25TH TUCSON WINTER CHAMBER MUSIC FESTIVAL MARCH 4–11, 2018 PETER REJTO, ARTISTIC DIRECTOR

1 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 Box Office Manager Cathy Anderson Wes Addison Advertising Treasurer Paul Kaestle USHERS Philip Alejo Allan Tractenberg Nancy Bissell Barry & Susan Austin Kaety Byerley Design Lidia DelPiccolo-Morris Michael Coretz Openform Susan Fifer Dagmar Cushing Marilee Mansfield Bryan Daum Printing Lidia Morris Marvin Goldberg West Press Elaine Orman Joan Jacobson Susan Rock Jay Rosenblatt Jane Ruggill Elaine Rousseau Janet Smith Randy Spalding Barbara Turton Paul St. John Diana Warr George Timson Maurice Weinrobe & Trudy Ernst Leslie Tolbert Patricia Wendel

Cover: collage of Brenda Semanick paintings 2 FROM THE ARTISTIC DIRECTOR

Dear Friends, Growing up in a musical family I was exposed to these “parties” with great frequency and delight. Wow, how time flies! My cellist father, Gabor, was an ardent fan of these Twenty-five years certainly seems to be a significant intimate gatherings, where he became even more milestone when counting festivals. So much so that alive and exuberant than normal. Who might blame it’s rather too easy to imagine that the Winter him when those Santa Barbara parties included the Festival has always been there—an event to be taken Romero family! In my mind I can still feel all of for granted. Just as many people, myself included, those wonderful moments at age twelve, sitting on view the meeting of a life partner as an incredible the floor listening to Pepe play flamenco in our coincidence or fateful encounter, so must I view the living room! How wonderful is it that all these years incredible good fortune that befell me with the later the Romeros and their next generation can join chance meeting with our much beloved former us—a full circle … a recapitulation. I am so grateful AFCM President, Jean-Paul Bierny, on a flight to to all of our artists for taking time out of their very Chicago the day or so after I performed my first busy schedules to spend a week in Tucson celebrating faculty recital at the University of Arizona way back the twenty-fifth anniversary of the Festival. in 1988. Had Jean-Paul not tapped me on the My hope is that you, dear audience, have a taste of shoulder, had the neighboring seat not been vacant, this marvelous unmatched intimate experience had he not attended my recital, had we not over the course of this week. accidentally booked the same flight, had he not listened to my flippant comment about Tucson Thank you as always for your generous and needing some sort of chamber music festival (a unfailing support. comment I had not intended as very serious), had Jean-Paul not stewed on my comment for months— well, I highly doubt we would all be together in this hall today! However, I’ve left out the most important PETER REJTO “had.” Had he not placed incredible faith in the Artistic Director young me to artistically guide this endeavor, my life would have been forever poorer. Thank you Jean- Paul, and thank you Randy Spalding and James Reel, and all the rest of the team for carrying on with such dedication when Jean-Paul decided to hand over the reins. This year’s Festival departs from the normal by way of bringing three different core groups together with just a few ad hoc artists. All three groups are new to these concerts, though not to the hearts of the Tucson audience. My hope is that by changing the usual balance, each group will have more opportunity to play at least part of each program with repertoire they have not specifically rehearsed in Tucson. My second goal was to invite guest artists with whom the groups had previously collaborated. And my final goal was to make the whole affair more like a giant chamber music party! Consequently some of the concerts are a little bit longer than Founders of the Tucson Winter Chamber Music Festival, Jean-Paul Bierny and Peter Rejto. normal but I hope full of variety.

3 2018–19 SEASON

We are pleased to announce the concerts for next January 23, 2019 season. Save the dates. Tickets will be available Chamber Music Society of Lincoln Center shortly upon issue of the Season Brochure. 7:30 pm, Leo Rich Theater If you’d like to receive a Season Brochure by mail, January 31, 2019 leave your name and address with the Box Office. Te Amo, Argentina 7:30 pm, Leo Rich Theater June 13, 2018 Lauren Roth, violin; John Milbauer, piano February 13, 2009 7:00 pm, Holsclaw Recital Hall Alexander with pianist Joyce Yang July 18, 2018 7:30 pm, Leo Rich Theater Johanna Lundy, horn; David Barford, oboe; Elena Miraztchiyska, piano February 21, 2019 7:00 pm, Holsclaw Recital Hall Portals – Tim Fain, violin 7:30 pm, Fox Tucson Theatre August 22, 2018 Gary Steigerwalt and Dana Muller, piano March 3–10, 2019 7:00 pm, Holsclaw Recital Hall 26th Tucson Winter Chamber Music Festival Leo Rich Theater October 14, 2018 Blake Pouliot, violin FESTIVAL MUSICIANS 3:00 pm, Leo Rich Theater Escher Quartet Ani Kavafian,violin October 24, 2018 Axel Strauss, violin St. Lawrence String Quartet Ettore Causa, viola 7:30 pm, Leo Rich Theater Edward Arron, cello Philip Alejo, double bass November 14, 2018 Amy Dickson, saxophone Bernadette Harvey, piano with pianist Fabio Bidini James Giles, piano 7:30 pm, Leo Rich Theater April 3, 2019 December 5, 2018 7:30 pm, Leo Rich Theater 7:30 pm, Leo Rich Theater April 11, 2019 December 16, 2018 ZOFO Piano Duet Daniel Hsu, piano 7:30 pm, Tucson Museum of Art 3:00 pm, Leo Rich Theater

4 FESTIVAL EVENTS

YOUTH CONCERT MASTER CLASS FOR PIANO

Thursday, March 8, 10:30 am Bernadette Harvey Leo Rich Theater 4:00 pm – 5:00 pm Saturday, March 10 Performance of excerpts from prior concerts Leo Rich Theater with commentary by Festival musicians. Special thanks to our Youth Concert sponsors, Featuring students of Professors Tannis Gibson, listed on page 49 of this program. John Milbauer, and Rex Woods of the University of Arizona, Fred Fox School of Music. OPEN DRESS REHEARSALS — Attendance at the master classes is free and open LEO RICH THEATER to the public. 9:00 am – 12 noon Tuesday, March 6 GALA DINNER AND CONCERT Wednesday, March 7 AT THE ARIZONA INN Friday, March 9 Saturday, March 10, Evening Sunday, March 11 6:00 pm – Cocktails Dress rehearsals are free for ticket holders. 7:00 pm – Musical selections by Festival musicians For non ticket holders, a donation is requested. 8:00 pm – Dinner Call 577-3769 for reservations. PRE-CONCERT CONVERSATIONS

Conducted by James Reel and Francis Harvey RECORDED BROADCAST (March 11) a half hour before each concert. If you miss a Festival concert or simply want to hear Sunday, March 4, at 2:30 pm one again, please note that Classical KUAT-FM will Tuesday, March 6, at 7:00 pm broadcast recorded performances on 90.5/89.7 FM. Wednesday, March 7, at 7:00 pm Festival performances are often featured in the Friday, March 9, at 7:00 pm station’s Musical Calendar. Sunday, March 11, at 2:30 pm See https://radio.azpm.org/classical/.

MASTER CLASS FOR GUITAR

Lito and Celino Romero 3:00 pm – 4:00 pm Saturday, March 10 Leo Rich Theater Featuring students of Professor Tom Patterson of the University of Arizona, Fred Fox School of Music.

5 TUCSON WINTER CHAMBER MUSIC FESTIVAL

SUNDAY, MARCH 4 3:00 PM

6 SUNDAY, MARCH 4 3:00 PM Pre-Concert Conversation with James Reel, 2:30 pm

THIS AFTERNOON’S PROGRAM ALEXANDER VON ZEMLINSKY (1871–1942) String Quartet No. 2, Op. 15 JOSEF SUK (1874–1935) Sehr mäßig—Heftig und leidenschaftlich Four Pieces for Violin and Piano, Op. 17 Moderato—Andante mosso—Allegretto—Adagio Schnell Quasi ballata Andante—Mit energischer Entschlossenheit— Appassionato Allegro molto—Langsam—Andante Un poco triste Burleska Dover Quartet Yura Lee, violin Bernadette Harvey, piano This afternoon’s concert is

PIERRE JALBERT (b. 1967) sponsored by the generous

Piano Trio No. 2 contributions of Nancy Bissell Mysterious, nocturnal, desolate and Randy Spalding. Agitated, relentless Morgenstern Piano Trio

RUPERTO CHAPÍ (1851–1909)

Prelude to La Revoltosa (arranged for four guitars by Lorenzo Palomo) Romero Guitar Quartet

ANTONIO VIVALDI (1678–1741)

Concerto in B Minor, Op. 3, no. 10 (arranged for four guitars and string quartet by ) Allegro Largo e spiccato Allegro Romero Guitar Quartet Dover Quartet Stefan Hempel, violin Yura Lee, viola Emanuel Wehse, cello

INTERMISSION

7 PROGRAM NOTES

THE FAVORITE PUPIL of Antonín Dvorˇák and Orchestra, and Music in the Loft in Chicago. He eventually his son-in-law, Josef Suk is honored as has been commissioned and performed by violinist one of the most significant Czech post-romantic Midori, the Los Angeles Chamber Orchestra, the composers. By the age of twenty-two he had Houston Symphony, and the Budapest Symphony, attracted the attention of the influential Johannes among many others. His chamber works include Brahms, who recommended publication of Suk’s commissions from the Emerson, Ying, Borromeo, recent works with the venerable Berlin-based Maia, Enso¯, Chiara, and Escher String Quartets. Simrock firm. After his appointment as Director of Jalbert is Professor of Composition and Theory at Advanced Composition at the Prague Conservatory, Rice University’s Shepherd School of Music in Suk mentored students such as Bohuslav Martinu˚ Houston, where he has taught since 1996. He serves and Rudolf Firkušný. In great demand as a violinist on the Artistic Board of Musiqa, a Houston-based and chamber musician, Suk continued to perform new music group. His compositions are published concerts (over 4000) with the Czech Quartet, by Schott Music. which he had helped to found while still a student. Inevitably, composition for Suk became a part-time The composer writes: “My second piano trio was activity. He did create a small body of primarily written for the Morgenstern Trio and was premiered instrumental compositions that reveal a steady on November 5, 2014, by the Arizona Friends of development from late romanticism toward a Chamber Music. The work is in two movements of complex and personal musical language. contrasting character. A couple of ideas inspired each movement: the first was the thought of a desert Suk published only two works for solo violin and landscape at night, desolate and calm; the second piano, the second of which is his Opus 17 (1900). came from an incident driving home in Houston. I Essentially character pieces that evoke unique was driving through downtown late at night on an atmospheres, each develops warmly songful themes elevated highway, which runs through the center of with rich harmonies and fluent passagework. Each is town. There were just enough cars on the road to cast in three-part song form with material heard at feel like it was busy, but there were no traffic jams so the beginning returning at the end. Suk was not everyone was going at a high rate of speed, some cars only a violin virtuoso but also a fine pianist, and his were weaving in and out of lanes. Coming around a accompaniments reveal technical assurance and large curve, I looked over at the downtown skyline sensitive support for the violin line. as I passed very near the buildings. Since this was an PRAISED FOR HIS richly colored and superbly elevated highway, I was looking at the fourth or fifth crafted scores, Pierre Jalbert has developed a floors of most buildings, and as I glanced at the personal musical language that draws inspiration buildings, they seemed to be going by in slow from sources as varied as natural phenomena and motion, even though our cars were going at a very plainchant. Among his many honors are the Rome high speed. This provided the impetus for the Prize, the BBC Masterpiece Award, a Guggenheim second movement. The music is not intended to be Fellowship, and the Chamber Music Society of pictorial—it is absolute music. These were simply Lincoln Center’s 2007 Stoeger Award, given starting points and the music itself eventually biennially “in recognition of significant contributions developed on its own terms. to the chamber music repertory.” His orchestral works have received four performances, including the Houston Symphony’s Carnegie Hall premiere of the symphonic Big Sky in 2006. Jalbert has served as composer-in-residence with the California Symphony, the Los Angeles Chamber

