MARCH 4, 2020

LAWRENCE BROWNLEE MYRA HUANG PIANO

GIOACHINO “Ecco, ridente in cielo” from Il Barbiere di Siviglia ROSSINI (1792-1868)

WOLFGANG “Un’ aura amorosa” from Così fan tutte AMADEUS MOZART (1756-1791)

GEORGES BIZET “Je crois entendre encore” from Les Pêcheurs de perles (1838-1875)

GAETANO “Una furtiva lagrima” from L’elisir d’amore DONIZETTI “Ah! mes amis” from La Fille du régiment (1797-1848)

ARR. DAMIEN Selections from Spiritual Sketches SNEED Every Time I Feel the Spirit (b. 1979) Here’s One Deep River Come By Here

INTERMISSION

TYSHAWN SOREY Cycles of My Being (b. 1980) Inhale. Exhale TEXT BY Hope (pt. 1) TERRANCE HAYES Whirlwind (b. 1971) Hate Hope (pt. 2) Each Day I Rise, I Know LAWRENCE BROWNLEE American-born tenor Lawrence Brownlee captivates audiences and critics around the world, and has been hailed as “an international star in the bel canto operatic repertory” () and “one of the most in-demand singers in the world today” (NPR).

The 2019-2020 season started with a return to for one of his signature roles as Count Almaviva in Il Barbiere di Siviglia under the baton of Sir LAWRENCE Andrew Davis, followed by the Dutch National Opera BROWNLEE for another Rossini comedy favorite as Don Ramiro in tenor . Brownlee also returns to Houston Grand Opera, adding a new role to his repertoire as Fernand in a new production of Donizetti’s La Favorita.

Brownlee then switches gears to perform several concerts and recitals with the Orchestra dell’Academia Santa Cecilia, Münchner Rundfunkorchester, Würth Philharmoniker, and more. He also performs in a series of solo recitals featuring his critically acclaimed song cycle, Cycles of My Being, which centers on the black male experience in America today, and includes appearances at Shriver Hall in Baltimore and at Gardner Museum Concerts in Boston. This spring includes a house debut at Dallas Opera for Il Barbiere di Siviglia.

Brownlee’s season concludes with Il Pirata at the Konzerthaus Dortmund and Klangvokal Festival and Beethoven’s 9th Symphony at the BBC Proms.

Last season, Lawrence Brownlee performed at some of the most esteemed international opera houses, including the Opéra National de Paris, Opernhaus Zürich, Deutsche Oper Berlin, and Opéra Royal de Wallonie-Liège, and stateside at the Houston Grand Opera. He also gave a 12- stop U.S. tour with Eric Owens, performing at the Seattle Symphony, Philadelphia Chamber Music Society, and the Los Angeles Philharmonic, as well as a performance at with Jason Moran and Alicia Hall Moran.

Brownlee’s latest album, Allegro Io Son, received a Critics’ Choice Award from Opera News, among numerous other accolades, and followed his previous Grammy-nominated release on Delos Records, Virtuoso Rossini Arias. His opera and concert recordings include Il Barbiere di Siviglia with the Bayerische Rundfunk Orchestra, at the , Rossini’s with Accademia di Santa Cecilia, and with the . He also released a disc of African American spirituals entitled Spiritual Sketches with pianist Damien Sneed, which the pair performed at ’s American Songbook series.

Brownlee was awarded a Masters of Music from Indiana University and went on to win Grand Prize in the 2001 Metropolitan Opera National Council auditions. He also serves as Artistic Advisor at Opera Philadelphia, helping the company to expand their repertoire, diversity efforts and community initiatives.

Alongside his singing career, Brownlee is an avid salsa dancer and an accomplished photographer, specializing in artist portraits of his on-stage colleagues. A die-hard Pittsburgh Steelers and Ohio State football fan, Brownlee has sung the National Anthem at numerous NFL games. He is a champion for autism awareness through the organization Autism Speaks, and he is a lifetime member of Kappa Alpha Psi Fraternity Inc., a historically black fraternity committed to social action and empowerment.

