GERSHON GERCHIKOV, VIOLIN ALEXANDRA KAZOVSKY, VIOLIN JAN GRÜNING, VIOLA AMIT EVEN-TOV, CELLO ARIEL QUARTET AND PIANO DENVER NOVEMBER 9, 2016

FRANZ JOSEPH Quartet in F major, Op. 77, no. 2, Hob. III:82 HAYDN Allegro moderato (1732-1809) Menuetto: Presto, ma non troppo Andante Finale: Vivace assai

BÉLA BARTÓK Quartet No. 6, Sz. 114 (1881-1945) Mesto – Vivace Mesto – Marcia Mesto – Burletta: Moderato Mesto – Molto tranquillo

INTERMISSION

ERNST VON Piano Quintet No. 1 in C minor, Op. 1 DOHNÁNYI Allegro (1877-1960) Scherzo: Allegro vivace Adagio, quasi andante Finale: Allegro animato ARIEL QUARTET

Making its FCM debut this evening, the Ariel Quartet has earned its glowing international reputation with virtuosic playing and impassioned interpretations. Formed in nearly twenty years ago when its members were students, the quartet was recently awarded the prestigious Cleveland Quartet Award. The quartet serves as the Faculty Quartet- GERSHON in-Residence at the University of Cincinnati’s College- GERCHIKOV Conservatory of Music, where they direct the rigorous violin chamber music program and perform their own annual series of concerts in addition to their busy touring schedule. ALEXANDRA KAZOVSKY In the 2016-17 season, the Ariel Quartet will perform violin the complete Beethoven cycle in Berlin, following JAN GRÜNING a performance of the cycle for Napa’s Music in the viola Vineyards, and will also tour with Alon Goldstein in performances of the Mozart piano concertos arranged for AMIT EVEN-TOV quartet and piano. The Ariel Quartet’s 2015-16 season cello featured their debut at Carnegie Hall, as well as a major collaborative project with clarinetist David Krakauer. Recent seasons included a groundbreaking Beethoven cycle performed at New York’s SubCulture that featured a midnight performance of the Große Fuge; a performance featuring music by three generations of Israeli composers at the Kennedy Center in Washington, D.C.; and a tour of South America.

The Ariel Quartet performs widely in Israel, Europe, and North America, including two Beethoven cycles performed before all the members of the quartet turned thirty. The quartet has collaborated with violist Roger Tapping, cellist Paul Katz, and the American, Pacifica, and Jerusalem String Quartets. The quartet has toured with cellist Alisa Weilerstein and has performed a number of times with the legendary pianist Menahem Pressler. Additionally, the Ariel was quartet-in-residence for the Steans Music Institute at the Ravinia Festival, the Yellow Barn Music Festival, and for the Perlman Music Program. In addition, the Ariel was the Ernst Stiefel String Quartet-In- Residence at the Caramoor Festival. Formerly the resident ensemble in the New England Conservatory’s Professional String Quartet Training Program, the Ariel has won a number of prestigious international prizes including the Grand Prize at the 2006 Fischoff National Chamber Music Competition, the Székely Prize for their performance of Bartók, and Third Prize at the Banff International String Quartet Competition.

The Ariel Quartet has been mentored extensively by , Paul Katz, Donald Weilerstein, Miriam Fried, Kim Kashkashian, and Martha Strongin Katz. The quartet has received significant scholarship support for the members’ studies in the United States from the America- Israel Cultural Foundation, Dov and Rachel Gottesman, and the Legacy Heritage Fund. Most recently, they were awarded a substantial grant from The A. N. and Pearl G. Barnett Family Foundation.

ORION WEISS

Orion Weiss returns to FCM after his first appearance here in 2012 in a two-piano recital with Inon Barnatan. Weiss was a student of who personally recommended him to FCM. One of the most sought-after soloists in his generation of young American musicians, Weiss has performed with major American orchestras, including the Chicago Symphony, Boston Symphony, , and . His ORION WEISS deeply felt and exceptionally crafted performances go far piano beyond his technical mastery and have won him worldwide acclaim.

