SummerFest 2020 Program Book

Live

Stream

2020

SUMMERFEST

AUGUST 21 - 30 Inon Barnatan, Music Director

TABLE OF CONTENTS

3

Welcome Letter

4

LJMS Artist Cares Fund

5

Live Stream Guide

6

Artist Roster and Biographies

8

Online Community Engagement Activities

10 SummerFest Opening Night: The Unanswered Question 13 A Night at the Symphony 16 Beethoven and Mendelssohn 19 Fauré and Schumann 22 Mozart, Kodály and Suk 25 SummerFest Finale: The Trout 29 SummerFest Commission History 30 SummerFest Grand Tradition 35 LJMS Board and Staff 36 Support

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

Welcome to SummerFest 2020!

Earlier this year as the world began to adjust in the wake of the pandemic, La Jolla Music Society made a commitment to bring music back to the community as quickly and as safely as possible. We have kept that promise, and that is why I am overjoyed to be able to present SummerFest 2020—a beautifully intimate celebration of the festival’s 34-year history.

For this reimagined festival, I have assembled a small and extraordinary group of musicians to join me in six concerts, each one hour or less, performed in The Baker-Baum Concert Hall.

The six musicians joining me are familiar faces and new friends. We will play some of the most beloved works in the chamber music repertoire from Schubert’s Trout Quintet and Mendelssohn’s Piano Trio in D Minor, to Beethoven and Mozart, mixed with fascinating lesser-known gems. I have also enlisted acclaimed documentarian and filmmaker Tristan Cook to direct the live-streamed concerts, ensuring that we can deliver the artistry and excellence you have come to expect from La Jolla Music Society.

It would not be SummerFest if we didn’t honor our tradition of community engagement and music education. This year, you’ll be able to enjoy the free activities you know and love from the comfort of your own home.

I’m so thankful to the staff, board, and crew members at La Jolla Music Society who made this festival a reality. Without you, this historic event would not be possible. Most importantly, I would like to thank you, the audience, for joining us on this musical adventure. I hope these concerts bring you as much joy and solace as they have brought me.

Inon Barnatan

SummerFest Music Director

Inon Barnatan

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LA JOLLA MUSIC SOCIETY ARTIST CARES FUND These times have been tough and in particular, it has been very difficult for our artists. The reduction in this year’s SummerFest programming has caused many artists to lose a great deal of income and with performances around the world being cancelled, they are not being paid.

Artists are one of the last to be considered for financial support. The thrust of the government financing has not been towards artists but more toward businesses.

There are many artists struggling, your response now, during these unprecedented times, is critical.

Please give what you can by donating at:

LJMS.org

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OF CONTENTS 2020 TABLE Live

SUMMERFEST

AUGUST 21 - 30

Stream Guide

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THE BOX OFFICE WILL REMAIN OPEN 30 MINUTES AFTER THE LIVESTREAM HAS BEGUN FOR AUDIENCE ASSISTANCE.

However, we recommend setting up a half hour before the livestream is set to begin. If you need assistance, the quickest way to contact us will be to email boxoffice@ljms.org. Calling during this time may result in delays: 858.459.3728 7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 5

ARTIST ROSTER AND BIOGRAPHIES INON BARNATAN, music director & piano

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

JAMES EHNES, violin

James Ehnes has established himself as one of the most sought-after violinists on the international stage. Gifted with a rare combination of stunning virtuosity, serene lyricism and an unfaltering musicality, Ehnes is a favorite guest of many of the world’s most respected conductors. Ehnes began violin studies at the age of four, became a protege of the noted Canadian violinist Francis Chaplin aged nine, made his orchestral debut with Orchestre Symphonique de Montreal aged 13 and graduated from The Juilliard School in 1997, winning the Peter Mennin Prize for Outstanding Achievement and Leadership in Music.

CLIVE GREENSMITH, cello

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

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

ARTIST ROSTER AND BIOGRAPHIES

TESSA LARK, violin

Violinist Tessa Lark, recipient of a 2018 Borletti-Buitoni Trust Fellowship and a 2016 Avery Fisher Career Grant, Silver Medalist in the International Violin Competition of Indianapolis, and winner of the 2012 Naumburg International Violin Competition, is one of the most captivating artistic voices of our time. A budding superstar in the classical realm, she is also a highly acclaimed fiddler in the tradition of her native Kentucky. Since making her concerto debut with the Cincinnati Symphony Orchestra at sixteen, Lark has appeared with dozens of orchestras, festivals, and recital venues including Carnegie Hall, Ravinia, San Francisco Performances, Amsterdam’s Concertgebouw, and Marlboro Music.

YURA LEE, violin & viola

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

MICHAEL THURBER, bass

Acclaimed composer and bassist Michael Thurber’s musical career defies categorization. From composing for The Royal Shakespeare Company, co-founding the smash YouTube channel CDZA, and creating his Thurber Theater variety show at Joe’s Pub, to teaching at NYU’s Clive Davis Institute and performing in the house band on The Late Show with Stephen Colbert, as well as around the country in duo with violinist Tessa Lark, Thurber’s musical journey has been remarkably singular. Thurber serves proudly on the Board Of Directors for NPR’s From The Top and studied music at The Interlochen Arts Academy and The Juilliard School.

ALISA WEILERSTEIN, cello

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

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SummerFest 2020 Schedule of Events ONLINE COMMUNITY ENGAGEMENT ACTIVITIES WEDNESDAY, AUGUST 19 - 7 PM LIVE STREAM ARTIST TALK

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Join Artistic Director Leah Rosenthal and SummerFest Music Director Inon Barnatan for a conversation live-streamed from The Baker-Baum Concert Hall as they discuss festival highlights, share insight and excerpts, and sip champagne!

THURSDAY, AUGUST 20 - 7 PM PRELUDE WEBINAR I

Beloved SummerFest scholar and program book annotator Eric Bromberger explores the music featured in the first three concerts of the festival. Join this webinar to gain a better understanding of the musical and historical significance of these great masterworks.

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FRIDAY, AUGUST 21 - 2 PM LIVE STREAM OPEN REHEARSAL I FROM THE BAKER-BAUM CONCERT HALL

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Watch live as Inon Barnatan, Tessa Lark, and Clive Greensmith rehearse Beethoven’s Symphony No. 2 in D Major, Opus 36 (arr. for piano trio). Log in to YouTube to participate in a Q&A with the artists at the end of the rehearsal.

SATURDAY, AUGUST 22 - 2 PM LIVE STREAM OPEN REHEARSAL II FROM THE BAKER-BAUM CONCERT HALL

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Watch live as Inon Barnatan, Yura Lee, and Alisa Weilerstein rehearse Mendelssohn’s Piano Trio No. 1 in D Minor, Opus 49. Log in to YouTube to participate in a Q&A with the artists at the end of the rehearsal.

C R E A T I N G 8 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

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LJMS.org MONDAY, AUGUST 24 - 4 PM ENCOUNTER: FROM STUDENT TO PROFESSIONAL

Music students and their parents are invited to join a conversation about their future in the arts. Learn what to expect in the years ahead as students navigate academic life and prepare to launch professional careers in the arts. Have your questions answered by violinist Tessa Lark, composer and bassist Michael Thurber, Manager of the Center for Innovation and Community Impact at Colburn School, Jazmín Morales, and La Jolla Music Society’s Education & Community Engagement Manager, Allison Boles. Open to music students and their parents.

TUESDAY, AUGUST 25 - 7 PM PRELUDE WEBINAR II

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Join this webinar with Eric Bromberger to explore the music featured in the second half of the festival. He’ll examine the composers’ inspiration and intent while providing rich cultural history and musical context.

WEDNESDAY, AUGUST 26 - 2 PM ENCOUNTER: THE IMPACT OF COVID-19 ON THE ARTS

Can we create from a distance? Can art help us heal? Have the arts changed forever?

Join James Ehnes, Clive Greensmith, Yura Lee, and Alisa Weilerstein in conversation to hear about their experience during the pandemic and their hopes for what the future holds.

THURSDAY, AUGUST 27 - 1 PM LIVE STREAM OPEN REHEARSAL III FROM THE BAKER-BAUM CONCERT HALL

Watch live as Inon Barnatan, James Ehnes, Yura Lee, and Clive Greensmith rehearse Suk’s Piano Quartet in A Minor, Opus 1. Log in to YouTube to participate in a Q&A with the artists at the end of the rehearsal.

S E

O F

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C O M M U N I T Y 7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 9

Inon Barnatan

For more information about our online SummerFest Community Engagement Activities please see page 8 or visit LJMS.org/free-events.

All performances will be accessible through September 13th, in case you missed the live performance or want to watch it again.

Alisa Weilerstein

SUMMERFEST OPENING NIGHT: THE UNANSWERED QUESTION Friday, August 21, 2020 · 7 PM THE BAKER-BAUM CONCERT HALL IVES

(1874-1954)

The Unanswered Question James Ehnes, Tessa Lark, violins; Yura Lee, viola; Clive Greensmith, Alisa Weilerstein, cellos

Remote Musicians

Benjamin Beilman, Paul Huang, Jun Iwasaki, Stefan Jackiw, Erin Keefe, Alexi Kenney, Bryan Lee, Joel Link, Anthony Marwood, Andrew Wan, Tien-Hsin Cindy Wu, violins; Ori Kam, Milena Pajaro-Van de Stadt, Masumi Per Rostad, Jonathan Vinocour, violas; Jay Campbell, Efe Baltacigil, Camden Shaw, Paul Watkins, cellos; Timothy Cobb, bass; Rose Lombardo,

Pamela Vliek Martchev, flutes; Mary Lynch, oboe; Anthony McGill, clarinet; David Washburn, trumpet SCHUBERT

String Quintet in C Major, D.956

(1797-1828) Allegro ma non troppo

Adagio Scherzo: Presto Allegretto

James Ehnes, Tessa Lark, violins; Yura Lee, viola;

Clive Greensmith, Alisa Weilerstein, cellos

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

SUMMERFEST OPENING NIGHT: THE UNANSWERED QUESTION — PROGRAM NOTES

Program Notes by Eric Bromberger

The Unanswered Question

CHARLES IVES Born October 20, 1874, Danbury, CT Died May 19, 1954, New York City Composed: 1906 Approximate Duration: 6 minutes

In the summer of 1906 Charles Ives was living in an apartment that looked out over Central Park and working for the Mutual Insurance Company. That summer he sketched two brief works that he at first regarded as companion-pieces, though he later separated them. One of these, scored for orchestra, would eventually become Central Park in the Dark, and the other, written for much smaller forces, would become The Unanswered Question. Ives sketched this music in 1906, but he was in no hurry to finish it. He set the score aside for a quarter of a century, came back to it in the 1930s, revised it slightly, and published it in 1940.

The Unanswered Question is visionary music. Ives conceived it on three separate musical planes—this music is performed by three different groups of instruments that are separated physically, play entirely different music, and seem at first to have little to do with each other. The first is a body of strings, whose music is floating, serene, ethereal— their music proceeds as if unaware that anything else is happening onstage. There is next a solitary trumpet, which intones the same questioning phrase six times. And finally there is a quartet of flutes, who form the one active (or reactive) part of this music. The flutes seem to mull over the trumpet’s challenge, dispute among themselves, and grow more agitated as they do. In this strange musical landscape, the quartet of flutes shows us ourselves in ways that are provocative, amusing, and sometimes uncomfortable.

The Unanswered Question has become Ives’ most frequently-performed work. Somehow this gentle music— built on the intersection of three completely different musical worlds—touches a deeply responsive chord in audiences. Ives himself gave The Unanswered Question two subtitles—“A Contemplation of a Serious Matter” and “A Cosmic Landscape”—and in a note in the score he talked about his intentions in this music: The strings play ppp throughout with no change in tempo. They are to represent “The Silences of the Druids—Who Know, See and Hear Nothing.”

The trumpet intones “The Perennial Question of Existence” and states it in the same tone of voice each time. But the hunt for “The Invisible Answer” undertaken by the flutes and other human beings,

becomes gradually more active, faster and louder through an animando to a con fuoco. This part need not be played in the exact time position indicated.

It is played in somewhat of an impromptu way; if there be no conductor, one of the flute players may direct their playing. “The Fighting Answerers,” as the time goes on, and after a “secret conference,” seem to realize a futility, and begin to mock “The Question”—the strife is over for the moment.

After they disappear, “The Question” is asked for the last time, and “The Silences” are heard beyond in “Undisturbed Solitude.”

The Unanswered Question will be presented at this concert in a way appropriate to these unsettled times. SummerFest Music Director Inon Barnatan says of this performance: “The idea is that the quintet on stage will be joined, virtually, by players that were invited for this year’s festival and couldn’t be with us, for obvious reasons. So the other string and wind players, and the trumpet, would be prerecording their parts, and we will put it together so that they, and the people on stage, could play this together. So the spatial element is rather more spacious than normal….

And it is my hope that contrast between the calm and continuous, the disruptive and the questioning would be particularly poignant considering the circumstances.”

String Quintet in C Major, D.956

FRANZ SCHUBERT Born January 31, 1797, Vienna Died November 19, 1828, Vienna Composed: 1828 Approximate Duration: 55 minutes

Universally acknowledged as one of the finest creations in all chamber music, Schubert’s String Quintet in C Major dates from the miraculous final year of that composer’s brief life, 1828. That year saw the revision of the “Great” Symphony in C Major and the composition of the three final piano sonatas, the songs of the Schwanengesang collection, this quintet, and the song “Der Hirt auf Dem Felsen,” completed in the weeks just prior to Schubert’s death on November 19. The date of the Quintet is difficult to pin down, but it was probably composed at the end of the summer: on October 2 Schubert wrote to one of his publishers that he had “finally turned out a Quintet for 2 violins, 1 viola, and 2 violoncellos.”

Some have been quick to hear premonitions of death in this quintet, as if this music—Schubert’s last instrumental work—must represent a summing-up of his life. But it is dangerous to read intimations of mortality into music 7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 11

SUMMERFEST OPENING NIGHT: THE UNANSWERED QUESTION — PROGRAM NOTES

written shortly before any composer’s death, and there is little basis for such a conclusion here—although he was ill during the summer, Schubert did not know that he was fatally ill. Rather than being death-haunted, the Quintet in C Major is music of great richness, music that suffuses a golden glow. Some of this is due to its unusual sonority: the additional cello brings weight to the instrumental texture and allows one cello to become a full partner in the thematic material, a freedom Schubert fully exploits. Of unusual length (over 50 minutes long), the Quintet also shows the incredible harmonic freedom of Schubert’s final years— someone once commented that this music seems to change keys every two bars.

