NEW YORK FESTIVAL OF SONG JANUARY 30, 2020 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 Cathy Anderson USHERS Philip Alejo Michael Coretz Nancy Bissell Marvin Goldberg Barry & Susan Austin Kaety Byerley Paul Kaestle Lidia DelPiccolo Laura Cásarez Jay Rosenblatt Susan Fifer Michael Coretz Randy Spalding Marilee Mansfield Dagmar Cushing Allan Tractenberg Elaine Orman Bryan Daum Susan Rock Alan Hershowitz Design Jane Ruggill Tim Kantor Openform Barbara Turton Juan Mejia Diana Warr Jay Rosenblatt Printing Maurice Weinrobe & Trudy Ernst Elaine Rousseau West Press Randy Spalding VOLUNTEERS Paul St. John George Timson Dana Deeds Leslie Tolbert Beth Daum Ivan Ugorich Beth Foster Bob Foster Traudi Nichols Allan Tractenberg Diane Tractenberg

2 FROM THE PRESIDENT

Remember when even a lot of people who liked There are ways around that very real problem. You can classical music thought that chamber music was best follow printed translations while you listen, but left to those with a taste for dreary, abstract, over- tonight we’ll make it even easier for you. The theme intellectual, deadly-serious compositions? Thank for this year’s Tucson Desert Song Festival is The goodness we got over that notion. American Voice, and while America has a wonderful diversity of cultures and languages, English is the Today, nobody thinks that about anything but language of the majority of American art songs art song. written during the past hundred-plus years. Part of that prejudice, I think, begins with So open your ears tonight, and our emissaries from assumptions about how the voices themselves will the Festival of Song will move you, excite sound. We grow up with this cartoonish image of you, and amuse you, even if you’re not already a song obese people wearing horned helmets and belting out aficionado. Wagner at the top of their lungs, smothering everything in a vibrato wide enough to drive the Met’s Ring set through. Well, it’s true that sometimes you find that sort of sound in full-scale , but certainly not all of them, and hardly ever in art songs. JAMES REEL Song is to as chamber music is to a symphony: President more intimate, more tightly focused, but all the more involving on a personal level. Then there’s the question of language. The “language” of Beethoven versus the “language” of Bartók is merely a matter of style, and if you can understand one composer, with a slight adjustment you can easily understand the other. But song puts music to words, and if those words are in a language you don’t speak, you can get the emotional gist of what’s happening, and enjoy a pretty tune, but you won’t be able to figure out everything that’s going on.

3 NEW YORK FESTIVAL OF SONG JANUARY 30, 2020

NEW YORK FESTIVAL OF SONG

Now celebrating its 32nd season, New York Festival of Song (NYFOS) is dedicated to creating intimate song concerts of great beauty and originality. Weaving music, poetry, history, and humor into evenings of compelling theater, NYFOS fosters community among artists and audiences. Founded by pianists Michael Barrett and Steven Blier in 1988, NYFOS continues to produce NYFOS MAINSTAGE, its flagship series of thematic song programs, drawing together rarely-heard songs of all kinds, overriding traditional distinctions between classical and popular performance genres, and exploring the character and language of other cultures while keeping a focus on New York Festival of Song the wide spectrum of American music. Steven Blier, artistic director Michael Barrett, associate artistic director Among its discography, NYFOS has produced five recordings on the Koch label, including a Grammy Christine Taylor Price, Award-winning disc of Bernstein’s Arias and Michaela Wolz, mezzo-soprano Barcarolles and the Grammy-nominated recording Daniel McGrew, tenor of Ned Rorem’s Evidence of Things Not Seen (also a Theo Hoffman,bass NYFOS commission) on New World Records. Steven Blier, pianist/arranger In 2010, NYFOS launched NYFOS NEXT, a mini- series for new songs hosted by guest composers in New York Festival of Song intimate venues. The series, which places an emphasis 307 Seventh Avenue, Suite 2004 New York, New York 10001 on spontaneity, novelty, and collaboration, offers today’s song composers a forum to create a program of their work alongside that of their peers, students, and mentors.

NYFOS is also passionate about nurturing the artistry and careers of young artists and through its NYFOS EMERGING ARTISTS program has developed professional training residencies around the country. These intensive programs train young artists in programming and translation, presentation and production, and research and musical style.

NYFOS’s concert series, touring programs, radio broadcasts, recordings, and educational activities continue to spark new interest in the creative possibilities of the song program, and have inspired the creation of thematic vocal series around the world. For more information on New York Festival of Song’s complete schedule of special programs, residencies, and tours, please visit www.nyfos.org.

4 NOW MUSIC SERIES

TONIGHT’S PROGRAM Love

EUBIE BLAKE (1887–1983) KILLER B’S FLOURNOY EAKIN MILLER (1885–1971) “You Got to Get the Gittin’ While the Gittin’s Good” The Early Years Mr. Hoffman

IRVING (1888–1989) BOLCOM WEINSTEIN & ROBERT ALTMAN (1925–2006) “Let Me Sing and I’m Happy,” from Mammy The Ensemble “A Lot of Lawn to Mow,” from A Wedding Mr. Hoffman, Ms. Price AMY BEACH (1867–1944) ROBERT BROWNING (1812–1889) JASON ROBERT BROWN (b. 1970)

“I Send My Heart Up to Thee,” fromThree Browning “A Miracle Would Happen (Temptation),” Songs, Op. 44, no. 3 from The Last Five Years Ms. Price Mr. McGrew

HARRY BURLEIGH (1866–1949) BERLIN FRANK STANTON (1857–1927) “I Used to Be Color Blind,” from Carefree “Jean” Mx. Wolz Mr. Hoffman “Outside of That, I Love You,” from Louisiana Purchase The Ensemble Survival

MARC BLITZSTEIN (1905–1964)

“Nickel Under the Foot,” from The Cradle Will Rock INTERMISSION Mx. Wolz “I Wish It So,” from Juno Ms. Price

WILLIAM BOLCOM (b. 1938) ARNOLD WEINSTEIN (1927–2005)

