ENSO¯ WITH SOPRANO TONY ARNOLD FEBRUARY 1, 2017 BOARD OF PROGRAM BOOK CONTACT DIRECTORS CREDITS US

James Reel Editor Arizona Friends of President Jay Rosenblatt Post Office Box 40845 Paul Kaestle Contributors Tucson, Arizona 85717 Vice-President Nancy Bissell Robert Gallerani Phone: 520–577–3769 Joseph Tolliver Holly Gardner Email: [email protected] Corresponding Secretary Nancy Monsman Website: arizonachambermusic.org Helmut Abt Jay Rosenblatt Box Office Manger Recording Secretary James Reel Cathy Anderson Randy Spalding Wes Addison Leslie Tolbert Treasurer USHERS Advertising Philip Alejo Paul Kaestle Barry & Susan Austin Nancy Bissell Allan Tractenberg Susan Fifer Kaety Byerley Marilee Mansfield Michael Coretz Design Lidia Morris Dagmar Cushing OPENFORM Elaine Orman Bryan Daum Printing Susan Rock Joan Jacobson West Press Jane Ruggill Helen Kim Dorothy Steele Jay Rosenblatt Barbara Turton Elaine Rousseau Diana Warr Randy Spalding Maurice Weinrobe & Trudy Ernst Paul St. John Patricia Wendel George Timson Leslie Tolbert VOLUNTEERS

Cory Aaland Dana Deeds Beth Daum Beth Foster Bob Foster Marvin Goldberg Eddy Hodak Marie-France Isabelle Traudi Nichols Allan Tractenberg Diane Tractenberg

2 FROM THE PRESIDENT

Tonight’s concert constitutes AFCM’s participation in the 2017 Tucson Desert Song Festival, a remarkable partnership involving almost all of the city’s classically oriented performing-arts groups. The goal is to showcase high-quality vocalists in a concentrated period, in all sorts of genres. Our genre, of course, is chamber music. True, there are people among us who maintain that song is not chamber music – it’s an art form unto itself. Tonight we have strong evidence to the contrary: Alberto Ginastera’s String Quartet No. 3 is both chamber music and a song cycle, as you’ll learn in Nancy Monsman’s program notes and in what I anticipate will be a superb performance by the Enso¯ Quartet and America’s leading new-music singer, Tony Arnold. The song festival aside, our primary ongoing partnership is with you, as concert attendees and as financial supporters. Many of you deserve special thanks for participating in our Year-End Campaign, which succeeded beyond our expectations – but we should know by now not to underestimate the AFCM audience in any respect. If you’re checking us out for the first time because of the song festival, I hope you’ll be back later this month to find out what else we do. A fabulous young violinist, Suyeon Kang, who won one of the world’s most important violin competitions not long ago, will stop by on February 12 for a program that ranges from serious and meditative to light and entertaining. Then, the Pražák Quartet returns with some of the things it does best – Czech music and Haydn – and beyond that is the Tucson Winter Chamber Music Festival. There’s more to chamber music than you may believe, and together we can explore it all. Enjoy the concert.

James Reel President

3 ENSO¯ STRING QUARTET FEBRUARY 1, 2017

ENSO¯ STRING QUARTET

Founded at Yale University in 1999, the Enso¯ String Quartet has, in a decade and a half, risen to the front rank of string ensembles. Described by The Strad as “thrilling,” and praised by the Washington Post for its “glorious sonorities,” the Enso¯ has won numerous awards, including top prizes at the Concert Artists Guild competition and the Banff International String Quartet Competition. In the words of Classical Voice, it is “one of the eminent string quartets of our era.” The Enso¯’s members all were drawn to the string quartet repertoire because of its richness and diversity, and the ensemble is committed to exploring the four corners of that repertoire, from classics of the string quartet literature to lesser- known works that deserve to be heard, along with much contemporary music. World premieres include commissioned works by the esteemed New Zealand composer Dame Gillian Whitehead, and by the American composer Kurt Stallmann. The Enso¯ also gave the world premiere of Joan Tower’s , with the composer at the keyboard. In addition to their in-demand performances at concert halls around the world, the Enso¯ and its individual members are sought after as instructors. The ensemble gives master classes for the next Enso¯ String Quartet generation of professional musicians, but also works Yura Lee, violin with enthusiastic amateurs, young and old, and Ken Hamao, violin with the autistic, in conjunction with the United Melissa Reardon, Kingdom-based organization Music for Autism. Richard Belcher, The quartet has been awarded the Guarneri Quartet with Award for their continuing collaboration with Tony Arnold, soprano Connecticut’s Music for Youth program. The ensemble’s name is derived from the Japanese Zen painting of the circle, which represents many things: perfection and imperfection, the moment of chaos that is creation, the emptiness of the void, the endless circle of life, and the fullness of the spirit.