Lawrence Brownlee appears by arrangement with IMG Artists, 7 West 54th Street, New York, NY 10019. Tel: 212.994.3500. MYRA HUANG, PIANO Acclaimed by Opera News as a top accompanist and giving performances in “...a coloristic tour de force” (The New York Times), Grammy Award-nominated pianist Myra Huang performs in recitals and chamber music concerts around the world. Highly sought after for her interpretation of lieder and art songs, as well as her depth of musicianship and impeccable technique, she regularly performs with acclaimed opera singers around the world. This year she performs recitals throughout the U.S., MYRA HUANG including the Philadelphia Chamber Music Society, the piano Walt Disney Concert Hall in Los Angeles, The Kennedy Center, Interlochen Music Festival, Hill Auditorium at the friendsofchambermusic.com 1 University of Michigan, and the Mostly Mozart Festival at Lincoln Center. Her recital with tenor Lawrence Brownlee at Carnegie Hall was chosen by WQXR as one of 2018’s best classical recitals of the year, and is being presented with the Samuel Sanders Collaborative Artist Award for 2019 by The Classical Recording Foundation.

Huang has served on the music staffs of the Washington National Opera, Houston Grand Opera, New York City Opera, and the Palau De Les Arts in Valencia, Spain where she worked with and Zubin Mehta. From 2011-2013, she served as the Head of Music Staff at New York City Opera. She is a staff pianist for the Operalia competition, directed by Plácido Domingo, performing at opera houses around the world such as Teatro alla Scala (Milan), the Royal Opera House (U.K.), the National Centre for the Performing Arts (Beijing), and (Madrid). She regularly teaches at young artist programs throughout the U.S. to train young opera singers and pianists, including Music Academy of the West and the Houston Grand Opera Studio. A member of the music staff of the Steans Institute at Ravinia, she also joined the music staff of the Metropolitan Opera Lindemann Young Artist Development Program in the 2019-20 season.

As a recording artist, Huang’s recordings have received critical acclaim from The New York Times, Gramophone UK, Opera News, and The Boston Globe. Her recent album Gods and Monsters with tenor Nicholas Phan was nominated for the “Best Classical Vocal Solo Album” category at the 2018 Grammy Awards, and Opera News stated that “Huang matches the tenor with a pianistic arsenal of colors and attacks, controlled by her astonishing technique.” Her most recent album, Illuminations on the Avie label with tenor Nicholas Phan, the Telegraph Quartet, and the chamber ensemble The Knights, has also been highly praised. Other albums include Winter Words and Still Falls the Rain (Avie) with Nicholas Phan, and Paysages (Bridge) with soprano Susanna Phillips.

Huang is a Steinway Artist.

2 friendsofchambermusic.com NOTES

Lawrence Brownlee has been called the finest interpreter ARIAS of Rossini in the present day, so it is fitting that this diverse program opens with a showcase aria from the ever-popular Barber of Seville, which survived a mess of a premiere in 1816 to become a top-ten staple of opera houses. The madcap, accelerating pileups of sound, likewise the tongue-twisting patter arias, are irresistible. “Ecco, ridente in cielo” (“Here, laughing in heaven”) is sung at the start of the opera by the handsome Count Almaviva, who is in love with the fetching maiden Rosina and will rely on the barber of the title to secure their romance. Usually accompanied by guitar, the Count sings a simple song in two keys with some chromatic passages in between— representing, perhaps, the sting of Cupid’s arrow.

“Un’aura amorosa” (“A loving breath”) is from Mozart’s comic opera Così fan tutte, or Women Are Like That, which also places men on the chopping block. It’s a sequel of sorts in the canon to . The aria, sung by Ferrando, an officer who mistakenly believes that his fiancée will remain faithful to him, is nettlesome for even the most seasoned performers. Slower than usual for an opening aria and set in a tricky range for the tenor voice, it requires the performer to pull off major technical feats. That Ferrando is deceiving himself about his bride is represented by harmonic wrong turns, but his belief in the power of love is ravishingly sustained.

