24TH TUCSON WINTER CHAMBER MUSIC FESTIVAL MARCH 12–19, 2017
1 BOARD OF FESTIVAL PROGRAM BOOK DIRECTORS COMMITTEE CREDITS
James Reel Randy Spalding, Chair Editor President Philip Alejo Jay Rosenblatt Nancy Bissell Paul Kaestle Contributors Michael Coretz Vice-President Nancy Bissell Dagmar Cushing Robert Gallerani Joseph Tolliver Bryan Daum Holly Gardner Corresponding Secretary James Reel Nancy Monsman Jay Rosenblatt Helmut Abt Jay Rosenblatt George Timson Recording Secretary James Reel Randy Spalding Wes Addison FESTIVAL Leslie Tolbert Treasurer VOLUNTEERS Advertising Philip Alejo Beth Daum Paul Kaestle Nancy Bissell Marie-France Isabelle Allan Tractenberg Kaety Byerley Paul St. John Michael Coretz Paul Kaestle Design Dagmar Cushing Marianne Kaestle OPENFORM Bryan Daum Helen Kim Printing Joan Jacobson Jack McLain West Press Helen Kim Hal Myers Jay Rosenblatt Elaine Rousseau Elaine Rousseau Allan Tractenberg CONTACT Randy Spalding Leslie Tolbert US Paul St. John FESTIVAL HOSTS Arizona Friends of George Timson Chamber Music Leslie Tolbert Airbnb Post Office Box 40845 Jean-Paul Bierny USHERS Tucson, Arizona 85717 & Chris Tanz Phone: 520–577–3769 Barry & Susan Austin Nancy Bissell Email: [email protected] Susan Fifer Dagmar Cushing Website: arizonachambermusic.org Bob Kamilli & Dana Deeds Marilee Mansfield Bryan & Beth Daum Box Office Manager Lidia Morris Bob Foster Cathy Anderson Elaine Orman Brad Holland AFCM is grateful to our hosts for providing our Susan Rock Holly Lachowicz Festival musicians with friendly and gracious Jane Ruggill Marilee Mansfield accommodations during their stay in Tucson. Dorothy Steele Jack McLain Barbara Turton Linda Diana Warr & Buzz Poverman Maurice Weinrobe George Timson & Trudy Ernst Paul A. St. John Patricia Wendel & Leslie P. Tolbert
2 FROM THE FESTIVAL ARTISTIC DIRECTOR
Welcome to the 24th Festival! I trust that it will be a wonderful gathering of great musicians, compositions, and composers. When contemplating the contents of this small welcome message I feel the need to acknowledge my somewhat somber and contemplative mood following the death of my mother, Alice, in January. She was well known to many of you and in past years was a regular attendee and supporter of the Festival. The reason I mention this is that such events trigger the inevitable what does it all mean question of life. I trust you will forgive me if I fail to give a satisfactory answer! However, considering that I’ve managed to put this festival together for years I might have a stab at what it means with respect to the process. As a young musician I often questioned if a life in the arts had worth when compared to noble professions such as science or medicine. I finally resolved this dilemma to a large extent with the realization that music is essentially a message of great truth and beauty (and raw emotion) with the former often in terribly short supply in today’s divided world. As such the act of performance became a kind of truth proselytizing as well as an existential activity. With my left hand injury I’ve come to accept that performance can no longer personally provide me with this creative outlet. However, the Festival does, as it remains at the heart of it all a creative process at every level. You may imagine that I derive the greatest pleasure (like you) as an audience member during performances. This is sometimes true, of course, but the process of assembling the components – musicians, works, schedules, individual desires, etc., almost as if it were a monstrous game of chess – and finally seeing the end game fall into place as (I hope) a workable whole is, itself, definitive. Like performance, it’s thedoing that counts, the living and experiencing as time flows during creation. I personally think that iswhat it is as eloquently spoken repeatedly by one of my former teachers, Gregor Piatigorsky. Truthfully, the Festival itself is sometimes a period of anxiety, as I am forced to face decisions I made many months prior and in some cases have to be reminded about them! I’m very pleased to welcome back favorite artists and to have the opportunity to introduce many new faces this year. Australian pianist Piers Lane is the Artistic Director of the Australian Festival of Chamber Music (another AFCM!) in Townsville. Along with the Jupiter String Quartet’s festival debut, be sure not to miss their performance of the Piano Quintet by Frank Bridge. Also making their Festival debuts, London-based oboist Nicholas Daniel, bassoonist Benjamin Kamins (Rice University), and clarinetist Charles Neidich (Juilliard) will be heard together in many works and additionally feature in solo spots (Mozart’s Oboe Quartet, Dutilleux’s Sarabande et Cortège, and Lutosławski’s Dance Preludes). Finally, I’d like to welcome Princeton University composer Dmitri Tymoczko, who will bring us a most unusual dectet premiere (“Wheels Within Wheels”) on Friday. Please be sure to read the program notes for a fascinating description of this work. And, as always, heartfelt thanks for your support of the Festival.
PETER REJTO Artistic Director
3 OVERVIEW OF NEXT SEASON
2017 2018
Summertime Evenings WEDNESDAY, JANUARY 17 (At the Sea of Glass, 330 E. 7th St, at 4th Avenue. 7:30pm Wine and hors d'oeuvres 7:00-8:00pm; music Takács Quartet 8:00-9:00pm) WEDNESDAY, JANUARY 31 WEDNESDAY, MAY 3 New York Festival of Song: 7:00pm All-Bernstein program University of Arizona WEDNESDAY, FEBRUARY 14 Graduate String Quartet 7:30pm WEDNESDAY, JULY 5 Jasper String Quartet 7:00pm SUNDAY, FEBRUARY 25 Alexander Tentser, piano 3:00pm WEDNESDAY, SEPTEMBER 13 Rémi Geniet, piano 7:00pm MARCH 4–11 Tim Kantor, violin, and friends Tucson Winter Chamber Music Festival (Tannis Gibson, piano; Jackie Glazier, clarinet; and Michelle Abraham, violin) WEDNESDAY, MARCH 28 7:30pm Regular Season Wu Han/Philip Setzer/David Finckel (At the Leo Rich Theater, unless announced Beethoven Trio Concert 1 otherwise.) THURSDAY, MARCH 29 WEDNESDAY, OCTOBER 18 7:30pm 7:30pm Wu Han/Philip Setzer/David Finckel Pavel Haas Quartet Beethoven Trio Concert 2 SUNDAY, NOVEMBER 12 SUNDAY, APRIL 15 3:00pm 3:00pm Benjamin Beilman, violin Andrei Ionita, cello & Haochen Zhang, piano Always visit arizonachambermusic.org for WEDNESDAY, NOVEMBER 15 the most up-to-date concert information. 7:30pm Harlem Quartet with Aldo López-Gavilán, piano We invite you to mark WEDNESDAY, DECEMBER 6 7:30pm your calendars now. Pacifica Quartet with Sharon Isbin, guitar
4 FESTIVAL EVENTS
YOUTH CONCERT GALA DINNER AND CONCERT AT THE ARIZONA INN Thursday, March 16, 10:30 am Leo Rich Theater Saturday, March 18 6:00 pm – Cocktails Performance of excerpts from prior concerts with 7:00 pm – Musical selections by Festival musicians commentary by Festival musicians, for students at 8:00 pm – Dinner local schools. By invitation. $160, by advance reservation, call 577-3769
OPEN DRESS REHEARSALS – Flowers courtesy of Arizona Flowers, LEO RICH THEATER in the Village at Sam Hughes.
9:00am – 12 noon RECORDED BROADCAST Tuesday, March 14 Wednesday, March 15 If you miss a Festival concert or want to hear one Friday, March 17 again, Classical KUAT-FM will broadcast recorded Sunday, March 19 performances on 90.5/89.7 FM. Festival performances are often featured in the station’s Dress rehearsals are free for ticket holders. Musical Calendar. For non ticket holders, a donation is requested. See https://radio.azpm.org/classical/.
MASTER CLASS FOR FLUTE
Carol Wincenc 3:00 pm – 4:00 pm Saturday, March 18 Leo Rich Theater Featuring students of Professor Brian Luce of the University of Arizona, Fred Fox School of Music. Attendance at the master classes is free and open to the public.
MASTER CLASS FOR PIANO
Piers Lane 4:00 pm – 5:00 pm Saturday, March 18 Leo Rich Theater Featuring students of Professors Tannis Gibson, John Milbauer, and Rex Woods, of the University of Arizona, Fred Fox School of Music. Attendance at the master classes is free and open to the public.
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THIS AFTERNOON’S PROGRAM This afternoon’s concert is sponsored by the generous WOLFGANG AMADEUS MOZART (1756–1791) contributions of Nancy Quintet in E-flat Major for Piano and Winds, K. 452 Bissell and Randy Spalding. Largo – Allegro moderato Larghetto Allegretto The appearance of Piers Lane, piano Bernadette Harvey at the Nicholas Daniel, oboe Festival is sponsored by Charles Neidich, clarinet William Purvis, horn the generous contribution Benjamin Kamins, bassoon of Beth Foster.
