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Celebrating Cho-Liang Lin’s 18 Remarkable Years as Music Director



SUMMER AUGUST 3-24, 2018



SUMMER AUGUST 3-24, 2018



Celebrating Cho-Liang Lin’s 18 Remarkable Years as Music Director

Calendar of Events 5 SUNDAY PRELUDE


2 PM Interview with Emerson String Quartet


An Afternoon with Emerson String Quartet

Special Guest: Tien-Hsin Cindy Wu, viola 3:20 – 4:30 PM · CONRAD PREBYS CONCERT HALL








7 PM Rolston String Quartet performs


Music from the Heart

5:30 PM · THE LODGE AT TORREY PINES (Call 858.459.3724, ext.206 for more details)




Late Night with Leonard Bernstein 8 PM · CONRAD PREBYS CONCERT HALL









7 PM Lecture by Nicolas Reveles

7 PM Cambridge Trio performs

My Favorite Playlist

An Evening with Adele Anthony & Gil Shaham









2 PM Lecture by Sam Zygmuntowicz

The Glory of Cremona: Stradivari, Guarneri, & Amati 3 PM · CONRAD PREBYS CONCERT HALL


Hosted by Eric Bromberger



Special Guest: Cho-Liang Lin, violin 12:50 – 2 PM · CONRAD PREBYS CONCERT HALL



7 PM Cambridge Trio performs

7 PM Rolston String Quartet performs

Midnight in Paris

An Evening with Emanuel Ax














Special Guest: Paul Huang, violin 2:20-3:30 PM · CONRAD PREBYS CONCERT HALL


Hosted by Marcus Overton




7 PM Interview with Cho-Liang Lin

7 PM Interview with Yefim Bronfman


Opening Night: Carnival!



An Evening with Yefim Bronfman



See pages 4-5 for detailed list of SummerFest Commnity Engagement and Activities.








Special Guest: Martin Beaver, violin 4:50 – 6 PM · CONRAD PREBYS CONCERT HALL

49 Minutes on the Edge: An Exploration with FLUX Quartet


7 PM Cambridge Trio performs










The Violin Maker Hosted by Sam Zygmuntowicz



7 PM Rolston String Quartet performs

49 Minutes on the Edge: Piano Focus


7 PM Interview with John Pizzarelli

Johannes, Clara, & Robert A Night of Jazz with John 8 PM · CONRAD PREBYS CONCERT HALL Pizzarelli Trio




Special Guest: Gary Hoffman, cello 2:50 – 4 PM · CONRAD PREBYS RECITAL HALL




7 PM Lecture by Eric Bromberger


LA JOLLA MUSIC SOCIETY BOX OFFICE 7946 Ivanhoe Ave., La Jolla (El Patio Building – first floor) ATHENAEUM MUSIC & ARTS LIBRARY 1008 Wall St, La Jolla BALBOA THEATRE 868 Fourth Ave., San Diego LA JOLLA RIFORD LIBRARY 7555 Draper Ave., La Jolla UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL & CONRAD PREBYS RECITAL HALL 9500 Gilman Dr. La Jolla (intersection of Gilman Dr. and Russell Lane) For parking information please visit LJMS.org

Finale with David Zinman 8 PM · BALBOA THEATRE

858.459.3728 • LJMS.ORG | 3


Free Admission · Limited Seating LA JOLLA RIFORD LIBRARY

Each year, SummerFest Music Director Cho-Liang Lin invites emerging artists and ensembles to participate in La Jolla Music Society’s Fellowship Artist Program. Follow these young musicians as they prepare for the SummerFest performances with a three-week series of master classes conducted by seasoned performers from the SummerFest Roster. During SummerFest 2018, we welcome Fellowship Artists Cambridge Trio: Saetbyeol Kim, piano; Anna Lee, violin; Max Geissler, cello, and Rolston String Quartet: Luri Lee, Emily Kruspe, violins; Hezekiah Leung, viola; Jonathan Lo, cello. As part of La Jolla Music Society’s active partnership with the San Diego Youth Symphony and Conservatory, SummerFest artists will coach SDYS students during select workshops. Register online at LJMS.org to attend. Walk-ups welcome, subject to availability.



AUG 1 WED Coaching Workshops 10:00 - 10:50 AM 11:00 - 11:50 AM AUG 2 THUR Coaching Workshops 10:00 - 10:50 AM 11:00 - 11:50 AM

Open Rehearsal 2:20 - 3:30 PM (Conrad Prebys Concert Hall) AUG 3 FRI Coaching Workshops 10:00 - 10:50 AM 11:00 - 11:50 AM AUG 6 MON Coaching Workshops 10:00 - 10:50 AM 11:00 - 11:50 AM

Open Rehearsal 3:20 - 4:30 PM (Conrad Prebys Concert Hall)

AUG 7 TUE Coaching Workshops 10:00 - 10:50 AM 11:00 - 11:50 AM AUG 8 WED

Coaching Workshops 10:00 - 10:50 AM

11:00 - 11:50 AM

AUG 9 THUR Encounter 12:30 - 2:00 PM (Athenaeum Music & Arts Library)

Open Rehearsal 4:50 - 6:00 PM Prebys Concert Hall)


AUG 10 FRI Coaching Workshops 10:00 - 10:50 AM 11:00 - 11:50 AM

AUG 13 MON Coaching Workshops 10:00 - 10:50 AM 11:00 - 11:50 AM AUG 14 TUE Coaching Workshops 10:00 - 10:50 AM 11:00 - 11:50 AM AUG 15 WED

Coaching Workshops 10:00 - 10:50 AM

Five Open Rehearsals provide audiences with the rare opportunity to observe the intricate rehearsal process before the stage lights shine. These are working rehearsals and no entry is allowed once they have begun. LJMS Director of Programming, Leah Z. Rosenthal, and LJMS Education and Community Programming Manager, Allison Boles, are joined by special guests to introduce each work prior to the start of the rehearsal.

AUG 16 THUR Encounter 12:30 - 2:00 PM (Conrad Prebys Concert Hall)

Doors Open 10 Minutes Prior to Listed Start Time



11:00 - 11:50 AM


Coaching Workshops 10:00 - 10:50 AM 11:00 - 11:50 AM Open Rehearsal 2:50 - 4:00 PM (Conrad Prebys Recital Hall)

Free Admission · Limited Seating

AUG 20 MON Coaching Workshops 10:00 - 10:50 AM 11:00 - 11:50 AM


Open Rehearsal 12:50 - 2:00 PM

Featuring intriguing discussions, performances, and diverse perspectives, SummerFest Encounters reveal fascinating insights into the ways in which music is created, influenced, interpreted, and performed. Register online at LJMS.org to attend. Walk-ups welcome, subject to availability. 4 | LA JOLLA MUSIC SOCIETY

(Conrad Prebys Concert Hall)

AUG 21 TUE Coaching Workshops 10:00 - 10:50 AM 11:00 - 11:50 AM

AUG 22 WED Encounter 12:30 - 2:00 PM (Athenaeum Music & Arts Library)

Cho-Liang Lin coaches Rolston String Quartet on Tchaikovsky’s String Quartet No. 1 in D Major, Op. 11 Lynn Harrell coaches Cambridge Trio on Dvořák’s Piano Trio in F Minor, Op. 65 or Beethoven’s Piano Trio in B-flat Major, Op. 97 “Archduke” Tien-Hsin Cindy Wu coaches Rolston String Quartet on Tchaikovsky’s String Quartet No. 1 in D Major, Op. 11 Joyce Yang coaches Cambridge Trio on Dvořák’s Piano Trio in F Minor, Op. 65 Special Guest: Paul Huang - Paul Huang, Anthony McGill, and Shai Wosner rehearse Bartók’s Contrasts for Violin, Clarinet, and Piano, Sz.111 Yao Zhao coaches Cambridge Trio on Dvořák’s Piano Trio in F Minor, Op. 65 or Beethoven’s Piano Trio in B-flat Major, Op. 97 “Archduke” Hai-Ye Ni coaches Rolston String Quartet on Tchaikovsky’s String Quartet No. 1 in D Major, Op. 11 or Webern’s Langsamer Satz Martin Beaver coaches Cambridge Trio on Dvořák’s Piano Trio in F Minor, Op. 65 or Beethoven’s Piano Trio in B-flat Major, Op. 97 “Archduke” Heiichiro Ohyama coaches Rolston String Quartet on Tchaikovsky’s String Quartet No. 1 in D Major, Op. 11oncertino and Three Pieces for String Quartet Special Guest: Tien-Hsin Cindy Wu - Paul Huang, Anna Lee, Tien-Hsin Cindy Wu, Heiichiro Ohyama, and Hai-Ye Ni rehearse Mendelssohn’s String Quintet in B-flat Major, Op. 87 Lyubov Petrova coaches local vocal students Carter Brey coaches Rolston String Quartet on Tchaikovsky’s String Quartet No. 1 in D Major, Op. 11 or Webern’s Langsamer Satz Max Mandel coaches Rolston String Quartet on Ginastera’s String Quartet No. 1, Op. 20 Cho-Liang Lin coaches Cambridge Trio on Dvořák’s Piano Trio in F Minor, Op. 65 or Beethoven’s Piano Trio in B-flat Major, Op. 97 “Archduke” Special Performance Encounter hosted by Marcus Overton: Rolston String Quartet performs an all-Schubert program with Carter Brey, Saetbyeol Kim, and Lyubov Petrova Special Guest: Martin Beaver - Martin Beaver, Tien-Hsin Cindy Wu, Carter Brey, and Gilles Vonsattel rehearse Dvořák’s Piano Quartet in E-flat Major, Op. 87

Gilles Vonsattel coaches Cambridge Trio on Beethoven’s Piano Trio in B-flat Major, Op. 97 “Archduke” or Ravel’s Piano Trio in A Minor Cellist Jonathan Lo of Rolston String Quartet coaches a student from the San Diego Youth Symphony

Paul Neubauer coaches Rolston String Quartet on Haydn’s String Quartet in B-flat Major, Op. 76, No. 4 “Sunrise” or Webern’s Langsamer Satz Jian Wang coaches Cambridge Trio on Beethoven’s Piano Trio in B-flat Major, Op. 97 “Archduke” or Ravel’s Piano Trio in A Minor

Ken Noda coaches Cambridge Trio on Beethoven’s Piano Trio in B-flat Major, Op. 97 “Archduke” Violinist Anna Lee of Cambridge Trio coaches a piano trio from Bravo! International Music Academy Margaret Batjer coaches Cambridge Trio on Ravel’s Piano Trio in A Minor Che-Yen Chen coaches Rolston String Quartet on Brahms’ String Quartet No. 2 in A Minor, Op. 51, No. 2 Scholar-in-Residence Sam Zygmuntowicz guides the audience on a journey of instrument-making through the history of the great houses to the present day with demonstrations by festival artists Gary Hoffman, Paul Neubauer, Anna Lee, Yura Lee, Cho-Liang Lin, Kyoko Takezawa, and more! Jian Wang coaches Rolston String Quartet on Brahms’ String Quartet No. 2 in A Minor, Op. 51, No. 2 Gary Hoffman coaches Cambridge Trio on Ravel’s Piano Trio in A Minor Special Guest: Gary Hoffman - Kyoko Takezawa, Yura Lee, Paul Neubauer, Che-Yen Chen, Gary Hoffman, and Jian Wang rehearse Tchaikovsky’s Sextet for Strings in D Major, Op. 70 “Souvenir de Florence” Orion Weiss coaches a student from the San Diego Youth Symphony Brian Manker coaches Rolston String Quartet on Brahms’ String Quartet No. 2 in A Minor, Op. 51, No. 2 Special Guest: Cho-Liang Lin - Cho-Liang Lin, Orion Weiss, and New Orford String Quartet rehearse Chausson’s Concerto for Violin, Piano, and String Quartet, Op. 21 Andrew Wan coaches Cambridge Trio on Ravel’s Piano Trio in A Minor Eric Nowlin coaches Rolston String Quartet on Brahms’ String Quartet No. 2 in A Minor, Op. 51, No. 2 Special Performance Encounter hosted by Scholar-in-Residence Eric Bromberger: Cambridge Trio performs with violist Eric Nowlin

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SUMMERFEST MUSICAL PRELUDES Program Notes by Eric Bromberger QUICK NOTES edited by Allison Boles

MUSIC FROM THE HEART Tuesday, August 7 • 7 PM

UC San Diego Department of Music’s Conrad Prebys Concert Hall

TCHAIKOVSKY String Quartet No. 1 in D Major, Opus 11 (1871) (1840-1893) Moderato e semplice Andante cantabile Scherzo: Allegro non tanto Finale: Allegro giusto

Rolston String Quartet

Luri Lee, Emily Kruspe, violins; Hezekiah Leung, viola; Jonathan Lo, cello

ACROSS OCEANS Friday, August 10 • 7 PM

UC San Diego Department of Music’s Conrad Prebys Concert Hall

DVOŘÁK Piano Trio in F Minor, Opus 65 (1883) (1841-1904) Allegro ma non troppo Allegretto grazioso Poco Adagio Finale: Allegro con brio

Cambridge Trio Saetbyeol Kim, piano; Anna Lee, violin; Max Geissler, cello


UC San Diego Department of Music’s Conrad Prebys Concert Hall

BEETHOVEN Piano Trio in B-flat Major, Opus 97 “Archduke” (1770-1827) (1798-1800) Allegro moderato Scherzo: Allegro Andante cantabile Allegro moderato Cambridge Trio Saetbyeol Kim, piano; Anna Lee, violin; Max Geissler, cello


QUICK NOTE: In the summer of 1869, Tchaikovsky—then a 29-yearold professor at the Moscow Conservatory—made an extended visit to his family’s summer estate in Kamenka in the Ukraine. While there, Tchaikovsky overheard a workman whistling a haunting melody that was sung with the words “Vanya sat on the divan and smoked a pipe of tobacco.” Back in Moscow two years later, Tchaikovsky composed his First String Quartet, and as he worked on the quartet Tchaikovsky remembered the tune he had heard whistled in Kamenka. He used it as the principal theme of the quartet’s slow movement, which he marked Andante cantabile. That little tune would go on to become one of the most popular melodies in history, achieving international fame, particularly in Tchaikovsky’s own arrangement of it for string orchestra.

QUICK NOTE: Dvořák wrote this powerful music in the early months of 1883, he was at a crucial moment in his life and career. After years of working in obscurity, he suddenly found himself—at age 41—a successful composer: his Slavonic Dances of 1878 had been an international triumph. Yet these were also difficult years for Dvořák. His mother had died late in 1882, and for the composer the loss was devastating. In the weeks following her death, Dvořák set to work on this trio, completing a first draft on March 31, 1883. Dvořák’s admirable biographer John Clapham hears an “epic” quality in this music, and that term— with its suggestion of drama and breadth and vision—may be exactly right for Trio in F Minor: at this moment of new artistic maturity and personal pain, he produces one of the most wide-ranging and intense works in the entire chamber music literature.

QUICK NOTE: The archduke of this trio’s nickname was Archduke Rudolph von Hapsburg, youngest brother of Emperor Franz. Rudolph studied piano and composition with Beethoven, beginning about 1804, when he was 16. Beethoven remained fond of Rudolph, who was destined for the church, throughout his life; it was for Rudolph’s elevation to archbishop that Beethoven composed the Missa Solemnis, and he dedicated a number of his greatest works to Rudolph, including the Fourth and Fifth Piano Concertos, the Hammerklavier Sonata, and the Grosse Fuge, as well as this trio. For his part, Rudolph became one of Beethoven’s most generous and reliable patrons, furnishing him with a substantial annuity for many years and maintaining a collection of his manuscripts. The Archduke Trio seems well-named, for there is something noble about this music, something grand about its spacious proportions and breadth of spirit.

JOHANNES, CLARA, & ROBERT Friday, August 17 • 7 PM

UC San Diego Department of Music’s Conrad Prebys Concert Hall

WEBERN Langsamer Satz (1905) (1883-1945) HAYDN String Quartet in B-flat Major, Opus 76, No. 4 “Sunrise” (1732-1809) (1797) Allegro con spirito Adagio sastenuto Menuetto: Allegro Finale: Allegro ma non troppo Rolston String Quartet Luri Lee, Emily Kruspe, violins; Hezekiah Leung, viola; Jonathan Lo, cello

Midnight in Paris Tuesday, August 21 • 7 PM

UC San Diego Department of Music’s Conrad Prebys Concert Hall

RAVEL Piano Trio in A Minor (1914) (1875-1937) Modéré Pantoum (Assez vite) Passacaille (Très large) Final (Animé)

QUICK NOTE: Listeners who usually flee at the thought of Webern may be surprised by this music. Composed as an exercise early in his studies with Schoenberg, before Webern had abandoned tonality, the Langsamer Satz makes clear just how deeply rooted Webern was in the music of late 19th-century Vienna. In fact, hearing this music without knowing its composer, one might well guess either Brahms or Mahler. Particularly striking is the expressiveness of this music. We have so much come to think of Webern as the supremely intelligent and detached manipulator of tone rows and complex canons that it may surprise some to hear the romantic arc of these themes and to sense the intensity of feeling in the music. Haydn wrote the six string quartets of his Opus 76 in 1797, shortly after returning to Vienna from his second visit to London. At age 65, he was about to give up writing purely instrumental music (the quartet performed on this concert is the 78th of his 83 quartets) in favor of choral music—Haydn was in fact beginning work on his oratorio The Creation even as he composed these six quartets. The nickname “Sunrise,” which did not originate with the composer, has sometimes been attached to the fourth quartet of this set, presumably because of the very opening, where the first violin rises smoothly and nobly over a quiet chord from the other voices. QUICK NOTES: : In February 1914, Ravel went to Saint-Jean-de-Luz, a small village on the French coast near the Spanish border, to work on two projects he had planned for some time: a piano concerto using Basque themes and a piano trio. He soon abandoned plans for the concerto, but the Piano Trio is one of Ravel’s finest chamber works, featuring brilliant writing for all three performers and a range of instrumental color rare in a piano trio.

Cambridge Trio Saetbyeol Kim, piano; Anna Lee, violin; Max Geissler, cello

AN EVENING WITH EMANUEL AX Wednesday, August 22 • 7 PM

UC San Diego Department of Music’s Conrad Prebys Concert Hall


String Quartet No. 2 in A Minor, Opus 51, No. 2 (1880-82) Allegro non troppo Andante moderato Quasi minuetto, moderato – Allegretto vivace Finale. Allegro non assai Rolston String Quartet


QUICK NOTE: After his long delay in writing a symphony, Brahms wrote a First Symphony in C Minor that is stormy and impassioned, then quickly followed it with a second that is lyric and expansive. The situation is somewhat similar with the string quartets: after long delay, his first effort was the dark and driving Quartet in C Minor, while the second was the more lyric and genial Quartet in A Minor, which was, like its companion, completed in the summer of 1873. It was as if Brahms’ opening work in the new form needed to be a clenched confrontation in which he could attack the form and make it his own; only then could he relax and write a sunnier work in the same form.

Luri Lee, Emily Kruspe, violins; Hezekiah Leung, viola; Jonathan Lo, cello

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CHILDREN AT SUMMERFEST Children under the age of 6 (six) are not permitted in the concert hall.

CONCERT COURTESIES Unauthorized photography (with or without flash), audio and video recordings are strictly prohibited. Please silence all electronic devices during the performance. SummerFest concerts are recorded for archival and broadcast use, and we ask for your assistance in assuring high quality sound on these recordings.

PROGRAM NOTES All of La Jolla Music Society’s program notes are protected under copyright by the authors. For permission and information on use of contents of this publication contact Marketing@LJMS.org.

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SummerFest Venues Map

La Jolla Scenic Drive N


N Torrey Pines Rd

BALBOA THEATRE on August 24 Paid parking is available at the Ace underground parking structure behind the 225 Broadway bldg. (formerly NBC), Between 2nd and 3rd Ave.

IF YOU ARE UNABLE TO ATTEND A PERFORMANCE We encourage any patron who is unable to attend a performance to return tickets to La Jolla Music Society Ticket Office so that someone else may use them. In order to ensure that returned tickets can be allocated appropriately, La Jolla Music Society Ticket Office must receive notification and proof of destroyed tickets no later than 24 hours prior to the performance.

SEATING POLICY All concerts begin promptly at the time stated on admission tickets. Latecomers will be seated after the first work has been performed or at the first full pause in the program as designated by the performing artists. Patrons leaving the hall while a performance is in progress will not be readmitted until the conclusion of the piece. Those who must leave before the end of a concert are requested to do so between complete works and not while a performance is in progress. If you require special seating or other assistance please notify the House Manager.

Torrey Pines Rd

PARKING UC SAN DIEGO We recommend using Gilman Parking Structure for all SummerFest events. UC San Diego requires parking permits for all weekday parking from 7am to 11pm. Visitor permits are available for purchase from permit machines located on each floor of the Gilman Parking Structure. The machines charge $2/hour and take cash and all major credit cards except Discover. When paying with cash you must use exact change, NO CHANGE GIVEN. Complimentary disabled parking is available in metered and accessible spaces when you display a valid Disabled Person placard or plates.



(Downtown San Diego) 868 Fourth Ave., San Diego

All programs, artists, dates, times and venues are subject to change. La Jolla Music Society is unable to offer refunds for SummerFest performances.



Calendar of Events Community Engagement Activities/Dig Deeper into the Music Musical Preludes

2 4 6

Welcome Letter 3 Questions from the Music Director

10 11

Artist Roster 14 Program Notes 15 Artist Biographies 71 SummerFest Commission History 83 SummerFest Grand Tradition 84 Board of Directors & Staff Listing 89 SummerFest Support 90 Season Support 93

MISSION STATEMENT To enhance the vitality and deepen the cultural life of San Diego by presenting and producing a dynamic range of performing arts for our increasingly diverse community. LA JOLLA MUSIC SOCIETY 7946 Ivanhoe Avenue Suite 309 La Jolla, California 92037 Administration: 858.459.3724

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Welcome to SummerFest 2018! Dear Friends of SummerFest,

This is my last summer as Music Director of SummerFest and, as I bid farewell to all of you, I wish to say it has been a privilege and joy to lead this jewel of a festival. I instantly fell in love with SummerFest when I first performed here in 1989 at the invitation of Heiichiro Ohyama. The musical standard was high, the audiences were friendly and supportive, and La Jolla was and is simply beautiful. The festival was infused with warmth, like the sunshine in Southern California, married with a casualness typical of a seaside town by the Pacific. The goal of this little festival, however, was lofty--to bring the best music and musicians to San Diego. And with that aim, I have truly dedicated myself to SummerFest’s planning and programming for the past 18 years. Nearly thirty years have passed since my first SummerFest performance, and I am happy to report that this goal has remained unchanged. I still hope every concert crackles with energy, spontaneity, and that sense of probing each musician brings. I still want every musician to feel welcomed by our audience and by the community. It’s a palpable synergy I aspire for every August. Connected to the music world at large, I think this festival has contributed by fostering young musicians while giving them an opportunity to rub shoulders with seasoned veterans. Seeing Leon Fleisher coach a Brahms trio, listening to Lynn Harrell play with a young quartet remain vivid in my memory. Further, we have been actively providing composers with opportunities to write more with my deep commitment to commissioning new works. It is a legacy that perhaps I am most proud of. By the end of SummerFest 2018, we will have commissioned and premièred over 50 works. Not too shabby! I can only chuckle looking back at the challenges we’ve faced along the way—everything from missed flights and lost pets to imperfect acoustics and broken air conditioners in the hall. Thankfully, they pale in comparison to the glorious music we play. La Jolla Music Society will soon have a new concert hall. I have no doubt it will result in exquisite acoustics and a beautiful building SummerFest can call home. My friends, you will be in for a great treat. You will be captivated by how the same musicians suddenly sound even better. I hope you will enjoy and savor these concerts—I know I certainly will. Please continue your love and support of SummerFest. We have had one great journey together. See you around.

Cho-Liang Lin

SummerFest Music Director


Questions from the Music Director




You were born and raised in Australia. Can you hear an Australian style of violin playing? Or is the Aussie style of violin playing different from what we hear in North America? I always like to think that music is an international language, hopefully my playing is more easily understood than my accent. There is a strong voice in Australian music, I have performed pieces by Peter Sculthorpe and Ross Edwards, and both of these composers’ works evoke a feeling of the landscape and nature that I think is uniquely Australian. When you tour and your three children come with you, how do you manage? I cannot imagine looking after the kids, carrying your violin, luggage, stroller, and then coping with jetlag, practicing, and performing. Is it enough to make you want to stop performing or stop having kids?

We usually only travel as a family during the summers, as the kids are otherwise busy with school. We can resemble the von Trapp family with five of us in a row at the airport sometimes carrying violins of varying sizes (two of our kids play the violin, the other piano). Thankfully we have outgrown the stroller, although it can be handy for carrying violins. Fitting in practice and family can be challenging, but I appreciate the joy of musicmaking now more than ever and wouldn’t have it any other way.

When you perform duos or chamber music with your husband, Gil Shaham, how do you decide who plays which part?

We have learned from our kids that when there are choices to be made “rock-paper-scissors” is best. We generally try to take turns and that can vary depending on the repertoire and when we first performed the pieces. Usually the choices are mutual and we are only competitive for the serious stuff, like who gets the remote.

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Questions from the Music Director

If you had carte blanche to ask any composer throughout history to write a piano concerto for you, whom would you ask and why?

I think I would probably ask Verdi, just because I love his operas so much and we have great concertos from many of the greatest composers but no piano music from him at all.

You play concerti, recitals, sonatas with Yo-Yo Ma and chamber music with schlemiels like me. Did the old school pianists like Rachmaninoff, Liszt, Josef Hofmann or Horowitz do that? Was there one pianist who changed the thinking and embraced all these facets of music making?

I know that Horowitz and Rubinstein both played quite a lot of chamber music—Rubinstein left many recordings of Brahms, Schubert, and Tchaikovsky, among others, with Heifetz, Piatigorsky, and the Guarneri Quartet. I believe he and Arthur Schnabel were very influential to our generation in this respect.

Your wife, Yoko, is an accomplished pianist, as well. You met each other back in college. Is she a tough critic of your playing?

Yoko is extremely perceptive and accurate in her suggestions, I find, but she is also incredibly positive and encouraging; she manages to make a criticism, usually well deserved, sound like praise!


Questions from the Music Director




Finland now routinely produces great composers, conductors, singers and instrumentalists. Is there anything that the Finns don’t do so well? Finns are notoriously bad at small talk. There’s not such a thing as an awkward silence in Finland, and very often silence is the preferred state of conversation (especially if the alternative would be to fill it with pointless chit-chat). While this can be sometimes rather disturbing to foreigners it does make life so much simpler in the long run

Kimchi is not exactly standard Finnish cuisine yet you love kimchi to the extent that you make it at home. Does the aroma make you the favorite neighbor on your block in Helsinki?

I do occasionally make kimchi at home, even though it is already becoming more and more available at Finnish supermarkets. I use a special fermentation pot with a water seal that keeps all the aromas inside so none of my neighbors get even a whiff of garlic and ginger, let alone the fish sauce. That being said, Finnish houses are built so sound-proof that most of my neighbors have no idea that I even play the piano...

Jean Sibelius, the grand icon of Finnish identity and music, didn’t write much piano music. How would you persuade Mr. Sibelius to write a piano concerto for you if you had such an opportunity?

Well, according to a legend one of Sibelius’s publishers traded his piano impromptus for two pounds of fish roe, and another piece of Sibelius was bought for a leg of mutton so I might have a chance commissioning a piano concerto with my kimchi!

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2018 ROSTER Music Director Cho-Liang Lin VIOLIN



Adele Anthony Margaret Batjer Martin Beaver Lucinda Chiu Bridget Dolkas Kathryn Hatmaker Paul Huang Yura Lee Cho-Liang Lin Alyssa Park Gil Shaham Jeanne Skrocki Kyoko Takezawa Tien-Hsin Cindy Wu

Emanuel Ax Yefim Bronfman Ken Noda John Novacek Jon Kimura Parker Juho Pohjonen Gilles Vonsattel Orion Weiss Shai Wosner Joyce Yang

Tamara Mumford Lyubov Petrova

VIOLA Che-Yen Chen Toby Hoffman Paul Neubauer Heiichiro Ohyama Tien-Hsin Cindy Wu

CELLO Carter Brey Chia-Ling Chien Alex Greenbaum Clive Greensmith Lynn Harrell Gary Hoffman Ben Hong Maki Kubota Hai-Ye Ni Jian Wang Yao Zhao

BASS Nico Abondolo Sam Hager Peter Lloyd DaXun Zhang

CONDUCTOR David Zinman


Cambridge Trio Saetbyeol Kim, piano Anna Lee, violin Max Geissler, cello

Toshi Ichiyanagi Pierre Jalbert Lei Liang

Rolston String Quartet Luri Lee, violin Emily Kruspe, violin Hezekiah Leung, viola Jonathan Lo, cello

Catherine Ransom Karoly Pamela Vliek Martchev Sarah Tuck




Emerson String Quartet Eugene Drucker, violin Philip Setzer, violin Lawrence Dutton, viola Paul Watkins, cello


Laura Griffiths Liang Wang

CLARINET Anthony McGill Teresa Reilly John Bruce Yeh

BASSOON Keith Buncke Ryan Simmons

HORN Dylan Hart Erik Ralske

TRUMPET Jennifer Marotta David Washburn

PERCUSSION Jason Ginter Ryan Nestor Steven Schick


Mark Pinter


FLUX Quartet Tom Chiu, violin Conrad Harris, violin Max Mandel, viola Felix Fan, cello

Late Night with Leonard Bernstein

Nina Bernstein Simmons, host Amy Burton, soprano Michael Boriskin, piano John Musto, piano

New Orford String Quartet Jonathan Crow, violin Andrew Wan, violin Eric Nowlin, viola Brian Manker, cello John Pizzarelli Trio

John Pizzarelli, vocals & guitar Mike Karn, bass Konrad Paszkudzki, piano

San Diego Master Chorale

John K. Russell, music director



Eric Bromberger Sam Zygmuntowicz

LECTURERS & GUEST SPEAKERS Allison Boles Marcus Overton Nicolas Reveles Leah Rosenthal Claudia Russell



Lynn Harrell

Prelude 7 PM Conversation with SummerFest Music Director, Cho-Liang Lin hosted by Scholar-in-Residence Eric Bromberger Tonight’s concert is sponsored by:

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

Lyubov Petrova

Friday, August 3, 2018 · 8 PM


Contrasts for Clarinet, Violin, and Piano, Sz.111 (1938)

(1881-1945) Verbunkos (Recruiting Dance)

Pihenö (Relaxation) Sebes (Fast Dance) Paul Huang, violin; Anthony McGill, clarinet; Shai Wosner, piano VILLA-LOBOS Bachianas Brasileiras No. 1 for Eight Cellos (1930-38) (1887-1959) Introduction (Embolada): Animato Preludio (Modinho): Andante Fugue (Conversa): Un poco animato Lynn Harrell, Ben Hong, Hai-Ye Ni, Alex Greenbaum, Yao Zhao, Max Geissler, Chia-Ling Chien, Jonathan Lo, cellos

Bachianas Brasileiras No. 5 for Soprano and Eight Cellos (1938) Aria: Cantilena Dança: Martelo Lyubov Petrova, soprano; Lynn Harrell, Ben Hong, Hai-Ye Ni, Alex Greenbaum, Yao Zhao, Max Geissler, Chia-Ling Chien, Jonathan Lo, cellos



Carnival of the Animals (1886)


Introduction and Royal March of the Lion Hens and Cocks Onagers Tortoises The Elephant Kangaroos Aquarium

Personages with Long Ears The Cuckoo in the Heart of the Woods Aviary Pianists Fossils The Swan Finale

Paul Huang, Cho-Liang Lin, violins; Tien-Hsin Cindy Wu, viola; Ben Hong, cello; Peter Lloyd, bass; Pamela Vliek Martchev, flute; Anthony McGill, clarinet; Shai Wosner, Joyce Yang, pianos; Ryan Nestor, percussion; Mark Pinter, narrator 858.459.3728 • LJMS.ORG | 15


Opening Night: Carnival! is dedicated to the memory of

Dick Enberg

who would have been narrator this evening. Thank you, Mark Pinter, for replacing the irreplaceable. Program Notes by Eric Bromberger

Contrasts for Clarinet, Violin, and Piano, Sz.111


Born March 25, 1881, Nagyszentmiklós, Hungary Died September 26, 1945, New York City

Approximate Duration: 18 minutes

Bartók wrote Contrasts during the late summer of 1938 on a commission from clarinetist Benny Goodman that had been facilitated by Bartók’s good friend and frequent recital-partner, violinist Joseph Szigeti. Szigeti had long been interested in jazz, and Goodman was a classical musician as well as a jazz band leader (he commissioned the clarinet concertos of Copland and Hindemith). Bartók was somewhat familiar with American jazz, and Szigeti sent him several records of Goodman’s band before he began work on Contrasts, but this music shows the influence of jazz—if it does at all—only in the springy bounce of its final pages. One of the stipulations of the commission had been that the piece be short enough to fit on the two sides of a 78-rpm record (each of which could hold about five minutes of music), but Bartók went beyond that limit—as


completed, Contrasts spans about a quarter-hour. When it was composed in 1938, Contrasts had only two sections—the present first and third movements—but even before the first performance of that version in January 1939 Bartók had decided that it needed a central slow movement and composed the Pihenö. Bartók, Szigeti, and Goodman gave the première of the final version in Carnegie Hall on April 21, 1940, and recorded the piece the following month, a recording now available on CD. There are several charming photographs from the recording session: Szigeti looks elegant in a white rehearsal jacket, while Goodman— in shirtsleeves and suspenders and sitting with his legs crossed—is more informal. Bartók would relax only far enough to remove the coat of his three-piece suit, and he sits severely at the piano in white shirt, tie, and black vest. Listeners unfamiliar with this music might best approach it through its incredible sonorities. Contrasts is the only one of Bartók’s chamber works that includes a wind instrument, and—as the title implies—Bartók was interested in contrasting the smooth sound of the clarinet, the resonant sound of the violin, and the percussive sound of the piano. And though he was a virtuoso pianist, Bartók gives the piano a somewhat lower profile than the other two instruments, each of which has its own cadenza. The first movement is titled Verbunkos, which means “Recruiting Dance” and refers to an old Hungarian army ceremonial dance on the induction of recruits. The clarinet has the opening melody here, while the violin presents the syncopated second theme. Near the end, the clarinet has an elaborate cadenza, and the movement closes quietly. Pihenö (“Relaxation”) is a slow movement full of night-music, a Bartók specialty. The violin has the principal idea, but what makes this movement so distinctive are its eerie, spooky swirls of sound. The writing for piano—with its deep growls, turns, and trills—is particularly effective. Sebes (“Fast Dance”) is built on dance rhythms and requires extra instruments. The clarinet part is written for clarinet in A, but the middle section of this movement calls for B-flat clarinet, and Bartók asks that for the first thirty bars the violinist use an extra violin tuned G#-D-A-Eb. The malevolent sound of the violin’s resulting open-string tritones makes the beginning of this movement sound like the opening of Saint-Saëns’ Danse Macabre, which also calls for a re-tuned violin. This wonderful last movement—with its dance rhythms and gypsy-like melodies—blazes with vitality. A calmer middle section for clarinet in 8+5/8 time leads to a brilliant violin cadenza. The other instruments return, and Contrasts swirls and dances its way to one of the happiest conclusions Bartók ever wrote.


Bachianas Brasileiras No. 1 for Eight Cellos

HEITOR VILLA-LOBOS Born March 5, 1887, Rio de Janeiro Died November 17, 1959, Rio de Janeiro

Approximate Duration: 26 minutes

After seven years of enjoying the cosmopolitan pleasures of Paris, Heitor Villa-Lobos returned to his native Brazil in 1930, intent on reconnecting with his roots and helping revitalize Brazilian music. In Brazil Villa-Lobos taught, established a conservatory, and helped found the Brazilian Academy of Music. His own music took a distinctly Brazilian turn as well. Beginning in 1930, VillaLobos began to compose a series of what would eventually turn out to be nine pieces for varied ensembles that he called Bachianas Brasileiras. These combined two of VillaLobos’ great loves: the music of Bach (whose music VillaLobos believed to be universal, “deeply rooted in the folk music of every country in the world”) and the folk music of Brazil. Each piece combines Bach-like music (the opening movement titles come from the baroque: Prelude, Toccata, and so on) with movements based on Brazilian folk-songs and dances. The Bachianas Brasileiras No. 1, which is scored for eight cellos, took shape over a number of years. Villa-Lobos composed the final two movements first, in 1930, and these were premièred in September 1932. But the composer did not feel that this music was in its final form, and so in 1938—at a time when several subsequent Bachianas Brasileiras had already been premièred—he came back to it and wrote a new first movement. In its now-final form, this music was premièred in 1938. The Bachianas Brasileiras No. 1 is a big work—its three movements stretch out to over twenty minutes. Villa-Lobos described the opening Introduction as an embolada, a rhythmic folk-dance from northern Brazil. The piece opens with the pulsing, driving rhythms characteristic of this dance, and the main theme—of protean energy—rises powerfully beneath it. This movement, full of rhythmic energy throughout, is built on a wealth of themes, and Villa-Lobos brings it to a powerful close on a recall of its opening idea. After an introductory flourish, the second movement— titled Prelude—takes wing on the most consciously Bachlike melody in the entire piece. This theme—powerful, expressive, and long-spanned—breathes exactly the air of formal Bachian beauty that Villa-Lobos was trying to evoke in these pieces. The central section of this ternary-form movement is titled Modinho, which is a sort of Brazilian lovesong. This song, popular in character, leads to a return of the opening Bach-like melody.

The finale is also consciously Bach-like. It opens with a fugue that Villa-Lobos subtitles Conversa, perhaps to suggest a dialogue between its many fugal entries. The development of this fugue takes on a jazzy swing as it proceeds, and many listeners will find themselves tapping their toes as this music dances along. This may be another Bachian movement, but it is Bach seen through the prism of Brazilian folk-dances, and that fusion is exactly what Villa-Lobos set out to achieve in this music.

Bachianas Brasileiras No. 5 for Soprano and Eight Cellos

Bachianas Brasileiras No. 5, the most famous of the series, was written in two distinct sections: the opening movement dates from 1938, the second from 1945. This music is scored for an ensemble of eight cellos (the cello was Villa-Lobos’ own instrument) and a solo soprano, who is responsible for a sharply-varied vocal line. The Aria opens with pizzicato cellos, and over this strumming sound the soprano enters with her high, flowing melody, one of those haunting themes that—once heard—can never be forgotten. Her text is at first wordless—it is a vocalise—and this melody is soon picked up and repeated by a solo cello. But now comes a complete surprise: the soprano next sings a song in Portuguese by Ruth Valadares Corrêa about the beauties (and, strangely, the tensions) of the twilight. The opening movement is rounded off by a return of the opening wordless melody, but now the soprano hums it rather than singing. In the Dança, the soprano sings another Portuguese poem, this one by Manuel Bandeira about Irerê, the little bird from the wilderness. This is a vivid, lively song, with the soprano at some points imitating the sound of birdcalls. The haunting melody from the opening Aria returns to bring Bachianas Brasileiras No. 5 to its close.

Carnival of the Animals

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

Approximate Duration: 29 minutes

Saint-Saëns wrote Carnival of the Animals as a private amusement for himself and friends while on a brief holiday in Austria in 1886. He did not, however, publish the work (it has no opus number) and forbade all public performances during his lifetime—apparently he was afraid that the publication of what he called his “grande fantaisie zoologique” would damage his reputation as a serious composer. Only in his will did he lift the ban on

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public performance, and Carnival of the Animals was first heard in public on February 25, 1922, two months after the composer’s death. The irony—one which Saint-Saëns would not have appreciated—is that Carnival has become by far his best-known composition. Carnival of the Animals is that rarest of things: a genuinely funny piece of music. Most efforts at humor in music turn out to be heavy-handed and—upon repetition—obvious. Carnival manages to be witty throughout: Saint-Saëns keeps a light touch, knowing when to let a joke go rather than beating an audience over the head with it. His musical impressions of the various animals are charming and original, and within them he buries a number of private jokes, including musical quotations of other composers, here in wry contexts. Some of these quotations are listed below; listeners will have fun picking out the others. Beyond the good humor, Carnival also contains some lovely music, particularly in Aquarium and The Swan; the latter was the only section of Carnival that Saint-Saëns allowed to be performed during his lifetime. The present performance is of the original chamber version (two pianos, string quartet, double bass, flute, clarinet, percussion) that Saint-Saëns wrote for his friends rather than of the more familiar version for full symphony orchestra.