The opening Allegro ma non troppo is built on three theme groups: the quiet violin theme heard at the very beginning, an extended duet for the two cellos, and a little march figure for all five instruments. The cello duet is unbelievably beautiful, so beautiful that many musicians (certainly many cellists!) have said that they would like nothing on their tombstone except the music for this passage. But it is the march tune that dominates the development section; the recapitulation is a fairly literal repeat of the opening section, and a brief coda brings the movement to its close.

Longest of the four movements, the Adagio is in ABA form. The opening is remarkable. The three middle voices—second violin, viola, and first cello—sing a gentle melody that stretches easily over 28 bars; the second cello accompanies them with pizzicato notes, while high above the first violin decorates the melody with quiet interjections of its own. The middle section, in F minor, feels agitated and dark. A trill leads back to the opening material, but now the two outer voices accompany the melody with runs and swirls that have suddenly grown complex.

The third movement is a scherzo-and-trio, marked Presto. The bounding scherzo, with its hunting horn calls, is fairly straightforward, but the trio is quite unusual, in some surprising ways the emotional center of the entire Quintet.

One normally expects a trio section to be gentle in mood, sometimes even a thematic extension of the scherzo. But this trio, marked Andante sostenuto and in the unexpected key of D-flat major, is spare, grave, haunting. Schubert sets it in 4/4 instead of the expected 3/4, and its lean lines and harmonic surprises give it a grieving quality quite different from the scherzo—and from the rest of the Quintet. The lament concludes, and the music plunges back into sunlight as the scherzo resumes.

Many have heard Hungarian folk music in the opening of the Allegretto, with its evocation of wild gypsy fiddling.

The second theme is one of those graceful little tunes that

only Schubert could write; both themes figure throughout the movement, until finally another cello duet leads to a fiery coda ingeniously employing both main themes.

The Quintet in C Major is one of the glories of the chamber music repertory and one of Schubert’s finest works.

Yet he never heard a performance of it. The Quintet may have been rehearsed at a gathering of Schubert’s friends in October—the evidence is unclear—and Schubert died a few weeks later. The music then slipped from memory: it lay in manuscript for years and was not officially premièred until 1850, twenty-two years after Schubert’s death.

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

Clive Greensmith

For more information about our online SummerFest Community Engagement Activities please see page 8 or visit LJMS.org/free-events.

Tessa Lark

A NIGHT AT THE SYMPHONY Saturday, August 22, 2020 · 7 PM THE BAKER-BAUM CONCERT HALL BEETHOVEN

All performances will be accessible through September 13th, in case you missed the live performance or want to watch it again.

Symphony No. 2 in D Major, Opus 36

(arranged by the composer for piano trio) Adagio molto; Allegro con brio Larghetto Scherzo: Allegro Allegro molto

Inon Barnatan, piano; Tessa Lark, violin; Clive Greensmith, cello (1770-1827)

RACHMANINOFF Symphonic Dances, Opus 45

(1873-1943) (arranged for solo piano by Inon Barnatan)

Non allegro

Andante con moto (Tempo di valse) Lento assai; Allegro vivace; Lento assai. Come prima

Inon Barnatan, piano

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A NIGHT AT THE SYMPHONY — PROGRAM NOTES

Program Notes by Eric Bromberger

Symphony No. 2 in D Major, Opus 36 (arranged by the composer for piano trio)

LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn, Germany Died March 26, 1827, Vienna Composed: 1802 Approximate Duration: 32 minutes

Recorded music is a miracle. We can hear any piece we want anytime we want, and so it is easy to forget that there was a time when this was not true. Before the advent of recorded music (roughly the turn of the twentieth century), music was heard either live or not at all. We can flip a switch and hear any Beethoven symphony we wish, but before recordings one might have to wait years to hear a particular Beethoven symphony, and the number of people who had heard all nine of his symphonies in live orchestral performances was extraordinarily small.

But enthusiasts keen to keep up with developments in music could hear orchestral works in arrangements for chamber ensembles or for piano. Liszt arranged Beethoven symphonies for piano and performed them on his recital tours as a way of bringing that music to audiences that could not otherwise hear it. Many symphonies—including those of Mahler—were arranged for piano so that they could be played and heard in people’s living rooms. As late as 1921, Arnold Schoenberg’s Society for Private Musical Performances was presenting recent orchestral music in arrangements for chamber ensembles just so that new music could be heard.

Composers had mixed feelings about such arrangements. They might spread the composers’ music more widely, but those arrangements—often made by other people—could be of poor quality, and in those days before copyright laws they would earn money for people other than the composers themselves. Beethoven reacted sharply, saying: “The making of transcriptions is on the whole a thing against which nowadays (in our prolific age of transcriptions) a composer would merely struggle in vain; but at least he is entitled to demand that the publisher shall mention the fact on the title-page, so that his honor as a composer may not be infringed nor the public deceived.”

Yet Beethoven did make a few arrangements of his own music, including an arrangement of the Grosse Fuge for piano four-hands and an arrangement of the Violin Concerto for piano.

Beethoven himself made the present arrangement for piano trio of his Second Symphony in 1805, two years after

its première in Vienna. Beethoven’s first two symphonies were in the high-classical mold of the late Haydn and Mozart symphonies; he would shatter that mold in his Third Symphony, the “Eroica,” but as a symphonist Beethoven was still finding his way in his first two efforts in the form.

Historians have been unanimous in finding Beethoven’s first two symphonies conservative, but to contemporary listeners the Second Symphony sounded audacious enough. After the première in Vienna on April 5, 1803, a reviewer complained that “the first symphony is better than the [second] because it is developed with a lightness and is less forced, while in the second the striving for the new and surprising is already more apparent.”

That critic makes an acute point: while the Second Symphony remains very much in the mold of the symphonies of Mozart and Haydn, it represents clear progress beyond the limits of Beethoven’s well-behaved First Symphony. These advances are evident in its span (some performances of the Second stretch to nearly forty minutes), its bright sonority (Beethoven chooses D major, a particularly resonant key for the strings), and its atmosphere of non-stop energy. The Second Symphony may take the form of an eighteenth-century symphony, but there are “new and surprising” elements throughout this buoyant score.

The Second Symphony has become familiar to us through recordings and performances, but audiences may find Beethoven’s arrangement for piano trio an interesting experience. Inevitably, it lacks the sonic punch of the orchestral version, but it allows us to hear textures and some of the counterpoint much more clearly.

Symphonic Dances, Opus 45 (arranged for solo piano by Inon Barnatan)

SERGE RACHMANINOFF Born April 1, 1873, Semyonovo, Russia Died March 28, 1943, Beverly Hills Composed: 1940 Approximate Duration: 35 minutes

Rachmaninoff spent the summer of 1940 at Orchard Point, a seventeen-acre estate on Long Island that had groves, orchards, and a secluded studio where he could work in peace. There, very near the East and West Egg of Fitzgerald’s The Great Gatsby, Rachmaninoff set to work on what would be his final complete work, a set of dances for orchestra. By August, he had the score complete in a version for two pianos, and—because he regarded this as a dance score—he consulted with choreographer Mikhail Fokine, a neighbor that summer. Rachmaninoff tentatively titled the piece Fantastic Dances and gave its three

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

A NIGHT AT THE SYMPHONY — PROGRAM NOTES

movements names—Noon, Twilight, and Midnight—that might suggest a possible scenario. Fokine liked the music when Rachmaninoff played it for him, and they began to look ahead to a ballet production, but Fokine’s death shortly thereafter ended any thought of that. Even by the end of the summer, though, Rachmaninoff appears to have rethought the character of this music. By the time he completed the orchestration on October 29, he had changed its name to Symphonic Dances and dropped the descriptive movement titles, and when Eugene Ormandy and the Philadelphia Orchestra gave the première on January 3, 1941, it was as a purely orchestral composition.

Rachmaninoff himself seemed surprised by what he had created, and when friends congratulated him on the energy of this music, he said, “I don’t know how it happened—it must have been my last spark.” Two years later he was dead.

The orchestral version of the Symphonic Dances has become one of the most popular of Rachmaninoff’s late works. This concert, however, offers the unique opportunity to hear this music in a version for solo piano.

Rachmaninoff’s own version for two pianos has become well-known, but it appears that Rachmaninoff also made a version for solo piano. He played this for Ormandy as a way of helping the conductor prepare for the orchestral première, and a recording of that session became the inspiration for Inon Barnatan’s own arrangement of the Symphonic Dances (the manuscript of Rachmaninoff’s arrangement has not survived). Barnatan has discussed his intentions in making his arrangement for solo piano: I started making my arrangement shortly after we went into lockdown [during the COVID-19 pandemic]. It has been an arrangement I had wanted to do for a long time, and it was further spurred on by a recording I heard of Rachmaninoff. It is a private recording that only came out a few years ago, and in it he plays through almost the entire piece on one piano for Ormandy. It’s an extraordinary document of his playing, and it confirmed my suspicion that it would sound good on one piano.

The two-piano version is written in a way that is quite different from his two-piano suites, and much of it is handed from one piano to the other, so some of it was straightforward, but there are many spots where I had to find creative solutions. I heard a saying that \ translations are like lovers, they are either faithful or beautiful, but I believe in this arrangement that nothing is really lost, and I love the freedom that being able to play it on one piano gives me.

The Symphonic Dances are remarkable for Rachmaninoff’s subtle compositional method. Rather than relying on the Big Tune, he evolves this music from the most economical of materials—rhythmic fragments, bits of theme, simple patterns—which are then built up into powerful movements that almost overflow with rhythmic energy. Rachmaninoff may have been 67 and in declining strength in 1940, but that summer he wrote with the hand of a master.

As he finished each of his symphonies, Joseph Haydn would write Laus Deo—“Praise God”—at the end of the manuscript. At the end of the manuscript of Symphonic Dances, Rachmaninoff—perhaps aware that this would be his last work—wrote (in Russian) the simple phrase: “I thank Thee, Lord.”

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James Ehnes

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BEETHOVEN AND MENDELSSOHN Sunday, August 23, 2020 · 3 PM THE BAKER-BAUM CONCERT HALL BEETHOVEN

All performances will be accessible through September 13th, in case you missed the live performance or want to watch it again.

Sonata for Pianoforte and Cello in A Major, Opus 69

(1770-1827) Allegro ma non tanto

Allegro molto Adagio cantabile; Allegro vivace

Alisa Weilerstein, cello; Inon Barnatan, piano MENDELSSOHN Piano Trio No. 1 in D Minor, Opus 49

(1809-1847) Molto allegro ed agitato

Andante con molto tranquillo Scherzo: Leggiero e vivace

Allegro assai appassionato

Inon Barnatan, piano; James Ehnes, violin; Alisa Weilerstein, cello

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BEETHOVEN AND MENDELSSOHN — PROGRAM NOTES

Program Notes by Eric Bromberger

Sonata for Pianoforte and Cello in A Major, Opus 69

LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn, Germany Died March 26, 1827, Vienna Composed: 1807-08 Approximate Duration: 27 minutes

The year 1807 found Beethoven extremely busy.

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

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

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

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

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

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

slow introduction marked Adagio cantabile before the music leaps ahead at the Allegro vivace. This is not the expected rondo-finale but another sonata-form movement. It is typical of this sonata that the opening of the fast section is marked pianissimo, and throughout the movement Beethoven reminds both players repeatedly to play dolce.

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

Piano Trio No. 1 in D Minor, Opus 49

FELIX MENDELSSOHN Born February 3, 1809, Hamburg Died November 4, 1847, Leipzig Composed: 1939 Approximate Duration: 29 minutes

From 1835 until 1846 Mendelssohn was conductor of the Leipzig Gewandhaus Orchestra. Not only were these the happiest and most productive years of the composer’s life, but they also marked one of the most distinguished associations ever between a conductor and an orchestra.

During his tenure in Leipzig, Mendelssohn raised both performance standards and the salaries of the players, lengthened the season, and worked hard to introduce unfamiliar music to new audiences, seeking out the music of both contemporary and forgotten composers. Once the busy concert season was over, Mendelssohn would use the summer to rest and compose. In the summer of 1839— shortly after he had conducted the première of Schubert’s “Great” Symphony in C Major—Mendelssohn took his wife and young children to Frankfurt for a rest. He had long intended to write chamber music that would include piano, and on June 6 he set to work on the Trio in D Minor. The score was finished on July 18, but Mendelssohn continued to tinker with it until the end of the summer, and he was the pianist at the trio’s première in Leipzig on February 1, 1840.

Impassioned, full of good tunes, and beautifully written for the three instruments, the Trio in D Minor has always been an audience favorite. Both the trio and its composer were extravagantly praised in Robert Schumann’s review of the première: It is the master trio of today, as in their day were those of Beethoven in B flat and D, as was that of Schubert in E flat; a wholly fine composition, that, when years have passed away, will delight grandchildren.

Mendelssohn is the Mozart of the nineteenth century, the brightest among musicians, the one who looks

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BEETHOVEN AND MENDELSSOHN — PROGRAM NOTES

most clearly of all through the contradictions of time, and reconciles us to them.

What Schumann meant by that final line has been open to some debate—Mendelssohn’s music hardly seems to admit the existence of contradictions, let alone resolve them—but there is no denying this trio’s appeal.

The opening Molto allegro ed agitato is dramatic music, and Mendelssohn’s performance markings suggest the kind of performance he wanted—in the score he continually admonishes the performers that their playing should be animato, agitato, and marcato. An unusual feature of this movement is that it is the cello that introduces both principal themes: the dramatic opening subject and the flowing second theme, which Mendelssohn marks cantabile.

The Andante con molto tranquillo brings sharp contrast.

Piano alone has the serene opening melody, a continuous flow of song, and the violin and cello are frequently cast in supporting roles here, decorating and embellishing the piano’s music. The scherzo—Leggiero e vivace—is one of those fleet and graceful fast movements that only Mendelssohn could write (and which he could apparently write at will). It sounds very much like the scampering fairyland scenes from his incidental music to A Midsummer Night’s Dream, but it also brings some surprises: this scherzo is in 6/8 rather than the expected 3/4, and it has no trio section.

The finale returns to the mood and manner of the dramatic opening movement. Mendelssohn marks it “Very fast and impassioned,” and the music sometimes drives to moments of an almost orchestral intensity. The second theme-group arrives on a big, soaring cello tune, and Mendelssohn alternates these quite different kinds of music before a superheated coda drives the trio to its emphatic conclusion, now firmly in D major.

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Yura Lee

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Clive Greensmith

FAURÉ AND SCHUMANN Wednesday, August 26, 2020 · 7 PM THE BAKER-BAUM CONCERT HALL FAURÉ

All performances will be accessible through September 13th, in case you missed the live performance or want to watch it again.