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4 TONY ARNOLD TONIGHT’S PROGRAM “Soprano Tony Arnold is a luminary in the world of chamber music and art song. Today’s classical HUGO WOLF (1860–1903) composers are inspired by her inherently beautiful voice, consummate musicianship, and embracing Italian Serenade spirit” (Huffington Post). Hailed by the New York Times as “a bold, powerful interpreter,” she is ALBERTO GINASTERA (1916–1983) recognized internationally as a leading proponent of new music in concert and recording, having String Quartet No. 3, Op. 40 premiered over 200 works “with a musicality and Contemplativo virtuosity that have made her the Cathy Berberian Fantastico of her generation” (Chicago Tribune). Since Amoroso becoming the first-prize laureate of both the 2001 Drammatico Gaudeamus International Competition (NL) and Di nuovo contemplativo the 2001 Louise D. McMahon Competition (USA), Ms. Arnold has collaborated with the most cutting- edge composers and instrumentalists on the world stage, and shares with the audience her “broader gift INTERMISSION for conveying the poetry and nuance behind outwardly daunting contemporary scores” (Boston Globe). JOAQUÍN TURINA (1882–1949) This evening’s concert is Serenata, Op. 87 Allegro vivace sponsored by the generous Andante contribution of John and Allegro vivace Andante Teresa Forsythe, and is made possible by a grant ALBERTO GINASTERA (1916–1983) from the Tucson Desert String Quartet No. 2, Op. 26 Song Festival. Allegro rustico Adagio angoscioso Presto magico Libero e rapsodico Furioso

5 PROGRAM NOTES

ALTHOUGH RENOWNED AS A COMPOSER of art “The subject of the first movement is Music with a songs, the Viennese late romanticist Hugo Wolf also series of poems by Juan Ramón Jiménez. It is wrote a small number of purely instrumental works. written in a juxtaposed form where pure The perennial favorite is his Italian Serenade, a instrumental parts and vocal parts follow one charming miniature that he scored for both string another as if the former were preludes to the latter. quartet and small orchestra. Wolf had conceived the “The second movement is purely instrumental and Serenade as a four-movement suite, but only the substitutes for the traditional scherzo. It consists of first movement was complete by the onset of his two main parts and a coda, parts of which in turn mental illness. Although he attempted to write both are subdivided into three sections: Introduction, a slow movement and a tarantella during the six Development, and First Climax, in the first; years of his asylum commitment, only several Transition, Second Climax, and Ending, in the fragments survive. second; a synthesis of all previous movements in the Wolf most probably never visited Italy, but his Coda. Strange sounds and contrasting atmospheres delightful Serenade (1887) conjures its buoyant are characteristic of this movement which develops spirit. He wrote that he gave careful thought to the in a hallucinating climate. title word “serenade,” which originally suggested “García Lorca’s poem in the third movement, which night music sung beneath a lady’s window but by his corresponds to the classical adagio, sings of sensual own time implied genial entertainment appropriate love. Musically, it represents a tripartite form, and it for informal concerts or the outdoors. Wolf’s is in the third part that the voice appears. essentially lighthearted and melodious work develops with subtle color inflections and inventive “The fourth movement brings forth, in the poems declamation that perhaps did conjure a story for this of Rafael Alberti, the frightening vision of war most poetically sensitive of all composers. personified in a dead soldier. Of a violent and anxious nature, this part is formed by the alternating THE ARGENTINE COMPOSER Alberto Ginastera is sequence of two different themes. honored as one of the most significant creative personalities in twentieth-century Latin American “The last movement returns to the poetic climate music. Throughout his career Ginastera steadily of the first movement with a strain of nostalgia evolved from a regionalist composer to a for what ‘goes toward eternity.’ It corresponds to the sophisticated modernist who infused his freely tonal Coda of the Quartet, with which the formal cycle structures with timbres that evoke heightened of the work concludes. psychological states. His String Quartet No. 3 “I wrote my third string quartet, commissioned by (1973), hailed by The Strad as “a reflective and the Dallas Public Library and the Dallas Chamber mysterious melodic invention,” melds traditional Music Society, in Geneva during 1973. The work is quartet texture with the soprano voice. The four dedicated to the memory of John Rosenfeld, music poems are flexibly sung and spoken to emphasize critic of the Dallas Morning News (1900–1966).” their meaning and to create a magical atmosphere (the texts can be found on pages 8–9). Ginastera writes of his String Quartet No. 3: “The quartet consists of five movements and the part of soprano voice is added to four of them. The second movement is purely instrumental. The poems were written by three famous contemporary Spanish poets: Juan Ramón Jiménez, Federico García Lorca, and Rafael Alberti.