The 2016-17 season has Weiss performing in collaborative projects including those with Alessio Bax, the Pacifica Quartet, and with Cho-Liang Lin and the New Orford String Quartet in a performance of the Chausson Concerto for piano, violin, and string quartet. Last year Naxos released Weiss’s recording of Christopher Rouse’s Seeing – a major commission Weiss debuted with the Albany Symphony – and in 2012 he released a recital album of Dvoˇrák, Prokofiev, and Bartók. That same year he also spearheaded a recording project of the complete Gershwin works for piano and orchestra with his longtime friendsofchambermusic.com 1 collaborators the Buffalo Philharmonic and JoAnn Falletta. Known for his affinity and enthusiasm for chamber music, Weiss performs regularly with violinists James Ehnes and Arnaud Sussman, and cellist Julie Albers. Weiss has appeared across the U.S. at venues and festivals including , the Ravinia Festival, the Seattle Chamber Music Festival, La Jolla Music Society SummerFest, Chamber Music Northwest, the Kennedy Center, Spivey Hall, and in Aspen, where he appeared in 2015 in a two piano recital with FCM alumnus, . He made his New York recital debut at Alice Tully Hall in 2005 and made his European debut in a recital at the Musée du Louvre in Paris the same year. He was a member of the Chamber Music Society Two program of the Chamber Music Society of Lincoln Center from 2002-2004.

Weiss’s impressive list of awards includes the Gilmore Young Artist Award and an Avery Fisher Career Grant. A native of Lyndhurst, OH, Weiss attended the Cleveland Institute of Music. In 1999, Weiss made his debut performing Liszt’s Piano Concerto No. 1. Also that year, with less than 24 hours’ notice, Weiss stepped in to replace André Watts in a performance of Shostakovich’s Piano Concerto No. 2 with the Baltimore Symphony Orchestra. He was immediately invited to return to the Orchestra for a performance of the Tchaikovsky Piano Concerto the next season. He graduated from the Juilliard School in 2004.

Weiss is married to the pianist Anna Polonsky, with whom he often performs. (Polonsky will appear at FCM’s next concert with violinist Stefan Jackiw on December 7th.) The couple has a three-year-old daughter. They live in New Jersey. Weiss is an avid outdoorsman and has enjoyed hiking Colorado’s 14ers when he appeared in Aspen and Vail.

LEGACY GIFTS For those who want to leave a musical legacy, a planned or deferred gift to Friends of Chamber Music is a meaningful way for you to help insure our future artistic excellence and stability while providing enhanced tax benefits to you. Visit our website for more information.

2 friendsofchambermusic.com NOTES Program note from Guide to Chamber Music, by Melvin Berger ©1985 (used with permission).

The F major, the last quartet that Haydn completed, was HAYDN: QUARTET written when he was in his late sixties, in failing health, IN F MAJOR, and deeply involved in composing his great oratorios OP. 77, NO. 2 and masses. Unaware that the F major was to be his last quartet, Haydn did not use it for any great summing up. Instead he composed a meticulous work that has all the characteristic drive and vigor of his more youthful works, yet is imbued with a certain wistful melancholy.

The main theme of the first movement is essentially a melancholy descending F scale, but with many interruptions of its downward motion. To intensify the doleful impression, Haydn starts with a strong phrase, which fades away to a number of soft, weak extensions. Other motifs follow until the first violin introduces the new subsidiary melody while the second violin plays the opening of the principal theme. After a rather lengthy development section, which ends with a measure of silence, Haydn brings both subjects back for a truncated recapitulation.

There can be little doubt that Haydn wrote the humorous Menuetto with tongue in cheek. The first clue is the gay and skittish melody. Then, although the movement is in the traditional triple meter, Haydn goes out of his way to create duple-meter rhythmic patterns that go in and out of phase with the underlying beat. He also writes a cello part that at times makes the instrument sound like timpani. After the high spirits of the Menuetto, the Trio, in a distant key, is quite unexpected. Smooth and sober, almost hymn- like, it is a sharp contrast to the impish playfulness of what came before. But Haydn’s hijinks are not yet over. In the transition back to the Menuetto, he throws in a few “wrong” beat entrances, just for fun.