Inon Barnatan

Violin Sonata No. 1 in A Major, Opus 13

(1845-1924) Allegro molto

Andante Allegro vivo Allegro quasi presto

James Ehnes, violin; Inon Barnatan, piano SCHUMANN Piano Quartet in E-flat Major, Opus 47

(1810-1856) Sostenuto assai; Allegro ma non tanto Scherzo: Molto vivace Andante cantabile Vivace

Tessa Lark, violin; Yura Lee, viola;

Clive Greensmith, cello; Inon Barnatan, piano

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FAURÉ AND SCHUMANN — PROGRAM NOTES

Program Notes by Eric Bromberger

Violin Sonata No. 1 in A Major, Opus 13

GABRIEL FAURÉ Born May 13, 1845, Pamiers, France Died November 4, 1924, Paris Composed: 1876 Approximate Duration: 24 minutes

One of Fauré’s students, the composer Florent Schmitt, described his teacher as an “unintentional, unwitting revolutionary.” The term “revolutionary” hardly seems to apply to a composer best-known for his gentle Requiem, songs, and chamber works. But while Fauré was no heaven-storming radical bent on undoing the past, his seemingly-quiet music reveals enough rhythmic, harmonic, and melodic surprises to justify Schmitt’s claim. The Violin Sonata in A Major, written in the summer of 1876 while Fauré was vacationing in Normandy, is dedicated to his friend, the violinist Paul Viardot. Following its first performance, the sonata was praised by Fauré’s teacher Saint-Saëns for its “formal novelty, quest, refinement of modulation, curious sonorities, use of the most unexpected rhythms…charm [and]…the most unexpected touches of boldness.” This is strong praise, but close examination of the sonata shows that Saint-Saëns was right.

One of the most interesting features of the opening Allegro molto occurs in the accompaniment, which is awash in a constant flow of eighth-notes. The piano immediately hints at the first theme, and that instrument is busily weaving a filigree of accompanying eighth-notes that will shimmer throughout this movement when the violin enters to sing that theme fully. The movement is in the expected sonata form, and the violin’s falling second subject is accompanied by murmuring triplets from the piano. There is an elegance and grace about this movement that is easy to sense but difficult to describe. It can also be passionate music, and the movement concludes on a fiery restatement of its opening theme.

Distinguishing the Andante is its rhythmic pulse: a 9/8 meter throbs throughout the movement, though Fauré varies its effect by syncopating the accents within the measure. The third movement, a scherzo marked Allegro vivo, goes like a rocket. Fauré chooses not the expected triple meter of the traditional scherzo but a time signature of 2/8, an extremely short rhythmic unit, particularly when his metronome marking asks for 152 quarter-notes per minute. He further complicates the rhythm by writing in quite short phrases, so that the effect is of short phrases rapidly spit out, then syncopated by sharp off-beats. A

lovely, graceful trio gives way to the opening material, and the movement suddenly vanishes in a shower of pizzicato notes.

The tempo marking for the finale—Allegro quasi presto—seems to suggest a movement similar to the third, but despite its rapid tempo the last movement flows easily and expressively. Or at least it seems to, for here Fauré complicates matters harmonically. The piano opens in the home key—A major—but the violin seems always to prefer F-sharp minor, and the resulting harmonic uncertainty continues throughout the movement until the sonata ends in unequivocal A major.

To emphasize this sonata’s originality may have the unhappy effect of making the music sound cerebral, interesting only for its technical novelty. That is hardly the case. Fauré’s Sonata in A Major is one of the loveliest violin sonatas of the late nineteenth century, full of melodic, graceful, and haunting music.

Piano Quartet in E-flat Major, Opus 47

ROBERT SCHUMANN Born June 8, 1810, Zwickau, Germany Died July 29, 1856, Eisenach, Germany Composed: 1842 Approximate Duration: 28 minutes

Robert Schumann’s marriage on September 12, 1840, to the young piano virtuosa Clara Wieck—a match that had been bitterly opposed by her father—brought joy to the young couple, and it also marked the beginning of the most productive three years of the composer’s career. From the first year of their marriage came a great outpouring of song, from 1841 came symphonic works, and in 1842 Schumann turned to chamber music. He quickly wrote three string quartets that summer, then the Piano Quintet in October. Working at white heat and assailed by “constant fearful sleepless nights,” Schumann pressed on to complete the Piano Quartet at the end of November.

The Quartet has always been overshadowed by the Quintet, one of Schumann’s greatest chamber works, but this is a strong work in its own right. It is one of the finest of all piano quartets—a form that presents composers with numerous problems of voicing, texture, and the balance between piano and strings—and its slow movement is one of the glories of chamber music. The Quartet opens with a slow introduction, marked Sostenuto assai (“Very sustained”); this quiet music will return twice during the course of the movement. The main section of the movement, Allegro ma non tanto, leaps out brightly on four sharp chords, and Schumann gives some idea of his conception of this music

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FAURÉ AND SCHUMANN — PROGRAM NOTES

in his marking sempre con molto sentimento. The second subject is a big singing tune for cello (marked espressivo), and Schumann develops both themes across the span of this sonata-form movement. The very brief Scherzo: Molto vivace hurries along its steady pulse; Schumann offers two trio sections, both related thematically to the scherzo itself.

The third movement is appropriately marked Andante cantabile, for this music does indeed sing. It is in ABA form, and the cello’s lyric main subject dominates the opening section. But the really impressive part of this movement comes in the middle section, which moves into the unexpected key of G-flat major. In the child-like simplicity of its melodic line and the intensity of its expression, this music sounds very much like the slow movements of Beethoven’s late string quartets. The cello does not play during the ornate return of the opening material, for Schumann asks here that the cellist retune the C-string down to B for the closing measures of the movement; this section outlines very slowly the theme-shape of the final movement, marked Vivace. Full of fugal entries based on this three-note shape, the finale gives the impression of never-ending energy—even its lyric episodes seem touched with vitality.

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Yura Lee

Alisa Weilerstein

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MOZART, KODÁLY AND SUK Friday, August 28, 2020 · 7 PM THE BAKER-BAUM CONCERT HALL MOZART

All performances will be accessible through September 13th, in case you missed the live performance or want to watch it again.

Sonata in E Minor for Piano and Violin, K.304 Allegro Tempo di Menuetto

Yura Lee, violin; Inon Barnatan, piano

(1756-1791)

KODÁLY

Sonata for Solo Cello, Opus 8

(1882-1967) Allegro maestoso ma appassionato

Adagio (con gran espressione) Allegro molto vivace

Alisa Weilerstein, cello SUK

Piano Quartet in A Minor, Opus 1

(1874-1935) Allegro appassionato

Adagio Allegro con fuoco

Inon Barnatan, piano; Tessa Lark, violin;

Yura Lee, viola; Clive Greensmith, cello

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MOZART, KODÁLY AND SUK — PROGRAM NOTES

Program Notes by Eric Bromberger

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

WOLFGANG AMADEUS MOZART Born January 27, 1756, Salzburg Died December 5, 1791, Vienna Composed: 1778 Approximate Duration: 13 minutes

Mozart wrote about thirty-five sonatas for violin and keyboard, including some that were left unfinished. He wrote the first when he was 6 and the last in 1788, three years before his death. Only one of them is in a minor key, the Sonata in E Minor, K.304, written in 1778 in Paris. The minor tonality gives this music a dignity and gravity unusual in the sequence of his violin sonatas, and though this music was composed when Mozart was only 22, it is universally regarded as one of his finest chamber works.

Accompanied by his mother, Mozart had set out from Salzburg in September 1777 in search of the position his father was sure would bring him fame. Mozart did not return until January 1779, and the journey—which had taken him through Mannheim, Paris, and Munich—can hardly be regarded as a success: Mozart spent too much money and found no position at all. The true cataclysm, though, was that his mother became ill and died in Paris in July 1778. It was left to the young composer to send that sad news back to Salzburg and then make his way home with nothing to show for his sixteen-month absence.

He had, however, written seven violin sonatas during this trip, and he published six of these in Paris. The first four were written in Mannheim, but the final two were written in Paris. The Sonata in E Minor—composed in Paris in June and July of 1778—is wistful and somber music, full of a depth of feeling absent from the other five sonatas. Mozart was much too great an artist to allow the events of his own life to shape his art, yet few commentators have been able to resist associating this moving music with the death of Mozart’s mother.

Like most of the other sonatas from this set, it is in only two movements. The Allegro takes its character from the somber opening theme, played at first in unison by violin and piano. The firm second subject, once again announced jointly, does little to change the opening mood, and the development proceeds along an unexpected level of tension.

Mozart marks the second movement Tempo di Menuetto, but this music is far from the genial spirit of most minuets.

Mozart remains in E minor here, and piano alone presents the gravely graceful opening melody. We are in a world of

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

Sonata for Solo Cello, Opus 8

ZOLTÁN KODÁLY

Born December 16, 1882 Kecskemet, Hungary Died March 6, 1967, Budapest Composed: 1915 Approximate Duration: 30 minutes

In 1909 two young Hungarian musicians—violinist Imre Waldbauer and cellist Jeno Kerpely—organized a string quartet dedicated to advancing the music of their countrymen Kodály and Bartók. In March of the following year, after more than 90 rehearsals, they gave premières of quartets by both composers and over the next several decades championed their music at a time when it was not popular with audiences. The quartet remained intact until 1946, when both Waldbauer and Kerpely came to the United States. Waldbauer taught at the University of Iowa, and Kerpely was, at the time of his death in 1954, Professor of Cello at the University of Redlands.

It was for Kerpely, a virtuoso cellist, that Kodály wrote his Sonata for Solo Cello in 1915, and it was Kerpely who gave the first performance in Budapest on May 7, 1918. Except for some works by Reger, Kodály’s Sonata was the first for solo cello since the six great sonatas of Bach, and it has rightfully taken its place as one of the cornerstones of the cello literature and one of the greatest challenges for the virtuoso cellist.

Faced with the restricted resources of a single instrument and the unlimited resources of a virtuoso performer, Kodály produced a sonata that is both very beautiful and spectacularly difficult to play. In one of his most novel touches, he asks the cellist to tune the two lower strings—G and C—down a half-step to F-sharp and B; this extends the range of the cello and makes new chords possible. Kodály also stretches the resources of the cello to their limit—the sonata extends through a range of five octaves and makes use of virtually every known string technique: multiple-stopped chords, pizzicato, ponticello, complex harmonics.

Like Bartók, Kodály was interested in folk music, particularly of his native Hungary. While the Sonata for Solo 7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 23

MOZART, KODÁLY AND SUK — PROGRAM NOTES

Cello makes no direct quotations of Hungarian folk tunes, the entire sonata seems steeped in Hungarian folk music.

The Allegro maestoso ma appassionato opens with two sharp chords before sailing into the main theme. This soaring, rhapsodic movement glides easily throughout the cello’s entire range, alternating declamatory sections with quieter passages before it concludes with the same two chords that opened the movement.

The Adagio, which Kodály specifies should be played con grand espressione, sounds the most folk-inspired. At one point the music grows so complex that Kodály writes it on two staves: the treble line for the bowed passages, the bass clef for the complex pizzicato accompaniment. An animated middle section, marked Con moto, leads to the return of the opening material and a close on three quiet pizzicato strokes.

The finale, Allegro molto vivace, is the most virtuosic of the three. From the steady dance rhythms of the beginning to the blazing finish, it swirls brilliantly forward. In this dash of color and rhythm, it is easy to forget how difficult such music is to perform, particularly the passages that require simultaneous bowing and pizzicato, the complex chording, and the swirling arpeggios that drive the Sonata to its exciting close.

Piano Quartet in A Minor, Opus 1

JOSEF SUK

Born January 4, 1874, Křečovice, Czech Republic Died May 29, 1935, Benešov, Czech Republic Composed: 1891 Approximate Duration: 24 minutes

Suk composed his Piano Quartet in A Minor in 1891, when he was 17 and still a student at the Prague Conservatory—it was in fact his graduation piece, and he published it as his Opus 1. It will come as no surprise that this youthful composition often sounds like the music of Dvořák, Suk’s teacher and future father-in-law. The quartet remains impressive today for the sheer verve of the young composer’s writing: this is big music—powerful, soaring, and full-throated. Suk marks the first movement Allegro appassionato, and it bursts to life with the three stringed instruments in octaves, soaring above the piano accompaniment. More lyric secondary material soon arrives, but the tone of this movement is dramatic, and it powers its way to an emphatic conclusion in A major.

In sharp contrast, the Adagio brings a world of calm.

The cello sings the long main subject over pulsing piano accompaniment before a quicker central episode pushes the music forward gracefully. Its energy spent, this episode gives way to a long final section marked Recitativ as the music trails off into silence. The Allegro con fuoco finale is indeed full of fire. It returns to the manner of the first movement, and Suk continually reminds his performers that their playing should be appassionato before he drives his Quartet in A Minor to a conclusion of nearly symphonic proportions.

Hearing this powerful and assured music, it is easy to understand why the seventeen-year-old Suk was Dvořák’s favorite student.

Born in a rural Czech village, Josef Suk learned to play violin, piano, and organ as a boy and entered the Prague Conservatory at age 11. There he became Dvořák’s favorite composition student, and he married Dvořák’s daughter Ottilie in 1898. While still at the Conservatory, Suk became the second violinist of the Czech Quartet, which over the next four decades would give more than 4,000 concerts. Suk taught for many years at the Prague Conservatory, numbering Bohuslav Martinu and Fritz Reiner among his students, and his grandson was the violinist Josef Suk (1929-2011). Suk’s music was admired by the aging Brahms, who helped arrange its publication, but the demands of teaching and performing with the quartet left little time for composing during Suk’s later years. One late work deserves mention, though: at age 58, just three years before his death, Suk was awarded a prize for his march Toward a New Life, composed for the 1932 Olympics in Los Angeles.

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Tessa Lark and Michael Thurber

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SUMMERFEST FINALE: THE TROUT Saturday, August 29, 2020 · 7 PM THE BAKER-BAUM CONCERT HALL J.S. BACH

All performances will be accessible through September 13th, in case you missed the live performance or want to watch it again.

