ST. LAWRENCE STRING QUARTET OCTOBER 24, 2018 BOARD OF PROGRAM BOOK CONTACT DIRECTORS CREDITS US

James Reel Arizona Friends of Editor President Chamber Music Jay Rosenblatt Post Office Box 40845 Paul Kaestle Tucson, Arizona 85717 Vice-President Contributors Robert Gallerani Phone: 520-577-3769 Joseph Tolliver Holly Gardner Email: [email protected] Program Director Nancy Monsman Website: arizonachambermusic.org Helmut Abt Jay Rosenblatt Recording Secretary James Reel Operations Manager Cathy Anderson Wes Addison Advertising Treasurer Paul Kaestle USHERS Philip Alejo Allan Tractenberg Nancy Bissell Barry & Susan Austin Kaety Byerley Design Lidia DelPiccolo Laura Cásarez Openform Susan Fifer Michael Coretz Marilee Mansfield Dagmar Cushing Printing Elaine Orman Bryan Daum West Press Susan Rock Robert Garrett Jane Ruggill Marvin Goldberg Barbara Turton Joan Jacobson Diana Warr Juan Mejia Maurice Weinrobe & Trudy Ernst Jay Rosenblatt Elaine Rousseau VOLUNTEERS Randy Spalding Paul St. John Cory Aaland George Timson Dana Deeds Leslie Tolbert Beth Daum Beth Foster Bob Foster Marvin Goldberg Eddy Hodak Marie-France Isabelle Hal Myers Traudi Nichols Allan Tractenberg Diane Tractenberg

2 FROM THE PRESIDENT

As you’ll see from the sign in the lobby and a note You can be a full sponsor of any concert we present in the program, and will hear from me from the for $5,000, or a partial sponsor for half that. If there’s stage if I remember to do my job, tonight’s concert an individual musician (including a member of an is sponsored in part by our generous friend Jim ensemble) who tickles your fancy, you can sponsor Cushing. I’m pleased to report that we already have that artist for $1,500. You could adopt a school in our at least partial sponsorships for all of this season’s Music in the Schools program for $1,000. Evening Series concerts, one concert in the Now It’s a way of knowing exactly what your dollars are Music series, and our first Festival concert. Five of supporting, taking pride in a particular endeavor, and the individual musicians appearing with us have also getting credit from AFCM and your fellow audience attracted sponsors. members (and, to the extent of the law, the IRS) for That’s great news at this early point in the season, but your generous commitment to great chamber music. it is my duty to announce as AFCM’s Official Money- So I encourage you, if you have the resources, to join Grubbing President that many other sponsorship Jim Cushing and the dozen other individuals and opportunities remain open. couples who have come forward so far to sponsor a A sponsorship can be a significant outlay for some concert or musician this season. Soon you, too, could of us, chump change for a few others, but every have the thrill of hearing me stumble over your name sponsorship is equally meaningful to AFCM. in my pre-concert announcements—and of making a As you’ve heard from every arts organization for strong investment in these performances we love. years, ticket sales pay less than half the bills, so the sponsorships go a long way toward filling the income gap.