“The Establishment Route,” fromCasino Paradise Mr. McGrew

5 NOW MUSIC SERIES

TONIGHT’S PROGRAM BERNSTEIN (CONT.) JULIA DE BURGOS (1914–1953) “A Julia de Burgos,” from Songfest (text and translation on page 13) Up at Night Ms. Price

SAMUEL BARBER (1910–1981) CHRISTOPHER MIDDLETON (1925–2015) The Past and the Future

“Oh Boundless, Boundless Evening,” DEREK BERMEL (b. 1967) (after the German of Georg Heym) WENDY S. WALTERS from Three Songs, Op. 45 Mr. Hoffman “Lucky Number,” from Golden Motors Mr. McGrew, Mr. Hoffman BOLCOM WEINSTEIN BOLCOM HILDA DOOLITTLE (1886–1961) “Toothbrush Time,” from Songs, Book II Mx. Wolz “Never More Will the Wind,” from I Will Breathe a Mountain THE BEACH BOYS Mx. Wolz BRIAN WILSON (b. 1942) & GARY USHER (1938–1990) BERNSTEIN BETTY COMDEN (1917–2006) “In My Room” & ADOLPH GREEN (1914–2002) The Ensemble “Spring Will Come Again,”

THE BOBS intended for The Skin of Our Teeth GUNNAR MADSEN The Ensemble & RICHARD GREENE “Johnny’s Room” This evening’s concert is The Ensemble sponsored by the generous contribution of Jack & Terry Solitary Souls Forsythe, and is made possible PAUL BOWLES (1910–1999) by a grant from the Tucson “Once a Lady Was Here” Ms. Price Desert Song Festival.

LEONARD BERNSTEIN (1918–1990) GREGORY CORSO (1930–2001)

“Zizi’s Lament,” from Songfest Mr. McGrew

6 STEVEN BLIER MICHAEL BARRETT

Steven Blier is the Artistic Director of the New York Festival of New York Festival of Song Associate Artistic Director Song (NYFOS), which he co-founded in 1988 with Michael Michael Barrett started NYFOS in 1988 with his friend and Barrett. Since the Festival’s inception he has programmed, colleague Steven Blier. In 1992, he co-founded the Moab performed, translated, and annotated more than 150 vocal Music Festival with violist Leslie Tomkins. From 1994 to 1997, recitals with repertoire spanning five centuries of art song and he was the Director of the Tisch Center for the Arts at the popular song. NYFOS has made in-depth explorations of 92nd Street Y in New York, and from 2003 to 2012, he was music from Spain, Latin America, Scandinavia, and Russia. Chief Executive and General Director of the Caramoor New York Magazine gave NYFOS its award for Best Classical Center for Music and the Arts in Katonah, NY. He is currently Programming, while Opera News proclaimed Blier “the busy working on the Leonard Bernstein Centennial as a coolest dude in town.” producer, conductor, and pianist.

Mr. Blier’s career has included partnerships with Renée He has distinguished himself as a conductor with major Fleming, Cecilia Bartoli, Samuel Ramey, Lorraine Hunt orchestras here and abroad in the symphonic and operatic Lieberson, Susan Graham, , and José van Dam, world. A protégé of Leonard Bernstein, he began his long in venues ranging from to La Scala. He is also on association with the renowned conductor and composer as the faculty of The Juilliard School and has been active in a student in 1982. He served as Maestro Bernstein’s assistant encouraging young recitalists at summer programs, including conductor from 1985–1990. A champion of new music, the Wolf Trap Opera Company, , Ravinia’s Mr. Barrett has conducted and played premieres by sixty Steans Music Institute, and the Center. composers, and considers new music to be the life blood of His former students, including Stephanie Blythe, Julia American culture. He oversees NYFOS Next, a NYC Bullock, Sasha Cooke, Paul Appleby, Corinne Winters, and series examining the latest in songwriting by established Kate Lindsey, have gone on to be valued recital colleagues and and young composers. sought-after stars on the opera and concert stage. Dedicated to music education, Mr. Barrett oversees the His extensive discography includes the premiere recording innovative education programs of the Moab Music Festival. of Leonard Bernstein’s Arias and Barcarolles (Koch He is also active in the creation of new educational programs International), which won a Grammy Award; Spanish Love for symphony orchestras in collaboration with Jamie Songs (Bridge Records) with Lorraine Hunt Lieberson, Joseph Bernstein. Their programs have been performed throughout Kaiser, and Michael Barrett; and Quiet Please, an of jazz the U.S., Asia, Cuba, and Europe. standards with vocalist Darius de Haas. His latest release Born in Guam and raised in California, Mr. Barrett attended is Canción amorosa, a CD of Spanish songs with soprano the University of California at Berkeley and is a graduate of Corinne Winters on the GRP label. the San Francisco Conservatory of Music, where he studied A native New Yorker, he received a Bachelor’s Degree with piano with Paul Hersh. He holds master’s degrees in Honors in English Literature at Yale University, where he conducting and piano performance. studied piano with Alexander Farkas. He completed his musical studies in New York with Martin Isepp and Paul Jacobs.