Support for tonight’s performance is generously provided by: Jendy Dennis

Selections from Two-Part Inventions (arr. for violin and double bass) No. 1 in C Major No. 2 in C Minor No. 4 in D Minor No. 6 in E Major No. 8 in F Major No. 10 in G Major

Tessa Lark, violin; Michael Thurber, bass

(1685-1750)

PROKOFIEV Sonata in C Major for Two Violins, Opus 56 (1891-1953) Andante cantabile Allegro Comodo (quasi allegretto) Allegro con brio

Yura Lee, Tessa Lark, violins

SCHUBERT Quintet in A Major for Piano and Strings, D.667 “Trout” (1797-1828) Allegro vivace Andante Scherzo: Presto Thema: Andantino Finale: Allegro giusto

Inon Barnatan, piano; Tessa Lark, violin; Yura Lee, viola;

Alisa Weilerstein, cello; Michael Thurber, bass

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SUMMERFEST FINALE: THE TROUT — PROGRAM NOTES

Program Notes by Eric Bromberger

Fifteen Two-Part Inventions, BWV 772-786

Sonata in C Major for Two Violins, Opus 56

Born March 21, 1685, Eisenach, Germany Died July 28, 1750, Leipzig Composed: 1720—23 Approximate Duration: 22 minutes

Born April 23, 1891, Sontsovka, Ukraine Died March 5, 1953, Moscow Composed: 1932 Approximate Duration: 17 minutes

JOHANN SEBASTIAN BACH

Bach realized very early how talented his children were, and he was concerned that they receive a practical and thorough musical education. As his first son, Wilhelm Friedeman, approached his tenth birthday, Bach began to devise a course of instruction centered around the keyboard. Bach’s second son, Carl Philipp Emanuel, later recalled how his father had taught young musicians: “The first thing he did was to teach his students special ways of touching the keyboard. For this he made them practice for months nothing but separate exercises for all the fingers of both hands, with constant attention to the production of a clean clear tone. Over a period of some months, no pupil was excused these exercises, and, according to his firm opinion, they should be continued from six to twelve months at least. But if he found that anyone, after some months of practice, began to lose patience, he was so considerate as to write little pieces in which these exercises were linked together. To this type belong the ‘Six Little Preludes for Beginners,’ and still more the fifteen ‘Two-Part Inventions.’ He wrote both down during his teaching, and so attended to the immediate needs of the pupil; afterward he transformed these pieces into beautiful, expressive little works of art.”

Carl Philipp Emanuel here describes the genesis of the pieces we know as the Two-Part Inventions. Bach was concerned that students learn how to play and to compose, and in his preface to the published version he noted that he wanted pupils “not only to be inspired with good inventions but to develop them properly; and most of all to achieve a cantabile manner of playing and to gain a strong foretaste of composition.” Carl Philipp Emanuel makes a key point about these seemingly didactic pieces: as he refined this music, Bach “transformed these pieces into beautiful, expressive little works of art.” The Two-Part Inventions may at one level be simple exercises in two-part counterpoint, but today—three centuries after their creation—we can only marvel at Bach’s methods as a teacher and exult in the timeless music that flows out of these little “exercises.”

On this program Tessa Lark and Michael Thurber will perform six of Bach’s Two-Part Inventions in an arrangement for violin and double bass.

SERGE PROKOFIEV

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

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SUMMERFEST FINALE: THE TROUT— PROGRAM NOTES

opening melody. Much of the writing in this movement is very high, and the 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.

Quintet in A Major for Piano and Strings, D.667 “Trout”

FRANZ SCHUBERT Born January 31, 1797, Vienna Died November 19, 1828, Vienna Composed: 1819 Approximate Duration: 35 minutes

Two events in the year 1817 led to the creation of the “Trout” Quintet, one of the best-loved works in the chamber repertory. The first came in March, when Schubert met the famous baritone Michael Vogl, twenty-nine years his senior. Vogl was one of the leading singers of the Vienna Court Opera, famous for his portrayal of Pizarro in Beethoven’s Fidelio. Vogl recognized the young composer’s genius and became his champion, performing many of his songs, including Die Winterreise. The second event came that August, when Schubert wrote a brief song—Die Forelle (“The Trout”)—that quickly became very popular.

Two years later, in the summer of 1819, Vogl invited Schubert, then 22, to accompany him on a walking trip through Upper Austria to see the country where Vogl had been born. Schubert happily agreed, and the two spent the summer in the town of Steyr, about 90 miles west of Vienna. Schubert was enchanted by the town and countryside, with its mountains, streams, and meadows; to one of his friends in Vienna he wrote to say that the countryside was “unbelievably beautiful.” He was enthusiastically received by the local townspeople, and one of them—a wealthy merchant and amateur cellist named

Sylvester Paumgartner—asked Schubert for a piece of music that he and his friends might play. He made two stipulations: that Schubert write for the players on hand and that the piece be in some way based on Die Forelle, of which Paumgartner was very fond.

And so in a lovely setting in the summer of 1819, Schubert wrote the music that has become known the “Trout” Quintet. It is a quintet for piano and strings, but because he was writing for the available musicians Schubert dropped the second violin and added a string bass. The bass part is not particularly demanding, but the cello part is full of wonderful writing, some of it apparently too difficult for Paumgartner, who struggled with his part at the quintet’s first performance. The addition of a second bassline instrument frees the piano from a purely accompanimental role and allows it to participate fully as a melodic instrument. Schubert exploits this freedom, often setting both the pianist’s hands in the treble clef. All these combine to give the “Trout” Quintet its distinctive sonority, which ranges from the sound of deep stringed instruments to the piano’s silvery high passages.

The “Trout” Quintet is one of those rare pieces of completely “happy” music—one feels that Schubert’s joy in the Austrian countryside has made its way into every measure of this music. It also gives the impression of having been written at great speed. Not because of anything glib or superficial in the music, but because it feels spontaneous, as if this music poured easily from Schubert’s pen. In fact, the piece took some time to compose—Schubert drafted it that summer in Steyr but did not complete it until November in Vienna.

The Allegro vivace opens with a fanfare-like arpeggio from the piano that will recur throughout this sonataform movement. The violin has the genial first theme, while the piano introduces the gently-dotted second subject of this movement, which is characterized by some unusual harmonic modulations. The Andante is built on three distinct theme groups, the first and third belonging to the piano. Again, this movement is full of surprising harmonic shifts, and its second theme—introduced as a viola and cello duet—is one of those gorgeous Schubert melodies that seems an endless flow of haunting song.

The Scherzo, in standard scherzo-and-trio form, bounds along with much energy and high spirits. Schubert satisfied Paumgartner’s second stipulation by making the Andantino a set of variations on Die Forelle, and this has given the quintet its nickname. Strings alone play the melody of the song, and the piano enters at the first variation. Schubert’s variations are straightforward—they are melodic rather

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SUMMERFEST FINALE: THE TROUT — PROGRAM NOTES

than structural variations—and the movement concludes with a brief Allegretto section that is really a sixth variation.

The good-spirited Allegro giusto finale races along happily on two principal themes, both played initially by the strings.

The second of these is itself a subtle variant of the theme— apparently Schubert was having fun basing this entire piece on his famous song in ways that Paumgartner may not have recognized, and alert listeners will detect reminiscences of the song throughout the “Trout” Quintet. There is no true development in this movement—only a fairly literal recapitulation—and one of the sunniest works in the repertory sails happily to its conclusion.

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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

JOHN HARBISON String Quartet (2002) Orion String Quartet Crossroads (2013) Jennifer Johnson Cano, mezzo-soprano; Peggy Pearson, oboe; Linden String Quartet; Nico Abondolo, bass STEPHEN HARTKE Sonata for Piano Four-Hands (2014) Orion Weiss, Anna Polonsky, piano JOEL HOFFMAN of Deborah, for Deborah (2015) Nancy Allen, harp; Cho-Liang Lin, violin; Toby Hoffman, viola; Gary Hoffman, cello HUANG RUO Real Loud (2018) Real Quiet TOSHI ICHIYANAGI String Quartet No. 5 (2008) FLUX Quartet PIERRE JALBERT Piano Quintet (2017) Juho Pohjonen, piano Rolsoton String Quartet AARON JAY KERNIS Perpetual Chaconne (2012) John Bruce Yeh, clarinet; Calder Quartet LEON KIRCHNER String Quartet No. 4 (2006) Orion String Quartet DAVID LANG String Quartet “almost all the time” (2014) FLUX Quartet

DEREK BERMEL Death with Interruptions (2014) David Chan, violin; Clive Greensmith, cello; John Novacek, piano

LEI LIANG Vis-à-vis, for Pipa and Percussion (2018) Wu Man, pipa; Steven Schick, percussion

STEWART COPELAND Retail Therapy (2009) Kyoko Takezawa, violin; Nico Abondolo, bass; Frank Renk, bass clarinet; Stewart Copeland, drums; Joyce Yang, piano

PAUL SCHOENFIELD Sonata for Violin and Piano (2009) Cho-Liang Lin, violin; Jon Kimura Parker, piano GUNTHER SCHULLER Quintet for Horn and Strings (2009) Julie Landsman, horn; Miró Quartet BRIGHT SHENG Three Fantasies (2006) Cho-Liang Lin, violin; André-Michel Schub, piano Northen Lights, for Violon, Cello and Piano (2010) Lynn Harrell, cello; Victor Asuncion, piano SEAN SHEPHERD Oboe Quartet (2011) Liang Wang, oboe; Jennifer Koh, violin; Cynthia Phelps, viola; Felix Fan, cello String Quartet No. 2 (2015) FLUX Quartet

SÉRGIO ASSAD Candido Scarecrow (2014) The Assad Brothers

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

LALO SCHIFRIN Letters from Argentina (2005) Lalo Schifrin, piano; David Schifrin, clarinet; Cho-Liang Lin, violin; Nestor Marconi, bandoneón; Pablo Aslan, bass; Satoshi Takeishi, percussion

MAGNUS LINDBERG Konzertstück for Cello and Piano (2006) Anssi Karttunen, cello; Magnus Lindberg, piano JACQUES LOUSSIER Divertimento (2008) Jacques Loussier Trio; SoJin Kim, Shih-Kai Lin, violins; Elzbieta Weyman, viola; Yves Dharamraj, cello; Mark Dresser, bass JULIAN MILONE La Muerte del Angel (arr. movement from Piazzolla's Tango Suite) (2008) Gil Shaham, Kyoko Takezawa, Cho-Liang Lin, Margaret Batjer, violins; Chris Hanulik, bass

MARC NEIKRUG CHICK COREA String Quartet No. 1, The Adventures of Hippocrates (2004) Ritual (2007) Real Quiet Orion String Quartet MARK O'CONNOR MARC-ANDRÉ DALBAVIE String Quartet No. 2 "Bluegrass" (2005) Quartet for Piano and Strings (2012) Mark O‘Connor, Cho-Liang Lin, violins; Yura Lee, violin; Paul Neubauer, viola; Felix Fan, cello; Carol Cook, viola; Natalie Haas, cello Jeremy Denk, piano ANDRÉ PREVIN RICHARD DANIELPOUR Vocalise (1996) Clarinet Quintet “The Last Jew in Hamadan” (2015) Ashley Putnam, soprano; David Finckel, cello Burt Hara, clarinet; Verona Quartet CHRISTOPHER ROUSE BRETT DEAN String Quartet No. 3 (2010) Epitaphs for String Quintet (2010) Calder Quartet Brett Dean, viola; Orion String Quartet KAIJA SAARIAHO Seven Signal (2019) Serenatas (2008) Joseph Morris, clarinet; Qian Wu, piano; Real Quiet Liza Ferschtman, violin; Felix Fan, cello ESA-PEKKA SALONEN DAVID DEL TREDICI Lachen verlernt (Laughing Unlearnt) (2002) Bullycide (2013) Cho-Liang Lin, violin Orion Weiss, piano; DaXun Zhang, bass; Shanghai Quartet PETER SCHICKELE MARC-ANDRÉ HAMELIN Spring Ahead Quintet for Clarinet and String Quartet String Quartet (2016) (2015) Hai-Ye Ni, cello; Marc-André Hamelin, piano Burt Hara, clarinet; Huntington Quartet

HOWARD SHORE A Palace Upon the Ruins (A Song Cycle) (2014) Jennifer Johnson Cano, mezzo-soprano; Catherine Ransom Karoly, flute; Coleman Itzkoff, cello; Andrew Staupe, piano; Julie Smith Phillips, harp; Dustin Donahue, percussion WAYNE SHORTER Terra Incognita (2006) Imani Winds STEVEN STUCKY Sonata for Violin and Piano (2013) Cho-Liang Lin, violin; Jon Kimura Parker, piano AUGUSTA READ THOMAS Bells Ring Summer (2000) David Finckel, cello CONRAD TAO Movement II from “All I had forgotten or tried to” (2019) Stephan Jackiw, violin; Conrad Tao, piano JOAN TOWER Big Sky (2000) Chee-Yun, violin; David Finckel, cello; Wu Han, piano Trio La Jolla (2007) (Renamed Trio CAVANY) Cho-Liang Lin, violin; Gary Hoffman, cello; André-Michel Schub, piano White Granite (2011) Margaret Batjer, violin; Paul Neubauer, viola; Joshua Roman, cello; André-Michel Schub, piano GEORGE TSONTAKIS Stimulus Package (2009) Real Quiet CHINARY UNG AKASA: “Formless Spiral” (2010) Real Quiet JOHN WILLIAMS Quartet La Jolla (2011) Cho-Liang Lin, violin; Joshua Roman, cello; John Bruce Yeh, clarinet; Deborah Hoffman, harp CYNTHIA LEE WONG Piano Quartet (2011) Joyce Yang, piano; Martin Beaver, violin; Kazuhide Isomura, viola; Felix Fan, cello XIAOGANG YE Gardenia for String Quartet and Pipa (2017) Wu Man, pipa; Miró Quartet ELLEN TAAFFE ZWILICH Quintet for Violin, Viola, Cello, Contrabass and Piano (2011) Kalichstein-Laredo-Robinson Trio; Michael Tree, viola; Harold Robinson, bass Pas de Trois (2016) Kalichstein-Laredo-Robinson Trio

