STRATA fRIEND~ Of Nathan Williams, clarinet James Stern, violin/ viola Audrey Andrist,piano

2:30 PM, December 3, 2006 U~I Faye Spanos Concert Hall BAMBER In cooperation with University of the Pacific Conservatory ofMusic Fifty-First Season Stockton, California Program

Trio Sonata in G Major for Clarinet, Violin & Piano (after BWVI039) J. S. BACH Adagio (1685-1750) Allegro rna non presto Adagio e piano Presto

From E£ght Pieces for Clarinet, Viola and Piano, Ope 83 Max BRUCH II: Allegro can mota (1838-1920) VII: Allegro vivace, rna non troppo VI: Nachtgesang (Andante can mota) IV: Allegro agitato -intermission-

Little Concerto for Clarinet, Viola and Piano (1937) Alfred UHL Allegro can brio (1909-1992) Grave Vivo

Suite for Clarinet, Violin and Piano (1992) Alexander ARUTIUNIAN Introduction (b. 1920) Scherzo Dialog Final

Strata is represented byLois Scott Management, Inc., P.O. Box 140, Closter, NJ 07624 www.loisscottmanagement.com The Artists Canadian pianist Audrey Andrist is When Bach used this format, he The musicians of STRATA, old the 1994 first prize winner of the San wrote the triosonata for two treble Antonio International Keyboard instruments accompanied by a basso friends to many in Stockton, have been Competition and was presented in a performing and appearing in concert continuo, usually a keyboard plus cross-Canada solo recital tour as either cello or bassoon. The sonata together since 1988. All three hold the winner of the Eckhardt-Gramatte da chiesa (church sonata) format in Doctor ofMusical Arts degree from the Competition. She has appeared as which this piece is written comprises Juilliard School, where their first soloist with the National Arts Centre an instrumental ensemble in four performances as an ensemble Orchestra in Ottawa, the Juilliard movements alternating in two slow­ occurred. STRATA presents a wide Orchestra in Alice Tully Hall, and the fast pairs. This form contrasts with spectrum of classical and modern CBC Vancouver Symphony. As a the sonata da camera in that it omits styles in programs that enhance the chamber musician, Ms. Andrist has dance movements characteristic of unique expressive power of each work. performed in New York's Merkin the chamber sonata. It also differs Listen today for the clarity ofcounter­ Hall and Steinway Hall, at Place des by using the organ as the keyboard, point and the blends afforded by their Arts in Montreal, Spivey Hall in reflecting the setting of the contrasting instruments. The group has Georgia, on NPR's "Performance performance and eliminating the performed recently throughout the US. Today", and the Kennedy Center and need for additional supportive Clarinetist Nathan Williams has Library ofCongress in Washington, continuo instruments. The piano been hailed by critics as "outstanding DC. She has participated in premieres supplies much of the vibrancy and for his musicality, breath control, of new works in Canada and the intensity of the organ for today's robust, and brilliant tone, and flawless United States. Ms. Andrist currently performance. technique," "a highly effective soloist," lives in Maryland with her husband, The Adagio is an unhurried, idyllic and "a stellar musician, capable of the James Stern, and their son, Kenneth. evocation ofa pastoral, shepherd­ most exquisite and expressive playing." like scene against the background of He has appeared as soloist and in the other instruments. Listen for chamber music performances at Alice The Program interesting and possibly surprising Tully Hall, Merkin Hall, & Kaufmann JS Bach-Trio Sonata in G key changes and clashes of tone Hall at the 92nd St. Y, as well as Though the trio sonata was very which darken the mood. The Allegro throughout the United States, and in popular in the Baroque era, J.S. Bach second movement is the piece's first Austria, Canada, China, Hungary, wrote very few of them. Hence each expression ofuninhibited elation. Germany, the Netherlands, Taiwan, work-especially one of the qualities The third movement, Adagio epiano, Japan, and the Czech Republic. He also of the G Major sonata-deserves reaches the piece's full depths of earned the Artist's Diploma from the special attention. The only one of the shadowy darkness descending Academy ofMusic and Fine Arts in three gamba sonatas that exists in an through a warren of harmonics only Vienna, Austria and an MM degree original manuscript, the G Major to burst forth for a second time into from Eastman. Since 2001, he has sonata is itself a transcription of the the joy of the final Presto. been the Instructor of Clarinet at the Sonata for two transverse flutes and Interlochen Arts Academy. basso continuo, BWV 1039. In fact, Bruch-From Eight Pieces James Stern has made recital and today's trio sonata may have originated Max Bruch, born in the early concerto appearances throughout the as a now lost sonata for two violins years of the Romantic era in K61n, United States, France, Germany, China and continuo before Bach arranged it lived in the shadow Brahms all his and Norway. He has performed in its present form for two flutes and life. Widely known and respected in chamber music at Carnegie Hall, Alice continuo. He later reworked it into his day as a composer, conductor Tully Hall, and festivals at