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Home , Bruce Adolphe, Charles Wadsworth, David Shifrin, Flute quartet, Horn Quintet (Mozart), Purple Rhapsody

CENTER FOR THE PERFORMING ARTS AT PENN STATE ONSTAGE

ANI KAVAFIAN, violin Bernard Mindich , MIHAI MARICA, , TARA HELEN O’CONNOR, PAUL NEUBAUER YURA LEE, viola Lisa-Marie Mazzucco Bernard Mindich Lisa-Marie Mazzucco ARNAUD SUSSMANN, violin © 2007 NyghtFalcon All Rights Reserved Today’s performance is sponsored by

Tom and Mary Ellen Litzinger

Community Advisory Council The Community Advisory Council is dedicated to strengthening the relationship between the Center for the Performing Arts and the community. Council members participate in a range of activities in support of this objective.

Nancy VanLandingham, chair Mary Ellen Litzinger Lam Hood, vice chair Bonnie Marshall Pieter Ouwehand William Asbury Melinda Stearns Patricia Best Susan Steinberg Lynn Sidehamer Brown Lillian Upcraft Philip Burlingame Pat Williams Alfred Jones Jr. Nina Woskob Deb Latta Eileen Leibowitz student representative Ellie Lewis Jesse Scott Christine Lichtig CENTER FOR THE PERFORMING ARTS AT PENN STATE

presents The Society of

Tara Helen O’Connor, flute David Shifrin, clarinet Ani Kavafian, violin Arnaud Sussmann, violin Yura Lee, viola Paul Neubauer, viola Mihai Marica, cello

7:30 p.m. Thursday, November 20, 2014 Schwab Auditorium

The performance includes one intermission.

This presentation is a component of the Center for the Performing Arts Project. With support from The Andrew W. Mellon Foundation, the project provides opportunities to engage students, faculty, and the community with classical music artists and programs. Marica Tacconi, Penn State professor of musicology, and Carrie Jackson, Penn State associate professor of German and linguistics, provide faculty leadership for the curriculum and academic components of the grant project.

sponsors Tom and Mary Ellen Litzinger support provided by John L. Brown Jr. and Marlynn Steele Sidehamer media sponsor WPSU

The Center for the Performing Arts at Penn State receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania, and the National Endowment for the Arts, a federal agency. PROGRAM Quartet in A Major for flute, violin, viola, and cello, K. 298 (1786) (1756–1791)

Andantino con variazioni Menuetto Rondo: Allegretto grazioso

Tara Helen O’Connor, flute Arnaud Sussmann, violin Yura Lee, viola Mihai Marica, cello

Duo No. 2 in B-flat Major for violin and viola, K. 424 (1783) Wolfgang Amadeus Mozart (1756–1791)

Adagio—Allegro Andante cantabile Thema con variazioni: Andante grazioso

Ani Kavafian, violin Paul Neubauer, viola

Parallel Worlds for flute, two violins, viola, and cello (2013) Co-commissioned by The Chamber Music Society of Lincoln Center and the Center for the Performing Arts at Penn State Sebastian Currier (b. 1959)

Expressive Animated Sustained Pulsing

Tara Helen O’Connor, flute Arnaud Sussmann, violin Ani Kavafian, violin Yura Lee, viola Mihai Marica, cello INTERMISSION

Quintet in A Major for clarinet, two violins, viola, and cello, K. 581 (1789) Wolfgang Amadeus Mozart (1756–1791)

Allegro Larghetto Menuetto Allegretto con variazioni

David Shifrin, clarinet Ani Kavafian, violin Arnaud Sussmann, violin Paul Neubauer, viola Mihai Marica, cello

The Chamber Music Society of Lincoln Center and the Center for the Performing Arts at Penn State are proud members of Music Accord, a national consortium of classical music presenting organizations that commissioned Parallel Worlds.

The Chamber Music Society’s touring program is made possible in part by the Lila Acheson and DeWitt Wallace Endowment Fund.