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GRAND TRADITION: SUMMERFEST ARTISTS 1986-2020 VIOLIN

Aguilar, Paul 2019* Allen, Isaac 2010*,’13 Almond, Frank 1988 Anthony, Adele 2001,‘03,‘05-‘06, ‘18 Arvinder, Eric 2015 Ashikawa, Lori 1988◊ Banerdt, Rhiannon 2017* Barnett-Hart, Adam 2007*,‘16 Barston, Elisa 1992*◊,‘94 Batjer, Margaret 2001-‘03,‘07-‘11,‘13, ‘17-‘18 Beaver, Martin 2011,‘14,‘16 Beilman, Benjamin 2019 Biss, Paul 1986-‘87 Blumberg, Ilana 1993*◊ Borok, Emanuel 2004 Borup, Hasse 1999* Bouey, Christina 2017* Boyd, Aaron 2003*,‘16 Cárdenes, Andrés 1986-‘89 Chan, David 1995◊-‘97*◊,2001,‘04-‘05,‘07-‘11,‘13, ‘15,‘17 Chan, Ivan 1998 Chang, Sarah 2007 Chapelle, Corinne 1997* Chee-Yun 2000, ‘02,’06-’07,‘10,‘16-'17 Chen, Jiafeng 2013* Chen, Robert 1990 Ching, Daniel 2014 Chiu, Lucinda 2018 Cho, Yumi 2007,‘09 Choi, Jennie 1997* Choi, Jennifer 1994*◊ Copes, Steven 2008 Cosbey, Catherine 2013* Coucheron, David 2010* Derkervorkian, Armen 2017 Deutsch, Lindsay 2006* Dicterow, Glen 2017 Dolkas, Bridget 2001-‘02,‘07, 09-‘10,‘12-‘18 Drucker, Eugene 1988-‘89, 2000, ‘17 Ehnes, James 2019-‘20 Emes, Catherine 1988◊ Englund, Meri 2013-‘14 Fedkenheuer, William 2014 Ferschtman, Liza 2019 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, ‘19 Harasim, Sonja 2011* Hatmaker, Kathryn 2012-‘19 Hershberger, Amy 1997◊ Horigome, Yuzuko 1991 Hou, Yi-Jia Suzanne 2003* Hsu, Luke 2016* Hsu, Shu-Ting 2010 Huang, June 1988◊ Huang, Paul 2016,‘18 Hyun, Eileen 1988◊ Hyun, Katie 2012* Iwasaki, Jun 2005*, ‘19 Jackiw, Stefan 2019 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 Keefe, Erin 2019 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 Lark, Tessa 2020 Lee, Bryan 2011* Lee, Gina 1992◊,‘93*,‘94*◊-95*◊ Lee, Joanna 2017 Lee, Kristin 2014,‘16-‘17 Lee, Luri 2018* Lee, Se-Yun 1999* Lee, Yura 2012, ‘14,‘16-‘20 Lin, Cho-Liang 1989-‘93,‘95-‘99, 2001-‘19 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* McIntosh, Andrew 2019 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-‘19 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,'19 Redding, Deborah 1990 Ro, Dorothy 2016* Robinson, Cathy Meng 1998 Roffman, Sharon 1999* Roos, Tatjana 2019* Rosenfeld, Julie 1989-‘99 Setzer, Philip 1999, 2000,‘03,‘15 Shaham, Gil 2001,‘03,‘05-‘06,‘08, ‘11,‘16,‘18 Shay, Yvonne 2012-‘14 Shih, Michael 2003 Shimabara, Sae 1996◊

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

Sitkovetsky, Dmitry 2015 Skrocki, Jeanne 2009-‘19 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 Stenzel, Rachel 2019* Sussmann, Arnaud 2014 Swensen, Joseph 1989, 2013 Takezawa, Kyoko 1998-‘99,2001,‘03,‘05-‘06,‘08-‘09, ‘11,‘15,‘18 Thayer, Jeff 2005 Tognetti, Richard 2005 Tong, Kristopher 2010 Toyoshima, Yasushi 1997 Tree, Michael 2002 Trobäck, Sara 2002*, ‘05 Tursi, Erica 2014* Ung, Susan 2002 Urioste, Elena 2008* Ushikubo, Ray 2017 Ushioda, Masuko 1986-‘87,‘89 Vergara, Josefina 1993*◊,‘95◊,97◊ Wan, Andrew 2012, ‘14-‘16, ‘19 Warsaw-Fan, Arianna 2012* Weilerstein, Donald 1986 Wilkie, Roger 1991,‘97, ‘17 Wu Jie 2007* Wu, Tien-Hsin Cindy 2011, ‘18 Yang, Jisun 2007 Yoo, Hojean 2015* Yoshida, Ayako 1991* Yu, Mason 2014* Zehetmair, Thomas 1988 Zehngut, Jeffrey 2010 Zelickman, Joan 2002 Zhao, Chen 1994*◊ Zhao, Yi 2014* Zhu, Bei 2006*,‘07,‘10 Zori, Carmit 1993 Kruspe, Emily 2018*

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, ‘18 Choi, En-Sik 1990* Choong, Angela 2010*, ‘19 Cook, Carol 2005 Dean, Brett 2010, ‘19 Dirks, Karen 1986-‘87 DuBois, Susan 1993*,‘95*◊ Dunham, James 2007,‘09,‘12 Dutton, Lawrence 1999, 2003, ‘15 Frankel, Joanna 2007* Gilbert, Alan 2003 Gulkis, Susan 1992* Ho, Shirley 1994*◊,‘95*,‘96*◊,‘97*◊, 2006 Hoffman, Toby 1989-‘92,‘95-‘96,‘98, 2000-‘01,‘11-‘12, ‘15, ‘17, ‘18 Holtzman, Carrie 1988◊ Huang, Hsin-Yun 2008 Husum, Marthe 2015* Huang, Hsin-Yun 2019 Imai, Nobuko 1986 Isomura, Kazuhide 2011 Jacobson, Pamela 2009

GRAND TRADITION Kam, Ori 2003, ‘14, ‘15 Karni, Gilad 1993*◊ Kavafian, Ida 1998 Kennedy, Eva 2019* Kraggerud, Henning 2002 Lapointe, Pierre 2007*,‘16 Largess, John 1994*◊-‘96*◊, ‘14,‘17 Lee, Scott 1997*◊, 2002,’04,‘07 Lee, Yura 2014,‘16-'20 Leung, Hezekiah 2018* Li, Honggang 2003 Lin, Wei-Yang Andy 2012* Liu, Yun Jie 1990* Lockwood, Kathryn 1995◊ LoCicero, Joseph 2014* Longhi, Caterina 2016-‘17,'19 Martin, Francesca 1988-‘90 Maril, Travis 2009-‘14,‘16-‘19 Moerschel, Jonathan 2009 Molnau, Michael 2012 Motobuchi, Mai 2010 Neubauer, Paul 1992-‘96,‘98-‘99, 2001,‘03-‘07,‘09-‘12, ‘15, ‘17-‘18 Neuman, Larry 1991* Ngwenyama, Nokuthula 2000 Nilles, AJ 2014 Nolan, Erin 2005* Nørgaard, Asbjørn 2016 Ohyama, Heiichiro 1986-‘97, 2004, ‘06,‘08-‘09, ‘11, ‘14-‘16, ‘18 O’Neill, Richard 2013-‘15, ‘19 Pajaro-van de Stadt, Milena 2011* Per Rostad, Masumi 2019 Phelps, Cynthia 1989-‘90,‘99- 2002, ‘05-’08,‘10-‘11, ‘13-‘14,‘16, ‘19 Quincey, Brian 1992*◊-‘93*◊ Quintal, Sam 2009* Richburg, Lynne 1992*◊ Rojansky, Abigail 2016* Runde, Ingrid 1988◊ Sanders, Karen 1988 Strauss, Michael 1991* Suzuki, Leo 1994*◊,‘99* Tenenbom, Steven 2004 Thomas, Whittney 2005 Toyoshima, Yasushi 1997 Tree, Michael 2001-‘02,‘08, ‘11 Ung, Susan 2010 Vernon, Robert 1987-‘88 Walther, Geraldine 1993-‘95 Weyman, Elzbieta 2008* Wickert, Eve 2003* Wilson, Evan N. 2001-‘02 Wu, Tien-Hsin Cindy 2017-‘18 Wong, Eric 2013* Zehngut, Gareth 2010

CELLO

Arron, Edward 2017, ‘19 Belcher, Richard 2003* Braun, Jacob 2008 Brey, Carter 1990-‘91,‘93,‘95-‘96, ‘99-2001,‘03-‘06, ‘08-‘10,‘12-‘13,‘16, ‘18-’19 Bruskin, Julia 2003* Byers, Eric 2009 Canellakis, Nicholas 2014 Castro-Balbi, Jesús 2002* Chaplin, Diane 1989-‘90 Chien, Chia-Ling 2012, ‘15-‘18 Cho, Stella 2015* Cooper, Kristina 2003 Cox, Alexander 2014* Crosett, Rainer 2016* Curtis, Charles 2003,‘05,‘09 DeMaine, Robert 2017 DeRosa, William 2002 Dharamraj, Yves 2008* Díaz, Andrés 1992,‘94,‘99, 2000 Drakos, Margo Tatgenhorst 2009-‘10

Eddy, Timothy 1993, 2004 Eldan, Amir 2004* Elliot, Gretchen 1999 Fan, Felix 1992*◊-‘96*◊,‘97◊,‘98-‘99, 2001,‘03, ‘06-‘13,‘16, ‘19 Fiene, Sarah 1999 Fife, Stefanie 1988◊ Finckel, David 1992-‘96,‘98-2000,‘06 Geeting, Joyce 1999 Gelfand, Peter 1999 Gerhardt, Alban 1998 Gindele, Joshua 2014 Greenbaum, Alex 2017-‘18 Greensmith, Clive 2015-‘20 Haas, Natalie 2005 Hagerty, Warren 2016* Haimovitz, Matt 1986 Halpern, Joshua 2017* Hammill, Rowena 1999 Han, Eric 2010* Handy, Trevor 2011-‘12 Harrell, Lynn 2005-‘07,‘10, ‘14, ‘18 Henderson, Rachel 2009* Ho, Grace 2017* Hoebig, Desmond 2010,‘12, ‘14 Hoffman, Gary 1987-‘93,‘95-‘97,‘99, 2001, ‘03-‘04,‘06-’07,‘10,‘12-‘13,‘15, ‘18 Hong, Ben 1990*,2001,‘13-‘16, ‘18 Hunt, Shirley 2014 Itzkoff, Coleman 2014* Iwasaki, Ko 1995 Jacobs-Perkins, Annie 2019* Janecek, Marie-Stéphanie 2007* Janss, Andrew 2007* Kabat, Madeleine 2009* Kalayjian, Ani 2008* Kang, Kristopher 2010 Karoly, Jonathan 2005,‘07 Karttunen, Anssi 2006 Kim, Eric 1998, 2004,‘06, ‘11,‘14 Kim, Yeesun 2010 Kirshbaum, Ralph 1986-‘89,‘91,2001-‘04,‘07‘08,‘11,‘15 Kloetzel, Jennifer 1992*◊-’93*◊ Kostov, Lachezar 2011* Kubota, Maki 2018 Kudo, Sumire 1995*◊,‘96◊,‘97, 2006 Langham, Jennifer 1999 Lee, Daniel 2005 Lee, JeongHyoun "Christine" 2015* Lee, Jiyoung 2013* Leonard, Ronald 1986-‘88,‘90-‘91, 2002 Levenson, Jeffrey 1986-‘87 Little, Dane 1988◊ Liu, Yun Jie 1990* Lo, Jonathan, 2018* Ma, Yo-Yo 2005 Maisky, Mischa 2016 Marica, Mihai 2012* Mollenauer, David 1988◊ Moon, Eileen 2016 Moores, Margaret 1986-‘87,‘99 Moses, Hannah 2019* Myers, Peter 2011 Ni, Hai-Ye 2003-‘04,‘08, ‘11,‘14,‘16, ‘18 Olsen, Kenneth 2019 Ostling, Kristin 1991* Ou, Carol 1993*◊-‘94*◊ Ou, Samuel 1994*◊ Pereira, Daniel 2002 Putnam, Dana 1994*◊ Rejto, Peter 1987,‘89 Roman, Joshua 2011-‘13,‘15 Rosen, Nathaniel 1994 Rubicz, Davin 2005* Saltzman, David 1999 Samuel, Brent 1996*◊-‘97*◊ Sharp, John 2015-‘16 Shaw, Camden 2011*

Sherry, Fred 2000,‘09 Shulman, Andrew 2010,‘15 Sjölin, Fredrik Schøyen 2016 Smith, Ursula 1991* Smith, Wilhelmina 1990*,‘92*◊ Speltz, Brook 2016 Starker, János 1999 Sutherland, Wyatt 1999 Swallow, Gabriella 2013 Szanto, Mary 2001 Toettcher, Sebastian 1999 Tsan, Cecilia 1996 Tzavaras, Nicholas 2003 Umansky, Felix 2013* Vamos, Brandon 1995◊ Wang, Jian 2002, ‘05, ‘11, ‘18 Weilerstein, Alisa 2006-‘08, ‘11, ‘17, ‘19, ‘20 Weiss, Meta 2012* Wirth, Barbara 1999 Yoon, Han Bin 2012 Zeigler, Jeff 1999 Zhang, Yuan 2010* Zhao, Yao 2009, ‘18

BASS

Abondolo, Nico 1989-‘93,‘97◊, 2002–‘03,‘07,‘09, ‘11-‘19 Aslan, Pablo 2005,‘13,‘16 Cho, Han Han 2010 Coade, Sarah 1992◊ Cobb, Timothy 2019 Danilow, Marji 1994◊-‘95◊,‘97◊ Dresser, Mark 2005,‘08 Finck, David 1996 Green, Jonathan 1986 Haden, Charlie 1995 Hager, Samuel 2011-‘18 Hanulik, Christopher 2007-‘10,‘15 Hermanns, Don 1994◊,‘96◊ Hovnanian, Michael 1988◊ Kurtz, Jeremy 2004-‘05 Lloyd, Peter 2018 Magnusson, Bob 2001 Meyer, Edgar 1996 Meza, Oscar 1987 Palma, Donald 2000 Pitts, Timothy 2013-‘14 Ranney, Sue 1986 Revis, Eric 2012 Rickmeier, Allan 2001-‘03 Robinson, Harold 2011 Thurber, Michael 2020 Turetzky, Bertram 2002 Van Regteren Altena, Quirijn 1999 Wais, Michael 2000-‘01 Worn, Richard F. 1993* Wulff, Susan 2009-‘10 Zhang, DaXun 2004, ‘11,‘13-‘14,‘17-‘18 Zory, Matthew 1992◊

BARYTON

Hunt, Shirley 2014

THEORBO

Leopold, Michael 2014

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

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GRAND TRADITION PIANO

Adolphe, Bruce 2001 Andres, Timo 2019 Asuncion, Victor Santiago 2010 Ax, Emanuel 1990, 2010, ‘18 Ax, Yoko Nozaki 1990 Barnatan, Inon 2012-‘14,‘17, ‘19-'20 Battersby, Edmund 1994 Biss, Jonathan 2006,‘13, ‘19 Blaha, Bernadene 1996-‘97 Bolcom, William 2003 Bookstein, Kenneth 1990* Bronfman, Yefim 1989,‘92, 2003,‘06, ‘14, ‘18 Brown, Alex 2016 Brunetti, Octavio 2013 Chen, Weiyin 2006-‘07* Cole, Naida 2004 Corea, Chick 2004 Coucheron, Julie 2010 Cuellar, Scott 2017* Denk, Jeremy 2012 Diehl, Aaron, 2019 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 Li, George 2019 Li, Ying 2019* Licad, Cecile 1998, 2005,‘07 Lifschitz, Konstantin 2000 Lin, Gloria 2002* Lin, Steven 2013* Lindberg, Magnus 2006 Ling, Jahja 2004 Litton, Andrew 2004 McDermott, Anne-Marie 2007-‘09 Montero, Gabriela 2010 Murphy, Kevin 2002, ‘07 Mustonen, Olli 2017 Naughton, Christina 2017 Naughton, Michelle 2017 Neikrug, Marc 2007 Newman, Anthony 2001-‘02,‘07,‘10,‘13 Noda, Ken 2008-‘10,‘12,‘14, ‘18 Novacek, John 1992*, 2002,‘08-‘10,‘12,‘14-‘18 O‘Riley, Christopher 1999, 2000,‘02, ‘06,‘10