In the strange, striking opening of the Andante, the violin plays the staid, deliberate theme while the cello moves it forward with a slow, implacable tread. There are three quite freely realized variations on the theme (featuring the second violin, the cello, and the first violin respectively), friendsofchambermusic.com 3 Program Notes which are separated by contrasting episodes between the Continued variations. A tremendous crescendo and climax precede the final variation, which nonetheless starts very quietly, much as the movement began, and ends just as quietly.

The Finale theme captures all the dash and fire of a fast folk dance. A slighty more subdued second theme, characterized by misplaced accents, on the third beat instead of the usual first, follows. With great rhythmic vitality, Haydn then builds the rest of the movement almost exclusively on the first theme, although he brings both ideas back for the recapitulation. A few soft Last performed on our measures in the midst of the bustling coda heighten the series March 19, 2014 impact of the exciting conclusion. (Elias String Quartet) Estimated duration: 25 minutes

Program note by Robert Strong © 2012

Bartók’s string quartets were composed over a 30-year BARTÓK: STRING period, and they chart the evolution of his style. His QUARTET NO. 6 youthful First Quartet (1909) shows the influence of late Romanticism and Debussy. The Second Quartet (1917) is firmly grounded in Hungarian folk idiom and the tonal freedom of Viennese modernists. By the time he wrote his Third (1927) and Fourth (1928) Quartets, his distinctive mature style was fully developed—the Western classical tradition blended with Hungarian folk music; short motifs constantly varied and transformed without repetition; ambiguous tonality; strong chromatic and rhythmic inflections; and radical new performing techniques, most famously the snapping “Bartók pizzicato.” The Fifth Quartet (1934) softens some aspects of his style, especially in its use of longer, more melodic musical lines and a less concentrated musical texture. Unlike most of his earlier work, the Fifth Quartet was immediately popular.

String Quartet No. 6 (1939), performed tonight, continues Bartók’s movement toward greater lyricism, but it bears the marks of the difficult circumstances in which it was written. Strongly opposed to the rise of Nazi Germany and the pro-fascist regime in his own country, Bartók was denied commissions and increasingly 4 friendsofchambermusic.com isolated. In the gloom of approaching war, he travelled to Switzerland in the summer of 1939 at the invitation of Swiss conductor Paul Sacher. While there he began his Sixth Quartet. When war broke out in September, he hurriedly returned to Budapest, where he completed the quartet. It was to be his last composition in Europe. In 1940 he and his wife sailed for the United States, where he remained until his death in 1945.

The Sixth Quartet has four movements, but Bartók departs from convention by introducing each of the first three movements with the same slow, soulful theme marked Mesto (“sad”). Rather than introduce the fourth movement, Bartók states the Mesto theme and then extends it to form the entire movement.

The first movement, introduced by the viola alone, is lively and agitated. The second movement, introduced by the cello, is a mocking, off-kilter march in the stamping gypsy rhythm of an 18th-century verbunkos, a dance used to attract recruits into the army. The first violin’s introduction of the third movement is accompanied by counter melodies in the second violin and cello. It is a sardonic and darkly humorous Burletta, or burlesque, with grating quartet-tone dissonance and strong rhythms. All four instruments open the fourth movement with the Mesto theme, which then continues in a mood of deep melancholy. Bartók recalls two themes from the first Last performed on our movement’s Vivace section, and the quartet ends quietly as series September 20, 2006 the cello strums the first five notes of theMesto theme. (Takács Quartet) Estimated duration: 27 minutes

Program note from Guide to Chamber Music, by Melvin Berger ©1985 (used with permission).

Dohnányi was born in a town 35 miles from Vienna. DOHNÁNYI: Nowadays it is called Bratislava and is the capital of PIANO QUINTET Slovakia; but in 1877 it was in Hungary – it was the NO. 1 IN ancient Hungarian capital, and lay within the Hungarian lands of the Austro-Hungarian Empire. Dohnányi grew C MINOR, OP. 1 up in the shadow of Austro-German musical culture, typified by Brahms, but equally conscious of the nationalist friendsofchambermusic.com 5 Program Notes Hungarian traditions cultivated by Liszt. The most striking Continued new composer to emerge from Hungary in the 1890s, he was destined to become one of the pivotal figures in his country’s musical life, especially when Hungary gained its independence after the fall of the Hapsburg Empire in 1918. Not only a gifted composer but an internationally- renowned virtuoso pianist, he became director of Hungarian Radio and President of the Budapest Academy, where he taught piano and composition. He was the friend, patron and champion of the slightly younger Bartók and Kodály, who found inspiration in Hungarian folk music for a more radical shift in musical language. Dohnányi was not unwilling to learn from them as he showed in such later works as his suite Ruralia Hungarica, but his personal idiom remained more of a Romantic blend than theirs. After the Second World War he found it impossible to work with the new Communist regime in Hungary and became an exile at the age of 72, spending his last decade teaching and performing in the United States.

