensen & Gonzalo Ballon-Landa Lee Clark Dr. Marjorie Coburn Bradley Comp and Christine Ellis-Comp David Cooper and Joanne Hutchinson Linda & Richard Dicker Margot & Dennis Doucette Mr. & Mrs. Michael Durkin Ruth & Ed Evans Socorro Fimbres Elaine Galinson & Herbert Solomon Dawn Gilman Lee & Frank Goldberg Lynn Gorguze & The Hon. Scott Peters Ronald & Deborah Greenspan Teresa & Harry Hixson Erik & Mimi Holtsmark Reena & Sam Horowitz Joan Hotchkis Elisa & Rick Jaime

Susan & David Kabakoff Lynda Kerr Jeanne Jones Jeffrey & Sheila Lipinsky Sylvia & Jamie Liwerant Sarah Long Cindy & Jay Longbottom Mary Keough Lyman Anita & Mike Mahaffey Dennis McConnell & Kimberly Kassner Gail & Ed Miller Howard & Barbara Milstein Alexandra Morton Jeanne & Rick Norling Sally & Howard Oxley Carolyn & Ed Parrish Rachel & Robert Perlmutter Vicki & Art Perry Allison & Robert Price Drs. Gloria & Joseph Shurman Gerald & Susan Slavet Jessica & Eberhardt Rohm Sandra & Robert Rosenthal Doreen & Myron Schonbrun Emily & Tim Scott Pat Shank Leland & Annemarie Sprinkle Elizabeth Taft Twin Dragons Foundation Susan & Richard Ulevitch Rick & Diane Viton Ronald Wakefield Mary Walshok Armi & Al Williams Jo & Howard Weiner Faye Wilson

ASSOCIATE

($1,000 - $2,499)

Christine Andrews Alvaro Ávila Jeffrey Barnouw Charles & Sharon Bates Carolyn Bertussi Benjamin Brand Cathy & Chris Carroll Adriana Cetto Jian & Samson Chan Grace & David Cherashore

Anthony F. Chong & Annette Thu Nguyen Jim & Patty Clark Debbe Deverill Rosalind Dietrich Jeffrey Dunigan Jack Fisher Barbara & Kent Freundt Beverly Friemon Laura & Tom Gable Sarah & Michael Garrison Beverly Grant Miles Grant & Tatiana Zunshine Catharina M. Hamilton Arlene Harris and Martin Cooper Norma Hildago Paul & Barbara Hirshman Linda Howard Lulu Hsu Margaret Jackson Sandra Jordan Dwight Kellogg Edward Koczak Jeanne Larson Theodora Lewis Grace H. Lin Eileen A. Mason Dr. Sandra Miner Virginia Oliver Marty & David Pendarvis Jill Porter Carol Randolph John Renner Gwyn Carter Rice Eva & Doug Richman Linda & Charlie Shalvoy Pam Shriver Mark & Nicollette Sterk Jean Sullivan & David Nassif Norma Jo Thomas Susan E. Trompeter, M.D. Paige & Bob Vanosky Fernanda Vildosola Lori & Bill Walton Sibyl & David Wescoe Karin Winner Fernanda Witworth

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ANNUAL SUPPORT

FRIEND

ENTHUSIAST

Anonymous (2) K. Andrew Achterkirchen Dr. Andrew S. Allen Arlene Antin & Leonard Ozerkis Julie & Edgar Berner LaVerne & Blaine Briggs Sonya Celeste-Harris & Richard Harris June Chocheles Caroline DeMar Richard Forsyth Beverly Fremont Clare Friedman Elisabeth Friedman Carrie Greenstein Nancy D. Grover Bryna Haber Phil & Kathy Henry Emmet & Holly Holden Nancy Hong Louise Kasch Evelyn & Bill Lamden Toni Langlinais Bill & Sallie Larsen Lewis Leicher Elizabeth Lucas Linda & Michael Mann Betty & James Martin Kenneth Martin Ted McKinney Wendy & Bruce Nelson Susan Newell Jonathan Scheff & Kimberly Butterwick Ronald Simon William Smith & Carol Harter Randall Smith Mary Rodriguez Barbara Rosen & Bob Fahey Marsha & Bob Venn David Washburn Suhaila White Olivia & Marty Winkler