8 PROGRAM NOTES

“The first movement, marked mysterious, nocturnal, Building on a foundation established by his earlier and desolate, begins with high, ethereal harmonics contemporaries Arcangelo Corelli and Giuseppe in the strings, slowly building a long line. The Torelli, Vivaldi brought the concerto form to a movement builds and gradually accelerates directly higher expressive level. Within its durable into a scherzo-like Presto agitato section, only to framework, Vivaldi flexibly developed eloquent dissipate back into the opening materials. The themes with poetic lyricism and compelling second movement, marked agitated and relentless, rhythmic drive. Vivaldi’s stylistic influence on his contains frenetic motion only occasionally successors Bach and Handel was enormous. In interrupted by slower, non-synchronized segments addition to copying Vivaldi concertos by hand to of music. The fast-paced motion always returns, and absorb his techniques, both adapted his concertos after several segments where each instrument takes for various instruments, a common practice in an on the main role, the instruments join together, era that was often permissive about specific racing to the end.” sonorities. Bach himself transcribed Opus 3 No. 10 as a concerto for four solo harpsichords. RUPERTO CHAPÍ WAS BORN in North Alicante, , and educated at the Conservatory of Music Vivaldi’s Concerto in B Minor is the tenth of a in Madrid. Chapí is known as a significant collection of twelve concertos for one to four violins composer of the zarzuela, a theatrical genre with called “L’Estro armonico” (Harmonious Inspiration, scenes that alternate between song and speech. Over 1711). This concerto, originally written for four the course of his career, Chapí composed 155 violins, follows the popular three movement fast- zarzuelas that have been praised for their elegance slow-fast concerto format. The outer movements and fine orchestrations.La Revoltosa (The develop in “ritornello form”—a procedure in which Rebellious Lass, 1897), his most famous zarzuela, solo statements alternate with those of the larger was admired by Saint-Saëns and his fellow French accompanying group. The dramatic first movement for its drama and musicality. It has been adapted opens as a dialogue among the four soloists; strongly four times for the Spanish cinema. rhythmic figures underpin its vigorous themes. The eloquent second movement offers a contemplative The Prelude begins with a festive flourish followed contrast. The vigorous mood of the opening by a rhapsodic interlude; a reflective statement in movement returns in the robust finale, which the minor mode conjures Moorish Spain. The includes lively and unexpected solo episodes. tempo accelerates, and a jaunty theme suggests a village band. After brief thematic variations, the AUSTRIAN COMPOSER and conductor Alexander introductory statement returns with interjections of von Zemlinsky, the teacher of , the Moorish motif. has often been linked to the revolutionary Second Viennese School, the early twentieth-century THE PROLIFIC ITALIAN baroque composer Antonio group that brought harmonically luxuriant late Vivaldi is best known for his more than 500 romanticism into atonal realms. However, concertos, including over eighty written for the Zemlinsky’s intensely expressive, finely crafted violin, his own instrument. Vivaldi created much of music never reached those harmonic extremes. this monumental group for the orchestral ensemble He objected to Schoenberg’s atonal experiments. of orphaned young women at Venice’s Ospedale Zemlinsky wrote to him: “A great artist, who della Pietà (Mercy Hospital), where Vivaldi taught possesses everything needed to express the essentials, music as a Catholic priest. Hidden behind metal must respect the boundaries of beauty, even if he grills, Vivaldi’s students gave performances extends them further than hitherto.” described as “voluptuous and affecting” for the Venetian Republic’s aristocrats and their visitors. (continued)

9 PROGRAM NOTES

“A great artist, who possesses Zemlinsky’s turbulent Opus 15 quartet offers a veiled apology to Schoenberg through its musical everything needed to express symbols. Many of the phrases are constructed in lengths of thirteen or fourteen bars, numbers that the essentials, must respect the had secret meaning for the composers. The third movement offers repetitions of the notes A and boundaries of beauty, even if E-flat, which are the musical initials for Arnold he extends them further than Schoenberg. Only briefly separated by rests, the quartet’s movements connect to create a sense of hitherto.” emotional outpouring. The large-scaled opening movement (very ALEXANDER VON ZEMLINSKY weighty—vigorous and passionate) is a tour de force that evokes the passionate atmosphere of Zemlinsky himself expressed a strong emotional Schoenberg’s string sextet Verklärte Nacht. The affinity to the expressionism of , a true lyric tradition of “Viennese espressivo” emerges in Second Viennese follower who, like many of the the lilting melodic lines of the Adagio (D major group, believed in both the science of numerology modulating to D minor), which suggests a Venetian and the importance of musical symbols. For his barcarolle. “Schnell,” the third movement, is a second quartet Zemlinsky chose the key signature metrically intricate burlesque that conjures dark F-sharp minor, designated by three sharp signs satire (D minor). The finale begins calmly (C major) loosely arranged into a cross pattern. Although the but becomes stormy at the direction “with energetic quartet is primarily centered on D (two sharps), resolution” (F-sharp major—six sharps forming Zemlinsky wrote to Schoenberg that he wanted the two Golgotha crosses). The movement concludes score to convey visually Christ’s cross on Golgotha. in a mood suggesting quiet acceptance of fate. Zemlinsky, a man of passionate religious feeling Notes by Nancy Monsman (son of a Catholic father and Muslim mother, an early convert to Judaism and later Protestantism), carried a burden of guilt because of a family tragedy that directly involved Schoenberg. Zemlinsky’s sister was Matilde, famously portrayed as the unmarried pregnant woman in Schoenberg’s Verklärte Nacht (1899). Like his protagonist, Schoenberg did marry Matilde, but she left him for the painter Richard Gerstl, a Zemlinsky family friend. Matilde returned to Schoenberg for the sake of their children in 1908, but the unhappy painter destroyed first his paintings and then his life. Zemlinsky felt personal responsibility for the tragedy.

10 RELAX. THINK. FIND JOY.

arizonachambermusic.org

Phone: 1-520-299-9191 or 1-800-545-2185 Fax: 520-299-1381 www.degrazia.org DeGrazia Gallery in the Sun Open Seven Days a Week 6300 North Swan Tucson, Arizona 85718 from 10:00am - 4:00pm.

11 TUCSON WINTER CHAMBER MUSIC FESTIVAL

TUESDAY, MARCH 6 7:30 PM

12 TUESDAY, MARCH 6 7:30 PM Pre-Concert Conversation with James Reel, 7:00 pm

TONIGHT’S PROGRAM LEONARD BERNSTEIN (1918–1990) Sonata for Clarinet and Piano ˙ILHAN BARAN (1934–2016) Grazioso—Un poco più mosso Dönüs‚ümler (Transformations) for Piano, Andantino—Vivace e leggiero Violin, and Cello Romie de Guise-Langlois, clarinet Fantasia: Poco rubato—dolcissimo—calmato— Bernadette Harvey, piano con passione—con elevazione Dönüs‚ümler I: Ben ritmo—pesante—con fuoco ANTONÍN DVORˇÁK (1841–1904) Dönüs‚ümler II: Grazioso—con amore String Quintet in E-flat Major, Op. 97 Dönüs‚ümler III: Deciso—ben ritmo—con fuoco Dönüs‚ümler IV: Barbaro—sempre ffff Allegro non tanto e ben marcato—deciso Allegro vivo Dönüs‚ümler V: Con grazia ma poco marcato— Larghetto sempre ben ritmo Finale: Allegro giusto Dönüs‚ümler VI: Con fuoco Dover Quartet Dönüs‚ümler VII: Affetuoso— con delicatezza— poco misterioso—lontano Yura Lee, viola Dönüs‚ümler VIII: Allegro tanto possibile— maestoso—perdendosi Morgenstern Trio

MANUEL DE FALLA (1876–1946)

“Farruca” (Miller’s Dance) from El sombrero de tres picos (arr. Pepe Romero) Danza Española No. 1 from La vida breve (arr. Pepe Romero) Romero Guitar Quartet

ASTOR PIAZZOLLA (1921–1992)

Histoire du Tango for Violin and Guitar Bordel 1900 Café 1930 Night-club 1960 Concerto d’aujourd’hui Yura Lee, violin Pepe Romero, guitar

INTERMISSION

13 PROGRAM NOTES

ONE OF TURKEY’S most significant modernist variation form—the progressive “transformation” of composers, I˙lhan Baran was born in Artvin, a gestures creates a continuously evolving work that remote northeastern town near the Georgian conjures, in Baran’s words, “a kind of atmospheric border. Frequently moving with his military father state of mind.” to different regions of Turkey, at an early age Baran The designations of the various sections, many of gained exposure to its diverse musical heritage— which connect without pause, are translated as: both the classical tradition of the Ottoman Empire and a rich folk culture that reflected Turkey as the Fantasia: Very sweet—calm—with passion— crossroads of Eastern , Central Asia, and the uplifting Middle East. At age sixteen Baran entered the Transformation I: Very rhythmic—heavy—with fire Ankara State Conservatory, where, in addition to Transformation II: Graceful—with love piano and string bass, he studied composition with Transformation III: Decisive—very rhythmic— the post-romanticist Ahmed Saygun and Turkish with fire music harmony with musicologist Kemal I˙lerici. A Transformation IV: Barbarous—always extremely significant influence,˙lerici I had recently developed loud and emphatic—decisive a harmonization system based on intervals that Transformation V: With grace and not emphatic— reflect theMakam , Turkey’s distinctive set of modes always very rhythmic and scales (heard in Baran’s Dönüs‚ümler). After Transformation VI: With fire graduation Baran continued composition studies Transformation VII: With strong affect— with Henri Dutilleux and Maurice Ohana in Paris, delicate—a bit mysterious—heard from far away where he flourished in the experimental atmosphere Transformation VIII: As fast as possible— of the 1960s. His works at this time included majestic—slowing gradually and dying away electronic compositions, several of which received THE MUSIC OF Manuel de Falla is deeply rooted in encouraging Parisian premieres. After his return to Spanish folk tradition. Like his compatriots Turkey he was appointed professor at his alma mater Granados and Albéniz, Falla credited his teacher and subsequently Bilkent University. During his Felipe Pedrell for instilling the native Iberian spirit thirty-five-year teaching career, Baran exerted strong that infuses his compositions. Pedrell, a composer influence on Turkey’s young composers, who under and folklorist, gave insights into the deepest roots of his leadership synthesized Western elements with Spanish music, a venerable tradition that predates their native culture. the gypsy elements often associated with it. Although Baran’s numerous contributions to the Los Romeros comments: “Falla was born in Cadiz piano and chamber repertory are little known, his and had his first musical training with his mother, rarely performed Dönüsümler (Transformations, ‚ who was a talented pianist. His music is extremely 1975) is an important addition to the piano trio nationalistic and always suggests the rhythms and genre. Dönüsümler merges Turkish folk rhythms and ‚ movements of classic and flamenco Spanish dance. modalities with Western minimalism to create a He once heard a flamenco guitarist playing afarruca multi-faceted kaleidoscope of sound. The work (a dramatic form with sudden changes of mood and unfolds freely, but it mimics a set of variations on a tempo) and the experience stayed in his mind; it theme consisting of rhythmic and melodic patterns later became the “Miller’s Dance.” His most famous initially stated by the piano in the opening Fantasia. ballet, known in English as The Three-Cornered Although each Transformation is remotely related to Hat, is based on the story of a pretty Miller’s wife the opening theme, the treatment of each becomes pursued by an amorous old gentlemen and the increasingly complex as different melodic and manner in which the Miller makes him appear a percussive elements are introduced. Ultimately the fool. This farruca, danced by the Miller, shows both work’s eight Transformations go beyond Western his great passion and jealousy for his wife.