LEOŠ JANÁCˇEK (1854–1928)
String Quartet No. 2 (“Intimate Pages”) Andante Adagio Moderato Allegro Jupiter String Quartet
INTERMISSION
HENRI DUTILLEUX (1916–2013)
Sarabande et Cortège for Bassoon and Piano Benjamin Kamins, bassoon Bernadette Harvey, piano
GABRIEL FAURÉ (1845–1924)
Piano Quartet No. 1 in C Minor, Op. 15 Allegro molto moderato Scherzo: Allegro vivo Adagio Allegro molto Bernadette Harvey, piano Axel Strauss, violin Nokuthula Ngwenyama, viola Clive Greensmith, cello
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MOZART COMPLETED K. 452, his only quintet for wrote, should sound “as if dipped in blood.” piano and winds, two days before its scheduled Every piece should contain not only “roses” but premiere in April, 1784. He wrote to his father also “thorns.” Leopold: “I composed a quintet which called forth In the early 1920s the Bohemian quartet, led by the greatest applause. I consider it to be the best Dvorˇák’s son-in-law Josef Suk, asked Janácˇek to work I have ever composed.” Mozart set a difficult compose two string quartets for them. Janácˇek’s goal for himself with the quintet’s unusual String Quartet No. 2 (1928) was inspired by his instrumentation. He understood the challenge of long friendship with the beautiful Kamila Stösslová, achieving an elegant blend of voices with single a married woman thirty-eight years his junior. The instruments rather than those in pairs, but he quartet, which develops with unpredictable shifts of compensated for the diverse timbres through the texture, color, and rhythm, was intended to reflect utmost subtlety of phrasing and scoring. The first the character of their relationship as revealed in their piano and woodwind quintet ever published, K. exchange of more than 600 letters. 452 is an ingenious work of refined expression. It was especially admired by Beethoven, who wrote his The opening Andante portrays the fateful first similarly scored Opus 16 Piano Quintet as homage. meeting of these platonic lovers. As Kamila gradually becomes the composer’s muse, the music At the time he wrote the quintet, Mozart was also grows faster and more rapturous. The viola, which composing his first set of mature string quartets. He assumes the persona of Kamila, maintains the conceived these six quartets, famously dedicated to dominant role. After a fortissimo trill in the cello Joseph Haydn (“from whom I have learned to write and an introductory theme in the violins, the viola quartets”), as discourses among all instruments articulates an eerie theme sul ponticello (on the rather than as individual showpieces. A similar bridge). The cello, taking the persona of the esthetic prevails in K. 452, for throughout the composer, then shares this theme as the violins quintet all instruments share the development of develop a melody alternately forceful and elegiac. ideas, which are generally introduced by the piano. The movement closes with a statement of the The masterfully crafted Allegro moderato, in sonata opening theme accompanied by high violin trills. form, develops its long phrases through short In the second movement the composer motivic contributions from the various instruments, contemplates Kamila giving birth to a son and each prominent only briefly. In the sublime considers his future life. (Janácˇek was actually Larghetto (B-flat major), written in the style of an devoted to Kamila’s real-life son. Shortly after operatic aria, the two sustained themes develop completing the quartet the composer went on through subtle interweaving of the five instrumental holiday with Kamila’s family. Janácˇek caught a chill parts. At the end of the rondo finale each instrument while hunting for the boy in the woods and quickly participates in the brilliant ensemble cadenza, died of pneumonia.) The thematic material is based normally a tour de force for the individual soloist. primarily on the viola theme heard in the first CZECH COMPOSER LEOŠ JANÁCˇ EK was the fiery movement. A lively melody in 5/8 time provides a younger colleague of Dvorˇák and Smetana. Trained rhythmic contrast. in the classic-romantic tradition, Janácˇek destroyed Strong contrasts of mood characterize the third much of his early work during the 1890s and began movement. Two themes are explored through to write “music of truth,” an art expressive of higher continuously varying tempos and textures. reality. Disdainful of the merely beautiful and interesting, Janácˇek created actual dramas, each The Allegro finale portrays the composer’s devotion brought to life through varied tone qualities, to his muse: “You stand behind every note, you, ever-changing dynamics, and strongly contrasting living, forceful, loving. The fragrance of your body, themes. Although opera became his favorite genre, the glow of your kisses – no, really of mine. Those he wrote numerous instrumental works that, he notes of mine kiss all of you. They call for you passionately.” An initial folklike melody is
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interrupted by a conflicting rhythmic pattern that French romanticist Gabriel Fauré created significant gradually insinuates itself into the entire texture. chamber works together with his exquisite body The movement becomes a colorful amalgam of of songs. Poetic expressions of his own personal sounds: a cello line alternating pizzicato and bowed vision, these works convey his almost mystical notes on successive beats; a rapidly accelerating concept of beauty through a subtle and sensuous theme; intrusions of the opening theme into the harmonic palette. ongoing material. Near the end all four instruments Fauré began his Opus 15 Piano Quartet (completed play stridently at the bridge on a strong dissonance. in 1879) following a devastating break of The second violin trills a four-note theme, which engagement with the beautiful Marianne Viardot, leads to a re-exposition of the quartet’s three the daughter of a family prominent in operatic primary motifs. The work closes on Janácˇek’s circles. While Opus 15 is contained within a favorite chord of D-flat major with the added classically French framework, the music develops dissonance of E-flat. with romantic drama and poignancy. Perhaps CELEBRATED AS FRANCE’S most significant because of the heightened expression of Opus 15, composer of the millenium era, Henri Dutilleux the work has remained as one of Fauré’s most continued to create well beyond his 90th year of age. popular chamber compositions. Educated at the Paris Conservatory, Dutilleux won The Allegro molto moderato begins fervently as the the prestigious Prix de Rome, which awarded him a unison strings announce a restless motive that year of study in Italy, but he left his schooling to permeates the entire movement. The viola then become a medical orderly with the French army states a tranquil and flowing second theme soon (and a member of the Resistance) during World War imitated by the other instruments. In the II. He later taught composition at both the École recapitulation the mode changes from minor to Normale de Musique in Paris and the Conservatory. major, a procedure that Fauré was to repeat in Dutilleux’s modernist works often reveal the subsequent works. rhythmic and harmonic techniques of Debussy, Roussel, and particularly Bartók, who garnered his The graceful Scherzo is a true play with notes. The highest praise: “By resolving in one luminous meter alternates between 6/8 and 2/4 to create synthesis the duality between folk music and subtly different accent patterns that underlie the learned music, has not Bartók been the herald for a delicate and whimsical melody. A muted Trio new classical age?” section in B-flat major offers a smooth contrast. Dutilleux wrote his Sarabande et Cortège in 1942 to One of Fauré’s most poetic movements, the three- complete a set of four pieces requested by the Paris part Adagio (E-flat major) begins with a statement Conservatory for student exams, and he dedicated of the theme, based on a rising scale fragment, in the the work to Gustave Dherin, its Professor of cello, viola, then violin. After a songful second Bassoon. Sarabande recalls the slow, triple-time section, the opening material returns in melancholy Baroque dance form popular during earlier guise. As a unifying device, the impetuous Allegro centuries. This brief and atmospheric movement molto finale incorporates the rhythmic pattern of develops its piquant theme with the painterly the first movement and the rising scale contour harmonies of Debussy. The animated Cortège heard in the Adagio. This energetic movement (Procession) unfolds as a march that offers combines Fauré’s lyrical invention with brilliant significant technical challenges for the bassoonist. virtuosity that suggests the influence of Franz Liszt. The work has been a perennial favorite for both its Notes by Nancy Monsman performers and listeners.
CHAMBER MUSIC WAS STRONGLY PROMOTED in late nineteenth-century Paris, and numerous concert series were established for this medium. Perhaps because of this encouraging environment, the
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TONIGHT’S PROGRAM LUDWIG VAN BEETHOVEN (1770–1827) String Quartet in E-flat Major, Op. 127 WITOLD LUTOSŁAWSKI (1913–1994) Maestoso – Allegro Dance Preludes for Clarinet and Piano Adagio, ma non troppo e molto cantabile Scherzando vivace Allegro molto Finale Andantino Allegro giocoso Jupiter String Quartet Andante Allegro molto This evening’s concert Charles Neidich. clarinet Bernadette Harvey, piano is partially sponsored by the generous JOHANNES BRAHMS (1833–1897) contribution of Jay Shah Piano Quartet No. 3 in C Minor, Op. 60 and Minna Mehta. Allegro non troppo Scherzo: Allegro Andante The appearance of Finale: Allegro comodo William Purvis at the Piers Lane, piano Festival is sponsored by Axel Strauss, violin Nokuthula Ngwenyama, viola the generous contribution Clive Greensmith, cello of Celia Balfour.
INTERMISSION
HEITOR VILLA-LOBOS (1887–1959)
Quinteto em forma de chôros Carol Wincenc, flute Nicholas Daniel, oboe Charles Neidich, clarinet William Purvis, horn Benjamin Kamins, bassoon
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THE MUCH HONORED POLISH COMPOSER substantially revised, it retains its powerful and Witold Lutosławski is best known for his innovative introspective narrative. later works, aleatoric structures that develop with In its original version the quartet was a three- the element of chance. However, early in his career movement work in C-sharp minor, but after several he was a fervent nationalist strongly influenced by private performances Brahms expressed dissatisfaction Polish folk music. Lutosławski wrote his Dance with the work and filed it in a drawer. Revisiting the Preludes (1954) as a commission from the publisher score twenty years later, he composed two new inner Polskie Wydawnictwo Muzyczne, who wanted an movements and transposed the outer movement accessible work for skilled amateur performers. The keys to C minor. (Since the original version has never composer described the Preludes as his “farewell to resurfaced, Brahms most probably destroyed it.) folklore,” for soon after their composition he The key of C minor for Brahms (as for Beethoven) adopted the adventuresome techniques of the held forceful and dramatic connotations. At the time European avant-garde. However, he remained fond Brahms undertook the quartet’s revisions, his of this folk-based work and revisited the Preludes Symphony No. 1 in C minor was in progress. The twice with rescorings: a version for clarinet and first movements of both works are similar in their orchestra (1955), which was premiered at the structural and harmonc details, evident especially 1963 Aldeburgh Festival with Benjamin Britten at their openings and at their extensive codas, both conducting, and one for winds and string of which end with surprising tranquillity. quartet (1959). The Allegro non troppo, a movement of solemn Lutosławski greatly admired Bartók, who captured grandeur, develops two subjects in sonata form. The the essence of his native Hungarian music in his significant first idea is based on the notes that spell compositions. Perhaps under this influence, Robert Schumann’s affectionate “Clara” theme – Lutosławski based his Dance Preludes on the C–B–A–G sharp–A, here transposed a minor third spirited folk songs of northern Poland but avoided to fit Brahms’s C minor tonality. A broadly lyrical direct quotations. These ingratiating works unfold theme in the major mode follows. The passionate with rhythmic vitality and mildly pungent three-part Scherzo moves nervously with displaced dissonance. They alternate in tempo and mood, accents until the strings play a calm interlude in the with Preludes 1, 3, and 5 rapid and lively, and contrasting major modality. Brahms especially Preludes 2 and 4 slower and reflective. admired the Andante (E major), which opens with DURING THE DIFFICULT YEARS of Robert a rhapsodic song for cello in its upper register. Schumann’s hospitalization for mental illness, The Finale, turbulent and tinged with sadness, is Brahms supported the ailing composer’s wife Clara propelled by contrapuntal passagework. and children both financially and emotionally. A SELF-TAUGHT COMPOSER, the Brazilian Villa- Brahms developed a deep affection for Clara, but he Lobos exploited both Brazil’s popular music and his remained solely a platonic friend out of loyalty to native folk tradition to create a unique, nationalist Schumann. The Opus 60 Quartet, written in its style. Yet Villa-Lobos never allowed national first version during this period (1855–56), has boundaries to confine his fertile imagination. He acquired the subtitle “Werther” because Brahms felt developed a strong interest in French music because conflicts similar to Goethe’s distraught hero, who of his early friendship with Darius Milhaud, who killed himself over unrequited love of his friend’s spent two years in Brazil as a cultural attaché. wife. Brahms wrote to his publisher, Simrock: “You Awarded a Brazilian government grant to study and can put on the title page a picture, namely that of a compose in Paris for three years, the charismatic man with a pistol to his head. Now you can get an Villa-Lobos quickly became the darling of Parisian idea of the music.” Clara evidently did not realize avant-garde circles. Brazilian arts enjoyed a vogue in the extent of the composer’s anguish. “Johannes is Paris of the 1920s, and French audiences admired such a riddle,” she commented when perceiving his the exotic modernism of Villa-Lobos’s harmonically brooding demeanor. Although the quartet was pungent and rhythmically propulsive works.