Even more ravishing is “Je crois entendre encore” (“I think I still hear” [her voice]), which comes from Bizet’s 1863 Les Pêcheurs de perles (The Pearl Fishers). Like his better- known opera Carmen, it is a sultry mixture of eroticism and exoticism. The plot centers on two fishermen whose friendship is imperiled by their obsession with the same woman, the priestess Leila. She, too, is conflicted, but in this instance between her commitment to the church and her desire for romance. “Je crois” is sung by the lovestruck Nadir, the younger fisherman, at the end of the first act, and is cast in the dreamscape of a barcarole rhythm, most often associated with gondolier songs, but here crossing the realm from reality to fantasy. friendsofchambermusic.com 3 Program Notes The first of the two Donizetti arias is a concert staple from Continued L’elisir d’amore (The Elixir of Love): “Una furtiva lagrima” (“A furtive tear”). The tenor Nemorino proclaims that the potion he has acquired with his last cent has worked on the girl of his dreams, who has otherwise been indifferent to him owing to his low standing. The potion is fake, a batch of sour red wine sold to him by a trickster, but the sincerity of his affections nonetheless wins his beloved’s heart. It’s a lovely song, but also places the tenor at risk: the opening exposes the thinness of his hopes in the potion and requires him to sing almost above the notes. Finally one of the great show-stoppers in the repertoire is the parade of high Cs in the joyous aria “Ah! mes amis” (“Ah, my friends” [what a festive day!] from La Fille du régiment (Daughter of the Regiment). - Elizabeth Bergman

GOSPELS AND Singing is at the heart of the African American musical SPIRITUALS, tradition. Some of the earliest music associated with ARRANGED BY African Americans are the folksongs of the enslaved. DAMIEN SNEED After Emancipation, these songs of sorrow, hope, spirit, and resilience found a new place in the concert hall as the concert spiritual. These traditional songs, newly set, are often viewed as a direct expression of the soul and one of the highest forms of artistic worship.

“Every Time I Feel the Spirit” has retained its power through its countless transpositions, owing to its call and response treatment of a line that refers to heaven, but also, it seems, to the Underground Railroad, the network of safe houses and escape routes that brought those who self- emancipated to northern “free” states and Canada. “Ain’t but one train upon this track,” the spiritual assures the faithful. “It runs to Heaven and then right back.”

“Here’s One” is the simplest and most affecting spiritual on the program, expressing devotion to creation and belief in the Creator’s goodness, as well as gratitude for the possibility of grace. The converted child has access to heaven, her load put down, her table set with milk and honey. The so-called Dean of African American composers, William Grant Still, composed in diverse genres but also, in the 1950s, turned to the spiritual tradition as a source 4 friendsofchambermusic.com of inspiration, arranging “Here’s One,” among other tunes, in an accessible gospel-blues manner. He was the first to lend aesthetic pleasure to a song once regarded as a plea for liberation. “Deep River” ranks among the most famous and most transformed spirituals, likened by musicologist Wayne Shirley to “Silent Night.” First published in a 1867 collection called Slave Songs of the United States, in the 20th century it was arranged and rearranged in a fashion that estranged the tune from its painful original context, causing the NAACP in 1922 to complain about the pollution of the tradition. Slow, quiet songs like this were often prohibited on southern plantations in favor of up-tempo songs forced into the throats of the fieldworkers. The debate about which version of “Deep River” is the most authentic is as endless as it is pointless. It belongs to oral tradition, and oral tradition is changeable. The earliest known, unaccompanied transcription involves a refrain that repeats the line “I want to cross over into the campground” in a forceful “dum-a-lum” rhythm (Shirley suggests an African origin for the pattern). The word “campground” refers to a Christian gathering, or revival meeting. It also refers to heaven, lending a double meaning to the description of hope in the midst of despair. In his essay "A History of American Protest Music: Come by Here," Tom Maxwell explains that in 1926, the head of the Archive of American Folk Song in Washington, D.C. recorded a man from the Georgia Sea Islands singing the spiritual "Come by Here," in a Gullah accent. The song's refrain, "come by here," or "come by yuh," in the Gullah dialect, is its most distinctive feature. In addition, Maxwell writes, the Archive received a written manuscript of the song later in 1926 from a source in North Carolina with the same repetitive lyrical structure. By the late 1930s, "Come by Here" was a popular African American spiritual in the South. As Maxwell writes, "...nevertheless, 'Come by Here' was co-opted by white intermediaries into what modern listeners now know as 'Kumbayah.' In the meantime, 'Come by Here' stayed in the black community... [and was sung] during the height of the civil rights struggle in March 1965." - Elizabeth Bergman friendsofchambermusic.com 5