The first of Dohnányi’s two Piano Quintets is the work that launched his career. When he composed it at the age of 17 he was still a student at the Budapest Academy, and had also taken some private lessons from the pianist-composer Eugen d’Albert, one of Liszt’s most notable pupils. In the summer of 1895 Dohnányi went to the popular resort of Ischi to visit Brahms, who was holidaying there, in order to play for him and show him his compositions. Brahms was so impressed by the First Quintet that he personally arranged for the première to be given in Vienna, with Dohnányi at the piano – an event that presaged the young Hungarian’s winning of several prestigious awards and many appearances on the concert platform in the next few years.

Brahms was often caustic about the work of younger composers, but in the last years of his life he seems to have softened towards the best of them. Moreover, he loved the Hungarian national idioms, which he had worked into several of his own chamber compositions, and he probably greeted Dohnányi’s Quintet so warmly because it was such a fine example of the kind of thing he enjoyed writing himself. In fact for a while the work – which is very ‘Brahmsian’ in its firm structure and craftsmanly 6 friendsofchambermusic.com working-out of ideas, but pervasively ‘Hungarian’ in accent – was jocularly referred to as ‘Brahms’s Second Piano Quintet.’ Indeed there is little doubt that Brahms’s own Piano Quintet, as well as his G minor and A minor Piano Quartets with their rich seam of ‘Hungarian’ invention, must have been among Dohnányi’s immediate models.

C minor has been considered, since Beethoven, the key of ‘Fate,’ and Dohnányi’s Quintet begins with a broad theme (with a pronounced rhythmic kick in the first bar) expressive, it would seem, of determined striving. An equally expansive theme, more lyrical in appeal and with a Romantic dying fall, constitutes the second subject; both subjects encompass several subsidiary ideas and motifs, and Dohnányi makes resourceful use of these in the ensuing development. In the coda, however, the music moves hopefully into a triumphant C major.

The scherzo, in A minor, is a fleet-footed, rather tense movement comparable to many of Brahms’s chamber-music scherzos with a warmly melodic, even hymn-like central trio in A major. Ardent melody is even more characteristic of the slow movement that follows, begun by a yearning theme on the solo viola, soon taken up by the rest of the strings. There is a contrasting, opulently Brahmsian subject, and the two of them are worked together in a broad A-B-A song-form whose passionate climax is almost prophetic of Hollywood film music of forty years later.

The assertive dotted rhythms of the finale’s opening theme are perhaps more reminiscent of a polonaise than of a specifically Hungarian model, though Dohnányi may have intended it to suggest a czárdás. This element is contrasted against a lyrical cello theme which sounds as if it may owe as much to Tchaikovsky as to Brahms. But the quietly purposeful fugato that starts up in F minor shows Dohnányi determined to display his credentials as a post- Brahmsian contrapuntist. After a return of the dotted- rhythm theme and another more lyric episode, he also pays his respects to Liszt by bringing back the opening theme of the first movement in an apotheosis designed to Tonight marks the first bind the whole work together, before the polonaise-like performance of this work rhythm takes over the final bars. on our series Estimated duration: 26 minutes friendsofchambermusic.com 7 PIANO SALON WITH HSING-AY HSU The second Piano Salon of the fall continues with Steinway Artist Hsing-ay Hsu, focused on the music of Brahms.