6 PROGRAM NOTES

SON OF AN ITALIAN PAINTER, the composer and Joaquín Turina was born and raised in “I included a vocal part Seville. After abandoning early medical studies he in my third string quartet, moved to Madrid, where he met Manuel de Falla and with him resolved to create musical reflections not as a soloist with of Spanish life. Like Falla, Turina spent nine accompaniment but as formative years in Paris, where he enrolled at the Scola Cantorum and studied with the French a component part of a romanticist Vincent d’Indy, a close follower of César musical event.” Franck. After his return to Spain, Turina achieved popular success with works based on traditional — ALBERTO GINASTERA Sevillian and Andalusian themes. Despite difficulties during the Spanish Civil War, when he Ginastera writes that his String Quartet No. 2 was persecuted by the Republicans, Turina enjoyed (1958) marked the beginning of his neoexpressionist an honored career as Professor of Composition at style. He now sought to convey a wide range of the Madrid Conservatory. His collected works psychological experience through intensely wrought number over one hundred symphonic, chamber, melodic lines and dramatic harmonic color. vocal, and (primarily) piano compositions. Described by Argentine music critics as “a parade of Serenata (1935), like most of Turina’s work, writing types,” Quartet No. 2 develops a rich and develops with a rapturous atmosphere that suggests expressive harmonic vocabulary – polytonal his deep joy of life. A painterly work, the four procedures in which two key centers are heard continuous movements of this “serenade” portray simultaneously, serialism, and quarter tones. The the lively outdoors scene that surrounds a suitor (the quartet achieved both critical and popular success first violin) ardently singing at his lady’s window. following its premiere at the First Inter-American Warm sonorities and richly chromatic Music Festival, held in Washington, D.C., accompanimental figures evoke perfumed gardens in 1958. and glittering fountains. Numerous changes of Structural symmetry is heard in the quartet’s tempo, texture, and dynamics create drama. Themes five-movement organization. The two outer heard in the opening movement are recalled in the movements, identical in tempo and meter, reflect third movement to echo the continuing dialogue of the dynamism of the malambo, the gaucho’s rapid the lovers. The concluding pizzicato chord suggests and energtic dance. The first slow movement, an the final pluck of the suitor’s guitar. “anguished adagio,” is a five-part song that expresses DURING HIS YOUTH IN BUENOS AIRES, Alberto profound sadness. The central movement, Presto Ginastera absorbed Argentina’s colorful “gauchesco” magico, conveys a fantastic, surreal mood through folk culture – lore that eulogized the pampas (the bold and varied instrumental sonorities. The fourth land) and its nomadic gauchos, cowboys who movement, “free and rhapsodic,” consists of a theme stubbornly resisted civilization and progress. with three variations crafted as cadenzas for the Inspired by these nineteenth-century narratives, individual instruments. The dazzling virtuosity and Ginastera based much of his early works on native percussive rhythms of the “Furioso” finale bring the Argentine themes. As he evolved stylistically work to an exciting conclusion. Ginastera continued to infuse his compositions Notes by Nancy Monsman with atmospheric evocations of the Argentine countryside.