Kangaroos The two pianos hop about timorously, in imitation of jumping kangaroos. Aquarium In this wistfully beautiful music, the fish swim back and forth in the strings, while the pianos show us streams of their bubbles floating upward. Personages with Long Ears These are donkeys, and their violent hee-haws are heard in the violins. There’s another joke here—the title refers not just to donkeys but also to music critics, and Saint-Saëns makes clear that he thought the latter a pack of jackasses, too. The Cuckoo in the Heart of the Woods The clarinet is the cuckoo here, deep within the depths of a forest created by the two pianos. Aviary The flute flutters and rushes about, like a great flurry of birds inside an aviary. Pianists Anyone who has had to listen to pianists practicing scales will agree with Saint-Saëns that pianists are a kind of animal. Here are pianists practicing runs, scales, and modulations that go nowhere while the orchestra makes sneering comments about them. Introduction and Royal March of the Lion Fossils Matters begin appropriately with a “royal march” for Imagine some ghostly xylophonist using the skeleton the king of beasts. The lion strides in grandly—listen of a dinosaur for his giant xylophone, then all the for the sound of his roaring in the lower strings. other dinosaur skeletons joining in the midnight dance. Hens and Cocks There’s a deeper joke here: Saint-Saëns quotes many Here is a barnyard full of chickens, chattering noisily over-familiar tunes (including one from his own Danse away. The strings are the clucking hens, while the macabre)—these too had become fossils. pianos mimic the roosters’ crowing. The Swan Onagers Freed from Saint-Saëns’ ban on performances of The most obscure member of Saint-Saëns’ bestiary, Carnival, The Swan quickly became one of his most the onager is a wild ass of Central Asia. Here they popular works. Saint-Saëns beautifully captures the scurry madly about in the pianos. grace and dignity of the swan, and the noble sound of Tortoises the cello is the perfect instrument for this musical Giant tortoises ooze along in sluggish deliberation. portrait. Listen carefully: in one of his best jokes, Saint-Saëns has Finale taken the Can-Can from Offenbach’s Orpheus in The last movement snaps along cheerfully like Hades, slowed it way down, and given this once-snappy something out of Offenbach, and Saint-Saëns brings music to lumbering tortoises. back certain of his animals for a final bow as Carnival The Elephant races to its conclusion. Taking the part of the elephant, the doublebass waltzes Recommended Listening away jovially, then suddenly offers another of Saint- Bartók, Béla. Contrast & Mikrokosmos. Béla Bartók, Joseph Szigeti, Benny Goodman. Saëns’ wry jokes by quoting the Dance of the Sylphs Mangora Classical. ASIN: B0071W4D30, [2012] from Berlioz’s Damnation of Faust.


Yefim Bronfman

Prelude 7 PM Conversation with Yefim Bronfman hosted by Scholar-in-Residence Eric Bromberger

Tonight’s concert is sponsored by:

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

AN EVENING WITH YEFIM BRONFMAN Saturday, August 4, 2018 · 8 PM


Sonata in E Minor for Piano and Violin, K.304 (1778) Allegro Tempo di Menuetto Cho-Liang Lin, violin; Yefim Bronfman, piano



Piano Sonata in C Minor, D.958 (1828) Allegro Adagio Menuetto: Allegro Allegro Yefim Bronfman, piano INTERMISSION SCHUMANN Quintet for Piano and Strings in E-flat Major, Opus 44 (1842) (1810-1856) Allegro brillante In modo d’una Marcia Scherzo: Molto vivace Allegro, ma non troppo Yefim Bronfman, piano; Paul Huang, Emily Kruspe, violins; Tien-Hsin Cindy Wu, viola; Lynn Harrell, cello (1797-1828)

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Program Notes by Eric Bromberger

Sonata in E Minor for Piano and Violin, K.304

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

Approximate Duration: 15 minutes

Mozart wrote about thirty-five sonatas for violin and keyboard, including some that were left unfinished. He wrote the first when he was six and the last in 1788, three years before his death. Only one of them is in a minor key, the Sonata in E Minor, K.304, written in 1778 in Paris. The minor tonality gives this music a dignity and gravity unusual in the sequence of his violin sonatas, and though this music was composed when Mozart was only 22, it is universally regarded as one of his finest chamber works. Accompanied by his mother, Mozart had set out from Salzburg in September 1777 in search of the position his father was sure would bring him fame. Mozart did not return until January 1779, and the journey—which had taken him through Mannheim, Paris, and Munich—can hardly be regarded as a success: Mozart spent too much money and found no position at all. The true cataclysm, though, was that his mother became ill and died in Paris in July 1778. It was left to the young composer to send that sad news back to Salzburg and then make his way home with nothing to show for his sixteen-month absence. He had, however, written seven violin sonatas during this trip, and he published six of these in Paris. The first four were written in Mannheim, but the final two were written in Paris. The Sonata in E Minor—composed in Paris in June and July of 1778—is wistful and somber music, full of a depth of feeling absent from the other five sonatas. Mozart was much too great an artist to allow the events of his own life to shape his art, yet few commentators have been able to resist associating this moving music with the death of Mozart’s mother. Like most of the other sonatas from this set, it is in only two movements. The Allegro takes its character from the somber opening theme, played at first in unison by violin and piano. The firm second subject, once again announced jointly, does little to change the opening mood, and the development proceeds along an unexpected level of tension. Mozart marks the second movement Tempo di Menuetto, but this music is far from the genial spirit of most minuets. Mozart remains in E minor here, and piano alone presents the gravely graceful opening melody. We are in a world of


order and balance, but beneath that poised surface lies a melancholy that gradually becomes unsettled. At the trio section Mozart shifts to E major, and this measured, calm music (Mozart marks it dolce) is the true glory of a glorious sonata—in painfully expressive music it restores a measure of dignity and calm. Over two centuries after the Sonata in E Minor was written, it is difficult to disagree with Alfred Einstein’s assessment that it is “one of the miracles among Mozart’s works.”

Piano Sonata in C Minor, D.958

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

Approximate Duration: 31 minutes

The year 1828 was both a miracle and a disaster for Schubert. The miracle lay in the level of his creativity: he completed his “Great” Symphony in C Major and several works for piano duet during the winter and spring, the Mass in E-flat Major over the summer, three piano sonatas in September, and the Cello Quintet in October. The disaster, of course, was his health. Never fully well after a year-long illness in the 1822-23, Schubert went into sudden decline in the fall and died suddenly in November at age 31. Yet even at that age (an age at which Beethoven and Haydn were virtually unknown), Schubert had achieved an artistic maturity that makes the works of his final year among the most remarkable and moving in all of music. Schubert began work on the Piano Sonata in C Minor on September 1, though evidence suggests that he was working from sketches made as long as a year earlier. Everyone feels the influence of Beethoven on this sonata; Schubert’s biographer John Reed believes that he was consciously trying to assume the mantle of Beethoven (who had died the previous year), and certainly the choice of key, the dramatic gestures, and the character of the thematic material suggest the older composer. The beginning of the Allegro resounds with echoes of Beethoven, both in the emphatic opening chords and in the muttering, nervous main theme. Yet quickly this theme turns serene and flowing, reminding us to value this sonata as the music of Schubert rather than searching for resemblances to other composers. The chordal second subject is pure Schubert, and the extended development— built around the collision of these quite different kinds of music—brings a great deal of emotional variety. It also takes the pianist to the extreme ends of the keyboard before the (quite Beethovenian) close on a quiet C-minor chord.


The Adagio, with its elegant, measured main theme, has also reminded many of that earlier master. Schubert marks the opening sempre legato, yet with its fermatas and pauses and pounding triplets this movement too brings a range of expression. The Menuetto seems at first more conventional: the initial statement of the main theme is in octaves in the right hand, and soon Schubert is inserting one-measure rests that catch us by surprise as they break the music’s flow. The finale begins as what seems a conventional tarantella, yet it is remarkable for its rhythmic and harmonic variety. Throughout this extended movement, Schubert maintains the expected 6/8 meter of the tarantella, yet he accents that meter with such variety that the pulse sometimes feels completely different. Similarly, he moves with graceful freedom through a range of unexpected keys, including B major and C-sharp minor, so that this movement—while long—seems to be constantly evolving, right up to the two thunderous concluding chords.

enthusiastic about chamber music, made a fertile decision: he combined the piano—his own instrument—with the string quartet. In the process he created the first great piano quintet—and his finest piece of chamber music. After struggling to write the three quartets, Schumann found that the Piano Quintet came easily: he made the initial sketches at the end of September and had the score complete by October 12. The first performance, a private reading with Clara at the piano, took place in November. A second performance was scheduled in the Schumann home on December 8, but Clara was sick, and so Mendelssohn replaced her and sight-read the piano part; the members of the Gewandhaus Quartet (whose first violinist Ferdinand David would three years later give the first performance of Mendelssohn’s Violin Concerto) were the other performers. That would have been an evening to sit in on, not just for the distinction of the performers but also to watch two composers at work. At the end of the read-through, Mendelssohn suggested several revisions, Quintet for Piano and Strings in E-flat Major, Opus 44 including replacing the second trio section of the scherzo, and Schumann followed his advice. Clara, however, was the pianist at the public première at the Gewandhaus in Leipzig Born June 8, 1810, Zwickau, Germany on January 8, 1843. Died July 29, 1850, Endenich, Germany The Piano Quintet may be Schumann’s most successful Approximate Duration: 30 minutes chamber work, but this music sometimes stretches the notion of the equality of all players that is central to Robert Schumann established himself as a composer with his pieces for piano and his songs, but in 1841, the year chamber music. Schumann’s quintet has a clear star: the piano is the dominant force in this music—there is hardly after his marriage to the young Clara Wieck, Schumann wrote for orchestra, and during the winter of 1842 he began a measure when it is not playing—and Schumann uses to think about chamber music. Clara was gone on a month- it in different ways, sometimes setting it against the other four instruments, sometimes using all five in unison, rarely long concert tour to Copenhagen in April of that year, and—left behind in Leipzig—the always-fragile Schumann allowing the quartet to play by itself. The addition of his own instrument to the string quartet clearly opened suffered an anxiety attack in her absence (he took refuge, possibilities for Schumann that he did not recognize in the in his words, in “beer and champagne”). But he also used quartet. the spring of that year to study the quartets of Haydn, The first movement, aptly-named Allegro brillante, Mozart, and Beethoven. After recognizing what those masters had achieved in their quartets, Schumann felt even bursts to life as all five instruments in octaves shout out the opening idea, a theme whose angular outline will shape more assaulted. His language from that summer betrays much of the movement. Piano alone has the singing second his anxiety—so threatened was Schumann that he almost subject: Schumann marks this dolce as the piano presents could not say the words “string quartet.” Instead, he said only that he was having “quartet-ish thoughts” and referred it, then espressivo as viola and cello take it up in turn. This to the music he was planning as “quartet-essays.” Finally he second theme may bring welcome calm, but it is the driving overcame his fears, and in June and July of 1842 Schumann energy of the opening subject that propels the music— quickly composed three string quartets. While there is much much of the development goes to this theme—and the movement builds to nearly symphonic proportions as it attractive music in those quartets, no one would claim that drives to its energetic close. they are idiomatically written for the medium. Schumann The second movement—In modo d’una Marcia—is much did not play a stringed instrument, and those three in the manner of a funeral march, though Schumann did quartets—however sound their musical logic—often sit not himself call it that. The stumbling tread of the march uneasily under the hand. But at this point Schumann, still


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section—in C minor—is interrupted by two episodes: the first a wistful interlude for first violin, the second— Agitato—driven by pounding triplets in the piano. Schumann combines his various episodes in the final pages of this movement, which closes quietly in serene C major. The propulsive Scherzo: Molto vivace runs up and down the scale, and again Schumann provides two interludes: the first feels like an instrumental transcription of one of his songs, while the second powers its way along a steady rush of sixteenthnote perpetual motion. The last movement is the most complex, for it returns not just to the manner of the opening movement but also to its thematic material and then treats that in new ways. This Allegro, ma non troppo begins in a “wrong” key (G minor) and only gradually makes its way to E-flat major, while its second theme, for first violin, arrives in E major. At the climax of this sonata-form structure, Schumann brings matters to a grand pause, then re-introduces the opening subject of the first movement and develops it fugally, ingeniously using the first theme of the finale as a countersubject. The Quintet comes to its triumphant close on this brilliant writing. Clara Schumann, perhaps not the most unbiased judge of her husband’s work, was nevertheless exactly right in her estimation of this music. In her diary she described it as “Magnificent—a work filled with energy and freshness.” As a measure of his wife’s affection for the Piano Quintet, Schumann dedicated it to her. Recommended Listening Mozart, Wolfgang Amadeus. Isaac Stern and Yefim Bronfman Play Mozart Violin Sonatas. Sony Classical. ASIN: B0769X85YB, [2017] Schumann/ Dvořák. Rubinstein Collection, Vol. 66 - Schumann: Piano Quintet. Arthur Rubenstein, Guarneri Quartet. RCA Red Seal. ASIN: B00005427N, [2001]


Emerson String Quartet

Prelude 2 PM Conversation with members of Emerson String Quartet hosted by Scholar-in-Residence Eric Bromberger

This afternoon's concert is sponsored by:

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


UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL BEETHOVEN String Quartet in C-sharp Minor, Opus 131 (1826) (1770-1827) Adagio, ma non troppo e molto espressivo Allegro molto vivace Allegro moderato Andante, ma non troppo e molto cantabile Presto Adagio quasi un poco andante Allegro Emerson String Quartet Philip Setzer, Eugene Drucker, violins; Lawrence Dutton, viola; Paul Watkins, cello INTERMISSION BEETHOVEN String Quartet in B-flat Major, Opus 130 with Grosse Fuge, Opus 133 (1825-26) Adagio, ma non troppo; Allegro Presto Andante con moto ma non troppo Alla danza tedesca: Allegro assai Cavatina: Adagio molto espressivo Grosse Fuge Emerson String Quartet Eugene Drucker, Philip Setzer, violins; Lawrence Dutton, viola; Paul Watkins, cello

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Program Notes by Eric Bromberger

has been expressive music, this is it. The fugue reaches a point of repose, then modulates up half a step to D String Quartet in C-sharp Minor, Opus 131 major for the Allegro molto vivace. Rocking along easily on a 6/8 meter, this flowing movement brings relaxation— and emotional relief—after the intense fugue. The Allegro Born December 16, 1770, Bonn moderato opens with two sharp chords and seems on the Died March 26, 1827, Vienna Approximate Duration: 40 minutes verge of developing entirely new ideas when Beethoven suddenly cuts it off with a soaring cadenza for first violin Beethoven had been commissioned in 1822 by Prince and proceeds to the next movement. The Allegro moderato Nikolas Galitzin of St. Petersburg to write three string seems to pass as the briefest flash of contrast—the entire quartets, though he had to delay them until after he finished movement lasts only eleven measures. the Missa Solemnis and the Ninth Symphony. He completed The longest movement in the quartet, the Andante, ma the three quartets for Galitzin in 1825, but those quartets non troppo e molto cantabile is one of its glories. Beethoven had not exhausted his ideas about the form, and he pressed presents a simple theme, gracefully shared by the two on to work on another. Begun at the end of 1825, the violins, and then writes six variations on it. At times the Quartet in C-sharp Minor was complete in July 1826. This variations grow so complex that the original theme almost is an astonishing work in every respect. Its form alone is disappears; Beethoven brings it back, exotically decorated remarkable: seven continuous movements lasting a total of by first violin trills, at the very end of the movement. Out forty minutes. But its content is just as remarkable, for this of this quiet close explodes the Presto, the quartet’s scherzo, quartet is an unbroken arc of music that sustains a level which rushes along on a steady pulse of quarter-notes; this of heartfelt intensity and intellectual power through every powerful music flows easily, almost gaily. Beethoven makes instant of its journey. This was Beethoven’s favorite among use of sharp pizzicato accents and at the very end asks the his quartets. performers to play sul ponticello, producing an eerie, grating On the manuscript he sent the publisher, the composer sound by bowing directly on the tops of their bridges. scrawled: “zusammengestohlen aus Verschiedenem diesem There follows a heartfelt Adagio, its main idea und jenem” (“Stolen and patched together from various bits introduced by the viola. Beethoven distills stunning and pieces”). The alarmed publishers were worried that he emotional power into the briefest of spans here: this might be trying to palm off some old pieces he had lying movement lasts only 28 measures before the concluding around, and Beethoven had to explain that his remark was Allegro bursts to life with a unison attack three octaves deep. a joke. But it is at once a joke and a profound truth. A joke In sonata form, this furiously energetic movement brings because this quartet is one of the most carefully unified back fragments of the fugue subject (sometimes inverted) pieces ever written, and a truth because it is made up of from the first movement. It is an exuberant conclusion to “bits and pieces:” fugue, theme and variations, scherzo, and so intense a journey, and at the very end the music almost sonata form among them. leaps upward to the three massive chords that bring the The form of the Quartet in C-sharp Minor is a long arch. quartet to its close. The substantial outer movements are in classical forms, and at the center of the arch is a theme-and-variation movement String Quartet in B-flat Major, Opus 130 with Grosse Fuge, that lasts a quarter-hour by itself. The second and third and Opus 133 the fifth and sixth form pairs of much shorter movements, often in wholly original forms. Approximate Duration: 43 minutes The opening movement is a long, slow fugue, its haunting main subject laid out immediately by the first Beethoven composed the Quartet in B-flat Major between violin. There is something rapt about the movement (and July and December of 1825, and the music had its première perhaps the entire quartet), as if the music almost comes in Vienna on March 21, 1826, almost exactly a year to the from a different world. In a sense, it did. Beethoven had day before the composer’s death. This massive quartet, been completely deaf for a decade when he wrote this consisting of six movements that span a total of nearly 50 quartet, and now—less than a year from his death—he was minutes, concluded with a complex and extremely difficult writing from the lonely power of his musical imagination. fugue that left the first audience stunned. Beethoven, by Molto espressivo, he demands in the score, and if ever there this time totally deaf, did not attend the première, but





when told that the fourth and fifth movements had been so enthusiastically applauded that they had to be repeated, he erupted with anger at the audience: “Yes, these delicacies! Why not the Fugue? Cattle! Asses!” But it was not just the audience at the première that found the concluding fugue difficult. With some trepidation, Beethoven’s publisher asked the crusty old composer to write a substitute finale and to publish the fugue separately. To everyone’s astonishment, Beethoven agreed to that request and wrote a new finale—a good-natured rondo— in the fall of 1826. Since that time, critics have debated which ending makes better sense artistically, and this is one of those debates that will probably continue forever. For generations, the Quartet in B-flat Major was performed with the substitute rondo as the finale, but recently that practice appears to have evolved, and quartets today are increasingly following Beethoven’s original intention and concluding the Quartet in B-flat Major with the Grosse Fuge. The present performance offers the quartet in its original form. The first movement, cast in the highly-modified sonata form Beethoven used in his final years, is built on two contrasting tempos: a reverent Adagio and a quick Allegro that flies along on a steady rush of sixteenth-notes. These tempos alternate, sometimes in sections only one measure long—there is some extraordinarily beautiful music here, full of soaring themes and unexpected shifts of key. By contrast, the Presto—flickering and shadowy—flits past in less than two minutes; in ABA form, it offers a long center section and a sudden close on the return of the opening material. The solemn opening of the Andante is a false direction, for it quickly gives way to a rather elegant movement in sonata form, full of poised, flowing, and calm music. Beethoven titled the fourth movement Alla danza tedesca, which means “Dance in the German Style.” In 3/8 meter, it is based on the rocking, haunting little tune that opens the movement. The Cavatina has become one of the most famous movements in all Beethoven’s quartets. Everyone is struck by the intensity of its feeling, though few agree as to what it expresses—some feel it tragic, others view it as serene; Beethoven himself confessed that even thinking about this movement moved him to tears. Near the end comes an extraordinary passage that Beethoven marks Beklemmt (“Oppressive”): the music seems to stumble and then makes its way to the close over halting and uncertain rhythms. This performance concludes with the Grosse Fuge Beethoven had intended as the original finale. Let it be said right from the start: the Grosse Fuge is a brilliant piece of music and a very tough one, and it should come as no

surprise that it has excited quite different responses. Though he was no particular admirer of Beethoven, Stravinsky near the end of his long life came to know and respect the late quartets, and his admiration for the Grosse Fuge led him to call it an “absolutely contemporary piece of music that will be contemporary forever.” At the other extreme, the iconoclastic American critic B.H. Haggin was adamant that the Grosse Fuge should be considered “inaccessible—except for a quiet and lovely episode—by some music lovers who have listened to it repeatedly.” The Grosse Fuge is in fact not one fugue, but three different fugal sections, each in a contrasting tempo— Beethoven described it as a “Grand Fugue, freely treated in some places, fugally elaborated in others.” The brief Overtura suggests the shape of the fugue subject in three different permutations (all of which will reappear and be treated differently) and then proceeds directly into the first fugue, an extremely abrasive Allegro in B-flat major that demands a great deal from both performers and audiences. Much of the complexity here is rhythmic: not only does the fugue subject leap across a span of several octaves, but its progress is often obscured by its overlapping triple, duple, and dotted rhythms. The lyric, flowing central section, a Meno mosso e moderato in G-flat major, is fugal in character rather than taking the form of a strict fugue. It gives way to the Allegro molto e con brio, which is derived from the second appearance of the fugue subject in the Overtura; here it bristles with trills and sudden pauses. Near the close, Beethoven recalls fragments of the different sections, then offers a full-throated restatement of the fugue theme before the rush to the cadence. Individual listeners may draw their own conclusions about the use of the Grosse Fuge as a fitting close to this quartet, but there can be no doubt that the Quartet in B-flat Major—by turns beautiful, aggressive, charming, and violent—remains as astonishing a piece of music for us today as it was to that first audience in 1826. Recommended Listening Beethoven, Ludwig van. Beethoven The String Quartets. Emerson String Quartet. Deutsche Grammophon. ASIN: B003W16T9A, [2010]

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Shai Wosner

Musical Prelude 7 PM Rolston String Quartet performs Tchaikovsky’s String Quartet No. 1 in D Major, Opus 11 See pages 6-7

Joyce Yang

MUSIC FROM THE HEART Tuesday, August 7, 2018 · 8 PM

UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL La Jolla Music Society’s 2017-18 Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, National Endowment for the Arts, Vail Memorial Fund, Thomas C. Ackerman Foundation, David C. Copley Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, Regents Bank, US Bank, The Dow Divas, The Lodge at Torrey Pines, La Valencia Hotel, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Jeanette Stevens, and an anonymous donor.


Suite Italienne for Violin and Piano (1932) Serenata Tarantella Gavotte Scherzino Minuet; Finale Martin Beaver, violin; Joyce Yang, piano MENDELSSOHN String Quintet in B-flat Major, Opus 87 (1845) (1809-1847) Allegro vivace Andante scherzando Adagio e lento Allegro molto vivace Paul Huang, Anna Lee, violins; Tien-Hsin Cindy Wu, Heiichiro Ohyama, violas; Hai-Ye Ni, cello INTERMISSION RACHMANINOFF Symphonic Dances, Opus 45 for Two Pianos (1940) (1873-1943) Non allegro Andante con moto (Tempo di valse) Lento assai—Allegro vivace—Lento assai. Come prima—Allegro vivace Shai Wosner, Joyce Yang, pianos STRAVINSKY

(1882-1971) Introduzione


Program Notes by Eric Bromberger

Suite Italienne for Violin and Piano

IGOR STRAVINSKY Born June 17, 1882, Oranienbaum. Russia Died April 6, 1971, New York City

Approximate Duration: 15 minutes

In the years after World War I Stravinsky found himself at an impasse as a composer, unwilling to return to the grand manner of the “Russian” ballets that had made him famous, but unsure how to proceed. Serge Diaghilev, impresario of the Ballets Russes, suggested a ballet based on themes by the Italian composer Giovanni Pergolesi (1710-1736) and showed him some of Pergolesi’s music. Stravinsky was entranced. Over the next year he composed a ballet with song in eighteen parts, based on themes from Pergolesi’s operas and instrumental music (though subsequent research has shown that not all these themes were written by Pergolesi). Stravinsky kept Pergolesi’s melodic and bass lines, but supplied his own harmony and brought to this music his incredible rhythmic vitality. First produced in Paris on May 15, 1920, with sets by Picasso and choreography by Massine, Pulcinella was a great success. Ever the pragmatist, Stravinsky had become interested at this time in ballets for smaller ensembles, for he realized that they could save expense and make possible productions in places that lacked a large symphony orchestra. Pulcinella was a step in this direction—it is scored for an orchestra of 37 players—but Stravinsky was interested in ensembles of just a few players, and his arrangements of excerpts from Pulcinella may be regarded as explorations of those possibilities. Stravinsky made several arrangements for instrumental duos of excerpts from Pulcinella. First was a Suite for Violin and Piano based on themes from the ballet, made in 1925. Next came an arrangement of different excerpts for cello and piano, made in 1932 by the composer and Gregor Piatigorsky; this version was the first be called Suite Italienne. The following year, Stravinsky and violinist Samuel Dushkin made an arrangement of excerpts for violin and piano and called it Suite Italienne as well. (Somewhat later, Jascha Heifetz and Piatigorsky made an arrangement for violin and cello, which they also called Suite Italienne.) The violin and piano version of Suite Italienne is in six movements. It opens with a jaunty Introduzione (the ballet’s Overture), followed by a lyric Serenata, based on an aria from Pergolesi’s opera Il Flaminio. A blistering Tarantella (with its surprising and sudden ending) leads to a stately Gavotte,

which is followed by two ornate variations. The Scherzino flies along on an almost non-stop pulse of eighth-notes; Stravinsky specifies that he wants it played sempre staccato. The concluding section is in two parts: a slow Minuet full of complex double-stops leads without pause to the exciting Finale.

String Quintet in B-flat Major, Opus 87

FELIX MENDELSSOHN Born February 3, 1809, Hamburg Died November 4, 1847, Leipzig

Approximate Duration: 31 minutes

Mendelssohn was one of the most gifted composers of all time, and while it has become fashionable in some circles to dismiss his music as superficial and glib, it should be noted that he drove himself mercilessly—not just as composer, but also as conductor, performer, administrator, and educator (he was also a talented painter). His death at 38 was at least partially the result of exhaustion that inevitably resulted from the demands he placed on himself. Mendelssohn was conductor of the Leipzig Gewandhaus Orchestra from 1835 until 1846 and also served as director of the Leipzig Conservatory. Such demands kept him from composing much during the concert season and academic year. He became in effect a “summer” composer: one who wrote during those sunny, happy months when he could take his wife and children away from Leipzig and relax. The Quintet in B-flat Major is one of these summer compositions—Mendelssohn finished the score in Frankfurt on July 8, 1845, just a few months after the première of his Violin Concerto. One of the most distinctive things about the Quintet, particularly in its outer movements, is its concertante first violin part—the writing for first violin here is so brilliant that it demands a virtuoso performer. The very beginning of the Allegro vivace has reminded many of the beginning of Mendelssohn’s own Octet: over rustling accompaniment, the first violin leaps upward with a melody that will surge and fall back through two octaves. The falling, lyric second subject is introduced by the first viola, and the energetic development flies along over omnipresent triplets. The movement concludes with a majestic coda built on both main ideas. The brief Andante scherzando is not the quicksilvery fast movement one might expect from Mendelssohn at this point but a piquant little dance. Mendelssohn varies the texture by combining bowed and pizzicato passages and surprising the listener with uneven rhythms and shifting harmonies before the movement concludes nicely with all strings pizzicato.

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The marking for the third movement—Adagio e lento—seems redundant, for both terms mean “slow.” The movement is built on its grieving main theme, heard immediately in the first violin. The accompaniment is unusually busy, and the huge climax to this movement— with buzzing tremolos—seems more orchestral than chamber-like in its sonority (in fact, Toscanini once performed this movement with the entire string section of the NBC Symphony). Energy is the keynote of the finale, marked Allegro molto vivace. This movement returns somewhat to the manner of the opening movement, with the first violin part particularly brilliant, though Mendelssohn varies the pulse here by sharply syncopating the secondary theme group. The development is spirited and the coda exuberant—as befits music written by a man on holiday.

later he was dead. The orchestral version of the Symphonic Dances has become one of the most popular of Rachmaninoff’s late works. This concert, however, offers the unusual opportunity to hear this music in the form in which Rachmaninoff originally composed it—for two pianos; this was the version Fokine heard during the summer of 1941 and planned to choreograph. The orchestral version is remarkable for the opulence of its instrumental color (it includes the rarely-heard alto saxophone) and the verve of Rachmaninoff’s writing; it is one of his most exciting scores and one of his loudest. Two pianos cannot pretend to match the variety of color produced by symphonic instruments, nor can they match the sonic punch of a one-hundred piece orchestra. But the version for two virtuoso pianists offers an appeal all its own, in the excitement of a more intimate performance and in the black-and-white clarity it brings to Symphonic Dances, Opus 45 for Two Pianos Rachmaninoff’s sometimes thick orchestral textures. The Symphonic Dances are remarkable for Rachmaninoff’s subtle compositional method. Rather than relying on the Born April 1, 1873, Semyonovo, Russia Big Tune, he evolves this music from the most economical Died March 28, 1943, Beverly Hills of materials—rhythmic fragments, bits of theme, simple Approximate Duration: 33 minutes patterns—which are then built up into powerful movements that almost overflow with rhythmic energy. Rachmaninoff Rachmaninoff spent the summer of 1940 at Orchard may have been 67 and in declining strength in 1940, but Point, a seventeen-acre estate on Long Island that had that summer he wrote with the hand of a master. groves, orchards, and a secluded studio where he could The music opens with some of these fragments, just bits work in peace. There, very near the East and West Egg of of sound, and over them is heard the three-note pattern Fitzgerald’s The Great Gatsby, Rachmaninoff set to work on that will permeate the Symphonic Dances, reappearing in what would be his final complete work, a set of dances for orchestra. By August, he had the score complete in a version endless forms across the span of this score. Rachmaninoff plays it up here into a great climax, which subsides as the for two pianos, and—because he regarded this as a dance opening fragments lead to the wistful central episode; this score—he consulted with choreographer Mikhail Fokine, a slow interlude gradually makes its way back to the explosive neighbor that summer. Rachmaninoff tentatively titled the piece Fantastic Dances and gave its three movements names— gestures of the beginning section. In the closing moments, Rachmaninoff rounds matters off with a grand chorale Noon, Twilight, and Midnight—that might suggest a possible (here finally is the Big Tune), and the movement winks into scenario. Fokine liked the music when Rachmaninoff silence on the fragments with which it began. played it for him, and they began to look ahead to a ballet production, but Fokine’s death shortly thereafter ended any The second movement is marked Tempo di valse, the only explicit dance indication in the score. Fokine himself thought of that. Even by the end of the summer, though, warned Rachmaninoff not to feel bound to “dance” music Rachmaninoff appears to have rethought the character of (and specifically to waltz music) when writing music for this music. By the time he completed the orchestration on dancing—if the music had vitality and character, Fokine October 29, he had changed its name to Symphonic Dances felt that he could find a way to make it work as a ballet. and dropped the descriptive movement titles, and when Eugene Ormandy and the Philadelphia Orchestra gave the Rachmaninoff may call for a waltz tempo here, but he avoids the traditional meter of 3/4, setting the music première on January 3, 1941, it was as a purely orchestral instead in 6/8 and 9/8. This waltz evolves through several composition. Rachmaninoff himself seemed surprised by episodes—some soaring, some powerful—before the what he had created, and when friends congratulated him movement subsides to a sudden, almost breathless close. on the energy of this music, he said, “I don’t know how it The slow introduction to the final movement is happened—it must have been my last spark.” Two years




enlivened by interjections of the three-note pattern. Gradually these anneal into the Allegro vivace, and off the movement goes, full of rhythmic energy and the sound of ringing bells. A central episode in the tempo of the introduction sings darkly (Rachmaninoff marks it lamentoso), and finally the Allegro vivace returns to rush the Symphonic Dances to the close. Out of this rush, some unexpected features emerge: a quotation from Rachmaninoff’s First Symphony (composed nearly fifty years earlier), the liturgical chant “Blessed Be the Lord,” and—finally—that old Rachmaninoff obsession, the Dies Irae. At first this is only hinted at, but gradually it takes shape amid the blazing rush and finally is shouted out in all its glory as this music dances furiously to a close guaranteed to rip the top off a concert hall. As he finished each of his symphonies, Joseph Haydn would write Laus Deo—“Praise God”—at the end of the manuscript. At the end of the manuscript of Symphonic Dances, Rachmaninoff—perhaps aware that this would be his last work—wrote (in Russian) the simple phrase: “I thank Thee, Lord.” Recommended Listening Stravinsky, Igor. Stravinsky: Suite Italienne. Cho-Liang Lin, Andre-Michel Schub. CBS. ASIN: B0000026EE, [1990] Rachmaninov, Sergei. Rachmaninov: Music for 2 Pianos. Vladimir Ashkenazy, André Previn. Decca. ASIN: B00000427M, [1995]

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LEONARD BERNSTEIN Nina Bernstein Simmons, host; Amy Burton, soprano; John Musto, Michael Boriskin, piano

Tonight’s concert is sponsored by:

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

Wednesday, August 8, 2018 · 8 PM


For Aaron Stern from Thirteen Anniversaries, No. 12 For Stephen Sondheim from Thirteen Anniversaries, No. 3 For Elizabeth B. Ehrman from Five Anniversaries, No. 3 Ilana, the Dreamer from Four Sabras, No. 1


Dizzy Fingers


Excerpt from Piano Variations Excerpt from El Salon Mexico (arr. Bernstein) Canon for Aaron Ain’t Got No Tears Left from On the Town Powerhouse (arr. Lenny Amber) Excerpt from Conchtown








Marche Characteristique in C Major


If Love Were All from Bitter Sweet


Nocturne, Opus 54, No. 4

(1895-1963) (1899-1973) (1797-1828)


BERNSTEIN Little Smary from Arias and Barcarolles Lyrics by Jennie Bernstein Lullaby for JZ Some Other Time from On the Town

Script by Jamie Bernstein and George Steel Produced by Copland House 30 | LA JOLLA MUSIC SOCIETY

FLUX Quartet

Tonight’s concert is sponsored by:

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



String Quartet (1965)


OLIVER LAKE Hey Now Hey (2017) (b. 1942) LEI LIANG Serashi Fragments (2005) (b. 1972) NANCARROW String Quartet No. 3 (1987) (1912-1997) measure=72 measure=50 measure=92 RAND STEIGER Tropes (2018) WORLD PREMIÈRE FLUX Quartet Tom Chiu, Conrad Harris, violins; Max Mandel, viola; Felix Fan, cello (b. 1957)


This performance will be followed by a post-concert reception in the outside lobby.

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Program Notes by Eric Bromberger, except where indicated

with parts in traditional notation for each of the four instruments, and these parts are carefully conceived for String Quartet a string quartet. Brown divides the quartet into episodes of precisely specified length: twenty seconds, forty-five seconds, and so on, and the quartet spans a total of about Born December 26, 1926, Lunenberg, MA a dozen minutes. Within each episode, Brown specifies a Died July 2, 2002, Rye, NY Approximate Duration: 12 minutes certain kind of music and provides a sequence of pitches, and he also notes exactly the kinds of string sonorities Earle Brown is best remembered as a member of he wants: pizzicato, battuto (bouncing or hitting the bow the New York School of the 1950s and 1960s. That off the string), muted or unmuted passages, glissandos, group—which included John Cage, Morton Feldman, microtones and so on. But having provided these quite exact and others—composed music that depended in varying specifications, Brown then leaves the rest of the creative degrees on indeterminancy, on chance, and on the creative decisions to the quartet, both as individuals and as an participation of its performers. Brown studied trumpet and ensemble that must coordinate its playing. For example, a composition as a young man and supported himself for sequence of pitches may be played with any duration of some years as a recording engineer and producer. Invited individual notes or at a dynamic the performer chooses. by Cage to join the Project for Music for Magnetic Tape, Passages may be elongated, but then suddenly a pizzicato Brown moved to New York and became a leader of the chord must be coordinated exactly for all four instruments. avant garde in that city. He later taught at the Peabody In some sections players are given the freedom to repeat Conservatory in Baltimore, Berkeley, and Yale. individual passages at tempos of their own choosing, in This is not the place to review the complex distinctions others an individual instrument is allowed a passage of solo between indeterminancy, aleatory, stochastic music, and the freedom. Some have compared the individual sections of many different approaches to music that depend to some the quartet to the different pieces of a Calder mobile, with degree on chance. Brown himself was interested in what are each part reflecting light differently as it turns and with each called “open forms,” in which a composer supplies certain part in a continuously evolving relation to the other parts. elements—pitch sequences, duration, sonority—and leaves Every performance of Brown’s String Quartet will be the rest of the performance to the players themselves. The different, but those performances will all be more alike (and aim is to free performers from bondage to the printed page more recognizable as the Brown String Quartet) than, say, and to give them a measure of creative freedom in the performances of December 1952, every one of which will be process of music-making. One of the most famous examples wildly different from each other. of this is Brown’s December 1952, which was composed in response to his encounter with the mobiles of Alexander Hey Now Hey Calder. Those mobiles are composed of set “parts,” yet the parts are in continuous motion and in different Born September 14, 1942, Marianna, Arkansas relationships to each other: the parts may be fixed, but Approximate Duration: 7 minutes their combinations will always be different for the observer. Brown set out to do something similar with music, and Hey Now Hey was inspired by a poet I met in Paris, in the score for his December 1952 dispenses with traditional the early 70’s, named Hart Leroy Bibbs. He gained fame at musical notation and is simply one page with short lines local readings in Paris as the “Hey Now” poet. The reason of varying degrees of thickness, set either parallel or at was because he recited this two word phrase repeatedly, ninety degrees to each other. It is the job of the performer with different inflections and various volumes, thus giving to translate those lines into decisions about pitch, tempo, these two words many meanings. His entire performance dynamics, and so on and to create music out of these was this two word phrase, “Hey now.” minimal elements. No two performances of December 1952 Thus the repetitious theme of “Hey Now, Hey” in the will ever be remotely the same. beginning of the piece is inspired by Leroy “Hey Now” Brown wrote his String Quartet on a commission from Bibbs. Repetition, repetition, repetition——to the second the Südwestfunk Baden-Baden for the Donaueschinger part of the piece, which is slower and leaves space for Musiktage, and the LaSalle String Quartet gave the improvisation …. then to the last part of piece, recapping première on October 16, 1965. The String Quartet is not the repetitious “Hey Now, Hey” theme. so freely conceived as December 1952. It consists of a score — Oliver Lake





Serashi Fragments

Nancarrow’s String Quartet No. 3 is one of his rare works composed for traditional instruments: it was written for the Arditti String Quartet, who gave the première performance Born November 28, 1972, Tianjin, China in Cologne on October 15, 1988. In three movements, the Approximate Duration: 8 minutes quartet is conceived as a series of rhythmic canons that set six against five against four against three. Each of the Serashi Fragments is a tribute to the Mongolian chaorer (an ancient two-string fiddle) player Serashi (1887-1968). It four instruments has the same theme, but in a different meter, and they make carefully-terraced entrances. In the is not in any sense an imitation of his performance style or the music of Mongolia, although an allusion appears briefly first movement (which has no marking beyond the precise notation that a measure = 72), the instruments enter from in the middle of the piece. In this work, the notes Sol, La the bottom up: the cello begins with the fundamental and Ti appear in various forms as musical inscriptions of theme (marked marcato) in 3/8, the viola enters in 4/8, the the artist’s name. second violin in 5/8, and eventually the first violin in 6/8; Serashi Fragments was first performed by the Arditti Quartet (Irvine Arditti, Ashot Sarkissjan, Ralf Ehlers, Lucas the music rises to a complex climax, then falls away as the instruments drop out in reverse order, leaving the cello to Fels) on April 2nd, 2006, in Paine Hall, Cambridge MA. It conclude by itself. The second movement (marked legato received the University Composition Prize — The George and set at measure = 50) is based on the same graduated Arthur Knight Prize — from Harvard University. entrances in the same sequence of meters, this time — Lei Liang descending from the first violin; this movement is played almost entirely in harmonics, much of the time pizzicato. The brisk concluding movement (measure = 92) feels String Quartet No. 3 like a fugue based on a long subject full of glissandos and trills; it too is a canon based on the same metric collisions. Born October 27, 1912, Texarkana, AR Nancarrow maintains these proportions even in the coda, Died August 10, 1997, Mexico City which accelerates first at 3%, then 4%, then 5%, and finally Approximate Duration: 14 minutes at 6%. Listeners without a score in front of them will not be Conlon Nancarrow studied at the Cincinnati College fully aware of the degree of rhythmic complexity that Conservatory and in Boston with Sessions, Piston, and Slonimsky. He supported himself briefly as a jazz trumpeter underlies this music, and that does not matter. This quartet should be listened to just like any other quartet: for a (some of his compositions of the late 1930s are jazzsense of unfolding drama and for the variety of sounds tinged), then joined the Abraham Lincoln Brigade to Nancarrow generates. These include an imaginative and fight in the Spanish Civil War. Returning to the United sustained use of pizzicato, swirling glissandos played entirely States after the Loyalist defeat, Nancarrow—who had in harmonics, and—at the end—a brilliant coda written joined the Communist Party in 1934—faced the loss almost exclusively in trills that drives the quartet to an of his visa because of his political affiliations, and so he exciting close. moved to Mexico City, where he lived for the rest of his life; he became a Mexican citizen in 1956. Before his departure, Nancarrow had become fascinated with rhythm, particularly the notion of conflicting rhythms, and this led him to make an unusual—but wholly logical—musical decision: he composed almost exclusively for player piano, on which he could achieve a rhythmic complexity and accuracy impossible with mortal performers. The core of Nancarrow’s music is his approximately fifty Studies for Player Piano; these have been released on various recordings (some of them performed by live performers), and several were choreographed by Merce Cunningham, whose tours helped spread knowledge of what Nancarrow was doing.



