La Jolla Music Society SummerFest 2017 Program Book

AUGUST 2–25, 2017

MUSIC DIRECTOR

CHO-LIANG LIN

2 WEDNESDAY

MUSIC DIRECTOR CHO-LIANG LIN

Calendar of Events 6 SUNDAY

7 MONDAY

COACHING WORKSHOPS

2 PM

PRELUDE

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

8 TUESDAY COACHING WORKSHOPS

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

SUMMERFEST OUTDOOR CONCERT FREE to the & MOVIE PUBLIC 6:30 PM · SCRIPPS PARK (LA JOLLA COVE)

9 WEDNESDAY COACHING WORKSHOPS

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

OPEN REHEARSAL

Special Guest: DaXun Zhang 12:50 – 2 PM · CONRAD PREBYS RECITAL HALL

Genius from Finland: Olli Mustonen 3 PM · CONRAD PREBYS CONCERT HALL

7 PM

PRELUDE

7 PM

PRELUDE

In the Heart of Hungary The Power of Five

13 SUNDAY

14 MONDAY COACHING WORKSHOPS

2 PM

MUSICAL PRELUDE

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

21 MONDAY COACHING WORKSHOPS

MUSICAL PRELUDE

Summer Serenades 3 PM · CONRAD PREBYS CONCERT HALL

8 PM · CONRAD PREBYS CONCERT HALL

15 TUESDAY

16 WEDNESDAY

COACHING WORKSHOPS

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

COACHING WORKSHOPS

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

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

PRELUDE

7 PM

PRELUDE

Beethoven I

Beethoven II

8 PM · CONRAD PREBYS CONCERT HALL

8 PM · CONRAD PREBYS CONCERT HALL

22 TUESDAY

23 WEDNESDAY

COACHING WORKSHOPS

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

COACHING WORKSHOPS

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

ENCOUNTER

Forging a Concert Career

OPEN REHEARSAL

12:30 PM · ATHENAEUM MUSIC & ARTS LIBRARY

Special Guest: Haochen Zhang 2:20 – 3:30 PM · CONRAD PREBYS RECITAL HALL 7 PM

MUSICAL PRELUDE

Mozart’s Enchantment 8 PM · CONRAD PREBYS CONCERT HALL

7 PM

MUSICAL PRELUDE

An Evening with Alisa Weilerstein 8 PM · CONRAD PREBYS CONCERT HALL

2 | LA JOLLA MUSIC SOCIETY

8 PM · CONRAD PREBYS CONCERT HALL

7 PM

3 PM · CONRAD PREBYS CONCERT HALL

2 PM

Kalichstein-LaredoRobinson Trio: 40th Anniversary

20 SUNDAY

3 THURSDAY

COACHING WORKSHOPS

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

4 FRIDAY

5 SATURDAY

COACHING WORKSHOPS

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

EVENT KEY PERFORMANCE

OPEN REHEARSAL

(TIME & VENUE)

Special Guest: Daniel Ching 12:20 – 1:30 PM CONRAD PREBYS RECITAL HALL

COACHING WORKSHOP ENCOUNTER

7 PM

10 THURSDAY

PRELUDE

7 PM

PRELUDE

Opening Night: Fiddles vs. Pianos

From Prague with Love

8 PM · CONRAD PREBYS CONCERT HALL

8 PM · CONRAD PREBYS CONCERT HALL

11 FRIDAY

OPEN REHEARSAL PRELUDE

See pg. 72-75 for more information

12 SATURDAY

COACHING WORKSHOPS

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

ADDRESSES

MUSICAL ENCOUNTER

Stravinsky Meets Tan Dun

12:30 PM · ATHENAEUM MUSIC & ARTS LIBRARY

OPEN REHEARSAL

Special Guest: Cho-Liang Lin 2:50 – 4 PM · CONRAD PREBYS RECITAL HALL

17 THURSDAY

SUMMERFEST GALA 7 PM

MUSICAL PRELUDE

LA JOLLA MUSIC SOCIETY BOX OFFICE 7946 Ivanhoe Ave., La Jolla (El Patio Building – first floor)

6 PM · AT THE HOME OF JOAN & IRWIN JACOBS

Celebrating Strings 8 PM · CONRAD PREBYS CONCERT HALL

18 FRIDAY

ATHENAEUM MUSIC & ARTS LIBRARY 1008 Wall St., La Jolla

19 SATURDAY

COACHING WORKSHOPS

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

Special Guest: Michelle Kim 1:50 – 3 PM · CONRAD PREBYS RECITAL HALL

MUSICAL ENCOUNTER

Beethoven III

12:30 PM · ATHENAEUM MUSIC & ARTS LIBRARY

7 PM

MUSICAL PRELUDE

Beethoven IV 8 PM · CONRAD PREBYS CONCERT HALL

7 PM

PRELUDE

An Evening with the Regina Carter Quartet 8 PM · CONRAD PREBYS CONCERT HAL

24 THURSDAY

ELLEN BROWNING SCRIPPS PARK (LA JOLLA COVE) 1150 Coast Blvd., La Jolla

OPEN REHEARSAL

25 FRIDAY

7 PM

PRELUDE

26 SATURDAY

IRWIN M. JACOBS QUALCOMM HALL 5775 Morehouse Dr., San Diego, 92121 LA JOLLA RIFORD LIBRARY 7555 Draper Ave., La Jolla UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL & CONRAD PREBYS RECITAL HALL 9500 Gilman Dr., La Jolla

Finale with David Zinman 8 PM · IRWIN M. JACOBS QUALCOMM HALL

858.459.3728 • WWW.LJMS.ORG | 3

OPENING 2019 The Conrad will serve as the heart of cultural, community and arts education event activity in La Jolla, bringing world-class performances to San Diego and the permanent home of La Jolla Music Society. The new performing arts center, located at 7600 Fay Avenue in La Jolla, will include a 500-seat concert hall, a 140-seat flexible use space, new offices for La Jolla Music Society and a large open courtyard.

VISIT THECONRAD.ORG FOR MORE INFORMATION 4 | LA JOLLA MUSIC SOCIETY

Table of Contents

Calendar of Events Welcome Letters 5 Questions from the Music Director

2 6 8

Artist Roster Program Notes Community Engagement Activities Musical Preludes

11 12 72 74

Artist Biographies SummerFest Commission History SummerFest Grand Tradition

76 87 88

Board of Directors & Staff Listing SummerFest Support SummerFest 2017 Committee

93 94 94

Season Support Business Society Maps & Policies

97 104 127

MISSION STATEMENT To enhance the vitality and deepen the cultural life of San Diego by presenting and producing a dynamic range of performing arts for our increasingly diverse community.

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

858.459.3728 • WWW.LJMS.ORG | 5

W

elcome to SummerFest, our internationally-acclaimed celebration of chamber music’s unmatched and important role in making our community the center of the musical map during August. Nothing is missing to make this year one of your most memorable festivals or, if you are joining our SummerFest family for the first time, an unforgettable introduction to the unique pleasures of hearing great music played by artists of unsurpassed skill and knowledge.

Thirty-one years ago, in the spring of 1986, a brave group of volunteers took the first steps to create a home for world-class chamber music in La Jolla. The framework they built then – opening their homes to artists, bringing young artists to La Jolla to play beside established performers, innovative programs that mix masterworks with new music, establishing a tradition of commissioning works, now 57 commissions throughout our history, and to expand the repertory and invigorate the future – has not only lasted but made SummerFest a musical Mecca.

This year, a special urgency will surround and energize every part of SummerFest as a new home for SummerFest (and its parent organization, La Jolla Music Society) rises on Fay Avenue in the heart of downtown La Jolla: The Conrad Prebys Performing Arts Center, expected to open in 2019.

SummerFest’s peerless Music Director Cho-Liang (Jimmy) Lin has assembled concerts that capture the power of the past and the thrill of experiencing a contemporary masterpiece for the first time. Profundity and humor take turns in giving us the widest possible perspective, and in sending us home with a full heart and stimulated ears. This SummerFest – and the decade of outstanding festivals that have preceded it under his direction – stand as his unforgettable legacy and as the foundation for a brilliant future.

I look forward to greeting all our supporters at these concerts – the wonderful donors whose generosity enables us to attain the highest excellence, the subscribers and ticket buyers whose fidelity provides a firm foundation for growth and progress. With deep gratitude, I want to thank UC San Diego and their Department of Music for sharing their home and welcoming us into the Conrad Prebys Music Center this summer, and to Qualcomm for hosting our Finale performance.

And as always, I want to recognize and thank our extraordinary staff, who make everything difficult look easy.

What an exciting time to be here, listening to great music on the shores of the Pacific. Enjoy every minute!

Kristin Lancino

President & Artistic Director

6 | LA JOLLA MUSIC SOCIETY

Welcome to SummerFest 2017!

On behalf of all of the SummerFest musicians, I am incredibly grateful to call the state-of-the-art Conrad Prebys Music Center at UC San Diego home for this year’s festival.

In many ways, this move celebrates the beginning of a new “journey” for SummerFest. As we venture up the La Jolla hills, I invite our audiences to enjoy diverse programs utilizing this incredible venue’s capabilities. From Opening Night’s musical fireworks, as violinists and pianists face-off in an unforgettable evening of music making, to An Evening With Alisa Weilerstein, one of today’s most sought-after cellist performing the iconic Brahms Clarinet Trio in A Minor with her frequent collaborators Inon Barnatan and Anthony McGill, this festival is SummerFest at its quintessential best. Our journey comes to a close at Irwin M. Jacobs Qualcomm Hall with the festival’s Finale, featuring an all-star SummerFest Chamber Orchestra, comprised of principal musicians from the world’s leading orchestras led by acclaimed conductor, David Zinman.

We will feature new commissions by Pulitzer Prize-winning composer Ellen Taaffe Zwilich, as well as Xiaogang Ye, one of China’s leading composers today. We will celebrate KalichsteinLaredo-Robinson Trio’s milestone 40th Anniversary, an ensemble who has set the standard for performance of the piano trio literature, in an afternoon of works by Brahms and Mendelssohn.

Last, but definitely not least, from Aug. 15-18, an outstanding roster of violinists and pianists Jennifer Koh and Shai Wosner, Yura Lee and Gilles Vonsattel, and my dear friend and colleague Jon Kimura Parker and I pair up to perform The Complete Beethoven Violin Sonatas. These Sonatas are some of most profound and moving music ever written.

I hope to see each of you at all of our An Evening With performances. Finnish pianist and composer Olli Mustonen brings a program of works by Beethoven and his own compositions in Genius from Finland. And Grammy®-nominated jazz violinist Regina Carter and her Quartet make their SummerFest debut in a not-to-be-missed concert featuring a selection of works from her award-winning albums.

Please join me in welcoming our two Fellowship Artist Ensembles this summer - the Ulysses Quartet and the Rodin Trio. I hope to see you all at the daily Coaching Workshops, two special Performance Encounters and for their Musical Prelude performances prior to select concerts.

Cho-Liang Lin

SummerFest Music Director

858.459.3728 • WWW.LJMS.ORG | 7

5

Questions from the Music Director

Seriously, who is more fun—Tokyo String Quartet or the Montrose Trio?

That’s a hard question to answer! I’d say that both groups are equally enjoyable, but they are slightly different. I adored playing the bass line in the Tokyo String Quartet and still miss the interaction of quartet life; the assorted roles the cellist of the group is expected to play, the incredible variety of repertoire and the sheer unadorned pleasure derived from an argument that can rage for ten years over a tiny marking in the score. With the Trio, I enjoy the combined string/piano textures and I’m now able to explore the higher reaches of the A string! Finally, the Trio has also been enjoying several vertical tastings of the great Saint-Estèphe wine, Château Montrose. Sadly, in comparison, ‘Château Tokyo’ was slightly underwhelming...

You will play the Elgar Piano Quintet during SummerFest. Are you aware of any great Elgarian who is not British? Is speaking with a British accent a prerequisite for becoming a serious Elgarian?

Well, I’m from a country where a title such as ‘Pomp and Circumstance’ demands the utmost respect, yet that whole British thing can often just seem like a caricature. I can think of several great Elgarians who are/were not British. Several years ago, I read an account of an infamous live performance in London by Arturo Toscanini and the BBC Symphony Orchestra of the Enigma variations, by the Victorian operatic legend Nellie Melba.

According to her account of the performance, the audience was gripped by his colorful and passionate interpretation and rewarded him with a standing ovation. She then read a review several days later that complained about the performance not being

8 | LA JOLLA MUSIC SOCIETY

Clive Greensmith ‘authentically English enough’ or words to that effect. Fortunately, there is a live performance of the work by Toscanini and the NBC Symphony Orchestra given in 1951, when the maestro was 85 years old. For me, his approach to Elgar’s music is utterly convincing, passionate, noble and refined.

I don’t think that a British accent is the gateway to Elgarian style, but I do think that combination of intense emotion kept somewhat under the surface can be an illusive thing.

You are a devoted teacher, how do you make a student understand Elgar’s music?

I give my students strict instructions to watch episodes of Downton Abbey. A truly sophisticated pedagogical approach to teaching musical style that works wonders!

You were principal cellist of the Royal Philharmonic. Any memorable conductors or concerts?

I will never forget the years I spent playing under the direction of Daniele Gatti. He is such an

inspiring conductor, a true artist with incredible musical vision and charisma. We enjoyed an active touring schedule with him and in 1996, I still can recall twenty one performances of Mahler’s Fifth Symphony, from coast to coast, here in the U.S. Each performance had me on the edge of my seat and I still feel great pride and above all, gratitude for those enriching years. When we returned to London, we recorded the work and I was honored to be involved in several other memorable recordings of assorted masterworks from the orchestral repertory. I also remember playing in Vienna’s Musikverein under Yehudi Menuhin when he conducted the Elgar Violin Concerto. I can still remember him exorting the entire string section to play with ‘portato’ that was so typical of the period when he himself recorded the work with the composer. I will never forget the moment when the orchestra seemed to take on a completely different expressive style, and there he stood in front of us, a kind of musical conduit to the past.

Rumor has it that French Baroque operas are your top choice for leisure enjoyment.

Do you have “The Greatest Versailles Hits of 1685” on your playlist?

Ha ha! Yes, I freely admit to having employed various techniques at home to encourage my daughter Hanako (she is a theater arts major) to appreciate the great vocal traditions of the past.

Though she didn’t seem to like it at the time, I always felt that being awoken to Charpentier’s opera Médée at seven o’clock in the morning would build character and an appreciation of one’s musical roots. My playlist does include a broad selection of vocal music, but when Hanako is home, we invariably turn the clocks back to 1685!

Vive La France!!

5

Questions from the Music Director When the Miró rehearses, how much time is spent on bowing? Is bowing the bane of a quartet’s existence?

Answered by John Largess: We have gone through several phases in our attitude towards coordinated bowings in our last 20 years as a quartet. At some points in time we have felt that “matched bowings” just didn’t matter all that much. We all had different techniques on our instruments, different body proportions, and different instruments: HOW we executed things didn’t matter as much as WHAT they sounded like.

Another way of putting it, as long as it sounded matched, it didn’t matter if it looked matched. We discussed what our idea as a group was, and then each tried to embody that idea the best way we knew how.

But at other times, we have used the complete opposite approach. We coordinated bowings within the group to quickly unify how a certain musical idea is conceived as it passes through different voices, such as the phrasing of a particular passage or theme, emphasising strong bars versus weak bars within a phrase, or creating a certain stylistic approach to material as a group. (For example always starting a motive downbow, or playing a certain fast passage at the tip or the bow). This consistency can be our approach when learning a new piece quickly, and helps give a coherence to a piece in its early stages.

In the end we realize neither approach can work 100% of the time, and that our bowings in a given piece, much like other elements of its interpretation, are dynamic, fluid and ever-changing over time and the many performances we will give of it.

Honestly, if I had to pick, I would say that Group Intonation, rather than Bowing, is the bane of a quartets existence! Changing bowings constantly to experiment with a new musical idea is fun... changing intonation constantly is just playing out-of-tune!

Does any member of the Miró ever venture the latest of viola jokes? Care to share one with us?

Miró Quartet The next day, Timmy was even more excited.

“Mommy, Mommy, guess what! Today in math I counted all the way to ten, but everyone else got messed up around seven!”

“Very good, dear,” his mother replied. “That’s because you’re a violist.”

On the third day, Timmy was beside himself.

“Mommy, Mommy, today we measured ourselves and I’m the tallest one in my class! Is that because I’m a violist?”

“No dear,” she said. “That’s because you’re 26 years old.”

Shorter joke options offered by William Fedkenheuer: What’s the only thing a violinist can do better than a violist? — Play the viola How do you get a dozen violists to play in tune? — Who the heck wants a dozen violists?

What’s another name for viola auditions? — Scratch Lottery Who makes the best viola mutes? — Smith & Wesson

If you travel, do you ever try to sit next to each other on a flight? Are adjacent hotel rooms totally out of the question?

What’s more tiring—all six Bartók quartets or all three Beethoven Opus 59 quartets in one concert?

Answered by William Fedkenheuer: Both experiences are inspiring and we are always extremely grateful when we are asked to perform either of these programs. Each set has its own scope and challenges and mental and physical stamina is a requirement for both! The Bartók cycle covers a larger breadth of challenges over the lifetime of compositional and emotional development. Because of that, one might guess that it would be more challenging, however we’ve found that those developments allow for your physical body to recuperate and balance itself more evenly. The immersion in the Op. 59’s, where there is still a vast amount of diversity, however, also more consistency to what you are asked to do. Although you’d never see us put something in print, it’s possible that this consistency wears down your physical and mental stamina slightly more….

Thankfully, the Miró members are extremely active in their physical and psychological conditioning — eating, drinking, and being merry — in preparation and celebration any time we have the privilege of stepping onstage to explore such monumental masterpieces!

If length of concert was of no concern, what would be your ideal quartet program?

Answered by Daniel Ching:

One of our favorite things that happens on tour is when we arrive at a hotel, and the first thing we say to the receptionist is, “Please make sure none of our rooms are anywhere together. Thanks.” The different reactions we get from the various reps are quite amusing. Some give us the incredulous look of disbelief, some nervously laugh because they know we’re just joking (or are we?), and some just oblige without a flinch. Because I make all the travel arrangements for the quartet, and I’m one of two members who have been in the quartet since day one, I understand that time away from each other only makes the heart grow fonder, and thus our seats on airplanes are usually as far away from each other as possible. We spend 24/7 together on the road, and while that time together sure beats being alone on tour, sometimes we need our own space. And nothing is more sleep-depriving than the sound of the violist next door practicing 5-octave scales at 11pm.

Answered by John Largess: Ideally for me it would be to have no program at all!

I’d prefer to have the flexibility to come out onstage, like some of the great old string quartets from by-gone eras one hundred years ago, and simply announce what we were playing as we played it, with no program; just truly play what moved us most at that moment! Perhaps there would be an intermission (or several) or perhaps not; perhaps full works, or perhaps only movements, or both; perhaps even some requests from our audience.

We could really get into the vibe of that audience at that time, that night, and explore the inspiration of the moment!

Answered by Joshua Gindele: One day Timmy came home from school very excited. “Mommy, Mommy, Guess what? Today in English I got all the way to the end of the alphabet, and everyone else got messed up around ‘P’!”

His mother said, “Very good, dear.

That’s because you’re a violist.”

858.459.3728 • WWW.LJMS.ORG | 9

5

Questions from the Music Director I know you often travel with both your violin and viola in a double case. Is the size of the case the reason you have had occasional problems with airlines?

The size of the case is less of a problem (the dimensions are even within FAA regulations). But, my short height, in ratio of the double case, is what seems to create the problem! When my guy friends carry the double case on their backs, it looks “normal” on them. But on my back (I’m 4’11’’), it looks huge and suspicious. I guess I need to have a bigger personality at airport check points, to make myself seem larger....

Do you think serious violin students all should learn to play the viola? If yes, why?

I think what’s more important than learning the viola itself (which is, I admit, really fun), is to learn the role of middle voices. Perhaps as a violinist who is battling double stops and pyrotechnics in practice rooms for hours on end, it’s not so easy to see the whole of music from certain perspectives.

After learning viola at the same time as violin, I am enjoying how I can think of music not only as the “melodic” element, but also as “harmonic” and even “bass” element. And let me say something for the record: it’s much, MUCH harder to be a good violist than a good violinist! At least 10 times harder. Believe me on this!

You play a huge range of repertoire. What is one work you would love to learn?

My life’s goal, which I’m chipping away at slowly and maybe not so surely, is to be able to play Schubert Piano Sonatas. On piano. Which I’m horrible at playing. I wish I did a secondary major in piano; if I have one regret in my music education, this is it. Not only because my hands are the size of a kid’s hands, but also because I didn’t have time to learn piano properly. Schubert Piano Sonatas are like oxygen to me. You know when you listen to music and think, “ah, this is why life is worth living?” Thank goodness for Schubert’s music; what a gift to all of us. On violin, one thing I wish I could do (and I’m working on it!) is to improvise like Stéphane Grappelli.

What freedom, grace, and humor his music has! Oh, and just for kicks, some day in my life, I’d love to play all 6 Ernst Études in one concert, and play Paganini’s God Save the King as an encore. But maybe life’s too short for that last one.

10 | LA JOLLA MUSIC SOCIETY

Yura Lee

Did SummerFest turn you into a serious wine collector? Who has mentored you in the art of wine tasting?

Oh, dear. I feel like this question is admitting to an addiction. Of learning about fine wines, that is. That’s a safe (?!) addiction, right...? Who are the “culprits” (and boy, am I lucky that they are) of this spectacular addiction, might you ask? The incomparable Jimmy Lin himself, and also Kay Hesselink. I was about 9 years old when I played at La Jolla for the first time (that’s a LONG time ago...!). I stayed with Kay, who I still stay with when I’m in La Jolla. She has undoubtedly an impeccable taste in wines. Obviously I didn’t get to enjoy them when I was 9 years old, but when I returned to La Jolla as a person of a legal drinking age, I’ve been fortunate to have been on the receiving end of her sharing wines, and hone my personal preferences. Jimmy, who not only is one of the finest violinist but also has the finest tastes in wines, shares with me his knowledge of wines and his oenophilia discoveries, which are always fascinating. On my spare time, I also read about wines voraciously. But reading about wines is maybe 1% less fun than drinking them...

Given a choice of playing a concert on the greatest Strad or drinking the greatest Domaine de la Romanée-Conti, which would you pick?

This question is virtually impossible to answer!

Can I live in a world where both is possible, ideally at the same time?!

2017 ROSTER

Music Director Cho-Liang Lin VIOLIN Margaret Batjer David Chan Chee-Yun Armen Derkervorkian Glenn Dicterow Bridget Dolkas Eugene Drucker Kathryn Hatmaker Michelle Kim Jennifer Koh Joanna Lee Kristin Lee

Yura Lee Cho-Liang Lin Alyssa Park Jeanne Skrocki Ray Ushikubo Roger Wilkie VIOLA Toby Hoffman Caterina Longhi Travis Maril Paul Neubauer Tien-Hsin Cindy Wu

CELLO Edward Arron Chia-Ling Chien Robert deMaine Alex Greenbaum Clive Greensmith Alisa Weilerstein BASS Nico Abondolo Samuel Hager DaXun Zhang PIANO Inon Barnatan Olga Kern Olli Mustonen Christina Naughton Michelle Naughton Jon Kimura Parker Gilles Vonsattel Shai Wosner Haochen Zhang

FLUTE Catherine Ransom Karoly Pamela Vliek Martchev OBOE Laura Griffiths Nathan Hughes Andrea Overturf

ENSEMBLES Kalichstein-Laredo-Robinson Trio Joseph Kalichstein, piano Jaime Laredo, violin Sharon Robinson, cello Mirรณ Quartet Daniel Ching, violin William Fedkenheuer, violin John Largess, viola Joshua Gindele, cello

CLARINET Anthony McGill Sheryl Renk

Regina Carter Quartet Regina Carter, violin Marvin Sewell, guitar Chris Lightcap, bass Alvester Garnett, drums

BASSOON Keith Buncke Ryan Simmons Leyla Zamora

SDYS International Youth Symphony SummerFest Chamber Orchestra

FELLOWSHIP ARTIST ENSEMBLES Ulysses Quartet Christina Bouey, violin Rhiannon Banerdt, violin Colin Brookes, viola Grace Ho, cello

CONTRABASSOON Leyla Zamora HORN Mike McCoy Jennifer Montone Keith Popejoy Tricia Skye

Rodin Trio Scott Cuellar, piano Philip Marten, violin Joshua Halpern, cello

TRUMPET Jennifer Marotta David Washburn PERCUSSION Jason Ginter

SCHOLAR-IN-RESIDENCE Eric Bromberger

PIPA Wu Man

LECTURERS & GUEST SPEAKERS Tiffany Wai-Ying Beres Allison Boles Lei Liang Nuvi Mehta Marcus Overton Leah Z. Rosenthal

VOICE Lyubov Petrova CONDUCTOR Jeff Edmons David Zinman COMMISSIONED COMPOSERS Xiaogang Ye* Ellen Taaffe Zwilich

*in Residence

Cho-Liang Lin

858.459.3728 โ ข WWW.LJMS.ORG | 11

FREE to the PUBLIC

Movie sponsored by:

The LOT

Reception sponsored by:

Callan Capital Additional major sponsors:

Lehn and Richard Goetz La Valencia Hotel LAZ Parking Citibank Morgan Stanley SummerFest Outdoor Concert Chairs:

Lehn Alpert Goetz H. Peter Wagener Helene K. Kruger, honorary chair La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

SUMMERFEST OUTDOOR CONCERT & MOVIE Wednesday, August 2, 2017 · 6:30 PM SCRIPPS PARK (LA JOLLA COVE)

Quartettsatz (1878) Ulysses Quartet Christina Bouey, Rhiannon Banerdt, violins; Colin Brookes, viola; Grace Ho, cello MASSENET Meditation from Thais for Two Violins (1894) (arr. MILONE) David Chan, Cho-Liang Lin, violins SCHUBERT (1797-1828)

(1842-1912)/(b.1958)

MOZART (arr. MILONE) (1756-1791) PIAZZOLLA (arr. MILONE)

Don Giovanni for Four Violins and Bass (1787) Cho-Liang Lin, David Chan, Philip Marten, Rhiannon Banerdt, violins; DaXun Zhang, bass Oblivion for Four Violins and Bass (1982)

JOPLIN (arr. MILONE)

Rags for Four Violins and Bass David Chan, Philip Marten, Cho-Liang Lin, Rhiannon Banerdt, violins; DaXun Zhang, bass Polonaise from Eugene Onegin (1878)

(1921-1992)

(1868-1917)

TCHAIKOVSKY

(1874-1892)

KABALEVSKY (1904-1987)

J.S. BACH (1685-1750)

MOVIE SCREENING 12 | LA JOLLA MUSIC SOCIETY

Selections from The Comedians, Opus 26 (1940) San Diego Youth Symphony International Youth Symphony Jeff Edmons, conductor Concerto for Two Violins in D Minor, BWV 1043 (1717-23) Cho-Liang Lin, Philip Marten, violins; San Diego Youth Symphony International Youth Symphony La La Land

Olga Kern

Inon Barnatan

Prelude 7 PM Conversation with SummerFest Music Director, Cho-Liang Lin, hosted by Scholar-in-Residence Eric Bromberger This year brings the 32nd SummerFest, and it also marks Jimmy Lin’s 16th summer as Music Director. SummerFest has come a long way since 1986, evolving from what was a tentative experiment into one of the leading chamber music festivals in the country. Join Lin and program annotator Eric Bromberger as they discuss the current state of the festival and how it might develop over the next few years.

Tonight’s concert is sponsored by Medallion Society members:

Joan Jordan Bernstein Alexa Kirkwood Hirsch

La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

Chee-Yun

David Chan

OPENING NIGHT: Fiddles vs. Pianos Friday, August 4, 2017 · 8 PM

UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL PROKOFIEV Sonata in C Major for Two Violins, Opus 56 (1932) (1891-1953) Andante cantabile Allegro Comodo (quasi allegretto) Allegro con brio

Chee-Yun, David Chan, violins SARASATE Navarra, Opus 33 (1899) (1844-1908) Chee-Yun, Ray Ushikubo, violins; Scott Cuellar, piano SHOSTAKOVICH Galop from Moskva, Cheryomushki, Opus 105 (1958) (arr. MILONE) David Chan, Cho-Liang Lin, Chee-Yun, Ray Ushikubo, violins; (1906-1975)/(b.1958) DaXun Zhang, bass Fantasy on Bizet’s Carmen for Four Violins and Doublebass (1875) David Chan, Cho-Liang Lin, Chee-Yun, Ray Ushikubo, violins; (1838-1875)/(b. 1958) DaXun Zhang, bass

INTERMISSION SCHOENFIELD Boogie for Piano, Four-Hands (2006) (b.1947) MENDELSSOHN Andante et Allegro Brillant for Piano, Four-Hands, Opus 92 (1841) (1809-1847) Christina Naughton, Michelle Naughton, piano RACHMANINOFF Suite No. 2 for Two Pianos, Opus 17 (1900-01) (1873-1943) Introduction Waltz Romance Tarantella

Inon Barnatan, Olga Kern, pianos

BIZET (arr. MILONE)

858.459.3728 • WWW.LJMS.ORG | 13

OPENING NIGHT: FIDDLES VS. PIANOS — PROGRAM NOTES

Program notes by Eric Bromberger

Sonata in C Major for Two Violins, Opus 56

SERGEI PROKOFIEV Born April 23, 1891, Sontsovka, Ukraine Died March 5, 1953, Moscow

Approximate Duration: 15 minutes

Like many Russian composers, Prokofiev made his home in the West in the years following the Russian Revolution of 1917, and he spent the 1920s in Paris, which at that time–with Stravinsky, Ravel, Gershwin, Les Six, and many other composers–was the musical capital of the world. In Paris Prokofiev composed a number of colorful and sometimes outrageous works, including the opera The Fiery Angel and the “Bolshevik ballet” Le Pas d’Acier. By the early 1930s, however, the homesick composer had begun a series of visits to Russia that would culminate in his return in 1933.

In 1932, the year before his return, Prokofiev joined a group of composers dedicated to the performance of contemporary chamber music. This group–which included Honegger, Milhaud, and Poulenc–took the name “Triton,” and their first performance was presented in Paris on December 16, 1932. It was for this concert that Prokofiev composed his Sonata for Two Violins, and he found himself with a pleasant problem for a composer–simultaneous premières: on that same night, in a hall across the street, the first performance of his ballet On the Dnieper was scheduled.

Prokofiev described his solution: “Fortunately the ballet came on half an hour later, and so immediately after the sonata we dashed over to the Grand Opera–musicians, critics, author all together.”

On his return to Russia, Prokofiev would relax his style in response to the demands of Socialist Realism for art accessible to the masses, but this lyric vein had begun to appear in his music even before the move, and the Sonata for Two Violins combines a bittersweet lyricism with the more acerbic manner of his Parisian works. Sonatas for two solo violins are rare, and in them a composer must solve the problem of writing for two linear instruments without the harmonic resources of the piano. Though each movement of Prokofiev’s sonata remains firmly centered in a specific key, there are enough “wrong” notes here to stretch the concept of tonality considerably.

This sonata is in the slow-fast-slow-fast sequence of movements of the baroque violin sonata, but that may be its only relation to baroque music. The very brief (36-measure) Andante cantabile is built on the first violin’s opening melody.

Much of the writing in this movement is very high, and the 14 | LA JOLLA MUSIC SOCIETY

opening theme returns in the second violin just before the quiet close. By sharp contrast, the Allegro opens with huge, gritty chords from both violins and never slows down. The music features rapid exchanges between the two instruments (in the score Prokofiev stresses: con precisione) and such violinistic razzle-dazzle as left-handed pizzicatos.

Prokofiev gives the players the option of performing the third movement with or without mutes. He marks the music “tender and simple,” and much of the writing in this lyric music is chordal, depending on multiple-stopping from both players. The finale opens with a light-hearted theme marked energico that returns throughout the movement, much like a rondo tune. This is the longest of the four movements, with several secondary themes, and at the very end–over swirling accompaniment from the second violin–the first violin sings the opening melody from the first movement. A blistering Più presto coda brings the sonata to its exciting close.

Navarra, Opus 33

PABLO DE SARASATE Born March 10, 1844, Pamplona, Spain Died September 20, 1908, Biarritz, France

Approximate Duration: 5 minutes

Slim, elegant, and refined, Pablo de Sarasate played the violin as impeccably as he dressed. Sarasate was admired particularly for the sweetness of his sound, the smoothness of his bow-stroke, and a fabulous technique; these are still very much in evidence in the handful of recordings he made in 1904, when he was 60. Like so many virtuosos of his day, Sarasate also composed, and it should come as no surprise that his 54 published works are almost exclusively violin music.

Though it was widely popular a generation or two ago, most of Sarasate’s music has disappeared from the active repertory today, and we remember him for virtuoso pieces like Zigeunerweisen or for opera paraphrases like his Carmen Fantasy. But Sarasate was also attracted to the music of his native country, and among his works are four sets of Spanish Dances, based on popular tunes, and a Caprice Basque (Sarasate was born in Pamplona, almost on the border between Spain and France). Navarra, Sarasate’s only work for two violins, was published in Berlin in 1889. That title suggests that this music is an evocation of the province of Navarre, the region on the border with France famous for its mountains and its Basque heritage, but in fact this music seems only remotely connected with Navarre. Instead, it is a showpiece that offers two first-class violinists a chance to dazzle audiences with some violinistic fireworks based on Spanish popular music. An opening flourish accelerates into

OPENING NIGHT: FIDDLES VS. PIANOS — PROGRAM NOTES

the brisk main body of the piece, which alternates Spanish material with blistering runs, passages in harmonics, and left-handed pizzicato sequences, all played as duets.

This may not be profound music, but it’s a lot of fun.

JULIAN MILONE ARRANGEMENTS Julian Milone studied composition and violin at the Royal College of Music, then joined the Philharmonia Orchestra in 1983 at the age of 25. Milone remains in the Philharmonia and is also a Professor of Violin at the Kent Academy of Music, but he has made his reputation as an arranger, recasting works from the classical repertory as arrangements for groups of violins (their number can run as high as twelve) over the harmonic foundation of a doublebass. Milone has made arrangements of a variety of music, ranging from Paganini to Gershwin, from opera to jazz, from popular tunes to tangos, and SummerFest audiences have enjoyed several of these during the last few festivals. On this concert we hear Milone’s arrangements for four violins and doublebass of music by Shostakovich and Bizet.

It should be noted that Milone’s “arrangements” are not simply straightforward transcriptions of other pieces but instead original compositions by Milone, based on the music of others. These arrangements recall a form popular in the nineteenth century, the virtuoso extension of themes from familiar operas, and those arrangements went under a variety of names: fantasy, paraphrase, transcription, and others. Liszt was the form’s most notable practitioner, but the approach was popular with many performers and composers and produced some memorable music. It was music composed specifically to delight audiences and to give performers a chance to demonstrate their skill.

most of the music in 1958, shortly after completing his Eleventh Symphony, and Moskva, Cheryomushki opened on January 24, 1959, in the Moscow Operetta Theater. By far the most famous music from Moskva, Cheryomushki is the Galop, which accompanies a housewarming party put on in Act II by the young protagonists, Sasha and Masha. Only two minutes long, it is full of non-stop energy and has been heard in countless arrangements. Most of these have been for concert band, an ensemble well-suited to the Galop’s hard-charging vitality, but there have been many others, including one–by Julian Milone–for the 48 violas of major London orchestras. The Galop is heard on this concert in Milone’s arrangement (and slight re-composition) for four violins and doublebass.

Fantasy on Bizet’s Carmen for Four Violins and Doublebass

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

Approximate Duration: 15 minutes

Carmen–Bizet’s opera of passion, jealousy, and murder– was a failure at its first performance in Paris in March 1875; the audience seemed outraged at the idea of a loose woman and murder onstage at the Opéra-Comique. Bizet died three months later at age 37, never knowing that he had written what would become one of the most popular operas ever composed. The music from Carmen has everything going for it–excitement, color, and (best of all) instantlyrecognizable tunes. From today’s vantage point, it seems impossible that this opera could have been anything but a smash success from the first instant.

The operative word in Milone’s title is “Fantasy”: his arrangement is based on many of the great tunes from the Galop from Moskva, Cheryomushki, Opus 105 opera, but this music should be understood as Milone’s own composition based on those tunes, rather than simply a transcription of them. Milone conceived this piece for Born September 25, 1906, St. Petersburg four first-class performers–this piece is fun not just for what Died August 9, 1975, Moscow Approximate Duration: 2 minutes Milone does with Bizet’s great melodies but also for the violinistic display we hear along the way. Listeners can sit We remember Shostakovich for his fifteen monumental back and enjoy such favorite moments as the Fate Motif, symphonies and his fifteen (often wrenching) string quartets, Seguedilla, Danse bohème, and the Habanera. There will be a but there was a lighter side to this composer, and it found surprise guest artist as part of this performance. expression in his Moskva, Cheryomushki. In 1957 Shostakovich was asked to provide the music for a musical comedy about– of all things–the chronic housing shortage that afflicted Moscow during the 1950s (Cheryomushki is a neighborhood in southwest Moscow where a number of new housing projects were built in the 1950s). Working from a libretto provided by two Russian satirists, Shostakovich composed

DMITRI SHOSTAKOVICH

858.459.3728 • WWW.LJMS.ORG | 15

OPENING NIGHT: FIDDLES VS. PIANOS — PROGRAM NOTES

Boogie for Piano, Four-Hands

PAUL SCHOENFIELD Born January 24, 1947, Detroit

Approximate Duration: 4 minutes

Originally from Detroit, Paul Schoenfield studied piano with Rudolf Serkin and composition with Robert Muczynski and received his DMA from the University of Arizona at age 23. Presently a Professor of Composition at the University of Michigan, he divides his time between Michigan and Israel. Schoenfield has been particularly interested in combining quite different styles and traditions: his music can simultaneously be derived from jazz, classical music, klezmer music, popular songs (and many other styles), and these are combined with a great deal of energy and skill. Boogie is the final movement of Schoenfield’s Five Days from the Life of a Manic Depressive, a set of five pieces for piano four-hands published in 2006. This music boils over with energy across its four-minute span. The lower voice often lays down a furious ostinato as the upper contributes a wild melodic energy of its own; at other times the melodic line moves easily between the two players as Boogie rushes to an almost breathless close.

92, completed on March 23, 1841, during a period when the 32-year-old composer was writing a number of works for piano; later that year he would complete one of his finest piano works, the Variations sérieuses, Opus 54, and then go on to compose his “Scottish” Symphony. As its name suggests, the brief Allegro Brillant sets out to be brilliant music, and in this it succeeds completely. This is a display piece for two very skillful pianists, polished in its techniques and full of attractive tunes. The themes–there are a progression of them–are generally introduced by the upper hands, but the lower hands play an extraordinary accompaniment, full of very rapid runs and requiring the utmost skill to project these clearly without obscuring the upper line.

Suite No. 2 for Two Pianos, Opus 17

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

Approximate Duration: 23 minutes

The critical response to Rachmaninoff’s First Symphony in 1897 had been so vicious that the young composer was left shaken and unable to compose. His family finally convinced him to see a psychologist, who treated him Andante et Allegro Brillant in A Major for Piano, Four-Hands, through hypnotic suggestion. Rachmaninoff spent the summer of 1900 in Italy, then returned to Russia and that Opus 92 fall composed the second and third movements of his Second Piano Concerto. The triumphant première of those two Born February 3, 1809, Hamburg movements in Moscow on December 2 seemed to restore November 4, 1847, Leipzig his confidence: between December 1900 and April 1901 Approximate Duration: 11 minutes Rachmaninoff composed the present Suite for Two Pianos, Mendelssohn took his first piano lessons from his then completed the first movement of the concerto and his mother when he was a tiny child, and the family quickly Cello Sonata. Rachmaninoff and Alexander Ziloti gave the first brought in the best professional teachers available as the performance of the Suite in Moscow on November 24, 1901. extent of the boy’s talent became clear. He soon became a This is big music–ebullient and powerful–and its good virtuoso pianist who played throughout Europe, dazzling tunes and rich sonority have made it a favorite with duoLondon audiences by doing something they had never seen pianists. The four movements rest on some unusual key before: he performed concertos from memory rather than progressions, and harmonically the Suite concludes far from having the music in front of him. Mendelssohn’s works for its beginning. Each of the movements has a title as well piano remain popular with performers and audiences today, as an Italian tempo indication. The Introduction, in heroic showing his virtues as a composer: appealing melodies, C major, has a firm, declarative opening that gives way a nice sense of form, rhythmic vitality, and a technical to a more poised (but still quite animated) second subject. brilliance that demonstrates a performer’s familiarity with Its propulsive rhythms continue throughout, even as the the instrument at every instant. movement draws to a quiet close. The second movement, Mendelssohn wrote a great deal of solo piano music, a Waltz in G major, opens with a burst of shining energy but he wrote very little for piano-four hands: a few juvenile from which the broad waltz melody gradually emerges and pieces, some arrangements, and only two major works then develops at length. The Romance, in A-flat major, is (and one of these, the Variations in B-flat Major, is simply an based on one of those wonderful Rachmaninoff melodies– arrangement for four-hands of a piece originally written for deep and dark–that eventually grows to a ringing climax solo piano). That leaves the Allegro Brillant in A Major, Opus before the movement concludes peacefully. The finale, a

FELIX MENDELSSOHN

16 | LA JOLLA MUSIC SOCIETY

OPENING NIGHT: FIDDLES VS. PIANOS — PROGRAM NOTES

Tarantella in the unexpected key of C minor, is based on a theme Rachmaninoff is said to have found in a collection of old tunes during his visit to Genoa and Milan the summer before composing the Suite. The energy that has characterized the entire work returns here with a vengeance, eventually driving this movement to a thunderous conclusion that remains unremittingly in C minor.