7 CHRISTINE TAYLOR PRICE MICHAELA WOLZ

Soprano Christine Taylor Price, from Tulsa, Oklahoma, is a Rising American mezzo-soprano Michaela Wolz has been recent graduate of the Artist Diploma in Opera Studies praised by Opera News for their “keen sense of character” (ADOS) program of the Marcus Institute for Vocal Arts at following their win at the 2019 National The Juilliard School, where she also earned a Master of Music Council Auditions. In the 2019–20 season, they return to New in Vocal Performance in 2016. York City to take part in the Opera America Emerging Artists Recital featuring Seagle Music Colony Alumni. Next fall, they In 2019, Ms. Price returned to her hometown to star as the are thrilled to join the acclaimed Marion Roose Pullin Opera Rose in the Tulsa Opera’s production of The Little Prince. Studio with Arizona Opera. In 2018, she was Frau Fluth in Die Lustigen Weiber von Windsor as well as covered the role of Aricie in Rameau’s Mx. Wolz has spent the last three summers with Opera Hippolyte et Aricie at Juilliard and was Susanna in Le nozze di Theatre of St. Louis, taking part in their Gerdine Young Artist Figaro with Norwalk Symphony and Papagena in Die and Gaddes Festival Artist programs. Their most recent Zauberflöte with the Indianapolis Symphony. She was a soloist performance in The Coronation of Poppea was highlighted by at the Bard Music Festival performing two Russian recitals, Opera News for their “creamy mezzo and mischievous spark appeared with the New World Symphony in their concert as Amore.” At the company, they also covered Cherubino titled Unanswered Questions: A Leonard Bernstein Journey, in Le nozze di Figaro, Pvt. Stanton in An American Soldier, Edwin Outwater conducting, and was a featured artist in New and Annio in . Outside of their mainstage York Festival of Song’s Merkin Hall program Protest. In March season, they have participated in concerts, workshops of new 2017 she appeared in two New York Festival of Song programs: operas, and outreach, most notably portraying Angelina in a NYFOS@Caramoor’s Vocal Rising Star program Four Islands reduced version of La Cenerentola for children around and NYFOS@Juilliard’s Protest. During her time at Juilliard, the St. Louis area. Ms. Price participated in many live-streamed master classes Earlier this spring, Mx. Wolz was awarded first prize in the with Fabio Luisi, Emmanuel Villaume, Pablo Heras-Casado, Dorothy Lincoln-Smith Classical Voice Competition Joyce DiDonato, and Gerald Finley. through the National Society of Arts and Letters. They have In 2016, Ms. Price performed the role of Pamina in Juilliard’s also been recognized as a finalist in the international Getting production of Mozart’s Die Zauberflöte, was a semi-finalist to Carnegie Competition. As part of the competition, they in the Metropolitan Opera National Council Auditions, premiered Julian Gargiulo’s newly-composed cycle, Songs from and proudly made her Carnegie Hall debut as soloist with the the Fork, performing in the prestigious Weill Recital Hall Cecilia Chorus of New York performing Beethoven’s Missa at Carnegie Hall. Solemnis. This is the fourth concert Christine has done with Mx. Wolz’s training has included past resident artist NYFOS and is deeply honored to be performing again apprenticeships with International Meistersinger Akademie with Steven Blier. (Neumarkt, Germany), Opera Theatre of Saint Louis, and Seagle Music Colony. They hold a Bachelor of Music and a Master of Music degree from The Conservatory at Berklee, where they were the recipient of the Gerry and Steve Ricci Scholarship. Mx. Wolz currently resides in .

8 DANIEL MCGREW THEO HOFFMAN

Praised for his “lovely, nuanced tenor” (Boston Musical In the 2019–20 season, Theo Hoffman made his first Intelligencer), Daniel McGrew is an active performer of a professional performances as Papageno in broad range of repertoires spanning opera, musical theatre, at LA Opera under the baton of James Conlon, marking his and early and new music. Recently at Tanglewood, he eighth production with the company. Additionally, he appeared as François in Bernstein’s A Quiet Place and debuted with Opera Philadelphia as Denis in the world participated in the annual Festival of Contemporary Music premiere of Denis & Katya by Philip Venables to wide critical with a performance of Kurtág’s Three Ancient Inscriptions the acclaim, will debut at as Schaunard in La Boston Globe called “viciously beautiful.” An early music Bohème, and will make his first concert appearances as Jesus specialist, Mr. McGrew has performed Bach with conductors in Bach’s St. Matthew Passion with Apollo’s Fire. including Matthew Halls, John Harbison, David Hill, and Mr. Hoffman has been seen previously at Atlanta Opera, Masaaki Suzuki, and toured India and the Baltic region with Opera Omaha, Opera Theatre of Saint Louis, and Des Moines Juilliard415 and Yale University’s Schola Cantorum. He Metro Opera. Mr. Hoffman has concertized with the Israel participated in the symphonic premiere of James Lapine’s Philharmonic Orchestra, Los Angeles Philharmonic, St. Paul Sondheim on Sondheim with the Boston Pops Orchestra Chamber Orchestra, Wiener Akademie and Il Giardino and appeared in David Loud’s Sondheim review, Armonico at the Salzburg Mozartwoche, Marlboro Music, A Good Thing Going. Orchestre National de Lille, Grand Teton Music Festival, Last season, Mr. McGrew performed in recital with Portland Symphony Orchestra, and Chamber Music Art Song Society, Five Boroughs Music Festival, and the Northwest. He has appeared in recital at some of the world’s New York Festival of Song, and he very recently joined Martin leading venues, including the Kennedy Center, Carnegie Katz in a performance of the complete Wolf Mörike Songs Hall, and Alice Tully Hall. for the University Musical Society’s “Song Remix.” Upcoming He is the recipient of awards from the Richard Tucker Music engagements include debut appearances with the Mirror Foundation, the Sullivan Foundation, the Gerda Lissner Visions Ensemble in New York and Paris, his second summer Foundation, The Kurt Weill Foundation, and was a Grand in residency at the Marlboro Music Festival, and a world Finalist in the 2016 Metropolitan Opera National Council premiere of songs by John Harbison at SongFest in Auditions. Mr. Hoffman is a graduate of The Juilliard School. Los Angeles. Next season, Mr. Hoffman debuts at the Israeli Opera, and Mr. McGrew holds degrees from Oberlin Conservatory and returns to Atlanta Opera. Yale University; he is currently pursuing a DMA at the University of Michigan.

