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AUGUST 5 - 28, 2015



AUGUST 5 - 28, 2015



10 - 11 AM · 11 - 12 PM · LA JOLLA RIFORD LIBRARY



Calendar of Events SUMMERFEST









10 - 11 AM · 11 - 12 PM · LA JOLLA RIFORD LIBRARY


10 - 11 AM · 11 - 12 PM · LA JOLLA RIFORD LIBRARY





10 - 11 AM · 11 - 12 PM · LA JOLLA RIFORD LIBRARY


Special Guest: Aisslinn Nosky

2 PM






5:45 PM




7 PM




7 PM










10 - 11 AM · 11 - 12 PM · LA JOLLA RIFORD LIBRARY


10 - 11 AM · 11 - 12 PM · LA JOLLA RIFORD LIBRARY




10 - 11 AM · 11 - 12 PM · LA JOLLA RIFORD LIBRARY

5:45 PM




7 PM





Special Guest: Joyce Yang








7 PM
















10 - 11 AM · 11 - 12 PM · LA JOLLA RIFORD LIBRARY



Special Guest: Derek Bermel















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10 - 11 AM · 11 - 12 PM · LA JOLLA RIFORD LIBRARY


OPEN REHEARSAL Special Guest: Cho-Liang Lin



5:45 PM



7 PM


Souvenir de Florence

7 PM











Special Performance Encounter








10 - 11 AM · 11 - 12 PM · LA JOLLA RIFORD LIBRARY










1008 Wall St., La Jolla


Dmitri Shostakovich: Some Post-Centennial Reflections


Special Guest: Lyubov Petrova 3:20 - 4:30 PM · MCASD SHERWOOD AUDITORIUM

7946 Ivanhoe Ave., La Jolla (El Patio Building)


10 - 11 AM · 11 - 12 PM · LA JOLLA RIFORD LIBRARY


For more information, please call 858.459.3728, ext. 206.

Echoes Across A Continent



To purchase tickets call 858.459.3728 or visit


10 - 11 AM · 11 - 12 PM · LA JOLLA RIFORD LIBRARY











7 PM



7 PM

1150 Coast Blvd., La Jolla



LA JOLLA RIFORD LIBRARY 7555 Draper Ave., La Jolla












A conversation with Cho-Liang Lin 12:30 - 2 PM · ATHENAEUM MUSIC & ARTS LIBRARY



Strings, Glorious Strings! 8 PM · MCASD SHERWOOD AUDITORIUM

COVER IMAGE: Feodor Voronov, Serpentine, 2011.

Acrylic, spray-paint, marker and ball-point pen on canvas, 61 x 61 inches. Collection of the Museum of Contemporary Art San Diego. Museum purchase with funds from Hilarie and Mark Moore and the Moore Family Trust.

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Welcome to SummerFest, a celebration of music, friendships and memories.


There are so many people who give their time, ideas and monies to make SummerFest happen every year, I want to acknowledge them and thank them all. First are our Festival Founders, Brenda Baker and Steve Baum Sponsors of our Music Director, Cho-Liang Lin, Raffaella and John Belanich All the Sponsors listed in your program for individual concerts The Chair of the SummerFest Gala, Margaret Stevens Grossman

SummerFest Chair: Peggy Preuss

The Hosts of the SummerFest Gala, Joan and Irwin Jacobs

Gala Chair: Margaret Stevens Grossman

Thankyou to Helene Kruger, SummerFest Under the Stars Chair, and Robert Nelson for organizing the housing for our artists.

Housing Chair: Robert Nelson

A thank you to all the Sponsors of the educational programming and individual artists. And of course, last but not least, thank you to the countless volunteers who put signs on their cars, passed out window posters and carried SummerFest brochures around for weeks, ready to hand out to anyone they met. And of course Christopher Beach and the staff, who put it all together and make it work every year. Enjoy the magic of music and summer in La Jolla. I can’t think of a better way of experiencing summer than listening to Beethoven, Mozart and Shostakovich, with a little Xenakis and Janáček thrown in for spice. See you at the concerts,

Peggy Preuss

SummerFest Chair


SummerFest Under the Stars Chair: Helene K. Kruger Members: Brenda Baker Raffaella Belanich Joan Jordan Bernstein Mary Ann Beyster Ginny Black Karen Brailean Wendy Brody Katherine Chapin Elaine Darwin Martha Dennis Silvija Devine Eleanor Ellsworth Barbara Enberg Sue Fan Joy Frieman Sally Fuller Brenda Goldbaum Cindy Goodman Judith Harris Singer Kay Hesselink Carol Hinrichs

Alexa Kirkwood Hirsch Susan Hoehn Joan Jacobs Tatiana Kisseleva Teddie Lewis Vivian Lim Leanne Hull MacDougall Joani Nelson Marina Pastor Maria Prokocimer Catherine Rivier Stacy Rosenberg Marge Schmale Maureen Shiftan Gigi Shurman Annemarie Sprinkle Jeanette Stevens Dolly Woo Carolyn Yorston-Wellcome Bebe Zigman


La Jolla Music Society is an institution with a proud and distinguished past but moreover we clearly see an even more exciting future. As many of you know, the Museum of Contemporary Art San Diego has an urgent need to expand its exhibition space and has subsequently planned to repurpose Sherwood Auditorium. That change makes a long-held dream of ours a necessity. It is with excitement and broad community encouragement that La Jolla Music Society, not just the leadership, but the staff and the donors and many, many patrons, have joined together to take a bold step; to build not one concert hall, but two, new and better, and to enthusiastically encourage everyone to make them a rich and vibrant community resource. The Conrad Prebys Performing Arts Center will open to the world as “The Conrad,” and will from the very first night make an important contribution to the quality of life in San Diego. This is a bold step in no small part because it is a big one and an expensive one. Land needed to be found; a considerable challenge in itself in our small village. Just the right architect needed to be found; after a year-long vetting process of 15 firms across America EPSTEIN JOSLIN Architects, Inc. from Cambridge, Mass., a firm with extensive experience building acclaimed music halls, was chosen. We are confident that they will build San Diego a distinctive and beautiful performing arts center that will immediately be recognized as having its roots in La Jolla. The Conrad also aims to be known as a music hall internationally-recognized for its excellent acoustics. For that reason we have engaged Yasuhisa Toyota, of Nagata Acoustics, and the acoustician for many great concert halls around the world including Walt Disney Concert Hall in Los Angeles. And then of course there is the challenge of raising over $60 million dollars needed before opening night. Happily we are a long way to achieving that goal as well. It is an exciting time for all of us at LJMS, and for me personally it’s an incredible time to be part of a great institution. I look forward to joining all of you on this journey. Sincerely,


I cannot quite put into words why, but I am feeling a little nostalgic this summer. Maybe, it is because of the wealth of musical moments I have collected at SummerFest as a musician and as the Music Director for over 25 years or maybe this feeling has been triggered by the excitement of programmatic possibilities surrounding our new performing arts center.  Whatever the reason, what I cannot express through words alone, I know the power of music can convey.  Music connects us all in its own unique language.  This summer, the range and depth of musical sentiment can be felt throughout the festival. Dmitri Shostakovich, one of the most celebrated composers of the 20th century, had a tremendous impact on classical music in Russia and beyond.  To honor this iconic composer, I have assembled a three-day Shostakovich exploration (Aug. 21-23) featuring his highly personal and intimate chamber music.  This dark and beautifully moody repertoire will come to life with the help of my good friends and esteemed colleagues, pianist Vladimir Feltsman, violinist Dmitry Sitkovetsky, vocalist Lyubov Petrova and many more.  Prior to each performance, world-renowned musicologist Richard Taruskin will present three focused lectures on Shostakovich’s life and his extraordinary musical achievements. Commissions abound this summer! We are pleased to celebrate the 80th birthday of Peter Schickele, an American icon, comedic genius and one of top composers of our time with the California première of his Clarinet Quintet, “Spring Ahead.” We also welcome composers Clarice Assad, who has written a virtuoso work for Liang Wang, principal oboist of the New York Philharmonic, and the enormously gifted Derek Bermel to the festival. Every program this summer encompasses the full range of human emotion. This couldn’t be truer than with Joel Hoffman’s beautiful, personal tribute honoring the life of his sister, my dear friend and colleague Deborah Hoffman. We look to music to express our loss, celebrate life, and guide us to a place of acceptance and remembrance. From Opening Night’s passionate Souvenir de Florence to the colossal expressive power of Shostakovich, join me on this journey of human emotion and experience hope, loss, fear, love and jubilation! It is going to be an amazing and intense ride! Sincerely,

Christopher Beach

Cho-Liang Lin

President & Artistic Director

SummerFest Music Director

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Valet parking is available for performances at MCASD Sherwood Auditorium. For street parking, please remember to observe all parking signs and regulations when attending SummerFest events, especially those during the day. Please allow ample time for traffic delays and parking.


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.



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


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.


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


All 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

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

LA JOLLA MUSIC SOCIETY 7946 Ivanhoe Avenue, Suite 309, La Jolla, California 92037 Admin: 858.459.3724 - Fax: 858.459.3727



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.





Calendar of Events ..........…….........................….……….……...…...2 Welcome Letters .....….…....…......….......................…..….................4 Map & Policies ..…......….……….....……...........................…........…6 La Jolla Music Society Staff & Board of Directors ...............………7 SummerFest Support ...…..........................……........................….....8 Season Support ....................................…...…..................................14 Essay: The Secret Diary of a Nation ..................................…........18 5 Questions with the Music Director ...............................................20 Community Engagement Activities ........…....................................22 Musical Preludes ...............................................................................24 Program Notes …….........…..................……..……............….….....26 Artist Roster ..……..................................…..………..….………......72 Artist Biographies …...….............................….…......…………......73 SummerFest Grand Tradition ..........….…...........…..…………....83 SummerFest Commission History …..............……..............….......87 Season Support (continued) ............................................................88 Business Society .......................................................…...…...............96 LA JOLLA MUSIC SOCIETY STAFF


Christopher Beach, President & Artistic Director Cho-Liang Lin, SummerFest Music Director

Martha Dennis, Ph.D. – Chair Katherine Chapin – Vice President Theresa Jarvis – Treasurer Clara Wu – Secretary Clifford Schireson – Past Chair

Chris Benavides – Finance Director Debra Palmer – Executive Assistant & Board Liaison Rachel Danford – Administrative Assistant Leah Z. Rosenthal – Director of Artistic Planning & Education Jazmín Morales – Artist Services Coordinator Allison Boles – Education Manager Marcus L. Overton – Consultant for Special Projects Shirley Hunt – Artist Liaison Ben Pesetsky –  Music Librarian/Artist Liaison Eric Bromberger – Program Annotator Serafin Paredes – Community Music Center Program Director Kayla Iniguez – Artistic Intern Iphigenia Seong – Artistic Intern Ferdinand Gasang – Development Director Carolyn Osorio –Business Development & Event Coordinator Benjamin Guercio – Development Coordinator Kristen Sakamoto – Marketing Director Vanessa Dinning – Marketing Manager Hilary Huffman – Marketing Coordinator Matthew Fernie – Graphic & Web Designer Cari McGowan – Ticket Services Manager Shannon Haider – Ticket Services Assistant Caroline Mickle – Ticket Services Assistant AJ Peacox – Ticket Services Assistant Scott Szikla – Ticket Services Assistant Kelsey Young – Ticket Services Assistant Shaun Davis – House Manager Paul Body – Photographer Travis Wininger – Production Manager Leighann Enos – Stage Manager Mike Lopez– Assistant Stage Manager Tyler Salvato – Assistant Stage Manager Benjamin Maas – Recording Engineer Jonnel Domilos, Ron Elliot, John Evans – Piano Technicians Gema García, Erica Poole, Polina Sisman, Ryan Welsh – Page Turners

Stephen Baum Christopher Beach Karen A. Brailean Gordon Brodfuehrer Wendy Brody Ric Charlton Elaine Bennett Darwin Silvija Devine Brian Douglass Barbara Enberg Matthew Geaman Lehn Goetz Susan Hoehn Angelina K. Kleinbub Carol Lam, Esq.

Robin Nordhoff Rafael Pastor Ethna Sinisi Piazza Peggy Preuss Deirdra Price, Ph.D. Jeremiah Robins Leigh P. Ryan, Esq. Marge Schmale Jean Shekhter Maureen Shiftan June Shillman Jeanette Stevens Debra Turner H. Peter Wagener Carolyn Yorston-Wellcome

Brenda Baker – Honorary Director Stephen Baum – Honorary Director Joy Frieman, Ph.D. – Honorary Director Irwin M. Jacobs – Honorary Director Joan K. Jacobs – Honorary Director Lois Kohn (1924-2010) – Honorary Director Helene K. Kruger – Honorary Director Conrad Prebys – Honorary Director Ellen Revelle (1910-2009) – Honorary Director

Paul Hastings LLP Leaf & Cole, LLP

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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.


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.


Raffaella and John Belanich We are grateful to Raffaella and John Belanich for their sponsorship of our SummerFest Music Director, Cho-Liang “Jimmy” Lin. Their long-standing commitment to SummerFest and their respect and admiration for Jimmy is reflective of their sustained gift.





Sam B. Ersan Conrad Prebys and Debbie Turner

Chris and Sue Fan Olivia and Peter Farrell Michael and Brenda Goldbaum


Mary Ann Beyster Bill Karatz and Joan Smith Twin Dragon Foundation FESTIVAL SPONSORS Joan Jordan Bernstein Norman Blachford and Peter Cooper George Bolton and Leia Hayes Robert and Virginia Black Dr. James C. and Karen A. Brailean David Brenner and Tatiana Kisseleva Dr. Stuart and Isabel Brown Ric and Barbara Charlton Elaine and Dave Darwin Martha and Ed Dennis Silvija and Brian Devine Barbara and Dick Enberg Jill Esterbrooks and James Robbins Pauline Foster Joy Frieman Sally Fuller Elaine Galinson and Herb Solomon Judith C. Harris and Robert Singer, M.D. Susan and Bill Hoehn Kay and John Hesselink Alexa Kirkwood Hirsch Joan and Irwin Jacobs Theresa Jarvis Katherine Kennedy Karen and Warren Kessler Helene K. Kruger

Sharon and Joel Labovitz Eric L. Lasley and Judith Bachner Vivian Lim and Joseph Wong Sue and John Major Bill Miller and Ida Houby Robert C. Nelson and Jean Fujisaki Marina and Rafael Pastor Anne Otterson Betty-Jo Petersen Peggy and Peter Preuss Catherine and Jean Rivier Stacy and Don Rosenberg Ivor and Colette Carson Royston Marge and Neal Schmale Marilies Schoepflin Maureen and Tom Shiftan Susan Shirk and Samuel Popkin Tina Simner Lee and Annamarie Sprinkle Haeyoung Kong Tang Kathy Taylor Laurette Verbinski Nell Waltz Dolly and Victor Woo Anonymous (2) Listing as of July 15, 2015

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VENUE PARTNERS ATHENAEUM MUSIC & ARTS LIBRARY The Athenaeum Music & Arts Library was founded in 1894 and incorporated in 1899 by a group of La Jolla women. Truly San Diego’s cultural “jewel box,” it is one of only 16 nonprofit membership libraries in the United States. This rare institution offers a depth and accessibility of resources and programs in art and music found nowhere else in the region. The library, devoted exclusively to music and art, has an outstanding and ever-expanding collection of books, periodicals, reference material, CDs, videocassettes, DVDs, sheet music, and librettos, as well as one of the most significant collections of artists’ books in Southern California. The library is open to the public five days a week; members can check out materials for a modest annual fee. The Athenaeum currently attracts over 100,000 visitors each year. The Athenaeum presents an eclectic, year-round schedule of art exhibitions in three different galleries, concerts (classical, jazz, acoustic, and contemporary music), lectures, studio art classes, tours, and special events. The 2015-2016 season will feature outstanding gallery exhibitions and Chamber concerts. We also celebrate 26 years of Jazz, as well as Mini–Concerts returning for the 46th season to the Athenaeum Music & Arts Library and the 43rd season to the Lyceum Theatre. Our School of the Arts has started its 30th year of classes in the La Jolla location and will move the Park Blvd Studio to the Athenaeum Art Center at Bread $ Salt in Logan Heights in September. The Athenaeum will continue the success of the Murals of La Jolla project with exciting plans of additional mural sites and featured artists. Join us again this summer for Flicks on the Bricks starting August 6, Night Owl’s Member’s Choice August 21, or Murals of La Jolla Tour August 26. More details here:

LA JOLLA/RIFORD LIBRARY · 858.552.1657 The La Jolla/Riford Library community continues to be a vibrant audience for and supporter of concerts of all types. The Library encourages local performers and music groups to present concerts in their Community Room. In addition to the partnership with La Jolla Music Society, they have been developing programs with the music departments at UCSD, SDSU, and various area music organizations and societies. The Library, through the continued financial support of the Friends of the La Jolla Library, continues its legacy and mission of providing an outstanding collection of music CDs and musical performance DVDs. The notion that creativity may have its most conspicuous fruits in the fine and performing arts is complemented by the Library’s corollary mission that the curious and creative mind must have its own fruition in the collected ideas and observations from the intellectual world around us. The Library’s book, periodical, and movie collections are outstanding, growing, and more popular than ever. Please join the La Jolla Library in encouraging and supporting the creative and intellectual arts so prominently recognized and appreciated in this community.

MUSEUM OF CONTEMPORARY ART SAN DIEGO · 858.454.3541 The Museum of Contemporary Art San Diego (MCASD) offers access to the very best art of our time in two iconic locations. La Jolla’s galleries and oceanfront Sculpture Garden offer a unique blend of contemporary art and natural beauty in a setting that was once the home of Ellen Browning Scripps. The downtown campus captures the energy and vibrancy of the city with sitespecific installations and soaring exhibition spaces that once housed the baggage building for the historic Santa Fe Depot. Whether visiting MCASD La Jolla or Downtown, what visitors will find is the same. Rotating exhibitions of world-class art, compelling public programs, and works from the Museum's permanent collection by promising emerging talent and major figures in the international contemporary art scene. Currently on view at MCASD La Jolla through September 6 is Dear Nemesis, Nicole Eisenman 1993-2013. For twenty years, Nicole Eisenman has developed a creative vision that combines high and low culture with virtuosic skill. Fusing centuries-old art-making conventions and a multitude of art historic influences with contemporary subject matter, she has created depictions of community, identity, and sexuality. Her incisive sociopolitical critique operates through the quotidian and the absurd in ways that are both formally playful and visually breathtaking.

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Conrad Prebys and Debbie Turner

Rita and Richard Atkinson Joye Blount and Jessie Knight, Jr. Sevil and Johan Brahme Gordon Brodfuehrer Katherine and Dane Chapin Ann and Bob Conn Elaine and Dave Darwin Martha and Ed Dennis Silvija and Brian Devine Nina and Robert Doede Barbara and Dick Enberg Joy Frieman Margaret Stevens Grossman and Michael S. Grossman Susan and Bill Hoehn Theresa Jarvis Helene K. Kruger Todd Lempert, M.D. and Donna Madrea Teddie Lewis Vivian Lim and Joseph Wong M. Margaret McKeown and Peter Cowhey William Purves Stacy and Don Rosenberg Leigh P. Ryan Clifford Schireson and John Venekamp Neal and Marge Schmale Jean and Gary Shekhter Maureen and Tom Shiftan Drs. Joseph and Gloria Shurman Jeanette Stevens Joyce and Ted Strauss Elizabeth Taft Sue and Peter Wagener Mary L. Walshok, Ph.D. Margie and John H. Warner, Jr. Sheryl and Harvey White Joseph and Mary Witztum Dolly and Victor Woo Bebe and Marvin Zigman Ellen and Tim Zinn

Pamplemousse Grille ACE Parking Classic Party Rentals Erika Thornes Photography Janice Dodge, Inc.


Raffaella and John Belanich Mary Ann Beyster Joan and Irwin Jacobs Bill Karatz and Joan Smith CONCERT SPONSOR

Twin Dragon Foundation RECEPTION SPONSOR

Olivia and Peter Farrell INVITATION SPONSOR

Tina Simner MUSICIAN SPONSORS George Bolton and Leia Hayes Dr. Stuart and Isabel Brown Jill Esterbrooks and James Robbins Pauline Foster Elaine Galinson and Herb Solomon Judith C. Harris and Robert Singer, M.D. Marina and Rafael Pastor Peggy and Peter Preuss Ivor and Colette Carson Royston


UNDERWRITERS Brenda Baker and Steve Baum Katherine and Dane Chapin Karen and Don Cohn Martha and Ed Dennis Theresa Jarvis Lael and Joy Kovtun Leanne Hull Fine Art, LLC/ Leanne Hull MacDougall Matthew and Iris Strauss Carolyn Yorston-Wellcome and H. Bard Wellcome Listing as of July 13, 2015


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. Raffaella and John Belanich Joan Jordan Bernstein Mary Ann Beyster Ginny and Bob Black Sherry and Marty Bloom Alicia and Rocky Booth Karen and Jim Brailean David Brenner and Tatiana Kisseleva Althea Brimm Chris Capen Carol and Jim Carlisle Linda Christensen and Gonzalo Ballon-Landa Patty and Jim Clark Ann Craig Martha and Ed Dennis Silvija and Brian Devine Carol Diggs Sue and Chris Fan Caroline and Tony Farwell Diane and Elliot Feuerstein Clare and Dr. Paul Friedman Joy Frieman

Jean Fujisaki and Robert Nelson Lehn and Ritch Goetz Cindy and Tim Goodman Margaret Stevens Grossman and Michael S. Grossman Judith Harris and Robert Singer Kay and John Hesselink Alexa Kirkwood Hirsch Joan and Irwin Jacobs Helene K. Kruger Vivian Lim and Joseph Wong Mariam Lorentzen Carol Manifold Betty and Jim Martin Margaret McKeown and Peter Cowhey Francesca McNally Joanne and Dr. Robert Meredith Sara Moser Elaine and Doug Muchmore Joani Nelson Marie and Merrel Olesen Anne Otterson

Peggy and Peter Preuss Catherine and Jean Rivier Stacy and Don Rosenberg Jane and Eric Sagerman Neal and Marge Schmale Suzan and Gad Shaanan Maureen and Tom Shiftan Marion and Kwan So Annemarie and Lee Sprinkle Elizabeth Taft Sue and Peter Wagener Dolly and Victor Woo Su-Mei Yu Listing as of July 15, 2015

We are always looking for new hosts for our artists. Please call our office at 858.459.3724 if you are interested in learning more about hosting possibilities.

SUMMERFEST UNDER THE STARS Our deepest gratitude to the following members of the community for making this free concert possible. And, special thanks to Helene Kruger for her remarkable leadership and dedication as chair of the SummerFest Under the Stars Campaign.

Silvija and Brian Devine James Beyster - Beyster Family Foundation Del Foit and Cynthia Bobin-Foit Johan and Sevil Brahme Dr. James C. and Karen A. Brailean Gordon Brodfuehrer Wendy Brody and Bill Brody Kathleen Charla Dave and Elaine Darwin Martha and Ed Dennis Eleanor Lynch Ellsworth Dick and Barbara Enberg Lehn and Ritch Goetz Jeff Glazer and Lisa Braun-Glazer

Michael and Brenda Goldbaum Bryna Haber Alexa Kirkwood Hirsch Susan and Bill Hoehn Joan and Irwin Jacobs Angelina K. and Fredrick Kleinbub Joel and Sharon Labovitz Joseph Wong and Vivian Lim Michel Mathieu and Richard MacDonald Paul and Maggie Meyer Debbie Horowitz and Paul Nierman Joani Nelson Bill Miller and Ida Houby Rafael and Marina Pastor Betty-Jo Petersen

Ethna Piazza Don and Stacy Rosenberg Leigh P. Ryan Marge and Neal Schmale Maureen and Thomas Shiftan Lee and Annamarie Sprinkle Jeanette Stevens Elizabeth Taft Renee Taubman Norma Jo Thomas Eleanor tum Suden Susan and Richard Ulevitch Anonymous *In Honor of Helene Kruger

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LA JOLLA MUSIC SOCIETY MAJOR SPONSORS We are honored to have the support of the following individuals who have shown great leadership by making generous gifts in support of our 2014-15 Season. Their annual support of $25,000 or more is vital to sustaining the excellence of our programming. Please join us thanking them for helping us create a vibrant and dynamic performing arts community.


Brenda Baker and Steve Baum

Conrad Prebys and Debbie Turner 14 LA JOLLA MUSIC SOCIETY SUMMERFEST



Joy Frieman

Joan and Irwin Jacobs


Rita and Richard Atkinson

Raffaella and John Belanich

Silvija and Brian Devine

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Mary Ann Beyster

Dr. James C. and Karen A. Brailean

Gordon Brodfuehrer

Dave and Elaine Darwin

Martha and Ed Dennis

Barbara and Dick Enberg

Kay and John Hesselink

Susan and Bill Hoehn

Theresa Jarvis

Bill Karatz and Joan Smith

Sharon and Joel Labovitz

Rafael and Marina Pastor

Peggy and Peter Preuss

Twin Dragon Foundation

Jean and Gary Shekhter

Mao and Dr. Bob Shillman

Jeanette Stevens

Vail Memorial Fund

Joe Tsai and Clara Wu Tsai




The 46th Season is dedicated to


La Jolla Music Society wishes to thank Conrad and Debbie for their extraordinary leadership and generosity.

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BY Richard Taruskin


ited States n U e h t in ed sic sician train up to despise the mu s u m s u io r e t wa ike any s was brough posed in a country I I , r a W ld o C m during the ich. It was music co members, I was told, y v e e o of Shostak r and a society whos ey wished, only as th er a d th taught to fe e to think and act as nt. Music written un e e e os were not fr to do or face punishm ic, because the purp d us were force could not be good m onality of its creator e s s h such dures express the true per d creative freedom, t e o t of art was ncement of art requir sources and means. a e and the adv xperiment with new r e freedom to And this implied, in turn, that true artists were always ahead of their audiences, who would not only improve their sensibilities by keeping up with advanced art, but would always have an inspiring model of free choice and virtuous action to live up to. The cultural products of totalitarian societies provided citizens with models of obedience, not freedom. They were regressive, not progressive. They manipulated rather than liberated the thoughts and feelings of their beholders and inculcated conformism. Shostakovich, the most highly touted of Soviet composers, epitomized these deficiencies and dangers. If you are past your thirties you certainly remember this line of thinking. If you are receiving Medicare, you might remember, as I do, an earlier time and an earlier attitude affecting the music of Shostakovich. When I was attending elementary school in New York, we sang a song of his in assemblies. It was called the United Nations Hymn, and the text went like this. The sun and the stars are all ringing With song rising strong from the earth  The hope of humanity singing  A hymn to a new world in birth  (Chorus) United Nations on the march  With flags unfurled  Together fight for victory  A free new world. Those words were by Harold Rome, a songwriter best known for writing the show Pins and Needles, originally produced by the International Ladies’ Garment Workers Union. We were not told about him in our assemblies, possibly because by the time we were singing his song he, along with 150 other liberal or left-leaning American arts and entertainment figures, had been listed in a publication called Red Channels, the subtitle of which identified it as a “Report of Communist Influence in Radio and Television.”


Rome and Shostakovich never actually collaborated. Rome set his lyrics, under the title “United Nations on the March,” to an existing tune by Shostakovich for use in a movie called Thousands Cheer, about a circus acrobat (played by Gene Kelly) who is drafted into the army. The tune had first been used as the title song in a Soviet film from the period of the first Five-Year Plan. It was called “The Counterplan,” and extolled Leningrad factory workers who were overfulfilling their production quotas toward the construction of the first Soviet hydroelectric power station (and, of course, foiling the plots of “wreckers”). Thousands Cheer was released in 1944, which means that the United Nations in question was not the postwar international peacekeeping organization about which we were singing in school, but the old wartime alliance of Great Britain, the United States, and Soviet Russia, nations united against Germany and Japan. The song as we sang it was a sort of vestigial organ left over from a temporary partnership that had come to a bad end. By the late fifties, Shostakovich was no longer being sung by New York schoolchildren. In fact, by the end of the decade, performing any Russian music in American public schools was strongly discouraged, even music composed before the revolution. (My sister’s high school orchestra director had to cancel a performance of music from Musorgsky’s Pictures at an Exhibition.) While the alliance lasted, though, Shostakovich’s stock soared in America. His Seventh Symphony’s career as an emblem of wartime pertinacity is often recalled now that the symphony is once again a frequently-performed item. Here (with a couple of interjections from me) is how it was reported at the time: Last month a little tin box, no more than five inches around, arrived in the U.S. In it were 100 feet of microfilm—the photographed score of the Seventh Symphony. It had been carried by plane from Kuibyshev [the city, now renamed Samara, to which Shostakovich had been evacuated] to Teheran, by auto from Teheran to Cairo [how was that possible??], by plane from Cairo to New York. Photographers went to work printing from the film. In ten days they reproduced four fat volumes, 252 pages in all, of orchestral score. Before the first strip of film had gone into the enlarger, three topflight U.S. conductors, all Shostakovich champions— sleek, platinum-haired Leopold Stokowski, the Cleveland Orchestra’s Artur Rodzinski, Boston’s Serge Koussevitzky—were locked in a polite battle royal for the glory of conducting the première. For a while it looked as if Koussevitzky had gained the prize. Without even waiting to see the score of the coveted Seventh Symphony, he rushed to the Am-Rus Music Corp., U.S. agent for Soviet music, nailed down the first concertperformance rights for the Western Hemisphere. Then with quiet triumph he announced that his student Berkshire Music Center Orchestra would play the Seventh Symphony on August 14. But the truth of the matter was that he had been nosed out by his 75-year-old rival, Arturo Toscanini, the old fire-&-ice Maestro himself. Toscanini would conduct the Seventh on July 19, a month before Koussevitzky.

some composition students who were studying with Edison Denisov and Alfred Schnittke, the touted nonconformists of the day, and even (privately) with Philip Gershkovich, the shadowy ex-Webernite who was keeping the sputtering flame of modernism alive somewhere in darkest Moscow. They, too, were in a trance. These were not eight-year-olds. They were musicians I admired. The awful thought seized me that they valued this music, which I had been taught to despise, more highly than I valued any music, and that Shostakovich meant more to his society than any composer meant to mine. For the first time there occurred to me, half-formed, the unbearable suspicion that the ways of listening That report was from Time magazine, in the issue of July to and thinking about music that had been instilled in me were impoverished 20, 1942—the issue that quite famously sported a picture of Shostakovich, ways. wearing a civil defense fireman’s uniform, on its cover. The music did not I did not become a convert to socialist realism that day, nor have I become please everyone. Urbane composers scorned it. Virgil Thomson’s review one since. Indeed, I ended up playing a conspicuous role in the debunking, in ended with a memorable—and, as it turned out, prophetic—threat: “That the 1980s, of the spurious picture of Shostakovich as “dissident” that had been [Shostakovich] has so deliberately diluted his matter, adapted it, by both put forth by Testimony, a volume of faked oral-history memoirs published under excessive simplification and excessive repetition, to the comprehension of a Shostakovich’s name by an émigré scholar named Solomon Volkov, who had child of eight, indicates that he is willing to write down to a real or fictitious deceived Shostakovich into signing transcripts of previously-published essays psychology of mass consumption in a way that may eventually disqualify him that Volkov then larded with fabrications. The dissident image merely reversed for consideration as a serious composer.” At the time, however, Thomson’s the black and the white of the traditional Cold War polarization. It added strictures were (perhaps not altogether wrongly) put down to snobbery. nothing to understanding, indeed it just expanded the range of caricature and Another who had nothing kind to say about the piece, though he confined blunder. Understanding followed recognition that there was no black, no white, his complaints to private communications, was Igor Stravinsky, who had but only infinite shades of grey. declined a social invitation to sit by the radio, as we have learned from his My favorite shade of Shostakovich grey places due wife’s now published diary. Stravinsky never had a good s a w I h g emphasis on the social value that Shostakovich’s work word for Shostakovich, the emblem in his eyes nou e n o y o m S had for his contemporaries and compatriots, for whom of the Bolshevik regime that had made him an vise e r o t it was in effect the secret diary of their nation. But d exile. Nevertheless, he wrote a counterpart to rce o f y l n this was not because he was sending out messages o Shostakovich’s Seventh: his Symphony in Three ot n , n o i n in a bottle, the way Volkov’s followers insisted. It was i Movements (1946), frankly billed at its early op vich because, using a musical idiom o k a t s that nonprofessional o performances as a “war symphony,” and as full as Sh t u o b a n listeners found intelligible and compelling, and Shostakovich’s had been with quasi-cinematic imagery y ow m t u o a repertoire of conventional signifiers that went b of battle and triumph, which he began sketching ta u . b c i s u m back centuries—the very aspects of his art that precisely in 1942. The suspicion is more than tempting n in antagonized Thomson and Stravinsky—he could allow listeners to meditate o i t a c u that Stravinsky was following Shostakovich’s example-ed freely on matters that could not be openly debated in a closed society. negative, if you like, but no less potent for that. Listening to Shostakovich’s musical depiction, in his Eleventh Symphony And forsooth, music that had in 1942 been broadcast by the world’s most (1957), of the “Bloody Sunday” massacre of 1905, in which the Tsarist militia prestigious conductor on a nationwide hookup, and exerted more than a opened fire on a group of peaceful petitioners, the many Soviet citizens who modicum of influence on the world’s most prestigious composer, was out of (perforce silently) deplored their country’s repression of the Hungarian uprising bounds even for American school orchestras fifteen years later. Looking back the year before could find solace by imagining that Shostakovich, following old on this period—call it the Age of Anxiety after Auden’s famous postwar poem, or Russian traditions of underground “Aesopian” language, was giving voice to call it the age of McCarthy after the junior Senator from Wisconsin—it is easy their inexpressible outrage. Whenever asked about such things, Shostakovich enough for us now to see that we in the “West” also labored (and labor) under denied it. “Never mind,” one of my Soviet friends once told me, “we knew what constraints, and that they affect our musical lives along with everything else. it meant.” There was an unofficial but efficacious academic ban on Shostakovich during Thus for understanding the enormous hold that Shostakovich exerted over the years of my higher education, roughly the 1960s. The only time I recall ever his Soviet audience, and over a wider audience than ever now that we are past hearing his music in a classroom was when one of my professors juxtaposed the the Cold War and its sterilizing polarities, the best pair of maxims I know are by “invasion” music from the Seventh with Bartók’s mockery of it in his Concerto writers who were neither Russian nor musical. for Orchestra, and invited us all to mock along. I happily joined in. Soon enough I was forced to revise my opinion, not only about Shostakovich From Neitzsche: but about my own education in music. I spent the academic year 1971-72 as Music reaches its high-water mark only among men who have not the an exchange student at the Moscow Conservatory, researching a dissertation ability or the right to argue. of Russian opera in the 1860s. The better part of my time, in every sense And from Schiller: of the word, was devoted to socializing with my Soviet counterparts and The real and express content that a poet puts in his work remains attending concert and opera performances. At one concert I heard the always finite; the possible content that he allows us to draw out is an Seventh, performed under Kirill Kondrashin in the conservatory’s Great Hall. infinite quality. Since deriding it had long been for me a badge of sophistication, I glanced at appropriate moments at my Soviet companions, hoping to exchange a wink. Ask not what it means. Ask what it has meant and what it might mean. But no: my conservatory friends, who were at least as learned and as intelligent And then you will know its value. as I, and who were normally just as irreverent about everything students were supposed to be irreverent about, were mesmerized. I glanced around the hall and noticed my scholarly adviser, a deeply erudite musicologist, and also

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from the


5 questions for



Pianists can play such an enormous amount of repertoire, where does one begin to decide what to learn next?

Many answers to that one. When one is young, one should just learn as many pieces as one can physically. Partially because it is easier and quicker when you are young, but also it is too early to determine which composer or pieces will become close to you, innately understood by you, fit you better. I guess later you become more selective, but even “more selective,” given the enormity of the repertoire, it is a lot.... Additionally, when you plan a recital program you find yourself with an idea or a central piece you know, or are sure about wanting to learn, and then you end up learning other pieces that fit in.