Rachmaninoff recorded many of his own works, but never this Suite. He did, however, continue to perform it–and under some unusual circumstances. Late in life, Rachmaninoff became good friends with Vladimir Horowitz and greatly respected the younger man’s abilities.

Occasionally–and for family members only–they would perform two-piano music together, and the Second Suite was one of the works they would play. Rachmaninoff’s biographer Sergei Bertensson was present at the composer’s home in Beverly Hills in June 1942, only nine months before his death, and left this account of a RachmaninoffHorowitz performance of this Suite: “It is impossible to word my impression of this event. ‘Power’ and ‘joy’ are the two words that come first to mind–expressive power, and joy experienced by the two players, each fully aware of the other’s greatness. After the last note no one spoke–time seemed to have stopped.”

It is our loss that no one thought to record that performance, now gone forever.

Recommended Listening Prokofiev, Sergei. Prokofiev: Violin Concertos & Sonata for Two Violins ~ Perlman.

Itzhak Perlman, Pinchas Zukerman, Gennady Rozhdestvensky, BBC Symphony Orchestra. EMI Classics. ASIN: B0000AF1KW, [2003] Rachmaninoff, Sergei. Rachmaninoff: Symphonic Dance & Suites for 2 Pianos.

Emanuel Ax, Yefim Bronfman. Sony Classical. ASIN: B00005QKBR, [2001] Adams/Bach/Messiaen. VISIONS. Christina Naughton, Michelle Naughton.

Rhino Warner Classics. ASIN: B018L1W2M8, [2016]

858.459.3728 • WWW.LJMS.ORG | 17

Christina and Michelle Naughton

Prelude 7 PM Conversation with Christina and Michelle Naughton hosted by Scholar-in-Residence Eric Bromberger A couple of generations ago, duo-pianist teams were a feature of concert life in America, as Gold & Fizdale and Vronsky & Babin brought the two-piano literature to life.

The form then seemed to fall into the shade, but it has been resurrected recently by the Labeque sisters and by the Naughton sisters, Christina and Michelle. This evening the Naughtons discuss the trials, tribulations, and rewards of being part of a duo-piano team.

La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

18 | LA JOLLA MUSIC SOCIETY

Lyubov Petrova

FROM PRAGUE WITH LOVE Saturday, August 5, 2017 · 8 PM

UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL RACHMANINOFF Prelude in C Major, Opus 32, No. 1 (1910) (1873-1943) Prelude in G Major, Opus 32, No. 5 (1910)

Prelude in G Minor, Opus 23, No. 5 (1903) SCRIABIN Étude in F-sharp Major, Opus 42, No. 4 (1903) (1872-1915) Étude in C-sharp Minor, Opus 42, No. 5 (1903) BALAKIREV Islamey (1869) (1837-1910) Olga Kern, piano DVOˇRÁK Cigánské Melodie (Gypsy Songs), Opus 55 (1880) (1841-1904) Lyubov Petrova, soprano; Olga Kern, piano CHOPIN Rondo for Two Pianos in C Major, Opus 73 (1828) (1810-1849) LUTOSŁAWSKI Variations on a Theme of Paganini for Two Pianos (1941) (1913-1994) Christina Naughton, Michelle Naughton, pianos

INTERMISSION DVOˇRÁK Piano Quintet in A Major, Opus 81 (1887)

Allegro, ma non tanto Dumka: Andante con moto Scherzo (Furiant): Molto vivace Finale: Allegro

Inon Barnatan, piano

Miró Quartet Daniel Ching, William Fedkenheuer, violins; John Largess, viola; Joshua Gindele, cello

FROM PRAGUE WITH LOVE — PROGRAM NOTES

Three Preludes from Opus 23 and Opus 32

Two Études from Eight Études, Opus 42 No. 4 in F-sharp Major No. 5 in C-sharp Minor

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

Born January 6, 1872, Moscow Died April 27, 1915, Moscow

Program notes by Eric Bromberger

SERGEI RACHMANINOFF

ALEXANDER SCRIABIN

Approximate Duration: 7 minutes

Approximate Duration: 5 minutes

Sergei Rachmaninoff wrote a cycle of 24 piano preludes in all the major and minor keys, but–rather than writing them all at once–he spread their composition out over nearly twenty years, and he appears to have come to that idea only gradually. In 1892, at age 19, Rachmaninoff achieved sudden fame with his Prelude in C-sharp Minor. He waited eleven years before composing the ten preludes of his Opus 23 in 1903. Rachmaninoff then waited another seven before writing the final thirteen as his Opus 32 during the summer of 1910, carefully completing the cycle of keys in the process.

Rachmaninoff’s preludes are generally brief and unified around a melodic or rhythmic cell; many are in ternary form, with a modified return of the opening material.

They encompass a wide span of expression and difficulty.

Some lie within the abilities of good amateur pianists, but most are extremely difficult technically, with the music ranging from the brilliant and exuberant to the dark and introspective. Rachmaninoff did not intend that these preludes should be performed as a set, and he would play only a brief selection of the preludes on his recitals; he recorded eight of them.

On this recital, Olga Kern offers three of these preludes. The brief but ebullient Prelude in C Major (Opus 32/1) rides along great washes of sound, but comes to a surprisingly restrained close. The Prelude in G Major (Opus 32/5) is all delicacy–here a limpid melody floats above rippling accompaniment, grows capricious, and finally comes to a shimmering close. Though Rachmaninoff is reported to have disliked Debussy’s music, there are moments here that evoke the music of that composer. The Prelude in G Minor (Opus 23/5) is one of Rachmaninoff’s most famous. Marked Alla marcia, it opens with an ominous vamp that is in fact the first subject; a dark and dreamy central episode leads to a gradual acceleration back to the opening tempo. The ending is particularly effective: the energy of the march dissipates, and the music vanishes in a wisp of sound.

Scriabin’s 31 études come from across the span of his career–he wrote the first when he was only fifteen, and his final set comes from 1912, when he was deeply involved in mysticism. The title étude (“study”) suggests that a piece poses a technical problem, but while Scriabin’s études can be very difficult, he did not intend them solely as exercises– each of them creates its own miniature world.

Scriabin published the eight études of his Opus 42 in 1903. They are extraordinarily difficult for the pianist, and this recital offers two of them. No. 4 in F-sharp Major (Scriabin’s favorite key) is marked cantabile, and it sets a flowing right-hand melody over steady triplet accompaniment in the left. No. 5 in C-sharp Minor is remarkable for its energy and for the sonority Scriabin is able to generate. He marks this étude Affannato (“breathlessly”), and it drives along thick textures and complex rhythms to a great climax, then subsides for the quiet close.

Islamey

MILY BALAKIREV Born January 2, 1837, Nizhny Novgorod Died May 29, 1910, St. Petersburg

Approximate Duration: 8 minutes

From Borodin’s In the Steppes of Central Asia to RimskyKorsakov’s Scheherezade, the East has exercised a strong imaginative pull on Russian composers, and Mily Balakirev’s famous piano showpiece breathes that same exotic atmosphere. Balakirev wrote this brief but fiery composition, which he subtitled “Oriental Fantasy,” during the late summer of 1869, when he was 32. Islamey has become famous not just for its exotic color and excitement but also because it is so difficult for the performer. The music sends the pianist flying across the complete range of the keyboard, employs gigantic chordal melodies that require huge hands, and goes at a dizzying speed. In fact, when Ravel set out to write his own stupefyingly difficult Gaspard de la nuit in 1908, he said that his intention was

858.459.3728 • WWW.LJMS.ORG | 19

FROM PRAGUE WITH LOVE — PROGRAM NOTES

to write a piece that would be more difficult than Islamey.

Islamey may have become famous as a virtuoso piano piece, but Balakirev himself regarded it as a preliminary sketch for a symphonic work. Its thunderous passagework and bright colors make it an ideal candidate for orchestration, and it has in fact been orchestrated by several different composers.

Islamey begins with a great rush of notes (the meter is 12/16), and this opening idea is treated almost obsessively, repeating constantly and growing more complex as it does. The middle section, marked Andantino espressivo and set in a gently-rocking 6/8, builds to a climax full of runs and massive chords. The opening material returns, and Balakirev propels Islamey to its close with a brilliant coda marked Presto furioso.

Balakirev was by all accounts a first-rate pianist, but even its creator found Islamey too difficult to perform. The première was given by the dedicatee, Nikolai Rubinstein (brother of Anton), on December 12, 1869. Over thirty years later, Balakirev came back to this music and revised it. This version, completed in 1902, is the one usually heard today.

Cigánské Melodie (Gypsy Songs), Opus 55

ANTONÍN DVOŘÁK

of the special successes of this set is the writing for piano.

The piano is an equal partner here, and it seems to have a particular character of its own: alongside the vocalist’s glowing lines, the piano dances and sings on its own. Some have heard an imitation of the gypsy cimbalom in some of Dvořák’s writing for the piano, and the piano part is unusually active throughout the cycle.

Each of these songs is a miniature, and they are sharply varied–one moment they can be quietly reflective, the next full of fire and excitement. Special note should be made of the fourth, widely known under its English translation as “Songs My Mother Taught Me.” This has become one of Dvořák’s best-known songs, and one of the most remarkable things about it is that the beautiful vocal line is in 2/4, while the quite active piano accompaniment is pulsed in 6/8.

Rondo in C Major, Opus 73

FRÉDÉRIC• CHOPIN Born February 22, 1810, Zelazowa Wola Died October 17, 1849, Paris

Approximate Duration: 10 minutes

Listeners should not be misled by this work’s high opus number–the Rondo in C Major is in fact one of Chopin’s Born September 8, 1841, Mühlhausen, Bohemia Died May 1, 1904, Prague earliest works, composed while he was still a high school Approximate Duration: 13 minutes student in Warsaw. In early 1828, about the time he turned 18, Chopin composed a Rondo in C Major for piano solo.

After years of obscurity, Dvořák achieved international Late that summer he was invited to join a family friend on a success with his first set of Slavonic Dances, published in 1878. trip to Berlin, and along the way–in the village of Sanniki– To his surprise (and pleasure), he suddenly found himself he returned to the rondo and re-wrote it for two pianos. famous–his music was in demand, and he was busy as both It is Chopin’s only work for two pianos, and he chose not composer and conductor across Europe. In February 1880, publish it. But in the years after his death at age 39, some during the first flush of this new success, Dvořák wrote of Chopin’s friends retrieved and published music that his Cigánské Melodie, a set of seven songs based on “gypsy” the composer had left in manuscript. The Rondo in C Major poems that Adolf Heyduk had written in 1859. But there was one of these works–it appeared in Berlin in 1855, six was a slight twist to their creation: Dvořák wrote them for years after the composer’s death, and was assigned the opus one of his admirers, the Austrian tenor Gustav Walter, number of 73 at that point. who sang with the Vienna Court Opera. As a gesture of The Rondo in C Major is a virtuoso piece for two pianists. gratitude to Walter, Dvořák wrote the songs in German, It opens with an introduction marked Allegro maestoso that using a translation into that language by Heyduk himself. alternates brilliant runs from the first pianist with quiet And so these songs were known first under their German responses from the second. The music leaps ahead at the title, Zigeunermelodien, though today they are most often sung rondo proper and offers two virtuoso pianists a chance to in Heyduk’s original Czech, as they are on this concert. display their abilities. There is quiet secondary material The Cigánské Melodie are universally admired as Dvořák’s along the way that Chopin marks semplice, but the principal finest songs. One of the remarkable things about them is impression this music makes is of brilliance: it is full of how concise they are: the entire set of seven songs spans fast runs (often set in the ringing high register of the first barely fourteen minutes. Heyduk’s poems celebrate such pianist), melodic lines passed between the two players, gypsy values as music, love, freedom, and the beauties of and full and sonorous textures. Something of Chopin’s nature. The songs are gracefully written for voice, but one conception of this music can be felt in his constant

20 | LA JOLLA MUSIC SOCIETY

FROM PRAGUE WITH LOVE — PROGRAM NOTES

reminders to the pianists: con fuoco (“with fire”), marcato, con spirito. After all this brilliance, the Rondo drives a massive, resounding conclusion.

Variations on a Theme of Paganini for Two Pianos

WITOLD LUTOSŁAWSKI Born January 25, 1913, Warsaw Died February 7, 1994, Warsaw

Approximate Duration: 5 minutes

This brilliant, sparkling music was composed during a period of enormous turmoil in Lutoslawski’s life.

Lutosławski began to play the piano at 6 and received a diploma in piano from the Warsaw Conservatory in 1936.

When World War II began, Lutosławski served as a radio operator in the Polish army but was captured by the Nazis.

He escaped, made his way back to Warsaw, and essentially went underground. Concerts were banned during the Nazi occupation, and Lutosławski supported himself by playing the piano in nightclubs and cabarets (his wife’s sister-inlaw was one of Poland’s leading cabaret singers). Soon Lutosławski formed a two-piano team with another pianist named Andrzej Panufnik, and by strange coincidence those two pianists would become Poland’s leading composers in the generation after World War II. For the moment, however, the two young men (both were in their twenties) needed music to play, and Lutosławski made a number of arrangements for two pianos of music by other composers.

In 1941 he composed an original piece for them, Variations on a Theme of Paganini. That theme is, of course, Paganini’s “famous” Caprice No. 24 in A Minor for solo violin, composed about 1820. That theme–full of rhythmic spring and chromatic tension–has haunted composers for the last two hundred years. Among those who have written extended variations on it are Paganini himself, Liszt, Schumann, Brahms, Rachmaninoff, and–more recently– Boris Blacher and George Rochberg. There may be more to come–the theme appears inexhaustible.

Lutosławski approached Paganini’s famous Caprice somewhat differently than those earlier masters, who had used its theme as the basis for a series of virtuoso variations of their own. Lutosławski keeps the shape of Paganini’s entire original caprice–both the theme and Paganini’s own twelve variations on it–and then treats that fundamental structure in a wholly original way. He rewrites the variations slightly, he provides completely new harmonies (harmonies never imagined by Paganini), and with the resources available from two pianos rather than one violin he fleshes out textures and accompaniment; he also provides a

new concluding section. The result might be described as Lutosławski’s variations on Paganini’s variations. This is imaginative and very difficult music for two first-class pianists, and Lutosławski’s Variations on a Theme of Paganini, composed when he was 28, has become his earliest work to find a place in the repertory.

Piano Quintet in A Major, Opus 81

ANTONÍN DVOŘÁK Approximate Duration: 38 minutes

In the summer of 1887 Antonín Dvořák took his large family to their summer home at Vysoká, in the forests and fields of his Czech homeland. It was a very good time for the 46-year-old composer. After years of struggle and poverty, he suddenly found himself famous: his Slavonic Dances were being played around the world, and his Seventh Symphony had been triumphantly premièred in London two years earlier. Dvořák found time to relax at Vysoká that summer, and he also found time to compose. Dvořák was usually one of the fastest of composers, able to complete a work quickly once he had sketched it. That August he began a new work, a Piano Quintet, but this one took him some time–he did not complete it until well into October, and it was premièred in Prague the following January Dvořák was now at the height of his powers, and the Quintet shows the hand of a master at every instant. This is tremendously vital music, full of fire, sweep, and soaring melodies. As a composer, Dvořák was always torn between the classical forms of the Viennese masters like his friend Brahms and his own passionate Czech nationalism. Perhaps some of the secret of the success of the Piano Quintet is that it manages to combine those two kinds of music so successfully: Dvořák writes in classical forms like scherzo, rondo, and sonata form, but he also employs characteristic Czech musical forms like the dumka and furiant. That makes for an intoxicating mix, and perhaps a further secret of this music’s success is its heavy reliance on the sound of the viola. Dvořák was a violist, and in the Quintet the viola presents several of the main ideas–its dusky sound is central to the rich sonority of this music.

It is the cello, though, that has the lyric opening idea of the Allegro, ma non tanto. This long melody–Dvořák marks it espressivo–undergoes some surprising transformations before the viola introduces the pulsing second theme. This movement is full of beautifully-shaded moments, passages that flicker effortlessly between different keys in the manner

858.459.3728 • WWW.LJMS.ORG | 21

FROM PRAGUE WITH LOVE — PROGRAM NOTES

of Schubert, a composer Dvořák very much admired. In sonata form, this movement ranges from delicate effects to thunderous climaxes before closing on a triumphant restatement of the second theme.

The second movement is a dumka, a form derived from an old Slavonic song of lament. Dvořák moves to F-sharp minor here, and he makes a striking contrast of sonorities in the first few moments: in its high register, the piano sounds glassy and delicate while far below the viola’s C-string resonates darkly against this. This powerful opening gives way to varied episodes: a sparkling duet for violins that returns several times and a blistering Vivace tune introduced by the viola. The movement closes quietly on a return of its somber opening music.

Dvořák notes that the brief Molto vivace is a furiant, an old Bohemian dance based on shifting meters, but–as countless commentators have pointed out–the 3/4 meter remains

unchanged throughout this movement, which is a sort of fast waltz in ABA form. The dancing opening gives way to a wistful center section, marked Poco tranquillo, which is in fact a variant of the opening theme.

The Allegro finale shows characteristics of both rondo and sonata-form movement. Its amiable opening idea–introduced by the first violin after a muttering, epigrammatic beginning–dominates the movement. Dvořák even offers a deft fugato on this tune–introduced by the second violin–as part of the development. The powerful coda, which drives to a conclusion of almost symphonic proportions, is among the many pleasures of one of this composer’s finest scores.

Recommended Listening Dvoˇrák, Antonin. Dvoˇrák: Piano Quintet in A Major, Op. 81; Piano Quartet in E Flat Major, Op. 87. Menahem Pressler, Emerson String Quartet. Deutsche Grammophon.

ASIN: B000001GLU, [1994]

ANTONÍN DVOŘÁK

Cigánské Melodie, Opus 55 Gypsy Songs, Opus 55 Czech Text by Adolf Heyduk (1835-1923) I.

Má píseň zas mi láskou zní když starý den umírá, a chudý mech kdy na šat svůj si tajně perle sbírá.

My song again with love resounds when the old day is dying, and when lowly moss for its garment secretly gathers pearls of dew.

Má píseň v kraj tak toužně zní, když světem noha bloudí; jen rodné pusty dálinou zpěv volně z ňader proudí.

My song so wistfully o’er the land resounds when through the world I wander only in the vastness of my native steppe does my voice flow freely from my bosom.

Má píseň hlučně láskou zní, když bouře běží plání; když těším se, že bídy prost dlí bratr v umírání.

My song so strong with love resounds when storms race o’er the plains and I give praise when, freed from misery, a gypsy brother breathes his last.

II.

Aj! Kterak trojhranec můj přerozkošně zvoní, jak cigána píseň, když se k smrti kloní!

Když se k smrti kloní, trojhran mu vyzvání.

Konec písni, tanci, lásce, bědování.

Ay! How sweetly my triangle rings Like the song of a gypsy approaching death.

When he approaches death, the triangle tolls for him.

No more songs, dances, sorrows of love.

22 | LA JOLLA MUSIC SOCIETY

ANTONÍN DVO ˇRÁK • CIGÁNSKÉ MELODIE (GYPSY SONGS), OP. 55 — SONG TRANSLATION

III.

A les je tichý kolem kol, jen srdce mír ten ruší, a černý kouř, jenž spěchá v dol, mé slze v lících, mé slze suší.

And the woods are silent all around, only my heart disturbs the peace, and the black smoke, hastening down, dries the tears on my cheeks, dries my tears

Však nemusí jich usušit, necht’ v jiné tváře bije.

Kdo v smutku může zazpívat, ten nezhynul, ten žije, ten žije!

Still it does not have to dry them.

Let it batter other faces.

He who can sing in his sorrow has not perished, but is alive, is alive!

IV.

Když mne stará matka zpívat učívala, podivno, že často, často slzívala.

When my old mother taught me, taught me to sing, Strange that often, often, she was crying.

A ted’ také pláčem snědé líce mučím, když cigánské děti hrát a zpívat učím!

And now I too am weeping, tormenting my dark cheeks, when I teach gypsy children to play music and sing.

V.

VI.

Struna naladěna, hochu, toč se v kole, dnes, snad dnes převysoko, zejtra, zejtra, zejtra zase dole!

Pozejtří u Nilu za posvátným stolem; struna již, struna naladěna, hochu, toč, hochu, toč se kolem! struna naladěna, hochu, toč se kolem!

The strings are tuned, lad, join the dance, today, perhaps today we’re high up; tomorrow, tomorrow again we’re down.

Day after tomorrow, by the Nile, at the holy table; the strings, the strings are tuned.

Lad, dance! Lad, join the dance!

The strings are tuned, lad, join the dance!

Široké rukávy a široké gatě volnější cigánu nežli dolman v zlatě.

Wide sleeves and wide trousers Suit the gypsy better than a gold-encrusted dolman.

Dolman a to zlato bujná prsa svírá; pod ním volná píseň násilně umírá.

The dolman and the gold constrict the powerful chest; under them the free song dies a violent death.

A kdo raduješ se, tvá kdy píseň v květě, přej si, aby zašlo zlato v celém světě!

And you who rejoice when your song blossoms free wish all the fold in the world would perish!

VII.

Dejte klec jestřábu ze zlata ryzého; nezmění on za ni hnízda trněného.

Komoni bujnému, jenž se pustou žene, zřídka kdy připnete uzdy a třemene.

A tak i cigánu příroda cos dala: k volnosti ho věčným poutem, k volnosti ho upoutala.

Offer a hawk a cage of purest gold; he will not choose it over his nest of thorns.

On a spirited steed charging through the steppe, you can seldom put reins and stirrups.

Thus nature gave something even to the gypsy; to freedom, by an eternal bond, To freedom it tied him.

English text courtesy of RCA Records.

858.459.3728 • WWW.LJMS.ORG | 23

GENIUS FROM FINLAND: Olli Mustonen Sunday, August 6, 2017· 3 PM

UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL

Olli Mustonen

Prelude 2 PM Conversation with Olli Mustonen hosted by Scholar-in-Residence Eric Bromberger SummerFest’s featured guest, Olli Mustonen has carved out a distinguished career as both pianist and composer, and we’ll hear him in both roles on this concert. How does one balance those two quite different career paths? Mustonen and Eric Bromberger discuss the complicated identity of being both creator and re-creator.

This afternoon’s concert is supported in part by our Partner:

NINE-TEN Restaurant

La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

24 | LA JOLLA MUSIC SOCIETY

MUSTONEN Nonetto II (2000) (b.1967) Inquieto Allegro impetuoso Adagio Vivacissimo

Chee-Yun, David Chan, violins; Toby Hoffman, viola;

Robert deMaine, cello; DaXun Zhang, bass;

Ulysses Quartet Christina Bouey, Rhiannon Banerdt, violins;

Colin Brookes, viola; Grace Ho, cello BEETHOVEN Piano Sonata in F Minor, Opus 57 “Appassionata” (1804-06) (1770-1827) Allegro assai Andante con moto Allegro ma non troppo

Olli Mustonen, piano

INTERMISSION BEETHOVEN Piano Sonata in A Major, Opus 2, No. 2 (1796)

Allegro vivace Largo appassionato Scherzo: Allegretto Rondo: Grazioso

Olli Mustonen, piano MUSTONEN Piano Quintet (2014)

Drammatico e passionato Quasi una passacaglia (Andantino) Finale (Misterioso)

Olli Mustonen, piano

Miró Quartet Daniel Ching, William Fedkenheuer, violins; John Largess, viola; Joshua Gindele, cello

GENIUS FROM FINLAND: OLLI MUSTONEN — PROGRAM NOTES

Program notes by Eric Bromberger, unless otherwise noted

of expression, and with the Eroica behind him, Beethoven began to plan two piano sonatas. These sonatas, later nicknamed the Waldstein and the Appassionata, would be governed by the same impulse that shaped the Eroica.

Nonetto II While Beethoven completed the Waldstein Sonata quickly, the other sonata, delayed by his work on his opera, then Born June 7, 1967 in Vantaa, Finland titled Leonore, was not finished until early in 1806. The Approximate Duration: 15 minutes subtitle “Appassionata” appears to have originated with a publisher rather than with the composer, but few works The Nonetto II follows on from its predecessor. The first so deserve their nickname as this sonata. At moments in movement (Inquieto) opens with piercing discords and this music one feels that Beethoven is striving for a texture stunted rhythms, which nevertheless create a Balkanese and intensity of sound unavailable to the piano, reaching pulse. The brief and concise movement is anguished. for what Beethoven’s biographer Maynard Solomon The second movement (Allegro impetuoso) is calls “quasi-orchestral sonorities.” Despite the volcanic Romantically opulent and passionate. These themes explosions of sounds in this sonata, however, it remains are joined by a noble hymn-like theme (in the manner piano music–the Appassionata may strain the resources of the of Schumann or Brahms) which also supposes the instrument, but this music is clearly conceived in terms of a Beethovenian galloping rhythms. In the development, pianistic rather than an orchestral sonority. the music proceeds in a Sibelian direction, towards the The ominous opening of the Allegro assai is marked mysterious pastoral movement of the Sixth Symphony. The movement eventually ends on a tranquil note, although the pianissimo, but it is alive with energy and the potential for development. As this long first theme slowly unfolds, ostinato rhythm never relents. deep in the left hand is heard the four-note motto that The slow movement (Adagio) is inscrutably smiling, will later open the Fifth Symphony, and out of this motto more sparsely populated than the previous one. The suddenly bursts a great eruption of sound. The movement’s main theme is again brief; in being repeated, it becomes somewhat desperate, taking on board brief virtuoso flutters. extraordinary unity becomes clear with the arrival of Despite occasional moments in a minor key, the movement the second theme, which is effectively an inversion of the opening theme. And there is even a third subject, which maintains a radiant aura, perhaps slightly unreal. The boils out of a furious torrent of sixteenth-notes. The finale (Vivacissimo) is full of white light and tremolo, as Karelian kanteles and bells ringing proclaim a Russian feast. movement develops in sonata form, though Beethoven Virtuoso passages overtake one another and get snagged by does without an exposition repeat, choosing instead to press directly into the turbulent development. The rhythm the block-like pounding rhythms, but towards the end they explode in an instrumental ecstasy. Mustonen dedicated his of the opening rhythm is stamped out in the coda, and– after so much energy, the movement concludes as the first Nonetto II to his parents.

– Olli Mustonen theme descends to near-inaudibility. When this sonata was published in 1806, a reviewer–aware of the new directions Beethoven was taking music–tried to offer some measure Piano Sonata in F Minor, Opus 57 “Appassionata” of this movement: “Everyone knows Beethoven’s way when writing a large-scale sonata . . . In the first movement of this Born December 16, 1770, Bonn Sonata (15 pages in 12/8 time) he has once again let loose Died March 26, 1827, Vienna many evil spirits . . .”

Approximate Duration: 24 minutes The second movement, a theme and four variations marked Andante con moto, brings a measure of relief. The Between May and November 1803, Beethoven theme, a calm chordal melody in two eight-bar phrases, sketched the Eroica, a symphony on a scale never before is heard immediately, and the tempo remains constant imagined. Nearly half an hour longer than his Second throughout, though the variations become increasingly Symphony, Beethoven’s Third thrust the whole conception complex, increasingly ornate. Beethoven insists that the of the symphony–and sonata form–into a new world, in gentle mood remain constant–in the score he keeps which music became heroic struggle and sonata form the stage for this drama rather than an end in itself. It was a world of new dimensions, new sonorities, new possibilities

OLLI MUSTONEN

LUDWIG VAN BEETHOVEN

858.459.3728 • WWW.LJMS.ORG | 25

GENIUS FROM FINLA ND: OLLI MUSTONEN — PROGRAM NOTES

reminding the pianist to play dolce, and even the swirls of 32nd-notes near the end remain serene. The sonataform finale, marked Allegro ma non troppo, bursts upon the conclusion of the second movement with a fanfare of dotted notes, and the main theme, an almost moto perpetuo shower of sixteenth-notes, launches the movement. The searing energy of the first movement returns here, but now Beethoven offers a repeat of the development rather than of the exposition. The fiery coda, marked Presto, introduces an entirely new theme.

Beethoven offered no program for this sonata, nor will listeners do well to try to guess some external drama being played out in the Appassionata. Sir Donald Francis Tovey, trying to take some measure of this sonata’s extraordinary power and its unrelenting conclusion, has noted: “All his other pathetic finales show either an epilogue in some legendary or later world far away from the tragic scene . . . or a temper, fighting, humorous, or resigned, that does not carry with it a sense of tragic doom. [But in the Appassionata] there is not a moment’s doubt that the tragic passion is rushing deathwards.” That may be going too far, but it is true that–in sharp contrast to the shining, exultant conclusions of the Eroica, Fidelio, and the Fifth Symphony–this sonata ends with an abrupt plunge into darkness.

he published his first examples, Beethoven was willing to experiment. These sonatas are in four movements rather than three, and the “extra” movement–the third–is in the second two sonatas a scherzo rather than the minuet of classical form.

The second sonata of this set, in A major, was a great favorite of the young composer. Its opening movement is marked Allegro vivace, but it leaves the impression not so much of speed as of a sort of delicacy: both its principal themes are presented quietly–the flowing second, marked espressivo, arrives in the completely unexpected key of E minor–and only occasionally does Beethoven break this mood with louder outbursts. The development is active, and along the way Beethoven demands some tricky canonic writing before the movement fades into silence. The second movement has an unusual marking, Largo appassionato, and Beethoven creates an orchestra-like sonority with the pianist’s left-hand staccato accompaniment, much like a pizzicato bass line in an orchestra. Over this, Beethoven offers a chorale-like main melody, which returns in various forms as the movement proceeds. The Scherzo features flourishes of high sixteenth-notes; this precise but gentle scherzo surrounds a flowing trio in A minor. The last movement also has an unusual marking–Rondo: Grazioso.

It is a moderately-paced rondo (rather than the expected Piano Sonata in A Major, Opus 2, No. 2 fast one), and Beethoven builds the rondo tune on a great upward flash: the right hand streaks upward, then falls back to the amiable concluding part of the phrase. This upward Approximate Duration: 24 minutes gesture returns in many forms, and several times Beethoven breaks its flow with turbulent episodes that drive boldly Beethoven’s Opus 1–his first official publication in forward along triplet rhythms. Always, though, the gentle Vienna–was a set of three piano trios on which he had spirit of the rondo tune returns, and finally–like the first worked for several years: he had them performed and movement–the finale fades into silence. refined them carefully before he allowed them to be Beethoven liked this sonata enough that he took it on published in 1795. Perhaps not surprisingly, he turned tour with him to other cities, and he did something with this to his own instrument, the piano, for his Opus 2, and music he rarely did: he performed individual movements again their appearance followed a long period of private from it. The Bohemian composer-pianist Václav Tomášek performance and careful revision. When the sonatas were published in March 1796, they bore a dedication to Haydn, heard Beethoven play in Prague late in 1798, two years after publishing his Opus 2 sonatas, and his account makes clear but Beethoven would not identify himself as a “Pupil of Haydn” on the title page, as the older composer wished him not only the brilliance of Beethoven’s playing but also the composer’s particular favorites among the movements of to do: Beethoven may have respected his former teacher, but he remained ambivalent as to how much he had learned this sonata: on that occasion Beethoven played the Largo and from Haydn and refused to acknowledge the connection in the Rondo by themselves. the published score (much later, when Beethoven had firmly established his own reputation, he could speak of Haydn with the reverence which he truly felt).

The three sonatas of Opus 2 represent Beethoven’s first official effort to master classical piano sonata form (he had written several piano sonatas as student works), but even as

LUDWIG VAN BEETHOVEN

26 | LA JOLLA MUSIC SOCIETY

GENIUS FROM FINLAND: OLLI MUSTONEN — PROGRAM NOTES

Piano Quintet

OLLI MUSTONEN Approximate Duration: 20 minutes

My Piano Quintet consists of three movements. The first movement is filled with drama and passion. Its atmosphere can be seen to be related to my Second Symphony “Johannes Angelos” – a work that has been inspired by a historical novel taking place in the middle of the turbulent times during the last months of the Byzantine Empire in Constantinople. The second movement is a set of polyphonical variations in a form reminiscent of a passacaglia. The music seems to be hypnotized by a theme consisting of a chromatic cluster of ten notes. Finally the passacaglia winds down to a long, single low G-sharp played by the first violin. In the beginning of the last movement, material from the previous movements starts to reappear, but this time in a mysterious, almost non-coherent way. It seems as if the music is searching a way forward, but in vain.

Finally only bell-like chords in the piano part remain. The strings, one at a time, find new kind of music, that resembles fragments of a hymn – at first hesitantly, but soon gaining in strength and confidence. Fast-moving triplets start to appear and the music reaches a joyful and ecstatic conclusion.

– Olli Mustonen Recommended Listening Mustonen, Olli. Triple Concerto; Nonets 1 & 2; Petite Suite. Elisabeth Batiashvili, Jaakko Kuusisto, Pekka Kuusisto, Olli Mustonen, Martti Rousi, Tapiola Sinfonietta.

Alliance. ASIN: B00005K3PN, [2001] Beethoven, Ludwig. Piano Concertos Nos 4 & 5. Olli Mustonen. Ondine. ASIN: B002N5KES8, [2009]

858.459.3728 • WWW.LJMS.ORG | 27

Miró Quartet

Prelude 7 PM Lecture by Scholar-in-Residence Eric Bromberger Hungary may be a small nation, but musically it is a superpower, and the impact of Hungary on musical life in America has been profound. This program of music by that nation’s three greatest composers–Liszt, Kodály, and Bartók–will bring a wide range of Hungarian music, from folk melodies to blistering virtuosity to what is perhaps the twentieth century’s finest string quartet.

La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

28 | LA JOLLA MUSIC SOCIETY

IN THE HEART OF HUNGARY Tuesday, August 8, 2017 · 8 PM

UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL LISZT

Grand Duo Concertant sur la romance de M. Lafont “Le marin,” S.128 (1852)

David Chan, violin; Olga Kern, piano KODÁLY Duo for Violin and Cello, Opus 7 (1914) (1882-1967) Allegro serioso, non troppo Adagio Maestoso e largamente, ma non troppo lento; Presto

Glenn Dicterow, violin; Robert deMaine, cello

INTERMISSION BARTÓK Falun, Village Scenes, Sz.78 (1924) (1881-1945) Ej! hrabajže len (Haymaking) Letia pávia, letia (At the Bride’s) A ty Anˇca krásna (Wedding) Beli žemi, beli (Lullaby) Poza búˇcky, poza peˇn (Lads’ Dance)

Lyubov Petrova, soprano; Michelle Naughton, piano BARTÓK String Quartet No. 4, Sz.91 (1928)

Allegro Prestissimo, con sordino Non troppo lento Allegretto pizzicato Allegro molto

Miró Quartet Daniel Ching, William Fedkenheuer, violins; John Largess, viola; Joshua Gindele, cello (1811-1886)

IN THE HEART OF HUNGARY — PROGRAM NOTES

Program notes by Eric Bromberger

Duo for Violin and Cello, Opus 7

Grand Duo Concertant sur la romance de M. Lafont “Le marin,” S.128

Born December 16, 1882 Kecskemét, Hungary Died March 6, 1967, Budapest

FRANZ LISZT

ZOLTÁN KODÁLY Approximate Duration: 25 minutes

Born October 22, 1811, Raiding Died July 31, 1886, Bayreuth

In the early years of the twentieth century, Zoltán Kodály and Béla Bartók set out to discover and explore the folk music of Eastern Europe. They traveled widely, We do not normally associate the name Franz Liszt writing down the songs they heard and–when possible– with chamber music–the intimate and restrained nature recording them on primitive recording devices. There exists of chamber music seems far removed from the extroverted a wonderful photograph of the ever-formal Bartók, in suit virtuosity of much of of Liszt’s music. But he did write a and tie, with peasants in a Transylvanian village, where he small number of works for chamber ensembles. During the is directing a peasant woman to sing into the horn of an mid-1830s, when Liszt–then in his twenties–was based in early recorder. Bartók and Kodály would later assimilate Paris and making his career as a virtuoso pianist, he met the the folk idioms of Eastern Europe into their own individual French violinist and composer Charles Philippe Lafont compositional styles, and Kodály’s Duo for Violin and Cello is (1781-1839). Out of this friendship came a piece we know one of the works that shows this influence most strongly. today as Liszt’s Grand Duo Concertante, though evidence Written in 1914, soon after Kodály had returned from a suggests that it was composed as a collaboration between trip gathering Magyar folksongs, the Duo was first performed the two men. They probably performed the Grand Duo in at an all-Kodály concert in Budapest on May 7, 1918, by the Paris, but the music was still in manuscript when Lafont was musicians for whom it was written: violinist Imre Waldbauer killed in 1839 when his carriage overturned. Liszt retained and cellist Jenö Kerpely. The combination of violin and cello his affection for this music, however, and he returned to it is rare, and it presents special problems for the composer. in 1849 and revised it. The Grand Duo was finally published in The violin and cello have similar voices, but they are linear, 1852, nearly two decades after it had been first composed. melodic instruments, and their combination lacks the rich The title Grand Duo Concertante suggests a virtuoso work, harmonic foundation that a piano would provide. With such and this is indeed virtuoso music: it is beautifully written limited resources, the composer must create music varied for both instruments, both instruments have cadenza-like enough to maintain interest. passages along the way, and the idiomatic writing for violin Kodály solves these problems ingeniously. First, he suggests that Lafont had a great deal to do with creating makes extensive use of folk material, quoting actual peasant that part. While the Grand Duo may be a virtuoso piece, it dances and children’s songs and writing themes of his takes the form of a set of variations, and those variations own that depend heavily on Magyar folk idioms. Second, are based on the song Le marin (“The Sailor”) by Lafont he writes brilliantly for the instruments. Waldbauer and himself. A dramatic and substantial introduction leads to Kerpely were virtuoso musicians, and Kodály had their Lafont’s gentle melody, stated first by the violin and then abilities in mind when he wrote music that leaps between taken up by the piano. Four variations follow, and these give the two instruments, soars through their complete ranges, both performers plenty of opportunity to shine. The Grand and is full of rhythmic freedom and bright color. And finally Duo is rounded off by a lengthy finale, and Lafont’s original he uses the two instruments to suggest a harmonic context melody makes a brilliant reappearance in the course of the for the music. Kodály’s music is never genuinely dissonant, rush to the close. for it remains locked around tonal centers, but the Duo bends traditional key signatures even as it works to suggest them–such harmonic freshness is part of the music’s appeal.

The very beginning of the Duo is a perfect illustration of Kodály’s method. It opens with the cello’s soaring, heroic theme, which is punctuated by violin chords that provide the harmonic context. But within seconds the instruments exchange roles: now the violin sings while the cello Approximate Duration: 15 minutes

858.459.3728 • WWW.LJMS.ORG | 29

IN THE HEART OF HUNGARY — PROGRAM NOTES

accompanies with arpeggiated chords. This movement, in sonata form, is full of soaring melodies, bright instrumental colors, and vital rhythms.

The cello opens the Adagio with a long and quiet theme.

The development, fugal at times, takes the violin into its highest register before the quiet close. The last movement begins with a solo for the violin so free in rhythm that it seems at first like a fantasia. But the cello quickly enters, and the slow introduction gives way to a very animated movement. This concluding Presto contains a children’s song collected by Kodály on one of his folksong-gathering tours.

Falun, Village Scenes, Sz.78

BÉLA BARTÓK

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

Approximate Duration: 13 minutes

In the early 1920s Bartók went through a transitional period, both as artist and as individual. After completing his two rigorous violin sonatas in 1921-22, he stopped composing for several years, content to rest and restore his creative freshness. He used this time to organize the 2500 Slovak songs he had collected in the Zólyom district of northern Hungary in 1915-16. There were changes in his personal life in these years, as well. In 1923 Bartók divorced his first wife and married one of his piano students, the 20-year-old Ditta Pásztory. Their son Peter was born the following summer, and in the happy afterglow of his new marriage and the birth of a son, Bartók composed Village Scenes, a cycle of five songs for soprano and piano, based on some of the Slovak songs he had just organized and depicting a young girl’s progress from youth through marriage to motherhood. Bartók completed Village Scenes in December 1924, but the music had to wait two years for its première, which soprano Mária Basilides and the composer gave in Budapest on December 8,1926. Bartók dedicated Village Scenes to his young wife.

The topic of a girl’s progress from childhood through marriage has been a fertile one for composers. Schumann’s Frauenliebe und -leben (1840) is one of the best examples, but a more recent example was probably on Bartók’s mind when he composed Village Scenes. Stravinsky’s Les Noces had been premièred only the year before, in 1923, and Bartók very much admired Les Noces, with its rugged depiction of a peasant wedding. Les Noces may have been on Bartók’s mind when he conceived his own wedding cycle, but musically Village Scenes is quite different from the Stravinsky score. Bartók does without the ritualized

30 | LA JOLLA MUSIC SOCIETY

chanting and massive percussion effects of Les Noces and in their place offers a greater emphasis on melody and clarity of presentation. While he uses authentic Slovak songs as the basis for his own composition, Bartók does not simply arrange those songs for voice and piano. Instead, these are re-compositions, often based on motivic development– Bartók remains true to the idiom and the melodies of the folk music he loved so much, but those are only the starting point for his own music.

If Bartók does without the chanting of the Stravinsky score, he nevertheless relies on a different vocal technique, parlando, in which singers’ words mirror the inflections and accents of speech. The first two songs make use of this technique: the soprano sings/speaks her line above bare chordal accompaniment from the piano. In the first song, Haymaking, the girl daydreams as she stands with her rake in a field. The second, At the Bride’s, is a more reserved song as she looks ahead to her wedding. The third song, The Wedding, is the one most like Les Noces. Here Bartók combines two different Slovak songs to create a multilayered portrait of conflicting emotions: in the quiet music the bride looks back on her girlhood (now put aside forever), while in the fast music the wedding guests celebrate noisily.