9 PROGRAM NOTES

emerged from this failed project was “Spring Will America is a country especially Come Again.” This beautiful melody didn’t go to rich in composers whose waste: Bernstein recycled it as the central movement of his 1965 choral work, . last names begin with B, Chichester Psalms The two other Bernstein songs come from another a pantheon of musicians from work that had a troubled birth: the 1977 masterpiece Songfest. Originally commissioned to celebrate Amy Beach to Derek Bermel America’s bicentennial, Bernstein was unable to whose songs shed light on complete it in time and had to abandon the commission. But this time he persisted, creating one a century of social, political, of his strongest vocal works. Eclectic in its musical influences and far-ranging in its poetic inspiration, and musical history. Songfest shows Bernstein at his most imaginative: a dense, complex work that is almost as tuneful and STEVEN BLIER approachable as West Side Story. The music of has become part of our Killer B’s is a program with a thirty-one-year pedigree. national soundscape: his famous Adagio for Strings, It started in 1989 at St. Paul’s Ordway Theater as a premiered in 1938 by Arturo Toscanini, is included in concert of songs by Berlin, Blitzstein, and Bolcom. practically every greatest-hits compilation of The repertoire became ever more inclusive in its next American composers and has been featured in four incarnations at Wolf Trap, San Francisco Opera, famous movies. Barber had one of the longest and Juilliard, Glimmerglass, and Merkin Concert Hall in most consistent musical careers in our country’s Manhattan. (We even attempted a song by James history, drawing on an essentially romantic style Brown, an experiment not to be repeated.) America is tempered by intelligence, piloted by melody. During a country especially rich in composers whose last his career he was considered something of a names begin with B, a pantheon of musicians from throwback, especially when twelve-tone music was Amy Beach to Derek Bermel whose songs shed light rampaging its way through conservatories and on a century of social, political, and musical history. concert halls. He was also a gifted singer—Barber’s aunt was the great contralto Louise Homer, who Many of the composers on today’s program will be recorded with Caruso—and all of his music is shot familiar to this audience. Iconic figures like Leonard through with an Italianate vocal line. Little wonder Bernstein (1918–1990), (1888–1989), that his songs have outlasted ones that were Samuel Barber (1910–1981), and the Beach Boys (led considered more fashionable in their time. “O by Brian Wilson, b. 1942) don’t really need any Boundless, Boundless Evening,” which greets the introduction. But you might be wondering about the coming of night with an almost erotic opulence, provenance of one of the Bernstein pieces, “Spring received its premiere at by Dietrich Will Come Again.” In 1964, Bernstein took a Fischer-Dieskau. It was Barber’s last song. six-month sabbatical from his conducting duties at the New York Philharmonic to write a Broadway Other composers on today’s show might require a musical based on Thornton Wilder’sThe Skin of Our gentle reminder for non-musicians. Teeth. He brought in his old friends Betty Comden (1887–1983) was the ragtime king who wrote “I’m Just and Adolph Green to write the lyrics, and he invited Wild About Harry” and “Memories of You.” His Jerome Robbins to be director and choreographer. career, along with that of many other Harlem (Robbins was one of the few people who could boss Renaissance icons, sputtered in the late 1930s, but he Bernstein around, asking for cuts or demanding extra became famous once again in the 1970s during the bars of transition music.) But even this dream team ragtime revival. Soon Eubie Blake was reborn as a couldn’t figure out how to make it work, and after media celebrity, chatting up Johnny Carson on the half a year they admitted defeat. The only song that talk show circuit. And he sprang to life again in 2016 10 PROGRAM NOTES

as one of the leading characters in the recent Bowles had a genius for putting words and music Broadway bio-musical Shuffle Along, where he was together: “The texts fit their tunes like a peach its portrayed as a sexy, complex love-interest. (Eubie skin,” wrote his colleague Virgil Thomson. Bowles’ would have loved it.) economy of means demands that not one note (and not one word) be out of place. He was up to the Jason Robert Brown (b. 1970) first came to fame with challenge, especially in his 1954 song “Once a Lady his 1999 musical Parade at Lincoln Center Theater. Was Here.” It alternates bars of 4/4 time with bars in Though it received mixed reviews, it was clear that his 5/4, leaving a silent beat at the end of every second was a major new voice in the world of music-theater. measure. That silence, combined with the sinuous His next piece was an autobiographical two-hander, melody and mysterious poem, create one of the most The Last Five Years, which contains some of his perfect miniatures in the entire repertoire. very best songs. It was recently made into a movie, but the screen adaptation looks like a hyperactive Pulitzer Prize winner William Bolcom (b. 1938) is music video. Fortunately, live performances of The one of my heroes and role-models. His prodigious Last Five Years are fairly frequent because of its small career as a pianist and composer has ranged through cast, high-quality score, and fascinating dramatic every genre and style known to man, from grand construction. (The plot moves forward in a linear opera (A View from the Bridge) to rock opera way for Jamie, the male protagonist, but in reverse (Greatshot) and from full-evening cantata (the chronological order for Cathy, the female lead. Their multiple Grammy Award winner Songs of Innocence story lines intersect only once: at their wedding.) and Experience) to a collection of thirty-second After a long silence, Brown was once again on cabaret songs (written in tandem with his longtime Broadway in 2014 with The Bridges of Madison collaborator Arnold Weinstein). Bill’s wholehearted County. It won that year’s Tony Award for Best embrace of all genres of music has served as a beacon Musical Score—alas, after it had already closed. It is for me. So has his sense of humor, his love of dance a fine piece, far less sentimental than the novel on forms, and his elegant pianism as a soloist and as a which it was based. collaborator. He is a man I revere. The Bobs are a kickassa capella doo-wop group Marc Blitzstein, Amy Beach, , and originally based in San Francisco. Their golden era Derek Bermel will probably be the most unfamiliar was in the 1980s and early 1990s, when they received a names to casual concert-goes. But opera audiences Grammy nomination for their cover version of might know Marc Blitzstein as the composer and “Psycho Killer.” Now located in Seattle, they remain librettist of Regina, a 1946 work based on Lillian active, though their songs have lost some of the Hellman’s The Little Foxes. Blitzstein rose to fame confrontational edge that made them compulsory with the brilliant 1937 agitprop musical The Cradle listening in their heyday. The Bobs raised quirkiness Will Rock. It turned out to be his only complete to the level of high art, their exploration of the success in the theater. We’ll hear the song that fringier elements of American society was spot-on, instigated the entire piece, “Nickel Under the Foot,” and their musicianship (incorporating everything the lament of a working girl down on her luck. from medieval chant to doo-wop) was nothing short Blitzstein got a chance to play and sing it for German of jaw-dropping. Gunnar Madsen and Richard Green playwright Bertolt Brecht at a party. Brecht loved the were the “Bobs” responsible for writing “Johnny’s song—it was so clearly inspired by the songs he’d Room.” written with his old musical partner Kurt Weill—and exhorted Blitzstein to write a whole musical about Paul Bowles (1910–1999) is probably better known this girl and her world. “Why don’t you write a piece these days as an author (The Sheltering Sky) than as a about all kinds of prostitution—the press, the church, musician. But he began his career as a composer, and the courts, the arts, the whole system?” A year later had some major successes—Tennessee Williams Blitzstein sat down to follow Brecht’s advice. He chose Bowles to write incidental music for his plays. finishedThe Cradle Will Rock in five weeks, and it As a novelist, Bowles is verbose. As a musician, he is launched his career in the theater. terse. Always more comfortable with smaller forms, (cont.) 11 PROGRAM NOTES (CONT.)