TUESDAY, DECEMBER 6, 2016 7:30 - 9:00 PM Savor the melancholy and idealism of Germanic Romanticism. Discuss your reactions with your fellow FCM subscribers in “MUSIC IN THE GALLERIES” AT the intimacy of a private residence, and then enjoy the THE CLYFFORD STILL MUSEUM performance of the Brahms Violin Sonatas Nos. 1 & 3 On November 18-20, the Clyfford Still Museum on December 7 (with violinist celebrates its fifth anniversary with a weekend of free Stefan Jackiw and pianist activities for the whole family, including guided tours, Anna Polonsky). art-making, and music. On Sunday, November 20, two ensembles will play in a musical double bill presented by Space is limited to a maximum of 16 participants with Friends of Chamber Music and Swallow Hill Music. registrations accepted on a first come, first served basis. TRIO THESSALIA (11:00 AM) CSO musicians Karen Kinzie (violin), Leah Kovach LOCATION (viola), and Susan Cahill (bass) will perform works by The home of FCM President, Mark O’Connor, Susan Cahill, and Beethoven. Alix Corboy

TICKETS THE DUSTIN ADAMS TRIO (2:00 PM) $30 The Trio will present its take on jazz from the 30’s and 40’s, exploring Still’s collection of Pintop Smith, ORDER BY PHONE Montana Taylor, and Meade Lux Lewis, among others. 303-388-9839 Enjoy the eclectic range of music Still appreciated ORDER BY MAIL Send a check to: FCM, and join our friends at the Clyfford Still Museum in 191 University Blvd #974, celebrating its special milestone. Denver, CO 80206. Include name of each participant Watch our website for additional “Music in the Galleries” and email address for class performances, including a December 11 performance by confirmation. the Altius Quartet. Note: Concert tickets are not included in the price of the salon. To purchase tickets, visit friendsofchambermusic.com.

8 friendsofchambermusic.com “GOOD VIBRATIONS” FILLED THE HALL AT FCM’S THIRD ANNUAL FREE FAMILY CONCERT

On October 9 the Altius Quartet, Fellowship Quartet-in-Residence at the University of Colorado-Boulder, presented an interactive “shuffle” concert where audience members selected pieces for the quartet to play. In this unconventional program, young participants had the opportunity to spin a drum full of numbered balls corresponding to the numbers on a “music menu” of pieces, from Beethoven to the Beatles. Guiding listeners through many musical periods and genres, the quartet played numerous excerpts, including the “creepy and scary” music of Ligeti’s “Metamorphoses Nocturnes,” the familiar Mozart theme for “Twinkle, Twinkle Little Star,” and jazz solos from the Michael Jackson/Dave Brubeck “Take It” mashup. Closing the concert with Taylor Swift’s “Shake It Off,” the quartet had kids and adults dancing in their seats.

We would like to thank Denver School of the Arts for hosting this fun-filled afternoon of music. FCM is also grateful to the SCFD and the Bonfils-Stanton Foundation for providing generous funding for our outreach programming.

SAVE THE DATE Colorado Gives Day is right around the corner! On Tuesday, December 6, thousands of Coloradans will support their favorite Colorado charities and nonprofits.

If you would like to preschedule a donation to Friends of Chamber Music, visit www.ColoradoGives.org/FCM. As always, we thank you for your support, helping to keep chamber music alive in our community!

friendsofchambermusic.com 9 2016-2017 PIANO SERIES

JOYCE YANG WED, MAR 15, 2017 | 7:30 PM Gramophone praised her “imaginative programming” and “beautifully atmospheric playing.”

PROGRAM: Schumann: Three Romances, Op. 94 Vine: The Anne Landa Preludes Granados: Goyescas, Nos. 1 and 4 Schumann: Symphonic Etudes, Op. 13

MURRAY PERAHIA WED, MAY 3, 2017 | 7:30 PM “Perahia’s extraordinary pianism is a sacrament of purification and a kind of return to an age of pianistic innocence.” – LOS ANGELES TIMES

PROGRAM: TBA

TO ORDER PIANO SERIES TICKETS: Single tickets $35 each ($60 for Murray Perahia) $10 Students (25 years or younger) Visit www.friendsofchambermusic.com or Newman Center Box Office | 303-872-7720 | www.newmantix.com

40 UNDER 40 Thank you to the following Friends who have sponsored “40 Under 40” guests for our 2016-17 Piano Series. FCM Patsy & Jim Aronstein Paula & Stan Gudder Myra and Robert Rich Lisa and Steve Bain Richard Healy Lee & Jill Richman Kate Bermingham Bill Juraschek Gregory Robbins David Cohen Desiree Parrott-Alcorn Laura Rogers Donna & Ted Connolly Todd & Carolyn Pickton Greta & Randy Alix Corboy Priscilla Press Wilkening