In Cradle Song, the young mother sings her infant to sleep; she is both overpowered by her love for the baby and stung by the knowledge that at some point he too will marry and leave her. Lads’ Dance, an exuberant and rhythmic portrait of happy children at play, completes the cycle.

A NOTE ON TITLES: This piece is invariably referred to by the title Village Scenes, but its official title is Falun, a term that in Hungarian refers to the most extreme sort of rural community, one made up of just a few structures. That clearly was the sort of setting Bartók had in mind for these songs. And Bartók’s Village Scenes should not be confused with his Three Village Scenes. In 1925 Serge Koussevitzky asked Bartók for a piece, and the composer responded by re-scoring the final three songs for small woman’s chorus and chamber orchestra. Koussevitzky led the première of Three Village Scenes in New York City on February 1, 1927.

IN THE HEART OF HUNGARY — PROGRAM NOTES

String Quartet No. 4, Sz.91

BÉLA BARTÓK

Approximate Duration: 23 minutes

Bartók’s Fourth String Quartet of 1928 is a work of extraordinary concentration. Over its brief span, materials that at first seem unpromising are transformed into music of breathtaking virtuosity and expressiveness. Bartók’s biographer Halsey Stevens suggests that the Fourth “is a quartet almost without themes, with only motives and their development,” and one of the most remarkable things about the Fourth Quartet is that virtually all of it is derived from a simple rising-and-falling figure announced by the cello moments into the first movement. Bartók takes this six-note thematic cell through a stunning sequence of changes that will have it appear in an almost infinite variety of rhythms, harmonies, and permutations. So technical a description makes this music sound cerebral and abstract. In fact, the Fourth Quartet offers some of the most exciting music Bartók ever wrote.

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–the form here is palindromic. At the center of this five-movement quartet is a long slow movement, which Bartók described as “the kernel” of the entire work. Surrounding that central movement are two scherzos (“the inner shell”) built on related material, and the entire quartet is anchored on its powerful opening and closing movements (“the outer shell”), which also share thematic material. There is a breathtaking formal balance to the Fourth Quartet, and that balance is made all the more remarkable by its concentration: the entire five-movement work spans only 23 minutes.

Bartók’s Third Quartet had seen a new attention to string sonority, but the Fourth takes us into a completely new sound-world. It marks the first appearance of the “Bartók pizzicato” (the string plucked so sharply that it snaps off the fingerboard), but there are many other new sounds here as well: strummed pizzicatos, fingered ninths, chords arpeggiated both up-bow and down-bow. If the Third Quartet had opened up a new world of sound for Bartók, in the Fourth he luxuriates in those sounds, expanding his palette, yet employing these techniques in the service of the music rather than as an end in themselves.

Many observers have been tempted to describe the outer movements of the Fourth Quartet as being in sonata

form, and it is true that they are structured–generally–on the notion of exposition, development, and recapitulation.

But to try to push these movements into a traditional form is to violate them. The outer movements of the Fourth Quartet do not divide easily into component sections, and in fact the entire quartet is characterized by a continuous eruption and transformation of ideas. Themes develop even as they are being presented and continue to evolve even as they are being “recapitulated.” For Bartók, form is a dynamic process rather than a structural plan.

The Allegro opens with an aggressive tissue of terraced entrances, and beneath them, almost unobtrusively, the cello stamps out the quartet’s fundamental thematic cell in the seventh measure. This tight chromatic cell (all six notes remain within the compass of a minor third) will then be taken through an infinite sequence of expansions: from this pithy initial statement through inversions, expansions to more melodic shapes, and finally to a close on a massive restatement of that figure.

If the outer movements are marked by a seething dynamism, the three interior movements takes us into a different world altogether. Bartók marks the second movement Prestissimo, con sordino and mutes the instruments throughout. The outer sections are built on the opening theme, which is announced by viola and cello in octaves.

The central section, which does not relax the tempo in any way, rushes through a cascade of changing sonorities– glissandos, pizzicatos, grainy sul ponticello bowing–before the return of the opening material. This movement comes to a stunning close: glissandos swoop upward and the music vanishes on delicate harmonics.

At the quartet’s center lies one of Bartók’s night-music movements. Textures here are remarkable. At the beginning Bartók asks the three upper voices–the accompaniment–to alternate playing without and with vibrato: the icy stillness of the former contrasts with the warmer texture of vibrato.

Beneath these subtly-shifting sonorities, the cello has a long and passionate recitative that has its roots in Hungarian folk music, and the first violin continues with a series of soaring trills suggestive of bird calls.

The fourth movement is the companion to the second, this one played entirely pizzicato. The viola’s main theme is a variant of the principal theme of the second movement, here opened up into a more melodic shape. This use of pizzicato takes many forms in this movement: the snapped “Bartók pizzicato,” arpeggiated chords, strummed chords, glissandos.

858.459.3728 • WWW.LJMS.ORG | 31

DEDINSKÉ SCÉNY — SONG TRANSLATION

Brutal chords launch the final movement. This is the counterpart to the opening movement, but that opening Allegro is now counterbalanced by this even faster Allegro molto. Quickly the two violins outline the main theme, a further variation of the opening cell, which returns in its original form as this music dances along its sizzling way.

As if to remind us how far we have come, the quartet concludes with a powerful restatement of that figure.

Recommended Listening Bartók, Béla. Bartók: The 6 String Quartets. Takács Quartet. Decca. ASIN: B0000042GU, [1998] Liszt, Franz. Liszt: Works for Violin and Piano Complete. Barnabás Kelemen, Gergely Bogányi. Hungaroton. ASIN: B00Q3W2H28, [2014] Kodály/Ravel. Great Duos for Violin & Cello. David Chan, Rafael Figueroa. Elysium Recordings, Inc. ASIN: B00IPMFNRA, [2014]

BÉLA BARTÓK

Falun, Dedinské Scény Falun, Village Scenes Slovak Folksongs for Female Voice and Piano Words and Melodies from the Zvolen District I.

Pri hrabaní Ej! Hrabajže len, hrabaj To želenô seno!

Ei! Ja by ho hrabala, Nemám nakoseno.

Haymaking Ai! Rake it now, rake it now, Rake up the new-mown hay!

Ai! I’d gladly rake it now, If you had sown some more.

Ej! Hrabala, hrabala, Čerta nahrabala; Ej! Od vel’kého spania Hrable dolámala, Ej, hrable dolámala.

Ai! Don’t you stop raking now, You have not done your work, All because, from sleepiness, You went and broke your rake, Ai! You went and broke your rake.

II.

Pri Neveste Letia pávy, letia, Ej, Drobnô peria tratia,

At the Bride’s Proud the peacocks flutter, Ai! Shimmering all their feathers,

Devča si ho, sbiera Mesto svojho peria.

Pretty maiden takes them Fills the clean white pillows.

Sbieraj si ho sbieraj, Ej, Ved’ti treba bude,

Take them, maiden, take them, Ai! You’ll soon need these feathers,

Janikovo líčko Na ňom lí’hat’ bude, Ej, bude.

For upon these pillows Will your lover’s head rest, Ai, just wait.

III.

Svatba A ty Anča krásna, Už vo voze kasňa, Na kasni periny: Už t’a vyplatili, Na kasni periny: Už t’a vyplatili.

Hi-ji-ji-ji-ji-ji-ji-ji-ji-ji-ji!

Wedding Annie, in your boxes On the wagon carried, There’s fine clothes and bedding: All for when you’re married, There’s fine clothes and bedding: All for when you’re married.

Ai-ya-ya-ya-ya-ya-ya-ya-ya-ya-ya!

32 | LA JOLLA MUSIC SOCIETY

DEDINSKÉ SCÉNY — SONG TRANSLATION

A ztejto dediny Na druhú dedinu Idme opáčit’ Novotnú rodinu, Idme opáčit’ Novotnú rodinu.

To the bridegroom’s village, Fast as we are able, There we’ll drive, See his place, Get to know his people.

There we’ll drive, See his place, Get to know his people.

Kasňa je zjavora, Perina zpápera, A to švarnô devča: Už nemá frajera, A to švarnô devča: Už nemá frajera.

Hi-ji-ji-ji-ji-ji-ji-ji-ji-ji-ji!

Finest maple casket, Pillow stuffed with feather, Annie, pretty maiden: Now you have no lover, Annie, pretty maiden: Now you have no lover.

Ai-ya-ya-ya-ya-ya-ya-ya-ya-ya-ya!

Ked’ nemá frajera, Ale bude muža, Nebude prekvitat’, Ako v poli ruža, Nebude prekvitat’, Ako v poli ruža.

Now she has a husband; Though she’s lost a lover, She shall not, like a rose, Fade away and wither, She shall not, like a rose, Fade away and wither.

Ruža som ja, ruža, Pokým nemám muža; I’m a rose, a rose, but only when I’m single.

Ked’ budem mat’ muža, Spadne so mňa ruža, When I have a husband, Petals drop and shrivel, Ked’ budem mat’ muža, Spadne so mňa ruža. When I have a husband, Petals drop and shrivel.

Teraz sa ty, Anča, Teraz sa oklameš: My pôjdeme domov, A ty tu ostaneš, My pôjdeme domov, A ty tu ostaneš.

Say farewell and leave them: Off they go, full of joy, You must not go with them, Off they go, full of joy, You must not go with them.

Hojže hoja hoj, heja hoja, hojže hoj, Heja hoja hoja hojže hojže hoj!

Heya, hoya, ho; Ohey, heya, hoya ho.

Heya, hoya, heya, ho, heya, heya, ho!

IV.

Ukoliebavka Beli žemi, beli, Moj syn premilený Čima budeš chovat’, Ej, na moje stariee dni?

Lullaby Darling, slumber, slumber, Darling little baby!

When your mother grows old, Will you then take care of her?

Budem, manko, budem, Kým sa neožením; Aked’ sa ožením, Ej, potom vás oddelim.

I will take care of you, Mother, while I’m single; But when I am married, Soon I’ll go off and leave you.

Búvaj že mi, búvaj, Len ma neunúvaj! Čo ma viac unúvaš, M, Menej sa nabúvas.

Slumber, slumber, darling, Don’t give me more trouble, Soon you’ll quietly slumber, Mmm, Darling keep quiet, be still.

858.459.3728 • WWW.LJMS.ORG | 33

DEDINSKÉ SCÉNY — SONG TRANSLATION

M, Belej že sa, belej Na hori zelenej, Na hori zelenej, M, V košielki bielenej.

M, Košelôčka biela, Šila ju Mariška, Šila ju hodbábom.

M, Pod zeleným hájom.

Mmm, Go into the greenwood, Wear your white shirt, Let your little white shirt twinkle, Mmm, through the dark green branches.

Mmm, your white shirt that twinkles, Our old Mary sewed it for you in the green fields.

Mmm, She embroidered it with silk.

Beli že mi, beli Moj andelik biely, Len mi neuletej, Ej, do tej čiernej zeemi!

Darling, slumber, slumber, Baby, wee white angel, Don’t you ever leave me, Darling, never fly away!

Beli, beli že mi, beli……

Slumber, slumber, darling baby…..

V.

Tanec mládencov Poza búčky, poza peň, Pod’ že bratu, pod’že sem!

Poza búčky a klady, Tancuj šuhaj za mlady!

Lads’ Dance Little oak tree, grow up strong, Dance, young fellow, dance along!

Little oak tree breaks in two, Dance while life is free and new!

Štyri kozy, piaty cap, Kto vyskoči, bude chlap!

Ja by som bol vyskočil, Ale som sa potočil.

Hey, old goat, old Billy, dance, If you can, stand up and prance!

I tried prancing ere I could, Tripped and tumbled, ‘twas no good.

Hojže, hojže od zeme!

Kto mi kozy zaže nie A ja by ích bol zahnal, Ale som sa vlka bál.

Now, my lad, the time has come, Get the goats and drive them home!

Yes, I’d gladly drive them if Old wolf hadn’t scared me stiff.

A ja by ich bol zahnal, Ale som sa vlka bál, Ale som sa, Ale som sa vlka bál.

Yes, I’d gladly drive them if Old wolf hadn’t scared me stiff, Old wolf hadn’t, Old wolf hadn’t scared me stiff.

Hej hej hej hej hej hej Hej hej hej hej, hej hej hej!

Hey ho, hey ho, hey ho hey, hey, hey, hey,

Poza búčky, poza peň,

Little oak tree, grow up strong,

Pod’že bratu, pod’že sem,

Dance, young fellow, dance along.

Hej, hej!

Hey, hey!

34 | LA JOLLA MUSIC SOCIETY

Glenn Dicterow

Wu Man

Prelude 7 PM Conversation with Lei Liang hosted by Tiffany Wai-Ying Beres Tiffany Wai-Ying Beres, Chinese art historian and curator hosts a conversation with composer and UC San Diego professor Lei Liang to explore the development of Chinese contemporary music. They will discuss how these new compositions are able to engage Asian musical heritage with Western traditions in a dynamic musical dialogue, and what it means to be a Chinese composer working today.

Tonight’s concert is sponsored by:

Twin Dragon Foundation La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

DaXun Zhang

THE POWER OF FIVE Wednesday, August 9, 2017 · 8 PM

UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL BEETHOVEN String Quintet in C Major, Opus 29 (1801) (1770-1827) Allegro moderato Adagio molto espressivo Scherzo: Allegro Presto; Andante con moto e scherzoso

Cho-Liang Lin, Kristin Lee, violins;

Toby Hoffman, John Largess, violas; Robert deMaine, cello XIAOGANG YE Gardenia for String Quartet and Pipa (2017) (b.1955) Wu Man, pipa;

Miró Quartet Daniel Ching, William Fedkenheuer, violins; John Largess, viola; Joshua Gindele, cello Co-Commissioned by La Jolla Music Society, the International Festival of Arts & Ideas and Chamber Music Northwest. Commissioned with support from Charles T. Clark.

Made possible by the Fund for the Future.

DVOˇRÁK

INTERMISSION

Quintet in G Major for Two Violins, Viola, Cello, and Doublebass, Opus 77 (1875, rev. 1888)

Allegro con fuoco Scherzo: Allegro vivace Poco andante Finale: Allegro assai

Glenn Dicterow, Chee-Yun, violins; Tien-Hsin Cindy Wu, viola;

Edward Arron, cello; DaXun Zhang, bass (1841-1904)

858.459.3728 • WWW.LJMS.ORG | 35

THE POWER OF FIVE — PROGRAM NOTES

Program notes by Eric Bromberger

brief phrases between first violin and cello in the quiet development. By contrast, the Scherzo: Allegro is full of power.

The bobbing, three-note figure of its main theme pounds String Quintet in C Major, Opus 29 through almost every bar–the ear hears it by implication even when it is not physically present. At the trio section, Born December 16, 1770, Bonn the first viola finally gets a chance to announce a theme, but Died March 26, 1827, Vienna this section rushes with no change of tempo right back to Approximate Duration: 33 minutes the scherzo. The ending of this movement–breathtaking in its suddenness–is a masterstroke.

Popular during the baroque period, the viola quintet– The Presto finale flies: over a steady murmur of string quartet with an additional viola–appeared less often sixteenth-notes in the other voices, the first violin soars and during the nineteenth century. Boccherini is reported to swirls. Some have found this music tempestuous, perhaps have composed 113 viola quintets, but Mozart wrote only six, Haydn none, and Beethoven only one. At the end of the anticipating the storm of the Pastoral Symphony of seven years later. The rush of music is interrupted several times: once by nineteenth century, Dvořák wrote three, Brahms two, and Bruckner one; the form seems virtually to have disappeared a powerful fugato and twice by a brief section–Andante con moto e scherzoso–in which the first violin dances gracefully and in the twentieth century.

The viola quintet is a very particular kind of music. The gravely above the other voices. addition of an extra mid-range voice not only makes for an unusually mellow sonority, it also creates a richer harmonic Gardenia for String Quartet and Pipa language than is possible with the quartet and allows the composer to set groups of instruments against each other Born September 23, 1955, Shanghai in a way impossible in the quartet. Among the greatest Approximate Duration: 15 minutes viola quintets are all six by Mozart, the present Beethoven quintet, and Dvořák’s Quintet in E-flat Major, Opus 97. It may Composed for string quartet and Pipa (a traditional be no coincidence that Mozart, Beethoven, and Dvořák all Chinese instrument), Gardenia”was commissioned in frequently played viola in chamber music performances.

2016. This work is among the subtropical plants series Beethoven wrote his Viola Quintet in 1801, between the of composer Xiaogang Ye’s works, in which include completion of his First and Second Symphonies. It was during “Enchanted Bamboo,” “Hibiscus,” “Datura,” “December this year that his hearing problems had become serious Chrysanthemum,” “Scent of Green Mango,” etc. These enough that Beethoven confessed them to a few of his works show the Southern-originated musician’s sensitivity closest friends, but nothing in this music reflects the terrible and attention to the natural environment in a country of the stress this knowledge was causing the composer. In fact, the Far East.

Viola Quintet is one of Beethoven’s most radiant scores, full “Gardenia” indistinctly means eternal joy in Chinese of sunlight even in its turbulent final movements. context. It is born in a moist natural environment with The very beginning of the Allegro moderato conveys a a kind of faintly fragrant scent; its white color is of high feeling of unusual spaciousness and calm. The opening aesthetic value to Asians. And it is usually used as food and theme, heard immediately in the first violin and cello medicine in South Asia. The gardenia honey is with mild over steady accompaniment, will dominate this sonatasweet and faint sweet. The Gardenia is also a city flower of form movement. It is worth noting that while this is Yueyang City, which is a quiet and distant small city located a viola quintet, neither viola is allowed a particularly in Hunan Province, in southern of China. When composing prominent role; the first violin remains the star of this show, this work, the composer adopted folk operas and folk songs introducing all themes and dominating the instrumental in the area of Yueyuang, showing his yearning and a sense texture. A second theme is introduced by violin duet, and of loss to the beautiful scenery in South China. the development is driven along by vigorous triplets. But the Co-Commissioned by La Jolla Music Society, the opening theme controls this movement, and at the close it International Festival of Arts & Ideas and Chamber pushes the coda forcefully to the cadence.

Music Northwest. Commissioned with support from The Adagio molto espressivo is ornate and elegant music, Charles T. Clark. Made possible by the Fund for the Future. with the first violin once again firmly at the center.

Particularly impressive here is the way Beethoven alternates

LUDWIG VAN BEETHOVEN

XIAOGANG YE

36 | LA JOLLA MUSIC SOCIETY

THE POWER OF FIVE — PROGRAM NOTES

Quintet in G Major for Two Violins, Viola, Cello, and Doublebass, Opus 77

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

Approximate Duration: 30 minutes

Early in 1875, Antonín Dvořák–at that time 33 years old and still a struggling and unknown musician–wrote a quintet for the unusual combination of string quartet plus doublebass. The Quintet was in five movements, and its composition was accelerated by Dvořák’s decision to incorporate the slow movement, Andante religioso, from an earlier (and abandoned) string quartet; Dvořák intended that this new work should be his Opus 18, but he did not publish it. Then–three years later–Dvořák became famous almost overnight when his first set of Slavonic Dances carried his name around the world. Over the next decade, as commissions and conducting assignments took him across Europe, Dvořák found himself in the happy position of trying to keep up with the many requests for more of his music. As a way of satisfying his publisher’s demands, Dvořák turned to music he had written earlier. One of the pieces that he remembered with some affection was the Quintet for strings, and in 1888–thirteen years after its composition–Dvořák returned to this music and thoroughly revised it, excising the Andante religioso movement in the process. He then sent the Quintet off to his publisher, Simrock, in Berlin. Simrock liked the music but did not want to seem to be publishing “old” music, so–over Dvořák’s loud protests–he published it with the misleadingly high opus number of 77, which makes it seem that this is a mature work, composed even later than the magnificent Seventh Symphony of 1885. In fact, the music should have been published with the opus number of 18: the published Quintet is the work of a young man that has been thoroughly revised by the more sophisticated composer that Dvořák became.

The Quintet in G Major is very attractive music, and only the unusual combination of instruments it requires has kept it from being performed more often. This music profits greatly from the richness the doublebass brings to its textures, and it sings with a full, deep sonority. The Allegro con fuoco opens with an introduction-like passage that foreshadows the shape of the main theme, which suddenly leaps ahead on its characteristic triplet rhythm. The second subject arrives on springing, staccato bows (Dvořák marks it leggiero: “light”) and in the completely unexpected key of F major–apparently the young composer did not feel that he should be bound by the rules of “proper” composition.

The opening theme dominates the full-throated development, though Dvořák builds the coda on the graceful second theme.

The two middle movements are particularly attractive.

The E-minor Scherzo dances along triplet rhythms, and this energetic opening is then set in nice relief by the violin’s somber second idea. This is not, however, the trio section, which arrives somewhat later on a flowing melody, again from the first violin; Dvořák rounds matters off with a repeat of the entire opening section. The Poco Andante, in C major, is endlessly (and effortlessly) lyric; its central section–which sends the first violin soaring high above pulsing accompaniment–is one of the joys of the Quintet, and once again Dvořák concludes with a reprise of the opening material, the music finally arriving on a quiet, radiant C-major chord. The Finale, which Dvořák specifies should be “Very fast,” is spirited and amiable. Its central theme has some of the shape of the main theme of the Scherzo, but this movement is more remarkable for its boundless energy: dotted rhythms, sforzando attacks, resounding unisons, and great chords all help power this attractive music along its way.

Recommended Listening Beethoven/Mozart/ Dvoˇrák. Mozart; Beethoven; Dvoˇrák: String Quintets.

Pinchas Zukerman, Guarneri Quartet. RCA Red Seal. ASIN: B001R5WY9C, [2009] Ye, Xiaogang. Xiaogang Ye: Symphony No. 3, Op. 46 “Chu” & The Last Paradise, Op. 24. Hila Plitmann, Cho-Liang Lin, José Serebrier, Royal Philharmonic Orchestra.

BIS. ASIN: B01FLEF5D6, [2016] Dvoˇrák, Antonín. Dvoˇrák, A.: Serenade, Op. 44 / String Quintet, Op. 77.

Gary Hoffman, Edgar Meyer, Ani Kavafian, Paul Neubauer, Joseph Silverstein.

The Chamber Music Society of Lincoln Center. Delos. ASIN: B003GIUAN0, [1995]

858.459.3728 • WWW.LJMS.ORG | 37

Margaret Batjer

Toby Hoffman

Musical Prelude 7 PM Rodin Trio performs Mendelssohn’s Piano Trio in D Minor See pages 74-75 La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

Edward Arron

Kristin Lee

CELEBRATING STRINGS Friday, August 11, 2017 · 8 PM

UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL SPOHR

Double Quartet No. 1 in D Minor, Opus 65 (1823) Allegro Scherzo: Vivace Larghetto Allegretto molto

Kristin Lee, Cho-Liang Lin, violins;

Tien-Hsin Cindy Wu, viola; Edward Arron, cello;

Miró Quartet Daniel Ching, William Fedkenheuer, violins; John Largess, viola; Joshua Gindele, cello KODÁLY Serenade for Two Violins and Viola, Opus 12 (1919-20) (1882-1967) Allegramente Lento, ma non troppo Vivo

Margaret Batjer, Kristin Lee, violins; Tien-Hsin Cindy Wu, viola (1784-1859)

INTERMISSION

MENDELSSOHN Octet for Strings in E-flat Major, Opus 20 (1825) Allegro moderato, ma con fuoco Andante Scherzo: Allegro leggierissimo Presto

Yura Lee, Margaret Batjer, violins;

Toby Hoffman, viola; Robert deMaine, cello;

Ulysses Quartet Christina Bouey, Rhiannon Banerdt, violins; Colin Brookes, viola; Grace Ho, cello (1809-1847)

38 | LA JOLLA MUSIC SOCIETY

CELEBRATING STRINGS — PROGRAM NOTES

Program notes by Eric Bromberger

Double Quartet No. 1 in D Minor, Opus 65

LUDWIG SPOHR April 5, 1784, Brunswick Died October 22, 1859, Kassel

Approximate Duration: 20 minutes

Though his name has almost vanished from concert halls today, a century and a half ago Ludwig Spohr was one of the most respected musicians in the world. A virtuoso violinist, a composer, and a conductor (one of the first to use a baton), Spohr was a colleague of most of the important musicians active during the 75-year span of his life. A close friend of Beethoven (Spohr played in the orchestra that gave the première of Beethoven’s Seventh Symphony in 1813), Spohr later worked with Weber, Mendelssohn, Schumann, Liszt, and Wagner. He was a prolific composer (ten operas, ten symphonies, fifteen violin concertos, and numerous other works), and these were widely performed during his lifetime. But after Spohr’s death, this music–much influenced by Mozart and the early romantic composers– drifted into obscurity.

Though Spohr wrote nearly forty string quartets, he was particularly attracted to chamber music for large ensembles: he composed a nonet, an octet, a septet, a string sextet, and seven quintets. But perhaps the most unusual of his large chamber works are his four double quartets. Though these have the same instrumentation as a string octet (four violins, two violas, and two cellos), Spohr was adamant that the double string quartet was a completely different form.

Writing some years later, he looked back and distinguished his double quartets from the Octet of Felix Mendelssohn (heard later on this program), which had not been written when Spohr composed his first double quartet: “an octet for stringed instruments by Mendelssohn-Bartholdy belongs to quite another kind of art, in which the two quartets do not concert and interchange in double choir, with each other, but all eight instruments work together.”

Spohr’s distinction points to his unique treatment of this ensemble: his double string quartets are composed for two separate string quartets. The two quartets are physically separated, and while occasionally they share the same music, most often they play separately. Spohr felt those grand unison passages should be kept to a minimum–he conceived this music so that (in his words) the “two quartet parties sitting close together should be made to play one piece of music, and keep in reserve the eight-voice play for the chief parts of the composition only.” Between 1823

and 1847, Spohr wrote four double string quartets, and if this music has dropped out of sight today, it was once much favored by outstanding musicians. Joseph Joachim enjoyed playing these pieces (he called them “great fun”), and Jascha Heifetz performed and recorded the Double Quartet No. 1 in D Minor heard on this concert.

When Spohr composed his first double quartet, he was still feeling his way with the new form, and everyone notes that the first quartet has a more prominent part in this music than the second, which is often relegated to an accompanying role. But already Spohr is alert to the possibilities for antiphonal effects with such an ensemble: passages are tossed back and forth between the two quartets, and Spohr takes care to contrast individual passages with passages stamped out in unison by all eight players.

It is on such a grand unison passage that the opening Allegro bursts to life. But quickly the first quartet takes the lead–there is more lyric secondary material, and the movement develops in sonata form, complete with exposition repeat and a brief coda to round it off. The sparkling Scherzo dances gracefully, while its trio section offers individual solo passages to members of the first quartet while the second quartet supplies a pulsing accompaniment. The Larghetto is quite short–it is a brief lyric interlude among the fast movements, and in the opening measures Spohr deploys his forces to make some nice antiphonal exchanges between the two quartets.

The concluding Allegretto molto is a brilliant sonata-form movement, and it demands some virtuoso playing from the first violin of the first quartet. Spohr wrote this part for himself, and it gives us some idea of how good a violinist he was–and why Heifetz liked this piece so much.

Serenade for Two Violins and Viola, Opus 12

ZOLTÁN KODÁLY

Born December 16, 1882, Kecskemét, Hungary Died March 6, 1967, Budapest

Approximate Duration: 20 minutes

This Serenade is for the extremely unusual combination of two violins and a viola, and Kodály may well have had in mind Dvořák’s Terzetto, Opus 74, the one established work for these forces. Kodály appears to have been strongly attracted by this combination: he wrote a Trio in E-flat Major for two violins and viola while still a teenager (a work he did not include in his official catalog) and returned to this combination for the present Serenade, composed in 1919-20 when he was in his late thirties.

858.459.3728 • WWW.LJMS.ORG | 39

CELEBRATING STRINGS — PROGRAM NOTES

This was an extremely difficult period for Kodály.

The post-war political turmoil in Hungary appeared to subside when a popular revolt established a democratic government, and Kodály took a position as deputy director of the Academy of Music in Budapest. The liberal government was short-lived, however: a repressive right-wing regime overthrew it after only four months and cracked down on anyone who had held a position of authority under it. The new government wanted to fire Kodály completely, but a stout defense by Bartók and Dohnányi prevented this; instead, the new regime could only put him on leave for a year, and it was during this year that he composed the Serenade.

One might expect music composed under such circumstances to be anguished or bitter, but quite the reverse is true: Kodály’s Serenade is vibrant music, a clear symbol of his ability to separate external events from his art.

Like so much of the best music of Kodály and Bartók, the Serenade fuses classical forms with Hungarian musical idioms.

Beyond this, the music appears to tell a story, and Kodály scholar László Eősze believes this Serenade is literally just that: a love song, a serenade sung by a suitor to a woman, and Eősze has made out what he feels is the program behind the music.

The marking for the first movement is unusual: Allegramente is an indication more of character than of speed–it means “brightly, gaily.” The movement opens immediately with the first theme, a sizzling duet for the violins, followed by a second subject in the viola that appears to be the song of the suitor; these two ideas are then treated in fairly strict sonata form. The second movement offers a series of dialogues between the lovers. The viola opens with the plaintive song of the man; this theme is reminiscent of Bartók’s parlando style, mimicking the patterns of spoken language. The first violin, taking the part of the woman, laughs at the man’s appeal: the violin replies to his heartfelt song with a rising series of chirping gracenotes in a passage Kodály marks ridendo: “laughing.” The main theme of the first movement makes a re-appearance in the course of this movement, which leaves the poor second violin in an accompanying role throughout: it has virtually non-stop tremolos. The brilliant final movement rounds things off by invoking the old Hungarian recruiting dance, the Verbunkos, at several points. Eősze believes this movement “confirms the understanding between lover and mistress, the light-hearted banter between viola and violin developing into a song of satisfied love; and the tale is brought to an end with an invigorating dance.”

40 | LA JOLLA MUSIC SOCIETY

Octet for Strings in E-flat Major, Opus 20

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

Approximate Duration: 32 minutes

It has become a cliché with a certain kind of critic to say that Mendelssohn never fulfilled the promise of his youth. Such a charge is a pretty tough thing to say about someone who died at 38–most of us would think Mendelssohn never made it out of his youth. And such a charge overlooks the great works Mendelssohn completed in the years just before his death: the Violin Concerto, the complete incidental music for A Midsummer Night’s Dream, and Elijah. But there can be no gainsaying the fact that the young Mendelssohn was a composer whose gifts and promise rivaled–perhaps even surpassed–the young Mozart’s. The child of an educated family that fully supported his talent, Mendelssohn had by age 9 written works that were performed by professional groups in Berlin.

At 12 he became close friends with the 72-year-old Goethe, at 17 he composed the magnificent overture to A Midsummer Night’s Dream, and at 20 he led the performance of the St. Matthew Passion that was probably the key event in the revival of interest in Bach’s music.

Mendelssohn completed his Octet in October 1825, when he was 16. One of the finest of his early works, the Octet is remarkable for its polished technique, its sweep, and for its sheer exhilaration. Mendelssohn’s decision to write for a string octet is an interesting one, for such an ensemble approaches chamber-orchestra size, and a composer must steer a careful course between orchestral sonority and true chamber music. Mendelssohn handles this problem easily. At times this music can sound orchestral, as he sets different groups of instruments against each other, but the Octet remains true chamber music–each of the eight voices is distinct and important, and even at its most dazzling and extroverted the Octet preserves the equal participation of independent voices so crucial to chamber music.

Mendelssohn marked the first movement Allegro moderato ma con fuoco, and certainly there is fire in the very beginning, where the first violin rises and falls back through a range of three octaves. Longest by far of the movements, the first is marked by energy, sweep, and an easy exchange between all eight voices before rising to a grand climax derived from the opening theme. By contrast, the Andante is based on the simple melody announced by the lower strings and quickly taken up by the four violins. This gentle melodic line becomes more animated as it develops, with accompanying

CELEBRATING STRINGS — PROGRAM NOTES

voices that grow particularly restless.

The Scherzo is the most famous part of the Octet.

Mendelssohn said that it was inspired by the closing lines of the Walpurgisnacht section near the end of Part I of Goethe’s Faust, where Faust and Mephistopheles descend into the underworld. He apparently had in mind the final lines of the description of the marriage of Oberon and Titania:

Clouds go by and mists recede, Bathed in the dawn and blended; Sighs the wind in leaf and reed, And all our tale is ended.

This music zips along brilliantly. Mendelssohn marked it Allegro leggierissimo–“as light as possible”–and it does seem like goblin music, sparkling, trilling, and swirling right up to the end, where it vanishes into thin air.

Featuring an eight-part fugato, the energetic Presto demonstrates the young composer’s contrapuntal skill.

There are many wonderful touches here. At one point sharp-eared listeners may detect a quotation, perhaps unconscious, of “And He Shall Reign” from the Hallelujah Chorus of Handel’s Messiah, and near the end Mendelssohn skillfully brings back the main theme of the Scherzo as a countermelody to the finale’s polyphonic complexity. It is a masterstroke in a piece of music that would be a brilliant achievement by a composer of any age.

Recommended Listening Spohr, Louis. Spohr, L.: Double String Quartets, Vol. 1 – Nos. 1 and 2. Forde Ensemble. Naxos. ASIN: B003X1G430, [2009] Mendelssohn, Felix. Mendelssohn, Felix: Sextet for Piano and Strings in D Major / String Octet in E-Flat Major (Lincoln Center Chamber Music Society). Edgar Meyer, Gary Hoffman, David Golub, Paul Neubauer, Toby Hoffman, Cho-Liang Lin. Delos.

ASIN: B001DZ1JCY, [2002]

858.459.3728 • WWW.LJMS.ORG | 41

SummerFest 2017 Gala Chair:

Katherine Chapin Picasso Sponsor:

Debbie Turner Chihuly Sponsor:

SUMMERFEST GALA Saturday, August 12, 2017

Joan and Irwin Jacobs

AT THE HOME OF JOAN & IRWIN JACOBS

O’Keefe Sponsors:

6 PM Champagne Reception 7 PM Chamber Music Concert

Mary Ann Beyster Katherine and Dane Chapin Twin Dragon Foundation UC San Diego La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

CHAUSSON Sicilienne from Concerto for Violin, Piano and String Quartet, (1855-1899) Opus 21

Cho-Liang Lin, violin; Scott Cuellar, piano;

Ulysses Quartet Christina Bouey, Rhiannon Banerdt, violins Colin Brookes, viola; Grace Ho, cello PIAZZOLLA “Spring” from Four Seasons of Buenos Aires (arr. for piano trio) (1921-1992) Rodin Trio Scott Cuellar, piano; Philip Marten, violin; Joshua Halpern, cello HANDEL/ Passacaglia for Violin and Cello HALVORSEN Kristin Lee, violin; Joshua Halpern, cello (1685-1759/ 1864-1935)

GINASTERA Danza de la Moza Donosa “Dance of the Beautiful Maiden” (1916-1983) Joseph Kalichstein, piano VIEUXTEMPS Souvenir d’Amerique (Variations on “Yankee Doodle”) (1820-1881) Kristin Lee, violin; Joseph Kalichstein, piano DVOˇRÁK Slavonic Dance Opus 46, No. 8 for Piano 4-Hands (1841-1904) Joseph Kalichstein, Scott Cuellar, piano

7:45 PM Seated Dinner 9 PM After-Party Dessert & Dancing 42 | LA JOLLA MUSIC SOCIETY

Kalichstein-Laredo-Robinson Trio

Ulysses Quartet performs Debussy’s String Quartet in G Minor, Op. 10 See pages 74-75

KALICHSTEIN-LAREDO-ROBINSON TRIO: 40 TH ANNIVERSARY

This afternoon’s concert is sponsored by:

Sunday, August 13, 2017 · 3 PM

Musical Prelude 2 PM

Julie and Bert Cornelison Many thanks to our Partner:

Catania Restaurant La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

The Kalichstein-Laredo-Robinson Trio* is represented by: Frank Salomon Associates Managing Associate: Barrie Steinberg 121 W. 27th Street, Suite 703, New York, NY 10001 The Kalichstein-Laredo-Robinson Trio records for: Bridge, Koch, Chandos, MCA Classics, Moss Music, and Dorian Records Website: kalichstein-laredo-robinson-trio.com Facebook: @kalichsteinlaredorobinsontrio

UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL Joseph Kalichstein, piano; Jamie Laredo, violin; Sharon Robinson, cello ZWILICH Pas de Trois (2016) (b.1939) Entrée Variata e Coda Pas de Trois was commissioned by a consortium of presenters through the International Arts Foundation: La Jolla Music Society, La Jolla, CA; Anne and Harry Santen for Linton Chamber Music, Cincinnati, OH; the Abe Fortas Memorial Fund of the John F. Kennedy Center for the Performing Arts, Washington, DC; Chamber Music Monterey Bay, Carmel, CA, Hudson Valley Chamber Music Circle; and Annandale-on-Hudson.

MENDELSSOHN Piano Trio in C Minor, Opus 66 (1845) (1809-1847) Allegro energico e con fuoco Andante espressivo Scherzo: Molto allegro quasi presto Finale: Allegro appassionato

INTERMISSION BRAHMS Piano Trio in B Major, Opus 8 (1853, rev. 1890) (1833-1987) Allegro con brio Scherzo: Allegro molto Adagio Allegro

858.459.3728 • WWW.LJMS.ORG | 43

KALICHSTEIN-LAREDO-ROBINSON TRIO — PROGRAM NOTES

Program Notes by Eric Bromberger, unless otherwise noted

Pas de Trois

ELLEN TAAFFE ZWILICH Born April 30, 1939, Miami

Approximate Duration: 16 minutes

It is hard to believe that Ellen Taaffe Zwilich, who was for many years “a leading young American composer,” will soon be 80. Zwilich was the first woman to win the Pulitzer Prize for Music–in 1983 for her Symphony No. 1–and over the last five decades she has become one of this country’s most successful and prolific composers. Her catalog of works lists five symphonies, numerous concertos (including many for unusual or unexpected combinations of instruments), orchestral works, chamber music, and vocal music. Trained as a violinist, Zwilich played for several years in the American Symphony Orchestra under Leopold Stokowski before deciding to devote herself full-time to composition.

She studied with Elliott Carter and Roger Sessions and was the first woman to earn a Doctorate of Musical Arts from Juilliard. Zwilich, who is a member of the American Academy of Arts and Sciences, served for some years as the Francis Eppes Distinguished Professor of Music at Florida State University, and in 1994 she was inducted into the Florida Artists Hall of Fame.

Zwilich has had a long and productive relationship with the Kalichstein-Laredo-Robinson Trio, and in fact Pas de Trois–premiered by the KLR Trio on September 18, 2016, in Cincinnati–is the sixth work she has composed for them.

The composer has written a program note for this piece: Pas de Trois was commissioned for the Kalichstein-Laredo-Robinson Trio in celebration of their 40th anniversary. I had the honor and pleasure of writing a Piano Trio to mark their 10th anniversary, and that was the beginning of a long and inspiring relationship. Since that time I’ve written a Double Concerto for Violin and Cello; a Triple Concerto for the Trio; a Septet for Piano Trio and String Quartet; and a Quintet for Violin, Viola, Cello, Double bass and Piano--all for my “musical family:” Joseph Kalichstein, Jaime Laredo, and Sharon Robinson.

My new piece, Pas de Trois, was designed to open a concert repeating the lengthy and intense program that brought the Trio together at the inauguration of President Jimmy Carter in 1977.

I decided to model this shorter work on the ballet tradition of pas de trois. In the 1st movement

44 | LA JOLLA MUSIC SOCIETY

(Entrée), the trio bounds onto the stage and engages in various interactions. The 2nd movement (Variata e Coda) gives each of the three a solo turn, followed by an ensemble conclusion.

Pas de Trois was commissioned by a consortium of presenters through the International Arts Foundation: Anne and Harry Santen for Linton Chamber Music, Cincinnati, OH; the Abe Fortas Memorial Fund of the John F. Kennedy Center for the Performing Arts, Washington, DC; Chamber Music Monterey Bay, Carmel, CA, Hudson Valley Chamber Music Circle, Annandale-on-Hudson, NY; and La Jolla Music Society for SummerFest, La Jolla, CA. Pas de Trois was written with great admiration and affection for the Kalichstein-Laredo-Robinson Trio, to whom it is dedicated. © Ellen Taaffe Zwilich, 2016

Piano Trio in C Minor, Opus 66

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

Approximate Duration: 30 minutes

Mendelssohn wrote his second and final piano trio in April 1845, just two years before his death at age 38.

This trio comes from between the composition of two of Mendelssohn’s best-known works–the Violin Concerto of 1844 and the cantata Elijah of 1846–and was completed only weeks after the première of the Violin Concerto on March 13, 1845. It is dedicated to the German composer-violinist Ludwig Spohr, whom Mendelssohn had met when he was a boy of 13 and Spohr was 38.

This music is anchored firmly on its stormy outer movements. The markings for these movement are important. Not content to name them simply Allegro, Mendelssohn makes his instructions more specific and dramatic: energico e con fuoco and appassionato. These qualifications are the key to the character of this music–one feels at climactic points that this piano trio is straining to break through the limits of chamber music and to take on the scope and sonority of symphonic music.

The piano immediately announces the dark, murmuring main theme of the first movement; this idea recurs continually through the movement, either rippling quietly in the background or thundering out fiercely.

Violin and cello share the soaring second theme, and the development is dramatic. By contrast, the Andante espressivo

KALICHSTEIN-LAREDO-ROBINSON TRIO — PROGRAM NOTES

brings a world of calm. The piano sings the main theme, a gently-rocking chordal melody in 9/8 time, and is soon joined by the strings. The propulsive Scherzo: Molto allegro quasi presto rockets along in dark G minor; a steady rustle of sixteenth-notes flavors the entire movement. The trio section switches to bright G major before the return of the opening material and a sudden close on quick, quiet pizzicato strokes.