Blitzstein did not have Bernstein’s capacity for which overwhelmed the Czech maestro. “This is the collaboration, and his other musicals were plagued real Amercian music!” he exclaimed. Thus Harry with structural problems. But whatever their flaws, Burleigh planted the seed for some of Dvořák’s most No For an Answer (1941), Reuben, Reuben (1955), and famous works, including the New World Symphony Juno (1959) are filled with first-class songs and and the “American” String Quartet. Dvořák, in turn, fascinating characters. Ironically, Marc Blitzstein’s encouraged Burleigh to ground his own creative life greatest claim to fame might be his translation of the in these traditional melodies. After graduation, Brecht-Weill classic The Threepenny Opera, which ran Burleigh held down a day job as an editor at the music for many years off-Broadway in the 1950s and starred publishing firm G. Ricordi, but he made his lasting Kurt Weill’s widow, Lotte Lenya. (The famous lyrics contribution to American music with arrangements for “Mack the Knife”—the ones that of , bringing traditional African-American forgets in her iconic live recording from Berlin—are music to the concert stage for the first time. Burleigh’s the handiwork of Marc Blitzstein.) It remains my arrangements are still popular. His original concert favorite translation of this brilliant but difficult songs also made quite a sensation in their day— stage work. legendary European stars like John McCormack and Ernestine Schumann-Heink programmed them New Hampshire native Amy Marcy Cheney Beach in recital. (1867–1944) was one of America’s first important female composers. Hers was a career that nearly Composer-clarinetist Derek Bermel (b. 1967) is the foundered. After an impressive start—including her latest addition to the group. His music spans genres, 1892 Mass in E-flat Major, a major commission from continents, and styles, from West Africa (Dust the Handel and Haydn Society in Boston—she Dances) to Bulgarian folk music (Thracian Echoes) acquiesced to her husband’s desire that she put her to hip-hop (a recent collaboration with Mos Def and career in music on the back-burner. After his death in the Brooklyn Philharmonic). Bermel is staggeringly 1910, however, she gradually resumed her life as a prolific, speaks more languages than almost anyone composer and pianist. Her old-fashioned style was I know, and has taught at practically every major more popular with audiences than with critics, but school and festival in the western hemisphere. He is Beach stayed true to her inherent romanticism, also able to write a good, hummable tune. We’ll passing the torch to the next generation of women. hear one tonight: “Lucky Number,” from his 2007 Her early compositions already marked her as a musical Golden Motors. It is the story of a Detroit musician of value and individuality. These included a family struggling during the industrial decline of the group of songs written as gifts to her husband, 1980s. To tell it, Bermel dug into the sounds of R&B including the passionate “I Send My Heart Up to to create an alluring—and smart—score. Thee,” part of a three-song cycle set to texts by In this election year many of us are wondering what it Robert Browning. means to be American. What has our country As a young man, Harry Burleigh (1866–1949) become, who are we as a people, what are our true received a scholarship to study double-bass in New values? Killer B’s may not have the answer to those York at the National Conservatory of Music. The complex, difficult questions. But it does give us registrar of the school, Frances MacDowell (wife of perspective on who we have been—the history of our the famous composer), knew that he was strapped haves and have-nots, our courtship rituals, our secret for cash and obtained a kind of a work-study job for selves, our struggles, our glories. It is a perfect him as the school’s handyman and janitor. He had a program for this gifted young cast, who bring a beautiful voice and often sang as he worked—Negro modern sensibility to the playlist. To paraphrase spirituals, as they were then called. He attracted Irving Berlin: let them sing, and I’m happy. the attention of the conservatory’s star professor, Notes by Steven Blier Antonín Dvořák. Soon the student became the teacher: Burleigh introduced Dvořák to songs like “Swing Low, Sweet Chariot” and “Deep River,”

12 TEXT AND TRANSLATION FOR “A JULIA DE BURGOS”

Ya las gentes murmuran que yo soy tu enemiga Now people mutter that I am your enemy Porque dicen que en verso doy al mundo to yo. Because they claim that through poetry I give your Self away to the world. Mienten, Julia de Burgos. They lie, Julia de Burgos. La que se alza en mis versos no es tu voz; What rises from my poems isn’t your voice; Es mi voz; It is my voice! Porque tú eres ropaje y la escencia soy yo; For you are just the costume, and I the essence; Y el más profundo abismo se tiende entre las dos. And the deepest of chasms lies between the two.

Tú eres fría muñeca de mentira social You are the cold puppet of social falseness Y yo, viril destello de la humana verdad. And I, the virile flash of human truth.

Tú, miel de cortesanas hipocresias; yo no; You are the honey of courtly hypocrisy—not I; Que en todos mis poemas desnudo el corazón. For in all of my poems I bare my heart.

Tú eres como tu mundo, egoísta; yo no; You are selfish, like your world—not I; Que todo me lo juego a ser lo que soy yo. For I put everything at stake to be what I am.

Tú eres solo la grave señora señorona; yo no; You are merely the serious, patronizing lady of the manor—not I: Yo soy la vida, la fuerza . I am life, strength—I am woman!