Is playing every recital and concerto from memory good for music-making or just a bad tradition?

Two negative things about playing from the music: One, if one is buried in, or staring at the music, one can look—and sound—like one is reading the damned thing for the first time, instead of being totally immersed in it... And two (especially for pianists), the pages change so often that you end up spending most of your time fiddling (no pun!) with the music, which is crazy, or having a page turner, which is distracting to the audience. If one could eliminate those 2 problems, I would be all for playing with the music: having a performance where one is obviously over-concerned with remembering what comes next is definitely detrimental to the music.


Because of your long association with your distinguished trio, you won’t play any piano trios outside the KalichsteinLaredo-Robinson Trio. What would you do if Mozart offered to play the violin in his new trio with you? Since Mozart is more flexible than I am, I would ask him to play the piano part and I will learn the violin quickly (how hard can it be?) and play the violin part. Or, if Jimmy Lin agrees to join us, I will play the cello part. Problem solved.


Do pianists differ a lot in choosing fingerings, and do fingerings matter in how a work sounds?


If you could hitch a ride in a time machine, whom would you like to meet?

The older I get the more I realize how crucial the right fingering is to get the sound one wants, the smoothness and evenness the piece requires and, in general, the ease with which one glides from one position to another. (I am sure it is the same with a stringed instrument.) The above goals are shared by all pianists. But hands differ, so fingerings may be different from person to person. Also, some of us are smarter than others....

I have had it with difficult prima donnas...I would choose to be with the three geniuses who were also collegial, warm, human and kind: Robert Schumann, Mendelssohn and Dvorˇák. And I must hear Shakespeare read some of his Sonnets. And, since laughter is essential, Oscar Wilde.


5 questions for

5 questions for





With percussion instruments, you get to play rhythm, harmony and melody. Isn’t that the best of all worlds?

Yes. But what most appeals to me about percussion instruments is that so often we play what other people think of as junk. What a joy it is to find a sound that has been cast away, brush it off, and find a place for it in a piece of music. When we play “junk”— from frying pans to brake drums to railroad spikes and saw blades—percussion instruments act like the sonic totems of our lives. We then perform, using the noises of our culture, right here and right now.


You ran Ojai Festival this year. Were you given carte blanche in what you wanted to do? How adventurous did you feel about the programming? The program at Ojai was done in concert with Thomas Morris, the artistic director. (I was the music director, a rotating post.)  As with all programming, the goal is to connect with people, not in vague or routine way, but as electric, joyful, sometimes provocative contact. I am never after adventure in programming for its own sake, but see it as a way of creating a fascinating “conversation” with listeners.


You commission many composers to write for you. Do you find most of the composers at ease about writing for percussion instruments? I always commission a composer and not a piece, which means that I engage in a process with a composer that produces a piece. When a composer is unsure of how to handle percussion sounds that becomes a part of the process. Sometimes she or he will thoroughly understand the instruments used in the work. At other times the piece is written for free instrumentation and therefore relies on a percussionist’s intervention, and may change from performer to performer.


Assuming you have any spare time at all, what do you like to do?

I have had less spare time recently than I like. But I love hiking and sailing with my wife, Brenda. I also enjoy studying languages and reading poetry.


If you could hitch a ride in a time machine, whom would you like to meet?

My first thought was John Glenn, but then I realized he is still alive and, if I wanted to meet him, I could use United Airlines instead of a time machine. I would love to have seen Satchel Paige pitch in his prime; (I saw him in much later life.)  And, I am told that my great, great grandfather was a drummer boy in the Union Army. I would love to have been there when he returned to the farm with his musket in one hand and drum sticks in the other.

You first came to SummerFest as a part of “Rising Stars” which is now the Fellowship Artist program, now you are a “Senior” artist, does it make you feel better or just old?

​​This is a question which I can linger on for quite a bit. In a nutshell, I do feel older, especially with the word “senior” in it, but with seniority comes many perks and freedom of expression! My days as part of the Rising Stars program were loaded with fun and unbelievable music-making, but most memorable were the words of wisdom from my mentor, “you practice, you listen, you make notes and you say nothing…Just do it” and “quality practicing is quantity practicing.” As a Senior Artist now, I still try my darndest to live by those words and feel lucky to still have those very people in my life today. With that said, I am just thankful that I am not a fallen star yet! Thank you LJMS.


Being in the New York Philharmonic might mean you don’t necessarily hear yourself play so easily when surrounded by so many colleagues. Does that you mean you need to practice extra hard? T​ ough question! I practice as much as I can but thankfully concerts (outside from the Philharmonic) keep me in shape which helps in many ways, including that it is not always easy to hear myself. Orchestral music is very difficult but not always challenging enough to keep my “chops” up so I try my best to go back to the basics, such as scales and études — this would be the practicing “extra hard part.” With that said, due to the amount of music to be learnt each week, especially being a mom to 2 kids, a husband and a hyperactive dog, I do exercise more quality than quantity practicing....


You go to Shanghai regularly to train musicians there. Apart from having to breathe the air there, what do you like about that city?

Aside from the fantastic variety of food available on every corner, I am utterly impressed with the beauty and history of the Bund. Shopping is also a joy in that area and being Korean, bargaining would be thought to be part of my genetic makeup, but I found it wasn’t so! Aspirin and reinforcements will most definitely accompany me next time.


You run the Doublestop Foundation which enables young string musicians to land fine instruments. Do you get depressed by the astronomical prices of antique instruments? Prices of stringed instruments are just out of this world now and it is heartbreaking to see so many students and young professionals struggling to find instruments which fit their budget. New instruments have risen in price and out of reach as well for some, which creates a serious concern for nonprofit organizations which have similar visions as the Doublestop Foundation. The saving grace is that there are a few incredibly generous musicians/ collectors who feel it is imperative to keep their antique instruments played and matched with musicians in need. I was one of the fortunate few who was loaned a rare instrument in my youth.


If you could hitch a ride in a time machine, whom would you like to meet?

Mozart! There are no words to describe his incredible music and I would give anything to mingle with him for just one day. But wait! Can a non-musician be a part of this question? Before I was introduced to music, I was mesmerized with martial arts and Bruce Lee was the man for me. Now I am looking forward to being introduced to Jackie Chan. Anyone up to the task? 858.459.3728 - WWW.LJMS.ORG 21


All events




AUG 5 WED Coaching Workshops 10:00 - 10:50 AM 11:00 - 11:50 AM


AUG 6 THUR Coaching Workshops 10:00 - 10:50 AM 11:00 - 11:50 AM


Open Rehearsal 12:50 - 2:00 PM

Free Admission · Limited Seating Each year, SummerFest Music Director Cho-Liang Lin invites several emerging ensembles and young professionals to participate in a 3-week series of master classes conducted by senior Festival Artists from the SummerFest roster. During SummerFest 2015 we welcome Fellowship Artists Huntington Quartet: Daniel Koo, Hojean Yoo, violins; Marthe Husum, viola; Stella Cho, cello and the Sycamore Trio: Fabiola Kim, violin; JeongHyoun “Christine” Lee, cello; Alan Woo, piano. As part of La Jolla Music Society's active partnership with the San Diego Youth Symphony and Conservatory, SummerFest performers will coach SDYS students on select workshops.

AUG 7 FRI Coaching Workshops 10:00 - 10:50 AM 11:00 - 11:50 AM

AUG 10 MON Coaching Workshop 10:00 - 10:50 AM 11:00 - 11:50 AM

Open Rehearsal

3:50 - 5:00 PM

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

AUG 12 WED Coaching Workshops 10:00 - 10:50 AM 11:00 - 11:50 AM

AUG 13 THUR Encounter 12:30 - 2:00 PM


Free Admission · Limited Seating MCASD SHERWOOD AUDITORIUM

Doors Open 10 Minutes Prior to Listed Start Time 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 Artistic Planning and Education Leah Rosenthal, joined by special guests, will introduce each work prior to the start of the rehearsal.

AUG 14 FRI Coaching Workshops 10:00 - 10:50 AM 11:00 - 11:50 AM

AUG 17 MON Coaching Workshops 10:00 - 10:50 AM 11:00 - 11:50 AM

Open Rehearsal 12:50 - 2:00 PM

AUG 18 TUE Coaching Workshops 10:00 - 10:50 AM 11:00 - 11:50 AM

AUG 19 WED Coaching Workshops 10:00 - 10:50 AM 11:00 - 11:50 AM

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

Encounter 12:30 - 2:00 PM

Open Rehearsal


Free Admission · Limited Seating ATHENAEUM MUSIC & ARTS LIBRARY

Featuring intriguing discussions, performances and diverse perspectives, SummerFest Encounters reveal fascinating insights into the ways in which music is created, influenced, interpreted and performed.


3:20 - 4:30 PM

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

AUG 24 MON Coaching Workshops 10:00 - 10:50 AM 11:00 - 11:50 AM

Open Rehearsal

1:20 - 2:30 PM

AUG 27 THUR Encounter 12:30 - 2:00 PM

*Special Note: AUG 13 - No Coaching Workshops

Gary Hoffman coaches the Huntington Quartet on Mozart's String Quartet in G Major, K.387 or Bartók's String Quartet No. 4, Sz.91 Aaron Boyd coaches the Sycamore Trio on Beethoven's Piano Trio in D Major, Op. 70, No. 1 "Ghost"

Andrew Shulman coaches the Sycamore Trio on Dvorˇák's Piano Trio in E Minor, Op. 90 "Dumky" Pierre Lapointe coaches the Huntington Quartet on Mozart's String Quartet in G Major, K.387

Special Guest: Cho-Liang Lin - Kyoko Takezawa, Cho-Liang Lin, Toby Hoffman, Heiichiro Ohyama, Gary Hoffman and Joshua Roman rehearse Tchaikovsky's Souvenir de Florence

Adam Barnett-Hart coaches the Huntington Quartet on Bartók's String Quartet No. 4, Sz.91 Cho-Liang Lin coaches the Sycamore Trio on Dvorˇák's Piano Trio in E Minor, Op. 90 "Dumky"

Lawrence Dutton coaches the Huntington Quartet on Mozart's String Quartet in G Major, K.387 or Bartók's String Quartet No. 4, Sz.91 Ralph Kirshbaum coaches the Sycamore Trio on Beethoven's Piano Trio in D Major, Op. 70, No. 1 "Ghost"

Special Guest: Aisslinn Nosky - Aisslinn Nosky leads a rehearsal of Geminiani's Concerto Grosso No. 12 in D Minor "La Follia"

Philip Setzer coaches the Huntington Quartet on Bartók's String Quartet No. 4, Sz.91 Kyoko Takezawa coaches the Sycamore Trio on Beethoven's Piano Trio in D Major, Op. 70, No. 1 "Ghost"

Joseph Kalichstein coaches the Sycamore Trio on Schumann's Piano Trio No. 2 in F Major, Op. 80 Alan Woo coaches a student from the San Diego Youth Symphony and Conservatory

Special Performance Encounter hosted by Scholar-in-Residence Eric Bromberger: Sycamore Trio and Paul Neubauer perform Brahms’ Piano Quartet in C Minor followed by the Huntington Quartet and Joseph Kalichstein performing Schumann’s Piano Quintet

Cho-Liang Lin coaches the Huntington Quartet on Mozart's String Quartet in G Major, K.387 John Novacek coaches the Sycamore Trio on Dvorˇák's Piano Trio in E Minor, Op. 90 "Dumky"

Dmitry Sitkovetsky coaches the Sycamore Trio on Schumann's Piano Trio No. 2 in F Major, Op. 80 Kristopher Tong coaches the Huntington Quartet on Schubert's String Quartet in A Minor, D.804

Special Guest: Joyce Yang - Dmitry Sitkovetsky, Kerry McDermott, Paul Neubauer, John Sharp and Joyce Yang rehearse Tanayev's Piano Quintet in G Minor

Daniel Koo coaches a student from the San Diego Youth Symphony and Conservatory Yeesun Kim coaches the Huntington Quartet on Schubert's String Quartet in A Minor, D.804

Clive Greensmith coaches the Sycamore Trio on Schumann's Piano Trio No. 2 in F Major, Op. 80 Nicholas Kitchen coaches the Huntington Quartet on Mozart's String Quartet in G Major, K.387 or Schubert's String Quartet in A Minor, D.804

Paul Neubauer coaches the Huntington Quartet on Bartók's String Quartet No. 4, Sz.91 or Schubert's String Quartet in A Minor, D.804 JeongHyoun "Christine" Lee coaches a student from the San Diego Youth Symphony and Conservatory

Dmitri Shostakovich: Some Post-Centennial Reflections; Lecture by Scholar-in-Residence Richard Taruskin

Special Guest: Lyubov Petrova - Lyubov Petrova, Dmitry Sitkovetsky, Clive Greensmith and Vladimir Feltsman rehearse Shostakovich's Seven Verses of Alexander Blok

Mai Motobuchi coaches the Huntington Quartet on Schubert's String Quartet in A Minor, D.804 Fabiola Kim coaches a student from the San Diego Youth Symphony and Conservatory

Stella Cho coaches a student from the San Diego Youth Symphony and Conservatory Burt Hara coaches a student from the San Diego Youth Symphony and Conservatory

Special Guest: Derek Bermel - David Chan, Clive Greensmith and John Novacek rehearse Derek Bermel's new work Death with Interruptions Scholar-in-Residence Eric Bromberger hosts a conversation with Cho-Liang Lin: Now in his 15th year as SummerFest Music Director, Cho-Liang “Jimmy” Lin reflects upon past highlights and looks ahead to the future of SummerFest

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SUMMERFEST MUSICAL PRELUDES TUESDAY, AUGUST 11 · 7 PM · MCASD SHERWOOD AUDITORIUM BEETHOVEN Piano Trio in D Major, Opus 70, No. 1 “Ghost” (1770-1827) Allegro vivace e con brio Largo assai ed espressivo Presto Sycamore Trio Fabiola Kim, violin; JeongHyoun “Christine” Lee, cello; Alan Woo, piano

WORK PREMIÈRED: December 1808 in Vienna, by the composer, violinist Ignaz Schuppanzigh, and cellist Joseph Linke QUICK NOTE: The exact source of the nickname “Ghost” for this trio is unknown, but it clearly refers to the middle movement, a striking Largo in D Minor.  This is dark, almost murky music—the piano murmurs a complex accompaniment while the strings twist and extend bits of melody above it.  Beethoven frames this remarkable Largo with two fast movements, both in radiant D major. The Allegro vivace e con brio opens with a pithy rhythmic figure that recurs throughout the movement and finally brings it to a close. The main theme is a flowing, elegant idea heard first in the cello and quickly passed between all three instruments. This theme dominates the opening movement, giving it an atmosphere of easy expansiveness. The concluding Presto sounds innocent after the grim pizzicato strokes that end the Largo. — Eric Bromberger

WEDNESDAY, AUGUST 12 · 7 PM · MCASD SHERWOOD AUDITORIUM BARTÓK String Quartet No. 4, Sz.91 (1881-1945) Allegro Prestissimo, con sordino Non troppo lento Allegretto pizzicato Allegro molto

Huntington Quartet Daniel Koo, Hojean Yoo, violin Marthe Husum, viola; Stella Cho, cello

WORK PREMIÈRED: March 20, 1929, in Budapest by the WaldbauerKerpely Quartet QUICK NOTE: Ten years separated Bartók’s Second and Third Quartets, but after completing the Third during the summer of 1927 the composer waited only a year to write his Fourth String Quartet. Perhaps it is not surprising that the Third and Fourth Quartets are so close in time: the advances consolidated in the Third burst into full flower in the Fourth, which speaks a deeper and more expressive language. The Fourth Quartet is one of the earliest examples of Bartók’s fascination with arch form, an obsession that would in some ways shape the works he composed over the rest of his life. There had been hints of symmetrical formal structures earlier, but the Fourth Quartet is the first explicit and unmistakable statement of that form. — Eric Bromberger

FRIDAY, AUGUST 14 · 7 PM · MCASD SHERWOOD AUDITORIUM DVORˇÁK Piano Trio in E Minor, Opus 90 “Dumky” (1841-1904) Lento maestoso Poco Adagio Andante Andante moderato Allegro Lento maestoso Sycamore Trio Fabiola Kim, violin; JeongHyoun “Christine” Lee, cello; Alan Woo, piano


WORK PREMIÈRED: April 11, 1891 in Prague with the composer as the pianist QUICK NOTE: The Dumky Trio is the last and best known of Dvořák’s piano trios. “Dumky” is the plural of “Dumka” which can be translated as “a fleeting thought”. This Trio departs from the typical form of piano trios in that it does not contain a movement in sonata form or one consisting of variations. Rather, it is a work suffused with the simple beauty and colorful quality of folk song and dance, yet the melodies are Dvořák’s own. — Joseph Way

SUNDAY, AUGUST 16 · 2 PM · MCASD SHERWOOD AUDITORIUM MOZART String Quartet in G Major, K.387 (1756-1791) Allegro vivace assai Menuetto: Allegro Andante cantabile Molto allegro

Huntington Quartet Daniel Koo, Hojean Yoo, violin Marthe Husum, viola; Stella Cho, cello

WORK PREMIÈRED: December 31, 1782 in Vienna QUICK NOTE: Soon after Mozart’s arrival in Vienna in 1781, he fell under the spell of Haydn’s quartets, and when Haydn published the six quartets of his Opus 33 the following year, the younger composer saw new expressive possibilities in the form. He set about writing a cycle of six quartets of his own, and these new works—his first quartets in nine years—would be far different from his divertimento-like early essays in that form. There is nothing remarkable formally about the first three movements of his String Quartet in G Major—a sonata-form opening movement, a minuet-and-trio, and a slow movement—but what distinguishes this music is the glorious writing for string quartet and the organic growth of simple thematic motifs. — Eric Bromberger

WEDNESDAY, AUGUST 19 · 7 PM · MCASD SHERWOOD AUDITORIUM SCHUMANN Piano Trio No.2 in F Major, Opus 80 (1810-1856) Sehr lebhaft Mit innigem Ausdruck In mässiger Bewegung Nicht zu rasch

Sycamore Trio Fabiola Kim, violin; JeongHyoun “Christine” Lee, cello; Alan Woo, piano

WORK PREMIÈRED: February 22, 1850 at the Leipzig Gewandhaus by violinist Ferdinand David, cellist Julius Rietz, and pianist Clara Schumann QUICK NOTE: In June 1847, shortly after completing his Second Symphony, Schumann returned to chamber music and wrote his First Piano Trio, and that seemed to interest him in the form—later that summer he wrote a second trio, the Piano Trio in F Major. A certain quality of restraint marks the Piano Trio in F Major. It has no really fast movement, and the two central movements are both at a relatively slow tempo.  Instead, the emphasis in this music is on lyricism, on themes that can be sung.  There are no extremes in this music, nor does Schumann show any interest at all in virtuosity—the violin part, in fact, can be played almost entirely in first position.  This music charms not through drama or excitement but through a gentle melodiousness. — Eric Bromberger

WEDNESDAY, AUGUST 26 · 7 PM · MCASD SHERWOOD AUDITORIUM SCHUBERT String Quartet in A Minor, D.804 (1797-1828) Allegro ma non troppo Andante Menuetto: Allegretto Allegro moderato

Huntington Quartet Daniel Koo, Hojean Yoo, violin Marthe Husum, viola; Stella Cho, cello

WORK PREMIÈRED: March 14, 1824 at Vienna’s Musikverein by the Schuppanzigh Quartet QUICK NOTE: It is nearly impossible to define the quality that makes this quartet—and much of Schubert’s late music—so moving. His lyricism has now been transformed by a new emotional maturity, and a quality of wistfulness, almost sadness, seems to touch even the music’s happiest moments. This music is also full of harmonic surprises (keys change suddenly, almost like shifts of light) and is marked by a complex and assured development of themes. The Quartet in A Minor may lack the dramatic, hard-edged impact of “Death and the Maiden,” but many consider it Schubert’s finest quartet. — Eric Bromberger

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OPENING NIGHT: Souvenir de Florence



Lecture by Scholar-in-Residence Eric Bromberger


JANÁCˇEK String Quartet No. 1 “The Kreutzer Sonata” (1854-1928) Adagio; Con moto Con moto Con moto Con moto Escher String Quartet Adam Barnett-Hart, Aaron Boyd, violins; Pierre Lapointe, viola; Brook Speltz, cello

MOZART Piano Quartet in E-flat Major, K.493 (1756-1791) Allegro Larghetto Allegretto Joseph Kalichstein, piano; Augustin Hadelich, violin; Ori Kam, viola; Andrew Shulman, cello INTERMISSION

TCHAIKOVSKY Sextet for Strings in D Minor, Opus 70 “Souvenir de Florence” (1840-1893) Allegro con spirito Adagio cantabile e con moto Allegretto moderato Allegro vivace Kyoko Takezawa, Cho-Liang Lin, violins; Toby Hoffman, Heiichiro Ohyama, violas; Gary Hoffman, Joshua Roman, cellos


Tonight’s concert is co-sponsored by Medallion Society members:

Joan Jordan Bernstein Alexa Kirkwood Hirsch Many thanks to our Hotel and Restaurant Partner:

La Valencia Hotel La Jolla Music Society’s Season 46 is supported by The City of San Diego Commission for Arts and Culture, the County of San Diego, the National Endowment for the Arts, New England Foundation for the Arts, French American Cultural Exchange, French U.S. Exchange in Dance, Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Florence Gould Foundation, ResMed Foundation, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, Joan and Irwin Jacobs, The Frieman Family, Sam B. Ersan, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, Jeanette Stevens, Gordon Brodfuehrer, and an anonymous donor. RECOMMENDED LISTENING Janácˇek / Martinu˚. Intimate Letters. Emerson String Quartet. Deutsche Grammophon. ASIN: B001Q2RVPS, [2009] Tchaikovsky, Pyotr. Complete String Quartets/Souvenir De Florence. Borodin Quartet, Mstislav Rostropovich. Chandos. ASIN: B00005043D, [2001]


Program Notes By Eric Bromberger

String Quartet No. 1 “The Kreutzer Sonata”


Born July 3, 1854, Hukvaldy, Moravia, Czech Republic Died August 12, 1928, Moravska Ostrava, Czech Republic

Czech composer Leoš Janáček labored for years in obscurity. At the time of his sixtieth birthday in 1914 he was known only as a choral conductor and teacher who had achieved modest success with a provincial production of his opera Jenůfa ten years earlier. Then in 1917 came a transforming event. The aging composer fell in love with Kamila Stösslová, a 25-year-old married woman and mother of a small child. This one-sided love affair was platonic– Kamila was mystified by all this passionate attention, though she remained an affectionate and understanding friend. But the effect of this love on Janáček was staggering: over the final decade of his life he wrote four operas, two string quartets, the Sinfonietta, the Glagolitic Mass, and numerous other works, all in some measure inspired by his love for Kamila (he also wrote her over 600 letters). Not surprisingly, Janáček became consumed in these years with the idea of women: their charm, their power, and the often cruel situations in which they find themselves trapped by love. The theme of a woman who makes tragic decisions about love is portrayed dramatically in the opera Kátya Kabanová (1921) and abstractly in his two string quartets. The second of these quartets, subtitled “Intimate Pages,” is a direct expression of his love for Kamila, while the first, subtitled “The Kreutzer Sonata,” takes its inspiration from Tolstoy’s novella of the same name. In Tolstoy’s story, a deranged man tells of his increasing suspicion of his wife, who is a pianist, and the violinist she accompanies in a performance of Beethoven’s Kreutzer Sonata. He returns home unexpectedly, finds them together, and stabs his wife to death. Working very quickly in the fall of 1923, Janáček composed a string quartet inspired by Tolstoy’s story (the actual composition took only nine days: October 30-November 7). A few days before the première of the quartet in 1924, Janáček wrote to Kamila, telling her that the subject of his quartet was “the unhappy, tormented, misused and ill-used woman as described by the Russian writer Tolstoy in his work, The Kreutzer Sonata.” Janáček’s biographer Jaroslav Vogel reports that the second violinist at the première (who was in fact the composer Joseph Suk) said that “Janáček meant the work to be a kind of moral protest against men’s despotic attitude to women.” Listeners should be wary of trying to hear exact representations of these ideas in the quartet, for this is not music that explicitly tells a story. Some have claimed to hear an elaborate “plot” in this music, but it is much more useful to approach the First String Quartet as an abstract work of art that creates an agitated, even grim atmosphere. Listeners should also not expect the normal structure of

the classical string quartet. Janáček’s late music is built on fragmentary themes that develop through repetition, abrupt changes of tempo and mood, and an exceptionally wide palette of string color. The opening movement alternates Adagio and Con moto sections, and the other three movements, all marked Con moto, are built on the same pattern of alternating sections in different speeds, moods, and sounds. There are several striking touches: the arcing melodic shape heard in the first measures of the quartet will return throughout (the quartet ends with a variation of this figure), while the opening of the third movement is a subtle quotation from the Kreutzer Sonata of Beethoven, a composer Janáček disliked. Throughout the span of the eighteen-minute quartet, the music gathers such intensity that its subdued ending comes as a surprise. Janáček’s performance markings in the score are particularly suggestive: by turn he asks the players to make the music sound “grieving,” “weeping,” “sharp,” “lamenting,” “desperate,” “lugubrious,” and–at the climax of the final movement–“ferocious.” One does not need to know Janáček’s markings, however, to feel the intensity of this music.

Piano Quartet in E-flat Major, K.493

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

Mozart wrote only two piano quartets (violin, viola, cello, and piano), but he is generally credited with inventing the form (it is true, however, that other composers, including a young teenager named Beethoven, had already experimented with the form). In his piano trios, Mozart sometimes wrote what are essentially piano sonatas with string accompaniment–the piano has the musical interest, while the strings play distinctly subordinate roles–but in the piano quartets he faced squarely the problems and the possibilities of the new form and solved them by liberating the string voices and making them genuine partners in the musical enterprise. Mozart completed his first piano quartet, in G minor, in October 1785 just as he was beginning work on The Marriage of Figaro. The opera occupied him throughout the winter, and after Figaro began a successful run in Vienna on May 1, 1786, Mozart returned to chamber music. That year saw three piano trios, a string quintet, and the Piano Quartet in E-flat Major, completed on June 3, only a month after the première of Figaro. Coming from a particularly happy period in Mozart’s brief life, this quartet is marked by a genial and utterly open spirit. The firm beginning of the Allegro–the opening statement concludes with little fanfares–establishes the bright mood that pervades this quartet. While Mozart reserved the key of G minor for some of his most serious statements, he preferred E-flat major as the key for nobility, 858.459.3728 - WWW.LJMS.ORG 27


warmth, and breadth. That contrast is beautifully illustrated by his two piano quartets–the stormy first, in G minor, is followed by the more relaxed E-flat major quartet. Of particular interest in the first movement is the way Mozart sets the three string instruments in opposition to the piano: the strings often play together, presenting ideas as a group or responding to the piano. This extended movement includes a third theme, and Mozart even calls for a repeat of the entire development before the brief coda. The opposition of piano and strings is most evident in the quiet Larghetto, a nocturne-like movement of unusual harmonic interest. The piano announces the graceful main theme, and the strings respond as a group–the music moves easily between piano and strings. The concluding Allegretto, however, makes the piano the star. The piano’s music here is full of brilliant runs and virtuoso writing, while the strings retreat to the shade, merely answering or accompanying it. But it is easy to forgive the concerto-like qualities of this movement when the piano’s part is so exciting, easy to be swept along on the triplet runs that eventually dash this movement to its close.

Sextet for Strings in D Minor, Opus 70 “Souvenir de Florence”

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

Like so many other composers from cold European climates, Tchaikovsky had a special fondness for the countries of southern Europe. Rimsky-Korsakov’s Capriccio Espagnol is an affectionate portrait of Spain, but Tchaikovsky–like Brahms–was particularly attracted to 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 Florence that Tchaikovsky went in 1890 to complete his opera The Queen of Spades. Upon his return to Russia, Tchaikovsky wrote a sextet for strings, which he significantly subtitled “Souvenir de Florence.” His motive appears clear–he wanted to remember in music the sunny climate and friendly atmosphere of that Italian city–and he succeeded. The sextet has none of the gloomy, tortured music that Tchaikovsky wrote in his blackest moods. Instead, suffused with the golden glow of warm nostalgia, it offers some of his most good-natured music. The choice of string sextet for this music is unusual, particularly for a composer who wrote so little chamber music. The additional voices created all kinds of compositional problems for Tchaikovsky, and he struggled with them. Though the work was completed in 1890 and performed privately then, he revised it thoroughly before its first public performance on December 6, 1892. The proud composer wrote to his brother: “What a sextet–and what a fugue at the end–it’s a pleasure. Awful, how pleased I am


with myself!” The lengthy opening movement, Allegro con spirito, is in extended sonata form, with the first violin announcing both main themes. The surging opening idea gives way to a songful second subject over steady accompaniment, and a long development leads to a dramatic close. The slow movement, Adagio cantabile e con moto, opens with a series of chords, rich layers of sound, before the first violin’s melody rises above pizzicato accompaniment. The movement’s brief midsection rustles ahead with tremolo-like passages full of dynamic surges and quiet pizzicatos before the opening material returns. The scherzo, Allegretto moderato, is in ternary form, with the middle–surprisingly–faster than the outer sections. The opening sequence sounds as if it is based on Russian folksong material, while the exhilarating middle section–full of ricochet bowing–flies. The coda leads to a cadence on a giant pizzicato chord. The finale, Allegro vivace, is the shortest of the four and again 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 movement comes the fugato treatment of the first theme of which Tchaikovsky was so proud, and a blazing coda brings the sextet to a conclusion full of sunlight.








Lecture by Scholar-in-Residence Eric Bromberger


BEETHOVEN Serenade in D Major for Flute, Violin and Viola, Opus 25 (1770-1827) Entrata: Allegro Tempo ordinario d’un Menuetto Allegro molto Andante con variazioni Allegro scherzando e vivace Adagio; Allegro vivace e disinvolto Catherine Ransom Karoly, flute; Augustin Hadelich, violin; Ori Kam, viola

SCHUBERT String Quartet in A Minor, D.804 (1797-1828) Allegro ma non troppo Andante Menuetto: Allegretto Allegro moderato Escher String Quartet Adam Barnett-Hart, Aaron Boyd, violins; Pierre Lapointe, viola; Brook Speltz, cello INTERMISSION

La Jolla Music Society’s Season 46 is supported by The City of San Diego Commission for Arts and Culture, the County of San Diego, the National Endowment for the Arts, New England Foundation for the Arts, French American Cultural Exchange, French U.S. Exchange in Dance, Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Florence Gould Foundation, ResMed Foundation, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, Joan and Irwin Jacobs, The Frieman Family, Sam B. Ersan, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, Jeanette Stevens, Gordon Brodfuehrer, and an anonymous donor. RECOMMENDED LISTENING Brahms, Johannes. Brahms: Sextets, Opp.18&36. Yo-Yo Ma, Isaac Stern, Michael Tree, Cho-Liang Lin, Jaime Laredo, Sharon Robinson. Sony. ASIN: B0014KBAKO, [1992]

BRAHMS Sextet for Strings in B-flat Major, Opus 18 (1833-1897) Allegro ma non troppo Andante, ma moderato Scherzo: Allegro molto Rondo: Poco Allegretto e grazioso Cho-Liang Lin, Kyoko Takezawa, violins; Toby Hoffman, Heiichiro Ohyama, violas; Gary Hoffman, Joshua Roman, cellos

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Program Notes By Eric Bromberger

Serenade in D Major for Flute, Violin, and Viola, Opus 25

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

Beethoven was very impressed by Mozart’s superb music for winds, and as a young man he often wrote for wind ensembles. As a teenager in Bonn he had composed music for the Elector’s woodwind octet (which sometimes serenaded that official at mealtime), and in Vienna he wrote works for various wind ensembles. One of these, the Quintet for Piano and Winds, compliments the older composer by borrowing both the form and key of one of his finest works. Mozart had written a number of serenades, divertimentos, and cassations for wind ensembles. This music, usually light in character, was intended for use in outdoor settings, sometimes as background music for social occasions. Beethoven wrote very little “light” music, but his Serenade for Flute, Violin, and Viola, Opus 25 is such a work, and he appears to have borrowed the title and general character of this music from Mozart’s lighter wind music. Beethoven’s combination of flute, violin, and viola is an unlikely one, but it has the virtue that it can be undertaken by a trio of strolling musicians (assuming their music stands can stroll along with them) and so might be suitable for an outdoor occasion. The Serenade, composed about 1801 (or just after the First Symphony) is a suite of six brief movements of appropriately uncomplected character. The Entrata opens with a mockmilitary fanfare from the flute, and Beethoven plays combinations of instruments off each other here. The second movement is a minuet with two trios–the first dominated by violin, the second by flute–while the energetic and brief Allegro molto is in ABA form with a brief coda. Longest by far of the Serenade’s movements is the fourth, Andante con variazioni. Here the doublestopped violin plays the theme with viola accompaniment, and there follow three busy variations and a coda. The Allegro scherzando e vivace is just that–joking and fast: the dotted galloping rhythm of the opening section leads to a smooth but somber center in D minor. The final movement opens with a slow introduction that quickly gives way to the Allegro vivace e disinvolto (“Very fast and free and easy”), full of rhythmic interest and vitality. Beethoven brings matters to sparkling close with a very quick sixteen-bar coda.

String Quartet in A Minor, D.804

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

The year 1823 was devastating for Schubert. He had become ill the previous fall (every indication is that he had contracted syphilis), and by May he had to be hospitalized. Much weakened, and with his head shaved as part of the hospital treatment, he required the rest of the year simply to regain strength to function, and early in 1824 he turned to chamber music. His friend Franz von Schober described


him in February: “Schubert now keeps a fortnight’s fast and confinement. He looks much better and is very bright, very comically hungry and writes quartets and German dances and variations without number.” But–despite Schober’s hopes– Schubert had not made a triumphant return to life and strength. Instead, he entered the new year with the bittersweet knowledge that although he may have survived that first round of illness, he would never be fully well again. Schober was right, though, that his friend returned to composing with chamber music. Schubert first wrote the Octet, and then in February and March 1824 he composed two extraordinary quartets: the Quartet in A Minor heard on this program and the Quartet in D Minor, nicknamed Death and the Maiden. The Quartet in A Minor was first performed on March 14 by a quartet led by the violinist Ignaz Schuppanzigh, one of Beethoven’s close friends. It is nearly impossible to define the quality that makes this quartet–and much of Schubert’s late music–so moving. His lyricism has now been transformed by a new emotional maturity, and a quality of wistfulness, almost sadness, seems to touch even the music’s happiest moments. Schubert’s biographer Brian Newbould draws attention to the fact that this quartet takes some of its themes from Schubert’s own songs, and the texts of those songs furnish a clue to the quartet’s emotional content. This music is also full of harmonic surprises (keys change suddenly, almost like shifts of light) and is marked by a complex and assured development of themes. The Quartet in A Minor may lack the dramatic, hardedged impact of Death and the Maiden, but many consider it Schubert’s finest quartet. From its first instant, the Allegro ma non troppo shows the hand of a master. The accompaniment–a sinuous, winding second violin line over pulsing viola and cello–is static, and Newbould points out that this is precisely the form of the accompaniment of Schubert’s great song “Gretchen am Spinnrade” (1814), which begins with the words Meine Ruh’ ist hin: “My peace is gone, My Heart is sore, I shall find it never and nevermore.” Over this, the first violin’s long-lined main melody seems to float endlessly, beginning to develop and change harmonically even before it has been fully stated. The remarkable thing about this “lyric” theme is that it can be developed so effectively as an “instrumental” theme: its long flow of melody is finally interrupted by a fierce trill motto in the lower strings that will figure importantly in the development. A second theme, shared by the two violins, is similar in character to the opening idea, and this movement–which arcs over a very long span–finally concludes with the trill motto. Listeners will recognize the theme of the Andante as a Schubert favorite, though this one is not from a song: he had already used this poised melody in his incidental music to Rosamunde and would later use it in one of the piano Impromptus. This song-like main idea remains simple throughout (it develops by repetition), but the accompaniment grows more and more complex, and soon there are swirling voices and off-the-beat accents beneath the gentle melody. The Menuetto opens with a three-note figure from the cello’s deep register, and that dark, expectant sound gives this movement its distinct character. Newbould notes that Schubert took the theme of the trio section from his 1819 song “Die


Götter Griechenlands,” where it sets Schiller’s nostalgic lament Schöne Welt, wo bist du?: “Beautiful world, where are you?” The minuet returns, and this movement dances solemnly to its close. The A-major tonality of the finale may come as a surprise, given the gravity of the first three movements, but it does make an effective conclusion. This Allegro moderato is a rondo in which all three themes have a dancing character, though at moments one feels the wistfulness of the earlier movements creeping into the music’s otherwise carefree progress. Full of energy, this movement is also marked by Schubert’s careful attention to detail: in the parts, he notes with unusual care the phrasing, accents, and dynamic shadings and contrasts that give this music its rich variety.