The finale gets off to a spirited start with the cello’s lively theme, and unison strings share the broadly-ranging second idea. One of the interesting features of this movement is Mendelssohn’s use of the old chorale tune known in English as “Praise God from Whom All Blessings Flow,” first heard quietly in the piano. As the movement nears its climax, the chorale grows in power until–with piano tremolando and multiple-stopped strings–it thunders out boldly.

Piano Trio in B Major, Opus 8

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

Approximate Duration: 35 minutes

The Trio in B Major had a curious genesis: Brahms composed it twice. He wrote the first version in 1853, when he was only twenty, and the trio was played in that form for nearly forty years. Then late in life and at the height of his creative powers, Brahms returned to this work of his youth and subjected it to a revision so thorough that it amounted to a virtual re-composition. With characteristic understatement, Brahms said that his revision “did not provide it with a wig, but just combed and arranged its hair a little,” but a comparison of the two versions (both have been recorded) shows how greatly Brahms had refined his compositional techniques across the course of his career.

It was the development sections of the early version that bothered the mature Brahms most, and when he revised the trio, he kept the opening section of each movement virtually intact but wrote new second subjects for the first, third, and fourth movements. The development sections, which had been episodic and unfocused in the first version, became concise and economic in the second. Brahms had grown more adept not just at developing his material but also at creating themes capable of growth and change, and– as revised–the Trio in B Major combines some of the best features of early and late Brahms: his youthful impetuosity is wedded to an enormously refined technique. Brahms joked that perhaps he should change the opus number

from 8 to 108 but finally decided to let the original number stand, and that is misleading–far from being an early work, the later version offers some of his most mature and sophisticated music.

Cello and piano open the first movement with a theme of such characteristic breadth and nobility that anyone hearing it recognizes the composer immediately. In the first version, Brahms had included the violin in this opening statement; in the later version, he made this glowing melody slightly more concise and eliminated the violin. Also in the revision Brahms eliminated a complicated fugue from the development section.

The scherzo was the one movement that Brahms kept almost intact, only substituting a new coda for the original.

It is easy to understand Brahms’ affection for this music, with its propulsive opening rhythm and lyric second subject.

The Adagio profited greatly from revision, for Brahms composed a new second theme of such autumnal lyricism that it transforms this movement from the effort of a tentative beginner to the work of a master. The finale pulses darkly forward on dotted rhythms, and the conclusion is unusual in that the music ends not in the expected home key, but in B minor.

In its original form, the Trio in B Major was performed quickly and widely: the première took place in Danzig on October 13, 1855, and the first performance in America took place the following month, on November 27, 1855, in New York City. The violinist on that occasion was the twenty-year-old Theodore Thomas, who later moved to a raw town in the West and founded the Chicago Symphony Orchestra. The première of the revised version took place in Budapest on January 10, 1890.

Recommended Listening Zwilich, Ellen Taaffe. Passionate Diversions: A Celebration of Ellen Taaffe Zwilich.

The Kalichstein-Laredo-Robinson Trio. Azica Records. ASIN: B00J37ORXW, [2014] Brahms/Mendelssohn/Dvoˇrák. Kalichstein-Laredo-Robinson Trio — Plays Brahms • Mendelssohn • Dvoˇrák. Kalichstein-Laredo-Robinson Trio. VOX. ASIN: B001JL00J0, [2008]

858.459.3728 • WWW.LJMS.ORG | 45

Cho-Liang Lin

Jon Kimura Parker

The Complete Prelude 7 PM Lecture by Nuvi Mehta In the first of two lectures, Nuvi Mehta – himself a gifted violinist as well as music scholar – explores three of Beethoven’s Violin Sonatas, examining the astonishing freedom and spontaneity with which Beethoven developed a revolutionary compositional language that was to change music forever afterward.

Tonight’s concert is sponsored by:

Jian and Samson Chan La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

46 | LA JOLLA MUSIC SOCIETY

Violin Sonatas

BEETHOVEN I Tuesday, August 15, 2017 • 8 PM

UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL Cho-Liang Lin, violin; Jon Kimura Parker, piano BEETHOVEN Sonata in A Major for Violin and Piano, Opus 30, No. 1 (1802) (1770-1827) Allegro Adagio molto espressivo Allegretto con variazioni

Sonata in G Major for Violin and Piano, Opus 30, No. 3 (1802)

Allegro assai Tempo di Minuetto, ma molto moderato e grazioso Allegro vivace

INTERMISSION BEETHOVEN Sonata in C Minor for Violin and Piano, Opus 30, No. 2 (1802)

Allegro con brio Adagio cantabile Scherzo. Allegro – Trio Finale. Allegro

THE COMPLETE BEETHOVEN VIOLIN SONATAS: BEETHOVEN I — PROGRAM NOTES

Program Notes by Eric Bromberger

THE COMPLETE BEETHOVEN VIOLIN SONATAS Beethoven learned to play the violin as a boy, but the violin was never really “his” instrument. Beethoven was a pianist, and he became one of the greatest in Europe. But in that era it was expected that professional musicians would play both a keyboard and a stringed instrument. Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Dvořák, and Richard Strauss all played both the violin and piano, though several of them– including Beethoven–preferred the viola. Unfortunately, this sort of musical dexterity has pretty much vanished over the last century or so.

Beethoven may have been only a competent violinist, but his understanding of the instrument was profound, as his magnificent Violin Concerto, the string quartets, and his other chamber works make clear. At the center of Beethoven’s chamber music for violin are his ten sonatas. Some of Beethoven’s works (his symphonies, quartets, and piano sonatas) span his career, and we can trace his development as a composer in those forms.

But his violin sonatas do not span his career: he had written nine of the ten before he composed the “Eroica,” the work that led the way to what we call his “Heroic Style.” When Beethoven completed the “Kreutzer” Sonata in the spring of 1803, he was only 32 years old: he would live for more than twenty years and would write only one more violin sonata.

One thing becomes clear instantly as we listen to Beethoven’s Violin Sonatas: how well he wrote for both violin and piano. These are duo-sonatas in the best sense of the term–they feature idiomatic writing for both instruments, they are beautifully balanced, and they show us Beethoven beginning to experiment and expand the form, just as he was doing with the symphony and the string quartet. This year’s SummerFest brings the welcome and unusual opportunity to hear all ten of Beethoven’s violin sonatas, and perhaps it is just as well that they will not be performed in chronological order. Hearing early and later sonatas side-by-side will make Beethoven’s evolving sense of the possibilities of violin sonata even clearer. Spread out over these four concerts will be the three sonatas of his Opus 12, which at moments still trail the eighteenth-century conception of this music as primarily a keyboard sonata with violin accompaniment. We’ll hear the two sharply-contrasted sonatas of Opus 23 and Opus 24, in which each sonata takes on a much more individual character. The three sonatas of Opus 30 were written during the catastrophic summer of 1802 when Beethoven realized he was going deaf. Then comes the great leap forward with the “Kreutzer” Sonata. Beethoven knew he was getting into deeper waters with this sonata–he warned violinists that it was “written in a very concertante style, quasiconcerto-like.” And then after a pause lasting a decade, Beethoven wrote his last, his strangest, and perhaps his most wonderful violin sonata, the Tenth.

If only Beethoven had come back after still another decade and written one more violin sonata! In his final period Beethoven transformed our conception of what the piano sonata might be, and one late violin sonata might have done the same thing for that instrument. But it was not to be, and we’ll have to content ourselves with the ten sonatas we do have. This year’s SummerFest will let us hear those ten sonatas in all their variety, their growth, their power, and their beauty.

Three Sonatas for Violin and Piano, Opus 30

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

Beethoven liked to escape from hot Vienna to spend his summers in the countryside, and in April 1802 he moved to Heiligenstadt. Now a suburb of Vienna, Heiligenstadt was then a rural village, offering sunshine, streams and

meadows, and a view of distant mountains. Yet for all its physical comforts, this was an agonizing summer for Beethoven–he finally had to face the fact that his hearing problems would eventually mean total deafness. In an extraordinary letter to his two brothers that fall before he returned to Vienna–never sent and perhaps written for himself–Beethoven confessed that he had considered suicide that summer.

858.459.3728 • WWW.LJMS.ORG | 47

THE COMPLETE BEETHOVEN VIOLIN SONATAS: BEETHOVEN I — PROGRAM NOTES

But that summer proved extremely productive for the 31-year-old composer. In Heiligenstadt Beethoven completed the three violin sonatas of his Opus 30, the three piano sonatas of Opus 31, his Second Symphony, and several other works for piano. While there are occasional moments of turmoil in this music, this is in general some of the sunniest music–particularly the symphony–he ever wrote.

Beethoven was much too great an artist to let the events of his own life dictate or stain his art. He would have agreed completely with T.S. Eliot that the greater the artist, the greater the separation he makes between his life and his art, and one looks in vain (fortunately!) for suicidal impulses in the music Beethoven wrote during the summer of 1802.

Sonata in A Major for Violin and Piano, Opus 30, No. 1 Approximate Duration: 23 minutes

The first of these three sonatas–in A major–is the least familiar of the set. It is not stormy and dramatic like the second, nor brilliant like the third. This is music of neither flash nor dazzle, and in fact understatement is the key to its powerful appeal: the Sonata in A Major is music of quiet nobility. It is also apparently the sonata that gave Beethoven the most trouble; he had originally written a dramatic finale but discarded it and wrote a new final movement (the discarded movement later became the finale of the Kreutzer Sonata).

The Allegro grows smoothly out of the piano’s quiet opening figure, the violin entering as part of the same noble rising phrase. The second theme, announced first by the piano and quickly repeated by the violin, is flowing and melodic. This movement defies easy description.

Graceful and elegant it certainly is, and–despite some effective contrast of loud and soft passages–it remains gentle throughout; yet even this description does not begin to convey the grandeur of this music, which is all the more effective because it refuses to become brilliant or go to dramatic extremes.

The Adagio molto espressivo is built on the violin’s lovely opening melody. This movement sounds very much like Mozart’s cantabile slow movements–a long slow melody turns into a graceful arc of music. Beethoven gives the piano a quietly-rocking accompaniment, which later becomes quiet triplets. The last movement–Allegro con variazioni–is also very much in the manner of Mozart, who used theme-and-variation form for the last movement of several of his violin sonatas. Beethoven was right to reject his original finale–it would have overpowered the first two movements, and it now forms a proper conclusion to the

48 | LA JOLLA MUSIC SOCIETY

massive Kreutzer Sonata. The present finale is a perfect close for this sonata. The opening theme undergoes six variations, all easily followed, as this graceful music moves to its poised conclusion.

Sonata in G Major for Violin and Piano, Opus 30, No. 3 Approximate Duration: 18 minutes

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

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

Beethoven marks the second movement Tempo di Minuetto, but specifies ma molto moderato e grazioso. This is not the sort of minuet one might dance to, and the key signal is grazioso, for this is unusually graceful music. The beginning is wonderful. The piano has the haunting main theme, while the violin accompanies. But the violin accompaniment has such a distinct character that it is almost as if Beethoven is offering two quite different themes simultaneously. Both ideas are part of the development, interrupted at times by other episodes before the quiet close: the main theme breaks down into fragments and vanishes in a wisp of sound. The concluding Allegro vivace is a perpetual-motion movement: the piano launches things on their way, and both instruments hurtle through the good-natured finale.

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

THE COMPLETE BEETHOVEN VIOLIN SONATAS: BEETHOVEN I — PROGRAM NOTES

Sonata in C Minor for Violin and Piano, Opus 30, No. 2 Approximate Duration: 26 minutes

Recommended Listening Beethoven, Ludwig. Beethoven: Violin Sonatas. Enrico Pace, Leonidas Kavakos.

Decca. ASIN: B00AWN332M, [2013]

Beethoven, Ludwig. Beethoven: The Violin Sonatas. Itzhak Perlman, The choice of key for this sonata is important, for Vladimir Ashkenazy. Decca. ASIN: B000VHQ3DU, [2002] C minor was the key Beethoven employed for works of unusual intensity. The recently-completed “Pathetique” Sonata, Fourth String Quartet, and Third Piano Concerto were in C minor, and in the next several years Beethoven would use that key for the Funeral March of the Eroica, the Fifth Symphony, and the Coriolan Overture. The musical conflict that fires those works is also evident in this sonata, which is–with the Kreutzer Sonata–the most dramatic of Beethoven’s ten violin sonatas.

The opening movement is marked Allegro con brio, the same indication Beethoven would later use for the opening movements of the Third and Fifth Symphonies, and the sonata’s first movement has a dramatic scope similar to those symphonies. It opens quietly with a recurrent brooding figure that ends with a sudden turn, like the quick flick of a dragon’s tail. The violin soon picks this up and also has the second subject, which marches along clipped dotted rhythms. There is no exposition repeat, and Beethoven slips into the development quietly, but soon the energy pent up in these simple figures is unleashed–this dramatic music features massive chording by both instruments and drives to a huge climax.

By contrast, the Adagio cantabile opens with a melody of disarming gentleness, once again announced by the piano, and much of this movement sings gracefully. As it develops, however, the accompaniment grows more complex, and soon these murmuring runs begin to take over the music; Beethoven makes sharp dynamic contrasts before bringing the movement to a quiet close. The brief Scherzo: Allegro is full of stinging accents and rhythmic surprises; its trio section is a subtle variation of the movement’s opening theme, here treated in canon.

The Finale: Allegro returns to the mood of the opening movement–again there is a quiet but ominous opening full of suppressed energy that will later explode to life. This finale is in modified sonata-rondo form, and despite an occasional air of play and some appealing lyric moments, the movement partakes of the same atmosphere of suppressed tension that has marked the entire sonata. Beethoven brings it to a suitably dramatic close with a blazing coda marked Presto that remains resolutely in C minor.

858.459.3728 • WWW.LJMS.ORG | 49

Jennifer Koh

Shai Wosner

The Complete Prelude 7 PM Lecture by Nuvi Mehta The composition of Beethoven’s Violin Sonatas spans only fifteen years. Nuvi Mehta outlines the development of the characteristics that propelled Beethoven’s work toward the powerful combination of mastery and mystery found in the famous Opus 47 “Kreutzer” Sonata, a work that broke boundaries in both beauty and bravado.

Tonight’s concert is sponsored by:

Catherine and Jean Rivier La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

50 | LA JOLLA MUSIC SOCIETY

Violin Sonatas

BEETHOVEN II Wednesday, August 16, 2017 • 8 PM

UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL Jennifer Koh, violin; Shai Wosner, piano BEETHOVEN Sonata in D Major for Violin and Piano, Opus 12, No. 1 (1797-98) (1770-1827) Allegro con brio Tema con Variazioni: Andante con moto Rondo: Allegro

Sonata in A Major for Violin and Piano, Opus 12, No. 2 (1797-98)

Allegro vivace Andante, più tosto Allegretto Allegro piacevole

INTERMISSION BEETHOVEN Sonata in A Major for Violin and Piano, Opus 47, No. 9 “Kreutzer” (1803)

Adagio sostenuto; Presto Andante con Variazioni Finale: Presto

THE COMPLETE BEETHOVEN VIOLIN SONATAS: BEETHOVEN II — PROGRAM NOTES

Program Notes by Eric Bromberger

THE COMPLETE BEETHOVEN VIOLIN SONATAS For the general introduction about Beethoven’s Violin Sonatas, please read the note from the August 15 program on page 47.

Sonata in D Major for Violin and Piano, Opus 12, No. 1

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

Approximate Duration: 20 minutes

At the age of not quite 22, Beethoven arrived in Vienna in November 1792, to remain there the rest of his life. In his adopted city he studied with Haydn and Salieri (among others) and quickly established a reputation as a virtuoso pianist. More slowly, he began to make his name as a composer. At first he wrote primarily for piano (his first ten opus numbers include eight piano sonatas), but he wrote for strings too, and in 1797-98 he composed his first violin sonatas, a set of three works that he published as his Opus 12. These three sonatas may lack the originality and high profile of Beethoven’s later violin sonatas, but to contemporary ears they sounded daring enough: an early reviewer complained that these sonatas offered “a forced attempt at strange modulations, an aversion to the conventional key relationships, a piling up of difficulty upon difficulty.”

Listening to the very beginning of Beethoven’s Sonata in D Major, one can understand that reviewer’s concerns: this sonata seems to explode in a shower of rockets going off in every direction. The first movement is marked Allegro con brio, with the emphasis on the con brio: this is fiery, spirited music, full of explosive chords and much rushing up and down the scale. A flowing second theme brings some relief, but the principal impression is of energy boiling up off the page, and the movement ends with the same massive chord that opened it.

The second movement is a set of variations. The piano introduces the song-like theme, which is then repeated by the violin. Four variations follow: the first is for piano accompanied by violin, the second for violin with a complex piano accompaniment, the third moves into A minor (and turns violent), and the fourth is built on quiet syncopations before a brief coda brings the movement to its close. The high-spirited finale is a rondo whose central theme is

energized by off-the-beat accents; Beethoven teases the audience nicely just before the rush to the close.

Sonata in A Major for Violin and Piano, Opus 12, No. 2 Approximate Duration: 18 minutes

Beethoven was both a virtuoso pianist and an accomplished violinist, and the graceful writing for the two instruments in his first violin sonatas shows a young composer already fully in command of his forces. Too much has been made of the fact that Beethoven referred to these works as “sonatas for keyboard and violin,” as if the violin were an afterthought, a subordinate voice in what are otherwise piano sonatas: from the very beginning, Beethoven conceived this music for an equal partnership of violin and piano. He dedicated these sonatas to Antonio Salieri, who was at that time instructing Beethoven in writing for the voice.

The Sonata in A Major, the best-known of the set, opens with an Allegro vivace that presents its performers with a number of problems. From the first measure the violin plays a quiet but incessant “oom-pah-pah” figure that recurs through the movement (in both violin and piano) with almost metronomic regularity; it is the job of the performers to breathe vitality into what–in a careless performance– might become repetitive and dull. This sonata-form movement is built on a wealth of ideas: the two-note figure that accompanies the “oom-pah-pah” rhythm, a graceful 6/8 theme that blossoms out as a blast of sixteenth-notes, and–in somber contrast–a slow melody that foreshadows later Beethoven. The movement taps itself out with a comic dialogue between piano and violin on the two-note figure.

In complete contrast, the Andante, più tosto Allegretto wears its heart on its sleeve. Lacking the intensity of Beethoven’s later slow movements, this one strikes an almost selfconsciously serious pose with the heavily-dotted theme of the opening setting its tone. The final movement, Allegro piacevole, skips along happily on its opening melody (piacevole means “agreeable”). A lyric episode in

858.459.3728 • WWW.LJMS.ORG | 51

THE COMPLETE BEETHOVEN VIOLIN SONATAS: BEETHOVEN II — PROGRAM NOTES

D major is in much the same spirit as the opening, and the movement concludes with an energetic shower of A-major arpeggios from the piano.

Sonata in A Major for Violin and Piano, Opus 47, No. 9 “Kreutzer” Approximate Duration: 35 minutes

Beethoven wrote this sonata, his ninth for violin and piano, in the spring of 1803. It was first performed on May 24 of that year, though Beethoven barely got it done in time: he called his copyist at 4:30 that morning to begin copying a part for him, and at the concert he and the violinist had to perform some of the music from Beethoven’s manuscript. The violinist on that occasion was George Polgreen Bridgetower (1778-1860), a virtuoso who had performed throughout Europe. Beethoven was so taken with Bridgetower’s playing that he intended to dedicate the sonata to him, and we might know this music today as the Bridgetower Sonata but for the fact that the composer and the violinist quarreled and Beethoven dedicated it instead to the French violinist Rodolphe Kreutzer, whom he had met in Vienna a few years earlier. But Kreutzer found this music beyond his understanding and–ironically–never performed the sonata that bears his name.

As soon as he completed this sonata, Beethoven set to work on his Eroica Symphony, which would occupy him for the next six months. While the Kreutzer Sonata does not engage the heroic issues of the first movement of that symphony, it has something of the Eroica’s slashing power and vast scope. Beethoven was well aware of this and warned performers that the sonata was “written in a very concertante style, quasi-concerto-like.” From the first instant, one senses that this is music conceived on a grand scale. The sonata opens with a slow introduction (the only one in Beethoven’s ten violin sonatas), a cadenza-like entrance for the violin alone. The piano makes a similarly dramatic entrance, and gradually the two instruments outline the interval of a rising half-step that will figure prominently in the first movement. At the Presto, the music explodes forward, and while Beethoven provides calmer episodes along the way, including a chorale-like second subject marked dolce. The burning energy of this Presto opening is never far off: the music whips along on an almost machine-gun-like patter of eight-notes, and these eventually drive the movement to its abrupt cadence.

Relief comes in the Andante con Variazioni. The piano introduces the central theme, amiable but itself already fairly complex, and there follow four lengthy variations.

52 | LA JOLLA MUSIC SOCIETY

The final movement–Presto–returns to the mood of the first.

A simple A-major chord is the only introduction, and off the music goes. Beethoven had written this movement, a tarantella, in 1802, intending that it should be the finale of his Violin Sonata in A Major, Opus 30, No. 1. But he pulled it out and wrote a new finale for the earlier sonata, and that was a wise decision: this fiery finale would have overpowered that gentle sonata. Here, though, it becomes the perfect conclusion to one of the most powerful pieces of chamber music ever written.

Recommended Listening Beethoven, Ludwig. Beethoven: Violin Sonatas. Enrico Pace, Leonidas Kavakos.

Decca. ASIN: B00AWN332M, [2013] Beethoven, Ludwig. Beethoven: The Violin Sonatas. Itzhak Perlman, Vladimir Ashkenazy. Decca. ASIN: B000VHQ3DU, [2002]

Yura Lee

Gilles Vonsattel

The Complete Musical Prelude 7 PM Ulysses Quartet performs Beethoven’s String Quartet in A Major, Op. 18, No. 5 See pages 74-75 Tonight’s concert is sponsored by:

Violin Sonatas

BEETHOVEN IV Friday, August 18, 2017 • 8 PM

UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL

DPR Construction

Yura Lee, violin; Gilles Vonsattel, piano

La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

BEETHOVEN Sonata in E-flat Major for Violin and Piano, Opus 12, No. 3 (1798) (1770-1827) Allegro con spirito Adagio con molt’ espressione Allegro molto

Sonata in A Minor for Violin and Piano, Opus 23, No. 4 (1800-01)

Presto Andante scherzoso, più allegretto Allegro molto

INTERMISSION BEETHOVEN Sonata in G Major for Violin and Piano, Opus 96, No. 10 (1812)

Allegro moderato Adagio espressivo Scherzo: Allegro Poco Allegretto; Adagio espressivo

858.459.3728 • WWW.LJMS.ORG | 53

THE COMPLETE BEETHOVEN VIOLIN SONATAS: BEETHOVEN IV — PROGRAM NOTES

Program Notes by Eric Bromberger

THE COMPLETE BEETHOVEN VIOLIN SONATAS For the general introduction about Beethoven’s Violin Sonatas, please read the note from the August 15 program on page 47.

Sonata in E-flat Major for Violin and Piano, Opus 12, No. 3

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

Sonata in A Minor for Violin and Piano, Opus 23, No. 4 Approximate Duration: 19 minutes

In 1800-01, shortly after completing his First Symphony, Approximate Duration: 19 minutes Beethoven composed two violin sonatas, and evidence suggests that he intended them as a set: not only were

When Beethoven published his first three violin sonatas they composed and published together, but he apparently as his Opus 12 in 1798, he had already written ten other intended that they should be performed together. One sonatas: eight for piano and two for cello. The title page of these, in F major, acquired the nickname “Spring” and of Opus 12 bears a specific description of the sonatas by went on to well-deserved fame. Its companion, a spicy the composer–“For harpsichord or piano, with violin”–as and explosive (and comic) sonata in A minor, has always if the violin were an afterthought, an optional participant languished a little in the shade of the “Spring” Sonata, which in what are essentially keyboard sonatas. Beethoven’s is too bad–this is a terrific piece of music. One of the most description needs to be taken with a grain of salt. The striking characteristics of this work is the power of its outer sonatas clearly require a piano rather than a harpsichord, movements. Where the gentle “Spring” Sonata spins long for no harpsichord could meet Beethoven’s quite specific melodies, the Sonata in A Minor spits out and develops short dynamic requirements in these works. And the apparent phrases full of energy. Yet–curiously–all three movements relegation of the violin to a subordinate role is misleading of this animated sonata end quietly. It is a shame that these as well, for these are true duo sonatas, sonatas in which both two sonatas are not performed together more often–what a instruments share the musical and harmonic interest. piquant contrast they make.

That said, however, it must be admitted that the Allegro The Presto explodes into being on the motto-like con spirito first movement of the Sonata in E-flat Major is one opening subject, with the piano lashing the music forward. of those places where the piano gets the lion’s share of Beethoven makes sharp dynamic contrasts here, and the the music. From the very beginning, the piano has a near6/8 meter–which gallops so furiously at the opening–also virtuoso role, introducing the main idea and hurtling up yields the graceful second theme. There are repeats of both and down the keyboard, with the violin often providing no exposition and development, and the end of the movement more than unobtrusive chordal accompaniment. The violin comes suddenly: massed chords suddenly collapse into a introduces the gentle second theme of this sonata-form pianissimo close. movement and has a lovely passage at the recapitulation, but By contrast, the Andante scherzoso, più Allegretto sings most of the show in this first movement belongs to the piano. playfully, as if Beethoven is content to have fun with the The quiet second movement, Adagio con molt’ espressione, listener (and the performers) after the fury of the opening. has justly been praised as one of the finest slow movements The instruments comment, answer, and imitate each from Beethoven’s early period. Here the long, singing main other, and throughout the movement runs an ornate little theme is shared in turn by both voices, and particularly theme that Beethoven treats fugally. After much pleasant effective is the middle section where the violin sings interchange, the movement closes very quietly. The Allegro gracefully above murmuring piano accompaniment. molto begins quietly as well, but here the music surges ahead The final movement–Allegro molto–is a rondo. The piano continuously. The piano has the steady opening idea, while announces the theme, the violin repeats it, and the two the violin’s line is simplicity itself, built of repeated notes. instruments sail through this movement, gracefully taking Some of the imitation-and-answer of the middle movement turns as each has the theme, then accompanies the other.

54 | LA JOLLA MUSIC SOCIETY

THE COMPLETE BEETHOVEN VIOLIN SONATAS: BEETHOVEN IV — PROGRAM NOTES

recurs in the finale, and there are soaring lyric episodes here too. But the principal impression this movement makes is of a barely-restrained energy, and at the close the violin comes soaring suddenly downward and the music is over almost before one knows it, some of its energy still hovering in the air even after the instruments have stopped playing.

characterizes this restrained, almost rhapsodic movement.

The dancing second theme is presented first by piano with violin accompaniment, and then the instruments trade roles. The brief development section–more a discussion of the material than a dramatic evolution of it–leads to a full recapitulation of the opening. Throughout, Beethoven repeatedly reminds the performers: dolce, sempre piano Sonata in G Major for Violin and Piano, Opus 96, No. 10 (“sweet, always quiet”).

Approximate Duration: 27 minutes The Adagio espressivo is built on a theme of moving simplicity, much like the slow movements of the late Beethoven wrote the Sonata in G Major at the end quartets. The piano lays out this long main idea, and the of 1812, shortly after completing his Seventh and Eighth violin soon joins it. This movement breathes an air of Symphonies. French violinist Pierre Rodé–solo violinist serenity that is all the more remarkable when one sees the to Napoleon and later to the tsar in St. Petersburg–was printed page: it is almost black with Beethoven’s elaborate making a visit to Vienna, and Beethoven wrote the sonata ornamentation, much of it in 64th- notes that he has for that occasion, claiming that he had tried to cast the last carefully written out. The Scherzo follows without pause. movement in the somewhat less dramatic style that Rode Propulsive and quite brief, it rides along off-the-beat accents preferred. Rode did give the first performance in Vienna in its outer sections and a flowing trio in E-flat major. There on December 29, 1812, and on that occasion the pianist are no exposition repeats in this concise movement, which was Beethoven’s pupil and patron, the Archduke Rudolph– concludes with a very short G-major coda.

Beethoven’s hearing had deteriorated so badly by this time The concluding Poco Allegretto is one of the most that he could no longer take part in ensemble performances. extraordinary movements in all ten of Beethoven’s Beethoven’s hearing may have deteriorated, but not so far violin sonatas. It opens with a tune that sings simply as to prevent his being disappointed in Rode’s playing. He and agreeably. But instead of the expected rondo-finale, kept the sonata in manuscript for several years, revised it in Beethoven writes a series of variations on this opening 1814-15, and finally published it in 1816. tune. Just as the ear has adapted to variation form–and just Of Beethoven’s ten violin sonatas, nine were written as the music has grown increasingly animated–Beethoven in the comparatively short span of six years: 1797 to throws one of his wildest curves: the tempo becomes 1803. Of course there was tremendous growth in those Adagio espressivo, and the mood returns to that of the slow six years–think of the difference between the Mozartean movement, heartfelt and intense. Beethoven writes out early sonatas and the Kreutzer Sonata–but it is also true that ornamentation here so elaborate that the instruments Beethoven’s violin sonatas do not span his career in the way almost seem to have individual cadenzas. The very end of that his piano sonatas, string quartets, and symphonies do. the movement is as unusual as the rest–the opening tempo Only the Sonata in G Major comes from outside that sixreturns, but now this breaks down into a series of individual year span, and there are no violin sonatas from the final sequences at different speeds and in quite different moods. fifteen years of the composer’s life. But this final sonata–so Finally, at the point when we have lost any sense of motion different from the first nine–gives us some sense of what or direction, Beethoven whips matters to a sudden close, the a late violin sonata might have been like, for many of the piano flashing upward to strike the final chord. characteristics of Beethoven’s late style are already present Recommended Listening here: a heartfelt slow movement derived from the simplest Beethoven, Ludwig. Beethoven: Violin Sonatas. Enrico Pace, Leonidas Kavakos. materials, a sharply-focused and almost brusque scherzo, Decca. ASIN: B00AWN332M, [2013] and a theme-and-variation finale of unusual structure and Beethoven, Ludwig. Beethoven: The Violin Sonatas. Itzhak Perlman, complexity. Even the restrained first movement, music of understatement and “inwardness,” looks ahead to the works Vladimir Ashkenazy. Decca. ASIN: B000VHQ3DU, [2002] Beethoven would write during the extraordinary final six years of his life.

The Allegro moderato opens as simply as possible. The violin’s quiet four-note figure is immediately answered by the piano, and that easy dialogue between the instruments

858.459.3728 • WWW.LJMS.ORG | 55

Regina Carter

Prelude 7 PM Conversation with Regina Carter hosted by Marcus Overton Tonight’s concert is supported in part by our Partner:

The Lodge at Torrey Pines

La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

Recommended Listening Ella: Accentuate the Positive. Regina Carter.

Sony Masterworks. ASIN: B06X9LJFVD, [2017] Southern Comfort. Regina Carter. Sony Masterworks.

ASIN: B00HE0OPO6, [2014]

56 | LA JOLLA MUSIC SOCIETY

AN EVENING WITH THE REGINA CARTER QUARTET Saturday, August 19, 2017 · 8 PM

UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL

Regina Carter, violin Marvin Sewell, guitar Chris Lightcap, bass Alvester Garnett, drums Program to be announced from the stage There will be no intermission

Keith Buncke

Nathan Hughes

Musical Prelude 2 PM Rodin Trio performs Beethoven’s Piano Trio in D Major, Op. 70, No. 1 See pages 74-75 This afternoon’s concert is supported in part by our Partner:

La Valencia Hotel

La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

Haochen Zhang

SUMMER SERENADES Sunday, August 20, 2017 · 3 PM

UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL Gemini Variations for Flute, Violin, and Piano Four-Hands, Opus 73 (1965)

Catherine Ransom Karoly, flute; Michelle Kim, violin;

Haochen Zhang, Scott Cuellar, piano ELGAR Piano Quintet in A Minor, Opus 84 (1918) (1857-1934) Moderato Adagio Andante; Allegro

Haochen Zhang, piano; Cho-Liang Lin, Michelle Kim, violins;

Paul Neubauer, viola; Clive Greensmith, cello

INTERMISSION DVOˇRÁK Serenade in D Minor for Winds, Violoncello, and Bass, Opus 44 (1841-1904) (1878)

Moderato quasi marcia Minuetto: Tempo de Minuetto Andante con moto Finale: Allegro molto

Nathan Hughes, Laura Griffiths, oboes; Anthony McGill,

Sheryl Renk, clarinets; Keith Buncke, Ryan Simmons, bassoons,

Leyla Zamora, contrabassoon; Keith Popejoy, Tricia Skye,

Mike McCoy, horns; Joshua Halpern, cello; Nico Abondolo, bass BRITTEN

(1913-1976)

858.459.3728 • WWW.LJMS.ORG | 57

SUMMER SERENADES — PROGRAM NOTES

Program Notes by Eric Bromberger

just this combination of performing talents, so he wrote an alternate version of the Gemini Variations for four performers: Gemini Variations for Flute, Violin, and Piano Four-Hands, a flutist, a violinist, and for two pianists at the same Opus 73 instrument. And to keep the flutist and violinist from having nothing to do in the variations scored just for piano, Britten wrote optional flute and violin passages to accompany some Born November 22, 1913, Lowestoft of these piano variations. At this concert, Britten’s alternate Died December 4, 1976, Aldeburgh version for four performers will be heard.

Approximate Duration: 15 minutes Britten’s subtitle for the piece, Twelve Variations and Fugue In the spring of 1964 Benjamin Britten and Peter Pears on an Epigram of Kodály, makes its structure quite clear. The theme is stated grandly at the beginning–Britten’s marking visited Hungary to give concerts and to see a production is Maestoso: “majestic”–and the variations, all very brief, of Britten’s chamber opera Albert Herring at the Hungarian follow. The variations take a variety of forms: two are titled State Opera. While in Budapest, Britten met a pair of Specchio (mirror variations, a further play on the title Gemini), remarkable twelve-year-old twin boys, Zoltán and Gábor Jeney, the sons of the principal flutist in the opera orchestra. one is a canon, one is a march, one is a “fanfare,” there is a cadenza for violin and another for flute, and the instruments The boys were quite talented–both played the piano, and are heard in various combinations throughout. The fugue, Gábor played the violin and Zoltán the flute. The boys, introduced first by flute and violin and then taken up by quite precocious, asked Britten to write a piece for them, and he agreed on one condition–that they would write him piano, is elaborate and drives to a resplendent concluding a letter in English describing themselves, their training, their chord in the piano. In the version for the two boys, they play. In a note in the score, Britten said that, having set this were to sound this chord and then–while that chord is still ringing–they were to pick up their instruments and sound condition, he felt quite safe. But the boys promptly wrote one more chord for flute and violin. In the version for four him that letter, and Britten held up his end of the bargain players, this grand conclusion can be accomplished a little and wrote the piece for them. Zoltán and Gábor came to England the following year, rehearsed the music in Britten’s more easily. presence, and gave the first performance in the Aldeburgh Piano Quintet in A Minor, Opus 84 Parish Church on June 19, 1965.

Britten tailored the piece precisely to the boys’ talents, scoring it for flute, violin, and piano four-hands: the boys Born June 2, 1857, Broadheath would demonstrate their talents by playing on different Died February 23, 1934, Worcester instruments at different times and in different combinations. Approximate Duration: 35 minutes For example, they might play a duet for flute and violin, then Gábor would play the piano while Zoltán played flute, Elgar wrote little chamber music. He appears to have or they might both play the piano, and so on. Britten cast been more comfortable with the resources of the symphony the piece as a set of variations for varying instrumentation, orchestra and the human voice, and he wrote most often for and the title Gemini Variations takes note of the fact that orchestra and for chorus. In fact, after writing some brief the music was written for twins. Britten also saluted the pieces for violin and piano early in his career, Elgar turned connection to Hungary by choosing as the theme to be away from chamber music almost permanently. varied one of Zoltán Kodály’s Epigrams, a set of songs for But during the summer of 1918, at the very end of his voice and piano that Kodály had composed in 1954. Kodály creative career, the 61-year-old composer suddenly produced was invited to the 1965 Aldeburgh Festival as the guest three substantial pieces of chamber music. There was no of honor and was present when the Jeney twins gave the readily apparent reason for him to turn to a type of music he première of the Gemini Variations. had neglected for so long. But during that summer England In the score, Britten indicates precisely which part is was nearing the end of a horrifying war, Elgar was facing to be taken by each boy and carefully instructs when each the deteriorating health of his wife, and he may well have is to set aside one instrument and go to the piano or leave been confronting his own waning powers as a composer (he the piano and take up his “other” instrument and so on– wrote only one more major work, the Cello Concerto of 1919). this music was written to spotlight two very talented young Perhaps all these had an influence on his decision to turn to performers. But Britten knew that it would be rare to find so personal a form as chamber music. Perhaps none of them

BENJAMIN BRITTEN

SIR EDWARD ELGAR

58 | LA JOLLA MUSIC SOCIETY

SUMMER SERENADES — PROGRAM NOTES

did–we can only guess. But in quick succession (he worked on all three simultaneously) he produced a violin sonata, a string quartet, and a piano quintet.

The Piano Quintet is remarkable for the range and sharp contrast of its moods, and nowhere is this more evident than in its opening Moderato. This movement is based on a wealth of ideas, all presented in the first few moments.

The very beginning is particularly impressive: the piano quietly announces the movement’s main theme, while in the background the strings sound the three-note figure that will echo like faint drum-taps throughout the movement.

A few moments later the upper strings in exotic harmony (English commentators invariably refer to this as “the Spanish theme”) give way to a yearning cello figure, to be quickly followed by an Allegro that sounds as if it should be scored for full orchestra. The movement pitches between these extremes: at moments it can sound confident and full, almost like salon music in its smoothness. And at others, it sounds spare and hard and haunting. The bleak ending, where fragments of the beginning break down and collapse, is especially effective.

The Adagio is one of Elgar’s most successful slow movements. Its glowing beginning, with a ravishing theme for viola, sounds very much like the kind of music Brahms was writing thirty years earlier. Elgar’s development is extended, and an animated middle section leads to a quiet close. The final movement returns to the mood and manner of the first–Elgar even uses some of the same themes, as the slow introduction gives way to a confident Allegro (Elgar marks this con cantabile). This movement is very much in the grand manner: its gestures are dramatic, its themes full of sweep, its sonorities at times almost orchestral. The ending, marked Grandioso, is opulent in its rich sound and confidence. But just before the coda comes an extraordinary moment: the music grows quiet, and Elgar brings back the haunting and quiet music of the first movement, even with the ghostly drum-taps in the background. This note of stinging, quiet beauty in the midst of such splendor and energy is typical of the Quintet’s sharply-ranging moods.

For all the surface confidence, for all its grand gestures, the Quintet is tense music in the best meaning of that term.

Throughout, one feels that this is many-faceted music, that those faces are often at odds emotionally with each other, and that from their collision comes some very moving music.

Serenade in D Minor for Winds, Violoncello, and Bass, Opus 44

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

Approximate Duration: 25 minutes

This unusual–and attractive–music comes from the moment when Dvořák was just on the verge of fame. That fame had been a long time in coming. Born into a poor family in rural Bohemia, Dvořák had been apprenticed to a butcher, and he narrowly escaped a life behind a meat counter when friends and relatives responded to his desperate protests and helped send the boy to music school.

Even then, success came slowly. Dvořák supported himself and his family for years by conducting bands, playing the viola in orchestras, and giving piano lessons. It was not until his mid-thirties–the age at which Mozart and Mendelssohn died–that Dvořák began to find success and finally fame.

In 1878, the year he turned 37, Dvořák composed his first set of Slavonic Dances. Based on the colorful peasant dances of Eastern Europe, the Slavonic Dances explode with color and excitement, and they made Dvořák’s reputation almost overnight. They were quickly performed throughout Europe and even in distant America, and audiences around the world were swept away by their unusual rhythms and distinctive melodies. Earlier in that same year–between January 4 and 18, 1878–Dvořák had composed his Serenade in D Minor, and it too incorporates features of Czech music.

The instrumental serenade is usually remembered as an eighteenth-century entertainment form–Haydn, Mozart, and others had written serenades, divertimenti, and cassations for various ensembles of wind and/or stringed instruments. Usually light in character, these multi-movement works were often composed for social occasions–weddings, graduations, civic ceremonies–and were sometimes written specifically to be performed outside.

They usually began with a spirited march, and along the way they might include minuets, variations, movements for a soloist with the orchestra, and so on. Mozart wrote some of his finest works–the “Haffner” Serenade, the “Posthorn” Serenade, and the Gran Partita for Winds–in this form and for just such occasions.

No one knows the occasion for which Dvořák wrote his Serenade in D Minor. In this good-spirited music, Dvořák took the general form of the eighteenth-century wind serenade but made some important changes, reducing the number of movements to just four and scoring it for an unusual combination of instruments: two oboes, two

858.459.3728 • WWW.LJMS.ORG | 59

SUMMER SERENADES — PROGRAM NOTES

clarinets, two bassoons, contrabassoon, three horns, and–for added resonance and a sustained bass line–a cello and a doublebass. There is also a degree of thematic unity here unusual in a serenade: many of Dvořák’s themes begin with the upward leap of a fourth, and some themes appear in several movements.

Dvořák salutes tradition by beginning with a sturdy march. After this mock-serious opening, he offers some nice variety with a second subject that rocks easily along its dotted rhythms; both themes return to lead the movement to a quiet close. The second movement is the most “Czech” of the four movements, sounding very much like the Slavonic Dances Dvořák would compose later that same year. Though it is titled Minuetto, its agreeable outer sections are in the form of a Czech sousedská, an Eastern European folk-dance, while the trio section–marked Presto–rips along on furiant cross-accents. Critics single out the Andante for special praise.

Its serene main melody, full of characteristic turns, unfolds in the solo oboe and clarinet while the three horns provide a liquid, pulsing accompaniment; the movement rises to an animated climax, then falls away to close peacefully. The finale returns to the manner of the first movement: its main theme bears some relation to the march tune that opened that movement, and in fact the march itself reappears in the course of the finale. Dvořák rounds the finale off with an Allegro molto coda, and the Serenade concludes on a series of sunny fanfares in D major.

