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).

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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. These six string quartets, together solidifies this tonality; the solo piano responds with with the fifteen quartets of Shostakovich, have been an extension to the phrase, which is then repeated and recognized as the most important contributions to developed by all instruments. The piano introduces a the genre since the string quartets of Beethoven. Yet calmer second subject (B-flat major) first developed they remain demanding works for both listeners contrapuntally by the strings, then recast with varied and interpreters, in part because of the lofty goal rhythms. The piano states a third theme, echoed by that Bartók set for their composition—to harness the violin. After a brief but dramatic development, the instinctive, primitive forces inherent in his the themes undergo further development in the native Hungarian music with the most intellectually recapitulation. The emphatic coda reiterates the sophisticated aspects of the Western European string succinct opening motive. quartet genre. The Andante (B-flat major), in sonata form, develops two expressive melodies, both stated first in the piano. Colorful recasts of scoring enhance the fervency of these lyrical themes. The rondo finale (G major) opens with a buoyant idea in the piano; an energetic theme follows in the strings. The brilliant piano score demands virtuosity throughout.

9 PROGRAM NOTES

Quartet No. 5, dedicated to its commissioner “It was not a question of Elizabeth Sprague Coolidge, was written with taking unique melodies and uncharacteristic speed during the month of August 1934. Its five movements are arranged symmetrically incorporating them into our in an arch form. The first and fifth sections are rapid and share thematic material; the second and fourth works. What we had to do are slow and similar in mood; a scherzo, with a central was to divine the spirit of this trio section, forms the center of the work. Mirror imaging can be discerned in the opening Allegro: at unknown music and to make the recapitulation its three themes reappear inverted and in reverse order. The opening chorale theme of this spirit the basis for our the Adagio molto suggests an homage to Beethoven’s own works.” “Hymn of Thanksgiving” from his Opus 132 String Quartet; the following area of “night music,” as in BÉLA BARTÓK Quartet No. 4, is intended to evoke the murmur of a mysterious woods. Both ideas return with variations in the Andante fourth movement. The central Scherzo moves in an irregular meter characteristic of Bulgarian folk song. Its measures, nine beats long, are divided so that accents fall at four-, two-, and three-beat units. The tempo accelerates in the trio section as the viola and cello sing a folklike melody. The vitality of the opening Allegro returns in the presto Finale, thematically based on the dissonant interval of the augmented fourth (B-flat and E). A surprising shift occurs at the recapitulation— all dissonance disappears and the instruments are directed to play like a music box, “con indifferenza, meccanico” (with indifference, mechanically). Dissonance is gradually insinuated into the line, and the vigorous Finale resumes.

10 PROGRAM NOTES

ONE OF VIENNA’S more congenial nobles was A vivacious tune in the strings opens the Scherzo, the Archduke Rudolph, younger brother of the which alternates twice with the two-part Trio—a Emperor of Austria. Rudolph was a loyal patron for substantial section that consists of a mysterious Beethoven, but in exchange for support he expected fugato and a contrasting dance. piano tutoring sessions of great length and frequency. The Andante cantabile (marked “slow and singing, Much correspondence exists detailing Beethoven’s however with motion”) offers five variations latest reason for postponing a lesson; Beethoven was and a recitative coda on a hymnlike theme. In also heard stating that Rudolph was “the one pupil each variation, the melody undergoes a radical he would gladly be rid of if he could.” Nevertheless, transformation, but its harmonic structure is largely Beethoven’s appreciation is evident in the list of maintained. major works dedicated to Rudolph, among which is the Opus 97 Piano Trio (1811). This popular trio, The sublime mood is disrupted by the energetic nicknamed “Archduke,” is said to suggest an idealized rondo finale, which follows without pause. Virtuoso portrait of the expansive Rudolph. piano writing is heard throughout this brilliant movement, in which four appearances of the main Beethoven himself performed the enormous piano theme alternate with contrasting episodes that refer score at the work’s premiere, held in April 1814 for a thematically to earlier ideas. Near its end a change of charity benefit. Because of his increasing deafness, meter from 2/4 to 6/8 accelerates the momentum, this was to be Beethoven’s last public appearance driving the work to an exhilarating conclusion. as a pianist. Fellow composer Ludwig Spohr sadly described the performance: “In forte passages, the Notes by Nancy Monsman poor deaf man pounded on the keys until the strings jangled, and in the piano sections he played so softly that whole groups of notes were omitted.” The last of his piano trios, the “Archduke” is considered to be his greatest work in this medium. Like most of his chamber works of his middle period, the trio begins with a movement in sonata form—a framework established by earlier classicists that organizes ideas into a coherent succession: an exposition of motifs, followed by a development of these ideas; then a recapitulation related to the opening section and a concluding coda. Within this scheme, Beethoven achieved maximum dramatic expression through contrasting modulations, particularly in the development section, and his uniquely flexible treatment of themes. The Allegro moderato opens with a broad theme (B-flat major) that establishes the expansive mood of the entire work. A gently descending second subject (G major) is heard first in the piano and then assumed by the strings. The development section is a sustained conversation among all three instruments as they explore elements of the exposition’s opening themes. After a restatement of ideas, the movement concludes with a brief coda.