Please turn off cell phones and other electronic devices. Photographing, sound recording, or videotaping this performance is prohibited. been a joyous friendship. The music is PROGRAM NOTES playful throughout, unruffled by a slow BY DR. RICHARD E. RODDA movement. The opening movement is a set of variations based on a song “An Quartet in A Major for flute, die Natur” attributed to the contempo- violin, viola, and cello, K. 298 rary Viennese and publisher Wolfgang Amadeus Mozart Franz Anton Hoffmeister—the flute introduces the subject and takes the Among Mozart’s most loyal friends first variation, after which the violin, during his last years in were viola, and cello, in turn, provide their the members of the Jacquin family. own embroidery upon the tune. The The paterfamilias, Nikolaus Joseph von central trio section of the diminutive Jacquin, was a distinguished botanist Menuetto recalls an old French song and professor of chemistry at Vienna titled “Il a des bottes, des bottes, Bas- University who instilled the love of tien” (The Boots, the Boots, Bastien). music in his children, Joseph Franz (21 Mozart, a great lover of jokes and a in 1787), Gottfried (19), and Franzisca teaser of his friends, headed the clos- (18). Mozart was very fond of the Jac- ing Rondo, “Not too fast, but also not quins and he visited them frequently too slow—so-so—with much elegance to share their dinner, play his music for and expression,” and then went on to them, or keep Franzisca up with her spin one of his most beguiling cre- lessons when she proved to be one of ations from Paisiello’s operatic theme. his most talented piano students. For the entertainment of the household, Duo No. 2 in B-flat Major for Mozart composed a number of works, violin and viola, K. 424 including the delightful Flute Quartet in Wolfgang Amadeus Mozart A Major (K. 298). During a visit to his hometown of It was long believed that this quartet Salzburg in 1782, Mozart planned to had been written in Paris in 1778 as a renew acquaintance with old friends, pendant to the three such works that including Michael Haydn, director of Mozart completed in Mannheim late the and composer in the the previous year for the local amateur archiepiscopal household, and the of the instrument Willem Britten de younger brother of of Jong, but this dating troubled those Esterházy. Upon his arrival in Salzburg, scholars who had difficulty explaining Mozart was distressed to find that how Mozart could have quoted an aria Haydn had fallen ill, especially since (“Chi mi mostra”—Who tells me where the archbishop had ordered a set of I can find love?) from Paisiello’s 1786 six duos for violin and viola from him buffa Le Gare generose (The and was threatening to dock Haydn’s Contests in Generosity, premiered in salary if the deadline for their delivery Naples and repeated almost immedi- was not met. Haydn had been able to ately in Vienna) in a work written eight finish only four of the pieces, so Mozart years before. The 1786 provenance of completed the assignment for him by the composition is also attested by the composing the remaining pair (K. 423 analysis of the composer’s handwriting and K. 424). All six duos were writ- and the paper upon which the music ten out in fair copy, inscribed with the was written, and by the fact that Baron name of Michael Haydn, and sent to the von Jacquin once owned the auto- archbishop with a flowery dedication. graph. This nice story (first recorded by two of Haydn’s students and repeated in the If the A Major Flute Quartet provides biography of Mozart by Georg Nissen, any indication of Mozart’s relationship Constanze Mozart’s second husband) with the Jacquin family, it must have has, however, been called into ques- tion by some scholars, including Alfred and Kronos string quartets. Currier’s Einstein, since it does not explain why Deep-Sky Objects, 15 Minutes, Quanta, Mozart twice asked his father to return Flow, Links, and Ringtone Variations the duos to him in December if he received world premieres during the intended to pass them off as the work 2012–2013 season. Highlights included of another composer. Perhaps, after the premieres of Cadence, Fugue, all, he wrote them simply because he Fade by the American Brass Quintet was intrigued by the novelty of Haydn’s and Artificial Memory by the Dresher duos and wanted to try his own hand Ensemble. His violin Time at the genre. They were announced for Machines, commissioned by Anne- publication under their true author’s Sophie Mutter, was premiered by name in 1788, but did not appear in the in June print until 1792, a year after Mozart’s 2011, and a recording of the perfor- death. mance was released by the following September. Mozart’s string duos provide about as much delight as it is possible to derive Currier has received the Grawemeyer from just two melody instruments. The Award for the chamber piece Static; the B-flat Duo opens with a stately intro- Berlin Prize, Rome Prize, a Guggenheim duction in measured tempo that serves Fellowship, a fellowship from the as preface to the fully realized sonata National Endowment for the Arts, and form of the Allegro. The movement’s an Academy Award from the American development section is particularly Academy of Arts and Letters. He has notable for the masterful canonic dia- held residencies at the MacDowell and logues shared by the partnered instru- Yaddo colonies. He received a D.M.A. ments. The Andante is a movement of from The and taught at sweet, lyrical repose. The finale is an from 1999–2007. infectious theme and variations. He is artist-in-residence at the Institute for Advanced Study and is published by Boosey & Hawkes. Parallel Worlds for flute, two violins, viola, and cello “The idea for Parallel Worlds started Sebastian Currier with the instrumental ensemble itself, Co-commissioned