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RAND STEIGER Born June 18, 1957, New York City

Approximate Duration: 12 minutes

For centuries, Jewish congregations throughout the world have read the text of the Hebrew Bible aloud in synagogue with a kind of ritual chanting referred to as cantillation. A set of small symbols, or tropes, that appear above and below the text provide guidance for the structure and melismatic patterns of this chanting. Yet within different communities, the tropes have been interpreted in a wide variety of ways that reflect the assimilation of local musical practices. While the text and tropes look exactly the same, the resulting sound is quite different in each community, thereby giving voice to the Jewish diaspora. Drawing on the text of the first four sentences of B’reisheet, the opening section of Genesis, I have created my own interpretation of the tropes using a single pitch with rhythmic and timbral variations, which appears after a brief introduction. As it is repeated, it is complemented by transcriptions of traditional cantillation patterns, including Sephardic (Syrian and Moroccan) and Ashkenazic (Hungarian and British) versions. By gradually combining these versions and presenting them simultaneously, while positioning the members of the quartet around the audience, I hope to give voice to this remarkable phenomenon — to the way in which the tropes and text have historically traveled with Jewish communities throughout the world, both connecting them and also marking their differences of place through sound. Tropes was commissioned by the FLUX Quartet and is presented here tonight for the first time. It is dedicated to my grandfather, Samuel Steiger, who emigrated in the late nineteenth century and worked tirelessly in the 1930s and 40s to help family members escape Europe and begin new lives here in the United States. — Rand Steiger


Carter Brey

DaXun Zhang

Tien-Hsin Cindy Wu

Musical Prelude 7 PM Cambridge Trio performs Dvořák’s Piano Trio in F Minor, Opus 65 See pages 6-7 Tonight’s concert is sponsored by:

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

ACROSS OCEANS Friday, August 10, 2018 · 8 PM


String Quartet No. 5 (2018) FLUX Quartet Tom Chiu, Conrad Harris, violins; Max Mandel, viola; Felix Fan, cello

Commissioned by La Jolla Music Society for SummerFest with generous support from Chris and Sue Fan in honor of Cho-Liang Lin.


String Octet in B-flat Major, Op. Posth (1920)

(1838-1920) Allegro moderato

Adagio Allegro molto Martin Beaver, Tien-Hsin Cindy Wu, Luri Lee, Emily Kruspe, violins; Hezekiah Leung, Heiichiro Ohyama, violas; Felix Fan, cello; Daxun Zhang, bass INTERMISSION DVOŘÁK Piano Quartet in E-flat Major, Opus 87 (1889) (1841-1904) Allegro con fuoco Lento Allegro moderato, grazioso Allegro Finale: Allegro, ma non troppo Gilles Vonsattel, piano; Martin Beaver, violin; Tien-Hsin Cindy Wu, viola; Carter Brey, cello

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String Quartet No. 5

for Mendelssohn’s four violins, two violas, and two cellos, Bruch substitutes a doublebass for the second cello. That change gives added depth and resonance to the already Born February 4, 1933, Kobe, Hyˉogo Prefecture, Japan full weight of an eight-instrument ensemble, and there are Approximate Duration: 20 minutes many moments in Bruch’s Octet when the music approaches Our lives are full of mechanical and artificial elements, an orchestral sonority. more and more distant from nature. We are getting benefits The work is in three movements. The beginning breathes an air of quiet nobility, underlined here by having from convenience, but we are also losing something as a the husky sound of the viola lead the way. Marked Allegro result. Even in music, with one push of a button, you can moderato, this movement is not at a particularly fast pace, create it. There is so much of that kind of music on TV and despite more animated secondary material and several and everywhere. Now, almost anything can be done by a machine. But I believe, if the human race lose the ability to big climaxes, the music never reaches a level of strain in its use our body to work, the fundamental meaning for art will intensity. This is an extended sonata-form movement, Bruch alternates his material deftly, and finally the music drives to fall apart. a full-throated conclusion. So my new quartet is a paradox – I use a lot of mechanical The real jewel of this music is its central Adagio, which features Bruch at his best—there is a nice melodic sense in motion in the quartet to represent artificial elements. But this movement, expressive and rich in sonority. Over dark, the point is that real human beings make music out of this muttering opening rhythms, the first violin sings its longmechanical motion. lined (and gorgeous) opening idea. The rising, aspiring second theme is also presented by the first violin, and these So in a way, it is an homage to humanity. build to a series of climaxes before the movement falls away —Toshi Ichiyanagi to its quiet close. The tremolo-like beginning of the Allegro molto finale establishes the quasi-orchestral sound and mood of this Program Notes by Eric Bromberger music from the first instant. Even the noble second idea, announced by the cello, does little to dispel the sense of a Octet in B-flat Major, Op. Posth. big sound and big manner in this quick-paced movement, and over its closing moments Bruch’s Octet drives to a truly Born January 6, 1838, Cologne, Germany sonorous conclusion. Died October 2, 1920, Friedenau, Germany It is hard to believe that this music could have been Approximate Duration: 24 minutes written in 1920. At age 82 Bruch seemed unaware of the In 1891 Max Bruch became a professor of composition new currents in music. Instead, he looked back to the great tradition of German romantic music in the nineteenthat the Berlin Academy, and he remained there for nearly century—the tradition of Mendelssohn, Schumann, and twenty years—he retired in 1910 at the age of 72. Bruch spent the rest of his life (which included the period of World Brahms—as he wrote this music. It is as if Bruch, thrust into an alien world that had brought a devastating war to War I) in Berlin, and he continued to compose in his final Germany and a threatening dissonance to music, turned to years. In his final decade Bruch turned to a genre he had largely avoided to this time, chamber music, and from these the past and spoke that comforting language one final time. final years came three large-scale works: two string quintets Piano Quartet in E-flat Major, Opus 87 and a string octet. They remained unpublished at the time of his death (and for some years afterward), and when they finally appeared they were published without opus numbers. Born September 8, 1841, Muhlhausen, Bohemia Died May 1, 1904, Prague Bruch composed his Octet in B-flat Major in JanuaryFebruary 1920, just as he turned 82 and only a few months Approximate Duration: 38 minutes before his death—it was virtually his final composition. Dvořák was compulsive about dating his compositions. Any octet for strings must inevitably be compared to Mendelssohn’s Octet in E-flat Major of 1825, but Bruch makes As he began work, he would note the date at the top of the blank page, and as he finished he wrote the date at the an important change in his ensemble. Rather than writing






end of the manuscript. And so we know that he began the Piano Quartet in E-flat Major on July 10, 1889, and completed it six weeks later on August 19. This was a very rich time in Dvořák’s life: surrounded by a large and happy family, he was composing steadily, conducting, and being honored throughout Europe. Earlier in 1889 he had seen his opera The Jacobin premièred in Prague, and a week after completing the Piano Quartet he would begin composing one of his finest works, the Eighth Symphony. The composition of the Piano Quartet went well, and on August 10 Dvořák wrote enthusiastically to his publisher: “I’ve now already finished three movements of a new piano quartet and the Finale will be ready in a few days. As I expected it came easily and the melodies just surged upon me. Thank God!” The second of Dvořák’s two piano quartets, the Quartet in E-flat Major has been much admired for its variety of moods, the deft fusion of piano and string instruments, and Dvořák’s easy modulation between surprising keys. Other critics have been less generous, and some have criticized this music for its quasi-orchestral writing and huge effects, one of them even going so far as to call this quartet “disagreeably melodramatic.” But one person’s disagreeable melodrama is another’s beauty, and for every critic who has complained about this music’s grand sweep, countless audiences have loved the quartet just for that excitement. The opening Allegro con fuoco is aptly named, for there is plenty of fire here: at the very beginning the strings make a fierce declaration, only to be answered by the piano’s almost whimsical reply. Both these ideas will figure importantly in the development, and the yoking together of such dissimilar ideas is typical of the quartet. The viola, Dvořák’s own instrument, has the haunting second theme, and the movement fluctuates between the quietly lyrical and the dramatic. In a similar way, the Lento is mercurial in its mood shifts. Sectional in structure and unusually long, it is based on five different themes: the cello’s wistful opening quickly gives way to a heated episode introduced by the piano, which in turn is followed by sequences of varied tonality and mood. The third movement is in ABA form, but this is no minuet. The outer sections are based on a waltz rhythm, and some have heard Eastern influences here: the piano’s waltz tune sings languorously, and Dvořák soon has it tinkling in high registers in imitation of the Hungarian cimbalon. The trio dashes along agreeably on its omnipresent dotted rhythm. The Finale is the movement most often criticized for sounding orchestral. A dramatic unison passage launches the movement on its vigorous way, and once again a lovely viola melody lessens tensions—in fact, some of the most

attractive music in the quartet comes in this movement’s quiet passages. The coda begins quietly but soon gathers force, and the quartet rushes to a knock-out conclusion. It is easy to understand Brahms’ affection for this music, with its propulsive opening rhythm and lyric second subject. The Adagio profited greatly from revision, for Brahms composed a new second theme of such autumnal lyricism that it transforms this movement from the effort of a tentative beginner to the work of a master. The finale pulses darkly forward on dotted rhythms, and the conclusion is unusual in that the music ends not in the expected home key, but in B minor. Recommended Listening Dvořák, Antonín. Dvořák: Piano Quartet in E-flat Major, Op. 87. Emanuel Ax, Robert McDonald, Isaac Stern, Yo-Yo Ma, Jaime Laredo. Sony Classical. ASIN: B0000CF32U, [2003]

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SummerFest Gala




GUARNERI SPONSOR Raffaella and John Belanich

AMATI SPONSORS Brenda Baker and Steve Baum Mary Ann Beyster Martha and Ed Dennis Twin Dragon Foundation UC San Diego Katrina Wu

CONCERT SPONSOR Silvija and Brian Devine

MUSICIAN SPONSORS Virginia and Robert Black Boretto + Merrill Consulting, LLC Angela Merrill & Colleen Boretto Isabel and Stuart Brown Jian Wang and Samson Chan Nina and Robert Doede Diane and Elliot Feuerstein Sarah and Michael Garrison Joan and Irwin Jacobs Angelina and Fredrick Kleinbub Sylvia and Steve Ré Colette Carson Royston and Ivor Royston Iris and Matthew Strauss Haeyoung Kong Tang Margie Warner and John H. Warner, Jr. Anna and Edward Yeung

UNDERWRITERS Olivia and Peter Farrell Major Executive Search Maureen and Tom Shiftan Elizabeth Taft



Sonata No. 3 in C Major for Strings (c. 1804)

(1792-1868) Allegro

Andante Moderato Martin Beaver, Cho-Liang Lin, violins; Max Geissler, cello; DaXun Zhang, bass SCHUBERT

Selections from Quintet in A Major for Piano and Strings, D.667 “Trout” (1819) Thema: Andantino Finale: Allegro giusto Gilles Vonsattel, piano; Cho-Liang Lin, violin; Martin Beaver, viola; Max Geissler, cello; DaXun Zhang, bass (1797-1828)

Cho-Liang Lin

Prelude 7 PM Lecture by Nicolas Reveles A musical form with roots in the Middle Ages— the sérénade—is evoked specifically in some of tonight’s offerings and hinted at in others. Tonight’s lecture will give historical and musical context for the ways composers use the form as a starting point for a broad diversity of musical expression.

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

Tamara Mumford

Paul Neubauer


Tuesday, August 14, 2018 · 8 PM

UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL Escena Andaluza, Opus 7 (Scenes of Andalusia) (1913) À la Fenêtre Paul Neubauer, viola; Saetbyeol Kim, piano; Rolston String Quartet Luri Lee, Emily Kruspe, violins; Hezekiah Leung, viola, Jonathan Lo, cello DEBUSSY Sonata in D Minor for Cello and Piano (1915) (1862-1918) Prologue: Lent Sérénade: Modérément animé Finale: Animé Jian Wang, cello; John Novacek, piano LEI LIANG Vis-à-vis, for Pipa and Percussion (2018) WORLD PREMIÈRE (b.1972) Wu Man, pipa; Steven Schick, percussion TURINA

(1882-1949) Crèpuscule du Soir

Commissioned by the La Jolla Music Society for SummerFest, and dedicated to Wu Man and Steven Schick. INTERMISSION


Rückert-Lieder (1901-02)

(1860-1911) Blicke mir nicht in die Lieder

Ich atmet’ einen linden Duft Ich bin der Welt abhanden gekommen Um Mitternacht Liebst du um Schönheit Tamara Mumford, mezzo-soprano; Ken Noda, piano GINASTERA String Quartet No. 1, Opus 20 (1948) (1916-1983) Allegro violento ed agitato Vivacissimo Calmo e poetico Allegramente rustico Rolston String Quartet

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Program Notes by Eric Bromberger

Escena Andaluza, Opus 7 (Scenes of Andalusia)

JOAQUIN TURINA Born December 9, 1882, Seville Died January 14, 1949, Madrid

Approximate Duration: 43 minutes

A generation of fabulously talented Spanish composers—Isaac Albéniz, Enrique Granados, Manuel de Falla, and Joaquin Turina—came of age at the end of the nineteenth century. They had their early musical education in Spain, but all of them realized that to complete their training they would have to go to Paris, and all of them did. In the City of Light they refined their technique as composers, but gradually all four felt a longing to return to their homeland and to write a specifically Spanish music. Turina arrived in Paris in 1905 at age 23 and remained there for eight years, studying piano with Moritz Moszkowski and composition with Vincent D’Indy. Under D’Indy’s supervision Turina composed a number of chamber works in classical forms, including a string quartet and a piano quintet. These were well-received, but after a performance of the quintet Turina was invited out to a café by Albéniz and Falla, who encouraged him to make use of specifically Spanish music, subjects, and forms in his own compositions. Turina recalled that on that occasion “I realized that music should be an art, and not a diversion for the frivolity of women and the dissipation of men. We were three Spaniards gathered together in that corner of Paris, and it was our duty to fight bravely for the national music of our country.” One of the first results of this new enthusiasm was Escena Andaluza (Scenes of Andalusia), which Turina composed in Paris in 1911 for the unique combination of piano, solo viola, and string quartet. Escena Andaluza is in two brief movements, each of which has an evocative title: Crépescule du Soir (“Evening Twilight”) and À la Fenêtre (“At the Window”). Listeners have been quick to come up with a program for Escena Andaluza: they hear the first movement as a mood-piece that establishes a twilight atmosphere and introduces the voice of the lover in the solo viola and the second as a dialogue between that lover and his inamorata at her window. Turina did not specifically endorse this scenario, but he did not discourage it. The two movements of Escena Andaluza are sectional in construction. Piano alone introduces Crépescule du Soir, setting the lilting, sensual mood of the entire composition, and it is soon joined by the viola. Solo viola leads the way at the next episode in this movement, titled Serenata. Here the


viola is often accompanied by the quartet playing pizzicato, a sound invariably compared to that of an accompanying guitar. Along the way, Turina introduces a further episode, set at what he calls mouvement de Habanera, with its characteristic 3+2 rhythm. The episodes alternate before the movement reaches its firm conclusion on a sforzando final chord. The string quartet, relegated largely to an accompanying role in the first movement, comes to the fore at the beginning of À la Fenêtre, though once again the piano and viola will play leading roles here. Listeners are free to make out a dialogue between lovers at that window, and along the way Turina recalls themes from the opening movement, weaving the serenade into the scene at the window. Turina was pianist at the prémiere of Escena Andaluza, which took place in Paris on December 21, 1911; he dedicated the score to Lise Blinoff, who was the violist on that occasion. The composer was again the pianist when this music was introduced to Madrid audiences the following November. The music was published in Paris in 1913, and the irony is that this music—so intentionally Spanish—was then given the French title Scène andalouse by its French publisher, who also set the movement titles in French.

Sonata in D Minor for Cello and Piano

CLAUDE DEBUSSY Born August 22, 1862, Saint-Germain-en-Laye Died March 25, 1918, Paris

Approximate Duration: 12 minutes

Debussy’s final years were wretched. He developed colon cancer in 1909 and underwent a painful operation, radiation therapy, and drug treatment. It was all to no avail, and the disease took its steady course. The onslaught of World War I in 1914 further depressed him, but it also sparked a wave of nationalistic fervor, and he set about writing a set of six sonatas for different combinations of instruments. It may seem strange that the iconoclastic Debussy would return in his final years to so structured a form as the sonata, but he specified that his model was the French sonata of the eighteenth century and not the classical German sonata. To make his point—and his nationalistic sympathies—even more clear, Debussy signed the scores of these works “Claude Debussy, musicien français.” Debussy lived to complete only three of the projected six sonatas: a Cello Sonata (1915); a Sonata for Flute, Viola,


and Harp (1916); and the Violin Sonata (1917). The three sonatas that Debussy completed have never achieved the popularity of his earlier works, and the composer himself deprecated them with the self-irony that marked his painful final years. Of the Violin Sonata, he remarked: “This sonata will be interesting from a documentary viewpoint and as an example of what may be produced by a sick man in time of war.” But this music has a power all its own, and listeners who put aside their preconceptions about what Debussy should sound like (and about what a sonata should be) will find this spare music moving and—in its austere way— painfully beautiful One of the most impressive things about the Cello Sonata is its concentration: it lasts less than twelve minutes. Further intensifying this music’s severity is Debussy’s refusal to develop—or even to use—themes in a traditional sense: this is music not of fully-developed themes but of thematic fragments appearing in various forms and shapes. The opening movement, Prologue—Lent, is only 51 measures long, but Debussy alters the tempo every few measures: the score is saturated with tempo changes and performance instructions. The piano’s opening three-measure phrase recurs throughout, contrasting with the cello’s agitato passages in the center section. At the end, the cello winds gradually into its highest register and concludes hauntingly on the interval of a perfect fifth, played in harmonics. The second and third movements are performed without pause. The second is marked Sérénade, but this is unlike any serenade one has heard before: there is nothing lyric about this song. The cello snaps out grumbling pizzicatos (Debussy considered calling this movement Pierrot Angry at the Moon), and when the cello is finally given a bowed passage, it is marked ironique. The finale—Animé— opens with three quick pizzicatos and then races ahead. As in the first movement, there are frequent changes of tempo, a continuing refusal to announce or develop themes in traditional senses, and sudden changes of mood: at one point the performer is instructed to play a brief lyric passage con morbidezza, which means “gently,” yet another passage is marked arraché, or “ripped out.” The sonata concludes on an abrupt pizzicato. Such a description makes the sonata sound fierce, abstract, even mocking. But beneath the surface austerity of this sonata lies music of haunting emotional power.

Vis-à-vis, for Pipa and Percussion


Born November 28, 1972, Tianjin, China

Approximate Duration: 15 minutes

Vis-à-vis is a piece for two San Diego-based music luminaries, Wu Man and Steven Schick. I simply cannot imagine a better pair of musicians to face off one another. It is hardly possible to imagine musicians whose instruments are more different: Wu Man plays the Chinese lute that has a fascinating history of transformation over the past two millennia. Steve Schick, on the other hand, is the master of percussion which didn’t claim a solo repertoire for itself in the Western classical music world until relatively recently. Wu Man and Steve Schick are quite on a par with each other — in addition to their magnetic stage presence and unparalleled virtuosity on their instruments, they both make plenty of fascinating sounds and noises; and they both delight in improvisation — something not every classical musician feels comfortable to do. How thrilling it is for me to have the opportunity to create an exciting musical dialogue between the two! I imagine the piece to be at times serious, challenging, probing and even contentious; and at other times, relaxed, playful and humorous. There will be musical banter and crossfire as the players keep raising the bar and upping the game. After all, that is what a contentious friendship between kindred spirits would be like! — Lei Liang


GUSTAV MAHLER Born July 7, 1860, Kalischt, Bohemia Died May 18, 1911, Vienna

Approximate Duration: 20 minutes

In the summer of 1901 Gustav Mahler retreated to the vacation home he had just built at Maiernigg, on the southern shore of the Wörthersee. At age 41, he had completed his fourth year as director of the Vienna Opera, the most powerful position in the musical world, and now he came to the sunny lake to relax and to compose. It was a fertile summer. He began his Fifth Symphony, but he was also drawn to song that summer, and he had been reading the work of the German poet Friedrich Rückert (17881866). Mahler was particularly drawn to Rückert’s poems mourning the death of his children, and he began to set several of them—five of these settings would eventually become his cycle Kindertotenlieder. He also set five more Rückert poems at Maiernigg, and these five songs have been

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collected under the general title Rückert-Lieder. These songs seem worlds apart from the mighty Fifth Symphony and the grieving Kindertotenlieder, composed at this same moment. They are inward, reflective, at times almost disembodied. They form a curious collection, and perhaps they are not a collection at all—the five Rückert-Lieder have no unity beyond the fact that they set texts written by the same poet. Singers are free to choose whichever they wish to sing and to present them in any order they like. Shortest of the Rückert-Lieder, Blicke mir nicht in die Lieder is a song about the artistic process and about the privacy of the creator, whom the poet compares to bees. Do we hear the sound of their buzzing in the murmuring, surging accompaniment to this song? Ich atmet’ einen linden Duft sets a delicate text—the faint smell of lime in a room evokes a memory of love—and Mahler gives that text a delicate setting that shimmers and sparkles across the song’s brief span. Ich bin der Welt abhanden gekommen has become one of Mahler’s best-known songs. Perhaps the most telling thing about this song is that Mahler would choose to set this text—with its longing for escape from the world— at precisely the moment he occupied one of the most important (and tumultuous) positions in the musical world. This is haunting music—it almost seems to exist outside time, and its lean textures, aspiring melodic lines, and utter calm in the face of the frenzy of the world strike a chord in every listener. One of Mahler’s friends visited him during the summer of 1901 and quoted him on Ich bin der Welt: “He himself said of the uncommonly full and restrained character of this song that it was feeling from the heart right up into the lips but it never passed them! He also said this was himself !” Um Mitternacht is not so much song as midnight meditation. In the orchestral version, Mahler scored Um Mitternacht only for woodwinds, brass, timpani, harp, and piano (significantly eliminating all strings), and his setting emphasizes the dark lower registers. The song is almost declaimed rather than sung. In its interior conflict, this is the most dramatic of the Rückert-Lieder: from its subdued beginning, it rises to a great climax, then falls away to the calm conclusion. Liebst du um Schönheit was the last of this set to be written: Mahler composed it at Maiernigg in August 1902. This is a love song, and Mahler intended it for his new wife: he had married Alma Schindler in March 1902, and she was with him at Maiernigg that summer. The message of the text is simple—love me only for love—and Mahler gives it a gentle, flowing setting.


String Quartet No. 1, Opus 20

ALBERTO GINASTERA Born April 11, 1916, Buenos Aires Died June 25, 1983, Geneva

Approximate Duration: 20 minutes

Alberto Ginastera composed his First String Quartet in 1948, the same year the 32-year-old composer was named director of the Conservatory of Buenos Aires province. Ginastera noted that this quartet inaugurated what he referred to as his second period of composition, which he called “subjective nationalism.” By this he meant that native Argentine musical materials, employed consciously in his early music, now appeared in his music only unconsciously; the unintentional evocation of native music in this quartet ranges from the sound of a guitar’s open strings in the third movement to the use of what Ginastera himself called “rhythms and melodic motifs of the music of the pampas.” The First String Quartet was premiéred by the Mozart Quartet in Buenos Aires on October 14, 1949. For all of Ginastera’s unconscious use of native Argentine materials, what most strikes a listener is just how traditional the First String Quartet is: it has a sonata-form first movement, an ABA scherzo, a three-part slow movement, and a rondo-finale. The opening Allegro violento ed agitato bursts to life with a violent introduction built on asymmetric meters: Ginastera leaps between 5/8, 2/4, 7/8, and 3/4 before the pounding, syncopated main idea appears in the first violin. The scherzo, marked Vivacissimo, has proven a particular favorite of audiences. The very ending, where the music winks out in near-silence, is particularly effective. Ginastera marks the third movement Calmo e poetico, and the terraced entrances of the three lower instruments evoke the notes of a guitar’s open strings: E-A-D-G-B-E. Over this chord, the first violin sings a long theme marked tranquillo, dolce vibrato. A declarative cello cadenza introduces the movement’s center section; this rises to a great climax (marked con molta intensità) before the music falls away to end on a final evocation of the “guitar” chord that opened the movement. The brilliant finale is a rondo in ABABA form. A final return of the opening material drives the music to a sonorous close on a resplendent D-major chord. Recommended Listening Debussy, Claude. The Chamber Music of Claude Debussy-Complete. David Shifrin, André Watts, Gary Hoffman, David Golub. Delos. ASIN: 44882647, [1999] Ginastera, Alberto. String Quartets (Complete). Enso Quartet, Lucy Shelton. Naxos. ASIN: B0027DQHHS, [2009]

AN EVENING WITH ADELE ANTHONY & GIL SHAHAM Wednesday, August 15, 2018 · 8 PM


Sonata in E Minor for Two Violins, Opus 3, No. 5 (1730)

(1697-1764) Allegro ma poco

Gavotte: Andante grazioso Presto Adele Anthony, Gil Shaham, violins Adele Anthony


Suite in G Minor for Two Violins and Piano, Opus 71 (1903) Allegro energico Allegro moderato Lento assai Molto vivace Adele Anthony, Gil Shaham, violins; Juho Pohjonen, piano (1854-1925)


BRAHMS (1833-1897)

(arranged by Ricci)

Presto after J.S. Bach, from Five Studies for Piano


Selections from 44 Duos for Two Violins, Sz.98 (1931) Pillow Dance Bagpipes New Year’s Greeting Pizzicato Mosquito Dance Walachian Dance WIENIAWSKI Selections from Études-Caprices for Two Violins, Opus 18 (1835-1880) (1862) Allegro moderato Tempo di Saltarella, ma non troppo vivo Adele Anthony, Gil Shaham, violins (1881-1945)

Gil Shaham

Musical Prelude 7 PM Cambridge Trio performs Beethoven’s Piano Trio in B-flat Major, Opus 97 “Archduke” See pages 6-7 La Jolla Music Society’s 2017-18 Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, National Endowment for the Arts, Vail Memorial Fund, Thomas C. Ackerman Foundation, David C. Copley Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, Regents Bank, US Bank, The Dow Divas, The Lodge at Torrey Pines, La Valencia Hotel, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Jeanette Stevens, and an anonymous donor.

JULIAN MILONE Flower Duet from Delibes’ Lakmé (2018) Song to the Moon from Dvořák’s Rusalka (2018) Bohemian Rhapsody by Queen (2018) Gil Shaham, Adele Anthony, Cho-Liang Lin, Kyoko Takezawa, violins; DaXun Zhang, bass

(b. 1958)

En coulisses for Twelve Violins (2018) Adele Anthony, Gil Shaham, Cho-Liang Lin, Kyoko Takezawa, Anna Lee, Luri Lee, Emily Kruspe, violins; Students from Bravo! International Music Academy Sean Lim, Emma Sandberg, Hannah Tam, Anais Feller, Jinan Woo, violins

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Program Notes by Eric Bromberger

Sonata in E Minor for Two Violins, Opus 3, No. 5

JEAN-MARIE LECLAIR Born May 10, 1697, Lyons Died October 22, 1764, Paris

Approximate Duration: 9 minutes

Jean-Marie Leclair was one of those endlessly fascinating figures whose lives stand apart from the generally quiet accounts of composers’ careers. Born in Lyon to a family of musicians and lacemakers, Jean-Marie was one of the most talented members of that impressive family. As a young man, he mastered the art of lace-making and also became a dancer and a ballet-master, but he found his true calling as a violinist and composer. At age 26, he moved to Paris and made his career there, though he found time to make tours of Italy, Germany, England, and the Netherlands, where his playing was much admired for the beauty of his sound and his impressive technique. Leclair’s career in Paris remains to some extent shrouded in mystery. He was for a time in service to the royal family (the king at this time was Louis XV), but he while he was said to have played “like an angel,” Leclair was also a difficult man—he had a quick temper and a sour disposition—and his career was marked by a number of disputes. If his life was spectacular, its end was fully worthy of it: Leclair is one of the few composers to have been murdered. Late one evening, he stepped through the door of his home in what has been described as “a seedy part of Paris” and was stabbed to death. The murder was never solved, though Leclair’s estranged wife, nephew, and gardener were all suspects (modern musicologists favor the nephew). Leclair composed chamber music, some ballet and stage works, and one opera, but he is remembered today for his forty-nine sonatas for violin and keyboard. In addition to these accompanied sonatas, Leclair published a set of six sonatas for two unaccompanied violins in 1730, and these sonatas have remained one of the cornerstones of the literature for two violins. Elegant, graceful, and melodic, they are at some moments very difficult (in fact, Leclair’s violin music is at many places so difficult that there is an old legend in musical circles that his real murderer was a violinist who had become enraged by his inability to play Leclair’s music). Writing for two unaccompanied violins brings particular challenges for a composer, who must do without the harmonic resources of the keyboard. Leclair treats the two violins as equals and as melodic instruments here, though occasionally he will have one supply a double-


stopped accompaniment as the other takes the melodic line. The Sonata in E Minor is in three movements, all of them in binary form. The opening Allegro ma poco is full of complex counterpoint (the violins are often in close canon), and it bristles with energetic trills, swirls of triplets, and dense chording. By contrast, the second movement is all grace (Leclair’s marking is in fact Andante grazioso). The first violin sings the disarmingly lovely melodic line of this gentle gavotte as the second violin provides steady accompaniment. The last movement is brilliant. Marked Presto, it goes like a rocket, with the violins racing along a breathless rush of sixteenth-notes, sometimes in thirds, sometimes taking the lead, and sometimes accompanying each other. It makes a satisfying conclusion to a very engaging piece of music.

Suite in G Minor for Two Violins and Piano, Opus 71

MORITZ MOSZKOWSKI Born August 23, 1854, Breslau Died March 4, 1925, Paris

Approximate Duration: 20 minutes

The Polish-German composer Moritz Moszkowski had every intention of being a “serious” composer, and to that end he composed opera, symphony, ballet, two concertos, and several orchestral suites, but this music has virtually vanished (his compositions rate barely an inch of space in the current record catalog). Moszkowski would have been horrified to learn that his only music to survive is the wealth of brief pieces he wrote for non-professionals. He made his reputation (and a fortune) with salon music: light and pleasant pieces—usually for piano—intended for performance at home in the days when people actually made music at home (and when they actually had salons). His two books of lively Spanish Dances for piano duet were immensely popular a century ago, and the titles of other pieces suggest the colorful character of this music: Caprice Espagnol, Etincelles (“Sparks”), Malagueña. The Suite in G Minor for Two Violins and Piano is one of Moszkowski’s “serious” compositions, though it is by no means a heavy piece of music. This is one of those rare things—a superb piece of music by an almost forgotten composer. Published in the first years of the twentieth century, the Suite is a collection of four contrasted movements, beautifully written for all three instruments and full of polished and attractive music. While the term “suite” suggests the absence of sonata-form rigor, the Suite for Two Violins features some accomplished and ingenious music. The declamatory Allegro energico is the most dramatic of the movements, with the two violins soaring easily and


trading phrases above rippling piano accompaniment. The Allegro moderato is amiably lyric—now the melodic line moves smoothly between the two violins, and the music proceeds gracefully to the concluding pizzicato chords. The dark slow movement is the finest in the suite. This music is by no means tragic, but it is marked throughout by a somber and restrained beauty that contrasts with the bustle of the other movements; much of this movement is written with the violins in strict canon, a rigorous choice from a composer not known for this sort of discipline. The finale, Molto vivace, hurtles along on the cheerful swing of its dotted rhythms; a lyric center section leads to a return of the opening material and then a dazzling coda.

Selections from 44 Duos for Two Violins, Sz.98

Presto after J. S. Bach, from Five Studies for Piano (arr. Ricci)

Born March 25, 1881, Nagyszentmiklós, Hungary Died September 26, 1945, New York City


Ruggiero Ricci performed and loved the music of Bach throughout his life: not only did he play the Sonata in G Minor, but he was aware of Brahms’ exercise based on it, and he made an arrangement of it for two violins. In Ricci’s arrangement, the first violin plays Bach’s original pretty much as written, and the second violin plays what is the left-hand part in Brahms’ study. As we listen to this music, we can marvel at several things: the ingenuity of Bach’s original, the fiendish difficulty of Brahms’ version for solo piano, and the way in which Ricci turns this “study” into such a pleasing piece for two violins.

BÉLA BARTÓK Approximate Duration: 7 minutes

Born May 7, 1833, Hamburg Died April 3, 1897, Vienna

Adults think of Bartók as one of the greatest composers of the twentieth century, but musical children know him as Approximate Duration: 2 minutes the composer of a great deal of music written specifically for them. For young pianists, Bartók wrote six books of Brahms was a virtuoso pianist, and he was concerned Mikrokosmos, a series of increasingly difficult pedagogical throughout his life to improve his keyboard technique. pieces, and for young violinists he wrote a similar work, Toward that end, he wrote a number of exercises, all 44 Duos for Two Violins. These duos date from 1931, and in designed to help sharpen some aspect of his technique. that same the year Bartók turned 50 and completed one Between 1869 and 1878 Brahms composed Five Studies for the Piano, each setting the pianist a particular challenge and of his finest works, the Second Piano Concerto. It is altogether characteristic of Bartók that he could at the same time all of them based on music by other composers. The first write the most difficult virtuoso music alongside music for was based on an etude of Chopin, the second on a rondo beginners. by Weber, and the final three on pieces by Bach. The last The 44 Duos are of varying degrees of difficulty—some of these—Brahms’ arrangement for left hand of Bach’s are quite simple, some much more demanding. Some of Chaconne—has become by far the most famous of these studies, but the third and fourth are distinctive in their own the duos have the violins in different keys, while others are way. For these, Bach turned to the final movement, marked in compound rhythms or require complex counterpoint. Almost all of the duos use themes from Bartók’s extensive Presto, from Bach’s Sonata No. 1 in G Minor for Unaccompanied research into the folk music of Eastern Europe and all Violin, originally composed about 1720. Bach’s finale is make clear his familiarity with the many styles of Eastern a blistering rush of sixteenth-notes, virtually a perpetual European peasant fiddling. motion, and his phrasing and re-grouping of notes pose Bartók did not intend that the 44 Duos be performed some knotty challenges for violinists. In his second study in their entirety; instead, he suggested that performers based on this Presto, Brahms makes matters even more choose and group these pieces as they wished. Detailed difficult for the pianist. He preserves Bach’s original in program notes would be overkill for these pleasing pieces, the right hand and combines this with an entirely new left but one might note the contrast of muted and unmuted hand part that moves in constant contrary motion to the violins in New Year’s Greeting; the muted, buzzing sounds of right. Making this “study” even more difficult is the fact Mosquito Dance (and a couple of “stings” along the way); that Brahms sets the hands so close together that this the piece becomes a nightmarish exercise in hand-crossings, and the way Violin II functions as a drone in Bagpipes; and Brahms’ intention was clear: he wanted to create an exercise the asymmetric accompaniment and changing meters of that would make the pianist give each hand absolutely equal Walachian Dance. importance.

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Selections from Études-Caprices for Two Violins, Opus 18

HENRYK WIENIAWKSI Born July 10, 1835, Lublin Died March 31, 1880, Moscow

Approximate Duration: 4 minutes

By all accounts, Henryk Wieniawski was one of the greatest violinists who ever lived, and his life reads like something out of a storybook account of what a prodigy should be. He entered the Paris Conservatory at age 8, won the first prize for violin at 11, was given a Guarnerius violin by the emperor, and made a brilliant—if brief—career as a virtuoso violinist. He toured throughout Europe but settled in St. Petersburg, where he was soloist for the czar and concertmaster of the court orchestra from 1860 until 1872. In that last year, he and Russian pianist Anton Rubinstein embarked on a massive tour of the United States, giving 216 concerts in 245 days. When the exhausted Rubinstein abandoned the tour, Wieniawski continued by himself, eventually reaching California, where he gave performances in San Francisco. Wieniawski returned to Europe and became professor of violin at the Brussels Conservatory, but ill health and declining strength forced him to give up that position. He died at 44, two months before the birth of his youngest daughter. Wieniawski is remembered as one of the greatest of all violinists—his beautiful sound, perfect technique, and sensitive musicianship impressed all who heard him play. As might be expected, he wrote almost exclusively for the violin, and some of his works—the Second Violin Concerto and the Scherzo-Tarantelle—remain important parts of the repertory. In addition to his concert works, Wieniawski wrote a number of pedagogical pieces for violinists, short pieces that set particular technical challenges, and the best-known of these are his eight Etudes-Caprices for Two Violins, published in 1863, when he was 28. That title, which suggests that these are etudes for two equal violinists, is misleading: Wieniawski’s full title is Etudes-Caprices for Violin with the Accompaniment of a Second Violin. The technical challenges here are for the first violinist, who must solve complicated problems of string-crossing, double-stopping, chording, wide skips, fast runs, harmonics, and so on. The second violinist, meanwhile, has a much easier part, providing a simple melodic line or fleshing out the harmonic accompaniment. Occasionally the second violinist has a more demanding—and so more equal—part, but the really hair-raising challenges here are for the first violinist. In the Andante moderato the first violin has a never-ending cascade of swirling sextuplets while the second violin offers a


simple and straightforward harmonic accompaniment (that accompaniment is so straightforward, in fact, that this etude is sometimes performed by the first violin alone). The most famous of the Etudes-Caprices is marked Tempo di saltarella. A saltarello is an old dance of Italian origin that demands vigorous leaping—the finale of Mendelssohn’s “Italian” Symphony is a saltarello. This one demands some brilliant spiccato playing that sends the first violin almost into the stratosphere.

Flower Duet from Delibes’ Lakmé Song to the Moon from Dvořák Rusalka Bohemian Rhapsody by Queen

JULIAN MILONE Born July, 1958,

Approximate Duration: 15 minutes

Trained in composition and the violin at the Royal College of Music, Julian Milone joined the Philharmonia Orchestra in 1983 at the age of 25. A great-nephew of Benjamin Britten, he has established a separate career for himself as a composer and particularly as an arranger, recasting works from the mainline repertory for different instrumentation. Among these are a series of arrangements for groups of violins (their number can run as high as twelve) over the harmonic foundation of a doublebass. Milone has made arrangements of a variety of music, ranging from Paganini to Gershwin, from opera to jazz, from popular tunes to tangos. These arrangements make us sit up and enjoy this music in new ways, and they let us enjoy some splendid string-playing in the process. It should quickly be noted that Milone’s “arrangements” are not simply straightforward transcriptions of other pieces but instead original compositions by Milone, based on the music of others. These arrangements recall a form popular in the nineteenth century, the virtuoso extension of themes from familiar operas, and those arrangements went under a variety of names: fantasy, paraphrase, transcription, and others. Liszt was the form’s most notable practitioner, but the approach was popular with many performers and composers and produced some memorable music. It was music composed specifically to delight audiences and to give performers a chance to demonstrate their skill. Flower Duet from Delibes’ Lakmé Leo Delibes’ Lakmé, set in colonial India and first performed in 1883 in Paris, tells of the fatal attraction between Lakmé, the daughter of a fierce Indian nationalist, and Gerald, a young officer in the British army. Full of


exotic settings and characters, the opera comes to a grim conclusion when Lakmé, sensing that Gerald may abandon her, drinks poison. The “Flower Duet” is sung very near the beginning of Act I when Lakmé and her servant Mallika venture down to a river and sing of the beauty of the flowers around them.

Recommended Listening Moszkowski, Moritz. Duets for Two Violins. Itzhak Perlman, Pinchas Zukerman. Warner Classics. ASIN: B010DUTSQ8, [2015] Bartók, Béla. Duos for Two Violins. Gyorgy Pauk, Kazuki Sawa. Naxos. ASIN: B0000013ZM, [1995]

Song to the Moon from Dvořák’s Rusalka Based in part on a Hans Christian Andersen story, Dvořák’s Rusalka—premièred in Prague in 1901—tells the story of a water-nymph who longs to be free of her watery entrapment and to have a human lover. A witch grants her that possibility, but with a horrifying penalty if she loses her human lover. That of course comes to pass, and Rusalka comes to a dark conclusion—it has been described as a “tragic fairy-tale opera.” "Song to the Moon", the most famous part of the opera, comes from Act I. The water-nymph Rusalka looks up at the silvery moon and asks it to summon her human lover. In the opera, a glowing orchestral prelude introduces what is easily one of Dvořák’s most beautiful soprano arias. Bohemian Rhapsody by Queen In October 1975 the British rock group Queen released a single written by their lead vocalist Freddie Mercury and titled Bohemian Rhapsody—it instantly became one of the most famous songs ever written. The song, mysterious and haunting, falls into sections in quite different styles: a capella, guitar solo, and a section intended to be “operatic”—Mercury called it “mock opera.” Queen’s video of Bohemian Rhapsody was so original and striking that all at once it revolutionized the entire conception of the rock video. En coulisses for Twelve Violins The title is the key to understanding this fun piece, an original composition by Milone. En Coulisses means “behind the scenes,” and this piece is made up of the things one might hear if he or she were to go backstage before a concert and encounter violinists warming up to go onstage and perform. Alert listeners will make out bits of famous concertos, while violinists will recognize famous exercises, and Milone blends all these disparate parts into a piece for twelve violinists that becomes a sort of witty pastiche of backstage, pre-concert fragments.