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13 FESTIVAL MUSICIANS

Artistic director PETER THE ESCHER STRING Within months of its method of interplay R E JT O is committed to QUARTET has received inception in 2005, the between individual presenting the finest acclaim for its expressive, ensemble came to the components working chamber music, both nuanced performances attention of key musical together to form a well-loved works and that combine unusual figures worldwide. whole. new, unfamiliar ones, textural clarity with a Championed by the AFCM last heard the performed by some rich, blended sound. In Emerson Quartet, Escher String Quartet of the world’s finest its hometown of New the Escher Quartet on an Evening Series musicians. Highlights York, the ensemble was invited by both concert in December of his international serves as Season Artists Pinchas Zukerman and 2015. career include the of the Chamber Music Itzhak Perlman to be world premiere of Society of Lincoln Quartet in Residence Gerard Schurmann’s Center, where it has at each artist’s summer “Gardens of Exile” presented the complete festival: the Young with the Bournemouth Zemlinsky Quartets Artists Programme at Symphony broadcast Cycle as well as being Canada’s National Arts live over the BBC, and one of five quartets Centre and the Perlman the recording of Miklós chosen to collaborate in Chamber Music Rózsa’s Cello Concerto a complete presentation Programme on Shelter in Hungary. Mr. Rejto of Beethoven’s string Island, NY. They are is a founding member quartets. Last season, currently String Quartet of the Los Angeles the quartet toured with in Residence at Southern Piano Quartet and a CMS to China. Methodist University former professor of the in Dallas, Texas, and University of Arizona Tuesday Musical in School of Music as well Akron, Ohio. The as professor emeritus Quartet takes its name at the Oberlin College from Dutch graphic Music Conservatory. artist M.C. Escher, inspired by Escher’s

14 FESTIVAL MUSICIANS

PHILIP ALEJO is Cellist EDWARD ARRON Italian-born ETTORE Assistant Professor of has garnered recognition CAUSA is considered Bass at the University worldwide for his one of the most brilliant of Arizona. He has elegant musicianship, violist performers and performed alongside impassioned pedagogues of our Menahem Pressler, performances, and time. Awarded both the Yehonatan Berick, Maiya creative programming. “Peter Schidlof Prize” Papach, Spencer Myer, A native of Cincinnati, and the “John Barbirolli Katinka Kleijn, and Mr. Arron made his Prize” for “the most David Bowlin, and at New York recital beautiful sound” at numerous music festivals debut in 2000 at the the prestigious Lionel in the US and Europe. In Metropolitan Museum Tertis International addition, he collaborates of Art. Since that time, Viola Competition regularly with harpist he has appeared in in 2000, he is praised Claire Happel as the recital, as a soloist with for his exceptional River Town Duo, and major orchestras, and artistry, passionate they are committed as a chamber musician intelligence, and to commissioning throughout North complete musicianship. works for harp and America, Europe, and Mr. Causa studied at the bass; to date, they have Asia. He began playing International Menuhin premiered works by the cello at age seven and Music Academy with Caroline Shaw, Hannah continued his studies Alberto Lysy and Lash, and Frederick in New York with Peter Johannes Eskar, and at Evans. Dr. Alejo Wiley. A graduate of the Manhattan School previously took part in the Juilliard School, of Music with Michael the Festivals of 2014, where he was a student Tree, and he joined 2015, and 2017. of Harvey Shapiro, Mr. the faculty of the Yale Arron is currently on the School of Music in 2009. faculty at University of He performs on a viola Massachusetts Amherst. made for him by Frédéric Chaudière in 2003.

