Festival Peter Rejto, Festival Director Tuesday March 5, 2019 Board of Directors Festival Committee Festival Staff
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26TH TUCSON WINTER CHAMBER MUSIC FESTIVAL PETER REJTO, FESTIVAL DIRECTOR TUESDAY MARCH 5, 2019 BOARD OF DIRECTORS FESTIVAL COMMITTEE FESTIVAL STAFF James Reel Randy Spalding, Chair Matt Snyder, Audio Producer/ President Nancy Bissell Engineer James Reel Louie Gutierrez, Paul Kaestle Stage Manager George Timson Vice-President Marv Goldberg USHERS Joseph Tolliver Philip Alejo Program Director Dagmar Cushing Barry & Susan Austin Michael Coretz Lidia DelPiccolo Helmut Abt Bryan Daum Susan Fifer Recording Secretary Joseph Tolliver Marilee Mansfield Wes Addison Cathy Anderson Elaine Orman Treasurer Susan Rock Jane Ruggill Philip Alejo FESTIVAL VOLUNTEERS Barbara Turton Nancy Bissell Nancy Cook Diana Warr Kaety Byerley Beth Daum Maurice Weinrobe & Trudy Ernst Laura Cásarez Beth Foster Michael Coretz Bob Foster PROGRAM BOOK CREDITS Dagmar Cushing Marie-France Isabelle Bryan Daum Yvonne Merril Robert Garrett Editor Marvin Goldberg Jay Rosenblatt FESTIVAL SPONSORS Joan Jacobson Contributors Juan Mejia Randy Spalding Robert Gallerani Jay Rosenblatt Jonathan & Chitra Staley Holly Gardner Elaine Rousseau Garrett-Waldmeyer Trust Nancy Monsman Randy Spalding Jean-Paul Bierny & Chris Tanz Jay Rosenblatt Paul St. John Celia Balfour James Reel George Timson Elliot & Sandy Heiman Advertising Leslie Tolbert Boyer Rickel Paul Kaestle Charles & Suzanne Peters Allan Tractenberg Allan & Diane Tractenberg Mark & Jan Barmann Design Openform FESTIVAL HOSTS Printing Michelle Morden West Press Jean-Paul Bierny & Chris Tanz Nancy Bissell David Carter & Bobbie-Jo Buel Christine & David Hopkins Gretchen Gibbs Holly Lachowicz David Bartlett & Jan Wezelman Leslie Tolbert & Paul St. John Dagmar Cushing On the cover: Béla Bartók 2 FROM BERNADETTE HARVEY Greetings, The Tucson Winter Chamber Music Festival is very close to my heart. It is because of this festival that I married my sweetheart. I have wonderful friends in Tucson who welcome me as if I’m coming home! How grateful I am for the support and generous hospitality of Jean-Paul Bierny and Chris Tanz each year. I’ve had the opportunity to meet and play with people who I never would have met in Australia. Because of James Reel, Peter, and the Festival committee, I was able to record four works recently, three of which were premieres I participated in at the Festival here in Tucson, with the fabulous Jupiter Quartet. I send my heartfelt thanks to the Festival supporters who commissioned those premieres. My parents, Anne and Francis, loved last year’s Festival so much that they’re returning this year. I am glad to be here playing with my old friends Ani and Axel and very excited about meeting and working with all the new musicians. BERNADETTE HARVEY Bernadette is one of the Festival’s most frequent guests. A pianist from Australia, she divides her time between collaborations, solo appearances, and recordings. This year will mark her tenth festival appearance. 3 FESTIVAL EVENTS YOUTH CONCERT MASTER CLASS FOR VIOLA Thursday, March 7, 10:30 a.m. Ettore Causa Leo Rich Theater 4:00 pm – 5:00 pm Saturday, March 9 Performance of excerpts from prior concerts with Leo Rich Theater commentary by Festival musicians. Attendance is by invitation only. Featuring students from the University of Arizona, Fred Fox School of Music. The Youth Concert is generously underwritten by the Garrett-Waldmeyer Trust. Attendance at the master classes is free and open to the public. OPEN DRESS REHEARSALS — LEO RICH THEATER GALA DINNER AND CONCERT AT THE ARIZONA INN 9:00 a.m. – 12 noon Tuesday, March 5 Saturday, March 9 Wednesday, March 6 5:30 p.m. – Silent Auction Friday, March 8 6:00 p.m. – Cocktails Sunday, March 10 7:00 p.m. – Musical selections by Festival musicians 8:00 p.m. – Dinner Dress rehearsals are free for ticket holders. For non ticket holders, a donation is requested. Call 577-3769 for reservations. Flowers courtesy of Norah & David Schultz, PRE-CONCERT CONVERSATIONS at Flower Shop on 4th Avenue. Conducted by James Reel a half hour before each concert RECORDED BROADCAST Sunday, March 3, at 2:30 p.m. If you miss a Festival concert or simply want to hear Tuesday, March 5, at 7:00 p.m. one again, please note that Classical KUAT-FM Wednesday, March 6, at 7:00 p.m. will broadcast recorded performances on 90.5/89.7 Friday, March 8, at 7:00 p.m. FM. Festival performances are often featured in the Sunday, March 10, at 2:30 p.m. station’s Musical Calendar. radio.azpm.org/classical/ MASTER CLASS FOR VIOLIN Axel Strauss 3:00 pm – 4:00 pm Saturday, March 9 Leo Rich Theater Featuring students from the University of Arizona, Fred Fox School of Music. 