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Juho Pohjonen

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

49 MINUTES ON THE EDGE: PIANO FOCUS Thursday, August 16, 2018 · 8 PM

UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL MARC-ANDRÉ DALBAVIE Quartet for Piano and Strings (2012) (b. 1961) John Novacek, piano; Margaret Batjer, violin, Che-Yen Chen, viola; Max Geissler, cello PIERRE JALBERT

(b. 1967)

Piano Quintet (2017) WEST COAST PREMIÈRE I. Mannheim Rocket II. Kyrie III. Scherzo IV. Pulse Juho Pohjonen, piano; Rolston String Quartet Luri Lee, Emily Kruspe, violins; Hezekiah Leung, viola; Jonathan Lo, cello

Commissioned by the Arizona Friends of Chamber Music sponsored by Jim Cushing, the La Jolla Music Society for SummerFest, and the Chamber Music Society of Fort Worth. NO INTERMISSION

This performance will be followed by a post-concert reception in the outside lobby.



Quartet for Piano and Strings

Piano Quintet

Born February 10, 1961, Neuilly-sur-Seine, France

Born 1967, Manchester, NH

MARC-ANDRÉ DALBAVIE Approximate Duration: 20 minutes

PIERRE JALBERT Approximate Duration: 21 minutes

My Quartet for Piano and Strings is my fifth piece of chamber music, following a piano trio; a horn, violin and piano trio; a piano and wind quartet; and a sextet. I usually compose for large orchestra, and I waited a long time before entering this extraordinary world of chamber music. For me, chamber music is not ensemble music. There is a specific genre of chamber music which is characterized by dialogues between instrumentalists. So it is not a “little orchestra,” as one might hear in the Octet of Schubert, for example. The form is more polyphonic, and inside the work there is an alternation between music and theater. After all, musicians are also actors. This piece is an exploration of different effects…metamorphoses along musical currents.

My Piano Quintet consists of four contrasting movements. The first movement, entitled Mannheim Rocket, is a modern take on the 18th-century musical technique in which a rising figure speeds up and grows louder. Marked Furioso, the movement is gradually filled with rising scalar figures which build in volume and finally “launch” into space with ethereal string harmonics. At this point, the music becomes almost static, though the inner rhythm continues. The second movement, entitled Kyrie, is marked Still, chant-like. The principal idea, stated between first violin and viola, is a chromatically transformed chant-like motive. It also features a long, lyrical cello line, made up exclusively of natural harmonics, emphasizing the non-tempered (“out of — Marc-André Dalbavie tune”) 7th and 11th partials. The third movement is a Scherzo in which the strings and piano sometimes alternate and imitate each other, reacting to each other’s gestures, and at other times, combine and synchronize to produce a more blended sound. A short triolike section appears before the return of the scherzo music. The last movement, Pulse, is made up of perpetually moving 8th notes, sometimes harmonically static, but always pushing forward. The work is interrupted twice with short, freer sections, but always returns to its pulse-oriented nature. — Pierre Jalbert

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John Novacek

Yura Lee

Musical Prelude 7 PM Rolston String Quartet performs Webern’s Langsamer Satz and Haydn’s String Quartet in B-flat Major, Opus 76, No. 4 “Sunrise” See pages 6-7 La Jolla Music Society’s 2017-18 Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, National Endowment for the Arts, Vail Memorial Fund, Thomas C. Ackerman Foundation, David C. Copley Foundation, D’Addario Foundation, ProtoStar Foundation, ResMed Foundation, Regents Bank, US Bank, The Dow Divas, The Lodge at Torrey Pines, La Valencia Hotel, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Jeanette Stevens, and an anonymous donor.

Erik Ralske

JOHANNES, CLARA, & ROBERT Friday, August 17, 2018 · 8 PM

UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL BRAHMS Two Songs for Alto, Viola, and Piano, Opus 91 (1863-64) (1833-1897) Gestillte Sehnsucht Geistliches Wiegenlied Tamara Mumford, mezzo-soprano; Paul Neubauer, viola; John Novacek, piano C. SCHUMANN Piano Trio in G Minor, Opus 17 (1846) (1819-1896) Allegro moderato Scherzo: Tempo di menuetto Andante Allegretto John Novacek, piano; Yura Lee, violin; Jian Wang, cello


R. SCHUMANN Three Romances for Oboe and Piano, Opus 94 (1849) (1810-1856) Nicht schnell Einfach, innig Nicht schnell Liang Wang, oboe; Juho Puhonen, piano

BRAHMS Trio in E-flat Major for Horn, Violin, and Piano, Opus 40 (1865) Andante; Poco più animato Scherzo: Allegro Adagio mesto Finale: Allegro con Erik Ralske, horn; Kyoko Takezawa, violin; Juho Pohjonen, piano



Program Notes by Eric Bromberger

Two Songs for Alto, Viola, and Piano, Opus 91

JOHANNES BRAHMS Born May 7, 1833, Hamburg Died April 3, 1897, Vienna

Approximate Duration: 13 minutes

“In due course I shall send you a wonderful old Catholic song for singing at home; you will never discover a more beautiful lullaby,” wrote Brahms to violinist Joseph Joachim in 1863. The two men had been good friends for a decade, and now Brahms was promising a gift for a special occasion: Joachim had married the singer Amalie Weiss, and the couple was expecting their first child. It was a very personal gift, for this song for the new baby was scored for the three friends to perform together “at home”—contralto (Amalie), viola (Joachim), and piano (Brahms)—and the three of them did perform the song frequently when it was completed the following year. So personal an expression was this song that Brahms did not publish it, but kept it as a private possession. And then—twenty years later—things fell apart. In 1884, Joachim suspected Amalie of infidelity and filed for divorce. Brahms believed Joachim’s suspicions without merit and wrote Amalie a letter declaring his confidence in her; to his surprise, she produced this letter in court and used it to block the divorce. Joachim felt betrayed, and a thirty-year friendship came to a quick end. Stunned by this sudden turn of events—and genuinely wishing the couple to reconcile— Brahms wrote a companion song to the lullaby of two decades earlier in the hopes that Joachim and Amalie would perform the song together and that it might be a vehicle of reconciliation between them all. In this he had no success. Amalie did sing these songs, but not with Joachim, and the two men remained estranged for years (it was another Brahms work—the Double Concerto for Violin and Cello—that would become the vehicle for their eventual reconciliation, but the old closeness between the two would never return). Brahms’ dealing with the Joachims—so happy and so painful—produced two of his finest songs. The Two Songs for Alto, Viola, and Piano are Brahms’ only songs for an extra instrument (they have been called his only “chamber-music songs”), and for this Brahms chose one of his favorite instruments. The viola closely matches the range of the alto voice, and those two share duties evenly in these songs, which truly are a partnership of all three performers. When Brahms published these two songs in 1884, he reversed the order of their composition, placing the newer song first.

Gestillte Sehnsucht sets a text by the German poem Friedrich Rückert, whose poetry would later be set so frequently by Mahler. Rückert’s daughter had been pained that Brahms had never set one of her father’s poems, and in 1891 Brahms asked his publisher to send a copy of this song on to her (he later set several more Rückert texts). Gestillte Sehnsucht is a statement of disquiet and longing in the midst of natural beauty, all of it tinged with the old romantic fascination with death. Brahms assigns the viola a central role here: it announces the main theme at the beginning, and at three points in the song (always on the words “lispeln die Wind”) Brahms has it softly imitate the sound of the wind in the forest at sunset. The more agitated middle section moves to D minor before the return of the opening mood and the quiet close. The “wonderful old Catholic song” that Brahms spoke of is the fourteenth-century carol Resonet in laudibus, known in its German folksong version as Joseph, lieber Joseph mein. In this song Mary looks down on the sleeping baby Jesus as the winds blow in the palms overhead, and she asks them to hush so that her baby might sleep. Again the viola leads, and Brahms has it “sing” the carol at the beginning: he writes the words into the violist’s part to suggest how the meaning of the text should shape the player’s phrasing. This truly is a lullaby, and it rocks along gently on its flowing 6/8 meter; Brahms’ ideas about how this song should be performed are made abundantly clear by the fact that he marks the violist’s part some form of dolce espressivo at ten different points! The “beautiful lullaby” forms the backbone of this song as Mary hovers over the sleeping baby. She is aware that there is pain ahead for him, and this song moves into F minor for this darker meditation. But the viola’s soothing song always returns, and at the end it leads this lullaby to its peaceful close.

Piano Trio in G Minor, Opus 17

CLARA SCHUMANN Born September 13, 1819, Leipzig Died May 20, 1896, Frankfurt am Main

Approximate Duration: 27 minutes

In a dairy entry written at age 20, Clara Schumann made clear her mixed feelings about composing, and in the process she spelled out some of the difficulties facing any woman who wished to compose in the nineteenth-century: “I once thought that I possessed creative talent, but I have given up this idea; a woman must not desire to compose— not one has been able to do it, and why should I expect to? It would be arrogance, although, indeed, my father led me

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into it in earlier days.” Yet Clara continued to compose, and over the next seventeen years she wrote a small number of works that include a Piano Concerto in A Minor, much piano music, and some graceful songs. But her list of opus numbers runs only to 23, and with the death of her husband Robert in 1856 she stopped composing completely. Thereafter, the demands of being a single mother to seven small children and maintaining a career as concert pianist and teacher occupied her time fully. The Piano Trio in G Minor, written in 1846 when Clara was 27, is one of the handful of works that followed her marriage. In that same year the Schumanns made a concert tour of Russia during which Clara performed in Moscow and St. Petersburg; after their return Robert completed his Second Symphony. The Piano Trio is in four movements, and— as might be expected—the writing for piano is particularly idiomatic. The writing for strings shows the dominance of the violin typical of composers in this era: the violin states themes first, and the cello then repeats or embellishes those ideas. The impulse in this music is lyric rather than dramatic. The Allegro moderato opens with a long flowing melody exchanged by violin and piano, and this is followed by a chordal second subject; a vigorous development leads to a turbulent coda and a firm close in G minor. The second movement is marked Scherzo, but Clara stipulates that it must be played at a Tempo di Menuetto, so the pulse is not particularly fast. This music, though, is of particular interest because the opening theme is full of rhythmic “snap” (a dotted rhythm with the short note coming first). The trio section is extended, and the movement concludes with a brief recall of the opening material. The ternary-form Andante moves to G major. The piano’s quiet main theme seems to set the tone, but the middle section—marked più animato—leaps ahead on dotted rhythms and some powerful writing for strings. The concluding section gives the movement’s opening idea to the strings, which play their long duet over murmuring piano accompaniment. The last movement is marked Allegretto (rather than the expected fast finale), but its falling main idea—full of chromatic tension— is also full of possibilities, and Clara exploits them. Along the way there is a brief fugato on the opening idea, and the coda rushes the Piano Trio to its close on a ringing G from all three performers.


Three Romances for Oboe and Piano, Opus 94

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

Approximate Duration: 12 minutes

The year 1849 was intense for Robert Schumann and his family. In May, the revolutionary fervor that was sweeping across the German states erupted in Dresden: buildings were burned, Prussian troops called in to suppress the revolt killed 200 civilians, and the Schumann family fled to the countryside to escape the fighting. They did not return until the middle of June, but their return did not bring calm. The ever-suspicious Schumann had come to believe that rivals in Dresden were plotting against him, and now—very quietly—he began to make plans to leave the city for good. But if 1849 brought tumult, it was a very good year for the Schumann household. In July, Robert and Clara welcomed their sixth child, a boy named Ferdinand. And it was a good year for Schumann the composer. The works he wrote that year ranged from large-scale orchestral pieces like the Introduction and Allegro and the Concert-Piece for Four Horns to a number of settings of Goethe (1849 was the Goethe centennial) to choral music and individual songs. That year, music just seemed to pour out of the 39-year-old composer. Early in December Schumann set aside big projects to write a set of three miniatures that he called “romances.” The title romance does not have a precise musical meaning. It usually suggests music of a gentle and expressive character, and all three of these Schumann’s pieces are suffused with a quiet lyricism. When he published this music in 1850, Schumann specified that it could be played by either oboe or violin, and he made slight variations in the score to suit the differences between those two instruments. Since then, this music has appealed to many other instrumentalists, and it is now performed in versions for clarinet, cello, French horn, and flute. At this concert the Three Romances are heard in Schumann’s original version for oboe and piano. Music this attractive and straightforward needs little comment. All three pieces are in ABA form, all are at a restrained dynamic and moderate tempos, and all end quietly. The first is in somber A minor, while the second—in A major—is probably the best-known and is sometimes performed by itself. The singing simplicity of its outer sections contrasts with the dark and surging interior episode. In the final movement, Schumann asks for great fluidity of phrasing, as the music holds back and then rushes ahead; the center section sings gracefully over triplet


accompaniment, and Schumann appends a brief coda. Those interested in this music should know that in 1927—in the earliest days of electrical recording—Fritz Kreisler recorded the second of these pieces in a Berlin studio. That performance, now nearly a century old, remains a model of impassioned, expressive playing.

unusual key of A-flat minor, features a long duet for violin and horn. Brahms gave the third movement the unusual marking Adagio mesto (“slow, sad”), and the piano’s rolled chords at the very beginning set the mood for this somber and grieving music. Again, violin and horn trade expressive melodic lines, and the music rises to a climax marked Trio in E-flat Major for Horn, Violin, and Piano, Opus 40 passionata, where violin and horn soar high above the piano accompaniment before the music drifts into silence. The concluding Allegro con brio has struck many as Approximate Duration: 30 minutes the most “horn-like” of the movements, for it is built on a brilliant 6/8 meter that inevitably evokes the calls of Brahms liked to get away from Vienna during the hot hunting-horns; Brahms has prepared the way for this summers, and he spent the summer of 1864 in the little town of Lichtenthal in the Black Forest near Baden-Baden. movement by quietly inserting (at a very slow tempo) the Lichtenthal was home to a flourishing artists colony during shape of its main theme into the slow movement. The finale seems never to slow down, never to lose its energy, the summer, and there Brahms, surrounded by congenial and the Horn Trio rushes to its close in a blaze of color and friends, could indulge his passion for long walks through the woods. He returned the following summer, but this time excitement. Brahms originally wrote the trio for the waldhorn or he had a special reason to seek the solitude of the forests: natural-horn. This was the precursor of the modern valved his mother had died on January 31st of that year and he French horn, and the player had to use his lips or stop the was still coming to terms with the loss. He composed the bell with his hand to generate each different pitch. It was Horn Trio that summer, and the music was intended at an extremely difficult instrument to play accurately, and least in part as a memorial to his mother—the beautiful virtually every performance today uses the valved horn. slow movement contains a quotation from the Rhenish folksong In den Weiden steht ein Haus (“In the Willows Stands a Recognizing that the unusual combination of piano, violin, and horn might result in few performances, Brahms made House”), an evocation of happy childhood memories. arrangements of the trio that substituted either viola or cello The lovely and peaceful forest setting seems to have had a profound effect on the Horn Trio. Brahms said that the for the horn. But these versions are almost never played. The music may suit their range but not their temperament, opening theme came to him during a walk along “wooded for the trio takes much of its character from the rich and heights among fir trees,” and many have noted the calm, noble sonority of the French horn. almost pastoral nature of this music. The Horn Trio is not so much elegiac, though, as reflective and commemorative: In its original form, the Trio in B Major was performed quickly and widely: the première took place in Danzig on Brahms observes the death of his mother not by wearing October 13, 1855, and the first performance in America his heart on his sleeve but by writing gentle and beautiful took place the following month, on November 27, 1855, music. in New York City. The violinist on that occasion was the The opening movement is remarkable for not being twenty-year-old Theodore Thomas, who later moved to a in sonata form. Aware that sonata form brings a type of musical drama alien to the spirit of this trio, Brahms instead raw town in the West and founded the Chicago Symphony Orchestra. The première of the revised version took place cast it in rondo form: the opening Andante episode occurs in Budapest on January 10, 1890. three times, separated by a slightly-quicker section marked Poco più animato. The calm beginning, the section that came to Brahms on his walk through the woods, has drawn special Recommended Listening Brahms, Johannes. Lieder. Jessye Norman, Daniel Barenboim. Deutsche praise—American composer Daniel Gregory Mason called Grammophon. ASIN: B00000E4QX, [1991] it “a sort of symbol of all that is most romantic in music.” Schumann, Clara. Music @ Menlo: Piano Trio in G Minor, Op. 17. Juho Puhonen, Brahms specifies that he wants this opening section played Yura Lee, Eric Kim. Music@ Menlo Live. ASIN: B007U5QOC6, [2011] dolce, espressivo, and it alternates with the violin’s surging, rising line of the Poco più animato before the movement comes to a quiet close. By contrast, the boisterous Scherzo flies along on resounding triplets. Its brief trio section, in the


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John Pizzarelli

Prelude 7 PM Conversation with John Pizzarelli hosted by Jazz 88.3’s Claudia Russell Tonight’s concert is sponsored by:

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




John Pizzarelli, vocals & guitar Mike Karn, bass Konrad Paszkudzki, piano

THE GLORY OF CREMONA: Stradivari, Guarneri, & Amati Sunday, August 19, 2018 · 3 PM Anna Lee

UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL TELEMANN Concerto in D Major for Four Violins, TV 40:202 (1681-1767) Adagio Allegro Grave Allegro Cho-Liang Lin, Yura Lee, Anna Lee, Kyoko Takezawa, violins TCHAIKOVSKY

Mélodie, Opus 42, No. 3 (1878) Yura Lee, violin; Saetbyeol Kim, piano



Meditation from Thaïs (1894) Anna Lee, violin; Saetbyeol Kim, piano

SCHUMANN (1810-1856)

Adagio and Allegro in A-flat Major for Cello and Piano, Opus 70 (1849) Jian Wang, cello; Saetbyeol Kim, piano


Terzetto in C Major for Two Violins and Viola, Opus 74 (1887)


Toby Hoffman

(1841-1904) Introduzione; Allegro ma non troppo

Larghetto Scherzo: Vivace Tema con variazioni: Poco adagio; Moderato; Molto allegro Yura Lee, Kyoko Takezawa, violins; Toby Hoffman, viola Kyoko Takezawa

Prelude 2 PM Lecture by Scholar-in-Residence Sam Zygmuntowicz

MENDELSSOHN Capriccio in E Minor for String Quartet, Opus 81 (1843-47) (1809-1847) Anna Lee, Yura Lee, violins; Che-Yen Chen, viola; Jian Wang, cello INTERMISSION


Sextet for Strings in D Minor, Opus 70 “Souvenir de Florence” (1890) Allegro con spirito Adagio cantabile e con moto Allegretto moderato Allegro vivace Kyoko Takezawa, Yura Lee, violins; Paul Neubauer, Che-Yen Chen, violas; Gary Hoffman, Jian Wang, cellos

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

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Program Notes by Eric Bromberger

Concerto in D Major for Four Violins, TV 40:202

GEORG PHILIPP TELEMANN Born March 14, 1681, Magdeburg Died June 25, 1767, Hamburg

Approximate Duration: 6 minutes

While Telemann wrote numerous concertos for solo instruments and orchestra, he also composed four concertos for four violins without orchestra. These “chamber concertos” made good sense formally: it is difficult to give four soloists enough to do in any concerto, and Telemann simplified his task by dispensing with the orchestra altogether and giving the entire musical argument to the soloists. The resulting concertos are an effective combination of the refinement of chamber music with the brilliance of concertos. Telemann, though, was no lover of virtuosity for its own sake, and his concertos are more memorable for their musical values than for dazzling technical display. In the Concerto in D Major for Four Violins, he emphasizes the interplay of four equal voices: the musical line passes easily between the violinists, none of whom is given a dominant role; in fact, Telemann mixes his voices so evenly that the third and fourth violins at times play above the first and second violins. While these concertos require accomplished players, it may well be that Telemann wrote them in part for amateur musicians (all four parts remain in first position throughout, with the exception of the few measures, where some of the violins are briefly sent up to third position). Though he calls this music a concerto, Telemann sets it in the slow-fast-slow-fast sequence of four movements typical of baroque chamber music. The opening Adagio is very brief and functions simply as an introduction to the Allegro, which begins brightly on a sequence of canonic entrances; the movement is in a compact binary form. The Grave, slow and solemn, is in 3/2, while in the finale, marked simply Allegro, Telemann frequently sets the violins in pairs and has the melodic line leaping between those two pairs.

Mélodie, Opus 42, No. 3

PETER ILYCH TCHAIKOVSKY Born May 7, 1840, Votkinsk, Russia Died November 6, 1893, St. Petersburg

Approximate Duration: 4 minutes

In the summer of 1877, Tchaikovsky made an illadvised marriage. It was a disaster—it lasted only a few


weeks—and the composer, near mental collapse, fled Russia. He found refuge in Switzerland, where he gradually recovered in the quiet beauty of Clarens, on the Lake of Geneva. One of his visitors there was Yosif Kotek, a violinist and one of his former students in Moscow. Together, they played music for violin and piano, and Tchaikovsky began to compose for the violin: in the spring of 1878 he wrote the Violin Concerto and a collection of three short pieces for violin and piano. He published these under the name Souvenir d’un lieu cher (“Memory of a Dear Place”), a title that expresses his affection for Clarens and its calming influence. The brief Mélodie is the final piece of this set. Many listeners will discover that they already know this music, with its soaring, plunging main theme and skittering secondary material. Tchaikovsky plays the opening section up to an impressive climax before the Melodie falls back to its very quiet—and very high—close.

Meditation from Thaïs

JULES MASSENET Born May 12, 1842, Montand, St. Etienne Died August 13, 1912, Paris

Approximate Duration: 4 minutes

Massenet composed a number of operas about women, and one of the most famous is Thaïs, which he wrote for a soprano from California. Sibyl Sanderson, born in Sacramento in 1865, sang the opera’s première in Paris in 1894 (a scandalous feature of that première was a “wardrobe malfunction” very similar to the one at a recent Super Bowl). Thaïs is based on a novel by Anatole France, which in turn had been derived from a story that goes back to the tenth century: the account of a courtesan who becomes a saint. That transformation takes on a subtle edge in Massenet’s opera: the fierce young monk Athanaël struggles to save Thaïs’ soul and drives her relentlessly to that salvation. Only when she is dead does the young man realize that his love for her was not spiritual at all but had been driven by intense sexual desire. The opera remained in the repertory for about sixty years, though it is seldom staged today. The one part of Thaïs that survives in the active repertory is not for voice but for violin, the Meditation. Athanaël has intruded violently into Thaïs’ sinful life, warned her of its dangers, and begun to steer her toward spiritual salvation. Assaulted by the fury of his words, Thais collapses at the end of Scene 1 of Act II. The Meditation, which forms the interlude between the two scenes of Act II, is the music that accompanies her gradual turn toward redemption. Based on the continuous


evolution of its gentle opening melody, this is almost perfect violin music. Moving from that chaste beginning, the melody grows more complex as it proceeds but never becomes conflicted: tender but never sentimentalized, it accompanies Thaïs’ growing awareness of her future course. In the opera, Massenet accompanies the violin melody with an important part for harp, and that part transfers easily to the arrangement for piano.

viola and that an amateur violinist would play first violin. The music turned out to be too difficult for the amateur violinist, and Dvořák compensated for this by writing him a somewhat easier set of pieces (arranged by the composer for piano and violin, the easier set is known today as the Four Romantic Pieces, Opus 75). Dvořák felt no hesitation about composing for amateur musicians. In fact, he was adamant about the importance of writing for them, and while working on these pieces Adagio and Allegro in A-flat Major for Cello and Piano, Opus 70 he wrote to his publisher: “I am now writing some small Bagatelles for two violins and viola, and this work gives me just as much pleasure as if I were composing a great Born June 8, 1810, Zwickau, Germany symphony; what do you say to that? They are, of course, Died July 29, 1856, Endenich, Germany Approximate Duration: 10 minutes intended for amateurs, but didn’t Beethoven and Schumann also write quite insignificant material, and how?” In the winter of 1849 Schumann became interested The Terzetto, though, is hardly “insignificant.” in the French horn. The recent invention of the valved Good-natured as this music may be, it demands three horn gave the once-awkward natural horn much greater accomplished musicians and shows some unusual technical range, flexibility, and expressive power, and—working at features. Faced with the challenge of writing for three white heat—Schumann set out to exploit the possibilities he high voices (string quartet minus the cello), Dvořák had recognized in the new instrument. He composed the Adagio to provide a full harmonic palette and a bass line. He and Allegro for horn and piano in four days (February 14-17, accomplished this by frequent multiple-stopping and by the 1849) and then over the next three days sketched out the viola’s active role in underpinning the harmony. One of the Concert-Piece for Four Horns and Orchestra. other surprising aspects of the Terzetto is the freedom with The Adagio and Allegro has become one of Schumann’s which Dvořák chooses keys. The first movement opens in most popular chamber works. The dark opening section C major, while the second is in E major; the third switches (Schumann marks it “Slow, with inward expression” and to A minor, but the finale begins in F major, moves through stresses that it should be played very legato) is suffused with D-flat major, and concludes in the unexpected key of C a melancholy cast, but this vanishes at the second section, minor. marked “Fast and fiery.” The Allegro bursts to life here in a The four brief movements require little comment. The flurry of triplets, and this music demands athletic playing first two are similar: both are lyric, both open gently, and through a very wide range. A quiet interlude provides some both feature more animated material in the development. relief before the exciting rush to the close. Schumann’s wife The third movement is a scherzo in ABA form. Its outer Clara was delighted by this music, and—after playing it sections show some similarity to the furiant, a Bohemian folkthrough with a horn player—she is said to have exclaimed: dance, while the middle section is a genial waltz. Longest of “A magnificent piece, fresh and passionate; just what I like.” the movements, the finale is in theme-and-variation form; the theme itself is marked Poco adagio, but the five variations Terzetto in C Major for Two Violins and Viola, Opus 74 are quick-paced. Dvořák toys with the listener by moving through several different keys as he announces the theme; only eventually does it settle into C major, and then—as we Born September 8, 1841, Muhlhausen, Bohemia Died May 1, 1904, Prague have seen—he concludes in the unexpected key of the tonic Approximate Duration: 18 minutes minor: C minor. This all sounds technical, and the listener A terzetto is simply a trio. In opera, the term denotes should not be put off by it—Dvořák’s Terzetto is as genial, a piece for three voices, but in chamber music it usually attractive, and good-spirited as anything that composer ever means a trio for some combination other than violin-cellowrote. piano; it is in the latter sense that Dvořák uses the term, for his Terzetto is scored for the unusual combination of two violins and viola. He wrote it in the space of a week in January 1887, originally intending that he would play the



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Capriccio in E Minor for String Quartet, Opus 81

Italy. An exciting visit during the carnival season of 1880 to Rome (where his brother had an apartment) inspired Tchaikovsky’s brilliant Capriccio Italien. And it was to Born February 3, 1809, Hamburg Florence that Tchaikovsky went in 1890 to complete his Died November 4, 1847, Leipzig Approximate Duration: 6 minutes opera The Queen of Spades. Upon his return to Russia, Tchaikovsky wrote a sextet When Mendelssohn died suddenly in the fall of for strings, which he significantly subtitled “Souvenir 1847 at the age of 38, many of his works—including de Florence.” His motive appears clear—he wanted the “Italian” and “Reformation” Symphonies—had not to remember in music the sunny climate and friendly been published. Friends and family members gathered his atmosphere of that Italian city—and he succeeded. manuscripts and published a number of them in the years The sextet has none of the gloomy, tortured music that after the composer’s death, in the process assigning them Tchaikovsky wrote in his blackest moods. Instead, suffused opus numbers that do not reflect the sequence in which with the golden glow of warm nostalgia, it offers some of the music was written. Such is the case with the two brief his most good-natured music. works for string quartet performed on this program. Among The choice of string sextet for this music is unusual, Mendelssohn’s manuscripts were four unrelated movements particularly for a composer who wrote so little chamber for string quartet, and these were gathered and published in music. The additional voices created all kinds of 1850 as the composer’s Opus 81. Two of these pieces—an compositional problems for Tchaikovsky, and he struggled Andante and an Allegro leggiero—date from the troubled final with them. Though the work was completed in 1890 and summer of Mendelssohn’s life, when he composed his String performed privately then, he revised it thoroughly before its Quartet in F Minor; perhaps these two movements were first public performance on December 6, 1892. The proud intended for a further quartet he was unable to complete. composer wrote to his brother: “What a sextet—and what a The other two pieces of Opus 81 were both written much fugue at the end—it’s a pleasure. Awful, how pleased I am earlier. with myself !” The Capriccio in E Minor was completed on July The lengthy opening movement, Allegro con spirito, is 5, 1843, when the 34-year-old Mendelssohn had just in extended sonata form, with the first violin announcing opened the Leipzig Conservatory. A capriccio is a term both main themes. The surging opening idea gives way to without precise musical meaning: it is usually a short a songful second subject over steady accompaniment, and piece, sometimes—as its name implies—of a spicy (or a long development leads to a dramatic close. The slow “capricious”) character. The Capriccio in E Minor is movement, Adagio cantabile e con moto, opens with a series of in two parts. Its slow introduction, marked Andante con chords, rich layers of sound, before the first violin’s melody moto, is somewhat reminiscent of the slow movement of rises above pizzicato accompaniment. The movement’s Mendelssohn’s Violin Concerto, which he was composing brief midsection rustles ahead with tremolo-like passages in this same period—it even has a cadenza-like passage for full of dynamic surges and quiet pizzicatos before the the first violin near the close. This gives way to a blistering opening material returns. fugue (Mendelssohn specifies that it should be “very fast”), The scherzo, Allegretto moderato, is in ternary form, with which races along a rush of undiminished energy straight to the middle—surprisingly—faster than the outer sections. its full-throated close. The coda leads to a cadence on a giant pizzicato chord. The finale, Allegro vivace, is the shortest of the four and again Sextet for Strings in D Minor, Opus 70 “Souvenir de Florence opens with another passage that sounds as if it may have folk origins. The second theme is one of those unmistakable Tchaikovsky tunes, soaring and surging. At the climax of the Born February 3, 1809, Hamburg Died November 4, 1847, Leipzig movement comes the fugato treatment of the first theme of Approximate Duration: 35 minutes which Tchaikovsky was so proud, and a blazing coda brings the sextet to a conclusion full of sunlight. Like so many other composers from cold European Recommended Listening climates, Tchaikovsky had a special fondness for the Tchaikovsky, Pyotr. Music @ Menlo: Russian Reflections. Kyoko Takezawa, Alexander countries of southern Europe. Rimsky-Korsakov’s Sitkovetsky, Paul Neubauer, Matthew Lipman, Keith Robinson, Nicholas Canellakis. Capriccio Espagnol is an affectionate portrait of Spain, but Music@Menlo LIVE. ASIN: B01MYYHQKC, [2016] Tchaikovsky—like Brahms—was particularly attracted to




New Orford String Quartet

Musical Prelude 7 PM Cambridge Trio performs Ravel’s Piano Trio in A Minor Tonight’s concert is sponsored in honor of:

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

MIDNIGHT IN PARIS Tuesday, August 21, 2018 · 8 PM

UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL GOUNOD Petite Symphonie for Wind Nonet in B-flat Major, Opus 216 (1818-1893) (1885) Adagio et allegretto Andante cantabile Scherzo: Allegretto moderato Finale Catherine Ransom Karoly, flute; Liang Wang, Laura Griffiths, oboes; John Bruce Yeh, Teresa Reilly, clarinets; Keith Buncke, Ryan Simmons, bassoons; Erik Ralske, Dylan Hart, horns RAVEL

String Quartet in F Major (1902-03) Allegro moderato. Très doux Assez vif. Très rythmé Très lent Vif et agité New Orford String Quartet Jonathan Crow, Andrew Wan, violins; Eric Nowlin, viola; Brian Manker, cello (1875-1937)

CHAUSSON (1855-1899)


Concerto for Violin, Piano, and String Quartet, Opus 21 (1889-91) Decidé; Animé Sicilienne: Pas vite Grave Très animé Cho-Liang Lin, violin; Orion Weiss, piano; New Orford String Quartet

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Program Notes by Eric Bromberger

Petite Symphonie for Wind Nonet in B-flat Major, Opus 216

CHARLES GOUNOD Born June 17, 1818, Paris Died October 18, 1893, St. Cloud, France

Approximate Duration: 20 minutes

We remember Charles Gounod as the composer of one of the most popular operas ever written, Faust, and of a vast amount of liturgical music. But Gounod also wrote instrumental music—this includes two delightful symphonies that are hardly ever played and one piece that everyone knows, the Funeral March of a Marionette, made famous by its use as the theme music of Alfred Hitchcock Presents on television. One other instrumental work by Gounod has enjoyed an active life in the concert hall, his Petite Symphonie for wind instruments. In 1879, the distinguished French flutist Paul Taffanel founded the Society of Chamber Music for Wind Instruments in Paris, and for that group he commissioned a work by Gounod. The composer, then in his sixties, responded with a piece of chamber music for a unique ensemble of nine wind instruments: one flute and pairs of oboes, clarinets, bassoons, and horns. Gounod called the work Petite Symphonie (“Little Symphony”), and that is exactly what it is: a brief (twenty-minute) symphony in classical form for nine wind players. Premièred in Paris on April 10, 1885, and beautifully written for wind instruments, the Petite Symphonie has become one of the cornerstones of the wind repertory. Haydn himself would have had no trouble recognizing the four movements of this symphony. The first movement opens with a somber introduction before the music steps out smartly at the Allegretto, which is in sonata form. Gounod writes sensibly for the wind instruments in this movement. Recognizing that winds cannot sustain long sounds in the way stringed instruments can, Gounod gives them short phrases and emphasizes a staccato sound. The Andante cantabile is built on a long and graceful solo for flute; in the central episode the other instruments spring to the fore, but at the end the flute takes up its long melody to round the music off. The third movement, a Scherzo that Gounod marks Allegretto moderato, is set in 6/8 rather than the customary 3/4 of scherzos. A series of horn fanfares opens this scherzo, which is in the expected ternary form. The outer sections dance energetically, and a horn solo leads the way into the bucolic trio. The Finale opens with a brief introduction marked Allegretto. The fundamental rhythm of this introduction (long-short-short) gives shape to the main body of the movement, which is also marked


Allegretto and which has a sort of jaunty energy. Again, the writing for the nine players is graceful and idiomatic, and— after all this bright energy—the Petite Symphonie comes to a surprisingly subdued close.

String Quartet in F Major


Born March 7, 1875, Ciboure, Basses-Pyrenees Died December 28, 1937, Paris

Approximate Duration: 30 minutes

Ravel wrote his only string quartet in 1902-3, while still a student at the Paris Conservatory, and the first performance was given by the Heymann Quartet in Paris on March 5, 1904, two days before the composer’s twentyninth birthday. Ravel’s quartet is in many ways similar to the Debussy quartet, written in 1893—there are parallels between the structure, rhythmic shape, and mood of the two works—but Ravel dedicated his quartet “To my dear teacher Gabriel Fauré,” who was directing Ravel’s work at the Conservatory. One of the most distinctive features of Ravel’s quartet is its cyclic deployment of themes: the first movement’s two main themes return in various forms in the other three movements, giving the quartet a tight sense of unity. Some have charged that such repetition precludes sufficient thematic variety, but Ravel subtly modifies the color, harmony, and mood of each reappearance of these themes so that from this unity comes enormous variety. The first movement is marked Allegro moderato, but Ravel specifies that it should also be Très doux (“Very gentle”). The calm first subject is heard immediately in the first violin over a rising accompaniment in the other voices, and this leads— after some spirited extension—to the haunting second theme, announced by the first violin and viola, two octaves apart. The relatively brief development rises to a huge climax—Ravel marks it triple forte—before the movement subsides to close with its opening theme, now gracefully elongated, fading gently into silence. The second movement, Assez vif—Très rythmé, is a scherzo in ternary form. The opening is a tour de force of purely pizzicato writing that makes the quartet sound like a massive guitar. Some of this movement’s rhythmic complexity comes from Ravel’s use of multiple meters. The tempo indication is 6/8(3/4), and while the first violin is accented in 3/4 throughout, the other voices are frequently accented in 6/8, with the resulting cross-rhythms giving the music a pleasing vitality. The slow center section is a subtle transformation of the first movement’s second theme. At the


conclusion of this section comes one of the quartet’s most brilliant passages, the bridge back to the opening material. Here the pizzicato resumes quietly, gathers speed and force, and races upward to launch the return of the movement’s opening theme. This is wonderful writing for quartet, and the scherzo drives straight to its explosive pizzicato cadence. The third movement—Très lent—is in free form, and perhaps the best way to understand this movement is to approach it as a rhapsody based loosely on themes from the first movement. Beneath these themes Ravel sets a rhythmic cell of three notes that repeats constantly, but it remains an accompaniment figure rather than becoming an active thematic participant. The movement’s impression of freedom results in no small part from its frequent changes of both key and meter. After the serene close of the third movement, the fourth—Agité—leaps almost abrasively to life. Agitated it certainly is, an effect that comes from its steadily-driving double-stroked passages, and this mood continues across the span of the movement. The basic metric unit here is the rapid 5/8 heard at the beginning, though Ravel changes meter frequently, with excursions into 3/4 and 5/4. Once again, material from the first movement returns, and after several lyric interludes the finale takes on once again the aggressive mood of its opening and powers its way to the close. Ravel’s quartet generated a mixed reaction at its premiére in 1904. One of those most critical was the dedicatee, Gabriel Fauré, who was especially bothered by the unorthodox finale, which he thought “stunted, badly balanced, in fact a failure.” But when Ravel, troubled by such criticism, turned to Debussy for his estimation, the latter offered the best possible response: “In the name of the gods of Music and for my sake personally, do not touch a note of what you have written.”