Marlboro, BWV 1027 for viola da gamba and and teacher, Bruch received his Ravinia, Banff and Norfolk. As obbligato harpsichord in which form earliest music instruction from his Associate Professor at the University it is probably most familiar today. It mother, a noted singer and pianist. of the Pacific, he performed with the was not unusual for Bach to redraft He had an extremely traditional Sierra Chamber Society and at the his music in new settings, or even to upbringing and musical education, Ralston Series, Le Petit Trianon arrange other composers' pieces'. It is and thus found himself at odds with Theatre, and the Annenberg Theater. for this reason that it does not seem the followers ofLiszt and Wagner Currently Associate Professor at the inappropriate for us to hear BWV from the beginning of his career. He University of Maryland, he performs 1039 in today's instrumentation. began composing at eleven, and, by with the 21st Century Consort, the fourteen, had produced a symphony Contemporary Music Forum and the and a string quartet, the latter Smithsonian Chamber Players. 1 The organ concertos transcribed from Vivaldi's garnering a prize that allowed him violin concertos are one successful work in this vein to study with Karl Reinecke and the composer, who stated that he did Armenian Conservatory and then Ferdinand Hiller. From 1864 to 1889, not intend the work to be performed perfected his skills with H. Litinsky Bruch held various posts as a choral in its entirety at anyone time. Each is in Moscow (1946-48). He is and orchestral conductor in Cologne, a two- or three-part form with presently head of composition at Coblenz, Sondershausen, Berlin, thematic material skillfully dovetailed, Erevan State Conservatory. Liverpool and Breslau. From 1890 to shared, or alternated between the In 1949, he was awarded the 1910, he taught composition at the clarinet and violin, with the piano USSR State Prize for the Motherland Berlin Academy and received providing harmonic support. Each Cantata, a graduation piece he wrote numerous awards for his work, instrument and every movement has as a student at the Moscow including an honorary doctorate from its own personality, sometimes sweet Conservatory. He has continued to Cambridge University. or solemn, other times happy, lively, win acclaim at home and abroad for Bruch was even more traditionalist in or more dramatic, and at times his works, many ofwhich are his compositional technique than powerful. The composer's gift for quickened by the folk traditions of Brahms and was an open critic of the lyricism is apparent and gratifying in Armenian music. Some of music ofWagner and Liszt. In addition all of the Opus 83 pieces, leaving us Arutiunian's works for wind to his musical output, his legacy can be wishing he had treated the genre of instruments, notably the 1950 counted in terms of his students, chamber music more generously. concerto for trumpet, concerto for including Vaughan Williams and tuba, and the brass quintet Armenian Respighi. Though Bruch is known UhI-Little Concerto Scenes, have secured their place in mainly for the three famous Alfred Uhl, an Austrian composer, the international repertory. His total compositions for string soloist and played cello in his musical family's output includes operas, cantatas, orchestra (the Concerto and the string quartet. He received his training symphonic and chamber works. Scottish Fantasy for violin, and the Kol from the Vienna State Academy of The Suitefor clarinet, violin and Nidrei for cello), he also composed Music, which he entered in 1927, and piano, written in four movements in two other violin concertos, three subsequently went on to teach at the 1992, was commissioned by the symphonies, a concerto for two pianos, same institution. Ulh also taught Verdehr Trio. You will note the various chamber pieces, songs, three theory and composition at the Vienna vibrant Armenian character of the operas and much choral music. Musikhochschule until he retired in music which is always present in Fundamental to Bruch's approach 1980. He wrote extensively for clarinet Arutiunian's style. The opening was belief that folk music supplied the and his educational materials and phrases of the Introduction, marked best model for meaningful expression works are still common repertoire Lento, create tension with dark and he wrote a number ofpieces based today. His most famous pedagogical intonations in the low registers of on folk tunes ofvarious nations. pieces are the two volumes comprising the piano in combination with the Bruch's Eight Piecesfor Clarinet, Viola, the 48 Studies. His Divertimento for Three violin. Though emotionally tense and Piano, Op. 83, was written for his Clarinets andBassClarinet, written in and reflective, the prevailing mood clarinetist son, Max Felix Bruch (1884­ 1942 for the clarinetists of the Vienna in this movement is lyrical. The 1943) who debued the piece in 1909. Philharmonic and employing the use playful Scherzo is a graceful fugatto, Simrock, who published the work of three B-£lat clarinets and a bass which is followed by the Dialog-a shortly after its completion, arranged clarinet, is one of the most performed short intermezzo between the the clarinet and viola parts for violin