7 ALBERTO GINASTERA – VOCAL TEXTS STRING QUARTET NO. 3, OP. 40

Movement I La Música

En la noche tranquila, In the tranquil night, eres el agua, melodía pura, You are the rain, pure melody, que tienes frescas – como nardos keeping the stars alive – en un vaso insondable – las estrellas. Like lilies in a fathomless vase. De pronto, surtidor Suddenly, like the flowing de un pecho que se parte, from a heart that breaks, el chorro apasionado rompe the passionate outburst la sombra – como una mujer shatters the darkness – like a woman que abriera los balcones sollorzando, who might sobbingly open the balcony desnuda, a las estrellas, con afán wide to the stars in her nakedness, de un morirse sin causa, with eagerness to die without a reason, que fuera loca vida inmensa. which might be but a mad abundant life. ¡El pecho de la música! The strength of music! ¡Cómo vence la sombra monstruosa! How it vanquishes the monstrous darkness! ¡El pecho de la música! The strength of music! ¡Redoma de pureza májica; sonora, grata Vial of magic purity; sonorous, grateful lágrima; bella luna negra – weeping; lovely black moon – todo, como agua eternal entre la sombra humana; all, like rain eternal within human darkness; luz secreta por márjenes de luto – ; secret light along margins of mourning – ; con un misterio with mystery que nos parece ¡ay! de amor! which seems, Oh, to be love! ¡La música; – Music; – mujer desnuda, woman unclad, corriendo loca por la noche pura! – crazily running through the spotless night! Juan Ramón Jiménez (1881–1958)

Movement III Canción de Belisa

Amor, amor. Love, love. Entre mis muslos cerrados, Between my secret thighs, nada como un pez el sol. the sun swims like a fish. Agua tibia entre los juncos, Calid water through the rushes, Amor. Love. ¡Gallo que se va la noche! Cock crow and the night is fleeing! ¡Que no se vaya, no! Do not let it go, Oh no! Federico García Lorca (1898–1936)

8 ALBERTO GINASTERA – VOCAL TEXTS STRING QUARTET NO. 3, OP. 40

Movement IV Morir al sol

Yace el soldado. El bosque The soldier lies supine. The woods baja a llorar por él cada mañana. Come down to weep for him each morning’s dawn. Yace el soldado. Vino The soldier lies supine. A little brook a preguntar por él un arroyuelo. Came down to ask for him. Morir al sol, morir, To die under the sun, to die viéndolo arriba, Seeing it above, cortado el resplandor Its splendour broken en los cristales rotos Through the shattered panes de una ventana sola, Of a single window temeroso su marco Whose sill is fearful de encuadrar una frente Of framing a sorrow-stricken abatida, unos ojos Brow, eyes full of espantados, un grito ... Dread, a cry … Morir, morir, morir, To die, to die, to die, bello morir cayendo Beautiful dying, the body el cuerpo en tierra, como Falling to earth, like un durazno ya dulce, A fully ripe peach, maduro, necesario ... Sweet, needed … Yace el soldado. Un perro The soldier lies supine. Only a dog solo ladra por él furiosamente. Barks furiously at him. Rafael Alberti (1902–1999)

Movement V Ocaso

¡Oh, qué sonido de oro que se va, Oh what a sound of gold will now remain, de oro que ya se va a la eternidad; Of gold that’s going to eternity; qué triste nuestro oído, de escuchar How sad is our listening as we strain ese oro que se va a la eternidad, To hear the gold that goes to eternity este silencio que se va a quedar This silence that is going to remain sin su oro que se va a la eternidad! Without its gold that is going to eternity! Juan Ramón Jiménez Translations by Eloise Roach

9 THANK YOU TO OUR SUPPORTERS!

$10,000 & ABOVE Katherine Havas Mrs. Margaret Bashkin Elliott & Sandy Heiman Dr. Kathryn Bates David & Joyce Cornell Drs. John Hildebrand Peter & Betty Bengtson Wesley Green & Gail Burd Mrs. Ann Blackmarr Walt Swap Dr. & Mrs. Robert George & Diane Bowden Gwen Weiner & Deborah Johnson Dr. & Mrs. Harvey W.