10 friendsofchambermusic.com LOCATION SPECIAL EVENT Hamilton Hall, Newman Center for the Performing Arts TICKETS $25 each/$10 students 25 and younger www.newmantix.com

This concert is part of a week-long residency which will include two master classes with area music students and three additional community events. Visit HARLEM QUARTET www.friendsofchambermusic.com THURSDAY, JAN 12, 2017 | 7:30 PM for more information on these activities. We are Friends of Chamber Music is pleased to present the delighted to collaborate Harlem Quartet in a special event performance on with this young and exciting Thursday night, January 12, at 7:30 pm. quartet of outstanding musicians. The Harlem Quartet is “bringing a new attitude to classical music, one that is fresh, bracing and intelligent,” says the These activities are Cincinnati Enquirer. The quartet’s mission is to advance supported, in part, by diversity in classical music, engaging young and new Imagine 2020: Denver’s audiences through the discovery and presentation of varied Cultural Plan, as well as repertoire that includes works by minority composers. with funds provided by the Western States Arts PROGRAM: Mozart: Quartet No.17 in B-flat major, K.458, “The Hunt” Federation (WESTAF), Colorado Creative Gillespie (arr. Dave Glenn): "A Night in Tunisia" Industries, and the Jobim (arr. Dave Glenn): "The Girl from Ipanema" National Endowment Hernandez (arr. Guido Gavilan): "El Cumbanchero" for the Arts. Brahms: Sextet No. 1 in B-flat major, Op. 18 Joining the quartet for the Sextet will be Lamont faculty members Basil Vendryes, viola, and Matt Zalkind, cello.

RESIDENCY ACTIVITIES: Residency activities include school performances at Florence Crittenton High School and Garden Place Academy, in partnership with El Sistema Colorado, as well as Master Classes at Denver School of the Arts and the Lamont School of Music.

EVENTS OPEN TO THE PUBLIC INCLUDE: “Different Voices” Free Community Concert Curious Theater, 1080 Acoma Street, Denver Denver Public Library, downtown branch SUN, JAN 8, 2017 | 6:00 PM Movie and Music Room Watch our website for information on tickets WED, JAN 11, 2017 | 10:30 – 11:30 AM

friendsofchambermusic.com 11 THE FOLLOWING FRIENDS have made gifts in the last 12 months. Your generous support is invaluable in assuring our continued standard of excellence. Thank you!