14 PROGRAM NOTES

“While still a young man, Falla won honors as a “Café 1930. This is another age of tango. People pianist and composer with the well-known La vida stopped dancing it as they did in 1900 and preferred breve. A lyric drama, La vida breve (composed simply to listen to it. It became more musical 1904–1905, revised in 1913) combines a loving and romantic. This tango has undergone total depiction of Granada with a brutal tale of betrayed transformation: the movements are slower, gypsy love. The work languished for almost a decade harmonies are new and often melancholy. Tango before it was finally produced in Nice with a French orchestras now consist of two violins, two translation. The restless Danza Española No. 1 bandoneons, a piano, and a bass. The tango is comes from the beginning of the second act, in sometimes sung as well. which a wedding party is in progress.” “Nightclub 1960. This is a time of rapidly expanding ARGENTINIAN COMPOSER Astor Piazzolla began international exchange, and the tango evolves again his career as a virtuoso of the bandoneon, a relative as Brazil and Argentina come together in Buenos of the accordion and the principal instrument of Aires. The bossa nova and the new tango are moving tango music. After beginning classical composition to the same beat. Audiences rush to nightclubs to studies with Ginastera in Argentina, he won a listen earnestly to the new tango. This marks a scholarship to study in Paris with Nadia Boulanger, revolution and profound alteration in some of the a teacher known for shaping young composers original tango forms. according to their natural voices. Although Piazzolla “Modern Day Concert. Certain concepts in tango had hoped to become a “mainstream” composer, music became intertwined with modern music. Boulanger encouraged him to write tangos rather Bartók, Stravinsky, and other composers reminisce than to compose in a more academic, European- to the tune of tango music. This is today’s tango and oriented style. Over the course of his career, the tango of the future as well.” Piazzolla produced 750 works of astounding variety—each based on the tango. Since these AMERICAN ICON Leonard Bernstein has been tangos were more rhythmically and harmonically described as a Renaissance man. Renowned as a adventurous than the traditional, initially they much-recorded composer, conductor, and pianist, caused an uproar among his countrymen, who he also wrote influential books and essays that considered the form to be sacrosanct. Perhaps promoted music as a vital, living art. An inspiring because of this reaction, in 1986 he wrote Histoire teacher, Bernstein brought his messages into du Tango (History of the Tango), which traces the American life through televised lectures and Young evolution of Argentinean tango in four sections. People’s Concerts. Despite a schedule of astounding Piazzolla provides commentary: complexity he remained dedicated to numerous humanitarian causes throughout his life. His “Bordel 1900. The tango originated in Buenos Aires impressive list of awards includes 21 honorary in 1882 and first was played on the guitar and flute. degrees, 13 Grammy Awards, 11 Emmy Awards, Arrangements then included the piano and later 25 television awards, 23 civic awards, and honorary the bandoneon. This music was full of grace and titles in 20 societies and orchestras, including liveliness. It depicts the good-natured chatter of the Conductor Laureate of the Philharmonic French, Italian, and Spanish women who peopled and the Israel Philharmonic. these bordellos as they teased the policemen, sailors, thieves, and riffraff who came to see them. This is (continued) a playful tango.

15 PROGRAM NOTES

“The Clarinet Sonata was my he never quoted actual motifs in either work. He wrote: “I have simply written original themes first published piece (1942). embodying the peculiarities of native music, and, using these themes as subjects, have developed them I’m still proud of it, despite with all the resources of modern rhythm, harmony, a certain student element counterpoint, and color.” Opus 97 (1893) explores American melodic and in the music.” rhythmic material through echoes of Stephen Foster songs, spirituals, and Indian chants while LEONARD BERNSTEIN fully retaining its Bohemian identity. Suggestions of native Indian themes abound in the first two While still a student at the Curtis Institute of Music, movements. After a slow introduction that Bernstein began his clarinet sonata during a 1941 foreshadows the vigorous main theme based on a visit to Key West. He recalled in an interview that he Plains Indian song, the sonata form opening had bought a clarinet in a pawnshop two years movement develops two ideas energized by hints earlier. “I fooled around with it, so I was inclined of a drumbeat in the first viola line; at the towards the instrument. The Clarinet Sonata was conclusion the introductory material returns as a my first published piece (1942). I’m still proud of it, reprise. The Allegro vivo (B major) is a three-part despite a certain student element in the music.” scherzo (A-B-A) launched by a solo drumming theme in the second viola; the first viola plays the The lyrical opening Grazioso combines the pensive theme of the central section. Colorful neoclassical idiom of , his summer harmonies vary the return. teacher at the Tanglewood Institute, with an element of boogie-woogie. The second movement, The Larghetto (A-flat minor) is an eloquent set of influenced by both Aaron Copland and Key West variations on a hymnlike theme that Dvorˇák had jazz clubs, is cast in four sections with alternating projected as an alternate setting for the American slow-fast tempos. patriotic song “My Country ‘Tis of Thee.” Throughout the variations Dvorˇák exploits the rich BOTH TO CELEBRATE the fourth centenary of textural possibilities of the quintet ensemble to Columbus by integrating old world with new world complement the various transformations of the music and also to encourage a specifically American theme. The spirited rondo finale develops two musical voice, Antonín Dvorˇák came to the motifs, one recalling Dvorˇák's famous Humoresque in 1892 to serve as director of the and the second suggesting Indian origin. National Conservatory of Music, newly formed Notes by Nancy Monsman under the auspices of philanthropist Jeannette Thurber. During his three-year sojourn, Dvorˇák immersed himself in American regional tunes, and he developed special admiration for spirituals, plantation songs, and native Indian chants. “American music should draw from these wellsprings,” he insisted. He himself incorporated these elements into his own compositions written at this time— especially the “New World” Symphony and the “American” String Quartet, written the same year during his summer vacation in the small Bohemian community of Spillville, Iowa. Dvorˇák stated that

16 We invite you to step out of the ordinary and into our stimulating SASO concerts. Enjoy! October 14-15 American violinist Chloé Trevor returns to perform Khachaturian’s Violin Concerto and Vivaldi’s “Summer” from The Four 2017 - 2018 Season Seasons. Also featured are Dvořák’s Slavonic Dances Nos. 5–8. November 18-19 Paraguay’s acclaimed Diego Sánchez Haase conducts Beethoven’s “Pastoral” and Rachmaninov’s third piano concerto with returning soloist Tbilisi-born Yelena Beriyeva. January 27-28 The Chinese Concert features UA faculty member Jing Xia on the guzheng and Xiaoyin Xheng on the erhu. Composers are Lu Qiming, Xhou Yuguo, Liu Wenjin and Wang Liping and Larry Lang. March 10-11 SASO’s favorite soprano, ChristiAmonson, performs Barber’s Knoxville Summer of 1915, then joins voices with the SASO Chorus for Poulenc’s Gloria. April 14-15 Christopher Theofanidis’ Rainbow Body, Wieniawski’s Violin Concerto No. 1 with TSO concertmaster Lauren Roth and Rachmaninov’s Symphonic Dances. Guest Artists SaddleBrooke Saturdays at 7:30 pm DesertView Trevor Sánchez Haase Beriyeva Xia Performing Arts Center

Northwest Tucson Zheng Amonson Fine Roth Sundays at 3:00 pm St. Andrew’s Season Sponsor: For tickets visit www.sasomusic.org Presbyterian Church

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Changing the Way the World Ages Keep the Music Playing

17 TUCSON WINTER CHAMBER MUSIC FESTIVAL

WEDNESDAY, MARCH 7 7:30 PM

18 WEDNESDAY, MARCH 7 7:30 PM Pre-Concert Conversation with James Reel, 7:00 pm

TONIGHT’S PROGRAM OLIVIER MESSIAEN (1908–1992) Quatour pour la fin du Temps ENRIQUE GRANADOS (1867–1916) Liturgie de cristal “Intermezzo” from Goyescas for Cello and Guitar Vocalise, pour l’Ange qui annonce la fin du Temps (arr. Pepe Romero) Abîme des oiseaux Intermède Emanuel Wehse, cello Louange à l’Éternité de Jésus Pepe Romero, guitar Danse de la fureur, pour les sept trompettes Fouillis d’arcs-en-ciel, pour l’Ange qui annonce FEDERICO MORENO TORROBA (1891–1982) la fin du Temps Louange à l’Immortalité de Jésus Estampas Morgenstern Trio Bailando un fandango charro Romie de Guise-Langlois, clarinet Remanso La siega Fiesta en el pueblo Amanecer La boda Romero Guitar Quartet

FELIX MENDELSSOHN (1809–1847)

String Quartet in F Minor, Op. 80 Allegro vivace assai Allegro assai Adagio Finale: Allegro molto Dover Quartet

INTERMISSION

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REVERED AS THE FOUNDER of the modern Spanish performer—promoted by the Romeros, Andrés school of composition, Enrique Granados began his Segovia, and other notable artists. Deeply rooted in career as a concert pianist. After meetings with the tradition of Spanish folk music, his romantic Felipe Pedrell, a nationalist composer and folklorist style compositions for the guitar require a virtuoso who taught that “Spanish art music must develop technique. Moreno Torroba worked very closely from the music of the people,” Granados became with the Romeros and composed much music for motivated to explore Spanish folk idioms. He then them, including quartets and concertos. Estampas created a substantial body of work that reflected his (Images) was composed for the Romero Quartet; colorful national tradition—seven operas, the title page bears an inscription dedicating the numerous piano and orchestral pieces. Goyescas, his piece to them. final opera, was premiered in 1916 at the “Written while director of the Academia de Bellas Metropolitan Opera, an honor that ironically ended Artes de San Fernando, Estampas was one of his promising career. Although Granados disliked Moreno Torroba’s later works. Its eight movements travel and rarely ventured far from Spain, he chose comprise an album of little portraits or scenes of to attend the New York performance and then to Spanish life. ‘Bailando un fandango charro’ perform a piano recital at the White House for (Dancing the Showy Fandango) refers to a festive President Woodrow Wilson. The extended voyage country dance. ‘Remanso’ illustrates a peaceful cost Granados his life, since on his return to Spain lakeside scene. ‘La siega’ is a harvest song that quotes his ship was torpedoed by a German submarine in traditional folk melodies as does ‘Fiesta en el pueblo’ the English Channel. Although secure in a lifeboat, (Festival in the Village). ‘Amanecer’ (Dawn) is an Granados dove into the waters to rescue his evocative daybreak portrait; ‘La boda’ (The struggling wife. Neither of them survived. Wedding) is a musical wedding celebration ending The one-act opera Goyescas (1915) is based on with a fascinating excursion through situations in themes from the composer’s eponymous 1911 everyday Spanish life.” piano suite. Inspired by paintings of the Spanish ONE OF ’S few romanticist Francisco Goya (1746–1828), the autobiographical works, the Opus 80 string quartet opera depicts brilliantly costumed figures as they expresses his grief over the death of his beloved sister lead Bohemian lives in eighteenth-century Madrid. Fanny, a gifted musician and a constant source Significant themes appear in the hauntingly of inspiration for him. In May 1847 Mendelssohn beautiful Intermezzo, which has become a staple of returned from a successful but exhausting trip to the Spanish repertoire. Placed during a set change, , where he had conducted numerous this brief interlude foreshadows the tragedy of performances of his recently revised oratorio Elijah. the final scene, in which the love triangle leads to Two days later Fanny, in apparent good health, a fatal duel. died suddenly of a stroke; she was only 41. “God FROM LOS ROMEROS: “Madrid born composer and help us all!” Mendelssohn wrote. “I’ve been conductor Federico Moreno Torroba is known for incapable of saying or thinking anything beyond his many stage works and his activities in reviving that. For many days to come, I’ll be unable to write interest in the traditional zarzuela, which is a light anything beyond—God help us, God help us!” Spanish opera. His interpretations of the zarzuela On the opening page of his Opus 80 Mendelssohn and his creations of the modern versions of Spanish inscribed the initials of this phrase in German, folklore have brought him fame, not only in Spain “Hilf Du mir.” but throughout the world. He has achieved similar prominence through his many guitar works—both for the solo recitalist as well as for the concerto

20 PROGRAM NOTES

Mendelssohn himself would live only another year, “The passionate character of one that was marred by constant infirmities. In the summer of 1847 he and his wife Cécile travelled to the entire piece seems to me to Interlaken, Switzerland, with hopes that he would recuperate. There he completed a working draft of be consistent with his deeply his F minor quartet and that October, a month before his death, premiered the work at his home. disturbed frame of mind. A friend wrote after this occasion: “The passionate He is still grappling with grief character of the entire piece seems to me to be consistent with his deeply disturbed frame of mind. at the loss of his sister.” He is still grappling with grief at the loss of his sister.” The quartet was published posthumously A FRIEND AT THE PREMIERE OF in 1850. MENDELSSOHN’S QUARTET IN F MINOR Before he allowed a work to be published, Mendelssohn customarily made extensive revisions THE QUARTET FOR THE END OF TIME by French during the proofreading stage. (“It’s my habit and composer Olivier Messiaen is perhaps the most there’s no cure for it,” he wrote in apology to his significant musical work to emerge from personal publisher.) Since Mendelssohn died before he could experience with World War II. Imprisoned in a review the work in a publishing context, one might concentration camp in Silesia from 1940 to 1942, conclude that Opus 80 had not reached its definitive Messiaen wrote his quartet for himself and three form for Mendelssohn. Possible thematic and other musician inmates. The premiere, performed developmental omissions are most evident in the on damaged instruments, took place on a cold quartet’s stark finale. However, the structural January day in 1941 before 5000 fellow prisoners. simplicity of this movement and the reiterations of Messiaen wrote: “Never was I listened to with such its opening idea recall his fervent repetitions rapt attention and concentration.” of “God help us!” Messiaen drew his inspiration from the Biblical Profound emotion characterizes each of the quartet’s book of Revelation, 10:1–7: “Then I saw a mighty four movements, three of which are related by their angel coming down from Heaven, wrapped in a F minor key structure. The sonorous opening cloud, with a rainbow over his head . . . and he lifted movement, in sonata form, develops two themes up his right hand to Heaven and swore by Him who that are propelled by energetic figures in the lives for ever and ever, saying ‘TIME IS AT AN accompanying voices. The movement concludes END’; but in the day of the trumpet call of the with an agitated coda (Presto). seventh angel, the mystery of God shall be fulfilled.” Messiaen chose to focus not on the cataclysms and The Allegro assai is Mendelssohn’s most poignant monsters of the Apocalypse, but rather on its scherzo. Its syncopated theme, heard first in the “moments of silent adoration and marvelous visions violin, moves with persistent accents that suggest of peace.” Messiaen provides annotation: agitation. The sustained Adagio (A-flat major) recalls Mendelssohn’s earlier Songs without Words. (continued) Wide dynamic ranges contribute to the emotional intensity. The fervent F minor finale develops two restless themes in sonata form. Tremolo passagework in the accompanying voices intensifies its implicit anguish. The movement concludes with an impassioned high-register statement in which the first violin declaims its opening motto in a fortissimo dynamic.