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Quinteto (1928) was premiered in 1930 at Paris’s tempo within movements left the audience lost. Salle Chopin; Villa-Lobos subsequently altered its The prevalent opinion was voiced by one present: scoring to replace the original English horn with the “Although we do not understand it, each of us was more usual French horn in the wind ensemble. The conscious that we had been in the presence of work combines the neo-classical ideas that Villa- something higher than ourselves, beyond our Lobos absorbed during this Parisian phase of his capacity to comprehend.” career with the spontaneous spirit of Brazilian native Opus 127, as do the other late opus quartets, stands music. Quinteto suggests the improvisatory in two differing tonal worlds – the classic and the freedom of the actual Brazilian “chôros,” a band of romantic. Initially the work promises to unfold with street musicians who perform dance music at the coherent regularity characteristic of an earlier carnival celebrations and other festive occasions. classical composition. Yet the work develops with One of his most popular works, Quinteto achieves a rhythmic subtleties and harmonic ambiguities that striking effect through its strong instrumental color obscure the clarity of its underlying structure. and rhythmic energy. The opening Maestoso, while ostensibly similar to DURING THE EIGHT YEARS before Beethoven began many of Beethoven’s other introductions, establishes his monumental final set of string quartets, he a uniquely questioning mood. These opening endured a period of spiritual isolation. Because of measures recur in the following Allegro section complete deafness, desertion by earlier patrons, and (in effect dividing it into three parts), where they difficulties with both family and publishers, he function to stabilize the free harmonic scheme often lacked the will to compose. He therefore of the movement as it unfolds. welcomed the commission from Prince Nicholas The second movement is a set of five variations Galitzin, a Russian nobleman and amateur cellist, based on two deceptively simple themes. These for “two or three string quartets, for which labor I subtly elaborated variations move through daring will be glad to pay you what you think proper.” and remote key modulations to achieve moments of From May 1824 until November 1826, only four true sublimity. months before his death, Beethoven devoted all his energies to the creation of works for Galitzin The incisive rhythms of the Scherzando abruptly (Opp. 127, 130, 132, and 133), as well as two other bring the listener from this high plane. Unexpected quartets written without commission (Opp. 131 changes of rhythms, dynamics, and mood and 135). Each of these transcendent works explores contribute to a sense of unrest. The finale, a more a musical universe expanded by an unprecedented classical exploration of two folklike themes, restores fluidity of structure that allows each work to an atmosphere of clarity. The coda, initiated by a develop according to the demands of faster tempo, propels the work toward an Beethoven’s vision. exhilarating conclusion.
Galitzin was mystified by Opus 127, the first of the Notes by Nancy Monsman commissioned quartets, because of its enormous stylistic differences from the earlier quartets he had admired. Early critics were also puzzled by Opus 127, which suffered from an inadequately rehearsed premiere in March, 1825. There were objections to the level of dissonance, which the deaf composer accepted but which remained uncomfortable to listeners for decades after his death. There was consternation that the work overall appeared to be a web woven from thematic particles rather than a developed set of themes with strong profiles, although these do exist. Unexpected changes of
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TONIGHT’S PROGRAM FRANK BRIDGE (1879–1941) Piano Quintet in D Minor JOAQUÍN TURINA (1882–1949) Adagio – Allegro moderato Piano Quartet in A Minor, Op. 67 Adagio ma non troppo – Allegro con brio — Adagio ma non troppo Lento – Andante mosso Allegro energico Vivo Andante – Allegretto Piers Lane, piano Jupiter String Quartet Bernadette Harvey, piano Axel Strauss, violin Nokuthula Ngwenyama, viola The appearance of Axel Clive Greensmith, cello Strauss at the Festival is LUDWIG THUILLE (1861–1907) sponsored by the generous Sextet in B-flat Major for Piano and Winds, Op. 6 contribution of Jean-Paul Allegro moderato Bierny and Chris Tanz. Larghetto Gavotte: Andante, quasi Allegretto Finale: Vivace Bernadette Harvey, piano Carol Wincenc, flute Nicholas Daniel, oboe Charles Neidich, clarinet William Purvis, horn Benjamin Kamins, bassoon
INTERMISSION
WOLFGANG AMADEUS MOZART (1756–1791)
Quartet in F Major for Oboe and Strings, K. 370 Allegro Adagio Rondeau: Allegro Nicholas Daniel, oboe Axel Strauss, violin Nokuthula Ngwenyama, viola Clive Greensmith, cello
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IBERIAN COMPOSER JOAQUÍN TURINA was born and As in the Quartet’s opening movement, a brief raised in Seville. His father Joaquín was a noted introduction prefaces the finale. The movement’s painter of Andalusian genre scenes, and most two expressive themes move through a variety of probably he influenced his musical son to think changing tempos; sonorous blocks of harmony descriptively as he composed. After abandoning progress in parallel motion to suggest the impressionist early medical studies, the younger Turina moved to influence of Debussy. The movement concludes Madrid, where he met Manuel de Falla and with with a rapturous statement of the main theme. him resolved to create musical portraits of Spanish AUSTRIAN COMPOSER AND THEORIST Ludwig life. Like Falla, Turina spent nine formative years in Thuille was born in Bozen (now Bolzano, Italy) and Paris, where he enrolled at the Schola Cantorum received early training in singing and piano from his and studied with French romanticist Vincent father, an accomplished amateur musician. d’Indy, a close follower of César Franck. After his Orphaned at an early age, Thuille was sent to live return to Spain, Turina achieved popular success with a stepuncle who arranged for studies of violin, with works based on traditional Sevillian and piano, and organ at a Benedictine monastery, where Andalusian themes. Despite difficulties during the he also served as chorister. Observing his remarkable Spanish Civil War, when his family fell out of favor talent, the generous widow of composer Matthaeus with the Republicans, Turina pursued an honored Nagiller adopted Thuille and funded his musical career as Professor of Composition at the Madrid education with composer Joseph Pembauer at Conservatory. His collected works number over one Innsbruck and later Joseph Rheinberger at the Royal hundred symphonic, chamber, vocal, and School of Music in Munich. After graduating with piano compositions. honors, Thuille began his compositional career Turina’s lyrical Piano Quartet (1931) is a work of conservatively as he adhered to Viennese classicism warm sonorities and subtle elegance that shows the of the previous century. His horizons were influence of César Franck in its pervasive cyclic fortunately widened by timely exposure to works of structure, a means of unifying the movements Richard Strauss, whose bold harmonies and rich through a recall of themes. The three movements, tonal colors inspired Thuille to explore arranged in a traditional fast-slow-fast scheme, all romanticism. suggest the grace and vitality of popular Spanish Thuille was honored in academic circles as the folk dance and song. Each movement develops author of the noted textbook Harmonielehre, which freely with moments of declamation that reflect the remained in use long after his death. As a Professor improvisational singing style of the Spanish gypsies. of Composition at the Munich Akademie der Opulent intrumental color enlivens the entire work. Tonkunst (Academy of Musical Art) he strongly The Quartet’s introduction states the fervent main influenced the works of his student Ernst Bloch; theme, a flowing Iberian-influenced melody that Thuille’s large and devoted circle of students became recurs throughout all movements. Florid melodies known as “The Munich School.” in the strings overlay rich chromatic figuration in Thuille cultivated chamber music during an era the piano, directed to be played “in a singing style.” when his colleagues were largely ignoring the genre, Numerous changes of tempo, texture, and dynamics and his body of sonatas, quartets, and miscellaneous lend drama to this atmospheric movement. ensemble works are a significant contribution to the The rapid, triple-time Vivo is based on a Jota, a German romantic repertory. His early Opus 6 Sextet vigorous dance of northern Spain. Pizzicato passages for Piano and Winds (1891) was enthusiastically suggest the lively interplay of guitars. The main received at its premiere. Critically praised for its theme of the first movement, underpinned by structural clarity and fine melodic invention, this modal harmonies, is quoted at its center. appealing work has been described as a combination of “Romantic gaiety and German tenderness.”