JAMES REEL President

3 ST. LAWRENCE STRING QUARTET OCTOBER 24, 2018

ST. LAWRENCE STRING QUARTET

“Modern . . . dramatic . . . superb . . . wickedly attentive . . . with a hint of rock ’n roll energy” are just a few ways critics describe the musical phenomenon that is the St. Lawrence String Quartet. The SLSQ is renowned for the intensity of its performances, its breadth of repertoire, and its commitment to concert experiences that are at once intellectually exciting and emotionally alive. Fiercely committed to collaboration with living composers, the SLSQ’s fruitful partnership with John Adams, Jonathan Berger, Osvaldo Golijov, and many others, has yielded some of the finest additions to St. Lawrence String Quartet the quartet literature in recent years. The Quartet is Geoff Nuttall,violin also especially dedicated to the music of Haydn and Owen Dalby, violin has recorded his groundbreaking set of six Op. 20 Leslie Robertson, viola quartets in high-definition video for a free, universal Christopher Costanza, cello release online in the 2018–19 season. According to The New Yorker, “no other North American quartet plays the music of Haydn with more intelligence, David Rowe Artists expressivity, and force.” 24 Bessom St., Suite 2 Marblehead, MA 01945 Established in Toronto in 1989, the SLSQ quickly St. Lawrence String Quartet recordings earned acclaim at top international chamber music can be heard on EMI Classics and competitions and was soon playing hundreds of ArtistShare: www.artistshare.com concerts per year worldwide. They established an ongoing residency at Spoleto Festival USA, made prize-winning recordings for EMI of music by Schumann, Tchaikovsky, and Golijov, earning two Grammy nominations and a host of other prizes before being appointed ensemble-in-residence at Stanford University in 1999. In the words of Alex Ross of The New Yorker: “The St. Lawrence are remarkable not simply for the quality of their music making, exalted as it is, but for the joy they take in the act of connection.”

AFCM last heard the St. Lawrence String Quartet in January 2017.

4 EVENING SERIES

PROGRAM This evening’s concert

JOSEPH HAYDN (1732–1809) is partially sponsored by the generous contribution String Quartet in C Major (“The Bird”), Op. 33, no. 3 of Jim Cushing. Allegro moderato Scherzo: Allegretto Adagio ma non troppo Finale: Presto

JONATHAN BERGER (b. 1954)

Tango alla zingarese (2016)

INTERMISSION

MARK APPLEBAUM (b. 1967)

“Dead Name” (2018)

WOLFGANG AMADEUS MOZART (1756–1791)

String Quartet in D Minor, K. 421 Allegro Andante Menuetto: Allegretto Allegretto ma non troppo

5 PROGRAM NOTES

HAYDN’S AMIABLE OPUS 33 is generally known The expressive center of the quartet falls in the serene as Gli Scherzi, an Italian term that puns on its dual Adagio, a sonata form movement that was much translation as “the jokes,” a reference to the humorous admired by Mozart; thematic and harmonic echoes qualities of these quartets, and “the scherzos,” can be heard in his C major Quartet. The rondo finale Haydn’s new term for his light and accelerated is a tour de force that suggests Slavonic folk dance. minuet movements. Written after a ten-year hiatus JONATHAN BERGER EARNED his Doctor of Musical from quartet composition, these six quartets were Arts degree at Stanford University, where he is described by Haydn as being written “in a new and currently Professor in both its Department of Music special way.” He termed his new technique “thematic and its Center for Computer Research in Music elaboration,” a process by which the music develops and Acoustics (CCRMA, pronounced “karma”). not by the restatement of complete subjects but Winner of a 2016 Guggenheim Fellowship, Berger rather by the manipulation of short motifs derived has received major commissions from both the from a movement’s initial ideas. In Opus 33 these National Endowment for the Arts and numerous motifs are distributed throughout all four voices chamber ensembles. He creates adventuresome so that the instruments alternately assume leading compositions that have been described as “gripping” and subordinate roles. The resulting equality among (New York Times), “poignant and richly evocative” the players inspired Goethe’s famous comparison (San Francisco Chronicle), and “taut and hauntingly of the string quartet form to “a conversation among beautiful” (New York Times). Berger’s works are four intelligent people.” Opus 33 strongly impacted often sonic evocations of both scientific events and Mozart and Beethoven, both of whom modeled the human condition. They include the adaptation quartets on these inventive works. of satellite imaging data of a dispersed oil spill (Jiyeh) Each of the Opus 33 quartets has its own nickname, and the spatially realized brain activations of a affectionately bestowed by listeners rather than hallucinating schizophrenic patient (Theotokia). Haydn himself. The C major Quartet is called “The Passionate yet subtle, Berger’s Tango alla zingarese Bird” because both its opening movement and the (Gypsy Tango, 2016) develops freely with the tango’s Allegretto section of the second movement suggest bold drama but alludes to Haydn’s rhythmically delightfully animated birdsong. Quick grace notes playful movement (Menuetto alla zingarese) through (acciaccaturas) appear throughout the brief melodies intricately timed entrances and ingenious exchanges to conjure chirps; short staccato notes mimic of theme. The fervor of Berger’s work perhaps reflects bird pecks. Haydn’s tumultuous emotional state in 1772, the The Allegro moderato opens with the hint of an year this unhappily married composer developed a introduction, a high G in the violin that quickly new love interest. Berger’s work possibly suggests an descends against a rising cello line. After bar three, imaginary transition from the constrained form of its two related themes, derived entirely from small the minuet to the dark freedom of the tango. gestures heard in its opening measures, are punctuated Berger writes: “Tango alla zingarese is a rollicking by piquant acciaccaturas. This genial movement parody of the minuet from Haydn’s Op. 20, no. 4. particularly influenced Mozart’s own C major As with the Haydn (in which both the character of Quartet (K. 465) from his set dedicated to Haydn. the minuet and the ‘Gypsy’ elements are obscured As in his earlier minuet forms, Haydn uses material beyond recognition), the Tango and the ‘zingarese’ that suggests Austrian folk music in the three-part are there in spirit only, while setting up and dashing scherzo movement, which opens and concludes with expectations takes center stage. a sustained melody played sotto voce (literally “under “The work was commissioned by the 92nd Street Y in the voice,” a hushed quality) in the instruments’ low New York for the St. Lawrence String Quartet.” registers. Avian effects return in the lilting middle section as the two violins twitter a duet high on their upper strings.