Ohlsson, Garrick 2003,‘08 Orloff, Edith 1986-‘88 Park, Jeongwon 1995* Parker, Jon Kimura 2002,‘06,‘09,‘12-‘13,‘16-‘18 Pohjonen, Juho 2016, ‘18 Polonsky, Anna 2014 Pressler, Menahem 1998, 2009 Previn, André 1987,‘90-‘92,‘96 Russo, Andrew 2007 Schifrin, Lalo 2005 Schub, André-Michel 1990-‘91,2001, ‘04-‘07, ‘11 Serkin, Peter 2015 Shaham, Orli 2009 Sheng, Bright 1993 Staupe, Andrew 2014* Stepanova, Liza 2009* Strokes, Marija 2003,‘05 Tao, Conrad 2019 Taylor, Christopher 2008 Taylor, Ted 2007 Tramma, Marzia 1996* Trifonov, Daniil 2013 Vonsattel, Gilles 2017-‘18 Watts, André 2005 Weilerstein, Vivian Hornik 1986 Weiss, Orion 2007-‘10,‘13-‘14, ‘18 Woo, Alan 2015* Wosner, Shai 2005-‘08,‘16-‘18 Wu Han 1992-‘96,‘98-2000,‘06 Wu, Qian 2019 Yrjola, Maria 2002 Yang, Joyce 2008-‘11,‘13,‘15, ‘18 Zhang, Haochen 2017 Ziegler, Pablo 2012

OBOE

HARMONIUM & HARPSICHORD

Hove, Carolyn 1991

Barnatan, Inon 2019 Beattie, Michael 2013-‘14 Chong, Tina 2019 Fowler, Colin 2019 Koman, Hollace 1992◊-‘94◊,‘96 Kroll, Mark 1991 Luedecke, Alison 2019 Mabee, Patricia 2007,‘14-‘15 McGegan, Nicholas 2011, ‘19 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

Anderson, Arpi C. 1994* Bursill-Hall, Damian 1986-‘89 Ellerbroek, Clay 2002 Giles, Anne Diener 1990 Heide, Henrik 2019 Karoly, Catherine Ransom 2001-‘02,‘04-‘05,‘07-‘09,‘11-‘18 Lombardo, Rose 2019 McGill, Demarre 2007-‘08,‘10 Martchev, Pamela Vliek 2011-‘18 O‘Connor, Tara Helen 1997 Piccinini, Marina 1991 Sager, Marisela 2002-‘04 Tipton, Janice 1997,‘99, 2002-‘03 Wincenc, Carol 1990,‘92,‘94, 2000

RECORDER Petri, Michala 2012

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

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-‘19 Horn, Stuart 1997 Hove, Carolyn 1991 Huang, Zheng 2004-‘06 Hughes, Nathan 2017 Janusch, J. Scott 2001-‘02 Kuszyk, Marion Arthur 2002 Michel, Peggy 1996◊ Overturf, Andrea 2009-‘15,‘17 Parry, Dwight 2007 Paulsen, Scott 1996◊ Pearson, Peggy 2013 Rapp, Orion 2007 Reed, Electra 2002 Reed, Leslie 1993,‘95 Resnick, Lelie 2014-‘15 Reuter, Gerard 1989-‘90 Smith, James Austin 2019 Vogel, Allan 1987-‘89,‘91-‘95,‘97-‘99, 2008-‘10 Wang, Liang 2011-‘12,‘14-‘16, ‘18 Whelan, Eileen 1994* Wickes, Lara 2009-‘11, ‘19 Woodhams, Richard 2003-‘04,‘07,‘09

ENGLISH HORN 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-‘19 Moffitt, James 2011 Morris, Joseph 2019 Palmer, Todd Darren 1999 Peck, David 1986-‘90 Reilly, Teresa 2004,‘14,‘16, ‘18 Renk, Frank 1993,‘97, 2003-‘04,‘08-‘09, ‘19 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 Vänskä, Osmo 2019 Yeh, John Bruce 2001-‘02,‘04,‘08-‘14,‘16, ‘18 Zelickman, Robert 2002–‘04

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

BASSOON

Balliett, Brad 2019

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

GRAND TRADITION Buncke, Keith 2016-‘18 Farmer, Judith 1997,‘99 Fast, Arlen 1993 Goeres, Nancy 1996 Grego, Michele 1991,‘94-‘95 Mandell, Peter 1993 Martchev, Valentin E. 2004-‘05,‘07-‘09, ‘11-‘15, ‘19 Michel, Dennis 1986-‘90,‘92-‘95 Nielubowski, Norbert 1991 Simmons, Ryan 2001-‘04,‘08, ‘11-‘13,‘16-‘18 Zamora, Leyla 2009,‘14-‘15,‘17

CONTRABASSOON

HARP

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

PIPA

Savedoff, Allen 2013 Zamora, Leyla 2008,‘17

Wu Man 2003,‘10,‘15,‘17-‘18

SAXOPHONE

Jewell, Joe 2003

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 Hart, Dylan 2018 Jaber, Benjamin 2012-’13 Landsman, Julie 1994-‘95◊,‘97,2009 Lorge, John 1990,‘93,‘95◊,2004 McCoy, Mike 2011,‘15-‘17, ‘19 Montone, Jennifer 2005,‘16-‘17 Popejoy, Keith 2002-‘04, ‘07-‘11,‘13-‘15,‘17, ‘19 Ralske, Erik 2012, ‘18 Ruske, Eric 2013-‘14 Skye, Tricia 2009, ‘11,‘17 Thayer, Julie 2013 Todd, Richard 1988-‘89,‘92-‘94,‘99, 2004,‘07-‘09, ‘11 Toombs, Barry 2002

TRUMPET

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

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, ‘19 Dreiman, Perry 1993 Esler, Rob 2006 Ginter, Jason 2009-‘12,‘18-’19 Huang, Aiyun 2002-‘03, ‘16 Mack, Tyler 1993 Nestor, Ryan 2018 Nichols, Don 2006 Palter, Morris 2004 Pfiffner, Pat 2012 Plank, Jim 1995◊ Rhoten, Markus 2013 Schick, Steven 1997, 2002-‘04,‘06,‘13,‘15, ‘18

NARRATOR

Smith, Bonnie Whiting 2012 Stuart, Greg 2006 Szanto, Jonathan 2001 Takeishi, Satoshi 2005,‘13 Yeh, Molly 2014, ‘16

MANDOLIN 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

ELECTRIC GUITAR Johnson, Derek 2019

DIGITAL SAMPLER 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 Duncan, Tyler 2019 Ferguson, William 2006 Fischer, Nora 2019 Hall, Cecelia 2014 Hellekant, Charlotte 2010 Holiday, John 2019 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 McLorin Salvant, Cécile 2019 McNair, Sylvia 2001, ‘07 Molomot, Mark 2006 Morris, Joan 2003 Mumford, Tamara 2008, ‘18 Murphy, Heidi Grant 2002, ‘04,‘07 Pershall, David 2019 Petrova, Lyubov 2015,‘17-‘18 Phillips, Susanna 2019 Plantamura, Carol 1987 Plenk, Matthew 2013 Putnam, Ashley 1996 Saffer, Lisa 1993 Trakas, Chris 2002 Trebnik, Andrea 2000 Trischler, Robin 2019 Wolfson, Sarah 2006 Zetlan, Jennifer 2019 Zhang, Jianyi 2003

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

CONDUCTOR

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, ‘19 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 Vänskä, Osmo 2019 Zinman, David 2017-‘18

ENSEMBLES

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 Brentano Quartet 2019 Calder Quartet 2005,‘09-‘10,‘12 Callisto Quartet 2019* Cambridge Trio 2018* Colorado String Quartet 1989-‘90 Coolidge String Quartet 1999* Danish String Quartet 2016 Éclat Quartet 2011* Ehnes Quartet 2019 Emerson String Quartet 2018 Enso String Quartet 2001*,‘03* Escher String Quartet 2007*, ‘15-‘16 Firebird Quartet 1998* FLUX Quartet 2014,‘16, ‘18 Formosa Quartet 2008 Gemini Trio 1998* Goffriller Piano Trio 1999* Hausmann Quartet 2010* Huntington Quartet 2015* Igudesman & Joo 2012 Imani Winds 2006 International Sejong Soloists 2006 Jacques Loussier Trio 2008

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 33

GRAND TRADITION Jasper String Quartet 2009* Kalichstein-Laredo-Robinson Trio 2002, ‘11,‘17 KahaneSwensenBrey 2013 La Jolla Symphony 2008-‘09 Late Night with Leonard Bernstein 2018 Linden String Quartet 2013* Malashock Dance 2002 Mark Morris Dance Group 2019 Miami String Quartet 1998,2003-‘04 Miró Quartet 2009,‘14,‘17, ‘19 Montrose Trio, The 2016 Newbury Trio 2012* New Orford String Quartet 2018 Old City String Quartet 2011* Omer Quartet 2014* Orion String Quartet 1992-‘93,2002, ‘04,‘06,‘10 Ornati String Quartet 2000* Pablo Ziegler Classical Tango Quartet 2012 Pacifica Quartet 1995* Pegasus Trio 2014* Phaedrus Quartet 2001* John Pizzarelli Trio 2018 Real Quiet 2007-‘10 red fish blue fish 2004,‘08-‘09,‘15, ‘19 Regina Carter Quartet 2017 Ridge String Quartet 1991 Rioult 2008 Rodin Trio 2017* Rolston String Quartet 2018* SACRA/PROFANA 2013 San Diego Chamber Orchestra 1987-‘88 San Diego Master Chorale 2012, ‘18 San Diego Symphony 1990, 2004 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 Clara 2019* Trio Vivo 2013* Turtle Island String Quartet 1998 Ulysses Quartet 2017* Vega String Quartet 2001* Verona Quartet 2016* Wayne Shorter Quartet 2006 Westwind Brass 1994-‘95,‘97 Xando Quartet 1999* Zukerman Trio 2016

VISITING COMPOSER Adams, John 2002 Adolphe, Bruce 1998-2003,2005-‘06 Ali-Zadeh, Franghiz 2003 Anderson, Julian 2014 Assad, Clarice 2015 Assad, Sérgio 2014 Bermel, Derek 2015 Bolcom, William 2003 Chen Yi 2004 Copeland, Stewart 2009 Corea, Chick 2004 Dalbavie, Marc-André 2012 Dean, Brett 2010 Del Tredici, David 2013 Dutton, Brent 1997 Golijov, Osvaldo 1999 Hamelin, Marc-André 2016 Harbison, John 2002,’13 Hartke, Stephen 2014 Hoffman, Joel 2015 Huang Ruo 2008 Kahane, Gabriel 2012 Kapilow, Robert 2002,‘04

Kirchner, Leon 2006 Lang, David 2019 Lindberg, Magnus 2006 Loussier, Jacques 2008 Mackey, Steven 2001,‘08 Meyer, Edgar 1996 Neikrug, Marc 1997, 2007 O‘Connor, Mark 2001,‘05,‘09 Powell, Mel 1989 Previn, André 1990,‘96 Rouse, Christopher 2005,‘10 Salonen, Esa-Pekka 2002 Schoenfield, Paul 2009 Schifrin, Lalo 2005 Schuller, Gunther 2009 Sheng, Bright 1993, 2004,‘06,‘10 Shepherd, Sean 2011,‘16 Shorter, Wayne 2006 Stucky, Steven 2013 Tan Dun 2003,‘12 Thomas, Augusta Read 2000 Tower, Joan 2000,‘07, ‘11 Tsontakis, George 2009 Ung, Chinary 2003,‘10 Wong, Cynthia Lee 2011 Ye, Xiaogang 2017 Zwilich, Ellen Taaffe 2011

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

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

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-‘19 Brandfonbrener, Alice G. 2002 Bromberger, Eric 1988-‘96,‘98-2009,‘11-‘13, ‘19 Brooks, Geoffrey 1988 Brown Montesano, Kristi 2019 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 Harris, L. John 2001 Helzer, Rick 2006 Hermanns, Carl 1997 Hughes, Robert John 2019 Lamont, Lee 2002 Liang, Lei 2017 Longenecker, Martha W. 2003 Malashock, John 2000

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

Mehta, Nuvi 2010, ‘16-‘17 Mobley, Mark 2001-‘03 Morel, René 2000 Noda, Ken 2000 O‘Connor, Sandra Day 2004 Overton, Marcus 2000-‘01,2004-‘18 Pak, Jung-Ho 2001 Perl, Neale 2000-‘01 Quill, Shauna 2005 Reveles, Dr. Nicolas 1994-‘95,‘99,2000, ‘11,‘13- ‘14, ‘18-’19 Roden, Steve 2007 Rodewald, Albert 1990 Roe, Benjamin K. 2001,‘04-‘05,‘10 Rosenthal, Leah Z. 2010-’19 Roland, Ashley 2007 Ross, Alex 2019 Ruggiero, Dianna 2011 Russell, Claudia 2008, ‘18 Salzman, Mark 2001 Sanromán, Lucia 2007 Scher, Valerie 2000-‘01 Schick, Steven 2010 Schomer, Paul 2001 Schultz, Eric 2003-‘04 Shaheen, Dr. Ronald 2007-‘08 Silver, Jacquelyne 1994,‘96-‘97 Smith, Ken 2000 Stein, Leonard 1992 Steinberg, Russell 2007-‘11 Stevens, Jane R. 1991 Stokes, Cynthia 2011 Sullivan, Jack 2000 Sutro, Dirk 2001-‘04 Teachout, Terry 2000 Valenzuela, Ruben 2012 Varga, George 2004 Walens, Stanley 2007, ‘11 Wallace, Helen 2000 Willett, John 1991 Winter, Robert 1987, 2000 Yeung, Dr. Angela 2008 Youens, Susan 2012 Yung, Gordon, M.D. 2001

VISUAL ARTIST-IN-RESIDENCE Cook, Tristan 2019-'20 Chihuly, Dale 2000^ Curry, Stephen P. 2001 # Engle, Madelynne 1996 Farber, Manny 1997 Fitch, Doug 2019 Fonseca, Caio 1998-‘99^, ‘19 Ohyama, Gail 1986-‘95 Roden, Steve 2007 # Rödig, Lutz 2019 Scanga, Italo 2000^ Smithey, Zack 2019 Zamora, Michelle 2019