Recommended Listening Britten/Walton/Elgar. Maps And Legends Disc II. Sasha Cooke, Inon Barnatan, Wu Han, Ani Kavafian, Lily Francis, David Finckel, & Miró Quartet. Music@Menlo LIVE. ASIN: B004F9ZBMO, [2010] Dvoˇrák, Antonín. Dvoˇrák: Serenades for Strings and Winds. Myung-Whun Chung, Wiener Philharmoniker. Deutsche Grammophon. ASIN: B000V6OMX4, [2003]

60 | LA JOLLA MUSIC SOCIETY

Paul Neubauer

Musical Prelude 7 PM Ulysses Quartet performs Schubert’s Quartettsatz and Haydn’s String Quartet in B Minor, Op. 33, No. 1 See pages 74-75 La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

Eugene Drucker

Anthony McGill

MOZART’S ENCHANTMENT Tuesday, August 22, 2017 • 8 PM

UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL MOZART Flute Quartet in C Major, K.285b (1781-82) (1756-1791) Allegro Thema con Variazioni: Andantino

Catherine Ransom Karoly, flute; Michelle Kim, violin;

Colin Brookes, viola; Joshua Halpern, cello

Quintet in E-flat Major for Piano and Winds, K.452 B (1784)

Largo: Allegro moderato Larghetto Allegretto

Haochen Zhang, piano; Nathan Hughes, oboe;

Anthony McGill, clarinet; Keith Buncke, bassoon;

Jennifer Montone, horn

INTERMISSION MOZART Divertimento in E-Flat Major, K.563 (1788)

Allegro Adagio Menuetto: Allegro Andante Menuetto: Allegretto Allegro

Eugene Drucker, violin; Paul Neubauer, viola;

Clive Greensmith, cello

858.459.3728 • WWW.LJMS.ORG | 61

MOZART’S ENCHANTMENT — PROGRAM NOTES

Program Notes by Eric Bromberger

Quintet in E-flat Major for Piano and Winds, K.452 Approximate Duration: 25 minutes

Flute Quartet in C Major, K.285b

WOLFGANG AMADEUS MOZART

No one knows why Mozart wrote so superbly for winds.

He was a virtuoso pianist and violinist, but so far as can be known he did not play a wind instrument. Yet–with the Born January 27, 1756, Salzburg notable exception of the flute–he had a special fondness Died December 5, 1791, Vienna for the sound of winds and wrote an enormous amount Approximate Duration: 13 minutes for them. Perhaps there is no understanding why some composers who are virtuoso performers on one instrument During his visit to Mannheim between October 1777 can write so instinctively for instruments they do not play, and March 1778, Mozart wrote two flute quartets for the as–for example–Bartók did for strings. It just happens.

Dutch surgeon and flutist Ferdinand DeJean: the Quartet in Mozart completed the Quintet for Piano and Winds in D Major, K.285 and the Quartet in A Major, K.298. For years Vienna on March 30, 1784. These were the first years it was believed that these were Mozart’s only works in this after his move from Salzburg, and in a letter to his father form, but it turns out that his writing for flute quartet may back in Salzburg Mozart described the Quintet as “the best have been richer than previously thought. Two additional work I have composed.” Though the young composer was quartets have been discovered, though their authenticity is perpetually anxious to reassure his worried father that he open to question. was not wasting his life in Vienna, there is every reason to The Flute Quartet in C Major, K.285b, which consists of believe Mozart sincere in this estimation. One of the most an opening fast movement and a concluding theme-andvariation movement, is one of these. But dating this music– impressive things about the Quintet is that, having chosen so unusual a combination of instruments, Mozart writes and confirming its authenticity–have proven difficult. The variation movement is an arrangement for flute and strings so directly to the character of each. He gives the winds of the sixth movement of Mozart’s Serenade in B-flat Major for music exactly suited to their strengths and limits: phrases Thirteen Winds, K.361, which he did not compose until 1783 tend to be short, and there are rapid exchanges between the winds, often in music highly elaborated by turns and or 1784, after he had moved to Vienna. It is possible that other decorations. The piano, by contrast, supplies the fluid someone other than Mozart made the transcription of the long lines the wind instruments cannot. One of the true serenade movement in Vienna, but a fragment of the first glories of the Quintet–and it is easy to overlook this–is the movement has been found in Mozart’s own hand, so the writing for piano: it ripples and flows gracefully throughout, authenticity of at least some of this music is probable. We are left with a flute quartet that may well be by Mozart, but complementing the winds beautifully. Another source of the Quintet’s appeal is that this music is totally without flash or a measure of mystery still surrounds this music.

The opening Allegro is a graceful sonata-form movement glitter–Mozart consciously avoids showing off virtuoso skills.

Here the instruments are at the service of the music, rather in which the melodic line flows smoothly between flute than the reverse–this music glows rather than blazes. and strings, though the flute introduces both principal The form of this music is classical simplicity itself: ideas. Listeners who know the Serenade, K.361 will of a slow introduction leads to a sonata-form opening course recognize the theme-and-variation movement as movement, the slow movement is in ternary form, and an old friend. This theme is in two eight-bar phrases, both the final movement is the expected rondo. In the first repeated before the six variations begin. The arrangement for flute and strings preserves much of the idiomatic writing movement, Mozart often sets the piano and winds in for winds of the original, and the quartet is rounded off with opposition, with the winds playing as a group. In the poised Larghetto, however, he gives them a chance to shine an Allegretto final variation that functions as a coda. individually. The finale is surprisingly measured–it never rushes, and Mozart’s marking at the very beginning is the key: dolce. At the start of the coda comes an unusual touch: Mozart writes out what he calls in the score “Cadenza in tempo”–the four winds make quietly terraced entrances above piano chords. It is a kind of final review for each of them before the rush to the close, which is as classic and restrained as everything else in this most graceful score.

62 | LA JOLLA MUSIC SOCIETY

MOZART’S ENCHANTMENT — PROGRAM NOTES

Divertimento in E-Flat Major, K.563 Approximate Duration: 44 minutes

This extraordinary music comes from one of the most difficult periods of Mozart’s life, the summer of 1788. That June, beset by financial troubles, the Mozart family moved to less expensive lodgings in the suburbs of Vienna, only to suffer real calamity, the death of their infant daughter Theresia; Mozart’s pathetic letters begging for money from his friend and fellow mason Michael Puchberg suggest the extremity of his state. But external troubles did not mean creative drought: working at white heat through the summer months, Mozart wrote the great final trilogy of symphonies and then completed the Divertimento in E-flat Major in September. He dedicated this last work to Puchberg, who had helped the composer with loans.

The title “divertimento” is misleading. The title page actually reads String Trio in E-Flat Major, with Mozart’s further description Divertimento in Six Pieces. The music is in standard sonata-allegro form with two additional movements: a set of variations and an extra minuet. As its title suggests, a divertimento was conceived as diversion music, light in character and perhaps intended for outdoor performance. In that sense, this music is hardly a divertimento. Instead, it is true chamber music–intimate, expressive, and dependent on the full interplay of voices central to chamber music. Listeners should be warned: masquerading under the innocent title “divertimento” lies one of Mozart’s greatest chamber works.

Some of this music’s nobility comes from its generous proportions: when all repeats are taken, the first two movements stretch out to nearly a quarter-hour each.

Beyond this, the mood is at times quite serious. It is dangerous to look for autobiographical significance in music, particularly from so difficult a time in a composer’s life, but many have noted the serious and somber character of this work and an almost bittersweet quality that colors its most expressive moments. The Allegro opens gravely and quietly (Mozart marks the beginning sotto voce), and this long movement unfolds gracefully. The extended development is full of harmonic tension, with chromatic lines moving quietly beneath the polished surface. The Adagio partakes of the same mood, though a florid violin part soaring above the other two voices brings some relief; Mozart sometimes thickens the texture by doublestopping both violin and viola.

By contrast, the first minuet is vigorous and extroverted, and Mozart follows this with the first “extra” movement, a set of variations. Critics invariably call the theme here “folklike,” and its slightly-square four-bar phrases do seem

to suggest a popular origin. But Mozart’s treatment of this simple tune is very sophisticated, and the next-to-last variation–in the unusual key of B-flat minor–is stunning.

The energetic second minuet features not one but two trio sections, both of them jaunty; an equally jaunty coda rounds off the movement. Mozart brings the divertimento to a close with a rondo based on a rocking main theme in 6/8 meter. There are vigorous episodes along the way, but the lyric mood of the main theme dominates this movement.

Recommended Listening Mozart, Wolfgang Amadeus. Mozart: Flute Quartets. Lisa Friend, Brodsky Quartet.

Chandos. ASIN: B01N12VXH4, [2017] Mozart/Britten. 2006 Music@Menlo — Mozart and Britten. Colin Carr, Dennis Godburn, Jeffrey Kahane, Gilbert Kalish, Ani Kavafian, Anthony McGill, Richard Todd, Allen Vogel, James Welch, Peter Wiley, Tien-Hsin Cindy Wu. Music@Menlo LIVE. ASIN: B004HLCSWG, [2006] Mozart, Wolfgang Amadeus. Mozart: Divertimento in E-Flat Major, K. 563. Jascha Heifetz, Emanuel Feuermann, William Primrose. RCA Red Seal. ASIN: B00667JY7G

858.459.3728 • WWW.LJMS.ORG | 63

Alisa Weilerstein

Musical Prelude 7 PM Rodin Trio performs Brahms’ Piano Trio No. 2 in C Major, Op. 87 See pages 74-75 Tonight’s concert is sponsored by:

Clara Wu and Joseph Tsai La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

64 | LA JOLLA MUSIC SOCIETY

AN EVENING WITH ALISA WEILERSTEIN Wednesday, August 23, 2017 · 8 PM

UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS CONCERT HALL J.S. BACH Suite No. 3 in C Major for Unaccompanied Cello, BWV 1009 (1685-1750) (1720)

Praeludium Allemande Courante Sarabande Bourrée I and II Gigue

Alisa Weilerstein, cello BRAHMS Trio in A Minor for Clarinet, Cello, and Piano, Opus 114 (1891) (1833-1897) Allegro Adagio Andantino grazioso Allegro

Anthony McGill, clarinet; Alisa Weilerstein, cello;

Inon Barnatan, piano

INTERMISSION BRAHMS Piano Quintet in F Minor, Opus 34 (1862-64)

Allegro non troppo Andante un poco adagio Scherzo: Allegro Finale: Poco sostenuto; Allegro non troppo

Eugene Drucker, Michelle Kim, violins; Paul Neubauer, viola;

Alisa Weilerstein, cello; Inon Barnatan, piano

AN EVENING WITH ALISA WEILERSTEIN — PROGRAM NOTES

Program Notes by Eric Bromberger

is carefully written out, Bach wishes to create the effect that the performer is creating it on the spot. The Prelude of Suite No. 3 in C Major for Unaccompanied Cello, BWV 1009 the Third Suite is built on a virtually non-stop sequence of sixteenth-notes, though at the end a series of declamatory chords draws the music to its climax. The Allemande is an Born March 21, 1685, Eisenach, Germany old dance of German origin; that name survives today Died July 30, 1750, Leipzig in square dancing terminology (“Allemando left with the Approximate Duration: 21 minutes old left hand”); in this movement Bach enlivens the basic pulse with turns, doublestops, and thirty-second-notes. The Bach’s six suites for unaccompanied cello date from Courante races past (that title means “running” in French), about 1720, when the composer was kapellmeister at the court of Anhalt-Cöthen, about thirty miles north of Leipzig. while the Sarabande is dignified and extremely slow. Many listeners will discover that they already know the first Bourrée, Bach did not play the cello, and it may well be that he wrote these suites for Christian Ferdinand Abel, cellist in the Cöthen for this graceful dance has been arranged for many other instruments; Bach presents an extended variation of it in the orchestra and one of the best cellists in Europe. Abel and second Bourrée. The concluding Gigue dances quickly on its Bach became good friends (Bach was the godfather of one of Abel’s sons), and almost certainly the two worked together 3/8 meter; Bach offers the cellist some brisk passagework as well as extended doublestopping in this good-spirited dance. as these suites were composed: Bach would have asked him what was possible and what was not, what worked and what Trio in A Minor for Clarinet, Cello, and Piano, Opus 114 didn’t, and so on. The result is music for cello that is very idiomatically written but also supremely difficult, and all by itself this music may tell us how high the standard of musicBorn May 7, 1833, Hamburg making was in the Cöthen court when Bach was there.

Died April 3, 1897, Vienna Bach’s suites for solo cello remained for years the property Approximate Duration: 25 minutes of a handful of connoisseurs–they were not published until 1828, over a century after they were written.

In March 1891 Brahms, then almost 58 years old and Bach understood the term “suite” to mean a collection recently retired as a composer, journeyed to Meiningen in of dance movements in the basic sequence of allemande, southern Germany. His purpose was pleasure: he wanted courante, sarabande, and gigue. He added an introductory to hear the famous ducal orchestra there under its new prelude to all six cello suites, and into each suite he conductor Fritz Steinbach. Steinbach is remembered even interpolated one extra dance movement between the today as one of the most famous of Brahms’ interpreters, sarabande and gigue; all movements after the opening but on this trip the composer was much more impressed prelude are in binary form. These suites have presented by another musician. The principal clarinetist of the performers with a knot of problems because none of Bach’s Meiningen Orchestra was a young man named Richard original manuscripts survives; the only surviving copies were Mühlfeld, and Brahms was captivated by the rich and made by Bach’s second wife and one of his students, and– mellow sound Mühlfeld could draw from his clarinet and lacking even such basic performance markings as bowings by his musical sensitivity. The aging composer would sit and dynamics–these texts present cellists with innumerable for hours listening to Mühlfeld practice, and the result was problems of interpretation. In a postscript to his edition of inevitable: Brahms came out of his short-lived “retirement” these suites, Janos Starker notes that one of the pleasures of and began to write for the clarinet. That summer, at his going to heaven will be that he will finally be able to discuss favorite retreat Bad Ischl in the mountains east of Salzburg, with Bach himself exactly how the composer wants this he composed two works for Mühlfeld: a trio for clarinet, music played. cello, and piano and a quintet for clarinet and string quartet Each of the suites has been admired for different (two sonatas for the instrument would follow three summers reasons. The Suite No. 3 is notable for its broad, heroic later). Brahms journeyed back to Meiningen the following character, which comes in part from Bach’s choice of November for rehearsals with Mühlfeld and Joseph key: C major allows him to make ample use of the cello’s Joachim’s quartet, and both works received their premières C-string, and the resonance of this lowest string echoes in Berlin on December 12, 1891. throughout the suite. The preludes of all the suites have

an intentionally “improvisatory” quality: though the music

JOHANN SEBASTIAN BACH

JOHANNES BRAHMS

858.459.3728 • WWW.LJMS.ORG | 65

AN EVENING WITH ALISA WEILERSTEIN — PROGRAM NOTES

From that instant the Clarinet Quintet has been acclaimed one of Brahms’ greatest works, but the Clarinet Trio has always languished in the shade of the Quintet’s autumnal glow–it remains a connoisseur’s choice rather than a popular favorite. The distinct sonority of the Trio rises from its unusual combination of instruments (one, however, that Beethoven had used), and Brahms makes full use of the rich sound of the cello as well as the mellow sound of Mühlfeld’s clarinet. So smoothly are those sounds intertwined, in fact, that Brahms’ friend Eusebius Mandyczewski wrote to tell the composer that “It is as though the instruments were in love with each other.”

The splendid first movement, marked simply Allegro, begins with the almost stark sound of the solo cello laying out the movement’s noble opening idea, and this theme deserves particular attention. One of the projects Brahms had planned and then abandoned was a Fifth Symphony, and a number of scholars (Sir Donald Francis Tovey among them) believe that the cello theme that opens the Clarinet Trio was originally conceived as the opening theme of the Fifth Symphony. Listeners tantalized by the thought of what such a symphony might have been like may have some sense of that by imagining this noble opening subject played by an entire cello section. This theme grows more animated as it rides over the piano’s spirited triplets, and the chaste second subject restores calm when it too arrives in the cello.

The movement is in a generalized sonata form, though the recapitulation is shortened, and it comes to a particularly effective close: Brahms slows the tempo slightly, and clarinet and cello weave delicate strands of sixteenth-notes that answer and swirl around each other and–suddenly and softly–land on the calm final chord.

The Adagio opens with a subdued melody for clarinet that Brahms marks dolce; at a length of only 54 measures, this movement is remarkable for Brahms’ ability to compress his musical experience into so short a span. The Andantino grazioso, in 3/4 meter, hovers on the edge of becoming a waltz; the clarinet’s melody flows and dances gracefully without ever settling firmly into a waltz-rhythm.

The finale, a sonata-rondo marked Allegro, offers some of the rhythmic subtlety of Brahms’ late music, and listeners may have trouble deciding whether this movement is in duple or triple meter. Such uncertainty was clearly Brahms’ intention: his opening metric indication 2/4 (6/8) changes frequently, and there are occasional passages in 9/8. The music surges with vitality, but Brahms keeps it anchored firmly in the dark A-minor tonality of the opening movement, and this little-known work closes in the same somber sobriety with which it began.

66 | LA JOLLA MUSIC SOCIETY

Quintet for Piano and Strings in F Minor, Opus 34

JOHANNES BRAHMS Approximate Duration: 41 minutes

Brahms began work on the music that would eventually become his Piano Quintet in F Minor during the summer of 1862, when he was 29 years old and still living in Hamburg.

As first conceived, however, this music was not a piano quintet. Brahms originally composed it as a string quintet– string quartet plus an extra cello–and almost surely he took as a model the great String Quintet in C Major of Schubert, a composer he very much admired. But when Joseph Joachim and colleagues played through the string quintet for the composer, all who heard it felt it unsatisfactory: an ensemble of strings alone could not satisfactorily project the power of this music. So Brahms set out to remedy this–he returned to the score during the winter of 1863-64 and recast it as a sonata for two pianos. Once again the work was judged not wholly successful–it had all the power the music called for, but this version lacked the sustained sonority possible with strings that much of this music seemed to demand.

Among those confused by the two-piano version was Clara Schumann, who offered the young composer a completely different suggestion: “Its skillful combinations are interesting throughout, it is masterly from every point of view, but–it is not a sonata, but a work whose ideas you might–and must– scatter, as from a horn of plenty, over an entire orchestra…

Please, dear Johannes, for this once take my advice and recast it.”

Recast it Brahms did, but not for orchestra. Instead, during the summer and fall of 1864 he arranged it for piano and string quartet, combining the dramatic impact of the two-piano version with the string sonority of the original quintet. In this form it has come down to us today, one of the masterpieces of Brahms’ early years, and it remains a source of wonder that music that sounds so right in its final version could have been conceived for any other combination of instruments. Clara, who had so much admired her husband’s piano quintet, found Brahms’ example a worthy successor, describing it as “a very special joy to me” (Brahms published the two-piano version as his Opus 34b, and it is occasionally heard in this form, but he destroyed all the parts of the string quintet version).

The Piano Quintet shows the many virtues of the young Brahms–strength, lyricism, ingenuity, nobility–and presents them in music of unusual breadth and power. This is big music: if all the repeats are taken, the Quintet can stretch out to nearly three-quarters of an hour, and there are moments when the sheer sonic heft of a piano and string quartet

AN EVENING WITH ALISA WEILERSTEIN — PROGRAM NOTES

together makes one understand why Clara thought this music might be most effectively presented by a symphony orchestra.

The Quintet is also remarkable for young Brahms’ skillful evolution of his themes: several of the movements derive much of their material from the simplest of figures, which are then developed ingeniously. The very beginning of the Allegro non troppo is a perfect illustration. In octaves, first violin, cello, and piano present the opening theme, which ranges dramatically across four measures and then comes to a brief pause. Instantly the music seems to explode with vitality above an agitated piano figure. But the piano’s rushing sixteenth-notes are simply a restatement of the opening theme at a much faster tempo, and this compression of material marks the entire movement–that opening theme will reappear in many different forms. A second subject in E major, marked dolce and sung jointly by viola and cello, also spins off a wealth of secondary material, and the extended development leads to a quiet coda, marked poco sostenuto. The tempo quickens as the music powers its way to the resounding chordal close.

In sharp contrast, the Andante, un poco Adagio sings with a quiet charm. The piano’s gently-rocking opening theme, lightly echoed by the strings, gives way to a more animated and flowing middle section before the opening material reappears, now subtly varied. Matters change sharply once again with the C-minor Scherzo, which returns to the dramatic mood of the first movement. The cello’s ominous pizzicato C hammers insistently throughout, and once again Brahms wrings surprising wealth from the simplest of materials: a nervous, stuttering sixteenth-note figure is transformed within seconds into a heroic chorale for massed strings, and later Brahms generates a brief fugal section from this same theme. The trio section breaks free of the darkness of the scherzo and slips into C-major sunlight for an all-too-brief moment of quiet nobility before the music returns to C minor and a da capo repeat.

The finale opens with strings alone, reaching upward in chromatic uncertainty before the Allegro non troppo main theme steps out firmly in the cello. The movement seems at first to be a rondo, but this is a rondo with unexpected features: it offers a second theme, sets the rondo theme in unexpected keys, and transforms the cello’s healthy little opening tune in music of toughness and turbulence.

Clara Schumann, who had received the dedication of her husband’s quintet, was instrumental in the dedication of Brahms’. Princess Anna of Hesse had heard Brahms and Clara perform this music in its version for two pianos and was so taken with it that Brahms dedicated not only that version to the princess but the Piano Quintet as well. When

the princess asked Clara what she might send Brahms as a measure of her gratitude, Clara had a ready suggestion.

And so Princess Anna sent Brahms a treasure that would remain his prized possession for the rest of his life: Mozart’s manuscript of the Symphony No. 40 in G Minor.

Recommended Listening Shostakovich, Dmitri. Shostakovich: Cello Concertos Nos. 1 & 2. Alisa Weilerstein, Pablo Heras-Casado, Symphonieorchester des Bayerischen Rundfunks. Decca/ London. ASIN: B01JDRQ0TA, [2016] Brahms, Johannes. Brahms: Five Trios, Volume II. Golub-Kaplan-Carr Trio, David Shifrin. Arabesque Recordings. ASIN: B000000T7G, [2009] Brahms, Johannes. Brahms: String Quartets & Piano Quintet. Emerson String Quartet and Leon Fleisher. Deutsche Grammophon. ASIN: B0018OC6Y0, [2007]

858.459.3728 • WWW.LJMS.ORG | 67

Cho-Liang Lin

Michelle Kim

Prelude 7 PM Conversation with David Zinman hosted by Marcus Overton Tonight’s concert is sponsored by:

Brenda and Michael Goldbaum La Jolla Music Society’s Season is supported by The City of San Diego Commission for Arts and Culture, County of San Diego Community Enhancement Program, the National Endowment for the Arts, ResMed Foundation, The Tippet Foundation, The Lodge at Torrey Pines, The Westgate Hotel, Conrad Prebys and Debra Turner, Brenda Baker and Stephen Baum, The Beyster Family, Joan and Irwin Jacobs, Joy Frieman, Brian and Silvija Devine, Gordon Brodfuehrer, Lehn and Richard Goetz, John and Kay Hesselink, Keith and Helen Kim, Maria and Philippe Prokocimer, Jeanette Stevens, Joyce and Ted Strauss, and Sue and Peter Wagener.

David Zinman

FINALE WITH DAVID ZINMAN Friday, August 25, 2017 · 8PM IRWIN M. JACOBS QUALCOMM HALL

SummerFest Chamber Orchestra David Zinman, conductor STRAVINSKY Dumbarton Oaks Concerto (1937-1938) (1882-1971) Tempo giusto Allegretto Con moto HAYDN Sinfonia Concertante in B-flat Major, Hob. I:105 (1792) (1732-1809) Allegro Andante Allegro con spirito

Michelle Kim, violin; Clive Greensmith, cello;

Nathan Hughes, oboe; Keith Buncke, bassoon

INTERMISSION BEETHOVEN Symphony No. 7 in A Major, Opus 92 (1811-12) (1770-1827) Poco sostenuto; Vivace Allegretto Presto; Assai meno presto Allegro con brio SummerFest Chamber Orchestra Michelle Kim, Cho-Liang Lin, concertmasters; Rhiannon Banerdt, Christina Bouey, Armen Derkevorkian, Bridget Dolkas, Kathryn Hatmaker, Joanna Lee, Philip Marten, Alyssa Park, Jeanne Skrocki, Roger Wilkie, violins; Paul Neubauer Colin Brookes, Caterina Longhi, Travis Maril, violas; Clive Greensmith, Chia-Ling Chien, Alex Greenbaum, Joshua Halpern, Grace Ho, cellos; Nico Abondolo, Samuel Hager, basses; Catherine Ransom Karoly, Pamela Vliek Martchev, flutes; Nathan Hughes, Laura Griffiths, Andrea Overturf, oboes; Anthony McGill, Sheryl Renk, clarinets; Keith Buncke, Ryan Simmons, Leyla Zamora, bassoons; Jennifer Montone, Keith Popejoy, horns; David Washburn, Jennifer Marotta, trumpets; Jason Ginter, timpani

68 | LA JOLLA MUSIC SOCIETY

FINALE WITH DAVID ZINMAN — PROGRAM NOTES

Program Notes by Eric Bromberger

Dumbarton Oaks Concerto

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

Approximate Duration: 14 minutes

In 1937, Mr. and Mrs. Robert Woods Bliss– distinguished patrons of the arts–resolved to celebrate their thirtieth wedding anniversary, which would occur the following year, by commissioning a work for chamber orchestra from Igor Stravinsky. They invited Stravinsky to visit their handsome estate, Dumbarton Oaks (located in the Rock Creek area of Washington, D.C., just north of Georgetown University), and he was much taken with the house and its handsome gardens. He returned to Switzerland and began work on this piece in the spring of 1937, completing it on March 29, 1938, in Paris. Stravinsky had been scheduled to conduct the first performance, but he contracted tuberculosis and was undergoing treatment at that time, so he asked Nadia Boulanger to substitute for him. She led the first performance at Dumbarton Oaks on May 8, 1938.

Stravinsky’s published score lists the title of this music as the Concerto in E-flat Major, but it is universally called the Dumbarton Oaks Concerto. The name Dumbarton Oaks may be familiar in another context: in the fall of 1944, this same home was the site of the Dumbarton Oaks Conference, at which representatives of China, Great Britain, the United States, and the USSR laid down the principles that later became the basis of the United Nations Charter.

Stravinsky knew that he was writing for an orchestra small enough to be able to perform inside a living room, so he limited his ensemble to fifteen players: flute, E-flat clarinet, bassoon, two horns, three violins, three violas, two cellos, and two doublebasses. He spelled out his intentions in an interview while at work on the music, saying that he wanted to write a “little concerto in the style of the Brandenburg Concertos.” Bach’s Brandenburg Concertos are spirited polyphonic music for a small orchestra that is treated soloistically, and that is also true of the Dumbarton Oaks Concerto. This music has the sharp, pointillistic sonority that Stravinsky favored in these years; he treats all fifteen players as soloists within the larger orchestral texture, and the outer movements are both in part fugal. The Dumbarton Oaks Concerto gets past in a compact twelve minutes, and Stravinsky joins its movements together with quiet modulatory passages.

The Tempo giusto opens with a gesture that (probably intentionally) recalls the opening of the Third Brandenburg Concerto; violas introduce the central fugue, and the movement drives to its close on a coda marked brillante.

The central Allegretto is in ternary form with sharply etched outer sections (at one point Stravinsky marks the music staccatissimo) framing a central episode in which woodwind soloists dance above murmuring string accompaniment.

The concluding Con moto does indeed move quickly; there is some complex polyphony along the way, but at the end the music sails home on the sound of the two horns, whose fanfare-like figures give the end of the Dumbarton Oaks Concerto its particular shining sound.

Sinfonia Concertante in B-flat Major, Hob. I:105

FRANZ JOSEPH HAYDN Born March 31, 1732, Rohrau Died May 31, 1809, Vienna

Approximate Duration: 22 minutes

Haydn wrote this wonderful music quickly during the winter of 1792. This was a very good time for the composer.

After three decades of quiet obscurity as kapellmeister to the Esterházy family, Haydn found himself lionized on his first visit to England: acclaimed by cheering audiences, feted by nobility, and handsomely rewarded for the concerts he directed of his own music. H.C. Robbins Landon has suggested that the Sinfonia Concertante was written in response to the great popularity of similar works by Ignaz Pleyel, which were then being performed on a rival concert series in London. Haydn’s manuscript shows signs of haste: perhaps he was hurrying to have it ready for the concert on March 9, 1792, a week after the successful première of his Symphony No. 98.

The sinfonia concertante (or Symphonie Concertante, as Haydn called it) is a concerto-like form, but with some important differences. It is for two or more soloists, who are more fully integrated into the orchestral texture than is the soloist in the standard concerto: the soloists in a sinfonia concertante emerge from the orchestral texture and return to it rather than carving out the independent identity of the soloist in a concerto. The mood is usually light, with the music somewhat in the manner of a divertimento, and the sinfonia concertante was often written for unusual combinations of instruments. The form flourished at the end of the eighteenth century, primarily in the hands of such composers as Pleyel, Stamitz, and Boccherini, but

858.459.3728 • WWW.LJMS.ORG | 69

FINALE WITH DAVID ZINMAN — PROGRAM NOTES

passed out of fashion early in the nineteenth. Ironically, the three finest examples of the form were written by two composers who otherwise ignored it: the present work by Haydn and the two by Mozart, one for a quartet of winds and the other for violin and viola.

Haydn’s manuscript may betray signs of haste, but there is no hint of carelessness in this polished music. Part of its success lies in Haydn’s choice of the four solo instruments.

He chooses a high and low string instrument (violin and cello) and a high and low wind (oboe and bassoon) and then combines and contrasts these quite different sonorities in endless ways. And throughout all three movements runs an atmosphere of spaciousness, elegance, and relaxation that has made this music an audience favorite for two centuries.

Music this agreeable needs little detailed comment.

The entire piece takes its character from the orchestra’s genial opening melody, and the four soloists emerge gracefully from the texture of this opening; Haydn writes out an extended cadenza for them just before the close. It is difficult for the soloists to emerge from the orchestra in the Andante, for Haydn virtually eliminates the orchestra here: he dispenses with trumpets and timpani and has the strings play pizzicato or accompany unobtrusively–essentially this movement is chamber music for the four soloists with minimal accompaniment. With its firm beginning, the concluding Allegro con spirito promises more serious things, but soon Haydn is playing sly jokes. He wrote the solo violin part for the impresario-violinist Johann Peter Salomon, who had brought him to London, and the violin has a very prominent role here: it interrupts things with a series of mock-serious recitatives that threaten to change the music’s course, but the violin is repeatedly swept up in the fun, and Haydn propels matters firmly to the good-natured close.

Symphony No. 7 in A Major, Opus 92

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

Approximate Duration: 37 minutes

Beethoven turned 40 in December 1810. Forty can be a difficult age for anyone, but for Beethoven things were going very well. True, his hearing had deteriorated to the point where he was virtually deaf, but he was still riding that white-hot explosion of creativity that has become known, for better or worse, as his “Heroic Style.” Over the decade-long span of that style (1803-1813) Beethoven essentially re-imagined music and its possibilities. The works that crystalized the Heroic Style–the Eroica and the

70 | LA JOLLA MUSIC SOCIETY

Fifth Symphony–unleashed a level of violence and darkness previously unknown in music, forces that Beethoven’s biographer Maynard Solomon has described as “hostile energy,” and then triumphed over them. In these violent symphonies, music became not a matter of polite discourse but of conflict, struggle, and resolution.

In the fall of 1811, Beethoven began a new symphony– it would be his Seventh–and it would differ sharply from those two famous predecessors. Gone is the sense of cataclysmic struggle and hard-won victory that had driven those earlier symphonies. There are no battles fought and won in the Seventh Symphony–instead, this music is infused from its first instant with a mood of pure celebration. Such a spirit has inevitably produced a number of interpretations as to what this symphony is “about”: Berlioz heard a peasants’ dance in it, Wagner called it “the apotheosis of the dance,” and more recently Maynard Solomon has suggested that the Seventh is the musical representation of a festival, a brief moment of pure spiritual liberation.

But it may be safest to leave the issue of “meaning” aside and instead listen to the Seventh simply as music. There had never been music like this before, nor has there been since–Beethoven’s Seventh Symphony contains more energy than any other piece of music ever written. Much has been made (correctly) of Beethoven’s ability to transform small bits of theme into massive symphonic structures, but in the Seventh he begins not so much with theme as with rhythm: he builds the entire symphony from what are almost scraps of rhythm, tiny figures that seem unpromising, even uninteresting, in themselves. Gradually he unleashes the energy locked up in these small figures and from them builds one of the mightiest symphonies ever written.

The first movement opens with a slow introduction so long that it almost becomes a separate movement of its own. Tremendous chords punctuate the slow beginning, which gives way to a poised duet for oboes. The real effect of this long Poco sostenuto, however, is to coil the energy that will be unleashed in the true first movement, and Beethoven conveys this rhythmically: the meter of the introduction is a rock-solid (even square) 4/4, but the main body of the movement, marked Vivace, transforms this into a light-footed 6/8. This Vivace begins in what seems a most unpromising manner, however, as woodwinds toot out a simple dotted 6/8 rhythm and the solo flute announces the first theme, a graceful melody on this same rhythm. Beethoven builds the entire first movement from this simple dotted rhythm, which saturates virtually every measure. As theme, as accompaniment, as motor rhythm, it is always present, hammering into our consciousness. At the climax, horns sail

FINALE WITH DAVID ZINMAN — PROGRAM NOTES

majestically to the close as the orchestra thunders out that rhythm one final time.

The second movement, in A minor, is one of Beethoven’s most famous slow movements, but the debate continues as to whether it really is a slow movement.

Beethoven could not decide whether to mark it Andante (a walking tempo) or Allegretto (a moderately fast pace).

He finally decided on Allegretto, though the actual pulse is somewhere between those two. This movement too is built on a short rhythmic pattern, in this case the first five notes: long-short-short-long-long–and this pattern repeats here almost as obsessively as the pattern of the first movement. The opening sounds like a series of static chords–the theme itself occurs quietly inside those chords– and Beethoven simply repeats this theme, varying it as it proceeds. The central episode in A major moves gracefully along smoothly-flowing triplets before a little fugato on the opening rhythms builds to a great climax. Beethoven winds the movement down on the woodwinds’ almost skeletal reprise of the fundamental rhythm.

The Scherzo explodes to life on a theme full of grace notes, powerful accents, flying staccatos, and timpani explosions. This alternates with a trio section for winds reportedly based on an old pilgrims’ hymn, though no one, it seems, has been able to identify that exact hymn.

Beethoven offers a second repeat of the trio, then seems about to offer a third before five abrupt chords drive the movement to its close.

These chords set the stage for the Allegro con brio, again built on the near-obsessive treatment of a short rhythmic pattern, in this case the movement’s opening four-note fanfare. This four-note pattern punctuates the entire movement: it shapes the beginning of the main theme, and its stinging accents thrust the music forward continuously as this movement almost boils over with energy. The ending is remarkable: above growling cellos and basses (which rock along on a two-note ostinato for 28 measures), the opening theme drives to a climax that Beethoven marks fff, a dynamic marking he almost never used. This conclusion is virtually Bacchanalian in its wild power–no matter how many times one has heard it, the ending of the Seventh Symphony remains one of the most exciting moments in all of music.

The first performance of the Seventh Symphony took place in the Great Hall of the University in Vienna on December 8, 1813. Though nearly deaf at this point, Beethoven led the performance, and the orchestra was able to compensate for his failings, so that the première was a huge success.

On that occasion–and at three subsequent performances

over the next few months–the audience demanded that the second movement be repeated.

Recommended Listening Stravinsky, Igor. Boulez Conducts Stravinsky. Pierre Boulez, Ensemble Intercontemporain. Deutsche Grammophon. ASIN: B007PBKOA8, [2010] Haydn, Josef. The Leonard Bernstein Collection - Volume 1 - Part 4. Leonard Bernstein, Walter Lehmayer, Michael Werba, Rainer Küchl, Franz Bartolomey, Wiener Philharmoniker. Deutsche Grammophon. ASIN: B00JNU7RM2, [2014] Beethoven, Ludwig. Beethoven: The Nine Symphonies. David Zinman, Zurich Tonhalle Orchestra. Sony Classical. ASIN: B00000IFP6, [1999]

858.459.3728 • WWW.LJMS.ORG | 71

Community Engagement Activities COACHING WORKSHOPS

Free Admission · Limited Seating LA JOLLA RIFORD LIBRARY

Each year, SummerFest Music Director Cho-Liang Lin invites 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 2017, we welcome Fellowship Artists Ulysses Quartet: Christina Bouey, Rhiannon Banerdt, violins; Colin Brookes, viola; Grace Ho, cello and Rodin Trio: Scott Cuellar, piano; Philip Marten, violin; Joshua Halpern, cello.

As part of La Jolla Music Society’s active partnership with the San Diego Youth Symphony and Conservatory, SummerFest performers will coach SDYS students during select workshops.

AUG 3 THUR Coaching Workshops 10:00 - 10:50 AM

11:00 - 11:50 AM AUG 4 FRI Coaching Workshops 10:00 - 10:50 AM

11:00 - 11:50 AM AUG 5

SAT

AUG 7 MON Coaching Workshops 10:00 - 10:50 AM

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

11:00 - 11:50 AM

Free Admission · Limited Seating

UC SAN DIEGO DEPARTMENT OF MUSIC’S CONRAD PREBYS RECITAL HALL

Doors Open 10 Minutes Prior to Listed Start Time

Set in the intimate Recital Hall located in the Conrad Prebys Music Center, 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 & Education, Leah Z. Rosenthal, and LJMS Education Manager, Allison Boles, are joined by special guests to introduce each work prior to the start of the rehearsal.

Open Rehearsal

12:50 - 2:00 PM

AUG 9 WED Coaching Workshops 10:00 - 10:50 AM

11:00 - 11:50 AM AUG 10 THUR Encounter 12:30 - 2:00 PM

Open Rehearsal 2:50 - 4:00 PM AUG 11 FRI

OPEN REHEARSALS

Open Rehearsal 12:20 - 1:30 PM

Coaching Workshops 11:00 - 11:50 AM

AUG 14 MON Coaching Workshops 10:00 - 10:50 AM

11:00 - 11:50 AM AUG 15 TUE Coaching Workshops 10:00 - 10:50 AM

11:00 - 11:50 AM AUG 16 WED Coaching Workshops 10:00 - 10:50 AM

11:00 - 11:50 AM AUG 17 THUR Encounter 12:30 - 2:00 PM AUG 18 FRI Coaching Workshops 10:00 - 10:50 AM

11:00 - 11:50 AM AUG 19 SAT

Open Rehearsal 1:50 - 3:00 PM

AUG 21 MON Coaching Workshops 10:00 - 10:50 AM

11:00 - 11:50 AM Open Rehearsal

2:20 - 3:30 PM

ENCOUNTERS

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.