6 PROGRAM NOTES

COMPOSER MARK APPLEBAUM is the Leland and had composed by writing and recasting successions Edith Smith Professor of Composition at Stanford of songful melodies scored primarily for first violin. University. He received his Ph.D. in composition But in each of his six “Haydn” Quartets he follows from the University of at San Diego, where Haydn’s procedure of “thematic elaboration.” In he studied principally with Brian Ferneyhough. His this process the music develops organically through solo, chamber, orchestral, and electroacoustic work the manipulation of short motifs derived from the has been performed throughout the United States, opening ideas of the movements. Moreover, he now Europe, Asia, and Africa with notable performances treats the instruments as four equal voices, as does at the Darmstadt Sessions. Haydn. Mozart described his new quartets as “the fruit of long, arduous labor” and dedicated them Many of Applebaum’s works are characterized by to Haydn, “from whom I have learned how to write challenges to the conventional boundaries of musical string quartets.” ontology: works for three conductors and no players; the Concerto for Florist and Orchestra; pieces for According to Mozart’s wife Constanze, Mozart instruments made of junk; notational specifications worked at K. 421 (the second quartet of his new set) that appear on the faces of custom wristwatches; throughout the labor and birth of their first child, works for invented sign language choreographed Raimund Leopold, on June 17, 1783. Mozart sat to sound; amplified Dadaist rituals; a 72-foot- in the adjacent room and would occasionally visit long graphic score displayed in a museum and Constanze to give comfort. Despite a biographer’s accompanied by no instructions for its interpretation. judgment of Mozart’s absorbed behavior as “the His TED talk—about boredom—has been seen callousness of genius,” there are enough erasures in by more than three million viewers. Applebaum the manuscript to indicate frequent interruptions. comments on his career: “It’s seriously fun work Moreover, it is altogether possible that the serious to be a composer. Indeed some of my pieces have affect of K. 421, dominated by a descending bass line levity and whimsy. Humor is a rare commodity in often termed the “bass of grief,” arises from Mozart’s my field. Because it’s so rare, people may mistakenly deep concern for his fragile family. characterize my career as being humorous. What’s The concentrated and passionate Allegro movement important to me is that I combine levity and rigor. features an important unifying motif for the entire It can be fun and serious. It can be very carefully quartet at the end of its exposition—the violin plays considered and thoughtfully wrought, and at the a motto theme with three prominent repeated notes, same time it can be whimsical.” an idea heard in each succeeding movement. The Dead Name, which early in 2018 enjoyed its world three-part Andante (F major), a serene movement premiere, is intended to be heard as a commentary with an undercurrent of agitation, exploits this motto on transgender rights. Applebaum writes: “At first, in its middle section. (In both this section and the everyone saw her as a trill. But she knew she was following Menuetto movement listeners have claimed a glissando. Dead Name is dedicated to her courage. to hear musical reflections of Constanze’s cries in Dead Name was composed for the St. Lawrence labor.) The bold Menuetto (D minor) is largely based String Quartet and commissioned by SLSQ and on the three-note motto; its major-key trio section Stanford Live.” provides a lighthearted contrast. The D minor finale consists of four variations based on a siciliano theme ALTHOUGH MOZART was a composer with that Mozart admired in Haydn’s Op. 33, no. 5. Its astounding facility, the writing of string quartets dramatic coda combines this pastoral Italian theme did not come easily to him. After early efforts in with elements from the earlier movements. the medium, he abandoned the form for nearly a decade. Then in 1781 he heard the Opus 33 Gli Scherzi Notes by Nancy Monsman Quartets, revolutionary works composed by his new friend and mentor, Joseph Haydn. Much inspired, Mozart decided to resume quartet writing according to Haydn’s precepts. In his earlier quartets Mozart