$5,000 – $9,999 Mr. & Mrs. Charles M. Peters & Ruby Buchsbaum John & Ila Rupley Cynthia & Lee J. Cannon Jean-Paul Bierny & Chris Tanz Dr. & Mrs. Richard Jim Click Jim Cushing & Judy Sanderson Janna-Neen Cunningham John & Teresa Forsythe Robert & Carolyn Thompson Mr. Philip M. Davis Michael Spino & SusanHenderson Mrs. Betsy Zukoski Stephen & Aimee Doctoroff Drs. John & Helen Schaefer Mr. & Mrs. Donald Doran George Timson $500 – $999 Linda Friedman Marvin & Carol Goldberg $2,500 – $4,999 Frank & Betsy Babb Julie Behar Ms. Clare Hamlet Nancy Bissell Bryan & Elizabeth Daum Dr. David Johnson Caleb & Elizabeth Deupree Raul & Isabel Delgado Carl Kanun Stan Caldwell Phillip & Nancy Fahringer Barbara Katz & Linda Leedberg Carole & Peter Feistmann Arthur & Judy Kidder Robert D. Claassen Leonid Friedlander Al Kogel & John T. Urban & Yelena Landis Dr. Daniela Lax Dr. Henri Fischer Mr. Harold Fromm Dr. Alan Levenson & Alison Edwards Drs. J.D. & Margot Garcia & Rachel Goldwyn Beth Foster Ms. Julie Gibson Kitty & Bill Moeller Thomas Hanselmann Helen Hirsch Mr. Hal Myers Irene & George Perkow Mr. & Mrs. Sidney Hirsh Donn Poll & Eric S. Nelson Boyer Rickel Eddy Hodak Brian & Jane Peterson Jayant Shah Janet & Joe Hollander Herbert Ploch & Minna Mehta Paul & Marianne Kaestle Mr. Steve Przewlocki Randy Spalding Dan Leach Dr. Seymour Reichlin Paul A. St. John Mr. & Mrs. Malcolm Peter Salomen & Leslie P. Tolbert & Amy Levin Ellen Trevors Ted & Shirley Taubeneck Tom Lewin Gail Wahl Elliott & Wendy Weiss Larry & Rowena Matthews John Wahl

Martie Mecom $100 – $249 $1,000 – $2,499 Teresa Pusser Celia A. Balfour Serene Rein Anonymous Celia Brandt Dr. Elaine Rousseau Helmut Abt Scott Brittenham Reid & Linda Schindler Philip Alejo Mr. & Mrs. Michael Coretz S. L. Schorr Julia Annas Dagmar Cushing Ms. Pam Sutherland Ms. Ruth Berman Mr. Milton Francis Ms. Gale Bernstein $250 – $499 & Dr. Marilyn Heins Dr. Nathanial Bloomfield Anonymous Thomas & Susan Aceto Wes Addison Dr. Sydney Arkowitz 16 THANK YOU TO OUR SUPPORTERS!

Gary & Linda Blumenshine William McCallum IN MEMORY OF Joyce Bolinger Joan Mctarnahan Clifford & Wendy Crooker Mrs. Sarah Boroson Mr. & Mrs. Richard by Beth Foster John Burks & Judith Meyer Ms. Laurie Camm Doris Nelson Michael Cusanovich Robert & Susan Carlson Ms. Gisele Nelson by Marilyn Halonen Barbara Carpenter Jay Pisik Dick Firth Shirley Chann John Raitt by Ted & Shirley Taubeneck Nancy Cook Ms. Lynn Ratener Mr. James Dauber Richard & Harlene Reeves Helen Margaret Hodak Terence DeCarolis Kay Richter by Eddy Hodak C. Jane Decker & Stephen Buchmann My Four Big Brothers Mae Delorenzo-Morales Arnie & Hannah Rosenblatt by Marylou Hutchins & Marcella Delorenzo Jay & Elizabeth Rosenblatt Martin Diamond & Paula Wilke Dr. & Mrs. Kenneth J. Ryan Dana Nelson John & Mary Enemark Jim Sattler by Gisele Nelson Deanna Evenchik Howard and Helen Schneider Lea Sarid, Dr. Herb Karp, Mr. Matt Felix Dr. Stephen & Janet Seltzer & Alfred Delmoral Mr. & Mrs. James Sara Shifrin by the Bashkin Family & Ruth Friedman Ms. Barbara Silvian Margot & Tommy Friedmann Shirley Snow Norman Salmon Mr. Thomas Gates Mr. Ronald Staub by Anonymous Dr. & Mrs. Gerald Ms. Nancy K. Strauss by Wallace & Geraldine Beene & Barbara Goldberg Sheila Tobias & Carl Tomizuka by Diane Berkowitz Ben & Gloria Golden Allan & Diane Tractenberg by Mrs. Ruth Berman Linda Grant and Peter Medine Barbara Turton by Jean-Paul Bierny & Chris Tanz Ms. Marilyn Halonen Patricia Waterfall by Charles & Joanna Broder Dr. & Mrs. M. K. Haynes Maurice Weinrobe by Mae Delorenzo-Morales Eliot Hearst & Trudy Ernst & Marcella Delorenzo Ms. Ruth B. Helm Jan Wezelman by Deanna Evenchik Dr. & Mrs. Robert & David Bartlett by Linda Friedman & Harriet Hirsch Mr. Daryl Willmarth by Bernice Gin Mr. & Mrs. Thomas Sheila Wilson & Hal Barber by Selma Grabsky & Louise Homburger Ms. Anne Wright by Sidney & Marsha Hirsh Mr. Jim Homeland by Russell & Gretchen Jones Lee L. Kane IN HONOR OF by Elizabeth & Robert Lee Mr. & Mrs. Phil & Kay Korn Helmut Abt by Joan & Jeffrey Lisse Keith & Adrienne Lehrer by the Willmarth family by Doris Nelson Mary Ellen Lewis by Kay Richter Joan & Jeffrey Lisse Marianne Kaestle & Stephen Buchmann Meredith Little by Robert D. Claassen by Helen Rubel Ms. Karla Van Drunen Littooy & John T. Urban by Gerald & Deborah Weintraub Karen & Leonard Loeb by Enid & Mel Zukerman Mr. Robert Lupp Clyde Neil Spalding Ms. Ana Mantilla by Randy Spalding Dr. & Mrs. Frank & Janet Marcus Warren & Felicia May