Sextet for Strings in B-flat Major, Opus 18

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

We so automatically identify Brahms with Vienna that it is easy to forget that he did not move there until he was nearly 30. By that time he had already written a great deal of music, and some of the best of these early works were composed while he was a court musician in Detmold. About 100 miles southwest of Hamburg, Detmold was a cultured court, much devoted to music, and for three seasons (1857-59) Brahms served as a court musician there. These years were quite productive for him musically. With a chorus, orchestra, and good solo performers at his disposal, Brahms could have his music performed immediately and could test his ideas. From these years came his two serenades for orchestra, the first two piano quartets, several choral works, and the completion of his First Piano Concerto. It was during his final year at Detmold that Brahms began his Sextet in B-flat Major, completing it in 1860. Brahms is sometimes credited with “inventing” the string sextet (two violins, two violas, two cellos), but that is not true–Boccherini and others had written for this combination of instruments earlier. But Brahms’ two examples are the first great works in the form, and they remain–with Tchaikovsky’s Souvenir de Florence and Schoenberg’s Verklaerte Nacht–the core of the slim repertory for this ensemble. Many have noted that Brahms’ Sextet in B-flat Major shares some of the same sunny spirits as his Serenade No. 1 in D Major, premièred in Detmold in the same year he completed the sextet. It is worth noting that Brahms–reluctant to write for orchestra–had originally scored that serenade for winds and a string quartet. Perhaps writing for so generously-proportioned a chamber ensemble encouraged Brahms now to write for an unusually large string ensemble. Perhaps he did not feel ready to take on the formidable challenge of the string quartet. In any case, Brahms added two more instruments to the string quartet and then took full advantage of the larger sonority and wider opportunities they made available. Perhaps because it is an early work, critics have been quick to detect influences on the Sextet in B-flat Major. Brahms’ admirable biographer Karl Geiringer hears the influence of

Schubert in the first movement, of Beethoven in the scherzo, and of Haydn in the finale. But the Sextet already shows Brahms’ unmistakable voice, particularly in its rich sonorities and in the way a wealth of musical ideas grows out of each theme. And in contrast to the clenched intensity of some of Brahms’ later chamber music, the Sextet is (generally) full of sunlight. From the first instant of this music Brahms fully exploits the richness of the lower sonorities a sextet makes available– there are important thematic roles here for first viola and first cello–as well as playing off combinations of instruments impossible in a string quartet. The gentle, rocking main subject of the Allegro ma non troppo, heard immediately in the first cello, is only the first in a number of thematic ideas in this sonata-form movement, but its relaxed and flowing ease sets a tone that will run throughout the Sextet–this is music that proceeds along a mellow songfulness rather than through the collision of unrelated ideas. Brahms’ performance markings tell the tale here: the first theme is marked espressivo, the second subject–for upper strings–is marked dolce and pianissimo, while the third–a winding idea for cello–is marked poco forte espressivo animato. The development treats the first two thematically, but the third is developed rhythmically: Brahms derives a series of rhythmic patterns from this theme that help bind the movement together, and the theme reappears in its melodic shape only in the recapitulation. The lengthy movement closes with a nice touch: the brief coda, played pizzicato, moves gracefully to the two concluding chords. The second movement, in somber D minor, is a theme and six variations. The first viola immediately lays out the firmlydrawn theme, and the first three variations seem barely able to suppress a sort of volcanic fury that seethes beneath the surface of this music. Even in chamber music Brahms favored a heavy sonority, and at several points in these variations all six instruments are triple-stopped, creating huge chords played simultaneously on eighteen strings. A ray of sunlight falls across the music at the fourth variation, which moves to D major, while the sonorous fifth–also in D major–is almost entirely the province of the first viola, accompanied by the violins’ wispy octaves. The dark sixth variation serves as the coda. Here the cello, playing with an almost choked sonority, returns to the D-minor darkness of the opening and leads the movement to its quiet close. After these two massive movements, the pleasing Scherzo zips past in barely three minutes. The scherzo section itself is playful but feels a little subdued in comparison to the slashing, full-throated trio, which suddenly races ahead (Brahms’ marking is Animato). This rises to a sonorous climax before the return of the opening scherzo; Brahms closes with a mighty coda derived from the trio. The concluding Poco Allegretto e grazioso is a rondo based on the first cello’s amiable opening theme. Significant interludes intrude on the progress of the movement, which makes use of the same kind of rhythmic underpinning that bound the first movement together so imaginatively. The rondo theme itself undergoes variation as this movement proceeds, and Brahms rounds matters off with a coda so powerful that it feels virtually symphonic. 858.459.3728 - WWW.LJMS.ORG 31







DEBUSSY Danse sacrée et danse profane (1862-1918) Nancy Allen, harp;

Escher String Quartet Adam Barnett-Hart, Aaron Boyd, violins; Pierre Lapointe, viola; Brook Speltz, cello

RAVEL String Quartet in F Major (1875-1937) Allegro moderato. Très doux Assez vif. Très rythmé Très lent Vif et agité Escher String Quartet INTERMISSION

JOEL HOFFMAN of Deborah, for Deborah World Première (b. 1953) Nancy Allen, harp; Cho-Liang Lin, violin;

Toby Hoffman, viola; Gary Hoffman, cello In memory of Deborah Hoffman, this work was commissioned by La Jolla Music Society for SummerFest, Aspen Music Festival and School, and Chamber Music International (Dallas, TX).

FAURÉ Piano Quartet No. 2 in G Minor, Opus 45 (1845-1924) Allegro molto moderato Allegro molto Adagio non troppo Allegro molto Joseph Kalichstein, piano; Augustin Hadelich, violin; Ori Kam, viola; Andrew Shulman, cello


PRELUDE 2 PM A conversation with Joel Hoffman hosted by Eric Bromberger La Jolla Music Society’s Season 46 is supported by The City of San Diego Commission for Arts and Culture, the County of San Diego, the National Endowment for the Arts, New England Foundation for the Arts, French American Cultural Exchange, French U.S. Exchange in Dance, Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Florence Gould Foundation, ResMed Foundation, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, Joan and Irwin Jacobs, The Frieman Family, Sam B. Ersan, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, Jeanette Stevens, Gordon Brodfuehrer, and an anonymous donor. RECOMMENDED LISTENING Ravel/ Debussy. Nancy Allen, Harp: Ravel & Debussy. Nancy Allen, Tokyo String Quartet, Los Angeles Chamber Orchestra. EMI. ASIN: B000002ROK, [1989] Fauré, Gabriel. Fauré: Piano Quartets. Emanuel Ax, Isaac Stern, Jaime Laredo, Yo-Yo Ma. Sony Classical. ASIN:B0000027U7, [1993]


Program Notes By Eric Bromberger

Danse sacrée et danse profane


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

The Pleyel company of Paris had long been famous for its pianos (Chopin particularly admired the Pleyel piano), and in 1897 the firm introduced a new instrument, the chromatic harp. Previous harps had been able to manage only seven notes in an octave and had to use pedals to create the other notes, but the chromatic harp dispensed with pedals and instead offered strings tuned to all twelve notes of the chromatic scale. The company naturally wanted to show off its new instrument, and Pleyel and the Brussels Conservatory jointly commissioned a new work for chromatic harp from Debussy in 1904. That year was one of the most important, productive, and turbulent in the composer’s life. Deep in work on La mer, Debussy left his wife that year for Emma Bardac, the estranged wife of a wealthy banker; under the spell of this new affair, Debussy composed one of his finest pieces for piano, L’isle joyeuse. But Debussy’s distraught wife attempted suicide, and during the resulting scandal many of his friends angrily deserted him. Doubtless the commission for the new harp piece was welcome to the composer, who was almost destitute at this point–he stopped work on La mer to write it. The Danse sacrée et danse profane are scored for chromatic harp and string orchestra. This is music of delicacy and understatement, and Debussy keeps the harp firmly in the spotlight: the string accompaniment is lean (and in fact the Danses are sometimes performed as chamber music, with the harp accompanied by string quartet). Listeners should be a little wary of Debussy’s title, which is intentionally vague and probably meant simply to be evocative. There is nothing distinctly sacred about the first, while the second evokes no images of pagan ritual. Instead, this is intimate and sometimes haunting music, well-calculated to show off the new instrument and to please audiences. The somber Danse sacrée–based on a melody by Debussy’s friend, the Portuguese composer-conductor Francisco de Lacerda–is poised and formal in its lean-lined melodies. The music flows without pause–and with an almost imperceptible quickening of pace–into the Danse profane, which is brighter, more relaxed, and more animated. Sparkling runs show off the possibilities of the new instrument and finally drive the dance to its emphatic concluding pizzicato. The Danse sacrée et danse profane were first performed in November 1904 at one of the Concerts Colonnes in Paris by the harpist Mme. Wurmser-Delcourt. Reviewers, still outraged by Debussy’s domestic scandal

earlier that year, gave it only a lukewarm welcome. Debussy, still pressed for money, may have worried that the music would have few performances in its harp version, and that same year he arranged it for two pianos; it is still sometimes performed (and recorded) in this arrangement. The dedication, however, is to Gustave Lyon, the inventor of the chromatic harp.

String Quartet in F Major


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

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 twenty-ninth 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. This movement is built on two distinct theme-groups. 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 858.459.3728 - WWW.LJMS.ORG 33


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 première 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.”

of Deborah, for Deborah

JOEL HOFFMAN Born 1953, Vancouver, Canada

Deborah, for Deborah has meaning: the piece is literally made of “Deborah”. Those of us who knew her know that much of Deborah’s identity as a person and as a musician was shaped by her work with singers and by growing up with string players. Singing, playing string instruments and playing the harp – these are all about breathing, either literally or figuratively. Deborah’s battle for her life was also all about breathing: how to keep it healthy and strong in the face of tremendous odds. Breathing is literally incorporated into the sounds of the piece – the sounds and gestures of exhaling and inhaling. The structure of the piece also reflects Deborah’s identity. The structure of breathing (inhale followed by hold followed by exhale) is quite literally mirrored in the piece’s design. The piece is made of nine sections, each identical in length: 31 bars. The fifth - or middle - section is the source for all the other eight. It contains everything -all the rhythms, all the notes, all the music from which the other eight are made. I think of this ‘source’ as the piece’s complete identity in concentrated form. It is a musical analog to Deborah’s identity. Sections 1, 2, 3, 4, 6, 7, 8 and 9 are effectively variations on section 5 in that each consists of a subtraction of some kind from the material in section 5. That subtraction can consist of either literally removing notes in the various variations from the equivalent moment of section 5. Or it could be sustaining notes in the various variations at the equivalent moment in which they are initiated in section 5. One could literally lay any variation on top of section 5 and it will line up perfectly with 5 (the source) or any of the other variations. The symbolism of this structure as it relates to the reflection of a composer on the life of his sister is something I leave to you to consider. I’ll say only that there are many layers of meaning for me. This way of making music is a personal inquiry into the nature of musical sound as it travels through time, constantly changing but constantly returning to familiar territory. How this way of hearing musical sound connects to one’s thoughts and feelings about a very special human life is the subject of of Deborah, for Deborah. - Joel Hoffman

Note from the Composer

To begin with, the notes and harmonies of the piece are made from Deborah’s name, according to the German language association of notes and letters: D=D E=E B = Bb (o and r have no analogs to musical notes) A=A H=B These notes - D E Bb A B - permeate the piece in many, many ways. This is one of the ways in which the title of


Piano Quartet No. 2 in G Minor, Opus 45

GABRIEL FAURÉ Born May 12, 1845, Pamiers, France Died November 4, 1924, Paris

Gabriel Fauré’s Piano Quartet No. 1 has become one of the cornerstones of French chamber music, but his Second Quartet, composed in 1885-86, is not nearly so well-known. Fauré was still struggling for recognition when he wrote the later quartet: at age 40, he was supporting himself (and a wife and infant son) by working as an organist in Paris. Real fame would not come to the gentle Fauré until late in


life, but when he composed the Second Piano Quartet he was at the height of his powers: from this same period came two of his most famous works, the Requiem and the Pavane. Though he made his living as an organist, Fauré was an excellent pianist, and the piano is extremely active in the Second Piano Quartet, announcing themes and dominating textures even when it has a purely accompanying role. This music often sets the piano and strings in opposition, and the striking beginning offers one of the best examples of this. The opening of the Second Piano Quartet is said to have been inspired by a memory from Fauré’s childhood. Between ages 4 and 9, he lived at Montgauzy, where there was an iron foundry driven by a stream. The beginning of the quartet is Fauré’s depiction of that memory: the rippling sound of the stream is heard in the piano, while the strings’ thrusting, broad-limbed melody echoes the pounding machinery. The movement has two subordinate themes, both distantly related to the opening melody–one hears machinery surging, however faintly, throughout this movement, which concludes quietly on fragments of the “foundry” theme. The piano dominates the Allegro molto. In fact, the opening belongs almost exclusively to that instrument, with only faint comments from the strings. The structure of the movement is unusual for a scherzo, for it has no trio section; instead, Fauré offers contrasting episodes from the strings, related to the first movement’s “foundry” theme. The restrained Adagio non troppo opens with a long duet for piano and viola, with the instruments taking turns. Fauré’s student Charles Koechlin is reported to have said that if the viola did not exist, it would have been necessary to invent it just to play the theme that begins this movement. Violin and cello join the duet, and gradually the music grows to a soaring climax, then falls away to the quiet conclusion. The energetic Allegro molto bursts to life with a triplet accompaniment in the piano that will figure importantly throughout the movement. Strings have the almost violent opening theme, the piano the lyric second idea. This movement is interesting for its rhythmic vitality, and listeners will enjoy such details as the misplaced stresses or the brilliant waltz that breaks out from time to time before the finale concludes with an exuberant coda, pushed along by flying triplets.

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TELEMANN Concerto in D Major for Four Violins, TV 40:202 (1681-1767) Adagio Allegro Grave Allegro

Aisslinn Nosky, Fabiola Kim, Daniel Koo, Hojean Yoo, violins J.S. BACH Orchestral Suite No. 1 in C Major, BWV 1066 (1685-1750) Ouverture [Grave; Vivace] Courante Gavotte I and II Forlane Menuet I and II Bourrée I and II Passepied I and II Aisslinn Nosky, violin; Fabiola Kim, Daniel Koo, Hojean Yoo, Jeanne Skrocki, Bridget Dolkas, violins; Heiichiro Ohyama, Marthe Husum, violas; Chia-Ling Chien, JeongHyoun “Christine” Lee, cellos; Christopher Hanulik, bass; Andrea Overturf, Jonathan Davis, oboes; Valentin Martchev, bassoon; Patricia Mabee, harpsichord

Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 Allegro Adagio ma non tanto Allegro Paul Neubauer, Lawrence Dutton, violas; Ralph Kirshbaum, Joshua Roman, Chia-Ling Chien, cellos; Christopher Hanulik, bass; Patricia Mabee, harpsichord INTERMISSION

VIVALDI Concerto in B Minor for Four Violins and Strings, Opus 3, No. 10, RV 580 (1678-1741) Allegro Largo Allegro Philip Setzer, Kyoko Takezawa, Cho-Liang Lin, Aisslinn Nosky, violins; Heiichiro Ohyama, Toby Hoffman, violas, Joshua Roman; cello; Christopher Hanulik, bass; Patricia Mabee, harpsichord


Violin Sonata in A Minor, Opus 2, No. 5 (1692-1770) Andante cantabile Allegro Allegro assai Aisslinn Nosky, violin; Patricia Mabee, harpsichord

GEMINIANI Concerto Grosso No. 12 in D Minor, “La Folia” (1687-1762) Aisslinn Nosky, violin

Fabiola Kim, Daniel Koo, Hojean Yoo, Bridget Dolkas, Jeanne Skrocki, violins; Heiichiro Ohyama, Marthe Husum, violas; Joshua Roman, Stella Cho, cellos; Christopher Hanulik, bass; Patricia Mabee, harpsichord


PRELUDE 7 PM Lecture by Scholar-in-Residence Eric Bromberger Many thanks to our Restaurant Partner:

NINE-TEN Restaurant La Jolla Music Society’s Season 46 is supported by The City of San Diego Commission for Arts and Culture, the County of San Diego, the National Endowment for the Arts, New England Foundation for the Arts, French American Cultural Exchange, French U.S. Exchange in Dance, Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Florence Gould Foundation, ResMed Foundation, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, Joan and Irwin Jacobs, The Frieman Family, Sam B. Ersan, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, Jeanette Stevens, Gordon Brodfuehrer, and an anonymous donor. RECOMMENDED LISTENING Vivaldi, Antonio. L’Estro Armonico. Tafelmusik Baroque Orchestra, Aisslinn Nosky. Analekta. ASIN: B000VPMBAQ, [2007] Bach, J.S. Brandenburg Concertos. Tafelmusik Baroque Orchestra. TAF. ASIN: B006ZV6XCW, [2012]


Program Notes by Eric Bromberger

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

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

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 C 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.

Orchestral Suite No. 1 in C Major, BWV 1066

JOHANN SEBASTIAN BACH Born March 21, 1685, Eisenach, Germany Died July 28, 1750, Leipzig, Germany

If Bach were to attend this concert, he would not recognize this music by its title on the program page. The name “suite” is the invention of scholars and musicians who came a century later, when Bach’s four works in this form were given a name that corresponded to later musical practices. Bach himself called these four works ouvertures, a spelling that makes clear the French origin of the form. The French ouverture was an instrumental work in one movement divided into a slow-fast-slow sequence: a slow introduction led to an extended fast section, usually in fugal

form, and then a conclusion on an abbreviated return of the slow opening material. The ouverture movement was followed by a collection of dance movements, but Bach used the title to refer to the entire work. To complicate matters further, Bach may in no sense have intended this as orchestral music. His original manuscripts have vanished, and the scores have been re-created from the surviving parts. Evidence suggests that he may have intended this music for a chamber ensemble of about eight string players. What is not in doubt, however, is the quality of the music itself. Bach’s First Orchestral Suite is buoyant music, full of energy and good spirits. He scores the suite for two oboes, bassoon, strings, and continuo and appends a varied collection of dances to the opening Ouverture. This opening movement is without tempo indications–the marking Grave for the opening and Vivace for the fugal section are not in Bach’s hand and are considered spurious (though they do reflect the general shape of the movement). The slow opening section is based on sturdy dotted rhythms, and the fugal section has a powerful main theme; Bach occasionally lets the wind instruments take over the development of this theme. The Courante flows smoothly on its propulsive main idea (that French title originally meant “running”), while the fourth movement, Forlane, is based on a stately old dance of Venetian original. The other four dance movements are in ABA form. Bach preserved the French titles for all his dances (it was the usual practice in Germany to use French titles for movements). These movements–gavotte, minuet, and bourrée–require little comment. The Passepied–that title means “pass-foot”–was originally a French sailors’ dance in triple time. Bach’s Passepied, which features distinctive writing for the oboes in the middle section, brings the suite to a lively close.

Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 Early in his tenure as Kapellmeister at the court of AnhaltCöthen (1717-1723), Bach journeyed to Berlin to order the construction of a new organ at Cöthen. While in Berlin, he played for Christian Ludwig, the younger brother of King Wilhelm I of Prussia; as a member of the royal family, Christian Ludwig enjoyed the official title of Margrave of Brandenburg. He expressed some interest, perhaps simply polite, in Bach’s music, and the composer promised to send him some. Bach, however, was in no hurry to get around to this, and it was not until several years later, in March 1721, that he finally sent off a handsomely-copied manuscript of six orchestral concertos–with a flowery letter of dedication– to the Margrave in Berlin. The manuscripts were later found among the margrave’s papers (he apparently never had them performed), and the nickname Brandenburg Concertos was attached to them long after Bach’s death. The Brandenburg Concerto No. 6 is one of the most unusual of the set. Bach eliminates violins altogether from the orchestra (their absence gives this concerto a dark hue) 858.459.3728 - WWW.LJMS.ORG 37


and instead scores this music for two viola da braccia, two viola da gamba, cello, and continuo part (usually played by bass and harpsichord). The scoring is quite flexible: this concerto can be performed by as few as seven players– making it chamber music–or it can be expanded to orchestral dimensions by adding more players. The viola da braccia is the modern viola, held under the chin with one’s arm (braccio is Italian for arm). The viola da gamba was a bass-viola with frets, played while held between the knees (gamba is the Italian word for leg). The viola da gamba part in this concerto is relatively easy, suggesting that Bach may have written it for Prince Leopold, who liked to take part in orchestral performances. Bach left no tempo indication for the opening movement, but the general thrust of the music suggests an Allegro. The Brandenburg Concerto No. 6 is essentially a double concerto for two violas, and the writing for the solo violas in this movement is extremely ingenious. Much of it is canonic, with one instrument repeating the other’s music. The violas are sometimes several measures apart, sometimes as close as an eighth-note, giving this movement an extremely “busy” feel as the melodic lines mesh and interlock. The Adagio ma non tanto is a lovely, extended duet for the solo violas. The viola da gamba are silent in this movement, and the only accompaniment is a walking bass line far below the solo voices. The concluding Allegro is an energetic gigue, a dance form related to the jig. The two violas sail forward brilliantly, at first playing in unison and soon rapidly exchanging phrases. The center section brings cadenza-like passages for the soloists before the opening material returns.

Concerto in B Minor for Four Violins and Strings, Opus 3, No. 10, RV 580

ANTONIO VIVALDI Born March 4, 1678, Venice Died July 26/27, 1741, Vienna

In the early years of the eighteenth century, Vivaldi held the rather modest position of director of a conservatory for homeless girls in Venice, but his compositions were carrying his name throughout Europe. In 1711, he published a collection of twelve violin concertos under the title L’Estro armonico, translated variously as “The Spirit of Harmony” or “Harmonious Inspiration.” Significantly, Vivaldi chose to have this set published in Amsterdam, and for two good reasons–printing techniques there were superior to any available in Italy and, perhaps more important, his music was extremely popular in northern Europe. Each of the concertos of L’Estro armonico is a concerto grosso, in which one or more violin soloists is set against a main body of strings and harpsichord continuo. The intent in these concertos is not so much virtuoso display (though they are difficult enough, certainly) as in making contrast between the sound of the solo instruments and


the main body of strings. The twelve concertos of L’Estro armonico quickly became popular and influential in northern Europe. Bach knew this music very well, and–if imitation is the sincerest form of flattery–paid Vivaldi the immense compliment of transcribing six of these concertos for different instruments and using them as his own: the present Concerto in B Minor for Four Violins became Bach’s Concerto in A Minor for Four Claviers, BWV1065. Four of the concertos in L’Estro armonico are for four violins, and of these the Concerto in B Minor has become the best known. A concerto for four soloists, particularly for four soloists playing the same instrument, is a difficult matter: the composer must find enough for all four to do without burying anyone or allowing the same sonority to become tedious. Vivaldi brings this off with the rapid exchange of passages between soloists, an ingenious contrapuntal texture, and a great deal of rhythmic variety. In the opening Allegro the main theme is being varied and ornamented almost before it has been completely stated, and Vivaldi quickly has that vigorous main idea leaping between soloists. The slow movement opens with an even slower introduction; the main section has the four soloists playing over quiet continuo accompaniment, and Vivaldi assigns an important part of the continuo to a solo cello throughout the concerto. In the concluding Allegro the soloists play in various combinations with the solo cello as the concerto drives to its close on an energetic tutti.

Violin Sonata in A Minor, Opus 2, No. 5

GIUSEPPE TARTINI Born April 8, 1692, Pirano, Istria, Slovenia Died February 26, 1770, Padua, Italy

Audiences in the early twenty-first century remember Giuseppe Tartini as the composer of one work–the famous “Devil’s Trill” Sonata–but in fact he wrote a vast amount of music, including about 135 violin concertos, many concertos for other instruments, sacred vocal settings, and number of sonatas for various instruments. Tartini’s life reads like something out of a novel rather than a music history text. As a boy, he learned to play the violin and to fence and was so good at both that he supported himself at law school by giving violin and fencing lessons–he even thought briefly of making a career as a fencing-master. But fate intervened, as it so often does: at age 20, Tartini eloped with one of his violin students, only to discover that his youthful bride was under the protection of her uncle, the archbishop of Padua, who came after Tartini with a vengeance. The young violinand-fencing teacher had to flee Padua for Assisi, where he hid in a monastery. Only after the archbishop had calmed down (which took two years) could Tartini return to Padua. He had used his time in the cloister to study composition, and he now devoted himself completely to music, becoming music director of Saint Anthony’s in Padua and eventually founding a violin school; this became so famous that it


attracted students from all over Europe, earning it the nickname “School of the Nations.” In his later years, Tartini devoted himself to mathematical speculation and studies in musical theory. The Sonata in A Minor is the fifth of a set of six sonatas for violin and continuo that Tartini published in Amsterdam in 1743. The sonata may be in the expected three movements, but these take an unexpected sequence: a slow first movement is followed by a fast movement, and this in turn is followed by an even faster final movement. All three movements are in A minor, and all are in binary form, with performers given the option of repeating the first part. The Andante cantabile offers the violin an ornate melodic line over steady accompaniment, while the Allegro is based on its sturdy opening theme, which turns brilliant as the movement proceeds across its extended span. Tartini moves from this fast movement to the even faster finale, marked Allegro assai (“Very fast”). This movement, with its wide skips and quick alternation of lyric and energetic passages, requires some very accomplished fiddling.

and its solemn chordal progression and stately melody have made it irresistibly attractive as the basis for variations. Among the many other composers who have surrendered to its charm are Vivaldi, Marais, Bach, Lully, Liszt, Nielsen, and Rachmaninoff. Geminiani’s arrangement, which may be understood as an act of homage to his old teacher, has become one of the most popular of his own works. Geminiani recast Corelli’s sonata as a concerto grosso for three soloists–two violins and a cello–accompanied by string orchestra and continuo. Geminiani did not simply orchestrate Corelli’s sonata, but in the process of transforming it into a concerto grosso he re-composed it slightly, emphasizing different voices, heightening solo lines, and expanding its range of sound. Geminiani’s Concerto Grosso is heard at this concert in a version for two violins, viola, and cello. Corelli’s variations are concise and sharply-contrasted, and they offer some brilliant writing for violin. This is invigorating music, in whatever form it is heard.

Concerto Grosso No. 12 in D Minor, “La Folia”

FRANCESCO GEMINIANI Born December 5, 1687, Lucca, Italy Died September 17, 1762, Dublin

Francesco Geminiani was one of the great violinists of the eighteenth century. He learned to play the violin as a boy, then went on to Rome, where he studied with Arcangelo Corelli and Alessandro Scarlatti. He was briefly a member of the Naples opera orchestra before moving to England in 1714 when he was 27. Geminiani quickly established himself in London: within two years of his arrival he performed before King George I, accompanied by Handel at the keyboard. Thereafter, Geminiani made his career in London, with extended periods spent in Dublin and Paris, and late in life he wrote several treatises on the art of playing the violin. Geminiani was also an art collector, and that proved an expensive hobby–he occasionally landed in financial difficulties as a result. Geminiani discovered that the music of his teacher Corelli was wildly popular in London, and in the 1720s he arranged a number of Corelli’s works for string orchestra, including the twelve violin sonatas of Corelli’s Opus 12, which had been published in 1700. The most famous of these is Corelli’s Violin Sonata in D Minor, Opus 5, No. 12, which featured a set of variations on an old tune known as La Folia (or La Follia). The La Folia tune was already several hundred years old when Corelli used it for his variations. It appears to have originated in fifteenth-century Portugal, where it was originally a fast dance in triple time, performed so strenuously that the dancers seemed to have gone mad–the title folia meant “mad” or “empty-headed” (it survives in our usage as “folly”). Over time, this dance slowed down and became the famous theme we know today, 858.459.3728 - WWW.LJMS.ORG 39






GUSTAVO AGUILAR Wendell’s History for Steve, Part 1 (b. 1962)

XENAKIS Rebonds (1922-2001)


(1928-2007) Steven Schick, percussion

HARRISON Concerto for Violin and Percussion Orchestra (1917-2003) Allegro maestoso Largo cantabile Allegro vigoroso, poco presto Michelle Kim, violin; red fish blue fish Fiona Digney, Dustin Donahue Jonathan Hepfer, Ryan Nestor, Steven Schick, percussion INTERMISSION

LEI LIANG Trans (b. 1972)


(b. 1967) Steven Schick, percussion

OSVALDO GOLIJOV Mariel for Cello and Marimba

(b. 1960) Ralph Kirshbaum, cello; Steven Schick, percussion

GUSTAVO AGUILAR Wendell’s History for Steve, Part 2 Steven Schick, percussion

Steven Schick will introduce each work from the stage.


MUSICAL PRELUDE 7 PM Huntington Quartet performs Bartók’s String Quartet No. 4, Sz.91 Tonight’s concert is sponsored by:

Bill Miller and Ida Houby La Jolla Music Society’s Season 46 is supported by The City of San Diego Commission for Arts and Culture, the County of San Diego, the National Endowment for the Arts, New England Foundation for the Arts, French American Cultural Exchange, French U.S. Exchange in Dance, Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Florence Gould Foundation, ResMed Foundation, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, Joan and Irwin Jacobs, The Frieman Family, Sam B. Ersan, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, Jeanette Stevens, Gordon Brodfuehrer, and an anonymous donor. RECOMMENDED LISTENING Xenakis, Iannis. Xenakis: Percussion Works. Steven Schick, red fish blue fish. Mode. ASIN: B000HRMEKK, [2006] Reich, Steve. Music for 18 Musicians. Steve Reich, Steve Reich Ensemble. Nonesuch. ASIN: B000026258, [2000]


Program Note by Steven Schick

…and what did you hear, my blue-eyed son? I heard one hundred drummers whose hands were a-blazin’

Bob Dylan from A Hard Rain’s A-Gonna Fall I have spent my life trying to understand geometry. When I was a boy the world seemed gridded, contained: One square mile of Iowa farmland, a section of 640 acres. My brother Ed and I walked long rows of soybeans on hot summer days, picking buttonweed. Back and forth, reversing direction when we reached the end, since the usable world lay only inside the limits of the field. A farmer squints at the horizon, but he would never try to go there. Later when I heard violinists and cellists talk about “becoming one” with their instruments, I thought that they too were farmers, embracing a geometry that turned inward. But percussion was different. Contemporary percussionists don’t have an instrument; we have thousands of them. And though we might hold a special gong or drum close, the way a cellist would her cello, becoming one with a tuned saw blade or a suspended brake drum could be perilous. Indeed, much of what we play is junk: frying pans, steel pipes, hunks of wood—not the reassuring objects of the known musical world, but totems of an unmapped exterior. As I walked those long rows of beans, I imagined continuing the line, breaking through the boundaries. By the end of summer I could be in Denver, maybe California by Christmas. This new geometry—the long straight line—became my model for percussion. Moving beyond the bounds of the known and cultivated, a percussionist plays gongs, cymbals, cowbells, and bongos and thinks nothing of laying hands on four distinct musical cultures. But a string quartet of violin, mandolin, sitar, and rebab flirts with culturally dangerous terrain. Percussionists think externally. We don’t expect the world to conform to music; we expect music to conform to the world. Eventually the long straight line became more than a metaphor. One day, in the most purely Forrest Gump moment of my life, I simply began walking. I left my house in La Jolla and headed north. Along the way, I bought a backpack, decent walking shoes and a hat. I had two motivations. The first was to listen to the entrancing noises of the California coast, from the rush of wind and water to rat-a-tat irrigation systems and the droning of traffic. I walked through Camp Pendleton and heard the laughter of school children mingle with the booms of cannon-fire. I passed the Lotus Eaters of Orange County, walked through the multi-lingual cacophony of south Los

Angeles, and hugged the shoulder of Highway 1 along the Big Sur coast to San Francisco. The other motivation was personal. The night I arrived I took my girlfriend Brenda to a restaurant (with valet parking) and proposed. How permeable are the boundaries between music and life! As we waited for Brenda’s car I remembered a small post-concert dinner in June, 1988 at the Warsaw apartment of Józef Patkowski. Patkowski had been president of the Polish Composers Union in the darkest days of Soviet occupation and had fostered a lively musical avant-garde in spite of enormous resistance. Our conversation about the role of music in the stormy politics of that fateful summer was mirrored by flashes of lightning on the horizon. For a while we simply listened to the storm approach. Then Patkowski slapped the table. The food was ready, he said. Let’s talk about life now, not art. Then he threw his head back and laughed as though such distinctions were absurd. And the rains came.

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GRANADOS Piano Quintet in G Minor, Opus 49 (1867-1916) Allegro Allegretto quasi Andantino Largo; Molto presto–con passione Cho-Liang Lin, Fabiola Kim, violins; Marthe Husum, viola; JeongHyoun “Christine “Lee, cello; Alan Woo, piano

DVORˇÁK String Quintet in E-flat Major, Opus 97 (1841-1904) Allegro non tanto Allegro vivo Larghetto Allegro giusto Kyoko Takezawa, Philip Setzer, violins; Lawrence Dutton, Paul Neubauer, violas; Ralph Kirshbaum, cello INTERMISSION

FRANCK Piano Quintet in F Minor (1822-1890) Molto moderato Lento con molto sentimento Allegro non troppo ma con fuoco Joyce Yang, piano; Michelle Kim, Hojean Yoo, violins; Ori Kam, viola; Joshua Roman, cello


MUSICAL PRELUDE 7 PM Sycamore Trio performs Dvorˇak’s Piano Trio in E Minor, Op. 90 “Dumky” La Jolla Music Society’s Season 46 is supported by The City of San Diego Commission for Arts and Culture, the County of San Diego, the National Endowment for the Arts, New England Foundation for the Arts, French American Cultural Exchange, French U.S. Exchange in Dance, Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Florence Gould Foundation, ResMed Foundation, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, Joan and Irwin Jacobs, The Frieman Family, Sam B. Ersan, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, Jeanette Stevens, Gordon Brodfuehrer, and an anonymous donor. RECOMMENDED LISTENING Dvorˇák, Antonin. Franck: Old World – New World. Emerson String Quartet, Paul Neubauer. Deutsche Grammophon. ASIN: B0039ZELK8, [2010] Franck, César. Franck: Piano Quintet in F Minor. Borodin Quartet, Sviatoslav Richter. Philips. ASIN: B00000E4TE, [1991]


Program Notes by Eric Bromberger

Piano Quintet in G Minor, Opus 49

ENRIQUE GRANADOS Born July 27, 1867, Lérida, Spain Died March 24, 1916, English Channel

Like his countrymen Albéniz, Falla, and Turina, Enrique Granados set out to create a specifically Spanish classical music, and when we think of Granados, we think first of such evocative works as Goyescas, the Danzas españolas, and his zarzuelas. But Granados also felt the pull of traditional German forms, and early in his career he composed a number of chamber works in those forms: the present Piano Quintet, a Piano Trio, a sonata for violin and piano, and some pieces for cello and piano. And then, even before his thirtieth birthday, Granados set those forms aside–he recognized that his art would take him in an entirely different direction, one that grew out of his Spanish identity and heritage. Granados had his early training in Barcelona. At age twenty he went off to Paris for two years of study and returned to Spain in 1889, intent on making his career as a pianist and composer. But success did not come quickly, and the young composer–who soon had a wife and children to support– struggled for any kind of recognition. In 1894, at age 27, he composed his two large-scale chamber works, the Piano Quintet and the Piano Trio, and they were premièred on the same program in Madrid on February 15, 1895. The evening went brilliantly, and the excited young composer wrote to his wife back in Barcelona: “Last night I had the greatest success of my life. It was a night of true glory . . . It was the first time that a chamber work by a living Spanish composer was performed in the Salón Romero.” The Quintet was published in Madrid in 1898. The three-movement Quintet is relatively brief (barely fifteen minutes long), and it features an extroverted part for the piano–doubtless Granados conceived this part for himself (he was superb pianist). The Allegro gets off to a vigorous beginning with a unison marcato statement, and more lyric secondary material arrives quickly. As part of the development Granados treats his opening idea to some fugal extension, and a return of that theme drives the movement to its abrupt concluding chords. The mood changes completely in the central Allegretto quasi Andantino. Strings are muted here, and the violin’s quiet opening melody breathes a faintly Moorish atmosphere. The warm central episode in A major flows smoothly, and Granados closes out the movement by recalling both his principal themes. The finale opens with a Largo introduction, but this lasts for about two seconds, and off this movement goes, whipping along its snapped rhythms. This breathless mood is broken by several episodes that have an exotic atmosphere all their own–they have been described as gypsy melodies. At the end, Granados brings back themes from the first movement, and these propel the Quintet to its close on two ringing G-minor chords.