7 Early Music Made New

Founded in 1982, the Arizona Early Music Society presents the finest national and international ensembles specializing in the music of “Bach and Before.”

Join us this season to hear period instruments and vocal styles of the Medieval, Renaissance and Baroque periods come alive.

For program information and tickets, visit www.azearlymusic.org or call (520) 721-0846.

8 9 10 —18 — SEASON —19 — LUMINOUS

NORTHERN LIGHTS October 19 - 21, 2018 AMERICAN RHYTHM November 3 - 4, 2018 LESSONS & CAROLS BY CANDLELIGHT December 13 - 16, 2018 TRUE CONCORD GOES LATIN! January 18 - 20, 2019 CORINNE WINTERS IN RECITAL January 22, 2019 BACH ST. MATTHEW PASSION February 22 - 24, 2019 VISIT TRUECONCORD.ORG FOR TICKETING OR VENUE INFORMATION MOZART REQUIEM OR CALL 520-401-2651 March 29 - 31, 2019

Tucson Guitar Society

www.tucsonguitarsociety.org

520-342-0022

Andres Ségovia revolutionized Spanish guitar. Now a new generation of artists is building on his legacy.

Come hear what the excitement is about!

International Concert Artist Series

11 THANK YOU TO OUR SUPPORTERS!

$10,000 & ABOVE Minna J. Shah Philip M. Davis James Tharp & James Lindheim Marilyn Dettloff Jean-Paul Bierny & Chris Tanz Joe & Connie Theobald Stephen & Aimee Doctoroff Jim Cushing George Timson Lionel & Karen Faitelson Boyer Rickel Teresa Tyndall Gerald & Barbara Goldberg Gwen Weiner Sandra Hoffman $5,000 – 9,999 William & Ann Iveson George & Cecile Klavens Shirley Chann $500 – $999 Daniela Lax David & Joyce Cornell Bob Albrecht & Jan Kubeck Alan Levenson John & Terry Forsythe Barbara Carpenter & Rachel Goldwyn Leonid Friedlander James & Chris Dauber Amy & Malcolm Levin Charles & Suzanne Peters Bryan & Elizabeth Daum Hal Myers John & Helen Schaefer Raul & Isabel Delgado Richard & Susan Nisbett Paul A. St. John Michael Evanston Nancy Ostromencki & Leslie P. Tolbert Philip & Nancy Fahringer & Phil Renaud Wa l t Swap Carole & Peter Feistmann Mary Peterson & Lynn Nadel Harold Fromm Judith C. Pottle $2,500 – 4,999 J. D. & Margot Garcia Seymour Reichlin Eloise Gore & Allen Hile Celia Balfour Barbara Straub Wesley Green Dagmar Cushing Nancy Strauss Helen Hirsch Alison Edwards & Henri Frischer Sally Sumner Sidney & Martha Hirsh Robert & Ursula Garrett Sheila Tobias David Johnson George & Irene Perkow Allan & Diane Tractenberg Paul & Marianne Kaestle Randy Spalding Ellen Trevors Larry & Rowena G. Matthews Walter Swap Maurice Weinrobe & Trudy Ernst Martie Mecom Elliott & Wendy Weiss Jan Wezelman & David Bartlett Kitty & Bill Moeller