Franck (he was one of that master’s final students) and tried to develop a personal style as a composer. This proved a difficult task, as it did for many young French composers at the end of the nineteenth century—Chausson found himself caught between the chromaticism of Franck, the seductive influence of Wagner, and the radical music of his friend Debussy. He wrote a handful of pieces that have found their way into the repertory—the Poème for violin and orchestra and the Chanson perpetuelle for soprano—but the promise of these pieces was cut short. In the summer of 1899, Chausson and his family took a vacation house in Limay, about twenty miles northwest of Paris. His wife and five children were returning from a day trip to Paris, and Chausson got on a bicycle to meet them at the station. Along the way, he lost control of the bicycle, was thrown headfirst into a stone wall, and—in those days before bicycle helmets—was killed instantly. He was 44 years old. Ten years earlier, in 1889, Chausson began work on a unique piece of chamber music, scored for violin, piano, and string quartet. The composer gave it an unusual name—Concerto for Violin, Piano, and String Quartet (that title is sometimes listed as Concert rather than Concerto). The uncertainty about its name may be a key to this music, for it sometimes seems a hybrid composition. At moments, it is true chamber music—the six instruments play together, and their music has the intimacy and interchange we expect of the medium. There are, however, extended periods when the string quartet drops out altogether and the two “solo” instruments play by themselves. And there are also moments when the quartet makes so huge a sound that, full of massed chords and tremolos, it takes on the sonority and character of an orchestra and the music seems to become a true concerto. But if there are confusions about its exact nature, there is no doubt about the power of this music, which is often full of those tantalizing, ineffable moments that characterize Concerto for Violin, Piano, and String Quartet, Opus 21 Chausson’s finest work. This is music of generous proportions—its four movement stretch out to about forty minutes—and it is grounded in the cyclic form Chausson Born January 20, 1855, Paris had learned from Franck: its themes reappear in different Died June 10, 1899, Limay Approximate Duration: 40 minutes forms in later movements. At the beginning of the first movement, the piano Ernest Chausson is one of the most painful examples announces—very firmly—the three-note cell that will of what-might-have-been in the history of music. Born into shape much of that movement; as the quartet repeats this a wealthy and educated family, Chausson came to music cell, it begins to take on a more lyrical form—this is the indirectly. He was an accomplished painter and art collector, first of many transformations of this seemingly-simple but his parents wanted him to do something “sensible,” shape. This extended movement alternates interludes of so he took degrees in law and was admitted to the bar in melting sensuousness with full-throated outbursts from Paris at age 22. But he never practiced, choosing instead the combined forces. A cadenza-like flourish from the solo to pursue a career in music. Chausson studied with César violin leads to a dramatic recapitulation and a very quiet


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close on the opening three-note cell. The wistful second movement is a Sicilienne that rocks gently along the swaying rhythm characteristic of that old Mediterranean dance; in the course of the movement, Chausson combines its two main themes. Darkest of the movements, the Grave opens with a long duet (lasting nearly two minutes) for the solo violin and piano. The violin sings its expressive song over the chromatic wandering of the piano, and it is typical of Chausson that this piano part should be marked both pianissimo and très lié: “very heavy.” The quartet enters quietly, but rising tensions drive the music to a huge climax built on great waves of sound. These furies subside, and the piano part from the very beginning, wandering disconsolately once again, draws the movement to its rapt conclusion. Aptly marked Très animé, the finale leaps to life in a rush of rhythmic energy that will drive the entire movement. Along the way, Chausson brings back the fundamental theme-shape of the first movement as well as the main theme of the Grave, and there are once again extended passages for the two solo instruments. Chausson worked on the Concerto for two years before completing it in the summer of 1891. The first performance took place on March 4, 1892, and the soloists on that occasion were Eugène Ysaÿe and Auguste Pierret. Ysaÿe and Chausson were good friends, and it was for the great Belgian violinist that Chausson would—four years later— write his famous Poème. Recommended Listening Chausson, Ernest. Chausson: Concerto in D Major for Violin, Piano and String Quartet, Op. 21. Julliard String Quartet, Itzhak Perlman, Jorge Bolet. CBS Masterworks. ASIN: B0000025Q7, [1983]


Musical Prelude 7 PM Rolston String Quartet performs Brahms’ String Quartet No. 2 in A Minor, Opus 51, No. 2 See pages 6-7 Tonight’s concert is sponsored by:

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

AN EVENING WITH EMANUEL AX Wednesday, August 22, 2018 · 8 PM



Variations on a Theme by Haydn, Opus 56b (1873) Emanuel Ax, Orion Weiss, pianos

SCHOENBERG Six Little Piano Pieces, Opus 19 (1911) (1874-1951) Leicht, zart Langsam Sehr langsame Viertel Rasch, aber leicht Etwas rasch Sehr langsam Emanuel Ax, piano INTERMISSION MOZART “Kegelstatt” Trio in E-flat Major, K.498 (1786) (1756-1791) Andante Menuetto Rondo: Allegretto John Bruce Yeh, clarinet; Che-Yen Chen, viola; Emanuel Ax, piano DVOŘÁK

Piano Quintet in A Major, Opus 81 (1887) Allegro, ma non tanto Dumka: Andante con moto Scherzo (Furiant): Molto vivace Finale: Allegro Emanuel Ax, piano; Cho-Liang Lin, Anna Lee violins; Toby Hoffman, viola; Gary Hoffman, cello (1841-1904)

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Program Notes by Eric Bromberger

Variations on a Theme by Haydn, Opus 56b

JOHANNES BRAHMS Born May 7, 1833, Hamburg Died April 3, 1897, Vienna

Approximate Duration: 17 minutes

Brahms spent the summer of 1873 in the village of Tutzing on the western shore of the Starnberger See south of Munich. He was 40 years old and his career was going well. Named conductor of the chorus and orchestra of the Vienna Gesellschaftkonzerte the previous fall, he had spent that first concert season training and leading these forces in a series of concerts. Now he came to this resort town to relax and compose. Brahms loved it there. To the conductor Hermann Levi he wrote: “Tutzing is far more beautiful than we first imagined. We have just had a gorgeous thunderstorm; the lake was almost black, but magnificently green along the shores; usually it is blue, though of a more beautiful and deeper hue than the sky. In the background there is a range of snow-covered mountains—one can never see enough of it.” That summer, after years of work, Brahms finally refined two string quartets to the point where he would allow them to be published, and he was still at work on his First Symphony. This most imposing of musical forms (with its inevitable comparison to Beethoven) had occupied him since he was in his twenties, but he was still plagued by self-doubt. In particular, he was worried about his ability to compose for orchestra, and during that summer at Tutzing Brahms planned to write a brief work for orchestra to give himself practice composing for orchestra. This was a set of variations on a theme attributed to Haydn and shown to Brahms by his friend Carl Ferdinand Pohl, biographer of that earlier composer. The theme (which had never been published) appeared in the manuscript for a Feldpartita Haydn had composed for Prince Esterhazy’s troops during the 1780s; as its name suggests, a Feldpartita is a piece designed to be played in open fields, usually by military band. Though Brahms gave his work the title Variations on a Theme by Haydn, subsequent research has shown that the original Feldpartita was not written by Haydn, but probably by his student Ignaz Pleyel, who in turn may have borrowed it from an old pilgrims’ hymn: in the manuscript, the theme is marked “Chorale St. Antoni.” Brahms may have planned this project to give him practice writing for orchestra, but he was still so unsure of his abilities that he first composed the variations for two pianos,


and only then did he orchestrate them. The triumphant premiére of the orchestral version took place in Vienna on November 2, 1873, but Brahms and Clara Schumann had already played through the two-piano version together the previous summer; the official premiére of this version took place in Vienna on February 10, 1874. The structure of the Haydn Variations is simplicity itself: the theme, eight variations, and a finale that itself is a further variation. The original theme falls first into two five-bar phrases, followed by a series of phrases of irregular length. The eight variations, which stretch the theme in a range of ingenious ways, are all relatively brief; curiously, Brahms often writes tempo indications in the piano version that are slightly different from the orchestral version. The finale is ingenious—and very impressive—music. Brahms derives a five-measure theme from the original theme and uses this new version as a ground bass, very much in the manner of a passacaglia or chaconne (this finale looks ahead to the magnificent passacaglia that would conclude Brahms’ final symphony twelve years later). This ground bass repeats seventeen times as Brahms spins out a series of further variations in the upper voices. All of this builds to a brilliant close full of swirling runs and one final, powerful restatement of the original theme.

Six Little Piano Pieces, Opus 19

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

Approximate Duration: 6 minutes

The operative word in the title Six Little Piano Pieces is “little,” for these six pieces last a total of five minutes. Schoenberg began them in Vienna in February 1911 and completed the last in June, the month after Mahler died in the same city. These six miniatures have been described as aphorisms: they are very short pieces that do not develop— how could they in so short a span? They remain essentially formless, merely a quick statement and inconclusive close. Such pieces of course call into question the entire nature of musical form, and pianist Glenn Gould has suggested that the Six Little Piano Pieces reflect Schoenberg’s own uncertainty as a composer at this time. He had put behind him the tonal and instrumental opulence of such works as Pelléas and Melisande and Gurrelieder and had not yet found the way that would lead to Pierrot Lunaire and serial music. While the Six Little Piano Pieces still hover around tonal centers, the contours of traditional tonal music, which had been very much a part of Schoenberg’s early music, are


beginning to blur here. At the same time Schoenberg was writing these tiny piano pieces, his student and friend Anton von Webern was composing his own Six Bagatelles for string quartet, a work very similar in structure. Schoenberg supplied an introduction for the Webern score, and what he says about that music applies directly to his own Six Little Piano Pieces: “Consider what moderation is required to express oneself so briefly. You can stretch every glance out to a poem, every sigh into a novel. But to express a novel in a single gesture, a joy in a breath—such concentration can only be present in proportion to the absence of self-pity.” Almost by definition, the Six Little Piano Pieces require no detailed description. Their titles translate: Light, tender Slow Very slow quarter-notes Quick, but light Somewhat quick Very slow

“Kegelstatt” Trio in E-Flat Major, K.498

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

Approximate Duration: 21 minutes

The year 1786 was unusually busy, even by Mozart’s intense standards. In January he produced his opera The Impresario, then continued work on The Marriage of Figaro, which was completed, rehearsed, and triumphantly produced on May 1. Mozart had interrupted his whitehot labors on the opera to compose two of his finest piano concertos—in A Major, K.488, and C Minor, K.491—in March, and then he spent the summer writing chamber music. Over the remainder of 1786, Mozart composed three piano trios. Two were for the normal violin-cellopiano instrumentation, but the Trio in E-Flat Major, K.498, completed on August 5, 1786, is the exception: it is scored for the unusual combination of clarinet, viola, and piano. This particular combination of instruments—which eliminates the bright color of the violin’s upper register— led Mozart to compose music suited to the huskier, more subdued range of the clarinet and viola. This is not to suggest that this music is in any way limited. Quite the opposite: faced with the challenge of an unusual combination, Mozart produced some of his most unified and expressive music, and the darker colors of the clarinet

and viola give this music a somberness, a seriousness rare even in Mozart’s music. There are some surprises in this music. The first movement is not the expected Allegro, but a more moderately-paced Andante that is unified tightly around its two themes. The opening figure with its characteristic turn—heard immediately in the viola and piano and soon picked up by the clarinet—is present throughout the movement, sometimes appearing as the accompaniment to the lyric second theme, which is announced by the clarinet. The Menuetto has an unusual form: the minuet itself is fairly straightforward, with the standard two repeats, but it never returns, for the trio section suddenly blooms into powerful life of its own and grows to a length three times that of the minuet section. Mozart must have become fascinated with the possibilities of the simple trio theme, for he develops it at length and with great expressive power. The trio of the middle movement is—curiously enough—the emotional center of the entire work. Particularly interesting is the chromatic development of the theme: long, intense melodic lines turn and twist against each other, often propelled by driving triplets from the viola. The final movement, a rondo, retains some of the energy of the middle movement. The clarinet presents the rondo theme, and the music flies to the conclusion of one of Mozart’s least-known—but finest— chamber works. A note on a spurious nickname: this music is sometimes referred to as the “Kegelstatt” Trio. Kegelstatt means “skittleground” in German, and—the story goes—Mozart was playing a game of skittles as he wrote this music (skittles is a game somewhat like bowling in which pins are knocked down by a ball or disc). No one knows if that story is true, but the music itself has nothing to do with the game of skittles.

Piano Quintet in A Major, Opus 81

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

Approximate Duration: 38 minutes

In the summer of 1887 Antonín Dvořák took his large family to their summer home at Vysoka, in the forests and fields of his Czech homeland. It was a very good time for the 46-year-old composer. After years of struggle and poverty, he suddenly found himself famous: his Slavonic Dances were being played around the world, and his Seventh Symphony had been triumphantly premièred in London two years earlier. Dvořák found time to relax at Vysoka that

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summer, and he also found time to compose. Dvořák was usually one of the fastest of composers, able to complete a work quickly once he had sketched it. That August he began a new work, a Piano Quintet, but this one took him some time–he did not complete it until well into October, and it was premièred in Prague the following January Dvořák was now at the height of his powers, and the Quintet shows the hand of a master at every instant. This is tremendously vital music, full of fire, sweep, and soaring melodies. As a composer, Dvořák was always torn between the classical forms of the Viennese masters like his friend Brahms and his own passionate Czech nationalism. Perhaps some of the secret of the success of the Piano Quintet is that it manages to combine those two kinds of music so successfully: Dvořák writes in classical forms like scherzo, rondo, and sonata form, but he also employs characteristic Czech musical forms like the dumka and furiant. That makes for an intoxicating mix, and perhaps a further secret of this music’s success is its heavy reliance on the sound of the viola. Dvořák was a violist, and in the Quintet the viola presents several of the main ideas–its dusky sound is central to the rich sonority of this music. It is the cello, though, that has the lyric opening idea of the Allegro, ma non tanto. This long melody–Dvořák marks it espressivo–undergoes some surprising transformations before the viola introduces the pulsing second theme. This movement is full of beautifully-shaded moments, passages that flicker effortlessly between different keys in the manner of Schubert, a composer Dvořák very much admired. In sonata form, this movement ranges from delicate effects to thunderous climaxes before closing on a triumphant restatement of the second theme. The second movement is a dumka, a form derived from an old Slavonic song of lament. Dvořák moves to F-sharp minor here, and he makes a striking contrast of sonorities in the first few moments: in its high register, the piano sounds glassy and delicate while far below the viola’s C-string resonates darkly against this. This powerful opening gives way to varied episodes: a sparkling duet for violins that returns several times and a blistering Vivace tune introduced by the viola. The movement closes quietly on a return of its somber opening music. Dvořák notes that the brief Molto vivace is a furiant, an old Bohemian dance based on shifting meters, but–as countless commentators have pointed out–the 3/4 meter remains unchanged throughout this movement, which is a sort of fast waltz in ABA form. The dancing opening gives way to a wistful center section, marked Poco tranquillo, which is in fact a variant of the opening theme.


The Allegro finale shows characteristics of both rondo and sonata-form movement. Its amiable opening idea–introduced by the first violin after a muttering, epigrammatic beginning–dominates the movement. Dvořák even offers a deft fugato on this tune–introduced by the second violin–as part of the development. The powerful coda, which drives to a conclusion of almost symphonic proportions, is among the many pleasures of one of this composer’s finest scores. Recommended Listening Dvořák, Antonín. Dvořák: Piano Quintet, Op. 81. Artur Rubenstein, Guarneri Quartet. RCA. ASIN: B000003EP5, [1990]

Gary Hoffman

David Zinman

Prelude 7 PM Lecture by Scholar-in-Residence Eric Bromberger Beethoven and Elgar rarely appear on the same program—as composers, those two come from entirely different worlds. Eric Bromberger discusses why this program is so strange a mixture—and why it will work beautifully as the concluding concert of SummerFest 2018. Tonight’s concert is sponsored by:

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

Jon Kimura Parker


SummerFest Chamber Orchestra David Zinman, conductor ELGAR

Serenade for Strings in E Minor, Opus 20 (1888-92) Allegro piacevole Larghetto Allegretto BEETHOVEN Triple Concerto in C Major, Opus 56 (1804) (1770-1827) Allegro Largo Rondo alla Pollacca Cho-Liang Lin, violin; Gary Hoffman, cello; Jon Kimura Parker, piano INTERMISSION ELGAR Introduction and Allegro for Strings, Opus 47 (1905) New Orford String Quartet Jonathan Crow, Andrew Wan, violins; Eric Nowlin, viola; Brian Manker, cello (1857-1934)


Choral Fantasy in C Minor, Opus 80 (1808) Emanuel Ax, piano; San Diego Master Chorale

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Program Notes by Eric Bromberger

SUMMERFEST ORCHESTRA David Zinman, conductor VIOLIN I Jonathan Crow, concertmaster + Andrew Wan, concertmaster* Margaret Batjer Kathryn Hatmaker Anna Lee Luri Lee Yura Lee Cho-Liang Lin+ Alyssa Park VIOLIN II Jonathan Crow* Andrew Wan+ Lucinda Chiu Bridget Dolkas Emily Kruspe Jeanne Skrocki VIOLA Che-Yen Chen+ Eric Nowlin* Toby Hoffman Hezekiah Leung CELLO Clive Greensmith + Brian Manker * Chia-Ling Chien Max Geissler Maki Kubota Jonathan Lo DOUBLE BASS Nico Abondolo Sam Hager FLUTE Catherine Ransom Karoly Sarah Tuck OBOE Liang Wang Laura Griffiths

CLARINET John Bruce Yeh Teresa Reilly

Serenade for Strings in E Minor, Opus 20

BASSOON Keith Buncke Ryan Simmons

Approximate Duration: 13 minutes

HORN Erik Ralske Dylan Hart TRUMPET David Washburn Jennifer Marotta TIMPANI Jason Ginter 1st Half * 2nd Half +

SIR EDWARD ELGAR Born June 2, 1857, Lower Broadheath Died February 23, 1934, Worcester

Elgar made his way slowly as a composer. The son of a piano tuner, he was essentially self-taught as a musician, and he supported himself as a young man by playing the violin in orchestras, giving lessons, conducting, and trying to compose. It was a long and difficult apprenticeship: he composed the Serenade for Strings—which biographer Michael Kennedy calls “Elgar’s first masterpiece”—in 1892, when he was 35, the age at which Mozart died. Elgar would not achieve fame until the première of his Enigma Variations in 1899, when he was 42. The brief Serenade for Strings remains the most popular—and the most frequently recorded—of Elgar’s early compositions. It is full of pleasing themes, and the graceful writing for strings reflects Elgar’s training as a violinist. The character of the entire work is suggested by the composer’s marking for the first movement, Allegro piacevole. Piacevole means “agreeable,” and the Serenade is most agreeable music throughout its twelve-minute span. The opening movement is in ABA form. Over the violas’ dotted rhythm, violins sound the rising-and-falling main idea. Here and throughout the Serenade, the themes do not really develop—Elgar’s method is simply to repeat his themes, but in different registers, dynamics, and colors. The movement’s middle section, marked espressivo, features a violin solo before the return of the opening material and a quiet close. The arching introduction of the Larghetto leads to this movement’s only theme, a noble melody announced by violins and marked dolce. This repeats, growing more impassioned with each repetition, before the movement dies away to end very quietly—Elgar mutes the strings in the final measures. The finale flows along gracefully on the easy swing of its 12/8 meter. At the close, Elgar brings back the dotted rhythm and theme from the first movement, and on this music the Serenade—now in E major—rises gently to the quiet concluding chord.

Triple Concerto in C Major, Opus 56

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

Approximate Duration: 35 minutes



Beethoven wrote this unusual concerto during the spring and summer of 1804, a time of unbelievable creativity for him. In those months he revised the recentlycompleted Eroica, began the “Waldstein” Sonata, and made sketches for the “Appassionata” Sonata and for his opera Leonore (later re-named Fidelio). Beethoven himself was apparently unsure how to classify his new concerto. In 1802 he had made plans for a Sinfonia Concertante in D Major, and after the Concerto in C Major was completed he referred to it as a “concertante for violin, violoncello, and pianoforte with full orchestra.” Today it is most often called the Triple Concerto. Concertos for multiple instruments of course call to mind the baroque concerto grosso, in which a small group of soloists plays in contrast to the main body of the orchestra, but the Triple Concerto is no concerto grosso. Rather, it is a concerto for piano trio and orchestra. Such a concerto posed two particular problems for Beethoven: how to give each soloist enough individual attention and how to keep the cello from becoming buried within this complex texture. He solved these problems ingeniously: the first by having his three soloists play often just as a trio, the second by allowing the cellist the first statement of many of the themes. The Triple Concerto contrasts sharply with the other music Beethoven was composing in these years. Where the Eroica, the opera, and two piano sonatas burn with a sense of urgency and dramatic fury, the Triple Concerto lacks their tension—this is expansive music, relaxed and agreeable rather than striving. The opening Allegro gets off to a grand start with a full-orchestra exposition of its themes, but textures thin out considerably when the soloists enter— Beethoven often has the soloists play by themselves with only unobtrusive orchestral accompaniment, punctuated by tutti outbursts. The thematic material in this movement is genial rather than distinctive, the rhythms slightly swung rather than sharp-edged. The most impressive feature of this movement may be its span: at seventeen minutes, it is one of Beethoven’s longest. By contrast, the second is very brief, almost an interlude between the dynamic outer movements. Beethoven rarely used the tempo indication Largo, a marking that suggests very slow and dignified music. An orchestra of muted strings introduces the Largo, but this lyric movement belongs almost entirely to the three soloists—it is essentially chamber music. Once again, the cello leads the way, this time with a theme marked molto cantabile. Beethoven marks the finale Rondo alla Pollacca, or a rondo in the style

of a polonaise. The cello introduces the main theme and launches this jovial movement on its way. Near the end comes a surprising passage: a polonaise is in 3/4, but now Beethoven resets his principal theme in 2/4, foreshortening it and making it dance in new ways before going back to 3/4 for the coda and cadence. Though completed in 1804, the Triple Concerto did not make its way decisively into the musical world, and it has remained one of Beethoven’s less familiar works. Despite several private performances, this music did not receive its public première in Vienna until May 1808, nearly a year after it had been published. Beethoven dedicated it to his patron Prince Lobkowitz, also the dedicatee of the Eroica.

Introduction and Allegro for Strings, Opus 47

SIR EDWARD ELGAR Approximate Duration: 15 minutes

The year 1904 was an important one for Elgar: after years of laboring in painful obscurity, he found himself— at age 47—suddenly famous. The international success of his Enigma Variations and The Dream of Gerontius and the overwhelming popularity at home of his Pomp and Circumstance March No. 1 brought this son of a provincial piano tuner honors that even a few years earlier would have seemed beyond imagination: in 1904 he was knighted and invited to dine with King Edward VII. In that same year, Elgar was asked to compose a piece for the newly-formed London Symphony Orchestra, and he decided to write only for that orchestra’s string section. Elgar began this music during the fall and completed it the following winter; he led the London Symphony in the première on March 8, 1905. The Introduction and Allegro for Strings is a very original piece of music. Elgar was a violinist, so the idiomatic writing for strings is no surprise, but what is surprising is Elgar’s deployment of his forces and the form of this music. He divides the strings into two groups—a solo string quartet and the rest of the strings—and then plays the sound of these groups off against each other. But the Introduction and Allegro is not, despite what some have suggested, a conscious revival of concerto grosso form, for Elgar does not treat the string quartet soloistically. Instead, he creates a much more subtle relationship between the two groups—themes flow between them, evolving as they appear by turn in quartet or orchestra. The form of the Introduction and Allegro is also noteworthy. Basically a sonata-form movement, it opens with a long introduction and replaces the development section with a brisk fugue. This music is easy to follow (and

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to enjoy), but listeners should be alert to the ingenious ways Elgar transforms his themes: an idea presented at the beginning in a quiet, almost fragmentary way by the solo quartet will appear later as a full-blown melody shouted out by the entire orchestra. Or the quiet rocking figure in the lower strings that accompanies the opening measures will later serve as a countermelody to the vigorous fugue. The Introduction—which alternates a somewhat grandiose opening with wispy bits of theme—soon leads to the Allegro, whose main theme is a variant of one of those wisps of melody. This section is based on several different themes, one of them reportedly an old Welsh tune, and the statement of these ideas is quite vigorous: the dynamic levels range from triple forte to quadruple piano. Second violins introduce the complex fugue subject, which whirls off on its energetic way. This is very difficult music (in a letter during its composition, Elgar referred to it as “a devil of a fugue”), and at the close themes from the beginning reappear in grand fashion—the composer’s markings in the score suggest the mood here: nobilmente, brillante e con tutta forza, and con fuoco. The powerful climax subsides to close on a single pizzicato stroke.

weather in Vienna three days before Christmas was freezing, the hall was unheated, and one of Beethoven’s associates who stayed for the entire concert offered a devastating assessment: “There we sat from half past six till half past ten in the most bitter cold, and found by experience that one might have too much even of a good thing—and still more of a loud.” The Choral Fantasy, which was the last work on that program, is a very curious piece of music, yet it plays a surprisingly important role in the progression of Beethoven’s works. It opens with a long section for piano alone, which Beethoven had not written out in time for the performance and simply extemporized at the concert (when this music was published in 1811, he recalled—or perhaps recreated—this “improvisation” and wrote it out for the published score). The orchestra enters section by section, and finally the piano announces the work’s flowing central theme, which Beethoven drew from his song Gegenliebe, originally composed over ten years earlier, in 1794-95. And at this point every listener sits up in amazement: this theme would later become part of the main theme of the finale of Beethoven’s Ninth Symphony. Beethoven now offers a series of variations on this theme for piano and orchestra, Choral Fantasy in C Minor, Opus 80 and only in the closing minutes of the Choral Fantasy do the voices enter, first as soloists and then the full chorus. The anonymous text was probably written by the Viennese poet Approximate Duration: 21 minutes Christoph Kuffner, and Beethoven himself may have helped Music poured out of Beethoven over the first decade of shape it. The text is full of flowery praise for the power of the nineteenth century, including an opera, six symphonies, music and the arts to inspire mankind, and the combination of solo piano, chorus, and orchestra is meant to mirror the three piano concertos, three string quartets, violin sonatas fusion of all arts. However flowery its text may be, however and other chamber music, and a vast number of works for hybrid its form, the Choral Fantasy generates some surprising piano. Yet Beethoven had few opportunities to have his power over its concluding minutes, a distinct pre-echo orchestral music performed. There were no permanent orchestras in those days, and to present his music Beethoven of the music and atmosphere that would drive the Ninth Symphony to its magnificent conclusion nearly two decades had to rent a hall, hire an orchestra and rehearse it, and later. advertise and produce the concert. It was an expensive A curious lash-up of quite different kinds of music, the process, and it happened only rarely—by 1808 it had been Choral Fantasy looks several directions at once. The quasifive years since Beethoven had put on a public concert in improvisational piano part at the beginning looks back to Vienna, and now he set out to present some of his most the style of playing that had helped Beethoven establish recent music. On the evening of December 22, 1808, in his reputation when he arrived in Vienna sixteen years the Theater-an-der-Wien, Beethoven led one of the most earlier, in 1792. But the choice of an inspirational—almost overpowering concerts ever given. The program consisted ecstatic—text for chorus and orchestra and the use of the of the premiére performances of the Fifth and Sixth same theme look ahead sixteen years to one of the great Symphonies, the first public performance of the Fourth Piano achievements of Beethoven’s final years, the Ninth Symphony. Concerto, three movements for chorus and orchestra from the Mass in C Major, and the aria Ah! Perfido. Apparently Recommended Listening Beethoven was concerned that this might not be enough Beethoven. Ludwig van. Triple Concerto. Gil Shaham, Truls Mørk, Yefim, Bronfman, music, so he hurriedly composed the Choral Fantasy as the David Zinman, Zurich Tonhalle. Arte Nova Classics. ASIN: B000EQ46XM, [2006] concluding work. The concert lasted a very long time, the



ARTIST BIOGRAPHIES Cho-Liang Lin, Music Director & violin

After playing for Itzhak Perlman in a master class in Sydney at age 13, young Cho-Liang Lin was determined to study with Mr. Perlman’s teacher Dorothy DeLay. At 15, Mr. Lin traveled alone to New York and auditioned for The Juilliard School, where he spent the next six years studying with Ms. DeLay. Born in Taiwan, Mr. Lin made his New York Philharmonic debut at the age of 20 playing the Mendelssohn Concerto with Zubin Mehta in 1980. He has performed as soloist with virtually every major orchestra in the world. A champion of music of our time and commissioning new works, composers such as John Harbison, Christopher Rouse, Tan Dun and John Williams have written works for him. A member of The Juilliard School faculty since 1991, in 2006, he was appointed professor at Rice University. He is currently music director of La Jolla Music Society SummerFest and the Hong Kong International Chamber Music Festival. Mr. Lin performs on the 1715 Stradivari named “Titian” or a 2000 Samuel Zygmuntowicz. His many concerto, recital and chamber music recordings on Sony Classical, Decca, BIS, Delos, and Ondine can be heard on Spotify or Naxos.com. His albums have won Gramophone “Record of the Year,” Grammy® nominations and Penguin Guide Rosettes.

Nico Abondolo, bass

An internationally recognized leading double bass soloist and chamber musician, Nico Abondolo was named principal double bass of the Los Angeles Chamber Orchestra in 2011. He made his debut at age 14 with the Los Angeles Philharmonic and in 1983, became the first double bass to win first place in Geneva International Music Competition for Musical Performers.

Adele Anthony, violin

Margaret Batjer, violin

Emanuel Ax, piano

Martin Beaver, violin

Since winning Denmark’s 1996 Carl Nielsen International Violin Competition, Adele Anthony has enjoyed an acclaimed and international career, spanning the continents of North America, Europe, Australia, India, and Asia. She has performed as soloist with orchestra and in recital, as well as being active in chamber music. Her numerous awards and prizes include awards from the Australia Council, the South Australian Government, and The Queen’s Trust. Her wide-ranging repertoire extends from the Baroque of Bach and Vivaldi to contemporary works of Ross Edwards, Arvo Pärt and Phillip Glass. Ms. Anthony performs on an Antonio Stradivarius violin, crafted in 1728.

Born in Poland, Emanuel Ax moved to Canada, with his family when he was young. His many awards and honors include the Young Concert Artist Award, First Prize at the Arthur Rubinstein International Piano Competition, an Avery Fisher Prize, honorary doctorates from Yale and Columbia Universities, and he is a Fellow of the American Academy of Arts and Sciences. A Sony Classical exclusive recording artist, his most recent release Brahms: The Piano Trios also features Yo-Yo Ma and Leonidas Kavakos. An exponent of contemporary composers and frequent partner for chamber music, he has worked regularly with Young Uck Kim, Cho-Liang Lin, the late Isaac Stern, among others. Mr. Ax and his wife, pianist Yoko Nozaki, reside in New York City.

Margaret Batjer has served as concertmaster of the Los Angeles Chamber Orchestra since 1998. Throughout her successful career as soloist, chamber musician, teacher, and concertmaster, she has established herself as a versatile and respected artist worldwide. She made her first solo appearance at the age of 15 with the Chicago Symphony Orchestra, and has since appeared with a succession of leading American orchestras, European ensembles, and at summer festivals. Most recently Ms. Batjer launched a new chamber music series In Focus with the LA Chamber Orchestra and performed the west coast première of a new concerto by Pierre Jalbert with the LA Chamber Orchestra. First Violin of the world-renowned Tokyo String Quartet from 2002 until its final concert in 2013, Canadian violinist Martin Beaver , has appeared to critical and public acclaim on the major stages of the world including New York’s Carnegie Hall, London’s Wigmore Hall, the Berliner Philharmonie, Tokyo’s Suntory Hall and the Sydney Opera House. He is Professor of Violin and Chamber Music at the Colburn Conservatory of Music, and recently served as Artist-in-Residence at the Yale School of Music, where he was awarded its highest honor - the Sanford Medal. Martin Beaver is proud to be a founding member of the Montrose Trio and plays a 1789 Nicolo Bergonzi violin.

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ARTIST BIOGRAPHIES Allison Boles, lecturer

Allison Boles has served as La Jolla Music Society’s Education and Community Programming Manager since 2015. Ms. Boles earned her BA in Music from UC San Diego and is currently pursuing her MA in Nonprofit Leadership and Management from the University of San Diego. She enjoys playing saxophone and being active in the community by volunteering on multiple boards and committees.

Bravo! International Music Academy In its third season, Bravo! International Music Academy (BIMA) is an intensive anual San Diego-based two-week music education and performance summer festival for outstanding young string and piano students from around the world. Learning from world-class artists, young talents are encouraged to explore their musical journeys, and set themselves on good paths to accomplish individual goals. By invitation of Music Director Cho-Liang Lin, BIMA violinists Sean Lim, Hannah Tam, Anais Feller, Emma Sandberg and Jinan Woo will share the SummerFest stage.

Carter Brey, cello

Appointed Principal Cello of the New York Philharmonic in 1996, Carter Brey has since performed as soloist each season with the orchestra. He rose to international attention in 1981 as a prizewinner in the Rostropovich International Cello Competition, and made his New York and Kennedy Center debuts in 1982. His many awards and honors include the Gregor Piatigorsky Memorial Prize, an Avery Fisher Career Grant, and a Young Concert Artists’ Michaels Award. Having studied at the Peabody Institute and Yale University, he is on the faculty of the Curtis Institute of Music. He plays a rare 1754 J. B. Guadagnini violoncello made in Milan.


Eric Bromberger, scholar-in-residence

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

Renown for a commanding technique, power, and exceptional lyrical gifts, Yefim Bronfman stands among a handful of artists regularly sought by festivals, orchestras, conductors, and recital series. Next season begins with European tours with St. Petersburg Philharmonic and the Royal Concertgebouw Orchestra. In the U.S. he will return to orchestras in Cleveland, New York, Los Angeles, Houston, St. Louis, Cincinnati, San Francisco, and Dallas and can be heard in recital across the country culminating in Carnegie Hall. Having a prolific catalog of recordings, he won a GRAMMY® Award for Bartok’s Three Piano Concertos in 1995. Born in Tashkent in the Soviet Union in 1958, Yefim Bronfman immigrated to Israel with his family in 1973, and became an American citizen in 1989.

Keith Buncke, bassoon

Praised by the Chicago Classical Review, “[he] continues to illuminate the orchestra’s performances every week with playing of individuality and poetic distinction,” Keith Buncke was appointed Principal Bassoon of the Chicago Symphony Orchestra by Music Director Riccardo Muti in 2015. Mr. Buncke previously served as Principal Bassoon of the Atlanta Symphony Orchestra, while still

attending the Curtis Institute of Music. He has participated in Tanglewood, Pacific, Sarasota, and Aspen summer festivals, and given master classes and taught at Northwestern University, University of Kansas, and the Interlochen Arts Academy and Camp. Born in Orange, California, this will be his third SummerFest.

Cambridge Trio

Saetbyeol Kim, piano

First prize winner of the 2015 Dallas International Competition, Saetbyeol Kim holds a Master of Music from the Eastman School of Music, an Artist Diploma from The Glenn Gould School of The Royal Conservatory, and currently studies at the Shepherd School of Music at Rice University, where she studies with Jon Kimura Parker.

Anna Lee, violin

Having graduated from the Juilliard School Pre-College Division, the Dalton School, and the Kronberg Academy, Anna Lee is studying with Miriam Fried and Don Weilerstein while pursuing her Bachelor’s degree at Harvard College. She plays on the ex-Tadolini/ex-Liszt Antonio Stradivarius violin (Cremona, 1706) on a generous loan from The Rin Collection.

Max Geissler, cello

Having earned his undergraduate degree from the University of Michigan working with Richard Aaron, cellist Max Geissler is currently pursuing his Doctor of Musical Arts degree at Rice University under the tutelage of Desmond Hoebig. Praised for his “superb artistry and beautiful sound,” Max is a highly sought-after chamber collaborator.

Che-Yen Chen, viola

Winner of the 2003 William Primrose International Viola Competition, Che-Yen Chen is a found-ing member of

ARTIST BIOGRAPHIES the Formosa Quartet and First-Prize winner of the 2006 London International String Quartet Competition. A newly appointed professor of viola at the UCLA’s Herb Alpert School of Music, Mr. Chen has been on the faculty of USC, UCSD and SDSU. Having served as principal viola of the San Diego Symphony for eight seasons, Chen has appeared as guest principal viola with numerous major orchestra in North America.

Chia-Ling Chien, cello

Cellist Chia-Ling Chien has been the Associate Principal Cello with the San Diego Symphony since 2009. Born in Taipei, Taiwan, she began playing the piano at age 6 and cello at age 9. She won first place of National Taipei Youth Cello Competition at the age of 12. Ms. Chien is a graduate of The Cleveland Institute of Music, where she received both Bachelor and Master of Music degrees. Her principal teachers are Desmond Hoebig and Stephen Geber.

Lucinda Chiu, violin

Los-Angeles based violinist Lucinda Chiu has appeared around the world as a recitalist, chamber musician, and orchestral musician. In 2017 she was appointed as a first violinist of the Los Angeles Opera Orchestra by maestro James Conlon. Lucinda is a graduate of the Peabody Conservatory and Rice University, where she studied with Soovin Kim, Violaine Melancon and world-renown soloist Cho-Liang Lin.

Bridget Dolkas, violin

Bridget Dolkas is the principal second violin of the Pacific Symphony, and loves to rock out in the jazz-classical fusion band the Peter Sprague Consort. A founding member of the California Quartet, she has performed and toured as first violinist since 2000. She holds degrees from USC, Manhattan School of Music, and has a DMA from UCLA, studying with Mark Kaplan.

Emerson String Quartet

Eugene Drucker, Philip Setzer, violins; Lawrence Dutton, viola; Paul Watkins, cello

The Emerson String Quartet has amassed an unparalleled list of achievements over four decades: more than thirty acclaimed recordings, nine GRAMMYS® (including two for Best Classical Album), three Gramophone Awards, the Avery Fisher Prize, Musical America’s “Ensemble of the Year” and collaborations with many of the greatest artists of our time. The arrival of Paul Watkins in 2013 has had a profound effect on the Emerson Quartet. Mr. Watkins, a distinguished soloist, awardwinning conductor, and devoted chamber musician, joined the ensemble in its 37thseason, and his dedication and enthusiasm have infused the Quartet with a warm, rich tone and a palpable joy in the collaborative process. The reconfigured group has been praised by critics and fans alike around the world. “The Emerson brought the requisite virtuosity to every phrase. But this music is equally demanding emotionally and intellectually, and the group’s powers of concentration and sustained intensity were at least as impressive,” (The New York Times). The Emerson Quartet enthusiastically endorses Thomastik Strings.

FLUX Quartet

Tom Chiu, Conrad Harris, violins; Max Mandel, viola; Felix Fan, cello

The FLUX Quartet has performed to rave reviews in venues worldwide, including the Tate Modern with BBC Radio3, Park Avenue Armory, Kennedy Center, Mount Tremper Arts, EMPAC, Walker Art Center, Carnegie’s Zankel Hall, as well as international festivals in Australia, Europe and Asia. The group’s discography includes recordings on the Cantaloupe, Innova, Tzadik, in addition to two acclaimed releases on Mode encompassing Morton Feldman’s full catalogue of string quartet works. FLUX’s upcoming season features a world première, at La Jolla SummerFest, of a new work by Toshi Ichiyanagi, a leader of the Japanese

avant-garde. Strongly influenced by the “anything-goes” philosophy of the fluxus art movement, violinist Tom Chiu founded FLUX in the late 90’s. The quartet has since cultivated an uncompromising repertoire that combines late twentieth-century iconoclasts like Nancarrow, Scelsi and Ligeti with today’s visionaries, including David First, Oliver Lake, David Lang, Alvin Lucier, Mark Neikrug, Sean Shepard, Wadada Leo Smith, Matthew Welch and more.

Jason Ginter, percussion

Jason Ginter is a timpanist and percussionist in San Diego. He performs regularly with the San Diego Symphony, Los Angeles Philharmonic, and Pacific Symphony–with whom he recently toured China in May 2018. He is the owner of JGpercussion, specializing in handmade drumsticks and mallets. For more information, please visit www. JGpercussion.com.

Alex Greenbaum, cello

Born in New York, Alex Greenbaum is cellist of the Hausmann Quartet, in residence at San Diego State University, where he teaches cello and chamber music. As a long-time member of The Knights he has performed throughout the U.S. and Europe, and appeared at festivals from Ravinia and Tanglewood to Aix-en-Provence, Vienna’s Musikverein and Hamburg’s Elbphilharmonie. He plays a 2006 Michele Ashley cello and a baroque cello labeled Claude Vuillaume, 1788.

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ARTIST BIOGRAPHIES Clive Greensmith, cello

Clive Greensmith was a member of the worldrenowned Tokyo String Quartet from 1999 until 2013, giving over one hundred performances each year in the most prestigious international venues, including New York’s Carnegie Hall, Sydney Opera House, Berlin Philharmonie, Vienna Musikverein and Suntory Hall in Tokyo. As a soloist, Mr. Greensmith has performed with the London Symphony, Royal Philharmonic and Rome’s RAI orchestras, among others. He is Professor of Cello at the Colburn School in Los Angeles. Mr. Greensmith performs regularly with the Chamber Music Society of Lincoln Center and a founding member of the Montrose Trio, alongside Jon Kimura Parker and Martin Beaver.

Laura Griffiths, oboe

Having formerly held positions as Principal Oboe of the Cleveland Orchestra, Rochester Philharmonic Orchestra, and Mainly Mozart Festival Orchestra in San Diego, Laura Griffiths is Principal Oboe of the San Francisco Ballet Orchestra. She has been guest Principal Oboe of several major orchestras across the country, including the Saint Paul Chamber Orchestra and the Boston, Atlanta and San Francisco Symphonies. Ms. Griffiths graduated with honors from the Eastman School of Music, where she was a student of Richard Killmer.

Samuel Hager, bass

Samuel Hager has been a member of the San Diego Symphony since October of 2006. He has also played with the Oregon and Long Beach Symphonies and Riverside and Los Angeles Philharmonics. Mr. Hager studied at Indiana University under Bruce Bransby and at USC under David Moore. He plays on a modern Italian double bass circa 1930 made by Giuseppi



Lynn Harrell, cello

Lynn Harrell’s presence is felt throughout the musical world. A consummate soloist, chamber musician, recitalist, conductor and teacher, his work throughout the Americas, Europe and Asia has placed him in the highest echelon of today’s performing artists including such noted conductor-collaborators as Sir Neville Marriner, Kurt Masur, Zubin Mehta, André Previn, Sir Simon Rattle, and Leonard Slatkin. In recent seasons, Mr. Harrell performed with the symphonies of Atlanta, Sydney, and Detroit, and the Metropolian Opera Orchestra to close the season at Carnegie Hall. Abroad, he played alongside the Gewandhaus Orchestra Leipzig, China and Seoul philharmonics, among others. Lynn Harrell’s discography includes more than 30 albums and two Grammy® wins. He plays a 2008 Dungey cello and makes his home in Santa Monica.

Dylan Hart, horn

Los Angeles native Dylan Hart is an educator, freelance musician, and sought after principle horn player. Professor of horn performance at Cal State University Long Beach, he is also a member of the Los Angeles Horn Quartet and Modern Brass Quintet. He has performed with the Los Angeles Philharmonic, Santa Barbara Symphony, Los Angeles Chamber Orchestra, Pacific Symphony, and the San Diego Symphony Orchestra. He has recorded for films with many great film composers such Hans Zimmer and John Williams.