Program Notes Continued CYCLES OF MY The ideas, themes, and experiences that make up Cycles of BEING My Being have been on my mind for quite some time. As I’ve watched men of color endure undeserved aggression, incarceration, brutality, and even death, I’ve been forced to consider my thoughts and questions around what it means to be a black man in America today, and how we as a people are viewed and treated. Working with Terrance Hayes and —two extraordinarily insightful and talented black men at the pinnacle of their respective art forms—has allowed each of us to bring our different perspectives to this piece, and to find a common ground in both our shared cultural history and the unique individual paths that have brought us to this point. Together, we have tried to create something that speaks to the day-to-day life of a black man in the United States, and the thoughts and questions he experiences as he moves through the world. These are divided times. But the goal of this piece is neither to widen those rifts, nor to reopen old wounds; the goal is to foster mutual respect, understanding, and communication across races and generations. History unfolds in cycles, and with this work we hope to balance the stark challenges of our present reality with a resolute resilience and an unwavering hope for a better future. - Lawrence Brownlee TEXT AND TRANSLATIONS Gioachino Rossini (1792-1868) “Ecco, ridente in cielo” from Il Barbiere di Siviglia “There, in the smiling sky” from The Barber of Seville Libretto by Cesare Sterbini (1784-1831) Ecco, ridente in cielo There, in the smiling sky Spunta la bella aurora, The beautiful dawn breaks, E tu non sorgi ancora And you do not awaken E puoi dormir così? And you are still asleep?

Sorgi, mia dolce speme, Wake up, my dearest love, Vieni, bell’idol mio; Come, my beautiful idol; Rendi men crudo, oh Dio, Lessen the pain, oh God, Lo stral che mi ferì. Of the arrow that has pierced me. 6 friendsofchambermusic.com Oh sorte! già veggo Oh joy! I now see Quel caro sembiante; That cherished image; Quest’anima amante She has taken pity Ottenne pietà. On this loving soul.

Oh istante d’amore! Oh moment of love! Oh dolce contento! Oh sweet contentment! Felice momento Happy moment Che eguale non ha! That has no equal!

Wolfgang Amadeus Mozart (1756-1791) “Un’ aura amorosa” from Così fan tutte “A Loving Breath” from Women Are Like That Libretto by Lorenzo da Ponte (1749-1838)

Un’aura amorosa A loving breath Del nostro tesoro From our treasures Un dolce ristoro Is sweet solace Al cor porgerà; For our hearts;

Al cor che, nudrito A heart nourished Da speme, da amore, By hope and by love, Di un’esca migliore Has no need Bisogno non ha. Of greater enticement.

Georges Bizet (1838-1875) “Je crois entendre encore” from Les Pêcheurs de perles “I think I still hear” from The Pearl Fishers Libretto by Michel Carré (1822-1872) À cette voix quel trouble agitait tout mon être? What is this tumult within me at the sound of Quel fol espoir? Comment ai-je cru her voice? reconnaître? What mad hope? How could I believe I had Hélas! devant mes yeux déjà, pauvre insensé, recognized her? La même vision tant de fois a passé! Alas! Before my poor, senseless eyes, Non, non, c’est le remords, la fièvre, la délire! This same vision has too often passed by! Zurga doit tout savoir, j’aurais tout lui dire! No, no, this is regret, fever, delirium! Parjure à mon serment, j’ai voulu la revoir! Zurga must know everything, I should have J’ai decouvert sa trace, et j’ai suivi ses pas! told him all! Et caché dans la nuit et soupirant tout bas, Breaking my oath, I wanted to see her again! J’écoutais ses doux chants emportés dans I uncovered her trail and followed her steps! l’espace. And hidden in the night and sighing softly, I listened to her sweet song carried off into space.

Je crois entendre encore, I think I still hear, Caché sous les palmiers, Hidden beneath the palm trees, Sa voix tendre et sonore Her voice gentle and dulcet Comme un chant de ramiers! Like the cooing of doves! friendsofchambermusic.com 7 O nuit enchanteresse! O enchanting night! Divin ravissement! Divine ecstasy! O souvenir charmant! O charming memory! Folle ivresse! doux rêve! Mad elation! sweet dream!

Aux clartés des étoiles, Beneath the light of the stars Je crois encore la voir, I think I still see her Entr’ouvrir ses longs voiles Drawing open her long veils Aux vents tièdes du soir! To the mild evening breeze.

O nuit enchanteresse! O enchanting night! Divin ravissement! Divine ecstasy! O souvenir charmant! O charming memory! Folle ivresse! doux rêve! Mad elation! sweet dream!

Charmant souvenir! Charming memory!