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The genial Allegro moderato, cast in sonata form, of melody and countermelody. Nevertheless, the explores two thematic areas – a noble theme oboe line is always prominent in K. 370, a introduced by the horn, first echoed then developed testimony to its conception as a showpiece for his by all instruments; and a faster idea shared by all friend’s virtuosity. instruments through brief solos that dovetail The Allegro opens with a lively theme stated by the throughout the group. The harmonies are firmly oboe. The violin plays the elegant rococo second grounded in traditional nineteenth-century theme, closely related to the first motif, as the oboe techniques; their smooth developments and articulates a countermelody. After a development resolutions suggest the mid-century romantic featuring virtuoso passagework for each performer influence of Mendelssohn. and a recapitulation of the first theme, the The Larghetto (E-flat major) unfolds in three part movement concludes with a quiet coda. song form. The horn states the reflective opening The Adagio (D minor), a brief but concentrated 38 theme, which is answered by the piano. The minor measures long, is a sustained, expressive aria for key central area moves with urgent rhythms. oboe. The delightful Rondeau finale offers virtuoso A gavotte, an eighteenth-century French dance in passages for the oboist; in a remarkable central 4/4 time, replaces the customary third movement episode the oboe climbs dramatically to its highest scherzo (G minor). At its center the tempo register before the strings reprise the main theme. accelerates, then the opening idea returns. The work concludes with three ascending notes that echo the closing of the Adagio movement. The exuberant finale suggests a saltarello, a lively Italian dance punctuated by energetic leaps. Two ALTHOUGH THE MUSIC OF British composer Frank melodious themes are developed by all instruments, Bridge fell into neglect following his death, his and the movement concludes with a brief coda. masterfully crafted and poetic works are currently undergoing revival. The composition teacher of IN 1780 THE ELECTOR OF BAVARIA invited Mozart to Benjamin Britten, who honored him by incorporating Munich to compose an opera to be performed Bridge’s themes into his own works, Bridge has during the upcoming carnival season. Mozart’s been called a “musician’s musician” because of his employer in Salzburg, the difficult Prince- outstanding competence as a violinist, conductor, Archbishop Hieronymous Colloredo, reluctantly and composer with a subtle understanding of granted him leave for six weeks, but Mozart managed instrumental color. Bridge studied violin and to gain a four month extension to complete and composition at the Royal College of Music under rehearse Idomeneo, his first significant serious opera. the tutelage of C. V. Stanford, a difficult taskmaster During this time Mozart renewed his friendship notorious for discouraging all but the strongest with Friedrich Ramm, the principal oboist of the candidates. After graduation Bridge joined the Elector’s orchestra. Mozart had heard Ramm’s English String Quartet as violinist and also undertook exquisite playing four years earlier and had then numerous conducting engagements. At this time he resolved to create a work showcasing Ramm’s composed both substantial, warmly romantic considerable abilities. Immediately after composing chamber works as well as light, entertaining pieces his opera, Mozart began his K. 370 Oboe Quartet that unjustly contributed to his reputation as a salon and completed it early in 1781. composer. Benjamin Britten defended Bridge: When Mozart combined string instruments with “When Frank Bridge matured at the turn of the winds in his chamber works, he invariably replaced century, the school of chamber music was in the the first violin line with the wind instrument – doldrums. Bridge was not only a listener and which easily dominates the group because of its composer but a player too. Little wonder he wanted stronger tonal color. To achieve his desired to write music grateful to play and easy to listen to.” homogeneity of sound, as well as the conversational qualities of chamber music, in K. 370 Mozart integrated all four voices through subtle dovetailing
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“Frank Bridge was not only The Quintet begins with a brief introduction as the violin and cello softly state the first theme. At a listener and composer but the Allegro moderato the solo viola articulates this idea, now twice as fast, against a flowing piano line. a player too. Little wonder A steady crescendo leads to the emphatic second he wanted to write music theme, stated by the unison strings; these ideas are enlarged with fervor and sweep. At the development, grateful to play and easy to muted pedal effects in the piano and triple-soft listen to.” utterances in the strings conjure a mysterious atmosphere. The harmony grows more chromatic BENJAMIN BRITTEN and the dynamics increase, culminating in a section ON HIS TEACHER marked “with passion.” At a passage marked “little by little more tranquil” the tempo calms, and the Bridge’s early Piano Quintet reveals his affinity to strings sing expressive lines based on the first theme. Brahms but also shows the influence of Debussy’s The opening tempo returns with a reprise of the String Quartet in G Minor, a work he had admired first theme, which is developed “with warmth”; the since his student days. Crafting the Quintet’s first mode changes to major at a passage marked version in 1904–5, Bridge produced a large- “sweetly.” Gradually the momentum slows, and proportioned four movement work with a massive, the movement concludes with a hushed statement virtuoso piano score. After two discouraging in D minor. performances, Bridge filed the work in a drawer. The second movement consists of two Adagio In 1912 he began to rewrite the Quintet and made statements in B major with a contrasting rapid substantial changes: the angular first movement was central section in A minor. The first outer section replaced by a more graceful, French-influenced explores two themes marked “sweetly and with statement; the second and third movements were expression.” Soft dynamics and calm rallentandos condensed into a single framed arch (Adagio ma create a gentle affect. The fast central section is a non troppo – Allegro con brio – Adagio ma non scherzo that unfolds like a mischievous dance; troppo); the finale was abbreviated. Much of the staccato figuration adds piquancy. The Adagio area complex piano writing was simplified and replaced returns softly with an ethereal cello soliloquy. by arpeggiated figuration. Momentum builds and subsides; the movement concludes quietly. The dramatic finale (D minor) is initially propelled by short fragments exchanged between the strings and piano. As in the first movement, two contrasting motifs are developed in passages alternately florid and spare. The themes from the first movement are recalled; the mode changes to D major and, as the tempo slows, all ideas are expansively stated. A tumultuous coda marked “with all force” concludes the movement. Notes by Nancy Monsman
18 VERSE
In Tennessee I Found a Firefly
BY MARY SZYBIST
Flashing in the grass; the mouth of a spider clung to the dark of it: the legs of the spider held the tucked wings close, held the abdomen still in the midst of calling with thrusts of phosphorescent light—
When I am tired of being human, I try to remember the two stuck together like burrs. I try to place them central in my mind where everything else must surround them, must see the burr and the barb of them. There is courtship, and there is hunger. I suppose there are grips from which even angels cannot fly. Even imagined ones. Luciferin, luciferase. When I am tired of only touching, I have my mouth to try to tell you what, in your arms, is not erased.
Selected for tonight’s concert by Tyler Meier, Executive Director of the University of Arizona Poetry Center. Mary Szybist, “In Tennessee I Found a Firefly” fromGranted . © 2003 by Mary Szybist. Used with the permission of The Permissions Company, Inc., on behalf of Alice James Books, alicejamesbooks.org. 19 20 FRIDAY, MARCH 17, 2017 7:30 PM
TONIGHT’S PROGRAM FRANZ SCHUBERT (1797–1828) Quintet in A Major for Piano and Strings ROBERT SCHUMANN (1810–1856) (“Trout”), D. 667
String Quartet in A Major, Op. 41, no. 3 Allegro vivace Andante Andante espressivo – Allegro molto moderato Scherzo: Presto Assai agitato Andantino Adagio molto Finale: Allegro giusto Finale: Allegro molto vivace Piers Lane, piano Jupiter String Quartet Axel Strauss, violin Nokuthula Ngwenyama, viola DMITRI TYMOCZKO (b. 1969) Clive Greensmith, cello Philip Alejo, double bass “Wheels Within Wheels” for Dectet (World Premiere) The Swerve The World Premiere Modernistic Runner’s High of Dmitri Tymoczko’s Carol Wincenc, flute “Wheels Within Nicholas Daniel, oboe Wheels” is sponsored Charles Neidich, clarinet William Purvis, horn by Walter Swap. Benjamin Kamins, bassoon Axel Strauss, violin This evening’s concert Nokuthula Ngwenyama, viola Clive Greensmith, cello is sponsored by the Philip Alejo, double bass generous contribution Piers Lane, piano Stephen Taylor, conductor of Walter Swap.
INTERMISSION
AARON COPLAND (1900–1990)
Duo for Flute and Piano Flowing Poetic, somewhat mournful Lively, with bounce Carol Wincenc, flute Bernadette Harvey, piano
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AS A YOUTH, ROBERT SCHUMANN epitomized the The bold Assai agitato (F-sharp minor) explores a romantic revolutionary. A pianist and essentially restless subject through four variations energized by self-taught composer, he sought to free his art from dramatic changes of meter; a quiet coda concludes classical bonds through intensely personal musical the movement. The profound Adagio molto (D language resonant with literary associations. But major), marked “always expressive,” freely develops after his marriage to the classically trained piano two rhapsodic themes. Eloquent viola statements virtuoso Clara Wieck, he decided to immerse suggest the lyrical influence of Mendelssohn’s himself in close study of eighteenth-century string ineffable “Songs Without Words.” Energetic dotted quartets and the counterpoint of Bach. Inspiration figuration propels the powerful rondo finale (A struck two months later, and with fervency he wrote major); a graceful Trio section (F major) falls at its his own three Opus 41 string quartets within five center. An extended coda drives the work to a weeks in 1842. The set was dedicated to his brilliant conclusion. colleague and friend, Felix Mendelssohn. The AMERICAN COMPOSER AND MUSIC THEORIST premiere of all three string quartets, his sole efforts Dmitri Tymoczko (b. 1969) was educated at the in this demanding form, was held as a present to University of California, Berkeley, where he received Clara on her twenty-third birthday. his Ph.D. in composition, and Harvard University Incipient bipolar disease now threatened Schumann, and Oxford University, where he studied both who confessed that “more than one soul dwelt music and philosophy. Recipient of a Guggenheim within his breast.” When composing, he heeded Fellowship and a Rhodes Scholarship, Tymoczko directives from three phantom voices: the reckless has composed works for numerous diverse Florestan, the dreamy Eusebius, or (less often) the ensembles, including the Pacifica Quartet, the objective Raro. Quicksilver contrasts of mood Atlantic Brass Quintet, and the Gregg Smith within movements reflect these distinctive personae Singers. Tymoczko is currently Professor of Music that dominated his turbulent inner life. The quartets at Princeton University, where he has taught as a whole are best comprehended as tone poems composition and theory since 2002. His book intended, as he said, “to illuminate the depths of the A Geometry of Music (2011) offers a discussion of human heart.” Yet despite their emotional tonality that has been critically hailed as a “tour subjectivity, each quartet is formally grounded by de force” and a “monumental achievement.” classical principles of sonata development. From the composer: “ ‘Wheels Within Wheels’ is a The first movement of Quartet No. 3 begins with a set of three movements played without pause. First, reflective introduction followed by two ardent ‘The Swerve,’ depicts the swirling maelstrom of themes – a warmly lyrical motif for the violin and a subatomic activity, the burbling quantum vacuum. songful cello passage subtly animated by syncopated It borrows its title from the ancient philosopher accompanimental rhythms. Expressive changes of Lucretius, who argued that atoms need to ‘swerve’ tempo articulate the movement’s sonata form from their predetermined paths in order to leave structure. The movement concludes with a softly room for free will. The ten instruments mostly play descending interval in the cello that emulates a as a unit, like a school of fish – a massed colorful romantic sigh of the name “Clara.” force. The second movement, ‘Modernist,’ borrows its title from a piece by the stride piano master James P. Johnson. It makes lighthearted use of various modern-music clichés including quarter tones (‘out of tune’ notes) and other unusual playing techniques. It is fragmentary and uncertain until it breaks out in a jovial dance, perhaps inspired by jazz. The last movement, ‘Runner’s High,’ tries to capture the pain and joy of a fast five-minute run. It is rhythmic and unrelenting, a mix of pleasure and pain.