72 | LA JOLLA MUSIC SOCIETY

AUG 22 TUE Coaching Workshops 10:00 - 10:50 AM

11:00 - 11:50 AM AUG 23 WED Coaching Workshops 10:00 - 10:50 AM

11:00 - 11:50 AM Encounter 12:30 - 2:00 PM

*SPECIAL NOTE: AUG 10 AND AUG 17 - NO COACHING WORKSHOPS

Cho-Liang Lin coaches Rodin Trio on Mendelssohn’s Piano Trio in D Minor Daniel Ching coaches Ulysses Quartet on Debussy’s String Quartet in G Minor, Opus 10

Olli Mustonen coaches Rodin Trio on Beethoven’s Piano Trio in D Major, Opus 70, No. 1 Toby Hoffman coaches Ulysses Quartet on Beethoven’s String Quartet in A Major, Opus 18, No. 5

Special Guest: Daniel Ching - Olli Mustonen and Miró Quartet rehearse Mustonen’s Piano Quintet

Glenn Dicterow coaches Rodin Trio on Mendelssohn’s Piano Trio in D Minor John Largess coaches Ulysses Quartet on Beethoven’s String Quartet in A Major, Opus 18, No. 5 or Stravinsky’s Concertino and Three Pieces for String Quartet

David Chan coaches Rodin Trio on Mendelssohn’s Piano Trio in D Minor William William Fedkenheuer Fedkenheuer coaches coaches Ulysses Ulysses Quartet Quartet on on Debussy’s Debussy’s String String Quartet Quartet inin GG Minor, Minor, Opus Opus 10 10 or or Stravinsky’s Stravinsky’s Concertino Concertino and and Three Three Pieces Pieces for for String String Quartet Quartet

Special Guest: DaXun Zhang - Glenn Dicterow, Chee-Yun, Tien-Hsin Cindy Wu, Edward Arron and DaXun Zhang rehearse Dvorˇák’s Quintet for Strings and Bass in G Major, Opus 77 Margaret Batjer coaches Ulysses Quartet on Schubert’s Quartettsatz or Haydn’s String Quartet in B Minor, Opus 33, No. 1 Chee-Yun coaches Rodin Trio on Brahms’ Piano Trio No. 2 in C Major, Opus 87

Special Performance Encounter hosted by Scholar-in-Residence Eric Bromberger: Stravinsky meets Tan Dun - Wu Man and Ulysses Quartet perform

Special Guest: Cho-Liang Lin - Kristin Lee, Cho-Liang Lin, Tien-Hsin Cindy Wu, Edward Arron and Miró Quartet rehearse Spohr’s Double String Quartet No. 1, Opus 65

Edward Arron coaches Rodin Trio on Beethoven’s Piano Trio in D Major, Opus 70, No. 1

Joshua Halpern coaches a student from the San Diego Youth Symphony and Conservatory Cho-Liang Lin coaches Ulysses Quartet on Schubert’s Quartettsatz or Haydn’s String Quartet in B Minor, Opus 33, No. 1

Jennifer Koh coaches Ulysses Quartet on Beethoven’s String Quartet in A Major, Opus 18, No. 5 Shai Wosner coaches Rodin Trio on Brahms’ Piano Trio No. 2 in C Major, Opus 87

A member from Rodin Trio coaches a student from the San Diego Youth Symphony and Conservatory Yura Lee coaches Ulysses Quartet on Beethoven’s String Quartet in A Major, Opus 18, No. 5

Special Performance Encounter hosted by Marcus Overton: Beethoven III - Jennifer Koh, Rodin Trio and Tien-Hsin Cindy Wu perform

Clive Greensmith coaches Rodin Trio on Beethoven’s Piano Trio in D Major, Opus 70, No. 1 Paul Neubauer coaches Ulysses Quartet on Schubert’s Quartettsatz or Haydn’s String Quartet in B Minor, Opus 33, No. 1

Special Guest: Michelle Kim - Haochen Zhang, Cho-Liang Lin, Michelle Kim, Paul Neubauer and Clive Greensmith rehearse Elgar’s Piano Quintet in A Minor, Opus 84

Clive Greensmith coaches Ulysses Quartet on Schubert’s Quartettsatz or Haydn’s String Quartet in B Minor, Opus 33, No. 1 Alisa Weilerstein coaches Rodin Trio on Brahms’ Piano Trio No. 2 in C Major, Opus 87

Special Guest: Haochen Zhang - Haochen Zhang, Nathan Hughes, Anthony McGill, Keith Buncke and Jennifer Montone rehearse Mozart’s Quintet for Piano and Winds in E-flat Major, K.452

Haochen Zhang coaches Rodin Trio on Brahms’ Piano Trio No. 2 in C Major, Opus 87 A member from Ulysses Quartet coaches a student from the San Diego Youth Symphony and Conservatory

Eugene Drucker coaches Ulysses Quartet on Beethoven’s String Quartet in A Major, Opus 18, No. 5 Catherine Ransom Karoly coaches a student from the San Diego Youth Symphony and Conservatory

Encounter hosted by Leah Z. Rosenthal: Forging a Concert Career: Making it as a Professional Wind Player in the 21st Century Panel Discussion featuring Keith Buncke, Nathan Hughes, Catherine Ransom Karoly and Anthony McGill

858.459.3728 • WWW.LJMS.ORG | 73

SummerFest Musical Preludes CELEBRATING STRINGS Friday, August 11 · 7 PM

UC San Diego Music Department’s Conrad Prebys Concert Hall

MENDELSSOHN Piano Trio No. 1 in D Minor, Opus 49 (1839) (1809-1847) Molto allegro ed agitato Andante con molto tranquillo Scherzo: Leggiero e vivace Allegro assai appassionato

Rodin Trio

Scott Cuellar, piano; Philip Marten, violin; Joshua Halpern, cello

KALICHSTEIN-LAREDO-ROBINSON TRIO: 40TH ANNIVERSARY Sunday, August 13 · 2 PM

UC San Diego Music Department’s Conrad Prebys Concert Hall

DEBUSSY String Quartet in G Minor, Opus 10 (1893) (1862-1918) Animé et très décidé Scherzo: Assez vif et bien rythmé Andantino, doucement expressif Très modéré; Très mouvementé; Très animé

Ulysses Quartet Christina Bouey, Rhiannon Banerdt, violins; Colin Brookes, viola; Grace Ho, cello

BEETHOVEN IV Friday, August 18 · 7 PM

UC San Diego Music Department’s Conrad Prebys Concert Hall

BEETHOVEN String Quartet in A Major, Opus 18, No. 5 (1798-1800) (1770-1827) Allegro Menuetto Andante cantabile Allegro Ulysses Quartet Christina Bouey, Rhiannon Banerdt, violins; Colin Brookes, viola; Grace Ho, cello

74 | LA JOLLA MUSIC SOCIETY

QUICK NOTE: Passionate, songful, gracefully written for all three instruments, this trio is one of Mendelssohn’s finest works. The opening movement is in sonata form and a special favorite of cellists, for the cello introduces both themes. The real glory of the piece lies in the middle two movements. The serene second movement belongs largely to the piano; the violin and cello decorating and embellishing the music of the piano. The scherzo is one of those fleet and graceful fast movements that only Mendelssohn could write. Though built on two themes, this scherzo lacks the trio section of the classical scherzo. The finale returns to the mood and manner of the opening movement. It is in ABABA form, with a quietly driving first section and a lyric central episode.

— Eric Bromberger

QUICK NOTE: Those who think of Debussy as the composer of misty impressionism are in for a shock with his quartet. The entire quartet grows directly out of its first theme, presented at the powerful opening. The scherzo may well be the quartet’s most impressive movement. Against powerful pizzicato chords, Debussy sets the viola’s bowed theme, a transformation of the opening figure. The recapitulation of this movement, in 15/8, bristles with rhythmic energy until the music fades away to a beautifully understated close.

In the third movement, the opening and closing sections are muted.

The quartet’s opening theme reappears in a variety of forms in the finale: first in a misty, distant statement, then gradually louder until it returns in all its fiery energy and closes with a propulsive coda.

— Eric Bromberger

QUICK NOTE: Scholars have been unanimous in believing that this quartet had a specific model: Mozart’s String Quartet in A Major, K.464. Beethoven took both the key and general layout of Mozart’s quartet, but it is unfair to see his work as just an imitation of Mozart’s masterpiece. The opening Allegro is built on two ideas–one soaring and one darker, more melodic. The beginning of the minuet belongs entirely to the violins, with the second violin gracefully following and commenting on the first’s theme. The Andante cantabile offers five variations on the simple falling-and-rising idea announced at the beginning. The energetic and good-natured finale is in sonata (rather than the expected rondo) form, and on the energy of the opening idea the music rushes to its close, which brings a sudden and surprisingly quiet concluding chord. — Eric Bromberger

SUMMER SERENADES Sunday, August 20 · 2 PM

UC San Diego Music Department’s Conrad Prebys Concert Hall

BEETHOVEN Piano Trio in D Major, Opus 70, No. 1 “Ghost” (1808) (1770-1827) Allegro vivace e con brio Largo assai ed espressivo Presto Rodin Trio Scott Cuellar, piano; Philip Marten, violin; Joshua Halpern, cello

MOZART’S ENCHANTMENT Tuesday, August 22 · 7 PM

UC San Diego Music Department’s Conrad Prebys Concert Hall

SCHUBERT Quartettsatz in C Minor, D.703 (1820) (1797-1828) Ulysses Quartet

Christina Bouey, Rhiannon Banerdt, violins; Colin Brookes, viola; Grace Ho, cello

HAYDN String Quartet in B Minor, Opus 33, No. 1, Hob. III:37(1781) (1732-1809) Allegro moderato Scherzo Andante Finale: Presto Ulysses Quartet

AN EVENING WITH ALISA WEILERSTEIN Wednesday, August 23 · 7 PM

UC San Diego Music Department’s Conrad Prebys Concert Hall

BRAHMS

Piano Trio No. 2 in C Major, Opus 87 (1880-82) Allegro Andante con moto Scherzo: Presto Finale: Allegro giocoso Rodin Trio (1833-1897)

Scott Cuellar, piano; Philip Marten, violin; Joshua Halpern, cello

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 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 expansiveness. The concluding Presto sounds innocent after the grim pizzicato strokes that end the Largo.

— Eric Bromberger QUICK NOTES: The Quartettsatz is generally acknowledged as the first of Schubert’s mature quartets -that title, which did not originate with Schubert, means “quartet movement.” He had apparently planned to write a standard four-movement quartet, but completed only the first movement and a fragment of a second movement. The key relationships are one of the most remarkable aspects of the quartet: it begins in C minor and quickly gives way to the lyric second idea in A-flat major. The quiet third theme–a rocking, flowing melody–arrives in G major. As one expects in Schubert’s mature music, keys change with consummate ease, though one surprise is that the opening idea does not reappear until the coda, where it returns in the closing instants to hurl the movement to its fierce conclusion. — Eric Bromberger Haydn’s String Quartet in B Minor is the first of his “Russian Quartets,” named for the dedication to Grand Duke Paul of Russia. The work begins in the relative D major and seems to dance between the major and minor before settling into the tonic key. In the Scherzo, the cello and viola are paired in a graceful, lilting conversation with the violins during the trio section, which is in radiant B major. The Andante is the only movement in a major key. Here Haydn provides rich, contemplative harmonies and intricate chromatic lines. The cello and violin both shine in the second half of the Andante as they work together to complete soaring ascending lines. The piece ends with a fiery, breathless Presto in Sonata form, featuring the bravura of the first violin. — Allison Boles

QUICK NOTE: In Piano Trio No. 2, Brahms treats the piano and the two string instruments as two separate voices–the notion of a trio seems to become instead a duo. The Allegro is built on three themegroups: the strings’ athletic opening theme, a chordal second melody, and a lilting idea in triplets played by the strings. The Andante is an ingenious set of five variations; the odd-numbered ones treat the first theme, while the two even-numbered are variations of the piano accompaniment to the original theme. The spooky Scherzo is one of Brahms’ most effective movements. The crisp C-minor mutterings of the opening section give way to a C-major trio, built on one of the most glowing themes Brahms ever wrote. In the genuinely happy finale, the violin and cello are in octaves as they announce the main idea. A lengthy coda leads to a powerful close on a huge variant of this opening theme. — Eric Bromberger

858.459.3728 • WWW.LJMS.ORG | 75

Artist Biographies Cho-Liang Lin, Music Director & violin

After playing for Itzhak Perlman in a master class at age 13, young Cho-Liang Lin was determined to study with Mr. Perlman’s teacher Dorothy DeLay. At 15, Mr. Lin traveled alone to New York and auditioned for The Juilliard School, where he spent the next six years studying with Ms. DeLay. Born in Taiwan, Mr. Lin made his New York Philharmonic debut at the age of 20 playing the Mendelssohn Concerto with Zubin Mehta in 1980. He has performed as soloist with virtually every major orchestra in the world. A champion of music of our time and commissioning new works, composers such as John Harbison, Christopher Rouse, Tan Dun and John Williams have written works for him.

A member of The Juilliard School faculty since 1991, in 2006, he was appointed professor at Rice University.

He is currently music director of La Jolla Music Society SummerFest and the Hong Kong International Chamber Music Festival.

Mr. Lin performs on the 1715 Stradivari named “Titian” or a 2000 Samuel Zygmuntowicz. His many concerto, recital and chamber music recordings on Sony Classical, Decca, BIS, Delos and Ondine can be heard on Spotify or Naxos.com. His albums have won Gramophone “Record of the Year,” Grammy® nominations and Penguin Guide Rosettes.

Nico Abondolo, bass

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

76 | LA JOLLA MUSIC SOCIETY

Since then, he has appeared with orchestras and in recital throughout the United States and Europe. He is the double bass professor at the Music Academy of the West.

Edward Arron, cello

contemporary music, the pianist has premièred new works composed for him by Matthias Pintscher, Sebastian Currier and Avner Dorman. Inon is sponsored by Arleene Antin and Leonard Ozerkis.

Cellist Edward Arron has garnered recognition worldwide for his elegant musicianship, impassioned performances, and creative programming. He made his New York recital debut in 2000 at the Metropolitan Museum of Art, and has since appeared in recital, as soloist with major orchestras and as a chamber musician throughout North America, Europe and Asia. Graduate of The Juilliard School and former artistic director of “Metropolitan Museum Artists in Concert”, he is the artistic director, host, and resident performer of several acclaimed series including Old Lyme, Connecticut’s “Musical Masterworks.” As well, he curates “Edward Arron and Friends,” at Caramoor International Music Festival.

Margaret Batjer, violin

Inon Barnatan, piano

Tiffany Wai-Ying Beres is a distinguished Chinese art specialist and art historian. She has worked as an independent curator and exhibition planner with museums and institutions around the world such as the Pagoda Paris and Zürich’s Rietberg Museum. Previously based in Beijing, Ms. Beres served as the International Affairs Officer and was a Chinese ink painting specialist for China Guardian, Mainland China’s first auction house.

Having completed his third and final season as the inaugural Artistin-Association of the New York Philharmonic, Israeli pianist Inon Barnatan is a recipient of both the Avery Fisher Career Grant and Lincoln Center’s Martin E. Segal Award.

Celebrated for his poetic sensibility, probing intellect, and consummate artistry, he has performed extensively with many of the world’s foremost orchestras, including the Los Angeles Philharmonic, Cleveland and Philadelphia orchestras, Royal Stockholm Symphony Orchestra and Lisbon’s Gulbenkian Orchestra. He has worked with such conductors as Gustavo Dudamel, Thomas Søndergård, Michael Tilson Thomas, Edo de Waart, Pinchas Zukerman and Jaap van Zweden. Passionate about

Concertmaster of the Los Angeles Chamber Orchestra since 1998, Margaret Batjer has developed its acclaimed “Westside Connections” chamber music series, now entering its tenth season, and has collaborated with notable artists, including Chris Thile, Wu Han and David Finckel. Since her first solo appearance with the Chicago Symphony Orchestra (CSO) at age 15, she has appeared with leading orchestras and ensembles, including a re-engagement with the CSO, and has established herself as a versatile and respected artist worldwide.

A graduate of the Curtis Institute of Music, she is on the faculty of both USC’s Thornton School of Music and the Colburn School.

Tiffany Wai-Ying Beres, lecturer

Allison Boles, lecturer

As La Jolla Music Society’s Education Manager, Allison Boles oversees LJMS’ robust Education Program, which deepens the educational and creative experience of

students and community members. An alumna of UC San Diego and former music editor, Ms. Boles is active in her community, volunteering on several boards and committees. She enjoys playing saxophone, cooking, and hiking in her spare time.

Eric Bromberger, scholar-in-residence

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

Keith Buncke, bassoon

Born in Orange, California and a native of Portland, Oregon, Keith Buncke “continues to illuminate the orchestra’s performances every week with playing of individuality and poetic distinction,” praised The Chicago Classical Review. Music Director Riccardo Muti appointed Mr. Buncke Principal Bassoon of the Chicago Symphony Orchestra in July 2015. Previously, Mr. Buncke served as Principal Bassoon of the Atlanta Symphony Orchestra, while attending the Curtis Institute of Music, where he was a pupil of Daniel Matsukawa. He has given master classes at a number of institutions, including Northwestern University and participated in the summer festivals of Tanglewood and Aspen, among others.

David Chan, violin

Concertmaster of the Metropolitan Opera Orchestra since 2000, David Chan will be leading The Montclair Orchestra as Music Director

in its inaugural 2017-18 season. Having worked with many of the most famous names in classical music, he is also the artistic director of Musique et Vin au Clos Vougeot, a summer festival in France’s Burgundy region pairing fine wine with music performed by renowned musicians. Mr. Chan is on the faculty of The Juilliard School and the Mannes School of Music. A San Diego native, Mr. Chan is a graduate of Harvard University and The Juilliard School.

Chee-Yun, violin

Native of Seoul, Korea, violinist Chee-Yun has enraptured audiences with her flawless technique, dazzling tone and compelling artistry. Winner of the Young Concert Artists International Auditions in 1989 and an Avery Fisher Career Grant recipient in 1990, she has performed regularly with the world’s foremost orchestras, including the Philadelphia Orchestra and London Philharmonic with distinguished conductors, such as Michael Tilson Thomas in the inaugural season of Carnegie Hall’s Zankel Hall. She has recorded for the Denon and Naxos labels, and in 1993, the White House invited her to perform for President Bill Clinton and recipients of the National Medal of the Arts.

Chia-Ling Chien, cello

Born in Taipei, Taiwan, Chia-Ling Chien began playing the piano at age 6 and cello at age 9. She received both Bachelor and Master of Music degrees from the Cleveland Institute of Music (2007, 2009) under Desmond Hoebig, Stephen Geber and Michael Mermagen. Ms. Chien joined the San Diego Symphony in 2008 and was appointed associate principal cello in 2009.

Robert deMaine, cello

Praised by the New York Times as “an artist who makes one hang on every note,” Los Angeles Philharmonic principal cellist Robert deMaine is a sought-after soloist and chamber musician. Frequently performing at many of the world’s premier chamber music festivals, he was recently featured as soloist at the 2016 Piatigorsky Cello Festival. Mr. deMaine has appeared as soloist on the stages of Carnegie Hall, Amsterdam’s Concertgebouw, Wigmore Hall and Vienna Konzerthaus, among others. His Naxos recording of John Williams’ Cello Concerto was released in 2015. An exclusive Thomastik-Infeld artist, Robert deMaine performs on a 1684 Antonio Stradivari cello, the “General Kyd, ex-Leo Stern.” Robert is sponsored by Annemarie and Leland Sprinkle.

Armen Derkevorkian, violin

Armen Derkevorkian is a member of the Verbier Festival Chamber Orchestra in Switzerland, and regularly performs with the Los Angeles Chamber Orchestra and the Pasadena Symphony.

He served as guest concertmaster of the Mortizburg Festival Orchestra in Germany and guest associate concertmaster with the Sarasota Orchestra. Mr. Derkevorkian holds graduate degrees from the University of Southern California in both violin performance and engineering.

858.459.3728 • WWW.LJMS.ORG | 77

Artist Biographies Glenn Dicterow, violin

Violinist Glenn Dicterow, the former Concertmaster of the New York Philharmonic for a record 34 years has established himself worldwide as one of the foremost prominent American concert artists of his generation. As the first holder of the Robert Mann Chair in Strings and Chamber Music at USC’s Thornton School of Music (2013), Mr. Dicterow is Chairman of the Orchestral Performance Program at the Manhattan School of Music and performs as a soloist with orchestras around the world. He and his wife, violist Karen Dreyfus, are founding members of the Lyric Piano Quartet and the Amerigo Trio, performing, recording, teaching and speaking at leading festivals and musical institutions internationally.

Bridget Dolkas, violin

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

Eugene Drucker, violin

Violinist Eugene Drucker, a founding member of the Emerson String Quartet, is also an active soloist, author and composer. He has appeared with the orchestras of Montréal, Brussels and Jerusalem, among others. A graduate of Columbia University and The Juilliard School, he made his New York debut as a Concert Artists Guild winner in 1976.

Recently named an Honorary Distinguished Professor by the State University of New York, Eugene Drucker lives in New York with his wife, cellist Roberta Cooper, and their son Julian.

Violins he plays are: a 1686 Stradivarius, a 2002 Zygmuntowicz and a 2015 Soltis.

78 | LA JOLLA MUSIC SOCIETY

Jeff Edmons, conductor

Having led youth, collegiate, and professional orchestras, SDYS’ Music Director Jeff Edmons is now in his 22nd year with SDYS. Under his direction, SDYS has experienced tremendous growth, both in enrollment and in its level of musical achievement. He has been featured in articles and journals honoring his work and has been the subject of documentaries on CNN, Fox Television, National Public Radio, and more.

Jason Ginter, percussion

Graduate of the CincinnatiConservatory of Music and native of Elyria, Ohio, Jason Ginter is a timpanist, percussionist, soloist and educator. Former principal timpanist of the San Diego, Peoria and DuluthSuperior symphony orchestras, Mr. Ginter has performed as soloist with the Los Angeles Philharmonic. He authored Excercises for the Beginning Percussionist (2004), and his company JGpercussion specializes in high-quality percussion products.

Alex Greenbaum, cello

Born in New York, cellist Alex Greenbaum enjoys a diverse and adventurous musical life, varying early music and performance with championing new music. As a member of the Hausmann Quartet he is an Artist-inResidence at San Diego State University, where he teaches cello and chamber music. A long-time member of The Knights, he performs locally on the Art of Élan series and is a founding member of the San Diego Baroque Soloists. Mr. Greenbaum plays a 2006 Michèle Ashley cello and a baroque cello labeled Claude Vuillaume, 1788.

Clive Greensmith, cello

Clive Greensmith joined the world-renowned Tokyo String Quartet in 1999, giving over one hundred performances each year in the most prestigious international venues, including New York’s Carnegie Hall, Sydney Opera House, London’s South Bank, Paris Châtelet, Berlin Philharmonie, Vienna Musikverein and Suntory Hall in Tokyo. As a soloist, Clive Greensmith has performed with the London Symphony, Royal Philharmonic and Rome’s RAI orchestras and Seoul Philharmonic, among others. He is CoDirector of Chamber Music and Professor of Cello at the Colburn School in Los Angeles. Mr. Greensmith is a founding member of the Montrose Trio with Jon Kimura Parker and Martin Beaver.

Laura Griffiths, oboe

Laura Griffiths is Principal Oboe of the San Francisco Ballet Orchestra and was previously Principal Oboe of the Cleveland and the Rochester Philharmonic Orchestras. She has been Guest Principal Oboe of the Boston and the Atlanta Symphonies, among others.

Ms. Griffiths was Principal Oboe and soloist with the Mainly Mozart Festival Orchestra in San Diego and the Britt Festival Orchestra. Ms. Griffiths graduated with honors from the Eastman School of Music, where she was a student of Richard Killmer.

Samuel Hager, bass

Bassist Samuel Hager has been a member of the San Diego Symphony Orchestra since October of 2006 and is 2015-16’s Acting Associate Principal. A native of Waukegan, IL, Mr. Hager studied Double Bass Performance at Indiana University and received a Graduate Certificate from University of Southern California in 2005. He plays a Modern Italian double bass circa 1930 made by Giuseppe Tarantino.

Artist Biographies Kathryn Hatmaker, violin

Violinist Kathryn Hatmaker enjoys a multi-faceted career as performer, educator and entrepreneur. She is the Executive and Artistic Director of Art of Élan (www. artofelan.org), and has been a violinist with the San Diego Symphony since 2006. Ms. Hatmaker is an active soloist with a wide variety of North American orchestras and is a frequent chamber music recitalist and guest clinician.

with the MET Chamber Ensemble at Carnegie Hall earned him critical acclaim.

Mr. Hughes has presented masterclasses nationally and internationally, from the Cleveland Institute of Music to Pacific Music Festival in Japan.

Kalichstein-Laredo-Robinson Trio Joseph Kalichstein, piano; Jaime Laredo, violin; Sharon Robinson, cello

Toby Hoffman, viola

Conductor and violist Toby Hoffman began his musical training at age 6, studying violin with his mother Esther Glazer. Earning Bachelor and Master degrees in Music at The Juilliard School, he later studied with Finnish conducting pedagogue Jorma Panula, with whom he shares teaching the Young Conductors Class at the Sibelius Academy in Helsinki, Finland. Mr. Hoffman has enjoyed an international career performing with today’s most prominent musicians.

Principal Conductor and Artistic Director of the Braga Orquestra in Portugal, he performs on an Antonio and Hieronymus Amati viola, made in Cremona, Italy in 1628, formerly belonging to Queen Victoria of England.

Nathan Hughes, oboe

Nathan Hughes is Principal Oboe of The Metropolitan Opera Orchestra (MET) and on the The Juilliard School’s faculty. He previously served as principal oboe of the Seattle Symphony, and he has made guest appearances as principal oboe with the Los Angeles and New York Philharmonics and the Chicago Symphony Orchestra. An avid chamber musician, Mr. Hughes has performed at the festivals of Aspen, Lucerne, Marlboro, Salzburg, Santa Fe, Spoleto and Tanglewood. His performances as soloist

A “…foremost trio with the greatest longevity…bring(ing) to worldwide audiences their expressive and exhilarating interpretations,” (Musical America), Kalichstein-Laredo-Robinson Trio commissioned Pulitzer Prizewinner Ellen Taaffe Zwilich to create Pas de Trois in celebration of their 40th Anniversary. Since making their debut at the White House for President Carter’s Inauguration, the Trio continues to dazzle audiences and critics alike.

Pianist Joseph Kalichstein, violinist Jaime Laredo and cellist Sharon Robinson have set the standard for performance of piano trio literature.

The Trio balances the careers of three internationally-acclaimed soloists, while maintaining an active recording agenda and making annual appearances at many of the world’s major concert halls. Since 2012, Jaime Laredo and Sharon Robinson serve on faculty at The Cleveland Institute of Music. Both Mr. Laredo and Ms. Robinson were professors at the Indiana University Jacobs School of Music for seven years prior. Joseph Kalichstein continues as a long-revered teacher at The Juilliard School.

Olga Kern, piano

Winner of the 2001 Van Cliburn International Piano Competition, Russian-American pianist Olga Kern is now recognized as one of her generation’s great artists.

With her vivid stage presence, passionately confident musicianship and extraordinary technique, the striking pianist continues to captivate fans and critics alike. Ms. Kern is a corresponding member of the Russian Academy of Sciences, Division of the Arts and she served as Jury Chairman of the Seventh Cliburn International Amateur Piano Competition in June, 2016. She was featured in the award-winning documentary about the 2001 Cliburn Competition, Playing on the Edge, as well as Olga’s Journey, Musical Odyssey in St. Petersburg and in They Came to Play. Olga is sponsored by Lulu Hsu.

Michelle Kim, violin

New York Philharmonic Assistant Concertmaster since 2001 and founder of Doublestop Foundation, a charity that provides stringed instruments for deserving, less-privileged musicians, Michelle Kim has performed as a soloist with orchestras such as the New York Philharmonic, Santa Barbara Chamber Orchestra and Pacific Symphony and collaborated with artists, including Cho-Liang Lin and Yefim Bronfman. She has performed at various festivals including the Santa Fe Chamber Music Festival, Bravo! Vail and La Jolla Music Society SummerFest. She has been on the faculty of her alma mater, USC Thornton School of Music, among others, and currently teaches at the Mannes College of Music and New York University. Michelle is sponsored by Virginia and Robert Black.

858.459.3728 • WWW.LJMS.ORG | 79

Artist Biographies Jennifer Koh, violin

Violinist Jennifer Koh, Musical America’s 2016 Instrumentalist of the Year, is recognized for her intense, commanding performances, delivered with dazzling virtuosity and technical assurance. An adventurous musician, she has premièred over 60 works written especially for her and curates projects that uncover connections between music of all eras.

Her latest project, Mixtape, explores the role of the violin concerto in contemporary culture, with new concertos by Vijay Iyer, Andrew Norman and Chris Cerrone, premièred this season at the Ojai Festival, Los Angeles Chamber Orchestra and Detroit Symphony. She is the recipient of an Avery Fisher Career Grant, winner of the 1994 Tchaikovsky International Competitions, regularly records for Cedille Records and is Artistic Director of the artist driven non-profit arco collaborative.

Joanna Lee, violin

Born into a musical family, Joanna began playing the violin at the age of 6. A founding member of the piano quartet Los Angeles Ensemble, Joanna holds a Doctoral of Musical Arts Degree from the University of Southern California, where she studied under Margaret Batjer. She is currently a member of the Santa Barbara Symphony and Visiting Lecturer at Scripps College in Claremont.

Kristin Lee, violin

A recipient of the 2015 Avery Fisher Career Grant, as well as a top prizewinner of the 2012 Walter W. Naumburg Competition and the Astral Artists’ 2010 National Auditions, Kristin Lee is a violinist of remarkable versatility and impeccable technique who enjoys a vibrant career as a soloist, recitalist, chamber musician, and educator. The Strad reports, “She seems entirely

80 | LA JOLLA MUSIC SOCIETY

comfortable with stylistic diversity, which is one criterion that separates the run-of-the-mill instrumentalists from true artists.” Born in Seoul, Ms. Lee earned a Master’s degree from The Juilliard School, studying with Itzhak Perlman, and is the artistic director of Emerald City Music in Seattle.

violist Caterina Longhi joined the San Diego Symphony in 2015, after completing her Master of Music degree at The Juilliard School. Recipient of New York’s Gluck Community Service fellowship, she co-founded the performing arts outreach group Rayos de Canción.

Yura Lee, violin

Travis Maril, viola

Very few in the world have mastery of both violin and viola. Actively performing each instrument equally, vilolinist/violist Yura Lee is one of the most versatile and compelling artists of today. Her more than two-decade-long international career includes performances as both as soloist and as a chamber musician, captivating audiences with music from baroque to modern. Her many honors include first prize in Viola at the 2013 ARD Competition in Germany and a 2007 Avery Fisher Career Grant.

Ms. Lee studied at The Juilliard School, New England Conservatory, Salzburg Mozarteum and Kronberg Academy. She teaches both violin and viola at the Mason Gross School of the Arts at Rutgers University and divides her time between New York, Portland and Berlin.

Lei Liang, lecturer

Chinese-born American composer Lei Liang is the winner of the Rome Prize, the recipient of a Guggenheim Fellowship, a Koussevitzky Foundation Commission, two National Endowment for the Arts grants, a Creative Capital Award and was a finalist for the 2015 Pulitzer Prize in Music. His catalogue of more than 70 compositions is published exclusively by Schott Music Corporation (New York).

Caterina Longhi, viola

A New York native, former member of the New Haven Symphony Orchestra and principal viola at the Verbier and Spoleto USA festivals,

Travis Maril is String Coordinator at SDSU’s School of Music and Dance and Co-Director of SDSU’s String Academy for pre-college students. He has taught at the Interharmony Music Festival (Italy) and the San Diego Summer Music Institute. A passionate chamber musician, he has been described as playing with “persuasive, stylish ardor.”

Mr. Maril holds degrees from USC and Rice University.

Jennifer Marotta, trumpet

Hailing from Naperville, IL, Jennifer Marotta holds a Master of Music degree from DePaul University, and is a member of the Grand Teton Music Festival and the Music of the Baroque in Chicago. A visiting professor at UCLA in 2016, Ms. Marotta is currently a freelance musician and teaches trumpet at the USC’s Thornton School of Music in Los Angeles.

Pamela Vliek Martchev, flute

Pam Vliek Martchev served as principal flute with the Boulder Philharmonic for 10 seasons, and has played with orchestras including the Los Angeles Philharmonic and the San Diego Symphony Orchestra. She currently gives masterclasses as a Haynes Ambassador Clinician, is a board member of the San Diego Flute Guild, and is on the faculties of SDSU, Pt. Loma Nazarene University and the University of San Diego.

Artist Biographies Mike McCoy, horn

San Diego native Mike McCoy plays 4th horn with the Las Vegas Philharmonic and teaches horn at San Diego State and Point Loma Nazarene Universities. Former founder and horn player for the internationally touring brass quintet Presidio Brass, he performs in the horn sections of San Diego Symphony and Pacific Symphony, and records for video games, TV and movies. He enjoys spending time with his wife and two boys and taking his Golden Retrievers to the beach.

Anthony McGill, clarinet

An exceptional solo, chamber and orchestral classical musician, Anthony McGill joined the New York Philharmonic as principal clarinet in 2014.

Former Principal Clarinet of the Metropolitan Opera Orchestra (MET), Mr. McGill is the recipient of an Avery Fisher Career Grant and the Sphinx Medal of Excellence. He has appeared as soloist with many orchestras including the MET Opera, American Symphony and New York String orchestras, all at Carnegie Hall. He serves on the faculty of many renowned educational institutions including The Juilliard School and his alma mater the Curtis Institute of Music. Alongside Itzhak Perlman, Yo-Yo Ma and Gabriela Montero, Mr. McGill performed at President Obama’s 2009 inauguration.

Nuvi Mehta, lecturer

Graduate of Indiana University and The Juilliard School, Nuvi Mehta is sought after as a teacher and public speaker who carries his passion for music into classrooms, boardrooms and conventions, regaling audiences with the stories and techniques of the great composers. Since 2004, he has served as Artistic Director of the Ventura Music Festival Association and is the pre-concert lecturer, multi-media presenter and community outreach resource for the San Diego Symphony.

Miró Quartet

Daniel Ching, William Fedkenheuer, violins; John Largess, viola; Joshua Gindele, cello

Formed in 1995, the Miró Quartet is consistently praised for their deeply musical interpretations, exciting performances and thoughtful programming. Each season, they perform throughout the world on the most important chamber music series and on the most prestigious concert stages, garnering accolades from critics and audiences alike. Based in Austin, TX, the Miró Quartet took its name from the Spanish artist, Joan Miró, whose surrealist works — with subject matter drawn from the realm of memory and imaginative fantasy — are some of the most original of the 20th century.

Concert highlights of recent seasons include a highly anticipated and sold out return to Carnegie Hall to perform Beethoven’s complete Opus 59 Quartets and collaborations with award-winning actor Stephen Dillane as part of Lincoln Center’s White Lights Festival. In 2005, the Miró Quartet became the first ensemble ever to be awarded the coveted Avery Fisher Career Grant.

Jennifer Montone, horn

Grammy® Award Winner Jennifer Montone has been hailed by the New York Times for her “flawless horn solos... and warm and noble sound.” As Principal Horn of the Philadelphia Orchestra, and a world acclaimed soloist, chamber musician and teacher, she has been on the faculty at the Curtis Institute of Music and The Juilliard School since joining the orchestra in 2006. Ms. Montone is a graduate of The Juilliard School, and was awarded the prestigious Avery Fisher Career Grant in 2006. She is married to double bass player Timothy Ressler and enjoys spending time with her two young sons Max and Felix.

Olli Mustonen, piano

Following the tradition of great masters such as Rachmaninoff, Busoni and Enescu, Olli Mustonen exceptionally combines the roles of composer, pianist and conductor in an equal balance. In this triple capacity he has appeared recently with the Atlanta, New Russia and Estonian National symphonies and the Royal Northern Sinfonia. On the chamber music stage, in 2017 he performed his own piano quintet at Amsterdam’s Concertgebouw.

Additionally, he performs at the highest level as a concerto soloist with many leading conductors. As a recitalist, he plays in all the world’s musical capitals, appearing in recent seasons at the Mariinsky Theatre in St Petersburg, Wigmore Hall, Beethoven-Haus Bonn, Symphony Center Chicago, New York’s Zankel Hall and Sydney Opera House.

Christina and Michelle Naughton, piano

“Joining two hearts and four hands at two grand pianos, the Naughton sisters created an electrifying and moving musical performance,” proclaims Hong Kong’s Sing Tao Daily. They have captivated audiences around the world with the unity created by their mystical musical communication. The sisters recently signed an exclusive recording contract with Warner Classics which released their second album, Visions, in March 2016, named “Editor’s Choice” by Gramophone Magazine. Orchestral engagements include appearances with the Philadelphia Orchestra, among many others, and they have performed in recital around the world, at such venues as Zurich’s Tonhalle, Amsterdam’s Concertgebouw, Beijing Forbidden City Concert Hall and Sala São Paulo in Brazil. Born in Princeton, New Jersey to parents of European and Chinese descent, Christina and Michelle are graduates of The Juilliard School and the Curtis Institute of Music, where they were each awarded the Festorazzi Prize. The Steinway Artists currently reside in New York City. Christina and Michelle are sponsored by Marilyn and Stephen Miles.

858.459.3728 • WWW.LJMS.ORG | 81

Artist Biographies Paul Neubauer, viola

Called a “a master musician” by the New York Times, violist Paul Neubauer is the newly appointed Artistic Director of New Jersey’s “Mostly Music.” Appointed principal violist of the New York Philharmonic at age 21, he has appeared as soloist with over 100 orchestras including the National, St. Louis, Detroit, Dallas, and San Francisco symphonies. He has premièred viola concertos by Bartók, Penderecki and Picker. A two-time Grammy® nominee, his recording of Aaron Kernis’ Viola Concerto with the Royal Northern Sinfonia will be released on Signum Records. Mr. Neubauer is a faculty member of The Juilliard School and Mannes College.

Marcus Overton, lecturer

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

Andrea Overturf, oboe

Andrea Overturf currently serves as English horn of the San Diego Symphony Orchestra. Equally adept at the oboe, she received second prize in the 2007 International Double Reed Society Gillet-Fox Solo Oboe Competition. Ms. Overturf has appeared as guest soloist with the San Diego Symphony and at the Aspen Music Festival, among others. She holds degrees from the Eastman School of Music and The Juilliard School.

82 | LA JOLLA MUSIC SOCIETY

Alyssa Park, violin

Alyssa Park established an enviable international reputation at 16 for being the youngest prizewinner in the history of the Tchaikovsky International Competition.

Ms. Park’s numerous appearances include frequent performances at major German festivals including Ludwigsburg and Schleswig-Holstein, where she played with pianist Martha Argerich. She is a founding member of Lyris Quartet, the ensemble in residence at Santa Monica’s Jacaranda Series.

Der Rosenkavalier, Pamina in Die Zauberflöte, and Norina in Don Pasquale. Other recent performances include: Les contes d’Hoffmann (New Israeli Opera); Der Rosenkavalier (Bolshoi Opera); L’incoronazione di Poppea and L’arbore di Diana (Teatro Real); Die Zauberflöte and Die lustige Witwe (Teatro Colón); L’olimpiade (Pergolesi Festival); Roméo et Juliette (Nederlandse Opera, Dallas Opera, Pittsburgh Opera); Rigoletto (Washington National Opera, Austin Lyric Opera); and Ariadne auf Naxos (Opéra de Paris, Metropolitan Opera. Teatro Real, Los Angeles Opera, Washington National Opera).

Jon Kimura Parker, piano

Keith Popejoy, horn

Known for his passionate artistry and engaging stage presence, pianist Jon Kimura Parker has performed as guest soloist with the Philadelphia Orchestra and Wolfgang Sawallisch, in Carnegie Hall, and toured Europe with the Royal Philharmonic Orchestra and André Previn. A true Canadian ambassador of music, Mr. Parker has given command performances for Queen Elizabeth II, the U.S. Supreme Court and the Prime Ministers of Canada and Japan. He is an Officer of The Order of Canada, the country’s highest civilian honor. He is a founding member of the Montrose Trio with violinist Martin Beaver and cellist Clive Greensmith. “Jackie” Parker won the Gold Medal at the 1984 Leeds International Piano Competition. He lives in Houston with his wife, violinist Aloysia Friedmann and their daughter Sophie.

Lyubov Petrova, soprano

Opera News hails Lyubov Petrova as a “soprano of ravishing, changeable beauty, blazing high notes and magnetic stage presence.” Ms. Petrova made her Metropolitan Opera debut as Zerbinetta in Ariadne auf Naxos and since returned for numerous roles including Sophie in

Former, third horn with the San Diego Opera and assistant principal horn with San Diego Symphony, as well as principal horn with the San Antonio Symphony, Keith Popejoy has been Principal French Horn with Pacific Symphony since 2004. Born and raised in San Diego, Mr. Popejoy is performing in his 12th season with La Jolla Music Society SummerFest.

Catherine Ransom Karoly, flute

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

She has participated in numerous music festivals, including Tanglewood, the Spoleto Festival in Italy, and has been a frequent performer at La Jolla Music Society SummerFest. She earned her Master of Music degree from The Juilliard School, studying with Carol Wincenc, and has three children with her husband LA Philharmonic cellist Jonathan Karoly.

Artist Biographies Regina Carter Quartet

Regina Carter, violin; Marvin Sewell, guitar; Chris Lightcap, bass; Alvester Garnett, drums

A native of Detroit Regina Carter, has been awarded the prestigious MacArthur Fellowship “genius grant.” After moving to New York City in 1991, she was tapped for session work by artists including Aretha Franklin, Mary J. Blige, Lauryn Hill, Billy Joel and Dolly Parton. She has toured with Wynton Marsalis in support of his Pulitzer Prizewinning work, Blood on the Fields and was a special guest artist on Eddie Palmieri’s Grammy® Award-winning Listen Here. Her recent releases include Reverse Thread (2010), Southern Comfort (2014) and most recently Ella: Accentuate the Positive (2017), celebrating the music and spirit of the iconic Ella Fitzgerald. Born in Richmond Virginia, drummer Alvester Garnett began touring extensively with Regina and James Carter in 1998. He continues to work with numerous artists including Dee Dee Bridgewater and the Richmond Symphony. Bassist Chris Lightcap has performed and recorded with Ms. Carter since 2000, and was awarded Chamber Music America’s 2011 New Jazz Works commission grant.

Guitarist and composer Marvin Sewell spends his time writing music for his own band The Marvin Sewell Group.

Additionally, he has performed and recorded with Ani DiFranco and David Sandborn, among others.

Sheryl Renk, clarinet

Former principal clarinetist of the San Francisco Ballet Orchestra, Sheryl Renk is the principal clarinetist of the San Diego Symphony and on SDSU’s music faculty. In addition to SummerFest, her festival performances include the Santa Fe Chamber Music, Durango and the Carmel Bach Festivals, among others. Ms. Renk has recorded at the famed Skywalker Ranch for movie and commercial soundtracks.

Rodin Trio

Rodin Trio is an ensemble of alumni and current students at the Shepherd School of Music at Rice University, making their debut at SummerFest 2017. They have individually appeared in chamber, solo and orchestral roles across the U.S. and abroad. The Trio is sponsored by Bjorn Bjerede and Jo Kiernan.

Scott Cuellar, piano

Graduate of the Oberlin Conservatory and The Juilliard School, Scott Cuellar is currently completing his Doctor of Musical Arts at the Shepherd School of Music, studying with Jon Kimura Parker.

Philip Marten, violin

Currently a member of the Kansas City Symphony, Philip Martin studied with Cho-Liang Lin as an undergraduate at the Shepherd School of Music, and with Glenn Dicterow in graduate studies at USC.

Joshua Halpern, cello

Joshua Halpern earned his Bachelor’s degree studying under Desmond Hoebig at the Shepherd School of Music, and currently studies with Carter Brey and Peter Wiley at the Curtis Institute of Music.

Leah Z. Rosenthal, lecturer

Leah Rosenthal is La Jolla Music Society’s Director of Artistic Planning & Education; she joined the staff in 2008. 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 attended Boston University for voice performance and received her master’s degree in performing arts management from Columbia College Chicago.

San Diego Youth Symphony International Youth Symphony

The annual International Youth Symphony (IYS) is a partnership between San Diego Youth Symphony (SDYS) and Rotary District 5340 International Youth Exchange that brings musicians from across the globe together with SDYS’ most advanced musicians for a two-week intensive music experience.