by the Chamber Music flute and ,” Currier writes. Society of Lincoln Center and the Center “The string quartet has remained, over for the Performing Arts at Penn State. centuries, one of the most written for Composed by Sebastian Currier; pre- and appreciated chamber ensembles. miered on March 20, 2014, in Phoenix Though the reasons for this are various, by flutist Tara Helen O’Connor, violinists I’m sure that one of them is the natural Arnaud Sussmann and Ani Kavafian, balance between the instruments: on violist Yura Lee, and cellist Mihai the one hand it’s a very unified sound, Marica. but on the other, it also allows for the independence of the individual string Sebastian Currier’s music has been instruments. Add a flute to the mix performed at major venues worldwide. and this all changes. When thinking Born in Huntingdon, Pennsylvania— about how to incorporate flute within about 30 miles southwest of State the context of a string quartet, I was College—his career has spanned both struck by just how different a flute is chamber and orchestral genres and than a string instrument. I mean this his works have been performed by beyond the obvious facts of construc- ensembles including the New World tion and sound production. Both Symphony, San Francisco Symphony, instrument groups are designed to play , and the New York similar material, articulate in analogous Philharmonic, and the Cassatt, Ying, ways—even express similar things, yet they seem to occupy different worlds. 498), the clarinet and parts Parallel worlds. This made me think in the vocal trios, the clarinet solos in of transcription: when transferring the opera La Clemenza di Tito, the clari- material between two instruments, is net parts added to the second version a literal note-for-note correspondence of the G minor Symphony (K. 550), and the closest relation or do other less the flawless (K. 622), literal transformations better capture his last instrumental work, completed the essence of a passage on one instru- in October 1791 just two months before ment transcribed to another? I’m sure his death. The final years of Mozart’s there are many valid answers to this life were ones of troubled finances, ill question, but for my piece the answer health, and family problems that often was that to try to have literal cor- forced him to beg for loans from oth- respondence was to lose some of the ers. It says much about his kindness essence. In Parallel Worlds, therefore, and sensitivity that he, in turn, loaned the string quartet and the flute make Stadler money when he could, and music in different ways, parallel ways. even once gave him two gold watches The piece is in four movements. In each to pawn when there was no cash at of them this parallel-but-different rela- hand. The final accounting of Mozart’s tion is approached in a variety of ways. estate after his death showed that In the third movement the strings pres- Stadler owed him some 500 florins— ent sustained chords while the flute several thousand dollars. The clarinet intones elaborate figurations. Both works that he gave to his friend are groups are in their element: a group beyond price. of strings slowly drawing their bows can give the impression of continuous The quintet opens with a theme that sound; while the flute cannot do that, is almost chaste in its purity and yet its inherent agility allows it to execute is, somehow, deeply introspective and elaborate figuration with flexibility and immediately touching. As its initial grace. And what makes the two groups punctuating arpeggios indicate, the not just different, but parallel, is that, clarinet’s role in the piece is not so while they unfold in their own way, much one of a soloist in a miniature they both are expressions of the same concerto (as is the wind instrument in underlying harmonies.” the Horn Quintet, K. 407) as that of an equal partner to the string ensemble. Quintet in A Major for clarinet, The second theme, a limpid, sweetly two violins, viola, and cello, K. 581 chromatic melody that could have Wolfgang Amadeus Mozart been conceived by no other musician of the time, not even Joseph Haydn, is Mozart harbored a special fondness given first by the violin and then by the for the graceful agility, liquid tone, and clarinet above a delicate syncopated ensemble amiability of the clarinet string accompaniment. A reference from the time he first heard the instru- to the suave main theme closes the ment as a young boy during his tours, exposition and serves as the gateway and he later wrote for it whenever it to the development section, which was available. His greatest composi- is largely concerned with permuta- tions for the instrument were inspired tions of the arpeggiated figures with by the technical accomplishment and which the clarinet made its entry in the expressive playing of Anton Stadler, opening measures. The recapitulation principal clarinetist of the Imperial provides exquisite closure of the move- Court Orchestra in Vienna and fellow ment’s formal structure and emotional Mason, for whom he wrote not only progression. The Larghetto achieves a this quintet but also the Trio for piano, state of exalted sublimity that makes clarinet, and viola (“Kegelstatt,” K. it the instrumental counterpart to Sarastro’s arias in The Magic Flute, which George Bernard Shaw once said and flamboyant, and serves as a fitting were the only music fit to issue from conclusion to one of the most precious the mouth of God. The Menuetto is treasures in Mozart’s peerless musical fitted with two trios: the first, a somber legacy. minor-mode essay for strings alone, is perfectly balanced by the clarinet’s Mozart notes lilting, Ländler-like strains in the sec- © 2014 Dr. Richard E. Rodda ond. The variation-form finale is more subdued and pensive than virtuosic

THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER

The Chamber Music Society of Lincoln Center is one of eleven constituents of Lincoln Center for the Performing Arts, the largest performing arts complex in the world. Along with other constituents such as the New York Philharmonic, Bal- let, Lincoln Center Theater, and The Metropolitan Opera, The Chamber Music Society of Lincoln Center has its home at Lincoln Center. The organization’s performance venue, , has received international acclaim as one of the world’s most exciting venues for chamber music. The ensemble presents chamber music of every instrumentation, style, and historical period in its extensive concert season in New York City, its national and international tours, its many recordings and national radio broadcasts, its broad commission- ing program, and its multifaceted educational programs. Demonstrating the belief that the future of chamber music lies in engaging and expanding the audience, the ensemble has created programs to bring the art of chamber music to audiences from a wide range of backgrounds, ages, and levels of musical knowledge. The artistic core of the ensemble is a multigenerational, dynamic repertory company of expert cham- ber musicians who form an evolving musical community. As part of that community, the Chamber Music Society Two program discovers and weaves into the artistic fab- ric a select number of highly gifted young artists—individuals and ensembles—who embody the great performance traditions of the past while setting new standards for the future. The ensemble produces its own recordings on the CMS Studio Recordings label, which has been highly praised for both the artistry and the recorded sound of the eclectic range of its repertoire. These recordings are sold on-site at concerts in New York, on tour, and through the Chamber Music Society website, as well as by online retailers. The newest media innovation, CMS Live!, offers recordings of extraor- dinary live performances, available only by download and chosen by artistic directors and from among each season’s many concerts. The ensemble also has a broad range of historic recordings on the Arabesque, Delos, SONY Classi- cal, Telarc, Musical Heritage Society, MusicMasters, and Omega Record Classics labels. Selected live concerts are available for download as part of Deutsche Grammophon’s DG Concerts series. In 2004, the ensemble appointed cellist Finckel and pianist Han artistic directors. They succeed founding director Charles Wadsworth (1969–1989), Fred Sherry (1989– 1992), and David Shifrin (1992–2004).

Through its Watch Live series, The Chamber Music Society of Lincoln Center live streams online approximately thirty chamber music concerts and events a season to a worldwide audience. These streams are free to the public and are available on demand for an additional twenty-four hours after the broadcast. View the complete schedule of Watch Live events at www.ChamberMusicSociety.org. MUSICIAN BIOGRAPHIES Bernard Mindich Bernard Lisa-Marie Mazzucco