Gaetano Donizetti (1797-1848) “Una furtiva lagrima” from L’elisir d’amore “A furtive tear” from The Elixir of Love Libretto by Felice Romani (1788-1865) Una furtiva lagrima A furtive tear negli occhi suoi spuntò: Appeared in her eyes: Quelle festose giovani She seemed envious invidiar sembrò. Of those festive young women. Che più cercando io vo? What more could I want? M’ama! Sì, m’ama, lo vedo. Lo vedo. She loves me! Yes, she loves me, I see it. I see it. Un solo instante i palpiti For one moment I felt del suo bel cor sentir! The beating of her beautiful heart! I miei sospir, confondere My sighs were joined per poco a’ suoi sospir! Just briefly with hers! I palpiti, i palpiti sentir, To feel the beating of her heart, confondere i miei coi suoi sospir... Our sighs joined as one… Cielo! Si può morir! Heavens! I could die! Di più non chiedo, non chiedo. I would not ask for more. Ah, cielo! Si può! Si, può morir! Oh, heavens! I could die! Yes, I could die! Di più non chiedo, non chiedo. I would not ask for more. Si può morire! Si può morir d’amor. I could die! I could die of love.

BOARD OF DIRECTORS Dietrich Hoefner PROJECT ADMINISTRATOR Mary Park, President Dan Knopf Desiree Parrott-Alcorn Anne Wattenberg, John Lebsack EMERITUS BOARD Vice President Kathy Newman MEMBERS Anna Psitos, Secretary Brian Simons Rosemarie Murane Myra Rich, Treasurer Chet Stern Suzanne Ryan Walter Torres BOARD MEMBERS Eli Wald Lisa Bain Alix Corboy

8 friendsofchambermusic.com Gaetano Donizetti (1979-1848) “Ah! Mes amis” from La Fille du régiment “Ah! my friends” from The Daughter of the Regiment Libretto by Jules-Henri Vernoy (1799-1875) and Jean-François Bayard (1796-1853) Ah! mes amis, quel jour de fête! Ah! my friends, what a day of celebration! Je vais marcher sous vos drapeaux. I will march under your flag. L’amour qui m’a tourné la tête Love, which has turned my head Désormais, désormais, me rend un héros. Has already made me a hero. Ah! quel bonheur oui mes amis Ah! what happiness, yes my friends, Je vais marcher sous vos drapeaux. I will march under your flag. Oui, celle pour qui je respire, Yes, she for whom I breathe A mes voeux a daigné sourire Has deigned to smile on my wishes, Et ce doux espoir de bonheur And this sweet hope of happiness Trouble ma raison et mon coeur! Has unnerved my reason and my heart! Ah! mes amis, quel jour de fête! Ah! my friends, what a day of celebration! Je vais marcher sous vos drapeaux. I will march under your flag.

Pour mon âme quel destin! What a destiny for my soul! J’ai sa flamme, et j’ai sa main! I have her flame, I have her hand. Jour prospère! Prosperous day! Me voici, militaire, militaire et mari! Here I am, military man and husband! Militaire et mari! Ah! Military man and husband! Ah!

Pour mon âme quel destin! What a destiny for my soul! J’ai sa flamme, et j’ai sa main! I have her flame, and I have her hand.

J’en fais serment! I swear it!

Pour mon âme quel destin! What a destiny for my soul! J’ai sa flamme, j’ai sa main! I have her flame, I have her hand. Jour prospère! Prosperous day! Me voici, militaire, militaire et mari! Here I am, military man and husband!

Pour mon âme, quel destin! What a destiny for my soul! J’ai sa flamme, j’ai sa main! I have her flame, I have her hand.

Me voici, me voici, militaire et mari! Here I am, military man and husband! Me voici, me voici, militaire et mari! Here I am, military man and husband!

Militaire! Military man!

friendsofchambermusic.com 9 Selections from Spiritual Sketches Arranged by Damien Sneed (b. 1979) Every Time I Feel the Spirit Deep River

Every time I feel the spirit Deep River, Movin’ in my heart I will pray. My home is over Jordan. Deep River, Lord, On the mountains my Lord spoke, I want to cross over into campground. Outta His mouth came fire and smoke. Looked all around me, looked so fine, Come By Here Asked the Lord could it be mine. Come by here good Lord, Jordan river, chilly and cold, Come by here. Chilled my body, not my soul Oh Lord, come by here. Ain’t but one train upon this track, It runs to Heaven and then right back. Somebody’s prayin Lord, Come by here. I have sorrow, I have woe Oh Lord, come by here. I have heartaches here below. While God leads me, I won’t fear, Somebody’s dyin’ Lord, For I know that He is near. Oh Lord, come by here.