String Quintet in E-flat Major, Opus 97

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

Dvořák’s three years in America–from 1892 to 1895, as director of the National Conservatory of Music in New York City–form a distinct chapter in his career. From these years came several of his finest scores, including the New World Symphony, the American Quartet, and the Cello Concerto. Enthusiastic Americans claimed that Dvořák had made use of American materials and that these were examples of “American music.” But Dvořák would have none of that, denouncing “that nonsense about my having made use of original American melodies. I have only composed in the spirit of such American national melodies.” Dvořák felt that all his music was “genuine Bohemian music,” but the American Quartet incorporates a birdcall Dvořák heard in America, the New World Symphony evokes spirituals, and the question of specifically American influences on this most Bohemian of composers remains tantalizing. Dvořák was fascinated by America. A train buff, he would sneak away from the Conservatory to watch locomotives pounding along the city’s many rail lines. But after his first year in busy Manhattan, he took his family to Spillville, Iowa–a Czech community–for the summer of 1893. There, surrounded by familiar food, language, and customs, the Dvořák family could escape big-city life and relax. If Dvořák had been amazed by New York City, he found different kinds of surprises on the American prairie. Bands of Iroquois Indians came to Spillville, selling medicinal herbs, and in the evening they gave programs of their dances and music. Those impromptu performances in the cool Iowa twilight had an immediate impact on the composer: the beat of Iroquois drums echoes through this quintet, composed that same summer. The opening of the Allegro non tanto is dominated by the husky sound of the violas–in fact, the prominence of the violas gives this music its characteristically dark sonority. The main theme is delayed slightly, and when it first appears–in the first violin–it grows out of the violas’ introduction; many have felt that the movement’s dancing second theme echoes the sound of Indian drums. This movement, in sonata form, moves to a quiet close on a cadence derived from the main theme. The drums of the Iroquois, however, pound relentlessly through the Allegro vivo. Dvořák uses one of the rhythms he heard in Iowa as the driving force in this movement: it appears immediately in the second viola and can be heard in various forms throughout the movement. The trio section, soaring and lovely, brings an interlude of calm before the opening material returns. The Larghetto leaves the sound of Indian drums far behind. It is in theme-and-variation form, and in fact Dvořák had written the movement’s main theme before he left for America. The first viola announces this wistful 858.459.3728 - WWW.LJMS.ORG 43


little tune, and five variations follow. Even before the first variation begins, however, Dvořák takes the tune through a modification that makes the music sound as if it has come directly from a late Beethoven quartet. After the energy of Indian drums, such heartfelt and intense music comes as a surprise. The concluding Allegro giusto is an energetic rondo that depends heavily (maybe a little too heavily) on dotted rhythms. Dvořák interrupts the busy flow with two different theme groups, both lyric and haunting. The music rushes to its close on one of the most exuberant codas Dvořák ever wrote. Dvořák was quite correct: he was Bohemian to the core, and so was his music. But this Quintet–and the other scores he composed in America–represent a very special kind of music. It is Bohemian music, but Bohemian music flavored sharply by the sounds Dvořák heard in America.

Piano Quintet in F Minor

CÉSAR FRANCK Born December 10, 1822, Liège, Belgium Died November 8, 1890, Paris

Few works in the chamber music literature have produced so violent a reaction at their premières as the Piano Quintet of César Franck. Franck, then 57 and a professor of organ at the Paris Conservatory, had written no chamber music for over 25 years when the Piano Quintet burst to life before an unsuspecting audience in Paris on January 17, 1880. Few in that audience expected music so explosive from a man known as the gentle composer of church music. Franck’s students were wildly enthusiastic, and a later performance is reported to have left the audience stunned into silence, some of them weeping openly. But the acclaim was not universal. Franck had intended to dedicate this music to Camille Saint-Saëns, the pianist at the première, but when he approached Saint-Saëns after the performance to offer him the personally-inscribed manuscript, Saint-Saëns is reported to have made a face, thrown the manuscript on the piano, and walked away. Franck’s own wife hated the Quintet, feeling it too emotional, and refused to attend performances. Even Liszt, one of Franck’s greatest admirers, wondered whether the Quintet was truly chamber music and suggested that it might be better heard in a version for orchestra. Despite such opposition, Franck’s Quintet has come to be regarded as one of the great piano quintets, along with those of Schumann, Brahms, Dvořák, and Shostakovich. Everyone instantly recognizes its power–this is big music, full of bold gestures, color, and sweep. Franck’s first instruction, dramatico, sets the tone for the entire work, and Liszt was quite right to wonder whether this is truly chamber music: Franck asks for massed unison passages, fortississimo dynamic levels, tremolos, and a volume of sound previously unknown in chamber music. Beyond the purely emotional and sonic impact, however, this music is


notable for its concentration: the Piano Quintet is one of the finest examples of Franck’s cyclic treatment of themes, an idea he had taken from Liszt–virtually the entire quintet grows out of theme-shapes presented in the first movement. The opening of the first movement is impressive, as Franck alternates intense passages for strings with quiet, lyrical interludes for piano. Gradually these voices merge and rush ahead at the violent Allegro, which listeners will recognize as a variant of the violin’s figure at the very beginning. This and other theme-shapes will be stretched, varied, and made to yield a variety of moods. At the end of the movement, the music dies away on Franck’s marking estinto: “extinct.” The slow movement begins with steady piano chords, and over these the first violin plays what seem at first melodic fragments. But these too have evolved from the opening of the first movement, and soon they combine to form the movement’s main theme. Again the music rises to a massive climax, then subsides to end quietly. Out of that quiet, the concluding movement springs to life. Franck specifies con fuoco–with fire–and the very beginning feels unsettled and nervous, with the violins pulsing ahead. The main theme, when it finally arrives, has grown out of material presented in the second movement; now Franck gives it to the four strings, and their repetitions grow in power until the theme is hammered out violently. An extremely dramatic coda drives to the brutally abrupt cadence. Hearing this music in live performance, one can understand the enthusiasm of Franck’s supporters. But one can also understand the dismay of those in that first audience who felt that chamber music should remain an intimate and restrained form. There are few works in the chamber literature as dramatic and seething as the Piano Quintet of the (externally) very mild-mannered César Franck.






DOHNÁNYI Piano Quintet in C Minor, Opus 1 (1877-1960) Allegro Scherzo: Allegro vivace Adagio, quasi andante Finale: Allegro animato; Allegro Philip Setzer, Michelle Kim, violins; Lawrence Dutton, viola; Ralph Kirshbaum, cello; John Novacek, piano INTERMISSION

Introduction by Nicholas Kitchen and the Borromeo String Quartet BEETHOVEN String Quartet in B-flat Major, Opus 130 (1770-1827) Adagio, ma non troppo; Allegro Presto Andante con moto ma non troppo Alla danza tedesca: Allegro assai Cavatina: Adagio molto espressivo Grosse Fuge Borromeo String Quartet Nicholas Kitchen, Kristopher Tong, violins; Mai Motobuchi, viola; Yeesun Kim, cello

MUSICAL PRELUDE 2 PM Huntington Quartet performs Mozart’s String Quartet in G Major, K.387 La Jolla Music Society’s Season 46 is supported by The City of San Diego Commission for Arts and Culture, the County of San Diego, the National Endowment for the Arts, New England Foundation for the Arts, French American Cultural Exchange, French U.S. Exchange in Dance, Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Florence Gould Foundation, ResMed Foundation, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, Joan and Irwin Jacobs, The Frieman Family, Sam B. Ersan, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, Jeanette Stevens, Gordon Brodfuehrer, and an anonymous donor. RECOMMENDED LISTENING Dohnányi, Ernst von. Dohnányi: Piano Quintet/Piano Sextet. Takács Quartet, András Schiff Decca. ASIN: B003Z62UBS, [2006] Beethoven, Ludwig van. Beethoven: The Late String Quartets. Emerson String Quartet. Deutsche Grammophon. ASIN: B0000942LM, [2003] Beethoven, Ludwig van. Beethoven-Two Quartets. Borromeo String Quartet. Image Recordings. ASIN: B000068GOK, [2002]

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Program Notes by Eric Bromberger

Piano Quintet in C Minor, Opus 1

ERNST VON DOHNÁNYI Born July 27, 1877, Pressburg, Hungary Died February 9, 1960, New York City

It is hard to believe that this accomplished music was written by a seventeen-year-old boy. But Ernst von Dohnányi was a prodigy of many talents: he became a composer, a virtuoso pianist, and a conductor (his grandson is Christoph von Dohnányi, former music director of the Cleveland Orchestra). Dohnányi truly was one of those figures whose careers span different eras. Born when Hungary was part of the Austro-Hungarian empire and Liszt and Wagner were still alive, Dohnányi as a boy met Brahms, who encouraged his composition and helped guide his career. Concert tours throughout Europe and the United States established his reputation as a pianist, and later he became a conductor, leading the Budapest Philharmonic Orchestra from 1919 until 1944. Following World War II, Dohnányi settled in the United States, where he taught for years at Florida State University. He died in the year John Kennedy was elected president. Dohnányi’s music has always hovered right on the edge of genuine popularity. He has had passionate advocates among performers and critics, and at least one work– Variations on a Nursery Tune–has made it into the standard repertory. But the majority of his output–which includes three operas, two symphonies, four concertos, and a vast amount of piano and chamber music–remains little-known. Dohnányi’s Piano Quintet in C Minor was published as his Opus 1, though he had written many works before it. The quintet’s first performance took place in Vienna in 1895. That première was in fact arranged by Brahms himself, then only two years from death, and it should come as no surprise that the Piano Quintet shows the strong influence of the older composer, particularly in its romantic richness and a harmonic language quite similar to Brahms’ own. The quintet is dominated by the stirring opening theme of the first movement, heard immediately in the piano. This very Brahmsian melody–with its characteristic drop of a fourth–will recur in many forms throughout the quintet. Strings present the lyric second theme group, also of Brahmsian spaciousness; Dohnányi marks it dolce. A long development leads to the close on a triumphant restatement of the opening idea, now in C major. The scherzo is in ABA form: its outer sections hurry along busily, while the trio is Schubert-like in its songfulness. The Adagio, quasi andante takes some of its somber character from the dark color of the lower strings, which often dominate textures here–the viola announces the long opening idea of this ternary-form movement. A more animated middle section in D-flat major soars into the violins’ high registers before the return of the opening material and the quiet close. The finale brings back the


mood and manner of the opening movement: the main theme here is closely related to the quintet’s beginning. Much of the writing is for unison strings, and Dohnányi quickly alternates meters, with the music leaping between 5/4 and 6/4 almost by measure. A variation of the opening idea becomes the basis for a brief fugato, and the first movement’s opening theme comes back in all its glory to bring the quintet to a dramatic conclusion. If imitation is the sincerest form of flattery, Brahms had every reason to feel flattered by this work. But Dohnányi’s Piano Quintet in C Minor is remarkable music in its own right and a stunning achievement by a young man still several years short of his twentieth birthday.

String Quartet in B-flat Major, Opus 130

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

Beethoven composed the Quartet in B-flat Major between July and December of 1825, and the music had its première in Vienna on March 21, 1826, almost exactly a year to the day before the composer’s death. This massive quartet, consisting of six movements that span a total of nearly 50 minutes, concluded with a complex and extremely difficult fugue that left the first audience stunned. Beethoven, by 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. In either version, this music presents problems of unity, for its six movements are quite different from each other. The issue is intensified when the Grosse Fuge is used as the finale, for this movement is so individual, so fierce, that it does seem an independent statement. In its original form, the quartet consists of two huge outer movements that frame four shorter movements (two scherzos and two slow movements). The music encompasses a huge range of emotion, from the frankly playful to some of the most


deeply-felt music Beethoven ever wrote. The unifying principle of this quartet may simply be its disunity, its amazing range of expression and mood. 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.

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RACHMANINOFF Selections from Six Songs, Opus 38 (1873-1943) At Night in my Garden Daisies The Rat-catcher The Dream

PRELUDE 7 PM Moscow Classicists Lecture by Scholar-in-Residence Richard Taruskin Many thanks to our Hotel and Restaurant Partner:

La Valencia Hotel


La Jolla Music Society’s Season 46 is supported by The City of San Diego Commission for Arts and Culture, the County of San Diego, the National Endowment for the Arts, New England Foundation for the Arts, French American Cultural Exchange, French U.S. Exchange in Dance, Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Florence Gould Foundation, ResMed Foundation, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, Joan and Irwin Jacobs, The Frieman Family, Sam B. Ersan, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, Jeanette Stevens, Gordon Brodfuehrer, and an anonymous donor.

TANEYEV Piano Quintet in G Minor, Opus 30 (1856-1915) Introduzione: Adagio e mesto; Allegro patetico Scherzo: Presto; Moderato teneramente Largo Finale: Allegro vivace; Moderato maestoso

RECOMMENDED LISTENING Taneyev, Sergei. Taneyev Chamber Music. Vadim Repin, Ilya Gringolts, Nobuko Imai, Lynn Harrell, Mikhail Pletnev. Deutsche Grammophon. ASIN: B0009AM5GS, [2005]

Oh, Never Sing to me Again, Opus 4, No. 4 Lyubov Petrova, soprano; John Novacek, piano

TCHAIKOVSKY String Quartet in D Major, Opus 11 (1840-1893) Moderato e semplice Andante cantabile Scherzo: Allegro non tanto Finale: Allegro giusto Borromeo String Quartet Nicholas Kitchen, Kristopher Tong, violins; Mai Motobuchi, viola; Yeesun Kim, cello

Joyce Yang, piano; Dmitry Sitkovetsky, Kerry McDermott, violins; Paul Neubauer, viola; John Sharp, cello



Program Notes by Eric Bromberger

Selections from Six Songs, Opus 38

SERGEI RACHMANINOFF Born April 1, 1873, Semyonovo, Russia Died March 28, 1943, Beverly Hills

The summer of 1916 was not a particularly good time for Rachmaninoff. The war was going badly for Russia, and those tensions were compounded by the increasing strength of the communists, whose triumph the following year would drive Rachmaninoff from his homeland forever. During the concert season the composer had played a number of programs to benefit the wounded and other victims of the war, and that summer he retreated to his family estate at Ivanovka and wrote a set of six songs. These songs represented some entirely new directions for Rachmaninoff, and–though he lived nearly thirty more years–they would be his last songs. He wrote them for the young soprano Nina Koshetz, and he was the pianist when she sang their première in Moscow on October 24, 1916. The Six Songs represent new directions for Rachmaninoff in terms of both texts and music. In these songs he turned away from poets of the past and chose contemporary writers: these poems are by six Russian symbolist poets active at the end of the nineteenth and beginning of the twentieth centuries. To match this new–and sometimes strange–sort of poetry, Rachmaninoff changed his musical style. Gone are the Big Tune and the extroverted gestures of his early music, replaced by a leaner style that puts less emphasis on melody and more on atmosphere; the blurred harmonies and subtler style have led some to describe these six songs as “impressionistic.” Yet the poems themselves are neither subdued nor vague. Two themes run through them–love and nature–and their atmosphere is radiant, sometimes even rhapsodic. The imagery in these poems centers around light–glistening, shining, glowing–and the soprano part, often dramatic and extroverted, demands a powerful singer. This recital offers four of these six songs. Rachmaninoff was enthusiastic about the text of the first poem, In my garden at night by the Armenian poet Avetik Isaakian, saying: “If everyone wrote nature poems as he does, the musician would only have to touch the text, and a song would be finished.” The composer himself was particularly fond of his settings of Daisies, which he later arranged for solo piano, and of The rat-catcher (also known as The pied piper), with its spritely energy and refrain. The most famous of the set is probably the fifth song, Dreams (its title is sometimes translated as Sleep). Fyodor Sologub, both novelist and poet, was fascinated by the darker side of life, and perhaps for that reason he fell into official disfavor after the revolution and was persecuted by the Soviets. The hypnotic Dreams offers a surrealistic picture of sleep, borne along by the sound of ringing bells.

Oh, Never Sing to me Again, Opus 4, No. 4 Oh, never sing to me again comes from much earlier in Rachmaninoff’s career: it dates from the summer of 1893, when the composer, then only 20, had just graduated from the Moscow Conservatory. Dedicated to his future wife Natalya Satina, this song sets a text by Pushkin that is sometimes known under the title Oh, cease thy singing, maiden fair. Nostalgic and yearning, it became famous to American audiences through an unusual recording. In 1920, the Irish tenor John McCormack was recording it and–unsure about tempos–asked for advice from violinist Fritz Kreisler, who happened to be in the adjoining studio. Kreisler, a good friend and frequent recital partner of Rachmaninoff, came over with his violin and–as the microphones ran–played while McCormack sang. That haunting recording is available on compact disc.

String Quartet in D Major, Opus 11

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

In the summer of 1869, Tchaikovsky–then a 29-year-old professor at the Moscow Conservatory–made an extended visit to his family’s summer estate in Kamenka in the Ukraine. There he spent a relaxed summer with his sister and brother-in-law, and there he came in contact with the folk-music of the region. This would show up in his own music three years later when he incorporated some of these folk-themes in his Second Symphony, known as the “Little Russian” (“Little Russia” was the somewhat imperial Russian nickname for the Ukraine). But another tune from the region showed up more quickly in his own music. While in Kamenka Tchaikovsky overheard a workman–a carpenter or a baker (accounts vary)–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 planned a concert of his own music as a way of supplementing his faculty income. For that occasion he 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, and that little tune would go on to become one of the most popular melodies in history. The Quartet in D Major is in traditional forms–sonataform outer movements and ternary-form inner movements– and some have suggested that in this music Tchaikovsky was striving to demonstrate that he could handle classical structures. The opening Moderato e semplice is built largely on two ideas: a chordal opening and a slightly-swung second subject. Tchaikovsky subjects both themes to an energetic development, and the movement drives to a vigorous close. In the Andante cantabile muted strings play the 858.459.3728 - WWW.LJMS.ORG 49


workman’s haunting tune, which alternates measures of 3/4 and 2/4. This gives way to a graceful (and equally lyric) middle section, announced in the quartet by the first violin over pizzicato accompaniment. The main theme returns, apparently to round matters off, but Tchaikovsky appends a reminiscence of the center section before the music faces into silence. The D-minor scherzo, marked Allegro non tanto, powers ahead on a firmly-dotted 3/8 meter. In its trio section, the upper voices dance above a murmuring cello bassline; a recall of the opening section leads to the sudden close. The Allegro giusto finale is in sonata form, with a first theme that eventually soars and a more lyric second idea announced by the viola; once again, Tchaikovsky’s development is full of energy. The music draws to an unexpected silence, then races to its close on a coda that is almost orchestral in its excitement. Tchaikovsky’s concert–presented at the Moscow Conservatory on March 28, 1871–was a great success, and its slow movement was the sensation of the evening: the Russian writer Ivan Turgenev, who was in the audience, was moved to tears by it. Tchaikovsky would eventually understand that the string quartet was not a medium well-suited to his expressive needs, and he would do his best work in the ballet and the concert hall. The Andante cantabile, however, achieved international fame, particularly in Tchaikovsky’s own arrangement of it for string orchestra. This concert allows listeners the rare opportunity to hear the string quartet that was the original setting for that famous movement.

Piano Quintet in G Minor, Opus 30


Born November 25, 1856, Vladimir, Russia Died June 15, 1915, Dyudkovo near Zvenigorod, Russia

Sergei Taneyev was Tchaikovsky’s most successful student. He studied composition with Tchaikovsky at the Moscow Conservatory, gave the Moscow première of Tchaikovsky’s First Piano Concerto in December 1875 when he was only 19, succeeded Tchaikovsky as professor of composition at the Conservatory, and remained a lifelong friend of the older composer. As a teacher at the Conservatory, Taneyev had a number of distinguished students, but–alarmed by the Conservatory’s elitist standards and moved by the revolutionary sentiments in the air– Taneyev resigned from the faculty in 1905 and formed his own “People’s Conservatory” in Moscow that would offer instruction even to those unable to pay. He died from the pneumonia he contracted at the funeral of one of his best students, Scriabin. Taneyev occupies a unique position among turn-of-thecentury Russian composers in that he rejected all forms of nationalistic music, whether folktunes or dance rhythms, in favor of the classical forms of Western music. Technically


he was perhaps the best-equipped of any Russian composer, though some have regretted his insistence on cutting himself off from anything innately Russian in his own music. Among his compositions are four symphonies, nine quartets, three quintets, an opera, and numerous choral works. Taneyev composed his Piano Quintet in G Minor in the years 1908-10, just after leaving the Moscow Conservatory. This is big music: its four movements stretch out over three-quarters of an hour, and Taneyev generates a huge volume of sound from these five instruments. It is also well-integrated music: it opens with a slow introduction marked mesto (“sad”), and the piano’s opening figure will become the fundamental theme-shape for the entire quintet. This shape evolves into the movement’s main theme when the music leaps ahead at the Allegro patetico. In this case, patetico means not “pathetic” but “expressive” or “intense,” and intense this movement certainly is. The flowing second subject (also built on the opening shape) brings some calm, but it is the gigantic scope of this movement that impresses most. Taneyev’s markings range from triple forte and drammaticamente to frequent admonitions to keep the music cantabile, dolce, espressivo. Despite these interludes of calm, the movement drives with unremitting force through the tense G-minor cadence. The pleasing Scherzo is much lighter, sparkling along on the piano’s staccato triplets and the strings’ ricochet bowing. There is unusual metric variety here: into a fundamental pulse of 6/8(2/4), Taneyev alters the meter in such ways that the same meter can feel completely different–these subtle shifts of pulse are part of the music’s charm. Another part is its good spirits: Taneyev at one point marks the score con allegrezza: “with mirth.” The theme-shape from the very beginning returns here in the trio and in the coda, which drives to a sudden ending. The remarkable Largo is built around an ostinato-like theme stamped out by all five players and then repeated in some form throughout the movement. Above this, Taneyev spins out a variety of expressive music, alternating passages for strings alone with extended writing for solo piano. The movement rises to a passionato climax before falling away to the effective ending, where the ostinato theme–so powerful throughout–dissolves quietly at the close. The tumultuous finale is built on material from earlier movements–in fact, when the main theme takes wing, Taneyev marks it pateticamente. This is a dramatic movement, full-throated in its rhetoric, and it drives to an extraordinarily sonorous close.





Program will be announced from the stage An entertaining mix of virtuosity and showmanship, the American trio performs music from Bach to Brahms and beyond — including their own arrangements of everything from bluegrass and folk tunes to ingenious mash-ups of hits by the Beatles, Kanye West, Katy Perry, Justin Timberlake and more. Let loose with these brilliant and innovative musicians. Time for Three Zachary De Pue, Nicolas Kendall, violins; Ranaan Meyer; bass

MUSICAL PRELUDE 7 PM Sycamore Trio performs Schumann’s Piano Trio No. 2 in F Major Tonight’s concert is sponsored by:

Paul Hastings LLP La Jolla Music Society’s Season 46 is supported by The City of San Diego Commission for Arts and Culture, the County of San Diego, the National Endowment for the Arts, New England Foundation for the Arts, French American Cultural Exchange, French U.S. Exchange in Dance, Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Florence Gould Foundation, ResMed Foundation, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, Joan and Irwin Jacobs, The Frieman Family, Sam B. Ersan, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, Jeanette Stevens, Gordon Brodfuehrer, and an anonymous donor. RECOMMENDED LISTENING Time for Three. Time for Three. Zachary De Pue, Nicolas Kendall, Ranaan Meyer. Universal Music Classics. ASIN: B00JVQ7PU2, [2014]

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SHOSTAKOVICH Two Pieces for String Octet, Opus 11 (1931) (1906-1975) Prelude Scherzo David Chan, Cho-Liang Lin, violins; Paul Neubauer, viola; Clive Greensmith, cello; Borromeo String Quartet Nicholas Kitchen, Kristopher Tong, violins; Mai Motobuchi, viola; Yeesun Kim, cello

Sonata for Viola and Piano, Opus 147 (1975) Moderato Allegretto Adagio Paul Neubauer, viola; Vladimir Feltsman, piano INTERMISSION

Concertino for Two Pianos in A Minor, Opus 94 (1954) Adagio; Allegretto; Adagio; Allegro; Adagio; Allegretto Alan Woo, John Novacek, pianos

String Quartet No. 3 in F Major, Opus 73 (1946) Allegretto Moderato con moto Allegro non troppo Adagio Moderato Borromeo String Quartet


Man and Boy, and Master SummerFest Scholar-inResidence Richard Taruskin presents the first of three lectures exploring the arc of Dmitri Shostakovich’s life Tonight’s concert is sponsored in memory of:

Fiona Tudor La Jolla Music Society’s Season 46 is supported by The City of San Diego Commission for Arts and Culture, the County of San Diego, the National Endowment for the Arts, New England Foundation for the Arts, French American Cultural Exchange, French U.S. Exchange in Dance, Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Florence Gould Foundation, ResMed Foundation, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, Joan and Irwin Jacobs, The Frieman Family, Sam B. Ersan, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, Jeanette Stevens, Gordon Brodfuehrer, and an anonymous donor. RECOMMENDED LISTENING Shostakovich, Dmitri. String Quartet No. 3; Two Pieces for String Octet. Borodin Quartet, Sviatoslav Richter. BMG. ASIN: B000024DPX, [1999] Glinka/Roslavets/Shostakovich. Viola Sonatas.Yuri Bashmet, Mikhail Muntian. RCA Records. ASIN: B000003FBB, [1992] Shostakovich, Dmitri. The String Quartets. Emerson String Quartet. Deutsche Grammophon. ASIN: B000F3T7RE, [2005]


Program Notes by Eric Bromberger

Two Pieces for String Octet, Opus 11 (1931)

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

When Shostakovich died in 1975, he was remembered primarily as a symphonist, but the last several decades have seen new interest in his chamber music, particularly the impressive cycle of fifteen string quartets. Shostakovich came to the string quartet relatively late in life, but as a very young man he had experimented with chamber music, composing a piano trio at 17 and the Two Pieces for String Octet at 18, while he was still a conservatory student. From this same period came Shostakovich’s dazzling First Symphony, Opus 10, and in fact he worked on the symphony and the Two Pieces simultaneously. The Two Pieces are in the same neo-classical manner as the symphony. Shostakovich scored this music for string octet, specifically the same double string quartet that another teenaged composer, Felix Mendelssohn, had used in his Octet. The form can seem strange: this brilliant, bittersweet music consists of two contrasting and unrelated movements, both characterized by high energy levels. Composed in December 1924, the Prelude is dominated by the powerful sequence of ominous chords heard at the very beginning. This movement is episodic, with sharply contrasting passages for muted triplets, pizzicato chords, and a virtuoso part for the first violin before closing on a quiet unison D. The Scherzo, written in July 1925, is much more acerbic. It too is episodic, though here the thematic material tends to be short and angular. The fiery main idea, announced by the first violin, rushes this movement to its sudden, powerful close. The Two Pieces for String Octet were first performed in Moscow on January 9, 1927, by the combined Glière and Stradivarius Quartets.

Sonata for Viola and Piano, Opus 147 (1975) The Viola Sonata, composed in the summer of 1975, was Shostakovich’s last work. After years of debilitating illness, the composer knew the end was near, and this music was written in that knowledge. Yet the Viola Sonata neither rages nor shakes its fist at death. Rather, it is somber and subdued, and while the music may be dark and sad, the end finds Shostakovich accepting fate rather than railing against it. All three movements end with the marking morendo, which means “dying.” In music, such a marking is usually taken to mean “dying away,” though here Shostakovich may have invoked the literal meaning as well. Shostakovich preserves the expected three-movement structure of the instrumental sonata, but that may be the only traditional thing about this music, which is original in both form and expression. Shostakovich was never comfortable

with fast opening movements, and the marking for the first movement here, Moderato, is entirely characteristic. Yet this is not a sonata-form movement; instead, it is episodic and restless. The very beginning is striking. All alone, the viola plays a gently rocking figure, entirely pizzicato and played only on the open strings–the effect is spare and haunting, and soon the piano takes up this same figure. The center of the movement is more animated, with the viola surging on triplet rhythms. Shostakovich makes an effective transition away from this furious energy as the viola’s high tremolo (played entirely ponticello: right on the bridge) accompanies the piano’s reprise of the rocking figure. A subdued viola cadenza (there are a number of passages for solo viola in this sonata) leads to the close, where the movement vanishes on fragments of earlier themes. Allegretto was a favorite Shostakovich marking for movements, and this one is based on the viola’s dancing, sardonic main idea. This is quirky music, full of unexpected turns and stops, and finally it dies away on the piano’s ghostly tapping of the central rhythm. The last movement may be the most original of all, for the sonata ends not with the expected fast movement but with an Adagio that is by far the longest movement. Solo viola has the introduction, marked espressivo, and the entrance of the piano brings a further surprise: together, the instruments make fleeting but unmistakable references to Beethoven’s “Moonlight” Sonata, which continue throughout. Shostakovich’s evocation of this material is painful and beautiful, but its relevance is not clear–perhaps it is his last gesture toward the great composer of the classical tradition which Shostakovich himself had taken up. There are several outbursts along the way, but the movement remains subdued, and at the end the last music Shostakovich ever wrote fades into silence on a quiet C-major chord. The Viola Sonata was composed in June and July of 1975. Shostakovich entered the hospital at the end of the latter month, and it was there–in a hospital bed–that he corrected the proofs of this music on August 5. Three days later, Shostakovich–a passionate soccer fan–asked to be wakened in time to watch a televised match. He fell asleep–and never woke. The Viola Sonata is dedicated to Fyodor Druzhinin, violist of the Beethoven Quartet and a longtime friend and colleague of the composer. Druzhinin gave the première performance in Moscow on October 1, 1975.

Concertino for Two Pianos in A Minor, Opus 94 (1954) Shostakovich had two children: a daughter Galina in 1936 and a son Maxim two years later. Perhaps inevitably, both children studied the piano, and as they progressed their father wrote music for them to play. For Galina, her father wrote a series of short pieces that he collected as his Children’s Notebook, Opus 69. Galina eventually lost interest in the piano, but Maxim turned out to be a very good pianist indeed and studied at both the Moscow and 858.459.3728 - WWW.LJMS.ORG 53


Leningrad Conservatories (and later went on to make a career as a conductor). In 1953, when Maxim was 15, Shostakovich composed the Concertino for Two Pianos for his son. Doubtless father and son tried the score out at home, but the official première was given by Maxim and one of his fellow piano-students, Alla Maloletkova, in Moscow on November 8, 1954. Shostakovich dedicated the score to his son. Though written with young people in mind, the Concertino was clearly intended for very capable performers. About ten minutes long, it alternates slow and fast sections that develop material introduced at the very beginning. At that beginning, marked Adagio, the two pianists function as quite different characters. The second piano forges a portentous introduction, full of tremolos and dotted octave writing, while the first piano offers wistful, almost chaste responses. The music leaps ahead at the jaunty Allegretto with one of those playful and high-spirited movements so typical of Shostakovich in a lighter vein. This develops for some time before the music slows and recalls its very beginning: the first piano projects a glistening melodic line high above the second’s low tremolos. This is shouldered aside by a brilliant Allegro section enlivened by sweeping glissandos in the first piano. At the very end, Shostakovich once again brings back his fundamental slowfast sequence. The music subsides for a quiet recall of its opening themes before the sizzling rush to the close. Is the Concertino “great music”? No–and it never set out to be. Instead, it is very enjoyable music: enjoyable for an audience to hear and enjoyable for two pianists–of no matter what age–to play.

String Quartet No. 3 in F Major, Opus 73 (1946) The Third String Quartet was Shostakovich’s only composition during the year 1946. He dedicated it to the members of the Beethoven Quartet, who gave the first performance in Moscow on their namesake’s 176th birthday, December 16, 1946. The mention of Beethoven is apt, for many observers have felt that this quartet, particularly in its heartfelt fourth movement, consciously evokes the spirit of the older master. Yet the Third String Quartet is no imitation. There is evidence that this quartet may have had a program related to the just-concluded war. Shostakovich’s original titles for the five movements of this quartet were Calm Awareness of the Future Cataclysm, Rumblings of Unrest and Anticipation, The Forces of War Unleashed, Homage to the Dead, and The Eternal Question–Why? And for What? Those titles suggest a program for this quartet very similar to the “Leningrad” Symphony of 1941 and a five-movement structure similar to the Eighth Symphony of 1943, which–like this quartet–included a “battle” movement, a passacaglia-like movement, and a quiet ending. Yet Shostakovich suppressed those titles and any hint of a


program about the war, choosing instead to publish the quartet with only tempo markings for the movements. The writing in this quartet is often quite demanding for the players. Much of it is set in the instruments’ higher registers, and there are moments of soloistic brilliance that seem at odds with the ensemble-playing expected in quartets. In addition, the harmonic language can be gritty– each movement has a key signature and a home key, but a clear sense of tonality is obscured by the continuously chromatic writing. All this makes the Third Quartet sound forbidding, which it is not. But this is quite varied music, and listeners should come to it ready for the broad range of expression that marks Shostakovich’s best music. The very beginning of the opening Allegretto is frankly playful. The first violin’s skittering main idea dances gracefully, but Shostakovich stresses to all four players that he wants this beginning dolce. By contrast, the second subject is somber, moving darkly on its two-note cadence, and from the collision of these two ideas Shostakovich builds this sonata-form movement. A pounding 3/4 pulse continues virtually throughout the Moderato con moto. There are moments when this 3/4 meter verges on a ghostly, frozen waltz, only to be straitjacketed back into rigidity; the movement fades into silence with all the instruments muted. By contrast, the Allegro non troppo explodes to life with what sound like gunshots. Built on alternating measures of 2/3 and 3/4, this scherzo–a first cousin of the “battle” movement of the Eighth Symphony, which had been inspired by newsreels of tank battles–rushes to a sudden close. The expressive Adagio has reminded many of Beethoven’s late quartets. It opens with a powerful fivemeasure phrase that will function (somewhat) like the ground bass of a passacaglia, providing the foundation over which Shostakovich will spin out long spans of intense and moving melody. This proceeds without pause into the finale, which might have been a lighthearted conclusion, were the main idea not so spooky: the cello’s dark, sinuous main theme is accompanied by the viola’s pizzicato harmonics. As this movement dances along, Shostakovich gradually brings back themes from the earlier movements, and the quartet fades enigmatically into silence on a final chord marked morendo.