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I. Crystalline liturgy. The harmonious silence “Its musical language is of Heaven. The piano provides a rhythmic ostinato; the clarinet unfurls the song of the bird. essentially transcendental, II. Vocalise, for the Angel who Announces the End spiritual, catholic. Certain of Time. The impalpable harmonies of Heaven. Cascades of chords envelop the plainchants of modes, realizing melodically violin and piano. and harmonically a kind of III. The Abyss of the Birds. Clarinet alone. The Abyss is Time, with its sadness, its lassitude. tonal ubiquity, draw the The birds symbolize our desire for light, for stars, for rainbows. listener into a sense of the

IV. Interlude. A more extroverted scherzo, eternity of space or time.” connected to the other movements by melodic recalls. OLIVIER MESSIAEN ON HIS QUARTET FOR THE END OF TIME V. Praise to the Eternity of Jesus. A slow, broad phrase in the cello magnifies with love and reverence the eternity of the powerful and sweet Word.

VI. Dance of Fury, for the Seven Trumpets. The four instruments in unison evoke reverberations of the gongs and trumpets of the Apocalypse. Music of stone, formidable, granite sonority.

VII. Tangles of Rainbows, for the Angel who Announces the End of Time. In my colored dreams, I underwent a whirling intermingling of sounds and color.

VIII. Praise to the Immortality of Jesus. A broad solo for violin, a second hymn of praise. It is the second aspect of Jesus, the Word made flesh. Its majesty builds to an intense climax. It is the ascent of man to his God, of the child of God to his Father, of the sanctified creature to Paradise. Notes by Nancy Monsman

22 DDC17_2233 AFCM 2017-18 Season.indd 1 9/12/2017 5:15:01 PM

23 TUCSON WINTER CHAMBER MUSIC FESTIVAL

FRIDAY, MARCH 9 7:30 PM

24 FRIDAY, MARCH 9 7:30 PM Pre-Concert Conversation with James Reel, 7:00 pm

TONIGHT’S PROGRAM (1875–1937) Sonata No. 2 in G Major for Violin and Piano GASPAR SANZ (1640–1710) Allegretto Suite española Blues Perpetuum mobile Españoletas Gallarda y Villano Yura Lee, violin Danza de las hachas Bernadette Harvey, piano Rujero y Paradetas Zarabanda al ayre español (1833–1897) Passacalle de la Cavallería de Nápoles Folías Quintet in B Minor for Clarinet and Strings, La miñona de Cataluña Op. 115 Canarios Allegro Celino Romero, guitar Adagio Andantino—Presto non assai, ma con sentimento Con moto CELEDONIO ROMERO (1913–1996) Dover Quartet “Fantasia” from Suite andaluza Romie de Guise-Langlois, clarinet Celino Romero, guitar The World Premiere of David ANTONIO VIVALDI (1678–1741) Ludwig’s Piano Trio No. 3, Concerto in D Major for Guitar and Strings, RV 93 Allegro giusto “Spiral Galaxy,” is sponsored Largo by Boyer Rickel. Allegro Celino Romero, guitar Dover Quartet

DAVID LUDWIG (b. 1974)

Piano Trio No. 3, “Spiral Galaxy” (World Premiere) Spiral Galaxy Galactic Halo Sagittarius A* Morgenstern Trio

INTERMISSION

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FROM LOS ROMEROS: “During the second half of ‘improvisations.’ ‘Fantasia’ received its basic form the seventeenth century, the first great renaissance from the Cuban rhythm of ‘guajiras,’ a sung poetic period for the guitar, Gaspar Sanz was the genre with Andalusian origins that merged with outstanding virtuoso of the late Spanish school of African elements in eighteenth-century Cuba.” guitarists. He trained as a priest early in life, but ANTONIO VIVALDI COMPOSED HIS Concerto in after receiving his Bachelor of Theology at the D Major for lute, two violins, and continuo, which University of Salamanca he travelled to Italy, where in baroque practice consisted of a team comprised of he received his principal musical training. As a a keyboard (most often harpsichord) and a bowed composer, Sanz contributed significantly to the instrument (most often cello) that provided a fully early literature of the guitar, leaving many popular realized bass line foundation. However, today the works of varying difficulty from the earliest work is best known through the transcription for beginner to a broader, more demanding professional guitar and string quartet by the Romeros. Vivaldi level. Among these is the light and charming Suite wrote this concerto (ca. 1730) for his orchestral española. This Suite is in nine movements, all based productions at Venice’s orphanage for young on dance forms. The final movement, ‘Canarios,’ women, the Ospedale della Pietà (Mercy Hospital). is among the most famous in guitar literature and was even adapted by the renowned twentieth- Los Romeros provides commentary: “Structurally century composer Joaquín Rodrigo as the theme for the Concerto in D Major for Guitar (or Lute) and the final movement of his famous guitar concerto, Strings conforms to the Vivaldian fast-slow-fast Fantasia para un Gentilhombre. pattern of movements; it reveals with what musical showmanship and imagination Vivaldi brings out “The Suite was written for a five-course guitar. the virtuoso possibilities of the plucked string Unlike today’s modern guitar, the instrument for instrument. The Allegro giusto begins with a broad, which Sanz wrote was smaller and had five sets of substantial orchestral tutti, striking a lively popular double strings. The guitar was one of the note in its folk-dance rhythm and going on to a instruments, with the lute, organ, and vihuela, for fanciful interplay between major and minor. In the which the first written music was published in the ensuing alternation between solo guitar and tutti, form of tablature (notation that indicates Vivaldi adroitly enhances the range and brilliance of instrumental fingering rather than pitch). His 1674 the soloist’s statements on each of its reappearances. treatise, Instrucción de musica sobre la guitarra Then having built up the solo instrument as a española, is a jewel of the guitar literature and the musical voice, the second movement, Largo, reveals most comprehensive treatise of its time. The Suite its singing qualities. The guitar gracefully elaborates is taken from this text.” a melody first over sustained notes from the strings, FROM LOS ROMEROS: “During his long career as a and then a sudden rhythmic change to a slow dance. virtuoso guitarist, Celedonio Romero found the Just as it seems that the movement is winding to time to write over 150 works for the guitar, a close, a transition to the minor mode takes place including nine concertos. Romero’s style of and a new emotional dimension unfolds, the composition is derived from the synthesis of a vast movement continuing in this deeper vein to its palette of impressionistic sounds and of the folklore close. It is certainly among the loveliest works ever of his native Spain. The Suite andaluza is based on written for guitar or lute. The short, lusty flamenco dance forms and the final movement, concluding Allegro is a bright epilogue with highly ‘Fantasia,’ is a technical showpiece. It is reminiscent effective virtuoso passages.” of the very first efforts of Celedonio improvising on the guitar when he was a small child. His father would come home from work and ask him to play ‘los compuestos,’ which to them meant

26 PROGRAM NOTES

DAVID LUDWIG WRITES about “Spiral Galaxy”: “My third piano trio is “My third piano trio is inspired by our cosmic home the Milky Way (many of my pieces are motivated by inspired by our cosmic home some relationship to science and observation). In this trio I’ve used principles from math and physics the Milky Way, and I’ve used to guide its musical ideas, shapes, and language. And the individual movements of the piece are each principles from math and in their own way a direct reflection on specific physics to guide its musical galactic features. ideas, shapes, and language.” “The eponymous first movement, ‘Spiral galaxy,’ begins with a fragmented series of notes that wind outward from a single starting point, growing DAVID LUDWIG gradually into an extended musical line, followed by a spiraling aria. The second movement, ‘Galactic MAURICE RAVEL BEGAN HIS Sonata for Violin and Halo,’ musically describes the sphere of stars that Piano in 1923 and worked on it intermittently for radiates out from the galaxy. This movement is the next four years. He eventually dedicated the concerned with the slowly evolving colors and static work to violinist Madame Jourdan-Morhange, a canopy of the firmament, held up in the extended friend and companion of long standing, as well as a sonorities of the trio instruments. The last fellow devotee of cats. During the early phase of movement, ‘Sagittarius A*,’ is an homage to the composition, he wrote to her: “It will not be very great black hole in the middle of the Milky Way, and difficult, and it will not sprain your wrist.” for this I’ve written a swirling fugue that continually However, the completed sonata proved to be pulls downward. At the end of the movement comes extremely difficult. Mme. Jourdan-Morhange was the final draw of its gravity into loud disintegration, unable to perform the sonata at its premiere due to and then finally, the quiet serenity of oblivion. severe tendonitis, an affliction doubtless aggravated by arduous practice of Ravel’s virtuoso work. “On a more (literally) poetic level, I was moved in writing this trio by the idea of the spiral itself, and Ravel took a long time to compose the sonata not how that shape is a metaphor for the growing only because of poor health and methodical work connections (and complications) of our lives. Lines habits but because its instrumentation challenged from two poems occur to me—one from Yeats, him. He claimed that the opening Allegretto ‘Turning and turning in the widening gyre,’ and this proved that “the violin and piano were essentially from Rilke: incompatible instruments . . . the sonata was not intended to sink their differences but to accentuate I live my life in expanding rings this incompatibility to an even greater degree.” Each that pull across over all existence. instrument’s specific focus on the neighboring keys I may not complete the last one’s ending, G and A-flat in this flowing movement (with an but I will try. emphasis on G in the violin) suggests an edgy “ ‘Spiral Galaxy’was commissioned by the Arizona independence. Friends of Chamber Music for the Morgenstern Trio The second movement, Blues (Moderato), playfully with the sponsorship of Boyer Rickel, and there is adapts jazz tempos and formulas. The finale no doubt in my mind that the community that (Allegro), which Ravel indicates must be played supports the series inspired me to write this piece.” “as fast as possible,” is a demanding study in perpetual motion. At its climax the violin articulates twelve sixteenth notes per measure—for 179 consecutive measures! (continued)

27 PROGRAM NOTES

BRAHMS’S OPUS 115 Quintet was the second of the “You have never heard four compositions resulting from his collaboration with the legendary clarinetist Richard Mühlfeld, such a clarinet player as they the “dear nightingale” who inspired these final instrumental works. Although Brahms called have there in Mühlfeld. it “a far greater folly” than his Opus 114 Trio, the Quintet was an enormous success at its 1891 He is absolutely the best premiere, and the audience demanded that its I know.” substantial Adagio movement be repeated as an encore. A sketch made during this performance JOHANNES BRAHMS depicts Mühlfeld in the guise of a Greek god, homage to the beauty of both his performance and his person. Often described as a love song to the clarinet, Opus 115 explores the instrument’s vast nuances of tonal color through extended passages in each of its registers—the high clarino, the breathily mysterious middle range, and the dark, low chalumeau. Yet the wind lines are fully integrated with the strings to create a unified texture. The eloquent opening phrase of the poignantly autumnal opening movement consists of a simple violin melody answered by the clarinet to create a single idea—an illustration of the partnership between the wind and strings that continues throughout the work. The clarinet, however, holds the primary melodic interest in the two middle movements—a tranquil Adagio (B major) varied by a rhapsodic section suggesting Hungarian gypsy influence, and a graceful Andantino (D major) with an animated central section that offers contrast. The finale (“with motion”) is a set of five ethereal variations on a theme woven from motifs exchanged between the first violin and clarinet. The haunting opening theme of the Allegro returns at the dramatic coda. Notes by Nancy Monsman