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“What I love about music is its unique combination OFTEN CALLED “the Dean of American composers,” of mathematical rigor and emotional expressiveness; Aaron Copland also enjoyed a long career as teacher, it is a theorem expressed as drama. Often I start conductor, writer, and critic. During the 1920s composing with some interesting theoretical Copland studied composition in Paris with Nadia structure – a set of chords or melodic pattern that Boulanger, who encouraged him to create a has notable musical features. This becomes something specifically American neoclassical idiom. After like the sculptor’s block of marble, raw material exploring avant-garde chromatic and serial that I mold and shape to my own expressive and techniques in the 1930s, Copland in the 1940s dramatic ends, negotiating between the tendencies found his national voice with a series of American- of the substance and my own inclinations. It is a fairly inspired ballet scores – Billy the Kid, Rodeo, and inefficient process: sometimes the finished piece Appalachian Spring (which won the 1945 Pulitzer retains a good deal of the original structure; at Prize). Copland’s style effectively balances others, only tiny glimpses and fragments survive. modernist and folk elements. Since it most often But it is my way of trying to honor the twin develops with slowly moving and expansive demands of rigor and passion. harmonies, his work has been heard as an evocation of the vast American landscape. “The two most interesting structures in this work are, first, a long fractal chorale in which four-note Although Copland’s Duo for Flute and Piano chords move inside six-note scales which themselves (1971) is a late work, it recalls the early scores move inside seven-note scales which themselves that established his reputation. The Duo was move inside an eleven-note chromatic pattern. commissioned by seventy friends and students of (I was astonished to discover such a thing was even William Kincaid, longtime principal flutist with possible.) This is the ‘wheels within wheels’ of the the Philadephia Orchestra, after his death in 1967. title. The chorale appears at the start and end of the Copland wrote: “Duo is a work of comparatively piece, and makes a brief appearance at the end simple harmonic and melodic outline, direct in of the second movement. The second structure is a expression and meant to be grateful for the mathematical problem, the ‘lonely runner conjecture,’ performer. I was naturally influenced by the fact which imagines runners jogging independently that I was composing for Kincaid’s students. Also, I around a circle, in various directions and speeds. was using material from earlier sketches in my A musical depiction of this problem forms one of notebooks, and that may have influenced the style the main themes of the final movement. of the piece. For example, the beginning of the first movement, which opens with a solo passage for “My thanks to Walter Swap and the Arizona Friends flute, recalls the first movement of my Third of Chamber Music for making this music possible.” Symphony.” The slow second movement, an elegy for Kincaid, also reflects for Copland “a certain mood that I connect with myself – a rather sad “Often I start composing with and wistful mood, I suppose.” Copland continues some interesting theoretical that the final movement is not unlike his 1944 Sonata for Violin and Piano: “It’s snappy and structure – a set of chords rather rhythmically intricate, combining light and or melodic pattern that has bouncy material with sections that are more notable musical features. This serious in tone.” becomes something like the sculptor’s block of marble.”
DMITRI TYMOCZKO
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SCHUBERT WROTE HIS “Trout” Quintet during an The rapid Scherzo opens with an energetic four- 1819 holiday in the picturesque Austrian town of note motto that generates exuberant passagework Steyr. The work was commissioned by the town’s punctuated by unexpected accents and changes of musical patron, Sylvester Paumgartner, a prosperous dynamics. The contrasting central Trio section mine manager and accomplished amateur cellist. suggests calm conversation. Paumgartner, who frequently hosted musical The fourth movement offers six variations on evenings in his home, specifically requested the Schubert’s song “The Trout.” Introduced by the Quintet’s instrumentation because friends had strings alone, the melody is varied and ornamented recently enjoyed playing the Hummel quintet first in the upper octaves of the piano, then by the for the same unusual scoring. Since Paumgartner viola and cello, followed by the double bass. The admired Schubert’s 1817 strophic song “Die theme is substantially altered in the fourth and fifth Forelle” (The Trout), he also requested that the variations, which move into harmonically remote composer include a variation movement based on areas. In the final variation the song appears in its its theme. Schubert was delighted by the prospect original form as the piano articulates a rippling of an appreciative audience for his work, and accompaniment. The Finale, “in the Hungarian within weeks he had both completed the score style,” develops two lively themes, the second of and had written out the lengthy parts for the which recalls the Quintet’s opening movement. individual players. Notes by Nancy Monsman Essentially a lyrical serenade for chamber ensemble, graceful interplay among the five instruments creates an atmosphere of sociable conversation throughout. A dramatic piano arpeggio leads into the animated first theme of the Allegro vivace; a serene idea for strings follows, and all instruments expand the two themes. The violin and cello sing a duet that introduces a melodious third idea. After a harmonically rich development section and a restatement of themes, the movement concludes without a coda. The Andante (F major) explores three contrasting ideas: a sustained theme heard in piano octaves; a poignantly songful theme (F-sharp minor) introduced by the viola and cello that is derived from a motive heard in the first movement; a dancelike idea (D major) introduced by the piano. The three ideas are then repeated with different harmonies but without development.
24 A BRIEF HISTORY OF THE TUCSON WINTER CHAMBER MUSIC FESTIVAL
The Tucson Winter Chamber Music Festival was Musicians have proved eager to perform because “born” during a chance meeting between cellist they know they can expect talented colleagues, Peter Rejto and me (at that time president of AFCM) fascinating programs, a fine audience, and great on a flight to Chicago in 1988. I had heard Peter March weather. Several have been “graduates” from play an impressive cello recital a few days earlier at our Piano & Friends series, such as Joseph Lin and the University of Arizona, where he was then on the Sergey Antonov. The festival hires between 15 and faculty. Spotting Peter on the plane, I asked to join 20 artists, playing a wide variety of instruments, him. The poor fellow did not know what he was including some unexpected ones, such as getting himself into! percussion, didgeridoo, Chinese pipa, saxophone, and guitar. We have also presented numerous This started a long conversation, leading to a “World Premieres” through an active discussion of what exciting new concerts AFCM commissioning program that also brings the could bring to Tucson. An idea for a string quartet composers to Tucson for the premiere. competition was considered and rejected, as there were already many in the world. We focused on a In addition, there is a popular “Gala Dinner” at the Chamber Music Festival to be held during Tucson’s Arizona Inn with a one-hour concert. A free Youth beautiful winter season, because the vast majority of Concert is organized for middle and high school such festivals are held in the summer. And a Tucson students from all over Tucson and southwest festival could be only one week long, so as not to be Arizona, focusing on disadvantaged schools that a burden on the musicians’ other activities. We also would otherwise not receive this kind of exposure. agreed that the musicians would have to be of the Two free master classes are offered to students of the highest caliber. The AFCM Board of Directors University of Arizona Fred Fox School of Music by agreed to go ahead and began three years of careful festival musicians. The public is also invited to planning to fully organize and understand the attend dress rehearsals on the morning of most complexity of such an undertaking. In 1994 the first concerts. A sizable audience attends, which can lead festival took place and was an instant critical to interesting contacts between musicians and success. audience members. Peter Rejto has been Festival Artistic Director for Every performance is professionally recorded by all twenty-four years, and he has been masterful Matthew Snyder, and over the years some have been at choosing pieces and players, and matching selected for broadcast on NPR’s Performance Today. programs with the musical and personal To date we have produced CDs with selections from temperaments of the performers. Some of the virtually every Festival that can be purchased in the festivals have had a theme – Czech, English, Latin theatre lobby or through our website. American, Australian, for example – but Peter has Our festival has been called “a jewel” by WFMT never felt limited by the obligation to have one. Classical Radio in Chicago. They’re right. Let’s keep it going! Spread the word!
JEAN-PAUL BIERNY President of AFCM (1978 – 2013)
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THIS AFTERNOON’S PROGRAM FRANZ SCHUBERT (1797–1828) Octet in F Major, D. 803 FRANCIS POULENC (1899–1963) Adagio – Allegro Sextet for Piano and Winds Adagio Scherzo: Allegro vivace Allegro vivace Andante Divertissement: Andantino Menuetto: Allegretto Finale: Prestissimo Andante molto – Allegro Piers Lane, piano Charles Neidich, clarinet Carol Wincenc, flute William Purvis, horn Nicholas Daniel, oboe Benjamin Kamins, bassoon Charles Neidich, clarinet Axel Strauss, violin William Purvis, horn Meg Freivogel, violin Benjamin Kamins, bassoon Nokuthula Ngwenyama, viola Clive Greensmith, cello PIERRE JALBERT (b. 1967) Philip Alejo, double bass
Piano Quintet (World Premiere) Mannheim Rocket The World Premiere Kyrie Scherzo of Pierre Jalbert’s Piano Pulse Quintet is sponsored Bernadette Harvey, piano by Jim Cushing. Jupiter String Quartet This afternoon’s concert INTERMISSION is sponsored by the generous contribution of George Timson.