This year, we celebrate the 13th annual IYS. For two weeks of rehearsals and a variety of performances, 25 international musicians join 17 SDYS students to create a unique orchestra, of exceptionally talented musicians, led by Music Director Jeff Edmons.

Performances include Twilight in the Park at the Spreckels Organ Pavilion in Balboa Park and a classical concert at the Center Theater at California Center for the Arts in Escondido.

Ryan Simmons, bassoon

Ryan Simmons has been a member of the San Diego Symphony since 2004. Mr. Simmons has performed with the Los Angeles Philharmonic and as principal bassoon with the San Diego Chamber Orchestra, and the Jacksonville Symphony in Florida. Mr. Simmons is also a member of the San Diego chamber music ensemble Camarada, and has participated in numerous festivals including Marlboro, Sararsota and Tanglewood. Mr. Simmons is a graduate of the Curtis Institute in Philadelphia.

858.459.3728 • WWW.LJMS.ORG | 83

Artist Biographies Jeanne Skrocki, violin

Assistant Concertmaster of Pacific Symphony, Jeanne Skrocki made her solo debut with the Los Angeles Philharmonic at age 14.

She was a student of legendary violinist Jascha Heifetz, and is on the faculty of the Jascha Heifetz Symposium held at Connecticut College each June. She has a degree in Aeronautical Engineering from Cal Poly, San Luis Obispo.

Tricia Skye, horn

Tricia Skye began playing with the San Diego Symphony Orchestra in 1998. Prior to that, she studied privately with Jerry Folsom, former co-principal horn of the Los Angeles Philharmonic. In addition to touring the world for a year with the German based Philharmonic of the Nations at age 20, Ms. Skye has worked as a recording musician, playing for numerous records, television shows and movies. She has performed with the Toronto Symphony, Los Angeles Philharmonic and at the Mainly Mozart festival. Tricia is sponsored by Elizabeth Taft.

Ulysses Quartet

Founded in the summer of 2015 the Ulysses String Quartet are Winners of the Grand Prize and the Gold Medal in the Senior String Division of the 2016 Fischoff National Chamber Music Competition. The Quartet has performed in such prestigious halls as Esterházy Palace, Carnegie Hall and the Taiwan National Concert Hall. The Quartet is sponsored by LJMS Education Committee.

84 | LA JOLLA MUSIC SOCIETY

Christina Bouey, violin

Canadian violinist Christina Bouey is currently concertmaster of the Cayuga Chamber Orchestra and plays a 1900 Scarampella violin, on loan from the Canada Council Instrument Bank.

Rhiannon Banerdt, violin

Violinist Rhiannon Banerdt is assistant concertmaster with the Cape Symphony, on Bloomingdale School of Music’s violin faculty and pursuing her Doctorate of Musical Arts at City University of New York.

Colin Brookes, viola

Colin Brookes is pursuing a Doctorate of Musical Arts at Stony Brook University. He plays an Italian 19th Century viola and bow on loan from the Maestro Foundation.

Grace Ho, cello

Grace Ho holds degrees from the University of North Texas and Manhattan School of Music, and is a Doctorate of Musical Arts candidate at Manhattan School of Music.

Ray Ushikubo, violin

Exhibiting an innate musicality well beyond his years, 15-year-old JapaneseAmerican pianist and violinist Ray Ushikubo has performed on the stages of Carnegie and Merkin Halls in New York City, and on NBC’s The Tonight Show with Jay Leno. Student of Colburn School’s Music Academy, Mr. Ushikubo most recently won the 2016 Piano Concerto Competition at the Aspen Music Festival and School.

Gilles Vonsattel, piano

Called a “wanderer between worlds” by the Lucerne Festival, Swissborn American pianist Gilles Vonsattel is the recipient of an Avery Fisher Career Grant and winner of the 2016 Andrew Wolf Chamber Music Award as well as the Naumburg and Geneva competitions.

An Honens laureate, Vonsattel has in

recent years made his Boston and San Francisco symphony debuts, and performed recitals and chamber music at Ravinia, Wigmore Hall and Bravo!

Vail. Mr. Vonsattel received his bachelor’s degree in political science and economics from Columbia University and his master’s degree from The Juilliard School, where he studied with Jerome Lowenthal. He is on the faculty of the University of Massachusetts at Amherst, and makes his home in New York City.

David Washburn, trumpet

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

Alisa Weilerstein, cello

A 2011 MacArthur Fellowship recipient, Alisa Weilerstein’s 2016-17 Season included performances of Bach’s complete suites for unaccompanied cello at Caramoor, in Washington, DC, and in London. Her busy schedule this season featured performances with New World Symphony; Lausanne Chamber Orchestra, Netherlands Philharmonic, Royal Stockholm Philharmonic, Dallas Symphony; San Francisco Symphony; National Symphony in both Washington, DC and Moscow; and Orpheus Chamber Orchestra. She performed the world première of Matthias Pintscher’s Cello Concerto with the Boston Symphony Orchestra, which co-commissioned the piece for her.

As an exclusive Decca Classics recording artist, Ms. Weilerstein

Artist Biographies released her fifth album in September, playing Shostakovich’s two cello concertos with the Bavarian Radio Symphony under Pablo Heras-Casado, in performances recorded live last season.

Roger Wilkie, violin

Former member and guest concertmaster of the Los Angeles Chamber Orchestra, Roger Wilkie has served as concertmaster of the Long Beach Symphony Orchestra (LBSO) since 1990. Since 2005, he has had the honor of serving as concertmaster for composer John Williams’ motion picture scores including recent installments of the Star Wars franchise, The Force Awakens and The Last Jedi.

Shai Wosner, piano

Pianist Shai Wosner has attracted international recognition for his exceptional artistry, musical integrity and insightful performances of a broad repertoire from Beethoven to the music of today. His imaginative programming is on display in his latest solo album, Impromptu, released by Onyx Classics and featuring an eclectic mix of improvisationallyinspired works by composers spanning centuries, most prominently the music of Schubert, of which he is known as a leading interpreter. Mr. Wosner launches a new solo recital series this season, Schubert: The Great Sonatas, which focuses on the composer’s last six piano sonatas. Born in Israel, he is a recipient of Lincoln Center’s Martin E. Segal Award, an Avery Fisher Career Grant and a Borletti-Buitoni Trust Award.

Wu Man, pipa

The world’s premier pipa virtuoso and composer, Wu Man is an ambassador of Chinese music, creating a new role for her 2000-year old lute-like instrument in both traditional and contemporary music. She has performed in recital and as soloist with major orchestras around the world, is a frequent collaborator with the Kronos and Shanghai Quartets and The Knights, and is a principal musician in the Silk Road Ensemble. She has recorded more than 40 albums, five of which have been nominated for Grammy® Awards, but the best measure of her achievement is that her instrument, which dates back 2000 years, is no longer an exotic curiosity. Wu Man is sponsored by the Twin Dragon Foundation.

Tien-Hsin Cindy Wu, viola

Violist Tien-Hsin Cindy Wu enjoys a versatile career as a soloist, chamber musician and educator. She has collaborated with such artists as Midori, Yuja Wang and members of the Brentano and Miró string quartets. From 2010 to 2015 she taught violin, chamber music and string pedagogy at USC’s Thornton School of Music. She is currently the artist-in-residence of the Da Camera Society in Los Angeles. Ms. Wu plays on a 1734 Domenico Montagnana violin, and a 2015 Stanley Kiernoziak viola.

Xiaogang Ye, commissioned composer

Having studied at China’s Central Conservatory of Music and the Eastman School of Music, Xiaogang Ye is regarded as one of China’s leading contemporary composers. A member of the Chinese Parliament, he is presently Vice Chairman of China’s Musicians’ Association, Vice President of the

Central Conservatory of Music and Founder and Artistic Director of the Beijing Modern Music Festival. His many awards include the 2013 China Arts Award. Much of Ye’s work bears a connection to Chinese culture and tradition. First Chinese composer to sign with Schott Music, his works have drawn international attention for three decades, and have been performed by orchestras and ensembles including the Munich Philharmonic, New York Philharmonic and Ensemble Modern. Ye divides his time between Beijing and Exton, Pennsylvania.

Leyla Zamora, bassoon & contrabassoon

Having been a member of the San Diego Symphony Orchestra since 2005, Leyla Zamora previously held the position of principal bassoon with the Memphis Symphony for 11 years. Ms. Zamora studied at the Tchaikovsky Conservatory in Moscow, Baylor University and DePaul University in Chicago. Other festival appearances include the Spoleto Music Festival in Italy and Cassals Festival in Puerto Rico.

DaXun Zhang, bass

“If the bass is finally to produce a headliner, the instrument can have no better champion than Zhang,” wrote The Washington Post of double bassist DaXun Zhang. Having begun playing the bass at age nine, Mr. Zhang’s numerous awards and honors include being the youngest artist to win the International Society of Bassists Solo Competition (2001), first double bass player to win the Young Concert Artists International Auditions (2003) and, in 2007, he was awarded the Avery Fisher Career Grant. A graduate of Indiana University School of Music, he is currently Associate Professor of Double Bass at the University of Texas at Austin.

858.459.3728 • WWW.LJMS.ORG | 85

Artist Biographies Hoachen Zhang, piano

Since his gold medal win at the Thirteenth Van Cliburn International Piano Competition in 2009, 27-year-old Chinese pianist Haochen Zhang has captivated audiences in the United States, Europe, and Asia with a unique combination of deep musical sensitivity, fearless imagination and spectacular virtuosity.

Mr. Zhang made his debut with the Munich Philharmonic and the late maestro Lorin Maazel in April 2013.

Most recently, Mr. Zhang toured in Asia with orchestras such as the Sydney Symphony in Tokyo and the Mariinsky Orchestra in Beijing. Recorded on the BIS label, his latest CD Schumann, Liszt, Janáček & Brahms: Piano Works, released in February 2017. Haochen is sponsored by Katrina Wu.

David Zinman, conductor

Wide-ranging repertoire, commitment to contemporary music and historicallyinformed performance have distinguished New York-born conductor David Zinman’s career. Former Music Director of the Rotterdam Philharmonic and Aspen Music Festival, he has been the Music Director of the Orchestre Français des Jeunes the past two seasons and was named Conductor Laureate of the Tonhalle-Orchester Zürich in 2014, following a 19-year tenure. Five-time Grammy®Award winner, David Zinman’s extensive discography of more than 100 recordings has earned him numerous international honors, most recently a 2015 Echo Klassik Conductor of the Year award. His many awards and honors include the French Ministry of Culture’s title of Chevalier de l’Ordre des Arts et des Lettres in 2000 and the 2002 City of Zürich Art Prize.

Ellen Taaffe Zwilich, commissioned composer A prolific composer in virtually all media, Ellen Taaffe Zwilich’s works have been performed by most of the leading American orchestras and by major ensembles abroad. Ms. Zwilich is the recipient of numerous prizes and honors, including the 1983 Pulitzer Prize in Music (the first woman ever to receive this coveted award), the Elizabeth Sprague Coolidge Chamber Music Prize and a Guggenheim Fellowship. Elected to the Florida Artists Hall of Fame, the American Academy of Arts and Sciences and the American Academy of Arts and Letters, in 1995, she was named to the first Composer’s Chair in the history of Carnegie Hall. Ms. Zwilich holds a doctorate from The Juilliard School and is currently the Francis Eppes Distinguished Professorship at Florida State University.

PHOTO CREDITS: Pg. 5: UC San Diego Department of Music’s Conrad Prebys Concert Hall © Erik Jepsen; Pg. 6: K. Lancino © Paul Body; Pg. 7: C. Lin by Sophie Zhai; Pg. 8: C. Greensmith © Tomo Saito; Pg. 9: Miró Quartet courtesy of artist; Pg. 10: Y. Lee courtesy of artist; Pg. 11: C. Lin © Paul Body; Pg. 12: SummerFest Under the Stars© Matthew Fernie; Pg. 13: O. Kern by Chris Lee, I. Barnatan by Marco Borggreve, Chee-Yun © Youngho Kang, D. Chan by Pedro Diaz; Pg. 18: C. & M. Naughton by Lisa-Marie Mazzucco, L. Petrova courtesy of artist; Pg. 24:O. Mustonen © Outi Montosen; Pg. 28: Miró Quartet © Michael Thad Carter; Pg. 35: W. Man by KuanDi Studio, G. Dicterow courtesy of artist, D. Zhang courtesy of artist; Pg. 38: M. Batjer courtesy of artist, T. Hoffman courtesy of artist, E. Arron © Hak-Soo Kim, K. Lee by Sophie Zhai; Pg. 42: Jacobs Residence by Erika Thornes; Pg. 43: Kalichstein-Laredo-Robinson Trio by Christian Steiner; Pg. 46: C. Lin © Paul Body, J. Parker by Tara McMullen; Pg. 50: J. Koh by Juergen Frank, S. Wosner by Marco Borggreve; Pg. 53: Y. Lee courtesy of artist, G. Vonsattel © by Marco Borggreve; Pg. 56: R. Carter by Christopher Drukker; Pg. 57: K. Buncke © Todd Rosenberg, N. Hughes courtesy of artist, H. Zhang © Benjamin Ealovega; Pg. 61: P. Neubauer © Tristan Cook, E. Drucker by Lisa-Marie Mazzucco, A. McGill © Ozier Muhammad; Pg. 64: A. Weilerstein © Decca-Harald Hoffmann; Pg. 68: C. Lin © Paul Body, M. Kim courtesy of artist, D. Zinman © Priska Ketterer; BACK COVER: W.Whelan by Erin Baiano.

86 | LA JOLLA MUSIC SOCIETY

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 CLARICE ASSAD Synchronous (2015) Liang Wang, oboe; Andrew Wan, Fabiola Kim, violins; Robert Brophy, viola; JeongHyoun "Christine" Lee, cello SÉRGIO ASSAD Candido Scarecrow (2014) The Assad Brothers DEREK BERMEL Death with Interruptions (2014) David Chan, violin; Clive Greensmith, cello; John Novacek, piano CHEN YI Ancient Dances (2004) I. Ox Tail Dance II. Hu Xuan Dance David Schifrin, clarinet; André-Michel Schub, piano Night Thoughts (2004) Catherine Ransom, flute; Keith Robinson, cello; André-Michel Schub, piano STEWART COPELAND Retail Therapy (2009) Kyoko Takezawa, violin; Nico Abondolo, bass; Frank Renk, bass clarinet; Stewart Copeland, drums; Joyce Yang, piano

Crossroads (2013) Jennifer Johnson Cano, mezzo-soprano; Peggy Pearson, oboe; Linden String Quartet; Nico Abondolo, bass

GUNTHER SCHULLER Quintet for Horn and Strings (2009) Julie Landsman, horn; Miró Quartet

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

BRIGHT SHENG Three Fantasies (2006) Cho-Liang Lin, violin; André-Michel Schub, piano Northen Lights, for Violon, Cello and Piano (2010) Lynn Harrell, cello; Victor Asuncion, piano

JOEL HOFFMAN of Deborah, for Deborah (2015) Nancy Allen, harp; Cho-Liang Lin, violin; Toby Hoffman, viola; Gary Hoffman, cello HUANG RUO Real Loud (2008) Real Quiet AARON JAY KERNIS Perpetual Chaconne (2012) John Bruce Yeh, clarinet; Calder Quartet

SEAN SHEPHERD Oboe Quartet (2011) Liang Wang, oboe; Jennifer Koh, violin; Cynthia Phelps, viola; Felix Fan, cello String Quartet No. 2 (2015) FLUX Quartet

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

HOWARD SHORE A Palace Upon the Ruins (A Song Cycle) (2014) Jennifer Johnson Cano, mezzo-soprano; Catherine Ransom Karoly, flute; Coleman Itzkoff, cello; Andrew Staupe, piano; Julie Smith Phillips, harp; Dustin Donahue, percussion

DAVID LANG String Quartet “almost all the time” (2014) FLUX Quartet

WAYNE SHORTER Terra Incognita (2006) Imani Winds

MAGNUS LINDBERG Konzertstück for Cello and Piano (2006) Anssi Karttunen, cello; Magnus Lindberg, piano

STEVEN STUCKY Sonata for Violin and Piano (2013) Cho-Liang Lin, violin; Jon Kimura Parker, piano

JACQUES LOUSSIER Divertimento (2008) Jacques Loussier Trio; SoJin Kim, Shih-Kai Lin, violins; Elzbieta Weyman, viola; Yves Dharamraj, cello; Mark Dresser, bass

AUGUSTA READ THOMAS Bells Ring Summer (2000) David Finckel, cello

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

CHICK COREA String Quartet No. 1, The Adventures of Hippocrates (2004) CHRISTOPHER ROUSE Orion String Quartet String Quartet No. 3 (2010) MARC-ANDRÉ DALBAVIE Calder Quartet Quartet for Piano and Strings (2012) KAIJA SAARIAHO Yura Lee, violin; Paul Neubauer, viola; Felix Fan, cello; Serenatas (2008) Jeremy Denk, piano Real Quiet RICHARD DANIELPOUR ESA-PEKKA SALONEN Clarinet Quintet “The Last Jew in Hamadan” (2015) Lachen verlernt (Laughing Unlearnt) (2002) Burt Hara, clarinet; Verona Quartet Cho-Liang Lin, violin BRETT DEAN PETER SCHICKELE Epitaphs for String Quintet (2010) Spring Ahead Quintet for Clarinet and String Quartet Brett Dean, viola; Orion String Quartet (2015) DAVID DEL TREDICI Burt Hara, clarinet; Huntington Quartet Bullycide (2013) LALO SCHIFRIN Orion Weiss, piano; DaXun Zhang, bass; Shanghai Quartet Letters from Argentina (2005) Lalo Schifrin, piano; David Schifrin, clarinet; MARC-ANDRÉ HAMELIN Cho-Liang Lin, violin; Nestor Marconi, bandoneón; String Quartet (2016) Pablo Aslan, bass; Satoshi Takeishi, percussion Hai-Ye Ni, cello; Marc-André Hamelin, piano PAUL SCHOENFIELD JOHN HARBISON Sonata for Violin and Piano (2009) String Quartet (2002) Cho-Liang Lin, violin; Jon Kimura Parker, piano Orion String Quartet

JOAN TOWER Big Sky (2000) Chee-Yun, violin; David Finckel, cello; Wu Han, piano Trio La Jolla (2007) (Renamed Trio CAVANY) Cho-Liang Lin, violin; Gary Hoffman, cello; André-Michel Schub, piano White Granite (2011) Margaret Batjer, violin; Paul Neubauer, viola; Joshua Roman, cello; André-Michel Schub, piano GEORGE TSONTAKIS Stimulus Package (2009) Real Quiet CHINARY UNG AKASA: “Formless Spiral” (2010) Real Quiet JOHN WILLIAMS Quartet La Jolla (2011) Cho-Liang Lin, violin; Joshua Roman, cello; John Bruce Yeh, clarinet; Deborah Hoffman, harp CYNTHIA LEE WONG Piano Quartet (2011) Joyce Yang, piano; Martin Beaver, violin; Kazuhide Isomura, viola; Felix Fan, cello XIAOGANG YE Gardenia for String Quartet and Pipa (2017) Wu Man, pipa; Miró Quartet ELLEN TAAFFE ZWILICH Quintet for Violin, Viola, Cello, Contrabass and Piano (2011) Kalichstein-Laredo-Robinson Trio; Michael Tree, viola; Harold Robinson, bass Pas de Trois (2016) Kalichstein-Laredo-Robinson Trio

858.459.3728 • WWW.LJMS.ORG | 87

Grand Tradition: SummerFest Artists 1986-2017 VIOLIN

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

88 | LA JOLLA MUSIC SOCIETY

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

Swensen, Joseph 1989, 2013 Takezawa, Kyoko 1998-‘99,2001,‘03,‘05-‘06,‘08-‘09, ‘11, ‘15 Thayer, Jeff 2005 Tognetti, Richard 2005 Tong, Kristopher 2010 Toyoshima, Yasushi 1997 Tree, Michael 2002 Trobäck, Sara 2002*, ‘05 Tursi, Erica 2014* Ung, Susan 2002 Urioste, Elena 2008* Ushikubo, Ray 2017 Ushioda, Masuko 1986-‘87,‘89 Vergara, Josefina 1993*◊,‘95◊,97◊ Wan, Andrew 2012, ‘14-‘16 Warsaw-Fan, Arianna 2012* Weilerstein, Donald 1986 Wilkie, Roger 1991,‘97, ‘17 Wu Jie 2007* Wu, Tien-Hsin Cindy 2011 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

VIOLA

Ando, Fumino 1996*◊ Baillie, Helena 2011 Barston, Elisa 1994 Berg, Robert 1988◊ Biss, Paul 1986-‘87 Brooks, Colin 2017* Brophy, Robert 2003*,‘13, ‘15-‘16 Bulbrook, Andrew 2009 Carrettin, Zachary 2011* Chen, Che-Yen 2005,‘07-‘10,‘12-‘13, ‘15-‘16 Choi, En-Sik 1990* Choong, Angela 2010* Cook, Carol 2005 Dean, Brett 2010 Dirks, Karen 1986-‘87 DuBois, Susan 1993*,‘95*◊ Dunham, James 2007,‘09,‘12 Dutton, Lawrence 1999, 2003, ‘15 Frankel, Joanna 2007* Gilbert, Alan 2003 Gulkis, Susan 1992* Ho, Shirley 1994*◊,‘95*,‘96*◊,‘97*◊, 2006 Hoffman, Toby 1989-‘92,‘95-‘96,‘98, 2000-‘01,‘11-‘12, ‘15, ‘17 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*,‘16 Largess, John 1994*◊-‘96*◊, ‘14,‘17 Lee, Scott 1997*◊, 2002,’04,‘07 Lee, Yura 2014,‘16 Li, Honggang 2003 Lin, Wei-Yang Andy 2012* Liu, Yun Jie 1990* Lockwood, Kathryn 1995◊ LoCicero, Joseph 2014*

Grand Tradition Longhi, Caterina 2016-‘17 Martin, Francesca 1988-‘90 Maril, Travis 2009-‘14,‘16-‘17 Moerschel, Jonathan 2009 Molnau, Michael 2012 Motobuchi, Mai 2010 Neubauer, Paul 1992-‘96,‘98-‘99, 2001,‘03-‘07,‘09-‘12, ‘15, ‘17 Neuman, Larry 1991* Ngwenyama, Nokuthula 2000 Nilles, AJ 2014 Nolan, Erin 2005* Nørgaard, Asbjørn 2016 Ohyama, Heiichiro 1986-‘97, 2004, ‘06,‘08-‘09, ‘11, ‘14-‘16 O’Neill, Richard 2013-‘15 Pajaro-van de Stadt, Milena 2011* Phelps, Cynthia 1989-‘90,‘99- 2002, ‘05-’08,‘10-‘11, ‘13-‘14,‘16 Quincey, Brian 1992*◊-‘93*◊ Quintal, Sam 2009* Richburg, Lynne 1992*◊ Rojansky, Abigail 2016* Runde, Ingrid 1988◊ Sanders, Karen 1988 Strauss, Michael 1991* Suzuki, Leo 1994*◊,‘99* Tenenbom, Steven 2004 Thomas, Whittney 2005 Toyoshima, Yasushi 1997 Tree, Michael 2001-‘02,‘08, ‘11 Ung, Susan 2010 Vernon, Robert 1987-‘88 Walther, Geraldine 1993-‘95 Weyman, Elzbieta 2008* Wickert, Eve 2003* Wilson, Evan N. 2001-‘02 Wu, Tien-Hsin Cindy 2017 Wong, Eric 2013* Zehngut, Gareth 2010

CELLO

Arron, Edward 2017 Belcher, Richard 2003* Braun, Jacob 2008 Brey, Carter 1990-‘91,‘93,‘95-‘96, ‘99-2001,‘03-‘06, ‘08-‘10,‘12-‘13,‘16 Bruskin, Julia 2003* Byers, Eric 2009 Canellakis, Nicholas 2014 Castro-Balbi, Jesús 2002* Chaplin, Diane 1989-‘90 Chien, Chia-Ling 2012, ‘15-‘17 Cho, Stella 2015* Cooper, Kristina 2003 Cox, Alexander 2014* Crosett, Rainer 2016* Curtis, Charles 2003,‘05,‘09 DeMaine, Robert 2017 DeRosa, William 2002 Dharamraj, Yves 2008* Díaz, Andrés 1992,‘94,‘99, 2000 Drakos, Margo Tatgenhorst 2009-‘10 Eddy, Timothy 1993, 2004 Eldan, Amir 2004* Elliot, Gretchen 1999 Fan, Felix 1992*◊-‘96*◊,‘97◊,‘98-‘99, 2001,‘03, ‘06-‘13,‘16 Fiene, Sarah 1999 Fife, Stefanie 1988◊ Finckel, David 1992-‘96,‘98-2000,‘06 Geeting, Joyce 1999 Gelfand, Peter 1999 Gerhardt, Alban 1998 Gindele, Joshua 2014

Greenbaum, Alex 2017 Greensmith, Clive 2015-‘17 Haas, Natalie 2005 Hagerty, Warren 2016* Haimovitz, Matt 1986 Halpern, Joshua 2017* Hammill, Rowena 1999 Han, Eric 2010* Handy, Trevor 2011-‘12 Harrell, Lynn 2005-‘07,‘10, ‘14 Henderson, Rachel 2009* Ho, Grace 2017* Hoebig, Desmond 2010,‘12, ‘14 Hoffman, Gary 1987-‘93,‘95-‘97,‘99, 2001, ‘03-‘04,‘06-’07,‘10,‘12-‘13,‘15 Hong, Ben 1990*,2001,‘13-‘16 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 Maisky, Mischa 2016 Marica, Mihai 2012* Mollenauer, David 1988◊ Moon, Eileen 2016 Moores, Margaret 1986-‘87,‘99 Myers, Peter 2011 Ni, Hai-Ye 2003-‘04,‘08, ‘11,‘14,‘16 Ostling, Kristin 1991* Ou, Carol 1993*◊-‘94*◊ Ou, Samuel 1994*◊ Pereira, Daniel 2002 Putnam, Dana 1994*◊ Rejto, Peter 1987,‘89 Roman, Joshua 2011-‘13,‘15 Rosen, Nathaniel 1994 Rubicz, Davin 2005* Saltzman, David 1999 Samuel, Brent 1996*◊-‘97*◊ Sharp, John 2015-‘16 Shaw, Camden 2011* Sherry, Fred 2000,‘09 Shulman, Andrew 2010,‘15 Sjölin, Fredrik Schøyen 2016 Smith, Ursula 1991* Smith, Wilhelmina 1990*,‘92*◊ Speltz, Brook 2016 Starker, János 1999 Sutherland, Wyatt 1999 Swallow, Gabriella 2013 Szanto, Mary 2001 Toettcher, Sebastian 1999 Tsan, Cecilia 1996 Tzavaras, Nicholas 2003

Umansky, Felix 2013* Vamos, Brandon 1995◊ Wang, Jian 2002, ‘05, ‘11 Weilerstein, Alisa 2006-‘08, ‘11, ‘17 Weiss, Meta 2012* Wirth, Barbara 1999 Yoon, Han Bin 2012 Zeigler, Jeff 1999 Zhang, Yuan 2010* Zhao, Yao 2009

BASS

Abondolo, Nico 1989-‘93,‘97◊, 2002–‘03,‘07,‘09, ‘11-‘17 Aslan, Pablo 2005,‘13,‘16 Cho, Han Han 2010 Coade, Sarah 1992◊ Danilow, Marji 1994◊-‘95◊,‘97◊ Dresser, Mark 2005,‘08 Finck, David 1996 Green, Jonathan 1986 Haden, Charlie 1995 Hager, Samuel 2011-‘17 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,‘17 Zory, Matthew 1992◊

BARYTON

Hunt, Shirley 2014

THEORBO

Leopold, Michael 2014

PIANO

Adolphe, Bruce 2001 Asuncion, Victor Santiago 2010 Ax, Emanuel 1990, 2010 Ax, Yoko Nozaki 1990 Barnatan, Inon 2012-‘14,‘17 Battersby, Edmund 1994 Biss, Jonathan 2006,‘13 Blaha, Bernadene 1996-‘97 Bolcom, William 2003 Bookstein, Kenneth 1990* Bronfman, Yefim 1989,‘92, 2003,‘06, ‘14 Brown, Alex 2016

◊ 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

858.459.3728 • WWW.LJMS.ORG | 89

Grand Tradition Brunetti, Octavio 2013 Chen, Weiyin 2006-‘07* Cole, Naida 2004 Corea, Chick 2004 Coucheron, Julie 2010 Cuellar, Scott 2017* Denk, Jeremy 2012 Feltsman, Vladimir 2008,‘10,‘15 Fitzgerald, Kevin 1997 Fleisher, Katherine Jacobson 2008 Fleisher, Leon 2000, ’02-‘03,‘08 Follingstad, Karen 1986-‘87 France, Hal 2001 François, Jean-Charles 1987 Goldstein, Gila 1993* Golub, David 1986-‘93,‘95-‘97 Graffman, Gary 1999 Haefliger, Andreas 2009, ‘11 Hamelin, Marc-André 2011,‘16 Harris, John Mark 2002 Hewitt, Angela 2005 Hewitt, Anthony 1991* Higuma, Riko 2003*-‘04* Hsiao, Ching-Wen 2004* Hsu, Julia 2015 Huang, Helen 2001,‘06,‘09 Jablonski, Peter 2008 Jian, Li 2003 Julien, Christie 1997* Kahane, Gabriel 2012 Kahane, Jeffrey 1986-‘89,2002,‘04,‘06,‘12-‘13 Kalichstein, Joseph 1998, 2006-07,‘10,‘13,‘15 Kalish, Gilbert 1998-‘99 Karis, Aleck 2003 Kern, Olga 2011,‘17 Kern, Vladislav 2011 Kodama, Mari 2012 Kogan, Dr. Richard 2014 Kramer, Henry 2012* Kuerti, Anton 1986 Laredo, Ruth 1994 Lee, Jeewon 2008* Levinson, Max 1990*-‘91*,‘94-‘95◊, ‘97, 2000,‘06 Licad, Cecile 1998, 2005,‘07 Lifschitz, Konstantin 2000 Lin, Gloria 2002* Lin, Steven 2013* Lindberg, Magnus 2006 Ling, Jahja 2004 Litton, Andrew 2004 McDermott, Anne-Marie 2007-‘09 Montero, Gabriela 2010 Murphy, Kevin 2002, ‘07 Mustonen, Olli 2017 Naughton, Christina 2017 Naughton, Michelle 2017 Neikrug, Marc 2007 Newman, Anthony 2001-‘02,‘07,‘10,‘13 Noda, Ken 2008-‘10,‘12,‘14 Novacek, John 1992*, 2002,‘08-‘10,‘12,‘14-‘16 O‘Riley, Christopher 1999, 2000,‘02, ‘06,‘10 Ohlsson, Garrick 2003,‘08 Orloff, Edith 1986-‘88 Park, Jeongwon 1995* Parker, Jon Kimura 2002,‘06,‘09,‘12-‘13,‘16-‘17 Pohjonen, Juho 2016 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*

90 | LA JOLLA MUSIC SOCIETY

Strokes, Marija 2003,‘05 Taylor, Christopher 2008 Taylor, Ted 2007 Tramma, Marzia 1996* Trifonov, Daniil 2013 Vonsattel, Gilles 2017 Watts, André 2005 Weilerstein, Vivian Hornik 1986 Weiss, Orion 2007-‘10,‘13-‘14 Woo, Alan 2015* Wosner, Shai 2005-‘08,‘16-‘17 Wu Han 1992-‘96,‘98-2000,‘06 Yrjola, Maria 2002 Yang, Joyce 2008-‘11,‘13,‘15 Zhang, Haochen 2017 Ziegler, Pablo 2012

HARPSICHORD

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◊

ORGAN

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

BANDONEÓN Del Curto, Héctor 2013 Marconi, Nestor 2005

FLUTE

Resnick, Lelie 2014-‘15 Reuter, Gerard 1989-‘90 Vogel, Allan 1987-‘89,‘91-‘95,‘97-‘99, 2008-‘10 Wang, Liang 2011-‘12,‘14-‘16 Whelan, Eileen 1994* Wickes, Lara 2009-‘11 Woodhams, Richard 2003-‘04,‘07,‘09

ENGLISH HORN Hove, Carolyn 1991

CLARINET

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

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

Anderson, Arpi C. 1994* Bursill-Hall, Damian 1986-‘89 Ellerbroek, Clay 2002 Giles, Anne Diener 1990 Karoly, Catherine Ransom 2001-‘02,‘04-‘05,‘07-‘09,‘11-‘17 McGill, Demarre 2007-‘08,‘10 Martchev, Pamela Vliek 2011-‘17 O‘Connor, Tara Helen 1997 Piccinini, Marina 1991 Sager, Marisela 2002-‘04 Tipton, Janice 1997,‘99, 2002-‘03 Wincenc, Carol 1990,‘92,‘94, 2000

BASSOON

RECORDER

CONTRABASSOON

Petri, Michala 2012

OBOE

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 Griffiths, Laura 2016-‘17 Horn, Stuart 1997 Hove, Carolyn 1991 Huang, Zheng 2004-‘06 Hughes, Nathan 2017 Janusch, J. Scott 2001-‘02 Kuszyk, Marion Arthur 2002 Michel, Peggy 1996◊ Overturf, Andrea 2009-‘15,‘17 Parry, Dwight 2007 Paulsen, Scott 1996◊ Pearson, Peggy 2013 Rapp, Orion 2007 Reed, Electra 2002 Reed, Leslie 1993,‘95

Buncke, Keith 2016-‘17 Farmer, Judith 1997,‘99 Fast, Arlen 1993 Goeres, Nancy 1996 Grego, Michele 1991,‘94-‘95 Mandell, Peter 1993 Martchev, Valentin E. 2004-‘05,‘07-‘09, ‘11-‘15 Michel, Dennis 1986-‘90,‘92-‘95 Nielubowski, Norbert 1991 Simmons, Ryan 2001-‘04,‘08, ‘11-‘13,‘16-‘17 Zamora, Leyla 2009,‘14-‘15,‘17 Savedoff, Allen 2013 Zamora, Leyla 2008,‘17

SAXOPHONE

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

HORN

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-‘17 Montone, Jennifer 2005,‘16-‘17 Popejoy, Keith 2002-‘04, ‘07-‘11,‘13-‘15,‘17 Ralske, Erik 2012 Ruske, Eric 2013-‘14 Skye, Tricia 2009, ‘11,‘17 Thayer, Julie 2013 Todd, Richard 1988-‘89,‘92-‘94,‘99, 2004,‘07-‘09, ‘11 Toombs, Barry 2002

Grand Tradition TRUMPET

Balsom, Alison 2014 Marotta, Jennifer 2016-‘17 Nowak, Ray 2009-‘12,‘14 Owens, Bill 2010-‘11 Perkins, Barry 2004,‘09 Price, Calvin 1993,‘95,‘97 Stevens, Thomas 1991 Washburn, David 2002-‘04,‘07,’09-‘10,‘12-‘14,‘16-‘17 Wilds, John 2001

TROMBONE

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

PERCUSSION

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,‘17 Huang, Aiyun 2002-‘03, ‘16 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, ‘16

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,‘17 Plantamura, Carol 1987 Plenk, Matthew 2013 Putnam, Ashley 1996 Saffer, Lisa 1993 Trakas, Chris 2002 Trebnik, Andrea 2000 Wolfson, Sarah 2006 Zhang, Jianyi 2003

NARRATOR

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

CONDUCTOR

Jewell, Joe 2003

Adolphe, Bruce 2001 Beattie, Michael 2013 Conlon, James 2016-‘17 Edmons, Jeff 2010-‘13, ‘16-’17 Gilbert, Alan 2003 Hermanns, Carl 1994-‘95 Huang Ruo 2008 Kahane, Jeffrey 2006 Kapilow, Robert 2002, ‘04 Laredo, Jamie 2011 Leppard, Raymond 2013 Lin, Cho-Liang 2011 Ling, Jahja 2006, ‘09 Litton, Andrew 2004 McGegan, Nicholas 2011 Mackey, Steven 2008 Mickelthwate, Alexander 2007 Nagano, Kent 1993,‘12 Neikrug, Marc 1997 Newman, Anthony ’09-‘10 Ohyama, Heiichiro 1988,‘90-‘97, 2006,‘09, ‘11,‘16 Previn, André 1990-‘91 Salonen, Esa-Pekka 2002 Schick, Steven 2008-‘09 Slatkin, Leonard 2014 Swensen, Joseph 2013 Tan Dun 2003,‘12 Zinman, David 2017

DIGITAL SAMPLER

ENSEMBLES

HARP

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

PIPA

Wu Man 2003,‘10,‘15,‘17

GUITAR

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 Chen, Yuanlin 2012

VOICE

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

Amelia Piano Trio 2000* American String Quartet 2007 Amphion String Quartet 2012 André Previn Jazz Trio 1991 Arioso Wind Quintet 1993 Arcadian Academy 2013 Assad Brothers 2011, ‘14 Australian Chamber Orchestra 2005 Avalon String Quartet 2000* Beacon Street Trio 2016* Bettina String Quartet 1996* BodyVox 2007 Borromeo String Quartet 2000-‘01,‘10,‘15

Calder Quartet 2005,‘09-‘10,‘12 Colorado String Quartet 1989-‘90 Coolidge String Quartet 1999* Danish String Quartet 2016 Éclat Quartet 2011* Enso String Quartet 2001*,‘03* Escher String Quartet 2007*, ‘15-‘16 Firebird Quartet 1998* FLUX Quartet 2014,‘16 Formosa Quartet 2008 Gemini Trio 1998* Goffriller Piano Trio 1999* Hausmann Quartet 2010* Huntington Quartet 2015* Igudesman & Joo 2012 Imani Winds 2006 International Sejong Soloists 2006 Jacques Loussier Trio 2008 Jasper String Quartet 2009* Kalichstein-Laredo-Robinson Trio 2002, ‘11,‘17 KahaneSwensenBrey 2013 La Jolla Symphony 2008-‘09 Linden String Quartet 2013* Malashock Dance 2002 Miami String Quartet 1998,2003-‘04 Miró Quartet 2009,‘14,‘17 Montrose Trio, The 2016 Newbury Trio 2012 Old City String Quartet 2011* Omer Quartet 2014* Orion String Quartet 1992-‘93,2002, ‘04,‘06,‘10 Ornati String Quartet 2000* Pablo Ziegler Classical Tango Quartet 2012 Pacifica Quartet 1995* Pegasus Trio 2014* Phaedrus Quartet 2001* Real Quiet 2007-‘10 red fish blue fish 2004,‘08-‘09,‘15 Regina Carter Quartet 2017 Ridge String Quartet 1991 Rioult 2008 Rodin Trio * 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,‘16-‘17 Shanghai Quartet 2003,‘07,’13 Silk Road Ensemble 2005 Sonora String Quartet 2008* St. Lawrence String Quartet 1999 SummerFest Ensembles 1988,‘92-‘97 Sycamore Trio 2015* Time for Three 2015-‘16 Tokyo String Quartet 2008, ‘11,‘12 Trío Ágape 1998* Trio Vivo 2013* Turtle Island String Quartet 1998 Ulysses Quartet 2017* Vega String Quartet 2001* Verona Quartet 2016* Wayne Shorter Quartet 2006 Westwind Brass 1994-‘95,‘97 Xando Quartet 1999* Zukerman Trio 2016

◊ 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

858.459.3728 • WWW.LJMS.ORG | 91

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

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

SCHOLAR-IN-RESIDENCE Bromberger, Eric 2014-‘17 Kogan, Dr. Richard 2014 Pollack, Howard 2013 Reveles, Nicolas 2016 Taruskin, Richard 2015

92 | LA JOLLA MUSIC SOCIETY

LECTURER & GUEST SPEAKER Adamson, Robert, M.D. 2001 Adolphe, Bruce 1999 Agus, Ayke 2003 Allison, John 2000 Amos, David 1994 Bell, Diane 2001 Beres, Tiffany Wai-Ying 2017 Boles, Allison 2017 Brandfonbrener, Alice G. 2002 Bromberger, Eric 1988-‘96,‘98-2009,‘11-‘13 Brooks, Geoffrey 1988 Cassedy, Steve 2007-‘10,‘12-‘14,‘16 Chapman, Alan 1988 Child, Fred 2001-‘06 Davies, Hugh 2000 DeLay, Dorothy 2001 Eichenthal, Gail 1987 Epstein, Steven 2001 Erwine, Dan 2000-‘01 Fay, Laurel 1991 Feldman, Michael 1999-2000 Fiorentino, Dan 2003 Flaster, Michael 2001 Gatehouse, Adam 2000 Guzelimian, Ara 1987,‘89-‘90 Hampton, Jamey 2007 Hanor, Stephanie 2003 Helzer, Rick 2006 Hermanns, Carl 1997 Harris, L. John 2001 Lamont, Lee 2002 Liang, Lei 2017 Longenecker, Martha W. 2003 Malashock, John 2000 Mehta, Nuvi 2010, ‘16-‘17 Mobley, Mark 2001-‘03 Morel, René 2000 Noda, Ken 2000 O‘Connor, Sandra Day 2004 Overton, Marcus 2000-‘01,2004-‘17 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-‘17 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

Board of Directors 2016-17

La Jolla Music Society Staff

Katherine Chapin – Chair Rafael Pastor – Vice Chair Robin Nordhoff – Treasurer Jennifer Eve – Secretary Martha Dennis, Ph.D. – Past Chair

Kristin Lancino – President & Artistic Director Cho-Liang Lin – SummerFest Music Director