Tú eres de tu marido, de tu amo; yo no; You belong to your husband, to your master—not I: Yo de nadie o de todos, porque a todos I belong to no one, or to everyone, because I give myself En mi limpio sentir y en mi pensar me doy. To all through my untainted feelings and thought.

Tú te rizas el pelo y te pintas; yo no; You curl your hair and paint your face—not I; A mí me riza el viento; a mí me pinta el sol. The wind curls my hair, the sun paints my face.

Tú eres dama casera resignada, sumisa, You are the housebound lady, resigned and submissive, Atada a los prejuicios de los hombres; yo no; Tied to the prejudices of men—not I; Que yo soy Rocinante corriendo desbocado For I am Rocinante running wild, unbridled, Olfateando horizontes de justicia de Dios. Sniffing at the limits of God’s justice.

Translation: Steven Blier

13 THANK YOU TO OUR SUPPORTERS!

$10,000 & ABOVE Al Kogel Jack Burks Milton Francis & Marilyn Heins Michael Bylsma & Mark Flynn Jean-Paul Bierny & Chris Tanz Randolph & Margaret Nesse Richard & Patricia Carlson Joyce Cornell Herschel & Jill Rosenzweig Barbara Carpenter Walter Swap John & Ila Rupley Shirley Chann Reid & Linda Schindler Nancy Cook $5,000 – $9,999 George F. Timson Janna-Neen Cunningham Michael & Mary Turner Philip M. Davis Nancy Bissell Teresa Tyndall Mark Dickinson Stan Caldwell & Linda Leedberg Anne Wright & Richard Wallat Stephen & Aimee Doctoroff Jim Cushing Maurice Weinrobe & Trudy Ernst Alison Edwards Jack & Terry Forsythe Elizabeth Zukoski Karen & Lionel Faitelson Leonid Friedlander Edna Fiedler & Walter Sipes George & Irene Perkow Tom & Janet Gething Boyer Rickel $500 – $999 Gerald & Barbara Goldberg John & Helen Schaefer Bob Albrecht & Jan Kubek Louis Hess Gwen Weiner Peter & Betty Bengtson Sandra Hoffman Gail Bernstein Janet & Joe Hollander $2,500 – $4,999 Michael & Ulla Coretz Willliam & Sarah Hufford James & Chris Dauber Anonymous William & Ann Iveson Raul & Isabel Delgado Bina Breitner David Johnson Carole & Peter Feistmann Bob Foster Michael & Sennuy Kaufman Harold Fromm Elliott & Sandy Heiman George & Cecile Klavens Donita Gross Jim Lindheim & Jim Tharp Daniela Lax Helen Hirsch Minna J. Shah Keith & Adrienne Lehrer Paul & Marianne Kaestle Randy Spalding Amy & Malcolm Levin Larry & Rowena G. Matthews Paul A. St. John Alan Levenson Martie Mecom & Leslie P. Tolbert & Rachel K. Goldwyn Kitty & Bill Moeller Jonathan & Chitra Staley William Lindgren Lawrence & Nancy Morgan Wendy & Elliott Weiss Karen E. & Leonard L. Loeb Richard & Susan Nisbett Mark Luprecht Jay & Barbara Pisik Max McCauslin & John Smith $1,000 – $2,400 Serene Rein Bill & Kris McGrath Susan & Barry Austin Arnie & Hannah Rosenblatt Joan McTarnahan Frank & Betsy Babb Stephen & Gale Sherman Harry Nungesser Celia A. Balfour Sally Sumner Mary Peterson & Lynn Nadel Celia Brandt Sherman Weitzmon Jay & Barbara Pisik Gail D. Burd Bonnie Winn Steve Reitz & Elizabeth Evans & John G. Hildebrand David & Ellin Ruffner Bryan & Elizabeth Daum $250 – $499 Mark Haddad Smith Dagmar Cushing Barbara Straub Thomas & Susan Aceto Beth Foster Nancy Strauss Sydney Arkowitz J.D. & Margot Garcia Sheila Tobias Wes & Sue Addison Robert & Ursula Garrett Charles & Sandy Townsdin Peter Bleasby Julie Gibson Allan & Diane Tractenberg Nathaniel & Suzanne Bloomfield Allen Hile & Eloise Gore Ellen Trevors Richard & Martha Blum Eddy Hodak Patricia Waterfall Jan Buckingham & L.M. Ronald Arthur & Judy Kidder Daryl Willmarth