SHOSTAKOVICH Piano Trio No. 1 in C Minor, Opus 8 (1923)

(1906-1975) David Chan, violin; Clive Greensmith, cello; Alan Woo, piano

Sonata for Violin and Piano, Opus 134 (1968) Andante Allegretto Largo Dmitry Sitkovetsky, violin; John Novacek, piano INTERMISSION

String Quartet No. 8 in C Minor, Opus 110 (1960) Largo Allegro molto Allegretto Largo Largo Borromeo String Quartet Nicholas Kitchen, Kristopher Tong, violins; Mai Motobuchi, viola; Yeesun Kim, cello

Seven Verses of Alexander Blok, Opus 127 (1967) Ophelia’s Song Gamayun We Were Together The City Is Asleep The Tempest Secret Signs Music

PRELUDE 7 PM Man and Boy, and Master Prof. Richard Taruskin continues his three-lecture exploration of Dmitri Shostakovich’s life and career Tonight’s concert is sponsored by:

Karen and Warren Kessler La Jolla Music Society’s Season 46 is supported by The City of San Diego Commission for Arts and Culture, the County of San Diego, the National Endowment for the Arts, New England Foundation for the Arts, French American Cultural Exchange, French U.S. Exchange in Dance, Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Florence Gould Foundation, ResMed Foundation, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, Joan and Irwin Jacobs, The Frieman Family, Sam B. Ersan, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, Jeanette Stevens, Gordon Brodfuehrer, and an anonymous donor. RECOMMENDED LISTENING Shostakovich, Dmitri. Violin Concerto No. 1 / Violin Sonata Op. 134. Leila Josefowicz, John Novacek. Warner Classics. ASIN: B000FAO9B6, [2006] Shostakovich, Dmitri. Seven Romances on Poems of Alexander Blok, Op. 127. Mstislav Rostropovich,Chamber Orchestra of Moscow, Galina Vishnevskaya. Russian Revelation. ASIN: B000006BBA, [1998]

Lyubov Petrova, soprano; Dimitri Sitkovetsky, violin; Clive Greensmith, cello; Vladimir Feltsman, piano

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Program Notes by Eric Bromberger

Piano Trio No. 1 in C Minor, Opus 8 (1923)

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

For years, audiences knew of only one Shostakovich piano trio, the Trio in E Minor of 1944. But Shostakovich had written a Piano Trio in C Minor in 1923, when he was a 17-year-old student at the St. Petersburg Conservatory. Though he did not have it published, he did perform the music in public and listed it as his Opus 8. In the sequence of Shostakovich’s work, this trio comes just before the First Symphony of 1925, which catapulted the composer to worldwide fame. Like several other of Shostakovich’s early works, it dropped out of sight and remained unknown, in this case for sixty years. In 1981, six years after Shostakovich’s death, his pupil Boris Tischenko prepared a performing edition of the trio. This was necessary because some small sections of the manuscript had disappeared. Tischenko had to compose a 22-measure passage for the piano to make up for this, and he edited the work for performance. Soon performed in the West as well as in Russia, the trio was recognized as fully characteristic of Shostakovich’s early style. It has been recorded and represents a valuable addition to the catalog of the composer’s chamber works. Only about fourteen minutes long, the Trio in C Minor is in one continuous movement that falls into four subsections. Even these, however, are characterized by so many sudden and mercurial shifts of key, tempo, and mood that the trio has been compared to a rhapsody. But Shostakovich unifies this music around the cello’s three-note figure heard at the very beginning; this will recur in many guises throughout. It is altogether characteristic of Shostakovich–even at age 17–that he has left the home key of C minor behind before he has fully presented the opening statement. A lyric second idea is also announced by the cello, and the structure of this trio is very loosely based on sonata form as the music moves through a series of sharply-contrasted sections (one of them titled Prestissimo fantastico) to the energetic close.

Sonata for Violin and Piano, Opus 134 (1968) In the spring of 1967, Shostakovich wrote his Second Violin Concerto and presented it to David Oistrakh that September on the occasion of the violinist’s sixtieth birthday. Surprised and grateful, Oistrakh had to tell Shostakovich an embarrassing fact: the composer had his dates wrong–Oistrakh had been born in 1908 and so was only 59 that year. Undeterred, Shostakovich then celebrated Oistrakh’s true sixtieth birthday by composing his Violin Sonata for the violinist the following year. Oistrakh gave the first performance, a private one, before the Union of Soviet Composers on January 8, 1969. The public


première–with Oistrakh and pianist Sviatoslav Richter–took place in Moscow on May 3, 1969. The music of Shostakovich’s final period, covering roughly the last decade of his life, forms a very specific chapter in his output. Gone is the nose-thumbing glee of his early music, and gone too are the broad, heroic canvases of his symphonies. In their place comes a new language, inward and often dark. Whether this is the result of bitterness at the Soviet system (as ideological critics will have it) or the result of a long and painful final illness is a matter of ongoing debate, but the fact remains that Shostakovich’s final works bring a sharpening, a refinement, a darkening of his musical language. This music can be very beautiful–as in the Suite on Verses of Michelangelo and the valedictory Viola Sonata–but it can also bring a haunted and bleak musical landscape, particularly in the late chamber music. Shostakovich’s only violin sonata is a big work, both in duration (it lasts well over half an hour) and intensity– much of it is built on a huge, aggressive sonority. One of the most surprising features of the sonata is Shostakovich’s use of tone-rows, and this is all the more remarkable given the official Soviet condemnation of such procedures. Shostakovich defended his occasional use of tone-rows in his late music, telling an interviewer in 1973: “I did use some element of dodecaphony in these works. Of course, if you take a theory and use solely this theory, I have a very negative attitude toward this kind of approach. But if a composer feels that he needs this or that technique, he can take whatever is available and use it as he sees fit. It is his right to do so. But if you take only one technique, whether it is aleatory or dodecaphonic, and use nothing but that technique, then it is wrong.” It should be noted that Shostakovich’s use of tone-rows is not nearly so strict as that of the Second Viennese School. Rather than embracing that system, he instead experiments with some of its techniques, and his rows function as basic thematic material which he is then free to treat any way he prefers. The fundamental technique of the Violin Sonata is not to manipulate the rows in the way Webern might have but instead to create musical structures based on continuous variations of a row. The Violin Sonata is in three massive movements. Piano alone opens the Andante by introducing the movement’s fundamental row, which contains some repetition even on this opening statement. Soon the violin joins this texture, and that opening theme moves between the two instruments. Shostakovich then builds a long music-drama upon variations of the opening theme–some of these episodes are brusque and violent, some melodic, some delicate–and the movement reaches a quiet close on the violin’s eerie tremolo ponticello. The Allegretto takes a more traditional form: it is a scherzo in (vaguely) ternary form. The distinguishing feature of this movement is its furious energy. The violin stamps out the opening theme–almost more rhythm


than theme–and Shostakovich changes meter frequently throughout the aggressive opening minutes of this movement. The “trio” section arrives when the music settles into a steady 3/4 meter and waltzes with a hard-edged energy. Shostakovich delays a literal return of the opening material until late in the movement, which drives to a brutal close. The finale opens with a grand Largo introduction that leaves us uncertain about the harmonic direction of the music. Out of the silence, the violin–all by itself–picks out the movement’s principal theme pizzicato. This long theme is itself an extended row, and Shostakovich will repeat and vary this material as he proceeds. These variations are sharply contrasted: back comes the fierce energy of the opening movement, but there are extended interludes here of delicacy and a dark beauty. As the movement nears its climax, Shostakovich gives the piano a dramatic passage by itself, which is followed by a cadenza for the violin marked quasi tremolo. Gradually the heated energy of this climax subsides, the music grows more subdued, and Shostakovich concludes with quick reminiscences of the opening two movements. In fact, the sonata returns to the same ponticello passage that brought the first movement to a close, and it is on this icy sound that the music fades into unsettling silence.

String Quartet No. 8 in C Minor, Opus 110 (1960) In the summer of 1960 Shostakovich went to Dresden, where he was to write a score for the film Five Days, Five Nights, a joint East German and Soviet production. The devastation of Dresden by Allied bombing in 1945–the event that drove Kurt Vonnegut to write Slaughterhouse Five–was still evident in 1960, and it stunned the composer. He interrupted his work on the film score and in the space of three days (July 12-14) wrote his String Quartet No. 8, dedicated “To the memory of the victims of fascism and war.” The Eighth Quartet has become the most-frequently performed of Shostakovich’s fifteen quartets, but this intense music appears to have been the product of much more than an encounter with the horrors of war–it sprang straight from its creator’s soul. In it Shostakovich quotes heavily from his own works: there are quotations from the First, Fifth, Tenth, and Eleventh Symphonies, Piano Trio in E Minor, Cello Concerto No. 1, and his opera Lady Macbeth of the Mtsensk District, as well as from several Russian songs. The quartet also uses as its central theme Shostakovich’s musical “signature”: he took the letters DSCH (D for Dmitri and SCH from the first three letters of his last name in its German spelling) and set down their musical equivalents: D-Es (E-flat in German notation)-C-H (B in German notation). That motto–D-E♭-C-B–is the first thing one hears in this quartet, and it permeates the entire work. Why should a quartet inspired by the destruction of

a foreign city (and an “enemy” city, at that) have turned into so personal a piece of music for its composer? Vasily Shirinsky–second violinist of the Beethoven Quartet, which gave the première–offered the official Soviet explanation of so dark a work: “In this music, there is a portrait of Shostakovich, the musician, the citizen, and the protector of peaceful and progressive humanity.” But in Testimony, Shostakovich’s much-disputed memoirs, the composer strongly suggests that the quartet is not about fascism but is autobiographical and is about suffering, and he cites his quotation of the song “Languishing in Prison” and of the “Jewish theme” from the Piano Trio as pointing a way toward understanding the quartet. In her recent biography of the composer, Laurel Fay suggests an even darker autobiographical significance. In the spring of 1960, just before his trip to Dresden, Shostakovich was named head of the Union of Composers of the Soviet Federation, and the Russian government clearly expected such a position to be held by a party member. Under pressure to join the party, the composer reluctantly agreed and then was overwhelmed by regret and guilt. There is evidence that he intended that the Eighth Quartet, a work full of autobiographical meaning, should be his final composition and that he planned to kill himself upon his return to Moscow. Five days after completing the quartet, Shostakovich wrote to a friend: “However much I tried to draft my obligations for the film, I just couldn’t do it. Instead I wrote an ideologically deficient quartet nobody needs. I reflected that if I die some day then it’s hardly likely anyone will write a work dedicated to my memory. So I decided to write one myself. You could even write on the cover: ‘Dedicated to the memory of the composer of this quartet.’” Was the Eighth Quartet to be Shostakovich’s epitaph for himself? The quartet is extremely compact and focused–its five interconnected movements last twenty minutes. The brooding Largo opens with the DSCH motto in the solo cello, which soon turns into the fanfare from the First Symphony, followed in turn by a quotation from the Fifth Symphony. The movement, somber and beautiful, suddenly explodes into the Allegro molto, in which the first violin’s pounding quarter-notes recall the “battle music” from the composer’s wartime Eighth Symphony. At the climax of this movement comes what Shostakovich called the “Jewish theme,” which seems to shriek out above the sounds of battle. The Allegretto is a ghostly waltz in which the first violin dances high above the other voices. Each of the final two movements is a Largo. The fourth is built on exploding chords that some have compared to gunshots, others to the fatal knock on the door in the middle of the night. At the climax of this movement come the quotations from the prison song and–in the cello’s high register–from Shostakovich’s opera Lady Macbeth. The fifth movement returns to the mood and music of the first. The DSCH motto enters fugally and many of the quartet’s earlier themes are 858.459.3728 - WWW.LJMS.ORG 57


recalled before the music closes very quietly on a chord marked morendo. SOME NOTES: The film for which Shostakovich was to write the score that summer was a typical product of Cold War propaganda. A joint work by Russian and East German filmmakers, Five Days, Five Nights told the politicallycorrect confabulation that heroic Russian troops had entered Dresden in February 1945 and helped preserve the city’s artistic treasures from Allied bombing (in fact, Russian troops were nowhere near Dresden during the bombing). Shostakovich’s score for the film is unremarkable except that it too makes use of quotations: in the course of the music, the theme from the finale of Beethoven’s Ninth Symphony gradually breaks in on Shostakovich’s own music. And for the record: on September 14, 1960–two months after composing the Eighth Quartet–Shostakovich officially became a member of the Communist Party.

Seven Verses of Alexander Blok, Opus 127 (1967) In May 1966 Shostakovich–then only 59 years old– suffered a heart attack. He spent two months in the hospital and a further month in a sanatorium before being sent home to make a slow and painful recovery. Back in his Moscow apartment, Shostakovich’s spirits were further dampened by writer’s block: he found himself unable to work, and– depressed–he reflected moodily on his entire career. It was not until mid-winter that he was able to gather his creative energies and resume work. Perhaps it is not surprising under these conditions that the composer should turn to an author he loved and write for performers he loved. The author was Russian poet Alexander Blok (1880-1921), who had begun as a mystic and a symbolist but then became an idealistic supporter of the communist revolution; as a young music student in the St. Petersburg Conservatory, Shostakovich had taken delight in Blok’s poetry. The music itself grew out of a request by cellist Mistislav Rostropovich for a series of brief works for cello and soprano that he might perform with his wife, Galina Vishnevskaya. Shostakovich made a setting of Blok’s Ophelia’s Song for this combination, then found that he needed more instruments, so he added violin and piano, creating a suite of songs for soprano and piano trio. Shostakovich wrote the violin part with his longtime friend David Oistrakh in mind, and he wrote the piano part for himself, deliberately keeping its difficulties within the range of his own diminished capacities. With his energies revived, Shostakovich quickly completed the work, which he called Seven Verses of Alexander Blok, on February 2, 1967. For his texts, Shostakovich turned not to the poems Blok had written in support of the revolution but to his early poetry, written around the age of twenty, which has an almost surrealistic intensity. The vocal part is quite varied, ranging from intimate poetry that is virtually whispered to lines that are dramatically declaimed at a dynamic not usually encountered in chamber music. Similarly, Shostakovich deploys his instruments in unusual ways. The


Seven Verses may nominally be scored for soprano and piano trio, but Shostakovich uses all of these performers only in the final song; up to that point, he accompanies the soprano with either a single instrument (first three songs) or with only two (next three). The subjects of these poems are varied, and listeners should not expect a unity or progression across the seven songs, which range from nightmare horror through loving calm and on to intense longing. The external world–whether it is St. Petersburg at night, a violent storm, or the horrifying bird of doom–is depicted surrealistically here. Many of these poems are set at night and are presented as dreamsequences in which the world around the poet becomes only a symbol of his internal consciousness. A brief overview: Ophelia’s Song, the original core of the set, is scored for soprano and cello, and its spare atmosphere tells of Ophelia left behind in Denmark. The horrifying Gamayun, with hammered piano accompaniment, was inspired by Vasnetzov’s painting of the prophetic bird bearing its message of imminent doom as its beautiful face drips blood. By sharp contrast, We Were Together is a love song, gently accompanied by the violin, which scurries ahead and eventually vanishes on fragments of the melodic line. Right at the center of the set lies its most beautiful song, The City Is Asleep, which is accompanied by piano and cello. The wonderful cello part is double-stopped throughout, and Shostakovich reminds the cellist four times to play espressivo. The final three songs are performed without pauses between them. The Tempest is appropriately violent, with bravura parts for violin and piano and a brilliant vocal line. Secret Signs, the most mysterious of the songs, is accompanied by muted strings; the soprano’s part is almost whispered at many places here. The strings lead directly into the concluding Music, in which all four performers finally participate together. Yet the mood here remains generally restrained, and at the end the soprano drops out and leaves the final word to a long (and enigmatic) instrumental postlude. The première of Seven Verses of Alexander Blok took place in Moscow on October 23, 1967, but Shostakovich– still frail–was unable to participate, and he stayed home and listened to the performance on the radio. Vishnevskaya (to whom these songs are dedicated), Oistrakh, and Rostropovich were the performers on that occasion, joined by Shostakovich’s longtime friend Moisey Vainberg as pianist. The audience liked the music so much that the entire work had to be repeated.






SHOSTAKOVICH String Quartet No. 12 in D-flat Major, Opus 133 (1968) (1906-1975) Moderato; Allegretto; Moderato; Allegretto; Moderato Allegretto; Adagio; Moderato; Adagio; Moderato; Allegretto Borromeo String Quartet Nicholas Kitchen, Kristopher Tong, violins; Mai Motobuchi, viola; Yeesun Kim, cello

Sonata in D Minor for Cello and Piano, Opus 40 (1934) Allegro non troppo Allegro Largo Allegro John Sharp, cello; Vladimir Feltsman, piano INTERMISSION

Piano Trio No. 2 in E Minor, Opus 67 (1944) Andante; Moderato; Poco più mosso Allegro non troppo Largo Allegretto; Adagio Vladimir Feltsman, piano; Dmitry Sitkovetsky, violin; John Sharp, cello

Man and Boy, and Master Prof. Richard Taruskin concludes a three-concert lecture series examining the extraordinary life and remarkable musical achievement of Dmitri Shostakovich La Jolla Music Society’s Season 46 is supported by The City of San Diego Commission for Arts and Culture, the County of San Diego, the National Endowment for the Arts, New England Foundation for the Arts, French American Cultural Exchange, French U.S. Exchange in Dance, Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Florence Gould Foundation, ResMed Foundation, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, Joan and Irwin Jacobs, The Frieman Family, Sam B. Ersan, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, Jeanette Stevens, Gordon Brodfuehrer, and an anonymous donor. RECOMMENDED LISTENING Shostakovich, Dmitri. Violin Concerto No. 1 / Violin Sonata Op. 134. Leila Josefowicz, John Novacek. Warner Classics. ASIN: B000FAO9B6, [2006] Shostakovich, Dmitri. Seven Romances on Poems of Alexander Blok, Op. 127. Mstislav Rostropovich,Chamber Orchestra of Moscow, Galina Vishnevskaya. Russian Revelation. ASIN: B000006BBA, [1998]

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Program Notes by Eric Bromberger

String Quartet No. 12 in D-flat Major, Opus 133 (1968)

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

The official Soviet position on serial composition was completely negative: the Soviets believed that Schoenberg’s theory of composing with sequences of twelve tones was the worst sort of “formalism”–music separated from natural impulses and alien to the tastes of the public. But late in his career–at a time when his standing as a composer was secure–Shostakovich became intrigued by certain possibilities inherent in serial procedures, and twelve-note sequences appeared in several works, principally the String Quartet No. 12 and the Violin Sonata, both composed in 1968. Questioned about this during his final visit to the United States in 1973, Shostakovich told an interviewer: “I did use some element of dodecaphony in these works. Of course, if you take a theory and use solely this theory, I have a very negative attitude toward this kind of approach. But if a composer feels that he needs this or that technique, he can take whatever is available and use it as he sees fit. It is his right to do so. But if you take only one technique, whether it is aleatory or dodecaphonic, and use nothing but that technique, then it is wrong.” This comment is the best possible introduction to his String Quartet No. 12, for while twelve-tone rows appear in this quartet, the music’s harmonic language remains tonal–Shostakovich treats the twelve-note sequence not as a row but as a theme to be developed in traditional ways. The quartet is in a specific key–D-flat major–and however chromatic Shostakovich’s development may become, the music remains firmly anchored in that home key, as the triumphant conclusion demonstrates. Shostakovich’s encounter with twelve-tone music in this quartet is more a flirtation than an embrace–it is as if he raises the issue just to get beyond it. The Twelfth Quartet has an unusual structure: a brief opening movement is followed by a long second movement that breaks down into smaller sections at different speeds and in contrasted moods. Some observers have been quick to relate these sections to the slow movement, scherzo, and so on of the traditional string quartet, but such a reading straitjackets Shostakovich’s quite original music into other molds. Far better to take this music on its own terms than to attempt to understand it in ways that may be alien to it. Solo cello opens the Moderato with the twelve-note sequence that will recur throughout the quartet, but the first true theme–firmly tonal–follows immediately in the first violin. That same instrument has the lilting second idea at the Allegretto, another sequence of the twelve tones. Shostakovich’s treatment of these ideas can be full of chromatic tension, but the movement remains fundamentally harmonic, and it comes to a quiet close.


The long second movement opens with fierce trills in the upper instruments as the cello spits out the five-note rhythmic cell that will run through this movement. This opening section, which can be quite abrasive, gives way to a long Adagio, introduced by solo cello–its somber song is answered by a dark chant from the muted upper voices, harmonized triadically. Material from the first movement begins to reappear here, and the Moderato fuses some of these ideas as it builds to a huge climax punctuated by biting chords. Finally the dancing first violin draws us into the concluding Allegretto section, derived from the cello’s five-note cell at the opening of this movement. This section drives with great energy to its close, where the rhythm of that cell rockets home in triumphant D-flat major. In the Twelfth Quartet, Shostakovich may raise the issue of serial music, but only as a starting point–the form and treatment of these ideas is anything but serial, and at the end the quartet seems to thumb its nose defiantly at the whole issue of atonality. Shostakovich completed the Twelfth Quartet on March 11, 1968, and the Beethoven String Quartet gave several private performances that June. Shostakovich, who knew that this music represented new directions for him, was quite pleased with these performances and with his new creation. He dedicated this music to the Beethoven Quartet’s first violinist, Dmitri Tsyganov, and that quartet gave the public première Moscow on September 14, 1968.

Sonata in D Minor for Cello and Piano, Opus 40 (1934) Shostakovich began writing his Cello Sonata on August 15, 1934, and completed it on September 19, a week before his 28th birthday. This was an unusually calm interlude in the often-tormented life of this composer. Earlier that year he had scored a triumph with the première of his opera Lady Macbeth of the Mtsensk District, which was now headed for production in Buenos Aires, New York, Stockholm, Zurich, and other cities. The infamous Pravda attack on the opera– an assault that nearly destroyed Shostakovich’s career– would not occur for another sixteen months. Audiences normally think of Shostakovich’s music from this early period as brilliant, witty, and nose-thumbing, but already another of Shostakovich’s many styles had begun to appear: the neo-classical. In 1933 he had written Twenty-Four Preludes for piano (with the model of Bach’s sets of twentyfour preludes clearly in mind), and the Cello Sonata–with its romantic melodies, conservative harmonic language, and fairly strict classical forms–is very much in the manner of the cello sonatas of Beethoven and Brahms. Frequently performed and recorded, the Cello Sonata remains one of Shostakovich’s most approachable works, particularly for its broad lyricism and generally untroubled spirit. Viktor Lubatsky was cellist and Shostakovich the pianist at the première, which took place on Christmas Day 1934. Shostakovich was a virtuoso pianist, and it is not surprising that the piano is given so prominent a role in this


sonata: it introduces several themes, dominates textures, and is an extremely active participant. The cello, however, has the lovely opening melody of the Allegro non troppo. The piano introduces the quiet second theme, and both are treated fully before the quiet close of this sonata-form movement. Brisk cello arpeggios open the energetic Scherzo, with the piano singing the main idea high above; the piano also has the second subject over eerie, swooping swirls from the cello. The Largo begins with a recitative-like passage from the cello in its deepest register; soon the piano enters, and the movement’s central theme is heard: a lyric, flowing passage for cello over steady piano accompaniment. Dark and expressive, this Largo stands apart in its intensity from the other three movements of the sonata. The concluding Allegro comes closest to the sardonic manner of Shostakovich’s early music. The piano has the abrupt main idea, and the cello’s restatement already brings a saucy variation. The theme goes through several episodes, some of them humorous. At times the humor is almost too broad: one of the instruments will have the theme, played fairly straight, while in the background the other is going crazy with the most athletic accompaniment imaginable. For all its humor, however, the music never turns to slapstick, and the final episode–for piano over pizzicato accompaniment–is lovely. Those interested in this sonata should know that while it has had many fine recordings, the most interesting remains one made long ago (in monophonic sound), featuring the composer at the piano and a very young Mstislav Rostropovich as cellist. This performance has now reappeared on compact disc and is well worth knowing, despite its inevitable limitations of sound.

Piano Trio No. 2 in E Minor, Opus 67 (1944) The Nazi invasion of Russia in 1941 was the greatest catastrophe ever to befall any nation. In four years, twenty million Russians died, and the country sustained damage and suffering that no amount of time could fully repair. Shostakovich, then in his late thirties, reacted to the war with two quite different kinds of music. There was the public Shostakovich, who wrote the “Leningrad” Symphony and marches and songs. Patriotic and optimistic, these made the right noises for the time–and for the Soviet government. But the private Shostakovich recorded his reactions to these years in other music. The Eighth Symphony of 1943 and the Piano Trio in E Minor of 1944 reveal a much less optimistic Shostakovich, one anguished by the war. This was not the kind of music a Soviet government committed to the artistic doctrine of Socialist Realism wanted to hear, and it is no surprise that performances of the Trio were banned for a time or that the Eighth Symphony was singled out for particular censure at the infamous meeting of the Union of Soviet Composers in 1948. Two particular events in the winter of 1944 appear to

have inspired this trio. The first came in February, when Shostakovich’s closest friend, the scholar and critic Ivan Sollertinsky, died (the Trio is dedicated to his memory). The second was the discovery–as the Nazi armies retreated–of atrocities committed against Russian Jews. Shostakovich completed the Trio in the spring and played the piano at its first performance in Leningrad on November 14, 1944. The very beginning of the Andante–an eerie melody for muted cello, played entirely in harmonics–sets the spare and somber mood of this music. The other voices enter in canon, with the main theme of this sonata-form movement a variation of the opening cello melody. The Allegro non troppo opens with fanfare-like figures for the strings. This is one of those hard-driving, almost mechanistic Shostakovich scherzos, and its dancing middle section in G major brings scant relief. The stunning Largo is a passacaglia. The piano announces eight solemn chords that form the bass-line of the passacaglia, and there follow five repetitions as the strings sing poised, grieving lines above the piano chords. The concluding Allegretto follows without pause. This movement is said to have been inspired by accounts that the Nazis had forced Jews to dance on their graves before execution. Shostakovich does not try to depict this in his music, but the sinister, grotesque dance for pizzicato violin that opens this movements suggests a vision of horror all its own. Shostakovich makes the connection clear with the second theme, of unmistakably Jewish origin, for piano above pizzicato chords. The close brings back themes from earlier movements–the cello melody from the very beginning and the entire passacaglia theme–and finally the little dance tune breaks down and the music vanishes on quiet pizzicato strokes. No wonder the Soviet government banned performances of this music! The Trio in E Minor is unsettling music, more apt to leave audiences stunned than cheering, and it is a measure of Shostakovich the artist that he could transform his own anguish into music of such power and beauty.

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PRELUDE 7 PM A Conversation with Clarice Assad and Derek Bermel hosted by Marcus Overton

CLARICE ASSAD Synchronous (2015) World Première (b. 1978) Sunrise Reverie News Feed

Tonight’s concert is sponsored by:

Liang Wang, oboe; Andrew Wan, Fabiola Kim, violins; Robert Brophy, viola; JeongHyoun “Christine” Lee, cello

Many thanks to our Restaurant Partner:

Commissioned by La Jolla Music Society for SummerFest.

DEREK BERMEL Death with Interruptions (2014)

California Première

(b. 1967) David Chan, violin; Clive Greensmith, cello, John Novacek, piano

Commissioned by the Seattle Chamber Music Society Commission Club, Chamber Music Society of Lincoln Center, La Jolla Music Society for SummerFest, in collaboration with the Bowdoin International Music Festival and Calyx Trio. INTERMISSION

CHEN YI Ning for Pipa, Violin and Cello (2001)

(b. 1953) Wu Man, pipa; Cho-Liang Lin, violin; Ben Hong, cello

PETER SCHICKELE Spring Ahead Quintet for Clarinet and String Quartet (2015) (b. 1935) Reawakening California Première Cantilena Scherzo Interlude A Perfect Picnic Burt Hara, clarinet; Huntington Quartet Commissioned by La Jolla Music Society for SummerFest and Chamber Music Northwest.


Sue and Chris Fan Roppongi Restaurant & Sushi Bar La Jolla Music Society’s Season 46 is supported by The City of San Diego Commission for Arts and Culture, the County of San Diego, the National Endowment for the Arts, New England Foundation for the Arts, French American Cultural Exchange, French U.S. Exchange in Dance, Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Florence Gould Foundation, ResMed Foundation, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, Joan and Irwin Jacobs, The Frieman Family, Sam B. Ersan, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, Jeanette Stevens, Gordon Brodfuehrer, and an anonymous donor. RECOMMENDED LISTENING Assad/Bolcom/Daugherty/Zwilich. From A to Z. Nadja SalernoSonnenberg, New Century Chamber Orchestra. CD Baby. ASIN: B00KH9JFEG, [2014] Bermel, Derek. Canzonas Americanas. Derek Bermel, Alarm Will Sound. Cantaloupe. ASIN: B009IF131I, [2012]


Synchronous (2015)

Death with Interruptions (2014)



Note from the Composer

Note from the Composer

In 2014, I spent two months in an artist residency in Doha, Qatar. Far from everything and everyone I knew, I found comfort in social media websites, becoming obsessed with checking my phone and computer for news of my friends and family.  I was many hours ahead of most people I knew.   One morning, I woke up unusually early and went outside.  It was then, in Doha’s West Bay, that I saw the most beautiful sunrise.  I was so overwhelmed by the power of that moment, that I ‘heard’ music in my head.  Along with a haunting melody, came many thoughts, racing through my mind like electrical currents - thoughts that brought back old memories, and sounds and images of people and places I know.  It was the strangest yet most startling experience I had in a long time, and for a few minutes, time seemed to have stopped. After this trance, without even thinking, I reached for my phone. I wondered, what could have happened elsewhere during those five magical minutes I had just experienced? In a social media site, I looked backwards on a news feed and was amused by the variety of events that had taken place while I daydreamed. I saw posts of a medieval castle in France, ads for a carnival parade in Brazil, children playing with toys in America, a new house by a Caribbean beach which had been purchased by someone I know, a clip of gypsy music clip played by some friends in Spain…   Faced with so many distant realities that are far gone by now, I thought it would be interesting to capture those moments in the form of music.     Synchronous is in two parts:  I. Sunrise Reverie and II. News Feed.  Sunrise Reverie is the daydream sequence: Melodious, yet infused with jolts of running passages, representing thoughts and ideas that sometimes come in and out of sync with each other.  The second movement is swift, quirky and pretty much describes the elapsed events of the News Feed described above.   Both movements end on the same chord, suggesting that such events indeed happened in succession.   - Clarice Assad

Death with Interruptions (2014) is a piano trio, written in variation form. The title, which comes from the novel by the Portuguese writer José Saramago, describes the chaos that ensues when one day people mysteriously stop dying. Soon afterwards Death herself enters the narrative and falls madly in love with a cellist. I was intrigued by Saramago’s portrait of death as a character, viewed through a multitude of prisms: the mysterious, the impulsive, the ridiculous, and the dispassionate. A simple melody begins the trio and it moves through a series of transformations in mood, texture, and speed. Variations continually return to the musical heartbeat present in the opening song. Through disparate textures and tempi, the obsessive rhythm emerges as a fixed element bridging musical landscapes. I began writing the work in the months following the passing of my father Albert Bermel, to whom it is dedicated; he was a playwright, a teacher, a translator, and a great lover of farce, who never seemed to believe that Death would visit one day. - Derek Bermel

Born 1978, Rio de Janeiro, Brazil

Born 1967, New York

Ning for Pipa, Violin and Cello (2001)


Born 1953, Guangzhou, China Note from the Composer

The mixed trio Ning was commissioned by the Chamber Music Society of Minnesota, in collaboration with the Asian-American communities of Minnesota, with funding from the Barlow Endowment for Music Composition at Brigham Young University and the Hoeschler Fund of the St. Paul Foundation, for the concert Hun Qiao (Bridge of Souls – A Concert of Remembrance and Reconciliation), to commemorate the little-known Asian Pacific Conflict of World War II. It was premièred by Young-Nam Kim, Yo-Yo Ma and Wu Man on May 30, 2001, at the Ordway Center for the Performing Arts in St. Paul, MN.   The Chinese character Ning is another name of the city Nanjing, the capital of China during the World War II.  Ning also means serene and peaceful. Remembering so many horrible true stories told by my parents repeatedly with anger and passion, who experienced the Japanese invasion in China, I sincerely accepted the invitation from the CMSM, to compose a piece of music for “calling the soul back to a resting place”, to remember the Asian Holocaust — 1937 Nanjing Massacre, and to look forward to the peace of the world in the future.  The music is composed in a dramatic shape, symbolizing 858.459.3728 - WWW.LJMS.ORG 63


the sound of atrocious violence and tragic scenes, hysteric crying and miserable sorbing, gripping meditation and illusive fantasy, performed on the bowing and plucking instruments, combining unique styles and performing techniques in the music of East and West, in an abstract form and texture. - Chen Yi

Spring Ahead Quintet for Clarinet and String Quartet (2015)

PETER SHICKELE Born 1935, Ames, Iowa

Note from the Composer

My mother played clarinet in college, and she still had her old instrument when I was a boy. As it became obvious that I was getting seriously interested in playing it, I was sent to Bert McGarrity, a very fine clarinetist in town, for lessons. He listened to me play for about a minute and a half and said, “Peter, you’ve already got so many bad habits on the clarinet that it would be easier for you to start another instrument,” and that’s how I became Fargo, North Dakota’s only bassoonist. Maybe North Dakota’s only bassoonist. But I retained a fondness for the clarinet, and over the years I’ve written for all the common chamber music combinations involving the instrument, as well as one not-so-common combination: Monochrome III, for nine clarinets. The most highly regarded of those combinations is the clarinet quintet, for clarinet and string quartet, and I’m glad that, after a lifetime of entering sketches for such a piece into my notebooks, I finally had the impetus to write a whole work. My pieces are often associated in my mind with seasons, and the lively, lyrical nature of the opening ideas of this work suggested the title Spring Forward, although a later section of the first movement is calmer and perhaps more summery. It’s best not to get too worked up about titles. The second movement is slow and smooth, with a hint of country fiddling in the accompaniment to the middle section. The third movement is a traditional scherzo-trio-scherzo layout; it is followed by a brief, surprising soft interlude that leads to the finale, named after a perfect picnic my wife and I had at sunset on the Claremont Estate on the east side of the Hudson River. Spring Ahead was co-commissioned by Chamber Music Northwest and La Jolla Music Society for SummerFest; it was completed on October 24, 2014. and premiered on July 18, 2015 in Portland, Oregon by the David Shifrin and the Miró Quartet, and on August 25, 2015 in La Jolla, California by Burt Hara and the Huntington Quartet. - Peter Schickele







SCHUMANN Six Etudes in Canon Form, Opus 56 (1810-1856) (arr. for piano four-hands by Georges Bizet) Pas trop vite Avec beaucoup d’expression Andantino–un peu plus animé Espressivo–un peu plus mouvementé Pas trop vite Adagio BIZET Selections from Jeux d’enfants, Opus 22 (1838-1875) Trompette et tambour (Trumpet and Drum) Les bulles de savon (Soap Bubbles) La toupie (The Top) MOZART Sonata in B-flat Major for Piano Four-Hands, K.358 (1756-1791) Allegro Adagio Molto presto Julia Hsu, Peter Serkin, piano INTERMISSION

SCHUBERT Allegro in A Minor for Piano Four-Hands, D.947 “Lebensstürme” (1797-1828)

Rondo in A Major for Piano Four-Hands, D.951

MUSICAL PRELUDE 7 PM Huntington Quartet performs Schubert’s String Quartet in A Minor, D.804 Tonight’s concert is sponsored by:

Sam B. Ersan La Jolla Music Society’s Season 46 is supported by The City of San Diego Commission for Arts and Culture, the County of San Diego, the National Endowment for the Arts, New England Foundation for the Arts, French American Cultural Exchange, French U.S. Exchange in Dance, Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Florence Gould Foundation, ResMed Foundation, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, Joan and Irwin Jacobs, The Frieman Family, Sam B. Ersan, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, Jeanette Stevens, Gordon Brodfuehrer, and an anonymous donor. RECOMMENDED LISTENING Messiaen, Olivier. Vingt Regards sur l’Enfant-Jésus. Peter Serkin. RCA Red Seal. ASIN: B0013DDOEC, [2004] Busoni/Mozart/Reger. Music for Two Pianos. András Schiff, Peter Serkin. ECM Import. ASIN: B00000K2KP, [1999]

BRAHMS Hungarian Dances for Piano Four-Hands (1833-1897) No. 8 in A Minor No. 9 in E Minor No. 11 in D Minor No. 12 in D Minor No. 18 in D Major Julia Hsu, Peter Serkin, piano 858.459.3728 - WWW.LJMS.ORG 65


Program Notes by Eric Bromberger

Six Etudes in Canon Form, Opus 56 (arr. for piano four-hands by Georges Bizet)

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

Robert Schumann was subject to bouts of mental instability, and he suffered one of these in 1845 while living in Leipzig. The composer became convinced that a change would do him good, and in December 1845 he and Clara moved their children and household to Dresden. The change did prove beneficial. Schumann’s mood improved, and that winter he became interested in counterpoint and began to teach it to Clara; she in turn was delighted to discover that she could compose fugues. Inevitably, their thoughts turned to the organ, and during the winter the couple ordered a pedal attachment for their piano–this set of pedals made the piano duplicate the technique (if not the sound) of the organ, and the Schumanns spent that spring practicing organ music on the pedal piano. Schumann then became interested in writing for this instrument, and in April 1846 he composed his Studien für den Pedal-Flügeln, Opus 56. These six contrapuntal “studies” are essentially organ music written for the pedal piano (and they have often been recorded on the organ). Each is a relatively brief canon, and each presents a performer with different technical challenges: canons in different intervals, canons that move between the hands, and so on. At moments these etudes are quite reminiscent of the music of Bach. It may seem curious, but these quite “German” studies appealed to two young French composers, who arranged them for piano. About 1900 Claude Debussy arranged Schumann’s canonic etudes for two pianos, but even before that Georges Bizet had arranged them for piano four-hands. Bizet, who was quite an accomplished pianist, made these arrangements about 1873, while he was at work on Carmen and only two years before his own death at age 37.