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29 30893_76_TucsonChamberMusic_r2.indd 1 6/1/17 10:42 AM TUCSON WINTER CHAMBER MUSIC FESTIVAL

SUNDAY, MARCH 11 3:00 PM

30 SUNDAY, MARCH 11 3:00 PM Pre-Concert Conversation with Francis Harvey, 2:30 pm

THIS AFTERNOON’S PROGRAM ERNEST CHAUSSON (1855–1899) Piano Quartet in A Major, Op. 30 (1882–1971) Animé Suite from L’Histoire du Soldat Très calme Simple et sans hâte The Soldier’s March Animé The Soldier’s Violin The Little Concert Morgenstern Trio Three Dances: Tango, Waltz, Ragtime Yura Lee, viola The Devil’s Dance Romie de Guise-Langlois, clarinet The World Premiere of Yura Lee, violin Bernadette Harvey, piano Michael Djupstrom’s String Quartet No. 2 is sponsored MICHAEL DJUPSTROM (b. 1980) by Michael Spino & Susan String Quartet No. 2 (World Premiere) Pesante Henderson, and Wendy Largamente, expansive & Elliott Weiss. Poco pesante—Giocoso, non troppo allegro Dover Quartet This afternoon’s concert is

INTERMISSION sponsored by the generous contribution of Walter Swap.

LUIGI BOCCHERINI (1743–1805)

Guitar Quintet No. 4 in D Major (“Fandango”), G. 448 (arr. Pepe Romero) Grave assai—Fandango Romero Guitar Quartet

PEPE ROMERO (b. 1944)

En el Sacromonte De Cadiz a la Habana Romero Guitar Quartet

31 PROGRAM NOTES

AFTER THE REVOLUTION of 1917, Igor Stravinsky L’Histoire enjoyed a successful premiere in 1918. found himself cut off from both his Russian family Soon afterwards the majority of the cast and estates and his music royalties. Needing income, he musicians succumbed to Spanish influenza, and decided to create a touring work that required few the tour had to be abandoned. Stravinsky then characters and instrumentalists. He based the arranged a suite from the work, and a year later he resulting L’Histoire du soldat (The Soldier’s Tale, created a five-movement trio for his clarinetist 1918) on the tales of his Russian compatriot friend Werner Reinhart, who had funded the Alexander Afanasiev, who, appalled by the cruelly work’s premiere. enforced recruitment for the Russo-Turkish wars Stravinsky wrote that jazz, although known to him under Nicholas I, wrote a cycle of stories describing only through sheet music, was an important the adventures of a deserter and his pact with the influence forL’Histoire . “I borrowed the rhythmic Devil. Stravinsky felt extreme sympathy for the style of jazz not as played but as written. Jazz meant common soldier; exiled in Switzerland, he had a wholly new sound in my music, and L’Histoire avoided service in World War I, but his brother marks a final break with the Russian orchestral Gury had died at the Russian front in 1917. school in which I had been fostered.” Stravinsky also Stravinsky collaborated with Swiss poet Charles- drew from a great variety of other musical sources Ferdinand Ramuz, who created a narration with for L’Histoire —Russian folksong, American acting and dance to convey his version of the Faust ragtime, Argentine tango, Viennese waltz, Swiss legend. As the story opens, the Soldier is returning brass band, and Bach chorale. All of these home with his fiddle in his knapsack (“The Soldier’s heterogeneous elements are fused to create March”). The Devil approaches and offers to a remarkable homogeneity of style. exchange his magic book for the Soldier’s violin MICHAEL DJUPSTROM WRITES: “As with a few (“The Soldier’s Violin”). The Soldier becomes other recent works, my interest in the classical wealthy through the book’s devilish guidance, but and folk music of Romania served as a springboard he grows weary of his riches and misses his violin. to launch work on this quartet. A few years ago He hears of a dying Princess and visits the King’s I spent time in Bucharest exploring various facets of castle to cure her and win her hand. The Devil, the city’s musical culture (the Enescu Museum, disguised as a virtuoso violinist, is waiting for him. Radio Romania, etc.). I used Romanian folk Since the Soldier will gain control over the Devil tunes as points of departure for selected melodic only if he loses the money gained through him, he material in each of the quartet’s three movements, willingly gambles it away. Now empowered, the although the piece sometimes developed in other Soldier seizes the violin from the Devil and begins to directions during its composition, seemingly of its play (“The Little Concert”). The Princess is own accord. Nevertheless, especially in the final miraculously healed by this music and dances with movement, something of the Romanian folk joy (“Tango, Waltz, Ragtime”). The Devil tries to element shines through. interfere but the Soldier defeats him through his violin, which compels his dance to exhaustion “The first movement has an overall slow-fast- (“The Devil’s Dance”). The Devil vows that if the slow-fast form with numerous small changes in Soldier ever leaves the castle, he will become The tempo and character. In the slow sections a heavy Devil’s Own. Eventually the Soldier decides to visit dramatic melody alternates with a more lyrical, his mother, and the Devil, waiting at the forbidden somewhat mysterious one. The fast parts are very frontier, claims his soul. rhythmic and folklike.

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“The second movement is more simply structured “My interest in the classical in A-B-A form; a brief scherzo is embedded within the Largo framework. The third movement follows and folk music of Romania without pause. The finale is like a rondo in that a principal theme recurs several times throughout. served as a springboard to Its short introduction is followed by the main Giocoso tempo. launch work on this quartet.” MICHAEL DJUPSTROM “This work was written for the Dover Quartet, whose members I have known since our shared student days in , and above all, it was A brief introduction marked “Grave assai” (rather their superb playing that provided the most slow and serious) launches the exciting “Fandango,” profound and lasting inspiration for me to compose a set of variations on an Andalusian folk melody. this work. Special thanks are due to Donald Allison, The fandango dance’s strong and distinctive Teodorian Velicu, Mellissa Franklin of the Pew descending chord pattern (G minor–F major– Center for Arts and Heritage, and the MacDowell E-flat major–D major) recurs throughout. Often Colony. Each of these individuals and organizations performed as a dramatic courtship dance, the played an instrumental role in supporting the fandango is traditionally accompanied by guitar, creation of this piece.” castanets, and handclaps. The Romeros state that this sensual fandango “exhibits the voluptuousness Michael Djupstrom’s String Quartet No. 2 was of its gypsy origins.” commissioned for the Dover Quartet by the Arizona Friends of Chamber Music with the sponsorship FROM LOS ROMEROS: “Moved by his love for of Michael Spino & Susan Henderson, and Wendy the mystery and majesty of Granada, one evening & Elliott Weiss. while sitting in the Sacromonte and viewing the Alhambra, Pepe Romero felt the mysterious blend BORN IN LUCCA, Italy, and trained there as a cellist, of the various cultures—Moor, Andaluz, Jewish, Luigi Boccherini spent the majority of his career in and gypsy that have lived in this special place. Madrid, where he served as resident court composer As the Sacromonte is the birthplace of the sambra and performer for Don Luis, brother of King granadina (a dance of gypsy and Arabic forms), Charles III of Spain. For his employment he he was moved to compose this piece in which each produced many chamber compositions, among of the four guitars represents the musical traditions which are two forms that he pioneered: over 100 of the four great cultures that survived in the caves string quintets, mostly scored for two cellos, and the of the Sacromonte. piano quintet genre, a string quartet combined with piano. Influenced by Spain’s strong guitar tradition, “In the late 1950s Pepe Romero became a close friend he rescored nine of these string or piano quintets for of both Carmen Amaya and Sabicas, who greatly guitar and string quartet. Boccherini quarried the popularized the flamenco rhythm of ‘colombianas.’ opening movements of the popular Guitar Quintet Continuing his homage to these artists, this piece is “Fandango” (1798) from two earlier D major string written in the flavor of the ‘cantes de ida y Vuelta,’ quintets—G. 270 (1771) and G. 341 (1788)—and which were flamenco rhythms resulting from the rescored them for guitar quintet. The superb cultural interchange between Spain and the New “Fandango” finale was newly composed. World, specifically between Cadiz and la Habana. The basic rhythms used in this work are ‘colombianas’—a mixture of Colombian folk melody with the rhythmic structure of the Cuban ‘guijiras’ (a poetic genre from Andalusia) and the ‘rumba gitana’ (gypsy rumba).” (continued)

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ERNEST CHAUSSON has been described as the late “There are moments when romantic link between César Franck, his teacher and continuing mentor, and , his I feel myself driven by a kind close friend. During his early years, Chausson created lushly textured works with elegant, fluent of feverish instinct, as if I melodies that suggest the operatic arias of Jules Massenet, his stylistically influential Paris had the presentiment of being Conservatory professor. Fond of French Symbolist unable to attain my goal, or poetry and Russian novels, Chausson established a salon, and his literary friends encouraged him to of attaining it too late.” compose with heightened drama. After the death of his father, Chausson moved toward a subtler ERNEST CHAUSSON impressionistic style with clear and skillfully crafted lines. Chausson himself died five years later at age forty-four after a bicycle accident—while riding downhill on his pre-safety cycle, he lost control of his vehicle and crashed into a brick wall. At the time of his early death, Chausson had earned a solid reputation as a composer of both operas and instrumental works. He created six chamber compositions, all works of refined lyric poetry that significantly contribute to the repertoire. Chausson began his Opus 30 in the spring of 1897 and premiered it that same year. The work blends serene classicism with rhapsodic lyricism. The opening movement, animated by alternating rhythmic patterns, develops two themes based on the pentatonic scale (the black keys of the piano). The eloquent second movement (D-flat major), “very calm,” develops an extended theme that evokes alternately pathos and reverie. The dancelike third movement (D minor), “simple and without haste,” is a light and elegant scherzo based on a melody suggesting Spanish folksong. The bravura finale, remarkable in its rhythmic flexibility, recalls themes from the earlier movements to create a cyclic form. The quartet concludes with a passionate recapitulation of the lyrical theme heard in the second movement. Notes by Nancy Monsman

34 35 FESTIVAL MUSICIANS

PETER REJTO ROMIE DE GUISE- BERNADETTE HARVEY YURA LEE LANGLOIS Artistic director Peter Romie de Guise- Australian pianist Violinist/violist Yura Rejto is committed to Langlois has appeared Bernadette Harvey Lee is the winner of presenting the finest on major concert stages divides her time the only first prize chamber music, both throughout the United between collaborations, awarded across the well-loved works and States, Canada, Europe, solo appearances, and four categories in the new, unfamiliar ones, and Asia. An avid recordings. She has 2013 ARD Music performed by some chamber musician, had several new works Competition in of the world’s finest Ms. de Guise-Langlois written for her, Munich. She studied musicians. Highlights joined the roster of including previous at The Juilliard of his international Chamber Music Society Festival composer School, New England career include the world Two in 2012 and has Ross Edwards, who Conservatory, Salzburg premiere of Gerard toured with Musicians completed a new solo Mozarteum, and Schurmann’s “Gardens from Marlboro. A piano sonata for her to Kronberg Academy. of Exile” with the native of Montreal, perform and record in Currently Ms. Lee Bournemouth she earned degrees from 2014. A faculty teaches both violin and Symphony broadcast McGill University member at the Sydney viola at the Mason live over the BBC, and and the Yale School of Conservatorium of Gross School of the Arts the recording of Miklós Music, where she Music, she is also the at Rutgers University, Rózsa’s Cello Concerto studied under David recipient of the and she is currently a in Hungary. Mr. Rejto Shifrin. She has Centenary Medal of member of the is a founding member completed her presented by Chamber Music Society of the Los Angeles fellowship at The John Howard for her of Lincoln Center and Piano Quartet and a Academy—A Program service to Australian Chamber Music former professor of the of Carnegie Hall, music. This year will Society. We welcome University of Arizona The , mark her eighth Festival Ms. Lee to her second School of Music as well and The Weill Music appearance. Festival. She has also as professor emeritus at Institute, and is performed on our the Oberlin College currently Adjunct Evening Series as a Music Conservatory. Professor of clarinet at member of the Montclair University. Enso¯ Quartet. This is her first Festival.