ANI KAVAFIAN, violin YURA LEE, viola This is violinist Ani Kavafian’s thirty- Violinist and violist Yura Lee is a multi- fourth year performing with The Chamber faceted musician—as soloist and as a Music Society of Lincoln Center. Touring chamber musician—and one of the very the United States, Canada, and Europe, few that is equally virtuosic in both vio- she performs with the Kavafian-Schub- lin and viola. She has performed with Shifrin Trio, the Da Salo , the major including those of New Triton Horn Trio, and with her sister, Ida York City, Chicago, Baltimore, Cleveland, Kavafian. She is the concertmaster and San Francisco, and . She a frequent soloist with the New Haven has given recitals in London’s Wigmore Symphony and is in the process of per- Hall, Vienna’s Musikverein, Salzburg’s forming the complete Mozart Mozarteum, Brussels’ Palais des with the orchestra. As president of the Beaux-Arts, and the Concertgebouw in Young Concert Artist Alumni Association, Amsterdam. At age 12, she became the she took part in the organization’s fif- youngest artist to receive the Debut Artist tieth anniversary concert in 2011. Her of the Year prize at the Performance solo career has included performances Today awards given by National Public with the New York Philharmonic, The Radio. She is a recipient of the 2007 Orchestra, the Cleveland Avery Fisher Career Grant and the first Orchestra, and the Los Angeles Chamber prizewinner of the 2013 ARD Competition. Orchestra. Her recordings include the She has received top prizes in the Mozart, Bach sonatas with Kenneth Cooper; Indianapolis, Hannover, Kreisler, Bashmet, Mozart sonatas with Jorge Federico and Paganini competitions. Her CD Osorio; and Justin Dello Joio’s Piano Trio Mozart in Paris, with Reinhard Goebel and with Carter Brey and Jeremy Denk. This the Bayerische Kammerphilharmonie, past summer she took part in eight music received the prestigious Diapason d’Or festivals, including OK Mozart, Chamber Award. As a chamber musician, she regu- Music Northwest, Music@Menlo, larly takes part in the festivals of Marlboro, Bridgehampton, Norfolk, and Music from Salzburg, Verbier, and Caramoor. Her Angel Fire. Together with Brey, she con- main teachers included Dorothy DeLay, tinues as artistic director of Mostly Music, Hyo Kang, Miriam Fried, Paul Biss, the chamber music series in New Jersey. Thomas Riebl, Ana Chumachenko, and As a professor at Yale University, she is Nobuko Imai. Lee is professor of violin enjoying the many successes of her stu- at the Hochschule für Musik in Dresden, dents as they secure positions with major Germany. She divides her time between orchestras and as teachers at universities New York City and Berlin. She is a former around the world. Kavafian plays a 1736 member of Chamber Music Society Two, Stradivarius violin and is married to artist as both violinist and violist. Bernard Mindich. him as one of his generation’s quint- essential artists. In 2014, he gave the world premiere of a new viola concerto by with the St. Paul Chamber Orchestra followed by perfor- mances with the Chautauqua Symphony and the Idyllwild Arts Orchestra. This consortium commission culminates in his Los Angeles Chamber Orchestra debut with conductor . MIHAI MARICA, cello Appointed principal violist of the New Romanian-born cellist Mihai Marica is York Philharmonic at age 21, he has a first prizewinner of the Dr. Luis Sigall appeared as soloist with more than 100 International Competition in Viña del Mar, orchestras, including the New York, Los Chile, and the Irving M. Klein International Angeles, and Helsinki philharmonics; String Competition in San Francisco. He National, St. Louis, Detroit, Dallas, San is a recipient of Charlotte White’s Salon Francisco, and Bournemouth sympho- de Virtuosi Fellowship Grant. Marica has nies; and Santa Cecilia, English Chamber, performed with orchestras including the and Beethovenhalle orchestras. A two- Symphony Orchestra of Chile; Xalapa time Grammy nominee, he recorded Symphony in Mexico; the Hermitage State several pieces that were composed for Orchestra of St. Petersburg, Russia; the him: ’s Purple Rhapsody for Jardins Musicaux Festival Orchestra in viola and orchestra and Wild Purple for Switzerland; and in the United States with solo viola; Viola Rhapsody, a concerto by the Louisville Orchestra and the Santa Cruz Henri Lazarof; and Soul Garden for viola Symphony in California. He has appeared and chamber ensemble by Derek Bermel. in recital performances in Austria, Hungary, Neubauer gave the world premiere of the Germany, Spain, the Netherlands, South revised Bartók Viola Concerto as well as Korea, Japan, Chile, the United States, concertos by Tower, Penderecki, Picker, and Canada. A dedicated chamber musi- Jacob, Lazarof, Suter, Müller-Siemens, cian, Marica has appeared at Chamber Ott, and Friedman. He is on the faculty of Music Northwest in Portland and at the The Juilliard School and Mannes College. Norfolk and Aspen music festivals where Neubauer performs in a trio with soprano he has collaborated with such artists as Susanna Phillips and pianist Anne-Marie Ani Kavafian, Ida Kavafian, David Shifrin, McDermott that features a wide-ranging André Watts, and Edgar Meyer. He is a repertoire including salon style songs. He member of the award-winning Amphion has performed with The Chamber Music String Quartet. Marica studied with Gabriela Society of Lincoln Center since 1985. Todor in his native Romania and with Aldo Parisot at the , where he earned a master of music and an artist diploma. He is a member of Chamber Music Society Two. The Winston-Salem Foundation supports his three-year residency. Lisa-Marie Mazzucco

, flute

Bernard Mindich Bernard TARA HELEN O’CONNOR Tara Helen O’Connor is a charismatic performer noted for her artistic depth, brilliant technique, and colorful tone spanning every musical era. Winner of an Avery Fisher Career Grant and a PAUL NEUBAUER, viola two-time Grammy nominee, she was Violist Paul Neubauer’s exceptional musi- the first wind player to participate in the cality and effortless playing distinguish Chamber Music Society Two program. A Wm. S. Haynes flute artist, she is the , he is also the a regular participant in the Santa recipient of a National Endowment for Fe Chamber Music Festival, Music@ the Arts Solo Recitalist Fellowship. A top Menlo, the Chamber Music Festival of prizewinner in competitions throughout the Bluegrass, Mainly Mozart, Spo- the world, including Munich, Geneva, leto USA, , and San Francisco, he has held princi- Music from Angel Fire, the Banff pal clarinet positions in The Cleveland Centre, Ocean Reef Chamber Music Orchestra and the American Symphony Festival, and the Bravo! Vail Valley Mu- under . His recordings sic Festival. She is a founding member have received three Grammy nomina- of the Naumburg Award-winning New tions, and Stereo Review named his per- Millennium Ensemble, a member of the formance of Mozart’s Clarinet Concerto woodwind quintet Windscape, and the with the Mostly Mozart Festival Orchestra Bach Aria Group. She has appeared on Record of the Year. He has released two A&E’s Breakfast with the Arts and Live CDs of ’s compositions, from Lincoln Center. She has recorded one of which was nominated for a Latin for Deutsche Grammophon, EMI Classics, Grammy. At home with the work of Koch International, and Bridge Records. such contemporary as John O’Connor is the head of the wind depart- Adams, Joan Tower, , and ment at Purchase College School of , Shifrin commissioned a the Arts Conservatory of Music and is concerto from that the chair of classical music studies. Ad- he premiered with The Chamber Music ditionally, she is on the faculty of Bard Society of Lincoln Center and with the College Conservatory and the contem- Buffalo Philharmonic in 2002. He is a porary program at Manhattan School of Yamaha performing artist. Music. Her yearly summer flute master class at the Banff Centre in Canada is legendary. All Rights Reserved © 2007 NyghtFalcon NyghtFalcon © 2007