15 FESTIVAL MUSICIANS

Now based in London, A native of North Australian pianist Violinist ANI KAVAFIAN AMY DICKSON was born Carolina, pianist BERNADETTE HARVEY enjoys a prolific career in Sydney and began JAMES GILES studied divides her time between as a soloist, recitalist, musical studies at the with Byron Janis at collaborations, solo and chamber musician. age of two, taking her the Manhattan School appearances, and She has performed with first saxophone lesson of Music, Jerome recordings. She has had virtually all of America’s aged six. She made Lowenthal at the several works written leading orchestras, her concerto debut Juilliard School, Nelita for her, including a solo including the New at sixteen, and on her True at the Eastman piano sonata by Festival York Philharmonic, 18th birthday made School of Music, and composer Ross Edwards the Philadelphia her first recording as Robert Shannon at which she performed Orchestra, the soloist with the Sydney Oberlin College. He and recorded in 2014. Cleveland Orchestra, Symphony Orchestra. received early career Several years ago she the San Francisco That year she moved assistance from the inaugurated The Sonata Symphony, and many to London to study Clarisse B. Kampel Project, an ongoing others. Ms. Kavafian at the Royal College Foundation and was commissioning and is also a renowned of Music and then at awarded a Fulbright performing program chamber musician and the Conservatorium Grant to study in Italy of new large-scale has performed with the van Amsterdam. with the legendary Australian works for Chamber Music Society Recognized widely pianist Lazar Berman. solo piano. A faculty of Lincoln Center since for her exceptional In an eclectic repertoire member at the Sydney 1979. Her numerous musicality, Gramophone encompassing the solo Conservatorium of solo recital engagements described her as “a player and chamber music Music, she is also include performances with a difference who literatures, Dr. Giles is the recipient of the at New York’s Carnegie has an individual and equally at home in the Centenary Medal of and Alice Tully halls, as unusual tone, luscious, standard repertoire as Australia presented by well as in major venues silky-smooth, sultry, and in the music of our time. John Howard for her across the country. She voluptuous by turns.” He currently teaches at service to Australian was part of our first the Bienen School of music. This year marks Festival, and this year we Music at Northwestern her tenth Festival hear her for the seventh University. appearance. time.

16 FESTIVAL MUSICIANS

The first German Composer CHRIS Although not one of artist to ever win the ROGERSON has been the Festival musicians, international Naumburg hailed as a “confident, NANCY MONSMAN Violin Award in New fully-grown composing has been an integral York , AXEL STRAUSS has talent” whose music has part of the Festival been equally acclaimed “virtuosic exuberance” from the beginning for his virtuosity and and “haunting beauty” through her informative his musical sensitivity. (The New York Times). program notes. An He made his American He has received active cellist, Nancy’s debut at the Library commissions and practical knowledge of Congress in performances from of the repertoire Washington, DC, and numerous orchestras communicates the his New York debut at including the San essence of each piece Alice Tully Hall in 1998. Francisco Symphony, to our audience. She His chamber music Atlanta Symphony, has degrees in both partners have included Houston Symphony, English literature and Menahem Pressler, and the Kansas City cello performance Kim Kashkashian, Symphony (a work from Northwestern Joel Krosnick, Robert for cellist Yo-Yo Ma). University and a Doctor Mann, and Bernard Mr. Rogerson has won of Musical Arts degree Greenhouse. Mr. Strauss awards such as the from the University serves as Professor of Presser Music Award of Arizona, where she Violin at the Schulich and prizes from the studied with Peter Rejto. School of Music of National Foundation for Also trained as a visual McGill University in the Advancement of the artist, her paintings Montreal. He previously Arts and the National have had international took part in our Association for Music recognition. She twenty-fourth Festival Education, among recently published a in 2017, and this year many others. The Dover book of her program marks his sixth Festival Quartet recently toured notes, A Friend’s Guide appearance. his new clarinet quintet, to Chamber Music: Thirty Thousand Days, European Trends from with David Shifrin. Haydn to Shostakovich.

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19 THANK YOU TO OUR SUPPORTERS!