Selections from Jeux d’enfants, Opus 22 Trompette et tambour (Trumpet and Drum) Les bulles de savon (Soap Bubbles) La toupee (The Top)

GEORGES BIZET Born October 25, 1838, Paris Died June 3, 1875, Bougival, France

Bizet composed Jeux d’enfants (“Children’s Games”) in 1871, two years before his arrangement of the Schumann Canonic Etudes. Bizet’s original version consisted of twelve brief pieces for piano four-hands, but he immediately arranged five of these for orchestra, and the orchestral version (sometimes known as Petite Suite) has become better-known than the original version for two pianos.


That is unfortunate, for–deft as the orchestral version is–it misses some of the delicacy of the version for piano four-hands. This music is charming. Bizet offers a series of miniatures depicting the games children play, and he does it with a great deal of humor and delicacy. The music is gentle and melodic, and listeners should have no trouble recognizing the games Bizet is picturing. The writing for the two pianos is graceful and extremely refined, and one of the particular charms of this music is its small scale: many of these pieces have an extremely quiet ending. This recital offers three movements from Jeux d’enfants. Trompette et tambour (Marche) “Trumpet and Drum” This mock-heroic little march features trumpet fanfares and drum tattoos. Les bulles de savon (Rondino) “Soap Bubbles” Sparkling bubbles float and swirl brightly in this portrait of a favorite childhood diversion. La toupie (Impromptu) “The Top” Audiences should have no trouble hearing the spinning top and seeing the giddy pleasures of the children gathered around it.

Sonata in B-flat Major for Piano Four-Hands, K.358

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

There is a remarkable portrait of the Mozart family painted in Salzburg in 1780-81 by Johann Nepomuk de la Croce. It shows Wolfgang and his sister Nannerl seated at the piano playing a duo. Father Leopold hovers anxiously over them, and mother Anna Maria looks down from a portrait on the wall–she had died several years earlier in Paris. It was a last moment of stasis for that family (and even this was contrived). Later in 1781 Wolfgang would break free of the two authority figures in his life–Archbishop Colloredo and his father–and move to Vienna, where he would establish himself as a free-lance composer. The Mozart family would never be whole again. That portrait, which glosses over the considerable tensions within the family, also reminds us that Wolfgang and Nannerl had established much of their early reputation as child prodigies by playing keyboard duos and that young Wolfgang had written music for them to play together. The Sonata in B-flat Major is one of these works. Audiences should be wary of this sonata’s Koechel number, which suggests that it dates from Mozart’s final years in Salzburg and so must be the work of a mature composer. Actually, this duo-sonata is a much earlier work. It was composed in the spring of 1774, and its listing in the revised Koechel catalog is K.186c, making it contemporaneous with Mozart’s first great symphonies (Nos. 25, 28, and 29), composed when he was just turning 18. Mozart appears to have performed this sonata in both Paris and Vienna, and he published it in Vienna in 1783, two years after moving there. The Sonata in B-flat Major was composed not to storm


the heavens but to provide attractive music that Wolfgang and Nannerl could perform together. The sonata is brief (only about a dozen minutes long), polished, and pleasing, and Mozart was quite right to publish it after he moved to Vienna–there was a ready market of pianists who would be glad to play such music at home. When Mozart and his sister played together, Wolfgang would usually play the Secondo (lower) part, Nannerl the Primo. The duties are nicely balanced in this sonata: the lower part is not relegated to a strictly accompaniment role, and the melodic line flows smoothly between the two pianists. There is even some modest hand-crossing between the parts (de la Croce’s portrait captures such a moment, with Wolfgang’s right hand reaching across to play above Nannerl’s left). The music itself requires little description. The sonataform opening Allegro is delicate music, with nice interplay of the two parts; its development section is very brief, and Mozart rounds matters off with a full recapitulation. The Adagio, also in sonata form, gives most of the melodic interest to the Primo while the Secondo provides murmuring accompaniment; Mozart appends a five-measure coda to conclude. The Molto presto, which zips along happily, fully exploits the four-hand medium, both in the crisp ensemble playing and the opportunities for each pianist to take a solo turn.

Allegro in A Minor for Piano Four-Hands, D.947 “Lebensstürme” Rondo in A Major for Piano Four-Hands, D.951

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

Schubert’s final year has become the stuff of legend. He turned 31 in January 1828, and from the next ten months came a succession of masterpieces: the premières of the Trio in E-flat Major and Fantasy for Violin and Piano, the completion of the “Great” Symphony in C Major, the String Quintet, the three final piano sonatas, the songs of the Schwanengesang cycle, and the song Der Hirt auf dem Felsen. It has become customary to refer to this music– music of an extraordinary new depth and intensity–as “late Schubert,” though Donald Francis Tovey reminds us that since we are dealing with a composer who died at 31, all Schubert is “early Schubert.” The headstone of Schubert’s grave in Vienna suggests how much we have lost: “The art of music here entombed a rich possession, but even fairer hopes.” In the succession of masterworks from that remarkable year, it is easy to overlook the fact that Schubert spent the spring of 1828 writing for piano four-hands. From April came the Fantasy in F Minor (one of the greatest works written for this genre), from May the Allegro in A Minor, and from June the Rondo in A Major. Music for piano four-hands generally had a “social” function–it was intended for talented amateurs to play at home. Of course it could

transcend that aim–the Fantasy is a masterpiece–but it was usually music written for the enjoyment of both performer and listener. That said, it should be noted that the two duos on this program demand first-rate performers. The Allegro in A Minor (Schubert’s marking is actually Allegro ma non troppo) was not published until twelve years after his death. When Anton Diabelli published this music in Vienna in 1840, he gave it the nickname “Lebensstürme” (“The Storms of Life”), a title Schubert never heard nor imagined. While the nickname may not be authentic, it does hint at the dramatic scope of this music. Many have heard orchestral sonorities here, and in fact this music has been orchestrated and performed in that version. The Allegro in A Minor is in sonata form, but this is the extended and subtle sonata form Schubert had evolved in his final years. His “themes” are actually groups of contrasted ideas rather than simple melodies, and his harmonic language can be daring. The opening sounds fierce, like a strident trumpet call (one understands why some hear “orchestral” sonorities here), but this sharp declaration quickly leads to a quiet, chromatic melody. The arrival of the second theme-group brings a moment of pure magic. The music slows, grows quiet, and the second piano descends to a softly-pulsing accompaniment deep in the left hand. Over this, the first piano sings the chorale-like second subject in the unexpected key of A-flat minor. This is very quietly presented (the marking here is triple piano), and Schubert’s modulations even within the first statement are effortlessly expressive. And, characteristically, this second group concludes with a completely different figure, a shower of sparkling triplet runs. The development is powerful and extended, with some very complex counterpoint between the two performers, and Schubert eventually drives this Allegro to two concluding chords entirely worthy of all the energy that has preceded them. The Rondo in A Major is quite different–this is endlessly agreeable music. About ten minutes long, it maintains an air of serene amiability throughout. The entire work proceeds at one fundamental tempo, and it is a moderate pace: Allegretto quasi andantino. Schubert’s title has prompted some discussion, for while the piece may be a rondo, it is simultaneously in sonata form: it presents several themes, “develops” them, and concludes with a reprise and a quiet coda. Yet this is a sonata-structure without conflict or drama, and the understated conclusion is altogether typical.

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Hungarian Dances for Piano Four-Hands No. 8 in A Minor No. 9 in E Minor No. 11 in D Minor No. 12 in D Minor No. 18 in D Major

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

Brahms had a life-long fascination with Hungarian music, which for him meant gypsy music. As a boy in Hamburg, he first encountered it from the refugees fleeing revolutions in Hungary for a new life in America, and he was introduced to gypsy fiddle tunes at the age of 20 while on tour with the Hungarian violinist Eduard Reményi (it was on that tour that Brahms began his lifelong collection of Hungarian folk-tunes). Over a period of years, he wrote a number of what he called Hungarian Dances for piano four-hands and played them for (and with) his friends. He published ten of these in 1869 and another eleven in 1880, and they proved a huge success. There was a ready market for this sort of music that could be played at home by talented amateurs, and these fiery, fun pieces carried Brahms’ name around the world (they also inspired the Slavonic Dances of his friend Antonin Dvořák) In the Hungarian Dances, Brahms took csardas tunes and–preserving their themes and characteristic freedom– wrote his own music based on them. To his publisher, Brahms described these dances as “genuine gypsy children, which I did not beget, but merely brought up with bread and milk.” It has been pointed out, however, that Brahms did not begin with authentic peasant tunes (which Bartók and Kodály would track down in the twentieth century), but with those tunes as they had been spiffed-up for popular consumption by the “gypsy” bands that played in the cafés and on the streetcorners of Vienna. Brahms would not have cared about authenticity. He loved these tunes–with their fiery melodies, quick shifts of mood, and rhythmic freedom– and he successfully assimilated that style, particularly its atmosphere of wild gypsy fiddling (in fact, he assimilated it so successfully that several of the Hungarian Dances are based on “gypsy” tunes that he composed himself). This concert concludes with four of Brahms’ Hungarian Dances, and one of these–No. 11 in D Minor–was composed by Brahms himself (that is, he based it on his own themes rather than Hungarian material). Program notes for these dances would be a form of intellectual overkill. Sit back, enjoy this fiery music, and sense why Brahms loved it as much as he did.







SUMMERFEST FINALE Strings, Glorious Strings!



Lecture by Scholar-in-Residence Eric Bromberger


J.S. BACH Concerto in C Minor for Violin and Oboe, BWV 1060 (1685-1750)   Allegro Adagio Allegro David Chan, violin; Liang Wang, oboe

TCHAIKOVSKY Serenade for Strings in C Major, Opus 48 (1840-1893) Pezzo in forma di sonatina: Andante non troppo; Allegro moderato Valse: Moderato. Tempo di valse Élégie: Larghetto elegiaco Finale (Tema russo): Andante; Allegro con spirito INTERMISSION

GRIEG Two Elegiac Melodies, Opus 34 (1843-1907) Heart’s Wounds The Last Spring MOZART Piano Concerto No. 19 in F Major, K.459 (1756-1791) Allegro Allegretto Allegro assai Peter Serkin, piano All works featuring the SummerFest Chamber Orchestra David Chan, Cho-Liang Lin, Andrew Wan, concertmasters; Fabiola Kim, Daniel Koo, Erik Arvinder, Hojean Yoo, Jeanne Skrocki, Kathryn Hatmaker, Bridget Dolkas, violins; Robert Brophy, Che-Yen Chen, Richard O’Neill, Marthe Husum, violas; Clive Greensmith, Ben Hong, JeongHyoun “Christine” Lee, Stella Cho, cellos; Nico Abondolo, Samuel Hager, basses; Pamela Vliek Martchev, flute; Liang Wang, Lelie Resnick, oboes; Valentin Martchev, Leyla Zamora, bassoons; Keith Popejoy, Mike McCoy, horns

Tonight’s concert is sponsored by:

Brenda and Michael Goldbaum La Jolla Music Society’s Season 46 is supported by The City of San Diego Commission for Arts and Culture, the County of San Diego, the National Endowment for the Arts, New England Foundation for the Arts, French American Cultural Exchange, French U.S. Exchange in Dance, Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Florence Gould Foundation, ResMed Foundation, The Lodge at Torrey Pines, Catamaran Resort Hotel and Spa, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, Joan and Irwin Jacobs, The Frieman Family, Sam B. Ersan, Rita and Richard Atkinson, Raffaella and John Belanich, Brian and Silvija Devine, Jeanette Stevens, Gordon Brodfuehrer, and an anonymous donor. RECOMMENDED LISTENING Grieg/Tchaikovsky. Grieg: Holberg Suite Op. 40, Two Elegiac Melodies Op. 34 / Tchaikovsky: Serenade for Strings. Orpheus Chamber Orchestra. Deutsche Grammophon. ASIN: B000001G8M, [1990] Mozart, Wolfgang. Mozart: Piano Concertos Nos. 18 and 19. Peter Serkin, English Chamber Orchestra. RCA Red Seal. ASIN: B000VOTLPK, [2008]

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Program Notes by Eric Bromberger

Serenade for Strings in C Major, Opus 48

Concerto in C Minor for Violin and Oboe, BWV 1060


JOHANN SEBASTIAN BACH Born March 21, 1685, Eisenach, Germany Died July 28, 1750, Leipzig

It is a painful fact that a number of works by Bach have been lost. Famed as a virtuoso organist rather than a composer during his lifetime, Bach left the great part of his work in manuscript when he died. These manuscripts went to the care of his widow and two of his sons. Anna Magdalena and Carl Philipp Emanuel took good care of those in their possession, but the prodigal Wilhelm Friedemann, often financially pressed, sold many of his father’s manuscripts for quick cash. The manuscripts of a number of works have vanished. Some probably remain in cellars and attics, waiting to be rediscovered, but others– subject to the ravages of time, termites, wars, and human indifference–have doubtless disappeared forever. The Concerto for Violin and Oboe is a reconstruction of a lost manuscript. In 1729 Bach became director of the Leipzig Collegium Musicum, a small orchestra made up of professionals, amateurs, and students that gave weekly concerts, and he needed music for the orchestra to perform. From this period comes Bach’s Concerto in D Minor for Two Harpsichords, which he probably presented at the orchestra’s Wednesday afternoon and Friday evening concerts. But research has suggested that the two-harpsichord concerto was in fact Bach’s own recycling of a concerto he had written several years earlier and that the original version was for violin and oboe rather than two harpsichords. The version performed at this concert represents an attempt to recreate the original, the manuscript of which has disappeared. It was Bach’s custom to transpose keyboard concertos down a tone when they were arranged for violin, and so the reconstructed concerto is in C minor. The vigorous Allegro opens with a surging tutti that returns throughout the movement; this movement makes effective use of echo effects, usually by the oboe’s imitating the orchestra’s phrases. By contrast, the Adagio is graceful, elegant music. Longest of the three movements, it is essentially a duet for the two soloists, with only the barest of orchestral accompaniment. Bach’s long melodic line flows easily between the violin and oboe before the end of the movement brings a surprise: the music suddenly modulates into radiant G major at the cadence. Many of Bach’s final movements are graceful dance movements, but here the concluding Allegro does not dance– it stomps. The return to C minor sounds suddenly fierce, and the powerful opening figure is spit out by the whole orchestra, with the soloists soon taking it up themselves. As the movement develops, elaborate violin sextuplets swirl above the oboe line, and the movement concludes on the vigorous theme with which it began.


Born May 7, 1840, Votkinsk Died November 6, 1893, St. Petersburg

In the fall of 1880, Tchaikovsky set to work on two pieces simultaneously. One was the Serenade for Strings, Opus 48; the other was the 1812 Overture, Opus 49. The composer loved the first of these, but had no use for the second. To his benefactress, Madame von Meck, he wrote: “I have written two long works very rapidly: the festival overture and a Serenade in four movements for string orchestra. The overture will be very noisy. I wrote it without much warmth or enthusiasm; and therefore it has no great artistic value. The Serenade on the contrary, I wrote from an inward impulse: I felt it; and I venture to hope that this work is not without artistic qualities.” In a way, the two pieces are opposites, for the Serenade– lyric, open, relaxed–is everything the bombastic 1812 Overture is not, and it comes as no surprise that Tchaikovsky had such fondness for this music. It got its start, he said, as something in between a string quartet and a symphony and eventually turned into a four-movement serenade for string orchestra. The opening movement is subtitled Pezzo in forma di sonatina, and Tchaikovsky noted that he intended this music as homage to one of his favorite composers: Mozart. Though Tchaikovsky called his work a serenade and specifically set the first movement in sonatina form–both of which suggest an absence of rigorous formal development– this music is nevertheless beautifully unified. The powerful descending introduction quickly gives way to the Allegro moderato, based on two subjects: a broadly-swung melody for full orchestra and a sparkling theme for violins. Tchaikovsky brings back the introductory theme to close out the movement. The second movement is a waltz. Waltzes were a specialty of Tchaikovsky, and this is one of his finest. It gets off to a graceful start, grows more animated as it proceeds, then falls away to wink out on two pizzicato strokes. The third movement, titled Élégie, begins with a quiet melody that soon grows in intensity and beauty. The mood here never becomes tragic–the Serenade remains, for the most part, in major keys–but the depth of feeling with which this Larghetto elegiaco unfolds makes it the emotional center of the entire work. The finale has a wonderful beginning. Very quietly the violins play a melody based on a Russian folk tune, reputedly an old hauling song from the Volga River, and suddenly the main theme bursts out and the movement takes wing. The Allegro con spirito theme is closely related to the introduction of the first movement, and at the end Tchaikovsky deftly combines these two themes to bring one of his friendliest compositions to an exciting close.


Two Elegiac Melodies, Opus 34

EDVARD GRIEG Born June 15, 1843, Bergen Died September 4, 1907, Bergen

In 1881, Edvard Grieg–then 38–published as his Opus 33 a set of twelve songs on texts by the Norwegian peasant poet Aasmund Olafsen Vinje (1818-1870). That same year he arranged two of these songs for string orchestra, in the process transposing them into different keys and making some slight changes. Published under the title Two Elegiac Melodies, they have become some of his most popular orchestral music (and Grieg himself liked these pieces so much that he also arranged them for piano solo and piano duet). Their titles have been variously translated–Den saerde as either “Heart’s Wounds” or “The Wounded Heart,” Våren as either “Spring” or “The Last Spring”–but under any title these two miniatures offer some of Grieg’s most expressive music. Both are somber and heartfelt, and both proceed with a great deal of harmonic freedom. We may not think of Grieg as a devotee of Wagner, but four years before writing this music he had gone to Bayreuth to hear the first complete performance of the Ring, and he clearly was struck by the chromaticism of Wagner’s music. “The Last Spring,” which drives to an impassioned climax, has become well-known by itself, and many listeners will discover that they already know its second theme, a haunting and achingly beautiful melody.

are only part of a multitude of secondary material that will remain–in varying ways–subordinate to the dominion of the march tune. There is something spacious and sovereign about this opening movement. This is not simply a matter of its unusual length, but more an effect of the breadth and ease of the lengthy development. An important part of the texture–and the atmosphere–here is the contrast between the firm dotted rhythms of the main march theme and the pianist’s genially-rippling triplets that accompany this melody so often through the movement. Numerous critics have used the word “pastoral” to describe the Allegretto, though that is a characterization of general mood rather than specific form. Mozart’s tempo marking is important: this is not a true slow movement, but a moderately-paced interlude. Particularly interesting here are the modulations, for the music at one point slips effortlessly into C minor, and this episode produces moments of delicate shading and contrast. The Allegro assai (“Very fast”) seems at first a conventional rondo-finale, with the rondo tune announced in crisp exchanges between piano and winds. Instantly, though, the music produces surprises: powerful fugato episodes that recur throughout and give this music unusual contrapuntal complexity, the way the rondo tune itself breaks down into fragments and begins to develop (causing some critics to call this a sonata-rondo movement), the opportunity for two cadenzas for the soloist. And through all of this runs a genial energy that remains a source of joy to all–performers and listeners.

Piano Concerto No. 19 in F Major, K.459

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

Mozart completed the Piano Concerto in F Major on December 11, 1784, during a period of almost incandescent creativity. This was the sixth piano concerto he had composed that year, and at this same moment he was completing the cycle of six string quartets he dedicated to Haydn. There is no record of the first performance of this concerto, but it was almost certainly for Mozart’s own use, for it is in every way a remarkable concerto: it features a solo part that is never flashy but unfolds with a commanding ease and a careful partnership of soloist and orchestra in the symphonic argument. Mozart himself liked this concerto enough that he chose to perform it again six years later on an important occasion: in Frankfurt on October 15, 1790, at a special concert celebrating the coronation of Leopold II. Many have noted that this concerto begins with a superb first movement and then simply gets better as it goes along; Alfred Einstein, in fact, goes so far as to call this a “Finale concerto.” One should by no means underestimate the first movement, though. It begins with a firm and propulsive march (the dotted rhythm of this theme was a Mozart favorite), and the orchestra quickly spins off secondary material before the entrance of the soloist. But these themes 858.459.3728 - WWW.LJMS.ORG 71

SUMMERFEST 2015 ROSTER MUSIC DIRECTOR Cho-Liang Lin VIOLIN Erik Arvinder David Chan Bridget Dolkas Augustin Hadelich Kathryn Hatmaker Michelle Kim Cho-Liang Lin Kerry McDermott Aisslinn Nosky Philip Setzer Dmitry Sitkovetsky Jeanne Skrocki Kyoko Takezawa Andrew Wan VIOLA Robert Brophy Che-Yen Chen Lawrence Dutton Toby Hoffman Ori Kam Paul Neubauer Heiichiro Ohyama Richard O’Neill CELLO Chia-Ling Chien Clive Greensmith Gary Hoffman Ben Hong Ralph Kirshbaum Joshua Roman John Sharp Andrew Shulman BASS Nico Abondolo Samuel Hager Christopher Hanulik

PIANO Vladimir Feltsman Julia Hsu Joseph Kalichstein John Novacek Peter Serkin Joyce Yang HARPSICHORD Patricia Mabee FLUTE Catherine Ransom Karoly Pamela Vliek Martchev OBOE Jonathan Davis Andrea Overturf Lelie Resnick Liang Wang

ENSEMBLES Borromeo String Quartet Nicholas Kitchen, violin Kristopher Tong, violin Mai Motobuchi, viola Yeesun Kim, cello Escher String Quartet Adam Barnett-Hart, violin Aaron Boyd, violin Pierre Lapointe, viola Brook Speltz, cello red fish blue fish Fiona Digney, percussion Dustin Donahue, percussion Jonathan Hepfer, percussion Ryan Nestor, percussion Steven Schick, percussion


Time for Three Zachary De Pue, violin Nicolas Kendall, violin Ranaan Meyer, bass

BASSOON Valentin Martchev Leyla Zamora

SummerFest Chamber Orchestra

HORN Mike McCoy Keith Popejoy PERCUSSION Steven Schick HARP Nancy Allen PIPA Wu Man VOICE Lyubov Petrova, soprano COMPOSERS-IN-RESIDENCE Clarice Assad Derek Bermel Joel Hoffman

FELLOWSHIP ARTIST ENSEMBLES Huntington Quartet Daniel Koo, violin Hojean Yoo, violin Marthe Husum, viola Stella Cho, cello Sycamore Trio Fabiola Kim, violin JeongHyoun “Christine” Lee, cello Alan Woo, piano SCHOLARS-IN-RESIDENCE Eric Bromberger Richard Taruskin LECTURERS & GUEST SPEAKERS Marcus Overton Leah Z. Rosenthal

PHOTO CREDITS: Pg 20: C. Lin © Sophie Zhai, J. Kalichstein by Fred Collins; Pg 21: S. Schick by Bill Dean, M. Kim courtesy of artist; Pg 26: C. Lin © Sophie Zhai, A. Hadelich by Paul Glickman; Pg 29: Escher String Quartet © Sophie Zhai, C. R. Karoly courtesy of artist; Pg 32: Hoffman Family courtesy of artists; N. Allen by Chris Lee; Pg 36: A. Nosky by Cylla von Tiedemann; Pg 40: S. Schick by Bill Dean, M. Kim courtesy of artist; Pg 42: J. Yang courtesy of artist, O. Kam by Tim Hailand; Pg 45: Borromeo String Quartet by Christian Steiner, R. Kirshbaum courtesy of artist; Pg 48: L. Petrova courtesy of artist, J. Novacek © Peter Schaaf; Pg 51: Time for Three courtesy of artists; Pg 52: D. Sitkovetsky by J. Henry Fair; Pg 55: C. Greensmith by Jerry Zolynsky; Pg 59: V. Feltsman courtesy of artist; Pg 62: C. Assad by Amara Photos, D. Bermel courtesy of artist, P. Schickele © Peter Schaaf; Pg 65: P. Serkin by Regina Touhey Serkin, J. Hsu courtesy of artist; Pg 69: D. Chan by Pedro Diaz, L. Wang courtesy of artist, A. Wan courtesy of artist; Back Cover: Mozart Group ©


ARTIST BIOGRAPHIES Cho-Liang Lin, Music Director & violin

Born in Taiwan, Cho-Liang Lin began violin studies at age five. As a 7th grader in Sydney, Australia, Mr. Lin played for Itzhak Perlman in a master class and learned of Perlman’s teacher, Dorothy DeLay. Two years later, Mr. Lin began six years of study with Ms. DeLay at the Juilliard School. His concert career was launched in 1980 in a debut with the New York Philharmonic and Zubin Mehta. Over the course of the next thirty-some years, Mr. Lin has performed as a soloist with virtually every major orchestra in the world. Apart from his duties at SummerFest, he is also Artistic Director of the Hong Kong International Chamber Music Festival. Additionally, he has served on the faculty at the Juilliard School and is professor of violin at Rice University’s Shepherd School of Music in Houston. In his various professional capacities, he has championed contemporary composers and his efforts to commission new works have led a diverse field of composers to write for him. The list includes John Harbison, Christopher Rouse, Tan Dun, John Williams, Steven Stucky, Esa-Pekka Salonen, Bright Sheng, Paul Schoenfield, Joan Tower and many more. Mr. Lin performs on either the 1715 Stradivarius named “Titian” or a 2000 Samuel Zygmuntowicz. His albums have garnered multiple Grammy® nominations and won Gramophone Record of the Year.

Nico Abondolo, bass

Internationallyrecognized leading double bassist, chamber musician and professor, Nico Abondolo debuted at 14 with LA Philharmonic and in 1983 became the first double bassist ever to win first place in the International Competition for Musical Performers in Switzerland. Mr. Abondolo regularly performs at La Jolla Music Society SummerFest, the St. Bart’s Festival and at The Music Academy of the West. He is also a composer, and wrote the score for the PBS documentary series, “Half the Sky.”

Nancy Allen, harp

A New York native, Nancy Allen was hailed by the New York Times as “a major artist” following her recital debut in 1975. She has enjoyed a career spanning four decades, recording and performing recitals and chamber music while maintaining her positions as the New York Philharmonic’s principal harpist and head of the harp department at the Juilliard School. Her students are soloists and hold positions in prominent orchestras around the world. A frequent guest of international summer music festivals, Miss Allen has been an artist/ faculty member of the Aspen Music Festival for over 40 years.

Erik Arvinder, violin

A graduate of Stockholm’s Royal College of Music, Erik Arvinder became the youngest member of the first violin section in the Royal Stockholm Philharmonic. He has worked with distinguished conductors including Alan Gilbert, Kurt Masur, and Esa-Pekka Salonen. Based in both Stockholm and Los Angeles, Mr. Arvinder pursues a busy schedule as chamber musician and orchestral violinist in performances across Europe and the United States.

include a new concerto for guitar and orchestra, a concerto for percussionist Dame Evelyn Glennie and an oratorio commissioned by the Boston Landmarks Orchestra.

Derek Bermel, composer-in-residence

Grammy®nominated composer and clarinetist Derek Bermel has been widely hailed for his creativity, theatricality and virtuosity. He has received commissions from the LA Philharmonic, The Chamber Music Society of Lincoln Center and the Guarneri String Quartet, among others. Mr. Bermel is the Artistic Director of the American Composers Orchestra at Carnegie Hall and Director of Copland House’s CULTIVATE, a workshop and mentoring program for emerging composers. His many honors include the Rome Prize and a Guggenheim Fellowship. Alongside his international studies of ethnomusicology and orchestration, Mr. Bermel has become recognized as a dynamic and unconventional curator for his concert series that spotlight the composer as performer.

Borromeo String Quartet

Nicholas Kitchen, Kristopher Tong, violins; Mai Motobuchi, viola; Yeesun Kim, cello

Clarice Assad, composer-in-residence

A native of Rio de Janeiro, Clarice Assad is a soughtafter symphonic composer, arranger, producer, jazz pianist and vocalist of musical depth and ability. Her music embraces a wide variety of styles, including her own original musical concepts. Ms. Assad’s works have been published in France, Germany, Brazil and in the United States, and have been performed in Europe, South America, the U.S. and Japan. Having also written works for theatre and ballet, recent commissions

The visionary performances of the Borromeo String Quartet have established them as one of the most important string quartets of our time. Now celebrating their 25th anniversary, they perform a vast repertoire and have collaborated with many of today’s great composers and performers. They have been the faculty ensemble-inresidence at the New England Conservatory of Music for 22 years and work with the Library of Congress, The Chamber Music Society of Lincoln Center

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and the Isabella Stewart Gardner Museum. The Quartet has been a trailblazer in the use of laptop computers for reading music. This method allows them to perform entirely from 4-part scores and composers' manuscripts. In concert they often employ projections of handwritten manuscripts to vividly illustrate the creative process. The Quartet has received many awards throughout their illustrious career, including Lincoln Center’s Avery Fisher Career Grant and Martin E. Segal Award and Chamber Music America’s Cleveland Quartet Award.

Eric Bromberger, scholar-in-residence

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

Robert Brophy, viola

LA Philharmonic violist Robert Brophy is an advocate for new music and as a former member of the Ensō Quartet, worked with many 20thand 21st-century composers including Joan Tower and William Bolcom. Currently he plays with the New Hollywood String Quartet. Mr. Brophy holds degrees from the Royal Northern College of Music in Manchester, England and Rice University. He is featured in a quartet for Nigel Kennedy’s new release Greatest Hits on the EMI label.


David Chan, violin

San Diego native David Chan is the concertmaster of the Metropolitan Opera Orchestra, an active soloist, recitalist and chamber musician. He received his bachelor’s degree from Harvard University and his master’s from Juilliard, where he currently teaches. He made his New York debut at Lincoln Center in 1995 and has performed throughout the United States, Europe and the Far East, appearing as soloist with multiple major orchestras. As a chamber musician, he founded and is artistic director of Musique et Vin au Clos Vougeot and performs frequently at the Pacific Music Festival in Japan, the Seattle Chamber Music Festival, and La Jolla Music Society SummerFest.

Che-Yen Chen, viola

Strad Magazine described TaiwaneseAmerican violist Che-Yen Chen as a musician whose “tonal distinction and essential musicality produced an auspicious impression.” He was principal violist of San Diego Symphony and Mainly Mozart Festival Orchestra, and has appeared with LA Philharmonic, San Francisco Symphony, Cincinnati Symphony Orchestra and Canada’s National Arts Centre Orchestra. Mr. Chen has taught at many music schools including the USC Thornton School of Music, UCSD, San Diego State University and McGill University among others.

Chia-Ling Chien, cello

Born in Taiwan, Chia-Ling Chien became Associate Principal Cello with San Diego Symphony in 2009. She has performed throughout the U.S. and Asia at the Pacific Music Festival, Blossom Music Festival and Aspen Music Festival, among many others. She graduated from the Cleveland Institute of Music with both a Bachelor and Master of

Music degrees. Her teachers included cellist Desmond Hoebig.

Jonathan Davis, oboe

Jonathan Davis frequently plays with symphonies across the United States, especially in California. He studied at the Juilliard School and was awarded the first Stephen Alpert Memorial Scholarship. While living in New York, he performed with the New York Woodwind Quintet, The Chamber Music Society of Lincoln Center, the Brooklyn Philharmonic, and appeared as a soloist on NPR’s "Performance Today."

Bridget Dolkas, violin

Bridget Ann Dolkas is Principal Second Violin of Pacific Symphony. She cofounded the acclaimed Connections Chamber Music Series and is first violinist of the California Quartet. She also rocks out in the jazz/classical infused band Peter Sprague Consort. Ms. Dolkas made her directorial debut in the frighteningly funny mash-up music video, “Frite of Spring”, now on YouTube.

Lawrence Dutton, violist

Grammy® winning Emerson String Quartet violist, Larry Dutton has collaborated with renowned performing artists, from Isaac Stern to Sir Paul McCartney and more. Mr. Dutton is the Artistic Advisor of the Hoch Chamber Music Series and and is also currently on the faculty of Stony Brook and at Mercer universities. The Juilliard graduate has received Honorary Doctorates from Middlebury, Bard, Wooster and the Hartt School of Music. Mr. Dutton resides in Bronxville, NY with his wife violinist Elizabeth Lim-Dutton and their three sons Luke, Jesse and Samuel. Mr. Dutton exclusively uses Thomastik Spirocore strings. His viola was made in 2003 in


Brooklyn, New York by Samuel Zygmuntowicz.

Escher String Quartet

Adam Barnett-Hart, Aaron Boyd, violins; Pierre Lapointe, viola; Brook Speltz, cello

Championed by the Emerson String Quartet, the Escher String Quartet was on the BBC New Generation Artists scheme from 2010-12, giving debuts at Wigmore Hall and BBC Proms at Cadogan Hall. In its home town of New York, the ensemble serves as Artists of The Chamber Music Society of Lincoln Center, and in 2013 was awarded the prestigious Avery Fischer Career Grant. Within months of its inception in 2005, the Escher Quartet was invited by both Pinchas Zukerman and Itzhak Perlman to be Quartet-inResidence at each artist’s summer festival, and have since collaborated with artists including Leon Fleischer, David Finckel, Wu Han, Lynn Harrell and Joseph Kalichstein. The Escher Quartet takes its name from Dutch graphic artist M.C. Escher, inspired by Escher’s method of interplay between individual components working together to form a whole.

Vladimir Feltsman, piano

Pianist and conductor Vladimir Feltsman is one of the most versatile and insightful musicians of our time. His repertoire encompasses music from Baroque to 21st-century composers. He has appeared with all of the major American orchestras, on the most prestigious musical stages and at esteemed festivals worldwide. Born in Moscow in 1952, Mr. Feltsman debuted with the Moscow Philharmonic at age 11, and won the Grand Prix at the Marguerite Long International Piano Competition in Paris in 1971. A dedicated educator of young musicians, Mr. Feltsman holds the

Distinguished Chair of Professor of Piano at the State University of New York, New Paltz, and is a member of the piano faculty at the Mannes College of Music in New York City.

Clive Greensmith, cello

Cellist Clive Greensmith joined the Tokyo String Quartet in 1999 and performed with the Quartet in the most prestigious venues and concert series around the globe. Former principal cellist of London’s Royal Philharmonic Orchestra, Mr. Greensmith has collaborated with distinguished musicians and appeared as a soloist with the London Symphony Orchestra, the Royal and Seoul philharmonics, and the RAI Orchestra of Rome, among others. An international festival regular, he has performed at the Marlboro, Salzburg, Edinburgh and Sarasota Music festivals. Mr. Greensmith is currently Professor of Cello and Co-Director of Chamber Music at the Colburn School.