ARNAUD SUSSMANN, violin Winner of a 2009 Avery Fisher Career DAVID SHIFRIN, clarinet Grant, Arnaud Sussmann has distin- A Yale University faculty member since guished himself with a unique sound, 1987, clarinetist David Shifrin is artistic bravura, and profound musicianship. director of Yale’s Chamber Music Society Minnesota’s Pioneer Press writes, series and Yale in New York, a concert “Sussmann has an old-school sound series at . He has been per- reminiscent of what you’ll hear on forming with The Chamber Music Society vintage recordings by Jascha Heifetz of Lincoln Center for twenty-six years or Fritz Kreisler, a rare combination of and served as its artistic director from sweet and smooth that can hypnotize 1992–2004, inaugurating the Chamber a listener.” A thrilling young musician Music Society Two program and the capturing the attention of classical critics annual Brandenburg Concerto concerts. and audiences around the world, he has In his thirty-second season as artistic appeared on tour in Israel, at the Dresden director of Chamber Music Northwest Music Festival in Germany, in concert at in Portland, he has collaborated with Lincoln Center’s Alice Tully Hall in New the Guarneri, Tokyo, and Emerson York City, and at the Phillips Collection string quartets and is a member of the in Washington, D.C. He has performed Kavafian-Schub-Shifrin Trio. Winner of in Omaha as part of the Tuesday Musical Club series, in New Orleans Hoffman, Shmuel Ashkenasi, Wu Han, with the Friends of Music, in Tel Aviv at David Finckel, Jan Vogler, and members the Museum of Art, and at the Louvre of the . A for- Museum in Paris. He has also performed mer member of Chamber Music Society at the OK Mozart, Moritzburg, Caramoor, Two, he has regularly appeared with The Music@Menlo, La Jolla SummerFest, Chamber Music Society of Lincoln Center Mainly Mozart, Seattle Chamber Music, in New York City and on tour, includ- Bridgehampton, and the Moab Music ing performances at London’s Wigmore festivals. Sussmann has performed with Hall. IMG Artists recently signed him for many of today’s leading artists, including worldwide representation. , Menahem Pressler, Gary

Center for the Performing Arts Staff

George Trudeau, director Aimee Crihfield, contracts/logistics coordinator Lea Asbell-Swanger, assistant director Medora Ebersole, education programs manager Annie Doncsecz, finance director Lisa Faust, audience services manager Tracy Noll, sales and development services director Deanna Heichel, assistant finance director Laura Sullivan, marketing and communications Tom Hesketh, events manager director Wanda Hockenberry, assistant to the director Amy Dupain Vashaw, audience and program Christine Igoe, ticket manager development director Tony Intorre, information technology specialist Shannon Arney, assistant ticket manager Urszula Kulakowski, art director Erik Baxter, multimedia specialist Heather Mannion, advertising associate Shannon Bishop, downtown ticket center manager Sherren McKenzie, group sales coordinator Christie Black, editorial and public relations associate John Mark Rafacz, editorial manager Len Codispot, sales and development accounting Dave Shaffer, assistant director for special programs coordinator Chad Swires, production supervisor Gary Collins, production supervisor Mark Tinik, production supervisor