Kathryn Hatmaker, violin

Violinist Kate Hatmaker enjoys a varied career as performer, educator, and entrepreneur. She is the co-founder and Executive Director of Art of Élan (www.artofelan.org), a San Diego chamber music organization

committed to bringing classical music to diverse audiences, and has been a violinist with the San Diego Symphony since 2006.

Gary Hoffman, cello

One of the outstanding cellists of our time, Gary Hoffman combines instrumental mastery, great beauty of sound, and a poetic sensibility in distinctive and memorable performances. He gained international renown as the first North American to win the Rostropovich International Competition in Paris in 1986, and is a frequent soloist with the world’s most noted orchestras on major recital and chamber music series. His most recent recording of Brahms Sonatas’ with Claire Désert on La Dolce Volta label released October 2017. Appointed Professor at the Musical Chapel in Brussels in 2011, Mr. Hoffman resides in Paris and performs on a 1662 Nicolo Amati, the “ex- Leonard Rose.”

Toby Hoffman, viola

Toby Hoffman began his musical training at age 6 studying the violin with his mother, Esther Glazer. In a distinguished career spanning three decades, conductor and violist Toby Hoffman has appeared at the world’s most prestigious international music festivals and venues including the festivals of Salzburg, Ravinia, Marlboro, Hong Kong, as well as Carnegie Hall, The Royal Concertgebouw, Wigmore Hall, and Suntory Hall. As a guest conductor and soloist, he has performed with orchestras worldwide including the Philadelphia Orchestra, National Orchestra of Belgium, Johannesburg Philharmonic, National Symphony Orchestra of Taiwan, and many more. He currently resides in Portugal, where he has been the Principal Conductor of the Orquestra Theatro and the Orquestra de Câmara do Minho.

Ben Hong, cello

Cellist Ben Hong joined the Los Angeles Philharmonic in 1993, and currently serves as Associate Principal Cello, appointed in 2015 by Music Director Gustavo Dudamel. Mr. Hong performs frequently as soloist and as a member of chamber music ensembles. He has collaborated with such artists as Emanuel Ax, Yefim Bronfman, Lang Lang, and Sir Simon Rattle. Concerto appearances with the LA Phil have included the LA Phil première of Tan Dun’s Crouching Tiger Concerto, conducted by Long Yu at the Hollywood Bowl. In addition to training several members of the cast of the 2009 movie The Soloist, Mr. Hong was the featured soloist on the soundtrack. Paul Huang, violin

The recipient of a prestigious 2015 Avery Fisher Career Grant and a 2017 Lincoln Center Award for Emerging Artists, and Winner of the 2011 Young Concert Artists International Auditions, violinist Paul Huang is gaining attention for his eloquent music making and commanding virtuosity. Recent and upcoming engagements include debuts at White Nights Festival with the Mariinsky Orchestra under Valery Gergiev, in Chicago at the Grant Park Music Festival, and at the Lucerne Festival in Switzerland. He is an artist member of the Chamber Music Society of Lincoln Center, a Principal Artist for Camerata Pacifica, and plays the Guarneri del Gesù Cremona 1742 ex-Wieniawski violin, on loan through the Stradivari Society.

Toshi Ichiyanagi, commissioned composer

Toshi Ichiyanagi is one of the most prominent Japanese composers and pianists today. He studied composition under John Cage, Kishio Hirao, and Tomojiro Ikenouchi, and piano under Chieko Hara and Beveridge Webster. His many awards and honors include the

ARTIST BIOGRAPHIES Elizabeth A. Coolidge Prize, Serge Koussevitzky Prize, and Alexander Gretchaninov Prize from the Juilliard School; L'ordre des Arts et des Lettres of the French Republic; and the Japan Art Academy Prize and Imperial Prize from the Japan Art Academy. He was awarded a Medal with Purple Ribbon (1999) and Order of the Rising Sun, Gold Rays with Rosette (2005) from the Japanese Government, and has been recognized as a Person of Cultural Merit since 2008. He has received five Otaka Prizes.

Pierre Jalbert, composer

Acclaimed for his richly colored and superbly crafted scores, Pierre Jalbert (b. 1967) has developed a musical language that is engaging, expressive, and deeply personal. Among his many honors are the Rome Prize, the BBC Masterprize, the Chamber Music Society of Lincoln Center’s Stoeger Award. His music has been performed worldwide, with five Carnegie Hall performances of his orchestral music, and other recent performances by the Boston Symphony, Cabrillo Festival, the Ying, Borromeo, Escher, and Emerson String Quartets, Saint Paul and Los Angeles Chamber Orchestras, and violinist Midori Mr. Jalbert is Professor of Music at Rice University’s Shepherd School of Music in Houston, and he serves on the Artistic Board of Musiqa, a Houston-based new music group. His music is published by Schott Music.

Maki Kubota cello

Maki Kubota is a cellist of the Houston Symphony Orchestra. He has appeared with the Dallas Symphony, Charleston Symphony and New York Philharmonic, and has toured Mediterranean Europe and Central America as a cellist of Lincoln Center Stage. Maki studied at the Peabody Conservatory and Rice University with Alan Stepansky and Desmond Hoebig.

Late Night with Leonard Bernstein

Nina Bernstein Simmons, host; Amy Burton, soprano; John Musto and Michael Boriskin, pianos

Nina Bernstein Simmons is Leonard Bernstein’s youngest daughter. After several years working as an actress, initially at the American Repertory Theatre in Cambridge, she turned her attention to tending her late father’s legacy. In the earliest days of the internet, she worked with the Library of Congress on making the Bernstein Archives digitally available to the public. The fruits of that collaboration can be seen at the Library’s American Memory website. From 2000 until 2005, Nina worked on a film about her sister, Jamie, and her remarkable journeys around the world bringing Bernstein’s music and teaching legacy to new audiences. Leonard Bernstein: A Total Embrace premièred in Germany in December of 2005. Since 2008, Nina has been working as a food educator in underserved communities. Artistic and Executive Director of Copland House, pianist Michael Boriskin has performed in over 30 countries with leading international orchestras and in major concert halls, including Lincoln Center, Carnegie and Wigmore Halls, Teatro Colon in Buenos Aires, and many others. He is also a frequent presence on National Public Radio and American Public Media. Soprano Amy Burton has performed internationally in opera, chamber music, recitals, orchestral concerts, and cabaret, and is one of New York City Opera’s leading sopranos. She sang at a nationallybroadcast 2002 White House performance, has recorded for Bridge, Angel/EMI, Albany, among other labels, and is on the voice faculties at the Mannes College of Music and Songfest in California. Emmy winning and 1997 Pulitzer price finalist John Musto began his career as a highly-accomplished pianist. He performed his own first and second piano concertos in a 2006 tour-deforce, premièring both within months of each other, and recently recorded both works with conductor Glen Cortese and the Greeley (Colorado) Philharmonic for Bridge Records.

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Few in the world have mastery of both violin and viola, Yura Lee actively performs each equally and is one of the most versatile and compelling artists today. Her two-decade-plus-long international career includes performances as both a soloist and as a chamber musician. Her many honors include first prize in Viola at the 2013 ARD Competition in Germany and a 2007 Avery Fisher Career Grant. Ms. Lee studied at The Juilliard School, New England Conservatory, Salzburg Mozarteum, and Kronberg Academy. She teaches both violin and viola at the Mason Gross School of the Arts at Rutgers University and lives in Portland, Oregon.

Lei Liang, commissioned composer

Heralded as “one of the most exciting voices in New Music” (The Wire), Lei Liang (b.1972) is a Chinese-born American composer whose works have been described as “hauntingly beautiful and sonically colorful” by The New York Times, and as “far, far out of the ordinary, brilliantly original and inarguably gorgeous” by The Washington Post. Winner of the 2011 Rome Prize, Lei Liang is the recipient of a Guggenheim Fellowship, an Aaron Copland Award, a Koussevitzky Foundation Commission and a Creative Capital Award. His concerto Xiaoxiang (for saxophone and orchestra) was named a finalist for the 2015 Pulitzer Prize in Music. Lei Liang currently serves as Professor of Music at the University of California, San Diego. Lei Liang’s music is published exclusively by Schott Music Corporation (New York).

Peter Lloyd, bass

Peter Lloyd is a graduate of the Curtis Institute of Music and the Settlement Music School. Formerly with the Philidelphia and Minnesota Orchestras, he is acting principal double bass of the Los Angeles Chamber Orchestra and a faculty member of The Colburn School in Los Angeles. He


performs on a world-renowned Daniel Hachez bass violin, graciously provided by Robertson Violins of Albuquerque, New Mexico.

Jennifer Marotta, trumpet

Jennifer Marotta is an Adjunct Assistant Professor of Trumpet at University of Southern California’s Thornton School of Music. As an active Los Angeles freelance musician, she regularly performs with the Los Angeles Philharmonic, San Francisco Symphony, and San Diego Symphony, among others. She is also currently a member of the Grand Teton Music Festival and the Music of the Baroque in Chicago.

Pamela Vliek Martchev, flute

Flutist Pamela Vliek Martchev has played with southern California’s top orchestras, including the Los Angeles Philharmonic; San Diego, Pacific and Santa Barbara Symphonies; Reno and LA Chamber Orchestras, formerly serving as principal flute with the Boulder Philharmonic for 10 seasons. She is currently on the faculties of San Diego State University and Pt. Loma Nazarene University.

Anthony McGill, clarinet

An exceptional solo, chamber, and orchestral classical musician, Anthony McGill was named principal clarinet of the New York Philharmonic in 2014. Former Principal Clarinet of the Metropolitan Opera Orchestra (MET), Mr. McGill is the recipient of an Avery Fisher Career Grant and the Sphinx Medal of Excellence. He has appeared as soloist with the MET Opera, American Symphony and New York String orchestras, all at Carnegie Hall. He serves on the faculty The Juilliard School and his alma mater the Curtis Institute of Music. Alongside Itzhak Perlman, Yo-Yo Ma and Gabriela Montero, Mr. McGill performed at President Obama’s 2009 inauguration.

Tamara Mumford, mezzo-soprano

This coming season, mezzo-soprano Tamara Mumford will return to the Metropolitan Opera for the Ring Cycle and will appear in concert with the Cleveland Orchestra, Los Angeles Philharmonic, and with the Berlin Philharmonic on tour in Asia. A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program she has appeared there in over 140 performances. Other opera engagements have included the title role in Tancredi with Teatro Nuevo, Henze’s Phaedra, The Rape of Lucretia, and the world première of Daniel Schnyder’s Yardbird at Opera Philadelphia and L’incoronazione di Poppea at the Glyndebourne Opera Festival and the BBC Proms.

Ryan Nestor, percussion

Ryan Nestor is professor of percussion at the University of San Diego. As a proponent of contemporary music, he has premièred numerous works and performed with ensembles such as Red Fish Blue Fish and International Contemporary Ensemble. Mr. Nestor earned the DMA from the University of California, San Diego, and a degree in Music Education from the University of Kentucky.

Paul Neubauer, viola

Called a “master musician” by the New York Times, this season violist Paul Neubauer made his Chicago Symphony subscription debut with conductor Riccardo Muti and his Mariinsky Orchestra debut with conductor Valery Gergiev. He also gave the U.S. Première of the newly discovered Impromptu for viola and piano by Shostakovich with pianist Wu Han at the Alice Tully Hall at Lincoln Center. In addition, his recording of the Aaron Kernis Viola Concerto with the Royal Northern Sinfonia, was released on Signum Records and his recording of the complete viola and piano music by Ernest Bloch with pianist Margo Garrett was released on Delos.

ARTIST BIOGRAPHIES New Orford String Quartet

Johathan Crow, Andrew Wan, violins; Eric Nowlin, viola; Brian Manker, cello

“These four string virtuosos animate every note with uncommon power and passion as well as elegance. Listen and weep,” (The Toronto Star). With the goal of developing a new model for a touring string quartet, the New Orford String Quartet brings four elite orchestral leaders together to perform chamber music at the highest level. Consisting of the concertmasters and principal cellist and violist of the Montreal, Detroit, and Toronto Symphonies, the Quartet has seen astonishing success, giving annual concerts for national CBC broadcast and receiving unanimous critical acclaim, including two Opus Awards for Concert of the Year. Recent seasons have featured a return to Chicago as well as their New York City debut on Lincoln Center’s Great Performers series. Their Brahms String Quartet album won a 2017 Juno Award. They are dedicated to promoting Canadian works, both new commissions and older neglected repertoire. Members teach at McGill University and the University of Toronto.

Hai-Ye Ni, cello

An exceptional musician renowned for her fluid technique, gorgeous tone and brilliantly expressive performances, Avery Fisher Career Grant recipient cellist Hai-Ye Ni enjoys a distinguished, multifaceted career as principal cellist of the Philadelphia Orchestra and as a sought-after soloist and chamber musician. A versatile artist who has been praised by the press as “soulfully expressive” (Washington Post) and who produces a “superbly focused sound” (San Francisco Chronicle), Ms. Ni has performed on classical stages around the world, appearing as soloist with orchestras such as Philadelphia, the New York and China Philharmonics, and the Vienna Chamber Orchestra. She is on the faculty of Rutgers University.

Ken Noda, piano

Ken Noda is Musical Advisor to the Lindemann Young Artist Development Program at the Metropolitan Opera where he coaches young singers and pianists. He studied with Daniel Barenboim and performed as soloist with the Berlin, Vienna, New York, Israel, and Los Angeles Philharmonics; the London, Boston, Chicago, and San Francisco Symphonies; the Cleveland Orchestra, Orchestre de Paris, and Philharmonia Orchestra of London under Abbado, Barenboim, Chailly, Levine, Mehta, Ozawa, and Previn. In July 2019, he will retire from his full-time position at the Met after 28 years, continuing to guest coach for the Met/ Lindemann program and the Carnegie Hall/Weill Music Institute.

John Novacek, piano

Grammy®nominated pianist John Novacek regularly tours the Americas, Europe and Asia as concerto soloist, recitalist and chamber musician. Venues have included Carnegie Hall, Lincoln Center, Kennedy Center, Hollywood Bowl, Paris’s Théâtre des Champs-Élysées, London’s Wigmore Hall, and Tokyo’s Suntory Hall. His festival appearances include Mostly Mozart, Aspen, SummerFest La Jolla, Caramoor, Ravinia, BBC Proms (England); Verbier (Switzerland); and Stavanger (Norway). Chamber music collaborations include Leila Josefowicz, Lynn Harrell, Yo-Yo Ma, Joshua Bell, and Cho-Liang Lin. Radio programs “Performance Today” (NPR), “St. Paul Sunday” and “A Prairie Home Companion” have featured him and pop diva Diana Ross is among the performers of Mr. Novaceks compositions.

Heiichiro Ohyama, viola

Heiichiro Ohyama holds positions as Music Director and Conductor of the Santa Barbara Chamber Orchestra, as well as Artistic Director of

both Tokyo’s CHANEL Pygmalion Chamber Music Series and “Music Dialogue.” Born in Kyoto, Japan, Mr. Ohyama graduated from London’s Guildhall School of Music and Drama in 1970 and studied viola with William Primrose at Indiana University. Mr. Ohyama was the first La Jolla Music Society SummerFest Artistic Director from 1986-97. In 2005, he received the ‘Fukuoka City Cultural Prize’ and in 2008, ‘Outstanding Performance Award’ by the Japanese Government. In 2014, he was recognized for his artistic contribution by the City of Santa Barbara, USA.

Marcus Overton, lecturer

Marcus Overton is a past Artistic Administrator for La Jolla Music Society. His 50-year career in arts management includes senior management positions at Lyric Opera of Chicago, the Ravinia Festival, nearly nine years as Senior Manager of Performing Arts at the Smithsonian Institution, and—at the invitation of Gian Carlo Menotti—the general manager’s post at Spoleto Festival USA in Charleston, South Carolina.

Alyssa Park, violin

Alyssa Park established an enviable international reputation at 16 for being the youngest prizewinner in the history of the Tchaikovsky International Competition. Ms. Park’s numerous appearances include frequent performances at major German festivals including Ludwigsburg and Schleswig-Holstein, where she played with pianist Martha Argerich. She is a founding member of Lyris Quartet, the ensemble in residence at Santa Monica’s Jacaranda Series.

Jon Kimura Parker, piano

Last season Jon Kimura Parker appeared as concerto soloist with the Chicago Symphony,

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ARTIST BIOGRAPHIES Philadelphia Orchestra, Baltimore Symphony, and the National Symphony. He is the founding member of the Montrose Trio with Martin Beaver and Clive Greensmith, and the founding member of Off The Score with iconic Police drummer Stewart Copeland. Mr. Parker is Professor of Piano at the Shepherd School of Music at Rice University, Artistic Director of the Honens International Piano Competition, and Artistic Advisor of the Orcas Island Chamber Music Festival. He was invested as an Officer of the Order of Canada in 1999.

Lyubov Petrova, soprano

Opera News hails Lyubov Petrova as a “soprano of ravishing, changeable beauty, blazing high notes and magnetic stage presence.” Ms. Petrova made her Metropolitan Opera debut as Zerbinetta in Ariadne auf Naxos and since returned for numerous roles including Sophie in Der Rosenkavalier, Pamina in Die Zauberflöte, and Norina in Don Pasquale. Other recent performances include: Les contes d’Hoffmann (New Israeli Opera); Der Rosenkavalier (Bolshoi Opera); L’incoronazione di Poppea and L’arbore di Diana (Teatro Real); Die Zauberflöte and Die lustige Witwe (Teatro Colón); L’olimpiade (Pergolesi Festival); Roméo et Juliette (Nederlandse Opera, Dallas Opera, Pittsburgh Opera); and Rigoletto (Washington National Opera, Austin Lyric Opera).

Mark Pinter, narrator

Mark Pinter’s professional career as an actor spans over four decades and includes work on regional and off-Broadway stages, network television, and feature films. A frequent actor at the Old Globe Theatre, he was most recently seen as Frank in Karen Zacarias’ comedy Native Gardens. Currently, he can be heard as the narrator of the critically acclaimed documentary short The Driver is Red – an official entry in the Sundance Film Festival.


John Pizzarelli Trio

John Pazzarelli, vocals and guitar; Mike Karn, bass; Konrad Paszkudzki, piano

GRAMMY® Award-winning, world-renowned guitarist and singer John Pazzarelli has been hailed by the Boston Globe for “reinvigorating the Great American Songbook and repopularizing jazz.” The Toronto Star pegged him as “the genial genius of the guitar,” and the Seattle Times saluted him as “a rare entertainer of the old school.” Established as one of the prime contemporary interpreters of the Great American Songbook, Mr. Pizzarelli has expanded that repertoire by including the music of Paul McCartney, Joni Mitchell, Neil Young, Tom Waits, Antônio Carlos Jobim and The Beatles. In his 2017 Concord Jazz release Sinatra & Jobim @ 50, Mr. Pizzarelli returns to the bossa nova of Antonio Carlos Jobim. With co-vocalist Daniel Jobim, grandson of the legendary Brazilian composer, the two explore songs Sinatra and Jobim recorded in 1967 and 1969 as well as add new songs to the mix flavored with the spirit of the classic Francis Albert Sinatra and Antonio Carlos Jobim album. Having studied tenor saxophone at New York University and worked more than 20 years in the New York Jazz scene with artists such as Ray Charles and Harry Connick Jr., Mark Karn began to seriously pursuing the bass in 2007, and within a couple of years was working with some of New York’s best musicians. Once performing throughout the world with some of the jazz world’s biggest names as a tenor saxophonist, Michael Karn has once again crisscrossed the globe as a top call bassist. Pianist Konrad Paszkudzki joined the John Pizzarelli Quartet in November of 2013, following a yearlong residency and two self-released trio recordings--which led to over 500 performances worldwide over the next four years. Raised in Western Australia by Polish parents, he relocated to the United States in 2009. A Yamaha artist, he became Artistic Director of Jazz at the Ballroom in 2017, a not for profit organization committed to delivering the highest calibre of swinging American jazz across the West Coast.

Juho Pohjonen, piano

Celebrated as one of Finland’s most outstanding pianists, Juho Pohjonen has received widespread acclaim for his profound musicianship and distinctive interpretations of repertoire from Bach to Salonen. Selected by Sir András Schiff as winner of the 2009 Klavier Festival Ruhr Scholarship, Mr. Pohjonen has won numerous other prizes in both Finnish and international competitions. Recent apperances include Music@Menlo, the Santa Fe, Ravinia, and Bridgehampton Chamber Music Festival Festivals, and with the Chamber Music Society of Lincoln Center at Saratoga Performing Arts Center. This year will also see the realease of a recording with cellist Inbal Segev and the music of Chopin, Schumann, and Grieg.

Erik Ralske, horn

Erik Ralske has served as Principal Horn of the Metropolitan Opera Orchestra since 2010 and is also the Principal Horn of the All-Star Orchestra, a series on PBS. Formerly a member of the New York Philharmonic for 17 seasons, he was a soloist with the orchestra over a dozen times. He has been guest principal horn with the Berlin Staatskapelle, Philadelphia, Cleveland and LA Philharmonic Orchestras. Mr. Ralske is on the faculty of Mannes College of Music and The Juilliard School, where he received his Bachelor and Master of Music degrees.

Catherine Ransom Karoly, flute

Catherine Ransom Karoly was appointed Los Angeles Philharmonic Associate Principal Flute by former Music Director Esa-Pekka Salonen in March 2009. She joined the Philharmonic in 1996, and made her solo debut in 2000. Ms. Karoly is a former member of the New World Symphony and the Dorian Wind Quintet. She earned her Master of Music degree from

ARTIST BIOGRAPHIES The Juilliard School, studying with Carol Wincec, and has three children with her husband LA Phil cellist Jonathan Karoly.

Teresa Reilly, clarinet

Clarinetist Teresa Reilly, earned her Masters Degree from Northwestern University and her Undergraduate Degree from DePaul University in Chicago. Teresa performs regularly, has toured and recorded with the Chicago Symphony Orchestra. An avid chamber musician, her concerts have been broadcast on WFMT’s Dame Myra Hess Memorial Series and NPR’s “Performance Today” and “In Concert”. Her playing is featured on the recent Naxos recording “Synergy,” with John Bruce Yeh, and the Albany recording “Peculiar Plants,” with her innovative, east-meets-west quartet, Birds and Phoenix.

Nicolas Reveles, lecturer

Composer, pianist, and arts educator Nicolas Reveles has lectured for San Diego Opera since 1977. Dr. Reveles holds a doctorate in piano from the Manhattan School of Music and has recently retired as the Director of Education and Community Engagement for San Diego Opera.

Rolston String Quartet

Luri Lee, Emily Kruspe, violins; Hezekiah Leung, viola; Jonathan Lo, cello

Recipient of Chamber Music America’s 2018 Cleveland Quartet Award and First Prize winner of 2016’s 12th Banff International String Quartet Competition, Canada’s Rolston String Quartet continue to receive acclamation and recognition for their musical excellence. Other awards and honors include winning Astral’s National Auditions, Grand Prize of the 31st Chamber Music Yellow Springs Competition, and being named among

CBC Radio’s “30 Hot Canadian Classical Musicians Under 30” in 2016. The Rolston String Quartet – Luri Lee (violin), Hezekiah Leung (viola), Jonathan Lo (cello), and new member as of spring 2018 Emily Kruspe (violin) – was formed in the summer of 2013 at the Banff Centre for Arts and Creativity’s Chamber Music Residency. They take their name from Canadian violinist Thomas Rolston, founder and long-time director of the Music and Sound Programs at the Banff Centre. Luri Lee plays a Carlo Tononi violin, generously on loan from Shauna Rolston Shaw.

Leah Rosenthal, lecturer

Leah Rosenthal, Director of Programming for La Jolla Music Society, has held positions with some of the most prestigious non-profit organizations in the country, including the Chicago Symphony Orchestra, the Ravinia Festival, The Recording Academy, and PBS. Ms. Rosenthal completed undergraduate studies in voice performance and went on to receive her master’s degree in Arts Management at Columbia College of Chicago.

John K. Russell, music director

Dr. John Russell is active as a professional tenor, conductor and educator. He is the Director of Choral and Vocal Studies at Palomar College and the Music Director of the San Diego Master Chorale. As SDMC’s music director he conducts and coordinates all of the organization’s artistic activities, which perform regularly with San Diego Symphony, the Mainly Mozart Festival Orchestra, and La Jolla Symphony, among other regional orchestras.

Claudia Russell, lecturer

Claudia Russell hosts early afternoon jazz weekdays on KSDS Jazz 88.3, San Diego’s award-winning, member-supported jazz station. Claudia has been in radio professionally since 1988, working for both commercial and public stations, and at KSDS since the spring of 2001. She has served on development panels for National Public Radio and at the JazzWeek Summit. She has interviewed Joe Williams, Dave Brubeck, Herbie Hancock, Chick Corea, Jack Costanzo, and many others.

San Diego Youth Symphony International Youth Symphony

Under the leadership of President and CEO Dalouge Smith and Music Director Jeff Edmons, San Diego Youth Symphony and Conservatory (SDYS) instills excellence in the musical and personal development of students ages 8 to 25 through rigorous and inspiring musical training experiences. Since 1945, SDYS has given thousands of musicians the opportunity to study and perform classical repertoire at a highly advanced level. SDYS serves 600 students annually through its twelve ensembles in the Conservatory Program. Its vision to “Make Music Education Accessible and Affordable to All” has led to restoring and strengthening music education in public schools. In June 2015, select students of the San Diego Youth Symphony participated in SDYS’s 70th Anniversary Tour to China and performed in Beijing’s Forbidden City Concert Hall, San Diego’s sister city Yantai’s Concert Hall and the Oriental Arts Center in Shanghai.

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ARTIST BIOGRAPHIES Steven Schick, percussion

Percussionist, conductor, and author Steven Schick was born in Iowa and raised in a farming family. He has championed contemporary music by commissioning or premièring more than one hundred-fifty new works. He is music director of the La Jolla Symphony and Chorus and 2018 is his inaugural year as artistic director and conductor of the Breckenridge Music Festival. Mr. Schick maintains a lively schedule of guest conducting including recent appearances with the BBC Scottish Symphony Orchestra and the Saint Paul Chamber Orchestra, and authored The Percussionist’s Art: Same Bed, Different Dreams. Steven Schick is Distinguished Professor of Music and holds the Reed Family Presidential Chair at the University of California, San Diego.

Gil Shaham, violin

One of the foremost violinists of our time: Gil Shaham’s flawless technique combined with his inimitable warmth and generosity of spirit has solidified his renown as an American master. The Grammy® Award-winner, also named Musical America’s “Instrumentalist of the Year,” is sought after world-wide for concerto appearances with leading orchestras and conductors, and regularly gives recitals and appears with ensembles on the world’s great concert stages and at the most prestigious festivals. Mr. Shaham was awarded a 1990 Avery Fisher Career Grant and the coveted Avery Fisher Prize in 2008. Having more than two dozen CDs to his name, Mr. Shaham plays the 1699 “Countess Polignac” Stradivarius, and lives in New York City with his wife, violinist Adele Anthony, and their three children.


Ryan Simmons, bassoon

Ryan Simmons has been a member of the San Diego Symphony since 2004. Graduate of the Curtis Institute, he has performed with the LA Phil and as principal bassoon with the San Diego Chamber Orchestra and the Jacksonville Symphony. He has participated in numerous festivals including Marlboro, Sararsota and Tanglewood, and is a member of the San Diego chamber music ensemble Camarada.

Jeanne Skrocki, violin

Currently Assistant Concertmaster of the Pacific Symphony, violinist Jeanne Skrocki made her solo debut with the LA Phil at age 14 and at 16 was a scholarship student of legendary violinist Jascha Heifetz in his master class at the USC. 2017 marked her fifth year as an esteemed faculty member of the Jascha Heifetz Symposium held at Connecticut College.

Kyoko Takezawa, violin

Since winning the 1986 Second Quadrennial International Violin Competition in Indianapolis Gold Medal, Kyoko Takezawa has performed with major orchestras worldwide including the New York Philharmonic, Academy of St. Martin in the Fields, the Tonhalle Orchestra of Zurich, the Royal Concertgebouw Orchestra, the NHK Symphony, and the New Japan Philharmonic, and many more. She has collaborated with such distinguished conductors as Seiji Ozawa, Sir Colin Davis, and David Zinman, given recitals at major venues internationally, and participated at festivals such as Aspen, Ravinia, BBC Proms, and Lucerne. She plays Antonio Stradivarius “Lady Tennant” violin (1699) on loan from the Stradivari Society in Chicago.

Sarah Tuck, flute

Sarah Tuck has been a member of the San Diego Symphony since 1993, serving as Acting Principal from 1998-2004. She has also played as a substitute with the Los Angeles Philharmonic and the Detroit Symphony. Sarah received Bachelors and Masters degrees from Indiana University, and studied at the Manhattan School of Music's Orchestral Performance program.

Gilles Vonsattel, piano

Swiss-born American pianist Gilles Vonsattel is the recipient of an Avery Fisher Career Grant and the Andrew Wolf Chamber Music Award, and winner of the Naumburg and Geneva competitions. He has appeared with the Munich Philharmonic, Orchestre Symphonique de Montréal, and Boston and San Francisco Symphonies, and performed recitals and chamber music at Ravinia, Wigmore Hall, Bravo! Vail, Music@Menlo, and made multiple recent appearances with the Chamber Music Society of Lincoln Center. Mr. Vonsattel received his bachelor’s degree in political science and economics from Columbia University, his master’s degree from The Juilliard School, and is on the faculty of the University of Massachusetts at Amherst.

Jian Wang, cello

Jian Wang began studying cello with his father when he was four. While a student in Shanghai, he was featured in the documentary film From Mao to Mozart: Isaac Stern in China. Mr Stern’s encouragement and support helped allow him to come to the United States and study at the Yale School of Music with Aldo Parisot. Jian Wang has performed with many of the worlds leading orchestras, led by many of the greatest conductors. His most recent

ARTIST BIOGRAPHIES recording is of the Elgar Cello Concerto with the Sydney Symphony and Vladimir Ashkenazy. His instrument is on gracious loan by the family of the late Mr. Sau-Wing Lam.

Liang Wang, oboe

Liang Wang is Principal Oboe for the New York Philharmonic Orchestra. He has also held Principal’s positions with Cincinnati Symphony Orchestra and Santa Fe Opera. Mr. Wang made his Carnegie Hall debut in 2011 performing Chen Qigang’s Extase, and was invited by the President of China and France to perform the work with the Orchestre Colonne de France at Versailles’s Royal Opera House in March 2014 to celebrate the 50th anniversary of France-China diplomacy. He has performed with the Santa Fe Music Festival and La Jolla Music Society’s SummerFest, where he premièred Sean Shepherd’s Oboe Quartet.

David Washburn, trumpet

Former principal trumpet and soloist with the Hong Kong Philharmonic Orchestra, Yamaha Performing Artist David Washburn is the principal trumpet of the Los Angeles Chamber Orchestra , Los Angeles Master Chorale and the associate principal trumpet of the LA Opera Orchestra. He has been a part of the John Williams Trumpet Section for over 20 years; his many motion picture soundtrack credits range from the Coco to Star Wars: The Force Awakens. David teaches at BIOLA and Azusa Pacific Universities.

Orion Weiss, piano

One of the most sought-after soloists in his generation of American musicians, pianist Orion Weiss has performed with major

American orchestras, including the Chicago and Boston Symphonies and the Los Angeles and New York Philharmonics. Beyond technical mastery, his deeply felt and exceptionally crafted performances have won him worldwide acclaim. Named the Classical Recording Foundation’s “Young Artist of the Year” in September 2010, Mr. Weiss made his debut with the Boston Symphony Orchestra at Tanglewood as a last-minute replacement for Leon Fleisher in 2011. Also known for his affinity for chamber music, he collaborates regularly with a wide variety of leading artists.

Shai Wosner, piano

Pianist Shai Wosner has attracted international recognition for his exceptional artistry and musical integrity. His performances of a broad range of repertoire, from Beethoven and Schubert to Ligeti and the music of today, communicate his imaginative programming and intellectual curiosity. With the launch of a new recital series―Schubert: The Great Sonatas―and his latest album, Impromptu (Onyx), featuring an eclectic mix of improvisationally inspired works by composers including Schubert, he builds on a career-long engagement with composer’s music. Born in Israel, Mr. Wosner is a recipient of Lincoln Center’s Martin E. Segal Award, an Avery Fisher Career Grant, and a Borletti-Buitoni Trust Award.

Tien-Hsin Cindy Wu, violin & viola

Praised by the Seattle Times as “Simply marvelous,” Tien-Hsin Cindy Wu enjoys a versatile career as a soloist and chamber musician. Ms. Wu has collaborated in concerts with renowned artists such as Cho-Liang Lin, Midori, Thomas Quasthoff, Yuja Wang, and members of the Alban Berg, Guarneri and Tokyo string quartets at venues such as the Kennedy Center, Carnegie Hall, Lincoln Center, and festivals such as the Marlboro Music Festival. Ms. Wu’s many

awards include third prize of the International David Oistrakh Violin Competition. She has taught at the University of Southern California, and is currently the Artistic Partner of the Da Camera Society in Los Angeles.

Wu Man, pipa

The world’s premier pipa virtuoso and leading ambassador of Chinese music, Wu Man is a soloist, composer, and educator who gives her lute-like instrument a new role in traditional and contemporary music. She has premièred hundreds of new works for the pipa, while spearheading multimedia projects to both preserve and create awareness of China’s ancient musical traditions. She has performed in recital and as soloist with orchestras around the world, is a frequent collaborator with the Kronos Quartet and Silk Road Ensemble, and has recorded more than 40 albums, including the Grammy Award-winning Sing Me Home, which features her own composition.

Joyce Yang, piano

Van Cliburn International Piano Competition silver medalist and Avery Fisher Career Grant recipient, pianist Joyce Yang is blessed with “poetic and sensitive pianism” (Washington Post) and a “wondrous sense of color” (San Francisco Classical Voice). She has performed as soloist with New York Philharmonic, Chicago Symphony, and BBC Philharmonic (among many others), working with such distinguished conductors as Edo de Waart and Jaap van Zweden. In recital, she has taken the stage at New York’s Lincoln Center and Metropolitan Museum, The Kennedy Center, and Zurich’s Tonhalle. Graduate from Juilliard and recipient of the school’s 2010 Arthur Rubinstein Prize Ms. Yang is a Steinway artist.

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ARTIST BIOGRAPHIES John Bruce Yeh, clarinet

John Bruce Yeh joined the Chicago Symphony Orchestra in 1977, the first Asian musician ever appointed to the CSO, and is now the longest-serving clarinetist in CSO history. A prize winner at both the 1982 Munich International Music Competition and the 1985 Naumburg Clarinet Competition in New York, Yeh continues to solo with orchestras around the globe. An enthusiastic champion of new music, John Bruce Yeh is the dedicatee of new works for clarinet by numerous composers, ranging from Ralph Shapey to John Williams. His more than a dozen solo and chamber music recordings have earned worldwide critical acclaim. Yeh is director of Chicago Pro Musica, which received the Grammy Award in 1986 as Best New Classical Artist.

DaXun Zhang, bass

“If the bass is finally to produce a headliner, the instrument can have no better champion than Zhang,” sited The Washington Post of double bassist DaXun Zhang”. Avery Fisher Career Grant recipient Zang was the youngest artist to win the 2001 International Society of Bassists Solo Competition and the first double bass player to win the Young Concert Artists International Auditions. He has appeared as soloist with prominent orchestras, and performed extensively with Yo-Yo Ma and the Silk Road Ensemble. Currentlly Associate Professor at the University of Texas at Austin, Mr. Zhang will be joining the inaugural faculty at the Tianjin Juilliard School in China in 2019.

Yao Zhao, cello

Hailed “… a superb cellist with intense and sensuous sound”(New York Concert Review), cellist Yao Zhao is the tenured Principal Cello for San Diego Symphony Orchestra and on the faculty of San Diego State University. A founding member of the award-winning Great Wall String Quartet, he was honored as one of China’s Ten Extraordinary Cellists of the Generation in 2013.

David Zinman, conductor

Wide-ranging repertoire, commitment to contemporary music and historically informed performance have distinguished New York-born conductor David Zinman’s career. He is Conductor Laureate of the Tonhalle-Orchester Zürich, having completed his 19-year tenure as Music Director in 2014. He has held positions as Music Director of the Rotterdam Philharmonic, Rochester Philharmonic, and Baltimore Symphony Orchestras, and more recently at the Orchestre Français des Jeunes. He was Principal Conductor of the Netherlands Chamber Orchestra and Music Director of the Aspen Music Festival, School and American Academy of Conducting. With an extensive discography of more than 100 recordings, his many awards and honors include five Grammy®Awards, title of Chevalier de l’Ordre des Arts et des Lettres, the City of Zürich Art Prize, and the Ditson Award from Columbia University.

Sam Zygmuntowicz, lecturer

Violinmaker Samuel Zygmuntowicz, was already a prize-winning sculptor before beginning his instrument-making studies at age 13. Since 1985 he has made instruments by advance commission for performers such as Cho-Liang Lin, Joshua Bell, Yo-Yo Ma, Leila Josefowicz, and members of the Emerson String Quartet, among many more. He studied advanced making and restoration with Carl Becker and Rene Morel at the SLC Violinmaking School and is Creative Director of the Strad3D project, under the direction of physicist George Bissinger. Sam lives in Brooklyn and plays fiddle with a variety of performing folk music groups. His recordings include Grand Picnic and Jump When the Trumpets Blow.

PHOTO CREDITS: Pg. 9: UC San Diego Department of Music’s Conrad Prebys Concert Hall © Erik Jepsen; Pg. 10: C. Lin by Sophie Zhai; Pg. 11: A. Anthony © Marcia Ciriello; Pg. 12: E. Ax by Lisa-Marie Mazzucco; Pg. 13: J. Pohjonen by Lisa-Marie Mazzucco; Pg. 19: Y. Bronfman © Frank Stewart; Pg. 23: Emerson String Quartet by Lisa-Marie Mazzucco; Pg. 26: S. Wosner by Jamie Jung, J. Yang by KT Kim; Pg. 30: L. Bernstein courtesy of the Leonard Bernstein Office, Inc.; Pg. 31: FLUX Quartet courtesy of artist; Pg. 35: C. Brey by Christian Steiner, T. Wu courtesy of artist, DaXun Zhang courtesy of artist; Pg. 38: art by Yue Chen; Pg. 39: C. Lin courtesy of artist, P. Neubauer by Tristan Cook, T. Mumford by Fay Fox; Pg. 43: A. Anthony © Marcia Ciriello, G. Shaham by Luke Ratray; Pg. 50: J. Novacek by Peter Shaaf, Y. Lee courtesy of artist, E. Ralske by David Finlayson; Pg. 54: J. Pizzarelli courtesy of artist; Pg. 55: A. Lee by Arthur Moeller, T. Hoffman courtesy of artist, K. Takezawa courtesy of artist; Pg. 59: New Orford String Quartet by Sian Richards; Pg. 63: E. Ax by Lisa-Marie Mazzucco; Pg. 67: D. Zinman by Priska Ketterer, G. Hoffman by Bernard Martinez, J. Parker by Tara McMullen.