Here’s One Somebody needs you Lord, Come by here. Talk about a child that do love Jesus, Oh Lord, come by here. Here’s one.

Talk about a child that’s been converted, Here’s one.

Every since I learned the Gospel story, I’ve been walking up the path to glory.

Cycles of My Being II. Hope (pt. 1) Tyshawn Sorey (b. 1980) Text by Terrance Hayes (b. 1971) When walking hope is a swagger When breathing hope is oxygen I. Inhale, Exhale When drunk hope is wine When dirty hope is water America – I hear you hiss and stare When unfilled hope is a well Do you love the air in me, as I love the air in When unwell hope is medicine you? When impatient hope is patience Black boxes of cargo When lonely hope is company Black boxes in holes When poor hope is money Hysteria, Hysteria – I hear you hiss and stare When hungry hope is meat Black eyes and blackouts When hunted hope is a knife Blackjacks and nightmares When sleeping hope is a lullaby America – do you care for me, as I care for When angry hope is a blade you? When wounded hope is what heals me. Do you love the air in me, as I love the air in you? 10 friendsofchambermusic.com III. Whirlwind Your hate lies in wait until you choose to activate hate. Lord, I’m trying to break myself open; this Make no mistake, hate leaves carnage in its song of mine wants to be a whirlwind. wake. You are both religion and assassin. I hate that your hate can decide my own fate. I am both assassin and religion. My armor is made of flesh and spirit. I am V. Hope (pt. 2) your story. I am your lyric. Lord, I’m trying to break free of prison; this When weary hope is a hymn song of mine must become a weapon. When uninspired hope is vision You are both compass and situation. When perplexed hope is reason I am blindness, rumor, insight, vision. When unsettled hope is peace My courage is made of flesh and spirit. I am When lost hope is direction your story. When frustrated hope is calm I am your lyric. When unsure hope is certainty Lord, I’m trying to break free again. When worried hope is serenity This song of mine is made of love and skin. When betrayed hope is forgiveness This song of mine must become a weapon. When depleted hope is reserve This song must become a whirlwind. When dancing hope becomes grace When fatigued hope is a second wind IV. Hate When dead hope is life

Tell me, what causes one to hate? VI. Each Day I Rise, I Know Hate takes on many shapes. It is subtle, overt, passive, often wrapped in Each day I rise, place foot to floor the weight disguise. of consciousness I know. Hate wears white sheets, black suits, high heels, and boots. Each day I rise, I know…to always say hello. Hate is powerful, all encompassing, and Sun glow tooth-snow hair flow enrapturing. Mirror blows a flute of crows Tell me, could it be that you hate me because Each morning glow at the window you hate yourself? I have something to praise The very essence of me you despise. Sunbreak toothpaste hair glaze But why, when I am in the state your ancestors Mirror gaze a flute of blue jays helped create? Moaning, amazing & misbehaving …and that, being magnified, only breeds more Each day I rise, I know hate. You don’t know me. Still you hate me. I have something to love Your contempt for me does not allow you to Sun-dusk toothbrush hairbrush see me for who I am. Mirror blush a flute of thrushes I am God’s creation, flesh personified, in His Each day I rise, I know image. You hate the God in me, and the God awful too. You don’t know me. Still you jeer me. Your hate becomes a shackle you cannot break. You nor I are born with hate, but hate flourished because you chose to cultivate your hatred.

friendsofchambermusic.com 11 THE FOLLOWING FRIENDS have made gifts in the last 12 months. Your generous support is invaluable in assuring our continued standard of excellence. Thank you!