works for the medium. Other works Scherzo and Finale. Despite its and cello, feeling the customary piano include a concerto for clarinet and laconic nature, this duet between trio combination would appeal to a orchestra and the trio for clarinet, the violin and clarinet contains the wider audience. This work was piano and viola, which we hear today. dramatic spirit of the whole piece. composed at a time when many of his You will hear a combination of allure The Dialog ends with a transition contemporaries were moving into and sophistication in this piece. Its wit into the Finale, containing the modernism. To gain an appreciation and rhythmic ingenuity are charming elements ofboisterous Armenian for Bruch's "retro" reputation, you and attractive. dance rhythms with their capricious have only to realize this work is pulse and unexpected irregularities contemporaneous with Stravinsky's Arutiunian-Suite in a freely improvised melodic style. Firebird of 1910 and Petrouchka of 1911. Alexander Arutiunian was born in Listen for all three instruments to But Bruch kept this work thoroughly 1920 in Erevan, Armenia (USSR) and display their dazzling virtuosity. Romantic in style, with glowing is one of the best known and highly melodies and harmonies. esteemed composers of the former -Notes ©Dr. MichaelSpencer The presentation ofonly four of the Soviet Union. He studied eight pieces complies with the desire of composition and piano at the Board ofDirectors CONTRIBUTORS FlFIY-FIRSTSEASON 2006-2007 Officers SUSTAINER $2,000+ SUPPORTER $50-99 Carole Gilbertson, President CA Webster Foundation Virginia Blewett Presented in Cooperation with Dwane Milnes, Vice President John & Gayle Perl Hon. Ann M Chargin University 0/thePacific Conservatory Sara Milnes, Treasurer Marian Cross BENEFACTOR $1,000­ 0/Music; Stephen Anderson, Dean Madeleine Lynch, Secretary Dr & Mrs William G Dalton 1,999 Zulka Dozier The Takacs Quartet Members Anonymous Wolfgang & Rosie Fetsch 2:30 PM Sunday, October 1, 2006 Janet Bonner Philip & Carole Gilbertson Paul J Hauben Faye Spanos Concert Hall Jean McGowan Jerry Kamilos StuartJacobs & Stephanie RECEPTION FOLLOWING Marie Medford Dwane & Sara Milnes Stevenson Dwane Milnes Trimark Communities LLC Peter & Jane Jaffe The Peabody Trio Don Nelson Kathe Underwood Richard & Ellita Konig 2:30 PM Sunday, November 5, 2006 Vince Perrin Ira Lehn Faye Spanos Concert Hall Joan Ray PATRON $500-999 Catherine S Lewis RECEPTION FOLLOWING Michael Spencer Marion & George Malloy Gail Maddalon Kathe Underwood Michael & Helen Spencer Cynthia Renee & Peter Meyer Strata John R Watt Sherman & June Spencer 2:30 PM Sunday, December 3, 2006 Artist Selection Eleanor Vogel Faye Spanos Concert Hall Committee SPONSOR $250-499 Frank & Lynelle Wiens RECEPTION FOLLOWING Rex Cooper Ira Lehn Jerold & Judith Yecies Warren van Bronkhorst Jean McGowan The Streicher Trio with Dance Les & Marie Medford FRIEND $10-49 2:30 PM Sunday, February 18, 2007 Past Presidents lrva Rageth Renna Beinoris Faye Spanos Concert Hall Michael Spencer David & Tasha Stadtner Helen S Dollahite RECEPTION FOLLOWING Janet Bonner Thelma Stewart Mary Ganshaw Kathe Underwood Doris D Hickman The Ying Quartet Martha Tipton DONOR $100-249 Dean & Kathleen Janssen 7:30 PM Saturday, March 24,2007 Frank Dick Ron & Dea Berberian John & Beverly McCarthy Faye Spanos Concert Hall Mary Jensen Janet L Bonner Lawrence & Patricia Meredith Mary Chamberlain Corrine Boomer Marie & Rick Mielbrecht TO OURAUDIENCE Helen Kessel McCrary Irene Borelli Jim & Diane Morgali • The use of cameras and recording Virginia Short McLaughlin EC Burmeister Miya & Jonathan Pearce devices of any kind is forbidden. Wilfred Mitchell, Ph.D. Marilyn E Draheim Don Peterson • There is no smoking in the lobby Tasha Stadtner Eric & Sue Hinrichs John Schick or auditorium. Marjorie Williams Mary Jensen Bill Williams • Please turn off cellular telephones Alfred Rageth Mike Kizer and disengage audible alarms on Robert Adams, M.D. Madeline B Lynch pagers and watches. IN KIND Mary Millar • UOP & Delta students are admitted Alder Market Founder Don & Ellie Nelson free on a space-availablebasis. Raddison Hotel Walter H. Perl, 1956 Vince Perrin • Concert programs are subject to Steve Nosse Graphics Marvin & Bune Primack change without notice. For information: • Seating is unreserved for the PO Box 4874 Joan Ray IN MEMORY OF 2006-07 Season. Stockton, CA 95204-0874 Louise Saunders Derrill Bodley • Contributions, including 209-946-0540 Jane C Scott Michael & Helen Spencer memorials, are tax deductible to Reuben & Nelda Smith Helen Kessel McCrary the extent allowed by law. www.chambermusicfriends.org Students ofPriscilla Cooper Richard & Ellita Konig at Lammersville School David & Tasha Stadtner Tickets are available at the door. Warren & Carol van Walter & Ilse Perl Adult: Single $25, Season $100 Bronkhorst John & Gayle Perl Child 13-17: Single $5, Season $15 Robert & Joan Waugh Child 12 and younger: Free Dr Henry & Carol Zeiter DOP/Delta Faculty: $10 FOCM welcomes children to our UNIVERSITY OF THE concerts. However, an adult must accompany children ten years of age and under (no babes in arms please). At the request ofour PACIFIC artists, children should not sit in the first four rows. Conservatory of Music