Anonymous Sibille Alexander Dede & Mike Alpert Lynell Antrim Nancy Corbin Assaf Stefana Brintzenhoff Robert & Jean Chan Kathleen Charla Geoffrey Clow Hugh Coughlin Roccio & Mike Flynn Ferdinand Marcus Gasang Dr. & Mrs. Jimmie Greenslate Helga Halsey Victoria Hamilton Bo Hedfors David Hodgens & Linda Olson Richard Hsieh Ed & Linda Janon Julia & George L. Katz Gladys & Bert Kohn Gordon Knight Las Damas de Fairbanks Katy McDonald Patricia McNew Nasrin A. Owsia Aghdas Pezeshki William Purves & Don Schmidt Nicolas Reveles Morton & Marjorie Shaevitz William Smith Edward Stickgold & Steven Cande Eli & Lisa Strickland Dr. & Mrs. Robert Wallace Christopher and Patricia Weil Brian Worthington David & Debra Youssefi Bart Ziegler

($500 - $999)

($250 - $499)

HONORARIA & MEMORIAL In Memory of Rita Atkinson: Ferdinand Marcus Gasang Dolly & Victor Woo

In Honor of Barbara Enberg: Karen & Stuart Tanz

In Honor of Monica Fimbres: Anne Marshall

In Memory of OJ Heestand: Brenda Baker & Steve Baum Joseph & Gretchen Doherty Denny & Barbara Forley Joy & Fred Frye Ferdinand Marcus Gasang Joretta Heestand Nation Meyer & "Tucker" Steven & Sylvia Ré Leila Shakkour Dolly & Victor Woo

In Honor of Todd Schultz: Christopher Beach & Wesley Fata Teresa & Harry Hixson Susan & Richard Ulevitch

In Honor of Maureen & Tom Shiftan: Lester Stiel

In Honor of Leslie Simon: Adrienne Krichman

In Honor of Debbie Turner: Lori & Bill Walton Karin Winner

This list is current as of March 31, 2021. to make an amendment to your listing please contact Landon Akiyama, at 858.459.3724, ext. 216 or LAkiyama@LJMS.org.

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MEDALLION SOCIETY CROWN JEWEL

TOPAZ

Brenda Baker and Steve Baum

Anonymous Joan Jordan Bernstein Mary Ann Beyster Virginia and Robert Black Dr. James C. and Karen A. Brailean Barbara Enberg Pam and Hal Fuson Buzz and Peg Gitelson Drs. Lisa Braun-Glazer and Jeff Glazer Margaret and Michael Grossman Theresa Jarvis Angelina and Fred Kleinbub Kathleen and Ken Lundgren 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 Gloria and Rodney Stone Gianangelo and Mera Vergani Joseph Wong and Vivian Lim Dolly and Victor Woo Carolyn Yorston-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 John Hesselink Keith and Helen Kim

Listing as of March 31, 2021

The Medallion Society was established 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 GRAND JETÉ

PIROUETTE

DEMI POINTE

Jeanette Stevens Marvin and Bebe Zigman

Elaine Galinson and Herbert Solomon Larry Marcus Annie So

Beverly Fremont Saundra L. Jones

POINTE Carolyn Bertussi Susan E. Trompeter, M.D.

PLIÉ Rebecca Kanter

Listing as of March 31, 2021

DANCE SERIES OUTREACH La Jolla Music Society hosts dance master classes and open rehearsals throughout the winter season.

Participating companies have included Alvin Ailey American Dance Theater, MOMIX, Joffrey Ballet, Mark Morris Dance Group, New York City Ballet MOVES, and many more.

La Jolla Music Society is the largest present 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 for each patron for their passion and support of our dance programs.

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PLANNED GIVING LEGACY SOCIETY 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 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 Pat Shank Drs. Joseph and Gloria Shurman Karen and Christopher Sickels 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 March 31, 2021

REMEMBERING LJMS IN YOUR WILL It is easy to make a bequest to La Jolla Music Society, and no amount is too small to make a difference.

Here is a sample of language that can be incorporated into your will: “I hereby give ___% of my estate (or specific assets) to La Jolla Music Society, Tax ID 27-3147181, 7600 Fay Avenue, La Jolla, CA 92037, for its artistic programs (or education, general operating, or where needed most).

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. If you have included LJMS in your estate plans, please let us know so we may recognize you.

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CORPORATE PARTNERS BENEFACTOR

GUARANTOR

SUSTAINER

SUPPORTER

AMBASSADOR

SAN DIEGO

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FOUNDATIONS 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: The Carroll Family 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: Jendy Dennis Endowment Fund 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

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 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 SUPPORT 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 Season 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.