14 THANK YOU TO OUR SUPPORTERS!

$100 – $249 Frank & Janet Marcus GIFTS IN MEMORY OF Warren & Felicia May Helmut Abt Richard & Judith Meyer Ann Blackmarr Philip Alejo Walter Miller by Cathy Anderson Mark & Jan Barmann Karen Ottenstein Beer David Cornell Margaret Bashkin Eileen Oviedo by Jean-Paul Bierny & Chris Tanz Kathryn Bates John Palmer Joyce Bolinger by Joyce Cornell, in loving memory Detlev Pansch & Julie Steffen by Larry & Nancy Morgan Sarah Boroson David & Cookie Pashkow Elizabeth Buchanan Judith C. Pottle Michael Cusanovich John Burcher John Raitt by Marilyn Halonen Patricia & Ed Campbell Lynn Ratener Harry Fonseca Robert D. Claassen Kay Richter by Jean-Paul Bierny & Chris Tanz & John T. Urban & Stephen Buchmann Tom Collazo Seymour Reichlin Rayna Leah Gellman Cornell Collins Erin Riordan & Ben Wilder by Mark Haddad Smith C. Jane Decker Betsy Rollings His mother, Terence DeCarolis Jay & Elizabeth Rosenblatt Helen Margaret Hodak Martin Diamond & Paula Wilk Elaine Rousseau by Eddy Hodak Brian Edney Herbert Rubenstein John & Mary Enemark Kenneth J. Ryan Raymond Hoffman Dorothy Fitch & John Munier Evelyn Salk by Sandra Hoffman James & Ruth Friedman Jennifer P. Schneider Linda L. Friedman Kathy Kaestle Howard & Helen Schneider by Paul & Marianne Kaestle Peter & Linda Friedman Stephen & Janet Seltzer Tommy & Margot Friedmann Shirley Snow Jim Rusk Juan Gallardo Harry Stacy by Carolyn Leigh Thomas & Nancy Gates Ronald Staub Marvin & Carol Goldberg Brenda Semanick Michael Tabor by Jean-Paul Bierny & Chris Tanz Ben & Gloria Golden Shirley Taubeneck Kathryn Gordon Jennalyn Tellman Stephen G. Tellman Janet Grayson Barbara Turton by Jennalyn Tellman Marilyn Halonen Ivan Ugorich Clare Hamlet Carl T. Tomizuka Karla Van Drunen Littooy by Sheila Tobias Cynthia Hartwell Peter & Reyn Voevodsky James Hays Dimitri Voulgaropoulos Contributions are listed from Les & Suzanne Hayt & Tyna Callahan January 1, 2019 through December Sara Heitshu Diana Warr 31, 2019. Space limitations prevent Ruth B. Helm Jude Weierman us from listing contributions less Jim Homewood Patricia Wendel than $100. Robert & Claire Hugi Sheila Wilson & Hal Barbar Sara Hunsaker Every contribution helps secure Lee Kane the future of AFCM. Joe Kantauskis & Gayle Brown Please advise us if your name is not Tim Kantor listed properly or inadvertently Carl Kanun omitted. William Kruse Robert Lupp

15 THANK YOU TO OUR SUPPORTERS!

GIFTS IN HONOR OF JEAN-PAUL BIERNY COMMISSIONS LEGACY SOCIETY AFCM Board of Directors Jean-Paul Bierny & Chris Tanz by C. Jane Decker Jean-Paul Bierny & Chris Tanz Bob Foster Nancy Bissell Mr. Leonid Friedlander Nancy Cook’s birthday, Nathaniel & Suzanne Bloomfield to support Music in the Schools Theodore & Celia Brandt CONCERT SPONSORSHIPS by Susan Aiken Nancy Cook by Frank & Betsy Babb Dagmar Cushing Anonymous by Linda Barter Dr. Marilyn Heins Jean-Paul Bierny & Chris Tanz by Avery & Carolyn Bates Joe & Janet Hollander Stan Caldwell & Linda Leedberg by Jean-Paul Bierny & Chris Tanz Judy Kidder Jack & Terry Forsythe by Larry & Gerry Campbell Linda Leedberg EOS Foundation by Tom Collazo Tom & Rhoda Lewin George & Irene Perkow by Cornell Collins Ghislaine Polak Boyer Rickel by Gail & Bill Eifrig Boyer Rickel Randy Spalding by Patricia & David Eisenberg Randy Spalding Jonathan & Chitra Staley by Barbara Hutchinson Anonymous by Lucy Masterman MUSICIAN SPONSORSHIPS by Margie Matter $25,000 and above by John McNulty & Jeff Brown Family Trust of Lotte Reyersbach Celia Balfour by Mary Ellen Morbeck Phyllis Cutcher, Trustee of the Jean-Paul Bierny & Chris Tanz & John Hoffman Frank L. Wadleigh Trust Dagmar Cushing by Bob Nevins Anne Denny Elliott & Sandy Heiman by Larry & Deborah Ogden Richard E. Firth Eloise Gore & Allen Hile by Andy and Lisa Remack Carol Kramer Arthur Maling by Boyer Rickel MUSIC IN THE SCHOOLS by Erin Riordan & Ben Wilder Claire B. Norton Fund by Betsy Rollings (held at the Community Susan & Barry Austin by Evelyn Salk Foundation for Southern Robert & Ursula Garrett by Susan Sangston Arizona) Herschel and Jill Rosenzweig by Randy Spalding Herbert Ploch Randy Spalding by Bob & Donna Swaim Lusia Slomkowska Living Trust Paul A. St. John & Leslie Tolbert by Adam Ussishkin Agnes Smith Joe & Connie Theobald & Adam Wedel $10,000 – $24,999 George Timson by Peter & Reyn Voevodsky Marian Cowle by Patricia Waterfall Minnie Kramer FOUNDATIONS by Jude Weierman Jeane Serrano Arizona Commission on the Arts Elaine Rousseau Up to $9,999 Arts Foundation for Tucson by Les & Suzanne Hayt Elmer Courtland and Southern Arizona Randy Spalding Margaret Freundenthal Associated Chamber Music by John Burcher Susan R. Polleys Players Administrative Trust Tucson Desert Song Festival Allan & Diane Tractenberg Frances Reif by Mark & Jan Barmann Edythe Timbers All commission, concert, and musician sponsors are acknowledged Elliott Weiss's special birthday Listed are current plans with posters in the theater lobby by Barbara Levy and posthumous gifts. and in concert programs.