Stephen L. Baum Gordon Brodfuehrer Wendy Brody Ric Charlton Linda Chester Elaine Bennett Darwin Brian Douglass Barbara Enberg Debby Fishburn Lehn Goetz Susan Hoehn Kristin Lancino Sue Major Ethna Sinisi Piazza Peggy Preuss Sylvia Ré Jeremiah Robins Don Rosenberg Sheryl Scarano Marge Schmale Maureen Shiftan June Shillman Jeanette Stevens Shankar Subramaniam Haeyoung Kong Tang Debra Turner H. Peter Wagener Lisa Widmier Clara Wu Katrina Wu HONORARY DIRECTORS Brenda Baker Stephen Baum Joy Frieman, Ph.D. Irwin M. Jacobs Joan K. Jacobs Lois Kohn (1924-2010) Helene K. Kruger Conrad Prebys (1933-2016) Ellen Revelle (1910-2009) Leigh P. Ryan, Esq. *Listing as of July 1, 2017

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

ARTISTIC & EDUCATION Leah Z. Rosenthal – Director of Artistic Planning & Education Allison Boles – Education Manager Jordanna Rose – Artist Services Coordinator Juliana Gaona – Artistic & Education Assistant/Music Librarian Sarah Campbell – Artist Liaison Marcus Overton – Consultant for Special Projects Serafin Paredes – Community Music Center Program Director Eric Bromberger – Program Annotator

DEVELOPMENT Ferdinand Gasang – Development Director Rewa Colette Soltan – Business Development & Event Coordinator Katelyn Woodside – Development Coordinator

MARKETING & TICKET SERVICES Kristen Sakamoto – Marketing Director Hilary Huffman – Marketing Coordinator Angelina Franco – Graphic & Web Designer Jorena de Pedro – Ticket Services Manager Shannon Haider – Ticket Services Assistant Caroline Mickle – Ticket Services Assistant Alex Gutierrez – Ticket Services Assistant Shaun Davis – House Manager Paul Body – Photographer

PRODUCTION Travis Wininger – Director of Theatre Operations Leighann Enos – Production Manager Jonnel Domilos – Piano Technician Anthony Roberts – Principal Stage Manager Brynna Mason – Assistant Stage Manager Emily Persinko – Assistant Stage Manager Benjamin Maas – Recording Engineer Abby Enriquez – Recording Assistant Erica Poole – Page Turner

LEGAL COUNSEL Paul Hastings LLP

AUDITOR Leaf & Cole, LLP

HONORARY Christopher Beach – Artistic Director Emeritus

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

858.459.3728 • WWW.LJMS.ORG | 93

SummerFest Sponsors

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

FESTIVAL FOUNDERS Steve Baum and Brenda Baker

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

SummerFest 2017 Committee

SummerFest Honorary Chairs

Brenda Baker and Steve Baum

Gala Chair

Katherine Chapin

Outdoor Concert Chairs

Lehn Alpert Goetz Peter Wagener Helene K. Kruger, honorary chair

Housing Chair Robert Nelson

94 | LA JOLLA MUSIC SOCIETY

Members: Raffaella and John Belanich Joan Bernstein Mary Ann Beyster Bjorn Bjerede and Jo Kiernan Ginny and Bob Black Karen Brailean Wendy Brody Jian Chan Linda Chester Julie and Bert Cornelison Elaine Darwin Martha Dennis Silvija Devine Eleanor Ellsworth Jennifer Eve Sue Fan Joy Frieman Sally Fuller Sarah Garrison

Jeff Glazer and Lisa Braun-Glazer Margaret Stevens Grossman Judith Harris Betty Ann Hoehn Susan Hoehn Lulu Hsu Joan Jacobs Jeanne Jones Angel Kleinbub Eric Lasley and Judith Bachner Vivian Lim Leanne Hull MacDougall Sue Major Marilyn and Stephen Miles Stephen Miles, Jr. Elaine Muchmore Joani Nelson Marina and Rafael Pastor Betty Jo Petersen

Ethna Sinisi Piazza Peggy Preuss Bill Purves Sylvia Ré Catherine Rivier Stacy Rosenberg Leigh P. Ryan Sheryl Scarano Eva Scarano Marge Schmale Maureen Shiftan Annemarie Sprinkle Elizabeth Taft Haeyoung Tang Sue Wagener Lisa Widmier Abby Weiss Dolly and Victor Woo Carolyn Yorston-Wellcome

Festival Sponsors Arleen Antin and Leonard Ozerkis Raffaella and John Belanich Joan Jordan Bernstein Mary Ann Beyster Bjorn Bjerede and Jo Kiernan Virginia and Robert Black Dr. James C. and Karen A. Brailean Wendy Brody Gordon Brodfuehrer Jian and Samson Chan Katherine and Dane Chapin Don and Karen Cohn Julie and Bert Cornelison Kathleen Charla Lu Christine Dai Dave and Elaine Darwin Martha and Ed Dennis Silvija and Brian Devine The Dow Divas Barbara and Dick Enberg Jeane Erley Jill Esterbrooks and James Robbins Sue and Chris Fan Joy Frieman Girard Foundation Dr. Lisa Braun-Glazer and Dr. Jeff Glazer Lehn and Richard Goetz Brenda and Michael Goldbaum Margaret Stevens Grossman and Michael S. Grossman Kay and John Hesselink

Alexa Kirkwood Hirsch Lulu Hsu Joan and Irwin Jacobs Theresa Jarvis Jenny Jin Keith and Helen Kim Angelina and Fred Kleinbub Gladys Kohn Eric Lasley and Judith Bachner Sharon and Joel Labovitz Vivian Lim and Joseph Wong Kuangyi Lou Michel Mathieu and Richard McDonald Marilyn and Stephen Miles Elaine and Doug Muchmore Joani Nelson Robert Nelson and Jean Fujisaki Rafael and Marina Pastor Betty-Jo Petersen Peggy and Peter Preuss Price Charity Maria and Dr. Philippe Prokocimer Zhen Qin Sylvia and Steven Ré Catherine and Jean Rivier Don and Stacy Rosenberg Colette Caron Royston and Ivor Royston Leigh P. Ryan Sheryl and Bob Scarano Neal and Marge Schmale

Seltzer Caplan McMahon Vitek Maureen and Tom Shiftan June and Dr. Bob Shillman Annemarie and Lee Sprinkle Jeanette Stevens Iris and Matthew Strauss Elizabeth Taft Debbie Turner Twin Dragon Foundation UC San Diego Gianangelo Vergani Sue and Peter Wagener Abby and Ray Weiss Sheryl and Harvey White Lisa Widmier Dolly and Victor Woo Clara Wu and Joseph Tsai Katrina Wu Vivian Wei Wu Anna and Edward Yeung Carolyn Yorston-Wellcome and H. Bard Wellcome Xiao Mei Zhang Bebe and Marvin Zigman Anonymous (2)

* Listing as of June 6, 2017

SummerFest Hosts

Friends of La Jolla Music Society welcome SummerFest Artists by opening their homes for receptions, rehearsals, and housing artists during their visit. A host’s willingness to contribute to SummerFest in such a personal way is cherished and we are grateful for their generosity.

Brenda Baker and Steve Baum Raffaella and John Belanich Noushin Berjis and Benny Malekkhosravi Mary Ann Beyster Ginny and Bob Black Marty and Sherry Bloom Alicia and Rocky Booth Terri Bourne Karen and Jim Brailean Althea Brimm Wendy Brody Linda Christensen and Gonzalo Ballon-Landa Julie and Bert Cornelison Ann Craig Martha and Ed Dennis Silvija and Brian Devine Carol Diggs

Sue and Chris Fan Caroline and Tony Farwell Diane and Elliot Feuerstein Mell and Keiran Gallahue Sarah and Michael Garrison Lehn and Richard Goetz Cindy and Tom Goodman Margaret Stevens Grossman and Michael Grossman Kay and John Hesselink Louise and Robert Hill Joan and Irwin Jacobs Michelle Liao Vivian Lim and Joseph Wong Carol Manifold Marilyn and Stephen Miles Sara Moser Elaine and Doug Muchmore

Madoka Nadahara Robert Nelson and Jean Fujisaki Joani Nelson Marie and Merrell Olesen Marina and Rafael Pastor Catherine and Jean Rivier Cassidy and Jere Robins Cynthia Rosenthal Marge and Neal Schmale Maureen and Tom Shiftan Susan Shirk and Sam Popkin Marion and Kwan So Annemarie and Lee Sprinkle Elizabeth Taft Joanee Udelf and Alan Gary Diana Vines Sue and Peter Wagener Joanne Wang

Abby and Ray Weiss Dolly and Victor Woo Anonymous

* Listing as of July 1, 2017

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.

858.459.3728 • WWW.LJMS.ORG | 95

FESTIVAL PARNTERS

PHP Management, Inc.

MEDIA PARTNERS ®

VENUE PARTNERS

LA JOLLA RIFORD LIBRARY

96 | LA JOLLA MUSIC SOCIETY

Annual Support 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 education or concert sponsorships, general program gifts, or 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 FGasang@LJMS.org.

FOUNDER Brenda Baker & Steve Baum Conrad Prebys & Debbie Turner

($250,000 and above)

ANGEL The City of San Diego Commission for Arts and Culture

($100,000 - $249,999)

Dow Divas Joy Frieman Joan & Irwin Jacobs Raffaella & John Belanich

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

GUARANTOR

($25,000-$49,999)

Steven & Sylvia Ré June & Dr. Bob Shillman Anonymous Mary Ann Beyster Gordon Brodfuehrer Katherine & Dane Chapin Julie & Bert Cornelison Barbara & Dick Enberg Jennifer & Kurt Eve Brenda & Michael Goldbaum

Kay & John Hesselink Susan & Bill Hoehn Peter & Peggy Preuss Marge & Neal Schmale Jeanette Stevens Joe Tsai & Clara Wu Twin Dragon Foundation Vail Memorial Fund

858.459.3728 • WWW.LJMS.ORG | 97

Annual Support

SUSTAINER

AMBASSADOR

Anonymous (2) Dr. James C. & Karen A. Brailean Wendy Brody Ric & Barbara Charlton Linda Chester & Ken Rind Dave & Elaine Darwin Martha & Ed Dennis Sue & Chris Fan Debby & Wain Fishburn Lehn & Richard Goetz Keith & Helen Kim Sue & John Major National Endowment for the Arts Robin & Hank Nordhoff Raphael & Marina Pastor Don & Stacy Rosenberg Sheryl & Bob Scarano Shankar Subramaniam & Annamarie Calabro Haeyoung Kong Tang Sue & Peter Wagener Lisa Widmier Katrina Wu Carolyn Yorston-Wellcome & H. Barden Wellcome

Anonymous (2) Arleene Antin & Leonard Ozerkis Judith Bachner & Dr. Eric L. Lasley Varda & George Backus Josephine & Bjorn Bjerede Ginny & Robert Black Johan & Sevil Brahme Jian & Samson Chan Ellise & Michael Coit Valerie & Harry Cooper Nina & Robert Doede Jeane Erley Peter & Olivia Farrell Elaine Galinson & Herbert Solomon Jeff Glazer & Lisa Braun-Glazer Michael Grossman & Margaret Stevens Grossman Theresa Jarvis & Ric Erdman William Karatz & Joan Smith Angelina & Fredrick Kleinbub Helene K. Kruger Carol Lam & Mark Burnett Carol Lazier & James A. Merritt Richard J. Leung, M.D. Michel Mathieu & Richard MacDonald Elaine & Doug Muchmore Pat & Hank Nickol Catherine & Jean Rivier Sandra & Robert Rosenthal Ivor Royston & Colette Carson Royston Clifford Schireson & John Venekamp Susan Shirk & Samuel Popkin Iris & Matthew Strauss Joyce & Ted Strauss Elizabeth Taft Karen & Stuart Tanz Tippett Foundation Paige & Robert Vanosky Gianangelo Vergani Sheryl & Harvey White Dolly & Victor Woo Anna & Edward Yeung

($15,000-$24,999)

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

Anonymous Joan Jordan Bernstein Betty Beyster Karen & Don Cohn County of San Diego / Community Enhancement Program Brian Douglass, digital OutPost Sarah & Michael Garrison Alexa Kirkwood Hirsch Betty Ann Hoehn Sharon & Joel Labovitz Vivian Lim & Joseph Wong Jack & Una McGrory Marilyn & Stephen Miles Betty-Jo Petersen Ethna Sinisi Piazza Maria & Dr. Philippe Prokocimer Jill Esterbrooks & James Kirkpatrick Robbins Leigh P. Ryan Gary & Jean Shekhter Maureen & Thomas Shiftan Abby & Ray Weiss Marvin & Bebe Zigman

98 | LA JOLLA MUSIC SOCIETY

($5,000-$9,999)

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

Anonymous Jim Beyster Stuart & Isabel Brown Joye Bount & Jessie Knight, Jr. R. Nelson & Janice Byrne

Trevor Callan, Callan Capital Carol & James Carlisle Marsha & Bill Chandler Kathleen Charla Leonard & Susan Comden Jeanette & Dr. Harold Coons Gigi Fenley Elliot & Diane Feuerstein Beverly Frederick & Alan Springer Deborah & Ron Greenspan Bryna Haber Jeanne Jones & Don Breitenberg David & Susan Kabakoff Kristin & Thierry Lancino Arleen & Robert Lettas Sylvia & Jamie Liwerant Greg & Marilena Lucier Kathleen & Ken Lundgren Mary Keough Lyman Ron Mannix Gail & Ed Miller Patty & Murray Rome Drs. Gloria & Joseph Shurman Annie So Leland & Annemarie Sprinkle Ronald Wakefield Jo & Howard Weiner Judith White Faye Wilson Tori Zwisler

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

Nicholas & Paddi Arthur Rita Bell Jordan & Masha Block Linden Blue & Ronnie Foman Carolyn Bertussi LaVerne & Blaine Briggs June Chocheles Drs. Anthony F. Chong & Annette Thu Nguyen Victor & Ellen Cohn Jule Eberlin The Rev. Eleanor Ellsworth Richard & Beverley Fink Bryna Haber John Haffner Judith Harris & Robert Singer, M.D. Lulu Hsu Gregg LaPore Jeanne Larson Polly Liew Theodora Lewis

Annual Support Debbie & Jimmy Lin Leanne Hull MacDougall Maggie & Paul Meyer Bill Miller & Ida Houby Dr. Sandra Miner Susan & Mel Plutsky Allison & Robert Price William Purves & Don Schmidt Jessica & Eberhardt Rohm Sandra & Robert Rosenthal Steve & Debbie Scherer Marilies Schoepflin Elizabeth & Mitch Siegler Mary Walshok Nell Waltz Joseph Witztum & Mary Elinger Witztum Toby Wolf Hanna Zahran, Regents Bank

FRIEND ($500-$999)

Anonymous Barry & Emily Berkov Benjamin Brand Luc Cayet & Anne Marie Pleska Elizabeth Clarquist Dr. Ruth Covell George & Cari Damoose Paul & Clare Friedman Sally Fuller Paul & Barbara Hirshman Louise Kasch Sally & Luis Maizel Winona Mathews Ted McKinney Ohana Music, Inc. Lorne Polger Janet Presley Anthony & Agnieska RĂŠ Winfried Ritter

Arlene & Peter Sacks Susan Trompeter Yvonne Vaucher Margie & John H. Warner, Jr. Suhaila White Olivia & Marty Winkler

ENTHUSIAST ($250-$499)

Chris Benavides Dr. & Mrs. Paul Benien Stefana Brintzenhoff Robert & Jean Chan Geoffrey Clow Sharon L. Cohen Hugh Coughlin Carol DeMar James Determan Drs. Lawrence & Gartner Ferdinand Gasang Carrie Greenstein Ed & Linda Janon Nancy Jones Nan & Buzz Kaufman Gladys & Bert Kohn Robert & Elena Kucinski Las Damas de Fairbanks Sharon LeeMaster CFRE Christine & Bill Mingst Alan Nahum & Victoria Danzig Joani Nelson Robert Nelson & Jean Fujisaki Tai Nguyen Kim & Hans Paar Aghdas Pezeshki Janet Presley Paul Rotenberg Becki Robbins Peter & Arlene Sacks

Jeanne & Milton Saier Joe & Virginia Silverman Ronald I. Simon & Anne F. Simon William Smith Bob Stefanko Edward Stickgold & Steven Cande Eli & Lisa Strickland Norma Jo Thomas Eleanor L. tum Suden Laurette Verbinski Dr. & Mrs. Robert Wallace Terry & Peter Yang Josephine Zolin

SERVING OUR COMMUNITY On average La Jolla Music Society reaches over 11,700 students and community members annually.

We work with students from over 60 different schools and universities, providing concert tickets, performance demonstrations, and master classes.

Thanks to the generous support of our patrons and donors, all of our outreach activities are free to the people we serve.

858.459.3728 • WWW.LJMS.ORG | 99

Annual Support

FOUNDATIONS

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 Qualcomm Foundation Rancho Santa Fe Foundation: The Fenley Family Donor-Advised Fund The Susan & John Major Donor-Advised Fund The Oliphant Donor-Advised Fund

100 | LA JOLLA MUSIC SOCIETY

ResMed Foundation The San Diego Foundation: The Beyster Family Foundation Fund The M.A. Beyster Fund II The Karen A. & James C. Brailean Fund The Valerie & Harry Cooper Fund The Hom Family Fund The Ivor & Colette Carson Royston Fund The Scarano Family Fund The Shiftan Family Fund Schwab Fund for Charitable Giving: 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 Tippett Foundation The John M. and Sally B. Thornton Foundation The John H. Warner Jr. and Helga M. Warner Foundation Vail Memorial Fund Thomas and Nell Waltz Family Foundation Sheryl and Harvey White Foundation

HONORARIA & MEMORIAL GIFTS In Honor of Gordon Brodfuehrer: Hugh Coughlin Richard & Katherine Matheron In Honor of Linda Chester and Ken Rind: Michael Stotsky In Honor of Martha Dennis: Christine Andrews In Honor of Silvija Devine’s Birthday: Elaine & Dave Darwin Martha & Ed Dennis In Memory of Austin Hudson-LaPore: Gregg LaPore In Memory of Lois Kohn: Ingrid Paymar

In Honor of Helene Kruger: Anonymous (2) Marilyn Colby Brian & Silvija Devine Ferdinand Gasang Benjamin Guercio Bryna Haber Ruth Herzog Sharon & Joel Labovitz Patricia Manners Paul & Maggie Meyer Betty-Jo Petersen Don & Stacy Rosenberg Pat Winter In Honor of Carol Lam: QUALCOMM Incorporated In Honor of Betty-Jo Petersen: Chris Benavides In Memory of Conrad Prebys: Brenda Baker & Steve Baum Chris Benavides Allison Boles Karen & Jim Brailean Gordon Brodfuehrer Wendy Brody Katherine & Dane Chapin Linda Chester & Kenneth Rind Martha & Ed Dennis Vanessa Dinning Barbara & Dick Enberg Leighann Enos Jennifer & Kurt Eve Matthew Fernie Juliana Gaona Ferdinand Gasang Susan & Bill Hoehn Hilary Huffman Kristin Lancino Anthony LeCourt Debbie & Jimmy Lin Cari McGowan Robin & Hank Nordhoff Debra Palmer Marina & Rafael Pastor Ethna Sinisi Piazza Peggy & Peter Preuss Sylvia & Stephen Re Jordanna Rose Leah Z. Rosenthal Leigh P. Ryan Kristen Sakamoto Clifford Schireson & John Venekamp Marge & Neal Schmale

Maureen &Tom Shiftan June & Dr. Bob Shillman Rewa Colette Soltan Jeanette Stevens Travis Wininger In Honor of Sue Wagener: Christine Andrews In Memory of Carleton and Andree Vail: Vail Memorial Fund

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

The Annual Support listing is current as of June 6, 2017.

SUPPORT

To learn more about supporting La Jolla Music Society’s artistic and education programs or to make an amendment to your listing please contact Katelyn Woodside at 858.459.3724, ext. 216 or KWoodside@LJMS.org.

This list is current as of June 6, 2017.

Amendments will be reflected in the next program book in October 2017.

858.459.3728 • WWW.LJMS.ORG | 101

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.

CROWN JEWEL

TOPAZ

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 Dr. Lisa Braun-Glazer and Dr. Jeff Glazer Margaret and Michael Grossman Alexa Kirkwood Hirsch Theresa Jarvis Angelina and Fred Kleinbub Joseph Wong and Vivian Lim Michel Mathieu and Richard McDonald Elaine and Doug Muchmore Rafael and Marina Pastor Don and Stacy Rosenberg Leigh P. Ryan Neal and Marge Schmale Jeanette Stevens Elizabeth Taft Gianangelo Vergani Dolly and Victor Woo Carolyn Yorston-Wellcome and H. Bard Wellcome Bebe and Marvin Zigman

DIAMOND Raffaella and John Belanich Joy Frieman Joan and Irwin Jacobs

RUBY Silvija and Brian Devine

GARNET Peggy and Peter Preuss

SAPPHIRE Julie and Bert Cornelison Kay and John Hesselink Keith and Helen Kim Sharon and Joel Labovitz Maria and Dr. Philippe Prokocimer

Listing as of June 6, 2017

102 | LA JOLLA MUSIC SOCIETY

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.

ARABESQUE

Katherine and Dane Chapin Ellise and Michael Coit June and Dr. Bob Shillman Jeanette Stevens

PIROUETTE

Elaine Galinson and Herbert Solomon Annie So

POINTE

PLIÉ

DEMI POINTE

Elizabeth Taft

Carolyn Bertussi Teresa O. Campbell Saundra L. Jones Susan Trompeter

Stefana Brintzenhoff Joani Nelson Elyssa Dru Rosenberg

Listing as of July 6, 2016

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 Gordon Brodfuehrer Barbara Buskin Trevor Callan Anne and Robert Conn George and Cari Damoose Elaine and Dave Darwin Teresa & Merle Fischlowitz Ted and Ingrid Friedmann Joy and Ed* Frieman Sally Fuller Maxwell H. and Muriel S. Gluck*

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

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

*In Memoriam Listing as of June 6, 2017

858.459.3728 • WWW.LJMS.ORG | 103

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 Rewa Colette Soltan at 858.459.3724, ext. 206 or email RSoltan@LJMS.org.

GUARANTOR

AMBASSADOR

The Lodge at Torrey Pines

DPR Construction Giuseppe Restaurants & Fine Catering La Jolla Beach and Tennis Club LAZ Parking Chef Drew Catering, Panache Productions Paul Body Photography

SUSTAINER Citibank La Jolla Sports Club La Valencia Hotel The LOT The Westgate Hotel

AFICIONADO

SUPPORTER

ACE Parking Management, Inc. digital OutPost NINE-TEN Restaurant Paul Hastings LLP Procopio, Cory, Hargreaves & Savitch LLP The Violin Shop Whisknladle Hospitality

Bloomers Flowers Callan Capital Girard Gourmet Gelson’s Market Jimbo’s...Naturally!

Sharp HealthCare

ASSOCIATE

Athen’s Market Taverna Romero Bow Shop Sprinkles Cupcakes

ENTHUSIAST Nelson Real Estate

Listing as of June 6, 2017

Sunday Brunch Join SummerFest Artists and fellow concert-goers for Sunday Brunch and festive libations prior to the afternoon concert.

August 6

August 13

August 20

11:30 am to 1:30 pm, $40 per person, all-inclusive For more information or to reserve your seat, please call Rewa Colette Soltan at 858.459.3724, ext. 206 or email RSoltan@LJMS.org.

104 | LA JOLLA MUSIC SOCIETY

Fill your summer with music!

Explore the musical riches and unique settings of these allied festivals of the Western United States.

California

Colorado

Oregon

Cabrillo Festival of Contemporary Music July 30 - August 12, 2017 Santa Cruz, CA cabrillomusic.org

Aspen Music Festival and School June 29 - August 20, 2017 Aspen, CO aspenmusicfestival.com

Chamber Music Northwest Summer Festival June 26 - July 30, 2017 Portland, OR cmnw.org

Carmel Bach Festival July 15 - 29, 2017 Carmel, CA bachfestival.org

Bravo! Vail June 22 - August 4, 2017 Vail, CO bravovail.org

Oregon Bach Festival June 29 - July 15, 2017 Eugene, OR oregonbachfestival.com

La Jolla Music Society August 4 - 25, 2017 La Jolla, CA ljms.org

Strings Music Festival June 22 - August 20, 2017 Steamboat Springs, CO stringsmusicfestival.com

Mainly Mozart Festival June 2 - 25, 2017 San Diego, CA mainlymozart.org

New Mexico

Music@Menlo July 14 - August 5 Atherton, CA musicatmenlo.org

Santa Fe Chamber Music Festival July 16 - August 21, 2017 Santa Fe, NM santafechambermusic.com

Washington Seattle Chamber Music Society Summer Festival July 3 - 29, 2017 Seattle, WA seattlechambermusic.org

Wyoming Grand Teton Music Festival July 3 - August 20, 2017 Jackson Hole, WY gtmf.org

CLASSICAL MUSIC FESTIVALS OF THE WEST 2017 858.459.3728 • WWW.LJMS.ORG | 105

EATS

LIVE THE #SDLIFE

106 | LA JOLLA MUSIC SOCIETY

SIPS HOODS

Subscribe! sdmag.com

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

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

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

Where musicians go for inspiration...

Where locals go for news.

Vol.

103,

Issue

INSIDE

28 •

July

htE

NiN

g

La JoLL

a

SiNCE

1913

oNLiN

E

I

at

lajollal

ight.co

m

PRSR T U.S. POS STD SAN TAGE PAID DIEG PERM O, IT NO. CA 1980 Resident La Jolla Ial Custome , CA r ECRWSS92037

Dealin McMang with in La sions Jolla

W h it

Group to eff holds me ect cha eting home rebuild nges in

By PAT proces SHERMA A newl s y form N to

e and B sherM

An

the Four

oom!

slow ed a prol what som committe e hopi iferation e La often ng Jolla of ns cook detra ie-cu maximum feel is tter ct from -size Jolla the charhomes that d, neig meeting hborhood acter of La Abou July 1 at s held its first Com t 40 peop La Jolla Libra mun le ry.

(LJCPA) ity Plan attended ning La Jolla Ad Resid entia Hoc Com Associati on’s l The grou Single-Fa mittee on p belie mily of San Zoni ves for residDiego’s perm some prov ng. it entia ision l hom approval s process e addi SEE MCM tion ANSioNs and S, A4

New go lifegua al for Cove July or rd tower: Augu st

La

La LigJoL h An Edit

DaiLY

n

La Jolla the last ns Nick firew Sacks, Kell ork expl y Stua odes rt, Kad over head y Elliott and at La Nina Jolla Rush Cove. ing keep PAt

th of ndepen July spark dence near goin g afte La Joll Day in r bro La Joll a Cov e’s a was firewo ught out highlig rks and familie Scripps Park s dre hte Bird and ssed Rock variou d by the parade in their ann s com on A6 patriot munity ual July ic , Bar parade 4th fire ber Tra best. See works s, wh more ct par photo ich ade on B8 s: La u Jolla

Descen early dants of San Dieg share stories, ans B1 n Volu nteer Opps, n Soci B3 al n Best Life, B14 Bets, B16 n Kitc hen Shri n Clas nk, B19 sifieds, n Rea B20 l Esta te, B22

t

ion of

565 Pear La Jollal St., Suite , CA 9203 300 (858) 459-4201 7 lajollali ght.com

858.459.4201 www.lajollalight.com

5

ENLig

Red,

Online daily.

In print weekly.

9, 201

Meet La Jolla new vice-pri High’s Cindy ncip Ueckert al: , A10 n Crim e n Cale News, A9 ndar, A14 n Busi ness, A16 n Opin ion, A18 n Obit uaries, n Wee A19 kly Poll n Spo , rts, A21 A19

Charlott to roll e Hers in the hkowitz , Barb er Trac Emmett t Four Franchi, th of Enzo July Para DeThom de. Ashle as, Ari

Karen

Your

Choose DeThom y MAck in Hickma La as and Sore n andJolla’s Lea n Hers der Ber hkowitz Local The #1 cho kshire Hats in Rea are read Expert ice haw l Esta y In La to sell you ay Hom te!

Jolla eServic r hom with Wor e. es – ldwide Exposu re Ka

By ASH LEy MAC The cons completi KiN truct on date lifeguard ion of for towe the La Jolla once r was again this mon to, idea pushed Cove th. Orig lly, the back to be end complete inall of unfo y sche resee in its com n dela Decembe duled ys initi r Now pletion ally 2014, date Myrna to Marcpushed direc Dayt tor the city of field on, depu h 2015. of San engineer ty depa ing Dieg rtme o’s publ with nt, is shou sayin ld early be complete g the ic works towe Augu r by late st.

The July new feet with or towe a steel r will be sidin 80 g fram e and square base. on a conc The $1.85 rete, cant wood bein g fund ileve milli on cost red capital ed by impa bonds andthe use of is ct fees deferred deve how lopm muc (it is the cost h the unknown ent of the delays will exactly add to SEE LiFE project). guA RD Tow ER, A3

ren 85 8- HicKma 45 n @Sells 9- 43 00 The Cal

Karen

Bre #010

Coast

1520

6

.com

858.459.3728 • WWW.LJMS.ORG | 107

Foundation

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

Board of Trustees Edward A. Dennis, PhD Chairman

Mary F. Berglund, PhD Treasurer

Peter C. Farrell, PhD, DSc Secretary

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

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

108 | LA JOLLA MUSIC SOCIETY

Tel 858-361-0755

ResMedFoundation.org

Steel seahorse, Jennifer Lannes, diner since 1978

some traditions just keep getting richer.

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

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

858.459.7222

MarineRoom.com

858.459.3728 • WWW.LJMS.ORG | 109

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

110 | LA JOLLA MUSIC SOCIETY

PROUDLY SUPPORTS THE LA JOLLA MUSIC SOCIETY

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

FIVE CONVENIENT LOCATIONS

VISIT US ONLINE AT WWW.JIMBOS.COM

858.459.3728 • WWW.LJMS.ORG | 111

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

Gelson’s Pacific Beach 730 Turquoise St. San Diego, CA 92109 858-488-0044 Open Daily 7am–10pm Gelson’s Del Mar 2707 Via De La Valle Del Mar, CA 92014 858-481-9300 Open Daily 7am–10pm Gelson’s La Costa 7660 El Camino Real Carlsbad, CA 92009 760-632-7511 Open Daily 7am–10pm

Now open in Pacific Beach, Del Mar & La Costa!

Whatever you need this summer, Gelson’s has it. Gorgeous fruits and vegetables. Lean meat and fish for the grill. Chilly beverages and lots of ’em. Party snacks. Cheese, glorious cheese! Decadent desserts.

@gelsonsmarkets

Plus, you’ll find delicious, freshly prepared dishes at our famous Service Deli and a truly amazing variety of goods in our grocery aisles.

No matter which department you’re in, you’ll be choosing from the best, freshest, and most flavorful foods — including locally sourced and organic offerings — at a fair price that won’t strain your budget.

@gelsonsmarkets

And if you need anything, just ask. That’s what we’re here for. ;)

/gelsonsmarkets

Come in soon and get to know us.

/ilovegelsons

112 | LA JOLLA MUSIC SOCIETY

Paul Hastings is Proud to suPPort la Jolla Music society

We salute your distinguisHed Mission

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

Paul Hastings LLP I

www.paulhastings.com

858.459.3728 • WWW.LJMS.ORG | 113

114 | LA JOLLA MUSIC SOCIETY

858.459.3728 • WWW.LJMS.ORG | 115

116 | LA JOLLA MUSIC SOCIETY

PRODUCTIONS,LLC Corporate, Social, Private Events & Weddings

Professional, Knowledgeable Bartenders, Servers & Chefs for All Your Staffing Needs Specializing in Intimate “Petite” Affairs from 2 To 50

www.chefdrewmcpartlin.com

858.459.3728 • WWW.LJMS.ORG | 117

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

su m m er p o ol s ide ja z z s er i e s

Every Thursday starting June 1st - August 31st.

The event series will feature a different performance every week, complemented by signature cocktails, wine and craft beer, as well as a gourmet array of appetizers and tapas.

SEE OUR PERFORM ANCE LI NE- UP AT W E S T G AT E H O T E L . C O M

sunday brunc h

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

t he w e stgat e r o om

Enjoy exquisite California contemporary cuisine masterfully prepared by our Executive Chef Fabrice Hardel.

Within an atmosphere of European elegance and class, our attentive staff provides unequalled service.

p l az a bar

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

westgatehotel.com

118 | LA JOLLA MUSIC SOCIETY

|

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

C

M

Y

CM

MY

CY

CMY

K

858.459.3728 • WWW.LJMS.ORG | 119

THE LOT LIBERTY STATION

THE LOT LA JOLLA

CINEMA / RESTAURANT / BAR / CAFÉ / FRIENDS / COME PLAY! THE LOT LIBERTY STATION / (619) 566-0069 2620 TRUXTUN RD., SAN DIEGO, CA 92106 THE LOT LA JOLLA / (858) 777-0069 7611 FAY AVENUE, LA JOLLA, CA 92037 FREE MOVIE TICKET

www.thelotent.com

WHERE THE NEIGHBORHOOD PLAYS.

WITH $20 MINIMUM PURCHASE ON FOOD & BEVERAGE. ONE TICKET PER TRANSACTION. RESTRICTIONS APPLY. NO CASH VALUE. MUST BRING THIS AD.

120 | LA JOLLA MUSIC SOCIETY

where is

a

fitness

lifestyle.

Join our family!

Photo by Tim Hardy Photography

Photo by Jeff Stockwell Photography

As La Jolla’s #1 health club, we invite you to try our club and enjoy all the benefits of our family owned and operated gym. · 85+ weekly classes · 23,000 square feet · Latest equipment · Personal training · Child care

· Steam rooms & spa amenities · Validated underground parking · Physical therapy · Bodywork services · Towel service, and more!

Call us today at 858 456 2595.

Photo by J.Dixx Photography

Brett & Kera Murphy, Owners

7825 Fay Avenue · La Jolla CA 92037 · lajollasportsclub.com · 858.456.2595

858.459.3728 • WWW.LJMS.ORG | 121

7825 Fay Avenue · La Jolla CA 92037 · lajollasportsclub.com · 858.456.2595

La Valencia Hotel, Proud Sponsor of La Jolla Music Society Summerfest 1132 Prospect St., La Jolla, CA 92037 858-454-0771| www.lavalencia.com 122 | LA JOLLA MUSIC SOCIETY

LIKE NO OTHER

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

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

PacificSothebysRealty.com

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

858.459.3728 • WWW.LJMS.ORG | 123

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

THE CONRAD The Conrad Prebys Performing Arts Center

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

124 | LA JOLLA MUSIC SOCIETY

858.454.4244 •

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

WHISKNLADLE HOSPITALITY DELICIOUS FOOD, GENUINE HOSPITALITY, EXCEPTIONAL SERVICE

WHISKNLADLE.COM

PREPKITCHENLAJOLLA.COM

CATANIASD.COM

MILAGROWINERY.COM

858.551.7575

858.873.7737

858.551.5105

760.787.0738

1044 Wall, La Jolla

La Jolla, Del Mar, Little Italy

7368 Girard, La Jolla

18750 Littlepage Rd, Ramona

858.459.3728 • WWW.LJMS.ORG | 125

JOIN US FOR OUR W EEK LY A RTISA N TABLE W INE & DINNER PA IR INGS t h u r sday s | 7:00 pm

Experience the Art of Fine Dining ARValentien.com | 858.777.6635 11480 North Torrey Pines Road, La Jolla, California 92037

126 | LA JOLLA MUSIC SOCIETY

Maps & Policies

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

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

PROGRAM NOTES All of La Jolla Music Society’s program notes are protected under copyright by the authors.

For permission and information on use of contents of this publication contact Marketing@LJMS.org.

UC SAN DIEGO GILMAN PARKING STRUCTURE

lvd st B

Wall St

1008 Wall St., La Jolla

Herschel Ave

Girard Ave

ATHENAEUM MUSIC & ARTS LIBRARY

t

oS

rad

e Silv

ge Pl Exchan

7946 Ivanhoe Ave., La Jolla

LA JOLLA RIFORD LIBRARY

t

Kline S

ey

ec

tP

l

La Jol

d

Pi

R nes

kway

IRWIN M. JACOBS QUALCOMM HALL 5775 Morehouse Dr., San Diego

Fay Ave

Eads Ave

805

N

Pearl St

d

yR to Valle

Sorren

use Dr

Moreho

d

esa Blv

e

Draper Av

r Tor

sp

La Jolla Village Dr

la Par

t

Silverado S

Pro

Scranton Rd

LA JOLLA MUSIC SOCIETY BOX OFFICE

t St

pec

s Pro

Ivanhoe Ave

Girard Ave

Coa

See inset map below

Villa La Jolla Dr

9500 Gilman Dr., La Jolla

1150 Coast Blvd., La Jolla

QUALCOMM HALL

Gilman Dr

CONRAD PREBYS MUSIC CENTER

SCRIPPS PARK (LA JOLLA COVE)

MAP IS NOT TO SCALE

N Torrey Pines Rd

UC SAN DIEGO DEPARTMENT OF MUSIC’S

SummerFest Venues Map

7555 Draper Ave., La Jolla

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

La Jolla Scenic Drive N

QUALCOMM HALL on August 25 Parking is available for free in the parking structure near the hall.

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

Torrey Pines Rd

PARKING UC SAN DIEGO We recommend using Gilman Parking Structure for all SummerFest events. UC San Diego requires parking permits for all weekday parking from 7am to 11pm.

Visitor permits are available for purchase from permit machines located on each floor of the Gilman Parking Structure. The machines charge $2/hour and take cash and all major credit cards except Discover. When paying with cash you must use exact change, NO CHANGE GIVEN. Complimentary disabled parking is available in metered and accessible spaces when you display a valid Disabled Person placard or plates.

Mira M

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

858.459.3728 • WWW.LJMS.ORG | 127

OCTOBER

F EBRUA RY

CHICAGO SYMPHONY ORCHESTRA

PAUL HUANG, violin

RICCARDO MUTI, Zell Music Director STEPHEN WILLIAMSON, clarinet Wednesday, October 18, 2017 · 8 PM Orchestra Series

Jacobs Music Center-Copley Symphony Hall

CROSSCURRENTS Featuring Zakir Hussain, Dave Holland, Chris Potter & Shankar Mahadevan Sunday, October 29, 2017 · 8 PM Jazz Series

Balboa Theatre

NOV EMBER

2017 VAN CLIBURN GOLD MEDALIST Sunday, November 5, 2017 · 3 PM Discovery Series

The Auditorium at TSRI

RICHARD GOODE Saturday, November 11, 2017 · 8 PM Piano Series

Irwin M. Jacobs Qualcomm Hall

DECEMBER

SOME OF A THOUSAND WORDS WENDY WHELAN / BRIAN BROOKS / BROOKLYN RIDER Saturday, December 2, 2017 · 8 PM

SEASON

Sunday, February 25, 2018 · 3 PM Discovery Series

The Auditorium at TSRI

M A RCH

Thursday, March 1, 2018 · 8 PM Piano Series

Balboa Theatre

M AY

WINTERFEST GALA

EMANUEL AX, piano LEONIDAS KAVAKOS, violin YO-YO MA, cello

MARK MORRIS DANCE GROUP PEPPERLAND Tribute to the 50th Anniversary of Sgt. Pepper’s Lonely Hearts Club Band

Saturday, March 3, 2018 · 8 PM

Saturday, May 12, 2018 · 8 PM

Jacobs Music Center-Copley Symphony Hall

Civic Theatre

Special Event

JUHO POHJONEN

Wednesday, March 7, 2018 · 8 PM

Friday, May 18, 2018 · 8 PM

Balboa Theatre

The Auditorium at TSRI

Jazz Series

ACADEMY OF ST MARTIN IN THE FIELDS JOSHUA BELL, violin

Friday, March 16, 2018 · 8 PM Orchestra Series

DIANNE REEVES: Christmas Time is Here

Saturday, March 24, 2018 · 8 PM

Sunday, December 17, 2017 · 8 PM

Irwin M. Jacobs Qualcomm Hall

Balboa Theatre

JA NUA RY

IGOR LEVIT Sunday, January 7, 2018 · 6 PM Piano Series

Curated by Inon Barnatan

Saturday, May 19, 2018 · 8 PM

Revelle Chamber Music Series Irwin M. Jacobs Qualcomm Hall

Revelle Chamber Music Series

APRIL

DANIELA LIEBMAN, piano Sunday, April 8, 2018 · 3 PM Discovery Series

The Auditorium at TSRI

SCHUBERT’S SWAN SONG II

SDYS CHAMBER ORCHESTRA

Saturday, April 14, 2018 · 8 PM

Curated by Inon Barnatan

Irwin M. Jacobs Qualcomm Hall

THE JOEY ALEXANDER TRIO

Irwin M. Jacobs Qualcomm Hall

Saturday, April 28, 2018 · 8 PM

PAUL TAYLOR DANCE COMPANY

Balboa Theatre

Jazz Series

Dates, times, programs and artists are subject to change.

Spreckels Theatre

Ticket prices for performances at the Spreckels Theatre, Balboa Theatre, Civic Theatre and the Jacobs Music Center-Copley Symphony Hall include applicable facility fees.

ROLSTON STRING QUARTET Sunday, January 21, 2018 · 3 PM Discovery Series

The Auditorium at TSRI

For more information:

858.459.3728 | WWW.LJMS.ORG

WENDY WHELAN

Saturday, January 20, 2018 · 8 PM Dance Series

Revelle Chamber Music Series

Saturday, January 13, 2018 · 7 PM Special Event

SCHUBERT’S SWAN SONG III

Curated by Inon Barnatan

The Auditorium at TSRI

JEFF EDMONS, music director & conductor CELINO ROMERO, guitar

Piano Series

Jacobs Music Center-Copley Symphony Hall

SCHUBERT’S SWAN SONG I

Special Event

Dance Series

HERBIE HANCOCK

Dance Series

Balboa Theatre

2017-18

PIERRE-LAURENT AIMARD

858.459.3728 • WWW.LJMS.ORG | 129