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.

Thank You! 42 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

Join us for a lively evening featuring GRAMMY® Award-winning artists

STEEP CANYON RANGERS!

The gorgeous Hoehn porche carlsbad will set the spectacular backdrop for the socially distanced concert, stellar dinner, and flowing americana inspired cocktails Proceeds benefit the artistic and education programs of La Jolla Music Society for more information and to purchase your tickets visit ljms.org/gala

Saturday, May 22, 2021 La Jolla Music Society 2021 Gala Sheryl Scarano, Gala Chair

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 43

The Conrad Prebys Performing Arts Center

RESILIENCE FUND Protect arts programming.

Ensure a future filled with live performances.

Donate Today LJMS.org or call 858.459.3728 back to table of contents 44 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

JOIN OUR FAMILY For more than 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.

...with a gift today!

During these extraordinary and unprecedented times, gifts to La Jolla Music Society help bring the music you love to audiences in San Diego and around the world. Every contribution is significant in helping us to create engaging programs that can be experienced at home and at outdoor spaces.

La Jolla Music Society’s legacy is one of resilience and has endured for half a century, and with your support, we will once again prevail during this precarious time.

Through your patronage, you are setting the tone for the future.

Please consider making a donation today. With help from devoted arts patrons like you, we can look forward to bringing back unforgettable live performances for all to enjoy.

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We are grateful to our generous Founding Donors whose leadership and gifts have built The Conrad Prebys Performing Arts Center and we applaud their vision to enrich the quality of life for everyone in our community.

Conrad Prebys and Debbie Turner The Conrad Prebys Foundation Brenda Baker and Steve Baum Joan and Irwin Jacobs Clara Wu and Joseph Tsai

Raffaella and John Belanich Rita and Richard Atkinson The Beyster Family Brian and Silvija Devine Joy Frieman

Peggy and Peter Preuss Noni and Drew Senyei Debbie Turner

The Abello Family Sumi Adachi Erica Arbelaez Alexander Willis Allen Kathleen Alligood and Timothy Sauer John Amberg Sue Andreasen Arleene Antin and Leonard Ozerkis Abrahame and Debbie Artenstein Nancy Assaf Thomas Bache and Ann Kerr Marnie Barnhorst Rusti Bartell Christopher Beach and Wesley Fata Maurine Beinbrink Emily and Barry Berkov Holly Berman Edgar and Julie Berner Joan Jordan Bernstein Bjorn Bjerede and Jo Kiernan Barbara Bloom Helen Bloomfield Joye Blount and Jessie Knight, Jr. Robert and Virginia Black Joyce and Robert Blumberg Susan B. Boe Bill Boggs and Marilyn Huff Karen and Jim Brailean Benjamin Brand Ronald I. Brendzel Carter Brey Gordon Brodfuehrer Wendy Brody Ellen Brown

Sedgwick Browne Fay Bullitt Janice and Nelson Byrne Peter Cacioppo Carol and Jim Carlisle Robert Caplan and Carol Randolph R. Park and Louise Carmon Lisa and David Casey Katherine and Dane Chapin Ric and Barbara Charlton Linda Chester and Kenneth Rind Bobbi Chifos Linda Christensen and Gonzalo Ballon-Landa Lee Clark Ashley Clark Jim and Patty Clark Ryan Clark Greg Clover and Kathleen Webber Charles and Monica Cochrane Sharon Cohen Karen and Don Cohn Peter Cooper in honor of Norman Blachford Valerie and Harry Cooper Julie and Bert Cornelison Hugh Coughlin Ruth Covell Elaine and Dave Darwin Una Davis Family Doug Dawson Mr. and Mrs. Richard Dean Ted DeDee and Pamela Hinchman Caroline DeMar Tallie and George Dennis Martha and Ed Dennis

Debra Deverill Linda and Rick Dicker Brian and Susan Douglass The Dow Divas Sue H. Dramm Robert and Ann Parode Dynes Barbara and Dick Enberg Leighann Enos Jennifer and Kurt Eve John and Linda Falconer Felix Fan Eduardo Ludovico Feller Irene Tsang Feller Thompson and Jane Fetter Elliot and Diane Feuerstein Monica Fimbres Socorro Fimbres Teresa and Dr. Merle Fischlowitz Wain and Debbie Fishburn Elisabeth Eisner Forbes and Brian Forbes David Fox Jorgina Franzheim Barbara Freeman Brandon and Paula Freeman Paul and Claire Friedman Ronald Friedman Georges & Germaine Fusenot Charity Foundation Laura and Tom Gable Ira Gaines and Cheryl J. Hintzen-Gaines Elaine Galinson and Herbert Solomon Susan Galluccio Sarah and Michael Garrison Ferdinand Marcus Gasang