SUMMERFEST MUSIC & ARTISTIC DIRECTORS Inon Barnatan 2019-'20 Lin, Cho-Liang 2001– '18 Finckel, David and Wu Han 1998-2000 Ohyama, Heiichiro 1986-‘97

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

BOARD OF DIRECTORS 2018-19

LA JOLLA MUSIC SOCIETY STAFF

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

Steve Baum – Acting President/CEO Leah Rosenthal – Artistic Director Inon Barnatan – SummerFest Music Director

Wendy Brody Katherine Chapin Ric Charlton Sharon Cohen Bert Cornelison Brian Douglass Ann Parode Dynes Debby Fishburn Lehn Goetz John Hesselink Susan Hoehn Sue Major Robin Nordhoff Arman Oruc Peggy Preuss Sylvia Ré Sheryl Scarano Clifford Schireson Marge Schmale Maureen Shiftan Jeanette Stevens Haeyoung Kong Tang Debra Turner Lisa Widmier Lise Wilson Clara Wu Katrina Wu Bebe L.Zigman HONORARY DIRECTORS Brenda Baker Steve Baum Joy Frieman, Ph.D. Irwin M. Jacobs Joan K. Jacobs Lois Kohn (1924-2010) Helene K. Kruger (1916-2019) Conrad Prebys (1933-2016) Ellen Revelle (1910-2009) Leigh P. Ryan, Esq. *Listing as of August 17, 2020

ADMINISTRATION Chris Benavides – Director of Finance Debra Palmer – Executive Assistant & Board Liaison Brady Stender – Finance Coordinator PROGRAMMING Allison Boles – Education & Community Programming Manager Sarah Campbell – Programming Manager Eric Bromberger – Program Annotator Serafin Paredes – Community Music Center Director Xiomara Pastenes – Community Music Center Administrative Assistant Community Music Center Instructors: Noila Carrazana, Marcus Cortez, Armando Hernandez, Cesar Martinez, Michelle Maynard, Eduardo Ruiz, Rebeca Tamez DEVELOPMENT Ferdinand Gasang – Director of Development Landon Akiyama – Development Coordinator Nicole Slavik – Special Events Coordinator MARKETING & TICKET SERVICES Adam Thurman – Director of Marketing Jediah McCourt – Marketing Manager Hayley Woldseth – Marketing & Communications Project Manager Rachel Cohen – Marketing Coordinator Angelina Franco – Graphic & Web Designer Shannon Bobritchi – Ticket Services Manager Nina Paganucci – Assistant Ticket Services Manager Patrick Mayuyu – Ticket Services Associate Shaun Davis – House Manager OPERATIONS & PRODUCTION Hannes Kling – Director of Operations Verdon Davis – Technical Director Abby Viton – Production Manager Anthony LeCourt – Event Manager Joshua Lemmerman – Facility Manager Jonnel Domilos – Piano Technician Tristan Cook – Video Director Benjamin Maas – Recording Engineer Brian Douglass – Streaming and Content Manager Manny Cervantes – Video Engineer Brent Johnson – Video Engineer Fiona Digney – Score Reader Zac Nicholson – Camera 7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 35

L A JOLL A MUSIC SOCIETY’S COMMUNITY MUSIC CENTER

For the past 20 years, La Jolla Music Society’s Community Music Center has given thousands of children their first experience in music-making.

Over 100 students from roughly 40 different elementary, middle, and high schools take part each year in our bilingual after-school music program located in San Diego’s Logan Heights neighborhood. The Community Music Center provides free instruments and instruction to all our students with group lessons three days each week for piano, violin, woodwind, brass, voice, guitar, and percussion. We’ve also expanded our program this year and now offer a fourth day of instruction focused on ensemble performance practice.

To learn more about the Community Music Center and to support our Education and Community Programming, please contact: Allison Boles, Education and Community Programming Manager 858.459.3724, ext. 221 or ABoles@LJMS.org.

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

THANK YOU! The wonderful array of musical activity that La Jolla Music Society offers would not be possible without support from its family of donors. Your contributions to La Jolla Music Society help bridge the gap between income from ticket sales and the total cost to present the finest musicians and the best chamber music repertoire in San Diego. Your generosity also supports our programs in the local schools and throughout the community.

On the following pages La Jolla Music Society pays tribute to you, the leading players who make it possible to share the magic of the performing arts with our community.

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 37

SUMMERFEST SPONSORS FESTIVAL FOUNDING SPONSORS

Brenda Baker & Steve Baum MAJOR SPONSORS Raffaella & John Belanich SPONSORS Judith Bachner & Eric Lasley Gonzalo Ballon-Landa & Linda Christensen James Beyster Mary Ann Beyster Ginny & Robert Black Gordon Brodfuehrer Jian & Samson Chan Ric Charlton & Eleanor Mohammed Linda Chester and Kenneth Rind Sharon Cohen Peter Cooper & Erik Matwijkow Julie & Bert Cornelison Jendy Dennis Endowment Fund Martha & Ed Dennis Silvija & Brian Devine Nina & Robert Doede The Honorable Diana Dougan Ann Parode Dynes & Robert Dynes Barbara Enberg Teresa & Merle Fischlowitz Ingrid & Ted Friedmann Sue & Chris Fan Monica Fimbres Laura & Tom Gable Brenda & Michael Goldbaum Margaret & Michael Grossman John Hesselink Susan & Bill Hoehn Joan & Irwin Jacobs

Elisa & Rick Jaime Jeanne Jones Fred & Angelina Kleinbub Carol Lam & Mark Burnett Vivian Lim & Joseph Wong Margaret McKeown & Peter Cowhey Virginia Oliver Arman Oruc & Dagmar Smek Sam Popkin & Susan Shirk Peggy & Peter Preuss Sylvia and Steve Ré Catherine Rivier James Robbins & Jill Esterbrooks Stacy & Don Rosenberg Leigh Ryan Sheryl & Bob Scarano Marge & Neal Schmale Maureen & Tom Shiftan Mary Sophos & William Pitts Jeanette Stevens Anna & Edward Yeung Sue & Peter Wagener Faye Wilson Dolly & Victor Woo Katrina Wu Clara Wu Tsai & Joseph Tsai Bebe & Marvin Zigman Anonymous

CORPORATE SPONSORS

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

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

It is our honor to recognize the following donors.

FOUNDER Brenda Baker & Stephen Baum

($250,000 and above)

The City of San Diego Commission for Arts and Culture The Conrad Prebys Foundation Clara Wu Tsai & Joseph Tsai

ANGEL Joy Frieman

($100,000 - $249,999)

Joan & Irwin Jacobs Debra Turner

BENEFACTOR Raffaella & John Belanich ($50,000-$99,999)

Gordon Brodfuehrer Silvija & Brian Devine Stephen Gamp | Banc of California Lehn & Richard Goetz Steven & Sylvia Ré Jeanette Stevens Haeyoung Kong Tang Bebe & Marvin Zigman

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 39

ANNUAL SUPPORT

GUARANTOR

SUSTAINER

Anonymous Mary Ann Beyster Wendy Brody Katherine & Dane Chapin Ric Charlton & Eleanor Mohammed Linda Chester & Ken Rind Julie & Bert Cornelison Martha & Ed Dennis Barbara Enberg Jennifer & Kurt Eve Monica Fimbres Debby & Wain Fishburn Jeff Glazer & Lisa Braun Glazer Jeanne Herberger, Ph.D. Kay & John Hesselink Susan & Bill Hoehn Sue & John Major Arlene & Lou Navias Robin & Hank Nordhoff Arman Oruc & Dagmar Smek Peter & Peggy Preuss Don & Stacy Rosenberg Sheryl & Bob Scarano Marge & Neal Schmale Tina Simner Vail Memorial Fund Sue & Peter Wagener Bebe & Marvin Zigman

Anonymous (2) Ginny & Robert Black Sharon L. Cohen Nina & Robert Doede Brian & Susan Douglass Ann Parode Dynes & Robert Dynes Lyndie & Sam B. Ersan Sue & Chris Fan Brenda & Michael Goldbaum Angelina & Fredrick Kleinbub Vivian Lim & Joseph Wong Marina & Rafael Pastor Clifford Schireson & John Venekamp Noni & Drew Senyei Maureen & Thomas Shiftan Abby & Ray Weiss Lisa Widmier Katrina Wu Dolly & Victor Woo Anna & Edward Yeung Carolyn Yorston-Wellcome

($25,000 - $49,999)

($15,000 - $24,999)

SUPPORTER

($10,000 - $14,999)

Anonymous Tom & Stephanie Baker Joan Jordan Bernstein Jim Beyster Karen & Don Cohn Peter Cooper & Erik Matwijkow County of San Diego / Community Enhancement Program Teresa & Merle Fischlowtiz Ingrid Hibben Keith & Helen Kim

Carol Lam & Mark Burnett Betty-Jo Petersen Catherine Rivier Leigh P. Ryan Ivor Royston & Colette Carson Royston Iris & Matthew Strauss

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

Anonymous (3) Judith Bachner & Dr. Eric L. Lasley Mary Bianco Bjorn Bjerede & Jo Kiernan George and Laurie Brady Johan & Sevil Brahme Dr. James C. & Karen A. Brailean Benjamin Brand Stuart & Isabel Brown Lisa & David Casey Jian & Samson Chan Lori & Aaron Contorer Sandra & Henny den Uijl J. Lynn Dougan and Amb. Diana Lady Dougan Eleanor Ellsworth Jeane Erley Jill Esterbrooks & James Kirkpatrick Robbins Farrell Family Foundation Elliot & Diane Feuerstein Richard & Beverley Fink Sara & Jay Flatley Beverly Frederick & Alan Springer Pam & Hal Fuson Sarah & Michael Garrison Buzz & Peg Gitelson Michael Grossman & Margaret Stevens Grossman Rita & Mark Hannah Erik & Mimi Holtsmark

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

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

ANNUAL SUPPORT Gail Hutcheson Debby & Hal Jacobs Theresa Jarvis & Ric Erdman Jeanne Jones Jan Ann Kahler Amy & William Koman Arleen & Robert Lettas Kathleen & Ken Lundgren Jack McGrory & Una Davis Donna Medrea Marilyn & Stephen Miles Bill Miller & Ida Houby Hans & Ursula Moede Elaine & Doug Muchmore Muchnic Foundation Pat & Hank Nickol Sharon & Jeff Pennington William Pitts & Mary Sophos Taffin & Gene Ray Mrs. Robert Reiss Susan Shirk & Samuel Popkin Drs. Gloria & Joseph Shurman Gloria & Rod Stone Joyce & Ted Strauss Steve Strauss & Lise Wilson Elizabeth Taft Mary & Bill Urquhart Yvonne Vaucher Gianangelo & Mera Vergani Jodi & Rusty Wallis Margie & John H. Warner, Jr. Sheryl & Harvey White Mary & Joseph Witztum

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

Anonymous Dede & Mike Alpert Rusti Bartell Sedgwick & Gloria Browne R. Nelson & Janice Byrne Lee Clark Dr. Marjorie Coburn Bradley Comp and Christine Ellis-Comp David Cooper and Joanne Hutchinson Stacie & Michael Devitt Mr. & Mrs. Michael Durkin

Ruth and Ed Evans Socorro Fimbres Elaine Galinson & Herbert Solomon Dawn Gilman Lee & Frank Goldberg Lynn Gorguze & The Hon. Scott Peters Jennifer & Richard Greenfield Teresa & Harry Hixson Erik & Mimi Holtsmark Reena & Sam Horowitz Joan Hotchkis Elisa & Rick Jaime Susan & David Kabakoff Lynda Kerr Jeffrey & Sheila Lipinsky Sylvia & Jamie Liwerant Sarah Long Cindy & Jay Longbottom Mary Keough Lyman Dennis McConnell & Kimberly Kassner Gail & Ed Miller Howard & Barbara Milstein Alexandra Morton Jeanne & Rick Norling Sally & Howard Oxley Carolyn & Ed Parrish Marty & David Pendarvis Rachel & Robert Perlmutter Vicki & Art Perry William Purves & Don Schmidt Jessica & Eberhardt Rohm Sandra & Robert Rosenthal Doreen & Myron Schonbrun Pat Shank Leland & Annemarie Sprinkle Twin Dragons Foundation Susan & Richard Ulevitch Ronald Wakefield Mary Walshok Armi & Al Williams Jo & Howard Weiner Faye Wilson

ASSOCIATE

($1,000 - $2,499)

Christine Andrews Alvaro Ávila Jeffrey Barnouw Charles & Sharon Bates Carolyn Bertussi Adriana Cetto June Chocheles Anthony F. Chong & Annette Thu Nguyen Jeffrey Dunigan Beverly Friemon Laura & Tom Gable Beverly Grant Miles Grant & Tatiana Zunshine Bryna Haber Norma Hildago Ann Hill Linda Howard Lulu Hsu Margaret Jackson Sandra Jordan Roger & Tamara Joseph Dwight Kellogg Edward Koczak Jeanne Larson Sharon LeeMaster, CFRE Theodora Lewis Grace H. Lin Papa Doug Manchester Dr. Sandra Miner Virginia Oliver Jill Porter Carol Randolph John Renner Eva & Doug Richman Linda & Charlie Shalvoy Pam Shriver Gerald & Susan Slavet Norma Jo Thomas Susan E. Trompeter, M.D. Fernanda Vildosola Sibyl & David Wescoe Fernanda Witworth

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 41

ANNUAL SUPPORT

FRIEND

($500 - $999)

Anonymous (2) K. Andrew Achterkirchen Barry & Emily Berkov LaVerne & Blaine Briggs Elizabeth Clarquist Caroline DeMar Douglas Doucette Richard Forsyth Clare Friedman Carrie Greenstein Nancy D. Grover Catharina Hamilton Phil & Kathy Henry Paul & Barbara Hirshman Emmet & Holly Holden Nancy Hong Louise Kasch Helene K. Kruger Evelyn & Bill Lamden Toni Langlinais Lewis Leicher Dr. Greg Lemke Lynda Fox Photography Jennifer Luce Sally & Luis Maizel Linda & Michael Mann Betty & James Martin Kenneth Martin Eileen A. Mason Ted McKinney Joel Mogy Jonathan Scheff & Kimberly Butterwick Ronald Simon William Smith & Carol Harter Randall Smith Barbara Rosen & Bob Fahey Suhaila White Olivia & Marty Winkler

ENTHUSIAST ($250 - $499)

Anonymous Sibille Alexander Lynell Antrim Nancy Corbin Assaf Rita Bell Stefana Brintzenhoff Candace Carroll Luc Cayet & Anne Marie Pleska Robert & Jean Chan Kathleen Charla Geoffrey Clow Hugh Coughlin Roccio & Mike Flynn Ferdinand Marcus Gasang Russel Ginns Dr. & Mrs. Jimmie Greenslate Helga Halsey Victoria Hamilton Bo Hedfors David Hodgens & Linda Olson Richard Hsieh Ed & Linda Janon Julia & George L. Katz Gladys & Bert Kohn Gordon Knight Las Damas de Fairbanks Katy McDonald Marion Mettler Dr. Chandra Mukerji Joani Nelson Aghdas Pezeshki Carol Plantamura Gustavo Romero Dr. Aron Rosenthal Paul Rotenberg Peter & Arlene Sacks Denise & Sydney Selati William Smith

Edward Stickgold & Steven Cande Eli & Lisa Strickland Terrence D. Underwood Monica & Richard Valdez Brian Wahlstrom Dr. & Mrs. Robert Wallace Brian Worthington Terry & Peter Yang Debra Youssefi Bart Ziegler

HONORARIA & MEMORIAL GIFTS In Honor of Inon Barnatan: Susan and Richard Ulevitch

In Honor of Barbara Charlton: Ferdinand Marcus Gasang

In Honor of Barbara Enberg: Karen and Stuart Tanz

In Memory of Helene K. Kruger: Ferdinand Marcus Gasang

Patricia Manners

In Honor of Leah Rosenthal: Susan and Richard Ulevitch

In Tribute to Sheryl Scarano: Nancy and Alan Spector

In memory of Shirley Schireson, mother of Cliff Schireson: Susan and Richard Ulevitch

In Honor of Maureen & Tom Shiftan: Lester Stiel Listing as of August 10, 2020

ANNUAL 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 Landon Akiyama, at 858.459.3724, ext. 216 or LAkiyama@LJMS.org. This list is current as of January 20, 2020. Amendments will be reflected in the next program book in November 2020.