17 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 Prince Elementary School Joe & Janet Hollander Michael Spino sponsored Paul A. St. John Judy Kidder & Susan Henderson & Leslie P. Tolbert Linda Leedberg Walter Swap Robison Magnet Tom Lewin Wendy & Elliott Weiss Elementary School Ghislaine Polak sponsored by Richard Randy Spalding CONCERT SPONSORSHIPS & Judy Sanderson Anonymous Jean-Paul Bierny & Chris Tanz Sahuaro High School $25,000 and above Nancy Bissell sponsored by Dagmar Cushing Family Trust of Lotte Reyersbach Jim Cushing Phyllis Cutcher, Trustee of the St. Michael’s School Caleb & Elizabeth Deupree Frank L. Wadleigh Trust sponsored by Scott Brittenham John & Teresa Forsythe Carol Kramer Joan Jacobson Arthur Maling Boyer Rickel Claire B. Norton Fund (held at Randy Spalding the Community Foundation Walter Swap for Southern Arizona) George Timson Lusia Slomkowska Living Trust Agnes Smith MUSICIAN SPONSORSHIPS $10,000 – $24,999 Marian Cowle Celia Balfour Minnie Kramer Jean-Bierny & Chris Tanz Jeane Serrano Robert D. Claassen & John T. Urban Up to $9,999 Beth Foster Elmer Courtland Margaret Freundenthal Susan R. Polleys Administrative Trust Frances Reif Edythe Timbers

Listed are current plans and posthumous gifts.

18 BOARD MEMBER PROFILE: LESLIE TOLBERT

Q: How long have you been involved with AFCM? Q: What do you do when you’re not working Leslie Tolbert: My husband, Paul St. John, and I on AFCM? have been coming to AFCM concerts since we LT: I’m a professor of neuroscience at the U of A. moved to Tucson almost 30 years ago. For many Over the years, I’ve enjoyed teaching undergraduate years we were able to attend only the occasional and graduate students various aspects of brain concerts, but eventually we could subscribe to the science and doing research, mostly on the impact of entire season and started to participate in the sensory input on the development of exquisitely volunteer effort that drives AFCM by offering a intricate brain circuitry. In recent years, I also served home for visiting Festival musicians each March. as the University’s Vice President for Research, Now we look forward each year to getting to know overseeing and supporting the full range of areas of wonderful performers and learning first-hand about exploration and discovery, from astronomy to the music they are playing. Our increasing medicine and engineering to women’s studies. involvement opened the door to joining the Board Q: Say a little bit about your interests outside two years ago. of chamber music. Q: What is your current role? LT: My family is the thing I treasure most. Four LT: On the Board, I do several things, but I have generations of family members are a constant source primary responsibility for our Music in the Schools of joy, and I look for ways to spend more and more program, in which local musicians play short time with them. I also have a deep love for travel. educational chamber music concerts for K-12 Having grown up mostly in Asia and Europe, I students in school auditoriums around Tucson. We always grab at opportunities to explore. aim our efforts toward schools in which students Q: In your opinion, what is the best part of will have had little opportunity to hear classical an AFCM concert? music, and we offer AFCM supporters the LT: Watching a chamber music performance is even opportunity to “Adopt a School” for a donation of more exciting than just listening to a performance. at least $1000; those sponsors often accept our I love the energy, focus, and teamwork on display on invitation to attend the concerts they’ve supported. the stage as the individual performers work together We are always looking for more sponsors, and I urge to make beautiful music – and every seat in Leo anyone who is interested to find me at a concert or Rich Theater is close enough for an intimate contact me through the AFCM website. connection to the stage. Q: Did you play an instrument or perform as a child? LT: During my childhood, I was lucky to be able to “…chamber music is my take lessons in piano and violin (and Indian tabla, when we lived in Delhi!), and I played in our county favorite…the voice youth orchestra in early high school. At youth of each instrument is so orchestra summer camp, I learned the great fun of playing in chamber groups – and I still can imagine vitally important.” that I’m playing beautiful music, even though I never had much actual skill. Q: What music besides chamber music do you enjoy? LT: Classical music broadly has great appeal, and I enjoy the symphony orchestra and opera – but chamber music is my favorite because it is so personal and intimate and because the voice of each instrument is so vitally important.