27 SUNDAY, MARCH 19, 2017 3:00 PM
IN THE YEARS FOLLOWING World War I, Francis strongly rhythmic passages alternate with lyrical Poulenc gained notoriety as the most impudent moments. The reflective coda reprises motifs from member of “Les Six” – a revolutionary group of the opening of the first movement; it concludes Parisian composers who declared oppression by the with a surprisingly dissonant chord as an “stagnant and boring” musical establishment and exclamation point. sought to rejuvenate it. Guided by the irreverent WE WELCOME PIERRE JALBERT back to Tucson for Erik Satie and his avant-garde literary friend Jean his third World Premiere with the Arizona Friends Cocteau, the group cultivated a light cafe style of Chamber Music. Mr. Jalbert, born in New enlivened by jazz. Although diverse in their Hampshire to a French-Canadian family, has approaches, the six members were united for a brief received numerous awards for his compositions, span of time in their aversion to romanticism and including the Rome Prize, the BBC Masterpiece impressionism, their emphasis on clarity and Award, a Guggenheim Fellowship, and a Chamber simplicity of expression, and their avoidance of all Music Society of Lincoln Center Elise L. Stoeger pretense. Since the members did not have access to Prize, given biennially “in recognition of significant large orchestral ensembles, they produced much contributions to the chamber music repertory.” He chamber music. has been commissioned and performed by the Los Early in his career the self-taught Poulenc earned a Angeles Chamber Orchestra, the Houston reputation as a musical clown. Fellow “Les Six” Symphony, and the Budapest Symphony, among members called him “le sportif de la musique” many others. His music has been praised for its clear (music’s sportsman) because of the often frenetic tonalities, luminous colors, and dynamic propulsive physicality emanating from his compositions. As his rhythms. Mr. Jalbert is currently Professor of career progressed, Poulenc retained his playful Composition and Theory at Rice University’s tendencies but also, ironically, began to compose Shepherd School of Music in Houston, where he elegant and lyrical works that stand in the classical has taught since 1996. French tradition of Saint-Saëns. Poulenc expressed From the composer: “My Piano Quintet consists of his own musical esthetic in a letter: “I seek a musical four contrasting movements. The first movement, style that is healthy, clear, and robust – a style that entitled ‘Mannheim Rocket,’ is a modern take on is plainly French as Stravinsky’s is Slavic. I take the eighteenth-century musical technique in which as my models whatever pleases me, especially from a rising figure speeds up and grows louder. Marked every source.” ‘Furioso,’ the movement is gradually filled with Poulenc completed his Sextet in 1939, although he rising scalar figures which build in volume and began it a decade earlier, and performed the piano finally ‘launch’ into space with ethereal string part at its premiere. He described the work as harmonies. At this point, the music becomes almost “chamber music of the most straightforward kind: static, though the inner rhythm continues. an homage to the wind instruments I have loved “The second movement, entitled ‘Kyrie,’ is marked from the moment I began composing.” The Sextet’s ‘Still, chant-like.’ The principal idea, stated between vivacious opening statement introduces a succession first violin and viola, is a chromatically transformed of sprightly motifs punctuated by flutter tongue chant-like motive. It also features a long, lyrical cello utterances from the flute. After a bassoon cadenza, line, made up exclusively of natural harmonics, the piano plays a slow and somber variant of the first emphasizing the non-tempered (‘out of tune’) 7th idea. The bright opening theme returns and the and 11th partials. movement ends with a recall of the opening flourish. The three part Divertissement opens with “The third movement is a scherzo in which the two serene themes – an oboe melody marked “sweet strings and piano sometimes alternate and imitate and expressive” and a second idea shared by the each other, reacting to each other’s gestures, and at group. Its exuberant middle section is based on a other times combine and synchronize to produce a lively circus tune. In the vibrant Finale rapid and more blended sound. A short trio-like section appears before the return of the scherzo music. 28 SUNDAY, MARCH 19, 2017 3:00 PM
“The last movement, ‘Pulse,’ is made up of perpetually Yet despite his adherence to Beethoven’s model, moving 8th notes, sometimes harmonically static, Schubert’s uniquely romantic spirit pervades but always pushing forward. The work is interrupted the Octet. twice with short, freer sections but always returns to Structurally, the Octet resembles an eighteenth- its pulse-oriented nature. century serenade, a succession of melodious “Thank you to the Arizona Friends of Chamber movements framed by two marches that suggest the Music for commissioning and championing so assembling and departures of players. The Octet much new music. Through the years, they have opens with a substantial sonata form movement commissioned my Second Piano Trio, Secret pervaded with emphatic dotted rhythms that Alchemy (piano quartet), and now this new work. perhaps allude to the serenade’s origins as “strolling” We need groups like yours, especially in these times. music. Initially heard in the slow introduction, the I am greatly appreciative.” dotted figuration expands to become the primary theme of the Allegro; the clarinet introduces the SCHUBERT ENDURED PERIODS of melancholy calmer second theme of this spirited movement. during his mature years since he suffered from poor The introductory material returns at the health, most probably syphilis, and his recapitulation, and the movement concludes with compositions received little income or recognition. a rapid coda. “Every night when I go to bed I hope I might not wake up,” he wrote. However, his mood grew Curiously, the second movement is marked Adagio euphoric when he received a commission from the (slow) in Schubert’s 1824 manuscript but Andante eminent Count Ferdinand Troyer, an official in the un poco mosso (moderately slow with some court of Archduke Rudolph. Troyer, an motion) in the posthumous first publication. This accomplished amateur clarinettist, wished to lyrical movement (B-flat major), written in three- expand the limited chamber repertoire for his part song form, opens with a pensive clarinet solo; instrument. He had performed Beethoven’s popular the following violin theme is accompanied by a Opus 20 Septet (1800), and he desired an countertheme in the clarinet. entertaining companion to this radiant work. Troyer The Scherzo is a rustic dance propelled by strongly requested that Schubert duplicate the Septet’s style dotted rhythms; a quieter trio section (C major) and format, and he agreed to the addition of a provides a contrast. The following Andante consists second violin for enhanced sonority. Schubert of seven variations on a theme from Schubert’s quickly immersed himelf in this project, which was opera Die Freunde von Salamanca (The Friends to be his largest-scale chamber work. His friends from Salamanca). A variety of virtuoso figuration observed: “Schubert works with the greatest zeal on decorates the tuneful line, and the movement his Octet. If you go to see him, he says ‘How are concludes with a tranquil coda. you? Good!’ And you depart.” Schubert was pleased with his Octet (completed in March, 1824), and he The lighthearted Menuetto is cast in traditional submitted it to several publishers. Unfortunately three-part form with a gentle trio intervening they rejected the work, and the Octet was published between its primary statements. The introduction posthumously in 1853. to the sonata form finale (F minor) offers a dramatic contrast; over a tremolo cello line, the other players The Octet delighted its audience at Troyer’s home articulate strong dotted figures. The main part premiere, and its similarity to Beethoven’s Septet of the movement (F major) suggests a vigorous was much appreciated. Both works unfold in a march. A fragment of the movement’s introduction six-movement scheme that recalls the tuneful is reprised and the work concludes with a eighteenth-century divertimento style especially brilliant coda. enjoyed by the Viennese. Schubert closely followed the Septet’s key relationships, and he digressed only Notes by Nancy Monsman slightly from the Septet’s movement sequence by adjusting the position of the minuet and scherzo.
29 FESTIVAL MUSICIANS
Peter Rejto Jupiter String Quartet The Jupiters studied Philip Alejo Artistic director Peter The Jupiter String with mentors from both Philip Alejo is assistant Rejto is committed to Quartet is a particularly the Cleveland and professor of double bass presenting the finest intimate group, Takács quartets exten- at the University of chamber music, both consisting of violinists sively in their early years Arizona. He has well-loved works and Nelson Lee and Meg together, and were lucky performed alongside new, unfamiliar ones, Freivogel, violist Liz to find early success Menahem Pressler, performed by some of Freivogel (older sister of with several chamber Yehonatan Berick, the world’s finest Meg), and cellist Daniel music honors: grand Maiya Papach, Spencer musicians. Highlights McDonough (husband prize in the Banff Myer, Katinka Kleijn, of his international of Meg, brother-in-law International String and David Bowlin, and career include the world of Liz). Formed in Quartet Competition at numerous music premiere of Gerard 2002, the members of in 2004, grand prize in festivals in the US and Schurmann’s “Gardens this tightly-knit the Fischoff National Europe. In addition, he of Exile” with the ensemble make it their Chamber Music collaborates regularly Bournemouth Sympho- mission to spread a love Competition in 2004, with harpist Claire ny broadcast live over of chamber music winner of the Young Happel as the River the BBC, and the through both perform- Concert Artists Compe- Town Duo, and they are recording of Miklós ing and teaching. In tition in 2005, the committed Rózsa’s Cello Concerto addition to touring Cleveland Quartet to commissioning in Hungary. Mr. Rejto is throughout the United Award in 2007, and an works for harp and bass; a founding member of States and abroad, the Avery Fisher Career to date, they have the Los Angeles Piano Jupiters are Artists-in- Grant in 2008. They premiered works by Quartet and a former Residence at the were also members of Caroline Shaw, Hannah professor of the Univer- University of Illinois in the Lincoln Center Lash, and Frederick sity of Arizona School Champaign-Urbana, Chamber Music Two Evans. Dr. Alejo of Music as well as where they maintain Society from 2007–10. previously took part in professor emeritus at private studios and run the Festivals of 2014 We last heard the the Oberlin College the string chamber and 2015. Jupiter String Quartet Music Conservatory. music program. in an Evening Series concert of January 2012. This is their first Festival.
30 FESTIVAL MUSICIANS
Nicholas Daniel Clive Greensmith Bernadette Harvey Benjamin Kamins The career of oboist Clive Greensmith is Australian pianist Since entering the world Nicholas Daniel began undoubtedly one of the Bernadette Harvey of professional music when, at the age of 18, most successful British divides her time in 1972, Benjamin he won the BBC Young cellists of his generation, between collaborations, Kamins has enjoyed a Musician of the Year having achieved solo appearances, and wide-ranging career as Competition and went extraordinary interna- recordings. She has an orchestral musician, on to win further tional acclaim both had several new works chamber player, solo competitions in Europe. as a soloist, chamber written for her, including performer, and educator. As one of the UK’s most musician, orchestral previous Festival From 1981 to 2003 he distinguished soloists principal, and teacher. composer Ross Ed- was principal bassoon of as well as a highly He is currently professor wards, who completed the Houston Symphony, successful conductor, of cello and co-director a new solo piano sonata and his artistic life in he has become an of chamber music at for her to perform and the city has remained important ambassador the Colburn School, record in 2014. A diverse as a founding for music and musicians and he is also a founding faculty member at the member of the Epicurean in many different member of the Montrose Sydney Conservatorium Wind Quintet and the fields. In recognition Trio, with pianist of Music, University of Houston Symphony of this, he was awarded Jon Kimura Parker and Sydney, she is also Chamber Players. With the prestigious Queen’s violinist Martin Beaver. the recipient of the faculty appointments Medal for Music. Mr. A member of the Tokyo Centenary Medal of at the University of Daniel is proud to play Quartet from 1999 Australia presented by Houston, and then at the world’s first “fair until it disbanded in John Howard for her Rice University’s trade” oboe, certified by 2013, he participated service to Australian Shepherd School of the Forest Stewardship in our 19th Festival as music. This year will Music, he extended his Council and made a member of that mark her sixth Festival personal involvement especially for him by ensemble, and we also appearance. with music to academic Marigaux in Paris. This heard him at the institutions and the is his first Festival. Festivals of 2015 and communities they serve. 2016. We welcome him to his first Festival.