1 5 8 Front cover photos: 1. Regina Carter © 2010 Rahav Segev/ Photopass.com 2. Cirque Alfonse in Timber! Frederic Barrette 3. Joshua Roman © Tina Su 4. MAMMA MIA! 2 9 MAMMA MIA! North American Tour © 2013 Kevin Thomas Garcia 5. Brian Stokes Mitchell © Richard Termine 6. Takács Quartet © Ellen Appel 7. Aspen Santa Fe Ballet 3 6 10 Rosalie O’Connor 8. BASETRACK Live 9. Tafelmusik Baroque Orchestra in The Galileo Project Glenn Davidson 10. SpokFrevo Orquestra 11. Ani Kavafian, The Chamber 4 7 11 Music Society of Lincoln Center Bernard Mindich Bold listings represent members who Members increased their donations by 10 percent The Center for the Performing Arts recognizes the following members or more this season. Be Bold! Contact for their support. For information on the membership program or Dave Shaffer, assistant director for how you may contribute to the Center for the Performing Arts, please special programs, at 814-863-1167. contact Dave Shaffer at 814-863-1167 or [email protected].

Leadership Encore Amy Greenberg and Richard Doyle Bill and Connie Hayes Circle Circle Steven L. Herb and Sara Willoughby-Herb $3,000 and more $1,000 to $1,999 Nancy L. Herron Lam and Lina Hood Lynn Sidehamer Brown Pamela M. Aikey Cindy and Al Jones Mimi U. Barash Coppersmith Grace M. Bardine Chick King Marty and Joan Duff Mary and Hu Barnes James and Bonnie Knapp Blake and Linda Gall Philip and Susan Burlingame James and Barbara Korner Robert and Helen Harvey Edda and Francis G. Gentry John and Michelle Mason Bob and Sonia Hufnagel Richard B. Gidez Patrick W. and Susan N. Morse Richard and Sally Kalin Judith Albrecht and Denny Gioia Marcia and Bill Newton Dan and Peggy Hall LeKander David and Margaret Gray Steve and Anne Pfeiffenberger Barbara Palmer Michael P. Johnson and Dotty and Paul Rigby Maureen Mulderig Jack and Sue Poremba Patricia Hawbaker Quinlivan Louis P. Silverman and Stan and Debra Latta Andy and Kelly Renfrew Veronica A. Samborsky Benson and Christine Lichtig Shirly Sacks George and Nina Woskob Kenneth and Irene Mcllvried Karen Scott Shearer Russell and Jeanne Schleiden Paul and K. C. Sheeler Jackson and Diane Spielvogel Director’s Vaughn and Kay Shirk Circle Carol and Rex Warland Terry and Pat Williams Susan and Lewis Steinberg David and Diane Wisniewski Marilynne W. Stout $2,000 to $2,999 Kenton Stuck Elizabeth Trudeau Patricia Best and Thomas Ray advocate George and Debbie Trudeau Lynn Donald Breon Mark and JoAnne Westerhaus Janet Fowler Dargitz and $500 to $999 Mary Jane and William Wild Karl George Stoedefalke Charlotte Zmyslo Rod and Shari Erickson Ned and Inga Book Edward R. Galus Jack and Diana Brenizer Partner Arnold and Marty Gasche Sandra Zaremba and Richard Brown Donald W. Hamer and Marie Bednar Richard Carlson and Lori Forlizzi $250 to $499 Beverly Hickey Joseph and Annie Doncsecz Honey and Bill Jaffe Michael T. and Ann F. Dotsey Steve and Chris Adams Kay F. Kustanbauter Steve and Sandy Elbin William W. Asbury Eileen W. Leibowitz Mark A. Falvo Dr. Deborah F. Atwater Tom and Mary Ellen Litzinger Joel Gaesser Sven and Carmen Bilén Pieter W. and Lida Ouwehand Nancy S. Gamble Alan Brown William Rabinowitz John and Carol Graham Richard W. Bryant Robert Schmalz partner (cont’D) friend Tom Caldwell Memorial Fund $250 to $499 $150 to $249 Don Miller Roger and Corrine Coplan Lynn and Ellis Abramson June Miller Lee and Joan Coraor Shirley Allan Gary and Judy Mitchell Stephanie Corcino Anne and Art Anderson Betty and John Moore Jo Dixon Scott and Sandy Balboni Chris and Bobbie Muscarella Margaret Duda Dr. Henry and Elaine Brzycki Robert F. and Donna C. Nicely Heather F. Fleck John Collins and Mary Brown Claire M. Paquin Pamela Francis John M. Carroll and Mary Beth Rosson Guy and Grace Pilato Peg and Joe French George and Bunny Dohn Andrew and Jean Landa Pytel Catherine Greenham Steven P. Draskoczy, M.D. Ed and Georgia Reutzel Andrea Harrington Terry and Janice Engelder Phil and Judy Roberts Ms. Sue Haug Barry and Patti Fisher Susan J. Scheetz Dawn E. Hawkins Frank and Vicky Forni The Shondeck Family Dale T. Hoffman Bob and Ellen Frederick Donald Smith and Merrill Budlong Christopher and Gail Hurley Andris and Dace Freivalds Allan and Sherrill Sonsteby John and Gina Ikenberry Bethlyn and Scott Griffin Carol Sosnowski and Allen and Nancy Jacobson Charlie and Laura Hackett Rosemary Weber Laurene Keck and Dave Sweetland Elizabeth Hanley and Barry and Ellen Stein John and Gretchen Leathers Patrick Kolivoski JoLaine Teyssier Debra Leithauser John Lloyd Hanson James and Deena Ultman Fran E. Levin Betty Harper and Scott Sheeder Stephen and Jennifer Van Hook Jack and Ellie Lewis Proforma LLH Promos, LLC Nancy and Wade VanLandingham Dorothy and Kenneth Lutz Tom and Ann Hettmansperger Alice Wilson and Friends Richard D. Lysle Jackie and John Hook Carl and Sharon Winter Jodi Hakes McWhirter Jim and Susan Houser David L. and Connie Yocum Susan and Brian McWhirter Steven and Shirley Hsi Jim and Sharon Mortensen Anne F. Hummer the jazz train Joe and Sandy Niebel Daniel and Kathleen Jones Eva and Ira Pell Ed and Debbie Klevans $250 and more Martena Rogers John F. Knepp Help us continue to present world-class Mike and Joan Roseberry Harry B. Kropp and jazz artists by becoming a member of Sally L. Schaadt Edward J. Legutko Thomas Kurtz and The Jazz Train. For details, contact Dave Robert and Peggy Schlegel Shaffer at [email protected] or Grace Mullingan-Kurtz Tom and Carolyn Schwartz 814-863-1167. Dave Shaffer and Eve Evans Mark and Theresa Lafer John and Sherry Symons Fred and Louise Leoniak William W. Asbury Shawn and Amy Vashaw Sharon and David Lieb Patricia Best and Thomas Ray Gary and Tammy Vratarich Bob and Janice Lindsay David and Susan Beyerle Barbara R. and Joel A. Weiss Herb and Trudy Lipowsky Lynn Donald Breon Sue Whitehead Jane and Edward Liszka Lynn Sidehamer Brown David and Betsy Will Nancy and John Lowe Philip and Susan Burlingame Craig and Diane Zabel Sandy and Betty Macdonald David and Lisa Coggins Dr. Theodore Ziff Helen Manfull Gordon and Caroline DeJong Cal and Pam Zimmerman Deborah Marron Jim and Polly Dunn Betty McBride-Thuering Edward R. Galus Sherren and Harold McKenzie Arnold and Marty Gasche the jazz train (cont’D)