Lawrence & Nancy Morgan $100 – $249 $1,000 – 2,499 Serene Rein Nancy Bissell Arnie & Hannah Rosenblatt Andrea & Gary Abramowitz Richard & Martha Blum Reid & Linda Schindler Helmut A. Abt Celia Brandt Bonnie Winn Frank & Betsy Babb Gail D. Burd Anne Wright Margaret Bashkin & John G. Hildebrand Peter & Betty Bengtson Robert D. Claassen $250 – $499 Peter Bleasby & John T. Urban Joyce Bolinger Thomas & Susan Aceto Donald & Louise Doran Sarah Boroson Wes & Sue Addison Elliot & Sandy Heiman Elizabeth Buchanan Sydney Arkowitz Milton Francis Patricia & Ed Campbell Gail Bernstein & Marilyn Heins Thomas & Debra Collazo Ann Blackmarr Beth Foster Terence DeCarolis Nathaniel Julie Gibson C. Jane Decker & Suzanne Bloomfield Katherine Havas Martin Diamond & Paula Wilk Jan Buckingham Robert & Deborah Johnson John & Mary Enemark & LM Ronald Arthur & Judy Kidder Penny & Mark Estomin James Cook John & Ila Rupley Bob Foster Nancy Cook Richard & Judith Sanderson James & Ruth Friedman

12 THANK YOU TO OUR SUPPORTERS!

Linda L. Friedman GIFTS IN MEMORY OF Contributions are listed from Tommy & Margot Friedmann October 1, 2017 through Thomas & Nancy Gates Clifford & Wendy Crooker September 30, 2018. Space Marvin & Carol Goldberg by Beth Foster limitations prevent us from listing Ben & Gloria Golden Raymond Hoffman contributions less than $100. Marilyn Halonen by Sandra Hoffman Every contribution helps secure Clare Hamlet the future of AFCM. Suzanne Hayt Kathy Kaestle Ruth B. Helm by Paul & Marianne Kaestle Please advise us if your name is not Jim Homewood Gloria Ottenstein listed properly or inadvertently Sara Hunsaker by Andrea & Gary Abramowitz omitted. Lee L. Kane by Penny & Mark Estomin Joe Kantauskis & Gayle Brown Carl T. Tomizuka Carl Kanun by Sheila Tobias Karen Loeb Carol Zuckert Robert Lupp by Cathy Anderson Frank & Janet Marcus

Warren & Felicia May GIFTS IN HONOR OF Harry Nungesser Karen Ottenstein Beer Cathy Anderson Jay Pisik by C. Jane Decker Margaret Pope Dr. & Mrs. Nathaniel Bloomfield & Norman Epstein by Dr. Melvin & Maude Shafron John Raitt Lynn Ratener James Reel James Reel by C. Jane Decker Helen Rosen by Hal Myers Jay & Elizabeth Rosenblatt Randy Spalding Herschel & Jill Rosenzweig by Thomas and Debra Collazo Elaine Rousseau Kenneth J. Ryan Stephen & Janet Seltzer Tanya Servaas Sara Shifrin Shirley Snow Harry Stacy Ronald Staub Jennalyn Tellman Sheila Tobias Karla Van Drunen Littooy Ann Ward Patricia Waterfall Patricia Wendel Daryl Willmarth Sheila Wilson & Hal Barbar Peggy Wolf