31 FESTIVAL MUSICIANS
Piers Lane Charles Neidich Nokuthula Ngwenyama William Purvis London-based Austra- Charles Neidich has Nokuthula Ngwenyama Hornist William Purvis lian pianist Piers gained worldwide came to international pursues a multifaceted Lane stands out as an recognition as one of attention when she career both in the engaging and highly the most mesmerizing won the Primrose United States and abroad versatile performer, at virtuosos on his International Viola as soloist, chamber home equally in solo, instrument. In 1985 Competition and the musician, conductor, chamber, and concerto he became the first Young Concert Artists and educator. A frequent repertoire. In great clarinetist to win the International Auditions guest artist with the demand as soloist and Walter W. Naumburg at age seventeen. Chamber Music Society collaborative artist, Competition, which Born in California of of Lincoln Center, he has recent highlights brought him to promi- Zimbabwean-Japanese also has collaborated include a performance nence as a soloist. parentage, Ms. Ngwen- with the Tokyo, Juilliard, of Busoni’s mighty piano He then taught at the yama graduated from Orion, Brentano, concerto at Carnegie Eastman School of the Curtis Institute of Mendelssohn, Sibelius, Hall, premieres of Carl Music and during that Music. She attended the and Fine Arts string Vine’s second Piano tenure joined the Conservatoire National quartets. Mr. Purvis is Concerto, written for New York Woodwind Supérieur de Musique currently a faculty him, with the Sydney Quintet, an ensemble de Paris as a Fulbright member of The Juilliard Symphony and the with which he still Scholar, and received School and The London Philharmonic, performs. Currently a Master of Theological Yale School of Music. and several sold-out Mr. Neidich is a Studies degree from Previously he appeared solo recitals at Wigmore member of the artist Harvard University. In on our Festivals of 2005 Hall. In the Queen’s faculties of The Juilliard addition to numerous and 2012, the latter as Diamond Jubilee School, the Manhattan concert appearances, a member of the New Honors, Piers was made School of Music, the she has been director of York Woodwind an Officer in the Order Mannes College of the Primrose Interna- Quintet. of Australia for services Music, and Queens tional Viola Competi- to music. This is his College. We last heard tion since 2005 and first Festival. him as a member of the assumed presidency Peabody Trio in 2001. of the American Viola This is his first Festival Society in 2011. Ms. appearance. Ngwenyama was previously with us for our Festival in 2015. 32 FESTIVAL MUSICIANS
Axel Strauss Stephen Taylor Carol Wincenc Nancy Monsman The first German artist Stephen Taylor, the Carol Wincenc is one Although not one of ever to win the interna- conductor of the world of the most respected the Festival musicians, tional Naumburg Violin premiere performance and acclaimed flutists Nancy Monsman has Award in New York, of Dmitri Tymoczko’s performing today. A been an integral part of Axel Strauss has been ‘‘Wheels Within Wheels,” First Prize winner of the the Festival from the equally acclaimed for is a composer who Naumburg Solo Flute beginning through her his virtuosity and his currently teaches at the Competition, she informative program musical sensitivity. University of Illinois at appears worldwide with notes. An active cellist, Since his European Champaign-Urbana. orchestras, in recitals Nancy’s practical debut in Hamburg in Born in 1965, he grew and concerts, and with knowledge of the 1988, he has been heard up in Illinois and studied the New York Wood- repertoire communicates on concert stages at Northwestern and wind Quintet. Equally the essence of each piece throughout the world. Cornell Universities, sought after as a to our audience. She has His chamber music and the California chamber musician, Ms. degrees in both English partners have included Institute of the Arts, Wincenc has appeared literature and cello Menahem Pressler, and his teachers include at major festivals and performance from Kim Kashkashian, Joel Steven Stucky, Karel collaborated with the Northwestern University Krosnick, Robert Husa, Mel Powell, Bill Guarneri, Emerson, and a Doctor of Musical Mann, and Bernhard Karlins, and Alan Stout. Tokyo, and Cleveland Arts degree from the Greenhouse. Mr. The recipient of many string quartets. She is University of Arizona, Strauss also serves as awards and commis- currently professor of where she studied professor of violin at sions, Mr. Taylor is also flute at The Juilliard with Peter Rejto. Also the Schulich School of active as a conductor School and SUNY trained as visual artist, Music of McGill with the Illinois Stony Brook. This is her her paintings have University in Montreal. Modern Ensemble, and second appearance at had international He previously took as a theorist, writing our concerts, having last recognition. part in our twentieth and lecturing on taken part in our Festival in 2013 and our György Ligeti, African seventeenth Festival. twenty-second Festival rhythm, Björk, and in 2015. Radiohead.
33 ENJOYING MUSIC
Whether you are inclined to treat music “as a 4. Develop a musical memory. significant phenomenon…, a pleasurable experience, While listening to a piece, try to recall familiar a gratification of the senses,”1 or an opportunity to patterns, relating new events to past ones and get away from it all will not matter as you enjoy this placing them all within a durational frame. This year’s Festival. We work over a year in advance to facility may take a while to grow, but it eventually plan the Festival, to identify and secure the world’s will. And once you discover that you can use your best chamber musicians. Yet, amidst the scheduling memory in this way, just as people discover that they (and amidst the busy day you have probably had) we really can swim or ski or ride a bicycle, life will never can dissolve into the sounds these master musicians be the same. will produce during the brief time they’re on our 5. Try to develop musical concentration, stage. As with all the chamber music we present, especially when listening to lengthy pieces. we invite you to relax, think, and find joy in what Composers and performers learn how to fill you hear. different time-frames in appropriate ways, using In the 1980s, the American composer Elliott certain gestures and patterns for long works and Schwartz set forth seven essential skills of perceptive others for brief ones. The listener must also learn to listening in his book Music: Ways of Listening.2 You adjust to varying durations. It may be easy to need not be desirous of perceptiveness to appreciate concentrate on a selection lasting a few minutes, but his insights on how we experience music – at a virtually impossible to maintain attention when concert and in the world around us. To enhance your confronted with a half-hour Beethoven symphony listening, we provide excerpts from his suggestions: or a three-hour Verdi opera. Composers are well aware of this problem. They provide so many 1. Develop a sensitivity to music. musical landmarks and guidelines during the course Try to respond aesthetically to all sounds, from the of a long piece that, even if listening “focus” hum of the refrigerator motor or the paddling of oars wanders, you can tell where you are. on a lake, to the tones of a cello or muted trumpet. When we really hear sounds, we may find them all 6. Try to listen objectively and dispassionately. quite expressive, magical and even “beautiful.” Concentrate upon “what’s there,” and not what you hope or wish would be there. 2. Time is a crucial component of the musical experience. 7. Bring experience and knowledge to the Develop a sense of time as it passes: duration, listening situation. motion, and the placement of events within a time That includes not only your concentration and frame. How long is thirty seconds, for example? A growing vocabulary, but information about the given duration of clock-time will feel very different music itself: its composer, history, and social if contexts of activity and motion are changed. context. Such knowledge makes the experience of listening that much more enjoyable. 3. If we want to read, write, or talk about music, we must acquire a working vocabulary. It is in support of the last skill that we provide to you Music is basically a nonverbal art, and its unique for the Festival, and every concert, program notes. events and effects are often too elusive for everyday These are written for each concert by one of our words; we need special words to describe them, program annotators or musicologists, and they are however inadequately. designed to enhance your understanding of the concert’s repertory and the musicians who perform it. [Note: Schwartz, “Maine’s best known classical composer” and a long-time Bowdoin College music professor, died December 7, 2016.] 1 Susanne K. Langer, Philsophy in a New Key: A Study in the Symbolism of Reason, Rite, and Art, 3rd ed. (Cambridge, MA: Harvard University Press, 1957). 2 Elliott Schwartz, Music: Ways of Listening (New York: Holt, Rinehart, and Winston, 1982). 34 BOARD PROFILE: RANDY SPALDING
Q: How long have you been involved Q: What do you do when you’re not working with AFCM? on AFCM? Randy Spalding: I attended my firstAFCM concert RS: I was a Special Education teacher for 40 years. 47 years ago! I have now served on the board for I am blessed to have had a job I loved and looked 20 years, having joined in 1997. forward to going to every day. But quite honestly, I love retirement way more. I have lots of interests Q: What is your current role? and a few volunteer gigs that keep me quite busy. RS: Over the years, I’ve worn many hats. Currently, my primary responsibility is to oversee the Tucson Q: Say a little bit about your interests outside Winter Chamber Music Festival. I also sit on of chamber music. AFCM’s Executive Committee. RS: I have been privileged to travel all over the world. I particularly love going to places where the Q: Tell us about the role music plays in your life. people don’t look like me or dress like me. My RS: I grew up in a very musical household. My 91-year old mom lives in my downtown back yard father was a brilliant musician who played both and is already packing for an upcoming trip to classical violin and jazz trumpet. The question asked Norway. My partner Jim and I will celebrate our in our house was not “do you want to play a musical 20th anniversary this year. We enjoy so many things instrument,” but “what musical instrument do you – travel, the arts, exploring our National Parks, an want to play.” One of my parents’ many gifts to me occasional fishing trip… was to inspire and bestow a great love of music. Q: What is the best part of an AFCM concert? Q: So what instrument did you choose? RS: Hearing world-class musicians perform RS: My parents tortured me with piano lessons. I exquisite music in this tiny hall in Tucson, Arizona, now bless them for their perseverance and fortitude. sometimes brings tears to my eyes. How could we I often accompanied my father when he played be so lucky? violin, and my little brother, a guitarist, would play jazz with him. My brother and I later performed in Q: What is little-known about AFCM? an ill-fated rock band. Playing piano, now with a RS: I think most folks know this, but it’s well worth piano quartet, Quartetto Tiradito, brings me so repeating. The AFCM board, past and present, are much great pleasure and joy. incredible, passionate people who work very hard to make all of this happen. It is a privilege, and often Q: How did you first become interested in the lots of fun, to know and work with them. chamber music form? RS: I attended my firstAFCM concert in 1970 and Q: What’s most memorable? have been hooked ever since. Chamber music spoke RS: Many years ago, AFCM brought the now- to me in a magical intimate way that still resonates. famous pianist Lang Lang to Tucson. I had a small Beethoven has always been my god, but I also like to reception at my home after the concert, with great hear new and challenging music. Mexican food per his request, and he and I later sat down at my piano and played duets. What a Q: What other kinds of music do you enjoy? humbling and thrilling experience! RS: I enjoy most music, but particularly adore classical. I love music from other countries, “World Beat” it’s generically called. My partner Jim plays the banjo, so I’ve developed a great appreciation, albeit a little reluctantly, for Bluegrass.