36 FESTIVAL MUSICIANS

DOVER QUARTET MORGENSTERN TRIO

Hailed as “the next ” (Chicago The Morgenstern Trio first came to international Tribune), the Dover Quartet draws from the lineage attention as a result of winning the Kalichstein- of that distinguished ensemble, as well as that of Laredo-Robinson Trio Award in 2010. For the the Cleveland and Vermeer Quartets. Its members twenty prize concerts, the Morgenstern Trio studied at the Curtis Institute of Music and Rice received superlative reviews and immediate University’s Shepherd School of Music, where they re-invitations for following seasons. This prize were mentored extensively by Shmuel Ashkenasi, catapulted them onto the scene in the US with James Dunham, Norman Fischer, Kenneth performances in Washington, DC’s Kennedy Center Goldsmith, Joseph Silverstein, , and at Carnegie Hall and other venues in New York , and Peter Wiley. It was at Curtis that City, followed by concerts in such cities as Chicago, the Quartet first formed, and its name pays tribute Detroit, Kalamazoo, Carmel, Louisville, Lexington, to Dover Beach by fellow Curtis alumnus Samuel and Palm Beach. AFCM also heard the trio as a Barber. The group has since returned for residencies result of this award, and they played again for us in a to Rice in 2011–13, and to Curtis, where it became two-concert series in 2014. Summer of that same year the conservatory’s first Quartet-in-Residence, in marked the inauguration of their own Morgenstern 2013–14. In addition, in 2015 the Dover was Festival in Germany offering eclectic programs with appointed the first Resident Ensemble of Peoples’ guest artists. Other festival appearances include the Symphony Concerts in the 116-year history of New Festival in Prades/France, the Festspiele York City’s oldest concert series. The Dover Quartet Mecklenburg-Vorpommern, the Heidelberger is dedicated to sharing its music with under-served Frühling, the WDR Musikfest, and the Kuhmo communities and is actively involved with Music for Chamber Music Festival in Finland. Food, an initiative enabling musicians to raise To name a piano trio after the popular nineteenth- resources and awareness in the fight against hunger. century German poet Christian Morgenstern was The members of the quartet are: violinists Joel Link the inspiration of pianist Catherine Klipfel, violinist and Bryan Lee, violist Milena Pajaro-van de Stadt, Stefan Hempel, and cellist Emanuel Wehse, who met and cellist Camden Shaw. AFCM previously heard during their studies at the Folkwang Conservatory the Dover Quartet on an Evening Series concert in Essen, Germany. Mentors, such as the Alban of 2016. Berg Quartet and Menahem Pressler, have given the Morgenstern Trio invaluable coaching and musical insight.

37 FESTIVAL MUSICIANS

ROMERO GUITAR QUARTET MICHAEL DJUPSTROM DAVID LUDWIG Known as “The Royal Family of the Guitar,” the The work of composer Born in Bucks County, Romero Guitar Quartet (Los Romeros) is made up and pianist Michael Pennsylvania, David of members of the Romero family. The quartet Djupstrom has been Ludwig comes from was founded in 1960 by Celedonio Romero and recognized through several generations of included his three sons, Angel, Celin, and Pepe. honors and awards from eminent musicians Celedonio died in 1996 and Angel left the group, institutions such as including grandfather so that today the family ties are maintained by the the American Academy and addition of Angel’s son Lito and Celin’s son Celino of Arts and Letters, great-grandfather Adolf along with founding members Celin and Pepe— the Chinese Fine Arts Busch. He holds degrees two sons and two grandsons of Celedonio. To have Society, and the from Oberlin, The so many virtuosi of the same instrument in one Académie musicale de Manhattan School, the family is unique in the music world, and in the Villecroze, among many Curtis Institute of realm of the classical guitar it is absolutely others. Mr. Djupstrom Music, The Juilliard without precedent. was born in St. Paul, School, and a PhD from Minnesota in 1980. the University of The Romeros have given thousands of concerts all He studied composition Pennsylvania. Mr. over the world. Whether performing as a quartet, formally at the Ludwig serves as the duo, or as soloists, in recital or with symphony University of Michigan director of the orchestra, the Romeros prevail as champions in the and the Curtis Institute composition faculty of realm of classical guitar. In addition, a number of of Music. Other Curtis and is the Gie and important additions to the guitar repertoire have training included Lisa Liem Artistic been written for The Romeros by such distinguished fellowships at the Advisor and director of composers as Joaquín Rodrigo, Federico Moreno Tanglewood Music the Curtis 20/21 Torroba, Morton Gould, Rev. Francisco de Madina, Center and the Aspen Contemporary Music and others. Music Festival, as well as Ensemble. Recent Although this is the first appearance at our concerts studies in Paris with highlights include a of the Romero family, we previously heard Pepe at Betsy Jolas. Mr. violin concerto written our Festival in 2014. Djupstrom currently for his wife, acclaimed lives in Philadelphia, violinist Bella Hristova; where he teaches the concerto was at the Curtis Institute commissioned by a of Music. consortium of eight orchestras across the United States. 38 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.

39 VERSE

Instrumental

BY RITA DOVE

A stick. A string. A bow.

The twang as the arrow leaves it.

The twang praising the imprint it makes on the air, caressing

the breach no one sees shivering

struck

“Instrumental” by Rita Dove originally appeared in Sonata Mulattica: A Life in Five Movements and a Short Play, published in 2009 by W.W. Norton & Company, Inc. Reprinted with the permission of W.W. Norton and Company.

Selected for tonight’s concert by Sarah Kortemeier, Instruction and Outreach Librarian, and Julie Swarstad Johnson, Library Specialist, at the University of Arizona Poetry Center. 40 MAYORAL PROCLAMATION

WHEREAS, the Arizona Friends of Chamber Music, established in 1948, is one of the oldest chamber music societies in the Southwest; and WHEREAS, for 70 years the people of Tucson have enthusiastically embraced AFCM and the world-class chamber ensembles it brings to Southern Arizona; and WHEREAS, since 1997 the AFCM audience has supported the creation and premieres of more than 65 new chamber music works to stand alongside the beloved classics, constituting one of the leading commissioning programs in the United States; and WHEREAS, for 25 years, AFCM’s Tucson Winter Chamber Music Festival has presented intensive full-week explorations of music old and new to local enthusiasm and national critical acclaim; NOW, THEREFORE, I, Jonathan Rothschild, Mayor of the City of Tucson, Arizona, do hereby proclaim March 4th through 11th, 2018 to be “TUCSON LOVES CHAMBER MUSIC” WEEK in this community, and encourage all of our citizens to enjoy the 25th Tucson Winter Chamber Music Festival, and all other chamber music concerts in our city. IN WITNESS WHEREOF, I have hereunto set my hand and caused the Seal of the City of Tucson to be affixed this 4th day of March 2018.

JONATHAN ROTHSCHILD Mayor , Tucson, Arizona

41 25 YEARS OF FESTIVAL MUSICIANS

We celebrate all of the musicians Los Angeles Piano Quartet Kalichstein–Laredo–Robinson and contributors who have (1998) Trio (2004) been part of the Tucson Winter James Bonn, piano Joseph Kalichstein, piano Chamber Music Festival from Ayako Yoshida, violin Jamie Laredo, violin its beginnings in 1994 to Katherine Murdock, viola Sharon Robinson, cello the present. Peter Rejto, cello Los Angeles Piano Quartet ARTISTIC DIRECTOR (1999) (2005) Daniel Phillips, violin Xak Bjerken, piano Peter Rejto (1994–2018) Todd Phillips, violin Michi Wiancko, violin Steve Tenenbom, viola Katherine Murdock, viola ENSEMBLES Timothy Eddy, cello Peter Rejto, cello

Los Angeles Piano Quartet American String Quartet Miami String Quartet (2005) (1994) (2000) Ivan Chan, violin James Bond, piano Peter Winograd, violin Cathy Robinson, violin Joseph Genualdi, violin Laurie Carney, violin Chauncey Patterson, viola Randolph Kelly, viola Daniel Avshalomov, viola Keith Robinson, cello Peter Rejto, cello David Gerber, cello (2006) American String Quartet Los Angeles Guitar Quartet Martin Beaver, violin (1995) (2000) Kikuei Ikeda, violin Peter Winograd, violin John Dearman, guitar Kazuhide Isomura, viola Laurie Carney, violin Scott Tennant, guitar Clive Greensmith, cello Daniel Avshalomov, viola Andrew York, guitar David Gerber, cello William Kanengiser, guitar Pražák Quartet (2007) Vaclav Remes, violin Pražák Quartet (1996) St. Petersburg String Quartet Vlastimil Holek, violin Vaclav Remes, violin (2001) Josef Klusonˇ, viola Vlastimil Holek, violin Alla Aranovskaya, violin Michal Kanˇka, cello Josef Klusonˇ, viola Ilya Teplyakov, violin Michal Kanˇka, cello Aleksey Koptev, viola Borealis String Quartet (2008) Leonid Shukayev, cello Patricia Shih, violin Bartók Quartet (1997) Yuel Yawney, violin Péter Komlós, violin American String Quartet Nikita Pogrebnoy, viola Géza Hargitai, violin (2002) Shi-Lin Chen, cello Géza Németh, viola Peter Winograd, violin László Mezo˝, cello Laurie Carney, violin Synergy Percussion Quartet Daniel Avshalomov, viola (2008) Chicago String Quartet (1998) David Gerber, cello Michael Askill, percussion Joseph Genualdi, violin Alison Pratt, percussion Stefan Hersh, violin Pražák Quartet (2003) Bree van Reyk, percussion Rami Solomonow, viola Vaclav Remes, violin Timothy Constable, percussion Christopher Costanza, cello Vlastimil Holek, violin Josef Klusonˇ, viola Michal Kanˇka, cello

42 25 YEARS OF FESTIVAL MUSICIANS

Pacifica Quartet (2009) Quartet (2013) PIANISTS Simin Ganatra, violin Weigang Li, violin Lydia Artymiw (1995, 2000, Sibbi Bernhardsson, violin Yiwen Jiang, violin 2006) Masumi Per Rostad, viola Honggang Li, viola Lera Auerbach (2012) Brandon Vamos, cello Nicholas Tzavaras, cello Xak Bjerken (2007, 2011, 2013) Bernadene Blaha (1997, 2001, Miró String Quartet (2010) Miró String Quartet (2014) 2008, 2010, 2014–2015) Daniel Ching, violin Daniel Ching, violin James Bonn (1994) Sandy Yamamoto, violin William Fedkenheuer, violin Christina Dahl (2004, 2006) John Largess, viola John Largess, viola Monique Duphil (1995) Joshua Gindele, cello Joshua Gindele, cello Kevin Fitz-Gerald (1997, 2001, 2008, 2010, 2014–2015) Apollo’s Fire Baroque Pražák Quartet (2015) Marie-Catherine Girod (2015) Ensemble (2011) Pavel Hu°la, violin Marc-André Hamelin (2016) Cynthia Roberts, baroque violin Vlastimil Holek, violin Bernadette Harvey (2009, 2011– Johanna Novom,baroque violin Josef Klusonˇ, viola 2013, 2015–2018) René Schiffer, baroque cello Michal Kanˇka, cello Sung-Mi Im (2003) Jeannette Sorrell, harpsichord Ewa Kupiec (2003) and director Pacifica Quartet (2016) Piers Lane (2017) Simin Ganatra, violin Mihae Lee (2012) Sibbi Bernhardsson, violin Anne-Marie McDermott (2011) Masumi Per Rostad, viola (1999, 2002) Nicholas Kitchen, violin Brandon Vamos, cello Brent McMunn (1996) Kristopher Tong, violin John Milbauer (2009) Mai Motobuchi, viola Jupiter String Quartet (2017) Jorge Osorio (2009) Yeesun Kim, cello Nelson Lee, violin Rick Rowley (2000, 2002) Meg Freivogel, violin Irina Teplyakova (2001) Apollo’s Fire Baroque Liz Freivogel, viola Ralph Votapek (1996, 1999) Ensemble (2012) Daniel McDonough, cello Miri Yampolsky (2005, 2007) Olivier Brault, baroque violin Johanna Novom, baroque violin Dover Quartet (2018) René Schiffer, baroque cello Joel Link, violin STRINGS