$20,000 + $500 + Peter & Cathy Buirski Bonfils-Stanton Foundation Patsy & Jim Aronstein * Berdine Clumpus Janet Claman, in memory of Barbara Bohlman Barbara & Herschel Cravitz Henry N. Claman, MD Peter Buttrick & Anne Wattenberg Anne Culver Estate of Ann Levy Gerri Cohen Sissy Gibson Scientific and Cultural Facilities Susan & Tim Damour * Paula & Stan Gudder District, Tier III Fackler Legacy Gift Norman & Pam Haglund Joyce Frakes David Hildebrand $5,000 + Grynberg Family David & Ana Hill Anonymous Judy Fredricks Dietrich Hoefner & Colorado Creative Industries Michael & Lor Gehret Christina Metcalf Estate of Henry Schmoll Stephen & Margaret Hagood Dan Hyman The Denver Foundation Darlene Harmon Michael & Wendy Klein Sara Zimet Christy Honnen Edward Karg & Richard Kress David & Lynn Hurst George Kruger $2,500 + Ann & Douglas Jones Carol & Lester Lehman Carol Ehrlich, in memory of Cynthia & John Kendrick Judy & Dan Lichtin Max Ehrlich John Lebsack & Holly Bennett Nira & Alan Lipner Philip Levy, in memory of Ann Levy John & Terry Leopold Bert & Rosemary Melcher Tour West, a program of WESTAF Theodor Lichtmann Marilyn Munsterman & (Western States Arts Federation, Rex & Nina McGehee Charles Berberich supported by a grant from Kim Millett Rosemarie Murane the National Endowment for Douglas & Laura Moran John & Mary Ann Parfrey the Arts) Kirsten & David Morgan David S. Pearlman Frank Moritz, in memory of Barbara Pollack $1,000 + Dr. Pat Moritz Reid Reynolds David Alley Kathy Newman & Ayliffe & Fred Ris Lisa & Steve Bain Rudi Hartmann Kathryn & Tim Ryan Linda & Dick Bateman Michael Newman Alan & Gail Seay Bob & Cynthia Benson ** John Richardson San Mao Shaw Kate Bermingham Richard & Jo Sanders Bobbi & Gary Siegel Howard & Kathleen Brand Ray Satter Steven Snyder Bucy Family Fund David & Patty Shelton Margaret Stookesberry Janet & Henry Claman Fund Ric Silverberg & Judith Cott Steve & Phyllis Straub David S. Cohen Edie Sonn Aaron & Becky Szalaj Alix & John Corboy Chet & Ann Stern Eli & Ashley Wald C. Stuart Dennison Jr. Marcia Strickland Norman Wikner & Lela Lee Brian & Kathy Dolan Dick & Kathy Swanson Joseph & Barbara Wilcox Ellen & Anthony Elias Berkley & Annemarie Tague Jaclyn Yelich Robert S. Graham Walter & Kathleen Torres Jeff Zax & Judith Graham Michael Huotari & Jill Stewart Phillip Wolf Pamela Metz & Charlene Byers $100 + Robert & Judi Newman $250 + Varda Abrahamsson Mary Park & Douglas Hsiao Anonymous Lorraine & Jim Adams Myra & Robert Rich Carolyn & Ron Baer Barton & Joan Alexander Jeremy & Susan Shamos Jan Baucum Truman & Catherine Anderson Marlis Smith Pam Beardsley Anonymous Patricia Somerville Theodore Brin Brian & Ann Louise Armstrong, Reed & Claire Stilwell * Andrew & Laurie Brock in memory of Marlene Chambers