SUMMERFEST COMMISSION HISTORY BRUCE ADOLPHE Couple (1999) David Finckel, cello; Wu Han, piano Oceanophony (2003) Bruce Adolphe, conductor; Marisela Sager, flute; Frank Renk, clarinet; Ryan Simmons, bassoon; Aiyun Huang, percussion; Marija Stroke, piano; Tereza Stanislav, violin; Richard Belcher, cello; Allan Rickmeier, bass Into a Cloud (2005) Bruce Adolphe, narrator; Zheng Huang, oboe; Jun Iwasaki, violin; Erin Nolan, viola; Davin Rubicz, cello; Marija Stroke, piano Zephyronia (2006) Imani Winds

STEPHEN HARTKE Sonata for Piano Four-Hands (2014) Orion Weiss, Anna Polonsky, piano

JOEL HOFFMAN of Deborah, for Deborah (2015) Nancy Allen, harp; Cho-Liang Lin, violin; Toby Hoffman, viola; Gary Hoffman, cello

FRANGHIZ ALI-ZADEH Sabah (morning/tomorrow/in the future) (2003) Aleck Karis, piano; Cho-Liang Lin, violin; Felix Fan, cello; Wu Man, pipa

HUANG RUO Real Loud (2018) Real Quiet TOSHI ICHIYANAGI String Quartet No. 5 (2008) FLUX Quartet PIERRE JALBERT Piano Quintet (2017) Juho Pohjonen, piano Rolsoton String Quartet

JULIAN ANDERSON String Quartet No. 2 “300 Weihnachtslieder” (2014) FLUX Quartet

AARON JAY KERNIS Perpetual Chaconne (2012) John Bruce Yeh, clarinet; Calder Quartet

CLARICE ASSAD Synchronous (2015) Liang Wang, oboe; Andrew Wan, Fabiola Kim, violins; Robert Brophy, viola; JeongHyoun "Christine" Lee, cello

LEON KIRCHNER String Quartet No. 4 (2006) Orion String Quartet

SÉRGIO ASSAD Candido Scarecrow (2014) The Assad Brothers DEREK BERMEL Death with Interruptions (2014) David Chan, violin; Clive Greensmith, cello; John Novacek, piano CHEN YI Ancient Dances (2004) I. Ox Tail Dance II. Hu Xuan Dance David Schifrin, clarinet; André-Michel Schub, piano Night Thoughts (2004) Catherine Ransom, flute; Keith Robinson, cello; André-Michel Schub, piano STEWART COPELAND Retail Therapy (2009) Kyoko Takezawa, violin; Nico Abondolo, bass; Frank Renk, bass clarinet; Stewart Copeland, drums; Joyce Yang, piano

DAVID LANG String Quartet “almost all the time” (2014) FLUX Quartet LEI LIANG Vis-à-vis, for Pipa and Percussion (2018) Wu Man, pipa; Steven Schick, percussion MAGNUS LINDBERG Konzertstück for Cello and Piano (2006) Anssi Karttunen, cello; Magnus Lindberg, piano JACQUES LOUSSIER Divertimento (2008) Jacques Loussier Trio; SoJin Kim, Shih-Kai Lin, violins; Elzbieta Weyman, viola; Yves Dharamraj, cello; Mark Dresser, bass JULIAN MILONE La Muerte del Angel (arr. movement from Piazzolla's Tango Suite) (2008) Gil Shaham, Kyoko Takezawa, Cho-Liang Lin, Margaret Batjer, violins; Chris Hanulik, bass MARC NEIKRUG Ritual (2007) Real Quiet

CHICK COREA String Quartet No. 1, The Adventures of Hippocrates (2004) MARK O'CONNOR Orion String Quartet String Quartet No. 2 "Bluegrass" (2005) MARC-ANDRÉ DALBAVIE Mark O‘Connor, Cho-Liang Lin, violins; Quartet for Piano and Strings (2012) Carol Cook, viola; Natalie Haas, cello Yura Lee, violin; Paul Neubauer, viola; Felix Fan, cello; ANDRÉ PREVIN Jeremy Denk, piano Vocalise (1996) RICHARD DANIELPOUR Ashley Putnam, soprano; David Finckel, cello Clarinet Quintet “The Last Jew in Hamadan” (2015) CHRISTOPHER ROUSE Burt Hara, clarinet; Verona Quartet String Quartet No. 3 (2010) BRETT DEAN Calder Quartet Epitaphs for String Quintet (2010) KAIJA SAARIAHO Brett Dean, viola; Orion String Quartet Serenatas (2008) DAVID DEL TREDICI Real Quiet Bullycide (2013) ESA-PEKKA SALONEN Orion Weiss, piano; DaXun Zhang, bass; Shanghai Quartet Lachen verlernt (Laughing Unlearnt) (2002) Cho-Liang Lin, violin MARC-ANDRÉ HAMELIN String Quartet (2016) PETER SCHICKELE Hai-Ye Ni, cello; Marc-André Hamelin, piano Spring Ahead Quintet for Clarinet and String Quartet (2015) JOHN HARBISON Burt Hara, clarinet; Huntington Quartet String Quartet (2002) Orion String Quartet Crossroads (2013) Jennifer Johnson Cano, mezzo-soprano; Peggy Pearson, oboe; Linden String Quartet; Nico Abondolo, bass

LALO SCHIFRIN Letters from Argentina (2005) Lalo Schifrin, piano; David Schifrin, clarinet; Cho-Liang Lin, violin; Nestor Marconi, bandoneón; Pablo Aslan, bass; Satoshi Takeishi, percussion PAUL SCHOENFIELD Sonata for Violin and Piano (2009) Cho-Liang Lin, violin; Jon Kimura Parker, piano GUNTHER SCHULLER Quintet for Horn and Strings (2009) Julie Landsman, horn; Miró Quartet BRIGHT SHENG Three Fantasies (2006) Cho-Liang Lin, violin; André-Michel Schub, piano Northen Lights, for Violon, Cello and Piano (2010) Lynn Harrell, cello; Victor Asuncion, piano SEAN SHEPHERD Oboe Quartet (2011) Liang Wang, oboe; Jennifer Koh, violin; Cynthia Phelps, viola; Felix Fan, cello String Quartet No. 2 (2015) FLUX Quartet HOWARD SHORE A Palace Upon the Ruins (A Song Cycle) (2014) Jennifer Johnson Cano, mezzo-soprano; Catherine Ransom Karoly, flute; Coleman Itzkoff, cello; Andrew Staupe, piano; Julie Smith Phillips, harp; Dustin Donahue, percussion WAYNE SHORTER Terra Incognita (2006) Imani Winds STEVEN STUCKY Sonata for Violin and Piano (2013) Cho-Liang Lin, violin; Jon Kimura Parker, piano AUGUSTA READ THOMAS Bells Ring Summer (2000) David Finckel, cello JOAN TOWER Big Sky (2000) Chee-Yun, violin; David Finckel, cello; Wu Han, piano Trio La Jolla (2007) (Renamed Trio CAVANY) Cho-Liang Lin, violin; Gary Hoffman, cello; André-Michel Schub, piano White Granite (2011) Margaret Batjer, violin; Paul Neubauer, viola; Joshua Roman, cello; André-Michel Schub, piano GEORGE TSONTAKIS Stimulus Package (2009) Real Quiet CHINARY UNG AKASA: “Formless Spiral” (2010) Real Quiet JOHN WILLIAMS Quartet La Jolla (2011) Cho-Liang Lin, violin; Joshua Roman, cello; John Bruce Yeh, clarinet; Deborah Hoffman, harp CYNTHIA LEE WONG Piano Quartet (2011) Joyce Yang, piano; Martin Beaver, violin; Kazuhide Isomura, viola; Felix Fan, cello XIAOGANG YE Gardenia for String Quartet and Pipa (2017) Wu Man, pipa; Miró Quartet ELLEN TAAFFE ZWILICH Quintet for Violin, Viola, Cello, Contrabass and Piano (2011) Kalichstein-Laredo-Robinson Trio; Michael Tree, viola; Harold Robinson, bass Pas de Trois (2016) Kalichstein-Laredo-Robinson Trio

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Allen, Isaac 2010*,’13 Almond, Frank 1988 Anthony, Adele 2001,‘03,‘05-‘06, ‘18 Arvinder, Eric 2015 Ashikawa, Lori 1988◊ Banerdt, Rhiannon 2017* Barnett-Hart, Adam 2007*,‘16 Barston, Elisa 1992*◊,‘94 Batjer, Margaret 2001-‘03,‘07-‘11,‘13, ‘17-‘18 Beaver, Martin 2011,‘14,‘16 Biss, Paul 1986-‘87 Blumberg, Ilana 1993*◊ Borok, Emanuel 2004 Borup, Hasse 1999* Bouey, Christina 2017* Boyd, Aaron 2003*,‘16 Cárdenes, Andrés 1986-‘89 Chan, David 1995◊-‘97*◊,2001,‘04-‘05,‘07-‘11,‘13, ‘15,‘17 Chan, Ivan 1998 Chang, Sarah 2007 Chapelle, Corinne 1997* Chee-Yun 2000, ‘02,’06-’07,‘10,‘16-'17 Chen, Jiafeng 2013* Chen, Robert 1990 Ching, Daniel 2014 Chiu, Lucinda 2018 Cho, Yumi 2007,‘09 Choi, Jennie 1997* Choi, Jennifer 1994*◊ Copes, Steven 2008 Cosbey, Catherine 2013* Coucheron, David 2010* Derkervorkian, Armen 2017 Deutsch, Lindsay 2006* Dicterow, Glen 2017 Dolkas, Bridget 2001-‘02,‘07, 09-‘10,‘12-‘18 Drucker, Eugene 1988-‘89, 2000, ‘17 Emes, Catherine 1988◊ Englund, Meri 2013-‘14 Fedkenheuer, William 2014 Frank, Pamela 1994-‘95 Frankel, Joanna 2007* Frautschi, Jennifer 1990*-‘92*◊, ‘94*◊-‘95◊, ‘14 Frautschi, Laura 1990*-‘92*◊ Fried, Miriam 1986-‘87, 2006 Freivogel, J 2009* Fujiwara, Hamao 1992-‘94 Ganatra, Simin 1995◊ Gerard, Mary 1988◊ Georgieva, Mila 1996*◊ Gigante, Julie 2011 Goldstein, Bram 2010* Gringolts, Ilya 2001 Gruppman, Igor 1988◊ Gruppman, Vesna 1988◊ Gulli, Franco 1990 Hadelich, Augustin 2010-‘13, ‘15 Harasim, Sonja 2011* Hatmaker, Kathryn 2012-‘18 Hershberger, Amy 1997◊ Horigome, Yuzuko 1991 Hou, Yi-Jia Suzanne 2003* Hsu, Luke 2016* Hsu, Shu-Ting 2010 Huang, June 1988◊ Huang, Paul 2016,‘18 Hyun, Eileen 1988◊ Hyun, Katie 2012* Iwasaki, Jun 2005* Jacobson, Benjamin 2009 Jeong, Stephanie 2013 Jiang, Yi-Wen 2003 Josefowicz, Leila 2002,‘04,‘08 Kaplan, Mark 2001 Kavafian, Ani 1988,‘94,‘98, 2000,‘06


Kavafian, Ida 1998 Kerr, Alexander 2009, ‘14 Kim, Benny 1999 Kim, Fabiola 2015* Kim, Helen Hwaya 1996*◊-‘97*◊ Kim, Michelle 1992◊, ‘93*◊-‘95*◊,‘96◊,‘08,‘12-‘13, ‘15,‘17 Kim, SoJin 2008*-‘09* Kim, Young Uck 1990-‘91 Kitchen, Nicholas 2010 Koh, Jennifer 2008, ‘11, ‘17 Koo, Daniel 2015* Kraggerud, Henning 2002 Kwon, Yoon 2002*,‘05,‘07,‘09 Kwuon, Joan 1996*◊, 2004,‘07 Laredo, Jaime 2011 Lee, Bryan 2011* Lee, Gina 1992◊,‘93*,‘94*◊-95*◊ Lee, Joanna 2017 Lee, Kristin 2014,‘16-‘17 Lee, Luri 2018* Lee, Se-Yun 1999* Lee, Yura 2012, ‘14,‘16-‘18 Lin, Cho-Liang 1989-‘93,‘95-‘99, 2001-‘18 Lin, Jasmine 2008 Lin, Shih-Kai 2008* Ling, Andrew 2010 Link, Joel 2011* Lippi, Isabella 1993*◊ Lockwood, Kathryn 1993* Ma, Michael 2009 Martin, Philip 2017* Martinson, Haldan 1993*◊-‘95*◊ McDermott, Kerry 2003,‘07,‘15 McDuffie, Robert 1999 McElravy, Sarah 2013* Meyers, Anne Akiko 2005 Midori 2011 Monahan, Nicole 1992◊ Namkung, Yuri 2004* Nelson, Maureen 2003* Nightengale, Helen 2005,‘07 Niwa, Sae 2009* Nosky, Aisslinn 2014-‘15 O‘Connor, Mark 2001,‘05,‘09 Øland, Frederik 2016 Ong, Jonathan 2016* Otani, Reiko 1996*◊ Park, Alyssa 2016-‘18 Park, Tricia 2003*-‘04* Pauk, György 1986-‘87, ‘90 Peskanov, Mark 1990 Phillips, Daniel 1992-’93,‘95-‘97, 2002,‘04 Phillips, Todd 1992-‘93, 2002,‘04 Place, Annaliesa 1999* Preucil, Alexandra 2005* Preucil, William 1999, 2000 Qiang, Xiaoxiao 2011*, ‘14 Quint, Philippe 2012-’13 Redding, Deborah 1990 Ro, Dorothy 2016* Robinson, Cathy Meng 1998 Roffman, Sharon 1999* Rosenfeld, Julie 1989-‘99 Setzer, Philip 1999, 2000,‘03,‘15 Shaham, Gil 2001,‘03,‘05-‘06,‘08, ‘11,‘16,‘18 Shay, Yvonne 2012-‘14 Shih, Michael 2003 Shimabara, Sae 1996◊ Sitkovetsky, Dmitry 2015 Skrocki, Jeanne 2009-‘18 Smirnoff, Joel 2004,‘07 Southorn, David 2012* Stanislav, Tereza 2003*,‘12, ‘14 Staples, Sheryl 1990*-‘91*,‘92◊-‘94◊,‘95, 2006-‘07,‘09, ‘11,‘14,‘16 Stein, Eddie 1988◊

Steinhardt, Arnold 2002,‘06 Sussmann, Arnaud 2014 Swensen, Joseph 1989, 2013 Takezawa, Kyoko 1998-‘99,2001,‘03,‘05-‘06,‘08-‘09, ‘11,‘15,‘18 Thayer, Jeff 2005 Tognetti, Richard 2005 Tong, Kristopher 2010 Toyoshima, Yasushi 1997 Tree, Michael 2002 Trobäck, Sara 2002*, ‘05 Tursi, Erica 2014* Ung, Susan 2002 Urioste, Elena 2008* Ushikubo, Ray 2017 Ushioda, Masuko 1986-‘87,‘89 Vergara, Josefina 1993*◊,‘95◊,97◊ Wan, Andrew 2012, ‘14-‘16 Warsaw-Fan, Arianna 2012* Weilerstein, Donald 1986 Wilkie, Roger 1991,‘97, ‘17 Wu Jie 2007* Wu, Tien-Hsin Cindy 2011, ‘18 Yang, Jisun 2007 Yoo, Hojean 2015* Yoshida, Ayako 1991* Yu, Mason 2014* Zehetmair, Thomas 1988 Zehngut, Jeffrey 2010 Zelickman, Joan 2002 Zhao, Chen 1994*◊ Zhao, Yi 2014* Zhu, Bei 2006*,‘07,‘10 Zori, Carmit 1993 Kruspe, Emily 2018*


Ando, Fumino 1996*◊ Baillie, Helena 2011 Barston, Elisa 1994 Berg, Robert 1988◊ Biss, Paul 1986-‘87 Brooks, Colin 2017* Brophy, Robert 2003*,‘13, ‘15-‘16 Bulbrook, Andrew 2009 Carrettin, Zachary 2011* Chen, Che-Yen 2005,‘07-‘10,‘12-‘13, ‘15-‘16, ‘18 Choi, En-Sik 1990* Choong, Angela 2010* Cook, Carol 2005 Dean, Brett 2010 Dirks, Karen 1986-‘87 DuBois, Susan 1993*,‘95*◊ Dunham, James 2007,‘09,‘12 Dutton, Lawrence 1999, 2003, ‘15 Frankel, Joanna 2007* Gilbert, Alan 2003 Gulkis, Susan 1992* Ho, Shirley 1994*◊,‘95*,‘96*◊,‘97*◊, 2006 Hoffman, Toby 1989-‘92,‘95-‘96,‘98, 2000-‘01,‘11-‘12, ‘15, ‘17, ‘18 Holtzman, Carrie 1988◊ Huang, Hsin-Yun 2008 Husum, Marthe 2015*

◊ SummerFest Ensembles * Fellowship Artists, Workshop participant ^ in collaboration with the University Art Gallery, UCSD # in collaboration with the Museum of Contemporary Art, San Diego BOLD Newcomers to SummerFest

GRAND TRADITION Imai, Nobuko 1986 Isomura, Kazuhide 2011 Jacobson, Pamela 2009 Kam, Ori 2003, ‘14, ‘15 Karni, Gilad 1993*◊ Kavafian, Ida 1998 Kraggerud, Henning 2002 Lapointe, Pierre 2007*,‘16 Largess, John 1994*◊-‘96*◊, ‘14,‘17 Lee, Scott 1997*◊, 2002,’04,‘07 Lee, Yura 2014,‘16 Leung, Hezekiah 2018* Li, Honggang 2003 Lin, Wei-Yang Andy 2012* Liu, Yun Jie 1990* Lockwood, Kathryn 1995◊ LoCicero, Joseph 2014* Longhi, Caterina 2016-‘17 Martin, Francesca 1988-‘90 Maril, Travis 2009-‘14,‘16-‘18 Moerschel, Jonathan 2009 Molnau, Michael 2012 Motobuchi, Mai 2010 Neubauer, Paul 1992-‘96,‘98-‘99, 2001,‘03-‘07,‘09-‘12, ‘15, ‘17-‘18 Neuman, Larry 1991* Ngwenyama, Nokuthula 2000 Nilles, AJ 2014 Nolan, Erin 2005* Nørgaard, Asbjørn 2016 Ohyama, Heiichiro 1986-‘97, 2004, ‘06,‘08-‘09, ‘11, ‘14- ‘16, ‘18 O’Neill, Richard 2013-‘15 Pajaro-van de Stadt, Milena 2011* Phelps, Cynthia 1989-‘90,‘99- 2002, ‘05-’08,‘10-‘11, ‘13-‘14,‘16 Quincey, Brian 1992*◊-‘93*◊ Quintal, Sam 2009* Richburg, Lynne 1992*◊ Rojansky, Abigail 2016* Runde, Ingrid 1988◊ Sanders, Karen 1988 Strauss, Michael 1991* Suzuki, Leo 1994*◊,‘99* Tenenbom, Steven 2004 Thomas, Whittney 2005 Toyoshima, Yasushi 1997 Tree, Michael 2001-‘02,‘08, ‘11 Ung, Susan 2010 Vernon, Robert 1987-‘88 Walther, Geraldine 1993-‘95 Weyman, Elzbieta 2008* Wickert, Eve 2003* Wilson, Evan N. 2001-‘02 Wu, Tien-Hsin Cindy 2017-‘18 Wong, Eric 2013* Zehngut, Gareth 2010


Arron, Edward 2017 Belcher, Richard 2003* Braun, Jacob 2008 Brey, Carter 1990-‘91,‘93,‘95-‘96, ‘99-2001,‘03-‘06, ‘08-‘10,‘12-‘13,‘16, ‘18 Bruskin, Julia 2003* Byers, Eric 2009 Canellakis, Nicholas 2014 Castro-Balbi, Jesús 2002* Chaplin, Diane 1989-‘90 Chien, Chia-Ling 2012, ‘15-‘18 Cho, Stella 2015* Cooper, Kristina 2003 Cox, Alexander 2014* Crosett, Rainer 2016* Curtis, Charles 2003,‘05,‘09

DeMaine, Robert 2017 DeRosa, William 2002 Dharamraj, Yves 2008* Díaz, Andrés 1992,‘94,‘99, 2000 Drakos, Margo Tatgenhorst 2009-‘10 Eddy, Timothy 1993, 2004 Eldan, Amir 2004* Elliot, Gretchen 1999 Fan, Felix 1992*◊-‘96*◊,‘97◊,‘98-‘99, 2001,‘03, ‘06-‘13,‘16 Fiene, Sarah 1999 Fife, Stefanie 1988◊ Finckel, David 1992-‘96,‘98-2000,‘06 Geeting, Joyce 1999 Gelfand, Peter 1999 Gerhardt, Alban 1998 Gindele, Joshua 2014 Greenbaum, Alex 2017-‘18 Greensmith, Clive 2015-‘18 Haas, Natalie 2005 Hagerty, Warren 2016* Haimovitz, Matt 1986 Halpern, Joshua 2017* Hammill, Rowena 1999 Han, Eric 2010* Handy, Trevor 2011-‘12 Harrell, Lynn 2005-‘07,‘10, ‘14, ‘18 Henderson, Rachel 2009* Ho, Grace 2017* Hoebig, Desmond 2010,‘12, ‘14 Hoffman, Gary 1987-‘93,‘95-‘97,‘99, 2001, ‘03-‘04,‘06-’07,‘10,‘12-‘13,‘15, ‘18 Hong, Ben 1990*,2001,‘13-‘16, ‘18 Hunt, Shirley 2014 Itzkoff, Coleman 2014* Iwasaki, Ko 1995 Janecek, Marie-Stéphanie 2007* Janss, Andrew 2007* Kabat, Madeleine 2009* Kalayjian, Ani 2008* Kang, Kristopher 2010 Karoly, Jonathan 2005,‘07 Karttunen, Anssi 2006 Kim, Eric 1998, 2004,‘06, ‘11,‘14 Kim, Yeesun 2010 Kirshbaum, Ralph 1986-‘89,‘91,2001-‘04,‘07-‘08,‘11,‘15 Kloetzel, Jennifer 1992*◊-’93*◊ Kostov, Lachezar 2011* Kubota, Maki 2018 Kudo, Sumire 1995*◊,‘96◊,‘97, 2006 Langham, Jennifer 1999 Lee, Daniel 2005 Lee, JeongHyoun "Christine" 2015* Lee, Jiyoung 2013* Leonard, Ronald 1986-‘88,‘90-‘91, 2002 Levenson, Jeffrey 1986-‘87 Little, Dane 1988◊ Liu, Yun Jie 1990* Lo, Jonathan, 2018* Ma, Yo-Yo 2005 Maisky, Mischa 2016 Marica, Mihai 2012* Mollenauer, David 1988◊ Moon, Eileen 2016 Moores, Margaret 1986-‘87,‘99 Myers, Peter 2011 Ni, Hai-Ye 2003-‘04,‘08, ‘11,‘14,‘16, ‘18 Ostling, Kristin 1991* Ou, Carol 1993*◊-‘94*◊ Ou, Samuel 1994*◊ Pereira, Daniel 2002 Putnam, Dana 1994*◊ Rejto, Peter 1987,‘89 Roman, Joshua 2011-‘13,‘15 Rosen, Nathaniel 1994

Rubicz, Davin 2005* Saltzman, David 1999 Samuel, Brent 1996*◊-‘97*◊ Sharp, John 2015-‘16 Shaw, Camden 2011* Sherry, Fred 2000,‘09 Shulman, Andrew 2010,‘15 Sjölin, Fredrik Schøyen 2016 Smith, Ursula 1991* Smith, Wilhelmina 1990*,‘92*◊ Speltz, Brook 2016 Starker, János 1999 Sutherland, Wyatt 1999 Swallow, Gabriella 2013 Szanto, Mary 2001 Toettcher, Sebastian 1999 Tsan, Cecilia 1996 Tzavaras, Nicholas 2003 Umansky, Felix 2013* Vamos, Brandon 1995◊ Wang, Jian 2002, ‘05, ‘11, ‘18 Weilerstein, Alisa 2006-‘08, ‘11, ‘17 Weiss, Meta 2012* Wirth, Barbara 1999 Yoon, Han Bin 2012 Zeigler, Jeff 1999 Zhang, Yuan 2010* Zhao, Yao 2009, ‘18


Abondolo, Nico 1989-‘93,‘97◊, 2002–‘03,‘07,‘09, ‘11-‘18 Aslan, Pablo 2005,‘13,‘16 Cho, Han Han 2010 Coade, Sarah 1992◊ Danilow, Marji 1994◊-‘95◊,‘97◊ Dresser, Mark 2005,‘08 Finck, David 1996 Green, Jonathan 1986 Haden, Charlie 1995 Hager, Samuel 2011-‘18 Hanulik, Christopher 2007-‘10,‘15 Hermanns, Don 1994◊,‘96◊ Hovnanian, Michael 1988◊ Kurtz, Jeremy 2004-‘05 Lloyd, Peter 2018 Magnusson, Bob 2001 Meyer, Edgar 1996 Meza, Oscar 1987 Palma, Donald 2000 Pitts, Timothy 2013-‘14 Ranney, Sue 1986 Revis, Eric 2012 Rickmeier, Allan 2001-‘03 Robinson, Harold 2011 Turetzky, Bertram 2002 Van Regteren Altena, Quirijn 1999 Wais, Michael 2000-‘01 Worn, Richard F. 1993* Wulff, Susan 2009-‘10 Zhang, DaXun 2004, ‘11,‘13-‘14,‘17-‘18 Zory, Matthew 1992◊

◊ SummerFest Ensembles * Fellowship Artists, Workshop participant ^ in collaboration with the University Art Gallery, UCSD # in collaboration with the Museum of Contemporary Art, San Diego BOLD Newcomers to SummerFest

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Hunt, Shirley 2014


Leopold, Michael 2014


Adolphe, Bruce 2001 Asuncion, Victor Santiago 2010 Ax, Emanuel 1990, 2010, ‘18 Ax, Yoko Nozaki 1990 Barnatan, Inon 2012-‘14,‘17 Battersby, Edmund 1994 Biss, Jonathan 2006,‘13 Blaha, Bernadene 1996-‘97 Bolcom, William 2003 Bookstein, Kenneth 1990* Bronfman, Yefim 1989,‘92, 2003,‘06, ‘14, ‘18 Brown, Alex 2016 Brunetti, Octavio 2013 Chen, Weiyin 2006-‘07* Cole, Naida 2004 Corea, Chick 2004 Coucheron, Julie 2010 Cuellar, Scott 2017* Denk, Jeremy 2012 Feltsman, Vladimir 2008,‘10,‘15 Fitzgerald, Kevin 1997 Fleisher, Katherine Jacobson 2008 Fleisher, Leon 2000, ’02-‘03,‘08 Follingstad, Karen 1986-‘87 France, Hal 2001 François, Jean-Charles 1987 Goldstein, Gila 1993* Golub, David 1986-‘93,‘95-‘97 Graffman, Gary 1999 Haefliger, Andreas 2009, ‘11 Hamelin, Marc-André 2011,‘16 Harris, John Mark 2002 Hewitt, Angela 2005 Hewitt, Anthony 1991* Higuma, Riko 2003*-‘04* Hsiao, Ching-Wen 2004* Hsu, Julia 2015 Huang, Helen 2001,‘06,‘09 Jablonski, Peter 2008 Jian, Li 2003 Julien, Christie 1997* Kahane, Gabriel 2012 Kahane, Jeffrey 1986-‘89,2002,‘04,‘06,‘12-‘13 Kalichstein, Joseph 1998, 2006-07,‘10,‘13,‘15 Kalish, Gilbert 1998-‘99 Karis, Aleck 2003 Kern, Olga 2011,‘17 Kern, Vladislav 2011 Kodama, Mari 2012 Kogan, Dr. Richard 2014 Kramer, Henry 2012* Kuerti, Anton 1986 Laredo, Ruth 1994 Lee, Jeewon 2008* Levinson, Max 1990*-‘91*,‘94-‘95◊, ‘97, 2000,‘06 Licad, Cecile 1998, 2005,‘07 Lifschitz, Konstantin 2000 Lin, Gloria 2002* Lin, Steven 2013* Lindberg, Magnus 2006 Ling, Jahja 2004 Litton, Andrew 2004 McDermott, Anne-Marie 2007-‘09 Montero, Gabriela 2010 Murphy, Kevin 2002, ‘07 Mustonen, Olli 2017 Naughton, Christina 2017


Naughton, Michelle 2017 Neikrug, Marc 2007 Newman, Anthony 2001-‘02,‘07,‘10,‘13 Noda, Ken 2008-‘10,‘12,‘14, ‘18 Novacek, John 1992*, 2002,‘08-‘10,‘12,‘14-‘18 O‘Riley, Christopher 1999, 2000,‘02, ‘06,‘10 Ohlsson, Garrick 2003,‘08 Orloff, Edith 1986-‘88 Park, Jeongwon 1995* Parker, Jon Kimura 2002,‘06,‘09,‘12-‘13,‘16-‘18 Pohjonen, Juho 2016, ‘18 Polonsky, Anna 2014 Pressler, Menahem 1998, 2009 Previn, André 1987,‘90-‘92,‘96 Russo, Andrew 2007 Schifrin, Lalo 2005 Schub, André-Michel 1990-‘91,2001, ‘04-‘07, ‘11 Serkin, Peter 2015 Shaham, Orli 2009 Sheng, Bright 1993 Staupe, Andrew 2014* Stepanova, Liza 2009* Strokes, Marija 2003,‘05 Taylor, Christopher 2008 Taylor, Ted 2007 Tramma, Marzia 1996* Trifonov, Daniil 2013 Vonsattel, Gilles 2017-‘18 Watts, André 2005 Weilerstein, Vivian Hornik 1986 Weiss, Orion 2007-‘10,‘13-‘14, ‘18 Woo, Alan 2015* Wosner, Shai 2005-‘08,‘16-‘18 Wu Han 1992-‘96,‘98-2000,‘06 Yrjola, Maria 2002 Yang, Joyce 2008-‘11,‘13,‘15, ‘18 Zhang, Haochen 2017 Ziegler, Pablo 2012


Beattie, Michael 2013-‘14 Koman, Hollace 1992◊-‘94◊,‘96 Kroll, Mark 1991 Mabee, Patricia 2007,‘14-‘15 McGegan, Nicholas 2011 McIntosh, Kathleen 1997◊ Newman, Anthony 2001-‘02,‘04-‘05, ‘07,‘09,‘12-’13 Novacek, John 1992◊ Zearott, Michael 1987-‘88◊


Beattie, Michael 2014 Newman, Anthony 2002,‘10,‘14

Boyd, Thomas 1988 Davis, Jonathan 2014-‘15 DeAlmeida, Cynthia 1996 Enkells-Green, Elizabeth 1986 Ghez, Ariana 2013 Gilad, Kimaree 1997 Griffiths, Laura 2016-‘18 Horn, Stuart 1997 Hove, Carolyn 1991 Huang, Zheng 2004-‘06 Hughes, Nathan 2017 Janusch, J. Scott 2001-‘02 Kuszyk, Marion Arthur 2002 Michel, Peggy 1996◊ Overturf, Andrea 2009-‘15,‘17 Parry, Dwight 2007 Paulsen, Scott 1996◊ Pearson, Peggy 2013 Rapp, Orion 2007 Reed, Electra 2002 Reed, Leslie 1993,‘95 Resnick, Lelie 2014-‘15 Reuter, Gerard 1989-‘90 Vogel, Allan 1987-‘89,‘91-‘95,‘97-‘99, 2008-‘10 Wang, Liang 2011-‘12,‘14-‘16, ‘18 Whelan, Eileen 1994* Wickes, Lara 2009-‘11 Woodhams, Richard 2003-‘04,‘07,‘09

ENGLISH HORN Hove, Carolyn 1991


Calcara, Tad 1994* D'Rivera, Paquito 2016 Hara, Burt 2003, ‘05,‘07, ‘11-‘16 Lechusza, Alan 2004 Levee, Lorin 2005-‘07 Liebowitz, Marian 1986 Livengood, Lee 1991*,‘93* McGill, Anthony 2017-‘18 Moffitt, James 2011 Palmer, Todd Darren 1999 Peck, David 1986-‘90 Reilly, Teresa 2004,‘14,‘16, ‘18 Renk, Frank 1993,‘97, 2003-‘04,‘08-‘09 Renk, Sheryl L. 1993-‘95, 2001- ‘02, ‘04,‘08,‘11-‘13,‘17 Rosengren, Håkan 1995 Shifrin, David 1986-‘87,‘92-‘93,‘96-‘98, 2000,‘04-‘05,’13 Yeh, John Bruce 2001-‘02,‘04,‘08-‘14,‘16, ‘18 Zelickman, Robert 2002–‘04


BANDONEÓN Del Curto, Héctor 2013 Marconi, Nestor 2005

Howard, David 1990 Renk, Frank 2002,‘08-‘09 Renk, Sheryl 2002 Yeh, John Bruce 2002



Anderson, Arpi C. 1994* Bursill-Hall, Damian 1986-‘89 Ellerbroek, Clay 2002 Giles, Anne Diener 1990 Karoly, Catherine Ransom 2001-‘02,‘04-‘05,‘07-‘09,‘11-‘18 McGill, Demarre 2007-‘08,‘10 Martchev, Pamela Vliek 2011-‘18 O‘Connor, Tara Helen 1997 Piccinini, Marina 1991 Sager, Marisela 2002-‘04 Tipton, Janice 1997,‘99, 2002-‘03 Wincenc, Carol 1990,‘92,‘94, 2000


Buncke, Keith 2016-‘18 Farmer, Judith 1997,‘99 Fast, Arlen 1993 Goeres, Nancy 1996 Grego, Michele 1991,‘94-‘95 Mandell, Peter 1993 Martchev, Valentin E. 2004-‘05,‘07-‘09, ‘11-‘15 Michel, Dennis 1986-‘90,‘92-‘95 Nielubowski, Norbert 1991 Simmons, Ryan 2001-‘04,‘08, ‘11-‘13,‘16-‘18 Zamora, Leyla 2009,‘14-‘15,‘17


Petri, Michala 2012

Savedoff, Allen 2013 Zamora, Leyla 2008,‘17



Avril, Franck 2008 Barrett, Susan 2003

Marsalis, Branford 2012 Rewoldt, Todd 2007

GRAND TRADITION Sundfor, Paul 2004


Bain, Andrew 2014 Drake, Susanna 1996◊ Folsom, Jerry 1987 Grant, Alan 2003 Gref, Warren 1986,‘93, 2001-‘02,‘04,‘07-‘10 Hart, Dylan 2018 Jaber, Benjamin 2012-’13 Landsman, Julie 1994-‘95◊,‘97,2009 Lorge, John 1990,‘93,‘95◊,2004 McCoy, Mike 2011,‘15-‘17 Montone, Jennifer 2005,‘16-‘17 Popejoy, Keith 2002-‘04, ‘07-‘11,‘13-‘15,‘17 Ralske, Erik 2012, ‘18 Ruske, Eric 2013-‘14 Skye, Tricia 2009, ‘11,‘17 Thayer, Julie 2013 Todd, Richard 1988-‘89,‘92-‘94,‘99, 2004,‘07-‘09, ‘11 Toombs, Barry 2002


Balsom, Alison 2014 Marotta, Jennifer 2016-‘18 Nowak, Ray 2009-‘12,‘14 Owens, Bill 2010-‘11 Perkins, Barry 2004,‘09 Price, Calvin 1993,‘95,‘97 Stevens, Thomas 1991 Washburn, David 2002-‘04,‘07,’09-‘10,‘12-‘14,‘16-‘18 Wilds, John 2001


Buchman, Heather 1993 Gordon, Richard 2004 Hoffman, Mike 2001 Miller, James 2002 Panos, Alexander J. 2002 Reusch, Sean 2012,‘14


Aguilar, Gustavo 2006 Copeland, Stewart 2009 Cossin, David 2006-‘07,‘09-‘10,‘12 Donahue, Dustin 2012- ‘14 Dreiman, Perry 1993 Esler, Rob 2006 Ginter, Jason 2009-‘12,‘18 Huang, Aiyun 2002-‘03, ‘16 Mack, Tyler 1993 Nestor, Ryan 2018 Nichols, Don 2006 Palter, Morris 2004 Pfiffner, Pat 2012 Plank, Jim 1995◊ Rhoten, Markus 2013 Schick, Steven 1997, 2002-‘04,‘06,‘13,‘15, ‘18 Smith, Bonnie Whiting 2012 Stuart, Greg 2006 Szanto, Jonathan 2001 Takeishi, Satoshi 2005,‘13 Yeh, Molly 2014, ‘16


Allen, Nancy 2005,‘15 Hays, Marian Rian 1986-‘87 Hoffman, Deborah 1990,2001,‘10-‘12 Sterling, Sheila 2002-‘03,‘07


Wu Man 2003,‘10,‘15,‘17-‘18


Isbin, Sharon 2003 Johnson, Art 2001

Kahane, Gabriel 2012 Mackey, Steven 2001 Romero, Celin 2001 Romero, Pepe 2001 Sprague, Peter 2001 Viapiano, Paul 2003

MANDOLIN Jewell, Joe 2003

DIGITAL SAMPLER Chen, Yuanlin 2012


Boone, Sherri 2002 Bryant, Stephen 2012 Burdette, Kevin 2006 Cairns, Christine 1990 Cano, Jennifer Johnson 2013-‘14 Cooke, Sasha 2009 Dix, Marjorie Elinor 2003 Ferguson, William 2006 Hall, Cecelia 2014 Hellekant, Charlotte 2010 Hong, Haeran 2012-’13 Huang, Ying 2007,‘12 Hughs, Evan 2013 Kahane, Gabriel 2012 Kim, Young Bok 2006 Kuznetsova, Dina 2006 Leonard, Isabel 2006 Lindsey, Kate 2007 Markgraf, Kelly 2010 McNair, Sylvia 2001, ‘07 Molomot, Mark 2006 Morris, Joan 2003 Mumford, Tamara 2008, ‘18 Murphy, Heidi Grant 2002, ‘04,‘07 Petrova, Lyubov 2015,‘17-‘18 Plantamura, Carol 1987 Plenk, Matthew 2013 Putnam, Ashley 1996 Saffer, Lisa 1993 Trakas, Chris 2002 Trebnik, Andrea 2000 Wolfson, Sarah 2006 Zhang, Jianyi 2003


Adolphe, Bruce 2001 Eichenthal, Gail 1988-‘89 Ellsworth, Eleanor 2009 Goldman, Kit 1988 McNair, Sylvia 2007 Mark Pinter 2018 Rubinstein, John 1997, 2002 York, Michael 2009


Adolphe, Bruce 2001 Beattie, Michael 2013 Conlon, James 2016-‘17 Edmons, Jeff 2010-‘13, ‘16-’17 Gilbert, Alan 2003 Hermanns, Carl 1994-‘95 Huang Ruo 2008 Kahane, Jeffrey 2006 Kapilow, Robert 2002, ‘04 Laredo, Jamie 2011 Leppard, Raymond 2013 Lin, Cho-Liang 2011 Ling, Jahja 2006, ‘09 Litton, Andrew 2004 McGegan, Nicholas 2011 Mackey, Steven 2008 Mickelthwate, Alexander 2007 Nagano, Kent 1993,‘12

Neikrug, Marc 1997 Newman, Anthony ’09-‘10 Ohyama, Heiichiro 1988,‘90-‘97, 2006,‘09, ‘11,‘16 Previn, André 1990-‘91 Salonen, Esa-Pekka 2002 Schick, Steven 2008-‘09 Slatkin, Leonard 2014 Swensen, Joseph 2013 Tan Dun 2003,‘12 Zinman, David 2017-‘18


Amelia Piano Trio 2000* American String Quartet 2007 Amphion String Quartet 2012* André Previn Jazz Trio 1991 Arioso Wind Quintet 1993 Arcadian Academy 2013 Assad Brothers 2011, ‘14 Australian Chamber Orchestra 2005 Avalon String Quartet 2000* Beacon Street Trio 2016* Bettina String Quartet 1996* BodyVox 2007 Borromeo String Quartet 2000-‘01,‘10,‘15 Calder Quartet 2005,‘09-‘10,‘12 Cambridge Trio 2018* Colorado String Quartet 1989-‘90 Coolidge String Quartet 1999* Danish String Quartet 2016 Éclat Quartet 2011* Emerson String Quartet 2018 Enso String Quartet 2001*,‘03* Escher String Quartet 2007*, ‘15-‘16 Firebird Quartet 1998* FLUX Quartet 2014,‘16, ‘18 Formosa Quartet 2008 Gemini Trio 1998* Goffriller Piano Trio 1999* Hausmann Quartet 2010* Huntington Quartet 2015* Igudesman & Joo 2012 Imani Winds 2006 International Sejong Soloists 2006 Jacques Loussier Trio 2008 Jasper String Quartet 2009* Kalichstein-Laredo-Robinson Trio 2002, ‘11,‘17 KahaneSwensenBrey 2013 La Jolla Symphony 2008-‘09 Late Night with Leonard Bernstein 2018 Linden String Quartet 2013* Malashock Dance 2002 Miami String Quartet 1998,2003-‘04 Miró Quartet 2009,‘14,‘17 Montrose Trio, The 2016 Newbury Trio 2012* New Orford String Quartet 2018 Old City String Quartet 2011* Omer Quartet 2014* Orion String Quartet 1992-‘93,2002, ‘04,‘06,‘10 Ornati String Quartet 2000* Pablo Ziegler Classical Tango Quartet 2012 Pacifica Quartet 1995* Pegasus Trio 2014* Phaedrus Quartet 2001* John Pizzarelli Trio 2018 Real Quiet 2007-‘10 red fish blue fish 2004,‘08-‘09,‘15 Regina Carter Quartet 2017 Ridge String Quartet 1991 Rioult 2008 Rodin Trio 2017* Rolston String Quartet 2018* SACRA/PROFANA 2013 San Diego Chamber Orchestra 1987-‘88 San Diego Master Chorale 2012, ‘18 San Diego Symphony 1990, 2004

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GRAND TRADITION SDYS’ International Youth Symphony 2010-‘13,‘16-‘17 Shanghai Quartet 2003,‘07,’13 Silk Road Ensemble 2005 Sonora String Quartet 2008* St. Lawrence String Quartet 1999 SummerFest Ensembles 1988,‘92-‘97 Sycamore Trio 2015* Time for Three 2015-‘16 Tokyo String Quartet 2008, ‘11,‘12 Trío Ágape 1998* Trio Vivo 2013* Turtle Island String Quartet 1998 Ulysses Quartet 2017* Vega String Quartet 2001* Verona Quartet 2016* Wayne Shorter Quartet 2006 Westwind Brass 1994-‘95,‘97 Xando Quartet 1999* Zukerman Trio 2016