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

MEDALLION SOCIETY CROWN JEWEL

TOPAZ

Brenda Baker and Steve Baum

Anonymous Joan Jordan Bernstein Mary Ann Beyster Virginia and Robert Black Dr. James C. and Karen A. Brailean Barbara Enberg Pam and Hal Fuson Buzz and Peg Gitelson Drs. Lisa Braun-Glazer and Jeff Glazer Margaret and Michael Grossman Theresa Jarvis Angelina and Fred Kleinbub Kathleen and Ken Lundgren Elaine and Doug Muchmore Hank and Patricia Nickol Rafael and Marina Pastor Don and Stacy Rosenberg Leigh P. Ryan Neal and Marge Schmale Jeanette Stevens Gloria and Rodney Stone Gianangelo and Mera Vergani Joseph Wong and Vivian Lim Dolly and Victor Woo Carolyn Yorston-Wellcome Bebe and Marvin Zigman

DIAMOND Raffaella and John Belanich Joy Frieman Joan and Irwin Jacobs

RUBY Silvija and Brian Devine

EMERALD Arlene and Louis Navias

GARNET Julie and Bert Cornelison Peggy and Peter Preuss

SAPPHIRE John Hesselink Keith and Helen Kim

Listing as of August 10, 2020

The Medallion Society was established to provide long-term financial stability for La Jolla Music Society.

We are honored to have this special group of friends who have made multi-year commitments of at least three years to La Jolla Music Society, ensuring that the artistic quality and vision we bring to the community continues to grow.

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

DANCE SOCIETY GRAND JETÉ

PIROUETTE

DEMI POINTE

Jeanette Stevens Marvin and Bebe Zigman

Elaine Galinson and Herbert Solomon Larry Marcus Annie So

Beverly Fremont Saundra L. Jones

ARABESQUE

POINTE

Ellise and Michael Coit June and Dr. Bob Shillman Carolyn Bertussi

Katherine and Dane Chapin Susan E. Trompeter, M.D.

PLIÉ Rebecca Kanter Joani Nelson Elizabeth Taft

Listing as of August 10, 2020

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

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

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

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

PLANNED GIVING LEGACY SOCIETY Anonymous (2) June L. Bengston* Joan Jordan Bernstein Bjorn Bjerede and Jo Kiernan Dr. James C. and Karen A. Brailean Gordon Brodfuehrer Barbara Buskin* Trevor Callan Geoff and Shem Clow Anne and Robert Conn George and Cari Damoose Teresa and Merle Fischlowitz Ted and Ingrid Friedmann Joy and Ed* Frieman Sally Fuller Maxwell H. and Muriel S. Gluck* Dr. Trude Hollander* Eric Lasley Theodora Lewis Joani Nelson Maria and Dr. Philippe Prokocimer Bill Purves Darren and Bree Reinig Jay W. Richen*

Leigh P. Ryan Jack* and Joan Salb Johanna Schiavoni Pat Shank Drs. Joseph and Gloria Shurman Karen and Christopher Sickels Jeanette Stevens Elizabeth and Joseph* Taft Norma Jo Thomas Dr. Yvonne E. Vaucher Lucy and Ruprecht von Buttlar Ronald Wakefield John B. and Cathy Weil Carolyn Yorston-Wellcome and H. Barden Wellcome* Karl and Joan Zeisler Josephine Zolin

REMEMBERING LJMS IN YOUR WILL *In Memoriam Listing as of August 10, 2020

It is easy to make a bequest to La Jolla Music Society, and no amount is too small to make a difference.

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

The Legacy Society recognizes those generous individuals who have chosen to provide for La Jolla Music Society’s future. Members have remembered La Jolla Music Society in their estate plans in many ways — through their wills, retirement gifts, life income plans, and many other creative planned giving arrangements. We thank them for their vision and hope you will join this very special group of friends. If you have included LJMS in your estate plans, please let us know so we may recognize you.

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 45

CORPORATE PARTNERS BENEFACTOR

GUARANTOR

SUSTAINER

SUPPORTER

AMBASSADOR

SAN DIEGO

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

FOUNDATIONS Thomas C. Ackerman Foundation

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

Ayco Charitable Foundation: The AAM & JSS Charitable Fund The Vicki & Carl Zeiger Charitable Foundation Bettendorf, WE Foundation: Sally Fuller The Blachford-Cooper Foundation The Catalyst Foundation: The Hon. Diana Lady Dougan The Clark Family Trust Enberg Family Charitable Foundation The Epstein Family Foundation: Phyllis Epstein The Fidelity Charitable Gift Fund: Drs. Edward & Martha Dennis Fund Sue & Chris Fan Don & Stacy Rosenberg Shillman Charitable Trust Richard and Beverly Fink Family Foundation Inspiration Fund at the San Diego Foundation: Frank & Victoria Hobbs The Jewish Community Foundation: Jendy Dennis Endowment Fund Diane & Elliot Feuerstein Fund Galinson Family Fund Lawrence & Bryna Haber Fund Joan & Irwin Jacobs Fund Warren & Karen Kessler Fund Theodora F. Lewis Fund Liwerant Family Fund Jaime & Sylvia Liwerant Fund The Allison & Robert Price Family Foundation Fund John & Cathy Weil Fund The Stephen Warren Miles and Marilyn Miles Foundation

Rancho Santa Fe Foundation: The Fenley Family Fund The Susan & John Major Fund The Oliphant Fund The Pastor Family Fund The San Diego Foundation: The Beyster Family Foundation Fund The M.A. Beyster Fund II The Karen A. & James C. Brailean Fund The Valerie & Harry Cooper Fund The Hom Family Fund The Ivor & Colette Carson Royston Fund The Scarano Family Fund The Shiftan Family Fund Schwab Fund for Charitable Giving: Ted McKinney & Frank Palmerino Fund The Shillman Foundation Simner Foundation The Haeyoung Kong Tang Foundation The John M. and Sally B. Thornton Foundation Vail Memorial Fund Thomas and Nell Waltz Family Foundation The John H. Warner Jr. and Helga M. Warner Foundation Sheryl and Harvey White Foundation

SERVING OUR COMMUNITY La Jolla Music Society reaches over 11,000 students and community members annually. LJMS works with students from more than 60 schools and universities, providing concert tickets, performance demonstrations, and master classes. Thanks to the generous support of our patrons and donors, all of our outreach activities are free to the people we serve.

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 47

PUBLIC SUPPORT La Jolla Music Society thanks all of our generous patrons and supporters– including government funding – who support our artistic, education and community engagement programs.

Support of our Season is provided by:

Thank you to The City of San Diego Commission for Arts and Culture for promoting, encouraging and increasing support for the region's artistic and cultural assets, integrating arts and culture into community life and showcasing San Diego as an international tourist destination.

Support from the County of San Diego’s Community Enhancement Program is vital to our SummerFest programs. Thank you for supporting programs that promote and generate tourism and economic development in San Diego.

Thank You! 48 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

THANK YOU! For more than 50 years, La Jolla Music Society has helped nurture a love of music by keeping one vision in mind: To present diverse programs of great music performed by the best musicians in the world. Today, that vision has reached beyond the intimate beauty of the chamber music ensemble and into new and diverse offerings such as orchestras, jazz ensembles, dance companies, and robust education programs.

This impressive growth has been carefully conducted by an active and highly committed volunteer board of directors and a dedicated staff. But most importantly, La Jolla Music Society’s progress has been sustained by the generosity of the community and ticket buyers.

JOIN OUR FAMILY We hope you, too, will join the La Jolla Music Society family and help present unforgettable performances in the concert hall, the classroom, and community spaces. Your financial support will enable LJMS to build on a long history of artistic excellence and community engagement. Through your patronage, you are setting the tone for the future. Your participation is critical to the success of SummerFest. Please consider making a donation today.

ONLINE: LJMS.org/donate You can also speak to our Development Team at 858.459.3724, ext. 216 to make a gift.

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 49

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

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

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

Peggy and Peter Preuss Noni and Drew Senyei Debbie Turner

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

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

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

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

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

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

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

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

!

U O Y K N THA

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

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

Steph Walker Bill and Lori Walton Nell Waltz Margie Warner and John H. Warner, Jr. Viviane M. Warren Maureen and Dean Weber Cathy and John Weil Abby and Ray Weiss Linda and Steve Wendfeldt Doug and Jane Wheeler Sheryl and Harvey White Suhaila White Lisa Widmier Joan and Howard Wiener Faye Wilson Joseph and Mary Witztum Dolly and Victor Woo Katrina Wu Anna and Edward Yeung Carolyn Yorston-Wellcome and Bard Wellcome Howard and Christy Zatkin Barbara and Michael Zelnick Bebe and Marvin Zigman Anonymous Listing as of August 10, 2020

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

Please join us in ensuring that The Conrad, a cultural and community treasure, remains a vital resource to our generation and all those to follow. Make a gift today or sponsor a seat by contacting: Ferdinand Gasang, Director of Development, at 858.459.3724, ext. 204 or FGasang@LJMS.org. You can also make a gift online at www.LJMS.org/donate 52 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

Foundation

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

Board of Trustees Edward A. Dennis, PhD Chairman

Mary F. Berglund, PhD Treasurer

Peter C. Farrell, PhD, DSc Secretary

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

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

Tel 858-361-0755

ResMedFoundation.org

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

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

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

QUALITY SERVICE EXPERIENCE INNOVATION Chairs to China

Linens to Lighting

Tables to Tents

bright.com • 858.496.9700

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

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

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

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

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

Reservations are recommended.

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

Timeless Culinary Creations

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

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

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

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

Pamplemousse Grille

HAPPY HOUR DINNER PRIVATE ROOMS RETAIL WINE CATERING

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

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

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

PGRILLE.COM 858.792.9090 INFO@PGRILLE.COM

Committed to

www.Jimbos.com

CARLSBAD

CARMEL VALLEY

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

Del Mar Highlands Town Center

12853 El Camino Real; (858) 793-7755

4S RANCH

4S Commons Tower Center 10511 4S Commons Dr; (858) 432-7755

DOWNTOWN SD Horton Plaza 92 Horton Plaza; (619) 308-7755

ESCONDIDO

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

7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 61

We Create, You Celebrate!

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

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

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

San Diego’s exclusive private caterer now at The Conrad

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

WELCOME TO THE LOT...

CINEMAS/ RESTAURANT/ BAR/ CAFÉ/

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

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

Your Conrad Moments Elevated Captivating guests since its founding nearly 30 years ago, Culinary Concepts extends its rich history as the definitive resource in food and hospitalitly.

(858) 530-1885 | cateringspecialist.com

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

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

Chocolates of Switzerland San Diego

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

In Sweet Harmony with La Jolla Music Society

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

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

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

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

877.511.1718 | Coastcatering.com

Steel seahorse, Jennifer Lannes, diner since 1978

some traditions just keep getting richer.

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

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

858.459.7222

MarineRoom.com

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

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

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

ManhaaanofLaJolla.com (858) 459-0700 info@manhaaanoflajolla.com 7600 FAY AVENUE, LA JOLLA, CA 92037 • 858.459.3728 • LJMS.ORG | 67

FLOWERCHILDSANDIEGO.COM

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

#PARTY AT THE CONRAD

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

partner

of

THE CONRAD PREBYS

PERFORMING ARTS CENTER

ONE OF A KIND PARTIES #TENFOLDSTYLE

www.TENFOLDSTYLE.com

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

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

UN‘OPERA ITALIANA CON CHEF STEFANO, MILANO

Voted Bronze For Best Overall Restaurant In La Jolla

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

7731 FAY AVENUE . LA JOLLA . 858 412 3108 . PIAZZA1909.COM 70 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

GIRARD GOURMET from beach to boardroom

PROUD SUPPORTERS OF LA JOLLA MUSIC SOCIETY AT THE CONRAD

7837 Girard Ave, La Jolla, CA 92037 | 858.454.3321

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

You appreciate excellence...

We create it.

FLORAL FANTASIES REALIZED BLOOMERS OF LA JOLLA • 7520 EADS AVENUE • LA JOLLA, CALIFORNIA 92037 • (858) 454-3913 72 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

Working together in harmony!

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

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

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

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

7550 FAY AVENUE, LA JOLLA, CA 92037 | 858 454-5013 berninisbistro.com 76 | LA JOLLA MUSIC SOCIETY at THE CONRAD PREBYS PERFORMING ARTS CENTER

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

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GOURMET

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

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

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

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

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ALENCIA HOTEL AND SPA LA JOLLA, CA

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

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

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

THE CONRAD The Conrad Prebys Performing Arts Center

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

858.454.4244 •

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

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

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

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

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

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

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

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

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

For more information please contact Events Manager, Anthony LeCourt: 858.459.3724 x217 or visit TheConrad.org

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WE ARE CALIFORNIA’S

BUSINESS BANC. Proud Partner and the Official Bank of

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

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

bancofcal.com

TOGETHER WE WIN

TM

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

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