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THANK YOU! Maxine and Marti Gellens Clyde Gillespie Dawn Gilman Peggy and Buzz Gitelson Lisa Braun Glazer and Jeff Glazer Tom Gleich in memory of Martin and Enid Gleich Lehn and Richard Goetz Brenda and Michael Goldbaum Lee and Frank Goldberg Grande Colonial Clyde Gonzales Lynn Gorguze and The Hon. Scott Peters Jennifer and Richard Greenfield Ronald and Deborah Greenspan Carol Lynne Grossman Margaret Stevens Grossman and Michael Grossman David Guss Teresa Haas Helga Halsey Judith Harris and Robert Singer George Hauer / George’s at the Cove Bo Hedfors Nancy Heitel Edvard and Barbara Hemmingsen Dr. Jeanne Herberger in loving memory of Gary Kierland Herberger Kay and John Hesselink Nellie High Louise and Robert Hill Paul and Barbara Hirshman Sue Hodges Susan and Bill Hoehn Alan Hofmann Mark Holmlund Vivian and Greg Hook Eliot Horowitz in honor of Carol Fink Davorin David Hrovat in loving memory of Dr. Vilibald Hrovat and Dr. Maria Hrovat Lulu Hsu Liz and Robert Jackson Linda and Edward Janon Theresa Jarvis Arthur Q. Johnson Foundation Sheila Johnson Wilbur Johnson Jeanne Jones and Don Breitenberg Patricia and Lewis Judd

David and Susan Kabakoff Michael and Nancy Kaehr Rowain and Joseph Kalichstein Allen Kalkstein and Linda Low-Kalkstein Linda Kanan Sofia Kassel Nan and Buzz Kaufman Dwight Kellogg Richard and Ruth Kelly Lynda Kerr Karen and Warren Kessler Katherine Killgore and Glen Bourgeois Eric Kim Helen and Keith Kim Jenelle Kim Shirley Kirschbaum Carrie Kirtz David Kitto and Aristides Gonzales Angelina and Fredrick Kleinbub Leslie and Nat Klein in memory of Audree Jane Kolar James Kralik and Yunli Lou Artun Kutchuk La Jolla Beach & Tennis Club La Jolla Sports Club La Valencia Hotel Carol Lam and Mark Burnett Bill and Sallie Larsen Las Patronas Jaime Laredo The LeCourt Family Sharon LeeMaster Teddie Lewis Vivian Lim and Joseph Wong Debby and Jimmy Lin Lawrence Lindberg and Marilyn Adler Lindberg Sheila and Jeffrey Lipinsky Ann and Gerald Lipschitz in honor of Selma Malk Norman and Mayumi Lizt Mathew and Barbara Loonin Terri Lundberg Kathleen and Ken Lundgren Mary Keough Lyman Sue and John Major Brian Malk in honor of Selma Malk Linda and Michael Mann Holly Fowler Martens and Robert Martens Patsy and David Marino

Betty and James Martin Michel Mathieu and Richard MacDonald Rosemarie Maywood Dennis A. McConnell and Kimberly A. Kassner Matt McCormick in memory of Joel McCormick Margaret McKeown and Peter Cowhey Dan McLeod Virginia Meyer Betsy Mitchell Hans and Ursula Moede Daphne Nan Muchnic Bridget Musante Esther Nahama Arlene and Lou Navias The Nelson Family Paula Noell Robin and Hank Nordhoff Janet and John Nunn Virginia Oliver John and Nancy O’Neal Richard O’Neill Neil Osborne Pacific Sotheby’s Real Estate Renee Levine Packer Catherine and Bob Palmer Patty and PD Rafael and Marina Pastor Pamela Peck in honor of the Peck Pugh Family Dan Pearl in memory of Julius Pearl Marty and David Pendarvis Rachel Perlmutter in memory of Marion and Lester Perlmutter Betty Jo Petersen Ursula Pfeffer Phyllis and Stephen Pfeiffer Cynthia Phelps William Pitts and Mary Sophos Gary Poon Ellen Potter and Ronald Evans William Propp and Anna Covici The ProtoStar Foundation Robert Bob and Joyce Quade The Klaus Radelow Family Evelyn and Ernest Rady Sylvia and Steven Ré Catherine and Jean Rivier

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!