Augustin Hadelich, violin

Astonishing audiences with his technique, sensitivity and tone, Augustin Hadelich has established himself as one of the most sought-after violinists of his generation. Worldwide appearances include engagements with the Cleveland, New York and LA philharmonics and Royal Scottish National orchestras. Recent projects include a debut recital at the Wigmore Hall and an Artist Residency with the Netherlands Philharmonic. Mr. Hadelich’s 2015 release on the AVIE label features violin concertos by Mendelssohn and Bartók. Winner of many prizes, he received the Avery Fisher Career Grant in 2009 and Lincoln Center’s Martin E. Segal Award in 2012. Hadelich plays on the 1723 “Ex-Kiesewetter” Stradivari violin, on loan from Clement and Karen Arrison through the Stradivari Society of Chicago.

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 LA 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 Giuseppe Tarantino.

Christopher Hanulik, bass

Principal Bass of the LA Philharmonic since 1987, Christopher Hanulik formerly served as Principal of Cleveland Orchestra, during which he made numerous recordings including Histoire Du Soldat, conducted by Pierre Boulez. He currently teaches at the UCLA Herb Alpert School of Music and the Aspen Music Festival. He studied at the Juilliard School with famed bass pedagogue Homer R. Mensch.

Burt Hara, clarinet

Burt Hara joined the LA Philharmonic as Associate Principal Clarinet after 25 seasons at the Minnesota Orchestra. He has served as Principal Clarinet of the Philadelphia and Alabama Symphony Orchestras, and has performed with Chicago Symphony, New York Philharmonic, St. Louis Symphony, Seattle Symphony, Baltimore Symphony and St. Paul Chamber Orchestra. As a soloist, Mr. Hara has performed with orchestras in Philadelphia, Minnesota and the LA Philharmonic. He is on faculty at the Aspen Music Festival and School, and is the Principal Clarinet of the Aspen Chamber Symphony. Mr. Hara is a graduate of the Curtis Institute of Music.

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Kathryn Hatmaker, violin

San Diego Symphony violinist Kathryn Hatmaker has played with Pittsburgh Symphony Orchestra and the New World Symphony. She is a frequent chamber music recitalist and guest clinician. Long committed to bringing classical music to diverse audiences, Ms. Hatmaker co-founded and is Artistic Director of Art of Élan. She studied at Carnegie Mellon University, University of Iowa and the Sorbonne University.

Gary Hoffman, cello

A cellist known for fullness of tone, perfect technique, and exceptional artistic sensibility, Gary Hoffman made his debut at London’s Wigmore Hall at age 15 and gained international renown winning First Prize at the 1986 Rostropovich International Competition in Paris. He frequently appears with the world’s most esteemed orchestras and collaborates regularly with celebrated conductors and string quartets. Mr. Hoffman is currently an active recording artist and a professor at the Chapelle Musicale Reine Elisabeth of Belgium in Brussels. Mr. Hoffman performs on a 1662 Nicolo Amati, the “ex-Leonard Rose.”

Joel Hoffman, composer-in-residence

Born in Vancouver, Joel Hoffman studied at the University of Wales and completed graduate studies at Juilliard. His music draws from such diverse sources as Eastern European folk music, Chinese traditional music and bebop, and is pervaded by a sense of lyricism and rhythmic vitality. He has been commissioned by dozens of individuals and organizations including Tanglewood and his works are regularly heard in Europe, China and North


America, and at festivals around the world. A recipient of several prestigious awards, Mr. Hoffman is currently a guest Professor at the China Conservatory in Beijing and has been Composer-inResidence with both the Buffalo and National Philharmonic orchestras.

Toby Hoffman, viola

Born into a musical family, conductor and violist Toby Hoffman began his musical training at age 6 studying the violin with his mother Esther Glazer. An international career finds him performing with most distinguished musicians at prestigious music festivals and concert halls including Ravinia, Marlboro, the Concertgebouw, Wigmore Hall, Carnegie Hall and La Scala, among others. Holding degrees from the Juilliard School, Mr. Hoffman is the Music Director of the Braga Orquestra and teaches conducting at Sibelius Academy. Mr. Hoffman performs on an Antonio and Hieronymus Amati viola made in Cremona, Italy in 1628, formerly belonging to Queen Victoria of England.

Julia Hsu, piano

Originally from Taiwan, Julia Hsu received governmental music scholarships to study at The Purcell School for young musicians at the age of 14 with Professor Patsy Toh, wife of renowned pianist Fou Ts’ong. She continued her studies at the Royal Academy of Music, London, where she completed her Bachelor’s and Master’s degrees in Piano Performance with distinction. In January 2013, Ms. Hsu was appointed Musician-in-Residence in the Waldorf Steiner School, Yilan, Taiwan, where she interacted with high school students and fellow colleagues through lecture recitals and chamber music projects. Ms. Hsu was a Festival Fellow at Bowdoin Music Festival and a scholar at the Banff Centre before she became a Piano Fellow at Bard College Conservatory of Music in September 2013.

Huntington Quartet

Ben Hong, cello

Cellist Ben Hong performs frequently as a soloist, chamber and orchestral musician collaborating with such artists as Emanuel Ax, Yefim Bronfman and Esa-Pekka Salonen. Mr. Hong currently holds the position of Assistant Principal Cellist with the LA Philharmonic. He appeared with the San Diego Symphony as soloist in Tan Dun’s Crouching Tiger Concerto, conducted by the composer and was a consultant to the film The Soloist, functioning as a technical advisor, and teaching star Jamie Foxx to handle the cello.

Named after the street in Boston where they met, the Huntington Quartet is comprised of graduate students at the New England Conservatory. Passionate to share music in the community, they have been named Music For Food artists, have been selected to play in New England Conservatory’s Feast of Music and on the Music at Norway Pond Series.

Daniel Koo, violin

Chicago-born Daniel Koo has appeared as chamber musician, soloist, and concertmaster world-wide and is currently pursuing his master’s degree at the New England Conservatory.

Hojean Yoo, violin

From South Korea, Hojean Yoo started playing at age 8, winning prizes in national competitions. A dedicated chamber musician, she is also a member of Ardor Piano Trio.


Marthe Husum, viola

A keen orchestral and chamber musician, Norwegian violist Marthe Husum plays with Ensemble Allegria at festivals in Europe, and their second CD was released last year.

Stella Cho, cello

From South Korea and Great Britain, Stella Cho debuted at the Royal Albert Hall, London, and has given recitals across the U.S., Europe and South Korea.

Joseph Kalichstein, piano

As an Australian critic exclaimed: “To hear Kalichstein play is to fall in love with music all over again!” Acclaimed for his heartfelt intensity and technical mastery, pianist Joseph Kalichstein enthralls audiences around the globe, winning equal praise as orchestral soloist, recitalist and chamber musician. He has collaborated with the most celebrated conductors and performed with the world’s greatest orchestras, as well as being a frequent guest pianist with the world’s most beloved string quartets. Born in Tel Aviv, Mr. Kalichstein came to the United States in 1962. He holds the inaugural Chamber Music Chair at Juilliard, serves as the Chamber Music Advisor to the Kennedy Center and is the Artistic Director of the Center’s Fortas Chamber Music Concerts.

Ori Kam, viola

Hailed by the New York Times as “an attractive, engaging presence on stage,” violist Ori Kam has performed as soloist on some of the world’s most renowned stages. Born in La Jolla, raised in Isreal, he made his debut at age 16 with Zubin Mehta and the Israel Philharmonic Orchestra and has since performed with virtually every orchestra in Israel and many esteemed American symphonies. An avid performer of chamber music, Mr. Kam founded the Israel Chamber Music Society, was the violist of the Naumburg Award-winning Whitman String Quartet

and is currently the violist of the Jerusalem String Quartet.

Catherine Ransom Karoly, flute

Catherine Ransom Karoly joined the LA Philharmonic as Second Flute in May 1996, and was appointed Associate Principal Flute by Esa-Pekka Salonen in March 2009. Prior to coming to California, Ms. Karoly spent three seasons as Principal Flute of the New World Symphony. Her summer festival performances include appearances at Marlboro, Tanglewood, the Spoleto Festival in Italy and La Jolla Music Society SummerFest. A Fulbright Grant recipient, Ms. Ransom Karoly studied at the Juilliard School and the University of Wisconsin-Madison.

Michelle Kim, violin

Violinist Michelle Kim has been Assistant Concertmaster of the New York Philharmonic since 2001. She has performed as a soloist with New York Philharmonic as well as New Jersey Symphony, Santa Barbara Chamber Orchestra and Pacific Symphony. An active chamber musician, she has collaborated with Cho-Liang Lin, Pinchas Zukerman, Mstislav Rostropovich, Lang Lang and Yefim Bronfman. She attended the USC Thornton School of Music and became a member of their faculty, as well as at Colburn School of Performing Arts and University of California, Santa Barbara. She currently teaches at the Mannes College of Music and is a Founder and President of the Doublestop Foundation.

Ralph Kirshbaum, cello

In the elite echelon of today’s cellists, Texas-born Ralph Kirshbaum’s career encompasses the worlds of solo performance, chamber music, recording

and pedagogy. Having appeared with many of the world’s great orchestras, and collaborated with renowned conductors, Mr. Kirshbaum has appeared frequently at prominent international festivals and is the Artistic Advisor of IMS Prussia Cove. Mr. Kirschbaum is USC Thornton School of Music’s Gregor Piatigorsky Chair in Violoncello and recently served a five year term on the President’s Committee on the Arts and the Humanities. Ralph Kirshbaum plays a rare Montagnana Cello that once belonged to 19th century virtuoso Alfredo Piatti.

Patricia Mabee, harpsichord

Principal Keyboardist of the Los Angeles Chamber Orchestra, Patricia Mabee has received high acclaim for her virtuosity and flawless technique. She is a featured soloist appearing in more than 20 works from the concerto repertoire under the batons of Sir Neville Marriner and Christopher Hogwood. She received a Master’s degree in Keyboard Performance from California Institute of the Arts where she currently teaches.

Pamela Vliek Martchev, flute

Pamela Vliek Martchev served as principal flute with the Boulder Philharmonic for 10 seasons. She has performed with the LA Philharmonic and the San Diego Symphony. Ms. Martchev can be heard in chamber series throughout Southern California and has performed with musicians from Andrea Bocelli to Mariah Carey. Ms. Vliek Martchev attended the Manhattan School of Music and teaches at SDSU.

Valentin Martchev, bassoon

A native of Bulgaria, Valentin Martchev joined the San Diego Symphony as Principal Bassoon

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in 2001. Formerly, he had been Principal Bassoon of the Charlottesville Symphony Orchestra and was a member of the performance faculty at the University of Virginia from 1998 to 2001. His festival performances include Tanglewood, Mainly Mozart, Marlboro and La Jolla Music Society SummerFest. He is on the faculty of Cal State Fullerton and SDSU and plays on a 1985 Heckel Biebrich.

Mike McCoy, horn

San Diego native Mike McCoy has been the horn player for the Presidio Brass since its inception in 2006 and plays with Las Vegas Philharmonic, and records for video games, TV and movies. He currently performs with San Diego Symphony, San Diego Opera and Pacific Symphony and teaches Horn at San Diego State and Point Loma Nazarene Universities.

Kerry McDermott, violin

At the invitation of Zubin Mehta, Kerry McDermott joined the New York Philharmonic as its youngest member. She has since appeared as soloist with the Philharmonic throughout North America. She has garnered prizes in major competitions including the Montreal International Violin Competition and the International Tchaikovsky Competition, where she received a special award for “Best Artistic Interpretation.” She has recorded for Cala, New World Records and Melodia and is an alumna of the Manhattan School of Music and Yale.

Paul Neubauer, viola

Paul Neubauer’s exceptional musicality and effortless playing distinguish him as one of his generation’s leading artists. Appointed principal violist of the New York Philharmonic at age 21, Mr. Neubauer has


appeared as soloist with over 100 orchestras including the New York, LA, and Helsinki philharmonics and San Francisco and Dallas symphonies. The two-time Grammy® nominee is on the faculty of the Juilliard School and Mannes College. Mr. Neubauer performs in a trio with soprano Susanna Phillips and pianist Anne-Marie McDermott, utilizing a vast repertoire including salon style songs. He is also an Artist Member of The Chamber Music Society of Lincoln Center.

Aisslinn Nosky, violin

Canadian violinist Aisslinn Nosky was appointed Concertmaster of Boston’s Handel and Haydn Society in 2011. With a reputation for being one of the most dynamic and versatile violinists of her generation, Ms. Nosky is in great demand internationally as a soloist, director and chamber music collaborator. Recent appearances include the Holland Baroque Society, the Utah Symphony, the Staunton Music Festival, the Calgary Philharmonic, and the Kitchener-Waterloo Symphony. Ms. Nosky is also a member of and tours with I FURIOSI Baroque Ensemble, the Eybler Quartet and the world renowned Tafelmusik Baroque Orchestra. Her latest recording of Haydn’s Violin Concerto in C Major with the Handel and Haydn Society will be released in 2015 on the CORO label.

John Novacek, piano

Regularly touring the world, pianist John Novacek performs as a recitalist, chamber musician and concerto soloist; in the latter capacity he has performed over thirty concerti with dozens of orchestras. He is a frequent guest artist at festivals, here and abroad, including New York City’s Mostly Mozart Festival and La Jolla Music Society SummerFest. He is frequently heard on radio broadcasts and NPR’s “Performance Today,” “St. Paul Sunday,” and “A Prairie Home Companion with Garrison Keillor,”

as both featured guest composer and performer and seen on television’s “Entertainment Tonight” and “CNN International.”

Heiichiro Ohyama, viola

Known as a remarkable conductor and one of the most renowned violists in the United States, Heiichiro Ohyama has been Music Director and Conductor of the Santa Barbara Chamber Orchestra for the past 31 years, Artistic Director of CHANEL Pygmalion Days Special Concert Series for the past 10 years and Artistic Director of “Music-Dialogue” since 2014. He studied viola with William Primrose at Indiana University, and is the former Artistic Director of Santa Fe Chamber Music Festival and La Jolla Music Society SummerFest. He was a professor of music at the University of California, Santa Cruz and Santa Barbara for 30 years. In 2014, Mr. Ohyama was recognized for his artistic contribution by the City of Santa Barbara.

Richard O’Neill, viola

Emmy® Award Winner, two-time Grammy® Nominee and Avery Fisher Career Grant recipient, Richard O’Neill has performed with the London Philharmonic, Korean Symphony Orchestra and Moscow Chamber Orchestra. As an Artist Member of The Chamber Music Society of Lincoln Center, he frequently collaborates with the world’s greatest musicians. The first violist to receive the Artist Diploma from the Juilliard School, Richard was honored with a Proclamation from New York City Council for his achievement and contribution to the Arts. He teaches at UCLA.


Marcus Overton, lecturer

During a 50-year career in theatre, music and dance, including stints as an actor, acting coach, music director, and teacher, Marcus Overton has held senior management positions at Lyric Opera of Chicago, the Ravinia Festival and the Smithsonian Institution. Before relocating to San Diego for an unsuccessful attempt at retirement, he held the general manager’s post at Spoleto Festival USA.

Andrea Overturf, oboe

Andrea Overturf plays English horn with the San Diego Symphony. Equally adept at the oboe, she received second prize in the 2007 International Double Reed Society Gillet-Fox Solo Oboe Competition. Ms. Overturf is the first oboist from the Juilliard School to receive an artist diploma after completing her master’s degree. Her bachelor’s degree is from the Eastman School of Music.

has also performed with the Hong Kong Philharmonic, Russian National, New Jersey Symphony, and Moscow Chamber orchestras in concert.

Keith Popejoy, horn

Native San Diegan Keith Popejoy became Principal Horn at Pacific Symphony in 2004. Based in Poway, both his parents and two grandparents were San Diego Symphony musicians. He eventually followed suit becoming the Assistant Principal. In 1997, Keith won the Principal Horn position with San Antonio Symphony, playing for two years before returning to San Diego. Mr. Popejoy has played frequently at La Jolla Music Society SummerFest since 2002.

red fish blue fish

Fiona Digney, Dustin Donahue, Jonathan Hepfer, Ryan Nestor, Steven Schick, percussion

Lyubov Petrova, soprano

Russian soprano Lyubov Petrova has most recently sung Der Rosenkavalier (Bolshoi Opera); Les Contes d’Hoffmann (New Israeli Opera); L’incoronazione di Poppea and L’arbore di Diana (Teatro Real); Die Zauberflöte and Die lustige Witwe (Teatro Colón); and L’olimpiade (Pergolesi Festival). Other recent engagements include leading roles with Dutch National Opera, Dallas Opera, Pittsburgh Opera, Washington National Opera, Opéra de Paris, Los Angeles Opera, Glimmerglass Opera, Teatro Regio di Palermo and Glyndebourne Festival. Her numerous Metropolitan Opera performances include Der Rosenkavalier, Die Zauberflöte, Don Pasquale, Werther, Falstaff, Un ballo in maschera, Boris Godunov, Die Fledermaus, and Die Entführung aus dem Serail. Ms. Petrova

Founded twenty years ago by Steven Schick, the San Diego-based percussion ensemble performs, records, and premières works from the last 85 years of western percussion’s rich history. Recent projects include a world première of Roger Reynolds’ Sanctuary and the American première of James Dillon’s epic Nine Rivers cycle with the International Contemporary Ensemble (ICE). Earlier this summer, red fish blue fish was the featured ensemble at Ojai Music Festival under Steven Schick’s Artistic Directorship. Their recordings of the percussion chamber music of Iannis Xenakis and Roger Reynolds on Mode Records have been praised by critics around the world. Recordings released in the 2012-13 season included the works of Karlheinz Stockhausen, Giacinto Scelsi and rare works of Iannis Xenakis.

Lelie Resnick, oboe

Lelie Resnick is Principal Oboe with the Hollywood Bowl Orchestra. She is English Hornist of the Pacific and Long Beach symphonies, a position she has also held at San Diego Symphony. Ms. Resnick is a featured soloist on several recordings including those for movie soundtracks and television. She studied at the Curtis Institute of Music and the California Institute of the Arts.

Joshua Roman, cello

The San Francisco Chronicle hailed Joshua Roman as “a cellist of extraordinary technical and musical gifts.” Mr. Roman has earned national renown for performing a wide range of repertoire with an absolute commitment to communicating the essence of the music at its most organic level. He is recognized as an accomplished curator and programmer with a vision to engage and expand the classical music audience, particularly in his work as Artistic Director of Seattle Town Hall’s TownMusic series. Mr. Roman was named a TED Fellow in 2011. He is grateful for the loan of an 1899 cello by Giulio Degani of Venice.

Leah Z. Rosenthal, lecturer

Joining La Jolla Music Society in 2008, Leah Rosenthal is Director of Artistic Planning & Education. She has held positions with some of the most prestigious non-profit organizations in the country, including the Chicago Symphony Orchestra, the Ravinia Festival and PBS. Ms. Rosenthal earned her master’s degree in Performing Arts Management at Columbia College of Chicago after completing undergraduate studies in Vocal Performance.

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Steven Schick, percussion

Percussionist, conductor, and author Steven Schick was born in Iowa and raised in a farming family. For forty years, he has championed contemporary music by commissioning or premièring more than one hundred-fifty new works and is the founding percussionist of the Bang on a Can AllStars. Currently he is Music Director of the La Jolla Symphony and Chorus, and Artistic Director of the San Francisco Contemporary Music Players. In 2012 he became the first Artist-in-Residence with the International Contemporary Ensemble. Mr. Schick was music director of the 2015 Ojai Festival, is Distinguished Professor of Music at the UCSD and is founder and Artistic Director of the percussion group, red fish blue fish.

Peter Schickele, composer

Composer, musician, author, satirist˗Peter Schickele is internationally recognized as one of the most versatile artists in music. Including many and varied commissions for organizations such as The Chamber Music Society of Lincoln Center, he has written over 100 works for symphony orchestras, choral groups, chamber ensembles, voice, movies and television. Mr. Schickele is also known famously for an over 50-year career as a satirical “discoverer” of the lost works of P.D.Q. Bach, the fictitious progeny of J.S. Bach. Four of the P.D.Q. Bach (Telarc) recordings received Grammy® Awards in the Best Comedy Recording category.

Peter Serkin, piano

The distinguished American pianist Peter Serkin’s inspired performances with symphony orchestras and in recital appearances, chamber music collaborations and


recordings are acclaimed worldwide. From Sir Simon Rattle to James Levine, he has performed with eminent conductors of the world’s major symphony orchestras. A dedicated chamber musician, Mr. Serkin has collaborated with Yo-Yo Ma and TASHI, of which he was a founding member. Orchestral highlights of recent seasons have included appearances with the Boston and Chicago symphonies. Recent summer festival appearances have included BBC London Proms and Denmark’s Oremandsgaard Festival. Mr. Serkin currently teaches at Bard College Conservatory of Music and the Longy School of Music.

Philip Setzer, violin

Violinist Philip Setzer, a founding member of the Emerson String Quartet, was born in Cleveland, Ohio, and began studying violin at the age of five with his parents, both former violinists in the Cleveland Orchestra. Mr. Setzer won second prize at the Marjorie Merriweather Post Competition in Washington, DC in 1967, and in 1976 received a Bronze Medal at the Queen Elisabeth International Competition in Brussels. He has participated in the Marlboro Music Festival and has appeared with the Cleveland Orchestra on several occasions. Mr. Setzer has been a faculty member of the Isaac Stern Chamber Music Workshops at Carnegie Hall and the Jerusalem Music Center.

John Sharp, cello

Texan-born and Juilliard-trained, John Sharp became one of the youngest principal players in the history of the Chicago Symphony Orchestra at 27. A top prize winner of the International Tchaikovsky Competition, he has performed with the Chicago Symphony in performances of the Britten Symphony for Cello and Orchestra, the Beethoven Triple Concerto with Itzhak Perlman and Daniel Barenboim, and in many concerto

performances. An active chamber musician, he has participated at several major festivals and performed in chamber music concerts with Mitsuko Uchida, Pinchas Zukerman and Yo-Yo Ma.

Andrew Shulman, cello

LA Chamber Orchestra’s principal cellist, Andrew Shulman studied at the Royal Academy and the Royal College of Music in London. He was awarded an “Honorary RCM” by HRH The Queen Mother in 1986, and subsequently became a professor at the Royal College. He performes regularly with major orchestras and at festivals, teaches at USC and UCLA and has given masterclasses all over the world. Mr. Shulman played on Elton John’s Princess Diana tribute “Candle in the Wind”, the highest selling single of all time.

Dmitry Sitkovetsky, violin

Violinist, conductor, arranger, festival director and television presenter, Dmitry Sitkovetsky has performed as a soloist with, and guest conducted many of the world’s leading orchestras, working with the Concertgebouw, the Berlin Philharmonic and the Chicago Symphony orchestras, among others. In 2003 he was appointed Music Director of the Greensboro Symphony Orchestra, a position he continues to hold. In addition Mr. Sitkovetsky has transcribed more than 50 published works, has an active and varied recording career, and was commissioned by the Russian Kultura Channel to present “Visiting with Dmitry Sitkovetsky” for television. Born in Baku, Azerbaijan, Dmitry Sitkovetsky studied at the Moscow Conservatory and the Juilliard School. He currently resides in London with his wife and daughter.


Jeanne Skrocki, violin

Jeanne Skrocki, former student of the legendary Jascha Heifetz, debuted with the LA Philharmonic at 14. Currently she is Concertmaster of Redlands Symphony Orchestra and Assistant Concertmaster of the Pacific Symphony. Ms. Skrocki is also a member of the faculty at the Jascha Heifetz Symposium at Connecticut College. She plays a 1746 J.B. Guadagnini violin which belonged to her mother.

Sycamore Trio

The Sycamore Trio made their debut in Alice Tully Hall at Lincoln Center in February 2014. During the Trio’s chamber music studies at Juilliard, they worked with David Finckel, Joseph Kalichstein and Ida Kavafian. Members of the Trio have performed at the Aspen Music Festival, Juilliard’s ChamberFest, Music@Menlo and Ravinia’s Steans Institute.

Fabiola Kim, violin

Described by New York Times as playing “with extraordinary luminosity and precision,” Fabiola Kim is one of the most dynamic players of her generation.

JeongHyoun “Christine” Lee, cello

Korean cellist JeongHyoun “Christine” Lee has appeared as a soloist with several major orchestras and her enjoyment of chamber music has led to many festival appearances.

Alan Woo, piano

Praised by New York Times as a pianist with “assurance and vitality,” Alan Woo won Juilliard’s 2014 Gina Bachauer Piano Competition. In December 2010 he made his Lincoln Center debut performing with the Juilliard Orchestra.

Kyoko Takezawa, violin

Kyoko Takezawa is the embodiment of musicality; she electrifies audiences with a richness of playing, a virtuosic confidence of feeling and a fiery intensity. Interpretive insight and indisputable talent have made her a sought-after soloist. She has performed with many of the world’s leading orchestras including Royal Concertgebouw Orchestra and the NHK Symphony, and collaborated with distinguished conductors, including Michael Tilson Thomas and Sir Neville Marriner. A Juilliard graduate, she is on the faculty of Toho Music School in Japan. Ms.Takezawa plays the Antonio Stradivarius “Viotti” (1704), on loan to her by nonprofit organization, Yellow Angel.

Richard Taruskin, scholar-in-residence

American musicologist Richard Taruskin has written and lectured on topics that range across the whole of music; his published books and articles include: Text and Act, The Danger of Music and Other Anti-Utopian Essays, On Russian Music, a two-volume study of Stravinsky and a six-volume Oxford History of Western Music. A New York native, Mr. Taruskin served on the faculties of the University of California, Berkeley and Columbia University, where he earned his Ph.D. In the 1970s and '80s Mr. Taruskin played viola da gamba with the Aulos Ensemble and was a choral conductor at Columbia University Collegium Musicum, Cappella Nova.

Time for Three

Zachary De Pue, Nicolas Kendall, violins; Ranaan Meyer, bass

Time for Three (Tf3) transcends traditional classification, with elements of classical, country western, gypsy and jazz idioms that form a blend all its own. The members carry a passion for improvisation, composing and arranging, all characteristic of the ensemble’s playing. They have performed hundreds of engagements as diverse as their music: from a sell-out concert at the 2014 BBC Proms to an appearance on the ABC primetime hit show “Dancing with the Stars.” Tf3’s high-energy performances are free of conventional practices, drawing instead from the members’ differing musical backgrounds. The trio also performs its own arrangements of traditional repertoire and Ranaan Meyer provides original compositions to complement the trio’s offerings. Time for Three recently released their debut Universal Music Classics album, Time for Three, which spent seven consecutive weeks in the Top 10 of Billboard’s Classical Crossover Chart.

Andrew Wan, violin

Andrew Wan is equally at home as a soloist and chamber musician. Named concertmaster of the Montreal Symphony Orchestra in 2008, he is one of the youngest leaders of a major symphony. Having concertized extensively throughout the world, Mr. Wan has appeared at venues including Carnegie Hall, the Kennedy Center and the Salle Gaveau with artists such as Emanuel Ax, Gil Shaham and Marc-André Hamelin. Mr. Wan received his Bachelor of Music and Master of Music Degrees from the Juilliard School, and is currently on violin faculty at the

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Schulich School of Music at McGill University as well as the Orford Music Festival.

Liang Wang, oboe

Liang Wang is Principal Oboe for the New York Philaharmonic Orchestra. Prior to joining the Philharmonic, he held the Principal’s position with Cincinnati Symphony Orchestra and Santa Fe Opera. Liang Wang made his Carnegie Hall debut in 2011 performing Chen Qigang’s Extase, and was invited by the Presidents of China and France to perform the work with the Orchestre Colonne de France at Versailles’ Royal Opera House in March 2014 to celebrate the 50th anniversary of FranceChina diplomacy. He has performed chamber music at the Santa Fe and Angel Fire festivals, given classes at the Cincinnati Conservatory and is currently on faculty at Manhattan School of Music and New York University.

Wu Man, pipa

Born in Hangzhou, China and recognized as the world’s premier pipa virtuoso and leading ambassador of Chinese music, Grammy® Awardnominated musician Wu Man is a successful soloist, educator and composer. She has premièred hundreds of new works, while spearheading projects to both preserve and create awareness of China’s ancient musical traditions. She was named Musical America’s 2013 Instrumentalist of the Year, the first time the award has been bestowed on a player of a non-Western instrument. Wu Man resides in Carlsbad, California.

Joyce Yang, piano

Blessed with “poetic and sensitive pianism” (Washington Post) and a “wondrous sense of color” (San


Francisco Classical Voice), Joyce Yang is a Van Cliburn International Piano Competition Silver Medalist and Avery Fisher Career Grant recipient. She enjoys a busy career performing solo recitals and collaborating with the world’s top orchestras and chamber musicians. Born in 1986 in Seoul, South Korea, Ms. Yang received her first piano lesson at the age of four. In 1997, she moved to the United States to begin studies at the pre-college division of the Juilliard School. She graduated from Juilliard with the special honor as the recipient of the school’s 2010 Arthur Rubinstein Prize.

Leyla Zamora, bassoon

Leyla Zamora joined San Diego Symphony in 2005, after having held the position of Principal Bassoon with Memphis Symphony for 11 years. Ms. Zamora has performed in recitals and with many orchestras around the world, participated in several orchestral and chamber music festivals and given master classes. She studied at the Tchaikovsky Conservatory in Moscow, Baylor University and DePaul University.


Allen, Isaac 2010*,’13 Almond, Frank 1988 Anthony, Adele 2001,‘03,‘05-‘06 Arvinder, Eric 2015 Ashikawa, Lori 1988◊ Barnett-Hart, Adam 2007* Barston, Elisa 1992*◊,‘94 Batjer, Margaret 2001-‘03,‘07-‘11,‘13 Beaver, Martin 2011, ‘14 Biss, Paul 1986-‘87 Blumberg, Ilana 1993*◊ Borok, Emanuel 2004 Borup, Hasse 1999* Boyd, Aaron 2003* Cárdenes, Andrés 1986-‘89 Chan, David 1995◊-‘97*◊,2001,‘04-‘05,‘07-‘11,‘13, ‘15 Chan, Ivan 1998 Chang, Sarah 2007 Chapelle, Corinne 1997* Chee-Yun 2000, ‘02,’06-’07,‘10 Chen, Jiafeng 2013* Chen, Robert 1990 Ching, Daniel 2014 Cho, Yumi 2007,‘09 Choi, Jennie 1997* Choi, Jennifer 1994*◊ Copes, Steven 2008 Cosbey, Catherine 2013* Coucheron, David 2010* Deutsch, Lindsay 2006* Dolkas, Bridget 2001-‘02,‘07, 09-‘10,‘12-‘15 Drucker, Eugene 1988-‘89, 2000 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-‘15 Hershberger, Amy 1997◊ Horigome, Yuzuko 1991 Hou, Yi-Jia Suzanne 2003* Hsu, Shu-Ting 2010 Huang, June 1988◊ 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 Kim, SoJin 2008*-‘09* Kim, Young Uck 1990-‘91 Kitchen, Nicholas 2010 Koh, Jennifer 2008, ‘11 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, Kristin 2014 Lee, Se-Yun 1999*

Lee, Yura 2012, ‘14 Lin, Cho-Liang 1989-‘93,‘95-‘99, 2001-‘15 Lin, Jasmine 2008 Lin, Shih-Kai 2008* Ling, Andrew 2010 Link, Joel 2011* Lippi, Isabella 1993*◊ Lockwood, Kathryn 1993* Ma, Michael 2009 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 Otani, Reiko 1996*◊ 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 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 Shay, Yvonne 2012-‘14 Shih, Michael 2003 Shimabara, Sae 1996◊ Sitkovetsky, Dmitry 2015 Skrocki, Jeanne 2009-‘15 Smirnoff, Joel 2004,‘07 Southorn, David 2012* Stanislav, Tereza 2003*,‘12, ‘14 Staples, Sheryl 1990*-‘91*,‘92◊-‘94◊,‘95, 2006-‘07,‘09, ‘11, ‘14 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 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* Ushioda, Masuko 1986-‘87,‘89 Vergara, Josefina 1993*◊,‘95◊,97◊ Wan, Andrew 2012, ‘14,‘15 Warsaw-Fan, Arianna 2012* Weilerstein, Donald 1986 Wilkie, Roger 1991,‘97 Wu Jie 2007* Wu, Tien-Hsin Cindy 2011 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


Ando, Fumino 1996*◊ Baillie, Helena 2011 Barston, Elisa 1994 Berg, Robert 1988◊ Biss, Paul 1986-‘87

Brophy, Robert 2003*,‘13, ‘15 Bulbrook, Andrew 2009 Carrettin, Zachary 2011* Chen, Che-Yen 2005,‘07-‘10,‘12-‘13, ‘15 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 Holtzman, Carrie 1988◊ Huang, Hsin-Yun 2008 Husum, Marthe 2015* 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* Largess, John 1994*◊-‘96*◊, ‘14 Lee, Scott 1997*◊, 2002,’04,‘07 Lee, Yura 2014 Li, Honggang 2003 Lin, Wei-Yang Andy 2012* Liu, Yun Jie 1990* Lockwood, Kathryn 1995◊ LoCicero, Joseph 2014* Martin, Francesca 1988-‘90 Maril, Travis 2009-‘14 Moerschel, Jonathan 2009 Molnau, Michael 2012 Motobuchi, Mai 2010 Neubauer, Paul 1992-‘96,‘98-‘99, 2001,‘03-‘07,‘09-‘12, ‘15 Neuman, Larry 1991* Ngwenyama, Nokuthula 2000 Nilles, AJ 2014 Nolan, Erin 2005* Ohyama, Heiichiro 1986-‘97, 2004, ‘06,‘08-‘09, ‘11, ‘14-‘15 O’Neill, Richard 2013-‘15 Pajaro-van de Stadt, Milena 2011* Phelps, Cynthia 1989-‘90,‘99- 2002, ‘05-’08,‘10-‘11,‘13-‘14 Quincey, Brian 1992*◊-‘93*◊ Quintal, Sam 2009* Richburg, Lynne 1992*◊ 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 Wong, Eric 2013* Zehngut, Gareth 2010

◊ 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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Belcher, Richard 2003* Braun, Jacob 2008 Brey, Carter 1990-‘91,‘93,‘95-‘96, ‘99-2001,‘03-‘06, ‘08-‘10,‘12-’13 Bruskin, Julia 2003* Byers, Eric 2009 Canellakis, Nicholas 2014 Castro-Balbi, Jesús 2002* Chaplin, Diane 1989-‘90 Chien, Chia-Ling 2012, ‘15 Cho, Stella 2015* Cooper, Kristina 2003 Cox, Alexander 2014* Curtis, Charles 2003,‘05,‘09 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 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 Greensmith, Clive 2015 Haas, Natalie 2005 Haimovitz, Matt 1986 Hammill, Rowena 1999 Han, Eric 2010* Handy, Trevor 2011-‘12 Harrell, Lynn 2005-‘07,‘10, ‘14 Henderson, Rachel 2009* Hoebig, Desmond 2010,‘12, ‘14 Hoffman, Gary 1987-‘93,‘95-‘97,‘99, 2001, ‘03-‘04,‘06-’07,‘10,‘12-‘13,‘15 Hong, Ben 1990*,2001,‘13-‘15 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* 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* Ma, Yo-Yo 2005 Marica, Mihai 2012* Mollenauer, David 1988◊ Moores, Margaret 1986-‘87,‘99 Myers, Peter 2011 Ni, Hai-Ye 2003-‘04,‘08, ‘11,‘14 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 Shaw, Camden 2011* Sherry, Fred 2000,‘09 Shulman, Andrew 2010,‘15 Smith, Ursula 1991* Smith, Wilhelmina 1990*,‘92*◊


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 Weilerstein, Alisa 2006-‘08, ‘11 Weiss, Meta 2012* Wirth, Barbara 1999 Yoon, Han Bin 2012 Zeigler, Jeff 1999 Zhang, Yuan 2010* Zhao, Yao 2009


Abondolo, Nico 1989-‘93,‘97◊, 2002–‘03,‘07,‘09, ‘11-‘15 Aslan, Pablo 2005,’13 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-‘15 Hanulik, Christopher 2007-‘10,‘15 Hermanns, Don 1994◊,‘96◊ Hovnanian, Michael 1988◊ Kurtz, Jeremy 2004-‘05 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 Zory, Matthew 1992◊