$25,000 + Kathe & Michael Gendel Richard & Jo Sanders Bonfils-Stanton Foundation Stephen & Margaret Hagood Alan & Gail Seay Scientific and Cultural Facilities Rogers & Ruth Hauck San Mao Shaw District, Tier III John Lebsack & Holly Bennett David & Patty Shelton Theodor Lichtmann Ric Silverberg & Judith Cott $5,000 + Rex & Nina McGehee Steven Snyder The Denver Foundation Kathy Newman & David Spira & Shirleyan Price Rudi Hartmann Claire Stilwell $2,500 + Fred & Ayliffe Ris Ann Richardson & Bill Stolfus Alix & John Corboy Ray Satter Margaret Stookesberry Imagine 2020: Denver's Henry R. Schmoll Dick & Kathy Swanson Cultural Plan Bobbi & Gary Siegel Berkley & Annemarie Tague Cynthia & John Kendrick Edie Sonn Eli & Ashley Wald Richard Replin & Elissa Stein Chet & Ann Stern Norman Wikner & Lela Lee Walter & Kathleen Torres Joseph & Barbara Wilcox $1,000 + Andrew Yarosh * Anonymous $250 + Patsy & James Aronstein * Jan Baucum $100 + Lisa & Steve Bain Pam Beardsley Barton & Joan Alexander Bob & Cynthia Benson Kate Bermingham Jim & Ginny Allen Howard & Kathleen Brand Barbara Bohlman Anonymous Bucy Family Fund Theodore Brin Shannon Armstrong C. Stuart Dennison Jr. Andrew & Laurie Brock Carolyn & Ron Baer Ellen & Anthony Elias Peter Buttrick & Dell & Jan Bernstein Fackler Legacy Gift Anne Wattenberg Sandra Bolton Joyce Frakes David & Joan Clark Carolyn & Joe Borus Robert S. Graham Geri Cohen Michael & Elizabeth Brittan Max Grassfield,in memory of Fran Corsello Darrell Brown & Pat Grassfield George & Sissy Gibson Suzanne McNitt Celeste & Jack Grynberg Paula & Stan Gudder Peter & Cathy Buirski Michael Huotari & Jill Stewart David & Lynn Hurst Susan Lee Cable Margie Lee Johnson Ann & Douglas Jones Bonnie Camp McGinty Co. Hannah Kahn & Arthur Best Nancy Kiernan Case Kim Millett George Kruger Cecile Cohen Frank & Pat Moritz Carol & Lester Lehman Dana Klapper Cohen Robert & Judi Newman John & Terry Leopold Anne Culver Mary Park & Douglas Hsiao Mark & Lois Levinson Catherine C. Decker Myra & Robert Rich Ann Levy Vivian & Joe Dodds Jeremy & Susan Shamos Nina & Alan Lipner Kevin & Becky Durham Marlis & Shirley Smith David & Lyn Loewi, in memory Barbara Ellman TourWest, a program of of Ruth & Roger Loewi David & Debra Flitter WESTAF (Western States Arts Jeri Loser Judy Fredricks Federation), supported by Philippa Marrack Robert C. Fullerton a grant from the National Robert Meade Herbert & Lydia Garmaier Endowment for the Arts. Kirsten & Dave Morgan Donna & Harry Gordon Marilyn Munsterman & Kazoo & Drusilla Gotow $500 + Charles Berberich John S. Graves Jules & Marilyn Amer Rosemarie & Bill Murane Gary & Jacqueline Greer Georgia Arribau John & Mary Ann Parfrey Gina Guy Linda & Dick Bateman Carolyn & Garry Patterson Pam & Norman Haglund David S. Cohen David S. Pearlman Jeff & Carmen Hall Susan & Tim Damour * Jane & Bill Russell Richard & Leslie Handler Max & Carol Ehrlich Charley Samson Dorothy Hargrove