U O Y K N THA

Jeannie and Arthur Rivkin Jessica and Eberhard Rohm Stacy and Don Rosenberg Colette Carson Royston and Ivor Royston Noel Rufo David and Mary Ruyle Leigh P. Ryan Rita Ryu in memory of Sam Ryu Arlene and Peter Sacks Eric and Jane Sagerman Julie and Jay Sarno Eric Sasso Sheryl and Bob Scarano Adrienne and Richard Schere Jay and Torrie Schiller Clifford Schireson and John Venekamp Marge and Neal Schmale Marilies Schoepflin in honor of Axel Schoepflin Emily and Tim Scott Linda Scott Minna Shah Pat Shank Maureen and Thomas Shiftan Mao and Doctor Bob Shillman Gigi and Joseph Shurman Karen and Christopher Sickels

Rob Sidner Simon | Krichman Family Ethna Sinisi Rodney and Dolores Smith Rewa Colette Soltan Alan and Beverly Springer Leland and Annemarie Sprinkle Sheryl Staples Martin Stein Jeanette Stevens Gloria and Rod Stone Iris and Matthew Strauss Elizabeth Taft Michael Takamura Haeyoung Kong Tang William Tong Shannon Turner Susan and Richard Ulevitch N.B. Varlotta Yvonne Vaucher Jocelyn and Richard Vortmann Sue and Peter Wagener Richard H. Walker Andrew Morgan Walker Evelyn Bea Walker Graham Brooks Walker Paige Keegan Walker

Steph Walker Bill and Lori Walton Nell Waltz Margie Warner and John H. Warner, Jr. Viviane M. Warren Maureen and Dean Weber Cathy and John Weil Abby and Ray Weiss Linda and Steve Wendfeldt Doug and Jane Wheeler Sheryl and Harvey White Suhaila White Lisa Widmier Joan and Howard Wiener Faye Wilson Joseph and Mary Witztum Dolly and Victor Woo Katrina Wu Anna and Edward Yeung Carolyn Yorston-Wellcome and Bard Wellcome Howard and Christy Zatkin Barbara and Michael Zelnick Bebe and Marvin Zigman Anonymous Listing as of January 31, 2021

We have so much to celebrate today, but just think of where we might be 50 years from now? There are creative endeavors yet to be imagined: young musicians now in training who could defy our highest expectations; and scores of young students that could be introduced to the joy of music for the first time. An endowment makes that possible.

Please join us in ensuring that The Conrad, a cultural and community treasure, remains a vital resource to our generation and all those to follow. Make a gift today or sponsor a seat by contacting: Ferdinand Gasang, Director of Development, at 858.459.3724, ext. 204 or FGasang@LJMS.org. You can also make a gift online at www.LJMS.org/donate 48 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

Foundation

The ResMed Foundation is pleased to support your excellent programs in musical arts education.

Board of Trustees Edward A. Dennis, PhD Chairman

Mary F. Berglund, PhD Treasurer

Peter C. Farrell, PhD, DSc Secretary

Charles G. Cochrane, MD Michael P. Coppola, MD Anthony DeMaria, MD Sir Neil Douglas, MD, DSc, FRCPE Klaus Schindhelm, BE PhD Jonathan Schwartz, MD Kristi Burlingame Executive Director

7514 Girard Avenue, Suite 1-343 La Jolla, CA, USA, 92037

Tel 858-361-0755

ResMedFoundation.org

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50 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 51

QUALITY SERVICE EXPERIENCE INNOVATION Chairs to China

Linens to Lighting

Tables to Tents

bright.com • 858.496.9700

Proud Supporter of the La Jolla Music Society Los Angeles • West Los Angeles • Santa Barbara • Orange County • San Diego Palm Springs • San Francisco • Sonoma • Saint Helena • Healdsburg • Phoenix

52 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

Breathtaking Views, Uniquely California Cuisine For Every Occasion

ARValentien.com | (858) 777-6635

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 53

Now Open for Lunch, Dinner and Weekend Brunch Steps away from The Conrad, Chef Giuseppe Ciuffa’s newest spot, Candor is a European inspired restaurant with fresh Seasonal California Cuisine. Focused on honest and straightforward cooking, Candor sources as much as possible from local farmers and fishermen.