4 Theart of music, then, is an art expressing itself in terms of meter, rhythm, melody, harmony, counterpoint, form, style, etc., etc., and creating by means of them a thing of beauty. Our appreciation of it consists first of all in an emotional response to the music itself, but that appreciation may be greatly enhanced by a vivid response on our part to all its elements, i.e., to the swing of the meter, the lilt of the rhythm, the play of the counterpoints, one against another, the arrangement of the themes into a coherent form, etc., etc. The person who understands Keats’ “Ode on a Grecian Urn” is the person who answers to the beauty of sound in the words, to the rhythm, to the highly imaginative treatment of the words themselves, etc., as well as to their significance as meaning. Excerpted from Thomas Whitney Surette, “Music,” inThe Significance of the Fine Arts (Boston: Marshall Jones Company, 1923). 5 Proud to Support Arizona Friends of Chamber Music Bringing World Class Chamber Music to Tucson WORKING TOGETHER TO BUILD A STRONGER COMMUNITY 6 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 7 TUESDAY, MARCH 5, 2019 Pre-Concert Conversation with James Reel 7:00 p.m. TONIGHT’S PROGRAM LUDWIG VAN BEETHOVEN (1770–1827) Piano Trio in B-flat Major (“Archduke”), Op. 97 WOLFGANG AMADEUS MOZART (1756–1791) Allegro moderato Piano Quartet in G Minor, K. 478 Scherzo: Allegro Andante cantabile, ma però con moto Allegro Allegro moderato Andante Rondo: Allegro moderato Bernadette Harvey, piano Ani Kavafian,violin James Giles, piano Edward Arron, cello Axel Strauss, violin Ettore Causa, viola Edward Arron, cello BÉLA BARTÓK (1881–1945) The appearance of Ani String Quartet No. 5 Kavafian at the Festival is Allegro sponsored by the generous Adagio molto contribution of Elliott Scherzo: Alla bulgarese Andante & Sandy Heiman. Finale: Allegro vivace Escher String Quartet (Adam Barnett-Hart, violin; Danbi Um, violin; Pierre Lapointe, viola; The appearance of Axel Brook Speltz, cello) Strauss at the Festival is sponsored by the generous INTERMISSION contribution of Jean-Paul Bierny & Chris Tanz. 8 PROGRAM NOTES WITH STEADY IMPROVEMENTS to the fortepiano BEGINNING IN HIS rebellious student days Béla (or variously pianoforte) during Mozart’s lifetime, the Bartók longed to break from Hapsburg Austria’s instrument grew immensely in popularity both for Eurocentric cultural domination by creating, as he professionals and for numerous Viennese who aspired wrote, “something specifically Hungarian in music.” to attain the social grace its household performance While on a country outing in 1904 he happened upon bestowed. In 1785 Mozart contracted with his friend a young peasant girl singing an indigenous folk song, and publisher Franz Anton Hoffmeister to write and his path became clear. Bartók and his colleague three piano quartets, a new genre that promised to be Zoltán Kodály packed their unwieldy recording marketable to the many Viennese amateur pianists. equipment into a primitive truck and began to At that time the piano was not a full thematic partner search out songs from Hungary’s deep countryside. in the ensemble; early chamber works most often Their ethnomusicology quest resulted in an archive used the keyboard to fill out harmonies supporting of over a thousand carefully catalogued songs and the string lines. K. 478, the first of the two piano dances. Bartók intended to use this native material quartets that Mozart completed, is a breakthrough as the inspirational starting point for his original work in which the piano and the string group achieve compositions: “It was not a question of taking unique equality. The piano score, so virtuosic that it on melodies and incorporating them into our works. occasion resembles a concerto, is balanced by equally What we had to do was to divine the spirit of this strong string lines to create a unified chamber work. unknown music and to make this spirit the basis for our own works.” Bartók gradually assimilated the Unfortunately for Mozart, Hoffmeister assessed K. essences of these songs into his own musical thought 478 as being too difficult for his clients (primarily processes. Much of the imaginative power of his six females, many delicate), and he declined to publish string quartets stems from his fusion of folk and it—but he did allow the cash-strapped Mozart to art music. keep the money that had been advanced. However, Mozart wrote a second piano quartet a few months Bartók wrote his monumental set of six string later and sought out a new venue—Artaria, who quartets during the years from 1909 to 1939, the became his primary publisher. core of his compositional career in Budapest before his emigration to the United States in 1940. Each K. 478 is cast in G minor, a dark key that Mozart quartet both marks the phases of his evolving creative favored for his more searching works. The terse development and serves as a diary of his emotional opening theme, played in unison by all instruments, and intellectual life.