16 YEAR-END CAMPAIGN

Sydney Arkowitz Amy & Malcolm Levin Mark & Jan Barmann Karen E. & Leonard L. Loeb Our heartfelt Peter & Betty Bengtson Warren and Felicia May thanks to those who Nancy Bissell Max McCauslin & John Smith Peter Bleasby Joan McTarnahan responded to our Nathaniel & Suzanne Bloomfield Richard & Judith Meyer Richard & Martha Blum Walter Miller year-end campaign. Sarah Boroson Richard & Susan Nisbett Bina Breitner Harry Nungesser Elizabeth Buchanan Karen Ottenstein Beer Jan Buckingham & L.M. Ronald Eileen Oviedo Richard & Patricia Carlson Detlev Pansch & Julie Steffen Robert D. Claassen Mary Peterson & Lynn Nadel & John T. Urban Jay & Barbara Pisik Nancy Cook John Raitt Jim Cushing Steve Reitz & Elizabeth Evans James & Chris Dauber Kay Richter & Stephen Kathryn Day Buchmann Raul & Isabel Delgado Boyer Rickel Mark Dickenson Arnie & Hannah Rosenblatt Stephen & Aimee Doctoroff Herschel and Jill Rosenzweig Lionel & Karen Faitelson John & Helen Schaefer Peter & Carole Feistmann Howard & Helen Schneider Edna Fiedler & Walter Sipes Stephen & Janet Seltzer James & Ruth Friedman Stephen & Gale Sherman Peter & Linda Friedman Mark Haddad Smith Linda L. Friedman Harry Stacy Tommy & Margot Friedmann Jonathan & Chitra Staley Thomas & Nancy Gates Ronald Staub Tom & Janet Gething Barbara Straub Gerald & Barbara Goldberg Sally Sumner Marvin & Carol Goldberg Michael Tabor Kathryn Gordon Ellen Trevors Clare Hamlet Michael & Mary Turner Cynthia Hartwell Barbara Turton Sally Harwood Karla Van Drunen Littooy James Hays James Verrier Les & Suzanne Hayt Marianne Vivirito & Ross Elliott & Sandy Heiman Iwamoto Marilyn Heins & Milton Francis Dimitri Voulgaropoulos & Tyna Sara Heitshu Callahan Allen Hile & Eloise Gore Patricia Waterfall Willliam & Sarah Hufford Maurice Weinrobe & Trudy Ernst Sara Hunsaker Patricia Wendel Joe Kantauskis & Gayle Brown Sheila Wilson & Hal Barbar Michael & Sennuy Kaufman Daniela Lax Keith & Adrienne Lehrer

17 COMING SOON IN 2020

FEBRUARY 12 & 13, 2020

Shanghai Quartet 7:30 pm, Leo Rich Theater

FEBRUARY 23, 2020

Lineage Percussion 3:00 pm, Berger Performing Arts Center

MARCH 1–8, 2020

Tucson Winter Chamber Music Festival Leo Rich Theater

MARCH 22, 2020

Narek Arutyunian, clarinet Steven Beck, piano 3:00 pm, Leo Rich Theater

APRIL 1 & 2, 2020

Jerusalem Quartet 7:30 pm, Leo Rich Theater

APRIL 9, 2020

Poulenc Trio 7:30 pm, Berger Performing Arts Center

18 VERSE

The Way In

BY LINDA HOGAN

Sometimes the way to milk and honey is through the body. Sometimes the way in is a song. But there are three ways in the world: dangerous, wounding, and beauty. To enter stone, be water. To rise through hard earth, be plant desiring sunlight, believing in water. To enter fire, be dry. To enter life, be food.

Reprinted with permission. From Rounding the Human Corners. Coffee House Press, 2008.

This poem was selected for the concert by Sarah Kortemeier, Library Director, Julie Swarstad Johnson, Senior Library Specialist, and Leela Denver, Senior Library Assistant at the UA Poetry Center. 19 2019/2020 Tucson Guitar Society

TucsonGuitarSociety.org

Mamedkuliev (520) 342-0022

Russell

European Guitar Quartet Duo Assad

Bostridge & Yang Feuillâtre

20 21 22 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 azearlymusic.org or call (520) 721-0846.

protwheact ytou value. Learn how to protect yourself and your loved ones from unnecessary court costs, legal fees, and crushing nursing home expenses. Be empowered, not impoverished. Attend one of our Free Estate Planning Seminars. Visit www.heritagelawaz.com/seminars or call (520) 529-4000. Proudly supporting the arts in Southern Arizona.

Living Trusts & Wills Estate Planning for LGBT Community Elder Law, Medicaid, & VA Benefits Trust Administration & Probate Asset Protection Family-Owned Businesses & Farms Special Needs Planning Legacy Planning

KINGHORN HERITAGE LAW GROUP, PLC TRUSTS WILLS PROBATE ELDER LAW BUSINESS

3573 E. Sunrise Dr. Suite 209 Tucson, AZ 85718 www.heritagelawaz.com

23 SHAKESPEARE IN SONG InGENIUS2019-2020 SEASON 11 - 13 October MOZART & DA VINCI 22 - 24 November LESSONS & CAROLS BY CANDLELIGHT Songs of the Magi 12 - 15 December AMERICA SINGS! 24 - 26 January in partnership with Tucson Desert Song Festival BEETHOVEN & GOETHE 21 - 23 February BACH B-MINOR MASS 27 - 29 March VISIT TRUECONCORD.ORG FOR TICKETING & VENUE INFORMATION OR CALL 520-401-2651

QUALITY CA E COMMITMENT TO THE ARTS CHRIS ZERENDOW TIERRA ANTIGUA REALTY329-2774 [email protected]

24 25 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

26 Call Todd: (520) 240-8973

RETIREMENT TRANSITION With the Precision INCOME PLANNING of a Fine Performance. ROLLOVER / CONSOLIDATION 5599 N. Oracle Road www.toddsepp.com 10425 N. Oracle Road, Suite 135

GOALS | SOLUTIONS | SERVICE eyestucson.com

Securities and Advisory Services offered through GWN Securities, Inc. A Registered Investment Adviser. Member FINRA/SIPC. 11440 N Jog Road, Palm Beach Gardens, FL 33418. (561) 472-2700. Retirement Plan Professionals and GWN Securities, Inc are non-affiliated companies. 520-293-6740

IVER NN SA A R 2019 - 2020 Y

Linus Lerner Music Director

SE ASON 2019-2020 Performances

Die Fledermaus (full opera production) Mexican Independence Day Concert January 18-19, 2020, at Rincon H.S. September 14-15, 2019 Fox Tucson Theatre & Sunnyside H.S. Beethoven & Strauss February 15-16, 2020 From Paris to Leningrad Tchaikovsky & a Live Painter October 19-20, 2019 March 14-15, 2020 Carmina Burana Gershwin & Beethoven November 16-17, 2019 April 25-26, 2020 Concert Venues SaddleBrooke Northwest Tucson Saturdays at 7:30 pm Sundays at 3:00 pm DesertView Performing Arts Center St. Andrew’s Presbyterian Church 39900 S. Clubhouse Drive 7575 N. Paseo del Norte

27