Join Candor for an afternoon aperitif pre-concert at the wine bar or dinner following a night out.

Reservations are recommended.

1030 Torrey Pines Road, La Jolla, CA 92037 858.246.7818 • DineCandor.com

Timeless Culinary Creations

Giuseppe’s everything-made-in-house credo, unparalleled service and exquisite presentations make for the perfect catering partner for any occasion including weddings, holiday celebrations, corporate events and more.

Call us at 858.581.2205 or visit us online at grnfc.com.

54 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

Pamplemousse Grille

HAPPY HOUR DINNER PRIVATE ROOMS RETAIL WINE CATERING

514 VIA DE LA VALLE STE. 100 SOLANA BEACH, CA 92075

PROUD PARTNER OF THE CONRAD & LONG TIME SUPPORTER OF LA JOLLA MUSIC SOCIETY

PGRILLE.COM 858.792.9090 INFO@PGRILLE.COM

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 55

We Create, You Celebrate!

Going above and beyond is part of the tradition at Creative Catering & Events.

The company’s roots can be traced back to 1998 and we’ve continued to grow since then. Providing the nest cuisine prepared in our kitchen, using the freshest, most avorful ingredients to make any meal a hit. We put our hearts into making every event nothing but a success. Creativity is what makes us who we are and there is no match to our quality for the price. Next time you have an event, remember Creative Catering and Events will make you shine.

858.750.2365 | www.sdcreativecatering.com | info@sdcreativecatering.com

San Diego’s exclusive private caterer now at The Conrad

secondnaturecatering.com 56 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

WELCOME TO THE LOT...

CINEMAS/ RESTAURANT/ BAR/ CAFÉ/

La Jolla 7611 Fay Ave, La Jolla CA, 92037 (858) 777- 0069 Liberty Station 2620 Truxtun Rd, San Diego CA, 92106 (619) 566- 0069

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 57

Elevate Your Catering We know your standards are high — so are ours. From crowd pleasing appetizers to fun late night snacks, we’ll help refine your menu and highlight fresh seasonal ingredients. Contact us at info@toastcatering.com or 619.795.9135.

58 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

Chocolates of Switzerland San Diego

"For chocolate lovers...many connoisseurs consider teuscher to be the world's finest!" -- NY Times

In Sweet Harmony with La Jolla Music Society

9 of 10 people love chocolate the tenth one is a little liar!

7863 Girard Ave / Suite 204 / La Jolla / CA 92037 858.230.6337 www.teuschersandiego.com

#teuschersandiego 7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 59

Coast Catering offers full-service event planning and custom catering for every occasion. Whether planning a small private party, major celebration or high-profile corporate event you can enjoy the ultimate experience with our perfect blend of event strategy, custom menus and culinary execution.

877.511.1718 | Coastcatering.com

Steel seahorse, Jennifer Lannes, diner since 1978

some traditions just keep getting richer.

Located along the shores of La Jolla, the elegance and sophistication of your dining experience is matched only by the power and drama of the ocean just inches away.

At The Marine Room, every meal is a special occasion.

858.459.7222

MarineRoom.com

60 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

EXPERIENCE EXCEPTIONAL SERVICE Stay and Play on Fay - A Preferred Partner of THE CONRAD Connnental Breakfast - Piano Spa Suite - Fine Italian Cuisine

7766 Fay Ave. La Jolla, CA 92037 www.Empress-Hotel.com (858) 454-3001

ManhaaanofLaJolla.com (858) 459-0700 info@manhaaanoflajolla.com 7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 61

FLOWERCHILDSANDIEGO.COM

62 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

#PARTY AT THE CONRAD

TENFOLDSTYLE is a long standing supporter of THE LA JOLLA MUSIC SOCIETY & A proud

partner

of

THE CONRAD PREBYS

PERFORMING ARTS CENTER

ONE OF A KIND PARTIES #TENFOLDSTYLE

www.TENFOLDSTYLE.com

An Experience in Great Taste (858) 638‐1400 www.BTScenes.com

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 63

UN‘OPERA ITALIANA CON CHEF STEFANO, MILANO

Voted Bronze For Best Overall Restaurant In La Jolla

BRUNCH PIZZA LUNCH SEAFOOD DINNER FRESH PASTA Large Patios . Wine Bar . Catering . Private Events . Cooking Classes A PROUD COMMUNITY PARTNER OF THE CONRAD

7731 FAY AVENUE . LA JOLLA . 858 412 3108 . PIAZZA1909.COM 64 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

GIRARD GOURMET from beach to boardroom

PROUD SUPPORTERS OF LA JOLLA MUSIC SOCIETY AT THE CONRAD

7837 Girard Ave, La Jolla, CA 92037 | 858.454.3321

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 65

You appreciate excellence...