12 friendsofchambermusic.com Catherine Beeson Charles & Gretchen Lobitz John & Debora Freed Carolyn & Joe Borus Merry Low Barbara Goldblatt Darrell Brown & Suzanne McNitt Evi & Evan Makovsky Lillie Gottschalk, in memory of Joan & Bennie Bub Martus Solutions, in memory of Marlene Chambers Susan Cable Marlene Chambers Sanders Graham Bonnie Camp Jay Mead** Jennifer Heglin Nancy Kiernan Case Mary Mendenhall Barbara Inama Marlene Chambers Mary Murphy Bill Inama Dana & Brent Cohen Beth Neva Ira Kowal, in memory of Donna & Ted Connolly Ilse Nordenholz, in memory of Joellyn Duesberry Keith Corrette, in memory of Robert Nordenholz Sheila Kowal Sam Lancaster Robert N. O'Neill Doris Lackner, in memory of Fran Corsello Desiree Parrott-Alcorn Edwin Kornfeld James & Jana Cuneo Carolyn & Garry Patterson Suzanne LaRue Stephen & Dee Daniels Carol Prescott Linda Levin Vivian & Joe Dodds Anastasia Psitos Mari Lurie Kevin & Becky Durham Michael & Carol Reddy Elspeth MacHattie Martha Fulford Gene & Nancy Richards Janet & Drew Mallory Bob Fullerton Gregory Allen Robbins Estelle Meskin Barbara Gilette & Kay Kotzelnick Herb Rothenberg, in memory of Chris & Karen Mohr, in memory Sandra Goodman Doris Rothenberg of Sue Zimet Donna & Harry Gordon Cheryl Saborsky Joanna Moldow Kazuo & Drusilla Gotow Donald Schiff, in memory of Larry O'Donnell Peter & Gabriela Gottlieb Rosalie Schiff Douglas Penick John S. Graves John & Patricia Schmitter Don & Becky Perkins Jacqueline & Gary Greer Milton Shioya Georgina Pierce Eileen Griffin Jena Siedler, in memory of Robert Rasmussen Rhonda Harshbarger Marlene Chambers Margaret Roberts Errol & June Haun Decker Swann Suzanne Ryan Larry Harvey Clé Symons Jo Shannon Healthgrades Operating Co., Inc. Tarkanian Family Fund Artis Silverman Richard W. Healy Judith Taubman Lois Sollenberger Eugene Heller & Lily Appleman Ann Weaver, in memory of Nikki Knapp & Greg Sorensen ** Timothy & Elizabeth Hepp Marlin Weaver Paul Stein William T. Hoffman Jeff & Martha Welborn Michael & Michelle Stern Joseph & Renate Hull Carol Whitley Karen Swisshelm Stanley Jones Barbara Wright & Frank Gay Barbara & Edward Towbin Bill Juraschek R. Dale Zellers Barbara Walton Suzanne Kaller Cia Wenzel, in honor of Michael & Karen Kaplan $50 + Martha Fulford Theresa & Bob Keatinge Mrs. Martin E. Anderson Greta Wilkening * Alec Kemp Daniel Andrews Andrew Yarosh ** Bruce Kindel Leslie Andrews Roberta & Mel Klein Anonymous * Gifts made to FCM Ellen Krasnow & John Blegen Julie Barrett Endowment Elizabeth Kreider Lisa Bates & Adam Vinueza ** Legacy Donor Doug & Hannah Krening Alberta & William Buckman, in Jack Henry Kunin memory of Thomas Vincent, Sr. Richard Leaman Barbara Caley Seth Lederer Hilary Carlson & Janet Ellis Igor & Jessica Levental Nancy & Mike Farley Mark & Lois Levinson Janet & Arthur Fine Penny Lewis Susan & Paul Fishman friendsofchambermusic.com 13 UPCOMING CONCERTS CHAMBER SERIES SPECIAL EVENTS Alisa Weilerstein, cello "Music with Friends" Inon Barnatan, piano Ensemble Faucheux Wed, Apr 1, 2020 Tue, Mar 24, 2020, 6:00 - 7:00 PM Broadway Roxy Arnaud Sussmann, violin 554 S. Broadway, Denver Anna Polonsky, piano FREE Wed, May 13, 2020 "Music in the Galleries" PIANO SERIES Moxie String Quartet Benjamin Grosvenor Sun, Apr 19, 2020, 1:00 & 2:00 PM Wed, Mar 18, 2020 Clyfford Still Museum 1250 Bannock Street, Denver "Music with Friends" Ensemble Faucheux All Chamber and Piano Series Tue, May 5, 2020, 6:00 - 7:00 PM concerts begin at 7:30 pm at Gates Broadway Roxy Concert Hall, 2344 E. Iliff Avenue, 554 S. Broadway, Denver Denver FREE

Watch for our 2020-2021 Season Announcement on March 18!

SPECIAL THANKS

SCIENTIFIC AND CULTURAL BONFILS-STANTON FOUNDATION FACILITIES DISTRICT (TIER III) for sponsorship of FCM’s Piano Series for supporting FCM’s outreach and audience development programs in efforts through school residencies memory of Lewis Story and master classes ESTATE OF JOSEPH DEHEER COLORADO PUBLIC RADIO ESTATE OF SUE JOSHEL (KVOD 88.1 FM) for providing lead gifts to the FCM for broadcasting FCM concerts on its Endowment Fund “Colorado Spotlight” programs

Gates Concert Hall • Newman Center for the Performing Arts • University of Denver friendsofchambermusic.com