$10,000 & ABOVE Elliott & Sandy Heiman $250 – $499 Eddy Hodak Jean-Paul Bierny & Chris Tanz Robert & Deborah Johnson Thomas & Susan Aceto Jim Cushing Arthur & Judy Kidder Wes & Sue Addison Boyer Rickel Al Kogel Sydney Arkowitz Herschel & Jill Rosenzweig Ann Blackmarr $5,000 – 9,999 John & Ila Rupley Nathaniel & Suzanne Bloomfield Richard & Judith Sanderson Richard & Martha Blum Shirley Chann Reid & Linda Schindler Jan Buckingham David & Joyce Cornell Joe & Connie Theobald & LM Ronald John & Terry Forsythe George Timson Jack Burks Leonid Friedlander Teresa Tyndall James Cook Charles & Suzanne Peters Gwen Weiner Nancy Cook John & Helen Schaefer Elizabeth Zukoski Janna-Neen Cunningham Paul A. St. John & Leslie P. Tolbert Philip M. Davis Wa l t Swap Marilyn Dettloff $500 – $999 Mark Dickinson $2,500 – 4,999 Bob Albrecht & Jan Kubek Lionel & Karen Faitelson Frank & Betsy Babb Thomas & Nancy Gates Celia Balfour Gail Bernstein Tom & Janet Gething Stan Caldwell & Linda Leedberg Barbara Carpenter Sandra Hoffman Dagmar Cushing James & Chris Dauber William & Ann Iveson Alison Edwards & Henri Frischer Raul & Isabel Delgado Dr. & Ms. Michael Garrett-Waldmeyer Trust Stephen & Aimee Doctoroff & Sennuy Kaufman Jim Lindheim & Jim Tharp Michael Evanston Daniela Lax George & Irene Perkow Philip & Nancy Fahringer Alan Levenson Minna J. Shah Harold Fromm & Rachel Goldwyn Randy Spalding J. D. & Margot Garcia Amy & Malcolm Levin Jonathan & Chitra Staley Gerald & Barbara Goldberg Mark Luprecht Walter Swap Eloise Gore & Allen Hile Bill & Kris McGrath Elliott & Wendy Weiss Wesley Green Hal Myers Helen Hirsch Richard & Susan Nisbett $1,000 – 2,499 Sidney & Martha Hirsh Nancy Ostromencki & Phil Renaud Nancy Bissell David Johnson Paul & Marianne Kaestle Mary Peterson & Lynn Nadel Richard & Martha Blum Barbara & Jay Pisik Celia Brandt George & Cecile Klavens Larry & Rowena G. Matthews Judith C. Pottle Gail D. Burd Seymour Reichlin & John G. Hildebrand Martie Mecom Kitty & Bill Moeller Herbert Rubenstein Robert D. Claassen David & Ellin Ruffner & John T. Urban Lawrence & Nancy Morgan Serene Rein Stephen & Gale Sherman Bryan & Elizabeth Daum Mark Haddad Smith Donald & Louise Doran Arnie & Hannah Rosenblatt Sally Sumner Barbara Straub Peter & Carole Feistmann Nancy Strauss Milton Francis & Marilyn Heins Maurice Weinrobe & Trudy Ernst Sherman L. Weitzmon Sheila Tobias Beth Foster Charles & Sandy Townsdin Julie Gibson Bonnie Winn Anne Wright & Richard Wallat Allan & Diane Tractenberg Katherine Havas Ellen Trevors