We create it.

FLORAL FANTASIES REALIZED BLOOMERS OF LA JOLLA • 7520 EADS AVENUE • LA JOLLA, CALIFORNIA 92037 • (858) 454-3913 66 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

Working together in harmony!

Thanks for being our trusted partner, La Jolla Music Society.

We are proud to sponsor Summerfest as we work to create a healthy and vibrant community in the Village.

7825 Fay Ave | La Jolla, CA 92037 | lajollasportsclub.com

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68 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 69

Proud partner in support of The Conrad Prebys Performing Arts Center A one minute walk from THE CONRAD LUNCH | DINNER | HAPPY HOUR SATURDAY & SUNDAY BRUNCH

7550 FAY AVENUE, LA JOLLA, CA 92037 | 858 454-5013 berninisbistro.com 70 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 71

2019 NINE-TEN SummerFest Program Ad.pdf 1 05/29/2019 9:55:32 AM

72 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

GOURMET

experiences From the award-winning Westgate Room restaurant, to the legendary Sunday Brunch in the regal Le Fontainebleau Room, let us transport you to a universe of exceptional gastronomy.

The Westgate is already unforgettable. Make it truly memorable with a meal to remember.

••• Theatre Night Special ~ Enjoy complimentary 3-hour parking with a minimum purchase of $59 at Westgate Room.

••• westgatehotel.com | 1055 Second Ave. | San Diego, CA 92101

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 73

74 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

ALENCIA HOTEL AND SPA LA JOLLA, CA

THE CROWN JEWEL OF LA JOLLA La Valencia Hotel & Spa - a hospitality classic since 1926. With her signature pink exterior and iconic tower, the elegant “Pink Lady” remains a renowned landmark on La Jolla’s distinctive Prospect Street commanding the village bluffs with panoramic views of the Pacific coastline and beautiful La Jolla Cove.

HOLLYWOOD GLAMOUR ON THE CALIFORNIA RIVIERA 877 • 698 • 3788 • LAVALENCIA.COM • 1132 PROSPECT STREET, LA JOLLA, CA 92037

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 75

A SYMPHONY O F TA S T E George’s at the Cove is a Proud Community Partner in support of

THE CONRAD The Conrad Prebys Performing Arts Center

experience g e o rg e s a t t h e co v e . co m •

858.454.4244 •

1 2 5 0 P ro s p e c t S t re e t , L a J o l l a , C A 9 2 0 3 7

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B O O K YO U R E V E N T AT T H E C O N R A D

Recitals · Chamber Music · Amplified Concerts · Dance · Film · Theater Conferences · Lectures · Receptions · Fundraisers · Weddings and more...

THE BAKER-BAUM CONCERT HALL: A intimate 513 seat performance

space with superb acoustics ideally suited for chamber music and classical recitals. Its design incorporates state-of-the-art technology and adjustable acoustics, making it a world-class space for amplified concerts, film, dance, theater, lectures, and more.

THE JAI: A 2,000 square foot performance space with a contemporary look.

Because of its flexible lighting, audio, and video system capabilities, this space can be configured for many types of events.

THE ATKINSON ROOM: An ideal room for meetings or lectures with

audiovisual capabilities. The space can be rented in conjunction with The Baker-Baum Concert Hall and The JAI.

For more information please contact Events Manager, Anthony LeCourt: 858.459.3724, ext. 217 or visit TheConrad.org 78 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

WE ARE CALIFORNIA’S

BUSINESS BANC. Proud Partner and the Official Bank of

LA JOLLA MUSIC SOCIETY Every day, business owners, entrepreneurs, executives and community leaders are being empowered by Banc of California to reach their dreams and strengthen our economy. With more than $10 billion in assets and over 30 banking locations throughout the state, we are large enough to meet your banking needs, yet small enough to serve you well.

Learn more about how we’re empowering California through its diverse businesses, entrepreneurs and communities at

bancofcal.com

TOGETHER WE WIN

TM

© 2019 Banc of California, N.A. All rights reserved.

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