13 THANK YOU TO OUR SUPPORTERS!

JEAN-PAUL BIERNY COMMISSIONS CORPORATE SUPPORTERS LEGACY SOCIETY Jean-Paul Bierny & Chris Tanz Ameriprise Financial Jean-Paul Bierny & Chris Tanz Shirley Chann Arizona Early Music Society Nancy Bissell Jim Cushing Cantera Custom Creations Mr. & Mrs. Nathaniel Bloomfield Mr. Leonid Friedlander Center for Venous Disease Theodore & Celia Brandt Copenhagen Nancy Cook CONCERT SPONSORSHIPS Downtown Kitchen + Cocktails Dagmar Cushing Jean-Paul Bierny & Chris Tanz Fishkind, Bakewell, Dr. Marilyn Heins David & Joyce Cornell Maltzman, Hunter Joe & Janet Hollander Jim Cushing Flower Shop on 4th Avenue Judy Kidder John & Terry Forsythe Holualoa Companies Linda Leedberg John & Helen Schaefer Homecare Assistance To m L e w i n Minna J. Shah Kinghorn Heritage Law Group Ghislaine Polak Randy Spalding La Posada Boyer Rickel Tucson Desert Song Festival Ley Piano Randy Spalding Loft Cinema Anonymous MUSICIAN SPONSORSHIPS Mister Car Wash Rogue Theater $25,000 and above Celia Balfour True Concord Family Trust of Lotte Reyersbach Jean-Paul Bierny & Chris Tanz Tucson Guitar Society Phyllis Cutcher, Trustee of the Dagmar Cushing Frank L. Wadleigh Trust Anne Denny All commission, concert, Richard E. Firth and musician sponsors are Carol Kramer acknowledged with posters in Arthur Maling the theater lobby and in concert Claire B. Norton Fund programs. (held at the Community Foundation for Southern Arizona) Herbert Ploch Lusia Slomkowska Living Trust Agnes Smith $10,000 – $24,999 Marian Cowle Minnie Kramer Jeane Serrano Up to $9,999 Elmer Courtland Margaret Freundenthal Susan R. Polleys Administrative Trust Frances Reif Edythe Timbers Listed are current plans and posthumous gifts.

14 VERSE

Déjeuner Sur L’Herbe

EDITH SITWELL, 1887 –1964

Green apples dancing in a wash of sun— Ripples of sense and fun— A net of light that wavers as it weaves The sunlight on the chattering leaves; The half-dazed sound of feet, And carriages that ripple in the heat. The parasols like shadows of the sun Cast wavering shades that run Across the laughing faces and across Hair with a bird-bright gloss. The swinging greenery casts shadows dark, Hides me that I may mark How, buzzing in this dazzling mesh, my soul Seems hardening it to flesh, and one bright whole. O sudden feathers have a flashing sheen! The sun’s swift javelin The bird-songs seem, that through the dark leaves pass; And life itself is but a flashing glass.

Selected for tonight’s concert by Sarah Kortemeier, Instruction and Outreach Librarian, and Julie Swarstad Johnson, Library Specialist, at the University of Arizona Poetry Center.