$250 and more Charlene and Frank Gaus Endowment John and Michelle Groenveld Lee Grover and Anita Bear Contributors Steven L. Herb and $150 and more Sara Willoughby-Herb Anne and Lynn Hutcheson We recognize the following donors who have contributed to endow- Honey and Bill Jaffe ments at the Center for the Performing Arts in the past year. For more Brian and Christina Johnson information about how to contribute to existing endowments, contact Michael P. Johnson and Dave Shaffer at 814-863-1167 or [email protected]. Maureen Mulderig Cindy and Al Jones John L. Brown Jr. and Marlynn Steele Sidehamer Nicholas and Carolyn Kello Endowment Robert Martin and Kathy Weaver The Sturtz-Davis Family Kathleen D. Matason and Richard M. Smith Nina C. Brown Endowment Randi and Peter Menard Pamela M. Aikey Dr. Marla L. Moon Richard Robert Brown Program Endowment Wilson and Maureen Moses Richard Brown and Sandra Zaremba William and Annemarie Mountz Larry and Kelly Mroz Norma and Ralph Condee Chamber Music Endowment Jack and Sue Poremba Robert and Dorothy Cecil Sally L. Schaadt William F. and Kathleen Dierkes Condee David and Ann Shallcross-Wolfgang Honey and Bill Jaffe Endowment Dan and Melinda Stearns Honey and Bill Jaffe Dennis W. and Joan S. Thomson Dan and Linda Treviño McQuaide Blasko Endowment Barbara R. and Joel A. Weiss Mr. and Mrs. James Horne Charlotte Zmyslo Penn State International Dance Ensemble Endowment Elizabeth Hanley and Patrick Kolivoski

vision Enriching lives through inspiring experiences

mission The Center for the Performing Arts provides a context, through artistic connections, to the human experience. By bringing artists and audiences together we spark discovery of passion, inspira- tion, and inner truths. We are a motivator for creative thinking and examination of our relationship with the world.