20 THANK YOU TO OUR SUPPORTERS!

Michael & Mary Turner Robert Lupp Gloria Ottenstein Jan Wezelman & David Bartlett Frank & Janet Marcus by Andrea & Gary Abramowitz Warren & Felicia May by Penny & Mark Estomin Max McCauslin $100 – $249 Dr. Michael Patrick Sullivan Joan McTarnahan Andrea & Gary Abramowitz Harry Nungesser by Gail Bernstein Helmut A. Abt Karen Ottenstein Beer Stephen Tellman Philip Alejo David & Cookie Pashkow by Sara Heitshu Mark & Jan Barmann Margaret Pope Margaret Bashkin & Norman Epstein Carl T. Tomizuka Kathryn Bates John Raitt by Sheila Tobias Peter & Betty Bengtson Lynn Ratener Carol Zuckert Peter Bleasby James Reel by Cathy Anderson Joyce Bolinger Helen Rosen Sarah Boroson Jay & Elizabeth Rosenblatt GIFTS IN HONOR OF Elizabeth Buchanan Dr. Elaine Rousseau Patricia & Ed Campbell Kenneth J. Ryan Cathy Anderson Thomas & Debra Collazo Howard & Helen Schneider by C. Jane Decker Terence DeCarolis Jennifer Schneider C. Jane Decker Stephen & Janet Seltzer Dr. & Mrs. Nathaniel Bloomfield Martin Diamond & Paula Wilk Tanya Servaas by Dr. Melvin & Maude Shafron Brian Edney Sara Shifrin James Reel John & Mary Enemark Shirley Snow by C. Jane Decker Penny & Mark Estomin Harry Stacy by Hal Myers Bob Foster Ronald Staub James & Ruth Friedman Michael Tabor Dr. Elaine Rousseau Linda L. Friedman Shirley Taubeneck by Les & Suzanne Hayt Margot & Tommy Friedmann Jennalyn Tellman Randy Spalding Juan Gallardo Sheila Tobias by Thomas and Debra Collazo Marvin & Carol Goldberg Karla Van Drunen Littooy Ben & Gloria Golden Dimitri Voulgaropoulos Randy Spalding & Jim Cook Kathryn Gordon Ann Ward by David & Cookie Pashkow Janet Grayson Patricia Waterfall Allan & Diane Tractenberg Marilyn Halonen Patricia Wendel by Mark & Jan Barmann Clare Hamlet Daryl Willmarth Les & Suzanne Hayt Sheila Wilson & Hal Barbar Contributions are listed from Sara Heitshu Peggy Wolf January 1, 2018 through December Ruth B. Helm 31, 2018. Space limitations prevent

Jim Homewood GIFTS IN MEMORY OF us from listing contributions less William & Sarah Hufford than $100. Robert & Claire Hugi Clifford & Wendy Crooker Every contribution helps secure Sara Hunsaker by Beth Foster the future of AFCM. Lee L. Kane Raymond Hoffman Joe Kantauskis Please advise us if your name is not & Gayle Brown by Sandra Hoffman listed properly or inadvertently Carl Kanun Kathy Kaestle omitted. Karen Loeb by Paul & Marianne Kaestle

21 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 Nancy Bissell Maltzman, Hunter Joe & Janet Hollander Stan Caldwell & Linda Leedberg Flower Shop on 4th Avenue Judy Kidder David & Joyce Cornell Holualoa Companies Linda Leedberg Jim Cushing Homecare Assistance To m L e w i n John & Terry Forsythe Kinghorn Heritage Law Group Ghislaine Polak Garrett-Waldmeyer Trust La Posada Boyer Rickel Jim Lindheim & Jim Tharp Ley Piano Randy Spalding George & Irene Perkow Loft Cinema Anonymous John & Helen Schaefer Mister Car Wash Rogue Theater $25,000 and above Minna J. Shah True Concord Family Trust of Lotte Reyersbach Randy Spalding Tucson Guitar Society Phyllis Cutcher, Trustee of the Jonathan & Chitra Staley Frank L. Wadleigh Trust Tucson Desert Song Festival Anne Denny Richard E. Firth MUSICIAN SPONSORSHIPS Carol Kramer Celia Balfour Arthur Maling Jean-Paul Bierny & Chris Tanz Claire B. Norton Fund Dagmar Cushing (held at the Community Elliott and Sandy Heiman Foundation for Southern Boyer Rickel Arizona) Herbert Ploch All commission, concert, Lusia Slomkowska Living Trust and musician sponsors are Agnes Smith acknowledged with posters in $10,000 – $24,999 the theater lobby and in concert Marian Cowle programs. 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.

22 VERSE

On Joy and Sorrow

BY KAHLIL GIBRAN

Then a woman said, Speak to us of Joy and Sorrow.

And he answered:

Your joy is your sorrow unmasked.

And the selfsame well from which your laughter rises was oftentimes filled with your tears.

And how else can it be?

The deeper that sorrow carves into your being, the more joy you can contain.

Is not the cup that holds your wine the very cup that was burned in the potter’s oven?

And is not the lute that soothes your spirit, the very wood that was hollowed with knives?

When you are joyous, look deep into your heart and you shall find it is only that which has given you sorrow that is giving you joy.

When you are sorrowful look again in your heart, and you shall see that in truth you are weeping for that which has been your delight.

From The Prophet. Public Domain.

23 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.

24 25 26 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

27 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.