VISITING COMPOSER Adams, John 2002 Adolphe, Bruce 1998-2003,2005-‘06 Ali-Zadeh, Franghiz 2003 Anderson, Julian 2014 Assad, Clarice 2015 Assad, Sérgio 2014 Bermel, Derek 2015 Bolcom, William 2003 Chen Yi 2004 Copeland, Stewart 2009 Corea, Chick 2004 Dalbavie, Marc-André 2012 Dean, Brett 2010 Del Tredici, David 2013 Dutton, Brent 1997 Golijov, Osvaldo 1999 Hamelin, Marc-André 2016 Harbison, John 2002,’13 Hartke, Stephen 2014 Hoffman, Joel 2015 Huang Ruo 2008 Kahane, Gabriel 2012 Kapilow, Robert 2002,‘04 Kirchner, Leon 2006 Lindberg, Magnus 2006 Loussier, Jacques 2008 Mackey, Steven 2001,‘08 Meyer, Edgar 1996 Neikrug, Marc 1997, 2007 O‘Connor, Mark 2001,‘05,‘09 Powell, Mel 1989 Previn, André 1990,‘96 Rouse, Christopher 2005,‘10 Salonen, Esa-Pekka 2002 Schoenfield, Paul 2009 Schifrin, Lalo 2005 Schuller, Gunther 2009 Sheng, Bright 1993, 2004,‘06,‘10 Shepherd, Sean 2011,‘16 Shorter, Wayne 2006 Stucky, Steven 2013 Tan Dun 2003,‘12 Thomas, Augusta Read 2000 Tower, Joan 2000,‘07, ‘11 Tsontakis, George 2009 Ung, Chinary 2003,‘10 Wong, Cynthia Lee 2011 Ye, Xiaogang 2017 Zwilich, Ellen Taaffe 2011

CHOREOGRAPHER Malashock, John 1994, 2002 Greene, Allyson 2005-‘06


SCHOLAR-IN-RESIDENCE Bromberger, Eric 2014-‘18 Kogan, Dr. Richard 2014 Pollack, Howard 2013 Reveles, Nicolas 2016 Taruskin, Richard 2015 Sam Zygmuntowicz 2018


Adamson, Robert, M.D. 2001 Adolphe, Bruce 1999 Agus, Ayke 2003 Allison, John 2000 Amos, David 1994 Bell, Diane 2001 Beres, Tiffany Wai-Ying 2017 Boles, Allison 2017-‘18 Brandfonbrener, Alice G. 2002 Bromberger, Eric 1988-‘96,‘98-2009,‘11-‘13 Brooks, Geoffrey 1988 Cassedy, Steve 2007-‘10,‘12-‘14,‘16 Chapman, Alan 1988 Child, Fred 2001-‘06 Davies, Hugh 2000 DeLay, Dorothy 2001 Eichenthal, Gail 1987 Epstein, Steven 2001 Erwine, Dan 2000-‘01 Fay, Laurel 1991 Feldman, Michael 1999-2000 Fiorentino, Dan 2003 Flaster, Michael 2001 Gatehouse, Adam 2000 Guzelimian, Ara 1987,‘89-‘90 Hampton, Jamey 2007 Hanor, Stephanie 2003 Helzer, Rick 2006 Hermanns, Carl 1997 Harris, L. John 2001 Lamont, Lee 2002 Liang, Lei 2017 Longenecker, Martha W. 2003 Malashock, John 2000 Mehta, Nuvi 2010, ‘16-‘17 Mobley, Mark 2001-‘03 Morel, René 2000 Noda, Ken 2000 O‘Connor, Sandra Day 2004 Overton, Marcus 2000-‘01,2004-‘18 Pak, Jung-Ho 2001 Perl, Neale 2000-‘01 Quill, Shauna 2005 Reveles, Dr. Nicolas 1994-‘95,‘99,2000, ‘11,‘13- ‘14, ‘18 Roden, Steve 2007 Rodewald, Albert 1990 Roe, Benjamin K. 2001,‘04-‘05,‘10 Rosenthal, Leah Z. 2010-‘18 Roland, Ashley 2007 Ruggiero, Dianna 2011 Russell, Claudia 2008, ‘18 Salzman, Mark 2001 Sanromán, Lucia 2007 Scher, Valerie 2000-‘01 Schick, Steven 2010 Schomer, Paul 2001 Schultz, Eric 2003-‘04 Shaheen, Dr. Ronald 2007-‘08 Silver, Jacquelyne 1994,‘96-‘97 Smith, Ken 2000 Stein, Leonard 1992 Steinberg, Russell 2007-‘11 Stevens, Jane R. 1991 Stokes, Cynthia 2011 Sullivan, Jack 2000 Sutro, Dirk 2001-‘04

Teachout, Terry 2000 Valenzuela, Ruben 2012 Varga, George 2004 Walens, Stanley 2007, ‘11 Wallace, Helen 2000 Willett, John 1991 Winter, Robert 1987, 2000 Yeung, Dr. Angela 2008 Youens, Susan 2012 Yung, Gordon, M.D. 2001

VISUAL ARTIST-IN-RESIDENCE Chihuly, Dale 2000^ Curry, Stephen P. 2001 # Engle, Madelynne 1996 Farber, Manny 1997 Fonseca, Caio 1998-‘99^ Ohyama, Gail 1986-‘95 Roden, Steve 2007 # Scanga, Italo 2000^

SUMMERFEST MUSIC & ARTISTIC DIRECTORS Lin, Cho-Liang 2001– present Finckel, David and Wu Han 1998-2000 Ohyama, Heiichiro 1986-‘97

◊ SummerFest Ensembles * Fellowship Artists, Workshop participant ^ in collaboration with the University Art Gallery, UCSD # in collaboration with the Museum of Contemporary Art, San Diego BOLD Newcomers to SummerFest



Katherine Chapin – Chair Rafael Pastor – Vice Chair Robin Nordhoff – Treasurer Jennifer Eve – Secretary

Cho-Liang Lin – SummerFest Music Director David J. Kitto – Interim President

Stephen L. Baum Gordon Brodfuehrer Wendy Brody Ric Charlton Linda Chester Brian Douglass Debby Fishburn Sarah Garrison Lehn Goetz Susan Hoehn Lynelle Lynch Sue Major Peggy Preuss Sylvia Ré Jeremiah Robins Donald J. Rosenberg Sheryl Scarano Clifford Schireson Marge Schmale Maureen Shiftan Jeanette Stevens Shankar Subramaniam Haeyoung Kong Tang Debra Turner H. Peter Wagener Lisa Widmier Clara Wu Katrina Wu HONORARY DIRECTORS Brenda Baker Stephen L. Baum Joy Frieman, Ph.D. Irwin M. Jacobs Joan K. Jacobs Lois Kohn (1924-2010) Helene K. Kruger Conrad Prebys (1933-2016) Ellen Revelle (1910-2009) Leigh P. Ryan, Esq. *Listing as of July 1, 2018

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

ARTISTIC & EDUCATION Leah Z. Rosenthal – Director of Programming Allison Boles – Education and Community Programming Manager Sarah Campbell – Programming Coordinator Grace Keane – Education Intern / Music Librarian Grace Rosus – Artist Liaison Serafin Paredes – Community Music Center Program Director Xiomara Pastenes – Community Music Center Administrative Assistant Marcus Cortez – Community Music Center Piano Instructor Armando Hernandez – Community Music Center Guitar Instructor Cesar Martinez – Community Music Center Percussion Instructor Michelle Maynard – Community Music Center Woodwind Instructor Eduardo Ruiz – Community Music Center Brass Instructor Rebeca Tamez – Community Music Center String Instructor Eric Bromberger – Program Annotator

DEVELOPMENT Ferdinand Gasang – Director of Development Rewa Colette Soltan – Business Development & Event Manager

MARKETING & TICKET SERVICES Hilary Huffman – Marketing Manager Hayley Woldseth – Marketing & Communications Project Manager Angelina Franco – Graphic & Web Designer Jorena de Pedro – Ticket Services Manager Shannon Haider – Ticket Services Assistant Adriana Madrigal – Ticket Services Assistant Janine Ponce – Ticket Services Assistant Shaun Davis – House Manager Paul Body – Photographer Ben Roberts – Social Media Intern

PRODUCTION Travis Wininger – Director of Theatre Operations Leighann Enos – Production Manager Jonnel Domilos – Piano Technician Amber Dettmers – Principal Stage Manager Jacob Weitzman – Assistant Stage Manager Kayla Stults – Assistant Stage Manager Benjamin Maas – Recording Engineer Jonathan Lestat – Recording Assistant Erica Poole – Page Turner


AUDITOR Leaf & Cole, LLP

HONORARY Christopher Beach – Artistic Director Emeritus

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SummerFest SPONSORS With deep appreciation, we are grateful to the following sponsors who have made SummerFest a strong, thriving and engaging festival.

FESTIVAL FOUNDERS Steve Baum and Brenda Baker

Since the inauguration of SummerFest in 1986, Steve Baum and Brenda Baker have been instrumental in making SummerFest a financially-strong and artistically-thriving festival. As the very first SummerFest Chair, Brenda created the atmosphere of a welcoming family for artists and audiences. Steve elevated the festival visibility and brought national attention to SummerFest through the support of our first nationwide radio broadcasts. Brenda and Steve’s wise counsel and unwavering support have guided and inspired us to continue to make SummerFest one of America’s greatest summer festivals and we are proud to acknowledge them as our Festival Founder.

SummerFest 2018 COMMITTEE

SummerFest Chair

SummerFest Honorary Chair

Gala Chair

Housing Chair

Sylvia Ré

Martha and Ed Dennis

Dolly Woo

Robert Nelson


FESTIVAL SPONSORS Judith Bachner and Eric L. Lasley Raffaella and John Belanich Joan Jordan Bernstein Mary Ann Beyster Bjorn Bjerede and Jo Kiernan Virginia and Robert Black Boretto + Merrill Consulting, LLC Dr. James C. and Karen A. Brailean Gordon Brodfuehrer Wendy Brody Isabel and Stuart Brown Ric and Barbara Charlton Katherine and Dane Chapin Linda Chester and Kenneth Rind Julie and Bert Cornelison Dave and Elaine Darwin Martha and Ed Dennis Nina and Robert Doede Silvija and Brian Devine Susan and Brian Douglass Eleanor Ellsworth Barbara Enberg Jeane Erley Jennifer and Kurt Eve Sue and Chris Fan Olivia and Peter Farrell Diane and Elliot Feuerstein Debby and Wain Fishburn Joy Frieman Pam and Hal Fuson Sarah and Michael Garrison

Buzz and Peg Gitelson Lisa Braun Glazer and Jeff Glazer Lehn and Richard Goetz Brenda and Michael Goldbaum Margaret Stevens Grossman and Michael S. Grossman Kay and John Hesselink Louise and Robert Hill Susan and Bill Hoehn Joan and Irwin Jacobs Theresa Jarvis Keith and Helen Kim Angelina and Fred Kleinbub Carol Lam and Mark Burnett Vivian Lim and Joseph Wong Kuangyi and Sheldon Lou Yunli Lou and James Kralik Lynelle and William Lynch Sue and John Major Marilyn and Stephen Miles Elaine and Doug Muchmore Robert Nelson and Jean Fujisaki Hank and Patricia Nickol Robin and Hank Nordhoff Rafael and Marina Pastor Conrad Prebys and Debbie Turner Peggy and Peter Preuss Maria and Dr. Philippe Prokocimer Sylvia and Steven Ré Catherine and Jean Rivier Stacy and Don Rosenberg Colette Carson Royston and Ivor Royston

Leigh P. Ryan Sheryl and Bob Scarano Clifford Schireson and John Venekamp Marge and Neal Schmale Maureen and Tom Shiftan Susan Shirk and Sam Popkin Annemarie and Lee Sprinkle Jeanette Stevens Iris and Matthew Strauss Shankar Subramaniam Elizabeth Taft Debbie Turner Haeyoung Kong Tang Twin Dragon Foundation UC San Diego Gianangelo and Mera Vergani Sue and Peter Wagener Helen Wagner Jian Wang and Sampson Chan Margie Warner and John H. Warner, Jr. Abby and Ray Weiss Lisa Widmier Dolly and Victor Woo Clara Wu and Joseph Tsai Katrina Wu Carolyn Yorston-Wellcome and H. Bard Wellcome Bebe and Marvin Zigman Anonymous (2)

* Listing as of June 6, 2018

SummerFest HOSTS

Friends of La Jolla Music Society welcome SummerFest Artists by opening their homes for receptions, rehearsals, and housing artists during their visit. A host’s willingness to contribute to SummerFest in such a personal way is cherished and we are grateful for their generosity. Brenda Baker and Steve Baum Raffaella and John Belanich Mary Ann Beyster Virginia and Bob Black Marty and Sherry Bloom Alicia and Rocky Booth Terri Bourne Karen and Jim Brailean Althea Brimm Wendy Brody Qun and Dr. Dennis Cheng Linda Christensen and Gonzalo Ballon-Landa Patty and Jim Clark Julie and Bert Cornelison Ann Craig Martha and Ed Dennis Silvija and Brian Devine

Carol Diggs Sue and Chris Fan Caroline and Tony Farwell Diane and Elliot Feuerstein Jean Fujisaki and Robert Nelson Sarah and Michael Garrison Lehn and Richard Goetz Cindy and Tom Goodman Margaret Stevens Grossman and Michael Grossman Kay and John Hesselink Louise and Robert Hill Joan and Irwin Jacobs Chancellor Pradeep Khosla, UC San Diego Carol Lam and Mark Burnett Vivian Lim and Joseph Wong Carol Manifold

Sara Moser Elaine and Doug Muchmore Joani Nelson Marie and Merrell Olesen Peggy and Peter Preuss Catherine and Jean Rivier Cassidy and Jere Robins Stacy and Don Rosenberg Cynthia Rosenthal Jane and Eric Sagerman Sheryl and Bob Scarano Marge and Neal Schmale Susan Shirk and Sam Popkin Annie So Annemarie and Lee Sprinkle Elizabeth Taft Haeyoung Kong Tang Diana Vines and John Malugen

Joanee Udelf and Alan Gary Sue and Peter Wagener Joanne Wang Abby and Ray Weiss Dolly and Victor Woo Anonymous

* Listing as of July 19, 2018

We are always looking for new hosts. If you are interested in learning more about hosting an artist, please call 858.459.3724.

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Thomas C. Ackerman Foundation

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


PHP Management, Inc.






ANNUAL SUPPORT FOUNDER Brenda Baker & Steve Baum

($250,000 and above)

The City of San Diego Commission for Arts and Culture

Conrad Prebys & Debbie Turner ANGEL Raffaella & John Belanich

($100,000 - $249,999)

The Dow Divas Joy Frieman Joan & Irwin Jacobs

BENEFACTOR Silvija & Brian Devine ($50,000-$99,999)



Steven & Sylvia RĂŠ Sheryl & Bob Scarano Susan & Bill Hoehn Haeyoung Kong Tang Anonymous Bob Barth & Nicole Frank Mary Ann Beyster Gordon Brodfuehrer Katherine & Dane Chapin Julie & Bert Cornelison Anne Daigle Martha & Ed Dennis Barbara Enberg Jennifer & Kurt Eve Debby & Wain Fishburn Sarah & Michael Garrison Lehn & Richard Goetz Kay & John Hesselink

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

The wonderful array of musical activity that La Jolla Music Society offers would not be possible without support from dedicated patrons. Individual gifts not only help LJMS present the finest musicians and the best chamber music repertoire in San Diego, but they help us reach beyond the concert by nurturing talents in young musicians each year. We are grateful to all of our contributors who share our enthusiasm and passion for the arts. Please join them today and make a gift online at www.LJMS.org/donate or by contacting Ferdinand Gasang, Director of Development, at 858.459.3724, ext. 204 or FGasang@LJMS.org. 858.459.3728 • LJMS.ORG | 93


SUSTAINER ($15,000-$24,999)

Anonymous (2) Wendy Brody Ginny & Robert Black Ric & Barbara Charlton Sue & Chris Fan Brian Douglass, John Paul the Great Catholic University Brenda & Michael Goldbaum National Endowment for the Arts Clifford Schireson & John Venekamp Maureen & Thomas Shiftan Shankar Subramaniam & Annamaria Calabro UC San Diego / Chancellor Pradeep Khosla Angelina & Fredrick Kleinbub Abby & Ray Weiss Dolly & Victor Woo Lisa Widmier Carolyn Yorston-Wellcome & H. Bard Wellcome Marvin & Bebe Zigman

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

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

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

Anonymous (3) Anna Maria Abbott John Amberg Judith Bachner & Dr. Eric L. Lasley Boretto + Merrill Consulting, LLCAngela Merrill & Colleen Boretto George & Laurie Brady Stuart & Isabel Brown Bjorn Bjerede & Jo Kiernan Johan & Sevil Brahme Dr. James C. & Karen A. Brailean


Jian & Samson Chan Elaine & Dave Darwin Nina & Robert Doede Eleanor Ellsworth Jeane Erley Jill Esterbrooks & James Kirkpatrick Robbins Farrell Family Foundation Elliot & Diane Feuerstein Richard & Beverley Fink Sara & Jay Flatley Pam & Hal Fuson Rita & Mark Hannah Buzz & Peg Gitelson Jeff Glazer & Lisa Braun-Glazer Michael Grossman & Margaret Stevens Grossman Gail Hutcheson Theresa Jarvis & Ric Erdman Jan Ann Kahler William Karatz & Joan Smith Amy & William Koman Carol Lam & Mark Burnett Carol Lazier Arleen & Robert Lettas Richard J. Leung, M.D. Donna Medrea Marilyn & Stephen Miles Elaine & Doug Muchmore Pat & Hank Nickol Maria & Dr. Philippe Prokocimer Mrs. Robert Reiss Catherine & Jean Rivier Ivor Royston & Colette Carson Royston Beverly Scarano Susan Shirk & Samuel Popkin Taffin & Gene Ray Joyce & Ted Strauss Iris & Matthew Strauss Elizabeth Taft Mary & Bill Urquhart Gianangelo & Mera Vergani Margie & John H. Warner, Jr. Sheryl & Harvey White Hanna Zahran / Regents Bank

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

Anonymous Rusti Bertell Jim Beyster R. Nelson & Janice Byrne Trevor Callan / Callan Capital Lee Clark David Cooper & Joanne Hutchinson Valerie & Harry Cooper Stacie & Michael Devitt Diana Lady & J. Lynn Dougan Mr. & Mrs. Ernie Dronenburg Mr. & Mrs. Michael Durkin Bradley Comp & Christine Ellis-Comp Ruth & Ed Evans Jennifer & Richard Greenfield Dawn Gilman Lee Goldberg Beverly Frederick & Alan Springer Elaine Galinson & Herbert Solomon Reena & Sam Horowitz Joan Hotchkis Jeanne Jones & Don Breitenberg Lynda Kerr Sharon LeeMaster, CFRE Jeffrey & Sheila Lipinsky Sylvia & Jamie Liwerant Cindy & Jay Longbottom Kathleen & Ken Lundgren Mary Keough Lyman Diane McKernan & Steve Lyman Gail & Ed Miller Alexandra Morton Arlene & Lois Navias Vicki & Art Perry Jessica & Eberhardt Rohm Sandra & Robert Rosenthal William Purves & Don Schmidt Doreen & Myron Schonbrun Tina Simner Leland & Annemarie Sprinkle Ronald Wakefield Mary Walshok Bill & Lori Walton Jo & Howard Weiner Faye Wilson


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

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

FRIEND ($500-$999)

Anonymous Barry & Emily Berkov Benjamin Brand LaVerne & Blaine Briggs Luc Cayet & Anne Marie Pleska Elizabeth Clarquist Dr. Ruth Covell George & Cari Damoose Caroline DeMar Douglas Doucette

Lynda Fox Photography Paul & Clare Friedman Sally Fuller Carrie Greenstein Phil & Kathy Henry Paul & Barbara Hirshman Emmet & Holly Holden Nancy Hong Louise Kasch Helene K. Kruger Toni Langlinais Dr. Greg Lemke Jennifer Luce Sally & Luis Maizel Michel Mathieu Winona Mathews Ted McKinney Joel Mogy Edward Stickgold & Steven Cande Ronald Simon Randall Smith Susan Trompeter Yvonne Vaucher Suhaila White Olivia & Marty Winkler

ENTHUSIAST ($250-$499)

Sibille Alexander Lynell Antrim George Wafa & Nancy Assaf Stefana Brintzenhoff Candace Carroll Robert & Jean Chan Kathleen Charla Yau-Hung Chow Geoffrey Clow Sharon L. Cohen Hugh Coughlin

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

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

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


The San Diego Foundation: The Beyster Family Foundation Fund The M.A. Beyster Fund II The Karen A. & James C. Brailean Fund The Valerie & Harry Cooper Fund The Hom Family Fund The Ivor & Colette Carson Royston Fund The Scarano Family Fund The Shiftan Family Fund Schwab Fund for Charitable Giving: Ted McKinney & Frank Palmerino Fund The Shillman Foundation Silicon Valley Community Foundation: The William R. & Wendyce H. Brody Fund Simner Foundation The Haeyoung Kong Tang Foundation Tippett Foundation The John M. and Sally B. Thornton Foundation The John H. Warner Jr. and Helga M. Warner Foundation Vail Memorial Fund Thomas and Nell Waltz Family Foundation Sheryl and Harvey White Foundation

HONORARIA & MEMORIAL GIFTS In Honor of Gordon Brodfuehrer: Hugh Coughlin Richard & Katherine Matheron Jeanette Stevens In Honor of Katherine “absolutely not” Chapin: Bebe & Marvin Zigman In Honor of Martha Dennis’ Birthday: Christine Andrews Thompson & Jane Fetter Stacy & Don Rosenberg In Honor of Silvija Devine’s Birthday: Elaine & Dave Darwin Martha & Ed Dennis

ANNUAL SUPPORT In Memory of Dick Enberg: Marcia Asasi Brenda Baker & Steve Baum Christopher Beach & Wesley Fata Chris Benavides Allison Boles Gordon Brodfuehrer Sarah Campbell Elaine & Dave Darwin Jorena de Pedro Martha & Ed Dennis Leighann Enos Angelina Franco Joy Frieman Ferdinand Gasang Sarah & Michael Garrison Robert Gould Phil & Kathy Henry Sue & Steve Hesse Shannon Haider Susan & Bill Hoehn Joan Hotchkis Hilary Huffman Dr. and Mrs. Richard Kahler and family Anthony LeCourt Sue & John Major Stuart & Lisa Lipton Papa Doug Manchester Joel Mogy Debra Palmer Marina & Rafael Pastor Sylvia & Steven Ré Leah Rosenthal Leigh P. Ryan Sheryl & Bob Scarano Clifford Schireson & John Venekamp Marge & Neal Schmale Maureen & Tom Shiftan Pam Shriver Rewa Colette Soltan Sue & Peter Wagener Travis Wininger Corinne Wohlforth Dolly & Victor Woo Hayley Woodseth Katelyn Woodside

In Memory of Lois Kohn: Ingrid Paymar In Memory of Richard MacDonald: Ferdinand Gasang In Honor of Maggie Meyer’s Birthday: Martha & Ed Dennis In Honor of Betty-Jo Petersen: Chris Benavides In Honor of Abby and Ray Weiss: Lynn Stern In Memory of Carleton and Andree Vail: Vail Memorial Fund

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

The Annual Support listing is current as of June 6, 2018.


To learn more about supporting La Jolla Music Society’s artistic and education programs or to make an amendment to your listing, please contact: Ferdinand Gasang Director of Development 858.459.3724, ext. 204 email FGasang@ljms.org This list is current as of June 6, 2018. Amendments will be reflected in the next program book in October 2018.

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

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Brenda Baker and Steve Baum Conrad Prebys and Debbie Turner

Anonymous Joan Jordan Bernstein Mary Ann Beyster Virginia and Robert Black Dr. James C. and Karen A. Brailean Dave and Elaine Darwin Eleanor Ellsworth Barbara and Dick Enberg Jeane Erley Pam and Hal Fuson Buzz and Peg Gitelson Dr. Lisa Braun-Glazer & Dr. Jeff Glazer Margaret and Michael Grossman Theresa Jarvis Angelina and Fred Kleinbub Joseph Wong and Vivian Lim Michel Mathieu and Richard McDonald Elaine and Doug Muchmore Hank and Patricia Nickol Rafael and Marina Pastor

DIAMOND Raffaella and John Belanich Joy Frieman Joan and Irwin Jacobs

RUBY Silvija and Brian Devine

GARNET Julie and Bert Cornelison Peggy and Peter Preuss

SAPPHIRE Kay and John Hesselink Keith and Helen Kim

Maria and Dr. Philippe Prokocimer Don and Stacy Rosenberg Leigh P. Ryan Neal and Marge Schmale Jeanette Stevens Elizabeth Taft Gianangelo Vergani Dolly and Victor Woo Carolyn Yorston-Wellcome and H. Bard Wellcome Bebe and Marvin Zigman Listing as of June 6, 2018

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





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

Elaine Galinson and Herbert Solomon Annie So

Carolyn Bertussi Teresa O. Campbell Katherine and Dane Chapin

Saundra L. Jones


Stefana Brintzenhoff Joani Nelson Elyssa Dru Rosenberg Elizabeth Taft

Listing as of July 6, 2018

Marvin and Bebe Zigman

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


PLANNED GIVING Anonymous (2) June L. Bengston* Joan Jordan Bernstein Bjorn and Josephine Bjerede Dr. James C. and Karen A. Brailean Gordon Brodfuehrer Barbara Buskin Trevor Callan Geoff and Shem Clow Anne and Robert Conn George and Cari Damoose Elaine and Dave Darwin Teresa & Merle Fischlowitz Ted and Ingrid Friedmann Joy and Ed* Frieman Sally Fuller

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

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

*In Memoriam Listing as of June 6, 2018

The Legacy Society recognizes those generous individuals who have chosen to provide for La Jolla Music Society’s future. Members have remembered La Jolla Music Society in their estate plans in many ways – through their wills, retirement gifts, life income plans and many other creative planned giving arrangements. We thank them for their vision and hope you will join this very special group of friends.


La Valencia Hotel The Lodge at Torrey Pines The LOT


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


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


AFICIONADO Callan Capital Schubach Aviation Jimbo’s…Naturally!

ASSOCIATE Nelson Real Estate

Listing as of June 6, 2018

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

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

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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









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CUSTOM SOLUTIONS FOR WEALTH Family-Owned Boutique Wealth Management Firm • Independent expert advisors • Sophisticated wealth management strategies • Creating a legacy for generations to come • Comprehensive family office services


Fresh. Local. Seasonal. Fine Food and Impeccable Service

The freshest seasonal ingredients from local sources. Our approach blends flavorful ingredients with unparalleled service and a beautiful presentation. As a leading caterer in Southern California, we provide culinary experiences that perfectly pair with any occasion.

Try our PRONTO Casual Dining For Your Next Event!

Perfect for the holidays, informal business lunches, or when you just don’t feel like cooking. Pronto allows you to forget about the planning, stress, and cleanup of hosting and focus on your company.

Your Event, Our Place!

Host your event at our brand new event space in La Jolla for an intimate setting to bring people together, share food and celebrate the special moments in life. Call 858.581.2205 or visit us online at grnfc.com

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MOVEMENT • Latest equipment

• Group classes

• Personal training

• Cryotherapy

• Concierge medicine

• Child care options

• IV infusions

• Bodywork services

• Vitamin B12 injections

• Steam rooms

• Glutathione injections

• Spa amenities

START TODAY: 858 456 2595 Visit us in the village and find your wellness with a 5-day free trial.

23,000 square feet • 85+ weekly classes • 2-hour parking •

7825 Fay Ave | La Jolla, CA 92037 | 858.456.2595 | lajollasportsclub.com

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GIRARD GOURMET From Our Garden To Your Plate La Jolla’s Premier Deli-Bakery-Restaurant & Caterer for 25 Years

We specialize in providing catering for all occasions serving the fresh, delicious, and finest cuisine our customers expect but with an extensive menu that surprises our regular Girard Gourmet customers. Add a special touch with birthday cakes, wedding cakes, one of a kind creations, and designer cookies.

7837 Girard Avenue La Jolla, CA 92037 | (858) 454-3325 | www.girardgourmet.com


Jimbo’s…Naturally! supports over 130 local businesses, and the list is growing! Just look for this logo throughout the store to easily identify a San Diego business and/or product. FIVE CONVENIENT LOCATIONS


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I •

Nurturing Potential String Players to Musical Reality in partnership with La Jolla Music Society's Outreach Program

858.909.0319 by appointment 10505 Sorrento Valley Rd., Suite 400, San Diego, CA 92121 www.theviolinshopsandiego.com



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.


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To market distinctive homes requires uncommon knowledge and resources. We take great pride in using our local expertise and global connections to unite extraordinary properties with the special buyers who will call them home. Contact one of our offices today to discover more reasons why Pacific Sotheby’s International Realty is like no other real estate brand.

Proud community partner in support of The Conrad Property shown: 8350 Calle Del Cielo, La Jolla. MLS #160060285


Sotheby’s International Realty® is a registered trademark licensed to Sotheby’s International Realty Affiliates LLC. An Equal Opportunity Company. Equal Housing Opportunity. Each Office is Independently Owned and Operated. CalBRE #01767484


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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LAZ Parking is a proud supporter of La Jolla Music Society’s THE CONRAD Visit www.lazparking.com or call 1-888-WE-PARK-U to find a location near you.

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



Celebrate Summer In Elegance The Westgate Hotel is a Proud Supporter of The La Jolla Music Society

s umme r p o ols i de ja z z s e r i e s

Every Thursday starting June 1st - August 31st. The event series will feature a different performance every week, complemented by signature cocktails, wine and craft beer, as well as a gourmet array of appetizers and tapas. S E E O UR P ER FO R MAN CE LIN E-U P AT WESTGATEHOTEL.COM

s un day brunc h

Enjoy our award winning buffet, complemented by live music and bottomless champagne, mimosas, bloody marys and margaritas. Every Sunday 10am - 2pm.

t he w e stg at e r o om

Enjoy exquisite California contemporary cuisine masterfully prepared by our Executive Chef Fabrice Hardel. Within an atmosphere of European elegance and class, our attentive staff provides unequalled service.

p l a z a bar

Voted “Best Piano Bar” by San Diego Magazine, The Plaza Bar located in the lobby of The Westgate Hotel features live music Friday, Saturday and Monday.



619-238-1818 | 1055 second ave, san diego

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LSE 2018 Summerfest Season Program Ad Stock: XXX 4/0 w/bleeds

Size: 7.5x10 - RT panel of spread

Qty: XXX

Index: XXX


Chancellor Pradeep K. Khosla and the UC San Diego community salute Cho-Liang “Jimmy” Lin for 18 years of extraordinary artistic leadership and extend our warmest welcome to incoming SummerFest Music Director Inon Barnatan.



Enjoy a Complimentary Appetizer on Us!* We invite you to join us for lunch at our signature restaurant, A.R. Valentien, to experience farm-to-table cuisine by Executive Chef Jeff Jackson paired with a serene setting overlooking the Torrey Pines Golf Course. (Please be sure to mention this ad to your server to receive offer.)

ARValentien.com | 858.777.6635 11480 North Torrey Pines Road, La Jolla, California 92037 *Offer available through Sept. 30, 2018 during lunch hours only. Dine-in at A.R. Valentien only, lounge and bar excluded. One complimentary appetizer per table with a minimum purchase of one entrĂŠe. Guest may select from any first course item on the menu. Original Summerfest program must be presented at time of purchase to redeem offer. No cash value. Other restrictions may apply.

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Please join us in applauding these generous donors for their gifts to The Conrad and for their vision 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 The Abello Family Sumi Adachi Erica Arbelaez Alexander Willis Allen John Amberg Sue Andreasen Arleene Antin and Leonard Ozerkis Abrahame and Debbie Artenstein Nancy Assaf Thomas Bache and and Ann Kerr Marnie Barnhorst Christopher Beach and Wesley Fata Maurine Beinbrink Barry Berkov Holly Berman Edgar and Julie Berner Joan Jordan Bernstein Bjorn Bjerede and Jo Kiernan Barbara Bloom Joye Blount and Jessie Knight, Jr. Robert and Virginia Black Joyce and Robert Blumberg Bill Boggs and Marilyn Huff Karen and Jim Brailean Benjamin Brand Gordon Brodfuehrer Wendy Brody Sedgwick Browne Fay Bullitt Peter Cacioppo Robert Caplan and Carol Randolph R. Park and Louise Carmon Katherine and Dane Chapin Ric and Barbara Charlton


Rita and Richard Atkinson The Beyster Family Brian and Silvija Devine Joy Frieman Peggy and Peter Preuss Debbie Turner

Linda Chester and Kenneth Rind Bobbi Chifos Linda Christensen and Gonzalo Ballon-Landa Lee Clark Charles and Monica Cochrane Sharon Cohen Karen and Don Cohn Peter Cooper in honor of Norman Blachford Valerie and Harry Cooper Hugh Coughlin Ruth Covell Elaine and Dave Darwin Doug Dawson Mr. and Mrs. Richard Dean Caroline DeMar Tallie and George Dennis Martha and Ed Dennis Linda and Rick Dicker Brian and Susan Douglass The Dow Divas Sue H. Dramm Robert and Ann Parode Dynes Elisabeth Eisner Forbes and Brian Forbes Barbara and Dick Enberg Jennifer and Kurt Eve John and Linda Falconer Elliot and Diane Feuerstein Monica and Socorro Fimbres Teresa and Dr. Merle Fischlowitz Wain and Debbie Fishburn Jorgina Franzheim Barbara Freeman

Brandon and Paula Freeman Paul and Claire Friedman Ronald Friedman Ira Gaines and Cheryl J. Hintzen-Gaines Elaine Galinson and Herbert Solomon Susan Galluccio Sarah and Michael Garrison Ferdinand Marcus Gasang George’s at the Cove Clyde Gillespie Dawn Gilman Lisa Braun Glazer and Jeff Glazer Tom Gleich in memory of Martin and Enid Gleich Peggy and Buzz Gitelson Lehn and Richard Goetz Brenda and Michael Goldbaum Lee Goldberg Grande Colonial Clyde Gonzales Carol Lynne Grossman Margaret Stevens Grossman and Michael Grossman Teresa Haas Bo Hedfors Nancy Heitel Edvard and Barbara Hemmingsen Dr. Jeanne L. Herberger in loving memory of Gary Kierland Herberger Kay and John Hesselink Paul and Barbara Hirshman Sue Hodges Susan and Bill Hoehn Alan Hofmann

Join the growing family of donors that are making The Conrad possible

OPENING APRIL 2019 Mark Holmlund Vivian and Greg Hook Eliot Horowitz in honor of Carol Fink 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 Linda Kanan Sofia Kassel and David Guss Nan and Buzz Kaufman Richard and Ruth Kelly Katherine Killgore and Glen Bourgeois Helen and Keith Kim Jenelle Kim Carrie Kirtz Angelina and Fredrick Kleinbub Jane Kolar La Jolla Beach & Tennis Club La Valencia Hotel Carol Lam and Mark Burnett Las Patronas The LeCourt Family Sharon LeeMaster Vivian Lim and and Joseph Wong Sheila and Jeffrey Lipinsky Ann and Gerald Lipschitz in honor of Selma Malk Terri Lundberg Sue and John Major Brian Malk in honor of Selma Malk Linda and Michael Mann Patsy and David Marino Betty and James Martin Michel Mathieu Dennis A. McConnell and Kimberly A. Kassner Matt McCormick in memory of Joel McCormick

Margaret McKeown and Peter Cowhey Dan McLeod Betsy Mitchell Hans and Ursula Moede Bridget Musane Esther Nahama Arlene and Lou Navias Robin and Hank Nordhoff Janet and John Nunn Virginia Oliver Mary and John O’Neal Pacific Sotheby’s Real Estate 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 Phyllis and Stephen Pfeiffer Teddie Lewis Pincus William Pitts and Mary Sophos Gary Poon Ellen Potter and Ronald Evans William Propp and Anna Covici The ProtoStar Group Robert Bob and Joyce Quade The Klaus Radelow Family Sylvia and Steven Ré Catherine and Jean Rivier Jessica and Eberhard Rohm Noel Rufo David and Mary Ruyle Leigh P. Ryan Rita Ryu in memory of Sam Ryu Eric and Jane Sagerman Julie and Jay Sarno Eric Sasso Sheryl and Bob Scarano Adrienne and Richard Schere Clifford Schireson and John Venekamp

Marge and Neal Schmale Marilies Schoepflin in honor of Alex Schoepflin Emily and Tim Scott Patricia Shank Maureen and Thomas Shiftan Gigi and Joseph Shurman Karen and Christopher Sickels Rob Sidner Ethna Sinisi Rodney and Dolores Smith Alan and Beverly Springer Martin Stein Jeanette Stevens Iris and Matthew Strauss Michael Takamura Elizabeth Taft Haeyoung Kong Tang William Tong Susan and Richard Ulevitch N.B. Varlotta Yvonne Vaucher Sue and Peter Wagener Richard H. Walker Bill and Lori Walton Nell Waltz Margie and John H. Warner, Jr. Cathy and John Weil Abby and Ray Weiss Linda and Steve Wendfeldt Doug and Jane Wheeler Sheryl and Harvey White Suhaila White 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 Anonymous Listing as of June 6, 2018

Please contribute today by contacting Ferdinand Gasang, Director of Development 858-459-3724, ext. 204 or FGasang@LJMS.org. VISIT THECONRAD.ORG FOR MORE INFORMATION 858.459.3728 • LJMS.ORG | 119



Saturday, February 16, 2019 · 8 PM

Thursday, April 18, 2019 · 8 PM

Balboa Theatre

The Baker-Baum Concert Hall



Jazz Series


Friday, February 22, 2019 · 8 PM

Piano Series

Balboa Theatre

Special Event

Wednesday, April 24, 2019 · 8 PM Special Event

The Baker-Baum Concert Hall


Revelle Chamber Music Series

Civic Theatre



Discovery Series

Special Event

Dance Series

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

Balboa Theatre

SEONG-JIN CHO Thursday, October 18, 2018 · 8 PM Piano Series

The Auditorium at TSRI

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

Spreckels Theatre

Sunday, January 20, 2019 · 6 PM Piano Series

The Auditorium at TSRI

Friday, April 26, 2019 · 8 PM

The Auditorium at TSRI

The Baker-Baum Concert Hall



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

Saturday, April 27, 2019 · 8 PM

Jacobs Music Center - Copley Symphony Hall

The Baker-Baum Concert Hall

Dance Series

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

Balboa Theatre

Coming Home


Tuesday, April 9, 2019 · 8 PM

Revelle Chamber Music Series The Baker-Baum Concert Hall

Friday, April 12, 2019 · 8 PM

Revelle Chamber Music Series The Baker-Baum Concert Hall

NPR'S FROM THE TOP Saturday, April 13, 2019 · 6 PM Special Event


The Baker-Baum Concert Hall

Friday, February 8, 2019 · 8 PM

GEORGE LI, piano

Revelle Chamber Music Series The Auditorium at TSRI

Sunday, April 14, 2019 · 3 PM

Saturday, February 9, 2019 · 8 PM

The Baker-Baum Concert Hall

An Evening of Nordic Folk Music The Auditorium at TSRI


Special Event

Sunday, February 10, 2019 · 3 PM Special Event

Sunday Skål! basileIE Gallery

The Baker-Baum Concert Hall

Sunday, March 10, 2019 · 3 PM


Thursday, April 25, 2019 · 8 PM

Discovery Series

Special Event

Coming Home

GARRICK OHLSSON: BRAHMS EXPLORATION Friday, May 3, 2019 · 8 PM Piano Series

The Baker-Baum Concert Hall

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

The Baker-Baum Concert Hall

THE TRIPLETS OF BELLEVILLE (FILM SCREENING) Thursday, May 9, 2019 · 8 PM Jazz Series

The Baker-Baum Concert Hall

DAVID FINCKEL & WU HAN Friday, May 10, 2019 · 8 PM

Revelle Chamber Music Series The Baker-Baum Concert Hall

STORM LARGE'S CRAZY ENOUGH Saturday, May 11, 2019 · 8 PM Sunday, May 12, 2019 · 3 PM Special Event

The Baker-Baum Concert Hall

Wednesday, April 17, 2019 · 8 PM


The Baker-Baum Concert Hall

Sunday, May 19, 2019 · 3 PM

Piano Series

Discovery Series

The Baker-Baum Concert Hall

GRAND OPENING WEEKEND : THE CONRAD PREBYS PERFORMING ARTS CENTER April 5, 6, and 7, 2019 For information and reservations, please contact Ferdinand Gasang, Director of Development at 858.459.3724, ext. 204 or FGasang@LJMS.org

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SummerFest 2018 Program Book  

SummerFest 2018 Program Book  

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