19 VERSE

Pastoral WILLIAM CARLOS WILLIAMS (1883–1963)

The little sparrows Hop ingenuously About the pavement Quarreling With sharp voices Over those things That interest them. But we who are wiser Shut ourselves in On either hand And no one knows Whether we think good Or evil. Then again, The old man who goes about Gathering dog-lime Walks in the gutter Without looking up And his tread Is more majestic than That of the Episcopal minister Approaching the pulpit Of a Sunday. These things Astonish me beyond words.

Selected for tonight’s concert by Tyler Meier, Executive Director of the University of Arizona Poetry Center. 20 IT’S THE MOST EXCITING TIME!

THE TUCSON WINTER CHAMBER MUSIC FESTIVAL There will be world premieres of a piano quintet IS COMING MARCH 12–19, 2017. by Pierre Jalbert and a “dectet” (a work for ten instruments) by Dmitri Tymoczko, both For the 24th year, AFCM presents a joyful week, commissioned especially for the Festival. We filled with the best that chamber music has to offer. welcome such luminary participants as flutist For those who love chamber music, the Festival Carol Wincenc, oboist Nicholas Daniel, cellist means there’s never too much of a good thing. For Clive Greensmith, and pianist Piers Lane, those unfamiliar with chamber music, the Festival is among many others. the prime opportunity to try out a concert or two and discover the beauty and life enhancing benefits of this most special of the classical forms. ATTENDING To be present at every concert provides you with the WHAT EXACTLY IS THE FESTIVAL? fullest experience as you get to see the Festival musicians perform in different ways across the week. For one week, AFCM brings to Tucson the most You may still purchase a Festival Pass for $120, five accomplished and dynamic chamber musicians. In concerts for the price of four. If your schedule does addition to performances by the Jupiter Quartet, not permit full immersion, you may also buy single you’ll get to see what happens when talented concert tickets, as available, for $30 for adults or musicians join together to perform some of the $10 for students. most challenging and intriguing compositions. We urge you to take the Festival as an opportunity

FEATURES TO NOTE to introduce a friend, family member, or colleague to chamber music. Please make your plans early, and The headlining Jupiter Quartet is a fascinating buy tickets now for best choice of seats. All concerts ensemble. They include two sisters and one sister’s are held at our familiar Leo Rich Theater. The Gala husband making them an apropos anchor since all Dinner and Concert will be at the Arizona Inn and the musicians participating in our Festival turn into is by advance reservation for $160. a sort of family over the course of the week; you, in the audience, become extended kin as you sit close, CONCERT SCHEDULE listen closely, and find the beauty and joy embodied in chamber music performed live in a small hall. Sunday, March 12 at 3:00pm Tuesday, March 14 at 7:30pm Over the course of a week you’ll have the chance Wednesday, March 15 at 7:30pm to explore a lot of music that doesn’t crop up on our Friday, March 17 at 7:30pm regular schedule and hear from many great Sunday, March 19 at 3:00pm individual musicians who generally don’t appear in Tucson as members of standing ensembles. It’s an Gala Dinner and Concert will be held opportunity to move beyond the ordinary. Saturday, March 18. We welcome you with masterworks like Schubert’s To see concert repertory and buy tickets visit “Trout” Quintet and Mozart’s Quintet for Piano and arizonachambermusic.org. Winds, but introduce you to an array of superb but seldom-encountered pieces, like a piano quartet by Turina and a piece for bassoon and piano by Dutilleux.

21