15 2018–2019 SEASON OVERVIEW

NOVEMBER 14, 2018 DECEMBER 16, 2018 FEBRUARY 13, 2019 MARCH 3–10, 2019

Modigliani Quartet Daniel Hsu, piano Alexander String 26th Tucson Winter with pianist 3:00 pm Quartet with pianist Chamber Music Festival Fabio Bidini Joyce Yang APRIL 3, 2019 7:30 pm JANUARY 23, 2019 7:30 pm Quartet MOZART Chamber Music Society MOZART 7:30 pm Quartet in C Major of Lincoln Center Piano Quartet in (“Dissonance”), K. 465 7:30 pm E-Flat Major, K. 493 HAYDN STRAVINSKY SAMUEL ADAMS Quartet in G Major, BRAHMS Three Pieces for String Piano Quintet Op. 76 No. 1 Piano Quartet No. 3 SCHUMANN Quartet DEBUSSY BRAHMS in C Minor, Op. 60 Piano Quintet in Quartet in G Minor, SUK Piano Quintet in F Minor, E-Flat Major, Op. 44 Op. 10 Piano Quartet in Op. 34 SHOSTAKOVICH A Minor, Op. 1 FEBRUARY 21, 2019 String Quartet No. 3 DVORÁK DECEMBER 5, 2018 in F Major, Op. 73 Piano Quartet in Portals – Juilliard String Quartet E-Flat Major, Op. 87 Tim Fain, violin 7:30 pm 7:30 pm APRIL 18, 2019 JANUARY 31, 2019 BEETHOVEN ZOFO Piano Duet 7:30 pm Quartet in D Major, Te Amo, Argentina Partita Op. 18 No. 3 7:30 pm LEV ZHURBIN LEMBIT BEECHER Sicilienne String Quartet GINASTERA NICO MUHLY HAYDN Puneña No. 2 Honest Music Quartet in F Major, PIAZZOLLA Op. 77 No. 2 Milonga Del Angel Air GUASTAVINO WILLIAM BOLCOM Canciones Argentinas Graceful Ghost PIAZZOLLA KEVIN PUTS Le Grand Tango Arches GINASTERA Canciones Populares Argentinas PIAZZOLLA Verano Porteña SCHIFRIN Pampas GARDEL Two Tangos

16 BOARD MEMBER PROFILE PAUL ST. JOHN

AFCM is managed by volunteers who, in addition to Q: What do you do when you’re not working being passionately dedicated to chamber music, have on AFCM: outstanding qualifications. We invite you to get to PStJ: I’m a professor at the University of Arizona, know them. where I mainly teach medical students.

Q: How long have you been involved with AFCM? Q: Your interests outside of chamber music? Paul St. John: My wife and I have been attending PStJ: I love spending time with family, especially our AFCM concerts since we moved to Tucson 30 years grandchildren. I have fun cooking and traveling with ago. The presence of an outstanding chamber-music my wife. I like reading, including popular mysteries, series was a factor in our decision to move here. After science, and some history. Two of my outdoor several years as audience members, we started hosting passions are skiing and sailing. visiting musicians. We loved hearing about their Q: What is the best part of an AFCM concert? lives and insights into the pieces they were performing PStJ: I love the sense of anticipation just before in the Festival concerts. I joined the AFCM Board the musicians start to play, and the fact that each in 2015. performance is alive and is dynamically created by the Q: What is your current role on the Board? musicians in the moment. To me, a live performance PStJ: I’m a member of the Commissioning of a piece is much richer than any recording. Committee. I love having the opportunity to help Q: Your favorite piece of chamber music? with AFCM’s exceptional program that supports PStJ: I can’t imagine naming just one! Wouldn’t the creation of new works and shapes the future of that be like saying which of your children was your chamber music. favorite? I enjoy the range and variety of chamber Q: What role does music plays in your life? music. PStJ: That’s hard to express in words. Music is always Q: Your favorite book? close at hand. Sometimes music leads my thoughts PStJ: No one favorite, but a book I enjoyed a lot and feelings, and sometimes my thoughts and feelings recently was Your Inner Fish, by Neil Shubin. It’s a call up music as a sort of soundtrack to life. page-turner about fossils, genes, and evolution. Q: Did you play an instrument or perform Q: Anything else you’d like to tell us? as a child? PStJ: I’m very grateful to the many donors and PStJ: I had some basic lessons for piano, guitar, and volunteers who have supported AFCM over trombone, but nothing extensive or serious. I’ve been the years. a consumer of music, not a producer!

Q: How did you first become interested in the chamber music form? PStJ: A music course in college introduced me to forms of classical music. Chamber music always felt very personal and engaging, and I was amazed that just a few instruments could create such rich and complex sound.

Q: What other kinds of music do you enjoy? PStJ: Many. Other forms of classical music. I came of age with pop – the Beatles! – and folk music. I also like rock and blues.