BARYTON Hunt, Shirley 2014


Leopold, Michael 2014


Adolphe, Bruce 2001 Asuncion, Victor Santiago 2010 Ax, Emanuel 1990, 2010 Ax, Yoko Nozaki 1990 Barnatan, Inon 2012-‘14 Battersby, Edmund 1994 Biss, Jonathan 2006,‘13 Blaha, Bernadene 1996-‘97 Bolcom, William 2003 Bookstein, Kenneth 1990* Bronfman, Yefim 1989,‘92, 2003,‘06, ‘14 Brunetti, Octavio 2013 Chen, Weiyin 2006-‘07* Cole, Naida 2004 Corea, Chick 2004 Coucheron, Julie 2010 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 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 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 Neikrug, Marc 2007 Newman, Anthony 2001-‘02,‘07,‘10,‘13 Noda, Ken 2008-‘10,‘12,‘14 Novacek, John 1992*, 2002,‘08-‘10,‘12,‘14-‘15 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 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 Watts, André 2005 Weilerstein, Vivian Hornik 1986 Weiss, Orion 2007-‘10,‘13-‘14 Woo, Alan 2015* Wosner, Shai 2005-‘08 Wu Han 1992-‘96,‘98-2000,‘06 Yrjola, Maria 2002 Yang, Joyce 2008-‘11,‘13,‘15 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

BANDONEÓN Del Curto, Héctor 2013 Marconi, Nestor 2005



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-‘15 McGill, Demarre 2007-‘08,‘10 Martchev, Pamela Vliek 2011-‘15 O‘Connor, Tara Helen 1997 Piccinini, Marina 1991 Sager, Marisela 2002-‘04 Tipton, Janice 1997,‘99, 2002-‘03 Wincenc, Carol 1990,‘92,‘94, 2000

RECORDER Petri, Michala 2012


Avril, Franck 2008 Barrett, Susan 2003 Boyd, Thomas 1988 Davis, Jonathan 2014-‘15 DeAlmeida, Cynthia 1996 Enkells-Green, Elizabeth 1986 Ghez, Ariana 2013 Gilad, Kimaree 1997 Horn, Stuart 1997 Hove, Carolyn 1991 Huang, Zheng 2004-‘06 Janusch, J. Scott 2001-‘02 Kuszyk, Marion Arthur 2002 Michel, Peggy 1996◊ Overturf, Andrea 2009-‘15 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-‘15 Whelan, Eileen 1994* Wickes, Lara 2009-‘11 Woodhams, Richard 2003-‘04,‘07,‘09

ENGLISH HORN Hove, Carolyn 1991


Calcara, Tad 1994* Hara, Burt 2003, ‘05,‘07, ‘11-‘15 Lechusza, Alan 2004 Levee, Lorin 2005-‘07 Liebowitz, Marian 1986 Livengood, Lee 1991*,‘93* Moffitt, James 2011 Palmer, Todd Darren 1999 Peck, David 1986-‘90 Reilly, Teresa 2004,‘14 Renk, Frank 1993,‘97, 2003-‘04,‘08-‘09 Renk, Sheryl L. 1993-‘95, 2001- ‘02, ‘04,‘08,‘11-‘13 Rosengren, Håkan 1995 Shifrin, David 1986-‘87,‘92-‘93,‘96-‘98, 2000,‘04-‘05,’13 Yeh, John Bruce 2001-‘02,‘04,‘08-‘14 Zelickman, Robert 2002–‘04

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


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 Zamora, Leyla 2009,‘14-‘15

CONTRABASSOON Savedoff, Allen 2013 Zamora, Leyla 2008

SAXOPHONE Marsalis, Branford 2012 Rewoldt, Todd 2007 Sundfor, Paul 2004


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


Balsom, Alison 2014 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 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 Huang, Aiyun 2002-‘03 Mack, Tyler 1993 Nichols, Don 2006 Palter, Morris 2004 Pfiffner, Pat 2012 Plank, Jim 1995◊ Rhoten, Markus 2013 Schick, Steven 1997, 2002-‘04,‘06,‘13,‘15 Smith, Bonnie Whiting 2012 Stuart, Greg 2006 Szanto, Jonathan 2001 Takeishi, Satoshi 2005,‘13 Yeh, Molly 2014


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


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 Murphy, Heidi Grant 2002, ‘04,‘07 Petrova, Lyubov 2015 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 Rubinstein, John 1997, 2002 York, Michael 2009


Adolphe, Bruce 2001 Beattie, Michael 2013 Edmons, Jeff 2010-’13 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

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


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* Bettina String Quartet 1996* BodyVox 2007 Borromeo String Quartet 2000-‘01,‘10,‘15 Calder Quartet 2005,‘09-‘10,‘12 Colorado String Quartet 1989-‘90 Coolidge String Quartet 1999* Éclat Quartet 2011 Enso String Quartet 2001*,‘03* Escher String Quartet 2007*, ‘15 Firebird Quartet 1998* FLUX Quartet 2014 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 KahaneSwensenBrey 2013 La Jolla Symphony 2008-‘09 Linden String Quartet 2013* Malashock Dance 2002 Miami String Quartet 1998,2003-‘04 Miró Quartet 2009,‘14 Newbury Trio 2012 Old City String Quartet 2011 Omer Quartet 2014* Orion String Quartet 1992-‘93,2002, ‘04,‘06,‘10 Ornati String Quartet 2000* Pacifica Quartet 1995* Pegasus Trio 2014* Phaedrus Quartet 2001* Real Quiet 2007-‘10 red fish blue fish 2004,‘08-‘09,‘15 Ridge String Quartet 1991 Rioult 2008 SACRA/PROFANA 2013 San Diego Chamber Orchestra 1987-‘88 San Diego Master Chorale 2012 San Diego Symphony 1990, 2004 SDYS’ International Youth Symphony 2010-’13 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 Tokyo String Quartet 2008, ‘11,‘12 Trío Ágape 1998 Trio Vivo 2013* Turtle Island String Quartet 1998 Vega String Quartet 2001* Wayne Shorter Quartet 2006 Westwind Brass 1994-‘95,‘97 Xando Quartet 1999* Pablo Ziegler Classical Tango Quartet 2012


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 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 Shorter, Wayne 2006 Stucky, Steven 2013 Tan Dun 2003,‘12 Thomas, Augusta Read 2000 Tower, Joan 2000,‘07, ‘11 Tsontakis, George 2009 Wong, Cynthia Lee 2011 Ung, Chinary 2003,‘10 Zwilich, Ellen Taaffe 2011

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

SCHOLAR-IN-RESIDENCE Bromberger, Eric 2014-‘15 Kogan, Dr. Richard 2014 Pollack, Howard 2013 Taruskin, Richard 2015

LECTURER & GUEST SPEAKER Adamson, Robert, M.D. 2001 Adolphe, Bruce 1999 Agus, Ayke 2003 Allison, John 2000 Amos, David 1994 Bell, Diane 2001 Brandfonbrener, Alice G. 2002 Bromberger, Eric 1988-‘96,‘98-2009,‘11-‘13 Brooks, Geoffrey 1988 Cassedy, Steve 2007-‘10,‘12-‘14 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 Longenecker, Martha W. 2003 Malashock, John 2000 Mehta, Nuvi 2010 Mobley, Mark 2001-‘03 Morel, René 2000 Noda, Ken 2000 O‘Connor, Sandra Day 2004 Overton, Marcus 2000-‘01,2004-‘15 Pak, Jung-Ho 2001 Perl, Neale 2000-‘01 Quill, Shauna 2005 Reveles, Dr. Nicolas 1994-‘95,‘99,2000, ‘11,‘13- ‘14 Roden, Steve 2007 Rodewald, Albert 1990 Roe, Benjamin K. 2001,‘04-‘05,‘10 Rosenthal, Leah Z. 2010-‘15 Roland, Ashley 2007 Ruggiero, Dianna 2011 Russell, Claudia 2008 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

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 FRANGHIZ ALI-ZADEH Sabah (morning/tomorrow/in the future), 2003 Aleck Karis, piano; Cho-Liang Lin, violin; Felix Fan, cello; Wu Man, pipa JULIAN ANDERSON String Quartet No. 2 “300 Weihnachtslieder”, 2014 FLUX Quartet SÉRGIO ASSAD Candido Scarecrow, 2014 The Assad Brothers CHEN YI Ancient Dances I. Ox Tail Dance II. Hu Xuan Dance, 2004 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 CHICK COREA String Quartet No. 1, The Adventures of Hippocrates, 2004 Chick Corea, piano; John Benitez, acoustic bass; Tom Brechtlein, drums MARC-ANDRÉ DALBAVIE Quartet for Piano and Strings, 2012 Yura Lee, violin; Paul Neubauer, viola; Felix Fan, cello; Jeremy Denk, piano BRETT DEAN Epitaphs for String Quintet, 2010 Brett Dean, viola; Orion String Quartet DAVID DEL TREDICI Bullycide, 2013 Orion Weiss, piano; DaXun Zhang, bass; Shanghai Quartet JOHN HARBISON String Quartet, 2002 Orion String Quartet Crossroads, 2013 Jennifer Johnson Cano, mezzo-soprano; Peggy Pearson, oboe; Linden String Quartet; Nico Abondolo, bass STEPHEN HARTKE Sonata for Piano Four-Hands, 2014 Orion Weiss, Anna Polonsky, piano HUANG RUO Real Loud, 2008 Real Quiet AARON JAY KERNIS Perpetual Chaconne, 2012 John Bruce Yeh, clarinet; Calder Quartet LEON KIRCHNER String Quartet No. 4, 2006 Orion String Quartet 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 MARK O'CONNOR String Quartet No. 2 "Bluegrass", 2005 Mark O‘Connor, Cho-Liang Lin, violins; Carol Cook, viola; Natalie Haas, cello ANDRÉ PREVIN Vocalise, 1996 Ashley Putnam, soprano; David Finckel, cello CHRISTOPHER ROUSE String Quartet No. 3, 2010 Calder Quartet KAIJA SAARIAHO Serenatas, 2008 Real Quiet ESA-PEKKA SALONEN Lachen verlernt (Laughing Unlearnt), 2002 Cho-Liang Lin, violin PAUL SCHOENFIELD Sonata for Violin and Piano, 2009 Cho-Liang Lin, violin; Jon Kimura Parker, piano 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 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 Violoncello 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 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 ELLEN TAAFFE ZWILICH Quintet for Violin, Viola, Cello, Contrabass and Piano, 2011 The Kalichstein-Laredo-Robinson Trio; Michael Tree, viola; Harold Robinson, bass

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ANNUAL GIVING MAJOR DONOR SOCIETY Members of the Major Donor Society support La Jolla Music Society with gifts of $5,000 or more. La Jolla Music Society’s high quality presentations, artistic excellence, and extensive education and community engagement programs are made possible in large part by the support of the community. There are many ways for you to play a crucial role in La Jolla Music Society’s future —from annual support to sponsorships to planned giving. For information on how you can help bring the world to San Diego, please contact Ferdinand Gasang, Development Director, at 858.459.3724, ext. 204 or


Brenda Baker & Steve Baum Conrad Prebys & Debbie Turner


City of San Diego Commission for Arts and Culture Joy & Ed* Frieman Joan & Irwin Jacobs

($250,000 and above)

($100,000 - $249,999)

BENEFACTORS Rita & Richard Atkinson ($50,000-$99,999)

Raffaella & John Belanich Silvija & Brian Devine Sam B. Ersan


Mary Ann Beyster Dr. James C. & Karen A. Brailean Gordon Brodfuehrer Dave & Elaine Darwin Martha & Ed Dennis Mr. & Mrs. Dick Enberg Kay & John Hesselink Susan & Bill Hoehn Theresa Jarvis Bill Karatz & Joan Smith Sharon & Joel Labovitz



Rafael & Marina Pastor Peter & Peggy Preuss QUALCOMM Incorporated Jean & Gary Shekhter Mao & Dr. Bob Shillman Jeanette Stevens Twin Dragon Foundation Vail Memorial Fund Joe Tsai & Clara Wu Tsai Anonymous




Anonymous George Bolton Wendy Brody & Bill Brody Katherine & Dane Chapin County of San Diego / Community Enhancement Program Richard & Lehn Goetz Michael & Brenda Goldbaum Angelina K. & Fredrick Kleinbub Carol Lam & Mark Burnett National Endowment for the Arts Stacy & Don Rosenberg Leigh P. Ryan Marge & Neal Schmale Thomas & Maureen Shiftan Haeyoung Kong Tang John Venekamp & Clifford Schireson Carolyn Yorston-Wellcome & H. Barden Wellcome

Anonymous (2) Johan & Sevil Brahme Stuart & Isabel Brown R. Nelson & Janice Byrne Anne & Bob Conn Valerie & Harry Cooper The Rev. Eleanor Ellsworth Jeane Erley Elaine Galinson & Herbert Solomon Dr. Lisa Braun-Glazer & Dr. Jeff Glazer Margaret Stevens Grossman and Michael S. Grossman Katherine Kennedy Robert & Margaret Hulter Warren & Karen Kessler Annika & Gordon Kovtun Judith Bachner & Dr. Eric L. Lasley Leanne Hull Fine Art, LLC/ Leanne Hull McDougall Michel Mathieu & Richard McDonald Bill Miller & Ida Houby Morgan & Elizabeth Oliver Paul Hastings, LLP Susan Shirk & Samuel Popkin Maria & Dr. Philippe Prokocimer Drs. Jean & Catherine Rivier James Robbins Ivor & Colette Royston The San Diego Foundation Sheryl & Bob Scarano Drs. Joseph & Gloria Shurman Simner Foundation Elizabeth Taft Gianangelo Vergani Ronald Wakefield Margie Warner & John H. Warner, Jr. Abby & Ray Weiss


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

Joan Jordan Bernstein Bob* & Betty Beyster Norman Blachford & Peter Cooper Ric & Barbara Charlton Brian Douglass, President digital OutPost Sue & Chris Fan Olivia & Peter C. Farrell Pauline Foster French American Cultural Exchange, French U.S. Exchange in Dance Theodore & Ingrid Friedmann Cam & Wanda Garner Judith Harris & Robert Singer, M.D. Alexa Kirkwood Hirsch Sue J. Hodges Keith & Helen Kim Vivian Lim & Joseph Wong Sue & John Major New England Foundation for the Arts Hank & Robin Nordhoff Betty-Jo Petersen Ethna Sinisi Piazza Deirdra Price ResMed Foundation Sandra & Robert Rosenthal Joyce & Ted Strauss H. Peter & Sue Wagener Dolly & Victor Woo Bebe & Marvin Zigman


La Jolla Music Society carries forward a tradition reaching back to the Musical Arts Society of La Jolla, founded in 1941, which commissioned 20 new works between 1949 and 1968, presenting the premières in the auditorium at La Jolla High School. Devoted to this tradition, between 1996 to 2015 La Jolla Music Society has commissioned 51 new works from composers include John Adams, Chen Yi, Stewart Copeland, Lalo Schifrin, Gunther Schuller, Bright Sheng, Joan Tower, George Tsontakis and John Williams.

* In Memoriam

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ANNUAL GIVING PATRON SOCIETY Members of the Patron Society support La Jolla Music Society with gifts of $250 to $4,999.



Anonymous Jim Beyster David Brenner & Tatiana Kisseleva Callan Capital Marsha & Bill Chandler Nina & Robert Doede Mr. and Mrs. Michael Durkin Gigi Fenley Diane & Elliot Feuerstein Bryna Haber Paul & Barbara Hirshman Linda Howard Jeanne Jones & Don Breitenberg Jessie Knight & Joye Blount Carol Lazier Arleen & Robert Lettas Gail & Edward Miller Novak Charitable Trust: Earl N. Feldman, Trustee Murry & Patty Rome Annie So Leland Sprinkle Matthew & Iris Strauss Bill & Shelby Strong Renee Taubman Mary L. Walshok Harvey & Sheryl White Rolfe & Doris Wyer Tim & Ellen Zinn

Kenny & Kathy Alameda Varda & George Backus Christopher Beach & Wesley Fata Bjorn Bjerede & Jo Kiernan Ginny & Bob Black Teresa O. Campbell Anthony F. Chong & Annette Thu Nguyen Don & Karen Cohn Victor & Ellen Cohn Cristina Della Coletta Dennis Dorman Ernie & Marilyn Dronenburg Phyllis Epstein Drs. Edward & Ruth Evans Nomi Feldman Richard & Beverly Fink Sally Fuller Ron & Kaye Harper Frank & Victoria Hobbs Ann Hoehn Linda & Tim Holiner Elizabeth Hoyle Tom & Loretta Hom Floyd Humphreys Elisa & Rick Jaime Daphne & James Jameson Peter & Beth Jupp David & Susan Kabakoff Louise Kasch Theodora Lewis Grace Lin Jaime & Sylvia Liwerant Hon. M. Margaret McKeown & Peter Cowhey Paul & Maggie Meyer Fenner Milton & Barbara McQuiston Dr. Sandra Miner Laurie Mitchell & Brent Woods Will & Nora Hom Newbern Beverle & Marc Ostrofsky Anne Otterson Art & Vicki Perry Ann & Ken Poovey Hai Phuong William Purves Juliette Singh Joanne Snider


La Jolla Music Society inspires and enriches the performing arts scene in San Diego throughout the year with presentations of world-class musicians, jazz ensembles, orchestras and dance companies. Over the last 40 years, La Jolla Music Society has presented concerts in no less than fifteen venues including the Centro Cultural de Tijuana, The Old Globe, Irwin M. Jacobs Qualcomm Hall, El Cajon Performing Arts Center, Carlsbad Library’s Schulman Auditorium, Balboa Theatre and several locations on the campus of UC San Diego.




Kathy Taylor & Terry Atkinson Susan & Richard Ulevitch Robert Vanosky Yvonne Vaucher Laurette Verbinski Dr. Lee & Rhonda Vida Nell Waltz Jo & Howard Weiner Joseph & Mary Witztum Su-Mei Yu Thomas W. Ziegler Josephine M. Zolin

FRIENDS ($500-$999)

Barry & Emily Berkov Malin Burnham Luc Cayet & Anne Marie Pleska Robert & Jean Chan June Chocheles Sharon Cohen Marilyn Colby Edith & Edward Drcar Dr. Trude Hollander Innovative Commercial Environments Ed & Linda Janon Saundra L. Jones Jain Malkin Winona Mathews Ted McKinney & *Frank Palmerino Robert Nelson & Jean Fujisaki Mr. & Mrs. Don Oliphant Gaynor & Gary Pates Robert & Allison Price Jill Q. Porter Lonnie Ross Peter & Arlene Sacks Gordana & Dave Schnider Pat Shank Edward Stickgold & Steven Cande Suhaila White Olivia & Marty Winkler Faye Wilson Edward & Anna Yeung

ENTHUSIASTS ($250-$499)

Fiona & Scott Bechtler-Levin Steven & Patricia Blostin Benjamin Brand Stefana Brintzenhoff Peter Clark Hugh J. Coughlin Dr. Ruth Covell America Daschle Douglas P. & Robin Doucette Drs. Lawrence & Carol Gartner Jane & Michael Glick Carrie & Jim Greenstein Nan & Buzz Kaufman Gladys & Bert Kohn Mara & Larry Lawrence Elinor Merl & Mark Brodie Alan Nahum & Victoria Danzig Joani Nelson Aghdas Pezeshki Elyssa Dru Rosenberg RejeuvinĂŠ Medspa Anne & Ronald Simon William Smith Eleanor L. tum Suden Ruth Stern Norma Jo Thomas Kevin Tilden & Philip Diamond M.D. Carey Wall Terry & Peter Yang

Since 1999, La Jolla Music Society has been serving young San Diegans through its Community Music Center, a program in which bilingual professional musicians work with students from San Diego’s inner city. Students are provided with free instruments and are taught the basic elements of musicianship. Graduates of the program are given their instruments and earn an audition with the San Diego Youth Symphony. Classes are available in piano, strings, woodwinds, guitar, brass and percussion, with many children are learning multiple instruments.

* In Memoriam

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FOUNDATIONS The Atkinson Family 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 Enberg Family Charitable Foundation The Epstein Family Foundation: Phyllis Epstein The Fidelity Charitable Gift Fund: Drs. Edward & Martha Dennis Fund Sue & Chris Fan Don & Stacy Rosenberg Shillman Charitable Trust Richard and Beverly Fink Family Foundation Inspiration Fund at the San Diego Foundation: Frank & Victoria Hobbs The Jewish Community Foundation: Diane & Elliot Feuerstein Fund Foster Family Foundation Galinson Family Fund Lawrence & Bryna Haber Fund Joan & Irwin Jacobs Fund David & Susan Kabakoff Fund Warren & Karen Kessler Fund Liwerant Family Fund Theodora F. Lewis Fund Jaime & Sylvia Liwerant Fund The Allison & Robert Price Family Foundation Fund Gary & Jean Shekhter Fund John & Cathy Weil Fund Sharon & Joel Labovitz Foundation The Stephen Warren Miles and Marilyn Miles Foundation The New York Community Trust: Barbara & William Karatz Fund Rancho Santa Fe Foundation: The Fenley Family Donor-Advised Fund The Susan & John Major Donor-Advised Fund The Oliphant Donor-Advised Fund ResMed Foundation 92 LA JOLLA MUSIC SOCIETY SUMMERFEST

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 Inspiration Charitable Trust Louise D. Kasch Donor Advised Fund The Ivor & Colette Carson Royston Fund The Scaranao Family Fund The Shiftan Family Fund Schwab Fund for Charitable Giving: Alexa Kirkwood Hirsch Fund Ted McKinney & Frank Palmerino Fund The Shillman Foundation Silicon Valley Community Foundation: The William R. & Wendyce H. Brody Fund Simner Foundation The Haeyoung Kong Tang Foundation The John M. and Sally B. Thornton Foundation The John H. Warner Jr. and Helga M. Warner Foundation Vail Memorial Fund Thomas and Nell Waltz Family Foundation Sheryl and Harvey White Foundation


HONORARIA MEMORIAL GIFTS In Memory of J. Robert Beyster: Clifford Schireson & John Venekamp In Memory of Evelyn Brailean: Martha & Ed Dennis Ferdinand Gasang Helene Kruger In Honor of Brian Devine’s Birthday: Helene Kruger In Honor of Susan and Bill Hoehn: Mary & Hudson Drake Tom & Loretta Hom In Honor of Irwin Jacobs’ Birthday: Martha & Ed Dennis In Memory of Lois Kohn: Ingrid Paymar In Honor of Helene Kruger: Anonymous Brian & Silvija Devine Ferdinand Gasang Sharon & Joel Labovitz Patricia Manners Paul & Maggie Meyer Ann Mound Lonnie Ross Debbie Horwitz & Paul Nierman Don & Stacy Rosenberg Clifford Schireson & John Venekamp Beverly Schmier Nell Waltz Pat Winter Bebe & Marvin Zigman

In Honor of Carol Lam: QUALCOMM Incorporated In Honor of Kristen Sakamoto’s Grandmother: Ferdinand Gasang In Honor of Jean Shekhter: Morgan & Elizabeth Oliver Kevin Tilden & Philip Diamond M.D. In Memory of Fiona Tudor: Mary Ann Beyster Dave & Elaine Darwin Martha & Ed Dennis Mr. & Mrs. Dick Enberg Ferdinand Gasang Rafael & Marina Pastor Robin & Hank Nordhoff In Memory of Carleton and Andree Vail: Vail Memorial Fund In Honor of Abby Weiss: Anonymous Jane & Michael Glick


Bank of America IBM, International QUALCOMM, Inc. The San Diego Foundation [INCLUDE LOGO] Sempra Energy This list is current as of June 15, 2015.

To learn more about supporting La Jolla Music Society’s artistic and education programs or to make an amendment to your listing please contact Benjamin Guercio at 858.459.3724, ext. 216 or

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BUILDING THE SOCIETY for future generations MEDALLION SOCIETY 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.



Brenda Baker and Steve Baum Conrad Prebys and Debbie Turner

Anonymous Joan Jordan Bernstein Mary Ann Beyster+ Dr. James C. and Karen A. Brailean Dave and Elaine Darwin Barbara and Dick Enberg Jeane Erley Lisa Braun-Glazer and Jeff Glazer Margaret and Michael Grossman Alexa Kirkwood Hirsch Margaret and Robert Hulter Theresa Jarvis Angelina and Fred Kleinbub Joseph Wong and Vivian Lim+ Michel Mathieu and Richard McDonald Rafael and Marina Pastor Maria and Dr. Philippe Prokocimer Don and Stacy Rosenberg Leigh P. Ryan+ Neal and Marge Schmale Drs. Joseph and Gloria Shurman Jeanette Stevens Elizabeth Taft Gianangelo Vergani Dolly and Victor Woo Bebe and Marvin Zigman

DIAMOND Joy Frieman+ Joan and Irwin Jacobs Raffaella and John Belanich

EMERALD Rita and Richard Atkinson

RUBY Silvija and Brian Devine

GARNET Elaine Galinson Peggy and Peter Preuss

SAPPHIRE Kay and John Hesselink Keith and Helen Kim Sharon and Joel Labovitz

*In Memoriam Note: + 5-year term Listing as of June 15, 2015



DANCE SOCIETY 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.





Teresa O. Campbell



Katherine and Dane Chapin June and Dr. Bob Shillman Jeanette Stevens

Innovative Commercial Environments Saundra L. Jones Gordana and Dave Schnider

Stefana Brintzenhoff Mara Lawrence Joani Nelson Rejeuviné Medspa Elyssa Dru Rosenberg


Listing as of June 15, 2015

Elaine Galinson and Herbert Solomon Annie So Marvin and Bebe Zigman

LEGACY SOCIETY The Legacy Society recognizes those generous individuals who have chosen to provide for La Jolla Music Society’s future. Members have remembered La Jolla Music Society in their estate plans in many ways – through their wills, retirement gifts, life income plans and many other creative planned giving arrangements. We thank them for their vision and hope you will join this very special group of friends. Anonymous (2) June L. Bengston* Joan Jordan Bernstein Bjorn and Josephine Bjerede Dr. James C. and Karen A. Brailean Barbara Buskin Trevor Callan Anne and Robert Conn George and Cari Damoose 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 Bill Purves Darren and Bree Reinig Jay W. Richen 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 15, 2015

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BUSINESS SOCIETY Members of our Business Society are committed to the LJMS community. For information on how your business can help bring world-class performances to San Diego, please call Carolyn Osorio at 858.459.3724, ext. 206 or email

GUARANTORS The Catamaran Resort & Spa The Lodge at Torrey Pines


The Westgate Hotel

Adelaide’s La Jolla Callan Capital Girard Gourmet Sharp HealthCare The University Club




digital OutPost Paul Hastings LLP Procopio, Cory, Hargreaves & Savitch LLP Sempra Energy

Hotel Palomar Jade J. Schulz Violins Jimbo’s…Naturally! Sprinkles Cupcakes



ACE Parking Management, Inc. Giuseppe Restaurants & Fine Catering La Jolla Beach and Tennis Club La Jolla Sports Club La Valencia Hotel NINE-TEN Restaurant Chef Drew Catering, Panache Productions Roppongi Restaurant & Sushi Bar


Nelson Real Estate Listing as of June 15, 2015


RESTAURANT PARTNERS La Jolla Music Society has partnered with restaurants to enhance your cultural experience. Along with their generous support as a member of our Business Society, the following restaurants offer our patrons exciting menus prior to LJMS performances. Please call ahead for reservations.

JOIN US FOR RESTAURANT NIGHTS Please join us and fellow concertgoers for these special three-course dinners at 5:45 PM with a champagne reception and seated dinner at 6:15 PM. For more information or to reserve your seat, please call Carolyn Osorio at 858.459.3724, ext. 206 or email COsorio@LJMS.

La Valencia Hotel – THE MED 1132 Prospect Street, La Jolla

For Reservations: 858.551.3765


NINE-TEN Restaurant 910 Prospect Street, La Jolla

For Reservations: 858.964.5400

Roppongi Restaurant & Sushi Bar


875 Prospect Street, La Jolla For Reservations: 858.551.5252





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Fill your summer with music! explore the musical riches and unique settings of these allied festivals of the western united states. CALIFORNIA



cabrillo Festival of contemporary music August 2 – 16 Santa Cruz, CA

aspen music Festival and school July 2 – August 23 Aspen, CO

santa Fe chamber music Festival July 19 – August 24 Santa Fe, NM

carmel Bach Festival July 18 – August 1 Carmel, CA

Bravo! vail July 1 – August 6 Vail, CO

la Jolla music society summerFest August 5 – 28 La Jolla, CA

strings music Festival June 27 – August 16 Steamboat Springs, CO

mainly mozart Festival May 8 – June 20 San Diego, CA


music@menlo July 17 – August 8 Atherton/Menlo Park, CA ojai music Festival June 10 – 14 Ojai, CA

sun valley summer symphony July 26 – August 19 Sun Valley, ID

OREGON chamber music Northwest June 22 – July 26 Portland, OR

WASHINGTON seattle chamber music society summer Festival July 6 – August 1 Seattle, WA

WYOMING Grand teton music Festival July 1 – August 15 Jackson Hole, WY

classical music Festivals oF the west 2015 98 LA JOLLA MUSIC SOCIETY SUMMERFEST


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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

LA JOLLA, CA • (858) 551-3800 • WWW.CALLANCAPITAL.COM Robert.LJMS.Ad_Layout 1 9/15/13 9:08 PM Page 1

“Music in the soul can be heard by the universe.” — Lao Tzu

Nelson R E A L


Robert C. Nelson



California BRE #01335083



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sharp applauds

La JoLLa Music society for its efforts to enrich the cultural life of san diego.

CORP580A Š2014 SHC



Corporate, Social, Private Events & Weddings “LA PETITE” PANACHE Specializing in Intimate “Petite” Affairs from 2 To 50 “STAFFED with PANACHE” Professional, Knowledgeable Bartenders, Servers & Chefs for All Your Staffing Needs

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A better life Millions of people are living better, healthier lives today because they were diagnosed and treated for sleep apnea. ResMed products are helping sleep apnea patients enjoy healthy sleep and a better quality of life. ResMed’s mission is to educate physicians and the public about the health risks of untreated sleep-disordered breathing (SDB) and to deliver the best therapy on the market. By raising awarenss about SDB, we are helping people to live better lives everyday.

Global leaders in sleep and respiratory medicine

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



Paul Hastings is Proud to suPPort la Jolla Music society

We salute your distinguisHed Mission to “bring tHe World to san diego�

Paul Hastings is a leading global law firm with offices throughout Asia, Europe, and the United States. Paul Hastings LLP I

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Floral artistry comes in many forms.


AS A PATRON OF THE LA JOLLA MUSIC SOCIETY WE OFFER 10% OFF ALL ONLINE OR IN-STORE PURCHASES. USE CODE LJMS AT CHECKOUT. Not applicable for gift cards, wire orders or with other discounts or programs. | 7766 Girard Avenue La Jolla, CA 92037 | (858) 454-0146



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PROUDLY SUPPORTS THE LA JOLLA MUSIC SOCIETY • Incredible selection of local and organic produce

we like to watch, too

• Full line of all natural groceries • Large selection of vitamins, supplements, health & beauty aids • Hormone-free and antibiotic-free beef, poultry and pork • Seafood delivered fresh daily • Deli selections prepared fresh right in the store • A made-from-scratch bakery • A refreshing juice bar • Huge selection of raw and vegan products!


Del Mar Highlands Town Center 12853 El Camino Real; (858) 793-7755


The Forum 1923 Calle Barcelona; (760) 334-7755


4S Commons Town Center 10511 4S Commons Drive; (858) 432-7755


Felicita Junction Shopping Center 1633 S. Centre City Parkway; (760) 489-7755

DOWNTOWN SAN DIEGO Westfield Horton Plaza 92 Horton Plaza; (619) 308-7755

visit us online at


Palomar San Diego and Saltbox Dining & Drinking are proud partners of La Jolla Music Society



CELEBRATE IN style CREATING MEMORABLE EVENTS IS OUR SPECIALTY. Award Winning Cuisine – Full Service Catering

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Call or email us today

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You’re music to our ears.

connected ••••• to the arts We applaud the La Jolla Music Society for their ongoing work that does so much to enrich our hearts and minds. As a sponsor of the arts, we’re strong believers in the power of self expression. And we proudly support those organizations that share our vision. Connect at

©2014 San Diego Gas & Electric Company. All copyright and trademark rights reserved. 1214



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Saturday, February 6, 2016 · 8 PM

Friday, April 15, 2016 · 8 PM

Friday, October 30, 2015 · 8 PM Civic Theatre

Martin Beaver, Clive Greensmith & Jon Kimura Parker REVELLE CHAMBER MUSIC SERIES






NING FENG, violin







MCASD Sherwood Auditorium


Thursday, February 11, 2016 · 8 PM

Saturday, November 7, 2015 · 8 PM SPECIAL EVENT

MCASD Sherwood Auditorium


Thursday, November 12, 2015 · 8 PM CELEBRITY ORCHESTRA SERIES Civic Theatre

DECEMBER CHAMBER ORCHESTRA Jeff Edmons, conductor Clara-Jumi Kang, violin

Friday, December 11, 2015 · 8 PM SAN DIEGO YOUTH SYMPHONY SERIES MCASD Sherwood Auditorium


Sunday, December 13, 2015 · 3 PM DISCOVERY SERIES

Balboa Theatre

Sunday, February 21, 2016 · 3 PM The Auditorium at TSRI

Jeff Edmons, conductor Ning Feng, violin

Friday, February 26, 2016 · 8 PM SAN DIEGO YOUTH SYMPHONY SERIES MCASD Sherwood Auditorium


Sunday, February 28, 2016 · 8 PM FRIEMAN FAMILY PIANO SERIES MCASD Sherwood Auditorium


The Auditorium at TSRI




Saturday, December 19, 2015 · 8 PM SPECIAL EVENT

Friday, March 4, 2016 · 8 PM Balboa Theatre

MCASD Sherwood Auditorium





Thursday, January 14, 2016 · 8 PM FRIEMAN FAMILY PIANO SERIES MCASD Sherwood Auditorium

MONTEREY JAZZ FESTIVAL ON TOUR featuring Nicholas Payton, Gerald Clayton, Joe Sanders and Justin Brown

Saturday, January 16, 2016 · 8 PM JAZZ SERIES Balboa Theatre

ITZHAK PERLMAN & EMANUEL AX Wednesday, January 20, 2016 · 8 PM

Augustin Hadelich, Joyce Yang & Pablo Villegas

Friday, March 11, 2016 · 8 PM MCASD Sherwood Auditorium

BALLET FLAMENCO DE ANDALUCÍA Wednesday, March 16, 2016 · 8 PM

MCASD Sherwood Auditorium

Sunday, April 17, 2016 · 3 PM The Auditorium at TSRI

Sunday, April 24, 2016 · 8 PM MCASD Sherwood Auditorium

Saturday, April 30, 2016 · 8 PM DANCE SERIES Spreckels Theatre

MAY NEW YORK PHILHARMONIC Alan Gilbert, music director

Wednesday, May 4, 2016 · 8 PM CELEBRITY ORCHESTRA SERIES

Jacobs Music Center-Copley Symphony Hall


Sunday, May 8, 2016 · 3 PM DISCOVERY SERIES The Auditorium at TSRI


Philip Setzer, David Finckel & Wu Han

Saturday May 14, 2016 · 3 PM


Spreckels Theatre



Saturday May 14, 2016 · 8 PM


Kent Nagano, music director Daniil Trifonov, piano

Wednesday, March 23, 2016 · 8 PM CELEBRITY ORCHESTRA SERIES

Jacobs Music Center-Copley Symphony Hall

Philip Setzer, David Finckel & Wu Han



Saturday May 21, 2016 · 8 PM SPECIAL EVENT

MCASD Sherwood Auditorium


Jacobs Music Center-Copley Symphony Hall

JI, piano

Sunday, January 24, 2016 · 3 PM DISCOVERY SERIES


858.459.3728 WWW.LJMS.ORG


The Auditorium at TSRI

La Jolla Music Society SummerFest 2015 Program Book  
La Jolla Music Society SummerFest 2015 Program Book