35 THANK YOU TO OUR SUPPORTERS!
$10,000 & ABOVE Katherine Havas Dr. Sydney Arkowitz Elliott & Sandy Heiman Mrs. Margaret Bashkin David & Joyce Cornell Drs. John Hildebrand Dr. Kathryn Bates Wesley Green & Gail Burd Peter & Betty Bengtson Walt Swap Dr. & Mrs. Robert Mrs. Ann Blackmarr Gwen Weiner & Deborah Johnson George & Diane Bowden
$5,000 – $9,999 Mr. & Mrs. Charles M. Peters Dr. & Mrs. Harvey W. John & Ila Rupley & Ruby Buchsbaum Jean-Paul Bierny & Chris Tanz Dr. & Mrs. Richard Cynthia & Lee J. Cannon Jim Cushing & Judy Sanderson Jim Click John & Teresa Forsythe Robert & Carolyn Thompson Janna-Neen Cunningham Michael Spino & SusanHenderson Mrs. Betsy Zukoski Mr. Philip M. Davis Drs. John & Helen Schaefer Stephen & Aimee Doctoroff George Timson $500 – $999 Mr. & Mrs. Donald Doran Linda Friedman $2,500 – $4,999 Frank & Betsy Babb Julie Behar Marvin & Carol Goldberg Nancy Bissell Bryan & Elizabeth Daum Ms. Clare Hamlet Caleb & Elizabeth Deupree Raul & Isabel Delgado Dr. David Johnson Stan Caldwell Phillip & Nancy Fahringer Carl Kanun & Linda Leedberg Carole & Peter Feistmann Barbara Katz Robert D. Claassen Leonid Friedlander Arthur & Judy Kidder & John T. Urban & Yelena Landis Al Kogel Dr. Henri Fischer Mr. Harold Fromm Dr. Daniela Lax & Alison Edwards Drs. J.D. & Margot Garcia Dr. Alan Levenson Beth Foster Ms. Julie Gibson & Rachel Goldwyn Thomas Hanselmann Helen Hirsch Kitty & Bill Moeller Irene & George Perkow Mr. & Mrs. Sidney Hirsh Mr. Hal Myers Boyer Rickel Eddy Hodak Donn Poll & Eric S. Nelson Jayant Shah Janet & Joe Hollander Brian & Jane Peterson & Minna Mehta Paul & Marianne Kaestle Herbert Ploch Randy Spalding Dan Leach Mr. Steve Przewlocki Paul A. St. John Mr. & Mrs. Malcolm Dr. Seymour Reichlin & Leslie P. Tolbert & Amy Levin Peter Salomen Ted & Shirley Taubeneck Tom Lewin Ellen Trevors Elliott & Wendy Weiss Larry & Rowena Matthews Gail Wahl Martie Mecom John Wahl $1,000 – $2,499 Teresa Pusser Mrs. Peggy Wolf Serene Rein Celia A. Balfour $100 – $249 Celia Brandt Dr. Elaine Rousseau Scott Brittenham Reid & Linda Schindler Anonymous Mr. & Mrs. Michael Coretz S. L. Schorr Helmut Abt Dagmar Cushing Ms. Pam Sutherland Philip Alejo Mr. Milton Francis Julia Annas $250 – $499 & Dr. Marilyn Heins Ms. Ruth Berman Anonymous Ms. Gale Bernstein Thomas & Susan Aceto Nathaniel & Suzanne Bloomfield Wes Addison Gary & Linda Blumenshine Joyce Bolinger
36 THANK YOU TO OUR SUPPORTERS!
Mrs. Sarah Boroson Joan Mctarnahan IN MEMORY OF John Burks Mr. & Mrs. Richard Clifford & Wendy Crooker Ms. Laurie Camm & Judith Meyer by Beth Foster Robert & Susan Carlson Doris Nelson Barbara Carpenter Ms. Gisele Nelson Michael Cusanovich Shirley Chann Jay Pisik by Marilyn Halonen Nancy Cook John Raitt Dick Firth Mr. James Dauber Ms. Lynn Ratener by Ted & Shirley Taubeneck Terence DeCarolis Richard & Harlene Reeves C. Jane Decker Kay Richter Helen Margaret Hodak Mae Delorenzo-Morales & Stephen Buchmann by Eddy Hodak & Marcella Delorenzo Arnie & Hannah Rosenblatt My Four Big Brothers Martin Diamond & Paula Wilke Jay & Elizabeth Rosenblatt by Marylou Hutchins Douglas & Dee Donahue Dr. & Mrs. Kenneth J. Ryan John & Mary Enemark Jim Sattler Dana Nelson Deanna Evenchik Howard and Helen Schneider by Gisele Nelson Mr. Matt Felix Dr. Stephen & Janet Seltzer Lea Sarid, Dr. Herb Karp, Mr. & Mrs. James Sara Shifrin & Alfred Delmoral & Ruth Friedman Ms. Barbara Silvian by the Bashkin Family Margot & Tommy Friedmann Shirley Snow Tom & Nancy Gates Mr. Ronald Staub Norman Salmon Dr. & Mrs. Gerald Ms. Nancy K. Strauss by Anonymous & Barbara Goldberg Sheila Tobias & Carl Tomizuka by Wallace & Geraldine Beene Ben & Gloria Golden Allan & Diane Tractenberg by Diane Berkowitz Linda Grant and Peter Medine Barbara Turton by Mrs. Ruth Berman Ms. Marilyn Halonen Patricia Waterfall by Jean-Paul Bierny & Chris Tanz Dr. & Mrs. M. K. Haynes Maurice Weinrobe by Charles & Joanna Broder Eliot Hearst & Trudy Ernst by Mae Delorenzo-Morales Ms. Ruth B. Helm Patricia Wendel & Marcella Delorenzo Dr. & Mrs. Robert Jan Wezelman by Deanna Evenchik & Harriet Hirsch & David Bartlett by Linda Friedman Mr. & Mrs. Thomas Mr. Daryl Willmarth by Bernice Gin & Louise Homburger Sheila Wilson & Hal Barber by Selma Grabsky Mr. Jim Homeland Ms. Anne Wright by Sidney & Marsha Hirsh Lee L. Kane by Russell & Gretchen Jones Mr. & Mrs. Phil & Kay Korn IN HONOR OF by Elizabeth & Robert Lee Keith & Adrienne Lehrer Helmut Abt by Joan & Jeffrey Lisse Mary Ellen Lewis by the Willmarth family by Doris Nelson Joan & Jeffrey Lisse by Kay Richter Meredith Little Kaety Byerley & Stephen Buchmann Ms. Karla Van Drunen Littooy by Lauren Bianco by Helen Rubel Karen & Leonard Loeb Marianne Kaestle by Gerald & Deborah Weintraub Mr. Robert Lupp by Robert D. Claassen by Enid & Mel Zukerman Ms. Ana Mantilla & John T. Urban Alice Rejto Dr. & Mrs. Frank by the Board of AFCM & Janet Marcus Warren & Felicia May Clyde Neil Spalding William McCallum by Randy Spalding
37 THANK YOU TO OUR SUPPORTERS!
MUSIC IN THE SCHOOLS JEAN-PAUL BIERNY COMMISSIONS LEGACY SOCIETY Amphitheater High School Dagmar Cushing sponsored by Dagmar Cushing Jean-Paul Bierny & Chris Tanz Jim Cushing Nancy Bissell Dr. Henri Fischer Flowing Wells High School Mr. & Mrs. Nathaniel & Alison Edwards sponsored Paul A. St. John Bloomfield Robert & Ursula Garrett & Leslie P. Tolbert Theodore and Celia Brandt Wesley Green Kellond Elementary School Dagmar Cushing Tom Hanselmann sponsored by Nancy Bissell Richard E. Firth & Mary Lonsdale Baker Dr. Marilyn Heins Boyer Rickel Lawrence 3–8 School Joe & Janet Hollander Michael Spino sponsored by Ted & Shirley Judy Kidder & Susan Henderson Taubeneck Linda Leedberg Walter Swap Morgan Maxwell K–8 School Tom Lewin Wendy & Elliott Weiss sponsored by Ted & Shirley Ghislaine Polak Taubeneck Boyer Rickel CONCERT SPONSORSHIPS Randy Spalding Prince Elementary School Anonymous Jean-Paul Bierny & Chris Tanz sponsored Paul A. St. John Nancy Bissell & Leslie P. Tolbert $25,000 and above Jim Cushing Family Trust of Lotte Reyersbach Robison Magnet Caleb & Elizabeth Deupree Phyllis Cutcher, Trustee of the Elementary School John & Teresa Forsythe Frank L. Wadleigh Trust sponsored by Richard Joan Jacobson Carol Kramer & Judy Sanderson Boyer Rickel Arthur Maling Randy Spalding Sahuaro High School Claire B. Norton Fund (held at Walter Swap sponsored by Dagmar Cushing the Community Foundation George Timson for Southern Arizona) St. Michael’s School Lusia Slomkowska Living Trust sponsored by Scott Brittenham Agnes Smith MUSICIAN SPONSORSHIPS $10,000 – $24,999 Celia Balfour Marian Cowle Jean-Bierny & Chris Tanz Minnie Kramer Robert D. Claassen Jeane Serrano & John T. Urban Beth Foster Up to $9,999 Elmer Courtland Margaret Freundenthal Susan R. Polleys Administrative Trust Frances Reif Edythe Timbers
Listed are current plans and posthumous gifts.
38 YEAR-END CAMPAIGN Ms. Clare Hamlet Ms. Gwen Weiner Ms. Katherine Havas Mr. Maurice Weinrobe Anonymous Mr. James Heidke Patricia Wendel Philip Alejo Michael Spino & Susan Mr. Daryl Willmarth Dr. Sydney Arkowitz Henderson Sheila Wilson & Hal Barber Ms. Karen Ottenstein Beer Tom & Nancy Thomas Mrs. Peggy Wolf Ms. Gail Bernstein & Louise Homburger Ms. Anne Wright Mr. Peter Bleasby Ms. Mary Lou Hutchins Nathaniel Dr. & Mrs. Robert & Suzanne Bloomfield Our heartfelt thanks to & Deborah Johnson Regina Bohnert those who responded to our Mr. Joe Kantauskis Mr. & Mrs. Tim year-end campaign. Al Kogel & Diane Bowden Dr. Daniela Lax Every contribution helps secure Josef Brand Keith & Adrienne Lehrer the future of AFCM. & Renee Herskowitz Mr. & Mrs. Malcolm Mr. Jack Burks Contributions are listed from & Amy Levin Ms. Laurie Camm March 1, 2016 through February Tom Lewin Barbara Carpenter 28, 2017. Space limitations Mary Ellen Lewis Alice Cave & Rick Fletcher prevent us from listing Ms. Meredith Little Robert D. Claassen contributions less than $100. Ms. Karla Van Drunen Littooy & John T. Urban Please advise us if your name is Karen & Leonard Loeb Nancy Cook not listed properly or Mr. Alan Mallach David & Joyce Cornell inadvertently omitted. Mr. & Mrs. Richard Ms. Janna-Neen Cunningham & Judith Meyer Phyllis Cutcher Ms. Rebecca Miller Mr. James Dauber Mr. Jay Pisik Raul & Isabel Delgado Mr. John Raitt Caleb & Elizabeth Deupree Dr. Seymour Reichlin Stephen & Aimee Doctoroff Steve Reitz & Elizabeth Evans Douglas & Dee Donahue Ms. Ellin Ruffner Arnold & Joan Drucker Dr. & Mrs. Richard Sanderson Carole & Peter Feistmann Si & Eleanor Schorr Mr. Matt Felix Shirley Snow Bob Foster Randy Spalding Mr. Milton Francis Mr. Ronald Staub & Dr. Marilyn Heins Ms. Barbara Straub Peter & Linda Friedman Ms. Nancy Strauss Tommy & Margot Friedmann Ted & Shirley Taubeneck Tom & Nancy Gates Angel Voyatzis Mr. & Mrs. Marvin & Carol Goldberg Eloise Gore & Allen Hile William & Ann Iveson Linda Grant & Peter Medine
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