Steve Player, baroque guitar/dance Bryan Lee, violin VIOLINISTS Dan Swenberg, lute Milena Pajaro-van de Stadt, viola Martin Beaver (2014, 2016) Rex Benincasa, percussion Camden Shaw, cello Laurie Carnie (1995) Jeannette Sorrell, harpsichord (2006) and director Morgenstern Trio (2018) Lucy Chapman (2007) Catherine Kilpfel, piano Ik-Hwan Dae (2003) Tokyo String Quartet (2012) Stefan Hempel, violin Robert Davidovici (2010) Martin Beaver, violin Emanuel Wehse, cello Jennifer Frautschi (2003) Kikuei Ikeda, violin Joseph Genualdi (1994) Kazuhide Isomura, viola Romero Guitar Quartet (2018) Ani Kavafian (1994, 1996, 1998, Clive Greensmith, cello Celin Romero, guitar 2002, 2009, 2013) Pepe Romero, guitar (1999, 2002) Celino Romero, guitar Lito Romero, guitar

43 25 YEARS OF FESTIVAL MUSICIANS

Benny Kim (1994, 1995, 1999– CELLISTS Neil Tatman (2012) 2000, 2004, 2006, 2012) Sergey Antonov (2013) Stephen Taylor (2012) Soovin Kim (2004) Colin Carr (1994, 2013) Allan Vogel (1996, 2001, Elissa Lee Koljonen (2000) Andrés Diaz (2000) 2003, 2011) Steven Doane (2007, 2010, Yura Lee (2016, 2018) CLARINETISTS 2012, 2016) Joseph Lin (2005, 2007, 2009, Igor Begelman (2001) David Gerber (1995) 2011, 2015) Romie de Guise-Langlois (2018) Clive Greensmith (2015–2017) Paul Rosenthal (1997, 2001) Richard Hawkins (2004, 2009) Gary Hoffman (1998) Lara St. John (2008) Bil Jackson (2012–2013, 2015) Antonio Lysy (2008–2009, Sheryl Staples (1995) Jerry Kirkbride (2012) 2011, 2014) Axel Strauss (2010–2011, 2013, Jon Manasse (1999, 2002) Peter Rejto (1994–2009) 2015, 2017) Charles Neidich (2017) Bion Tsang (2006) Josef Suk (1996) Patricia Shands (1996–1998, Felix Wang (2003) Ian Swensen (2008) 2000, 2003) Peter Winograd (1995) BASSISTS David Shifrin (1994, 2005) Sandy Yamamoto (2014) Philip Alejo (2014–2015, 2017) Jon Snavely (2003) Peter Zazofsky (2001) Deborah Dunham (2001–2002) Richard Stoltzman (2007) Carmit Zori (1997–1998) Edgar Meyer (1998) Theresa Tunnicliff (1996) VIOLISTS Volkan Orhon (2007, 2009, HORNISTS 2012, 2016) Toby Appel (1997) Kate Gascoigne (2002) David Avshalomov (1995) HARPISTS Daniel Katzen (2012) Helena Baillie (2012–2013) Katerˇina Englichová (1996, Margaret McGillivray (2012) Roger Chase (2004, 2010) 1998, 2003, 2010, 2015) William Purvis (2005, 2012, Gina Coletti (2011) Yolanda Kondonassis (2004) 2017) Paul Coletti (2003, 2006, 2008– GUITARISTS Eric Ruske (2016) 2009, 2011, 2014) Julian Gray (2000) Richard Todd (1996–1998) Roberto Diaz (2000) Pepe Romero (2014) Nicole Divall (1998–2004, BASSOONISTS 2007) PIPA Jessica Campbell (2012) James Dunham (2001) (2006) Lynette Diers Cohen (2002) Karen Goulding (1995) Julie Fevers (1996, 1998) Marc Goldberg (2012) Ida Kavafian (1999, 2002) WOODWINDS, BRASS, & Benjamin Kamins (2017) Randolph Kelly (1994) PERCUSSION Yura Lee (2016, 2018) SAXOPHONE FLUTISTS Paul Neubauer (1999, 2015) Ashu (2009) Michel Debost (1995) Nokuthula Ngwenyama (2015, Tara Helen O’Connor (2006) TRUMPET 2017) Alexa Still (2004) Ed Reid (2009) Heiichiro Ohyama (1995) Janice Tipton (1996, 2003) DIDGERIDOO Cynthia Phelps (1994, 1996, James Walker (1997) William Barton (2008) 2000, 2002, 2007, 2013, 2016) Patricia Watrous (2003) Gina Warnick (2006) PERCUSSIONISTS Carol Wincenc (2010, 2017) Gary Cook (1997, 2003, 2005– OBOISTS 2006, 2009) Nicholas Daniel (2017) Drew Lang (1997) Gerard Reuter (2002, 2008) Svetoslav Stoyanov (2005, 2016) James Austin Smith (2014) Matthew Strauss (2016)

44 25 YEARS OF FESTIVAL MUSICIANS

SINGERS & SPEAKERS Robert Muczynski (1995) Mozart, Quintet for Piano and Kelly-Marie Murphy (2008) Winds, K. 452 (four times) SOPRANOS Stephen Paulus (2000) Jennifer Foster (1996, 1998, Schubert, “Trout” Quintet, D. Raimundo Penaforte (2000) 2000, 2003, 2005, 2007, 2013) 667 (four times) Meredith Hall (2004, 2006, Elizabeth Raum (2001) 2011) Heather Schmidt (2016) Saint-Saëns, Fantasy for Violin Lynn Norris (1994) Gunther Schuller (2014) and Harp, Op. 124 (four times) Gerard Schurmann (1994, 1998, Nadejda Shabanina (2001) MOST PERFORMED COMPOSERS: 2004, 2016) Mozart (thirty times) BARITONES Thomas Schuttenhelm (2009) Christopheren Nomura (2008, Brahms (twenty-nine times) Steven Stucky (2005) Schubert (twenty-three times) 2010, 2014) Augusta Read Thomas (2002) Kurt Ollmann (1995) Dvorˇák (nineteen times) Joan Tower (2004) Beethoven (eighteen times) ACTORS Dmitri Tymoczko (2017) Jeff Cyronek (1996) Carl Vine (2013) LARGEST ENSEMBLE: Maedell Dixon (1996) Patrick Zimmerli (2010) Dmitri Tymoczko, “Wheels Within Wheels” (Dectet) Kirby Wahl (1996) CONDUCTORS MOST MUSICIAN APPEARANCES NARRATOR Timothy Weiss (2003) (AFTER PETER REJTO): Billy Collins (2009) Stephen Taylor (2017) Bernadette Harvey, piano COMMENTATORS (eight Festivals) OTHER IMPORTANT Daniel Buckley (2001–2003) Jennifer Foster, soprano CONTRIBUTORS John Fitch (1994–2000) (seven Festivals) James Reel (2004–2012, 2015– COMPOSERS Benny Kim, violin Lera Auerbach (2012) 2018) (seven Festivals) Sylvie Bodorová (2003, 2013– Peter Rejto (2014) Cynthia Phelps, viola 2014) Joseph Tolliver (2013) (seven Festivals) Curt Cacioppo (2002) ARTIST MOST UNUSUAL MUSICAL Jeffrey Cotton (2005) Brenda Semanick (1994–2018) INSTRUMENT: Didgeridoo (15th Festival) Michael Djupstrom (2018) PROGRAM NOTES Ross Edwards (2008) Nancy Monsman (1994–2018) MOST COMMISSIONED Jirˇí Gemrot (2003, 2007, 2015) COMPOSERS: Jennifer Higdon (2006) Sylvie Bodorová (three works) A FEW STATISTICS Lee Hoiby (2005) Jirˇí Gemrot (three works) Katherine Hoover (2004) MOST PERFORMED WORKS: Gerard Schurmann (three works)

Pierre Jalbert (2012, 2017) Schubert, String Quintet in C NUMBER OF Lowell Liebermann (2015) Major, D. 956 (five times) WORLD PREMIERES: Joseph Lin (2011) Brahms, String Sextet No. 2 in G 36 David Ludwig (2018) Major, Op. 36 (four times) Dominik Maican (2009) Edgar Meyer (1998) Dvorˇák, Piano Quintet in A Olli Mustonen (2011) Major, Op. 81 (four times) Fauré, Piano Quartet in C Minor, Op. 15 (four times)

45 THANK YOU TO OUR SUPPORTERS!

$10,000 & ABOVE Drs. John Hildebrand Si & Eleanor Schorr & Gail Burd Sally Sumner Walter Swap Helen Hirsch Teresa Tyndall

$5,000 – $9,999 Eddy Hodak Maurice Weinrobe Robert & Deborah Johnson & Trudy Ernst Nancy Bissell Arthur & Judy Kidder Bonnie Winn Shirley Chann George & Irene Perkow Ann Wright David & Joyce Cornell Charles & Suzanne Peters Jim Cushing Dr. Herschel & Jill Rosenzweig $250 – $499 John & Teresa Forsythe John & Ila Rupley Thomas & Susan Aceto Paul A. St. John Richard & Judith Sanderson Bob Albrecht & Jan Kubeck & Leslie P. Tolbert James Tharp & James Lindheim Syd Arkowitz John & Helen Schaefer Joe & Connie Theobald Peter & Betty Bengtson Jayant Shah & Minna Mehta George F. Timson Gail Bernstein Michael Spino Maria Tymoczko Ann Blackmarr & Susan Henderson Al & Carolyn Colini Gwen Weiner $500 – $999 Nancy Cook Wendy & Elliott Weiss Wes Addison Janna-Neen Cunningham

$2,500 – $4,999 K. Porter Aichele James Dauber Frank & Betsy Babb Philip M. Davis Jean-Paul Bierny & Chris Tanz Julie Behar Thomas & Nancy Gates Stan Caldwell & Linda Leedberg Nathaniel & Suzanne Bloomfield Gabriele Gidion Caleb & Elizabeth Deupree Tim & Diane Bowden Gerald & Barbara Goldberg Alison Edwards & Henri Frischer Jan Buckingham Eloise Gore & Allen Hile Tom Lewin & Lauren Ronald David Johnson Randy Spalding Dora & Barry Bursey Carl Kanun Ted & Shirley Taubeneck Barbara Carpenter George & Cecile Klavens James Cook Daniela Lax $1,000 – $2,499 Raul & Isabel Delgado Dr. Alan Levenson Celia A. Balfour Stephen & Aimee Doctoroff & Rachel K. Goldwyn Richard & Martha Blum The Evanston Group Karen & Leonard Loeb Celia Brandt Leonid Friedlander Emily T. Mazur Scott Brittenham & Yelena Landis Richard & Judith Meyer Robert D. Claassen Linda Friedman Kitty & Bill Moeller & John T. Urban Harold Fromm Lawrence & Nancy Morgan Dagmar Cushing J. D. & Margot Garcia Mary Peterson & Lynn Nadel Bryan & Elizabeth Daum Wesley Green Judith Pottle Philip & Nancy Fahringer Sidney & Marsha Hirsh Seymour Reichlin Carole & Peter Feistmann Janet & Joe Hollander Dr. Elaine Rousseau Beth Foster Paul & Marianne Kaestle Nancy K. Strauss Milton Francis Al Kogel Sheila Tobias & Dr. Marilyn Heins Ann Lancero Ellen Trevors Julie Gibson Amy & Malcolm Levin Patricia Waterfall Katherine Havas Larry & Rowena G. Matthews Daryl Willmarth Elliott & Sandy Heiman Martie Mecom Peggy Wolf Jay Pisik Arnie & Hannah Rosenblatt Reid & Linda Schindler