17 18 RELAX. THINK. FIND JOY.

arizonachambermusic.org

With the Precision of a Fine Performance.

5599 N. Oracle Road 10425 N. Oracle Road, Suite 135 eyestucson.com 520-293-6740

For tickets call (520) 308-6226 or visit www.sasomusic.org

October 20 & 21, 2018 – Márquez’ lively favorites Conga del Fuego Nuevo and SaddleBrooke Danzón No. 2, Saint-Saëns’ audience-favorite Piano Concerto No. 2, Debussy’s Saturdays at 7:30 pm poetry-inspired Petite Suite and Chávez’s Symphony No. 2. DesertView Performing Arts Center November 17 & 18, 2018 – Bernstein’s Candide Overture, Arutiunian’s 39900 S. Clubhouse Drive challenging Trumpet Concerto, Jobim’s chart-topping Girl from Ipanema and Borodin’s Symphony No. 2. Northwest Tucson February 2 & 3, 2019 – Brahms’ Double Concerto for Violin and Cello plus Sundays at 3:00 pm St. Andrew’s Presbyterian Church two works by Mendelssohn – The Hebrides (inspired by a visit to a sea cave 7650 N Paseo Del Norte in Scotland) and Symphony No. 5, The Reformation. (Ticket fee waived for students March 2 & 3, 2019 – Offenbach’s Orpheus in the Underworld, inspired by ages 17 and under at this location) Greek mythology, plus the premiere of White’s Concertino, Dukas’ spritely The Sorcerer’s Apprentice and Rimsky-Korsakov’s Capriccio Espagnol. April 6 & 7, 2019 – Suppé’s The Beautiful Galathea Overture and classics by Mozart – his final Violin Concerto, known as The Turkish, and his Coronation Season Sponsor: Mass, with SASO Chorus. Dorothy Vanek

19 Proud to Support Arizona Friends of Chamber Music

Bringing World Class Chamber Music to Tucson

WORKING TOGETHER TO BUILD A STRONGER COMMUNITY

20 Authentic Hand Caved Cantera Stone We Offer Custom Designs And Service

Fireplaces Fountains Pavers Benches Tables Spheres Sculptures And More! Open Monday-Friday 9am - 5pm CanteraCustomCreations.com 4818 E Speedway Blvd. (520) 326 6051

21 When an older adult in your life needs help, choose a higher class of home care.

• Expert Oversight by Professional Care Managers • High Expectations for All Care Employees • Holistic, Active Caregiving through Our Balanced Care Method™ • Specializing in hourly or 24/7 Live in Care 520-276-6555 HomeCareAssistanceTucson.com

Changing the Way the World Ages Keep the Music Playing

22 When you have the right financial advisor, life can be brilliant.

You’ve worked hard for your money. You want your money to work hard for you. Using our Confident Retirement® approach, I’ll work with you to develop a customized plan that can help you realize your financial goals – today and well into the future.

PHILIP P. PAPPAS II Ph.D., CFP,® CRPC,® ADPA® Financial Advisor

520.514.1027 5151 E Broadway Blvd, Ste 1530 Tucson, AZ 85711 [email protected] ameripriseadvisors.com/philip.p.pappas CA Insurance #0D29731

The Confident Retirement® approach is not a guarantee of future financial results. Investment advisory products and services are made available through Ameriprise Financial Services, Inc., a registered investment adviser. © 2015 Ameriprise Financial, Inc. All rights reserved. (10/15)

23 Explore the La Posada Lifestyle

Indoor and outdoor pools • State-of-the-art wellness Pavilion Preferred access to a continuum of support • Financial peace of mind with our exclusive LifeLease commitment • Superb dining, from elegant to casual • Over 100 acres of beautifully maintained grounds • Independent living in a variety of home options: from spacious apartments to award-winning houses

350 E. Morningside Rd., Green Valley PosadaLife.org

La Posada is an award-winning, nationally accredited not-for-profit continuing care community.