12 friendsofchambermusic.com Larry Harvey Kathryn Spuhler Robert Rasmussen June Haun Morris & Ellen Susman Michael Reddy Richard W. Healy Decker Swann Margaret Roberts Eugene Heller & Lily Appleman Cle Symons Suzanne Ryan David & Ana Hill Malcolm & Hermine Tarkanian Cheryl Saborsky Joseph & Renate Hull Margot K. Thomson Michael & Carol Sarche Frank & Myra Isenhart Tom Vincent Sr. & Jo Shannon Stanley Jones Tom Vincent Jr. Artis Sliverman Suzanne Kaller Jeff & Martha Welborn Lois Sollenberger Michael & Karen Kaplan Greta & Randy Wilkening * Paul Stein Edward Karg & Richard Kress Philip Wolf Steve Susman Robert Keatinge Robert & Jerry Wolfe Barbara Walton Bruce Kindel Ruth Wolff Roberta & Mel Klein Karen Yablonski-Toll * Gift made to Ellen Krasnow & John Blegen Jeff Zax & Judith Graham FCM Endowment Elizabeth Kreider R. Dale Zellers Doug & Hannah Krening Carl & Sara Zimet MEMORIAL GIFTS Jack Henry Kunin In memory of Allan Rosenbaum Richard Leaman $50 + Leslie Clark Baker Seth Lederer Lorraine & Jim Adams Robert Charles Baker Igor & Jessica Levental Vernon Beebe Kate Bermingham Philip Levy Thomas Butler Carnes Wealth Management Penny Lewis Barbara Caley (John Carnes) & Pam Oliver Judy & Dan Lichtin Hilary Carlson & Janet Ellis Mary and Michael Davis Arthur Lieb Marlene Chambers David & Laura Dirks Charles & Gretchen Lobitz Jane Cooper Dr. & Mrs. Paul Fishman John & Merry Low Stephen & Dee Daniels Jim & Donna Flemming Elspeth MacHattie & Nancy & Mike Farley Larry Harvey Gerald Chapman Janet & Arthur Fine Suzanne Kaller Evi & Evan Makovsky John & Debora Freed Alfred Kelley Roger Martin Martha Fulford Fred & Debra Krebs Alex & Kathy Martinez Barbara Gilette & Marjorie Maltin Bill and Lisa Maury Kay Kotzelnick Jay and Lois Miller Myron McClellan & Barbara Goldblatt Rosemarie and Bill Murane Lawrence Phillips Henry & Carol Goldstein Kathy Newman & Bert & Rosemary Melcher Sandra Goodman Rudi Hartmann Dave & Jean Milofsky Sanders Graham Desiree Parrott-Alcorn Paul & Barb Moe Thomas & Gretchen Guiton Garry & Carolyn Patterson Douglas & Laura Moran Leonard & Abbey Kapelovitz Michael Reddy Betty Naster * Daniel & Hsing-ay Hsu Kellogg Robert & Myra Rich Robert & Ilse Nordenholz Doris Lackner, in memory of Stanley & Karen Saliman Robert N. O’Neill Edwin Kornfeld Tina & Tom Obermeier Della Levy In memory of Henry Claman Dee & Jim Ohi James Mann & Phyllis Loscalzo Dr. & Mrs. James Adams John Pascal Estelle Meskin, for Darlene David & Geraldine Brickley Don & Becky Perkins Harmon, piano teacher Shirley Epstein Carl Pletsch extraordinaire Max & Carol Ehrlich Carol Prescott Rhea Miller Dr. & Mrs. Paul Fishman Ralph & Ingeborg Ratcliff Joanna Moldow John & Debra Freed Reid Reynolds Betty Murphy Jim, Marty, & Megan Hartmann Gene & Nancy Richards Mary Murphy Hanna & Mark Levine Marv & Mary Robbins Kathy Newman & Rudi Dr. and Mrs. Fred Mimmack Herb Rothenberg, in memory of Hartmann, in honor of Mollie Paul & Barbara Moe Doris Rothenberg Jankovsky's birthday. Robert & Myra Rich Lorenz Rychner Mari Newman Joan F. Skiffington Donald Schiff, in memory of Larry O’Donnell Kathy & Bernie Steinberg Rosalie Schiff Martha Ohrt John & Patricia Schmitter Sarah Przekwas

friendsofchambermusic.com 13 UPCOMING CONCERTS CHAMBER SERIES PIANO SERIES Stefan Jackiw, violin Joyce Yang Anna Polonsky, piano Wednesday, March 15, 7:30 PM Wednesday, December 7, 7:30 PM Murray Perahia Danish String Quartet Wednesday, May 3, 7:30 PM Monday, February 13, 7:30 PM SPECIAL EVENTS Venice Baroque Orchestra Master Class with the Ariel Quartet Nicola Benedetti, violin November 10, 10:00 AM Wednesday, February 22, 7:30 PM Denver School of the Arts Steven Isserlis, cello 7111 Montview Blvd. Connie Shih, piano "Music in the Galleries" Tuesday, April 25, 7:30 PM November 20, 11:00 AM Clyfford Still Museum ADVANCE SINGLE TICKETS ARE AVAILABLE FOR ALL CONCERTS. Piano Salon December 6, 7:30 - 9:00 PM Visit our website: www.friendsofchambermusic.com Private Residence or contact the Newman Center Harlem Quartet Box Office, 303-871-7720; January 12, 7:30 PM www.newmantix.com Hamilton Hall, Newman Center for the Performing Arts See Page 11 for complete list of residency activities SPECIAL THANKS SCIENTIFIC AND CULTURAL BONFILS-STANTON FOUNDATION FACILITIES DISTRICT (TIER III) for sponsorship of FCM’s Piano Series for supporting FCM’s outreach efforts and audience development programs in through school residencies and master memory of Lewis Story classes ESTATE OF JOSEPH DEHEER COLORADO PUBLIC RADIO (KVOD ESTATE OF SUE JOSHEL 88.1 FM) for providing lead gifts to the FCM for broadcasting FCM concerts on its Endowment Fund “Colorado Spotlight” programs

Gates Concert Hall • Newman Center for the Performing Arts • University of Denver friendsofchambermusic.com