46 THANK YOU TO OUR SUPPORTERS!

$100 – $249 Joan Lisse GIFTS IN MEMORY OF Meredith Little Helmut A. Abt Clifford & Wendy Crooker Robert Lupp Akinbola Adewole Ajayi-Obe Alan Mallach by Beth Foster Julia Annas Marilee Mansfield Dick Firth Hal Barber & Sheila Wilson Ana Mantilla by Ted & Shirley Taubeneck Margaret Bashkin Frank & Janet Marcus Karen Ottenstein Beer Warren & Felicia May His Mother, Ruth Berman William McCallum Helen Margaret Hodak Peter Bleasby Joan Mctarnahan by Eddy Hodak Joyce Bolinger Hal Myers Sarah Boroson Kathy Kaestle Doris Nelson Elizabeth Buchanan by Paul & Marianne Kaestle Richard & Susan Nisbett Jack Burks & Sara Ohgushi Harry Nungesser David Schaffer Laurie Camm Karen Ottenstein Beer by Ann-Marie Schaffer Susan & Robert Carlson John & Farah Palmer Terence DeCarolis Jayant Shah Margaret Pope C. Jane Decker by Minna Mehta-Shah & Norman Epstein Mae Delorenzo-Morales John Raitt Ted Taubeneck Marilyn Dettloff Lynn Ratener by Jay & Elizabeth Rosenblatt Martin Diamond & Paula Wilk James Reel Douglas & Dee Donahue Carl Tomizuka Richard & Harlene Reeves John & Mary Enemark by Sheila Tobias Seymour Reichlin Deanna Evenchik Serene Rein Lionel & Karen Faitelson GIFTS IN HONOR OF Kay Richter Barbara Fass & Stephen Buchmann Matt Felix Cathy Anderson Helen Rosen Bob Foster by C. Jane Decker Jay & Elizabeth Rosenblatt James & Ruth Friedman Ellin Ruffner Sandy & Elliott Heiman Tommy & Margot Friedmann Kenneth Ryan by K. Porter Aichele Robert & Ursula Garrett Howard & Helen Schneider Marvin & Carol Goldberg Marilyn Heins Dr. Stephen & Janet Seltzer Ben & Gloria Golden by Katherine Havas Sara Shifrin Linda Grant & Peter Medine Shirley Snow Rachel Silberman’s 90th birthday Marilyn Halonen Harry Stacy by Lionel & Karen Faitelson Clare Hamlet Ronald Staub Charlotte Hanson Randy Spalding Barbara Straub M.K. & Regine Haynes by James Cook Joesph Tolliver Suzanne Hayt Allan & Diane Tractenberg Gwen Toepfer Ruth B. Helm Barbara Turton by Robert A. Thomas & Louise Homburger Karla Van Drunen Littooy Jim Homewood Joseph Tolliver Gail Wahl Sara Hunsaker by Beth Foster John Wahl & Mary Lou Forier William & Ann Iveson by Eddy Hodak Ann Ward Joan Teer Jacobson Patricia Wendel Yemoja Lee L. Kane Jan Wezelman & David Bartlett by Akinbola Adewole Ajayi-Obe Barbara Katz Anne Wright Keith & Adrienne Lehrer Mary Ellen Lewis 47 THANK YOU TO OUR SUPPORTERS!

MUSIC IN THE SCHOOLS JEAN-PAUL BIERNY CORPORATE SUPPORTERS LEGACY SOCIETY Sponsors for the Ameriprise Financial 2017–2018 season Jean-Paul Bierny & Chris Tanz Arizona Early Music Society Nancy Bissell Nancy Bissell Arizona Flowers Dagmar Cushing Mr. & Mrs. Nathaniel Bloomfield Caldwell Banker Judy & Richard Sanderson Theodore & Celia Brandt Cantera Custom Creations Chris Tanz & Jean-Paul Bierny Dagmar Cushing Center for Venous Disease Ted & Shirley Taubeneck Dr. Marilyn Heins Copenhagen Connie & Joe Theobald Joe & Janet Hollander Cushing Street Restaurant George Timson Judy Kidder DeGrazia Gallery in the Sun Leslie Tolbert & Paul St. John Linda Leedberg Desert Diamond Casino Tom Lewin & Entertainment COMMISSIONS Ghislaine Polak Downtown Kitchen + Cocktails Shirley Chann Boyer Rickel Fidelity Investments Susan Henderson Randy Spalding Fishkind, Bakewell, & Michael Spino Anonymous Maltzman, Hunter Holualoa Companies Boyer Rickel $25,000 and above Homecare Assiistance Wendy & Elliott Weiss Family Trust of Lotte Reyersbach Kinghorn Heritage Law Group Phyllis Cutcher, La Posada CONCERT SPONSORSHIPS Trustee of the Frank L. Ley Piano Wadleigh Trust Jean-Paul Bierny & Chris Tanz Loft Cinema Anne Denny Nancy Bissell Mister Car Wash Richard E. Firth Stan Caldwell & Linda Leedberg Pastiche Modern Eatery Carol Kramer David & Joyce Cornell Rogue Theater Arthur Maling John & Teresa Forsythe Southern Arizona Symphony Claire B. Norton Fund John & Helen Schaefer Orchestra held at the Community Jayant Shah & Minna Mehta True Concord Foundation for Southern Randy Spalding Tucson Guitar Society Arizona Udall Law Firm MUSICIAN SPONSORSHIPS Herbert Ploch Lusia Slomkowska Living Trust Contributions are listed Celia Balfour Agnes Smith from March 1, 2017 to Dagmar Cushing February 28, 2018. Space $10,000 – $24,999 limitations prevent us from Marian Cowle All concert and musician listing contributions less Minnie Kramer sponsors are acknowledged with than $100. posters in the theater lobby and Jeane Serrano Every contribution helps in concert programs. Up to $9,999 secure the future of AFCM. Elmer Courtland Margaret Freundenthal Please advise us if your Susan R. Polleys name is not listed properly Administrative Trust or inadvertently omitted. Frances Reif Edythe Timbers Listed are current plans and posthumous gifts.

48 THANK YOU TO OUR SUPPORTERS!

YEAR-END CAMPAIGN Suzanne Hayt YOUTH CONCERT SPONSORS Marilyn Heins Nancy Bissell Our heartfelt thanks to Sidney & Marsha Hirsh Robert Claassen & John Urban those who responded to our Jim Homewood Robert & Ursula Garrett year-end campaign. Sara Hunsaker Gerald & Barbara Goldberg William & Ann Iveson Helmut Abt Eloise Gore & Allen Hile Ross Iwamoto James Andrada Joan Jacobson & Marianne Vivirito Syd Arkowitz Linda Leedberg & Stan Caldwell Robert & Deborah Johnson Frank & Betsy Babb Marilee Mansfield Arthur & Judy Kidder Hal Barber & Sheila Wilson Charles & Suzanne Peters George & Cecile Klavens Karen Ottenstein Beer Mary Peterson & Lynn Nadel Daniela Lax Gail Bernstein Boyer Rickel Karen & Leonard Loeb Ann Blackmarr Patsy Spalding Minna Mehta-Shah Peter Bleasby Sheila Tobias Richard & Susan Nisbett Nathaniel & Suzanne Bloomfield Leslie Tolbert & Paul St. John Charles & Suzanne Peters Elizabeth Buchanan Joseph Tolliver Mary Peterson & Lynn Nadel Wen Bucher Tom & Eva Wedel Jay Pisik Jan Buckingham Margaret Pope & Lauren Ronald FESTIVAL HOSTS & Norman Epstein Jack Burks & Sara Ohgushi Judith Pottle Jean-Paul Bierny & Chris Tanz Barbara Carpenter James Reel Dagmar Cushing Robert Claassen & John Urban Helen Rosen Bryan & Beth Daum Jim Cook Jay & Elizabeth Rosenblatt Liam Duffy & Ken Peoples Nancy Cook Richard & Judy Sanderson Bob Foster Jim Cushing Shirley Snow Holly Lachowicz James Dauber Randy Spalding Richard Steen & Jefferson Bailey Bryan & Elizabeth Daum Harry Stacy George Timson Raul & Isabel Delgado Barbara Straub Sheila Tobias Marilyn Dettloff Michael Tabor Christine & David Stephen & Aimee Doctoroff Sheila Tobias Wald-Hopkins Joan & Arnold Drucker Barbara Turton Roger Wolf & Cheryl Lockhart The Evanston Group Karla Van Drunen Littooy Philip & Nancy Fahringer Ann Ward Lionel & Karen Faitelson Mark Warnken Carole & Peter Feistmann Maurice Weinrobe David Ferre & Trudy Ernst Linda Friedman Patricia Wendel Peter & Linda Friedman Daryl Willmarth Thomas & Margot Friedmann Ann Wright Thomas & Nancy Gates Gerald & Barbara Goldberg Marvin & Carol Goldberg Eloise Gore & Allen Hile Clare Hamlet Katherine Havas

49 BACKSTAGE

AFCM is a non-profit organization that relies on volunteers for almost every aspect of what you see at the Festival. It is with great appreciation that we acknowledge the individuals who have worked hard “backstage” to make many Festivals, and in particular the 25th, come to life for concertgoers.

Philip Alejo Cathy Anderson Susan & Barry Jan & Mark Commissioning Box Office Austin Barmann Has organized Sells tickets, Ushers Youth Concert master classes, manages seating, Barry is also the Transportation and chairs the answers questions, liaison between Underwrite bus committee for and greets the front of the transportation new commissions. concertgoers at house and for students to the Box Office. backstage. attend the Youth Concert.

Nancy Bissell Austin Connors Michael Coretz Dagmar Cushing Housing Tucson Convention Green Room CDs & Pianos Makes sure each Center Event Makes the Green Manages CD sales musician stays at a Manager Room a relaxing and coordinates welcoming home Serves as liaison and welcoming the piano use, during the between the TCC place. including tuning Festival, and and AFCM. and page turning. coordinates fundraising for the Master Classes.

50 BACKSTAGE

Lidia DelPiccolo- D. Evans Trudy Ernst & Susan Fifer Morris Piano Maurice Weinrobe Usher Usher Keeps the pianos Ushers in tune and serviced throughout the week.

Beth Daum and Beth Foster Bob Foster Louie Gutierrez Bryan Daum Fundraising AV Technical Stage Manager Gala Former board Assists with the Manages all Coordinate the member who audio and visual technical aspects Festival Gala. helps raise money recording of of each Festival and assists with concerts. concert. other Festival details.

51 BACKSTAGE

Marie-France Marilee Nancy Monsman Hal Myers Elaine Orman Isabelle Mansfield Program Notes Commissioning Usher Travel Usher Researches and Committee Arranges writes the concert Volunteer transportation notes in the Helps select new for all Festival printed program. composers for musicians. Festival and other commissions.

James Reel Peter Rejto Jay Rosenblatt Jane Ruggill Matt Snyder President Artistic Director Programs Usher Audio Production Assists Festival Oversees, selects, Edits and Oversees and director, conducts plans, and proofreads the produces pre-concert schedules the Festival program recordings of the discussions, and musicians and to ensure that it performances. emcees the Youth the works to is accurate and Concert. be performed conforms with our each year. house style.

52 BACKSTAGE

Randy Spalding Brenda Semanick George Timson Joseph Tolliver Committee Chair Artist Youth Concert Contracts Plans and oversees Has created original paintings that Oversees the Negotiates all aspects of the have been featured on Festival Youth Concert contracts for the Festival. posters and programs for 25 and invites Festival’s core years. Pictured with her husband student groups music ensembles David Johnson Vandenberg. to attend. and chairs AFCM’s Artistic Committee.

Allan & Diane Tractenberg Barbara Turton Diana Warr Patricia Wendel Youth Concert Transportation Usher Usher Usher Underwrite bus transportation for students to attend the Youth Concert.

Not pictured: Susan Rock, Usher James Ball, Associate Stage Manager

53 2017–2018 SEASON STILL TO COME

Wu Han / Philip Setzer / David Finckel Andrei Ionita, cello Complete Beethoven Piano Trios I Sunday, April 15, 2018, 3:00 pm Wednesday, March 28, 2018, 7:30 pm Leo Rich Theater Leo Rich Theater More details online at Beethoven: Piano Trios Op. 1 No. 1 and 3 arizonachambermusic.org Beethoven: Piano Trio Op. 70 No. 1, “Ghost” Tickets available now. Please visit our website or call Wu Han / Philip Setzer / David Finckel 520-577-3769 Complete Beethoven Piano Trios II Thursday, March 29, 2018, 7:30 pm Leo Rich Theater Beethoven: Piano Trio, Op. 1 No. 2 Beethoven: Piano Trio, Op. 70 No. 2 Beethoven: Piano Trio, Op. 97, “Archduke”

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